Adobe photoshop cs3 top 100 simplified tips & tricks (download from )

by Lynette Kent

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by Lynette Kent

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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.

PermissionsCertain photos © 2007 www.photospin.com

One photo © Lee Kent

X-Rite, Incorporated

AKVIS

Graphic Authority

Nik Software, Inc.

Alien Skin

Extensis, a brand of Celartem

Andromeda Software

Vertus Tech

Wacom Technology Corp.

Adobe® Photoshop® CS3: Top 100Simplified® Tips & TricksPublished byWiley Publishing, Inc.111 River StreetHoboken, NJ 07030-5774

Published simultaneously in Canada

Copyright © 2007 by Wiley Publishing, Inc., Indianapolis,Indiana

Library of Congress Control Number: 2007931549

ISBN: 978-0-470-14476-3

Manufactured in the United States of America

10 9 8 7 6 5 4 3 2 1

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 Publisherfor permission should be addressed to the Legal Department,Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN46256, (317)572-3447, fax (317)572-4355, online:www.wiley.com/go/permissions.

Trademark AcknowledgmentsWiley, the Wiley Publishing logo, Visual, the Visual logo,Simplified, Master VISUALLY, Teach Yourself VISUALLY, VisualBlueprint, Read Less - Learn More, and related trade dress aretrademarks or registered trademarks of John Wiley & Sons, Inc.,and/or its affiliates. Photoshop is a registered trademark ofAdobe Systems Incorporated in the United States and/or othercountries. Dfine is a registered trademark and Nik Color EfexPro, Nik Sharpener Pro, Nik, and the Nik logo are trademarks ofNik Software, Inc. Courtesy of Wacom Technology Corp.,Wacom, Graphire, Intuos, and Cintiq are all registeredtrademarks. All other trademarks are the property of theirrespective owners. Wiley Publishing, Inc., is not associated withany product or vendor mentioned in this book.

Contact UsFor general information on our other products and services,contact our Customer Care Department within the U.S. at(800)762-2974, outside the U.S. at (317)572-3993, or fax(317)572-4002.

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CREDITS

ABOUT THE AUTHOR

Project EditorDana Rhodes Lesh

Sr. Acquisitions EditorJody Lefevere

Copy EditorDana Rhodes Lesh

Technical EditorDennis R. Cohen

Editorial ManagerRobyn Siesky

Business ManagerAmy Knies

Sr. Marketing ManagerSandy Smith

Editorial AssistantLaura Sinise

Manufacturing:Allan ConleyLinda Cook

Paul GilchristJennifer Guynn

Book DesignKathie Rickard

Production CoordinatorAdrienne L. Martinez

LayoutJennifer Mayberry

Amanda Spagnuolo

Screen ArtistJill A. Proll

GraphicsRonda David-Burroughs

Cheryl Grubbs

Cover DesignAnthony Bunyan

ProofreaderJennifer Stanley

Quality ControlTodd Lothery

Charles Spencer

IndexerBroccoli Information Management

Wiley Bicentennial LogoRichard J. Pacifico

Vice President and ExecutiveGroup PublisherRichard Swadley

Vice President and PublisherBarry Pruett

Composition DirectorDebbie Stailey

Lynette Kent (Huntington Beach, CA) studied art and French at StanfordUniversity. After completing her master’s degree, she taught at both the high

school and community college level. In addition to writing books and magazinearticles, Lynette is adding to her portfolio, combining high-end photography anddigital techniques. She often works at trade shows as a demo artist for computergraphics hardware and software companies. Her books on digital imaging and

photography include Photoshop CS2: Top 100 Simplified Tips & Tricks, Teach YourselfVISUALLY Digital Photography, Teach Yourself VISUALLY Mac OS X Leopard, and

Scrapbooking with Photoshop Elements: The Creative Cropping Cookbook. Lynette isalso one of the leaders of the Adobe Technology Exchange of Southern California,

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

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HOW TO USE THIS BOOK

Photoshop® CS3: 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 CS3. The easy-to-use layoutlets you 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 would like to go beyond, with shortcuts, tricks, and tips that letyou work smarter and faster. And because you learn more easily when someone shows you how, this is the bookfor you.

Conventions Used In This Book

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

2 TipsPractical tips provide insights to saveyou time and trouble, caution youabout hazards to avoid, and revealhow to do things with PhotoshopCS3 that you never thought possible!

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

0 Repeat steps 8 and 9so that there is onlyone layer above theBackground layer.

! 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.”

$ Click the Close button of the original file.

% Click the Maximize button on each of thethree new files to enlarge them.

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

59Chapter 3: Straightening, Cropping, and Resizing

CCaauuttiioonn!!Be sure to create a new layer foreach frame that you draw. You canthen resize and rotate the shapes byclicking Edit ➔ Free Transform andtransforming the frame shape with thetransformation anchors. Before youapply the Crop and Straighten Photoscommand, merge all the customshape layers into one layer above theoriginal image.

MMoorree OOppttiioonnss!!Each image has a shape layer abovethe photo layer. You can drag theshape layer to the Trash to remove it,or you can use the shape to add aframed look. Press Ô (Ctrl) + click theshape layer to select it. Click Edit ➔ Filland select a new color for the frames.Then click Layer ➔ Layer Style andapply a bevel and drop shadow to theshape layer.

1 In a large file, click and hold theRectangle tool and select theCustom Shape tool.

2 Click the Fill Pixels icon in theOptions bar.

3 Click here.

4 Select the square thin frameshape.

5 Click the New Layer icon in theLayers palette.

CROP MULTIPLE IMAGESfrom one original to create a triptychAlthough tools such as the Crop and StraightenPhotos command are meant as productivity aids tocrop and straighten multiple images at one time,you can use the same tool in various creative ways.

You can create multiple images from one file byusing the command to divide one photograph intomultiple sections. You can make individualphotographs from each section of the original orapply a diptych or triptych look to an image, makingtwo or three panels for the image, which you canprint and frame separately.

Select a plain, rectangular frame shape as acustom shape to designate the areas that you wantto crop into new images. Photoshop turns thoseseparate shapes into separate images that you cansave as new files. The trick to this technique is toleave a small margin around each of the shapeselections and to create a separate layer for eachshape when you use the Custom Shape tool. You canuse the shape as part of your final print, or you candelete it because it is on a separate layer.

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l A new blank layer is placedabove the background.

6 Click and drag a frame shape inthe image.

7 Repeat steps 5 and 6 twice tohave two more layers and twomore frame shapes.

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

8 Click here.

9 Click Merge Down.

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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 symbolbelow the task number marks thedifficulty level of each task.

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Table of Contents

Working with Layers, Selections, and Masks#11 Duplicate and Change the Background Layer to Fix

Problems Such As Overexposure 26

#12 Using an Adjustment Layer to Adjust a Photo Nondestructively 28

#13 Blend Two Photos Together with a Layer Mask 30

#14 Using Custom Shape Layers to Add Designs to Photos 32

#15 Accentuate a Sky Easily with a Gradient Fill Layer 34

#16 Using the Quick Selection Tool and Refine Edge Palette for Selections 36

#17 Using a Quick Mask to Make a Detailed Selection 38

#18 Extract the Main Subject from the Background 40

#19 Open or Add Layers As Smart Objects for Nondestructive Changes 42

#20 Apply Filters As Smart Filters for Dynamic Adjustments 44

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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 Customize Your Personal Workspace 8

#4 Personalize Your View of the Bridge 10

#5 Add Your Own 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

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Straightening, Cropping, and Resizing#21 Crop Your Images and Use a Rule-of-Thirds Grid to

Improve Composition 48

#22 Create a Level Horizon 50

#23 Try a Reverse Crop to Expand the Canvas 52

#24 Crop and Straighten in Camera Raw 54

#25 Straighten Crooked Scans Quickly 56

#26 Crop Multiple Images from One Original to Create a Triptych 58

#27 Change Your Perspective with the Crop Tool 60

#28 Straighten Buildings with the Lens Correction Filter 62

#29 Create a Panorama from Multiple Photos 64

#30 Maximize Your Image Size with Minimal Visible Loss 66

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Retouching Portraits#31 Remove Blemishes and Improve the Skin 70

#32 Remove Red Eye to Quickly Improve Any Photo 74

#33 Change Eye Color Digitally 76

#34 Reduce Wrinkles with a Soft Touch 78

#35 Whiten Teeth to Improve a Smile 80

#36 Brighten the Eyes by Lightening the Whites 82

#37 Add Depth to Eyes to Emphasize Them 84

#38 Add a Catch Light to Make the Eyes Come Alive 88

#39 Sharpen Just the Eyes to Add Focus 90

#40 Add a Soft-Focus Effect to Make a Portrait Glow 92

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Table of Contents

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Making Magic with Digital Special Effects#51 Apply a Smart Digital Photo Filter for Dynamic

Adjustments 116

#52 Add a Quick Dark Vignette Effect to Direct the Focus on the Subject 117

#53 Add Action with a Simulated Motion Blur 118

#54 Using the New Blend Mode to Stylize an Image 120

#55 Align and Blend Separate Photos for the Best Group Shot 122

#56 Merge Multiple Raw Photos to 32-Bit HDR 124

#57 Apply a Split-Neutral Density Filter Using Smart Objects 126

#58 Adjust Depth of Field with a Lens Blur Filter 128

#59 Create a Silhouette for a Custom Design 132

#60 Become a Digital Architect with the Vanishing Point Filter 136

Changing and Enhancing Colors and Tone#41 Improve an Underexposed Photo in Two Steps 96

#42 Improve an Overexposed Photo in Three Steps 97

#43 Remove a Colorcast to Improve the Overall Color 98

#44 Colorize an Old Black-and-White Photograph 100

#45 Make a Quick Change to Grayscale 102

#46 Give a New Photo an Old Colorized Look 104

#47 Using Camera Raw to Recover Highlights 106

#48 Improve a Sky with HSL Values in Camera Raw 108

#49 Go from Color to Grayscale with the New Black & White Adjustment 110

#50 Create a Split Tone for a Special Effect in Camera Raw 112

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Creating Digital Artwork from Photographs#71 Give Any Photo a Sketched Look 160

#72 Add Your Own Signature to Any Artwork 162

#73 Create a Digital Pen-and-Ink Drawing 164

#74 Give a Photograph a Woodcut Look 166

#75 Turn a Photo into a Colored-Pencil Illustration 168

#76 Posterize a Photo for a Warhol-Style Image 170

#77 Create a Pen-and-Colored-Wash Drawing from a Photograph 174

#78 Compose a Photo Collage 178

#79 Turn a Photo into a Hand-Painted Oil Painting 180

#80 Paint a Digital Watercolor 184

Designing with Text Effects#61 Add a Double-Neon Glow to Text for a Unique Design 140

#62 Create a Custom Watermark to Protect Your Images 142

#63 Fill Any Shape with Text to Create Unique Effects 144

#64 Warp Type to Emphasize the Words 145

#65 Add Perspective to Type and Keep It Sharp 146

#66 Make Your Text Follow Any Path 148

#67 Create Eye-Catching Photo-Filled Titles 150

#68 Blend Text into a Photograph Creatively 152

#69 Create an Amazing Colored Shadow 154

#70 Weave Text and Graphics for Intriguing Designs 156

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Giving Your Images a Professional Presentation#81 Add Traditional Photo Corners 190

#82 Make a Frame from a Photograph 191

#83 Make a Contact Sheet of Your Photos 192

#84 Create a PDF Slideshow Presentation 194

#85 Create a Web Photo Gallery with Your Copyright 196

#86 Give a Photo an Artistic Edge 198

#87 Create a Custom Slide Template 200

#88 Create Your Own Custom Edge 202

#89 Make One Photo Look Like Many Combined Snapshots 204

#90 Make a Photo Look Like a Gallery Print 206

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Plugging into Photoshop CS3#91 Embellish a Photo Effortlessly with Graphic Authority

Frames and Photo Ornaments 212

#92 Make a Digital Engraving with Andromeda’s Screens Filter 214

#93 Enlarge Images with Maximum Quality with Alien Skin BlowUp 216

#94 Change Your Photo into Art with Alien Skin Snap Art 218

#95 Colorize a Black-and-White Photo with AKVIS Coloriage 220

#96 Easily Select the Subject and Remove the Background with Vertus Fluid Mask 222

#97 Control Digital Noise with Nik Dfine 2 224

#98 Sharpen Photos with Finesse Using Nik Sharpener Pro 2 226

#99 Apply Traditional Photo Filters Such As the Sunshine Filter Using Nik Color Efex 228

#100 Travel Beyond the Bridge with Extensis Portfolio 8 230

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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 accomplish each project.By setting Photoshop to work for you, you candevelop your own techniques and find ways toadapt the standard tools to those techniques.

Learning to customize the application for yourown personal projects and your own personalstyle makes your image editing more effectiveand efficient. When you work on an image,you may prefer to see some palettes and notothers. You may also prefer certain toolsettings to others. Setting up Photoshop towork your way makes you more productive,the program more useful, and everything youdo with Photoshop much more fun.

With Photoshop CS3, Adobe has takencustomization to a new level. You can nowmodify your settings and preferences in moreways than ever before by adjusting theworkspace, the palettes, and the tools to fitthe requirements of specific projects or just foryour own preferences. These may seem likeboring steps, yet setting up Photoshop’spreferences and the workspace, knowing howto make your own gradients, customizing someshortcuts and tools, and designing templatesand brushes can save you time as you work onimages and free you to become more creative.By customizing Photoshop and setting theapplication your way, you gain familiarity withthe program and become more comfortable asyou try different projects.

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

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

Customize Your Personal Workspace . . . . . . . . . . . . . . . . . 8

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

Add Your Own 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

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1 Click Edit.

2 Click Color Settings.

SELECT THE COLOR SETTINGSfor your projectsUsing Adobe Photoshop CS3 is an image-alteringexperience! You can work on images for print or forthe Web. 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, a verylimited color space intended to be viewable on eventhe lowest-quality monitor. sRGB is a good colorspace for preparing Web images; however, it is a

much smaller color space than what better monitorscan show and what printers can actually produce.Photographers and designers generally prefer thelarger color space called Adobe RGB (1998), a goodcolor space for working with photographs andprojects that you plan to print.

In Photoshop CS3, you can easily choose your colorspace and save it as your own setting. Using theNorth America Prepress 2 settings and Adobe RGB(1998) will make your printed colors look muchbetter.

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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 settingchanges to AdobeRGB (1998).

The rest of the ColorSettings dialog boxchanges to reflect thepreferred workingspace for images thatyou print.

4 Click More Options.

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The dialog box expands.

5 Click here and select Perceptual forphotography or Relative Colorimetricfor a graphic design project.

6 Click OK.

Your color settings are saved untilyou reset 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 drop-downlist, ready for you to choose.

Try This!You can synchronize the color settings in otherCreative Suite applications to match your savedcustom Photoshop color settings. In Photoshop, clickFile and select Browse to launch the Bridge. ClickBridge and select Preferences (Mac) or Edit andselect Preferences (PC). Click Advanced and clickEnable Color Management In Bridge. Then from theBridge, click Edit and select Creative Suite ColorSettings. Click your saved custom color settings andclick Apply.

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1 Click Photoshop (Edit).

2 Click Preferences.

3 Click General.

SET THE PREFERENCESfor the way you workIn addition to Color Settings, Photoshop includes tendifferent panes in the Preferences dialog box. Althoughyou can work with the default settings, changing someof these can make your computer run more efficiently,and changing others can make it easier to work withyour projects. For example, by default, Photoshop isset to use more than half of the available RAM. Youcan lower this default setting depending on how muchRAM you have installed in the computer and howmany other applications you keep open at the sametime. You can change the default colors for the guides

and grid when they are too similar to those in yourimage. Setting an additional plug-ins folder keepsthird-party items separate from included Photoshopplug-ins, and setting a separate scratch disk can speedup your work on large files. Other personalizedoptions, such as asking Photoshop to automaticallylaunch the Bridge, can help you use Photoshop theway you want.

Read through each Preferences pane to familiarizeyourself with the choices. Select the settings to fityour workflow and 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 deselect those you donot want.

6 Click Next to continuecustomizing Preferences.

6

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The dialog boxchanges to theInterface Preferences.

7 Click to select theoptions you want ordeselect those you donot want.

8 Click Next.

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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 keyboardshortcuts to set thePreferences. Press Ô+K(Ctrl+K). Set your optionsfor the GeneralPreferences. Press Ô+2(Ctrl+2), and so on, foreach of the tenPreferences panes.

Try This!You can change thedefault Preferences sothat just pressing theappropriate letter toggleseach tool. In the GeneralPreferences pane, deselectthe Use Shift Key for ToolSwitch check box.

Did You Know?You can restore thePreferences any time byholding the Ô+Option+Shift (Ctrl+Alt+Shift)keys as you launch theapplication. Click Yesin the dialog box thatappears, and thePreferences are resetto the defaults.

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1 With an image open, click View.

2 Click Screen Mode.

3 Click Maximized Screen Mode.

The image onscreen changes tofill the space not occupied byother palettes.

Customize your

PERSONAL WORKSPACEThe workspace in Photoshop refers to the layout ofthe different palettes and tools on your monitorscreen. Photoshop CS3 enables you to design yourown workspace so that you can easily access palettesor find the tools you need depending on the type ofproject. You can then save your custom workspace toreuse it with other images.

You can open the palettes that you use most andcollapse others into buttons. You can move andresize individual palettes and docks. You can movethe single-column toolbox, dock it, or change it to a

two-column toolbox. When you select the newMaximized Screen mode, your image automaticallyresizes as you adjust the tools and palettes. You cancustomize keyboard shortcuts and menus and savethe current palette locations with your keyboardshortcuts and menu changes.

Photoshop CS3 also includes some preconfiguredworkspaces, and you can set up different workspacesto accommodate different tasks, such as one forcolor-correcting photographs and one for workingwith type.

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55664 Click here and drag the Layers

palette group title bar to the leftof the icon bar until a blue lineappears.

5 Click here to reduce theNavigator and Color palettegroups to icons with names.

l You can click here for any palettegroup to shrink it to a tabbeddock.

6 Click here and drag to the rightto shrink the Navigator andColor docks to icons only.

The image window automaticallyadjusts to fit the space with eachchange.8

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

7 Click Workspace.

8 Click Save Workspace.

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The Save Workspace dialog box appears.

9 Type a name for your workspace.

0 Make sure that the Palette Locationscheck box is selected.

l You can select Keyboard Shortcutsand Menus to save any other changesyou make.

! Click Save.

Your custom workspace is saved.


Did You Know?You can return to theoriginal workspace any timeby clicking Window ➔Workspace ➔ DefaultWorkspace. You can alsodelete unused workspacesby clicking Window ➔Workspace ➔ DeleteWorkspace and selecting theone that you want to delete.

More Options!Photoshop CS3 includes anumber of predesignedworkspaces for particularprojects, such as Color andTonal Correction andPainting and Retouching.Click Window ➔ Workspaceand select a workspace fromthe lower section of thesubmenu.

More Options!You can color-code themenu items that you usemost often. Click Edit ➔Menus. In the dialog boxthat appears, click theexpand triangle next to amenu name. Click None andselect a color from thesubmenu.

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1 Launch the 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 Metadata andKeywords tabs to the left panelbetween the Folders and theFilter tab.

4 Click and drag the Preview tabto the center pane.

5 Click and drag the Content tabto the right pane.

PERSONALIZE YOUR VIEWof the BridgeThe Bridge that ships with Photoshop CS3 acts as apower browser and central hub for all the CreativeSuite 3 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 the Bridge, the otherapplication launches. You can open the Bridge fromwithin Photoshop or as a separate application.

The Bridge offers different ways to search,categorize, and view your files, options for adding

information, and automation for various repetitivetasks.

By customizing and saving your own Bridgeworkspace, you can review and compare imagesmore efficiently and have more fun doing so.

To launch the Bridge from within Photoshop, click File ➔ Browse, click the Go to Bridge icon in theOptions bar, or press the keyboard shortcutÔ+opt+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.

l You can also click the separatorbar on the left to enlarge thePreview tab more.

8 Click and hold the firstworkspace button.

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A menu appears.

9 Click Save Workspace.

The Save Workspacedialog box appears.

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0 Type a name for the workspace.

! Make sure that both check boxes arechecked.

l Optionally, you can click here and selectany key not already assigned by theBridge to a keyboard shortcut.

@ Click Save.

Your custom workspace is saved as thedefault for the first button.

Note: You can change the default settingsfor the other two workspace buttons byfollowing the preceding steps with differentsettings.


More Options!You can sort by differentparameters using theFilter panel. For example,you can view only theportrait-orientationimages or all the imagescreated on a specificdate.

More Options!Press Option (Alt) andclick multiple images inthe Content palette tocompare them in thePreview panel. You canalso stack the group tokeep them together byclicking Stacks ➔ Groupas Stack or pressingÔ+G.

Enlarge It!You can expand yourpreview to fill yourscreen by pressing Tab.The Preview windowfills the screen and theother palettes slideaway on the sides. PressTab again to return toyour custom Bridgeworkspace.

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1 Click Edit.

2 Click Keyboard Shortcuts.

ADD YOUR OWNKEYBOARD SHORTCUTfor a favorite filterPhotoshop includes keyboard shortcuts for a varietyof tasks. You can work more efficiently if you useshortcuts for the tools that you use most often. Manyof the tools in the toolbox already have keyboardshortcuts assigned. Still, you may find yourself goingto the menu to select an item, such as the GaussianBlur filter, so often that a personalized keyboardshortcut is very useful and a huge timesaver.

You can easily create your own custom keyboardshortcuts to fit your workflow. You can even changethe ones that Photoshop has already assigned to

something that you can remember better. If thekeyboard shortcut that you choose is alreadyassigned by Photoshop for another function, awarning appears. You should also avoid keyboardshortcuts that are used by your operating system.You can change Photoshop’s default shortcuts,or you can try a different set of keystrokes that arenot 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.

3 Click here and select ApplicationMenus.

4 Click the Filter expand arrow.

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The filters are listedalong with any existingkeyboard shortcuts.

5 Scroll down to the filterto 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 shortcutin the data field.

Note: A shortcut must contain eitherÔ (Ctrl) or an F key in the name.

8 Click Accept.

The Photoshop Defaults set is modifiedto include your shortcut.

9 Click OK to finish adding your customkeyboard shortcut.


Did You Know?The Keyboard Shortcutsand Menus dialog box isfound under both the Editmenu and the Window ➔Workspace menu. You canalso access the KeyboardShortcuts and Menus dialogbox by using a keyboardshortcut — Ô+Shift+Option+K (Ctrl+Shift+Alt+K).

Try This!You can save a list of thedefault Photoshop keyboardshortcuts or your customizedshortcuts. Click Summarizein the Keyboard Shortcutsand Menus dialog box andsave the file as PhotoshopDefaults.htm. Open thefile and print the list forreference.

More Options!Click the Shortcuts For arrowto select Palette Menus orTools. Then click the expandarrow next to the palettename or tool and type yourshortcut. You can even save akeyboard shortcut set with acustom workspace!

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1 Open an image.

2 Click the Actions button to openthe Actions palette.

3 Click the Create New Actionbutton.

l Alternatively, you can click hereand select New Action.

The New Action dialog boxappears.

CREATE A CUSTOM ACTIONto increase your efficiencyPerforming repeated steps is boring and time-consuming. That is why Adobe created actionsand the Actions palette. An action is a series ofcommands that you can apply to an image with oneclick of the mouse. Unlike a keyboard shortcut, whichcan only invoke a command, an action can open acommand, apply changes to an image, step throughanother command, apply it, and even save a file in aparticular way. You can create your own actions forsteps that you do over and over, save the actions,and add them to the Actions palette.

To create an action, you first record a sequence ofsteps. You then name and save your new action inthe Actions palette. The next time that you needto apply the same steps to an image, you play theaction, and Photoshop automatically applies theseries of operations to the open file or even to anentire folder of files.

Actions are easy to create, and they can help youautomate your work for repetitive tasks, leaving youmore time to work on creative projects.

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4 Type the name of your action.

5 Click here and select a keyboardshortcut.

6 Click here and select a color forthe action.

7 Click Record.

l The Record button in the Actionspalette turns red.

8 Perform the steps on the imagethat you want to record as anaction.

Note: As an example, the followingsteps show creating an action ofopening a new 7" x 5" documentat 300 pixels/inch for a greetingcard.

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Press Ô+N (Ctrl+N)to open a new file.

The New file dialogbox appears.

l Type your specificdimensions in theWidth and Heightfields.

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

l Click OK.

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A new untitled document appears.

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

l Your custom action is now recorded andis listed in the Actions palette.

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


More Options!You can apply an action toa folder of files by clickingFile ➔ Automate ➔ Batchand selecting the actionand a source folder. Oryou can apply an action toa group of images fromthe Bridge by clickingTools ➔ Photoshop ➔Batch.

Try This!You can make theactions easier to find byselecting Button Modein the Actions palette’sdrop-down menu.Your actions change tocolor-coded buttons.

Did You Know?You can load otherprerecorded actionssuch as Frames orImage Effects includedwith Photoshop CS3by clicking the Actionspalette’s drop-down menuand clicking a set in thebottom section of themenu.

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1 Click the Brush tool.

2 Click the Brushes button to openthe Brushes palette.

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

4 Click Brush Tip Shape.

DESIGN A CUSTOMIZED BRUSHwith your settingsWhether you retouch photographs, design brochures,or paint from scratch, you will use the Brush toolsmany times and in many ways. Selecting the Brushtool from the toolbox opens a variety of brushes inthe drop-down menu on the Options bar.

You can modify the size, roundness, or otherattributes of any of the existing brushes to suit yourdrawing style or your image. You can then save themodified brush as your own custom brush so that itis ready to 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. You may findyourself experimenting with all types of brushes.

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The shape choices are nowvisible.

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 Watch the Preview window tosee the brushstroke change.

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

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The window changesto display new settings.

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

9 Click another selectionin the window.

l Watch the Previewwindow to see thebrushstroke changemore.

0 Click the New Brushbutton at the bottomof the palette.

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The Brush Name dialog box appears.

! Type a name for your brush.

@ Click OK.

Your customized brush is stored withthe Photoshop CS3 Preferences.


Caution!Save your custombrushes to avoid losingthem if you resetPhotoshop’s Preferences.Click the drop-downmenu on the Brushespalette and select SaveBrushes. Name the filewith the suffix .abr andclick Save.

Did You Know?Photoshop CS3 includesmany different brushfiles listed at the bottomof the submenus on theBrushes palette or Brushoptions menu in theOptions bar. You canload any set by clickingits name.

More Options!You can view thebrushes listed by namerather than the strokethumbnail. Click thedrop-down menu on theBrushes palette and clickText Only or select adifferent-sized thumbnailor list view.

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1 Click the Gradient tool.

2 Click a gradient type in theOptions bar.

3 Click inside the gradientthumbnail in the Options bar.

MAKE A SPECIAL GRADIENTto suit your designThe Gradient tool helps you blend multiple colors asyou fill an area in an image. You can use theGradient tool in many ways, such as by itself to filltext with soft gradations of color, to fill backgroundswith a gradient, or in combination with layers andmasks. Gradients are often used when makingcomposite images. Photoshop includes defaultgradient color sets and has other gradient sets listedin the drop-down menu in the Options bar. You canalso create your own gradient by sampling colorsfrom areas in your image or choosing different colorsaltogether.

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 underthe gradient 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 colorsfor the right color stop.

0 Type a name for your new gradientin the Name field.

! Click New.

l The custom gradient appears inthe presets.

@ Click OK.


Caution!You must save your custom gradientsin a presets library to avoid losingthem when you reset Photoshop’sPreferences. Click Save in the GradientEditor dialog box or choose SaveGradients from the drop-down menuin the Gradient Picker. Type a name foryour gradient library with the suffix.grd. Click Save, and your gradients aresaved in Photoshop’s presets.

More Options!You can duplicate any of the colorstops to vary your custom gradient.Press Option (Alt) and drag the firstcolor stop to another location. PressingOption (Alt), you can even drag anew color stop over other color stopsand drop it in a different position.To remove a color stop, click the stopand drag straight down.

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Note: The following steps arethose used for either the X-Rite i1Display LT or the X-Rite i1 Photo LT.

1 Install the X-Rite i1 Matchsoftware included with thedevice, launch it, and plug thedevice into a USB port.

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

2 Click the monitor image.

3 Click Easy.

4 Click the Forward button.

CALIBRATE AND PROFILEyour monitor for better editingYou adjust colors in Photoshop based on what yousee on the screen. Because each monitor displayscolor differently and because those characteristicschange over time, you should calibrate andprofile your monitor regularly to make sure thatyou are viewing the colors that are actually inyour files.

Calibration is the process of setting your monitor toan established color standard. Profiling is the processof creating an International Color Consortium (ICC)profile, a description of how your monitor reproducescolor.

Although the Macintosh System Preferencesincludes a display-calibration tool and Photoshop CS3installs the Adobe Gamma utility on Windows, thesesoftware-only methods are very subjective. Usinga hardware-calibration device is an easier and moreaccurate method of adjusting your monitor. Both X-Rite and ColorVision make affordable devices. Acolorimeter corrects the color on your screen. Aspectrophotometer measures and adjusts color forboth your monitor and printer.

You can easily make your monitor display accuratecolor using the X-Rite i1 Display LT colorimeter or theX-Rite i1 Photo LT spectrophotometer.

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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-Onescreen appears.

9 Place the unit on themonitor as the imageshows.


The screen goes black,and then a box appearsunder the colorimeteron the screen.

The box fills with white,then black, and thencolors as the deviceautomatically measuresthe color presentationcapabilities of yourmonitor.

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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, theylose their color accuracymore quickly. Calibrateand profile regularly —monthly if your monitoris new or weekly if yourmonitor is over twoyears old.

Important!Clean the monitorscreen with a soft clothbefore you start, butnever spray any cleaningliquids on your monitor.CRT monitors need towarm up for 30 minutesbefore you calibrate andcreate a profile.

More Options!X-Rite’s i1 Matchsoftware keeps a Helpfile open in a columnalong the right side ofthe screen. You canincrease yourunderstanding of colorcalibration by reading anexplanation of each stepas you proceed.

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1 Open the Tablet Preferences.

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

3 Drag the Tip Feel slider for asofter or firmer touch.

l You can click Details to test yoursettings.

4 Click the arrows and select adifferent keystroke for the rockerswitch.

5 Drag the Tip Double ClickDistance slider to reduce orincrease the sensitivity.

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. Using a pressure-sensitivetablet and pen, such as the Wacom Intuos, instead ofa mouse enables you to edit images with greatercomfort and control. Instead of scooting the mousearound, you place the cursor exactly where you wantto be with the pen, so you become more productive.

Using a tablet and pen, you have access to manyPhotoshop tools that are only available when a tabletis connected to the computer. You can easily makeprecise selections, create blended composite images,and even paint digitally as you would 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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6 Click the Eraser tab.

The Eraser Preferences appear.

7 Click and drag the Eraser Feelslider for softer or firmer eraserpressure.

l You can click Details to test yoursettings.

8 Click the Functions tool tocustomize the tablet keys.

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The ExpressKeysPreferences appear.

9 Click the arrows tochange the settingsfor the tablet keys.

0 Click the TouchStrip tab.

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The Touch Strip Preferences appear.

! Click here to change the scrolling speed.

@ Click the Function arrows and selectdifferent functions.

# Click in the Click to Set boxes.

In the dialog box that appears, typeyour keystroke preferences in theKeys data field and click OK.

$ Click the Close button.

Your custom settings are savedin the Preferences.


Try This!You can selectspecific settings for eachindividual application.Click the + to the rightof the Application sectionand select Photoshop CS3or another application.Set the options forthe keys you use mostin Photoshop.

Did You Know?The Wacom Intuos isconsidered the mostresponsive pen tableton the market. TheWacom pen feelslike any pen or pencil,and the ExpressKeysand Touch Strip canhelp you become moreproductive.

Did You Know?Over 20 Photoshoptools are specificallydesigned for use with apressure-sensitive tabletand pen. Without atablet attached to yourcomputer, a warning signappears for many of thesettings in the Brushespalette.

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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 in some way for mostprojects. You may duplicate a layer as a safetystep or build a complex multilayered imagefile with any combination of layers, selections,and masks.

Layers give real editing and designing power toPhotoshop. A layer is basically a transparencysheet with an image on it. You can edit,transform, or add filters to a layer independentlyfrom other layers. You can make one layeralter the look of a layer above or below it. Youcan save a file with the layers and easilychange your design later by editing one ormore of the layers. You can also drag a layerfrom one document to another to copy it.

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. You can copy, move, paste, andsave selections.

You can use masks to block out one area of animage or protect it from manipulations. A mask

is a selection shown as a grayscale image:The white areas are selected; the black areasare not. You can create bitmap layer maskswith painting tools or resolution-independentvector masks with a shape tool.

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Duplicate and Change the Background Layer to Fix Problems Such As Overexposure . . . . . . . . . . . . . . . . . 26

Using an Adjustment Layer to Adjust a Photo Nondestructively . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Blend Two Photos Together with a Layer Mask . . . . . . . . 30

Using Custom Shape Layers to Add Designs to Photos. . . 32

Accentuate a Sky Easily with a Gradient Fill Layer . . . . . . 34

Using the Quick Selection Tool and Refine Edge Palette for Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Using a Quick Mask to Make a Detailed Selection . . . . . . 38

Extract the Main Subject from the Background . . . . . . . . 40

Open or Add Layers As Smart Objects for Nondestructive Changes . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Apply Filters As Smart Filters for Dynamic Adjustments. . . 44

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Note: This task is shown in theMaximized screen mode.

1 Open an overexposed image inPhotoshop.

2 In the Layers palette, click anddrag the Background layerthumbnail over the New Layerbutton and release the mousebutton.

DUPLICATE AND CHANGETHE BACKGROUND LAYERto fix problems such as overexposureThe Background layer is the bottommost image inthe Layers palette — and the only layer when youfirst open a new photograph. You can duplicate theBackground layer and change the blending mode tochange the look or simply work on the duplicatedlayer without altering the original.

Although it does increase the file size, working on aduplicated layer works well for simple changes andcan be used as a safety step in various workflows.With a duplicate Background layer, you can quicklycompare your modified image with the original by

clicking the Visibility icon, the leftmost box next tothe layer thumbnail in the Layers palette, to hide theduplicated layer and view only the originalBackground layer. Then you can click the Visibilityicon on again to see the changes you made.

Photoshop CS3 includes many different types oflayers. You can add layers above the Backgroundlayer for various effects. You can convert this layerand move it in the Layers palette. Layers are the keyto nondestructive image editing — working on yourimages without damaging existing pixels.

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Photoshop places a duplicatedBackground layer above theoriginal.

3 Double-click the Backgroundcopy’s name in the Layers paletteto 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 steps 6and 7. If it appears toodark, go directly to step 8.

6 Click and drag the copylayer over the New Layerbutton and release themouse button.

7 Repeat step 6 until thephoto appears slightlydark.

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8 Click here and drag the slider to the leftto lower the opacity of the top layer untilthe photo appears properly exposed.

Note: There are many other uses forduplicating the Background layer, such as toprotect the original image when you applycertain filters or retouching portraits.

27Chapter 2: Working with Layers, Selections, and Masks

Did You Know?You can duplicate theBackground layer or anyother layer with akeyboard shortcut. Clickthe layer to beduplicated in the Layerspalette to select it. PressÔ+J (Ctrl+J). The layer isquickly duplicated.

Did You Know?The selected layer iscalled the active layer.You can select multiplelayers by pressing Ô(Ctrl) and clicking them,and then you can movethem together or applystyles to them all at thesame time.

More Options!To move the Backgroundlayer, you must unlockit by double-clicking itsname, typing a newname in the dialog boxthat appears, andclicking OK. You canthen move that layer inthe Layers palette formore editing options.

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1 Click Layer.

2 Click New Adjustment Layer.

3 Click to select the adjustment thatyou want to make — for example,Levels.

The New Layer dialog box appears.

4 Type a name for the adjustmentlayer.

5 Click OK.

The dialog box for the type ofadjustment layer you selectedappears.

Using an

ADJUSTMENT LAYERto adjust a photo nondestructivelyYou can make a variety of adjustments to an imageby using the Adjustments option on the Image menu.If you made a duplicate of your Background layer,you can adjust your photo using the duplicate andnot alter the original layer. However, each time youchange the pixels in an image, you lose some data.If you combine adjustments, you lose even morepixel information.

By applying an adjustment layer instead, you canapply color and tonal changes to your image withoutchanging any pixel values.

With an adjustment layer, you can try varioussettings and edit the adjustment at a later time. Youcan reduce or vary the effect of the adjustment byusing the Opacity or Fill sliders. You can also combinevarious adjustment layers. An adjustment layeraffects all the layers below it.

Photoshop includes a number of different types ofadjustment layers, which you access through theLayer menu.

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Note: Make sure that the Preview boxis checked.

6 For Levels, drag this slider to theright until it is just below the rise ofthe black histogram on the left side.

7 For Levels, drag this slider to the leftuntil it is just below the rise of theblack histogram on the right side.

8 For Levels, drag this slider slightly toadjust the midtones if necessary.

Note: Different adjustment layers’dialog boxes have different options.Make the changes your adjustmentlayer type requires.

9 Click OK.28

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The adjustment layer’schanges are applied tothe image.

0 Repeat steps 1 and 2.

! Select a differentadjustment layer,such as Exposure.

The dialog box for thetype of adjustment layeryou selected appears.

@ For Exposure, click here anddrag slightly to the left orright to adjust the exposure.

Note: Make the neededchanges to the optionsthat are available for youradjustment layer type.

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# Click OK.

The adjustment layer’s changes areapplied to the image.

$ Click here to turn off the Visibility iconfor each adjustment layer and hide theadjustment.

% Compare the effect of the adjustmentlayers.

Note: If you do not like the effect of anadjustment layer, you can simply deletethat layer.


Did You Know?You can use an empty adjustment layer andchange the Layer blending mode to get thesame effect as duplicating a layer andchanging the blending mode. Simply clickLayer ➔ New Adjustment Layer and selectany one of the adjustments. Do not makeany changes in the dialog box and click OK.Change the blending mode of the emptyadjustment layer as you would with anyduplicated layer.

More Options!All adjustment layers include a layer mask,represented by a white icon next to theadjustment layer icon in the Layers palette.You can click the layer mask and paint withblack to limit where the adjustment affectsthe underlying image. If you accidentallyreveal too much of the underlying image,you can change the foreground color towhite and paint in the mask to reapply moreof the adjustment.

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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.

Optionally, you can click anddrag the top image layer toadjust the position on the baseimage if necessary.

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

BLEND TWO PHOTOS TOGETHERwith a layer maskLayer masks open a world of imaging possibilitiesthat you just cannot create with traditional tools.Using a layer mask to hide parts of one image andreveal parts of another, you can design images thatare sure to grab a viewer’s attention.

You can create very dramatic effects using a layermask to blend one photograph into another. Forexample, you can blend a photograph of a weddingcouple into a photo of the bride’s bouquet. You canalso create comical effects with this technique if, forexample, you blend a photo of a potato with a photoof a person lying on a couch.

You can start by blending with a gradient on themask and touch it up with a brush or simply brushon the mask. As you paint with black on a whitelayer mask, the top image becomes visible. If youpaint away too much, simply reverse the colors andpaint with white.

This technique is especially effective using a pentablet. By setting the painting brush to respond topen pressure, you can easily control how much of theimage you reveal with each brush stroke.

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3 Click here to set the defaultcolors so that the Foregroundcolor is black.

4 Click the Layer Mask button.

l A white layer mask appears inthe Layers palette.

5 Click the Gradient tool andselect a gradient style from theOptions bar.

6 Click the layer mask to select it.

7 Click and drag in the image toapply the gradient to the mask.

Note: You may need to click anddrag several times to get the effectthat you want.30

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The two images blendtogether.


9 Select a large soft-edgebrush from the Brushdrop-down palette.

0 Paint in the imageusing black to touchup the mask andreveal more of thebackground photo.

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! Click here to reverse the foreground andbackground colors.

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

The white paint strokes bring some edgedetails of the base image back, makingthe top image appear to blend into thebase image.


Try This!Using a Wacom pentablet, you can varyyour paint strokes withpen pressure. Click theBrushes icon to openthe Brushes Presets.Click Shape Dynamicsand set Size JitterControl to PenPressure.

More Options!Type some text withthe Type tool and clickthe Layer Mask buttonin the Layers palette.Paint over some areasof the letters withblack to hide them tomake the text appearfrom behind parts ofthe image.

Customize It!Double-click theForeground Colorbutton in the toolboxand select a gray inthe Color Picker. Paintsome areas of thelayer mask with grayto make them onlypartially visible.

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1 Duplicate the Background layer ofan image.

Note: To create a duplicate of yourBackground layer, see Task #11.

2 Click the Custom Shape tool.

3 Click here, double-click a shape,and close the selection box.

4 Click here.

5 Double-click the 0 percent opacityicon.

Using

CUSTOM SHAPE LAYERSto add designs to photosPhotoshop CS3 includes a variety of predesignedcustom shapes you can apply using the CustomShape tool. You can also create your own shape withthe Pen tools. Custom shapes are resolution-independent vector shapes, meaning that theymaintain crisp edges when resized or saved in a PDFfile. You can add shapes to any image as a designelement or to alter the shape of a photo.

You can access more custom shapes than the defaultset by clicking the Custom Shape icon in the Optionsbar and clicking the shape icon drop-down arrow to

open the selection menu. When you click the drop-down arrow on that menu, you can select one of theshape groups at the bottom of the menu or select Allto see all the installed shapes at once. Then double-click a shape thumbnail to select it.

When using shapes, you will see two boxes in theLayers palette: the fill layer and a linked vectormask. The mask is the shape’s outline. You canchoose the fill layer’s color in the Options bar beforeyou draw the shape or set the fill color to a zeroopacity fill.

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6 Click and drag in your image todraw the shape.

7 Press Ô+click (Ctrl+click) the layerthumbnail.

The shape changes to a selection.

8 Click the shape layer thumbnail inthe Layers palette and drag it tothe layer Trash.

The selection remains on theimage.

9 Press D to reset the foregroundand background colors to thedefault.

0 Press X to reverse the defaultcolors, making white theforeground color.

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

l The selection is on thenew layer and notvisible on the image.

@ Click the Backgroundcopy layer to select it.

# Click Layer ➔ New FillLayer ➔ Gradient.

$ Click OK when theNew Layer dialog boxappears.

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white-to-transparent gradient fill.

% Click OK in the Gradient Fill dialog boxor change the attributes.

The shape highlights the subject of thephoto. Optionally, you can add typeand then flatten the layers to finish thedesign for use as a greeting card oradvertising piece.


More Options!Create a gradient fill witha color from your image.Click the Foreground Colorbox to open the ColorPicker. Move the cursoroutside of the Color Pickerdialog box and click acolor from your image.Click OK to close thedialog box.

Change It Later!You can save the file withall the layers so that youcan change it later.However, if you need asmaller file, click Layer ➔Flatten Image and thenclick File ➔ Save As andsave the file with a newfilename.

Customize It!Click the top layer with theshape selection. Add adrop shadow or othereffect by clicking the LayerStyle icon in the Layerspalette (fx). Click an effectand click OK to close thedialog box.

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1 Open an image with a dull gray sky.

2 Click the Default Foregroundand Background Colors icon to setthe foreground to black.

3 Click the New Fill or AdjustmentLayer button.

4 Click Gradient.

ACCENTUATE A SKYeasily with a gradient fill layerYou 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. Adding a little blue to darken the skyor adding some black to make a gray sky moreforeboding can greatly improve an otherwise boringtourist photo.

Adding a gradient fill layer enables you to easilyimprove a washed-out blue sky or make a gray sky

look stormy. You can visually adjust the amount ofcolor you add, and because you are using a fill layer,you can go back and increase or decrease theamount of color after you apply it. You can evenchange the color that you apply to get a differenteffect or to create a dramatic look. This technique ismost effective on a photo with a large sky area andan open horizon.

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The Gradient Fill dialog box appears,and a foreground-to-transparentgradient is applied to the image.

l Make sure that the angle is set to90 degrees.

5 Click Reverse.

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The gradient reversesto black at the top,changing to transparentat the bottom of theimage.

6 Position the cursor overthe image.

7 Drag upward inthe image until thegradient covers onlythe sky and the cloudslook menacing.

8 Click OK.

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The ominous sky is applied as a layerabove the Background layer.

9 Click here and select Overlay.

0 Double-click the layer thumbnail for thegradient fill.

The Gradient Fill dialog box reappears.

! Repeat steps 6 to 8 to increase or reducethe effect.

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


More Options!If your image has a gray sky thatrequires more drama, set theforeground color in the toolbox toblack. If the sky in your photo is blue,set the foreground color in thetoolbox to a dark blue before youapply the gradient fill layer. You caneven accentuate a sunset by usinga reddish-orange color as theforeground color.

Did You Know?Multiple layers increase the file sizeof your image. Because Photoshoprequires more memory to work onlarger files, you should merge layersthat will not be adjusted later.Pressing Ô+E (Ctrl+E) merges thehighlighted layer with the layer below.Pressing Ô+Shift+E (Ctrl+Shift+E)merges all the visible layers.

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1 Click the Quick Selection tool.

2 Click here.

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

l If you have a Wacom tabletattached, you can use the Sizedrop-down list to adjust thebrush size with pen pressure.

Using the

QUICK SELECTION TOOL ANDREFINE EDGE PALETTE for selectionsPhotoshop CS3 introduces a new selection toolenabling you to quickly select broad areas of animage by simply painting them. Using the QuickSelection tool, you can brush over areas to selectthem, varying the brush size as you work to selectdifficult areas. You can also just click areas for amore limited selection. You can add to selectionsby pressing the Shift key and subtract from theselection by holding the Option (Alt) key as youpaint.

The new Refine Edge floating palette is accessible inthe Options bar whenever any selection tool isselected. Using Refine Edge, you can clean upselections, soften or feather the edge outlines, removeedge artifacts or jaggies, and expand or contractselected areas with more control than by using anyof the selection tools alone. The palette offers variouspreviewing options, showing the selection on differentbackgrounds to help you see the edges of the areasyou are selecting and the changes you are making.

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Note: You can press Ô (Ctrl)+spacebar and click to zoom in formore accurate selections.

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

5 Click and drag in another area.

l The selection changes to theAdd To option.

6 Press Option (Alt) and click inareas to remove them from theselection.

Note: You can press Option (Alt)+spacebar and click to zoom out.

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The Refine Edge dialogbox appears.

8 Click and drag theRadius slider to theright to soften theedge outline.

9 Click and drag theContrast slider to the rightto remove edge artifacts.

0 Click and drag the Smoothslider to smooth the outlineof the selection.

! Click and drag the Featherslider to create a softer-edgedtransition from the selectionto the surrounding areas.

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@ Click and drag the Contract/Expand sliderto adjust the selection edges.

# Click a different preview icon to view theselection on a different background.

$ Repeat step 13 to change backgroundsfor a better view.

% Repeat steps 8 to 12 to adjust theselection.

^ Click OK the save the selection adjustments.

Your refined selection appears on theimage.


Did You Know?You can use the Refine Edgepalette on any active selection,regardless of the tool used tocreate the selection. ClickSelect ➔ Refine Edge whenthere is any selection in theimage. You can also use thepalette on any active layermask to adjust it as it isapplied to a layer.

Try This!You can quickly change thepreview background of yourselection when using theRefine Edge palette bypressing F. The previewchanges each time you pressF, cycling through each mode.

Customize It!When using the QuickSelection tool, you can clickthe Auto-Enhance option inthe Options bar to reduce theroughness of the selectionboundary. Depending on thespeed of your computer,adding the Auto-Enhanceoption may slow the selectionprocess.

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1 Click the Zoom tool and click toenlarge the area you want toselect.

2 Click the Default Colors buttonto set the foreground color toblack and the background towhite.

3 Click the Quick Mask modebutton.


5 Click here.

Using a

QUICK MASKto make a detailed selectionYou can make selections in many different ways inPhotoshop CS3. You can select a rectangular or ovalarea with the Marquee tools, select freeform orgeometric areas with the Lasso tools, or use theMagic Wand tool to select similarly colored areas.

You can also use the Quick Selection tool as shown inTask #16 to select specific areas and add to orsubtract from selections; however, some images canstill require a more detailed or precise selection tool.Using the Brush tool in the Quick Mask mode, youcan make a detailed selection or adjust any

previously selected area.

The Quick Mask mode is an editing mode in whichprotected areas are covered with a translucentcolored mask. Painting with the default red colordirectly on the areas you want can make selectingdetail more precise, while enabling you to see whatyou are selecting. Using this masking technique, youare actually masking the areas you paint, so youmust inverse the selection before making anyadjustments. The areas you painted in are thenselected, and the rest is now masked.

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6 Select a hard-edged brush.

7 Click and drag to adjust theMaster Diameter slider.

8 Paint over the areas you wantto select.

l The painted areas are coveredwith a red translucent mask.

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9 Click the SwitchForeground andBackground Colorsicon to make whitethe foreground color.

0 Paint over any areasthat you coveredaccidentally.

! Click the Switch Foregroundand Background Colors iconagain to make black theforeground color.

@ Continue painting the areato select until the wholearea is covered in red.

# Click here to turn off theQuick Mask mode.

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l Dashed lines indicate the area that wasmasked by the red color.

$ Click Select.

% Click Inverse.

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


Did You Know?To change the brush sizequickly, press the right bracket(]) to increase the paintbrushdiameter and the left bracket([) to reduce it. To toggle theforeground and backgroundcolors, press X.

Important!You may need to feather aselection before you makeadjustments. Click Select ➔Modify ➔ Feather and type afeather value. For the selectionof the teeth, use a 1- or 2-pixel feather. You can alsoclick Select ➔ Refine Edge andadjust the selection as shownin Task #16.

More Options!If the image you are paintingon is very red, change themasking color. Double-clickthe Quick Mask Mode iconand click the color box in theQuick Mask Options dialogbox to pick a new color.

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1 Open a photo with a subjectthat you want to extract fromthe background.

2 Duplicate the Background layeras shown in Task #11.

3 Click here to turn the visibility offfor the original Background layer.

4 Click Filter.

5 Click Extract.

The Extract dialog box openswith your image in the window.

EXTRACT THE MAIN SUBJECTfrom the backgroundYou will often want to separate a person or an objectfrom the background so that you can use the personor object on a separate layer or in another image.You could painstakingly paint over the person orobject with a brush in the Quick Mask mode or selectthe area with another selection tool; however, theExtract filter may make a better selection, especiallyfor delicate or detailed areas, such as trees or hair.

When you use the Extract filter, Photoshop erases thebackground of the selected area and makes it

transparent. The filter looks for contrasting edgesunder the area you highlight. For pixels on theedges, it removes any color derived from thebackground to avoid having an edge halo when theitem is placed on another background.

Although it is a sophisticated tool, the Extract filtermay leave some areas that need to be touched upbefore your selection is complete. You can refine andfix the extraction with another layer and otherPhotoshop tools.

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6622Photo © 2007 www.photospin.com

6 Click the Edge Highlighter tool.

7 Click here and move the sliderto adjust the brush size.

8 Trace around the edges of theareas that you want to keep.

Note: Make sure that the markerborder is half covering the itemthat you want to select and halfover the background.

9 Click the Fill tool.

0 Click in the area you want tokeep.

The green highlighted area fillswith a translucent blue.

! Click Preview.40

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The extracted areaappears on a transparentbackground.

@ Click the Clean Up tooland draw around anyragged edges to removeexcess background.

# Hold the Option (Alt) keydown and paint in theimage to fill in any areasthat dropped out.

$ Click the Edge Touchuptool and draw aroundany rough edges to cleanthem up.

% Click OK.

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l The selected area is extracted.

^ Press Ô+J (Ctrl+J) to duplicate the layer.

Note: Duplicating the layer generally fixesother dropped-out areas.

& Press Ô+E (Ctrl+E) to merge the twoextracted layers.

The subject of the photo is extracted ona separate layer. You can now drag thatlayer into another photo or change thebackground behind the subject by addinga different layer below the subject layer.


Caution!If the blue fill color spillsinto the rest of theimage, your subject wasnot completely enclosedby the highlight border.Press Ô+Z (Ctrl+Z) toundo and outline theedge completely beforefilling.

More Options!Use a small brush tohighlight well-definedareas and a larger brushto highlight wispy areas,such as hair. Pressingthe left ([) or right (])bracket keys changes thebrush sizes quickly, asyou highlight the object.

Try This!To preview theextraction against aplain background, clickthe Display drop-downmenu in the Previewpalette on the right.Select Gray Matte or anyother color that makesit easy to see yourselection.

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OPEN AN IMAGE AS A SMART OBJECT

1 Click File.

2 Click Open As Smart Object.

The Open dialog box appears.

3 Navigate to and click a file toopen.

4 Click Open.

The file opens as a smart object.

Open or add layers as

SMART OBJECTSfor nondestructive changesA smart object layer is a different type of layer,acting as a pointer to the original image file andgiving you complete creative flexibility when editingany image. For example, if you drag a photograph tocopy it into another document as a regular layer, thelayer adopts the characteristics of the base image.When you use the Transformation command to makethe image smaller, the dimensions of the image on the layer are reduced. If you later want toincrease the size of the image on that layer, you loseimage quality because your previous transformation

removed pixels to reduce the size. If instead youopen the same photograph as a smart object layer,you can continuously transform the layer without anyimage data loss.

You can open a document as a smart object, place afile into another document as a smart object, orconvert one or more already open Photoshop layersto smart objects. You can also place an Illustrator orother vector file into a document as a smart objectand maintain the vector’s sharp edges or forms evenwhen 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 palette with the SmartObject icon. The layer is alsorenamed to Layer 0.

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PLACE AN ILLUSTRATOR EPS

FILE AS A SMART OBJECT

1 Open the file where theIllustrator document willbe placed.

2 Click File.

3 Click Place.

The Open dialog boxappears.

4 Navigate to and click anIllustrator file to open.

5 Click Place in the Opendialog box.

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The image appears inside a box with anX through it.

6 Click in the placed file and drag it to anew location.

7 Click and drag the bounding box anchorsto resize the smart object.

8 Click and drag just outside one of thecorners to rotate the file.

9 Click here to apply the placed image.

The box is removed from the image anda new smart object layer appears abovethe previous layer in the Layers palette.


More Options!Click Layer ➔ Smart Objects ➔Edit Contents. Click OK in thewarning dialog box that appears.Edit the original file that appearsand press Ô+S (Ctrl+S), and thesmart object image is updated.Or just double-click directly onthe Smart Object icon on the layerthumbnail to alter the originalimage.

Try This!You can create duplicates of asmart object layer in a documentand link them. When youreplace the contents of one smartobject layer, all the duplicatesare automatically updated at thesame time.

Did You Know?You can place a camera RAWimage from the Bridge as asmart object layer into aPhotoshop file. The smart objectlayer remains completely editableas a camera RAW file without anydata loss.

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1 Open an image as a smart objectas shown in Task #19.

2 Click Filter.

3 Click the filter that you want.

4 Click the type of change youwant to make with the filter.

The filter’s dialog box appears.

5 Click and drag the sliders andadjust other options as needed.

6 Click OK.

Apply filters as

SMART FILTERSfor dynamic adjustmentsAfter you have a smart object layer, you can addsmart filters. This new type of filter is completelynondestructive and offers more image-editingflexibility than ever before.

Actually, any filter applied to a smart object layerbecomes a smart filter. Compared to normal filters,smart filters offer adjustments without compromisingany pixel data. You can remove or hide smart filters

at any time. In addition, you can continuously editthe settings of the smart filters to achieve differenteffects. You can add multiple filters one on top of oneanother. You can change the order of the smart filtersto change the resulting effect. When you add a maskto a smart filter, you can paint in the mask to hide orreveal different areas of the filter for refined edits, allwithout altering the image data.

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

7 Click Filter.

8 Click another filter to apply tothe image.

The filter’s dialog box appears.

9 Repeat steps 5 and 6.

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l The second smart filter appears abovethe first.

0 Click the mask thumbnail.

! Click the Brush tool.

@ Click here and select a soft-edge brush with a size to fit your image.

l Make sure that the default foreground color isblack. Press D to restore the default and X ifnecessary to make the foreground color black.

# Paint in the image where you do not want thefilters applied.

Note: For example, the smart filters here blur thebackground. You paint with black to remove theblur from the main subject.

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

$ Click here and drag the second smart filterbelow the first to see if the effect is preferable.

% Click here to turn on and off the Visibility iconsof the individual smart filters to see the beforeand after effects.

^ Double-click here to open the individual SmartFilter dialog boxes and readjust the settings.

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Did You Know?Only the Extract, Liquify,Pattern Maker, andVanishing Point filterscannot be used as smartfilters. The Shadow/Highlight and theVariations adjustmentscan be applied as smartfilters with a smartobject layer.

Try This!Click the triangle by thesmart object layer todisplay the smart filtersapplied to the layer.Double-click the twotriangle arrows next tothe smart filter tochange the blendingmode and opacity ofthe smart filter.

More Options!To delete an individualsmart filter, click itsname and drag it to theLayers palette Trash.To delete all the smartfilters on a layer at once,click and drag the text“Smart Filters” onthe smart object layerto the Trash.

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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 important in both designand photography. A crooked horizon orunbalanced subject matter can make even agreat image look like the work of a beginner.You may have buildings that appear top heavyor out of perspective, and your photos will notalways be the size you need them for yourprojects. Even the best photographers haveimages that require some cropping or resizing.

With Photoshop CS3, you can crop images forbetter composition with a variety of tools and

straighten the horizon in any photo. You canalso straighten and crop several crookedlyscanned photos in one step. You can evenmake multiple photos from one original imageor create a panorama from several separateimages. You can fix various types of cameralens distortions and correct the perspective onbuildings. Photoshop and Camera Raw do mostof the work for you.

Photoshop CS3 makes all such previouslytime-consuming or difficult tasks quick andeasy. New tools and new resampling algorithmshelp you straighten, crop, adjust, and resizeimages, saving hours of tedious work to makeall your images look better.

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Crop Your Images and Use a Rule-of-Thirds Grid to Improve Composition . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Create a Level Horizon. . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Try a Reverse Crop to Expand the Canvas . . . . . . . . . . . . 52

Crop and Straighten in Camera Raw. . . . . . . . . . . . . . . . . 54

Straighten Crooked Scans Quickly. . . . . . . . . . . . . . . . . . . 56

Crop Multiple Images from One Original to Create a Triptych . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Change Your Perspective with the Crop Tool . . . . . . . . . . 60

Straighten Buildings with the Lens Correction Filter . . . . 62

Create a Panorama from Multiple Photos. . . . . . . . . . . . . 64

Maximize Your Image Size with Minimal Visible Loss . . . 66

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

The New Layer dialog boxappears with a new name forthe layer.

2 Click OK.

The locked Background layerchanges to a regular layer.

CROP YOUR IMAGESand use a rule-of-thirds gridto improve compositionDesigners and photographers use various techniquesto balance an image and catch the viewer’s attention.They may change the placement of the horizon to theupper or lower third of the image. They may dividethe entire image into thirds horizontally and verticallyand place the main subject at the intersection of thethirds. They may just offset the main subject toguide the viewer into the image. Perfectly composinga photograph in the camera’s viewfinder is notalways possible; however, you can recompose andimprove that photo by cropping it in Photoshop.

You can use Photoshop’s rulers and drag guides todivide the image into thirds as guidelines or justto mark the center of focus as a visual reference.With your image on a separate layer, you can usethe Move tool to recompose your image, placingthe main subject where it is most effective.

Then you can use the Crop tool to crop the imagewith your new composition. 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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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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A vertical blue guideappears on the firstthird of the image.

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

A second vertical blueguide appears on thesecond third of theimage.

8 Click View.

9 Click New Guide.

0 Click Horizontal in theNew Guide dialog box.

! Type 33% in thePosition box.

@ Click OK.

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

A rule-of-thirds grid is visible over the image.

$ Click the Move tool.

% Click and drag in the image to place the mainfocus of the image into a third or near anintersection of two guides.

^ Click the Crop tool.

& Click and drag in the image to select yourimage.

* Click here to accept the crop.

l You can click View ➔ Clear Guides to removethe guides.


Try This!You can use the Crop tool to rotatethe area and get a differentcomposition. Drag out a marqueewith the Crop tool. Then move thecursor just outside the area. Itchanges to a double-headed arrow.The crop rotates as you move thecursor. Click the Commit button tocommit the crop.

Customize It!Create your own Crop tool preset.Click the Crop tool and type yourvalues in the Options bar. Click theTool Preset Picker, the leftmostthumbnail in the Options bar. Click theNew Tool Preset icon on the right inthe drop-down menu. Name your toolin the dialog box and click OK. Yourcustom cropping tool is added to themenu.

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1 In an image that needs a levelhorizon 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 a horizontalplane or the horizon line.

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 tool acrossyour image, a nonprinting line is drawn, and theOptions 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 Rotate Canvas.

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 ismore level.

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 horizonis now straight.


Did You Know?You can easily check thedimensions of an openphoto without openingthe Image Size dialogbox. Select the Crop tooland click Front Image inthe Options bar. Thecurrent width, height,and resolution areshown in the data fields.

Attention!The Crop tool retainsthe dimensions of theprevious crop. Be sureto click Clear in theOptions bar to reset thetool and remove anyold settings before youclick and drag the Cropmarquee in a newimage.

Try This!Although you have lesscontrol over the area tobe cropped, you cancrop a photo using theRectangular Marqueetool. Click and drag aselection in the imagewith the Marquee tool.Click Image ➔ Crop.

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1 In an opened image, click theDefault Color icon in the toolboxto set the foreground to blackand the background to white.

2 Click the Zoom tool.

3 Click the Zoom Out box in theOptions bar.

4 Click in the image several timesto zoom out.

TRY A REVERSE CROPto expand the canvasWhen 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.

Although using the Canvas Size menu and dialog boxis more precise, expanding the canvas with the Croptool is quick, and you can see exactly how yourenlarged canvas appears. In addition, using thereverse-crop method, you can create a border that is

uneven, larger on one side than the other for a pagelayout, or larger on the bottom than on the top as ina gallery print.

You can use this technique to enlarge your canvasvisually or with precise dimensions for your finalimage. If you are working on a series of images withspecific sizes, you can create a custom Crop toolpreset and then use that tool to quickly reverse cropthe photos. All your images have the same-sizedcanvas, making your design and layout tasks mucheasier.

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The image view becomes smalleron a gray background area.


6 Click and drag across the entireimage.

l The crop marquee surrounds theimage.

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7 Click and drag onthe corner anchorpoints of the cropmarquee to extendthe crop area.

8 Click and drag on thecenter anchor pointsuntil the borders fityour design.

9 Click the Commitbutton in the Optionsbar to commit the crop.

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l The canvas is enlarged and filled withthe default background color.


More Options!You can use thetechnique shown hereto quickly create a gifttag or a note card.Enlarge the canvas asshown in the task steps,click the Type tool,and type some text inthe white canvas area.

Try This!Click the BackgroundColor box in the toolboxand select anothercolor. When you enlargethe canvas using thereverse-crop method,the area will fillwith your selected colorinstead of white.

Change It!Click the Crop tool andtype the width andheight for your finisheddesign in the boxes inthe Options bar. Whenyou click and drag outthe crop marquee in theimage, it maintains theexact dimensions youtyped.

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1 Launch the Bridge and click aJPEG, TIFF, or Raw format image.

2 Click File.

3 Click Open in Camera Raw.

The photo opens in the CameraRaw dialog box.

Note: If the file is already ina Raw format, you can open itwith Photoshop CS3, whichautomatically opens it in theCamera Raw dialog box.

CROP AND STRAIGHTENin Camera RawMany digital cameras can save image files in theCamera Raw format. Camera Raw image files aredigital negatives and contain the actual picture datafrom the digital camera’s image sensor without anyin-camera processing applied. Photographers oftenprefer editing in Camera Raw to maintain morecontrol because they can interpret the image datarather than let the camera make the adjustmentsand conversions automatically.

Photoshop CS3 not only enables you to make colorand sharpness enhancements to a variety of Raw

formats as well as JPEGs and TIFFs, but you can alsocrop and straighten those images in Camera Rawbefore opening them in Photoshop.

After you crop and straighten the image files in theCamera Raw dialog box, you can save them inCamera Raw and reprocess the file at any time withmaximum control. You can also continue to edit andrefine them in Photoshop and save them in astandard file format.

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

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4 Click the Straighten tool.

5 Click and drag on a horizontalor vertical line in the previewimage.

l The preview image is rotated withthe new angle, and a maximumbounding box appears.

l The Crop tool is automaticallyselected.

6 Click and drag the corner anchorsto adjust the composition of thephoto if necessary.

7 Click and drag inside thebounding box to move the entireselection in the image.54

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The bounding boxmoves to the area ofthe photograph thatyou want.

8 Press and holdOption (Alt).

l The Open Image buttonchanges to Open Copy.

9 Click Open Copy to openthe image in Photoshopwithout altering youroriginal.

Note: Holding the Option(Alt) key down also changesthe Cancel button to Resetso that you can start over.

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The cropped and straightened imageopens in Photoshop.


Did You Know?You can apply the same croppingdimensions to multiple images. Openthe images in Camera Raw. Click SelectAll on the left of the dialog box. ClickSynchronize and select the Crop checkbox in the Synchronize dialog box. ClickOK to close the dialog box. Select theCrop tool and crop the topmost image.All selected images are cropped in thesame way.

More Options!You can make a crop with specificproportions in Camera Raw. Click andhold the Crop tool to reveal the pop-upmenu. Click one of the presets or clickCustom. In the Custom Crop dialog box,type the exact proportions or dimensionsthat you need and click OK. The Croptool is set for your specific 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 SCANSquicklyWhen you are not bogged down with repetitivetasks, you can be more productive and creative.Photoshop has many features to help both yourproductivity and your creativity, such as automatedimage processing.

Scanning images one by one is one of thoseredundant projects that can be very time-consuming.You have to scan one image, crop it, and save it —and then lift the scanner top, reposition anotherimage on the scanner bed, and start over.

Using a flat bed scanner with a large scanning area,such as Microtek’s i800, you can scan multiple

images at one time and let Photoshop separate theseinto multiple files. Photoshop’s automation toolalso saves time when scanning just one photo. Youcan place a photo on the scanner bed without liningit up perfectly because Photoshop’s Crop andStraighten Photos command can crop and straightenthat 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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A progress bar appears asPhotoshop separates and cropseach image in the file.

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l Each image is openedin its own window.

5 Click Window.

6 Click Arrange.

7 Click Tile Horizontally(or Tile Vertically).

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

8 Click the Zoom (Maximize) button to vieweach image at full size.


Important!Photoshop does not replace theoriginal scan with the separatedphotos, and it does not automaticallysave the separate images. Instead,Photoshop renames each separatedfile using the same name as theoriginal scan and labeling it “copy,”“copy 2,” and so on. You can clickFile ➔ Save As and rename each filebefore you save it.

More Options!You may scan multiple images atonce and decide that you want tokeep only one of them. Make aselection border around that oneimage, including some background.Press and hold Option (Alt) as youselect File ➔ Automate ➔ Crop andStraighten Photos. Photoshop cropsand straightens that one photo andputs it in a separate file.

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1 In a large file, click and hold theRectangle tool and select theCustom Shape tool.

2 Click the Fill Pixels icon in theOptions bar.

3 Click here.

4 Select the square thin frameshape.

5 Click the New Layer icon in theLayers palette.

CROP MULTIPLE IMAGESfrom one original to create a triptychAlthough tools such as the Crop and StraightenPhotos command are meant as productivity aids tocrop and straighten multiple images at one time,you can use the same tool in various creative ways.

You can create multiple images from one file byusing the command to divide one photograph intomultiple sections. You can make individualphotographs from each section of the original orapply a diptych or triptych look to an image, makingtwo or three panels for the image, which you canprint and frame separately.

Select a plain, rectangular frame shape as acustom shape to designate the areas that you wantto crop into new images. Photoshop turns thoseseparate shapes into separate images that you cansave as new files. The trick to this technique is toleave a small margin around each of the shapeselections and to create a separate layer for eachshape when you use the Custom Shape tool. You canuse the shape as part of your final print, or you candelete it because it is on a separate layer.

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l A new blank layer is placedabove the background.

6 Click and drag a frame shape inthe image.

7 Repeat steps 5 and 6 twice tohave two more layers and twomore frame shapes.

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

8 Click here.

9 Click Merge Down.

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0 Repeat steps 8 and 9so that there is onlyone layer above theBackground layer.

! 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.”

$ Click the Close button of the original file.

% Click the Maximize button on each of thethree new files to enlarge them.

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


Caution!Be sure to create a new layer foreach frame that you draw. You canthen resize and rotate the shapes byclicking Edit ➔ Free Transform andtransforming the frame shape with thetransformation anchors. Before youapply the Crop and Straighten Photoscommand, merge all the customshape layers into one layer above theoriginal image.

More Options!Each image has a shape layer abovethe photo layer. You can drag theshape layer to the Trash to remove it,or you can use the shape to add aframed look. Press Ô (Ctrl) + click theshape layer to select it. Click Edit ➔ Filland select a new color for the frames.Then click Layer ➔ Layer Style andapply a bevel and drop shadow to theshape layer.

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1 In a photo containing a distortedrectangular object, click theCrop tool.

2 Click Clear in the Options bar toremove any previous settings.

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 toolWhen you photograph an object from an anglerather than from a straight-on view, the objectappears out of perspective, displaying keystonedistortion. The top edges of a tall buildingphotographed from ground level appear closer toeach other at the top than they do at the bottom.If you photograph a window and cannot get directlyin front of it to take the shot, the window appearsmore like a trapezoid. Depending on the photograph,you can correct this type of distortion with a numberof Photoshop’s tools.

The Crop tool in Photoshop CS3 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,Photoshop crops the image as large as possible whilemaintaining the angles of the rectangular object.

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4 Click here to deselect Shield toremove the dimming effect.

5 Click here to select Perspective.

6 Click each corner anchor of thecropping marquee and alignit with a corner on a normallyrectangular object.

Note: To zoom in with thecrop marquee showing, pressÔ+spacebar (Ctrl+spacebar)and click in the image. PressOption+spacebar (Alt+spacebar)and click in the image tozoom out.

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7 Click and drag outeach of the centeranchor points tofit the edges of theentire image.

8 Click the Commitbutton in the Optionsbar to commit the crop.

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Photoshop realigns the image andchanges the perspective.


Caution!Photoshop’s Crop toolwill not work to correctkeystoning on all images.The Crop tool may notfix the perspectivedistortion if it is appliedto an image that hasalready been cropped forsize.

Keyboard Shortcuts!Press C to access the Croptool. Press Return (Enter)to commit the perspectivecrop or Esc to cancel it.Or press Control+click(right-click) in the imageand select Crop or Cancelfrom the menu.

Attention!If Photoshop shows anerror, you may not haveplaced the cornerhandles correctly. Clickthe Cancel button in theOptions bar and adjustthe cropping marqueebefore clicking the Commitbutton and committingthe crop.

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

Note: See Task #19 forinformation about smart objects.

2 Click Filter.

3 Click Distort.

4 Click Lens Correction.

STRAIGHTEN BUILDINGSwith the Lens Correction filterDepending 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 distortionis the opposite effect, where straight lines bendinward. If the camera tilts up or down or at anyangle, the perspective also appears distorted. TheLens Correction filter in Photoshop CS3 can help youfix these and other lens defects easily.

When you photograph tall buildings, the tops of thebuildings may appear to be larger at the top than 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 appearswith a changedperspective plane.

l Optionally, you canview the edge againsta dark backgroundby clicking here andselecting BackgroundColor.

l Optionally, you canview the correctedimage without the gridby clicking Show Gridto deselect it.

6 Click OK to commit thechanges.

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00 The adjusted image reopens in Photoshop.

Note: You can edit the adjustment by double-clicking the Lens Correction smartfilter in the Layers palette before croppingthe final image.


8 Click and drag in the image.

9 Click the anchors of the crop area to adjustyour image.

0 Click the Commit button in theOptions bar.

The image is cropped, and the buildingsappear straight.


Try This!You can reset the adjustmentsin the Lens Correction dialogbox by pressing Option (Alt).The Cancel button changesto Reset. Click Reset toremove the changes and startover. You can change Cancelbuttons in most dialogboxes to Reset by pressingOption (Alt).

More Options!You can save the LensCorrection settings and reapplythem to other images. Set theoptions in the dialog box.Click the Manage Settingsdrop-down arrow and chooseSave Settings. The savedsettings appear in the Settingsdrop-down menu.

Did You Know?In addition to barrel andpincushion distortion, theLens Correction filter can fixboth chromatic aberration, acolored fringe along the edgesof objects, and vignetting, theappearance of darker cornersor edges in the image.

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1 In Photoshop, click File.

2 Click Automate.

3 Click Photomerge.

Create a

PANORAMA FROMMULTIPLE PHOTOSYou can combine multiple photographs into onecontinuous image to create a panorama. For example,you can take two or more overlapping photographs of ascenic horizon, or even a number of scans of parts of alarge document, and then assemble them in Photoshopwith the Photomerge command. You can combinephotos that are tiled horizontally as well as vertically.

Although you can also choose to position andblend the images manually using Interactive Layout,the Photomerge command in Photoshop CS3 is more

powerful than the previous version, automaticallyaligning and blending each layer using individuallayer masks.

To make the merge as successful as possible,photos or scans intended for merging should have anoverlap of 25 percent to 40 percent. Also maintainthe same exposure for each photograph and keep thesame scanning settings for each scan. Using a tripodto keep the camera level when taking the photos alsoimproves the final merge.

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The Photomerge dialog boxappears.

4 Click Browse.


5 Navigate to and select theimages to merge.

6 Click Open.

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The selected filesare listed in thedialog box.

7 Click Auto.

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 image tomake your final panorama.

@ Click the Commit button in the Options bar.

The panorama is cropped to the selectededges.


Did You Know?When you shoot photos thatyou intend to mergetogether, use the Portraitmode rather than Landscapeand shoot more images. Youwill have a larger area tocrop from for your finalimage, giving you a tallerand more realistic result.

More Options!The Perspective option usesone image as a referenceand adjusts the perspectiveof the other images tomatch and overlap thecontent of the referenceimage. The Cylindrical optionreduces the bowed shapethat can occur in somemerged photos.

Change It!You can add more files byclicking the Browse buttonagain and navigating to addsource files. You can alwaysremove a file from theSource Files list by selectingthe file and clicking Remove.

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1 With the photo that you wantto enlarge open, click Image.

2 Click Image Size.

l The size of the image as shownonscreen is visible in this box.

MAXIMIZE YOUR IMAGE SIZEwith minimal visible lossYou often need a different size image than the original.You can resize images using the Image Size dialog box.

You can adjust the width, height, or resolutionwithout affecting image quality or pixel dimensionsby deselecting the Resample Image check box in thedialog box. However, to change the overall size ofan image, you must check the box, and Photoshopresamples by adding or removing pixels to adjust forthe changes.

Photoshop’s interpolation methods — the way that itassigns values to added pixels and smoothstransitions between juxtaposing pixels — work well

to preserve the quality and detail as long as thesize changes are not extreme. Third-party plug-inssuch as onOne’s Genuine Fractals and Alien Skin’sBlowUp are better for enlarging greater than 150 to200 percent.

The generally recommended resampling method forreducing image size is Bicubic Sharper, whereasBicubic 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 well bothfor enlarging and reducing photos.

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The Image Size dialog boxappears, showing the currentsize of the opened image.

3 Make sure that the ResampleImage check box is selected.

4 Double-click in the Width boxto highlight all the numbers.

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5 Type the width thatyou want for the finalprinted image.

The heightautomatically adjustsproportionally.

6 Type 360 in theResolution box.

7 Click here and selectBicubic Sharper.

8 Click OK.

A progress bar appearsas Photoshop processesthe enlargement.

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The enlarged photo appears.

9 Check the file size in the window frame.


Test It!Make two copies of an image. Enlarge thefirst using Bicubic Smoother and thesecond using Bicubic Sharper. Crop thesame 4-x-6-inch section on bothenlargements and paste these into twonew documents. Because resamplingmay reduce detail and sharpness, applythe Smart Sharpen filter with the samesettings to each new document and printthem for comparison.

Did You Know?A resolution of 150 to 360 ppi isgenerally recommended for inkjetprinting. Images for onscreen viewingonly need a resolution of 72 ppi. Imagesintended for a printing press require aresolution of twice the line screen of thepress. If the line screen is 133 dpi, theresolution should be 266 ppi. Roundingup to 300 ppi is generally recommended.

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Retouching Portraits

You 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 Photoshop CS3 for removingblemishes and red eye, enhancing the eyes,reducing wrinkles, whitening teeth, softeningthe face, and more. You can also changesomeone’s hair color or eye color to fit aclient’s request. You can add to any portrait byadding a catch light to the eyes, even if it was

not captured by the camera. You can evenreduce certain undesirable sags without plasticsurgery.

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. For thefinal image, select Flatten Image from theLayer menu before saving it with a new name.Just do not show the original unretouchedphoto to the subject!

Because these enhancements should be subtle,using a pen tablet, such as the Wacom Intuos3, is particularly useful when retouchingportraits.

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Remove Blemishes and Improve the Skin . . . . . . . . . . . . . 70

Remove Red Eye to Quickly Improve Any Photo . . . . . . . 74

Change Eye Color Digitally . . . . . . . . . . . . . . . . . . . . . . . . 76

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

Whiten Teeth to Improve a Smile . . . . . . . . . . . . . . . . . . . 80

Brighten the Eyes by Lightening the Whites . . . . . . . . . . 82

Add Depth to Eyes to Emphasize Them . . . . . . . . . . . . . . 84

Add a Catch Light to Make the Eyes Come Alive . . . . . . . 88

Sharpen Just the Eyes to Add Focus . . . . . . . . . . . . . . . . . 90

Add a Soft-Focus Effect to Make a Portrait Glow . . . . . . . 92

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

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


3 Click Resize Windows To Fit.

4 Click and drag over the blemishareas to zoom in.

REMOVE BLEMISHESand improve the skinYou 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 butmake them less obvious.

With previous versions of Photoshop, you could usethe Clone Stamp tool or the Patch tool for this task.Photoshop CS introduced the Healing Brush, which iseven better for repairing certain skin imperfections.

The Spot Healing Brush is now the simplest tool touse for removing blemishes. This tool automaticallysamples the areas around the spot to be removedand blends the pixels. The key to using the SpotHealing Brush is to choose a brush size that is justslightly larger than the blemish and to work in stageson separate layers.

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 icon to adda new blank layer.

l A new layer is added in theLayers palette, but the screendoes not change.

6 Click the Spot Healing Brush.

7 Click Sample All Layers.

8 Click here to open the BrushPicker.

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9 Click and drag the Diameter slider toadjust the brush size.

Note: The brush sizeshould be just larger thanthe blemish that you want to remove.

0 Click each of the worstblemishes of a similar size first.

Photoshop removes the blemishes andblends the surrounding skin area.

! Click the New Layer icon to addanother blank layer.

@ Repeat steps 8 to 10, clicking theother blemishes.

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l Layer 2 should be highlighted in theLayers palette.

# Click here and drag the Opacity sliderfor Layer 2 to the left until the skin looksnatural.

71Chapter 4: Retouching Portraits

Attention!Moles, freckles, or otherdistinguishing marks are adistinct feature. Unlikemost blemishes, thesepermanent marks may beconsidered essential to theperson’s character. Be sureto check with the subject orthe art director first beforeremoving these.

More Options!After removing theblemishes, you can combinethe blemish repair layerswith the Background copylayer. You can quicklycompare the before andafter images by turningon and off the Visibility iconfor the Background copylayer.

Did You Know?With a pen tablet, you canset the size in the BrushPicker to Pen Pressure andset the brush size to belarger than the largestblemish. Press harder toremove large blemishesand press lightly to removesmaller blemishes.

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$ Press the Option key and clickthe New Layer icon.

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 skinThe 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 overallskin tone and smooth any blotches the Healing Brushmay have left using the skin-smoothing technique,as taught by Jane Conner-ziser.

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

classes in portrait photography, facial retouching,and fine-art portrait painting at her Digital ArtSchool in Florida, as well as across the UnitedStates and internationally. You can learn moreabout Jane’s many classes and seminars atjanesdigitalart.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 palette.

( Click the Brush tool.

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

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

w Click here to reset the defaultcolors to black and white.

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e Click here to reverse thecolors, making whitethe foreground color.

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

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The skin tone appears smoother.

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

y Click here and drag the Layer Opacityslider to the left to reduce the effect for amore natural look.

u Click the Visibility icon for the gray layeroff and on to compare the image beforeand after the adjustment.

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


More Options!You can press the X key to reversethe background and foreground colorsand paint with black to darken anyareas that appear too light. However, ifyour image starts to appear unnatural,open the History palette and click backseveral steps to undo the changes.Then continue painting until the skintone appears natural.

Attention!You may not see much of a changeas you paint with the Brush opacity setto 3%; however, when you turn offthe Visibility icon for the layer, you willdefinitely see the changes. You canincrease or decrease the brush opacityone or two percent, brush over anarea, and then check the changesby toggling on and off the Visibilityicon.

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

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

3 Click and hold the Spot HealingBrush tool to reveal its other tooloptions.

4 Click the Red Eye tool.

The Options bar changes toshow the options for the RedEye tool.

REMOVE RED EYEto quickly improve any photoYou can remove the red-eye effect from allphotographs, whether they are scanned from film orprints or start out as digital files. Photoshop CS3includes a Red Eye tool that makes the process veryeasy.

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 mounted

directly above the lens also causes more red eyesthan using a bounce flash or a flash unit that ispositioned away from the camera lens.

By default, Photoshop’s Red Eye tool uses a largebrush and makes the areas around the pupil black.You can change the default settings in the Optionsbar to fit the size of your subject’s eyes. Changingthe red areas to a dark gray color rather than blackmakes your subject look more natural and enablesyou to change the eye color later if needed.

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5 Double-click here and type 15.

6 Make sure that the DarkenAmount data field is set to 50.

7 Click in the red area of one eye.

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Photoshop replaces thered with a neutral gray.

8 Click in the red areaof the other eye.

Photoshop againreplaces the red witha neutral gray.


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The Options bar changes.

0 Click Fit Screen.

Photoshop zooms out, so you can see theentire image and the more natural-lookingeye color.


Did You Know?Pressing J selects the Spot HealingBrush tool. Press Shift as you press Jagain three times to select the RedEye tool. With the tool selected, pressReturn (Enter), and the first datafield in the Options bar is highlighted.Type your settings and press Tab tohighlight the next data field.

Try This!You can select all the tools evenfaster using a one-letter keyboardshortcut. Click Photoshop (Edit) ➔Preferences ➔ General. Deselect theUse Shift Key for Tool Switch checkbox in the Options section of thedialog box. Click OK. When you pressthe letter corresponding to a tool,you cycle through all the tools hiddenbelow the first one.

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1 Click and drag the Backgroundlayer over the New Layer icon toduplicate 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 COLORdigitallyUsing the Red Eye tool works well to eliminate thered-eye effect. However, it leaves the eyes a blackor gray color. You can improve many photos bysimply adding back a little color or colorizing the irisof the eyes.

When you colorize the eyes, you are looking for anatural eye color. If you have another photo of thesame person, you can sample the eye color from thefirst photo and paint it into the one with gray eyes.You can also select any color as the foreground color

and paint in the irises. Colorizing the eyes naturallydepends on 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 percent.

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 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 slider to the leftuntil the eye color appears natural.

The eyes now appear the new color.


More Options!If you have another photo with anappropriate eye color, you can also usethe Color Replacement tool instead ofthe standard Brush tool. Select thattool. Press Option+click in the firstphoto to sample the color of the eyesthat you want to use. Then apply thecolor with soft brush strokes on theempty layer of the image you arecorrecting.

Did You Know?You can avoid red eye in many photosif you use the red-eye reductionfeature included with some newercameras. This feature minimizes thered-eye effect in flash photos by firingseveral flashes an instant before thephoto is taken, forcing the pupils toclose slightly just as the final flash andshutter are released.

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1 Click and drag the Backgroundlayer thumbnail over the NewLayer icon to duplicate the layer.

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

3 Click here to add a new emptylayer.

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


REDUCE WRINKLESwith a soft touchYou can remove wrinkles with Photoshop in avariety of ways, including cloning them away withthe Clone Stamp tool or patching them using thePatch tool. However, if you remove all the wrinklesand give a person perfectly smooth skin, the effectis not believable. Using the Healing Brush tool anda separate layer, you can maintain more control overthe corrections and give your subject a rejuvenatedyet natural appearance.

You can modify the Healing Brush and change itsshape and angle so that your brush strokes are not

as visible when you literally paint away the wrinkles.You can create your wrinkle-removing brush bychanging attributes in the Brush Picker in the Optionsbar. The effect appears even more realistic if you usea pressure-sensitive pen tablet and set the HealingBrush to respond to pressure.

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

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6 Set the Master Diameter sliderto a brush size wide enough tocover the deepest wrinkles.

7 Drag the Hardness slider toabout 50 percent.

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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! Press Option+click(Alt+click) an area ofclear skin near onewrinkle to sample.

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

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

$ Click the Zoom tool.

% Press Option (Alt) andclick in the image tozoom out.

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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!Use many small strokesrather than one larger onewhen you paint overwrinkles with the HealingBrush and sample nearbyareas of clear skin often. Theskin tones match moreclosely, and the resultsappear more natural.

Try This!You need to zoom in andout often when removingwrinkles. Instead ofchanging tools when theHealing Brush is selected,press Ô+spacebar(Ctrl+spacebar) and click tozoom in. Press Option+spacebar (Alt+spacebar) tozoom out.

Customize It!With a Wacom Intuos3pen, you can set the rockerswitch on the pen to theOption (Alt) key. You canthen press the rocker switchinstead of reaching for yourkeyboard to sample areaswith the Healing Brush tool.

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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 #17. To use theQuick Selection tool, see Task #16.

2 Click Select ➔ Modify ➔ Feather.

The Feather Selection dialog boxappears.

3 Type 1 in the Feather Radiusfield.

4 Click OK.

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

WHITEN TEETHto improve a smileYou 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 Selectiontool as described in Chapter 2 works well whenmaking a detailed selection such as selecting aperson’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. Asin the previous tasks, duplicate the Background layeras a 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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6 Press Ô+H (Ctrl+H) to hide theselection marquee.

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

7 Click Image.

8 Click Adjustments.

9 Click Hue/Saturation.

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The Hue/Saturationdialog box appears.

l If necessary, move thedialog box to one sideso that you can see theteeth.

0 Click here and selectYellows.

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

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@ Click here again and select Master.

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

$ Click OK to apply the changes.

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


Try This!When zooming in on an image,hold the spacebar; the pointertemporarily changes to the Handtool. You can click and drag aroundyour image with the Hand tool andeasily move to the area that needsto be adjusted. When you releasethe spacebar, you change back tothe tool that was previouslyselected.

Did You Know?Feathering softens the edge of aselection and smoothes thetransition between two distinctareas. You can also click Select ➔Refine Edge to feather the selectionedge. The default settings of theRefine Edge dialog box include aone-pixel feather. Click OK in thedialog box and continue lighteningthe teeth as shown here.

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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 and hold Shift and selectthe other white areas of the eyes.

4 Click Select ➔ Modify ➔ Feather.

5 Type 3 here and click OK.

Note: A feather radius between1 and 5 pixels works best for thisselection.

BRIGHTEN THE EYESby lightening the whitesOne way to quickly enhance a portrait is to drawattention to 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 rightinto the subject’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.

People do not have perfectly white eyes, so thisadjustment requires not only making a preciseselection, but also viewing the entire photo as youapply the changes. Because the adjustments are onseparate layers, you can easily go back and modifythe adjustments to enhance the overall image andkeep the subject looking natural.


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6 Click the Adjustment Layerbutton.

7 Click Hue/Saturation.

The Hue/Saturation dialog boxappears.

8 Move the dialog box so that youcan see the eyes.

9 Drag the Saturation slider to theleft to remove the redness.

0 Click OK.

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! Press Ô+click(Ctrl+click) the layermask thumbnailto load the selectionagain.

@ Click the AdjustmentLayer button.

# Click Curves.

$ Click OK in the Curvesdialog box that appearswithout making anychanges.

% Press Option+spacebar(Alt+spacebar) and clickin the image to zoomout and see the wholeface.

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^ Click here and select Screen.

& Click here and drag the slider to the leftto reduce the opacity of the layer until theeyes look brighter but still natural.

The subject’s eyes appear bright withoutappearing artificially lightened.


More Options!In some palettes, dialogboxes, and Options bars,clicking and dragging onthe word associated with aslider activates the Scrubbysliders. The cursor changesto a pointing finger. Clickand drag across the word,changing the amount inthe data field.

Did You Know?Pressing Shift as you selectwith a selection toolenables you to add to aselected area or add aseparate selection.Pressing Option (Alt) asyou drag over a selectedarea enables you toremove areas from thatselection.

Try This!You can quickly accessthe Feather dialog box, orother options, for anyselection by pressing theCtrl key and clicking (right-clicking) in theselection area. A pop-upcontextual menu appearslisting options such asFeather and Select 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 blank layer is added tothe Layers palette.

3 Double-click in the Opacity datafield and type 10.

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

ADD DEPTH TO EYESto emphasize themRemoving 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, the colored portionsurrounding the pupil, by lightening some areas anddarkening others. You can add depth to the eyes bydarkening 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, you can use the Brush tool on

separate blank layers and vary the opacity of eachlayer to control the adjustments. Painting with whitelightens areas. Painting with black darkens areas,lengthens the eyelashes, and adds definition to theeyes. Using the Opacity setting in the Layers palette,you can fine-tune the adjustments before you finalizethe image.

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

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5 Click here to reset theforeground and backgroundcolors to the defaults.

6 Click here to reverse theforeground and backgroundcolors and set the foregroundto 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%.

! Paint in the center ofeach iris.

@ Click here to reversethe foreground andbackground colors andset the foreground toblack.

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

$ Click the New Layer button to add asecond blank layer.

% Double-click in the Opacity data field andtype 20.

^ Click the Brushes button to open theBrushes palette and presets.

& Press Ô+spacebar (Ctrl+spacebar) andthen click in the image to zoom in to seethe eyelashes.


Did You Know?You can save and reusean eyelash brush. Withthe settings that youcreate for Brush TipShape, click the palettemenu arrow on the rightin the Brushes palette.Click New Brush Preset.Type a name in thedialog box and click OK.

Try This!Press D to set theforeground andbackground colors to thedefault black and white.Press X to quickly switchthe foreground andbackground colors asyou digitally dodge andburn.

Try This!To lighten dark browneyes, try setting theforeground color to adark red or burgundycolor instead of white.Paint in the irises on aseparate layer and adjustthe opacity. Adding redto dark brown eyessoftens the look.

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* Click Brush Tip Shape.

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

) Drag the dots on the roundnessicon and the brush angle toconform the brush shape to theeyelashes of one eye.

q Click here to close the Brushespalette.

w Paint over the eyelashes one ata time to darken them.

e Press the spacebar and clickin the image to move to theother eye.

ADD DEPTH TO EYESto emphasize themRetouching 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 Brushespalette.

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r Click here and repeat steps 18to 22, adjusting the brush to fitthe shape of the lashes of theother eye.

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

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y Click Layer 1 tohighlight it.

u Click in the Opacitydata field.

i Press the keyboardup or down arrowsto increase ordecrease theopacity until theirises look natural.

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o Click Layer 2 to highlight it.

p Click in the Opacity data field.

Q 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.


More Options!You can add eyeliner to the eyes in aphotograph. First add another layer.Lower the opacity to about 18 percent.Paint with black at the edge of theeyelashes on each eye. Click in theOpacity data field and use the keyboardup and down arrows to increase orreduce the opacity of the layer until theeyeliner looks natural.

Did You Know?You can use the same technique shownin this task to enhance light eyebrows.Add a layer and reduce the opacity to 8percent. Open the Brushes palette andclick Brush Tip Shape. Set the hardness to0 percent and change the size, angle, androundness to match the shape of theeyebrows. Paint a few smooth strokesover both eyebrows using black. Changethe layer’s opacity as needed.

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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 final catchlight should be.

4 Click and drag the hardness sliderto 0%.

5 Click here and drag the sliderto 40%.

6 Press D to reset the foregroundand background colors.

7 Press X to reverse the colors,making white the foreground color.

ADD A CATCH LIGHTto make the eyes come aliveWhen the light source — whether it comes from acamera flash, side lighting, or a natural light source —reflects in the subject’s eyes, it forms a catch light.A catch light, or a specular highlight, in a subject’seyes adds life and sparkle to the subject andbrightens the overall photograph. More importantly,it draws attention to the subject’s eyes and engagesthe viewer.

If the subject in a photograph does not have anyspecular highlights in the eyes or if the subject’s eyesappear somewhat dull, you can use Photoshop to addcatch lights.

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 look.

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8 Click here to add a new emptylayer.

9 Click once in each eye to createthe catch lights.

0 Click here and drag the Hardnessslider completely to the right(100%).

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

@ Click here to add a layer mask.

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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 70%.

% Click the New Layerbutton to make a newempty layer.

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The foreground color changes to white.

^ Press the [ key multiple times to reduce thebrush size to about half the previous size.

& Click once in the center of each catch light.

* Click Filter ➔ Blur ➔ Gaussian Blur.

The Gaussian Blur dialog box appears.

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

) Click OK.

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


More Options!Zoom out to see the wholeface. Click and drag the LayerOpacity slider for each of thecatch light layers until you seea bright sparkle with a naturaldiffused edge.

Attention!The catch lights mustcorrespond to the naturaldirection of the light to appearnatural. If the light is comingfrom the right, the catch lightsshould be on the right side ofthe pupils, just slightly abovethe center.

Did You Know?Jane Conner-ziser is not onlyone of the best-known photoretouchers in the industry,but she is also a CorelPainter master. She teachesportrait photography, photoretouching, and fine art atvenues throughout the world,as well as at her School ofDigital Arts in Florida.

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

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 focusThe 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 Historypalette and History Brush.

The techniques for sharpening in Photoshop had notreally changed until the release of Photoshop CS2.As with that previous version, you can use not only

the Unsharp Mask filter for sharpening, but also thenew Smart Sharpen filter. This filter is not only easierto use, but it also has added features including amuch larger preview.

After you sharpen the entire portrait, you can hidethe effect using the History palette 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.

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

! Click More Accurate.

@ Click OK to apply thesharpening.

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The Smart Sharpenfilter progress barappears, and sharpeningis applied to theBackground copy layer.

# Click here to open theHistory palette.

$ Click the box to the leftof the Smart Sharpen stepto set the source for theHistory Brush.

% Click the previous state inthe History palette.

^ Click here to close theHistory palette.

& Click the History Brush tool.

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* Click here to open the Brush Picker.

( Select a soft-edge brush at 0 percentHardness that is large enough to cover theedge of the eyes.

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

q Click the Visibility icon for the Backgroundcopy on and off to compare before andafter sharpening.

The sharpening is applied only to the eyeareas.


Attention!The Smart Sharpen filter only appliesto one layer. If you have made otheradjustment layers, you must merge thembefore applying the sharpening. PressÔ+Option+Shift+E (Ctrl+Alt+Shift+E).The adjustment layers and theBackground layers merge in thenew layer. All the adjustment layers,Background copy, and originalBackground layers remain unchanged.

Did You Know?Always view the image at 100%magnification when you use asharpening filter to get the most accurateview onscreen of your changes. Still, theamount of detail visible in a print may beslightly different than what you see onthe screen. The amount of detail can varydepending on the type of printer andpaper used.

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2 Click Filter.

3 Click Convert for Smart Filters.

4 Click OK in the message box.

The Background copy layer ischanged into a smart object.

ADD A SOFT-FOCUS EFFECTto 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, you canadd special effects and create unique images with apainterly quality that go beyond the possibilities offilm photography. You can add a soft-focus effect toa portrait that not only minimizes skin imperfectionsbut also adds a romantic glow to the subject’s skinand still keeps the subject’s main features in focus.

You first apply a filter and change the blending modeto modify the effect. Make other changes using the

layer’s opacity setting. When the overall effect ispleasing, you can refocus the eyes and other areasto help draw the viewer into the portrait.

Whenever you use various filters, you can controlthe effects by working on a duplicate of the originalBackground layer and then adjust the effects withlayer modes and opacity changes. Duplicated layersare also great for experimenting with differentcreative techniques. If you do not like the changes,simply delete the layer.

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5 Click Filter.

6 Click Blur.

7 Click Gaussian Blur.

l When the Gaussian Blur dialogbox appears, move it to the sideto see the photo.

8 Click and drag the Radius sliderto blur the image.

Note: Use a blur of 4 to 8 pixelsfor low resolution and 10 to 14pixels for high-resolution images.

9 Click OK to apply the blur.

0 Click here and select Screen.92

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The image becomes very light.

! Click here to add a layer mask.

The foreground color is set to black.

@ Press B to select the Brush tool.

# Click here to open the Brush Picker.

$ Click a soft-edged brush just largeenough to outline the eye area.

% Click the Airbrush thumbnail.

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

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

* Click here and drag the Layer Opacityslider to the left to get the amount ofglow that you want.

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


Did You Know?Dragging the Backgroundlayer over the New Layerbutton automaticallynames the duplicatedlayer “Background copy.”You can also duplicatethe Background layer bypressing Ô+J (Ctrl+J). Thisduplicated Backgroundlayer is named “Layer 1.”

Try This!To experiment with theamount of Gaussian Blur,or any other smart filter,double-click the filtername in the Layers paletteto reopen the dialog box.Change the slider amountsand watch the changes onyour image.

More Options!You can select andmodify brushes fromeither the Brush Picker inthe Options bar or fromthe floating Brushespalette. When you edit orsave a brush in one place,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 can transforma color photograph into a grayscale image,colorize an old grayscale image, or make a colorimage look like an antique colorized photograph.You can also tone a photo as photographersused to do in the darkroom. And you cancreate these effects in many different ways.

Because some pixel information is discardedwhenever you make color and tonaladjustments, you should apply corrections onseparate layers or on a duplicate layer.Photoshop CS3’s adjustment layers help youmake some changes without permanentlyaltering pixel values. In addition, opening or

converting an image or a layer to a new smartobject enables you to apply most filters assmart filters, making them continuouslyeditable and nondestructive. You can reeditadjustment layers and smart filters before youflatten the image.

Camera Raw 4, included with Photoshop CS3,not only adds powerful controls for editingimages, but it can also open a variety of fileformats, including JPEGs and TIFFs, so you canstart with nondestructive edits in Camera Rawfor most photos.

Whenever you make color or tonaladjustments, start by calibrating and profilingyour monitor. Otherwise, you may be changingcolors that are not really in the image, andwhat you see on your monitor can look verydifferent when it is printed.

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Improve an Underexposed Photo in Two Steps . . . . . . . . 96

Improve an Overexposed Photo in Three Steps . . . . . . . . 97

Remove a Colorcast to Improve the Overall Color . . . . . . 98

Colorize an Old Black-and-White Photograph . . . . . . . . 100

Make a Quick Change to Grayscale . . . . . . . . . . . . . . . . . 102

Give a New Photo an Old Colorized Look. . . . . . . . . . . . 104

Using Camera Raw to Recover Highlights. . . . . . . . . . . . 106

Improve a Sky with HSL Values in Camera Raw . . . . . . . 108

Go from Color to Grayscale with the New Black & White Adjustment. . . . . . . . . . . . . . . . . . . . . . . . 110

Create a Split Tone for a Special Effect in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

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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,but it 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 easily make a quickcorrection using a duplicated layer and altering thelayer blend mode. This two-step technique is worth

a try before you work with any of the other methods.

Depending on the photo, the exposure may appearcorrected the first time that you apply the technique.For other images, you may need to repeat the stepsonce or even twice. You can even apply a half stepby duplicating the layer with the changed blend modeand reducing the effect by changing the opacity ofthe layer. You can also adjust the Fill slider to lowerthe effect of the layer without altering any layerstyles 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 to 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 change andimprove photos in new and almost magical ways.Although it may be easier to lighten a dark photo,you can easily reduce some of the highlights in anoverly bright photograph and often improve theimage enough to make it worth printing. You can usethe Shadow/Highlight command in the basic mode toeffectively reduce the highlights.

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

As with every project in Photoshop, you can accomplishthe task in a variety of ways. This three-step techniquefor reducing the highlights and improving anoverexposed photo is so easy that it is always worthtesting before spending time with other methods ordiscarding the photo.

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2 Click Filter.

3 Click Convert for Smart Filters.

l The Background copy layer isconverted to a smart object.

4 Click Image.


6 Click Shadow/Highlight.

l When the Shadow/Highlights dialogbox appears, move the dialog boxso that you can see the image.

7 Click and drag this slider to 0.

8 Click and drag this slider to the rightuntil the image looks the way youwant.

l Optionally, you can click Show MoreOptions to refine the adjustment.

9 Click OK.

The image exposure is improved.

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2 Click Image.


4 Click Match Color.

REMOVE A COLORCASTto improve the overall colorWhether you have a scanned image or one from adigital camera, your image may show a colorcastdue to improper lighting, white balance settings, orother factors. A colorcast 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, and sometimes you mayneed to try different ones, depending on thephotograph. Using the Match Color command asshown here to remove a colorcast is simpleand often works 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 a duplicatedlayer, you can use the layer’s Opacity slider to fadethe effect to achieve the best color for your image,as well as compare the before and after images.

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l When the Match Color dialogbox appears, move it to the sideso that you can see your image.

5 Click Neutralize to remove thecolorcast.

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

7 Click and drag theColor Intensity slider tothe right to increase thecolor range if necessary.

8 Click OK to apply thechange.

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

The colorcast is removed, and the colorsappear more natural.

99Chapter 5: Changing and Enhancing Colors and Tone

Did You Know?You can view the floating Histogrampalette and see the color changes asthey are made. Click the palette menuon the Histogram tab and click AllChannels View. Click the palette menuagain and click Show Channels inColor. Click and drag the Histogrampalette so that you can keep it openand still see the image and your otherpalettes.

More Options!If there is an area in the image that isnormally neutral gray, you can alsocorrect a colorcast using the Levelscommand. Click Layer ➔ NewAdjustment Layer ➔ Levels. Click OK inthe New Layer dialog box. Click theGray Point eyedropper, the middleeyedropper in the Levels dialog box.Click in the part of the image thatshould be neutral gray.

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1 Click Image ➔ Mode ➔ RGBColor.

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

2 Click the New Layer button inthe Layers palette.

3 Click here and select Soft Light.

4 Click the Lasso tool.

5 Click and draw around an areato make a selection.

6 Click in the foreground color inthe toolbox.

COLORIZEan old black-and-white photographHand-coloring a photograph can be a difficultprocess using traditional paints and traditional filmphotos. With Photoshop, hand-coloring an old black-and-white image is much easier. You can useany black-and-white photo, called a grayscale image,

and paint areas 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 as

precise as necessary to achieve the effect. Zoom into 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.

You can vary the size of the Brush tool as you paintor use a pressure-sensitive stylus and set the brushsize to Pressure. After the entire image is painted,you can lower the opacity of each colored layer as afinal touch.

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Photo © Lee Kent

The Color Picker dialog boxappears.

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

8 Click in the Color Preview boxto select a color.

9 Click OK to close the dialog box.

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0 Press B to select theBrush tool.

! Click here to openthe Brush 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 2 to 14 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 Colorpalette to open the Color Pickerwithout changing tools. You can alsomove the cursor over the Color paletteand click in the multicolored bar toselect a color — all without changingtools. Click and drag the RGB sliders toadjust the colors.

More Options!You can select more realistic colors forskin tones or hair by selecting thecolors from another color image. Keepthe other image open on the screenwhile you are colorizing the grayscalephoto. With the Color Picker open,move the cursor outside the dialogbox to sample real colors from thecolor image. Then paint in thegrayscale image with those colors.

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1 Click and drag the Backgroundlayer over the New Layer buttonto duplicate it as a safety step.

2 Press D to reset the foregroundand background colors to thedefault black and white.

3 Click the New Adjustment Layerbutton.

4 Click Gradient Map.

Make a

QUICK CHANGE TO GRAYSCALEYou can convert a color image to grayscale in manyways in Photoshop. You want to preserve as much ofthe image data as possible to be able to vary therange of tones. Changing the mode of the file tograyscale discards pixel data and gives you an imagethat appears flat and has a small tonal range.Selecting Desaturate from the Image Adjustmentsmenu also tends to flatten the contrast. You canmake a quick change using an adjustment layerinstead and never alter any of the original imagepixels. Using a Gradient Map, you effectively map the

range of tones in an image to the foreground andbackground colors. Changing the layer blend modeadjusts the gray tones.

Even if you want the end result to be a black-and-white photograph, shoot the photo in color and scanblack-and-white photos in the RGB mode. There ismore pixel data in an RGB image than in a grayscaleimage — almost three times as much. You canalways remove the color from a photograph, but youcannot put real colors back in.


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The Gradient Map dialog boxappears, and the image behindit changes to grayscale.

5 Click OK to close the dialog boxwithout making any changes.

6 Click here.

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7 Click Color.

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l The Layer blend mode changes to Color,and the values in the image change toshow more gradations in the grays.

Optionally, you can press Ô (Ctrl)+E tomerge the Gradient Map layer with theBackground copy layer.


Attention!The quick grayscale conversiontechnique shown here worksbest with correctly exposedphotos. Be sure to adjust theexposure before applying theGradient Map adjustment layer.

Did You Know?You can turn an image to sepia,or any other color, by clickingthe Foreground Color box andselecting a color instead ofblack. For a sepia tone, trysetting the RGB values in theColor Picker to 172, 122, 42.Then follow the steps here tomap a sepia-to-white gradientover the image.

More Options!The various layer blend modeschange how a layer interactswith the layer below it. You cancycle through the blend modesusing the keyboard. Press V toselect the Move tool. Then pressShift++ repeatedly.

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2 Follow steps 2 to 7 of Task #45to add the Gradient Map layer.

3 Click Layer.

4 Click Merge Down.

Give a new photo an

OLD COLORIZED LOOKYou 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 #45, 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. With a copy of the original colorphoto on a layer beneath the grayscale layer, you canuse the Eraser tool with a low Opacity setting andbring the original color back in specific areas. You

can even create a more or less muted colorized effectby changing the opacity of the tool as you erase.

If you have already saved the grayscale photowithout the original layers, you can still use themethod 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 5 to 12 below to paint avery creative image.

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The top two layers merge inthe Layers palette, leaving only the Background copy layerin grayscale and the Backgroundlayer in color.

5 Click the Eraser tool.

6 Click here and select a brush size.

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7 Click the Airbrushbutton.

8 Double-click hereand type 20.

9 Erase over the areato be colorized.

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0 Double-click here again and type 40.

! Click here and drag the slider to reducethe brush size.

@ Erase over parts of the colored area toincrease the color.

The viewer’s attention is drawn to theperfect spot.


Did You Know?You can change the size of theEraser tool by pressing ] toincrease the size and [ to reducethe size. You can also changethe opacity of the Eraser tool byclicking once in the Opacity datafield and pressing the up arrowon the keyboard for an increaseor the down arrow for adecrease.

Did You Know?You can vary the hardness orsoftness of the Eraser or Brushtools using the keyboard insteadof the Brush Picker. Click theEraser or Brush tool to select it.Hold the Shift key down as yourepeatedly press ] to increasethe hardness or [ to increase thesoftness.

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1 Open the Bridge.

2 Click a photo to select it.

3 Click File.

4 Click Open in Camera Raw.

Note: You can also open mostcamera manufacturer’s Raw filesby double-clicking the file in anyfolder or in the Bridge.

Using Camera Raw to

RECOVER HIGHLIGHTSCamera Raw 4, which comes with Photoshop CS3,adds many improvements and new features to theprevious edition, making it a powerful image editoron its own. One of the many valuable additions inthis new version is the Recovery slider. Clippedhighlights, where the image shows no pixelinformation, are very difficult to adjust and can ruinan otherwise good photograph.

With an image open in Camera Raw, you can see theblown-out highlights by clicking the top right trianglein the histogram. The highlights without any colored

pixels appear in red. Conversely, clicking the lefttriangle in the histogram makes the overly darkshadow areas or completely black areas with no tonalrange appear in blue.

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 the Recovery sliders are located onthe Basic tab of the new Camera Raw dialog box.

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The photo opens in the CameraRaw dialog box.

5 Click here to view theoverexposed highlights.

6 Click here to view theunderexposed shadows.

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l White highlightsappear in red andblack shadows appearin blue.

l Optionally, you canclick and drag theExposure slider to theright slowly to increasethe exposure.

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.

The blown-out highlights are reduced,and the photo displays a better exposure.


Did You Know?You can click any JPEG or TIFFimage in the Bridge and thenclick File ➔ Open in CameraRaw, or press Ô+R (Ctrl+R), toopen that file in Camera Raw.

Did You Know?You can also open JPEGs orTIFFs into Camera Raw directlyfrom Photoshop. Click File ➔Open. Navigate to and selectthe photo in the Open dialogbox. Click the Format arrowand select Camera Raw beforeclicking Open.

More Options!The Fill Light slider in CameraRaw 4 performs changessimilar to the Shadow/Highlight adjustment inPhotoshop CS3. The FillLight slider brightens only theshadows without changingother values. The Blacks sliderchanges the black points inthe photo, darkening it.

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1 Open an image with a large skyarea in Camera Raw by followingsteps 1 to 4 in Task #47.

2 Click here.

IMPROVE A SKYwith HSL values in Camera RawWhen you first open an image in Camera Raw 4, theinterface displays the numerous color and toneadjustments on the Basic tab. These sliders help youadjust the tone, white balance, and saturation of theoverall image. On other tabs, you can adjust differenttones and colors individually, make lens corrections,sharpen and reduce noise, and even save some ofyour settings as presets so that you can reapplythem to similar images.

The new HSL/Grayscale tab opens some of the mostpowerful controls for altering the colors in images.

For example, you can easily dramatize the sky in alandscape photo by changing the luminance values ofthe blues or other colors and completely change themood of the image.

The Hue, Saturation, and Luminance sliders on theHSL/Grayscale tab are completely subjective. Youcontrol the colors in the image by what you see onthe screen, so it is essential to work with a properlycalibrated and profiled monitor.

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The panel changes to the HSL/Grayscale options and shows theHue sliders.

l Optionally, you can move thePurples slider to adjust the colorsin the sky.

3 Click the Luminance tab.

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The panel changes toshow the Luminancesliders.

4 Click and drag theBlues slider to the leftto deepen the blues inthe sky.

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The color of the sky is dramaticallydeepened.

l Optionally, you can click and drag thePurples Luminance slider to remove someof the haze.

l You can click Open Image to open thephoto in Photoshop.


Did You Know?Each of the three separatesub tabs on the HSL/Grayscale tab — for hue,saturation, and luminance —has the same set of colorsliders, yet each color iscontrolled independently ofthe others.

Important!The sub tabs of theHSL/Grayscale tab ofCamera Raw 4 haveseparate default settings.If you want to revertback to the default settings,you must reset each tabseparately by clickingon each Default buttonseparately.

Try This!Use each slider on theHue sub tab to adjust theindividual colors separately.Use the Saturation subtab to increase or decreasethe saturation of a rangeof specific tones. Use theLuminance sub tab tobrighten or darken eachcolor range separately.

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1 With the image that you wantto convert to grayscale open inPhotoshop, click the ChangeScreen Mode button two timesto view the image against a graybackground or three times fora black background.

Note: Changing the screen modeto eliminate distracting colors andother screen elements can helpwhen making visual adjustmentsto any image.

Go from color to grayscale with the

NEW BLACK & WHITEADJUSTMENTWith so many techniques for changing a color imageto black and white, and without fixed rules on whichcolors in an image should match specific levels ofgray, you can create a variety of different grayscaleimages from one color photograph. The GradientMap technique described in Task #45 effectivelymaps the existing colors in the photo to a gradientof black to white. The new Black & White adjustmentin Photoshop CS3 offers a new conversion method,more powerful and easier to use than the oldchannel-mixer method and offering more visual

control. You interactively determine which shadeof gray is applied to any particular color rangein the image. The adjustment dialog box includes anumber of presets that you can modify to suit yourphotograph, or you can create your own presetand save it from within the dialog box.

Although the Black & White adjustment can be usedas a simple adjustment, you should apply thecommand as an adjustment layer for nondestructiveediting and to preserve the original image data.

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The background color changes.

2 Press the spacebar and click inthe image to center it ifnecessary.

3 Click here and select Black &White.

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The photo is automatically converted to a grayscale image, and the Black and White dialog box appears.

4 Click Auto to see the changes.

Note: The Auto function in the Black and White dialog box maps different colors to various grays than the default setting.

5 Press Option (Alt) and click the Reset button.

Note: The Option (Alt) key changes the Cancelbutton to Reset.

6 Click here and select Infrared.

The grayscale image changes.

7 Click in the image and drag to the left on anarea you want to darken.

The corresponding slider moves to the left, andthe preset changes to Custom.

8 Click in the image and drag to the right on anarea you want to lighten.

The corresponding slider moves to the right.

l You can click and drag any of the sliders tocustomize the conversion.

9 Click OK to complete the conversion.

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Change It!Checking the Tint checkbox in the Black and Whitedialog box enables you tocolor-tone the grayscaleimage. Drag the Hueslider to the color that youwant and then move theSaturation slider to increasethe amount of tint.

More Options!You can also convert acolor image in theCamera Raw 4 dialog boxby clicking the Convert toGrayscale check box onthe HSL/Grayscale tab.Adjust the color sliders toalter the grayscale valuescorresponding to the colorsin the underlying image.

Did You Know?Although using the Black &White adjustment offersmore options for the lookof the final grayscale image,the Grayscale conversionin Camera Raw 4 is alsoquick and nondestructive.

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2 Click Open.


Note: This figure shows theOpen dialog box after clickingthe Use Adobe Dialog buttoninstead of Use OS Dialog.

3 Navigate to the file and clickto select it.

4 Click here and selectCamera Raw.

5 Click Open.

CREATE A SPLIT TONEfor a special effect in Camera RawSplit-tone effects in the traditional darkroom weredifficult and labor intensive. With Camera Raw 4included with Photoshop CS3, 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 new feature of Camera Raw 4 lets you associatehue and saturation to the lightest colors separatelyfrom the hue and saturation values to the darkestcolors in the image. You can then adjust the Balanceslider to emphasize the tone of the highlights or thetone of the shadow areas.

Because you create the split tone in Camera Raw,the alteration to the image is completelynondestructive. The original image always remainsintact. You can reopen the Camera Raw dialog box tochange the color or saturation amounts any time toadjust the effect.

You can apply a split tone to either a grayscale ora color image; however, the toning is often mosteffective on a grayscale photo with high contrasts.

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The Camera Raw dialog boxappears.

6 Click the Split Toning tab.

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7 Click and drag the Highlights Hue slider to select the color for the highlights.

8 Click and drag the Highlights Saturation slider to increase the saturation in the highlight areas.

9 Click and drag the Shadows Hue slider to select the color for the shadows.

0 Click and drag the Shadows Saturationslider to increase the saturation in theshadow areas.

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! Click and drag the Balance sliderto the right to shift the toning moreinto the highlights or to the left toemphasize the tones in the shadows.

@ Repeat steps 7 to 11 to adjust the split-tone effect.

l You can click Open Image to openthe toned image and continue editingit in Photoshop or click Save Imageto save it with the adjustments anda different name.

The grayscale image appears as atraditional split-tone image withdifferent colored shadows andhighlights.


Did You Know?You can automaticallyopen an image inCamera Raw 4 as a smartobject. Press Shift and theOpen Image buttonchanges to Open Object.Double-clicking the smartobject layer in Photoshopreopens the Camera Rawsettings.

More Options!If you add a split tone toa color image, you can stillconvert it to grayscale afterapplying split toning. Usingthe HSB/Grayscale tab,you can also change theeffects of the split toning.

Try This!Leave the Saturation sliderset to 0 and press theOption (Alt) key as youdrag the Hue sliders. Thepreview shows a 100percent saturation of thathue. After you select thehue, move the Saturationsliders to the amount thatyou want.

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Making Magic with

Digital Special Effects

Since Photoshop’s inception, photographersand graphic designers alike have been using itfor digital imaging and photo manipulation.Photoshop can transform an average shot intoa good photograph, a good photograph intoa great one, and a great image into creativefine art. Photoshop CS3 adds even morepower and control to digital image editing.Just as with the previous versions, there aremany different ways to create a design orenhance a photograph. You can use the oldtools in new ways and in combination withthe 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 give an ordinary photoa painterly glow. Using the Merge to HDRfeature, you can combine multiple exposuresto realize a photo with a wider range oftones than the camera can capture in oneshot. You can also use the flexibility of smartobjects and Camera Raw 4 to vary theluminosity of one photo. You can even useparts of a photo and multiple layers to createan original design. The new Vanishing Pointfilter enables you to remove unwanted itemsfrom a photograph or place different elementsinto an image while maintaining the basicperspective.

Photoshop CS3 offers more methods foraltering images and more ways to be creative.

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Apply a Smart Digital Photo Filter for Dynamic Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Add a Quick Dark Vignette Effect to Direct the Focus on the Subject . . . . . . . . . . . . . . . . . . . . . . . . . 117

Add Action with a Simulated Motion Blur . . . . . . . . . . . 118

Using the New Blend Mode to Stylize an Image . . . . . . 120

Align and Blend Separate Photos for the Best Group Shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Merge Multiple Raw Photos to 32-Bit HDR. . . . . . . . . . . 124

Apply a Split-Neutral Density Filter Using Smart Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Adjust Depth of Field with a Lens Blur Filter . . . . . . . . . 128

Create a Silhouette for a Custom Design . . . . . . . . . . . . 132

Become a Digital Architect with the Vanishing Point Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

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Apply a

SMART DIGITAL PHOTOFILTER for dynamic adjustmentsDifferent lighting conditions produce different colortemperatures, creating colorcasts, especially on filmthat is not prebalanced for the specific type of lightsource. Photographers often use colored lens filtersto correct for the lighting differences, change thecolor balance in their photos, or even to create amore dramatic image. Digital images also displaydifferent color temperatures depending on the whitebalance settings used. You can use the Photo Filteradjustment in Photoshop to apply a traditional lensfilter effect to an image whether it is digital or

scanned from film. Because Photoshop considers Photo Filter an adjustment rather than a filter, you find the PhotoFilter adjustment under both the Adjustments andAdjustments Layer menus.

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 warming a coolphoto by applying a warming filter.

1 Click the New AdjustmentLayer button.

Note: Using the Photo Filter adjustmentlayer does not alter the original imageuntil you flatten the layers.

2 Click Photo Filter.

The Photo Filter dialog box appears.

3 Move the dialog box so that you cansee the image.

l Make sure that Preview and PreserveLuminosity are selected.

4 Click here and select a colored filter.

5 Click and drag the Density slider toincrease the effect if necessary.

6 Click OK.

The Photo Filter adjustment is appliedto the entire image.

Note: You can duplicate the layer toincrease the effect or change the LayerBlend mode to Hue to soften the effect.

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Add a QUICK DARKVIGNETTE EFFECTto direct the 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 withPhotoshop. Most methods involve separate layersand multiple steps. This quick vignette techniqueuses the Lens Correction filter, almost opposite fromthe way it was intended, and makes adding adarkened- or lightened-edge vignette very fast.When you apply the filter as a smart filter, the effectis also completely editable even after it has beenapplied.

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1 Open an image as a smart object orconvert it using one of the methodsdescribed in Task #19.

2 Click Filter.

3 Click Distort.

4 Click Lens Correction.

The Lens Correction dialog box appears.

5 Click here to remove the grid lines.

6 Click and drag the Amount slider to theleft for a dark-edge vignette effect.

Note: You can move the Amount slider tothe right to create a light-edge vignette.

7 Click and drag this slider to control howfar the darkened areas extend into thephotograph.

8 Click OK.

The smart filter is applied to the image.

117Chapter 6

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1 With the image as a smart objectlayer (see Task #19), click Filter.

2 Click Blur.

3 Click Motion Blur.

Add action with a simulated

MOTION BLURYou can add a greater sense of movement to actionshots by using a filter to simulate the motion of thesubjects. Photoshop includes a number of blur filters,including one for motion blur. Unlike the GaussianBlur filter, which blurs pixels in clusters, the MotionBlur filter blurs pixels in both directions along straightlines. You can choose the angle of movement andthe distance in pixels that are affected by the blurin the filter dialog box to simulate both the directionand speed of motion of the subject of the photo.

The Motion Blur filter blurs the entire image,removing all details. The subject matter as well as

the background is 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.

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The Motion Blur dialog boxappears.

4 Click and drag the straight linein the circle to rotate the angleof the motion.

5 Click and drag the distance sliderto adjust the amount of blur.

6 Click OK.

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The filter is applied to the smart object layer.

7 Press D to reset the foreground and background colors.

8 Click the Layer Mask icon for the smart filter.

The mask appears with a line around it, and theforeground color changesto white.

9 Press Ô+Delete (Ctrl+Backspace)to fill the smart filter layer maskwith black.

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The motion blur effect is hidden, andthe mask is filled with black.


! Click here and click a soft-edge brushfrom the Brush Picker.

@ 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 fora linear motion effect. Instead ofselecting the Motion Blur filter, clickFilter ➔ Stylize ➔ Wind. Click Fromthe Right or From the Left to selectthe direction of the movement.Click OK to close the dialog box.Then follow steps 7 to 12 in thistask to selectively paint in theappropriate motion.

More Options!After applying the Motion Blursmart filter, you can instead leavethe blur over the entire image andpaint back the subject andforeground to bring them back intofocus. Click the mask to select it asin step 8 and press X to reverse theforeground and background colors.Paint with black over the areas thatyou want in focus.

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1 With an image open, click theNew Adjustment Layer button.

2 Click Threshold.

The Threshold dialog box appears.

3 Click and drag the slider to adjustthe amount for your image.

Note: The Threshold adjustmentchanges all color information toeither black or white. Moving theslider to the right of the midpoint,128, makes more tonal values shiftto black. Moving to the left makesmore tonal values turn white.

4 Click OK.

Using the

NEW BLEND MODEto stylize an imageThe two new blend modes included in Photoshop CS3called Darker Color and Lighter Color add moreoptions for stylizing photos or designs. The newDarker Color mode displays only the one lowest valuecolor from both the blend and base layer colors inthe blended image, and, conversely, Lighter Colordisplays only the one highest value color. With acolor layer in Darker Color blend mode, for example,only the darkest color values in the image layerbelow show through. In contrast, the Lighten andDarken blend modes compare all the colorinformation in each channel of the image and thus

display more gradations in the final blend for adifferent effect.

Applying the Darker Color or Lighter Color blendmodes to a layer of color with a high contrast imagelayer below is particularly effective.

Start with either a color or grayscale image and adda Threshold adjustment layer to convert it to anabsolute-contrast black and white. Apply the Darkeror Lighter Color blend mode to a Solid Color orGradient Fill adjustment layer to create an effect thatremains editable.

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5 Click the New Adjustment Layerbutton.

6 Click Gradient.

Note: Clicking Solid Color insteadproduces a two-tone stylized effectwith only one color and either whiteor black.

The Gradient dialog box appears.

7 Click here.

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The Gradient Editorappears.

8 Click a different preset.

9 Click OK.88

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The gradient is applied as a separateadjustment layer covering the image.

0 Click here and select Darker Color tomake the black areas in the image belowshow as black in the resulting blendedimage.

The gradient layer blends with the highcontrast of the image.


More Options!You can double-click theThreshold adjustmentlayer or the Gradient Filladjustment layer anytimeand adjust the amountof black or the colorvariations to change thestylized effect.

Did You Know?You can create yourown custom gradient inthe Gradient Editor.Double-click in each of thelower color stops underthe gradient to open theColor Picker and select anew color.

Try It!Instead of Darker Color,click the Blend modearrow in the Layerspalette and select LighterColor. The image changes,applying the gradientblend to the previouslyblack or darkest areasof the image, leaving theother areas white.

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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.

ALIGN AND BLENDSEPARATE PHOTOSfor the best group shotPhotoshop CS3 introduces a new 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. Notonly can this tool help with registering misalignedphotos when using the Merge to HDR command withexposure-bracketed photographs or for panoramastitching, but it is also perfect for combining multiplephotos in group shots and getting everyone to looktheir best in the final 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 away the unwanted parts of each layer. Forgroup shots, you erase the closed eyes or grimacesto combine the best of the group.

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5 Press Shift and click each layerto select them.

6 Click Edit.

7 Click Auto-Align Layers.

The Auto-Align Layers dialogbox appears.

8 Click Auto for the type ofprojection, depending on theelements in the photos.

9 Click OK.

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A progress bar appears, andPhotoshop aligns the photos by the content.

0 Click the top layer to select it.

! Press D to set the foreground color to black.

@ Click here and drag the top layer’s opacityto 60% to see the shapes below.

# Click here to add a layer mask to the toplayer.

$ Click the Brush tool.

% Click here and select a soft-edge brush.

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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.

& Click here and drag the top layer’s opacityback to 100%.

* Click the Crop tool and crop the image tofinal size.

The final image blends the preferredsubjects from both images.


Caution!Make sure that thetop layer’s mask is stillselected and that theforeground color is setto black when you painton the photo to revealthe parts of the imageon the layer below.

Did You Know?Photoshop automaticallyselects one alignmentprojection optionbased on the contentsof the images you arecombining. You can tryit and then press Ô+Z(Ctrl+Z) to undo theauto-alignment and trya different option.

More Options!The new Auto-BlendLayers command blendsseparate layers and triesto reduce or eliminatethe perspectivedifferences as well asthe differences in colorsor luminance withoutleaving a seam.

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OPEN MERGE TO HDR FROM THE BRIDGE

1 In the Bridge, press Shift andclick to select the images tomerge.

2 Click Tools.

3 Click Photoshop.

4 Click Merge to HDR.

Note: Continue the steps startingwith step 8 below.

MERGE MULTIPLE RAW PHOTOSto 32-bit HDRDynamic 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 CS3, you can merge multiple photosof the same scene but with different exposures intoa High Dynamic Range (HDR) image, with luminositylevels even beyond what the human eye can see.Using Merge to HDR, the blended image canrepresent more shades of the colors in the visibleworld. Although HDR images today are used mostly

for motion pictures and special lighting effects insome high-end photography, Photoshop CS3’sMerge to HDR command also opens the possibilitiesfor photographs with more dynamic range.

Photoshop CS3 adds more support for 32-bit filesthan the previous version. You can now add layersand layer masks and use some of the adjustmentlayer types, blend modes, filters, and various toolson 32-bit images. Photoshop Extended includes anew HDR Color Picker.

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OPEN MERGE TO HDR FROM PHOTOSHOP


2 Click Automate.

3 Click Merge to HDR.

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The Merge to HDRdialog box appears.

4 Click Browse.

The Open dialog boxappears.

5 Navigate to and pressShift+click to select theimages to use.

l The files appear in thelist box.

6 Click here.

7 Click OK.44

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Photoshop opens, analyzes, and combines theimages into one multilayered file.

Photoshop automatically applies the Auto-AlignLayers command and crops the image.

The larger Merge to HDR dialog box appears.

8 Click here to deselect some of the source imagesif necessary.

9 Click and drag the slider to fit your image.

0 Click OK.

Photoshop merges the files into a documentnamed Untitled_HDR.


Did You Know?As of today, only somemonitors — such as theEizo CG221 — and someprinters — such as Canon’siPF5000, 8000, and 9000 —are capable of displaying orprinting greater than 8-bitimages.

Attention!The Merge to HDRcommand works best onphotos taken with a tripodin which nothing is moving.The aperture and ISO ofthe images should be thesame in each photo. Theshutter speed for thedifferent exposures shouldvary by at least one f-stop.

Did You Know?The bit depth describes howmuch color informationexists per pixel in an image.A greater number of bits perpixel translates into greatercolor accuracy, with moreshades of color or grays inthe 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 selectCamera Raw.

5 Click Open.

APPLY A SPLIT-NEUTRALDENSITY FILTER using smart objects

You may have photographed a scene with a dynamicsky, 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 can capture. Photographerssometimes use a split-neutral density filter on thelens to capture such a large dynamic range. Using atripod, you can also take multiple exposures of thesame scene and combine the images usingPhotoshop’s Merge to HDR command. However, youcan effectively simulate a neutral density filter or a

multiexposure photograph using a combination ofCamera Raw and smart object layers.

Using two copies of a smart object layer, you canuse Camera Raw 4 to edit a photograph — first toemphasize the foreground and then edit a copyto emphasize the background or sky. Then use alayer mask to combine the best exposures of bothimages. You can also edit each layer again beforeflattening and saving the final image file with anew name.

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The Camera Raw dialog boxappears.

6 Move the slider to simulatethe best 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 notlinked to the original.

! Double-click the Smart Object icon on thenew smart object layer.

The image opens in Camera Raw again.

@ Repeat steps 6 and 7, but this time selectthe best exposure for the sky.

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The top layer reappears.

# Press D.

$ Click here to add a layer mask to the toplayer.

% Click the Gradient tool.

^ Click here.

& 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 smartobject layer to be seen on the smartobject photo layer with the well-exposedforeground.


Caution!You must duplicate the smart objectlayer using the menu path Layer ➔Smart Objects ➔ New Smart Objectvia Copy to edit each oneindependently. If you duplicate thesmart object by dragging it over theNew Layer button in the Layerspalette, the smart object layers arelinked to each other, and editing oneedits the other at the same time.

More Options!If the file is in the Raw format, you canstart from the Bridge. Double-click theRaw file to open the Camera Raw 4dialog box. Make your adjustments forthe foreground. Press Shift and clickOpen Object. The file then opens as asmart object, and you can continuewith the rest of the steps in the taskstarting at step 8.

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1 Click the Channels tab in theLayers palette.

2 Click the New Channel buttonto add a new black Alphachannel.

Optionally, you can press theF key once to view the photoagainst a gray background.

ADJUST DEPTH OF FIELDwith a Lens Blur filterYou can draw the attention of the viewer into themain subject of an image by controlling the depthof field, or defining the part of the image that is infocus and blurring other areas. Photographerscontrol the depth of field by changing the aperturesetting on the camera. A small opening results in agreater depth of field with more of the image infocus. A larger aperture creates an image with lessdepth of field and only the center of the image infocus. You can use Photoshop’s blur filters to

selectively adjust the depth of field in your digitalimages. Use the Lens Blur filter and a white-to-blackgradient on an Alpha channel to create a smoothtransition from the focused areas to the out-of-focusareas in the photo. Click one area in the image to setthe main focal point. Areas with the same level ofgray in the Alpha channel as the selected area arenow in focus. All other areas are blurred dependingon the level of gray in the Alpha channel.

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The image is covered withblack, and the channel isnamed 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 1 channelto highlight it.

5 Press D to select thedefault foreground andbackground colors.

6 Click the Gradient tool.

7 Click the Linear gradient.

8 Press and hold the Shift keyas you click and drag in theimage from the backgroundtoward the foreground.44

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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 create a selection in theimage and click Select ➔ SaveSelection. Type a name in the datafield in the Save Selection dialog box.Click OK. Hide the visibility of thenew channel, click the RGB channel inthe Layers palette, and then click theLayers tab. Apply the Lens Blur filter,and everything in the selectionremains in focus.

Try This!You can also create a channel withtwo selections, one for the mainsubject and the second for an areaslightly farther in the background.Fill the first selection with white andthe second with a light gray. Applythe Lens Blur filter with this channelas the source. Your image nowhas areas with three distinct levelsof focus.

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The Lens Blur dialog boxappears.

# Click and drag all the slidersto the left to remove any blureffect.

$ Click here and select Alpha 1.

ADJUST DEPTH OF FIELDwith a Lens Blur filterPhotoshop 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 offocus.

^ Click and drag the Radiusslider to the right to blur thebackground.

& Click and drag the Blur FocalDistance slider to adjust thepoint of focus if necessary.

Note: The Blur Focal Distancenumber corresponds to the levelof gray at the targeted point inthe Alpha channel.

* Click OK.

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The Lens Blur filter isapplied to the image.

( Click the Visibilityicon on the Alpha 1channel to deselectit and hide the redmask.

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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 isapplied. You can replace some ofthe noise and make the image lookmore realistic. First, zoom in tosee the image at 100 percent. Clickand drag the Amount slider in theNoise section of the Lens Blurdialog box until the image appearsless changed and click OK.

Did You Know?Applying a Lens Blur filter ratherthan a Gaussian Blur filter preservesmore of the geometric shapes inthe original image. Highlights in theimage also reflect the Shape settingthat is chosen in the Iris sectionof the Lens Blur dialog box. Youcan smooth the edges of the irisand rotate it by changing the BladeCurvature and Rotation settings.

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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 subjectas in Task #16.

5 Press Ô+J (Ctrl+J) to put theselected area on its own layer.

CREATE A SILHOUETTEfor a custom designMany 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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Photos © 2007 www.photospin.com

6 Press Ô (Ctrl) and click theLayer 1 thumbnail to targetthe selection.

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 inthe toolbox.

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The Color Pickerappears.

! Click to select a colorfor the new document.

@ Click OK.

Note: The Warningtriangle next to theselected color is an Out-of-Gamut alertindicating that a colorwill not print exactlyas seen on the screen.

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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 throughall open documents. You canselect the one that you needto work on without clickingand dragging the others out ofthe way in the documentwindow.

Did You Know?You can view all the opendocuments at once by clickingWindow ➔ Arrange andselecting Tile Horizontally orTile Vertically. ClickingWindow ➔ Arrange ➔ Cascademakes the documents align tooccupy the least amount ofspace.

More Options!Press Ô++ (Ctrl++) toenlarge the preview. PressÔ+– (Ctrl+–) to reducethe preview. PressÔ+spacebar (Ctrl+spacebar)and click to zoom in evenwith another tool selected.Press Option+spacebar(Alt+spacebar) and click tozoom 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 designThe 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 withwhite. Then continue creating the silhouetted form.Place the highlights layer above the silhouette layerand merge these two layers. For a more subtleoverall effect, you can apply a gradient to thebackground layer instead of using a solid color. Placethe most important part of the silhouette over thelightest part of the gradient. As the gradient getslighter, the silhouette stands out more due to theincreased contrast.

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l The silhouettes appear onseparate layers in the newdocument.

* Click Auto-Select.

( Click Show Transform Controls.

) Click the Close button to closeeach photo.

Note: Do not save the changes tothe images when the dialog boxappears.

q Press Ô++ (Ctrl++) to enlarge thedesign document.

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w Press Shift and click and drag the corner of the transformation anchors to resize this silhouette.

e Click the silhouette and drag it into position.

r Press Return (Enter) to apply the transformation.

t Repeat steps 22 to 24 for any additionalsilhouettes.

ADD TEXT TO YOUR DESIGN

y Click the Type tool.

u Select a color, font, and size in the Typetool’s Options bar.

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i Click in the image and type some text.

o Press Return (Enter) to apply the text.

APPLY A GRADIENT

p Click the Background layer.

Q Click the Gradient tool.

W Click here.

E Click with the Color Picker eyedropper inthe main color of the design to select thatcolor and click OK.

R Press Shift+click and drag in the image tocreate a gradient background.


More Options!Pressing Ô+T (Ctrl+T)brings up the Transformationcontrols. You can pressReturn (Enter) instead ofclicking the Commit buttonon the Options bar to applythe transformation. Youcan press Esc to cancel thetransformation.

Did You Know?Selecting the Auto-SelectLayer and the Auto-SelectGroups check boxes onthe Options bar enablesyou to click an item in amultilayered document andautomatically select thelayer that contains the item.

Try This!Selecting the ShowTransform Controls checkbox on the Options barmakes the transformationanchors appear. Youcan then click and drag thecorner anchors to resizewithout clicking the Editmenu and selecting FreeTransform.

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1 Open a main image.

2 Click here to add 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).

6 Click here to close the secondimage.

7 Click Filter.

8 Click Vanishing Point.

BECOME A DIGITAL ARCHITECTwith the Vanishing Point filterThe 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 and thenextend the grid by pulling on the anchor points. Youcan then pull a secondary plane around 90 degreecorners. With Photoshop CS3, you can now drag outa secondary plane and rotate it by any amount. Afterthe grids or perspective planes are defined, you canchange the look of the image by erasing items,copying objects from one area of the image to

another, or adding items from other images, all whilekeeping the perspective in the original photo. Youcan expand a building to make it look taller than it is,erase or add windows to a structure, add a coverdesign to the photo of an open book, or even addsigns on any building.

The first grid must be accurate. A blue grid shows acorrect perspective plane. A red or yellow grid mustbe must adjusted using the anchor points until thegrid turns blue.

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The Vanishing Point dialog boxappears.

l The Create Plane tool isautomatically selected.

9 Click four corners of an areathat shows the perspective ofthe photo to create a blue grid.

0 Click the Edit Plane tool.

! Click and drag the center pointsof the grid to extend the plane.

@ Press Ô (Ctrl) and click anddrag a center point to createa perpendicular plane.

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l The grid extends ata 90 degree angle.

# Press Option+click(Alt+click) and draga center point toswing the plane intoposition.

The perspective planeswings around andaligns at a differentangle.

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$ Press Ô+V (Ctrl+V).

l The pasted image appears in a cornerof the Vanishing Point dialog box.

% Click and drag the second image overthe perspective plane.

The second image snaps into perspectiveon the plane.

^ Click the Transform tool.

& Press Shift+click and drag the cornersof the second image to adjust it intoposition.

* Click OK.

The additions in perspective are applied.


Did You Know?When you are in theVanishing Point dialogbox, you can use theZoom tool to enlargethe area that you wantto select. To zoom inas you are placing oradjusting the anchorpoints, press and hold X.

Important!You can increase thesize of the buildingbeyond the boundariesof the existing photo.First, increase the canvassize by clicking Image ➔Canvas Size and addingwidth or height toone side of the existingimage.

Caution!When you plan to copyan item or a layer fromone photo to paste intoanother in perspective,be sure to copy the itemfirst to save it to theClipboard before youchoose the VanishingPoint filter.

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Designing with

Text Effects

If a picture is worth a thousand words, then apicture with words has even more persuasivepowers. Although Photoshop CS3 is not apage-layout application, you can add text tophotographs for added impact or to create anoriginal design. You can also add special texteffects to give personality to the words or evenuse the 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 on

images and make the words appear as part ofthe 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 canscale or resize the words, edit the text, andapply many layer effects to the text whilepreserving the crisp edges. Some commandsand tools, however, require the type to berasterized, or converted to a normal layer filledwith pixels. The filter effects and painting toolsand the perspective and distort commands canonly work after the type has been rasterized.After the type layer has been converted, thetext is no longer editable.

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Add a Double-Neon Glow to Text for a Unique Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Create a Custom Watermark to Protect Your Images. . . 142

Fill Any Shape with Text to Create Unique Effects . . . . . 144

Warp Type to Emphasize the Words . . . . . . . . . . . . . . . . 145

Add Perspective to Type and Keep It Sharp . . . . . . . . . . 146

Make Your Text Follow Any Path. . . . . . . . . . . . . . . . . . . 148

Create Eye-Catching Photo-Filled Titles . . . . . . . . . . . . . 150

Blend Text into a Photograph Creatively . . . . . . . . . . . . 152

Create an Amazing Colored Shadow . . . . . . . . . . . . . . . 154

Weave Text and Graphics for Intriguing Designs . . . . . . 156

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1 Open a new blank document.

2 Click the Type tool.

3 Select the font family, style, andsize in the Options bar.

4 Click in the image and type yourtext.

5 Press Return (Enter) to committhe type.

6 Click the Layer Style button.

7 Click Outer Glow.

Add a

DOUBLE-NEON GLOWto text for a unique designYou 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 theletters 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 icon in the Layers palette toreopen 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.

l Move the dialog box so thatyou can see the text.

8 Click and drag to increase thespread to about 13%.

9 Click and drag to increase thesize to about 16 pixels.

0 Click Drop Shadow.

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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 of the glow to about 24.

% Click here.

The Select Shadow Color dialog box appears.

^ Click and drag the color slider.

& Click in the color box to select a glow color.

* Click OK.

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( Click OK.

) Press D to reset the default foreground colorto black.

q Click the Background layer to select it.

w Press Option+Delete (Alt+Backspace) to fill thebackground with black.

e Repeat steps 6 to 19 to change the color orsize of the double glow.

The text appears with a neon glow against adark background.

141Chapter 7: Designing with Text Effects

Attention!The double-neon glowtechnique works best ona dark background;however, it does not needto be black. You canalso select the Gradienttool and click and dragacross the Backgroundlayer to create a gradientcolor fill.

Keyboard Shortcuts!With the Type toolselected, pressing Return(Enter) moves thecursor to the next lineand pressing Enteror Ô+Return (Ctrl+Enter)applies the type orany transformations.Pressing Esc cancels theType layer.

Try This!Type some text withthe Type tool. Beforeclicking the Commitbutton, press and holdÔ (Ctrl) to bring up thetransformation anchorpoints. Click and drag theanchors while pressingÔ (Ctrl) to transform thetype.

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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.

5 Click the Layer Style button.

6 Click Bevel and Emboss.

Create a

CUSTOM WATERMARKto protect your imagesIf 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 lower the Fillopacity, which only affects 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.

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 the image andas a shape layer in the Layers palette.

$ Press Option (Alt) and click and drag the LayerStyle icon to the 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 repeat step15.

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 is highlightedon the Options bar ratherthan the Paths or Fill Pixelsbutton.

Did You Know?The Layers palette includestwo types of sliders. TheOpacity slider affects thevisibility of both the filledpixels and the layer style.The Fill slider affects onlythe transparency of thefilled pixels withoutchanging any style that isapplied.

Try This!Double-clicking the Typethumbnail in the Layerspalette selects andhighlights all the type onthat layer. Double-clickingthe blank space next to thename of a layer brings upthe Layer Style dialog box.

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FILL ANY SHAPE WITH TEXTto create unique effectsIn Photoshop, you can type text in several ways. Anytext that is typed is placed on a type layer, retainingits vector-based outlines so that you can scale, skew,or rotate it to fit your design. With the Type toolselected, place the cursor anywhere in an image andtype the text or type the text so that it flows alongthe edge of a path.

You can also type text as a paragraph, eitherhorizontally or vertically, and control the flow of thecharacters within a bounding box. For text in a

rectangular 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 isuseful for creating brochures, scrapbooks, or variousdesign projects. The bounding box, however, is notlimited to the rectangular shape created by draggingthe Type tool. You can also drag out any shapeselected from the Custom Shape Picker using theCustom Shape tool. You can then fill the shape withparagraph text to create unique visual effects.

1 Click the Custom Shape tool andselect a custom shape as in steps11 and 12 in Task #62.

2 Click the Paths button.

3 Click and drag in the image tocreate the shape.

Note: Press Shift to constrain theshape and press the spacebar toreposition the shape.


5 Select the font family, style, size,and color.

6 Click here to center the text.

7 Click inside the shape.

l A bounding box surrounds theshape.

8 Type the text until the shape isfull.

l You can click and drag theanchor points around the shapeto alter the form.


0 Click here to view the textwithout the outline of the shape.

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WARP TYPEto emphasize the wordsYou can create many different effects with type bywarping the letters into various shapes. If you warptext using the Warp command found under the Editand Transform menu after rasterizing the type layer,or turning the layer into pixels, the letters lose theirsharp edges and appear fuzzy. Using the Warp Textfeature of Photoshop gives text a completely newlook and helps it remain sharp-edged and editable.

After you type the text, you use the Warp Text dialogbox to change it. You can select from a variety of

warp styles and use the sliders to alter the look. You can control the direction of the warp as well as size of 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 thetext is on an editable type layer, you can apply anylayer styles before or after warping the text.

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1 In a new blank document, click theType tool.

2 Select the font family, style, size,justification, and color.

3 Click in the document and type thetext.

4 Click the Warp Text button.

The Warp Text dialog box appears.

5 Move the dialog box so that you cansee the type.

6 Click here and select a warp style.

The text matches the style selected.

7 Click and drag each of the sliders tovary the effect.

8 Click OK.


The warp and changes to the text arecommitted.

145Chapter 7

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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 image and type thetext.


ADD PERSPECTIVE TO TYPEand keep it sharpWhen 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 Pathspalette as well. The text is no longer editable, butyou can alter the vector mask, add layer styles, anduse all the transformation tools to change 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 palette changesto a fill and vectormask.

8 Click Edit.

9 Click Transform Path.

0 Click Perspective.

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The text has a bounding box with anchorpoints.

! Click one of the top corner anchors and dragtoward 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.

# Click the Background layer to view the textwithout the mask outline.


More Options!You can also click one ofthe top or bottom corneranchors and drag straightup or straight down tocreate a verticalperspective. The lettersseem to disappear into thedistance in a verticalposition.

Try This!When you need to selectthe Type tool to edit type,double-click the T in thetype layer thumbnail in theLayers palette. The type onthe layer is highlighted,and the Type tool isautomatically selected.

Try This!You can edit type withanother tool selected.Double-click the T in thetype layer, and the Typetool and options aretemporarily selected. Orclick the Character palettebutton and make any typechanges directly in thatpalette.

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1 Use the Quick Select tool andRefine Edge palette to make aselection around the image as inTask #16.

2 Click the Paths tab.

3 Click here.

4 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 make a selectionaround the object. Convert the selection to acomplex working path using the selections in thePaths palette’s pop-up menu. The text remains on atype layer, so you can change or add words or styleand color the letters.

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The Make Work Path dialog boxappears.

5 Type 5.

Note: For a more detailed path,type a smaller number to havemore control points on the path.

6 Click OK.

The dotted selection linesdisappear, and a new pathappears in the Paths palette.



9 Click the path and type the text.148

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The text follows thepath, and a type pathappears in the Pathspalette.

0 Click the Path Selectiontool.

! Press Ô+spacebar(Ctrl+spacebar) and clickthe image to zoom in.

@ Click the small X at thebeginning of the text.

The cursor changes toan I-beam with a smallblack arrow.

# Drag along the path toreposition the text.

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$ Drag the cursor across the path to put the texton the other side of the path.

% Click here to dismiss the target path andcommit the changes.

The type now follows the path line on thesubject.

^ Press Option+spacebar (Alt+spacebar) to zoomout.


Did You Know?A small X indicates thebeginning of the text on apath, and a small Oindicates 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 ➔Character to open theCharacter palette. Selectthe letters and adjust thetracking in the Characterpalette or click betweenthe letters 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 andrearrange the workspace as in Task#3 to increase the image space,leaving the Layers palette open.


3 Select the font family, style,justification, and size.

Note: Thick sans serif fonts workbest for this effect.


5 Press Ô (Ctrl) and click and dragthe transformation anchors tostretch the type.


Create eye-catching

PHOTO-FILLED TITLESYou can easily create mood-inspiring or memory-evoking titles for a photo or album page by making aphotograph fill the letters. Photoshop CS3 includestwo kinds of Type tools: the Horizontal and VerticalType tools and the Horizontal and Vertical Type Masktools. When you use the Type Mask tools, Photoshopautomatically creates a selection in the shape of theletters. However, using the regular Type tools givesyou more control over the design and makes it easierto see the area of the photo that will be cut out bythe 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 onlyshows through the letters. Because the letters are onan editable type layer, you can change the text evenafter the letters are filled with the image. You canalso add a drop shadow or emboss to the type layerto make the 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 copylayer is indented withan arrow in the Layerspalette, but the imagedoes not change.

! Click here to create anew blank layer namedLayer 1.

@ Click and drag the newblank layer below thetype layer.

# Press D to reset thedefault colors.

$ Press Ô+Delete(Ctrl+Backspace) to fillthe layer with white.

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The photo appears to fill the letters on a whitebackground.

% Click the Move tool.

^ Click the Background copy layer to select it.

& Click and drag in the image to move the photointo position inside the letters.

The photo is repositioned within the letters,creating an attractive photo title.

Optionally, you can click the type layer and clickthe Layer Styles button to add a drop shadow.


More Options!You can also change thetype attributes using theCharacter palette. ClickWindow ➔ Character toopen the palette. Placethe cursor over any of thesettings to activate thescrubby sliders. Move thecursor to change thesettings.

Attention!Be sure to highlight theBackground copy layer,which must be above thetype layer, when youcreate the 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 palette or pressÔ+Option+G(Ctrl+Alt+G).

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1 With the image open, click theType tool.




5 Click the Warp Text button.

BLEND TEXTinto a photograph creativelyWhen 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.

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The Warp Text dialog boxappears.

l Move the dialog box so that youcan see the text.

6 Click here and select a warpstyle.

7 Click and drag the sliders toadjust the style.

8 Click OK.

9 Click here and select BlendingOptions.

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0 Click here and select Red.

! Click and drag this 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 the left half more to the left, separating the slider halves.

# Click and drag the slider halves to vary the areasof the photo that blend with the text.

$ Repeat steps 11 to 13 using the black slider forthe underlying layer to make the darkest valuesof the underlying photo appear through the text.

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% Repeat steps 10 to 14 for Green and Blue untilthe text blends with the elements in thephotograph.

^ Click OK.

The text disappears behind some areas in thephoto and shows through other parts,depending on the color values in the image.


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 ➔ Blending Optionor by double-clicking inthe empty space next tothe layer name in theLayers palette.

More Options!You can add a bevel oremboss or any of theother layer styles to theletters at any time. Openthe Layer Style dialogbox and click any of thestyles to see and applythe effect.

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5 Press Ô+click (Ctrl+click) thetype layer thumbnail to selectthe letters.

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 have the same opacity on different objects.Shadows reflect the colors of the objects they cover.Selecting another color for the shadow in the LayerStyle dialog box gives the shadow an unnatural anduniform 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 any object in an image. Add depth tonatural light shadows under a tree or increase theshadow of a person in a sunlit photo. The greater thenumber of colors and textures affected by theshadow, the more natural your colored shadowappears.

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6 Click Select.

7 Click Modify.

8 Click Feather.

The Feather Selection dialog boxappears.

9 Click in the data field andtype 10.

Note: The size of the feather radiusdepends on the size of the image.

0 Click OK.

! Click the Type tool.

@ Press the right arrow key severaltimes and the down arrow keyseveral times.154

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The selection marqueemoves down and to theright.

# Click the Backgroundlayer thumbnail toselect it.

$ Click the NewAdjustment Layerbutton.

% ClickBrightness/Contrast.

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The Brightness/Contrast dialog box appears, andthe selection marquee is hidden.

^ Move the dialog box so that you can see theimage.

& Click and drag the Brightness slider to the left tocreate the drop shadow.

* Click OK.

The text can now be moved around the photo,and the shadow follows, adjusting automaticallyto the colors below it.


More Options!Press Shift and click the typelayer and the adjustment layer inthe Layers palette to select themboth. Then click the Link Layersbutton in the Layers palette tolink the layers for the text andthe shadow together. Click theMove tool and reposition thetext. The shadow follows the textaround the image.

Did You Know?You can quickly change thealignment of type using keyboardshortcuts. Click in the type andpress Shift+Ô+L (Shift+Ctrl+L) toalign left; press Shift+Ô+R(Shift+Ctrl+R) to align right; andpress Shift+Ô+C (Shift+Ctrl+C)to align center.

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1 In a new blank document, clickthe Type tool.

2 Select the font, size, and color.

3 Click in the document and typethe text.

4 Press Enter (Shift+Enter) tocommit the type.

5 Click Layer ➔ Type ➔ Convert toShape.

WEAVE TEXT AND GRAPHICSfor intriguing designsYou 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 thatoverlap are reversed out.

0 Repeat steps 7 to 9 forother lines of text.

! Click and hold theRectangle tool and clickthe Custom Shape tool.

@ Click here and click ashape to select it.

# Click the ExcludeOverlapping ShapeAreas button.

$ Make sure that thevector mask thumbnailin the Layers palette isselected.

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% Click and drag the shape over the letters.

The areas of the shape and text that overlap arereversed out.

^ Click the Path Selection tool.

& Click the shape and drag it to reposition it in thedesign if necessary.

The shape interacts differently with the type as itoverlaps different areas.

* Click the Background layer to view the design.


More Options!You can apply a Layerstyle to the shapes andletters. Try adding a Beveland Emboss Layer style.Click Texture and select apattern for the TextureElements. The pattern isapplied to all the coloredareas.

Important!Whenever you use thePath Selection tool tomove letters or the shape,you must target the vectormask layer thumbnail inthe Layers palette andclick the ExcludeOverlapping Shape Areasbutton on the Options barto select it.

Did You Know?You can use the PathSelection tool to moveindividual letters or theshape separately. Clickone letter and move it tocreate a different look. Toundo the move, click theprevious state in theHistory palette.

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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 cansee your attempts!

The key to creating digital artwork is tocombine different layers, effects, smart filters,masks, and blend modes. The results not onlyvary with the methods used, but also eachstyle of photograph and the subject matteraffect the overall look of the finished piece.You can vary methods to make your workmore efficient and at the same time expandyour creative horizons. With so many optionsand choices, artistic experimentation withPhotoshop can be very addictive. You mayspend a lot more time with the art projectsthan you ever thought you would.

The ten tasks and techniques described in thischapter are only a taste of what is possible.

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Give Any Photo a Sketched Look. . . . . . . . . . . . . . . . . . . 160

Add Your Own Signature to Any Artwork. . . . . . . . . . . . 162

Create a Digital Pen-and-Ink Drawing. . . . . . . . . . . . . . . 164

Give a Photograph a Woodcut Look . . . . . . . . . . . . . . . . 166

Turn a Photo into a Colored-Pencil Illustration . . . . . . . 168

Posterize a Photo for a Warhol-Style Image . . . . . . . . . . 170

Create a Pen-and-Colored-Wash Drawing from a Photograph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Compose a Photo Collage . . . . . . . . . . . . . . . . . . . . . . . . 178

Turn a Photo into a Hand-Painted Oil Painting . . . . . . . 180

Paint a Digital Watercolor . . . . . . . . . . . . . . . . . . . . . . . . 184

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1 Click the Create a New Layerbutton in the Layers palette.

2 Click Edit.

3 Click Fill.

The Fill dialog box appears.

4 Click here and select White.

5 Click OK.

Give any photo

A SKETCHED LOOKYou 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 on aslightly grainy photo even intensifies the effect. Youcan use any of Photoshop’s brushes and change themas you continue sketching the photo onto the page.The greater the number and opacity of the brushstrokes, the more of your photograph appears on thewhite layer. You can vary the style of the strokes byaltering the attributes of the eraser from the Brushespalette.

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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.


8 Click here.

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 again.

# Click and drag theMaster Diameter sliderto a smaller brush size.

$ Click and drag acrossthe image to add morebrush strokes.

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% Click here and drag the Opacity slider for thelayer to 100%.

^ Continue applying just enough strokes until theimage looks sketched-in.

The image appears to be brushed or sketchedon a page.

161Chapter 8: Creating Digital Artwork from Photographs

More Options!You can add more brushes to theBrush Preset picker. Click the Brushdrop-down arrow in the Options barto open the Brush Preset picker. Clickthe arrow to open the Brush Pickermenu. Click a brush set from thebottom section, such as Dry MediaBrushes. Click Append in the dialogbox that appears to add the brushesto the existing list.

Customize It!You can view brushes by nameinstead of the stroke thumbnail. Clickthe Brush drop-down arrow in theOptions bar to open the Brush Presetpicker. Click the arrow to open theBrush Picker menu. Click Small List orLarge List. You can return to thedefault brush set by selecting ResetBrushes from the same list.

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1 Click File.

2 Click New.

The New dialog box appears.

3 Click in the fields for the sizeand width and type 2800.

4 Click in the field for theresolution and type 360.

Note: Make sure that BackgroundContents is set to White, thedefault.

5 Click OK.

ADD YOUR OWN SIGNATURE to any artworkFine art prints may or may not have a copyrightmark; however, they are almost always signed by theartist. You can sign your digital projects one at atime after they are printed, or you can apply a digitalsignature from within Photoshop. You can create alarge custom signature brush and save it in yourbrushes palette. You can then quickly apply yoursignature digitally to all your projects.

You can change the Diameter slider in the Brushoptions and sign your images with any size brush,and you can sign your photo with a color by selectingthat color as the foreground color before signing.

You should sign your projects on a separate layer topreserve the layer transparency. You can then addlayer styles and easily change the color of thesignature or even create a blind embossed signatureeffect.

Because signing your name with a mouse can bedifficult, creating your own signature brush is bestaccomplished using a Wacom pen tablet as describedin Task #10.

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A new blank document appears.


7 Click here and select a hard-edged brush.

8 Click and drag the Diameterslider to make the brush 35 to 40pixels.

Note: You can pick any hard-edgedbrush for your signature. Thenumbers here are just guidelines.

9 Click in the blank layer and signyour name.

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Your signature appearson the white image.

0 Click the RectangularMarquee tool.

! Click and drag justaround your signature.

@ Click Edit.

# Click Define BrushPreset.

The Brush Name dialogbox appears.

$ Type a name for yoursignature, such as MySignature Brush.

% Click OK to save thesignature brush.

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^ Open another image to which to add thesignature.

& Click here to add a blank layer.

* Click the Brush tool.

( Click here and select your signature brush andclick and drag the Master Diameter slider toadjust the size to fit the image.

) Click in the image.

Your signature appears.

l Optionally, you can click the Layer Styles buttonto add a drop shadow or bevel.


Did You Know?You can create a custombrush from any image orsignature up to 2500 by2500 pixels in size.Signature brushes workbest if they are createdwith a brush with thehardness set at 100%.

Attention!If you create your originalsignature in color, thecustom brush will still becreated in grayscale. Youcan change the signaturecolor before applying thesignature brush to animage or after it isapplied on a separatelayer.

More Options!If you add a dropshadow and bevel to thesignature layer using theLayer Styles dialog box,you can lower the Fillopacity of the layer tozero to give yoursignature a blindembossed look.

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1 Press Ô+J (Ctrl+J) to duplicatethe Background layer.

2 Click Image ➔ Adjustments ➔Black & White.

The Black and White dialog boxappears.

3 Click here and select Infrared.

l You can click any of the otherBlack and White options,depending on your image, toget a high-contrast grayscale.

4 Click OK.

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 a 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 select Revertand then reduce the image size before applyingPhotoshop filters to achieve artistic-looking results.

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The image turns into a grayscaleimage.

5 Click Filter ➔ Blur ➔ Smart Blur.

The Smart Blur dialog boxappears.

6 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.

7 Click here and select High.

8 Click here and select Edge Only.

9 Click OK.

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A progress bar appearsas the Smart Blur filteris applied, and theimage turns black withwhite outlines.

0 Click Image.

! Click Adjustments.

@ Click Invert.

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The drawing appears as black lines on a whitebackground.


Did You Know?You can make the linesthicker and darker byclicking Filter ➔ Other ➔Minimum. Set the Radiusto 1 pixel. For heavierlines, try clicking Filter ➔Artistic ➔ Smudge Stickand reduce the strokelength to 0.

More Options!You can get better resultsby increasing thecontrast in the originalimage. After thegrayscale conversion,click Image ➔Adjustments ➔ Levels.Move both sliders slightlytoward the center toincrease the contrast.

More Options!You can put the blacklines on a separate layer.Click a white area usingthe Magic Wand tool.Click Select ➔ Similar toselect all white areas.Click Select ➔ Inverse.Then press Ô+J (Ctrl+J).

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1 Click and drag the Backgroundlayer over the Create a NewLayer button to duplicate it.

2 With the top layer selected, clickhere and select Color Burn.

3 Click Filter ➔ Other ➔ High Pass.

The High Pass dialog boxappears.

4 Click and drag the Radius slideruntil you just start to see theimage.

5 Click OK.

Give a photograph a

WOODCUT LOOKA traditional woodcut is an engraving made bycutting areas into a block of wood using gouges andknives. The surface is then inked and printed onpaper or another material. The uncut areas areraised to receive the ink in a process similar to thatof a rubber stamp. A woodcut often has thicker blacklines than other types of engravings, depending onthe style and skill of the artist. Sometimes the areasthat are not inked on the paper show the color of thepaper, and other times those areas are painted or

inked as well. You can give a photograph a woodcutlook using Photoshop to add a unique creativeelement to any design. Using a combination of filtersand adjustments, you create a grayscale image andturn the grayscale layer into a very high-contrastblack and white. Then using the layer blend modes,you allow 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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6 Click Image.


8 Click Threshold.

The Threshold dialog boxappears.

9 Click and drag the ThresholdLevel slider between 123 and128 to see the outlines of thewoodcut.

0 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, indicating that is a smart object.

$ Click Filter ➔ Blur ➔ Gaussian Blur.

The Gaussian Blur dialog box appears.

% Click and drag the slider to blur the main image.

^ Click OK.

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& Click the New Adjustment Layer button in theLayers palette.

* Click Hue/Saturation.

The Hue/Saturation dialog box appears.

( Click and drag the Saturation slider to adjust thelook.

) Click OK.

The photo looks like a woodcut with a paintedor inked background.


Change It!You can double-click theHue/Saturation icon toedit the settings. You candouble-click the wordsGaussian Blur in theLayers palette to edit thesmart filter and changethe amount 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 detailby lowering the setting ofthe High Pass filter.

Did You Know?Setting the thresholdbelow 128 reduces thestrength of the woodcutlines. The Thresholdcommand changes imagesto high-contrast black andwhite, in which pixels withgray values above 128turn white and pixelsbelow 128 turn black.

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1 Open the photo as a smartobject as in Task #19.

2 Press Ô+J (Ctrl+J) to duplicatethe original smart object layer.

3 Click Filter.

4 Click Noise.

5 Click Median.

6 Click and drag the slider toabout 4 to flatten the colors inthe image and soften the edges.

Note: The amount will depend onthe image size and the amount ofdetail in the image.

7 Click OK.

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, manyartists today are working with colored pencils as amedium in and of itself, and not just for texturestudies before using another medium such aswatercolor or oils.

You can transform a photograph into a colored-pencilillustration in Photoshop CS3 in many ways, and youwill get a more traditional effect by reducing the

image size before you apply the filters. As with mostof the Photoshop filters, simply clicking a filter in theFilter Gallery rarely renders the sought-after effect.By simplifying the colors in the image with the Medianfilter and then applying several filters, the imagemore closely resembles a traditional colored-pencildrawing. Start by opening the file as a smart object.You can then easily edit the filters after applyingthem.

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8 Click Filter ➔ Brush Strokes ➔Sprayed Strokes.

The Filter Gallery dialog boxappears.

9 Click and drag the Stroke Lengthslider to 20.

0 Click here to duplicate theArtistic layer.

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! Click here and select Colored Pencil for this layer.

@ Click and drag the Pencil Width slider to 2.

# Click and drag the Stroke Pressure slider to 15.

$ Click and drag the Paper Brightness slider to 50.

% Repeat step 10.

^ Click and drag the Pencil Width slider to 4.

& Click and drag the Stroke Pressure slider to 3.

* Click OK.

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The Filter Gallery closes.

( Double-click the Zoom tool to see the drawingat 100 percent.

) Click here and select Hard Light.

The resulting image looks like a colored-pencildrawing.

l You can double-click the Filter Gallery name inthe Layers palette to reopen the Filter Galleryand change any settings.


Did You Know?You can turn a colored-pencil illustration into agraphite pencil sketchby clicking theAdjustment Layer buttonin the Layers paletteand clicking Black &White. Change any ofthe presets to fit yourimage.

More Options!To see the document infull on the screen,double-click the Handtool on the toolbox orclick Fit Screen on theOptions bar. To zoom to100 percent, double-click the Zoom tool inthe toolbox.

Attention!Any of the Blend modesin the Lighten andOverlay sections willenhance the colored-pencil sketch. You canalso click the bottomlayer in the Layerspalette and drag the Fillslider to the left for adifferent look.

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1 Click and drag the Backgroundlayer over the New Layer button in the Layers palette toduplicate it.

2 Click the New Adjustment Layerbutton to add a new blank layer.

3 Click Black & White.

POSTERIZE A PHOTO for a Warhol-style imagePhotoshop includes a Posterize command thatautomatically posterizes an image by mapping theRed, Green, and Blue channels to the number oftonal levels that you set. The Poster Edges filtercreates a different look, more like an etching than aposterized print. To create a posterized image morereminiscent of the Andy Warhol style of the 1960sand '70s, you can instead use three adjustmentlayers in succession. Use a Black and Whiteadjustment layer to convert the photo to a grayscaleimage. Then apply a Posterize adjustment layer,

specifying the levels that correspond to the numberof colors you want in the final image. More levelsmake the image less stylized as it adds many morecolors. Finally, use a Gradient Map adjustment layerto map any color to each of the levels of gray. Youcan edit any of the adjustment layers to change thecolors or levels until you get the look that you want.For the best result, select a photo with a mainsubject on a plain background or extract the subjectand place it on a black background.

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The Black and White dialog boxappears, and the image turns tograyscale.

4 Click Auto to see if the contrastimproves.

l Optionally, you can click hereand select a preset to enhancethe contrast.

5 Click OK.

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6 Click the NewAdjustment Layerbutton.

7 Click Posterize.

The Posterize dialogbox appears.

8 Type 4 in the Levelsdata field.

9 Click OK.

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0 Click the Black and White top layer toselect it.

! Click the New Adjustment Layer button.

@ Click Gradient Map.

The Gradient Map dialog box appears.

# 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 paletteand increase 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.

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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.

% Click the leftmost color stop toselect it.

^ Click the Color thumbnail.

POSTERIZE A PHOTO for a Warhol-style imageAfter posterizing the first photo as in the steps, youcan create multiple copies of the posterized imageusing different colors. Click File ➔ Save As to givethis version another name. Save the image in a newseparate folder. Click the Gradient Map thumbnail inthe Layers palette to open the dialog box again.

Click in the gradient to open the Gradient Editor.Change the colors for each of the four color stops,each time selecting the darkest colors for theleftmost color stops and the lightest colors for the

rightmost color stops. Click OK to close the GradientEditor and again to close the Gradient Map dialogbox. Click Save As and give this second color versionanother name. Repeat this process until you havefour different versions of the image.

To finish the project, create a new blank documentand click File ➔ Place to place each of the fourimages on the page. You can even flip any of theimages horizontally to add more variety by clickingEdit ➔ Transform ➔ Flip Horizontal.

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The Color Picker for selecting thestop color appears.

& Click and drag the color slider.

* Click to select the darkest of thefour colors 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.

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) Repeat steps 15 to19, selecting eachof the other threecolor stops tochange the color.

q Click OK to closethe Gradient Editor.

w Click OK to closethe Gradient Mapdialog box.

e Double-click theBlack and Whiteadjustment layerthumbnail.

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The Black and White dialog box appears.

r Click and drag the color sliders to adjustthe areas of color.

t Click OK.

The image looks like a posterized andstylized print design from another era.


Customize It!Use the Dodge and Burn tools tochange individual areas. Click theBackground copy layer and click theDodge tool. Click and drag in the imageto make some areas lighter. Click theBurn tool and click and drag other areasto make them darker. You can lower theExposure setting in the Options bar tolessen the change.

More Options!Instead of using a Gradient Map, youcan merge the Background copy withthe Black and White and the Posterizeadjustment layers. Then add colorsindividually to gray areas. Select the firstgray area using the Magic Wand with atolerance of 0. Click the foregroundcolor and select a new color. PressOption+Delete (Alt+Backspace) to fillthe selection.

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1 Press D to reset the foregroundand background colors to thedefault.

2 Click and drag the Backgroundlayer over the New Layer buttontwice to create two duplicatedlayers.

3 Click the New Layer button tocreate a new blank layer.

4 Press Ô+Delete (Ctrl+Backspace)to fill the blank layer with white.

5 Click and drag the white layerbelow the two Background copylayers.

CREATE A PEN-AND-COLORED-WASH drawing from a photographYou can easily transform a photograph into a pen-line-and-colored-wash drawing by applying differentfilters and adjustments to multiple layers. Becausethe effect is more pronounced on a simplified andlower-resolution image, start by reducing the imagesize by setting one of the pixel dimensions in theImage Size dialog box to 1000 pixels. You shouldbrush over the lines and vary the brush opacity asyou paint rather than filling in areas with the sameopacity. Also start with large brushes and then work

with smaller, more opaque brushes to define thedetails. By working on duplicates of the Backgroundlayer and inserting a blank white layer between theoriginal Background and the layers above, theoriginal image is never edited until you flatten thelayers at the end of the project and save the washdrawing with a new name.

As with every project in Photoshop, there are multipleways you can achieve a similar effect. Each type ofphoto also gives you a slightly different effect.

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6 Click the Background copy 2layer to select it.

7 Click the Adjustment Layerbutton.

8 Click Black & White.

The Black and White dialog boxappears, and the image changesto a grayscale image.

9 Click OK.

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0 Press Ô+E (Ctrl+E) tomerge the Black andWhite adjustment layerwith the layer below.

! 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 Threshold slidersto soften the edges.

* Click OK.

The amount of detail is reduced. The edges ofthe lines are softened.

( Click here and select Multiply for the blendmode.


Change It!Change the brush tipshape before you paintwith white on the blackmask. With the Brush toolselected, click theBrushes icon to open thebrushes palette. ClickBrush Tip Shape andchange any of theattributes.

Customize it!You can also create adual brush to change thebrush strokes even more.Click the Brushes icon toopen the Brushes palette.Click Dual Brush and clicka different brush samplebox. Click and drag thesliders to alter the brushstyle.

More Options!You can make thedrawing appear moretraditional by paintingwith white on thecombined Black & Whiteand Find Edges layer. Trythis as the last step, afterpainting in the color onthe Background copylayer.

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The colored photo showsthrough the line drawing.

) Click the Background copy layerto select it.

q Click Filter.

w Click Noise.

e Click Median.

CREATE A PEN-AND-COLORED-WASH drawing from a photographTraditional artists sometimes use India ink and adiluted ink wash to visualize the light and shadowareas before beginning a painting. The technique isalso often used in figure studies to create expressivedrawings. When applied to a landscape or cityscape,the pen line and diluted ink wash produces an imagewith a unique look. The drawings are similar to andyet different from traditional watercolors, whichgenerally do not use black lines. In the 17th century,

Nicholas Poussin and Rembrandt applied suchtechniques to create rich and varied drawings.

You can use this technique to paint with both color orgrayscale washes or try tinting the image to a sepiabrown after duplicating the Background layer the firsttime. Apply the Black and White adjustment layer, clickthe Tint box, and select a tint color using the sliders.Then duplicate the sepia-colored layer, apply the filters,and paint in the washes for a toned drawing.

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The Median dialog box appears.

r Click and drag the Radius sliderto blur the image and colors.

t Click OK.

y Press Option (Alt) and click hereto add a black layer mask to theBackground copy layer.

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The black mask hides the colored Background copy layer.

u Click the Brush tool.

i Click here and select a large ragged-edge brush.

o Click and drag the slider to increase the brush size if necessary.

p Click here and reduce the brush opacity to 50%.

Q Click here if necessary to make sure that theforeground color is white.

W Click and drag in the image painting with whiteon the mask to bring in the colored wash.

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The colors begin to appear in the drawing aslarge washes.

E Click here and reduce the brush size.

R Click and drag in the image to paint over thedetails and increase the look of the wash.

Note: Use brush strokes in the direction that fitsthe objects in the image.

The colored wash appears on the image.


Did You Know?You can make the drawingappear to have multiplelayers of washes bystarting with a very lowbrush opacity in theOptions bar for the firstset of brush strokes andthen increasing theopacity as you brush asecond and third time.

Change It!Depending on the colorsin your photo, you canchange the blend mode ofthe Background copy layerto change the final look ofthe pen-and-washdrawing. Try Hard Light orDarken for totally differentlooks.

Attention!To make the washesappear more traditional,be sure to leave someareas around the edgesunpainted, letting thewhite layer show throughto make the drawingappear to be painted on awhite piece of paper.

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1 Create a new blank documentthe size that you want yourcollage to be.

2 Open each of the images for thecollage as a smart object as inTask #19.

3 Click Window.

4 Click Arrange.

5 Click Tile Horizontally or TileVertically, depending on the sizeof your monitor so that you cansee all the open images at once.

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 resize and adjust the position of eachlayer and add masks to blend the images together.Add gradients and paint on the masks, or you caneven add masks to masks for more variations.

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6 Click the blank new documentand double-click the Hand toolto make it fit the screen.

7 Click the Move tool and click anddrag the first image onto theblank document.

8 Close the first image.

9 Click Edit ➔ Free Transform.

0 Press Shift and click and drag thecorner anchors to size the image.

! Click the Commit button.

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@ Press D to reset theforeground andbackground colors.

# Click the Layer Maskbutton to add a maskto the layer.

$ Click the Gradient tool.

% Click one of thegradient styles.

^ Click and drag theGradient tool across theimage to blend it withthe background.

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& Repeat steps 7 to 16 until all the images arelayers in the collage.

* Click each layer to adjust the placement of theimage.

( Click the layer mask thumbnail and click anddrag a different gradient to change the look.

The images blend into one another, creating anartistic photo collage.


Important!Make sure that all yourphotos for the collage areset to the same color spaceor convert them to AdobeRGB as you place them.Also check the bit depthand resolution of theimages and change theseas needed.

Did You Know?Because you opened eachof the images as a smartobject, you can safelyadjust the size down to fitthe image and then changeit and make it larger for thefinal image without losingimage quality.

Caution!The number of additionallayers, effects, and layersets that you can add to animage is limited by yourcomputer’s memory. Closeany unnecessary files andapplications to make asmuch RAM available aspossible for Photoshop toprocess the collage.

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1 Expand the canvas to create awhite border around the photo.

Note: To expand the canvas, usethe reverse-crop techniquedescribed in Task #23.

Turn a photo into a

HAND-PAINTED OIL PAINTINGYou can use the Filter Gallery and various Photoshopfilters to turn any photograph into an image that hasa painterly look. However, filters are applied evenlyto the active layer of an image and therefore do notappear hand painted. By applying a filter to a layerand then using brush strokes of varied size to paintthe filtered image onto a new layer, you can createan oil painting that appears to be painted one strokeat a time. After applying an Artistic filter, you selectthe total image and define a pattern. Then with the

Pattern Stamp tool and Impressionist option as yourpaintbrush and the image as the pattern, you brushthe image on a new blank layer. You should alwaysstart with a large brush and paint in more open areasof the photograph. Reduce the brush size andcontinue painting in the details. To emphasize a fewedges and capture some finer detail, you continue topaint with the Pattern Stamp tool, deselecting theImpressionist option.

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A white border appears aroundthe image.

2 Click and drag the Backgroundcopy layer over the New Layerbutton to duplicate it.

3 Click Filter.

4 Click Artistic.

5 Click Dry Brush.

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The Filter Galleryappears with the DryBrush filter applied inthe Preview window.

6 Click and drag thesliders to adjust the DryBrush appearance foryour photo.

7 Click OK.

The filter is applied tothe image.

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8 Press Ô+A (Ctrl+A) to select the entire image.

9 Click Edit.

0 Click Define Pattern.

The Pattern Name dialog box appears.

! Type a new name if you want.

@ 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 Wacomdigitizing tablet, you canchoose a larger brush andset the Shape Dynamicsoption of the brush to PenPressure. Press lightly withthe stylus to produce smallstrokes and press harder toproduce larger strokes.

Attention!When you first startpainting with a large brushand the Impressionistoption selected, click thebrush rather than draggingit like a true paintbrush.The effect appears morenatural by spreading thepaint unevenly.

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$ Click the New Layer button inthe Layers palette to add a newblank layer.

% Click the Pattern Stamp tool.

^ Click the Pattern thumbnail.

The Pattern Picker opens.

& Click the pattern that you justcreated of the photo.

* Click Impressionist.

Turn a photo into a

HAND-PAINTED OIL PAINTINGYou can completely cover the layer to create aseparate painting or use the newly painted layer incombination with the underlying Dry Brush filteredlayer, depending on the look that you want. Togglethe Visibility icon on and off for the Backgroundlayers by clicking the eye icon as you work so thatyou can see the image you are painting.

If you decide to use the top painted layer alone whenyou have finished painting, you can add a canvas-colored layer as a background to fill in around theedges for a realistic look. Click the New Layer button

in the Layers palette. Drag the new blank layerunderneath the top painted layer. Click Edit ➔ Fill.Click the Contents Use arrow and click Color. Whenthe Color Picker appears, select a color for thecanvas, such as Red 248, Green 242, and Blue 224.Click OK to close the Color Picker and again to closethe Fill dialog box and fill the layer.

Duplicate the top painted layer and apply theTexturizer filter with a canvas texture as a finaltouch.

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( Click here, select a rough-edgedbrush, and increase the diameterto fit.

) Click in the layer multiple timesto paint the image.

q Repeat steps 19 and 20,reducing the brush size to paintdetailed areas.

w Deselect Impressionist.

e Click to paint and bring back afew photographic details asneeded.

r Click and drag the painted layerover the New Layer button.

t Click Filter ➔ Texture➔ Texturizer.182

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The Filter GalleryTexturizer dialogbox appears.

y Click here and selectCanvas.

u Click and drag thesliders to increasethe scaling andrelief.

Note: The previewimage shows thedetails at 100percent.

i Click OK.

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The Canvas texture is applied to the finishedpainting.


Try This!Click the Pattern Stamp tool and click the Brush thumbnail on theOptions bar, opening the Brush Picker presets. Click the drop-down listand click Large List to view the brushes by name. Click the drop-downlist again and click Wet Media Brushes. When the dialog box appears,click Append to add the brushes to the current set. Click the brush calledDry Brush on Towel. Open the brush presets by clicking the Brushespalette tab. Click Brush Tip Shape. Click the circular shape and move thedots to change the shape into an oval. Click and drag the arrow in thecircle to change the direction to fit your brush stroke style. Paint usingyour custom brush.

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2 Double-click the layer name andtype Dry Brush.

3 Click Filter.

4 Click Artistic.

5 Click Dry Brush.

Paint a

DIGITAL WATERCOLORTraditional watercolor paintings have transparentcolors and loosely defined shapes without blackoutlines. The surface of the paper often showsthrough the watercolors to give the image morepersonality. You can create a digital watercolor froma photograph and make it appear like a traditionallypainted image on watercolor paper using a series offilters from the Filter Gallery on separate layers.Start by duplicating the Background layer andapplying the first filter. Then duplicate that layer andapply a blur to soften the edges and blend the colors.

Add a blank layer over the other layers, fill it withwhite, and use it as a background to paint through.Using the eraser set to a chalk-styled brush, vary theopacity and erase through the white layer to revealparts of the filtered layer below. Finish the paintingby merging the two top layers and duplicating themerged layer. Apply a Texture filter to create thewatercolor paper look. The final step is to lighten theimage by setting the layer blend mode to Screen andbrighten the watercolor paints.

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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 appearance.

7 Click OK.

The filter is applied to the image.

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8 Click and drag the Dry Brush layer over the New Layer button to duplicate it.

9 Click Filter ➔ Blur ➔Smart Blur.

The Smart Blur dialog box appears.

0 Click and drag the Radius slider to about 6 andthe Threshold slider to about 50.

Note: The numbers are for reference. Your imagemay require different settings.

! Click here and select High.

@ Click OK.

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# Click the New Layer button to create a newblank layer.

$ Click the word Opacity and drag to the left tolower the opacity to 50%.

% Press D to reset the default foreground andbackground colors.

^ Press Ô+Delete (Ctrl+Backspace) to fill the layerwith white.


Try This!You can make the paper look more like watercolor paper by usingan off-white color to fill the top layer. After creating a new blanklayer in step 13, click Edit ➔ Fill. The Fill dialog box opens. Clickthe Use arrow and click Color to make the Color Picker appear.Type 250 for the Red data field, 246 for the Green data field, and239 for the Blue data field to select a color for the watercolorpaper. Click OK to close the Color Picker and click OK again toclose the Fill dialog box. Erase carefully over just the objects thatyou want to show as painted on the image. Areas left blank showthrough as the watercolor paper.

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The top layer fills with atranslucent white.

& Click the Eraser tool.

* Click the Brush thumbnail.

( Click a large chalk-style brush.

) Click and drag in the documentusing short strokes until thepainting is visible.

q Click the word Opacity and dragto the right to increase theopacity to 100%.

Paint a

DIGITAL WATERCOLORPhotoshop actually includes a Watercolor filter in theFilter Gallery. This filter generally adds too muchblack to replicate a traditional watercolor. A truewatercolor palette includes only gray and no blackpaint at all.

Because watercolors not only have soft edges butalso minimal transitions of color tones, you get thebest results by applying the Reduce Noise or theMedian filter to the photo before starting to createthe painting. These filters are found in the Filtermenu under Noise. By applying a filter first, you

eliminate some of the color changes and sharp edgesthat make a photograph look like a photograph. Witha limited color palette, the Dry Brush filter creates amore painterly image. Then using the Smart Blurfilter after the Dry Brush filter has been appliedblends the paints to complete the effect.

Traditional watercolor paintings often leave roughedges around the borders and even some blankareas in the painting, so do not completely paintaway all the white in the top layer.

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w Press Ô+E (Ctrl+E) to merge thetwo top layers.

e Click and drag the new mergedDry Brush copy layer over theNew Layer button to duplicate it.

r Click Filter.

t Click Texture.

y Click Texturizer.

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The Filter Galleryappears with theTexturizer filter.

u Click here and selectSandstone.

i Click and drag theScaling and Reliefsliders to look likerough watercolor paper.

o Click OK.

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The filter is applied to the top layer.

p Click here and select Screen.

The painting is lightened and looks more like atraditional watercolor.


Did You Know?The paint strokes appearmore realistic if you clickand drag in the documentusing short strokes in thesame direction as theobjects in the image. Paintvertical objects withvertical strokes andhorizontal items withhorizontal strokes.

Change It!With the Eraser toolselected, click the Brushestab to open the Brushespalette. Click the wordTexture in the brushpresets to highlight it.Make changes to thescale, depth, or pattern toadd texture to your brush.

Important!Photoshop’s Artistic filtersare applied at a fixed sizeand work best on filessmaller than 5MB. Alwaysview your photo at 100percent to see the effectand wait for the effect toprocess when changingadjustment sliders.

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Giving Your Images a

Professional Presentation

Presentation is so important that even anaverage photo can appear good 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 keeping a client or securing a new one.From the family snapshots to your portfolio,Photoshop makes it easy to show your imagesin a professional manner.

You can add frames to enhance any image withminimal effort using the one-click frame actionsincluded with Photoshop. You can also createyour own frames, change the frame colors andborders, and add a visual matte to the photo.You can create a traditional contact sheet of all

the photos in one client folder or on one CD.Using Photoshop’s PDF Presentation command,you can easily prepare a custom slideshow withprofessional transitions, save it as a PDFdocument, and send it to friends or clients asan email attachment. You can create custombackgrounds to display your images or, for anovel effect, place your images into atraditional slide template. Photoshop can alsohelp you apply an artistic edge to a photo usinga sequence of filters from the Filter Gallery, oryou can brush an artistic edge onto any imagesby hand using the Brush tool. You can even usethe Picture Package feature to prepare a designlayout using different photos for each page.With Photoshop, you can display all yourimages with a professional touch.

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Add Traditional Photo Corners . . . . . . . . . . . . . . . . . . . . 190

Make a Frame from a Photograph . . . . . . . . . . . . . . . . . 191

Make a Contact Sheet of Your Photos . . . . . . . . . . . . . . 192

Create a PDF Slideshow Presentation . . . . . . . . . . . . . . . 194

Create a Web Photo Gallery with Your Copyright . . . . . 196

Give a Photo an Artistic Edge . . . . . . . . . . . . . . . . . . . . . 198

Create a Custom Slide Template . . . . . . . . . . . . . . . . . . . 200

Create Your Own Custom Edge . . . . . . . . . . . . . . . . . . . . 202

Make One Photo Look Like Many Combined Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Make a Photo Look Like a Gallery Print . . . . . . . . . . . . . 206

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Add traditional

PHOTO CORNERSYou can add interest and give a finished look to yourphotographs by adding photo corners to your digitalimages. You can add these corners easily and quicklyusing an action from the Actions palette inPhotoshop. An action is a prerecorded set ofcommands that are automatically performed in thesame sequence when 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 palette tab, you

find a folder called Default

Actions. In the drop-down list of the Actions palette, there are seven other action folders as well. Tocreate photo corners, you first load the Framesactions and then use the Photo Corners type offrame.

Actions are stored as ATN files in the PhotoshopActions folder in the Presets folder.

1 Open a photo or image.

2 Double-click the Hand tool tomake the image fit the screen.

3 Click here to open the Actionspalette.

4 Click here.

5 Click Frames.

The Frames actions are loaded.

6 Scroll down to Photo Corners.

7 Click Photo Corners.

8 Click the Play button.

Photoshop plays the action andplaces photo corners on theimage.

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Make a

FRAME FROM APHOTOGRAPHYou may have a photo with more background areathan necessary. Rather than crop the photo, you cantransform the excess background into a frame for thecentral focus of the image. Making a frame from thephotograph itself is a quick way to give a finishedlook to any image. You select the area of the photothat you would otherwise crop and then invert theselection to create the frame. You can vary the frameshape by using the Elliptical Marquee tool to createan oval frame. To do so, jump the selected area to

its own layer above the Background layer and changethe blend mode to Screen to lighten it.

To separate the frame from the photo even more,you 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 in thephoto to delineate the frame.

3 Click Select.

4 Click Inverse.

5 Press Ô+J (Ctrl+J) to jump the selection toits own layer.

6 Click here and select Screen.

7 Click here.

8 Click Stroke.

Chapter 9

9 When the Layer Style dialog box appears,move it to see the image.

0 Click the Color thumbnail.

The Color Picker appears.

! Set the color to white and click OK to closethe Color Picker.

@ Click and drag the Size slider to increase thethickness.

# Click Drop Shadow, Inner Shadow, andBevel and Emboss.

$ Click OK.

The layer style gives the appearance of arealistic frame.

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1 Click File.

2 Click Automate.

3 Click Contact Sheet II.

Note: You can also select theimages first in the Bridge and clickTools➔ Photoshop ➔ ContactSheet II.

MAKE A CONTACT SHEET of your photosYour 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 burn a CD or DVD of the originals before youenhance them or use them in projects. Then use theContact Sheet II feature under Photoshop’s Automatecommand to make a contact sheet to help youidentify the images on the CD, DVD, or other storagedevice. You can also make an index of all the imagesin one project folder using the same command.

In the Contact Sheet II dialog box, you select thelocation and the images to be included. Youdetermine the size of the document, the number ofrows and columns, and the font and font size for thecaptions. The size of the thumbnails is constrained bythe number of rows and columns. Fewer columns androws on a page allows for larger thumbnail images.Print the contact sheet on a color printer as a visualindex to show a client or for your own reference.

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l The Contact Sheet II dialog boxappears.

4 Click here and select Folder.

5 Click Choose.

A directory dialog box opens.

6 Navigate to and click your photofolder.

7 Click Choose.

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You are returned to theContact Sheet II dialogbox.

8 Type the width, height,and resolution for yourprinted contact sheet.

9 Type a number for thecolumns and rows ofthumbnails to beprinted.

0 Select the font and fontsize for the printedfilename.

! Click OK.

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Photoshop builds and displays your contactsheet.

193Chapter 9: Giving Your Images a Professional Presentation

Caution!The Flatten All Layerscommand in the ContactSheet II dialog box flattensthe individual photo layersinto one so that it printsmore quickly. If youdeselect the box, Photoshopcreates a large, multilayereddocument and requireslarge amounts of RAM.

Did You Know?A document resolution of150 dpi is sufficient becausethe thumbnails are so smallthat the higher resolutionwould not be a visibleimprovement. Also, theContact Sheet II commandruns much faster with low-resolution images.

More Options!To make a contact sheet fora CD/DVD jewel case, type4.688 inches for both thewidth and height. Type 5 ineach data field for thenumber of rows andcolumns. Select 6-point typeto fit the text under thethumbnail.

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1 Open the images that you wantto use for the slideshow.

2 Click File.

3 Click Automate.

4 Click PDF Presentation.

Note: You can also select theimages first in the Bridge and clickTools ➔ Photoshop ➔ ContactSheet II.

The PDF Presentation dialog boxappears.

Create a

PDF SLIDESHOW PRESENTATIONIf you want to email photos to friends or yourportfolio to a prospective employer or send a clientsome images for review, you can use Photoshop tohelp you create a slideshow and save it as a PDFpresentation. You can then attach the presentation toan email or burn it to a CD or DVD. The PDFPresentation command in Photoshop enables you tocombine any type of images into either a multipagedocument or a slideshow presentation. You determinethe image quality depending on where the

presentation will be shown and set a level of securityso that the recipient cannot reproduce your imageswithout your permission. You can even select from anumber of slide transitions to give your presentationa professional look. You can select a complete folderto use as the source images or use images that arealready open. You select the amount of time thateach slide appears onscreen and decide if theslideshow should stop after the last image orcontinue in a loop.

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5 Click Add Open Files.

The list of open files appears inthe window.

6 Click Presentation.

7 Click here and select abackground color.

8 Click here and select a transitionstyle.

l You can click any other attributesfor the slideshow that you want.

9 Click Save.

The Save dialog box appears.

0 Type a name for the PDFslideshow and click Save.194

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The Save Adobe PDFdialog box appears.

! Click here and selectSmallest File Size.

@ Click View PDF AfterSaving.

# Click Save PDF.

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Photoshop creates the PDF file and launchesAdobe Reader, Acrobat, or Apple’s Previewapplication, depending on your platform andyour default settings.

The PDF slideshow begins in Acrobat, or theindividual slides are shown in Preview.

You can press Esc in Acrobat to end theslideshow.


Customize It!Change the transitions from RandomTransition to any of the othertransition styles. You can also changehow many seconds each imageappears on the screen by typing adifferent number of seconds in thedata field under PresentationOptions. If you want the presentationto repeat in a continuous loop, clickLoop After Last Page.

Attention!To protect the images from beingreproduced without permission, clickSecurity in the Save Adobe PDFdialog box. Click Use a Password inthe Permissions section. Type thepassword in the data field. Set thePrinting Allowed and ChangesAllowed options to None. Click SavePDF and confirm the password in thedialog box that appears.

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1 In the Bridge, press Ô+click(Ctrl+click) the images to use inthe Web Photo Gallery.

2 Click Tools.

3 Click Photoshop.

4 Click Web Photo Gallery.

Create a

WEB PHOTO GALLERY WITHYOUR COPYRIGHTIn addition to PDF slideshows and contact sheets,you will find other powerful automation tools inPhotoshop CS3. Using the Automate command foundboth under File in Photoshop and under Tools ➔Photoshop in the Bridge, you can easily create a Website home page with thumbnail and full-sized imagesfrom your files. The Web Photo Gallery commandincludes a number of templates for gallery styles withvarious options. You can also include your copyrightover each image to help protect your file from beingillegally copied when displayed on a Web page.

The steps to creating a Web Photo Gallery are similarto creating a PDF slideshow presentation as shown inTask #84. You select the images, select a style, andadd various options such as your contact information,title of the image, and destination for the folder. Toadd your copyright or any other custom text, youmust select the Security options and type the text asyou want it to appear on each photo in the gallery.

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55 The Web Photo Gallery dialogbox appears.

5 Click here and select a gallerystyle.

l You can type a contact emailaddress.

6 Click Destination and navigate toand select a folder for the gallery.

7 Click here and select Security.

l You can click here and select anyof the other options to setvarious parameters for your Webgallery, including your site name,image size, quality, and imagetitles.

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The Security options appear.

8 Click here and select Custom Text.

9 Click here and type your copyright text.

0 Select a font and font size.

! Click here and select a color.

@ Click here and lower the opacity to about 60%.

# Select a position and rotation for the copyright.

$ Click OK.

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Photoshop automatically resizes the images andcreates all the files necessary to upload thegallery to the Web.

Your default browser opens, showing the WebPhoto Gallery with your images and copyright.


Important!Before creating the Web PhotoGallery, set the ImageInterpolation to Bicubic Sharper —best for reducing image size — inPhotoshop’s General Preferences.Photoshop automatically uses theinterpolation method in thePreferences when resizing source images for the Web Photo Gallery.

More Options!You can include a banner witheach page in the gallery. Thebanner can include the name ofthe gallery, the name of thephotographer, any contactinformation, and a date. You canalso determine the font and fontsize in some gallery banner styles.

Try This!Instead of typing the wordCopyright as shown in theexample here, you can use thecopyright symbol. On a Mac, withthe Type tool selected, pressOption+G before typing yourname to add the copyrightsymbol. On a PC, press Alt+0169using the numeric keypad.

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You can press F three times toview the image in full-screenmode with menus.

1 Press Ô+J (Ctrl+J) to duplicatethe Background layer.

2 Click the New Layer button.

3 Click the new blank 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.

Give a photo an

ARTISTIC EDGEYou can give any photo a more artistic look byadding an irregular edge using the Filter Gallery andthe Brush Strokes filters. By duplicating theBackground layer and adding a new blank layer filledwith white below the top layer, you can create aunique artistic edge. The Filter Gallery enables you tocombine the filters in different ways and use thesame technique to create a variety of different edgesto fit each different image. Make a selection on thetop layer just inside the edge of the photo and then

add a layer mask to delineate the borders of thephoto. The artistic edge starts from the selectedarea. Open the Filter Gallery and start addingdifferent layers of Brush Stroke filters. The Previewwindow of the Filter Gallery shows the edge effect inreverse. The white areas represent the photo area,and the black areas represent what will be cut away.Every time you change the various sliders for theBrush Stroke filters, your edge effect changes in thePreview window of the Filter Gallery.

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6 Click Layer 1 to target 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.

The image has a small whiteborder.

0 Click Filter.

! Click Brush Strokes.

@ Click Spatter.

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The Filter Gallery openswith the Spatter edgeapplied.

# Click the New EffectLayer button.

$ Click Crosshatch.

% Click the New Effectbutton again.

^ Click Sumi-e.

& Click each individualeffect layer and adjustthe sliders to get theedge that you want.

* Click OK.

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The custom edge is applied to the photo.


Did You Know?Add as many Filter Effectslayers as your computer’smemory allows. Each oneyou add changes the style ofthe effect. Change the orderof the layers in the FilterGallery dialog box, and theoverall effect changes aswell.

More Options!For a light-colored image,darken the edge for astronger effect. Click theLayer Style button in theLayers palette. 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 buttonin the Layers palette. ClickStroke. Click the Colorthumbnail and change thedefault color to black. Clickthe Position arrow andselect Inside. Move the Sizeslider to get the thickness ofline that you want.

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1 Create a new file, 5 inches by 5inches at 300 ppi.

2 Click here to add a blank layer.

3 Click the Color palette and type241, 238, and 230 in the datafields for a light-gray color.

4 Click and hold the Rectangletool and select the RoundedRectangle.

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 slideshow. After youcreate the custom slide template, you can use it overand 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 cut

out the photo viewing area. You apply a drop shadowto give the illusion of a traditional slide mount. Savethe template with both a white Background layer andthe slide layer so that you can sandwich an imagebetween them for the final slide.

You can add text to the slide, fading it back so thatthe text looks authentic, and make a slide templatecustomized for each of your clients or friends for aunique presentation.

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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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The Layer Style dialogbox appears.

$ Click and drag theDistance and Sizesliders to about 15 togive the slide depth.

% Click OK.

The design resembles atraditional slide mount.

^ Click File ➔ Open andopen a photo that youwant to place in theslide mount.

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& Click the Move tool.

* Click and drag the photo on top of the slidetemplate.

( Click the photo layer and move it between theother two layers.

) Press Ô+T (Ctrl+T) to add transformationanchors.

q Press Shift to maintain the aspect ratio of theimage as you click and drag the corner anchorsto fit it inside the slide.

w Click here to commit the transformation.

The photo appears to be inside a traditionalslide mount.


Try This!You can add text to your slide. To doso, click the Type tool and type thetext above and below the opening inthe center. Use all caps in a fontsuch as Helvetica for a realistic effect.Then lower the opacity of the Typelayer to 50%. Press Ô+E (Ctrl+E) tomerge the type layer with the slidelayer.

Apply It!To use your slide on multiple photos,drag the first photo on top of theslide file. Drag the photo layerbetween the slide and theBackground layer. Adjust the photousing the transformation anchorsand flatten the layers. Click File ➔Save As to save the filled slide with anew name. Repeat this process foreach of the photos.

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1 Press D to reset the foregroundand background colors to blackand white.

2 Press Ô+J (Ctrl+J) to duplicatethe photo layer.

3 Click Image.

4 Click Canvas Size.

The Canvas Size dialog boxappears.

5 Click Relative.

6 Type 2 in both the Width andHeight fields.

7 Click here and selectBackground.

8 Click OK.

A white border appears aroundthe photo.

9 Double-click the Hand Tool to fitthe image to the screen.

0 Press B to select the Brush tool.

! Click here to open the BrushPreset Picker.

@ Click here.

# Click Large List.

The brush presets change tolabeled thumbnails.

$ Click a rough-edged brush suchas Oil Pastel Large.

Create your own

CUSTOM EDGECustom edges add an artistic look to any photograph.You can let a Photoshop filter draw an artistic edgefor you as in Task #86, or you can create your owncustom edge. Your custom edge can be your personaldigital signature. You use the Brush tool on aseparate layer and any rough-edged brush. Thedefault brush set that installs with Photoshopincludes various rough-edged brushes; however, youcan find many more in the brush sets listed in thedrop-down list of the Brush Preset Picker.

To create a custom edge, you need to cut the photoout of the Background layer and put it on a separatelayer. Then using the Crop tool, you create a reversecrop to enlarge the canvas. Add a transparent layerin between and paint your custom edge on that layer,clicking and dragging around the edges of the photo.Make sure that the black edges extend underneaththe photo and paint as much or as little of a visibleedge as you want.

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% Click here to add a new blank layer.

^ Click and drag the blank layer between the other two layers.

& Click and drag to paint on the blank layer along the visible edge of the photo.

Note: Make sure to paint partially overthe edge of the photo.

* Click the Brush thumbnail.

( Click another brush such as HardPastel on Canvas.

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edge of the photo to add variety to the edge.

The photo appears with a custom border, givingit a unique look.


Did You Know?You can paint with different brushangles for more variety. Click theBrushes tab and click Brush Tip Shape.Click and drag on the Brush Roundnessand Angle thumbnail to narrow thecircle. Paint the vertical edges of thephoto. Click the Brushes tab again andreverse the angle for the brush beforepainting the horizontal edges.

More Options!To blend the photo softly into thecustom edge, you first click the topphoto layer. Use the RectangularMarquee tool to make a selectionjust inside the edge of the photo.Click Select ➔ Inverse. Click Select ➔Modify ➔ Feather. Type 10 in theFeather Radius and click OK. PressDelete to soften the edge of the photoand blend it into the custom border.

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1 Arrange the workspace so thatthe Layers palette is large.

Note: See Task #3 for details.

2 Click the Rectangular Marqueetool.

3 Click and drag a rectangle in theimage.

4 Click Select.

5 Click Transform Selection.

Note: Pressing Ô+T (Ctrl+T) alsoadds transformation anchors;however, these transform or rotatethe image inside the selection.

Make one photo look like

MANY COMBINED SNAPSHOTSYou can combine multiple photos into one larger fileas separate layers, adding borders and drop shadowsto create an advertising piece or just a unique image.However, you can easily achieve a similar effect fromjust one photograph. Start by selecting differentsections of the photo and making separate layers ofthe selections. Then add the same layer style to eachlayer to make the one photograph appear to be acombination of separate photos pieced together.

You can use this technique on a photograph withmany subjects, as for a group shot or a party photo.You can also divide one main subject into variousparts. You can vary the size and shape of theindividual selections or keep them all the same. Youcan rotate the individual selections or rotate theindividual layers for a completely different effect. Youcan even apply different colored photo filters toindividual layers to change the mood of thephotograph.

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77 l Transformation anchors appearon the selection border.

6 Click and drag just outside acorner anchor to rotate theselection border.

7 Click here to apply thetransformation.

8 Press Ô+J (Ctrl+J) to duplicatethe selection to a separate layer.

9 Click the Background layer toselect it.

0 Repeat steps 3 to 9 to make anynumber of separate layers.

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The image appears the same but with multiple layers.

! Click the top layer.

@ Click here and select Stroke.

The Layer Style dialog box appears.

# Click here to open the Stroke Color dialog box,click white, and press Return (Enter).

$ Click here and select Inside.

% Click and drag the Size slider to make the edgelarger.

^ Click Drop Shadow and Inner Shadow.

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The layer styles are applied to the top layer.

* Press Option (Alt) and click here and drag thelayer styles to the layer below.

( Repeat step 18 for each layer.

The final image appears to be a combination ofmany smaller photos.


More Options!Depending on your image, you can alsorotate the individual layers to makeeach snapshot’s subject appear to beangled. After duplicating the selection toits own layer, press Ô+T (Ctrl+T) tobring up the transformation anchors.Click and drag just outside an anchorand rotate the layer for a very differenteffect.

Try This!Add different colored filters to some orall of the snapshot layers. Click a layerin the Layers palette to select it. ClickImage ➔ Adjustments ➔ Photo Filter.Click the Filter arrow to select a colorand click OK. Be sure to use the PhotoFilter option found under ImageAdjustments and not a photo filteradjustment layer because adjustmentlayers affect all the layers below it.

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1 Press D to reset the foregroundand background colors to whiteand black.

2 Press Ô+A (Ctrl+A) to select thephoto.

3 Press Ô+Shift+J (Ctrl+Shift+J) tocut the photo out of thebackground and jump it onto itsown layer.

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. Gallery printsgenerally have wide white, black, or even grayborders. The photo is placed in the top portion of theborder or frame area, allowing for the name of thegallery, name of the artist, and the name of theartwork to fit under the image in stylized type. Youcan make a gallery print using either a color or agrayscale photograph. After making a selection of the

photo and cutting it out onto its own layer, youenlarge the canvas size by 3 inches all around thephoto. You then add another inch below thephotograph, extending the area for the text. Addinga stroke around the photo and a second stroke justinto the extended canvas gives a finished look to thegallery print. The strokes can be the same ordifferent colors and pixel width.

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The Canvas Size dialog boxappears.

6 Click Relative.

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.

0 Click Image ➔ CanvasSize to open the CanvasSize dialog 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.

$ Press Ô+click (Ctrl+click) the photo thumbnailto select the photo.

% Click the New Layer button to add a new blanklayer.

^ Click Edit.

& Click Stroke.


Try This!Give the title text a truegallery look by using allcapital letters and widetracking. Click theCharacter button in thepalette dock to open theCharacter palette.Increase the tracking forthe title text to separatethe letters.

More Options!For a realistic look, type aprint number or thewords artist’s proof onthe left side under theborder. You can makethe stylized letters appearto be written in pencil bylowering the opacity ofthe Type layer.

Change It!Set the canvas color toblack in the Canvas Sizedialog box for a dramaticeffect. Use white for theinside border stroke colorand gray for the outsideborder stroke color andtype the text using whiteor gray.

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The Stroke dialog box appears.

* Type 2 px in the Width datafield.

( Click OK.

A thin, black stroke is applied tothe image.

) 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 the stroke to change the look ofthe gallery print. Select the photo on the layerthumbnail to target it and add an empty layer. Usingthe selection and targeting the new layer, add astroke around the photo to make it stand out. Stillusing the same selection, transform the selection tomake it slightly wider and higher. Then add anotherempty layer to add another stroke just outside thefirst one.

Gallery prints often have the name of the gallery setin a serif-styled font in all capital letters. Widen thetracking of the letters to increase the space betweenthe letters to add a realistic look. You can also usethis space to type your name, your studio, or eventhe name of the image. 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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Anchor points are added to theselection.

w Type 103.0% in the W data fieldand 104.0% in the H data field.

e Click here to commit thetransformation.

r Click the New Layer button.

t Repeat steps 16 to 19 to add ablack stroke outside the border ofthe photo.

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y Click the Type tool.

u Click here and select a font that looks likehandwriting.

i Type a font size in the data field.

o Click here, type your name, and press Enter (Ctrl+Enter).

p Click here, type a namefor the image, andpress Enter (Ctrl+Enter).

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Q Click in the center of the gallery frame and typethe name of the photo studio, gallery, or printseries.

W Press Enter (Ctrl+Enter).

E Click here and select a serif font such as AdobeGaramond and a font style such as Regular.

R Type a font size in the data field.

T Press Enter (Ctrl+Enter) to commit the fontchanges.

The image now appears like a traditional galleryprint.


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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Plugging into Photoshop CS3

Although Photoshop CS3 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 and often offer more functionalitythan Photoshop alone.

Plug-ins exist for nearly every project and forevery user level. With the imaginative brushsets, frames, backgrounds, ornaments, andedges from Graphic Authority, you can quicklyenhance or totally change the look of yourphotos. Andromeda’s many filters enable youto make a variety of changes to a photograph,including turning a photo into an engravingwhile controlling every line and direction. AlienSkin not only makes plug-ins for creatingglass, chrome, and perspective shadows, butalso the BlowUp plug-in, which enables you toresize images while maintaining the highest

image quality. Alien Skin’s new Snap Arthelps you quickly turn any image intotraditional-looking art. Akvis Coloriage enablesyou to accurately colorize black-and-whitephotos. Vertus Fluid Mask, the most powerfulmasking tool ever designed, helps you easilymake difficult selections. Using Nik Software’sSharpener Pro and Dfine to sharpen andreduce noise removes the guesswork fromPhotoshop’s filters. Nik Software’s Color EfexPro provides the ultimate control over yourcolors and makes it easy to createprofessional-looking images. Extensis Portfolio8 can help you organize, categorize, archive,and find your digital images from the time youfirst upload them to the computer throughstoring them on external media.

Third-party plug-ins can enhance the wayeveryone uses Photoshop.

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Embellish a Photo Effortlessly with Graphic Authority Frames and Photo Ornaments . . . . . . . . . . . . 212

Make a Digital Engraving with Andromeda’s Screens Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Enlarge Images with Maximum Quality with Alien Skin BlowUp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Change Your Photo into Art with Alien Skin Snap Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Colorize a Black-and-White Photo with AKVIS Coloriage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Easily Select the Subject and Remove the Background with Vertus Fluid Mask . . . . . . . . . . . . . . . . 222

Control Digital Noise with Nik Dfine 2 . . . . . . . . . . . . . . 224

Sharpen Photos with Finesse Using Nik Sharpener Pro 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Apply Traditional Photo Filters Such As the Sunshine Filter Using Nik Color Efex . . . . . . . . . . . . . . . . 228

Travel Beyond the Bridge with Extensis Portfolio 8 . . . . 230

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1 Open a Graphic Authority frameand the photo file.

2 Click the Move tool.

3 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 AUTHORITY frames and photo ornamentsYou can easily add a custom edge and background togive any photograph a professional or artistic styleusing any one or a combination of Graphic Authority’scollections. Graphic Authority offers brushes,backgrounds, papers, album layouts, templates,ornaments, edges, and frames, which work with anyversion of Photoshop. You can make your photographslook like filmstrips or create an almost unlimitedvariety of composite images. You can age a photowith backgrounds and brushes or apply a speciallydesigned custom shape to add personality to any

image. Because Graphic Authority’s backgrounds,edges, and frames are multilayered Photoshop files,you can easily and completely alter the look of yourphoto by turning off the visibility of any of the layers.

You can also customize any of Graphic Authority’sproducts to fit your image by transforming edgeswith the Free Transform command or by adding layerstyles and colored filters to various layers to turn anyphoto into a unique and artistic piece.

At graphicauthority.com, you will find a variety ofimaginative products and tutorials.

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4 Click and drag the photo layerbelow the Your Image Here layer.

5 Close the photo file.

6 Click here to hide the Your ImageHere layer.

l You can click the Visibility icon tohide any other layer to alter thelook.

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l The photo appears recessed in the Layers palette.

7 Use the Move tool to adjust the photo in the frame.

8 Click the Custom Shape tool.

9 Click here.

0 Click here.

! Click Load Shapes.

@ When the Load dialog box appears, navigateto the Photo Ornaments CD and click thePhoto Ornaments.csh file.

# Click Load.

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The Graphic Authority photo ornaments nowappear in the Custom Shape Presets.

$ Click a Custom shape.

% Click and drag in the photo frame file to addthe ornament.

l You can click here for the Shape layer andchange the color of the ornament to match acolor in the image.

The photo is now framed with an ornamentaledge.

213Chapter 10: Plugging into Photoshop CS3

Did You Know?With Graphic Authority products, youwill not have to pay to upgrade aplug-in when you upgrade yourversion of Photoshop. GraphicAuthority’s backgrounds, edges, andframes are multilayered Photoshopfiles and can be used with any versionof Photoshop. The brushes andornaments can be loaded into anyversion of Photoshop CS.

Try This!You can adjust the edges layer evenwith the clipping mask applied. Clickthe edge layer and press Ô+T (Ctrl+T)to bring up the transformationanchors. Press Ô+0 (Ctrl+0) to seethe anchors if necessary. Click anddrag the anchor points until the edgeslook the way you want.

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2 If you are using a color image,convert the duplicated layer to agrayscale image as in Task #49.

3 Click Filter.

4 Click Andromeda.

5 Click Screens.

MAKE A DIGITAL ENGRAVING with Andromeda’s Screens filterAndromeda Software makes a number of Photoshopplug-ins to help you create a variety of high-qualityengraved, etched, or screened effects from anyimage quickly and easily. Andromeda’s filters do allthe work. Using Andromeda’s Screens plug-in on agrayscale photo, you can select from a variety ofdifferent line art screens to turn your photo into amezzotint or other form of line art. You can select ascreening preset from a varied menu. Then using theThreshold slider, you can increase or decrease theamount from fine to coarse. You can select the

number of lines per inch and view a continuousupdate in a Preview window. You can even apply theeffects to the entire image or just to a selection. Youcan also duplicate the Background layer of a coloredimage, change the duplicate layer to a grayscaleimage, and apply the Screens filter to the duplicatedlayer. You can then get a totally different result bysetting the layer blend mode to Overlay. The colorfrom the original image in the layer underneathshows through for a unique effect.

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The Screens dialog box appears.

6 Click Sync to match the Inputand Output image windows.

7 Press Ô+click (Ctrl+Click) anddrag in the Preview window tomove the thumbnail box.

8 Hover the mouse over thePreview window and click tomagnify the views.

9 Click here.

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0 Click a Screens style.

! Click a subset style.

The preview changes.

@ Click and drag theThreshold slider tomake the lines finer ormore coarse.

# Click in the More orLess boxes to increaseor decrease the effect.

$ Click OK.

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The Screens filter applies an engraved look tothe image.

l You can click here and select Overlay to makethe color image appear through the engraving,changing the look of the final image.


Did You Know?Clicking Expert changes the Screensdialog box and opens more controls.You can increase the amount ofunsharp mask to enhance the finalresults. You can select how thepatterns and screens interact.Selecting the Sync option enables youto preview the same areas in thethumbnails of the Input and Outputimages as you zoom.

Try This!Click the More or Less thumbnails forthe threshold in the filter to increaseor reduce the darkness of the lines. Ifthe Threshold slider is set to Fine,clicking the thumbnails changes thethreshold by lower amounts eachtime that you click. Setting theThreshold slider to Coarse causes thechanges to vary by greater numberswith each click.

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1 Open the photo to enlarge.

2 Click File.

3 Click Automate.

4 Click Alien Skin Blow Up.

ENLARGE IMAGES with maximum quality with Alien Skin BlowUpWhen you change the image size in Photoshop, youselect an interpolation method such as BicubicSmoother or Bicubic Sharper for resampling thepixels. Although Photoshop’s algorithms are good,resampled images lose image quality, mostnoticeably when enlarged. Alien Skin’s BlowUp plug-in enlarges images using a different, more advancedinterpolation method. You can use BlowUp to enlargeyour photos while preserving the highest quality inyour image and avoiding the stairstep, or halo, andfringe artifacts that appear with other enlargements.

You can enlarge 8-, 16-, and 32-bit RGB images aswell as CMYK files, making this plug-in perfect foramateur and professional photographers as well asgraphic designers.

Alien Skin’s BlowUp is an automation tool. Becausemost of the resizing controls in BlowUp look just likePhotoshop’s Image Size dialog box, using BlowUp isvery easy. In addition, not only does BlowUp let youautomatically create a duplicate of the image beforeresizing, but it also adds more power and controlwith the photo grain and sharpening controls.

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The Alien Skin Blow Up dialogbox appears, showing thecurrent dimensions and imagesize.

5 Click the red box and drag overthe main subject.

6 Click here to constrain theproportions of the original image.

7 Click here to resize a copy of theimage, leaving the original fileuntouched.

8 Click in the Width data field andtype the width that you want.

9 Click in the Resolution data fieldand type the resolution that youwant.216

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A progress bar on thebottom appears briefly,and the large previewimage displays theresults.

0 Click and drag the redbox over the mainsubject.

! Click and drag theSharpen Amount sliderwhile watching the largepreview to sharpen anysoftened edges.

@ Click and drag the AddGrain slider to reduceany artificial smoothness.

# Click OK.

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BlowUp enlarges a duplicate of the image andassigns the same name as the original but withthe word copy.


Did You Know?Enlarging images alwayssoftens edges. Alien Skin’sBlowUp includes a SharpenAmount slider for the mosteffective method ofsharpening an enlargedimage and does not createadditional artifacts.

Attention!BlowUp’s Sharpen slider onlysharpens edges when aphoto has been enlarged.Use Photoshop’s Sharpenfilters to sharpen the originalimage before enlarging.Always use BlowUp’sSharpen Amount slidercarefully to avoid making thephoto appear too smooth.

More Options!You can use BlowUp’s AddGrain slider to visually restoreoverly smooth details byapplying artificial film grain.For extreme enlargements,however, you may need touse a more powerful tool,such as Alien Skin’s Exposureto add the correct amount ofgrain.

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CREATE A PEN-AND-INK DRAWING


2 Click Filter.

3 Click Alien Skin Snap Art.

4 Click Pen and Ink.

CHANGE YOUR PHOTO INTO ART with Alien Skin Snap ArtTurning a photograph into a fine art piece such as anoil painting or a pencil sketch using Photoshop’sactions and brushes can be a lot of fun. It can alsobe time-consuming. You can instead use Alien SkinSoftware’s new Snap Art plug-in to transform photosinto natural media art with just a few clicks. You canstart with the factory settings to make your photoappear hand-painted or drawn or change any settingto create your own effects.

The Snap Art dialog box includes a large Previewwindow and even several split screen previews so thatyou can see the effects on your photo as you applythem. Many of the settings include texture and lightingcontrols to give your project the look of realistic art.You can experiment with Snap Art for almost limitlessvariations. You can even combine effects on separatelayers for a completely different art style.

You will find many other powerful plug-ins atwww.alienskin.com.

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77 The Alien Skin Snap Art Pen andInk dialog box appears.

5 Click and drag the red box overthe main subject.

6 Click here and select a previewsplit.

7 Click here to apply the filter to aseparate layer.

8 Click and drag any of the slidersto adjust the look.

A progress bar appears briefly,and the large preview imagedisplays the results.

9 Click OK.218

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l The filter is applied to a new layer named Pen and Ink.

CHANGE THE LOOK BY ADDING

OTHER FILTERS

0 Click the Background copy layer to select it.

! Repeat steps 2 to 9 but instead select Color Pencil in step 4.

The filter is applied to a new layernamed Color Pencil.

@ Repeat step 10.

# Repeat steps 2 to 9 again but insteadselect Oil Paint in step 4.

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l The filter is applied to a new layer named OilPaint.

$ Click the Pen and Ink Layer to select it.

% Click here and select Overlay.

^ Click here and drag to slightly reduce theopacity.

& Click the Color Pencil layer to select it.

* Repeat steps 15 and 16.

You can click and drag one snap art layer aboveor below another to change the effect.

The final image now looks like an original pieceof art rather than a photograph.


Did You Know?Snap Art uses edge detection tooutline the objects in the photo. Ituses this outline to place the naturalmedia strokes and fills areas withcolors. Snap Art uses an advancedpaint engine to transform yourphoto into an artistic composition,preserving enough detail whilegiving the piece a loose and artisticappearance.

Try This!Each filter in Snap Art has manysliders and options. Move a sliderto try a different look. To undo achange, press Ô+Z (Ctrl+Z) or toredo the change, press Ô+Y(Ctrl+Y). You can return to thedefault settings anytime by clickingFactory Default or pressing Ô+R(F5) to reset the filters back tothe factory defaults.

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

2 Click Filter.

3 Click AKVIS.

4 Click Coloriage.

COLORIZE A BLACK-AND-WHITE photo with AKVIS ColoriageYou can add color to a grayscale photo in Photoshopusing adjustment layers, masks, and brushes;however, the Coloriage plug-in from AKVIS makescolorizing a black-and-white photograph quick andautomatic. You can even use Coloriage to replace thecolors in a color image. You can quickly add color toa variety of images from antique photos to hand-drawn sketches and cartoons and still maintain avery natural look.

You can colorize an image with Coloriage by clickingdifferent colors from the Colors palette or Library andpainting the colors over the areas with loose brush

strokes. When you press the green forward button,the software determines the borders of the variouscolored areas and applies the color based on thegrayscale values.

Your image must be in RGB mode. Click Image andMode from the menu and click RGB. Then select AKVISColoriage from the Photoshop filters. You can select thecolors from the Colors palette or use the Color Libraryfor difficult colors such as skin, hair, and lips.

You can find Coloriage along with other AKVIS filtersat http://akvis.com.

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The Coloriage dialog boxappears, displaying your imageat 100% in the Preview window.

5 Click here and drag to reduce orenlarge your preview.

6 Click here to select the first color,depending on the area.

7 Click here and drag to select thePencil tool size to draw in theimage.

8 Click and drag to draw in theimage with the first color.

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9 Repeat steps 6 to 8 toset all the colors to beused.


! Click and drag tocorrect any stray marks.

@ Click the Run button tosee a preliminarycolorization.

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l AKVIS determines the blends, and the colorizedimage appears in the After tab.

# Click the Before tab and repeat steps 6 to 11 tochange any colors as needed.

$ Click the Run button again to view thecorrections.

% Click the Apply button.

The final colorization is applied to the image.

Note: If the colors are too vibrant in theBackground copy layer, lower the opacity of thelayer slightly.


Did You Know?If you want to changeone particular color in acolor image and not alterthe rest of the colors,use the Pencil tool anddraw on the object. Thenuse the Keep-ColorPencil tool and draw aclosed outline aroundthe object.

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 so that you canedit colors later or tovary different colorizationschemes. Click the Savebutton after drawing allthe strokes but beforeapplying them andclosing the dialog box.

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2 Click Filter.

3 Click Vertus.

4 Click Fluid Mask.

Easily

SELECT THE SUBJECT ANDREMOVE THE BACKGROUND with Vertus Fluid MaskMaking selections so that you can cut out or replacebackgrounds in Photoshop can be difficult and is oftenincomplete, especially when selecting hair or trees.You can make selections or masks more effectivelywith a new tool from Vertus Tech called Fluid Mask.This plug-in uses highly advanced technology thatmimics the way the eye and brain look at objects.

Fluid Mask 3 automatically detects edges in the imageand outlines them in blue. Depending on the

complexity of your photo, you can increase or reducethe number of objects Fluid Mask outlines by increasingor decreasing the edge sensitivity. You paint over theobjects to be removed with the Delete brushes and canpreview your work using the Test Render tool. VertusFluid Mask 3 is the most advanced tool for masking.

You can even find easy-to-follow tutorials andsamples online at www.vertustech.com.

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The Fluid Mask dialog box fillsthe screen, and Fluid Maskautomatically outlines objects inthe photo.

5 Click here to select the DeleteLocal brush.

6 Click and drag in the image overareas to remove.

The areas turn red.

7 Click and drag here to adjust thebrush size.

8 Click here to select the DeleteExact brush.

9 Click and drag to paint overdetailed areas to be removed.

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0 Click the PreviewCutout tool.

! Click and drag over anarea to preview thecutout in the selectedarea.

The Preview windowshows the cutoutsubject on a greenscreen.

@ Click here to create thecutout.

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$$ l A progress bar appears as Fluid Mask replacesthe background with the preview color in thecolor box.

# Click File.

$ Click Save and Apply.

Vertus Fluid Mask removes the background andleaves the extracted foreground on atransparent layer in Photoshop.


Did You Know?You can click the Zoom tool and clickin the image to enlarge delicate edgeareas. Then paint with the DeleteExact brushes and double-click theHand tool to return to the full view.You can also use the Blend Exactbrush, the fourth brush down, topaint over areas with complex edgessuch as hair to further refine theselection.

More Options!You can create an alpha mask inPhotoshop from the transparencylayer. Press Ô+click (Ctrl+click) the extracted layer thumbnail in the Layers palette to select it. Click Layer ➔ Save Selection. Givethe layer a name in the dialog boxand click OK. The layer is saved as anew alpha channel so that you canreselect it quickly later.

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1 Click Filter.

2 Click Dfine 2.0.

3 Click Dfine 2.0.

l Optionally, you can click Dfine2.0 in the Selective palette.

CONTROL DIGITAL NOISE with Nik Dfine 2Digital noise is inherent in digital photographs andappears as bright, colored specks called chrominance

noise or dark spots or contrast noise calledluminance noise that often look like film grain.Various factors can affect or create noise, includingthe light, length of exposure, and temperature whenthe photo is taken, as well as the peculiarities ofindividual cameras and sensors. You may also seemore noise in photos taken using high ISO speedsand in low-light situations. Although you can reducedigital noise in a general manner with the built-in

filters in Photoshop CS3, using Nik Dfine 2 is farmore powerful and enables you to control how youreduce the noise and optimize the detail. Dfinereduces luminance noise, chrominance noise, andJPG artifacts; improves contrast; and adjustscolorcasts while taking into account the effects ofthe noise reduction. You can reduce the noise for thewhole image, for specific color ranges, or by settingcontrol points. The large Preview screen enables youto see the improvements as you try them.

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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 cornerto get the most screen space.

6 Click the Pan tool.

7 Click and drag in the image toview an area of noise.

8 Click here to view a split previewvertically.

l Optionally, you can click here toview a split preview horizontally.

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A red line splits thepreview screen.

9 Click here and selectAutomatic.

0 Click Measure Noise.

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NIK Dfine 2.0 automatically measures the noisein the image, creates a profile for it, and reducesthe noise in one side of the Preview image.

Note: In the figure shown here, see how muchcleaner the right side appears compared to the leftside.

! Click OK.

The noise reduction visible in the previewedsection is applied to the entire image.


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 2.0 palette.Click the Brush tool and paint in yourimage to selectively reduce noise. Use apressure-sensitive pen tablet such as aWacom Intuos or Cintiq for the mostcontrol with Dfine Selective.

Did You Know?Noise reduction is more effective whenapplied early in the image-editingworkflow. Apply Dfine 2 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 2 byturning off noise reduction andsharpening on your camera.

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1 Click Filter.

2 Click nik Sharpener Pro 2.0.

3 Click your output device fromthe list.

SHARPEN PHOTOS with finesse using Nik Sharpener Pro 2Sharpening is an essential step in digital imaging.Photoshop’s built-in filters base the sharpening onthe screen image. To get optimal image sharpening,use Sharpener Pro 2 from Nik Software. SharpenerPro analyzes the image and sharpens according tothe type of detail in the image, the type andresolution of the printer, the planned media for theprint, and the intended viewing distance of the finalprint. You can compare the before and after imagesin the large preview in the dialog box prior toapplying the filter. Nik Sharpener Pro 2 includes

specific sharpening settings for many of the inkjetprinters on the market.

Sharpening should be the final step in the editingprocess to avoid introducing unwanted details in theimage. Because most digital photos need somesharpening, it may be difficult to judge the quality ofthe image until sharpening is applied. Sharpener Pro2 includes a Raw Presharpening filter to slightlysharpen image files at the beginning of the editingprocess without introducing sharpening artifacts.

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The nik Sharpener Pro 2.0 dialogbox for the selected outputdevice opens.

4 Click here to preview the imageat a 1-to-1 ratio, or 100 percent.

5 Click the Viewing Distancethumbnail and select theintended viewing distance.

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6 Click and drag thePaper Type slider toselect the media.

7 Click and drag thePrinter Resolution sliderto match your printer’sresolution.

8 Click Use Autoscan toenable Sharpener Pro toautomatically adapt tothe specific image.

9 Click OK.

6677

9988

l A progress bar appears.

Sharpener Pro 2 applies the correct amount ofsharpening according to the settings.


Important!The order in which you apply imageenhancements affects the quality of thefinal print. Apply noise reduction first, ifnecessary. Then apply the Nik RawPresharpening filter. Adjust the image fortone and color and resize the image.Save the image. Apply Nik SharpenerPro 2 just prior to printing, based on theprinter, media, and intended viewingdistance.

More Options!You can apply sharpening to selectedareas using the Sharpener Pro 2Selective tool. Click ➔ Automate ➔ nikSharpener Pro 2.0 Selective. Click thefilter in the nik Sharpener Pro 2.0Selective palette that matches theintended output, adjust the settings, andclick OK. Click Paint and click and dragin the image. Click Apply to apply theselective sharpening.

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1 Click and drag the Backgroundlayer over the New Layer button.

2 Click Filter.

3 Click nik Color Efex Pro 2.0:traditional filters.

4 Click Sunshine.

APPLY TRADITIONAL PHOTOFILTERS such as the Sunshine filter using Nik Color EfexProfessional 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 2from Nik Software. Nik filters can help you enhanceimages better than using Photoshop alone. Based onphotographic filter technology, these filters considerthe existing color and light in an image and adaptthe effect accordingly. The filters can adapt to anyprevious adjustments in the photo, so you can applymultiple filters in a different order and achieve more

natural-looking photographic enhancements. You canuse any of the Color Efex Pro filters and customizethe settings to control the light and color in yourdigital images. You can even save your settings toapply them to a range of photos for a consistentworkflow 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.

22

33

55

99

44

7788

66

66

11

The Sunshine filter dialog boxappears.

5 Click here to select a splitpreview.

6 Click the + signs to enlarge thepreview images.

7 Click and drag the SaturationCorrection slider to control theintensity of the colors.

8 Click and drag the Cool ColorReduction slider to manipulatethe blue colors.

9 Click the Light Casting Algorithmthumbnail and select the type ofsunlight to add.

228

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0 Click and drag the Light Intensity sliderto control the amount of added light.

! Click and drag the Radius slider to control the increased detail smoothing.

@ Click the Select Prefilter thumbnail and select a color contrast filter to enhance different colors and objects.

# Click and drag the Prefilter Strengthslider to change the amount of theprefilter added to the image.

$ Click OK.

!! @@

$$

00

%%

##

l A progress bar appears as Color Efex Pro appliesthe filter to the image.

% Click the Visibility icon for the Background copylayer on and off to compare the results with theoriginal.


Did You Know?Nik Color Efex Pro 2 includes traditionalReflector filters, Infrared conversions, andCross Processing filters, as well as aSelective tool with the filters on a separatefloating palette. Use the Selective palette toapply any of the filters with a paintbrush tocontrol the location and amount of theeffect. Use a Wacom pen tablet for evengreater control.

Try This!If Photoshop does not display all of yourthird-party plug-ins, install them into aseparate folder that you create and nameinside the Photoshop application folder oreven elsewhere on your hard drive. LaunchPhotoshop, click Photoshop (Edit) ➔Preferences ➔ Plug-Ins & Scratch Disks.Click Additional Plug-ins Folder. ClickChoose and navigate to select youradditional plug-ins folder.

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CREATE A CATALOG OF IMAGES

1 Insert a digital media card intoyour card reader.

2 Press Control+click (right-click)the digital media icon on thedesktop.

3 Click Add To Portfolio.

4 Click New Catalog.

TRAVEL BEYOND THE BRIDGE with Extensis Portfolio 8Extensis Portfolio 8 is a unique tool for organizingand managing all kinds of digital files. Portfolioenables you to share files in a variety of ways, fromCDs or DVDs to searchable Web sites. 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 the Photoshop CS3 Bridgeor any other software for managing digital assets.Portfolio is the most flexible way to catalog, archive,track, share, and locate your files. Use Portfolio to

download your photos to your computer, rename thefiles, and include any Exif, XMP, or catalog data youwant. Portfolio adds thumbnails and screen previewsto the database. You can burn a CD or DVD of theoriginal images to create an archival copy from withinPortfolio’s catalog dialog box. By including the read-only browser on the CD or DVD, you can quicklysearch those files even from another computer.Portfolio’s powerful database tracks your files andgives you a visual preview of any image wherever itis stored.

5566

77

88

3344

22

Portfolio opens a Save dialog boxfor the new catalog.

5 Type a name for the catalog.

6 Click here and select the locationto save your catalog.

7 Click Save.

The Use Screen Preview dialogbox appears with Enable ScreenPreviews selected by default.

8 Click Done to enable thepreviews.

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SET THE CATALOG

OPTIONS

A new catalog and the Cataloging Options dialog box appear.

9 Click Assign Properties.

The Cataloging Options dialog box expands.

0 Click Copy or Move Files to a Location.

The dialog box expands again.

! Click Rename Files.

The dialog box expands again.

99

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00!!

@ Click the Description tab.

# Type data in the left field for your images.

$ Click Make a Copy of the Originals.

% Click the Folder icon.

^ Navigate to the location for the catalog in thedialog box that appears and click Choose.

l The location appears in the field.


Try This!Burn a CD of the original images. Fromthe menu, click Gallery and Burn toDisc. Click Original Files and Link Pathsin Catalog to Files Burned to Disc. Typea folder name. Click Create a Catalogand type the catalog name. Click theother empty check boxes to include thePortfolio Browser applications on theCD and click Burn.

More Options!You can rotate JPEG images fromportrait to landscape orientation or viceversa from within Portfolio withouthaving to launch another program. Clickan image or press Ô+click (Ctrl+click)any number of JPEG images to selectthem. Then press Control+click (right-click) to open the menu. Selectthe type of rotation to use. Portfoliorotates the image for you.

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& Click here and select Text.

* Type a name in the data field.

l Optionally, you can repeat steps17 and 18 to set the middlepart of the filenames.

( Click here and select NumberFrom.

) Type a starting number for theimages in this catalog.

q Click the Keywords tab.

TRAVEL BEYOND THE BRIDGE with Extensis Portfolio 8Portfolio can catalog almost any type of digital file.You can add individual files, folders, or completevolumes such as a CD 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 thetoolbox, using any words or phrase you enteredwhen cataloging the file. You can also search usingthe Find command and search for specific criteriaassociated with the file.

Portfolio offers many more advantages that you canfind on the www.extensis.com Web site.

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The dialog box changes options.

w Type a keyword here.

e Click the + to add the keywordto the list below.

l Optionally, you can click theFields tab and select the data toedit.

r Click OK.

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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 connectionof the card reader.

Portfolio displays apartial catalog as itcompletes the process.

ii

tt

yy

uu

VIEW AN IMAGE AND ITS PROPERTIES

t Click the image thumbnail.

y Click the Preview button.

Portfolio displays a larger preview of the photo.

u Click the Properties button to view details of theimage data.

CUSTOMIZE THE CATALOG

i Click the Customize button to make changes ormake different data appear in the catalog.


Did You Know?Portfolio 8 includes a separate application called Portfolio Express thatenables you to find cataloged files without launching the completeapplication. After you launch Portfolio Express, you can keep it running in thebackground and hide or show the palette using a hot key. The compactPortfolio Express palette floats above other document windows. Use theQuickFind feature from the palette to find a particular image and double-clicka thumbnail in the Portfolio Express palette to edit the original image. Youcan also drag and drop the thumbnail onto an alias (shortcut) of Photoshopto open it. You can even drag a thumbnail directly into an email message tosend a copy of the original file as an attachment.

12_144763 ch10.qxp 7/18/07 11:04 PM Page 233

Index

234

Numbers

32-bit High Dynamic Range (HDR) images, 124–125

A

actions, 14–15, 118–119, 190Actions palette, 14, 190active layers, 27Add Grain slider, 217Adjustment Layer button, 169, 174Adjustment layers, 28–29, 102Adobe Gamma utility, 20Adobe RGB, 4Airbrush button, 105Airbrush thumbnail, 93AKVIS Coloriage, 210, 220–221Alien Skin plug-in, 210

BlowUp, 216–217Snap Art, 218–219

aligning images for group shots, 122–123Alpha channel, 130Alpha 1 channel, 131Amount slider, 90, 117Andromeda filters, 210, 214–215Art History Brush, 16Artistic filters, 187Artistic layer, 168artwork, digital, 158–187

colored-pencil illustrations, 168–169creating with Alien Skin Snap Art, 218–219oil painting look, 180–183pen-and-colored-wash drawings, 174–177pen-and-ink drawings, 164–165photo collages, 178–179posterizing, 170–173signatures, 162–163sketched look, 160–161watercolor look, 184–187woodcut look, 166–167

Auto-Align Layers command, 122Auto-Blend Layers command, 123Auto-Enhance option, 37Automate command, 196Auto-Select Groups check box, 135Auto-Select Layer check box, 135

B

background, extracting main subject from, 40–41, 222–223Background Color box, 53Background copy layer, 71, 92, 96, 151Background layers, 40, 48, 70, 135

changing, 26–27dragging, 93duplicating, 26–27thumbnail, 155

background/foreground colors, 84

Balance slider, 112–113banner styles, 197Barrel distortion, 62Bevel and Emboss, 142, 157Bicubic Sharper, 66, 197, 216Bicubic Smoother, 66, 216bit depth, 125bitmap layer masks, 24Black and White adjustment, 110–111, 176Black and White dialog box, 111, 164, 170, 173, 174black-and-white images, colorizing, 100–101, 220–221Blacks slider, 107Blade Curvature and Rotation settings, 131blemishes, 70–73Blend Exact brush, 223Blend Images Together command, 65blending

blend modes, 120–121images for group shots, 122–123text into images, 152–153two images with layer masks, 30–31

Blending Options sliders, 152BlowUp plug-in, 210blue grids, 136Blur Focal Distance slider, 130Blur tool, 16bounding box, 144, 147Bridge, 10–11brightening eyes, 82–83Brightness slider, 155Brightness/Contrast dialog box, 155brush angles, 203Brush Name dialog box, 17, 163Brush opacity, 73Brush options, Diameter slider, 162Brush Picker, 78, 85, 91, 93, 101, 119, 183Brush Stroke filters, 198Brush thumbnail, 186, 203Brush Tip Shape, 16, 86, 175Brush tool, 16, 72, 84, 88, 101, 119, 123, 162, 188, 202

designing customized, 16–17Quick Mask mode, 38–39

brushesArt History, 16Blend Exact, 223eyelash, 85History, 16, 91Save, 17signature, 163

Brushes button, 85Brushes icon, 31Brushes palette, 17, 175, 187buildings, straightening, 62–63Burn tool, 16buttons

Adjustment Layer, 169, 174Airbrush, 105Brushes, 85Change Screen Mode, 110color-coded, 15Commit, 49, 51–52, 60, 142, 144Create New Action, 14

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235

Default Colors, 38Exclude Overlapping Shape Areas, 156Fill Pixels, 58, 200Foreground Color, 31Layer Mask, 29, 31, 119, 179, 198Layer Style, 140, 142, 151, 199New Adjustment Layer, 29, 102, 116, 120, 155, 167, 171New Brush, 17New Effect Layer, 199New Fill or Adjustment Layer, 34New Layer, 26, 58, 70, 84–85, 96, 174, 182, 185, 198Open Image, 55Paths, 144Warp Text, 145, 152

C

calibrating monitors, 20–21Camera Raw, 94

creating split tones in, 112–113cropping in, 54–55Exposure slider, 106Fill Light slider, 107improving sky with HSL values in, 108–109JPEGs, opening, 107Recovery slider, 106straightening in, 54–55TIFFs, opening, 107using to recover highlights, 106–107

Camera Raw dialog box, 106, 112, 126canvas size, 52, 137, 202, 206Cataloging Options dialog box, 231catalogs, 230–231catch lights, 88–89CD/DVD jewel case, contact sheets for, 193Change Screen Mode button, 110Channels tab, 128Character palette, 149, 151, 207check boxes

Auto-Select Groups, 135Auto-Select Layer, 135Crop, 55Crop check, 55Palette Locations, 9Resample Image, 67Tint, 111Tool Switch, 7

chromatic aberration, 63chrominance noise, 224Clean Up tool, 41clipping masks, 151Clone Stamp tool, 16collages, 178–179Color Burn, 166Color Efex Pro plug-in, 210Color Intensity slider, 99Color Picker, 19, 33, 77, 100–101, 135, 172, 185, 191Color Replacement tool, 77

Color slider, 100Color thumbnail, 18, 191colorcasts, 98–99color-coded buttons, 15colored-pencil illustrations, 168–169Coloriage dialog box, 220colors, 94–113

colored shadows, 154–155colorizing

black-and-white images, 100–101, 220–221new images, 104–105

converting to grayscale, 102–103, 110–111editing, 221improving

overexposed images, 97sky, 108–109underexposed images, 96

recovering highlights, 106–107removing colorcasts, 98–99settings for, 4–5split tones, 112–113

ColorVision, 20combined images, 204–205commands

Auto-Align Layers, 122Auto-Blend Layers, 123Automate, 192, 196Blend Images Together, 65Crop and Straighten Photos, 56, 58–59Flatten All Layers, 193Free Transform, 212Levels, 99Match Color, 98PDF Presentation, 188, 194Photomerge, 64Shadow/Highlight, 97Straighten Photos, 56Transformation, 42

Commit button, 49, 51–52, 60, 142, 144composition

improving with rule-of-thirds grid, 48–49photo collages, 178–179

Conner-ziser, Jane, 72, 88–89Contact Sheet II dialog box, 192contact sheets, 192–193Content palette, 11Content tab, 10Contract/Expand slider, 37Control Panel, 22Convert to Smart Object icon, 42converting to grayscale, 102–103, 110–111Cool Color Reduction slider, 228copyrights, 196–197Create New Action button, 14Creative Suite applications, 5Crop and Straighten Photos command, 56, 58–59Crop check box, 55cropping, 46–67

Camera Raw format, 54–55changing perspective, 60–61


Index

236

cropping (continued)

level horizons, 50–51multiple images to create triptychs, 58–59panoramas, 64–66reverse, 52–53rule-of-thirds grid, 48–49

Curves dialog box, 83Custom Crop dialog box, 55Custom Shape layers, 32–33Custom Shape Picker, 144Custom Shape tool, 32, 58, 143–144customizing, 1–23

actions, 14–15Bridge, 10–11Brush tools, 16–17Color Settings, 4–5gradients, 18–19keyboard shortcuts, 12–13monitor calibration, 20–21pen tablets, 22–23Preferences, 6–7workspaces, 8–9

Cylindrical option, 66

D

dark vignette effects, 117Darken Amount data field, 74Darker Color blend mode, 120Default Colors icon, 38, 52Default Foreground and Background Colors icon, 34default shortcuts, 12Default Workspace option, 9Delete Exact brushes option, 222–223Delete Local brush option, 222Density slider, 116depth of field, 128–131Dfine dialog box, 224dialog boxes

Black and White, 111, 164, 170, 173–174Brightness/Contrast, 155Brush Name, 17, 163Camera Raw, 106, 112, 126Cataloging Options, 231Coloriage, 220Contact Sheet II, 192Curves, 83Custom Crop, 55Dfine, 224Extract, 40Feather Selection, 80, 154Fill, 160, 185Fluid Mask, 222General Preferences, 6Gradient, 120Gradient Fill, 33, 34–35High Pass, 166Hue/Saturation, 82, 167

Image Size, 67Layer Style, 152–153, 191, 201, 205Lens Correction, 63Load, 213Make Work Path, 148Median, 13, 176New, 162New Action, 14New Guide, 48–49New Layer, 28, 33, 48Preferences, 6Quick Mask Options, 39Rotate Canvas, 50Save, 194, 230Save Selection, 129Save Workspace, 9, 11Screens, 214–215Select Shadow Color, 141Smart Blur, 164, 175, 185Smart Sharpen, 90Stroke, 208Synchronize, 55Threshold, 166Vanishing Point, 137

Diameter slider, 36, 71digital artwork. See artwork, digitaldigital negatives, 192digitizing tablets, 22–23, 31, 36, 86, 181diptych, 58Display drop-down menu, 41Distance sliders, 201Dodge and Burn tools, 16, 173double-neon glow, 140–141drawings

pen-and-colored-wash, 174–177pen-and-ink, 164–165

Dry Brush filter, 181, 184, 186Dual Brush, 16duplicating Background layers, 26–27dynamic range, 124

E

Edge Highlighter tool, 40Edge Touchup tool, 41edges

adjusting edges layer, 213artistic, 198–199creating custom, 202–203softening, 203

Edges Only mode, 164Edit and Transform menu, 145effects, 114–137

adjusting depth of field, 128–131aligning/blending images for group shots, 122–123blend modes, 120–121creating silhouettes, 132–135creating split tones for, 112–113


237

dark vignette, 117Filter Effects, 199Image, 15merging multiple raw images to 32-bit HDR, 124–125silhouettes, 132–135simulated motion blurs, 118–119smart digital photo filters, 116soft-focus, 92–93split tones, 112–113split-neutral density filters, 126–127text, 138–157

adding perspective, 146–147blending text into images, 152–153colored shadows, 154–155custom watermarks, 142–143double-neon glow, 140–141filling shapes with text, 144making text follow any path, 148–149photo-filled titles, 150–151warping type, 145weaving text/graphics, 156–157

Vanishing Point filter, 136–137Elliptical Marquee tool, 191Enable Color Management In Bridge option, 5engraving look, 214–215enhancing

colors, 94–113colorizing, 100–101, 104–105converting to grayscale, 102–103, 110–111creating split tones, 112–113improving overexposed images, 97improving sky, 108–109improving underexposed images, 96recovering highlights, 106–107removing colorcasts, 98–99

tonescolorizing, 100–101converting to grayscale, 102–103, 110–111creating split tones, 112–113improving sky, 108–109

enlarging images, 216–217Eraser tab, 22Eraser tool, 16, 77, 104–105, 160, 186, 221Exclude Overlapping Shape Areas button, 156Exposure slider, 106, 107ExpressKeys, 23Extensis Portfolio 8 plug-in, 210, 230–233Extract dialog box, 40Extract filter, 40, 45extracting main subject from background, 40–41, 222–223Eyedropper tool, 50, 76eyelash brushes, 85eyes

adding catch lights to, 88–89adding depth to, 84–87brightening by lightening whites, 82–83changing color, 76–77removing red eye, 74–75sharpening to add focus, 90–91

F

Fade slider, 99feather radius, 82Feather Selection dialog box, 80, 154Feather slider, 37fields

Darken Amount, 74Opacity data, 84–85, 93

Fill dialog box, 160, 185fill layer, 32Fill Light slider, 107Fill opacity, 142Fill Pixels button, 58, 200Fill slider, 28, 96, 143, 169filling shapes with text, 144Filter Effects, 199Filter expand arrow, 12Filter Gallery, 168–169, 181, 183, 188, 198filters, 24, 92

adding keyboard shortcuts for, 12–13Andromeda, 210, 214–215Artistic, 187Dry Brush, 181, 184, 186Extract, 40, 45High Pass, 167Lens Blur, 90, 128–131Lens Correction, 62–63, 117Liquify, 45Median, 168, 186neutral density, 34Pattern Maker, 45polarizing, 34Poster Edges, 170Reduce Noise, 186Screens, 214–215Sharpen, 90smart, 44–45, 97, 116Smart Blur, 164, 186Smart Sharpen, 91split-neutral density, 126–127Sunshine, 228–229Vanishing Point, 45, 114, 136–137Watercolor, 186Wind, 119

flat bed scanner, 56Flatten All Layers command, 193Flatten Image, 68Fluid Mask dialog box, 222focus

direct, adding dark vignette effects to, 117sharpening eyes to add, 90–91soft-focus effects, 92–93

Folders tab, 10Foreground Color box, 33, 76, 103Foreground Color button, 31frames, 15

creating, 191Graphic Authority, 212–213

Free Transform command, 212Freeform Pen tool, 148


Index

238

G

gallery prints, making images look like, 206–209Gamma utility, 20Gaussian Blur, 12, 89, 92, 118, 167General Preferences dialog box, 6, 7Go to Bridge icon, 10Gradient dialog box, 120Gradient Editor, 18–19, 121, 171Gradient Fill dialog box, 33–35gradient fill layers, 34–35, 121Gradient Map, 102, 110, 170–172Gradient tool, 29, 127, 129, 135, 141, 179gradients

customizing, 18–19Linear, 129

Graphic Authority plug-in, 210, 212–213Gray Point eyedropper, 99grayscale, converting to, 102–103, 110–111grid lines, 117Grid tool, 136grids

blue, 136red, 136rule-of-thirds, 48–49yellow, 136

group shots, aligning/blending images for, 122–123

H

Hand tool, 178, 190, 202Hardness slider, 76, 78, 85, 88HDR (High Dynamic Range) images, 114, 124–125Healing Brush tool, 78High Dynamic Range (HDR) images, 114, 124–125High Pass dialog box, 166High Pass filter, 167highlights, recovering, 106–107Highlights Hue slider, 113Highlights Saturation slider, 113Histogram palette, 99History Brush, 16, 91History palette, 90–91horizons, 50–51Horizontal and Vertical Type Tools, 150HSB/Grayscale tab, 113HSL values, 108–109HSL/Grayscale tab, 108–109, 111Hue slider, 77, 111Hue sub tab, 109Hue/Saturation adjustment layer, 82Hue/Saturation dialog box, 82, 167

I-J

ICC (International Color Consortium) profile, 20icons

Brushes, 31Convert to Smart Object, 42Default Color, 52Default Foreground and Background Colors, 34Go to Bridge, 10Layer Style, 33, 143, 163New Tool Preset, 49Open As Smart Object, 42Smart Object, 127Switch Foreground and Background Colors, 39Tool Preset Picker, 49Visibility, 26, 28, 70, 73, 91, 212

Image adjustments menu, 102Image Effects, 15Image Interpolation, 197Image Size dialog box, 67Image Size option, 66Interactive Layout, 64International Color Consortium (ICC) profile, 20interpolation methods, 216irises, adding contrast, 84

K

Keep-Color Pencil tool, 221kerning, adjusting, 149keyboard shortcuts, 9, 12–13Keywords tab, 10

L

Landscape mode, 65Lasso tool, 82, 100, 132Layer blend mode, 29, 103, 116Layer Mask button, 29, 31, 119, 179, 198layer mask thumbnail, 83Layer Opacity slider, 73, 89, 93Layer Style button, 140, 142, 151, 199Layer Style dialog box, 152–153, 191, 201, 205Layer Style drop shadow, 154Layer Style icon, 33, 143, 163layers, 24–45

active, 27Adjustment, 28–29, 102Artistic, 168Background, 40, 48, 70, 135

changing, 26–27dragging, 93duplicating, 26–27thumbnail, 155

Background copy, 71, 92, 96, 151Custom Shape, 32–33


239

extracting main subject from background, 40–41fill, 32gradient fill, 34–35, 121Hue/Saturation adjustment, 82layer masks, 30–31multiple, 35smart object, 42–43, 44

Layers palette, 26–27, 29, 32, 45, 62, 72, 84, 100, 104, 129, 160, 167, 169

Blend mode, 121Channels tab, 128options, 155slider types, 143using New Layer button, 182vector mask thumbnail, 157

Layers tab, 129, 131Lens Blur filter, 90, 128–131Lens Correction dialog box, 63Lens Correction filter, 62–63, 117Levels command, 99Light Casting Algorithm thumbnail, 228Light Intensity slider, 229lightening whites of eyes, 82–83Lighter Color blend mode, 120Lightness slider, 81Linear gradient, 129Liquify filter, 45Load dialog box, 213luminance noise, 224Luminance sliders, 108Luminance tab, 108–109

M

Macintosh System Preferences, 20Magic Wand tool, 38, 165Make Work Path dialog box, 148Manage Settings drop-down, 63Marquee tools, 38, 198masks, 24–45

bitmap layer masks, 24clipping, 151layer, 30–31Quick Mask mode, 38–39resolution-independent vector, 24Smart Filters effects, 45vector, 32, 157Vertus Fluid Mask, 222–223

Master Diameter slider, 76, 78, 85, 160–161, 163Match Color command, 98Maximized Screen Mode, 8Median dialog box, 176Median filter, 168, 186menus

Display drop-down, 41Edit and Transform, 145Image adjustments, 102Palette, 13

Menus dialog box, 13merging to HDR, 114, 124–125Metadata tab, 10modes

Darker Color blend, 120Edges Only, 164Landscape, 65Layer blend, 29, 103, 116Lighter Color blend, 120Maximized Screen, 8Overlay, 72, 215Portrait, 65Quick Mask, 38–39, 80

monitors, 20–21More or Less thumbnails, 215motion blur, 118–119Move tool, 48, 104, 122, 134, 178, 201multiple images, 11multiple layers, 35

N

neutral density filter, 34Neutralize option, 98New Action dialog box, 14New Adjustment Layer button, 29, 102, 116, 120, 155, 167, 171New Brush button, 17New dialog box, 162New Effect Layer button, 199New Fill or Adjustment Layer button, 34New Guide dialog box, 48–49New Layer button, 26, 58, 70, 84–85, 96, 174, 182, 185, 198New Layer dialog box, 28, 33, 48New Tool Preset icon, 49Nik Color Efex, 228–229Nik Dfine 2, 224–225Nik Sharpener Pro 2, 226–227noise, controlling, 224–225

O

oil painting look, 180–183Opacity data field, 84–85, 93Opacity option, 160, 185–186Opacity slider, 28, 71, 96, 98, 101, 141, 143, 161Open As Smart Object icon, 42Open Image button, 55options

Auto-Enhance, 37Cylindrical, 66Default Workspace, 9Delete Exact brushes, 222–223Delete Local brush, 222Enable Color Management In Bridge, 5Image Size, 66Neutralize, 98Opacity, 160, 185–186


Index

240

options (continued)

Perspective, 66, 146Photo Filter, 116, 205security, 195, 197Soft Light, 100Tile Horizontally, 178Tile Vertically, 178

Options bar, 10, 18, 48, 51, 53, 60Out-of-Gamut alert, 133overexposure

improving, 97working with Background layers to fix, 26–27

Overlay mode, 72, 215

P

painting, appearance ofoil, 180–183watercolor, 184–187

Palette Locations check box, 9Palette Menus, 13palettes, 8

Brushes, 17, 175, 187Layers, 26–27, 29, 32, 45, 62, 72, 84, 100, 104, 129, 160, 167, 169

Blend mode, 121Channels tab, 128options, 155slider types, 143using New Layer button, 182vector mask thumbnail, 157

Pan tool, 224panoramas, 64–66Paper Brightness slider, 169Paper Type slider, 227Path Selection tool, 149, 156–157paths, making text follow, 148–149Paths button, 144Paths palette, 149Pattern Maker filter, 45Pattern Picker, 182Pattern Stamp tool, 16, 182–183Pattern thumbnail, 182PDF Presentation command, 188, 194PDF slideshows, 194–195pen tablets, 22–23, 31, 36, 86, 181pen-and-colored-wash drawings, 174–177pen-and-ink drawings, 164–165Pencil tool, 16, 221Pencil Width slider, 169perspective

adding to type, 146–147changing with Crop tool, 60–61

Perspective option, 66, 146photo collages, 178–179photo corners, 190Photo Filter option, 116, 205Photomerge command, 64

Photoshop’s Automate command, 192Picture Package, 188pincushion distortion, 62pixel values, 94plug-ins, 210–233

AKVIS Coloriage, 220–221Alien Skin, 210

BlowUp, 216–217Snap Art, 218–219

Andromeda, 214–215BlowUp, 210Color Efex Pro, 210Extensis Portfolio 8, 210, 230–233Graphic Authority, 210, 212–213Nik Color Efex, 228–229Nik Dfine 2, 224–225Nik Sharpener Pro 2, 226–227Portfolio 8, 210, 230–233Sharpener Pro and Dfine, 210storing and navigating, 229Vertus Fluid Mask, 210, 222–223

polarizing filter, 34Portfolio 8 plug-in, 210, 230–233Portrait mode, 65portrait-orientation images, 11portraits, retouching, 68–93

adding catch lights to eyes, 88–89adding depth to eyes, 84–87adding soft-focus effects, 92–93brightening eyes by lightening whites, 82–83changing eye color, 76–77reducing wrinkles, 78–79removing blemishes, 70–73removing red eye, 74–75sharpening eyes to add focus, 90–91whitening teeth, 80–81

Poster Edges filter, 170posterizing, 170–173preferences, setting, 6–7Preferences dialog box, 6Prefilter Strength slider, 229presentation, 188–209

contact sheets, 192–193edges

artistic, 198–199custom, 202–203

frames, 191making images look like gallery prints, 206–209making one image look like many combined, 204–205PDF slideshows, 194–195photo corners, 190slide templates, 200–201Web Photo Galleries with copyright, 196–197

Preview Cutout tool, 223Preview palette, 41Preview tab, 10Preview window, 11profiling monitors, 20–21Purples Luminance slider, 109


241

Q

Quick Mask mode, 38–39, 80Quick Mask Options dialog box, 39Quick Select tool, 132, 148Quick Selection tool, 36–38, 80

R

Radius slider, 89–90, 92, 130, 166, 175–176, 185rasterized type, 138RAW file, 42raw images, merging to 32-bit HDR, 124–125recovering highlights, 106–107Recovery slider, 106–107Rectangle tool, 143Rectangular Marquee tool, 51, 163, 191, 200, 204red eye, 74–75, 77red grids, 136Reduce Noise filter, 186reducing wrinkles, 78–79Refine Edge palette, 36–37, 148removing

background with Vertus Fluid Mask, 222–223blemishes, 70–73colorcasts, 98–99red eye, 74–75

Resample Image check box, 67resizing, 46–67

with Alien Skin BlowUp, 216–217creating panoramas, 64–66maximizing size with minimal loss, 66–67reverse cropping, 52–53

Resolution box, 67resolution-independent vector masks, 24retouching portraits, 68–93

adding catch lights to eyes, 88–89adding depth to eyes, 84–87adding soft-focus effects, 92–93brightening eyes by lightening whites, 82–83changing eye color, 76–77reducing wrinkles, 78–79removing blemishes, 70–73removing red eye, 74–75sharpening eyes to add focus, 90–91whitening teeth, 80–81

reverse cropping, 52–53Rotate Canvas dialog box, 50Rounded Rectangle tool, 200rule-of-thirds grid, 48–49Ruler tool, 50

S

Saturation Correction slider, 228Saturation slider, 81–82, 108, 111, 113, 167

Saturation tab, 109Save Brushes, 17Save dialog box, 194, 230Save Selection dialog box, 129Save Workspace dialog box, 9, 11Scaling and Relief sliders, 187scanning images, 56scans, straightening, 56–57Screens dialog box, 214–215Screens filter, 214–215scrubby sliders, 83, 151, 160security options, 195, 197Select Prefilter thumbnail, 229Select Shadow Color dialog box, 141selections, 24–45

extracting main subject from background, 40–41making with Vertus Fluid Mask, 222–223Quick Mask mode, 38–39Quick Selection tool, 36–37Refine Edge palette, 36–37

sepia tone, 103Set Foreground Color box, 101Settings drop-down list, 5shadow sliders, 153Shadow/Highlight adjustment, 45Shadow/Highlight command, 97shadows, colored, 154–155Shadows Hue slider, 113Shadows Saturation slider, 113Shape Dynamics, 31Shape tool, 148shapes

Custom Shape layers, 32–33filling with text, 144

Sharpen Amount slider, 217Sharpen filters, 90Sharpen tool, 16Sharpener Pro and Dfine plug-in, 210sharpening

eyes to add focus, 90–91Nik Sharpener Pro 2, 226–227type, 146–147

shortcuts, keyboard, 9, 12–13Shortcuts For arrow, 13Show Transform Controls, 134–135signature brushes, 163signatures, 162–163silhouettes, 132–135single-column toolbox, 8Size Jitter Control, 31Size sliders, 191, 201, 205sketched look, 160–161skin, improving, 70–73sky

accentuating with gradient fill layers, 34–35improving with HSL values in Camera Raw format, 108–109

slide templates, 200–201sliders

Add Grain, 217Amount, 90, 117Balance, 112–113


Index

242

sliders (continued)

Blacks, 107Blending Options, 152Blur Focal Distance, 130Brightness, 155Color, 100Color Intensity, 99Contract/Expand, 37Cool Color Reduction, 228Density, 116Diameter, 36, 71Distance, 201Exposure, 106–107Fade, 99Feather, 37Fill, 28, 96, 143, 169Fill Light, 107Hardness, 76, 78, 85, 88Highlights Hue, 113Highlights Saturation, 113Hue, 77, 111Layer Opacity, 73, 89, 93Light Intensity, 229Lightness, 81Luminance, 108Master Diameter, 76, 78, 85, 160–161, 163Opacity, 28, 71, 96, 98, 101, 141, 143, 161Paper Brightness, 169Paper Type, 227Pencil Width, 169Prefilter Strength, 229Purples Luminance, 109Radius, 89–90, 92, 130, 166, 175–176, 185Recovery, 106–107Saturation, 81–82, 108, 111, 113, 167Saturation Correction, 228Scaling and Relief, 187scrubby, 83, 151, 160shadow, 153Shadows Hue, 113Shadows Saturation, 113Sharpen Amount, 217Size, 191, 201, 205Smooth, 37Stroke Length, 168Stroke Pressure, 169Threshold, 175, 185, 214–215Threshold Level, 166Tilt Sensitivity, 22Tip Double Click Distance, 22Tip Feel, 22Vertical Perspective, 62

slideshowsPDF, 194–195transition styles, 195

Smart Blur dialog box, 164, 175, 185Smart Blur filter, 164, 186smart filters, 44–45, 97, 116Smart Filters effects mask, 45Smart Object icon, 127smart object layers, 42–44

smart objects, 126–127Smart Sharpen dialog box, 90Smart Sharpen filter, 91smiles, whitening, 80–81Smith, Colin, 140Smooth slider, 37Smudge tool, 16Snap Art, 218–219Soft Light option, 100soft-focus effects, 92–93Source Files list, 66Spatter edge, 199special effects, 114–137

adjusting depth of field, 128–131aligning/blending images for group shots, 122–123blend modes, 120–121dark vignette effects, 117merging multiple raw images to 32-bit HDR, 124–125silhouettes, 132–135simulated motion blurs, 118–119smart digital photo filters, 116split tones, 112–113split-neutral density filters, 126–127Vanishing Point filter, 136–137

spectrophotometer, 20split tones, 112–113Split Toning tab, 112split-neutral density filters, 126–127Sponge tool, 16Spot Healing Brush tool, 70, 72, 74–75, 78sRGB default color space, 4Straighten Photos command, 56straightening, 46–67

buildings with Lens Correction filter, 62–63in Camera Raw format, 54–55changing perspective with Crop tool, 60–61creating level horizons, 50–51crooked scans, 56–57

stroke borders, 209Stroke dialog box, 208Stroke Length slider, 168Stroke Pressure slider, 169Sunshine filter, 228–229Switch Foreground and Background Colors icon, 39Synchronize dialog box, 55System Preferences, 22

T

tablets, 22–23, 31, 36, 86, 181tabs

Channels, 128Content, 10Eraser, 22Folders, 10HSB/Grayscale, 108–109, 111, 113Hue, 109Keywords, 10Layers, 129, 131


243

Luminance, 108–109Metadata, 10Preview, 10Saturation, 109Split Toning, 112

teeth, whitening, 80–81text, 138–157

adding perspective to, 146–147alignment, shortcuts, 155blending text into images, 152–153colored shadows, 154–155custom watermarks, 142–143double-neon glow, 140–141filling shapes with text, 144keeping sharp, 146–147making text follow any path, 148–149photo-filled titles, 150–151warping, 145weaving, 156–157

Texture filter, 184Texturizer filter, 187Threshold adjustment layer, 120–121Threshold dialog box, 166Threshold Level slider, 166Threshold slider, 175, 185, 214–215thumbnails, 10

Airbrush, 93Brush, 186, 203Color, 18, 191layer mask, 83Light Casting Algorithm, 228More or Less, 215Pattern, 182Select Prefilter, 229Type, 143Viewing Distance, 226

Tile Horizontally option, 178Tile Vertically option, 178Tilt Sensitivity slider, 22Tint box, 176Tint check box, 111Tip Double Click Distance slider, 22Tip Feel slider, 22titles

photo-filled, 150–151text for, 207

tonescolorizing old black-and-white images, 100–101converting to grayscale, 102–103, 110–111creating split tones, 112–113improving sky, 108–109

Tool Preset Picker icon, 49Tool Switch check box, 7tools, 22, 75. See also brushes

Blur, 16Brush, 16, 72, 84, 88, 101, 119, 123, 162, 188, 202

designing customized, 16–17Quick Mask mode, 38–39

Burn, 16

Clean Up, 41Clone Stamp, 16Color Replacement, 77Custom Shape, 32, 58, 143–144Dodge and Burn, 16, 173Edge Highlighter, 40Edge Touchup, 41Elliptical Marquee, 191Eraser, 16, 77, 104–105, 160, 186, 221Eyedropper, 50, 76Freeform Pen, 148Gradient, 29, 127, 129, 135, 141, 179Grid, 136Hand, 178, 190, 202Healing Brush, 78Horizontal and Vertical Type, 150Keep-Color Pencil, 221Lasso, 82, 100, 132Magic Wand, 38, 165Marquee, 38, 198Move, 48, 104, 122, 134, 178, 201Pan, 224Path Selection, 149, 156–157Pattern Stamp, 16, 182–183Pencil, 16, 221Preview Cutout, 223Quick Select, 132, 148Quick Selection, 36–37, 38, 80Rectangle, 143Rectangular Marquee, 51, 163, 191, 200, 204Rounded Rectangle, 200Ruler, 50Shape, 148Sharpen, 16Smudge, 16Sponge, 16Spot Healing Brush, 70, 72, 74–75, 78Zoom, 38, 70, 74, 88, 137, 223

Touch Strip Preferences, 23Transform tool, 137transformation anchor points, 141Transformation command, 42Transformation controls, 135transition styles, 195tripod, 64triptychs, 58–59two-column toolbox, 8type. See textType thumbnail, 143Type tool, 135, 140–142, 144, 152, 201, 209

Horizontal and Vertical, 150shortcuts, 147

U

underexposure, 96utilities, Adobe Gamma, 20


Index

244

V

Vanishing Point dialog box, 137Vanishing Point filter, 45, 114, 136–137Variations adjustment, 45vector masks, 32, 157vectors, 138vertical blue guide, 49Vertical Perspective slider, 62Vertus Fluid Mask plug-in, 210, 222–223viewfinder, 48Viewing Distance thumbnail, 226vignetting, 63, 117Visibility box, 128Visibility icon, 26, 28, 70, 73, 91, 212

W

Wacom digitizing tablet, 22–23, 31, 36, 181Wacom Intuos3 pen, 79Warhol-style images, 170–173warning triangles, 172Warp Text button, 145, 152warping type, 145Watercolor filter, 186watercolor look, 184–187watermarks, 142–143weaving

graphics, 156–157text, 156–157

Web Photo Galleries, 196–197White Balance setting, 98white highlights, 153whitening teeth, 80–81Wind filter, 119woodcut look, 166–167workspaces, customizing, 8–9wrinkles, reducing, 78–79

X

X key, 73X-Rite i1 Display LT colorimeter, 20X-Rite i1 Match software, 20–21X-Rite i1 Photo LT spectrophotometer, 20

Y-Z

yellow grids, 136

Zoom tool, 38, 70, 74, 88, 137, 223


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