Photoshop CS4 Studio Techniques- P14 ppt

To adjust a Smart Object without affecting the rest of the image, select the Smart Object layer, hold down Option/Alt, click the Adjustment Layer pop-up menu at the bottom of the Layers

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Camera Raw

You can blend two different interpretations of the same raw format image by using Smart Objects Embed a Camera Raw ﬁ le into an existing document by choosing File > Place In the Camera Raw dialog, you can control the tonality and color of the image—but what if you can’t ﬁ nd

a single interpretation that does justice to the entire image

(Figure 10.33)? Choose Layer > Smart Objects > New

Smart Object via Copy to create a second Smart Object that’s independent of the ﬁ rst Double-click the thumbnail image for the new Smart Object, causing the Camera Raw dialog to appear, and choose different settings that you want to apply to the second Smart Object Once you have

the two different interpretations of the raw ﬁ le (Figures 10.34 and 10.35), you can add a layer mask to the top

Smart Object and use it to control where each version of

the raw ﬁ le contributes to the ﬁ nal image (Figure 10.36).

Figure 10.34 The sky was ignored

and the bottom was optimized in this

Camera Raw interpretation.

Figure 10.35 The bottom was ignored and the sky was optimized in this Camera Raw interpretation.

Figure 10.36 The two interpretations

of the same raw file were combined

by using a layer mask.

Figure 10.33 Using a single set of

Camera Raw settings produced this

less-than-desirable result

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Painting and Adjustments

Many of Photoshop’s tools are disabled when a Smart

Object is active in the Layers panel Here are a few tricks

you can use to get around that limitation:

To apply paint to a Smart Object, create a new layer

directly above the Smart Object and choose Layer >

Create Clipping Mask so that any paint applied to the

layer will show up only where the Smart Object appears

To adjust a Smart Object without affecting the rest of

the image, select the Smart Object layer, hold down

Option/Alt, click the Adjustment Layer pop-up menu

at the bottom of the Layers panel, and choose the

adjustment you want to apply When the New Layer

dia-log appears, turn on the Use Previous Layer to Create

Clipping Mask check box to limit the adjustment to the

Smart Object layer

If you want to apply a ﬁ lter that’s not available as a

Smart Filter, ﬁ rst duplicate the Smart Object layer by

pressing Command/Ctrl-J, and then hide the original

by clicking its eyeball icon Now apply the ﬁ lter to the

duplicate Photoshop merges the layers that make up

the Smart Object (also known as rasterizing), which

turns it into a normal layer But since you hid the

original Smart Object, you still have a copy that you can

later edit and then re-ﬁ lter

Be careful when adding layers to a Smart Object If

the original Smart Object was created after opening

a ﬂ at JPG ﬁ le that contained no layers, adding

lay-ers will cause problems Photoshop will act as if the

Smart Object is actually a JPG ﬁ le Since JPG ﬁ les can’t

contain layers, Photoshop will present a Save As dialog,

forcing you to save the document in a ﬁ le format that

supports layers That means that adding a layer will

cause your edited Smart Object to be saved on your

hard drive instead of being embedded in the parent

document in which you used the Smart Object To

update the parent document, choose Layer > Smart

Object > Replace Contents and point Photoshop to the

newly saved layered ﬁ le

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Warping Images

Photoshop’s warping features allow you to bend and distort images in interesting ways Choosing Edit > Transform > Warp causes various warp settings to appear in the options

bar (Figure 10.37) and places a grid over the active layer (Figure 10.38) There are 15 preset warp shapes available (Figure 10.39) After choosing a preset from the Warp

pop-up menu in the options bar, you can adjust the Bend,

H (Horizontal), and V (Vertical) ﬁ elds in the options bar to control the extent of the warp that’s applied to the active layer If you need to warp an image to match

an element in a photograph, set the Warp pop-up menu

to Custom

Figure 10.37 The options available when warping a layer.

Figure 10.38 Choosing Edit > Transform > Warp causes a warp grid to appear

Figure 10.39 The default warp presets.

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When applying a Custom warp, you can drag the corner

points, handles, or grid lines to distort the image To

match the contours of an object, start by positioning the

corner handles to meet the underlying image (Figure

10.40) Adjust the corner handles to specify the angle at

which the edge of the image should match the

underly-ing image (Figures 10.41 and 10.42) To ﬁ ne-tune the

results, drag the grid lines until the image is distorted to

match the underlying object (Figure 10.43) If you warp a

Smart Object layer, you can choose Layer > Smart Object >

Replace Contents to swap out a different image while

retaining the warping last applied to the layer (Figures

10.44 and 10.45).

Figure 10.40 Choosing Custom from

the Warp pop-up menu presents a

grid.

Figure 10.41 Drag the four corners

of the grid so they line up with the object you’re trying to match.

Figure 10.42 Adjust the corner

handles.

Figure 10.43 Fine-tune the results by dragging the grid lines.

Figure 10.44 End result of warping

iStockphoto.com and Ben Willmore.)

Figure 10.45 Using a Smart Object, you can swap the image while retaining the warping.

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Creating Complex Collages

Now we’re ready to put all these features together, bine them with the blending modes we explored in Chapter 9, and throw in a few other techniques to create

com-a complex collcom-age If you hcom-aven’t recom-ad through com-all of this chapter and Chapter 9, it might be difﬁ cult to follow along with this project, so make sure that you’ve covered that material before you dive in

The collage in Figure 10.46 was originally created by

Regina Cleveland for the CS2 edition of this book She challenged Ben Willmore to re-create it in Photoshop and gave him a total of four photos, which she snagged from

www.istockphoto.com (Figures 10.47 to 10.50), along with

a shot of Ben taken by his friend Andy Katz (Figure 10.51).

Figure 10.47 This leaf image started

iStockphoto.com/BritishBeefUK.)

Figure 10.48 This pattern was used

on both the head and background

avarkisp.)

Figure 10.51 This shot of Ben Willmore goofing off was used as

Figure 10.46 A collage on the cover

of a previous edition of this book.

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We’re going to ﬂ y through this procedure, so pay close

attention!

Creating the Fan of Leaves

The ﬁ rst element is the single leaf image, which, when

later multiplied, will provide a headdress for the face

We double-click the Background image to turn it into a

normal layer, and then use a vector mask to isolate the leaf

from its background (Figures 10.52 and 10.53) Because

this element is going to be scaled and rotated many times,

and needs to retain as much of the original detail as

pos-sible, we convert the layer into a Smart Object

The original leaf document doesn’t have enough space to

create the fan of leaves, so we create a new document the

exact size of the book cover plus nine points (just over 1/8

of an inch) of extra space on three sides to allow for bleed

(the fourth side will merge with the spine of the book and

therefore doesn’t need any bleed) Once the document

is open, we position three guides (using the View > New

Guide command) to indicate the trimmed page size Then,

before doing any more work, we drag the leaf Smart Object

to the newly created document (using the Move tool) and

scale it to an appropriate size (using the Edit > Free

Trans-form command)

The fan needs a total of ten leaves spanning a 180-degree

arc To space the leaves evenly, we divide the total degrees

of rotation (180) by the number of leaves that will be

used (9, since two of the leaves will end up at the same

angle—straight up and down—and therefore shouldn’t be

counted twice) Since dividing 180 by 9 produces 20, that

means that each leaf needs to be rotated by 20 degrees

from the one adjacent to it

With those calculations in hand, we duplicate the original

Smart Object layer by pressing Command/Ctrl-J to create a

second instance of the Smart Object We rotate the

dupli-cate by pressing Command/Ctrl-T to access the Free

Trans-form command; then the pivot point (which looks like a

crosshair and appears in the center of the layer that’s being

transformed) is dragged straight down and positioned on

Figure 10.52 Isolate the leaf from its background by using a vector mask.

Figure 10.53 Layers panel view of the isolated leaf.

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the bottom center transformation point (Figure 10.54) To

get the proper amount of rotation, we enter a value of 20

in the Angle ﬁ eld in the options bar, which ends up ing the image to the right—the wrong direction Oops! Add a minus sign before the percentage to rotate it in the opposite direction After pressing Return/Enter twice (the ﬁ rst time to have Photoshop accept the number and the second time to complete the rotation), we repeat the process (duplicate, move pivot point, rotate) until a total

rotat-of ten leaves are in place (Figure 10.55).

Next, the leaves needed to interact with each other instead

of obscuring each other For each layer, the blending mode

is set to Multiply, causing the layer to act as if it were being

printed on top of the underlying layers using ink (Figure 10.56) At this point, the fan of leaves starts to look inter-esting, but lacks any hint of color

Figure 10.54 The pivot point is

dragged to the tip of the leaf.

Figure 10.55 Result of duplicating and rotating the leaf Smart Object nine times.

Figure 10.56 The leaves look more integrated after setting each Smart Object layer to Multiply mode.

Color is added by applying a Gradient Overlay layer style

to each layer, using the Color blending mode to apply the color of the active layer to the brightness information from

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the underlying image In this case, Color mode causes

the Gradient Overlay to apply color to the brightness

values in the leaf We click the Gradient Overlay Preview

and change the color used on one end of the gradient, and

then adjust the Opacity and Angle settings until the color

is affecting the leaf in just the right way (Figure 10.57).

To apply similar settings to the other leaf Smart Objects,

we Control/right-click the style-laden layer in the Layers

panel, choose Copy Layer Style, select all the other Smart

Object layers, Control/right-click one of the layers, and

choose Paste Layer Style, which makes all the leaves take

on the same color (Figures 10.58 and 10.59) To make

each leaf a different color, double-click the Layer Style icon

on each layer, change the color used in each gradient, and

adjust the Angle setting to cause the color to be

concen-trated near the outer tip of each leaf (Figure 10.60).

Figure 10.59 The leaves appear as a single color because we applied the same layer style to each leaf.

Figure 10.58 Copying and pasting

the layer style applies it to each of the

selected layers.

Figure 10.60 The leaves take on ferent colors after we modify the layer style applied to each layer.

dif-Adding the Head

At this stage, the fan of leaves is about done, but it lacks a

background A stylistic head is the next element to tackle

Figure 10.57 One of the Gradient Overlays that we applied to the leaves.

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We open the head image in Photoshop and drag it into the book cover document, using the Move tool A problem develops after scaling the head layer to an appropriate size and moving it to the bottom of the Layers stack: All the leaf Smart Object layers look like they’re printed on top of the head, because we set them all to use the Multiply blending

mode (Figure 10.61).

Since we needed the Multiply mode to cause the leaves

to print on top of each other instead of obscuring each other, we select all the leaf Smart Object layers and choose Layer > Smart Objects > Group into New Smart Object to nest them into a new Smart Object This solves the prob-lem, because the individual layers that make up a Smart Object cannot interact with layers that are outside the Smart Object A Smart Object can only interact with the underlying image as a whole, and the blending mode for the newly created Smart Object is set to Normal, which prevents it from interacting with the rest of the image

(Figure 10.62) Grouping the leaf layers into a Smart

Object also has the added beneﬁ t of greatly simplifying the Layers panel

The cover of this book traditionally features a white ground, which means that the background of the head image needs to be removed We start by hiding the fan of leaves Smart Object so it doesn’t obstruct the view of the head layer Removing the background on the head layer is

back-an easy process because the background is quite different from the subject in both color and brightness The Magic Wand tool is perfect for this job Clicking the background probably isn’t enough to select the whole area, though,

so we hold down the Shift key and click unselected tions of the background It takes less than a dozen clicks with the Magic Wand tool to get a decent selection of the background Then, to hide the background on the head, hold down Option/Alt and click the Layer Mask icon at the bottom of the Layers panel Holding down Option/Alt causes the selected areas to become hidden when the mask

por-is created (Figure 10.63) We might have to touch up a few

spots near the mouth and nose, since the original selection isn’t perfect

Figure 10.61 Set to Multiply mode,

the leaves look like they were printed

on top of the head.

Figure 10.62 The leaf layers are

grouped into a Smart Object, with

blending mode set to Normal.

Figure 10.63 The background is

removed from the head with the

Magic Wand tool and a layer mask.

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The head is now ready for her beauty treatment The

paisley/fractal pattern image is placed on the layer directly

above the head Then we choose Layer > Create Clipping

Mask to make the pattern show up only where the head

is (Figure 10.64) To make the pattern interact with the

head, we switch to the Move tool, hold down Shift, and

press the plus (+) key on the keyboard a few times to cycle

through all the blending modes in the pop-up menu at

the top of the Layers panel (Shift and the minus key cycles

back) After going through the whole list a few times, we

settle on the Overlay blending mode (Figure 10.65) The

improved look of the head is good, but the colors aren’t

popping the way they did in Regina’s original collage With

the pattern layer still active, we choose Gradient Overlay

from the Layer Style pop-up menu at the bottom of the

Layers panel, created a colorful gradient, and then

experi-ment with the Blending Mode pop-up menu until we like

the results (Figures 10.66 and 10.67).

Figure 10.65 The Overlay blending mode causes the pattern to overlay onto the head.

Figure 10.66 Additional color comes with a Gradient Overlay layer style on the pattern layer.

Figure 10.64 A clipping mask is used

to make the pattern show up only

where the head is.

Figure 10.67 This Gradient Overlay is applied to the pattern layer.

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Adding the Camera Lens

At this point, we make the fan of leaves Smart Object ible again and reposition it so that the center of the fan

vis-is close to being centered on the round part of the head

(Figure 10.68) To add the camera lens to the middle of

the fan, we open the photo of the camera, extract the camera body from the lens by using a vector mask, and then drag it into position within the collage To add a little accent to the lens, we choose Drop Shadow from the Layer Style pop-up menu at the bottom of the Layers panel, set the blending mode to Screen, and chose a cyan color

Adding Type and Logo Treatments

It’s time to add the cover text, using four Type layers (For more about working with text, check out the bonus video

“Type and Background Effects” at www.danablan.com/photoshop.) The logo that appears at lower right on the cover was supplied by the publisher as an EPS ﬁ le To add that element, we choose File > Place and point Photoshop

to the logo ﬁ le That embeds the EPS ﬁ le into the collage as

a Smart Object layer, which allows it to be scaled to any size without losing quality To complete the graphic elements

on the cover, we add a red bar across the top of the

docu-ment, using the Rectangular Shape tool (Figure 10.70).

Figure 10.70 Text and logo

treat-ments are added to the cover.

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Creating the Background Texture

Now we’re ready to tackle the background behind the

head The pattern applied to the head was the same used

for the background, so we duplicate the pattern layer, drag

it to the bottom of the Layers panel, and scale and position

it to ﬁ ll most of the white space at the bottom of the image

(Figure 10.71) At this stage, the head and the background

contain similar colors, so we shift the color of the

back-ground: Hold down Option/Alt, choose Gradient Map

from the Adjustment Layer pop-up menu at the bottom of

the Layers panel, and turn on the Use Previous Layer to

Create Clipping Mask check box so the adjustment affects

only the background pattern We added the gradient to

force the colors in the background toward red and orange

(Figures 10.72 and 10.73) To make the background fade

into the white found at the top of the cover, we add a layer

mask and apply a gradient to the mask (Figure 10.74).

Figure 10.73 Result of shifting the colors in the background.

Figure 10.74 Result of masking the background with a gradient.

Figure 10.72 A Gradient Map

adjust-ment layer shifts the background

colors toward red and orange.

Final Tweaks

The cover collage now contains all of the major pieces

found in the original version provided by Regina, and it

just needs a few tweaks to reﬁ ne the results For the

back-ground pattern, we duplicate the fan of leaves as a Smart

Object, setting its blending mode to Screen, lowering the

Figure 10.71 The pattern from the head is duplicated and used as the base of the background.

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Opacity, and scaling it up to lighten the background, using the same shape as the leaves To make the fan of leaves partially transparent, we add a layer mask and paint with a soft-edged brush at a low opacity, which lets the shape of the head show through For the lens reﬂ ection effect, we add Ben’s photo above the lens and use Overlay blending mode Finally, to make a beam of light emanate from the lens, we create a new layer, make a triangular selection and

ﬁ ll it with white, and lower its opacity to connect the lens

to the eye (Figure 10.75) With a big “Whew!” we consider

the collage as ﬁ nished, and now only need to put it into a 3-D mockup of the book’s cover

Creating a 3-D Cover Mockup

To create the 3-D cover mockup, we use a photograph of

a similarly sized book, ﬂ attening the newly created collage and moving it into the book photograph image Using the Distort command (Edit > Transform > Distort), we distort the collage to match the shape of the photographic cover

(Figure 10.76) Finally, we use the Gradient tool in Multiply

mode to add subtle shading to the cover, which adds a bit

of realism to the end result (Figure 10.77).

The Next Step

Hopefully you get as much of a kick out of creating lages as we do It’s one of those things that really never gets old; you can always count on another surprise around the corner, and knowing how to create a complex image like this will help you to tackle whatever comes your way If you want to create truly realistic-looking collages, keep the fol-lowing ideas in mind:

When combining images that were shot under different lighting conditions, be sure to color-correct the images individually before turning them into a collage; other-wise, each one will have a different color cast

If you’re basing a collage on an image that has a desirable color cast (such as candlelight, ﬁ relight,

or sunrise/sunset), use the techniques mentioned

Figure 10.75 The finished cover,

complete with lens reflection.

Figure 10.76 The transformed cover

image matches the perspective of the

photograph.

Figure 10.77 Shading with the

Gradi-ent tool helps to make the end result

look more realistic.

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in Chapter 8, “Color Manipulation,” to infuse all the

images with the same desirable color cast

When combining images, make sure that the direction

of the light in all the images is consistent; otherwise,

viewers will pick up on the fact that the image is a fake,

although they might not be able to pinpoint exactly

why they think that

The direction of the light should also dictate the

direc-tion in which shadows fall Shadows should fall directly

opposite of the light source

When placing objects in a scene, think about where

each object appears in 3D space and make sure

that it has the appropriate focus compared to its

surroundings

The ﬁ lm grain that shows up in an image is usually

con-sistent across the image, so either use the noise removal

techniques covered in Chapter 6, “Sharpening,” on

each image, or apply the Add Noise ﬁ lter (Filter >

Noise > Add Noise) to make sure that all the images

have the same amount of grain

If you keep these ideas in mind, with a little practice and

a lot of perspiration you should be able to create collages

that fool even a trained eye Now, move on to the last

chapter, probably one of the most important subjects for

photographers, “Retouching Techniques.”

Tiêu đề	Photoshop CS4 Studio Techniques
Tác giả	Ben Willmore
Trường học	Unknown
Chuyên ngành	Computer Graphics and Image Editing
Thể loại	Guide
Năm xuất bản	2007

Định dạng
Số trang	30
Dung lượng	1,66 MB