Photoshop CS4 Studio Techniques- P15 pot

But with the Vanishing Point ﬁ lter, you can establish the street’s perspective and then paint on the image, getting quite a different result Figure 11.53.. While using Vanishing Point

Trang 1

Figure 11.45 Light-colored scratches

at the cement base of the lion statue are retouched by using the Clone Stamp set to Darken.

Automatic Sharpening

The automatic sharpening function in some scanners

makes retouching more difﬁ cult (Figures 11.46 and 11.47).

If possible, turn off any sharpening settings in your ning software

scan-Figure 11.46 Unsharpened image. Figure 11.47 Image sharpened during

a scan.

Cloning Between Documents

With the Clone Stamp, you’re not limited to cloning from the active document You can open a second image

and clone from that image as well (Figure 11.48) Make

the second image (the cloning source) active, and then

Trang 2

Option/Alt-click it Return to the ﬁ rst image to clone from

the point you clicked in the second image

Figure 11.48 The photo on the right was judged to be the better choice, but the

girl on the right was missing With the Clone Stamp, we can clone the girl from

Clone Source

A handy add-on for the Clone Stamp tool is the Clone

Source panel, which sits in the panel dock (Figure 11.49).

The Clone Source panel offers a number of useful options:

The ﬁ ve buttons at the top of the panel let you store

as many as ﬁ ve different source points, which makes it

easy to switch from one source point to another during

complex clone operations (such as removing a tree

from in front of a building) This saves you the hassle of

having to reset your clone source point repeatedly

Using the Source ﬁ elds, you can adjust any source point

numerically, making it easy to adjust a point that’s off

by just a pixel or two

The Rotate ﬁ eld to the immediate right of the Y ﬁ eld

lets you rotate cloned pixels automatically If you enter

45, for example, the resulting cloned strokes will be

rotated 45 degrees

When you’re cloning between two documents, both documents must use the same color mode (RGB or CMYK).

Figure 11.49 The Clone Source panel provides powerful cloning features.

Trang 3

Above the Rotate ﬁ eld are width (W) and height (H)

ﬁ elds, which let you scale the source while cloning If you unlock the lock box between those two ﬁ elds, each axis will be scaled independently, allowing you to create

a geometric distortion in the result

The Show Overlay check box provides a handy visual reference while cloning When this box is turned on, a semi-opaque copy of the source will be superimposed over the image (how opaque it is depends on the Opac-ity value), giving you a preview of what your strokes will

look like given the current offset (Figure 11.50) If you

don’t like the results, adjust the offset until the overlay shows the cloned results in the desired position

The Blending Mode pop-up menu and Invert check box provide options for improving the visibility of the overlaid source image

The Auto Hide option causes the overlay to pear automatically when you start painting When you release the mouse button, the overlay reappears

disap-Vanishing Point

All the retouching tools we’ve talked about until now have had one major shortcoming—they treat the world as ﬂ at! But many images contain objects that appear to change proportion as they recede from the camera The solution is

to use Photoshop’s Vanishing Point ﬁ lter (Filter > ing Point), which creates different perspective planes in

Vanish-an image, thus allowing you to paint, retouch, scale, Vanish-and distort in perspective

The street in Figure 11.51 has a consistent width but looks

smaller in the distance due to the effects of perspective If you were to use a standard paintbrush tool in Photoshop and paint an outline of the street, you’d end up with the

shape shown in Figure 11.52 But with the Vanishing Point

ﬁ lter, you can establish the street’s perspective and then

paint on the image, getting quite a different result (Figure

11.53) Selections made in Vanishing Point will also form to the perspective planes that make up the image

con-(Figures 11.54 and 11.55).

The Opacity field controls the

opac-ity of the overlaid image—not the

opacity of your cloned strokes.

Figure 11.50 With Show Overlay

turned on in the Clone Source panel,

you can see exactly where the cloned

While using Vanishing Point, you

can press the X key at any time to

zoom in on the image temporarily,

which can help you to be more

precise when defining a perspective

plane or performing retouching.

Trang 4

Dan Ablan.)

Figure 11.54 Standard Photoshop

Figure 11.55 Selection made with the Vanishing Point filter.

Figure 11.52 Standard perspective. Figure 11.53 Vanishing Point

perspective.

Defining Planes

Before you can get all this magic to work properly, you have

to educate Vanishing Point about the image by deﬁ ning

perspective planes When you ﬁ rst open the ﬁ lter (Filter

> Vanishing Point), you’ll be presented with a large

dia-log and a small tool panel Choose the Create Plane tool

(which looks like a tiny grid) and click the four corners of a

Trang 5

fl at surface in the image so Vanishing Point is aware of how the perspective affects that surface If Vanishing Point is having trouble with the plane you’re attempting to defi ne, the lines will change color If the grid turns red, Vanishing Point can’t fi gure out how that shape could possibly be a

ﬂ at surface as it relates to the perspective you’re deﬁ ning

(Figure 11.56) If it turns yellow (Figure 11.57), you have

a grid that could be used, but the results will be less than

ideal When the grid becomes blue (Figure 11.58),

Vanish-ing Point is sayVanish-ing “all systems go,” and you’re ready to start painting or retouching the image If you deﬁ ne a plane by clicking the four corners of a small object, you may need

to extend the side handles so the grid covers the entire face (or at least the area you plan to modify) If you plan to work with more than one surface in the image, you’ll have

sur-to deﬁ ne each plane so Vanishing Point knows how those

surfaces relate to each other (Figure 11.59).

Figure 11.56 A red outline is a sign of problems.

Figure 11.58 A blue grid indicates that everything is okay.

Figure 11.57 A yellow grid is usable, but not ideal.

Figure 11.59 Define planes for each surface you intend to

Trang 6

Duplicating Areas

Once the planes are deﬁ ned, you can use the other tools

from Vanishing Point’s tool panel If you use the Marquee

tool to make selections, you can hold down Option/Alt

and drag within the selected area to move a duplicate of

the selected area As you move the selected area, Vanishing

Point scales the image based on the perspective plane on

which you drag (Figures 11.60 and 11.61) But since this

chapter is all about retouching, let’s check out what can be

done with the main retouching tool in Vanishing Point—

the Clone Stamp tool

Figure 11.60 Sometimes moving

areas produces unrealistic results.

Figure 11.61 Moving areas with the Vanishing Point filter looks more realistic.

Cloning in Perspective

Before Vanishing Point came along, Photoshop’s Clone

Stamp tool couldn’t recognize distortions caused by

perspective Consequently, it created unacceptable results

when used on an image that contained noticeable

perspec-tive distortions The main problem is that the Clone Stamp

tool is not capable of scaling the cloned area to make it

match the perspective of the surface you’re attempting to

retouch

Trang 7

In Figure 11.62, the area being covered by the sign is primarily a row of larger bricks In Figure 11.63, the row

of large bricks ends up being patched with bricks that are much too small to look appropriate The Clone Stamp tool

in Vanishing Point can do a much better job To start, use the Create Plane tool to click the two corners that make

up the left edge of a brick; then click the two corners that make up the right edge of another brick in the same row, so Photoshop learns how the bricks are distorted by

perspective (Figure 11.64) Then drag the size handles of

the resulting grid to deﬁ ne the overall area that needs to

be retouched (Figure 11.65) Once the plane has been

deﬁ ned, you can use the Clone Stamp tool to retouch areas, and its results will be scaled to conform to the per-

spective of the image (Figure 11.66).

Figure 11.63 Cloned areas are not scaled to the proper size

and therefore don’t match the surrounding image.

Figure 11.64 The initial plane lines up with a row of bricks.

Figure 11.65 Expanding the plane to cover the area that

Trang 8

Figure 11.67 The Vanishing Point dialog with the Clone Stamp options visible

The Vanishing Point Clone Stamp tool incorporates many

of the options that are available in Photoshop’s Healing

Brush, along with a few that are unique to Vanishing Point

(Figure 11.67) For retouching, the settings on the Heal

pop-up menu have particular importance:

Off. The Hardness setting of the brush is the only thing

that causes retouching to blend into the surrounding

image (Figure 11.68) Use this setting when the area

being retouched is not similar to its surroundings

Luminance. Causes the Clone Stamp to copy both color

and texture from the area that’s being cloned; the

brightness of the retouched area is based on the

sur-rounding image (Figure 11.69) Use this setting when

the surface being retouched is unevenly lit, since the

Clone Stamp will match the brightness of the

surround-ing area

On. Causes the Clone Stamp to work like the Healing

Brush, copying only texture from the cloned area and

picking up the brightness and color from the area that

surrounds the retouching (Figure 11.70) Use this

set-ting when you want the area being retouched to have

the same texture and color as the surrounding image

Figure 11.68 Heal set to Off.

Figure 11.69 Heal set to Luminance.

Figure 11.70 Heal set to On.

Trang 9

Dodge and Burn Tools

The words dodge and burn are taken from a traditional

pho-tographic darkroom In a darkroom, an enlarger projects

an image onto a sheet of photographic paper While the image is being projected, you could put something in the way of the light source, which would obstruct the light in such a way that it would hit certain areas less than others—

a technique known as dodging Or you could add light by

cupping your hands together, creating just a small hole between them, and allowing the light to concentrate on

a certain area more than others—a technique known as

burning Using a combination of these two methods, you

can brighten or darken an image Photoshop reproduces these techniques with two tools: Dodge (its icon looks like

a lollipop, for dodging the light) and Burn (its icon looks like a hand with ﬁ ngers cupped, for burning)

Dodge Tool

Because it can lighten the image, the Dodge tool is handy when working on photos of people with dark shadows under their eyes An important setting for the Dodge tool

is the Range menu in the options bar (Figure 11.71) The

pop-up menu has three choices: Shadows, Midtones, and Highlights This menu tells Photoshop which shades of gray to concentrate on when you paint across the image: Shadows. Changes the dark parts of the image As you paint across the image, the brush brightens the areas

it touches As you get into the midtones, it applies less paint, and it doesn’t change the light parts of the image much (if at all)

Midtones. Affects the middle shades of gray—areas that are about 25% to 75% gray It shouldn’t change the shadows or highlights very much They may change a little, but only so they can blend into the midtones Highlights. Affects the lightest parts of the image, slowly blending into the midtones

Figure 11.71 Dodge tool options bar.

The Spacing setting of your brush

affects how much the image is

changed when using the Dodge

and Burn tools Higher Spacing

settings affect the image less.

Trang 10

With the wrong Range setting for the Dodge tool, you

might cause yourself some grief Let’s say you’re trying to

ﬁ x dark areas around the model’s eyes in Figure 11.72, but

the Dodge tool doesn’t seem to be doing the job After

dozens of tries, you ﬁ nally realize that the Range pop-up

menu is set to Highlights instead of Midtones (look at the

eyes in Figures 11.73 and 11.74).

The Exposure setting on the options bar controls how

much brighter the image will become You can use the

number keys on your keyboard to change this setting

Color Images

The Dodge tool works exceptionally well on grayscale

images All you have to do is choose the Range—Shadows,

Midtones, or Highlights—and paint across an area

Unfor-tunately, the Dodge tool isn’t as slick with color images It

tends to wash out some of the colors, and in some cases

even change them (Figures 11.75 and 11.76).

One good solution is to duplicate the layer you’re working

on and set the blending mode of the duplicate to

Lumi-nosity before using the Dodge tool That approach should

maintain the original colors and limit your changes to the

brightness of the image

Figure 11.74 Dodge tool set to Midtones.

Trang 11

Figure 11.77 Painting with a light shade of gray by using the Color Dodge mode.

Figure 11.78 Area lightened by ing with a medium shade of gray, using the Color Dodge blending mode.Another option is to forgo the Dodge tool and just use the Paintbrush tool You can set the Paintbrush tool’s blending mode to Color Dodge and paint with a bright shade of gray But just painting across an image is rather ridiculous, because all you’re doing is blowing out the

paint-detail (Figure 11.77) To get the Color Dodge technique

to work correctly, paint with a medium to light shade of

gray (Figure 11.78), which allows you to create highlights

or to brighten areas Sometimes this technique works a little better than using the Dodge tool

Burn Tool

The Burn tool is designed for darkening areas of an image Like the Dodge tool, it has Range and Exposure options, and works great with grayscale images If you’re dealing with a shiny spot on someone’s forehead or nose that reﬂ ects the light, you can try to ﬁ x the problem with the

Burn tool (compare Figures 11.79 and 11.80).

Figure 11.79 The original image

Figure 11.80 The model’s cheeks,

chin, and forehead are darkened with

the Burn tool.

Trang 12

Color Fixes

Like the Dodge tool, the Burn tool has trouble with color

images (Figures 11.81 and 11.82) Try painting with a

shade of gray (using the Paintbrush tool) and setting the

blending mode to Color Burn, which darkens the image,

making the colors more vivid while leaving the highlights

largely untouched (Figure 11.83).

Another technique: Option/Alt-click the New Layer icon

at the bottom of the Layers panel In the New Layer dialog,

change the Mode setting from Normal to Overlay, turn on

the Fill with Overlay-Neutral Color check box, and then

click OK (Figure 11.84) With the new layer active, use

the Dodge and Burn tools with the Range setting in the

options bar set to Midtones (Figures 11.85 and 11.86).

This technique allows you to dodge and burn on a separate

layer, with fewer color problems

Dan Ablan.)

Figure 11.86 Dodge and Burn used

on a layer set to Overlay mode.

Figure 11.84 Creating a new layer in Overlay mode.

As you dodge and burn, especially when working on skin tones, turning on the Protect Tones check box in the options bar (new in Photoshop CS4) can help prevent haloing and washed-out colors.

Hold down Option/Alt to switch temporarily between the Dodge and Burn tools, so you don’t have to

go back to the Tools panel each time you want to switch from brighten- ing to darkening the photo.

Trang 13

Sponge Tool

Hiding in with the Dodge and Burn tools is the Sponge tool, which works as if you have a sponge full of bleach, allowing you to paint across an image and soak up the color Or you can do the opposite and intensify the colors—it’s all determined by the Mode menu setting in the options bar

If you choose Desaturate, the Sponge tool tones down the colors in the area you’re painting The more you paint across an area, the closer it becomes to being grayscale This technique can be useful when you’d like to make

a product stand out from an otherwise distracting

back-ground (Figure 11.87) With a very low Strength setting, it

brightens yellowing teeth

The Saturate setting intensiﬁ es colors as you paint over them, which is great for giving people rosy cheeks, mak-

ing them stand out from a background (Figure 11.88), or

adding a bit more color to their lips The Sponge tool is a subtle, yet very effective tool that often is overlooked, but is exceedingly powerful for photo touchup work

Figure 11.88 The photographer was enhanced using the Sponge tool set

Figure 11.87 Background and

fore-ground have been desaturated using

In Photoshop CS4, the Sponge tool’s

options bar includes a Vibrance

check box that you can use to

prevent oversaturation of colors

that are already saturated, while

boosting less-saturated colors.

Trang 14

Blurring and Sharpening

When you need to blur or sharpen an area, you have two

choices: Select an area and apply a ﬁ lter, or use the Blur

and Sharpen tools Using ﬁ lters to blur and sharpen offers

a few advantages over using the tools, including getting a

preview of the image before you commit to the settings,

and having the ability to apply the ﬁ lter effect evenly to

the area you’re changing But occasionally the Blur and

Sharpen tools can really help when working on small areas,

so let’s take a look at how they work and when to use them

Blur Tool

The Blur tool is pretty straightforward, blurring everything

that the cursor passes over as you paint across the image In

the options bar, the Strength setting determines how much

the Blur tool blurs the image; higher settings blur the image

more This option can be useful if itty-bitty areas of detail

obstruct the image You might prefer to use the Gaussian

Blur ﬁ lter instead of the Blur tool, however, because

Gauss-ian Blur does a better job of blurring an area evenly

The Blur tool is good for reducing—not removing—

wrinkles If you turn the Strength setting way up and paint

across a wrinkle a few times, it begins to disappear, but the

result may not look very realistic (Figures 11.89 and 11.90).

It might look as if you had smeared some Vaseline on the

face To really do a wrinkle justice, you have to take a closer

look Wrinkles are made out of two parts: a highlight and a

shadow (light part and dark part) If you paint across that

with the Blur tool, the darker part of the wrinkle will be

lightened and the lightest part will be darkened, so that

they become more similar in shade

To reduce the impact of a wrinkle without completely

get-ting rid of it (if you wanted to get rid of it, you could use

the Healing Brush tool), turn the Strength setting all the

way up and change the blending mode to either Darken or

Lighten If the dark area makes the wrinkle most

promi-nent, set the blending mode to Lighten; you might also

need to lower the Strength setting of the Blur tool Then,

when you paint across the area, the Blur tool will lighten

Figure 11.90 Wrinkles in the forehead have been blurred using the Blur tool.

Don’t go over the image with the Blur tool set to Lighten and then switch over to Darken and go over

it again That would be the same

as leaving it set to Normal, and you would be back to Vaseline face

So use it just once, set to either Lighten or Darken Think about what’s most prominent in the wrinkle—the light area, or the dark area? That will indicate which setting you should use.

Trang 15

that wrinkle Remember that the Blur tool won’t make the wrinkle disappear—just reduce its impact.

Consider creating a brand-new, empty layer and sampling layers with the Blur tool With this technique, Photoshop can copy the information from the underlying layers, blur

it, and then paste it onto the layer you just created, ing the underlying layers untouched You can easily delete areas or redo them without having to worry about perma-nently changing the original image

leav-Lens Blur Filter

To make a large area of an image blurry, try the Lens Blur

fi lter Unlike the standard blur fi lters (Blur, Blur More, and Gaussian Blur), which blur the entire image the same amount, the Lens Blur fi lter varies the amount of blurring,

based on the contents of a grayscale image (Figures 11.91

to 11.93), which you can create by using the Paintbrush

tool You can specify which shade of gray represents an area that you want to keep in focus Photoshop then makes all the other areas of the image progressively out of focus, based on how different the surrounding shades of gray are compared to the one you speciﬁ ed as the in-focus shade

Định dạng
Số trang	30
Dung lượng	2,3 MB