Photoshop CS4 Studio Techniques- P16 doc

Set Brush Size so that the brush is about 3/4 of the width of the eye, set Brush Den-sity to a low setting somewhere around 20 should work so that you mainly scale the center of the eye,

long to hold down the mouse button to get the proper change in the image Now that you have everything set up properly, center your cursor on the pupil and then press the mouse button until the eye looks slightly larger—about

a second should do it (Figure 11.144) Repeat the process

on the other eye, holding down the mouse button for the same amount of time

You can also use Liquify to open eyes that are partially shut

(Figure 11.145) Liquify isn’t always the best for this kind

of work, however; it’s better to work with multiple photos

so that you can copy an open eye from one photo, paste it onto a closed eye in another image, and use the Healing Brush to blend in the edges But for those times when you have only one shot to use, the Bloat and Warp tools can

help pry open an eye (Figure 11.146).

Figure 11.145 Original image (©2008 Dan Ablan.) Figure 11.146 First try at opening an eye.

Start by choosing the Bloat tool Set Brush Size so that the brush is about 3/4 of the width of the eye, set Brush Den-sity to a low setting (somewhere around 20 should work)

so that you mainly scale the center of the eye, and set the Brush Rate to 20 Now, click the center of the pupil four

or fi ve times so that it starts to enlarge (Figure 11.147) To

get the rest of the eye to look natural, make a few single clicks just to the right and left of the center of the eye

Figure 11.144 The final image with slightly larger

eyes.

(Figure 11.148) Finally, switch to the Warp tool, bring up

the Brush Density setting to around 50, and set the Brush

Pressure to around 60 Place the crosshair in the center of

the brush on the eyelid and drag up or down to reshape it

(Figure 11.149) Keep tweaking the image until each eye

has the proper shape If you mess up and create a

ghoul-ish rendition of an eye, switch to the Reconstruct tool,

bring down the Brush Pressure and Brush Rate settings to

around 20, and then click or paint across the eye to see if

you can smooth it out

Figure 11.147 Click in the center of the eye a few times

to pry it open.

Figure 11.148 Click the sides to even out the eye.

Figure 11.149 Reshape the eyelid with the Warp tool

if necessary.

Retouching Mouths

Let’s use the Warp tool to transform a straight mouth into

a smiling one Start by choosing the Warp tool Change the Brush Size setting until you get a brush about half the width

of the mouth, set the Brush Density to 50, and set the Brush Pressure to 50 or more Next, move your mouse so that the crosshair is just below the right edge of the mouth, and drag upward and to the side slightly to move the corner of the

mouth up and out (Figure 11.150) Repeat this process on

the left side of the mouth Change the Brush Size setting to get a brush slightly smaller than the one you just used, place the crosshair on the top edge of the lips (centered horizon-

tally), and drag down a short distance (Figure 11.151).

Figure 11.150 Use the Warp tool to push the side of the

mouth up and out (©2008 Dan Ablan.)

Figure 11.151 Pull the middle of the lip down slightly.

It takes some practice to get an acceptable result If you mess up, paint across the area with the Reconstruct tool to get it closer to the original, or click the Restore All button

to start over

Digital Liposuction

If you need to nip or tuck some bulging fl esh, do it by tering the Warp, Pucker, and Push Left tools When work-ing on waistlines, use the Warp tool with a largish brush,

mas-a medium Brush Density setting (mas-around 50), mas-and mas-a high Brush Pressure (around 80) Drag the background toward

the waist (Figures 11.152 and 11.153).

When adding smiles, don’t forget

the cheeks There’s more to a smile

than just an upward turn of the

mouth

Figure 11.152 The original image

with the arm masked so it won’t shift

(©Stockbyte, www.stockbyte.com.)

Figure 11.153 Result of warping the waist with a large brush.

If you need to move a large area, consider using the Push

tool Choose a large brush, set the Brush Density to 100,

and use a very low Brush Pressure (around 10) Position

your cursor so that the crosshair just touches the edge you

need to move, and drag to push the fl esh in one direction

(Figures 11.154 and 11.155) Drag straight down if you

need to push the skin toward the right of your cursor; hold

down Option/Alt if you need to move the skin in the

oppo-site direction If the background gets distorted too much,

click OK in the Liquify dialog and use the Clone Stamp

tool to replace the distorted background with something

that looks more appropriate

Content-Aware Scaling

Photoshop CS4 has introduced some new magic in the

form of a scale tool The Content-Aware Scale command

allows you to take out unwanted spaces with the click and

drag of a mouse Every once in a while, you might have an

image where the subjects aren’t as close together as you’d

like (Figure 11.156) Make sure that the image is not the

Background layer (If it is, duplicate it, or double-click it to

make it an editable layer.) Choose Edit > Content-Aware

Scale Handles appear around the image, like those you

would see with a normal scaling operation Click and drag

Figure 11.154 There’s no need to mask when using the Push Left tool;

just use a downward stroke with the crosshair on the edge that you want

to push.

Figure 11.155 Result of pushing quite

a bit of flesh, using the Push Left tool.

Figure 11.156 Sometimes your subjects are too far apart (©2008 Dan Ablan.)

Figure 11.157 shows the result: In this example, the three

fi gures are now closer together, with the original layer shown beneath

Content-aware scaling is like magic, but it’s not going to solve all your problems Some images work better than oth-ers, such as a person’s head against a blue sky You’ll have

to experiment with the options, and see what works best for your images

The Next Step

We’ve reached the end of the book, and we’ve covered all the tools you’ll need to become a bona fi de “photo doctor.” Bear in mind that you don’t need to limit yourself

to working with photographs; the tools and techniques we’ve covered here can be used for non-photographic images as well

As with everything else in Photoshop CS4, once you’ve gone around the block with these tools a few times, you’ll probably think of a dozen other things you can do with them From here, the learning doesn’t stop Head on over

to the offi cial book page at www.danablan.com/photoshop and view the Chapter 12 video, “Workfl ow,” which shows image capture, color correction, global toning, and more Thanks to 3D Garage.com, you’ll also fi nd fi ve more bonus videos covering line art scanning, channels, shadows, type and background effects, and resolution settings

Figure 11.157 The Content-Aware Scale command

allows you to remove some of the unneeded green

space between the three figures.

Adjustments panel, 108, 189–190, 210Color Balance controls, 289–290Curves adjustment layer, 262, 290Hue/Saturation controls, 274–282

Adobe Bridge See Bridge application

Advanced Dialog view, 59Airbrush setting, 31Alignment modes, Clone Stamp, 402alpha channels, 421–422

Amount sliderSmart Sharpen fi lter, 228Unsharp Mask fi lter, 222, 223angle gradients, 37

Angle settingsBrush Tip Shape option, 26, 27Jitter settings and, 28

Lens Correction fi lter, 428anti-aliasing, 63

Application bar, 8Arrange Documents pop-up menu, 8–9, 17Aurelius, Marcus, 4

Auto Color feature, 267–268, 291–294Auto Hide option, 408

B

background color, 18Background Eraser tool, 339–343Limits setting, 342

Protect Foreground Color check box, 340

Sampling icons, 340–341Tolerance settings, 339–340Background image, 94–95backgrounds

converting layers into, 95masking tools for, 338–356permanently deleting, 355texture creation, 387

\ (backslash key), 201, 354

[ ] (bracket keys), 27, 68

0%-100% output conversion table, 253

3-D cover mockup example, 388

3D Garage.com Web site, 440

adjustment layers for, 187–189

direct method of, 186–187

Adjustment Brush tool, 155

adjustment layers, 108, 186–210

before-and-after views, 191

blending modes and, 195–196

brightness range of, 202–203

clipping masks and, 204

controlling layers affected by, 203–206

copying between documents, 191–192

potential problems with, 208

presets available for, 210

selections and, 198–199

Smart Objects and, 205–206

stacking order of, 191

painting tools and, 23Pin Light, 330–331Saturation, 335Screen, 323–324Soft Light, 327Vivid Light, 329Blending slidersadjustment layers and, 202–203collage effects and, 359masking techniques and, 344–346Bloat tool, 430, 435–436

Blur fi lter, 420, 425Blur tool, 354, 419–420

bonus videos See videos

border effects, 360–362borders, selection, 76–77bracket keys ([ ]), 27, 68Bridge application, 44–59changing layouts in, 50–51comparing images in, 53–55

fi ltering images in, 49–50importing images into, 57–59metadata options in, 53navigating drives in, 45–46opening, 44–45, 58rating/labeling images in, 49renaming fi les in, 52–53Review Mode in, 51–52searching for images in, 46stacking images in, 56–57thumbnail options in, 47–49brightness, 274

adjusting, 240–241, 248, 276Color Dynamics setting, 30Color Replacement option, 301Brightness slider, 167, 240–241Brightness/Contrast dialog, 240–241Brooks, Mel, 392

Brush Presets panel, 24, 339, 401Brush Pressure setting, 431–432Brush Rate setting, 432

Brush Tip Shape settings, 25–28brushes

Adjustment, 155

backslash key (\), 201, 354

banding issues, 38, 255

baseline, 125

Basic tab, Camera Raw, 159–170

Basic workspace preset, 19

Batch Rename dialog, 52–53

before-and-after views, 191

Behind blending mode, 312

Black channel sharpening, 233–234

Black Clip setting, 148

Blend Mode pop-up menu, 310–311

Blending Mode pop-up menu, 23, 109, 310

multiple image adjustments, 183overview of features, 152–159preference settings, 156Presets tab settings, 182–183Split Toning tab settings, 177–178Tone Curve tab settings, 170–172window-management controls, 156workfl ow options, 157–158

Camera Raw Basic tab, 159–170Blacks slider, 165–167Brightness slider, 167Clarity slider, 168Contrast slider, 168Exposure slider, 161–164Fill Light slider, 165Recovery slider, 164–165Saturation slider, 169–170Vibrance slider, 168–169White Balance setting, 159–161Camera Raw Detail tab, 172–173Noise Reduction sliders, 173Sharpening sliders, 172–173Camera Raw HSL / Grayscale tab, 174–177

Grayscale Mix sliders, 175–177Hue sliders, 174

Luminance sliders, 175Saturation sliders, 174–175Channel Mixer dialog, 301–304color adjustments using, 301–303grayscale conversions using, 303–304Channel Options dialog, 347–348channels, 162, 346

alpha, 421–422color settings using, 346–349mixing contents of, 301–304noise removal using, 219–220sharpening, 233–235

video on, 346Channels panel, 346–347, 421checkerboard pattern, 95–96chromatic aberration, 178–179, 426–427Chromatic Aberration sliders, 426–427Chrome fi lter, 333

Brush Tip Shape settings, 25–28

Color Dynamics settings, 30

Dual Brush option, 29

downloading updates for, 153

fi nishing touches applied in, 184

grayscale conversion in, 176

headroom data and, 164

multiple image adjustments in, 183

raw fi le format and, 150–151

Smart Objects and, 374, 376

Camera Raw 5.0 dialog, 152–184

annotated illustration, 152

Basic tab settings, 159–170

Camera Calibration tab settings, 181–182

Detail tab settings, 172–173

HSL / Grayscale tab settings, 174

Lens Corrections tab settings, 178–181

color correction, 256–270Auto Color feature for, 267–268, 291–294

balancing colors, 260–264grayscale technique for, 266–267professional, 260–270

saturation adjustments, 270skin tone adjustments, 268–270Threshold command and, 264–265using gray for, 257–260

See also color manipulation

Color Correction slider, 147Color Dodge blending mode, 324, 416Color Dynamics settings, 30

color fi eld, 20color fringing, 179, 426–427color images

Burn tool used on, 417converting to grayscale, 282–284, 303–304

Curves adjustments with, 135–137Dodge tool used on, 415–416

See also grayscale images

Color Intensity slider, 297color manipulation, 272–306Auto Color Correction, 291–294Channel Mixer adjustments, 301–304Color Balance controls, 289–290Color Replacement tool, 299–301colorizing grayscale photos, 284–287Gradient Map adjustments, 305–306grayscale image conversions, 282–284, 303–304

Hue/Saturation adjustments, 274–282Levels/Curves adjustments, 290–294Match Color adjustments, 296–298Red Eye tool, 299

Replace Color adjustments, 287–288Selective Color adjustments, 294–296Variations dialog, 288–289

See also color correction

color modescloning between documents and, 407Curves and, 123–124, 136–137

chrominance, 173

Clarity slider, 168

Clear blending mode, 312–313

Clear Filter button, 50

Cleveland, Regina, 380

clipping masks

adjustment layers and, 204

border effects and, 360–362

collage effects and, 359

Clone Source panel, 407–408

Clone Stamp tool, 401–408

alignment modes, 402

blending modes, 405

brush settings, 401

Clone Source panel, 407–408

cloning between documents, 406–407

fi xing repeated patterns, 404–405

blending sliders and, 359

borders and frames, 360–362

clipping masks and, 359, 360–362

creating complex collages, 380–388

layer masks and, 359

panoramic images, 363–364

Smart Objects and, 369–377

suggestions for creating, 388–389

vector masks and, 364–369

warping images, 378–379

Color Balance controls, 289–290

Color blending mode, 195–196, 336

Color Burn blending mode, 319–320, 417

Hard Mix, 331–332Linear Light, 330Overlay, 325–326Pin Light, 330–331Soft Light, 327Vivid Light, 329Contrast slider, 168, 241Convert to DNG option, 58Convert to Grayscale check box, 175–176copying

adjustment layers between documents, 191–192

layer masks, 201layer styles, 383layers between documents, 101–102Create Plane tool, 409–410, 412Create Subfolder(s) pop-up menu, 58Create Texture setting, 400

Crop tool, 64, 153cropping

images in layers, 99–101panoramic images, 364Curves, 115–143

advantages of using, 115–118analyzing/interpreting, 129–130color modes and, 123–124, 136–137conceptual overview of, 118–121, 137dark images improved with, 125–126decreasing contrast/detail with, 128–129

freeform drawing of, 131–132gradients as guides for, 122–123grid display for, 120, 122, 124histogram display and, 138–143increasing contrast/detail with, 126–128

Info panel used with, 135ink ranges checked with, 130inverting images with, 130–131limiting color shifts using, 135–137methods for applying, 135–136numerical information for, 132–135Shadows/Highlights dialog versus, 144shifting color with, 290

Color Noise Reduction slider, 173

color overlays, 201, 354–355

Color panel, 121

color picker, 18–20

CMYK area of, 258

previewing colors in, 19

Color Range command, 73–75, 288

Color Replacement tool, 299–301

color sampler, 264

Color Sampler tool, 265, 269

Color Settings dialog, 249

color swatches, 19, 39–40, 287, 293

color wheel, 272–274

Colorize check box, 285

colorizing grayscale images, 284–287,

319, 336

colors

balancing, 260–264

coding layers using, 114

color fi eld for choosing, 20

Curves adjustments and, 135–136

Eyedropper tool for selecting, 20–21

foreground and background, 18

gradient, 38

isolating a range of, 277–279

previewing in the color picker, 19

Consolidate All option, 8–9

Content-Aware Scale command, 439–440

Levels adjustments and, 244–245, 255

contrast blending modes, 325–332

distinguishing between, 326

Hard Light, 328–329

diamond gradients, 37Difference blending mode, 332–333

digital images See images

digital liposuction, 438–439direct adjustments, 186–187disabling

layer masks, 200vector masks, 366Dissolve blending mode, 311Distort command, 388distorting

images, 378–379, 388, 428selections, 80–81

dithered gradients, 38Dmax specifi cations, 245DNG format, 58

docks, 4, 6documentscloning between, 406–407copying layers between, 101–102, 191–192

navigating, 13–18Dodge tool, 414–416color images and, 415–416Range settings for, 414–415dodging technique, 414dot gain, 249

Drop Shadow layer style, 106, 319, 386Dry Media brushes, 33

Dual Brush option, 29duplicating

images, 232layers, 102–103Dust & Scratches fi lter, 217

E

Edge Contrast setting, 66editing

Hue/Saturation adjustments, 281–282Smart Objects, 374

editing tools, 21–41Gradient tool, 35–40painting tools, 21–33

Curves dialog

capabilities of, 116–117

color adjustments using, 258–260

Curve Display Options, 124–125

brightness levels on, 158

sharpening images for, 231

Brush Tip Shape option, 26

Jitter settings and, 28

fi lm grain, 213, 389Filter panel, 50

fi ltering images, 49–50

fi ltersAdd Noise, 389, 405Blur, 420, 425Chrome, 333Despeckle, 215–216Dust & Scratches, 217Emboss, 328

Find Edges, 318Gaussian Blur, 214–215, 256, 419, 421Glowing Edges, 321, 322

Graduated, 156Lens Blur, 420–423Lens Correction, 425–428Lighting Effects, 322Liquify, 428–439Median, 216, 333Minimum/Maximum, 354Note Paper, 330–331Pointillize, 315Reduce Noise, 217–220Render Clouds, 333Sharpen, 424, 425Smart, 374–375Smart Sharpen, 228–229Trace Contour, 317–318Unsharp Mask, 221–224Vanishing Point, 408–413Find dialog, 46

Find Edges fi lter, 318Fine/Coarse slider, 288, 290Flatness setting, 369

fl attening images, 95, 115Float All in Windows option, 9, 17Flow settings

Brushes panel, 31painting tools, 22, 31foreground color, 18foreground/background settingsColor Dynamics option, 30Protect Foreground Color check box, 340

See also Background Eraser tool

Exclusion blending mode, 332–333

Camera Raw dialog, 153

color selection using, 20–21

Sample Size setting, 20

zoom setting and, 161

Fill Light slider, 165

Fill Opacity settings, 331–332

Fill Pixels icon, 92

Dodge/Burn tools and, 415, 416Lens Blur fi lter and, 420

See also color images

Grayscale Mix sliders, 175–177grayscale step wedge, 266grid display

for Curves adjustments, 120, 122, 124Lens Correction fi lter, 425

Vanishing Point fi lter, 410grouping layers, 111–112adjustment layers, 201–202, 204–205into Smart Objects, 371

Grow command, 78–79

H

halos, 355Hand tool, 11, 15, 65, 153Hard Light blending mode, 328–329Hard Mix blending mode, 331–332hardness of brushes, 26, 398, 401headroom data, 164

Heal pop-up menu, 413Healing Brush tool, 397–399blending modes, 399layers and, 398–399hiding thumbnails, 113highlights

brightening, 296clipping warning, 162–163darkening, 144, 147–148histogram display, 139locating with Threshold dialog, 264–265printer adjustments, 252

recovering, 164–165sharpening, 235–236specular, 179, 424Highlights slider, 144Histogram panel, 138–143cached images and, 141–142displaying in Photoshop, 138sizes available for, 139histograms

adjustment layers and, 206–207

Forward Warp tool, 429

frame effects, 360–362

freeform curves, 131–132

Freeform Pen tool, 365

Freeze Mask tool, 433–435

fringing, 179, 426–427

Full Screen Mode, 10–11

Full Screen Mode with Menu Bar, 10

fx symbol, 106

G

gamma setting, 248

Gaussian Blur fi lter, 214–215, 256, 419, 421

Glowing Edges fi lter, 321–322

Gradient Editor dialog, 39, 306

Gradient Fill dialog, 108

gradient layers, 108–109

Gradient Map dialog, 305–306

Gradient Overlay layer style, 382–383, 385

balancing colors using, 260–264

color correction using, 257–260

grayscale images

Camera Raw conversion option, 175–177

color correction using, 266–267

colorizing, 284–287, 319, 336

converting color images to, 282–284,

303–304

distorting, 378–379, 388, 428duplicating, 232

fi ltering, 49–50

fi nding, 46

fl attening, 95, 115importing, 57–59inverting, 130–131rating/labeling, 49scaling, 102sharpening, 212–236stacking, 56–57trimming, 99–101warping, 378–379zooming, 13–15, 65

See also color images; grayscale images

importing photos, 57–59advanced controls for, 59basic settings for, 58–59steps in process of, 57Info panel, 35

Curves adjustments and, 135identifying gray using, 257ink and light usage indicated in, 121ink

limiting colors of, 302–303printing press usage of, 250–251usage information for, 121inkjet printers, 231

interface, Photoshopillustrated, 5panels and docks, 4, 6screen modes, 8–11Tools panel, 7, 12–13interpolation, 158, 212intersecting selections, 71Inverse command, 73inverting images, 130–131IPTC metadata, 53

J

Jitter settings, 27–28, 433JPEG vs raw fi les, 151

Camera Raw dialog, 158

continuously changing, 248

contrast and, 138–139, 142–143

Curves adjustments and, 138–143

explained, 138, 143

exposure settings and, 162

height of bars in, 243

merged layers and, 115

Trash icon and, 103

Color Dynamics setting, 30

Color Replacement option, 300

Hue blending mode, 195, 334

isolating a range of colors, 277–279

procedure for making, 274–276

Background image, 94–95Blending Mode menu, 109clipping masks and, 361–362color-coding, 114

converting to Smart Objects, 371copying between documents, 101–102creating, 91–93

deleting, 103duplicating, 102–103explained, 90–91

fi ll, 108

fl attening, 95, 115gradient, 108–109grouping, 111–112hiding thumbnails for, 113Layer Bounds setting, 113Layer Via Copy option, 109–110linking, 99

locking, 103–105merging, 114–115moving, 98–99, 112naming, 94opacity of, 96–98pattern, 109reordering, 94rotating, 35selecting multiple, 99Shape, 34

shortcuts for, 111Smart Guides for, 112solid color, 108styles applied to, 106–107transforming, 103trimming images in, 99–101Type, 386

using all, 110visibility of, 95–96

See also adjustment layers

Layers menu, 109Layers panel, 91adjustment layers in, 189Blending Mode pop-up menu, 109, 310eyeball icons in, 95–96

hiding thumbnails in, 113

K

Katz, Andy, 380

keyboard shortcuts

for custom workspaces, 51

for Hand tool activation, 153, 425

for launching Bridge, 44

for resizing brushes, 27

for slide show controls, 51

for switching between layers, 111

for zooming in/out, 15, 55, 65, 153

L

LAB color mode

Curves adjustments and, 137

sharpening images in, 233, 337

collage effects and, 359

color overlay view of, 201, 354–355

direct viewing, 200–201

disabling, 200

grouped layers and, 201–202

history feature for, 353

moving or copying, 201

Quick Mask mode, 199

selections and, 198–199

vector masks used with, 367–368

Layer Masks icon, 352

Layer Style dialog, 202–203, 310–311, 383