Photoshop cs5 cho nhiếp ảnh gia part 48 ppsx

Using Layer Masks with Color Adjustments so far we’ve described a variety of approaches for modifying the color within your entire image, all of which use adjustment layers and all of wh

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Figure 7.16 Selective Color was used to improve the shade of blue in the sky by making it slightly warmer.

You will find that as you make a color more pure, there may be less need to increase overall saturation as much this can lead to a more natural and pleasing final

result in your image

to add a little extra “pop” to your pictures, select Black as your target color, and then increase the percentage of Black by a small amount, such as 2 the actual

amount varies by image this gives many images the illusion of being slightly sharper

You can use selective Color to remove some stubborn color casts by choosing neutrals in the Colors list and adjusting the sliders as needed one of our students

came to a workshop with a shot, taken under unusual lighting in a mausoleum, that

had a strong cyan cast the only method that was successful in removing the color cast

was to virtually eliminate cyan from the neutrals and Whites within selective Color

Using Layer Masks with Color Adjustments

so far we’ve described a variety of approaches for modifying the color within your

entire image, all of which use adjustment layers and all of which adjust the color across

the entire area of your photo But there will be times when you want to target a

spe-cific part of your image to change, a part that will be determined by the subject matter

rather than by a particular color range For example, you may want to increase the

saturation of your subject more than the background to help draw attention to your

subject of course you’ll use layer masks to do that if you have any uncertainties about

how to use layer masks, we urge you to take the time to refer back to the section

“tar-geting Adjustments with a layer mask” in Chapter 6 remember that in Cs5 and

ele-ments 8, the nonmodal adjustele-ments make it easy to go back and forth fluidly between

creating a layer mask and modifying an adjustment using layer masks gives you

pre-cise control over the final appearance of your images layer masks work the same way

for all adjustments

let’s apply a mask to an image of a burrowing owl with a green background

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the saturation of the colors within the owl, but not affect the background in order to help draw attention to the bird, take these steps:

the Adjustments panel

the background

selec-tion method such as Color range because the colors within the owl are quite similar to the background Although we could begin with a white mask and paint out the background, it will be easier to begin with a black mask—hiding the effect of the layer—and then paint with white over the bird to reveal the

from the menu, and choose Black for Contents

Note: A shortcut for filling a layer mask with black, if black is the current background color in the Color Picker, is Ctrl+Backspace/F+Delete

foreground color As long as your adjustment layer is still selected, you are actu-ally painting on the layer mask and not the image itself Paint with white over the bird to reveal the increased saturation only on the bird, as shown in Figure 7.17

selective Color adjustment layer (via the icon in the layers panel), and label it

Background Hue.

Hue/saturation adjustment layer to make it active

drag it on top of the selective Color adjustment layer A dialog box appears ask-ing whether you want to replace the mask Click Yes

change the background on this layer to invert the mask, go to the mask panel and choose invert (elements users will need to select the mask and then choose

the background without affecting the bird Copying layer masks from layer to layer and inverting them as needed can be a time-saver

Note: If you’ve created a layer mask on one layer and want to further modify the same areas using

another adjustment layer, Ctrl+click/F+click the layer mask icon in the first adjustment layer before

creating the new adjustment layer Photoshop creates an active selection based on that mask Then when you open a new adjustment layer, the same mask appears

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Figure 7.17 Filling with black allows you to quickly create a black layer mask; you’ll

then paint with white on the mask to reveal the changes you made in that layer.

Note: To copy a layer mask from one layer to another, hold down the Alt/Option key, click the layer mask you want to copy, and drag it to the one you want to replace

using layer masks is easy and gives you incredible ability to fine-tune the color (and tonal values) within specific areas of your image regardless of which approach

you prefer for creating your layer masks, being able to enhance parts of your image—

such as the eyes of your subject—is invaluable

Arthur morris, a world-renowned bird photographer, offers some thoughts on how he uses Quickmasks in conjunction with Photoshop adjustments to make his bird

images even more compelling using Quickmasks is another way of making a

selec-tion once you’ve created a Quickmask, any adjustment layer you create will reflect

the selection of course, you can continue to modify the layer mask in all the

tradi-tional ways we discussed in Chapter 6

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Digital Eye Doctor

by Arthur Morris

In The Art of Bird Photography, I wrote, “When viewing wildlife, or wildlife art, we tend to make

immediate eye contact Consequently, if a bird’s eye is in sharp focus, it gives the photograph

an impression of overall sharpness.” While optimizing my images in Photoshop, I often have the chance to improve the look of a bird’s eye or eyes, and I have developed a useful bag of tricks for doing just that Doing so can add greatly to the drama and impact of an image

For 99% of my eye repairs, I now use QuickMasks, which are simple to use and feature feather-ing equivalent to half the width of the brush This results in seamless selective adjustments

To set up for quick masking, double-click the bottom icon in the toolbar This brings up the Quick Mask Options dialog In the Color Indicates section, choose Selected Areas Then change the opacity to 80% and click OK I stick with the default bright red color, but you can change it

by clicking on the red box and selecting your new color Now you are good to go

To toggle back and forth between RGB and QuickMask mode, press the keyboard shortcut Q

Let’s start with a simple task, darkening the pupil to increase apparent sharpness First, make sure that you are on the Background or Smart Object layer Then draw a small box around the eye with the Zoom tool so that the bird’s eye fills a good portion of the screen Press Q to enter QuickMask mode and then press B for the Brush tool Check to see that the hardness is set to 0

It’s best to use a brush that’s not larger than half the size of the pupil Make sure that the fore-ground color is set to Black by pressing D Now click and paint the pupil with the cursor

If you color outside the lines a bit, don’t worry Press E for the Eraser tool and erase your mis-take Press B to do more painting Once you are happy with your paint job, press Q again to exit Quick Mask mode Your selection will be outlined by the marching ants Now open a Curves adjustment layer and drag the curve down a bit to darken the pupil Do not overdo it as this will result in a black, plastic, cookie-cutter type eye Once you go back to view the whole image, you can always reduce the effect by reducing the opacity of the Curves layer

When you use flash to photograph birds, the pupils are often rendered quite funky Red-eye and steel-eye (an odd-looking silvery crescent on the eye) were common when using flash with film, but with digital (which is more sensitive to flash than film), the effects are both wider ranging and even more detrimental to the image When you examine a flashed bird’s pupil (and sometimes the entire eye as well) at high magnification, unnatural highlights and lightened and artificially colored pupils are often revealed Most folks simply ignore these problems, but the fix takes only minutes

Prepare a QuickMask of the pupil as above, but instead of making a Curves adjustment, make

a Hue/Saturation adjustment Slide the Saturation slider to the left to between –70 and –100, and then move the Lightness slider also to the left anywhere from –50 to –90 Reducing the saturation will eliminate the purples in the pupil and darkening it will make it look sharper As earlier, be careful not to overdo it