The Adobe Photoshop CS5 Book for Digital Photographers part 30 pptx

When the Fill dialog appears, in the Use pop-up menu, choose Content-Aware if it’s not already selected for you, then click OK, and watch as it fills in the gaps for you as seen here.. I

Step Five:

So, at this point, the columns aren’t

bow-ing, but they are still leaning out too far,

so now we have to fix those manually

Go down to the Transform sliders near

the bottom of the Custom tab The

Vertical Perspective slider fixes problems

where thing are leaning out or in, and

there’s a tiny icon on either side of the

slider to show you what dragging in each

direction will do In this case, we need to

drag over to the right to around +12 (this

is how far I needed to drag over to make

the columns stand up straight again)

Compare them to the image back in

Step Four, and you’ll see what an effect

this had on the columns

Step Six:

When you make geometric corrections

like this, sometimes (okay, fairly often),

you’ll see that in the process it seems to

crop in a little bit tighter on your photo

What it’s doing is automatically

correct-ing for the fact that when it unbowed

your image, it did bow the outside edges

a bit, so it automatically scales the image

up a little, and crops off those

messed-up edges If you want to see what’s really

going on, drag the Scale slider (at the

bottom of the window) to the left (to

less than 100%), and you’ll see the edges

(I dragged it to the left to 91%, and you

can see the gaps at the top that the

image area used to fill)

Step Seven:

If you have an image where scaling it

down even a tiny bit is unacceptable,

then try this—use the Scale slider to

scale it down until you see the full image

(and the gaps it creates), then click OK to

apply the edits from the Lens Correction

filter Now use the Magic Wand tool

(press Shift-W until you have it) to select

those gap areas (as shown here)

Step Eight:

Go under the Edit menu and choose Fill

When the Fill dialog appears, in the Use

pop-up menu, choose Content-Aware

(if it’s not already selected for you), then

click OK, and watch as it fills in the gaps

for you (as seen here) It’s not perfect,

but it did a lot of the work for us (for

much more on Content-Aware Fill, how

it works, and what to do when it doesn’t,

jump to the next project) Now, at this

point, after a little Clone Stamp

retouch-ing on the area we just filled, we’d be

done, but I want to cover a couple of

other little things they tweaked in the

CS5 update of the Lens Correction filter

Step Nine:

In previous versions of the Lens Correction filter, there was a visible grid that was on when you opened the filter Thankfully, now it’s off by default, but if you miss it, you can turn on the Show Grid checkbox

at the bottom of the dialog There are two other sets of controls on the Custom tab:

You can remove/add vignetting in the Vignette section, but it works just like it does in Camera Raw, and that’s explained

in Chapter 3 There are also two sliders for fixing chromatic aberrations (where you see a red, cyan, blue, or yellow fringe around the edges of things in your photo) Using it

is a cinch—just drag the sliders toward Red

to remove red, or toward Cyan to remove cyan (and so on for Blue and Yellow on the bottom slider) Below is a before/after, but

I didn’t do the whole Content Aware Fill thing—it’s just the filter as is

After Before

Step One:

In this case, we have someone sneaking

into the scene from the far left side of the

image, and it takes away from what’s

hap-pening in the rest of the image To have

Content-Aware Fill remove that one-third

of a person, just get the Lasso tool (L)

and draw a very loose selection around

them Don’t get too close—a loose

selec-tion, like the one you see here, is fine

Step Two:

Now press the Delete (PC: Backspace) key

on your keyboard, and the Fill dialog will

appear, with Content-Aware selected in

the Use pop-up menu (as shown here)

Just click OK, sit back, and prepare to be

amazed (I know—it’s freaky) Go ahead

and Deselect by pressing Command-D

(PC: Ctrl-D) Look at how it replaced

the missing grass in the proper

perspec-tive This is the essence of being “content

aware” and being totally aware of what’s

around it The more I use it, the more it

amazes me, but part of using this

effec-tively is learning it’s weaknesses, and how

to get around them when possible

Removing Distracting Stuff

Using

Content-Aware Fill

This is probably one of the main reasons you bought the CS5 upgrade—to get Content-Aware Fill, because it’s just incredibly amazing That being said, as amazing as it is, it’s incredibly simple to use, so don’t let the fact that it only took four pages in the book to cover perhaps the most famous feature in all of CS5 throw you off What makes the feature even more amazing is that you have to do

so little—Photoshop does all the heavy lifting Here are a couple of examples of ways to use it to remove distracting things you wish weren’t in the photo:

Step Three:

As well as it did removing that one-third

of a person on the far left, it’s not going

to do a good job if you want to remove

the guy on the right It seems like it

should work just fine, but it doesn’t

Well, at least not at first, but we’re

going to kind of make it work Start by

putting a loose selection around him,

then hit the Delete (PC: Backspace) key,

and when the Fill dialog appears, don’t

touch anything, just click OK

Step Four:

In this case, it didn’t really work as well as

we had hoped Now, your first inclination

is to undo, and then switch to the Clone

Stamp tool, but don’t quite yet One thing

I’ve learned about Content-Aware Fill

is that it is sometimes chooses different

places to sample content from, so instead

of switching to the Clone Stamp tool, try

this first: press Command-Z (PC: Ctrl-Z)

to Undo the Content-Aware Fill, and then

just try it again You might be surprised

that it samples from a different area, and

it might work this time However, it didn’t

for me, but don’t worry—I’ve got a

back-up plan Go ahead and deselect

Step Five:

Now, let’s think of things differently

at this point Let’s not think,

“Content-Aware Fill didn’t work.” Let’s think,

“Hey, l can use Content-Aware Fill to

fill that concrete-looking shape on the

right side of the photo.” So, make a loose

Lasso selection around the

concrete-look-ing blob, then brconcrete-look-ing up Content-Aware

Fill again, and give it a shot

Step Six:

Wow—this is a lot better It’s not fully

there, but a lot, lot better (more on taking

it up a notch in a moment) Now, you will

fall deeply in love with Content-Aware Fill

if you can come to peace with the fact

that it won’t work perfectly every time,

but if it does 70% or 80% of the work for

me (in removing something I don’t want),

that means I only have to do the other

20%, and that makes it worth its weight

in gold If it does the entire job for me,

and sometimes it surely does, then it’s

even better, right? Right Also, it helps to

know that the more random the

back-ground is behind the object you want to

remove, the better job Content-Aware

Fill generally does for you (By the way,

do you think we could pull that same

scam again? The one we did in Step Five?)

Step Seven:

Put a Lasso selection around the area

that’s still messed up (where the guy

on the right used to be), and try the

Content-Aware Fill thing on that area,

and see what happens Well, you don’t

really have to, because I’m showing you

here It’s pretty darn close now, and just

needs a little touch-up (notice how the

railings don’t quite match up?) Well, let’s

see what happens if you tried to move

the guy in the black outfit—you know

what to do: Lasso, then hit Delete

Step Eight:

For some reason, it worked much better

on him, first time out, than it did on the

guy on the right If you look at the fence

behind where he was, you do have a tiny

bit of touch-up with the Clone Stamp tool

to make his removal really seamless (that

fence needs a tiny bit of fixing, right?), but

when you think of how much

Content-Aware Fill did for you, it makes you start

to wonder how you lived without it

TIP: Painting Using

Content-Aware Fill

The method you just learned has you

making a selection, and then filling it using

Content-Aware Fill If you’d rather paint

than select, you can use the Spot Healing

Brush—just make sure the Content-Aware

radio button is on up in the Options Bar,

then paint right over what you want gone

How to Make Shadows/Highlights

an Adjustment Layer

Well, it won’t technically be an

adjust-ment layer, but it will act and perform

exactly like one Here’s what you do: First,

go under the Filter menu and choose

Convert for Smart Filters (which

con-verts the layer into a Smart Object)

Then go under the Image menu, under

Adjustments, and choose Shadows/

Highlights Now, choose any settings

you like, then click OK If you look in

the Layers panel, you’ll see that attached

below your layer is a layer mask (just like

an adjustment layer), and if you

double-click on the words “Shadows/Highlights”

below the mask, it brings up the dialog

again, with the last settings you applied

(just like an adjustment layer), and if you

click on the little adjustment sliders icon

to the right of the name, it brings up a

dialog where you can change the blend

mode and opacity (just like an

adjust-ment layer), and you can click the Eye

icon to turn the adjustment on/off (just

like an adjustment layer), and finally, you

can delete it anytime during your project

(just like an adjustment layer)

Not Sure Which Blend Mode Is the Right One?

Then just press Shift-+ to toggle through

all the layer blend modes one-by-one,

so you can quickly find out which one looks best to you

Changing the Position

of Your Lens Flare

When you use the Lens Flare filter (found under the Filter menu, under Render) it puts the flare in the center

of your image, but you can actually choose the position for your flare cen-ter (which changes the look of your flare quite a bit) by just clicking-and-dragging the flare center within the filter’s Preview window By the way, a great way to apply this filter is add a new layer, fill it with black, then run the filter, change its layer blend mode

to Screen, and it will blend in with

your image, so you can drag it wher-ever you’d like (if an edge shows, add a layer mask and paint over the edges in black with a huge, soft-edged brush)

How to Change the Order of the Brushes in the Brush Picker

Go under the Edit menu and choose

Preset Manager When the dialog

opens, by default it’s set to display all your brushes, so now all you have

to do is click-and-drag them into the order you want them When you’ve got everything in the order you want, click the Done button

Changing the Color

of Your Guides

Want to change the color of those guides you drag out from the rulers?

Just pull out a guide, then double-click directly on it, and it brings up the Preferences dialog for Guides, Grid & Slices, where you can choose

Photoshop Killer Tips

any color you’d like You can also press

Command-K (PC: Ctrl-K) and click on

Guides, Grid & Slices on the left

What That Fill Field Does

In the Layers panel, right below the

Opacity field is a Fill field, which has

had Photoshop users scratching their

head since it debuted several versions

ago It only kicks in when you have a

layer style applied to a layer, like a drop

shadow or bevel If you have something

on a layer and you apply a drop shadow

to it, then lower the Opacity amount,

the object and its shadow both fade

away, right? But if you lower the Fill

amount only, the object starts to fade

away, but the drop shadow stays at

100% opacity

The Hidden Shortcut for

Flattening Your Layers

There technically isn’t a keyboard

short-cut for the Flatten command, but I use

a standard shortcut for flattening my

image all the time It’s Command-Shift-E

(PC: Ctrl-Shift-E) That’s actually the

Copying Layer Masks from One Layer to Another

If you’ve created a layer mask, and you want that same mask to appear on

a different layer, press-and-hold the Option (PC: Alt) key and just drag-and-drop that mask on the layer where you want it It makes a copy leaving the original intact If you want to remove the mask from one layer and apply

it to another, then don’t hold the Option key and, instead, just click-and-drag the mask to the layer where you want it

shortcut for Merge Visible, so it only works if you don’t have any hidden layers, but I usually don’t, so it usually works

Customizing the HUD Pop-Up Color Picker

In CS5, you can have a heads-up display color picker appear onscreen when you’re using the Brush tool by pressing

Command-Option-Ctrl (PC: Alt-Shift) and clicking (PC: Right-clicking) And,

did you know you also get to choose which type and size of HUD you want?

Press Command-K (PC: Ctrl-K) to

bring up Photoshop’s preferences, click on General on the left, then up near the top of the General preferences

is a HUD Color Picker pop-up menu for choosing your style and size

Changing Brush Blend Modes on the Fly

If you want to change the blend mode for your current brush without travel-ing up to the Options Bar, just press

Shift-Ctrl (PC: Shift) and click (PC:

Right-click) anywhere in your image,

and a pop-up menu of Brush tool blend modes appears

Creating Cast Shadows

To create a cast shadow (rather than

a drop shadow), first apply a Drop

Shadow layer style to your object (choose Drop Shadow from the Add Layer Style pop-up menu at the bot-tom of the Layers panel, change your settings, and click OK), then go under the Layer menu, under Layer Styles,

and choose Create Layer This puts

the drop shadow on its own separate layer Click on that new drop shadow

layer, then press Command-T (PC:

Ctrl-T) to bring up Free Transform

Now, press-and-hold the Command (PC: Ctrl) key, grab the top center point, and drag down at a 45° angle

to create a cast shadow (like your shadow is casting onto the floor)

Photoshop Killer Tips

Photo by Scott Kelby Exposure: 1/6400 sec | Focal Length: 18mm | Aperture Value: ƒ/4.9