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Make sure you can see the entire mussel in the window. Starting at the lower-left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible. Do not release the mouse button. Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process. Drag with the Lasso tool. Click with the Polygonal Lasso tool.
Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image. Leave the mussel selected for the next exercise. Before you begin, make sure that the mussel is still selected. Drag to rotate the mussel to a —degree angle.
You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes. Selecting with the Magnetic Lasso tool You can use the Magnetic Lasso tool to make freehand selections of areas with high-contrast edges. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast.
You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border. You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting. Or you can move the Magnetic Lasso tool over the starting point and click once. Photoshop dims the area outside the crop border. Be careful not to include any part of the image that you want to keep.
Anti-aliasing smooths the jagged edges of a selection by softening the color transi- tion between edge pixels and background pixels. Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images.
Select the tool to display its options in the options bar. To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection.
Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it. Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels.
Enter a value for the Feather Radius, and click OK. Use a size 6 brush to get a more precise selection. You can also view the selection edges as if masked or against various backgrounds.
A black background appears under the selection, and the selection edges disappear. We used a value of 4. Increase the brush size to select it more quickly. Remember that you can add or subtract from the selection using the buttons in the options bar.
Delete Layer button at the bottom of the Layers panel. Images with a clearly delineated outline and a uniform back- ground—such as the 03Start. To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each.
You can close each file without saving. Review answers 1 Only the area within an active selection can be edited. To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract. You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click.
New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers. All new layers in an image are transparent until you add text or artwork pixel values. When the sheets are stacked, the entire composition is visible. Press the spacebar for a full-screen view. You will create it now, and, in doing so, learn how to create, edit, and manage layers.
Saving another version of the start file frees you to make changes without worrying about overwriting the original. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers. Right-click Windows Notice the layer thumbnail and the icons on the Background layer level: or Control-click Mac OS a thumbnail t he lock icon indicates that the layer is protected.
No Thumbnails, Small Thumbnails, Medium he first task for this project is to add a photo of the beach to the postcard. Notice that only one layer appears in the Beach. An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer.
Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file. Before you begin, make sure that both the 04Working. Keep the layer selected. Photoshop displays both of the open image files.
Select the Beach. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier. Viewing individual layers he 04Working. Some of the layers are visible and some are hidden.
To select the layer, click the layer name in the Layers panel. A white border appears around the beach photo. Rearranging layers he order in which the layers of an image are organized is called the stacking order.
In this case, the postmark is too dark on the flower. You can also type the value in the Opacity box or scrub the Opacity label. Currently, the blending mode for both layers is Normal. Click OK in the Duplicate Layer dialog box. In this case, the postmark becomes a little stronger. A Transform bounding box appears around the beach image.
Watch the Width and Height percentages in the options bar. Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images. A new layer, named Layer 1, appears between the Background and Pineapple layers. We selected a color with the following values: R 48, G , and B Realistic- looking clouds appear behind the image.
Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes. Click OK to close the Color Picker.
Do the following in the Character panel: t Select a serif font we used Birch Std. Applying a gradient to a layer You can apply a color gradient to all or part of a layer. If you want to be sure you drag straight up, press the Shift key as either Small List or you drag. Large List. Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name. Like layers, layer styles can be hidden by clicking eye icons in the Layers panel.
Layer styles are nondestructive, so you can edit or remove them at any time. Earlier, you used a layer style to add a stroke to the beach photo. Do not click OK. As you edit the text, the layer styles are applied to the new text.
Adding a border he Hawaii postcard is nearly done. A pixel border is selected around the entire image. Flattening combines all the layers into a single background layer. So flattening is well worth it in this case. Only one layer, named Background, remains in the Layers panel. A layer comp is simply a definition of the settings in the Layers panel.
Then, by switching from one layer comp to another, you can quickly review the two designs. The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements.
You might have the French text on one layer, and the English text on another in the same image file. With a little imagination, you can appreciate how much time this saves for more complex variations. When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away.
Now for the fun part! You can also hide individual layers as you work on other layers. It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus. Many digital cameras can save images in camera raw format.
You can go back and reprocess the file any time you like to achieve the results you want. When you download the file from your camera, it has Raw format.
In Bridge or format for transferring Photoshop, you can process camera raw files from a myriad of supported digital images between cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process applications and computer platforms.
Photoshop Raw with camera raw file formats. Although Camera Raw can open and edit a camera raw image file, it cannot save an image in camera raw format. You used Camera Raw to edit the color and lighting in an image in Lesson 2. Processing files in Camera Raw When you make adjustments to an image in Camera Raw, such as straightening or cropping the image, Photoshop and Bridge preserve the original file data.
Opening images in Camera Raw You can open Camera Raw from either Bridge or Photoshop, and you can apply the same edits to multiple files simultaneously. Filmstrip B. Toggle Filmstrip C. Toolbar G D. Toggle Full-Screen Mode E.
RGB values F. Image adjustment H tabs G. Histogram A H. Camera Raw Settings menu B I. Zoom levels J. Multi-image naviga- tion controls L. Adjustment sliders I J K L he Camera Raw dialog box displays a large preview of the first image, and a filmstrip down the left side displays all open images. Tools along the top of the dialog box let you zoom, pan, straighten, and make other adjustments to the image. Tabbed panels on the right side of the dialog box give you more nuanced options for adjusting the image: You can correct the white balance, adjust the tone, sharpen the image, remove noise, adjust color, and make other changes.
You can also save settings as a preset, and then apply them later. For the best results using Camera Raw, plan your workflow to move from left to right and top to bottom.
Or, you can click the Forward button under the main preview window to cycle through the images. A digital camera records the white balance at the time of exposure; this is the value that initially appears in the Camera Raw dialog box image preview.
White balance comprises two components. By default, As Shot is selected in the White Balance menu. Camera Raw applies the white balance settings that were in your camera at the time of exposure. To set an accurate white balance, select an object that should be white or gray. Camera Raw uses that information to determine the color of the light in which the scene was shot, and then adjusts for scene lighting automatically.
You can use the White Balance tool to find the best lighting for the scene quickly and easily. Select Preview again to see the modified image. Exposure essentially defines the white point, or the lightest point of the image, so that Camera Raw adjusts everything else accordingly. Conversely, the Blacks slider sets the black point, or the darkest point in the image. You can use the Auto option to let Camera Raw attempt to correct the image tone, or you can select your own settings.
Camera Raw increases the saturation and decreases the blacks and the contrast. You could use this as a starting point. Also, as you move any tool over the preview image, the RGB values for the area under the cursor appear below the histogram. Filter tool. Even when this slider is set to 0, Camera Raw performs some sharpening. When the Masking value is high, Camera Raw sharpens only those parts of the image that have strong edges. Synchronizing settings across images All three of the mission images were shot at the same time under the same light- ing conditions.
You do this using the Synchronize command. By default, all options except Crop and Spot Removal are selected. When you synchronize the settings across all of the selected images, the thumb- nails update to reflect the changes you made. To preview the images, click each thumbnail in the filmstrip. Your files will be named on the web, you would probably want to open Mission They are currently much larger, and most viewers would need to scroll to see the full-size images.
Bridge returns you to the Camera Raw dialog box, and indicates how many images have been processed until all the images have been saved. In Bridge, however, you now also have JPEG versions as well as the original, unedited CRW image files, which you can continue to edit or leave for another time. If you click Open Object button the default, click the Open Image, the image opens as a standard Photoshop image. Click OK if a compatibility dialog box appears.
Camera Raw processes the raw files with default image settings based on built-in camera profiles for supported cameras and the EXIF data. DNG is meant to be an industry-wide standard format for raw image data, helping photographers manage the variety of proprietary raw formats and providing a compatible archival format.
You can save this format only from the Camera Raw dialog box. Higher-resolution JPEG files may be used for other purposes, including high- quality printing.
JPEG format retains all color information in an image, but compresses file size by selectively discarding data. The greater the compression, the lower the image quality. Also, virtually all desktop scanners can produce TIFF images. Not to be con- fused with camera raw file formats, the Photoshop Raw format RAW is a file format for transferring images between applications and computer platforms. Cameras and com- puter monitors, however, are more limited in the dynamic range the ratio between dark and bright regions they can reproduce.
Merging exposures into an HDR image When a scene contains a more complex dynamic range than you can capture in one image, take three or more, and then merge them in Photoshop. Click OK or Open. Photoshop opens each of the files briefly and merges them into a single image.
Photoshop adds a Levels adjustment layer to the Layers panel. Photoshop replaces the histogram. You want to set the black point to match the beginning of that data.
As you drag, the first Input Levels value beneath the histogram graph changes, and so does the image itself. We moved it to a value of 1. Name the layer Corrections, and click OK. Working on a duplicate layer preserves the original pixels so you can make changes later. Experiment with simply clicking, using very short strokes, and creating longer brush strokes.
Remove obtrusive or distracting lines and blemishes, but leave enough that the face retains its character. Make sure Midtones is selected in the Range menu. Today, Graham has clients in the advertising, architectural, editorial, and travel industries.
Where is it? What does it look like? If it makes more sense to shoot in JPEG for your project, use fine compression and high resolution. Start with the best material Get all the data when you capture—at fine compression and high resolution. Graham names his files by date and possibly subject. He would store a series of photos taken Dec.
Follow Windows naming conventions to keep filenames usable on non-Macintosh platforms 32 characters maximum; only numbers, letters, underscores, and hyphens. Each time a JPEG is re-edited and saved, compression is reapplied and the image quality degrades. Show off to clients and friends When you prepare your work for delivery, choose the appropriate color file for the destination.
Convert the image to that profile, rather than assigning the profile. Adobe or Colormatch are the best profiles to use for RGB images destined for traditionally printed material such as brochures.
Use 72 dpi for electronic view- ing and dpi or higher for printing. She looks more realistic now, but you can target the surface blur more precisely using the Eraser tool. You can also use the adjustments to pull details from the shadows in an image that is otherwise well-lit. In the Favorites panel in Bridge, click the Lessons folder. In the Content panel, double- click the Lesson05 folder. Photoshop automatically applies default settings to the image, lightening the background.
Red eye is easy to fix in Photoshop. You may need to deselect Scrubby Zoom to drag a marquee. Noise can result from using a high ISO setting on a digital camera, from underex- posure, or from shooting in darkness with a long shutter speed. Scanned images may contain noise that results from the scanning sensor, or from a grain pattern from the scanned film. Using the Reduce Noise filter, you can smooth out this area. Strength controls the amount of luminance noise.
Correcting image distortion he Lens Correction filter fixes common camera lens flaws, such as barrel and pincushion distortion, chromatic aberration, and vignetting.
Barrel distortion is a lens defect that causes straight lines to bow out toward the edges of the image. Chromatic aberration appears as a color fringe along the edges of image objects. Vignetting occurs when the edges of an image, especially the corners, are darker than the center.
Some lenses exhibit these defects depending on the focal length or the f-stop used. In this exercise, you will adjust the lens distortion in an image of a Greek temple.
In Bridge, navigate to the Lesson05 folder. An alignment grid overlays the image, next to options for removing distortion, correcting chromatic aberration, removing vignettes, and transforming perspective. Alternatively, you could select the Remove Distortion tool and drag in the image preview area until the columns are straight. Click OK if a compatibility warning appears. If you want the entire image to be in focus, take two photos—one with the background in focus and one with the foreground in focus— and then merge the two in Photoshop.
Even with a handheld camera, though, you can get some amazing results. Now the beach is in focus, but the glass is blurred.
First, you need to align the layers. Because these images were shot from the same angle, Auto will work just fine. Both the wine glass and the beach behind it are in focus. You can use these techniques separately or together on your own images. What causes these defects? Camera raw files give photographers control over interpreting the image data, rather than letting the camera make the adjustments and conversions.
When you edit the image in Camera Raw, it preserves the original raw file data. DNG is an industry-wide standard for camera raw image data that helps photographers manage proprietary camera raw file formats and provides a compatible archival format.
The cutout portion of a mask can be altered, but the area surrounding the cutout is protected from change. You can create a temporary mask to use once, or you can save masks for repeated use. With masks, you can create and save time-consuming selections and then use them again.
In Photoshop, you can make temporary masks, called quick masks, or you can create permanent masks and store them as special grayscale channels called alpha chan- nels. Unlike layers, channels do not print. You use the Channels panel to view and work with alpha channels. A key concept in masking is that black hides and white reveals.
As in life, rarely is anything black and white. Shades of gray partially hide, depending on the gray levels is the value for black, hiding artwork completely; 0 is the value for white, revealing artwork completely. Select the Lessons folder, and then double-click the Lesson06 folder in the Content panel. To enlarge the thumbnail so that you can see it more clearly, move the thumbnail slider at the bottom of the Bridge window to the right. Saving a working version of the file lets you return to the original if you need it.
Everything outside the selection is transparent, represented by a checker- board pattern. Here are several keyboard shortcuts that make the zooming even faster and easier. When you finish zooming, release the keys to return to the tool you were previously using. When you finish zooming, release the keys to return to the tool you were using. Choose On Black from the pop-up menu. Use it to paint out any white background that remains around the lips and the nose.
Press [ to decrease the brush size and ] to increase it. A new layer, named Layer 0 copy, appears in the Layers panel. If necessary, zoom out or use the Hand tool to reposition the image so that you can see all of the hair. Press the ] key to increase the size of the brush. Press the [ key to decrease the brush size by about half. As you paint, Photoshop refines the mask edge, including the hair, but eliminat- ing most of the background. If you were painting on a layer mask, the background would be included.
Click once or twice in each area where background color shows. When you erase an area, the Refine Mask feature erases similar colors, cleaning up more of the mask for you. Be careful not to erase the refinements you made to the hair edge. You can undo a step or use the Refine Radius tool to restore the edge if necessary. These tips will help get you started.
Black hides, white reveals, and shades of gray partially hide or reveal. The darker the gray, the more is hidden in the mask. A red X appears over the mask thumbnail in the Layers panel when the mask is disabled. To unlink a layer or group from its layer mask or vector mask, click the link icon between the thumbnails in the Layers panel. To relink them, click the blank space between the two thumbnails. The Feather slider softens the edge of the mask. Click Yes or Delete to confirm deletion of the layers or their masks, if prompted; you do not need to apply the mask to the current layer because Layer 0 copy 2 already has the mask applied.
By default, you have been working in Standard mode. In Quick Mask mode, a red overlay appears as you make a selection, masking the area outside the selection the way a rubylith, or red acetate, was used to mask images in traditional print shops. You can apply changes only to the unprotected area that is visible and selected.
Open the Brush pop-up panel, and select a small brush with a diameter of 13 px. Click outside the panel to close it. Reduce the brush size to paint around the lenses. When using a painting or editing tool in Quick Mask mode, keep these principles in mind: t Painting with black adds to the mask the red overlay and decreases the selected area.
Unless you save a quick mask as a more permanent alpha-channel mask, Photoshop discards the temporary mask once it is converted to a selection. Click OK. You can reposition areas, such as hair or an arm, just as you might pull the strings on a puppet. You place pins where you want to control movement. A mesh appears over the visible areas in the layer—in this case, the mesh appears over the model.
Each time you click, Puppet Warp adds a pin. Approximately 10 pins should do the trick. A larger circle appears around the pin and a curved double arrow appears next to it. Continue pressing Alt or Option as you drag the pointer to rotate the head backwards. You can see the angle of rotation in the options bar; you can enter there to rotate the head back. Alpha channels store selections as gray- scale images. Color information channels store information about each color in an image; for example, an RGB image automatically has red, green, blue, and composite channels.
To create a shadow, you want to essen- tially duplicate that mask and then shift it. In the Save Selection dialog box, make sure New is chosen in the Channel menu. Nothing changes in the Layers panel or in the image window. However, a new channel named Model Outline has been added to the Channels panel. Drag the new layer below the Model layer. Click the Commit Transform button in the options bar, or press Enter or Return, to accept the transformation.
In the Channels panel, select the Black channel. Name the channel Hair, and click OK. Individual channels appear in grayscale. If more than one channel is visible in the Channels panel, the channels appear in color. In the Layers panel, select the Model layer. In the Refine Edge dialog box, move the Feather slider to 1.
In the Levels dialog box, move the sliders so that the Black slider is positioned where the blacks peak, the White slider where the whites peak, and the Midtones in between. We used the values 58, 1. Your magazine cover is ready to go! What they have in common is that they all store selections, and they all let you edit an image nondestructively, so you can return at any time to your original. You can add alpha channels to create and store masks.
A layer mask controls which part of a layer is revealed or hidden. Resolution-independent, vector masks have crisp edges and are created with the pen or shape tools. Their thumbnails appear the same as layer mask thumbnails. Thumbnails of a clipped layer are indented with a right-angle arrow pointing to the layer below.
The name of the clipped base layer is underlined. Channel masks are useful for making intricate, fringed, or wispy-edged selections. You can create a channel mask based on a dominant color in an image or a pronounced contrast in an isolated channel, for example, between the subject and the background.
Review answers 1 Quick masks are helpful for creating quick, one-time selections. In addition, using a quick mask is an easy way to edit a selection using the painting tools. Unless you explicitly display a channel, it does not appear in the image or print. When you add type to an image in Photoshop, the characters are composed of pixels and have the same resolution as the image file—zooming in on characters shows jagged edges. However, Photoshop preserves the vector-based type outlines and uses them when you scale or resize type, save a PDF or EPS file, or print the image to a PostScript printer.
Increase the thumbnail size to see the image clearly by 07Start. Creating a clipping mask from type A clipping mask is an object or a group of objects whose shape masks other artwork so that only areas that lie within the clipping mask are visible.
In Photoshop, you can create a clipping mask from shapes or letters. Adding guides to position type he 07Working. Photoshop lets you create hori- zontal or vertical type anywhere in an image. You can enter point type a single letter, word, or line or paragraph type. You will do both in this lesson.
Any Current Edits button or switching to another tool or layer. You cannot commit to current edits by pressing Enter or Return; doing so merely creates a new line of type.
You can edit and manage the type layer as you would any other layer. You can add or change the text, change the orientation of the type, apply anti-aliasing, apply layer styles and transformations, and create masks. You can move, restack, and copy a type layer, or edit its layer options, just as you would for any other layer. A new layer appears in the Layers panel for the 07Working. Press Shift as you resize it to approximately the same width as the area of text. Pressing Shift retains the image proportions.
You will need a web-enabled device or computer in order to access the media files that accompany this ebook. Entering the URL supplied into a computer with web access will allow you to get to the files. Depending on your device, it is possible that your display settings will cut off part of the URL. To make sure this is not the case, try reducing your font size and turning your device to a landscape view. This should cause the full URL to appear. In addition to learning the key elements of the Photoshop interface, this completely revised CS5 edition shows readers how to edit images with precise selection control, correct a wide range of lens-based errors, interactively transform their images with the new Puppet Warp tool, and easily remove or replace image elements with the new Content-Aware Fill mode.
The book also covers new powerful painting effects to artistically enhance images and shows how to combine multiple exposures into a single HDR image. For the first time, the companion DVD will feature, in addition to the lesson files, 2 hours of free video tutorials from Learn Adobe Photoshop CS5 by Video by Adobe Press and video2brain, a great added value! Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students.
Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.
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