Understanding Adobe Photoshop CS4- P6 pot

138 Chapter 8 Compositing with Layers • If you need a fl attened copy to paste into another document (or within your current document), use the Copy Merged com- mand. Select an active, visible layer, and then choose Select > All. You can copy all visible items to your clipboard as a single layer by then choosing Edit > Copy Merged or by pressing Shift+Command/Ctrl+C. Creating a Panorama By using layers, you can take several photos from one location and merge them together to create a large panoramic photo. Many people take an assortment of photos of a subject while holding the camera, but it’s best to use a tripod. It’s important to ensure that you have some overlap between each frame; that is to say, the adja- cent photos share some common subject matter—about 15 percent overlap is usually enough. Let’s try piecing together some photos using the Automation com- mand called Photomerge: 1. Choose File > Automate > Photomerge. Photomerge is a specialized “mini- application” within Photoshop that assists in combining multiple images into a single photo. 2. Click the Browse button and navigate to the Chapter 8 folder on the book’s CD. 3. Select the folder Ch08_Pano, select all the fi les within the folder, and then click Open. TIP Flattening Images Remember, fl attening is permanent. Be 100 percent positive before you discard your layers permanently. Saving a fl attened copy is usually a better idea. You can also group multiple layers into a Smart Object by selecting the layers, and then choosing Layer > Smart Object > Convert to Smart Object. You can always edit the Smart Object and extract the layered fi le. TIP Professional Panoramic Photography Pros know that it’s best to use a tripod and slightly move the camera to create overlap. There are even specialized tripod heads that you can purchase from companies like Kaidan (www.kaidan.com) and Really Right Stuff (www.reallyright stuff.com) that make leveling and rotation much more precise. Creating a Panorama 139 4. There are several Layout options avail- able that attempt to fi x problems caused by panoramic photography (such as distortion). A good place to start is Auto, which attempts to align the images but will bend them as needed. 5. Select the check boxes next to Blend Images Together and Vignette Removal. These two options will attempt to blend the edges of the photos together and can hide subtle differ- ences in exposure. 6. Click OK to build the panoramic image. Photoshop attempts to assemble the panora- ma based on your choices in the dialog box. Since layers are preserved, however, you can still tweak the position of individual layers. 7. Nudge any layers with the Move tool if your alignment is off. 8. The Layer Masks help to blend the photos together. They can be modifi ed as needed using the techniques you learned in the previous chapter. 9. Choose Layer > Flatten Image. 10. Crop the image to a clean rectangular shape using the Crop tool (C). Be sure to check out the fi le Ch08_Pano_ Complete.tif to see how the image was further enhanced with adjustment layers. 140 Chapter 8 Compositing with Layers Auto-Aligning Layers The technology that powers the Photomerge command can also be harnessed to stitch together nonpanoramic shots. The Auto-Align Layers command is a useful way to stitch to- gether multiple shots or scans of a large object or a group photo. The command is very easy to use and produces impressive results. 1. Choose File > Scripts > Load Files into Stack to combine two or more fi les into one document. 2. In the Load Layers dialog box, click the Browse button to navigate to the fi les you need. 3. Open the folder Ch08_Cyborg, select both images inside, and click Open. 4. In the Load Layers dialog box select the check box next to Attempt to Automatically Align Source Images. 5. Click OK. Photoshop opens both images and aligns them, and does a good job (especially since the top layer was taken at such an angle). This alignment can be refi ned even further. 6. Make sure both layers are selected in the Layers panel. 7. Choose Edit > Auto Align Layers. VIDEO TRAINING Creating Panoramas 27 Auto-Aligning Layers 141 8. Select the Auto option to enable both Vignette Removal and Geometric Distortion options for Lens Correction. 9. Click OK. Photoshop removes some of the distortion in the glass case, giving it a more rectangular shape. The layers can be seamlessly blended togeth- er using the Auto-Blend Layers command. This applies Layer Masks as needed to each layer to mask out exposure issues and create a seamless composite. 10. Choose Edit > Auto-Blend Layers, specify the Panorama method, and click OK (be sure the Seamless Tones and Colors check box is also selected). 11. Crop the image as needed, adjust Levels, and Flatten. 142 Chapter 8 Compositing with Layers Photoshop CS introduced Layer Comps, which allows Photoshop to memo- rize combinations of layer visibility, opacity, and position. This can be useful for storing multiple designs inside one document. When experimenting with layouts, you’ll often use several options in one document. You might set the headline in three different typefaces and try the main photo in two different positions. Using Layer Comps allows you to set up different options within one document (instead of having to save and keep track of several). 1. Open the fi le Ch08_Layer_Comps.psd. 2. Make sure the Layer Comps window is visible. If not, choose Windows > Layer Comps. 3. Click the forward triangle to Apply Next Selected Layer Comp. Click through and examine the different layer comps. 4. For Layer Comp 1, move the words around onscreen to a new position. 5. Click the Update layer comp icon at the bottom of the Layer Comps panel (it looks like two arrows in a circle), 6. Switch to Layer Comp 2. On the layer called This is, click the visibility icon next to the Layer Style Outer Glow. A black glow should be added. 7. Click the Create new layer comp icon (it looks like a pad of paper) on the bottom edge of the Layer Comps window. Name it Comp 2 Alternate. 8. Save a copy of each layer comp to send to a client. Choose File > Scripts > Layer Comps to PDF. Photoshop creates a new PDF with all four layer comps in one document. This is a convenient way to email a project to a client for review. Layer Comps are a bit confusing at fi rst, but as you master what layers can do, you’ll turn to Layer Comps for fl ex- ibility. Be sure to check out the Adobe Help Center for more on Layer Comps. LAYER COMPS VIDEO TRAINING Layer Comps 28 Using Blending Modes 9 Blending modes are both a mystery and a source of great design power. Each blending mode controls how the pixels in one layer are affected by those in another layer or by a tool from the Tools panel. Most users give up on them because the technical defi nitions of blending modes get very tricky. The secret is to not worry too much about the technical issues and to learn how to experiment. While you’ll explore the technology and the creativity behind blending modes, there are only a few basics that you must know to make blending modes part of your design toolbox. About Blending Modes There are 25 different blending options avail- able from the Layers panel and a few additional blending options that work with specifi c tools. How do they work? The simple answer is, it de- pends. Your response is likely, depends on what? Simply put, the effect achieved by blending two layers varies with the contents of those two lay- ers. A blending mode compares the content of two layers and enacts changes based on the con- tent of both layers. You’ll fi nd blending modes in many of the tools, and they can be combined with every fi lter. 144 Chapter 9 Using Blending Modes The blending mode specifi ed in the Options bar controls how pixels are affected by a painting or editing tool. Additionally, you can set the blend- ing mode of a layer to control how it interacts with those below it. A clear understanding of the following terms will better help you understand blending modes: • Base color: The original color in the image • Blend color: The color being applied with the painting or editing tool (or the color in the top layer) • Result color: The color resulting from the blend List of Blending Modes Here are the different blending modes available through the Layers panel. I have attempted to give you a clear and simple defi nition as well as a sample of how these images blend. NOTE Blending Mode Practice For more practice with blending, open the fi les Ch09_Blend Modes1. psd and Ch09_Blend Modes2.psd in the Chapter 9 folder, and experiment with different modes and opacity settings. Original Blended Image About Blending Modes 145 Dissolve Creates a random replacement of the pixels with the base or blend color. Color Burn Evaluates each channel; darkens base by increas- ing contrast. Lighten Evaluates each channel; it then uses base or blend color (whichever is lighter). Linear Dodge (Add) Evaluates color information and brightens base by increas- ing brightness. Soft Light Effect is similar to shining a diffused spotlight on the image. Linear Light Burns or dodges by decreasing or increasing the brightness. Difference Evaluates each channel and sub- tracts or inverts depending on brightness. Saturation Creates color with luminance and hue of base and saturation of blend. Darken Pixels lighter than blend are replaced; darker ones are not. Linear Burn Evaluates each channel; darkens base by decreas- ing brightness. Screen Results in a lighter color. It is useful for “knock- ing” black out of a layer. Lighter Color Uses highest value from both layers to create resulting color. Hard Light Effect is similar to shining a harsh spotlight on the image. Pin Light Is useful for add- ing special effects to an image. Exclusion Is similar to the Difference mode but lower in contrast. Color Preserves gray levels. It’s very useful for color- ing and tinting. Multiply Is similar to draw- ing strokes on the image with magic markers. Darker Color Uses the lowest value from both layers to create resulting color. Color Dodge Evaluates color information and brightens base by decreasing contrast. Overlay Overlays existing pixels while pre- serving highlights and shadows of base. Vivid Light Burns or dodges by increasing or decreasing the contrast. Hard Mix Enhances the contrast of the underlying layers. Hue Uses luminance and saturation of the base and the hue of the blend. Luminosity Is the inverse effect from the Color mode. Open the fi le Ch09_Blended_Overlay.psd from the Chapter 9 folder on the CD to experiment with blending modes. 146 Chapter 9 Using Blending Modes Blending Modes in Practice So far you’ve looked at blending modes in a strictly technical sense. While it’s useful to have a clear understanding of the tech- nology, don’t lose sight of the design possibilities. Blending modes are a great way to mix layers together. For a designer, this can be a useful way to create backgrounds for speaker support (like Pow- erPoint presentations) or DVD menus. Let’s dissect one of those backgrounds: 1. Open the fi le Ch09_Speaker_Support.psd from the Chapter 9 folder on the CD. This eight-layer document uses blending modes to create a complex background. 2. Turn off the visibility icons for all but the bottommost two layers. 3. Select the Train layer. It is currently set to the Overlay blending mode. Changing its blend- ing mode will create a different look. 4. A useful shortcut to cycle blending modes is Shift++(plus). This will step you forward in the blending mode list. Pressing Shift+- (mi- nus) will step backward through the blending mode list. If you have a tool selected that has its own mode settings (such as the Brush or Gradient tool), the shortcut modifi es the blending mode of just the tool. To quickly change the mode on a layer, select the Move tool (V) or Marquee tools (M) fi rst. Ex- periment with different blending modes and opacity settings to try out different looks. 5. Repeat your blending mode experimentation for the Light, Highlights, and Soft Focus layers. Try out different modes and opacity settings. 6. Select the Blue layer. It is set to the Color blending mode, which applies its color to all layers below it. This is a very useful way to tint multiple layers for a consistent look. Blending Modes in Action 147 Continue to experiment with different combinations of blending modes and opacity settings. This sample image provides just a quick glimpse into the power and fl exibility of blending modes. Rule #1—Don’t try to memorize how each blending mode works: The good news is that they are grouped by similar traits. As you make your way through the list, you will notice a gradual progression through styles. The fi rst group darkens your underlying image, whereas the second lightens it. The third set adds contrast, and the last two generate dramatic results by comparing or mapping values. Depending on your sources, some blending modes will generate little or no results. Sound confusing? Keep reading. Rule #2—Experiment: The best way to use blending modes is to just try them out. Clicking through a long drop-down menu is boring. A much better alternative is to select the Move tool and then use the Shift++ keyboard shortcut. Rule #3—Exploit them: Do you need a quick visual pop? Try blending a blurred image on top of itself. Do you need to tint an image? Place a solid or gradient on top of the image and change to Hue or Color mode. Blending modes are available for every fi lter (choose Fade Filter from the Edit menu) and all the Brush tools. DESIGN “RULES” FOR BLENDING MODES Blending Modes in Action Now that you have a little practice with blending modes, it’s time to explore their creative and production side in greater depth. Blending modes are part of a professional’s workfl ow. The next three sections showcase a few different ways to better integrate blending modes for professional results. VIDEO TRAINING Blending Modes 29 [...]... purpose of Photoshop is to act as a digital darkroom, where images can be corrected, enhanced, and refi ned How do you know an image needs touch-up? You can pretty much assume every image can look a little (or even a lot) better than how the camera captured it Whether it’s adjusting the exposure, increasing contrast, or boosting saturation, Photoshop is the place to improve an image Learning how to spot problems,... Learning how to spot problems, and then choosing the right correction technique is an essential part of mastering Photoshop Several different tools are available, some more useful than others By analyzing the most important tools and determining in which situations they might help you, a more thorough understanding of color correction is possible Approach to Color Correction The image on the top is unretouched... compare it to the image you’ve been working on This before-and-after comparison can be very useful If you have a fresh set of eyes nearby, ask that person for his or her opinion Primary Image Adjustments Photoshop offers several image adjustments, but only a few are used most often Commands such as Levels and Curves are used by professionals to achieve outstanding results These professional imaging techniques... Correction—Levels Primary Image Adjustments Auto-Levels When working with the Levels adjustment layer, you may have noticed the Auto button This command button triggers an analysis of the histogram data by Photoshop that is then used to modify the individual controls of the Levels adjustment In many cases this results in an image that is properly adjusted for color balance and exposure issues In others it... close the dialog box 157 158 Chapter 10 Color Correction and Enhancement Color cast In the fi rst Levels example you made a Levels adjustment to all the channels evenly In the Auto-Levels example, you let Photoshop adjust the levels and remove color cast using an automated algorithm The Levels command can be further isolated to a specific channel by clicking the drop-down list in the center of the Levels . boosting saturation, Photoshop is the place to improve an image. Learning how to spot problems, and then choos- ing the right correction technique is an essential part of mastering Photoshop. Several. needed, adjust Levels, and Flatten. 142 Chapter 8 Compositing with Layers Photoshop CS introduced Layer Comps, which allows Photoshop to memo- rize combinations of layer visibility, opacity, and. dialog box select the check box next to Attempt to Automatically Align Source Images. 5. Click OK. Photoshop opens both images and aligns them, and does a good job (especially since the top layer