436 Chapter 11 Retouching Techniques 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. 437 IV: Creative Techniques (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. 438 Chapter 11 Retouching Techniques 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 mas- tering the Warp, Pucker, and Push Left tools. When work- ing on waistlines, use the Warp tool with a largish brush, a medium Brush Density setting (around 50), and 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. 439 IV: Creative Techniques 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.) 440 Chapter 11 Retouching Techniques 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. 441 Adjustments panel, 108, 189–190, 210 Color Balance controls, 289–290 Curves adjustment layer, 262, 290 Hue/Saturation controls, 274–282 Adobe Bridge. See Bridge application Advanced Dialog view, 59 Airbrush setting, 31 Alignment modes, Clone Stamp, 402 alpha channels, 421–422 Amount slider Smart Sharpen fi lter, 228 Unsharp Mask fi lter, 222, 223 angle gradients, 37 Angle settings Brush Tip Shape option, 26, 27 Jitter settings and, 28 Lens Correction fi lter, 428 anti-aliasing, 63 Application bar, 8 Arrange Documents pop-up menu, 8–9, 17 Aurelius, Marcus, 4 Auto Color feature, 267–268, 291–294 Auto Hide option, 408 B background color, 18 Background Eraser tool, 339–343 Limits setting, 342 Protect Foreground Color check box, 340 Sampling icons, 340–341 Tolerance settings, 339–340 Background image, 94–95 backgrounds converting layers into, 95 masking tools for, 338–356 permanently deleting, 355 texture creation, 387 Index \ (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 8-bit images, 141, 157–158, 208, 256 12-bit images, 156, 158 16-bit images, 141–142, 157–158, 208, 256 256 shades of gray conversion, 252–253 A active layer, 93–94 Add Noise fi lter, 389, 405 adjusting images, 186–189 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 creating, 187–189 empty, 197 grouping, 201–202, 204–205 histograms and, 206–207 interface features, 189–190 layer masks and, 197–202, 280–281 limitations of, 209 Opacity settings, 188 photo fi lter, 192–194 potential problems with, 208 presets available for, 210 selections and, 198–199 Smart Objects and, 205–206 stacking order of, 191 442 Index painting tools and, 23 Pin Light, 330–331 Saturation, 335 Screen, 323–324 Soft Light, 327 Vivid Light, 329 Blending sliders adjustment layers and, 202–203 collage effects and, 359 masking techniques and, 344–346 Bloat tool, 430, 435–436 Blur fi lter, 420, 425 Blur tool, 354, 419–420 bonus videos. See videos border effects, 360–362 borders, selection, 76–77 bracket keys ([ ]), 27, 68 Bridge application, 44–59 changing layouts in, 50–51 comparing images in, 53–55 fi ltering images in, 49–50 importing images into, 57–59 metadata options in, 53 navigating drives in, 45–46 opening, 44–45, 58 rating/labeling images in, 49 renaming fi les in, 52–53 Review Mode in, 51–52 searching for images in, 46 stacking images in, 56–57 thumbnail options in, 47–49 brightness, 274 adjusting, 240–241, 248, 276 Color Dynamics setting, 30 Color Replacement option, 301 Brightness slider, 167, 240–241 Brightness/Contrast dialog, 240–241 Brooks, Mel, 392 Brush Presets panel, 24, 339, 401 Brush Pressure setting, 431–432 Brush Rate setting, 432 Brush Tip Shape settings, 25–28 brushes 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 Black-and-White dialog, 283–284, 303 black-and-white images colorizing, 284–287, 319, 336 converting color images to, 282–284, 303–304 See also grayscale images Blacks slider, 165–167 Blend Mode pop-up menu, 310–311 Blending Mode pop-up menu, 23, 109, 310 blending modes, 310–337 accessing, 310–311 adjustment layers and, 195–196 Behind, 312 Clear, 312–313 Color, 195–196, 336 Color Burn, 319–320, 417 Color Dodge, 324, 416 Darken, 313–315, 405 Difference, 332–333 Dissolve, 311 Exclusion, 332–333 explained, 310 Hard Light, 328–329 Hard Mix, 331–332 Hue, 195, 334 layers and, 109 Lighten, 321–322, 405 Linear Burn, 320 Linear Dodge, 325 Linear Light, 330 Luminosity, 136, 196, 232–233, 337 Multiply, 315–319, 382, 399 Normal, 311 Overlay, 325–326, 385, 417 443 Index multiple image adjustments, 183 overview of features, 152–159 preference settings, 156 Presets tab settings, 182–183 Split Toning tab settings, 177–178 Tone Curve tab settings, 170–172 window-management controls, 156 workfl ow options, 157–158 Camera Raw Basic tab, 159–170 Blacks slider, 165–167 Brightness slider, 167 Clarity slider, 168 Contrast slider, 168 Exposure slider, 161–164 Fill Light slider, 165 Recovery slider, 164–165 Saturation slider, 169–170 Vibrance slider, 168–169 White Balance setting, 159–161 Camera Raw Detail tab, 172–173 Noise Reduction sliders, 173 Sharpening sliders, 172–173 Camera Raw HSL / Grayscale tab, 174–177 Grayscale Mix sliders, 175–177 Hue sliders, 174 Luminance sliders, 175 Saturation sliders, 174–175 Channel Mixer dialog, 301–304 color adjustments using, 301–303 grayscale conversions using, 303–304 Channel Options dialog, 347–348 channels, 162, 346 alpha, 421–422 color settings using, 346–349 mixing contents of, 301–304 noise removal using, 219–220 sharpening, 233–235 video on, 346 Channels panel, 346–347, 421 checkerboard pattern, 95–96 chromatic aberration, 178–179, 426–427 Chromatic Aberration sliders, 426–427 Chrome fi lter, 333 density of, 431 hardness of, 26, 398, 401 Jitter options, 27–28, 433 preset, 32–33 pressure of, 431–432 round, 25–26 sampled, 25–26 saving, 32 settings for, 25–31 sizing/resizing, 26–27, 68 stroke spacing of, 26–27, 414 Brushes panel, 24–33 Airbrush setting, 31 Brush Tip Shape settings, 25–28 Color Dynamics settings, 30 Dual Brush option, 29 Flow settings, 31 Noise settings, 31 Opacity settings, 31 Scattering settings, 28–29 Shape Dynamics settings, 28 Texture settings, 29 Wet Edges setting, 31 Burn tool, 414, 416–417 burning technique, 414 C Camera Calibration tab, 181–182 Camera Raw, 150–184 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, 178–181 444 Index color correction, 256–270 Auto Color feature for, 267–268, 291–294 balancing colors, 260–264 grayscale technique for, 266–267 professional, 260–270 saturation adjustments, 270 skin tone adjustments, 268–270 Threshold command and, 264–265 using gray for, 257–260 See also color manipulation Color Correction slider, 147 Color Dodge blending mode, 324, 416 Color Dynamics settings, 30 color fi eld, 20 color fringing, 179, 426–427 color images Burn tool used on, 417 converting to grayscale, 282–284, 303–304 Curves adjustments with, 135–137 Dodge tool used on, 415–416 See also grayscale images Color Intensity slider, 297 color manipulation, 272–306 Auto Color Correction, 291–294 Channel Mixer adjustments, 301–304 Color Balance controls, 289–290 Color Replacement tool, 299–301 colorizing grayscale photos, 284–287 Gradient Map adjustments, 305–306 grayscale image conversions, 282–284, 303–304 Hue/Saturation adjustments, 274–282 Levels/Curves adjustments, 290–294 Match Color adjustments, 296–298 Red Eye tool, 299 Replace Color adjustments, 287–288 Selective Color adjustments, 294–296 Variations dialog, 288–289 See also color correction color modes cloning between documents and, 407 Curves 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 creating, 361, 385 layers and, 361–362 clipping paths, 369 clipping warnings highlights, 162–163 shadows, 166 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 opacity settings, 403 straight-line cloning, 403–404 Vanishing Point fi lter, 411–413 CMYK colors Curves numbering system for, 133 out-of-gamut warning, 19 RGB colors versus, 19 collage effects, 358–389 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, 417 445 Index Hard Mix, 331–332 Linear Light, 330 Overlay, 325–326 Pin Light, 330–331 Soft Light, 327 Vivid Light, 329 Contrast slider, 168, 241 Convert to DNG option, 58 Convert to Grayscale check box, 175–176 copying adjustment layers between documents, 191–192 layer masks, 201 layer styles, 383 layers between documents, 101–102 Create Plane tool, 409–410, 412 Create Subfolder(s) pop-up menu, 58 Create Texture setting, 400 Crop tool, 64, 153 cropping images in layers, 99–101 panoramic images, 364 Curves, 115–143 advantages of using, 115–118 analyzing/interpreting, 129–130 color modes and, 123–124, 136–137 conceptual overview of, 118–121, 137 dark images improved with, 125–126 decreasing contrast/detail with, 128–129 freeform drawing of, 131–132 gradients as guides for, 122–123 grid display for, 120, 122, 124 histogram display and, 138–143 increasing contrast/detail with, 126–128 Info panel used with, 135 ink ranges checked with, 130 inverting images with, 130–131 limiting color shifts using, 135–137 methods for applying, 135–136 numerical information for, 132–135 Shadows/Highlights dialog versus, 144 shifting 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 saturating, 279 selections based on, 73–75 shifting, 290–294 Web-safe, 19 comparative blending modes, 332–333 comparing images, 53–55 compositing, 358 Consolidate All option, 8–9 Content-Aware Scale command, 439–440 contour drawings, 317–318 contrast decreasing, 128–129, 147, 241 histogram display of, 142–143 increasing, 126–128, 148, 241 Levels adjustments and, 244–245, 255 contrast blending modes, 325–332 distinguishing between, 326 Hard Light, 328–329 [...]... www.peachpit.com/adobecs4 Adobe Dreamweaver CS4 Classroom in a Book ISBN 0-321-57381-1 Adobe Fireworks CS4 Classroom in a Book ISBN 0-321-61219-1 Adobe Flash CS4 Professional Classroom in a Book ISBN 0-321-57382-X Adobe Illustrator CS4 Classroom in a Book ISBN 0-321-57378-1 Adobe InDesign CS4 Classroom in 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Backdrop setting, 434 Show Grid check box, 425 Show Mesh check box, 434 Show Overlay check box, 408 sidecar XMP files, 184 Single Row/Column Marquee tools, 64 sizing/resizing brushes, 26–27, 68 panels and docks, 6 selections, 77 thumbnails, 47 skies, enhancing, 280–281 skin tone adjustments, 268–270 Smart Filters, 374–375 Smart Guides, 112 Smart Objects, 369–377 adding layers to, 377 adjustment layers and,... active, 93–94 adjusting, 186–189 auto selecting, 109 450 Background image, 94–95 Blending Mode menu, 109 clipping masks and, 361–362 color-coding, 114 converting to Smart Objects, 371 copying between documents, 101–102 creating, 91–93 deleting, 103 duplicating, 102–103 explained, 90–91 fill, 108 flattening, 95, 115 gradient, 108–109 grouping, 111–112 hiding thumbnails for, 113 Layer Bounds setting, 113 . 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. 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. Grayscale check box, 175–176 copying adjustment layers between documents, 191–192 layer masks, 201 layer styles, 383 layers between documents, 101–102 Create Plane tool, 409–410, 412 Create Subfolder(s)