Photoshop cs5 cho nhiếp ảnh gia part 62 pptx

384 c h a p t e r 9: CREATIVE EFFECTS ■ The ways to combine images in Photoshop are infinite. The only limit is your imagination! Try It! Open the images called Texture and Flower on this book’s companion website, www .sybex.com/go/photoshopnature , or open two of your own images, and practice combining them using various blending modes. Remember to reduce the opacity of the texture layer so it doesn’t overpower the image. Digital Multiple Exposures Ever since Ellen was exposed to some of Freeman Patterson’s in-camera film-based creative multiple exposures, she decided there had to be a way to create the same effect digitally. Although some methods were available on the Internet, none worked reli- ably and well. It took some time and experimentation, but at last she figured out how to create multiple exposures of as many images as desired in Photoshop. Since then Nikon has offered the ability to create multiple exposures in some of its cameras, but most other camera manufacturers have yet to follow suit. For those not familiar with Freeman’s techniques, he uses film and takes mul- tiple images (9, 16, or 25), moving his camera slightly between shots. Sometimes he moves the camera in a vertical or horizontal direction, depending on what would be a natural movement for the subject. Sometimes he zooms the camera between shots, and at other times he combines zooming the camera with rotating it slightly between shots. The results are artistic, soft-abstract renditions of familiar subjects (similar to Ellen’s image in Figure 9.40). Figure 9.40 Multiple exposures can render familiar subjects in pleasing, artistic, abstract ways. Ph ot o b y EllE n An o n 607343c09.indd 384 4/11/10 11:08:08 PM 385 ■ DIGITAL MULTIPLE EXPOSURES Note: To learn more about the in-camera and artistic techniques for taking multiple exposures, see Photo Impressionism and the Subjective Image by Freeman Patterson and André Gallant (Key Porter Books, 2005). To use a digital camera to create multiple exposures, you can still shoot the orig- inal files in RAW. Then batch-process the images in ACR so that all are adjusted the same way (as described in Chapter 3). Be sure to remove dust when possible. Although normally you could go ahead and open the files, there is a potential problem; the issue is memory. For example, with a Canon 1DsMKII camera, each 16-bit converted file is roughly 95MB. If you have 9 or 10 images to combine, your multiple-exposure file is going to be close to 1GB in size before you do anything else to it. You’re going to need a lot of RAM and hard drive space to deal with files that large. If you don’t have enough memory, you can convert the raw files to JPEGs first by choosing Save in the raw con- verter. Create the composite using the JPEGs and then save the composite as a TIFF. That way, you’ll maintain image quality and maximize the use of your computer’s resources. Note: Sometimes Photoshop is a little disbelieving that you’d want to open 10 images at once and asks you whether you’re sure you really want to open that many. If you don’t have a lot of memory on your machine, you may need to resize the files or use them as JPEGs out of necessity. The steps to combining multiple images within Photoshop are as follows: 1. Choose File > Scripts > Load Files into Stack. 2. Choose Files, or choose Folder if all the images are in their own folder. 3. Click Browse, navigate to the desired images, and select them. 4. Do not check the option Attempt to Automatically Align Source Images (see Figure 9.41)—that will defeat the purpose! 5. Click OK. Figure 9.41 Using a script to layer all the images is far more ecient than doing it manually. 607343c09.indd 385 4/11/10 11:08:08 PM 386 c h ap t e r 9: CR E AT I V E E F F E C TS ■ 6. Reduce the opacity of the second image to 50% in the Layers panel. 7. If you have a third image to add, reduce its opacity to 34%. 8. For a fourth layer, reduce the opacity to 25%; a fifth layer is 20%; a sixth layer is 17%; a seventh layer is 15%; an eighth layer is 13%; and a ninth or tenth layer is 10% (see Figure 9.42). Figure 9.42 Reduce the opacity of each layer according to how many layers you are combining to create abstract expressive images. Note: The trick is to set the opacity for each layer according to the number of images you are using. If you are using two images, the first is 100% and the second is 50%—that is, 100 divided by 2. The third layer’s opacity is 100 divided by 3, the fourth is 100 divided by 4, and so on. 9. Leave the blending mode for these layers set to Normal except for the final layer, which you may want to set at Overlay or Soft Light to add a little punch to the image. 10. You can adjust the exposure using a Levels or Curves adjustment layer, and you can adjust the color using any of the color adjustment layers. Simulating Multiple Exposures It is possible to create digital multiple exposure images in Elements, but because the Load Files into Stack command is not available, it takes a bit of extra work. Replace Step 1 from the pre- ceding process as follows: 1. Open the bottommost image. 2. Open the second image. 3. Select the Move tool, and while holding the Shift key, drag image 2 onto image 1. You must hold the Shift key for proper image alignment. 4. Close image 2 and repeat Step 3 with the remaining images. Simulating Multiple Exposures It is possible to create digital multiple exposure images in Elements, but because the Load Files into Stack command is not available, it takes a bit of extra work. Replace Step 1 from the pre - ceding process as follows: 1. Open the bottommost image. 2. Open the second image. 3. Select the Move tool, and while holding the Shift key, drag image 2 onto image 1. You must hold the Shift key for proper image alignment. 4. Close image 2 and repeat Step 3 with the remaining images. 607343c09.indd 386 4/11/10 11:08:08 PM 387 ■ CONTENT-AWARE SCALING The ability to create digital multiple exposures opens up entire worlds of cre- ativity. The only downside is the need for a lot of memory, both compact flash card space as well as computer memory. Often it’s a good idea when shooting a multiple exposure to do it more than once; subtle differences in the amount you moved the camera can make a huge difference in the success of the image. When shooting multiple exposures, be sure to shoot a blank shot between groupings so that you’ll know where each series begins and ends. Content-Aware Scaling Sometimes when photographing nature, despite your best composition efforts, there’s more space than you’d like in a certain part of the image, or perhaps you need to output the image at a certain aspect ratio, such as 4:5 for an 8 × 10 print, but the image itself was captured as a 2 × 3, which turns into an 8 × 12 unless it’s cropped. Content-Aware Scale lets you have Photoshop automatically compress certain areas of your image. It can seem rather magical in certain situations. Ideally it needs an image that has areas with a lot of detail and areas with less detail. For example, consider the image in Fig- ure 9.43. Figure 9.43 This image lends itself to the use of Content-Aware Scale because of the extra space in the background. 607343c09.indd 387 4/11/10 11:08:09 PM 388 c h a p t e r 9: CREATIVE EFFECTS ■ Using Content-Aware Scale is easy enough: 1. To begin, double-click the background layer to unlock it. 2. Go to Edit > Content-Aware Scale. Handles will appear around the image. Click on any handle and drag inward or outward. 3. To remove the transparent pixels after you’re finished scaling, go to Image > Trim and check the appropriate squares, then click OK. If you drag the handles too far, you’ll see your main subject matter become dis- torted. We can only compress this image a small amount, as shown in Figure 9.44, before the penguins begin to show signs of distortion. Going further causes extreme distortion. Figure 9.44 Initially it appears we can only scale this image a small amount; going farther distorts the penguins. 607343c09.indd 388 4/11/10 11:08:11 PM 389 ■ CONTENT-AWARE SCALING However, by making a selection first, you can alert Photoshop to areas that you want to protect. That way when it applies the compression, it avoids compressing the selected areas as much as possible. To protect certain areas during a Content-Aware Scale, take these steps: 1. Make a quick selection of the main subject matter that you want to remain undistorted and areas you want to protect. In this case, I made a quick selection of the two main penguins. 2. Go to Select > Save Selection, name the selection, and save it. 3. Go to Select > Deselect. 4. Go to Edit > Content-Aware Scale. On the tool Options bar in the Protect drop- down, choose your selection as shown in Figure 9.45. Now when you pull the handles, you can compress (or stretch) the image much farther without distort- ing the subject. Figure 9.45 By protecting the penguins, I was able to compress the background much farther and still have a natural-looking image. 607343c09.indd 389 4/11/10 11:08:12 PM 390 c h ap t e r 9: CR E AT I V E E F F E C TS ■ Content-Aware Scale can produce remarkable results, far more natural-looking than if you simply resized the image without constraining the proportions, and with- out cropping out the background. Note: In the tool Options bar there is a small icon with a human figure on it next to the Pro- tect drop-down. Clicking this icon instructs Photoshop to protect skin tones while scaling the image. That way any human in the image won’t be distorted. For Photoshop Elements Users: Recompose Elements has its own version of Content-Aware Scale, called Recompose. It’s quite easy to use: 1. Select Image > Recompose. 2. In the tool Options bar, there are four brush options. From left to right, these are Mark for Protection, Erase Highlights Marked for Protection, Mark for Removal, and Erase High- lights Marked for Removal . Use the Mark for Protection and Mark for Removal brushes to draw on areas that shouldn’t be scaled or could be removed to give Elements a hint about how to best recompose your image. Use the Erase brushes to remove any extra brush strokes. 3. To automatically flag any skin tones as protected areas, press the Highlight Skin tones button in the tool Options bar. 4. Drag the handles around your image to recompose it manually, or use the fields in the Tool Options bar to specify specific sizes to recompose the image to. 5. Click the green check mark to accept your changes or the red cancel button to dismiss your changes. Note: The key to any creative endeavor is to wonder “what if …” and then find out. The number of ways to modify an image to creatively express your vision is lim- ited only by your imagination and time. The more familiar you become with the basic and the more-advanced adjustments, filters, and blending modes in Photoshop, the For Photoshop Elements Users: Recompose Elements has its own version of Content-Aware Scale, called Recompose. It’s quite easy to use: 1. Select Image > Recompose. 2. In the tool Options bar, there are four brush options. From left to right, these are Mark for Protection, Erase Highlights Marked for Protection, Mark for Removal, and Erase High - lights Marked for Removal . Use the Mark for Protection and Mark for Removal brushes to draw on areas that shouldn’t be scaled or could be removed to give Elements a hint about how to best recompose your image. Use the Erase brushes to remove any extra brush strokes. 3. To automatically flag any skin tones as protected areas, press the Highlight Skin tones button in the tool Options bar. 4. Drag the handles around your image to recompose it manually, or use the fields in the Tool Options bar to specify specific sizes to recompose the image to. 5. Click the green check mark to accept your changes or the red cancel button to dismiss your changes. 607343c09.indd 390 4/11/10 11:08:13 PM 391 ■ CONTENT-AWARE SCALING more freedom and ability you’ll have to express what you feel in addition to what you saw. This chapter has only touched the tip of the iceberg in terms of what you can do with your images. We hope you’ll use these ideas as a starting point to create imagina- tive versions of some of your own photographs. 607343c09.indd 391 4/11/10 11:08:13 PM 10 Ph o t o b y Jo sh An o n 607343c10.indd 392 4/12/10 11:53:18 PM . necessity. The steps to combining multiple images within Photoshop are as follows: 1. Choose File > Scripts > Load Files into Stack. 2. Choose Files, or choose Folder if all the images are in their. combine images in Photoshop are infinite. The only limit is your imagination! Try It! Open the images called Texture and Flower on this book’s companion website, www .sybex.com/go/photoshopnature ,. drop-down. Clicking this icon instructs Photoshop to protect skin tones while scaling the image. That way any human in the image won’t be distorted. For Photoshop Elements Users: Recompose Elements