Tài liệu Photoshop cs5 by Dayley part 34 pptx

Chapter 8: Processing Photos in the Camera Raw Workspace 233 Note The Input field tells you the actual value of the pixel you are adjusting; the output field tells you what value you are adjusting the pixel to. n It doesn’t take long adjusting the Point curve before you can see that it is indeed more versatile, but also much more difficult to control. Because I could add points to the curve, the end result was better than I achieved with the Parametric adjustment, as you can see in Figure 8.20. Notice that the background above the cliffs is much clearer because I added another point to the highlights. FIGURE 8.20 The Points adjustment is more precise, bringing out more detail. HSL adjustments Figure 8.21 shows the HSL/Grayscale panel. HSL stands for Hue, Saturation, and Luminance. Each setting has a panel, and the color sliders in each panel allow you to make changes to the color in these precise color ranges. 13_584743-ch08.indd 23313_584743-ch08.indd 233 5/3/10 10:23 AM5/3/10 10:23 AM Part II: Working with Camera Raw Images 234 FIGURE 8.21 The HSL/Grayscale panel Hue adjustments In this tab, you can literally change the color in your images. Using the red slider, you can change the reds in your image to bright pink or warm orange, for instance. Each pixel in your image is assigned to one of the color ranges represented by the sliders. The brighter the colors are in your image, the more visible these changes are. You can use the hue adjustments to give a photo a warmer or cooler feel, or just to enhance or change specific colors in your image. Have fun playing with the colors, but watch your skin tones; they can be negatively affected. Tip Use the Default button found in each panel to reset the sliders to zero for that panel. n Saturation adjustments The Saturation tab has the same color sliders as the Hue panel, and not surprisingly, they allow you to add to or reduce the saturation of the targeted color. You can use this as a more selective color enhancement than the Vibrance slider can give you, or you can even create specialized images where only one or two selected colors are saturated at all and the rest are in grayscale. 13_584743-ch08.indd 23413_584743-ch08.indd 234 5/3/10 10:23 AM5/3/10 10:23 AM Chapter 8: Processing Photos in the Camera Raw Workspace 235 Luminance adjustments The Luminance tab sets the tint or shade of the selected color, adding black or white to it in order to adjust the brightness of that color. Use these sliders to get your colors just right or to add con- trast to your image. Creating a grayscale photo The color sliders are not just for color fixes; they make great adjustments to grayscale bright- ness values as well. Most color images don’t make great grayscale images when they are con- verted straight across—brightness value for brightness value. Using the Grayscale mix sliders, however, you can change the brightness values that the colors in your image are mapped to in order to create a fantastic grayscale image. The first thing to do is to click the Convert to Grayscale box to map the colors in your image to the corresponding grayscale values. This brings up the Grayscale mix panel, with the same color slid- ers that are present in each of the HSL/Grayscale panels, as shown in Figure 8.22. FIGURE 8.22 A grayscale photo with the Auto settings applied 13_584743-ch08.indd 23513_584743-ch08.indd 235 5/3/10 10:23 AM5/3/10 10:23 AM Part II: Working with Camera Raw Images 236 On the Web Site Give the Grayscale mix sliders a shot by downloading Figure 8-22 from the Web site and using the HSL/ Grayscale panel to convert it to grayscale. n When you convert your image to grayscale, you get the Auto setting, which is the Camera Raw interpretation of what’s best. You can click Default to see what the straight conversion would look like, but it’s not usually as good as the Auto setting. Or you can tweak the color sliders to map the brightness values of the selected color to different brightness values in your grayscale image, changing the brightness and contrast of selected areas of your photo. Figure 8.23 shows what a big difference changing the grayscale mix can make. FIGURE 8.23 After tweaking the Grayscale mix, the sparkle is enhanced in the water. 13_584743-ch08.indd 23613_584743-ch08.indd 236 5/3/10 10:23 AM5/3/10 10:23 AM Chapter 8: Processing Photos in the Camera Raw Workspace 237 Split Toning The Split Toning panel is used to create a color mapping overlay over the shadows and/or high- lights of an image. On a color image, this can have the effect of creating a warming or cooling filter over an image. Using the Split Toning panel has the added benefit of applying different filters to the highlights than to the shadows. This allows you to cool down highlights while warming up shadows, for instance, to reduce the effect of heavy shadows. When you add the Split Toning effect to a grayscale image, it adds a color tone (or two) to a gray- scale image. You can create sepia tones or other color effects over your black and white photo. In the Split Toning panel shown in Figure 8.24, you can see the separate hue and saturation sliders for the highlights and shadows (thus the title Split Toning). The middle slider sets the balance between the highlights and the shadows. As you move it up to the right, more pixels are consid- ered highlights; as you move it down to the left, more pixels are considered shadows. Use the Hue sliders to choose a color to add to your highlights or shadows, move the saturation up to determine how much color to add, and set the balance to determine which color to add where. Tip To create a single color tone to any image, set the Balance slider all the way up or all the way down. n FIGURE 8.24 The Split Toning panel maps color to your image. 13_584743-ch08.indd 23713_584743-ch08.indd 237 5/3/10 10:23 AM5/3/10 10:23 AM Part II: Working with Camera Raw Images 238 Correcting and Retouching After you’ve corrected the light and color of your photo in general, it’s time to move on to the on- the-spot corrections. You can remove flaws or red-eye in your photo, use the adjustment brush to make color or lighting corrections to selected areas of your photo, or create a graduated filter to apply a color or lighting effect gradually. Although all these changes have the potential to bruise your image or create noise, they are considered non-destructive edits because you can always return to the original camera raw settings. Spot removal and cloning The Spot Removal tool allows you to make localized spot correction and cloning fixes to anything from lens spots to blemishes. Here in Camera Raw, the tool is limited compared to the tools you find in Photoshop for cloning and healing. For the basic fixes, however, it works just fine, limiting the reasons to even take the time to open your image in Photoshop. Tip If you have a lens or sensor spot that appears in multiple photos and can be fixed adequately in Camera Raw, be sure and take advantage of the fact that you can fix multiple photos at once. You can open them all at once in Camera Raw or use the batch editing capabilities of Bridge, which you can read about in Chapter 6. n To use the Spot Removal tool, follow these steps: On the Web Site You can download Figure 8-24 from the Web site and follow the steps to learn how to use the Spot Removal tool. n 1. Open the file Figure 8.24, as shown in Figure 8.25. 2. Click the Spot Removal tool. This changes your cursor to a crosshair and activates it and opens the Spot Removal panel, also shown in Figure 8.25. 3. Select Heal from the Type drop-down menu. The Heal option takes the texture, lighting, and shading from the sampled areas and places it over the blemish. The Clone brush simply makes a copy of the sampled area and places it over the blemish, feathering the edges so they blend in. 4. Select the blemish. Drag to create a circle that is just larger than the mole, and let go of the mouse button. A red circle indicating the area to correct is created over the blemish, and a second, green, circle is also created, indicating the area that is being used to create the patch. 13_584743-ch08.indd 23813_584743-ch08.indd 238 5/3/10 10:23 AM5/3/10 10:23 AM Chapter 8: Processing Photos in the Camera Raw Workspace 239 FIGURE 8.25 Is this a beauty mark or a blemish? Either way, the Spot Removal tool gets rid of it. 5. Move either circle, if needed. Camera Raw makes a guess at which area is the best to take a patch from when it places the green circle. This guess is frequently wrong. Move either circle by hovering over the center of it until the arrow and plus sign appear, as shown in Figure 8.26, and then grab- bing and moving it to a better location. 6. Resize the circles, if needed. You also can resize both circles by using the radius slider or by hovering over the edge of either circle until the two-directional arrow appears and then dragging them to the right size. 7. Deselect the Show Overlay option to remove the circles from view and make sure everything looks good. 13_584743-ch08.indd 23913_584743-ch08.indd 239 5/3/10 10:23 AM5/3/10 10:23 AM . 13_584743-ch08.indd 23313_584743-ch08.indd 233 5/3/10 10:23 AM5/3/10 10:23 AM Part II: Working with Camera Raw Images 234 FIGURE 8.21 The HSL/Grayscale panel Hue adjustments In this tab, you can. selected colors are saturated at all and the rest are in grayscale. 13_584743-ch08.indd 2341 3_584743-ch08.indd 234 5/3/10 10:23 AM5/3/10 10:23 AM Chapter 8: Processing Photos in the Camera Raw Workspace 235 Luminance. 23513_584743-ch08.indd 235 5/3/10 10:23 AM5/3/10 10:23 AM Part II: Working with Camera Raw Images 236 On the Web Site Give the Grayscale mix sliders a shot by downloading Figure 8-22 from the Web site and