Adobe Photoshop CS4 for Photographers phần 7 pps

Martin Evening Adobe Photoshop CS4 for Photographers 400 1 This scanned photograph serves as a good example with which to demonstrate the history brush spotting technique, as there are a lot of dust marks clearly visible in the enlarged detail views shown in this picture. Replacing fi lm grain You may encounter a problem if the photographic original contains noticeable fi lm grain, since even with the selective application of the Dust & Scratches fi lter you may end up with some softening where you retouch the image. To counteract this it may help to apply a small amount of noise after you have applied the Dust & Scratches fi lter. Add enough noise to match the grain of the original (usually around 2–3%). This will enable you to better disguise the history brush retouching. Alternative history brush spotting technique This spotting method has evolved from a technique that was fi rst described by Russell Brown, Senior Creative Director of the Adobe Photoshop team. It revolves around using the Remove Dust & Scratches fi lter, which is found in the Filter ➯ Noise submenu. If this fi lter is applied globally to the whole image, you can easily end up with a very soft-looking result. So ideally, this fi lter should be applied selectively to the damaged portions of a picture. The technique shown here has the advantage of applying the fi ltered information via the history brush such that only the pixels which are considered too dark are painted out. This modifi ed approach to working with the Dust & Scratches fi lter avoids destroying the tonal values in the rest of the picture. As you can see, the technique works well when you have a picture that is very badly damaged and where using the clone stamp would be a very tedious process. What is really clever is the way that the Lighten (and Darken) blend modes can be used to target which pixels are repaired from the stored Dust & Scratches history state. 401 Image retouching Chapter 8 3 I then went to the History panel and clicked on the previous unfi ltered image history state, but set the Dust & Scratches fi ltered version as the history source to paint from. I then selected the history brush and in the tool Options bar changed the history brush blending mode to Lighten. As I painted over the dark spots, the history brush lightened only those pixels that were darker than the sampled history state. All other pixels remained unchanged. I continued using the history brush in this way until I had painted out all the dust spots in the photograph. Before After Lighten/Darken blend mode The Lighten blend mode was used to remove the dark marks in the image. Similarly, one can use the Darken blend mode to remove any light blemish marks. For example, if you were to retouch a scanned color negative, the dust spots there would show up as white marks. 2 I went to the Filter menu and chose Noise ➯ Dust & Scratches, checked the Filter dialog preview and adjusted the Radius and Threshold settings until I could verify that most of the dust marks would be removed. I then clicked OK to apply this fi lter to the image. Martin Evening Adobe Photoshop CS4 for Photographers 402 Portrait retouching Here is an example of a restrained approach to retouching, where only a minimal amount of Photoshop editing was used. Of course you can retouch portraits as if they were fashion shots, and some publications may demand this, but I thought I would start off with something more subtle. 1 The top photograph shows the unretouched before version and the version below this shows the results of the initial retouching in which I mainly used the healing brush to remove some of the skin blemishes. The key thing here was to not overdo the retouching. I regard what I did here as being more like ‘tidying and grooming’ rather than ‘digital surgery’. 403 Image retouching Chapter 8 2 For this next step I wanted to lighten the eyes. To do this, I used the lasso tool to defi ne the outline of the pupils. In the Adjustments panel I clicked to add a Curves adjustment and adjusted the curve shape to lighten the selected area. I then selected the whites of the eyes and applied a separate Curves adjustment. My aim here was to add more contrast to the pupils making the eyes slightly lighter overall. 3 Lastly, I wanted to adjust the shapes of the eyes. To do this, I used the COSe LASe command to create a merged copy layer at the top of the la yer stack. I made a marquee selection to include the eyes, inverted the selection and hit D (this was done to keep the fi le size down). I then went to the Filter menu and chose Liquify (described later in this c hapter), where I made the left eye smaller, opened up the eye on the right and raised the eyebrow slightly. I then clicked OK to complete the retouching shown here. Martin Evening Adobe Photoshop CS4 for Photographers 404 Beauty retouching Beauty photographs require more intense retouching, and the objective is usually to produce an image where the model’s features appear to look fl awless. This can be done through a combination of healing and painting brush work. Client: ET Nail Art Model: Karen Gillan @ Bookings Makeup: Camilla Pascucci 1 The top photograph here shows the before version and the one below shows how the same image looked after I had added a new empty layer and carried out some basic spotting work (mostly using the healing brush) to clean up the nails, removed some spots and got rid of unwanted stray hairs. Getting the balance right The main thing I show on these pages is how to use the paint brush to smooth the skin tones on the face and hands. I happen to prefer using the manual painting approach (rather than relying on a blur fi lter), because the painting method offers more control over the retouching. An important issue here is ‘how much to retouch?’ This is mostly down to personal taste. My own personal view is that it is better to fade any painting work that’s done and let the natural skin texture show through – let there be a few wrinkles and fl aws! It is possible to retouch to produce a clean-looking image, but still keep the model looking vaguely human. 405 Image retouching Chapter 8 2 After that I used the COSe LASe command to create a merged copy layer at the top of the layer stack and worked with the paint brush on the merged layer. The trick here was to hold down the O A key to sample a skin tone color and gentl y paint using low opacity brush strokes with the blend mode set to ‘Lighten’. This meant the paint strokes only affected those colors that were darker than the sample color. Similarly, I switched to Darken mode when I wished to darken only those pixels lighter than the paint sample color. This selective method of painting can produce more controlled results compared to using the Normal blend mode. 3 This shows the fi nished retouched version in which I faded the opacity of the painted layer to 60% and added a layer mask so that I could carefully mask the areas where the paint retouching had spilled over. Lastly, I added a Curves adjustment to lighten the eyes slightly. Martin Evening Adobe Photoshop CS4 for Photographers 406 Liquify The Liquify fi lter is designed to let you carry out freeform pixel distortions. When you choose Filter ➯ Liquify, you are presented with what is called a modal dialog, which basically means you are working in a self-contained dialog with its own set of tools and keyboard shortcuts, etc. It is therefore operating like a program within the Photoshop program. To use Liquify effi ciently, I suggest you make a marquee selection fi rst of the area you wish to manipulate before you select the fi lter and, once the dialog has opened, use the C0 L0 shortcut to enlarge the dialog to fi t the screen. Basically, you select one of the Liquify tools to manipulate the image preview and when you are happy with your liquify work, click E or R to OK the pixel manipulation. This will then calculate and apply the liquify adjustment to the main image. The Liquify tools are all explained in the column on the left and the chart shown in Figure 8.10 also summarizes the effect each of these tools will have on an image. The easiest of these to get to grips with is the warp tool, which allows you to simply click and drag to push the pixels in the direction you want them to go in. However, I also like working with the push left tool, because it lets me carry out some quite bold warp adjustments. Note that when you drag with the push left tool it shifts the pixels 90° to the left of the direction you are dragging in and when you O A drag with this tool it will shift the pixels 90° to the right. The puck er tool is sometimes useful for correcting over- distorted areas and squeezing the pixels inwards again. The refl ection tool is perhaps the most unwieldy of all, as it copies pixels from 90° to the direction you are dragging and therefore acts like an inverting lens, which if you are not careful will easily rip an image apart! Apparently, retouchers who work on adult magazines are fond of working with the turbulence tool. This is for reasons I have yet to fathom and probably inappropriate for me to enquire about further in this book! Liquify tools Warp tool (W) Provides a basic warp distortion with which you can stretch the pixels in any direction you wish. Reconstruct tool (R) Used to make selective undos and restore the image to its undistorted state. Twirl clockwise tool (C) Twist the pixels in a clockwise direction. Hold down the O A key to switch tool to twirl in a countercloc kwise direction. Pucker tool (S) Shrinks pixels and produces an effect similar to the ‘Pinch’ fi lter. Bloat tool (B) Magnifi es pixels and is similar to the ‘Bloat’ fi lter. Push left tool (O) Shifts the pixels 90° to the left of the direction in which you are dragging. Mirror tool (M) Copies pixels from 90° to the direction you are dragging and therefore acts as an inverting lens. Turbulence tool (T) Produces random turbulent distortions. Freeze mask tool (F) Protects areas of the image. Frozen portions are indicated by a Quick Mask type overlay. These areas are protected from any further liquify distortions. Thaw mask tool (D) Selectively or wholly erases the freeze tool area. Hand tool (H) For scrolling the preview image. Zoom tool (Z) Use to magnify or zoom out. 407 Image retouching Chapter 8 Bloat toolPucker tool Twirl tool (with O A key held down ) Freeze mask tool Thaw mask tool Figure 8.10 These illustrations give you an idea of the range of distortion effects that can be achieved using the Liquify tools described on page 406. Warp tool Twirl tool Reconstruct tool Push left tool Mirror tool Turbulence tool Martin Evening Adobe Photoshop CS4 for Photographers 408 Figure 8.11 The Liquify dialog options. The Reconstruct Options are shown circled here. Liquify tool controls Once you have selected a tool you will want to check out the associated tool options, which are shown in Figure 8.11. All the tools (apart from the hand and zoom tool) are displayed as a circular cursor with a crosshair in the middle. The tool options are applied universally to all the tools and these include: Brush Size, Brush Density, Brush Pressure and Brush Rate. If you mouse down on the double-arrow icon next to the fi eld entry box, this will pop a dynamic slider which can be used to adjust the settings. You can also use the square bracket keys [ ] to enlarge or reduce the tool cursor size, and the rate of increase/ decrease can be accelerated by holding down the S key. I highly recommend that you use a pressure-sensitive pen and pad such as the Wacom system and, if you do so, make sure that the Stylus Pressure option is checked and set the brush pressure to around 10–20%. Note that the Turbulent Jitter control is only active when the turbulence tool is selected. In this context the jitter refers to the amount of randomness that will be introduced in a turbulence distortion applied with this tool. Reconstructions Next we have the Reconstruct Options. The standard mode is Revert and if you apply a Liquify distortion and click on the Reconstruct button, the image will be restored to its undistorted state in gradual stages each time you click the button (while preserving any areas that have been frozen with the freeze tool). If you click on the Restore All button the entire image will be restored in one step (ignoring any frozen areas). The default Revert mode produces scaled reversions that return you to the original image state in the preview window. However, there are some alternative options which are more relevant once you have created a frozen area. For example, the Rigid mode provides one-click reconstruction. Stiff, Smooth and Loose provide varying speeds of continual reconstruction, producing smoother transitions between the frozen and unfrozen areas as you revert the image. You can use ‰ or One step at a time The key to working successfully with the Liquify fi lter is to use gradual brush movements to build up a distortion. This is why I prefer to set the ‘Brush Pressure’ at an extremely low setting and use a Wacom pad to apply the liquify brush strokes, with the Stylus Pressure option selected. Liquify shortcut Prior to CS4 you could access Liquify using the CSx LSx shor tcut. T his has now been removed in CS4, but you can easily reset this as a custom keyboard shortcut. 811 Th Li if di l ti 409 Image retouching Chapter 8 C. L. to halt the reconstruction at an intermediate stage (but do avoid applying this shortcut twice, as this will exit the Liquify dialog and you’ll lose all your work!) Another way to reconstruct the image is to click on the options triangle in the Reconstruct Options and select one of the options from the list. This will pop a dialog control like the one shown in Figure 8.12, which will allow you to use a slider to determine what percentage of reconstruction you would like. The reconstruction can also be achieved using the reconstruct tool to selectively restore the image. Mask options The mask options can utilize an existing selection, layer transparency or a layer mask as the basis of a mask to freeze and constrain the effects of any Liquify adjustments. The fi rst option is ‘Replace Selection’ and this replaces any existing freeze selection that has been made. The other four options allow you to modify an existing freeze selection by ‘adding to’, ‘subtracting from’, ‘intersecting’ or creating an ‘inverted’ selection. You can then click on the buttons below. Choosing ‘None’ clears all freeze selections, choosing ‘Mask All’ freezes the entire area, and choosing ‘Invert All’ inverts the current frozen selection. Figure 8.12 You can control the exact amount by which an image is reconstructed to its original state by going to the Reconstruct Options and selecting the desired reconstruction mode. Multiple undos in Liquify Don’t forget that you also have multiple undos at your disposal while inside the Liquify dialog. Use Cz Lz to undo or redo the last step; COz LAz to go back in history, and CSz LSz to go forward in histor y . Figure 8.13 Freeze masks can be used to protect areas of a picture before you commence doing any liquify work. In the example shown here a freeze mask was loaded from a layer mask. When you freeze an area in this way it is protected from subsequent distortions so you can concentrate on applying the Liquify tools to just those areas you wish to distort. Frozen mask areas can be unfrozen by using the thaw mask tool. [...]... was done, I clicked OK again to apply the Liquify filter 413 Martin Evening Adobe Photoshop CS4 for Photographers Warp Transforms The Liquify filter is ideal for applying intricate distortions such as the example shown on the previous two pages This is because you have a large selection of tools to work with and various options for modifying the liquify distortions If you need to distort larger areas... composite channels selected and click on the empty space next to the channel (circled), you can preview an alpha channel as if it were a quick mask 4 17 Martin Evening Adobe Photoshop CS4 for Photographers In marching ants mode, a selection is active and ready for use Any image modifications you carry out will be applied within the selected area only, but remember, selections are only temporary and can be... Martin Evening Adobe Photoshop CS4 for Photographers Reloading selection shortcuts To reload a selection from the saved mask channel, go to Select ➯ Load Selection C L-clicking a channel is the other shortcut for loading a selection and, by extension, combining CO channel # LA channel # (where # equals the channel number) does the same thing One thing to be aware of here is that in CS4 the usual shortcut... edge blend 421 Martin Evening Adobe Photoshop CS4 for Photographers Rasterize Vector mask Convert to selection Convert to path Convert to vector mask Convert to mask 422 Convert to Quick Mask Convert to selection Convert to selection Figure 9 .7 The above diagram illustrates the interrelationship between pen paths, vector masks, alpha channels, selections and quick masks For example, you can convert... Alternatively you can cut and copy the contents from a layer by choosing Layer ➯ New ➯ Layer via Cut or use the CSj LSj keyboard shortcut 4 27 Martin Evening Adobe Photoshop CS4 for Photographers Figure 9.10 The pen tool and shape tools include a Shape layer mode button for creating shape layer objects defined by a vector path Figure 9.11 Text layers are created whenever you add type to an image Text layers... style Add layer mask Create new group Create new fill/adjustment layer Figure 9.13 This is an overview of the Photoshop Layers panel 429 Martin Evening Adobe Photoshop CS4 for Photographers Figure 9.14 Here is an expanded diagram of how the layers in a magazine cover image file were arranged inside Photoshop, one on top of the other The checkerboard pattern represents transparency and the layers are represented... not 423 Martin Evening Adobe Photoshop CS4 for Photographers Grow and Similar The Grow and Similar options enlarge the selection using the same criteria as used with the magic wand tool, regardless of whether the original selection was created with the wand or not To determine the range of color levels you want the selection to expand by, enter a tolerance value in the Options bar for the magic wand tool... is 5, Photoshop will examine all pixels with an 11 x 11 pixel block around each pixel If more than half are selected, any stray pixels will be selected as well If less than half are selected, those stray pixels will be deselected 3 To show you the result of the Smooth selection, here is a view of the image with the selection shown in Quick Mask mode 425 Martin Evening Adobe Photoshop CS4 for Photographers. .. the Quick Mask mode 415 Martin Evening Adobe Photoshop CS4 for Photographers Selections and channels When you read somewhere about masks, mask channels, image layer mask channels, alpha channels, quick masks and saved selections, these are basically all the same thing: an active, semipermanent or permanently saved selection Figure 9.1 A selection is represented in Photoshop using marching ants Selections... continuous distortion shapes, then the warp transform tool is a better tool to use I’ll be discussing this in more detail in Chapter 9, but in Figure 8. 17 you can see an example of a transform applied to a copied layer where I was able to smoothly distort the shape of the strap and the necklace Figure 8. 17 The Warp transform command offers an effective way to transform larger objects such as the straps in . OK again to apply the Liquify fi lter. Martin Evening Adobe Photoshop CS4 for Photographers 414 Warp Transforms The Liquify fi lter is ideal for applying intricate distortions such as the example. lighten the eyes slightly. Martin Evening Adobe Photoshop CS4 for Photographers 406 Liquify The Liquify fi lter is designed to let you carry out freeform pixel distortions. When you choose Filter. image. Martin Evening Adobe Photoshop CS4 for Photographers 402 Portrait retouching Here is an example of a restrained approach to retouching, where only a minimal amount of Photoshop editing was