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317 Image retouching Chapter 7 2 I went to the Filter menu and chose Noise ➯ Dust & Scratches. I checked the Filter dialog preview and adjusted the Amount and Threshold settings until I could verify that most of the dust marks would be removed. I clicked OK to apply the fi lter to the image. 3 I then went to the History palette and clicked on the previous unfi ltered image history state, but set the history brush source to paint from the fi ltered version. I selected the history brush and changed the history brush blending mode in the tool Options bar to Lighten. As I painted over the dark spots, the history brush would lighten 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. To remove the light spots, I changed the tool blending mode to Darken and painted with the history brush as before, to remove the light blemish marks. Before After chapter_07.indd 317chapter_07.indd 317 5/2/07 7:17:00 PM5/2/07 7:17:00 PM Martin Evening Adobe Photoshop CS3 for Photographers 318 Healing brush settings The default mode for the healing brush has the Aligned box unchecked. This makes sense, because when you are using the healing brush to retouch texture from one area to another, you ideally want to sample from the same source point. Heal using ‘All Layers’ When the Current & Below or All Layers option is selected in the healing brush tool options you can carry out all the healing brush work on a separate layer. Healing brush The healing brush is used in the same way as the clone stamp tool, although it is important to stress that the healing brush is more than just a super clone stamp and it has its own unique characteristics. So although it is similar to the clone stamp, you will need to take these differences into account and adapt the way you work with it. To begin with, you establish a sample point by O A-clicking on the portion of the image you wish to sample from. Release the O A key and move the cursor over to the point where you want to clone to and click or drag with the mouse to carry out the healing brush retouching. The healing brush performs its magic by sampling the texture from the source point and blending the sampled texture with the color and luminosity of the pixels that surround the destination point. For the healing brush to work it reads the pixels within a feathered radius that is up to 10% outside the perimeter of the healing brush cursor area. By reading the pixels that are outside the brush cursor area, the healing brush is able (in most cases) to calculate a smooth transition of color and luminosity within the area that is being painted. It is for these reasons that there is no need to use a soft edged brush, since you will always get more controlled results through using a hard edged brush. Once you understand the fundamental principles behind the workings of the healing brush, you will come to understand why it is that the healing brush will sometimes fail to work as expected. You see, if the healing brush is applied too close to an edge where there is a sudden shift in tonal lightness then the healing brush will attempt to create a blend with what is immediately outside the healing brush area. So when you retouch with the healing brush you need to be mindful of this phenomenon, but there are things you can do to address this. For example, you can create a selection that defi nes the area you are about to start the retouching on and constrain the healing brush work to inside the selection area. chapter_07.indd 318chapter_07.indd 318 5/2/07 7:17:03 PM5/2/07 7:17:03 PM 319 Image retouching Chapter 7 1 The healing brush retouching can be carried out on the Background layer, on a copied Background layer or an empty new layer. In this example, I selected the healing brush from the Tools palette and edited the brush style to create a hard edged brush. The brush blending mode should be Normal, the Source radio button checked and ideally the Aligned box left unchecked. 2 To use the healing brush, O A -click to defi ne the source point, which in this example was a clean area of skin texture. You are now ready to retouch with the healing brush. In the example shown here, I simply clicked on the blemishes to remove them with the healing brush. If you are using a pressure sensitive tablet as an input device, then the default brush dynamics will be size sensitive. You can use light pressure to paint with a small brush, and use heavier pressure to get a full-sized brush. 3 I continued using the healing brush to complete the skin tone retouching. In this example I sampled one pixel source point for the chest and neck areas and another to retouch the face. Client: Thomas McMillan. Model: Sophie Boeson @ Models One. chapter_07.indd 319chapter_07.indd 319 5/2/07 7:17:04 PM5/2/07 7:17:04 PM Martin Evening Adobe Photoshop CS3 for Photographers 320 Better healing edges Since the healing brush is blending around the outside edge, you can improve the healing effect by increasing the outer circumference. The following technique came via Russell Brown, who informs me that he was shown how to do this by an attendee at one of his seminars. If you change the healing brush to an elliptical shape, you will tend to produce a more broken-up edge to your healing work and this will sometimes produce an improved healing blend. There are two explanations I have for why this works. Firstly, a narrow elliptical brush will inevitably produce a longer perimeter to the painting edge. This means that more pixels are likely to be sampled when calculating the blend. The second thing you will notice is that when the healing brush is more elliptical, there is a randomness to the angle of the brush. Try changing the shape of the brush the way I describe. As you start using an elliptical-shaped brush, you will see what I mean. Figure 7.4 To adjust the shape and hardness of the healing brush, select the healing brush tool and mouse down on the brush options in the tool Options bar. Set the hardness to 100% and drag the elliptical handles to make the brush shape more elliptical. Notice also that if you are using a Wacom tablet or other pressure sensitive input device, the brush size is linked by default to the pen pressure. chapter_07.indd 320chapter_07.indd 320 5/2/07 7:17:07 PM5/2/07 7:17:07 PM 321 Image retouching Chapter 7 1 The healing brush is the perfect retouching tool to use when you are faced with the challenge of having to retouch blemishes against a backdrop such as the one shown here, especially where the backdrop contains gentle transitions of tone. It used to be extremely diffi cult to retouch backdrops in shots like this when all you had was the clone stamp tool. 2 A potential problem arises when you wish to retouch a blemish that is adjacent to a sudden shift in lightness or color. 3 In this picture you can see that even if you use the healing brush with a small hard edged brush, the brush may pick up the darker tones of the model’s dress and you will get to see the ugly-looking shading shown here. 4 The answer to the problem is to make a preselection of the area you wish to heal (with maybe some minimal feathering) and thereby restrict the extent to which the healing brush tool analyzes the surrounding pixels. Client: Anita Cox. Model: Steph at IMG. chapter_07.indd 321chapter_07.indd 321 5/2/07 7:17:08 PM5/2/07 7:17:08 PM Martin Evening Adobe Photoshop CS3 for Photographers 322 Spot healing brush The spot healing brush was added in Photoshop CS2 and is a healing tool that was originally found in Photoshop Elements 3.0. The spot healing brush may not be quite as versatile as the healing brush, but in many ways is a lot easier to use. All you have to do is select the spot healing brush and click on the marks or blemishes you wish to remove and the spot healing brush will automatically sample the replacement pixel data from around the area you are trying to heal. The spot healing tool has two basic modes of operation. The Proximity Match mode is analyzing the data, around the area where you are painting, to identify the best area to sample the pixel information from. It then uses the pixel data that has been sampled in this way to replace the defective pixels beneath where you are painting. You can use the spot healing brush to click away and zap small blemishes, but when you are repairing larger areas in a picture you will usually obtain better results if the brush size used is smaller than the defective area. And because the brush is intelligently looking around for the good pixel data to sample from, it is best to apply brush strokes that drag inwards from the side where the best source data exists (see Figure 7.5). The Create Texture mode works in a slightly different fashion. The spot healing tool will read in the data surrounding the area you are attempting to repair. As you do this it will generate a texture pattern from the sampled data. So the main difference is that Proximity Match is repairing and blending with actual pixels, while Create Texture is repairing and blending using a texture pattern that has been generated on-the-fl y. Default healing tool The spot healing brush is the default healing tool in Photoshop, so the fi rst time you select it and try to use the O A keys to establish a source point to sample from, you will be shown a warning dialog explaining there is no need to create a sample source with this tool. It will offer you the option to switch to using the normal healing brush instead. Figure 7.5 In Proximity Match mode, the spot healing brush works by searching automatically to fi nd the best pixels to sample from to carry out a repair. It is a good idea when using this tool to retouch larger areas, and for the brush direction to be coming from the side that contains the most suitable texture to make the sample. This will give the spot healing brush a better clue as to where to sample from. Figure 7.6 The spot healing brush Options palette. chapter_07.indd 322chapter_07.indd 322 5/2/07 7:17:11 PM5/2/07 7:17:11 PM 323 Image retouching Chapter 7 Clone and healing sample options The sample options in Photoshop CS3 allow you to choose how the pixels are sampled whenever you use the clone stamp or healing brushes. The Current Layer option will sample the contents of the current layer only, ignoring all other layers. The Current & Below option (see Figure 7.7) will sample the current layer and all layers below, ignoring all the layers above it. The All option will sample all visible layers in the layer stack, including those that are above the current layer. But if the Ignore adjustment layers button (circled) is turned on, Photoshop will ignore the effect adjustment layers are having on the image. Figure 7.7 The sample options will allow you to carry out all your clone stamp and healing brush work to an empty new layer. The advantage of this is that you can keep all your retouching work separate and leave the original Background layer untouched. In this example, the All Layers option allowed me to sample from layers above and below. Because the Ignore Adjustment Layers option was checked. Photoshop ignored the effect any adjustment layers would have on the sampled pixels. Hair: James Bacon for Andrew Collinge Hairdressing. Finalist ‘North West’ British Hairdressing Awards 2006. Model: Grethe @ FM. chapter_07.indd 323chapter_07.indd 323 5/2/07 7:17:12 PM5/2/07 7:17:12 PM Martin Evening Adobe Photoshop CS3 for Photographers 324 Clone Source palette The Clone Source palette is useful for photographic retouching mainly because it allows you to see a preview of the alignment of the pixels that you are about to paint with. All the other features, such as the multiple sample points, are really of more use for people working in video editing, where it is desirable to store multiple clone sources when you want to clone in exact registration from one frame to another across several images in a sequence. 1 Here is a photograph in which there is a litter bin that I wish to remove. But the tricky thing here is that the bin is just in front of a circular alcove, and this would normally make it less easy to remove. But not so if you use the new Clone Source palette controls. 2 To start with, I wanted to remove the bottom of the bin. This could be done normally by placing the source point for the clone stamp on the edge of the black line and estimating where to click with the clone stamp so that you can continue painting along the line ‘in register’. By using the Clone Source palette, I can now switch on the Show Overlay option and adjust the opacity, so that with the Auto Hide option turned on as well, when I release the mouse, I get to see a ghost image preview of how the pixels will be painted at the destination point. This takes away all the guesswork and makes it much easier to paint with the clone stamp in perfect alignment with the underlying image. Overlay blend modes You can adjust the opacity of the Clone Source overlay and change the blend mode as well. In some instances you may fi nd it useful to work with the Difference blend mode at 100%. The Difference blend mode will show a solid black preview when identical pixels are in register. chapter_07.indd 324chapter_07.indd 324 5/2/07 7:17:15 PM5/2/07 7:17:15 PM 325 Image retouching Chapter 7 3 I now switched tools and selected the healing brush. And this time I went to the Clone Source palette and set the clone source angle to be 180º relative to the destination. This meant that when I sampled using the pixels from the top right corner of the curve, the preview showed a 180º rotated preview of where the pixels would be painted at the destination point. Again, the overlay was very important because I could use it to precisely align the preview with the image below, so that the edge of the circle was precisely aligned. 4 Here is a screen shot showing the healing brush in action. Because I had the Auto Hide option checked still, the overlay was temporarily hidden as I painted. 5 And here is the fi nal result, in which I only had to carry out some minor extra retouching in order to tidy up the remaining parts of the picture. chapter_07.indd 325chapter_07.indd 325 5/2/07 7:17:18 PM5/2/07 7:17:18 PM Martin Evening Adobe Photoshop CS3 for Photographers 326 1 The patch tool works in a way that is similar to the healing brush. Using the picture opposite, I can show you how the patch tool can be used in Source mode to cover up the metal staples that are holding the large pot together. When you select the patch tool you can use it just like the lasso tool to loosely defi ne a selection area. For example, you can use the O A modifi er key to temporarily switch from free form lasso to polygonal lasso selection drawing mode. Or you can use any other preferred selection method (it really doesn’t matter at this stage) as you prepare the image for patching. Source and Destination modes In Destination mode you can drag the selection area with the patch tool to a new destination point and Photoshop will perform a healing blend calculation to merge the sampled patch area with the underlying pixels in the new area of the image. In Source mode you can drag the selection area with the patch tool to a new destination point to select the pixels that will replace those in the original source selection area. The Use Pattern button in the Options bar for the patch tool will let you fi ll a selected area with a preset pattern using a healing type blend. Patch tool The patch tool uses the same complex algorithm as the healing brush to carry out its blend calculations, but the patch tool uses selection-defi ned areas instead of a brush. When the patch tool is selected, it initially operates in a lasso selection mode that can be used to defi ne the area to patch from or patch to. For example, you can hold down the O A key to temporarily convert the tool to become a polygonal lasso tool with which to draw straight line selection edges. You don’t actually need the patch tool to defi ne the selection; any selection tool or selection method can be used to prepare a patch selection. Once you have made a selection, select the patch tool to proceed to the next stage. As with the healing brushes, the patch tool has to work with either the Background layer or a copied pixel layer. One of the nice features of the patch tool is the way that the selection area in Source and Destination mode will preview the image as you drag to defi ne the patch selection. chapter_07.indd 326chapter_07.indd 326 5/2/07 7:17:22 PM5/2/07 7:17:22 PM [...]... Martin Evening Adobe Photoshop CS3 for Photographers Disguise your retouching The basic rule of retouching should be to disguise your work so that whatever corrections are made to a photograph, it is not immediately apparent that the picture has been retouched If you are working for a fashion client they are usually looking for image perfection Although I may sometimes employ a lot of Photoshop wizadry... brush tool and use this in conjunction with a pressure sensitive graphic tablet device Under the Other Dynamics options you can use a low stylus pressure to produce faint brush strokes And under the Size Dynamics you can set the Size control to be linked to the stylus pressure 347 chapter_07.indd 347 5/2/07 7:18:18 PM Martin Evening Adobe Photoshop CS3 for Photographers Rotate in perspective If you have... 7:18:28 PM Martin Evening Adobe Photoshop CS3 for Photographers Rendering options People have long asked for angled guides in Photoshop With Vanishing Point, you can now create an empty new layer, launch Vanishing Point, use the Create Plane tool to create a perspective plane and go to the Vanishing Point options menu (circled below in Figure 7.13) and choose Render Grids to Photoshop This will draw... banding or make Photoshop painting work appear to merge better with the grain of a scanned original 3 46 chapter_07.indd 3 46 5/2/07 7:18:13 PM Chapter 7 Image retouching Blurring along a path Some Photoshop tools are more suitable for retouching work than others The blur tool is very useful for localized blurring as you can use it to soften edges that appear unnaturally sharp You can use Photoshop paths... Martin Evening Adobe Photoshop CS3 for Photographers 1 In this close-up view you can see that the model’s right eye has some burst blood vessels Fortunately the model is looking straight to camera and we can easily make a repair by copying across pixel data from the good eye 2 I made a selection of the other eye and used the Cj Lj shortcut to copy as a new layer and then used Edit ➯ Transform ➯ Flip Horizontal... Pattern button As you can see, Photoshop was able to calculate a perfectly smooth blend, and this was achieved using a texture pattern that had been synthesized in Photoshop 7 I repeated these steps on the other parts of the photograph so that eventually I ended up with the finished result shown here 333 chapter_07.indd 333 5/2/07 7:17:39 PM Martin Evening Adobe Photoshop CS3 for Photographers 1 To add contrast... layer active and chose Pattern Maker from the Filter menu I then marquee selected a small area as shown here 331 chapter_07.indd 331 5/2/07 7:17:31 PM Martin Evening Adobe Photoshop CS3 for Photographers 4 I made the tile area fairly large (60 0 pixels square in this example) and I set the Smoothness setting to 3 If I clicked on the Generate button at the top of the dialog, the Pattern Maker would generate... 5/2/07 7:17:57 PM Martin Evening Adobe Photoshop CS3 for Photographers 2 I next wanted to concentrate on retouching the face This was done by marqueeing the head and making a new layer via copy (Cj Lj) This enabled me to modify the pixels on a separate layer, without permanently altering the background layer Mistakes are easily made and this way I can always revert to the before version and compare the... and 85% Doing so will restore more of the original skin texture and the final retouched result will look a lot more convincing 343 chapter_07.indd 343 5/2/07 7:18:03 PM Martin Evening Adobe Photoshop CS3 for Photographers 6 Finally, I introduced a Curves adjustment to increase the contrast in the Red and Green color channels and decreased the contrast in the Blue color channel, to add a subtle cross-processing... of the wrinkles in the skin and thereby avoid the complete ‘botox’ look 345 chapter_07.indd 345 5/2/07 7:18:09 PM Martin Evening Adobe Photoshop CS3 for Photographers Adding Noise As well as removing noise you sometimes need to actually add more noise instead When you use Photoshop to retouch a photograph you may at times find yourself painting with what might be called pure pixels If you are cloning . history brush as before, to remove the light blemish marks. Before After chapter_07.indd 317chapter_07.indd 317 5/2/07 7:17:00 PM5/2/07 7:17:00 PM Martin Evening Adobe Photoshop CS3 for Photographers 318 Healing. PM Martin Evening Adobe Photoshop CS3 for Photographers 322 Spot healing brush The spot healing brush was added in Photoshop CS2 and is a healing tool that was originally found in Photoshop Elements. 7:17:44 PM Martin Evening Adobe Photoshop CS3 for Photographers 3 36 1 In this close-up view you can see that the model’s right eye has some burst blood vessels. Fortunately the model is looking