The Hidden Power of Photoshop Elements 4 PHẦN 3 pdf

PROCESS STEP TOOL OR USE THIS TOOL TO DO WHAT? LOCATION COMMAND Adobe Gamma calibra- tion software is installed as a separate utility with Elements 4 for PC, found in the Control Panel for Windows; Display Cali- brator Assistant comes with the Mac OS, found in the System Preferences, under the Color tab by clicking the Calibrate button. File ➔ Save As See camera and scanner user manuals. New command File ➔ New Image ➔ Resize ➔ Image Size Mode command Image ➔ Mode Eyedropper Eyedropper tool in the toolbox. Press I on the keyboard. Info palette Display sampled readouts. Window ➔ Info Histograms Image ➔ Histograms Levels Enhance ➔ Adjust Brightness/Contrast ➔ Levels Levels Enhance ➔ Adjust Brightness/Contrast ➔ Levels Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Adjustments category Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Adjustments category Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Separations category Continues Split images into component colors and tone (channels) to simplify and target adjustments. Luminosity and Color, RGB, and RGBL separations Adjust tonal levels and balance color as a process. Basic Color Correction Reduce color noise associated with digital capture. Reduce Color Noise Use simple sliders to adjust tonal dynamic range. 5. Make general color and tonal corrections. View image histograms as part of the Levels dialog box display. View a chart and statistics showing tonal mapping of the image. Sample to check color and tone val- ues in specific image areas. 4. Evaluate the image. Change the image color mode of an open image. Change the size and resolution of an open image. Image Size command Set the color, size, and resolution to use for new images. Set the color, size, and resolution to use for new images. Scanner or digital camera 3. Specify resolution and color settings. Save your image with a specific name and location. Save As command 2. Store the original image. Do free, easy monitor calibration and ICC profile generation in one process. Adobe Gamma (PC) or Display Calibrator Assis- tant (Mac) 1. Calibrate the monitor. Table 3.1 Tool Set the tools you’ll need ■ 47 4456c03.qxd 3/1/06 3:04 PM Page 47 Continued PROCESS STEP TOOL OR USE THIS TOOL TO DO WHAT? LOCATION COMMAND Open the Hidden_ Power_Curves.psd for drag-and-drop curve presets. Gradient Maps Layer ➔ New Adjust- ment Layer ➔ Gradient Map, or the powerful preset in Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Adjustments category. Layer ➔ New Adjust- ment Layer ➔ Hue Saturation Color Balance Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Adjustments category Mode pop-up menu on the Layers palette Clone Stamp tool in the toolbox Healing Brush Healing Brush in the toolbox Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Masking category Copy command Edit ➔ Copy Paste command Edit ➔ Paste Hidden Power Tools under Effects on the Styles and Effects palette, in the Power- Separations category Mode pop-up menu on the Layers palette Continues Calculate changes in the image using layer properties to target change. Layer Modes, Layer Opacity, Layer Transparency Split images into component colors and tone (channels) to simplify and target adjustments. Luminosity and Color, RGB, and RGBL separations Paste a copied area from the clip- board into a new layer. Copy the selected image area to the clipboard. Customize selections by using masking. Layer Masking, Blend Mask Make smart brush-style corrections via sampling of other image areas. Make brush-style corrections via sam- pling of other image areas. Clone Stamp6. Make general damage corrections. Calculate changes in the image using layer properties to target change. Layer Modes, Layer Opacity, Layer Trans- parency Adjust color by balancing the influ- ence of color opposites. Adjust color by using slider controls to alter hue, increase/decrease satura- tion, and affect general lightness and darkness. Hue/Saturation layer Make custom multirange adjustments to tone, contrast, and color. Make multirange adjustments to tone, contrast, and color. Hidden Power Curve Presets 48 ■ chapter 3: The Image Editing Process Outline 4456c03.qxd 3/1/06 3:04 PM Page 48 Continued PROCESS STEP TOOL OR USE THIS TOOL TO DO WHAT? LOCATION COMMAND Crop tool in the tool- box. Press C on the keyboard. Image ➔ Resize ➔ Image Size Polygonal Lasso tool in the toolbox. Press L and Shift+L to choose the Lasso tool and scroll the tools. Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Masking category Copy command Edit ➔ Copy Paste command Edit ➔ Paste Image ➔ Transform Add Noise filter Filter ➔ Noise ➔ Add Noise Filter ➔ Blur ➔ Gaussian Blur Mode pop-up menu on the Layers palette Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Masking category History Brush Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Adjustments category Layer ➔ New Adjust- ment Layer ➔ Gradient Map, or the powerful Gradient Map Curve preset in Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_Adjustments category Continues Influence specific tones and colors by using gradients. Gradient Map Layer Paint in adjustments from filtered results (for example, to target Dodge and Burn). 8. Make targeted color and tonal corrections and enhancements. Mask and visualize change with trans- parent pixels. Layer Transparency Calculate changes in the image using layer properties to target change. Layer Modes, Layer Opacity Smooth out tones that are unnatu- rally rough. Gaussian Blur filter Roughen up tones that are unnatu- rally smooth. Reshape an isolated object.Transform command Paste a copied area from the clip- board into a new layer. Copy a selected image area to the clipboard. Customize the visibility of layered image parts and control the intensity of selections. Layer Masking, Blend Mask, Highlight Mask, Shadow Mask Select regular and irregularly shaped image objects. Marquee and Polygonal Lasso Change the physical dimension and/or number of pixels in an image. Image Size command Change the image size by cropping out or adding extra canvas area. Crop7. Make composi- tional changes. the tools you’ll need ■ 49 4456c03.qxd 3/1/06 3:04 PM Page 49 Continued PROCESS STEP TOOL OR USE THIS TOOL TO DO WHAT? LOCATION COMMAND Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Masking category Blend Mask Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Masking category Unsharp Masking Filter ➔ Sharpen ➔ Unsharp Mask Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Adjustments category Mode pop-up menu on the Layers palette Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Masking category 9. Save the image. Save As command Save with a new filename. File ➔ Save As Merge command Layers ➔ Merge Linked, Layers ➔ Merge Visible, Layers ➔ Merge Down Flatten command Layers ➔ Flatten Image Text To Shape Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Paths category Mode Convert to final color space. Image ➔ Mode Levels Make final adjustments to tone. Enhance ➔ Adjust Brightness/Contrast ➔ Levels Blend Mask Adjust white point. Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Masking category Continues 11. Optimize the image for final output and use. Globalize type handling by convert- ing type to vector layers. Remove extra layers and image con- tent when there are no vector layers to preserve. Remove extra layers and image con- tent when there are no vector layers to preserve. 10. Simplify as appropriate. Mask and visualize change with trans- parent pixels. Layer Transparency Calculate changes in the image using layer properties to target change. Layer Modes, Layer Opacity Complement Unsharp Masking with sharpening that calculates sharpness in a different way, more like darkroom techniques. Hidden Power Sharpen Work with both local and fine contrast in the image to improve edge defini- tion and contrast in color and tone. Influence specific tones and colors by using tone and color measurement. Customize the visibility of layered image parts and control intensity of selections. Layer Masking, Highlight Mask, Shadow Mask 50 ■ chapter 3: The Image Editing Process Outline 4456c03.qxd 3/1/06 3:04 PM Page 50 Continued PROCESS STEP TOOL OR USE THIS TOOL TO DO WHAT? LOCATION COMMAND Hidden Power Tools under Effects on the Styles and Effects palette, in the Power_ Separations category Save As Save with a new filename. File ➔ Save As Save For Web File ➔ Save For Web DCS Templates Hidden Power Tools folder included on the book’s CD We’ll explore all the tools mentioned here as part of the exercises in making image cor- rections. This listing cuts out many native Photoshop Elements tools, most of which pro- vide redundant (and sometimes inferior) means of completing tasks. If you use the tools listed above to follow the methods described in the book, you will find that other tools are seldom necessary. Several other minor tools will sneak in at points during the exercises; while they are not specifically mentioned in the correction tools list, they are mostly related to or substitutes for tools covered in the list. Adding special effects and noncorrective adjustments can occur during many of the stages, depending on what you are trying to accomplish with the effect. Most of these changes will occur after color and damage correction and before saving the image. One tool that does not fit into any particu- lar step, but is very useful throughout the correction process, is the History palette, shown in Figure 3.1. When you’re doing seri- ous correction and experimentation, it should become a good friend. For example, when you have taken several steps that have not accom- plished what you hoped, a single click on the History palette can step you back to an earlier Assemble the image parts and organ- ize the content to complete purpos- ing and storage. Permanent and/or tempo- rary storage devices 13. Package the image for out- put and use. Use custom files to allow unsupported color modes (CMYK and spot color). Save web images with limited color and transparency. 12. Save in output file format. Create separations for print ready files. Separations (CMYK and Duotone) the tools you’ll need ■ 51 Figure 3.1 The History palette acts like a multiple Undo. Just click a previous state, and the image reverts to the way it looked then. 4456c03.qxd 3/1/06 3:04 PM Page 51 point in the development of the image so you don’t have to start all over again. This lets you undo multiple steps at once or compare before and after changes at a click. It’s a real time-saver and a helpful tool. An entire category of Hidden Power tools not mentioned as part of the list that will help you learn and understand Hidden Power techniques is found in the Power_Playback category for the tools in Styles and Effects. This set of tools will allow you to adjust the speed of tool playback so that you can watch the steps, check your progress, and compare your results to see where things go wrong as you follow the steps. The set contains presets for slowing the playback (Play Slow, Step and Pause, and Step and Long Pause), custom playback (Play Palette), and normal accelerated playback (Play Accelerated). KNOWING YOUR EQUIPMENT AND IMAGES Part of working with images on your computer is learning the nuances of systems and soft- ware, and having some idea about what you expect to do with the images. You are responsible for knowing your equipment and the purpose of your images. This section cannot help if you are having trouble with your computer system, but it can tell you what to look for and where to get help. Similarly, it doesn’t tell you what exactly to do with images but does present some general guidelines for how to proceed. Knowing Your Equipment Because all computers and systems are not alike, it is impossible to cover every nuance of every system in every situation in one book. There are innumerable digital cameras on the market, a plethora of ways to get the images off the cameras, and hundreds of home printers to print the result to. Software configurations and utilities can cause fresh problems while solving others, and compatibilities can be an issue with both hardware and software. If you have trouble getting the images off your camera or have trouble with your printer or computer, the place to find answers is in the user manual for these devices and through tech- nical support from manufacturers. The following is a short checklist of maintenance tasks you should recognize, understand, and perform for your computer, peripherals, and software: Scanner (and Analog Film) Maintenance • Calibrate your scanner per manufacturer suggestions. • Maintain a regimen for cleaning the scanner and scanned objects. • Be sure to use proper connections and connection settings. • Consider having important images scanned by scanning services, which may have better equipment and resolution than you may have at home (for example, scan nega- tives and slides to a Kodak Photo CD rather than on a home flatbed scanner). 52 ■ chapter 3: The Image Editing Process Outline 4456c03.qxd 3/1/06 3:04 PM Page 52 Digital Camera Maintenance • Choose appropriate settings per manufacturer recommendations, and don’t change settings if you don’t know what they do. • Learn about special features and settings by reading the manual. This is especially important for resolution and color-management issues. • Understand image control and exposure. • Understand how to format camera storage. • Know how to properly connect a camera to your computer and download images from the camera. Printer Maintenance • Use appropriate paper and inks as suggested by the manufacturer. • Read maintenance and cleaning suggestions, and follow these practices rigorously. • Don’t expect RGB results from a CMYK printer. CMYK is a smaller color space, meaning there are simply fewer colors available. Computer Software and Hardware Maintenance • Maintain a firewall if using an open Internet connection. • Use virus-protection software to minimize problems with infected digital files, espe- cially if you trade a lot of files. Never open a file from an outside source (even a known source) if it has not been scanned for viruses. • Maintain a schedule of maintenance for data backup, disk error scanning, and associ- ated digital maintenance (such as defragmenting). • Check manufacturer websites regularly for software updates, bug fixes, and compati- bility notices. • Keep a log of program installations to help locate software conflicts. • Don’t jump to conclusions. Note multiple problems in the operation of your system. If you have problems with more than one program or device, there may be a common link to the real cause. • Simplify your system whenever possible by detaching chronically unused peripherals and uninstalling unnecessary software. the tools you’ll need ■ 53 4456c03.qxd 3/1/06 3:04 PM Page 53 Know Your Image Some matters involved in repairing and compositing images are not really judgment calls, and some are. One thing no book or manual can tell you is exactly what you want to do with an image. While I can suggest proven ways of getting good results, learning to evaluate an image’s composition and deciding what to do to improve it will be a judgment call. Your judgment will improve over time and with practice. Don’t ever say it is good enough if it isn’t good enough. Give up on an image only when it is not worth the effort to improve it. There is almost nothing you can’t do with an image if you have the desire. You can also correct the same image from now until doomsday, improv- ing it in increments all the time. Sometimes putting an image aside for a day or two can give you a new perspective: when you come back to it, you may see solutions you hadn’t previ- ously considered. Solutions won’t always jump out at you, and sometimes you’ll have to manufacture them. In trying to stretch your limitations, no matter what you are attempting to do to an image, chances are you will learn from each solution you attempt—whether it succeeds or fails for that particular image. The more you work with images, the easier and quicker the manipulations will become. Now let’s push some pixels. 54 ■ chapter 3: The Image Editing Process Outline 4456c03.qxd 3/1/06 3:04 PM Page 54 Part II Wrestling with Image Tone and Contrast Understanding correction and adjustment of a digital image starts with separating the image into its components of color and tone. Separating components isn’t just an interesting exer- cise. In the long run, understanding separations empowers you to make image repairs beyond the obvious application of stan- dard tools, ramping up the power of any image editing program. Understanding the basics of separating images into components gives you the power to make other, more complex separations, including working with CMYK in Photoshop Elements. Getting confident with separation empowers you to make tar- geted changes. If your image shows mottling, uneven color, or some other problem that is color- or tone-specific, taking apart the image elements can help you focus on the real problems in the image. It’s like treating a wound with plastic surgery instead of just putting in a bunch of stitches and slapping some gauze over it, where you are almost certain to leave an ugly scar. Chapter 4 Separating and Combining Image Components Chapter 5 Correcting Image Tone 4456c04.qxd 3/1/06 3:04 PM Page 55 4456c04.qxd 3/1/06 3:04 PM Page 56 [...]... the mode of the layer to Screen The appearance of the image will remain the same This layer represents the red color in the image as a separated grayscale component (Figure 4. 5) You can complete the separation of the red component mimicking the steps of this section of the separation by using the Hidden Power tool: (2) RGB_Red_Component You can run this successfully only after running part 1 of the RGB... 29.) 44 Merge the activated layers (press Command+E/Ctrl+E on the keyboard) Rename the resulting layer Green Component, and change the mode of the layer to Screen This layer represents the Green color in the image as a separated grayscale component (Figure 4. 6) The separation of the green component mimicking the steps of this section of the separation can be completed using the Hidden Power tool: (3) ... it requires the components set up there Creating the Green Component Similar steps to creating the red component will help you extract the green component from the original image source: 31 Duplicate the Source layer (Layer ➔ Duplicate Layer) In the dialog box that appears, change the name of the layer to Green Click OK 32 Move the Green layer to the top of the layer stack 33 Duplicate the Color Green... Adjustment 37 Move the Hue Adjustment layer to the top of the layer stack 38 Merge the Hue Adjustment and Green-Blue layers This will turn the Green-Blue layer blue 39 Duplicate the Green-Blue layer, and rename the duplicate layer Green-Red 40 Duplicate the Hue Adjustment Template, and rename the duplicate Hue Adjustment 41 Move the Hue Adjustment layer to the top of the layer stack Figure 4. 6 The image layers... with the Power_ Playback tools Creating the Red Component The red component will be created following the setup by filtering a copy of the Source layer using the image elements created during the setup: 17 Duplicate the Source layer (Layer ➔ Duplicate Layer) In the dialog box that appears, change the name of the layer to Red Click OK 18 Move the Red layer to the top of the layer stack 19 Duplicate the. .. change the mode of the layer to Screen This layer represents the Blue color in the image as a separated grayscale component (Figure 4. 7) You can complete the separation of the blue component mimicking the steps of this section of the separation by using the Hidden Power tool: (4) RGB_Blue_Component You can run this successfully only after running part 1 of the RGB separation You have now separated the. .. 1 of the RGB separation Creating the Blue Component Separating the blue component follows the same procedure as separating the red or green At this point, you should be feeling somewhat familiar with the process 45 Duplicate the Source layer (Layer ➔ Duplicate Layer) In the dialog box that appears, change the name of the layer to Blue Click OK 46 Move the Blue layer to the top of the layer stack 47 ... equal parts of green and blue to neutralize the color 21 Duplicate the Red Component layer Change the name to Red-Green This layer will be the equal part of green based on the red component the art of turning color into black-and-white ■ 63 22 Duplicate the Hue Adjustment Template layer, and rename it Hue Adjustment 23 Move the Hue Adjustment layer to the top of the layer stack The color of the image... 44 should be identical to those pictured here 42 Merge the Hue Adjustment layer and the Green-Red layer This will turn the Green-Red layer red 43 Activate the Green Component, Green-Blue, and GreenRed layers To activate these layers, with the Green-Red layer active in the layer stack, hold down the Shift key on the keyboard, and click the Green Component layer in the Layers palette (See step 29.) 44 ... changes To change the name of a layer, double-click the name of the layer in the Layers palette the art of turning color into black-and-white ■ 61 5 Create a new layer by clicking the Create a New Layer button on the Layers palette Change the name of the layer to Color Red, and set the layer-blending mode to Multiply (see Figure 4. 2) 6 Change the foreground color to red To do this, click the foreground . Calibrate the monitor. Table 3. 1 Tool Set the tools you’ll need ■ 47 44 56c 03. qxd 3/ 1/06 3: 04 PM Page 47 Continued PROCESS STEP TOOL OR USE THIS TOOL TO DO WHAT? LOCATION COMMAND Open the Hidden_ Power_ Curves.psd for. ugly scar. Chapter 4 Separating and Combining Image Components Chapter 5 Correcting Image Tone 44 56c 04. qxd 3/ 1/06 3: 04 PM Page 55 44 56c 04. qxd 3/ 1/06 3: 04 PM Page 56 Chapter 4 Separating and Combining. step 30 should be identi- cal to those pictured here. The image itself will show the red channel in grayscale. 44 56c 04. qxd 3/ 1/06 3: 04 PM Page 63 34 . Merge the Color Green Copy layer and the Green