Photoshop Creative Collection Vol 07 [2011]

MasterthetoolsofPhotosho® p ® PcrheaottvoeshopI collection V0O7L Before photo Improve your Photoshop skills and enhance your creative projects ✔ Easyediting ✔ Digitalcreations ✔ Toptooltips ✔ Inspirationalfeatures ✔ Painteffects



welcome WelcomePcrheaottIvoeshcolloectpion® Photoshop is a tool that allows you to you how to edit your images and create shine, then everything you need to let your imagination run wild. Gone perfect photos. know is included in the next 250 pages. are the constraints of traditional artistic methods; here you can create and edit With so much on o er, Photoshop’s On top of all this, we’ve got a to your heart’s content. And if you’re toolset can often seem impenetrable, fantastic array of in-depth features looking to improve your skills or even and many are never used simply covering some of the most essential start using Photoshop for the very rst because no one has ever explained areas of Photoshop, as well as ve- time, then you’re in the right place! how to use them. Well fear no more, as minute xes that will allow you to here we will show you the best tools improve your images in no time at all. The Photoshop Creative Collection to use for each situation and how to So if you want to get more from image series has been guiding people through get the most out of them. And if you’re editing and you’re keen to take your the ins and outs of Adobe’s graphics fed up of your photos always looking Photoshop prowess to the next level, editing program for some time now, a little washed out or you wish you then we’re here to guide you through and volume seven brings you the latest could apply some simple airbrushing the process and point you in the right step-by-step tutorials that will show techniques to give you that Hollywood direction… enjoy! Artistic A wealth of tutorials to help unleash your creative side Digital Resolution make-up page 226 page 88 Techniques Photo editing Create the perfect image Learn the ins and outs of using these tweaks Photoshop’s tools Make a mosaic page 122 PHOTOSHOP CREATIVE COLLECTION 3



PcrheaottIvoescholloectipon® Imagine Publishing Ltd Richmond House 33 Richmond Hill Bournemouth Dorset BH2 6EZ ☎ +44 (0) 1202 586200 Website: www.imagine-publishing.co.uk Editor in Chief Jo Cole Production Editor Jon White Design Danielle Dixon Printed by William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT Distributed in the UK & Eire by Imagine Publishing Ltd, www.imagineshop.co.uk. Tel 01202 586200 Distributed in Australia by Gordon & Gotch, Equinox Centre, 18 Rodborough Road, Frenchs Forest, NSW 2086. Tel + 61 2 9972 8800 Distributed in the Rest of the World by Marketforce, Blue Fin Building, 110 Southwark Street, London, SE1 0SU. Disclaimer The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This bookazine is fully independent and not affiliated in any way with the companies mentioned herein. Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/or other countries and is used with express permission. Photoshop Creative Colection volume 7 © 2011 Imagine Publishing Ltd ISBN 978 1 906078 9 59

contents P0a8ge PYOHOUTNOESEHDOTPOTKRNICOKWSWaere’vegugaartahnetreeeddotuorhfaevlpouyoriuteimimpargoeve-eydoituinrgpitciptusrtehsat Photo editing After 20 Paint with light 52 Lighting Effects 20 24 Fix your hazy 56 Create the 80 tFeecahtnuirqeu:eSsixfor landscape photos perfect B&W perfect pics 26 Enhance contrast 60 Removing reflections 63 Five minute fix: 88 Digital make-up with duotones 90 Improving skin tone Increase History 94 Whiten teeth and eyes 29 Five minute fix: states 97 Five-minute fix: Improve macro shots 64 Create a vintage Create selections with Channels 30 Add some Twilight image effect 98 Removing shine from magic to portraits 68 Sharpening your your photographs 34 Enhance skies images with the High 36 Fix exposure Pass filter 102 Secrets of retouching 40 Boost colour using 106Removing wrinkles 70 Improve night-time Color Balance images 43 Five minute fix: 74 Creative light Blur background for emphasis effects 44 Feature: Transform 79 Five-minute fix: your photos Improve damaged photos Before 6 PHOTOSHOP CREATIVE COLLECTION

On the CD Video tutorials • Tutorial files • Resources 144 Artistic176 Rweitahlisbtriucswhaetsercolour 44 182 Shape shifters 112 Feature: 30 digital 186 Wet sand text effects painting tips 190 Create a photo 122 Make a mosaic with illustration actions and filters 194 Create a photo album 126 Turn photos into art 134 130 Stitch effect text scrapbook 133 Five-minute fix: 199 Five-minute fix: Set off some digital fireworks Quick sketch effects 134 Conquer the Pen tool Techniques 140 Make a mannequin 202 Feature: Ultimate 240 The Curves using the Pen tool guide to selections adjustment tool 144 Make a splash with 212 Depth of field with 244 Marquee tool Photoshop Photoshop masterclass 148 Drawn from life 216 Resizing techniques 246 Content-Aware 152 Create a fun photo 218 CS5 Bristle Tips 220 High Dynamic Scaling book layout Range 248 The Texture filters 157 FUisvee-pmhiontuotseifinxt:ype 252 Understanding 158 Understand blending 224 Match Color 226 Resolution clipping masks modes and layer 228 CGrIFesatienaPnhiomtoatsehdop styles 226 231 Five-minute fix: 162 Create origami- Crop and straighten inspired artwork photos 166 Chinese brush 232 Feature: Learn to painting use Levels 172 Compose a 238 Remove subjects panograph from your images 175 Five-minute fix: Merge modes for dramatic images PHOTOSHOP CREATIVE COLLECTION 7

feature Photoshop tricks you need to know YPOHUOTNOESEHDOTPOTKRNICOKWS We’ve gathered our favourite image-editing tips that are guaranteed to help you improve your pictures N o matter how long anyone Tip 1 Create a reflection by adding a simple gradient to a layer mask works with Photoshop, Duplicate the image layer containing the object, and flip it via there’s always something RLaeyfleercMtioanskvisa Edit>Transform>Flip vertical. Move the reflection into place using the new to learn. Even if you’re an Move Tool (V). Add a Layer Mask, choose the Gradient Tool and drag a image-editing expert, it’s impossible to Black To White Gradient over the bottom half of the layer mask. remember every little nook and cranny of Photoshop, and if you’re a novice then Duplicate the object layer to create a copy of it Flip the copy, position and add a layer mask. Drag a Black/White gradient vertically over even some things that may seems basic on another layer Click on the thumbnail for the Layer Mask the duplicated object image, via the mask can be a real revelation and save you hours of head scratching. So we have put together a massive ten pages of tips and tricks that will help to speed up your image editing, give you a whole new bundle of special effects and techniques, and some that might just jog your memory in time for that next deadline- driven graphics project. So, feast your eyes on this veritable Pandora’s Box of Photoshop goodness… it may just save you hours of frustration! 8 PHOTOSHOP CREATIVE COLLECTION

Tip 2 Tip 3 Terrific tattoos! Stay safe with Vibrance Create stunning realistic digital No needles, no regrets –tattoos the Photoshop way Increasing Saturation can sometimes blow tattoos with a little help from the our some colours, so try Vibrance instead Displace filter If you’ve got an image that lacks saturation in Sometimes digital tattoos don’t look very some areas, rather than use the Hue/Saturation convincing, simply because they don’t command, try using Image>Adjustments> wrap around the body properly. However, Vibrance. The Vibrance command will increase by using the Displace filter you can make the saturation of only the colours in your image them really fit the body. First, design your that need it, rather than increasing saturation tattoo on a plain white background. globally as the Saturation command does. 01 02DisplacementMap 03Distort Go to Increase Duplicate your body image. Filter>Distort Displace. saturation On the duplicate, go to the Channels Enter 15 for both scales and click only where OK. Locate your Displace le, click it’s needed by on it and click Open. The tattoo choosing the will now be wrapped around the Image> body contours. Reduce the layer Adjustments> Opacity a little if needed. Vibrance command Paste the tattoo Return to the original body image, palette and click the Red Channel. open your tattoo image and drag Select all and then copy. Return to and drop it into the image. Set the the Layers palette and paste. Flatten Blending Mode for the tattoo layer EasierEyedropper Tip 4 the image and save it as a PSD le, to Multiply. Scale and position via naming it Displace. Edit>Transform>Scale. Be sure you pick “Increasing saturation can sometimes the colour you blow out colours, so try Vibrance ” really want In CS5, the Tip 5 Finally, an easy way to select fly-away hair strands, thanks to The new sampling ring shows your Eyedropper Tool the Refine Edge command in CS5 current colour and the new colour to has a sampling Esealseycthioanirs Make a rough selection using the Quick Selection Tool. Click on Refine be picked ring, making Edge in the Options bar. Add a small amount via the Radius slider and choosing colours choose the Refine Radius Tool. Now brush around the hair outline easier. Activate it using this tool at a suitable size. Check Decontaminate Colours and use via the checkbox in the slider to remove any vestiges of remaining colour. From Output To: the Options bar. choose New layer With Layer Mask for perfect results. QCouliocukr info 6Tip You don’t have to reach for the Eyedropper get a colour reading Once you have the Info palette on screen (Window>Info), any Photoshop Tool will give you a colour reading UsuesainngyCtoaoplstLoogcekttaocgoelot purrerceiasediinnfgo, within the palette. MakearoughselectionaroundyoursubjectandletRe needgedo JustbrushoverthestrayhairsusingtheRe neRadiusTooland all of the work watch as a perfect hair mask is created for you PHOTOSHOP CREATIVE COLLECTION 9

feature Photoshop tricks you need to know LevelswithoutClipping Tip 7 Consistent colour across two images Tip 8 Don’t risk clipped Black and White points when A simple, overlooked command for harmonising the colours in separate images you’re busy adjusting Levels. Use the Alt key as a Image>Adjustments>Match Color will take the overall colours from one image and apply handy safeguard them to another. Open both the images (the target and source images). Make the target image Next time you’re adjusting the Black and White points in the active one and go to Image>Adjustments>Match Color. From the Source: option in the your image via the Levels command, hold down the Alt Image Statistics section, choose the image you want to take the colours from. If you need to key as you drag each pointer beneath the Histogram. Stop adjust the colour change in the target image, carefully adjust the sliders. dragging when you see any clipped areas appearing. Hold down the Alt key as you drag, and you’ll see when you start to clip any of the colours Cropoverlays Tip 9 There’s no panic if the colours in two images don’t match, just Apply the colours from your source image to the target use the Match Color command image for a quick edit In CS5, the Crop Tool comes complete with a Sharpen up with High Pass Tip 10 choice of helpful guides Once you’ve dragged a crop, go to the Options bar for Fshleaxripbelen,innognv-idaeastlrauycetriavned the the Crop Tool and choose from Grid or Rule Of Thirds HOtJFtClOwh1eo)aipi.h0felypgiaOtfe0taeeeBarhhn%nnrrcoca>tyttgiuPcttohtOaoehykonaesHuettgdsovhhryrrdasfei1eeooisruts0mfiruuudhBup>planilarLHlltseitieldgeicx.lnlidgyeragIaeLdtuhythgla’aeisscteanny.PebalrudNegaaneutgryshMdosdne(estwueCt.rcottip,lShotldlargirleeyecyeilzoct/kdoseofCtathuouroOhotmra’coemerKertpedRhp.atih-niahecsadnteipotiiyupn.syg crop guide overlays. The grid can be useful for lining up crops with image elements and Rule Of Thirds is a great compositional aid. Make your Ashdajurpstetnhienlgatyhear tO’spaapcpitlyietdotcooynotruorlitmheagaemount of choice of Crop Guide Overlays from the Options bar when using the Crop Tool Clever Curves adjustments Tip 11 Tip12 Use the on-screen Sthcartu! b adjustment tool within the Curve dialog for faster aAnddjudsrtatogngeinsgdirectly on your image by simply clicking Don’t dial in values within Just click and drag on that text label image adjustments Photoshop, try scrubbing for to easily scrub through values more speed In Photoshop CS4 upwards, Wherever you see a value box, such you don’t have to adjust a Curve as the Opacity value in the Layers directly. Choose the on-screen Palette, next to it you’ll see a text adjustment tool at the bottom label. Click and hold on that label right of the Curves dialog and and you can ‘scrub’ rather than simply click and drag on an fiddling with minute slider pointers. area in your image. Drag up to lighten and down to darken! 10 PHOTOSHOP CREATIVE COLLECTION

Tip 13 Tip14 Textureoverlays HDR Toning Subtle textures can transform You don’t need to shoot multiple exposures to your images in just a few clicks create stunning HDR effects in CS5 The great thing about HDR Toning is that you only Copy and paste your texture shot into need a single image, not multiple exposures to create a faux HDR image. Open your image and the image. Go to Edit>Transform>Scale, go to Image>Adjustments>HDR Toning. Creating your effect can be as simple as choosing one of the and use the corner handles to scale supplied HDR effects from the Preset: option. Even once you’ve chosen a preset you can adjust every the texture to cover the image. Now aspect of the Edge Glow, Tone and Detail or Colour via the sliders within the dialog. It’s worth spending a experiment with blending modes on little time adjusting the Detail slider as this will really amplify that classic HDR appearance, and increase the texture layer. Overlay, Soft Light Paste your texture and choose a blending mode. Finish by the Saturation via the sliders in the Color section. The and Hard Light work well. experimenting with adjusting layer Opacity Toning Curve gives you the opportunity to carefully lighten or darken every tone within the image, just Tip15 like a normal Curves adjustment. Correct colour casts Choose the grey eyedropper and click in a part of your image which should be neutral You can easily correct colour casts within the Curves dialog From the Curves dialog, choose the Grey Eyedropper. Now carefully look for an area in your image which should be neutral in colour. Click on this area with the eyedropper to correct the colour cast in a single click. Tip 16 WithinHDRToning,you’ll ndalltheusualHDRadjustmentsareat your ngertips Snappy snapshots “The great thing about HDR Toning is that Create a quick snapshot effect you oexnploysunreeesd, atoscirnegatleeaimnaHgDe,Rneoftfmecut”ltiple using layers If you have fond memories of good old-fashioned 01Scaletheimage Double-click 02Fill and scale the border 03Add a shadow and a base snapshots, create them yourself in Photoshop the Background Layer and go layer Ctrl/Cmd-click the lower Go to Layer>Layer Style, to Edit>Transform>Scale. Hold down layer and go to Edit>Fill, choosing choosing Drop Shadow. Adjust the the Shift key and resize via one of the White. Return to Edit>Transform>Scale Distance and Size of the shadow and corner handles. Hit enter and duplicate and Shift-drag a corner handle to size hit OK. Pasting a wooden texture shot this layer (Ctrl/Cmd-J). the border. Position the border by on a layer below these two can really dragging within the Bounding Box. Hit nish the e ect o convincingly. Enter to commit the transformation. PHOTOSHOP CREATIVE COLLECTION 11

feature Photoshop tricks you need to know Create and reuse your own photo edges, your image with black, carefully creating good- and drop them over any image looking edges. Now you can drop this image 17Fast, reusable photo edges You can create and save black-and-white on to a layer over a photo and set the blending Tip border files to use again and again. Start with mode to Screen. Resize the layer to fit the a white document and paint the window for image via Edit>Transform>Scale. Create a simple black and white image. Try using Copyandpastetheedge leonalayeroveryour Onlythewhiteareasremain,leavingjusttheedges Thepossibilitiesareendless,sogetcreativewith somePhotoshop ltersonthem photo and set the Blending Mode to Screen. showing around the image thoseedge lesandbuildupacollection! Tanindtwinhgitbeslack Tip 18 Tip 19 Correct perspective The Black and White The Lens Correction filter makes correcting perspective command also has a wonderfully simple tinting function Go to Filter>Distort>Lens Correction. In the bottom left of the panel, Go to Image>Adjustments correct vertical perspective by dragging on the slider. You can also correct >Black and White. Choose horizontal perspective with the other slider. Turning the Grid on can help one of the Black and with judging the corrected perspective. Hit OK when you’re done. White presets, or adjust the sliders to your liking. Whichever perspective is Now check the Tint check wrong,either avouris box. Choose the colour easily corrected via the two of your tint via the Hue Perspective sliders slider and adjust its intensity by dragging on tBolathcke aBnladcwk ahnitdeWwihthitejucsotma hminatnodf colour, thanks SThmeamratFgiilctoerfs 2Ti2p Tip 23 the Saturation slider. Tip 21 Sviugpneert-tqeusick Tip 20 BMraigdgicea!l Mini- Mess with Masks The Bridge’s timesaving little Control layer masks via their own Smart Filters allow you to change Take the super-fast route to CS5 brother dedicated panel to speed up your the filter settings again and again effective vignettes In Photoshop CS5, you don’t have to masking workflow Right-click the layer to filter and Use the Vignette slider within the go use the full-blown version of the choose Convert To Smart Object. Lens Correction filter. Drag it to the Bridge. Simply go to File>Browse in When you’ve created a Layer Mask, Apply your filter in the usual way. left to darken, and to the right to Mini-Bridge and then browse within Re-edit by double-clicking its smart lighten. Control the vignette width the workspace. you can Feather it, alter Density or filter entry attached to the layer. with the Midpoint slider. Invert it via the Masks panel. Go to Window>Masks and use the sliders. The Bridge in it’s own self-contained Photoshop Take control of your Layer Masks via EditablePhotoshop lters,allthankstothe For classic vignettes, just rely on the sliders within panel. At last! Window>Masks, and feel the power of the panel versatility of Smart Objects theLensCorrection lter 12 PHOTOSHOP CREATIVE COLLECTION

Tip 24 Use the default spotlight to throw some light on your still Tip 25 life images Afodrddraasmpoatlight Straighten with the Crop Tool Atousicmhpolfedsrpaomtlaigahntdcafoncaudsdtoastill The Crop Tool is more versatile than you life compositions might think Choose the Crop Tool and choose Grid from the Duplicate the Background Crop Guide Overlay option in the options bar. LFtpthhaioleyetseedidtrreia>o(fRrCankeutinrnnllted/gssCeipstrmoa>atrLpdloiip-ugJgr)hhno.ttGdp,irnsotihigazteotEienlflifygge.hacAtntdsbd.jyuUsste Drag a crop over the image. Now place your adjusting the Ambience slider. cursor outside one of the corners on the Crop Box and drag to rotate the crop, matching the grid up to a horizontal or vertical within the image. Adjust the side handles to your desired crop and hit the Enter key to commit the crop. Curves cross-processed effect 2Ti6p Make adjustments to each of the colour curves to re-create this classic effect Drag a crop, rotate it, adjust and commit. Job done! To create this effect, you need to make specific changes to each of the four curves in the RGB image. Go to Layer>New Adjustment Layer>Curves. Choose the individual curve from the “aYdojuusctamnenmtasktoe Channel box, and place points on each curve and position them by dragging. Refer to the each colour curve image below to see each curve shape. to rpeh-coertfoefagetcretascp”lhaiscsic It’saclassic lme ectthateasilyreplicatedviaaCurve Adjust each of Binlathcke Caunrdvweshditieaploogints Adjustment Layer the curves to the shapes shown You don’t have to use Levels to set Black and Tip 27 to quickly White points… you can also do it in Curves create the Drag the lower corner point on the curve to line Cross-Processed up with the left-hand end of the histogram. Do the e ect same with the upper right corner point to correct the white point. GFieltmcrGeartaiivne with 2Ti8p Make film grain more adaptable via a filled layer Drag the Use the Grain filter (Filter>Texture>Grain) corner points to add various film grain effects to your to line up with images, but use it on a separate layer filled each end of with 50% Gray (via Edit>Fill). Desaturate theHistogram this layer once you added the grain, and set the Blending Mode to Soft Light or Overlay. If you have fond memories of good old-fashioned You can adjust the grain intensity simply by snapshots, create them yourself in Photoshop modifying the Opacity of this layer. PHOTOSHOP CREATIVE COLLECTION 13

feature Photoshop tricks you need to know Big Data Tip 29 Tip 30 Big Data refers to areas of a layer which lie GGeatucsrseaiatniveBwluitrh outside the canvas area Just a simple blur for high-impact Sometimes, you’ll have parts of a layer that fashion shots extend beyond the edges of the canvas. To see Duplicate the Background Layer these areas, go to Image>Reveal All. (Ctrl/Cmd-J). On the duplicate layer set the Blending Mode to Overlay and go Reveal any to Filter>Blur>Gaussian Blur choosing FsiomraplteoBulcehnodfinregaMlpordoe-studioe ects,tryalittleGaussianBluranda ‘Big Data’ in a Radius of around 20 pixels. Hit OK to your image via apply the filter. Experiment with other Image>Reveal Radius values for a more subtle effect. All. Now you’ll see Type in perspective Tip 32 any previous Use Vanishing Point to add type in perspective to hidden layer any plane in your image contents Create your type. Go to Select>All, followed by Edit>Copy. Now delete your text layer and add a new Manage Masks layer. Go to Filter>Vanishing Point. Click corner points to create a grid following the plane of the surface. Hit Don’t go to the Channels palette to Ctrl/Cmd-V to paste in the text. Now drag the text into duplicate a Layer Mask, just drag-and-drop the grid and position it wherever you want it along the To copy a Layer Mask from one image layer to plane of perspective. another, hold down the Alt key and simply click and drag the mask thumbnail to the other layer. Tip 31 Alt-click-drag is all that’s need to duplicate a Create your text with the Type Tool and then copy it over to mask and add the clipboard it to another image layer Paint selections Don’t forget the power of Quick Mask for creating complex selections Hit Q on the keyboard to enter Quick Mask Mode. Paint the selection with Black, erase it with white. Hit Q again to exit. Tip 33 Quick masks allow you to simply paint Click corner points to create a perspective grid within the complex Vanishing Point window selections with the humble Brush Tool Precious selections You’ll often use a selection more than once, so make sure to save it When you created a complex selection, save it via Select>Save Selection. When you want to use it again, go to Select>Load Selection. Tip 34 Don’t risk losing that complex selection, make Paste the type, drag it into the perspective grid and position it TheVanishingPoint ltercanworkwonderswithcreatingin sure to save it in in perspective by dragging extreme perspective case you need it in the future 14 PHOTOSHOP CREATIVE COLLECTION

Artisticbrushedborders Tip 35 Tip 36 Tip 37 Paint onto a mask to get arty with BDNouodnrgn-idinnegsgtaruncdtive NimeupatrcatlinDeCnSsi5ty borders around your images Duplicate the Background layer (Ctrl/Cmd-J). Use a simple grey filled You don’t need a neutral Fill the original background with a colour layer for damage-free density filter for your of your choice. Via Edit>Transform>Scale, targeted tonal adjustments camera… just do it all reduce the size of the image on the upper Add a new layer, and via in Photoshop layer a little. Add a mask via Layer>Layer Edit>Fill, fill it with 50% Grey. Use the new Neutral Density Mask>Reveal All. Now paint around the Set the Blending Mode to Soft gradient on a layer set to Soft edges of the image with Black at 50% Opacity, Light. Paint with a soft brush Light to add impact to skies in making sure to hide any hard edges. at 15% Opacity, using Black to your landscapes. gradually darken and White Trydi erentbrushestocreateanendlessvarietyof to subtly lighten areas in artful image borders your image. Acourrteocmtiaonticlens Tip 38 Tmhaekneeswit eNaesuyttroalaDdednimsitpyagcrat tdoiesknites Take the guesswork out of tYhoeuBcraunshdoTodoglewainthdbbluarcnksaimndpwlyhbiyteusing correcting lens distortion in CS5 In CS5, you can Auto Correct lens LensCorrectionnowhasspeci clenspro lesbuiltin qu“Cicrkealtytoeayadosduimrcoppphlyoetrboirsgu”hsthtatogs distortion in the Lens Correction filter. Choose the Make and Model of your Content-Aware magic Tip 40 camera and then choose the appropriate Lens Profiles to correct distortion Use the new Content-Aware features of alchemy, with Photoshop replacing pixels with without any of the guesswork. Photoshop CS5 for seamless clean-ups other information, meaning you can clone away CS5 offers users some fantastic new features, top of items in a blink of an eye. Once you get used to how Tip 39 which are the new Content-Aware options. These they work, there’s no turning back! Here’s a look at allow you to perform nothing short of image-editing the two features. Copyright Brush Content-Awarefill Content-Awarespothealing Create a simple brush to quickly add copyright tags to Make a quick selection around the blemish in your Content-Aware is also available for the Spot Healing your photos image, go to Edit>Fill, choose Content-Aware for Brush in CS5. Just choose it from the Options Bar and Create you text in black, on a white Contents and just click OK. Repeat if it doesn’t look then brush over objects to remove them. Enjoy the canvas with the Type Tool. Crop good the first time. best results ever seen in retouching tools. and Flatten your image. Now go to Edit>Define Brush Preset. Give your new brush a name and hit OK. You’ll now find your new brush in the Brush Picker. Use your new brush at any size, with any colour. Protect your work by creating a quick and simple Content- Perfect, brush to stamp your copyright information Aware Fill awless can remove retouching unwanted in just a few objects strokes thanks seamlessly to Content- in just a Aware magic! few clicks PHOTOSHOP CREATIVE COLLECTION 15

feature Photoshop tricks you need to know Tip 42 Turndownthenoise! 4Ti1p Reshape with Puppet Warp Camera RAW is the best choice for Noise Puppet Warp is a very powerful tool, Removal, even with JPEG images but knowing how best to use it is the key In the Bridge, right-click the image and choose to success Open In Camera Raw. Click the Detail tab. The When you’re using Puppet Warp, it’s important Luminance slider is use to remove Luminance noise that you not only place pins to move, but that (dark speckles), and the Color slider removes Colour you first place pins to ‘lock down’ the parts of Noise. Detail slider help to keep edges sharp. the image you want to remain in place and not be affected by the warping. As the walkthrough below shows, using this feature correctly mMaagkeicyaoluPuripmpaegtWesabrepntdootol yourwhimwiththe allows you to make very fine, targeted changes, with subtle, undetectable results. 02Pins for warping Now Camera click to place pins RAW isn’t just along the feature that for RAW; it you want to bend, happens to warp or adjust. You be excellent can activate individual at removing pins simply by clicking image noise on them. Black, white, and colour 01Lockdown Click to place various pins 04Add and around and within the object to be subtract Really mix things up by combining black warped. These ‘lock down’ pins will prevent layer At any time you and white with a splash of colour other areas of the subject being warped. can add more pins The best way to create a selective colour effect is or delete some. To via a Layer Mask. Go to Layer>New Adjustment 03Dragtodistort Now simply click and delete a pin, right-click Layer>Black And White. Choose one of the Black drag of the selected pins to distort this it and then choose and White Presets, or adjust the sliders within the particular area of the image. You can select Delete Pin. By carefully black and white panel to create a good, strong black- multiple pins by Shift-clicking. controlling where and-white image. Click on the layer mask attached pins are placed you’ll to the Adjustment Layer and choose the Brush Tool, 4Ti4p be able to producing making sure that Black is your Foreground colour. convincing results. Now just paint with black wherever you want to Amladyujueltrsisptle restore colour from the background layer beneath. Classic hand tinting You can hide overpainted areas by painting back Ctrl/Cmd-click multiple layers Adjust the Opacity into the mask with white. before adjusting Opacity and Fill of multiple Create classic hand tinted black-and- or Fill layers at once white images with the addition of a layer T4ip3 Add a new layer above your black-and-white In Photoshop CS5, you image, setting the Blending Mode to Color. Use a Black can adjust the Opacity Use a soft brush with your chosen colours to and White paint over the image, for classic hand tinting. adjustment of two or more layers layer to create T4ip5 the overall at once. Ctrl/Cmd-click monochrome multiple layers and Add a layer and image start painting adjust the slider to add hints of Paint on the colour to black adjustment and whites layer Layer Mask to reveal to colour from the Background Layer beneath 16 PHOTOSHOP CREATIVE COLLECTION

Tip 46 Tip 47 Super-fast high key effect Simple and effective skin smoothing Create a high key image from the Black Use the Median filter to effectively smooth skin channel in CMYK mode Duplicate the Background layer (Ctrl/Cmd-J). Now go to The classic high key effect can work very well Filter>Noise>Median. Use a small Radius value, just enough for a really modern portrait effect, and by to remove the unwanted skin texture (you’ll be able to judge duplicating your image, changing its Colour this effect within the preview window). Hit OK to apply the Mode and stealing just one channel, you can filter. Now, on this smoothed layer, apply a Layer Mask via create this effect quickly and easily. Layer>Layer Mask>Hide all. The layer will now be hidden completely. Choose the Brush Tool, click directly on the Duplicate your image (Image>Duplicate). Layer Mask thumbnail and paint over the skin with white at On the duplicate image go to 75% Opacity, avoiding the eyes, lips and other facial features Image>Mode>CMYK. Click on the that don’t want the smoothing effect. You can make the final Channels palette, click on the Black smoothing effect look completely convincing by reducing the channel, Select All and hit Ctrl/Cmd-C top Opacity of this layer a little. copy it. Return to your RGB image, and go to Ctrl/Cmd-V to paste. Flatten the image Don’t let and you’re done! exaggerated skin texture spoil your portrait shots Change specific colours via Hue/Saturation 4T8ip With Hue/Saturation you can make specific “The Hue/Saturation command colour changes as well as global ones allows you to make specific colour In Hue/Saturation, choose any colour from the Colors drop-down. Now choose the eyedropper and click the changes as well as global ones” colour in your image you want to change. Just move the Hue slider to adjust that particular colour. Quickly alter the colour of an object using the Hue/ Saturation command Chooselayersbycontent Tip 50 Don’t search for Tip 49 a particular layer. Ctrl/Cmd-click to Cytorul/rCimmda-gcelitcoksoenleacntythealetmlaeynertiinn choose it the Layers palette If you are working on multi-layered Reset, don’t cancel documents, finding the one you want If you make a mistake with an can be a nightmare. adjustment, don’t cancel out Choose the Move Tool of it, just hit Reset (V) and Ctrl/Cmd- Whenever you’re working click on any element within a dialog box that has a in your image to Cancel button, you can hold automatically jump to down the Alt key to change this that layer in the Layers to a Reset button. palette. Simple! HoldingtrdaonwsfnortmhesAcaltnkceeylminatogRiceaslelyt PHOTOSHOP CREATIVE COLLECTION 17

Pedhiotitnog Page 44 No matter how much you spend on a camera or how much you tinker with the settings, there will always be the odd picture where you wish there was something you could change. This is where Photoshop comes in. Not only can you give your subjects perfect- looking skin, you can take it a step further and alter the lighting conditions, enhance colours, remove reflections or even add vampire-esque features to your portraits! Page 20 20 Paint with light Page 26 Page 30 Add contrast, colour and light to transform an image 30 mAdadgiscotmo epoTrwtrilaigithst 44 Feature: Transform Vamp-up your images using Photoshop 24 Fix your hazy your photos 34 Enhance skies landscape photos Bring skies to life with layers and masks Recreate ten traditional photo effects Bring images into focus using these 36 Fix exposure 52 Lighting Effects handy tips Solve common exposure issues Improve your portraits using this essential filter 26 Enhance contrast with 40 Boost colour using Color 56 Create the perfect B&W duotones Balance Produce the ultimate monochrome illustrations Add some punch to those Maximise your photos’ impact lacklustre images 60 Removing reflections 43 Five minute fix: Blur Banish those nasty reflections from 29 Five minute fix: Improve your images background for emphasis macro shots Ensure your objects stand out Solve those common glitches 18 PHOTOSHOP CREATIVE COLLECTION

Page 70 Page 40 Page 64 Page 94 63 Five minute fix: Increase 79 Five-minute fix: Improve 97 Five-minute fix: Create History states damaged photos selections with Channels Enhance worn and aged images Select areas in no time at all Avoid losing your work by tweaking settings 80 Feature: Six techniques for 98 Removing shine from your perfect pics photographs 64 Create a vintage effect Transform your images into works of art Smooth over even the shiniest of faces! Age your photos in an instant 88 Digital make-up 102 Secrets of retouching 68 Sharpening your images Apply finishing touches to your portraits Banish those blemishes with these with the High Pass filter 90 106Improving skin tone simple features Three quick tips to achieving perfect skin Tidy up those blurred images Removing wrinkles Roll back the years with some top tips 70 Improve night-time images 94 Whiten teeth and eyes Bring your night shots to life! Enhance these facial features with a 74 Creative light effects few techniques Tips to create astonishing pictures PHOTOSHOP CREATIVE COLLECTION 19

tutorial Paint with light Final image Before image Daytime effect 20 PHOTOSHOP CREATIVE COLLECTION

Paintwithlight essentials Transform a plain image with this simple method of adding contrast, colour and light SKILL LEVEL ainting with light can be done in the right areas is a tricky thing to get right. in this tutorial was made to look as though with a camera, a steady hand, Photoshop is a real time-saver. it’s behind the window with the help of a Beginner a long exposure and a torch. layer mask and the Pen tool to make the initial Intermediate However, this is a bit of a long The strips of light in this tutorial are created selection. This particular element brings the Expert process, so why not turn to Photoshop using the Brush tool on layers with di erent composition together, rather than leaving it instead? Using your software is a great blend modes. The highlights are treated with just the foliage outside. TIME TAKEN alternative , and it requires little more separately from the shadows, and unlike than the Brush tool. using a torch in real life, in Photoshop you can Using adjustment layers, you can give 1.5 hours control both aspects of light and shade. the whole image an overtone of light blue, The technique gives the impression that to re ect the tone of light coming from YOUR EXPERT Understanding the nature of light and how the moon. The teddy bears are taken to an a torch was used to light the subject in front shadows react is important when making entirely di erent time of day, overlooking the Simon Skellon any composition work, so check out the tips calm sea at night. of you, taken with a long exposure to capture over the page to nd out more. The night sky ON THE DISC the torch’s path. But waving a touch around Teddy Bears.jpg Night sky.jpg BUILDINGUPTHELAYERSPALETTE KEY SKILLS Blend modes can create mask-like layers COVERED What you’ll learn BLEND MODES BRUSH TOOL PEN TOOL LAYER MASKS ADJUSTMENT LAYERS Tip 01 The setup Open ‘Teddy bears.jpg’ on your disc. As we’re not 02 Black and white fills Name the top layer ‘Shadows’. With this Theright making any adjustments to the image itself, we don’t need to layer selected, go to Edit>Fill and choose white for Contents. image duplicate. Add two blank layers in the Layers palette above the original Set layer Opacity at 100% and hit OK. Select the other blank layer and by clicking twice on the Create a New Layer button. name it ‘Highlights’. Hit Edit>Fill, and use black for Contents. Hit OK. Chooseyourimage wiselyforpainting 03 Goodbye 04 Prepare withlight.Itworks layers the Brush bestonanimagethat The Highlights and tool Select the Brush hasflatcoloursand Shadows will act tool, which will be islowincontrast, like a layer mask. On used for painting andalsohasno the Shadows layer the light onto the bleachedwhiteor change its blend teddy bears. Go to darkblackareas. mode to Color Burn. the Options bar at Thisway,thedetail On the Highlights the top of Photoshop that’salreadythere layer alter its mode to and set its Opacity to isenhancedandyou Color Dodge. 10% for a light touch. getbetterresults. Choose a Brush size Ifyouneedto,dull of 200px, and reduce downtheoriginal the Hardness to 0% imagebefore for a soft edge. paintingwithlight. PHOTOSHOP 6 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 21

tutorial Paint with light theBehaviouroflight ControltheeffeCtsoflight Placing the light in an image is tricky. Note where the light source is, TheBrushtoolisperfectforpainting beams of light and where highlights and shadows will fall. Shadows have two parts, a dark inner area and faint outer shading – not always noticeable. 05 Paintinglight Select the Highlights 06 Beamsoflight Make sure the wall the light layer and set the Brush tool’s between the bears and the window sources Think foreground colour to white. Gently apply the has highlights to show the light streaming not only about Brush tool to the leaves outside, making them in. Flick the Brush tool to and from the two. If the obvious light glow. Dab light onto the bears’ heads, legs and areas appear to be bleached out, make the sources in your arms, making them look high-contrast and foreground colour black to add detail back in. image, but also vibrant with glowing light. about a light source that may 07 Painttheshadows Select the 08 tidyup Look for bleached or overly be hidden out of Shadows layer and set the Brush tool dark areas. Switch the foreground the frame. with a foreground colour of black. Change the from white to black for the Highlights layer and Brush’s Opacity setting to 5% in the Options vice versa for the Shadow layer. Touch up areas soft shadows bar. Paint over the existing shadows around the to bring back the detail. Use soft, blurred edges of the bears, and darken the parts of the areas for curved window frame that are facing into the room. surfaces, and harsh and 09 Window strongly outlined Select the shadows for image’s layer. Choose areas such as the Pen tool and the ground. zoom in to 300%. highlighting Make a selection For highlights, (a path) on one of accentuate the four panels in subject edges the window. When with a glow by complete, hit Ctrl/ increasing the right-click inside the intensity of brush selection and choose strokes. Take into Make Selection. Add account objects no Feather Radius. blocking light. Repeat for all four surfaces Think sections, but pick about which Add To Selection in surfaces would be the dialog. more affected by the light source, and make this distinction with a darker shadow on edges further away from it. long shadows Don’t be afraid to paint on long shadows that stretch across the ground. This shows the light source is low to the ground. 22 PHOTOSHOP CREATIVE COLLECTION

TEDDYBEARSATMIDNIGHT Usea layermasktoaddanotherelementtothecomposition 10 New 11 The night sky Open ‘Night Sky.jpg’ (don’t worry about the channel colours of the sky and moon). Drag the image onto the canvas When all the of the teddy bears, and move its layer to the top of the layer stack. Hit four panels have Ctrl/Cmd+T to shrink the night sky to t neatly over the window frame. ‘marching ants’ around them, go to Select>Save Selection, name the new channel ‘Window Panels’ and hit OK. The selection saves into the Channels palette so it can be called up at any time. Hit Ctrl/ Cmd+D to remove the marching ants. Layerstructure How we layered up the light Gradient map 12 Layermasking Open up the 13 Positionthesky Unlink the Night Photo filter Channels palette. While holding Sky layer from its layer mask by Night sky Ctrl/Cmd, click on the thumbnail of the clicking the chain link between them. Click on Window Panels channel. The selection will the image thumbnail to freely move the night become active. Go back into the Layers palette sky to a good position. Hit Ctrl/Cmd+T if you and on the Night Sky layer hit the Add Layer need to make it smaller or bigger. Mask button. Shadows Highlights 15 GradientMap Add the Gradient Background Map adjustment layer. Inside the 14 Coolerlight To match the colour of Gradient Editor menu, select a light blue-to- moonlight, add the adjustment layer white gradient. Hit OK and change the blend Photo lter (from the bottom of the Layers mode of the layer to Color Burn. Lower the palette). Use the Cooling lter (82), because it’s Gradient Map’s layer Opacity to 50%, and your a light blue colour, and set its Density to 30%. composition is complete. PHOTOSHOP CREATIVE COLLECTION 23

tutorial Fix your hazy landscape photos KEY SKILLS COVERED What you’ll learn QUICK SELECTION TOOL FEATHER SELECTION BLENDING MODES GRADIENTS Bpehfootroe essentials lFainxdysocuarpheapzhyotos With the help of a few Photoshop tools we can rescue detail from the haze SKvILL LEVEL Beginner igital cameras can produce some wonderful results. An obvious Photoshop trick would be to use Unsharp Mask, but Intermediate However, if the shooting conditions are tricky, this has the e ect of creating a halo between the original photo Expert you can su er from washed-out hazy landscape and the xed background. Of course, this can be remedied using photographs, where the foreground is sharp but cloning and healing tools, but this would change the original TIME TAKEN the background looks dull. photo quite a lot and add or remove elements we may not want. 30 minutes This can be due to any number of reasons; for example, the air So in this tutorial we’ll examine how to reduce photo haze by isolating the background using the Quick Selection tool to reduce YOUR EXPERT may be very humid or full of pollutants like exhaust fumes or dust. the halo e ect, and also utilise the Multiply blending mode to make the colours darker. Multiply removes all the white elements Simon Rudd It might be possible to combat this by attaching equipment such from the layer and makes everything considerably darker. ON THE DISC as an ultraviolet lter to reduce haze and improve contrast. This Start file minimises the amount of UV light that reaches the sensor. WORKS WITH | PHOTOSHOP CS3 AND ABOVE 24 PHOTOSHOP CREATIVE COLLECTION

CLEAR AWAY THE HAZE Tip Rescue the image using selections, blending modes and gradients 01 Let’sbegin We start our x by 02 Quickselections We want to isolate 03 Smallbrushvbigbrush Reduce Warm up opening the image in Photoshop the sky and distant hills from the Brush Size to around 45px and begin with filters – you will nd it on the CD. As you can see, the background. There are many di erent ways of to select the distant hills. Don’t worry if the sea foreground of the image is pretty sharp and doing this, but the Quick Selection tool is by far gets selected as well, because we’ll sort that This project will fix clear, but the background is blurred and the the easiest. Choose the Quick Selection tool out soon. Once the hills are selected, move the hazy/soft feel of sky is very washed-out. from the toolbox – it may be hidden behind the your attention to the sky – increase Brush Size the sky and distant Magic Wand tool. Now hit the Add To Selection to around 90px and select the sky. hills, but throughout option in the Options bar. the project the foreground has been untouched. The foreground colours are quite cold and could do with some subtle tweaking. With PS this is pretty easy; we can use a Photo Filter adjustment Layer. Go to Layer> New Adjustment Layer>Photo Filter and select Warm Filter (85) with Density set to 15, and drag this layer under the Sky layer. Tip 04 Subtract From Selection If you have selected the sea 05 Blending mode Rename the new layer ‘Sky’, then duplicate sRoemmeonveoise along with the sky and hill, simply switch to the Subtract that layer and rename it ‘Multiply’. Set the blending mode From Selection option in the Quick Selection tool, and brush out of the Multiply layer to Multiply in the Layers palette. The sky will We increased the sea until just the sky and hills are selected. Next, choose Select> immediately darken and become less washed-out. Next, make a new the contrast of Modify>Feather>50 pixels. Finally, copy the selection to a new layer by layer above the Multiply layer and name it ‘Gradient’. a washed-out pressing Ctrl/Cmd+J. background using blending modes. 06 Looking to the sky We’re going to use our Sky layer to make 07 Soft Light gradient While on the Gradient layer, select the The downside a selection. Hold Ctrl/Cmd on your keyboard and left-click the Gradient tool from the toolbar and pick the Foreground To was an increase Sky layer. This puts a selection around the area we want to work on. Now Transparent gradient. Drag out a gradient from the top of the selection in noise. We can press ‘D’ on your keyboard to return the swatch colours to the default. to the bottom, then set the blending mode of this layer to Soft Light. combat this by using a Surface Blur. First move to the top of the layer stack and press Ctrl/ Cmd+Alt+Shift+E on the keyboard to create a merged copy. Run the Surface Blur filter with a Radius of 9 and Threshold of 7. Reduce Opacity to 50%. PHOTOSHOP CREATIVE COLLECTION 25

tutorial Enhance contrast with duotones Start image KEY SKILLS COVERED What you’ll learn DUOTONES BLEND MODES LAYER MASKS CHANNEL MIXER LEVELS ADJUSTMENT essentials Ewnithhadnucoetocnoenstrast Add punch to lacklustre images using layered duotones, blend modes and layer masks SKILL LEVEL e get a strange buzz when a feature of Photoshop and choose the desired inks. Turn the page for some interesting Beginner can be used for something that it wasn’t necessarily e ects that can be made using di erent inks and blend modes. Intermediate intended for. Take the Duotones function as the Expert perfect example. For our main image we’ve used two duotones to enhance This is an image mode that uses a number of ‘inks’ to transform di erent areas of the image, each time changing the colour of the TIME TAKEN your image. The two, three or four colours replace the existing inks and nishing with a blend mode. You can mix up the colours of colours in your image to create a particular e ect, such as sepia. the inks for some interesting results and tonal variations too. 1 hour But duotones can also be used to enhance an image, using blend modes and layer masks. The technique involves creating a This is a useful technique to keep whenever you see an image YOUR EXPERT duplicate of your image in a separate window, and converting it to that is underexposed or faint due to being scanned. Sometimes it black and white. This allows you to then jump into Duotone mode can be hard to restore the original de nition and colour of an image Simon Skellon if it’s been scanned in, but using a duotone o ers an alternative to Photoshop’s range of Image Adjustments options. ON THE DISC Desert landscape.jpg WORKS WITH | PHOTOSHOP 6 AND ABOVE 26 PHOTOSHOP CREATIVE COLLECTION

SEPARATINGTHEBLUESFROMTHEGREENS Tip Combine duotones and blend modes to boost contrast in the foreground 01 Duplicate the image Open the starting image ‘desert 02 Increase foreground contrast The image should open Boosting landscape.jpg’ from your disc. To experiment with a duotone, in another window. Go to Image>Adjustments>Levels, and colours go to Layer>Duplicate Layer. In the pop-up dialog box, set Document to ignoring the sky, slide the far left and middle points of the histogram New, and name it ‘Green Grass’. Hit OK. slightly to the right to boost contrast in the foreground. If you get increased contrast and detail but it lacks punch in colours, add a Hue/Saturation adjustment layer (foot of Layers palette). Increase Saturation to +30 to boost colour in the entire image. The adjustment layer can be re-edited and is non-destructive. 03 Converttomonochrome Go back 04 Applyduotone Change the 05 Duotone over original Using the Move tool (V), drag the to Image>Adjustments and select image’s mode to Grayscale duotone image between windows onto the original image, Channel Mixer. Tick the Monochrome box at (Image>Mode>Grayscale). The Duotone holding Shift as you drag and drop to place the duotone directly over the base of the window to turn your image option is now available, found under the top. The layer will be placed at the top of the Layers palette. black and white. Increase Green to 50% and Image>Mode>Duotone. In the Duotone Blue to 25%. dialog box, set Ink 1 to a dark brown tone and 07 Convertto Ink 2 to a strong green. Hit OK. B&W With the Blue Sky image 06 Apply open, go to Image> blend Adjustments>Levels mode Change the and push the left blend mode of the and mid sliders to Duotone layer to the right to make the Overlay from inside sky more dramatic. the Layers palette. Hit OK and select Reduce the layer’s the Channel Mixer Opacity setting adjustment. Tick to 80% to soften Monochrome, the e ect. Select reduce the Blue slider the background to -10% and increase layer and go to the Red slider to 70%. Layer>Duplicate Layer. Select Document: New, and name it ‘Blue Sky’. PHOTOSHOP CREATIVE COLLECTION 27

tutorial Enhance contrast with duotones OTHEREFFECTS ADDDEPTHTOTHECOMPOSITION Duotones can be used to create a variety of Uselayermaskstoseparatetheforegroundand background image e ects. Here are three examples to get your creative juices owing… Vintage 08 Duotonethesky Go to Image> 09 Blend sky into image The Blue Sky layer should be at the top Create a vintage look by desaturating Mode>Grayscale, then Image> of the stack. Click the eye next to the Green Grass layer to hide it. (Image>Adjustments>Desaturate) a copy Mode>Duotone. For the sky area, keep the same Change the Blue Sky layer’s blend mode to Hard Light at 70% Opacity. of your image in a separate window. In Ink 1 as before (dark brown) and set Ink 2 to an Mode>Grayscale apply the Duotone mode electric blue. Hit OK and, holding Shift, drag and using a dark brown ink and bright orange drop this image onto the original composition. ink (Pantone 165 C). Drag the copy with the duotone e ect onto the original. Screen blend mode will instantly date the image. Layerstructure Creating our duotone image Sepia 10 Maskoffthesky Use the Quick Hue/Saturation adjustment For sepia, make a copy of the image (Layer> Selection tool to select the sky. Zoom Blue Sky duotone Duplicate Layer, set Document: New). Go in close, using Alt, to accurately add or remove Image>Adjustments>Levels and lighten areas of the selection. When this is complete, slightly. Desaturate and go Image>Mode> click the Add Layer Mask button inside the Grayscale. Hit Duotone; apply a light brown Layers palette. ink with a mute brown (Pantone 875 C). Hit OK; drag onto the original. Apply the Color blend mode for sepia highlights/shadows. Green Grass duotone High contrast 11 Separateskyandgrass Ctrl/Cmd- Starting Image When working with an image in black and click on the layer mask’s thumbnail white, go to Image>Adjustments>Levels to make the selection active. Click on the eye and boost contrast by moving the far of the Green Grass layer and go to Select> right pointer to the centre of the Level’s Inverse. With this layer selected, click the Add histogram. In the Duotone dialog apply a Layer Mask button to complete the e ect. black ink and light cyan (ANPA 737-6 AdPro). Hit OK; drag to a copy of the original image. Apply Overlay blending for high contrast. 28 PHOTOSHOP CREATIVE COLLECTION

Improvemacroshots5-minute fix Improvemacroshots The closer you get to a subject, the more scope there is for aws to be seen. Here’s how to x common glitches essentials lowers make Before SKILL LEVEL fantastic subjects Beginner for a photograph, Intermediate Expert with their TIME TAKEN combination of colours and Five minutes attractive curved contours. YOUR EXPERT A good way of shooting Jo Cole owers is to set your camera to KEY SKILLS Portrait mode. This opens the COVERED iris to maximum to create an After What you’ll learn SHARPEN FILTERS image with a shallow depth of BLUR TOOL CURVES eld. However, shooting with a shallow depth of eld is tricky, as only a small part of the shot will be in focus. In this example the main ower is slightly soft making it lack clarity. The image is also slightly under-exposed resulting in drab washed-out colours. It’s easily xed, though! Quick tip: Apply this technique to any macro shot – it is especially good for portraits IMPROVETHEMACRO It’s allabouttinytweaks 01 Sharpenup Make a quick selection 02 Blurthebuds The unopened buds 03 Clever around the ower and then go to in the foreground are in sharp focus, Curves Filter>Sharpen>Smart Sharpen (non CS2 users and draw the eye away from the main ower To brighten up the could use Unsharp Mask just as e ectively). We and unbalance the picture. We selected the under-exposed chose a Sharpen Amount of 91% and set the Blur Tool [R] and set the tool’s Strength option shot we went to Radius to 2. 3 pixels. We told the lter to remove to 100%. A few strokes with this tool added a Image>Adjustments> Lens Blur. soft focus e ect to the buds. Curves. We clicked on the bottom left of the grid where the Input and Output values were both 64. Increasing the Output value to 84 brightened up the shot. Image> Adjustments>Auto Contrast does a similar job. ALL VERSIONS | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 29

tutorial Add some Twilight magic to portraits 30 PHOTOSHOP CREATIVE COLLECTION

mAdadgiscotmo peoTrwtrilaigithst Transform your photos into images of vampiric wonder simply with Photoshop essentials ampires are at an all-time high in popular culture, turning yourself into a creature of the night then get your photograph SKILL LEVEL especially with us here in the o ce. They feature in at the ready. blockbuster lms, racy television programmes and Beginner best-selling books, so why not add a bit of vampire awe Creating a Photoshop vampire involves many di erent techniques, Intermediate to your own images? which is great for evolving our knowledge. In this tutorial we’ll cover Expert Vampire legends have been in circulation for thousands of years. how to Warp Transform teeth into sparkly fangs, and how to use the In the past they were usually stories lled with horror and gore, but Dodge/Burn tools to increase contrast and lighten up areas. Colour TIME TAKEN the modern day portrayal of a vampire is young and gorgeous. Our tweaks are tackled with Levels adjustment layers, and the Hue/ starting photo, which is on this month’s free disc, ts the bill perfectly Saturation tool transforms boring eyes into ones lled with bloodlust. 1.5 hours – a fantastic representation of a modern vampire of legends to come. We also show you how to use Texture brushes and the Smudge tool The techniques we’ll show you in this tutorial will work on any image to add great under-eye shadows. Bringing all these elements together YOUR EXPERT with a certain amount of teeth visible, so if you have ever fancied creates great results, as shown in our nal image. Dani Dixon So with your chosen image ready to go, let’s start our tutorial. ON THE DISC iStock_ 000007525477 XLarge TRANSFORM TEETH INTO FANGS KEY SKILLS COVERED Let’s beginbytransformingthosepearlywhitesintoskin-piercingfangs What you’ll learn 01 Sparklywhite Hit the Dodge tool 02 Beginthetransformation Cmd/ 03 Thefangsarecreated The Warp in the sidebar. In the top Options bar Ctrl-click the saved path thumbnail Transform tool allows you to distort WARP set it to Midtones, 50% Exposure. Paint over to make it an active selection. Go to the Layers layer content. Simply pull down points from TRANSFORM TOOL the teeth to brighten them. Select the Pen tool palette and click on the model layer, then its grid to shape the tooth, and hit Enter when LEVELS and set it to Paths in the top bar. Draw around press Cmd/Ctrl+J to bring the active selection happy. Don’t worry if the top of the tooth ADJUSTMENT your rst fang, then go to the Paths palette onto its own layer. With this layer selected, go doesn’t meet with the original – the Stamp LAYER and click the top right arrow, Save Path. to Edit>Transform>Warp. tool can x this. DODGE/BURN TOOLS MAGNETIC LASSO TOOL HUE/SATURATION TOOL BLUR TOOL SMUDGE TOOL TEXTURE BRUSH SETTINGS MERGE LAYER COMMANDS PHOTOSHOP CS2 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 31

tutorial Add some Twilight magic to portraits CONTINUINGTHEVAMPIRETRANSFORMATION Finish off the fangs and the rest will follow sharply… 04 Finishoffthefangs Select the 05 Colourtweaksbegin Go back over 06 Make more undead To increase depth, move the middle Stamp tool, Alt-click on an area of the the teeth with the Dodge tool to slider slightly to the right. There is too much yellow in this warped tooth similar in colour to where you lighten them all evenly. Use the Burn tool at image, so from the drop-down menu at the top of this Options palette wish to ll, then simply paint in the gap. Repeat 20% Exposure to darken the mouth shadows. select Yellow. Move the right slider inwards a bit. Repeat this process this process for the other fang, and when both At the base of the Layers palette there is an with the Magenta option. are completed Shift-click on both layers in Adjustment Layer button; from the list select the Layers palette, highlighting them, and hit Levels. To increase whites in the image, move Cmd/Ctrl+E to merge. the right slider in towards the centre. Setting up your Texture brush Create a perfect brush for those deadly under-eye shadows Brush palette Go to the Texture option and Brush settings We added Brush click on the thumbnail. At the top right black settings to a basic soft brush – set to arrow, pick the bottom Texture Fill option. In Multiply and 40% Opacity in the top this list select Leather. Boost Scale to 200%, set toolbar. This means the texture won’t to Multiply mode with a Depth of 90%. be too harsh when painted on skin. 07 Separatetheirises Select the Other Dynamics Magnetic Lasso tool and draw Set both these around the left iris; hit Cmd/Ctrl+J to lift this options to 50% so the selection onto its own layer. Repeat for the brushe ectdoesn’t right iris, and when both are done Shift-click become too harsh. both layers and merge (Cmd/Ctrl+E). Go to Image>Adjustments>Hue/Saturation. 08 Changingcolours Check the Brush Tip Shape Colour Dynamics To allow two Colorize box and boost the Go to this option colours to ow simultaneously, set Saturation value. Move the top slider until and rotate the the Foreground/Background option you’re happy with the colour and hit OK. Zoom Angle option to 50%. Increase Brightness to around in and select the Burn tool set to Shadows in slightly so the 20%. In the side toolbar pick a skin tone the top bar and darken the eyes. Choose the brush isn’t too and a light blue for convincing bruises. Blur tool, a small soft brush and paint over the static when iris edges to soften. you paint. 32 PHOTOSHOP CREATIVE COLLECTION

FINISHINGOFFTHEEFFECT Tip Add all the final elements for a true vampire transformation 09 Merging 10 Bringouttheeyeshading Paint Research to build over and around the eyes to bring out up Drag your model natural shadows. Add a new layer above, and There’s so much layer over the Create with the Brush tool, 100px Size, set to Multiply, information on New Layer icon at the 80% Opacity, paint on a pupil over each eye. If the internet and in base of the Layers the brush is too big use the Eraser tool to tidy books, so before palette to duplicate, the edges. Merge with the model layer. you begin take a bit so you have a backup. of time to see what Switch the eye icon effects you would o so it’s invisible. like to create. We Now Shift-click the haven’t added any duplicated model blood or gore to and iris layers and this image, but it merge them. Select can be easily done. the Burn tool, still set Download some to Shadows, 20% free blood brushes Exposure, and a large or try creating your soft brush. own textured ones. Layerstructure Creating the undead! 11 Addbruisedshadows Now we 12 Addmoredramaticeffects When Adjust levels to finish are adding the under-eye shadows. enough colour has been built up Merge for extra depth The annotation on the left shows you how to under the eye, add some above the eye with a Shade eyes and mouth set up your Texture brush accurately, so once smaller brush. Select the Smudge tool at 50% this is set up, create a new layer and set its Opacity and drag areas of the new texture blend mode at the top of the Layers palette to layer downwards to create a veiny e ect. Multiply. Paint under the eye until you’re happy with the amount of colour present. Colour the eyes red Create the fangs 13 Keepaddingmore Keep adding 14 Finishingtouches When you’re Original image more bruised e ects where desired. happy with your e ects, merge all Create a new layer, and at the mouth edges layers except the Levels adjustment. Select the paint some more texture, using the Smudge Burn tool set to Midtones and 20% Exposure, tool in the same way for a great e ect. and paint over the shadow areas to really boost all colours and add more depth – don’t forget we’re creating the undead here! PHOTOSHOP CREATIVE COLLECTION 33

tutorial Enhance skies Benefhoarnecement essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 20 minutes YOUR EXPERT George Cairns ON THE DISC Enhanceskies SkyBefore.tif VIDEO TUTORIAL SkyEnhance. mov KEY SKILLS Coax out an overexposed sky’s existing colours and textures using adjustment layers and masks COVERED he skies have it! Artists such as Turner and Constable To give the Gothic gargoyle a more striking sky to stare at, we’ll What you’ll learn evoked mood in their paintings through interesting use adjustment layers to claw back texture and detail, and also add skies. Skies add colour and texture to a large part a warmer, romantic hue to the sky. We’ll show you how to use masks MAKE SELECTIONS of the image. In these digital days we can capture to protect the correctly exposed parts of the image from being MODIFY photogenic scenes on camera with ease, but it can be a adjusted, and use the Gradient tool to blend the sky with the delicate SELECTIONS challenge to retain the colour and texture of a scene’s sky. tree line. ADJUST LEVELS MASK Take our start image. To capture detail in the dark foreground bridge, We’ll nish o by using Brush tools to modify the adjustment layer’s ADJUSTMENTS masks to blend the gargoyle with the enhanced sky, and remove USE PHOTO FILTER we had to open up the aperture. This caused the brighter sky to be any telltale fringes clinging to the statue’s outline. You can use the USE CURVES techniques in this tutorial to enhance any overexposed sky. overexposed, resulting in a washed-out detail-free area. The clouds are almost totally erased, so a large part of the shot looks quite bland. WORKS WITH | PHOTOSHOP CS AND ABOVE 34 PHOTOSHOP CREATIVE COLLECTION

IMPROVEOVEREXPOSEDSKIES Tip Restore texture and colour using selection techniques and tone adjustments 01 Select Open ‘SkyBefore.tif’. Grab the 02 Modify Press ‘Q’ to jump to Quick 03 Adjustlevels In the Layers palette Non- Magic Wand and set Tolerance to 30 Mask mode. Unselected areas will click Create New Adjustment layer destructive in the Options bar. Untick Contiguous to help appear as patches of red. To add bits of building and choose Levels in the list. A black and white editing the tool select bits of sky hidden in the trees. to the selection, grab the Brush tool. Choose a mask will appear by the Levels adjustment Click the sky to select it. ‘Marching ants’ should soft round brush and set the foreground colour layer, making adjustments target the sky and In step 5 we apply a appear around the edge of the gargoyle, to black. Spray over the unselected patches to ignore the ground. Drag the black Shadow white brush tip to the rooftops and tree line. However, lighter parts turn them red. Press ‘Q’ again, and the buildings Input Level slider to 125, the grey Midtone layer mask to darken of the buildings will also be selected. will now be removed from the selection. slider to 0.80. This dramatically darkens the sky. the jagged fringe around the edge of the gargoyle. White strokes on the mask allow the Levels adjustment layer to darken the photo. Black strokes will protect corresponding parts of the photo from being adjusted. Press ‘X’ to switch between white and black brush tips, enabling you to show/hide the effect of the Levels adjustment layer. Tip 04 Gradient blend The darkened sky doesn’t blend too well 05 Blend the gargoyle Use the Zoom tool to take a closer look Mseoledciftyions with the trees. To x this, grab the Gradient tool, click on at the soft focus gargoyle. There’s a jagged fringe around the Gradient Picker in the Options bar and choose Foreground To his outline. Grab a soft round brush and set the foreground colour to After selecting Transparent. Click OK. Select the Linear Gradient option and click on white. Click on the Levels adjustment layer’s mask to target it. Now spray the sky with the the adjustment layer’s mask. Draw a vertical line upwards. This gradient around the edge of the gargoyle to make the jagged fringe vanish. Magic Wand you makes the sky gradually darken towards the top of the frame. can soften the 07 Warm it up To give the enhanced sky a warmer, more selection. This will 06 Enhance romantic hue, add a Photo Filter adjustment layer. Choose help reduce jagged the clouds Warming Filter (85). Pop the Density slider up to 46% to add a rosy tint fringes around the Now add a Curves to the sky. Alt-click on the Photo Filter’s white mask and Edit>Paste the edge of objects (like adjustment layer. black and white gradient mask into it. The greyscale mask will preserve the gargoyle) when Alt-click the Levels the colours of the foreground landscape while enhancing the sky. you start to make adjustment layer’s adjustments to mask to see it. Go Levels and Curves. to Select>All, Edit> To soften a Magic Copy. Alt-click the Wand selection Curves adjustment after you’ve made layer’s white mask. it, click the Refine Hit Edit>Paste. In the Edge button in the Curves drop-down Options bar and menu pick Increase type in a Feather Contrast. This helps value around the clouds stand out. 2px. Alternatively, The greyscale mask choose Select> protects the correctly Modify> Feather. exposed foreground. PHOTOSHOP CREATIVE COLLECTION 35

tutorial Fix exposure After Before image essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 20 minutes YOUR EXPERT Giles Angel VIDEO TUTORIAL rescue_ highlights_ shadows.mp4 alter_skin_ tones.mp4 (separate vid) 36 PHOTOSHOP CREATIVE COLLECTION

Fixexposure KEY SKILLS Make light work of common exposure issues with this set of handy techniques COVERED ack of detail in images is look too bright. It’s common to lose some features for improving detail in the highlights What you’ll learn often an issue when trying to detail in the highlights. When shooting a and the shadow areas. We’ll work with two photograph tricky subjects. landscape, this can also present problems image formats, a Raw le and a JPEG le to CAMERA RAW For example, snow scenes with light metering. The camera may take improve detail. The Clipping Warning option ADJUSTMENTS can often come out underexposed as the an average meter reading which may be will be used to identify problem areas. THE EYEDROPPER camera assumes the light is too bright ideal for the ground but look overexposed TOOL and stops down the aperture, therefore in the sky. Further examples will be used directly SHADOW making the image look too dark. inside Photoshop using Shadows/Highlights HIGHLIGHTS We’ll be using Photoshop to tackle these adjustments. We’ll use Smart Objects to make ADJUSTMENTS This often results in muddy snow and common issues head-on. We will start with this tool adjustable. If an area is too bright or CONVERTING working in the Adobe Camera Raw dialog too dark, the Patch tool can be used to clone A LAYER TO A at highlights. If you’re shooting on a box, which is a plug-in that comes with in detail from other areas. We’ll apply this SMART OBJECT Photoshop. The plug-in has a number of technique to burnt-out clouds in a landscape. USING THE manual setting, you can just as easily PATCH TOOL overexpose snow and make the image USINGADOBEBRIDGETOOPENINCAMERARAW Camera Raw adjustments 02 TheCameraRawbox Photoshop and the Camera Raw dialog box should have opened up with the picture on the left. This box will vary in appearance depending on what version of Photoshop you are running, and some of the sliders might be di erent. For this tutorial we’re working in CS4 and Camera Raw. 01 StartingwithBridge Open Adobe 03 Using clipping warnings Clipping warnings tell us if there Bridge. This program ships with are any areas in the image that are too bright or too dark. Photoshop and can be found in Program Files With the image open in Raw, press ‘O’ on the keyboard or click on the (PC) or Applications (Mac). Locate your Raw white upward pointing arrow in the top left of the histogram image to image. Click on the le and press Ctrl/Cmd+R show highlight clipping warnings. It shows overexposed clipping to open it in Camera Raw. areas marked in red. CS3 OR HIGHER | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 37

tutorial Fix exposure shadow/hIghlIghtchanges ImproveoverexposedhIghlIghts The Shadows/Highlights adjustment tool is tucked away in Image> Bring back detail and contrast Adjustments and has simple and advanced settings. It’s similar to tools such as Fill Light and Recovery in the Camera Raw dialog box. 04 darkeningexposure Click and 05 shadowclipping Open up an open settings drag the Exposure slider to the left underexposed image in Bridge. Duplicate your to reduce the exposure until the red areas Notice that you can also open JPEGs in Camera layer (Layer> disappear. The setting should be about -0.85, Raw (CS3 or higher) – this is also true for TIFFs. Duplicate depending on your image. Also experiment This time, press ‘U’ on the keyboard to show Layer) then with the other sliders such as the Recovery shadow clipping marked in blue where one or go to Image> slider, which brings back some of the glare in all of the RGB values are at 0 (black). Adjustments> brighter areas. Increase blacks and clarity to Shadows/ add contrast and definition. Highlights to view the options. 06 Brighteningexposure Move the 07 Fixthebrightsky We all have Exposure and the Fill Light sliders landscape photos where the sky has lift shadows towards the right. Adjust the exposure to large areas of bleached highlights. Open your Next, move the affect the entire image and the fill light to image in Photoshop, select the Eyedropper Shadow sliders lighten shadow areas. If using CS4, you can also tool (I) and go to Window>Info to display to the right in experiment with the Graduated filter in the the Information palette. Roll the cursor over order to lift the top menu; this will allow a smooth graduated the bright sky areas. Ours has an RGB value shadows and adjustment on a section of the image. of 255,255,255. This is pure white, and means bring out detail in there is no other colour information left. darker areas. don’t overdo it 08 patch Don’t move the the white sliders too far areas Adjusting or the shadows this area would will look too simply create a solid flat. Experiment off-white colour with different rather than bring Amount, Tonal back cloud detail. Width and A workaround is to Radius values. clone a detailed area over the top. Use the pull back the Patch tool (J) and highlights draw a selection The Highlights around the white sliders will help area. Click inside the to pull back selection and drag it some of the over a detailed area over-bright areas to clone. in your image. color/midtone adjustments Color Correction will enhance colour saturation, and the Midtone Contrast will help bring back detail in any flat midtone areas. 38 PHOTOSHOP CREATIVE COLLECTION

WORKINGWITHADJUSTABLESHADOWSANDHIGHLIGHTS Tip Using Smart Objects 10 Apply Shadows/Highlights Once you’ve converted the layer to a Smart Object, you should notice an icon appear over the thumbnail in the Layers palette. Go to Image>Adjustments>Shadows/ Highlights and make the adjustments to the Shadows, Highlights and Adjustments settings as shown in the picture and click OK. 09 Converting to a Smart Object Currently there is no Shootingin adjustment layer for the Shadows and Highlights command, Rawformat so how do you make further changes after applying this tool? The answer lies in Smart Objects. Open up your photo and then go to If your camera Layer>Smart Objects>Convert To Smart Object. allows it, try setting the camera to the 12 Re-adjust Raw format in Shadows/ the menu option. Highlights Try This allows more double-clicking flexibility for on the Shadows/ adjusting exposure. Highlights label in Changes are made the Layers palette, to an unprocessed and the dialog box file using Adobe should open up and Camera Raw or allow you to make similar without further changes to the file having the original. This is a gone through in useful workaround camera processing and saves you having or compression to duplicate the when using a JPEG layer rst. format. It is more work, but it does give more control and will enable you to work at the best possible quality. 11 TheSmartlayerresult If you look 14 Using 15 Using at the Layers palette you’ll notice Curves to Curves to two extra layers indented beneath the image lift shadows Open darken highlights layer. There’s a Smart lter mask layer and the an image, click the Repeat step 14, but Shadows/Highlights adjustment layer below. black and white circle add a point near the icon at the bottom top of the histogram 13 Selectiveadjustment We can also of the Layers palette line and another in select the mask and paint in black on and hit Curves in the the middle. Drag any areas to conceal the change we made. Try Adjustment Layer the top one down. clicking the white box in the Layers palette, options. Click to This should darken then with a black brush paint around the edges add a point on the highlights in the sky of the image to bring parts of the original. histogram line near and bring in cloud the bottom and drag detail. Drag a point upwards. Now click from the bottom left OK. This will lighten (shadows) and drag the shadows. right to add contrast. PHOTOSHOP CREATIVE COLLECTION 39

tutorial Boost colour using Color Balance Start image essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 30 minutes YOUR EXPERT Charles Goddard uBsoionsgtCcoollooruBr alance Learn to adjust colour in your photos to maximise their impact using this tool KEY SKILLS COVERED he Color Balance tool is one of the myriad ways of without resorting to lters. You’ll also learn how to apply e ects using adjusting colour and light levels in Photoshop, and adjustment layers. Don’t be deterred by technical jargon – using this What you’ll learn can be used to good e ect for boosting the impact tool is a relatively intuitive process because the results are immediately of images and recovering lost colour and light in visible and it’s often simply a case of choosing what looks right. COLOR BALANCE poorly lit photos. ADJUSTMENT It’s easy to get carried away when experimenting with colour in LAYERS In this tutorial we’ll be giving you a head start and showing you a Photoshop, which is great fun when practising. For the nished article, WORKING WITH however, take small steps and err on the side of caution, as you’ll be MASKS few simple tricks to get the most out of your images using the Color surprised what a dramatic e ect small changes can have when using WORKING WITH this tool. There are images provided on the disc for you to practise with, BRUSHES Balance tool. Adjusting one image, we’ll show you how to change or use one of your own – just remember to save a copy before you DODGE AND BURN undertake any dramatic experiments. colour to warm a picture up, how to add light by increasing the amount of RGB and how to adjust the colour of selected areas. We’ll also demonstrate how to create a simple but pleasing vignette e ect WORKS WITH | PHOTOSHOP CS AND ABOVE 40 PHOTOSHOP CREATIVE COLLECTION

LIGHTENUP Introduce warmth and light 01 Select 02 Addsome Tip the image warmth Greater Open your image. Select Image> accuracy You might want to Adjustments>Color create a duplicate Balance. Make Often different layer by selecting sure the Preserve parts of an image Layer>Duplicate Luminosity option require different Layer. This way, if is ticked. Starting colour changes. your adjustments with the midtones, Using the Mask go too far it’s easy to take out some blue tool and brushing revert to the original. and a little magenta out unwanted Name the layer to bring a bit more areas is one way ‘Midtones’. warmth to the of achieving this. evening scene. However, creating 03 Preserve paths with the Pen Luminosity 04 Let there be light Using the Red/Green/Blue (light spectrum) tool can afford Click OK to apply sliders, we can reintroduce lost light into the image. Select greater accuracy the changes and the Highlights option and increase all three sliders by about 30%. This – or if your original then return to is a good opportunity to make use of the elds at the top to ensure all picture is well the Color Balance values are equal. Stay in the Color Balance panel for the next step. defined, experiment tool by going to with the Magnetic Select Image> Lasso tool. Adjustments>Color Balance. This time FIGHTTHATWASHED-OUTLOOK however, deselect the Preserve Add a bit of contrast Luminosity option. Tip Vintage 06 ExperimentwithLuminosity 07 Adjustmentlayer Click the Create photos Before saving your changes, click the New Adjustment Layer icon in the Preserve Luminosity option to observe the Layers palette and select Color Balance from You can use the di erent e ect that it creates. When selected, the drop-down menu. This creates an editable Color Balance colour will change but tone will not; when layer that’s a little more versatile, and with tool to age photos deselected, an increase in RGB can give the the application of brushes will enable you to as well as bring impression of more light. change speci c parts of an image. them back to life. Deselect Preserve 05 Addsomecontrast By boosting Luminosity and the levels of light there is a danger select the Midtones the image becomes washed-out. To counter button. Add a this we can increase the contrast by selecting healthy dose of the Shadows option and reducing the amount magenta (maybe of RGB. Don’t click OK just yet. -60) and some yellow (maybe -20). Now select the Highlights option and wash the image out by increasing red, green and blue. PHOTOSHOP CREATIVE COLLECTION 41

tutorial Boost colour using Color Balance Tip TRUEBLUE 10 Usingbrushes Use a brush with Easy a soft edge and set the Opacity and sunsets Perfect the colour in your image Flow values to about 75%. Using the brush on a layer mask is just like using an eraser, so paint Sunsetphotoscan 09 Paintoutdiscolouration As you out the parts of the image that have become lookevenbetterwith can see, the rest of the image has discoloured (everything but the water). You alittleapplication become an unnatural shade of pink. Using may need to zoom in and use a smaller brush ofColorBalance. the Adjustment layer mask we can paint this for the detail around the edge of the boats. WithPreserve out. Make sure the layer mask thumbnail in the Luminosity Layers panel is highlighted. Select black from selected,add the Color palette and choose the Brush tool. magentatothe shadowsforadeep, 08 Deepbluesea In the Color Balance richcontrast.Add dialog box select Midtones and cyantotheMidtones ensure that Preserve Luminosity is ticked. Add foragentleblue some blue, cyan and magenta to return the sky,andabitofred colour of the water to a nice rich blue. Click OK andyellowtothe to save your changes. highlightstoboost thewarmlightfrom thesun. ADDAFINALDRAMATICTOUCH Create a vignette effect 11 Composite 12 Vignette 13 Goingto Create a effect extremes composite of your Create another We are going to layers: highlight the adjustment layer, make the image very top one in the Layers click the Create New dark by reducing panel and hit Shift+ Adjustment Layer all the sliders to a Option/Alt+E; name icon in the Layers value of -50. Do the it ‘Composite’. It’s like palette and select same for Highlights, adding a stop in the Color Balance in the Midtones and History panel: if things drop-down menu. Shadows. Now go wrong you can This time, deselect click OK to save retrace your steps. Preserve Luminosity. the changes. 14 Bigisbeautiful Using the process 15 Brushin 16 Finishingtouches Create a we used in steps 8 and 9, we’re going light Only nal composite layer by pressing to remove the darkness from the central focus a few applications of Shift+Option/Alt+E; name it ‘Final’. Using the of the image. Leave the Brush Opacity and the brush are needed Dodge and Burn tools, add highlights and Flow settings at 75%. Again, the brush needs to return light to the deepen shadows for that extra bit of depth to be soft but also needs to be much larger central area, leaving and interest to draw the viewer’s eye. – we used a brush measuring 1900 pixels. the outer edges dark. This helps focus the viewer’s eye and gives a professional look. Finding ways to create e ects like this without using lters is important for maintaining as much info as possible, for a high quality result. 42 PHOTOSHOP CREATIVE COLLECTION

Blurbackgroundforemphasis5-minute fix Bfolruermbapchkagsriosund Follow these easy steps to making your foreground object more prominent essentials uccessful photos all Before have a strong focal point SKILL LEVEL that leads the eye into the image. Beginner Trouble is, if your object is in front Intermediate of a busy background it’s going to Expert get lost. Photoshop’s selection and blurring tools are the solution for this. TIME TAKEN Blurring a background will soften it and divert attention to where you Five minutes want it to be. You are e ectively simulating depth of eld, where YOUR EXPERT your subject appears in sharp focus while the unwanted areas are more Zoe Mutter blurred. This depth of eld technique is especially suitable for wildlife KEY SKILLS photography, as we show here. COVERED Quick tip: If the background What you’ll learn appears flat, select Filter>Noise> MAGNETIC LASSO Add Noise to add depth GAUSSIAN BLUR FILTER SELECTIVEENHANCEMENT After Use depthoffieldtoenhance aforegroundobject 01 Selectthesubject First open your 02 Inverse Because you are using the 03 Background blur Go to Filter>Blur>Gaussian Blur to blur the document and create a duplicate Lasso, you can hold down Shift to add background. Use the Radius slider to adjust the amount of layer of your image. Pick the Magnetic Lasso a place you missed, or hold down Alt (PC) or blur. For this particular image we chose ve, but this will obviously vary and enter 2px in the Feather box. This will give Option (Mac) to remove part of the selection. depending on personal opinion. You have now created a depth of eld a softer edge to your selection and make it Once you arrive back at the starting point and e ect, which enhances the object in the foreground and pushes the merge with the background better. When have nished your selection, choose Select> background even further back. selecting the image, be sure to zoom in to Inverse and your background will become the make the selection more precise. selected part instead of the foreground object. ALL VERSIONS | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 43

feature Transform your photos yToraurnpshfoortoms Discover how to recreate ten traditional photo effects and turn your images into something special I n a time when dangerous when the printed photograph exploded effect unique. Photoshop’s Noise filter is chemicals were readily on the scene with its candid realism, a great feature for injecting a speckled available, imaging had taken its popularity quickly grew. From texture into your image, or it’s worth a turn for the better. This is cyanotype and halftone effects to the sourcing real-life materials to recreate when Louis Daguerre had invented his the original look. Searching sites like self-titled process, the Daguerreotype, “From the moment the world PhotoshopDaily.co.uk, Tutorial9.net and founded nearly 200 years ago and saw images captured on a Noupe.com, makes finding the right kicking off the ten effects discussed here. solid medium, artists and texture easy and inexpensive, although From the moment the world saw their methods changed” each site has its own usage guidelines. images captured on a solid medium, artists and their methods changed lith print and bokeh, we’ve given you a So take hold of your mouse and get permanently. Painters of the past had variety of styles to explore and find out comfortable on your seat, and let your interpreted the things they saw in their what Photoshop is capable of doing. creativity wander through these ten own unique way, and were sometimes defining photo effects in art’s history. found to be untrue to real life. But A large part of each effect is the texture There are no source files, but each involved, and it’s this that makes each technique works on any image. 44 PHOTOSHOP CREATIVE COLLECTION

Daguerreotype The one that started it all eDffaegcuterreotype When Louis Daguerre discovered the photographic BEFORE process in the first half of the 19th Century, he must have been ecstatic. His invention for turning what we see in our everyday lives into a solid and fixed medium was an outright revolution, and art undoubtedly took on a whole new meaning. Recreating this unique effect in Photoshop requires a lot less patience than Daguerre himself must have endured. His new-found method required extremely long exposure times, and as a result, moving subjects appeared to be blurry and static subjects contained lots of detail. What’s most prominent in a Daguerreotype is its texture, which comes through the surface of a silver- plated sheet of copper used in its original form. Head to resource website www.tutorial9.net for a wide choice of metallic and worn surface textures, to download for free and apply to your image. Sharpening texture AFTER 01 Sharpen image Duplicate your image 02 Metal texture Download a free metal Daguerreotypes were renowned for their fantastic texture and head to Filter>Sharpen>Unsharp texture from www.tutorial9.net; drag that was created by the metal surface it was originally exposed Mask. Set Amount to 180%, set Radius to 6px and to the image. Resize (Ctrl/Cmd+T) to t over the with. To enhance the texture for this e ect, once positioned hit OK. Go to Image>Adjustments>Brightness/ image, and change its blend mode to Lighten. Add over your image, go to Filter>Sharpen>Smart Sharpen and Contrast, and increase both sliders to 40 to give a layer mask to the texture, and use the Brush, with adjust the Amount and Radius settings for di erent strengths. more punch and brightness. 0 Hardness, 50% Opacity, to remove heavy texture. 03 Vignette Create a new layer, select the 04 Scratch it up Use a mixture of Natural, 05 Adjustment Brush (B), and hit F5 to open the Brushes Assorted and Mix Media brushes to layers Add palette. Use the Stipple Dense brush from the apply marks and scratches to your image. Apply the Gradient Map Natural brushes set (access via drop-down menu each mark to a new layer, and lower the opacities adjustment layer via in palette). Set to black at a large size, paint over of each one. Use Edit>Free Transform to bend the Layers palette, and the corners. Use the Eraser tool with a soft edge and stretch each mark as you go. set to black and white. to fade the black paint from the centre outwards. Change its blend mode to Saturation. Add the Levels adjustment layer, and darken the shadows and brighten the highlights. PHOTOSHOP CREATIVE COLLECTION 45

feature Transform your photos Cyanotype Cefyfeacntotype AFTER Not long after the time Louis Daguerre had revealed his self-titled photographic process to the world, cyanotype entered the scene to present a more abstract method of image making. The cyanotype effect, consisting of muted blue-green tones and areas of bleached white, was commonly explored by artists through the late 19th Century. And not only by artists, but also by engineers who found the effect useful for documenting their plans, resulting in the ‘blueprint’. A cyanotype image can be re-created in Photoshop using the Duotone colour mode. With the help of blend modes, the punchy effect can be successfully enhanced BEFORE for that cyanotype, white and blue trademark look. “The colour version is created very easily using Photoshop’s dedicated filter for the effect” Halftone Use dots to create the image The halftone effect was used mainly in the reprographic field through the second half of the 19th Century and into the 20th, using dots of varying sizes and spacing to resemble the true image when viewed from a distance. The effect can be somewhat mesmerising, especially in colour halftone where the individual CMYK colours are carefully positioned and overlapped, creating an out-of-focus illusion from close up. In and around the Seventies, traditional ways of halftoning, involving screens, were surpassed by computerised methods used to form dots with spacing. We’ve split the effect into both colour and black and white to give you a taste of both worlds. The colour version is created very easily using Photoshop’s dedicated filter for the effect. Black and white halftone 01 Convert to Bitmap With your colour 02 Select your method In the Bitmap 03 Set the frequency In the Halftone Screen window, set Frequency image open, go to Image>Mode> window, set the Method to Halftone to 15 lines/inch (the e ect of the frequency will depend on your Grayscale, and hit Discard to remove all colour. Screen and leave Output as it is. Hit OK to apply image’s resolution), set Angle to 45 degrees and Shape to Round. Hit OK, Go back into Image>Mode and choose Bitmap this stage of the e ect, and the Halftone Screen and zoom to 100% to see the results. to open its dialog box. dialog box should pop up. 46 PHOTOSHOP CREATIVE COLLECTION

01 Choose a channel Open up the Channels 02 Cover with blue Go to Image>Mode> Polaroid palette and pick the channel with the Duotone, and set Type to Tritone. For Ink most contrast. Ctrl/right-click and select Duplicate 1, open its colour palette and input 0994 into The Polaroid camera will always be remembered for Channel. In the pop-up box, set Document to New the # eld. For the remaining two inks, set one its nostalgia inducing emotions. It’s also well known and hit OK. In this new document, set Image> with Pantone 633 EC and the other with Pantone for its all-in-one processing, framing a photo in a Mode>Grayscale. 3115 EC (both of these are in the Color Bridge square window of off-white card. It was a revolution CMYK set). in its own right, taking photography one step closer to instant image making. The trick behind the Polaroid 03 Apply blend mode Drag the effect is creating the paper that borders your photo, image’s layer onto the Create framing your image just above centre. For the more New Layer icon to duplicate. Change aged Polaroid effect, try increasing the yellow tones the duplicate’s blend mode to Hard by going to Image>Adjustments>Color Balance and Light, and lower its Opacity to 50%. shifting the Yellow/Blue slider to the left. This should strengthen the e ect. Create a blank layer, Edit>Fill with white, and add a layer mask. Use the Brush tool with a large Chalk tip and erase the centre to form a frame. Instant colour halftone Use Photoshop’s dedicated filter to get exactly the effect you want pCroolcoeusrs halftone 01 Create a background Create a document 18cm wide by 22cm high. Double-click the layer to make it editable, Photoshop has a dedicated filter for then open Layer Styles. Select Color Overlay and pick a creamy colour halftoning, making this a very tone. Go to Image>Canvas Size, and expand the dimensions quick effect to apply. Go to Filter> by 5 for Width and Height. Drag an image onto the canvas and Pixelate>Color Halftone, and in the Max resize using Ctrl/Cmd+T. Use the Rectangular Marquee tool to Radius field enter 30 and hit OK. Your draw a square, leaving a thin border top and sides. Click the Add image is now split into dots of CMYK Layer Mask button and also the small ‘chain link’ between the colour, but if the dots appear too small layer mask and image’s thumbnail. Move your image into place. or big, increase the Max Radius number. The resolution of your image will affect 02 Further the number of dots created for the effect, layer styles so it’s worth experimenting with settings Double-click the for the right balance – but make sure your image’s layer, and in image is still recognisable from a distance. the Layer Style menu select Stroke with a Size of 3px, then hit OK. Double-click on the background layer with the Color Overlay, and apply a Drop Shadow layer style, with Opacity 75%, Distance 23px, Size 35px and Angle set to 120 degrees. PHOTOSHOP CREATIVE COLLECTION 47

feature Transform your photos Cross processing BEFORE “The effect was originally created by Most likely to have been discovered by mistake, the cross running a roll of colour processing effect was originally created by running a roll negative film through of colour negative film through the wrong processing the wrong chemicals” chemicals. A waste of chemicals, we hear you say? This surprisingly wasn’t the case, as the results showed rather eCffreocsts processing peculiar colour variations and hues, especially noticeable in the shadow tones of the image. AFTER A sense of realism is still present, but with a shift of artistic meaning. This is perhaps why it stuck in the hearts of traditional artists throughout the Seventies and into the Nineties, and now it’s been reincarnated using Photoshop. Here’s how this effect can be reproduced in all its glory. 01 Apply red Go to Layer>New Adjustment Layer>Curves to 03 IncreaseBlue apply non-destructive colour editing. Select the Red channel, Select the Blue and create a narrow ‘S’ shape by dragging the line of the graph. The channel and apply a amount of red variation is down to personal preference. reverse ‘S’ shape to the graph from the one 02 Adjustgreen done with the Red and Select the Green channels. This Green channel from gives the shadows in inside the Curves your image a tint of adjustment layer and blue distinctive in apply a similar ‘S’ shape cross processing. to the Red. The more the curve is moved, the more contrast and colour will be added to your image. Iannsdpiirdateaiosn 04 Apply a blend mode Change the 05 Boost contrast Add a Brightness/Contrast adjustment To see lots of cross processed images, head to adjustment layer’s blend mode to Color layer and increase the Contrast slider to 30. This gives photo-sharing website www. ickr.com, and to bring more details back into the shadow areas your image the authenticity needed, with high contrast tones simply enter the name of the e ect in the search of your image. If the colours in your image need and tinted shadows. tweaking, click back on the adjustment layer to edit eld. This will bring up thousands of thumbnails RGB channels separately. that have had this e ect used by many di erent artists. This is a great place for inspiration for your own cross processed image. 48 PHOTOSHOP CREATIVE COLLECTION

Lith print AFTER Lomograph Lith effect Founded in the early Nineties, Lomography has risen to much before success with artists looking for that alternative effect. The company, which produces the ‘Lomo’ camera, has a lot to Lith printing dipped in and out of artistic 01 The lith tone Duplicate your offer in terms of artistic output, as each camera has its own interest throughout the chemical-based image’s layer and head to Image> unique arrangement of optics for producing different effects. darkroom era of photography. The Adjustments>Hue/Saturation. Before making original processes were very difficult to any adjustments, tick the Colorize box. Set the Lomography is an inexpensive and friendly way for visual control and duplicate, but to this day the Hue slider to 40 and Saturation to 30. Hit OK to artists to explore a more expressive method of capturing lith print effect has refused to go out of apply the lith tone. images. Photoshop has that important flexibility needed for fashion. This is because of its distinctive re-creating its effects to any heights. We’ve gone for the blurry artistic appeal, and Photoshop is the and discoloured effect, but your options are wide open when saviour of this modest yet powerful style. it- comes to Lomography. A key point to remember when 01 Blur Dragthe creating your lith print is placing background emphasis on the contrast of the layer to Create New highlights and shadows. A unique Layer to copy. Go to characteristic of the lith print is its ability Filter>Blur>Radial Blur; to have soft and glowing highlights enter 15 in Amount, set next to harsh, dark shadows. Another Method to Zoom, and trait of the lith print is its rich texture Quality Best. Apply a complementing the warm tones. layer mask; use a large soft brush to remove 02 Add texture Duplicate the top layer and 03 Vignette Hit Create New Layer. Go to blur from the centre. go to Filter>Noise>Add Noise. Select the Edit>Fill; set to black. With the Elliptical Uniform box, tick Monochromatic and set the Marquee, draw an oval selection over the image; 02 Channels Amount slider to 30%. Hit OK. Reduce this layer’s hit Shift+Ctrl/Cmd+I to invert. Apply a layer mask, Create a layer Opacity to 30% to soften the texture. Apply the set layer blending to Soft Light. With a black soft and use a black, large Gaussian Blur lter, Radius 1.5, to soften further. brush, remove the inner edge to create a vignette. soft brush to paint a vignette. Lower the layer Opacity to 50%. Go to Layer>New Adjustment Layer> Channel Mixer; adjust Red/Green Output Channels colour 03 Addnoise Duplicate the background layer and go to Filter> Noise>Add Noise. Enter 10 for Amount, set to Uniform and Monochromatic. Apply the same Noise lter to the layer with the Radial Blur. PHOTOSHOP CREATIVE COLLECTION 49

feature Transform your photos Cinematic Cinematic effect There’s something special about the big screen that we simply can’t stop adoring. It’s the capture of a moment with incredible depth and detail, and it’s not too dissimilar to that of high dynamic range imaging. What’s the secret? Mainly it lies within the framing of the image, whether that’s using a 16:9 ratio or a more square format. Here we’ve gone for the widescreen look with the 16:9 format, and have added the ratio’s synonymous black letter box border. Sharpening and applying noise are two elements not to be forgotten when creating the cinematic effect. An image with a blurred background works best too, and this also works well with a moving subject. 01 Cinematic proportions Select the Crop 02 Insert bars Create a new layer and drag 03 Add film grain Drag the image’s layer onto the Create New tool, and in the Options bar set Width to it to the bottom of the layer stack. Go to Layer button to duplicate. Go to Filter>Noise>Add Noise, 16 inches and Height 9 inches. Crop your image Image>Canvas Size, and set Height to just over one and set to Uniform, Monochromatic, with Amount set to 7% (the with these dimensions with the best composition. third of the height of your overall image (see Current strength of the e ects will depend on the resolution of the image). Double-click its layer to make it editable. Size). Go to Edit>Fill and set Contents to Black, then For the nal tweak, use Unsharp Mask to add de nition. hit OK. BEFORE AFTER Longexposure The long exposure effect has existed what appears to be an image taken with ever since film photography was a long exposure. In most photos of a accessible to artists, revealing its Ferris wheel, the lights dotted around the creativity and sometimes abstract effect. edges of its frame and down each spoke Using Photoshop’s Blur filters, such as will be blurry as it spins. This image of Radial blur, you can create the effect a stationary Ferris wheel is available to of movement. Combine this with an download for free from www.sxc.hu, image of a Ferris wheel and you have with the image number 826566. Long exposure 01 Set up brush Start by selecting the Brush 02 Illuminate lights Create a new layer, effect tool and setting the foreground colour to and when you’ve joined the two ends a light yellow. Set the brush to 0% Hardness with a together, Ctrl/right-click and hit Stroke Path. Select Size of 21px. Select the Pen tool and carefully draw Brush in the list and hit OK. Double-click the layer points around the outer edge of the Ferris wheel. to open the Layer Style menu and select Outer Glow. Set to Opacity 50%, Spread 10 and Size 35px. 50 PHOTOSHOP CREATIVE COLLECTION