Photoshop Creative Collection Vol 07 [2011]

Bokeh Bokeh effect Bokeh is used to describe the shapes of the out-of-focus areas of your image. Take, for example, an image with lots depth of field, and in that area circular, blurry shapes appear – although distorted and colourful. This effect can actually take the form of any shape you desire, whether that’s matching the blurred shape with an outline of one of your subjects or using a completely different shape. In Photoshop, this effect is created using the Define Brush Preset command once your bokeh shape is made. Using the Brushes palette, you can scatter the shape and vary its size, as well as use the Gaussian Blur filter and blend modes to really complete the effect. 01 Create a circle Create a new white 02 Add style Hit Ctrl/Cmd+D to remove the 03 Definepreset document in Photoshop of 10 x 10cm, selection, and double-click the layer to open Delete the at 300ppi. With the Elliptical Marquee tool, hold the Layer Style menu. Add the Inner Glow style, set to white background layer Shift to draw a perfect circle on your canvas. white, Opacity 85%, then set to Screen blend mode and go to Edit>De ne Create a new layer, go to Edit>Fill and set to black, and Size 40px. Hit OK. Brush Preset. Give your then hit OK. new brush shape a name and hit OK to save. Open an image and create a new layer. Select the Brush tool, and hit F5 to open the Brushes palette. 04 Setupthe 05 Blurand brush In the duplicate To Brushes palette pick your nish the e ect, select new brush, make sure the image’s layer and Spacing is ticked and set use the Magic Wand to 25%. Tick Scattering tool to select the and Shape Dynamics, background. Click on and set Scatter to the the layer with the bokeh maximum. Set Size Jitter shapes and click Add to 25%. Apply the brush Layer Mask. Try applying to your image and set its the Gaussian Blur lter blend mode to Overlay. to soften the circles. 03 Duplicate lights Duplicate this layer and “In Photoshop, this effect is created using move to the other side of the Ferris wheel. the Define Brush Preset command once Use Edit>Transform>Warp to reshape the circle your bokeh shape is made” over the lights. For the spokes of the wheel, use the Pen tool to draw over each row. 04 Lightthe Add distortion spokes Use the same stroke as To create an out-of-focus look to the bokeh before for the spokes, e ect, duplicate the layer with the blurry but change the shapes, make sure the Overlay blend mode layer’s blend mode is set for both, and nudge to one side. Also to Pin Light. Go to try going to Edit>Free Transform (Ctrl/ Filter>Blur>Radial Cmd+T) and holding Alt to enlarge. Blur, and set Amount to 11, Method to Spin and hit OK. To enhance the e ect, simple duplicate this layer over and over. PHOTOSHOP CREATIVE COLLECTION 51

tutorial Lighting Effects Before image 52 PHOTOSHOP CREATIVE COLLECTION

LightingEffects Use Photoshop’s Lighting E ects lter to create a professional lighting setup that enhances your portraits f you take a snap of your but this can create harsh lm noir like you to create and position virtual lights to essentials subject using a standard shadows. A second (and weaker) ll light is illuminate your subject from any angle. You compact camera, the built-in used to lighten the harsh shadows created can also alter the intensity to make them SKILL LEVEL by the key light. A back light pointing at the fade away in a realistic manner. You can ash will light them from the subject from behind lights the edge of their even mimic the pro technique of adding Beginner front. This blasts your model with light hair and shoulders, making them stand out coloured gels to the studio lights to change Intermediate that lls in any shadows, creating a at from the background. the mood of the background lighting. Expert look (as you can see with our start image). A studio lighting setup is expensive To control the digital lights we’ll call TIME TAKEN Professional photographers created a and takes a while to master, but you can on the help of layers, brush tips and layer fake this three point light setup using masks, so the light will only shine where we 30minutes more rounded, three-dimensional look by Photoshop’s Light E ects lter. This allows want it. YOUR EXPERT placing lights at an angle to the subject. A George key light provides the main illumination, Cairns LOVELYLIGHTING ON THE DISC Create studio style lighting Lighting_start. tif 02 Tidytheselection Click the Re ne Edge button. Click View and choose Marching Ants. Tick the Smart Radius box. Set Radius to 2.1. Grab the Re ne Radius tool. Set Size to 33 and spray around the hairline and over any prominent hairs missed by the selection. This should add more ne details to the marquee. Click OK. 01 Isolatethemodel Open 03 Addamask Choose Select>Inverse KEY SKILLS Lighting_start.tif. Double click on to select the girl instead of the COVERED the Background layer in the Layers palette to background. Click the Add Layer Mask icon unlock it. Grab the Quick Selection tool (W). and the selection will create a black and white What you’ll learn Click the Add to selection icon in the Options mask. The black area will hide the unwanted bar. Spray on all the bits of white background background. You can spray a black brush on REFINE EDGE to select them. the mask to remove any bits of background COMMAND that may have been missed by the selection. LIGHTING EFFECTS FILTER LAYER BLENDS LAYER MASKS PHOTOSHOP CS5, OR EARLIER IF YOU USE A DIFFERENT SELECTION METHOD FOR THE MODEL | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 53

tutorial Lighting Effects LIGHTING EFFECTS Tip Create, position and edit your CG lights 04 Addabackground Choose 05 Createakeylight Drag Layer 0 06 AdjustLevels The key light is the Colour Layer>Layer Mask>Apply. Click the onto the Create New Layer icon dominant light source. To create correction Create New Layer icon at the bottom of the to duplicate it. Label the duplicate layer Key contrasting shadows make another copy of Layers palette. Label the layer Studio Backdrop Light. Go to Filter>Render>Lighting E ects. Layer 0 and label it Shadow. Place it below the When you adjust and drag it below the girl’s layer. Go to Edit>Fill. The default light is a Spotlight. Drag the light’s Key Light layer. Turn o the Key Light layer for shadow and Set Contents to 50% Gray. Click OK. This creates selection handle to make it point up at the girl the moment. Go to Image>Adjustments> midtone levels to a neutral grey backdrop that you can add from the left. Set Intensity to 23 and Ambience Levels. Set the black Shadows slider to 35 and darken the skin in lights to later. to 21. Click OK. the grey Midtones slider to 0.46. step 6, you may also produce more Tip saturated-looking colours that turn the darkened skin an orangey brown (as if the model has spent too much time on a sun bed!). To make the skin look less over- saturated target the Shadow layer and choose Image> Adjustments>Hue/ Saturation. Reduce the master Saturation slider to –15 to produce more natural looking skin tones. Click OK to apply the adjustment. Adjust 07 Addshadows Turn the Key Light 08 Create a backlight Duplicate Layer 0 again, and label this intensity layer back on and add a layer mask copy Back Light. Drag it to the top of the layer stack. Go to to it. Grab the Brush tool (B) and click on the Filter>Render>Lighting E ects. Drag the default Spotlight’s handles so By creating Key Light layer’s mask. Set foreground colour that it points at her from the right. Increase its size so that it blows out different lights (like to black. Set Opacity to 47%. Now spray on most of her details. Click OK. the key light) on the mask to make parts of the Key Light layer different layers, become semi-transparent, revealing some of you can fine-tune the darker tones from the layer below. their intensity at any time. If the key 09 Paintin 10 Lightthebackdrop In a studio light is too strong highlights you can light the backdrop it can cause the Add a layer mask to independently of the model. Target the grey colour and detail in the blown out Back backdrop layer. Open Lighting E ects. Choose the model’s clothes Light layer. Edit>Fill Triple Spotlight and re-position the spotlights. to become blown the mask with black. Drag Focus towards Narrow. Add a tint by out. By reducing Grab the Brush tool clicking on the white box. Click OK. the Opacity of the and then click on Key Light layer the mask. Set the you can reduce Foreground colour the intensity of to white. Now spray the light source over the edge of her and create a more hair and shoulders subtle lighting to selectively lighten effect. As with any them, mimicking Photoshop filter, the e ect of a light make ‘less is more’ directed at her your mantra. from behind. 54 PHOTOSHOP CREATIVE COLLECTION

OTHER LIGHTING EFFECTS Edit your digital lighting kit to create different moods and effects nce you’ve isolated the model and colour and position of the your virtual studio lights. created a neutral gray backdrop you The angle and colour of the lights can dramatically can use the techniques covered in alter the mood of the shot. Here’s a variety of our main walkthrough to change the di erent lighting scenarios. Lights out! Try turning o the Key Light layer by Less is more Change the intensity of existing lights Remove fill light By Alt clicking on the key light’s ticking the layer’s Eye icon. This makes the backlit by reducing the Opacity value of a light’s layer. This mask you can disable it. This hides the shadow layer model look more mysterious. helps avoid blowing out highlights. below and creates atter looking lighting. Crossing Down Add new grey layers and apply as Lights up For a theatrical lighting setup in a click, Pick and mix You can apply a set of lights to the many backdrop lighting styles as you like. Here we’ve simply scroll down to the Five Lights Up style in the greyscale layer, then go back to the Lighting E ects added the Crossing Down preset. Lighting E ects window. lter and add another set. Swap direction Here we’ve edited the Key Light’s Round in circles Create a disco backdrop by adding Add and delete You can drag the Light bulb icon to mask to hide the left side of the layer, revealing darker the colourful Circle of Light style. You can reposition add new lights to existing setups, or the drag lights to details on the shadow layer below. each light to suit your image’s composition. the trash can to delete them. Save setups Once you’ve modi ed a lighting rig or Rough and ready Create textures by merging Other effects You can apply the Lighting E ects created one from scratch, click Save to store it in the light with a Texture Channel. Here a directional light lter to a host of subjects, and create atmospheric Style menu. passes through a cloud texture, giving a stony e ect. day to night style shots like this one. PHOTOSHOP CREATIVE COLLECTION 55

tutorial Create the perfect B&W Create the Channel Mixer adjustment perfect B&W Discover the best methods for transforming colour Lots of control for converting to B&W photos into punchy monochrome creations The Channel Mixer adjustment produces e ective results, as YOUR EXPERT emoving all signs of colour instantly changes an you have control over each channel of your image, and the image’s message. The main focus no longer lies on percentage value of how much they a ect the image. Here’s Simon the saturation and contrast of areas of colours, but how you can use this feature for creating as black and white. Skellon more on the composition of your image, the posture of your subject and the contrasting greyscale tones. 01Open menu KEY SKILLS A successful black and white is all down to the correct balance of Find the Channel COVERED lightness and darkness of tones in your image. Photoshop has many Mixer option under ways to turn an image into greyscale, but some are more e ective Image>Adjustments, What you’ll learn than others. We’ve experimented with the main options here, and in and to remove colour LAYER MASKS our tutorial over the page we’ve taken you through one of the most in your image tick the BLEND MODES popular methods for getting great results when converting to black Monochrome box at the UNSHARP MASK and white. base of the dialog. The CHANNELS Photoshop CS3 and above include advanced ways to control the Output channel will only PALETTE monochrome e ect, with the special Black & White adjustment layer. show Gray, but you can LEVELS On earlier Photoshop versions, however, the Channel Mixer proves control RGB individually. ADJUSTMENT just as useful. The important point to remember is to make sure, in a black and 02 Adjust white, that the viewer’s attention is drawn to the right areas of your channels image. For example, if you’re working with a portrait you’ll want to Raise the percentage keep the subject’s eyes bright and de ned among the surrounding of the Red slider to +60 grey tones, and areas out of focus come second. Choosing the right to increase contrast. If method of conversion will make sure your entire image looks as highlights now appear good as it can without the added extra of colour. bleach white with little to no detail, lower the Blue slider until detail returns to these areas. 03 Hitting 100% Making sure the Total value hits 100% isn’t always necessary. We lowered the Constant adjustment to make the overall e ect darker for our landscape. This part is down to preference and style. Accurate B&W conversion The Channel Mixer method PS’s dedicated monochrome adjustment Control individual channels for precision Photoshop CS3 and above Another great method for converting an has a dedicated Black & White image to black and white is the Channel adjustment layer. Go to Image> Mixer. With the colour image open, go to Adjustments>Black & White to Image>Adjustments>Channel Mixer. In open its menu; you’ll be given the menu, tick Monochrome to remove lots of control over specific colours, then adjust each Source colour channels, letting you Channel (RGB or CMYK) to achieve the tweak every area of your black- black and white effect. If you’re using and-white image. This method PS CS3 or above, two advantages are is one of the most accurate, although if the effect is overcooked you’ll see a the Total Number field that shows how slight break-up of tonal quality. This adjustments include a handy Tint option close you are to 100%, and a choice for applying a tonal colour to your entire image, such as a sepia tone or a cool- of presets for different monochrome blue colour overlay. The Color Picker lets you choose any colour for the tone. styles, including Black & White Infrared. 56 PHOTOSHOP CREATIVE COLLECTION

Tip Channel controls When your image has Apply sharpening To make sure our black and been converted to black and white, the white image looks as punchy as it can, the nal stage Photoshop Channels palette changes its appearance. of conversion is to apply a small dose of sharpening Snapshot After separating the Red channel in the initial from the Unsharp Mask (Filter>Sharpen>Unsharp stages of the process, only one channel is left Mask). This increases de nition of the main subject, If, in the process representing the colour information. and brings out those important details. of converting your image to black and Layers palette white, you capture Applying the blend some great effects mode Soft Light to along the way, you a duplicate over the can save these in a original black and quick Snapshot. In white layer is a great the History palette, way to quickly add after making an contrast. Lower the adjustment, click opacity to weaken on the Create New the contrast if it’s Snapshot button. overpowering. Access Snapshots by clicking on their pictures at the top of the palette. Start photo Remove the mask With the foreground colour set to black, you can use the Eraser tool to remove the black shield of the layer mask on the top layer in the Layers palette. This layer is the original desaturated version, which is slightly darker than our nal version. Painting the effect Direct to greyscale Use the Sponge tool to convert to greyscale The quickest way to black and white conversion For an alternative method to using Photoshop offers a very fast method adjustment layers, the Sponge tool of removing all colour information can be used to convert chosen areas from your image, although it’s not to black and white, simply by painting necessarily the most effective. Head to with its brush. Once selected, set Image>Mode>Grayscale and hit OK in the tool to Desaturate mode in the the pop-up warning about the removal of Options bar. With a large soft brush, colour. This method offers absolutely no paint over the areas of your image control over the conversion, and results, that you want to make black and although monochrome, aren’t the best white. This is a great tool for selective Photoshop can offer. We recommend using black and white conversions, where this method for comparing results to other you only want to convert a small part of your entire image. For greater methods, with the intention of bettering accuracy, try this method with a selection. this effect. PHOTOSHOP CREATIVE COLLECTION 57

tutorial Create the perfect B&W Tip CONTROL SHADES OF GREY FOR PUNCHY B&W Create a custom black-and-white conversion using channels and layer masks cIonofcBnrt&eraWassitng 01 Create a comparison Open your 02 Quickly removing colour On 03 The best channel On the image and go to Layer>Duplicate your original image go to Image> duplicate image, open the For a fast way Layer. In the pop-up box, set Document to Adjustments>Desaturate. This is a quick way Channels palette and click on each RGB to convert, and New, and give it a name. Hit OK, and a copy to convert to black and white without losing channel separately. Choose the best channel achieve great of your image will open. Place it next to your the brightness of your image, but important of the three, where the main features of your results, convert original image, side by side in PS. details can be lost in the main focal point. subject (the eyes in our particular image) look your image Keep this version for later. their best. to greyscale using Image> 04 Create 05 Make Adjustments> an Alpha editable Desaturate. This channel Ctrl/right- Now go to Image> converts it to a click your chosen Mode>Grayscale standard black and channel and select to make the white effect with no Duplicate. The same background layer frills or surprises. dialog pops up as editable. Go into the To spruce up the before; select New Layers palette and effect, go to Image> under Document, drag the background Adjustments> and then hit OK. This layer onto the Create Levels and move is our nal version, a New Layer button both the White and and only Alpha to create a copy in Black sliders into 1 appears in the the palette. the centre of the Channels palette. histogram. Tweak the middle slider slightly to the left to boost contrast of the effect for a better black and white conversion. The Duotone way Helpful Gradient Maps A black-and-white effect with Duotone The choice is yours! Another way to convert an image There are so many ways of converting to black and white is to change the an image to monochrome, and some are mode to Grayscale (Image>Mode> more effective than others. Follow our main Grayscale) then head to Image> tutorial for one of the best ways to do it, or Mode>Duotone. This does discard try using Gradient Maps to do the job. Head all colour channels in your image to Layer>New Adjustment Layer>Gradient and makes just one grey channel, Map, and in the menu select the black to but in the Duotone menu you can white gradient and hit OK. The strength of apply the effect simply by setting the effect can be edited using the Curves two inks: one black, one white. There are also Levels adjustments in adjustment with the image’s layer selected. this menu for setting the contrast of these inks for a punchier black and To tweak areas of your image to brighten or white. There’s limited control over the individual channels this way, but darken, experiment with Dodge and Burn you can add more inks with varying colours for different effects/tones. tools on a duplicated layer of your image. 58 PHOTOSHOP CREATIVE COLLECTION

06 Apply contrast With the 07 Quick comparison The eyes of our subject look perfect, 08 Set layer mask With the Move duplicated layer selected, change but other areas seem to be bleached white due to the blend tool (V) drag and drop the original the blend mode to Soft Light. This adds mode. Look at the original, desaturated version of your image and desaturated version onto your nal version contrast and more punch to the black and compare areas of details that you want to add to the nal version. while holding Shift to place it exactly over the white e ect. If the e ect is too strong, reduce top. Add a layer mask to its layer, Alt-click the the layer’s Opacity to around 60%. mask and go to Image>Adjustments>Invert to make it black. Alt-click on the mask again to return to your image. 09 Bring 10 Sharpen up Save your image and go to Layer>Flatten through Image. To add further crispness to your black and white, go the detail Select to Filter>Sharpen>Unsharp Mask. Apply this lter gently to avoid any the Eraser tool and glowing edges around subjects. set the foreground colour to black. In the Options bar, set the Eraser’s Hardness to 0%, choose a large brush size and reduce its Opacity to 20%. Paint over your image to bring the darker parts through, containing the areas of detail. A moretraditionallook Selective black and white Add noise to create the effect of grain Mixing in colour with the greys For that traditionalist in you, To create a selective black and why not try adding a bit of white image, duplicate your film grain to your black and image’s coloured layer and apply whites? To do this, head to your black and white conversion Filter>Noise>Add Noise technique to the duplicate. On and in the dialog box tick the monochromatic layer, add a Monochromatic to remove layer mask. Use the Brush tool at any colour in the noise 0% Hardness, with black as the effect. Select the Uniform foreground colour, to paint over option under Distribution, the areas that you want to see the and set the Amount slider to around 20% – this depends on how colour come back through. This is strong you want the level of noise to be. Hit OK, and you have another the ideal way to change the focus interesting finishing touch for your black and white image that could of your composition from one fool anyone into thinking it was shot on 35mm film! subject to another. PHOTOSHOP CREATIVE COLLECTION 59

tutorial Removing reflections Start image essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 45 minutes YOUR EXPERT Removingreflections Improvethequalityofyourimagesbyremovingunwantedre ections Simon Skellon e ections could easily ruin an excellent The key to a realistic e ect for removing and replacing a re ection ON THE DISC composition, though they can sometimes work for lies within the Layer Style menu (double-click on any layer to open the the better. However, in this portrait image we found menu). Here it’s a case of experimentation to replicate areas of natural Sunglasses_ the re ection on the glasses more of a distraction light. The Gradient Overlay style is the rst port of call for applying the 1159804.jpg than a compositional aid. black to gold tone we used over the blacked out surface of the glasses. (courtesy of Ontanu Mihai- Photoshop possesses all the right tools for making accurate When your re ection has been successfully removed, you can Gabriel, www. replace it with an entirely new image. Check out our tutorial’s side sxc.hu/profile/ selections and then singling out those selections to edit in whichever panel to see how we performed this aesthetically pleasing swap. ontzy) way you may need to. Such tools include the Pen tool and post- Once the re ection has gone, you can go ahead with further KEY SKILLS editing to create your masterpiece – and with no distracting re ections COVERED selection adjustments such as Modify commands and the Gaussian standing in your way you can focus your creativity on other areas of the image. What you’ll learn Blur lter. Having an eye for detail is essential, and we found the Clone PEN TOOL Stamp tool especially useful when it came to removing strands of LAYER MASKS LAYER STYLES unwanted hair. CLONE STAMP TOOL WORKS WITH | PHOTOSHOP 7 AND ABOVE 60 PHOTOSHOP CREATIVE COLLECTION

GOODBYEREFLECTIONS! Tip The Pentool,layerstylesand layermasksallhelpintheprocess 01 Setupthe 02 Create outline Zoom into your image to 200%, and using Aquick Pen tool the Pen tool with the duplicated layer selected, begin to form retouch Open the image an outline path around the sunglasses. For shortcut keys, hit ‘A’ (or ‘Sunglasses_1159804. Shift+A) to select the Direct Selection tool to adjust each point on the If you’re working jpg’ from your disc, path as you go. with a model and and drag its layer plan to undergo a onto the Create little retouching, New Layer button try the Surface Blur in the Layers palette filter. This softens to duplicate. Select and smooths the Pen tool (P), and blemishes. Only in the Options bar a small amount is select the Paths needed. For this button, as we only image we used need an outline for a Radius of 13px the selection. with Threshold 3 to create softer skin. 03 Savenewselection Once the 04 Layerstyles On the duplicated 05 Edit the gradient In the Gradient Overlay section, change two ends of the path are linked up, layer in the Layers palette, hit Add Angle to -92 and Scale to 35%. Hit OK to apply the e ects. You Ctrl/right-click inside the area and pick Make Layer Mask to apply the selection to its own can edit these settings at any time by double-clicking the layer. Now Selection from the drop-down list. Keep mask. Double-click the layer with the mask to look for areas of hair that are hidden by the layer style. Feather Radius set to 0px, and tick Anti-aliased. open up the Layer Style menu. Now click on Hit OK to turn the path into a selection outline. the Gradient Overlay option. 07 Assess edges 06 Reveal Duplicate your the hair background layer With the layer and place it in the mask’s thumbnail middle of the layer selected, choose the stack. Look for the Brush tool with the thinner strands of foreground colour hair that pass over set to black. Set the the rim of the glasses. Brush’s Diameter to Select the Clone 40px, Hardness to Stamp tool, set its 20% and paint over Diameter to 9px with the far right side of Hardness 0%, and the glasses where the zoom to 300% into thick strands are. Use your image. the Eraser tool to add the layer style back in. PHOTOSHOP CREATIVE COLLECTION 61

tutorial Removing reflections THEFINALEDITS ANEWREFLECTION Use further layer styles to create a 3D finish We decided to add an image of a beautiful landscape to liven the glasses up. Find out how to add another element to the mix. Place the image 08 Tidyupthehair With the Clone 09 Expand the edges Select the layer mask’s thumbnail Drag-drop a landscape image onto the Stamp tool, work your way around and Ctrl/Cmd-click on it to load the selection. Go to Select> edited glasses. Ctrl/Cmd-click their layer the edges of the glasses to remove hair. Allow Modify>Expand and enter 2px. Hit OK and then Backspace to add this mask to load the selection made before. strands of hair to fall over the skin and to the extra selection to the existing mask. Hit Ctrl/Cmd+D to deselect. Click the landscape layer. sides of the glasses, but make sure the hair looks Position the landscape natural and not cut o . Hit Add Layer Mask to apply the selection to the landscape. Click the chain link between Layerstructure the layer mask/image’s thumbnail, then move the landscape to the best position. Making the reflection disappear Add an inner shadow 10 Softenedges With the layer mask Add satin effects selected, go to Filter>Blur>Gaussian Adjust gradient Blur and enter a value of 2px. The edges of the Gradient Overlay selection might need tweaking, and use the Brush and Eraser tools to remove or add parts of the frame. Layer style Double-click the landscape layer and click the Inner Glow layer style. Make it black, Opacity 30%, Size 5. Set Technique to Precise, Mode to Normal and hit OK. Add an adjustment layer 11 Usinglightcreatively Change the Original image Load the selection and add the Brightness/ Gradient Overlay from black/white Contrast adjustment layer in the Layers to black/gold in the Layer Styles menu. Add a palette. Lower the Brightness to darken the white Inner Shadow, blend mode Normal, 16% image, and increase Contrast to +15. Opacity and 135 degrees. Add Satin, set to Soft Light, 30% Opacity, Angle 35, and Gaussian for Contour to shape the surface light. 62 PHOTOSHOP CREATIVE COLLECTION

IncreaseHistorystates5-minute fix IncreaseHistorystates Don’t get caught out with losing edits – bump up the number of History states and you can undo to your heart’s content! essentials e all know the bliss of being able to Undo – in SKILL LEVEL fact wouldn’t life be much better if we could carry the Beginner Undo function into it?! Intermediate But even this technological wonder Expert has its limits and in the case of Photoshop the limit is measured by History. Open TIME TAKEN up the History palette (Window>History) and you’ll see a list of every move you Five minutes have made in a document. Want to return back to how your image looked YOUR EXPERT ve edits ago? Simply click that state and you are right back there. Photoshop Jo Cole ships with a default number of History states, meaning if you make more than is KEY SKILLS set, you’ll be losing the earlier functions COVERED to make way for the new ones. Fear not, though. There is a way around it! What you’ll learn HISTORY STATES Quick tip: The larger the amount of states, the more memory-hungry the History will become. If your machine starts to flag, reduce the number BUMPUPYOURHISTORYSTATES Guarantee that you won’t get caught out and return to earlier edits 01 PhotoshopCS2andearlier Go 02 PhotoshopCS3andabove If 03 Edit at will! With the new levels of History set, you can make to the Edit menu (PC) or Photoshop you are working in CS3 or later, your edits safe in the knowledge that you will be able to return to menu (Mac) and scroll down to Preferences. History states are in a di erent place. Still open earlier versions should something go awry. Pick the General option and you’ll see a History up the Preferences, but instead of General, pick States area. Simply type in the number that Performance. Type a number or use the slider you want. to set the amount of states. ALL VERSIONS | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 63

tutorial Create a vintage effect 64 PHOTOSHOP CREATIVE COLLECTION

Before image Cvirnetaagteeaeffect In this tutorial we will examine how to recreate a vintage photograph e ect using a modern digital photo he history of the word with bitumen. When this was exposed to light These days, most people use digital essentials ‘photography’ dates from the bitumen hardened, leaving a negative cameras as they produce fast results and can 1839, when Sir John Herschel image that could be covered with ink to be easily manipulated using programs such SKILL LEVEL created the term from produce a print. Niépce also discovered that a as Photoshop. Digital photos use an array of two Greek words: ph_s (light) and silver derivative and chalk would darken when electrodes (photosites), which measure the Beginner gráphein (write). exposed to light. intensity of the light. Most digital cameras use Intermediate a charged coupled device (CCD). Expert However, the actual history of what we In 1840 Fox Talbot created a process where he coated paper sheets with silver chloride. In this tutorial we are going to give a TIME TAKEN have come to know as photography started When exposed to light a negative was vintage feel to a modern photo. We will be produced, and this could be used to make using a combination of layer blending modes 1 hour a long time before. The Chinese philosopher positive prints. Later, George Eastman re ned and adjustment layers to achieve this. We’ll Talbot’s calotype process, and this is the basic also add a co ee-cup stain and folds to make YOUR EXPERT Mo Ti described a pin-hole camera in the technology used by lm cameras today. the picture look worn. Simon Rudd 5th Century BC. In 1826 the French Inventor ON THE DISC Joseph Nicéphore Niépce experimented with London.jpg a polished pewter plate which he covered (photo by Claire Balding) STARTINGYOURVINTAGEPHOTOEFFECT coffee.abr (created by Paul Grab your photo and let’s get going Murray) Extras.psd 02 Levelsandcurves Do the same with the Blue and Green options from the list. This will brighten up the picture without blowing out the highlights. Next, we adjust the curves. Go to Image>Adjustments> Curves and adjust them so the curve looks a bit like a slight ‘S’, as in the screenshot. 01 Initiallevels We rst open our 03 Duplication We now want to KEY SKILLS photo in Photoshop and adjust the duplicate the background layer. COVERED levels. Go to Image>Adjustments>Levels, and The easiest way of doing this is to select the in the Channel drop-down box select Red. The background layer in the Layers palette and What you’ll learn histogram will change for the Red levels. Move drag it to the New Layer icon at the bottom. the right-hand slider (White Point slider) until Alternatively, you can copy it by pressing ADJUSTMENT the gap between the edge and the histogram Ctrl/Cmd+J. Hold the Alt key and click the new LAYERS has been removed. layer to name it ‘Black and White’. LEVELS CURVES LENS CORRECTION PHOTOSHOP CS3 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 65

tutorial Create a vintage effect the Lens CorreCtion FiLter Adjustments And LAyers In this tutorial we use the Lens Correction filter to create a vignette Add more to your vintage photo effect to lighten or darken the edges of the photo using a slider. But the filter is also very useful for fixing other photo problems… Straighten tool 04 Blackandwhite We are now going 05 moreduplications Select the Black If you drag the to remove the colour from the Black and White layer and duplicate it as Straighten tool and White layer. Go to Image>Adjustments> we did in step 3. This time we want to change along a horizontal Black and White, then use the default settings the layer blending to Exclusion and reduce or vertical line, and click OK. Reduce Opacity to 50% and Opacity to around 10-20%. Hold the Alt key the filter will change the blending mode to Overlay. If you and double-click the newly copied layer. automatically don’t have the Black and White adjustment, Name this layer ‘Exclusion’, and make sure it’s straighten simply use Destaurate. above the Black and White layer. the picture. Keystoning Use the filter to fix the keystoning effect by adjusting the vertical/horizontal perspective. Beat the bulge 06 solidColoradjustment Vintage 07 noise–part1 Your next step is to We can use photos often have a yellow washed- add a new layer above the Solid Color Remove Distortion out feel – we’ll replicate this by adding a Solid adjustment layer and call it ‘Noise’. This layer in the Lens Color adjustment layer above our original now needs to be filled with black, and you Correction filter background layer. Go to Layer>New Fill Layer> can do this either by pressing Shift+F5 on the to fix the bulging Solid Color and set the colour to #B1A411. keyboard or by going to Edit>Fill in the menu. caused by using a Move this layer above the background layer Select Black from the drop-down list and then wide-angle lens. and change the blending mode to Overlay. click OK. What’s your 08 noise angle? The angle – part of a photo can 2 We are now easily be adjusted going to add some by using the Angle noise to this layer Options dial. The by going to Filter> scale can also Noise>Add Noise. be adjusted. Set the Amount to Comprehensive 5%, Distribution to tutorial The filter Gaussian and tick has lots of potential the Monochromatic and applications. option. Change You’ll find a good the layer blending tutorial at www. mode to Screen; this photoshopcafe. removes all the black com/tutorials/ from the screen but lens_distortion/ leaves the noise. lens.htm. 66 PHOTOSHOP CREATIVE COLLECTION

THE FINAL STEPS OF OUR PROJECT Tip Making the picture look old 09 Adjustmentlayers Move to the 10 Gradientmap Add a Gradient Map 11 Addavignette At the top of the layer Free brushes top of your layer stack and add a layer above the Hue/Saturation layer stack create a merged copy of all the Hue/Saturation adjustment layer (Layer>New via Layer>New Adjustment Layer>Gradient layers by pressing Ctrl/Cmd+Alt+Shift while In this tutorial we Adjustment Layer>Hue/Saturation). Reduce Map. The map will take the colours we set in holding ‘E’. Name this layer ‘Vignette’. Go to used a coffee ring the Hue to -20 and Saturation to -25. Next, set the previous step. Set the blending to Screen, Filter>Lens Correction (found in the Distort brush to make the the Foreground colour swatch to #0D37b and Opacity to 70%. Add a Brightness/Contrast menu prior CS5). In the Custom tab move the pic look old. PS the Background swatch to #FFFBBB. layer, set Brightness to -15 and Contrast to 15. Vignette slider left until it reads -60 then hit OK. brushes are very useful, and a great free resource is at www.brusheezy. com. You can easily find the brushes you want, download and install them by double-clicking the ABR file. In older versions of PS you need to manually install them. Layerstructure Creating that vintage look Coffee ring and folds 12 MoreSolidColor We now want to 13 Extrabitsandbobs Select the two Light spots add another Solid Color adjustment layers (Folds and Light Spots) in the Brightness/Contrast layer at the top of our layer stack. Set the colour Layers palette, and while holding the Alt key Hue/Saturation to #E79A4D and blending to Soft Light, then drag them to the New Layer icon. Select your Black and white reduce the layer’s Opacity to 65%. From the CD original picture from the list and click OK. Go Colour fill 1 locate and open the le ‘Extras.psd’. This le back to your original picture and set the Folds Background contains two layer Folds and Light Spots – we layer’s blending mode to Multiply and reduce are going to drag these onto our picture. the Opacity to 34%. 14 Fadeto black Set the Opacity of the Light Spots layer to 50% and the blend mode to Lighten. Install the Co ee Stains brush from the CD (‘co ee.abr’) and choose the Co ee 2 brush. Set the foreground colour to a mid brown, and on a new layer make one circle; reposition it to wherever you want. Finally, drag it below the Folds layer. PHOTOSHOP CREATIVE COLLECTION 67

tutorial Sharpening your images with the High Pass filter PwySoahitusahrsrtpihfimeeltnaeHginreiggsh Soft detail In our before image, the Forget the Unsharp Mask – the High Pass lter o ers an easy detail is pretty soft. The feathers around the and e ective way to sharpen up blurred shots face look smooth, and the wet areas on the top merge in with the rest of the feathers. It igital photography has for the day – but with a digital camera and a is in need of some sharpening! changed the way we think good memory card you can snap hundreds about taking photos. While if not thousands, depending on the quality. Weak colours One side- e ect of a slightly blurred image lm and processing is slow Most people will have a form of digital is that colours tend to lose and expensive, digital is fast and free camera, be it on a phone or a traditional de nition. In our duck, the beak – well, except for the initial costs. point-and-click camera. When we look isn’t as vibrant as it could be and at the technology of a digital camera, we the tones are a bit at. When we look at the way cameras see that the sensor picks up the picture a bit like a mosaic, then pushes it together. Before have evolved in the last few years, we can Sometimes this means images aren’t as sharp as we’d like. Normally we’d use the understand why there are a lot more people Unsharp Mask to correct sharpening issues, but there’s an equally interesting and easy taking snapshots. In the past we would only way to sharpen – using the High Pass lter. take photos of the things we really wanted to keep. Let’s face it, a 36 exposure lm will go pretty fast if you’re snapping away at every interesting thing you see while out What is the High Pass filter? High Pass softening And what can it do for me? Create smooth skin The High Pass filter is located in the The main use of the High Others sub-menu within the Filter menu. Pass filter is in advanced This filter has many useful applications sharpening techniques, but it and is normally used to create image can also be used to soften an sharpening, softening and high contrast image. Usually when we want images. It can also be used to create to soften an image we use the line art. The filter keeps the edge details, Blur tool or filters, but this can where any sharp colour transitions are, mean we lose details. With and ignores the rest of the image relative a High Pass soften we don’t to a specified radius. The effect also actually lose these details. removes small details from the image To do this, follow the same and can be seen as having the opposite techniques that were used effect of the Gaussian Blur filter. While this may sound very technical and confusing, it’s in the tutorial but invert the High Pass results. A good tutorial for this can be actually very simple and the effects can be created on as little as two layers. found at www.photoshopessentials.com/photo-editing/smooth-skin/. 68 PHOTOSHOP CREATIVE COLLECTION

More detail After a blast of the High All in moderation It’s High Pass sharpening Pass lter, de nition springs out from areas tempting to whack the slider In this walkthrough we’ll look at a way of sharpening such as the duck’s head. The feathers are up to maximum, but you will an image using the High Pass filter. This is often called more de ned, especially the wet ones. end up with a horrible result. ‘an advanced form of sharpening’, but it’s very easy… Here we have pushed the detail After as much as possible without 01First steps ending up with a fake e ect. We begin by opening our start Stronger colour image in Photoshop; After the lter has the lter will enhance been run, the colours the edges and make are generally brighter the image appear in the areas that are sharper. Next, we more de ned. This is need to duplicate the very apparent in the background layer by beak. We have also pressing Ctrl/Cmd+J. achieved a stronger tonal range on the 02 High Pass neck and chest area. filter We now want to run Tip this new layer through Lessismore the High Pass lter. This can be found by going When using the to Filter>Others>High High Pass filter Pass. Slide the slider always keep in mind so that Radius reads that a lower Radius around 2.5 pixels (see value will bring in the ‘Less is more’ tip). better results. Most techniques use a 03Blending Radius of 0.5 pixels modes to 6 pixels. Now we have an image that looks a bit like an embossed version of our original photo. Set the blending mode to Overlay – if the e ect looks too sharp then reduce the opacity a little. High contrast images Line art from a photo Adding contrast Reducing a photo to its lines using High Pass The High Pass filter can be used We can also use this filter to to create high contrast pictures be creative; by using the High when used alongside adjustment Pass filter on a photograph layers. When we think about adding we can extract its lines and contrast to photos we usually head create line art. This is useful for the Levels or Curves dialogs, but if you want to give the effect we can use the High Pass filter. Start of something being drawn by reducing the saturation in a Hue/ by hand. We start by running Saturation adjustment layer and the the High Pass filter, followed contrast in a Brightness/Contrast by the Note Paper filter. adjustment layer. Now create a Finally, we reduce it further merged layer and run the High Pass still by using the Threshold filter. A good example can be found at http://photo.tutsplus.com/tutorials/post- tool. A great tutorial for this technique can be found at www.lunacore.com/ processing/3-fantastic-uses-of-the-photoshop-high-pass-filter/. photoshop/tutorials/tut011.htm. PHOTOSHOP CREATIVE COLLECTION 69

tutorial Improve your night-time images Before image 70 PHOTOSHOP CREATIVE COLLECTION

KEY SKILLS COVERED What you’ll learn PANORAMIC STITCHING LAYER STACKING TO REDUCE NOISE HDR AND TONE Improve yourMAPPING CAMERA RAW ADJUSTMENTS BLACK AND WHITE ADJUSTMENT night-time imagesLAYER Make your night shots stand out from the crowd with this glowing tutorial essentials ight photography opens up a host of creative We’ll also look at the process of High Dynamic Range (HDR) SKILL LEVEL opportunities for interesting and dynamic imagery. photography by blending three exposures together. The merged Whether you’re using light from the moon, street lights image will then be tone mapped to produce a more dramatic nish. Beginner or painting with a torch, there are plenty of ways to Intermediate illuminate your compositions. The very nature of low light at night and the sensitivity in digital Expert A light source for night photography is just as important as the sun sensors often causes the problem of noise. We will look at a couple of is for day photography. Without light we can’t de ne shape, scale and ways to remedy this. One method will cover multiple exposures that are TIME TAKEN depth. Light’s contrast and colour help de ne subjects further. stacked together as a Smart Object. The Median blend mode will then We’ll look at ways that Photoshop can enhance light, contrast and be used to reduce noise. Another option we cover will look at the Noise 30 minutes colour to create a more dramatic night image. Starting with Camera Reduction settings in Camera Raw. Raw, a plug-in included with PS, adjustments to the white balance, YOUR EXPERT blacks and saturation will be made to enhance colour and detail. Panoramic stitching can provide a great way to cover a large expansive night-time scene. We’ll show you how this works, then carry Giles Angel out a simple black and white conversion for a more traditional nish. ON THE DISC PREPARING YOUR NIGHT SHOTS IN PHOTOSHOP ferris_wheel_ Make adjustments using the Camera Raw plug-in CMYK.jpeg Ferris_wheel. 01 OpentheimageinCameraRaw 02 Exposureadjustments Move the 03 Adjustingcolourtemperature jpeg Open Photoshop and then go to File Exposure slider to the right (+1.0) to Move the Temperature slider to HDR Browse to launch Bridge, the le browser. Click make the lights look brighter. Move blacks to the left and right – the lights change colour. skate_park_ on the Folders tab and browse to the Tutorial the right (+1.0). Move the Clarity slider to +60 Depending on whether your image was 01.jpeg folder on the CD. Select ‘ferris_wheel.jpeg’ to make the edges more de ned. Increase shot at dusk or in the middle of the night skate_park_ and hit Cmd/Ctrl+R to open it in Camera Raw. Vibrance (+50) – this will increase colour in and whether you have a mixture of arti cial 02.jpeg the undersaturated areas. Increase Saturation (eg street lights) or natural light sources (eg skate_park_ (this is a global adjustment) to +20 to make the moonlight), you’ll get di erent results. We’ve 03.jpeg colours stand out further. settled for -23 to bring out reds and greens. Noise house_noise_ 01.jpeg house_noise_ 02.jpeg Panoramic bay01.jpeg bay02.jpeg bay.03.jpeg bay04.jpeg VIDEO TUTORIAL Noise_ reduction_at_ night night_shots_ reducing_noise PHOTOSHOP CS3 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 71

tutorial Improve your night-time images REDUCENOISEINYOURIMAGES Layer stacking to reduce noise 04 Openingimagesasastack 05 Changingtheblendmode Once 06 Reducing noise in Camera Raw Select ‘house_noise_ Excessive noise is a common the image is loaded into Photoshop, 01.jpeg’ in Bridge and hit Cmd/Ctrl+R to open it in Bridge. Click problem when shooting night images on a choose Layers>Smart Objects>Stack Mode the Detail tab (two triangles icon), click and zoom in to 200%. Move the digital camera. Here are a couple of options menu and choose Median. This will reduce the Luminance slider up to 75%. This reduces noise. If the image has coloured to improve this. In Photoshop open the File> noise. Have a look at the images to see before speckles, try moving the Color slider to the right to remove them. Scripts menu and choose Load Files Into Stack. and after. Browse for the images ‘house_noise_01.jpeg’ and ‘house_noise_02.jpeg’. Hit Create Smart Object after Loading Layers and click OK. HDR tone mapping Produce a more dynamic finish 07 ExperimentingwithHDR HDR Dialog box Image>Mode>16 or Repeat photography The same subject Result To accept changes, stands for High Dynamic Range. 8 bit displays the Tone Mapping is photographed multiple times with hit OK . The image will be A High Dynamic Range image has more dialog box. Local Adaptation gives di erent exposures (shutter speeds) to give tone mapped to 16 or 8 recorded values from light to dark. This the best option, and displays a a range of exposures. Images are merged bit, depending on what equates to smoother tones and greater histogram that can be adjusted. using the Merge To HDR option. you chose. Once in these image detail. Most digital camera sensors modes, further edits will have a low dynamic range, so shooting be enabled. multiple exposures of the same image and combining them increases tonal range. Here’s how it’s done… 08 MergeToHDR Open Bridge HDR The merge Histogram Add points to the histogram and adjust and browse for images produces a (32 bit) High them to bring out the best detail and contrast. These ‘skate_park_01’ to ‘03’ from the CD. Now go Dynamic Range image. adjustments are subjective, but generally good shadow to Tools>Photoshop>Merge To HDR. This will Exposure is adjusted and highlight detail should be achievable. load each image into a new dialog window. using the slider. It can Make sure 32 bit is selected and the Response be saved as a Radiance, Curve is set to Automatic, then click OK. HDR le or reduced to a 72 PHOTOSHOP CREATIVE COLLECTION lower dynamic range.

09 10 Local Adaptation During the conversion, a dialog box appears. Choose Local Adaptation from the drop-down menu. Converting to a You can make manual adjustments by moving points on the histogram. lower bit depth These adjustments should allow you to bring out more detail in the In order to make shadow and highlight areas. further changes in Photoshop such as using lters, it is necessary to convert the merged image down to a lower bit depth –16 or 8 bit. Go to Image Mode> 16 bit. CREATIVEUSEOFNIGHTSHOTS Tip Put your perfect low-light pics to creative use 11 Golong Visit any print store and you 12 Mergesettings Set the Merge 13 Removingexcess Due to the Camera tips will see loads of panoramic night options to Auto and make sure the nature of wide angle lenses, it’s shots. For some reason the format works well Geometric Distortion box is unchecked. In this more than likely that you will need to crop Night shots need with the subject matter, so here’s how to create case it should help keep the horizon straight. out areas that don’t fall within a rectangular long exposures, one. When shooting for a panoramic image, try It might be worth experimenting with and ratio. With this in mind, it’s important to allow so use a tripod to to use a tripod and overlap each image by 30- without for other images. It may take a minute for cropping and not to entirely ll the frame prevent camera 50%. If you have manual focus and exposure or two to merge, depending on le sizes. between shots. Shooting verticals will also give shake. If your settings, switch these on. Open Bridge and go more room for cropping top and bottom. camera has manual to Tools>Photoshop>Photomerge. overrides, play with ISO settings, shutter speed and aperture. A wide aperture (smaller F stop number) lets in more light, as do long exposures. Upping ISO increases light sensitivity, but also camera noise. Next time you are out photographing at night, make sure you take a few frames to turn into panoramas 14 Blackandwhiteconversion If you want a more traditional feel, why not convert your night shots to black and white? Go to Layer>New Adjustment Layer and choose Black And White. Now experiment with the various sliders that relate to the original colours underneath. PHOTOSHOP CREATIVE COLLECTION 73

Start image 74 PHOTOSHOP CREATIVE COLLECTION

Creative light effects Use a combination of light e ects and various blending modes to create spectacular images KEY SKILLS ighting e ects are a perfect way to You will then discover the full power of adjustment essentials COVERED add lustre to most relatively bland layers, and how their e ect can be isolated to one photos – and by combining lighting speci c layer. SKILL LEVEL What you’ll learn techniques with Photoshop’s powerful layer blending options, your images will reveal their After that you’ll incorporate some subdued light Beginner LAYER BLEND hidden ambiance and depth. streaks, and add some clouds, geometric shapes and Intermediate MODES The important thing to remember when applying gradients, as well as use a custom brush in conjunction Expert LAYER MASKS these techniques is to be subtle. Try to use elements with the Pen tool. To polish the image o , you’ll add ADJUSTMENT that complement the image, rather than overpowering further adjustment layers to emphasise the model’s TIME TAKEN LAYERS the original source image with unnecessary clutter. face, thus reinforcing the focal point. SHAPE LAYERS As far as techniques go, you’ll start o by applying 1.5 hours LIGHTING a variety of blending modes on some images of our With enough re nement and practice, these skills EFFECTS solar system (courtesy of NASA) to create a cool galactic can be used to make almost any image pop; they’re YOUR EXPERT GRADIENT TOOL background. Next, you’ll place our model on duplicate also a neat trick to have up your sleeve because of their PEN TOOL layers, and again use an assortment of blending versatility. We couldn’t get the exact model we used for Mark Mayers LAYER STYLES methods to integrate her with the underlying layers. the disc, but we did supply two that would work just as well. Please also look to the list on the right to see what ON THE DISC NASA images and brushes to download. Light effects 1 APPLY SOME COSMIC INTERVENTION and 2 Required Get spaced out and create some inter-galactic blending downloads: Space image 1: http://imgsrc. hubblesite. org/hu/db/ images/hs- 2009-25-e- full_tif.tif Space image 2: http://imgsrc. hubblesite. org/hu/db/ images/hs- 1995-44-b- full_tif.tif 01 Space… Create a new portrait 02 Finalfrontier Open ‘hs-1995-44-b- 03 Modelbehaviour Place your Space image 3: canvas set to 2717 x 3307px in full_tif.tif’ and choose Image>Rotate chosen model image from the CD http://imgsrc. RGB mode. Place the rst galaxy image Canvas 90°CCW, then Flip Horizontal. Place in in a new folder called ‘Girl’. Name it ‘Model 1’, hubblesite. (‘hs-2009-25-e-full_tif.tif’) into a group folder the folder, resize and hit Ctrl/Cmd+I to invert. enlarge and set its mode to Screen. Duplicate org/hu/db/ called ‘Space’. Hit Ctrl/Cmd+T to activate the Change to Color Burn mode; label it ‘Cosmos this layer, call it ‘Model 2’ and change its mode images/hs- Transform tool, then hold Shift (to constrain 2’. Open ‘hs-2003-13-a-full_tif.tif’; Rotate 90°CW, to Overlay. Duplicate again, rename it ‘Model 3’ 2003-13-a- its proportions) and enlarge to ll the entire Flip Horizontal. Place in folder, enlarge, invert, and change this layer’s mode to Pin Light. full_tif.tif canvas. Name this layer ‘Cosmos 1’. label it ‘Cosmos 2’; change its mode to Overlay. Cloud Copy this layer and set its mode to Multiply. brushes: www. thepixlpusher. com/free- brushes-of- clouds/ WORKS WITH | PHOTOSHOP CS3 AND ABOVE PHOTOSHOP CREATIVE COLLECTION 75

tutorial Creative light effects dIffEREnT bLEnd EffECTS COLOUR TWEAKS, LIGHT STREAKS Layer blend modes are a powerful PS feature; they determine how pixels Makefurtheradjustmentsand add subtle lighting in a layer interact with those on underlying layers. By applying blend modes to individual layers, you can create an infinite variety of effects. Multiply it 04 Paralleluniverse Duplicate your 05 Clipanadjustmentlayer With the Let’s experiment! Change original layer (‘Cosmos 1’) and stack it ‘Stars’ layer highlighted, press Alt/Opt the uppermost Color above the upper folder. Rename it ‘Stars’ and and choose Color Balance in the Create New Balance adjustment to reduce its Opacity to 50%. Next, add a layer Fill or Adjustment icon at the foot of the Layers Multiply for a much darker mask, then select a large, soft-edged brush to tab. In the next window check Clipping Mask and saturated look. hide the areas that overlap the model’s head and apply the following Midtone settings: Red See the light and upper neck. -66; Green -12; Blue -40. Now set the Shadow To lighten the image, set the Reds to -31 and the Highlight Reds to -63. uppermost Color Balance adjustment to Screen, then reducing its Opacity to around 30%. Colour boost 06 Lettherebelight Drop a new 07 Stretchand… Next, we need to Change the Model 3 folder at the top and name it ‘Light elongate the layer content. Hit ‘F’ layer to Overlay; this mixes Streaks’. Add a layer within it called ‘Streak twice on your keyboard to view in Full Screen colours with the underlying 1’. Ensure that the layer is highlighted, then mode with the Menu bar visible. Now hit layers to create a more drag a rectangular selection in the middle of Ctrl/Cmd+T and extend the width of the glow vibrant look. your canvas. Use a large, soft-edged brush to outside both sides of your canvas. burn it add a central glow within the bottom of the You can quickly change selection, deselect, then choose Blur>Motion the blending mode of an Blur, Angle 0; Distance 999px. entire group – try setting the Grad Circles folder to 08 Rotate Linear Burn. Change Less is more the layer’s blend For a less saturated effect, mode to Overlay, change the Model 3 layer then Shift-rotate the to Color. This preserves the layer content 45°. greys from the lower layers. Duplicate the layer several times, resize and position around the bottom half of your canvas. Add a mask to the folder to hide light streaks that interfere with the model’s face using a large, soft- edged brush. 76 PHOTOSHOP CREATIVE COLLECTION

BUILDING UP THE EFFECT 10 Shape up Set Add some clouds and soft glows, then incorporate geometric shapes and gradients the foreground to #94054b. Grab 09 Radiate the Polygon tool, colour select Shape Layers Add a folder called and Sides to 3 in ‘Glow’ at the top, the Options bar. then place a layer in Drag/Shift-rotate it set to Color mode. simultaneously on the Paint selective glows canvas so the base using a large, soft- rests at 45°. Change edged brush with a its mode to Soft Light, pale yellow (#fcee9f). then resize/duplicate Add another layer in several times. Add Color mode also and further triangle Shape repeat, using a hot layers; ll with #f9e053 pink (#ec028d). Label – same blend mode. them ‘Yellow Glow’ and ‘Pink Glow’, and reduce their opacities to taste. Tip 11 Cloudbrushes Open the Brushes 12 Gradientcircles Set the foreground 13 Custombrush Open the Brushes Non- palette and use the top right y-out to mid-yellow (#f3de3e); add a folder palette, select Brush Tip Shape, scroll destructive menu to load ‘clouds1.abr’. Drop a new layer at the top called ‘Grad Circles’. Set the Gradient to the bottom of the default list and highlight adjustments above the Shapes folder and label it ‘Clouds’. tool as Foreground to Transparent; Radial; the ‘40’ sampled brush. Change its Diameter Set your foreground to white and apply using Reverse; Dither; Transparency. Add a layer to the to 15/Spacing to 1; check Shape Dynamics, The benefit of using brush tips 3 and 4 at an enlarged diameter in a folder, ‘Circle 1’, in Soft Light mode. Shift-drag a activate Pen Pressure, set the Minimum adjustment layers stamping fashion. You can now add a mask to circular selection, then drag a gradient from the Roundness to 25%. Check Scattering, set the is that no edit is remove any excess as required. centre out. Copy/resize and place lower right. Scatter to 230 on both axes, the Count to 4 and permanent until you the Count Jitter to 21. flatten your image. 14 Strokeit Add An adjustment layer an uppermost 15 Layerwithstyle Double-click your can be revisited layer called ‘Stroked layer thumbnail to access the Layer at any time by Paths’. Set the Pen tool to Styles window and change the blend mode double-clicking its Paths in the Options bar, to Overlay. Now select the Outer Glow button layer thumbnail. switch to your Paths tab and input the following settings: Opacity 86; A conventional and create a series of 45° click the colour chip to open the Color Picker adjustment layer paths around the canvas and choose #fec435; Technique Softer; Size 18, affects all layers base. Adjust accordingly and leave the remaining entry elds as default. that are stacked with the Path Selection below it, whereas and Direct Selection an adjustment that’s tools. Highlight the been clipped to a path thumbnail, then single layer leaves select Stroke Path other layers intact. from the y-out menu, A conventional checking the Simulate adjustment layer Pressure button. can also be clipped/unclipped to the target layer by Opt/Alt-clicking between their layer thumbnails. PHOTOSHOP CREATIVE COLLECTION 77

tutorial Creative light effects FINISHINGTOUCHES Layerstructure Add further adjustment layers to refine the effect Creating our magical lighting Final adjustments Colour adjustments 16 Selectiveadjustments Now we’ll 17 Colouradjustments Next, add a Glowing streaks apply some overall colour and tonal second conventional Color Balance Fluffy clouds adjustments. Add a conventional Selective adjustment and apply the following Midtone Color adjustment layer at the top of the stack settings: Red +63, Blue +16. Now set the and use the Color menu to select Reds, then Shadow Red to +14, Blue to +9. Finally, set the set Cyan to +100 and Yellow to -66. Select Highlight Red to +10. Yellows, set Magenta to +27 and Yellow to +46. Finally, select Neutrals and set Cyan to -44. Add light streaks 18 Tonaladjustments At this point 19 Featheredmask The Black and Emphasise with colour we’ll add a bit more de nition to the White adjustment has a ected the Define stars model’s face to emphasise the image’s focal entire image. To remedy this, target its mask, Overlay the model point. Add a Black and White adjustment layer draw a loose selection using the Lasso tool Color Burn and select the Maximum White preset in the around the model’s face, and hit Alt/Opt/Cmd/ Cosmic image pull-down menu. Change the adjustment Ctrl+D to access the Feather Selection window Background layer’s blend mode to Multiply and lower and enter 35px. Hit Shift/Cmd/Ctrl+I to inverse Opacity to around 30% to reduce the e ect. the selection, set the foreground to white and hit Delete to ll the selection with black. 20 Polishitoff If any of your Cosmos layers interfere with the model, identify them by toggling their visibility. Cmd/Ctrl-click the Black and White adjustment mask to load the white area as a selection, target the layer(s) in turn and apply a Gaussian Blur with a Radius of 30.0. Now copy/reposition light streaks, shapes and gradient circles as needed. 78 PHOTOSHOP CREATIVE COLLECTION

Improvedamagedphotos5-minute fix Improvedamagedphotos Use a combination of Photoshop’s tools to enhance worn and aging images essentials here’s no need to hide After away your favourite SKILL LEVEL photos just because they are damaged. Beginner Photoshop is a master at Intermediate transforming treasured heirlooms Expert so they are as good as the day they were taken. Using the Clone Stamp TIME TAKEN tool and the Levels command you can erase all of the crease lines and Five minutes stained brown marks that plague old photos and also bring back any faded YOUR EXPERT areas. Each photograph is di erent but the techniques can be used and Zoe Mutter adapted to restore many images. There are so many di erent problems KEY SKILLS that can be encountered in photo COVERED restoration and we will cover a few of them with this example. What you’ll learn DUST & Quick tip: Make delicate SCRATCHES strokes with the Clone FILTER tool and sample as large CLONE TOOL an area as possible CONVERT TO GRAYSCALE USING LEVELS BRINGIMAGESBACKTOLIFE Before Say goodbyetoimperfectionsandrestorephotostotheirformerglory 01 Identifytheproblem Old photos 02 Convertit Once all the marks 03 From faded to fantastic Old photos also tend to su er may have spots, scratches, creasing, have been cloned away the next from faded areas. To x these, use a Lasso tool to select discolouration and even pieces missing. Make stage is to convert the photograph to black the o ending areas and add a slight feather – say 2px. Go to a copy of your image on a new layer and make and white. The reason that we cloned in Image>Adjustments>Levels to alter the brightness. In this case the sure it’s in RGB mode. Select Filter>Noise>Dust RGB mode is because the imperfections shadow and midtone sliders were moved to the right to match the & Scratches to remove some of the smaller and brownish marks are easier to see. Select surrounding dark areas. speckles. If this causes blurring, bring back Image>Mode>Grayscale to convert the image; detail by increasing the Threshold. Zoom in on it is now beginning to look very close to how it the damaged areas and choose the Clone tool. would have originally. It is best to reduce the opacity and strength when cloning for a realistic result. CS2 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 79

feature Six techniques for perfect pics nNePebihbdictousemttgosprasoiheghtmyioo’sctp!e–oa, Before: Landscape Before: Portrait © Martina Meven © Scott Snyder Lehtaba’silnrevrdemeincgmoahnidlaseoonthduvtcereeesa, skyDfaorbnrMaedemtgutrcaecoltrheui!ancnd After After Sfoirxpteecrfhenctiqpueicss t’s a good idea to compare Photoshop to cooking, Transform any photograph from average to brilliant, because you can follow a with these six simple image-editing methods recipe in each to get what you want – but when using Photoshop, as with cooking, it’s at its best when you (the ‘cook’) deviate from the recipe and learn how to put your own spin on things. So think of these techniques as ingredients and this article as the recipe. Read it, learn it and then play with it until you have your own version of ‘Six techniques for perfect pictures’ that suit your own taste. Our first technique involves a retouching layer – and this is what you 80 PHOTOSHOP CREATIVE COLLECTION

Before: Macro efciTnomrrhyhaiiassnngogcemmeomisueatcernot Each technique explained © Sisi Fili Sometimes in digital photography you need to get back to basics, with non-destructive editing the order of the day. Let It’ws hasowmahftaorcarcaopzkalienbonanuigntidrndog! After us introduce you to six essential techniques that will help you get perfect pictures every time you open Photoshop. should always start with for any given focus in a shot are colour saturation image. Using the Cloning tools directly and darkening of the corners, and 01Retouching on the image is destructive to the pixels, this is precisely what you’re going to layer The so by creating a blank layer and setting be doing next as you selectively apply retouching layer up your tools correctly you are able to more saturation to your subject and works in partnership work non-destructively. points of interest, because colour with the Clone attracts the eye. Stamp tool and the We’re going to use adjustment layers Healing brush as a for the next three techniques, starting You’ll then copy all the pixels into protective barrier. with Curves for density, because no a new inter-merge layer and use matter how good a photographer you that to darken or vignette the area 02Density are, the exposure of the image will surrounding your subject, so that it curves A always need to be adjusted. After that’s becomes slightly lighter and a little Curves adjustment completed, you’ll be adding some more interesting. layer is all that you ambience using a solid colour. need to subtly Finally, where would we be without improve the density Two techniques commonly employed some Smart sharpening on a Smart of the image. to draw emphasis towards the point of filter for a crisp finish! 03Colour mood Adjusting colour is not always about correction. You can use a Solid Color adjustment layer to add warmth and atmosphere. 04Colour focus We can use colour for focus and draw the viewer’s attention towards the point of interest with a little saturation. 05Vignetting Vignetting is a technique that’s as old as photography, and it’s used to lighten the point of interest into focus. 06Smart sharpening Whether shooting JPEG or Raw, every image needs sharpening at the end of the day. So why not do this non-destructively? PHOTOSHOP CREATIVE COLLECTION 81

feature Six techniques for perfect pics Essential technique 1: The retouching layer Creating a blank layer is such a simple thing or healing that you’ve already done. In the case any imperfections while retaining full control to do in Photoshop, yet it opens up a host of a landscape image it gives you the chance to of all the original pixels. But it’s on a portrait of possibilities for not only working non- remove unwanted elements of water, rubbish image that a retouching layer really shines, destructively, but also giving yourself the and even birds flying in the sky. Macro images because you can remove stray hairs, refine skin chance to remove any errors subtly with the can magnify all the defects of the natural details and banish unwanted wrinkles, all on a Eraser tool without affecting any of the cloning world, and a retouching layer lets you tidy up separate layer. Applying the technique After 01New layer Create a new layer by clicking on Before Landscapes need to be clean, and the retouch layer is the New Layer icon at the bottom of the Layers perfect for removing birds, rubbish and unwanted items panel. It’s probably one of the simplest tasks you’ll ever 03Layer complete within Photoshop, but its power is not to be mask 04Set up the underestimated when used with the Tools panel. Click the Layer Healing Mask icon in the brush Press ‘J’ 02Renaming Layers panel to add for the Healing layer a default Reveal brush or Shift+J Double-click on All layer mask. This to cycle through the (Layer 1) text stage is essential the Healing tools. in the new layer for portraits but Once the tool is to activate it and optional for other active, choose All then rename genres. In CS4 add Layers from the it (‘Retouching layer masks via the Sample menu in layer’). Renaming Masks panel. the Options bar. layers keeps you organised and 06Set up 07Use the makes nding the Clone Clone tool things much easier. tool Press ’S’ for This tool works in the Clone Stamp, the same fashion 05UsetheHealingbrush Click on your or Shift+S to cycle as the Healing retouch layer to activate it, then hold down through the tools. brush. What you Alt/Opt to sample the part of the image you wish to Once the tool is will have to do, use as the texture. Now click and drag your mouse or active, choose All depending on the graphics pen over the area you wish to heal. Layers from the image and subject, Sample menu and is work between set the Opacity to the tools – all the 75% in the Options time making sure bar at the top. the cloned pixels are placed on the retouch layer. 82 PHOTOSHOP CREATIVE COLLECTION

Essential technique 2: Density curves After Before After The Density Before curve makes a In the portrait, the Density curve subtle change darkens the hair, giving it a richer feel by darkening compared to the original image the ladybird’s red and black “Just be careful when brightening any shadows with shell and the curves that you don’t bring out any hidden digital noise” background Highlight detail When you adjust your image’s density or exposure, you need to make sure you don’t blow out the brightest parts of the image to white and lose detail in the highlights. Skies are particularly prone to loss of highlight detail, but in this particular image the side of the buildings are most at risk. Midtone Tip: Use the Curves Eyedropper tool and Cmd/ Shadow detail detail Ctrl-click on your image. The Brightness value will appear on the Curves line. Then just move When you photograph a landscape, you’re either going to expose The midtone detail is the line up and down to lighten or darken. for the brightest parts of the image or, depending on the scene, probably the easiest part the darkest parts – the shadows. The two extremes of the tonal of the image to look after, range do not like each other, and at some point compromises are but is no less important. going to have to be made. This is where Photoshop can help, but Make sure the colour is just be careful when brightening any shadows with curves that how it should be, and if you don’t bring out any hidden digital noise. not, you can go into the individual RGB channels and use the Color Curves to make a fine colour adjustment. When using Curves you need to keep an eye on both the shadows and highlights for any colour changes. PHOTOSHOP CREATIVE COLLECTION 83

feature Six techniques for perfect pics CEsosleounrtiaml teocohdnique 3: Before Before After Left: Chooseaslightly Right: The After di erentshadeof Solid Color brown to create adjustment an evening sunset layer is blended look with you own using brown landscape images to create the warme ectof morning sun Soft Light Mask blurring When you have chosen After revealing the brown your brown colour from colour throughout the the picker, you will need to hair with a soft paintbrush blend the colour so that it set to white, go to Filter> interacts with the image, Blur>Gaussian Blur and so go to the layer blending apply 12px of blur to the mode and choose Soft Light. mask. This will help blend the effect and hide any hard Brown colour brush strokes. When you are picking the Inverse mask shade of brown for an image, with portraits you need to The quickest way to hide the Solid Color adjustment layer mask is choose it from within the to use the keyboard shortcut Cmd+I (Mac) or Ctrl+I (PC). This will yellow spectrum, but with switch the mask from the white Reveal to the black Hidden option. landscapes and nature shots you can pick a brown from the orange colour range. Creating a colour mood layer using an colour range. Think of blonde hair and evening you can use the Channel mask to reveal or hide adjustment layer of Solid Color is a great way sunsets, and you won’t go far wrong. Once you different elements to suit your own image. to alter the colour of an image without having have selected your shade of brown, it will need When it comes to portraits, the effect is adapted to resort to using any of the colour correction to blend with your image, and the best option is to make hair look much richer and you will want commands. The secret is to pick a shade of to use the Soft Light blending mode, although to subtly reveal the effect by first of all inversing brown that works with your image. People in some cases Overlay will also work. Finally, the layer mask. pictures benefit from a brown selected from within the yellow colour range, whereas “Landscape and nature shots look better when you pick landscape and nature shots look better when a brown from within a more orange colour range” you pick a brown from within a more orange 84 PHOTOSHOP CREATIVE COLLECTION

Essential technique 4: Colour focus Applying technique 4 Before In this technique we’ll use colour saturation to focus attention on points of interest in the image. So in the case of Even though we’ve added a Solid Color adjustment layer to warm the this landscape image, the castle and building below are key evening sky, we can still use more colour, and in particular the amount of areas where adding colour saturation will enhance things. colour, or rather its saturation or vibrancy level, to attract the viewer’s eye towards the different points of interest within the image. 01Adding vibrance During In CS4 you can click Click on the Vibrance on the Vibrance adjustment layer adjustment layer and and adjust the this will allow you to vibrance amount and add tonally correct saturation to suit the levels of saturation to image. In this case the image. Once you +15 Vibrance and have chosen the amount +25 Saturation were that looks correct hit ok. adjusted for e ect. CS3 users can achieve the effect by using a 02Inverse Hue and Saturation layer mask adjustment layer. This amount of colour saturation is too strong for an overall layer adjustment. Click the Invert Mask option to hide the e ect, ready for it to be revealed subtly. 03Choose a brush Choose a Soft 65-pixel brush with Hardness set to 0. Now hit ‘D’ to reset your foreground and background colours, then press ‘X’ to rotate white to the foreground. 04Reveal colour Carefully reveal the colour saturation back on elements of the image you wish to draw the viewer’s attention to, namely the most important parts – in this case the buildings. After The points of interest where you want to focus the viewer’s attention will be a little more saturated than normal, and because the eye likes bright colours it will naturally be drawn to different areas of the image that are little bit more saturated, while ignoring less saturated elements. PHOTOSHOP CREATIVE COLLECTION 85

feature Six techniques for perfect pics EVsigsneentttiainlgtechnique 5: Before Vignette colour Vignetting is a technique that’s as old as photography, A side effect of creating a vignette is and it’s an amazing way of further drawing the that it also saturates and alters the viewer’s attention towards elements of the image that colour of the image. So you may have are of interest. Traditionally, darkening occurred to use the Sponge tool on Desaturate around the edges of an image either mechanically or at 5% Flow to calm some of the hotter optically. But we are well into the digital age, so let’s colour edges down a little. You can opt for the pixel way of doing things. This is much get to the Sponge tool by pressing ‘O’ more flexible, because you can offset the centre and on the keyboard and Shift+O to cycle alter the shape of the darkening to suit the image, past the Dodge and Burn tools to and in the case of our three examples we used the reach the Sponge tool, and once you Marquee tools to create the vignetting. have it activated choose a soft 65px brush with 0% Hardness. After tttAhroaewodcliidwotieroanEnselualrispsl veotiidfgctatnholeeMctirtmaeeartaqotgeuweaeaerds Applying the technique “Vignetting is an amazing way of 01Merge the further drawing the layers Add viewer’s attention a new blank layer towards elements and then hold down of the image that Alt/Opt and go to are of interest” the Layers panel menu to select Merge 02Blending Visible. The trick here mode is to keep holding Rename the merged down Alt/Opt while layer ‘Darkening’, then selecting the Merge change the blend Visible option. mode to Multiply and this will e ectively 86 PHOTOSHOP CREATIVE COLLECTION double the exposure and give you the basis for the vignette e ect. All you need to do now is mask the centre of the image.

“Once the Smart sharpening has been applied, you can use the Layer Visibility icon to check the image for a before and after” Before Wyaothtueewnntiyilolonnuetseohdtahtroeppaearneyaapsmaoraftfcicoruoclusahsrot, SEsmseanrttiaslhteacrhpenniqinuge 6: After We are going to repeat step 1 from the previous techniques, but this time hold down Shift+Alt+Ctrl+E (PC) or Shift+Opt+Cmd+E (Mac) to merge all the layers into a new composite layer. Next, navigate to Filter>Convert For Smart Filters and then Filter>Sharpen>Smart Sharpen. Select the Basic view and set Amount to 40% and Radius to 0.7 pixels. This is a really good starting point to see whether your image needs more or less sharpening. Set the Remove option to Gaussian Blur and tick the More Accurate box. Now click OK. Once the Smart sharpening has been applied, you can use the Layer Visibility icon to check the image for a before and after. Make sure you’re zoomed in at 100%. If you are not, double-click the Zoom icon in order to do so. Now check the before and after with the layer visibility for the amount of sharpening used. 03Ellipticaltool Using the Elliptical 04Add a layer mask In the Masks panel add a layer 05Adjust the opacity Finally, adjust the layer Marquee tool (M), draw an elliptical mask by clicking the Mask icon. Now click the Invert opacity until you have reduced the vignette selection around the centre of the image button to make sure the vignette e ect is on the outer edges darkening down to a level where it’s still darker than the so that it covers all the important points of and not in the centre. Using the Feather slider, increase the middle of the image but bright enough that you get interest. Make sure though, that you leave Amount to 120px until the vignette blends into the image. hints of detail around the edges. enough room for the vignette to work. PHOTOSHOP CREATIVE COLLECTION 87

tutorial Digital make-up essentials Bmeafokere-up SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 45 minutes YOUR EXPERT Giles Angel ON THE DISC iStock_ 000011444888 .jpg VIDEO TUTORIAL Creating eyelashes KEY SKILLS COVERED What you’ll learn BRUSHES ADJUSTMENT LAYERS BLENDING MODES PEN TOOL Tip Contrast Digitalmake-up Learn how to glam up your beauty portraits with this digital make-up tutorial IfyoupressCtrl/ Cmd+Shift+Alt/ f you’re after a professional make-up look for your lter will be used with a mask to selectively smooth out areas of the Opt+E,itwillmerge portraits but don’t want the mess, why not have a go skin and help draw emphasis towards features like the eyes and lips. We allvisiblelayers digitally? With a bit of patience and practice you can will selectively lighten and add contrast to the eyes, using adjustment upwardstoasingle achieve some very realistic looks for applying make- layers and curves. Curves will also be used to darken features and tones layer.Thisishandy up in Photoshop. to simulate eyeliner and eye shadow. forcombiningfurther effectswithout The key here is subtlety, unless you’re painting a clown’s face! So We’ll create a two-coloured eye shadow using soft brushes with the flatteningeverything Overlay and Color blend modes, and add a subtle cherry lipstick using first.Aninteresting we’ll be using plenty of layers and soft brushes, and experimenting the same technique. We’ll even add further eyelashes to the model waytoaddcontrastis using stroked paths, and then blend them with the existing eyelashes toapplytheGaussian with di erent blending modes. before rounding things o with some Contrast and Saturation Blurfilteronthe adjustments using Gaussian Blur and the Soft Light blend mode. mergedlayer(in We’ll start by creating a base colour or foundation – in this case a thiscaseanamount ofaround8),and slightly darker colour of the original skin tone. We’ll use the Color blend changetheblend modetoSoftLight. mode to maintain skin texture underneath. The Dust and Scratches Youcanthenadjust thelayeropacity againtoblend. WORKS WITH | PHOTOSHOP CS AND ABOVE 88 PHOTOSHOP CREATIVE COLLECTION

TIMETOGLAMUP Tip Give the model a digital makeover 01 Applyingfoundation Let’s start with 02 Smoothingskin Go to Layer> 03 Draweyelashes Create a new layer, UsingHue/ foundation. Go to Layer>New Layer, Duplicate Layer then Filter>Dust and zoom into the right eye. Select the Saturation select a soft brush (B) and choose a brown Scratches. Choose 4 for the Radius and 11 for Path tool (P) and click to add a point at the adjustments colour as the foreground from the swatches. the Threshold. Click on the Add Layer Mask base of the eyelashes. Click another point, At the top of the Layers palette select the Color icon (circle and square icon) at the bottom of hold down the mouse and drag. This creates a Whenpaintingeye blend mode and start painting over the skin. the Layers palette. With Mask selected, paint in curve. Hold down the Ctrl/Cmd key and click shadoworanyother Reduce the Layer Opacity to 45%. black over the eyes, lips, eyebrows and hair to and drag the handle to adjust. formofcolouron bring back the original layer. skin,experiment withHue/Saturation 04 Stroke adjustments.These eyelashes allowyoutochange Ctrl/Cmd-click an thehueandmodify empty space and thesaturation repeat. Hit the Brush andbrightness tool (B) and choose ofacolour.The a Width of 2px with adjustmentscan a hard edge. Pick a alsobecombined dark brown. Select withblendingmodes the Pen tool (P) and foralteringtheway Ctrl/Cmd-click and colourbehaves drag to select the ontheskintone. paths. Hit Stroke Path Reducingthelayer in the Path Layers opacitywillmake menu. Reduce the theseeffectsmore layer opacity to blend subtleandbring with existing lashes. backtheoriginal skintone. 05 Adding lipstick Create a new layer. Select a soft brush and choose a dark cherry red for the lipstick colour. Set the layer blend mode to Overlay and paint over the lips. Reduce the Layer Opacity to 30%. Next, click on the Add Layer Mask icon at the bottom of the Layers palette and choose Curves. 06 Eye contrast Now click on the middle of the curve and drag 07 Addingeyeshadow Create a new 08 Eyelineranddarkening Create upwards to lighten. Click on the layer mask and press Ctrl/ layer and choose a soft brush with a a new Curves adjustment layer for Cmd+I to invert the mask to black. Next, with a white brush paint over bright yellow colour. Change the blend mode the eyeliner. Pull down on the curve to darken the eyes to lighten them. Add another Curves adjustment layer, and this to Color and paint around the bottom and and then invert the mask as before. Use a small time draw a subtle ‘S’ shape for contrast. Repeat masking techniques. top of the eyelids. Reduce the layer opacity to brush to paint in eyeliner. Repeat the process blend. You may need to add the Gaussian Blur for eye shadow and adjust the opacity to blend. lter to soften. Repeat using the Darken blend Repeat for the eyebrows and repeat the lipstick mode and grey for the shadow. Also try a layer step to add blusher to the cheeks. with grey in Overlay mode. PHOTOSHOP CREATIVE COLLECTION 89

tutorial Improving skin tone KEY SKILLS Start image COVERED What you’ll learn LIGHTEN TONAL INFORMATION WITH CURVES FOCUS A CURVES ADJUSTMENT WITH THE BLENDING OPTIONS LOCALISE AN ADJUSTMENT USING LAYER MASKS USE SELECTIVE COLOR TO TARGET AREAS OF THE COLOUR RANGE essentials After SKILL LEVEL Improvingskintone Learn three exciting new techniques designed to make skin tone glow with perfection Beginner Intermediate e’ve got three splendid techniques here for you, Next up is a technique for removing blotchy reddish areas from Expert all focused on improving the skin tone of a portrait Caucasian skin – sometimes natural, sometimes caused by forgetting subject. And we’re not talking about those staple to turn the heating on in winter, or perhaps by using the wrong kind of TIME TAKEN basics for removing spots, moles or wrinkles. No washing powder! You’ll know it when you see it, and it’s very di cult to – we’ve got some exciting new techniques for improving the actual remove without a ecting the good areas. Our method knocks out the 1 hour clarity and colour of skin. blotchy areas while leaving all the nice neutral skin areas fully intact. First up is a method for evening out skin tone, which e ectively YOUR EXPERT balances shadows and highlights to produce a lovely creamy nish. Our nal technique is all about improving the colour of skin tone. Skin It’s pretty clever and works by using a combination of a Curves colour (no matter the type) is mostly made up of either reds or yellows Matt Henry adjustment layer with the Blend If sliders in the Layer Blending with lesser amounts of complementary colours like cyan and magenta. options, giving far more precision over where our tonal adjustments By adding subtle hints of yellow, red, cyan, magenta or even green to ON THE DISC are made. these parts of the colour range, we can make skin look more appealing, either to knock back its natural colour bias or to enhance it further. Even skin before.jpg Blotchy skin before.jpg Olive skin before.jpg Fair skin before.jpg Coffee skin before.jpg VIDEO TUTORIAL Skin tones WORKS WITH | PHOTOSHOP CS OR ABOVE 90 PHOTOSHOP CREATIVE COLLECTION

BALANCEOUTSHADOWS/HIGHLIGHTSFORACREAMYGLOW Tip Combine Curves with the Blending options to make this work 01 Lighten with Curves Openup‘evenskinbefore.jpg’fromthe 02 Blend If slider Click FX at the bottom of the Layers palette Pro skin CD. Start by adding a Curves adjustment layer using the button at and hit Blending options (or right/Cmd-click the layer and pick smoothing the Layers palette base. Plot a single point on the curve midpoint, and click Blending options). Locate the Blend If section of the dialog, hold Alt/Opt and drag the point upwards to lighten the tonal range as a whole. and click the white triangle on the right-hand side of the This Layer ramp. This technique is a great professional 03 Split the highlights The white triangle should split in two. 04 Paint alternative to Drag the left portion leftwards as far as it will go. It will sit on top into the the Gaussian of the black triangle. You’ll notice the highlight areas suddenly dulling skin OK the dialog Blur method of down. Click the Preview button on and o to see the di erence. and make sure the smoothing skin. Curves layer mask is Its advantage selected. Invert it with over blurring skin Ctrl/Cmd+I to Hide All. areas is that all the We’re now going to lovely natural skin paint the adjustment detail (eg pores) into the skin only. Take is untouched, a soft white brush at making for a far 100% Opacity, zoom more naturalistic, in a little and paint authentic result. into the skin areas, As it won’t remove avoiding the hair and blemishes such the clothing. as spots, it’s best to get the worst 05 Protect the shadows If you want to protect shadow tones 06 Fix blotches Open ‘blotchy skin before.jpg’ from the CD. out first with the a little (not really necessary for this image), open the Blending Add a Selective Color adjustment layer using the button at the Healing brush options, split the black triangle and drag rightwards to suit. You may Layers palette base. Start by selecting Magenta from the drop-down or Clone Stamp need to go the whole way if the shadow tones don’t look smooth. Colors menu. Pull the Magenta slider leftwards and see if it has any e ect tool on a new on the blotchy areas. layer above the background layer. Tip Removing blemishes You can remove blemishes before adding your Curves adjustment by adding a layer above the background layer using the button at the Layers palette base and selecting the Spot Healing brush. Set it to Sample All Layers in the Tool Options bar and click on any spots or blemishes. Switch to Clone Stamp if you’re near edge detail, sourcing clean skin with Alt/Option before clicking. PHOTOSHOP CREATIVE COLLECTION 91

tutorial Improving skin tone skInReTouChIngTools Remove bloTChy aReas The following tools are all fundamental to improving the skin tone ASelectiveColoradjustment does the work here of any portrait subject, and unlike with other skin repair tools and filters such as the Healing brush tool or the Gaussian Blur filter, all 07 Try the skin detail remains totally untouched. magenta tones Ifitdoes Curves have an effect, move adjustment the Yellow slider The simple Curves rightwards to add adjustment can yellow to compensate be used to make for the increase in improvements green. You probably by lightening skin won’t need to increase and evening by quite the same out shadows amount as you and highlights. reduced magenta. blend If sliders The Blend If 08 Tryredtones If the Magenta slider 09 Changetheblending We removed sliders in the has no impact, select Reds from the the large blotches nicely by bringing Blending options Colors drop-down menu instead. Start by down magenta and black and pushing yellow. give you tonal dragging down the Magenta slider again and You can prevent contrast being affected by control over any look carefully at the results. Next, experiment changing the layer blending to Color. Our adjustment, with the Yellow and the Black slider too. contrast effects worked well, lightening protecting reddish patches a little, so we leave as is. the brightest highlights here. 10 Remove selective Color from adjustment unwanted areas Selective Color If surrounding skin is a powerful tone shifts too much, and surprisingly which has happened underused tool. here, invert the It’s perfect for layer mask with Ctrl/ subtle alterations Cmd+I and use in the colour a white brush at make-up of skin. about 30% to build brush tool up the adjustment in A straightforward the red areas tool, but in only, working until combination those areas match with a layer mask, the surrounding fundamental to skin tone. ensuring your adjustments target desired areas only. layer mask The layer mask ensures that we can localise our adjustments to specific parts of the image – the parts that need the adjustment the most. 92 PHOTOSHOP CREATIVE COLLECTION

TWEAK SKIN COLOUR FOR YOUR CHOSEN COMPLEXION Tip Use Selective Color to target your skin type colour range 11 Enhance 12 Knock Compensating olive skin back the for digital We can create a olive To knock back bit more glow for olive or tanned An excess of olive skin by adding skin a little, try magenta is common a bit of red to the selecting Yellows and with images shot yellow tones. Add dropping Yellow to digitally, as the a Selective Color about -20%, then do technology is adjustment layer the same again after currently more and select Yellows selecting Reds in the sensitive to reddish from the Colors drop-down menu. areas of the colour drop-down menu. It’s a good idea to spectrum. Quite Drag Cyan down to also drop Cyan to - often all you will around -40% to add 10% in both, to throw need to do to make reds. Use the layer a bit of red in. The skin look a little more mask to focus on skin reverse settings for appealing is to add only if other areas yellow and cyan will a Selective Color are a ected. produce a golden tan. adjustment layer, select Reds, and drag Magenta down a touch to say -10. You can also push Yellows up a little by about +5. Turn layer visibility on and off to see the difference. 13 Reduce the rosy look For fair or rosy skin, start by adding 14 Add a golden tan If we want to drive the complexion towards a Selective Color adjustment layer. We can make a rosy a more golden yellow, in addition to the above corrections complexion look a little less pronounced by selecting Reds and we can also push Yellow to as high as +70%. You may need to bring dropping Magenta to around -15% to add a touch of green. Around Magenta back up a bit to stop things looking a bit too green. +10% Cyan can help neutralise things further. 15 Warm up coffee skin For co ee coloured or black skin, add 16 Neutralise a Selective Color adjustment layer once again, and select Reds coffee skin from the Colors drop-down menu. Try adding +30% Yellow to give a For a more neutral much more golden feel to the skin. colour, try adding +20% Cyan with Reds in the Colors menu selected, and -20% Yellow. Stronger settings are required in this step and the previous step for darker shades of skin. PHOTOSHOP CREATIVE COLLECTION 93

tutorial Whiten teeth and eyes KEY SKILLS COVERED What you’ll learn REMOVING UNWANTED AREAS WITH THE CLONE STAMP TOOL TARGETING TONAL AREAS WITH A CURVES ADJUSTMENT FOCUSING ADJUSTMENTS USING A LAYER MASK BOOSTING SATURATION WITH A HUE/SAT LAYER INCREASING SIZE WITH FREE TRANSFORM LIGHTENING WITH LEVELS COLOUR CORRECTIONS WITH LEVELS essentials Whiten teeth and eyesStartimage Lighten and colour correct teeth and eyes with precision Curves and Levels adjustments SKILL LEVEL he eyes are always the rst thing we’re drawn to in In both cases, once you’ve done your work, it’s good practice to Beginner a portrait, and this fact is something of a double- zoom out and try reducing the opacities of the layers involved by Intermediate edged sword for Photoshop folk. half. Then ask yourself if you’re sure that isn’t enough. Expert On the one hand you can improve any portrait The techniques we’re applying are a little more sophisticated TIME TAKEN quickly by retouching these most important facets. On the other than the standard Dodge and Burn approach. We’re using a three- hand, bad retouching will obviously be just as quick; there’s point Curves adjustment to make tonal changes to the pupils and 30 minutes nothing like overly white eyes to send the viewer packing! So the whites of the eyes, while ensuring that the iris remains untouched message here is clear – do it, but do it well. (it receives a more suitable method of lightening via Hue/ YOUR EXPERT Saturation later on). And for teeth, we can target individual colour The same goes for lightening and whitening teeth, another channels with a Levels adjustment layer to get them perfectly Matthew Henry good method of improving your portrait, although you can white and neutral. Both methods can produce natural results. usually get away with a shred more work than is possible for eyes. ON THE DISC Improve teeth and eyes source.jpg VIDEO TUTORIAL Teeth and Eyes video WORKS WITH | PHOTOSHOP CS2 AND ABOVE 94 PHOTOSHOP CREATIVE COLLECTION

CLEAN UP THE EYES AND IMPROVE CONTRAST AND COLOUR Clone Stamp, Curves and Hue/Sat are our tools for the eye trade Tip 01 Select the eyes Start by selecting the Rectangular Marquee 02 Clone out veins Zoom in close and use Alt/Option to source Precision Tool (M) and make a selection around both eyes. Float this to good clean areas, then brush over the veins. It’s important to colour a new layer using Ctrl/Cmd + J. The rst thing we want to do is remove source as close as possible to the destination points as there are a lot of correction any unsightly veins. This is best done with the Clone Stamp tool (S) (set to Current and Below in the Tool options). subtle changes of tone in the whites that we need to preserve. If you want to get an absolutely neutral 03 Setupa 04 Paint into eyes Drag the pupil point down a white, you can use Curves touch and push the whites one up a touch. Leave the Color Sampler adjustment Youcan the iris point as it is. This lightens the white of the eye, but also tool (I). Click in three try the Spot Healing increases contrast a little. Invert the mask with Ctrl/Cmd+I to different teeth areas brush if you’re having Hide All, then use a white brush at 100% Opacity to paint both to produce three di cultywithClone eyeballs back in. sample points, then Stamp for certain work the Blue and veins. Repeat for the Red sliders in each second eye. Add a Levels layer until the Curves adjustment values of Red, Green layer and click the and Blue are all as buttonwiththe nger close as possible pointing up. Click the for each of the white of the eye to sample points. The place a point, another values are displayed on the iris and one in the Info palette more on the pupil. (Window>Info) – focus on the second set of numbers in each pair. 05 Bringoutthecolour Zoom out and 06 Enlargetheeyes An optional trick 07 Brush the mask Now add a layer mask to the eyes layer using check the e ect. If the eyes look too is to increase the size of the eyes. the button at the bottom of the Layers palette, invert it and light, drop the layer opacity – the change must Ctrl/Cmd-click on the eye layer and the two paint in the eye areas (including eyelids, lashes and eyebrows) using a be subtle. Next, add a Hue/Sat adjustment adjustment layers and hit Ctrl/Cmd+T for a soft white brush. layer, boost Saturation by +15, Lightness to Free Transform. Enter 103% in the Width and +7 and then invert the mask with Ctrl/Cmd+I. Height box, and hit Enter twice. Paint into the iris and pupil with white to bring out the colour. PHOTOSHOP CREATIVE COLLECTION 95

tutorial Whiten teeth and eyes LIGHTEN AND WHITEN FOR THE PERFECT SMILE Tip Clever Levels adjustments do all the dentistry here 08 Levelsadjustmentlayer Start by 09 Brushintoteeth Take a white brush 10 Reduceyellowing Ctrl/Cmd-click Colour zooming into the teeth area. Next, and carefully brush into the teeth only, the layer mask to load it as a selection management add a Levels adjustment layer using the button taking care to avoid gums and lips. Use black to and add another Levels adjustment layer. It will at the Layers palette base. Move the middle brush back out if you make a mistake. Toggle load with a mask based on that selection. Select We’re doing our slider leftwards to around 1.50 to lighten the layer visibility on and o to check you haven’t Blue in the Levels adjustment drop-down menu colour work by eye, tonal range. Now invert the layer mask with missed any bits or gone into unwanted areas. and move the middle slider leftwards until so it’s important Ctrl/Cmd+I to Hide All. yellowing disappears from all parts of the teeth. that you have your monitor calibrated 11 Knockback and profiled using the blues a device like the You’ll probably nd Eye One Display 2 now that some of the or Pantone Huey less yellow areas have to ensure that taken on a bluish hue. your monitor is Knock these back by displaying colour brushing over with accurately, or a black brush set to you may end up around 30% with the adding too much of layer mask selected. one colour. If you Work over until you haven’t invested get a neutral white. in one of these gadgets yet, you can use the Color Sampler tool (see side tip, previous page) and focus on the numbers to produce your neutral white instead. 12 AnotherLevelslayer Teeth also have a strong red tinge that we’re going to try and tone down to hit a perfectly neutral white. Ctrl/Cmd-click the rst layer mask to load as a selection again and add another Levels adjustment layer, this time selecting Red from the drop-down menu. 13 Reduce the red tinge Move the middle slider rightwards a 14 Reduce touch to remove any red tinge. We only had to go to 0.94. Go too opacity far, and you’ll introduce too much cyan. Again, brush out any areas that Zoom out with have taken on a cyan tinge. Ctrl/Cmd+–, and take a good look at the work. Reduce the opacity of the rst lightening Levels layer if the e ect looks too strong. You can alter the opacity of the red and yellow colour removal layers too. 96 PHOTOSHOP CREATIVE COLLECTION

CreateselectionswithChannels5-minute fix wCritehaCtehsaenlneecltsions With a little help from the Levels dialog, Channels can quickly select areas essentials hannels come to Before the rescue when SKILL LEVEL you need to select After an area with speed. Beginner This may not be suitable for Intermediate isolating every type of object Expert from its background, but if you have a prominent foreground TIME TAKEN element it’s de nitely worth considering. Channels work Five minutes particularly well for selecting an area from the image we used, YOUR EXPERT where the background is not a at colour and can’t be easily Zoe Mutter selected using the Magic Wand. KEY SKILLS Quick tip: Use your COVERED keyboard to view a channel by pressing Ctrl/ What you’ll learn Cmd and then 1, 2 or 3 USING CHANNELS LEVELS ASIMPLESOLUTIONTOCOMPLEXSELECTIONS Give theMagicWandarest 01 Findtherightchannel Open your 02 HandyLevels With the new 03 Finalise the selection Once out of the Levels window, click image and go to Window>Channels. channel active, press Ctrl+L (PC) or the RGB channel to bring up the original image. Ctrl-click Click through the channels to see which has Apple+L (Mac) to bring up the Levels window. (PC) or Apple-click (Mac) on the duplicate channel to load it. The the best contrast and will make it easy to select Using the white-tipped eyedropper, click a background you created using Channels/Levels appears. Go to Select> the area you want. In this case it’s the Blue mid-grey point in the sky. All pixels lighter Inverse to select the foreground. This can be cut or copied and placed channel, as we want to select the blue sky than this will change to white. Now, with the on a di erent background. background. Ctrl-click (PC) or Apple-click (Mac) black-tipped eyedropper, select a dark-grey on Blue Channel. Pick Duplicate Channel to area from the foreground and all darker pixels create a copy. will become black. CS2 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 97

tutorial Removing shine from your photographs Before image essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 15 minutes YOUR EXPERT Stuart Little VIDEO TUTORIAL removing_shine. mp4 98 PHOTOSHOP CREATIVE COLLECTION

yRoeumropvhiontgosghrainpehfsrom KEY SKILLS COVERED Discover the Clone Stamp tool’s blending options and learn how to apply the digital equivalent of face powder to tackle even the shiniest of faces What you’ll learn here are probably around The ‘hot spots’ that can appear on a back to the camera causing a shiny little CREATING AND a dozen crucial retouching person’s face are called specular highlights. spot of light. Even if the ash is well away NAMING A NEW techniques that you should They are caused by light re ecting directly from the camera, this sometimes cannot LAYER learn, ready to be called upon into the camera lens, and you’ll most be avoided. USING THE CLONE when the situation arises. commonly see them when you use a STAMP TOOL compact digital camera. This is mainly In this tutorial you’re going to use the USING ADVANCED Removing shine from a subject’s face is Clone Stamp tool to apply a layer of non- CLONE STAMP TOOL OPTIONS one such technique, and in this tutorial we’ll because the ash is directly next to the destructive digital make-up to di use and CLONE STAMP introduce you to a subtle Clone Stamp tool lens, and light from the built-in ash goes scatter the light. But the key technique here TOOL LIGHTEN approach that produces professional results out and illuminates the subject’s face and is not to remove it entirely. If we did that, the BLEND MODE every time. But rst, we need to understand then, because of small water droplets or image would start to look really fake – and we BLENDING WITH what it is that we’re retouching. perspiration on the skin, is directly re ected wouldn’t want that, would we? LAYER OPACITY GET STARTED WITH A BLANK LAYER Tip Setting up the Clone Stamp tool 01 Creatingaretouchinglayer Open 02 CloneStamptool Now press the 03 CloneStampoptions View the Retouching up your image. The techniques here ’S’ key on your keyboard to go to the Clone Stamp tool options that layeraction should work with anything. Next, click the Clone Stamp tool. If you have been previously appear at the top of the interface. You’ll need New Layer icon and double-click the ‘Layer using the Pattern Stamp tool, then you to choose a soft-edged brush around 30px. You can use a blank 1’ text, then rename the layer ‘Retouching may need to hold down the Shift key while The next option is the key to the digital make- retouching layer Layer’. Later you will be able to get back to this pressing ’S’ to cycle through the two di erent up working for you. Change the Clone Stamp for any type of layer and adjust its opacity to blend the digital Cloning options. tool’s blending mode from Normal to Lighten. retouching in PS, so make-up and allow a little of the shine back why not save some through for a more natural e ect. time and create a retouching layer action? Record the process of creating a new layer, naming it and maybe setting the opacity or blend mode for the layer so the process is seamless and repeatable. You could name it after the task – so in this case, ‘Hot Spot Removal Layer’ would work well. PHOTOSHOP 7 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 99

tutorial Removing shine from your photographs FINE-TUNE THE CLONE STAMP TOOL’S SETTINGS It’s time to apply some digital powder 04 OpacityandFlow The Opacity and 05 Sampling Starting with the 06 Cloning Zoom into 100%, and using a small soft brush Flow should both start around 35%. brightest specular highlight, you around 10 pixels in size, apply the sampled skin to the area of You can make these settings less or more, need to sample the skin closest to the hot spot specular highlight. Work in a circular motion, and if you have a graphics as long as the two options are equal. The of light. Hold down Alt/Opt and click with your tablet this is the perfect opportunity to get it out and use it. The cloned Aligned radio button should be ticked, and mouse button to sample a piece of skin that skin should now be sitting on the retouch layer. nally, in the Sample menu All Layers should closely matches the area you need to ll with be selected, allowing you to clone from the the skin texture. lower layer(s) to the blank retouching layer. Tip Advanced blending 07 Work small To get the best result, work in one small area at a Usea time with a small soft-edged brush. Repeat steps 5 and 6 until protective Using the Lighten blend mode all of the hot spot has been covered by the cloned pixels that are sitting Lasso on the retouching layer. You can check your progress by hitting the selection The Clone Stamp tool is sometimes forgotten because of the retouching layer’s visibility icon in the Layers panel. power of the Healing brush. If you use the Healing brush on If you struggle this occasion, it may remove the specular highlight but it won’t 08 Lower when using the give you that subtle soft glow required to make your photo opacity Clone Stamp tool believable. The secret to this is the advanced blending option When you’ve cloned and want to protect ‘Lighten’, which just to confuse things, actually darkens and enough pixels from the majority of blends the hot spot of reflective light! Enlarge your image to the surrounding areas the subject, use 100% or higher – you can work on small areas of skin and and the hot spot the Lasso tool to apply cloned skin texture to the image non-destructively using almost matches the create a protective the blank layer. This gives you a great amount of control for rest of the skin, you selection. Think of correcting mistakes and adjusting the final look of the highlight. can stop! Knowing it as a fence around when to stop is just your work. Feather as important as the selection by knowing where to around 5-10 pixels start. Finally, lower then work normally the retouching layer’s within the selection. Opacity to 85% to This will stop you blend a little of the cloning out with shine back for a sense the selection and of realism. allow you to protect details such as lips, eyes, ears and hair. 100 PHOTOSHOP CREATIVE COLLECTION