Photoshop CS4 Studio Techniques- P1

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Photoshop CS4 Studio Techniques- P1

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Photoshop CS4 Studio Techniques- P1: Staring at a shelf full of Photoshop books at the local bookstore, it seems that there are more special-effect “cookbooks” and technical tomes than anyone would ever care to read. The problem is that none of those “cookbooks” provide enough detail to really let you feel like you understand the program

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  1. Adobe® Photoshop CS4 ® STUDIO TECHNIQUES Ben Willmore and Dan Ablan
  2. Adobe® Photoshop® CS4 Studio Techniques Ben Willmore and Dan Ablan This Adobe Press book is published by Peachpit. For information on Adobe Press books, contact: Peachpit 1249 Eighth Street Berkeley, CA 94710 (510) 524-2178 Fax: (510) 524-2221 To report errors, please send a note to errata@peachpit.com Peachpit is a division of Pearson Education Copyright © 2009 Ben Willmore and Dan Ablan For the latest on Adobe Press books, go to www.adobepress.com Project Editor: Nikki Echler McDonald Development Editor/Copy Editor: Robin Drake Production Editor: Hilal Sala Technical Editors: Daniel Giordan, Rob Sylvan Composition: David Van Ness Indexer: James Minkin Cover design: Peachpit/Charlene Will Cover illustration: Regina Cleveland Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@peachpit.com. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book. ISBN 13: 978-0-321-61310-3 ISBN 10: 0-321-61310-4 9 8 7 6 5 4 3 2 1 Printed and bound in the United States of America
  3. Contents Introduction xi Part I Working Foundations 1 Chapter 1 Tools and Panels Primer 3 Preparing Your Workspace 4 Navigating Your Document 13 Picking Colors 18 Basic Editing Tools 21 The Next Step 41 Chapter 2 Selection Primer 43 Using Adobe Bridge 44 What Is a Selection? 60 Basic Selection Tools 61 Refining a Selection 70 Using the Select Menu 72 Quick Mask Mode 82 The Next Step 85 Part II Production Essentials 87 Chapter 3 Layers and Curves 89 How Do Layers Work? 90 Meet the Layers 91 The Power of Curves 115 Taking Curves for a Test Drive 125 The Histogram Panel 138 Shadows/Highlights 144 The Next Step 148 Chapter 4 Using Camera Raw 5.0 149 What Is Raw Format? 150 The Camera Raw 5.0 Dialog 152 Adjusting Multiple Images 183 Finishing Touches 184 The Next Step 184 Chapter 5 Adjustment Layers 185 Adjusting Methods 186 Adjustment Layer Features 189 Limiting Adjustments 197 Histograms and Automatic Adjustments 206 Potential Problems 208 iii
  4. Limitations of Adjustment Layers 209 Final Notes on the Adjustments Panel 210 The Next Step 210 Chapter 6 Sharpening 211 Removing Film Grain and Scanner/Camera Noise 213 How Sharpening Works 221 Tricks of the Trade 232 The Next Step 236 Part III Grayscale, Color, and Print 237 Chapter 7 Setting Up Images for Final Output 239 Brightness and Contrast 240 Adjusting Levels 242 Prepping for Print 249 Working with Color 256 The Next Step 270 Chapter 8 Color Manipulation 271 At the Core Is the Color Wheel 272 Hue/Saturation Changes 274 Color/Grayscale Conversions 282 Replacing Color 287 Variations 288 Color Balance 289 Levels/Curves and Color 290 Selective Color 294 Match Color 296 Red Eye Tool 299 Color Replacement Tool 299 Channel Mixer 301 Gradient Map 305 The Next Step 306 Part IV Creative Techniques 307 Chapter 9 Enhancements and Masking 309 Blending Modes 310 Choosing the Right Masking Tool 338 The Background Eraser 339 The Blending Sliders 344 Channels 346 Creating Paths with the Pen Tool 350 Layer Masks 352 The Next Step 355 iv
  5. Chapter 10 Collage Effects 357 Familiar Techniques 358 Cool Borders and Photo Frames 360 Creating a Panoramic Image with Photomerge 363 Vector Masks 364 Working with Smart Objects 369 Warping Images 378 Creating Complex Collages 380 The Next Step 388 Chapter 11 Retouching Techniques 391 Patch Tool 392 Healing Brush 397 Spot Healing Brush 400 Clone Stamp 401 Vanishing Point 408 Dodge and Burn Tools 414 Sponge Tool 418 Blurring and Sharpening 419 Lens Correction Filter 425 Liquify Filter 428 Content-Aware Scaling 439 The Next Step 440 Index 441 3D Garage.com Bonus Videos Located online at www/DanAblan.com/photoshop: Chapter 12 Workflow Bonus Video 1 Line Art Scanning Bonus Video 2 Channels Bonus Video 3 Shadows Bonus Video 4 Type and Background Effects Bonus Video 5 Resolution Solutions v
  6. About the Authors Ben Willmore A senior engineer from NASA once said that Ben Willmore gave the best technical seminar he ever attended. That same year, a computer-phobic who had been struggling with Photoshop for years proclaimed, “He takes the bogeyman out of Photoshop!” This seems to be Ben’s special gift; he has an ability to connect with users of every level and mind- set, whether it’s first-timers taking their first sniff of Photo- shop, or razor-sharp nerds who are on the fast track to technical illumination. The common echo that Ben leaves in his wake seems to be, “Aha! I finally get Photoshop!” Known for revealing the simplicity that lies within Photo- shop’s complexity, Ben has personally taught over 60,000 Photoshop users on four continents. He is coauthor (with Jack H. Davis) of the best-seller How to Wow: Photoshop for Photography, as well as Adobe Photoshop CS4: Up to Speed. Ben speaks at publishing conferences and events world- wide, including Photoshop World, the American Society of Media Photographers (ASMP), and Professional Pho- tographers of America (PPA). He writes for numerous digital imaging and photography publications, including a monthly column for Photoshop User magazine. In 2004, he was inducted into the Photoshop Hall of Fame at Photoshop World. His reputation as the “expert’s expert” prompted NAPP’s president, Scott Kelby, to say, “When we get stuck, we call Ben!” In 2006, Ben took his Photoshop adventures on the open road in a giant touring bus. His home/office on wheels has enabled him to rekindle his great passion for photography; while many of us are hitting the snooze button, Ben is likely to be prowling around in the pre-dawn hours waiting for the perfect light. To see Ben’s photos from the road, and to keep track of him while he’s exploring America, visit www.WhereIsBen.com. vi
  7. Dan Ablan On Dan Ablan’s LinkedIn page, a colleague from NASA Ames Research wrote, “His work has reliably exceeded all expectations, and has focused on satisfying the customer without concern for changes requested along the way. He is a professional: technically and as a businessman.” Throughout a 20-year career in the digital arts, Dan’s cli- ents have proclaimed similar sentiments. Dan has the abil- ity to explain a complex program in simple terms, whether it’s 3D modeling and animation software, photography applications, or Photoshop. His knack for finding a com- mon denominator with coworkers and students translates to the subjects he teaches. Primarily known for his 3D books on NewTek’s LightWave and Luxology’s modo, such as the popular Inside LightWave series from New Riders Publishing, Dan’s true passion is the photographic arts. With today’s advancements in digi- tal photography, it has been a natural progression for Dan to bring his years of photography and digital imaging skills to the Photoshop community. Dan Ablan is president of AGA Digital Studios, Inc., a 3D animation and imaging company in the Chicago area. AGA Digital has produced 3D visuals for broadcast, corporate, and medical clients since 1994, and is also home to Ablan Gallery, Dan’s portrait art business. Dan is the author of the international best-selling Inside LightWave books from New Riders Publishing (covering LightWave versions 6, 7, 8, and 9), LightWave Power Guide (version 5.0), Inside Light- Wave 3D (version 5.5), LightWave 6.5 Magic, and coauthor of LightWave 8 Killer Tips. He also is the author of Digital Cinematography & Directing, served as technical editor for Digital Lighting & Rendering, and was a contributor to Adobe After Effects 5.5 Magic. His latest books are Inside LightWave v9, The Official Luxology modo 301 Guide, and Digital Pho- tography for 3D Imaging and Animation. Adobe Photoshop CS4 Studio Techniques marks Dan’s 13th book. Dan is the founder of 3D Garage.com, a website dedicated to high-quality video training. He has written columns and articles for LightWave Pro magazine, Video Toaster User vii
  8. magazine, 3D Design magazine, 3D World magazine, and Computer Graphics World, while also serving as editor in chief of Keyframe magazine (now HDRI 3D magazine) for two years. Dan has taught workshops since 1995 across the country on 3D and digital imaging, and recently started a Chicago-based, two-day one-on-one personal Photography & Photoshop workshop. Some of the companies Dan has trained include Reebok, Fox Television, ABC-TV, CBS-TV, WTTW PBS Chicago, Lockheed Martin, and many others. An active member of the Professional Photographers of America, as well as Wedding & Portrait Photographers International (WPPI), Dan is always looking for new and exciting opportunities to capture that perfect image. Visit Dan’s main site at www.DanAblan.com to see what’s new, and view his photography at www.AblanGallery.com. viii
  9. Thank You! First and foremost, I have to thank Ted Waitt at Peachpit Publishing for making me a part of this book. Victor Gavenda introduced me to Ted over a year ago, probably because I wouldn’t stop harassing him with ideas! I think Victor finally had enough of my incessant email messages and referred me to Ted. Not knowing any better, Ted answered my email. We started a dialogue and continued for nearly five months before the opportunity came about to revise this book. So, thanks to both of you! What’s interesting about this book is that just days after attend- ing Ben Willmore’s Photoshop seminar in Chicago, Ted emailed me about Ben’s Adobe Photoshop CS3 Studio Techniques book. Peachpit was looking for someone to revise the series for the upcoming release of Photoshop CS4. So I have to thank Ben Willmore for the opportunity to work with your outstand- ing text, while still being able to add my own voice and imagery throughout the pages. Keep up the great work, Ben! From there, my appreciation and thanks go out to Nikki McDonald and Robin Drake. These two have been the driving force behind the book, working many late nights, while tack- ling holidays, kids, and illness. Thanks for making this process so smooth, and making the book what it is. Thanks also to Daniel Giordan for helping out as technical editor while he could. A bigger thanks goes to Peachpit’s Lightroom Reference Guide host and all-around superhero, Rob Sylvan, for stepping in literally at the last minute to pick up the slack for our technical editing needs. Thanks, Rob! We owe you one. There are always key people behind the scenes who really make these books come to life, such as Hilal Sala. Thank you, Hilal, for making all the “other” stuff happen so we could concentrate on content! Thanks to all of you who have emailed, twitted, and blogged during my months of sinking my teeth into this book. Your support does not go unnoticed and is greatly appreciated. Finally, thank you to my fantastic wife, Maria, and amazing daughter, Amelia. Your support is what keeps me going. —Dan Ablan ix
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  11. I Introduction
  12. Introduction S taring at a shelf full of Photoshop books at the local bookstore, it seems that there are more special-effect “cookbooks” and technical tomes than anyone would ever care to read. The problem is that none of those “cook- books” provide enough detail to really let you feel like you understand the program (blindly following the listed steps just doesn’t do it), and all of the technical books are deep into terms like rasters, vectors, and bit-depth settings. That’s the primary reason that most people aren’t truly comfort- able with Photoshop. They either get the 1-2-3 steps (but no real understanding), or they get so many technical terms that Photoshop becomes impossible to grasp. So how is this book different? Our approach is to use the same language that you use in everyday life, to explain everything from the simplest feature to the most advanced techniques. Ben Willmore acquired this approach as a result of teaching tens of thousands of people in hundreds of seminars and hands-on workshops. We still provide a fair share of step-by-step techniques, and we delve into some rather advanced features, but through it all we use meta- phors and examples that make everything easy to under- stand and digest. Our mission is to help you graduate from “I’m just going through the motions” to “At last, I really understand Photo- shop.” Once you’ve made that leap, you’ll experience an incredible ripple effect. Your efficiency will skyrocket. Your costs will decrease. Your creative genius will come out of the closet like gangbusters, and your clients (or boss) will be thrilled. But what’s most important to us is that, through learning how to master Photoshop, you’ll find the passion and energy that come from knowing you’re really good at something. xii
  13. Introduction Will I Understand It? Photoshop can be complex if you want it to be. But rather than boring you with technical terms and theories, this book will help you get results. It will demonstrate areas of the program that once eluded you. This book is much more than a set of recipes, and in the coming pages you’ll find that mastering Photoshop CS4 is easier than you might think. Does It Start at My Level? If you’re generally comfortable with your computer, you should be able to comprehend the information in this book, no matter how advanced the topic. We assume that you’ve installed Photoshop and you’re using the Photoshop User Guide to figure out your way around the program. If you’re an advanced user, don’t worry. This book is very understandable, but we also get into the real meat of Photoshop and the powerful tools of version CS4. Mac or Windows? From a functionality standpoint, Photoshop is pretty close to identical on Mac and Windows platforms. Anything you can do on one platform, you can do on the other. But those darn keyboards are different. You can put your wor- ries aside, because both Mac and Windows keyboard com- mands are integrated right into the text. For screen shots, we had to pick one platform and run with it, and we chose Mac OS X. What’s Missing? This book doesn’t come with a CD, and there is much more in Photoshop to discover than we could possibly fit into the allotted page count. Dan Ablan has created a num- ber of training videos through 3D Garage.com that will help you to take your learning further. Visit www.danablan. com/photoshop to view Chapter 12, “Workflow,” and a series of bonus videos on assorted useful topics. xiii
  14. Introduction As with Adobe Photoshop CS3, Adobe Photoshop CS4 has a hybrid version called “Extended.” It has all the features of regular Photoshop, plus some features designed for more technical users (engineers, scientists, medical profes- sionals, architects, television/film folks, 3D artists, and so on). This book is intended for photographers and graphic designers, and because the extended features are beyond the scope of that audience, we don’t cover them here. What’s New in CS4? Whether you have a previous edition of this book or you just want to jump right into the new features, it’s still a good idea to start at the beginning. This entire book has been updated from Adobe Photoshop CS3 Studio Techniques. The text has been streamlined, and new examples and the new features of CS4 have been covered throughout the chapters where appropriate. Ready to Get Started? If you’ve read this far, you’re the right person to use this book. (Most people don’t read the introductory stuff— they just skip right to the good stuff.) So what are you waiting for? Turn the page and start understanding Adobe Photoshop CS4! xiv
  15. PAR PART I Working Foundations Chapter 1 Tools and Panels Primer 3 Chapter 2 Selection Primer 43
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  17. CHAPTER 1 Tools and Panels Primer
  18. The secret of all victory lies in the organization of the non-obvious. —Marcus Aurelius Tools and Panels Primer W hen you first open Photoshop CS4, the newly designed interface is unassuming. As you explore deeper into the tools and panels, however, you might find that the interface can quickly become cluttered, if not downright confusing. If you’ve worked in Photoshop previously, you might be aware that all of those panels can take up much of your screen, unless you’re fortunate enough to have a second monitor to expand your workspace. This chapter will help you to become familiar with Photoshop’s tools and panels so that you can manage the updated CS4 work- space effectively. Preparing Your Workspace With previous versions of Photoshop, you might have ended up shifting and nudging panels around the screen in order to work on a graphic or image. Along came Photo- shop CS2 and CS3, packed with a huge number of panels, and adding even more tools. With CS4, the interface has been streamlined to help you work. You can easily make any panel visible—or not visible—based on your needs, organizing the clutter into an elegant arrangement in just a few seconds. Panels and Docks To assist you in maximizing your screen real estate, CS4 provides panel docks, special interface elements that allow you to collapse and expand entire groups of panels easily (Figures 1.1a and 1.1b). 4
  19. I: Working Foundations Figure 1.1a Photoshop’s CS4 interface is less cluttered than previous versions, but still very customizable. Figure 1.1b The PC version of Photoshop CS4 looks and works the same as the Mac version. You’ll notice, however, that the menu bar is slightly different. 5
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