Photoshop 6 for Windows Bible- P11

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Photoshop 6 for Windows Bible- P11:If you are reading this foreword, it probably means that you’ve purchased a copy of Adobe Photoshop 6.0, and for that I and the rest of the Photoshop team at Adobe thank you. If you own a previous edition of the Photoshop Bible, you probably know what to expect. If not, then get ready for an interesting trip.

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Nội dung Text: Photoshop 6 for Windows Bible- P11

Chapter 7 ✦ Retouching, Repeating, and Restoring 267 Clone reference crosshair Stamp pickup cursor Rubber stamp cursor Figure 7-2: After Alt-clicking at the point indicated by the stamp pickup cursor, I dragged with the rubber stamp tool to paint with the image. (The only reason I painted inside the white rectangle was to set off the line so you can see it better.) Figure 7-3: As the result of my cloning, this memorialized hero suffers twice the indignation of being used as a lofty perch for loitering birds.
268 Part II ✦ Painting and Retouching Figure 7-4: I merged the area around the horse and rider with a water image from another open window (see the upcoming Figure 7-6). The translucent effects were created by periodically adjusting the Opacity value to settings ranging from 50 to 80 percent. When the rubber stamp is active, the Options bar gives you access to the Brush palette as well as the standard Mode, Opacity, and Use All Layers options that I cover in Chapter 5. The only unique item is the Aligned check box. To understand how this option works, think of the locations where you Alt-click and begin drag- ging with the rubber stamp as opposite ends of an imaginary straight line, as illus- trated in the top half of Figure 7-5. When Aligned is turned on, the length and angle of this imaginary line remains fixed until the next time you Alt-click. As you drag, Photoshop moves the line, cloning pixels from one end of the line and laying them down at the other. The upshot is that regardless of how many times you start and stop dragging with the stamp tool, all brushstrokes match up as seamlessly as pieces in a puzzle. If you want to clone from a single portion of an image repeatedly, turn off the Aligned check box. The second example in Figure 7-5 shows how Photoshop clones from the same point every time you paint a new line with the rubber stamp tool. As a result, each of the four brushstrokes features part of the bird and none line up with each other.
Chapter 7 ✦ Retouching, Repeating, and Restoring 269 Aligned Not aligned Figure 7-5: Turn on the Aligned check box to instruct Photoshop to clone an image continuously, no matter how many lines you paint (top). If you turn off the option, Photoshop clones each new line from the point at which you Alt-click. Touching up blemishes One great use of the rubber stamp tool is to touch up a scanned photo. Figure 7-6 shows a Photo CD image desperately in need of the stamp tool’s attention. Normally, Kodak’s Photo CD process delivers some of the best consumer-quality scans money can buy. But this particular medium-resolution image looks like the folks at the lab
270 Part II ✦ Painting and Retouching got together and blew their respective noses on it. It’s too late to return to the service bureau and demand they rescan the photo, so my only choice is to touch it up myself. Figure 7-6: This appallingly bad Photo CD image is riddled with blotches and big hulky wads of dust that didn’t exist on the original 35mm slide. The best way to fix this image — or any image like it — is to use the rubber stamp over and over again, repeatedly Alt-clicking at one location and then clicking at another. Begin by selecting a brush shape slightly larger than the largest blotch. Of the default brushes, the hard-edged varieties with diameters of 5 and 9 pixels gener- ally work best. (The soft-edged brush shapes have a tendency to only partially hide the blemishes and leave ghosted versions behind.) Alt-click with the stamp tool at a location that features similarly colored pixels to the blemished area. Be sure to Alt-click far enough away from the blemish that you don’t run the risk of duplicating the blemish as you clone. Then click — do not drag — directly on the blemish to clone over it. The idea is to change as few pixels as possible. If the retouched area doesn’t look quite right, press Ctrl+Z to undo it, Alt-click at a different location, and try again. If your touchup appears seamless — absolutely seamless, there’s no reason to settle for less — move on to the next blemish. Repeat the Alt-click and click routine for every dust mark on the photo. This process isn’t necessarily time-consuming, but it does require patience. For example, although it took more than 40 Alt-click and click combinations (not count- ing 10 or so undos) to arrive at the image shown in Figure 7-7, the process itself took less than 15 minutes. Boring, but fast.
Chapter 7 ✦ Retouching, Repeating, and Restoring 271 Figure 7-7: The result of Alt-clicking and clicking more than 40 times on the photo shown in Figure 7-6. I also cropped the image and added a border. Retouching hairs is a little trickier than dust and other blobs because a hair, although very thin, can be surprisingly long. The retouching process is the same, though. Rather than dragging over the entire length of the hair, Alt-click and click your way through it, bit by little bit. The one difference is brush shape. Because you’ll be clicking so many times in succession, and because the hair is so thin, you’ll probably achieve the least-conspicuous effects if you use a soft brush shape, such as the default 9-pixel model in the second row of the Brush drop-down palette. Caution At this point you might wonder, “Why go to all this work to remove dust and scratches when Photoshop provides the automated feature Filter ➪ Noise ➪ Dust & Scratches?” The reason is — and I’m going to be painfully blunt here — the Dust & Scratches filter stinks. No offense to the designers of this filter: They’re wonderful people, every one of them, but the filter simply doesn’t produce the effect it adver- tises. It mucks up the detail in your image by averaging neighboring pixels, and this simply isn’t an acceptable solution. Do your photograph a favor — fix its flaws man- ually (not to mention lovingly) with the rubber stamp tool. Restoring an old photograph Dust, hairs, gloops, and other blemishes are introduced during the scanning pro- cess. But what about more severe problems that trace back to the original image? Figure 7-8 is a prime example. This photograph was shot sometime before 1910. It’s a wonderful photo, but 90 years is a long time for something as fragile and transient as a scrap of paper. It’s torn, faded, stained, creased, and flaking. The normally sim- ple act of extracting it from its photo album took every bit as long as scanning it.
272 Part II ✦ Painting and Retouching Figure 7-8: This photo’s seen better days. Then again, I hope to look as good when I’m 90 years old. But despite the photo’s rough condition, I was able to restore it in Photoshop, as evi- denced by Figure 7-9. (For a full-color view of the before and after images, see Color Plate 7-1.) As in the case of the pool image (Figure 7-7), I used the rubber stamp to do most of the work. And as before, the process was tedious but straightforward. After about an hour and a few hundred brushstrokes, I had the image well in hand. Note If an hour sounds like a long time to fix a few rips and scrapes, wake up and smell the coffee. This is not one-button editing. Photographic restoration is a labor-intensive activity that relies heavily on your talents and your mastery of Photoshop. The rub- ber stamp tool goes a long way toward making your edits believable, but it does little to automate the process. Retouching calls for a human touch, and that’s where you come in.
Chapter 7 ✦ Retouching, Repeating, and Restoring 273 Figure 7-9: The same image after about an hour of work with the rubber stamp tool. I considered documenting every single one of my brushstrokes, but I value your time (yes, and my own) too highly. Suffice it to say that the general approach was the same as it was for the pool image. Alt-click in an area that looks like it’d do a good job of covering up the blemish and then drag over the blemish. And repeat about 250 times. That said, I do have some advice that specifically addresses the art of photo restoration: ✦ Most images in this kind of condition are black-and-white. Scan them in color and then peruse the color channels to see which grayscale version of the image looks best. As you can see in Color Plate 7-1, the original image had lots of yel- low stains around the tears.
274 Part II ✦ Painting and Retouching So when I viewed the individual color channels (Figure 7-10), I was hardly sur- prised to see dark blotches in the blue channel. (Blue is the opposite of yellow, so where yellow is prominent, the blue channel was dark.) In my case, the red channel was in the best shape, so I switched to the red channel and disposed of the other two by choosing Image ➪ Mode ➪ Grayscale. The simple act of trash- ing the green and blue channels went a long way toward getting rid of the splotches. Red Green Blue Figure 7-10: A quick peek through the color channels shows the red channel to be my best choice. The blotches are most evident in the girl’s blouse, enlarged along the bottom.
Chapter 7 ✦ Retouching, Repeating, and Restoring 275 ✦ Work at 100 percent view size (Ctrl+Alt+0) or larger. It’s impossible to judge scratches and other defects accurately at smaller zoom ratios. ✦ Keep the original photo next to you as you work. What looks like a scratch on screen may actually be a photographic element, and what looks like an element may be a scratch. Only by referring to the original image can you be sure. Tip Don’t crop until you’re finished retouching the image. You’d be surprised how useful that extra garbage around the perimeter is when it comes to covering up really big tears. ✦ Use hard brush shapes against sharp edges. But when working in general areas such as the shadow, the ground, and the wall, mix it up between hard and soft brushes. Staying random is the best way to avoid harsh transitions, repeating patterns, and other digital giveaways. ✦ Paint in short strokes. This helps keep things random, but it also means you don’t have to redraw a big long brushstroke if you make a mistake. Tip When you do make a mistake, don’t press Ctrl+Z. Instead, use the history brush to paint back the image as it appeared before the last rubber stamp operation. (I explain more about the history brush later in this chapter.) ✦ Another way to stay random is to change the source of your clone frequently. That means Alt-clicking after every second or third brushstroke. And keep the Aligned check box turned off. An aligned clone is not a random one. ✦ Feel free to experiment with the brush modes and the Opacity setting. For example, as shown magnified in Figure 7-11, the girl has a scratch on the left eye (her right). I corrected this by cloning the right eye, but the cloned eye was so much lighter that it gave the girl a possessed look. To fix this, I set the brush mode to Multiply and changed the Opacity to 30 percent. Then I cloned a bit of the shadowed flesh over the eye to get the finished effect. Tip You also can try applying Edit ➪ Fade to change the opacity and brush mode of pixels you just cloned. Adobe expanded the Fade filter in Photoshop 5.5 so that you can use the filter to fade tool effects as well as filters. ✦ Don’t attempt to smooth out the general appearance of grain in the image. Grain is integral to an old photo and hiding it usually makes the image look faked. If your image gets too smooth, or if your cloning results in irregular pat- terns, select the problem area and apply Filter ➪ Noise ➪ Add Noise. Enter very small Amount values (4 to 8); if necessary, press Ctrl+F to reapply the filter one or more times. Remember, grain is good.
276 Part II ✦ Painting and Retouching Figure 7-11: The left eye in the original image is scratched (top). I clone the right eye (middle), but it’s too bright. So I set the brush mode to Multiply, lower the Opacity to 30 percent, and clone a little flesh over the eye (bottom). With Photoshop’s history brush at your side, there’s really no way to permanently harm an image. You can even let four or five little mistakes go and then correct them en masse with the history brush. Just click to the left of the state in the History palette that directly precedes your first screw-up and then drag with the history brush. It’s easy, satisfying, and incredibly freeing. To paint back to the origi- nal scanned image, click in front of the very top item in the History palette. For more information, check out “Stepping Back through Time” later in this chapter. Eliminating distracting background elements The stamp tool’s cloning capabilities also come in handy for eliminating back- ground action that competes with the central elements in an image. For example, Figure 7-12 shows a nifty news photo shot by Michael Probst for the Reuters image library. Although the image is well-photographed and historic and all that good stuff, that rear workman doesn’t contribute anything to the scene; in fact, he draws your attention away from the foreground drama. I mean, hail to the worker and everything, but the image would be better off without him. The following steps explain how I eradicated the offending workman from the scene.
Chapter 7 ✦ Retouching, Repeating, and Restoring 277 Figure 7-12: You have to love that old Soviet state-endorsed art. So bold, so angular, so politically intolerant. But you also have to lose that rear workman. Note Remember as you read the following steps that deleting an image element with the rubber stamp tool is something of an inexact science; it requires considerable patience and a dash of trial and error. So regard the following steps as an example of how to approach the process of editing your image rather than as a specific procedure that works for all images. You may need to adapt the process slightly depending on your image. On the other hand, any approach that eliminates an element as big as the workman can also correct the most egregious of photographic flaws, including mold, holes, and fire damage. You can even restore photos that have been ripped into pieces, a particular problem for pictures of ex-boyfriends and the like. These steps qualify as major reconstructive surgery.
278 Part II ✦ Painting and Retouching STEPS: Eliminating Distracting Elements from an Image 1. My first step was to clone the area around the neck of the statue with a soft brush shape. Abandoning the controlled clicks I recommended in the last sec- tion, I allowed myself to drag with the tool because I needed to cover rela- tively large portions of the image. The apartment building (or whatever that structure is) behind the floating head is magnificently out of focus, just the thing for hiding any incongruous transitions I might create with the rubber stamp. So I warmed up to the image by retouching this area first. Figure 7-13 shows my progress. I covered the workman’s body by cloning pixels from both his left and right sides. I also added a vertical bar where the workman’s right arm used to be to maintain the rhythm of the building. Remember, variety is the key to using the rubber stamp tool: If you consistently clone from one portion of the image, you create an obvious repetition the viewer can’t help but notice. Figure 7-13: Cloning over the background worker’s upper torso was fairly easy because the background building is so regular and out of focus, it provides a wealth of material from which to clone.
Chapter 7 ✦ Retouching, Repeating, and Restoring 279 2. The next step was to eliminate the workman’s head. This was a little tricky because it involved rubbing up against the focused perimeter of Lenin’s neck. I had to clone some of the more intricate areas using a hard-edged brush. I also ended up duplicating some of the neck edges to maintain continuity. In addi- tion, I touched up the left side of the neck (your left, not Lenin’s) and removed a few of the white spots from his face. You see my progress in Figure 7-14. Figure 7-14: I eliminated the workman’s head and touched up details around the perimeter of his neck. 3. Now for the hard part: eliminating the worker’s legs and lower torso. See that fragment of metal that the foreground worker is holding? What a pain. Its edges were so irregular, there was no way I could restore it with the rubber stamp tool on the off chance that I messed up while trying to eradicate the background worker’s limbs. So I lassoed around the fragment to select it and chose Select ➪ Inverse (Ctrl+Shift+I) to protect it. I also chose Select ➪ Feather (Ctrl+Alt+D) and gave it a Radius value of 1 to soften its edges slightly. This prevented me from messing up the metal no matter what edits I made to the background worker’s remaining body parts.
280 Part II ✦ Painting and Retouching 4. From here on, it was just more cloning. Unfortunately, I barely had anything from which to clone. See the little bit of black edging between the two “legs” of the metal fragment? That’s it. This was all I had to draw the strip of edging to the right of the fragment that eventually appears in Figure 7-15. To pull off this feat, I made sure that the Aligned check box was turned off in Options bar. Then I Alt- clicked on the tiny bit of edging and click, click, clicked my way down the street. Figure 7-15: After about 45 minutes of monkeying around with the rubber stamp tool — a practice declared illegal during Stalin’s reign — the rear workman is gone, leaving us with an unfettered view of the dubious V. I. Lenin himself. 5. Unfortunately, the strip I laid down in Step 4 appeared noticeably blobular — it looked for all the world like I clicked a bunch of times. Darn. To fix this problem, I clicked and Shift-clicked with the smudge tool set to about 30 per- cent pressure. This smeared the blobs into a continuous strip but, again, the effect was noticeable. It looked as if I had smeared the strip. So I went back and cloned some more, this time with the Opacity value set to 50 percent.
Chapter 7 ✦ Retouching, Repeating, and Restoring 281 6. To polish the image off, I chose Select ➪ Deselect (Ctrl+D) and ran the sharpen tool along the edges of the metal fragment. This helped to hide my retouching around it and further distinguished the fragment from the unfo- cused background. I also cropped away 20 or so pixels from the right side of the image to correct the balance of the image. What I hope I demonstrated in these steps is this: Cloning with the rubber stamp tool requires you to alternate between patching and whittling away. There are no rights and wrongs, no hard and fast rules. Anything you can find to clone is fair game. As long as you avoid mucking up the foreground image, you can’t go wrong (so I guess there is one hard and fast rule). If you’re careful and diligent, no one but you will notice your alterations. Caution Any time you edit the contents of a photograph, you tread on sensitive ground. Although some have convincingly argued that electronically retouching an image is, theoretically, no different than cropping a photograph — a technique available and in use since the first daguerreotype — photographers have certain rights under copy- right law that cannot be ignored. A photographer may have a reason for including an element you want to eliminate. So, before you edit any photograph, be sure to get per- mission either from the original photographer or from the copyright holder (as I did for this photo). Applying Repeating Patterns The rubber stamp’s cousin, the pattern stamp tool, paints with a rectangular pat- tern tile. You can use the pattern stamp to create frames, paint wallpaper-type pat- terns, or retouch textured patches of grass, dirt, or sky. To switch from the rubber stamp to the pattern stamp tool, Alt-click the stamp tool icon in the toolbox or press S (or Shift+S, depending on your preferences setting for tool switches). Photoshop 6 The pattern stamp, unlike the rubber stamp, doesn’t require you to Alt-click to set a source. Instead, you select a pattern from the Pattern drop-down palette, shown in Figure 7-16. The palette displays icons representing the available patterns in the cur- rent pattern preset, just as when you apply patterns using the paint bucket. (To find out how to change, load, and save presets, refer to Chapter 5.) If you pause your cur- sor over an icon and have tool tips turned on, Photoshop displays the pattern name. Photoshop 6 Here’s another pattern upgrade in Version 6: You now can define and save as many custom patterns as you like. To create a pattern, select a portion of the image with the rectangular marquee tool and choose Edit ➪ Define Pattern. Or, if you want to use the entire image as a pattern, you can skip the selecting step (also a new option). Note that if you do draw a selection, you must use the rectangular marquee tool — no other selection tool will do. Also, the selection cannot be feathered, smoothed, expanded, or in any other way altered. After you choose the command, you can change the name that Photoshop assigns to the pattern — Pattern 1, Pattern 2, and so on — to a name that will better help you identify the pattern later.
282 Part II ✦ Painting and Retouching Figure 7-16: Select a pattern from the drop-down palette and then click or drag with the pattern stamp tool. Figure 7-17 shows an example of how you can apply repeating patterns. I selected the single apartment window (labeled in the figure) and chose Edit ➪ Define Pattern. I then painted with the pattern stamp tool at 80 percent opacity over the horse and rider statue. Aligning patterns (or not) As is the case with the rubber stamp, the Options bar for the pattern stamp tool provides an Aligned check box. If you select the check box, Photoshop aligns all patterns you apply with the stamp tool, regardless of how many times you start and stop dragging. The two left examples in Figure 7-18 show the effects of selecting this option. The elements in the pattern remain exactly aligned throughout all the brushstrokes. I painted the top-left image with the Opacity value set to 50 percent, which is why the strokes darken when they meet. To allow patterns in different brushstrokes to start and end at different locations, turn the Aligned option off. The point at which you begin dragging determines the position of the pattern within each stroke. I dragged from right to left to paint the horizontal strokes and from top to bottom to paint the vertical strokes. The two right examples in Figure 7-18 show how nonaligned patterns overlap. Note As discussed in Chapter 6, you can also apply a pattern to a selected portion of an image by choosing Edit ➪ Fill and selecting the Pattern option from the Use pop-up menu. If you have an old grayscale image saved in the Photoshop 2 format sitting around, you can alternatively choose Filter ➪ Render ➪ Texture Fill to open the image and repeat it as many times as it takes to fill the selection. (Texture Fill is intended primarily for preparing textures and bump maps for a three-dimensional drawing program, so most folks never touch this filter.)
Chapter 7 ✦ Retouching, Repeating, and Restoring 283 Pattern tile Figure 7-17: After marqueeing a single window (top) and choosing Edit ➪ Define Pattern, I painted a translucent coat of the pattern over the statue with the pattern stamp tool (bottom).
284 Part II ✦ Painting and Retouching Figure 7-18: Select the Aligned check box to align the patterns in all brushstrokes so that they match up perfectly (left). If you turn the option off, Photoshop starts each pattern with the beginning of the brushstroke (right). Photoshop 6 Also investigate the new Fill Layers and Layer Style options for filling layers with patterns. You can explore both in Chapter 14. Creating patterns and textures Photoshop 6 provides a few sample patterns inside the Patterns folder, which lives inside the Presets folder. But if none of those patterns float your boat, you can cre- ate your own patterns. Ideally, your pattern should repeat continuously, without vertical and horizontal seams. Here are some ways to create repeating, continuous patterns: ✦ Load a displacement map: Photoshop offers a Displacement Maps folder inside the Plug-Ins folder. This folder contains several images, each of which repre- sents a different repeating pattern, as illustrated in Figure 7-19. To use one of these patterns, open the image, choose Select ➪ All (Ctrl+A), and choose Edit ➪ Define Pattern. (For more information on displacement maps, see Chapter A on the CD-ROM accompanying this book.)
Chapter 7 ✦ Retouching, Repeating, and Restoring 285 12-sided Cees Crumbles Fragment layers Honeycomb Mezzo effect Pentagons Random strokes Rectangular tiles Schnable effect Streaks pattern Twirl pattern Figure 7-19: These 12 patterns are in the Displacement Maps folder included with Photoshop. ✦ Illustrator patterns: If you open the Presets folder, then the Patterns folder, and then the PostScript Patterns folder, you can find Illustrator EPS files that contain repeating object patterns. The patterns, some of which appear in Figure 7-20, are all seamless repeaters. You can open them and rasterize them to any size you like. Then press Ctrl+A, choose Edit ➪ Define Pattern, and you have your pattern. ✦ Using filters: As luck would have it, you can create your own custom textures without painting a single line. In fact, you can create a nearly infinite variety of textures by applying several filters to a blank document. To create the texture shown in the top row of Figure 7-21, for example, I created a new 200 × 200-pixel image. I then chose Filter ➪ Noise ➪ Add Noise, entered a value of 64, and selected the Gaussian radio button. I pressed Ctrl+F twice to apply the noise filter two more times. Finally, I chose Filter ➪ Stylize ➪ Emboss and entered 45 in the Angle option box, 2 in the Height option box, and 100 in the Amount option box. The result is a bumpy surface that looks like stucco.
286 Part II ✦ Painting and Retouching Deco Drunkard's path Herringbone 1 India Intricate surface Laguna Mali primitive Optical checkboard Pinwheel Undulating Weave-Y Wrinkle dot gradation Figure 7-20: A random sampling of the illustrations in the PostScript Patterns folder, found inside the Presets/Patterns folder. To get the second row effects in Figure 7-21, I started with the noise pattern and applied Filter ➪ Pixelate ➪ Crystallize with a Cell Size of 10 pixels. Then I again applied the Emboss filter with the same settings as before. To create the third row of textures, I started with a blank image and chose Filter ➪ Render ➪ Clouds. Then I applied the Emboss filter with an Amount value of 500. To punch up the contrast, I choose Image ➪ Adjust ➪ Auto Levels (Ctrl+Shift+L). Cross- I could go on like this for days. To learn more about filters so you can make up Reference your own textures, read Chapters 10 and 11. Chapter 10 covers Add Noise; Chapter 11 explains Emboss, Crystallize, and Clouds. ✦ Marquee and clone: You can use the rectangular marquee and pattern stamp tools to transform an image into a custom pattern. Because this technique is more complicated as well as more rewarding than the others, I explain it in the following section.