adobe photoshop cs4 photography

8/14/2019 Adobe Photoshop Cs4 Photography

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Adobe Photoshop CS4 for photographyWhether you're completely new to photography or have been snapping photos for years, this class will

how you how to create magnificent photos using Adobe Photoshop CS4. You'll get time-saving tips,

nderstand how to get the most out of the software and learn how to edit and enhance your photoswithout compromising image quality.

Lessons

Organize, customize and process your photos1.After you take a brief tour of the new features in Adobe Photoshop CS4, you'll

start on your photos. This lesson shows you how to use the Bridge and Camera

Raw software integrated with Photoshop to organize and edit your photos.

Enhance your photos with light, color and sharpness corrections2.Even if you're fairly happy with your photo, chances are you can still improve it

by tweaking the light and color. In this lesson, you'll learn comprehensive, non-

destructive methods for color-correcting, toning and sharpening your pricelessphotos.

Retouching and restoring your photos3.Because people are the focus of many photos, this lesson shows you some

tricks and techniques for retouching your subjects like a pro. Learn how to use

the healing tools, remove red eye, use the selection tools and cosmetically

enhance your subjects.

Finishing and sharing your photos4.Even when you think you're almost done, there's always something more you

can do with your photos. Learn how to add gorgeous finishing touches to your

retouched photos, and then get some helpful tips for printing and posting your

photos online.

Organize, customize and process your photosAfter you take a brief tour of the new features in Adobe Photoshop CS4, you'll start on your photos. This lesson

hows you how to use the Bridge and Camera Raw software integrated with Photoshop to organize and edit

our photos.

Welcome

Discouraged by the Adobe Photoshop tutorials that deal mostly with graphic

esign? Can't find the correct way to retouch and enhance your photos? This

echnique-filled tutorial, aimed at photographers, focuses on the aspects of

Photoshop you'll need to create magnificent photos. You'll learn time-saving

ps, how to get the most out of Bridge, and how to accomplish non-destructive

diting.

What this class covers

You're about to embark on an incredible journey that will teach you how to

reate professional-looking photos in your digital darkroom using Adobe

Photoshop CS4. In this course, you'll learn photo editing and retouching

echniques that the masters use in their own studios.

The course lessons break down as follows:

Lesson 1 reviews the new features in Adobe Photoshop CS4 and explores

the Bridge and Camera Raw software included with Photoshop.

Lesson 2 shows you how to enhance your photos by making light, color, and

shar ness corrections.

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Lesson 3 discusses tips and techniques for retouching your photos to

produce flawless, impressive results.

Lesson 4 teaches you how to apply finishing touches to your photos, and

then discusses some best practices for printing or posting your photos

online.

Because this course focuses on key photographic enhancing and retouching

echniques, we assume that you've used Photoshop before. In addition, we

assume that you know certain photography-specific terms and techniques.

What do I need to get started?

For this course, you should have Adobe Photoshop CS4. If you have an older

ersion of Photoshop, you'll still be able to follow along for most of the course;

ut we do cover some exciting new features that are available only in

Photoshop CS4. Also be aware that there are significant improvements in each

ew release, and some of the features and tools may work a little differently if

ou're using an older version.

If you don't already own Adobe Photoshop CS4, you can usually download

a trial version from the Adobe Web site. Simply enter Adobe Photoshop in

the search box, and then click Try now.

Now that you know a little about the program and what to expect in this course,

's time to get started!

New features of Adobe Photoshop CS4

Adobe made some significant changes to Photoshop CS4, but they are subtle.

's not until you see how some of these changes work that you realize their

mportance. In this section, you'll receive a brief overview and then throughout

he lessons, you'll see how the new and improved functions work. Let's get

tarted on this exciting tour of Photoshop CS4.

Panels

n all previous versions of Photoshop, Adobe used the term palettes wheneferring to the containers on the workspace. In Photoshop CS4, they changed

he name to panels. For example, the Layers palette is now called the Layerspanel. In addition to the name change, Adobe also added two very important

anels: the Adjustments and Masks panels.

Adjustments panel

Adjustment layers are not a new concept in Photoshop, but Photoshop CS4

adds an entire panel dedicated to creating and managing adjustment layers.

You'll be learning much more about this panel in the following lessons.

Masks panel

This is a more advanced Photoshop feature, but the genius of the new Masks

anel is that it gathers all of the tools most often associated with creating and

efining layer masks into one panel location. This panel will come in handy

when you're making targeted enhancements to your photos, which you'll do

ater in this course.

Adobe Photoshop
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New and improved tools

Photoshop CS4 added a fantastic new tool and greatly improved another

lassic one.

Target Adjustment Tool

This tool originated in Lightroom, and is now available in Photoshop. This

addition is perhaps one of the most exciting new features available in

Photoshop CS4. It allows you to make specific tonal and color adjustments in

he Curves, Hue/Saturation, and Black and White Adjustment layers by clicking

and dragging your mouse instead of having to use the histograms and sliders.

This tool is invaluable when correcting light and color problems, which you'll

ee in further detail in the next two lessons.

mproved Dodge and Burn Tools

Previous versions of the Dodge and Burn Tools were poor at best. In

Photoshop CS4, the toolset has changed with the addition of the Protect Tones

heckbox, which keeps the colors from shifting hue; especially in the skin. No

ne used them for correcting photos because they just didn't work. Instead of

ncreasing or decreasing exposure, they added white or black tones to your

hoto. You use this tool to correct exposure in Lesson 2.

Navigation improvements

Photoshop CS4 also contains two notable improvements to how you navigate

hrough the program.

Zoom

f you have a video card capable of using OpenGL navigation, you'll notice that

our zooming will be smooth compared to the jumpy zoom levels in previous

ersions. You'll also have true accuracy at every zoom level, which was a

roblem before.

Rotate

The Rotate View tool enables you to rotate your view of an image as you work

n it. The caveat being that it relies on OpenGL navigation to accomplish this

iew change. If your computer's video card does not have that capability, you

an't access this feature.

Next up

Now that you're up to speed with the latest improvements Adobe has made to

Photoshop; it's time to dig in to your digital workflow. The next section is a

uided tour through Bridge, which is an essential tool to any photographer;

amateur or professional. You'll see how amazingly easy it can be to review,

ate, and organize all of your photos.

Using Bridge to organize your workflow

The first step in photo editing is to weed out the reject photos. Bridge has been

undled with Photoshop for several generations, but it's often overlooked.

Using Bridge to rate, review, and organize your photos before editing can save
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ou hours of Photoshop time later.

You can open Bridge directly from the Photoshop window by clicking the Bridge

con in the Menu bar. You can also choose to open Bridge by selecting File >Browse in Bridge.

Bridge interface

Figure 1-1 shows the Bridge interface. Let's take a quick tour so that you'll

nderstand what the program has to offer besides the obvious content

humbnail and preview panes.

Figure 1-1: The Bridge interface.

Enlarge image

Menu bar

Like most other programs, the Menu bar is at the top of the window. You can

se the menu to select any command available in Bridge.

Shortcuts icons

n addition to this bar, there's a group of icons directly below it that contains

hortcuts to commonly used features. In this shortcut group there are icons you

an use to import photos, switch to review modes, and open the photo in

Camera Raw.

Folders path

Directly below the shortcut icons is the dynamic folders path. This shows the

older hierarchy that leads to the folder you're currently browsing. You can click

any of the parent folders to take you up one level or more in the folder

tructure.

Workspace bar

Beside the shortcut icons and above the folder path is a group of clickable

words, beginning with Essentials. These shortcuts take you to the different

workspaces available within Bridge.

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Each one of these workspaces is set up to assist you with specific tasks. The

Keywording workspace, for example, brings up the panels essential to adding

eywords to your images for tagging and search purposes.

Customizing Bridge

n addition to the preset workspaces that are already present, you can use the

rames that separate the panels to maximize or minimize panels. If you want to

esize the preview image, grab the gray bar in between and drag it until the

review becomes the size you want. If you want even more room, drag the bar

eneath the preview image to minimize the metadata panel. Once you have the

window looking the way you want, you can save your changes by selecting

Window > Workspace > New Workspace. Type a name for it in the Nameeld, pick your options, and click Save, as shown in Figure 1-2. You'll noticehat the new workspace name appears in the Workspace bar.

Figure 1-2: Customizing your Bridge Workspace.

Enlarge image

Review mode

Now the actual work begins. You have to get rid of the less than stellar photos

o you can focus on the ones you want to keep and enhance. The easiest way

o review your photos and make decisions is in Review mode. You can open

Review mode by selecting View > Review Mode or using the keyboard

hortcut Ctrl+B.

Figure 1-3 shows Review mode. You can navigate through the thumbnails

sing the arrows in the bottom left corner, or by clicking the thumbnail you wish

o view larger.

To bring up a menu of commands available in Review mode, press H on

your keyboard. Press H again to hide the menu.

f you want to check the sharpness of the image, Ctrl+click the portion of thereview image you want to sample and the Loupe appears, showing that part of

he image at 100 percent of the image size.
http://media/ns/13497/PSCS4Photo01fg02_large.jpg


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Figure 1-3: Review mode in Bridge.

Enlarge image

While in Review mode, you can label the photos that you approve as Selected.The keyboard shortcut for selecting a photo is Ctrl+6. When you apply this

abel to a photo, a red bar appears beneath the photo. You may also use the

Delete key to mark a photo as Rejected.

You can modify the labels, colors, and shortcuts in the preferences file,

which you can access from Edit > Preferences or by the keyboardshortcut Ctrl+K.

f you prefer to use a star rating system, the keyboard shortcuts are Ctrl+1-5or 1 to 5 stars. The Label menu in the Menu bar shows all of the rating

ptions.

Collections

Once you have all of the best photos selected, you should keep them

eparated from the rest. Bridge now offers the ability to create collections.

Collections are groups of photos that you place together for easy access. Theest part of creating collections is that the file overhead is very small. When

ou create a collection, you're not copying the photo or moving it. You're simply

adding a tiny metadata tag in Bridge. Because it's also non-destructive, you

an create as many collections as you want.

n Review mode, there's actually a Create Collection button that places all ofour selected photos into a new collection.

f you decide that you want to create a collection at another time, you can do

hat also. Exit out of Review mode using the X in the bottom-right corner.


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Figure 1-4: Creating collections.

Enlarge image

Let's say that you want to create a collection of just the photos of the little boy

n the field of flowers. Ctrl+click the thumbnails in the Content panel and thenlick the Create Collection button at the bottom of the Collections panel.

Figure 1-4 shows the dialog that appears asking if the selected photos should

e added to the collection. Click Yes and then rename the collection.

If your Collections panel is not showing, click the name Collections beside

the Filters panel to bring it to the front.

Keywords

f you're familiar with Photoshop, you may already be utilizing this feature, but if

ou're not doing this, another powerful way to organize your photos is to add

eywords. Keywords allow you to filter, sort, and do searches. For example, if

ou add a person's name as a keyword to all of the photos that you take of that

erson, you can search for that name. Bridge will then find and display all of the

hotos with that keyword, no matter where they are on your hard drive. Figure

-5 shows the Keyword workspace with one of the photos selected. Notice that

he assigned keywords are checked in the keyword panel on the left side.

Figure 1-5: Adding keywords to photos.


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Enlarge image

Adding keywords is simple. Select a photo or a range of photos using

Ctrl+click, and then check the checkbox in the keywords panel. To add a new

eyword to the panel, simply click the New Keyword icon at the bottom of theanel.

You can add as many keywords as you would like to fit your catalog of photos.

Be creative and make sure that you take the time to add the keywords.

Tool menu

You have two more tools to learn about in Bridge. One of them is a great way

o create panorama photos and the other is a huge time-saver for batch

rocessing images.

PhotoMerge

Creating panoramic photos has never been easier. Browse to the folderontaining the images to stitch together, and then select the range of photos.

With them selected, navigate to Tools > Photoshop > Photomerge. Figure 1- shows the dialog box that appears. Make sure all photo names are selected,

and then click OK.

Figure 1-6: Photomerge dialog box.

Enlarge image

The process takes a few minutes as the photos are aligned and merged

ogether. The result is a gorgeous panoramic photo, as you can see in Figure

-7.

Figure 1-7: Completed panorama.

Enlarge image
http://media/ns/13497/PSCS4Photo01fg07_large.jpghttp://media/ns/13497/PSCS4Photo01fg06_large.jpghttp://media/ns/13497/PSCS4Photo01fg05_large.jpg


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mage Processor

The image processor is a tremendously powerful tool found in Bridge. It has a

multitude of options and you can use it to do almost any automation task.

As an example, you can create Web-sized versions of your photos so that you

an post them online. Simply select Tools > Photoshop > Image Processoro open the Image Processor dialog box.

Change the destination folder to prevent overwriting original files and change

he other options according to the settings shown in Figure 1-8. Select Run andautomatically resizes your photos and saves them to a new folder.

Figure 1-8: Image Processor dialog box.

Enlarge image

Next up

Now that you've mastered Bridge, you'll begin the editing process in the

henomenal Camera RAW interface. Adobe integrated this software into

Photoshop generations ago to handle the still new RAW file formats. By the

nd of this lesson, you'll realize how much editing time you can save by usingCamera RAW.

Process photos in Camera Raw

Camera Raw is a powerful editing tool. You can accomplish many of your color

and tone edits before you even open the file in Photoshop. Camera Raw has

een around for several versions of Photoshop, but it contains some amazing

ew features that are highlighted in this section. Camera Raw was created to

andle RAW file formats.

RAW files are essentially the equivalent of negatives in film photography.

They contain raw, untouched pixel information from the camera's sensor.

When you edit using Camera Raw, it's non-destructive editing because you

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make the changes to the RAW instructions, not to the actual file.

f you're familiar with Adobe's Lightroom program, Camera Raw looks very

amiliar because it's very similar to the Develop window in that software.

f you only shoot jpgs, you can still open any image in Camera Raw. Simply

elect the file the same way as you would a RAW file. With the file or range of

les highlighted in Bridge, simply select the Open in Camera Raw icon in the

hortcuts bar. You can also use the keyboard shortcut Ctrl+R or select File >

Open in Camera Raw.

Figure 1-9 shows the Camera Raw workspace. The basic functions of the

rogram are called out to give you a quick lay of the land.

Figure 1-9: Brief visual tour of Camera Raw.

Enlarge image

Basic functions

Because Camera Raw has such a vast array of tools and options, this will not

n any way be a comprehensive overview. Instead, you'll learn predominantly

about the new features available. The best way to become familiar with its

apabilities is to explore and experiment. Open a photo and try all of the sliders

and tools until you get a good feel for how each of them works.

Toolbox

The row of icons at the top of the workspace is similar to the Toolbox panel in

Photoshop. This is where you can select the tool you want to use. Hover over

an icon with your mouse to see the tool name and keyboard shortcut. Some of

he options are the White Balance tool, the Straighten tool, and even Red Eye

Correction.

Panels

To the right of the workspace is a large panel with a row of icons at the top.

Those icons change the active panel. As you can see, there are several of

hem and they allow you to edit tone, color, and even sharpening.

n the Basic panel, there's an Auto option that can give you a great starting

oint to correcting basic exposure and white balance issues. Using that option

and then adding just a bit of contrast and vibrance makes the image in Figure

-10 almost ready for print.


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Figure 1-10: Using Camera Raw to enhance tone and color.

Enlarge image

What's new

There are two fabulous new tools in the Camera Raw toolbox, which you

xplore in this section. The first one is the Graduated Filter tool.

Graduated Filter

Figure 1-11 shows a landscape photo open in Camera Raw. It's a beautiful

hotograph, but it could benefit from a deeper blue sky and more vivid oranges

n the rock formation. This is exactly what the Graduated Filter tool can do.

Select the tool from the toolbox above the workspace or simply press G on your

eyboard.

Figure 1-11: A Candidate for the Graduated Filter.

Enlarge image

To create a deeper blue sky, click the image at the top and drag down until you

ee the selection area like that in Figure 1-12. This is the area that will be

affected by the filter. Now you can adjust the sliders in the panel to the right

ntil you like the look of the sky.
http://media/ns/13497/PSCS4Photo01fg11_large.jpghttp://media/ns/13497/PSCS4Photo01fg10_large.jpg


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Figure 1-12: Using the Graduated Filter to deepen the blue of the sky.

Enlarge image

Once you're satisfied, select the New radio button at the top of the panel toegin working on the ground and rocks. This time, click and drag up to cover

he bottom portion of the photo. Click the color swatch in the panel to select an

range color that gives the photo a warm tone. You can see the selection in

Figure 1-13.

Figure 1-13: Using the Graduated Filter to enhance the ground.

Enlarge image

f the overlays make it difficult to judge the enhancements, press H on youreyboard to temporarily hide them. Press H again to bring them back if you

eed to adjust them.

Figure 1-14 shows a before and after comparison of the photo without and then

with the Graduated Filter. It's amazing what a dramatic difference it can make.


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Figure 1-14: Before and after the Graduated Filter.

Enlarge image

Adjustment Brush

The Adjustment Brush is an unbelievably useful tool. You can use it to precisely

adjust almost anything in your photo.

Figure 1-15: A photo that needs the Adjustment Brush.

Enlarge image

Take the example photo in Figure 1-15. If you want to add increased exposure

o the faces of these little girls, simply select the Adjustment Brush from theToolbox, or use the keyboard shortcut K. Now, make the change to the

xposure slider from the panel and brush the exposure adjustment just to the

aces. If you want to add or alter the adjustment, you can do it dynamically.

Figure 1-16 shows the image after the exposure adjustment.


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Figure 1-16: Drastic results from the Adjustment Brush.

Enlarge image

This is another tool that you could lose yourself in exploring. The Adjustment

Brush could be the perfect solution to any photo that needs an adjustment

applied to one small area.

Moving on

n this lesson, you learned about Photoshop CS4's new features as well as how

o integrate Bridge and Camera Raw into your editing workflow. You learned

he value of rating your photos and making collections of the "keepers." You

also became familiar with the incredible time-saving Camera RAW interface.

Before moving on, complete the assignment and quiz for this lesson.

Assignment #1

n Lesson 1, you learned how to use Bridge to get your photos organized, review and rate your

hotos, and put your favorites into Collections. You also learned how to add keywords to the photos

n your collections so that you can do intelligent searches quickly.

Your assignment is to select a group of photos to review, rate, put into a collection, and then add

eywords to. If you need to start with a small collection of photos, select a folder of photos. You

ave to start somewhere. If you're feeling a bit more ambitious, try an entire month or year's worth

f photos. Follow the steps outlined in the lesson and organize your photos.

You'll be surprised by how much fun this task can be. Just flipping through old photos brings backo many marvelous memories.

Quiz #1Question 1:True or False: You can only open RAW files in Camera Raw.

A) True

B) False

Question 2:Which of the following are tasks you can complete in Bridge? (Check all that apply.)

A) Review photos

B) Create collections

C) Create adjustment layers

D) Make a panoramic photo


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Question 3:

Which of the following are new features in Photoshop CS4? (Check all that apply.)

A) Adjustments panel

B) Camera Raw

C) Masks panel

D) Graduated Filter tool

Enhance your photos with light, color and sharpnesscorrectionsEven if you're fairly happy with your photo, chances are you can still improve it by tweaking the light and color.

n this lesson, you'll learn comprehensive, non-destructive methods for color-correcting, toning and sharpening

our priceless photos.

Light and tone adjustments

Because there are several tools and techniques that you can use together to

accomplish tonal and color corrections, there's no standard way to enhance

our photos. Even professionals disagree as to what the best way is to whitealance and boost color vibrancy. The techniques you'll learn in this lesson

ake advantage of the latest features of Photoshop CS4 to produce the most

exible, non-destructive improvements.

n this lesson, you'll become familiar with three of the most important concepts

n Photoshop: layers, adjustment layers, and masking. If you're already familiar

with these features, read on. You may learn something new. The techniques in

his lesson are almost exclusively based on combinations of these ideas. You

may not thoroughly understand layer masking the first time you see it, but with

xposure, you certainly will.

Levels adjustment

Even the most brilliant photographers fall victim to bad lighting. It's inevitable

hat you see the perfect subject for a photo, but the light is all wrong.

Unfortunately, it's just impossible to swing the sun around in the sky to light

our subject the right way. So, you either miss the photo or you fix it later in

Photoshop. That is what we are going to do with Figure 2-1. The sky in the

ackground is beautiful, but obviously the giraffe was in the shade. To correct

he light in this image, you need to apply a Levels adjustment layer.

Figure 2-1: The subject is too dark.

Enlarge image

Make sure that you have the Adjustments panel open. You'll use it frequently

while editing photos. In the Adjustments panel, there are numerous icons. Until

Customizingworkspaces

Photoshop is incredibly

flexible. You can add and

remove panels as well as

arrange them in different

groups that make sense to

you. To separate nested

panels; click and drag the

panel name and then click

the X to close it. To nestseparate panels; simply click

and drag the panel by the

name until you see a blueline appear at the top of the

panel group.

Once you have the panels

and groups arranged to your

satisfaction, you can save

the workspace by selecting

Window > Workspace >Save Workspace.

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ou become familiar with them, use your mouse to hover over them. The name

appears above the icons in the panel. Click the icon for the Levels adjustment

ayer. Two things happen: the Adjustments panel becomes the Levels dialog

ox, and a new layer called Levels 1 is created in the Layers panel. You can

ee these changes in Figure 2-2.

Figure 2-2: Adding a Levels adjustment layer.

Enlarge image

Using the Levels histogram, pull the gray slider arrow toward the black until you

ke the brightness. You can adjust the other sliders as well. Moving the black

arrow toward the right increases the contrast.

Figure 2-3: The global correction brightened too much.

Enlarge image

The problem with this correction is that it's global. The subject is lit correctly,

ut now the beautiful blue sky is washed out, as you can see in Figure 2-3.

Fortunately, there's a way to apply this light correction to only a portion of the

mage. If you remember back in Lesson 1, the Adjustment brush in Camera

Raw allows you to paint on different tonal corrections. We will do something

imilar here.

Layer masks

Let's focus on the Layers panel for a minute. The Levels adjustment layer looks

ifferent from the photo layer that sits directly beneath it. The Levels icon, alack and white circle, is linked to a white rectangle by a chain link icon. The

white rectangle is a blank layer mask and the link icon means that the layer

mask is linked to the layer.

The simplest way to explain a layer mask is to think of it like a stencil. When

ou place a stencil on a wall and paint over it, the paint only touches the wall


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where the stencil is cut away. The solid part of the stencil masks away the rest

f the paint. Layer masks work much the same way.

To create a stencil, you must block the levels adjustment from certain areas of

he photo. You do this by painting in black on the mask. Let's walk through the

teps first using your own photo and then you'll revisit this concept in a

moment. First choose a photo with a similar lighting issue as our giraffe photo.

Then use Figure 2-4 to help you follow along with your own photo.

Figure 2-4: Layer masking technique

Enlarge image

Make sure that the layer mask in the Levels 1 layer is active. You can1.

make it active by clicking the white rectangle thumbnail in the Layers

panel.

Select the Brush tool by clicking the icon or using the keyboard shortcut2.

B.

Set your foreground color to black. Use the foreground/background color3. paint chips at the bottom of the Toolbox. Press D on your keyboard to

revert back to the default colors and then use the X key on yourkeyboard to switch back and forth between black and white.

To fill the entire layer mask with black, press Alt+Backspace. It will4.appear that the entire Levels adjustment is hidden.

Switch the foreground color back to white using the X key on your5.

keyboard.

Make the brush size small enough to paint only on the subject. You can6.

use the drop down brush size menu in the options bar above the photo

Paint over the subject until you're happy with the results.7.

This may seem like a long process now, but with time it will become almostecond-nature.

Now that you've seen the entire technique, let's examine what actually

appened. Notice that instead of being a solid rectangle, the layer mask is now

lack with a white cutout of the giraffe. Remember that this is our digital stencil.

Where the "stencil" is black, it's hiding the Levels adjustment. White "paint" on

he layer mask works like the cut out portion of the stencil. It allows the lighting

orrection to appear on the subject.

Having the ability to make such precise corrections is amazing, but it gets even

etter. Because the levels adjustment and the layer mask are separate fromhe actual photo layer, you can go back to them at any time without affecting

any other layer. If you make some color corrections later, you might decide that

ou wish you hadn't lightened the subject so much. No problem. Simply double-

lick the levels adjustment layer, make the change, and close it.

The layer mask is also dynamic. If you happen to make a mistake and paint too


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much white back in on the subject, simply switch your foreground color back to

lack and paint in black. That is the true power of layer masking and

adjustment layers. It's called non-destructive editing because you can make

recise, dynamic changes that sit on a separate layer so that they do not

irectly affect the photo's pixels.

Curves

You dealt with a great deal of information in the last technique, so this tone

orrection technique reviews the previous concepts to help you have a firmer

rasp of them.

The curves adjustment layer is historically a scary one for new Photoshop

sers, but if you're familiar with Photoshop, you should have no problem with

his. The results from using the histogram can be terrible if you make large

adjustments. It is, however, the most powerful way to make tonal corrections in

our photos.

After you get a feel for how to use this robust tool, you'll learn about a fabulous

ew tool in Photoshop CS4 that makes using Curves incredibly easy.

Understanding the histogram

Let's look at the diagram in Figure 2-5. It shows the Curves dialog box from the

Adjustments panel.

Figure 2-5: The Curves adjustment dialog box.

Notice the center line that divides the graph from the top-right to the bottom-left

orners. Above the line, colors are light and less saturated. Below the line,

olors become darker and more saturated. The range of colors, represented in

rayscale, also follows that line from white at the top down to black at the

ottom.

f you want to brighten your photo, you could click that line and pull it up slightly

o make the colors lighter. Notice that it also desaturates the colors. If you pull

he line down instead, notice that the colors darken and become more

aturated, and contrast is added.

Using presets


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Thankfully, the Curves adjustment layer contains a drop-down list of preset

urve values, as you can see in Figure 2-6.

Figure 2-6: Curves presets.

These presets are a great starting point. Select one of the presets and watch

what happens to your photo and the curve. Once you see a few of the curves,

ou'll get a feel for what areas need to be adjusted to make the corrections you

eel are necessary. Keep in mind that presets are just an automatic setting and

will probably need a little tweaking to make the best corrections.

Target Adjustment Tool

The Target Adjustment Tool is a brand new feature in Photoshop CS4. In the

op corner of several adjustment layer dialogs, there's an icon that looks like a

ointing hand. This turns the tool on and off. When it's on, your mouse cursor

ecomes an eyedropper. Click in any area of your photo that needs adjustment

and drag up for lightening, or down for darkening. You can watch the progress

n the Curves histogram. As you can see, there's no need to guess which point

n the curve corresponds to the tone you need to adjust on your image. You

an select the exact tone and modify it. You can keep clicking and correcting

ntil you're satisfied with the changes.

Multiple curves adjustments

One of the most common errors people make is trying to make all of the

hoto's tonal corrections in one single adjustment layer. Remember back to the

iraffe photo at the beginning of this lesson. The background and foreground

ad very different light and tone values. Most photos will have areas that need

o be treated individually. Therefore, it makes sense to devote an adjustment

ayer to each distinct area and mask out what that layer should not affect.

Let's take a look at our next sample photo in Figure 2-7. Overall, it's a good

hoto, but it needs a few improvements.


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Figure 2-7: A photo that needs tonal corrections.

Enlarge image

's fairly flat and gray and needs contrast. The whites need to be brightened as

well as the water. The sky could also use darkening and saturation. We'll fix

hese issues using two separate Curves adjustments. This process will make

more sense to you if you follow along with your own photo. To fix these issues:

Click the Curves adjustment icon in the Adjustments panel.1.

Either select one of the presets, or manually adjust your photo, focusing2.

only on one area. In Figure 2-8, the tone was corrected for the boat and

water.

Figure 2-8: Half of the photo is corrected.

Enlarge image

Select the back arrow at the bottom of the Adjustments panel.1.

Click the Curves icon again. This creates a new Curves adjustment2.

layer. In this layer, focus only on the sky. Deepen the color until you'resatisfied with it, but don't adjust any of the rest of the photo.

In the Layers panel, select the layer mask of the top Curves layer. An3.

outline surrounds the thumbnail when it's active.

Instead of using the Brush tool to paint away a part of the adjustment,4.

use the Gradient tool (press G on your keyboard to access). Make sure

that your gradient is set to black and white. Use the drop-down menu in

the options bar to see which gradient is active, as shown in Figure 2-9.


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Figure 2-9: Adding a gradient to a layer mask.

Enlarge image

Click in the middle of the photo and drag down. This creates a gradient1.

in the layer mask, which keeps the bottom half of the sky adjustment

hidden.

This technique for correcting light problems is similar to the one you learned at

he beginning of this lesson, but it's used differently. If the concept of layer

masking is not comfortable for you, keep practicing. Work with several different

hotos that cover a broad array of subjects and lighting conditions. It takes a

ttle practice, but the results are definitely worth the effort. Figure 2-10 shows a

omparison of the photo before and after the Curves adjustments.

Figure 2-10: Before and after Curves adjustments.

Enlarge image

n the next section, you'll see how Adobe breathed new life into an old toolset:

odge and burn.


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The much-improved Dodge and Burn Tools

f you ever spend time in a film darkroom making enlargements of your

egatives, you'll recognize the terms dodge and burn. In that environment, the

nly control you have over exposure is to add and subtract exposure time. If

nly one area needs exposure work, you hide the rest of the photo while letting

additional light fall on your targeted area to darken or burn that exposure in.

Dodging is the opposite process, where you cover an area to prevent it from

ecoming overexposed.

The dodge and burn tools have been with Photoshop from the beginning, but

nfortunately, they never worked well. Instead of deepening the colors and

ones that were inherently in the image, they instead added either white to

odge or black to burn. This resulted in muddy colors and a poor light

orrection, as shown in the before and after photos in Figure 2-11. Notice the

ray that is added when the highlights are burned, and the change in skin tone

when the shadow side of the face is brightened.

Figure 2-11: Poor quality of legacy dodge and burn tools.

Enlarge image

Photoshop CS4 breathes new life into the dodge and burn tools. Press O on

our keyboard to select these tools.

To switch between the dodge, burn, and sponge tools, right-click the

toolbox icon. All of the tools are nested together.

There are a few options that you need to use to get the most out of these tools:

Range: You must pick shadows, midtones, or highlights, depending on

which tone range you want to affect. Most skin and clothing falls in the

midtone range.

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Exposure: Percentage of total exposure. Keep this number low and makeseveral passes so that the effect doesn't get too strong.

Protect Tones: When checked, Photoshop keeps the colors from shiftinghue while they're being darkened or lightened. This option preserves skin

tones and avoids unnecessary highlight and shadow clipping.

Use the brush size drop-down menu to change the brush size depending on

what you're working on. For detail areas, make sure that you use a small, soft

rush. The brush hardness setting in the drop-down menu controls whether the

rush tip is a solid edge or feathered.

Make sure that you duplicate the layer before you start editing and make all

of the changes to the copy layer.

With the Protect Tones option, the shadows in the skin brighten nicely and the

ighlights are pulled down without adding muddy gray. The results are shown

n Figure 2-12.

Figure 2-12: Completed dodge and burn corrections.

Enlarge image

n the first sections of this lesson, you gathered an arsenal of techniques for

orrecting light and tone issues in your photos. The next sections focus on the

olors in your images.

Correct and enhance colors

One of the biggest issues digital photographers have to deal with is color casts

n their photos. It can happen when the white balance setting is incorrect for the

nvironment, when the lighting actually has a hue to it, or even when shooting

arly or late in the day when sunlight carries a little color.

Remove color cast

There are numerous methods to remove an unwanted color cast in a photo. We

over one in this section, but there are some variations you can use for

roublesome photos scattered throughout this section as well.

At first glance, the photo in Figure 2-13 looks fine. It has several bright colors

against a white background. The human eye tends to see what it expects,

owever. If you look carefully at the white, you'll see that it has a fairly strong

eddish cast to it. This happens with skin tone in photos as well. You see the

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kin the way you know it should look. It isn't until you set the white point in your

hoto that you recognize what a drastic color shift existed.

Figure 2-13: The white background has a color cast to it.

Enlarge image

You'll understand this process much better if you follow along, so take a minute

and select a personal photograph that contains a color cast.

To remove a color cast from your photo:

Select the Curves adjustment icon from the Adjustments panel.1.

In the Curves dialog box, there are three eyedropper icons on the left2.

side: black, gray, and white. Because you're sampling the white in the

background, select the white eyedropper.

Pick a spot on your photo where the white is fairly clear, without it being3.

a reflection or highlight, and click it once. You never want to select abright, blown-out highlight as your white point. It will shift the colors too

far.

If a person is in your photo, you can use the whites of their eyes as a

sample point. If you don't have any visible white in your photo, use the

black eyedropper to set the black point.

You've sampled a spot in the photo to be your new white point, which1.

shifts the rest of the color spectrum into alignment. As you can see from

Figure 2-14 and your own photo, setting the white point removes a colorcast.

Figure 2-14: Corrected color cast.


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Enlarge image

Not all of your photos will be that easy. Figure 2-15 is an example of a more

roublesome photo.

Figure 2-15: Before and after of more difficult color cast.

Enlarge image

The original has a pronounced green color cast to it and the white point1.

technique just didn't pull out all of the extraneous green. Let's continue

from where we left off above.

Select the back button on the Adjustments panel. Add a Selective Color2.

adjustment layer. The icon is on the bottom row in the far-right corner.

In the Selective Color dialog box, select green from the drop-down3.

colors menu and then adjust the sliders until you like the color.

Color channels work in pairs of opposites:

Red/cyan

Green/magenta

Blue/yellow

To remove green from the photo, add magenta. To add cyan, lower the red

evel. Always keep these pairs in mind as you work with color.


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Figure 2-16: Final color cast removal.

Enlarge image

n Figure 2-16, the green cast has been removed from the compass and only

hows in the appropriate places on the map. This is a definite improvement

rom the starting image.

Boost colors

n previous versions of Photoshop, the only way to boost color was to add

aturation. Unfortunately, it was too easy to oversaturate color and add

nnecessary color noise. Saturation is particularly damaging to skin tones.

Vibrance is a color adjustment that adds color variety without oversaturating.

Vibrance is a Lightroom and Camera Raw setting that has finally arrived in

Photoshop CS4 as an adjustment layer.

Figure 2-17: The photo lacks vivid colors.


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Enlarge image

The photo in Figure 2-17 contains a good number of different hues, but none of

hem is as vivid as they could be. To fix this color issue, add a Vibrance

adjustment layer. Its icon is in the middle row on the far left in the Adjustments

anel.

The Vibrance dialog box is straightforward. Typically, when you add a lot of

ibrance to an image, the saturation may need to be decreased a little to keep

he colors looking real.

Figure 2-18: Vibrant colors without oversaturation.

Enlarge image

Figure 2-18 shows the image with a Vibrance adjustment added. Notice that

he colors still look natural, even though they have received quite a boost.

Now that you've learned techniques to make your colors pop, the next section

hows you how to properly convert your photos to black and white.

Breathtaking black and white conversions

There's a lot more to making black and white images than simply desaturating

he color to grayscale. The black and white version of the photo in Figure 2-19

s adequate.

Figure 2-19: Desaturating a color image.

Enlarge image

Simply add a Hue/Saturation adjustment layer and drag the saturation slider

own to -100% to achieve this look.

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Black & White Adjustment layer

Fortunately, there's a better way. If you look back at the original color version of

he photo, you see many colors and tones. They're all lost and flattened when

he photo is simply desaturated. However, if you add a Black & White

Adjustment layer, you can dial in exactly how each of the original colors maps

o a grayscale equivalent.

Create a Black & White Adjustment layer from the icons in the Adjustments

anel. Remembering the original colors in the photo, use the color sliders toghten or darken those tones in the photo. If you would rather use the Target

Adjustment tool to click and drag tones up or down in the photo, you can select

hat as well.

Figure 2-20 shows an amazing before and after composite. There's not only

more depth, texture, and light contrast in the final product, but it also captures

he emotion and drama of the original image.

Figure 2-20: Excellent black and white conversion.

Enlarge image

The final section of this lesson focuses on getting sharper photos. There are an

abundance of techniques for sharpening, but you'll learn the most effective

ne.

Sharpening technique

There are several schools of thought on sharpening your digital photos. Some

ay that it should be done only to the final photo just before you print. Others

ay that you should sharpen in stages: once when you begin editing and then

again before printing. However you choose to add the procedure into yourworkflow, you absolutely should add it. Digital photos, no matter how clear and

n focus, can almost always use a little sharpening to keep the final prints from

ooking soft.

Smart Sharpen

The Smart Sharpen filter has been around since CS2 and it's still one of the

est ways to add sharpness to your images. The filter looks for areas of

ontrast. The more contrast there is, the more sharpening is applied.

With your photo open and ready, simply select it from the filter menu by

electing Filter > Sharpen > Smart Sharpen. The dialog box is a littlentimidating, but once you understand how each of the settings works, it's fairly

imple. The settings are shown in Figure 2-21.

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Figure 2-21: Smart Sharpen dialog box.

Enlarge image

The Smart Sharpen settings are:

Amount: This is the amount of sharpening to apply. For printing, the typicalrange is between 100% and 200%. This is completely photo-dependent so

watch your preview image closely.Radius: This is the reach of the sharpening effect. The number will mostlikely stay under 3.

Remove: This will stay on Lens Blur for photographs.

n Figure 2-22, you can see the same small detail of the photo before

harpening and then after. The difference is quite stunning.

Figure 2-22: Detail views of sharpening.

Enlarge image


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Moving on

n this lesson, you learned how to correct just about any light or color problem

ou might encounter in your photographs. You learned the complex, yet

amazingly flexible techniques of layer masking and adjustment layers. You

ven learned how to create the best black and white photos possible and how

o sharpen your masterpieces for print.

n the next lesson, you'll gain an arsenal of retouching techniques, including

emoving distracting elements, brightening teeth, and softening skin. Beforemoving on, complete the assignment and quiz for this lesson.

Assignment #2

n Lesson 2, you gained a whole bag full of editing tricks. You know how to accomplish the

most flexible and non-destructive corrections on your photos.

Your assignment is to pick a photo that needs a little light and color adjustment. Follow the

echniques you learned in the lesson, using at least one layer mask technique.

Once you start working with the layer masks on your own photos, they'll become easier for

ou. Soon, you'll be masking every layer of every photo.

Quiz #2Question 1:True or False: The best way to convert a photo to black and white is to desaturate with a Hue/Saturation

djustment layer.

A) True

B) False

Question 2:Which color in a layer mask hides the adjustment from the photo?

A) Black

B) White

Question 3:Which of the following are adjustment layers you used in Lesson 2? (Check all that apply.)

A) Photo Filter

B) VibranceC) Black & White

D) Curves

Retouching and restoring your photosBecause people are the focus of many photos, this lesson shows you some tricks and techniques for retouching

our subjects like a pro. Learn how to use the healing tools, remove red eye, use the selection tools and

osmetically enhance your subjects.

Using healing toolsThe healing tools make retouching and restoration of your photos much

impler. They allow you to remove pixels and replace them with others. The

wo tools you'll use in this section are:

Clone Stamp tool: Samples pixels from one area and copies them directlyto another area.
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Healing Brush: Samples pixels but then blends the new pixels into thesurrounding pixels.

These two tools usually work in tandem.

Get rid of extraneous items

n the photo in Figure 3-1, it is obviously a windy day. The little girl's hair is

lowing around quite a bit.

Figure 3-1: Distracting hair in eyes.

Enlarge image

Unfortunately, some of it crosses her face in a distracting way. Let's zoom in to

tart correcting this photo.

Clone Stamp tool

The Clone Stamp tool resides near the other healing tools and its icon looks

ke an old-fashioned rubber stamp. Its keyboard shortcut is S. You use this tooln the eye because you don't want any blending of the pixels; you want pixel

eplacement. The first step to any retouching technique is to copy the layer and

make all changes to the copy.

Copy the layer with the keyboard shortcut Ctrl+J.

With the Clone Stamp selected, zoom in tightly on the affected area.1.

You should be close to the pixel level. Select a brush size from the drop-

down menu in the options bar. Keep the brush size very small so you

can make little corrections, as shown in Figure 3-2.

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Figure 3-2: Zoom in tightly and use a small, precise brush.

Enlarge image

Find a spot in the eye that contains the pixel information you want to1.

copy over the distracting hair. Look at the tones and colors and make

sure that they match. If you're working with an edge, such as the lid of

the eye, make sure that you sample that lid to copy over.

While holding the Alt key, click the sample spot. You'll notice that the2.

inside of your brush circle now appears to carry that sample point.

This sample preview is a new feature in Photoshop CS4 and really helps to

ensure that you're sampling the correct areas.

Click and drag over the area you want to cover. The pixels are pulled1.

directly from the sample point.

Resample using the Alt+click method frequently. Any time the color,2.light, or texture changes, you'll need to resample.

The before and after eye photos in Figure 3-3 show what you can accomplish

n just a minute or two of cloning.


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Figure 3-3: Before and after using the Clone Stamp tool.

Enlarge image

Remove dark circles

Retouching on skin is a little trickier. Even though your skin appears to be one

ontinuous color, it isn't. Skin is a hodgepodge of many different shades that

make up an overall color. Using the Clone Stamp tool on skin results in blotchy

areas and repeating patterns that are a dead giveaway that the photo has been

etouched.

Figure 3-4 shows a young man with dark circles under his eyes. We will use

he Healing Brush to correct this problem:

Copy the layer using the keyboard shortcut Ctrl+J and select the top1.

layer as your working layer.Select the Healing Brush from the toolbox or access this tool by2.

pressing J on your keyboard.

In the options bar above the photo workspace, select Lighten from the3.Mode drop-down menu, as shown in Figure 3-4. Because you want to

make the dark circles lighter, you switch the mode so the correction will

affect primarily the dark pixels to make them lighter.


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Figure 3-4: Blending mode drop-down menu.

Alt+click a light area on the cheek to use as your sample point. The1.apple of the cheek is a good spot because there aren't a lot of pores in

that area to interfere with the smooth skin under the eye.

Click and drag over the darkened areas to make them lighter. Use small2.

passes and go slowly so that you don't make too drastic a change.

Figure 3-5 shows the completed Healing Brush technique. Notice that the smile

nes around the eyes were not removed. This is intentional because removing

wrinkles is the next technique.

Figure 3-5: Completed Healing Brush on dark circles.

Enlarge image

Soften wrinkles and brighten skin

Wrinkles in a person's skin are handled differently than a blemish. You might

emove the entirety of a blemish, but wrinkles show character and our eye

xpects a certain amount of them in a face. Instead of removing wrinkles, the

echnique is to soften and minimize them. To do this:

Create a separate layer using the keyboard shortcut Ctrl+J.1.

Select the Healing Brush and set the Mode to Normal.2. Alt+click a smooth area of the skin and then click and drag the sample3.area over the wrinkled area of the skin. So far, this should look almost

identical to the previous technique. Don't worry about the severity of the

wrinkle removal. You'll soften it in a moment.

Copy this layer using the keyboard shortcut Ctrl+J. You should now4.

have your original photo as the bottom layer, the layer you did

retouching techniques on in the middle, and then a copy of that layer on


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the top.

At the top of the Layers panel is a drop-down menu for blending modes.5.

It should be currently set on Normal. It's similar to the mode menu in the

options bar, but has many more options. Select the Soft Light blend

mode. This blend mode provides a lot of contrast and luminance to the

skin. If it's too drastic, you can lower the opacity with the opacity slider

next to the blend modes in the Layers panel.

Click the Opacity slider and drag the pointer to the left to lower the6.opacity number. The opacity is how opaque the layer is. As you lower

the opacity number, the layer becomes more transparent.

On the middle layer, also drop the opacity so that some of the original7.

wrinkles' begin to show through. You want to bring character back intothe face so that it doesn't look unnatural, as shown in Figure 3-6.

Figure 3-6: Completed wrinkle removal.

Enlarge image

The final image shows the culmination of all three techniques: dark circle

emoval, wrinkle removal, and skin brightening.

The next section of this lesson will focus on a healing tool that can fix one of

he most common problems in photography; red eye.

Removing red eye

Because the people in your photos are typically your subjects, the camera is

most likely pointed directly into their eyes. This is why you get those lovely red

yes. The light from the flash bounces into the eye and reflects off of the retina,

which gives the red color. You can prevent this by using a flash that's higherhan the camera's lens, or one that can be tilted up and away from your

ubject. This fixes any future instances of red eye. But what can you do about

he photos that already have this problem?

Photoshop's Red Eye tool is remarkably easy to use and it works brilliantly.

The photo in Figure 3-7 may look a bit soft because it's zoomed in at 150

ercent. One of the most important steps in using the Red Eye tool is to start

ery closely to the eyes.

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Figure 3-7: Zoom in close to your subject's eyes.

Enlarge image

To use the Red Eye tool:

Select the Red Eye tool from the toolbox. It's nested underneath the1.

other healing tools. Right-click the icon for the Healing Brush and select

the Red Eye tool at the bottom of the list. The keyboard shortcut for this

tool group is J.

To scroll through the available tools in a nested group, hold the Shift key

down while selecting the keyboard shortcut. For example, hold Shift whileselecting J until the Red Eye tool becomes the active tool.

Use your mouse and click just above the iris of the eye and drag to draw1.

a small box around it. When you release your mouse, the tool corrects

the red eye problem.

If the correction needs to be smaller or the pupil should be darker, there2.

are options in the tool's option bar to adjust the amount of the

correction. Simply press Ctrl+Z to undo the correction, adjust, and thenreapply.

Figure 3-8 shows the corrected photo. Notice that the algorithm is so brilliant

hat it doesn't affect the catch lights in the eyes, only the color.

Figure 3-8: Corrected red eye photo.


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Enlarge image

n the following section, you'll find out how to use selection tools.

Using selection tools

What happens when you need to remove or replace a large part of a photo?

The finesse tools like the Clone Stamp or Healing Brush are not designed forarge work. Instead, you can use the Patch tool and the Quick Selection tool,

which are designed for large work.

Patch tool

The Patch tool is still considered a healing tool because it samples an area and

lends it into a new area.

For this technique, the sample is the full-sized version of the photo used for the

Red Eye tool. It has one other flaw: there's a video game lying on the floor. It'sot surprising in a house full of children, but it's distracting in a photo. You

might want to choose a photo with a similar problem to follow along with. To

emove a large object, you employ the Patch tool. To do this:

Select the Patch tool from the nested healing tool group. Press Shift+J1.to scroll through the tools.

Click and drag an outline around the object you want to remove, as2.

shown in Figure 3-9.

Figure 3-9: Select area to remove.

Enlarge image

Drag that outlined area over to a clear patch of the photo that you want1.

to duplicate.

Figure 3-10 shows the result of the Patch tool. It copied and blended the patch

ver the area to be removed.

HP Paper
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