Of course, you can always start over by removing the fix. Press the 10 To sync these changes with the next exercise file, Shift-click it in the Filmstrip Page Down button on and then click the Sync button at lower right. In the resulting dialog, click the keyboard to page through the photo Check None, turn on Spot Removal, and then click Synchronize. If you button at lower right to see the original version. Snapshots panel to return to the edited ver- 2 In the Spot Removal panel, increase Feather to 28 or so.

This softens the transi- sion. Snapshot 2 has the tion edges a little more so the removal looks realistic. As you drag, Lightroom marks the area E Tip: You can adjust with a white overlay. The to add more or less source area is also visible as an outline with an arrow pointing to the destina- smoothing in the transi- tion area.

You can reposition the destination or source area by dragging the pin inside each outline. In this example, try dragging the source area around to see E Tip: Remember that how the destination area shifts in tone and color. This figure shows all the pins it took to remove all the surfers but one. If neces- sary, click one of the pins to select the removal, and reposition the source area to make it better match in tone and color.

Reposition the photo onscreen so you can see his eyes. Repeat on the other eye. This figure shows you the before version top , the Spot Removal tool in action middle , and the result bottom. If necessary, click one of the pins to select the removal, and then reposition the source area or adjust Feather and Opacity to your liking.

Reposition the photo onscreen so you can see her left eyebrow. Set Size to around 13, Feather to 34, and Opacity to This mode prompts Lightroom to copy and paste pixels with no automatic blending. For now, keep the Feather slider at around 34 remember that you can always change it after you drag to remove something , and set Opacity to You may need to make three separate brush strokes so you can set different source points to match tone and color.

Increase Feather as necessary to make the changes blend into surrounding pixels a little better. Happily, Lightroom also lets you switch between Heal and Clone modes while a pin is selected. You can try this on your own by removing the tour- ists from the lower-left corner of the Pompeii ruins exercise file. The same thing happens with split-toning, wherein you add a color tint to the correct to your liking. Also useful for creating a unique look is hand-tinting, wherein you manually add color back to a black-and- white photo.

Because these effects become permanent in the photo that Photoshop returns to Lightroom. Read on for some serious creative color fun! You can use this panel to easily adjust the hue, satura- changing the colors in tion, and lightness think brightness of a particular range of colors wherever those a photo. However, to precisely change the colors occur in the photo. In the Snapshots panel, Photoshop.

Notice the subtle differences between how to do that. In the resulting dialog, enter Desaturate into the name field, and turn on Color, which turns on Saturation, Vibrance, and Color Adjustments. That way, you photo itself. E Tip: If parts of the photo that you want to remain black and white return to color, use the Adjustment Brush tool set to — Saturation and then brush over those areas to desaturate them.

To create a split-tone, follow these steps: 1 Select the female hula photo in the Filmstrip. For a sneak peek at color tinting, select Snapshots 1 and 2. Notice the different emotional feel between these versions. P Note: This photo was made from a combination of multiple exposures for a high dynamic range HDR effect.

In the Shadows section of the panel, drag the Satu- ration slider rightward to around 50 or so, and then drag the Hue slider slightly rightward to a brown color say, Leave Size at 25, and then experiment with Roughness to produce the look you want. Feel free to take a spin through them. This gives the shadows a brown tint. If you drag the Amount slider all the way left to —, you get a black frame effect instead.

That said, you can save images with transparent backgrounds in Photoshop. So if a transparent background is your goal, create the rounded corner effect in Photoshop say, by using the Rounded Rectangle Shape tool and a layer mask instead of in Lightroom. This is an easy way to apply two vignettes to a single photo. To do it, set Saturation to around —47, set Sharpness to —, and turn off Invert Mask. Drag atop the car to add the filter, and then rotate it slightly.

The resulting photo not only has a believable retro feel, but it also has a tilt-shift or toy-camera look due to the blurring of the background. Tinting a photo with color by hand E Tip: This technique Last but not least, there may be times when you want to recolorize a black-and- works for adding digital white photo.

Follow these steps to makeup to a color do that: portrait too! At the top of the panel, double-click the the steps in the Lesson Effect label to reset all the sliders. In the resulting color picker, choose a color for the sky, such as light blue.

If you go that route, use 4 Mouse over to the photo, and paint across the sky area. To do that, click the existing pins, and click the Color field near the bottom of the Adjustment Brush panel. Click the Color rectangle, and then pick a color for the edges of the trees.

Keep repeating these steps to colorize the entire photo. Hand-tinting by Jack Davis, wowcreativearts. Saving metadata to files Once you finish editing some photos, you may want to save those edits in the files themselves. Saving metadata to a file also acts as an insurance policy—it protects you from losing your changes if a photo and its metadata are inadvertently removed from the Lightroom catalog or if the catalog itself becomes corrupted or lost.

Because Lightroom saves the metadata to your file every single time you touch a slider. If so, with what tools? Review answers 1 The Graduated Filter tool. To do that, select the appropriate adjustment pin and then drag it to another position in your photo. To do it, set the Sharpness slider to — You can use the Post-Crop Vignetting sliders in the Effects panel to pro- duce rounded edges by dragging the Roundness slider all the way left, and then you can add a white background by dragging the Amount slider all the way right.

If you drag the Amount slider all the way left instead, you get a black background. In fact, this may be one of the most important lessons in this book because it covers the mechanics of a typical roundtrip workflow between Lightroom and Photoshop. Happily, you have to adjust these settings only once.

You can control file format, bit depth, color space— all of which are explained in this section—as well as file naming conventions and how the Photoshop files are displayed back in Lightroom. Setting your primary external editor preferences Lightroom automatically scours your hard drive for the latest version of Photoshop P Note: Adobe and picks it as the primary external editor.

Bit depth refers to how many colors the image itself contains. The goal is to keep as much color detail as you can for as long as you can. In the infographic shown here, the ProPhoto RGB workspace is shown in white with the other workspaces superimposed atop it.

This is the RGB workspace that Photoshop uses unless you pick another one. The CMYK workspace, on the other hand, represents the smaller number of colors that are reproduc- ible with ink on a commercial printing press.

The bottom image shows the ProPhoto RGB workspace compared to the color gamut of the truly incredible human eye. ProPhoto RGB vs. Raw images, on the other hand, can be bit and contain over trillion colors. P Note: PPI stands for pixels per inch. DPI, on Resolution determines pixel density and thus pixel size when the image is the other hand, stands printed. Leave it at ppi, which is a reasonable starting point for a typical for dots per inch.

The inkjet printer, and then adjust the resolution as necessary when you export the latter term is used when referencing printers, edited file from Lightroom.

Lightroom uses these settings. You can even you can still designate other applications in create additional configurations for Photoshop—each with settings geared toward the Additional External particular kinds of photos or uses. Editor section and then choose them from the For example, you may set up Photoshop as an additional external editor with second section of the options suitable for photos destined for the web.

In the be sure to click the resulting dialog, click Use Anyway. Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut. As mentioned earlier, this keeps the quality you have in Lightroom and supports any layers you create in Photoshop. Editor section to con- 6 Leave Resolution set to its default value. Simply use the resolution, that determine image size.

You can specify pixel dimensions in Preset menu to save each one as a preset. Edit In menu. In the dialog that opens, enter a meaningful name for the expand and collapse a options you configured, such as PS web, and then click Create.

Setting the stacking preference When you send a file from Lightroom to Photoshop, the PSD that comes back to Lightroom appears next to the original file in the Library module. In some cases, you may also generate copies of the PSD—if, say, you want to create different versions of it. To reduce the clutter in your library, you may want to turn on Stack With Original to have Lightroom stack your PSD s into a pile with the original photo.

Doing so creates a collapsible group, known as a stack, of thumbnails. When you expand a stack, your PSDs are displayed side by side in the Library module in Grid view and in the Filmstrip. This makes related files easy to spot. Configuring Adobe Photoshop Elements as an external editor You can configure Lightroom to use Adobe Photoshop Elements as your primary or additional external editor too. The process is roughly the same, but there are a few things to keep in mind.

First, if you have Elements but not Photoshop on your computer, Lightroom auto- matically picks Elements as the primary external editor.

Second, if you have both Elements and Photoshop on your computer, you can designate Elements as an additional external editor. To do that, be sure to navigate to the Elements Editor application file, not the alias shortcut in the root level of the Elements Editor folder. Library module, press T on your keyboard. For the purposes of this lesson, stick with the default file naming scheme. Photoshop Elements as an external editor, With these settings, the files you send from Lightroom to Photoshop should you need to adjust its open in the correct color space.

This flattened layer is what you see in Lightroom. Elements as your external editor, you 3 Click OK to close the dialog. Keeping Lightroom and Camera Raw in sync Lightroom, at its heart, is a raw converter whose job is to convert the data in a raw file into an image that can be viewed and edited onscreen.

Photoshop has a raw converter too: a plug-in named Camera Raw. Camera Raw and Lightroom use the same raw conversion engine, and when Adobe updates one, it usually updates the other with a matching version. This is important because when you send a raw photo from Lightroom to Photo- shop, Photoshop uses Camera Raw to render the raw data into pixels you can see and work with onscreen.

A screen opens that shows your version of Lightroom. Click the screen to close it. Your version of Photoshop appears on the screen that opens. Close the screen by clicking it. Your version of the Camera Raw plug-in is reported on the screen that opens. Encountering a Lightroom— Camera Raw mismatch If you have mismatched versions of Lightroom and Camera Raw installed on your computer, you may get a mismatch warning in Lightroom when you try to send a raw file to Photoshop.

You can then upgrade your software before trying again. A potential downside is that as soon as you click the Render Using Lightroom button in the warning dialog, an RGB copy of the image is added in your Light- room catalog, and it stays there even if you change your mind and close the image in Photoshop without saving.

In that case, you now have the extra step of deleting the RGB copy from your Lightroom catalog. When you update Photoshop, you get the latest version of Camera Raw too. Sending a raw file from Lightroom to Photoshop P Note: You can Once you adjust a raw photo in Lightroom, you may determine that you need to easily send other file send it to Photoshop for some of the pixel-level editing voodoo that it excels at.

CR2 from topic is covered later in this lesson. Canon or an. This section teaches you how to do that. Turn Grid view styles. This gives Lightroom more information about your camera and lens. However, you may need to experiment with the other buttons on your own photos to see which one works best. This E Tip: In some cases, option often produces the most realistic result. Although this option may pro- adjustment too.

You can also use the Transform panel sliders to fine-tune the per- spective correction. Happily, you can easily fill in those areas in Photoshop, as the next section explains, which keeps you from having to crop them out.

Any adjustments you made in Lightroom are made more thumbnails and choosing Edit In from permanent in the image that opens in Photoshop. Of course, your adjustments the resulting menu.

You should now see marching ants around the photo itself. The marching ants now appear around the empty corners. In the resulting dialog, enter 3, and click OK. Ensure that Preserve Transparency is turned off. Click OK, and Photoshop fills the empty corners.

In the resulting dialog, enter clone right corner into the name field, and then click OK. Doing so decreases your edit- ing flexibility greatly because the resulting PSD never shows up in Lightroom.

You also end up with an extra copy of the image the exported one on your hard drive. Photoshop document lean in file size. As you brush across the window, a crosshair shows the area that Photoshop is copying pixels from—the window on the left.

As long as Lightroom is open and running when you do this, the PSD appears in your Lightroom catalog next to the original photo. The raw file displays the adjustments you made to it in Lightroom before you sent it to Photoshop. The Photoshop file reflects your Lightroom adjustments as well as the filling and cloning you did in Photoshop. As mentioned earlier, your Lightroom edits are permanent in the PSD file.

For example, you may decide to do a bit more cloning in the lower-right corner. Choosing any other option in this scenario will not open the layered PSD. The updated PSD returns to Lightroom with your changes intact. And if you open a copy of the PSD that includes the Lightroom adjustments, you lose the layers you originally made in Photoshop. If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel.

Photo credit: Allison Mae, allisonmae. Choosing any other option in the Edit Photo dialog would prevent your Lightroom adjustments from being visible once the file opens in Photoshop. From the panel that appears, click the gear icon, and in the resulting menu, choose Photographic Toning.

Your changes are updated in the PSD that appears in Lightroom. Sending a photo from Lightroom to Photoshop as a Smart Object Another way to send files of any format to Photoshop is to send them as Smart P Note: Adobe Objects, which you can think of as a protective wrapper.

When you create snapshots on a raw file, you can access them via the Camera Raw plug-in by sending the raw file to Photoshop as a Smart Object. In the resulting dialog, enter the name full color and click Create. The photo opens in Photoshop. Click OK to close the Camera Raw plug-in.

That said, it bears repeating that this maneuver works only on raw files. Running filters on a Smart Object in Photoshop Another incredibly handy trick you can do when you send a photo from Lightroom P Note: You can to Photoshop as a Smart Object is to run filters nondestructively. When you use Smart Filters, as this is called, the filter appears in your Layers panel beneath the Smart Object layer. Click OK. Keep Threshold as low as possible but high enough to preserve the skin texture.

When you do, white corner brackets appear around the mask. In the realm of masks, black conceals and white reveals. By filling the mask with black, the filter is hidden from the entire photo. In the Options panel at the top of the Photoshop workspace, click the brush preview, and choose a soft-edge brush one that has fuzzy, soft edges. Click the brush preview icon again to close the panel. Press the Left Bracket [ to decrease brush size or the Right Bracket ] to increase it.

As you can see in this before Scratches filter trick is also a great way to left and after right version, this filter made a big difference in the portrait. Back in Lightroom, the PSD appears next to the original raw file. If you determine that you need to reopen the PSD for more editing, follow the instructions in the previous section. Lightroom asks what options you want to open the image with: file format, color space, and so on.

The end result is an additional file in your catalog. In addition to configuring the primary external editor, you can set up additional configurations for the same editor, or a different one, in the Additional External Editor section. If you create snapshots for a raw file and then send it to Photoshop as a Smart Object, you can double-click the Smart Object in Photoshop to open the Camera Raw plug-in. Other common reasons to combine photos are to merge multiple exposures into a high dynamic range HDR image or to stitch several photos together into a panorama, which you can easily do in Light- room.

Photoshop also has a few tricks you can use to produce an HDR look from a single photo. Having each photo on a separate layer gives you a lot of editing flexibility because you can control the opacity of, resize, and reposition each layer individually to produce the effect you want. You can also control the way color behaves between layers to produce interesting blending effects. The next section teaches you how to use one photo to add texture to another photo.

Adding texture to a photo using another photo An easy way to add texture to a photo is to blend it with another photo. You can use nearly any photo for the texture, including shots of nature, a rusty piece of metal, concrete flooring, marble, wood, and so on. How handy is that! Open as Layers in 3 Since the texture photo is bigger than the boathouse, you need to shrink it.

Photoshop surrounds the texture with draggable resizing handles. To make ton and the modifier keys when the texture is the same height as the boathouse. Release your mouse button when a light gray line appears above the other layer. To produce a vintage look from these two particular photos, Linear on your keyboard, and then tap the plus icon Light works well.

Click the tiny triangles at the upper right of the Properties panel to close it. You see what appear to be marching ants surrounding the boathouse photo. Here you can see before top and after to tweak the texture opacity or the drop in bottom versions. This is the color you get after mixing the base and blend colors using a layer blend mode.

To illustrate this concept, you can draw yellow and blue circles on separate layers and then change the blend mode of the blue circle layer to Darken. Another way to understand this concept is to put on a pair of sunglasses and then look around.

The second, third, and fourth categories are the most useful for blending photos. The second category begins with Darken, as those modes darken or burn images. When you use one of these modes, Photoshop compares the base and blend colors and keeps the darkest colors, so you end up with a darker image than you started with.

White, and other light colors, may disappear. The third category begins with Lighten, as those modes lighten, or dodge, your image. Photoshop compares the base and blend color and keeps the lightest colors, so you end up with a lighter image than you started with. Black, and other dark colors, may disappear. The fourth category begins with Overlay. You can think of these as contrast modes because they do a little darkening and a little lightening, and thus increase the contrast of your image.

A layer mask is like digital masking tape in your own images along with stock photos. You can use masks to hide layer content, which is a far more flexible Consider the possibili- approach than erasing deleting content. Photoshop adds the mask circled in the image on the next page to the right of the layer thumbnail. Since the mask you added is white, all the content of that particular layer is visible.

However, by adding black to the mask, you can hide part of the cat close-up photo, which effectively punches a hole through it so you can see the content on the layer underneath it. Notice the white brackets around the mask thumbnail. They indicate that the mask, not the layer content, is active, so whatever you do next happens to the mask.

If you want the next thing you do to happen to the layer content instead, click its thumbnail and the brackets appear around it instead. Then set the Size slider to around pixels. To do it, press D on your keyboard to set the color chips to their default values of black and white, and then press X on your keyboard to flip-flop them so that black is on top.

In order to hide part of the cat close-up photo, you need to paint with black inside the mask. Since the foreground color chip at the bottom of the Tools panel determines the color that the Brush tool uses, you have to set it to black. As you brush, you begin to see the photo on the layer underneath and your strokes appear as black inside the layer mask. If you mess up and hide too much of the photo, press X on your keyboard to flip-flop your color chips so that white is on top, and then paint across that area with white to reveal it.

Press V to activate it, and then Shift- with the Move tool drag the cat close-up layer rightward. Now activate the other cat photo and constrains the move to Shift-drag it leftward. When the By default, Photoshop locks the layer content and the mask together so that Move tool is active, you can also use the arrow when you move one, the other tags along for the ride.

If you want to move them keys on your keyboard independently say, to reposition the photo inside the mask , click the tiny chain to scoot photos around. Next, click the thumbnail of the thing you want to move—the photo or the mask—and then use the Move tool. To lock them together again, click between the thumbnails and the chain icon reappears. A natural gradi- The steps for fading two photos using a gradient are basically the same as the ent occurs in the sky each day during sunrise soft-brush method in the previous technique.

Turn off the layer visibility icon of the original layer. In the resulting dialog, choose White from the Contents menu shown here at right and click OK. Once the mask is filled with white you can see the entire cat close-up photo. Remember that in the realm of layer masks, black conceals and white reveals! In the options bar, click the down-pointing triangle to the right of the gradient preview to open the Gradient picker. Make sure that the Mode menu is set to Normal and that Opacity is percent.

Click to open the Gradient picker shown here. As soon as you release your mouse button, Photoshop plops the gradient into the layer mask, which fades the photos together. The pro- gram includes all manner of shapes that are handy for masking, including Rectan- gle, Rounded Rectangle, Ellipse, and Polygon tools, as well as a Custom Shape tool that you can use to access a plethora of built-in shapes leaves, flowers, animals, and so on.

Transform command. That way, you can experiment with image size multiple times without losing quality that is, try not to enlarge the photo vastly beyond its original size. Indeed, if you use Free Transform on a regular image layer more than twice, you can end up with pixel pudding. The shape tools live near the bottom of the Tools panel.

Click it and hold down your mouse button until a menu appears, and then choose the Ellipse tool. Putting the tool in Path mode instructs Photoshop to create a shape outline, instead of creating a shape layer or filling the shape with pixels.

E Tip: To draw a perfect shape—say, a circle or a square—Shift-drag with that particular shape tool. You can lighten the interface or make other changes in the Photoshop Preferences dialog box: 1.

Select a different color theme, or make other changes. When you select a different theme, you can see the changes immediately. You can also select specific colors for different screen modes and change other interface settings in this dialog box. Review questions 1. Describe two types of images you can open in Photoshop. How do you select tools in Photoshop? Describe two ways to zoom in to or out from an image.

What are two ways to get more information about Photoshop? Review answers 1. You can scan a photograph, transparency, negative, or graphic into the program; capture a digital video image; or import artwork created in a drawing program. You can also import digital photos. A selected tool remains active until you select a different tool.

To select a hidden tool, either use a keyboard shortcut to toggle through the tools, or click and hold the tool in the Tools panel to open a pop-up menu of the hidden tools. Choose commands from the View menu to zoom in on or out from an image, or to fit it onscreen, or use the zoom tools and click or drag over an image to enlarge or reduce the view.

You can also use keyboard shortcuts or the Navigator panel to control the display of an image. The Photoshop Help system includes full information about Photoshop features plus keyboard shortcuts, task-based topics, and illustrations. Creative Cloud Learn provides inspiration, key techniques, cross-product workflows, and updates on new features. This lesson steps you through the process of acquiring, resizing, and retouching a vintage photograph.

For many images, you may need only to change the resolution, lighten the image, or repair a minor blemish. For others, you may need to perform several tasks and employ more advanced filters.

Note In this lesson, you retouch an image using only Photoshop. For other images, it may be more efficient to work in Adobe Camera Raw, which is installed with Photoshop. Likewise, sharpening should usually be your final step. For the other tasks, consider your project and plan accordingly, so that the results of one process do not cause unintended changes to other aspects of the image, making it necessary for you to redo some of your work.

Whether an image is intended for black-and-white publication on newsprint or for full-color online distribution affects everything from the resolution of the initial scan to the type of tonal range and color correction that the image requires.

Photoshop supports the CMYK color mode for preparing an image to be printed using process colors, as well as RGB and other color modes for web and mobile authoring. Resolution and image size The first step in retouching a photograph in Photoshop is to make sure that the image has an appropriate resolution. The term resolution refers to the number of small squares, known as pixels, that describe an image and establish its detail.

Resolution is determined by pixel dimensions, or the number of pixels along the width and height of an image. Pixels in a photographic image Note To determine the necessary image resolution for a photograph you plan to print, follow the computer-graphics rule of thumb for color or grayscale images intended for print on large commercial printers: Scan at a resolution 1.

In computer graphics, there are different types of resolution: The number of pixels per unit of length in an image is called the image resolution, usually measured in pixels per inch ppi. An image with a high resolution has more pixels and therefore a larger file size than an image of the same dimensions with a low resolution. Images in Photoshop can vary from high resolution ppi or higher to low resolution 72 ppi or 96 ppi.

Unless the resolution of your image is exactly the same as the resolution of the monitor, the image size in inches, for example onscreen may be larger or smaller than the image size will be when printed.

The number of pixels per unit of length on a monitor is the monitor resolution, also usually measured in pixels per inch ppi. Image pixels are translated directly into monitor pixels. In Photoshop, if the image resolution is higher than the monitor resolution, the image appears larger onscreen than its specified print dimensions.

The number of ink dots per inch dpi produced by a platesetter or laser printer is the printer, or output, resolution. Higher resolution images output to higher resolution printers generally produce the best quality.

The appropriate resolution for a printed image is determined both by the printer resolution and by the screen frequency, or lines per inch lpi , of the halftone screens used to reproduce images. Keep in mind that the higher the image resolution, the larger the file size, and the longer the file will take to print or to download from the web. For more information on resolution and image size, see Photoshop Help.

You may make copies of these files and save them under different names or locations, or you may work from the original start files and then download them from the peachpit.

In Lesson 1, you used the Open command to open a file. For more information, see page 3. Adobe Bridge opens, displaying a collection of panels, menus, and buttons.

Select the Folders tab in the upper left corner, and then browse to the Lessons folder you downloaded onto your hard disk, so that the lesssons in the Lessons folder appear in the Content panel.

Adding files, folders, application icons, and other assets that you use often to the Favorites panel lets you access them quickly. Select the Favorites tab to open the panel, and click the Lessons folder to open it. Then, in the Content panel, double-click the Lesson02 folder. Thumbnail previews of the folder contents appear in the Content panel.

Compare the 02Start. To enlarge the thumbnails in the Content panel, drag the thumbnail slider at the bottom of the Bridge window to the right. In the 02Start. Double-click the 02Start. Choose Photoshop from the Format menu, and name the file 02Working. You can use either the Crop tool or the Crop command to crop an image. By default, cropping deletes the cropped pixels. In the Tools panel, select the Crop tool.

Tip Deselect the Delete Cropped Pixels option if you want to crop nondestructively, so that you can revise the crop later. Crop handles appear, and a cropping shield covers the area outside the cropping selection. Ratio is the default value. A crop grid appears. Click Straighten in the options bar. The pointer changes to the Straighten tool. Click at the top corner of the photo, press the mouse button as you drag a straight line across the top edge of the photo, and then release.

Photoshop straightens the image, so that the line you drew is parallel with the top of the image area. You drew a line across the top of the photo, but any line that defines either the vertical or horizontal axis of the image will work. Drag the corners of the crop grid inward to the corners of the photo itself to crop out the white border. If you need to adjust the position of the photo, click and drag it within the crop grid. Press Enter or Return to accept the crop. The image is now cropped, and the cropped image fills the image window, straightened, sized, and positioned according to your specifications.

To see the image dimensions, choose Document Dimensions from the pop-up menu at the bottom of the application window. Click Curves in the Adjustments panel to add a Curves adjustment layer.

Select the White Point tool on the left side of the Properties panel. Specifying a white point changes all the colors in the image. The white point is the color that Photoshop defines as pure white, and it adjusts all other colors accordingly. To set an accurate white point, select a white area in the image. The color tone of the image changes dramatically. In some images, adjusting the white point is enough to remove a color cast and correct the tone of the image.

Here, selecting a white point is a good start. Click Levels in the Adjustments panel to add a Levels adjustment layer. The Levels histogram in the Properties panel displays the range of dark and light values in the image. Right now, you just need to know that the left triangle represents the black point the point Photoshop defines as the darkest in the image , the right triangle represents the white point the lightest in the image , and the middle triangle represents the midtones.

Drag the left triangle blacks under the histogram to the right, where the blacks are more pronounced. Our value was Drag the middle triangle a little to the right to adjust the midtones. Our value was. Flattening an image merges its layers. After you flatten an image, you can no longer edit layers individually, but the file is smaller, and you can easily make changes to the entire image at once.

The adjustment layers merge with the Background layer. He teaches workshops internationally as well as online on the care and identification of photographs.

Find out more at gawainweaver. The tools in Photoshop make restoration of old or damaged photographs seem like magic, giving virtually anyone the power to scan, retouch, print, and frame their photo collections. However, when dealing with works by famous artists, museums, galleries, and collectors need to preserve original objects to the greatest degree possible despite deterioration or accidental damage.

Professional art conservators are called upon to clean dust and soiling from print surfaces, remove discoloration and staining, repair tears, stabilize prints to prevent future damage, and even paint in missing areas of a work. Carleton E. This print was removed from its mount to remove the stains and then remounted. In Photoshop, you can use a Curves adjustment layer to remove the color cast from an image. Likewise, you can use the Spot Healing Brush in Photoshop to spot out specks of dust or dirt on a scanned image.

In Photoshop, you can remove a crease or repair a tear in a scanned image with a few clicks of the Clone tool.

After digitization the original print can be safely stored away, while the digital version can be copied or printed for many family members. Often, we first clean or unfold family photographs to safely reveal as much of the original image as possible, and then we repair the remaining discoloration, stains, and tears on the computer after digitization. Note The Healing Brush tool works similarly to the Spot Healing Brush tool, except that it requires you to sample source pixels before retouching an area.

The Spot Healing Brush tool quickly removes blemishes and other imperfections. It samples pixels around the retouched area and matches the texture, lighting, transparency, and shading of the sampled pixels to the pixels being healed.

Zoom in to see the crease clearly. In the Tools panel, select the Spot Healing Brush tool. Make sure Content-Aware is selected in the options bar. In the image window, drag the Spot Healing Brush down from the top of the crease. You can probably repair the entire crease with four to six neat downward strokes. Zoom in to see the white hair in the upper right area of the image. Then select the Spot Healing Brush again, and paint over the hair. Zoom out, if necessary, to see the full sky.

Then click the Spot Healing Brush wherever there are dark areas you want to heal. Save your work so far. Applying a content-aware patch Use the Patch tool to remove unwanted elements from an image.

In Content- Aware mode, the Patch tool creates nearly seamless blending with the nearby content. Type 4 into the Structure slider. The Structure menu determines how closely the patch reflects the existing image patterns. You can choose from 1 to 7, with 1 allowing the loosest adherence to the source structure and 7 requiring the strictest. Drag the Patch tool around the boy and his shadow, as closely as possible. You may want to zoom in to see him more clearly.

Photoshop displays a preview of the content that will replace the boy. Release the mouse button when the patch is positioned where you want it. The selection changes to match the area around it.

The boy is gone, and where he stood is a section of the bridge wall and of a building. The effect was pretty impressive, but not quite perfect. Repairing areas with the Clone Stamp tool The Clone Stamp tool uses pixels from one area of an image to replace the pixels in another part of the image.

Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. Make sure that the Aligned option is selected. Move the Clone Stamp tool to an area where the top of the bridge wall is smooth. When you press Alt or Option, the pointer appears as target cross-hairs.

Drag the Clone Stamp tool across the top of the bridge wall in the patched area to even it out, and then release the mouse button. Each time you click the Clone Stamp tool, it begins again with a new source point, in the same relationship to the tool as the first stroke you made.

That is, if you begin painting further right, it samples from stone that is further right than the original source point. Deselect Aligned if you want to start from the same source point each time. Select a source point where the bottom of the bridge wall is even, and then drag the Clone Stamp tool across the bottom of the wall where you patched it.

Select a smaller brush size, and deselect Aligned. Then select a source point over the rightmost windows in the lowest row on the building you patched. Click across to create accurate windows there.

Repeat step 6 to make any adjustments you want to apply to the lowest area of the building and the wall that runs in front of it. If you like, you can use a smaller brush size to touch up the stones in the patched portion of the wall. Save your work. Sharpening the image The last task you might want to do when retouching a photo is to sharpen the image.

There are several ways to sharpen an image in Photoshop, but the Smart Sharpen filter gives you the most control. The colored dots you see are artifacts of the scanning process. The Threshold value determines how dissimilar the pixels should be before they are eliminated. The Radius value determines the size of the area searched for dissimilar pixels. The default values are great for tiny dots of color like the ones in this image.

Now that the artifacts are gone, you can sharpen the image. In the Smart Sharpen dialog box, make sure that Preview is selected, so you can see the effect of settings you adjust in the image window. You can drag inside the preview window in the dialog box to see different parts of the image, or use the plus and minus buttons below the thumbnail to zoom in and out.

Make sure Lens Blur is chosen in the Remove menu. Lens Blur provides finer sharpening of detail and reduced sharpening halos. Gaussian Blur increases contrast along the edges in an image. Motion Blur reduces the effects of blur that resulted from the camera or the subject moving when the photo was taken.

Drag the Radius slider to about 1. The Radius value determines the number of pixels surrounding the edge pixels that affect the sharpening. The higher the resolution, the higher the Radius setting should usually be. Your image is ready to share or print! Extra credit Converting a color image to black and white You can get great results converting a color image to black and white with or without a tint in Photoshop.

Click Open. Adjust the color sliders to change the saturation of color channels. You can also experiment with options from the preset menu, such as Darker or Infrared.

Or, select the tool in the upper left corner of the Adjustments panel, position it over an area you want to adjust, and drag horizontally to lighten or darken that color wherever it appears in the image.

We darkened the bike itself and made the background areas lighter. If you want to colorize the entire photo with a single hue, select Tint. What does resolution mean? What does the Crop tool do? How can you adjust the tone and color of an image in Photoshop? What tools can you use to remove blemishes in an image? How can you remove digital artifacts such as colored pixels from an image? The term resolution refers to the number of pixels that describe an image and establish its detail.

Image resolution and monitor resolution are measured in pixels per inch ppi. Printer, or output, resolution is measured in ink dots per inch dpi. You can use the Crop tool to trim, scale, or straighten an image.

To adjust the tone and color of an image in Photoshop, first use the White Point tool in a Curves adjustment layer. Then refine the tone using a Levels adjustment layer. The Clone Stamp tool copies the source area exactly; the Healing Brush and Spot Healing Brush tools blend the area with the surrounding pixels. In Content-Aware mode, the Patch tool replaces a selection with content that matches the surrounding area.

About selecting and selection tools Making changes to an area within an image in Photoshop is a two-step process. You first use one of the selection tools to select the part of an image you want to change. Then you use another tool, filter, or other feature to make changes, such as moving the selected pixels to another location or applying a filter to the selected area. You can make selections based on size, shape, and color. When a selection is active, changes you make apply only to the selected area; other areas are unaffected.

There are four primary types of selections: Geometric selections The Rectangular Marquee tool selects a rectangular area in an image. The Elliptical Marquee tool , which is hidden behind the Rectangular Marquee tool, selects elliptical areas. The Single Row Marquee tool and Single Column Marquee tool select either a 1-pixel-high row or a 1-pixel-wide column, respectively. Freehand selections The Lasso tool traces a freehand selection around an area.

The Polygonal Lasso tool sets anchor points in straight-line segments around an area. The Magnetic Lasso tool works something like a combination of the other two lasso tools, and gives the best results when good contrast exists between the area you want to select and its surroundings. Color-based selections The Magic Wand tool selects parts of an image based on the similarity in pixel color.

It is useful for selecting odd-shaped areas that share a specific range of colors. In the Favorites panel, click the Lessons folder. Then double-click the Lesson03 folder in the Content panel to see its contents. Study the 03End. Move the thumbnail slider to the right if you want to see the image in more detail.

The project is a shadowbox that includes a piece of coral, a sand dollar, a mussel, a nautilus, and a plate of small shells. The challenge in this lesson is to arrange these elements, which were scanned together on the single page you see in the 03Start.

Double-click the 03Start. Using the Quick Selection tool The Quick Selection tool provides one of the easiest ways to make a selection. You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want. The image of the sand dollar in the 03Working. Select the Zoom tool in the Tools panel, and then zoom in so that you can see the sand dollar well.

Select the Quick Selection tool in the Tools panel. Select Auto-Enhance in the options bar. When Auto-Enhance is selected, the Quick Selection tool creates better quality selections, with edges that are truer to the object. The selection process is a little slower than using the Quick Selection tool without Auto-Enhance, but the results are superior. Click on an off-white area near the outside edge of the sand dollar.

The Quick Selection tool finds the full edge automatically, selecting the entire sand dollar. Leave the selection active so that you can use it in the next exercise.

The rest of the image is not affected by those changes. To move the selected area to another part of the composition, you use the Move tool. This image has only one layer, so the pixels you move will replace the pixels beneath them.

If the sand dollar is not still selected, repeat the previous exercise to select it. Zoom out so you can see both the shadowbox and the sand dollar.

Select the Move tool. Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. The layers that are under the pointer appear in the context menu. Manipulating selections You can move selections, reposition them as you create them, and even duplicate them. One of the most useful things you may find in this section is the introduction of keyboard shortcuts that can save you time and arm motions. Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky.

As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed. If you accidentally release the mouse button at the wrong time, simply start the exercise again from step 1.

Select the Elliptical Marquee tool , hidden under the Rectangular Marquee tool. Move the pointer over the plate of shells, and drag diagonally across the oval plate to create a selection, but do not release the mouse button. If you accidentally release the mouse button, draw the selection again. In most cases— including this one—the new selection replaces the previous one.

Still holding down the mouse button, press the spacebar, and continue to drag the selection. Position it so that it more closely aligns with the plate. Carefully release the spacebar but not the mouse button and continue to drag, trying to make the size and shape of the selection match the oval plate of shells as closely as possible.

If necessary, hold down the spacebar again and drag to move the selection marquee into position around the plate of shells. When the selection border is positioned appropriately, release the mouse button. Leave the Elliptical Marquee tool and the selection active for the next exercise. If the plate of shells is not still selected, repeat the previous exercise to select it.

The pointer icon now includes a pair of scissors to indicate that the selection will be cut from its current location. Note You can release the Ctrl or Command key after you start dragging, and the Move tool remains active.

Photoshop reverts to the previously selected tool when you deselect, whether you click outside the selection or use the Deselect command. Moving a selection with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys. You can nudge the selection in increments of either one pixel or ten pixels.

When a selection tool is active in the Tools panel, the arrow keys nudge the selection border, but not the contents. When the Move tool is active, the arrow keys move both the selection border and its contents. Before you begin, make sure that the plate of shells is still selected in the image window.

Press the Up Arrow key on your keyboard a few times to move the oval upward. Notice that each time you press the arrow key, the plate of shells moves one pixel. Experiment by pressing the other arrow keys to see how they affect the selection. Size : 3. Photoshop Digital Matte Painting. Size : 5. Adobe Illustrator CC. Scanning and optimising images Photoshop.

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Adobe Photoshop Full Versions History ( to ) – PGBS.Adobe Photoshop CC Classroom in a Book ( release) [Book]

 

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For U. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. For the latest on Adobe Press books, go to www. To report errors, please send a note to errata peachpit. For information on getting permission for reprints and excerpts, contact permissions peachpit. Each download link gives you the files for a single lesson. You also have the option of downloading the entire set of lesson files as a single very large file.

To access these files, follow the steps below: 1. On a Mac or PC, go to www. If you do not have a Peachpit. Click the lesson file links to download them to your computer. If you are unable to locate the files for this title by following the steps above, please email ask peachpit. Our customer service representatives will assist you as soon as possible.

Modern Mac and Windows systems are set up to open Zip archives by simply double-clicking. Then enter the new name for your folder. Type the new name and drag the folder to the location you want to use. Drag the unzipped Lessons folders Lesson01, Lesson02, etc. When you begin each adobe photoshop cc 2017 book pdf free, navigate to the folder with that lesson number to access adobe photoshop cc 2017 book pdf free the assets you need to complete the lesson.

The lesson files are provided solely for your personal use. You are not authorized to use these files commercially, or to publish or distribute them in any form without written permission from Adobe Systems. Photoshop CC gives you the digital-editing tools you need to transform images more easily than ever before.

The lessons are designed to let you learn at your own pace. You can follow the book from start to finish, or do only the lessons that match your interests and needs. In addition, these lessons introduce you to Adobe Http://replace.me/11425.txt Preview to test mobile designs on actual hardware, using new workflows to generate optimized web and mobile assets, easier ways to find the right font for your project, how to upload your work to share on your Behance portfolio, and more.

This edition is also chock-full of extra information on Больше информации features and how to work effectively with this robust application. Prerequisites Before you begin to use Adobe Photoshop CC Classroom in a Book release adobe photoshop cc 2017 book pdf free, you should have a working knowledge of your computer and its operating system.

Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. You must license the Adobe Photoshop CC software separately.

For system requirements and complete instructions on installing the software, visit www. Many of the lessons in this book use Adobe Bridge. Приведенная ссылка and Bridge use separate installers. You must install these applications from Adobe Creative Cloud creative. Follow the adobe photoshop cc 2017 book pdf free instructions. Starting Adobe Photoshop You start Photoshop just as you do most software applications.

Accessing the Classroom in a Book files In order to work through the projects in this book, you will need to download the lesson files from peachpit. You can download the files for individual lessons, or download them all in a single file. If you purchased an eBook from peachpit. If you purchased an eBook from a different vendor or a print book, use the unique code in this book to gain access to the lesson files.

To access the Classroom in a Book files, do the following: 1. On a desktop or laptop computer, go to www. Just log in to access your files anytime as many times as you need; the code needs to be redeemed only once. Create a new folder on your hard disk, and name it Lessons.

Note Adobe photoshop cc 2017 book pdf free you complete each lesson, you will preserve the start files. In case you overwrite them, you can restore the original files by downloading the corresponding lesson files from your Account page at peachpit. Web Edition This book comes with a free Web Edition that provides many benefits.

To accommodate the changes, sections of the online book will be updated or new sections will be added. The Web Edition contains the complete text of the book augmented with hours of video and interactive quizzes. Note Registering to access the Web Edition does not automatically provide access to your lesson files, and vice versa.

You must follow http://replace.me/25748.txt instructions for each to claim the full benefits of your purchase.

If you purchased your book through any other channel, it must be registered: 1. Go to www. Sign in or create a new account. Enter ISBN: Answer the questions as proof of purchase. Click adobe photoshop cc 2017 book pdf free Launch link to access the product. Restoring default preferences The preferences file stores information about panel and command settings.

Each time you quit Adobe Photoshop, the positions of the panels and certain command settings are recorded in the preferences file. Any selections you make adobe photoshop cc 2017 book pdf free the Preferences dialog box are also saved in the preferences file.

To ensure that what you see onscreen matches the images and instructions in this book, you should restore the default preferences as you begin each lesson. If you prefer to preserve your preferences, be aware that the tools, panels, and other settings in Photoshop CC may not match adobe photoshop cc 2017 book pdf free described in this book.

If you have customized your color settings, use the following procedure to save them as a preset before adobe photoshop cc 2017 book pdf free start work in this book.

When you want to restore your color settings, you can simply select the preset you created. To save your current color settings 1. Start Adobe Photoshop. You do not need to perform steps 4—6 of this procedure.

The Save dialog box opens. The default location is the Settings folder, which is where you want to save your file.