Adobe Photoshop CS Tips and Tricks From The Experts.pdf

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Adobe Photoshop CS Tips and Tricks
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ADOBE PHO
ips and Tricks from the Experts
TOSHOP CS
C
ontents
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Creating Metallic Type
op corrections
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Creating the Magical Mirror Effect
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Lightblast! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Total Contrast Control Using Two Images
. . . . . . . . . . . . . . . . . . . . . . .23
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Woodcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Photo Filters to the Rescue
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Gif Animation: Swipe Effect
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Working with Lens Blur
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Rain Drops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
ollowing pages, Photoshop experts in photography, graphic design, video, and Web design share some of
their favorite tips. To see more Adobe® Photoshop® and Adobe ImageReady® tips visit the Photoshop Expert Center:
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Creative Photo Cropping
Digital Light Painting
Looking Through a Glass
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1
F-st
op corrections
TOSHOP CS TIPS AND TRICKS
dapted from Real World Photoshop, by David Blatner and Bruce Fraser. Bruce Fraser is coauthor of the award-winning Real World
Photoshop series, and of Real World Color Management, all from Peachpit Press.
uce Fraser
A
ere is a simple way to adjust exposure in the f-stop increments that is second nature to photographers. The key to
this technique is that the Screen and Multiply layer blending modes, at an opacity of 38%, produce an effect very
similar to lightening or darkening by one full f-stop. (For half-stop adjustments, use 19% opacity, for one-third stop
use 13%, and so on.) In this example, we’ll darken the image by one stop.
1.
Create an f-stop correction layer.
If you’re working on a layered file, create a new layer by choosing New > Layer from the Layer menu, then press
Command-Option-Shift-E (Mac) or Control-Alt-Shift-E (Windows) to merge the contents of all visible layers into
the new layer while leaving the underlying ones intact.
f you’re working on a flat file, duplicate the Background layer by choosing Duplicate Layer from the Layer menu.
2.
Apply a global f-stop correction.
elect the newly-created layer in the Layers palette, then set the blending mode to Multiply and the opacity to 38%.
This darkens the image globally by one stop.
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ADOBE PHO
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ADOBE
P
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OSHOP CS
TIPS AND TR
ICKS
2
F-st
op c
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3.
Add a Layer Mask.
he global correction makes some of the vegetation along the waterline too dark. To back off the correction locally,
you first need to add a Layer Mask by choosing Add Layer Mask from the Layer menu. In this case we used the Reveal
All option, but choose the option that requires the least amount of painting—if you want to correct a small area, it’s
more efficient to choose Hide All, and paint the correction in, rather than choosing Reveal All, then painting the
correction out.
Note that when you add the layer mask, it automatically becomes targeted in the channels palette, and the
background and foreground colors are automatically set to Black and White, ready for editing the layer mask.
4.
Constrain the correction.
ith the foreground color set to Black, use the Brush tool set to a soft-edged brush to paint out the correction in the
areas where you don’t want it applied. In this case, we painted with an opacity of 33% to reduce the correction along
the waterline to 1/3 stop.
5.
Experiment.
his technique lends itself to numerous variations. Once you’ve constrained the correction to the desired area of the
image, you can vary its strength by changing the layer’s opacity—for example, if you decide that you need a two-stop
correction, increase the opacity from 38% to 76%.
You can also experiment with different techniques for constraining the correction. If the area to be corrected or the
area to be protected is easily selectable, you can create the selection before adding the Layer Mask, then use the Reveal
Selection or Hide Selection options, respectively. If you want to constrain the correction to a specific tonal range, you
can use the Blend If options in the Layer Styles dialog box to limit the correction to the desired tonal range. For small
local corrections, you can use the History Brush, with the source set to the current image state, and the Brush Mode
set to Screen or Multiply—this method is particularly useful for making delicate corrections with the History Brush
set to very low opacities in the 3% to 10% range.
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ADOBE
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OSHOP CS
TIPS AND TR
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3
C
r
ea
ting M
etallic
T
yp
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C
reating Metallic Type
Adapted from Bert’s monthly segment on the TechTV show Screen Savers. Bert Monroy is considered a pioneer of digital art. He is the
co-author of the first book ever written on Photoshop. Bert is an accomplished artist, teacher, lecturer and author of many books.
The effect in this exercise is as widely used as the drop shadow. Metallic type can be found in car ads, CD covers, and
movie logos. A glance through any magazine will produce a myriad of examples. There will be many intermediate
steps to this exercise. Keep in mind that the end result is not really what is important here but rather the steps. These
steps with a minor alteration—as the use of a different color—will provide the solution to many other situations.
1. Create a new file.
Create a Photoshop file large enough to contain the full logo you are about to create.
2. Add a gradient.
Add a linear gradient from top to bottom with the Gradient Tool, using any colors you wish.
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Bert Monroy
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