Photoshop: Restoring & Blending Images

Windows & MacOS

Photoshop: Restoring & Blending Images v1.0.0

©2006

78 Pages

About IT Training & Education The University Information Technology Services (UITS) IT Training & Education program at Indiana University offers instructor-led computing workshops and self-study training resources to the Indiana University community and beyond. We deliver training to more than 30,000 participants annually across all Indiana University campuses. Our staff is comprised of enthusiastic professionals who enjoy developing and teaching computing workshops. We appreciate your feedback and use it to improve our workshops and expand our offerings. We have received several national awards for our materials and they are being used at universities across the country. Please keep your questions, comments and suggestions coming! In Bloomington, contact us at [email protected] or call us at (812) 855-7383. In Indianapolis, contact us at [email protected] or call us at (317) 274-7383. For the most up-to-date information about workshops and schedules, visit us at:

http://ittraining.iu.edu/

Copyright 2007 - The Trustees of Indiana University These materials are for personal use only and may not be copied or distributed. If you would like to use our materials for self-study or to teach others, please contact us at: IT Training & Education, 2711 East 10th Street, Bloomington, IN 47408-2671, phone: (812) 855-7383. All rights reserved. The names of software products referred to in these materials are claimed as trademarks of their respective companies or trademark holders.

Contents Welcome and Introduction . . . . . . . . . . . . . . . . What You Should Already Know . . . . . . . . . . What You Will Learn . . . . . . . . . . . . . . . . What You Will Need to Use These Materials . . . . Getting Started . . . . . . . . . . . . . . . . . . . . . . Today’s Project . . . . . . . . . . . . . . . . . . . . . . Restoring a Damaged Photograph . . . . . . . . . . . . Understanding Sharpening . . . . . . . . . . . . . . Changing Color Modes. . . . . . . . . . . . . . . . Working with Color Channels . . . . . . . . . . . . Converting to Grayscale Using Calculations . . . . Converting a Single-channel Image to Grayscale Healing Defects in an Image . . . . . . . . . . . . . Using the Patch Tool . . . . . . . . . . . . . . . Using the Healing Brush Tool . . . . . . . . . . Replacing a Background with a Gradient . . . . . . . . Loading a Predefined Selection . . . . . . . . . . . Using the Gradient Editor . . . . . . . . . . . . . . Applying the Gradient Fill . . . . . . . . . . . . . . Working with Filters . . . . . . . . . . . . . . . . . Blending Images with Masks . . . . . . . . . . . . . . Creating a Gradient Mask with Layer Masks . . . . Creating a Sepia Tone Effect . . . . . . . . . . . . . . . Creating a Duotone. . . . . . . . . . . . . . . . . . Adjusting the Color Tones . . . . . . . . . . . . . .

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. 1 . 1 . 1 . 1 . 2 . 3 . 3 . 6 . 8 . 9 . 11 . 15 . 16 . 17 . 20 . 22 . 22 . 23 . 26 . 27 . 29 . 33 . 35 . 35 . 38

Modifying Duotone Curves . . . . . . . . . . . Colorizing a Grayscale Image . . . . . . . . . . . . . . Selecting Areas to be Colorized . . . . . . . . . . . Saving Selections as Masks . . . . . . . . . . . . . Saving Multiple Selections . . . . . . . . . . . . Creating Composite Selections. . . . . . . . . . Checking the Color Image Mode . . . . . . . . . . Creating a Fill Layer . . . . . . . . . . . . . . . . . Loading a Selection . . . . . . . . . . . . . . . . . Creating Adjustment Layers . . . . . . . . . . . . . Using the Hue/Saturation Command . . . . . . . Using the Color Balance Command . . . . . . . Changing the Lip Color . . . . . . . . . . . . . Modifying Adjustment Layers . . . . . . . . . . . . Creating a Collage . . . . . . . . . . . . . . . . . . . . Tiling Images. . . . . . . . . . . . . . . . . . . . . Creating a New Image . . . . . . . . . . . . . . Restoring Palettes . . . . . . . . . . . . . . . . Moving Images from One Document to Another Editing Layers . . . . . . . . . . . . . . . . . . . . Saving in TIFF Format . . . . . . . . . . . . . . . . Understanding TIFF File Format Options . . . . Saving in JPEG Format . . . . . . . . . . . . . . . Closing Photoshop . . . . . . . . . . . . . . . . . . . . Wrapping Up . . . . . . . . . . . . . . . . . . . . . . . Contributions to These Materials . . . . . . . . . . . .

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© 2006 The Trustees of Indiana Univeristy

For review use only

Welcome and Introduction Welcome to Photoshop: Restoring & Blending Images.

What You Should Already Know This workshop assumes that you have taken the prerequisite Photoshop: The Basics or that you already know how to perform the following tasks:

• • • •

Work with Photoshop’s toolbox, Options bar, and palettes Make basic pixel selections Use filters Work with layers

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What You Will Learn

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This workshop is especially for people who want to learn to create photo collages and for those who are interested in refurbishing digital images of aging photographs. Designed for people with some experience using Photoshop, this workshop delves more deeply into Photoshop image-editing strategies and practices. Participants will learn the most beneficial way to modify images and use Channels and masks to preserve and edit their work. While doing the exercises, participants will save and re-use complex pixel selections, colorize grayscale photographs, learn the best method to create collages, and explore the ways Photoshop digitizes color. Specifically, you will learn how to:

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• • • • • • •

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Restore digital scans of aging photographs Sharpen a blurry image Create a true black and white image from a yellowing photo Blend two images together with a gradient mask Create sepia tone effects with a Duotone Colorize a grayscale image Create a photo collage

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What You Will Need to Use These Materials To complete this workshop, you will be provided with:

• The use of Adobe Photoshop CS2 • The exercise files in the Photoshop Restoration folder: couple.tif, flowergirl.tif, portrait.psd, rusty-car.tif, the Collage subfolder and its contents, layer-1.tif, layer-2.tif, layer-3.tif, layer4.tif, layer-5.tif.

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Getting Started These materials presume you will begin work from the desktop, and have any required exercise files located in an epclass folder there. For instructions on obtaining the exercise files, see below. If you need assistance logging on or starting an application, please consult your instructor.

Finding Help

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If you have computer-related questions not answered in these materials, you can look for the answers in the UITS Knowledge Base, located at:

http://kb.iu.edu/

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Self-Study Training Want to learn more on your own?

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IT Training Online makes self-study computer-based courses available on a wide range of IT topics. You may also purchase STEPS workshop materials to use in learning on your own. To find out more, go to:

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http://ittraining.iu.edu/online/

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Getting the Exercise Files

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Most of our workshops use exercise files, listed at the bottom of page 1 of the materials. In our computer-equipped classrooms, these files are located in the epclass folder, which should already be on the computer desktop. If you are using our materials in a different location, you may obtain the exercise files from our Web site at:

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http://ittraining.iu.edu/workshops/files/

Once you are logged on and have the needed files in an epclass folder on your desktop, you are ready to proceed with the rest of the workshop.

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Today’s Project In today’s project, we will examine several different projects, focusing on tasks involved in restoring aging photographs. Our first project involves touching up two digital images of photographs, and then blending them together. During the project, we will sharpen and touch up each of the images. Before the final step of blending the images together, we will replace a blotchy background with a smooth one.

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In our second project, we will add sepia tone to a grayscale image to give it an old-time effect.

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Our third project will feature colorizing a grayscale portrait. We will make use of the most effective ways to modify images, using special kinds of layers and masks to preserve and edit our work. While doing the exercises, we will save and re-use pixel selections.

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Finally, for our last project, we will create a collage consisting of several images of aging photographs. In this exercise, we will utilize the techniques learned in this workshop.

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Restoring a Damaged Photograph

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When we peruse our old photographs we may find that time has been unkind to these keepsakes of our memories. Since photography is constantly evolving, we have only recently discovered how some outdated photographic processing techniques may have caused our treasured photos to decay.

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In this section, we will examine two photographs. Both have been damaged by time. One has already been touched up slightly in order to shorten our work, but the other one will require that we complete all modifications.

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For the first image, we will sharpen it, convert it to a true grayscale, and heal the damaged sections. Once we have completed touching up both images, we will blend them together with a masking technique. Let’s launch Photoshop and open our first image now. 1. Launch Photoshop.

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2. To open the file, on the Menu bar,

™ File, ™ Open... You see the Open dialog box. We need to specify the name and location of the file to open.

Setting the Location for Opening Your File When the dialog box opens, it lists a default location from where the file will be opened. This location is displayed in the Look in field.

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On a Windows PC, the Look in field is located at the top-left corner of the dialog box.

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All of our exercise files are contained in the epclass folder, located on the desktop. We’ll want to change our Look in location to this folder.

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1. To move to the epclass folder, on the Look in drop-down list,

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, ™ epclass

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The epclass folder is now listed as the Look In location. Note for Macintosh Users - On a Macintosh, the Look in field is above the list of visible folders and files, and is labeled “From:”. To move to the desktop, press the key combination † + D. From there, you can move into the epclass folder.

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We will need to open the Photoshop Restoration subfolder of the epclass folder that contains all of the necessary documents.

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2. To open the correct folder,

£ the Photoshop Restoration folder

Photoshop: Restoring & Blending Images v1.0.0

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3. To open the file,

£ couple.tif The file opens:

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Even the most meticulously scanned images should be cleaned up in Photoshop, and this one is no exception. Let’s take a moment to examine our image. We can see clearly that the image has some scratches, and is discolored. The sepia tone contained in this image is one that many people associate with old photographs, but the effect is not intentional. Rather, it is the degradation of the chemicals that created the photograph that cause the effect. We will make this image a true black and white to bring it back to its original state. But first, we must sharpen it.

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Understanding Sharpening Sharpening is a process used to reduce the blurriness of photos. Older photographs like the one we have just opened are naturally blurry, and we can improve them by some careful sharpening. Adobe Photoshop CS2 has a new feature called Smart Sharpen. Smart Sharpen is a new way to sharpen images that gives us more control and better results than the previous version, Unsharp Mask. We will sharpen as the first step in our repair. We do this because if we sharpen as the last step, we will also sharpen our repairs, and they will be very obvious, and impossible to hide. Sometimes, if the project only involves color correction, it is common to complete sharpening as the first step of the process.

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Let’s see how the Smart Sharpen filter works now. 1. To begin sharpening, on the Menu bar,

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™ Filter, ™ Sharpen, ™ Smart Sharpen

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The Smart Sharpen dialog box appears:

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Let’s examine the Smart Sharpen window before we continue. When we sharpen, Photoshop finds the edges in the image and increases the contrast. It literally makes the dark parts darker, and the light parts lighter.

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© 2006 The Trustees of Indiana Univeristy

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We can control the way the Smart Sharpen filter affects the image with the settings explained here.

• Settings - The Smart Sharpen dialog box allows us to save our settings and re-apply them to a different image. • Amount - A higher value here increases the contrast effects the filter is applying, making the image appear sharper. • Radius - The higher the radius value, the more pixels near the edges will be affected by the sharpening. If this value is too high a “halo” will appear around the edges, which is problematic in image editing. • Remove - This drop-down menu allows us three different options for what type of blurring to remove. Gaussian Blur is an overall type of blur, that is the same filter used in the Unsharp Mask filter, which is an older sharpening method. Lens Blur allows users to remove blurring from a standard photographic lens. It gives better detail than the Gaussian Blur. Motion Blur allows users to remove slight blurring due to motion, either from the subjects, or from the photographer. It does require that the user know the exact angle of the blur, however. • More Accurate - This checkbox processes the file twice automatically. This generally gives better results, but not always. Be sure to experiment with it to see the differences.

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For our image, we want to increase the sharpness to a large degree. When we have completed the sharpening process, it will be clear how much sharpening has improved the image. For this image, we have pre-determined the best settings.

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2. To set the amount of sharpening, in the Amount field, type:

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The image sharpens.

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3. To set the radius in the image, in the Radius field, type:

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This means that sharpening will occur in the 1.5 pixels closest to each pixel that is considered an edge in the image. 4. To determine the type of blur to remove, in the Remove field,

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Photoshop: Restoring & Blending Images v1.0.0

, ™ Lens Blur

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5. To see the difference between the two versions,

™ the Preview checkbox Watch the image in the background as we remove and add the effect to see the difference. We should notice that the new image is much sharper than the original. 6. To complete the sharpening,

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We have completed our sharpening. We can now convert the image from color to Grayscale. After we modify it some more, we will save the new Grayscale version with a different name.

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Changing Color Modes

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When we work with digital graphics, it is critical to understand color modes because we must set the correct mode for our final output media—whether on a lighted screen, such as a monitor or television set, or on a piece of paper.

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Color mode refers to the way in which a color is encoded by the computer. In practice, there are several primary color schemes used by printers or projectors to generate onscreen or pigmented graphics. These are color modes.

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In computerized graphics, there are two basic kinds of primary color sets. One set is defined in terms of applying varying amounts of pigment (i.e., in ink or paint), while the other is defined by amounts of lighted color (i.e., a prism reflection or onscreen projection). By nature, these two display types involve different physical processes. Obviously, we cannot dip a paintbrush into a bucket of light and then paint the light onto a paper, nor can we project a lighted image onscreen by applying dabs of ink to a projection device. Therefore, we need to use different methods to work with each.

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The most widely used of several computer-generated modes are CMYK, RGB, Index Color, and Grayscale. The choice between them is determined by the way the material will be displayed: Color Mode

CMYK

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Explanation and Use

Refers to the color of inks in printers: Cyan, Magenta, Yellow, and Black

Photoshop: Restoring & Blending Images v1.0.0

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Color Mode

Explanation and Use

RGB

For display on electronic devices that use light—computer monitors, digital projectors, televisions, and LCD devices. Its working colors are Red, Green, and Blue.

Index Color

Contains 256 or fewer colors. It is designed especially for older computer monitors and some onscreen devices.

Grayscale

Contains 256 shades of gray, ranging from black to white. Grayscale is suitable for either print or onscreen display.

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Accordingly, if our output is to be print, we would generally use CMYK or Grayscale; on the other hand, if we are going to use our graphics on a Web page or a computer monitor, we would choose RGB, Index Color, or Grayscale.

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NOTE: The range of colors that can be generated by a given color mode is called a gamut. When we switch color modes, we lose a few colors each time, thereby degrading the image. So, if we switch color modes more than once, the problem becomes cumulative. Especially when converting to Grayscale, we want to save a copy of our original image so we can return to the colored version if we want.

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Working with Color Channels In Photoshop, converting to a Grayscale image can be as simple as choosing the Grayscale color mode from the Image menu. However, when we do this, Photoshop just guesses at what we want our final image to look like. It is rare to get satisfactory results from this type of automatic editing in Photoshop. There are several ways to get better results from this type of conversion, and today we will use Calculations.

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Calculations is a feature in Photoshop that can use colors in a special way to create unique effects. Color information in an image is stored in Channels, which Photoshop mixes together to create the image we see. We can view these Channels at any time by going to the Channels palette. Let’s view the colors in the Channels palette.

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1. To open the Channels palette, on the Menu bar,

™ Window, ™ Channels The Channels palette appears:

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We can see that for this image there are 4 entries in the Channels palette. These represent the combined channel of the three colors in this image (RGB), and the Red, Green, and Blue channels separately. Let’s look at the Red channel.

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2. To view the Red Channel, in the Channels palette,

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™ Red

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The Red Channel appears in the image window.

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Notice that what we see is in Grayscale. Photoshop displays color channels this way because it is easier to see the detail in these channels when they are in Grayscale.

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We can see that the Red Channel itself would make a good Grayscale final image. We will remember to use this later. Let’s look at the green and blue channels as well.

3. To view the green channel, in the Channels palette,

™ Green The Green channel also looks acceptable. It is a bit more “muddy” than the Red channel, but it might have some aspects that we would like in our final image.

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© 2006 The Trustees of Indiana Univeristy

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4. To view the Blue channel, in the Channels palette,

™ Blue We can see the blue channel is not at all acceptable. In Photoshop terminology, it is common for the Blue channel to be referred to as the “Noise Channel.” This is because when looking at an image, the Blue channel generally manages to capture most of the noise and various defects in the image. We can avoid these defects by using only the Red and Green channels in our new Grayscale image.

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5. To return to the combined channel, in the Channels palette,

™ RGB

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Let’s create our new Grayscale image now using the Calculations feature.

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Converting to Grayscale Using Calculations

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The Calculations dialog box can be confusing and intimidating, even for very experienced Photoshop users. In truth, it is not that complicated, and with a bit of experimenting, we can understand its usage very easily.

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The Calculations feature allows us to mix two separate color channels together to combine the best of both in our final image. We can then use this new mixture to replace an existing channel, or use it by itself.

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Let’s open the Calculations dialog box.

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1. To open the Calculations dialog box, on the Menu bar,

™ Image, ™ Calculations The Calculations dialog box appears:

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Let’s take a moment to explain how the Calculations dialog box is arranged. There are 3 separate areas in this dialog. Source 1, Source 2, and Blending. There is also a Result drop-down menu at the bottom.

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In our example, the only boxes that concern us are the Channel drop-down menus, as well as the Blending information.

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Following is an explanation of the sections in the Calculations dialog box:

• Source 1/Source 2 - These refer to the different images that Photoshop can pull channels from to combine. If we had multiple images open, we could combine two different channels from two different documents. Each item in each Source box pertains only to that particular source image. • Layer - If we wanted to select a specific layer to use, we could do that with this drop-down menu. • Channel - This allows us to select the channel we want to combine. In our example, we can choose between Red, Green, and Blue. • Blending - Blending modes are used to change the way one layer or channel interacts with another. Some blending modes are used to darken, lighten, or apply other effects. The Opacity box lets us increase or lower the intensity of the effect. • Result - We have several options for where we want this new combined channel to go. We can either put it in a new Channel, a new document, or turn it into a selection.

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Now that we understand the Calculations dialog box, we can complete our effect. Making these settings usually takes some trial and error. As such, we have already determined the best settings for this particular image.

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2. To set the source for Source 1, in the Channel field under Source 1,

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, ™ Red

Now we can select our source 2. We want to combine the Red Channel and the Green Channel.

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3. To set the source for Source 2, in the Channel field under Source 2,

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, ™ Green

We can see the effect change in the image window. Now we can work with the blending modes to fine-tune our combination. The Blending mode will be used to change the way one of our channels interacts with the other.

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4. To change the blending mode, in the Blending field,

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, ™ Overlay

The Overlay mode will work best for this example. (Note that in other projects, other modes might work better.) Our effect is likely to be too harsh at this point. We can decrease the opacity of the blending mode to reduce the intensity of the effect. 5. To lower the opacity, in the Opacity field, type:

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The image is now acceptable.

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Because this alteration will become the new surface that we will work on, we would like to create it in a new document.

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6. To create the Calculation in a new document, in the Result field,

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7. To accept the changes,

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, ™ New Document

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We see the final image in our image window, and a channel called Alpha 1 in the Channels palette.

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For comparison, we would like to see how our file would look if we had just changed the color mode and allowed Photoshop to alter the image for us.

8. To move to the original document, on the Menu bar,

™ Window, ™ couple.tif We can see our original image appear.

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9. To change the mode to Grayscale, on the Menu bar,

™ Image, ™ Mode, ™ Grayscale A dialog box appears, asking if we want to discard color information. 10. To discard color information,

™

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The image changes to grayscale. We want to compare the images. 11. To arrange the images side-by-side, on the Menu bar,

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™ Window, ™ Arrange, ™ Tile Vertically

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The two images are positioned so we can easily see both versions

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Notice how the contrast in our calculated image is much better than the other version. With the Calculations command, we were able to exclude the damaged Blue channel, and use only the better looking Red and Green channels.

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Photoshop had no knowledge of what the image looked like, so it had no way to know that the Blue channel would cause such problems.

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12. Without saving any changes, close couple.tif.

e l Convertingp a Single-channel Image to Grayscale m a S We can now finish repairing our new image.

We want our new image to be in the Grayscale mode. This is actually a simple process. Photoshop will create it from whatever channel we have selected. Since our new document has only one channel, Alpha 1, we can simply convert it now. 1. To change the color mode to Grayscale, on the Menu bar,

™ Image, ™ Mode, ™ Grayscale The mode changes to Grayscale, and we see only that the channel in our Channels palette is now named Gray. We want to save the file, making sure that we keep the earlier copy of our image. We will save it as a .tif file. Photoshop: Restoring & Blending Images v1.0.0

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2. To save the image as a TIFF, on the Menu bar,

™ File, ™ Save As... You see the Save As dialog box. 3. To choose the TIFF file format, on the Format drop-down list,

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, ™ TIFF (*.TIF, *.TIFF)

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4. To name the file, in the File name field, type:

couple-edit.tif

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5. To save the file,

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We see the TIFF Options dialog box. We'll accept the default TIFF format options for this file.

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6. To accept the default TIFF format options,

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The file is saved. Now that we have generated a good grayscale, we can go on to heal the scratches in the image.

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Healing Defects in an Image In this image, we have several fine cracks in the image. Although the defects look difficult to fix, the healing process is actually fairly simple. Before we fix the blemishes, we should understand how Photoshop professionals view images such as this. This image contains “good information” and “bad information.” Good information refers to any parts of the image that do not need to be edited, while bad information is anything that should be replaced. In cases like this, we can use the good information to replace the bad information.

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Notice that the scratches are mostly near the edges. On the left side of the image, there is one long crack that covers several different backgrounds, but on the right side, the scratches are almost entirely contained within some bushes. We can fix those with the Patch tool.

Using the Patch Tool The Patch tool allows us to select a damaged area of an image and replace it with another area of “good” information. We will first define a damaged source area, and then move it over a destination of our choice. This action will “patch” the bad area with a duplicate of the destination. Accordingly, we want to choose a destination that is like the source, but has no flaws.

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Let’s fix one of the scratches now to see how this works. 1. To activate the Patch tool, in the toolbox,

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™ and hold The cursor now looks like

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The Patch tool works by first drawing a selection around a damaged area, and then dragging the damaged selection to a new area. The pixels in the new area are then copied into the selected area.

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2. Verify the Transparent checkbox in the Options palette is not checked.

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3. To draw a selection, in the image,

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¢ a selection completely surrounding the scratch in the lower right corner of the image

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NOTE: Make sure that your selection completely surrounds the scratch, and conforms closely to the boundaries of the scratch:

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Now we can move this selection to cover good information, and the bad information will be replaced.

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4. To replace the bad information,

¡ inside the selected area, ¢ upward until the selected area is filled with new pixels When we release the mouse, the Patch tool will replace the bad information with the good information, and attempt to blend the patch in to the background. 5. To deselect the current selection, press:

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ƒD

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Note for Macintosh Users - To deselect the current selection, press† D.

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We can also do this in the opposite fashion, selecting good information and placing it over bad information, by switching to Destination in the Options bar.

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We can now see how well the Patch tool has blended the information together. A seasoned Photoshop expert would likely be able to pick out our adjustment, but most viewers won’t look that closely.

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Notice how well the patch tool works in an area that is naturally chaotic, like the bushes in the background.

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6. To repair the remaining scratches on the right side of the image, repeat steps 2-5 for the following areas:

• the scratch in the lower right corner • the scratch just above the man’s shoulder • the scratch in the upper right corner of the im-

age The following image shows the location of these scratches:

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Now we can move to the left side of the image.

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Using the Healing Brush Tool For the left side of the image, things are a bit more challenging. The two lower scratches are light and in simple areas of foliage. The one above covers a very large area, and is covering several different variations of objects and textures in the background:

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For this side of the image, we will use the Healing Brush. The Healing Brush works like the Patch tool, but instead of creating a selection to move, it acts like a paint brush.

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We will select a source in the good image information, and then paint over the bad image information, replacing it.

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Let’s repair the three scratches with this method now.

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1. To activate the Healing Brush tool, in the toolbox,

™ and hold

, ™ Healing Brush Tool

The Healing Brush tool is activated. Now we need to select our source. 2. To change the brush size, in the Brush Options,

™

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, set the Brush Diameter to 8pt

Photoshop: Restoring & Blending Images v1.0.0

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3. To apply the changes,

™ For a busy section of the image such as this, we want to select a texture as close to the scratch as possible. 4. To create a source for the Healing Brush,

hold «, ™ just below the lowest scratch on the far left side of the image

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Note for Macintosh Users - Hold ¥ , ™ just below the lowest scratch on the far left side of the image. Now we can remove the scratch. 5. To remove the scratch,

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¢ over the scratch using short strokes Short strokes give us more control over the correction.

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6. To repair the middle scratch,

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repeat steps 4-5 for the scratch near the middle of the image

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Always make sure to create a new source for the new scratch.

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The final scratch will be the most difficult to repair. It will likely require the use of multiple healing tools and careful manipulation.

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7. To repair the image’s upper left scratch,

repair the large scratch in the upper left corner of the image NOTE: For this exercise, we recommend a combination of the Patch tool and Healing Brush tool. Experiment with both. 8. Save and close the file. We can now work on the next part of our project.

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Replacing a Background with a Gradient Now that we have completed our first image, we can prepare our second image. The image we will use is an old one with a lightly mottled background. We will replace its background with a gradient. Gradients are colors that gradually blend between two or more colors. Currently, our background is filled with scratches and specks. It would take too much time to create an acceptable background, so we will replace it with a gradient, and then add some texture to it.

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Loading a Predefined Selection

When we replace any part of an image with something else, we must select an area to be replaced. This can be a time-consuming task. To expedite this exercise, we will use an image that includes a pre-saved selection.

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Let’s open our image now. 1. To open the image, in the menu bar,

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™ File, ™ Open... 2. To open our file,

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£ flowergirl.psd

The file opens.

We can see that the image is old and blemished, but the girl is relatively undamaged.

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For our convenience, this file already contains a stored selection of the girl, which we can apply at will. Although we have not yet saved any of our own selections, we will learn how to do it later in this workshop. Let’s load the selection now.

3. To load a selection, on the Menu bar,

™ Select, ™ Load Selection The Load Selection dialog box appears.

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4. To load our selection, in the Channels field,

™

, ™ girl

5. To finish loading the selection,

™ The selection loads, and we have the familiar marching ants surrounding the girl. To replace the background, we need to select the opposite.

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6. To invert the selection, on the Menu bar,

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™ Select, ™ Inverse

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Now we have the background only selected, and we can work on our gradient.

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Using the Gradient Editor

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We’ll add a gradient fill to the background of our image using the Gradient Tool.

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1. To select the Gradient Tool, in the toolbox,

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The Gradient Tool is selected.

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We can select a gradient from the presets in the Gradient Picker on the Options bar. Photoshop also lets us define a new gradient by modifying a preset. The Gradient Editor lets us modify the color blends and the opacity of the preset to create a custom gradient. Let’s open the Gradient Editor.

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2. To open the Gradient Editor, on the Options bar,

™ NOTE: Do not click the drop-down arrow. We see the Gradient Editor dialog box: A

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B

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E

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D

C

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The following table explains the corresponding components of the Gradient Editor:

A

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Use

Presets swatch

Display presets of gradients to choose from

B

Starting opacity stop

Customize the starting opacity level

C

Ending opacity stop

Customize the ending opacity level

D

Gradient Preview Bar

Preview the customized gradient

E

Starting color stop

Customize the gradient’s starting color

F

Ending color stop

Customize the gradient’s ending color

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Let’s select a preset gradient and edit it to create a custom gradient. The Gradient Editor allows us to choose a gradient type from a library of presets. We can base the new custom gradient fill on the existing gradient. Let’s choose the Foreground to Background type to create a new gradient fill. This gradient type allows a smooth transition from the currently active foreground color to the currently active background color. Let’s select the gradient type. 3. To select the Foreground to Background gradient type, on the Presets swatch,

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We see that the name of the gradient type Foreground to Background appears in the name field.

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The next step is to specify the colors for our gradient fill. The current gradient has a black starting color and a white ending color. We want our new background to reflect the grayish colors that are currently in the image, so we will use the Eyedropper tool in the Gradient Options to select each color. Using this technique, we can click any color in the background and apply it to our new gradient. First, we need to have a color stop selected.

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Let’s edit the starting color first.

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4. To edit the starting color, on the gradient bar,

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™ the left most color stop

We see the control palette display Gradient tool options, with an Eyedropper tool:

NOTE: To add custom colors that are not already available in the image, instead of using the Eyedropper, £ the color stop. This opens the Photoshop Color Picker. We want our gradient to be dark in the center, and lighter around the outside, so we want a darker color for the starting color.

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5. To select a dark color,

™ the background of the image It might be difficult to see the change from black to a slightly lighter color, but it will become clear when we complete the image. Now, let’s edit the ending color. We again want the color to be reflected in the image, but currently, there is no good light color in the background. We can use the girl’s dress, however.

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6. To edit the ending color, on the gradient bar,

™ the rightmost color stop 7. To change the color,

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™ the girl’s dress

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We see on the gradient bar the gradient color blending from dark gray to an off-white color.

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8. To accept these settings, in the Gradient Editor,

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The Gradient Editor closes.

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Applying the Gradient Fill

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With the gradient type and the colors selected, the next step is to select an option for applying the gradient fill. The Gradient Tool provides five basic gradient styles: the linear ( ), radial ( ), angle ( ), reflected ( ), and diamond ( ) gradients. Let’s select the Radial gradient style for our custom gradient fill. This gradient style creates a gradual blend between multiple colors that radiate out from a central point. Our goal is for this background to look like a studio background.

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Where to Go From Here The rest of this document has been intentionally deleted. To find out how you may use the full version of this document and many other of our award-winning materials in your own training classroom, visit:

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