Adobe® Photoshop® Intensive

Lesson 25 of 68

Color Selections: Fixing Animal White Eyes

 

Adobe® Photoshop® Intensive

Lesson 25 of 68

Color Selections: Fixing Animal White Eyes

 

Lesson Info

Color Selections: Fixing Animal White Eyes

So moving on with our selection by color tools, we have this picture of this cute kitty, but the kitty wasn't so cute in its original form let me turn off the layers that I've created for you here's a little tip about using these visibility icons here I want to turn off the visibility I of these two layers that are next to each other, so I'm going to start my click and hold down my mouse button just above the visibility I on this layer and just drag straight down so that's how you can quickly show our high many, many layers so you can just click and drag across multiple by holding down the mouse but multiple eyeballs and so that's a little extra tip for you somebody go and turn those guys off! This was our original shot devil kitty s so this is a common problem with pet photography and you can't frame anything like this, but this is a gorgeous shot no kidding and a sink with a nice shallow depth of field, the backgrounds blurry so we just need to fix kiddies eyes so we're going to do t...

hat by selecting the offending people's case, so we need to create a selection of these areas right here and while they're not a solid color, you can see a little bit of variation in the tone that are contained in those peoples there we're gonna use thie quick selection tool you could try the magic one for this but I think the quick selection toll will work a little bit better for you in this case so we're going to create a selection of the peoples then we're going to create a new layer onto which we're going to fill those selections case we're going to end up with two oval selected then we're going to fill it on a new layer with black and that's going to give us this which looks better but it still doesn't look quite riel because you need that reflection you need the light source in the eyes will call it a glint to make it look realistic so we're going to add our glint using the regular brush tool and we're just going to paint too little spots of white in the morning and drop the opacity of it so that we have a glint in our kitty's eyes which makes it look more realistic so that's what we're going to create so I'm gonna go ahead and leave the visibility eye off of the layers and I create for you and again when you're working with these files at home trying not to save over this master file because that way you've always got a document to go back to that she can reverse engineer and figure out how the hit we did it here in class okay so you want to be on the layer that has the photo okay, we want that layer to be active because when we're creating a selection, the selection tools work on a layer by layer basis so you want to be on the layer that has the color on it that you want to slipped so we're going to grab our quick selection tool from the tools panel here it's keep or short is w that's coming from the magic wand because that was the first hole because this is a relatively new selection tool. So that's, what has the keyboard shortcut of w now we we said earlier that the area that is selected with the quick selection toll is based directly on the size of your brush cursor with that school, so if I start painting right now, I'm going to get the whole eye, which is not what I want okay, so I need to make my brush cursor smaller because it's a relatively small area that I want to select so I'll d select by pressing command or control d and I'm gonna make my breast size smaller by using that left bracket key and I'll zoom in a little bit so I can see what I'm doing now I'm going to click and drag to paint around the eye and it doesn't take a very long drag and as soon as you release the mouse but the selection kind of smooth itself out around the edges, which you don't really get that kind of edge, is moving with the magic one, which we were discussing during the break, is why some people affectionately call it the tragic wand. So now, with this tool, we can mouse over to the second iris or people rather, and we can continue to paint, and that area will also be added to our selection with the other selection tools that we've been using so far, the marquis tools, the magic wand, we would have to hold down the shift key to put this tool an ad to selection model. We don't have to do that on this one, because let me zoom in if you look inside the cursor, it's got that plus sign, so because this election tool works by painting across areas, it stays in addis election mode until you tell it not at okay, so if we did end up selecting too much, we could put this tool in subtract mode by pressing option or ald, and see how now there's a minus sign inside of it. So let's say, for example, I'll zoom back out that I had, I come over here and I'd accidentally selected part of kitty's knows I don't want that in my selection, so rather than de selecting and starting over, I could simply press the options are all key, and then when the I c the minus sign in the brush, you can see it there. Then you would paint back across that area and you just want to get rid of all the little flashing points. All those little marching is so now that extra selection that I didn't mean to have is gone. So now when I released that modifier key, the plus sign goes back into the cursor, which means it's in ad move good so I can come over here to the second people and click in paint, and as soon as I released my mouse button, the selection kind of smooth itself out. It really is a quite intelligent tool in with each new version of the program it's going to get smarter and smarter. I have a feeling you heard it here on creative life first, ok, now that we have a good selection with the tools, we need to think about what we're doing here, we're going to fill these selections with black, but if we do that right now, we're going to have a very hard edge between black and the iris of kitty's eyes here. So what we want to do is we want to soften the edges of that selection. Just a hair so that when we apply the black paint it gets a little soft around its edges and it'll blend better with the rest of the photo and it won't look so obviously photoshopped, which is never what you want unless you're going for that cheese ball it which is fine okay a couple of different ways you can apply feathering you can go up to the select menu and that kind of makes sense because we are wanting to alter a selection can we want a feather or soften the edges of that selection so you could go up under the select menu to modify so think ok, I want to change the edge of my selection, okay, that kind of makes sense select, modify and you could go over to feather and photo shop will ask, well, how many? How wide do you want that softening to become? How many pixels do you want to soften? Okay cryptically called feather radius so for a relatively small image, which is what we've got going on here is not a really huge image. I can get away with a really small feather amount. If you're working on a big honkin image at home and very high quality, you will have to use a larger number so I can get away with give one pixel feather on this one, but at home you might need to use the value of two or three you'll have to experiment with that a little bit, so this is one way to feather okay, when you click ok, nothing is going to change on your document so don't think that photoshopped didn't really soften the edges of this election it will, but you're not going to see any evidence of it until we actually fill it with color. Ok, in other words, the marching its aren't going to change at all, so I'm going to go ahead and cancel out of this and I want to show you another way to feather your selection. You'll notice in the options bar we have a button here called refined edge zoom in a little bit this was nancy s for so through reason cia story you won't have this but see us foreign sees five users will this button is visible in the options bar when two criteria or president it's kind of like those aligned tools for layers that we looked at yesterday, you had to have the move tool activated and you had to have more than one layer activated as well for them to show up this button is the same in that you have to have a selection tool active and you have to have a selection on your screen, which means marching its need to be somewhere else you will not see this button so don't let that trip you up go ahead and give it a click in the world's most wonderful dialog box will appear and I'm calling it the world's most wonderful dialog box for reasons that you will learn later in the day because this is what we're going to use to get those really tough selections of hair and for but for right now we want to use it tio feather thie edges of our selection so let's just take a look at what all is in this dialog box at the very top in the view area right here you can change the way your selection is being preview to you on screen right now I'm seeing a red overlay which looks a whole lot like quick mask that we used yesterday to paint on our areas that we wanted to mark when we were using content aware scale this is the red overlay of quick mask, but you may not have your set to show the red early, which is extremely helpful so you can click this little downward pointing triangle in the view menu and you will get seven different ways to preview that selection so you can preview it using the marching ants, which I'm going to give you all old texas saying here is about as useful as tits on a boar hog seriously it is not useful at all the overlay is what I use most often ok, so I'll leave mindset to overly in the letters next to each view mode are that is the keyboard shortcut for that view move so overlays v you can also show your selection on black which can be helpful in some cases not this particular one on white which is extremely creepy in this situation aah black and white on the layers which also is not helpful at all and, uh that just shows you everything without your selection so we're gonna go backto overlay and to close this little panel just click the little downward pointing triangle again now we're not going to use this part right here the section called edge detection that's where the real magic happens we're going to be using that on hair and for in just a little while and you guys aren't going to believe what it can do but what we really want to pay attention to you are these options right here in the adjust edge section so starting from the top smooth will smooth the edges of your selection we don't have to worry about that too much with the quick selection tool though had you started out with magic one this would be really, really helpful tio make the magic one more magic than tragic feather this is what we want so we're gonna take this up to about one pixel and see here you can see that you don't have to go with whole numbers, and you might not have known that if you were using the feather dialog box because it doesn't give you indication that you can use decimals well, here is obvious that you can use decimal so you can be a little bit more precise with your feathering and for this image, I think one is gonna work out fine again on your image is at home. If they're really big, you might have to pump that up just a little bit, but I don't think you'd ever have to go beyond three, no matter how big the image with the images. If you do, you're going to get too much. The black will bleed out into that iris in the eye that won't look real contrast, contrast works with the edge detection, the smart radius here, so we're not going to use that contrast really tells photoshopped pay, but I need my edges to be or I need the contrast to be ah, higher between pixels before you consider that to be an edge. Okay, so that one works with a smart radius, which we're not using right now shift edges useful let's say that you want to increase the size of your selection a little bit or decrease it a little bit, you can do that with this slider here that it won't decrease it away or it won't increase or decrease it a lot, but you confined him it just a little bit, so I'll go ahead and grab the shift edge slider and pump it all the way up to the right so you can see the difference. See how the selection the red overlay got larger is now take it back to its original setting. See how now it's a little bit smaller, so for this one, I might pump it up just a little bit to make sure that I'm getting all of that yellow around the peoples. This stuff right here has to do when we're, uh, selecting an item to extract from a background decontaminate colors will try to get rid of any left over pixels that might be hanging around that causes it's kind of a halo look, once you put that extracted item on another background, so that can help with that, we won't use that for this particular technique and remember settings is the same thing as be make default button in the layer styles dialogue. So if you find that you're using similar settings in the refining dialogue a lot, you don't have to remember those suckers you can have photoshopped remember than for you by clicking the remember settings checkbox we're not going to use that for this technique, though, so we'll go ahead and click ok since we've added are a little bit of a feather and we've shifted, we've increased the edge of our selection to make it deaths a little bit bigger then of course, the reverse is true if you dragged to the left that contracts your selection aa lot of these sliders here in the refined edge dialogue live in the select menu under the modify many write their contract, expand that kind of stuff, so people had a hard time or people would forget that those commands were in there, and so adobe liberated them and kind of brought them to the forefront here in this refinance dialogue, which israel hammy it's a gland click ok, and we go back to viewing just our selection again, no visible change, so don't think that flutter shot didn't do it, it really did. Now we're ready to create a new layer onto which we're going to fill with black paint, and as you found out yesterday, there are several different ways to do it. You can click the new layer icon at the very bottom of the layers panel looks like a piece of paper with an upturned corner, a dog, your corner, you can go to the layer menu and choose new layer and I'm going to give you yet a third way that we haven't used yet its keyboard shortcut we love keyboard shortcuts shift command in for new on a mac or shift control in for new on a pc will create a new layer and gives you naming opportunity so we're going to name this one cleverly new peoples and then we can click ok nafta glance over in your layers panel you can see that we are indeed on the new layer which is what you want and again we're doing this so we don't destroy our original image so now we're ready to fill these pixels with black two different ways you can do that I'll give you the easy way first and then we'll we'll roll with keyboard shortcuts so go up to the edit menu and choose phil but a shop is going to say hey I hear you want to feel some pixels here what color would you like me to use so from the eu's poppet menu you want to choose black it's always an option down there so just choose black from that menu leave the rest of this stuff alone then click ok at this point we're finished with our selection so we can get rid of it so we compress command or control d to get rid of the selection now if I zoom in I can tell that my selection edges where a smooth is I would like them so you've got a couple of choices at this point you can delete this new layer and have another go at it you know, maybe used the smoothing bar and the refine edge dialogue or what's the easy way to do it? What if we describe the regular brush tool set to paint with black and we just kind of went in and smooth that out a little bit? See, this is the kind of flexibility that you build in for yourself when you do all of this on separate layers because that black paint lives on its very own layer can do anything I want with it I confined to end it with the brush tool set to black it's the same thing, so if you can't get the selection to look exactly perfect, you confined him it this is a great eggs issues to use away calm graphics, tablet ok, which I do have a home I don't typically travel with it cause it's honking big it won't fit in my laptop case so that's why you see me using the mouse? I do use tablets a lot, but I am so fast that keyboard shortcuts that sometimes I have to remind myself hey, you've got a tablet to pick it up and use it so I'm gonna switch to the regular brush tool and I want to tell it to paint with black so I need to set my foreground color chip to black well it's blue right now because we had snatched the blue from our desktop quick way to set your color chips back to the default a black swan is by pressing the d ki d for default and if black ends up being the foreground color chip great. If it happens to be the background color chip, you compress x to flip flop your chips until black is on top. So now we've got the breast tool active black is our foreground color chip and I know from yesterday from using the tool that I have a soft edge brush, but you you might want to check just to make sure the way you can do that is pick up in the options bar and if the brush preview right here looks soft, then you're using a soft edge brush if it looks hard so in other words, solid black, then click this little preset picker and just go click one of these brushes one of the soft ones okay, these three are soft the's are hard it was pretty easy to look at the edge of the brush and tell which one does what? So if you've got a soft edged brush, you are good to go, someone to come down here to our offending people and use my left bracket key to go down and brush size and I can come in here and I confined to those edges just a touch and smoothed amount again, way easier with a graphics tablet if you've got one ok, so we're gonna call that close enough to use my a space bar trick to move over in the image while I'm zoomed in this press and hold your space bar and then drag around with the image. I'm going to come over here with this one and just increase the size of that ever so slightly again really get a charge for the hour by this kind of stuff, people and never, ever, ever let your clients watch you do any of this that is bad, bad, bad you don't want them knowing they're paying for your expertise so they don't get to watch you do any of this. Okay, so we're going to call that good. Does it back a little bit? Keys eyes are looking pretty good here. All right? The next thing we need to do is we want to add another new layer onto which we're going to add our two little drops of white paint that's going to serve is our light reflection and kitty's eyes. We're going to give kitty a little glint because if you don't give her a glint, she doesn't look real okay, so we're gonna add another new layer. Using any of the different methods we've to chosen so far, I'm going to go the keyboard shortcut again, shift command in on a mac or shift control in on a pc, and we're going to name this one new glint and press ok now because I find tuned the black fill that I gave for kitty's eyes with the brush tool I already have the brush to active, but if you don't go ahead and press b or mouse over to your tools panel and grab it it's the first brush on the list and because the reflection needs to be why I need to flip flop my color ship so that why it is on top, so I'm gonna press my ex key to flip flop for them, and I already know that I have a soft edge brush, so I don't really need to look up in the options bar and check that now for the glint you want to make the brush sh roughly oh gosh, about an eighth of an inch the size of the people that's not a really precise thing make it look good to you, ok? A lot of this stuff is subjective, so it's not like the glint police they're going to show up at your doorstep so make it look good to you, so I'm going to say that that's about the right size right there. The important thing, though, is to place the glint in roughly the same spot on each people you don't want this kind of situation going on, okay? He want the clip to be in the same spot in both people's, so I can place the glint anywhere, okay? So I'm going to go for kind of the top right quadrant of the people glance in my layers paint on one more time just to make sure I'm on that new layer, because I don't want to be painting on the original and give her one. Click here mouse over to roughly the same spot in the second people and give her a click, and now we're going to drop a pass ity of that layer to make it look more realistic because it's a little too bright, so we can do that by using the opacity field at the very top of the layers pale and once again, if you hover your cursor over the text label of that field, then you get that little scrubby hand and you can click and drag to the left to reduce or click and drag to the right to increase, so we're going to go down around sixty four sixty five again, this is a subjective kind of setting, a lower the opacity until looks good to you. Ok, and if you need to, if you wanted to go in and smooth out the edges of that black, then you definitely could click back on the people layer and continue fine tuning that until it looks really. I will tell you, though, it is darn easy to go overboard with making it perfect. Okay, so if we zoom in and I used my handy space bar trick and I come over here, it's been hours, making it perfectly smooth, that's really unnecessary when if you were printing this thing out, let's, look at it at about roughly the size that it's going to print, which is about like that. Okay, or maybe like that, if it looks good at about roughly the size, it'll print, and so you need to be viewing the whole picture, you're not going to notice that that people is not perfect. Nobody except for you is gonna zoom into that thing as far as you are so nobody's going to see it. So I would caution you from going overboard and trying to make it too perfect. Don't spend that much time on it. Because you're not going to be able to tell once it printed at about, you know, this size right here, so we're going to do that one more time on another image. Let's, go ahead and look at saving this one is a psd. I don't know that we've done that yet. So let's say that I was finished with this for the moment, so I'm ready to print it out or print out of print from my client, or what have you that I would choose? File save as let's say, I'm working with the j peg straight off the digital camera file save as and from the save as dialog box towards the middle there's going to be a pop it many that lets you change file format. Okay, this one right here give it a click, and the very first one on the list is photoshopped that is a psd. So when you say it is a photoshopped document in the close this thing and you reopen it a year from now, every one of these layers is going to be there. So if you print it and you do notice that your people isn't is as smooth as you want it to be, then you could come back in here to this psd and continue adding editing it without having to start over. Because if you flatten this thing or if you save it as a j peg, which flattens it that all those layers are gone and all of your hard work has gone and you have to start from scratch, look ahead, close that one and we'll open up another one since we used to kitty, we have to use a dog no practice discrimination against pets here so here's our original image, I'm going to use that click and drag trick to turn off all the visibility eyes okay, so we want to do the exact same thing again you want tio click to activate the image layer because you cannot use the selection tools the color selection tools unless you're on the layer that contains the color or photo shop will squawk at you, so we're gonna have another go with our quick selection tool again, so we're going to come over to your image. I'll zoom in a little bit more, use my space bar to move image around again the size of the area that selected with the quick selection tools directly proportionate to the size of the brush cursor. So mine is we way too big right now if I clicked with it like I just did, I have a huge selection which I don't want, so commander control d two d select left bracket key to go down and brush size and I'm gonna paint and try to get all those edges it's a little too big swim in a d select and have another go at it near video it's probably going to be close and if we can find him that again with the refined edge options which are fabulous and we can come over here to this I and do the same thing if you want to try this one with the magic wand you can okay now this one I got a little too big and I'm in a viewing percent of seven hundred right now that's why you're seeing this grid suddenly show up that came along in cs for as well okay, so what I want to do is put this brush in subtract mode and just get rid of that extra little part that I selected right there so I'm gonna go way down and brush size hold on option or altana pc and I'm just going to paint ride around that part because I got a little bit of the iris in there and I don't want that there we get we're gonna call that close enough to back out a little bit now let's go into our refine and dialogue so click the refined edge button at the top of your screen and your options bar turn on the overlay of you if you need teo and this time we're going to smooth the edge a little bit and we're also going to increase the size of it, just a hair, and we're going to give it a one actually think this one could get away with a point five feather because it's a smaller pixel dimension image than the one we use before. Okay, so you had to play around with these settings a little bit to give him just right and go ahead and click ok when you're finished. Now we're ready, teo, create a new layer and fill it with black, and this time when we fill it, we're going to use the keyboard shortcut that I promised I tell you about, so we're going to add our new layer. We're going press shift command in or shift control in on the pc, and we're gonna name this one new people's press return. Now, instead of going to the edit phil command, I'm going to use a keyboard shortcut, but I need to make my feel color my four grand colored ship for it to work. So since black is what I want and it's it on the background color chip, I just need to press x to flip flop my colored ship so that black is on top. Now to fill that selection with color, you're gonna press option delete on a mac or ault back space on a pc. Ok, option delete on the mac or alter back space on a pc will fill a selection with your four grand color. If you don't have a selection, it will fill the entire active layer with that color. Okay, now I'll tell you another little trick that I do sometimes when I'm fixing animal eyes is because we're working with such a low pixel dimension image, even the point five feather amount that I put on there was a hair too much. Okay? Because what I'm seeing if I zoom in well, before I get the grid, I want my phil, I want more of a feel. Ok, so I'm getting a little bit of a a grey edge around the people, so sometimes what you can do is you could just fill it a second time. Okay, so I'm gonna fill it one more time by pressing option delayed on a mac or alter backspace on a pc. Now the field looks better. Okay, so that's another option to you now? I'm finished with my selection so I can send it packing by pressing commander control d and if you've got a little clean that to do on this one, like I would if I was doing this for real for a client. My people is a little bit too big, so what you could do is go in with the eraser tool, since it all lives on its own layer, see how flexible you make your documents when you use do everything on separate layers so I could go in with the eraser tool set to brush mode. Okay, in the options bar, you have different modes that you can put that erase your tool in. I always leave mindset to brush mode, and I always make sure that I'm using a soft edge brush with the eraser tool so I could come in here and with a small brush I could find tune the area I field if I needed tio or you go in with the regular paintbrush sent to paint with black to add more of it if you didn't have a good selection to begin with, okay, but we're gonna call this one fine. Now our next step is to add our later for our glint, so we're going to do a keyboard shortcut again shift command in our shift control in on a pc call it new glint and I type one hundred twenty words a minute with ninety eight percent accuracy if anybody's curious out there e I always get that question oh my gosh, help asked you taught it's all the piano lessons as a child ok, so we've got our nicollet layer. Now we're ready to switch to the regular brush tool, press b, and we want to paint with why? So take a peek at the color chips, the bottom of your tools panel so we want white on top, suppress x and now mouse over to the eyeballs. We're going to go down and brush size with the left bracket key, and this time we'll add the glint at the lower left quadrant of the people again, it doesn't matter where you put it, it just matters that you put it in the same spot on both peoples. You do not want that situation, that is weird. So when a press command or control z toe under that last step, come over here and click with the tool, and then at the top of your layers panel, you want to drop the opacity of that glint pretty far back and again, there's no real magic number on that. Just make it look good to you. Any questions on that technique? That's kind of a hard one, but it's a great exercise in creating new layers, creating several of them, and then putting each step of the fix on its own layer, unlike red eye there's, no red, and you don't get the rid when you in the animal people's cause the way their eyes were built her eyes are built differently than ours so you get white or gold and sometimes green instead of it so the red and I toldem photoshopped doesn't do anything because there's no red for it to look for so you're only choice is to rebuild the peoples have a question from betsy six four four two my overlay view and refine edges turns the whole image red instead of the eyes what am I doing wrong then her selection it's showing you what you have selected the red overlay so she has the whole image selected instead of the eyes question from zen racer was should you save selection as a path in case you have to go back and redo the color? You could certainly do that you could sell a view you could save your selection is the path, but I don't know what that would gain me because it in the steps that it would take you to save it is a path which is opening the past panel than going into the past fly out menu and saying create path and then coming back in fine tuning the path you could find two in it with the regular paint brush, you know, smoothing it out like we did or erasing the extra part to me that would be just as fast if not faster um sml says when I do exactly the same and go to define edges my picture goes white and only shows the eyes and there is not little picture what did I do wrong he needs to have the change the view mode in the refined image dialogue and just a quick question a couple of people were at missed when we started with this image in that ingenuity um how did the holes in the eyes get there in the first place is that how the picture was taken or did you remove red in the cat picture no in this in the dog one this is how it came straight out the camera right great yeah I'm both of them picks and stones asked could you also make the pupils a mask and lower the opacity so there's some texture showing through you could but if you lower the opacity of the pupils I mean there really isn't any texture back there I mean that that's the problem with this is because if I zoom in there ain't nothing there there's no take sure it's just white no and in the cat picture there was a little bit of color variation but that's still not texture as it were so if you if you drop the opacity you're just making the people look gray because it's black on top of gray you drop the capacity of black and it starts looking great quick clarification question from edwin is she using the hardness of the brush at zero percent when she paints the glint? Yeah, I didn't mess with the hardness and misusing this often brush.

Class Description

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.


Software Used: Adobe Photoshop CS 5.1

Lessons

  1. Introduction: Nitty Gritty Basics + Layers
  2. Workspace Overview
  3. Q&A: Workspace
  4. The Truth About Resolution and File Formats
  5. Changing Resolution Without Changing Quality
  6. Q&A: Resolution and File Formats
  7. Resizing with the Crop Tool
  8. Cropping with the Ruler Tool
  9. Resizing with Content-Aware Scale
  10. Resizing for Print/Web
  11. Layers and Layer Types
  12. Duplicating, Moving, and and Aligning Layers
  13. Q&A: Layers
  14. Creating Reflections
  15. Layer Alignment Tools
  16. Simple Slimming Technique (Resizing Layers)
  17. Colorizing a Black and White Image
  18. Creating a Solid Color Fade with Fill Layers
  19. Layer Masks: Hand Painted Image Collage
  20. Layer Masks: Gradient Mask Collage
  21. Layer Blend Mode Collage (Include Load Images as Stack)
  1. Using Selections Part 1
  2. Using Selections Part 2
  3. Q&A: Selection Tools
  4. Color Selections: Fixing Animal White Eyes
  5. Tightening Up Layer Masks
  6. Painting Selections with QuickMasks
  7. Using Vector Drawing Tools
  8. Vector Shapes: Creating an Oval Vignette
  9. Vector Shapes: Rounded Edges to Photo
  10. Use Channels to Create Selections
  11. Tough Selections Around Hair & Fur
  12. Refine Edges Part 1
  13. Refine Edges Part 2
  14. Creative Edges on Photos
  15. Embellishing with Vector Art
  16. Creative Vector Photo Frames
  17. Editing Smart Objects
  18. Smart Objects Template: Creating Dark Edge Vignette
  1. Smart Objects: Selective Blurring
  2. Smart Objects: Selective Sharpening
  3. Sharpening with the High Pass Filter
  4. Q&A: Sharpening
  5. Auto Color Adjustments
  6. Shadows and Highlights
  7. Using Levels
  8. When to Use Smart Objects
  9. Using Curves
  10. Lightening and Darkening with Blend Modes
  11. Enhancing Eyes and Teeth
  12. Changing Colors with Hue/Saturation
  13. Changing Colors by Hand Painting
  14. Faux Dodge/Burn: Reduce Wrinkle
  15. Color to Black and White
  1. Healing Brush
  2. Content Aware Fill
  3. Using Text in Photoshop
  4. Designing with Baseline Shift
  5. OpenType Fonts
  6. Placing Text Behind an Object
  7. Barely There Text: Faded and Hollow Text
  8. Pushing Photos Through Text
  9. Adding Texture to Your Text
  10. Convert Text to Paths
  11. Combine Images using Advanced Blending
  12. Realistic Photo Aging
  13. Faking HDR
  14. Wrapping Texture Around an Object

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