Computer Science 2, 2nd Quarter - Week 1 PDF

Computer Science 2 2 nd Quarter – Week 1 Basic Concepts in Photo Editing Enhance Image Quality by Repairing Flaws and Imperfection Enhance Image Quality by Repairing Flaws and Imperfection ❖ Execute Changing Reality: Removing and Repositioning as follows...

Computer Science 2 2 nd Quarter – Week 1 Basic Concepts in Photo Editing Enhance Image Quality by Repairing Flaws and Imperfection Enhance Image Quality by Repairing Flaws and Imperfection ❖ Execute Changing Reality: Removing and Repositioning as follows: The Brush, Fill and Patch Tools Zapping Shines and Shadows Whitening Teeth  Lesson 1 It’s certainly no secret that the beautiful models gracing the covers of magazines have been Photoshopped to within an inch of their lives. They’ve had the digital equivalent of every plastic surgery you can imagine, and then some: skin smoothing, blemish banishing, tummy tucking—they get it all. This lesson shows you all those tricks and more, but that doesn’t mean you should use every technique on every photo. It’s easy to get carried away with this kind of stuff, and with great editing skills comes great responsibility. The challenge is to retouch your subjects enough to enhance The Great Healers Some of the simplest retouching you can do is to remove dark circles and bags under eyes, as well as other blemishes. In days of old, you were stuck with cloning (copying) one area of skin onto another, which never really looked quite right; texture and tonal (color) differences always made the fix stick out like a sore thumb. Now, Photoshop has a set of tools specifically for retouching skin. Instead of grafting skin by cloning, these tools blend two patches of skin The Spot Healing Brush This tool’s cursor is a round brush— perfect for fixing round problem areas like pimples, moles, and so on. It’s literally a one-click fixer-upper—you don’t even have to drag, though you can if you want. When you click a spot with this tool, Photoshop looks at the pixels just outside the cursor’s edge and blends them with the pixels inside the cursor. It’s great for retouching people, fixing dust and specks in old The Spot Healing Brush You can also drag with this tool to remove, say, power lines on a relatively solid background (like a sky) or to fix scratches in old photos. The key to success with the Spot Healing Brush is to make your cursor a little bit larger than the area you want to fix. The Spot Healing Brush To use the Spot Healing Brush, grab it from the Tools panel by pressing J (its icon looks like a band-aid with a circle behind it). Then hover your cursor over the offending blemish and adjust the cursor’s size so it’s slightly larger than the area you want to fix. You can the size using the Brush picker at the top left of the Options bar, the new Brush Presets panel, or the square bracket keys on your keyboard: press  The Spot Healing Brush In the Options bar, you can control exactly how the Spot Healing Brush works with these settings: Mode. This field lists some of the blend modes: Multiply, Screen, Darken, Lighten, Color, Luminosity, and Replace. Unique to the Healing brushes (both Spot and Healing), Replace is handy if you’re using a soft-edged brush because it preserves some of the texture and details around the brush’s edges. However, Normal mode usually works just fine.  The Spot Healing Brush Type. This setting controls which pixels Photoshop looks at when it’s healing. You’ve got two options: -Proximity Match. Photoshop comes from the factory with this option selected, which tells it to use pixels just outside the edge of your cursor to fix the blemish. -Create Texture. Choose this option if the area you want to fix is surrounded by tons of details. Instead of looking at pixels outside the edge of your cursor, Photoshop tries to recreate the texture by looking at the pixels inside your cursor.  The Spot Healing Brush Content-Aware Fill. New in Photoshop CS5, this option is pure magic. Turn it on when you want to remove an object from your photo such as a power line, a Texas Longhorn in the pasture, your ex-best friend, and so on. You can either single click or simply drag to remove the item and Photoshop fills in the area with surrounding pixels. Amazingly, the behind-the-scenes code can recreate  The Spot Healing Brush Sample All Layers. Turn on this option to have Photoshop sample pixel info from all layers instead of just the one you’re on. This setting also lets you do the healing on another layer instead of on your original image: Just create a new layer above the photo layer and make sure the new layer is active. That way, when you click to fix a spot, the fix happens on the new layer. This technique builds a lot of flexibility into your document because, if you decide you’ve done too much healing, you can erase those specific areas from the new healing layer or lower the opacity of that layer to soften the effect. Computer Science 2 2 nd Quarter – Week 1  The Healing Brush This tool also blends two areas of skin together, but you have to tell it where to find the skin that looks good. This process, called setting a sample point, is how you let Photoshop know which portion of skin—or fur, or whatever—you want it to sample (or blend the offending spot with).  The Healing Brush To set a point sample, activate the Healing Brush by pressing J (or press Shift-J to cycle through the healing tools) and then Option click (Alt-click on a PC) an unblemished area of skin to set the sample point. mouse over to the bad skin and brush it away.  The Healing Brush This tool works really well on wrinkles, scratches, and so on, and you can make the healing happen on its own layer. You also get a live preview of the sample skin right inside your brush cursor  The Healing Brush When you activate the Healing Brush tool, the Options bar gives you the following options: Mode. You get the same set of blend modes for the Healing Brush as you do with the Spot Healing Brush. Both tools work really well in Normal mode, so you probably don’t need to change this setting.  The Healing Brush Source. You can use a sample (which you choose by Option-clicking [Alt-clicking on a PC]) or a pattern as your source. Photoshop assumes you want to use a sample, but if you turn on the Pattern option, you can pick from the Pattern Preset picker pop-up menu to its right. Healing from a pattern is useful if you don’t have enough area in your image to heal from. For example, if you’re using the Healing Brush to remove graffiti from a wall, you can create a new pattern from part of the wall texture and save it as a reusable pattern.  The Healing Brush Aligned. Turn on this checkbox to keep your sample point aligned with your cursor, even if you release your mouse button and move to another area. When this setting is off, Photoshop uses the original sample point each time you start to paint even if you move your cursor far away. So if your healing requires several brushstrokes, it’s helpful to turn this setting on.  The Healing Brush Sample. This pop-up menu lets you choose which layers you want to sample from. To make the healing happen on a separate layer, create a new layer above the one you want to fix and then choose Current & Below. You can also sample from all visible layers by choosing All Layers. If you pick All Layers, you can make Photoshop ignore Adjustment layers by clicking the button of the same name, labeled in Figure 10-4, top, and explained next.  The Healing Brush Ignore Adjustment Layers. If you used some Adjustment layers to alter the color or lighting in your image, you can have Photoshop ignore them by clicking this icon. (Its icon is the same half-black/half-white circle as the “Create a new fill or adjustment layer” icon at the bottom of your Layers panel.)  The Healing Brush Here’s how to use the Healing Brush: 1. Add a new layer above the layer you want to fix. Click the “Create a new layer” button at the bottom of the Layers panel and name the layer something like Healing. Make sure it’s above the layer you’re fixing and that it’s active. 2. Choose the Healing Brush from the Tools panel. Press J to activate this brush, whose icon looks like an itty- bitty Band-aid.  The Healing Brush Here’s how to use the Healing Brush: 3. In the Options bar, set the Sample pop-up menu to Current & Below. This setting tells Photoshop: “Create a sample from the current layer and any other layers that lie below it, but make the fixes happen on the layer I’m currently on.” This process gives you a ton of flexibility: You can lower the layer’s opacity to lessen the strength of the fix, change the layer’s blend mode, or toss it in the trash if you decide you don’t like it.  The Healing Brush Here’s how to use the Healing Brush: 4. Mouse over to your document and set a sample point by Option-clicking (Alt clicking on a PC). Photoshop has no clue where the good skin lives, so you have to tell it. Option click (Alt-click) an area of good skin that’s similar in texture to the bad skin. (It’s okay if the sample skin is on the other cheek, for example, so long as the texture is the same.) Now you’re ready to start healing.  The Healing Brush Here’s how to use the Healing Brush: 5. Click (or drag across) the area you want to fix. Mouse over to the problem area and click it or drag to paint it away. You’ll see a tiny crosshair marking the sample point as you drag. You also see a preview of the sample area inside your cursor as you paint. If you’re fixing a small area, like the bags beneath the guy’s eyes, you’re probably okay with setting just one sample point. If you’re fixing a larger area, you may need to set a new sample point every few brushstrokes to match the tone and texture of what you’re fixing. Computer Science 2 2 nd Quarter – Week 1  The Patch Tool The Patch tool may become one of your favorite Photoshop tools because it’s so easy to use and does an amazing job. It works like the Healing Brush in that you need to set a sample point, but it’s often better than the Healing Brush for fixing big areas like dark circles or bags beneath tired eyes. It’s also handy for removing piercings, tattoos, and shiny or shadowy spots. For the Patch tool to work on shines and shadows, you need a patch of good skin the same size as the bad skin or you’ll have to patch one small area at a time. In that case, a better option is  The Patch Tool To use the Patch tool, grab it from the Tools panel, mouse over to your image, and drag to draw an outline around the area you want to fix (marching ants appear when you let go of your mouse). Next, click anywhere inside the selected area and hold down your mouse button as you reposition the selection outline so it’s over a good patch of. (To drag perfectly vertically or horizontally, hold down Shift as you drag.) You get a live preview of the good skin in your  The Patch Tool Tip: If you need to adjust your selection while you’re drawing it, use the buttons near the left end of the Options bar to add to or subtract from your selection or to create one from two intersecting areas. Better yet, use these keyboard shortcuts: Shift-drag to add to your selection, Option-drag (Alt-drag on a PC) to subtract from it, and Option-Shift-drag (Alt+Shift-drag) to select an  The Patch Tool The Options bar gives you the following settings for the Patch tool: Patch. This setting has two options: -Source. Out of the box, Photoshop takes the texture from the good skin and tries to match it with the color and lighting of the area just outside your original selection. To produce convincing patches, leave this radio button turned on. -Destination. If you’d rather select the good skin first and then drag it atop the bad skin, turn on this radio button.  The Patch Tool Transparent. Turn on this checkbox if you want to copy an area’s texture but not its content. For example, if you’re working with a brick wall, you could use this option to copy the texture of the super grungy bricks onto those that look newer, without duplicating the grungy bricks in their entirety. This setting works best when you use it in conjunction with the Use Pattern setting, explained next.  The Patch Tool Use Pattern. If you want to apply a pattern to the area you’ve selected with the Patch tool, click this button and then choose a pattern from the Pattern Preset picker pop-up menu next to it. You’ll rarely use this option, because instead of merely making Photoshop copy and blend pixels from one area to another, it adds the pattern you picked from the pop-up menu to the selected area. That said, it’s useful if you’re trying to add texture to an area that doesn’t have any.  The Patch Tool As soon as you apply a patch, check to see if the effect is too strong (like in the image above, top right) because you’ve got exactly one chance to fade it. Before you use any other tool or create Adjustment layers, choose Edit➝Fade Patch Selection. Position the resulting dialog box so you can see your image and then use the dialog box’s slider or Opacity field to tweak the opacity Computer Science 2 2 nd Quarter – Week 1 Zapping Shines and Shadows Shiny spots, (or hot spots, as some folks call them) are truly evil. They can ruin a perfectly good photo by making your subject look like a big ol’ sweat ball. That’s okay if the person just finished a marathon— glistening is expected then—but not if she’s sitting for a portrait. Fortunately, the Clone Stamp tool can get rid of shiny spots and unsightly shadows in a hurry. It works by copying pixels from one area of an image to another.  Zapping Shines and Shadows Here’s how to reduce shine and shadows with the Clone Stamp tool: 1. Open your photo and create a new layer and name it Shine. Click the “Create a new layer” button at the bottom of your Layers panel, give the layer a name in the resulting dialog box, and then click OK. Make sure this layer is above the image layer you want to fix. By doing your skin- fixing on another layer, you’re protecting the original image and  Zapping Shines and Shadows Here’s how to reduce shine and shadows with the Clone Stamp tool: 2. Grab the Clone Stamp tool from the Tools panel. Press S to activate this tool, which looks like a rubber stamp (in fact, it used to be called the Rubber Stamp tool). 3. In the Options bar, choose a soft- edged brush and change the blend mode to Darken. Choosing Darken from the Mode pop-up menu makes Photoshop darken any areas lighter  Zapping Shines and Shadows Here’s how to reduce shine and shadows with the Clone Stamp tool: 4. Also in the Options bar, lower the Opacity setting to 20–30 percent. If you leave the tool’s opacity at 100 percent, you’ll perform a full-on skin graft, and the retouching will be painfully obvious. Lowering the opacity lets you fix the area little by little; the more you paint, the more skin gets cloned (or copied). 5. Set the Sample pop-up menu to All Layers. To make the cloning (copying) happen on another layer, you have to  Zapping Shines and Shadows Here’s how to reduce shine and shadows with the Clone Stamp tool: 6. Create a sample point for the first shiny part. Mouse over to your document and Option-click (Alt-click on a PC) some non- shiny skin. Make sure this sample point is as close to the shiny skin as possible, so it’ll match. 7. Drag to paint away the shiny skin. As you drag, you see a little crosshair representing your sample point. Keep a close eye on it because if it heads into a shiny patch, you’ll paint a shine with a shine. If that happens, don’t panic; just set another sample point  Zapping Shines and Shadows Here’s how to reduce shine and shadows with the Clone Stamp tool: 8. Create another new layer and name it Shadows. You’ll use this layer for the fixes you make to the shadowed regions. 9. In the Options bar, change the Mode setting to Lighten. With this setting, the tool lightens only areas that are darker than the sample point. This technique works wonders for shadowy double chins and deep crevices—pretty much any problem area that’s too dark.  Zapping Shines and Shadows Here’s how to reduce shine and shadows with the Clone Stamp tool: 10. Set a new sample point and paint the shadow away. Option-click (Alt-click) to set your sample point as close to the shadowy area as possible and drag to make it go bye-bye. Repeat steps 9 and 10 until you’ve taken care of all the shadow problems. 11. Save your document as a PSD file. That way, you can go back and change your fixes later.  Whitening Teeth If you’ve ever enjoyed a big cup of coffee or a Texas-sized glass of red wine and then had your picture taken, you’ll want to bookmark this page. Stained teeth are even more embarrassing than shiny spots, but they’re easy to fix. The hardest part of whitening teeth is selecting the little buggers in the first place, but that step got easier when Adobe added the Quick Selection tool back  Whitening Teeth Once you select the teeth (top), you can fix them with a Hue/ Saturation Adjustment layer (bottom left). That way, the fixing happens on its own layer so you’re not harming the original image (bottom right).  Whitening Teeth Here’s how to make those pearly whites, well, white: 1. Open your image and zoom in so you can see the teeth. Press 􀐨 and the + key (Ctrl and the + key on a PC) to zoom in on your document. Press 􀐨 (Ctrl) and the – key to zoom out.  Whitening Teeth Here’s how to make those pearly whites, well, white: 2. Open a duplicate of your image and leave it at close to actual size. Choose Window➝Arrange➝“New window for [your document’s name]”. Since it’s so doggone easy to over-whiten teeth, it’s helpful to keep an eye on a copy of the same image at roughly the size you plan to print it. The cool part is that Photoshop reflects what you do in one window in the other window—in real time—because it’s the same document. This duplicate-window trick helps you see what kind of effect your changes have at actual size. It’s good to get into the habit of opening a duplicate in a new window when you’re doing detail work because it keeps you from getting carried away with fixing individual pixels while you’re zoomed in. Nine times out of ten, when the image  Whitening Teeth Here’s how to make those pearly whites, well, white: 3. Select the teeth. You can use any selection method you learned. Since the teeth are basically white, one good option is using the Quick Selection tool to paint across them, and then pop into Quick Mask mode to refine your selection. 4. Add a Hue/Saturation Adjustment layer. Click the half- black/half-white circle at the bottom of the Layers panel and choose Hue/Saturation from the resulting list.  Whitening Teeth Here’s how to make those pearly whites, well, white: 5. Lower the Adjustment layer’s saturation and increase its lightness. In the Adjustments panel, drag the Saturation slider to the left and the Lightness slider to the right. Keep an eye on both document windows to make sure you don’t make the person’s teeth unnaturally white. 6. Open the Masks panel by choosing Window➝Masks and then soften your selection’s edges by dragging the Feather slider slightly to the right (one pixel should work).  Whitening Teeth Here’s how to make those pearly whites, well, white: 7. Save your document as a PSD file. If you decide you want to tweak the teeth again later, just open the file again, double-click the Adjustment layer, and fiddle with the sliders to your heart’s content. This method will whip most teeth into shape, but if you encounter a set with a serious yellow cast, there’s one extra step you can take: In the Hue/Saturation Adjustments panel, choose Yellows from the pop-up menu near the top of the panel and then drag the Saturation slider slightly to the left. Computer Science 2 Thank You…