PROPHOTO Ebook CS1 Made Easy bk1

Photoshop Tips & Tricks
That Will Get You Jumpin’
Written By Photoshop Guru

Shane Goldberg
CEO & President
www.prophotosecrets.com
Full Color Examples

Step-By-Step Instructions
Photoshop Made Easy

PART 1
Photoshop Made Easy - Part 1
Copyright © 2006 Shane Goldberg.
All Rights Reserved
Trademarks
Photoshop is a trademark or registered trademark of Adobe Systems Incorporated.
All other trademarks are the property of their respective owners.
Credits
We would expressly like to thank Photospin and Amanda Goldberg for use
of their images as part of the tutorials and for demonstration purposes.
Thanks to Craig Zimmerman for his hard work on this publication also.
Intellectual Property & Copyright

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108
or the 1976 United States Copyright Act, and or international Copyright Law Including Australia
without either the prior written permission of the Publisher and Author.
Infringement of Copyright is a Serious Offence and will be prosecuted.
Written by
Shane Goldberg
Adobe Certified Expert, Photoshop CS2
Contents
Getting Started
Navigating Photoshop.............................................................................................................................................................6
Customizing Your Workspace...............................................................................................................................................9
Setting Your Preferences..................................................................................................................................................... 11
Tool Palette Tips................................................................................................................................................................... 16
Where To Go for Help........................................................................................................................................................ 18
Opening Your Files, Photos and Images........................................................................................................................... 19
Creating New Files............................................................................................................................................................... 20
Power Techniques Made Easy

Adding Drop Shadow to Text............................................................................................................................................ 23
Adding Outlines to Type..................................................................................................................................................... 25
Brush Tool Tips...................................................................................................................................................................... 27
The Magic Wand Tool Unveiled......................................................................................................................................... 28
The Basics of Hue and Saturation..................................................................................................................................... 30
The Basics of Typography.................................................................................................................................................... 34
The Basics of the Layers Palette....................................................................................................................................... 38
The Basics of the Layers Palette Part II........................................................................................................................... 41
Straightening Your Photos................................................................................................................................................... 43
Making Selections................................................................................................................................................................. 46
The Pen Tool In Action........................................................................................................................................................ 49
The Not Dodgey - Dodge Tool......................................................................................................................................... 53
Using the Burn Tool.............................................................................................................................................................. 55
The Zoom Tool..................................................................................................................................................................... 57
Photo Editing Made Simple

Adding Color to Black and White Photos...................................................................................................................... 60
Adding a Softly Focused Background............................................................................................................................... 63
Changing Eye Color............................................................................................................................................................. 68
Changing Hair Color........................................................................................................................................................... 71
Cropping the Smart Way.................................................................................................................................................... 73
Cropping In Reverse............................................................................................................................................................ 76
Sharpening Blurry Photos................................................................................................................................................... 78
Whitening Teeth.................................................................................................................................................................... 81
Wedding Photo Make-Over............................................................................................................................................... 84
Whitening Eyes..................................................................................................................................................................... 90
Adjusting Skin Tone.............................................................................................................................................................. 94
Inserting Images Into Type.................................................................................................................................................. 98
Editing and Touchup Secrets

Removing Background Items from Photos................................................................................................................... 101
Removing People from Photos........................................................................................................................................106
Removing Blemishes and Marks......................................................................................................................................112
Removing Red-Eye..............................................................................................................................................................116
Removing Wrinkles............................................................................................................................................................118
Using Selective Color........................................................................................................................................................122
Selection Secrets................................................................................................................................................................. 128
Extracting Whispy Hair......................................................................................................................................................132
Other Resources & Special Offer

Book Titles and Online Membership Special Test Drive Offer................................................................................. 137
Photoshop Training CD Titles..........................................................................................................................................138
“Hi Shane..
It’s a bright, beautiful Fall day here in Northern California.. I’m a little tired though, after
staying up all night reading your GREAT e.book.
Thank you for all your insight into the complicated world of Photoshop. You make learning
all of the necessary things FUN, and interesting.
I appreciate, and respect your knowledge, and alway’s look forward to learning something
new through the eyes of Shane Goldberg!”
Fondly,
Barbara Littlefield
Santa Cruz. California USA
“Hi Shane,
Thanks for the great Photoshop Book. Always available to refer back to, unlike Seminars
and expensive courses which are great on the day, but when you come home - forgotten
(except how much I paid).
The tutorials you provide are easy to follow, simple, yet complete and are always there when
I need them.
Keep up the good work and keep the cool tutorials coming.
Regards,
Craig White
Professional Photographer
Hi Shane!
Well, you’ve done it again! Produced another invaluable learning tool. Your videos are the
best, but most of all, your ability to explain the concepts in a way that makes me feel as if
you’re right there actually caring if I understand.
So sad to me that you’re on the other side of the world. I’d so love to watch you in action!
Once again, I really appreciate your hard work and making the world of photography even
more fun!
Best regards,
Marti Wagner
Ohio, USA
“Hi Shane,
Your new book is fantastic. Even after attending a Photoshop class at the local university, this book is
much more practical, useful and, by far, much easier to understand. Not to mention that your price
is less than one fourth the price of the class.
Being a bit technologically challenged and using my first DSLR camera, I needed help with Pho-
toshop in a big way. Your book is by far the best I’ve read. Also, the interesting way you have put
together the tips and tutorials and pictures make everything fun. The best part is that even at my age
of 64 years, I can understand all that you have written.”
Many thanks and best wishes,
Tom Blizzard, retired math teacher
Florida, USA
Getting Started
Shane Goldberg’s Photoshop CS1 Made Easy
®
1
Part 1: Getting Started Photoshop® CS1 Made Easy
Navigating Photoshop
®
Photoshop is the high-horsepower, industrial strength image editing and creation software used by millions of
photographers, designers and home users around the globe. While the creators of Photoshop have done an admi-
rable job of presenting its myriad functions and features in an easy-to-use manner, the sheer number of options
available can be a bit daunting to the newcomer. In this lesson, I’ll take you on a whirlwind tour of Photoshop
CS1’s workspace, its many palettes and the option bar.
The Workspace
When you first start Photoshop, you’ll
see a screen like this. The grey area in the
center is called the workspace and in it
you’ll edit your photos and create your
images. Across the top is the menu bar,
which gives you access to functions like
layer control, image selection, filters and
much more. Below that is the Options
bar, which displays settings for the
currently highlighted tool. A selection of
palettes are arranged at the right and the
Tools palette rests on the left.
The Window Menu

The Window menu will quickly become
one of your most frequently used menu
items. This menu allows you to control
which of Photoshop’s palettes are
displayed. Because there are so many,
you can close those you aren’t using at
the moment – by clicking the red button
on the upper right of the palette – to
maximize your available workspace. If, for
example, you close the Colors palette but
later need it, simply click on the Window
menu and place a check next to that
palette. Notice that all currently displayed
palettes are checked, while those that are
hidden are not.
®
The Tools Palette

On a scale from 1 to 10, if the Window
menu rates an “8” for must-have-can’t-
live-without Photoshop options, the
Tools palette is an “11”. If this palette
is not displayed in your workspace, just
select the Window menu, then place
a checkmark next to Tools. The Tools
palette is the workhorse of the Photoshop
interface – here you’ll find options for
selection, text, color, gradients, photo
retouching and lots more.
Positioning Palettes
You may have noticed that most palettes
feature several tabs in a group. If you’d
like to separate the Layers tab, for
instance, from the rest, click the tab itself
and drag it to a new location.
If you’ve got your palettes hopelessly
scattered around your workspace
and would like them back in their
default positions, simply click
Window>Workspace>Reset Palette
Locations and all will be right with the
world.
®
The Options Bar

The Options bar rests directly beneath
the menu bar. Depending on which tool
you’ve currently got selected, the Options
bar will display features and settings
specific to that tool.
And that, in a nutshell, is the Photoshop
interface. Load one of the sample images,
play with the menus and palettes and
you’ll be a pro Photoshop navigator in no
time.
Customizing Your Workspace

Why be like everyone else? Photoshop offers a number of ways to alter its default workspace to suit your needs
and personality. In this lesson, I’ll show you a few ways to customize and reposition the often bewildering array
of palettes to your liking.
The Docking Well

Here’s a fairly typical Photoshop
workspace. The Tools pallete sits on the
left of the workplace, while the Navigator,
Color, History and Layers palettes occupy
the right. Above the Navigator palette is
the docking well. This area holds palettes
that you won’t often need but would still
like to have close at hand, just in case.
Hovering your pointer over a particular
tab will bring that palette to the front of
the group and clicking will expand the
palette for use. Once you’ve made your
selections from the expanded palette, click
anywhere else on the screen to return it to
its previous state.
Palette Groups
Photoshop divides all its palettes into
five distinct groups. The Actions group
can be selected from the Window menu
or by pressing Alt(Option)+F9 on the
keyboard. Pressing F5 displays the
Brushes group, and F6 opens the Color
set. To display the Info group, press F8.
The all-important Layers group can be
accessed with F7.
As you work your way through this
book, try to use function keys whenever
possible. Remembering these keyboard
shortcuts will help to make quick work of
your day-to-day photo editing and image
creation tasks.
Customizing Your Workspace

Custom Workspaces
As mentioned in the previous lesson,
selecting Window>Workspace>Reset
Palette Locations will reset your palettes
to their default locations. But what if
you’d like the default locations to be a bit
different? To customize your workspace
to your way of doing things, simply
open the palettes you use most often
and arrange them to suit your work.
Then select Window>Workspace>Save
Workspace... and, in the dialog box that
appears, name your workspace and click
Save. The next time your workspace gets a
bit messy, just select Window>Workspace
and the name of your saved workspace to
set things right again.
www.prophotosecrets.com 10
Setting Your Preferences

Some of us like sportscars, some prefer compacts and some just scrub the whole thing and go with a bicycle. It’s
all about personal preference and, in this lesson, I’ll show you how to make Photoshop perform, behave and look
just the way you’d like, whether with the flash of a Ferrari, the efficiency of a Neon or the simplicity of a bike.
General Preferences
To begin setting your preferences,
select Edit>Preferences>General... or
Control(Command)+K. You’ll see a
window with a number of different
settings that you can customize. One
that’s of particular interest is the History
States option. This determines the
number of undo steps you’ll have available
as you work. While the default is 20, I
prefer 50.
Also of note is the Show Tool Tips
checkbox. If you’d like to be reminded
what a given tool does when you hover
over it with your pointer, leave this
checked. To continue to the next step,
select Next.
File Handling Preferences

In the File Handling section, you can alter
the way that files are saved and change
compatibility settings, if necessary. Since
most of these settings work well as they
are, I’ll concentrate on the Recent file list
contains: option. This option controls the
number of recent documents you’ll see
when you select File>Open. If you like to
see more, or fewer, than the default 10,
type a new value here. To continue setting
preferences, click Next.

Display & Cursors Preferences
Display & Cursors, as the name suggests,
allows you to customize the way your
cursor is displayed as you perform
various tasks in Photoshop. Under
Painting Cursors, I prefer to set the radio
button to Brush Size. This causes the
cursor to become a circle the same size
as the associated brush when painting
or masking. Selecting Precise turns the
cursor into a crosshair - for some people,
including me, this option is a bit more
difficult to control. Standard simply
displays a brush icon. The Other Cursors
section offers Standard or Precise. Again,
I prefer Standard for ease of use.
Transparency & Gamut

In the Transparency Settings portion
of Transparency & Gamut preferences,
you can set the grid in your transparent
area display to Small, Medium, Large or
None. If you’d like, you can also change
the foreground and background colors of
your grid squares in this section.
Gamut Warnings provide a way for you
to see if the colors selected for your image
will print correctly or whether there are
trouble spots you need to address. In
this section, you can change both the
color and opacity of Photoshop’s gamut
warnings.

Units & Rulers Preferences
Depending on where you are in the
world, you’ll want to change the Rulers
setting to reflect the units of measure you
commonly use. In any case, Type should
generally be set to points, since that’s the
standard measure used round the world.
The default values for Column Size can
be changed if you typically use a certain
set of measurements. New Document
Preset Resolutions should be set to 300
pixels per inch for print and 72 pixels
per inch for screen display unless you
routinely have other needs. Similarly
Point/Pica Size works best using the
Postscript option.
Guides, Grid & Slices

Guides, Grid & Slices gives you the
means to change colors and styles for
each of these displays. Once you’ve
chosen suitable options, select Next.

Plug-Ins & Scratch Disks
As you’re probably well aware, Photoshop
can be a very demanding consumer of
your computer’s resources, particularly
if you’re working with large images. If
your computer has multiple hard drives,
Photoshop’s overall performance can be
increased by setting one of those disks
as a Scratch Disk and another as your
primary disk, where Photoshop itself
resides.
Memory & Image Cache

If you’re working with very large images,
or many at once, Memory and Image
Cache will allow you to specify settings
like the number of Cache Levels to use
and how much of your system memory
Photoshop’s allowed to access. By default,
Maximum Used by Photoshop is set to
50%. I prefer mine at 75%, but you may
have to play with this setting to get it just
right for your work.

File Browser
File Browser contains settings that affect
the way Photoshop displays file previews
and thumbnail images. Photoshop’s
default values for these settings should
work for most users.
Whew! That’s it for your introduction
to the exciting world of Photoshop
preferences. Now that we’ve got that
out of the way, stay tuned for more on
getting Photoshop to work just the way
you want.
Tool Palette Tips

Much of Photoshop’s true power lies in the Tools palette and the Options bar. In this lesson, I’ll show you a few
tips for using those palettes and options to get the most of of Photoshop.
Key Tools
If your Tools palette is not displayed,
select Window>Tools to reveal it. As
you’ll notice to the right, Photoshop
displays a tip and a keyboard shortcut
when you hover above a given tool. This
can be quite helpful when learning to use
the software, so I advise leaving the tool
tips on for the time being. In the case of
the Magic Wand tool, you can see that
Photoshop has given us a label for that
tool and has let us know that we can press
W on the keyboard to select it in the
future.
Options, Options...
It’s very important to get into the habit of
looking to the Options bar when you’ve
selected a given tool. The Options bar
displays the various settings available for
that tool in one easy-to-use place and is a
great time-saver. In this case, I’ve selected
the Rectangular Marquee tool. Notice
that the Options bar now displays only
those settings that are applicable to the
Rectangular Marquee tool. The same is
true for any tool selected from the Tools
palette.
Tool Palette Tips

Controlling Color
On the lower portion of the Tools palette,
you’ll notice two boxes filled with color.
The upper box indicates foreground color
(black, by default), while the lower box
displays the background color (white,
by default). To alter these colors, simply
click in the appropriate box and the
Color Picker window will be displayed.
You can select your new color visually
or by using numeric values to specify
an exact hue. To return the colors to
their default values, just press D on the
keyboard or click the smaller black and
white boxes located below and to the
left. Press X on the keyboard – or click
the nearby double arrow – to swap the
displayed colors.
Masks and Screen Modes

Below the color controls, you’ll find
buttons for options like Standard and
Quick Mask mode, as well as various
screen display modes and a shortcut to
Adobe’s ImageReady® application.
That’s our quick overview of Photoshop’s
Tools palette and Options bar. Learn to
use these effectively and you’re well on
your way to Photoshop mastery.
Where To Go For Help

Even the best of us need a little help now and again. Fortunately, Pro Photo Secrets and Photoshop offer just the
assistance you need, just when you need it. In this lesson, I’ll show you where to turn when things get confusing.
Help!
One of the best resources for help is my
own site, Pro Photo Secrets. Just point
your browser to www.prophotosecrets.
com and you’ll find a wealth of resources
covering all aspects of Photoshop. In fact,
members can even email me personally
with any questions they might have or
browse our forum to see if others have
had the same difficulty.
Once you’ve become a member of Pro
Photo Secrets, head over to Adobe’s site at
www.adobe.com for additional resources.
Assistance on Demand
A great feature of Photoshop is its help
system. Just select Help from the menu
bar – or press F1 on the keyboard – then
click Photoshop Help... for an in-depth
treatment of all the program’s features
and tools. If you’d like to know how to
do a particular task, browse the various
how-to headings to see if your question is
answered there. From common tasks like
fixing and enhancing photos to creating
a custom picture frame, you’ll find lots of
material right at your fingertips.
Opening Your Files, Photos and Images

Now that we’ve got the preliminary business out of the way, let’s get to the fun part. Before we succumb to our
creative urges, we need to open a file with which to work. In this lesson, I’ll show you how.
Open Sesame!
To open an existing file in Photoshop,
click File>Open... and a selection
box like the one on the right will be
displayed. To save a few steps, just hit
Control(Command)+O and the same
selection box will appear. From here,
select the folder and file you’d like to
open and double-click it to open it in
your workspace.
The File Browser

Another way to access your existing files
for editing in Photoshop is to invoke the
File Browser by selecting File>Browse...
On the left of the screen, you’ll see a
tab named Folders that you can use
to navigate to the location where your
image is stored. Once you’ve selected an
image, double-click it to open it in your
workspace.
Just follow these simple instructions, and
your Photoshop will be open for business.
Creating New Files

Sometimes, we don’t want to edit an existing photo but would rather, instead, create something completely new.
Follow me as I show you the first step on the path to creation – opening a new document.
In with the New

To create an entirely new image in
Photoshop, press Control(Command)+N
on the keyboard or select File>New...
from the menu bar. In the box that
appears in your workspace, type a name
for your file in the Name: box.
Set your Preset

Photoshop contains a number
of common – and a few not so
common – document sizes already
preset for you. Click the arrow next to
the Preset field to see a list ranging from
common paper sizes to web output sizes
to resolution settings for video use. Once
you’ve selected the preset you’d like,
Photoshop fills in the Width, Height
and Resolution fields and units for you,
though you can change them if you wish.
Creating New Files

Color Mode and Background
Whether your new image is destined for
the screen, a common household printer
or a commerical printing press, you can
select a color mode to match. While
you’ll typically use RGB Color, CMYK
Color is available if you want to take your
image to a service bureau for printing.
In the next field, Background Contents,
select White, Background Color or
Transparent.
Once you’ve selected the appropriate
options for your image, click OK and
you’re on your way to a masterpiece.
Power Shane
Techniques Made Easy
Goldberg’s Photoshop CS1 Made Easy
®
2
Part 2: Power Techniques Made Easy Photoshop® CS1 Made Easy
Adding Drop Shadows To Text

Aside from a few die-hard contrarians, it’s been quite a long time since anyone thought the world was flat. And if
our world is three-dimensional, shouldn’t your images be as well? In this lesson, I’ll show you how to make some
text pop right off the page, adding both visual interest and depth.
A Shadowy Palette
While you can add a drop shadow
to your text by selecting Layer>Layer
Style>Drop Shadow..., it’s much quicker
to click the black button with a stylized
f inside, located at the bottom of your
Layers palette. If your Layers palette is
not visible, just select Window>Layers or
press F7 on your keyboard.
Make sure the layer to which you’d like
to add a shadow is highlighted, click the
black button and select Drop Shadow...
from the menu that appears next.
Moving in the Shadows

Once you’ve selected the Drop Shadow...
layer style, you can immediately click
anywhere in the current layer to move
your shadow into place. Notice that Angle
and Distance in your Layer Style dialog
box will change interactively as you set the
shadow’s position.
When the drop shadow is just where
you’d like it, you can soften the edges
using the Size slider control. I usually like
to also drop the Opacity control to 50%
for a more realistic appearance. Once
everything’s to your liking, just click OK
and you’re done!
Adding Drop Shadows to Text

A Jaw-Dropping Drop Shadow
If you’d like to change the settings for
your drop shadow in the future, just
click the layer’s thumbnail, then double-
click the black button to the left of Drop
Shadow in the menu that appears next.
You’ll then have access to all the settings.
That’s all there is to it! We’ve given our

text a flattering shadow quickly and
painlessly and added a measure of depth
and drama to our image.
Adding Outlines to Type

In Photoshop, a stroke is a good thing – at least as it applies to type. A stroke, in the most basic sense, can be
considered an outline and, in this tutorial, I’ll let you in on the secret to outlining your text in a few quick steps.
What’s Your Type?

To begin, use the Text tool and the
Options bar to select a letter font and
size, then enter some text. Notice that
Photoshop automatically places what
you’ve typed onto its own layer. Next,
click the black button at the bottom of
your text layer’s palette and select Stroke...
As always, if you can’t see your
Layers palette, press F7, or select
Window>Layers from the menu bar.
Give Your Text a Stroke

In the dialog box that appears next,
select a size for the stroke using the slider
control or by typing a value into the box
on the right. Photoshop immediately
displays the results of your choices in the
image.
Though red is the default color for strokes
in Photoshop, clicking the colored box
will display the Color Picker, from which
you can select any hue you like. If you
want the stroke to have some measure of
transparency, adjust the Opacity control.
Adding Outlines to Type

The Ins and Outs of Strokes
Strokes are commonly rendered on the
outside edge of their associated object,
but they needn’t be. To change the
position of the stroke, select Inside – as
I’ve done here – Outside or even Center
from the Position control. Just remember
that each of these options is relative to
the outside edge of the affected object.
A Striking Stroke
In just a few moments, we’ve given our
text a jaunty new look that’s sure to catch
the eye.
Brush Tool Tips

When is a brush more than just a tool for swabbing paint onto a flat surface? When it’s a Photoshop brush, of
course! Since brushes in Photoshop are often used not only to paint directly on an image, but to control the area
and manner in which blurs, erasures and other effects are applied, I’m going to show you how to easily control
your brushes with only a few clicks of the mouse.
Brush up on the brush tool

Select the Brush tool, if you’ve haven’t
already. The Brush tool is located in
the left column of the Tools palette
and, appropriately, looks like a brush
daubing on paint. Use the tool to paint
on top of the sample image. As you
move the cursor, notice how the position
information in the Info palette changes.
If your cursor happens to be crosshair-
shaped, just press the Caps Lock key to
convert it to a circle that indicates the
width of your current brush.
Manipulating brush properties

While you can access property settings for
your current brush by clicking the arrow
to the left of Mode in the Options bar, it’s
quicker to click the right mouse button
(PC) or Control+mouse button (Mac). It’s
a great way to quickly change your brush
size or hardness.
The Magic Wand Tool Unveiled

The Magic Wand in Photoshop is a truly inspired invention that makes selecting difficult objects as easy as
pulling a rabbit from a hat. In this lesson, I’ll break the magician’s code and give you a backstage pass so that you
can see how the Magic Wand really works.
Find your mojo

On the Tools palette, the Magic Wand
tool is located in the second column,
second from the top. If you’re having any
trouble finding it, just look for the tool
that looks a bit like a sparkler. To access
the Magic Wand rapidly, press W on the
keyboard.
Notice how the Options bar now displays
options related to the Magic Wand.
Here you can change tolerance and other
options, such as whether you’d like the
selection created by the Magic Wand to
be anti-aliased and whether you’d like to
include all layers in your selection. Since
we have only one layer in this image, I’ve
left that box unchecked.
Making magic with the Wand

If I check Contiguous in the Options
bar, then click on the sky in our sample
image, the Magic Wand automatically
selects all the regions of the sky whose
color falls within 30 degrees of difference
(our tolerance) from that of the point
I clicked. Since I selected Contiguous,
Photoshop knows that I want it to select
the colors in a smooth gradient, rather
than as isolated little spots all over the
image that may fall into the tolerance
range.
The Magic Wand Tool Unveiled

A magical selection
Deselect the previous selection by
choosing Select>Deselect from
the menu bar or by pressing
Control(Command)+D on the keyboard.
Also clear the Contiguous check box.
Then click in the sky and note how the
selection is no longer a continuously
varying area of color as it was before.
To connect these separate selections,
simply press and hold the Shift key while
clicking in the area that you’d like to add
to the selection.
Abracadabra
Now that we’ve got the entire sky selected
– a very tricky thing to do without the
Magic Wand – it’s a simple matter to
make our sky pink. Just click on the
half-white, half-black circle at the bottom
of the Layers palette, then select Hue/
Saturation... to display the menu at the
right. Here, I’ve adjusted the Hue slider
to +97 and given our sky a rosy new look.
The Magic Wand is a very powerful
tool and I encourage you to play with
the different settings, such as setting
Tolerance to a lower or higher value, to
get the most out of this magical tool.
The Basics of Hue and Saturation

Have you ever taken a photo in poor lighting conditions only to later find that, while the image and composition
is great, the color itself is lacking? With Photoshop, making hue and saturation adjustments takes just a few clicks
of the mouse. Read on and I’ll show you how.
Accessing Hue/Saturation
To begin, select Image>Adjustments>
Hue/Saturation... from the menu bar
or press Control(Command)+U on the
keyboard.
Uncolor your world

The menu that appears next contains hue,
saturation and lightness adjustments.
Notice the Edit drop-down menu at
the top. By default, Master is selected.
This means that any changes you make
will affect the entire color range of your
image. In this case, I’ve set Saturation
to -100, desaturating all colors and
effectively making the image black and
white.

Red-cheeked apple
Hue refers to the basic color of a
particular area of your image. When we
speak of red, we’re talking about hue.
Let’s say you’d like to adjust only the red
portions of your image. To do that, you’d
simply select Reds from the Edit drop-
down menu and move the Hue slider as I
have here.
An apple of a different color

As you change your hue settings, look
at the two colored bars at the bottom
of the Hue/Saturation dialog box. The
top bar represents all the colors in the
original, unchanged image, while the
lower bar represents the changes you’ve
made. Here, notice that some of the reds
in the top bar – the original image – have
been replaced by yellows in the lower bar,
giving our apple an overall yellow cast.

Get intense
Saturation is a measure of how intense
the hue of an object is. In this case, I’ve
increased the intensity of the apple’s
red colors, giving it a more vibrant
appearance. If I wanted to make the color
less intense, I’d just move the slider to the
left. Keep an eye on the two color bars as
you make these adjustments.
Controlling lights and darks

Lightness, as the name implies, controls
how bright or dark a particular part
of your image is. With Edit still set to
Reds, I’ve moved the slider all the way
to the left, darkening all the red areas in
this image. On the two color bars at the
bottom of the dialog box, you can see
that shades of black have replaced red in
the image. If we set Edit back to Master,
the same adjustment would affect the
entire image, not just a specific color
range.

A Preview of things to come
Throughout this demonstration, the
Preview box has been checked. Without
that, we couldn’t see the effects of our
adjustments in real-time as we make
them. For especially large images,
you might want to uncheck this box
to improve performance, but leave it
checked in most cases. Colorize is useful
when you have a black and white image
to which you’d like to add color.
There you have it – a quick and easy way
to make all your images look as if they
came out beautifully colored and lit the
first time.
The Basics of Typography

Many trees have been felled and books written about the subject of type. In this lesson, I’ll cover the high points
of typography as they apply in Photoshop, saving you time and saving a few trees in the process.
Enter type
In order to talk about typography in
Photoshop, you’ll probably have guessed
that we’ll need some type. Enter some text
into a new image, then use the handles
found around the type’s selection box to
move and enlarge it for demonstration
purposes. To do this, select the Move tool
– you’ll find it at the top right of the Tools
palette. Press Control(Command)+T to
select the text. If you’d like to resize the
text proportionally, hold the Shift key
while you drag one of the corner handles.
Once you’ve got the size you want,
double-click to save your changes and
drag the text object to the center of the
workspace.
Characterizing your type

To access the Character palette, select
Window>Character. The Character
palette has a wonderful assortment of type
tools – many previously unavailable in
Photoshop.
Simply select the font and style you’d like
from the top of the Character tab, then
choose a size, either by selecting it from
the drop-down menu, typing it manually
or by clicking and dragging on the double
Ts to the left.
Leading, or line spacing, is controlled
from the box directly to the right of the
type size control. Again, you can specify
the leading directly or by click/dragging
the icon to the left of the control.

Kerning
Now, select the Text tool (the large T on
the right side of the Tools palette) and
click anywhere within your type. Directly
below the type size control, you’ll find
a kerning control. Kerning is simply
the amount of space between any two
letters in your type. On the drop-down
menu, Metrics specifies kerning as a set
proportion of the font size. Selecting
Optical changes the kerning so that it’s
more optically appealing. The i and the
n, for example, could stand to be more
tightly grouped, so we can position the
cursor between them, select Optical and
get a more pleasing relation between the
two. For finer control, select one of the
values listed below.
Tracking
Select the Move tool once again, then
click on the tracking control, located
directly to the right of the kerning
control. Tracking is similar to kerning in
that it defines letter spacing, but tracking
controls the space between all letters in a
group.

Skinny type
Below the kerning control, you’ll find
a control that allows you to make your
type long and thin or short and squat.
Adjust this control by using preset values,
entering the value directly or clicking and
dragging the icon next to the control.
The control directly to the right makes
the same adjustments, but horizontally
instead of vertically.
Superscript and subscript

A super- and subscript control lies just to
the left of the color control. Adjustments
to this control raise or lower your type in
relation to the baseline. The baseline is
simply an imaginary line on which your
type rests.
The color control is much the same as

you’ll find on any palette – selecting it
will bring up the Color Picker dialog,
with which you can select different colors
for your type.

The Paragraph palette
Click the Paragraph tab. The displayed
palette will allow you to set properties
like spacing between paragraphs, indents,
alignment and justification.
Photoshop gives you precise control over
how your text appears – play with it and
I’m sure you’ll create some text that’s just
your type.
The Basics of the Layers Palette

Layers are one of Photoshop’s most powerful – and utilized – features. Nearly every project you undertake will
involve layers, whether you use them to stack objects or to control the appearance of certain parts of your image
without affecting the rest. Think of them as clear sheets of plastic on which you can manipulate individual parts
of your image and which you can stack to present a complete image. In this lesson, I’ll show you how to tap into
the creative power of Photoshop’s layers.
A Stack of layers
If your Layers palette is not visible, select
Window>Layers or press F7 on your
keyboard.
As you can see, I’ve got a red background
layer and three transparent layers, each
labeled so that you can more easily
understand the concept. Because my
upper layers are transparent, you can see
the layers below.
Moving layers in the stack is simply a
matter of clicking and dragging them
up or down the list. If a layer displays
a padlock to the right, it’s held in place
until you release it by clicking the padlock
icon at the top of the Layers palette.
Transparent vs opaque layers

Here, you can see that I’ve renamed my
background layer by clicking on the label
and typing Red Layer. I’ve made sure it’s
not locked into position and then moved
it above Bottom Layer 3. Because Red
Layer is not transparent, it has obscured
Bottom Layer 3. Bottom Layer 3 is still
present, but doesn’t show through the
layer above it. If I were to move Red Layer
to the top of the stack, all we’d see is a red
image with no text showing.

An eye for design
Notice the eye icons to the left of each
layer. Clicking them toggles the visibility
of the associated layer. In this example,
I’ve dragged the opaque Red Layer to the
top of the stack. Ordinarily, this would
obscure all layers below. But since I’ve
clicked on the eye icon, Red Layer is no
longer visible and the other three layers
appear. Red Layer is still present, but its
visibility is toggled off for the time being.
Moving Layers
I’ve moved Red Layer back to the bottom
of the stack, highlighted Top Layer 1 and
selected the Move tool. Now, using the
mouse or the arrows on the keyboard, I
can move Top Layer 1 anywhere within
the image without affecting anything
above or below it. Notice that, since
Top Layer 1 is above all other layers, it
obscures parts of Middle Layer 2.

The Opacity control
Photoshop allows us to control the degree
of opacity of any layer in our image. In
this example, I’ve selected Red Layer
– our background layer – and used
the Opacity slider to make the layer
transparent.
That’s a basic overview of layers and
their manipulation. Because they’re so
important to working in Photoshop, I
encourage you to practice using layers
until they’re second nature.
The Basics of the Layers Palette, Part 2

Layers are one of Photoshop’s most powerful – and utilized – features. Nearly every project you undertake will
involve layers, whether you use them to stack objects or to control the appearance of certain parts of your image
without affecting the rest. Think of them as clear sheets of plastic on which you can manipulate individual
parts of your image and which you can stack to present a complete image. In this lesson, I’ll continue what we
started in Part 1 and show you how to create, duplicate, delete and rename your layers using any of the multiple
methods provided by Photoshop.
One new layer, four new ways

As before, if your Layers palette is not
visible, select Window>Layers or press F7
on your keyboard.
To create a new layer, just click on
the curled paper icon next to the
trash can icon, click the arrow just
under the palette’s Close button
and select New Layer... or press
Shift+Control(Command)+N on the
keyboard. Or, if you prefer, select
Layer>New>Layer... from the menu bar.
3 ways to duplicate layers

Often, it’s necessary to duplicate an
existing layer in Photoshop. One of the
easiest ways is to simply drag a layer onto
the curled paper icon at the bottom of the
Layers palette, but you can also click the
arrow under the palette’s Close button,
then select Duplicate Layer... or select
Layer>Duplicate Layer... from the menu
bar.
The Basics of the Layers Palette, Part 2

2 ways to get rid of layers
If you create a layer and later find that
you don’t want it anymore, just drag the
layer to the trash can icon on the bottom
of the Layers palette and it’s gone.
Alternately, select the layer you’d like to
remove, then click the trash can icon to
delete it.
Name your layers

It’s helpful, especially when working
with many layers, to give each layer a
descriptive name. To rename an existing
layer, double-click the label and enter a
new name for it. When you create a new
label, by whatever means, you’ll be given
the opportunity to name it at that time.
Photoshop gives you many ways to skin
a cat, as it were. Here we’ve covered
various ways to create, duplicate, delete
and rename your layers – try them all
and soon you’ll settle on the way you like
best.
Straightening Your Photographs

You’ve waited until just the right moment: the sun has slid down under the horizon and backlit everything in
gold and orange hues. It’s all perfect. You ready your camera, click the shutter – and your mate bumps your arm.
Now you’ve got a perfectly lit, sublimely composed image that tilts to the right! Have no fear, because in this
lesson I’ll show you how to straighten up that photograph so quickly and simply that you won’t believe it.
A perfect shot...almost
As you can see, we’ve got a great shot of
a grassy field, but the horizon line slopes
down to the right. To begin fixing this,
first select your Eyedropper tool. If you
hold down the mouse button, you’ll
notice a flyout menu with three different
tools. For this job, we’ll need the Measure
tool.
-3.7 Degrees of Separation

Once you’ve got the Measure tool active,
click and drag along the horizon line, as
I’ve done here. Release the mouse button
and notice that Photoshop has helpfully
calculated the deviation from horizontal
in the Options bar. In our case, the value
is -3.7 degrees.

Rotate the canvas
Now select Image>Rotate
Canvas>Arbitrary... and, in the dialog box
that appears, you’ll notice that Photoshop
has already inserted our measurement for
us and has even noted that our rotation
should be counterclockwise. Select OK.
Using the Crop tool

At first blush, the result of our canvas
rotation doesn’t look very pretty. All we
have to do, though, is to select the Crop
tool – located third from the top on the
left side of the Tools palette – and crop
our image within its borders as I’ve done
here. Once you’ve got the area you’d like
to crop selected, press Enter.

A new horizon
Here’s the result – a level horizon, just
like you meant it to be. No muss, no fuss
and no need to harass your clumsy mate.
Making Selections
Life is all about choices, and the selections you make now can change your future completely. Selections in
Photoshop are all about changing just those parts of images that we wish to change. Since selecting bits of images
is something you’ll do frequently as you work, I’m going to devote some space to helping you grasp the basics of
selections in Photoshop.
The Marquee tool

Here, I’ve got a nice shot of some
vegetables that I’d like to enhance. To
begin, I’ll click the Rectangular Marquee
tool in the Tools palette or press M on
the keyboard. By holding down the
mouse button, you’ll see a flyout menu
containing four selection shapes. For now,
I’ll choose the Elliptical Marquee tool.
Select, cut and paste

I’ve used the Elliptical Marquee tool
to select part of the existing image and
have pasted it into a new image. Though
I’ve chosen an elliptical shape, I could
have held the Shift key while making
my selection, which would have given
me a perfect circle. If I had used the
Rectangular Marquee tool, I could have
held the Shift key down while dragging
my selection to create a square.
Making Selections
Broccoli that pops
I’ve selected some broccoli from
our image, cut it (Edit>Cut or
Control(Command)+X) and pasted it
(Edit>Paste or Control(Command)+V)
to a new layer. To emphasize the broccoli
a little more, I’ve also added a drop
shadow and an outline, using the Layers
palette.
Notice that, along the left side of the
image, I’ve selected a column using the
Single Column Marquee tool from the
flyout menu. I could also have chosen the
Single Row Marquee tool. These aren’t
used much, but are available to create
effects such as simulated video scan lines
in an image.
Adding or subtracting selections

In the image to the right, I first
decided to select the hamster using the
Rectangular Marquee tool, but later
wanted to add the little girl’s face to
the selection. To do that, I simply held
down the Shift key while dragging my
new selection, which Photoshop then
helpfully added to my original selection.
To subtract from a selection, hold down
the Alt(Option) key while dragging over
the portion of the selection that you’d
like to remove.
Making Selections
Further refining selections
To further refine my selection, I’ve
clicked the Lasso tool – located just
below the Rectangular Marquee tool –
and then held down the Alt(Option) key
while marking the areas of my original
selection to remove.
A complex selection made easy

Here you can see that I’ve selected an
irregular area of my image with just a few
seconds work.
Practice making complex and simple

selections on your own. The time you
spend perfecting these skills will pay off
many times down the road.
The Pen Tool in Action

Have you ever snapped a photo and later wanted to remove the background? Say you had a boyfriend – let’s
call him Jim – who’s no longer your boyfriend. That photo of you and him from a few Christmases ago is
great, except for the Jim part. You’ve decided you’d like to cut your face from the photo and paste in into a new
background. In this lesson, I’ll show you how to get rid of all the Jims in your life by using Photoshop’s amazing
Pen tool.
A Pen tool and much more

To get started, select the Pen tool from
the Tools palette. Note that a flyout menu
with four other tools – which we’ll cover a
little later – appears when you hold your
mouse button down over the Pen tool.
Select, cut and paste

For this demonstration, we’ll be using
an image of a glass of orange juice. I’d
like to cut the glass and the orange away
from the background and, since the edges
of the two are well-defined, making this
selection is a perfect job for the Pen tool.
For objects, such as hair or fur, with very
ragged edges, another tool would be
better suited to making selections. We’ll
cover that in another lesson. For now, let’s
see how the Pen tool works when used to
select objects within an image.

Get a handle on the Pen tool
I’ve used the Zoom tool (the magnifying
glass icon on the lower right of the Tools
palette) to magnify the top of our glass.
After selecting the Pen tool once again,
I placed two points on the edge of the
glass. While some users prefer to place
lots of points along an edge, I think it
works best when you use only as many
as necessary. The straight line attached
to the second point is a handle. The
handle is just a means of shaping the
line between the two preceeding points.
By tipping one end and/or altering the
length of this handle, I can make the
selection line conform to the edge of the
glass.
Removing handles
I’ve placed a third point on the edge of
the glass. In order to make a smooth
transition from the edge of the glass to
the side, I removed the handle from the
third point by pressing and holding the
Alt(Option) key while clicking on the
third point. The reason for this is that
the handle determines where a path is
ultimately going to go and, in this case,
would not have allowed the sharp bend
we need. In essence, removing the handle
gives us a fresh start to continue our path
down the side of the glass. Just remember
to remove the handle when you need to
make a sharp turn around your selection.

Adjust the fill
Here, you can see that I’ve completed
our path by making my way around the
glass and finally connecting my first and
last points. If the inside of your selection
appears black, as mine does, adjust the
Fill slider on the Layers palette to 0% and
you’ll be able to see your image again.
Adding up the points

It’s not often that we get our selection
just right the first time round. Sometimes
we can improve our selection by adding
points to it. To do this, click and hold
your mouse pointer over the Pen tool,
then select the Add Anchor Point tool.
From there, it’s an easy matter to add
an adjustment point simply by clicking
the path where you’d like the extra point
– and two new handles – to appear.

Make the ants march
Once you’ve got your selection path just
the way you want it, you’ll need to make
it a live path. To do that, select the Paths
tab in the Layers palette then click on
the third button from the left to load the
path as a selection. Once you do, you’ll
immediately see the “marching ants” that
indicate a live path.
Inverse selections
Now that I’ve got the orange and the
glass selected, it’s easy to select just
the opposite – in other words, the
background. Just click Select>Inverse or
press Shift+Control(Command)+I and
you’ll select everything but the orange
and the glass. Then, making sure the
image isn’t on the background layer, press
the Delete key and your background
image is gone.
I’ve filled the background with white
and added a drop shadow, but you can
make your background anything you like
– with no Jims to offend the eye.
The Not-Dodgey Dodge Tool

Back in the old days, photographers actually shaded a light with their hand when developing film to dodge or
burn parts of an image. Somewhat counterintuitively, dodging means lightening a shadowed area, while burning
means darkening an area. Fortunately, Photoshop has made this easy for us, and in this lesson I’ll show you how
to lighten up the dark areas of your photos.
Setting Dodge tool options

The Dodge tool is located on the right
side of the Tools palette and looks a bit
like a black lollipop. Once you’ve selected
it, notice the settings in the Options bar.
I like to have a large brush – 250px in
this case – and soft brush edges when
dodging. In the Range control, I’ve
selected Midtones, though you can also
select Shadows and Highlights. Finally,
Exposure is set to 50% by default, but I
find that rather harsh and like to drop it
to 20%.
To preserve the background
layer, duplicate it by pressing
Control(Command)+J.
Dodge away
Here, I’ve magnified the image, using the
Zoom tool, and have begun to sweep the
brush over the dark area of the shoe while
clicking and holding the mouse button.
It’s important to be gentle when doing
this so that you don’t overexpose the area
and end up with a fake-looking image.
The Not-Dodgey Dodge Tool

Dodgey? Hardly.
Here’s our dodged image. To be sure, it’s
a subtle difference, but many of the best
Photoshop effects are. Give this one a
try, practice it and your photos will look
better than ever.
Using the Burn Tool

Back in the old days, photographers actually shaded a light with their hand when developing film to dodge or
burn parts of an image. Somewhat counterintuitively, dodging means lightening a shadowed area, while burning
means darkening an area. Fortunately, Photoshop has made this easy for us, and in this lesson I’ll show you how
to darken those overexposed areas in your photos.
Get ready to burn

The Burn tool is located in the flyout
menu that appears when you click and
hold your mouse cursor over the Dodge
tool.
To preserve the background
layer, duplicate it by pressing
Control(Command)+J on the keyboard.
Burn, baby, burn!

While this photograph features a pretty
dramatic sky already, I’d like to give it
a brooding, ominous look. Notice the
Option bar – I’ve selected a brush size of
500. Depending on the resolution of your
image, you may want to choose a smaller
or larger brush. I’ll be working in the
midtones, and I’ve dropped the exposure
to 30%.
All that’s left to do is stroke the brush
over the areas of the image that need to be
darkened.
Using the Burn Tool

Stormy weather
I’ve darkened the clouds, but to further
increase the contrast between them and
the land below, I’ve passed the Dodge
tool over the trees and foreground area.
There you have it – a brewing storm,
courtesy of Photoshop’s Burn tool.
The Zoom Tool

The Zoom tool is a Photoshop feature that you’ll use again and again in your imaging work. Whether you need
to zoom in to remove a pimple on an adolescent face or zoom out to add some majesty to a mountain range,
Photoshop offers numerous ways to access and control this essential tool.
Grab your spyglass

To use the Zoom tool, click on the
magnifying glass icon located on the right
side of the Tools palette.
In the Options bar, you’ll see a
magnifying glass with a “+” sign to zoom
into an image and one with a “-” sign to
zoom out. Once you’ve selected one, click
over an area of the image that you’d like
to zoom into or out of and Photoshop
will center the zoom on the point you
clicked. By default, Photoshop zooms into
an image – to zoom out, you can simply
hold down Alt(Option) while you click
on your image with the magnifying tool.
Note, when you do this, how the “+” sign
becomes a “-” sign.
Using the Navigator Palette

Photoshop includes a handy Navigator
palette to help you magnify parts of your
image. If the palette is not visible, select
Window>Navigator from the menu bar.
The Navigator palette features a slider
control that lets you specify the amount
of zoom in a few different ways. Clicking
the icon to the right of the slider zooms
in, while the icon to the left zooms out
again. You can, of course, grab the slider
itself, or you can input a zoom percentage
in the box to the left. Here, I’ve zoomed
in a bit. Notice the red box over our
image in the Navigator palette. This shows
us just what part of the zoomed image is
displayed in the workspace.
The Zoom Tool

Zoom up and pan
Once we’ve got the image zoomed to
the correct degree, it’s really easy to pan
around. Just click and hold down the
mouse button while the cursor’s inside
the red box in the Navigator palette and
drag it to another location within the
image.
Zooming with the keyboard

One final tip – to quickly zoom the
entire image, just press and hold the
Control(Command) key and the “+” key
to zoom in or the “- “ key to zoom out.
Practice using Photoshop’s various
zooming methods and you’ll soon be
racing around your images like a pro.
Photo Editing Made Simple
®
3
Part 3: Photo Editing Made Simple Photoshop® CS1 Made Easy
Adding Color to Black and White Photos

One of the great things about Photoshop is the way it allows us to alter our images with artistic effects that are
difficult – sometimes impossible – to achieve without it. Take, for instance, adding colored areas to black and
white photographs. While black and white photos can be quite dramatic in themselves, adding a spot of color
here and there can really give the image an entrancing quality. Magazines do it all the time, and in this lesson, I’ll
show you how to do it too.
Quick Mask mode

Before I begin to add color to our image,
I’ll need to make sure I’m in the right
mode by selecting Image>Mode>RGB
color. Even though our image is black and
white, I’ll need to be in RGB (Red, Green
and Blue) mode to add color.
Next, put Photoshop into Quick Mask
mode by clicking the right-hand icon
just under the color selector in the Tools
palette or by pressing Q on the keyboard.
Masking the image

Since we’ll be adding color to this young
man’s tie, I’ve zoomed into the image
and selected the Brush tool. I’ve selected
a brush and hardness that will allow me
to cover the area quickly without spilling
over the edges of the tie. If you should
paint something that you’d rather not, just
select the Eraser tool and rub it out.
You’ll notice that we’re painting a red color
over the tie. If you don’t like red, don’t
worry – that’s just the color of our mask.

Return to standard mode
We’ve got the tie completely masked, so
it’s time to return to standard mode to
complete our editing. To do that, click
on the button directly to the left of the
Quick Mask button or press Q again on
the keyboard to toggle back to standard
editing mode.
Selecting the tie

Once you return to standard editing
mode, you’ll see the familiar marching
ants that indicate that you’ve made
a selection, but this time you’ve
done it with a mask. It’s a little
counterintuitive, but for this work,
you’ll need to click Select>Inverse or
press Shift+Control(Command)+I on
the keyboard. This is because the mask
has actually covered the tie. To work on
the tie alone, we need to make the mask
cover everything except the tie. So we
make an inverse selection.

Create an adjustment layer
Next, we’ll need to use our Layers palette.
If you don’t see it, select Window>Layers
or press F7 on the keyboard.
To create an adjustment layer, click the
black and white icon on the bottom
Saturation...
Adjust hue and saturation

In the Hue/Saturation dialog box, check
the Colorize box and make sure the
Preview box is also checked so that you
can see the effect of your adjustments.
From here, it’s only a matter of using the
slider controls to get just the shade you’d
like for the young man’s tie.
And that’s how you can create a
spectacular effect that photographers of
old would have trampled their mothers
to learn.
Adding a Softly Focused Background

Photographers are always seeking ways to emphasize their subjects. One of the best, and easiest in Photoshop, is
to blur the background, leaving the subject in focus. In this lesson, I’ll show you two different ways to add soft
focus to your backgrounds.
Create a new editing layer

As is often the case, the first thing we’ll
need to do is to duplicate our background
layer. In this example, I’ve just grabbed
hold of the background layer and dragged
it to the new layer icon (to the left of the
trash can icon). If your Layers palette is
not visible, select Window>Layers or press
F7 on the keyboard.
Grab a Brush and Get to Work

Next, we’ll need to click the icon just
under the two large boxes of color on the
right side of the Tools palette to begin
editing in Quick Mask mode. Once you’ve
done that, click the Brush icon and select
a largish brush to paint the mask on the
image. Here, I’ve selected a soft round
brush of 65 pixels.

Paint a mask on the image
Now, we’ll need to paint our red mask on
all the areas of the image that we’d like to
be blurred. Once that’s done, select the
icon just to the left of the Quick Mask
icon to switch back to standard editing
mode.
As in the previous lesson, you’ll notice
that the subjects of our photograph
are now selected. But to select the
background areas for editing, you’ll
need to click Select>Inverse or press
Control(Command)+I on the keyboard.
Using Lens Blur

Now for the fun part. Select
Filter>Blur>Lens Blur... and notice how
the background has changed. In this
example, I’ve chosen a Radius of 45.
To toggle back and forth between the
blurred and unblurred images, check
or uncheck the Preview box. Once
you’re satisfied with the image, click
OK, then click Select>Deselect or press
Control(Command)+D on the keyboard.
If, after you’ve deselected your mask,
you decide that the blurring effect is too
pronounced, simply use the Opacity
slider at the top of the Layers palette to
lessen the effect.

A 2nd way to blur backgrounds
Here’s another way to achieve the same
effect. As before, drag your background
layer to the New Layer icon to duplicate
it, then select Filter>Blur>Lens Blur...
Lens Blur again

We’ll use Lens Blur, as before, but this
time choose a value of 34 for Radius.
Select OK.

Drop the opacity
Now, to mitigate the blurring, I’ve
dropped the Opacity control to 34%,
selected the Eraser tool and a soft round
brush of 35 pixels.
Brush away the excess blur

Now it’s just a matter of running the
brush over the parts of the image that
you’d like to clear up.

A subject in sharp focus
Here’s our finished image. To make the
blurring effect a bit more pronounced,
I’ve increased the opacity to 70%.
Putting your backgrounds into soft
focus is a wonderful way to bring out
the subject in your photographs, and
Photoshop allows you to create this useful
effect in only seconds.
Changing Eye Color

Photoshop allows us to take what is and make it what we would wish it to be. Say we’ve got a photograph of
someone with lovely brown eyes, but we’d like to make the eyes match some other part of the image for effect.
Changing eye color is a simple bit of business in Photoshop and, in this lesson, I’ll show you how.
Enter Quick Mask mode

To begin, put Photoshop in Quick Mask
mode by clicking the button on the
right side of the Tools palette under the
colored boxes. Then, select a soft brush
appropriate to the size of your image. I’ve
selected a brush of 95 pixels in diameter
and 0% hardness.
If, while masking, you stray from your
intended area, just erase the error with
your Eraser tool.
Mask the iris

Now, mask the iris, or the colored
part of the eye. Pay no attention to
the demonic red color – that’s just the
color of the mask. Once you’re finished,
return to standard editing mode by
clicking the button to the left of the
Quick Mask button. Then, as we’ve done
before, choose Select>Inverse or click
Shift+Control(Command)+I to select the
inverse and mask off the areas around the
iris.
Changing Eye Color

Create an Adjustment Layer
Next, create an adjustment layer by
clicking the black and white button
on the bottom of the Layers palette. If
you can’t see your Layers palette, select
Window>Layers or press F7 on the
keyboard.
In the menu that appears, select Hue/
Saturation... to begin coloring the iris.
Choose a hue
Now, check the Colorize and Preview
boxes, then proceed to choose Hue,
Saturation and Lightness values for your
new eye color.
Once you’ve settled on a new eye color,
it’s helpful to reduce the intensity of
the change by using the Opacity slider
control at the top of the Layers palette.
Changing Eye Color

Blue-eyed baby
And that’s that! With a few deft clicks of
the mouse, we’ve made brown eyes turn
blue and, unlike some colored contact
lenses, the effect looks as if Mother
Nature herself had a hand in it.
Changing Hair Color

Blondes wish to be brunettes and the silver-haired wish for the black of their youth. While Nature is not very
obliging in this matter, we can take matters into our own hands with Photoshop. This time around, I’ll show you
how to go from blonde to purple without expensive dyes or a visit to the wig shop.
Get your Quick Mask on

First, as we so often do in photo editing
in Photoshop, we’ll need to enter Quick
Mask mode by clicking the icon under
the colored boxes and to the right in the
Tools palette. Then, click the Brush icon
on the Tools palette and choose a suitably-
sized soft brush. In this case, I’ve chosen a
21 pixel soft round brush.
Notice that I’ve moved my Tools palette
out of the way by clicking and dragging
the topmost edge.
Once you’ve got your brush selected,
sweep the mouse over the areas that you’d
like to mask.
Make an adjustment layer

With the hair masked off,
click Select>Inverse or press
Shift+Control(Command)+I on the
keyboard and zoom out, if necessary.
Return to standard editing mode by
clicking the button to the left of the
Quick Mask icon, then click the black and
white icon on the bottom of the Layers
palette and select Hue/Saturation... to
create a new adjustment layer.
Changing Hair Color

A color Nature never intended
By adjusting the Hue slider, I’ve given
this young woman a Punk makeover
without even breaking a sweat.
I encourage you to get very familiar with
Photoshop’s Quick Mask feature. You can
have a lot of fun and wreak a lot of havoc
with it, not to mention give your photos
the spark they need to get noticed.
Cropping the Smart Way

Many times, we’ll take a nice photograph but, because we’re too far away and don’t have a powerful enough zoom
lens, our subject is far too small. Other times, we’d like to focus on a particular area of a photograph and crop
away the rest. Photoshop makes this a snap and, in this lesson, I’ll show you how to crop like a pro.
Unlock the background layer

Here we’ve got a typical photograph
with a very small subject and gobs of
background competing for the eye’s
attention. Before we take this to the lab
for processing, it’d be best if we cut away
some of the sky so that our skydiving
subject becomes more prominent. First,
though, we’ll need to double-click the
background layer in the Layers palette and
then click OK so that our background
layer is no longer locked, allowing us to
crop it.
Select the Crop tool

Next, select the Crop tool from the Tools
palette. To access this more quickly, just
press C on the keyboard.
Now, by clicking and dragging a selection
box, focus in on the part of the image in
which you’re interested. Once you release
the mouse button, the part of the image
to be cropped away will dim. If the crop is
not quite right, just select the Move tool
and drag the selection where you’d like it.
When the cropping selection is correct,
simply double-click the image – or select
Image>Crop – to remove the dimmed
area.

Enlarge the canvas
Since the size of this image, after
cropping, is only 3 by 5 inches, I’m going
to select Image>Canvas Size... and enlarge
it to 10 by 15 inches. Notice that, even
though the cropped image is hidden by
the Canvas Size dialog box, you can still
see the image in the Navigator palette.
Enlarge the cropped image

Now that the canvas is larger, all that
remains is to enlarge the image itself. To
do that, press Control(Command)+T on
the keyboard. This will display handles
around the edge of your image with
which you can resize it. Because I want
the proportions of this image to remain
constant as I enlarge it, I’ll press and hold
Shift while dragging one of the corner
handles.

Ready for the photo lab
Here, I’ve pressed the Tab key to hide all
palettes so that we can see the finished
image. All I need to do now is make sure
the image has a density of about 300 dpi,
save it to a suitable file type – most photo
lab can work with jpegs – and take it in
to be printed.
I think this is an especially handsome
photograph, but I may be biased
because it’s me. Whether it indicates an
adventurous spirit or an utter lack of
regard for bodily integrity, I’ll leave to the
reader to decide.
Cropping In Reverse
Normally, we’d use the Crop tool to remove parts of our image, but we can also use it to add borders. In this
lesson, I’ll use it to turn an already beautiful photograph into a poster.
Swapping colors
To begin, I’ve zoomed out so that I can
see the entire image and clicked the
double arrow above and to the right of
the colored boxes in the Tools palette to
make my foreground color black instead
of the default white. If yours are not black
and white, just click the tiny colored
boxes below and to the left of the larger
ones to reset them to defaults, then swap
them using the double arrow.
Crop in reverse
Next, select the Crop tool from the Tools
palette. To access this more quickly, just
press C on the keyboard.
Instead of reducing the area of the image,
I’ve clicked and dragged a selection box
around the outside of the photograph.
Once I hit Enter on the keyboard
– or double-click within the image – the
additional space is automatically filled
with with white, which we specified as our
foreground color earlier.
Cropping In Reverse
An image fit for a frame
All that’s left to do is to add some text,
which I’ve done using the Text tool on
the Tools palette. Then, to see my work
without the clutter of palettes, I simply
toggled the palettes off using the Tab key.
Try this one on your next photo and
you’ll be surprised by the professional
quality and sophistication you can
achieve so easily and quickly.
Sharpening Blurry Photos

Blurry photos are the bane of beginning – and sometimes advanced –photographers everywhere. Once upon a
time, we had to live with the occasional out-of-focus shot, but no more. Photoshop allows us to sharpen up those
photos in a hurry.
Duplicate the background layer

Before I begin to shapen this quite blurry
photograph, I’ll click and drag the layer
onto the New Layer icon to duplicate it.
If your Layers palette is hidden, reveal it
by selecting Window>Layers or pressing
F7 on the keyboard.
Sharpening with High Pass

The first method of shapening photos that
I’ll show you involves Photoshop’s High
Pass filter. To display its dialog, select
Filter>Other>High Pass... In the dialog
that appears, you can select various radii,
but we’ll stick with the default value of 15.
The object, of course, is to have a radius
of just enough to enhance the edges of
your images without going overboard.
Practicing with this tool will help you to
quickly get a feel for how much is too
much and how much is just right.
Select OK, then change the layer’s
blending mode – found at the top left of
the Layers palette – from Normal to Hard
Light.

A Sharp Image
Here, you can see that our photograph is
much improved and it took only seconds
to do. But there’s another way – the
oddly named Unsharp Mask.
The Unsharp Mask in action

Before using this technique, drag the
duplicated layer from the previous
example to the trash can on the bottom
of the Layers palette to delete it.
With our image returned to its blurred
state, I’ll select Filter>Sharpen>Unsharp
Mask...

An Unsharp image
In the dialog box that’s displayed, there
are sliders to select the Amount, Radius
and Threshold for our Unsharp Mask.
Because I’ve got the Preview box checked,
I can adjust these parameters and see
the effect as I go. To see the image as it
was before adjustments, just click the
Preview button again. In this case, I’ve
got Amount set to 163%, Radius at 30.4
pixels and Threshold – which I normally
don’t adjust – set to 8 levels.
If you find that your image appears a
little unnatural after sharpening, try
adjusting the Opacity control to allow
a little more of the background layer to
show through the adjustment layer.
Whitening Teeth
When we see the faces of models and movie stars on the covers of glossy magazines, the first thing many of us
notice is their sparkling smiles. How did they get such white and even teeth? The secret is, of course, Photoshop.
In this lesson, I won’t show you how to do major dental reconstruction – though it can be done – but I’ll let you
in on the secret of whitening teeth.
Start by masking
As we do in many retouching situations,
we’ll be using the Quick Mask mode in
this lesson. Here, I’ve zoomed up on our
subject’s teeth by selecting the Zoom tool
from the Tools palette. Next, I’ll start
Quick Mask mode by clicking the button
under and to the right of the colored
boxes in the Tools palette.
Next, I’ll select the Brush tool on the
Tools palette and choose a soft brush of
13 pixels for our work here.
Brush your teeth

I’ve brushed our model’s teeth with the
Brush tool. Though it looks as if she’s
eaten a box of pink candy and neglected
to brush, the red color is simply our mask.
Now, get back to standard editing
mode by clicking the button next to
the Quick Mask icon. Next, invert the
selection by clicking Select>Inverse or
pressing Shift+Control(Command)+I
on the keyboard. Because I sometimes
find the “marching ants” that indicate
selected areas to be distracting, I’ll select
View>Extras to remove the checkmark
and the ants. Our selection is still there,
but it’s now invisible.
Whitening Teeth
Decrease saturation
The next step is to desaturate the color of
our model’s teeth. I could select Image>
Adjustments>Desaturate, but that would
totally desaturate the teeth, and that’s
not what we want here. So, I’ll select
Image>Adjustments>Hue/Saturation...
– or press Control(Command)+U on
the keyboard – and adjust the Saturation
value to -60.
Create an adjustment layer

Now, I’ll click the black and white icon
on the bottom of the Layers palette and
select Levels... to create a new adjustment
layer.
Whitening Teeth
Bump up the highlights
In the levels dialog, I’ll simply click and
drag the rightmost arrow – the highlights
in our selection – to the left until I’m sat-
isfied with the whiteness of the woman’s
teeth. Be careful not to go overboard
with this, or you’ll end up with teeth that
look to have been whitened in a nuclear
accident.
Whiter teeth in 30 seconds

And there you go – a nice bright smile
that didn’t require expensive laser tooth
whitening appointments or a new brand
of toothpaste.
Wedding Photo Makeover

Wedding photos, for many of us, are flash-frozen reminders of some of the happiest moments in our lives. With
the help of Photoshop, what’s good can always be made better, and in this lesson, I’ll show you a few ways to
enhance and customize those photos to make them more special than ever.
Isolating photographic elements

In this example, we’ve got a typical
wedding shot. Nicely composed and lit,
this photo’s a keeper. Let’s see, however,
what we can do to give the shot even
more punch and a bit of extra poignancy.
First off, let’s select the Zoom tool from
the Tools palette and zoom up on the
flower bouquet.
Mask off the flowers

Next, as we’ve done before, we’ll tell
Photoshop to get into Quick Mask mode
by clicking the icon beneath and to the
right of the large colored boxes in the
Tools palette. Select a suitably-sized soft
round brush by clicking the Brush icon
on the Tools palette. By painting over the
flowers, we’ll tell Photoshop to select them
for masking.
Once the flowers are masked, return to
standard editing mode by clicking the icon
to the left of the Quick Mask icon.

Drop the Saturation
Next, create an adjustment layer by
clicking the black and white icon at the
bottom of the Layers palette and selecting
Hue/Saturation... In this example, I’ve
dropped the saturation level to -100 so
that everything in our photo, except the
flowers, will be black and white.
Add a border
After zooming back out of the image,
click on the New Layer icon – located
next to the trash can icon – to create a
layer for a border around the image.
Now, select the Brush icon from the
Tools palette and choose the Scattered
Maple Leaves brush that’s included
with Photoshop. For the color, click
the foreground color box and, from the
Color Picker dialog, choose R245, G205
and B20 for an autumnal hue.

Leaves and grass
I’ve swept the Scattered Maple Leaves
brush around the edges of our image, and
the effect is so nice that I’d like to add
some grass. To do that. all I’ve got to do
is select the Grass brush included with
Photoshop by clicking on the Options
bar. From the Color Picker dialog, I’ve
selected value of R39, G149 and B15.
Now all that’s left is to paint some grass
in the same way we painted the leaves.
Dry brush
For the finishing touch, I’ve selected Dry
Brush from the Options bar, increased
the brush size to about 140 pixels and
changed the color to white. By scrubbing
this brush across the corners and edges of
our image, we’ll get a hazy effect.

Romance enhanced
I’ve dropped the opacity of the
adjustment layer back to around 20%
and zoomed up on the image. As you
can see, we’e given our wedding shot a
wistfully romantic feel that will surely
make it a favorite as the years pass.
Using blur to enhance photos

For this image, I’d like to blur the
distracing background so that we can
better focus on our happy couple.
First, duplicate the background layer by
clicking and dragging it onto the New
Layer icon at the bottom of the Layers
palette. Then, set Photoshop to Quick
Mask mode by clicking the Quick Mask
icon. Next, click the Brush tool from
the Tools palette and select a soft round
brush of 200 pixels for masking. A big
brush makes quick work of masking.
Don’t worry if you paint beyond the
edges of your subject – that’s easily
corrected with the Eraser tool.

Return to standard editing mode
Now that I’ve masked our couple, it’s
time to return to standard editing mode
by clicking the icon next to the Quick
Mask icon. Then, to select everything
but our subjects, I’ll need to click
Select>Inverse on the menu bar.
Apply lens blur

Now, select Filter>Blur>Lens Blur... from
the menu bar and change Radius to 40.

Reduce saturation
Blurring has done a good job of
diminishing the importance of the
background in our image, but I’d like
to take it a step further by desaturating
the color as well. To do this, click the
black and white icon at the bottom
Saturation... from the flyout menu. In
the Hue/Saturation dialog box, reduce
Saturation to -100.
The new couple comes forward

Here’s our completed image. Blurring
and desaturating the background has
given a stronger focus to our couple. If
this level of blurring and desaturation
seems a bit much, it’s simple to adjust it
– just reduce the opacity of the layer or
click on the adjustment layer and alter it
until it looks perfect.
Whitening Eyes
Due to lighting conditions and individuals with particularly deep eye sockets, the eyes in our photographs are
often a bit darker that we’d like, though the rest of the image is bright as we want it. In a manner similar to the
way we whitened teeth in a previous lesson, this time around I’ll show you how to do the same for the eyes.
Mask your eyes

Before we get to the business of
whitening and brightening this fellow’s
eyes, we’ll need to get into masking
mode by clicking the Quick Mask icon
below the large colored boxes in the Tools
palette. Click on the Brush icon, choose
a soft round brush of 60 pixels and begin
to paint a mask over both eye sockets. To
maintain a clear view of what we’re doing,
I’ll reduce the opacity of the mask to
around 80%.
Rose-colored glasses
Though it looks like our friend’s had a
very rough night or taken a fancy to red-
lensed goggles, the colored area represents
our mask. Once we return to standard
editing mode by clicking the icon next
to the Quick Mask icon, we’ll see the
familiar marching ants that indicate that
Photoshop has made a selection for us
based on the shape of our mask.
Whitening Eyes
Feather the selection
We’re going to do something a bit
different to our selection this time by
softening the edges of the selection. To do
that, click Select>Feather... and input a
Feather Radius of 3. Then, as we’ve done
many times, click Select>Inverse to mask
off everything in the image except the
eye area. If you’d like, you can then select
View>Extras to uncheck that option and
get rid of the marching ants.
Create a levels adjustment layer

Now, click the black and white icon on
the bottom of the Layers palette and
select Levels... to create an adjustment
layer. In the dialog box that’s displayed,
simply click and drag the middle arrow
that lies beneath the black mountainous
shape that defines our image’s levels and
drag it to the left. The middle arrow
controls the midtones in our image
and, in this case, I’ve lowered it to 1.24.
Remember, the best image edits are
subtle, so don’t go overboard with this
adjustment.
Whitening Eyes
Whitening the eyeball
Next, zoom into the eyeball itself,
enter masking mode and choose a
smallish brush to mask off the white
part of the eyes. Once that’s done,
return to standard editing mode and
Select>Inverse as we did earlier. Again,
if you’d like to eliminate the dashed
selection lines, click View>Extras or press
Control(Command)+H on the keyboard.
Alter the midtones

Select Image>Adjustments>Hue/
Saturation... and bump Saturation down
to about -50. Next, adjust the levels
using Image>Adjustments>Levels... Here,
I’ve gone a bit far and given this fellow
a bizarre appearance, so I’ll bring the
midtones back up to 1.16 for a more
natural look.
Whitening Eyes
See the whites of their eyes
And there you have it – we’ve given our
subject whiter, brighter eyeballs and
banished the excess shadow from his eye
sockets.
Adjusting Skin Tone

As your coworkers and friends become aware of the wonderful work you’re doing in Photoshop, you’ll be often
called upon to adjust skin tones. While both film and digital cameras have come a long way towards capturing
accurate skin tones, the vagaries of lighting can often impart a coloring very much unlike a person’s actual skin
tone. In this lesson, I’ll show you – step-by-step –a couple of ways that Photoshop can be used to correct this
common problem.
Selecting color ranges

Take a look at this photo and you’ll
quickly notice that, although the
woman’s coloring is quite good, the man’s
skin tone runs too far toward the red.
Selecting areas like this can be a bit tricky,
so rather than use the masking methods
we’ve used until now, click Select>Color
Range.. to get started on this image.
Using the Color Range eyedropper

In the dialog box that appears, select the
eyedropper icon. This will sample colors
for inclusion into the selection as you
run the tool over the man’s face. While
holding the Shift key, pass the eyedropper
over the man’s face until you’ve made a
mask of the entire area. Here, I’ve selected
a Fuzziness value of 24 to smooth out our
selection.
Adjusting Skin Tone

Refining the selection
Since Photoshop has selected both faces,
based on the color ranges we’ve specified,
we’ll need to refine the selection with the
Lasso tool. The Lasso tool is located on
the left side of the Tools palette, second
from the top. Simply hold down the
Alt(Option) key while dragging around
the selected areas that you’d like to
exclude.
Get the red out

Click the black and white button on
the bottom of the Layers palette, select
Hue/Saturation... and lower Saturation
to about -28. Next, adjust the Hue slider
to +4 to bring out more of the yellows in
the selection.
Notice how the man’s coloring is now
much more natural and true-to-life.
Adjusting Skin Tone

Another way to alter skin tone
In our second example, the baby pictured
here is a bit pale, so we’ll give him a tan.
We’ll begin in the same way as before by
clicking Select>Color Range...
Select a range of colors

Using the eyedropper as before, click and
drag over the baby’s skin until the Color
Range dialog box shows a well-defined
selection. Fuzziness, in this case, is set to
36.
Adjusting Skin Tone

Adjusting color balance
Instead of adjusting hue and saturation,
for this image we’ll change the overall
color balance of our selection. Click the
black and white button at the bottom
of the Tools palette and select Color
Balance... In the dialog box that follows,
move the sliders until the baby has a
tanned appearance. Here, I’ve set them to
+32, 0 and -14.
Sunkissed baby
In just a few steps, we’ve given our baby a
healthy glow, without affecting any other
part of the image.
Practice these techniques until
they’re second nature, because you’ll
undoubtably be using them often in your
Photoshop work.
Inserting Images Into Type

Have you ever seen a magazine that’s got a headline made of photgraphic type? It can be quite a stunning effect,
and it’s very easy to achieve in Photoshop. Follow along and let me show you how.
Copy the background image

In this example, we’re going to insert
these flowers into some type. First,
we’ll need to select the entire image
by pressing Control(Command)+A
on the keyboard or clicking Select>All
on the menu bar. To copy the image,
press Control(Command)+C or select
Edit>Copy from the menu bar.
Enter some type

Our next step is to create a new image and
enter some text into it. For demonstration
purposes, I’ve made this text very large.
Before we change the text, we’ll need to
select it by holding Control(Command)
while clicking on our layer is the Layers
palette. If your Layers palette is not visible,
select Window>Layers or press F7 on the
keyboard.
Inserting Images Into Type

Using the Paste Into command
As you might have guessed, we’re now
going to paste our image into the
selected text. But we’re not simply going
to the use the Paste command, as that
will not give us the effect we want. To
achieve the results we’re looking for, we’ll
need to select Edit>Paste Into or press
Shift+Control(Command)+V on the
keyboard.
Once you’ve pasted the image into your
type, use the Move tool to position the
image for maximum effect.
Dazzling text
This is our completed image. To give it
just a bit more polish, I’ve added a drop
shadow to the text layer.
The next time you see this on a magazine
cover, you’ll know how easy it really is,
thanks to Photoshop!
Editing & Touchup Secrets
®
4
Part 4: Editing and Touchup Secrets Photoshop® CS1 Made Easy
Removing Background Items From Photos

In previous lessons, you’ve learned how to cut a photo’s subject away from it’s background and paste onto a
background layer that’s more to your liking. But let’s say you’ve got a photo that’s mostly what you’d like it to be,
except that you’ve got some items in the background that you’d really rather remove. For that purpose, you’ll need
the Healing Brush and the Clone Stamp tool.
Duplicate the Background

This photo features a young musician
surrounded by implements of his trade.
While most of these items help us tell this
photographic story, we might not want
the two framed pictures on the wall. And
with the help of Photoshop, that’s no
problem at all. Before we start working,
though, it’s a good idea to duplicate this
background layer to preserve its integrity.
The simplest way to do that is to grab the
background layer with the mouse and
drag into onto the New Layer button at
the bottom of the Layers palette.
Two New Tools

Let’s get started. First we’ll need to zoom
up on the items we’d like to remove using
the Zoom tool.
Now it’s time to introduce a pair of tools
that will make quick work out of this sort
of photo editing. The first is the Healing
Brush tool. It looks like a bandage and is
located under the Crop tool in the Tools
palette. The other tool we’ll be using in
this lesson is the Clone Stamp and that’s
just under the Healing Brush.

Select an Area to Copy
Before we get into the Healing Brush and
Clone Stamp tools, we’ll select an area to
clone. The orange wall below the picture
looks like a good bet, so we’ll drag our
Rectangular Marquee tool over it to select
it.
Once that’s done, we can press
Control(Command)+C or select Edit>Copy
from the menu bar to copy our selection.
Then we’ll paste that copy onto a new
layer by pressing Control(Command)+V
or selecting Edit>Paste. Now we’ll just
hold down the Shift key – to constrain
our copy’s movements – and use the Move
tool to drag our orange box over as much
of the picture above it as we can.
Merging Layers
That’s looking better already, except for
some hard edges that we’ll take care of in
a moment. First, though, we’ll merge this
layer with the layer underneath by select-
ing Layer>Merge Down or by pressing
Control(Command)+E on the keyboard.
Make sure when you do this that the
layer you’ve pasted into is selected.
Now that the layers are merged, we’ll
repeat our copy and paste operations with
a bit of the orange area we just merged to
cover the picture on the wall completely.
Then, as before, we’ll merge that layer
with the previous.

Sampling with the Healing Brush
Here we’ve zoomed up on our repair.
Notice the hard edges where we’ve pasted
over the picture. To remove those, we can
select the Healing Brush tool. Before we
can use it, though, we’ll need to sample
an area to the right of our pasted rect-
angles. Holding down the Alt(Option) key
while clicking in that area will give us a
sample that we can then paint onto our
hard-edged seam.
Healing the Edges

Once we’ve got our sample, we’ll just
paint down the edge of our seam. Note
that the sampled area moves with us as
we go. For this reason, it’s a good idea
to work in small areas, resampling as
necessary. If you get a result that isn’t
quite right, use the History palette or
Edit>Undo to return to the previous state.

Using the Clone Stamp
For the bottom edge of our repair, I’ll
show you how to use the Clone Stamp to
achieve the same result. After selecting
it from the Tools palette, drop the opac-
ity for a more realistic effect, hold down
Alt(Option) while clicking in a area beside
the repair, then release the Alt(Option)
button and paint away.
Finishing Touches
To remove the second picture from the
wall, just repeat the same steps, being
careful to avoid the shadow of the mi-
crophone. To fix that up, we’ll again use
the Healing Brush, except that, this time,
we’ll sample a lighter part of the shadow
to repair the area where the corner of the
picture frame was.

A Seamless Edit
We zoom out on our musician and, voila,
the pictures on the wall have vanished,
and no one’s the wiser.
The Healing Brush and Clone Stamp may
take a bit of practice before you’re profi-
cient in their use, but the time you spend
will be well repaid when you need to re-
move parts of photographs in the future.
Removing People From Photos

Sometimes it’s hard to get only the people you want in a shot. Sure, you could politely ask uninvited extras to
move out of the frame, but you might miss a great moment and, if you catch that extra on a bad day, end up with
a blackened eye for your trouble. But with Photoshop, you need not worry about it. Go ahead and take your shot
– I’ll show you how to fix it up later at home.
Duplicate the Background

Here’s a familiar situation – you’ve got a
great photo of your friends, plus someone
you’ve never met. While I’m sure the man
in the corner is a great guy who donates to
orphanages and all that, this guy doesn’t
belong it our shot. To begin removing
him, we’ll first duplicate the background
layer by clicking and dragging the layer
onto the New Layer icon at the bottom of
the Layers palette. While were at it, let’s
rename the duplicated layer to
Working Layer. While we won’t have many
layers here, it’d a good idea to get into the
habit of naming them because, sooner or
later, you’ll be working with many in one
image.
The Hard Way

The first impulse for many of us, when
faced with a situation like this, is to grab
the Clone Stamp and stroke the man out of
the photo. The problem with this is that
it’s very difficult to get things lined up just
right. So drop that Clone Stamp – I’ve got
a better way for you.
Removing People from Photos

An Attractive New Lasso
For this job, we’ll need to use a new tool
called the Magnetic Lasso. You can find it
by clicking and holding on the Lasso icon
in the Tools palette.
Magnetic Selections
Now we’ll zoom up on the man’s face and
run the Magnetic Lasso along the edge
of the yellow shirt and continue around
the the part we’d like to remove until we
reach our starting point. The Magnetic
Lasso helps us by being automatically at-
tracted to nearby color ranges as we make
our selection.
If you notice that the tool has missed an
area or two, just hold down Shift while
dragging the regular Lasso tool in those
areas to add them to the selection.

Using Paths
Once the selection is correct, click the
Paths tab at the top of the Layers palette.
To begin working with the selection as a
path, we’ll need to click on the icon just
to the left of the New Layer icon and save
our selection as a path. Following that,
I rather creatively named the new path,
“man.”
Copy and Paste

Much as we did in the previous lesson,
we’ll use the Rectangular Marquee tool
to select a chunk of the lattice above
the man’s head, then copy it using
Control(Command)+C or Edit>Copy.
Paste it onto a new layer by pressing
Control(Command)+C or Edit>Paste.

Using Paths
Once the selection is correct, click the
Paths tab at the top of the Layers palette.
To begin working with the selection as a
path, we’ll need to click on the icon just
to the left of the New Layer icon and save
our selection as a path. Following that,
I rather creatively named the new path,
“man.”
Copy and Paste Into

Much as we did in the previous lesson,
we’ll use the Rectangular Marquee tool
to select a chunk of the lattice above
the man’s head, then copy it using
Control(Command)+C or Edit>Copy.
Pasting it normally wouldn’t look right,
however, so we’ll first click the Paths tab
on the Layers palette, then click the layer
containing our path. Next, click the third
icon from the left at the bottom of the
palette to make the path an active selec-
tion.
Click the Layers tab again and se-
lect Edit>Paste Into or press
Shift+Control(Command)+V on the
keyboard.

Move the Patch Into Place
Now we’ll take the Move tool and slide
our patch around until it matches up
perfectly.
Erase Around the Edges

We’re almost finished, but to make this
alteration seamless, I’ll select the Eraser
tool from the Tools palette and just run it
quickly across the edges of our patch us-
ing a soft brush with Opacity set to 60%.

Man? What Man?
That’s it! Our extra has vanished so com-
pletely that you’d never even know he was
there in the first place.
I encourage you to run through this one
until you really get the hang of it. Once
your friends and coworkers find out you
can do this, you’ll be zapping people from
images all the time.
Removing Blemishes and Marks

Fashion magazines use this one all the time and, once you learn how, you will too. This time around, I’ll give you
the secret to removing those zits, blackheads, scrapes, scratches and bruises from your images. You won’t believe how
easy it is with the help of Photoshop.
Baby with a Boo-Boo

Here we’ve got a cute little baby with big
eyes – and a big scratch down the side of
her face. To make Mommy happy, we’ll
get that patched up with the Patch tool.
As always, duplicate the background layer
first by dragging it onto the New Layer
icon at the bottom of the Tools palette.
Because it’s a good idea to name layers,
I’ve called this one, “Working Layer.”
Introducing the Patch Tool

I’ve zoomed up on the area we’d like to
alter and clicked on the Healing Brush
tool. By holding the mouse down, we’ll
see three options for this tool. For this job,
we’ll choose the Patch tool.

Select the Area to Patch
To use the Patch tool, we’ll need to click
and hold the mouse button while we drag
around the area we’d like to repair. Once
the area is selected, click inside it.
Move the Patch

Now just move the selection to an area of
clear skin and release the mouse button.
Don’t worry about the apparent dif-
ference in value between the two areas
– Photoshop will take care of that for us.

Touch Up with the Healing Brush
As you can see, Photoshop has done an
admirable job of adjusting our patch to
match the surround areas of skin. But
there’s a few other marks that we should
take care of while we’re at it, and the
Healing Brush will mend them nicely.
Remember, first sample an area by hold-
ing Alt(Option) and clicking, then paint
over the blemish, using a soft brush of an
appropriate size.
One-Click Retouch
I’ve selected a brush only a bit larger than
the area we’ll need to fix. That way, it’ll
take only one click. Just sample a clear
area by pressing and holding Alt(Option)
while clicking the mouse, then click once
on the repair area.
If you’d prefer, you can also use the Clone
Stamp tool for this. It’s located right
under the Healing Brush. As with the
Healing brush, sample an area by hold-
ing down Alt(Option) while clicking and
then fix the area. Many times, it’s a good
idea to drop the opacity when using this
tool. It may take a few clicks to get your
repair looking just right, but the advan-
tage is that it’ll look very natural.

Baby Minus Blemishes
Now we’ve got a beautiful baby and
Mommy’s happy. All it took was a little
work with Photoshop’s amazing Patch,
Healing Brush and Clone Stamp tools.
Removing Red-Eye
Red-eye is a very common photographic problem. While modern cameras have built-in measures to reduce its
occurence, it still creeps in from time to time. Since it wouldn’t do to have our subjects smiling at us with those
demonic eyes, I’ll show you how to tame them in a few seconds with Photoshop.
Change the Masking Color

As you’ll surely guess, we’ll be using a
mask to deal with these red eyes. This
time, though, we’ll need to double click
on the Quickmask icon to bring up its
dialog box. Because the masking color is
red by default, and our eyes are also red,
we’ll need to change the masking color
to something that we can easily see while
working. For this example, I’ve chosen
green with an Opacity value of 60%.
Paint, Select, Invert

After painting a mask over the red parts
of this girl’s eyes, click the icon next to
the Quick Mask icon to return to standard
editing mode. Then click Select>Inverse to
continue.
Removing Red-Eye
Desaturate and Adjust Levels
Next, we’ll select Image>Adj
ustments>Desaturate, or press
Shift+Control(Command)+U on the
keyboard. Finally, click the black and
white icon on the bottom of the Layers
palette and select Levels.. to create a levels
adjustment layer. In the dialog box that’s
displayed, move both the Input Levels
slider controls toward the middle of the
range until you’re satisfied with the result.
In this case, I’ve set them to 65, 1.35 and
255.
To tweak your edits later, just click the
adjustment layer and make changes.
When you’re happy, you can flatten the
layers by selecting Layers>Flatten Image.
The Fire is Quenched

The fiery eyes of the original have been
muted and restored to their natural
beauty in seconds.
I’ll bet that many of your photos could
benefit from this technique, so get crack-
ing!
Removing Wrinkles
While Time moves in one direction only, Photoshop allows us to turn back the clock on our wrinkles, laugh-lines
worry badges and the like. Using the Healing Brush, Clone Stamp and Patch tool, we’ll learn how to rid our faces of
the effects of age.
Create a New Editing Layer

Here we’ve got a picture of my very own
Granny, and while I wouldn’t wish her
to look any different than she does, I’ll
use her photograph to illustrate how to
make anyone look younger. To start,
we’ll duplicate the background layer by
dragging it onto the New Layer icon.
Grab the Clone Stamp

After zooming into the photo using the
Zoom tool from the Tools palette, we’ll
begin to erase those wrinkles with the help
of the Clone Stamp tool. The Clone Stamp
tool is located just under the Healing
Brush tool on the left side of the Tools
palette. For this job, I’ve selected a soft
round brush of 54 pixels and set Opacity
to 30%. Keeping our opacity setting
down will make our edits more realistic
by allowing them to blend with the
background layer.
Removing Wrinkles
Sample, Click and Drag
The Clone Stamp tool needs a sample to
work with, so we’ll hold the Alt(Option)
key down and click in an unwrinkled part
of the skin. Once that’s done, just click
and drag the tool in small motions over
the wrinkles. Because we’ve dropped the
opacity, our corrections will look smooth
and natural.
On to the Healing Brush

The Healing Brush works in much the
same manner as the Clone Stamp tool,
but doesn’t require opacity adjustments.
To use it, sample an unblemished area by
holding down the Alt(Option) key while
clicking in it, then release the mouse but-
ton. Next, click and drag using the same
small movements we employed with the
Clone Stamp.
Removing Wrinkles
A Patch Tool for Larger Areas
The Patch tool lets us make corrections
to larger areas very quickly. It’s found by
clicking and holding the mouse button
down on the Healing Brush tool in the
Tools palette. Once you’ve got hold of
it, click and drag it around the area that
needs changing and release the mouse
button. Then, click inside the selection
and drag it to an unwrinkled area.
Subtle Effects Need Low Opacity

To soften the deep crease next to the
mouth, we can select the Clone Stamp
tool with a large brush size and a 20%
opacity. We don’t want to remove this
completely, as it would look unnatural,
so we’ll keep the opacity low and gently
sweep the tool along the crease.
Removing Wrinkles
10 Years Younger in Ten Minutes
I’ve continued around the face, using the
Healing Brush, Clone Stamp and Patch
tool. As you can see, it’s taken years off
my Granny’s face in a natural way.
Using Selective Color

Photoshop offers a wealth of color controls that can be a little intimidating to the newcomer. In this lesson, we’ll
focus on using selective color to enhance our images. First, we’ll go over how to use the controls, then we’ll put that
knowlegdge to work as we give some chrome a little extra oomph.
Display Layer and Info Palettes

To really get a grip on the way that
selective color in Photoshop works, we’ll
need to have both our Layers and our Info
palette displayed. Select Window>Layers
or press F7 on the keyboard, then select
Window>Info or press F8 on the keyboard.
Introducing the Info Palette

Since this is the first time we’ve really used
the Info palette, let’s spend a little time
getting familiar with it. To the left, you’ll
see the letters R, G and B – these refer
to the screen colors Red, Green and Blue
and can contain any number from 0 to
255. Between these three, we can specify
any of over 16 million screen colors
(255x255x255).
On the right, the letters C, M, Y and K
correspond to Cyan, Magenta, Yellow
and, oddly enough, Black. These are print
colors.

The Selective Color Dialog Box
To begin using selective color, click the
black and white icon on the bottom
of the Layers palette and click Selective
Color... to display the Selective Color Op-
tions dialog box.
You’ll notice that this box contains the
print colors Cyan, Magenta, Yellow and
Black. Opposite Cyan, I’d like you to
imagine Red, opposite Magenta think
of Green and across from Yellow picture
Blue. For demonstration purposes, I’ve
superimposed these colors on the dialog
box.
Choose a Color Range

Selective color is just that – selective.
Before altering color balance, we’ll need
to specify a color range that we’d like to
affect with our adjustments. In this case,
I’ll start with Reds. With this setting,
any alterations we make will affect areas
like the tomatoes and red pepper in our
image.

Using the Selective Color Sliders
It seems sort of paradoxical at first, but
moving the Cyan/Red slider towards
Cyan actually subtracts Cyan and allows
more red to show in our image. So, a
value of -100 for cyan is really +100 for
red.
Adding Cyan is Subtracting Red

On the other hand, sliding the control
to the right adds cyan and removes red
tones. A value of +100 for cyan is the
same as -100 for red.

Check the Info Palette
If we select the Eyedropper tool – located
just above the Magnifying tool on the
Tools palette – and then hover over the
red pepper, we can see on the Info palette
that we’ve indeed increased cyans and
reduced reds in our image. Specifically,
cyan has gone from 25% to 33%, while
red has dropped to 122 from 164.
Subtracting Magenta
Here, I’ve moved the slider for magenta
to the left, lessening it in the red areas
of our image. And that’s really the same
as adding green to the red parts of this
picture.
If we move the slider for yellow to the
right, we’ll enhance the blues.

Adjusting the Yellows
Now I’ve selected the yellows from the
drop down menu at the top of the Selec-
tive Color Options dialog box. When I
slide the magenta control to the left, no-
tice that greens predominate in the yellow
areas of our image.
If we wanted to affect an even smaller
subset of areas in our image, we could
create an adjustment layer and mask off
areas that we want to leave alone.
Enhancing Chrome
Here’s another image that I’ll use to dem-
onstrate selective color. The chrome in
this image is pretty, but we can enhance
it further. To do that, first click on the
black and white icon at the bottom of
the Layers palette and choose Selective
Color... from the flyout menu. This time,
we’ll adjust the white areas of the image,
so I’ll select Whites from the drop down
menu in the Selective Color Options
dialog box.
All we need to do now is to drag all the
color sliders, including black, to -100 and
click OK.

Shinier Chrome
In our adjusted image, notice how we’ve
subtly shined up our chrome with a few
clicks of the mouse.
Selective color can be intimidating, but it
needn’t be. Just practice these techniques
and you’ll soon be comfortable with this
powerful Photoshop tool.
Selection Secrets
Selecting parts of an image is something you’ll do frequently in your Photoshop work. Since it’s such an important
technique to master, I’ll give you some pointers on it in this lesson.
The Rectangular Marquee Tool

First, we’ll need to get ahold of the
Rectangular Marquee tool and we’ll do
that by the clicking the topmost icon on
the left column of the Tools palette. If
you hold down the mouse button while
clicking this tool, you’ll notice a few other
tools but, for now, we’ll stick with the
Rectangular Marquee.
Using Free Transform

I’ve dragged the Rectangular Marquee
tool around the surfer but, on closer
inspection, would like to alter that
selection a bit. Instead of clicking
Edit>Free Transform, which would simply
move our selected area around the canvas,
we’ll need to choose Select>Transform
Selection. That will allow us to adjust the
selection box itself, without altering the
image at this point.
Selection Secrets
Rotating Selections
If we hover over the corner of our selec-
tion with the cursor, we’ll get a curved
double arrow. If we then click and drag,
we’ll be able to rotate our selection as I’m
doing here. When the selection is rotated
to the correct degree, just double-click to
apply the changes.
Next press Control(Command)+J to put

our selection on a layer of its own.
Add a Drop Shadow

I think our selection would look great
with a drop shadow. With the layer
selected in the Layers palette, click the
black circle with the stylized F on it and
select Drop Shadow... from the flyout
menu.
In the Drop Shadow dialog, set Distance
to 13 pixels, Spread to 0% and Size to 64
pixels and click OK.
Selection Secrets
Adjust the Background Layer
That’s looking very nice, but we can make
this image even better by selecting our
background layer, clicking the black and
white button at the bottom of the Layers
palette and selecting Hue/Saturation...
to create an adjustment layer. Then, drop
Saturation to -100, increase Lightness to
+21 and click OK.
Enlarge the Surfer

To make our image even more dra-
matic, click on the selection layer we
made earlier, then select the Move
tool from the Tools palette. Press
Control(Command)+T and drag the
corner handles that appear to enlarge our
selection box. Try to keep the upper edge
of the wave in line so that everything
looks right.
Selection Secrets
Add a Radial Blur
To add one last effect to our photo,
select the background layer, then click
Layer>Blur>Radial Blur...
Normally, the Blur Method with be set to
Spin but, for this example, select Zoom
instead. To center the effect, click and
drag the Blur Center until it rests ap-
proximately on the surfer. Now, adjust
Amount to 30 and click OK.
Wild Waves
Here’s our completed image with a couple
of artistic additions made possible by
Photoshop’s selection tools.
Extracting Whispy Hair, Part 1

Masking around something as irregular as whispy hair in a photograph has been a tall hurdle until now. Using the
power of Photoshop, though, we can pull off even difficult edits like this with ease. In this lesson, I’ll show you a
simple way to select hair that generates results superior to more complicated methods, all without using expensive
plug-ins.
The Extract Tool

Here’s the photo we’ll be using in this
example. As you can see, the model
has very fine hair and the situation is
complicated further by the textured
background behind her. To begin
separating this lady from the background,
we’ll select Filter>Extract... or press
Alt(Option)+Control(Command)+X on
the keyboard.
Using the Edge Highlighter

The Extract tool gives us a set of options
to choose from. To start off, select the
Edge Highlighter located at the top left of
the dialog box by clicking on it or pressing
B on the keyboard. Select a large brush
– mine’s 155 pixels in diameter – then
click and drag around the edge of the hair.
Don’t worry about spilling over into the
background; we just want to run the tool
around the outside edge of the hair. If you
stray too far into the hair itself, just press
and hold Alt(Option) while dragging over
the mistake to erase it.
Extracting Whispy Hair, Part 1

Fill the Area to Keep
Next, we’ll click the Paintbucket tool un-
der the Edge Highlighter and then click
on our model to define the area that we
want to keep. If your screen doesn’t look
like this, make sure that Show Highlight
and Show Fill in the Preview box at the
right side of the screen are checked.
Preview the Extraction

It’s a good idea, at this point, to click
Preview at the top left of the dialog to see
what our extraction will look like. Since
this selection could use a little work, I’ve
clicked the Cleanup tool, located just un-
der the Eraser tool. Run that around the
edges of the image to remove any extrane-
ous material.
Once the selection is cleaned up, click
OK.
Extracting Whispy Hair

Using the History Brush
Having finished our extraction and
zooming into the image, we might notice
a few areas that need touching up. For
that, we’ll use the History Brush, which
is located under the Paintbrush icon in
the Tools palette. Select a soft brush, set
Mode to Normal and slide Opacity back
to 80%.
Paint the Hair Back In

The really neat thing about the History
Brush is that it allows us to undo opera-
tions in selected areas of our image. Here,
I’m painting around the edges of the hair,
replacing what the Extract tool removed.

Erase Where Necessary
A quick swipe of the Eraser tool, using a
slightly harder brush, is all that’s needed
to remove bits of the background that are
still visible. If you find that you need to
reduce your brush size, pressing the left
bracket key is a quick way to do it.
Touch Up the Skin

Here, I’m using the History Brush to
paint some missing skin back into our
image.
As you go around the image, erasing and
using the History Brush, drop the opacity
setting as needed. In some cases, it may
be necessary to go as low as 5 to 10%.

Position the Background Layer
Having gone all around the woman’s
image, touching up where necessary,
I’ve opened the background image and
dragged it over to our primary image
using the Move tool. If the background
layer cover’s the model’s face, just drag it
to the bottom of the stack in the Layers
palette.
Now all that’s left is to press
Control(Command)+T to display some
handles around the background image.
Grab a corner and resize it so that it fills
the canvas.
If there are still bits of the previous back-
gound present, just select Layer 1 and
then erase with a very low opacity setting.
Extraction Complete
While it took some time and touchup,
our completed image is worth the effort.
Spend some time mastering this tech-
nique and you’ll soon find all sorts of
situations in which to use it.
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Photoshop Tips & Tricks

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The Window Menu

The Tools Palette

The Options Bar

Customizing Your Workspace

The Docking Well

Customizing Your Workspace

Setting Your Preferences

File Handling Preferences

Setting Your Preferences

Transparency & Gamut

Setting Your Preferences

Guides, Grid & Slices

Setting Your Preferences

Memory & Image Cache

Setting Your Preferences

Tool Palette Tips

Tool Palette Tips

Masks and Screen Modes

Where To Go For Help

Opening Your Files, Photos and Images

The File Browser

Creating New Files

In with the New

Set your Preset

Creating New Files

Adding Drop Shadows To Text

Moving in the Shadows

Adding Drop Shadows to Text

That’s all there is to it! We’ve given our

Adding Outlines to Type

What’s Your Type?

Give Your Text a Stroke

Adding Outlines to Type

Brush Tool Tips

Brush up on the brush tool

Manipulating brush properties

The Magic Wand Tool Unveiled

Find your mojo

Making magic with the Wand

The Magic Wand Tool Unveiled

The Basics of Hue and Saturation

Uncolor your world

The Basics of Hue and Saturation

An apple of a different color

The Basics of Hue and Saturation

Controlling lights and darks

The Basics of Hue and Saturation

The Basics of Typography

Characterizing your type

The Basics of Typography

The Basics of Typography

Superscript and subscript