ADOBE® PHOTOSHOP Help and tutorials January 2014
Contents What’s new................................................................................................................................................... 1 What’s New in Photoshop CC................................................................................................................................................ 2 Warp perspective | Photoshop CC.......................................................................................................................................
Customizing color pickers and swatches............................................................................................................................ 200 Converting between color modes....................................................................................................................................... 203 Color and monochrome adjustments using channels......................................................................................................... 208 Color modes.......
Selecting a color range in an image................................................................................................................................... 364 Making quick selections...................................................................................................................................................... 367 Image adjustments...................................................................................................................................
Warp images, shapes, and paths....................................................................................................................................... 545 Vanishing Point................................................................................................................................................................... 549 Liquify filter.................................................................................................................................................
Creating frame animations..................................................................................................................................................745 Video and animation overview............................................................................................................................................ 754 Saving and exporting video and animations.......................................................................................................................
Optimizing images.............................................................................................................................................................. 939 Output settings for web graphics........................................................................................................................................ 944 Web graphics optimization options..............................................................................................................................
What's new 1
What's New in Photoshop CC Adobe® Photoshop® CC ships with several new features and enhancements that enrich your digital imaging experience. Read on for a quick introduction to new features and links to resources offering more information. Note: If you're upgrading from Photoshop CS5, see What's New in Photoshop CS6 for an overview of new features in Photoshop CS6 and Photoshop 13.1 for Adobe Creative Cloud.
New in Photoshop CC | January 2014 With Photoshop, you can print any compatible 3D model without worrying about 3D printer limitations. In preparation for printing, Photoshop automatically makes 3D models watertight. Photoshop also generates the necessary support structures—scaffolding and rafts—to ensure that your 3D prints are successful. For details, see Print 3D objects. Printing a 3D model A. 3D model B. Print plate C.
New in Photoshop CC | January 2014 You can now create linked smart objects whose contents are referenced from external image files. The contents of a linked smart object are updated when its source image file changes. With linked smart objects, you can use a shared source file across multiple Photoshop documents. Linked smart objects are particularly useful for teams or in cases where assets must be reused across designs. Linked smart objects are displayed in the Layers panel with a link icon ( ).
10 color samplers instead of 4.
For more information, see Reduce camera shake blurring. Camera shake reduction UI improvements Other enhancements Increased stability while saving files to network locations Photoshop-Behance integration is now available for several languages. See Share your work on Behance.
Photoshop features an intelligent mechanism to automatically reduce image blurring caused by camera motion. If necessary, you can adjust advanced settings to further sharpen the image. The camera shake reduction feature can reduce blurring resulting from several types of camera motion; including linear motion, arc-shaped motion, rotational motion, and zigzag motion.
Original uncropped image Sharp resized image with details preservation Share your work on Behance New in Photoshop CC 8
You can upload your creative images as work-in-progress to Behance directly from within Photoshop. Behance is the leading online platform to showcase and discover creative work. Using Behance, you can create a portfolio of your work and broadcast it widely and efficiently to get feedback. You can upload fresh images as well as revisions of images you've uploaded earlier. Note: Behance integration with Photoshop CC is not available in France and Japan for now. Uploading revisions to Behance...
3D imaging Enhanced in Photoshop CC Note: Also see 3D features | Creative Cloud-only for Creative Cloud-only features added to Photoshop CS6. These features are also available in Photoshop CC. 3D painting Photoshop CC features several enhancements that let you paint 3D models with finer control and greater accuracy. When you paint in the default Live 3D Painting mode, you can see your brush strokes update in real time in both the 3D model view and the texture view.
3D panel Photoshop CC features a revamped 3D panel that makes it easier for you to work with 3D objects. Modeled after the Layers panel, the redesigned 3D panel is structured as a scene graph/tree having root objects and child objects.
and halo effects. The streamlined UI design for this filter offers optimized controls for targeted sharpening. Use the sliders for quick adjustments and advanced controls to fine-tune your results. For more information, see Filter effects reference and Adjusting image sharpness and blur. Smart Sharpen dialog box Minimum and Maximum filter enhancements The Maximum and Minimum filters have been updated.
Camera Raw Filter (Shift + Ctrl/Cmd + A) in Photoshop For more information, see this video on using Camera Raw as a filter in Photoshop. Adobe Camera Raw For information on the recent improvements in Camera Raw, see the video overview of Adobe Camera Raw 8. JPEG and TIFF file-handling preferences New in Photoshop CC New preferences are available to determine how Photoshop handles JPEG and TIFF files.
The new behavior of the Spot Removal (Camera Raw dialog > Spot Removal tool, or keyboard shortcut B) tool is similar to the Healing Brush in Photoshop. Use the Spot Removal tool to paint over an element in your photo, select a source area that could be used on your selected area, and the tool does the rest for you. You can press the forward slash (/) key to let Camera Raw pick the source area for you.
The Upright feature (Camera Raw dialog > Lens Correction > Manual tab) in Camera Raw enables you to automatically straighten image content. The Upright mode automatically corrects the perspective of the elements in a photograph.
You can adjust dimensions, placement, and the corner radii of a rectangle or rounded rectangle shape after it has been created. Each corner can be adjusted independently and adjustments can be simultaneously made to rectangles on multiple layers. For more information, see Modify shapes. Support for Indic languages New in Photoshop CC You can now type text in 10 Indic languages into your Photoshop documents: Bengali, Gujarati, Hindi, Kannada, Malayalam, Marathi, Oriya, Punjabi, Tamil, and Telugu.
The View Print Size option has been restored. The gamma value for text is now automatically set for new system options. Improved performance when you save your work to network shares on Mac OS X Metadata and ICC profiles are now included when you save a document as PNG. You can now export CSS (Cascading Style Sheet) code directly from layers or groups. Select Layer > Copy CSS.
Warp perspective | Photoshop CC Introduced in version 14.2 Background Prerequisite: Enable the graphics processor Adjust perspective FAQ Photoshop lets you easily adjust perspective in images. This feature is particularly useful for images having straight lines and flat surfaces—for example, architectural images and images of buildings. You can also use this feature to composite objects having different perspectives in a single image.
Define planes Before you adjust perspective, you must define the planes of the architecture in the image. 1. Open the image in Photoshop. 2. Select Edit > Perspective Warp. Review the onscreen tip and close it. 3. Draw quads along the planes of the architecture in the image. While drawing the quads, try to keep their edges parallel to the straight lines in the architecture. Draw the edges of the quads roughly parallel to the lines in the architecture.
Warp mode 2. Manipulate perspective in one of the several available ways: Move around the corners of the quads (pins) as appropriate. For example, you can adjust the perspective of this image, such that the two sides of the building exhibit foreshortening in equal measures. The resulting perspective would approximate a direct view of the building from a corner.
The selected edge is straightened. Also, the straightening of the edge is preserved during further perspective manipulation. Shift-click the edge again if you don't want to preserve its straightening.
Straighten vertically Automatically straighten both vertically and horizontally Straighten horizontally and vertically 3. Once you're done adjusting the perspective, click the Commit Perspective Warp icon ( Keyboard shortcuts The following keyboard shortcuts make it easier to adjust perspective: Arrow keys Slightly move a corner of a quad (pin) H Hides the grid when you're working in the Warp mode L Switches to the Layout mode W Switches to the Warp mode 22 ).
Enter key In the Layout mode, you can press the Enter key to quickly switch to the Warp mode. In the Warp mode, the Enter key commits the current changes to the perspective. Shift-click (Warp mode) Straightens an individual edge of a quad and keeps it straight during further perspective manipulation. If you don't want to preserve the straightening of the edge, Shift-click it again.
Print 3D objects | Photoshop CC Introduced in version 14.2 Preparing to print 3D objects Previewing and printing the 3D object 3D print utilities FAQ See also With Photoshop, you can print any compatible 3D model without worrying about 3D printer limitations. In preparation for printing, Photoshop automatically makes 3D models watertight. Photoshop also generates the necessary support structures—scaffolding and rafts—to ensure that your 3D prints are successful.
5. Select a local printer or a Shapeways.com printer profile. To view estimated prices for printing the 3D model using available Shapeways.com profiles, select Printer > Estimate Price. 6. Select a unit for the printer volume—inch, centimeter, millimeter, or pixel. The unit is reflected in the Printer Volume dimensions as well as the print plate measurements. A. 3D model B. Print plate C. Printer volume overlay 7. Select a Detail Level—Low, Medium, or High—for the 3D print.
To the top Previewing and printing the 3D object Once you're done specifying the 3D print settings, follow these steps: 1. Click the Start Print icon ( ) or select 3D > 3D Print. Photoshop unifies the 3D scene and prepares it for the printing process. 2. If you chose to print using a Shapeways.com profile, Photoshop prompts you that the actual cost of printing may differ from the displayed estimates. Click OK. 3.
Calibrate Print Plate Helps level the print plate. This utility performs the following broad steps: Prompts you to remove any leftover printing material from the 3D printer Initializes the print head Lets you adjust/finetune the gap between the print plate and the print head for nine nozzle positions You can use this utility in the wizard mode or in the manual mode. Load Filament Helps load a filament into a fused deposition modeling (FDM) 3D printer.
Create Smart Objects | CC, CS6 Understanding Smart Objects Create embedded Smart Objects | CC, CS6 Create linked smart objects | Photoshop CC Filter the Layers panel by smart objects | Photoshop CC Duplicate an embedded smart object Edit the contents of a Smart Object Replace the contents of a Smart Object Convert an embedded or linked Smart Object to a layer Export the contents of an embedded Smart Object To the top Understanding Smart Objects Smart Objects are layers that contain image data from raster
(Photoshop CC) A linked Smart Object in the Layers panel To the top Create embedded Smart Objects | CC, CS6 You can create embedded Smart objects using several methods: by using the Open As Smart Object command; placing a file (CS6) or placing a file as embedded (CC, CS6), pasting data from Illustrator; or converting one or more Photoshop layers to Smart Objects. Do any of the following: (CC) Choose File > Place Embedded to import files as Smart Objects into an open Photoshop document.
To change this default behavior, turn off Preferences > General > Always Create Smart Objects While Placing. Update linked Smart Objects If an external source file changes while a Photoshop document referencing it is open, the relevant linked smart object is automatically updated. However, when you open a Photoshop document containing out-of-synch linked smart objects, you can update the smart objects: Right-click a linked smart object layer and select Update Modified Content.
To the top Filter the Layers panel by smart objects | Photoshop CC 1. In the Layers panel, select Smart Objects from the filtering pop up menu. Filter layers by smart objects 2. Click one of the following icons: Filter for up-to-date linked smart objects Filter for out-of-synch linked smart objects Filter for missing linked smart objects Filter for embedded smart objects You can use the toggle switch () to turn layer filtering off.
In the Properties panel, click Edit Contents. 2. Click OK to close the dialog box. 3. Make edits to the source content file, then choose File > Save. Photoshop updates the Smart Object to reflect the changes you made. (If you don’t see the changes, make the Photoshop document containing the Smart Object active). To the top Replace the contents of a Smart Object You can replace the image data in one Smart Object or multiple linked instances.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Generate image assets from layers | Photoshop CC Video: Using Generator Generate image assets from layers or layer groups A web design use case Specify quality and size parameters Disable image asset generation for all documents FAQ You can generate JPEG, PNG, or GIF image assets from the contents of a layer or layer group in a PSD file. Assets are automatically generated when you append a supported image format extension to a layer name or a layer group name.
Image asset names are generated from layer names/layer group names Image asset generation is enabled for the current document. Once enabled, the feature remains available whenever the document is opened next. In order to disable image asset generation for the current document, deselect File > Generate > Image Assets. Generate multiple assets from a layer or layer group To generate multiple assets from a layer/layer group, separate the asset names with the comma symbol (,).
Rename the appropriate layers/layer groups Note: A single image asset is generated from the contents of a layer/layer group. For example, the AdventureCo Logo layer group in the screenshot above contains a shape layer and a live text layer. These layers are flattened when an image asset is generated from the layer group. Photoshop generates the assets and saves them in the same location as the source PSD file.
Ellipse_4.jpg5 Ellipse_4.jpg50% Add the desired output image size (relative or in supported formats—px, in, cm, and mm) as a prefix to the asset name. Photoshop scales the image accordingly. For example: 200% Ellipse_4.jpg 300 x 200 Rounded_rectangle_3.jpg 10in x 200mm Rounded_rectangle_3.jpg Note: Remember to add a space character between the prefix and the asset name. If you're specifying the size in pixels, you can omit the unit. For example, 300 x 200.
Delicious.png (a 24-bit PNG image scaled 42%) Delicious_2.jpg (a 90%-quality JPG image that has an absolute size of 100x100 px) Delicious.gif (a GIF image scaled 250%) To the top Disable image asset generation for all documents You can disable image asset generation globally for all Photoshop documents by modifying your Preferences. 1. Select Edit > Preferences > Plug-Ins. 2. Deselect Enable Generator. 3. Click OK.
Reduce camera shake blurring | Photoshop CC Video | Using the camera shake reduction filter Images suitable for camera shake reduction Use automatic camera shake reduction Use multiple blur traces for camera shake reduction Advanced blur trace settings Photoshop features an intelligent mechanism to automatically reduce image blurring caused by camera motion. If necessary, you can adjust advanced settings to further sharpen the image.
Note: If no corrections seem to be applied to the image in the Shake Reduction dialog, ensure that the Preview option in the right-pane is enabled. To the top Use multiple blur traces for camera shake reduction A blur trace represents the shape and extent of the blur that affects a selected region of the image. Different regions of the image may have differently shaped blurs.
3. Add more blur traces if necessary. Create a blur trace using the Blur Direction Tool 1. Select the Blur Direction Tool ( ) from the left panel. 2. Draw a straight line representing the blur direction on the image. 3. If necessary, adjust the Blur Trace Length and Blur Trace Direction. Blur Trace Length and Blur Trace Direction Modify a blur trace using the Detail loupe 1. Using the Detail loupe, focus on a new image region suitable for camera shake reduction. 2.
Results for two blur traces displayed side-by-side While previewing the results for two blur traces side-by-side, you can quickly adjust Smoothing and Artifact Suppression and check how your changes affect the image. See Smoothing and Artifact Suppression. Duplicate a blur trace Drag a blur trace onto the Add Suggested Blur Trace icon ( ). Photoshop creates a copy of the blur trace and locks the duplicate copy.
Saving and loading blur traces To the top Advanced blur trace settings Advanced blur trace settings help you further fine-tune camera shake reduction. Blur trace bounds The Blur Trace Bounds setting represents the bound size of the blur trace. You can adjust this value if necessary. Source Noise Photoshop automatically estimates the amount of noise in the image. If necessary, select a different value (Auto/Low/Medium/High). Smoothing Smoothing reduces high-frequency sharpening noise.
Noise artifacts Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Share your work on Behance | Photoshop CC You can upload your creative images as work-in-progress to Behance directly from within Photoshop. Behance is the leading online platform to showcase and discover creative work. Using Behance, you can create a portfolio of your work and broadcast it widely and efficiently to get feedback. Note: Behance integration with Photoshop CC is not available in France and Japan for now.
4. If you have a feedback circle on Behance, you can choose to share your work just with the members of that circle. 5. On the Select Cover Image screen, crop the image to create a cover image for your work. Crop to select a cover image 6. Click Crop Cover & Publish. Behance uploads your image as work-in-progress and makes it available for feedback and comments.
7. Click View & Share On Behance to sync with social networks, such as Twitter, Facebook, and Linkedin. The next time you upload an image, you can choose to share it on Twitter, Facebook, and Linkedin directly from within Photoshop. Request feedback through social networks 8. As you work further on the image, you can upload revisions to Behance.
Note: Panorama images of dimensions 3200 x 320 or 320 x 3200 px are supported. A maximum aspect ratio of 10:1 is supported for panoramas. To the top See also Publish to Behance from Creative Cloud Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Photoshop getting started tutorials LevelUp for Photoshop article (Jan. 15, 2014) LevelUp for Photoshop is a game of missions, points, and rewards, that guides you along the way of learning basic Photoshop CC skills. Install Adobe Tutorial Player troubleshooting (Nov. 1, 2013) Tutorial Player for Photoshop is an interactive iPad app. It tracks your progress as you complete steps in a tutorial and helps you when you get stuck. Learn Photoshop CC video tutorials Adobe TV (May.
Workspace and workflow How to tune Photoshop for peak performance Jeff Tranberry (Jan. 15, 2014) article Background-save and Auto-recover Kelby (May. 7, 2012) video-tutorial Protect precious image data. Preset migration and sharing Kelby (May. 7, 2012) video-tutorial Apply common settings across workgroups.
Share your work on Behance | Photoshop CC You can upload your creative images as work-in-progress to Behance directly from within Photoshop. Behance is the leading online platform to showcase and discover creative work. Using Behance, you can create a portfolio of your work and broadcast it widely and efficiently to get feedback. Note: Behance integration with Photoshop CC is not available in France and Japan for now.
4. If you have a feedback circle on Behance, you can choose to share your work just with the members of that circle. 5. On the Select Cover Image screen, crop the image to create a cover image for your work. Crop to select a cover image 6. Click Crop Cover & Publish. Behance uploads your image as work-in-progress and makes it available for feedback and comments.
7. Click View & Share On Behance to sync with social networks, such as Twitter, Facebook, and Linkedin. The next time you upload an image, you can choose to share it on Twitter, Facebook, and Linkedin directly from within Photoshop. Request feedback through social networks 8. As you work further on the image, you can upload revisions to Behance.
Note: Panorama images of dimensions 3200 x 320 or 320 x 3200 px are supported. A maximum aspect ratio of 10:1 is supported for panoramas. To the top See also Publish to Behance from Creative Cloud Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Sync settings using Adobe Creative Cloud | Photoshop CC Video | Syncing presets in Photoshop CC Sync settings Manage Sync settings See also When you work on multiple computers, managing and syncing preferences among the computers can be time-consuming, complex, and prone to error. The new Sync Settings feature enables you to sync preferences and settings via Creative Cloud. If you use two computers, the Sync Settings feature makes it easy for you to keep those settings synchronized across the computers.
Synchronizable Preferences Swatches Custom Shapes Tool Presets Actions Styles Patterns Brushes Gradients Contours When Conflicts Occur: Specify an action to take when a conflict is detected: Always Ask Keep Local Settings Keep Remote Settings Note: To sync your settings successfully, change the settings only from within the application. The sync settings feature does not sync any file that is manually placed in a folder location.
Tool galleries When you start Photoshop, the Tools panel appears at the left of the screen. Some tools in the Tools panel have options that appear in the context-sensitive options bar. You can expand some tools to show hidden tools beneath them. A small triangle at the lower right of the tool icon signals the presence of hidden tools. You can view information about any tool by positioning the pointer over it. The name of the tool appears in a tool tip below the pointer.
3D tools gallery Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Workspace basics Photoshop workspace Workspace overview Manage windows and panels Save and switch workspaces Hide tool tips To the top Photoshop workspace The Photoshop workspace is easy to use and includes a number of usability features: Different brightness levels: Choose Edit > Preference (Windows) or Photoshop > Preferences (Mac OS) and select a Color Theme swatch in the Interface section. Note: To quickly decrease brightness, press Shift + 1; to increase brightness, press Shift + 2.
Default Illustrator workspace A. Tabbed Document windows B. Application bar C. Workspace switcher D. Panel title bar E. Control panel F. Tools panel G. Collapse To Icons button H. Four panel groups in vertical dock Hide or show all panels (Illustrator, Adobe InCopy®, Adobe InDesign®, Photoshop, Fireworks)To hide or show all panels, including the Tools panel and Control panel, press Tab.
You can display the tools in the Tools panel in a single column, or side by side in two columns. (This feature is not available in the Tools panel in Fireworks and Flash.) In InDesign and InCopy, you also can switch from single-column to double-column (or single-row) display by setting an option in Interface preferences. Click the double arrow at the top of the Tools panel. To the top Manage windows and panels You can create a custom workspace by moving and manipulating Document windows and panels.
Navigator panel being dragged out to new dock, indicated by blue vertical highlight Navigator panel now in its own dock You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets the edge of the workspace. Move panels As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel.
zone appears. To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then select Close, or deselect it from the Window menu. To add a panel, select it from the Window menu and dock it wherever you want. Manipulate panel groups To move a panel into a group, drag the panel’s tab to the highlighted drop zone in the group. Adding a panel to a panel group To rearrange panels in a group, drag a panel’s tab to a new location in the group.
You can collapse panels to icons to reduce clutter on the workspace. In some cases, panels are collapsed to icons in the default workspace. Panels collapsed to icons Panels expanded from icons To collapse or expand all panel icons in a column, click the double arrow at the top of the dock. To expand a single panel icon, click it. To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text disappears.
(Fireworks) Choose Save Current from the workspace switcher in the Application bar. 2. Type a name for the workspace. 3. (Photoshop, InDesign) Under Capture, select one or more options: Panel Locations Saves the current panel locations (InDesign only). Keyboard shortcuts Saves the current set of keyboard shortcuts (Photoshop only). Menus or Menu Customization Saves the current set of menus. Display or switch workspaces Select a workspace from the workspace switcher in the Application bar.
To restore an individual workspace, choose Window > Workspace > Reset Workspace Name. To restore all the workspaces installed with Photoshop, click Restore Default Workspaces in the Interface preferences. To rearrange the order of workspaces in the application bar, drag them. To the top Hide tool tips When you position the pointer over most tools and options, descriptions appear in tool tips by default. If you find tool tips visually distracting, you can hide them.
Panels and menus Enter values in panels, dialog boxes, and the options bar Working with sliders Working with pop-up panels Display and define menus To the top Enter values in panels, dialog boxes, and the options bar Do any of the following: Type a value in the text box, and press Enter (Windows) or Return (Mac OS). Drag the slider. Move the pointer over the title of a slider or pop-up slider. When the pointer turns to a pointing finger, drag the scrubby slider to the left or right.
Using different kinds of pop-up sliders A. Click to open pop-up slider box. B. Drag slider or angle radius. You can also “scrub” some pop-up sliders. For example, if you hold the pointer over the word “Fill” or “Opacity” in the Layers panel, the pointer changes to the Hand icon. Then you can move the pointer left or right to change the fill or opacity percentage. About scrubby sliders In some panels, dialog boxes, and options bars, you can drag scrubby sliders to change option values.
1. Click the triangle in the upper right corner of the pop-up panel to view the panel menu. 2. To return to the default library, choose the Reset Tool Presets command. You can either replace the current list or add the default library to the current list. 3. To load a different library, do one of the following: Choose the Load Tool Presets command to add a library to the current list. Then select the library file you want to use, and click Load.
Choose Edit > Menus. Choose Window > Workspace > Keyboard Shortcuts & Menus and click the Menus tab. 2. In the Keyboard Shortcuts and Menus dialog box, choose a set of menus from the Set drop-down menu. For information on creating a new set, see Customizing keyboard shortcuts. 3. Choose a type from the Menu For menu: Application Menus Lets you show, hide, or add color to items in the application menus. Panel Menus Lets you show, hide, or add color to items in panel menus. 4.
2. In the Keyboard Shortcuts & Menus dialog box, choose a set of menus from the Set menu. 3. Click the Delete Set icon . Temporarily show hidden menu items It’s possible to temporarily show items that you’ve hidden in a menu. After the menu closes, the items return to their hidden state. Do one of the following: From a menu with hidden items, choose Show All Menu Items. Ctrl-click (Windows) or Command-click (Mac OS) a menu with hidden items.
Preferences About preferences Numerous program settings are stored in the Adobe Photoshop Prefs file, including general display options, file-saving options, performance options, cursor options, transparency options, type options, and options for plug-ins and scratch disks. Most of these options are set in the Preferences dialog box. Preference settings are saved each time you quit the application. Unexpected behavior may indicate damaged preferences.
(Mac OS) Choose Photoshop > Preferences > General. 2. Click Reset All Warning Dialogs, and click OK. More Help Topics Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Default keyboard shortcuts Download | Photoshop CC keyboard shortcut reference (PDF) Keys for selecting tools Keys for viewing images Keys for Puppet Warp Keys for Refine Edge Keys for the Filter Gallery Keys for Liquify Keys for Vanishing Point Keys for the Camera Raw dialog box Keys for the Black-and-White dialog box Keys for Curves Keys for selecting and moving objects Keys for transforming selections, selection borders, and paths Keys for editing paths Keys for painting Keys for blending modes Keys for
To the top Keys for selecting tools Holding down a key temporarily activates a tool. Letting go of the key returns to the previous tool. To customize shortcuts, see Define new keyboard shortcuts. To view keyboard shortcuts for features that were introduced in Photoshop CS6, see Key shortcuts for CS6 features. Note: In rows with multiple tools, repeatedly press the same shortcut to toggle through the group.
Eraser tool † E E G G O O P P T T A A U U K K N N Hand tool† H H Rotate View tool R R Zoom tool† Z Z Background Eraser tool Magic Eraser tool Gradient tool Paint Bucket tool Dodge tool Burn tool Sponge tool Pen tool Freeform Pen tool Horizontal Type tool Vertical Type tool Horizontal Type mask tool Vertical Type mask tool Path Selection tool Direct Selection tool Rectangle tool Rounded Rectangle tool Ellipse tool Polygon tool Line tool Custom Shape tool 3D Object Rotate tool* 3D
Keys for viewing images This partial list provides shortcuts that don’t appear in menu commands or tool tips.
Scroll up or down 10 units Shift + Page Up or Page Down† Shift + Page Up or Page Down† Move view to upper-left corner or lower right corner Home or End Home or End Toggle layer mask on/off as rubylith (layer mask must be selected) \ (backslash) \ (backslash) † Hold down Ctrl (Windows) or Command (Mac OS) to scroll left (Page Up) or right (Page Down) To the top Keys for Puppet Warp This partial list provides shortcuts that don’t appear in menu commands or tool tips.
To the top Keys for the Filter Gallery Result Windows Mac OS Apply a new filter on top of selected Alt-click a filter Option-click a filter Open/close all disclosure triangles Alt-click a disclosure triangle Option-click a disclosure triangle Change Cancel button to Default Control Command Change Cancel button to Reset Alt Option Undo/Redo Control + Z Command + Z Step forward Control + Shift + Z Command + Shift + Z Step backward Control + Alt + Z Command + Option + Z To the top Ke
Decrease/increase brush size by 2, or density, pressure, rate, or turbulent jitter by 1 Left Arrow/Right Arrow with Brush Size, Density, Pressure, Rate, or Turbulent Jitter slider showing † Left Arrow/Right Arrow with Brush Size, Density, Pressure, Rate, or Turbulent Jitter slider showing † Cycle through controls on right from top Tab Tab Cycle through controls on right from bottom Shift + Tab Shift + Tab Change Cancel to Reset Alt Option † Hold down Shift to decrease/increase by 10 To the top
Create a floating selection from the current selection Control + Alt + T Fill a selection with image under the pointer Control-drag Command-drag Create a duplicate of the selection as a floating selection Control + Alt-drag Command + Option-drag Constrain selection to a 15° rotation Alt + Shift to rotate Option + Shift to rotate Select a plane under another selected plane Control-click the plane Command-click the plane Create 90 degree plane off parent plane Control-drag Command-drag Delete
Split Toning panel Ctrl+Alt+5 Command+Option+5 Lens Corrections panel Ctrl+Alt+6 Command+Option+6 Camera Calibration panel Ctrl+Alt+7 Command+Option+7 Presets panel Ctrl+Alt+8 Command+Option+8 (Mac OS Universal Access zoom shortcut must be disabled in System Preferences) Open Snapshots panel Ctrl+Alt+9 Command+Option+9 Parametric Curve Targeted Adjustment tool Ctrl+Alt+Shift+T Command+Option+Shift+T Hue Targeted Adjustment tool Ctrl+Alt+Shift+H Command+Option+Shift+H Saturation Targeted
Removal tool. Rotate image left L or Ctrl + ] L or Command + ] Rotate image right R or Ctrl + [ R or Command + [ Zoom in Ctrl + + (plus) Command + + (plus) Zoom out Ctrl + - (hyphen) Command + - (hyphen) Temporarily switch to Zoom In tool Ctrl Command Temporarily switch to Zoom Out tool and change the Open Image button to Open Copy and the Cancel button to Reset.
(Filmstrip mode) Add blue label Ctrl+9 Command+9 (Filmstrip mode) Add purple label Ctrl+Shift+0 Command+Shift+0 Camera Raw preferences Ctrl + K Command + K Deletes Adobe Camera Raw preferences Ctrl + Alt (on open) Option + Shift (on open) To the top Keys for the Black-and-White dialog box Result Windows Mac OS Open the Black-and-White dialog box Shift + Control + Alt + B Shift + Command + Option+ B Increase/decrease selected value by 1% Up Arrow/Down Arrow Up Arrow/Down Arrow Increase
To the top Keys for selecting and moving objects This partial list provides shortcuts that don’t appear in menu commands or tool tips.
View > Snap is unchecked) Convert between horizontal and vertical guide † Hold Alt-drag guide Option-drag guide down Shift to move 10 pixels ‡ Applies to shape tools To the top Keys for transforming selections, selection borders, and paths This partial list provides shortcuts that don’t appear in menu commands or tool tips. Result Windows Mac OS Transform from center or reflect Alt Option Constrain Shift Shift Distort Control Command Apply Enter Return Cancel Control + .
Close path Magnetic Pen tool-double-click Magnetic Pen tool-double-click Close path with straight-line segment Magnetic Pen tool + Alt-double-click Magnetic Pen tool + Option-doubleclick To the top Keys for painting This partial list provides shortcuts that don’t appear in menu commands or tool tips.
† Hold down Shift to preserve transparency To the top Keys for blending modes Result Windows Mac OS Cycle through blending modes Shift + + (plus) or – (minus) Shift + + (plus) or – (minus) Normal Shift + Alt + N Shift + Option + N Dissolve Shift + Alt + I Shift + Option + I Behind (Brush tool only) Shift + Alt + Q Shift + Option + Q Clear (Brush tool only) Shift + Alt + R Shift + Option + R Darken Shift + Alt + K Shift + Option + K Multiply Shift + Alt + M Shift + Option + M Colo
Saturate Sponge tool + Shift + Alt + S Sponge tool + Shift + Option + S Dodge/burn shadows Dodge tool/Burn tool + Shift + Alt + S Dodge tool/Burn tool + Shift + Option +S Dodge/burn midtones Dodge tool/Burn tool + Shift + Alt + M Dodge tool/Burn tool + Shift + Option +M Dodge/burn highlights Dodge tool/Burn tool + Shift + Alt + H Dodge tool/Burn tool + Shift + Option +H Set blending mode to Threshold for bitmap images, Normal for all other images Shift + Alt + N Shift + Option + N To the top
This partial list provides shortcuts that don’t appear in menu commands or tool tips.
Reposition slice while creating slice Spacebar-drag Spacebar-drag Open context-sensitive menu Right-click slice Control-click slice To the top Keys for using panels This partial list provides shortcuts that don’t appear in menu commands or tool tips.
Create new action and begin recording without confirmation Alt-click the New Action button Option-click the New Action button Select contiguous items of the same kind Shift-click the action/command Shift-click the action/command Select discontiguous items of the same kind Control-click the action/command Command-click the action/command To the top Keys for adjustment layers If you prefer channel shortcuts starting with Alt/Option + 1 for red, choose Edit > Keyboard Shortcuts, and select Use Legacy
panel Switch between timecode and frame numbers (current time view) Alt + click the current-time display in the upper-left corner of the timeline. Option + click the current-time display in the upper-left corner of the timeline. Expand and collapse list of layers Alt + click Option + click on list triangles Jump to the next/previous whole second in timeline Hold down the Shift key when clicking the Next/Previous Frame buttons (on either side of the Play button).
Delete brush Alt-click brush Option-click brush Rename brush Double-click brush Double-click brush Change brush size Alt + right click + drag left or right Ctrl + Option + drag left or right Decrease/increase brush softness/hardness Alt + right click + drag up or down Ctrl + Option + drag up or down Select previous/next brush size , (comma) or . (period) , (comma) or . (period) Select first/last brush Shift + , (comma) or . (period) Shift + , (comma) or .
To the top Keys for the Clone Source panel Result Windows Mac OS Show Clone Source (overlays image) Alt + Shift Opt + Shift Nudge Clone Source Alt + Shift + arrow keys Opt + Shift + arrow keys Rotate Clone Source Alt + Shift + < or > Opt + Shift + < or > Scale (increase or reduce size) Clone Source Alt + Shift + [ or ] Opt + Shift + [ or ] To the top Keys for the Color panel Result Windows Mac OS Select background color Alt-click color in color bar Option-click color in color bar Di
Result Windows Mac OS Change color readout modes Click eyedropper icon Click eyedropper icon Change measurement units Click crosshair icon Click crosshair icon To the top Keys for the Layers panel Result Windows Mac OS Load layer transparency as a selection Control-click layer thumbnail Command-click layer thumbnail Add to current selection Control + Shift-click layer thumbnail. Command + Shift-click layer thumbnail. Subtract from current selection Control + Alt-click layer thumbnail.
Merge all visible layers to a new layer above the currently selected layer Alt + Merge Visible command from the Panel pop-up menu Option + Merge Visible command from the Panel pop-up menu Show/hide this layer/layer group only or all layers/layer groups Right-click the eye icon Control-click the eye icon Show/hide all other currently visible layers Alt-click the eye icon Option-click the eye icon Toggle lock transparency for target layer, or last applied lock / (forward slash) / (forward slash) E
group click group Select/deselect multiple contiguous layers Shift-click Shift-click Select/deselect multiple discontiguous layers Control-click Command-click Note: If Kotoeri is your Japanese language input method, the “Toggle rubylith mode for layer mask on/off” shortcut starts an action in Kototeri. Please switch to another mode (for example, “U.S.”) to enable this shortcut.
Keys for the Swatches panel Result Windows Mac OS Create new swatch from foreground color Click in empty area of panel Click in empty area of panel Set swatch color as background color Control-click swatch Command-click swatch Delete swatch Alt-click swatch Option-click swatch To the top Keys for 3D tools (Photoshop Extended) Result Windows Mac OS Enable 3D object tools K K Enable 3D camera tools N N Hide nearest surface Alt + Ctrl + X Option + Command + X Show all surfaces Alt +
To the top Keys for measurement (Photoshop Extended) Result Windows Mac OS Record a measurement Shift + Control + M Shift + Command + M Deselects all measurements Control + D Command + D Selects all measurements Control + A Command + A Hide/show all measurements Shift + Control + H Shift + Command + H Removes a measurement Backspace Delete Nudge the measurement Arrow keys Arrow keys Nudge the measurement in increments Shift + arrow keys Shift + arrow keys Extend/shorten selected me
Fit in window Control + 0 Command + 0 Zoom in Control + + (plus) Command + + (plus) Zoom out Control + - (hyphen) Command + - (hyphen) Cycle through controls on right from top Tab Tab Cycle through controls on right from bottom Shift + Tab Shift + Tab Temporarily activate Hand tool Spacebar Spacebar Change Cancel to Reset Alt Option Result (Extract only) Windows Mac OS Edge Highlighter tool B B Fill tool G G Eyedropper tool I I Cleanup tool C C Edge Touchup tool T T To
Set strength of Cleanup or Edge Touch-up tool 0–9 0–9 Result (Pattern Maker only) Windows Mac OS Delete current selection Control + D Command + D Undo a selection move Control + Z Command + Z Generate or generate again Control + G Command + G Intersect with current selection Shift + Alt + select Shift + Option + select Toggle view: original/generated pattern X X Go to first tile in Tile History Home Home Go to last tile in Tile History End End Go to previous tile in Tile History
Fill Shift + F5 Shift + F5 Feather Selection Shift + F6 Shift + F6 Inverse Selection Shift + F7 Shift + F7 Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Using tools Selecting and displaying tools Using the options bar Tool presets When you start Photoshop, the Tools panel appears at the left of the screen. Some tools in the Tools panel have options that appear in the context-sensitive options bar. You can expand some tools to show hidden tools beneath them. A small triangle at the lower right of the tool icon signals the presence of hidden tools. You can view information about any tool by positioning the pointer over it.
1. Choose Edit > Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS). 2. Deselect Use Shift Key For Tool Switch. Change tool pointers Each default pointer has a different hotspot, where an effect or action in the image begins. With most tools, you can switch to precise cursors, which appear as cross hairs centered around the hotspot. In most cases, the pointer for a tool is the same as the icon for that tool; you see that pointer when you select the tool.
To the top Using the options bar The options bar appears below the menu bar at the top of the workspace. The options bar is context sensitive—it changes as you select different tools. Some settings in the options bar (such as painting modes and opacity) are common to several tools, and some are specific to one tool. You can move the options bar in the workspace by using the gripper bar, and you can dock it at the top or bottom of the screen. Tool tips appear when you position the pointer over a tool.
Click the Tool Preset button next to the tool at the left of the options bar. Choose Window > Tool Presets to display the Tool Presets panel. 3. Do one of the following: Click the Create New Tool Preset button . Choose New Tool Preset from the panel menu. 4. Enter a name for the tool preset, and click OK. Change the list of tool presets Click the triangle to open the Tool Presets pop-up panel menu and choose one of the following: Show All Tool Presets Shows all loaded presets.
Undo and history Use the Undo or Redo commands Revert to the last saved version Restore part of an image to its previously saved version Cancel an operation Receive notification when an operation is completed Using the History panel Make a snapshot of an image Paint with a state or snapshot of an image To the top Use the Undo or Redo commands The Undo and Redo commands let you undo or redo operations. You can also use the History panel to undo or redo operations. Choose Edit > Undo or Edit > Redo.
A progress bar indicates that an operation is being performed. You can interrupt the operation or have the program notify you when it has finished the operation. 1. Do one of the following: (Windows) choose Edit > Preferences > General. (Mac OS) choose Photoshop > Preferences > General. 2. Select Beep When Done. 3. Click OK. To the top Using the History panel You can use the History panel to jump to any recent state of the image created during the current working session.
By default, selecting a state and then changing the image eliminates all states that come after it. If you select a state and then change the image, eliminating the states that came after, you can use the Undo command to undo the last change and restore the eliminated states. By default, deleting a state deletes that state and those that came after it. If you choose the Allow Non-Linear History option, deleting a state deletes only that state.
2. Select an option: Automatically Create First Snapshot Automatically creates a snapshot of the initial state of the image when the document is opened. Automatically Create New Snapshot When Saving Generates a snapshot every time you save. Allow Non-Linear History Makes changes to a selected state without deleting the states that come after. Normally, when you select a state and change the image, all states that come after the selected one are deleted.
Concise Includes the text that appears in the History panel in addition to the Sessions information. Detailed Includes the text that appears in the Actions panel in addition to the Concise information. If you need a complete history of all changes made to files, choose Detailed. To the top Make a snapshot of an image The Snapshot command lets you make a temporary copy (or snapshot) of any state of the image. The new snapshot is added to the list of snapshots at the top of the History panel.
To rename a snapshot, double-click the snapshot and enter a name. To delete a snapshot, select the snapshot and either choose Delete from the panel menu, click the Delete icon to the Delete icon. , or drag the snapshot To the top Paint with a state or snapshot of an image The History Brush tool lets you paint a copy of one image state or snapshot into the current image window. This tool makes a copy, or sample, of the image and then paints with it.
Specifying columns for an image Specify columns for an image To the top Specify columns for an image Columns help you position images or elements precisely. The New, Image Size, and Canvas Size commands let you specify image width in terms of columns. Using columns is convenient when you plan to import an image into a page-layout program, such as Adobe InDesign®, and you want the image to fit exactly within a certain number of columns. 1.
Show or hide non-printing Extras Show or hide Extras To the top Show or hide Extras Guides, grids, selection edges, slices, and text baselines are examples of nonprinting Extras that help you select, move, or edit objects. You can enable or disable any combination of Extras without affecting the image. You can also show or hide enabled Extras to clean up the workspace. Do one of the following: To show or hide all enabled Extras, choose View > Extras.
Run Photoshop in 32-bit mode (64-bit Mac OS only) In 64-bit versions of Mac OS 10.5 and later, some older, optional plug-ins are available only if Photoshop is running in 32-bit mode: 1. In the Finder, choose Go > Applications. 2. Expand the Photoshop folder. Then right-click the Photoshop application icon, and choose Get Info. 3. In the General section of the Info window, select Open In 32-bit Mode. 4. Close the Info window, and restart Photoshop.
Rulers About rulers Change a ruler’s zero origin Change the unit of measurement To the top About rulers Rulers help you position images or elements precisely. When visible, rulers appear along the top and left side of the active window. Markers in the ruler display the pointer’s position when you move it. Changing the ruler origin (the (0, 0) mark on the top and left rulers) lets you measure from a specific point on the image. The ruler origin also determines the grid’s point of origin.
2. For Rulers, choose a unit of measurement. Note: Changing the units on the Info panel automatically changes the units on the rulers. 3. For Point/Pica Size, choose from the following options: PostScript (72 points per inch) Sets a unit size compatible for printing to a PostScript device. Traditional Uses 72.27 points per inch, as traditionally used in printing. 4. Click OK. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Positioning with the Ruler tool Position with the Ruler tool To the top Position with the Ruler tool The Ruler tool helps you position images or elements precisely. The Ruler tool calculates the distance between any two points in the workspace.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Positioning elements with snapping Use snapping To the top Use snapping Snapping helps with precise placement of selection edges, cropping marquees, slices, shapes, and paths. However, if snapping prevents you from correctly placing elements, you can disable it. Enable or disable snapping Choose View > Snap. A check mark indicates that snapping is enabled. To temporarily disable snapping while using the Move tool, hold down Ctrl.
Placing Photoshop images in other applications Prepare images for page-layout programs Use Photoshop artwork in Adobe Illustrator Create transparency using image clipping paths Printing image clipping paths Export paths to Adobe Illustrator Link or embed an image using OLE (Windows only) Photoshop provides a number of features to help you use images in other applications.
Adobe Illustrator can both open or place Photoshop files; you do not need to save or export your Photoshop image to a different file format. If you place an image into an open Illustrator file, you can incorporate the image as if it were any other element in the artwork, or you can maintain a link to the original file. Although you can’t edit a linked image within Illustrator, you can jump back to Photoshop, using the Edit Original command, to revise it.
For Path, choose the path you want to save. For Flatness, leave the flatness value blank to print the image using the printer’s default value. If you experience printing errors, enter a flatness value to determine how the PostScript interpreter approximates the curve. The lower the flatness value, the greater the number of straight lines used to draw the curve and the more accurate the curve. Values can range from 0.2 to 100.
Link or embed an image using OLE (Windows only) Photoshop is an OLE 2.0 server, which means it supports embedding or linking an image in an OLE container application (usually a wordprocessing or page-layout program). For example, you can insert Photoshop files and selections into other OLE applications, such as Adobe PageMaker, Adobe FrameMaker, and Microsoft Word, using copy and paste or other methods.
Placing files Place a file in Photoshop Place PDF or Illustrator files in Photoshop Paste Adobe Illustrator art into Photoshop The Place command adds a photo, art, or any Photoshop-supported file as a Smart Object to your document. Smart Objects can be scaled, positioned, skewed, rotated, or warped without degrading the image. To the top Place a file in Photoshop 1. Open the Photoshop document that is the destination for the placed art or photo. 2.
rasterization, select the Anti-alias option. To produce a hard-edged transition between edge pixels during rasterization, deselect the Antialias option. 6. Do one of the following: Click Commit Click Cancel in the options bar or press Enter (Windows) or Return (Mac OS) to commit the placed artwork to a new layer. in the options bar, or press Esc to cancel the placement.
1. In Adobe Illustrator, specify preferences for the copy-and-paste behavior: To automatically rasterize the art when pasting it into a Photoshop document, turn off the PDF and the AICB (No Transparency Support) options in the File Handling & Clipboard preferences. To paste the art as a Smart Object, rasterized image, path, or shape layer, turn on the PDF and the AICB (No Transparency Support) options in the File Handling & Clipboard preferences. 2.
Metadata and notes About metadata Notes To the top About metadata Metadata is a set of standardized information about a file, such as author name, resolution, color space, copyright, and keywords applied to it. For example, most digital cameras attach some basic information to an image file, such as height, width, file format, and time the image was taken. You can use metadata to streamline your workflow and organize your files.
2. In the Options bar, enter or specify the following as needed: Author Specifies the note author’s name. Color Selects the color for the note icon. Clicking the color box opens the Adobe Color Picker so you can select a color. 3. Click where you want to place the note. 4. The cursor will automatically be active Show or hide notes To show or hide notes, do one of the following: Choose View > Show > Notes. Choose View > Extras.
Import metadata into a document Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Grid and guides Position with guides and the grid To the top Position with guides and the grid Guides and the grid help you position images or elements precisely. Guides appear as nonprinting lines that float over the image. You can move and remove guides. You can also lock them so that you don’t move them by accident. Smart Guides help you align shapes, slices, and selections. They appear automatically when you draw a shape, or create a selection or slide. You can hide Smart Guides if you need to.
Dragging to create a horizontal guide Hold down Alt (Windows) or Option (Mac OS), and drag from the vertical ruler to create a horizontal guide. Drag from the vertical ruler to create a vertical guide. Hold down Alt (Windows) or Option (Mac OS), and drag from the horizontal ruler to create a vertical guide. Hold down Shift and drag from the horizontal or vertical ruler to create a guide that snaps to the ruler ticks. The pointer changes to a double-headed arrow when you drag a guide. 3.
2. For Color, choose a color for the guides, the grid, or both. If you choose Custom, click the color box, choose a color, and click OK. 3. For Style, choose a display option for guides or the grid, or both. 4. For Gridline Every, enter a value for the grid spacing. For Subdivisions, enter a value by which to subdivide the grid. If desired, change the units for this option. The Percent option creates a grid that divides the image into even sections.
Companion apps Connecting Photoshop companion apps to Photoshop Using Adobe Nav Using Adobe Color Lava Using Adobe Eazel Note: To troubleshoot issues with companion apps, please visit the Adobe companion apps user forum. Phone support is not provided. Ask questions, request features, and report problems at feedback.photoshop.com.
3. In the Password field, enter a six-digit password. 4. Select Enable Remote Connections and then click OK. Companion app wireless connection settings 1. In Adobe Nav, Adobe Color Lava, or Adobe Eazel, tap the PS icon in the lower-right corner of the app. 2. In the Connections window, tap your Photoshop service. 3. Enter the six-digit password and tap Connect. When the connection is established, the PS icon turns blue .
Adobe Nav must be connected to Photoshop. For instructions on how to connect Adobe Nav to Photoshop, see Connecting Photoshop companion apps to Photoshop. Adobe Nav Tools mode Adobe Nav Tools mode allows you to select and work with Photoshop tools. Adobe Nav displays up to 16 tools at a time. You can customize Tools mode to include the tools you most commonly use, or the tools you use for a particular task, such as painting. Adobe Nav Tools mode. A. Tool buttons B. Edit options C. Switch to Tools mode D.
Adobe Nav Document mode displays image files that are currently open in Photoshop. To enter Document mode, tap at the bottom of the app. The blue dot to the left of the filename indicates the active document. To make a different document active in Photoshop, tap its thumbnail. To view information about a document, including size and resolution, tap its thumbnail twice. Tap twice again to return to thumbnail view.
Mix colors in Adobe Color Lava To mix colors in Adobe Color Lava, select colors from the sample wells and then “paint” with your finger on the canvas. To load a color, tap its color well. The selected color has a thicker white border. To switch between RGB and grayscale, tap the inner ring of the color wells. To edit hue, saturation, and brightness values, double-tap a color well. To accept the HSB settings, tap . To remove color from your fingertip, tap the clean finger well once or twice.
To see the RGB, HSL, and hexadecimal values for each swatch in a theme, double-tap the theme. Adobe Color Lava theme details. To rename or delete a theme, tap the Edit button or touch and hold a theme. Then, do one of the following: Tap the X in the upper-left corner of a theme to delete it. Tap a theme name to rename it. Share Adobe Color Lava themes For instructions on how to connect Photoshop and Adobe Color Lava, see Connecting Photoshop companion apps to Photoshop. 1.
Adobe Eazel for Photoshop. A. Brush sample B. Finger controls C. Canvas Note: Adobe Eazel automatically detects right and left hands. Brush sample Shows the color, size, and opacity of the current brush. Thumb control Undo, redo, and erase all. Index finger control Choose a color. Third finger control Adjust the brush size. Fourth finger control Change paint opacity. Fifth finger control Save artwork and send it to Photoshop.
3. Touch the canvas again to set another option or start painting. Choose colors in Adobe Eazel Adobe Eazel keeps five color swatches in a palette available under your index finger. The selected swatch has a flashing border. Choosing a color in Eazel. A. Color swatches B. Brush sample C. Current color D. Color wheel To choose a swatch, drag your index finger to it and lift. To change a swatch, drag your index finger to it to select it.
Adobe Eazel sends image data to Photoshop, which opens the artwork at 4096-x-3092 resolution. In Photoshop, you can save Adobe Eazel artwork in any supported file format. Note: Adobe Eazel artwork may look slightly different in Photoshop. Due to rendering, minor geometrical differences occur. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Customizing keyboard shortcuts Define new keyboard shortcuts Clear shortcuts from a command or tool Delete a set of shortcuts View a list of current shortcuts Note: For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. Photoshop lets you view a list of all shortcuts, and edit or create shortcuts.
the new set in the Name text box, and click Save. The new keyboard shortcut set will appear in the pop-up menu under the new name. To discard the last saved change without closing the dialog box, click Undo. To return a new shortcut to the default, click Use Default. To discard all changes and exit the dialog box, click Cancel. Note: If you haven’t saved the current set of changes, you can click Cancel to discard all changes and exit the dialog box. To the top Clear shortcuts from a command or tool 1.
Plug-ins About plug-in modules Plug-in modules are software programs developed by Adobe Systems and by other software developers in conjunction with Adobe Systems to add features to Photoshop. A number of importing, exporting, and special-effects plug-ins come with your program. They are automatically installed in folders inside the Photoshop Plug-ins folder. You can select an additional Plug-ins folder for compatible plug-ins stored with another application.
View information about installed plug-ins Do one of the following: (Windows) Choose Help > About Plug-in and choose a plug-in from the submenu. (Mac OS) Choose Photoshop > About Plug-in, and then choose a plug-in from the submenu. More Help Topics Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Productivity enhancements (JDI's) in CS6 Photoshop CS6 introduces over 60 productivity enhancements, also known as Just Do It (JDI) features. These small improvements address longtime customer requests and collectively can greatly increase your productivity. Note: For information about new features and enhancements in Photoshop CC, see What's New in Photoshop CC.
Added option to ignore adjustment layers to Sample menu in options bar Added option to sample from current layer and below to Sample menu Sample size options now appear in context menu for various Eyedropper tools (black point and white point in Levels, and so forth) To the top File formats Reads more bit depths in TIFF files Adds options for addressing OpenEXR transparency when opening and saving Reads BIGTIFF format (TIFF files over 4 Gig) Reads common stereo image pair formats (JPS, MPO, PNS) To the t
Added Basic and Advanced user interface modes Improved Mac cursor visibility Added option to load last mesh Increased maximum Liquify brush size to 15,000 (English only) Resize Liquify brush with bracket-key [ ] shortcuts, which now match increments elsewhere in Photoshop Ctrl (Windows) / Command (Mac OS) switches to magnifying glass Alt + right click + drag changes brush size (Windows) Ctrl + Alt + click + drag changes brush size (Mac OS) To the top Masks Enable Invert and Threshold adjustments for masks
To the top Selections Support for decimal feather values for Marquee tool, Lasso tool, and Mask panel (like the Feather dialog) Feather radius recalled in Make Selection from path dialog To the top Transform Layer thumbnail continues to show Smart Object icon when transforming a layer Improved dragging of vector curves Can rotate 90 degrees with even x odd pixel dimension to avoid landing on a half-pixel position.
Key shortcuts Print Blur gallery (Field, Iris, Tilt-Shift) Liquify Crop tool Adaptive Wide Angle This list covers some helpful shortcuts for some Photoshop features. To the top Print To clear print settings, hold down the spacebar while selecting File > Print.
Control + rotate Prevent crop box from shrinking Shift + rotate Restrict to 15-degree increments Shift + drag image Restrict to 45-degree axes Control + drag Temporarily disable snapping to edge To the top Adaptive Wide Angle Tool shortcuts C: Constraint tool Y: Polygon Constraint tool M: Move tool H: Hand tool Z: Zoom tool Control shortcuts P: Preview W: Show Constraint E: Show Mesh T: Correction S: Scale F: Focal Length R: Crop Factor A: As Shot Hidden shortcuts not visible in interface L: Toggle
Presets Migrate presets from earlier versions of Photoshop From an expert: Migrating presets into Photoshop CS6 Work with the Preset Manager To the top Migrate presets from earlier versions of Photoshop You can migrate presets from earlier versions of Photoshop into newer versions. The Migrate Presets command lets you automatically migrate brushes, swatches, gradients, patterns, and more. 1. Choose Edit > Presets > Migrate Presets. 2.
Rearranging tool presets in the Preset Manager Note: To delete a preset in the Preset Manager, select the preset and click Delete. You can always use the Reset command to restore the default items in a library. Load a library of preset items Do one of the following: Click the triangle to the right of the Preset Type pop-up menu and then choose a library file from the bottom of the panel menu. Click OK to replace the current list, or click Append to add the current list.
Do one of the following: Select a preset item, and click Delete. Alt-click (Windows) or Option-click (Mac OS) the items you want to delete. Create a new library of presets 1. Do one of the following: To save all the presets in the list as a library, make sure that all items are selected. To save a subset of the current list as a library, hold down Shift, and select the items you want to save. 2. Click Save Set, choose a location for the library, enter a file name, and click Save.
c. Click OK. 2. To display hidden files in Windows Vista: a. Go to Start > Control Panel > Appearance and Personalization > Folder Options. b. In the View tab, under Hidden files and folders, select Show hidden files and folders. c. Click OK. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Image and color basics 158
Resizing images | CC, CS6 The Image Size command in Photoshop CC includes a method to preserve details and provide better sharpness while enlarging images. In addition, the Photoshop CC Image Size dialog box has been updated for ease of use: A window displays the preview image from the resizing parameters. Resizing the dialog box resizes the preview window. The Scale Styles option is turned on and off from inside the gear menu in the upper right corner of the dialog box.
Alt-click (Windows) or Option-click (Mac OS) to reduce the magnification. After clicking, the percentage of magnification briefly appears near the bottom of the preview image. 3. To change the unit of measurement for the pixel dimension, click the triangle next to Dimensions and choose from the menu. 4. To maintain the original ratio of width to height measurement, make sure that the Constrain Proportions option is enabled.
complex calculations, Bicubic produces smoother tonal gradations than Nearest Neighbor or Bilinear. Nearest Neighbor (hard edges) A fast but less precise method that replicates the pixels in an image. This method preserves hard edges and produces a smaller file in illustrations containing edges that are not anti-aliased. However, this method can produce jagged effects, which become apparent when you distort or scale an image or perform multiple manipulations on a selection.
Image essentials About bitmap images About vector graphics Combining vector graphics and bitmap images Color channels Bit depth Convert between bit depths Note: For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. To the top About bitmap images Bitmap images—technically called raster images—use a rectangular grid of picture elements (pixels) to represent images. Each pixel is assigned a specific location and color value.
how it will look in its final medium (whether commercially printed, printed on a desktop printer, or viewed on the web). The following factors influence the quality of your final artwork: Transparency Many effects add partially transparent pixels to your artwork. When your artwork contains transparency, Photoshop performs a process called flattening before printing or exporting. In most cases, the default flattening process produces excellent results.
Learn more with this excerpt from Adobe Photoshop for Photographers.... Read More by Martin Evening http://www.martinevening.c... http://goo.gl/hu3Qn Contribute your expertise to Adobe Community Help To the top Convert between bit depths Do any of the following: To convert between 8 bpc and 16 bpc, Choose Image > Mode > 16 Bits/Channel or 8 Bits/Channel. To convert from 8 bpc or 16 bits to 32 bpc, choose Image > Mode > 32 Bits/Channel.
Image size and resolution About pixel dimensions and printed image resolution File size About monitor resolution About printer resolution Determine a suggested resolution for an image View the print size on-screen Resampling Change pixel dimensions of an image Change the print dimensions and resolution What affects file size? For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com.
Pixel dimensions equal document (output) size times resolution. A. Original dimensions and resolution B. Decreasing the resolution without changing pixel dimensions (no resampling) C. Decreasing the resolution at same document size decreases pixel dimensions (resampling). Quickly display the current image size If you want to quickly display a document’s current image size, use the information box at the bottom of the document window.
A 620- by 400-pixel image displayed on monitors of various sizes and resolutions. When preparing images for viewing on-screen, you should consider the lowest monitor resolution that your photo is likely to be viewed on. To the top About printer resolution Printer resolution is measured in ink dots per inch, also known as dpi. Generally, the more dots per inch, the finer the printed output you’ll get. Most inkjet printers have a resolution of approximately 720 to 2880 dpi.
2. Click Auto. 3. For Screen, enter the screen frequency for the output device. If necessary, choose a different unit of measurement. Note that the screen value is used only to calculate the image resolution, not to set the screen for printing. 4. For Quality, select an option: Draft Produces a resolution that is the same as the screen frequency (no lower than 72 pixels per inch). Good Produces a resolution 1.5 times the screen frequency. Best Produces a resolution 2 times the screen frequency.
Keep in mind that resampling can result in poorer image quality. For example, when you resample an image to larger pixel dimensions, the image loses some detail and sharpness. Applying the Unsharp Mask filter to a resampled image can help refocus the image details. You can avoid the need for resampling by scanning or creating the image at a sufficiently high resolution.
When creating an image for print media, it’s useful to specify image size in terms of the printed dimensions and the image resolution. These two measurements, referred to as the document size, determine the total pixel count and therefore the file size of the image; document size also determines the base size at which an image is placed into another application.
Acquiring images from cameras and scanners Acquiring digital images from cameras Import images from a digital camera using WIA (Windows only) Importing scanned images To the top Acquiring digital images from cameras You can copy images to your computer by connecting your camera or a media card reader to your computer. Use theGet Photos From Camera command in Adobe® Bridge® to download photos, and to organize, rename, and apply metadata to them.
To the top Importing scanned images To import scanned images, either open TIFF files saved from separate scanning software, or use a TWAIN or WIA interface directly in Photoshop. In either case, make sure to install the software necessary for your scanner. For installation instructions, see the documentation provided by the scanner manufacturer. Note: Scanner drivers are supported by the scanner manufacturer, not Adobe.
5. Select Unique Subfolder if you want to save imported images in a folder named with the current date. 6. Select the scanner that you want to use. Note: If the name of your scanner does not appear in the submenu, verify that the software and drivers were properly installed and that the scanner is connected. 7. Choose the kind of image you want to scan: Color Picture, Grayscale Picture, or Black And White Picture or Text. To specify custom settings, select Adjust The Quality Of The Scanned Picture. 8.
Creating, opening, and importing images Create an image Duplicate an image Open files Open PDF files Open an EPS file For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. To the top Create an image 1. Choose File > New. 2. In the New dialog box, type a name for the image. 3. (Optional) Choose document size from the Preset menu.
Duplicate an image You can duplicate an entire image (including all layers, layer masks, and channels) into available memory without saving to disk. 1. Open the image you want to duplicate. 2. Choose Image > Duplicate. 3. Enter a name for the duplicated image. 4. If you want to duplicate the image and merge the layers, select Duplicate Merged Layers Only. To preserve the layers, make sure this option is deselected. 5. Click OK.
Note: To specify the number of files listed in the Open Recent menu, change the Recent File List Contains option in the File Handling preferences. Choose Edit > Preferences > File Handling (Windows), or Photoshop > Preferences > File Handling (Mac OS). Specify the file format in which to open a file If a file was saved with an extension that doesn’t match its true format (for example, a PSD file saved with a .gif extension), or has no extension, Photoshop may not be able to open the file.
Note: Bounding Box will not crop white space that is part of a background created by the source application. Media Box Crops to the original size of the page. Crop Box Crops to the clipping region (crop margins) of the PDF file. Bleed Box Crops to the region specified in the PDF file for accommodating limitations inherent in production processes such as cutting, folding, and trimming. Trim Box Crops to the region specified for the intended finished size of the page.
2. Select the file you want to open, and click Open. 3. Indicate the desired dimensions, resolution, and mode. To maintain the same height-to-width ratio, select Constrain Proportions. 4. To minimize jagged lines at the edges of artwork, select Anti-aliased. Adobe also recommends Adobe Bridge Mini Bridge About plug-in modules Processing images with Camera Raw Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Viewing images Change the screen mode View another area of an image Use the Rotate View tool Disable trackpad gestures (Mac OS) Use the Navigator panel Zoom in or out To the top Change the screen mode You can use the screen mode options to view images on your entire screen. You can show or hide the menu bar, title bar, and scroll bars. Press the F key to quickly cycle through screen modes.
Drag the colored box (proxy view area) in the Navigator panel. To the top Use the Rotate View tool You use the Rotate View tool to rotate the canvas non-destructively; it does not transform the image. Rotating the canvas can be useful for any number of reasons, including facilitating easier painting or drawing. (OpenGL is required.) You can also use rotate gestures on MacBook computers with multi-touch trackpads. 1. In the toolbox, select the Rotate View tool .
To change the color of the proxy view area, select Panel Options from the panel menu. Select a preset color from the Color pop-up menu, or click the color box to choose a custom color. Navigator panel A. Panel menu button B. Thumbnail display of artwork C. Proxy preview area D. Zoom text box E. Zoom Outbutton F. Zoom slider G. Zoom Inbutton To the top Zoom in or out Use the Zoom tool or the View menu commands to zoom in or zoom out of an image.
Choose View > Zoom In or View >Zoom Out. The Zoom In or Zoom Out command becomes unavailable when the maximum image magnification or reduction is reached. Set the zoom level at the lower left corner of the document window or in the Navigator panel. Display images at 100% A zoom setting of 100% provides the most accurate view, because each image pixel is displayed by one monitor pixel. (At other zoom settings, image pixels are interpolated to a different amount of monitor pixels.
1. Hold down the H key, and then click in the image and hold down the mouse button. The current tool changes to the Hand tool, and the image magnification changes as follows: If the entire image originally fit within the document window, the image zooms in to fit the window. If only a portion of the image was originally visible, the image zooms out. Drag the zoom marquee to magnify a different part of the image. 2. Release the mouse button and then the H key.
Viewing multiple images View images in multiple windows Match zoom and location in multiple images To the top View images in multiple windows The document window is where your images appear. You can open multiple windows to display different images or different views of the same one. A list of open windows appears in the Window menu. To bring an open image to the front, choose the file name from the bottom of the Window menu. Available memory may limit the number of windows per image. 1.
Match only location 1. Open one or more images, or open one image in multiple windows. 2. Choose Window > Arrange > Tile. 3. Do either of the following: Choose Window > Arrange > Match Location. Select the Hand tool, select Scroll All Windows in the options bar, and then drag to view another area in one of the images. (To temporarily enable this option, hold down the Shift key while dragging with the Hand tool.
Image information Work with the Info panel Display file information in the document window To the top Work with the Info panel The Info panel shows the color values beneath the pointer and, depending on the tool in use, gives other useful information. The Info panel also displays a hint on using the selected tool, gives document status information, and can display 8-bit, 16-bit, or 32-bit values.
Click the cursor coordinates icon and choose a unit of measurement. 3. Select a tool. 4. Move the pointer in the image, or drag in the image to use the tool. The following information may appear, depending on which tool you’re using: Displays the numeric values for the color beneath the pointer. Displays the x and y coordinates of the pointer. Displays the width (W) and height (H) of a marquee or shape as you drag, or the width and height of an active selection. Change the Info panel options 1.
size including layers and channels. Document Profile Displays the name of the color profile used by the image. Document Dimensions Displays the dimensions of the image. Scratch Sizes Displays information on the amount of RAM and the scratch disk used to process the image. The number on the left represents the amount of memory that is currently being used by the program to display all open images. The number on the right represents the total amount of RAM available for processing images.
is available only if you have Version Cue enabled. document size:viewingDocument Sizes Information on the amount of data in the image. The number on the left represents the printing size of the image—approximately the size of the saved, flattened file in Adobe Photoshop format. The number on the right indicates the file’s approximate size, including layers and channels. Document Profile The name of the color profile used by the image.
High dynamic range images About high dynamic range images Take photos for HDR images Features that support 32-bpc HDR images Merge images to HDR Adjust displayed dynamic range for 32-bit HDR images About the HDR Color Picker Paint on HDR images To the top About high dynamic range images The dynamic range (ratio between dark and bright regions) in the visible world far exceeds the range of human vision and of images that are displayed on a monitor or printed.
To the top Take photos for HDR images Keep the following tips in mind when you take photos to be combined with the Merge To HDR Pro command: Secure the camera to a tripod. Take enough photos to cover the full dynamic range of the scene. You can try taking at least five to seven photos, but you might need to take more exposures depending on the dynamic range of the scene. The minimum number of photos should be three. Vary the shutter speed to create different exposures.
Modes RGB Color, Grayscale, conversion to 8 Bits/Channel or 16 Bits/Channel. Pixel Aspect Ratio Support for square and non-square documents. Selections Invert, Modify Border, Transform Selection, Save Selection and Load Selection. Tools All tools in the toolbox except: Magnetic Lasso, Magic Wand, Spot Healing Brush, Healing Brush, Red Eye, Color Replacement, Art History Brush, Magic Eraser, Background Eraser, Paint Bucket, Dodge, Burn, and Sponge. Some tools work with supported blend modes only.
Take a tour through all the new features.... Read More by Jan Kabili http://www.lynda.com/Jan-K... http://www.adobe.com/go/lrvid5004_ps_en Contribute your expertise to Adobe Community Help 1. Do one of the following: (Photoshop) Choose File > Automate > Merge To HDR Pro. (Bridge) Select the images you want to use and choose Tools > Photoshop > Merge To HDR Pro. Skip to step 5. 2. In the Merge To HDR Pro dialog box, click Browse to select specific images, click Add Open Files, or choose Use > Folder.
Edge Glow Radius specifies the size of the local brightness regions. Strength specifies how far apart two pixels’ tonal values must be before they’re no longer part of the same brightness region. Tone and Detail Dynamic range is maximized at a Gamma setting of 1.0; lower settings emphasize midtones, while higher settings emphasize highlights and shadows. Exposure values reflect f-stops. Drag the Detail slider to adjust sharpness and the Shadow and Highlight sliders to brighten or darken these regions.
In the upper-right corner of the Merge to HDR Pro dialog box, click the response curve menu (To later reapply the curve, choose Load Response Curve.) , and then choose Save Response Curve. Convert from 32 bits to 16 or 8 bpc If you originally created a 32-bit image during the Merge to HDR Pro process, you can later convert it to a 16- or 8-bit image. 1. Open a 32-bpc image in Photoshop, and choose Image > Mode > 16 Bits/Channel or 8 Bits/Channel. 2.
HDR Color Picker A. Preview area B. Adjusted color C. Original color D. 32-bit floating point values E. Intensity slider F. Picked color G. Color slider H. Color values Display the HDR Color Picker With a 32-bpc image open, do one of the following: In the toolbox, click the foreground or background color selection box. In the Color panel, click the Set Foreground Coloror Set Background Color selection box. The Color Picker is also available when features let you choose a color.
Preview Stop Size Sets the stop increments for each preview swatch. For example, a setting of 3 results in swatches of -9, -6, -3, +3, +6, +9. These swatches let you preview the appearance of your selected color at different exposure settings. Relative to Document Select to adjust the preview swatches to reflect the current exposure setting for the image.
Customizing indexed color tables Customize indexed color tables To the top Customize indexed color tables The Color Table command lets you make changes to the color table of an indexed-color image. These customization features are particularly useful with pseudocolor images—images displaying variations in gray levels with color rather than shades of gray, often used in scientific and medical applications.
Custom Creates a palette you specify. Black Body Displays a palette based on the different colors a black body radiator emits as it is heated—from black to red, orange, yellow, and white. Grayscale Displays a palette based on 256 levels of gray—from black to white. Spectrum Displays a palette based on the colors produced as white light passes through a prism—from violet, blue, and green to yellow, orange, and red. System (Mac OS) Displays the standard Mac OS 256-color system palette.
Customizing color pickers and swatches Change the Color Picker Add and delete color swatches Manage swatch libraries Share swatches between applications To the top Change the Color Picker Instead of using the Adobe Color Picker, you can choose colors from your computer operating system’s standard Color Picker or from a third party Color Picker. 1. Choose Edit > Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS). 2.
Note: New colors are saved in the Photoshop preferences file so that they persist between editing sessions. To permanently save a color, save it in a library. Delete a color from the Swatches panel Do one of the following: Drag a swatch to the Delete icon . Hold down Alt (Windows) or Option (Mac OS), position the pointer over a swatch (the pointer turns into scissors), and click. To the top Manage swatch libraries Swatch libraries provide an easy way to access different sets of colors.
You can share the solid swatches you create in Photoshop, Illustrator, and InDesign by saving a swatch library for exchange. The colors appear exactly the same across applications as long as your color settings are synchronized. 1. In the Swatches panel, create the process and spot-color swatches you want to share, and remove any swatches you don’t want to share.
Converting between color modes Convert an image to another color mode Convert an image to Bitmap mode Convert a color photo to Grayscale mode Convert a Bitmap mode image to Grayscale mode Convert a grayscale or RGB image to indexed color To the top Convert an image to another color mode You can change an image from its original mode (source mode) to a different mode (target mode). When you choose a different color mode for an image, you permanently change the color values in the image.
image resolution appears as both the input and the output resolutions. 3. Choose one of the following bitmap conversion methods from the Use pop-up menu: 50% Threshold Converts pixels with gray values above the middle gray level (128) to white and pixels with gray values below that level to black. The result is a very high-contrast, black-and-white representation of the image. Pattern Dither Converts an image by organizing the gray levels into geometric configurations of black and white dots.
Convert a color photo to Grayscale mode 1. Open the photo you want to convert to black-and-white. 2. Choose Image > Mode > Grayscale. 3. Click Discard. Photoshop converts the colors in the image to black, white, and shades of gray. Note: The technique above minimizes file size but discards color information and can convert adjacent colors to the exact same shade of gray. Using a Black & White adjustment layer increases file size but retains color information, letting you map colors to shades of gray.
options, you can choose using a local palette based on the current image’s colors. These are the available palette types: Exact Creates a palette using the exact colors appearing in the RGB image—an option available only if the image uses 256 or fewer colors. Because the image’s palette contains all colors in the image, there is no dithering. System (Mac OS) Uses the Mac OS default 8-bit palette, which is based on a uniform sampling of RGB colors.
the color table; Primaries adds red, green, blue, cyan, magenta, yellow, black, and white; Web adds the 216 web-safe colors; and Custom lets you define custom colors to add. Transparency Specifies whether to preserve transparent areas of the image during conversion. Selecting this option adds a special index entry in the color table for transparent colors. Deselecting this option fills transparent areas with the matte color, or with white if no matte color is chosen.
Color and monochrome adjustments using channels Mix color channels To the top Mix color channels Using the Channel Mixer adjustment, you can create high-quality grayscale, sepia tone, or other tinted images. You can also make creative color adjustments to an image. To create high-quality grayscale images, choose the percentage for each color channel in the Channel Mixer adjustment.
5. Drag the slider or enter a value for the Constant option. This option adjusts the grayscale value of the output channel. Negative values add more black, and positive values add more white. A -200% value makes the output channel black, and a +200% value makes the output channel white. You can save Channel Mixer dialog box settings for reuse on other images. See Save adjustment settings and Reapply adjustment settings.
Create a hand-tinted appearance for specific image elements 1. In the Channels panel, select the composite color channel. 2. Apply a Channel Mixer adjustment. 3. In the Adjustments panel (CS5) or the Properties panel (CC, CS6), select and then deselect Monochrome. 4. Choose an Output Channel option, and adjust the source channel sliders. (Repeat this step as desired for each output channel.) A. Original color image B. Selecting Monochrome creates grayscale image C.
Color modes RGB Color mode CMYK Color mode Lab Color mode Grayscale mode Bitmap mode Duotone mode Indexed Color mode Multichannel mode To the top RGB Color mode Photoshop RGB Color mode uses the RGB model, assigning an intensity value to each pixel. In 8-bits-per-channel images, the intensity values range from 0 (black) to 255 (white) for each of the RGB (red, green, blue) components in a color image. For example, a bright red color has an R value of 246, a G value of 20, and a B value of 50.
Photoshop PDF, Photoshop Raw, or TIFF formats. Note: The DCS 1.0 and DCS 2.0 formats convert the file to CMYK when opened. To the top Grayscale mode Grayscale mode uses different shades of gray in an image. In 8-bit images, there can be up to 256 shades of gray. Every pixel of a grayscale image has a brightness value ranging from 0 (black) to 255 (white). In 16 and 32-bit images, the number of shades in an image is much greater than in 8-bit images.
Note: Indexed Color and 32-bit images cannot be converted to Multichannel mode. Adobe also recommends About color working spaces Soft-proof colors Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
About color Understanding color Color models, spaces, and modes Adjusting color hue, saturation, and brightness Note: For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. To the top Understanding color Knowing how colors are created and how they relate to each other lets you work more effectively in Photoshop.
use the color wheel to predict how a change in one color component affects other colors and also how changes translate between RGB and CMYK color models. Color wheel A. Red B. Yellow C. Green D. Cyan E. Blue F. Magenta For example, you can decrease the amount of any color in an image by increasing the amount of its opposite on the color wheel—and vice versa. Colors that lie opposite each other on the standard color wheel are known as complementary colors.
Brightness Relative lightness or darkness of the color, usually measured as a percentage from 0% (black) to 100% (white). HSB color model A. Hue B. Saturation C. Brightness Adobe also recommends Understanding color management Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Choosing colors in the Color and Swatches panels Color panel overview Select a color in the Color panel Select a color in the Swatches panel To the top Color panel overview The Color panel (Window > Color) displays the color values for the current foreground and background colors. Using the sliders in the Color panel, you can edit the foreground and background colors using different color models.
To the top Select a color in the Color panel 1. In the Color panel, click the foreground or background color box to make it active (outlined in black). When the background color box is active in the Color panel, the Eyedropper tool changes the background color by default. 2. Do one of the following: Drag the color sliders. By default, the slider colors change as you drag.
Choosing colors About foreground and background colors Choose colors in the toolbox Choose colors with the Eyedropper tool Adobe Color Picker overview Choose a color with the Adobe Color Picker Choose a color while painting Choose web-safe colors Choose a CMYK equivalent for a non-printable color Choose a spot color To the top About foreground and background colors Photoshop uses the foreground color to paint, fill, and stroke selections and the background color to make gradient fills and fill in the eras
Point Sample Reads the precise value of the pixel you click. 3 by 3 Average, 5 by 5 Average, 11 by 11 Average, 31 by 31 Average, 51 by 51 Average, 101 by 101 Average Reads the average value of the specified number of pixels within the area you click. Selecting a foreground color with the Eyedropper tool 3. Choose one of the following from the Sample menu: All Layers Samples color from all layers in the document. Current Layer Samples color from the currently active layer. 4.
Adobe Color Picker A. Picked color B. Original color C. Adjusted color D. Out-of-gamut alert icon E. Not a web-safe color alert icon F. Displays only web-safe colors G. Color field H. Color slider I. Color values When you select a color in the Adobe Color Picker, it simultaneously displays the numeric values for HSB, RGB, Lab, CMYK, and hexadecimal numbers. This is useful for viewing how the different color models describe a color.
3. (Optional) Select either the S option or B option to display the color’s saturation or brightness in the color field for making further adjustments. Choose a color using the RGB model Choose a color by specifying its red, green, and blue components. 1. In the Adobe Color Picker, enter numeric values in the R, G, and B text boxes. Specify component values from 0 to 255 (0 is no color, and 255 is the pure color). 2.
1. Choose Edit > Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS). 2. From the HUD Color Picker menu, choose Hue Strip to display a vertical picker or Hue Wheel to display a circular one. Choose a color from the HUD color picker 1. Select a painting tool. 2. Press Shift + Alt + right-click (Windows) or Control + Option + Command (Mac OS). 3. Click in the document window to display the picker. Then drag to select a color hue and shade.
2. Choose an option for selecting a web-safe color: Choose Make Ramp Web Safe from the Color panel menu. Any color you pick with this option selected is web-safe. Choose Web Color Sliders from the Color panel menu. By default, web color sliders snap to web-safe colors (indicated by tick marks) when you drag them. To override web-safe color selection, Alt-drag (Windows) or Option-drag (Mac OS) the sliders. If you choose a non-web color, an alert cube select the closest web color.
ANPA-COLOR Commonly used for newspaper applications. The ANPA-COLOR ROP Newspaper Color Ink Book contains samples of the ANPA colors. DIC Color Guide Commonly used for printing projects in Japan. For more information, contact Dainippon Ink & Chemicals, Inc., in Tokyo, Japan. FOCOLTONE Consists of 763 CMYK colors. Focoltone colors help avoid prepress trapping and registration problems by showing the overprints that make up the colors.
Blending modes Blending mode descriptions Blending mode examples The blending mode specified in the options bar controls how pixels in the image are affected by a painting or editing tool. It’s helpful to think in terms of the following colors when visualizing a blending mode’s effect: The base color is the original color in the image. The blend color is the color being applied with the painting or editing tool. The result color is the color resulting from the blend.
darker than the blend color are replaced, and pixels lighter than the blend color do not change. Screen Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple photographic slides on top of each other.
Hue Creates a result color with the luminance and saturation of the base color and the hue of the blend color. Saturation Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no (0) saturation (gray) causes no change. Color Creates a result color with the luminance of the base color and the hue and saturation of the blend color.
Color Dodge Linear Dodge (Add) Overlay Soft Light Hard Light Vivid Light Linear Light Pin Light Hard Mix Difference Exclusion Subtract Divide Hue Saturation Color Luminosity, 80% opacity Lighter Color Darker Color Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adding a conditional mode changeto an action Add a conditional mode change to an action To the top Add a conditional mode change to an action You can specify conditions for a mode change so that the conversion can occur during an action, which is a series of commands applied sequentially to a single file or a batch of files. When a mode change is part of an action, an error can occur if the file being opened is not in the source mode specified in the action.
Add swatches from HTML CSS and SVG Note: This feature was introduced in the Creative Cloud release for Photoshop CS6. You can add all colors specified in an HTML, CSS, or SVG document to the Swatches panel. If a color value is repeated in a document, only one instance of the color is added not duplicates. This feature recognizes the following HTML/CSS color syntax: #112233, #123, rgb(1,2,3), rgba(1,2,3,4), hsb(1,2,3), and hsba(1,2,3,4). 1.
High dynamic range images About high dynamic range images Take photos for HDR images Features that support 32-bpc HDR images Merge images to HDR Adjust displayed dynamic range for 32-bit HDR images About the HDR Color Picker Paint on HDR images About high dynamic range images To the top The dynamic range (ratio between dark and bright regions) in the visible world far exceeds the range of human vision and of images that are displayed on a monitor or printed.
Secure the camera to a tripod. Take enough photos to cover the full dynamic range of the scene. You can try taking at least five to seven photos, but you might need to take more exposures depending on the dynamic range of the scene. The minimum number of photos should be three. Vary the shutter speed to create different exposures. Changing the aperture changes the depth of field in each exposure and can produce lower-quality results.
1. Do one of the following: (Photoshop) Choose File > Automate > Merge To HDR Pro. (Bridge) Select the images you want to use and choose Tools > Photoshop > Merge To HDR Pro. Skip to step 5. 2. In the Merge To HDR Pro dialog box, click Browse to select specific images, click Add Open Files, or choose Use > Folder. (To remove a particular item, select it in files list, and click Remove.) 3.
Equalize Histogram Compresses the dynamic range of the HDR image while trying to preserve some contrast. No further adjustments are necessary; this method is automatic. Exposure and Gamma Lets you manually adjust the brightness and contrast of the HDR image. Move the Exposure slider to adjust gain and the Gamma slider to adjust contrast. Highlight Compression Compresses the highlight values in the HDR image so they fall within the luminance values range of the 8- or 16-bpc image file.
HDR Color Picker A. Preview area B. Adjusted color C. Original color D. 32-bit floating point values E. Intensity slider F. Picked color G. Color slider H. Color values Display the HDR Color Picker With a 32-bpc image open, do one of the following: In the toolbox, click the foreground or background color selection box. In the Color panel, click the Set Foreground Coloror Set Background Color selection box. The Color Picker is also available when features let you choose a color.
Paint on HDR images To the top You can edit and add effects to HDR/32-bpc images using any of the following Photoshop tools: Brush, Pencil, Pen, Shape, Clone Stamp, Pattern Stamp, Eraser, Gradient, Blur, Sharpen, Smudge, and History Brush. You can also use the Text tool to add 32-bpc text layers to an HDR image.
Converting between color modes Convert an image to another color mode Convert an image to Bitmap mode Convert a color photo to Grayscale mode Convert a Bitmap mode image to Grayscale mode Convert a grayscale or RGB image to indexed color Convert an image to another color mode To the top You can change an image from its original mode (source mode) to a different mode (target mode). When you choose a different color mode for an image, you permanently change the color values in the image.
correct screen frequencies. Enter a value for the screen angle in degrees from -180 to +180. The screen angle refers to the orientation of the screen. Continuoustone and black-and-white halftone screens commonly use a 45° angle. For Shape, choose the dot shape you want. Important: The halftone screen becomes part of the image. If you print the image on a halftone printer, the printer will use its own halftone screen as well as the halftone screen that is part of the image.
To convert to indexed color, you must start with an image that is 8 bits per channel and in either Grayscale or RGB mode. 1. Choose Image > Mode > Indexed Color. Note: All visible layers will be flattened; any hidden layers will be discarded. For grayscale images, the conversion happens automatically. For RGB images, the Indexed Color dialog box appears. 2. Select Preview in the Indexed Color dialog box to display a preview of the changes. 3. Specify conversion options.
Dithering Unless you’re using the Exact color table option, the color table may not contain all the colors used in the image. To simulate colors not in the color table, you can dither the colors. Dithering mixes the pixels of the available colors to simulate the missing colors. Choose a dither option from the menu, and enter a percentage value for the dither amount. A higher amount dithers more colors but may increase file size.
Understanding color management Why colors sometimes don’t match What is a color management system? Do you need color management? Creating a viewing environment for color management A color management system reconciles color differences among devices so that you can confidently predict the colors your system ultimately produces. Viewing color accurately allows you to make sound color decisions throughout your workflow, from digital capture through final output.
To the top Do you need color management? Without a color management system, your color specifications are device-dependent. You might not need color management if your production process is tightly controlled for one medium only. For example, you or your print service provider can tailor CMYK images and specify color values for a known, specific set of printing conditions. The value of color management increases when you have more variables in your production process.
Layers Layers 101 Infinite Skills (Aug.
Layer basics About Photoshop layers Photoshop Layers panel overview Convert background and Photoshop layers Duplicate Photoshop layers Sample from all visible Photoshop layers Change transparency preferences Top 10 Time Saving Enhancements to Photoshop layers Adobe Digital Imaging Evangelist Julieanne Kost shares the top 10 enhancements in the Layers Panel introduced in Photoshop CS6.... Read More by Julieanne Kost Contribute your expertise to Adobe Community Help http://tv.adobe.
You use layers to perform tasks such as compositing multiple images, adding text to an image, or adding vector graphic shapes. You can apply a layer style to add a special effect such as a drop shadow or a glow. See a Video tutorial: Understanding layers for an overview on working with Layers. Organizing Photoshop layers A new image has a single layer. The number of additional layers, layer effects, and layer sets you can add to an image is limited only by your computer’s memory.
Click the triangle in the upper right corner of the panel. Change the size of Photoshop layer thumbnails Choose Panel Options from the Layers panel menu, and select a thumbnail size. Change thumbnail contents Choose panel Options from the Layers panel menu, and select Entire Document to display the contents of the entire document. Select Layer Bounds to restrict the thumbnail to the object’s pixels on the layer. Turn off thumbnails to improve performance and save monitor space.
3. Click OK. Convert a Photoshop layer into a background 1. Select a Photoshop layer in the Layers panel. 2. Choose Layer > New > Background From Layer. Any transparent pixels in the layer are converted to the background color, and the layer drops to the bottom of the layer stack. Note: You cannot create a background by giving a regular layer the name, Background—you must use the Background From Layer command.
Create a new document from a Photoshop layer or group 1. Select a layer or group from the Layers panel. 2. Choose Duplicate Layer or Duplicate Group from the Layers menu or the Layers panel menu. 3. Choose New from the Document pop-up menu, and click OK. To the top Sample from all visible Photoshop layers The default behavior of the Mixer Brush, Magic Wand, Smudge, Blur, Sharpen, Paint Bucket, Clone Stamp, and Healing Brush tools is to sample color only from pixels on the active layer.
Generate image assets from layers | Photoshop CC Video: Using Generator Generate image assets from layers or layer groups A web design use case Specify quality and size parameters Disable image asset generation for all documents FAQ You can generate JPEG, PNG, or GIF image assets from the contents of a layer or layer group in a PSD file. Assets are automatically generated when you append a supported image format extension to a layer name or a layer group name.
Image asset names are generated from layer names/layer group names Image asset generation is enabled for the current document. Once enabled, the feature remains available whenever the document is opened next. In order to disable image asset generation for the current document, deselect File > Generate > Image Assets. Generate multiple assets from a layer or layer group To generate multiple assets from a layer/layer group, separate the asset names with the comma symbol (,).
Rename the appropriate layers/layer groups Note: A single image asset is generated from the contents of a layer/layer group. For example, the AdventureCo Logo layer group in the screenshot above contains a shape layer and a live text layer. These layers are flattened when an image asset is generated from the layer group. Photoshop generates the assets and saves them in the same location as the source PSD file.
Ellipse_4.jpg5 Ellipse_4.jpg50% Add the desired output image size (relative or in supported formats—px, in, cm, and mm) as a prefix to the asset name. Photoshop scales the image accordingly. For example: 200% Ellipse_4.jpg 300 x 200 Rounded_rectangle_3.jpg 10in x 200mm Rounded_rectangle_3.jpg Note: Remember to add a space character between the prefix and the asset name. If you're specifying the size in pixels, you can omit the unit. For example, 300 x 200.
Delicious.png (a 24-bit PNG image scaled 42%) Delicious_2.jpg (a 90%-quality JPG image that has an absolute size of 100x100 px) Delicious.gif (a GIF image scaled 250%) To the top Disable image asset generation for all documents You can disable image asset generation globally for all Photoshop documents by modifying your Preferences. 1. Select Edit > Preferences > Plug-Ins. 2. Deselect Enable Generator. 3. Click OK.
Create Smart Objects | CC, CS6 Understanding Smart Objects Create embedded Smart Objects | CC, CS6 Create linked smart objects | Photoshop CC Filter the Layers panel by smart objects | Photoshop CC Duplicate an embedded smart object Edit the contents of a Smart Object Replace the contents of a Smart Object Convert an embedded or linked Smart Object to a layer Export the contents of an embedded Smart Object To the top Understanding Smart Objects Smart Objects are layers that contain image data from raster
(Photoshop CC) A linked Smart Object in the Layers panel To the top Create embedded Smart Objects | CC, CS6 You can create embedded Smart objects using several methods: by using the Open As Smart Object command; placing a file (CS6) or placing a file as embedded (CC, CS6), pasting data from Illustrator; or converting one or more Photoshop layers to Smart Objects. Do any of the following: (CC) Choose File > Place Embedded to import files as Smart Objects into an open Photoshop document.
To change this default behavior, turn off Preferences > General > Always Create Smart Objects While Placing. Update linked Smart Objects If an external source file changes while a Photoshop document referencing it is open, the relevant linked smart object is automatically updated. However, when you open a Photoshop document containing out-of-synch linked smart objects, you can update the smart objects: Right-click a linked smart object layer and select Update Modified Content.
To the top Filter the Layers panel by smart objects | Photoshop CC 1. In the Layers panel, select Smart Objects from the filtering pop up menu. Filter layers by smart objects 2. Click one of the following icons: Filter for up-to-date linked smart objects Filter for out-of-synch linked smart objects Filter for missing linked smart objects Filter for embedded smart objects You can use the toggle switch () to turn layer filtering off.
In the Properties panel, click Edit Contents. 2. Click OK to close the dialog box. 3. Make edits to the source content file, then choose File > Save. Photoshop updates the Smart Object to reflect the changes you made. (If you don’t see the changes, make the Photoshop document containing the Smart Object active). To the top Replace the contents of a Smart Object You can replace the image data in one Smart Object or multiple linked instances.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Managing layers Rename a layer or group Assign a color to a layer or group Rasterize layers Delete a layer or group Export layers Merging layers To the top Rename a layer or group As you add layers to an image, it’s helpful to give them names that reflect their content. Descriptive names make layers easy to identify in the panel. Do one of the following: Double-click the layer name or group name in the Layers panel, and enter a new name.
Fill Content Rasterizes the fill of a shape layer, leaving the vector mask. Vector Mask Rasterizes the vector mask on a layer, turning it into a layer mask. Smart Object Converts a Smart Object into a raster layer. Video Rasterizes the current video frame to an image layer. 3D (Extended only) Rasterizes the current view of 3D data into a flat raster layer. Layer Rasterizes all vector data on the selected layers. All Layers Rasterizes all layers that contain vector and generated data.
Note: You cannot use an adjustment or fill layer as the target layer for a merge. In addition to merging layers, you can stamp them. Stamping allows you to merge the contents of more than one layer into a target layer while leaving the other layers intact. Note: When you save a merged document, you cannot revert back to the unmerged state; the layers are permanently merged. Merge two layers or groups 1. Make sure that the layers and groups you want to merge are visible. 2.
2. Press Shift+Ctrl+Alt+E (Windows) or Shift+Command+Option+E (Mac OS). Photoshop creates a new layer containing the merged content. Flatten all layers Flattening reduces file size by merging all visible layers into the background and discarding hidden layers. Any transparent areas that remain are filled with white. When you save a flattened image, you cannot revert back to the unflattened state; the layers are permanently merged. Note: Converting an image between some color modes flattens the file.
Selecting, grouping, and linking layers Select layers Group and link layers Show layer edges and handles To the top Select layers You can select one or more layers to work on them. For some activities, such as painting or making color and tonal adjustments, you can work on only one layer at a time. A single selected layer is called the active layer. The name of the active layer appears in the title bar of the document window.
Right-click (Windows) or Control-click (Mac OS) in the image, and choose a layer from the context menu. The context menu lists all the layers that contain pixels under the current pointer location. Select a layer in a group 1. Click the group in the Layers panel. 2. Click the triangle to the left of the folder icon . 3. Click the individual layer in the group. To the top Group and link layers Group and ungroup layers 1. Select multiple layers in the Layers panel. 2.
Select a linked layer, and click the link icon. To temporarily disable the linked layer, Shift-click the Link icon for the linked layer. A red X appears. Shift-click the link icon to enable the link again. Select the linked layers and click the Link icon. To select all linked layers, select one of the layers and then choose Layer > Select Linked Layers. To the top Show layer edges and handles Showing the boundary or edges of the content in a layer can help you move and align the content.
Copy CSS from layers | CC, CS6 Copy CSS generates Cascading Style Sheet (CSS) properties from shape or text layers. The CSS is copied to the clipboard and can be pasted into a style sheet.
Nondestructive editing Techniques for nondestructive editing To the top Techniques for nondestructive editing Nondestructive editing allows you to make changes to an image without overwriting the original image data, which remains available in case you want to revert to it. Because nondestructive editing doesn’t remove data from an image, the image quality doesn’t degrade when you make edits.
Moving, stacking, and locking layers Change the stack order of layers and groups Move the content of layers Rotate a layer Lock layers To the top Change the stack order of layers and groups Do one of the following: Drag the layer or group up or down in the Layers panel. Release the mouse button when the highlighted line appears where you want to place the layer or group. To move a layer into a group, drag a layer to the group folder .
3. Choose Edit > Transform > Rotate. A box defining the boundaries of the layer (called a bounding box) appears. 4. Move the pointer outside of the bounding box (the pointer becomes a curved, two-sided arrow), and then drag. Press Shift to constrain the rotation to 15° increments. 5. When you’re satisfied with the results, press Enter (Windows) or Return (Mac OS), or click the check mark in the options bar. To cancel the rotation, press Esc, or click the Cancel Transform icon on the options bar.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Layer opacity and blending Specify overall and fill opacity for selected layers Specify a blending mode for a layer or group Group blend effects Exclude channels from blending Specify a tonal range for blending layers Filling new layers with a neutral color Blending Modes 101 Blending modes determine how the pixels in a layer blend with pixels on underlying layers. Infinite Skills author, Andy Anderson, takes you on a tour of working with blending modes and layers....
1. Select a layer or group from the Layers panel. 2. Choose a blending mode: From the Layers panel, choose an option from the Blend Mode pop-up menu. Choose Layer > Layer Style > Blending Options, and then choose an option from the Blend Mode pop-up menu. For a video on using blending modes, see www.adobe.com/go/vid0012.
Advanced blending options Select Transparency Shapes Layers to restrict layer effects and knockouts to opaque areas of the layer. Deselecting this option, which is always selected by default, applies these effects throughout the layer. Select Layer Mask Hides Effects to restrict layer effects to the area defined by the layer mask. Select Vector Mask Hides Effects to restrict layer effects to the area defined by the vector mask. 4. Click OK.
The sliders in the Blending Options dialog box control which pixels from the active layer and the underlying visible layers appear in the final image. For example, you can drop dark pixels out of the active layer or force bright pixels from the underlying layers to show through. You can also define a range of partially blended pixels to produce a smooth transition between blended and unblended areas. 1.
Layer effects and styles About layer effects and styles Apply preset styles Layer Style dialog box overview Apply or edit a custom layer style Layer style options Modify layer effects with contours Set a global lighting angle for all layers Display or hide layer styles Copy layer styles Scale a layer effect Remove layer effects Convert a layer style to image layers Create and manage preset styles To the top About layer effects and styles Photoshop provides a variety of effects—such as shadows, glows, and
Choose Window > Styles. Apply a preset style to a layer Normally, applying a preset style replaces the current layer style. However, you can add the attributes of a second style to those of the current style. Do one of the following: Click a style in the Styles panel to apply it to the currently selected layers. Drag a style from the Styles panel onto a layer in the Layers panel.
Layer Style dialog box. Click a check box to apply the current settings without displaying the effect’s options. Click an effect name to display its options. You can create custom styles using one or more of the following effects: Drop Shadow Adds a shadow that falls behind the contents on the layer. Inner Shadow Adds a shadow that falls just inside the edges of the layer’s content, giving the layer a recessed appearance.
When you next open the dialog box, your custom defaults are automatically applied. If you adjust settings and want to return to your custom defaults, click Reset To Default. To return to Photoshop’s original defaults, see Restore all preferences to default settings. To the top Layer style options Altitude For the Bevel and Emboss effect, sets the height of the light source. A setting of 0 is equivalent to ground level, 90 is directly above the layer.
Noise Specifies the number of random elements in the opacity of a glow or shadow. Enter a value or drag the slider. Opacity Sets the opacity of the layer effect. Enter a value or drag the slider. Pattern Specifies the pattern of a layer effect. Click the pop-up panel and choose a pattern. Click the New Preset button to create a new preset pattern based on the current settings.
When you create custom layer styles, you can use contours to control the shape of Drop Shadow, Inner Shadow, Inner Glow, Outer Glow, Bevel and Emboss, and Satin effects over a given range. For example, a Linear contour on a Drop Shadow causes the opacity to drop off in a linear transition. Use a Custom contour to create a unique shadow transition. You can select, reset, delete, or change the preview of contours in the Contour pop-up panel and Preset Manager.
Choose Layer > Layer Style > Global Light. In the Global Light dialog box, enter a value or drag the angle radius to set the angle and altitude, and click OK. In the Layer Style dialog box for Drop Shadow, Inner Shadow, or Bevel, select Use Global Light. For Angle, enter a value or drag the radius, and click OK. The global lighting applies to each layer effect that uses the global lighting angle.
In the Layers panel, Alt-drag (Windows) or Option-drag (Mac OS) a single layer effect from one layer to another to duplicate the layer effect, or drag the Effects bar from one layer to another to duplicate the layer style. Drag one or more layer effects from the Layers panel to the image to apply the resulting layer style to the highest layer in the Layers panel that contains pixels at the drop point.
image layers, you can enhance the result by painting or applying commands and filters. However, you can no longer edit the layer style on the original layer, and the layer style no longer updates as you change the original image layer. Note: The layers produced by this process may not result in artwork that exactly matches the version using layer styles. You may see an alert when you create the new layers. 1. In the Layers panel, select the layer containing the layer style that you want to convert. 2.
Drag a style to the Delete icon at the bottom of the Styles panel. Press Alt (Windows) or Option (Mac OS), and click the layer style in the Styles panel. Select a style in the Styles area of the Layer Style dialog box. (See Apply preset styles.) Then choose Delete Style from the pop-up menu. When using a shape or Pen tool, select a style from the Layer Style pop-up panel in the options bar. Then choose Delete Style from the pop-up panel menu. Save a set of preset styles as a library 1.
Layer comps About layer comps Create a layer comp Apply and view layer comps Change and update a layer comp Clear layer comp warnings Delete a layer comp Export layer comps To the top About layer comps Designers often create multiple compositions or comps of a page layout to show clients. Using layer comps, you can create, manage, and view multiple versions of a layout in a single Photoshop file. A layer comp is a snapshot of a state of the Layers panel.
4. Click OK. The options you chose are stored as defaults for your next comp. To duplicate a comp, select a comp in the Layer Comps panel and drag the comp to the New Comps button. To the top Apply and view layer comps In the Layer Comp panel, do any of the following: To view a layer comp, you first need to apply it. Click the Apply Layer Comp icon To cycle through a view of all layer comps, use the Previous comps, first select them.) and Next next to a selected comp.
Delete a layer comp Do one of the following: Select the layer comp in the Layer Comps panel and click the Delete icon menu. in the panel, or choose Delete Layer Comp from the panel Drag it to the Delete icon in the panel. To the top Export layer comps You can export layer comps to individual files. Choose File > Scripts > Layer Comps to Files and then choose the file type and set the destination.
Knockout to reveal content from other layers Create a knockout To the top Create a knockout Knockout options let you specify which layers “punch through” to reveal content from other layers. For example, you can use a text layer to knock out a color adjustment layer and reveal a portion of the image using the original colors. As you plan your knockout effect, you need to decide which layer will create the shape of the knockout, which layers will be punched through, and which layer will be revealed.
transparency, if the bottom layer is not a background layer). 5. To create the knockout effect, do one of the following: Lower the fill opacity. Using the choices in the Blend Mode menu, change the blending mode to reveal the underlying pixels. 6. Click OK. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Create and manage layers and groups Create layers and groups View layers and groups within a group Show or hide a layer, group, or style To the top Create layers and groups A new layer appears either above the selected layer or within the selected group in the Layers panel. Create a new layer or group 1. Do one of the following: To create a new layer or group using default options, click the Create a New Layer button panel.
2. Move, scale, or rotate the imported image. (See Place a file in Photoshop.) 3. Press Enter or Return. By default, Photoshop creates a Smart Object layer. To create standard layers from dragged files, deselect Place Or Drag Raster Images As Smart Objects in the General preferences. If the placed file is a multilayer image, a flattened version appears on the new layer. To instead copy separate layers, duplicate them in another image. (See Duplicate layers.
clicking (Mac OS) the same eye icon restores the original visibility settings. Drag through the eye column to change the visibility of multiple items in the Layers panel. Note: Only visible layers are printed. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Combine images with Auto-Blend Layers Auto blend layers To the top Auto blend layers Use the Auto-Blend Layers command to stitch or combine images with smooth transitions in the final composite image. Auto-Blend Layers applies layer masks as needed to each layer to mask out over- or underexposed areas or content differences. Auto-Blend layers is only available for RGB or Grayscale images. It does not work with Smart Objects, video layers, 3D layers, or background layers.
Note: Stack Images lets you blend multiple images of a scene with different areas in focus or different illuminations, to achieve the best results of all the images (you must auto-align the images first). 6. Select Seamless Tones And Colors to adjust the color and tonality for blending. 7. Click OK. For a video on using Auto-Align and Auto-Blend to create a panorama and increase depth of field, see www.adobe.com/go/lrvid4120_ps.
Blending modes Blending mode descriptions Blending mode examples The blending mode specified in the options bar controls how pixels in the image are affected by a painting or editing tool. It’s helpful to think in terms of the following colors when visualizing a blending mode’s effect: The base color is the original color in the image. The blend color is the color being applied with the painting or editing tool. The result color is the color resulting from the blend.
darker than the blend color are replaced, and pixels lighter than the blend color do not change. Screen Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple photographic slides on top of each other.
Hue Creates a result color with the luminance and saturation of the base color and the hue of the blend color. Saturation Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no (0) saturation (gray) causes no change. Color Creates a result color with the luminance of the base color and the hue and saturation of the blend color.
Color Dodge Linear Dodge (Add) Overlay Soft Light Hard Light Vivid Light Linear Light Pin Light Hard Mix Difference Exclusion Subtract Divide Hue Saturation Color Luminosity, 80% opacity Lighter Color Darker Color Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Applying Smart Filters About Smart Filters Apply a Smart Filter Edit a Smart Filter Hide Smart Filters Reorder, duplicate, or delete Smart Filters Mask Smart Filters To the top About Smart Filters Any filter applied to a Smart Object is a Smart Filter. Smart Filters appear in the Layers panel below the Smart Object layer to which they are applied. Because you can adjust, remove, or hide Smart Filters, they are nondestructive.
Choose a filter from the Filter menu. You can choose any filter, including third-party filters that support Smart Filters, except Extract, Liquify, Pattern Maker, and Vanishing Point. Choose Image > Adjustments > Shadow/Highlight or Image > Adjustments > Variations. Note: If you apply one or more filters using the Filter Gallery, they appear as a group in the Layers panel named “Filter Gallery.” You can edit individual filters by double-clicking a Filter Gallery entry. 3. Set filter options and click OK.
Reorder, duplicate, or delete Smart Filters You can reorder Smart Filters in the Layers panel, duplicate them, or delete Smart Filters if you no longer want to apply them to a Smart Object. Reorder Smart Filters In the Layers panel, drag a Smart Filter up or down in the list. (Double-click Filter Gallery to reorder any gallery filters.) Photoshop applies Smart Filters from the bottom up.
3. Do one of the following: To hide portions of the filter, paint the mask with black. To show portions of the filter, paint the mask with white. To make the filter partially visible, paint the mask with gray. You can also apply image adjustments and filters to filter masks. Change filter mask opacity or feather mask edges 1. Click the filter mask thumbnail or select the Smart Object layer in the Layers panel, and then click the Filter Mask button in the Masks panel. 2.
Click the filter mask thumbnail in the Layers panel, then click the Delete icon in the Masks panel. Drag the filter mask thumbnail in the Layers panel to the Delete icon. Select the Smart Filter Effect, and choose Layer > Smart Filters > Delete Filter Mask. Add a filter mask If you delete a filter mask, you can subsequently add another mask. To add an empty mask, select the Smart Object layer, and then click the Filter Mask button in the Masks panel.
Aligning layers Align objects on different layers Distribute layers and groups evenly Automatically align image layers To the top Align objects on different layers You can align the content of layers and groups using the Move tool . (See Move the content of layers.) 1. Do one of the following: To align multiple layers, select the layers with the Move tool or in the Layers panel, or select a group.
Vertical Centers Spaces the layers evenly, starting from the vertical center pixel of each layer. Bottom Edges Spaces the layers evenly, starting from the bottom pixel of each layer. Left Edges Spaces the layers evenly, starting from the left pixel of each layer. Horizontal Centers Spaces the layers evenly, starting from the horizontal center of each layer. Right Edges Spaces the layers evenly, starting from the right pixel on each layer.
Cylindrical Reduces the “bow-tie” distortion that can occur with the Perspective layout by displaying individual images as on an unfolded cylinder. Overlapping content across layers is still matched. The reference image is placed at the center. Best suited for creating wide panoramas. Spherical Aligns images with wide fields of view (vertical and horizontal).
Load selections from a layer or layer mask's boundaries Loading a layer or layer mask’s boundaries as a selection You can select all the non-transparent areas on a layer, or, if a layer mask exists, all the unmasked areas. Selecting these areas is useful when you want to select text or image content that is surrounded by or contains transparent areas, or to create a selection that excludes masked areas on a layer. 1.
Editing layer masks 1. In the Layers panel, select the layer containing the mask you want to edit. 2. Do one of the following: (CC, CS6) Click the Mask thumbnail in the Layers panel (CS5) Click the Pixel Mask button in the Masks panel 3. Select any of the editing or painting tools. Note: The foreground and background colors assume default grayscale values when the mask is active. 4. Do one of the following: To subtract from the mask and reveal the layer, paint the mask with white.
Masking layers with vector masks Add and edit vector masks A vector mask is a resolution independent path that clips out the contents of the layer. You create vector masks with the pen or shapes tools. For more information on working with the pen or shapes tools, see Drawing. Add a vector mask that shows or hides the entire layer 1. In the Layers panel, select the layer you want to add the vector mask to. 2.
Remove a vector mask 1. In the Layers panel, select the layer containing the vector mask. 2. Click the Vector Mask button in the Masks panel. 3. In the Properties panel (CC, CS6) or Masks panel (CS5), click the Delete Mask button . Disable or enable a vector mask Do one of the following: Select the layer containing the vector mask you want to disable or enable, and click the Disable/Enable Mask button panel (CC, CS6) or Masks panel (CS5).
Revealing layers with clipping masks A clipping mask lets you use the content of a layer to mask the layers above it. The masking is determined by the content of the bottom or base layer. The non-transparent content of the base layer clips (reveals), the content of the layers above it in the clipping mask. All other content in the clipped layers is masked out.
Hold down Alt (Windows) or Option (Mac OS), position the pointer over the line separating two grouped layers in the Layers panel (the pointer changes to two overlapping circles ), and click. In the Layers panel, select a layer in the clipping mask, and choose Layer > Release Clipping Mask. This command removes the selected layer and any layers above it from the clipping mask. Release all layers in a clipping mask 1. In the Layers panel, select the clipping mask layer just above the base layer. 2.
Combining multiple images into a group portrait You can use the Auto-Align Layers command from the Edit menu to make a composite photo from a pair of nearly identical images that may contain some unwanted areas. For example, one shot of a group portrait is ideal except that one of the subjects has her eyes closed. In another shot her eyes are open. Using Auto-Align Layers and layer masking, you can combine these shots and eliminate the flaw in the final image. 1. Open the two images you want to combine.
Masking layers About layer and vector masks Add layer masks Unlinking layers and masks Disable or enable a layer mask Apply or delete a layer mask Select and display the layer mask channel Change the layer mask rubylith color or opacity Adjusting mask opacity and edges You can add a mask to a layer and use the mask to hide portions of the layer and reveal the layers below.
Background painted with black; description card painted with gray; basket painted with white A vector mask creates a sharp-edged shape on a layer and is useful anytime you want to add a design element with clean, defined edges. After you create a layer with a vector mask, you can apply one or more layer styles to it, edit them if needed, and instantly have a usable button, panel, or other web-design element.
To create a mask that hides the entire layer, Alt-click (Windows) or Option-click (Mac OS) the Add Layer Mask button, or choose Layer > Layer Mask > Hide All. In CS5, you can also use the Masks panel (Window > Masks). Add a layer mask that hides part of a layer 1. In the Layers panel, select the layer or group. 2. Select the area in the image, and do one of the following: Click the New Layer Mask button in the Layers panel to create a mask that reveals the selection.
Disable or enable a layer mask Do one of the following: Select the layer containing the layer mask you want to disable or enable, and click the Disable/Enable Mask button panel (CC, CS6) or the Masks panel (CS5). in the Properties Shift-click the layer mask thumbnail in the Layers panel. Select the layer containing the layer mask you want to disable or enable, and choose Layer > Layer Mask > Disable or Layer > Layer Mask > Enable.
To the top Change the layer mask rubylith color or opacity 1. Do one of the following: (CS5) Double-click the layer mask thumbnail. Double-click the layer mask channel in the Channels panel. 2. To choose a new mask color, in the Layer Mask Display Options dialog box, click the color swatch and choose a new color. 3. To change the opacity, enter a value between 0% and 100%.
(CC, CS6) In the Layers panel click the Mask thumbnail. A border appears around the thumbnail. (CS5) In the Masks panel, click the Pixel Mask button or the Vector Mask button. 3. Drag the Feather slider to apply feathering to the mask edges. Feathering blurs the edges of the mask to create a softer transition between the masked and unmasked areas. Feathering is applied from the edges of the mask outward, within the range of pixels you set with the slider. Refine mask edges 1.
Selecting Refine a selection Infinite Skills (Aug. 9, 2012) video-tutorial Refine a selection or mask edge Selecting areas of a photo video2brain (May. 7, 2012) video-tutorial Discover the basic building block of image editing.
Making selections About selecting pixels Select, deselect, and reselect pixels To the top About selecting pixels A selection isolates one or more parts of your image. By selecting specific areas, you can edit and apply effects and filters to portions of your image while leaving the unselected areas untouched. The easiest way to select pixels in your image is to use the quick selection tools.
Convert paths to selection borders Saving selections and alpha channel masks Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adjusting pixel selections Move, hide, or invert a selection Adjust selections manually Expand or contract a selection by a specific number of pixels Create a selection around a selection border Expand a selection to include areas with similar color Clean up stray pixels in a color-based selection Refine selection edges Soften the edges of selections Remove fringe pixels from a selection To the top Move, hide, or invert a selection You can move a selection border around an image, hide a selection border,
Choose View > Extras. This command shows or hides selection edges, grids, guides, target paths, slices, annotations, layer borders, count, and smart guide. Choose View > Show > Selection Edges. This toggles the view of the selection edges and affects the current selection only. The selection edges reappear when you make a different selection. Select the unselected parts of an image Choose Select > Inverse. You can use this option to select an object placed against a solid-colored background.
2. Using any selection tool, do one of the following: Select the Intersect With Selection option in the options bar, and drag. Hold down Alt+Shift (Windows) or Option+Shift (Mac OS) and drag over the portion of the original selection that you want to select. An “x” appears next to the pointer when you’re selecting an intersected area. Intersected selections To the top Expand or contract a selection by a specific number of pixels 1. Use a selection tool to make a selection. 2.
pixels creates a new, soft-edged selection that extends 10 pixels inside the original selection border and 10 pixels outside it. To the top Expand a selection to include areas with similar color Do one of the following: Choose Select > Grow to include all adjacent pixels falling within the tolerance range specified in the Magic Wand options. Choose Select > Similar to include pixels throughout the image, not just adjacent ones, falling within the tolerance range.
Video tutorial: Quickly creating refined selections Combine the Quick Selection and edge refinement tools to maximize your efficiency.... Read More by Martin Evening http://www.martinevening.c... http://goo.gl/wkXix Contribute your expertise to Adobe Community Help Video tutorial: Using improved selecting and masking Take a tour through the all the enhancements to selections and masks.... Read More by Jan Kabili http://www.lynda.com/Jan-K... http://www.adobe.
Smooth Reduces irregular areas (“hills and valleys”) in the selection border to create a smoother outline. Feather Blurs the transition between the selection and surrounding pixels. Contrast When increased, soft-edged transitions along the selection border become more abrupt. Typically, the Smart Radius option and refinement tools are more effective. Shift Edge Moves soft-edged borders inward with negative values or outward with positive ones.
Select pixels using anti-aliasing 1. Select the Lasso tool, the Polygonal Lasso tool, the Magnetic Lasso tool, the Elliptical Marquee tool, or the Magic Wand tool. 2. Select Anti-aliased in the options bar. Define a feathered edge for a selection tool 1. Select any of the lasso or marquee tools. 2. Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 0 to 250 pixels. Define a feathered edge for an existing selection 1.
from the layer. In this case, you would make the black or white areas transparent. Alt-click (Windows) or Option-click (Mac OS) the sliders to separate them; separating the sliders allows you to remove fringe pixels and retain a smooth edge. Decrease fringe on a selection 1. Choose Layer > Matting > Defringe. 2. Enter a value in the Width box to specify the area in which to search for replacement pixels. In most cases, a distance of 1 or 2 pixels is enough. 3. Click OK.
Moving, copying, and deleting selected pixels Move a selection Copy selections Copy between applications Delete selected pixels To the top Move a selection 1. Select the Move tool . 2. Move the pointer inside the selection border, and drag the selection to a new position. If you have selected multiple areas, all move as you drag.
Paste Into or Paste Outside Pastes a copied selection into or outside another selection in any image. The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask. Copy a selection 1. Select the area you want to copy. 2. Choose Edit > Copy, or Edit > Copy Merged. Copy a selection while dragging 1. Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate the Move tool. 2.
Note: If you’re pasting outside, select an area smaller than the copied selection. 3. Do either of the following: Choose Edit > Paste Special > Paste Into. The contents of the source selection appear within the destination selection. Choose Edit > Paste Special > Paste Outside. The contents of the source selection appear around the destination selection. The Paste Into or Paste Outside command adds a layer and layer mask to the image.
copy artwork between Photoshop and Illustrator by dragging and dropping. In some cases, the contents of the clipboard are converted to a raster image. Photoshop prompts you when vector artwork will be rasterized. Note: The image is rasterized at the resolution of the file into which you paste it. Vector Smart Objects are not rasterized. Paste PostScript artwork from another application 1. In the supporting application, select your artwork, and choose Edit > Copy. 2.
To copy the contents of the currently selected layer in Photoshop to Illustrator, use the Move tool to drag the content from the Photoshop window into an open Illustrator document. To the top Delete selected pixels Choose Edit > Clear, or press Backspace (Windows) or Delete (Mac OS). To cut a selection to the clipboard, choose Edit > Cut. Deleting a selection on a background layer replaces the original color with the background color.
Saving selections and alpha channel masks About masks and alpha channels Create and edit alpha channel masks Save and load selections To the top About masks and alpha channels When you select part of an image, the area that is not selected is masked, or protected from editing. So, when you create a mask, you isolate and protect areas of an image as you apply color changes, filters, or other effects to the rest of the image.
You can create a new alpha channel and then use painting tools, editing tools, and filters to create a mask from the alpha channel. You can also save an existing selection in a Photoshop image as an alpha channel that appears in the Channels panel. See Save and load selections. Book excerpt: Using the Masks panel Quickly fine-tune masks with one consolidated set of options.... Read More by Conrad Chavez http://www.conradchavez.co... http://goo.
Paint on a channel to mask image areas When the new channel appears at the bottom of the Channels panel, it is the only channel visible in the image window. Click the eye icon the composite color channel (RGB, CMYK) to display the image with a color overlay showing the mask. for Select the brush or an editing tool and do one of the following to add or subtract from the mask created from the alpha channel: To remove areas in the new channel, paint with white.
selections:adding to channelAdd to Channel Adds the selection to the current channel contents. selections:subtracting from channelSubtract From Channel Deletes the selection from the channel contents. Intersect With Channel optionselections:intersecting in channelIntersect With Channel Keeps the areas of the new selection that intersect with the channel contents. You can select the channel from the Channels panel to see the saved selection displayed in grayscale.
Subtract From Selection Subtracts the loaded selection from existing selections in the image. Intersect With Selection Saves a selection from an area intersected by the loaded selection and existing selections in the image. You can drag a selection from one open Photoshop image into another. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Selecting with the lasso tools Select with the Lasso tool Select with the Polygonal Lasso tool Select with the Magnetic Lasso tool To the top Select with the Lasso tool The Lasso tool is useful for drawing freeform segments of a selection border. 1. Select the Lasso tool , and set feathering and anti-aliasing in the options bar. (See Soften the edges of selections.) 2. To add to, subtract from, or intersect with an existing selection, click the corresponding button in the options bar.
Selection options A. New B. Add To C. Subtract From D. Intersect With 3. (Optional) Set feathering and anti-aliasing in the options bar. See Soften the edges of selections. 4. Click in the image to set the starting point. 5. Do one or more of the following: To draw a straight segment, position the pointer where you want the first straight segment to end, and click. Continue clicking to set endpoints for subsequent segments.
A. New B. Add To C. Subtract From D. Intersect With 3. (Optional) Set feathering and anti-aliasing in the options bar. See Soften the edges of selections. 4. Set any of these options: Width To specify a detection width, enter a pixel value for Width. The Magnetic Lasso tool detects edges only within the specified distance from the pointer. To change the lasso pointer so that it indicates the lasso width, press the Caps Lock key. You can change the pointer while the tool is selected but not in use.
9. To erase recently drawn segments and fastening points, press the Delete key until you’ve erased the fastening points for the desired segment. 10. Close the selection border: To close the border with a magnetic segment, double-click, or press Enter or Return. (To manually close the border, drag over the starting point and click.) To close the border with a straight segment, hold down Alt (Windows) or Option (Mac OS), and double-click. 11.
Selecting with the marquee tools The marquee tools let you select rectangles, ellipses, and 1-pixel rows and columns. 1. Select a marquee tool: Rectangular Marquee Elliptical Marquee Makes a rectangular selection (or a square, when used with the Shift key). Makes an elliptical selection (or a circle, when used with the Shift key). Single Row or Single Column Marquee Defines the border as a 1-pixel-wide row or column. 2. Specify one of the selection options in the options bar. Selection options A.
the selection shape constrained). To drag a marquee from its center, hold down Alt (Windows) or Option (Mac OS) after you begin dragging. Dragging a marquee from the corner of an image (left), and from the center of an image (right) by pressing Alt/Option as you drag With the Single Row or Single Column Marquee tool, click near the area you want to select, and then drag the marquee to the exact location. If no marquee is visible, increase the magnification of your image view.
Extract an object from its background Use the more effective and flexible Refine Edge command Use the older, optional Extract plug-in (Windows only) When you extract an object, Photoshop erases its background to transparency. Pixels on the edge of the object lose the color components derived from the background, so they can blend with a new background without producing a color halo.
Smart Highlighting Select this option if you are highlighting a well-defined edge. The option helps you keep the highlight on the edge, and applies a highlight that is just wide enough to cover the edge, regardless of the current brush size. Note: If you use Smart Highlighting to mark an object edge that’s near another edge, decrease the brush size if conflicting edges pull the highlight off the object edge.
Choose new Highlight and Fill options and draw again with the Edge Highlighter tool. Define the foreground area once more, and then preview the extracted object. Specify new Extraction settings (Smooth, Force Foreground, or Color) and then preview the extracted object. When you are satisfied with the extraction, you can do the final touchups. 8. Touch up the extraction results by doing one of the following: To erase background traces in the extracted area, use the Cleanup tool .
Duplicate, split, and merge channels Duplicate channels Split channels into separate images Merge channels To the top Duplicate channels You can copy a channel and use it in the current image or another image. Duplicate a channel If you are duplicating alpha channels between images, the channels must have identical pixel dimensions. You cannot duplicate a channel to a Bitmap-mode image. 1. In the Channels panel, select the channel to duplicate. 2. Choose Duplicate Channel from the Channels panel menu.
3. Do one of the following: Drag the channel from the Channels panel into the destination image window. The duplicated channel appears at the bottom of the Channels panel. Choose Select > All, and then choose Edit > Copy. Select the channel in the destination image and choose Edit > Paste. The pasted channel overwrites the existing channel. To the top Split channels into separate images You can split channels of flattened images only.
8. When you have finished selecting channels, click OK. The selected channels are merged into a new image of the specified type, and the original images are closed without any changes. The new image appears in an untitled window. Note: You cannot split and recombine (merge) an image with spot color channels. The spot color channel will be added as an alpha channel. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Create a temporary quick mask Creating and editing a quick mask Change Quick Mask options To the top Creating and editing a quick mask To use Quick Mask mode, start with a selection and then add to or subtract from it to make the mask. You can also create the mask entirely in Quick Mask mode. Color differentiates the protected and unprotected areas. When you leave Quick Mask mode, the unprotected areas become a selection.
Painting in Quick Mask mode A. Original selection and Quick Mask mode with green chosen as mask color B. Painting with white in Quick Mask mode adds to the selection C. Painting with black in Quick Mask mode subtracts from the selection 5. Click the Standard Mode button in the toolbox to turn off the quick mask and return to your original image. A selection border now surrounds the unprotected area of the quick mask.
4. To change the opacity, enter a value between 0% and 100%. Both the color and opacity settings affect only the appearance of the mask and have no effect on how underlying areas are protected. Changing these settings may make the mask more easily visible against the colors in the image. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Channel calculations Blending layers and channels Blend channels with the Apply Image command Blend channels with the Calculations command Add and Subtract blending modes To the top Blending layers and channels You can use the blending effects associated with layers to combine channels within and between images into new images. You can use either the Apply Image command (on single and composite channels) or the Calculations command (on single channels).
7. Enter an Opacity value to specify the effect’s strength. 8. To apply the results only to opaque areas in the result layer, select Preserve Transparency. 9. If you want to apply the blending through a mask, select Mask. Then choose the image and layer containing the mask. For Channel, you can choose any color or alpha channel to use as the mask. You can also use a mask based on the active selection or the boundaries of the chosen layer (Transparency).
Because higher pixel values represent lighter colors, adding channels with overlapping pixels lightens the image. Black areas in both channels remain black (0 + 0 = 0). White in either channel results in white (255 + any value = 255 or greater). Add mode divides the sum of the pixel values by the Scale amount, and then adds the Offset value to the sum. For example, to find the average of the pixels in two channels, add them, divide by 2, and enter no Offset value.
Channel basics About channels Channels panel overview Show or hide a channel Show color channels in color Select and edit channels Rearrange and rename alpha and spot channels Delete a channel To the top About channels Channels are grayscale images that store different types of information: Color information channels are created automatically when you open a new image. The image’s color mode determines the number of color channels created.
Choose Windows > Channels. Resize or hide channel thumbnails Choose Panel Options from the Channels panel menu. Click a thumbnail size or click None to turn off the display of thumbnails. Viewing thumbnails is a convenient way of tracking channel contents; however, turning off the display of thumbnails can improve performance. To the top Show or hide a channel You can use the Channels panel to view any combination of channels in the document window.
To select a channel, click the channel name. Shift-click to select (or deselect) multiple channels. To edit a channel, select it and then use a painting or editing tool to paint in the image. You can paint on only one channel at a time. Paint with white to add the selected channel’s color at 100% intensity. Paint with a value of gray to add the channel’s color at a lower intensity. Paint with black to fully remove the channel’s color.
Selecting a color range in an image Select a range of colors From an expert: Adjusting skin tones Save Skin Tones settings as a preset | Creative Cloud only To the top Select a range of colors The Color Range command selects a specified color or color range within an existing selection or an entire image. If you want to replace a selection, be sure to deselect everything before applying this command. The Color Range command is not available for 32-bits-per-channel images.
Sampling color To adjust the selection: To add colors, select the plus eyedropper, and click in the preview area or image. To remove colors, select the minus eyedropper, and click in the preview area or image. To activate the plus eyedropper temporarily, hold down Shift. Hold down Alt (Windows) or Option (Mac OS) to activate the minus eyedropper. 5. Adjust the range of colors selected using the Fuzziness slider or by entering a value.
7. To revert to the original selection, hold down Alt (Windows) or Option (Mac OS), and click Reset. 8. To save and load color range settings, use the Save and Load buttons in the Color Range dialog box to save and reuse the current settings. (Creative Cloud only) Skin Tones selection settings can now be saved as a preset. Note: If you see the message “No pixels are more than 50% selected,” the selection border will not be visible.
Making quick selections Select with the Quick Selection tool Select with the Magic Wand tool To the top Select with the Quick Selection tool You can use the Quick Selection tool to quickly “paint” a selection using an adjustable round brush tip. As you drag, the selection expands outward and automatically finds and follows defined edges in the image. 1. Select the Quick Selection tool . (If the tool isn’t visible, hold down the Magic Wand tool .) 2.
To subtract from a selection, click the Subtract from option in the options bar, then drag over the existing selection. To temporarily switch between add and subtract modes, hold down the Alt (Windows) or Option (Mac) key. To change the tool cursor, choose Edit > Preferences > Cursors > Painting Cursors (Windows) or Photoshop > Preferences > Cursors > Painting Cursors (Mac OS). Normal Brush Tip displays the standard Quick Selection cursor with a plus or minus sign to show the selection mode. 6.
Convert paths to selection borders Selection tools gallery Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Image adjustments Auto color corrections Kelby (May. 7, 2012) video-tutorial One-click corrections to common image issues. Using adjustment layers video2brain (May. 7, 2012) video-tutorial Change color and tone with total flexibility.
Warp perspective | Photoshop CC Introduced in version 14.2 Background Prerequisite: Enable the graphics processor Adjust perspective FAQ Photoshop lets you easily adjust perspective in images. This feature is particularly useful for images having straight lines and flat surfaces—for example, architectural images and images of buildings. You can also use this feature to composite objects having different perspectives in a single image.
Define planes Before you adjust perspective, you must define the planes of the architecture in the image. 1. Open the image in Photoshop. 2. Select Edit > Perspective Warp. Review the onscreen tip and close it. 3. Draw quads along the planes of the architecture in the image. While drawing the quads, try to keep their edges parallel to the straight lines in the architecture. Draw the edges of the quads roughly parallel to the lines in the architecture.
Warp mode 2. Manipulate perspective in one of the several available ways: Move around the corners of the quads (pins) as appropriate. For example, you can adjust the perspective of this image, such that the two sides of the building exhibit foreshortening in equal measures. The resulting perspective would approximate a direct view of the building from a corner.
The selected edge is straightened. Also, the straightening of the edge is preserved during further perspective manipulation. Shift-click the edge again if you don't want to preserve its straightening.
Straighten vertically Automatically straighten both vertically and horizontally Straighten horizontally and vertically 3. Once you're done adjusting the perspective, click the Commit Perspective Warp icon ( Keyboard shortcuts The following keyboard shortcuts make it easier to adjust perspective: Arrow keys Slightly move a corner of a quad (pin) H Hides the grid when you're working in the Warp mode L Switches to the Layout mode W Switches to the Warp mode 375 ).
Enter key In the Layout mode, you can press the Enter key to quickly switch to the Warp mode. In the Warp mode, the Enter key commits the current changes to the perspective. Shift-click (Warp mode) Straightens an individual edge of a quad and keeps it straight during further perspective manipulation. If you don't want to preserve the straightening of the edge, Shift-click it again.
Reduce camera shake blurring | Photoshop CC Video | Using the camera shake reduction filter Images suitable for camera shake reduction Use automatic camera shake reduction Use multiple blur traces for camera shake reduction Advanced blur trace settings Photoshop features an intelligent mechanism to automatically reduce image blurring caused by camera motion. If necessary, you can adjust advanced settings to further sharpen the image.
Note: If no corrections seem to be applied to the image in the Shake Reduction dialog, ensure that the Preview option in the right-pane is enabled. To the top Use multiple blur traces for camera shake reduction A blur trace represents the shape and extent of the blur that affects a selected region of the image. Different regions of the image may have differently shaped blurs.
3. Add more blur traces if necessary. Create a blur trace using the Blur Direction Tool 1. Select the Blur Direction Tool ( ) from the left panel. 2. Draw a straight line representing the blur direction on the image. 3. If necessary, adjust the Blur Trace Length and Blur Trace Direction. Blur Trace Length and Blur Trace Direction Modify a blur trace using the Detail loupe 1. Using the Detail loupe, focus on a new image region suitable for camera shake reduction. 2.
Results for two blur traces displayed side-by-side While previewing the results for two blur traces side-by-side, you can quickly adjust Smoothing and Artifact Suppression and check how your changes affect the image. See Smoothing and Artifact Suppression. Duplicate a blur trace Drag a blur trace onto the Add Suggested Blur Trace icon ( ). Photoshop creates a copy of the blur trace and locks the duplicate copy.
Saving and loading blur traces To the top Advanced blur trace settings Advanced blur trace settings help you further fine-tune camera shake reduction. Blur trace bounds The Blur Trace Bounds setting represents the bound size of the blur trace. You can adjust this value if necessary. Source Noise Photoshop automatically estimates the amount of noise in the image. If necessary, select a different value (Auto/Low/Medium/High). Smoothing Smoothing reduces high-frequency sharpening noise.
Noise artifacts Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adjusting image sharpness and blur | CC, CS6 Video | Sharpening in Photoshop CC Sharpening recommendations Sharpen using Smart Sharpen Sharpen using Unsharp Mask Sharpen selectively Add lens blur Blur image areas Sharpen image areas To the top Sharpening recommendations Sharpening enhances the definition of edges in an image. Whether your images come from a digital camera or a scanner, most images can benefit from sharpening.
(Photoshop CC) Smart Sharpen dialog 1. Zoom the document window to 100% to get an accurate view of the sharpening. 2. Choose Filter > Sharpen > Smart Sharpen. 3. Set the controls in the Sharpen tabs: Amount Sets the amount of sharpening. A higher value increases the contrast between edge pixels, giving the appearance of greater sharpness. Radius Determines the number of pixels surrounding the edge pixels affected by the sharpening.
5. Click OK. To the top Sharpen using Unsharp Mask The Unsharp Mask sharpens an image by increasing contrast along the edges in an image. The Unsharp Mask does not detect edges in an image. Instead, it locates pixels that differ in value from surrounding pixels by the threshold you specify. It then increases the contrast of neighboring pixels by the amount you specify. So, for neighboring pixels the lighter pixels get lighter and the darker pixels get darker.
4. Drag the Amount slider or enter a value to determine how much to increase the contrast of pixels. For high-resolution printed images, an amount between 150% and 200% is usually recommended. 5. Drag the Threshold slider or enter a value to determine how different the sharpened pixels must be from the surrounding area before they are considered edge pixels and sharpened by the filter.
Selecting a channel with the greatest contrast Duplicate the selected channel. With the duplicate channel selected, choose Filter > Stylize > Find Edges. Choose Image > Adjustments > Invert to invert the image. Find Edges filter applied and image inverted With the inverted image still selected, choose Filter > Other > Maximum. Set the radius to a low number and click OK to thicken the edges and randomize the pixels. Choose Filter > Noise > Median. Set the radius to a low number and click OK.
To the top Add lens blur Adds blur to an image to give the effect of a narrower depth of field so that some objects in the image stay in focus and others areas are blurred. You can use a simple selection to determine which areas are blurred, or you can provide a separate alpha channel depth map to describe exactly how you want the blur added. The Lens Blur filter uses the depth map to determine the position of pixels in an image.
Choose a brush tip and set options for the blending mode and strength in the options bar. Select Sample All Layers in the options bar to blur using data from all visible layers. Deselect this option and the tool uses data from only the active layer. 3. Drag over the part of the image you want to blur. To the top Sharpen image areas The Sharpen tool increases contrast along edges to increase apparent sharpness. The more you paint over an area with the tool, the more sharpening increases. 1.
Understanding color adjustments Before making color and tonal adjustments Correcting images Adjustments panel overview Color adjustment commands Make a color adjustment Save adjustment settings Reapply adjustment settings Correcting colors in CMYK and RGB Identify out-of-gamut colors To the top Before making color and tonal adjustments The powerful tools in Photoshop can enhance, repair, and correct the color and tonality (lightness, darkness, and contrast) in an image.
3. Adjust the color balance to remove unwanted color casts or to correct oversaturated or undersaturated colors. See Color adjustment commands. 4. Adjust the tonal range, using either the Levels or Curves adjustments. Begin tonal corrections by adjusting the values of the extreme highlight and shadow pixels in the image, setting an overall tonal range for the image. This process is known as setting the highlights and shadows or setting the white and black points.
3. (Optional) Do any of the following: To toggle the visibility of the adjustment, click the Toggle Layer Visibility button To return the adjustment to its original settings, click the Reset button . . To discard an adjustment, click the Delete This Adjustment Layer button . To expand the width of the Adjustment panel, in Photoshop CC and Photoshop CS6, drag a bottom corner of the panel. In Photoshop CS5, click the Expand View button.
To the top Color adjustment commands You can choose from the following color adjustment commands: Adjust Levels Auto Quickly corrects the color balance in an image. Although its name implies an automatic adjustment, you can fine-tune how the Auto Color command behaves. See Remove a color cast using Auto Color. Levels command Adjusts color balance by setting the pixel distribution for individual color channels. See Adjust color using Levels.
Click an adjustment icon in the Adjustments panel. In CS5, you can also select an adjustment preset in the Adjustments panel. Create an adjustment layer. See Create and confine adjustment and fill layers. Double-click the thumbnail of an existing adjustment layer in the Layers panel. Note: You can also choose Image > Adjustments, and choose a command from the submenu to apply adjustments directly to the image layer. Keep in mind that this method discards image information.
Although you can perform all color and tonal corrections in RGB mode and most adjustments in CMYK mode, choose a mode carefully. Avoid multiple conversions between modes, because color values are rounded and lost with each conversion. Don’t convert RGB images to CMYK mode if they are meant for on-screen display. For CMYK images that are separated and printed, do not make color corrections in RGB mode.
3. Enter a value in the Opacity box, then click OK. Use this option to reveal more or less of the underlying image through the warning color. Values can range from 1 % to 100%. Original image, and out-of-gamut colors preview with blue selected for gamut warning color Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Levels adjustment Levels overview From an expert: Levels command Adjust tonal range using Levels Adjust color using Levels Add contrast to a photo with Levels To the top Levels overview You use the Levels adjustment to correct the tonal range and color balance of an image by adjusting intensity levels of image shadows, midtones, and highlights. The Levels histogram is a visual guide for adjusting the image key tones. For more information on how to read a histogram, see About histograms.
The outer two Input Levels sliders map the black point and white point to the settings of the Output sliders. By default, the Output sliders are at level 0, where the pixels are black, and level 255, where the pixels are white. With the Output sliders in the default positions, moving the black input slider maps the pixel value to level 0 and moving the white point slider maps the pixel value to level 255. The remaining levels are redistributed between levels 0 and 255.
Moving the middle Input slider to the left makes the overall image lighter. This slider adjustment maps a lower (darker) level up to the midpoint level between the Output sliders. If the Output sliders are in their default position (0 and 255), the midpoint is level 128. In this example, the shadows expand to fill the tonal range from 0 to 128, and the highlights are compressed. Moving the middle Input slider to the right has the opposite effect, making the image darker.
Targeting images for press Setting highlight and shadow target values Using Levels to preserve highlight and shadow details for printing Set target values using the eyedroppers To the top Setting highlight and shadow target values Assigning (targeting) highlight and shadow values of an image is necessary because most output devices (usually printing presses) cannot print detail in the blackest shadow values (near level 0) or the whitest highlight values (near level 255).
When you select Levels or Curves, the Eyedropper tool is active outside the Properties panel (CC, CS6) or Adjustments panel (CS5). You still have access to the scroll controls, the Hand tool, and the Zoom tool through keyboard shortcuts. 3.
values quickly by entering 4 in the Brightness (B) box under the HSB area of the Color Picker. With a high-key image, you may want to set the shadow to a higher value to maintain detail in the highlights. Experiment with Brightness values from 4 through 20. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Viewing histograms and pixel values About histograms Histogram panel overview View the histogram for a multilayered document Preview histogram adjustments Refresh the histogram display View color values in an image View color information while adjusting color Adjusting color samplers To the top About histograms A histogram illustrates how pixels in an image are distributed by graphing the number of pixels at each color intensity level.
Histogram panel (Expanded view) A. Channel menu B. panel menu C. Uncached Refresh button D. Cached Data Warning icon E. Statistics Adjust the view of the Histogram panel Choose a view from the Histogram panel menu. Expanded View Displays the histogram with statistics. It also displays: controls for choosing the channel represented by the histogram, viewing options in the Histogram panel, refreshing the histogram to display uncached data, and choosing a specific layer in a multilayered document.
View a specific channel in the histogram If you chose the Expanded View or All Channels View of the Histogram panel, you can choose a setting from the Channel menu. Photoshop remembers the channel setting if you switch from either Expanded View or All Channels View back to Compact View. Choose an individual channel to display a histogram of the channel, including color channels, alpha channels, and spot channels.
Count Shows the total number of pixels corresponding to the intensity level underneath the pointer. Percentile Displays the cumulative number of pixels at or below the level underneath the pointer. This value is expressed as a percentage of all the pixels in the image, from 0% at the far left to 100% at the far right. Cache Level Shows the current image cache used to create the histogram. When the cache level is higher than 1, the histogram is displayed faster.
Note: A higher cache level setting will increase the redraw speed for large, multi-layer files, but requires additional usage of system RAM. If RAM is limited or you work mainly with smaller images, use lower cache level settings To refresh the histogram so that it displays all of the pixels of the original image in its current state, do one of the following: Double-click anywhere in the histogram. Click the Cached Data Warning icon Click the Uncached Refresh button . .
3. If you selected the Color Sampler tool , place up to four color samplers on the image. Click where you want to place a sampler. To the top View color information while adjusting color You can view color information for specific pixels in the image while adjusting color in the Properties panel (CC, CS6) or the Adjustments panel (CS5). 1. Add an adjustment using the Adjustments panel. 2. Make adjustments in the Properties panel (CC, CS6) or the Adjustments panel (CS5).
Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Matching, replacing, and mixing colors Matching colors Replacing colors Mixing colors selectively To the top Matching colors Match the color in different images The Match Color command matches colors between multiple images, between multiple layers, or between multiple selections. It also lets you adjust the colors in an image by changing the luminance, changing the color range, and neutralizing a color cast. The Match Color command works only in RGB mode.
In the Image Statistics area, select Use Selection In Source To Calculate Colors if you made a selection in the source image and want to use the colors in the selection to compute the adjustment. Deselect this option to ignore the selection in the source image, and use the colors from the entire source image to compute the adjustment.
8. To adjust the range of color pixel values in the target layer, adjust the Color Intensity slider. Alternatively, enter a value in the Color Intensity box. The maximum value is 200, the minimum is 1 (which produces a grayscale image), and the default is 100. 9. To control the amount of adjustment applied to the image, adjust the Fade slider. Moving the slider to the right reduces the amount of adjustment. 10. Click OK.
1. Select the object you want to change. The Quick Selection tool range and Refine selection edges. often produces good results. For additional techniques, see Select a color 2. In the Adjustments panel, click the Hue/Saturation icon. The selection becomes a mask on the adjustment layer. 3. In the Properties panel (CC, CS6) or Adjustments panel (CS5), change Hue and Saturation settings to replace the object’s color. If original color tints the new color, select Colorize, and readjust settings.
exposed by the mask. 5. To refine the selection, do any of the following: Shift-click or use the Add To Sample Eyedropper tool to add areas. Alt-click (Windows), Option-click (Mac OS), or use the Subtract From Sample Eyedropper tool to remove areas. Click the Selection Color swatch to open the Color Picker. Use the Color Picker to target the color you want replaced. As you select a color in the Color Picker, the mask in the preview box is updated. 6.
Once Replaces the targeted color only in areas containing the color that you first click Background Swatch Replaces only areas containing the current background color. 4. From the Limits menu, select one of the following: Discontiguous Replaces the sampled color wherever it occurs under the pointer.
In Photoshop CC and CS6, choose the color you want to adjust from the Colors menu in the Properties panel. You can also choose a Preset that you’ve saved. In CS5, choose the color you want to adjust from the Colors menu in the Adjustments panel. (CC, CS6) In the Properties panel, choose a Selective Color preset from the Preset menu. 4.
Making quick tonal adjustments Apply the Auto Contrast adjustment Remove a color cast using Auto Color Set Auto adjustment options Using the Equalize command Adjust black and white points with the Auto option To the top Apply the Auto Contrast adjustment The Auto Contrast command adjusts image contrast automatically. Because Auto Contrast does not adjust channels individually, it does not introduce or remove color casts.
Note: You can also choose Image > Auto Color to apply the adjustment directly to the image layer. Keep in mind that this method discards image information and is automatic. You cannot adjust any of the options in the following steps. 2. In the Properties panel (CC, CS6) or Adjustments panel (CS5), Alt-click (Windows) or Option-click (Mac OS) the Auto button. 3. Under Algorithms in the Auto Color Correction Options dialog box, select the Find Dark & Light colors option. 4.
4. Select Snap Neutral Midtones if you want Photoshop to find an average nearly-neutral color in an image and then adjust the gamma (midtone) values to make the color neutral. The Auto Color command uses this algorithm. 5. To specify how much to clip black and white pixels, enter percentages in the Clip text boxes. A value between 0.0% and 1% is recommended. By default, Photoshop clips the black and white pixels by 0.1%—that is, it ignores the first 0.
Equalize Selected Area Only Evenly distributes only the pixels in the selection. Equalize Entire Image Based On Selected Area Evenly distributes all image layers based on those in the selection. To the top Adjust black and white points with the Auto option The Auto option for Levels and Curves and the Auto Tone command automatically adjust the black point and white point in an image.
High dynamic range images About high dynamic range images Take photos for HDR images Features that support 32-bpc HDR images Merge images to HDR Adjust displayed dynamic range for 32-bit HDR images About the HDR Color Picker Paint on HDR images To the top About high dynamic range images The dynamic range (ratio between dark and bright regions) in the visible world far exceeds the range of human vision and of images that are displayed on a monitor or printed.
To the top Take photos for HDR images Keep the following tips in mind when you take photos to be combined with the Merge To HDR Pro command: Secure the camera to a tripod. Take enough photos to cover the full dynamic range of the scene. You can try taking at least five to seven photos, but you might need to take more exposures depending on the dynamic range of the scene. The minimum number of photos should be three. Vary the shutter speed to create different exposures.
Modes RGB Color, Grayscale, conversion to 8 Bits/Channel or 16 Bits/Channel. Pixel Aspect Ratio Support for square and non-square documents. Selections Invert, Modify Border, Transform Selection, Save Selection and Load Selection. Tools All tools in the toolbox except: Magnetic Lasso, Magic Wand, Spot Healing Brush, Healing Brush, Red Eye, Color Replacement, Art History Brush, Magic Eraser, Background Eraser, Paint Bucket, Dodge, Burn, and Sponge. Some tools work with supported blend modes only.
Take a tour through all the new features.... Read More by Jan Kabili http://www.lynda.com/Jan-K... http://www.adobe.com/go/lrvid5004_ps_en Contribute your expertise to Adobe Community Help 1. Do one of the following: (Photoshop) Choose File > Automate > Merge To HDR Pro. (Bridge) Select the images you want to use and choose Tools > Photoshop > Merge To HDR Pro. Skip to step 5. 2. In the Merge To HDR Pro dialog box, click Browse to select specific images, click Add Open Files, or choose Use > Folder.
Edge Glow Radius specifies the size of the local brightness regions. Strength specifies how far apart two pixels’ tonal values must be before they’re no longer part of the same brightness region. Tone and Detail Dynamic range is maximized at a Gamma setting of 1.0; lower settings emphasize midtones, while higher settings emphasize highlights and shadows. Exposure values reflect f-stops. Drag the Detail slider to adjust sharpness and the Shadow and Highlight sliders to brighten or darken these regions.
In the upper-right corner of the Merge to HDR Pro dialog box, click the response curve menu (To later reapply the curve, choose Load Response Curve.) , and then choose Save Response Curve. Convert from 32 bits to 16 or 8 bpc If you originally created a 32-bit image during the Merge to HDR Pro process, you can later convert it to a 16- or 8-bit image. 1. Open a 32-bpc image in Photoshop, and choose Image > Mode > 16 Bits/Channel or 8 Bits/Channel. 2.
HDR Color Picker A. Preview area B. Adjusted color C. Original color D. 32-bit floating point values E. Intensity slider F. Picked color G. Color slider H. Color values Display the HDR Color Picker With a 32-bpc image open, do one of the following: In the toolbox, click the foreground or background color selection box. In the Color panel, click the Set Foreground Coloror Set Background Color selection box. The Color Picker is also available when features let you choose a color.
Preview Stop Size Sets the stop increments for each preview swatch. For example, a setting of 3 results in swatches of -9, -6, -3, +3, +6, +9. These swatches let you preview the appearance of your selected color at different exposure settings. Relative to Document Select to adjust the preview swatches to reflect the current exposure setting for the image.
Applying special color effects to images Desaturate colors Invert colors Create a two-valued black and white image Posterize an image Apply a gradient map to an image To the top Desaturate colors The Desaturate command converts a color image to grayscale values, but leaves the image in the same color mode. For example, it assigns equal red, green, and blue values to each pixel in an RGB image. The lightness value of each pixel does not change.
1. Do one of the following: Click the Threshold icon in the Adjustments panel. Choose Layer > New Adjustment Layer > Threshold. Click OK in the New Layer dialog box. The Properties panel (CC, CS6) or Adjustments panel (CS5) displays a histogram of the luminance levels of the pixels in the current selection. Note: You can also choose Image > Adjustments > Threshold. But keep in mind that this method makes direct adjustments to the image layer and discards image information. 2.
To choose from a list of gradient fills, click the triangle to the right of the gradient fill. Click to select the desired gradient fill, and then click in a blank area of the Properties panel (CC, CS6) or Adjustments panel (CS5) to dismiss the list. For information on customizing the gradient fill list, see Work with the Preset Manager. To edit the currently-displayed gradient fill, click the gradient fill, and then modify the existing gradient fill or create a gradient fill in the Gradient Editor.
Applying the Color Balance adjustment Apply the Color Balance adjustment Change the color balance using the Photo Filter command To the top Apply the Color Balance adjustment The Color Balance command changes the overall mixture of colors in an image for generalized color correction. 1. Make sure that the composite channel is selected in the Channels panel. This command is available only when you’re viewing the composite channel. 2.
2. In the Properties panel (CC, CS6) or Adjustments panel (CS5), choose the filter color, either a custom filter or a preset. For a custom filter, select the Color option, click the color square, and use the Adobe Color Picker to specify a color for a custom color filter. For a preset filter, select the Filter option and choose one of the following presets from the Filter menu: Warming Filter (85 and LBA) and Cooling Filter (80 and LBB) Color conversion filters that tune the white balance in an image.
Apply a Brightness/Contrast adjustment Apply the Brightness/Contrast adjustment To the top Apply the Brightness/Contrast adjustment The Brightness/Contrast adjustment lets you make simple adjustments to the tonal range of an image. Moving the brightness slider to the right increases tonal values and expands image highlights, to the left decreases values and expands shadows. The contrast slider expands or shrinks the overall range of tonal values in the image.
Adjustment and fill layers About adjustment and fill layers Create and confine adjustment and fill layers Edit or merge adjustment and fill layers To the top About adjustment and fill layers An adjustment layer applies color and tonal adjustments to your image without permanently changing pixel values. For example, rather than making a Levels or Curves adjustment directly to your image, you can create a Levels or Curves adjustment layer.
Adjustment and fill layers A. Adjustment layer confined to “Log home” layer only B. Layer thumbnail C. Fill layer D. Layer mask Create an adjustment layer Do one of the following: Click the New Adjustment Layer button at the bottom of the Layers panel, and choose an adjustment layer type. Choose Layer > New Adjustment Layer, and choose an option. Name the layer, set layer options, and click OK. (Photoshop CS5) Click an adjustment icon or select an adjustment preset in the Adjustments panel.
Create an adjustment or fill layer mask using a selection or path 1. In the Layers panel, select the layer to which you want to apply the adjustment or fill layer. 2. In the image, create a pixel selection, or create and select a closed path. A selection confines the new adjustment or fill layer with a layer mask. A path confines the new adjustment or fill layer with a vector mask. 3. Create an adjustment or fill layer.
Editing adjustment and fill layers You can edit an adjustment or fill-layer setting. You can also edit the mask of an adjustment or fill layer to control the effect that the layer has on the image. By default, all areas of an adjustment or fill layer are “unmasked” and are therefore visible. (See About layer and vector masks.) Change adjustment and fill layer options 1. Do one of the following: Double-click the adjustment or fill-layer thumbnail in the Layers panel. Choose Layer > Layer Content Options.
Adjust color and tone with Levels and Curves eyedroppers Set black and white points using the Eyedropper tools Color correct using the eyedroppers To the top Set black and white points using the Eyedropper tools Keep in mind that using the eyedroppers undoes any previous adjustment you made in Levels or Curves. If you plan to use the eyedroppers, it’s best to use them first and then fine-tune your adjustments with the Levels sliders or Curves points. 1. Apply a Curves or Levels adjustment. 2.
3. In the Adjustments panel (CS5) or the Properties panel (CS6), double-click the Set Gray Point tool . 4. In the Adobe Color Picker, verify that the currently selected color has identical R, G, and B values for a neutral gray (for example, 128,128,128). If necessary, type the identical values for R, G, and B. Photoshop asks whether you want to save the new target color as a default. 5. With the Set Gray Point eyedropper tool, click the neutral area that you identified in Step 1.
Curves adjustment Curves overview From an expert: Working with Curves Adjust image color and tone with Curves Add contrast to the midtones of a photo with Curves Keyboard shortcuts: Curves To the top Curves overview In the Curves adjustment, you adjust points throughout an image’s tonal range. Initially, the image’s tonality is represented as a straight diagonal line on a graph.
the bottom of the curve upward. Moving a point either up or to the left maps a lower Input value to a higher Output value, and the image lightens. 1. To apply a Curves adjustment, do one of the following: Click the Curves icon in the Adjustments panel. Choose Layer > New Adjustment Layer > Curves. Click OK in the New Layer dialog box. (CS5) Select a Curves preset in the Adjustments panel.
To remove a control point, do any of the following: Drag the control point off the graph. Select the control point and press Delete. Ctrl-click (Windows) or Command-click (Mac OS) the control point. Set Curve display options You can control the curve grid display using the Curve display options. 1. Apply a Curves adjustment. 2. In the the Properties panel (CC, CS6) or the Adjustments panel (CS5), choose Curves Display Options from the panel menu.
To the top Add contrast to the midtones of a photo with Curves If the image uses the full tonal range, but needs midtone contrast, Click the Curves icon shape. in the Adjustments panel. Drag the curve into an S Increasing the slope in the middle of the curve increases contrast in the midtones.
Adjusting image color and tone Overview of adjusting image color and tone Adjusting image color and tone with adjustment layers Adjusting image color and tone in Camera Raw To the top Overview of adjusting image color and tone Two ways to adjust image tone and color are to use adjustment layers or to edit in Adobe Camera Raw. Both offer a wide range of control and flexibility, without permanently altering or damaging the original image information. The integrity of your original images is preserved.
4. Use the controls in Adobe Camera Raw to adjust the settings. You can use the Adjustment brush to apply edits to specific areas of the image. For more information, see Make color and tonal adjustments in Camera Raw. Note: You can set preferences to always open JPEGs and TIFFs in Camera Raw. Tip: Why You Should Set Photoshop to Open Your JPGs in Adobe Camera RAW - video tutorial by Terry White (8:07) Enable editing of JPEGs and TIFFs in Camera Raw 1.
Adjust shadow and highlight detail To the top Improve shadow and highlight detail The Shadow/Highlight command is one method for correcting photos with silhouetted images due to strong backlighting or correcting subjects that have been slightly washed out because they were too close to the camera flash. The adjustment can also be used for brightening areas of shadow in an otherwise well-lit image.
Shadow/Highlight command options Amount Controls (separately for the highlight and shadow values in the image) how much of a correction to make. Note: Extreme Amount values may lead to a crossover, where what started as a highlight becomes darker than something that started as a shadow; this can make the adjusted images look ‘unnatural’. Tonal Width Controls the range of tones in the shadows or highlights that are modified.
Convert a color image to black and white The Black & White adjustment lets you convert a color image to grayscale while maintaining full control over how individual colors are converted. You can also tint the grayscale by applying a color tone to the image, for example to create a sepia effect. 1. Do one of the following: Click the Black & White icon (CS5) or (CS6) in the Adjustments panel. (CS5) Click a Black & White preset in the Adjustments panel.
Adjusting hue and saturation Apply a Hue/Saturation adjustment Adjust color saturation using Vibrance Adjust color saturation in image areas Hue/Saturation lets you adjust the hue, saturation, and lightness of a specific range of colors in an image or simultaneously adjust all the colors in an image. This adjustment is especially good for fine-tuning colors in a CMYK image so that they are in the gamut of an output device.
Color wheel A. Saturation B. Hue You can also select the On-image adjustment tool in the Adjustments panel (CS5) or the Properties panel (CS6), and then Ctrl-click (Windows) or Command-click (Mac OS) a color in the image. Drag left or right in the image to modify the hue value. 4. For Saturation, enter a value or drag the slider to the right to increase the saturation or to the left to decrease it. The color shifts away from or toward the center of the color wheel.
Hue/Saturation adjustment slider A. Hue slider values B. Adjusts fall-off without affecting range C. Adjusts range without affecting fall-off D. Adjusts range of color and fall-off E. Moves entire slider If you modify the adjustment slider so that it falls into a different color range, the name in the Edit menu changes to reflect this change. For example, if you choose Yellow and alter its range so that it falls in the red part of the color bar, the name changes to Red 2.
2. In the Adjustments panel (CS5) or the Properties panel (CS6), drag the Vibrance slider to increase or decrease color saturation without clipping when colors become more saturated. Then, do one of the following: To apply more adjustment to less saturated colors and prevent colors clipping as they reach total saturation, move the Vibrance slider to the right. To apply the same amount of saturation adjustment to all colors regardless of their current saturation, move the Saturation slider.
Adjust HDR exposure and toning Note: In Photoshop CS5 and Photoshop CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are part of Photoshop CC. Photoshop CC does not have a separate Extended offering. The Exposure and HDR Toning adjustments are primarily designed for 32-bit HDR images, but you can also apply them to 16- and 8-bit images to create HDR-like effects. For a video about applying HDR effects to16- or 8-bit images, see www.adobe.
1. Open a 32-, 16-, or 8-bit image in RGB or Grayscale color mode. 2. Choose Image > Adjustments > HDR Toning. For detailed information about each setting, see Options for 16- or 8-bit images. (In the HDR Toning dialog box, these options appy to images of all bit depths.) For more information about HDR High dynamic range images Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Dodge or burn image areas The Dodge tool and the Burn tool lighten or darken areas of the image. These tools are based on a traditional darkroom technique for regulating exposure on specific areas of a print. Photographers hold back light to lighten an area on the print (dodging) or increase the exposure to darken areas on a print (burning). The more you paint over an area with the Dodge or Burn tool, the lighter or darker it becomes.
Camera Raw Camera Raw 7 plug-in Kelby (May. 7, 2012) video-tutorial Tap into the latest noise, color, and dynamic range controls. Enhancing Raw images video2brain (May. 7, 2012) video-tutorial Draw upon the full range of image data.
What's new in ACR 8.x ACR 8.3 ACR 8.1 and 8.2 New feature Enhanced feature To the top ACR 8.3 Adobe Camera Raw now offers the following enhancements: Automatic straightening of an image through one of the following three interactions: Double-click the Straighten tool ( ) in the toolbar. With the Straighten tool selected, double-click anywhere in the preview image. With the Crop tool selected, press the Command key (on Mac) or Ctrl key (on Windows) to temporarily switch to the Straighten tool.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Introduction to Camera Raw About camera raw files About Camera Raw About the Digital Negative (DNG) format Processing images with Camera Raw Camera Raw dialog box overview Work with the Camera Raw cache in Adobe Bridge Work with Camera Raw and Lightroom To the top About camera raw files A camera raw file contains unprocessed, uncompressed grayscale picture data from a digital camera’s image sensor, along with information about how the image was captured (metadata).
note: A caution icon camera raw image. appears in the thumbnails and preview image in the Camera Raw dialog box while the preview is generated from the You can modify the default settings that Camera Raw uses for a particular model of camera. For each camera model, you can also modify the defaults for a particular ISO setting or a particular camera (by serial number). You can modify and save image settings as presets for use with other images.
Adjust color. Color adjustments include white balance, tone, and saturation. You can make most adjustments on the Basic tab, and then use controls on the other tabs to fine-tune the results. If you want Camera Raw to analyze your image and apply approximate tonal adjustments, click Auto on the Basic tab. To apply the settings used for the previous image, or to apply the default settings for the camera model, camera, or ISO settings, choose the appropriate command from the Camera Raw Settings menu .
Camera Raw dialog box A. Filmstrip B. Toggle Filmstrip C. Camera name or file format D. Toggle full-screen mode E. Image adjustment tabs F. Histogram G. Camera Raw Settings menu H. Zoom levels I. Workflow options J. Navigation arrows K. Adjustment sliders Note: Some controls, such as the Workflow Options link, that are available when you open the Camera Raw dialog box from Adobe Bridge or Photoshop are not available when you open the Camera Raw dialog box from After Effects.
Fine-tune tonality using a Parametric curve and a Point curve. Detail Sharpen images or reduce noise. HSL / Grayscale Fine-tune colors using Hue, Saturation, and Luminance adjustments. Split Toning Color monochrome images or create special effects with color images. Lens Corrections Compensate for chromatic aberration, geometric distortions, and vignetting caused by the camera lens. Effects Simulate film grain or apply a postcrop vignette.
Adjustments made in Camera Raw are also displayed in the Adobe Bridge Content and Preview panels. To view Lightroom changes in Camera Raw, and to ensure that Camera Raw adjustments can be viewed in Lightroom and Adobe Bridge, do the following: 1. In Adobe Bridge, choose Edit >Camera Raw Preferences (Windows) or Bridge > Camera Raw Preferences (Mac OS). Or, with the Camera . Raw dialog box open, click the Open Preferences Dialog button 2. Choose Save Image Settings In > Sidecar “.
Automatic Perspective Correction in Camera Raw | Photoshop CC Straighten geometrical shapes that appear skewed because of lens distortion Using an incorrect lens, or camera shake can cause the perspective of photographs to be tilted or skewed. The perspective may be distorted, and is more evident in photographs containing continuous vertical lines or geometric shapes. Adobe Camera Raw has Upright modes - four settings that can be used to automatically fix perspective.
Choose an Upright mode, and make further adjustments with the sliders 5. Cycle through the Upright modes until you find the most preferable setting. The four Upright modes correct and manage distortion and perspective errors. There is no recommended or preferable setting. The best setting varies from one photo to another. Experiment with the four Upright modes before deciding on the best possible Upright mode for your photo. 6. Use the Transform sliders to make any further modifications, as necessary.
Image with no correction (left), image with Vertical correction (middle), and image with Full correction (right). Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Radial Filter in Camera Raw | Photoshop CC Highlight portions of a photo, or enhance specific regions with localized corrections Applying a Radial Filter to enhance a photo Keyboard shortcuts and modifiers for the Radial Filter tool To fully control where a viewer's attention is drawn to on a photo, highlight the subject of the image. Some filters that create a vignetting effect help you achieve that purpose. However, such filters require the main subject to be in the center of the photo.
To create a Radial Filter, click and drag the mouse across the region, and draw a circular or elliptical shape. This shape determines the area that is affected or excluded from the alterations you are about to perform. To edit a Radial Filter, click any of the gray handles on the photo. When selected, the handle turns red. 5. To determine what area of the photo is modified, choose an Effect option (located below the sliders). Outside. All modifications are applied outside the selected area. Inside.
The Radial Filter tool options allow you to apply effects to an elliptical mask. 8. Follow steps 3 through 6 to continue adding or editing Radial Filters. 9. Clear the Show Overlay checkbox, to show how the finished photo appears. If you want to delete all the Radial Filters and start from scratch, click Clear All (this action cannot be undone).
Enhanced Spot Removal Tool in Camera Raw | Photoshop CC Remove any unwanted aspects of a photo in simple steps, with the Spot Removal Tool that now behaves like the Healing Brush Using the Spot Removal tool Cleaning up a photo with the Visualize Spots feature The Spot Removal tool in Camera Raw lets you repair a selected area of an image by sampling from a different area of the same image. The tool is similar to the Healing Brush available in Photoshop.
5. In the photo, click and drag the part of the photo to retouch. A red-and-white marquee area (red handle) designates your selection. A green-and-white marquee area (green handle) designates the sampled area. Identify the part of the image to heal, and then use the Spot Removal tool, to paint the area. Use the green and red handles (image right) to reposition the selected and sample areas 6. (Optional) To change the sampled area that is selected by default, do one of the following: Automatically.
checkbox (found in the options for the Spot Removal tool), the image is inverted. You can then use the Spot Removal tool in the Visualize Spots mode, to clean up the image further. The Visualize Spots checkbox is a Spot Removal tool option 1. Do one of the following: Open a camera raw file, or, With an image open in Photoshop CC, click Filter > Camera Raw Filter. 2. Select the Spot Removal tool from the toolbar, and then select the Visualize Spots checkbox.
Above, Visualize Spots view is off, and unnecessary elements like wispy clouds (left) have been removed (right) 3. Use the Visualize Spots slider to vary the contrast threshold of the inverted image. Move the slider to different contrast levels, to view imperfections like sensor dust, dots, or other unwanted elements. When the Spot Visualization checkbox is selected, to change the visualization threshold: Increase: Press . (period) Increase (in larger steps): Press Shift + .
Make color and tonal adjustments in Camera Raw Histogram and RGB levels Preview highlight and shadow clipping White balance controls Adjust tone Fine-tune tone curves Clarity, Vibrance, and Saturation controls HSL / Grayscale controls Adjust color or tone using the Targeted Adjustment tool Tone a grayscale image Editing HDR images in Camera Raw To the top Histogram and RGB levels A histogram is a representation of the number of pixels at each luminance value in an image.
To see only the pixels that are being clipped, press Alt (Windows) or Option (Mac OS) while dragging the Exposure, Recovery, or Blacks sliders. For the Exposure and Recovery sliders, the image turns black, and clipped areas appear white. For the Blacks slider, the image turns white and clipped areas appear black. Colored areas indicate clipping in one color channel (red, green, blue) or two color channels (cyan, magenta, yellow).
Correcting the white balance A. Moving the Temperature slider to the right corrects a photo taken with a higher color temperature of light B. Moving the Temperature slider to the left corrects a photo taken with a lower color temperature of light C. Photo after color temperature adjustment Tint Sets the white balance to compensate for a green or magenta tint. Decrease Tint to add green to the image; increase Tint to add magenta.
Exposure (All) Adjusts the overall image brightness. Adjust the slider until the photo looks good and the image is the desired brightness. Exposure values are in increments equivalent to aperture values (f-stops) on a camera. An adjustment of +1.00 is similar to opening the aperture 1 stop. Similarly, an adjustment of -1.00 is like closing the aperture 1 stop. Contrast (All) Increases or decreases image contrast, mainly affecting midtones.
Drag the Highlights, Lights, Darks, or Shadows slider in the nested Parametric tab. You can expand or contract the curve regions that the sliders affect by dragging the region divider controls along the horizontal axis of the graph. Drag a point on the curve in the nested Point tab. As you drag the point, the Input and Output tonal values are displayed beneath the tone curve. Choose an option from the Curve menu in the nested Point tab.
Dragging up or right increases values; dragging down or left decreases values. Sliders for more than one color may be affected when you drag with the Targeted Adjustment tool. Selecting the Grayscale Mix Targeted Adjustment tool converts the image to grayscale. 2. To make tone curve adjustments using the Targeted Adjustmenttool the image. , click it in the toolbar and choose Parametric Curve.
Manage Camera Raw settings Save image states as snapshots Save, reset, and load Camera Raw settings Specify where Camera Raw settings are stored Copy and paste Camera Raw settings Apply saved Camera Raw settings Export Camera Raw settings and DNG previews Specify Camera Raw workflow options To the top Save image states as snapshots You can record the state of an image at any time by creating a snapshot.
these locations if you don’t save them to the Camera Raw settings folder. However, you can use the Load Settings command to browse for and apply settings saved elsewhere. You can save and delete presets using the buttons at the bottom of the Presets tab. Click the Camera Raw Settings menu button and choose a command from the menu: Save Settings Saves the current settings as a preset. Choose which settings to save in the preset, and then name and save the preset.
must check your sidecar files in and out to change camera raw images; similarly, you must manage (e.g., rename, move, delete) XMP sidecar files together with their camera raw files. Adobe Bridge, Photoshop, After Effects, and Camera Raw take care of this file synchronization when you work with files locally.
Applying a preset Note: You can also apply presets from the Presets tab. To the top Export Camera Raw settings and DNG previews If you store file settings in the Camera Raw database, you can use the Export Settings To XMP command to copy the settings to sidecar XMP files or embed them in DNG files. This is useful for preserving the image settings with your camera raw files when you move them. You can also update the JPEG previews embedded in DNG files. 1. Open the files in the Camera Raw dialog box. 2.
size is like upsampling in Photoshop. For non-square pixel cameras, the native size is the size that most closely preserves the total pixel count. Selecting a different size minimizes the resampling that Camera Raw performs, resulting in slightly higher image quality. The best quality size is marked with an asterisk (*) in the Size menu. Note: You can always change the pixel size of the image after it opens in Photoshop. Resolution Specifies the resolution at which the image is printed.
Rotate, crop, and adjust images in Camera Raw Rotate images Straighten images Crop images Remove red-eye Remove spots To the top Rotate images Click the Rotate Image 90° Counter Clockwise button Click the Rotate Image 90° Clockwise button (or press L). (or press R). Note: Using commands in the Edit menu, you can also rotate images in Adobe Bridge without opening the Camera Raw dialog box. To the top Straighten images 1.
Note: To cancel the crop operation, press Esc with the Crop tool active, or click and hold the Crop tool button and choose Clear Crop from the menu. To cancel the crop and close the Camera Raw dialog box without processing the camera raw image file, click the Cancel button or deselect the Crop tool and press Esc. 4. When you are satisfied with the crop, press Enter (Windows) or Return (Mac OS).
To specify the sampled area, drag inside the green-and-white circle to move it to another area of the image. To specify the selected area being cloned or healed, drag inside the red-and-white circle. To adjust the size of the circles, move the pointer over the edge of either circle until it changes to a double-pointing arrow, and then drag to make both circles larger or smaller. To cancel the operation, press Backspace (Windows) or Delete (Mac OS).
Adjust color rendering for your camera in Camera Raw Apply a camera profile Specify a default camera profile Apply a profile to a group of images Create a camera profile preset Customize profiles using the DNG Profile Editor For each camera model it supports, Camera Raw uses color profiles to process raw images. These profiles are produced by photographing color targets under standardized lighting conditions and are not ICC color profiles.
1. Select a profile from the Camera Profilepop-up menu in the Camera Calibration tab of the Camera Raw dialog box. 2. Click the Camera Raw Settings menu button and choose Save New Camera Raw Defaults from the menu. To the top Apply a profile to a group of images 1. Select the images in the Filmstrip. 2. Choose a profile from the Camera Profile pop-up menu in the Camera Calibration tab of the Camera Raw dialog box. 3. Click the Synchronize button. 4.
Vignette and grain effects in Camera Raw Simulate film grain Apply a postcrop vignette To the top Simulate film grain The Grain section of the Effects tab has controls for simulating film grain for a stylistic effect reminiscent of particular film stocks. You can also use the Grain effect to mask enlargement artifacts when making large prints. Together, the Size and Roughness controls determine the character of the grain. Check grain at varying zoom levels to ensure that the character appears as desired.
1. Crop your image. See Crop images. 2. In the Post Crop Vignetting area of the Effects tab, choose a Style. Highlight Priority Applies the postcrop vignette while protecting highlight contrast but may lead to color shifts in darkened areas of an image. Appropriate for images with important highlight areas. Color Priority Applies the postcrop vignette while preserving color hues but may lead to loss of detail in bright highlights.
Navigate, open, and save images in Camera Raw Process, compare, and rate multiple images Automating image processing Open images Save a camera raw image in another format To the top Process, compare, and rate multiple images The most convenient way to work with multiple camera raw images is to use the Filmstrip view in Camera Raw. Filmstrip view opens by default when you open multiple images in Camera Raw from Adobe Bridge.
If you plan to use the action with the Batch command, you may want to use the Save As command and choose the file format when saving the camera raw image. When you use an action to open a camera raw file, the Camera Raw dialog box reflects the settings that were in effect when the action was recorded. You may want to create different actions for opening camera raw image files with different settings. When using the Batch command, select Override Action “Open” Commands.
Alt-click (Windows) or Option-click (Mac OS) Save to suppress the Camera Raw Save Options dialog box when saving a file. 2. In the Save Options dialog box, specify the following options: Destination Specifies where to save the file. If necessary, click the Select Folder button and navigate to the location. File Naming Specifies the filename using a naming convention that includes elements such as date and camera serial number.
Correct lens distortions in Camera Raw About lens corrections Correct image perspective and lens flaws automatically From an expert: Correct image perspective and lens flaws manually Correcting Chromatic Aberration in Camera Raw 7.1 To the top About lens corrections Camera lenses can exhibit different types of defects at certain focal lengths, f-stops, and focus distances. You can correct for these apparent distortions and aberrations using the Lens Corrections tab of the Camera Raw dialog box.
Camera Raw 6 (05:55).... Read More http://av.adobe.com/russellbrown/ACRWhatsNew_... Contribute your expertise to Adobe Community Help 1. In the nested Profile tab of the Lens Corrections tab, select Enable Lens Profile Corrections. 2. If Camera Raw does not find a suitable profile automatically, selecte a Make, Model, and Profile. Note: Some cameras have only one lens, and some lenses have only one profile. The lenses that are available depend on whether you’re adjusting a raw or a non-raw file.
of the image that extend beyond the crop boundary. 3. Under Chromatic Aberration, adjust any of the following: Fix Red/Cyan Fringe Adjusts the size of the red channel relative to the green channel. Fix Blue/Yellow Fringe Adjusts the size of the blue channel relative to the green channel. Zoom in on an area that contains very dark or black detail against a very light or white background. Look for color fringing.
Local brush and gradient adjustments remove fringes of all colors. Local defringe is available for Process Version 2012 only. Select the brush or gradient tools and drag in the image. Adjust the Defringe slider. A plus value removes the color fringe. Minus values protect image areas from defringing that you apply globally. Minus 100 protects the area from any defringing. For example, applying a strong global purple defringe can desaturate or alter edges of purple objects in your image.
Process versions in Camera Raw The process version is the technology that Camera Raw uses to adjust and render photos. Depending on which process version you use, different options and settings area available to you in the Basic tab and when you make local adjustments. Process Version 2012 Images edited for the first time in Camera Raw 7 use process version 2012. PV2012 offers new tone controls and new tone-mapping algorithms for high-contrast images.
Sharpening and noise reduction in Camera Raw Sharpen photos Reduce noise To the top Sharpen photos The sharpening controls on the Detail tab adjust edge definition in the image. The Adjustment Brush tool and Graduated Filter tool use the Radius, Detail, and Masking values when local sharpening is applied. Use the Apply Sharpening To option in the Camera Raw preferences to specify whether sharpening is applied to all images or just to previews.
Adjusting the Color and Color Detail sliders reduces chroma noise while preserving color detail (lower right). Note: If the Luminance Detail, Luminance Contrast, and Color Detail sliders are dimmed, click the Update To Current Process (2012) button the lower-right corner of the image. in Luminance Reduces luminance noise. Luminance Detail Controls the luminance noise threshold. Useful for noisy photos. Higher values preserve more detail but can produce noisier results.
Make local adjustments in Camera Raw About local adjustments Apply local adjustments with the Adjustment Brush tool in Camera Raw Apply local adjustments with the Graduated Filter tool in Camera Raw Save and apply local adjustment presets To the top About local adjustments The controls in the image adjustment tabs of Camera Raw affect the color and tone of an entire photo.
Brightness (PV2010 and PV2003) Adjusts the image brightness, with a greater effect in the midtones. Contrast (All) Adjusts the image contrast, with a greater effect in the midtones. Saturation (All) Changes the vividness or purity of the color. Clarity (All) Adds depth to an image by increasing local contrast. Sharpness (All) Enhances edge definition to bring out details in a photo. A negative value blurs details.
to Add. 6. (Optional) Refine the adjustment by doing any of the following: Drag any of the effect sliders in the Adjustment Brush tool options to customize the effect in the image. Press V to hide or show the pin icon. To toggle visibility of the mask overlay, use the Show Mask option, press Y, or position the pointer over the pin icon. To customize the color of the mask overlay, click the color swatch next to the Show Mask option. Then, choose a new color from the Color Picker.
Shadows (PV2012) Recovers detail in underexposed shadow areas of an image. Brightness (PV2010 and PV2003) Adjusts the image brightness, with a greater effect in the midtones. Contrast (All) Adjusts the image contrast, with a greater effect in the midtones. Saturation (All) Changes the vividness or purity of the color. Clarity (All) Adds depth to an image by increasing local contrast. Sharpness (All) Enhances edge definition to bring out details in the photo. A negative value blurs details.
Click Clear All at the bottom of the tool options to remove all Graduated Filter tool effects and set the mask mode to New. 5. (Optional) Click New to apply an additional Graduated Filter tool effect, and refine it as desired using the techniques in step 4. Note: When working with multiple Graduated Filter effects, click an overlay to select that effect and refine it.
Repair and restoration Using Content-Aware Patch Lynda.com (May. 7, 2012) video-tutorial Seamlessly repair imperfections. Using Content-Aware Move and Extend Lynda.com (May. 7, 2012) video-tutorial Recompose images with these simple steps.
Content-Aware Patch and Move Content-Aware Patch Content-Aware Move For information about using the Patch tool in versions earlier than Photoshop CS6, see Patch an area. To the top Content-Aware Patch The Patch tool is used to remove unwanted image elements. The Content-Aware option in the Patch tool synthesizes nearby content for seamless blending with the surrounding content. The results are similar to content-aware fill, but using this tool gives you the flexibility to choose the source area. 1.
1. In the toolbar, hold down the Spot Healing Brush and select the Content-Aware Move tool . 2. In the options bar, do the following: Content-Aware Move Options Mode Use the Move mode to place selected objects at at a different location. Use the Extend mode to expand or contract objects. Adaptation Choose a value for how closely the results reflect the existing image patterns.
Retouching and repairing images About the Clone Source panel Retouch with the Clone Stamp tool Set sample sources for cloning and healing Retouch with the Healing Brush tool Retouch with the Spot Healing Brush tool Patch an area Remove red eye To the top About the Clone Source panel The Clone Source panel (Window > Clone Source) has options for the Clone Stamp tools or Healing Brush tools.
3. To specify how you want to align the sampled pixels and how to sample data from the layers in your document, set any of the following in the options bar: Aligned Samples pixels continuously, without losing the current sampling point, even if you release the mouse button. Deselect Aligned to continue to use the sampled pixels from the initial sampling point each time you stop and resume painting. Sample Samples data from the layers you specify.
Scale or rotate the sample source 1. Select the Clone Stamp or Healing Brush tool and set one or more source samples. 2. In the Clone Source panel, select a clone source and then do any of the following: To scale the sample source, enter a percentage value for W (width) or H (height) or scrub W or H. The default is to constrain proportions. To adjust the dimensions independently or restore the constrain option, click the Maintain Aspect Ratio button .
transparency, and shading of the sampled pixels to the pixels being healed. As a result, the repaired pixels blend seamlessly into the rest of the image. (Photoshop Extended) The Healing Brush tool can be applied to video or animation frames. Sampled pixels and healed image 1. Select the Healing Brush tool . 2.
The sampled pixels are melded with the existing pixels each time you release the mouse button. If there is a strong contrast at the edges of the area you want to heal, make a selection before you use the Healing Brush tool. The selection should be bigger than the area you want to heal and precisely follow the boundary of contrasting pixels. When you paint with the Healing Brush tool, the selection prevents colors from bleeding in from the outside.
To the top Patch an area The Patch tool lets you repair a selected area with pixels from another area or a pattern. Like the Healing Brush tool, the Patch tool matches the texture, lighting, and shading of the sampled pixels to the source pixels. You can also use the Patch tool to clone isolated areas of an image. The Patch tool works with 8-bits or 16-bits-per-channel images. When repairing with pixels from the image, select a small area to produce the best result.
4. To extract texture with a transparent background from the sampled area, select Transparent. Deselect this option if you want to fully replace the target area with the sampled area. The Transparent option works best for solid or gradient backgrounds with clearly distinct textures (such as a bird in a blue sky). 5. Position the pointer inside the selection, and do one of the following: If Source is selected in the options bar, drag the selection border to the area from which you want to sample.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Correcting image distortion and noise About lens distortion Correct lens distortion and adjust perspective Reduce image noise and JPEG artifacts To the top About lens distortion Barrel distortion is a lens defect that causes straight lines to bow out toward the edges of the image. Pincushion distortion is the opposite effect, where straight lines bend inward.
The Edge menu specifies how to handle blank areas that result from pincushion, rotation, or perspective corrections. You can fill blank areas with transparency or a color, or you can extend the edge pixels of the image. Search Criteria Filters the Lens Profiles list. By default, profiles based on image sensor size appear first. To list RAW profiles first, click the pop-up menu , and select Prefer RAW Profiles. Lens Profiles Select a matching profile.
Angle Rotates the image to correct for camera tilt or to make adjustments after correcting perspective. You can also use the Straighten tool to make this correction. Drag along a line in the image that you want to make vertical or horizontal. Note: To avoid unintended scaling when adjusting perspective or angle settings, deselect Auto Scale Image on the Auto Correction tab. Scale Adjusts the image scale up or down. The image pixel dimensions aren’t changed.
Strength Controls the amount of luminance noise reduction applied to all image channels. Preserve Details Preserves edges and image details such as hair or texture objects. A value of 100 preserves the most image detail, but reduces luminance noise the least. Balance the Strength and Preserve Details controls to fine-tune noise reduction. Reduce Color Noise Removes random color pixels. A higher value reduces more color noise. Sharpen Details Sharpens the image. Removing noise reduces image sharpness.
Reshaping and transforming New Crop tool Lynda.com (Oct. 7, 2012) video-tutorial Interactive previews help you precisely trim images down to size. Wide-angle lens correction Kelby (Oct. 7, 2012) video-tutorial Quickly compensate for lens quirks, drawing from a detailed database. Correcting perspective video2brain (May. 7, 2012) video-tutorial Fix photo angles fast. Straightening a crooked image video2brain (May. 7, 2012) video-tutorial Define the horizon line.
Transforming objects From an expert: Free Transform command Apply transformations Select an item to transform Set or move the reference point for a transformation Scale, rotate, skew, distort, apply perspective, or warp Flip or rotate precisely Repeat a transformation Duplicate an item when transforming it Transform freely Warp an item Puppet Warp To the top Apply transformations Transforming scales, rotates, skews, stretches, or warps an image.
A. Original image B. Layer flipped C. Selection border rotated D. Part of object scaled Transform submenu commands Scale Enlarges or reduces an item relative to its reference point, the fixed point around which transformations are performed. You can scale horizontally, vertically, or both horizontally and vertically. Rotate Turns an item around a reference point. By default, this point is at the center of the object; however, you can move it to another location.
All transformations are performed around a fixed point called the reference point. By default, this point is at the center of the item you are transforming. However, you can change the reference point or move the center point to a different location using the reference point locator in the options bar. 1. Choose a transformation command. A bounding box appears in the image. 2. Do one of the following: In the options bar, click a square on the reference point locator .
6. (Optional) If you want to warp the image, click the Switch Between Free Transform And Warp Mode button in the options bar. 7. When you finish, do one of the following: Press Enter (Windows) or Return (Mac OS), click the Commit button marquee. To cancel the transformation, press Esc or click the Cancel button in the options bar, or double-click inside the transformation in the options bar. To the top Flip or rotate precisely 1. Select what you want to transform. 2.
2. Do one of the following: Choose Edit > Free Transform. If you are transforming a selection, pixel-based layer, or selection border, choose the Move tool Controls in the options bar. . Then select Show Transform If you are transforming a vector shape or path, select the Path Selection tool . Then select Show Transform Controls in the options bar. 3. Do one or more of the following: To scale by dragging, drag a handle. Press Shift as you drag a corner handle to scale proportionately.
Note: When you transform a bitmap image (versus a shape or path), the image becomes slightly less sharp each time you commit a transformation; therefore, performing multiple commands before applying the cumulative transformation is preferable to applying each transformation separately. To the top Warp an item The Warp command lets you drag control points to manipulate the shape of images, shapes, or paths, and so on. You can also warp using a shape in the Warp Style pop-up menu in the options bar.
To the manipulate the shape, drag the control points, a segment of the bounding box or mesh, or an area within the mesh. When adjusting a curve, use the control point handles. This is similar to adjusting the handles in the curved segment of a vector graphic. To undo the last handle adjustment, choose Edit > Undo. Manipulating the shape of a warp A. Original warp mesh B.
Mode Determines the overall elasticity of the mesh. Choose Distort for a highly elastic mesh good for warping wide-angle images or texture maps. Density Determines the spacing of mesh points. More Points increases precision but requires more processing time; Fewer Points does the opposite. Expansion Expands or contracts the outer edge of the mesh. Show Mesh Deselect to show only adjustment pins, providing a clearer preview of your transformations. To temporarily hide adjustment pins, press the H key. 4.
Press Alt (Windows) or Option (Mac OS) to rotate the mesh around a selected pin. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adjusting crop, rotation, and canvas Crop images Transform perspective while cropping | CS5 Crop and straighten scanned photos Straighten an image Rotate or flip an entire image Change the canvas size Make a frame To the top Crop images Cropping is the process of removing portions of an image to create focus or strengthen the composition. You can crop an image using the Crop tool and the Crop command. You can also trim pixels using the Crop And Straighten and the Trim commands.
4. If necessary, adjust the cropping marquee: To move the marquee to another position, place the pointer inside the bounding box and drag. To scale the marquee, drag a handle. To constrain the proportions, hold down Shift as you drag a corner handle. To rotate the marquee, position the pointer outside the bounding box (the pointer turns into a curved arrow), and drag. To move the center point around which the marquee rotates, drag the circle at the center of the bounding box.
Bottom Right Pixel Color to remove an area the color of the lower right pixel from the image. 3. Select one or more areas of the image to trim away: Top, Bottom, Left, or Right. To the top Transform perspective while cropping | CS5 To learn how to transform perspective in Photoshop CC and CS6, see Transform perspective while cropping. The Crop tool has an option that lets you transform the perspective in an image.
Press Enter (Windows) or Return (Mac OS), click the Commit button To cancel the cropping operation, press Esc or click the Cancel button in the options bar, or double-click inside the cropping marquee. in the options bar. To the top Crop and straighten scanned photos You can place several photos on your scanner and scan them in one pass, which creates a single image file. The Crop and Straighten Photos command is an automated feature that can create separate image files from the multiple-image scan.
Rotating images A. Flip Horizontal B. Original image C. Flip Vertical D. Rotate 90° CCW E. Rotate 180° F. Rotate 90° CW Choose Image > Image Rotation, and choose one of the following commands from the submenu: 180° Rotates the image by a half-turn. 90° CW Rotates the image clockwise by a quarter-turn. 90° CCW Rotates the image counterclockwise by a quarter-turn. Arbitrary Rotates the image by the angle you specify. If you choose this option, enter an angle between -359.99 and 359.
3. For Anchor, click a square to indicate where to position the existing image on the new canvas. 4.
The action plays, creating the frame around your photo. More Help Topics Rotate, Crop, and retouch images in Camera Raw Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Crop and straighten photos | CC, CS6 Crop or remove part of an image Crop tool updates | Creative Cloud only Straighten an image Transform perspective while cropping Resize the canvas using the Crop tool Cropping is the process of removing portions of an image to create focus or strengthen the composition. Use the Crop tool to crop and straighten images in Photoshop.
Auto Adjust Opacity, the opacity is reduces when you edit the crop boundaries. Delete cropped pixels Disable this option to apply a non-destructive crop and retain pixels outside the crop boundaries. Non-destructive cropping does not remove any pixels. You can later click the image to see areas outside current crop borders. Enable this option to delete any pixels that are outside the crop area. These pixels are lost and are not available for future adjustments.
Rotate the image using the crop tool to straighten it To straighten an image do one of the following: Place the pointer a little outside the corner handles and drag to rotate the image. A grid displays inside the crop box and the image rotates behind it. Click Straighten in the control bar and then using the Straighten tool, draw a reference line to straighten the photo. For example, draw a line along the horizon or an edge to straighten the image along it.
2. Drag the crop handles outwards to enlarge the canvas. Use the Alt/Option modifier key to enlarge from all sides. 3. Press Enter (Windows) or Return (Mac OS) to confirm the action. To resize the canvas, you can also choose Image > Canvas Size. See Change the Canvas size. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Warp images, shapes, and paths Warp an item Puppet Warp To the top Warp an item The Warp command lets you drag control points to manipulate the shape of images, shapes, or paths, and so on. You can also warp using a shape in the Warp Style pop-up menu in the options bar. Shapes in the Warp Style pop-up menu are also malleable; drag their control points. When using the control points to distort an item, choosing View > Extras shows or hides the warp mesh and control points. Using Warp A.
Dragging a control point to warp the mesh To the manipulate the shape, drag the control points, a segment of the bounding box or mesh, or an area within the mesh. When adjusting a curve, use the control point handles. This is similar to adjusting the handles in the curved segment of a vector graphic. To undo the last handle adjustment, choose Edit > Undo.
Density Determines the spacing of mesh points. More Points increases precision but requires more processing time; Fewer Points does the opposite. Expansion Expands or contracts the outer edge of the mesh. Show Mesh Deselect to show only adjustment pins, providing a clearer preview of your transformations. To temporarily hide adjustment pins, press the H key. 4. In the image window, click to add pins to areas you want to transform and areas you want to anchor in place. Moving a pin on the puppet mesh.
Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Vanishing Point Vanishing Point dialog box overview Work in Vanishing Point Export measurements, textures, and 3D information About perspective planes and the grid Define and adjust perspective planes in Vanishing Point Render grids to Photoshop About selections in Vanishing Point Fill selections with another area of an image Copy selections in Vanishing Point Paste an item into Vanishing Point Paint with a color in Vanishing Point Paint with sampled pixels in Vanishing Point Measure in Vanishing Point (Pho
Vanishing Point dialog box A. Vanishing Point menu B. Options C. Toolbox D. Preview of vanishing point session E. Zoom options For the keyboard shortcuts in Vanishing Point, see Keys for Vanishing Point. Vanishing Point tools Vanishing Point tools behave like their counterparts in the main Photoshop toolbox. You can use the same keyboard shortcuts for setting tool options. Selecting a tool changes the available options in the Vanishing Point dialog box.
Measures distances and angles of an item in a plane. See also Measure in Vanishing Point (Photoshop Extended) Zoom tool Magnifies or reduces the view of the image in the preview window. Hand tool Moves the image in the preview window. Magnify or reduce the preview image Do any of the following: Select the Zoom tool in the Vanishing Point dialog box, and click or drag in the preview image to zoom in; hold down Alt (Windows) or Option (Mac OS), and click or drag to zoom out.
By default, the Create Plane tool is selected. Click in the preview image to define the corner nodes. Try to use a rectangle object in the image as a guide when creating the plane. To tear off additional planes, use the Create Plane tool and Ctrl-drag (Windows) or Command-drag (Mac OS) an edge node. For more information, see Define and adjust perspective planes in Vanishing Point.
1. Open the Vanishing Point menu and choose either Export to DXF or Export To 3DS. 2. In the Export DXF or Export 3DS dialog box, select a location for the saved file and click Save. To the top About perspective planes and the grid Before you can make edits in Vanishing Point, you define rectangular planes that line up with the perspective in an image. The accuracy of the plane determines whether any edits or adjustments are properly scaled and oriented in your image.
Overlapping planes Create related perspective planes After creating a plane in Vanishing Point, you can create (tear off) additional planes that share the same perspective. Once a second plane is torn off from the initial perspective plane, you can tear off additional planes from the second plane and so forth. You can tear off as many planes as you want. Although new planes tear off at 90° angles, you can adjust them to any angle.
Note: Once you create a new (child) plane from an existing (parent) plane, you can no longer adjust the angle of the parent plane. Bounding box and grid alerts in Vanishing Point The bounding box and grid change colors to indicate the plane’s current condition. If your plane is invalid, move a corner node until the bounding box and grid are blue. Blue Indicates a valid plane. Keep in mind that a valid plane doesn’t guarantee results with the proper perspective.
Selections can be helpful when you’re painting or retouching to correct flaws, add elements, or enhance an image. In Vanishing Point, making selections let you paint or fill specific areas in an image while honoring the perspective defined by the planes in the image. Selections can also be used to clone and move specific image content in perspective. Using the Marquee tool in Vanishing Point, you draw a selection within a perspective plane.
obscure or reveal the image underneath. Heal menu Choose a blending mode if you plan to use a selection to move image content. This option determines how the moved pixels blend with the surrounding image: Choose Off so the selection doesn’t blend with the colors, shadows, and textures of the surrounding pixels. Choose Luminance to blend the selection with the lighting of the surrounding pixels. Choose On to blend the selection with the color, lighting, and shading of surrounding pixels. 3.
Transform tool options To scale a floating selection, make sure that it is in a perspective plane. Select the Transform tool and move the pointer on top of a node. When the pointer changes to a straight double arrow drag to scale the selection. Press the Shift key to constrain the aspect ratio as you scale. Press Alt (Windows) or Option (Mac OS) to scale from the center. To the top Fill selections with another area of an image 1. Make a selection in a perspective plane. 2.
2. Alt-drag (Windows) or Option-drag (Mac OS) the selection with the Marquee tool to create a copy of the selection and its image pixels. The copy becomes a floating selection, which seems to hover above the main image. You can move a floating selection, or you can select the Transform tool to scale or rotate the floating selection. 3. Do one of the following: Click outside the floating selection to deselect it. The selection’s content is pasted into the image, replacing the pixels that were below it.
The image conforms to the perspective of the plane. Note: After pasting the image in Vanishing Point, do not click anywhere in the image with the Marquee tool except to drag the pasted image to a perspective plane. Clicking anywhere else deselects the floating selection and permanently pastes the pixels into the image. To the top Paint with a color in Vanishing Point 1. Select the Brush tool. 2.
painting obscures or reveals the image beneath it). 3. Choose a blending mode from the Heal menu: To prevent the strokes from blending with the colors, shadows, and textures of the surrounding pixels, choose Off. To blend the strokes with the lighting of the surrounding pixels, choose Luminance. To blend the strokes with the color, lighting, and shading of surrounding pixels, choose On. 4.
3. (Optional) Draw additional measurements. The size of these measurements are scaled to the size of your initial measurement. 4. (Optional) Do one of the following: If you want the size of the grid to be independent of the Length value you assigned to the initial measurement, make sure Link Measurements To Grid is deselected. This is the default setting. If you want the size of the grid to adjust according to the Length value you assigned to the initial measurement, select Link Measurements To Grid.
Show or hide measurements in Vanishing Point Open the Vanishing Point menu and choose Show Measurements. Render measurements in Photoshop The Vanishing Point measurements are invisible when viewing an image in the Photoshop document window, even though the measurements are preserved in the image and appear whenever you launch Vanishing Point. Measurements can be rendered so when you finish working in Vanishing Point, they’re visible in the Photoshop document window.
Liquify filter Liquify filter overview Liquify filter enhancements | Creative Cloud only Applying Liquify as a smart filter | Creative Cloud only Distortion tools Distort an image Freeze and thaw areas Work with meshes Work with backdrops Reconstruct distortions To the top Liquify filter overview The Liquify filter lets you push, pull, rotate, reflect, pucker, and bloat any area of an image.
Navigate in the preview image Select the Hand tool in the Liquify dialog box, and drag in the preview image. Alternatively, hold down the spacebar with any tool selected, and drag in the preview image. To the top Liquify filter enhancements | Creative Cloud only In the Creative Cloud version of Photoshop, the Liquify filter is significantly faster than previous versions.The Liquify filter now supports Smart Objects, including Smart Object video layers, and is applied as a smart filter.
Push Left tool Moves pixels to the left when you drag the tool straight up (pixels move to the right if you drag down). You can also drag clockwise around an object to increase its size, or drag counterclockwise to decrease its size. To push pixels right when you drag straight up (or to move pixels left when you drag down), hold down Alt (Windows) or Option (Mac OS) as you drag. (CS5) Mirror tool Copies pixels to the brush area.
Use the Reconstruct tool or Reconstruct Options to fully or partially reverse the changes. Use other tools to change the image in new ways. 6. Do one of the following: Click OK to close the Liquify dialog box and apply the changes to the active layer. Click Cancel to close the Liquify dialog box without applying changes to the layer. Hold down Alt (Windows) or Option (Mac OS) and click Reset to revert all distortions to the preview image and reset all options to their defaults.
Shows the mask in the original image, so that you can add to the selection using the Freeze Mask tool. Adds selected pixels in channel to the current frozen area. Subtract From Selection Subtracts pixels in channel from the current frozen area. Intersect With Selection Uses only pixels that are selected and currently frozen. Invert Selection Uses selected pixels to invert the current frozen area.
Showing the backdrop Select Show Backdrop, and then choose Background from the Use menu and an option from the Mode menu. Showing changes to the target layer without showing the backdrop Select All Layers from the Use menu. Setting the Opacity to 0 shows only the target layer with the full effects of the Liquify filter. Setting the Opacity to a higher value shows less of the Liquify filter’s effect on the target layer.
Reconstruct part of a distorted image 1. Freeze areas you want to keep distorted. 2. Select the Reconstruct tool and specify brush options in the Tool Options area of the dialog box. 3. (CS5 only) Choose an option from the Reconstruct Mode menu in the Tool Options area of the dialog box. 4. Drag over the area you want to reconstruct. Pixels move more quickly at the brush center. Shift-click to reconstruct in a straight line between the current point and the previously clicked point.
Displace Reconstructs unfrozen areas to match the displacement at the start point for the reconstruction. You can use Displace to move all or part of the preview image to a different location. If you click and gradually spiral out from the start point, you displace or move a portion of the image to the area you brush over. Amplitwist Reconstructs unfrozen areas to match the displacement, rotation, and overall scaling that exist at the start point.
Free transformations of images,shapes, and paths Transform freely To the top Transform freely The Free Transform command lets you apply transformations (rotate, scale, skew, distort, and perspective) in one continuous operation. You can also apply a warp transformation. Instead of choosing different commands, you simply hold down a key on your keyboard to switch between transformation types. Note: If you are transforming a shape or entire path, the Transform command becomes the Transform Path command.
4. Do one of the following: Press Enter (Windows) or Return (Mac OS), click the Commit button marquee. To cancel the transformation, press Esc or click the Cancel button in the options bar, or double-click inside the transformation in the options bar.
Create panoramic images with Photomerge About Photomerge Take pictures for Photomerge Create a Photomerge composition Create 360-degree panoramas (Photoshop Extended) Book excerpt: Panoramas made easy Quickly master Photomerge with this excerpt from the Adobe Photoshop Book for Digital Photographers.... Read More http://goo.gl/xhWmG by Scott Kelby http://www.peachpit.com/au...
assemble the panorama. However, keep in mind that the images shouldn’t overlap too much. If images overlap by 70% or more, Photomerge may not be able to blend the images. Try to keep the individual photos at least somewhat distinct from each other. Use one focal length If you use a zoom lens, don’t change the focal length (zoom in or out) while taking your pictures.
matched. Cylindrical Reduces the “bow-tie” distortion that can occur with the Perspective layout by displaying individual images as on an unfolded cylinder. Overlapping content across files is still matched. The reference image is placed at the center. Best suited for creating wide panoramas. Applying Cylindrical Mapping Spherical Aligns and transforms the images as if they were for mapping the inside of a sphere.
1. Choose File > Automate > Photomerge. 2. In the Photomerge dialog box, add the images you want to use. Do not include images that cover the top (zenith) or bottom (nadir) of the scene. You’ll add these images later. 3. Select Spherical for the Layout. If you photographed with a fisheye lens, select the Auto layout and Geometric Distortion Correction. If Photoshop cannot automatically identify your lens, download the free Adobe Lens Profile Creator from the Adobe website. 4.
Content-aware scaling Resize images and protect content Preserve visual content when scaling images Specify content to protect when scaling To the top Resize images and protect content Content-Aware Scale resizes an image without changing important visual content such as people, buildings, animals, and so forth. While normal scaling affects all pixels uniformly when resizing an image, content-aware scaling mostly affects pixels in areas that don’t have important visual content.
Reference Point Position Positions the reference point at the specific location. Enter X-axis and Y-axis pixel dimensions. Scaling Percentage Specifies the image scaling as a percentage of the original size. Enter a percentage for the width (W) and height (H). If desired, click Maintain Aspect Ratio . Amount Specifies the ratio of content-aware scaling to normal scaling. Specify a percentage for content-aware scaling by typing in the text box or clicking the arrow and moving the slider.
Drawing and painting Vector Shapes Infinite Skills (Oct. 7, 2012) video-tutorial Drawing shapes in CS6 New shape, type, and design tools Lynda.com (May. 7, 2012) video-tutorial Genuine vector shapes, type styles, and more.
Modify shapes | CC, CS6 Modify rectangles and rounded rectangles Set shape stroke options To the top Modify rectangles and rounded rectangles You can adjust dimensions and placement of a rectangle. In Photoshop CC, you can also modify the corner radii of rounded rectangle shapes after they have been drawn. Each corner can be adjusted independently and adjustments can be simultaneously made to rectangles on multiple layers.
weight extend evenly in all directions around the path. Note: Keep in mind that the caps are not visible unless the path is opened. Also, cap styles are easier to see at thicker stroke weights. Click the Corner icon to the appearance of the stroke at corner points: Miter join Creates pointed corners that extend beyond the endpoint when the miter’s length is within the miter limit. Round join Creates rounded corners that extend half the stroke width beyond the endpoints.
About drawing Understanding shapes and paths Drawing modes To the top Understanding shapes and paths Drawing in Adobe Photoshop involves creating vector shapes and paths. In Photoshop, you can draw with any of the shape tools, the Pen tool, or the Freeform Pen tool. Options for each tool are available in the options bar. Before you begin drawing in Photoshop, you must choose a drawing mode from the options bar.
Drawing options A. Shape Layers B. Paths C. Fill Pixels More Help Topics Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Drawing shapes Create a shape on a shape layer Creating, editing, and working with shape layers Draw multiple shapes in a layer Draw a wheel shape Draw a custom shape Save a shape or path as a custom shape Create a rasterized shape Shape tool options Edit shapes The shape tools provide an easy way to create buttons, navigation bars, and other items used on web pages. For an overview of all drawing features in Photoshop, see About drawing. To the top Create a shape on a shape layer 1.
Photoshop team member Jeanne Rubbo shows you how to create, edit, and work with shape layers in a series of informative videos. Learn how to: Create a shape layer Edit the stroke and fill of a shape layer Edit multiple shape layers Drag shape paths between layers Combine shapes Work with subpaths Order subpaths Align subpaths For more information, see Drawing and type tools gallery.
5. Drag within the new shape to create the cutout. When you release the mouse, the image underneath the new shape shows through. 6. To reposition either shape, click the Path Selection tool in the toolbox (it may be hidden by the Direct Selection tool path. Drag it to its new location or use the arrow keys on the keyboard to nudge it a pixel at a time. ), and select the Shift-click to select more than one path.
Opacity Determines to what degree the shape will obscure or reveal the pixels beneath it. A shape with 1% opacity appears nearly transparent, while one with 100% opacity appears completely opaque. Anti-Aliased Smooths and blends the edge pixels with the surrounding pixels. 4. Set additional tool-specific options. See Shape tool options. 5. Draw the shape. To the top Shape tool options Each shape tool provides a unique subset of the options below.
Radius For rounded rectangles, specifies the corner radius. For polygons, specifies the distance from the center of a polygon to the outer points. Sides Specifies the number of sides in a polygon. Smooth Corners or Smooth Indents Renders a polygon with smooth corners or indents. Snap To Pixels Snaps edges of a rectangle or rounded rectangle to the pixel boundaries. Square Constrains a rectangle or rounded rectangle to a square.
Painting tools About painting tools, presets, and options Paint with the Brush tool or Pencil tool Paint tool options Selecting a cursor preference To the top About painting tools, presets, and options Adobe Photoshop provides several tools for painting and editing image color. The Brush tool and the Pencil tool work like a traditional drawing tool applying color with brush strokes. Tools like the Eraser tool, Blur tool, and Smudge tool modify the existing colors in the image.
4. Set tool options for mode, opacity, and so on, in the options bar. 5. Do one or more of the following: Click and drag in the image to paint. To draw a straight line, click a starting point in the image. Then hold down Shift, and click an ending point. When using the Brush tool as an airbrush, hold down the mouse button without dragging to build up color. To the top Paint tool options Set the following in the options bar. Options available vary with each tool.
Normal Brush Tip restricts the cursor size to areas of the brush stroke that have 50% or more opacity. Full Size Brush Tip sizes the cursor to the entire area affected by the brush stroke. For soft brushes, this produces a larger cursor size than the Normal setting, to include the areas of the brush stroke with lighter opacity. To combine different types of cursors, select Show Crosshair in Brush Tip or Show Only Crosshair While Painting.
Creating and modifying brushes Brush panel overview Create a brush tip from an image Create a brush and set painting options Standard brush tip shape options Bristle tip shape options Erodible tip options | CC, CS6 Airbrush tip options | CC, CS6 Brush pose options | CC, CS6 Other brush options Brush scattering Clear brush options You can create brushes that apply paint to images in a variety of ways. You select an existing preset brush, a brush tip shape, or create a unique brush tip from part of an image.
Display the Brush panel and brush options 1. Choose Window > Brush. Or, select a painting, erasing, toning, or focus tool, and click the panel button bar. on the left side of the options 2. Select an option set on the left side of the panel. The available options for the set appear on the right side of the panel. Click the check box to the left of the option set to enable or disable the options without viewing them. To the top Create a brush tip from an image 1.
6. To save the brush for use later, choose New Brush Preset from the Brush panel menu. Note: To save your new brush permanently or distribute it to other users, you must save the brush as part of a set of brushes. Choose Save Brushes from the Brush Presets panel menu, and then save to a new set or overwrite an existing set. If you reset or replace the brushes in the Brush Presets panel without saving it in a set, you could lose your new brush.
Angled brushes create a chiseled stroke Roundness Specifies the ratio between the brush’s short and long axes. Enter a percentage value, or drag the points in the preview box. A value of 100% indicates a circular brush, a value of 0% indicates a linear brush, and intermediate values indicate elliptical brushes. Adjusting roundness to compress a brush tip shape Hardness Controls the size of the brush’s hard center.
Shape Determines the overall arrangement of bristles. Bristles Controls overall bristle density. Length Changes bristle length. Thickness Controls the width of individual bristles. Stiffness Controls bristle flexibility. At low settings, brush shape deforms easily. To vary stroke creation when using a mouse, adjust the stiffness setting. Spacing Controls the distance between the brush marks in a stroke.
Hardness Controls the size of the brush’s hard center. Distortion Controls the distortion to apply to the spray of paint. Granularity Controls how grainy the paint drops look. Spatter Size Controls the size of the paint droplets. Spatter Amount Controls the number of paint droplets. Spacing Controls the distance between the droplets. If this option is deselected, the speed of the cursor determines the spacing.
Brush scattering determines the number and placement of marks in a stroke. Brush strokes without scattering (left) and with scattering (right) Scatter and Control Specifies how brush marks are distributed in a stroke. When Both Axes is selected, brush marks are distributed in a radial direction. When Both Axes is deselected, brush marks are distributed perpendicular to the stroke path. To specify the maximum percentage of scattering, enter a value.
Managing paths Paths panel overview Create a new path in the Paths panel Create a new work path Manage paths To the top Paths panel overview The Paths panel (Window > Paths) lists the name and a thumbnail image of each saved path, the current work path, and the current vector mask. Turning thumbnails off can improve performance. To view a path, you must first select it in the Paths panel. Paths panel A. Saved path B. Temporary work path C.
To create a path without naming it, click the Create New Path button at the bottom of the Paths panel. To create and name a path, make sure no work path is selected. Choose New Path from the Paths panel menu, or Alt-click (Windows) or Option-click (Mac OS) the New Path button at the bottom of the panel. Enter a name for the path in the New Path dialog box, and click OK. To the top Create a new work path 1. Select a shape tool or a pen tool, and click the Paths button in the options bar. 2.
1. Click the path name in the Paths panel. 2. Do one of the following: Drag the path to the Delete icon at the bottom of the Paths panel. Choose Delete Path from the Paths panel menu. Click the Delete icon at the bottom of the Paths panel, and click Yes. To delete a path without being asked to confirm, Alt-click (Windows) or Option-click (Mac OS) the Delete icon at the bottom of the Paths panel. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Gradients Apply a gradient fill Manage gradient presets Gradient Editor overview Create a smooth gradient Specify the gradient transparency Create a noise gradient To the top Apply a gradient fill The Gradient tool creates a gradual blend between multiple colors. You can choose from preset gradient fills or create your own. Note: The Gradient tool cannot be used with bitmap or indexed-color images. 1. To fill part of the image, select the desired area.
Reflected Gradient toolReflected gradient Mirrors the same linear gradient on either side of the starting point. Diamond Gradient toolDiamond gradient Shades from the middle to the outer corners of a diamond pattern. 5. Do the following in the options bar: Specify a blending mode and opacity for the paint. (See Blending modes.) To reverse the order of colors in the gradient fill, select Reverse. To create a smoother blend with less banding, select Dither.
Click Load to add a library to the current list. Select the library file you want to use, and click Load. Choose Replace Gradients from the panel menu to replace the current list with a different library. Select the library file you want to use, and click Load. Choose a library file from the bottom of the panel menu. Click OK to replace the current list, or click Append to append the current list.
Gradient Editor dialog box A. Panel menu B. Opacity stop C. Color stops D. Adjust values or delete the selected opacity or color stop E. Midpoint To the top Create a smooth gradient 1. Select the Gradient tool . 2. Click inside the gradient sample in the options bar to display the Gradient Editor dialog box. 3. To base the new gradient on an existing gradient, select a gradient in the Presets section of the dialog box. 4. Choose Solid from the Gradient Type pop-up menu. 5.
Note: New presets are saved in a Preferences file. If this file is deleted or damaged, or if you reset presets to the default library, the new presets will be lost. To permanently save new presets, save them in a library. To the top Specify the gradient transparency Each gradient fill contains settings that control the opacity of the fill at different locations on the gradient.
1. Select the Gradient tool . 2. Click in the gradient sample in the options bar to display the Gradient Editor dialog box. 3. To base the new gradient on an existing gradient, select a gradient in the Presets section of the dialog box. 4. Choose Noise from the Gradient Type pop-up menu, and set the following options: Roughness Controls how gradual the transitions are between color bands in the gradient. Color Model Changes the color components you can adjust.
Generate a pattern using the Pattern Maker Pattern Maker is an optional plug-in that you can download for Windows or Mac OS. The Pattern Maker filter slices and reassembles an image to make a pattern. The Pattern Maker works in two ways: Fills a layer or selection with a pattern. The pattern can be made of one large tile, or multiple duplicate tiles. Creates tiles that you can save as a pattern preset and use with other images.
preset tiles. 8. Click Generate Again to generate additional patterns using the same options, or adjust the options and then click Generate Again. Smoothness Adjusts the sharp edges in the pattern. Increase the smoothness to reduce edges. Sample Detail Specifies the size of pattern slices in the tile. A high value maintains more of the original detail in the pattern. A low value uses smaller slices in the tile. Tiles take longer to generate when you use a high value. 9.
Filling and stroking selections, layers, and paths javax.jcr.AccessDeniedException: /content/help/en/photoshop/using/filling-stroking-selections-layerspaths/jcr:content/jcr:title: not allowed to add or modify item Fill with the Paint Bucket tool Fill a selection or layer with color Content-aware, pattern, or history fills Fill the work canvas Stroke a selection or layer with color Draw a circle or square You can fill the inside of a selection, path, or layer with a color or pattern.
If you’re working on a layer and don’t want to fill transparent areas, make sure that the layer’s transparency is locked in the Layers panel. (See Lock layers.) To the top Fill a selection or layer with color 1. Choose a foreground or background color. (See Choose colors in the toolbox.) 2. Select the area you want to fill. To fill an entire layer, select the layer in the Layers panel. 3. Choose Edit > Fill to fill the selection or layer.
Contribute your expertise to Adobe Community Help 1. Select the part of the image you want to fill. 2. Choose Edit > Fill. On the Background layer, press Delete or Backspace to quickly access the Fill dialog box. 3. From the Use menu, select one of the following: Content-Aware Seamlessly fills the selection with similar image content nearby. For the best results, create a selection that extends slightly into the area you want to replicate. (A quick lasso or marquee selection is often sufficient.
To the top Stroke a selection or layer with color You can use the Stroke command to paint a colored border around a selection, path, or layer. When you create a border this way, it becomes a rasterized part of the current layer. To create shape or layer borders that can be turned on or off like overlays and are anti-aliased to create softer-edged corners and edges, use the Stroke layer effect instead of the Stroke command. See Layer effects and styles. 1. Choose a foreground color. 2.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Drawing with the Pen tools About the Pen tools Draw straight line segments with the Pen tool Draw curves with the Pen tool Finish drawing a path Draw with the Freeform Pen tool Draw straight lines followed by curves Draw curves followed by straight lines Draw two curved segments connected by a corner Draw using the magnetic pen options To the top About the Pen tools Photoshop provides multiple Pen tools.
Clicking Pen tool creates straight segments. 1. Select the Pen tool. 2. Position the Pen tool where you want the straight segment to begin, and click to define the first anchor point (do not drag). Note: The first segment you draw will not be visible until you click a second anchor point. (Select the Rubber Band option in Photoshop to preview path segments.) Also, if direction lines appear, you’ve accidentally dragged the Pen tool; choose Edit > Undo, and click again. 3.
Drawing the first point in a curve A. Positioning Pen tool B. Starting to drag (mouse button pressed) C. Dragging to extend direction lines 4. Position the Pen tool where you want the curve segment to end, and do one of the following: To create a C-shaped curve, drag in a direction opposite to the previous direction line. Then release the mouse button. Drawing the second point in a curve To create an S-shaped curve, drag in the same direction as the previous direction line. Then release the mouse button.
To the top Finish drawing a path Complete a path in one of the following ways: To close a path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen tool pointer positioned correctly. Click or drag to close the path. when it is Note: To close a path in InDesign, you can also select the object and choose Object > Paths > Close Path. To leave a path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects.
A. Straight segment completed B. Positioning Pen tool over endpoint (the Convert Point icon appears only in Illustrator and InDesign) C. Dragging direction point 3. Position the pen where you want the next anchor point; then click (and drag, if desired) the new anchor point to complete the curve. Drawing a straight segment followed by a curved segment (part 2) A. Positioning Pen tool B. Dragging direction line C. New curve segment completed To the top Draw curves followed by straight lines 1.
To the top Draw using the magnetic pen options The Magnetic Pen is an option of the Freeform Pen tool that lets you draw a path that snaps to the edges of defined areas in your image. You can define the range and sensitivity of the snapping behavior, as well as the complexity of the resulting path. The Magnetic Pen and Magnetic Lasso tools share many of the same options. 1.
Adobe also recommends Path segments,components, and points Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Converting between paths and selection borders Convert paths to selection borders Convert a selection to a path To the top Convert paths to selection borders Paths provide smooth outlines that you can convert into precise selection borders. You also can convert selection borders into paths, using the Direct Selection tool for fine-tuning. You can define any closed path as a selection border. A closed path can be added to, subtracted from, or combined with the current selection.
New Selection Selects only the area defined by the path. Add To Selection Adds the area defined by the path to the original selection. Subtract From Selection Removes the area defined by the path from the current selection. Intersect With Selection Selects the area common to both the path and the original selection. If the path and selection do not overlap, nothing is selected. 5. Click OK. To the top Convert a selection to a path Any selection made with a selection tool can be defined as a path.
Brush presets Select a preset brush Change how preset brushes are displayed Load, save, and manage brush presets Create a new preset brush A preset brush is a saved brush tip with defined characteristics, such as size, shape, and hardness. You can save preset brushes with the characteristics you use often. You can also save tool presets for the Brush tool that you can select from the Tool Preset menu in the options bar.
You can manage libraries of preset brushes to keep your brushes organized. Change the displayed library of preset brushes 1. To load a library of preset brushes, choose one of the following from the Brush Presets panel menu. Load Brushes to add a library to the current list. Replace Brushes to replace the current list with a different library. A library file (displayed at the bottom of the panel menu). Click OK to replace the current list, or click Append to append the current list. 2.
2. Do one of the following in the Brush Presets panel: Choose New Brush Preset from the panel menu, enter a name for the preset brush, and click OK. Click the Create New Brush button . Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Blending modes Blending mode descriptions Blending mode examples The blending mode specified in the options bar controls how pixels in the image are affected by a painting or editing tool. It’s helpful to think in terms of the following colors when visualizing a blending mode’s effect: The base color is the original color in the image. The blend color is the color being applied with the painting or editing tool. The result color is the color resulting from the blend.
darker than the blend color are replaced, and pixels lighter than the blend color do not change. Screen Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple photographic slides on top of each other.
Hue Creates a result color with the luminance and saturation of the base color and the hue of the blend color. Saturation Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no (0) saturation (gray) causes no change. Color Creates a result color with the luminance of the base color and the hue and saturation of the blend color.
Color Dodge Linear Dodge (Add) Overlay Soft Light Hard Light Vivid Light Linear Light Pin Light Hard Mix Difference Exclusion Subtract Divide Hue Saturation Color Luminosity, 80% opacity Lighter Color Darker Color Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adding color to paths Fill paths with color Stroke paths with color To the top Fill paths with color A path created with the Pen tool does not become an image element until you stroke or fill it. The Fill Path command fills a path with pixels using a specified color, a state of the image, a pattern, or a fill layer. Path selected (left) and filled (right) Note: When you fill a path, the color values appear on the active layer.
The Mode list includes a Clear mode that lets you erase to transparency. You must be working in a layer other than the background to use this option. 6. Choose Preserve Transparency to limit the fill to layer areas that contain pixels. (See Lock layers.) 7. Select a Rendering option: Feather Radius Defines how far inside and outside the selection border the feather edge extends. Enter a value in pixels.
3. To stroke the path, do one of the following: Alt-click (Windows) or Option-click (Mac OS) the Stroke Path button at the bottom of the Paths panel. Alt-drag (Windows) or Option-drag (Mac OS) the path to the Stroke Path button. Choose Stroke Path from the Paths panel menu. If the selected path is a path component, this command changes to Stroke Subpath. 4. In the Stroke Path dialog box, choose a tool if you did not select one in step 2. To simulate hand-painted strokes, select Simulate Pressure.
Editing paths Path segments, components, and points Select a path Reorder paths Duplicate paths Adjust path segments Add or delete anchor points Convert between smooth points and corner points Adjust path components To the top Path segments, components, and points A path consists of one or more straight or curved segments. Anchor points mark the end points of the path segments. On curved segments, each selected anchor point displays one or two direction lines, ending in direction points.
A path does not have to be one connected series of segments. It can contain more than one distinct and separate path components. Each shape in a shape layer is a path component, as described by the layer’s clipping path. Separate path components selected To the top Select a path Selecting a path component or path segment displays all of the anchor points on the selected portion, including any direction lines and direction points if the selected segment is curved.
1. In the Path panel, do any of the following to make the paths visible: Shift-click to select contiguous paths. Ctrl-click (Windows) or Command-click (Mac OS) to select non-contiguous paths. 2. Select the Path Selection tool or the Direct Selection tool and do any of the following: Drag over the segments. Shift-click the paths. 3.
When you initially draw a smooth point with the Pen tool, dragging the direction point changes the length of the direction line on both sides of the point. However, when you edit an existing smooth point with the Direct Selection tool, you change the length of the direction line only on the side you’re dragging. Move straight segments 1. With the Direct Selection tool , select the segment you want to adjust. 2. Drag the segment to its new position. Adjust the length or angle of straight segments 1.
Note: In Photoshop CC and CS6, adjusting a path segment also adjusts the related segments, letting you intuitively transform path shapes. To only edit segments between the selected anchor points, similar to earlier Photoshop versions, select Constrain Path Dragging in the options bar. Note: You can also apply a transformation, such as scaling or rotating, to a segment or anchor point. Delete a segment 1. (Optional) If you’re creating an opening in a closed path, select the Add Anchor Point tool occur. 2.
Move or nudge anchor points or segments using the keyboard 1. Select the anchor point or path segment. 2. Click or hold down any of the arrow keys on the keyboard to move 1 pixel at a time in the direction of the arrow. Hold down the Shift key in addition to the arrow key to move 10 pixels at a time. To the top Add or delete anchor points Adding anchor points can give you more control over a path or it can extend an open path. However, it’s a good idea not to add more points than necessary.
3. Position the Convert Point tool over the anchor point you want to convert, and do one of the following: To convert a corner point to a smooth point, drag away from the corner point to make direction lines appear. Dragging a direction point out of a corner point to create a smooth point To convert a smooth point to a corner point without direction lines, click the smooth point.
objects, whether they are described by a saved path, work path, or vector mask, can be moved, reshaped, copied, or deleted. You can also use the Copy and Paste commands to duplicate vector objects between a Photoshop image and an image in another application, such as Adobe Illustrator. Change the overlap mode for the selected path component 1. Using the Path Selection tool , drag a marquee to select existing path areas. 2.
2. Drag the point or its handles to a new location. Merge overlapping path components 1. Select the path name in the Paths panel, and select the Path Selection tool . 2. Do the following to create a single component from all overlapping components: In Photoshop CC and CS6, choose Merge Shape Components from the Path Operations drop-down menu in the options bar In CS5 or earlier, click Combine in the options bar.
Align and distribute path components You can align and distribute path components that are described in a single path. For example, you can align the left edges of several shapes contained in a single layer or distribute several components in a work path along their horizontal centers. Note: To align shapes that are on separate layers, use the Move tool. To align components, use the Path Selection tool to select the components you want to align.
Creating textured brushes Textured brush options Copy textures between tools Dual brushes To the top Textured brush options A textured brush uses a pattern to make strokes look as if they are painted on textured canvas. Brush strokes without texture (left) and with texture (right) Click the pattern sample, and select a pattern from the pop-up panel. Set one or more of the following options: Invert Inverts the high and low points in the texture based on the tones in the pattern.
Pen Pressure, Pen Tilt, Stylus Wheel, Rotation Varies the depth based on the pen pressure, pen tilt, position of the pen thumbwheel, or rotation of the pen. To the top Copy textures between tools When you specify a texture for the current tool, you can copy the texture’s pattern and scale to all tools that support textures.
Adding dynamic elements to brushes Adding brush dynamics Color dynamics brush options Transfer brush options To the top Adding brush dynamics The Brush panel provides many options for adding dynamic (or changing) elements to preset brush tips. For example, you can set options that vary the size, color, and opacity of brush marks over the course of a stroke. You work with two components when adding dynamics elements to a brush: Jitter percentages specify the randomness of dynamic elements.
Minimum Diameter Specifies the minimum percentage by which brush marks can scale when Size Jitter or Size Control is enabled. Type a number, or use the slider to enter a value that is a percentage of the brush tip diameter. Tilt Scale Specifies the scale factor applied to the height of the brush prior to rotation when Size Control is set to Pen Tilt. Type a number, or use the slider to enter a value that is a percentage of the brush diameter.
If unchecked, dynamic changes occur once at the beginning of each stroke. You can vary color between strokes, rather than within each individual stroke. Foreground/Background Jitter and Control Specifies how paint varies between the foreground color and background color. To specify a percentage by which the color of the paint can vary, type a number, or use the slider to enter a value.
Flow Jitter and Control Specifies how the flow of paint varies in a brush stroke, up to (but not exceeding) the flow value specified in the options bar. To specify a percentage by which the flow of the paint can vary, type a number or use the slider to enter a value. To specify how you want to control the flow variance of brush marks, choose an option from the Control pop-up menu: Off Specifies no control over the flow variance of brush marks.
Drawing or painting with a graphics tablet Change brush size and opacity with pen pressure If you work with a graphics drawing tablet, such as the Wacom® tablet, you can control painting tools with pen pressure, angle, rotation, or the stylus wheel. 1. Select the Brush , Pencil , or other painting tool. 2. In the options bar, do either of the following: Click the Tablet Pressure Controls Size button Click the Tablet Pressure Controls Opacity button . .
Painting with the Mixer Brush Paint with the Mixer Brush The Mixer Brush simulates realistic painting techniques such as mixing colors on the canvas, combining colors on a brush, and varying paint wetness across a stroke. The Mixer Brush has two paint wells, a reservoir and a pickup. The reservoir stores the final color deposited onto the canvas and has more paint capacity. The pickup well receives paint only from the canvas; its contents are continuously mixed with canvas colors.
Increasing load rates A. 1% B. 100% Mix Controls the ratio of canvas paint to reservoir paint. At 100%, all paint is picked up from the canvas; at 0%, all paint comes from the reservoir. (The Wet setting, however, continues to determine how paints mix on the canvas.) Sample All Layers Picks up canvas color from all visible layers. 5. Do one or more of the following: Drag in the image to paint. To draw a straight line, click a starting point in the image. Then hold down Shift, and click an ending point.
Painting with a pattern Set the following in the options bar. Options available vary with each tool. To the top Paint with a pattern The Pattern Stamp tool paints with a pattern. You can select a pattern from the pattern libraries or create your own patterns. 1. Select the Pattern Stamp tool . 2. Choose a brush from the Brush Presets panel. See Select a preset brush. 3. Set tool options for mode, opacity, etc. in the options bar. See Paint tool options. 4.
Painting stylized strokes with the Art History Brush The Art History Brush tool paints with stylized strokes, using the source data from a specified history state or snapshot. By experimenting with different paint style, size, and tolerance options, you can simulate the texture of painting with different colors and artistic styles. Like the History Brush tool, the Art History Brush tool uses a specified history state or snapshot as the source data.
Erasing parts of an image Erase with the Eraser tool Change similar pixels with the Magic Eraser tool Change pixels to transparent with the Background Eraser tool Auto Erase with the Pencil tool To the top Erase with the Eraser tool The Eraser tool changes pixels to either the background color or to transparent. If you’re working on a background or in a layer with transparency locked, the pixels change to the background color; otherwise, the pixels are erased to transparency.
Example of erasing similar pixels 1. Select the Magic Eraser tool . 2. Do the following in the options bar: Enter a tolerance value to define the range of colors that can be erased. A low tolerance erases pixels within a range of color values very similar to the pixel you click. A high tolerance extends the range of colors that will be erased. Select Anti-aliased to smooth the edges of the area you erase.
Choose a Limits mode for erasing: Discontiguous to erase the sampled color wherever it occurs under the brush; Contiguous to erase areas that contain the sampled color and are connected to one another; and Find Edges to erase connected areas containing the sampled color while better preserving the sharpness of shape edges. For Tolerance, enter a value or drag the slider. A low tolerance limits erasure to areas that are very similar to the sampled color. A high tolerance erases a broader range of colors.
Managing pattern libraries and presets You can keep your patterns organized in libraries that you can load or remove from pattern pop-up panels. Load a library of patterns Choose one of the following from a Pattern pop-up panel menu: Load Patterns to add a library to the current list. Select the library file you want to use, and click Load. Replace Patterns to replace the current list with a different library. Select the library file you want to use, and click Load.
The pattern is deleted only from the displayed group. To display the full library again, see Load a library of patterns. More Help Topics Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating patterns A pattern is an image that is repeated, or tiled, when you use it to fill a layer or selection. Photoshop comes with various preset patterns. You can create new patterns and save them in libraries for use with different tools and commands. Preset patterns are displayed in pop-up panels in the options bar for the Paint Bucket, Pattern Stamp, Healing Brush, and Patch tools, as well as in the Layer Style dialog box.
Text 662
Formatting characters Select characters Character panel overview About Dynamic Shortcuts Specify type size Change the type color Change the color of individual letters Underline or strike through text Apply all caps or small caps Specify superscript or subscript characters Character styles | CC, CS6 Specifying default type styles | Creative Cloud only You can set type attributes before you enter characters or reset them to change the appearance of selected characters in a type layer.
Choose Window > Character, or click the Character panel tab if the panel is visible but not active. With a type tool selected, click the Panel button in the options bar. To set an option in the Character panel, choose a value from the pop-up menu on the right side of the option. For options with numeric values, you can also use the up and down arrows to set the value, or you can edit the value directly in the text box.
To the top Specify type size The type size determines how large the type appears in the image. The default unit of measurement for type is points. One PostScript point is equal to 1/72 of an inch in a 72-ppi image; however, you can switch between using the PostScript and traditional definitions of point size. You can change the default unit of measurement for type in the Units & Rulers area of the Preferences dialog box.
on that layer. To the top Change the color of individual letters 1. Select the Horizontal Type tool . 2. In the Layers panel, select the layer containing the type. 3. In the document window, select the characters you want to change. 4. In the options bar at the top of the work area, click the color swatch. 5. In the Adobe Color Picker, locate the color range you want using the triangle sliders on the color spectrum bar, and then click the desired color in the color field.
Regular capital letters (top) compared to small-cap letters (bottom) 1. Select the type you want to change. 2. Do one of the following: Click the All Caps button or the Small Caps button in the Character panel. Choose All Caps or Small Caps from the Character panel menu. A check mark indicates that the option is selected.
To edit a character style, do the following: 1. Double-click the style in the Character Styles panel. 2. To specify the formatting attributes, click a category (such as Basic Character Formats) on the left, and specify the attributes to add to the style. 3. When you’ve finished specifying the formatting attributes, click OK. To the top Specifying default type styles | Creative Cloud only Note: This feature was introduced in the Photoshop CS6 Creative Cloud release.
Formatting paragraphs Format paragraphs Paragraph panel overview Specify alignment Specify justification for paragraph type Adjust word and letter spacing in justified text Indent paragraphs Adjust paragraph spacing Specify hanging punctuation for Roman fonts Adjust hyphenation automatically Prevent words from breaking Composition methods Paragraph styles | CC, CS6 To the top Format paragraphs For point type, each line is a separate paragraph.
Paragraph panel A. Alignment and justification B. Left indent C. First line left indent D. Space before paragraph E. Hyphenation F. Right indent G. Space after paragraph You can access additional commands and options in the Paragraph panel menu. To use this menu, click the triangle in the upper right corner of the panel. To the top Specify alignment You can align type to one edge of a paragraph (left, center, or right for horizontal type; top, center, or bottom for vertical type).
Select a type layer if you want all the paragraphs in that type layer to be affected. Select the paragraphs you want affected. 2. In the Paragraph panel, click a justification option. The options for horizontal type are: Justify Last Left Justifies all lines except the last, which is left aligned. Justify Last Centered Justifies all lines except the last, which is center aligned. Justify Last Right Justifies all lines except the last, which is right aligned.
Glyph Scaling The width of characters (a glyph is any font character). Values can range from 50% to 200%; at 100%, the height of characters is not scaled. Spacing options are always applied to an entire paragraph. To adjust the spacing in a few characters, but not an entire paragraph, use the Tracking option. To the top Indent paragraphs Indention specifies the amount of space between type and the bounding box or line that contains the type.
Paragraph without hanging punctuation (left) compared to paragraph with hanging punctuation (right) 1. Do one of the following: Select a type layer if you want all the paragraphs in that type layer to be affected. Select the paragraphs you want affected. 2. Choose Roman Hanging Punctuation from the Paragraph panel menu. A check mark indicates that the option is selected.
Note: Hyphenation settings apply only to Roman characters; double-byte characters available in Chinese, Japanese, and Korean fonts are not affected by these settings. To the top Prevent words from breaking You can prevent words from breaking at the end of lines—for example, proper names or words that could be misread when hyphenated. You can also keep multiple words or groups of words together—for example, clusters of initials and a last name. 1. Select the characters you want to prevent from breaking.
To the top Paragraph styles | CC, CS6 A paragraph style includes both character and paragraph formatting attributes, and can be applied to a paragraph or range of paragraphs. You can create Paragraph styles and then apply them later. Choose Window > Paragraph Styles to open the Paragraph Styles panel. By default, each new document contains a Basic Paragraph style that is applied to text you type. You can edit this style, but you can’t rename or delete it. You can rename and delete styles that you create.
Line and character spacing Set leading Kern and track Shift the baseline Turn fractional character widths off or on To the top Set leading The vertical space between lines of type is called leading (rhymes with sledding). For Roman type, leading is measured from the baseline of one line of text to the baseline of the line above it. The baseline is the invisible line on which most letters sit.
You can automatically kern type using metrics kerning or optical kerning. Metrics kerning (also called Auto kerning) uses kern pairs, which are included with most fonts. Kern pairs contain information about the spacing of specific pairs of letters. Some of these are: LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo. Metrics kerning is set as the default so that specific pairs are automatically kerned when you import or type text. Some fonts include robust kern-pair specifications.
Shift the baseline Use Baseline Shift to move selected characters up or down relative to the baseline of the surrounding text. Shifting the baseline is especially useful when you’re hand-setting fractions or adjusting the position of a picture font. 1. Select the characters or type objects you want to change. If you don’t select any text, the shift applies to new text you create. 2. In the Character panel, set the Baseline Shift option.
Fonts About fonts Previewing fonts Choose a font family and style Change the font on multiple layers About missing fonts and glyph protection OpenType fonts Apply OpenType features To the top About fonts A font is a complete set of characters—letters, numbers, and symbols—that share a common weight, width, and style, such as 10 -pt Adobe Garamond Bold.
To the top Choose a font family and style 1. Choose a font family from the Font Family menu in the Character panel or options bar. If more than one copy of a font is installed on your computer, an abbreviation follows the font name: (T1) for Type 1 fonts, (TT) for TrueType fonts, or (OT) for OpenType fonts. The Font Family menu in both the Character panel and the options bar shows a preview of available fonts. You can choose a font family and style by typing its name in the text box.
To the top OpenType fonts OpenType fonts use a single font file for both Windows® and Macintosh® computers, so you can move files from one platform to another without worrying about font substitution and other problems that cause text to reflow. They may include a number of features, such as swashes and discretionary ligatures, that aren’t available in current PostScript and TrueType fonts. OpenType fonts display the icon.
Swash Substitutes swash glyphs, stylized letterforms with extended strokes (exaggerated flourishes). Old Style Are numerals shorter than regular numerals, with some old style numerals descending below the type baseline. Stylistic Alternates Formats stylized characters that create a purely aesthetic effect. Titling Alternatives Formats characters (usually all in capitals) designed for use in large-size settings, such as titles.
Editing text Edit text Specify curly or straight quotes Apply anti-aliasing to a type layer Check and correct spelling Find and replace text Assign a language for text Scaling and rotating type Change the orientation of a type layer Rasterize type layers To the top Edit text 1. Select the Horizontal Type tool or the Vertical Type tool . 2. Select the type layer in the Layers panel, or click in the text flow to automatically select a type layer. 3.
Anti-aliasing produces smooth-edged type by partially filling the edge pixels. As a result, the edges of the type blend into the background. Anti-aliasing set to None (left), and Strong (right) When creating type for display on the web, consider that anti-aliasing greatly increases the number of colors in the original image. This limits your ability to reduce the number of colors in the image and thus to reduce the size of the image file.
To check specific text, select the text. To check a word, place the insertion point in the word. 4. Choose Edit > Check Spelling. 5. If you selected a type layer and want to check the spelling of only that layer, deselect Check All Layers. 6. As Photoshop finds unfamiliar words and other possible errors, click one of the following: Ignore Continues the spelling check without changing the text. Ignore All Ignores the questioned word during the rest of the spelling check. Change Corrects a misspelling.
word, “many” is disregarded. 5. Click Find Next to begin the search. 6. Click one of the following buttons. Change Replaces the found text with the revised text. To repeat the search, select Find Next. Change All Searches for and replaces all occurrences of the found text. Change/Find Replaces the found text with the revised text, and then searches for the next occurrence. To the top Assign a language for text Photoshop uses language dictionaries to check hyphenation.
1. Select the characters or type objects you want to change. If you don’t select any text, the scale applies to new text you create. 2. In the Character panel, set the Vertical Scaling option or the Horizontal Scaling option . Rotate type Do the following: To rotate type, select the type layer and use any rotate command or the Free Transform command. For paragraph type, you can also select the bounding box and use a handle to rotate the type manually.
Choose Change Text Orientation from the Character panel menu. To the top Rasterize type layers Some commands and tools—such as filter effects and painting tools—are not available for type layers. You must rasterize the type before applying the command or using the tool. Rasterizing converts the type layer into a normal layer and makes its contents uneditable as text. A warning message appears if you choose a command or tool that requires a rasterized layer.
Creating type effects Create type along or inside a path Warp and unwarp type Create a work path from type Convert type to shapes Create a type selection border Add a drop shadow to text Fill type with an image You can perform various operations on type to change its appearance. For example, you can warp type, convert type to shapes, or add a drop shadow to type. One of the easiest ways to create type effects is to play the default Text Effects actions that come with Photoshop on a type layer.
Horizontal and vertical type on an open path. Horizontal and vertical type on a closed path created by a shape tool Enter type along a path 1. Do one of the following: Select the Horizontal Type tool or the Vertical Type tool Select the Horizontal Type Mask tool . or the Vertical Type Mask tool 2. Position the pointer so that the baseline indicator of the type tool the path. . is on the path and click.
Using the Direct Selection tool or Path Selection tool to move or flip type on a path. To move type across a path without changing the direction of the type, use the Baseline Shift option in the Character panel. For example, if you created type that runs from left to right across the top of a circle, you can enter a negative number in the Baseline Shift text box to drop the type so that it flows inside the top of the circle. Enter type inside a closed path 1. Select the Horizontal Type tool . 2.
Warp type 1. Select a type layer. 2. Do one of the following: Select a type tool, and click the Warp button in the options bar. Choose Type > Warp Text (CC, CS6) or Layer > Type > Warp Text (CS5). Note: You can use the Warp command to warp text in a type layer. Choose Edit > Transform Path > Warp. 3. Choose a warp style from the Style pop-up menu. 4. Select the orientation of the warp effect—Horizontal or Vertical. 5.
To the top Create a type selection border When you use the Horizontal Type Mask tool or Vertical Type Mask tool, you create a selection in the shape of the type. Type selections appear on the active layer, and can be moved, copied, filled, or stroked just like any other selection. 1. Select the layer on which you want the selection to appear. For best results, create the type selection border on a normal image layer, not a type layer.
5. Click an insertion point in the document window and type the desired text. When you are satisfied with the text, press Ctrl+Enter (Windows) or Command+Return (Mac OS). 6. Click the Layers tab to bring the Layers panel to the front or, if the panel isn’t open, choose Windows > Layers. 7. (Optional) If the image layer is the background layer, double-click the image layer in the Layers panel to convert it from a background layer into a regular layer.
Creating type About type layers Entering type Enter point type Enter paragraph type Paste lorem-ipsum placeholder text (CC, CS6) Resize or transform a type bounding box Convert between point type and paragraph type Note: For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com.
Note: To transform part of the type layer, you must first rasterize the type layer. Use layer styles. Use fill shortcuts (see Keys for painting). Warp type to conform to a variety of shapes. To the top Entering type There are three ways to create type: at a point, inside a paragraph, and along a path. Point type is a horizontal or vertical line of text that begins where you click in the image. Entering text at a point is a useful way to add a few words to your image.
3. Select additional type options in the options bar, Character panel, or Paragraph panel. 4. Enter the characters. To begin a new line, press Enter (Windows) or Return (Mac OS). Note: You can also transform point type while in edit mode. Hold down the Ctrl (Windows) or Command (Mac OS) key. A bounding box appears around the type. You can grab a handle to scale or skew the type. You can also rotate the bounding box. 5.
Paste lorem-ipsum placeholder text (CC, CS6) Lorem-ipsum placeholder text lets you quickly fill a text block for layout purposes. 1. Select a type tool, and click to insert the cursor in an existing text line or box. 2. Choose Type > Paste Lorem Ipsum. To the top Resize or transform a type bounding box Display the bounding box handles of paragraph type. With the Type tool text flow in the image.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Asian type Display and set Asian type options Reduce spacing around Asian type characters Specify how leading is measured in Asian type Use tate-chu-yoko Align Asian characters with mojisoroe Specify left and right underlining with Asian type Set Asian OpenType font attributes Asian OpenType options Choose a mojikumi set Set kinsoku shori options Specify a burasagari option Photoshop provides several options for working with Chinese, Japanese, and Korean type.
Specify how leading is measured in Asian type 1. Select the paragraphs you want to adjust. 2. Choose a leading option from the Paragraph panel menu. bottom-to-bottom leadingtop-to-top leadingleading in Asian typeAsian type:leading inTop-to-top Leading Measures the spacing between lines of type from the top of one line to the top of the next line. When you use top-to-top leading, the first line of type in a paragraph is aligned flush with the top of the bounding box.
A. Small characters aligned to the bottom B. Small characters aligned to the center C. Small characters aligned to the top In the Character panel menu, choose an option from the Character Alignment submenu: Roman Baseline Aligns the small characters in a line to the large character. Em box Top/Right, Em box Center, or Em box Bottom/Left Aligns the small characters in a line to the specified position of the large character’s em box.
Character Map (Mac OS) In the Kotoeri Character panel, select Glyph from the View menu. Kotoeri Character panel A. View menu B. Font menu C. Character Information D. Insert With Font button 6. Choose an Asian OpenType font from the Font menu. 7. Do one of the following: (Windows) Select the character you want to use, click Select, click Copy, and then paste it in Photoshop. (Mac OS) Double-click the character you want to use to insert it into your document.
Japanese Expert Substitutes the standard glyph with the expert-variant glyphs. Japanese Traditional Substitutes the standard glyph with the traditional-variant glyph. Proportional Metrics Substitutes the half-width and the full-width glyphs with the proportional glyph. Kana Substitutes the standard kana glyph with the horizontally optimized kana glyph for horizontal layout. However, the differences are often very subtle. Roman Italics Substitutes the standard proportional glyph with the italic glyph.
Mojikumi Set 3, and Mojikumi Set 4 To the top Set kinsoku shori options Kinsoku shori specifies line breaks for Japanese text. Characters that cannot begin a line or end a line are known as kinsoku characters. Photoshop includes weak and maximum kinsoku sets based on the Japanese Industrial Standard (JIS) X 4051-1995. Weak kinsoku sets omit long vowel symbols and small hiragana characters.
Characters that can’t begin a line Characters that can’t end a line Specify a kinsoku line-breaking option Kinsoku shori or mojikumi must be selected to use the following line-breaking options. From the Paragraph panel menu, choose Kinsoku Shori Type and then choose one of the following methods: Push In First Moves characters up to the previous line to prevent prohibited characters from ending or beginning a line.
Force Forces punctuation outside the bounding box by spreading lines that end within the bounding box and end with one of the hanging characters. Note: The Burasagari options are not available when Kinsoku Shori is set to None. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Arabic and Hebrew type | CC, CS6 How to access Arabic and Hebrew features in Photoshop Enable Middle Eastern features Text direction Digit Types Legacy font support Default fonts Automatic Kashida insertion Ligatures (OpenType fonts) Hyphenation Diacritical marks Justification alternates To the top Enable Middle Eastern features To reveal Middle Eastern type options in the Photoshop interface, do the following: 1. Choose Edit > Preferences > Type (Windows) or Photoshop > Preferences > Type (Mac OS). 2.
Digit type selection (InDesign panel shown) To the top Legacy font support Fonts that have been traditionally used (for example, AXT fonts) can continue to be used in this release of the software. However, it is recommended that newer Open Type fonts be used for text-based elements. Missing Glyph Protection (Edit > Preferences > Advanced Type) is enabled by default. Text is handled automatically, where glyphs are not available in the font you are using.
To the top Hyphenation Sentences that have more words that can fit into one line of text automatically wrap into the next line. The type of text justification when wrapping occurs sometimes causes unnecessary spaces to appear in the line that are not aesthetically pleasing or linguistically correct. Hyphenation enables you to split the word at the end of a line, using a hyphen. This fragmentation causes the sentence to wrap into the next line in a better way.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Video and animation Audio doesn't play in video files encoded with Dolby Digital AC3 troubleshooting (Jan. 22, 2013) Video workflow Kelby (May. 7, 2012) video-tutorial Intuitive editing for video DSLRs and other sources.
Video editing | CC, CS6 Video | Walk through a video project Timeline video creation Apply filters to video layers Apply motion effects to text, still images, and Smart Objects Import a wider range of file formats Export final video with the Adobe Media Encoder To the top Timeline video creation The redesigned, clip-based Timeline panel reflects video editors like Adobe Premiere, including transitions and effects that give finished videos professional polish.
Separate audio tracks in the Timeline allow for easy editing and adjusting. Adjust audio in clips Right-click audio clips to mute them, adjust volume, or fade in and out. Right-click video clips, and click the musical notes to adjust audio they contain. Adjusting audio: Video tutorial by Richard Harrington. (3:31) Create or delete audio tracks To the right of audio track names in the Timeline, click the musical notes , and select either New Audio Track or Delete Track.
resulting Transform keyframes in the Timeline to fine-tune the results. To create dramatic effects as you pan, scale, and rotate clips over time, convert your clip to a Smart Object and use Transform keyframes with the Free Transform tool. Video Tutorials: Transforming Layers over time. Julieanne Kost (3:52) Creating masks to move over time. Julieanne Kost (3:17) How to pan and zoom video in Photoshop CS6. Julieanne Kost (18:06) Create animations with audio. Tutorial article by Rafiq Elmansy.
Editing video and animation layers Transform video layers Create new video layers Specify when a layer appears in a video or animation Trim or move a video layer Lift work area Extract work area Split video layers Group layers in a video or animation Rasterize video layers To the top Transform video layers You can transform a video layer as you transform any other layer in Photoshop. However, you must convert video layers to Smart Objects before you can transform them. 1.
2. Choose Layer > Video Layers > New Video Layer From File. 3. Select a video or image sequence file and click Open. Add a blank video layer 1. For the active document, make sure that the Timeline (CC, CS6) or the Animation (CS5) panel is displayed in the timeline mode. 2. Choose Layer > Video Layers > New Blank Video Layer. To the top Specify when a layer appears in a video or animation You can use various methods to specify when a layer appears in a video or animation.
To the top Trim or move a video layer To hide frames at the start or end of a video or animation layer, trim the layer. To start or end video at a different time point, move the video layer. If you move video layers, changes become permanent when you save the file. If you trim video, however, you can restore it by re-extending the ends of the layer duration bar. 1. In the Timeline (CC, CS6), Animation (CS5), or Layers panel, select the layer you want to edit. 2.
Layers after applying the Lift Work Area command (Photoshop Extended CS5) To the top Extract work area To delete portions of video and automatically remove the time gap, use the Extract Work Area command. The remaining content is copied to new video layers. 1. Select the layers you want to edit. 2. In the Timeline (CC, CS6) or Animation (CS5) panel, set the work area to specify the duration of the video or animation that you want to omit. 3. From the panel menu, choose Extract Work Area.
Resulting two layers after using the Split Layer command (Photoshop Extended CS5) To the top Group layers in a video or animation As you add more layers to your video or animation, you might want to organize them into a hierarchy by grouping the layers. Photoshop preserves the frames in your video or animation in grouped layers. You can also group a group of layers.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Previewing video and animations Preview a frame animation Set the timeline area to preview Previewing video or timeline animations Preview your document on a video monitor To the top Preview a frame animation 1. Do one of the following: Click the Play button in the Animation panel (Photoshop Extended CS5) or Timeline panel (CS6). Use the spacebar to play and pause the animation. The animation is displayed in the document window.
2. (Optional in Photoshop Extended CS5) To remove the portions of the timeline not in the work area, choose Trim Document Duration To Work Area from the panel menu. To the top Previewing video or timeline animations Your video or animation can be previewed in the document window. Photoshop uses RAM to preview the video or animation during your editing session. When you play or drag to preview frames, they are automatically cached for faster playback the next time they’re played.
The Video Preview plug-in supports RGB, grayscale, and indexed images. (The plug-in converts 16-bpc images to 8-bpc images.) The Video Preview plug-in does not support alpha channels. Transparency is displayed as black. Note: The Video Preview plug-in does not lock the display device. When Photoshop is in the background on your computer and another application moves into the foreground, the preview turns off and the device is unlocked so other applications can use it for preview purposes. 1.
16:9 image appears on a 4:3 display as letterbox, and a 4:3 image appears on a 16:9 display as pillarbox. 6. Select the Apply Pixel Aspect Ratio To Preview check box to display the image using the document’s (nonsquare) pixel aspect ratio. Deselect this option to display the image as it appears on your computer (square pixel) monitor. By default, the Apply Pixel Aspect Ratio To Preview check box is selected to maintain the image’s pixel aspect ratio.
Painting frames in video layers Paint frames in video layers Cloning content in video and animation frames Restore frames in video layers Managing color in video layers To the top Paint frames in video layers You can edit or paint on individual video frames to create an animation, add content, or to remove unwanted details. In addition to using any brush tool, you can paint using the Clone Stamp, Pattern Stamp, Healing Brush, or Spot Healing Brush. You can also edit video frames using the Patch tool.
2. Do one of the following: Select a video layer in the Layers panel, Animation panel (Photoshop Extended CS5), or Timeline panel (CS6), and then move the current-time indicator to the frame you want to sample. Open the image you want to sample. 3. Position the pointer in an open image or frame, and Alt-click (Windows) or Option-click (Mac OS) to set the sampling point. in the Clone Source panel. 4. To set additional sampling points, click each clone source button 5.
To restore all the frames in a video layer or blank video layer, choose Layer > Video Layers > Restore All Frames. To the top Managing color in video layers In Photoshop Extended CS5 and Photoshop CS6, you can paint on video layers using tools such as the brush tool or the clone stamp tool. If no color profile is assigned to the video layer, these pixel edits are stored using the document file’s color space, and the video footage itself is left unchanged.
Importing video files and image sequences Open or import a video file Import image sequences Place a video or image sequence Reload footage in a video layer Replace footage in a video layer Interpreting video footage To the top Open or import a video file In Photoshop CS6 and Photoshop Extended CS5, you can open a video file directly or add video to an open document. When you import video, the image frames are referenced in a video layer. For a video on working with video layers, see www.adobe.
3. In the Open dialog box, navigate to the folder with image sequence files. 4. Select one file, choose the Image Sequence option, and then click Open. Note: Selecting more than one file in an image sequence disables the Image Sequence option. 5. Specify the frame rate, and click OK. To the top Place a video or image sequence In Photoshop CS6 or Photoshop Extended CS5, use the Place command if you want to transform the video or image sequence as you import it into a document.
2. Choose Layer > Video Layers > Replace Footage. 3. In the Open dialog box, select a video or image sequence file, and then click Open. To the top Interpreting video footage Interpret video footage You can specify how Photoshop CS6 or Photoshop Extended CS5 interprets the alpha channel and frame rate of the video you’ve opened or imported. 1. In the Animation (Photoshop Extended CS5), Timeline (CS6), or Layers panel, select the video layer that you want to interpret. 2.
Premultiplied-Matte with black specified as background color, halo does not appear (lower-right). Adobe also recommends Working with Image Sequences Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating timeline animations Timeline animation workflow Use keyframes to animate layer properties Create hand-drawn animations Insert, delete, or duplicate blank video frames Specify onion skin settings Open a multilayer animation To the top Timeline animation workflow To animate layer content in timeline mode, you set keyframes in the Animation panel (Photoshop Extended CS5) or Timeline panel (CS6), as you move the current-time indicator to a different time/frame, and then modify the position, opacity,
A new video layer for adding video content. A new blank video layer for cloning content to or creating hand-drawn animations. 3.Add content to the layer. 4.(Optional) Add a layer mask. A layer mask can be used to reveal a portion of the layer’s content. You can animate the layer mask to reveal different portions of the layer’s content over time. See Add layer masks. 6.Move the current time indicator to the time or frame where you want to set the first keyframe.
command, or as an image sequence or video using the Render Video command. You can also save it in PSD format, which can be imported into Adobe After Effects. To the top Use keyframes to animate layer properties You can animate different layer properties, such as Position, Opacity, and Style. Each change can occur independently of, or simultaneously with, other changes. If you want to animate different objects independently, it’s best to create them on separate layers.
Move the current-time indicator to a keyframe After you set the initial keyframe for a property, Photoshop displays the keyframe navigator, which you can use to move from keyframe to keyframe or to set or remove keyframes. When the keyframe navigator diamond is active (yellow), the current-time indicator lies precisely at a keyframe for that layer property. When the keyframe navigator diamond is inactive (gray), the current-time indicator lies between keyframes.
6. Open the Animation panel menu and choose Paste Keyframes. Delete keyframes In the Animation panel (Photoshop Extended CS5) or Timeline panel (CS6), select one or more keyframes and do one of the following: Right-click (Windows) or Control-click (Mac OS) a selected keyframe, and choose Delete Keyframes from the context menu. From the panel menu, choose Delete Keyframes.
Insert Blank Frame Inserts a blank video frame in the selected blank video layer at the current time. Delete Frame Deletes the video frame in the selected blank video layer at the current time. Duplicate Frame Adds a copy of the video frame at the current time in the selected blank video layer. To the top Specify onion skin settings Onion skin mode displays content drawn on the current frame plus content drawn on the surrounding frames.
To the top Open a multilayer animation You can open animations that were saved in older versions of Photoshop as multilayer Photoshop (PSD) files. The layers are placed in the Animation panel (Photoshop Extended CS5) or Timeline panel (CS6) in their stacking order, with the bottom layer becoming the first frame. 1. Choose File > Open, and select the Photoshop file to open. 2.
Creating images for video About creating images for video Aspect ratio Create an image for use in video Load video actions Adjust pixel aspect ratio Prepare images for use in After Effects To the top About creating images for video Photoshop can create images of various aspect ratios so that they appear properly on devices such as video monitors. You can select a specific video option (using the New dialog box) to compensate for scaling when the final image is incorporated into video.
Some video-editing programs can import individual layers from a multilayer PSD file. If the file has transparency, some video-editing programs preserve it. If the file uses a layer mask or multiple layers, you might not have to flatten the layers, but you might want to include a flattened copy of the file in PSD format to maximize backward compatibility. To the top Aspect ratio Frame aspect ratio describes the ratio of width to height in the dimensions of an image.
2. From the Preset menu in the New dialog box, choose the Film & Video preset. 3. Choose the size that’s appropriate for the video system on which the image will be shown. 4. Click Advanced to specify a color profile and specific pixel aspect ratio. Note: By default, nonsquare pixel documents open with Pixel Aspect Ratio Correction enabled. This setting scales the image so it appears as it would on the nonsquare-pixel output device (usually a video monitor). 5.
You can create a custom pixel aspect ratio in existing documents, or delete or reset pixel aspect ratios previously assigned to a document. Assign a pixel aspect ratio value to an existing document With a document open, choose View > Pixel Aspect Ratio and then choose a pixel aspect ratio that’s compatible with the video format that you’ll be using your Photoshop file with. Create a custom pixel aspect ratio 1. With a document open, choose View > Pixel Aspect Ratio > Custom Pixel Aspect Ratio. 2.
Organize and name layers. If you change a layer name or delete a layer in a Photoshop document after you import it into After Effects, After Effects won’t be able to find the renamed or deleted layer. The After Effects Project panel lists that layer as missing. (You can also group layers into Smart Objects.
Creating frame animations Frame animation workflow Add frames to an animation Select animation frames Edit animation frames Unifying layer properties in animation frames Copy frames with layer properties Create frames using tweening Add a new layer for each new frame Hide layers in animation frames Specify a delay time in frame animations Choose a frame disposal method Specify looping in frame animations Delete an entire animation To the top Frame animation workflow In Photoshop, you use the Animation pan
Add content to your animation. If your animation includes several objects that are animated independently, or if you want to change the color of an object or completely change the content in a frame, create the objects on separate layers. Add a frame to the Animation panel (Photoshop Extended CS5) or Timeline panel (CS6). See Add frames to an animation. Select a frame. See Select animation frames. Edit the layers for the selected frame.
Save as an animated GIF using the Save For Web & Devices (Photoshop Extended CS5) or Save For Web (CS6) command. Save in Photoshop (PSD) format so you can do more work on the animation later. Save an image sequence, QuickTime movie, or as separate files. See also Export video files or image sequences. To the top Add frames to an animation Adding frames is the first step in creating an animation.
1. In the Animation panel (Photoshop Extended CS5) or Timeline panel (CS6), select one or more frames. 2. Do any of the following: To edit the content of objects in animation frames, use the Layers panel to modify the layers in the image that affect that frame. To change the position of an object in an animation frame, select the layer containing the object in the Layers panel and drag it to a new position. Note: You can select and change the position of multiple frames.
Automatic Displays the unify layers buttons when the Animation panel is open. In Photoshop Extended, the Animation panel must be in frame animation mode. Always Show Displays the unify layers buttons whether the Animation panel is open or closed. Always Hide Hides the unify layers buttons whether the Animation panel is open or closed.
(position, opacity, or effect parameters) evenly between the new frames to create the appearance of movement. For example, if you want to fade out a layer, set the opacity of the layer in the starting frame to 100%; then set the opacity of the same layer in the ending frame to 0%. When you tween between the two frames, the opacity of the layer is reduced evenly across the new frames. Using tweening to animate text position 1. To apply tweening to a specific layer, select it in the Layers panel. 2.
Previous Frame Adds frames between the selected frame and the preceding frame. This option is not available when you select the first frame in the Animation (Photoshop Extended CS5) or Timeline (CS6) panel. Last Frame Adds frames between the first frame and last frame. This option is available only if you select the first frame in the Animation (Photoshop Extended CS5) or Timeline (CS6) panel. 7. In the Frames To Add box, enter a value, or use the Up or Down Arrow key to choose the number of frames.
Choose a frame disposal method The frame disposal method specifies whether to discard the current frame before displaying the next frame. You select a disposal method for animations that include background transparency to specify whether the current frame will be visible through the transparent areas of the next frame. Frame disposal methods A. Frame with background transparency with Restore To Background option B.
To the top Delete an entire animation Select Delete Animation from the Animation panel menu (Photoshop Extended CS5) or Timeline panel menu (CS6). Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Video and animation overview About video layers Supported video and image sequence formats Animation panel overview Switch animation modes Specify timeline duration and frame rate Note: For Photoshop versions earlier than Photoshop CC, some functionality discussed in this article may be available only if you have Photoshop Extended. Photoshop CC does not have a separate Extended offering. All features in Photoshop Extended are part of Photoshop CC.
Image sequence formats BMP DICOM JPEG OpenEXR PNG PSD Targa TIFF Cineon and JPEG 2000 are supported if the plug-ins are installed. For more information on plug-ins and how to install them, see Plug-ins. Color mode and bit depth Video layers can contain files in the following color modes and bits per channel (bpc): Grayscale: 8, 16, or 32 bpc RGB: 8, 16, or 32 bpc CMYK: 8 or 16 bpc Lab: 8 or 16 bpc To the top Animation panel overview For a video on the Animation panel, see www.adobe.com/go/vid0023.
You can use the Animation panel in either frame mode or timeline mode. Timeline mode shows the frame duration and animation properties for document layers. Use the tools at the bottom of the panel to navigate through frames, zoom the time display in or out, toggle onion skin mode, delete keyframes, and preview the video. You can use controls on the timeline itself to adjust frame duration for a layer, set keyframes for layer properties, and designate a section of the video as the working area.
Convert To Frame Animation Converts a timeline animation using keyframes to frame animation. Timecode Or frame number display Shows the timecode or frame number (depending on panel options) for the current frame. Current-time indicator Drag the current-time indicator to navigate frames or change the current time or frame. Global Lighting track Displays keyframes where you set and change the master lighting angle for layer effects such as Drop Shadow, Inner Shadow, and Bevel and Emboss.
To toggle between units, Alt-click (Windows) or Option-click (Mac OS) the current-time display in the upper-left corner of the timeline. Show or hide layer properties in the timeline As you add layers to a document, they appear as tracks in the timeline. Expand layer tracks to show layer properties that can be animated. To show or hide layer properties, click the triangle to the left of the layer name. Show or hide layers in the timeline All document layers appear in the timeline by default.
Click the Convert To Frame Animation icon . Click the Convert To Timeline Animation icon . From the Animation panel menu, choose either Convert To Frame Animation or Convert To Timeline. To the top Specify timeline duration and frame rate When you are working in timeline mode, you can specify the duration and frame rate of a document containing video or animation. Duration is the overall time length of the video clip, from the first frame you specify to the last.
Saving and exporting video and animations Video and animation export formats Optimize animation frames Flatten frames into layers Export video files or image sequences Specify QuickTime Movie settings (Photoshop Extended CS5) Note: For Photoshop versions earlier than Photoshop CC, some functionality discussed in this article may be available only if you have Photoshop Extended. Photoshop CC does not have a separate Extended offering. All features in Photoshop Extended are part of Photoshop CC.
To the top Flatten frames into layers When you flatten frames into layers, a single layer is created for each frame in a video layer. This can be useful, for example, if you’re exporting the individual video frames as separate image files, or if you’re planning to use the video of a static object in an image stack. 1. In the Timeline (CC, CS6), Animation (CS5), or Layers panel, select the video layer. 2.
In Frame and Out Frame (Photoshop Extended CS5) Specify the sequence of frames to render. Currently Selected Frames (Photoshop Extended CS5) Renders the frames selected by the work area bar in the Animation panel. Note: The available Range options depend on the file format you chose. 8. (Optional) Specify render options: Alpha Channel Specifies how alpha channels are rendered. (This option is available only with formats that support alpha channels, such as PSD or TIFF).
3G export settings (Photoshop Extended CS5) For more information on 3G settings, search for 3G on the Apple Computer web site. File Format 3GPP and 3GPP2 are standards for the creation, delivery, and playback of multimedia over third-generation high-speed wireless networks. 3GPP is for GSM networks and 3GPP2 is for CDMA 2000 networks. 3GPP (Mobile MP4), 3GPP2 (EZmovie), and AMC (EZmovie) are for specific networks. 3GPP (Mobile MP4) is for NTT DoCoMo’s i-motion 3G service.
Advanced Choose Advanced from the pop-up menu below the File Format menu and specify the following: Restrict Distribution Specifies how many times the file can play back on the handset once downloaded. Also specifies file expiration options: set the file to expire in a number of days or enter a date. If your file is in Mobile MP4 or EZmovie format, you can restrict distribution so that once the file is on a handset it can't be sent or copied elsewhere.
Quality If available, drag the slider or type a value to adjust the exported video’s picture quality and, consequently, its file size. If you are using the same codec to capture and export, and you’ve rendered previews of a sequence, you can save rendering time by matching the export quality setting with your original capture quality setting. Increasing quality above the original capture quality does not increase quality, but may result in longer rendering times.
3. Under Video, specify the following: Video Format Chooses the codec to compress your video. For the highest quality at the lowest data rate (or the smallest file), H.264 is recommended. If you need the file to play on a device that supports MPEG-4 video, choose MPEG-4 Basic or MPEG-4 Improved, depending on the target device. If your source movie’s video track is already compressed, you can choose Pass Through so that the video doesn't get compressed again.
4. Under Video, click the appropriate button to set the following: Settings Opens the Standard Video Compression Settings dialog box so you can set the video compression and accompanying options. Filter Opens the Choose Video Filter dialog box, where you can apply built-in QuickTime video effects. Size Opens the Export Size Settings dialog box to specify pixel dimensions for your exported video. 5.
the clean aperture, adding black bars to the top and bottom or sides as necessary. Crop centers, scales, and trims to the clean aperture. Fit Within Dimensions adjusts to the destination size by fitting to the longest side, scaling if necessary. Deinterlace Source Video Deinterlaces the two fields in each interlaced video frame.
Filters and effects Blur gallery overview Kelby (May. 7, 2012) video-tutorial Quick, creative control in a dedicated blur workspace. Using the new three-part Blur Gallery Lynda.com (May. 7, 2012) video-tutorial Focus the eye with precisely placed blurs.
Filter effects reference | CC, CS6 List of filters supporting 16-bit/channel and 32-bit/channel documents Artistic filters Blur filters Brush Stroke filters Distort filters Noise filters Pixelate filters Render filters Sharpen filters Sketch filters Stylize filters Texture filters Video filters Other filters Digimarc filters Vanishing Point Note: Complete information on using some filters is available in other sections.
Cutout Makes an image appear as though it were constructed from roughly cut pieces of colored paper. High-contrast images appear as if in silhouette, and colored images are built up from several layers of colored paper. Dry Brush Paints the edges of the image using a dry brush technique (between oil and watercolor). The filter simplifies an image by reducing its range of colors to areas of common color. Film Grain Applies an even pattern to the shadow tones and midtones.
Average Finds the average color of an image or selection, and then fills the image or selection with the color to create a smooth look. For example, if you select an area of grass, the filter changes the area into a homogeneous patch of green. Blur and Blur More Eliminate noise where significant color transitions occur in an image. Blur filters smooth transitions by averaging the pixels next to the hard edges of defined lines and shaded areas.
Crosshatch Preserves the details and features of the original image while adding texture and roughening the edges of the colored areas with simulated pencil hatching. The Strength option (with values from 1 to 3) determines the number of hatching passes. Dark Strokes Paints dark areas with short, tight, dark strokes, and lighter areas with long, white strokes. Ink Outlines Redraws an image with fine narrow lines over the original details, in pen-and-ink style.
ZigZag Distorts a selection radially, depending on the radius of the pixels in your selection. The Ridges option sets the number of direction reversals of the zigzag from the center of the selection to its edge. You also specify how to displace the pixels: Pond Ripples displaces pixels to the upper-left or lower right, Out From Center displaces pixels toward or away from the center of the selection, and Around Center rotates pixels around the center.
Pointillize Breaks up the color in an image into randomly placed dots, as in a pointillist painting, and uses the background color as a canvas area between the dots. To the top Render filters The Render filters create 3D shapes, cloud patterns, refraction patterns, and simulated light reflections in an image. You can also manipulate objects in 3D space, create 3D objects (cubes, spheres, and cylinders), and create texture fills from grayscale files to produce 3D-like effects for lighting.
(Photoshop CC) Enhanced Smart Sharpen filter UI Here is a recommended approach to sharpening images with Photoshop CC: 1. To begin, set Amount to a high value. 2. Increase the Radius to a value that introduces a halo effect. 3. Decrease the Radius until the halo effect disappers. You've arrived at the optimal value for Radius. 4. Now, decrease the value of Amount as necessary. 5.
Stylize > Emboss and Texture > Grain filters. Dark areas of the image appear as holes in the top layer of paper, revealing the background color. Photocopy Simulates the effect of photocopying an image. Large dark areas tend to be copied only around their edges, and midtones fall away to either solid black or solid white. Plaster Molds an image from 3D plaster, and then colorizes the result using the foreground and background color. Dark areas are raised, and light areas are recessed.
Texture filters Use the Texture filters to simulate the appearance of depth or substance, or to add an organic look. Craquelure Paints an image onto a high-relief plaster surface, producing a fine network of cracks that follow the contours of the image. Use this filter to create an embossing effect with images that contain a broad range of color or grayscale values.
These filters, especially with larger radii, tend to promote either corners or curves in the image contours. In Photoshop CC, you can choose from the Preserve menu to favor squareness or roundness as you specify the radius value. (Photoshop CC) Preserve squareness or roundness Offset Moves a selection a specified horizontal or vertical amount, leaving an empty space at the selection’s original location.
Add Lighting Effects | CC, CS6 Apply the Lighting Effects filter From an Expert: Lighting Effects tutorials Lighting Effects types Adjust a Point light in the preview window Adjust an Infinite light in the preview window Adjust a Spot light in the preview window Lighting Effects presets Add or delete a light Create, save, or delete a Lighting Effects preset Apply a Texture channel To the top Apply the Lighting Effects filter The Lighting Effects filter lets you produce myriad lighting effects on RGB image
To the top From an Expert: Lighting Effects tutorials Quickly master the dedicated Lighting Effects workspace. This tutorial from Dan Moughamian gives you a step-by-step tour. Also, see this CS6 Lighting Effects overview video by Matt Kloskowski. To the top Lighting Effects types You can choose from several lighting types: Point Shines light in all directions from directly above the image—like a light bulb. Infinite Shines light across an entire plane—like the sun.
1. At the top of the Properties panel, choose Spot. 2. In the preview window, adjust the light: To move the light, drag within the outer ellipse. To rotate the light, drag beyond the outer ellipse. To change the hotspot angle, drag the edge of the interior ellipse. To extend or shrink the ellipse, drag one of the four outer handles. To change how much of the ellipse is filled with light, drag the white section of the Intensity ring in the center.
Three Down Three white spotlights of soft (35) intensity with a wide (96) focus. Triple Spotlight Three spotlights of slight (35) intensity with a wide (100) focus. To the top Add or delete a light In the Lighting Effects workspace, do one of the following: At upper left, click the Lights icons to add Point, Spot, and Infinite types. Repeat as desired for a maximum of 16 lights. In the Lights panel (at lower right by default), drag a light to the Trash icon to delete it.
More Help topics Create and edit alpha channel masks Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Photographic blur gallery Field blur Iris blur Tilt-Shift Blur effects Applying Blur gallery effects as smart filters | Creative Cloud only Use the Blur gallery to quickly create three distinct photographic blur effects with intuitive on-image controls. Add Field Blur, Iris Blur, or a Tilt-Shift effect to a picture. Each blur tool provides intuitive overlay controls to apply and control the blur effect. With the blur adjustments complete, use the Bokeh controls to style the overall blur effect.
focus points, an effect almost impossible to achieve using traditional camera techniques. 1. Choose Filter > Blur > Iris Blur. The default Iris blur pin is placed on the image. Click the image to add additional blur pins. A. Sharp area B. Fade area C. Blur area 2. Drag the handles to move them to redefine the various areas. 3. Drag the blur handle to increase or decrease the blur. You can also use the Blur Tools panel to specify a blur value.
3. To define the different areas, do the following: Drag the lines to move them Drag the handles and rotate For more information on using Tilt-Shift, see this step-by-step text tutorial by Dan Moughamian. To the top Blur effects You can enhance the overall picture, by controlling the appearance of out-of-focus or blurred parts. Specify the bokeh parameters to ensure an overall pleasing effect.
Adaptive wide angle filter Use the Adaptive Wide Angle filter to correct lens distortions due to using wide angle lenses. You can quickly straighten lines that appear curved in panoramas, or photos taken with fish-eye and wide angle lenses. For example, buildings seem to be leaning inwards when captured using a wideangle lens. The filter detects the camera and lens model and uses the lens characteristics to straighten the images.
4. Define the constraints to indicate straight lines in the picture. Do one of the following: Choose the Constraint tool, and drag a line across a key object to straighten. Choose the Polygon Constraint tool, and draw a polygon along the object to straighten. The filter detects the curvature and draws a line that follows the contour of the object. To constrain vertically or horizontally, press Shift while dragging the line.
Oil Paint filter Use the Oil Paint filter gives an image the look of a classic painting. 1. Choose Filter > Oil Paint. 2. Experiment with the Brush and Lighting options. 3. Click OK to apply the filter. If the Oil Paint filter is not working, it's possible that you don't have a supported graphics card. Or, it could mean that your graphics card driver is out-of-date. For more information, see the GPU FAQ. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Layer effects and styles About layer effects and styles Apply preset styles Layer Style dialog box overview Apply or edit a custom layer style Layer style options Modify layer effects with contours Set a global lighting angle for all layers Display or hide layer styles Copy layer styles Scale a layer effect Remove layer effects Convert a layer style to image layers Create and manage preset styles To the top About layer effects and styles Photoshop provides a variety of effects—such as shadows, glows, and
Choose Window > Styles. Apply a preset style to a layer Normally, applying a preset style replaces the current layer style. However, you can add the attributes of a second style to those of the current style. Do one of the following: Click a style in the Styles panel to apply it to the currently selected layers. Drag a style from the Styles panel onto a layer in the Layers panel.
Layer Style dialog box. Click a check box to apply the current settings without displaying the effect’s options. Click an effect name to display its options. You can create custom styles using one or more of the following effects: Drop Shadow Adds a shadow that falls behind the contents on the layer. Inner Shadow Adds a shadow that falls just inside the edges of the layer’s content, giving the layer a recessed appearance.
When you next open the dialog box, your custom defaults are automatically applied. If you adjust settings and want to return to your custom defaults, click Reset To Default. To return to Photoshop’s original defaults, see Restore all preferences to default settings. To the top Layer style options Altitude For the Bevel and Emboss effect, sets the height of the light source. A setting of 0 is equivalent to ground level, 90 is directly above the layer.
Noise Specifies the number of random elements in the opacity of a glow or shadow. Enter a value or drag the slider. Opacity Sets the opacity of the layer effect. Enter a value or drag the slider. Pattern Specifies the pattern of a layer effect. Click the pop-up panel and choose a pattern. Click the New Preset button to create a new preset pattern based on the current settings.
When you create custom layer styles, you can use contours to control the shape of Drop Shadow, Inner Shadow, Inner Glow, Outer Glow, Bevel and Emboss, and Satin effects over a given range. For example, a Linear contour on a Drop Shadow causes the opacity to drop off in a linear transition. Use a Custom contour to create a unique shadow transition. You can select, reset, delete, or change the preview of contours in the Contour pop-up panel and Preset Manager.
Choose Layer > Layer Style > Global Light. In the Global Light dialog box, enter a value or drag the angle radius to set the angle and altitude, and click OK. In the Layer Style dialog box for Drop Shadow, Inner Shadow, or Bevel, select Use Global Light. For Angle, enter a value or drag the radius, and click OK. The global lighting applies to each layer effect that uses the global lighting angle.
In the Layers panel, Alt-drag (Windows) or Option-drag (Mac OS) a single layer effect from one layer to another to duplicate the layer effect, or drag the Effects bar from one layer to another to duplicate the layer style. Drag one or more layer effects from the Layers panel to the image to apply the resulting layer style to the highest layer in the Layers panel that contains pixels at the drop point.
image layers, you can enhance the result by painting or applying commands and filters. However, you can no longer edit the layer style on the original layer, and the layer style no longer updates as you change the original image layer. Note: The layers produced by this process may not result in artwork that exactly matches the version using layer styles. You may see an alert when you create the new layers. 1. In the Layers panel, select the layer containing the layer style that you want to convert. 2.
Drag a style to the Delete icon at the bottom of the Styles panel. Press Alt (Windows) or Option (Mac OS), and click the layer style in the Styles panel. Select a style in the Styles area of the Layer Style dialog box. (See Apply preset styles.) Then choose Delete Style from the pop-up menu. When using a shape or Pen tool, select a style from the Layer Style pop-up panel in the options bar. Then choose Delete Style from the pop-up panel menu. Save a set of preset styles as a library 1.
Filter basics Using filters Apply a filter from the Filter menu Filter Gallery overview Apply filters from the Filter Gallery Blend and fade filter effects Tips for creating special effects Improve filter performance Note: For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com.
To apply a filter non-destructively so you can change your filter settings later, select the Smart Object that contains the image content you want to filter. 2. Choose a filter from the submenus in the Filter menu. If no dialog box appears, the filter effect is applied. 3. If a dialog box or the Filter Gallery appears, enter values or select options, and then click OK. Applying filters to large images can be time consuming, but you can preview the effect in the filter dialog box.
Drag in the preview area with the Hand tool Hide filter thumbnails Click the Show/Hide button at the top of the gallery To the top Apply filters from the Filter Gallery Filter effects are applied in the order you select them. You can rearrange filters after you apply them by dragging a filter name to another position in the list of applied filters. Rearranging filter effects can dramatically change the way your image looks. Click the eye icon next to a filter to hide the effect in the preview image.
2. Choose Edit > Fade. Select the Preview option to preview the effect. 3. Drag the slider to adjust the opacity, from 0% (transparent) to 100%. 4. Choose a blending mode from the Mode menu. Note: The Color Dodge, Color Burn, Lighten, Darken, Difference, and Exclusion blending modes do not work on Lab images. 5. Click OK. To the top Tips for creating special effects Creating edge effects You can use various techniques to treat the edges of an effect applied to only part of an image.
If you plan to print to a grayscale printer, convert a copy of the image to grayscale before applying filters. However, applying a filter to a color image, and then converting to grayscale, may not have the same effect as applying the filter to a grayscale version of the image. Adobe also recommends About plug-in modules Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Applying specific filters Load images and textures for filters Set texture and glass surface controls Defining undistorted areas Apply the Dust And Scratches filter Apply the Displace filter Apply the Color Halftone filter Apply the Extrude filter Apply the Trace Contour filter Create a Custom filter To the top Load images and textures for filters To produce their effects, some filters load and use other images, such as textures and displacement maps.
The Displace, Shear, and Wave filters in the Distort submenu and the Offset filter in the Other submenu let you treat areas undefined (or unprotected) by the filter in the following ways: Wrap Around Fills the undefined space with content from the opposite edge of the image. Repeat Edge Pixels Extends the colors of pixels along the edge of the image in the direction specified. Banding may result if the edge pixels are different colors.
4. Choose Wrap Around or Repeat Edge Pixels to determine how undistorted areas of the image are treated. 5. Click OK. 6. Select and open the displacement map. The distortion is applied to the image. To the top Apply the Color Halftone filter 1. Choose Filter > Pixelate > Color Halftone. 2. Enter a value in pixels for the maximum radius of a halftone dot, from 4 to 127. 3.
1. Choose Filter > Stylize > Trace Contour. 2. Choose an Edge option to outline areas in the selection: Lower outlines areas where the color values of pixels fall below the specified level, and Upper outlines areas where the color values fall above. 3. Enter a threshold (Level) for evaluating color values (tonal level), from 0 to 255. Experiment to see what values bring out the best detail in the image. Use the Info panel in Grayscale mode to identify a color value that you want traced.
Smudge image areas The Smudge tool simulates the effect you see when you drag a finger through wet paint. The tool picks up color where the stroke begins and pushes it in the direction you drag. 1. Select the Smudge tool . 2. Choose a brush tip and options for the blending mode in the options bar. 3. Select Sample All Layers in the options bar to smudge using color data from all visible layers. If this is deselected, the Smudge tool uses colors from only the active layer. 4.
Add Lighting Effects (CS5) Run Photoshop in 32-bit mode (64-bit Mac OS only) Apply the Lighting Effects filter Lighting Effects types Adjust an Omni light Adjust directional light using the preview window Adjust the spotlight using the preview window Lighting Effects styles Add or delete a light Create, save, or delete a Lighting Effects style Use the Texture Channel in the Lighting Effects To the top Run Photoshop in 32-bit mode (64-bit Mac OS only) In 64-bit versions of Mac OS, Lighting Effects is avail
5. To set light properties, drag the corresponding slider for the following options: Gloss Determines how much the surface reflects light (as on the surface of a piece of photographic paper), from Matte (low reflectance) to Shiny (high reflectance). Material Determines which is more reflective: the light or the object on which the light is cast. Plastic reflects the light’s color; Metallic reflects the object’s color. Exposure Increases (positive values) or decreases (negative values) light.
2. For Light Type, choose Directional. 3. Adjust the light: To move the light, drag the center circle. To change the direction of the light, drag the handle at the end of the line to rotate the light’s angle. Ctrl-drag (Windows) or Commanddrag (Mac OS) to keep the light’s height (line length) constant. To change the height of the light, drag the handle at the end of the line. Shorten the line for a bright light, and lengthen it for a less intense one.
Default A white spotlight of medium intensity (35) with a wide focus (69). Five Lights Down/Five Lights Up Five white spotlights, down or up, of full (100) intensity with a wide (60) focus. Flashlight An omni yellow light of medium (46) intensity. Flood Light A white spotlight of medium (35) intensity with a wide (69) focus. Parallel Directional A directional blue light of full (98) intensity with no focus.
The Texture Channel in the Lighting Effects dialog box lets you control lighting effects using grayscale images (called bump maps) that you add to your image as alpha channels. You can add any grayscale image to your image as an alpha channel, or create a new alpha channel and add texture to it. For an embossed text effect, use a channel with white text on a black background, or vice versa. 1. If necessary, add an alpha channel to your image.
Saving and exporting 816
Supported file formats Asterisks (*) indicate formats whose support was introduced in CS6. Audio import formats The following formats can now be opened in Photoshop Standard and Extended. (In Photoshop CS5 and prior, Extended was required.) AAC* AIFF* M2A* M4A* MP2* MP3* Video import formats .
PICT (read only) PICT Resource (Mac only, can open only) Radiance 3D-related formats 3D Studio (import only) DAE (Collada) Flash 3D* (export only) JPS* (JPEG Stereo) KMZ (Google Earth 4) MPO* (Multi-Picture format) U3D Wavefront|OBJ Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Saving PDF files About Photoshop PDF format Save in Photoshop PDF format Adobe PDF presets About PDF/X and PDF/A standards PDF compatibility levels General options for Adobe PDF Compression and downsampling options for Adobe PDF Color management and PDF/X options for Adobe PDF Adding security to PDF files Save an Adobe PDF preset Load, edit, or delete Adobe PDF presets To the top About Photoshop PDF format You can use the Save As command to save RGB, indexed-color, CMYK, grayscale, Bitmap-mode, Lab color,
Note: Users of Photoshop 7.0 and earlier can open a Photoshop PDF as a generic PDF with flattened layers. Choose File > Open As and then choose Generic PDF from the Files Of Type menu (Windows), or choose File > Open and choose Generic PDF from the Format menu (Mac OS). 5. (Optional) Select Compression in the left pane of the Save Adobe PDF dialog box to specify the compression and downsampling options for the PDF file. For more information, see Compression and downsampling options for Adobe PDF. 6.
PDF/X-1a (2001 and 2003) PDF/X-1a requires all fonts to be embedded, the appropriate marks and bleeds to be specified, and color to appear as CMYK, spot colors, or both. Compliant files must contain information describing the printing condition for which they are prepared. PDF files created with PDF/X-1a compliance can be opened in Acrobat 4.0 and Acrobat Reader 4.0 and later. PDF/X-1a uses PDF 1.
The most widely used standards for a print publishing workflow are several PDF/X formats: PDF/X-1a, PDF/X-3, and (in 2007) PDF/X-4. The most widely used standards for PDF archiving are PDF/A-1a, and PDF/A-1b (for less stringent requirements). Note: For more information on PDF/X and PDF/A, see the ISO website and the Adobe website. To the top PDF compatibility levels When you create PDFs, you need to decide which PDF version to use.
You can set the following options in the General section of the Adobe PDF Options dialog box: Description Displays the description from the selected preset, and provides a place for you to edit the description. You can paste a description from the clipboard. If you edit the description of a preset, the word “(Modified)” is added at the end of the preset name. Preserve Photoshop Editing Capabilities Preserves Photoshop data in the PDF, such as layers, alpha channels, and spot colors.
Image Quality Determines the amount of compression that is applied. The available options depend on the compression method. For JPEG2000 compression, Photoshop provides Lossless, Maximum, High, Medium, Low, and Minimum options. For JPEG compression, Photoshop provides Minimum, Low, Medium, High, and Maximum options. For ZIP compression, Photoshop provides an 8-bit Image Quality option.
category), the encryption level will be high or low. Note: Adobe PDF presets don’t support passwords and security settings. If you select passwords and security settings in the Export Adobe PDF dialog box, and then click Save Preset, the passwords and security settings won’t be preserved.
Choose Edit > Adobe PDF Presets and do any of the following: To save settings as a new preset, click the New button, specify settings in the New PDF Preset dialog box, and clic OK. To edit an Adobe PDF preset, select the preset in the Preset window, click the Edit button, and change settings in the Edit PDF Preset dialog box.
Saving images Save a file Set file saving preferences Save large documents Export layers to files Testing Photoshop images for mobile devices with Adobe Device Central (CS5) Create mobile content with Adobe Device Central and Photoshop (CS5) Note: For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com.
You can set a variety of file saving options in the Save As dialog box. The availability of options depends on the image you are saving and the selected file format. As A Copy Saves a copy of the file while keeping the current file open on your desktop. Alpha Channels Saves alpha channel information with the image. Disabling this option removes the alpha channels from the saved image. Layers Preserves all layers in the image.
Save As to Original Folder When saving, defaults to the folder images originated from. Deselect this option to instead default to the folder you last saved in. Save in Background (CC, CS6) Background saving lets you keep working in Photoshop after you choose a Save command. You don’t have to wait for Photoshop to finish saving the file. Automatically Save Recovery Information (CC, CS6) Photoshop automatically stores crash-recovery information at the interval that you specify.
2. In the Export Layers To Files dialog box, under Destination, click Browse to select a destination for the exported files. By default, the generated files are saved in the sample folder as the source file. 3. Enter a name in the File Name Prefix text box to specify a common name for the files. 4. Select the Visible Layers Only option if you want to export only those layers that have visibility enabled in the Layers panel. Use this option if you don’t want all the layers exported.
Color Mode: RGB/8bit Resolution: 72 ppi Color Profile: SRGB IEC61966-2.1 7. Fill the blank PSD file with content in Photoshop. 8. When you finish, select File > Save For Web& Devices. 9. In the Save For Web & Devices dialog box, select the desired format and change other export settings as desired. 10. Click Device Central. A temporary file with the export settings specified is displayed in the Device Central Emulator tab.
Saving files in graphics formats Save Save Save Save Save Save Save Save Save Save in in in in in in in in in in TIFF format JPEG format PNG format GIF format Photoshop EPS format Photoshop DCS format Photoshop Raw format BMP format Cineon format (16-bit images only) Targa format To the top Save in TIFF format TIFF is a flexible raster (bitmap) image format supported by virtually all paint, image-editing, and page-layout applications. 1.
Note: To have Photoshop prompt you before saving an image with multiple layers, select Ask Before Saving Layered TIFF Files in the File Handling area of the Preferences dialog box. To the top Save in JPEG format You can use the Save As command to save CMYK, RGB, and grayscale images in JPEG (*.jpg) format. JPEG compresses file size by selectively discarding data. You can also save an image as one or more JPEG using the Save For Web & Devices command. JPEG supports only 8-bit images.
format. The image is automatically converted to Indexed Color mode. Note: GIF is only available when the image is 8 Bits/Channel (it only supports 8 Bit/Channel). 1. Choose File > Save As, and choose CompuServe GIF from the Format menu. 2. For RGB images, the Indexed Color dialog box appears. Specify conversion options and click OK. 3. Select a row order for the GIF file, and click OK: Normal Displays the image in a browser only when download is complete.
Photoshop EPS encoding options ASCII or ASCII85 Encodes if you’re printing from a Windows system, or if you’re experience printing errors or other difficulties. Binary Produces a smaller file and leaves the original data intact. However, some page-layout applications and some commercial print spooling and network printing software may not support binary Photoshop EPS files. JPEG Compresses the file by discarding some image data.
1. Choose File > Save As, and choose BMP from the Format menu. 2. Specify a filename and location, and click Save. 3. In the BMP Options dialog box, select a file format, specify the bit depth and, if necessary, select Flip Row Order. For more options, click Advanced Modes and specify the BMP options. 4. Click OK. To the top Save in Cineon format (16-bit images only) RGB images that are 16 bits per channel can be saved in Cineon format for use in the Kodak Cineon Film System.
File formats Choosing a file format About file compression Maximize compatibility for PSD and PSB files Photoshop format (PSD) Photoshop 2.0 format Photoshop DCS 1.0 and 2.
To the top About file compression Many file formats use compression to reduce the file size of bitmap images. Lossless techniques compress the file without removing image detail or color information; lossy techniques remove detail. The following are commonly used compression techniques: RLE (Run Length Encoding) Lossless compression; supported by some common Windows file formats. LZW (Lemple-Zif-Welch) Lossless compression; supported by TIFF, PDF, GIF, and PostScript language file formats.
versions of Photoshop change the behavior of some features. Including the composite also makes the image much faster to load and use in applications other than Photoshop, and may sometimes be required to make the image readable in other applications. 16-bits-per-channel and high dynamic range 32-bits-per-channel images can be saved as PSD files. To the top Photoshop 2.0 format (Mac OS) You can use this format to open an image in Photoshop 2.
processing. To the top Digital Negative format (DNG) Digital Negative (DNG) is a file format that contains the raw image data from a digital camera and metadata that defines what the data means. DNG, Adobe’s publicly available, archival format for camera raw files, is designed to provide compatibility and decrease the current proliferation of camera raw file formats. The Camera Raw plug-in can save camera raw image data in the DNG format.
Joint Photographic Experts Group (JPEG) format is commonly used to display photographs and other continuous-tone images in hypertext markup language (HTML) documents over the World Wide Web and other online services. JPEG format supports CMYK, RGB, and Grayscale color modes, and does not support transparency. Unlike GIF format, JPEG retains all color information in an RGB image but compresses file size by selectively discarding data. A JPEG image is automatically decompressed when opened.
Standard PDF files Created when Preserve Photoshop Editing Capabilities is deselected in the Save Adobe PDF dialog box, or by using another application such as Adobe Acrobat or Illustrator. Standard PDF files can contain multiple pages and images. When you open a standard PDF file, Photoshop rasterizes vector and text content, while preserving pixel content.
To the top Scitex CT Scitex Continuous Tone (CT) format is used for high-end image processing on Scitex computers. Contact Creo to obtain utilities for transferring files saved in Scitex CT format to a Scitex system. Scitex CT format supports CMYK, RGB, and grayscale images and does not support alpha channels. CMYK images saved in Scitex CT format often have extremely large file sizes. These files are generated for input using a Scitex scanner.
Digimarc copyright protection Read a Digimarc watermark Adding digital copyright information Before adding a digital watermark Embed a watermark Using the Watermark Durability setting Check the signal strength meter Note: Digimarc plug-ins require a 32-bit operating system. They are unsupported in 64-bit versions of Windows and Mac OS. To the top Read a Digimarc watermark 1. Choose Filter > Digimarc > Read Watermark.
quality over file size (a JPEG compression setting of 4 or higher works best). In addition, the higher the Watermark Durability setting you choose when embedding the watermark, the better the chances that the digital watermark will survive compression. Workflow Digital watermarking should be one of the very last tasks you perform on an image, except for file compression.
8. Click OK. To the top Using the Watermark Durability setting The default Watermark Durability setting is designed to strike a balance between watermark durability and visibility in most images. However, you can adjust the Watermark Durability setting yourself to suit the needs of your images. Low values are less visible in an image but less durable, and may be damaged by applying filters or by performing some image editing, printing, and scanning operations.
Printing 847
Print 3D objects | Photoshop CC Introduced in version 14.2 Preparing to print 3D objects Previewing and printing the 3D object 3D print utilities FAQ See also With Photoshop, you can print any compatible 3D model without worrying about 3D printer limitations. In preparation for printing, Photoshop automatically makes 3D models watertight. Photoshop also generates the necessary support structures—scaffolding and rafts—to ensure that your 3D prints are successful.
5. Select a local printer or a Shapeways.com printer profile. To view estimated prices for printing the 3D model using available Shapeways.com profiles, select Printer > Estimate Price. 6. Select a unit for the printer volume—inch, centimeter, millimeter, or pixel. The unit is reflected in the Printer Volume dimensions as well as the print plate measurements. A. 3D model B. Print plate C. Printer volume overlay 7. Select a Detail Level—Low, Medium, or High—for the 3D print.
To the top Previewing and printing the 3D object Once you're done specifying the 3D print settings, follow these steps: 1. Click the Start Print icon ( ) or select 3D > 3D Print. Photoshop unifies the 3D scene and prepares it for the printing process. 2. If you chose to print using a Shapeways.com profile, Photoshop prompts you that the actual cost of printing may differ from the displayed estimates. Click OK. 3.
Calibrate Print Plate Helps level the print plate. This utility performs the following broad steps: Prompts you to remove any leftover printing material from the 3D printer Initializes the print head Lets you adjust/finetune the gap between the print plate and the print head for nine nozzle positions You can use this utility in the wizard mode or in the manual mode. Load Filament Helps load a filament into a fused deposition modeling (FDM) 3D printer.
Printing from Photoshop | CC, CS6 Printing basics About desktop printing Print images Position and scale images Print part of an image Print vector data To the top Printing basics Whether you are printing an image to your desktop printer or sending it to a prepress facility, knowing a few basics about printing makes the print job go more smoothly and helps ensure that the finished image appears as intended.
Print images Photoshop provides the following printing commands in the File menu: Print Displays the Print dialog box, where you can preview the print and set options. (Customized settings are saved as new defaults when you click Done or Print.) Print One Copy Prints one copy of a file without displaying a dialog box. For maximum efficiency, you can include the Print command in actions. (Photoshop provides all print settings in one dialog box.) Set Photoshop print options and print 1.
Choose File > Print, and expand the Position And Size settings at right. Then do one of the following: To center the image in the printable area, select Center Image. To position the image numerically, deselect Center Image, and then enter values for Top and Left. Deselect Center Image, and drag the image in the preview area. Scale the print size of an image Choose File > Print, and expand the Position And Size settings at right.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Printing with color management Let Photoshop determine printed colors Let printer determine printed colors Print a hard proof To better understand color management concepts and workflows, see Understanding Color Management. To the top Let Photoshop determine printed colors If you have a custom color profile for a specific printer, ink, and paper combination, letting Photoshop manage colors often produces better results than letting the printer manage colors. 1. Choose File > Print. 2.
7. Access the color management options for the printer driver from the Print Settings dialog box, which automatically appears after you click Print. In Windows, click the Print Settings button to access the printer driver options. In Mac OS, use the pop-up menu from the Print Settings dialog box to access the printer driver options. 8. Turn off color management for the printer, so the printer profile settings won’t override your profile settings.
1. Choose View > Proof Setup, and select the output conditions you want to simulate. You can do this using a preset or by creating a custom proof setup. See Soft-proof colors. The view changes automatically according to the proof you choose. Choose Custom to create custom proof settings, which you must save so you can select them in the Proof Setup menu of the Print dialog box. 2. After you select a proof, choose File > Print. 3. Expand the Color Management section at right. 4.
Contact Sheets and PDF Presentations Contact Sheet II and PDF Presentation plug-ins in Photoshop CS6 and Photoshop CC are 64-bit compatible for optimal performance on modern systems. Some procedures in this article are applicable to Adobe Bridge. Adobe Bridge is not installed by default with Photoshop CC. You can download Bridge CC by logging in to Adobe Creative Cloud and then navigating to Apps. To the top Creating a contact sheet 1.
Print photos in a picture package layout Place multiple photos into a picture package Customize a picture package layout Flexible picture packages with Smart Objects Lay out a custom package template in Photoshop CS5.... Read More by Michael Hoffman http://www.hoffmanartdesig... http://goo.gl/UywKR Contribute your expertise to Adobe Community Help To the top Place multiple photos into a picture package To use the optional Picture Package plug-in described below, first download it for Windows or Mac OS.
If you’re using only the frontmost image or a selected image from Bridge, skip to step 3. 4. Add one or more images to the layout by doing one of the following: In the Source Images area of the Picture Package dialog box, choose either File or Folder from the Use menu and click Browse (Windows) or Choose (Mac OS). If you choose Folder, you can select Include All Subfolders to include images inside any subfolders. Click a placeholder in the preview layout and browse to select an image.
Customize a picture package layout You can modify existing layouts or create new layouts using the Picture Package Edit Layout feature. Custom layouts are saved as text files and stored in the Layouts folder inside the Presets folder. You can then reuse your saved layouts. The Picture Package Edit Layout feature uses a graphic interface that eliminates the need to write text files to create or modify layouts. 1. Do one of the following: (Photoshop) Choose File > Automate > Picture Package.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Printing spot colors About spot colors Create a new spot channel Convert an alpha channel to a spot channel Edit a spot channel to add or remove color Change a spot channel’s color or solidity Merge spot channels Adjust overlapping spot colors To the top About spot colors Spot colors are special premixed inks used instead of, or in addition to, the process color (CMYK) inks. Each spot color requires its own plate on the press.
If you made a selection, that area is filled with the currently specified spot color. 4. In the New Spot Channel dialog box, click the Color box. Then in the Color Picker, click Color Libraries to choose from a custom color system such as PANTONE or TOYO and choose a color. See Choose a spot color. If you select a custom color, your print service provider can more easily provide the proper ink to reproduce the image. 5. Enter a name for the spot channel.
7. To apply the color to the selected area of the channel, choose Image > Adjustments > Invert. To the top Edit a spot channel to add or remove color 1. Select the spot channel in the Channels panel. 2. Use a painting or editing tool to paint in the image. Paint with black to add more spot color at 100% opacity; paint with gray to add spot color with lower opacity.
2. Choose Select > Load Selection. To quickly select an image in a channel, hold down Ctrl (Windows) or Command (Mac OS), and click the channel in the Channels panel. 3. For Channel, choose the spot channel from step 1, and click OK. 4. To create a trap when knocking out the underlying color, choose Select > Modify > Expand or Contract, depending on whether the overlapping spot color is darker or lighter than the spot color beneath it.
Printing images to a commercial printing press Preparing images for press Set output options Print separations from Photoshop Prepare an image with spot channels for printing from another application Create a color trap Determine scan resolution for printing To the top Preparing images for press From Photoshop, you can prepare image files for offset lithography, digital printing, gravure, and other commercial printing processes.
Page marks A. Gradient tint bar B. Label C. Registration marks D. Progressive color bar E. Corner crop mark F. Center crop mark G. Description H. Star target 1. Choose File > Print. 2. Choose Output from the pop-up menu. 3. Set one or more of the following options: Calibration Bars Prints an 11-step grayscale, a transition in density from 0 to 100% in 10% increments. With a CMYK color separation, a gradient tint bar is printed to the left of each CMYK plate, and a progressive color bar to the right.
Background Selects a background color to be printed on the page outside the image area. For example, a black or colored background may be desirable for slides printed to a film recorder. To use this option, click Background, and then select a color from the Color Picker. This is a printing option only; it does not affect the image itself. Border Prints a black border around an image. Type a number and choose a unit value to specify the width of the border.
3. In the DCS 2.0 Format dialog box, deselect the Include Halftone Screen and the Include Transfer Function options. 4. Open or import the image in Photoshop, and set your screen angles. Make sure that you’ve communicated to the printer the spot color you want for each of the color plates. Note: You can place a PSD file containing spot colors directly in Illustrator or InDesign without special preparation.
Estimate scan resolution You can determine the resolution for your scan using the original and final image dimensions and the resolution of your output device. Scan resolution translates into image resolution when you open the scanned image in Photoshop. 1. Do one of the following: For laser printers and imagesetters, multiply the printer’s screen frequency by 2. To determine your printer’s screen frequency, check your printer documentation or consult your service provider.
Duotones About duotones Convert an image to duotone Modify the duotone curve for a given ink Specifying overprint colors Adjust the display of overprint colors Saving and loading duotone settings View the individual colors of a duotone image Printing duotones Exporting duotone images to other applications To the top About duotones In Photoshop, duotone refers to monotones, tritones, and quadtones as well as duotones. Monotones are grayscale images printed with a single, non-black ink.
8. Click OK. To apply a duotone effect to only part of an image, convert the duotone image to Multichannel mode—this converts the duotone curves to spot channels. You can then erase part of the spot channel for areas that you want printed as standard grayscale. To the top Modify the duotone curve for a given ink In a duotone image, each ink has a separate curve that specifies how the color is distributed across the shadows and highlights.
3. Click the color swatch of the ink combination that you want to adjust. 4. Select the desired color in the Color Picker, and click OK. 5. Repeat steps 3 and 4 until you are satisfied with the ink combination. Then click OK. To the top Saving and loading duotone settings Use the Save button in the Duotone Options dialog box to save a set of duotone curves, ink settings, and overprint colors. Use the Load button to load a set of duotone curves, ink settings, and overprint colors.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Printing with color management | CS5 Let Photoshop determine printed colors Let printer determine printed colors Print a hard proof To better understand color management concepts and workflows, see Understanding Color Management. To the top Let Photoshop determine printed colors If you have a custom color profile for a specific printer, ink, and paper combination, letting Photoshop manage colors often produces better results than letting the printer manage colors. 1. Choose File > Print. 2.
7. Turn off color management for the printer, so the printer profile settings won’t override your profile settings. Every printer driver has different color management options. If it’s not clear how to turn off color management, consult your printer documentation. 8. Click Print. Note: If you get a warning that your image is larger than the printable area of the paper, click Cancel, choose File > Print, and select the Scale To Fit Media box.
Many non-PostScript printer drivers ignore this option and use the Perceptual rendering intent. (For more information, see About rendering intents.) 6. Access the color management options for the printer driver from the Print Settings dialog box, which automatically appears after you click Print. In Windows, click Print Settings to access the printer driver options. In Mac OS, use the pop-up menu from the Print Settings dialog box to access the printer driver options. 7.
Simulate Paper Color Simulates what colors look like on the paper of the simulated device. Using this option produces the most accurate proof, but it is not available for all profiles. Simulate Black Ink Simulates the brightness of dark colors for the simulated device. Using this option results in more accurate proofs of dark colors, but it is not available for all profiles. 8.
Printing from Photoshop CS5 Printing basics About desktop printing Print images Position and scale images Print vector data To the top Printing basics Whether you are printing an image to your desktop printer or sending it to a prepress facility, knowing a few basics about printing makes the print job go more smoothly and helps ensure that the finished image appears as intended. Types of printing For many Photoshop users, printing a file means sending the image to an inkjet printer.
Print images Photoshop provides the following printing commands: Print Displays the Print dialog box, where you can preview the print and set options. (Customized settings are saved as new defaults when you click Done or Print.) Print One Copy Prints one copy of a file without displaying a dialog box. For maximum efficiency, you can include the Print command in actions. (Photoshop provides all print settings in one dialog box.) Set Photoshop print options and print 1. Choose File > Print.
To print the image, click Print. To close the dialog box without saving the options, click Cancel. To preserve the options and close the dialog box, click Done. Note: If you get a warning that your image is larger than the printable area of the paper, click Cancel, choose File > Print, and select the Scale To Fit Media box. To make changes to your paper size and layout, click Print Settings, and attempt to print the file again. Set printer options 1. In the Print dialog box, click Print Settings. 2.
To fit the image within the printable area of the selected paper, click Scale To Fit Media. To rescale the image numerically, deselect Scale To Fit Media, then enter values for Height and Width. To achieve the desired scale, select Bounding Box, and drag a bounding box handle in the preview area. To the top Print vector data If an image includes vector graphics, such as shapes and type, Photoshop can send the vector data to a PostScript printer.
Automation Batch Actions Infinite Skills (Aug.
Scripting Run a JavaScript Set scripts and actions to run automatically Photoshop supports external automation through scripting. In Windows, you can use scripting languages that support COM automation, such as VB Script. In Mac OS, you can use languages such as AppleScript that allow you to send Apple events. These languages are not cross-platform but can control multiple applications such as Adobe Photoshop, Adobe Illustrator, and Microsoft Office.
Processing a batch of files Convert files with the Image Processor Process a batch of files Create a droplet from an action Batch and droplet processing options To the top Convert files with the Image Processor The Image Processor converts and processes multiple files. Unlike the Batch command, the Image Processor lets you process files without first creating an action.
Quality Sets the JPEG image quality between 0 and 12. Resize To Fit Resizes the image to fit within the dimensions you enter in Width and Height. The image retains its original proportions. Convert Profile To sRGB Converts the color profile to sRGB. Make sure that Include ICC Profile is selected if you want to save the profile with the image. Save As PSD Saves images in Photoshop format within a folder called PSD in the destination folder.
Batch-process files 1. Do one of the following: Choose File > Automate > Batch (Photoshop) Choose Tools > Photoshop > Batch (Bridge) 2. Specify the action you want to use to process files from the Set and Action pop-up menus. The menus display actions available in the Actions panel. You may need to choose a different set or load a set in the panel if you don’t see your action. 3. Choose the files to process from the Source pop-up menu: Folder Processes files in a folder you specify.
Droplet icon Actions are the basis for creating droplets—you must create the desired action in the Actions panel before creating a droplet. (See Creating actions.) 1. Choose File > Automate > Create Droplet. 2. Specify where to save the droplet. Click Choose in the Save Droplet In section of the dialog box and navigate to the location. 3. Select the Action Set, and then designate which action you intend to use within the Set and Action menus.
Suppress File Open Options Dialogs Hides File Open Options dialog boxes. This is useful when batching actions on camera raw image files. The default or previously specified settings will be used. Destination menu Sets where to save the processed files None Leaves the files open without saving changes (unless the action includes a Save command). Save And Close Saves the files in their current location, overwriting the original files. Folder Saves the processed files to another location.
Playing and managing actions Play an action on a file Specify playback speed Manage actions Manage action sets For more information about actions To the top Play an action on a file Playing an action executes the action’s recorded commands in the active document. (Some actions require that you make a selection before playing; some can be executed on an entire file.) You can exclude specific commands from an action or play only a single command.
Step By Step Completes each command and redraws the image before going on to the next command in the action. Pause For __ Seconds Specifies the amount of time the application should pause between carrying out each command in the action. To the top Manage actions Manage actions in the Actions panel to keep them organized and to make available only the actions you need for a project. You can rearrange, duplicate, delete, rename, and change options for actions in the Actions panel.
Rename an action or change options 1. Select the action, and choose Action Options from the Actions panel menu. 2. Type a new name for the action, or change the options for its set, function key combination, or button color. 3. Click OK. Double-clicking the action name in the Actions panel in Illustrator also opens the Action Options dialog box. In Photoshop, you can double-click an action in the Actions panel and enter a new name directly in the Actions panel.
Restore actions to the default set 1. Choose Reset Actions from the Actions panel menu. 2. Click OK to replace the current actions in the Actions panel with the default set, or click Append to add the set of default actions to the current actions in the Actions panel. Organize action sets To help you organize your actions, you can create sets of actions and save the sets to disk.
Creating data-driven graphics Define variables Rename a variable Define a data set Preview or apply a data set Generate graphics using data sets Creating data sets in external files Import a data set Data-driven graphics make it possible to produce multiple versions of an image quickly and accurately for print or web projects. For example, you can produce 100 versions of a web banner with different text and images, all based on a template design.
A. Source file template B. User defines layers as variables. C. Different versions of the image can be created, each with a different variable data set. To the top Define variables You use variables to define which elements in a template change. You can define three types of variables. Visibility variables show or hide the content of a layer. Pixel Replacement variables replace the pixels in the layer with pixels from another image file. Text Replacement variables replace a string of text in a type layer.
5. For Pixel Replacement variables, set the following options. Choose a method for scaling the replacement image: Fit scales the image so that it fits in the bounding box (which may leave parts of the bounding box empty), Fill scales the image so that it fills the bounding box entirely (which may cause the image to extend beyond the bounding box), As Is applies no scaling to the image, and Conform scales the image non-proportionally so that it fits in the bounding box.
applied to leave the layer in its current state. Note: Do Not Replace does not reset the file to its original state if another replacement has been applied previously. For Text Replacement variables , enter a text string in the Value text box. 5. Define additional data sets for each version of the graphic you want to generate. You can edit, rename, or delete the data set later by first choosing it from the Data Set pop-up menu and editing its options. Use the arrow icons to move between data sets.
All the variable names are listed on the first line, in the order that the values are given in subsequent lines. Each subsequent line represents one data set, with the values for each variable given. To create multiple lines of text in a single line of text in a data set, enclose the text in double quotes and insert hard returns in the tab- or comma-separated file where you want the breaks to occur.
variable listed). Otherwise, the data sets are named “Data Set 1, Data Set 2, and so on.” Replace Existing Data Sets Deletes any existing data sets before importing. 4. Set the encoding of the text file or leave the setting Automatic. 5. Click OK. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating actions Guidelines for recording actions Record an action Record a path Insert a stop Change settings when playing an action Exclude commands from an action Insert a non-recordable menu command Edit and rerecord actions To the top Guidelines for recording actions Keep in mind the following guidelines when recording actions: You can record most—but not all—commands in an action.
Function Key Assigns a keyboard shortcut to the action. You can choose any combination of a function key, the Ctrl key (Windows) or Command key (Mac OS), and the Shift key (for example, Ctrl+Shift+F3), with these exceptions: In Windows, you cannot use the F1 key, nor can you use F4 or F6 with the Ctrl key. Note: If you assign an action the same shortcut that is used for a command, the shortcut will apply the action rather than the command. Color Assigns a color for display in Button mode. 4.
task, click the Play button in the Actions panel to complete the action. You can also display a short message when the action reaches the stop as a reminder of what needs to be done before continuing with the action. You can include a Continue button in the message box in case no other task needs to be done. 1. Choose where to insert the stop by doing one of the following: Select an action’s name to insert a stop at the end of the action. Select a command to insert a stop after the command. 2.
To the top Insert a non-recordable menu command You cannot record the painting and toning tools, tool options, View commands, and Window commands. However, you can insert many nonrecordable commands into an action using the Insert Menu Item command. You can insert a command when recording an action, or after it has been recorded. An inserted command doesn’t execute until the action is played, so the file remains unchanged when the command is inserted. No values for the command are recorded in the action.
4. When finished, click the Stop Playing/Recording button in the Actions panel or choose Stop Recording from the panel menu. Rearrange commands within an action In the Actions panel, drag a command to its new location within the same or another action. When the highlighted line appears in the desired position, release the mouse button. Record an action again 1. Select an action, and choose Record Again from the Actions panel menu. 2.
Adding a conditional mode changeto an action Add a conditional mode change to an action To the top Add a conditional mode change to an action You can specify conditions for a mode change so that the conversion can occur during an action, which is a series of commands applied sequentially to a single file or a batch of files. When a mode change is part of an action, an error can occur if the file being opened is not in the source mode specified in the action.
About actions and the Actions panel About actions Actions panel overview For more information about actions To the top About actions An action is a series of tasks that you play back on a single file or a batch of files—menu commands, panel options, tool actions, and so on. For example, you can create an action that changes the size of an image, applies an effect to the image, and then saves the file in the desired format.
Select actions in the Actions panel Click an action name. Shift-click action names to select multiple, contiguous actions, and Ctrl-click (Windows) or Command-click (Mac OS) action names to select multiple, discontiguous actions. To the top For more information about actions Adobe also recommends Adding conditional actions | Creative Cloud Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adding conditional actions | CC, CS6 Conditional actions let you build actions that choose what to do based on one of several different conditions. First, you choose a condition and then, optionally specify an action that plays if the document meets the condition. Then, you optionally specify an action that plays if the document does not meet the condition. To insert a conditional action step into an action that you're recording or editing: 1.
Recording tools in actions | CC, CS6 Photoshop lets you record tools such as the brush tool in your action. To enable this feature, choose Allow Tool Recording from the Actions panel menu. A couple of items to keep in mind: When recording a tool, choose your brush as part of the action or Photoshop uses the currently selected brush. If you are recording the action to play back at a different size, set Photoshop's measurement units to percentage and don’t define the brush size as part of a brush preset.
Web graphics 912
Copy CSS from layers | CC, CS6 Copy CSS generates Cascading Style Sheet (CSS) properties from shape or text layers. The CSS is copied to the clipboard and can be pasted into a style sheet.
Working with web graphics Creating rollover images Export to Zoomify Working with hexadecimal color values Note: For detailed instructions, click the links below. To ask questions, request features, or report problems, visit feedback.photoshop.com. The Photoshop web tools make it easy to build component pieces for your web pages or to output complete web pages in preset or customized formats. Use layers and slices to design web pages and web page interface elements. (See Layers and Slicing web pages .
Export to Zoomify You can post high-resolution images on the web that viewers can pan and zoom to see more detail. The basic-size image downloads in the same time as an equivalent size JPEG file. Photoshop exports the JPEG files and HTML file that you can upload to your web server. 1. Choose File > Export > Zoomify and set export options. Template Sets the background and navigation for the image viewed in the browser. Output Location Specifies the location and name of the file.
2. Open the desired file in an HTML editing application, and choose Edit > Paste. Adobe also recommends Save For Web & Devices overview Web graphic formats Create a web photo gallery Create a rollover image Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Slicing web pages Slice types Slice a web page Convert auto and layer-based slices to user slices View slices and slice options Slices divide an image into smaller images that are reassembled on a web page using an HTML table or CSS layers. By dividing the image, you can assign different URL links to create page navigation, or optimize each part of an image using its own optimization settings. You export and optimize a sliced image using the Save For Web& Devices command.
User slices are created with the Slice tool. Layer-based slices are created with the Layers panel. To the top Slice a web page You can use the slice tool to draw slice lines directly on an image, or design your graphic using layers, and then create slices based on the layers. Create a slice with the Slice tool 1. Select the Slice tool . (Press the C key to cycle through tools grouped with the Crop too.) Any existing slices automatically appear in the document window. 2.
A layer-based slice is updated when the source layer is modified. Layer-based slices are less flexible than user slices; however, you can convert (“promote”) a layer-based slice to a user slice. See Convert auto and layer-based slices to user slices. 1. Select a layer in the Layers panel. 2. Choose Layer > New Layer-based Slice. Don’t use a layer-based slice when you plan to move the layer over a large area of the image during an animation, because the slice dimension may exceed a useful size.
Show or hide slice boundaries Choose View > Show > Slices. To hide and show slices along with other items, use the Extras command. See Show or hide Extras. Show or hide auto slices Do one of the following: Select the Slice Select tool , and click Show Auto Slices or Hide Auto Slices in the options bar. Choose View > Show > Slices. Auto slices appear with the rest of your slices. Show or hide slice numbers 1. Do one of the following: In Windows, choose Edit > Preferences > Guides, Grid & Slices.
Modifying slice layout Select one or more slices Move, resize, and snap user slices Divide user slices and auto slices Duplicate slices Copy and paste a slice Combine slices Change the stacking order of slices Align and distribute user slices Delete a slice Lock all slices To the top Select one or more slices Do one of the following: Select the Slice Select tool underlying slice to select it. and click the slice in the image.
2. Click the Options button in the options bar. You can also double-click a slice to show the options. 3. In the Dimensions area of the Slice Options dialog box, change one or more of the following options: X Specifies the distance in pixels between the left edge of the slice and the origin of the ruler in the document window. Y Specifies the distance in pixels between the top edge of the slice and the origin of the ruler in the document window.
slices each 30 pixels wide, the remaining 10-pixel-wide area becomes a new slice. 6. Click OK. To the top Duplicate slices You can create a duplicate slice with the same dimensions and optimization settings as the original. If the original slice is a linked user slice, the duplicate is linked to the same collection of linked slices. Duplicate slices are always user slices, regardless of whether the original is a user slice, a layer-based slice, or an auto slice. 1. Select a slice or multiple slices. 2.
1. Select two or more slices. 2. Right-click (Windows) or Ctrl-click (Mac OS) and choose Combine Slices. To the top Change the stacking order of slices When slices overlap, the last slice you create is the top slice in the stacking order. You can change the stacking order to gain access to underlying slices. You can specify which slice is on the top and bottom of the stack and move slices up or down in the stacking order. Note: You cannot arrange the stacking order of auto slices. 1.
When you delete a user slice or layer-based slice, auto slices are regenerated to fill the document area. Deleting a layer-based slice does not delete the associated layer; however, deleting the layer associated with a layer-based slice does delete the layer-based slice. Note: You cannot delete auto slices. If you delete all user slices and layer-based slices in an image, one auto slice covering the entire image remains. 1. Select one or more slices. 2.
HTML options for slices Display the Slice Options dialog box Specify a slice content type Rename a slice Choose a background color for a slice Assign URL link information to an Image slice Specify browser messages and Alt text Add HTML text to a slice To the top Display the Slice Options dialog box Do one of the following: Double-click a slice with the Slice Select tool . (If the tool isn’t visible, hold down the Crop or Slice tool.
To the top Choose a background color for a slice You can select a background color to fill the transparent area (for Image slices) or entire area (for No Image slices) of the slice. Photoshop does not display the selected background color—you must preview the image in a browser to view the effect of selecting a background color. 1. Select a slice.
Alt Tag/Alt Specifies an Alt tag for a selected slice or slices. The Alt text appears in place of the slice image in nongraphical browsers. It also appears in place of the image while the image is downloading and as a tool tip in some browsers. To the top Add HTML text to a slice When you choose a slice of type No Image, you can enter text to be displayed in the slice area of the resulting web page. This can be plain text or text formatted with standard HTML tags.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating web photo galleries About web photo galleries Create a web photo gallery Making sure that your colors match Web photo gallery options Web photo gallery styles About customizing web photo gallery styles Customize or create a web photo gallery style Web photo gallery style tokens To create web galleries with Photoshop CS5, see Create a web photo gallery in Adobe Bridge Help.
by Richard Harrington Bridge.... Read More http://www.RichardHarringt... http://goo.gl/xfvnL Contribute your expertise to Adobe Community Help Book excerpt: Create galleries with Adobe Bridge Arrange and output web galleries using the latest CS5 features.... Read More by Conrad Chavez http://www.conradchavez.co... http://goo.gl/cpKon Contribute your expertise to Adobe Community Help Use the older, optional Photoshop plug-in 1.
8. Click Destination, and then select a folder in which to store the images and HTML pages for the gallery. Then click OK (Windows) or Choose (Mac OS). 9. Select formatting options for the web gallery. Choose from the Options menu to display each set of options. See Web photo gallery options. 10. Click OK. Photoshop places the following HTML and JPEG files in your destination folder: A home page for your gallery named index.htm or index.html, depending on the Extension options.
Contact Info The contact information for the gallery, such as a telephone number or a business address. Date The date appearing on each page of the gallery. By default, Photoshop uses the current date. Font and Font Size (Available for some site styles) Options for the banner text. Large Images Options for the main images that appear on each gallery page.
Web photo gallery styles To create web galleries with Photoshop CS5, see Create a web photo gallery in Adobe Bridge Help. To use the older, optional Web Photo Gallery plug-in described below, first download and install it for Windows or Mac OS. Photoshop provides a variety of styles for your web photo gallery. If you are an advanced user who knows HTML, you can create a new style or customize a style by editing a set of HTML template files.
Customize or create a web photo gallery style 1. Locate the folder that stores the existing web photo gallery styles. 2. Do one of the following: To customize a style, create a copy of the style folder, and store it in the same location as the existing style folders. To create a new style, create a new folder for the new style, and store it in the same location as the existing style folders. The new or customized style (named for its folder) appears in the Styles menu in the Web Photo Gallery dialog box.
%CAPTIONFONT% Determines the font of the caption below each thumbnail on the home page. %CAPTIONFONTSIZE% Determines the font size of the caption. %CAPTIONTITLE% Inserts the document title for a caption from the file information. %CHARSET% Determines the character set used on each page. %CONTACTINFO% Determines the contact information for the gallery, such as phone number and location. %CONTENT_GENRATOR% Expands to “Adobe Photoshop CS5 Web Photo Gallery.
%IMAGESRC% Determines the URL for a full-size image on a gallery page. %IMAGE_WIDTH% Enables the Add Width And Height Attributes For Images check box. This allows the user to download the attributes, reducing download time. %IMAGE_WIDTH_NUMBER% This token is replaced by a numeral (only) representing the width of the image. %LINK% Determines the color of links. %NEXTIMAGE% Determines the link for the next gallery page.
%THUMBNAIL_WIDTH_NUMBER% This token is replaced by a numeral (only) representing the width of the thumbnail. %TITLE% Determines the title of the gallery. %VLINK% Determines the color of visited links. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Optimizing images About optimization Save For Web & Devices overview Preview image gamma at different values Optimize an image for the web Save or delete optimization presets Work with slices in the Save For Web & Devices dialog box Compress a web graphic to a specific file size Resize artwork while optimizing Generate CSS layers for web graphics Preview optimized images in a web browser Save a file to e-mail To the top About optimization When preparing images for the web and other online media, you ofte
Save For Web & Devices dialog box (Photoshop version) A. Display options B. Toolbox C. Optimize pop-up menu D. Color Table pop-up menu E. Animation controls (Photoshop only) F. Zoom text box G. Preview In Browser menu H. Original image I. Optimized image Preview images in the dialog box Click a tab at the top of the image area to select a display option: Original Displays the image with no optimization. Optimized Displays image with the current optimization settings applied.
2. Click a tab at the top of the dialog box to select a display option: Optimized, 2-Up, or 4-Up. If you select 4-Up, click the preview you want to optimize. 3. (Optional) If your image contains multiple slices, select one or more slices you want to optimize. 4. Select a preset optimization setting from the Preset menu, or set individual optimization options. The available options change depending on the file format you select.
linking the slices. Linked slices in GIF and PNG-8 format share a color palette and dither pattern to prevent the appearance of seams between the slices. To show or hide all slices, click the Toggle Slices Visibility button . To select slices in the Save For Web & Devices dialog box, choose the Slice Select tool , and then click a slice to select it. Shift-click or Shift-drag to select multiple slices. Note: In the Save For Web & Devices dialog box, unselected slices are dimmed.
To the top Preview optimized images in a web browser You can preview an optimized image in any web browser installed on your system from the Save For Web & Devices dialog box (File > Save For Web & Devices). The browser preview displays the image with a caption listing the image’s file type, pixel dimensions, file size, compression specifications, and other HTML information. To preview an image in your default web browser, click the browser icon at the bottom of the Save For Web & Devices dialog box.
Output settings for web graphics Set output options HTML output options Slice output options Background output settings Saving Files output settings Include title and copyright information with an image To the top Set output options Output settings control how HTML files are formatted, how files and slices are named, and how background images are handled when you save an optimized image. You set these options in the Output Settings dialog box.
Generate Table Aligns slices using an HTML table rather than a cascading stylesheet. Empty Cells Specifies how empty slices are converted to table cells. Select GIF, IMG W&H to use a 1-pixel GIF with width and height values specified on the IMG tag. Select GIF, TD W&H to use a 1-pixel GIF with width and height values specified on the TD tag. Select NoWrap, TD W&H to place a nonstandard NoWrap attribute on the table data and also place width and height values specified on the TD tags.
Web graphics optimization options Web graphic formats JPEG optimization options GIF and PNG-8 optimization options Optimize transparency in GIF and PNG images View the color table for an optimized slice Customize the color table for GIF and PNG-8 images PNG-24 optimization options WBMP optimization options SWF optimization options (Illustrator) SVG optimization options (Illustrator) To the top Web graphic formats Web graphics formats can be either bitmap (raster) or vector.
are blended with the selected color. To the top GIF and PNG-8 optimization options GIF is the standard format for compressing images with flat color and crisp detail, such as line art, logos, or illustrations with type. Like the GIF format, the PNG-8 format efficiently compresses solid areas of color while preserving sharp detail. PNG-8 and GIF files support 8-bit color, so they can display up to 256 colors.
Pattern Applies a halftone-like square pattern to simulate any colors not in the color table. Noise Applies a random pattern similar to the Diffusion dither method, but without diffusing the pattern across adjacent pixels. No seams appear with the Noise dither method. Transparency and Matte Determines how transparent pixels in the image are optimized. To make fully transparent pixels transparent and blend partially transparent pixels with a color, select Transparency and select a matte color.
Example of Pattern Transparency dithering (left) and applied to a web page background (right) Interlace Displays a low-resolution version of the image in a browser while the full image file is downloading. Interlacing can make downloading time seem shorter and can assure viewers that downloading is in progress. However, interlacing also increases file size. Web Snap Specifies a tolerance level for shifting colors to the closest web palette equivalents (and prevent the colors from dithering in a browser).
Sort By Hue sorts by the location of the color on the standard color wheel (expressed as a degree from 0 to 360). Neutral colors are assigned a hue of 0 and located with the reds. Sort By Luminance sorts by the lightness or brightness of a color. Sort By Popularity sorts by the colors’ frequency of occurrence in the image. Add a new color to the color table You can add colors that were left out in building the color table.
To revert all web-shifted colors in the color table, choose Unshift All Colors from the Color Table palette menu. Map colors to transparency You can add transparency to an optimized image by mapping existing colors to transparency. 1. Select one or more colors in the optimized image or color table. 2. Do one of the following: Click the Map Transparency button in the Color Table palette. Choose Map/Unmap Selected Colors To/From Transparent from the Color Table palette menu.
Load a color table 1. Select Load Color Table from the Color Table palette menu. 2. Navigate to a file containing the color table you want to load—either an Adobe Color Table (.act) file, an Adobe Color Swatch (.aco) file, or a GIF file (to load the file’s embedded color table). 3. Click Open. To the top PNG-24 optimization options PNG-24 is suitable for compressing continuous-tone images; however, it produces much larger files than JPEG format.
Note: SWF supports object-level opacity only. Use the Export command instead of the Save For Web & Devices command to maintain artwork’s stacking order by exporting each layer to a separate SWF file. You can then import the exported SWF files into Adobe Flash simultaneously. Compressed Compresses the exported file. Protect File Protects the file so that it cannot be imported by applications other than Flash. Text As Outlines Converts all text to outlines to maintain appearance.
processors. (UTF-8 is an 8-bit format; UTF-16 is a 16-bit format.) ISO 8859-1 and UTF-16 encoding don’t preserve file metadata. Optimize For Adobe SVG Viewer Optimizes images for Adobe SVG Viewer.
3D and technical imaging New 3D reflections and dragable shadows Lynda.com (May. 7, 2012) video-tutorial Add realism with ease. Streamlined 3d controls Lynda.com (May. 7, 2012) video-tutorial Expand creative possibilities into another dimension.
Print 3D objects | Photoshop CC Introduced in version 14.2 Preparing to print 3D objects Previewing and printing the 3D object 3D print utilities FAQ See also With Photoshop, you can print any compatible 3D model without worrying about 3D printer limitations. In preparation for printing, Photoshop automatically makes 3D models watertight. Photoshop also generates the necessary support structures—scaffolding and rafts—to ensure that your 3D prints are successful.
5. Select a local printer or a Shapeways.com printer profile. To view estimated prices for printing the 3D model using available Shapeways.com profiles, select Printer > Estimate Price. 6. Select a unit for the printer volume—inch, centimeter, millimeter, or pixel. The unit is reflected in the Printer Volume dimensions as well as the print plate measurements. A. 3D model B. Print plate C. Printer volume overlay 7. Select a Detail Level—Low, Medium, or High—for the 3D print.
To the top Previewing and printing the 3D object Once you're done specifying the 3D print settings, follow these steps: 1. Click the Start Print icon ( ) or select 3D > 3D Print. Photoshop unifies the 3D scene and prepares it for the printing process. 2. If you chose to print using a Shapeways.com profile, Photoshop prompts you that the actual cost of printing may differ from the displayed estimates. Click OK. 3.
Calibrate Print Plate Helps level the print plate. This utility performs the following broad steps: Prompts you to remove any leftover printing material from the 3D printer Initializes the print head Lets you adjust/finetune the gap between the print plate and the print head for nine nozzle positions You can use this utility in the wizard mode or in the manual mode. Load Filament Helps load a filament into a fused deposition modeling (FDM) 3D printer.
3D painting | CC, CS6 Video | 3D painting - The next level Available 3D painting methods Some tips to paint 3D models Paint an object in the Live 3D Painting mode | Photoshop CC Switch to the Projection Painting mode | Photoshop CC Paint a 3D model texture | CS6 Target a texture type for painting | Photoshop CC Paint in the unlit mode | Photoshop CC Reveal surfaces to paint on Set the paint falloff angle Identify paintable areas You can use any Photoshop painting tools to paint directly on a 3D model just
Live 3D Painting To the top Some tips to paint 3D models If the model area is hidden, you can temporarily cut away surface areas that are blocking your view. See Reveal surfaces to paint on. If you are painting on curved or irregular surfaces, you can get visual feedback before you paint of which areas can best receive paint. See Identify paintable areas. You can also set the paint fall-off angle, which controls the amount of paint applied to angled surfaces. See Set the paint falloff angle.
While painting (after completing a stroke), you can view the effect of the painting on the texture map itself. Do one of the following: Double-click the texture map in the Layers panel to open it. In the Materials section menu icon of the 3D panel, select the material for the area you are painting. In the lower section of the panel, click the for the texture map you’re painting, and choose Open Texture.
1. Select an area of the model that you want to cut away, using a selection tool such as the Lasso or Marquee tool. 2. Use any of the following 3D menu commands to reveal or hide areas of the model: Hide Nearest Surface hides only the first layer of model polygons within the 2D selection. To quickly peel away surface of the model, you can use this command repeatedly while keeping the selection area active.
a 1 to 1 correspondence with the 2D texture itself, applying paint directly to the model is different from directly painting on a 2D texture map. What appears to be a small brush on the model may in fact be much larger in relation to the texture, depending on the resolution of the texture, or how close you are to the model when applying paint. Good paintable areas are areas where you can apply paint or other adjustments to the model surface with the most consistent and predictable effect.
3D panel enhancements | Photoshop CC The Photoshop 3D panel in Photoshop CC makes it easier for you to work with 3D objects. Modeled after the Layers panel, the 3D panel is structured as a scene graph/tree having root objects and child objects.
Reverse order of objects selected objects within the scene graph menu, select Reorder Objects. Environment, and Current View 1. Select an object. 2. From the context menu, select Duplicate Objects. Duplicate an object Duplicates the currently selected object Group objects Groups the selected objects 2. From the context menu, select Group Items. Ungroups a group of objects 2. From the context menu, select Ungroup Objects. Objects under Scene, Environment, and Current View 1. Select the objects.
Instance decoupled from the original object See also Daniel Presedo's YouTube channel 3D Scene settings 3D Mesh settings 3D Materials settings 3D Lights settings "3D and technical imaging" in Photoshop Help Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Essential 3D concepts and tools Understanding and displaying 3D files 3D object and camera tools 3D Axis Note: In Photoshop CS5 and CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are part of Photoshop CC. Photoshop CC does not have a separate Extended offering. To the top Understanding and displaying 3D files Photoshop lets you position and animate 3D models, edit textures and lighting, and choose from several render modes.
1. Choose Edit > Preferences > 3D (Windows) or Photoshop > Preferences 3D (Mac OS). 2. For information about options, hover the pointer over them, and read the Description section at the bottom of the dialog box. To the top 3D object and camera tools The 3D object and camera tools become active when a 3D layer is selected. Use the 3D object tools to change the position or scale of a 3D model; use the 3D camera tools to change the view of the scene.
Use the 3D camera tools to move the camera view while leaving the position of the 3D object fixed. For tips about each 3D tool, choose Panel Options from the Info panel menu , and select Show Tool Hints. Click a tool, then move the cursor into the image window to view tool details in the Info Panel. 3D camera tools and options A. Return to initial camera position B. Rotate C. Roll D. Pan E. Walk F. Zoom G. View menu H. Save current camera view I. Delete current camera view J.
To the top 3D Axis The 3D Axis shows the current X, Y, and Z-axis orientation of models, cameras, lights, and meshes in 3D space. It appears when you select any 3D tool, providing an alternative way to manipulate the selected item. 3D Axis with Mesh Rotate tool selected A. Selected tool B. Minimize or maximize 3D Axis C. Move item along axis D. Rotate item E. Compress or elongate item F. Resize item Note: OpenGL must be enabled to display the 3D Axis. See About GPU and OpenGL.
the 3D Axis. To resize the item, drag the center cube in the 3D Axis up or down. To compress or elongate the item along an axis, drag one of the colored transform cubes either toward or away from the center cube. To constrain movement to an object plane, move the mouse pointer into the area where two axes intersect, near the center cube. A yellow plane icon appears between two axes. Drag in any direction. You can also move the pointer over the lower part of the center cube to activate the plane icon.
3D workflow | CC, CS6 3D features | Creative Cloud-only Video | 3D in CS6 3D panel targets scene elements Properties panel provides contextual settings Move tool consolidates object and camera adjustments On-image controls directly edit elements Create and adjust 3D extrusions Define ground planes for imported objects Make paths from 3D layers Merge multiple 3D layers Note: In Photoshop CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are part of Photoshop CC.
Note: A minimum of 512 MB of VRAM is required for the 3D features in the Creative Cloud version of Photoshop. To the top 3D panel targets scene elements In the streamlined 3D panel, select specific elements you want to edit: 1. At the top of the 3D panel, select Scene , Meshes , Materials , or Lights . 2. Select an individual element (such as Current View in the Scene section). Or select multiple elements to apply uniform properties. 3.
On-image controls directly edit elements With on-image controls, you can often edit an entire 3D scene without accessing any workspace panels. To maximize your view, press the F key to cycle between full screen and standard screen modes. In the document window, you can directly interact with the following elements: Scene, Mesh, and Light settings To quickly access Scene properties in the document window, right-click the canvas away from 3D objects.
See also Daniel Presedo's YouTube channel Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adjust HDR exposure and toning Note: In Photoshop CS5 and Photoshop CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are part of Photoshop CC. Photoshop CC does not have a separate Extended offering. The Exposure and HDR Toning adjustments are primarily designed for 32-bit HDR images, but you can also apply them to 16- and 8-bit images to create HDR-like effects. For a video about applying HDR effects to16- or 8-bit images, see www.adobe.
1. Open a 32-, 16-, or 8-bit image in RGB or Grayscale color mode. 2. Choose Image > Adjustments > HDR Toning. For detailed information about each setting, see Options for 16- or 8-bit images. (In the HDR Toning dialog box, these options appy to images of all bit depths.) For more information about HDR High dynamic range images Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Photoshop and MATLAB (Photoshop Extended) About Photoshop and MATLAB Set up MATLAB and Photoshop Connect/disconnect to Photoshop from MATLAB Using MATLAB Help MATLAB commands Create a document in MATLAB To the top About Photoshop and MATLAB MATLAB is a high-level technical computing language and interactive environment for algorithm development, data visualization, data analysis, and numeric computation.
(Optional) Set access to Photoshop from MATLAB You can set up a path to Photoshop Extended to allow direct access to Photoshop commands from MATLAB. 1. From MATLAB, choose File > Set Path. 2. Click Add Folder and select the MATLAB folder where Photoshop Extended is installed. 3. Click Save and then Close. 4. From the MATLAB menu, choose File > Preferences. 5. In the Preferences dialog box, click the General tree (upper-left). 6. Click the Update Toolbox Path Cache button. 7. Click Apply and then OK.
Typing commands in the MATLAB command line lets you connect and disconnect to Photoshop, and generate pixels viewable in a Photoshop document. For a list of all MATLAB Photoshop commands, browse the file psfunctionscat.html, available in the MATLAB folder in the directory where you installed Photoshop. Enter help (command name) at the MATLAB command prompt for a fuller description of each command, including syntax, arguments, and examples. Note: All MATLAB commands are supported for Japanese characters.
P Specifies the color profile. The default is the working color space for the specified color mode. The working spaces are specified in the Photoshop Color Settings dialog box. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Measurement (Photoshop Extended) About measurement (Photoshop Extended) Set the measurement scale (Photoshop Extended) Use scale markers (Photoshop Extended) Performing a measurement (Photoshop Extended) Use the Measurement Log (Photoshop Extended) To the top About measurement (Photoshop Extended) Using the Photoshop Extended Measurement feature you can measure any area defined with the Ruler tool or with a selection tool, including irregular areas selected with the Lasso, Quick Select, or Magic Wand tool
3. Enter the Logical Length and Logical Units that you want to set equal to the Pixel Length. For example, if the Pixel Length is 50, and you want to set a scale of 50 pixels per micron, enter 1 for Logical Length, and microns for the Logical Units. 4. Click OK in the Measurement Scale dialog box to set the measurement scale on the document. 5. Choose File > Save to save the current measurement scale setting with the document.
Length Enter a value to set the length of the scale marker. The length of the marker in pixels depends on the measurement scale that is currently selected for the document. Font Choose the font for the display text. Font Size Choose the font size for the display text. Display Text Select this option to show the logical length and units for the scale marker. Text position Displays caption above or below the scale marker. Color Sets the scale marker and caption color to black or white. 3. Click OK.
Create a selection area to measure values such as height, width, perimeter, area, and pixel gray values. You can measure one selection or several selections at once. Draw a line with the Ruler tool to measure linear distance and angle. Use the Count tool to count items on the image, then record the number of items. See Counting objects in an image (Photoshop Extended). Each measurement measures one or more data points. The data points you select determine the information recorded in the Measurement log.
Measurement Data Points Angle Angle of orientation (±0-180) of the Ruler tool. Area Area of selection in square pixels, or in calibrated units according to the current measurement scale (such as square millimeters). Circularity 4pi(area/perimeter 2 ). A value of 1.0 indicates a perfect circle. As the value approaches 0.0, it indicates an increasingly elongated polygon. Values may not be valid for very small selections. Count Varies according to the measuring tool used.
1. Choose Analysis > Select Data Points > Custom. 2. Select data points to include in the preset. 3. Click Save Preset and name the preset. 4. Click OK. The preset is saved and is now available from the Analysis > Select Data Points submenu. Edit a data point preset 1. Choose Analysis > Select Data Points > Custom. 2. Choose the preset you want to edit from the Preset menu. 3. Select or deselect data points. The Preset name changes to Custom. 4. Click Save Preset.
Select rows in the log Do one of the following: Click a row in the log to select it. To select multiple contiguous rows, click the first row and drag through additional rows, or click the first row and then Shift-click the last row. To select noncontiguous rows, click the first row and then Ctrl-click (Windows) or Command-click (Mac) additional rows. To select all rows, click Select All. To deselect all rows, click Select None. Select columns in the log Do one of the following: Click a column header.
1. Select one or more rows of data in the log. 2. Do one of the following: Choose Export from the Measurement Log options menu. Click the Export icon at the top of the panel. Right-click in a row, then select Export from the pop-up menu. 3. Enter a filename and location, and click Save. The measurements are exported to a comma-delimited, UTF-8 text file. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Image Stacks (Photoshop Extended) About image stacks Creating an image stack Use a script to create an image stack To the top About image stacks An image stack combines a group of images with a similar frame of reference, but differences of quality or content across the set. Once combined in a stack, you can process the multiple images to produce a composite view that eliminates unwanted content or noise.
For removing objects from the image, use the Median plug-in. The output is a composite image the same size as the original image stack. You may need to experiment with different plug-ins to get the best enhancement for a particular image. To change the rendering effect, choose a different Stack Mode from the submenu. Stack rendering is not cumulative—each render effect operates on the original image data in the stack and replaces previous effects.
Remove stack rendering Choose Layers > Smart Objects > Stack Mode > None to remove any rendering from an image stack and convert it back to a regular Smart Object. Edit an image stack Because an image stack is a Smart Object, you can edit the original images that make up the stack layers at any time. Choose Layer > Smart Objects > Edit Contents, or double-click the layer thumbnail.
DICOM files (Photoshop Extended) About DICOM files (Photoshop Extended) Open a DICOM file (Photoshop Extended) Create a 3D volume from DICOM frames (Photoshop Extended) Export DICOM frames as JPEG files (Photoshop Extended) DICOM metadata (Photoshop Extended) Animate DICOM files (Photoshop Extended) To the top About DICOM files (Photoshop Extended) For a video about DICOM files, see www.adobe.com/go/vid0028.
To quickly scroll through frames, use the mouse scroll wheel (Windows) or click the Right or Left Arrow buttons below the large preview area. 3. Choose from the following options, and then click Open. Frame Import Import Frames As Layers places DICOM frames on layers. N-Up Configuration displays multiple frames in a grid (enter values in the Rows and Columns boxes to specify height and width of grid).
3. Use the position or camera tools in the options bar to rotate, move, or scale the 3D volume. See 3D object and camera tools (Photoshop Extended). If OpenGL support is enabled on your system, you can also use the 3D Axis to rotate, move, or scale the 3D volume. See 3D Axis (Photoshop Extended). View a 3D volume in different render modes 1. Select the 3D layer containing the DICOM volume in the Layers panel. 2. Choose Window > 3D to open the 3D panel. 3.
to select noncontiguous frames, or click Select All to select all frames. 3. Enter a prefix in the Prefix box in the Export Options area. 4. Click Export Presentation (JPEG), select a folder, and click Select. The JPEG files are saved in the specified location with the prefix added to the filenames. If you selected multiple frames, Photoshop appends successive numbering to the end of each filename (for example, DICOM Frame1, DICOM Frame2, DICOM Frame3).
Counting objects in an image (Photoshop Extended) Manually count items in an image Automatic counting using a selection You can use the Count Tool to count objects in an image. To count objects manually, you click the image with the Count tool and Photoshop tracks the number of clicks. The count number is displayed on the item and in the Count Tool options bar. Count numbers are saved when you save a file.
6. (Optional) Choose Analysis > Record Measurements or click Record Measurements in the Measurement Log panel to record the count number to the Measurement Log. Note: To record a count to the Measurement Log, you must have Count selected as a measurement data point. Choose Analysis > Select Data Points > Custom and select the Count data point in the Count Tool area. 7. (Optional) Choose File > Save to save any count numbers and count groups you’ve added to the image.
Combining and converting 3D objects Combine 3D objects Combine 3D and 2D layers Convert a 3D layer to a 2D layer Convert a 3D layer to a Smart Object To the top Combine 3D objects Merging 3D layers allows you to combine multiple 3D models in one scene. Once combined, each 3D model can be manipulated separately, or you can use position and camera tools on all models simultaneously. 1. Open two document windows, each containing a 3D layer. 2.
Do one of the following: With the 2D file open, choose 3D > New Layer from 3D File, and open a 3D file. With both a 2D file and a 3D file open, drag either the 2D or 3D layer from one file into the open document window of the other file. The layer you add moves to the top of the Layers panel. When working in a file with combined 2D and 3D layers, you can temporarily hide the 2D layers while working with the 3D layer. See Hide layers for better performance.
3D texture editing Edit a texture in 2D format Display or hide a texture Create UV overlays Reparameterize a texture map Create a tile for a repeating texture You can use the Photoshop painting and adjustment tools to edit the textures contained in a 3D file, or to create new textures. Textures are imported as 2D files with the 3D model. They appear as entries in the Layers panel, nested under the 3D layer, and grouped by map type: Diffuse, Bump, Glossiness, and so on.
3. Make the window containing the 3D model active to see the updated texture applied to the model. 4. Close the texture document and save changes. To the top Display or hide a texture You can display and hide a texture to help identify what area of the model the texture is applied to. Click the eye icon next to the Texture layer. To hide or display all textures, click the eye icon next to the top-level Texture layer.
The Reparameterization command remaps a texture to the model to correct distortion and create more effective surface coverage. 1. Open a 3D file with a poorly mapped diffuse texture, and select the 3D layer containing the model. 2. Choose 3D > Reparameterize. Photoshop notifies you that you are reapplying the texture to the model. Click OK. 3. Choose a reparameterization option: Low Distortion keeps the texture pattern more intact, but can create more seams on the model surface.
5. To load the tile as a repeating texture, open a 3D model file. In the Materials section of the 3D panel, choose Load Texture from the Diffuse menu, and select the file you saved above. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating 3D objects and animations Create 3D repoussé | CS5 Create 3D objects from 2D images Create 3D animations Note: In Photoshop CS5 and CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are part of Photoshop CC. Photoshop CC does not have a separate Extended offering. To the top Create 3D repoussé | CS5 Note: Beginning Photoshop CS6, the repousse feature has changed and is now called 3D Extrusion. For details, see Create and adjust 3D Extrusions.
curved extrusion, or Shear for a straight one, then set X and Y Angle to control the horizontal and vertical tilt. If desired, enter Twist in degrees. To change the bend or shear origin, click a point on the reference icon . Inflate Expands or collapses the middle of the front or back. Positive Angle settings expand, negative collapse. Strength controls the level of inflation. Materials Apply materials such as brick or cotton either globally or to various sides of the object.
Inflated object with inactive constraint Active Constraints Expand or contract the surface along constraint paths. Dragging active constraint to different position in 3D space Hole Constraints Cut out the surface along constraint paths. Panning hole constraint to increase depth Create internal constraints from selections, work paths, or text 1. Do one of the following: Create a selection or path that falls entirely within the front surface of a repoussé object.
Side Lets you apply uniform Strength and Angle settings to both sides, or unique settings to each. Each constraint curve has two sides; the orientation of those sides depends on how a curve divides the surface. The Left and Right menu options reflect a vertical constraint. For a horizontal constraint, Left and Right mean up and down, and for a closed constraint, those options mean inside and outside. Side settings A. Both creates consistent deformation. B. Left or Right allows for varied deformation.
1. Open a 2D image and select the layer you want to convert to a postcard. 2. Choose 3D > New 3D Postcard From Layer. The 2D layer is converted to a 3D layer in the Layers panel. The 2D layer content is applied as a material to both sides of the postcard. The original 2D layer appears in the Layers panel as the Diffuse texture map for the 3D postcard object. (See 3D panel overview.) The 3D layer retains the dimensions of the original 2D image. 3.
Note: If you use an RGB image as input when creating a mesh, the green channel is used to generate the depth map. 3. (Optional) Make adjustments to the grayscale image if necessary to limit the range of lightness values. 4. Choose 3D > New Mesh From Grayscale, and then select a mesh option. Plane Applies depth map data to a planar surface. Two-Sided Plane Creates two planes reflected along a central axis and applies depth map data to both planes.
3D rendering and saving Change 3D render settings Render a 3D file for final output Saving and exporting 3D files Note: In Photoshop CS5 and Photoshop CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are part of Photoshop CC. Photoshop CC does not have a separate Extended offering. To the top Change 3D render settings Render settings determine how 3D models are drawn. Photoshop installs several presets with common settings.
A. Default (Quality set to Interactive) B. Default (Quality set to Ray Traced and ground plane visible) C. Bounding Box D. Depth Map E. Hidden Wireframe F. Line Illustration G. Normals H. Paint mask I. Shaded Illustration J. Shaded Vertices K. Shaded Wireframe L. Solid Wireframe M. Transparent Bounding Box Outline N. Transparent Bounding Box O. Two-Sided P. Vertices Q.
Render For Final Output For exported video animations, produces smoother shadows and realistic color bleeds from reflected objects and environments. This option requires more processing time, however. Reflections, Refractions, Shadows Show or hide these Ray Traced rendering features. Remove Backfaces Hides surfaces on the back of two-sided components. Edge options Edge options determine how wireframe lines appear.
Save or delete a render preset 1. At the top of the 3D panel, click the Scene button . 2. Click Render Settings. 3. Do either of the following: To save a preset, customize settings, and click the Save button . To delete a preset, select it from the Preset menu, and click the Delete button . To the top Render a 3D file for final output When you’ve finished working with your 3D file, create a final render to produce the highest quality version for output to web, print, or animation.
You can export 3D layers in all supported 3D formats: Collada DAE, Wavefront/OBJ, U3D, and Google Earth 4 KMZ. When choosing an export format, consider the following factors: Texture layers are saved in all 3D file formats; however, U3D preserves only Diffuse, Environment, and Opacity texture maps. Wavefront/OBJ format does not save camera settings, lights, or animation. Only Collada DAE saves render settings. To export a 3D layer, do the following: 1. Choose 3D > Export 3D layer 2.
3D panel settings 3D panel overview 3D Scene settings 3D Mesh settings 3D Materials settings 3D Lights settings Note: In Photoshop CS5 and Photoshop CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are part of Photoshop CC. Photoshop CC does not have a separate Extended offering. To the top 3D panel overview When you select a 3D layer, the 3D panel shows the components of the associated 3D file.
Display the 3D panel Do one of the following: Choose Window > 3D. Double-click the 3D layer icon in the Layers panel. Choose Window > Workspace > Advanced 3D. Filter the 3D options displayed Click the Scene, Mesh, Materials, or Lights button at the top of the 3D panel. Show or hide a 3D mesh or light Click the eye icon next to the mesh or light entry in the top section of the 3D panel. Note: You cannot turn material display on or off from the 3D panel.
The ground plane is a grid that reflects the position of the ground relative to the 3D model. To view the ground plane, click the Toggle icon at the bottom of the 3D panel, and select 3D Ground Plane. Note: The Toggle icon is enabled only if OpenGL is available on your system. See About OpenGL.
Tiles are temporarily drawn across the image during Ray Traced rendering. Paint On When painting directly on the 3D model, use this menu to choose which texture map to paint on. See 3D painting. You can also choose the target texture from the 3D > 3D Paint Mode menu. Global Ambient Color Sets the color for global ambient light visible on reflective surfaces. This color interacts with the ambient color for specific materials. See 3D Materials settings.
2. Click Render Settings, or choose 3D > Render Settings. 3. At the top of the dialog box, click the currently unselected Cross Section button . By default all render settings are turned off for the alternate cross section, making it appear invisible. 4. Choose render options for the alternate cross section, and click OK. To the top 3D Mesh settings Each mesh in the 3D model appears on a separate line in the top section of the 3D panel.
but use different materials in different areas. A selected material and its associated texture maps. A. Displays Materials options B. Selected material C. Materials picker D. Material Drop and Select tools E. Texture map menu icon F. Texture map types For a selected material in the top section of the 3D panel, the lower section shows the particular texture maps used by that material.
Environment Stores the image of the environment surrounding the 3D model. Environment maps are applied as spherical panoramas. The contents of the environment map can be seen in the reflective areas of the model. To prevent an environment map from reflecting on a given material, change Reflectivity to 0%, add a reflectivity map that masks the material area, or remove the environment map for that material.
2. Move the pointer over the 3D object in the document window. When the material you want to select is outlined, click. Apply, save, or load material presets Material presets let you quickly apply groups of texture settings. The default presets provide various materials like steel, fabric, and wood. Click the material preview to display the preset pop-up panel. 1. In the 3D panel, click the material preview. 2.
3. Enter the name, dimensions, resolution, and color mode for the new map, then click OK. To match the aspect ratio of an existing texture map, view its dimensions by hovering the mouse pointer over the map name in the Layers panel. The name of the new texture map is displayed next to the texture map type in the Materials panel. It is also added to the texture list under the 3D layer in the Layers panel. The default name is the texture map type appended to the material name.
Delete a texture map 1. Click the image icon next to the texture type. 2. Choose Remove Texture. If the deleted texture is an external file, you can reload it using the Load Texture command from the texture map menu. For textures that are internally referenced by the 3D file, choose Undo or Step Backward to restore a deleted texture. Edit texture properties A texture map is applied to a particular surface area of the model, depending on its UV mapping parameters.
Adjust light properties 1. In the Lights section of the 3D panel, select a light from the list. 2. In the lower half of the panel, set the following options: Preset applies a saved group of lights and settings. (See Save, replace, or add groups of lights.) Light Type Choose from the options described in Add or delete individual lights. Intensity Adjusts brightness. Color Defines the color of the light. Click the box to access the Color Picker.
Slide tool (Spot and point lights only) Moves the light to a different 3D plane. Point Light at Origin (Spot light only) Directs light at the center of the model. Move to Current View Places light in the same position as the camera. To precisely position image-based lights, use the 3D Axis, which wraps the image around a sphere. (See 3D Axis.) Add light guides Light guides provide spatial reference points for your adjustments. These guides reflect the type, angle, and attenuation of each light.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Color management 1030
Understanding color management Why colors sometimes don’t match What is a color management system? Do you need color management? Creating a viewing environment for color management A color management system reconciles color differences among devices so that you can confidently predict the colors your system ultimately produces. Viewing color accurately allows you to make sound color decisions throughout your workflow, from digital capture through final output.
To the top Do you need color management? Without a color management system, your color specifications are device-dependent. You might not need color management if your production process is tightly controlled for one medium only. For example, you or your print service provider can tailor CMYK images and specify color values for a known, specific set of printing conditions. The value of color management increases when you have more variables in your production process.
Keeping colors consistent About color management in Adobe applications Basic steps for producing consistent color Synchronize color settings across Adobe applications Set up color management Change the appearance of CMYK black (Illustrator, InDesign) Managing process and spot colors To the top About color management in Adobe applications Adobe color management helps you maintain the appearance of colors as you bring images in from external sources, edit documents and transfer them between Adobe applicati
3. Add color profiles to your system for any input and output devices you plan to use, such as scanners and printers. The color management system uses profiles to know how a device produces color and what the actual colors in a document are. Device profiles are often installed when a device is added to your system. You can also use third-party software and hardware to create more accurate profiles for specific devices and conditions.
Pure CMYK black (K=100) appears jet black (or rich black) when viewed on-screen, printed to a non-PostScript desktop printer, or exported to an RGB file format. If you prefer to see the difference between pure black and rich black as it will appear when printed on a commercial press, you can change the Appearance Of Black preferences. These preferences do not change the color values in a document. 1.
Color settings Customize color settings About color working spaces Working space options About missing and mismatched color profiles Color management policy options Color conversion options About rendering intents Advanced controls in Photoshop To the top Customize color settings For most color-managed workflows, it is best to use a preset color setting that has been tested by Adobe Systems.
Note: In Acrobat, you can use the color space in an embedded output intent instead of a document color space for viewing and printing. For more information on output intents, see Acrobat Help. Adobe applications ship with a standard set of working space profiles that have been recommended and tested by Adobe Systems for most color management workflows. By default, only these profiles appear in the working space menus.
Missing Profiles: Ask When Opening Displays a message whenever you open an untagged document. You will be given the option to override the policy’s default behavior. Select this option if you want to ensure the appropriate color management of documents on a case-by-case basis. To the top Color conversion options Color conversion options let you control how the application handles the colors in a document as it moves from one color space to another.
Working with color profiles About color profiles About monitor calibration and characterization Calibrate and profile your monitor Install a color profile Embed a color profile Embed a color profile (Acrobat) Changing the color profile for a document Assign or remove a color profile (Illustrator, Photoshop) Assign or remove a color profile (InDesign) Convert document colors to another profile (Photoshop) Convert document colors to Multichannel, Device Link, or Abstract color profiles (Photoshop) Convert doc
Managing color with profiles A. Profiles describe the color spaces of the input device and the document. B. Using the profiles’ descriptions, the color management system identifies the document’s actual colors. C. The monitor’s profile tells the color management system how to translate the document’s numeric values to the monitor’s color space. D.
Most profiling software automatically assigns the new profile as the default monitor profile. For instructions on how to manually assign the monitor profile, refer to the Help system for your operating system. To the top Install a color profile Color profiles are often installed when a device is added to your system. The accuracy of these profiles (often called generic profiles or canned profiles) varies from manufacturer to manufacturer.
not want to color-manage the document. After you remove the profile from a document, the appearance of colors is defined by the application’s working space profiles, and you can no longer embed a profile in the document. Assign Current Working Space [working space] Assigns the working space profile to the document. Assign Profile Lets you select a different profile. The application assigns the new profile to the document without converting colors to the profile space.
Color-managing documents for online viewing Color-managing documents for online viewing Color-managing PDFs for online viewing Color-managing HTML documents for online viewing To the top Color-managing documents for online viewing Color management for online viewing is very different from color management for printed media. With printed media, you have far more control over the appearance of the final document.
Color-managing documents when printing Printing with color management Letting the printer determine colors when printing Letting the application determine colors when printing Obtaining custom profiles for desktop printers Color-managing PDFs for printing To the top Printing with color management Color management options for printing let you specify how you want Adobe applications to handle the outgoing image data so the printer will print colors consistent with what you see on your monitor.
fluorescent brighteners in them that look different to a scanner than they do in room light.) Create your own profile using a hardware profile-creation tool. This method is expensive but can provide the best results. A good hardware tool can create an accurate profile even with glossy papers. Tweak a profile created using one of the previous methods with profile-editing software.
Color-managing imported images Color-managing imported images (Illustrator, InDesign) Using a safe CMYK workflow Preparing imported graphics for color management View or change profiles for imported bitmap images (InDesign) Color-managing imported images (Illustrator, InDesign) To the top How imported images are integrated into a document’s color space depends on whether or not the image has an embedded profile: When you import an image that contains no profile, the Adobe application uses the current doc
| 1047
Proofing colors About soft-proofing colors Soft-proof colors Save or load a custom proof setup (Photoshop, InDesign) Soft-proof colors (Acrobat) To the top About soft-proofing colors In a traditional publishing workflow, you print a hard proof of your document to preview how its colors will look when reproduced on a specific output device. In a color-managed workflow, you can use the precision of color profiles to soft-proof your document directly on the monitor.
Custom soft-proof options Device To Simulate Specifies the color profile of the device for which you want to create the proof. The usefulness of the chosen profile depends on how accurately it describes the device’s behavior. Often, custom profiles for specific paper and printer combinations create the most accurate soft proof. Preserve CMYK Numbers or Preserve RGB Numbers Simulates how the colors will appear without being converted to the color space of the output device.
the default location. To load a custom proof setup, click Load. To the top Soft-proof colors (Acrobat) 1. Do one of the following, depending on your version of Acrobat: (Acrobat 9) Choose Advanced > Print Production > Output Preview. (Acrobat X) Choose Tools > Print Production > Output Preview. 2. Choose the color profile of a specific output device from the Simulation Profile menu. 3.
System requirements 1051
Memory and performance Allocate RAM to Photoshop Assigning scratch disks Change the scratch disk assignment Specify history and cache settings Free memory Enable OpenGL and optimize GPU settings To the top Allocate RAM to Photoshop Photoshop displays the RAM available to Photoshop and the ideal range of RAM for Photoshop (a percentage of the total available RAM) in Performance preferences.
2. Click OK. 3. To apply the changes, restart Photoshop. To the top Specify history and cache settings In the Performance preferences, do any of the following: Specify the maximum number of History States that appear in the History panel. Specify the Cache Levels and Tile Size for image data. To quickly optimize these settings, click a preset for images with these characterstics: Tall and Thin Many layers and small dimensions. Default Moderate dimensions and layers.
3. Click OK. The preference affects subsequently opened images. No restart is necessary. For more information, see: GPU and OpenGL support | Photoshop CS4, CS5 (kb404898) GPU and OpenGL features and preferences | Photoshop and Bridge CS5, CS4 (kb405745) Tested video cards | Photoshop CS5 (cpsid_83117) Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
