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antabayanan ko ito! thanks for sharing.
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Adobe Photoshop Starters
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Photoshop For Beginners 7
Photoshop For Beginners 7
Using the Crop Tool
The Crop Tool has several uses:
• to remove unwanted parts of an image;
• to rotate an image;
• and to expand the canvas area.
A simple crop
With a new image, one of the first things we are all likely to do is remove an unwanted rebate, and we did that with the alarm clock image.
The image used in this Photoshop tutorial is number 09.jpg in the Samples-Starting folder (pls see attached file) or you can use one of your own images.
To summarize the procedure:
Crop tool
* Select the Crop Tool.
* Position the cursor in a top corner and drag it diagonally across the image.
* Drag one of the small square handles on one of the sides into the picture to crop out the unwanted edge.
* All four sides can be treated individually.
* To adjust a vertical and horizontal side at the same time, move a corner handle into the picture.
* Moving a corner handle into the picture while holding Shift will keep the cropping in proportion.
* To adjust two opposite sides in equally, hold Alt and move one of the side handles into the picture.
* Press Enter / Return to apply the crop.
Rotate
To enable us to rotate the image with the Crop Tool we first need to expand the area around the image.
* Drag the bottom right corner of the image frame down and to the right to increase the grey area around the image
# Select the Crop Tool from the toolbox.
Pressing C is a shortcut to this.
# Drag the cursor across the image as before.
# Place the cursor beside the image and it changes into a double curved arrow symbol.
Dragging the cursor will rotate the image.
The image will rotate in the preview to show you how it will look.
A very high resolution image will take some moments if the computer is not too powerful.
Expanding the canvas size
The whole image can be made bigger with the Crop Tool.
# Have the toolbox colours for foreground and background set to default, with black over white. Use the letters D and X to achieve this.
# Drag the bottom right corner of the image border down and to the right to put more grey area around the image.
# Drag the Crop Tool across the whole image.
The image is surrounded by what is known as the bounding box.
# Place the cursor on the bottom right corner angle and drag it down and to
the right.
The four sides can be moved out individually if required.
# To increase the canvas area symmetrically around the image hold Shift + Alt as you drag out a corner handle.
# Press Enter / Return.
The new extra area will take on the colour of the background colour square in the toolbox, which in this case will be white.
# This is the situation when the image is flattened and locked.
For the new area to be clear, the image must be unlocked and changed to a normal layer.
The flattend image will be called Background in the Layers palette.
To unlock it, hold Alt and double-click on the Background name in the Layers palette.
# Now drag the bottom right corner down and out as before.
# Drag the Crop Tool across the whole image and while holding Shift + Alt move the bottom right corner handle of the crop bounding box down and to the right.
Press Enter or Return.
The new area around the image is clear.
With a new layer placed under the image,
it can be filled with another image or colour.
Photoshop For Beginners 7
Using the Crop Tool
The Crop Tool has several uses:
• to remove unwanted parts of an image;
• to rotate an image;
• and to expand the canvas area.
A simple crop
With a new image, one of the first things we are all likely to do is remove an unwanted rebate, and we did that with the alarm clock image.
The image used in this Photoshop tutorial is number 09.jpg in the Samples-Starting folder (pls see attached file) or you can use one of your own images.
To summarize the procedure:
Crop tool
* Select the Crop Tool.
* Position the cursor in a top corner and drag it diagonally across the image.
* Drag one of the small square handles on one of the sides into the picture to crop out the unwanted edge.
* All four sides can be treated individually.
* To adjust a vertical and horizontal side at the same time, move a corner handle into the picture.
* Moving a corner handle into the picture while holding Shift will keep the cropping in proportion.
* To adjust two opposite sides in equally, hold Alt and move one of the side handles into the picture.
* Press Enter / Return to apply the crop.
Rotate
To enable us to rotate the image with the Crop Tool we first need to expand the area around the image.
* Drag the bottom right corner of the image frame down and to the right to increase the grey area around the image
# Select the Crop Tool from the toolbox.
Pressing C is a shortcut to this.
# Drag the cursor across the image as before.
# Place the cursor beside the image and it changes into a double curved arrow symbol.
Dragging the cursor will rotate the image.
The image will rotate in the preview to show you how it will look.
A very high resolution image will take some moments if the computer is not too powerful.
Expanding the canvas size
The whole image can be made bigger with the Crop Tool.
# Have the toolbox colours for foreground and background set to default, with black over white. Use the letters D and X to achieve this.
# Drag the bottom right corner of the image border down and to the right to put more grey area around the image.
# Drag the Crop Tool across the whole image.
The image is surrounded by what is known as the bounding box.
# Place the cursor on the bottom right corner angle and drag it down and to
the right.
The four sides can be moved out individually if required.
# To increase the canvas area symmetrically around the image hold Shift + Alt as you drag out a corner handle.
# Press Enter / Return.
The new extra area will take on the colour of the background colour square in the toolbox, which in this case will be white.
# This is the situation when the image is flattened and locked.
For the new area to be clear, the image must be unlocked and changed to a normal layer.
The flattend image will be called Background in the Layers palette.
To unlock it, hold Alt and double-click on the Background name in the Layers palette.
# Now drag the bottom right corner down and out as before.
# Drag the Crop Tool across the whole image and while holding Shift + Alt move the bottom right corner handle of the crop bounding box down and to the right.
Press Enter or Return.
The new area around the image is clear.
With a new layer placed under the image,
it can be filled with another image or colour.
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Photoshop For Beginners 8 - CURVES
Photoshop For Beginners 8 - CURVES
Curves is perhaps the most useful function in the control and adjustment of image tones and colours in Photoshop. The facility has its background in film. All films have what are called 'characteristic curves' which display the relationship between exposure and emulsion density.
Very low levels of exposure have no effect on the film but as exposure increases there is more density in the emulsion at position A. This is the toe of the curve.
There is a progressive increase in density as exposure increases and the straight line portion of the curve (B) is the most effective part of the film.
At the shoulder of the curve (C) more exposure has a reduced effect until further exposure does not increase the density on the film at all and we get a horizontal line on the graph.
This type of curve is similar to the response of the eye and brain to light.
Our vision is most effective in the mid-areas and not so good in the extreme highlights and shadows.
The left graph would represent a film with higher contrast. The right graph would represent a film of lower contrast but a film that would be able to reproduce more subtle tones. The gradient of the straight line portion of the curve (B) is calculated and given a gamma value, such as G 0.6. Gamma is not the whole story but basically the higher the gamma, the higher the contrast.
A black and white film will have one curve while colour films will have three and it is the aim of film manufacturers to make all three curves exactly the same.
With film, shadows and highlights have lower contrast within their areas than the midtones; that is why the curve is not a straight line.
It is curves like these we will be adjusting in Photo shop to make colour corrections and tonal changes.
Photoshop Curves
To open the Curves dialogue box in Photoshop, in the top menu bar, go to:
Image > Adjustments > Curves.
This one really hits you in the face when you first see it.
We'll start off by simplifying it a little to make it less intimidating. Expand the box to its maximum by clicking on Curve Display Options if required.
Uncheck the boxes for
Channel Overlays,
Histogram
and Intersection Line.
The first thing to notice is that the curves line is straight. This is because with digital capture there is an equal progression of contrast from black to white – there is a linear progression.
Digital chips react to light in a uniform manner and do not suffer from the reciprocity failure of film.
If light is doubled (increased by one stop), the response of the pixels is doubled.
If light is halved (reduced by one stop), the response of the pixels is halved.
This happens over the whole range,
producing a straight line curve of 45 degrees.
As a result, a digital photograph will contain more detail in the shadows and highlights than most films can contain.
The RGB and CMY information in this chart is used by curves.
If much of this is new to you, it would be useful to print out this image and stick it on the side of your monitor.
It is image 01.jpg in the Samples-Curves (Pls. see attached file) folder.
• White light is made up of the rainbow colours of red, orange, yellow, green, blue, indigo and violet. This provides the three primary colours of Red, Green and Blue. When red, green and blue lights are laid over each other, they produce white light.
• Transparency or positive film uses the primary colours of red, green and blue, also known as additive colours, and when mixed they can create millions of colours.
• Negative films use the opposite colours of cyan, magenta and yellow, also referred to as secondary or subtractive colours. (This is light we are talking about here - painters have a different set of primaries.) Even though RGB can produce such a vibrate range of colours, the problem is it does not give the best results when it comes to printing with coloured inks. Here it becomes necessary to use cyan, magenta and yellow inks.
• We need to understand how all the colours and the two modes are connected.
• Red light and green light produce yellow light.
• Green light and blue light produce cyan light.
• Red light and blue light produce magenta light.
• Starting with white light, taking out green leaves red and blue; where the two overlap they make magenta - the opposite of green is magenta.
• Starting with white light, taking out blue leaves red and green; where they overlap creates yellow - yellow is the opposite of blue.
• Looking at the CMY trio, using only yellow and magenta creates red where they blend together - cyan is left out and red is the opposite of cyan.
The bar diagram shows that the two sets of colours are opposites. When we start doing colour correction shortly, this should all fall into place.
• When cyan, magenta and yellow are projected on to our white background, because they are subtractive colours, they take their own colour out of the white light. Take out all three colours and we are left with no light and hence black. This can be seen in the black triangle in the centre of the cyan, magenta and yellow trio. When printing on white paper, we are in effect taking out light.
• But we always talk about CMY and Black. The reason is that when cyan, magenta and yellow inks are mixed together, they create a black but it remains somewhat dirty looking. To use 100% each of CMY would be expensive on ink and would create drying problems.
A separate black ink produces richer colours. In additions, a 100K black ink combined with 50C or perhaps 50C,50M and 25Y will give a richer black.
Channels
The separate colours are called channels; so RGB mode has three channels and CMYK mode has four channels. This means that a 30Mb file in RGB will be a 40Mb file in CMYK.
Photoshop For Beginners 8 - CURVES
Curves is perhaps the most useful function in the control and adjustment of image tones and colours in Photoshop. The facility has its background in film. All films have what are called 'characteristic curves' which display the relationship between exposure and emulsion density.
Very low levels of exposure have no effect on the film but as exposure increases there is more density in the emulsion at position A. This is the toe of the curve.
There is a progressive increase in density as exposure increases and the straight line portion of the curve (B) is the most effective part of the film.
At the shoulder of the curve (C) more exposure has a reduced effect until further exposure does not increase the density on the film at all and we get a horizontal line on the graph.
This type of curve is similar to the response of the eye and brain to light.
Our vision is most effective in the mid-areas and not so good in the extreme highlights and shadows.
The left graph would represent a film with higher contrast. The right graph would represent a film of lower contrast but a film that would be able to reproduce more subtle tones. The gradient of the straight line portion of the curve (B) is calculated and given a gamma value, such as G 0.6. Gamma is not the whole story but basically the higher the gamma, the higher the contrast.
A black and white film will have one curve while colour films will have three and it is the aim of film manufacturers to make all three curves exactly the same.
With film, shadows and highlights have lower contrast within their areas than the midtones; that is why the curve is not a straight line.
It is curves like these we will be adjusting in Photo shop to make colour corrections and tonal changes.
Photoshop Curves
To open the Curves dialogue box in Photoshop, in the top menu bar, go to:
Image > Adjustments > Curves.
This one really hits you in the face when you first see it.
We'll start off by simplifying it a little to make it less intimidating. Expand the box to its maximum by clicking on Curve Display Options if required.
Uncheck the boxes for
Channel Overlays,
Histogram
and Intersection Line.
The first thing to notice is that the curves line is straight. This is because with digital capture there is an equal progression of contrast from black to white – there is a linear progression.
Digital chips react to light in a uniform manner and do not suffer from the reciprocity failure of film.
If light is doubled (increased by one stop), the response of the pixels is doubled.
If light is halved (reduced by one stop), the response of the pixels is halved.
This happens over the whole range,
producing a straight line curve of 45 degrees.
As a result, a digital photograph will contain more detail in the shadows and highlights than most films can contain.
The RGB and CMY information in this chart is used by curves.
If much of this is new to you, it would be useful to print out this image and stick it on the side of your monitor.
It is image 01.jpg in the Samples-Curves (Pls. see attached file) folder.
• White light is made up of the rainbow colours of red, orange, yellow, green, blue, indigo and violet. This provides the three primary colours of Red, Green and Blue. When red, green and blue lights are laid over each other, they produce white light.
• Transparency or positive film uses the primary colours of red, green and blue, also known as additive colours, and when mixed they can create millions of colours.
• Negative films use the opposite colours of cyan, magenta and yellow, also referred to as secondary or subtractive colours. (This is light we are talking about here - painters have a different set of primaries.) Even though RGB can produce such a vibrate range of colours, the problem is it does not give the best results when it comes to printing with coloured inks. Here it becomes necessary to use cyan, magenta and yellow inks.
• We need to understand how all the colours and the two modes are connected.
• Red light and green light produce yellow light.
• Green light and blue light produce cyan light.
• Red light and blue light produce magenta light.
• Starting with white light, taking out green leaves red and blue; where the two overlap they make magenta - the opposite of green is magenta.
• Starting with white light, taking out blue leaves red and green; where they overlap creates yellow - yellow is the opposite of blue.
• Looking at the CMY trio, using only yellow and magenta creates red where they blend together - cyan is left out and red is the opposite of cyan.
The bar diagram shows that the two sets of colours are opposites. When we start doing colour correction shortly, this should all fall into place.
• When cyan, magenta and yellow are projected on to our white background, because they are subtractive colours, they take their own colour out of the white light. Take out all three colours and we are left with no light and hence black. This can be seen in the black triangle in the centre of the cyan, magenta and yellow trio. When printing on white paper, we are in effect taking out light.
• But we always talk about CMY and Black. The reason is that when cyan, magenta and yellow inks are mixed together, they create a black but it remains somewhat dirty looking. To use 100% each of CMY would be expensive on ink and would create drying problems.
A separate black ink produces richer colours. In additions, a 100K black ink combined with 50C or perhaps 50C,50M and 25Y will give a richer black.
Channels
The separate colours are called channels; so RGB mode has three channels and CMYK mode has four channels. This means that a 30Mb file in RGB will be a 40Mb file in CMYK.
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Photoshop For Beginners 8 - CURVES
Curves and Improving Contrast
• Open image number 02.jpg.
This image is drab and lacking in contrast.
• Go to Image > Adjustments > Curves or Ctrl + M / Cmd + M.
The Photoshop 'curve' is originally drawn as a straight line in the dialogue box.
• It is generally more convenient to have the shadows at the bottom left corner and the highlights at the top right, regardless of whether one is working on a digital image, transparency or negative film image.
• Point B is the darkest black point on the image and point W is the lightest white point.
• The more horizontal the curve, the lower will be the image's contrast. Put the cursor on points B and W in turn and adjust the curve so it is like the illustration. Note how the contrast of the image is reduced.
• Hold the Alt / Option key and the Cancel button changes to Reset. Click on Reset and the curve goes back to its previous setting.
• The more vertical the curve, the higher will be the image's contrast. Put the cursor on points B and W in turn and adjust the curve so it is like the illustration. Note how the contrast of the image is increased.
• Reset the curve
• In fact, the extreme highlights and shadows of this image are all right. It is the midtones which lack contrast, so we need to push up the contrast in this area.
• Put the cursor on to the centre of the curve and click. This anchors that position. Put on other anchors point and move them to positions and D as shown. The overall appearance of the image is considerably improved.
We have made the central portion of the curve steeper and this has increased the images' contrast.
Curves and Improving Contrast
• Open image number 02.jpg.
This image is drab and lacking in contrast.
• Go to Image > Adjustments > Curves or Ctrl + M / Cmd + M.
The Photoshop 'curve' is originally drawn as a straight line in the dialogue box.
• It is generally more convenient to have the shadows at the bottom left corner and the highlights at the top right, regardless of whether one is working on a digital image, transparency or negative film image.
• Point B is the darkest black point on the image and point W is the lightest white point.
• The more horizontal the curve, the lower will be the image's contrast. Put the cursor on points B and W in turn and adjust the curve so it is like the illustration. Note how the contrast of the image is reduced.
• Hold the Alt / Option key and the Cancel button changes to Reset. Click on Reset and the curve goes back to its previous setting.
• The more vertical the curve, the higher will be the image's contrast. Put the cursor on points B and W in turn and adjust the curve so it is like the illustration. Note how the contrast of the image is increased.
• Reset the curve
• In fact, the extreme highlights and shadows of this image are all right. It is the midtones which lack contrast, so we need to push up the contrast in this area.
• Put the cursor on to the centre of the curve and click. This anchors that position. Put on other anchors point and move them to positions and D as shown. The overall appearance of the image is considerably improved.
We have made the central portion of the curve steeper and this has increased the images' contrast.
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Photoshop For Beginners 8 - CURVES
Curves and Color Correction
• For the next of the tutorials for Photoshop curves open sample image number 03.jpg.
• This image is too dark and has a red cast.
• Firstly, in the top menu bar, go to Image > Adjustments > Curves.
Curves Adjustment
• Place the cursor on the centre of the curve (the diagonal straight line) and click.
This puts on an anchor point.
• Drag the anchor point up until the exposure improves and more detail can be seen in the shadow area around the subject.
• Press on the double arrows next to Channel: RGB.
There are four options:
RGB, Red, Green and Blue.
RGB is the composite channel and each colour has its own channel.
• Select Red. This curve will affect the red channel only.
• As before, click on the middle of the curve to place on an anchor point. To reduce the red, the anchor point needs to be dragged down. The red must be reduced until the chicken looks white and the steering wheel looks more neutral. Take out too much red and the image will move towards cyan.
• Click OK or press Enter or the Return key.
• How does it look?
Is the colour neutral with no red or cyan cast?
Maybe it is still too red or perhaps too much red has been taken out.
Is it too light or too dark?
To make further changes, go back to Image > Adjustments > Curves and use the same two curves again.
When satisfied, click OK.
• Check the colours with the colour wheel in the Curves 1 tutorial until you are more used to the relationship between them.
Curves and Color Correction
• For the next of the tutorials for Photoshop curves open sample image number 03.jpg.
• This image is too dark and has a red cast.
• Firstly, in the top menu bar, go to Image > Adjustments > Curves.
Curves Adjustment
• Place the cursor on the centre of the curve (the diagonal straight line) and click.
This puts on an anchor point.
• Drag the anchor point up until the exposure improves and more detail can be seen in the shadow area around the subject.
• Press on the double arrows next to Channel: RGB.
There are four options:
RGB, Red, Green and Blue.
RGB is the composite channel and each colour has its own channel.
• Select Red. This curve will affect the red channel only.
• As before, click on the middle of the curve to place on an anchor point. To reduce the red, the anchor point needs to be dragged down. The red must be reduced until the chicken looks white and the steering wheel looks more neutral. Take out too much red and the image will move towards cyan.
• Click OK or press Enter or the Return key.
• How does it look?
Is the colour neutral with no red or cyan cast?
Maybe it is still too red or perhaps too much red has been taken out.
Is it too light or too dark?
To make further changes, go back to Image > Adjustments > Curves and use the same two curves again.
When satisfied, click OK.
• Check the colours with the colour wheel in the Curves 1 tutorial until you are more used to the relationship between them.
Last edited:
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Photoshop For Beginners 8 - CURVES
Curves and Colour Casts
It takes practice to judge colour and colour casts in an image and adjust them with curves. If part of the image should be a neutral grey, that is a great help and we can use that as the guide.
• Open sample image number 04.jpg.
• Go to Window > Show Info, then go to Image > Adjustments > Curves.
• With the dialogue box open, the cursor changes to the eyedropper tool and the colour readings appear in the info box.
The small red circle is a suitable position to place the cursor.
Info Palette
• Put the cursor on to that spot, hold Shift and click. This locks the numbers into the Info box and they are identified by the number 1.
In this example, note how red is lower than green and blue is higher than green.
• At the top of the dialogue box, select Red in the Channel pop-up menu. We want to increase the red number in the Info palette until it is the same as the green value.
• Run the cursor along the curves line until the reading in the Input box is 116 or the value you have in your info palette. Click on the line to make an anchor point. If you cannot get the exact figure, click on the line at the nearest point.
• The Output number should then be changed to the Red value in the Info palette. Press the up arrow on the keyboard until the new red value equals the green value.
• Now select the Blue curve from the Channel pop-up menu. Run the cursor along the curve to find the position of the 152 value or the value you have on your Info palette. Click.
Info palette As before, the exact position of the anchor point should be adjusted by changing the Input box number.
• With the keyboard arrow, move the anchor point down until it equals the green value. The overall colour of the image will now be neutral, but the contrast is too low.
The red and blue values are adjusted until they equal the original green value.
• We don't have to OK the box yet; other adjustments can be done first.
In the Channels drop-down menu, select the RGB composite channel.
• Firstly, put an anchor point in the centre of the curve (position 1). This will prevent the curve from moving here.
• Then insert the other two point and move them as in the diagram. Point 2 peps up the highlights while point 3 enriches the shadows and blacks - together the improve the contrast.
Just how much shape is put in here is a matter of judgement.
When satisfied, click OK.
The image will now have clean,
neutral colour and stronger contrast.
Curves and Colour Casts
It takes practice to judge colour and colour casts in an image and adjust them with curves. If part of the image should be a neutral grey, that is a great help and we can use that as the guide.
• Open sample image number 04.jpg.
• Go to Window > Show Info, then go to Image > Adjustments > Curves.
• With the dialogue box open, the cursor changes to the eyedropper tool and the colour readings appear in the info box.
The small red circle is a suitable position to place the cursor.
Info Palette
• Put the cursor on to that spot, hold Shift and click. This locks the numbers into the Info box and they are identified by the number 1.
In this example, note how red is lower than green and blue is higher than green.
• At the top of the dialogue box, select Red in the Channel pop-up menu. We want to increase the red number in the Info palette until it is the same as the green value.
• Run the cursor along the curves line until the reading in the Input box is 116 or the value you have in your info palette. Click on the line to make an anchor point. If you cannot get the exact figure, click on the line at the nearest point.
• The Output number should then be changed to the Red value in the Info palette. Press the up arrow on the keyboard until the new red value equals the green value.
• Now select the Blue curve from the Channel pop-up menu. Run the cursor along the curve to find the position of the 152 value or the value you have on your Info palette. Click.
Info palette As before, the exact position of the anchor point should be adjusted by changing the Input box number.
• With the keyboard arrow, move the anchor point down until it equals the green value. The overall colour of the image will now be neutral, but the contrast is too low.
The red and blue values are adjusted until they equal the original green value.
• We don't have to OK the box yet; other adjustments can be done first.
In the Channels drop-down menu, select the RGB composite channel.
• Firstly, put an anchor point in the centre of the curve (position 1). This will prevent the curve from moving here.
• Then insert the other two point and move them as in the diagram. Point 2 peps up the highlights while point 3 enriches the shadows and blacks - together the improve the contrast.
Just how much shape is put in here is a matter of judgement.
When satisfied, click OK.
The image will now have clean,
neutral colour and stronger contrast.
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gudpm,Taz ung sa text b pwede bang gawing 3d un.....tnx po..
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pwedeng pwede po, visit the links below
Patek Philippe Watch - making of
Making Gauge Art - with PSD file
Clock Tutorials
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i have already subscribed to this post pagkatapos ko kumuha ng photoshop cs3 extended na portable! hehehe sana matuto na ako by the end of summer!
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meron pa lang ganito.. hehe
thanks for sharing this bro..
thanks for sharing this bro..
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