my report.doc

7/25/2019 my report.doc

http://slidepdf.com/reader/full/my-reportdoc 1/34

Method 1 of 2: Red eye tool

1.

1Open up Adobe Photoshop CS3.

Ad



2.

2Click and hold the bandage icon on the left side of the screen. Select the option

Red Eye Tool that slides out as an extra feature.



3.

3Select the area you want to correct with the Photoshop Red Eye Tool. This tool

allows you to select the area that you want the red eye tool to look in for a circle object

that represents the eye.



4.

4Release the area that you selected. The program will cover the pupil with a darker

color. From close up it may look a little weird but from the original zoom distance it looks

good.



5.

5Do the same for the other eye.



6.

6You're finished! Enjoy your natural colored eyes on the photos.

Ad

Method 2 of 2: Opacity red eye removal



1.

1Select each eye with the selection tool. Create this as two new layers.



2.

2Use the Red Eye Tool on each new layer and remove the red eye.

Open a Photo



The Photoshop clone stamp tool allows you to copy one area of an image and copy it onto

another area. In order to practice this, open a photo in Photoshop. To do this, go to file>open,

browse to the photo on your computer, select the filename, and click open. Any photo will do for practice, but if you have one that needs some retouching use that one.

Choose the Clone Stamp Tool

Clone Stamp Tool.

The clone stamp tool is located on your Photoshop toolbar. If you do not see the toolbar (avertical set of icons, go to window>tools to bring it up. !lick the tool (seen below to select it.

"ou can always see what a tool is by rolling over it and waiting for the tool name to appear.

Choose Brush Options

Brush Options.

#nce on the Photoshop clone stamp tool, you can set your brush options (located at the top of thescreen. $rush si%e and shape, opacity, flow and blending modes can all be selected. If you want

to copy an e&act area you will leave the opacity, flow and blending mode at their default settings

and only choose a brush si%e and shape.



Select an Area to Copy From

The clouds are being selected with the cursor, which appears as a target.

The clone stamp is such a great tool because it lets you copy from one area of a photo to another

using any type of brush. This can be useful for tricks such as covering up blemishes (by copyingfrom another part of skin or removing trees from a mountain view (by copying parts of the sky

over them.

To select the area you want to copy from, move your mouse to the area you want to duplicate and

Alt'click (indows or #ption'click ()ac.

The cursor will change to a target. !lick the e&act spot you want to start copying from.

Paint Over Your Image



The clone stamp is being used to here to paint over the trees with clouds.

It*s now time to retouch your image. !lick and drag over the area you want to replace or correctand you will see the area you selected in step + start to cover your photo. Play around with

different brush settings and try replacing different areas of your photo until you get the hang of

it.

-#T/ 0emember this tool can also be useful for fi&ing images other than photographs. "ou

may want to 1uickly copy an area of an illustration or fi& up a background graphic for a website.

Patch tool

The patch tool uses the same complex algorithm as the healing brush to carry out its blend calculations, but the patch

tool works with selection-defined areas instead of a brush. When the patch tool is selected, it initially operates in a

lasso selection mode that can be used to define the area to patch from or patch to. For example, you can hold down

the Option/lt key to temporarily con!ert the patch tool to become a polygonal lasso tool with which to draw straight

line selection edges. "owe!er, you don#t actually need the patch tool to define the selection, because any selection

tool or selection method can be used to prepare a patch selection. Once you ha!e made a selection, select the patch

tool to proceed to the next stage.

The patch tool Options bar is shown below in Figure $. s with the healing brushes, the patch tool has to work with

either the %ackground layer or a copied pixel layer. One of the nice features of the patch tool is the way that the

&election area in &ource and 'estination mode will pre!iew the image as you drag to define the patch selection. To

see examples of the healing brush and the patch tool in action, check out some of the repairing and retouching

tutorials shown in (hapter ).



Figure 1 The patch tool Options bar.

1 The patch tool works in a way that is similar to the healing brush. *sing the picture here, + can show you how the

patch tool can be used in &ource mode to co!er up the tattoo on this model#s body. When you select the patch tool

you can use it ust like the lasso tool to draw around the outline of the area you wish to patch#, and loosely define a

selection area. s was mentioned abo!e, you can use any selection tool method you like to define the selection as

you prepare an image for patching.



2 "a!ing defined the area + wanted to patch, + made sure that the patch tool was now selected in the Tools panel and

dragged inside the selection to locate an area of the image that could be used to patch o!er# the original area i.e.

remo!e the tattoo. s + dragged the patch selection this created a second selection area and + could see a li!e

pre!iew in the original patch selection, indicating which pixels would be cloned here.

3 s + released the mouse, 0hotoshop began to calculate a healing blend, analy1ing the pixels from the source area

that + had ust defined and used these to merge seamlessly with the pixels in the original selection area. The result

of this patch transformation was pretty impressi!e, as it managed to remo!e the tattoo, but you#ll notice that a dark

shadow remained in the middle of the patch area.



4 This is something to be expected and simply means that the patch tool action wasn#t completely successful at

remo!ing the tattoo in one single step. 2emember, the original patch tool selection was still acti!e and all + had to do

was carry out a further patch tool action by repeating step 3. This screen shot shows what the model#s body looked

like after applying the patch tool twice. s you can see, all traces of the tattoo are now gone.

The patch tool and content-aware filling

0hotoshop (&4 saw the introduction of content-aware filling. This is where you can make a selection, choose

5dit Fill and fill using the (ontent-ware fill mode as shown below. 6ow in 0hotoshop (&7, there is also a

(ontent-ware mode when working with the patch tool. The following steps show a comparison between the use of

the 5dit Fill command and the patch tool in (ontent-ware mode. 6ote that when the &ample ll layers option is

checked, you can apply a patch tool (ontent-ware fill to an empty new layer.





1 This photograph taken at sunset and you can see the shadow of the tripod and camera. To remo!e this from the

image, + first made a rough lasso selection to define the outline of the shadow.

2 + then went to the 5dit menu and chose Fill8 or, you may find it easier to use the &hift9F4 shortcut. This opened

the Fill dialog shown here where + selected (ontent-ware# from the pop-up menu in the (ontents section. When +

clicked O:, this filled the selected area.



3 "ere you can see the result of the content-aware fill method.



4 + undid the content-aware fill, selected the patch tool and in the patch tool Options bar chose the (ontent-ware

option. + added an empty new layer and with the &ample ll ;ayers# option checked, dragged the selection to the left

and released the mouse. With the selection still acti!e, + was able to go through all the different options from the

daptation menu, finally settling on the <ery ;oose option.

5 "ere, you can see the result when choosing all the other different adaptation methods including the (ontent-ware

Fill method.



6 "ere is the final !ersion with the shadow successfully remo!ed.

Written by Steve Patterson. +n this tutorial, we=ll look at the Healing Brush, by far the best

photo retouching tool in all of 0hotoshop, and how we can use it to easily reduce distracting skin

wrinkles in an image. 6otice how + said >reduce>, not >remo!e> wrinkles. One of the most common

retouching mistakes is to completely remo!e the wrinkles from a person=s face, smoothing the skinout so completely that a person in their ?@=s, 4@=s, 7@=s or later looks like they=!e barely aged a day

since they were a teenager. That may sound flattering, and if you=re doing work for a high end

fashion maga1ine, it may well be the result you want. %ut for those of us who li!e in reality, wrinkles

are a natural sign of aging, life experience and the wisdom that comes with it, not something to be

shunned and remo!ed through hea!y-handed use of 0hotoshop. s the saying goes, ust because

you can doesn=t mean you should.



&till, wrinkles that appear too dark and noticeable, whether from bad lighting or ust lack of sleep,

can detract from an otherwise great portrait, so in this tutorial, we=ll learn how to reduce their impact

through a combination of the "ealing %rush and layer opacity. +=ll be using 0hotoshop (&4 here, but

any recent !ersion of 0hotoshop will work.

Download our tutorials as printable PDFs! ;earning 0hotoshop has ne!er been easierA

"ere=s the image +=ll be working with. O!erall, + think it=s a great photo, but some of the wrinkles on

the man=s face, especially around his eyes, are too intense and distractingB

2emo!ing the wrinkles on the man=s face would be wrong, but reducing them would impro!e the image.

;et=s get startedA

Step 1: Add A New Blank Layer

;et=s begin by adding a new blank layer abo!e our %ackground layer so we can keep our retouching

work and the original image which is sitting on the %ackground layer separate from each other.

http://www.photoshopessentials.com/print-ready-pdfs/





"old down your Alt Win /Option Cac key and click on the New Layer icon at the bottom of

the ;ayers panelB

(lick on the 6ew ;ayer icon while holding down the lt Win / Option Cac key.

6ormally, 0hotoshop would go ahead and add a new blank layer when we click on the 6ew ;ayer

icon, but by holding down the lt / Option key, we tell it instead to pop open the New Layer dialog

box, which lets us Duickly name the new layer before adding it. (lick inside the Name input box at

the top and name the new layer >wrinkles>B

The 6ew ;ayer dialog box lets us set se!eral options for the layer, but here, all we=re interested in is

naming it.

(lick O: when you=re done to exit out of the dialog box, and if we look again at our ;ayers panel, we

see that we now ha!e a new blank layer named >wrinkles> abo!e the %ackground layer. The layer is

highlighted in blue, which means it=s selected, so anything we do next will be done to the >wrinkles>

layer, not the %ackground layer below itB



6aming layers helps keep our retouching work organi1ed and manageable.

Step 2: Select The Healing Brush

Erab the "ealing %rush from the Tools panel. %y default, it=s hiding behind the Spot Healing

Brush, so click and hold on the &pot "ealing %rush until the fly-out menu appears, then select the

"ealing %rush from the listB

(lick and hold on the &pot "ealing %rush, then select the "ealing %rush from the fly-out menu.

Step 3: Change The Sample !de T! "All Layers" And#ncheck "Aligned"

Cuch like the &pot "ealing %rush, the "ealing %rush is basically a texture replacement tool,replacing damaged or unwanted texture from a problem area in the photo with good texture from

another area, blending the good texture in with the problem area=s original color and brightness

!alues to create a seamless fix. This is what dobe means by the term >healing>. With the "ealing

%rush, we first select the area we want to sample good texture from by clicking on it, then we paint

o!er the problem area to heal it with the good texture.

http://www.photoshopessentials.com/photo-editing/spot-healing-brush/







%y default though, the "ealing %rush will only sample texture from the currently selected layer, and

since our currently selected layer is blank, we=re not going to accomplish much. We need to tell

0hotoshop to sample texture not only from our selected layer but from the layer below it as well, and

we do that using the Sample Mode option in the Options %ar. %y default, it=s set to urrent

Layer. (lick on the words >(urrent ;ayer> and select All Layersfrom the listB

(hange the &ample Code option from =(urrent ;ayer= to =ll ;ayers=.

lso, make sure the Aligned option is unchecked. ou=ll find it directly to the left of the &ample

Code option in the Options %ar. With the ligned option turned off unchecked, you=ll continue to

sample good texture from the same area you clicked on until you click on a different area. This is

usually the beha!ior you want with the "ealing %rush. Eenerally speaking, if you=re using the (lone

&tamp Tool, you=ll want ligned selected, and with the "ealing %rush, you=ll want it deselectedB

+t=s usually easier to work with the "ealing %rush with the ligned option unchecked.

Step $: Click %n An Area %& '!!d Te(ture T! Sample )t

s + mentioned, using the "ealing %rush is a two-step process. First, we click on an area in the

image that contains good texture to sample it, then we paint o!er the problem area to replace the

unwanted texture with the good texture. One important thing to keep in mind when reducing wrinkles

is that skin texture appears different in different areas of a person=s face. For example, the skin

around your eyes has a different texture than the skin on your cheeks or your forehead. &o if you

want your retouching work to look as realistic as possible, try to sample good texture from an area

close to the wrinkle to keep the skin texture consistent.

lso, as a person ages, wrinkles become longer and deeper, so we can often make someone look

younger ust by shortening the length of the wrinkle. For that reason, always start at the thin, narrow

end of the wrinkle, which is the youngest part, and work your way towards its origin.

+=m going to oom in on one of the man=s eyes so + can get a closer !iew of what +=m doing, and +=ll

start by remo!ing some of the smaller wrinkles before remo!ing the larger one under his eye. For the

http://www.photoshopessentials.com/basics/photoshop-zoom/

http://www.photoshopessentials.com/basics/photoshop-zoom/



moment, we=re going to be completely remo!ing the wrinkles, but when we=re done, we=ll see how to

reduce the appearance of our retouching work so things look more natural. To sample an area of

good texture, hold down your Alt Win / Option Cac key, which will temporarily turn the "ealing

%rush cursor into a small target symbol, and click on the areaB

"old down lt Win / Option Cac and click on an area of good texture close to the wrinkle to sample it.

Step *: +aint %,er The -rinkle T! Heal )t

Once you=!e sampled your good texture, release your lt Win / Option Cac key, then mo!e the

"ealing %rush o!er the youngest end of the wrinkle. For best results, use a brush si1e ust slightly

larger than the wrinkle itself. ou can Duickly adust the si1e of the brush from the keyboard. 0ress

the le"t bra#$et $ey % to make the brush smaller or the right bra#$et $ey & to make it

larger. Then click on the wrinkle and, with your mouse button still held down, drag the cursor along

its shape towards its origin as if you=re painting o!er it.

s you paint along the wrinkle, you=ll notice two things. First, a small plus sign 9 appears o!er the

good texture and mo!es along with you as you paint. The area directly under the plus sign is the

good texture that=s being sampled, making it easy to see exactly where the texture is coming from.

lso, 0hotoshop doesn=t actually blend the texture in with the original color and brightness !alues



until after you release your mouse button, so as you=re painting, things may not look as expected.

"ere, it looks more like +=m simply cloning pixels o!er the wrinkle with the (lone &tamp ToolB

The color and brightness !alues of the area will look wrong as you=re painting. s small plus sign shows

the area of good texture being sampled.

When + release my mouse button though, 0hotoshop blends the new texture in with the original color

and brightness of the problem area, and the wrinkle disappearsB



0hotoshop blends the color and brightness !alues to create a seamless >heal> when you release your

mouse button.

To a!oid painting with the exact same texture o!er and o!er again and ending up with a wallpaper

effect, choose different areas to sample texture from as you make your way from one wrinkle to thenext by holding down lt Win / Option Cac and clicking on a different area before painting.

'epending on the length of the wrinkle and the amount of good texture a!ailable, you may not be

able to co!er the entire wrinkle with one continuous paint stroke, especially if the person has lots of

wrinkles. +n those cases, use a series of shorter strokes, always starting from the youngest end of

the wrinkle and working towards its origin. +f you make a mistake,

press trl'( Win /ommand'( Cac to undo the brush stroke, then try again.

+=ll continue remo!ing more of the smaller wrinkles by painting o!er them with good texture, changing

the si1e of my brush as needed with the left and right bracket keysB



(ompletely remo!ing the wrinkles for now, but we=ll bring them back later.

6ow that +=!e cleaned up the area around that one large wrinkle that runs under his eye, +=ll ha!e an

easier time remo!ing it. +=ll remo!e it in sections rather than trying with one continuous paint stroke.

First, +=ll sample an area of good texture from nearby, then +=ll click at its youngest end and begin

painting along the wrinkle, releasing my mouse button ust as + get directly under his eyeB



*sing a series of shorter paint strokes to remo!e the larger wrinkle.

+=ll continue my way along the large wrinkle, sampling texture from a different area and cleaning up

any small problem spots as + goB



(ontinuing with short strokes along the wrinkle.

Finally, after reaching the corner of his eye and touching up some minor problems, the wrinkle is

goneB



The large wrinkle has been completely remo!ed.

+=ll continue making my way around the image with the "ealing %rush to remo!e the remaining

wrinkles, including the similar large wrinkle under his other eye. To speed things up for myself, +=ll

switch o!er to my pen tablet a Wacom +ntuos?, which allows me to change the si1e of the brush

dynamically as + paint simply by !arying the amount of pressure + apply to the tablet with the pen, a

much faster way to work rather than constantly resi1ing the brush from the keyboard. +f you don=t

ha!e a pressure sensiti!e pen tablet, you can still get great results using a mouse. The pen ust

makes things easier.

"ere=s how the image looks after spending $@-$4 minutes or so with the "ealing %rush to remo!e

the remaining wrinkles around his eyes, his forehead and around his chinB



With all of his wrinkles remo!ed, he almost looks like a different person, or at least a much younger

person.

Step .: L!wer The %pacity %& The Layer

The "ealing %rush, along with a little patience on my part, did an ama1ing ob of remo!ing the man=s

wrinkles, but if + was to show him my results at this point, +=m not sure he=d be as impressed with me

as + am. "e knows, and e!eryone who knows him knows, that he has !ery distinct wrinkles on his

face, and those wrinkles add a lot to his personality. ou may be surprised at how many people

would be insulted to suddenly see them gone, which is why our ultimate goal was not to completely

remo!e the wrinkles, ust to reduce their impact.

To ease up on the retouching work and bring the wrinkles back, but to a lesser extent than they were

originally, lower the opacity of the >wrinkles> layer. ou=ll find the Opa#ity option in the top right

corner of the ;ayers panel. Finding the right opacity setting is simply a matter of experimenting, and

the easiest way to do that is to press the letter ) on your keyboard, which will instantly select

the Mo*e +ool from the Tools panel. With the Co!e Tool selected, we can change the opacity of



the currently selected layer ust by pressing numbers on the keyboard. &tart by pressing the number

4, which will lower the opacity in the ;ayers panel to 4@G. This is usually a good place to startB

0ress ><> to switch to the Co!e Tool, then easily change the layer opacity by typing a number.

To set the opacity to something like 44G, type >44> Duickly. :eep an eye on the image in the

document window to udge the results as you try out different opacity settings. 0ressing @ will switch

you back to $@@G. For my image, + think 7@G opacity works out well, but the !alue you use for your

image may be different. "ere, once again, is how the image looked originallyB



The original image.

nd here=s my final result after bringing back a less intense !ersion of the wrinklesB



The final result.

my report.doc

Documents