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For more information about converting between color modes, see Photoshop Help. Click OK when Photoshop displays an alert about the color management profile. E Tip: Most images include more than one layer. The image is now fully retouched, saved, and ready for placement in a page layout application. For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign.

Click Open. You can also experiment with options from the preset menu, such as Darker or Infrared. Or, select the tool in the upper left corner of the Adjustments panel, and then drag it across the image to adjust the colors associated with that area.

We darkened the bike itself and made the background areas lighter. In Camera Raw: 1 In Bridge, select the bike. Image resolution and monitor resolution are measured in pixels per inch ppi. Printer, or output, resolution is measured in ink dots per inch dpi. Then fine-tune the color and tone using sliders in the Basic panel.

The Clone Stamp tool copies the source area exactly; the Healing Brush and Spot Healing Brush tools blend the area with the surrounding pixels. The Patch tool in Content-Aware mode, and content-aware fill replace a selection with content that matches the surrounding area.

You first select the part of an image you want to change with one of the selection tools. Then, you use another tool, filter, or other feature to make changes, such as moving the selected pixels to another location or applying a filter to the selected area. You can make selections based on size, shape, and color. The selection process limits changes to within the selected area. Other areas are unaffected. The best selection tool for a specific area often depends on the characteristics of that area, such as shape or color.

The Single Row Marquee tool and Single Column Marquee tool select either a 1-pixel-high row or a 1-pixel-wide column, respectively. Freehand selections The Lasso tool traces a freehand selection around an area. The Polygonal Lasso tool sets anchor points in straight-line segments around an area. The Magnetic Lasso tool works something like a combination of the other two lasso tools, and gives the best results when good contrast exists between the area you want to select and its surroundings.

Color-based selections The Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels. It is useful for selecting odd-shaped areas that share a specific range of colors. Then, double-click the Lesson03 folder in the Content panel to see its contents.

Move the thumbnail slider to the right if you want to see the image in more detail. The challenge in this lesson is to arrange these elements, which were scanned together on the single page you see in the 03Start. There is no right or wrong position for any of the objects.

You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want. The image of the sand dollar in the 03Working. The Quick Selection tool finds the full edge automatically, selecting the entire sand dollar.

Leave the selection active so that you can use it in the next exercise. The rest of the image is not affected by those changes. To move the selected area to another part of the composition, you use the Move tool. This image has only one layer, so the pixels you move will replace the pixels beneath them. Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area.

Julieanne Kost is an official Adobe Photoshop evangelist. The layers that are under the pointer appear in the context menu. Manipulating selections You can move selections, reposition them as you create them, and even duplicate them. One of the best things about this section is the introduction of keyboard shortcuts that can save you time and arm motions.

As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed. If you accidentally release the mouse button at the wrong time, simply start the exercise again from step 1. If you accidentally release the mouse button, draw the selection again. In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl.

If necessary, hold down the spacebar again and drag to move the selection marquee into position around the bowl of shells. Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise.

The pointer icon now includes a pair of scissors to indicate that the selection will be cut from its current location. Photoshop reverts to the previously selected tool when you deselect, whether you click outside the selection or use the Deselect command. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.

You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selection border, but not the contents. When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window.

Notice that each time you press the arrow key, the bowl of shells moves one pixel. Experiment by pressing the other arrow keys to see how they affect the selection. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key. Sometimes the border around a selected area can distract you as you make adjustments. Either command hides the selection border around the bowl of shells. The selection is centered over its starting point. Hold down Shift while dragging the Rectangular Marquee tool to select a perfect square.

The pointer becomes an arrow with a pair of scissors , which indicates that dragging the selection will cut it from its current location and move it to the new location.

If you want to adjust the position after you stop dragging, simply start dragging again. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time.

A bounding box appears around the selection. Then press Enter or Return to commit the change and remove the transformation bounding box. As you resize the object, the selection marquee resizes, too. The duplicate graphic remains selected. Pressing the Shift key as you move a selection constrains the movement horizontally or vertically in degree increments.

Dragging with the Move tool saves memory because the clipboard is not used as it is with the commands. The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask. Copy Merged creates a merged copy of all the visible layers in the selected area. Paste pastes a cut or copied selection into another part of the image or into another image as a new layer. Keep in mind that when a selection is pasted between images with different resolutions, the pasted data retains its pixel dimensions.

This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting. As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. The Tolerance option sets the sensitivity of the Magic Wand tool. This value limits or extends the range of pixel similarity. The default tolerance value of 32 selects the color you click plus 32 lighter and 32 darker tones of that color.

You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. If a multicolored area that you want to select is set against a background of a different color, it can be much easier to select the background than the area itself. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee.

At this point, the coral and the white background area are selected. This value determines the range of colors the wand selects. A minus sign appears next to the wand in the pointer icon. Anything you select now will be subtracted from the initial selection. The Magic Wand tool selects the entire background, subtracting it from the selection.

Now all the white pixels are deselected, leaving the coral perfectly selected. Adobe PhotoshoP Cs6 ClAssroom in A book 79 7 Select the Move tool , and drag the coral to the wooden plate, a little to the right and above the center of the plate. You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool.

Make sure you can see the entire mussel in the window. Starting at the lower left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible.

Do not release the mouse button. Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process.

Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image. The mussel is now entirely selected. Leave the mussel selected for the next exercise. Before you begin, make sure that the mussel is still selected.

The pointer changes to the Move tool icon. The mussel and selection marquee are enclosed in a bounding box. Adobe PhotoshoP Cs6 ClAssroom in A book 81 4 Move the pointer outside the bounding box so that it becomes a curved, double-headed arrow. Drag to rotate the mussel to a —degree angle.

You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast. You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border. E Tip: In low-contrast areas, you may want to click to place your own fastening points.

You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting. Or you can move the Magnetic Lasso tool over the starting point and click once. Images with a clearly delineated outline and a uniform background—such as the 03Start.

To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each.

You can close each file without saving. Photoshop creates a crop boundary around the entire image. With Unconstrained selected, you can crop the image with any proportions. The cropped image may include some scraps of the background from which you selected and removed shapes. Be careful not to include any part of the image that you want to keep. You can erase quickly, because the Eraser tool affects only the selected area.

The collage is complete! Anti-aliasing smooths the jagged edges of a selection by softening the color transition between edge pixels and background pixels. Since only the edge pixels change, no detail is lost. Anti-aliasing is useful when cutting, copying, and pasting selections to create composite images. Select the tool to display its options in the options bar. To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it.

Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection. Feathering effects become apparent when you move, cut, or copy the selection. Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it.

Click Refine Edge in the options bar to open its dialog box. Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK. What is tolerance, and how does it affect a selection? To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

The Tolerance value determines how many color tones the Magic Wand tool will select. The higher the tolerance setting, the more tones are selected. This lesson will take less than an hour to complete. Each layer can then be edited as discrete artwork, allowing tremendous flexibility in composing and revising an image. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers.

All new layers in an image are transparent until you add text or artwork pixel values. Working with layers is analogous to placing portions of a drawing on clear sheets of film, such as those viewed with an overhead projector: Individual sheets may be edited, repositioned, and deleted without affecting the other sheets. When the sheets are stacked, the entire composition is visible. Press the spacebar for a fullscreen view.

This layered composite represents a postcard. You will create it now, and, in doing so, learn how to create, edit, and manage layers. Saving another version of the start file frees you to make changes without worrying about overwriting the original. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers.

The layer thumbnails are automatically updated as you edit the layers. The Layers panel lists five layers for the 04Working. If you click the eye, the image window no longer displays that layer. The first task for this project is to add a photo of the beach to the postcard. E Tip: Use the context menu to hide or resize the layer thumbnail.

Right-click Windows or Control-click Mac OS a thumbnail in the Layers panel to open the context menu, and then choose a thumbnail size.

The Layers panel changes to display the layer information for the active Beach. Notice that only one layer appears in the Beach. An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file.

Before you begin, make sure that both the 04Working. Keep the layer selected. Photoshop displays both of the open image files. Select the Beach. E Tip: If you hold down Shift as you drag an image from one file into another, the dragged image automatically centers itself in the target image window.

Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier. Viewing individual layers The 04Working. Some of the layers are visible and some are hidden. The eye icon next to a layer thumbnail in the Layers panel indicates that the layer is visible. To select the layer, click the layer name in the Layers panel.

The layer is highlighted, indicating that it is active. Changes you make in the image window affect the active layer. The white background and other objects in the image disappear, leaving only the beach image against a checkerboard background.

The checkerboard indicates transparent areas of the active layer. The Layer Style dialog box opens. A white border appears around the beach photo. The stacking order determines how the image is viewed—you can change the order to make certain parts of the image appear in front of or behind other layers.

The beach image is almost entirely blocked by images on other layers. Adobe PhotoshoP Cs6 ClAssroom in A book 99 Changing the opacity of a layer You can reduce the opacity of any layer to let other layers show through it. In this case, the postmark is too dark on the flower. You can also type the value in the Opacity box or scrub the Opacity label. The Postage layer becomes partially transparent, so you can see the other layers underneath.

Notice that the change in opacity affects only the image area of the Postage layer. Duplicating a layer and changing the blending mode You can apply different blending modes to a layer. Blending modes affect how the color pixels on one layer blend with pixels in the layers underneath.

When a blending mode is applied to a group, Photoshop treats the group as a single merged object and then applies the blending mode. Experiment with blending modes to get the effect you want. The Overlay blending mode blends the Pineapple copy layer with the Pineapple layer beneath it to create a vibrant, more colorful pineapple with deeper shadows and brighter highlights.

E Tip: For more about blending modes, including definitions and visual examples, see Photoshop Help. The Multiply blending mode multiplies the colors in the underlying layers with the color in the top layer. In this case, the postmark becomes a little stronger. A Transform bounding box appears around the beach image. The bounding box has handles on each corner and each side. Watch the Width and Height percentages in the options bar.

Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar. Then, select the Move tool , and drag the beach photo so that its corner is tucked neatly beneath the flower, as in the illustration. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images. A new layer, named Layer 1, appears between the Background and Pineapple layers. The layer has no content, so it has no effect on the image.

The Background Color remains white. Realisticlooking clouds appear behind the image. Then navigate to the Lesson04 folder. The Flower2 layer appears in the Layers panel, directly above the Pineapple copy layer. Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes. Adobe PhotoshoP Cs6 ClAssroom in A book 5 Position the Flower2 layer in the lower left corner of the postcard, so that about half of the flower is visible.

Click OK to close the Color Picker. Then click the Commit Any Current Edits button in the options bar. This layer is at the top of the layer stack. E Tip: To list the gradient options by name rather than by sample, click the gradient picker menu button, and choose either Small List or Large List.

Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name. The Background Color should still be white. If you want to be sure you drag straight up, press the Shift key as you drag. These styles are easy to apply and link directly to the layer you specify. Like layers, layer styles can be hidden by clicking eye icons in the Layers panel. Layer styles are nondestructive, so you can edit or remove them at any time. You can apply a copy of a layer style to a different layer by dragging the effect onto the destination layer.

Earlier, you used a layer style to add a stroke to the beach photo. Photoshop nests the layer style in the Island Paradise layer. First it lists Effects, and then the layer styles applied to the layer. An eye icon appears next to the effect category and next to each effect. To turn off an effect, click the eye icon. Click the visibility column again to restore the effect.

To hide all layer styles, click the eye icon next to Effects. To collapse the list of effects, click the arrow next to the layer. Do not click OK. For example, if you add a Color Balance adjustment layer to an image, you can experiment with different colors repeatedly, because the change occurs only on the adjustment layer.

If you decide to return to the original pixel values, you can hide or delete the adjustment layer. The effect is interesting, but you only want to change the Flower2 layer.

An arrow appears in the Layers panel indicating that the adjustment layer applies only to the Flower2 layer. You can edit the text and watch how the layer effect tracks the change. The filter type determines the search options available to you. ETip: You can search for layers in the Layers panel by layer type, layer name, effect, mode, attribute, and color. When you work in a complex file with numerous layers, searching for the layer you need can save you time. Only the Island Paradise layer is listed in the Layers panel.

The search feature lets you find specific layers quickly, but has no effect on which layers are visible or their stacking order. As you edit the text, the layer styles are applied to the new text.

The elements are almost all arranged correctly in the composition. A pixel border is selected around the entire image.

Adobe PhotoshoP Cs6 ClAssroom in A book Flattening and saving files When you finish editing all the layers in your image, you can merge or flatten layers to reduce the file size. Flattening combines all the layers into a single background layer. To appreciate what flattening does, notice the two numbers for the file size in the status bar at the bottom of the image window. The first number represents what the file size would be if you flattened the image.

The second number represents the file size without flattening. This lesson file, if flattened, would be about 2. So flattening is well worth it in this case. You have saved two versions of the file: a one-layer, flattened copy as well as the original file, in which all the layers remain intact. A layer comp is simply a definition of the settings in the Layers panel. Then, by switching from one layer comp to another, you can quickly review the two designs. The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements.

You might have the French text on one layer, and the English text on another in the same image file. To create two different layer comps, you would simply turn on visibility for the French layer and turn off visibility for the English layer, and then click the Create New Layer Comp button on the Layer Comps panel. To view the different layer comps, click the Apply Layer Comp box for each comp in the Layer Comps panel in turn. With a little imagination, you can appreciate how much time this saves for more complex variations.

Layer comps can be an especially valuable feature when the design is in flux or when you need to create multiple versions of the same image file. This lesson only begins to explore the vast possibilities and the flexibility you gain when you master the art of using Photoshop layers. When both layers are visible, Layer 2 shows the tall man in the center blinking, and the two girls in the front looking away.

Toggle the eye icon next to Layer 2 off and on to see that the layers are perfectly aligned. Now for the fun part! You can also hide individual layers as you work on other layers. Then, in the Content panel, double-click the Lesson05 folder to open it. It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus.

Many digital cameras can save images in camera raw format. The advantage of camera raw files is that they let the photographer—rather than the camera—interpret the image data and make adjustments and conversions. Think of camera raw files as photo negatives. You can go back and reprocess the file any time you like to achieve the results you want.

To create camera raw files, set your digital camera to save files in its own, possibly proprietary, raw file format. When you download the file from your camera, it has a file extension such as. In Bridge or Photoshop, you can process camera raw files from a myriad of supported digital cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process multiple images simultaneously.

Although Camera Raw can open and edit a camera raw image file, it cannot save an image in camera raw format. You used Camera Raw to edit the color and lighting in an image in Lesson 2. Processing files in Camera raw When you make adjustments to an image in Camera Raw, such as straightening or cropping the image, Photoshop and Bridge preserve the original file data.

This way, you can edit the image as you desire, export the edited image, and keep the original intact for future use or other adjustments. Opening images in Camera raw You can open Camera Raw from either Bridge or Photoshop, and you can apply the same edits to multiple files simultaneously. Adobe PhotoshoP Cs6 ClAssroom in A book Camera Raw provides extensive controls for adjusting white balance, exposure, contrast, sharpness, tone curves, and much more.

Filmstrip B. Toggle Filmstrip G C. Toolbar D. Toggle Full-Screen Mode E. RGB values F. Image adjustment tabs G. Histogram H A B H. Camera Raw Settings menu I. Zoom levels J. Click to display workflow options K. Multi-image navigation controls L. Adjustment sliders I J K L The Camera Raw dialog box displays a large preview of the first image, and a filmstrip down the left side displays all open images.

Tools along the top of the dialog box let you zoom, pan, straighten, and make other adjustments to the image. Tabbed panels on the right side of the dialog box give you more nuanced options for adjusting the image: You can correct the white balance, adjust the tone, sharpen the image, remove noise, adjust color, and make other changes. You can also save settings as a preset, and then apply them later.

For the best results using Camera Raw, plan your workflow to move from left to right and top to bottom. You will explore these controls now as you edit the first image file. Or, you can click the Forward button under the main preview window to cycle through them. A digital camera records the white balance at the time of exposure; this is the value that initially appears in the Camera Raw dialog box image preview. White balance comprises two components. The second component is tint, which compensates for magenta or green color casts in the image.

If you plan to modify the white balance, make that the first thing you do, as it will affect all other changes in the image. By default, As Shot is selected in the White Balance menu. Camera Raw applies the white balance settings that were in your camera at the time of exposure. Camera Raw includes several White Balance presets, which you can use as a starting point to see different lighting effects.

Camera Raw adjusts the temperature and tint for a cloudy day. Sometimes a preset does the trick. Camera Raw uses that information to determine the color of the light in which the scene was shot, and then adjusts for scene lighting automatically. The lighting of the image changes. The lighting shifts. You can use the White Balance tool to find the best lighting for the scene quickly and easily. Clicking different areas changes the lighting without making any permanent changes to the file, so you can experiment freely.

This selection removes most of the color casts and results in realistic lighting. Select Preview again to see the modified image. Except for Contrast, moving a slider to the right lightens the affected areas of the image, and moving it to the left darkens those areas. Exposure essentially defines the white point, or the lightest point of the image, so that Camera Raw adjusts everything else accordingly. Conversely, the Blacks slider sets the black point, or the darkest point in the image.

The Highlights and Shadows sliders increase detail in the highlights and the shadows, respectively. The Contrast slider adjusts the contrast. For more nuanced contrast adjustments, you can use the Clarity slider, which adds depth to an image by increasing local contrast, especially on the midtones.

The Saturation slider adjusts the saturation of all colors in the image equally. The Vibrance slider, on the other hand, has a greater effect on undersaturated colors, so you can bring life to a background without oversaturating skin tones, for example. E Tip: For the best effect, increase the Clarity slider until you see halos near the edge details, and then reduce the setting slightly. You can use the Auto option to let Camera Raw attempt to correct the image tone, or you can select your own settings.

Camera Raw increases the exposure and changes several other settings. You could use this as a starting point. These settings help pump up the midtones of the image, so that it looks bolder and more dimensional without being oversaturated.

Also, as you move any tool over the preview image, the RGB values for the area under the cursor appear below the histogram. The sharpening controls are in the Detail panel. Then select the Hand tool , and pan the image to see the cross at the top of the mission tower. The Amount slider determines how much sharpening Camera Raw applies. The Radius slider determines the pixel area Camera Raw analyzes as it sharpens the image.

E Tip: If you want to make an adjustment to only a specific part of an image, use the Adjustment Brush tool or the Graduated Filter tool. With the Graduated Filter tool, you can apply the same types of adjustments gradually across a region of a photo. Even when this slider is set to 0, Camera Raw performs some sharpening.

The Masking slider determines which parts of the image Camera Raw sharpens. When the Masking value is high, Camera Raw sharpens only those parts of the image that have strong edges. Sharpening the image gives stronger definition to the details and edges. When you make adjustments in Camera Raw, the original file data is preserved. These XMP files retain the adjustments you made in Camera Raw when you move the image file to a storage medium or another computer.

You do this using the Synchronize command. The Synchronize dialog box appears, listing all the settings you can apply to the images. When you synchronize the settings across all of the selected images, the thumbnails update to reflect the changes you made.

To preview the images, click each thumbnail in the filmstrip. When you open an image as a Smart Object in Photoshop, you can return to Camera Raw at any time to make further adjustments. They are currently much larger, and most viewers would need to scroll to see the full-size images.

Your files will be named Mission Correcting and enhancing digital Photographs Bridge returns you to the Camera Raw dialog box, and indicates how many images have been processed until all the images have been saved. Then press the Shift key, and click Open Object at the bottom of the dialog box. The Open Object button opens the image as a Smart Object in Photoshop, and you can return to Camera Raw to continue making adjustments at any time.

If you click Open Image, the image opens as a standard Photoshop image. Then close the file. Camera Raw processes the raw files with default image settings based on built-in camera profiles for supported cameras and the EXIF data.

DNG is meant to be an industry-wide standard format for raw image data, helping photographers manage the variety of proprietary raw formats and providing a compatible archival format. You can save this format only from the Camera Raw dialog box. Higher-resolution JPEG files may be used for other purposes, including highquality printing. JPEG format retains all color information in an image, but compresses file size by selectively discarding data. The greater the compression, the lower the image quality.

TIFF is a flexible format supported by virtually all paint, image-editing, and page layout applications. Also, virtually all desktop scanners can produce TIFF images. Not to be confused with camera raw file formats, the Photoshop Raw format RAW is a file format for transferring images between applications and computer platforms.

Photoshop adds a Levels adjustment layer to the Layers panel. The Levels controls and a histogram appear in the Adjustments panel. The histogram displays the range of dark and light values in the image.

The left black triangle represents the shadows; the right white triangle represents the highlights; and the middle gray triangle represents the midtones, or gamma.

Photoshop replaces the histogram. There is a single line on the far left side of the histogram, representing the current black point, but the bulk of the data begins further to the right.

You want to set the black point to match the beginning of that data. As you drag, the first Input Levels value beneath the histogram graph changes, and so does the image itself. We moved it to a value of 1. Then, choose Duplicate Layer from the Layers panel menu. Name the layer Corrections, and click OK.

Working on a duplicate layer preserves the original pixels so you can make changes later. Experiment with simply clicking, using very short strokes, and creating longer brush strokes. Remove obtrusive or distracting lines and blemishes, but leave enough that the face retains its character. Make sure Midtones is selected in the Range menu. The preview shows that much of the image has been selected. The preview in the selection changes.

Now, the face, hair highlights and lighter areas of the background are selected, as well as some creases in the sleeve. Then click OK. The selection appears on the image itself as marching ants.

Photoshop adds a Curves adjustment layer above the Corrections layer. The selected areas lighten. The adjustment affects more of the image than the skin tones, but the effect blends well and is subtle. Today, Graham has clients in the advertising, architectural, editorial, and travel industries.

Pro photo workflow Good habits make all the difference A sensible workflow and good work habits will keep you enthused about digital photography, help your images shine—and save you from the night terrors of losing work you never backed up.

To help you get the most from the images you shoot, Jay Graham offers guidelines for setting up your camera, creating a basic color workflow, selecting file formats, organizing images, and showing off your work. Where is it? What does it look like? If it makes more sense to shoot in JPEG for your project, use fine compression and high resolution. Start with the best material Get all the data when you capture—at fine compression and high resolution.

Organize your files Name and catalogue your images as soon after downloading them as possible. Graham names his files by date and possibly subject. He would store a series of photos taken Dec. Follow Windows naming conventions to keep filenames usable on nonMacintosh platforms 32 characters maximum; only numbers, letters, underscores, and hyphens.

Each time a JPEG is re-edited and saved, compression is reapplied and the image quality degrades. Show off to clients and friends When you prepare your work for delivery, choose the appropriate color file for the destination. Convert the image to that profile, rather than assigning the profile. Adobe or Colormatch are the best profiles to use for RGB images destined for traditionally printed material such as brochures. Use 72 dpi for electronic viewing and dpi or higher for printing.

The Surface Blur filter has left the model looking a little glassy. She looks more realistic now, but you can target the surface blur more precisely using the Eraser tool. These include the ability to bring out details in the shadow and highlight areas of an image, gracefully remove red eye, reduce unwanted noise, and sharpen targeted areas of an image.

To explore these capabilities, you will edit a different digital image now: a portrait of a girl on the beach. You can also use the adjustments to pull details from the shadows in an image that is otherwise well-lit. In the Favorites panel in Bridge, click the Lessons folder. In the Content panel, double-click the Lesson05 folder. Photoshop automatically applies default settings to the image, lightening the background. Red eye is easy to fix in Photoshop.

You may need to deselect Scrubby Zoom in the options bar to drag a marquee. The Darken Amount specifies how dark the pupil should be. The red reflection disappears. Noise can result from using a high ISO setting on a digital camera, from underexposure, or from shooting in darkness with a long shutter speed.

Scanned images may contain noise that results from the scanning sensor, or from a grain pattern from the scanned film.

There are two types of image noise: luminance noise, which is grayscale data that makes an image look grainy or patchy; and color noise, which appears as colored artifacts in the image. The Reduce Noise filter can address both types of noise in individual color channels while preserving edge detail, and can also correct JPEG compression artifacts.

The noise in this image is speckled and rough, with uneven graininess in the skin. Using the Reduce Noise filter, you can smooth out this area. Strength controls the amount of luminance noise. Correcting image distortion The Lens Correction filter fixes common camera lens flaws, such as barrel and pincushion distortion, chromatic aberration, and vignetting. 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, causing straight lines to bend inward. Chromatic aberration appears as a color fringe along the edges of image objects.

Vignetting occurs when the edges of an image, especially the corners, are darker than the center. Some lenses exhibit these defects depending on the focal length or the f-stop used. The Lens Correction filter can apply settings based on the camera, lens, and focal length that were used to make the image. The filter can also rotate an image or fix image perspective caused by tilting a camera vertically or horizontally. In this exercise, you will adjust the lens distortion in an image of a Greek temple.

In Bridge, navigate to the Lesson05 folder. The columns in this image bend toward the camera and appear to be warped. This photo was shot at a range that was too close with a wide-angle lens. The Lens Correction dialog box opens.

An alignment grid overlays the image, next to options for removing distortion, correcting chromatic aberration, removing vignettes, and transforming perspective. The Lens Correction dialog box includes auto-correction options. Alternatively, you could select the Remove Distortion tool and drag in the image preview area until the columns are straight.

However, because you selected Auto Scale Image, the Lens Correction filter automatically scales the image to adjust the borders. E Tip: Watch the alignment grid as you make these changes so that you can see when the vertical columns are straightened in the image. The curving distortion caused by the wide-angle lens and low shooting angle are eliminated. If you want the entire image to be in focus, take two photos—one with the background in focus and one with the foreground in focus— and then merge the two in Photoshop.

Even with a handheld camera, though, you can get some amazing results. The glass is in focus, but the background is blurred. Then, show the Beach layer and hide the Glass layer. Now the beach is in focus, but the glass is blurred. First, you need to align the layers. Because these images were shot from the same angle, Auto will work just fine.

Make sure neither Vignette Removal nor Geometric Distortion is selected. Then click OK to align the layers. When you release the mouse, Photoshop adds two new posts and blends them in with the scene neatly. A blur ellipse is centered on your image. You can adjust the location and scope of the blur by moving the center pin, feather handles, and ellipse handles.

Photoshop also opens the Blur Tools and Blur Effects panels. Center Pin B. Ellipse C. Feather handle D. Focus Ring 5 Click and drag next to the focus ring to reduce the amount of blur to 6 px, creating a gradual but noticeable blur.

You can also change the amount of blur by moving the Blur slider in the Iris Blur area of the Blur Tools panel. The Vibrance adjustment layer affects all the layers beneath it.

You can use these techniques separately or together on your own images. Cameras and computer monitors, however, are more limited in the dynamic range the ratio between dark and bright regions they can reproduce. The ability to create high dynamic range HDR images in Photoshop lets you bring the brightness you can see in the real world into your images. HDR images are used mostly in movies, special effects, and other high-end photography.

However, you can create an HDR image using multiple photographs, each captured at a different exposure, to bring the detail revealed in each shot into a single image.

These images are of the same scene, shot at different exposures. Click OK or Open. Photoshop opens each of the files briefly and merges them into a single image. The three images you merged are shown in the lower left corner of the dialog box. These settings determine how a glow effect is applied. Each of these settings affects the overall tone of the image.

Photoshop merges the layers into a single layer as it applies the settings you chose. What causes these defects? Camera raw files give photographers control over interpreting the image data, rather than letting the camera make the adjustments and conversions. When you edit the image in Camera Raw, it preserves the original raw file data. This way, you can edit the image as you desire, export it, and keep the original intact for future use or other adjustments.

DNG is an industry-wide standard for camera raw image data that helps photographers manage proprietary camera raw file formats and provides a compatible archival format.

The cutout portion of a mask can be altered, but the area surrounding the cutout is protected from change. You can create a temporary mask to use once, or you can save masks for repeated use. With masks, you can create and save time-consuming selections and then use them again. In addition, you can use masks for other complex editing tasks—for example, to apply color changes or filter effects to an image.

Have the book and the DVD but because the book is old the lesson files are not dowmloadable on my MacBook Pro nor are they available from Peachpit or Pearsons. However, i had to use an application The Unarchiver. This download includes Lesson Files for Chapters Does anyone know where the Lesson Files for Chapters would be located? If all else fails. Adobe Support Community.

Turn on suggestions. Auto-suggest helps you quickly narrow down your search results by suggesting possible matches as you type. Showing results for. Show only Search instead for. Did you mean:. Lesson Files for Adobe Photoshop 6. Does anyone out there have these lesson files? I would be very grateful if a kind PS user would send me the files. I am a memeber of Adobe CC [Personal info removed by moderator] is my email address. Many many thanks Giovanni.

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Adobe Photoshop CS6 Classroom in a Book Adobe Creative Adobe Crea | eBay.

In addition to the lesson files, the companion DVD will feature 2 hours of free video tutorials from Adobe Photoshop CS6: Learn by Video by Adobe Press and. ADOBE PHOTOSHOP CS5 CLASSROOM IN A BOOK 9. Review Questions. 1 Review uses Number List. Accelerate your workflow with. Adobe CS Live. Adobe CS Live is a set. The Adobe Photoshop CS6 Classroom in a Book disc includes the lesson files that you'll PDF Free Adobe Photoshop and Lightroom Classic CC Classroom in a.

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Photoshop CS6 pushes the boundaries of digital image editing and helps you turn your dreams into designs more easily than ever before. You can follow the book from start to inish, or do only the lessons that match your interests and needs. In addition, these lessons introduce you to erodible brush tips, new vector layers, lens-aware adjustments, paragraph styles, and more.

Prerequisites Before you begin to use Adobe Photoshop CS6 Classroom in a Book, you should have a working knowledge of your computer and its operating system. Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close iles. You must purchase the Adobe Photoshop CS6 software separately.

Photoshop and Bridge use the same installer. You must install these applications from the Adobe Photoshop CS6 application DVD you cannot run the programs from the disc , or from the installation iles you downloaded from Adobe, onto your hard drive.

Follow the onscreen instructions. Make sure that your serial number is accessible before installing the application. Each lesson has its own folder; you must copy the folders to your hard drive to complete the lessons. In case you overwrite them, you 2 Browse the contents and locate the Lessons folder. Each time you quit Adobe Photoshop, the positions of the panels and certain com- mand settings are recorded in the preferences ile. Any selections you make in the Preferences dialog box are also saved in the preferences ile.

If you prefer to preserve your preferences, be aware that the tools, panels, and other set- tings in Photoshop CS6 may not match those described in this book. If you have custom-calibrated your monitor, save the calibration settings before you start work on this book. To save your monitor-calibration settings, follow the simple procedure described below. You do not need to perform steps 4—6 of this procedure. Only the commands and options used in the lessons are explained in this book.

For comprehensive information about program features and tutorials, refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most use- ful, relevant, and up-to-date information about Adobe products.

Adobe content is updated based on community feedback and contributions. You can add comments to both content and forums including links to web content , publish your own content using Community Publishing, or contribute Cookbook Recipes. Find out how to contribute at www. See community. Adobe Photoshop Help and Support: www. Adobe Forums: forums. Adobe TV: tv. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www.

Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certiied Associate exams.

Adobe Photoshop CS6 product home page: www. Adobe Labs: labs. You can use Adobe certiication as a catalyst for getting a raise, inding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certiied Instructor program takes your skills to the next level and gives you access to a wide range of Adobe resources.

Adobe Authorized Training Centers ofer instructor-led courses and training on Adobe products, employing only Adobe Certiied Instructors.

A directory of AATCs is available at partners. For information on the Adobe Certiied programs, visit www. Each layer can then be edited as discrete artwork, allowing tremendous lexibility in composing and revising an image. New iles are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers.

All new layers in an image are transpar- ent until you add text or artwork pixel values. Working with layers is analogous to placing portions of a drawing on clear sheets of ilm, such as those viewed with an overhead projector: Individual sheets may be edited, repositioned, and deleted without afecting the other sheets. When the sheets are stacked, the entire composition is visible. Press the spacebar for a full- screen view. You will create it now, and, in doing so, learn how to create, edit, and manage layers.

Saving another version of the start ile frees you to make changes without worrying about overwriting the original. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers.

E Tip: Use the context Notice the layer thumbnail and the icons on the Background layer level: menu to hide or resize the layer thumbnail. Mac OS a thumbnail If you click the eye, the image window no longer displays that layer. Notice that only one layer appears in the Beach. An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opac- ity. You can, however, convert a background layer to a regular layer.

Whether you drag from the image window of the original ile or from its Layers panel, only the active layer is reproduced in the destination ile. Before you begin, make sure that both the 04Working. Keep the layer selected. The more you drag over an area, the more saturated the color becomes. Be careful not to oversaturate the graffiti. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals.

Then, make sure that the Aligned option is selected. You may want to zoom in to see the area better. When you press Alt or Option, the pointer appears as target cross-hairs. The clone overlay lets you see what will appear there. This is particularly useful for keeping the bricks in a straight line.

That is, if you begin painting further right, it samples from bricks that are further right than the original source point. If necessary to help make the bricks appear to blend in naturally with the rest of the image, you can adjust your cloning by resetting the sample area as you did in step 6 and recloning. Or, you can try deselecting the Aligned option and cloning again.

The Spot Healing Brush tool quickly removes blemishes and other imperfections from photos. It paints with sampled pixels from an image or pattern and matches the texture, lighting, transparency, and shading of the sampled pixels to the pixels being healed.

It automatically samples from around the retouched area. The Spot Healing Brush is excellent for retouching blemishes in portraits, but will also work nicely in this image in the dark area of the wall, because the wall has a uniform, muted appearance to the right of the dark areas. You can fill any selection with content similar to the content around it, as if the object you selected never existed.

Because the wall varies in color, texture, and lighting, it would be challenging to successfully use the Clone Stamp tool to touch up these areas. Fortunately, the Patch tool makes this process easy.

The selection changes to match the area around it. You can draw outside the photo to make sure the selection includes the very edge of the image. The Unsharp Mask filter adjusts the contrast of the edge detail and creates the illusion of a more focused image.

You can drag inside the preview window in the dialog box to see different parts of the image, or use the plus and minus buttons below the thumbnail to zoom in and out. E Tip: As you try different settings, toggle the Preview option on and off to see how your changes affect the image. Or, you can click and hold the mouse button on the preview window in the dialog box to temporarily toggle the filter off in the preview window.

If your image is large, using the preview window can be more efficient, because only a small area is redrawn. The higher the resolution, the higher the Radius setting should be. We used the default value, 1. This determines how different the sharpened pixels must be from the surrounding area before they are considered edge pixels and subsequently sharpened by the Unsharp Mask filter.

The default Threshold value of 0 sharpens all pixels in the image. Try a different value, such as 2 or 3. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing. In addition, you can adjust the radius of the region to which each pixel is compared.

The effects of the Unsharp Mask filter are far more pronounced onscreen than they are in high-resolution output. If your final destination is print, experiment to determine which settings work best for your image. For more information about converting between color modes, see Photoshop Help. Click OK when Photoshop displays an alert about the color management profile.

E Tip: Most images include more than one layer. The image is now fully retouched, saved, and ready for placement in a page layout application. For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign.

The Clone Stamp tool copies the source area exactly; the Healing Brush and Spot Healing Brush tools blend the area with the surrounding pixels.

The Patch tool in Content-Aware mode, and content-aware fill replace a selection with content that matches the surrounding area. You first select the part of an image you want to change with one of the selection tools. Then, you use another tool, filter, or other feature to make changes, such as moving the selected pixels to another location or applying a filter to the selected area.

You can make selections based on size, shape, and color. The selection process limits changes to within the selected area. Other areas are unaffected. The best selection tool for a specific area often depends on the characteristics of that area, such as shape or color.

There are four types of selections: Geometric selections The Rectangular Marquee tool selects a rectangular area in an image. The Elliptical Marquee tool , which is hidden behind the Rectangular Marquee tool, selects elliptical areas. The Single Row Marquee tool and Single Column Marquee tool select either a 1-pixel-high row or a 1-pixel-wide column, respectively. Freehand selections The Lasso tool traces a freehand selection around an area.

The Polygonal Lasso tool sets anchor points in straight-line segments around an area. The Magnetic Lasso tool works something like a combination of the other two lasso tools, and gives the best results when good contrast exists between the area you want to select and its surroundings. Color-based selections The Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels. It is useful for selecting odd-shaped areas that share a specific range of colors.

Then, double-click the Lesson03 folder in the Content panel to see its contents. Move the thumbnail slider to the right if you want to see the image in more detail. The challenge in this lesson is to arrange these elements, which were scanned together on the single page you see in the 03Start. There is no right or wrong position for any of the objects. You simply paint an area of an image, and the tool automatically finds the edges.

You can add or subtract areas of the selection until you have exactly the area you want. The image of the sand dollar in the 03Working. The Quick Selection tool finds the full edge automatically, selecting the entire sand dollar. Leave the selection active so that you can use it in the next exercise. The rest of the image is not affected by those changes.

To move the selected area to another part of the composition, you use the Move tool. This image has only one layer, so the pixels you move will replace the pixels beneath them. Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. Julieanne Kost is an official Adobe Photoshop evangelist. The layers that are under the pointer appear in the context menu. Manipulating selections You can move selections, reposition them as you create them, and even duplicate them.

One of the best things about this section is the introduction of keyboard shortcuts that can save you time and arm motions. As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed. If you accidentally release the mouse button at the wrong time, simply start the exercise again from step 1. If you accidentally release the mouse button, draw the selection again.

In most cases—including this one—the new selection replaces the previous one. Position it so that it more closely aligns with the bowl. If necessary, hold down the spacebar again and drag to move the selection marquee into position around the bowl of shells.

Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise. The pointer icon now includes a pair of scissors to indicate that the selection will be cut from its current location.

Photoshop reverts to the previously selected tool when you deselect, whether you click outside the selection or use the Deselect command. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.

The selection is centered over its starting point. Hold down Shift while dragging the Rectangular Marquee tool to select a perfect square. The pointer becomes an arrow with a pair of scissors , which indicates that dragging the selection will cut it from its current location and move it to the new location. If you want to adjust the position after you stop dragging, simply start dragging again. Moving and duplicating a selection simultaneously You can move and duplicate a selection at the same time.

If the logo graphic image is no longer selected, reselect it now, using the techniques you learned earlier. The pointer becomes a double arrow, which indicates that a duplicate will be made when you move the selection. The two copies of the graphic can overlap. A bounding box appears around the selection. Then press Enter or Return to commit the change and remove the transformation bounding box.

As you resize the object, the selection marquee resizes, too. The duplicate graphic remains selected. Pressing the Shift key as you move a selection constrains the movement horizontally or vertically in degree increments. Dragging with the Move tool saves memory because the clipboard is not used as it is with the commands.

The source selection is pasted onto a new layer, and the destination selection border is converted into a layer mask. Copy Merged creates a merged copy of all the visible layers in the selected area.

Paste pastes a cut or copied selection into another part of the image or into another image as a new layer. Keep in mind that when a selection is pasted between images with different resolutions, the pasted data retains its pixel dimensions. This can make the pasted portion appear out of proportion to the new image. Use the Image Size command to make the source and destination images the same resolution before copying and pasting.

As with many of the selection tools, after you make the initial selection, you can add or subtract areas of the selection. The Tolerance option sets the sensitivity of the Magic Wand tool. This value limits or extends the range of pixel similarity.

The default tolerance value of 32 selects the color you click plus 32 lighter and 32 darker tones of that color. You may need to adjust the tolerance level up or down depending on the color ranges and variations in the image. If a multicolored area that you want to select is set against a background of a different color, it can be much easier to select the background than the area itself. Make sure that your selection is large enough so that a margin of white appears between the coral and the edges of the marquee.

At this point, the coral and the white background area are selected. This value determines the range of colors the wand selects. A minus sign appears next to the wand in the pointer icon.

Anything you select now will be subtracted from the initial selection. The Magic Wand tool selects the entire background, subtracting it from the selection. Now all the white pixels are deselected, leaving the coral perfectly selected. Adobe PhotoshoP Cs6 ClAssroom in A book 79 7 Select the Move tool , and drag the coral to the wooden plate, a little to the right and above the center of the plate.

You can use the Lasso tool to make selections that require both freehand and straight lines, using keyboard shortcuts to move back and forth between the Lasso tool and the Polygonal Lasso tool. Make sure you can see the entire mussel in the window. Starting at the lower left section of the mussel, drag around the rounded end of the mussel, tracing the shape as accurately as possible.

Do not release the mouse button. Do not release the Alt or Option key. Be sure to hold down the Alt or Option key throughout this process.

The selection border automatically stretches like a rubber band between anchor points. The pointer again appears as the lasso icon. Click along the lower side of the mussel with the Polygonal Lasso tool as you did on the top. Continue to trace the mussel until you arrive back at the starting point of your selection near the left end of the image. The mussel is now entirely selected. Leave the mussel selected for the next exercise.

Before you begin, make sure that the mussel is still selected. The pointer changes to the Move tool icon. The mussel and selection marquee are enclosed in a bounding box. Adobe PhotoshoP Cs6 ClAssroom in A book 81 4 Move the pointer outside the bounding box so that it becomes a curved, double-headed arrow.

Drag to rotate the mussel to a —degree angle. You can verify the angle in the Rotate box in the options bar. Press Enter or Return to commit the transformation changes. When you draw with the Magnetic Lasso tool, the selection border automatically snaps to the edge between areas of contrast. You can also control the selection path by occasionally clicking the mouse to place anchor points in the selection border. E Tip: In low-contrast areas, you may want to click to place your own fastening points.

You can add as many as you need. To remove the most recent fastening point, press Delete, and then move the mouse back to the remaining fastening point and continue selecting.

Or you can move the Magnetic Lasso tool over the starting point and click once. Images with a clearly delineated outline and a uniform background—such as the 03Start. To try it, open the 03Start. Photoshop automatically crops each image in the start file and creates individual Photoshop files for each. You can close each file without saving. Photoshop creates a crop boundary around the entire image. With Unconstrained selected, you can crop the image with any proportions.

The cropped image may include some scraps of the background from which you selected and removed shapes. Be careful not to include any part of the image that you want to keep. You can erase quickly, because the Eraser tool affects only the selected area.

Select the tool to display its options in the options bar. To apply anti-aliasing, you must select the option before making the selection. Once a selection is made, you cannot add anti-aliasing to it. Feathering blurs edges by building a transition boundary between the selection and its surrounding pixels. This blurring can cause some loss of detail at the edge of the selection. You can define feathering for the marquee and lasso tools as you use them, or you can add feathering to an existing selection.

Feathering effects become apparent when you move, cut, or copy the selection. Once you have a selection, you can use the Refine Edge option to smooth the outline, feather it, or contract or expand it. Click Refine Edge in the options bar to open its dialog box.

Enter a Feather value in the options bar. This value defines the width of the feathered edge and can range from 1 to pixels. Enter a value for the Feather Radius, and click OK.

What is tolerance, and how does it affect a selection? To subtract from a selection, click the Subtract From Selection button in the options bar, and then click the area you want to subtract.

You can also add to a selection by pressing Shift as you drag or click; to subtract, press Alt Windows or Option Mac OS as you drag or click. If you start and stop the selection at different points, Photoshop draws a straight line between the start point of the selection and the end point of the selection. The Tolerance value determines how many color tones the Magic Wand tool will select. The higher the tolerance setting, the more tones are selected.

This lesson will take less than an hour to complete. Each layer can then be edited as discrete artwork, allowing tremendous flexibility in composing and revising an image. New files are generally created with a background layer, which contains a color or an image that shows through the transparent areas of subsequent layers. All new layers in an image are transparent until you add text or artwork pixel values. Working with layers is analogous to placing portions of a drawing on clear sheets of film, such as those viewed with an overhead projector: Individual sheets may be edited, repositioned, and deleted without affecting the other sheets.

When the sheets are stacked, the entire composition is visible. Press the spacebar for a fullscreen view. This layered composite represents a postcard.

You will create it now, and, in doing so, learn how to create, edit, and manage layers. Saving another version of the start file frees you to make changes without worrying about overwriting the original. You can use the Layers panel to hide, view, reposition, delete, rename, and merge layers.

The layer thumbnails are automatically updated as you edit the layers. The Layers panel lists five layers for the 04Working. If you click the eye, the image window no longer displays that layer.

The first task for this project is to add a photo of the beach to the postcard. E Tip: Use the context menu to hide or resize the layer thumbnail. Right-click Windows or Control-click Mac OS a thumbnail in the Layers panel to open the context menu, and then choose a thumbnail size. The Layers panel changes to display the layer information for the active Beach. Notice that only one layer appears in the Beach.

An image can have only one background. You cannot change the stacking order of a background layer, its blending mode, or its opacity. You can, however, convert a background layer to a regular layer. Whether you drag from the image window of the original file or from its Layers panel, only the active layer is reproduced in the destination file. Before you begin, make sure that both the 04Working.

Keep the layer selected. Photoshop displays both of the open image files. Select the Beach. E Tip: If you hold down Shift as you drag an image from one file into another, the dragged image automatically centers itself in the target image window. Photoshop always adds new layers directly above the selected layer; you selected the Background layer earlier.

Viewing individual layers The 04Working. Some of the layers are visible and some are hidden. The eye icon next to a layer thumbnail in the Layers panel indicates that the layer is visible.

To select the layer, click the layer name in the Layers panel. The layer is highlighted, indicating that it is active. Changes you make in the image window affect the active layer. The white background and other objects in the image disappear, leaving only the beach image against a checkerboard background.

Adobe PhotoshoP Cs6 ClAssroom in A book 99 Changing the opacity of a layer You can reduce the opacity of any layer to let other layers show through it. In this case, the postmark is too dark on the flower. You can also type the value in the Opacity box or scrub the Opacity label.

The Postage layer becomes partially transparent, so you can see the other layers underneath. Notice that the change in opacity affects only the image area of the Postage layer. Duplicating a layer and changing the blending mode You can apply different blending modes to a layer. Blending modes affect how the color pixels on one layer blend with pixels in the layers underneath.

Currently, the blending mode for both layers is Normal. Click OK in the Duplicate Layer dialog box. You can apply a blending mode to an entire layer group and get a very different result than if you apply the same blending mode to each of the layers individually. When a blending mode is applied to a group, Photoshop treats the group as a single merged object and then applies the blending mode. Experiment with blending modes to get the effect you want.

The Overlay blending mode blends the Pineapple copy layer with the Pineapple layer beneath it to create a vibrant, more colorful pineapple with deeper shadows and brighter highlights. E Tip: For more about blending modes, including definitions and visual examples, see Photoshop Help. The Multiply blending mode multiplies the colors in the underlying layers with the color in the top layer. In this case, the postmark becomes a little stronger.

A Transform bounding box appears around the beach image. The bounding box has handles on each corner and each side. Watch the Width and Height percentages in the options bar. Drag clockwise to rotate the beach image approximately 15 degrees. You can also enter 15 in the Set Rotation box in the options bar.

Then, select the Move tool , and drag the beach photo so that its corner is tucked neatly beneath the flower, as in the illustration. Adding empty layers to a file is comparable to adding blank sheets of acetate to a stack of images. A new layer, named Layer 1, appears between the Background and Pineapple layers. The layer has no content, so it has no effect on the image. The Background Color remains white. Realisticlooking clouds appear behind the image.

Then navigate to the Lesson04 folder. The Flower2 layer appears in the Layers panel, directly above the Pineapple copy layer.

Photoshop places the image as a Smart Object, which is a layer you can edit without making permanent changes. Adobe PhotoshoP Cs6 ClAssroom in A book 5 Position the Flower2 layer in the lower left corner of the postcard, so that about half of the flower is visible. Click OK to close the Color Picker. Then click the Commit Any Current Edits button in the options bar.

This layer is at the top of the layer stack. E Tip: To list the gradient options by name rather than by sample, click the gradient picker menu button, and choose either Small List or Large List. Or, hover the pointer over a thumbnail until a tool tip appears, showing the gradient name. The Background Color should still be white. If you want to be sure you drag straight up, press the Shift key as you drag. These styles are easy to apply and link directly to the layer you specify.

Like layers, layer styles can be hidden by clicking eye icons in the Layers panel. Layer styles are nondestructive, so you can edit or remove them at any time. You can apply a copy of a layer style to a different layer by dragging the effect onto the destination layer. Earlier, you used a layer style to add a stroke to the beach photo. Photoshop nests the layer style in the Island Paradise layer. First it lists Effects, and then the layer styles applied to the layer. An eye icon appears next to the effect category and next to each effect.

To turn off an effect, click the eye icon. Click the visibility column again to restore the effect. To hide all layer styles, click the eye icon next to Effects. To collapse the list of effects, click the arrow next to the layer. Do not click OK. For example, if you add a Color Balance adjustment layer to an image, you can experiment with different colors repeatedly, because the change occurs only on the adjustment layer.

If you decide to return to the original pixel values, you can hide or delete the adjustment layer. The effect is interesting, but you only want to change the Flower2 layer. An arrow appears in the Layers panel indicating that the adjustment layer applies only to the Flower2 layer. You can edit the text and watch how the layer effect tracks the change. The filter type determines the search options available to you.

ETip: You can search for layers in the Layers panel by layer type, layer name, effect, mode, attribute, and color. When you work in a complex file with numerous layers, searching for the layer you need can save you time.

Only the Island Paradise layer is listed in the Layers panel. The search feature lets you find specific layers quickly, but has no effect on which layers are visible or their stacking order. As you edit the text, the layer styles are applied to the new text. The elements are almost all arranged correctly in the composition. A pixel border is selected around the entire image.

The beauty of layer comps becomes apparent when you want to demonstrate a number of possible design arrangements. You might have the French text on one layer, and the English text on another in the same image file. To create two different layer comps, you would simply turn on visibility for the French layer and turn off visibility for the English layer, and then click the Create New Layer Comp button on the Layer Comps panel. To view the different layer comps, click the Apply Layer Comp box for each comp in the Layer Comps panel in turn.

With a little imagination, you can appreciate how much time this saves for more complex variations.

Now for the fun part! You can also hide individual layers as you work on other layers. Then, in the Content panel, double-click the Lesson05 folder to open it. It was shot with a Canon Digital Rebel camera and has the Canon proprietary. Depending on which layer is visible, either the glass in the foreground or the beach in the background is in focus.

Think of camera raw files as photo negatives. You can go back and reprocess the file any time you like to achieve the results you want. To create camera raw files, set your digital camera to save files in its own, possibly proprietary, raw file format. When you download the file from your camera, it has a file extension such as. In Bridge or Photoshop, you can process camera raw files from a myriad of supported digital cameras from Canon, Kodak, Leica, Nikon, and other makers—and even process multiple images simultaneously.

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