Photoshop CS2 All-in-One Desk Reference For Dummies- P20

Photoshop CS2 All-in-One Desk Reference For Dummies- P20:Barbara Obermeier is principal of Obermeier Design, a graphic design studioin Ventura, California. She’s the author of Photoshop Album For Dummies,coauthor of Adobe Master Class: Illustrator Illuminated, Photoshop 7 For Dummies,and Illustrator 10 For Dummies. She has contributed as coauthor, technicaleditor, or layout designer for numerous books. Barb also teaches computergraphics at Brooks Institute; the University of California, Santa Barbara; andVentura College....
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Photoshop CS2 All-in-One Desk Reference For Dummies- P20548 Extending and Cloning Distortions Figure 3-7: Undo your distortions by using one of the various flavors of the Reconstruct tool. Book VIIIRetouching and RestorationA lthough taking the perfect photo is a great goal, it’s one that is often just beyondour reach. Not to worry though, if you’re aPhotoshop owner. In this book, you find outwhat you need to know about correcting colorin all its permutations — contrast, saturation,replacing, remapping, and so on. You find detailson using the focus and toning tools to manuallyadjust the tones, textures, and colors in yourimages. I also give you details on how you cangive your images a digital spa day with the twoHealing Brushes and the Patch and Red Eye tools.You learn how to remove blemishes, wrinkles, andevery other one of nature’s imperfections. Afteryou master these techniques, you’ll be on yourway to doing your own digital extreme makeovers. Chapter 1: Enhancing Images with Adjustments In This Chapter Selecting automatic color correction Using simple manual color correction tools Introducing professional correction tools Switching colors with mappers and other tools P hotoshop can provide magical transformations to images, making them unrecognizable from the original, but sometimes what you really want is simply to make an image look the same as the original — only better. Perhaps the colors are a little too warm, or the shadows a bit inky, but you don’t want an image that looks more processed than a freeze-dried floral arrangement. You’d be happy to have everyone admire your image without a clue that you’ve made major correc- tions in Photoshop. Welcome to the world of image enhancements. This chapter concentrates on the things you can do to correct color, contrast, hue, and color saturation. After you master the basic tools, you’ll want to explore some even more sophisticated things you can do by using features such as Photoshop’s Adjustment Layers (in Book V, Chapter 1), which let you dynamically apply your changes in remarkably flexible ways. But before you dive into image adjust- ments, you’ll want to make sure and remove any flaws, such as dust, scratches, blemishes, and other nasty items, from your image. Check out Book VIII, Chapter 3 to find out about fixing imperfections.Introducing the Histogram Palette One of the first things you want to do before you make any color or tonal adjustments to your image is to take a good look at the quality and552 Introducing the Historgram Palette distribution of the tones throughout your image. I don’t mean just eyeballing the composite image on your screen. I’m talking about getting inside your image and looking at its guts with the Histogram palette — and keeping it on-screen so you can see its constant feedback on your image adjustments. A histogram displays the tonal range (also referred to as the key type) of an image, as shown in Figure 1-1. It shows how the pixels are distributed by graphing the number of pixels at each of the 256 brightness levels in an image. On this graph, pixels with the same brightness level are stacked in bars along a vertical axis. The higher the line from this axis, the greater the number of pixels at that brightness level. You can view the distribution for each color channel separately or for the composite image as a whole. Figure 1-1: The Histogram palette displays From this graph, you can then deter- how pixels are distributed at each of the mine whether the image contains 256 brightness levels. enough detail in the shadow, midtone, and highlight areas. This information helps you determine what image adjust- ments you may need to make. The following steps walk you through the basics of using the palette and interpreting the information you find there: 1. Choose Window➪Histogram to bring up this graphical wonder. By default, the histogram displays the tonal range of the whole image, in the composite image’s color mode, such as RGB, CMYK, Grayscale, and so on. For details on color modes, see Book II, Chapter 1. 2. Choose Expanded View or All Channels View from the Histogram palette pop-up menu: Compact View, the default, displays only a histogram of the whole image (or your chosen selection or channel) with no controls or statistics. Expanded View shows a histogram with statistics and controls for choos- ing and viewing the histogram of individual channels. This view also has controls for refreshing the histogram to show uncached data, and choos- ing a selected layer (on the Source pop-up menu). Refer to Figure 1-1 to see this view. Introducing the Historgram Palette 553 All Channels View, shown in Figure 1-2, displays all the options of the Expanded View, plus shows the individual his- tograms for each color channel.3. Check the source shown in the Source drop-down list, and choose a different source if needed. For example, instead of seeing a histogram for an entire image, you can display the histogram of an individual channel, alpha channel, or spot channel. You can also choose to focus on the selected layer or an adjustment layer. Just select the layer in t ...