Photoshop Elements 3 Solutions: The Art of Digital Photography- P7

Photoshop Elements 3 Solutions: The Art of Digital Photography- P7: This book rocks! It is not just a revised version; this is a brand new edition.So much has changed in Adobe Photoshop Elements 3 that it is practically a whole new program,and Mikkel Aaland has completed quite an amazing undertaking with PhotoshopElements 3 Solutions.
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Photoshop Elements 3 Solutions: The Art of Digital Photography- P7 Seamlessly Pasting One of the biggest challenges in composite making is pasting a selection seamlessly into another image so it looks natural without a halo or jagged edges. It’s a lot easier when you are pasting a selection into a busy background, as I did in the first example in this chapter, but more difficult when you are pasting to an area of continuous tone, such as a sky. I use one method with pretty good success. I’ll demonstrate by selecting, copy- ing, and pasting the Doggie Diner head from the image on the left in Figure 6.20 to the shot shown on the right.164 MAKING PHOTO-REALISTIC COMPOSITES ■ Figure 6.20: The two components of my composite. Figure 6.21 shows a close-up of what happens if I simply make a selection, copy it, and paste it into the street shot. 6: CHAPTER Figure 6.21: By using a simple copy and paste, I get the jagged edges shown here. Now I’ll try something different: 1. I make a selection just as before, using the Magic Wand selection tool ( ). One click on the white background with a Tolerance of 15 pretty much does it, except I’ll use the Lasso tool ( ) to select some of the white areas in the Doggie Diner’s hat that were missed by the Magic Wand.2. I reverse my selection by using Select Inverse (Ctrl+Shift+I / +Shift+I) and shrink it by 2 pixels (Select Modify Contract). This tightens up my selec- tion and reduces the chance that I’ll copy unwanted background areas.3. I add a 3-pixel feather (Select Inverse, then Select Feather), as shown in Figure 6.22.Figure 6.22: The Feather Selection dialog box4. I copy (Ctrl+C / +C) and paste (Ctrl+V / +V) the selectionon on top of Telegraph Hill. I use the Move tool ( ) to position it where I want. Because I slightly shrank my selection and feathered it, the edges of the Doggie Diner head now blend more naturally into the new background.5. As you can see in Figure 6.23, the paste is almost seamless. Where it is not, I can use the Eraser tool ( ) with a combination of both hard-edged and soft- 165 edged brushes to make it perfect. ■ C L O N I N G E L E M E N T S F R O M M U LT I P L E I M A G E SFigure 6.23: Now the Doggie Diner head looks like it’s always been on top of TelegraphHill. Even on closer examination (right), the deception is barely visible.Cloning Elements from Multiple ImagesUp to now, I’ve shown you mostly select, copy, and paste techniques to combineimages. With some images it’s just as effective to use the Clone Stamp tool to createphoto-realistic composites. For some people, “painting” images with this tool is moreintuitive and satisfying than pasting. Take the screen shot in Figure 6.24. The images were all taken with the samecamera, around the same time of day, against a similar background. Using the CloneStamp tool to combine parts of these images is easy because I don’t need to be precise.It would be more difficult if the backgrounds were significantly different. In that case,selecting, copying, and pasting would be the way to go. N o te : You can also use the Healing Brush tool to act like the Clone Stamp tool. In the Healing Brush tool option bar select “Replace” from the Mode’s pop-up window. Select “Sampled” as your Source. Now the Healing Brush tool replaces pixels from the target with pixels from the source rather than blending them as it does in the “Normal” mode.166 MAKING PHOTO-REALISTIC COMPOSITES ■ Figure 6.24: Combining birds from similar shots is easy with the Clone Stamp tool. This is what I did to come up with the composite: 1. I opened the four image files. (To view all your images side by side, choose ...