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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I am still working inside Multilayer panorama.psd, found inside the 32_photomerge folder. I haven't saved off this seams layer yet, just because this file is ginormous, and I don't like to unnecessarily add to the weight of these exercise files. There is already so many of them, and they take a while to download. I will be saving off a new version of this composition shortly, but bear with me for now. Now at this point, I'd like to add a human being to this composition, because so far there are none, with the exception of the statue of Augustus. But for one thing, he died a long, long time ago.
Basically he was a turn of that first millennium kind of guy. He was around during the changing of the calendar from B.C. to A.D. Meanwhile, of course, he is made of marble or whatever. I'd like to add a person down here, and the reason I am showing you this location here is I want to see this tiny little sign. It's not really identifiable inside of this composition, but it's a pair of headphones. What it is is an indicator that if you've got that little talking tour guide phone with you, that this is a place of interest, and you should dial in four or something like that.
Now I know you don't care about that, but it helps explain the next photo, which is called Mini masked me.psd, also found inside the 32_photomerge folder. You can see me listing to said phone next to that exact headphone sign. So, what we're going to do is we are going to introduce me into a panorama that I shot, which, of course, is fundamentally impossible that I would both be the photographer and the subject inside of the shot, just not something that I can actually pull off in the real world.
So obviously this image was shot with a different camera by another human being. And so a friend shot this image, gave it to me in ratty, terrible shape, because I was just a tiny part of this much larger image, captured with an old model camera. Believe it or not, even though it looks dreadful right now, I am going to look great inside of the composition. So, if you go over to Layers panel, you'll notice that I created a layer mask in advance. Go ahead and Shift+Click on that layer mask thumbnail to turn it on. If you want to take a look like at what the mask looks like, just Alt+Click, or Option+Click on it.
I drew the entire thing using the Paintbrush and a mouse, by the way. So I just clicked and drag around, and ultimately came up with an effect that I felt look halfway decent, and then Alt+ Click again or Option+Click to see the actual masked version of me. Now I press the Ctrl key or that Command on a Mac to get the Move tool and drag me out onto the Title tab, wait for the window to change, and then drag me back into the image window, and drop me into place, and I am huge inside of my new home.
If you take a look at me zoomed out just a little bit, I love this - I loved how enormous I am in my new surroundings, but I don't look particularly right. So, I figured out that I need to be scaled to about 26% of my current size, so I'll press Ctrl+T. Make sure, by the way that the layer is linked to the mask so that you have a little chain between them, and then press Ctrl+T or Command+T on the Mac to invoke the Free Transform command, turn on the chain icon up here inside the Options Bar and change either the W or the H value to 26, and then press the Enter key a couple times in order to apply that transformation.
Now I am a wee, little person who fits into the scene, quite nicely actually, with one exception. Check it out. If I move me up just a little bit, see that line, that faint vertical line right there on the right-hand side? And if you move me over the other direction, you'll see a faint vertical line on the left-hand side as well. So in the process of transforming this layer, scaling it to such a high degree that is to such a low degree, I've gone ahead and messed up the mask. So it's not quite masking me out all the way.
There's a couple of ways you can handle it, actually you know the easiest thing. We don't need all his garbage out here. Just go ahead and select this area using the Marquee tool and then Shift+select this area, like so. And with the layer selected, so the layer thumbnail should be active, just press the Backspace key to, for once and for all, get rid of that portion of layer. It's a bunch of junk that's way far away from me; it's not going to come into play. All right press Ctrl+D, Command+D on a Mac in order to deselect the image. Now, notice you could put me anywhere. You could put me up here on the stage, you could put me in the door way, you could put me back over here in this other door away, you can make me look over this sort of red thing here if you wanted to mask me out, and you could put me up here next to Augustus.
Was I saying he's 8 feet tall? I must be like 9 1/2 feet tall, in that case. I am not sure that's really true, actually. Anyway, I am going go and move that down. I am sure I'm an expert on the size of that statue. I am going to go ahead and move me down to this location. If you want to put me exactly in the place where I belong, why then shift click on the layer, ask for a moment to turn it off, and then you will see where I am, vis-a-vis the stage. Press the 5 key in order to reduce the opacity of me to 50%, and go ahead and line up either that little headphone sign, or you could line up the bottom of the stage, since I don't exactly line up into place.
I think the bottom of the stage is the best way to go. Then Shift+Click on that Layer Mask icon, once again, to turn it back on, press the 0 key in order to increase my opacity to 100%, and zoom out. And notice, how absolutely natural I am inside of my new environment. I look like I absolutely belong there, even though I looked an absolute mess inside of my former composition, as you may remember. What a noisy, messy image this is! In the next exercise, we're going to take this big, multilayer panorama.
We're going to flatten it, we're going to correct it, we're going to crop it, and we're going to turn it in to exactly what we want it to be.
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