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Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Blending the image into its new home


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Blending the image into its new home

Now that I have cloned this image on to the rear wall I want to go ahead and make sure that it matches its new home both in terms of its dimensions and in terms of its coloring. So for starters I am seeing that the image maybe a little big I am not sure if I need to scale it down to match that rear canvas so in order to see through the floating selection to the background I am going to go ahead and reduce this opacity value. Notice that when you have the marquee tool selected and you have a floater in place, a temporary layer going inside the Vanishing Point Filter that you have an opacity value, go ahead and reduce that opacity value to 50% and you can see that the image is pretty big it's a little too big to fit that blue canvas in the background.
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.

Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.

Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.

Download Deke's customized keyboard layouts for Photoshop from the Exercise Files tab.

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Blending the image into its new home

Now that I have cloned this image on to the rear wall I want to go ahead and make sure that it matches its new home both in terms of its dimensions and in terms of its coloring. So for starters I am seeing that the image maybe a little big I am not sure if I need to scale it down to match that rear canvas so in order to see through the floating selection to the background I am going to go ahead and reduce this opacity value. Notice that when you have the marquee tool selected and you have a floater in place, a temporary layer going inside the Vanishing Point Filter that you have an opacity value, go ahead and reduce that opacity value to 50% and you can see that the image is pretty big it's a little too big to fit that blue canvas in the background.

We do want it to overlap so that we don't see any of the edges, any of those blue edges but we don't want it to be too big. Alright so I need to scale this image to fit and I am going to do that using this kind of right here the Transform tool. So go ahead and click on the Transform tool and notice that you now have transformation handles available to you. If you were to drag outside of the transformation boundary you would rotate it like so, so pretty standard free transform stuff going on here. I will go ahead and undo that modification because what I really want to do is I want to scale the item so I am going to drag the corner handles like this in order to make this image a little smaller and I am not worried about proportional scaling incidentally.

You may find that it's better in many cases inside the Vanishing Point Filter to not press the Shift key and not do a proportional resizing because frequently the proportions will get kind of messed up as you are working inside Vanishing Point and you are going to have basically stretch the image in order to make it fit its new environment. Alright anyway this looks pretty good. So now I am going to switch back to the Marquee tool and I am going to restore the opacity to a 100%. So this does behave like a temporary layer. We basically have this selection floating in front of the rest of the image, we haven't set it down yet.

The next thing I want to do is I want to soften these edges a little bit and then something that I can do on the fly check this out I have got a feather value right there. This is something that doesn't exist outside of the Vanishing Point Filter inside a Photoshop, you can't do a live feather of a layer. Certainly you can apply a layer mask and go that route but you can't take the existing transparency mask and modify its softness on the fly. That is something that you can do here inside the Vanishing Point Filter. So check this out I will make this selection softer on the fly.

Wouldn't that be useful in Photoshop in general? Yes it would be. And it is a source of great frustration for me. Once I saw this function at work here inside Vanishing Point I was just like oh why doesn't this exist in the real Photoshop world that is the larger world outside the Vanishing Point here. Anyway I am going to increase this feather value to 3 pixels and then I am going to take advantage of yet another function that doesn't exist outside in Photoshop which is Real Time Layer Healing. There is nothing like that going on outside of the Vanishing Point Filter but it exists right here.

I am going to change the heal setting from off because notice that the colors don't match, the colors of the photograph don't match the new background. I am going to switch the healing setting to on. I could also take advantage of luminance I will show you that very quickly which heals the luminance values that is the brightness levels but it doesn't do anything for the colors, so if I want to heal everything I would just set this option to on and sure enough I get a great color and brightness match just right there on the fly amazing function.

Alright next thing I want to do though is I want to flip this image, the reason being that notice that this edge of the canvas is facing toward us and yet this is the real edge that's toward us. So this imaginary edge is on the wrong side of the image so I would just want to flip the entire thing that's going to flip him as well. I don't care about that. I want to get this edge where it belongs. And so I am going to go back to the Transform tool where all of my transformation functions are including my flipping functions and notice that I have two options to choose from flip and flop.

And here's the hilarious part I just think this is fantastically funny. You know how you can hover over an option to find a little hint about it, for example, if I hover over the Transform tool it tells me it's a Transform tool and it tells me the keyboard shortcut inside of parenthesis that's really helpful. Check this out, checkout what happens when you hover over flip. It says flip the copy and if I hover over flop it says flop the copy. Hey thank you very much Adobe now I totally understand what's going on. What a great hint that was. Alright seriously here's what's going on.

This is a horizontal flip, flip is a horizontal flip and flop is a vertical flip. Now, why they just didn't call them hflip and vflip, I do know actually it's because the engineers decided people were going to get confused because you can rotate your photograph right you can rotate the image and then flop is now horizontal modification instead of a vertical modification but you know what out in the larger world of Photoshop they just call it horizontal Flip even if it's being transformed and people somehow don't get mixed up. Flop doesn't make any darn sense.

But anyway I digress. I am going to go ahead and backspace a couple of operations here so that I get this guy upright so he is no longer rotated and then I am going to turn on the Flip option which is what I want. So if you can't keep track that flip is hflip and flop is vflip then just try one if it doesn't do what you wanted to try the other one that's simple. Alright this guy looks great I think he is just utterly and completely fantastic. He is a little pixelated but that's because we are zoomed so far into the image, we are zoomed into 300% here.

Let's go ahead and apply our modification by clicking on the OK button that deposits that little image you can see it right there inside of the layer thumbnail. What I am going to do though what's more useful I think is I am going to go ahead and scroll over to this region of the photograph and I am going to zoom in so that we can see the cloned image inside of its new home on an independent layer there it is in case I want to move it around change the Blend Mode or otherwise modify it independently of the larger composition.

Wonderful, wonderful function thanks to Vanishing Point.

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