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

Cloning an image from one plane to another


From:

Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Cloning an image from one plane to another

In this exercise we are going to clone this fellow with an umbrella as captured by photographer Lise Gagne and we are going to move him, we are going to move the clone to the rear wall of the gallery back here and we are going to match the shadows and everything. It's quite a trick that vanishing point can pull off here. But before we do that we need to bring up our Layers palette. I am going to go ahead and expand to this right hand group of palettes here so that we can see the layers in all of their splendor. Now notice that the Planes Layer the active layer for me is turned off and that means if I try to go up to the Filter menu all of the filters are going to be dimmed because one of the things that Photoshop does automatically is that it protects you from taking invisible layers and accidentally modifying them.
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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

Cloning an image from one plane to another

In this exercise we are going to clone this fellow with an umbrella as captured by photographer Lise Gagne and we are going to move him, we are going to move the clone to the rear wall of the gallery back here and we are going to match the shadows and everything. It's quite a trick that vanishing point can pull off here. But before we do that we need to bring up our Layers palette. I am going to go ahead and expand to this right hand group of palettes here so that we can see the layers in all of their splendor. Now notice that the Planes Layer the active layer for me is turned off and that means if I try to go up to the Filter menu all of the filters are going to be dimmed because one of the things that Photoshop does automatically is that it protects you from taking invisible layers and accidentally modifying them.

Kind of a nice thing actually, alright I am going to add a new layer however. I don't want to be monkeying around with his Planes Layer so I am going to press Control+Shift+N or Command+Shift+N on Mac to bring up the new layer dialog box and I am to name this layer Clone and I am going to click OK in order to generate that new layer. It is now turned on it's empty but it's turned on it's visible so that I can modify it. Now I will go up to the Filter menu and I will choose the newly available here vanishing point filter that is Photoshop just made it available to me after having dimmed it a moment ago.

And I am going to zoom in on my picture here on this photograph and I am going to select it using the one and only selection tool that is available to me inside the vanishing point filter which is the marquee tool, the regular old standard rectangular marquee tool but there is a little bit of a twist as you will see. I am going to drag with a little bit of margin around this painting so I am going to give myself a three or four pixel margin all the way around and as I drag notice what's happening here I am drawing the rectangle in perspective so that's really cool actually.

I think the uncool thing is that you can't use that spacebar technique I was showing you. Remember how normally inside Photoshop if you are using one of the marquee tools you can reposition the marquee on the fly by pressing and holding the spacebar that does not work inside a vanishing point too bad as it turns out. Alright so go ahead and draw this marquee all the way around every bit of the canvas as you are seeing here with a little bit of a margin about four pixels of margin let's say. Now take a look at this info item up here at the top of the window.

Notice that it's telling me that I can drag the selection to move it by which it means that I can just drag the selection outline around and notice that it will always maintain the perspective of the active plane even if I move to a different plane check that out so it's leaping around from one plane to another that means I can select this picture back here if I want to this canvas. Alright I will undo that modification by pressing Ctrl+Z or Command+Z on the Mac. I can also Alt or on the Macintosh side I can Option Drag to create a floating selection by which it means I can go ahead and clone the selection and float it to a temporary layer inside vanishing point and then finally I can Control or Command Drag this selection to fill in area with a source image.

I want to show you that one. I am going to press and hold the Control key where the Command key on the Mac and I will move this selection and notice what happens when I am dragging I am actually saying that wherever I hover my cursor wherever I lay down my cursor here that becomes a new content of the selected item so I just dragged over to this blue frame and replicated it inside the forward frame, that's certainly not what I want to do. So I am going to do undo that modification. Now notice what the info item is telling me I just press Ctrl+Z by the way or Command+Z on the Mac and it's telling me to click and drag to move the floating selection to a new location that's a totally different message and the reason is this is very confusing to my way of thinking but here's what happened.

When I Control or Command Dragged that selection I performed two operations in one. First, I floated the selection to a temporary layer that was the first thing that happened and second I filled that selection with a different portion of the image. Now when I press Ctrl+Z I undid that second part but I did not undo the first part I still have a floating selection here. So I am going to press Ctrl+Alt+Z or Command+Option+Z on the Mac to back step one operation farther and that defloats the image and gets me back to my original selection outline so that nothing is floating.

And I will see this message here click and drag to reposition the selection, Alt Drag to create a floating selection and so on. That tells me that I don't have a floater. Now why is it so important to get rid of that floater, because otherwise you are going to have an extra copy of the image on the layer back inside Photoshop. So you are going to have two copies of it going on, which is weird just plain weird as it turns up. But normally you wouldn't do that little control drag thing so normally you wouldn't get messed up like that. This is what we really want to do. You want to press and hold the Alt key or the Option key in the Mac and then you want to drag the item in order to move it to a different location.

I am also going to press the Shift key so I have got both Shift and Alt down at this point that would be Shift and Option down on the Macintosh side in order to constrain the movement of this photograph to exactly horizontal. It could also be exactly vertical if I was dragging up and down. Notice as I drag across the planes that I switch from one plane to another. So vanishing point is far enough to go ahead and match the selection, match the floating selection to the active plane. And notice by the way just so you can see this I do have a clone going on.

So here's the original and one of the other layers inside of Photoshop and here is the floating selection which is relegated to the new clone layer. Alright at this point now I don't have to press the Alt key anymore because I have a floater and I can tell that I have a floater because it says drag to move the floating selection so I don't need to refloat it by Alt dragging or Option dragging anymore I will just go ahead and Shift Drag it to the rear wall. Now if you are having problems shift dragging it to the rear wall and I just went ahead and undid oops all the way back to a go here but I do have a floater.

Alright I just wanted to let me go ahead and move this back when I press Ctrl+Z it flicked it back to its original location but it did not get rid of the floating aspect of the selection again that can be very confusing if you don't know what's going on there. The reason I undid the drag though was because I want to show you that what can happen is you can start wrapping around the wall and notice that right there and then you start going back to the other rear wall way, way faraway and you are going to run out of drag room. So I will undo that drag, I end up moving the painting back to its original location here and I am going to turnoff a setting, I am going to turnoff allow multi surface operations.

That way Photoshop isn't trying to wrap, wrap, wrap around every single one of the surfaces so that it's sharing two surfaces at a time, something that you can do inside Vanishing Point 2.0 here inside Photoshop CS3 that you couldn't do in the earlier version of Vanishing Point but for our purpose it is just a little bit of a nuisance. So let's turn it off and drag that floater again. It's already floating so you don't have to Alt Drag it if you undid along with me. Alright and I am going to move it to the back wall and you may have to do a pretty quick drag there in order to make sure it just flits from this year to this area back here alright.

Now let's go ahead and zoom in and checkout the positioning of this selection, it looks pretty good but it does not match the background, does it? It doesn't match the lighting that's associated with this rear wall. We are going to match lighting, we are going to heal this image into place and transform it little bit as well, do a little bit of scaling and flipping as it turns out inside the very next exercise.

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