Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Importing a new image

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Importing a new image

In this exercise we are going to add a new image to the composition by importing it into the Vanishing Point filter. And when you are bringing new items into Vanishing Point you have to take advantage of the clipboard that is you have to copy the images and then Paste them into Vanishing Point. Here's how it works. I am going to go ahead and bring up a new image here it's called teasedblonde.jpg, it is once again available to you inside the 17 Vanishing Point folder and it comes to us from photographer Andrzej Burak and in order to copy this image you have to first select it and then copy it that means going to the Select menu and choosing the Alt command and then going up to the Edit menu and choosing the Copy command.

Importing a new image

In this exercise we are going to add a new image to the composition by importing it into the Vanishing Point filter. And when you are bringing new items into Vanishing Point you have to take advantage of the clipboard that is you have to copy the images and then Paste them into Vanishing Point. Here's how it works. I am going to go ahead and bring up a new image here it's called teasedblonde.jpg, it is once again available to you inside the 17 Vanishing Point folder and it comes to us from photographer Andrzej Burak and in order to copy this image you have to first select it and then copy it that means going to the Select menu and choosing the Alt command and then going up to the Edit menu and choosing the Copy command.

Or of course more easily you could just press Ctrl A, Ctrl +C on the PC or Command A, Command C on the Mac. Then let's return to the bluegallery.psd image, let's create a new layer by pressing Ctrl Shift N or Command Shift N on the Mac and we will just call this layer Blonde for lack of a better label here and then click OK in order to create that new layer then go up to the Filter menu and choose the Vanishing Point command. Alright we are now ready to introduce the image into Vanishing Point but we can't take advantage of the menus at all.

Notice all the menus in the background inside Photoshop are dimmed and unavailable to us. And this menu that's available to us inside Vanishing Point doesn't offer any pasting functions. So we have to perform the paste from the keyboard and you do that by pressing Ctrl V or Command V on the Mac which is a keyboard shortcut for the paste command. It will appear up here in the upper left corner of the image sort of outside all of the planes. Go ahead and now drag that item into a plane like cell.

And she is so huge, she is so monstrously huge that she takes over the entire wall which I think is just wonderful and notice I can move her against another wall if I want to, she is just sort of peeking around these walls. She is not wrapping from one plane to another because where pasting is concerned right now I have this Allow Multi-Surface Operations option turned off. But if you want to wrap the image around multiple planes you can go ahead and turn the option on and you will get this sort of weird effect going on right here. And what's amazing is notice that she will wrap across planes if I can get her back on that one plane there for a moment here.

She will wrap kind of like around this surface down here and around and over to the other side of the plane. Vanishing Point doesn't always handle very complex wrappings very well. Sometimes it gets a little messed up, that might be something that they care of once the product actually ships but right now it sort of gets messed up which is why I prefer when in doubt to have this option turned off where pasting is concerned. Also it's so cool just to see a face projected on a single wall. It's like she is a character in a movie at a drive-in or something. Anyway she is way too big.

Let's move her on to the wall where she belongs and it turns out she really is way too big and let's scale her and I am going to do that by grabbing the Transform tool and dragging one of these corner handles in order to make her smaller and she needs to be made way, way smaller as it turns out so I will drag her to a tiny size and then drag her back up here, scale her back up so she is little bigger. Here's the problem with big dramatic scaling inside a Vanishing Point. Vanishing Point doesn't do such a great job where lots and lot of interpolation is concerned.

So because we have scaled her so dramatically we end up getting some jagged edges that resemble nothing so much as a hair full of maggots in my opinion, she has got all this like weird little choppy stuff going on and I don't know why it just gives me an unsanitary feel. I don't think this is what we want at all. So what I am going to tell you is that if you start getting choppy details regardless of what your impression of those choppy details is you are probably better off scaling the image before you bring it into Vanishing Point as opposed to scaling it inside Vanishing Point.

So let's just go ahead and cancel out and let's return to the teasetheblonde image right here because her hair obviously is not full of maggots that's not a problem, she is just a very tidy person is my guess. Let's go ahead and scale her down by going up to the Image menu and choosing the image size command, make sure that Resample Image is turned on and it's set to bi-cubic and that's going to be our best setting here. Let's go ahead and change the width value from pixels to percent and then I will reduce the width to 25% and because Constraint Proportions is turned on that's going to affect the height value as well, click OK and she now looks very wee on screen very small.

Press Ctrl A, Ctrl C to copy her once again that's Command A, Command C on the Mac. I will return to my blue gallery composition. I have already got the blonde layer there so I will go up to the filter menu, I will choose Vanishing Point and I am going to go ahead and zoom in on my image here on this frame and I will press Control V or Command V on the Mac. And you may notice hey where is the image, where to go? I will show you. They always come in up here in the upper left hand corner of the image window so don't be disturbed if you don't see something happen it's because you have got this little wee image up there in the upper left corner of the window.

Go ahead and drag her down into position and this time she almost fits her frame, she almost fits her new background. Let's change that opacity value to 50% so we can do a little bit of a comparison here. Switch to the Transform tool, scale the image so that it's bigger than its blue background by about this kind of margin here about 4 or 5 pixels and in the next exercise we will be masking her into place so that she is not so big but I just want her to be a little bigger so that she covers up everything really nicely.

Now let's switch back to the marquee tool reinstate an opacity value of 100% and click OK but first notice her hair, notice her hair is no longer full of maggots it's now nice and smooth a little choppy but not nearly as choppy as it was before. Click OK in order to apply the modification and there she is looking great inside of her new frame. Inside the next exercise, we will mask her and shade her so she looks like a bona fide member of this gallery.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39077 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Join now "Already a member? Log in

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS3 One-on-One: Beyond the Basics.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.