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This course explores the newest version of Photoshop from a photographer's perspective—helping users of previous versions of Photoshop make upgrade decisions and get up to speed with CS6. Author Chris Orwig covers the improvements to Camera Raw, including the improved exposure controls, Adjustment Brush tool, and Lens Correction filter. He then addresses the enhancements in Photoshop, such as the new Layer panel behavior, which makes renaming and organizing layers almost effortless, and image-editing features like content-aware retouching, photorealistic blur effects, and redefined nondestructive cropping; plus the brand-new ability to edit video in Photoshop. The final chapter addresses the new Creative Cloud subscription option, detailing features of interest to photographers: the enhanced Blur Gallery and Liquify filters, conditional actions, and improvements to the Crop tool.
In order to really understand how this Content-Aware Move tool works, what I am going to do is show you a few more examples so that you can really understand the ins and the outs of working with this tool. Well, here you can see I have this photograph, and this was captured in one of my other training courses, Narrative Photography. And one of the things that I want to do is I want to center the subject right in the middle of the Brooklyn Bridge. Well, in order to do that, one of the things that we might try to do is to make a good selection of the subject, rather than a really rough selection.
That isn't going to work here because the background, well, it's too complicated. So here what we could do is start off with using one of our selection tools, the Quick Select tool. You can go ahead and click and drag across your image with this tool, and it allows you to build up a pretty nice selection. If ever you get to detail area, well, just press the Left Bracket key to create a smaller brush. And I'm going to select the subject as well as this white line that he is standing on, because what I want to do is move him and also move that white line there. After you've made your selection, you of course want to go to Refine Edge.
This allows you to turn up the Smart Radius amount and just get a nicer selection and increase the contrast a little bit as well. All right! Well, the next step is to click OK. So far, we have a good selection. Well, how about moving him now? Well, if we move him now we're going to have really big problems because the selection, it's too tight. It's too perfect. Let me show you what I mean. Here I'll click on the New layer icon, and I'll go ahead and name this one move. Next I'll select Content-Aware Move tool.
Here we're going to use Move rather than Extend, Adaptation. Let's user Very Strict and then Sample All Layers. I'll go ahead and click and drag and move him over to the right a little bit and then let go and see what happens. Again, what we're going to discover is that it didn't really work. Do you see all of this ghosting or shadows around the edge? It didn't work because our selection was too tight, and it was bringing back some of that original file that was right on the edge.
So what we need to do is undo this. Press Command+Z or Ctrl+Z. The next thing we want to do is rather than have this perfect selection, we want to go to our Select pulldown menu, choose Modify, and then Expand the selection. Depending on the resolution of the file, you might need to expand this 5, 10, 15, or 20 pixels. And by making this edge a little bit bigger, what it can do for us is give us some breathing room so that this tool can work a little bit more effectively.
Now if it doesn't work the first time, just go back and re-change how big you modify that selection. Let's try this one out. Here I'll go ahead and move this over to the left, and then I'll zoom out a little bit so that we can evaluate the results. Now with something like this, it will never be perfect, yet this looks a lot better. Let's deselect by pressing Command+D, or Ctrl+D, and then look at the results. Here's before, and then here's after. You can see how we moved the subject and also the line over to the left.
And as I evaluate this, in a lot of areas-- especially on the left-hand side--it looks good. There are few areas I would need to touch up, right here along the shoulder, a little bit along the head, and then also a little bit over here along the cuff on the left side of the jacket there. Yet those adjustments, they could be made using the Healing Brush or the Clone Stamp tool. We could zoom in and do our typical retouching workflow. Yet here, rather than do that, what I wanted to illustrate was that whole idea of how you can work with different type of selections in order to increase your odds of getting better results when working with this tool.
Well, the last thing that I want to highlight here is how you work with Adaptation. I'm going to go over to this yoga file. What I want to do is make a selection of the subject here and move the subject over in the frame. So once again I'll create a new layer. I'll go ahead and make a rough selection--in this case, around the subject--and I can make a rough selection because the content in the background, well, it's pretty similar to where I'm going to be moving the subject. Make sure I'm using my mode-- in this case, Very Strict--Sample All Layers turned on, and I'll just click and drag this over here.
Now when I do this, we'll see how the results are. For the most part, they're okay. Yet one of the things that I'm noticing is that if we zoom in a little bit, well, there's a little bit of a problem area around this part of the shoe. Again, I could mask that off or correct that after the fact, but I really like how it brought the subject over into this environment. Yet that's because I chose Very Strict. If I change this say to Very Loose, let's compare the results. Notice how the subject changes. Also, notice how all of a sudden we lost her bottom foot.
And the reason is, is that when you use an Adaptation amount of Very Loose, it's telling Photoshop, well hey, you have some freedom. Kind of figure it out on your own and just make it look good. Well, this edge right here, it looks a lot better, yet the foot is gone, so I lost something really important. So we can change this after the fact. We can go back and say choose Very Strict, and that will then create a better version here. Well, after we've done that, we would need to manually correct this area ourselves.
And that's really as simple as going to Select and then Deselect and now what you could do is zoom in on this area, the picture, and you could create a mask and mask that away. Or you could do any number of things. Here I'm going to go ahead, and let's say that what I'll do is just click on the Add layer Mask Icon, grab my Brush tool, painting it with black. I'll press the Left Bracket key to make this a little bit smaller. And what I'm going to do is just try to paint away some of this darker blue that we're seeing in the background which was part of that wave that we can see there.
And with this type of cleanup work, really it's just about your typical retouching workflow, getting in there and using all the detail tools that you have in order to get that to look good and try to blend that in a little bit so it looks nice and natural and you can bring that in. And I think now for the most part, it looks okay. It's not perfect, but it's good for demo purposes. And here we can see, here's our before and then now our after. And so what I wanted to illustrate with this movie was just how we can work with Adaptation because I thought it would be remiss not to really illustrate that so that you can see how the adaptation that you'll use, it really depends upon the subject matter.
If you are just trying to move, say, this texture to another area, well, by all means use Very Loose. Yet, if it's a person--or if it's something that's recognizable and you need to maintain the shape--well, then you need to use Very Strict.
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