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Reconstructing an image

From: Photoshop CS4 One-on-One: Advanced

Video: Reconstructing an image

So here I'm enjoying the fruits of my subtle modifications inside the Liquify plug-in. I'm looking at the Maddalena.jpg image that's found inside the 20_warp_liquify folder. Now there are a few reasons not to work the way I have so far. For one thing, of course, I have a made a complete mess of the image and you wouldn't want to normally do that. But if you are trying to make photo realistic modifications, you don't want to apply big distortions for two reasons. One is that you end up just blurring the heck out of your image. What you're really doing is smearing color transitions right here. And you can end up with some really unsharp results especially compared with neighboring regions that you haven't modified.

Reconstructing an image

So here I'm enjoying the fruits of my subtle modifications inside the Liquify plug-in. I'm looking at the Maddalena.jpg image that's found inside the 20_warp_liquify folder. Now there are a few reasons not to work the way I have so far. For one thing, of course, I have a made a complete mess of the image and you wouldn't want to normally do that. But if you are trying to make photo realistic modifications, you don't want to apply big distortions for two reasons. One is that you end up just blurring the heck out of your image. What you're really doing is smearing color transitions right here. And you can end up with some really unsharp results especially compared with neighboring regions that you haven't modified.

So you need to watch out for that and then you can also end up with these ripped pixels right here where certain colors are completely ripped away from their neighbors and you end up with very, very choppy results. So this wonderful combination, and when I say wonderful I mean horrible, horrible combination of smearing and sort of this weird choppy, jagged look that you can get if you work big inside of Liquify. So there are two rules of thumb that I like to observe, first do as little work as possible inside of this plug-in. Just by virtue of that you get subtle modifications and then secondly work very patiently. So small changes are better and even very small changes can make huge differences to the image. So that brings me to reconstructing the image. So I have made some big drags just with this default tool up here, the Forward Warp tool which just be called the Warp tool because of course it's moving the pixels in the direction you drag them.

And that is your main warping tool. That's a tool I'll use at least 50% of the times when I'm inside of this dialog box. After you make a mess of the image or after you make even not a mess just apply a small modification, you can incrementally undo it. Now we saw in the previous exercise how you can restore the entire image with this Restore All button but you can also just apply a partial reconstruction by Clicking on the Reconstruct button. So notice if I Click on the button I'll just slightly undo my brush strokes, all of the brush strokes that are not masked, and I'll show you how you can mask certain areas in the image later.

But for now that's just going to go ahead and undo everything partially and this is different then anything else that's going on inside Photoshop. If you think of it even the Fade command, what the Fade command is doing is it's mixing the modified version of the image with the original version of the image subject to in Opacity value and the blend mode, that's nothing like what we are getting here. We are partially reconstructing the image, taking our brush stroke and incrementally undo doing it. And Liquify is capable of doing that because it's actually a parametric editor.

And let me show you what I mean by that. For the length of time you are in Liquify, it is parametric and that's because what you are doing is you are changing this thing called the Mesh. And I'll go ahead and turn the Mesh on so that you can see it. You are moving these lines around and they are controlling the movements of the pixels inside of the image. I am going to go ahead and change the Mesh color to Red so that we can see it very easily and I'm going to change the size to Large. We have a little less definition where the Mesh is concerned. So you can move this Mesh around by dragging for example with the Warp tool and notice that I'm reconstructing the details by doing that. Very interesting. Also that's why this Reconstruct button can work the way it does. It can put things back together incrementally, which is a fantastic thing. Again unlike anything else inside Photoshop.

Now you might say well the bad news is that you can't say reconstruct to 10%. I mean it can't control the degree to which the reconstruction occurs. It just does whatever it does. Well yes or no, that's not quite true actually, as it turns out, you have this mode here. The first thing I'll tell you about the mode is it gives you control over how much reconstruction you apply. The next thing I'll tell you about it is that it's almost indecipherable. If you Click on Mode you will see that you have five modes to choose from, Revert, Rigid, Stiff, Smooth and Loose. So if you were to just sit there and play with it, what it seems like is Revert sort of does the medium job and then Rigid does an enormous job, it sends the image almost back to its original appearance. And Stiff is even, like a higher opacity version than Rigid is or something along those lines. And then Smooth does less then Revert and then Loose does almost nothing at all.

But that's like quite what's actually going on. For example I'll Click Stiff here and then I'll Click Reconstruct. And you notice the image is almost completely restored now. Whereas let's go ahead and undo that modification by pressing Ctrl+Z, Command+Z on the Mac. If I choose Loose then it does very little at all, almost nothing, just some slight reconstruction there. All right, what's really happening though is it's all about the relationship between Reconstruct and this Mesh that you are seeing on screen. So what Loose does is, imagine that you have a bed sheet and you have gone ahead and rumpled the bed sheet in the way that we are seeing this mesh rumpled right here.

Well if you set this to Loose and Click Reconstruct you just slightly tugging at the bed sheet in order to sort of make the bed. You doing it the way my children do it. You are barely doing anything at a time, just slightly tugging things around. Whereas if you are given a good stiff jerk, that's what you are doing with Stiff and Reconstruct together is you are really tugging at it and as a result you are really straightening that mesh and you are regrouping the mess so that most of the little squares here meet each other at right angle, so that you have a lot of right angles inside this mesh.

Whereas let's go and compare this to Rigid and I'll go ahead and Click Reconstruct, not so much of a jerk. It's a big stiff jerk but not quite as much as with Stiff. So I hope that helps you make sense of it, Smooth by the way. Let's go back to what we had before or you won't be able to see. Smooth those ahead in just sort of smooth things out, it's yanking the sheet, it's smoothing over the wrinkles and you end up getting this result here. And actually Smooth is one of my favorite settings. I would say when I'm reconstructing images and of course, I would be just reconstructing small and it's not big, huge ones like this. But I'll either work with Smooth or Revert most of the time.

All right, in this case though I'm going to go ahead and do a Restore All, just to get the image back to the way it originally appeared. Now I was telling you that this is a parametric modification for as long as you are inside the Liquify dialog box. That changes as soon as you Click OK button. It becomes a pixel level modification and it's always that way. Liquify cannot be parametric in the larger world of Photoshop, you can't even apply Liquify to a Smart Object. So there is no way to turn it into a Smart Filter, it always modifies pixels. So do the work correctly inside of your Liquify session before you Click OK.

All right so let's get rid of the Mesh. It's interesting to see it, but it also gets in the way of making halfway decent modifications which we will begin to do when I show you how to use the Warp tool here in the very next exercise.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 24028 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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