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Scaling an image to fit a composition

From: Photoshop CS4 One-on-One: Advanced

Video: Scaling an image to fit a composition

Alrighty gang, in this exercise we are going to take this clock face from the image called Clock parts.tif and we are going to superimpose it on to the cardinal's face right here inside of Cardinal i Tondo.psd. Now in order to prepare things properly, I want you to make sure that the emboss layer is selected below the frame layer. So just for those of you who have been fooling around with this composition that you make sure the layer, whatever it is, the layer directly below the frame layer is active. Then switch over to Clock parts.tif and we are going to select the clock face using that mask that we created in the previous exercise.

Scaling an image to fit a composition

Alrighty gang, in this exercise we are going to take this clock face from the image called Clock parts.tif and we are going to superimpose it on to the cardinal's face right here inside of Cardinal i Tondo.psd. Now in order to prepare things properly, I want you to make sure that the emboss layer is selected below the frame layer. So just for those of you who have been fooling around with this composition that you make sure the layer, whatever it is, the layer directly below the frame layer is active. Then switch over to Clock parts.tif and we are going to select the clock face using that mask that we created in the previous exercise.

So go ahead and switch over to the Channels palette and notice that we have the RGB channels and a Mask channel and you may also have your own clock parts channel. Doesn't matter. Use any one you want. So in order to convert this mask to a selection, you are going to press the Ctrl key or the Command key on the Mac and you are going to Click the thumbnail for either mask or clock parts, depending on which one you want to use. You can use either one of them. I am going to go with clock parts just so that I'm using the one that we created on the fly just a moment ago. Ctrl+Click on it, Command+Click on the Mac in order to load that mask as a selection and now notice that I have not only selected the clock face, I have also selected each of the three hands. I don't want the hands; I just want the clock face. So I'm going to select just the clock face, using the Rectangular Marquee tool. So go ahead and get yourself that tool. Then press the Shift +Alt key or the Shift+Option key on the Mac and drag broadly around the clock face like so without including any of the hands.

So you should have a selection outline that looks something like the one you see on screen before you right now and you want to get that entire clock face inside the selection then release and by virtue of the fact that you had the Shift+Alt keys down or the Shift+ Option key down on the Mac, you have intersected those two selection outlines. So you are only keeping the clock face and not the hands. You may recall that trick from back when we discussed selection outlines, way, way long ago. All right, now I want you to press and hold the Ctrl key or the Command key on the Mac to get the Move tool on the fly, then drag the clock face like so and notice that I have left behind a little bit, a tiny bit of clock face in the background. So you can see that stroke that's around the white hole and that indicates that it selected just too little, too few pixels associated with the clock face, which is a good thing. If you are going to err on one side or the other, you want to select too little as opposed to too much, because if you select too much, you are going to have a big sort of white fringe around your clock face and you don't want that.

All right, so I still have the Ctrl key down, the Command key down on the Mac. I'm going to drag and hold over that Title tab right there for Cardinal i Tondo.psd so that Photoshop switches over to this image. This of course is assuming that you are working in the tabbed image mode as I am. And then move your cursor back into the image window and drop. You don't have to press the Shift key to drop or any of that jazz, just drop the image into place. It doesn't matter where it land and notice that it's way too big. So we are going to have to go ahead and scale the image to fit the composition.

So some kind of scaling has to happen. We can either reduce the size of clock face to fit the composition or we are going to have to increase the size of the composition to fit the clock face. I say we reduce the size of the clock face, because that's going to give us better results down sampling instead of up sampling and of course it's a lot easier to do. All right, so step number one where reducing the size of this clock face is concerned is to go to up to the Edit menu and choose the Free Transform command. Now it might be tempting to go to Transform and choose the Scale command. But if you do that, then you are locked in the scaling, all you can do is scale and nothing more. Whereas, if you choose Free Transform, you can scale, you can rotate, you can skew, you can distort, you have a lot of options available to you and you also have a keyboard shortcut, Ctrl+T, Command+T on the Mac. Scale has none. So go ahead and choose Free Transform.

Now depending on how you are zoomed in, you may or may not see any handles whatsoever. Right now I can see a little bit of the bounding box around the item that we are going to scale and I can see one handle and nothing more and I should be seeing the corner handles too, if we are going to scale this proportionally, because otherwise if I just drag this side handle here, I'm just going to squish the clock face. All right, so I'm going to press Ctrl+Z, Command+Z on the Mac, which brings up an important point. You have one undo when you are in the Transform Mode. One undo and nothing more. If you make more than one mistake in a row, and you want to back up two steps, you are not going to be able to. You will have to press the Escape key in order to escape out of the Free Transform Mode and then restart your transformation by pressing Ctrl+T or Command+T on the Mac.

Now how do we get to the point where we can see all of the transformation handles? So we can see everything associated with the transformation boundary. Well, you go up to the View menu, really great trick, and you choose Fit on Screen or you press Ctrl+0, Command+0 on the Mac and then you will zoom out far enough to take in all of the transformation handles. Now notice that we've gone out too far to accommodate the image by itself. Notice this, I'm going to press the Escape key for a moment, so we don't have the transformation boundary anymore and I'll press Ctrl+0 or Command+0 which invokes Fit on Screen and we fit the image on screen like this.

However, if I press Ctrl+T or Command+T on the Mac to invoke Free Transform and then I press Ctrl+0 or Command+0 on the Mac, we get this instead. So the Fit on Screen command is smart enough to go as far out as you really need to go to get your work done. Brilliant, in my opinion. Now I'm going to drag this corner handle like so, you can drag any of the corner handles you want, you got four to choose from. I'm going to drag this bottom left one and I'm going to press the Shift key to create a proportional resizing like this. Now notice as I'm dragging this corner handle, I still have the Shift key down. You have got to keep that Shift key down throughout the life of your drag here, throughout the entire time you are dragging.

Notice that the only thing that's remaining stationary is the opposite handle. So in my case, the top right handle is remaining stationary as I drag the bottom left handle. That will become important in just a moment. But anyway, go ahead and release the mouse button and then release the Shift key. Now let's go ahead and move this clock face more or less into the center of the frame like so. It's too big, but it is more or less centered and now let's zoom in a little bit so we can see what we are doing. You may notice a little bit of a screen refresh problem, don't worry about it. It should ultimately settle down. Photoshop tends to buffer various versions of the image as you work and it's selecting between those buffered images. All right, so let's say that the clock face is more or less centered as it is and so you want to keep it centered as you continue to scale it. Well, now rather than scaling with respect to the opposite corner handle as I was a moment ago, I'm going to scale with respect to the center by dragging this corner handle and then pressing the Shift key of course which creates a proportional resizing, but also the Alt key or the Option key on the Mac which scales with respect to the center like this and keep those keys down until you are done dragging.

So I'm going to drag to about right here, I suppose and then I'll release the mouse button and then I'll release the Shift+Alt keys here on the PC or the Shift+Option keys on the Mac. Now let's zoom in ever farther. I want to zoom to the 100% ratio so I have the most control and I'm going to nudge my image into play. So I want to nudge it from the keyboard, I'm pressing the Right Arrow key in my case in order to get it exactly centered inside the frame and you may need to press the Up or Down Arrow keys as well in order to center the image vertically. I'm pretty happy with this right here. Now I say we have the most control at 100%, because bear in mind when you are nudging from the keyboard by pressing the Arrow keys, not Shift+Arrow keys, that always moves the selection ten real image pixels. But when you are pressing the Arrow keys by themselves, you are always moving in screen pixels, one screen pixel at a time. So when you are zoomed out, you are moving the image farther than when you are zoomed in. This is good, 100% is what we want. This looks beautiful.

We are not ready to press the Return key quite yet, because we need to make the clock face big enough to be just slightly covered up by the frame so that it fills the frame. So I'm going to press Shift+Alt once again, Shift+Option on the Mac, drag this corner handle yet again until the clock face is just big enough to fill the frame all the way around and it is. So I went ahead and released the mouse button, then released Shift+Alt and now I'm going to finish the transformation by pressing the Enter key or the Return key on the Mac and you are done. In the next exercise I'm going to tell you this just totally minuscule technical little detail. It's a very important thing though. It's very technical. After that setup, of course you will stick with me.

Show transcript

This video is part of

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

218 video lessons · 23839 viewers

Deke McClelland
Author

 
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  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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