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Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.
In this movie, we're going to discuss the relationship between transformations, and smart objects. Even if you're familiar with that relationship, my guess is you're going to find out it's more complicated than you thought. And if you're working along with me, when you open up this file, you may end up getting a fault warning. Again, it's not going to affect your work throughout this chapter. So just go ahead and click OK. Here's the final version of the artwork that we'll be creating, and you can see then I've got this big rotated martini glass, followed by two incrementally smaller duplicates.
And then we've got this wavy logo in the foreground, that's also slanted upward. And we're going to achieve all of these transformations using a single command. Under the edit menu, it's called Free Transform, and it has a keyboard shortcut of Ctrl T or Cmd T on the Mac. And that's going to become important to us because there're couple variations on that shortcut that allows us to expedite the process. You also see this transform submenu, which contains such commands as Scale, Rotate, Skew, Warp.
All operations that we'll be applying, but the thing is every operation in this menu can be achieved using free transform. All right, I'm going to go ahead and escape out here. Our first task, will be to take this martini glass and introduce it into this template. So I'm going to go ahead and switch back to the glass image. And armed with my rectangular marquee tool, I'll right click inside the image and choose the duplicate layer command. And then I'll change the layer name to glass, and I'll set the document to transformation template, which is that image we saw just a moment ago.
And then I'll click ok. Alright now lets switch over to the template. And I'm going to press the control key, or the command key on a mac, in order to temporarily access the move tool and then I'll drag this martini glass upward so that we can see more of it. Now I'm going to press shift tab in order to bring up the right side panels. If you know anything about transformations, in Photoshop you know that before you apply a single scale or rotate or anything you should right click inside the image and choose convert to smart object.
That places the image in a protective container so you can scale and rotate and otherwise transform it. In as many passes as you like. For example, imagine that you were to rotate this image three times in a row 15 degrees each time. If you did that to a pixel based layer then Photoshop would have to rewrite the pixels a total of three times. Which would be a destructive modification. Whereas, if you did that exact same thing to a smart object, then Photoshop would just say alright, 15 degrees times 3, that's 45 degrees, and it would rewrite the pixels just once.
And I've actually performed a test here so that you can see what that looks like. Switch back to the long stem glass image and you can see this layer called 40E rotations. Go ahead and turn it on. If you're zoomed, out as far as I am you won't see any differences, but we will in a moment. Let me tell you what I did. I went ahead (INAUDIBLE) enough times to send the image all the way around twice so that it's back upright. And let's now take a look at what that looks like.
I applied this modification to a pixel-based imaged. Now I'll zoom in here and now at 100 percent I imagine you can see the problems, but I want you to really see 'em so I'll zoom in to 200 percent. And you can see that it's just tragic. We have the stair stepping all over the place here. The image is in terrible shape. It looks worse than JPEG compression even. Now, my guess is you're probably never going to transform a pixel-based image 48 times in a row, unless you just like to abuse photographs.
But still, you get a sense of what's going on, wheras were I to rotate a smart object. Fifteen degrees each 48 times in a row. Then Photoshop would just do the math, and say well okay 15 degrees times 48 that's 720 degrees, that's the same as zero degrees. In other words, I don't have to rewrite the pixels at all, and the image would appear in perfect shape. So there's an awfully big difference, and that might argue in favor of the idea that we should definitely convert this to a smart object before we start transforming it.
Well, we will be using smart objects later in this project but not where the martini glass is concerned. And the reason is, if we were to use smart objects we would miss out on two very important transformation functions. So if I press Ctrl+T or Cmd+T on a Mac to enter the Free Transform mode, see this Interpolation option appear in the Options bar. It affects every single transformation that you'll apply. And so it's going to become very important to us starting in the next movie. Problem is, it's not available to us when we're working with smart objects.
So that's one issue. The other is that you can't transform, and simultaneously duplicate a smart object, which is a big oversight. And as a result, smart objects just aren't going to work for our purposes. So I'll go ahead and press the Escape key in order to leave the free transform mode. The good news is we're not doing too much damage. We're going to rotate the martini glass first. And we're only going to rotate it once. And then we'll scale the rotated martini glass, and then we'll scale it again.
So we are going to be applying three separate transformations in a row. But if we do it right, the glass art is going to survive quite nicely. So with any luck, you have a sense for when you should and shouldn't combine transformations, with smart objects inside Photoshop. In the next issue we'll take on the tricky issue of interpolation.
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