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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.
Photoshop offers another content-aware tool known as the content-aware move tool, and what it lets you do is move a selected region of an image, such as this woman right here, to a different location and then it goes ahead and automatically fills in the gap. Now I've graded the selection outline in advance and it saved as part of the image. To get to it, go up to the Select menu and choose the Load Selection command. And then you'll want to set the Channel option right here to lasso selection.
That's the way it should be set by default, and then click OK. And you can see that I've created a pretty tight selection outline around the woman however, I have left a little bit of a margin as well. So you don't want to exactly select the image. And in fact, as we'll see before this movie is out, it's oftentimes useful to select the image extremely generally. Now let's start with the standard Move tool, which is the very first tool in the toolbox. And notice if I drag the selection with the Move tool, then I end up leaving a hole where the selection used to be.
And when you're working in a flat image as I am, then the hole appears in the background color, which happens to be white. If you're working on an independent layer, then the hole will be transparent. But in any case this is not what we want. Now, often times what you do instead, I'll go ahead and press Control Z, or CommandZ on the Mac, is you duplicate the selection by Alt or Option dragging it, but of course, while that does a good job of moving the selection, it leaves a copy of the woman behind. And also, if I press Control H, or Command H on a Mac, in order to hide the selection outline, you can see that we get these harsh transitions.
So Photoshop has made no attempt to heal the edges around the selected region. So, what I'm going to do is zoom back out here, and then I'll press Control Z, or Command Z on a Mac, to undo that move. And I'll press Control H, or Command H on a Mac, to bring back my marching ants. Let's compare that behavior to the behavior of this guy right here. Go ahead and click and hold on the Healing Brush or the Patch Tool or what have you, and you'll see in the fly out menu, Content-Aware Move Tool.
And it also, by the way, offers an adaptation option complete with structure and color, just as we saw with content-aware patch. And so now notice, if I go ahead and drag this woman to a new location, such as, let's say, right about here, pretty high in the image. Photoshop is making a calculation, a very quick one, in this case and its gone ahead and filled the previously elected area with a bunch of flowers so that there's no hole left over, and if I zoom in, you can see that its done a pretty good job of retaining the detail inside the image as well.
We've got this repeated knee down here, but otherwise, inside of her dress, for example, things look good. Her leg is a big mes though. Once you start sort of closely inspecting the image, it kind of falls apart. We've got this weird knee action and the shin just kind of bends unfortunately here. And then her arm, something horrible has happened to her arm and her thumb has kind of moved into her eye. Now, that kind of thing is going to happen and if it does, then what you want to do is go up here to this little gear icon, next to the word adaptation, and if you want more of a loose interpretation, why then you would take the structure value down.
For example, I'll go ahead and take it down to one. And that goes ahead and stretches her head, and cuts a hole in her top hand, and does some weird stuff to her shoulder, and we probably have, yeah, tons of problems in her legs, and one of her feet just kind of disappears, and we lose her heel as well. Whereas, if you go up to this icon and change the structure value to its maximum of 5, and of course, we can make these modifications dynamically on the fly, totally awesome, Photoshop's going to update immediately, and things are looking a lot better. Her face looks pretty good. This rear hand looks fine.
But, in my case I'm seeing a duplication of the elbow and we have an extra knuckle as well over here in the forward hand. I think the legs, well no, the legs don't look too hot either. And then we have a little bit of a duplication of the dress down here at the bottom of the selection outline. Now, you may also want to toy with the color setting right here, the Color Adaptation setting. Let's say I take it up to its maximum of 10. And press the Enter key, or the Return key on the Mac, to accept that change. Notice that the colors inside of her change a little bit. So she becomes a little greener, a little more yellow actually because, what appears green inside of an image is frequently considered by Photoshop to be yellow.
But you also see the formerly selected area that got filled in is also turning red and that's because Photoshop is trying to accommodate the colors that were formerly at work inside the selection. So, in any event, you can fool around with these settings a little more if you like but, I'm going to tell you that the problem is not so much with the settings, but rather with our initial selection outline. So I'm going to zoom out here, and I'm going to press Control Z, or Command Z on the Mac, to undo the movement of this young woman, and I'll Control D, or Command D on the Mac, to deselect the image.
And this time I'm going to select her very generally using the rectangular marquee tool, and I'll draw a big selection around her that leaves a lot of room above her head and around her arms and above her knee, and down below her dress and outside the feet as well. So all kinds of room available to us. And now, I'll go ahead select that Content-Aware Move tool once again. And I'll drag the selection, and this time I'm not going to drag her so far up. And, this is the kind of stuff you can get away with.
You can actually move the selection on top of itself and still get decent results. And then a few moments later we'll end up seeing a much better version of this young woman. Notice that her legs are fine, her arm and her head are fine as well, and that's in part because the structure value's cranked up so high. So structure 5 is going to work quite well. But, if I want to get some better resolution around the edges of this rectangular marquee, I might take the structure value down to its minimum of 1. And I'll just cross my fingers and hope that our model survives in good shape.
And she does. And we get some great transitions as well. And then I'm just going to go ahead and take that color adaptation down to 0, and press the Enter key, or the Return key on a Mac, in order to apply that change. And now I'll press Control D, or Command D on a Mac to deselect the image. I'll go ahead and press the F key a couple of times in order to switch to the full-screen mode. And just to get a sense of a before and after here, I'll press the F12 key. That's where she used to be, down here at the bottom of the image, and then I'll press Control Z, or Command Z on a Mac to move her back up.
And as you can see, we're got some very dinky flowers that are showing up down here in the forward portion of the image that are getting mixed in with the larger foreground flowers, and so that's not necessarily the most realistic effect on earth but, given how little time and effort this takes, it's a remarkable modification. Which is why content-aware move and patch and fill are such extraordinary tools, especially when you're on a deadline and you don't have much time to spare.
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