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Photoshop Fitness bio picture

Get ready to sweat!!

Hi everyone! I'm excited to announce that this site is now
active and interactive. My goal is to help you to build strong Photoshop muscles. I hope to be presenting new
content weekly. I will take an image, initially one of mine, but I hope
later—one of yours—and work on it. I think this will be a cool place to
learn new techniques for improving your speed and competence in
Photoshop. Suggestions for the site, especially topics you would like to see covered is most welcome—please! Now down on the ground and give me 20!!

Your Personal Trainer,

Ray Prevost

Looking for product info?

Look in Feeding Your Muscles in the menu above.

Selections Part 2: The Marquee Tool

The first tool in the Tool panel after the Move tool is the Marquee tool. I’m guessing that Adobe put the tools roughly in order of frequency of use, and the Marquee tool deserves its spot. It is one of the quickest ways to select an area. Its shortcut key is M. Just M. I suppose I should say “m” as you do not hit the shift key, but the convention is to write it as M. We will follow this convention—unless I specifically say “Shift”, there will be no shift.

The default Marquee is the Rectangular Marquee tool, used to make a rectangular selection—duh! It only selects what is on the active layer—just because you’ve drawn your marching ants around your target, does not mean it is selected. It needs to be on the same layer as your intended target.

Some additional tips about using the Marquee tool—if you want to constrain your rectangle to be an exact square, hold down the Shift key while you drag. Normally, the tool will start at the upper left corner of your rectangle—if you want it to start from the center of your drag, hold down the Option key (PC: Alt).

What are some of its uses? There are so many but I will give a few examples of what I use it for.

Selecting one object among several on a layer. Hitting M, then dragging a rectangle around one object on a layer is about the quickest way to do it. I do this all the time if I decide to move objects (usually photos) around when I didn’t save them on separate layers. I commonly do this with album designs. While I could save each photo to its own layer, that takes extra drive space, makes for slower processing, and takes longer if you feel compelled to actually name the layers. Since I only rarely have to change the order of things, it just didn’t seem worth it to me. YMMV.

Anyway, here you see a file with two layers, with several photos on the top layer plus a background layer below. Let’s say that a client has decided to remove one. Steps: M, draw rectangle around image to remove, hit Delete (PC: Backspace). That’s it!
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What if I want to move it? Steps: M, draw rectangle around image to move, select Move tool (by holding down the Cmd (PC: Cntl) key—remember?) and move to the desired spot. Important Tip: If you need to line up the object you are moving with one of the other objects, make sure you have Smart Guides turned on. You find the toggle for them under View—Show—Smart Guides. You should also turn on View—Snap to—Guides.

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With Smart Guides turned on, when any edge or the center of the object you are moving lines up with an edge or center of another object, guide lines appear and the object snaps to it. If it snapped to the wrong line, just keep dragging until it snaps to the one you want.

The Elliptical Marquee is accessed by either clicking and holding your cursor over the Marquee tool, then scrolling down, or by hitting Shift M if already in the Marquee tool. If you are not in the Marquee tool already, probably the fastest way is to hit Shift M twice. The Shift isn’t really necessary for the first M, but it doesn’t hurt either. I just find it easier to hold down the shift key and press M twice.

But—I seldom use this tool. I would be curious to hear from wedding and portrait photographers what they use this for. As with the rectangular, the elliptical can be constrained, this time as a perfect circle, by holding down the shift key as you drag. And if you hold down the Option key (PC: Alt) the selection will be centered on where you began to drag. By the way, you can hold down the shift and the Option key to combine the effects.

The Single Row/Column Marquees are seldom used by most people, and that is too bad. They can be quite useful for drawing lines. Often, it is a rectangular shape, such as a photo, that you are putting a border around. But what if you have several photos adjoining each other, and you want the same border around the outside, and in between them?

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If you try the trick in the previous post (if you haven’t read it, go to Adding Borders With Square Corners first) and stroke inside each photo, the strokes between the images are twice as thick—as you see below. And no, I wouldn’t make pink borders, nor make them this wide, but thin black borders made it harder to see what I’m talking about. :)
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Now you could just try to nudge them closer to each other—and hope you guess right. Or, you can try this:

1. Merge the three layers. I’m going to tell you two ways to do it, so that you will learn more in this tutorial. The first way is to highlight the layer on top, then Merge down twice. Cmd E (PC: Cntl E) twice. The second is to highlight the top layer, then hold down the Shift key and click on the bottom layer (NOT THE BACKGROUND!) then hit Cmd E (PC: Cntl E). If I only had 3 layers, I would do it the first way. If I had 10, I’d use the second way.

2. Stroke the merged layers Inside. Now the outside of the three layers is stroked.
Selection103. Go to the Marquee tool and scroll down to Single Row Marquee Tool.

4. Click exactly between two of the images. Holding down the Shift key (to add to the selection) click between the other two. There should now be two parallel horizontal dashed lines. NOTE: sometimes you can’t see all of the dashed lines—they are only 1 pixel wide, after all. Don’t worry, they are still there.

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5. Go to the bottom of the Layers panel and click on the create a new layer button, the second from the right. You want the lines you are about to stroke to be on a separate layer.
6. Make sure your Foreground color is what you want for the stroke, then go to Edit—Stroke. Enter the pixel width you want—the same width you already used to stroke the outsides of the images. Then choose Center and click OK.

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Now you have your lines, but they go all the way across. We take care of that in the next step.

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7. Keeping the layer with the strokes highlighted, Cmd click (PC: Cntl click) on the layer icon for the merged three photos. This will select the photos.

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Now hit Cmd (PC: Cntl) Shift I to invert the selection, which now selects everything outside of the photos.
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Then hit Delete (PC: Backspace) and the extraneous parts of the strokes disappear and you are done.Selection16

Here I’ve turned off all the layers except the one that has the in between borders just to show you what we made.

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So, you might think “Wow, that’s a lot of steps for that, I think I will just nudge, like you said above.” Well, that would be fine for something as simple as this, but what if this were 5 photos in a row? Or what if there were 2 or three rows in a block? Now this technique starts to look a lot more attractive! Use the Single Row and Single Column Marquees while holding down the shift key, make a new layer, stroke Center, Cmd click on the merged photos, invert the selection, Delete—done! I can do a 3×3 block in 15-20 seconds.

Adding Borders with Square Corners

Since the next segment on selections includes a thing on borders, I thought some might find the following information useful.

A common question I get all the time is “How do I get square corners on the borders of the photos in a spread?”

The fastest and easiest way, whether you are stroking the photos using Edit—Stroke, or using a Layer Style by doubleclicking on the layer and then choosing Stroke, is to stroke inside.

This image is a photo on a layer above a white background. If you stroke Outside, you will get rounded corners, as you see here. Center will give you the same thing, just not so rounded.Stroke1

In this image, you can see that Inside was chosen, and the corners are square. Just be aware that this cuts off the outside of the image area. This has never been a problem for me, since I never have my subjects so close to the edge that the sliver that is covered by the border would be missed.Stroke2

Everything you always wanted to know about making Selections

Note: This is the first in a series of tutorials about methods to make selections. It starts with the very basic, then in the passing weeks, we will progress to more advanced—and quicker—techniques. As always here at Photoshop Fitness, the emphasis will be on how the portrait and wedding photographer can make use of these tools and techniques. Although the examples shown here are from CS4, they all apply equally to CS, CS2, and CS3 (unless otherwise noted) even though the appearance in the examples may vary slightly from what you see in other versions.

Selection Techniques

Chapter 1: The most basic selection tool there is

Although not the first thing to come to mind when someone mentions “selection”, perhaps it should be. I’m talking about the lowly, but useful, Select All. The shortcut, which all should learn, is Cmd A (PC: Cntl A). This selects the entire layer that is active (the active layer is the one that is highlighted in the Layers panel.)

This is used for many different things, but one of the common ones is to select a layer and copy and paste it to a different document. But its behavior when doing so rates a mention here, because it may not act the way you think.

In this example, you see a simple two-layered image—a black rectangle on one layer and a white background layer.  If you press Cmd A (PC: Cntl A) to Select All, you will see so-called “marching ants” which represents the area that is selected—in this case, the entire layer. But what is it selecting—the black rectangle, the white background, or both? The answer is, since the layer with the black rectangle is the one that is selected, that entire layer is selected, not the background.

Selection1

You can see this when you press Cmd C (PC: Cntl C) to copy, followed by Cmd V (PC: Cntl V) to paste. As you see in the example, the black rectangle got pasted to a new layer, and it was placed directly in the center. If I instead had gone to a different image before I hit Cmd V, the behavior would be the same—it would get pasted to the center of that image. I leave that for the reader to confirm.

Selections2

What if you don’t want it placed right in the middle? What if you want if pasted right in the same spot where it is, just on a different layer? That’s easy—Cmd J (PC: Cntl J) (Important Tip!!!) will cut and paste to a new layer right where it is right now. That’s what I did here. Although you see only one rectangle, if you look in the Layers panel you see there are two identical layers with the black rectangle.

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I can move that rectangle around by selecting the Move tool (by pressing V) or temporarily turning my present tool, whatever it is, (IMPORTANT TIP!!) to the Move tool by holding down the Cmd (PC: Cntl) key and then dragging the rectangle to the desired spot.

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What if you don’t want another rectangle, but you do want a selection of the area that the rectangle occupies? It could be that you want to use it for a Layer Mask (see Layer Mask tutorial in the archives) or perhaps you want to post something into that spot. All you need to do is to Cmd click (PC: Cntl click) on the icon of the layer on which it resides. When you do that, every thing non-transparent on that layer is selected. That means even a 1% opacity pixel on that layer will be selected!

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For next time: The Marquee Tool.

How do I change my units?

I usually use inches, but I have a job where it would be more convenient for me to have pixels. What’s a fast way to change the units?

 

Just make sure that your Rulers are turned on—Cmd R (Cntl R on PC)—and right click on the ruler itself (Control click if you don’t have a right button) and you will see a list of available units. Just scroll to the one you want.

The Lucis Art Effect Part 2

Continuing on . . .

Here is what the edge artifacts look like:

lucis6

The edge near the hat is the easier of the two to fix. It can be done just by cloning the forehead area below. But I’m going to start the process by fixing it the same way I will with the harder-to-fix neck shadow. And the same way I will restore the background to a nicer darker black.

I’ll do this by dragging this modified version on top of the original file, and adding a Layer Mask, resulting in the two layers you see here.

lucis82

By painting on the mask (it looks and feels like you are painting on the image, but with the white rectangle selected in the layers panel, as you see above, you are actually painting on the mask) I blended those areas with the more natural edges on the original layer below. The area by the hat, I used a small brush at 50%. I used a larger brush, but at 25% to blend the neck shadow. The next image shows you the resulting Layers panel and what the mask looks like (greatly magnified so that you can see how I went over the area several times, subtley building up density.

lucis9

So here is the image with the edges fixed:

lucis101

Continuing with the same mask, I painted in the background. Below is the image, and what its Layer Mask looks like:

lucis11

Next, I used Shadow/Highlights (Image—Adjustments) to bring back some highlight details on the chest and abdomen. Here is the result and the settings:

lucis12

You could stop here, if you like the color version. The next step was a conversion to B&W, a raising of contrast, and elimination of banding in the background—but that’s a tutorial for another day.

lucis72

The Lucis Art Effect Part 1

I only like the Lucis Art look about 5% of the time I see it. But when it works, it works. It seems to work best when there are lots of details, can stand a bump in local contrast, or fits with a more illustrative look.In the following image, I was going for a look similar to that used in “300″, except in black & white.

But I feel it is an expensive plugin, when I use it so sparingly. So it’s nice to know that there are ways to achieve a very similar look, with the programs you already have.

Here is my final image. In Part 1, I am going to show you how to get most of the way here. In Part 2, I will show you the steps to refine and finish the image.

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To do this effect, you need Photoshop CS3 or CS4 or Lightroom 2.x. I used a Raw file. You could use a JPEG as well, but because of the extreme adjustments for this effect, you are better off with a Raw file.

Open the image in Photoshop or Lightroom. A Raw file should open automatically in Adobe Camera Raw (ACR) if you doubleclick on the file. Once open, you want to start with the following settings. I am showing Lightroom, but the settings and the order of the settings are exactly the same in ACR—it just LOOKS different.

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lucis3

That is your starting point. You can fiddle with the settings until your particular image looks right. But those are the setting that took the following image . . .

lucis4

. . . and made it into this:

lucis5

That’s the first part. Unfortunately, these settings often cause unwanted edge effects. I will point those out and show how to fix them in Part 2.

See you next week!

How do I center this image?

Trying to drag one image to the center of another? Just hold down the Shift key while you drag. The trick is to let go of the mouse button BEFORE you let up on the Shift key.

The Gotcha that gets them all!

Do all your brushes look like this, no matter how many times you hit the bracket keys?:

 

cursor

Check your Caps Lock key—I bet it is on!

This gets almost every new Photoshop user!

Just returned from Pasadena where I gave a couple of presentations on Photoshop at the state convention. I had a blast, and it seemed like people got something out of it. There were supposdly 180 people in the Saturday morning presentation entitled Freakin’ Fast in Photoshop. I got a couple of good suggestions and how to tweak that presentation, and am happy to do that. It’s tough to do Photoshop for such a large group, but I try to present something for everyone.

The Sunday morining presentation, Pushing Pixels,  was much smaller, and I was able to tailor the material to what people wanted to see. That’s always fun to do, and provides more value to the participants.

I will be speaking at three local associations, and doing at least one workshop in April and May. I’ll provide details later.

Gotchas

Gotchas are things to watch out for. When you try to do something, and you don’t get the expected
behavior, there are things to look for to quickly troubleshoot and get back to work. Some
may seem obvious, some not so. But what helps is to get used to quickly looking at the layer
palette first, then your brush options, then finally to other areas.


1. Are you on the right layer?
2. Is your layer turned on?
3. Are you painting on the mask or the image?
4. Are you in the correct blending mode? There is one for the layers and one for the brush options.
Check them both.
5. Is your opacity turned down? Again, check the layer AND the brush options.
6. Do you have a hidden selection? It is possible to hide the marching ants, but the selection is
still there. To quickly eliminate this as a possible cause, just hit Command (PC: Control) D, to
deselect.
7. Watch your units when you crop. It’s possible to have pixels instead of inches, and you can
have Height in pixels and Width in inches, giving you unexpected results.
8. Are you trying to do something on or to a text layer? Text layers are special, and may need to
be rasterized (converted to pixels from a vector, or mathematical representation) in order to do
what you want. The Rasterize options are in the Layer MENU.
9. Can’t merge a layer? There may be an adjustment layer underneath, and you can’t merge a
layer onto one.

Can you think of any more? If so, add a comment!