Tài liệu Adobe Photoshop 7.0 for Photographers- P8 ppt

Adobe Photoshop 7.0 for Photographers

330

3 The models were cut out using mainly paths

for their bodies and clothing and variable

density masks for the hair. The original outlines

were not followed slavishly and a number of

areas were smoothed over and modified. These

cutouts were then added as new layers on top

of the viaduct image.

4 The exact sizing was carried out by reducing

the opacity of the models (so that the original

column could be seen through them) and care￾fully tweaking the exact shapes using the Free

Transform. In some instances, a little perspective

control had to be introduced, but this was mini￾mal and was done by eye until it looked right.

This took many attempts, so I kept the original

cutouts handy in case I needed to start over again.

To ensure the highest quality in an image, it is

best to avoid using the Transform more than once.

If I cannot get it right the first time, I will not

transform it again, but start from scratch.

5 When the models were placed in their final

positions, work could begin on extending the

background to remove the viaduct columns and

create the impression they were supporting the

bridge. The clone stamp retouching was carried

out on separate layers so that any mistakes could

easily be corrected. To control the shape of the

mountains in the background, the outline was

defined with a path, converted to a selection and

feathered by one or two pixels. Using Command/

Ctrl+Shift-I, I could swap between the mountains

and the sky to build up a convincing edge.

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Montage techniques

331

6 The most difficult and time-consuming area to

fix was the grass around the legs and feet. I try

not to keep cloning the same areas of the origi￾nal images repeatedly. Instead, I try to find areas

from elsewhere in the image, then copy and paste

it over the area I need to cover and then use a

curves adjustment to try to match the color and

density of the area underneath. I then erase the

areas I don’t need. In many cases, adding a little

noise over a cloned area can help it look more

convincingly part of the photograph. A great ad￾vantage of using 5 × 4 originals is that there is

very little grain in the scanned images. With

smaller format films it can be very difficult to

match the more pronounced grain.

7 One of the touches that (hopefully) makes this

image seem more convincing, are the little bits

of grass and vegetation which go over the people’s

shoes. It is little touches like this which help

create a sense of scale. This was achieved by copy￾ing part of the background image behind the

shoes, pasting it into a new layer on top of the

shoes and using the eraser tool to remove the

areas I didn’t want. There is usually more than

one way of approaching a problem in Photoshop.

For example, I could have achieved the same

result by using a layer mask.

8 A lot of work had to be done on the faces and

hands of the models to try to get them to look

as if they had really had been there and that the

viaduct was casting shadows on them. Much of

this was done using the brush tool on a separate

layer that is set to the Darken blending mode.

Some areas were lightened using curves, with a lot

of attention paid to keeping the colors consistent.

Photograph: Ian McKinnell.

Client: Logica. Agency: Stocks Austin Sice.

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Adobe Photoshop 7.0 for Photographers

332

Exporting clipping paths

Clipping paths are vector paths that can be used to mask the outline of an image

when it is exported to be used in a DTP layout program such as Adobe PageMaker™,

Adobe InDesign™ or QuarkXPress™. You will remember me saying earlier that a

selection can be converted to and from a path? If an image document contains a

closed path, when you save it as an EPS format file, there is an option for selecting

that path as a clipping path. In Adobe Illustrator™, for example, you can use the

saved clipping path as a masking object.

Imagine a catalog brochure shoot with lots of products shot against white ready for

cutting out. Still-life photographers normally mask off the areas surrounding the

object with black card to prevent unnecessary light flare from softening the image

contrast. Whoever is preparing the digital files for export to DTP will produce an

outline mask and convert this to a path in Photoshop or simply draw a path from

scratch. This is saved with the EPS file and used by the DTP designer to mask the

object.

Clipping paths are an effective tool for lots of projects, but not in every case. I had a

design job to do for photographer Peter Hince, who asked me to design a brochure

showing a collection of his underwater photographs, Ocean Images. I assembled the

twelve black and white pictures in Adobe PageMaker™. They all had rough edged

9 Each person had their own curves adjustment

layer for small tweaks to their density and color,

using a mask so as not to affect the rest of the

image, and another curves adjustment layer over

the whole image. I use these adjustment layers

so that I can keep changing my mind and try lots

of variations with￾out changing the

original image until

the last minute.

The most vital

part of building an

image such as this

is the planning, vi￾sualizing the final

image in your mind

and then working

backwards from

there.

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Montage techniques

333

1 The background layer consisted of a water re￾flection pattern. All the individual photographs

were aligned to Guides, as they would appear in

the final design and grouped on the one layer.

Before proceeding to the next stage, I copied

this layer by dragging it down to the New Layer

button.

2 To demonstrate the following steps, I worked

on a cropped view of the above layout, which

shows just a single picture against the water

background layer. I switched off the Eye icon for

the copy layer and made the original Turtle layer

active. I now wanted to remove the white pixels

from the outer edges of the turtle image frame.

rebates that Peter wanted preserved. I could have made a path outline of each image

and placed these on top of the background image. What I did instead was to prepare

the design in PageMaker™, scaling the individual images and working out their

position. After that I reproduced a similar guideline layout in Photoshop and created

a multilayered image, positioning the individual images and merging them all into

one to make a single CMYK, EPS file. The steps below demonstrate how I retained

the subtlety of the borders, which may otherwise have become lost.

Another good reason for doing things this way is that it saves on the RIP time for

proofing and imposition and reduces the chances of file errors. On the other hand,

clients might ask you to alter one of the images after seeing the proof, so save that

multilayered Photoshop original for backup!

Photographs: Peter Hince/Ocean Images.

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Adobe Photoshop 7.0 for Photographers

334

4 I activated the copy layer again and marqueed

inside the image border. When finished, I inverted

the selection (Select > Invert Selection) and de￾leted or cut the selected area (Edit > Cut). I then

flattened the image before saving to export to

the DTP program, but also saved a layered copy

of the image in case any further adjustments were

required.

3 I Option/Alt+double-clicked the layer to open

the Layer Options dialog box and held down the

Option/Alt key to split and drag the highlight

sliders for This Layer, as shown here. What this

does is to remove the pure white tones from

blending with the underlying layers. It also made

some of the inner highlight areas transparent. These

can be covered up with the copy layer.

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