Clean Up Ebooks Catalog
Imperfect selections Many of the tools make decent selections, but these might still have imperfections. It's common for the Magic Wand or Color Range tool to make a good selection, but leave small unselected spots within the field of color selected. Clean up many of these imperfections quickly and easily by using a paintbrush. Either go into Quick Mask mode from your selection and paint on the quick mask to clean up the selection or wait and clean up the mask created from the selection.
Many Photoshop power users recommend doing most of the clean-up at the end of image editing (in the print prep section). They argue that spots and noise may be more or less visible after significant editing. I understand this point, but I find them easier to spot right away. Plus having a clean starting image means I only have to spot it once, even if I end up using it in several different projects.
The Workflow Outline 54 Workflow Stage Summaries 55 Stage 0 Capture the Image 55 Stage 1 Organize the Images 55 Stage 2 Open Image Files (Process RAW Files) 55 Stage 3 Image Clean-Up 55 Stage 4 Perform Global Adjustments 56 Stage 5 Perform Local Adjustments 56 Stage 6 Photographic Edits 56 Stage 7 Print Preparation 56 Stage 8 Print 56 Stage 1 Organizing the Images 57 Organizing Original Image Files 58 Sorting Original Images 60 Organizing Edit Images 61 Archiving Files 62 Stage 2A Opening Image Files 63 Stage 2B Processing RAW Images 63 Adobe Camera RAW 64 Using Camera RAW with Multiple Images 66 Stage 3 Image Clean-Up 68 Straighten 68 Crop 69 Spot 70 Reduce Noise 73 Save the Clean Image 73 Stage 4 Perform Global Adjustments 74 Adjustments Tasks and Adjustment Tools 74 Order of Adjustments 75 Adjustment Layers 76
Separate layers shown in Figure 2 It's possible that you can create these effects in many ways. For example, you might want to use the Magnetic Lasso Tool to select areas with clearly defined edges, then zoom in and use the Eraser Tool to clean up dirt and smudges. Or you just may decide to keep it simple and use the Rectangular Marquee Tool to copy and paste pixels from one area to another.
With the recent resurgence into researching one's family history, people often ask me how to clean up old photographs. While the actual techniques used to retouch old photographs vary greatly according to the particular problems encountered, there are a few tried and true tips I can offer that seem to be useful in the majority of cases. Compare the photos in Figure 9-12 to see how I used these techniques to fix this photo of my husband's aunt.
E While in Quick Mask mode,therefore, you can use any of the normal painting tools to modify your mask,and hence your selection.You can see that Photoshop offers a huge amount of freedom when creating selections,and this is indicative of how important selections are when using Photoshop. Here,the Paintbrush tool is being used to clean up the mask.
Do you remember those photos taken at your wedding reception, in which your new brother-in-law managed to intrude on every photo Do you have a great-looking group shot of everybody in your department at workincluding Elmo, who was fired last month Wouldn't it be great if you could just paint the offenders out of a photograph with one stroke Photoshop takes more than one stroke, but it can do the job for you. Try this project to see how easy it is. Lacking a nasty in-law, we're going to clean up a vacation photo by deleting a poorly posed subject, shown at left in Figure 5.49. Our weapons of choice for this exercise are the Clone Stamp retouching tool and a simple compositing technique. You can follow along using the kids file on the website.
When using the Healing Brush, you Option-click (Alt+click) to choose a source from which to copy pixels. The difference between the Healing Brush and the Clone Stamp is that the Clone Stamp works by simply copying and pasting the group of pixels you have selected, whereas the Healing Brush melds the replacement pixels into the original ones. The changes are less obvious. In Figure 21.11, I've tried to clean up the stray hair and sweat on the man's forehead with both the Clone Stamp, on the left, and the Healing Brush on the right. Judge for yourself which one looks better. (You really have to see this in color. Flip to the Color Gallery.) The main thing you need to be careful about is that if you apply the Healing Brush very close to dark hair, it will pick up extra dark pixels and average them into the correction as well, making a darker spot on the face. You can mask the hair before you start, or just use the Clone Stamp on those places.
* Channel focusing If all channels seem to be in alignment (or, at least, as aligned as they're going to get), one of your channels may be poorly focused. Use the Ctrl+key equivalents to search for the responsible channel. When and if you find it, use the Unsharp Mask filter to sharpen it as desired. You may also find it helpful to blur a channel, as when trying to eliminate moire patterns in a scanned halftone. (For a specific application of these techniques, see the Cleaning up Scanned Halftones section in Chapter 10.)
Try to avoid using a small brush size when cleaning up internal areas, or you will be able to perceive the round brush shape in the extracted image. Make several passes with the tool and build up changes slowly. NOTE You do not have to clean up the image perfectly at this stage. Aim to improve the rough extraction only. We'll use additional tools later to refine the image. Cleaning up the tree Cleaning up the tree
If you scan in grayscale, make sure to convert your image to bitmap by either converting the entire image to bitmap mode image mode bitmap or thresholding the image image adjustments threshold Adjust the settings to give you the cleanest line possible. You may have to do some clean-up by hand.
New to Photoshop CS3 is the ability to clean up your selections with an incredible degree of control and accuracy, using the controls in the Refine Selection Edge dialog box (see Figure 3.10). First, create a selection using any tool or method you prefer, then either choose Select Refine Edge or click the Refine Edge button on the Tool Options bar to enter the clean-up phase. The first two sliders in the Refine Selection Edge dialog are Radius and Contrast. Use them to vary the quality of a feathered selection edge, including those created by the Quick selection tool and the Magic Wand. Increase the Radius setting to clean up the selection edge in areas with fine details or gradual transitions, and increase Contrast to make soft selection edges sharper and remove fuzz.
If the image you're working on has a clearly delineated foreground figure and a smooth or blurry background, try selecting just the background and then running the Dust & Scratches filter. Any blurring the filter does won't matter as much on the background, and you'll save yourself a lot of picky clean-up work.
Once you have completed the image clean-up stage, save a clean version of the image. Select File Save As for the Save As dialog to provide a new name and file format. Save the clean image as a Tif file, the image does not yet have any layers, so you can use this simpler format. I suggest including the text Clean in the file name so you can easily identify the stage for this image file.
You can use the other three sliders with any selection. Drag the Smooth slider to the right to remove jagged angles along the selection edge and to eliminate one- or two-pixel holdouts in the middle of a selected area. The Feather slider, of course, works just like the Feather dialog box increase the setting to blur the selection edge. And the Contract Expand slider enables you to shrink or enlarge the selection while maintaining its shape you can use this control to clean up the edges of an object you're silhouetting.
Part III Clean-Up, Mattes, and Objects gives you a look at the nuts and bolts of production effects and compositing scenes, matte painting, and chroma keying. Chapter 6 Blue-Screen Garbage Mattes provides simple techniques for cleaning up chroma key footage prior to compositing. Chapter 7 Rotoscoping Techniques with Photoshop gives you step-by-step instruction on how to do frame-by-frame retouching on footage to clean up or remove items in a scene.
Think of the Smudge tool as the original Liquify command. This tool simulates dragging a finger through wet paint. The pixels are liquid and can be easily pushed around the screen. The tool uses color from where you first click and pushes it in the direction you move the mouse. This tool is useful for cleaning up mattes and is also a quick way to clean up specks or flakes in a photo. Set the tool's blending mode to Lighten or Darken (depending on the area to be affected), and you have virtual concealer to touch up any problem.
Chapter 4 shows you how to extract entourage objects from photographic backgrounds to be used in architectural illustrations, renderings, plans, or elevations. You'll clean up the entourage and assign alpha channels to preserve the object boundaries and learn how to use entourage in a 3D model using Autodesk VIZ.
When you are ready to clean up the layer mask, select your Paintbrush tool and load the default colors by pressing the key. White will be used for areas that are opaque (solid), and black will be used for areas that are transparent. You can now toggle between black and white by pressing the X key. A good mnemonic for this shortcut is Devil's Xylophone. For large areas, use a large brush. You can quickly change brush size by using the Q and O keys. You can change brush softness with or .
In Figure 20.16, I've erased most of the background. I used both the Background Eraser as described, and the Magic Eraser, which determines where the chosen color ends and erases to the line of color change. (You choose the color by clicking it with the Magic Eraser.) It did a fine job on the umbrella. The cart still needs a bit of cleaning up with the regular Eraser, though. After that, I'll be able to slide it into position and rescale it if necessary (see Figure 20.17).
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