Law of Attraction Subconscious Mind Power
The way photographs represent reality has become part of every person's subconscious mind today. Traditional film cameras have several shortcomings that we take so much for granted today that we almost see evidence of these shortcomings as proof of the reality of an image. Take film grain for example. The chemical development process exposes grain under certain lighting and aperture settings, in which the photosensitive emulsion forms a random organic pattern. In contrast, digital cameras and computer-generated imagery has no inherent grain. Consequently, digital imagery often appears computer generated or somehow less than real to our subconscious minds.
Adjustment layers and fill layers add another level of flexibility to working with layers. Adjustment layers allow you to experiment with color and apply tonal adjustments to an image fill layers allow you to quickly add color, patterns, and gradient elements to an image. If you change your mind about the results, you can go back and edit or remove the adjustment or fill at any time.
When you want to experiment with the color of a specific layer or group of layers, as opposed to the entire image, you can use an adjustment or fill layer. The biggest benefit of using these special layers to make color changes is that adjustment and fill layers can easily be deleted or edited whenever you change your mind.
You might remember from Chapter 1 that you can edit adjustment layers in the layer stack (as compared with adjustments). Adjustment layers are preferable because they allow you to try things out without having to commit to them. You can change your mind later and alter the parameters of an adjustment layer or throw it away without permanently affecting the pixels of your image.
What's the point Using Smart Objects not only gives you greater creative freedom (because you can change your mind repeatedly) but also improves the quality of your images. For example, suppose you use the Transform Scale command to shrink an object within an image, then later on you change your mind. If you scale it back up to its original size, you're going to have a fuzzy image that's nowhere near as sharp and detailed as the original, because the original pixels were deleted when the object was scaled down. However, if you convert that layer to a Smart Object before scaling it down, you can rescale it as many times as you want without loss of quality.
To edit the shape of the currently selected brush, click the brush icon in the Options bar to display the brush options shown in Figure 5 17. (Be sure to click the icon and not the adjacent triangle otherwise, you display the Brush palette.) After you select your brush settings, press Enter, click an empty area of the program window, or just begin working with the tool to close the dialog box. If you change your mind and decide to leave the brush alone, press Esc or click the brush icon again to close the dialog box.
Fortunately, there's an easy way to apply a correction and then change your mind. One of the best features of Photoshop is the capability to work in layers. (You'll learn all about layers in Hour 11, Using Layers. ) For now, you can think of layers as sheets of transparency film that you place over your image and paint or paste on. If you like what you do, you can merge the layers so that the additions become part of the image. If not, you can throw them away and try again. In addition to the layers that you paint on, Photoshop lets you apply adjustment layers. These work like normal layers except that instead of holding paint or pasted pictures, they hold the color adjustments that you make to the image.
Adjustment layers are different from adjustments in one important respect they remain editable as layers, so you can try out adjustments without having to commit to them. You can turn off Adjustment layers or throw them away later if you deem them inappropriate. You can also modify the parameters of the Adjustment layer if you change your mind later on.
You don't necessarily have to add or remove content to change an image dramatically in fact, you can achieve some pretty stunning effects by doing a (relatively) simple crop. The important skill here is not the cropping technique itself, which (truth to tell) is a simple one-step process. The real trick is the ability to see the new image in your mind . . . the ability to see the picture within a picture.
If you like to speak your mind rather than put your thoughts in writing, check out the audio annotation tool. This tool works like the notes tool except that it inserts an audio recording of your voice rather than a text message into the file. Of course, you need a microphone, speakers, and a sound card installed in your computer to use this feature. Also, Photoshop retains audio annotations only when you save the image file using the Photoshop native format or PDF, as with text notes. Be aware, too, that audio files increase file size significantly.
Isdocumentiscreatedwithtrial retonof l C Not2.16.100., a 48-bit (16 bits x 3 channels)representation. Photoshop 2.0 added an extra dimensionthat of high-dynamic range color. HDR color also uses 16-bits of information to store information about each channel. However, there is a difference, one that can be confusing until you wrap your mind around it. Those 16 bits of information are stored as floating decimal point numbers, which are inherently a lot more accurate. If it's been as long for you as it has for me since math class, the easiest way to understand the difference is to think of expressing the idea of one-third only with integers (33 percent) or with a floating point number like 33.3333333333333333 percent. Less information is lost to rounding errors, etc. HDR uses 32-point floating point numbers to help preserve the dynamic range of your color images. You'll learn more about this later in the chapter.
The reason digital imaging works at all is that the human visual system undergoes a figure ground shift in perception when presented with a pixel image of sufficient resolution. When you zoom in the image on the right of Figure 1.9, you might not understand what all the pixels represent. It is only when the pixels become small enough and dense enough, that your mind perceives the illusion of the continuous picture.
In most photographs of general subject matter, your eye sees the darkest neutral (gray) tone as black and the lightest neutral as white. (If the darkest color is obviously purple and the lightest a bright yellow, you probably wouldn't classify the photo's subject as general. ) In a given image, the shadow under the shoe might be just a dark gray, and the shirt looks like it might need some bleach, but your eye (in cooperation with your mind) compensates to some degree and lets you see black and white.
Mastering the complexities of working with layers is a surefire guarantee of taming Photoshop and making it go some way toward doing your bidding. With the insights into creating, managing, and editing layers revealed in this chapter, you should have the foundation on which to build a solid workflow for constructing your dream compositions, while retaining the ability to change your mind at a future date.
Posterization reduces an image to a limited number of tonal values. Photoshop has the command Image Adjustments Posterize, which changes the image pixels themselves, or you can use a Posterize adjustment layer instead. In either case, the Posterize dialog box lets you choose the number of levels that should remain in the image. But an adjustment layer lets you change your mind later and experiment with combining posterization with blending modes.
You can use Edit Free Transform to make any of the changes described. Drag the handles as you press modifier keys to rotate, skew, scale, or distort as much as you want. You can also access the numeric transformations in the Tool Options bar. To distort relative to the center of the bounding box, press Option (Mac) or Alt (Windows) as you drag. To distort freely, press Cmd (Mac) or Ctrl (Windows) instead. To skew, press Shift-Cmd (Mac) or Shift+Ctrl (Windows). Or, if you change your mind, press Esc to cancel the transformation.
Layer masking is the best way to extract an image. It is extremely flexible in that it supports multiple levels of transparency. Also, you can continue to touch up your mask throughout the postproduction process. Change your mind, and you can restore any part or even all of the background.
In an ideal world, Photoshop would read your mind and do all the mundane work behind the scenes so that you could concentrate on creating masterpieces. Unfortunately, we live in an imperfect world and sometimes have no option but to perform the mundane tasks ourselves such as selecting layers, moving them, or protecting the content from being accidentally altered. The Layers palette contains some buttons and commands to help you manage layers, but, unfortunately, it can't read your mind yet. However, you can employ keyboard shortcuts to add a bit of spice to the humdrum routines. The next sections discuss the various options on offer for managing layers.
You could manually repeat steps 7 through 12 for each of the object images you rendered in the last section. Again, because there are only nine objects in the scene, this wouldn't take too long. However, whenever you will have to repeat a mindless series of steps, alarm bells should go off in your mind. This is your chance to create automation that does the tedious work, and it can save you lots of time in the long run. Why not let Photoshop do the mindless tasks so you have more time to do creative work
Try to capture images that go beyond the obvious or cliche. Keep an eye out for the unexpected or unusual. Get off the beaten path. Sometimes it isn't the destination or event that produces the great photo. It is the trip along the way. That great shot of Grandpa feeding his grandchild before his first birthday party may be the image that wins everyone's heart rather than the obvious kid playing with cake shot. Maybe the shots of the Mayan ruins in Mexico were nice, but it was the photo you took of a young boy and his even younger brother, selling Popsicles from a push cart on the way to the ruins, that sticks in your mind.
Designers in all professions use plans as their single most common form of graphical communication. If you are an architect, an engineer, a contractor, an industrial designer, or a real estate developer or are in any other profession that uses measured drawings every day, chances are, the ability to read plans has become part of your subconscious mind.
Command is the thing derived from reality and might. Reality without might achieves nothing. Might without reality renders wasted action. The idea of taking command teaches you to purposefully blend knowledge and actions to develop levelheaded results. This book will provide insight to command.