Make your photos for free

make your photos for free

2013-09-05T09:36:00.005+02:00

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How To Fix An Underexposed Photo

2008-09-14T07:50:00.003+02:00

The easiest way to avoid underexposed photos is to adjust your aperture settings, your shutter speed and your film speed when shooting. That's sounds pretty easy, right? Forget it. Photoshop was invented for the "I-can't-find-time-to-read-the-manual" photographer. Who cares if it's too dark or too light, we've got Photoshop!

So how easy is it to fix an underexposed photo? Very easy. Open your photo up and choose Image> Adjustments> Shadow/Highlight (CS-only. For pre-CS look below). You'll see an immediate change in your photo and it will probably be too extreme, but don't panic. Photoshop ships with defaults that are often way over the top. Just play with the Amount Slider and the Tonal Width Slider until you find just the right balance. And you're done!

The above photo is underexposed. The chocolate strawberries look like chestnuts. Below is the same photo after applying the Shadow/Highlight filter.

Fixing Underexposed Photos, Pre-CS — The Layer Sandwich Trick
If you don't have CS, then the following trick will help you achieve similar results. I actually find this method produces better results.

Step 1 — New Layer
Open your photo and make a copy of the Background Layer by choosing Layer> Duplicate Layer, or by dragging it to the New Layer Icon at the bottom of the Layers palette.

Step 2 — Change The Blend Mode
In the Layers palette change the Blend Mode of the new layer from Normal to Screen. This will lighten the photo uniformly.

Step 3 — Repeat
Now repeat the entire procedure again. Create a new layer, change the blend mode to screen, and then take a look at the result. Continue doing this until you go from "oh-my-god it's almost perfect" to "oh-my-god I've ruined it!"

Step 4 — Lower The Opacity
Now leave that last layer active even though it's taken you too far and lower the Opacity using the slider at the top right of the layers palette. This lowers the intensity of the effect. When you've found the right amount, you can flatten your image.

Step 5 — Flatten And Save
Choose Layer> Flatten or use the palette’s flyout menu and choose Flatten Image. That's it. Save your file (File> Save) and you're done.

taken from:Jennifer Apple

How To Wrap Text Around An Object In Photoshop

2008-09-14T07:32:00.003+02:00

If you want to take some text and wrap it around an object there are some complicated procedures using the Shear filter that will yield very precise results, but for most uses the following quick and easy technique will produce the desired effect.

To begin open your image and create a new layer by going Layer> New> Layer.

On this layer you will place the type by choosing a font and typing the words of the phrase you want to wrap. I've found that handwriting fonts work the best.

To select a font in Photoshop go Window> Character. In the palette you'll see a list of your installed fonts. Make sure to tweak the settings so that the spacing and size and color are all appropriate for the effect you want to achieve.

Bend That Text

Make sure that your text layer is active and then go Layer> Type> Warp Text.

Now you need to choose a transform option from the Style popup menu. Choose Arch and then click Horizontal.

The Arch Style's default is to bend from left to top to right, but we want to bend from left to bottom to right, so we need to move the Bend Slider toward the left until we reach a negative number.

I found -22 to be very close to the shape of the curve of the cup's lip, so that worked for me. Readjust the slider until you feel you've got it just right. And that's it! Click OK.

A Couple Of Little Tweaks
One thing that can help is to use the move tool (keyboard shortcut V) and very carefully move your type to reposition it in a more natural looking way. You might also find that you want to rotate the warped text. Go Edit> Transform> Rotate. You'll now see a bounding box. With your cursor outside of the bounding box, click and move your mouse to rotate the text. To accept the changes double-click inside the bounding box, or to cancel hit Esc. If you make a change but then decide against it, choose Edit> Undo.

taken from:Jennifer Apple

How To Resize Images And Maintain Original Sharpness

2008-09-14T07:20:00.002+02:00

You have a nice big beautiful photo. It is gorgeous. But you need it much, much smaller, and by the time the file is down to the right size, you might find that the image has started to take on a blurry look. This is a real problem with resizing images, but luckily in Photoshop there's a very simple solution.

This tip will only work with Photoshop CS2 and CS3. If you don't have a CS version yet I recommend you try and get one as soon as you can, because they are full of powerful new features. For earlier versions of Photoshop there's a workaround at the end of this tip.

When you want to reduce an image go to the Image> Image Size menu. Click on Resample Image and choose Bicubic Sharper from the drop-down menu. This is the best setting for making sure that an image doesn't blur. The example photo of the flower started at 2,000 pixels across. I stepped it down to 250, and then again to 125 with almost no loss of sharpness. For enlarging an image select Bicubic Smoother.

Another thing to keep in mind when resizing is to try to do it only once on an image. Many people will resize repeatedly as they search for the perfect fit for a design element, and then end up with an image with a lot of blur. It's always better to experiment on a duplicate of the image. Then, when you've settled on the final dimensions, you can go back to the original and resize it just once.

Pre-CS Workaround

In earlier versions of Photoshop simply zoom out so that your window and image are at either 50% or 25%, and then take a screenshot of the image window at this new reduced size. You'll find that the image will maintain its sharpness. Now open the screenshot in Photoshop, and crop and save. The trick to making this work is to use either a 50%, 25%, or 12.5% view size before making the capture. If you view the image at 66.7%, 33.3%, or 16.7%, the image will not be as sharp due to the way Photoshop draws images at those sizes.

Troubleshooting

Never resize a GIF image. First change the mode to RGB Color (Image> Mode> RGB Color), and then resize. You can still save your resized image as a GIF, just do not apply resizing while the image is in the GIF mode.

taken from:Jennifer Apple

How To Create A Favicon In Photoshop

2008-09-14T01:46:00.007+02:00

What is Favicon?

A Favicon is a little custom icon that appears next to a website's URL in the address bar of a web browser. They also show up in your bookmarked sites, on the tabs in tabbed browsers, and as the icon for Internet shortcuts on your desktop or other folders in Windows. And when I say little, I mean 16 pixels by 16 pixels. So if you like a good design challenge try your hand at this one.

All you need to add a Favicon to your site is a Windows Icon (.ico) file usually called favicon.ico that you upload to the main directory of your website. Nowadays, most browsers besides Internet Explorer can use a GIF (including animated ones) or PNG (including full transparency) instead. But since all browsers including IE understand the .ico format, and because it's got a lot of intriguing features that GIFs and PNGs don't, read on to find out how to make one.

Download The Plugin
You'll need the Windows Icon (ICO) file format Photoshop Plugin to export to the .ico file format. You can download the plugin from Telegraphics. The plugin reads and writes ICO files in 1, 4 and 8-bit Indexed and 24-bit RGB modes, and also reads and writes 32-bit "XP" icons (with 8-bit alpha channel). Make sure to install the plugin before you begin this tutorial.

Let's Begin
Because 16 x 16 is such a small canvas area, it can be very difficult to be creative. So instead start your project with a canvas set at 64 x 64 (always use even multiples when you plan on resizing files). Do this by selecting File>New, and opening a new canvas that is 64 x 64 pixels in size.

The Design
If you already have a logo you should reduce it to the 16 x 16 size to see if it holds up. If it doesn't look good at this size, work with the 64 x 64 canvas and try creating a simple design that incorporates colors from your website's palette.

When you're ready to test the design select Image>Image Size menu and enter 16 x 16. Click on Resample Image and choose "Bicubic Sharper" from the drop-down menu (CS only for this step). This is the best setting for making sure that an image doesn't blur as it's being resized. If it’s still not sharp enough, go back and oversharpen, oversaturate and/or heighten the contrast of the original image and then resize it again.

If you feel the icon is not quite what you wanted, just keep tweaking it until it is perfect. At this tiny size it can take a few tries before you get it right.

Uploading The Favicon.ico File

Connect to your server and upload your Favicon.ico file to your website. You must place it into the same directory as your home (index) page, and leave it loose, making sure not to put it in an images directory or other folder. The standard location is the “root” folder of your site, which is same directory as your home (index) page, not inside an images directory or other folder. If you put it there (and name it favicon.ico), most browsers will find it automatically.

Some browsers will look for a direct link in the HTML source code to your site's favicon.ico file. You can help these browsers by adding this link in the head section of each page on which you want the Favicon.ico to appear.
Here is the link code to include: <link rel="Shortcut Icon" href="/favicon.ico">
Once you've added this code, upload all of your modified pages.

(Some people suggest that the following is actually more correct:<link rel="icon" href="/favicon.ico" type="image/x-icon"> You can use both if you want!)

If you want to use a GIF or PNG instead, use this format instead (just remember that it won’t work in IE):<link rel="icon" href="/favicon.png" type="image/png"> or
<link rel="icon" href="/favicon.gif" type="image/gif">

Testing
If your new Favicon does not show up right away, try refreshing the page or clearing your cache — or put a '?' at the end of the url, which will trick a browser into thinking the page is new and not cached.

Troubleshooting
Browser Issues: Microsoft IE 6 for Windows will not display the favicon until the URL has been added to the favorites. Or try this trick: go up to the address bar, click on the existing (usually the IE default) favicon, then "jiggle" it a bit and let go. That will reload the page and should get the new favicon to show up.

Safari for the MAC will not display an updated favicon until the browser cache has been cleared. But choosing ‘empty cache’ from the menu won't help because Safari stores favicons in a separate cache. Go to Edit > Reset Safari, and check “Remove all website icons”. If you can’t find that, you must empty the icon cache yourself. Look for it in User>Library>Safari>Icons. On the Windows version of Safari, find C:\Documents and Settings\YourUserName\Local Settings\Application Data\Apple Computer\Safari\WebpageIcons.db. Quit Safari, delete the file, restart Safari. (Sometimes you need to restart the computer too.)

On FireFox, clear the cache and restart the browser. On Opera, just refresh.

Windows can actually be the most beligerent about not updating favicons for Internet shortcuts (on your desktop, for instance). This tip from www.vistax64.com/tutorials:

1. Right-click on the Desktop.
2. Select Personalize and select Display Settings (or simply Settings on XP).
3. Change the Color from 32 bit to 16 bit and click Apply.
4. Change the Color back to 32 bit and click Apply.

File Format Not Available: The Windows Icon (ICO) file format will not be available until you have downloaded and installed the plugin, and then Quit and Restarted Photoshop.

Troubleshooting Update
One person who had trouble with Internet Explorer 7 has sent us a little tip:
I had some trouble with IE 7 — but the addition of these 2 lines of code solved the problem:

<link rel="shortcut icon" href="favicon.ico">
<link rel="icon" type="image/ico" href="favicon.ico">

I found the info here:
www.webmasterworld.com/html/3251565.htm

Multi-Resolution Favicons
So if you’ve gotten this far, you can already see your favicon in your browser’s address bar, and it probably looks great. Feeling ambitious and want to go one step further?

In Windows especially, favicons show up all over the place. For instance, if you put a shortcut to a website on your desktop, Windows often uses the favicon of the site as the shortcut icon. But on the desktop, Windows uses a much larger size icon, usually 48x48 pixels. When this happens, Windows has to scale up your favicon and it will probably look blurry and not so great anymore.

You can fix this. One of the neat things about .ico files is that they can contain multiple versions of the icon, at different sizes and color depths (kinda like an animated GIF contains multiple frames). When they do, Windows uses whichever size and color depth is most appropriate. For the sizes, 16x16, 24x24, 32x32 & 48x48 pixels are most common, and all can put bundled together in a single .ico file.

Creating a multi-resolution icon isn't much harder than what you did to create your 16x16 favicon, Telegraphics, the same place you got your favicon plugin, also has another plugin http://www.telegraphics.com.au/sw/info/icobundle.html that allows you to bundle multiple icons together in a single .ico file. (There are also many standalone tools that will create a multi-resolution icon for you from a single starting image. Here's a couple that are free to try: www.sibcode.com/icon-studio and www.aha-soft.com/anytoicon.)

As for color depth... again, if you're on Windows, you may have noticed before that some icons on your desktop have jaggedy (aliased) edges, while others blend smoothly on the edges. The smooth blending is because those icons contain a version with 32-bit color depth, which allows true transparency, just like your layers in Photoshop. You can create a 32-bit version of your icon, along with 24-bit (16 million colors, gif-like transparency), 16-bit (256 colors) or even 8-, 4- or 2-bit... all of which could again be stored in one .ico file!

So if you want to make sure your favicon looks great wherever people might see it, try creating a few versions in your favicon.ico file. For example:

16x16, 16-bit (256) colors
16x16, 32-bit colors
32x32, 16-bit (256) colors
32x32, 32-bit colors
48x48, 16-bit (256) colors
48x48, 32-bit colors

But don’t go too crazy, because every variation makes your favicon a little bit bigger, which means it will take longer to download.

Inspiration

If you need some inspiration have a look through this nice collection of favicons. Also look at the nice categorized list of 50 remarkable favicons at Smashing Magazine. You might find something that triggers an idea for your own.

That's it. Enjoy your Favicons!

references:Jennifer Apple

Turn A Photo Into A Sketch For Making Coloring Books

2008-09-14T01:25:00.004+02:00

Want to make some nice coloring books? The first step is to turn a photo into a sketch, and that's exactly what we'll do now. This tutorial is fairly easy and consists of just 6 steps.

Start with your selected photo. Prep it so it's exactly the dimensions and resolution you want your final document to be.

STEP 1 - Duplicate The Background Layer
First duplicate the background layer. Go Layer> New> Layer via Copy. Now we have 2 layers, the Background Layer, and Layer 1.

STEP 2 - Desaturate The Photo
With Layer 1 selected, choose Image> Adjustments> Desaturate. This gives us a grayscale version of the photo.

STEP 3 - Duplicate Layer 1
At this point you must duplicate Layer 1. With Layer 1 selected, go Layer> New> Layer via Copy. Now we have 3 layers, the Background Layer, Layer 1 and Layer 2.

Next we'll be working with Layer 2.

STEP 4 - Invert Layer 2
With Layer 2 selected, go Image> Adjustments> Invert. This will make your photo look like a negative.

STEP 5 - Change The Layers Blend Mode To Color Dodge
In the Layers Palette change the Layers Blend Mode for this layer (Layer 2) to Color Dodge. This will make your photo almost completely white, but don't panic! Everything is going to work out just fine.

STEP 6 - Apply The Gaussian Blur Filter
Go Filter> Blur> Gaussian Blur. When the dialog box appears start by moving the Radius Slider all the way to the left. Once you've done that you can start to slowly move it to the right.

Now here comes some real Photoshop magic — because as you move the slider your sketch will start to appear.At this point take time to experiment and make sure you are getting the desired effect.

Bigger numbers create a more pronounced effect, but at some point this will turn your sketch back into a photo, which you don't want, so when you reach that point simply nudge the slider to the left just a little and that should do it!

For my apple sketch I used a Radius setting of 9.8 pixels.

Experiment With Settings
This technique will also work with the Motion Blur Filter and the Radial Blur Filter. The reason I mention this is sometimes an image will not work as expected, and so you have to try different methods.

Calling All Cezannes
Now print out your best sketches and create some nice coloring books, then give the kids some crayons and see what kind of crazy masterpieces they come up with!

references:

DISPLACE SHADOWS WITH PHOTOSHOP

2008-09-14T00:14:00.016+02:00

1. In Photoshop, open up the image on which you would like to create the displaced shadow. Here we want to put a hat on this incredibly good looking face and give it a realistic shadow. To start, we want to create a new image file using this image.

Shortcuts

Throughout this document, “Command/ Ctrl” means Command on the Macintosh® and Ctrl on Windows.®“ Option/Alt” means Option on the Macintosh and Alt on Windows.

2. Go to the Channels palette. Toggle through the three channels by pressing Command/Ctrl + 1 = Red Command/Ctrl + 2 =Green Command/Ctrl + 3 = Blue Find the one channel with the most contrast. In our case it was the red channel. With the channel selected, choose Duplicate Channel.

3. In the dialog box you will want to choose “New” under Document. Then in the Name field type in “Blur map”. Note: if you are on Windows you must give it the .psd extension.

4. You should now have a new image with the file name Blur map open on your desktop.

Notice: if you check its channels, it has only one channel

This is important because we only want to displace our shadow vertically. In order to have true horizontal displacement there must be a second channel.

Displacement map

Is basically a second A Displacement map image that the Displacement filter uses to determine how

to distort the selection. Any Photoshop file except bitmaps can be used.

5. Now we want to smooth out the gradations in this image and have detail without any speckling. The best way to do this is to choose Filter > Noise > Despeckle. Repeat filter three to four times. (Command/Ctrl + F) The softer and smoother the displacement map, the smoother the shadow effect. Once you have done this, save the image and put it aside.

6. Let’s go back to our original image. Get back in RGB composite mode. (Command/Ctrl +~) Next, open the image that you want the shadow to fall under. In this case, we want to have a realistic shadow falling under the brim of this hat. Ahha, now it’s starting to make sense! Notice that our hat already has a transparent background.

7. Bring in the second image either by copying and pasting or dragging and dropping. Size it using the transform tool (Command/Ctrl + T). Place it into final position. You’ll want to do this in order to see where the shadow needs to fall.

Transform!

To bring up the dialog box for the Transform tool, try the shortcut Shift + Command/Ctrl + T.

8. Now, we want to create our shadow. Select the bottom layer and click the new layer icon. This will create a new layer between the hat and our face for the shadow. With this layer still selected, create an approximate shadow using one of the selection tools. (Remember, the exact shaping will be done with the Displacement filter). Fill your selection with 50% gray. Deselect, and choose Filter > Blur > Gaussian blur to create a soft shadow.

Shadows

Another quick way to create a soft shadow is make your selection then choose Select > Feather. Type in a pixel value for the selection edges to be feathered.

9. With the shadow layer still selected choose Filter > Distort> Displace. Enter 0 in the Horizontal scale and approximately30 in the Vertical scale. (Although you may want to

experiment with the amount.) The rest of the settings can stay the same. Click OK.

Displacement Filter

Remember, the image we’re using for our displacement map has only one channel. Through experimentation, we have found that only the vertical scale is needed for a good-looking shadow.

10. Next, a dialog box appears asking for a file to use for the displacement map. Navigate to where you saved the Blur map file and select it. Click OK and wait for the results. Wow! The shadow magically bends over the contour of this perfect face. Ahaa.

11. Now, to make it a little more realistic, set the mode to Multiply. Looks OK, but we can do better than this!

Multiply Mode

Effectively like sandwiching two negatives together, this mode looks at the color information in the channels and multiplies the base color by the blend color, darkening the color underneath it.

12. For the final touch we want to add a bit of warmth and color to the shadow as there would be in real life. Fortunately, Photoshop 4.0 Adjustment layers make this a snap. Choose New Adjustment Layer from the layers pop-up menu. Choose Hue/Saturation and make sure to select “Group with Previous Layer.” This way the adjustment layer will affect only the shadow layer.

13. In the Hue and Saturation dialog box, select Colorize and then adjust your HSL levels until you have your desired density and shadow color.

Colorize

You can use this effect to colorize black-and white images or to create a monotone effect. Your selected image will be converted to shades of red. You can then adjust the color using the Hue slider.

14. Voila! There you have it! The perfectly shaped and shaded shadow. For a finishing touch to make the hat appear as though it were sitting on the head, we added a single 50% brushstroke to the shadow layer underneath the hat.

references:Adobe Seminars Web Page Design
by Lisa Lopuck and Sheryl Hampton

Official legal disclaimer

2008-09-13T23:14:00.008+02:00

Make your photos for free

First of all......u have to give us your photo and then choose 3 advertisers useful to u and u interested in it from google advertisers and save it's pages on ur computer and send them to us with your pictures and a "notepad including ur e-mail "via email(fileflyer) as the picture shows.

sending your data couldn't have been easier with fileflye (www.fileflyer.com) open this site and then upload all your data and if you want to order special effects on your photo or something defined.....just tell us and we will surely make it for u ,just send it on this email (photomakers2010@yahoo.com)

we are not responsable for any porn photos sent to us and so we won't work on it.

link exchange

2008-09-13T23:04:00.005+02:00

Hi, wanna place your link here.
Just place a link to my blog in your blog or site,notify me, and i'll place your link here.you can notify me on my email.....or simply ,comment on this post..... ;)
why to do so?....to incrase your traffic on your site by making your blog or site widely open to alot of networks and spider webs........
photomakers2010@yahoo.com

links

make ur photos for free

self improvement tips

quotes book

INTERFACE TIPS

2008-09-11T01:01:00.005+02:00

1. You probably knew that pressing the Tab key hides the toolbar and palettes, but you can also press Shift+Tab to hide only the palettes (thereby leaving the toolbar visible).

2. Snap your palettes to the nearest screen edge by Shift-clicking on their title bars.

3. Minimize palettes by double-clicking on their (names in the) palette tabs. Use the minimize button on the palette title bars to cycle between: compact mode (minimum number of options / contents visible) and contents mode (view all palette options / contents).

Note: (Photoshop 6) You can also double-click the toolbar’s title bar to minimize it.

4. Press Enter (or double-click on a tool icon in the toolbar) to reveal the Options palette for the currently active tool; alternatively, you may choose Window » Show Options from the menus to reveal the Options palette.

5. Use the Zoom field (in the bottom-left of the Photoshop window or Navigator palette) to quickly enter an exact zoom level; press Shift+Enter after entering a value to have the field remain active.

6. To change the (document size) information displayed in the status bar (bottom of the screen – Window » Show Status Bar), click on the > button and choose a new item from the pop-up menu. Click on the status bar (to the left of the > button) to display the Print Size of the current document. Alt-click to see the image dimensions and resolution. Ctrl-click for Tile information.

7. You can fill the (gray) canvas borders with the foreground color by Shift- clicking on it with the Paint Bucket tool [K].

Note: To replace the default color, change the foreground color to 25% gray (R192, G192, B192) and Shift-click on the canvas border again.

8. Hold down the Alt key to change any Cancel button into a Reset button (in any dialog box); this allows you to easily restore values without having to Cancel and come back.

9. Use the Caps Lock key to turn Precise Cursors on / off.

Note: This does not work if Precise Cursors are already enabled in the Preferences [Ctrl+K, Ctrl+3] (File » Preferences » Display & Cursors...).

10. Press "F" to cycle between three different Full Screen modes (or use the Mode buttons near the bottom of the toolbar).

Tip: Press Shift+F to toggle the menus in Full Screen mode.

11. Double-clicking on Photoshop's background (the gray background) will summon the Open command [Ctrl+O] (File » Open...).

12. Shift-click on the color ramp (on the Color palette [F6] (Window » Show Color)) to change the spectrum. Alternatively, you may either right-click on the color ramp or open the Color palette menu to select an alternate color mode.

13. Right-click on an image window's titlebar to quickly access features like Canvas Size, Image Size and Duplicate.

14. Pausing the mouse pointer over an image window's title bar will reveal (via a tool tip) the full path of the current document.

15. Add a custom color to the Swatches palette (Window » Show Swatches) by clicking on any empty (gray) area. Remove a color by Ctrl-clicking on it. Replace a color by Shift- clicking on it. Insert a new swatch color (between two other colors) by Alt+Shift-clicking on either color.

16. Use the Hexadecimal Color Field (#) in the Color Picker to copy and paste color values from one place in Photoshop to another (or even to another application that supports Hexadecimal color values).

17. To increase / decrease the size of the Curves window [Ctrl+M] (Image » Adjust » Curves...), click on the maximize / minimize button.

Note: Clicking the maximize / minimize button toggles the Curves grid between 171 pixels and256 pixels wide. For greater accuracy, use the larger grid, since you have control over all 256 shades of gray in the image (compared to 171 shades by using the small grid).

Tip: Alt-click on the Curves window to increase the grid size.

Tip: Hold down the Alt key to change Auto button into an Options button (and the Cancel button into a Reset button).

18. (Photoshop 6 and Image Ready) Alt-click on a triangle icon to expand or collapse all child elements of an action, action step, layer style, or layer set.

FROM 120 THINGS YOU NEVER KNEW ABOUT PHOTOSHOP
by Trevor Morris

QUICK PICTURE FRAMES

2008-09-10T17:19:00.009+02:00

1. Open the image you want to frame. The image size must be more than 100 pixels in both width and height. This action works best on a flattened or a one-layer file. Here we are using the Wilderness file found in the Adobe Photoshop 5.0 Goodies Sampler folder.

2. Choose Window > Show Actions to display the Actions palette. Open the Default Actions set.

3. Select the Wood Frame - 50 pixels Action and click the Play button. Once you click the Play button a dialog box will appear. Click Continue if you have at least a 100 pixel wide and tall image. Click Stop if your image is smaller than this. Applying the Action to your image will make your image 100 pixels make your image 100 pixels wider and 100 pixels taller than the original image.

4. The Action creates a “wood” frame around your image. If you are satisfied with the image, save the file now and you are finished. If you want to change the color of the frame, go to step 5.

Layer Effects

To change a layer effect setting, double-click on the layer effect icon, located in the Layer palette.

5. Select the frame layer. From the Layers palette, choose New Adjustment Layer.

6. Choose the type of adjustment you want to make. In this case we want to change the color of the frame so choose Hue/Saturation. Click Group With Previous Layer so that the color adjustment affects only the frame layer.

Adjustment Layers

If you want to experiment with color or contrast adjustments but you don’t want to permanently change the original, use adjustment layers. They float above the layers you want to alter. If you don’t like the effect, just double click on the adjustment layer and change the values. You can apply an adjustment layer to an entire file or to just one layer at a time.

7. Select the Colorize option. Then move the Hue slider until you find the color you want. To make the color more or less intense, adjust the Saturation slider. To make the color lighter or darker, adjust the Lightness slider

8. Click OK to view the results. Remember, you used an adjustment layer for maximum flexibility, so you can double click on it at any time and change the values.

references: Adobe Seminars: Web Page Design
by Lisa Lopuck and Sheryl Hampton

MASKING SEVERAL LAYERS WITH ONE IMAGE

2008-09-10T02:50:00.005+02:00

Sometimes you want to mask or crop more than one image with the
same shape. To allow for the most flexibility, use a clipping group
with your layers. In this example we used type as the masking layer
and two different fabric layers. We wanted to leave them on separate
layers to allow for more experimentation.

1. Open or create a file that contains all the layers that you want to mask through a

Common mask. The layer that will mask the others should be the bottom-most layer. In this example we will mask both the lace and the floral layers with the big type layer. Remember to put your mask shape on a transparent background.

Base layer (mask)

The shape that masks all the layers in the clipping group must be on a transparent background or the effect will not work. The masking shape is created by every pixel on the base layer no matter what color it is. The edge of the mask shape is wherever there is a pixel next to a transparent area.

2. Make a clipping group by holding the Option/Alt key and clicking between the layers that will be in the group. Notice how the cursor changes to indicate that you are making a clipping group, and the Layer thumbnail indents.

Group modes

All clipping groups have a base layer. This is the bottom layer in the group, and it defines the shape of the mask through layers in the group are displayed. The base layer defines the mode and transparency of all the layers in its group.

3. Option/Alt clicks between all the layers that will be in the clipping group. Note: You can move layers around within a group, but once you move a layer outside of the group, it will no longer be masked by the base layer.

Clipping groups

As you click the lines between the layers to make a clipping group, they become dotted lines. The base layer is the one with the underlined layer name.

references:

Adobe Seminars: Web Page Design

by Lisa Lopuck and Sheryl Hampton

Use The Displace Filter & Displacement Maps To Make A Realistic Flag

2008-09-07T09:24:00.018+02:00

Liquid pixels - wrapping pixels over undulating silkThe layer blend modes are an effective way of merging or blending a pattern or graphic with a three-dimensional form. By using the blend modes the flag in this project can be modified to respect the color and tonality of the undulating silk beneath it.

The highlights and shadows that give the silk its shape can however be further utilized to wrap or bend the flag so that it obeys the material’s shape and sense of volume. This can be achieved by using the Displace filter in conjunction with a ‘displacement map’. The ‘map’ defines the contours to which the flag must conform. The final effect can be likened to ‘shrink-wrapping’ the flag to the 3-D form of the undulating silk.

How it works: The brightness level of each pixel in the map directs the filter to shift the corresponding pixel of the selected layer in a horizontal or vertical plane. The principle on which this technique works is that of ‘mountains and valleys’. Dark pixels in the map shift the graphic pixels down into the shaded valleys of the 3-D form whilst the light pixels of the map raise the graphic pixels onto the illuminated peaks of the 3-D form.

STEP 1

A silk dressing gown was photographed using the available light. For this image to act as an effective displacement map the contrast must however be expanded. An effective way of expanding contrast in Photoshop Elements is to duplicate the layer and set the top layer to ‘Overlay’ blend mode. Note the changes to the histogram by viewing the histogram in the Histogram palette.

STEP 2

Go to the Image menu and from the Mode submenu select ‘Grayscale’. Choose the option ‘Flatten’ when the Warning dialog box appears.

Note > The displacement map must be in Grayscale otherwise the color channels will upset the appropriate displacement effect.

STEP 3

To further improve the effectiveness of the displacement map we must blur the image slightly. This effect of blurring the map will smooth out the lines of the flag as it wraps around the contours of the silk. Too much blur and the undulations will be lost, too little and the lines of the flag will appear jagged as it is upset by any minor differences in tone. Go to ‘Filter > Blur > Gaussian Blur’ and start by selecting a Radius of around 10 pixels. Increase or decrease this radius when working with images of a different resolution.

STEP 4

Save the image (displacement map) as a Photoshop (PSD) file. Close the blurred Grayscale file as the map is now complete. You will need to choose this file when the Displacement filter asks for the location of your map, so make a note of where it has been saved to on your computer.

STEP 5

Open or select the RGB silk file that has not been blurred. Also open the flag image. With the flag image as the active window, choose ‘All’ from the Select menu and then choose ‘Copy’ from the File menu. Now make the silk image the active window and choose ‘Paste’ from the File menu. Alternatively you can just drag the thumbnail of the flag image in the Layers palette into the image window of the silk image if you can see both image windows on your desktop.

Set the blend mode of the flag layer to ‘Multiply’. If you are intending to displace a graphic or a texture it is worth ensuring that you have some elbow room (when we displace the flag it will come away from, and reveal, the edges of the background layer if they are the same size). Use the Free Transform command to enlarge the flag layer so that it is a little larger than the background layer.

STEP 6

Go to ‘Filter > Distort > Displace’. Enter in the amount of displacement in the Horizontal and Vertical fields of the Displace dialog box. The size of the displacement is dependent on the resolution of the image you are working on. Choose amounts of 40 for both fields for the Flag.jpg used in this project. Increasing the amount greater than 60 for either the Horizontal or Vertical scale will increase the amount of distortion in this project image, but will also start to break off islands of color from the design of the flag indicating that the limit of the effect has been exceeded. Choose the displacement map you created earlier to complete this step. Your flag should now miraculously conform to the contours of the silk. If you are not entirely happy with the results go to the Edit menu and choose ’Undo’. Repeat the process choosing smaller or greater amounts in the Displace dialog box.

Note > It helps if the graphic or pattern image file you are displacing is slightly larger than the image file you created the map for. This will ensure that no gaps appear between the distorted graphic and the edge of the image window.

STEP 7

Add an adjustment layer and drag the Highlight slider to the start of the histogram to extend the dynamic range and make the highlights and midtones appear brighter. Your dramatic and colorful background is now complete.

TAKEN FROM "MARK GALER"

Adjusting Exposure in Adobe Camera Raw CS3

2008-09-07T09:00:00.011+02:00

For those digital photographers interested in the dark side, an old SLR loaded with a fine-grain black and white film is a hard act to follow. The liquid smooth transitions and black velvet-like quality of dark low-key prints of yesteryear is something that digital capture is hard pressed to match. The sad reality of digital capture is that underexposure in low light produces an abundance of noise and banding (steps rather than smooth transitions of tone). The answer, however, is surprisingly simple for those who have access to a DSLR and have selected the Raw format from the Quality menu settings in their camera. Simply be generous with your exposure to the point of clipping or overexposing your highlights and only attempt to lower the exposure of the shadows in Adobe Camera Raw.

STEP 1

The first step is the most difficult to master for those who are used to using Auto or Program camera exposure modes. Although the final outcome may require deep shadow tones, the aim in digital low-key camera exposure is to first get the shadow tones away from the left-hand wall of the histogram by increasing and NOT decreasing the exposure. It is vitally important, however, not to increase the exposure so far that you lose or clip highlight detail.

The original exposure of the image used in this project reveals that the shadow tones (visible as the highest peaks in the histogram) have had a generous exposure in-camera so that noise and banding have been avoided (the tones have moved well to the right in the histogram). The highlights, however, look as though they have become clipped or overexposed. The feedback from the histogram on the camera's LCD would have confirmed the clipping at the time of exposure (the tall peak on the extreme right-hand side of the histogram) and if you had your camera set to warn you of overexposure, the highlights would have been merrily flashing at you to ridicule you of your sad attempts to expose this image.

The typical DSLR camera is, however, a pessimist when it comes to clipped highlights and ignorant of what is possible in Adobe Camera Raw. Adobe Camera Raw can recover at least one stop of extra highlight information when the Exposure slider is dragged to the left (so long as the photographer has used a DSLR camera that has a broader dynamic range than your typical fixed lens compact digicam).

'Exposing right'When the Auto checkbox in the Exposure slider is checked, Adobe Camera Raw often attempts to rescue overexposed highlights automatically. With a little knowledge and some attention to the camera's histogram during the capture stage, you can master the art of pushing your highlights to the edge.

So if your model is not in a hurry (mine is watching a half-hour TV show) you can take an initial exposure on Auto and then check your camera for overexposure. Increase the exposure using the exposure compensation dial on the camera until you see the flashing highlights. When the flashing highlights start to appear you can still add around one extra stop to the exposure before the highlights can no longer be recovered in Adobe Camera Raw. The popular term for this peculiar behavior is called 'exposing right'.

Performance Tip:

If the highlights are merrily flashing and the shadows are still banked up against the left-hand wall of the histogram, the solution is to increase the amount of fill light, i.e. reduce the difference in brightness between the main light source and the fill light. If you are using flash as the source of your fill light, it would be important to drop the power of the flash by at least two stops and choose the 'Slow-Sync' setting (a camera flash setting that balances both the ambient light exposure and flash exposure) so that the flash light does not overpower the main light source positioned behind your subject. The harsh light from the on-camera flash can also be diffused using a diffusion device.

STEP 2

Before we massage the tones to create our low-key image we must first check that our tones are smooth and free from color and luminance noise. Zoom in to 100% magnification for an accurate preview and look for any problems in the smooth dark-toned areas. Setting both the Luminance Smoothing and Color Noise Reduction sliders to 25 (found in the Detail tab) removes the noise in this image. I would also recommend that the Sharpness slider be set to 0 at this point. Rather than committing to global sharpening using the Adobe Camera Raw dialog box, selective sharpening in the main Photoshop editing space may help to keep the tones as smooth as possible.

STEP 3

Create the low-key look by moving the Exposure and/or the Brightness sliders to the left in the Basic tab. You can continue to drop these sliders until the highlights start to move away from the right-hand wall of the histogram. Select the 'White Balance Tool' and move your mouse cursor over the deeper shadows – this will give you an idea of the RGB values you are likely to get when this image is opened into the editing space. Once you approach an average of 15 to 20 in all three channels the low-key look should have been achieved.

TAKEN FROM "MARK GALER"

Basic Drawing Skills

2008-09-07T08:30:00.014+02:00

Vector lines and shapes are constructed from geographical markers (anchor points) connected by lines or curves. Many photographers have looked with curiosity at the vector tools in Photoshop’s Tools palette for years but have dismissed them as ‘not for me’. The reason for this is that drawing vector lines with the Pen Tool for the inexperienced image-editor is like reversing with a trailer for the inexperienced driver. It takes practice, and the practice can be initially frustrating.

The pen can draw a vector shape whilst filling it with a color and applying a layer style—all at the same time. Although tempting, this has nothing to do with selecting a bald man’s head, so we must be sure to disarm this charming little function. We can also use the training wheels, otherwise known as the ‘Rubber Band’ option, by clicking on the menu options next to ‘Mr Blobby‘.

Basics Step 1

Go to File > New and create a new blank document. Choose ‘White’ as the ‘Background Contents’. Size is not really important (no really—in this instance anything that can be zoomed to fill the screen will serve your purpose). Click on the Pen Tool (double-check the ‘Paths’ option, rather than the ‘Shape layers’ option, is selected in the Options bar) and then click and drag (hold down the mouse clicker as you drag your mouse) in the direction illustrated above. The little black square in the center of the radiating lines is called an anchor point. The lines extending either side of this anchor point are called direction lines, with a direction point on either end, and that thing waving around (courtesy of the Rubber Band option) is about to become the path with your very next click of the mouse.

Basics Step 2

Make a second click and drag in the same direction. Notice how the dragging action modifies the shape of the previous curved line. Go to the ‘Edit’ menu and select ‘Undo’. Try clicking a second time and dragging in a different direction. Undo a third time and this time drag the direction point a different distance from the anchor point. The thing you must take with you from this second step is that a curve (sometimes referred to as a Bézier curve) is both a product of the relative position of the two anchor points either side of the curve, and the direction and length of the two direction lines (the distance and direction of the dragging action).

Basics Step 3

Scenario one: Let us imagine that the first click and drag action has resulted in a perfect curve; the second dragging action is not required to perfect the curve but instead upsets the shape of this perfect curve—so how do we stop this from happening? Answer: Hold down the Alt key (PC) or Option key (Mac) and then drag away from the second anchor point to predict the shape of the next curve. This use of the Alt/Option key cancels the first direction line that would otherwise influence the previous curve.

Scenario two: Let us imagine that we have created the first perfect curve using two normal click and drag actions (no use of a modifier key). The direction lines that are perfecting the first curve are, however, unsuitable for the next curve—so how do we draw the next curve whilst preserving the appearance of the first curve? Answer: The last anchor point can be clicked whilst holding down the Alt/Option key.

This action converts the smooth anchor point to a corner anchor point, deleting the second direction line. The next curved shape can then be created without the interference of an inappropriate direction line. Note: The information that you need to take from this third step is that sometimes direction lines can upset adjacent curves. The technique of cancelling one of the direction lines using a modifier key makes a series of perfect curves possible. These two techniques are especially useful for converting smooth points into corner points on a path.

Basics Step 4

Just a few more steps and we can go out to play. It is possible to change direction quickly on a path without cancelling a direction line. It is possible to alter the position of a direction line by moving the direction point (at the end of the line) independently of the direction line on the other side of the anchor point. To achieve this simply position the mouse cursor over the direction point and, again using the Alt/Option key, click and drag the direction point to a new position.

Basics Step 5

If this path is going to be useful as a selection, it is important to return to the start point. Clicking on the start point will close the path. As you move the cursor over the start point the Pen Tool will be accompanied by a small circle to indicate that closure is about to occur. You will also notice that the final curve is influenced by the first direction line of the starting anchor point. Hold down the Alt/Option key when closing the path to cancel this first direction line. Alternatively, hold down the Alt/Option key and drag a new direction line to perfect the final curve.

Basics Step 6

When a path has been closed it is possible to add, delete, convert or move any point. Although these additional tools are available in the Tools palette they can all be accessed without moving your mouse away from the path in progress. If the Auto Add/Delete box has been checked in the Options bar you simply have to move the Pen Tool to a section of the path and click to add an additional point (the pen cursor sprouts a plus symbol). If the Pen Tool is moved over an existing anchor point you can simply click to delete it.

Holding down the Ctrl key (PC) or Command key (Mac) will enable you to access the Direct Selection Tool (this normally lives behind the Path Selection Tool). The Direct Selection Tool has a white arrow icon and can select and move a single anchor point (click and drag) or multiple points (by holding down the Shift key and clicking on subsequent points). The Path Selection Tool has to be selected from the Tools palette and is able to select the entire path.

Basics Step 7

The final step in the creation of a Path is to save it. All Paths, even Work Paths, are saved with the image file (PSD, PDF, PSB, JPEG or TIFF). If, however, a Work Path is not active (such as when the file is closed and reopened) and then the Pen Tool is inadvertently used to draw a new Path, any previous Work Path that was not saved is deleted. Click on the Paths palette tab and then double-click the Work Path.

This will bring up the option to save and name the Work Path and ensure that it cannot be deleted accidentally. To start editing an existing Path click on the path in the Paths palette and then choose either the Direct Selection Tool or the Pen Tool in the Tools palette. Click near the Path with the Direct Selection Tool to view the handles and the Path.

TAKEN FROM " MARK GALER"

Selecting & Extracting Hair - Masking Tutorial - Extraction Tips

2008-09-07T07:54:00.018+02:00

One of the most challenging montage or masking jobs in the profession of post-production editing is the hair lift. When the model has long flowing hair and the subject needs to change location many post-production artists call in sick. Get it wrong and, just like a bad wig, it shows. Extract filters, Magic Erasers and Tragic Extractors don’t even get us close.

The first secret step must be completed before you even press the shutter on the camera. Your number one essential step for success is to first shoot your model against a white backdrop, sufficiently illuminated so that it is captured as white rather than gray. This important aspect of the initial image capture ensures that the resulting hair transplant is seamless and undetectable. The post-production is the easy bit - simply apply the correct sequence of editing steps and the magic is all yours. This is not brain surgery but follow these simple steps and you will join the elite ranks of Photoshop gurus around the world. Celebrity status is just a few clicks away.

Step 1

The initial steps of this tutorial are concerned with creating a mask that can be used in the final montage. Start by dragging the background layer to the New Layer icon to duplicate it. Choose ‘Remove Color’ from the Adjust Color submenu found in the Enhance menu (Enhance > Adjust Color > Remove Color). Drag this desaturated/monochrome layer to the New Layer icon in the Layers palette to duplicate it. Set the blend mode of this new layer (now on top of the layers stack) to ‘Overlay’ mode.

Step 2

From the Layer menu choose ‘Merge Down’ to create a single high-contrast monochrome layer. Select ‘Black’ as the foreground color and the ‘Brush tool’ from the Tools palette. Choose a large hard edged brush and 100% opacity from the Options bar and set the mode to ‘Overlay’ (also in the Options bar). Painting in Overlay mode will preserve the white background and darken the rest of the pixels. Accuracy whilst painting in Overlay mode is not a concern when the background is white or is significantly lighter than the subject. Avoid going anywhere near the tips of the hair at this stage.

Step 3

Even the bright tones of the white shirt can be rendered black by repeatedly clicking the mouse whilst using a large brush in Overlay mode. Again it is important to avoid going anywhere near the hair.

Step 4

Darken the body of the hair near the scalp but avoid the locks of hair that have white background showing through. Painting these individual strands of hair will thicken the hair and may lead to subsequent halos appearing later in the montage process.

Performance Tip

Switch the blend mode of the brush in the Options bar to ‘Normal’ mode when painting away from the edge of the subject. This will ensure a speedy conclusion to the mask making process. The mask is now ready to use in the montage.Note > If any of the background has been darkened in the process of creating a black and white mask switch the foreground color to ‘White’ and choose ‘Overlay’ in the Options bar. Paint to render any areas of gray background white. It is again important to avoid painting near the edges containing delicate hair detail.

Step 5

With the Remove Color layer selected add a Levels adjustment layer. Without making any adjustment simply select OK. This Levels adjustment layer has a layer mask that we can use to house the mask that we have created in the previous step.

Step 6

The next step relocates the mask you have just created into the layer mask of the adjustment layer. From the Select menu choose ‘All’ and from the Edit menu choose ‘Copy Merged’. Hold down the Alt key and click on the layer mask thumbnail in the Layers palette. The image window will momentarily appear white as you view the empty contents of the layer mask. From the Edit menu choose ‘Paste’ to transfer the contents of the clipboard to this layer mask. Click on the layer below to select it and then click on the Visibility icon of this layer to switch it off. This mask layer serves no purpose now that it has been successfully transferred to the adjustment layer mask.

Step 7

The new background is placed on its own layer above the figure and mask layers. Drag the thumbnail of this new file into the image window of your project file from either the Photo Bin or the layer thumbnail in the Layers palette. Group this new background layer with the adjustment layer beneath (Layer > Group with Previous). Alternatively you can hold down the Alt key and click on the dividing line between the two layers to group them.

Step 8

Grouping the new background with the adjustment layer will mask the background in the region of the figure but the quality will not yet be acceptable. Setting the blend mode of the adjustment layer to ‘Multiply’ will bring back all of the fine detail in the hair. The background will be not darkened by applying the ‘Multiply’ blend mode as white is a neutral color. The subtle detail in the fine strands of hair will however be preserved in all their glory.

Step 9

The accuracy and quality of the edge of the mask will usually require some attention in order for the subject to achieve a seamless quality with the new background. Make a selection of all of the edges that do not include any hair detail using the Lasso tool with a small amount of feather set in the Options bar. With the adjustment layer mask selected choose the ‘Gaussian Blur filter’ (Filter > Blur > Gaussian Blur) and apply a 1- to 2-pixel Radius Blur to the mask. Click OK and then from the Enhance menu choose a Levels adjustment from the Adjust lighting submenu. Move the central Gamma slider underneath the histogram to realign the edge of the mask with the subject edge (no dark or light halo should be visible).

Performance Tip

If the mask is too soft the edges can be sharpened by moving the black and white sliders in towards the central Gamma slider a little. Select OK when perfect alignment has been achieved.Zoom in to 100% Actual pixels whilst working to accurately assess the quality of your mask.

Step 10

In most instances the hair is already looking pretty fabulous but to modify and perfect the hair even further you will need to inverse the selection (Select > Inverse). Choose ‘Levels’ once again and move the central Gamma slider to the left to increase the density of the hair and eliminate any white halos that may be present. Moving the White slider to the left a little may help the process of achieving a perfect blend between subject and background. Select OK and choose ‘Deselect’ from the Select menu.Performance TipAny localized refinement of the mask can be achieved manually by painting with a small soft edged brush directly into the layer mask. Paint with white at a reduced opacity (10-20%) to remove any fine halos present in localized areas. Several brush strokes will slowly erase the halo from the image.

Step 11

The true test of an accurate mask for a subject that was photographed against a white background is when you place the subject against a very dark background. Grouping a Levels adjustment layer with the new background layer can darken the background image used in this project. Hold down the Alt key when you select a Levels adjustment layer from the Layers palette. Click on the Group with Previous box in the New Layer dialog box and then select OK to open the Levels dialog box. Move the Gamma slider to the right in order to preview your subject against a darker background in the image window.

Remove Red Eye in Photoshop CS3

2008-09-06T22:54:00.000+02:00

Create Old Burnt Parchment Paper in Photoshop CS3

2008-09-06T22:47:00.000+02:00

Crop an Image in Photoshop CS3

2008-09-06T22:35:00.001+02:00

Adding Light To A Photo

2008-09-06T22:22:00.002+02:00

Lighting is one of the most important techniques a designer must use frequently, so in this tutorial I decide to write a tutorial showing how to play with lighting effect. First we will add light on a black and white photo and at the end I will show you a simple way to bring a little color to your light.

Step 1: First we need a background, I use this beautiful back-and-white photo, which has inspired me a lot: Go to Image > Adjustments > Color Balance or press Ctrl-B to bring up the Color Balance box, adjust only Midtones settings to bring our photo a little color
Step 2: Reset your foreground and background colors by pressing D. Create a new layer and go to Filter > Render > Clouds to create some clouds
Go to Filter > Render > Difference Clouds and repeat this effect some times (by pressing Ctrl-F) until you get an image like this

Notice that we should have some white clouds on the left because they will transfer into light in a next few steps

Step 3: Go to Image > Adjustments > Brightness / Contrast and use the following settings:
Increase the black and white areas by going to Image > Adjustments > Levels (Ctrl-L), move the black and white points to the center

Step 4: Go to Filter > Blur > Motion Blur and use these settings:
Change the blending mode of this layer to Soft Light
If the light is still too sharp, go to Filter > Blur > Gaussian Blur, adjust it to make the light blur enough

Step 5: In this step, we will make the light more realistic. Create a vector mask on the current layer (by pressing the Add vector mask at the bottom of Layers tab) and use the Gradient tool with White to Black and Radial Gradient options to draw a line from the top-right to the bottom-left corner
Now our light had the gradient effect! Press Ctrl-J to duplicate this layer, our light will become brighter.

Step 6: Bring a little color to our light! We can't apply color directly to the white light we has created with Hue/Saturation or Color Balance so we will use a little trick here. Create a new layer and use the Brush tool with a soft brush and orange foreground (#ffa800). Now paint your photo like this:
Change the Blending mode to Soft Light and ...wow, our light is awesome

contact

2008-09-05T10:21:00.000+02:00

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2007-09-24T13:26:00.000+02:00

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2007-09-24T12:57:00.000+02:00

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2007-09-11T08:29:00.000+02:00

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