Beginning Adobe Photoshop CS2

In this hands-on course, you'll build a foundation of knowledge in the three main areas of the pixel-
based environment of Adobe Photoshop CS2: image preparation, image editing, and image creation.
You'll become familiar with the workspace filled with tools, option bars, and palettes. Then you'll find out
how to create a new image, then crop, transform, retouch, resize, use selection methods, and add
artistic touches to the image.
Lessons
Overview of Adobe Photoshop CS2 1.
You'll start with an introduction to the pixel-based environment, then learn to
create a new image, select it, and make an example to show the difference
between a pixel image and a vector image. You'll also learn how to capture a
screen image, crop it, and perform some transformations.
Selection and Deletion Methods 2.
Building on what you learned in the first lesson, this lesson introduces you to
selection and deletion tools and methods, which you'll apply by creating
mirrored and reflection images. Then, you'll learn how to create a vignette effect
for an image and add an artistic background.
Photo Retouching and Color Adjustments 3.
In this lesson, you'll learn several techniques for touching up images using the
Healing Brush, Patch, and Clone Stamp tools. In addition, you'll learn basic
information about color, how to change the color mode of an image, and explore
the color correction options.
Image Resizing and Resolution 4.
You'll wrap up this introduction to Adobe Photoshop CS2 with an overview of
image size and resolution, and their importance in image preparation. You'll
learn about the size of digital images and how to resize images for print,
onscreen presentations, and e-mail.
Overview of Adobe Photoshop CS2
You'll start with an introduction to the pixel-based environment, then learn to create a new image, select it, and
make an example to show the difference between a pixel image and a vector image. You'll also learn how to
capture a screen image, crop it, and perform some transformations.

Introduction to Adobe Photoshop CS2

Welcome to Beginning Adobe Photoshop CS2! Adobe Photoshop is the industry-
standard image editing program. It's a powerful program with many features for a wide
variety of users including photographers, illustrators, graphic designers, fine artists,
scientists, and many other professionals.
Throughout this course, we provide Flash examples of various Photoshop features
and steps covered in the lessons. To view these examples, you need the Adobe
Flash Player. Keep an eye out for links that say "To see this in action" or
something similar.
In this course, you'll learn general knowledge of image editing and program
fundamentals. You'll be introduced to concepts, methods, and the basic operation of
Photoshop, such as:
Bitmap and vector images

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Photoshop work area and its basic operation

Introduction to selections for image editing
Introduction to layers
Introduction to color
Image size and resolution basics
This course uses the current version of Photoshop CS2 (version 9.0) for Windows
operating system. The CS stands for Creative Suite. Any new features of CS2 that do
not apply to prior versions are indicated throughout the text. For Macintosh users,
instructions and notes are included that point out any major differences. Although the
majority of the basics in this course also apply to Photoshop Elements -- the version
for the consumer market -- this course is written for Photoshop.
Overview of Photoshop
Photoshop belongs to the group of image editing programs, often called paint or
bitmap programs, with pixel-based environments. As you learn the fundamentals of
Photoshop, you'll imagine many fun and creative ways to work with images from many
sources, and even create your own. You'll find an abundance of image resources at
your fingertips, including digital photographs, scanned photographs, images from
other computer programs, and images from the Internet.
Be sure to check each image source carefully to avoid using copyrighted material.
Digital images or graphics fall into one of two major categories: bitmap and vector.
The programs that work with these images are generally called bitmap paint or vector
drawing programs. Photoshop is primarily a bitmap editing program with some vector
graphics and text capabilities. Adobe's drawing program -- Illustrator -- is primarily a
vector drawing program with some bitmap capabilities. They both share the ability to
work with bitmaps and vector images.
Bitmap Image
A bitmap (or raster ) image is made up of a fixed number of individual pixels arranged
in a grid of rows and columns. The most common example of a bitmap image is a
digital photograph. Each pixel has an assigned color value and location. This is similar
to your monitor display of pixels arranged in rows and columns. The quality of a
bitmap image depends on the number of pixels (resolution) and the color information
for each pixel. Therefore, when you enlarge a bitmap image, your image loses detail
and quality.
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Vector Image
A vector image is made up of points, lines, curves, and polygons called vectors that
are defined by mathematical formulas. A common example of a vector image is a
technical illustration drawing or a drawing of an object composed of geometric shapes.
Because vector images are mathematically defined, they can be scaled large or small
without loss of quality and are classified as resolution independent.
Because a computer monitor is made up of pixels, a monitor displays a vector graphic
as pixels. Adobe Illustrator uses an anti-aliasing technique to give the vector artwork a
smoother onscreen appearance.
In this lesson, you'll be introduced to a basic bitmap shape and a basic vector object
shape in Photoshop. First, you'll learn about the work area of Photoshop.

Exploring the Work Area

The Photoshop work area is designed to help you maximize your workspace and have
easy access tools, options, and palettes. Figure 1-1 shows the default work area with
a new blank document, sometimes referred to as the active image area. In the default
work area, the toolbox is located on the left, the menu bar and options bar at the top,
and the palettes on the right.
Are You Using a Mac?
Although this course
was written using
Windows examples,
you can follow along
on a Mac. Some of the
menu items may be
different and some of
the keyboard shortcuts
are different. Here are
some key differences:
* In Windows you
right-click; on a Mac
you Control+click.
Figure 1-1: Photoshop work area.
Enlarge image
Your work area may look different if you opened Photoshop previously and made
changes to your workspace. Photoshop remembers the changes you make to the
work area as well as changes you make in dialog boxes and the tool options. You can
easily change everything back to the program defaults, if necessary, as shown in the
following steps. You can also reset changes separately in some dialog boxes, tool
options, and positions of the components of the work area.
While you're learning Photoshop, it's a good practice to reset your changes back
to the defaults. However, if you're in a work or production environment, you may
have customized settings that shouldn't be changed back to the defaults. You can
skip the following procedure if you don't want to reset the program defaults.
To see how it's done, let's reset all the program defaults at once. The following
procedure also works with CS and version 7:
If Photoshop is open, close the program. 1.
Press and hold Shift+Ctrl+Alt while starting Photoshop. A dialog box appears 2.
asking if you want to delete the Adobe Photoshop Settings File.
Click Yes. 3.
If a dialog box appears asking if you want to customize color settings, click No. 4.
This sequence may take some practice, and it may not work with a desktop shortcut. If
you use a trial version of Photoshop, you'll see an initial window when first starting up.
Continue holding the Shift+Ctrl+Alt keys until the reset dialog box appears.
Now you're ready to learn more about the elements of the work area and how they
work.
Basic Operations
You can control the options bar, palettes, and toolbox as follows:
To move and float the options bar, point to the vertical dotted line along the left
edge, which is called the gripper bar. Drag and drop the options bar into the work
area. You can also place it along the bottom of the work area. You may find this
location works better if you tend to focus your attention on the middle and lower half
of the screen as you work. To return the options bar to its default position, simply
drag and drop it back into place just below the menu bar.
To reset all of the settings in the options bar back to the original defaults, right-click
* In Windows you
press Ctrl, on a Mac
you press Command.
* In Windows you
press Enter, on a Mac
you press Return.
* In Windows you
press Alt, on a Mac
you press Option.
If you have any other
differences, consult
Photoshop's online
help.
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the dashed-square icon on the options bar, as shown in Figure 1-2, and then select
either Reset Tool or Reset All Tools.
Figure 1-2: Reset tools icon.
You can collapse the options bar, toolbox, or any of the palettes by double-clicking
the top or left edge of the bar. To expand them, simply double-click the bar.
Press Tab to hide the options bar, toolbox, and palettes. Press Tab again to make
them visible.
You can also access the options bar, toolbox, and palettes from the Window menu, as
follows:
Press Shift+Tab to hide the palettes in the work area. Press Shift+Tab again to
make the palettes visible.
To move the palette groups in the work area, press and drag the top bar of the
group. To move back to the original location, select Window > Workspace > Reset
Palette Locations.
To separate a palette from its group, select the name of the palette or click
anywhere on the tab and drag it outside of the group. To place it back, drag the tab
and drop it in the group. You can use the Reset Palette Locations command to put
all of the palettes back in the group at once and in the default order.
You can store individual palettes (not as a group) in the palette well. Simply point to
the name of the palette or anywhere on the tab, and then drag and drop it into the
palette well. You can also select the menu option Dock to Palette Well from the
palette shortcut menu.
To access the shortcut menu, click the palette menu (arrow) button in
the upper-right part of the palette, as shown in Figure 1-3. The Reset
Palette Locations command puts everything back to its original location
and space. If you cannot see the palette well, expand the Photoshop
window to full screen and make sure your monitor resolution is set to
1024 x 768 or greater.
Figure 1-3: Palette shortcut menu.
See these basic operations in action.
As you become comfortable with the operation of the program and establish your own
workflow, you can create and save a customized work area.
Exploring the Toolbox
The toolbox in Photoshop CS2 contains a total of 58 basic tools, with 22 visible in the
toolbox by default. There are two new tools in Photoshop CS2: Spot Healing Brush
tool and Red Eye tool. They are both in the Healing Brush tool group, and the new
Spot Healing Brush is the default tool, as shown in Figure 1-4.
Figure 1-4: Spot Healing Brush and Red Eye tools.
The Color Replacement tool is now located in the Brush group with the Pencil and
Brush tools. It was previously in the Healing Brush Group.
When you move your mouse pointer over each of the tools in the toolbox, a ToolTip
appears and displays the name of the tool and its keyboard shortcut. You can view the
hidden tools of a tool group by clicking the small triangle at the lower-right corner of
the tool. You can also cycle through the tools in a group without expanding them by
pressing Shift and the shortcut for the tool. For example, to cycle through the tools in
the Lasso group, press Shift+L. Press Shift+L again to reveal the next tool in the
group.
Now focus your attention on the lower portion of the toolbox. Notice the large black
and white squares. They are the color selection boxes. The upper color selection box
represents the current foreground color; the lower one represents the current
background color. You should learn two shortcuts for these boxes, as follows:
Press D or click the small black and white squares under the color selection boxes
to change the color selection boxes back to the defaults of black and white.
Press X or click the curved arrow above the color selection boxes to switch the
foreground and background colors, as shown in Figure 1-5.
Figure 1-5: Foreground and background color tools.
If you're familiar with Illustrator, these are the same shortcuts for the Fill and
Stroke color boxes. Photoshop and Illustrator use many of the same shortcuts and
basic operations.
You'll also notice that the same color selection boxes appear in the Color palette.
Later in this lesson, you'll practice selecting a foreground color for a fill. The
foreground color is also used with the paint and stroke functions. The background
color is associated with gradient fills and with the Eraser tool. In addition, both the
foreground and background colors are used by some of the special effect filters.
The next group in the toolbox pertains to the Quick Mask mode, which is not covered
in this course.
The next group of three buttons allows you to switch to different screen modes while
you're working in Photoshop. You'll practice these different modes a little later in this
lesson.
The last two icons, positioned on top of a larger button, are a quick way to launch the
ImageReady application, which you use to create Web graphics.
You'll find a great summary chart of the toolbox and a tool gallery in Photoshop Help.
Press F1 or select Help > Photoshop Help.
Exploring Preferences
An overview of Photoshop would not be complete without mentioning the preferences.
The Preferences dialog box gives you the opportunity to change settings to customize
the program to suit your personal workflow. These settings include display, cursor,
and transparency options, as well as many others.
It's a good practice to be familiar with the preference settings of a program. You may
not understand the terminology and all of the settings right now because you're just
learning the program. You'll find that the default settings in the preferences also give
you an insight in the general operation of the program.
Let's look at the general preferences and make a simple change that affects cycling
through the tools groups. You may find it awkward to press and hold Shift while you
press the additional shortcut for a group. To remove this requirement, do the
following:
Select Edit > Preferences > General. (Mac: Preferences are under the 1.
Photoshop menu between the Apple and File menus.)
Uncheck the Use Shift Key for Tool Switch checkbox, and then click OK. 2.
Try the new change for the Lasso tool group. Each time you press L, you'll 3.
cycle through the group.
The preference settings are stored in a file that sometimes can become corrupt. If
you reset settings back to the defaults when starting Photoshop, a new preference
file is generated that replaces the old one. As a result, you lose any new
preference settings.
Now it's time to learn and practice more basic Photoshop operations.

Create a New Image File

Before you start working with images, let's learn more about some basic operations
using a new blank file.
Select File > New (or press Ctrl+N). The New dialog box appears, which should 1.
look similar to Figure 1-6.
Figure 1-6: New dialog box.
If the Preset field shows Clipboard and the width and height show
different dimensions with the units in pixels, this indicates that you
previously used the Copy command in Photoshop or another
application. Photoshop uses the data from the Clipboard for the
dimensions of the new image. This feature is very useful as you'll see
later in the lesson. To prevent the Clipboard preset, press Alt as you
select New (Alt+ Ctrl+N).
Using the Alt key in Photoshop generally bypasses many of the dialog boxes.
Select the Presets drop-down list arrow to view the Presets menu. You'll notice 1.
several different preset sizes for print, Web, and video. You can even create
your own custom size and save it as a preset. If necessary, select Default
Photoshop Size from the Presets shortcut menu.
Read the ToolTips for the different settings and options in the dialog box. 2.
Notice that the mouse changes to a pointing finger with a double-arrow over 3.
the words Width, Height, and Resolution, as shown in Figure 1-7. This is called
a scrubby slider. As you press the mouse and move to the right or left, the
numbers or values in the box increase or decrease. Scrubby sliders are also
available to change values in the options bar and palettes.
Figure 1-7: Scrubby slider.
Change the units for both the width and height to inches. Notice that when you 1.
change one unit, both units change. To change only one unit, press Shift while
making the change.
With the addition of Alt or Shift, you have a little more control over the scrubby sliders.
Move your mouse pointer over the words until the pointer changes to the pointing
finger. Press Alt and then move the mouse slowly to increase the numbers one at a
time. Press Shift and then move the mouse slowly to increase the units by 10. This
function works in several of the dialog boxes, tool options, and palettes.
To reset the New dialog box back to the original settings, press and hold Alt, 1.
and then click Reset. (The Cancel button changed to Reset while you held the
Alt key.)
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Change the units back to pixels, and then leave the resolution set at the default 2.
setting.
Leave the Background Contents set to White. 3.
For now, don't change the Advanced options. These options are for color 4.
management and the pixel aspect ratio for video.
Optional: Type Lesson1_Practice1 in the Name text box at the top. The name 5.
is used in the title bar of the new document window, for the name of the
thumbnail of the original file in the History palette, and as the file name when
you save the file.
Click OK. A new blank document window appears. 6.
See how to create a new image file in action.
At the bottom area of the document window, you have easy access to information
about the current open file. To explore the document window, do the following:
Use your mouse to point to the bottom of the document window. 1.
Alt+click and hold the mouse button to view the document dimensions, 2.
resolution, and color information, as shown in Figure 1-8.
Figure 1-8: Document information.
Click the mouse anywhere in this area to see a thumbnail of the printed image. 1.
Figure 1-9 shows the image positioned on an 8 1/2 x 11-inch page. To change
page size and orientation for printing, select File > Page Setup. This is helpful
when you're working with pixel dimensions and want to quickly see the image
size in relation to a page. For more document information, you can press the
shortcut menu arrow.
Figure 1-9: Document print preview.
Also take a moment to look at the information in the palettes. The Layers palette and
the History palette have new information. Notice that the Layers palette shows a layer
called Background.
It's a good practice to periodically check the palettes for information as you work in
your document.
You'll work with layers throughout this course, because layers are one of the key
Photoshop fundamentals. You need to know how to use them to complete advanced
work such as complex photo composites.

Select an Entire Image

Selection methods, of which there are many, are also key to Photoshop. Let's start
with the basic selection: Select All. This command selects the entire image inside the
document window. You may have used Select All in other programs. Let's see how it
works in the pixel-based environment of Photoshop. You can practice this method
even on a blank document:
Select Select > All (Ctrl+A). An animated (moving) dashed line appears inside 1.
the area of the document window. This line is referred to as a marquee, and
the motion is referred to as marching ants. The dashed line is shown in Figure
1-10.
Figure 1-10: Selection marquee.
To deselect the image area, select Select > Deselect (Ctrl+D). You can also 1.
temporarily hide the line from view by pressing Ctrl+H. Change it back
immediately by pressing Ctrl+ H to avoid problems because the active
selection is hidden.
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Draw Pixel and Vector Shapes

Now you'll learn to draw two different types of basic shapes and practice more
selections. You'll use the Rectangular Marquee selection tool to both draw and select
pixels. You'll also draw a vector shape rectangle with the Rectangle tool, which can
draw both vector shapes and pixel shapes.
Select the Rectangular Marquee tool in the toolbox. Draw a small rectangle in 1.
the upper-left area of the new blank document by dragging the mouse down
and to the right, as shown in Figure 1-11. You can also press Shift to constrain
the rectangle to a square.
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Figure 1-11: Drawing with the Rectangular Marquee tool.
Select Edit > Fill (Shift+F5). The Fill dialog box appears. 1.
Select Color from the Use drop-down menu. The Adobe Color Picker appears. 2.
Select a color either by moving the small circle in the large color field, moving 3.
the color sliders along the vertical color bar, or typing the color values. For
example, type the following RGB values: 255, 0, 0 for the color red, as shown
in Figure 1-12.
Figure 1-12: Color Picker.
Click OK to close the Color Picker, and then click OK again to close the Fill 1.
dialog box. The rectangle is now filled with a red color and the lines around it
(the marquee) indicate that it's selected.
Select Select > Deselect (Ctrl+D). 2.
See how to draw pixel and vector shapes in action.
In the Layers palette, notice the red shape is on the Background layer. Because this
image is a pixel image, you need to have a way to select all or part of the pixels to
change or move them. In addition, all images on the Background layer must be
selected before you can edit or move them. To select and move images:
Select Select > Reselect (Shift+Ctrl+D). 1.
Select the Move tool in the toolbox, and then move the colored rectangle 2.
around on the page.
Press Ctrl+D to deselect. 3.
Now you'll draw a rectangle in a blank area of the document that's a vector shape,
learn a different way to pick a color, and learn that a vector shape has a different type
of selection requiring a different tool. Perform the following steps:
If necessary, press D to set the color selection boxes back to the defaults. 1.
In the Color palette, pick a color from the Color Spectrum bar at the bottom, 2.
move the slider bars for the colors, or type in the color values. For example, in
the RGB boxes, type 0, 0, and 255 for the color blue, as shown in Figure 1-13.
Figure 1-13: Color palette.
Select the Rectangle tool in the toolbox. It's located just below the Text tool. 1.
On the options bar, make sure the Shape layers button is selected, or right- 2.
click and select Reset Tool.
Drag and draw a rectangle below the first one or anywhere in a blank area. 3.
Select the Path Selection tool in the toolbox, located to the left of the Text tool, 4.
and then click the rectangle. It's now selected and you can move it around on
the page.
This second rectangle is a vector shape object, which is different than the first pixel
image. There's an indicator that this shape is different. Look at the Layers palette --
there's a new Shape layer with different types of thumbnails. Yours will look similar to
the one in Figure 1-14. For now, simply note that a vector shape is on a separate
layer.
Figure 1-14: Layers palette.
The two rectangles (pixel and vector) require different methods to select each one to
make changes to them. Use the Path Selection tool to select the vector shape and
one of the marquee selection tools to select the pixel shape. Figure 1-15 shows each
rectangle selected. On your own, you can experiment with selecting and drawing.
You'll learn additional selection methods in Lesson 2.
Figure 1-15: Pixel and vector images selected.
Before you save the file, let's explore the different full-screen viewing modes, as
follows:
Select the Zoom tool, and then click the Fit On Screen button on the options 1.
bar, or press Ctrl+0 (zero).
Select the middle of the three Screen Mode tools in the toolbox, or press F. 2.
This shows your image on the screen with the menu bar at the top and a 50%
gray background.
Press Tab to hide the toolbox and palettes and, if necessary, go to the Window 3.
menu and uncheck Options to hide the options bar.
Move the image around by pressing the spacebar to temporarily activate the 4.
Hand tool.
Press F again to display your image onscreen with no menu bar and a black 5.
background. You can cycle through several open images by pressing Ctrl+Tab.
To return to the standard mode, press F, or press Tab to display the toolbox 6.
and then click the Standard Screen Mode tool.
You can save your practice file, if you wish, in a new folder for your lesson files.
Select File > Save, type Lesson1_Practice1 in the File name text box, and then select
Photoshop (*.PSD;*.PDD) in the Format text box. This allows you to save the file as a
Photoshop file rather than a JPEG (Joint Photographic Experts Group). When you
save a file, a dialog box may appear regarding maximizing compatibility. It's a good
idea to leave this option checked, and then turn off the dialog box in Preferences in
the section on File Handling. For more information about saving compatible files,
check Photoshop Help.
By now, you're getting comfortable with the basic operation of Photoshop and you've
learned some simple selection and drawing methods.

Capture, Crop, and Transform

In this last section of the lesson, you'll learn how to capture a screen image, use the
Crop tool to perform a basic image crop, use the Navigator palette to zoom in on
areas of your image, and apply some basic transformations.
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It's a good idea as you're learning the basics of the program to use simple images,
because a complex image may be too distracting and overwhelming. In this section,
you'll learn how to capture a screen image.
First, you'll create a screen capture of a folder of image files in Thumbnail view. If
you're already familiar with the file browser from a previous version of Photoshop or
Bridge -- , the new file browser in CS2 -- you can use it for your screen capture. To
capture a screen image, do the following:
If Photoshop is open, minimize the program and open My Computer to locate a 1.
file folder with images. For example, use a file folder in the Sample folder of the
Photoshop program files.
If necessary, change to the Thumbnails view. (Mac: Use the Icon view.) 2.
Press Alt+Print Screen. This takes a picture or screen capture of the active 3.
window, and the image is saved as data to the Clipboard. You'll not see the
image until you paste it into Photoshop. (Mac: Press Command+Shift+4, and
then press Control as you drag to select the area of the screen.)
Close the window and maximize Photoshop. 4.
Select File > New. Notice the Preset field in the New dialog box displays 5.
Clipboard. Photoshop automatically opens a new file with the dimensions and
resolution based on the Clipboard data.
Click OK, and then select Edit > Paste (Ctrl+V) to paste the image into the new 6.
blank window.
Take a moment to look at the different information that has appeared in the palettes.
The History palette shows what you have done up to now. The Layers palette shows
the pasted image on a new layer, as shown in Figure 1-16.
Figure 1-16: Layers palette with new layer.
You can also observe the image dimensions by pressing Alt+click+hold at the bottom
of the document window.
Use the Crop Tool and Navigator Palette
Now you'll learn how to crop an image. In the example, the only part of the image to
keep will be just the area of one of the image thumbnails. You can use the Navigator
palette to help zoom in on the area for your crop, as follows:
In the Navigator palette, experiment with the zoom slider. When you zoom 1.
greater than 100% and move the mouse pointer over the small thumbnail of
your image, you can move the colored box (rectangle) to isolate an area of
your image. You can also use the Zoom tool to accomplish the same task.
Select the Crop tool in the toolbox. 2.
In the document window, drag a rectangle around the part of the image you 3.
want to keep. Notice the marquee around the area. You can adjust the area by
moving the whole selection area or dragging the handles.
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Release the mouse. The image area that falls outside of the crop marks is 4.
darker in color, showing you the parts of the image that will be deleted, as
shown in Figure 1-17.
Figure 1-17: Crop selection area.
To finish the cropping task, either right-click and select Crop, double-click 1.
inside the marquee, click the check mark near the right side of the options bar,
or press Enter.
To cancel the crop before you complete the task, right-click and select Cancel, 2.
click the Cancel button on the options bar, or press Esc.
The Cancel button is a red circle with a diagonal line through the middle.
Look at the image dimensions in the document information at the bottom of the 1.
screen. The width and height are now smaller. When you crop an image, you
delete the pixels.
Apply a Transformation
A transformation is a change in the size, orientation, perspective, or other alteration of
an image. The transformations in Photoshop are scale, rotate, skew, distort,
perspective, and flip. CS2 offers a new transformation called warp. Another new
feature in CS2 is called vanishing point. Although you think of vanishing point and
perspective together, it's not in the Transformation group. The vanishing point feature
is located in the Filters menu, and when selected, launches in a separate window.
Remember that perspective is a transformation.
You can apply transformations to an entire image or parts of an image. The image can
be a pixel or vector image. If you're going to apply a transformation to the entire image
or part of the pixels and the images are on the Background layer, you need to make a
selection. You'll learn more about selections in Lesson 2.
You can apply and execute transformations one at a time or in continuous succession.
The command for continuous transformations is called Free Transform. If you're going
to apply more than one transformation to the same image, it's best to use the Free
Transform tool because the pixels' dimensions are changed only once. The process of
changing the dimensions of pixels is called resampling.
To transform the cropped image, do the following:
Select Edit > Transform > Flip Horizontal. To commit to this transformation, 1.
press Enter. To cancel, select Edit > Undo (Ctrl+Z).
Select Edit > Transform > Rotate. Notice the handles that appear, and then 2.
look at the settings on the options bar. You can rotate the image visually or
type in an angle of rotation in the options bar. To rotate visually, move the
mouse cursor outside of the boundary area until it changes to a curved double
arrow. Drag the image to the right or left to rotate it. Notice you cannot make
additional transformations without committing first.
Photoshop sometimes refers to the mouse "pointer" as a "cursor." You'll find both
terms used throughout this course.
To cancel the rotation, click Cancel on the options bar. 1.
Select Edit > Free Transform (Ctrl+T). Notice that handles, called Transform 2.
controls, appear on the image and transform options appear on the options
bar.
Move the mouse cursor outside the controls until it changes to the rotate 3.
symbol and then rotate the image.
To reduce the size of the image, right-click inside the box and select Scale, or 4.
press Shift and drag the top or bottom corner inward. Press Enter or check the
check mark on the options bar to apply both the rotate and the scale.
To skew the image, right-click and select Skew from the transform menu or 5.
press Shift+Ctrl. Grab a top or bottom center handle and drag right or left, as
shown in Figure 1-18.
Figure 1-18: Performing a skew.
The display may appear somewhat pixilated. It looks betters after you
apply the transformation, as shown in Figure 1-19. If you have your
image magnified with the zoom, you'll see the pixels.
Figure 1-19: Completed skew transformation.
Save the file as Lesson1_Practice2 in PSD format. 1.
Now see how to capture a screen image, use the Crop tool and Navigator palette, and
apply a transformation in action.
Moving On
In this lesson, you learned about some useful Photoshop features, including the work
area, options bar, toolbox, and palettes.
Before you move on, complete the assignment and quiz for this lesson, and then stop
by the Message Board to ask any questions you might have.
In Lesson 2, you'll learn about selection and deletion methods, and how to create a
vignette.
Assignment #1
To try out the skills you learned in Lesson 1, practice working with the toolbox and options bar so that
you can set up Photoshop for your convenience. In addition, create and copy files and work with some
of the tools to enhance your basic Photoshop skills.
If you have problems with any of the assignment instructions, review the lesson material or consult
the solution at the end of this assignment for detailed step-by-step instructions.
Close Photoshop if you've previously been using it, and then restart it, resetting the program 1.
defaults when you do so.
Open the Preferences dialog box, review the settings in the various categories in the dialog 2.
box, and then close the dialog box.
Create a new, blank file using the default Photoshop settings. The file window should resemble 3.
Figure 1-20.
Figure 1-20: New file in default Photoshop size.
Hide and then redisplay the options bar, toolbox, and palettes. 1.
Minimize and then expand the toolbox. 2.
Select the Rectangle tool in the toolbox, and then cycle through the available shape tools at that 3.
toolbox position.
Select a tool, change some of its settings, and then reset the tool. 4.
Reverse the colors shown in the color selection boxes at the bottom of the toolbox, and then 5.
reset them to the default colors.
Download Love.jpg. 6.
Copy the image, and then paste it into the blank image file you created in Step 3. 1.
Select the entire image (layer). Your image with the pasted and selected information should 2.
resemble Figure 1-21.
Figure 1-21: Love image with selection.
Remove the selection. 1.
Save the file as L1_Assignment in PSD format, and then close Photoshop. 2.
Solution
To try out the skills you learned in Lesson 1, practice working with the toolbox and options bar so that
you can set up Photoshop for your convenience. In addition, create and copy files and work with some
of the tools to enhance your basic Photoshop skills.
If you have problems with any of the assignment instructions, review the lesson material or consult
the solution at the end of this assignment for detailed step-by-step instructions.
Close Photoshop if you've previously been using it, and then restart it, resetting the program 1.
defaults when you do so.
Open the Preferences dialog box, review the settings in the various categories in the dialog 2.
box, and then close the dialog box.
Create a new, blank file using the default Photoshop settings. The file window should resemble 3.
Figure 1-20.
Figure 1-20: New file in default Photoshop size.
Hide and then redisplay the options bar, toolbox, and palettes. 1.
Minimize and then expand the toolbox. 2.
Select the Rectangle tool in the toolbox, and then cycle through the available shape tools at that 3.
toolbox position.
Select a tool, change some of its settings, and then reset the tool. 4.
Reverse the colors shown in the color selection boxes at the bottom of the toolbox, and then 5.
reset them to the default colors.
Download Love.jpg. 6.
Copy the image, and then paste it into the blank image file you created in Step 3. 1.
Select the entire image (layer). Your image with the pasted and selected information should 2.
resemble Figure 1-21.
Figure 1-21: Love image with selection.
Remove the selection. 1.
Save the file as L1_Assignment in PSD format, and then close Photoshop. 2.

Quiz #1
Question 1:
Which of the following are characteristics of a bitmap (raster) graphic? (Check all that apply.)
A) Composed of pixels
B) Resolution dependent
C) Loss of detail can occur when enlarged
D) Made up of points, lines, curves and polygons

Question 2:
True or False: A vector graphic is resolution independent and retains quality when scaled.
A) True
B) False

Question 3:
True or False: You can reset all of the Photoshop program defaults when you start the program with a
combination of shortcut keys.
A) True
B) False

Question 4:
True or False: You can press D to change the foreground and background color selection boxes back to black
and white.
A) True
B) False

Question 5:
True or False: If an image is on the Background layer, you need to select it before you can apply a
transformation.
A) True
B) False

Selection and Deletion Methods

Building on what you learned in the first lesson, this lesson introduces you to selection and deletion tools and
methods, which you'll apply by creating mirrored and reflection images. Then, you'll learn how to create a
vignette effect for an image and add an artistic background.

Overview of Selecting and Deleting

As you learned in Lesson 1, Photoshop is an image editing program with a pixel-
based environment. When you think about image editing, image correction is usually
what comes to mind. Before you learn some of the traditional image correction
methods in Lesson 3, you'll first explore the creative side of image editing while
learning basic selection and deletion methods.
Creativity plays a role in image making whether you're a photographer, illustrator,
graphic designer, or other professional. To what degree you can be creative depends
upon the purpose for the image. For example, if an image needs to be an exact
representation, there's little room for creativity. In both instances, you'll still need to
know some basic skills in image editing.
You've probably heard the saying, "There is a difference in taking pictures and making
pictures." Here's your opportunity to learn how to make pictures with Photoshop. To
make a successful picture with any medium, you need to take a few moments to think
about an idea for your new picture as well as other aspects of the image. Think about
its purpose, the skills or techniques you need to create the picture, the light direction,
the tone or mood, and the perspective. These are especially important when you
create new images from existing ones.
In Photoshop, you work with images made up of pixels requiring special tools and
methods to select all or parts of your image for editing or deleting. In this lesson, you'll
learn that the type of selection method you choose depends on the makeup of the
image and the types of edits you'll make.
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Create a Reflection Image

In Lesson 1, you learned simple selection, cropping, and transformation techniques.
By combining modifications of those techniques with other image-manipulation
techniques, you can turn a simple picture into something much more dramatic. A
reflected image is one example.
One way to create a reflected image is to create a duplicate image, use the
Rectangular Marquee tool to select an area, crop and vertically flip the duplicate
image, increase the canvas size of the original image, and then combine the flipped
image with the original image.
As you start Photoshop, you may wish to reset the program defaults. If you don't,
reset all the tool options as you go through all of the steps in this lesson.
To create the reflected sunset image, do the following:
Download Sunset.jpg, select File > Open, locate and select the Sunset.jpg file, 1.
and then click Open.
To prevent you from accidentally saving over your original image, select Image 2.
> Duplicate. The Duplicate Image dialog box appears.
You can bypass the Duplicate Image dialog box by pressing Alt while you select
Image > Duplicate.
Click OK. A duplicate image, titled Sunset copy, appears. 1.
Click the document window of the original image, Sunset.jpg, to make it active, 2.
and then click the Close button in the upper-right corner of the document
window.
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With the Sunset copy document window still open, select File > Save As, name 3.
it SunsetWorking, and then save it in the default Photoshop file format (PSD)
instead of the original JPEG format.
It's a good practice to save an image file in the PSD format while you're working on it.
When you finish creating an image, save a copy in another format as needed.
Resize the document window by dragging the lower-right corner of the window 1.
until you see the gray image work area outside of your image.
Crop part of the lower portion of the image, just below where the large tree on 2.
the right meets the ground. You don't have to be precise -- simply remove part
of the dark foreground. To do so, select the Rectangular Marquee tool, draw a
rectangle around the area you want to keep, and then select Image > Crop.
Be sure your entire image is selected, and then select Edit > Copy (Ctrl+C). 3.
Select File > New, and then click OK. A new blank document opens, which 4.
should be in the same dimensions and resolution of the original image.
If you don't see a new blank document window, click the Restore Down button in
the upper-right corner of the current document window.
The advantage of this method is when you copy the cropped image into
the working image (which you will shortly), it'll be on a separate layer.
This makes it easier to make additional changes to each portion of the
picture.
In the new blank document, select Edit > Paste (Ctrl+V). 1.
Select Edit > Transform > Flip Vertical (Ctrl+T), and then press Enter, or click 2.
the check mark on the options bar, to apply the transformation.
To accommodate the reflected image in the working copy, you need to add more
canvas space to the bottom of the working copy, as follows:
Select the SunsetWorking document window, and then unselect the image ( 1.
Ctrl+D), if necessary.
Select Image > Canvas Size (Alt+Ctrl+C). The Canvas Size dialog box 2.
appears.
The Anchor diagram in the middle includes a white square that represents the 3.
position of your image and direction arrows. Click the arrow just above the
white square, as shown in Figure 2-1, indicating that you want to add space at
the bottom.
Figure 2-1: Anchor diagram.
Change the Height setting for the amount of space to add. You can 1.
mathematically figure out how much you want to add and then type the new
dimension. Alternatively, you can check the Relative checkbox just above the
Anchor diagram and type the final height dimension. For example, typing 4 in
the Height text box indicates the height of the image after you've added the
extra space, as shown in Figure 2-2. Click OK.
Figure 2-2: Canvas size dimensions.
Switch back to document window with the flipped image. 1.
Select the Move tool from the toolbox, and then drag the flipped image into the 2.
SunsetWorking document window.
Position the flipped image below the original image without any gap or overlap. 3.
You can use the arrow keys on the keyboard to move in small increments, which is
called nudging.
In the Layers palette, notice that the flipped image is on a new layer. If you 1.
need to select the image, Ctrl+click the thumbnail of the image in the Layers
palette, as shown in Figure 2-3.
Figure 2-3: Layers palette thumbnail image.
Press Ctrl+T, and then drag the middle bottom handle upward to shorten only 1.
the image height because, in a natural reflection, the reflected image is
foreshortened. Press Enter, or click the check mark on the options bar.
Crop the picture, if necessary, to delete any extra white canvas. 2.
Save the changes to SunsetWorking, and then close the copy of the flipped 3.
image without saving it.
Your reflected picture is complete and ready for its final destination. You'll learn about
preparing files for different types of output in Lesson 4.
See creating a reflection image in action.

Use the Elliptical Marquee and Eraser Tools

Consider the following illustrations, which demonstrate the effects of mirroring an
image.
To achieve this mirrored effect, and practice new selection skills, you'll copy the
original image, increase the canvas size, apply a horizontal flip, and then copy and
paste part of the flipped image (in this case, one of the larger flowers) to the original
image. To do so, you'll use an alternate method to copy a selection that doesn't use
the Clipboard. In addition, you'll use the Elliptical Marquee Selection tool and anti-
aliasing to soften the look of the pasted flower, along with a unique function of the
Eraser tool to erase areas back to the original image.
To create a mirrored image, do the following:
Download and open the Flower.jpg file. 1.
Press and hold the Alt key, and then select Image > Duplicate. 2.
Close your original image. 3.
Select File > Save As, and then save the duplicate image in the PSD format. 4.
Follow the same steps as you did when creating a reflection image. This time, 5.
however, use the horizontal flip transformation and increase the width of the
canvas size to accommodate the flipped image. Crop to delete any extra blank
canvas.
Save your intermediate image with a new file name, and then close the file 6.
before you continue. The importance of this step will be explained later in this
lesson when you use the History palette.
Open the image you saved in the previous step. 1.
Select the Elliptical Marquee tool and, if necessary, reset the tool options. 2.
Make sure Anti-alias has a check mark, indicating it's turned on.
Draw an elliptical selection around the large white flower on the right side of the 3.
image. Press Alt to draw from the center and start at the green point of the leaf,
Anti-aliasing and
Feathering
These techniques help
smooth the edges of
selections to avoid
hard edge lines.
There's a subtle
difference between
these effects. Anti-
aliasing softens the
color transition
between the edge
pixels and the
background pixels.
Feathering blurs the
edge by adding a
transition area
between the selection
and its surrounding
pixels. You can set the
value for the width of
the area from 1 to 250
pixels. Anti-aliasing
must be turned on
before you make a
selection. You can set
feathering either
before a selection or
apply feathering after
a selection.
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as shown in Figure 2-4.

Figure 2-4: Elliptical Marquee selection.
It takes a little practice and some additional techniques to draw a selection with the
Elliptical Marquee tool. You can press the spacebar to move the selection area as you
draw, and press Alt to draw from the center outward. Release the mouse first and then
the Alt key.
Make a copy of the flower using an alternative method that copies the image as 1.
you drag it to a new location. This same operation works in Illustrator and some
other graphic programs. Select the Move tool, and then press and hold Alt. The
cursor should change to one black arrow with an additional white arrow. Move
the flower into the center of the image, as shown in Figure 2-5.
Figure 2-5: Position the flower in the center.
If you move the image without pressing Alt, the pixels left behind fill with the
background color if the selection is on the Background layer. If the selection is on
another layer, the area that's left will be transparent.
See creating a mirrored image in action.
In the example, the image is on a separate layer and placed on the right side of the
canvas that has the white background. If you move the selection without copying the
image, you'll see the white background. To see the difference, move your flipped
image so that it overlaps the original image, and then make a selection. When you
move this selection without copying, you'll see the image underneath.
Notice that the surrounding area of the copied flower covers the other flowers.
Because you copied the flower on the right, which resides on a new layer, you can
use the Eraser tool and one of its options to erase back to the image that's stored in
the History palette. This works similar to the History Brush tool.
To use the Eraser tool, do the following:
Look at the top of the History palette at the small thumbnail image just to the 1.
right of the Brush icon. This thumbnail should display your intermediate mirror
image stage, as shown in Figure 2-6. Your file name will be different than the
example.
Figure 2-6: History palette thumbnail image.
If your thumbnail doesn't display the intermediate mirror stage image, undo your
copied flower, save the current file, close the file, and reopen it. If you're already
familiar with the History palette, go back to the state without the copied flower, make a
new snapshot, and change the source of the History Brush.
Make sure your copied flower is still selected, and then select the Eraser tool. 1.
Reset the tool options if necessary.
On the options bar, click Erase to History. This erases the part of the copied 2.
image that's covering the flowers underneath it to reveal the original image.
Drag the Eraser tool across the area you want to delete. If necessary, you can 3.
change the size of the Eraser tool in the Brush pop-up menu on the options bar
using the Master diameter slider or you can use a quick keyboard method.
Each time you press the left bracket ([), you decrease the brush size; pressing
the right bracket (]) increases the brush size. In the Brush pop-up menu, you
can also adjust the hardness.
You can experiment with the Eraser tool to see how it works differently in this example
when Erase to History is turned off. The copied flower is positioned so that the
selection area is over part of the image on the same layer and over part of the image
on the Background layer. When you erase on the right half of the selection area,
Photoshop erases to transparent so you see the white of the background. If you erase
on the left side, Photoshop erases to transparent and reveals the image below on the
Background layer, as shown in Figure 2-7. If you're erasing on the Background layer,
Photoshop erases to the background color.
Figure 2-7: Eraser tool example.
The other eraser in the Eraser group, the Background Eraser, works similar to the
Magic Eraser with two major differences. One difference involves dragging instead of
clicking. You drag the Background Eraser over the image to delete pixels. With the
Magic Eraser, you click the image to delete pixels. The other difference is that the
Magic Erase allows you more control with different settings on the options bar.
See the eraser tool in action.
To complete the steps in this section, crop the extra dark areas on the left and right
sides of the image, and then save your changes. You now have a completely new
picture made out of an existing image.

Use the Magic Wand and Magic Eraser Tools

As you compare the next two images, the new image is made more interesting with
the addition of more balloons.
Consider the best way to select the balloon, with the gondola, in order to copy it. If you
use the Elliptical Marquee tool, you'll potentially include too much of the sky with the
balloon because of the position of the gondola. Notice that part of the sky is darker
than other portions. When you select the sky, you can use a command to select the
inverse or opposite, which in this case is the balloon. You can accomplish this with the
Magic Wand tool.
The Magic Wand tool selects areas of color based on the brightness of the pixel that
you click with the tool. The tolerance option for the Magic Wand tool controls how
closely the brightness of the color, or range of colors, needs to match the color of the
selected pixel.
The default tolerance range of 32 means that the tool selects pixels of similar
brightness that are 32 shades brighter or darker than the color value of the
selected pixel. In other words, it adds 32 and subtracts 32 from the brightness
value of the pixel.
Figure 2-8 illustrates this concept using the RGB color scheme. The A column shows
that the Magic Wand will select colors in a range from 68 to 132 from the color value
of R100 G100 B100. In the B column, in which the tolerance range is increased, the
selection includes colors in a range from 67 to 133.
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Figure 2-8: Magic Wand tolerance comparison.

Now you'll learn two methods and some alternative approaches for selecting the
balloon and the gondola. You can try each one and evaluate which is the best.
Remember that there's no right or wrong way to accomplish the selection of the
balloon.
You can reset the program defaults, or reset the tool options as you go through
the steps.
Try this technique first:
Download and open Balloon.jpg. 1.
Select Image > Duplicate. Save the duplicate file as Balloons-working in PSD 2.
format.
Select the Magic Wand tool, observe the settings on the options bar, and, if 3.
necessary, reset the tool options by right-clicking the square tool on the options
bar.
One of the options bar settings is Contiguous (this means near or touching). When
you check this option, the selection of the range of pixels will be near the one you
click. If you don't check it, Photoshop selects pixels within the tolerance range in the
entire image. For the next set of steps, leave it checked.
You need to experiment with different tolerance settings to see their effects. You can
use the scrubby sliders to increase or decrease the number. If your first selection
doesn't include enough of the pixels, select a higher number. If you want to pick colors
very close to your sample, use a low number. The Magic Wand uses the same size
sample selection as the Eyedropper tool.
To experiment with tolerance settings, do the following:
Change the tolerance to 55, and then click the Magic Wand tool in the sky 1.
area.
Notice there's a small area inside the balloon at the top right that's included in 2.
the selection. You'll subtract this from the selection.
Decrease the tolerance to 32. Then, press Alt and notice the Magic Wand 3.
cursor change to a minus to subtract, or click the Subtract button on the options
bar.
Click the blue area closest to the side of the balloon to subtract if from the 4.
selection.
To simply delete the background to make another kind of image, press Delete.
Just for fun, press D to set the foreground and background colors to the default
black and white. Press X to switch so that the background color is black, and then
press Delete. Before you continue, select Edit > Undo or select Step Backward to
go back to your sky selection.
Select Select > Inverse (Shift+Ctrl+I) to select the opposite, which in this 1.
example is the balloon.
While the balloon is selected, you can copy and paste. Use Copy As instead of 2.
dragging a copy with the Move tool so that each copy will be on a new separate
layer.
Press Ctrl+T to select Free Transform. 3.
Press Shift, and then drag the upper-left or lower-right corner to scale the 4.
balloon smaller.
Press Enter, or click the check mark on the options bar. 5.
Repeat the copy, paste, and scale routine until the image looks similar to the 6.
illustration. If you don't see a copied image to move or scale, the original is
positioned exactly on top of it.
Here's another selection method that uses a combination of the Rectangular Marquee
and the Magic Wand. Use the image you're currently working on or open the original
image:
Make sure the Background layer is active or selected. (Click once on the name 1.
of the layer to activate it, if necessary.)
Select the Rectangle Marquee tool and draw a rectangle around the large 2.
balloon but not touching it. Because the smaller balloons are on separate
layers, they aren't included in the selection.
Select the Magic Wand tool, and then press Alt to subtract from the selection. 3.
Click inside the selection square. The balloon is now selected.
Unselect the balloon. 4.
You can also use the Lasso tool to quickly draw a selection area around one of the
small balloons, followed by the Magic Eraser tool. The Magic Eraser tool deletes
pixels of the same color brightness as a pixel you select. The area of deletion is left
transparent. You can control the tolerance and the contiguous settings for the Magic
Eraser tool. It's similar to the Magic Wand tool, except the Magic Erase deletes pixels
whereas the Magic Wand selects pixels.
The other eraser in the Eraser tool group -- the Background Eraser -- deletes pixels
when you drag the tool. The area's left transparent. The Background Eraser tool
options are different than the Magic Eraser tools options.
You can practice this technique on your balloon image, as follows:
Click the Background layer in the Layers palette to make sure it's selected. 1.
Use the Lasso tool to quickly draw a rough circle around the large balloon that 2.
includes some of the blue sky. Reset the tool options.
Copy, paste, move the selected balloon image to a different location, and then 3.
scale it smaller.
Zoom in on the area if necessary. 4.
Select the Magic Eraser tool, and then reset the tool options. Click the blue 5.
area around the balloon. It goes away, like magic!
Save the file with the extra added balloon, or select Edit > Step Backward ( 6.
Alt+Ctrl+Z) until the extra balloon disappears.
Save the image of your multiple balloons. 7.
See the tolerance settings in action.

Create a Vignette
In this section, you'll discover how you can create many new images by isolating part
of an existing image and adding it to different backgrounds. You can use these
images in a wide variety of ways ranging from fine art prints to illustrations for print
publications.
You'll learn to use the Magnetic Lasso for selection, the Eyedropper tool to sample a
color, the Paint Bucket tool to create a pattern background, the Gradient tool to create
a smooth color transition for a background, and the Magic Eraser tool to delete
colors.
Let's get started:
Download and open the Sunflower.jpg file. Reset to program defaults or reset 1.
the tools.
Select Image > Duplicate. 2.
Save the duplicate image as SunflowerOriginal.psd. 3.
To erase the background, select the Magic Eraser tool, reset the tool options, 4.
and then set the Tolerance to 25.
Using the Magic Eraser tool, click each of the dark background areas to delete 5.
the pixels. The checkerboard pattern indicates a transparent background.
Notice in the Layers palette that the Background layer automatically converts to
a new active layer.
Because the Magic Eraser erases to transparent pixels, it automatically converted the
Background layer to a layer with nothing underneath and named it Layer 0. If you
need to change the Background layer for special effects, you can manually change it
by double-clicking the layer name in the Layers palette, and then clicking OK in the
New Layer dialog box.
Now you'll use the Feather option in the Magnetic Lasso selection tool to create the
soft-edged effect characteristic of a vignette. As you recall, feathering blurs the edge
by adding a transition area between the selection and its surrounding pixels.
The Magnetic Lasso is a good tool for this selection because it works best in areas of
strong contrast. It would also work well without deleting the background because
there's a contrast between the yellow sunflower and the dark background.
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To use the Magnetic Lasso tool, do the following:
Select the Magnetic Lasso. Reset the tool options if necessary. 1.
Set the feather option to 20. 2.
Drag the mouse around the petals of the flower, and then close the selection. 3.
As you release the mouse button, you'll see that the area is a different shape
than the outline of the flower. This is because of the feather setting.
Create a new file that's the same size and resolution as your open file. To do 4.
so, select File > New, and then select the Window menu on the menu bar
outside of the dialog box.
At the bottom of the Window menu, select the name of your open file. The 5.
dimensions and resolution of your open file are automatically filled in the New
document dialog box. Click OK.
Create a second new blank document with the same dimensions and 6.
resolution.
If necessary, press D to change the foreground and background colors to the 7.
default.
Switch back to the sunflower image, and leave the sunflower selected. Select 8.
the Eyedropper tool, and then click the leaf at the bottom of the image to pick
up a light-green color to use for a gradient background in your new file.
Activate one of the new files by clicking the title bar of the document window. 9.
Select the Gradient tool. 10.
Starting on the left side, approximately in the middle of the blank canvas, draw 11.
a straight line across the width of the canvas. Press and hold Shift to constrain
it to a straight line. This produces a linear gradient with the dark color on the
left using the foreground and background colors.
You can experiment with gradients in the Gradient Editor dialog box. On the options
bar, click the icon of the gradient type (not the arrow) to the right of the icon of the
gradient tool. This works similar to the Gradient palette in Illustrator.
Switch back to the sunflower image, select the Move tool, and then drag the 1.
selected sunflower to the file with the gradient background.
Move the mouse pointer to a desired position, and then save the file as 2.
FlowerGradientbk.psd. Close the file.
In the remaining blank canvas, select the Paint Bucket tool. It's located with the 3.
Gradient tool. From the options bar menu, select Pattern.
Select the woven pattern from the Pattern menu to use as a background for 4.
this image. You can also use the Paint Bucket and the Foreground option on
the options bar to fill the canvas with the foreground color.
Move to the canvas, and then click to fill the canvas with the selected pattern. 5.
Switch back to the sunflower file, select the Move tool, and then press Shift as 6.
you drag to drop the flower in the middle of the new file with the background
pattern. Reposition if necessary.
Press Ctrl+T, scale the flower, and then press Enter to apply the 7.
transformation.
Crop the image to have approximately equal amounts of the background 8.
around the sunflower.
To add a border, do the following:
Select the Background layer, and then select Select > All (Ctrl+A). 1.
Select Select > Modify > Border, and then type 20 in the Border Selection 2.
dialog box. Click OK.
Select Edit > Fill (Shift+F5), and then select a fill color or pattern. 3.
Save the file as SunflowerPatternbk.psd. 4.
The feathering effect on the sunflower softens the edges. Some of the area is also
transparent, which helps it blend into the background. This transparent effect in the
example is created because the background in the original picture became
transparent with the use of the Magic Eraser tool and the creation of Layer 0 with no
background beneath it. If you move the sunflower image to a new file, it'll be on a new
layer. Therefore, the transparent edges allow you to see the background.
Your final vignettes should look similar to those in Figure 2-9.
Figure 2-9: Final vignettes.
See creating a vignette in action.
Moving On
In this lesson, you learned that with a few basic selection and deletion skills, combined
with your creativity, you can make successful pictures.
Before moving on, complete the assignment and take the quiz for this lesson, and
then stop by the Message Board to post questions and comments for your fellow
classmates and instructor.
In Lesson 3, you'll learn about retouching images, and the basics of color and color
correction.
Assignment #2
To practice what you learned in Lesson 2, create a finished image using a variety of techniques,
including making selections, deleting and copying selections, moving and transforming selections, and
more. All of these are fundamental techniques for improving image files in Photoshop.
Open Photoshop. Reset the program defaults, or reset all tools as you work through this 1.
assignment.
Download Vinca.jpg. 2.
Open and duplicate the Vinca.jpg file. When prompted, name the duplicate image MyVinca.jpg. 1.
Resave the file in the default Photoshop (PSD) format. 2.
Use the Elliptical Marquee tool with the desired Feather setting to select the center area of the 3.
image.
Invert the selection. 4.
Delete the selection. 5.
Deselect the selection. 6.
Use the Magic Wand tool to select the purple Vinca flower. 7.
Copy and paste the flower multiple times. 8.
Photoshop places each copy of the flower on a new layer. To go back and work with a flower copy
that you pasted earlier, click its layer in the Layers palette.
After you paste each copy, transform it (flip or rotate it as desired), and then move it to a new 1.
position. Try to make a pleasant arrangement of the flowers near or on the vignette border
created when you deleted part of the background.
Try dragging copies of the flower off of the canvas, so they appear to be spilling out of the picture. This
technique can lend a bit of realism and creativity to your photo compositions.
Your finished image should resemble Figure 2-10.
Figure 2-10: Edited Vinca image.
Figure 2-10: Edited Vinca image.
Save and close the image file. 1.
Solution
To practice what you learned in Lesson 2, create a finished image using a variety of techniques,
including making selections, deleting and copying selections, moving and transforming selections, and
more. All of these are fundamental techniques for improving image files in Photoshop.
Open Photoshop. Reset the program defaults, or reset all tools as you work through this 1.
assignment.
Download Vinca.jpg. 2.
Open and duplicate the Vinca.jpg file. When prompted, name the duplicate image MyVinca.jpg. 1.
Resave the file in the default Photoshop (PSD) format. 2.
Use the Elliptical Marquee tool with the desired Feather setting to select the center area of the 3.
image.
Invert the selection. 4.
Delete the selection. 5.
Deselect the selection. 6.
Use the Magic Wand tool to select the purple Vinca flower. 7.
Copy and paste the flower multiple times. 8.
Photoshop places each copy of the flower on a new layer. To go back and work with a flower copy
that you pasted earlier, click its layer in the Layers palette.
After you paste each copy, transform it (flip or rotate it as desired), and then move it to a new 1.
position. Try to make a pleasant arrangement of the flowers near or on the vignette border
created when you deleted part of the background.
Try dragging copies of the flower off of the canvas, so they appear to be spilling out of the picture. This
technique can lend a bit of realism and creativity to your photo compositions.
Your finished image should resemble Figure 2-10.
Figure 2-10: Edited Vinca image.
Figure 2-10: Edited Vinca image.
Save and close the image file. 1.

Quiz #2
Question 1:
True or False: Images copied and pasted to a new file or copied by the drag-and-drop method go to a new
layer.
A) True
B) False

Question 2:
True or False: Selection methods are important to learn for editing pixel images.
A) True
B) False

Question 3:
Which tool selects pixels for a range of colors based on the brightness values of the colors?
A) Magic Wand
B) Rectangular Marquee
C) Lasso
D) Paint Bucket

Question 4:
Which tool deletes pixels within a range of color values?
A) Polygon Lasso
B) Gradient
C) Magic Eraser
D) Brush

Question 5:
True or False: When you create a selection and use the Inverse command, the opposite parts of the image are
selected.
A) True
B) False

Photo Retouching and Color Adjustments

In this lesson, you'll learn several techniques for touching up images using the Healing Brush, Patch, and Clone
Stamp tools. In addition, you'll learn basic information about color, how to change the color mode of an image,
and explore the color correction options.

Retouching
Retouching is the process of making changes to improve your image. These changes
include the removal or touch-up of artifacts that the camera or scanner introduces into
an image. You may want to change or remove incongruous objects in the image,
imperfections of the subject, details recorded by the camera that our eyes filter out, or
imperfections of color. The challenge in retouching is to make these changes
undetectable. Some changes are quick and easy, whereas others are tedious and
time-consuming. For example, restoring old photographs usually takes a lot of time
and attention. Retouching techniques range from simple to complex.
In Lesson 2, you created new pictures using selection and deletion methods. In this
lesson, you'll learn to apply the selection and deletion methods for retouching
purposes. In addition, you'll learn to use the Patch, Healing Brush, Clone Stamp, and
Spot Healing Brush tools in the Retouching tool group. You'll also learn some basic
color theory and explore the art of color correction.
Retouching with Selection and Deletion Tools
In today's high tech world and the complexity of programs such as Photoshop, the
simple solutions are sometimes overlooked. In this section, you'll retouch a
photograph using the Marquee Selection tool to make a selection, select a color with
the Eyedropper tool, and then delete to the background color.
Either reset Photoshop to the program defaults or reset all of the tool options as
you work through this lesson.
Let's start by preparing a working copy of an image file, as follows:
Open the OldBuilding-orig.jpg file in Photoshop, and then select Image > 1.
Duplicate.
Save the duplicate copy as OldBuilding-working.psd. Keep your original file 2.
open to use as a reference.
If necessary, press D to set the foreground and background colors to the 3.
default of black and white.
Shortly, you'll sample the color to the right of the broken glass in the window with the
Eyedropper tool and then switch this color to the background color. It's a good idea to
look at the color values to get an idea of the color in the image. In this example, you'll
discover the inside of the window area is a dark color but isn't black. Using the color
from the original image helps make the touch-up undetectable.
In this sample image, you may find it difficult to draw the selection inside the window
because it's positioned at the edge of the canvas. Here's a quick way to add extra
canvas without using Canvas Resize:
Enlarge the document window of your working copy to see the gray area 1.
around your image. You can either drag the lower-right corner of the document
window or click the Maximize button for the document window.
Select the Crop tool, and then draw around the complete image. 2.
Drag the small square on the right further to the right to expand the width of the 3.
crop area, as shown in Figure 3-1.
Cyber-shot Compact
Line
Digital Camera Battery
Chargers & AC
Adapters

Figure 3-1: Crop to extend the canvas.

Double-click inside the area or press Enter to apply the crop. 1.
Notice that the color of the extended canvas is the same as the background color. If
you want the canvas to be a different color, change the background color before you
apply the crop. After all retouching is complete, you can crop the image to delete the
extra portion of canvas.
To perform some simple touch-ups on the working copy of the image, do the
following:
Using the Zoom tool or the Navigator palette, enlarge the upper-right area of 1.
the building, focusing on the broken pane of glass, as shown in Figure 3-2.
Figure 3-2: Area for retouch.
Select the Eyedropper tool from the toolbox, and then move the tool over the 1.
darkest area inside the window. Observe the RGB (red, green, blue) color
values in the Info palette, as shown in Figure 3-3. Black is represented by RGB
0, 0, 0.
Figure 3-3: Reading color values in the Info palette.
Select the Eyedropper tool to obtain a representative color sample. It doesn't 1.
have to be the exact one that's shown in the example.
Press X to switch the foreground color to the background color selection box. 2.
Select the Rectangular Marquee tool, and then draw a rectangle inside the 3.
window area including the two vertical bars leaving the edge of the gray stucco.
You can press the spacebar to move the selection as you're drawing it. If you
need to add to the selection after it's made, press Shift and then draw a new
area. This adds the new area to your current selection. To subtract an area
from your selection, press Alt. To start over, press Ctrl+D to unselect.
Press Delete. The selection area fills with your sampled background color. 4.
Repeat this procedure for the second window pane and the areas of the 5.
rectangular frame at the top of the doorway that overlap the dark background of
the doorway, as shown in Figure 3-4.
Figure 3-4: Delete parts of frame in doorway.
Retouching with the Move Tool
The next area to touch up or repair is located to the left of the arch area in the top-
center part of the building. You'll see a circular darker spot and a larger rectangular
area with some red color. The simple technique you'll use for the small circular area is
to make a selection area just below the damaged spot, and then use the Move tool to
drag a copy of the selected area over the detracting darker spot. Because you're
selecting an area similar to the one you're replacing, it'll match seamlessly.
To retouch with the Move tool, do the following:
Enlarge the areas for repair in the top-center of the building. 1.
Using the Rectangular Marquee tool, draw a rectangular selection just below 2.
the small dark area, as shown in Figure 3-5.
Figure 3-5: Enlarged selection area.
Select the Move tool, and then press Alt. Make sure the cursor changes to two 1.
small arrows, indicating you'll make a copy as you move the selection.
Move the selection into position over the area, and then press D to deselect. 2.
That's it! You just completed your first simple image retouching with the skills you
learned in Lesson 2.
Retouching with the Patch Tool
The Patch tool is located in the Healing Brush group in the toolbox. With this tool, you
can repair an area by blending a "patch" into the area. This is analogous to repairing a
damaged area on a painted wall inside your house.
To use this tool, you select the Patch tool, and then draw a selection around the area
you want to patch. You can add or subtract to the selection just as you do with other
selection tools.
For more drawing precision, you can create a selection with one of the other tools first,
and then switch to the Patch tool.
Then, you drag the selection to an area of pixels that you want to use as the patch
source. Make sure you drag the selection completely away from its place to the
source area. If this seems opposite to you (selecting the area you want to patch and
then moving it to the area you want to use as the source), you can change the tool to
work just the opposite by changing from the default setting of Source to the setting of
Destination on the options bar.
As you move the selection from the source to pick the pixels you want to use as the
patch, the Patch tool mixes the pixels of the source and destination in regards to
texture, color, and pattern. The tool does the work for you to make the patch look
invisible. In the CS versions, as you drag the selection you'll see a live preview of the
end results of the effects of the tool.
Now that you know how the tool works, let's patch that other area on the front of the
building, as follows:
Select the Patch tool, and then draw around the rectangular red area to the left 1.
of the arch on the building.
Move the Patch tool cursor inside the selected area, and then drag it to the 2.
right to use this area of pixels as the source. As you drag the selection, you'll
see the changes live in the first selection area, as shown in Figure 3-6.
Figure 3-6: Drag with the Patch tool to select a source area.
Release the mouse. Your patch is complete. Press Ctrl+D to unselect it. 1.
An alternate patching method is to select the Patch tool, and then click Destination on
the options bar. Drag to select the area that'll serve as the patch, and then drop the
patch selection onto the area to fix.
See retouching with selection and deletion tools in action.
Feel free to complete the remainder of the retouching to eliminate the rectangle over
the door and some of the tall grass at the bottom of the picture. Crop the picture as
needed, and then save your changes. Close both the original image and your
retouched photo.

Retouching with the Healing Brush and Clone Stamp Tools

There are countless times when you cannot avoid annoying elements in your image,
such as electrical transformers and power lines. The original photograph of the icicle
is a representative example and is a good candidate for retouching.
Cyber-shot Ultra-
Slim Line
Image Viewing and
Storage
Just as each image requires different selection techniques, each image also requires
different retouching techniques. Sometimes you need to use more than one tool, or a
combination of tools, to make a retouched area undetectable.
Look at the image of the original icicle. Notice that the blue sky has different values.
Because it covers a large area, it'll be difficult to use some of the retouching methods
you've learned. If you experiment with the Patch tool on the bottom area of the image,
you'll probably get unexpected results because some of the elements you want to
remove are not completely isolated. However, you can use the Healing Brush and
Clone Stamp tools to retouch this image appropriately.
The icon in the toolbox for the Healing Brush tool looks like a band-aid. In Photoshop
CS2, the icons for the Healing Brush tool and the new Spot Healing Brush tool look
very similar. The Healing Brush tool is the one without the half-circle, as shown in
Figure 3-7.
Figure 3-7: Healing Brush tool group.
The Healing Brush tool works well for retouching small, isolated areas. You can select
the size of the brush to be a little larger than the area you need to cover. If you need
to work on a larger area, the Patch tool works best.
The major difference between the Healing Brush and the Patch tool is how you

determine the source of the pixels you use. With the Healing Brush tool, you must first
press Alt, and then click with the tool to establish the point of origin for the source
pixels. As long as you continue to brush or paint without releasing the mouse, it uses
the same point of origin.
Then, you drag the mouse or paint over the area. It mixes the color and brightness
values along with texture, and any pattern from the source with the destination pixels
along the outside edge area of the brush. Therefore, the resulting color and shading in
the destination area is directly related to the size of brush and its hardness.
A hardness setting uses less of the surrounding pixels in terms of color and a
softer setting uses more of the surrounding pixels. You can change these settings
in the Brush menu on the options bar.
To use the Healing Brush tool, let's remove the electrical power lines and transformer
in the icicle image, as follows:
Download and open Icicle.jpg, and then select Image > Duplicate. 1.
Save the duplicate file as WinterIcicle.psd. Keep your original image file open 2.
to use as a reference.
Enlarge the bottom area of the image by drawing a box around it with the Zoom 3.
tool.
Select the Eyedropper tool, and then move it over the area above the power 4.
line on the right side of the image. Notice that the blue color value is fairly
consistent, which is a good area to use for the source pixels.
Select the Healing Brush tool, and then move to the power line on the right side 5.
of the image.
In Photoshop CS2, be sure to select the Healing Brush tool and not the default
Spot Healing Brush.
Adjust the Brush size to just slightly larger than the object you are deleting. You 1.
can press and release the right bracket (]) to increase the brush in small
increments or the left bracket ([) to decrease the brush. If you press and hold
you can increase or decrease the size of the brush by large increments. You'll
find this visual approach works well to determine the size of the brush without
going to the Options bar.
Alt+click in a blue area above the power line to use as your source pixels. 2.
You'll notice the cursor changes to a plus sign (+) inside a circle.
Drag the brush and paint over the power line. Be careful as you brush to avoid 3.
touching the icicle as the Healing Brush mixes pixels along the outer edge of
the brush and not directly on the tip of the brush. Don't worry if it doesn't look
correct as you paint. You won't see the end results until you release the
mouse.
Alt+click below the second power line on the right side and brush away the 4.
power line. As you near the tree branches you might want to Alt+click above
the power line to change your origin of pixels. During the painting process you
can change your point of the source as many times as you want.
To use the Healing Brush tool effectively on the power line on the left, it needs to be
cut off or isolated from the electrical transformer. You can accomplish this with the
Clone Stamp tool. Before you start this process, let's learn about the Clone Stamp
tool. Figure 3-8 shows the Clone Stamp tool in the toolbox.
Figure 3-8: Clone Stamp tool.
The name and icon of the tool give you an idea about what it does. Another word that
means the same as clone is the word identical. Let's use another familiar analogy to
help explain this tool. One of the rooms in your house has one wall with wallpaper.
You saved some of the extra wallpaper. Now you want to wallpaper another wall in the
same room and you want it to be an identical match. You use e the extra wallpaper
from the first wall that is identical and cover over the painted wall. Therefore, the
Clone Stamp tool just uses the pixels from the source area and places the identical
pixels in another area. It does not mix pixels in the destination area.
Similar to the Healing Brush, you must Alt+click to establish the source of the pixels
sometimes referred to as sampling. You can change the size and hardness of the
Clone Stamp tool and both the Clone Stamp and the Healing brush can use source
pixels from one image file and paint them in a completely separate open image file.
Now let's use the Clone Stamp tool to isolate areas of the electrical transformer.
Select the Clone Stamp tool, and then Alt+click just above the power line to the 1.
left of the icicle to establish the origin for your pixels. You can use the right
bracket and left bracket keys to increase or decrease the size of the Clone
Stamp tool or use the options bar.
Clone the pixels to break the power line from the transformer and the icicle, as 2.
shown in Figure 3-9.
Figure 3-9: Use the Clone Stamp tool to isolate parts of an image.
Switch back to the Healing Brush tool, Alt+click to establish the pixel source, 1.
and then brush away the isolated lines.
Continue to isolate larger pieces of the image with the Clone Stamp tool, and 2.
then use the Patch tool. When you use the Patch tool, be sure your selection
area does not touch the edges of the image you are removing. Figure 3-10
shows the transformer section isolated, and the Patch tool selection around it.
Move the selection upward for the source pixels.
Figure 3-10: The Patch tool deletes large areas.
To complete the retouching, use the Clone Stamp tool and clone pixels at the 1.
bottom edge of the image to separate the tree branches from the edge of the
image. Use the Patch tool to delete the remainder of the tree branches at the
bottom.
For the last step, view the image at 100% by clicking the Actual pixels button in 2.
the Zoom tool or press Ctrl+Alt+ 0 (zero). Make additional touch-ups as
needed.
Save the changes and close this file and your original file. 3.
See retouching with the healing brush and clone stamp tools in action.

Retouching Spots
After you master the Healing Brush tool, you probably wish you could use the brush
on small areas, such as dust specks, without having to first Alt+click. In Photoshop
CS2, you can do just that with the new Spot Healing Brush tool.
If you have a previous version of Photoshop, you'll have to continue using the
Healing Brush tool or another method to remove spots from images.
The Spot Healing Brush tool works just like the Healing Brush tool except you don't
have to click to establish a source for your pixels. The Spot Healing Brush tool icon
looks like a small half-circle and is located next to the Healing Brush tool. It's perfect
for small areas, such as dust specks or small blemishes on a face, and is a real time
saver -- just one mouse click and the spot's gone. Make sure the brush size is just
slightly larger than the spot you're removing.
You'll use the Spot Healing Brush tool to remove the tiny specks on the background in
the original image of the pressed flower arrangement.
Reset all of the tool options, or reset the program defaults the next time you open
of Photoshop.
To use the Spot Healing Brush tool, do the following:
Download and open PressedFlowers.jpg and make a duplicate copy. 1.
Save the duplicate as PressedFlowers.psd. 2.
Move around in the image in an enlarged view to see the tiny specks on the 3.
background and on the lower light yellow flower. Press H or the spacebar to
activate the Hand tool to easily move around in the image.
Select the Spot Healing Brush tool, and then click each spot to delete them. 4.
Cyber-shot High
Zoom Line
VAIO SR Series
Notebook

Restore a Photo and Vignette

An old photo in need of repair is an excellent image on which to practice all the
retouching skills you've learned. As you do this type of repair, you'll learn that photo
restoration is tedious and time consuming.
Digital Camera
Flashes
Cyber-shot Compact
Line
In this part of the lesson, you'll create a vignette. To help you have more control when
cropping a small amount of the torn left edge when repairing it, turn off the Snap To
feature (select View > Snap To > None). You can always turn this feature back on
when you need it. It's useful to help position and align objects.
To restore a photo and create a vignette, do the following:
Download and open AntiquePhoto.jpg and make a duplicate copy. 1.
Save the duplicate as AntiquePhoto.psd. Close the original file. 2.
Double-click the Background layer in the Layers palette, and then click OK in 3.
the New Layer dialog box.
Select the Elliptical Marquee tool and, if necessary, reset the tool options. 4.
Set a Feather value of 15 px on the options bar. 5.
Draw an elliptical selection, as shown in Figure 3-11. Be sure the top of the 6.
ellipse doesn't include the straight edge at the top of the image. Release the
mouse before you release the keys.
Figure 3-11: Selection with Feather option.
Create a new document file at least the same size or larger than the open file. 1.
Select the Move tool, and then drag the selected image to the new document 2.
window.
In the new document window, select the Background layer in the Layers 3.
Palette to make it active.
Select Select > All (Ctrl+A) to add a border. You'll learn a new way to add a 4.
border using a Stroke applied to the selection border.
Select the Eyedropper tool, and then pick a color for the border from the image. 5.
You can accomplish the same result by double-clicking the foreground color
selection box, and then selecting a color in the Color Picker.
Select Edit > Stroke. The color you picked displays in the color box. 6.
Set the width of the border, and then click OK. In the example, the width is set 7.
at 15 pixels.
Your finished vignette should look similar to Figure 3-12. Save your new file as 8.
PhotoVignette.psd, and close both files.

Figure 3-12: Antique photo vignette with border.

See restoring a photo and vignette in action.
That's it for retouching tools. Explore the remaining tools in the Retouching group on
your own -- they aren't covered in this course. These include the Blur, Sharpen,
Smudge, Dodge, Burn, and Sponge tools. In addition, Photoshop CS2 has a new Red
Eye tool located in the Healing Brush tool group. Refer to the Photoshop Help for
more information on these tools.

Understand Color Basics

The last two sections of this lesson cover color and color correction. You'll learn a few
basics about color and how to make a few simple color adjustments. You'll also
become familiar with the Adjustment layer.
Open the Color Picker in Photoshop by double-clicking the foreground color selection
box. Notice the four areas on the lower right with a character and values, plus the
large color field on the left, as shown in Figure 3-13.
Figure 3-13: Color Picker.
These represent different color modes that Photoshop supports that are based on
color models. A color model is simply another way to describe color with a numerical
value. The four color modes in the Color Picker are RGB, HSB, CMYK, and LAB. The
letters for the first three modes stand for red, green, blue; cyan, magenta, yellow,
black; and hue, saturation, brightness.
LAB color mode is not covered in this course. For further information on the LAB
Memory Stick Media
Cyber-shot Ultra-
Slim Line
color model, refer to Photoshop Help.
All digital images start out in RGB color mode because of the process digital cameras,
scanners, and digital video use to convert light into its RGB components. As a result,
you must convert an RGB image to another color mode for different types of final
output.
The CYMK and LAB color modes are used mainly for printing images for publication
on high-end PostScript printers and presses. The four-color printing process creates
the image with dots of the four ink colors -- CMYK. It can also use special premixed
inks. These standardized premixed inks in the United States are referred to as the
Pantone Matching System. Consult with your printer about the color mode
requirements for a specific print job. If the printer requires your images to be in CMYK
color mode, it's easy to do in Photoshop.
Here are the steps to convert an RGB image to CMYK:
Open any digital image. Notice that RGB appears in the title bar. 1.
Select Image > Mode > CMYK Color. 2.
That's how easy it is to convert from RGB to CMYK. You may notice a difference in
the color as Photoshop simulates the printed ink colors on the RGB monitor.
The color for the images displayed on the monitor is produced with different types of
light projection, and the color for your images printed on paper is produced with
printing inks. This division of color is referred to as the Light Theory of additive color
and Pigment Theory of subtractive color.
RGB color mode is based on the additive color model. Equal portions of red, green,
and blue are added to become white. The opposite happens in CMYK mode, which is
based on the subtractive color model. In this model, when you add all the colors the
result is black.
The range of colors in RGB color mode is based on the spectrum of visible light. The
color slider bar in Color Picker represents the color spectrum. If you bend the color
spectrum into a circle, you'll have the Color Wheel. Figure 3-14 shows the Color
Wheel in RGB mode.
Figure 3-14: RGB Color Wheel.
Notice the positions of the colors on the Color Wheel. This makes it easy to see the
relationships of the colors and the color opposites. For example, cyan is opposite red,
and cyan is made from the two adjacent primary colors of blue and green. Remember
that this is the additive color model, which is different from the pigment model.
To see how this relates to Photoshop, open any of your images. Select Image >
Adjustments > Color Balance. In the Color Balance dialog box, you can see the
correlation of the color opposites, as shown in Figure 3-15.
Figure 3-15: Color Balance dialog box.
As you recall, a color model is simply another way of describing color with a numerical
value. This way of expressing color allows the computer to work with the color data.
Each pixel on the monitor has a value for each of the three colors of RGB. The
numerical range is from 0 to 255. In the additive color model, black represents the
absence of color, so the value for black is 0. White represents all the colors, so the
value for white is 255. Fifty percent of all the colors is a medium gray.
The RGB values for a color are usually written with the characters RGB and the value.
A color value in RGB mode is written with the three values for the color. For example,
the value for cyan is RGB (0, 255, 255), as shown in the Color palette of Photoshop in
Figure 3-16. You can view the same information in the RGB section of the Color
Picker.
Figure 3-16: Color palette with cyan color.
The other color models that are relevant to color adjustments in Photoshop are HSB
and HSL. The HSB model represents the colors based on hue, saturation, and
brightness. The HSL model is a variation of the HSB model and is based on hue,
saturation, and lightness. The difference between the two is that the lightness is based
on linear changes of how light or dark the color is and the brightness of the HSB
model is based on non-linear changes. In Photoshop, you'll see the HSB color model
in the Color Picker.
Hue is defined as the color name, such as red. Saturation is how vivid or pure,
and brightness is how light or bright.
To see how the color field changes in the Color Picker when you select each one of
the elements of the HSB color model, do the following:
Open any image. 1.
Use the Eyedropper tool to sample a color. 2.
Double-click the foreground color selection box to open the Color Picker. 3.
Figure 3-17 shows the hue for a blue color.
Select the Saturation option (labeled "S"). The color field shows all the hues 4.
with the maximum saturation at the top and the minimum at the bottom, as
shown in Figure 3-17.
Figure 3-17: Color field for saturation.
Select the Brightness option (labeled "B"). The color field shows all the hues 1.
with the maximum brightness at the top and the minimum at the bottom.
Close the Color Picker. 2.
In Photoshop, the Hue/Saturation dialog box, as shown in Figure 3-18, has settings for
HSL (Hue, Saturation, and Lightness).
Figure 3-18: Hue/Saturation dialog box.
With this basic knowledge about color, you're ready to explore the area of color
correction.

Explore Color Correction

In addition to the image touch-ups you learned in the first part of this lesson, you can
make some basic color corrections to improve an image. It's usually a good practice to
make your color adjustments before you touch up an image, but this isn't a hard-and-
fast rule. You'll explore a few of the adjustments and learn about the following features
of the Adjustment layer:
Brightness and contrast with the Levels adjustment
Hue and saturation
Color balance
The brightness and contrast adjustment (Image > Adjustments > Brightness/Contrast)
is easy to use and works well with some images. However, be careful when adjusting
the contrast because the adjustments apply to all the pixels in the entire image.
Because you're adjusting the overall tone of the image, it would be better to be able to
adjust the range of tones (highlights, middle tones, and shadows) individually. You
can do this with the Levels adjustment.
The optimum for the tonal range of an image is to be able to see the detail in the
middle tones and the shadows because this gives the image dimension. A two-
dimensional object, such as a photograph, achieves the illusion of depth and three
dimensions by its tonal range. An image is described as flat because it doesn't have a
broad tonal range with details in the middle tones and shadows to give it the illusion of
three dimensions.
When you're making color adjustments, it's a good practice to learn to use a special
type of layer called the Adjustment layer. This layer contains only the data about the
color and not the actual pixels of your image. In this way, you can experiment and try
different adjustments without applying them directly to the pixels, which is a lot easier
than applying the correction and using Undo. When you merge or flatten the layers,
the correction is made to the actual pixels.
To create Adjustment layers and modify the brightness, hue, and color balance of an
image, do the following:
Download and open the OldBuilding-rev.jpg file, and then reset all of the tool 1.
options.
Select Image > Duplicate, and then save the file as OldBuilding-working2 in 2.
PSD format.
Select Layer > New Adjustment Layer, or click the New Adjustment layer 3.
button at the bottom of the Layers Palette, and then select Levels. If necessary,
click OK. The Levels dialog box appears, as shown in Figure 3-19.
Figure 3-19: Levels dialog box.
Move the white triangle located just below the histogram (graph) to the left until 1.
it's nearly even with the tall peak and observe the change in the image.
Cyber-shot Compact
Line

When you move the white triangle, you're adjusting the highlights. The middle
triangle adjusts middle tones and the black triangle adjusts the shadows.
To undo your changes, press Alt and then click Reset. (The Cancel button 1.
changed to Reset when you pressed Alt.) Experiment with the sliders to see
the changes in the tonal range of the image. When you're satisfied with your
changes, click OK.
On a Macintosh, the adjusted sample image may appear too light because
ordinary monitors on a Macintosh system display the images lighter than on a
Windows computer.
To compare the difference between the original tone of the image and the 1.
adjustments, click the layer visibility icon (eye) in the left column of the
Adjustment layer to turn off the layer and see the original.
Close the file without saving the changes. 2.
See the adjustment layer in action.
Now you'll work with the Hue/Saturation adjustment for one way to quickly change the
colors (hue) of the image. You'll use your multiple balloon image file from the previous
lesson.
Open your image with the multiple balloons from Lesson 2. Verify that the 1.
smaller balloons are still on separate layers. If they aren't, use a selection
technique to select a balloon.
To select one of the smaller balloons on a layer, Ctrl+click the thumbnail of the 2.
layer.
Select Layer > New Adjustment Layer, and then select Hue/Saturation. The 3.
Adjustment layer is added above the current layer.
Move the Hue slider to the left or right to see it change the color of the balloon. 4.
Repeat until you have colored the rest of the small balloons. Be sure to select 5.
the layer for each balloon. For one of the balloons, you can use the saturation
slider to desaturate the color until it has no color and is simply shades of black
and white.
Select File > Save As, and then save the file as MultiColorsBalloon. 6.
See the Hue/Saturation adjustment in action.
With your new knowledge about color relationships, you can now make color balance
adjustments. When you're adjusting the color balance of images, you should shift the
colors so that they're neutralized. For example, if your image has a magenta cast, you
should move the slider toward the opposite color to balance, or neutralize, these two
colors.
To make a simple color balance adjustment, do the following:
Open the vignette. Be sure to reset all tool options. 1.
To select the layer with the portrait (Layer 1), Ctrl+click the thumbnail in the 2.
Layers palette. Make sure Layer 1 is the active layer by clicking the name of
the layer.
Select Layer > New Adjustment Layer, and then select Color Balance. The 3.
layer is added above Layer 1.
In the Color Balance dialog box, increase the yellow by moving the slider to the 4.
left to about - 50, and then click OK. Generally, an image is more pleasing with
a shift toward the warmer colors (yellow, red, and magenta).
Click the layer visibility icon (eye) in the left column of the Adjustment layer to 5.
turn off the layer. Compare the before and after.
If you wish, you can select File > Save As and save the file with a new name. 6.
You've explored a small fraction of color adjustment techniques. With this new
knowledge and experience, you can now think of image editing in a whole new light.
It's time to experiment with your own images and take them from great to outstanding.
Moving On
In this lesson, you learned about retouching images and color adjustments.
Before you move on, complete the assignment and take the quiz, and then stop by the
Message Board to post comments and questions for your classmates and instructor.
In Lesson 4, you'll learn about image sizes and resolutions, how to resize images, and
how to prepare images for print.
Assignment #3
In this assignment, practice the retouching and color adjustment skills you learned in Lesson 3.
If you have problems with any of the assignment instructions, review the lesson material or
consult the solution at the end of this assignment for detailed step-by-step instructions.
Open Photoshop. Reset the program defaults, or reset all tools as you work through this 1.
assignment.
Download Begonia.jpg. 2.
Open and duplicate the Begonia.jpg file. When prompted, name the duplicate image 1.
MyBegonia.jpg.
Resave the file in the default Photoshop (PSD) format. 2.
Add a new color balance adjustment layer, naming the layer Less Red. Reduce the amount 3.
of red balance in the image by 25.
On the Background layer, use the Spot Healing Brush tool to remove the white spots on the 4.
upper-left and lower-right flower petals.
Use the Patch tool to fix the brown spot on the turned-up edge of the lower-left petal. 5.
Deselect the patch selection to check your work. The image with the color, spot, and flaw 6.
correction should look similar to Figure 3-20.
Figure 3-20: Edited Begonia image.
Save and close the image file. 1.
Solution
In this assignment, practice the retouching and color adjustment skills you learned in Lesson 3.
If you have problems with any of the assignment instructions, review the lesson material or
consult the solution at the end of this assignment for detailed step-by-step instructions.
Open Photoshop. Reset the program defaults, or reset all tools as you work through this 1.
assignment.
Download Begonia.jpg. 2.
Open and duplicate the Begonia.jpg file. When prompted, name the duplicate image 1.
MyBegonia.jpg.
Resave the file in the default Photoshop (PSD) format. 2.
Add a new color balance adjustment layer, naming the layer Less Red. Reduce the amount 3.
of red balance in the image by 25.
On the Background layer, use the Spot Healing Brush tool to remove the white spots on the 4.
upper-left and lower-right flower petals.
Use the Patch tool to fix the brown spot on the turned-up edge of the lower-left petal. 5.
Deselect the patch selection to check your work. The image with the color, spot, and flaw 6.
correction should look similar to Figure 3-20.
Figure 3-20: Edited Begonia image.
Save and close the image file. 1.

Quiz #3
Question 1:
True or False: Photo retouching is the process of making changes to improve photographic images.
A) True
B) False

Question 2:
True or False: Before you can start to paint with the Clone Stamp tool, you have to Alt+click to establish the
origin or source of the pixels.
A) True
B) False

Question 3:
Which of the following are color adjustments? (Check all that apply.)
A) Color balance
B) Brightness
C) Contrast
D) Feather

Question 4:
True or False: The Healing Brush tool is best suited for small, isolated areas.
A) True
B) False

Question 5:
True or False: Sometimes, more than one tool or technique is required to adequately retouch a photograph.
A) True
B) False

Image Resizing and Resolution

You'll wrap up this introduction to Adobe Photoshop CS2 with an overview of image size and resolution, and
their importance in image preparation. You'll learn about the size of digital images and how to resize images for
print, onscreen presentations, and e-mail.

Image Size and Resolution Basics

As you continue to learn more about image editing and how to create high-quality
images, you'll need to know how to prepare the image for their final destination. You'll
discover that one image size does not fit for all types of output.
For example, your images may eventually become part of a book illustration,
corporate report, newsletter, brochure, greeting card, or scrapbook. Your images
might also be displayed onscreen in a slide show, in a business presentation, on a
Web page, or sent via e-mail to colleagues.
You'll notice that the list of examples is divided into two main types of output: print and
onscreen. To help maintain the image quality within the boundaries and limitations of
the output, you need to adjust the size, resolution, file size, and file format of your
image.
In most instances, the original source image and its exact duplicate are not the correct
size and resolution that you need for your final image. It's a good practice to observe
the image size and resolution from the beginning of the image editing process in
Photoshop, even though resizing the image is usually done in the final stages of your
image preparation.
First, let's learn how to find the information for a digital camera image. You should use
your own images as you follow the examples.
The digital camera examples in this lesson do not include camera raw files. If
you're using the camera's raw format, go to Photoshop Help for instructions on
how to open and save them as a Photoshop file.
Image Data
In this example, the image source is a digital camera. The image destination is an
inkjet printer, printed directly from Photoshop.
Open an original digital camera image and create a duplicate. 1.
Save in PSD format, and then close the original file. 2.
For a quick look at the physical dimensions of the image, view the rulers at the top
and left sides of the image. The default unit of the ruler is in inches, which you can
change in Preferences.
Select View > Rulers. The example image is approximately 9.5 x 11.5 inches, 1.
as shown in Figure 4-1.
Learn More
If you're unsure of the
definitions of any of
these terms, or others
in this lesson, check
Photoshop Help or
Wikipedia.
Cyber-shot High
Zoom Line
VAIO SR Series
Notebook
Figure 4-1: Rulers.
At the bottom of the document window between the document icon and the 1.
shortcut menu arrow, Alt+click and hold the mouse to display additional details
about your image, as shown in Figure 4-2.
Figure 4-2: Document information.
Select Image > Image Size (Alt+Ctrl+I) to open the Image Size dialog box, as 1.
shown in Figure 4-3. You'll make the size and resolution changes in this dialog
box.
Figure 4-3: Image Size dialog box.
Cropping an image changes the physical dimensions and deletes image pixels.
You may be surprised that the resolution of the digital camera image is not very high,
and the dimensions of the image are large. The large size gives you a lot of pixel
image data, which compensates for the lower resolution. In comparison, an image
from a scanner is generally high in resolution, as shown in Figure 4-4.
Figure 4-4: Image size of original scan.
For more information on how to use Photoshop to estimate the resolution for your
scan, consult Photoshop Help.

Image Resize
After reviewing the image data and completing the image editing, you're ready to
resize the image for print output. The original size of the example image is 9.5 x
11.889 inches. However, you want to print an image approximately 4 x 5 inches to a
desktop ink jet printer. Most desktop ink jet printers recommend a resolution of 250 to
300 dpi.
This number varies depending on the printer.
Cyber-shot Ultra-
Slim Line
The following steps and instructions show you how to change your image to meet the
output requirements:
If necessary, open the Image Size dialog box (Image > Image Size). 1.
Uncheck the Resample Image checkbox at the bottom of the dialog box. 2.
After you uncheck the Resample Image option, notice that the pixel
dimensions are no longer available to change. When you're working with
digital camera images, you want to keep the number of pixels
unchanged. When you resample an image, the extra pixels are deleted.
Photoshop uses different types of interpolation methods to determine
how and which pixels to delete.
Type 4 for the width dimension, or use the scrubber sliders to change the 1.
number. The height value automatically changes to retain the same
proportions. If you make a mistake, right-click and select Undo. If you press Alt
to reset, uncheck the Resample Image checkbox.
Notice that when the image size decreased, the resolution increased from 144 to 342
ppi (pixels per inch), yet the number of pixels stayed the same, as shown in Figure 4-
5.
Figure 4-5: New image dimensions.
The file size also remained the same. This illustrates the inverse relationship between
image size and resolution. In the example, the image size decreased and the
resolution increased. The opposite is true if you increase the size of the image -- the
resolution decreases.
Let's look at an analogy to help you visualize this relationship. A group of 16 squares
can be rearranged in several different combinations of columns and rows. However,
regardless of the arrangement, the total number of squares remains the same.
Printer Supplies
The 16 squares are now arranged in a four-row, four-column grid to fit into a specific
area. If the area is smaller than the squares, the 16 squares need to shrink or
decrease in size to fit in the area. This relates to resolution -- the smaller the dot or
pixel, the greater the resolution.
On the other hand, the squares need to expand or increase in size to fill a larger
space. Again, relating this to resolution, the larger the dot or pixel, the lower the
resolution.
Deleting some squares to make the remaining squares fit illustrates resampling. This
occurs when you delete pixels to fit a given area.
The resolution of our sample image is 342 pixels per inch, which is a little above the
range (250 to 300) for a desktop inkjet printer. Your goal is to optimize the image's
resolution for printing purposes. If the resolution is much less than the recommended
printer resolution, the printer will stretch the pixels to fill the space, resulting in poor
quality. If the resolution is much too high, the printer will shrink or discard pixels to fit
the space, resulting in poor quality. Plus, the file size will be large and unmanageable.
Check your printer's specifications and run a few print tests to determine which
resolution results in the best quality. In addition, the type of paper that you print on
affects the quality of the print.
In the example, the image resolution is acceptable for a commercially printed fine arts
book, for example, but the resolution is unnecessarily too high for a newsletter or
brochure. Consult with your commercial printer about their requirements. You could
use 267 as a starting point, because this is two times the lines-per-inch setting for the
printing press for an average job.
The lpi (lines per inch) is a unit of measure for how close halftone dots are to each
other in a grid in a linear inch.
Accept the new size and resolution to see the effect, as follows:
Click OK to apply the new size and resolution. 1.
Notice that the rulers reflect the new size dimensions even though the screen 2.
display looks the same, as shown in Figure 4-6.
Figure 4-6: Rulers show new image size.
To decrease the resolution to 250 for an inkjet printer, do the following:
Open the Image Size dialog box again (Image > Image Size). 1.
Check the Resample Image checkbox. 2.
Change the resolution to a lower number, for example 250, and then select a 3.
type of interpolation method from the Resample Image drop-down menu. Either
leave the setting at Bicubic or select Bicubic Sharper.
See Photoshop Help for a full description of interpolation methods. Bicubic Sharper is
available in Photoshop CS and CS2 but not in the previous versions.
As you see in Figure 4-7, when the resolution changed, the number of pixels also
changed. This method is referred to as downsampling because you're decreasing the
number of pixels.
Figure 4-7: Changing resolution.
You can change the image dimensions and resolution of another open image to match
the settings you have in the Image Size dialog box. While the dialog box is open,
select the name of an open file from the Window menu.
Now that you know how to resize an image for print, let's see how the process works
for an image you'll display onscreen. You first need to learn about monitor resolution.
An image displayed on screen is dependant on the display resolution of the monitor,
which has a fixed number of pixels for each monitor resolution setting. Because each
pixel holds the RGB color data, an image doesn't require as much resolution for
display on a monitor as it does for print. An image produced by a printer is created by
dots of ink in four colors. It takes a lot more dots closer together to get the same
quality image on paper as on a monitor. Therefore, an image for display onscreen can
be at a lower resolution and still have good quality.
As you read different resources about the image resolution for onscreen display, you'll
notice differences of opinion. Some resources state that the resolution setting in the
Image Size dialog box can be ignored, whereas others say the magic number is 72
ppi, which is recognized as the standard.
There is a relationship between file size and resolution. A lower resolution results
in a smaller file size. Therefore, one way to accomplish a smaller file size is to
decrease the resolution.

Image for Onscreen Viewing

Because it's hard to visualize what size to make an image for the screen, let's see
how to estimate the size to use as a starting point. First, you need to start with the
monitor resolution display setting. Because everyone viewing the image may not have
the same monitor resolution, you need to decide on a standard to use. The standard
resolution since 2003 is 1024 x 768.
With a monitor setting of 1024 x 768 and the browser window at full screen, the width
would be a little less than 1024 pixels because of the scroll bars. If the image will take
up one-half of the width of a page, the image size will be 512 pixels (1024 divided by
Digital Camera Cases
2). You could also use 500 pixels to make it easier to remember. If the image will take
up one-fourth of the width of a page, the image size will be 256 pixels (1024 divided
by 4). Because you keep the proportion of the image the same, you only need to
decide on the width.
You can use the same method to estimate the image size for an onscreen slide show
or to use the image in PowerPoint. In this case, be sure to estimate the size based on
the computer that'll show the presentation. If the slide show will be displayed on a
multimedia big screen or on a projector, you may need to change both dimensions to
fit the aspect ratio of the projection system.
To resize an image for display on a Web page or to send via e-mail, do the following:
Open the original image, and then select Image > Image Size. 1.
Leave Resample Image checked, and leave the interpolation method set to 2.
Bicubic.
Change the width to 500, which is approximately one-half the width of the 3.
monitor display set at 1024 x 768, as shown in Figure 4-8.
Figure 4-8: Change in dimension.
For a smaller file size you can change the resolution to 72 ppi, as shown in Figure 4-9,
and adjust the pixel dimensions accordingly. Don't be concerned about the change in
the document size because this section relates only to the image size when it's
printed.
Cyber-shot Ultra-
Slim Line
Figure 4-9: Change in resolution.
Now your image is resized for display on a Web page or to send via e-mail. If the
image is destined for a Web page, open it in ImageReady to optimize it for the Web.
There's one last step you need to do before your image is completely ready. You need
to save a copy of the file in a different file format that's compatible with your output.
For Web page images or to sending via e-mail, JPEG is usually the best format.

Prepare Your Image

Just as one image size does not fit all types of output, one file format does not work
for all types. Each format has its own set of options. For example, when you save a
file in JPEG format, your layers are not saved. Make sure you don't save over the
original Photoshop file that contains the layers.
When you use the Duplicate feature in Photoshop to make a copy of a file and save it
with a new name, you get the same result as saving the PSD file with the Save As a
Copy option checked in the Save As dialog box.
For more information on save options, refer to Photoshop Help.
When you need to open a graphics file in a program other than Photoshop, check to
see which file formats the other program supports. Generally, the Adobe products in
Creative Suite work with PSD files and have layer options. If you plan to print a file
from Photoshop, you don't need to save it in a different file format.
To save your image in JPEG format to use in PowerPoint, do the following:
Select File > Save As. 1.
Change the File format type to JPEG (*.JPG; *.JPEG;*.JPE), type a new name 2.
for the file, and then click Save. The JPEG Options dialog box appears.
In the JPEG Options dialog box, as shown in Figure 4-10, adjust the quality 3.
setting, if necessary. This setting determines the amount of compression. The
more compression, the smaller the file size. The maximum Quality setting value
is 12, which has the least amount of compression and the largest file size.
Camera Cables
Cyber-shot Compact
Line
Figure 4-10: JPEG Options dialog box.
Leave the other settings at their defaults because they pertain to ways the JPEG file
will display on a Web page.
Moving On
In this lesson, you learned about image size and resolution. You learned how to use
the Image Size dialog box to resize a digital camera image without deleting pixels, and
how to optimize resolution for print and onscreen viewing.
Before you move on, complete the assignments and take the quiz, and then head over
to the Message Board to discuss topics in this lesson with your classmates or post
questions to your instructor. The second assignment is a challenge assignment in
which you experiment with most of the techniques you learned about in this course.
Take a moment to reflect on all of the knowledge and skills you've learned about
Photoshop in just a short time. You're now ready to continue your journey into the
world of image editing, image creation, and image preparation.
Assignment #4
Practice what you learned in Lesson 4 by resampling (resizing) an example digital camera image in
various ways, to suit your output needs.
If you have problems with any of the assignment instructions, review the lesson material or consult the
solution at the end of this assignment for detailed step-by-step instructions.
Download Peacock.jpg. This image is a cropped portion of a digital camera shot. 1.
Open and duplicate the Peacock.jpg file. When prompted, name the duplicate image HiRes- 1.
Peacock.jpg.
Resave the file in the default Photoshop (PSD) format. 2.
Assume you want to use this image for a newsletter that you'll print on your own inkjet printer. 3.
However, you don't need photo-quality printing, so you'll select a resolution that's more appropriate
for regular or draft printing. Change the resolution for the file to 150 pixels/inch. The image window
will increase in size to reflect the increased resolution, and the status bar will display the larger file
size (approximately 4.52 MB), as shown in Figure 4-11.
Figure 4-11: High-resolution peacock image.
If you look carefully at certain areas in the peacock image, such as around the bird's neck, you can
observe how the resampling interpolation didn't exactly make the details perfectly smooth.
Save and close the resampled HiRes-Peacock file. 1.
Duplicate the Peacock.jpg file. When prompted, name the duplicate image LowRes-Peacock.jpg. 2.
Resave the file in the default Photoshop (PSD) format. 3.
In this case, you want to use this image on a web page. The original resolution of 72 ppi works well 4.
for that application. However, the image Width and Height settings are too large. Leaving the
Constrain Proportions checkbox checked in the Image Size dialog box, change the image Width
setting to 4 inches (the Height will scale proportionally). The image window will decrease in size to
reflect the increased resolution, and the status bar will display the smaller file size (approximately
154.4 KB), as shown in Figure 4-12.
Figure 4-12: Low-resolution Peacock image.
You may need to increase the size of the image window to see the file size. Note that the image may
look smaller than 4 inches wide in Photoshop, due to the difference between your system's dpi setting
and the file's ppi resolution.
Save and close the resampled LowRes-Peacock file. 1.
Solution
Practice what you learned in Lesson 4 by resampling (resizing) an example digital camera image in
various ways, to suit your output needs.
If you have problems with any of the assignment instructions, review the lesson material or consult the
solution at the end of this assignment for detailed step-by-step instructions.
Download Peacock.jpg. This image is a cropped portion of a digital camera shot. 1.
Open and duplicate the Peacock.jpg file. When prompted, name the duplicate image HiRes- 1.
Peacock.jpg.
Resave the file in the default Photoshop (PSD) format. 2.
Assume you want to use this image for a newsletter that you'll print on your own inkjet printer. 3.
However, you don't need photo-quality printing, so you'll select a resolution that's more appropriate
for regular or draft printing. Change the resolution for the file to 150 pixels/inch. The image window
will increase in size to reflect the increased resolution, and the status bar will display the larger file
size (approximately 4.52 MB), as shown in Figure 4-11.
Figure 4-11: High-resolution peacock image.
If you look carefully at certain areas in the peacock image, such as around the bird's neck, you can
observe how the resampling interpolation didn't exactly make the details perfectly smooth.
Save and close the resampled HiRes-Peacock file. 1.
Duplicate the Peacock.jpg file. When prompted, name the duplicate image LowRes-Peacock.jpg. 2.
Resave the file in the default Photoshop (PSD) format. 3.
In this case, you want to use this image on a web page. The original resolution of 72 ppi works well 4.
for that application. However, the image Width and Height settings are too large. Leaving the
Constrain Proportions checkbox checked in the Image Size dialog box, change the image Width
setting to 4 inches (the Height will scale proportionally). The image window will decrease in size to
reflect the increased resolution, and the status bar will display the smaller file size (approximately
154.4 KB), as shown in Figure 4-12.
Figure 4-12: Low-resolution Peacock image.
You may need to increase the size of the image window to see the file size. Note that the image may
look smaller than 4 inches wide in Photoshop, due to the difference between your system's dpi setting
and the file's ppi resolution.
Save and close the resampled LowRes-Peacock file. 1.

Assignment #5
This assignment pulls together all the skills you've learned in the course. You'll practice skills such as
correcting color, fixing blemishes, selecting, copying and pasting, creating a new file, working with the
canvas and file size, and more.
If you have problems with any of the assignment instructions, review the material in the appropriate
lesson or consult the solution at the end of this assignment for detailed step-by-step instructions.
Follow these steps to complete the assignment:
Close Photoshop if you've previously been using it, and then restart it, resetting the program 1.
defaults.
Download MorningGlory.jpg. This image was taken on a digital camera. 2.
Original Morning Glory image.
Open and duplicate the MorningGlory.jpg file. When prompted, name the duplicate image 1.
MyMorningGlory.jpg.
Feel free to change the zoom and image window sizes as needed throughout this assignment to better
view the portion of the image that you need to work with.
Resave the file in the default Photoshop (PSD) format. 1.
Use the Spot Healing Brush tool to remove many of the pollen spots from the morning glory flower 2.
bloom.
Also try working with the Patch tool to correct some of the pollen spots. 3.
That's a lot of work, so save your changes. 4.
Pick up a pink area near the center of the morning glory bloom to use as the background color. 5.
Use the Magnetic Lasso tool with a bit of feathering to select the morning glory bloom. 6.
Copy the selection. 7.
Create a new image using the size suggested by Photoshop (it's based on the size of the selection 8.
you just copied) and the background color as the background for the new image file.
Paste the flower bloom you copied in Step 10 into the new image file. The new image should 9.
resemble Figure 1.
Figure 1: New Morning Glory image.
Apply an automatic color correction. This makes the blue tones in the image a bit more saturated. 1.
Increase the canvas size to 6 inches by 6 inches to add more background around the bloom. 2.
Change the image size to 3 inches by 3 inches, leaving the resolution at 72 pixels/inch, as if you're 3.
planning to include the image on a web page.
Save the file in the default Photoshop (PSD) format, naming the file MorningGlory-Web. The 4.
finished image should resemble Figure 2.
Figure 2: Morning Glory image for the web.
Save and close each of the open files, and exit Photoshop. 1.
Solution
This assignment pulls together all the skills you've learned in the course. You'll practice skills such as
correcting color, fixing blemishes, selecting, copying and pasting, creating a new file, working with the
canvas and file size, and more.
If you have problems with any of the assignment instructions, review the material in the appropriate
lesson or consult the solution at the end of this assignment for detailed step-by-step instructions.
Follow these steps to complete the assignment:
Close Photoshop if you've previously been using it, and then restart it, resetting the program 1.
defaults.
Download MorningGlory.jpg. This image was taken on a digital camera. 2.
Original Morning Glory image.
Open and duplicate the MorningGlory.jpg file. When prompted, name the duplicate image 1.
MyMorningGlory.jpg.
Feel free to change the zoom and image window sizes as needed throughout this assignment to better
view the portion of the image that you need to work with.
Resave the file in the default Photoshop (PSD) format. 1.
Use the Spot Healing Brush tool to remove many of the pollen spots from the morning glory flower 2.
bloom.
Also try working with the Patch tool to correct some of the pollen spots. 3.
That's a lot of work, so save your changes. 4.
Pick up a pink area near the center of the morning glory bloom to use as the background color. 5.
Use the Magnetic Lasso tool with a bit of feathering to select the morning glory bloom. 6.
Copy the selection. 7.
Create a new image using the size suggested by Photoshop (it's based on the size of the selection 8.
you just copied) and the background color as the background for the new image file.
Paste the flower bloom you copied in Step 10 into the new image file. The new image should 9.
resemble Figure 1.
Figure 1: New Morning Glory image.
Apply an automatic color correction. This makes the blue tones in the image a bit more saturated. 1.
Increase the canvas size to 6 inches by 6 inches to add more background around the bloom. 2.
Change the image size to 3 inches by 3 inches, leaving the resolution at 72 pixels/inch, as if you're 3.
planning to include the image on a web page.
Save the file in the default Photoshop (PSD) format, naming the file MorningGlory-Web. The 4.
finished image should resemble Figure 2.
Figure 2: Morning Glory image for the web.
Save and close each of the open files, and exit Photoshop. 1.

Quiz #4
Question 1:
True or False: The two main final output types for images are print and onscreen.
A) True
B) False

Question 2:
True or False: Image resolution is measured in ppi.
A) True
B) False

Question 3:
What's the name of the process that decreases the number of pixels of an image?
A) Downsampling
B) Upsampling
C) Cross-sampling
D) Resampling

Question 4:
True or False: A digital camera image generally has a low resolution with a large number of pixels.
A) True
B) False

Question 5:
True or False: To estimate the size of an image to take up one-half of a browser window, you divide the width of
the monitor resolution by 2.
A) True
B) False

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