Hie Va ny aT nts @ Advanced guides and tutorials for Adobe Elements photo enhancing SECRETS & HACKS oe, @ Next level tips es we and secrets get you f to the heart of ‘ Adobe Elements i @ We share our awesome tips and techniques for perfect photographs Everything you need to take your photo enhancing skills to the next levelTech Guides Available on Read ly Who" (TRICKS & TIPS ety Adobe led Elements 4 For a full list of titles available visit: www.pclpublications.comTRICKS & TIPS Adobe Elements Adobe Elements Tricks & Tips is the perfect digital publication for the user that wants to take their skill set to the next level. Do you want to enhance your user experience? Or wish to gain insider knowledge? Do you want to learn directly from experts in their field? Learn the numerous short cuts that the professionals use? Over the pages of this new advanced user guide you will earn everything you will need to know to become a more confident, better skilled and experienced owner. Auser that will make the absolute most of their use and ultimately Adobe Photoshop Elements itself. An achievement you can Over the page Our journey cont, fed we wil be with yey every stay i inform ane abe earn by simply enabling us to inspire aie exclusively help and teach you ei un 4 to the abilities we have gained ers over our decades of experience.6 Your Guide to Image Editing ERR Cle ue 8 A Guide to Using Layers 38 Sky Replacement 10 Methods for Adjusting an Image 44 Frequency Separation 14_Using the Photo Editor Expert Mode 50 Composite Images 18 Selection Tools 58 Dodging and Burning 20 Cloning, Healing and Enhancing 64 How to Add Rain to a Photo 26 _ Draw, Fill, Shapes and Text 72 Glossary 32__ Modify, Crop, Move and Recompose"..,.make your images look amazing with just a bol Co No Bol a lol to a o-oo kl 6| guided edits to hands-on expert modes, you can create exactly what you want. The only thing holding you back is your imaginatiorYour Guide to Image Editing The great thing about Adobe Photoshop sane alla era er) ome) od when it comes to image editing, digital manipulation and creating new works of art. Whether you are a complete novice who is starting out and wanting to learn the ropes or an experienced digital artist who needs more advanced tools to complete their project, Photoshop Elements has all the power and sophistication you need to get the most out of your photos. sernasthatracm 7,A Guide to Using Layers Layers are one of the fundamental aspects you can employ when it comes to non-destructive image editing. he use of layers has become the T very core of image editing since its he early 90s. As yers are exactly What they sound like. You can have a umber of separate elements, each ‘nits own layer, that are stacked one fon top of the other. When all viewed vantage of using layers is Ie means you ean change an elemer ‘on one layer only and not have an Impact on the rest of the image. Ie also means that you can take an image and duplicate it on another layer and perform any edits you want on that one Inthe knowledge that the base image I remain untouched in case it doesn't ‘ut quite es you had hoped. Within ments, there are four main types of yer. There is the basic pixel layer which Contains the main photo elements of the project. There are text layers where you. can type 1d change the size ang ‘colour, Then there are hil/adjustment layers that are designed to af layer below it sueh as changing saturation or brightness ofthe layer Below, oF ust adding a colour to that layer Final there are vector layers that Contain scalable graphical elements such fs shapes and work paths. Each layer alsa have a mask added £0 itso Only part of that layer can be seen, @ Create New Layer You ean click the Create New Layer button at the top of the layer panel, use the key broad shortcut or go to the file menu and choose Layer > New > Layer fo add a new layer to the stack, You wil bbe prompted to name the new layer, You can rename Itat any time © Create New Group Sometimes k may be necessary to take ‘a numberof layers and grou ther fo make things more manageable, as the number of layers increases in y document. You can highlight each layeryou want and then press the Create New Group button to group ther. Alternatively, you can go ta the fle menu ‘and select Layer > New > Group 3) Fill or Adjustment Layer Fille ana Adjustments allows you to ada colours, gradients and patterns toa layer. ‘They algo slow you to add adjustments such as Brightness and Contrast, Hue and Saturation and Levels. Adjustment layers affect the layers directly beneath thern in the stack or they can be clipped to the fone layer directly below them only. @) Add Layer Mask Each layer you use in a document ean have a layer mask added to It. The mask is designed to let you hide or reveal specific parts ofthat layer only Areas ff the mack in white let the layer remain Visible, while any areas of the maskin black hie that part of the layer. The rule of thumb is: white reveals pixels and black conceals ther, © Lockall Pixels Clicking this button locks the layer Completely and no further edits can be made to it, You wil also be unable to reposition the image on locked layer. e Lock Transparent Pixels IF you click this button, any area of a layer that has no image pixels in tis considered transparent. An area that is transparent is then locked and no edits (can be made 20 it remains traneparent 0 @,.0 @ ' Jue 0 @ hs | ‘A GUIDE TO USING LAYERS: a 8 Delete Layer ‘The trashcan shaped button lets you elete any selected layers if you wish to remove them from the layer stack © Panel Options ‘There are a number of menu options {available here such ax Rename Layer, Duplicate Layer, Delete Layer Link Layers, Morae Visible and Meroe Down © Blend Modes ‘Blend Modes determine how the image colours on the layer interact with the layer below it can be changed for ‘every layer individually or as part of a ‘group for certain visual effects D Visibility ‘The small eye icon on the left of each layer lats you tur that layer off so its not visible. Any effects associated with that layer are also rendered invisible until ‘the eye icon is clicked once more, 0 Link/Unlink Layers This ets you link a number of layers so that any transformations and move Commands you make are all applies tO the linked! layers atthe same time, @ Background ‘The Background layer isthe default ‘oottom layer. Whether its an image you have opened or @ new document, the Background layer is always partially locked until you choose to unlock it @ Standard Layer A typical layer with pixel information splayed on i ® Adjustment Layer ‘An adjustment layer is designed to affect the ayer below iin ths example, we have a Levels adjustment that alters the brightness and contrast of al the layers stacked Below i oe Vector Layer ‘A vector ayer contains scalable data Such as shapes in the case of our ‘example, A small icon in the lower right corner of the thumbnal indicates itis Scalable graphic. © Text Layer ‘The thumbnail of a Tex layer displays @ To indicate the layer contains sealable text. The layer name also reflects Whatever text ison that layerMethods for Adjusting an Image When it comes to methods for adjusting your images in Elements, you are spoilt for choice. There are a number of methods to get an image looking great. We'll show you how each one works, with some examples, to help you choose which method suits you best. Quick Mode @ @ D roto Bin Tos! Optne Undo @ woe Dm The Healing Brush To the clone source b next to the blemish, This chosen area will than be cloned ver the blemish when you paint over it. The cloned source will be blendled in to be as seamless as possible, The main difference between theOd roe ar ate the brush sz by using the Sze ser in ne Tool Options panel or By pressing the left anc right, bracket keys, Pressing [ wl recuce the size of the brush an pressing I mil increase the brush size, This lets you clone with (reater accuracy and detail f you need it wonmoomennee EEE Ge) f Adjustments _Effe Now thatthe blemish is gone, we can lock at making Je more vibrant and appealing, Layers are not available in Guick mode, soit comes down to choosing the ight method for the best overall eect, The easiest Way to see the effect you ean have on the image is to choose Adjustments from the taskbar is calls up the Adjustments panel, You can choose Smart Fic and select from a number oF options that make subtle changes to the image and recover detain the highlights and shadows. Hover over each one to see a preview of the effect applied to your photo. Click the one you want to apply. Next, you can go to the Exposure adjustment and choose to make the image brighter or darker Again you can hover over a number of options and see @ preview of the fffect or use the sider to make mare subtle adjustments to the brightness of the image, 1 Lighting panel isthe key to really controlling the brightness of your Highlights. Mtones and Shadows, each of which has its own tab for you to access. Choose from the options provided or use the sliders for more subtle contol fof each of the tonal options The vividness of your image can be controled inthe Colour panel Increase tre Saturat Vibrance to increase the most subdued colours fist. Hue {you shift the entire you require it)Beene: iat you shite colour temperature from col to warm and Tint allows you to add either an increasingly green colour cast or a magenta cast fo help offset any colour creating artefacts and halos 35 the contrast Increases and bright inconsistency in your orginal image. Unwanted highights appear eround areas of high contrast in your photo. Ifyou are happy. you can save the result fee aii lele eases sd nde the Enhance menu area mumiber of Autofeatresto BY fyou goto Enhanco > Auto Smart Tone (Shift » Cm tT) Improve your image. These ere quite broad in thelr effec fen interactive panel appears, where you can drag @ cursor and do lack a certain finesse, so you have no real control over the around a grid Each corner of the grid shows a possibie outcome Ccutcome. If you want some more input in the effect there are a that can be achieved by moving the cursor further in that Couple with a bit more control worth looking at direction, Move around Unt you get the result you want f you go to Enhance > Adjust Colour > Adjust Colour ‘Another option, but one that needs a light touch, isthe (Cinves. you ean adjust the Highlohts, Midtones and Haze Removal tool, Go to Enhanee > Haze Removal (Shift + Shadows of your image. There are a numer of preset styles you md + 2). This can be quite strong affect but there are ses ‘can choose from to enhance the colour in your mage as wellas_ _to.acjust the strength of the Haze recucton applied and also the the option to manually adjust the tone siders, sensitivity of the haze detection,Cee ere Ba tere l METHODS FOR ADJUSTING AN IMAGE a ‘Show Open Files =] y Photo Bin Too! Options: Redo Rotate _Orgarize Undo ‘Adjust the brightness, contrast, and tonal range of your photo, Guided Mode is an altemative if you are happy to have less edvanced adjustment options available but with more step by-step guidance to help you on your way to ereating the final image, Make sure you have an image open in the Photo Bin ready to work on ‘You will be ashe to create a Levels adjustment and a Gielog panel will appeer. Click OK Since the mage has @ lot af underexposed dark areas inthe foreground, sliding the Micttone sider to the left will brighten the photo in those darker areas, You can then cick Next and then Done for this part The great thing with Guided edits is that you don't have to ‘poly just one edt. We are going to apoly severel to get the end result we are after Start with Levels to get the overall brightness ofthe image dialled in ist. Levels can be found in the Basie category ea Photo Bin Tool Options Und Now if you look in the Photo Bin, back at the main Guided Home sereen, the photo will have @ small icon nits top right corner that indicates it has edits applied. Then, You can go te the Colour category and choose Enhance Colours to add more vividness to the photo. ‘You can use the three sliders of Hue, Saturation and LUghtness to make the image much more saturated and bring cut the colours inthe sea sky and foreground. A boost of Saturation to 45 and Lightness to-2 is enough to bring more ife into the photo, You can ick Next and Done once more cnee > Sn | er ie ¢ | CH nen ——— Finally, bck inthe Basics category click Lighten and Derken {and use the three Shadows, Highights and Midtones sliders te make final tyeaks to the image The Highlights have been reduced to bring more detail back ito the brightest areas. At this Doint you can click Next and then save your image,Using the Photo Editor Expert Mode Don't be put off by the title of Expert. In this case, you get more tools to play with and you can actually be more involved in the editing process. You can switch out to another mode, but to truly unlock the power of the program, you will want to try out some image editing in this mode. We have opened another image that needs some fixing. I iS sunvise on the moors tht itl under needs some work to bring out the for Sky relatively untouched, since that is quite where the use of layers and masks wil help Us out a0 ST) Ce Cee ne ers ees Moke sure this layer is active then go to Fi ‘Adjustments > Invert mal +) to invert the colour toa pale green hue instead, This colour, de the colour average of the original scene can be used to create @ colour correction Fite,USING THE PHOTO EDITOR EXPERT MODE ag Cole Dodge near Dodge a) Unie Color SomtLgnt ord ht vtaion, E Go to the Blend Mode button and from the dropdown ‘menu that appears, choose Overlay as the blend mode for the remove cast layer This will Bend the colour ofthat layer into the photo ofthe moors below it. You should see that the snow now looks a lot cleaner and whiter than it di Altering colour can be quite subjective and if you fee! ‘that the correction is too much, you can always 90 tO the Opacity slider andl adjust to about 80% to lesson its effect slightly if you wish: Now you can continue editing the image. ~ j ‘wODI om 3S ie COLOR ss [Set foreground color Now to make the image punchier, cick the Create New Fl or Adjustment Layer Button and choose Levels, Make sure ‘Levels atthe top of the ayer stack Adjust the Midtone Slider so the sky i abit darker This wil obvigusly make the entire image too dark but you can fix that next ‘When you choose the Brush Tool, the Too! Options pene! will display parameters for the brushes. We need a large soft brush whieh can be chosen from the Brush Presets men, Click on the Soft Round 200 pels brush to make it active, Make sure the Levels layer masks active by cicking it ‘Choose the Brush Tool () from the toolbar, then set the Toreground colour to black. You can press D to default the colours so black isthe foreground. colour andl white the backgraund colour, Pressing X will wap those foreground and Sackgraund colours over F you require. You can now use that soft black brush te paint on any areas cof the mask where you do not want the adjustment to be visible. In this case, we only wanted the sky to be adjusted so We Dainted over the rocks and foreground cee)a YOUR GUIDE TO IMAGE EDITING ‘When you paint aver those areas, you ars hiding the adjustment so they become their original brightness again. In fact, it would be nice fo make the foreground rocks and snow brighter so let's get another Levels Agjustment and add it to the layer stack, This wil ba Levels 2 © es: 34 se wt he Levels ayer mas: pant with ‘your soft black brush on the ‘Levels? layer mask over the sky area end horizon, You are now concealing areas of the ‘Levels 2 adjustment so the sky goes back to being darker again Opacity: [100 pias Levels 2 “I “ — There is no reason you can't add the seme amount of blur tothe Levels layer mask as well. The softening ofthe two masks means there are no obvious joins betraying the fact that ‘Yerious sclustments have been mace. Thanks to the use of layers this has all Deen non-destructive editing Push the Highlights and Midtones sliders ofthe levels 2” adjustment to the lft; 25 you do this, you will see the entire image become lighter Concentrate on the foreground rocks and Show end adjust the siers unt they look nice and bright. The sky might be too bright But not te worry, QD erp.rant so blend ne masks beter you cen keep the Levels 2'Tayer mask active and go to Filter > Blur > Guassion Blur end choose a blur of about 125 pores to help blend the two adjustments you've made seern more seamiess Now that you have both the Levels Adjustments in place, ‘you can revisit them at any time and tweak the settings to| ‘your heart's content. You can even go back into the layer masks for each and use your brush tools to refine those masks ou applied in the First placecocneronartcrcrn ‘The image has now been colour balanced and two sets of adjustments have brought some sparkle to the snow in the foreground and kept the sy dramatic n the background while the rocks now have some nice detail showing in thern as wel = —o—o sen: ——— oO © ser reer saryation you adds a mater of personal taste but to capture the alovious colours oF that sunvse i's been, pushed to 36. You will notice however that the grass could do ‘vith a ttle push to make t more vibrant. Now lets turn up the vividness ofthe imaga. Click on the Create New Fill or Adjustment Layer button and choose Hue/Saturation from the list that appears. A Hue/Saturation P layer wil be added to your esting layer stack, Make sure itis the topmest layer at @ Sieh ne cranne tton an you wil ee how you can affect the saturation of the component colours. Select ‘Yellows and dil up the saturation and push the Hie slider to About +28 to really bring out the vibrant green of the grass, At this point, you mey want to perform mote edits to the Image. Its always good housekeeping to create a snapshot cf the work cone thus far. To do this, press Shift + Alt + Cma + E ‘This ereates a new layer which sa merged verson of all visible layers, Name this layer merged You can now perform edits directly to the pixel data of the ‘merged’ layer. safe in the knowledge that if anything goes wrong, you still hve al the original work on the layers below Which you can use to create anotner merged version, You can ‘also save your document as a PSD file when complete, scathaterncon 17Selection Tools Some aspects of image editing will require you to select certain areas of a photo so you can either place it on another layer or edit it in isolation from the rest of the image. With Elements, you have a number of options for being able to achieve this and we cover them next. Sc Tie Tl accel Elliptical Marquee This too let you make section of square or rectangular @ The Elica! Marquee too behaves inthe sme way the reas of your image, In addition to making the selection, ctang) 2 tool options you ean add to subtract from itand intersect withit, Youcen available ¥ size, xed ratio or normal aspects, You Size oF proportie make selections oI te detection in oer al it snap to the edge of your subject. Areas of high contrast work best with this toolacoras Bj Le fee need Quick Selection ‘round Your r detection to attempt to match ‘geometric and straight-edlged stibjects where a perfectly straight your selection to the nearest edge in the image. You can alter ine is required. Like the Lasso Tool when you join back up with brush size end settings and it works best on high contrast your start pon, the salection is closed, subjects that are In sharp focus © 2 Setetion Sr sor feeorm bus thats “This tool is useful forthe selection of mage areas that {ou choose a brush type of certan size and hares are the sare colour and brightness. You can echt ts and pant a selection oround your chosen subject vou cen also _sensliviy refine lis edge and also choose whether it wil globally choose to make ita mask instead. You ea Sibtrctftom select reas ofa choven colour or ast hs nearest neighbours Sour selections i the usual fashion Refine Selection Brush OT RT [reis colt) oe we Refine Selection Brush lets you make targeted This works in @ similar way to Quick Sele adjustments to an existing active selection. In addtional to you use Rectangular aa Eliptical Marcus {adding or subtracting from the selection you can actually push the and Polygonal shapes to enciose an area for e Selection edge and smooth it by applying the refinement brush, work within It works best with well-defined shPB ves ccccnseccie Cloning, Healing and Enhancing Even with modern digital cameras, a lot of photos may have imperfections in them; for instance with dust contamination. This will be displayed as a black smudge on the final photo. Removing these blemishes is quite easy. The technology can also do much more. Sacre Red-ey reflecting off the blood vessels at the back of the eye when the pupil is wide open. you happen to find a fevourite photo ‘where your subject has red-eye, then itis simple process to used by light from the lash of a camera 0 iene 815 129.67 are smal lek your cursor over the he too wil fees ers ell) ‘Another great function avaliable in the options panels the Eyes that closely resemble your subject will work best or if function to open closed eves. Click the Open Ch fe another mage where the eyes are open, you ean button to activate the dialog. The image will scan ithe program will automaticaly apply those open {and eircle possible candidates. Choose the one you want You eyes to your current image. can then choose a set of open eyes to merge into the shot.CLONING, HEALING AND ENHANCING a Spot Healing Brush Tool ‘The Spot Healing Brush is grest at removing dust spots from photos and is also great for removing spots trom humans too. If you have e portrait and the subject hes some Unwanted! blemishes, you can use the Spot Healing Brush ta click fon the spot anc itll use nearby pisels to fil the are, el ‘Healing Brush a @ @ «= —— »» = = 2 Fal ‘lone Oved ‘The Healing Brush is an older version ofthe Spot Healing Brush if requires you to specify a sample point ofa similar cleen texture which is then cloned over your chosen area much like-a Clone stamp when you elek on the target blemish or ‘wrinkle you wish fo remove, ‘You can choose between Proximity match, Create Texture {and Content Aware, For most of your subjects, you may find thet you are switching between Proximity Match and Content Aware, You can adjust the brush size for smaller spots. ‘With care, mast blemishes and wrinkles can be rernaved eos, ‘When it comes to Healing Brush techniques, you wil find that subtiety isthe key. Spot Healing is not perfect and may requite several attempts to get It right, Avoiding too many repest patterns is important to avous creating a texture that doesn look ie it has been cloned uae ce The Smart Brush uses edge-detection to allow you to brush areas of your photo and apply different affects to those trans, When you select the Smart Brush Too (F) the options panel has an effects picker to let you choose which effect you ‘want to apply to your photo, Choose an effect such as @ pencil sketch effect and begin to drag your brush over the image, where you want the c’ffect to be seen. You can change brush size and settings such as hardness ang roundness and subtract from the current selection (Choose the Detail Smart Brush for more refined selections.Clone Stamp Tool [Attor the Healing Brush Tool, the Clone Stamp Tool (S) ‘nil seem quite familar R copies pixels from one area onto another to remove things from your photos. Despite recent [Sdvances with the Content Aware an Spot Healing Tools. Femains one of the best ways to remove things from a pho racting blades of gras fof the rabbit This is remove element are sticking up to the right ‘900d example of how eianing can quickly mom your phates with minimal effort. O a Work you way down the grass ster, you can change the size of the brush at any point by pressing the left and right bracket keys on your keyboard. Take your time and don't be afraid to keep selecting new cione source points so the colours ‘match the background when you clone out more of the erase. © 32222802 cone stam Tool Sn te onions pane. you nil have a number of peramaters to choose from such 2s, Size, Opacity and Blend Mode links to and moves your sou Unticked, it uses the he Aligned button, when point as you move your c Od Pees e407 an ste on aay ant norte the vp of the grass 2s the source af your cloned pores, Now you can clone that area over the blades of grass Ifthe colours don't match, you can reselect an ares that more closely matches ancl doesnt stand out as cloned, ‘One thing that really gives cloning away is repeating pattern If you see a pattern building ua, You can press undo (Cmd + 2) to step backward though your last performed ‘actions and change your clone source again to avoid the repetition of that patternsme ae one +8 Ry —— = — ee eee ————— i —— a ‘Semple A Layers : aa a ~~ Srush: Oso _f B [Undo __Redo_Rotate__Layout_Orgenizer Wome Sere blur R) is a fairly self-explanatory tool for adding ‘The Sharpen Tool (R) uses a brush tool to apply sharpening fie erees of photo, You can choose @ brush to your image. Like the Blur Too, itis @ more targeted trength values to get the desired fe sharpening with caution si ton is ticked The Smudge Tool (R) can be used to smear the pixels o photo across the serach fora creative effect jn and Blur, you can alter the brush type ar Strength of the effect The Finger Painting button colour to the smudged pixelsMAGE EDITING s +b sae: ——$—=O—= 200 Exposure: Q———— 10% Ge ede: | Osatwate =) sx —O— cso le ~ cove: te Rotate Layout Organizer Home Screen ° Tool (0) has two Mode settings of Saturat It’s 2 simple too! for adding targeted saturat d Deseturate, You can control the Size settings a3 well as ation to the phota, Is recommended fo set the the Flow of the effect you are adding to your mage. You can also Flow of these brushes to about 10%. Then gradually buld up the set the type of brush you want to use to apply the effect. application of colour saturation, the removal of colour entirely or just les ———— | he vib The Dodige and Burn Tools are named after the techniques that were originally used in adtional fm processing darkrooms, Bouging refers to selectively making 'Buming Is the opposite efect ofcomcusesoomnne (El Jetermine if you are affecting just the ‘make lighter. These tools work be Highlights, Midtones or Shadows in your photo Tor greater that stare wit its of contrast to begin with. Hi trol ofthe final result. Again. using very low Exposure settings contrast images will have less need for these lands of acs ‘rund 10% fs recommended wisn, tones a Se; ———O—= 200 Exposure: Q———— 10% - iS Redo Rotate Layout Organizer Home Screen Dol will selectively make parts of your phot ou can brush over areas that you want to be darker the Highlights, Mid tend create more contrast. Since this particular meth ‘900d way to ave loDraw, Fill, Shapes and Text The Draw section of the toolbar contains various elements to let you paint, draw, erase and sample colours in your images. There are also a number of text options available for adding text effects to your photos and making masks in the shape of any text that you type. EeSumCclo The Brush Too! (B) is one of th ost often used tools Od wren vo4sFcr on ne Brus Toot the onions avaible are ther youre painting eel bushes with your mouse rif strokes to.a layer the ou ean contro tai It were an abr al werld counterpart You can choose the colo the Brush Setting apply. Tablet settings ave also avaliable.btOntons undo Rado Sone _Layst_Oraniar Home Sen Next to the standard brush is the Impressionist Brush Taol (B), Using its various Brush Settings you can turn your phote into a painting mucn inthe style of the old impressionist ainters whose works were rendered os a series of dots strokes, ‘and swirle ‘When you paint with this brush, the image beneath the: cursor Is turned into a series of loose curs, swvls and daubs. The larger the brush 8.20 you use, the more abstract the image becomes, Using a brush that too large will render the ahoto unrecognisable ‘The next brush is the Colour Replacement Tool (B), Select a foreground colour in the toolbar t0 use as the replacement colour, Once again, you have @ number of tool options avaliable including Size, Tolerance and Limits ae 3 cia COLOR i = The Colour Replacement Tool works by continuously sampling the colour dreet'y under the eursar postion. The colour beneath the cursor wil then be replaced with whatever ‘you have chosen as the foreground colour. You can select the Blend Mode used to effect how the replacement colouris applieg. ‘Our example picture is of an owl set against a green background. The colour of the background can be replaced fairly easly since the ow tse contains no strong green colours that match the background too closely, In the case of the owl image, dragging the Colour Replacement Tool aver the green areas next to the owl replaces that colour, but the owl remains untouched since It is not the same colour as the colour beneath the crosshair of the too! See rpWAGE EDITING Eraser Tool the Eraser Tool (E Whatever colour yo Ir the ph transparent arees instead. Age ora nye then eraahog peels wil reveal QD rvs ts wore counter removes pixels from your image J alter the Size and chosen as the background will be used to erase pivel data Opacity of the Eraser Tool, those transparent areas can either the photo ar fit were a solid coloured brush, ¥ be fly trans partially transparent, depending on brush the Size and Opacity of the eraser. opacity settings, see ———O— reopens: cn aA © vere Ox (Oo Y [egenatan To Jy QS ¢ Da @ 7 The Background Eraser Tool (E) is 3 useful one for targeted ‘You can alter the Size and Tolerance of the brush, 3 ‘emoval of certain parts of an image, It behaves @ ite lik the softness end spacing of the brush you use, Tolerance the Colour Replacement Tool But inthis case, any pixel colour ic key to setting the sensitivity of the brash to changes in colour beneath the cursor fs erased, leaving the area transparent when 2 will mean more varied colours are removed under globel erasing tool Set your urs to be included of 1 Osercen Oo pe n23 ese loa me remover As y E "der tre cursor position wil be removed, but the white clouds remain untouched since they are nor blue be removed with each click of the mouse 2 atePaint Bucket Tool pny: ftom] attayes SS ees Aas ant ose: term = 7D ec De se + ‘The Paint Bucket Too! (k) allows you to fil areas with sola olours, You can set Opacity, Tolerance and Blend Mode, High or low Tolerance settings mean twill use edge detection to Cdecice which areas can be filed or ignored (Al Layers [ Contiguous © Anti-aliasing He ‘You will notice there isan option for Contiguous fil. fit is ticked, only the nearest neighbouring colours willbe filed. I the Contiguous button Is unchecked, then all matching colours in the image willbe filed. no matter where they are inthe phate Gradient 7o9¢c DRS 4 tons Unde _ Ado Rlte_Layst_Crait Home Sen O25 2:20. les pou ares of your image or entire layers with colours that fade from one to another or can fade from one colour to transparent. The Gradient Teol does, ot use edge detection. If you need afiled shape, it needs to be Gefined bya selection. ‘You can fill ane entire layer, ort can be used to fill specific 272s based on what edges t encounters. Our example ‘cartoon character on a white Deckground. His outine is quite well-defined so cicking with the paint bucket means the Background can easly be filed with a colour. Ip addition to the Paint Bucket, you also have the Pattern Fill option. Once again you have Tolerance settings and ‘Opacity values to alter. Choose a pattern and use that to flan tentve layer on the ease of our cartoon, the blank background an be file with texture You can pick the kind of gradient you want to use by licking on the Grasient Pleker ang choosing a preset from thelist. They range from Foreground to Transparent fo multiple colour gradients all atthe click of a button.Ifyou want to make your own gradient. you ean cick on the Gradient Editar and add what are known az Colour stops to a basic gradient, change therr colour and define i they 2are solid or transparent. Any custom made gradients Can be Seved as @ preset Our example of a camera on a white background coul Use some colour The background has an active selection ind it to enclose the gradient vinen itis added! You can click {nd drag your cursor to draw out start pon and an end! point for the gradient to follow Soe BOS ) i So nen you let go of your mouse, the current gradient will be applied and fils the active selection around the camera ‘The default Gracient Type is linear, meaning thet the grecient travels in a straight path from start colour to end colour foe ol eis If required, you can change the type of gradient you are Using from its default. You ean also ute Radial rachents, ‘Angle, Reflected and Diamond gradients. They can all have their land Mode altered as well as Opacity, They can be reversed and Transparency and Dither turned off 7) [a1 ean — ColorPicker Ey Spa) | Same Oantayrs Couerent ayer ‘erage (313) we in Toot Options Sc )@& it Undo Redo Rotate Layout Organizer Homa The Colour Picker () does as the name suggests. When you choose this tool. gives you a small eyedropper cursor that when clicked on a photo, picks the colour beneath the cursor position and makes i the active foreground colour. You can choose whether it samples a single piel or a 3x Baverage or a5 x 5 phvel area to create an average. The colour it samples can be across all layers or a single layerCustom Shape Tool Choose from a number of predefined shapes and add ther a vector shapes on a new layer. Choose their colour and Layer Style from the Style picker You can also choose whether they are of fied size of unconstrained and if youedd to a shane ‘or subtract fram i Once you have chosen your settings. you can draw out the shane on your photo. You can click and draa from the ‘comer outwards or choose From Centre to draw the shape out from the cursor position. The shape wil il with your chosen | colour when You Tet the mouse Button go, LASSI MUP ox Locos "ype Heo GT Freee 1) coer Se-2 Bl OF ye som r Aesdng oi [=] Tsing 0 [peli ON em © 258729012 Toe Too! (T) aves yous multe of text options. Choose your font. its colour and size, You can then type on your document and a new text layer willbe added above your photo, The text can be manpulated and bent into a curve oF ther shapes for creative effects You also have vertical text options, text for masking anc the ability to fit typed text to a shape or path. Our example hows @ butterfy’s outline with sample text following the outline of that shape. Lacusmtoos 0 ‘The Pencil Too! (N) is designed to act like & reel world peneil and isa harcvedged tool that has a number of preset pencil tip shapes to draw with. You can choose the Size, Opacity and Blend Mode for your peril strokes along with its cour, You are then free to use your mouse or tablet, to sketch and raw with your penell as you see fit You can draw directly cover your existing image or create a new layer and draw on that 50 as to preserve your original image. ETModify, Crop, Move and Recompose The Modify section of the toolbar contains a set of tools that give you the ability to crop in a number of ways and to scale your images but protect certain parts from being affected during the scale. You can also move the subject of your photo from one part of the scene to another. foice)areloll ut Organize Home crop or you ean go it alone anda grded box mil sows you tne current ero. Yourcan clek the green commit arow to proceed, so oe. sores +) | htc —— (Dene Catone Unde Sedo Rete _Lut_ Crater Hone Sen fa feel Within the crop tool options you also have the Cookie with your Cutter Too! (©), which lets you cut out images using a the photo you want number af preset shapes You can choose from all the available ¥ ton in the optional panel, the Shapes such as butterflies, snowflakes, mis and Shape willbe drawn outward from your cursor position, You have much more the option fo feather the crop if you want.‘MODIFY, CROP AND RECOMPOSE a © "2unotstne shit ey a yu daa, you can keg the ‘Tne Perspective Crop Too! (C) lets you draw a crop box shape's proportions locked, When you let go of the mouse, {around a specific part of your phots that is distorted and the image wil be cropped in your chosen shape, You then have gives you a chance to crop and remove the distortion at the ‘options availabe that let you Rotate, Scale and Skew the shape Same time, You start by drawing a crop box around the ares you nui you have it how you want it ‘want to erop, You can then begin to manipulate the crop box to match ‘When you click on the green commit button shaped Ike a the perspective of the objact yeu are cropping, Use the tick, the Perspective Crop Tool wil crop and stretch out the 3 points around the crop box to drag the box out tomatch image, removing the distortion It may take a couple of attempts the subject In our example, the road sign gives.us some helpful utit can help you rescue some tricky, ls straight lines to match the perspective. ed images Recompose Tool ‘The Recompose Tool W) uses content aware scaling Here is an example of a rally car with a lat of empty space technology to let you scale images to a aifferent to the right. It could be cropped but this image provides proportion, but only scale areas with no deta You can also a good excuse to try the Recompase Tool. The options panel Select areas to remain untouched by the scaling process fora _—_cisplay. a numiber of tools to help you with the sealing process. much better Fina resulta YOUR GUIDE TO IMAGE EDITING You can use the Mark For Protection brush to highlight ‘areas that you want kept intact and untouched during the scaling process, Similarly, you can also make areas that you want removes You can adjust brush Size and Threshold and teny scaling restrictions you wish to epply You can begin to drag the control point inwards and as you do, all the areas that are unprotected will concertina together and the program wil attempt to blend that pivel data together The areas that are selected to be protected wil not be crushed together (Once you have marked out your image and have elther selected areas to protect and areas to remove, you can liek and drag on the control paints around the perimeter of the image. In this case, we are going to drag the right midcle control point inwards, ‘The control point can be dragged all the way across the image. All he dirt and cust on the right of the image has bbeen merged into the space that remains now the image is helt the widen it was originally, but the ear is unchanged. fet Usaha Medco the Content Aware Move Tool (@) uses similar technology to the Recompose Too! but in this cage it lets you move {an object in your photo and place it elsewhere in the shat and Blends it back in an fils the original gap left by the subject, The options panel gives you some simple tool parameters, ‘You wil need to dra a galaction around the object in the photo you wish to move. You can ada er subtract from the selection youlve made by using the New, Add, Subtract and Intersect options provided‘MODIFY, CROP AND RECOMPOSE a ‘ith the tool active, you can draw around the subject that is going to be moved. Be aware that areas with complex content can be a challenge and the area you move ‘your subject to needs to be of a similar texture andl colour for it towork properly Enclose your subject ina selection and then drag it to its new location. The Healing sider controls how aggressively it tries to blend the image into the new location and sls fil the {gap it leaves behind, The Mode can be altered from Mowe to Extend to stretch your selection required ‘The Content Aware Move Too! wil blend the image together. It can be a hit anc mise process and may require the settings to be tweaked. You can also try selecting more of the area around your subject for more blend data to be used See s)alciamrerel i > : Bn Tool Options Undo Redo _ Rotate _Layout_ Organizer Home Screen The Straighten Too! (P) will easly take care of wonky landscape photos and get them level again. You have a umber of options as to Now the image is handled once straightened. The canvas can grow as required when rotated stay the same size or be cropped to remove the background We tried the sailboat image and also a simple object on crass. The grass image yielded better results after a few! attempts but it stil needed some cleaning up with the Clone Stamp Tool to remove some obvious artefacts and Blend in some untouched grass e ‘Simply click and draw elong 2 slanted horizon line that peads to be level. When youlet go of the button the. horizon willbe levelled, There is an option to Autofill Edges. When the image is rotated, any blank areas wil be filed with nearby simlar textures,netaBELG "T Your Skills _ Further Now that you've experienced what Elements has to offer and how the major tools work, it’s time to try out some more involved projects to help you hone your skills. The Quick and Guided workspaces are all well and good but if you really want to understand more about digital manipulation, then it's time to fire up the Expert workspace and dive in. There's an old saying: 'the best way to learn, is to do’. With that in mind, let's do it! enePARA eT ee R ene at Ma ELE Naa MU tsa Ue Ren ARM AR una eg eee ea ate eo No better time then to get out and take some photographs. The only problem you may find if you'te anything like us, is that landscapes shot on days like this can look a little dull. The light is Pa akon me RU Ree ee a RS ee Aten nud ea ane ne RC Re Le} Oe aa eR Cote R Seon agen Cog el CET oil Ree Katee Le‘To begin you will need your primary photograph, Go to File > Open (Cmd + 0) and use the file browser to navigate to the location your photo is stored. You can double-click the image toopen tor highlight it and then click on the Open button in the lower ight of the browser window. “The fist thing that will need your attention though is the horizon, Inthe case of this shot, the camera was tited slightly ang means the horizon is nt on the level. Luckily, there iS tool that can help us sort this out with just a few clicks. souvcoon BB Our example isa shoreline image taken on a beautiful blue siey day: Unfortunately, that blue sky just looks a bit empty ‘and is n need ofa ittle atention to make it more appealing. All the trees and rock details below make the image look @ bit bottom-heavy, Some clouds should hep Staigmen Toot?) ‘Straighten FEY 2) asst ‘Grow or Shrink © Aatofil edges Od 222 228e anain tne Moat section andthe clk ‘on the Straighten Tool (P) to make it active. When you do this, the options panel at the bottom of the screen will display all of the available parameters and options avaliable for that particular chosen toa ‘When the image is straightened, you can chease how the rop is dealt with ence the photo fs ratated. You dont want tolose too much of the photo se choose the Grow or Shrink Canvas to Fit option. This way, it won't matter how much the image rotates, twill not be cropped eo Singe rotating the mage will create blank areas at the ledges of the photo, you canalsa select the Autofill Edges option. Tris uses the Content Aware Fil technlogy to analyse the nearest textures at the edges and fil inthe blanks usingTAKE YOUR SKILLS FURTHER, Now you can actualy straighten that horizon out. Take the Straighten Tool and click and drag line across a tied area that you know has to be level. In the back ofthis photo isa Shoreline which ean be Used as a guide, Drag along It from left, toright Cee ee nn ee el When you choose to Autofil the edges, the blank areas are ow analysed and then filed with similar textures, Because of the random fractal nature of the tees, rocks and sea, the filed reas match very well with ne obvious cloning errors to be seen. Shared Folder Cur exemple clouds were chosen because they are it in @ similar way to the primary photo at roughly the same time of day. This isan important consideration since you want the clouds te look asf they belong in the shot. otherwise the effect, is going to look very oad. \when you lat go ofthe mouse, the Straighten Too! rotates the image enough to level out the shoreiine. The entire image rotated about 6°, which has created blank areas as the Canvas expanded to make sure the photo was net cropped. Create ~ Share Opacity: [100% If you click on the ayer thumbnail forthe photo, you can rename it. We called Ours shore’ Now the image Is ready forits blue sky makeover. Go to Fle > Open (Crd + 0) once ‘again and navigate to the Folder where your cloud replacement photos kept 00) Double-click the ‘clouds image to open it, Since you only need the clouds, you can selectively choose just that area to add to the primary photo. Go to the toolbar and choose the Rectangular Marquee Too! (M). You can use this tool to drag selection box From the fop left corner fo the right hor 0.When you let go of the mouse the selection you drew vill Become active with black and white dashes known ‘as marching ants’ With the selection active, goto Eelt > Copy (Gnd + C)to copy the selected sky area to the elipboerd reedy touse in your photo. shore pg @ 34, ENHANCE ee set SKY REPLACEMENT [GG Click on the document tab of your primary photo to make it active and go to Ealt > Paste (Cmd + V) to paste the ‘copied clouds onto the current photo, it will automatically appear ‘centred on its own layer so es not to destroy the shoreline photo Seow it By default the new layer is called ‘ayer {Go to the toolbar and choose the Move Too! (V). You can Use this to prysieally cick and drag the clouds into the top left corner of the photo and set about making It the right size to match the dimensions of the primary photo, ‘You will see that an active ayer element will have control points around its perimeter You can click and dag these control points in order to scale the clouds to fit the new photo In this example, clicking and dragging the far right centre control point to the edge of the photo, WORE Uo eo as es oA =a ~ ‘You can rename ‘Layer 28 ‘clouds. Now click on the Ite ‘eye con ta the left oF the ‘lous’ layer thurnonal. Ths wil make i invisible far the moment. Yau nec to wark on the ‘shore! layer so click its thumbnal to make it active, Sy os @=—o— = FR MEE gy bam sens RK {Ge to the toolbar and choose the Quick Selection Too! (A. You need to use to make a selection of the sky area With the Quick Selection Tool active, you will see various options available inthe too! options panel at the bottom of the screen, ‘Choose 2 brush size of about 50 pinels,[] Auto-Enhance Use the Quick Selaction Tool to start selecting ust the blue sky, Drag the cursor overall blue areas, avoiding al others, and it will automaticaly select as you go. Because the tree line is of different colour and hard-edged, the selection tool has no real difficulty in choosing just the sky aie areceat ) i | Simply start to brush over the areas where the sky meets the horizon line and trees, The Refine Edge tool will make more accurate, targeted refinements, particulary around the tree Breas. IT ¥0U are hapoy thatthe selection is as good as can Be, youcan click OK to proceed. crea go [adiaer mest] Click on the Add Leyer Mask button inthe layer options pane! anda layer mask wil automaticaly be added to the ‘clouds layer in the shape of the active zelection, Anything insce the selection s white, anything outside the selection Is Bh one With al of the sky selected. you can naw use the Refine Edige tool to make the selection even more accurate, Click the refine Edge button in the tool options pane! to open the Refine Edge dialog panel n this case, the default Edge Detection and Adjust Edge settings wil be fine. ‘The selection edge willbe refined, ready for the next step. Click the ‘clouds layer visibly icon to make it visible. ‘eg2in and you wil see the selection, denoted by marching ents Dverlaid on the clouds. Keep the selection active and make sure the ‘clouds’ layer is also active @ When you Alt + left-click on the layer mask thumbneil, you can view the mask onits own in black and white, Vou ca ges how the Refine Eage Too has quite accurately masked the frees and horizon, You can Alt left-cick the layer mask again to Feturn to the normal view.couvcoon al shore anes. rea a. With masks, the rule of thumb to keep in mind is that white reveals part of a maskea image, whereas black wil conceal areas of your photo. In this case, the clouds are allowed to be Visible but anything below the trees is hidden by the black areas cof the mask Ik would be good if the sky was just ltle darker to match the exposure of the primary photo. Keep the ‘clouds’ layer active and clek the Create New Fill or Adjustment Layer Select Levels from the menu thet appears. ‘Levels!’ adjustment layer willbe added above the ‘clouds layer Rename Layer at Adjustment Dupeate Layer. Delete Layer (Group tom Layers. Disable Layer Mask Right-click the ‘Levels adjustment layer and choose Create Clipping Mask trom the context mer thet appears his will cip the adjustment layer to the ‘clouds’ layer which is irectly below itin the stack. Any adjustments made wil only affect the ‘clouds’ layer anc nothing else 2 ° » output Levee The sliders in the Levels pene! allow you to darken end lighten the Shacions, Mitones and Highlight areas of the photo, Dragging the Mickones sider to the right slightly il arken the sky. You can experiment with all the siders Until you have something you lke @D Aral box itn an srw wil epear to he eto the ‘adjustment layer thumbnail to indicate t has been clipped to the layer below! A Levels dislog panel will open automaticaly, ready for you to make adjustments to the clouds ‘With that, your sky replacement is complete; you ean go to File > Save As and save your layered document as a PSD file, This wil keep all your edits intact should you ever want to revsit this image and make more amends toTU ea Ree CR ep el Renee cl tesa Rei cc A nn Nee aac eaa cme a ae nN etter eet ace ai) Se en oN ee eee se ee ee a Rca eee es eae Rn ge SC Us LE RM eres od oe are en ee Ma eet dre ete Reece Racy Ce ee ee ei ate ace keene ee Tete teste ee emai kel ta alee kee ark coe MULE? Ro ie Me Wei Rg al Se el eek ice RT NFA Te OMe om Peonthe maken @O 22277218 Tom 2 porvat snoot ofa youna ai Courtney, Open the photo in Elements as a new document Courtney nas some makeup iin obscure So We plexion by removing the blemishes er ‘he had some spots that joing to improve her rom her forehead Click the 'Backaround layer to make sure itis active; it wil highlight in biue to lot you know its selected, Then press md + 3 to create e duplicate layer. Name this layer ‘colour Highlight the ‘colour layer the Opacity: [100% Opacity: [100% | = Beckground Make sure the ‘textur ‘Cima + Jane more tim texture copy’. These are allt "vo main layers of texture and colour to ect layer is now highlighted and press fo create a layer that wil be called layers you need to begin Make texture copy’ end ‘texture’ invisible forthe moment by clicking on their visibility icons to hide them. Make the layer active. What you afe going to do is turn this ayer into colour data only. To do that you need to blur this ayer to Fernove any obvious detailCVA TAKE YOUR SKILLS FURTHER. Q om Q a Go to Fiter > Blur > Gaussian Blurto call up the blur dialog oa irr cas rene serene eaten apply just enough blur to remove any hard detals but leave the Da not over blur the image and The texture copy’ layer is blurred to the same degree as the ‘colour layer You can use ths layer and the un- blurred texture’ layer below it to create the second component needed for the skin retouch. To do this, go to Fiter > Adjustments > Invert (Cmd + to invert the ‘texture copy’ layer colours, 00%] ~] pacity a Help rong ea Make al the other layers visible again and make the ‘texture Copy layer at the top of the layer stack active, You need to ‘apply the same blur amount to this layer. Go to Filter and the top ‘menu itern wil be the last effect you appiled. You can also press (Cid +F to apply the last fier you usec, All the colours ofthe ‘texture copy’ layer will be inverted like a colour negative, With the texture copy layer stl ive, mave the Opacity slider down te 50%. What you see now is a combination of the ‘texture’ layer below and the current layer fat 50% opacity, These two layers need to be mergeOpacity: [10 Rename Layer. Duplicate Layers... Delete Layers: Group from Layers. Create Clpping Mask Lik Layers | Merge Visible * Flatten Image Hold the Shift key and click on the ‘texture’ and texture py layers to select them both, then right-click them to call up the context menu, Choose Merge Layers to merge them into one layer You can rename ths layer texture! now thats ready to use Opacity: [100% | ~ © 0 RSG coon cy Next, keeping the new ‘texture’ layer active, go to the Blend Macie button ans choose Linear Light from the dropeown lstthet appears, This wil blend the texture layer into the ‘colour layer below and the resut ofthe tio should look identical to the original image, ENHANCE ©?) ‘You now have your tivo components The top "texture layer Is detall only with no colour data and the ‘colour layer ie cenly colour information with no real deta This is the process (of frequency separation in action Editing is much simpler now ‘colour and detail are separated from each other Click on the ‘texture’ layer to make it ective. Texture will be your frst stop for cleaning up the skin. Go to the toolbar and choose the Clone Stamp Tool (5). When you click oni you will see varius options become available down in the fool Sptions pane!a TAKE YOUR SKILLS FURTHER, ~ eg 2590 ‘opacity: —fset he brush sze_) aa Mode: Noi 5 eo Go to the brush picker and choose a hard round brush. You can alte its size later Hard brushes generally work betier forthe kind of cloning of skin we are about to do, You can use the Size sider to sete brush of about 25 pixels, To begin th keep the Aligned! box unchecked and Mode kept as Normal Now the process of cleaning the skin can start Place your Cursor over an area of skin thats clean ang unblemished close to the frst area you wish to start retouching, Press the Alt key and a smal target cursor will eppear.Left-click the cursor over the clean skin to set that as your clone source Now you can move your cursor over the nearest area of blemished skin you want to retouch You should see & realtime representation of the clone source atthe cursor position, When you eliek over a blemish, the clean source area will be ‘stamped’ over the blemish Take you time with ths part ofthe process. Keep changing your clone source to avoid the Build up of repeating patterns that give the game away as to the use of cloning. You Ean use the Size slcler to make the Brush larger or smaller it needed as well Now you can carefully begin to clone clean skin over the blemishes on her face. You can always press At and choose ‘new area of clean skin as your clone source i the texture Changes too much and needs to be undated, Remember that al these exits are only happening on the Once you are heppy thet her forehead is done, you can make amends toany other areas of her face and neck that might clearing up. You can remove wrinkies in exactly the same ‘way by cloning clean skin over them, Stray hairs can also be Cleaned up as wellNow that the ‘texture! layer is completed and her skin is looking fawiess, you can turn your attention to the ‘colour layer and even out any mottling that may be present. This {an optional step, but tt does give the portrait that extra level of professionaliem and is very flattering “There's a small amount of mottling visible on her forehead which we want to remove, as well as softening the shadows, ‘around her left cheek, nose and chin, Draw around the erees you ‘want ta soften with the Lasso Tool. Join up to your start point {nd the selection willbe closed and softened by 35 pivel, Make the ‘tecture’ layer invisible and make the colour’ layer ‘active. Go to the toolbar and choose the Lasso Tool (L). The Lasso optional panel will show you varous options avalable for this tool Go to the Feather slider and set it to about 35 pixels to soften the selection you are about to make Redo Press the Shift key or click the Add button in the options panel to add more selections, An area around her left cheek ‘iso been included and again, softened by 35 pixels to avoid any hard edges to the colour. Keep this selection active for the next port Go to the menu and choose Filter > Blur > Guessian Blur to tall up the blur dialog panel, Set the Blur ratio to about $0 pits or however much you feel is needed to blur those areas a Sufficient amount, to remove any mottling frors her face, lick ‘Ok to blur the selected parts of the image. IF you want, you can also do the same to the highlighted ‘areas of her right chaek to give more of a matt finish to her skin. If behaves a bit ike adding more digital makeup foundation to her skin, When you are happy. you can go fo Fle > Save As (Shin + Cina +5) to save your finshed resulteee) | Gamresting ee Rol Re cee eee RS Roe eure na Cen ee ee ee cu Reed RR ee ee eee ee Ry Ore aCe ce ee Ree eae Cmca Ram ue eae eee eee eRe in ea eee ere ne na arene eye ache cee ane elena eel or eee} Pe eae Panu na enn ene eat eC eT eke el os Eien uous ce eu eaa ce malic ue a uae ee Pog eco enBBtutorials Shared Folder shore and clouds.psd clouds.ipg Go to File > Open anc navigate to where the components or the scene are stored. In this example. we have our celst Image and a rendered scene to put her into, HighIGh® your Images and click Open to create two new documents in Elements Od cteirgge ne itbe working wah 0 30 render of a baroque ballroom, Theta isa perfect spot upon whieh the In be placed. Now, you have the to images that will be Combined, You wil see that It's not done in the conventional way that you might imagine but is very effective nonetheless oronuns \We have cello jpa! and rocmipg’. You will see that the lst is on 9 grey background. All the lighting gear ‘and extraneous items present in the shot have been cloned Sut leaving just her and a plain arey background The grey moment, return to the ‘cello’ docurnent and click on icon next to the layer thumbnall to unlock the layer. Go to the room’ image and do the same. Press Cmd * A to Diels on that layer andi then press Crd + C £0 copy the oor’ image, or 30 to Ealt > Copy.Serr aT cA ena Revert (coe, RGB/E" = Goto the ‘cello! document and go to Ealt > Paste or press ial V to paste the copied room image into the cello document. wil appear On its own layer above the ‘cello laye You ean name this new layer room”. For the moment, click the Visibity icon ofthe oor layer to make i invisible Opec [100%] =] Click the ‘cello’ layer to make it active. You need to make BS solection of her outline to start the compositing process Go to the toolbar and select the Magic Wand Tool (A). Although the Magie Wand is a fairly simplistic selection method. it actually works realy well in these situations. Set the Magic Wend Tolerance to about 35 end make sure the Contiguous button 's checked, Postion the cursor aver he grey background surrounding the calist and leftclick The Magic Wand will select as much grey as the Tolerance setting dictates, Now we need to ad the parts it missed, Click the Add To Selection button and @ smal plus symbol will appear on your eutsor to indicate anything selected! wil bbe addled to the currently active selection. Now you ean clk and ‘ade more grey areas unti all the grey is selected—— Opacity: [100% | ~ | Normal x Opacity: [100%] ~] a} = thumb ‘ayer cello. fe again. You will see Go to the ayer options panel and click on the Add Layer iid on the image as a Mask Button When you do, a maskin the shape of the series of black and white dashes known as marching ants. This selection will be added to the Yoon’ layer. Anything within the Selection can be used to create a mask in the next step, bounds of the selection will be white and anything outside the ines will be black: White reveals and black conceals, or Dye restenesce nate cts ons ote too mach Oreeee' ike a eut out figure, You can remedy that by changing blened with the Blend Mode of tne ‘lends of the grey pixels ofthe room’ layer into the clio layer Only theccelist is grey show up. This great since the celist’s sh inaffected by the blend Because of the mask on the layer above, Sppears on the grounsOpacity 100% ac jn to make the whole image more cohesive, With the Yoon layer 0 t0 the layers utton, Call this new palette and click on the Create New Layer layer mist. We are going to add a subtle atmosphere behind the ‘gure which i a popular thing to do in images ike this. mist lay ° fu ll be painting und figure of course Hut we can actualy use fer below to help us remedy the issue, Siz: ——$——O—= 700 Opacity: ———-O 100% .) & B Keep the ‘mist’ layer active and go to the toolbar and o0se the Brush Tool (B). Inthe tool options pane atthe bottom of the screen, choose 2 large soft brush of about 70 Opacity: {100% | + Rename Layer. Duplicate Layer. Delete Layer Group from Layers... Right-click ist layer and choose t Mask option rom the dropdown menu that app y he "mis layer to the feom layer it inherits the mask 2s well Suddenly the mist is appearing Behind the celist even though itis on the layer above,a Create ~ Share Opacity: [100% Next you can add some subtle lighting effects to the ‘sora moody feel. Creste @ new layer mo p. Re s, Make sure it's atthe top of layer stack and the Opacity t the mist to active Go to the toolbar and choose the Brush Too! (B) again if soften tif yo! 2nel, chose a soft brush, click o Deeeeserers 1nd the Angle to -9O". This will male the brush fo match the candle rather than cieular Set the Size to about 400 piel Although the bru that the foreground colour is stil white, Bend eaCob Dodge [Unesr Dodge (Ade) Lge Cole oo ors ome ig With the ‘candles’ layer stil active go to the blend Mode button and choose Linear Light from the dropdown lst that appears, There will be no apparent change at the moment But the next step wil create a cosy glow for the candle flames, similar technique with the windows, Create a ‘ew layer called ‘windows’ andl use your oval white brush to paint large dabs of white on the three main windows, You can heen non ews rrr oy x > Adjust Hue/Saturation (Cd +U) to call up the Hue/Saturation dialog pane! First, rake sure the Colorize button is checked. Than set Hue to 15, Saturation to 49 and Lightness to 20, This colours the white brush strokes orange and blends them inte the layers betow eganes el ‘oe Now set the Blend Mode of the windows’ layer to Overtay then go to Enhance > Adjust Colour > Adjust Huo) Saturation (Cme + U) again and click the Colonize button so itis SEE = =| —— — i ——o es a —— ‘me : oa \ a | Now, you an add colour ote the foreground ang background elements together. Go to the layer options ppanel and chek the Create New Fil Or Adjustment Layer button Choose Hue/Saturation from the dropdown lst that appears. A’Hue/Saturation T adjustment layer will be added to the top of the layer stack ll the layers below i il be affected by what adjustments are made, A dialog panel will open and go {0 Saturation and choose a value of about -30 to desaturate the whole image slightly.‘Greate - Share - eo pact [100%] Comin as Sold Coo. oredr. Pater. Level Brhiness/Contact, HufSatratin. CGradont Mao. Trresola Postorze = Next, gota the layer options panel again and choose Greate New Fil or Adjustment Layer again and this time select Photo Fiter from the list "Photo Fiter willbe added to the top of the stack You are going to edd a colour cast tote the various elements together a bit more. ‘The Photo Filter dialogue panel will open when you ade the acjustment layer Set Fiter to Warming Filter (85), Density to 100% and mae sure the Preserve Luminosity Button ‘snot checked, The whole Image wil look dark orenge now Dut ot to worry, 4| ussaton ct a — Ata | wena a ‘Set the blend Mode for the ‘Photo Fier I layer to Overlay is makes the image very contrasty but iF you Set the layer's Opacity to about 20%, the effect is much more Sule You can deepen the colour effect even more. Press Crnd +. to uplicate the Photo Filter layer Rename it'Photo Filter 2 ‘You can adjust the brightness by adding another adjustment Use a Levels adjustment layer and adjust the Mitone ang Highlight sliders to brighten the midele tones and highlights alittle You can also alter the Shadows Output Levels to ‘about 2 to change the darkest colours to slgntlyighter ones Change its parameters by choosing Deep Emerald as the Filter type. Density 100% ana now check the Preserve Luminosity box to maintain image brightness, Set this new layer to 20% Opacity as well to create a moody image where all the jours look more harmonaus, Your composite is complete. You can now go to File > Save AS (Shit + Cmd + S) and save it ae named PSD fle, This saves the layered document so you can return to ft at any time ‘nc make armencments to the image. pre eeee o7)Aeon edging and burning have their roots in the days of analogue photography, long before Cee eS ee ee eo een el me aa Ey Ts eee SiMe el Rao er Ro ole ia Sco es Burning is the opposite, where parts of the image are exposed for longer onto the print, making ee eee ek ka eee ne Kegs the basic principle and its terminology remain the same. In our example we had a basic image that was lacking in contrast; using the dodge and burn techniques, brightness and contrast was Reece Rel ee eee aes2220 seer e arecvart raze to workon Goto File (Open (Cma + 0) and navigate to the location of the image you wish to work on, Our example is 2 portrait named ‘dodge {nd burnjpg’ Double-click it to open or select and press Open at the Battom of the browser window. — ‘The image were are using as ow example is 2 moody alt But itis quite low in contrast. You could use levels. adjustments or brightness and contrast, but they are cute global ‘amends, Using Dodge and Burn Tools you can be much more Selective in your aparoach, Dade u9eo0 Normal = opacity > Normal Opacity x of of GS Layer fom Backaround... ro SR 2c crocs wor on a cplcate of you image rather than your orginal. You never know when you might need t0 call upon it 's better to have t and not need it, than nead itand not have it Opacity: [100% | ~ z Opacity: [100%] =] ‘You con use a great little non-destructive method, as we id. fer applying Dodge and Burn effects to your image without altering its piel data. Make sure the ‘base’ layer is active {and then go to the layer options panel anc click the Create A New Layer button, Name tis new layer lodge Right-click your 'Backgrounc! base layer and choose Duplicate Layer from the menu thet appears. The Duplicate Layer dislog panel opens and you can choose e name for your ew layer and then cick OK at the top right of the panel Anew pleats layer called ‘base! is crested for you. ro fae ream ore oa ocr Car pes] ee oonay saetas a 22523 Filer to open the Fil Layer panel Rather than selecting the dual options of Foreground Colour or Background Colour, choose SO% Grey as the fill option. The. :oh for this will become apparent inthe following steps. The ‘sodge’ layer i filed ares, bscuring the portrait for the moment, eoCy ao ate ‘rape a keep the ‘dodge’ layer active and go to the Blend Made button and choose Overiay 8s the blend, Because the grey is 50% neutral wil not be visible using Overlay as the blenaling ‘mode, Anything lighter or derker will have an effect on the layer below. This is key to the non-destructive method. tape. oo ene em) |x ier sftemoweroace aoe We needed a second layer just lke the ‘dodge’ layer and could nave just pressed Cmd!+ J to duplicate t but we wanted to show You another method of creating the 80% grey layer with the blend mode eppiied and ready to go, Overy Opacity [100% | > © dodge bate Go to Layer > New > Layer (Shift + Cmad + N), The New [aver panel wil open Under Name, call the layer ‘burn’ Keep Colour as None and under the Mode button, choose (Overy as the Blend Made. Then make sure the Fil wth Overlay Nautral colour button is checked Overay 2) a ai te 6 Begin by making the ‘dodge layer active. Itwill highlight in blue to confirm itis active. Got the toolbar and choos 3@ Dodge Tool (0). The tocl options panel will show you the Svaliable parameters you can apply to the Dodge Too! ‘A new layer called ‘burr’ willbe created for you that is Broadly filed wth 50% arey and set to the Overlay Blend Mode. You nov have the two layers needed to start Dodging, to make the picture lighter and Burning, to make areas of the picture darker. 2 D & & fF botoztos un tte ayo gone ame Sen Under Range, choose the Midtones Painting Mode and Under the Brush picker, choose a soft brush of about 200 pels, You can use the Size sider at any time to alter the brush Size required and also use the bracket keys [and ] #0 scale the brush Set the brush Exposure to 103% or less.© weserren nese rionten speci pars ofthe porrat vill be a subjective thing depending on your preferences but areas that are currently the ightest can be made lahter to begin to increase contrast, tert brushing over areas like the forehead. cheeks and nose. © cowious.9 But up he brianiness with your brush strokes fon the ‘dodce' layer Work around the Deard, hair and sto inerease the brightness If you feel you've apolied {Go many brush strokes in one area, you can always press Cmd + Zto.undoanumber of steps and try agar - es | nm | e base Or an area of the layer is dodged to pure white, it cannot cet ary brighter However if you fee the effect stilisr't strong enough, you can always duplicate the layer for a more ‘tense etfect and achust the layer opacity if required DODGING AND BURNING ‘With each individual stroke of the brush those light areas vill be made lighter and lighter Using an Exposure oF 10% loess means that you can be a bt more suitle and bud up the ightening effect gradually rather then applying ital at once a x Ifyou press Alt and click the ‘dodge’ layer thumibnal, yo ‘can see exactly what is happening on that layer Any prt of the image that i lighter than 50% grey has its brightness addled to the layer below because of the blending method used, AIt+ ‘Gk again to return to the normal view. If you compare the dodged version ofthe portrait to the fofiginal you can see how the brightness has been focussed con, making the face more three dimensional with the adchtion of those brightened skin areas. Ifyou are happy with the teffects so far you can turn your attention tothe burn’ ayer CO CITAKE YOUR SKILLS FURTHER Opaciy: [100%] ~] ‘Miatone Sze: ————O—_ 15, ——- — = © sisi thg bar aver to mate it active anc swap from the Dodge Tool to the Bum Tool By either pressing O Lnti the Burn Tools highlighted or click on its ican in the too! ‘options panel Start to add brush strokes on the ‘burt layer to the darker areas of the photo, We started around the eyes ane darkened the sides of his forehead, under the nose and the sides, ff the cheeks. Again, apply the brush strokes singly anc Build Up, the darker areas unti you have tas you want if Becouse you are working on seperate layers, you can return to the ‘dodge’ layer you want, swap the Gum Tool of the image to your taste In the case ofthis Image, we went back and brightened the eves themselves layers and set thes {o the brightest areas. s with the Dodlge Tool, choose Midtones as the Painting Mode by clicking on the Range button. Keep the brush as 3 large soft one and Exposure at 10% or lower, Ifyou alt and click the ’b layer you can view that layer in isolation, Now, any dodged area that is darker than grey is added to the layers below, darkening the Do Chek again to return to the normal we. If it looks like the bur layer effect is too strong, you can aways cick on the ayer Opacity slider and reduce that rity to about 70%, we also duplicated the 'cocge' layer ‘ond layer to 35% opacity for ite extra contrastCreate new flor adustment yer a pany [coe[=]] |p Satine —o— Ceara @ == @ I. concrorowe IE ve/Saturation| channel: Master » -——O Serato: —G@—— 35 in ne next few steps are optional and down to personal taste Go to the layer options pane! and cick on the Create New Filor Aclustment Layer button Select Hue/Saturstion from the menu that appears to set it a8 an adjustment layer above the a ry ° noes Output Levels: ‘One additional tweak was to add a Levels adjustment and push the Highights and Midtones sliders to the loft. ts nelped boost contrast alittle more and highiighted all the work already done with the Dodge and Burn Tools. With thet your Dadge end Burn project is completed, You have applied some very focussed brightness and contrast adjustments to bring out more datal and create a more dramatic jooking mage ‘We wanted to reduce the saturation When you add an adjustment layer to t properties panel for that layer wil be cisplayed automatically We Used the Saturation sider to reduce saturation to about “35, fice by sae comparison now shows now much the image has been transformed with the use of targeted brightening of migtones and also selective darkening of certain area increase the overall contrast of the Image that wasnt presant in You can choose to flatten the image, by going to File > Save As (Shih + Crd +S) to ereate a new fil under a new tame, of save the document in its layered form as a Photoshop Compatibie PSD fiePag eau ON usec ea aaa Mee) MCR ee Roe Roe an ke en al here une) Sea ects oe Reta et tu el kee a crea Loe Cree a eae cue eek eC ote CN aoa TORE U RVR ae oor eed CeO uno ei lethal RE ae aan eeu it RACER Ce NY an eect Fue nC Re LC Cos uno mt SSE ee ee4 and sonia 160.jpg oe stop-208552 9 r Ea Untitled_Pan al.psd 159369.psd__tree-832079.jpg O rezccsse see bygone wigating to where your Image is Kept. Highlight your image and press Open or double-click tte open tn Elements, (ur example dog image opens up ready for a good downpour > Open ana A new layer will be added above the main image on the ound layer Name this new layer share. Yo is ayer to add the first ofthe ran effects by ere sharp. crops Male sure the ‘sharp’ layer is active, HOW TO ADD RAIN TO A PHOTO Opacity You will be creating two layers of rain. One will contain smaller drops which wil appear to be further from the viewer The second layer wil be much closer to the viewer and be blurted. To begin, gto the aver options panel and click o Create A New Layer er retort rr Re Filtaye| @ Learn more about: ow: [Baa l = Bering ere Nr Nese: | Norma Deine Brush opaciy: cero i Preserve Transparency een Penne Go to Edit > Fill Layer to open Use section, choose Bl Blending Made is Norma » panel. in the fas the fil colour Make sure y is 100% and that the Preserve Transparency box is untickea. The sharp’ layer willbe filed sola black obscuring the dog for a rroment. COPreview Distribution Ouniterm Distribution Now you need to create some raincrops. Go to Filter > By default, the Distribution value is set at Uniform, You need Noise > Ada Noise fo open the Ado Noise panel. You have Something a bit more random, s0 cick the Gaussian Button 2 couple of options fo adjust to give you the correct king of rain instead. You might notice that the novse Nes alot of colour int tlements, Fit, you need to make the Amount 400%, which is We need to remave that by checking the Monochromatic BLRteN the maximum Amount you can add at the bottom of the panel Click OK to proceed. rd ran mccoy Cte eens eer cg oer Distort on ony Cer eon Ey con org en crac ern Peet reas ens es Sree Cray © 8 HuelSaturation Gradient Map. In order to create the rain particles, the noise on the sharp The noise doesn't look very much tke rain at the moment layer needs to be blurred sightly: Go to Fiter > Blur > Blur but ifyou g0 to the layer options panel and click on the More, This adds a small, pradefined amount of blur to the noise Create New Fill Or Adjustment Layer and select Levels, you to soiten it sianty can adjust the contrast to make something that looks more like inalvdual dropeDupteat Layer. (rue rom Layers. 6 Output Levels: eve — ‘Levels adustrent layer wl be ace. To mate sure The Levels ilog panel wil open when te layers crested fh Sustrant ony aoc techy aver taht Meuburh te Stoecu ona higapns sacs ceseree levels ano choose Gente Cipsng Mask vom the menu This eaehether jou tse tw fee yout novng onthe ose n Imeare te amenity acc the layer butow to wiich tthe shaper vou nee to ahist the dar ao the Bred Show ceed tise varaes cut na smal purities VIU@oas f= Neat open [105] = Create ~ Share - ore Darken Mo yels 1 VvuQ a Coie urn I Opacity x tea um borer Cor I © + wk oD gen “ @o Background When you have the adjustment 2s you like it, click on the You can continue to make further adjustments to the levels ‘sharp layer to make active and then go to the Blend ‘and when you are ready, press the shift key and click both Mode options button and choose Sereen ae the blend. When you the’Levals layer and the sharp layer in order to zalact them do this. only areas that are brighter than 50% grey willbe seen in both at once. Both layers should be highlighted in blue. smeodetteieen 67a TAKE YOUR SKILLS FURTHER, "i | Pe ee Right-click on these selected layers and choose Merae Layers from the menu to merae them into ane layer When combined, the layer will defaut back to.» Normal Blend Mode so ‘you will need to ga back in and change that back to the Seren Blanc Mode again. Inthe tool options panel, you wil see the transform options You just want to be able to scale it from its centre, Make sure the centre point of the Reference Point Location is clcked and in the width and height boxes enter a value of 200%. Press the green tick to commit the changes, Cerone od ea ‘Crop oo pensions cee eee vee cos 2 4 {At the moment, the rain particles look a tle small, You reed to make them quite prominent so you can scale the contents of the ‘sharp’ layer. Go to Image > Transform > Free Transform (Cma +1). Ths tool gives you various options for the scaling ofthe layer contents, This wil scale the contents of the ‘sharp! layer by 200%, making the raindrops much mare visible, At the mement ough, they look ike they are frozen in place. You need to be ‘ble to add Isle movernent to suggest actual raintaHOWTO ADD RAIN TOA PHOTO [ay sf, Layer mask thumonail Background 10 t0 Filter > Blur > Motion Blur to call up the diaiog pane! Keep the ' ve and go to the layer options thor than the rain fang vertically make the Angie about panel and choose Add Layer Mask to do just that Click on 56" and the Distance about 40 pixels, Smaller numbers mean the ayer mask thumbnail It wil hghght with a blue borden) and the rain looks quite light and larger numbers give the impress then go to Fiter > Render > Clouos envy rain faling quickly. Click OK when ready. a a / ea Eu — a ‘A mottled cloud-lke pattern will be added to the ayer Keep the layer mask active and go to the toolber and chose mask. is randomly comprised of black and white clouds the Brush Tool (8). Set the foreground colour to black and his randorn mask makes the rain appear alittle more random the Size to about 800 pinels. Start to paint black on the layer too, since various areas are being concealed or revealed in mask over the dog and the immediate foreground to give the differing intensities, ilusion that the rain is behind the dog, a)a TAKE YOUR SKILLS FURTHER, ‘Subtract Mask From Selection Intersect Mask With Selection — Now, you need the blurred rain forthe forearound, With the ‘sharp layer active press Cmd + J to create a doplicate ofthat layer. Rename it'blurred. Right-click the layer ‘mask and choose Delete Layer Mask as you wont need it for ths layer Make sure the ‘blurred’ layer is now active and go to Fiter > Blur > Gaussian Blur to open the blur panel. You want to red lke itis very close to the camera Entering @ Radius of about 7 pixels wil Bsr just enough make the foreground rain ook Bl toweate a sense of depth, Cerone B) sires layer wi n9ed to appear even closer tothe Viewer needs to be scaled. Use the metnod you used with the first layer ands scale t enother 200% from its centre and press the green tick to commit those changes when ready. Ifthe foreground rain looks 2 litle too intrusive, always go to the Opacity sider and make its opacity about 75% to lessen its visual impact Now the dog really looks ke he has something fo be grumpy about, You couic call that done out there's one little extra thing to do,clouds.ipg dodge and burn edit.psd sirljpg © We wanted to make the puddle directly under the dog lo Press Crd + A to select all pivels of the ripples image and alitte more like there wae tain faling In itand used ant then press cmd + C to copy it. Then go back to the main image to help with that After going to File > Open, we navigated document and press Cma + V fo paste the copied pivels onto @ towhere 2 puddle image with rippies was stored and opened it new layer of ts own. ina document of ts own, wea Tdec a4 ° ont ro Ceer in ew oon os Darker Color —— pn sat ‘Color De ew Bae) You can press Crnd + T to use the Free Transform Tool to ® ‘At the moment the ripples of the second puddle image edn cette reewserbu aed mone oroaarte fed ay barca Gola ete elena ed cher te pus beneath te cog Youn cores tytage. chek Aid aye Hs ada errsk othe pe wage Now Sarlealytohap rath tne pple tothe renee fhe fain atone Slaw Made buton ana chocee ree or tha au trope bat rk at be ane ‘ha blond he nppled pute rage na hey ‘You can rename this new layer ‘pucile’ Make sure the layer If this additional effect looks a litle too much for the ask is active, Choose a large soft black brush and start image, you can always reduce the Opacity setting to about pint out areas where the nppled puddle shoud not be seen The 70%. Now te grumpy dog looks like he has been caught in the fend result oF the masking should look lke the example shown, migle of a downpour and probably wants to get home toa nice warm fe,a GLOSSARY i Glossary For your reference, we have listed many of the terms you'll encounter as you become more experienced with photo editing. ‘ative ner of contrast arclaly ater contact ONG (Digital Negative) eno Seems, | he eae en ae Seemine et ctotoma ane ° Seem Reims, «© Benes, gem ieee a am BE ninco Wemecress, | Siergminsesr | St wena BeBe Eo oy SORSRACURT SS SSE E aE | GEREN GaC eects Seema ee ten i Sas Be Evan apo BEETS manytenes enn {SESnrvan ine cane sump toot META a Portal the Crostive Stara Soisu Shane sanconicnn winyerbefoe you poruth [nami sates rage ck ont SSnp to! es, furor terenteciense: — Birtsstiua.metiedcort EFlogusted rostscrot Ate Erste Sue econ be sete Bain at whch the deepest shadow yan mapent,yalow and block jtilbe used ritrtration ond pooe oe eeeterraane “ Incudesfallsupeor Tor Chive XIE ‘Adobe R60 lencing mode ode chargeable moos i Format FES REE Sur soac rote ReSATS Tet Contolshow pits eandias sreicing Ro [Adobe Srefeme, eorpertedt iRanmage ae afected by © {colour cast Sich of dts etoon Camara roves oione aura cicsours — argsrcutyaien Weblo Reomoniagoruneoaced iow Snr ie soa ov reba (eawncnate Reetemaeinnee Eateries, fuermmmmst eeTeea eases. — Seukumecteerrmetteyne lew on Seen Gainer? 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" SEINE, orn a GLOSSARY Sening can pe. camera efecto nintenonoly opie sect SEI mono Eee na meet Belosaarse, 23a Hue colour cast fo tre davtost Ea Peenntnee FEM ine une ie ine ees wit one othe swatches BSS that you cn choose nee Tages mage Fle Format A da ‘Stare to be printed or publaned {Tet images cans compreme losis TOE hin eraron, om Bespectve of layer alaston or — ixeae eter Britten Otad image wnat from se ieigh tang abcde ehimege by rereasng the contest [reveased by sang sslgnty Brana orm of tlie Sibpance nen rage, othe RHE nore tre ies ot an 2 EReMlon ofan rage often tot Ferinstance line of txt con os trared nthe shape of anarc or ‘init balance Rist compensate fr Bet mtsyy Congratulations, we have reached the end of your latest tech adventure. With help from our team of tech experts, you have been able to answer all your questions, grow in confidence and ultimately master any issues you had. You can now proudly proclaim that you are getting the absolute best from your latest choice from the ever changing world of consumer technology and software. $0 what’ next? 2 you want to ctart a new hobby? Are you looking to upgrade to a new device? Or simply looking to learn a new chill? Whatever your plans we are here to help you. Just check our expansive range of Tricks & Tips and For Beginners guidebooks and we are positive you will find what you are looking for. This adventure with us may have ended, but that’s not to say that your journey is over. Every new hardware or software update brings its new features and challenges, and of course you already know we are here to help. So we will look forward to seeing you again soon. @ Papercut www.pclpublications.comWant to master your Camera? Then don’t miss our NEW Photography magazine on 5 Readly now! THE ULTIMATE PHOTOGRAPHER'S GEAR GUIDE! DIGITAL 2! on. Wea JTOGRAPHIC 1 baste pon Shooting Into Ealing Your PROtOS rete Professionals Ught Yes. You The, ‘Your Photos Photograph Your Ca can!) cere: wamiatacananee — wesnriaonoicn | Moree een Aron PREP iSGESE — eee aco teTech Guides Available on Read ly Who" (TRICKS & TIPS v Mac iy Uc Cari ies Landsc. eee For a full list of titles available visit: www.pclpublications.com