PHOTOSHOP ELEMENTS 2023

The Basic and Comprehensive Guide to Help Master

the Art of Image and Video Editing with Essential
Tools and Shortcuts and Useful Tips and Tricks for
Beginners and Experts

GOLDEN MCPHERSON
Copyright © 2023 by GOLDEN MCPHERSON
All rights reserved. No part of this publication may be reproduced,
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except in the case of brief quotations embodied in critical reviews
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Disclaimer!
"The information provided within this Book is for general
informational purposes only. While we try to keep the information
up-to-date and correct, there are no representations or warranties,
express or implied, about the completeness, accuracy, reliability,
suitability or availability with respect to the information, products,
services, or related graphics contained in this Book for any
purpose. Any use of the methods describe within this Book are the
author’s personal thoughts. They are not intended to be a definitive
set of instructions for this project. You may discover there are other
methods and materials to accomplish the same end result."
 TABLE OF CONTENTS
GETTING STARTED WITH IMAGE EDITING
FAMILIARIZING WITH THE HOME SCREEN
Begin with the Home screen.
Discover new features
Discover fascinating features
The welcome screen
Organizing Your Photos
Photo Editing
Recognizing Expert Mode
Basic Workspace
Custom Workspace
Panels, Bins, and Tabs
The Tool Options and Photo Bin Area
A Panel Bin
Images Windows
Elements' Tools
Getting Help
Escape routes
Undo
The History Panel
The One Rule of Elements
Getting Started Quickly
SHARING A PHOTO
Sharing photos in Elements 2023
Picture-sharing services
How to send pictures via email in Elements
Learn how to use Adobe Premiere Elements.
How to upload photographs to social media
How to post pictures on Facebook, Twitter, and Flickr
Using other internet services
How to make a Facebook cover photo
THE SAVE/SAVE AS DIALOG BOX
How to prepare files for the internet
CHAPTER TWO
CONCEPTS OF BASIC IMAGE-EDITING
Considerations Before You Start Editing
Ways to Modify Image Size and Resolution
Adjusting the resolution and size of an image in Elements
Recognizing the outcomes of resampling
CHOOSING A RESOLUTION FOR PRINT OR ONSCREEN
DISTINCTION BETWEEN DPI AND PPI
OK, LET'S DISCUSS PICS PER INCH (DIGITAL)
ESTIMATING THE PERFECT SIZE FOR A NEW DOCUMENT
ON SCREEN WORKING
WORKING WITH FILE FORMATS
Photoshop PSD
JPEG
GIF
PNG
TIFF
EPS
PDF
GETTING FAMILIAR WITH COLOUR
Model in RGB
CHOOSING COLORS
Make use of the Color Swatches panel.
Save and use custom swatch libraries
Make use of the Adobe Color Picker.
COLOR CALIBRATION
Where to start when calibrating your colors.
CHOOSING A COLOR WORKSPACE
Recognize how profiles function
CHAPTER THREE
EXPLORING THE PHOTO EDITOR
Open and Import Images
Importing data into the organizer
EXPLORING IMAGE WINDOWS
Zoom in or out.
Show a picture at 100%
Adapt a picture to the screen.
Window resizing while zooming
 Making use of the Navigator panel
Open the same image in many windows
View and group various windows
Shut windows
CONTEXTUAL MENUS
Use the modifier keys and keyboard shortcuts.
Shut down Photoshop Elements.
SELECTING FROM TOOL OPTIONS
Improve the automatic choice
Use selection tools
Utilize the Elliptical and Rectangular Marquee tools.
Use the Lasso instrument
Make use of the Polygonal Lasso tool.
Utilize the magnetic lasso tool
Use the Magic Wand instrument.
Make use of the Quick Selection tool.
Make use of the Selection Brush tool.
Utilize the tool Refine Selection Brush.
Make use of the Magic Extractor
Refine edges of a selection
Delete a selected area
About panels
A menu panel
Utilize Panels
The Panel Bin
Use the taskbar
Utilize the Photo Bin.
VIEWING FILENAME
Guided Edit Search
General Preferences Setting
CHAPTER FOUR
Import photos
LOCATIONS OF THE IMAGE FILES
THE USE OF OFFLINE IMAGES
REMOVE OR QUIT WATCHED FOLDERS
USING SCANNER PLUG-INS (WINDOWS)
Set scanner preferences
 SCANNING IMAGES ON MAC
CHAPTER FIVE
ORGANIZING PICTURES
A TOUR ON THE ORGANIZER
Regarding the workspaces in Photoshop Elements
The workplace for the organizer
The editing environment
How to Use the Palette Bin
Changing the Palette Bin's Palette Sizes
Create keyword Tags
Importing tags with pictures
AUTO CREATIONS
Introducing new events
RATING IMAGES WITH STARS
MARK PHOTOS AS HIDDEN
ADDING IMAGES TO AN ALBULM
Ways to make an album
Use albums for short-term projects.
Adding to the sharing of your albums
PLACING PICTURES ON MAPS
WORKING WITH EVENTS
Run a JavaScript.
CHAPTER SIX
CATALOGING FILES
How to utilize catalogs
Creating a catalog backup
How to backup files and photos
Viewing photos in memories
Supported parameters for Enhanced Search
How search functions both within and between categories
Showing recent search results
Putting text into the text bar to search
CHAPTER SEVEN
EDITING CAMERA RAW IMAGES
LAUNCHING CAMERA RAW EDITOR
Photoshop is launched with Camera Raw
Opening a Camera Raw Image File
 Easy Ways to Launch Camera Raw in Photoshop
As a smart filter, using Camera Raw
Using Camera Raw to transform a Smart Object
OPENING IMAGES IN THE CAMERA RAW EDITOR
Close Camera Raw and go back to the bridge
Using Camera Raw to Open JPEG Files
JPEG Image Editing in Camera Raw
Using Camera Raw Settings to Open JPEG Files
How to Use Camera Raw to Open TIFF Files
Camera Raw Editing The TIFF Image
Using Camera Raw Settings to Open TIFF Files
SHARPENING AND NOISE REDUCTION
Sharpening
Sharpening TIPS
Noise reduction
Recognizing noise reduction
Applying noise reduction
USE OF CALIBRATION PANEL
Digital Translation
Location of the Calibration Panel
How to Use the Calibration Tool
How Does the Calibration Tool Work?
WORKING WITH FILMSTRIPS
The Video Demo mode
WORKING WITH PROFILES
Managing colour with profiles
USING SIDECAR FILM
Exactly how does Photoshop's Sidecar work?
CHAPTER EIGHT
MAKING AND MODIFYING A SELECTION
How To Transform A Selection In Photoshop
Instructions For Inverting A Selection In Photoshop
How to Make a Selection Disappear in Photoshop
The best way to save a choice for later use
CREATING RECTANGULAR AND ELLIPTICAL SELECTION
Location of the Rectangular and Elliptical Marquee Tools
Tools for Marquee selection in Photoshop.
 Rectangular Marquee Tool: How to Make Selections
A rectangular selection outline drawing technique
How to move the outline while you make your choices
How to get rid of the selected outline
Creating a rectangle selection and expanding it from the middle
How to create a perfect square selected outline
Ratio Fixed
Fixed Size
The feather Options
The Rectangular Marquee Tool: Three Uses
Using Transform Selection, resize a selection's outline.
PAINTING WITH SELECTION BRUSHING
SELECTING WITH THE AUTO SELECTION TOOL
Photoshop Elements's Auto Selection Tool: How to Use
FINE-TUNING WITH THE REFINE-SELECTION BRUSH TOOL
Instructions for using Photoshop Elements' Refine Selection Brush Tool
WORKING WITH COOKIE CUTTER TOOL
Make use of the Magic Eraser.
Utilize the background removal tool.
REFINING EDGES OF A SELECTION
Using the Refine Edge Tool
CHAPTER NINE
WORKING WITH LAYERS
Recognizing Layers
Image Layers
Layers for Adjustment
Fill layers
Layers of Shape
Type Layers
DUPLICATING LAYERS
FLATTENED AND MERGE LAYERS
Flatten Image: Advantages and Disadvantages
What Happens When Layers Are Merged?
CHAPTER TEN
SIMPLE IMAGE MAKEOVER
CROPPING AND STRAIGHTENING IMAGES
Cropping an image in Photoshop
 Straightening an image in Photoshop
CUTTING WITH THE CROPPING TOOL
The Cropping borders
Tips for resetting the crop tool
The default Crop Tool settings.
How to adjust the crop border's size
How to move an image within a crop border
How to call off the harvest
Creating a custom crop border
How to change the crop border's size starting at its center
How to resize from the center while locking the aspect ratio
Changing the direction of the crop
Selecting a unique aspect ratio
How to preserve an individual crop preset
How to undo a crop
Perspective Crop tool
How to non-destructively crop images
THE QUICK FIX
Quick Fix Window
The Quick Fix Toolbox
Red eye fixing
Precise red eye removal
Auto Smart Fix use
Auto Levels
Auto Contrast.
Automatically adjusting color
Image comparison in Full Edit View
Zoom All by using shortcuts
Highlights, Midtones, and Shadows
Sharpening
Whitening Teeth
EDITING IN QUICK MODE
Comparing Full Edit and Quick Fix Mode
Guided Edit
Full Editing Mode
Opening Photo
CLONING WITH THE CLONE STAMP TOOL
 Using the Clone Stamp tool to clone an area
Refine facial features
Remove spots and unwanted objects
Delete undesirable items using content-aware healing
Correcting Camera Distortion
SMUDGING AWAY ROUGH SPOTS
STEPS ON HOW TO USE THE SMUDGE TOOL
SPONGING COLOR ON AND OFF
STEPS ON HOW TO USE THE SPONGE TOOL
COLOR REPLACEMENT
Training for the Color Replacement Tool in Photoshop
How to Use the Replace Color Tool in Photoshop
Remove Unwanted Color Changes in Step 6 using a Layer Mask
How to Change Colors Using Hue/Saturation Adjustment Layers
Conclusion
INDEX
 CHAPTER ONE
GETTING STARTED WITH IMAGE
EDITING
You can basically do anything you want with digital photographs with
Photoshop Elements. You can add color to black-and-white photographs,
erase evil red-eyed expressions, or alter the looks of persons who have
harmed you. The drawback is that, especially if you're new to the application,
all those options might make it challenging to navigate Elements.
You can become settled by reading this chapter. You'll discover what to
anticipate when you run the application and how to quickly edit photographs
with Photoshop Elements. Additionally, you'll learn how to begin modifying
photographs with Guided Edit mode. You'll learn about some of Elements'
fundamental controls along the way, as well as how to access the program's
Help files.
When you install Elements on a Windows computer, the installer makes a
desktop shortcut for you (Installing Elements in Windows shows how to do
this). To start Elements, just double-click that shortcut. Additionally, you can
use Adobe Photoshop Elements 13 from the Start menu by clicking its icon.
When you click the arrow next to All Programs, Elements should appear in a
pop-up menu if it isn't already there.
Elements can be started on a Mac either as the final step in the installation
process or by going to Applications and double-clicking its icon.
(Incidentally, the Support Files folder is the only other item in that folder
besides the uninstaller.)
The Editor application can be found there; you can learn more about it by
starting on Editing Your Photos.) Start Elements, then go to the Dock and
click the program's icon to create a Dock icon for later convenience. Then
select OptionsKeep in Dock from the menu that appears after continuing to
hold down the mouse button.

FAMILIARIZING WITH THE HOME SCREEN

A carousel of cards is displayed on the Home page to guide you in learning
new features, testing out fun functions, and exploring and customizing Auto
Creations. Additionally, you may rapidly search for Help resources for the
functionality you want. You can begin using one of the Elements programs
from scratch on the Home screen as well.
You may click or go to the Elements pages on Facebook and Twitter from the
top-right area of the Home screen. Click if you want to get in touch with
Adobe Customer Care.
All the tools you need to get your Elements app up and running are on the
Home screen.
Begin with the Home screen.
You can see the Last Used Version Area on the Home screen when you
initially open the most recent version of an Elements app. You can choose
from the following options in this section:
Choose your most recent version of Adobe Photoshop Elements from the
Select Version drop-down list, then click Confirm.
Choose your previously used version of Adobe Premiere Elements from the
Select Version drop-down selection, then click Confirm.

Slideshows, photo and video collages, and other Auto Creations can be
viewed by importing media.
Discover new features
You may find details about fresh features in your Elements app in the
carousel of cards that is shown on the Home screen's upper portion. The cards
have a blue tag with the words "What's New" on them. To find resources on
new features, utilize the arrows on the left and right side of the carousel.
Click Open Link when you mouse over a What's new card. To learn more
about the functionality, you can then consult the appropriate Help pages. On
the basis of your app usage, the What's new cards are also occasionally
updated.

To discover additional features, use the arrows on the sides of the upper
panel.
Discover fascinating features
Find cards with an orange tag called "Inspiration" in the carousel of cards
visible in the Home screen's upper portion. These cards make it easier for you
to find entertaining features and locate resources for them. To view these
cards, use the arrows on the left and right side of the carousel. Click View
after hovering over a desired Inspiration card. Then you may obtain the
necessary information to learn more about the chosen functionality.
The welcome screen
The Welcome screen appears when you launch Elements for the first time.
You can select which area of Elements to use from this launcher screen:
Organizer: You can store and organize your image files using the Organizer,
which you may launch by clicking this button. It is thoroughly described
beginning with Using the Organizer.
Photo Editor: To launch the Editor, which allows you to edit photos, click
this button. For additional information about this area of Elements, see
Editing Your Photos.
You may easily switch between the Editor and the Organizer, which are
considered to be the two components of Elements. However, they operate
somewhat differently than two distinct programs.
For instance, if you choose a photo to edit while still in the Organizer, you
will need to wait a few seconds before the Editor launches. Additionally,
closing the Organizer separately is required when both the Editor and the
Organizer are open and running simultaneously.
You can start the Organizer by clicking the button in the lower center of the
Editor's main window (or switch to it if it's already running). If you wish to
do the opposite and move images from the Organizer to the Editor, either
choose the image(s) in the Organizer, click the Editor button at the bottom of
the screen, or right-click/Control-click a thumbnail and select "Edit using
Photoshop Elements Editor." In any case, your photo(s) will be available for
editing in the Editor. Once both apps are open, switching between them is
also as simple as clicking the Editor or Organizer icon in the Windows
taskbar or Mac Dock, respectively.
NOTE: In the majority of nations, Elements will show you Elements Live
(also known as eLive), an inspirational and tutorial part explained on eLive,
the first time you launch either the Editor or the Organizer. Just select the
Media tab from the list of tabs at the top of the screen to begin categorizing
your photos in the Organizer. Simply select a tab in the Editor other than
eLive by clicking it.
What should I do to remove the Welcome screen?
If you feel sufficiently welcomed, you could wish to disable the Welcome
screen so you won't have to go through it each time Elements launches.
Click the Settings icon (the gear) in the top-right corner of the screen
to inform the Welcome screen you no longer wish to view it.
You can choose to start the Editor or the Organizer rather than the
Welcome screen going forward using controls that are displayed in a
part of the window that slides open.
 Simply select the desired program from the drop-down menu, then
click Done.
Later, if you change your mind about how Elements should launch in the
Editor or Organizer, select Help > Welcome Screen, then return to the
Settings panel we previously discussed and make your modification. By
creating straight shortcuts to the Editor and Organizer apps and omitting the
Welcome page entirely, you can also save a tiny bit of system resources. To
accomplish this, open Windows and navigate to C:Program FilesAdobe.
Then, right-click the desired program's icon and select Create Desktop
Shortcut. The simplest method on a Mac is to make a Dock icon while the
application is open, as described in Scratch Disks.
Organizing Your Photos
Your photos enter Elements through the Organizer and exit it again when
you're ready to print, edit, or email them. You immediately return to the
Organizer for many tasks that require sharing images, such as sending them
(Emailing Photos) or making a slideshow with them. The Organizer
organizes and keeps track of all of your photos (PDF Slideshows). You can
examine your images in the main window of the Organizer, group them into
albums, and give them keyword names.
If you're upgrading from Elements 10 or earlier, the Organizer has undergone
a complete revamp, making it fairly different from what you were used to. the
Adaptive Grid is shown, a brand-new technique Adobe provides you with in
Elements 13 to view your photos in the Organizer. You can alternate between
this view and the previous grid view present in Elements older iterations. It's
crucial to realize that you are under no obligation to utilize the Organizer if
you choose not to. For a variety of reasons, a large number of people don't.
Some of the justifications for and against it are explained by Media View.
Another element of Elements is the Photo Downloader, which you may have
already encountered if you plugged a camera into your computer after
downloading Elements. The Photo Downloader enables you to import photos
directly from your camera's memory card into the Organizer.
NOTE: You may order and classify images according to the people,
locations, and events they depict, as well as give them keyword tags and
categories, all using the organizer. When you initially import your images to
the Organizer, they appear in this Media view. (Adobe refers to the various
Organizer sections as "views"). This picture displays the new Adaptive Grid
mode for Media view.

NOTE: Another program you get when you install Elements is Adobe's
Photo Downloader. Its function is to import pictures into the Organizer from
your camera (or another storage device). When this AutoPlay dialog box
appears, just select "Organize and Edit with Adobe Elements Organizer 13.0"
(circled) to use the Downloader in Windows. On a Mac, select File > "Get
Photos and Videos" > "From Camera or Card Reader" to start the
Downloader. You arrive in the Organizer after the Downloader has finished
its work.
The Downloader is one of the choices in the Windows dialog box that
appears when a device is connected in Windows. Simply select the
Downloader from the list if you wish to utilize it.
On a Mac, select File > "Get Photos and Videos" > "From Camera or Card
Reader" to start the Downloader. The Downloader must be started through
the Organizer on a Mac because there is no way to set it to run automatically.
Photo Editing
The Editor is Elements' other key element. The fun part of the program is this
section, where you can edit, change, and generally glamorize photographs.
You can even use sketching tools and shapes to start from scratch and create
unique artwork.
There are four distinct modes for the Editor:
eLive: A new function in Elements 13 is called Elements Live, which is
denoted by the acronym eLive in the tab at the top of your screen. When you
select this option, a number of Elements tutorials are displayed along with
some stunning photography and editing samples to serve as inspiration. It's a
compilation of intriguing content from Adobe and numerous other websites.
When you first open the Editor, this is where you should begin. Simply select
one of the other tabs at the top of the window, which are described in the
following bullet points, to continue editing with your photos. On eLive, you
may learn more about Elements Live.
Quick Fix: Quick Fix ends up serving as the primary workspace for many
Elements newbies. It is where Adobe has compiled the fundamental tools
required to enhance the majority of photos. Here, you may even give your
photographs frames, extra effects, and textures. Additionally, this is one of
just two places in Elements where you can work with a before-and-after
view.
The window for Quick Fix. Open one of the two Before & After views by
selecting it from the View menu in the top left to compare your modifications
to the original image.
NOTE: Adobe occasionally calls Quick Fix mode "Quick Edit mode"
instead. Simply put, those are two names for the same thing. It is referred to
in this book as Quick Fix mode.
Guided Edit: If you're brand-new to using Elements, this window can be
really helpful. It offers detailed instructions for common tasks like photo
cropping and blemish removal; for an introduction, see Guided Edit later in
this chapter. For more experienced users, Guided Edit also offers some
entertaining extra effects and workflows (see Special Effects in Guided Edit).
Expert: You get access to Elements' most complex capabilities in this mode.
If you're picky, you'll spend most of your retouching time in Expert mode
because it gives you access to a lot more editing options than Quick Fix does.
In the Expert mode window, the majority of the Quick Fix commands are
also accessible via menus.
By selecting the Quick, Guided, or Expert tabs at the top of the Elements
window, you can change modes. The remainder of this chapter discusses
some of the Editor's fundamental ideas and important tools.
TIP: When you return to the Organizer after leaving a photo open in the
Editor, a red band with a lock will be visible across the thumbnail of the
photo as a reminder. Return to the Editor and close the photo there to remove
the lock and make your image available for Organizer tasks.
Recognizing Expert Mode
You might be a little confused about what to do after entering Expert mode
(click the Expert tab at the top of the Editor to do so). The only other things
on the screen are a toolbox on the left and a row of icons on the bottom.
Where did everything go? might be a question you're asking if you've ever
used an older version of Elements. Do not fret. Everything is still there; all
you have to do is figure out how to use it.

Basic Workspace
Beginning in what Adobe refers to as the Basic Workspace (Figure 1-6),
expert mode was intended to be simpler for beginners. A toolbox with two
columns can be seen on the left side of the screen. The Photo Bin, which is
located close to the bottom of the window, displays a tiny thumbnail of each
photo you access. However, depending on what you're doing, what you see in
this area alters. This area is replaced by the Tool Options when one of
Elements' tools is activated, where you may examine the settings for the tool
you're now using.

NOTE: This is what the Basic Workspace window looks like when you first
use the Editor in Expert mode, according to Adobe. You can change from one
panel to another by pressing the buttons in the bottom right (circled) corner.
The fact that only one panel can be seen at a time is one of the reasons why
most people favor the Custom Workspace.
There are several buttons labeled Layers, Effects, Graphics, Favorites, and
More at the bottom right of the screen. The names of Elements' four most
popular panels are the first four. With the help of panels, you may edit your
photos, apply special effects, and keep track of your editing decisions (using
the History panel) (with the Effects and Graphics panels). This book contains
comprehensive information about the program's many panels.
The Basic Workspace has one drawback, which is this: When you click one
of those panel buttons, the corresponding panel displays and spans the whole
right side of your screen (also known as the Panel Bin).
Only the panels with buttons at the bottom right of the screen may be seen at
once while in the Basic Workspace, and you are unable to resize or see more
than one of them at once. The previous panel vanishes when you click the
button for a new one at the bottom of the screen.
However, there are many more panels in the Editor than just those four. The
History panel, for example, can be accessed, if necessary, by clicking the
More icon in the lower-right corner of the window.
By clicking the tab of the panel, you want to work with, you may bring it to
the front of all of Elements' other panels, which appear in a floating group.
The group can be moved around on your screen, but it cannot be added to or
removed from the Panel Bin. The group automatically resizes itself to fit the
current panel, thus you have no control over how big it is or whether any
panels can be removed from it. The group can be closed by clicking the small
X in either the upper left (in Windows) or top right corner (on a Mac).
TIP: You can select a panel by name if you click the tiny arrow next to the
More button, however in the Basic Workspace, you still get the entire group.
All choosing the name does is guarantee that the desired panel will display in
front of the other grouped panels.
You can try utilizing the Basic Workspace in Expert mode, but chances are
you'll start ranting and banging your head against the desk after about 10
minutes. Fortunately, Elements' Custom Workspace provides a significantly
superior method of using the Editor.
Custom Workspace
If you've ever used Photoshop Elements (or any other graphics application),
you'll be quite relieved to learn that the Editor can be configured to operate
considerably more quickly than the Basic Workspace. The solution is a
cleverly concealed menu command that makes Elements once again fully
functional. Simply navigate to the bottom right of the Elements window,
click the small arrow next to the More button, and then select Custom
Workspace to make this change.
Voilà! Even while you might not notice much of a change onscreen, you have
just reclaimed a tremendous amount of control over how you want to arrange
things. You can remove individual panels from the panel group in the Custom
Workspace, add or remove panels from the Panel Bin, create your own panel
groups, and more.

Panels, Bins, and Tabs

In the Editor's Custom Workspace, you are not limited to the basic layout
(explained above). From the starting point Adobe gives you, you can
rearrange things quite a bit. The numerous ways you can alter the Editor
when you're in the Custom Workspace are explained in this section.
TIP: There are no tools, panels, or other distractions on your screen when
you conceal everything in the Editor except for your photographs, the strip of
buttons along the bottom of the Editor's window, and the menu bar. This is
useful when you want to take a close, focused look at the editing you've done
to a picture. Simply hit the Tab key to do this; to bring everything back into
view, press Tab once more. (The Basic Workspace also supports this.)
The Tool Options and Photo Bin Area
Depending on what you're doing right now, a long, narrow strip at the bottom
of the Editor window shows a different set of information. The Photo Bin
shows all of your open files, appears when you first open a photo. However,
if you select a tool from the toolbox on the left side of the Editor window, the
Photo Bin is replaced with the Tool Options, which is a reasonable name for
the settings for that specific tool. You can toggle between the Photo Bin and
Tool Options using the buttons at the bottom left of the main Editor window,
so you can always see the one you choose.

NOTE: Every open photo's thumbnail is kept in the Photo Bin at the Editor
window's bottom. The trashcan can be brought back by pressing the button at
the bottom left after being collapsed by clicking the arrow in the top-right
corner. You may view the settings for the tool you're currently using by
clicking the Tool Options icon.
The Photo Bin/Tool Options area cannot be moved or resized; it is set in
place. However, you can make it disappear by selecting the down-pointing
arrow highlighted by clicking the Photo Bin button (while the Photo Bin is
visible), or selecting the Tool Options button (when the Tool Options are
visible). Although it provides you more room, doing much work while it's
concealed is difficult because it hides the settings for your tools. Click the
Photo Bin or Tool Options button at the bottom of the window to restore it.
(Both the Basic and Custom workspaces exhibit this behavior.)
More information regarding the Tool Options may be found at Elements'
Tools. The Photo Bin is the subject of the remaining paragraphs.
More than just displaying the open photographs is what the Photo Bin can
accomplish. If you wish to use the photographs in a project, you can, for
instance, drag the thumbnails of the photos into the bin and rearrange them
there.
Additionally, the bin contains two drop-down menus:
Show Files: You can choose from the photo bin's upper left menu whether to
have the images that are open in the Editor, a selection of photos from the
Organizer, or any albums (Albums) you've created displayed. Even without
opening them, you can send files from the Organizer to the bin using this
menu. To pick images in the Organizer, simply click on them. Then, head
back to the Editor and change this menu to "Show Files selected in
Organizer"; the photos you selected in the Organizer will be waiting for you
in the trash. To edit one, double-click it to open it.
Bin Actions: The Photo Bin is most helpful on this menu, although it's hard
to find: It is the tiny four-line square in the top right corner of the bin.
Without ever leaving the Photo Bin or heading to the Organizer, you may use
this option to print the photos in the bin or create an album there. The Photo
Bin is a very useful tool if you don't use the Organizer because it enables you
to make collections of photos you can pull up at once: Simply save them here
by selecting "Save Bin as an Album"; to view the images, choose the album's
name from the Show Files menu of the bin.
The Show Grid menu choice here creates a thin black border around each
thumbnail if you choose to organize items into separate categories.
NOTE: You could see little paintbrush icons in the top-right corner of your
photographs' thumbnails in the Photo Bin. They show that you've made edits
to a photo but haven't saved them.
A Panel Bin
The Panel Bin is shown on the right side of the Elements window while you
are in Expert mode. (In the Basic Workspace, this bin won't appear until you
select one of the panel buttons in the Editor window's lower right corner.)
The Panel Bin opens up with the four panels Layers, Effects, Graphics, and
Favorites when you first transition to the Custom Workspace (Custom
Workspace). The four panels are the same ones that the Basic Workspace's
buttons correspond to, however in this workspace, you can close any of the
panels that you aren't using right now.

NOTE: Earlier iterations of Photoshop and Elements referred to panels as

"palettes." The "Effects palette," for instance, is the same as the "Effects
panel”.
Drag the panel's top tab (the one with its name on it) to remove it from the
bin; you'll now have a floating panel. (As described under Image Views, you
can float panels even if you haven't enabled floating image windows.) After
taking panels out of the bin, demonstrates how to collapse them in one of two
ways to make them even smaller. As well you, may also combine panels.
This applies to both freestanding panels you've brought out of the bin and
panels that are still in the bin.
NOTE: Working with the same photos, panels, and tools in two different
ways. Any layout that works for you may be used. (These images exclude the
Mac version of Photoshop Elements, which has the primary menu bar at the
top of the screen. It adheres to the top of the workspace in Windows.)
The panels in the default Custom Workspace configuration, with the photos
in tabs, at the top.
Bottom: This illustration demonstrates how to modify your panels. The Tool
Options/Photo Bin is hidden, and the photographs are displayed in floating
windows. Since all of the panels are floating, there is also no Panel Bin.
NOTE: When panels are taken out of the trash, they can be folded accordion-
style to provide a lot of space. Full-sized panel at the top. Bottom: Double-
clicking a panel's tab caused it to collapse (where the cursor is here). Make
careful to double-click the panel's name rather than the empty space next to
the tab.

NOTE: Once you've dragged panels out of the Panel Bin, you can combine
two or more of them.
Top: The Histogram panel and the Layers panel are integrated here. Drag
both panels out of the Panel Bin to use this trick, then drag one of them onto
the other by clicking the tab at the top of the panel. Release your mouse
button when the panel you're dragging turns ghosted and you see the blue
outline displayed above to join it with the other panel. Bottom: After the
panels are grouped, simply click the tab of the panel you want to utilize to
flip between them.
The mouse is poised to select this tab to move from the Histogram panel to
the Layers panel. Simply drag the tab of a panel out of the group to delete it.
Go to Window > Reset Panels to get everything back to as it was when you
initially accessed the Custom Workspace.
You get the same floating panel group as in the Basic Workspace when you
bring up a panel for the first time that isn't immediately visible in the Custom
Workspace by choosing its name from either the Window menu or the menu
that shows when you click the down arrow next to the More button
(Understanding Expert Mode). Fortunately, you can quickly repair this.
Simply untangle the desired panels from the knot. The panels will then
reappear exactly where you last left them because Elements will have
remembered what you did. For example, you receive the six-panel group
when calling up the History panel for the first time.
However, if you separate the History panel from the group, all you will see
moving forward is the panel you choose when you go to Window > History
or click the arrow next to the More button and select History. The panel will
show up precisely as it did the previous time whether you put it in the trash,
keep it floating, or combine it with another panel.
NOTE: The More button dismisses any panels that you have floated. The
pop-out menu will appear when you click the arrow on the right side of this
button, allowing you to make your selections there, but if you press the
button's center, everything will vanish. Repress the button to restore
everything.
Click the floating panel's Close button (the X in the upper right corner of
Windows or the top left corner of a Mac) or the little white square with four
horizontal lines in the panel's upper right corner, and then select Close to
close it.
NOTE: Adobe occasionally refers to floating panels in Elements' menus as
"tabs," which is confusing. As a result, rather from seeing a Close Panel
Group choice when you click the four-line square on a floating panel, you see
a Close Tab Group option.
Additionally, you can store floating panels in the Panel Bin while utilizing
the Custom Workspace. The panel will appear in the bin wherever you drag
it. Drag a panel's tab onto the other tabs at the top of the bin and release when
you see a blue outline if you wish to see it with the other tabs there. You
might also wish to stack panels vertically so that you can view more than one
at once because the Panel Bin always occupies the whole right half of the
screen from top to bottom. While it is technically impossible to do so, you
can achieve the same result by dragging a panel's tab onto the tab of a panel
that is already in the bin. The container gets a multi-tabbed panel as a result.
After that, take hold of the panel's tab and drag it all the way down to the
bottom of the bin. Although the panel is truly floating, it will place itself
inside the bin below the items on the first panel so that it appears as though it
is docked beneath the first panel.
It can be a little problematic with the Custom Workspace since you risk
losing the Panel Bin entirely. The container vanishes when you remove all of
the panels from it. This might be useful because it offers you more room to
work with images, but if you want the bin back, you might have to drag a
panel all the way across the right side of the screen in order to get it to dock
back into the main window. The key is to slide the panel past the Editor
window's outermost right corner. The blue line is displayed along that edge
when you do this. When you release the panel, the Panel Bin will reappear
holding your panel.
It's simpler to learn by doing than it is to read about panel arranging, and it's
not as difficult as it may seem. So, experiment with moving some panels in
the Custom Workspace. Simply select WindowReset Panels, and Elements
will place all the panels back in their original positions if you are unhappy
with the results of your labor or you moved the panels about so much that
you can't remember where you put them.
Images Windows
Additionally, you are free to decide how you wish to view the photographs
you are editing. Each image appeared in a separate window in earlier
iterations of Elements, which you could move around. The default view in
Elements is now tabbed, similar to the tabs on a web browser or the tabs on
paper file folders, although you can still insert photos into floating windows
if you'd prefer (Image Views explains how).
The benefit of tabbed view is that it provides you with a ton of workspace
surrounding your image, which is helpful whether you're working close to a
photo's edges or utilizing a tool that necessitates your ability to move outside
the image's confines. Depending on which is more convenient, many people
alternate between floating and tabbed windows while they work. Zooming
and Repositioning Your View explains all the functions available for picture
windows, including how to switch between tabbed view and floating
windows. (Incidentally, selecting WindowReset Panels just resets your
panels; it has no effect on your image windows or tabs.)
Elements' Tools
When editing photos, Elements provides you with a staggering variety of
options. To pick, paint on, and generally modify photos, you are given over
two dozen major tools, some of which have up to seven subtools. The virtual
toolbox at Elements is probably not any more well-stocked than Bob Vila's
workshop is!
TIP: You must first open a photo in the Editor (FileOpen) in order to fully
explore Elements. If no file is open, several of the choices are grayed out
(unavailable).
The Tools panel is located on the left side of the Editor window when you are
in Expert mode. You can always find what you need without ever having to
clean it up since it always remains properly organized. The Tools panel
cannot be moved, resized, or turned into a single column like it could in some
earlier programs. It is fixed in place.
NOTE: To make it simpler to locate what you're looking for, the powerful
Tools panel is separated into six categories: View, Select, Enhance, Draw,
Modify, and Color. You can never see all the tools at once since some tools
are grouped together in the same slot (indicated by small arrows adjacent to
the tool icons. The icon for the last tool you used in a set of grouped tools is
the one you see.
Although many of the icons in the Tools panel genuinely stand for tool
groups, Adobe has opted to hide some of the sub tools from view. When you
move your mouse over an area of the Tools panel, you will notice teeny, tiny
arrows above the icons of the tools there that are nested with other tools.
A tool's settings and any nested subtools' icons are displayed in the Tool
Options section (The Photo Bin/Tool Options Area) when you select an icon
in the Tools panel. Simply hover your cursor over an icon—without clicking
—to reveal a label (known as a tooltip) identifying the tool if you are unsure
of its purpose.

NOTE: These little arrows appear next to the tool icons when your cursor is
over a portion of the toolbox that has sub tools nested with the visible tools.
For instance, in this case, you can see that, aside from the Red Eye Removal
tool, every tool in the Enhance section has extra tools grouped with it.
However, you can cycle through them by repeating Alt-clicking/Option-
clicking the group's current Tools panel icon or by simply glancing in the
Tool Options section at the bottom of the Elements window, unlike earlier
versions of Elements when you could do both. The category titles (such the
Enhance and Draw labels displayed here) may or may not appear depending
on your screen resolution. Elements just doesn't display the names if your
screen is so small that doing so would result in the Tools panel being cut off.
If a tool's icon is visible in the Tools panel, click it to activate it. If not, click
it in the Tool Options section (if the tool is grouped with the currently active
tool). Every tool has a unique set of choices. If you select one of the nested
tools, the icon for that tool will appear in the panel the following time rather
than the icon for the tool that was there when you initially launched Elements
because the Tools panel keeps track of the last tool you used. Even while it
initially seems confusing, you'll eventually become quite adept at recalling
where each tool is located.

NOTE: Setting for the currently selected tool are shown in the Tool Options
section. Along with the icons for the Dodge and Burn tools, which also share
this Tools panel position, you can see the Sponge tool's choices here. Do not
forget that when you click a tool's icon, the Photo Bin is replaced with the
Tool Options section. You can switch between the Photo Bin and the Tool
Options by clicking the corresponding buttons at the bottom of your screen.
Although Elements has other windows with toolboxes, such as Quick Fix and
the Raw Converter, none of them are as comprehensive as the Tools panel in
Expert mode. Right now, you don't need to bother about memorizing the
names of every tool. Using a tool makes it simpler to recall what it is.
Likewise, don't let Elements' extensive toolkit overwhelm you. Most likely,
you have a lot of Allen wrenches in your garage that you seldom ever use.
You'll also discover that you use particular Elements tools more frequently
than others.
TIP: By using the keyboard shortcuts for the tools instead of clicking on their
icons, you can save time by not having to stop what you're doing to go to the
Tools panel. The shortcut key for a tool is the letter in parentheses to the right
of the tool's name. To see it, hover your cursor over the tool's icon in the
Tools panel or Tool Options area. You only need to press the necessary key
to turn on the tool. If the tool you're looking for is a member of a group,
simply keep pressing that key to cycle through the group until you find the
tool.
Getting Help
Every stray nook Elements had was filled with assistance by Adobe.
Nowhere in the application can you go without getting some sort of direction.
If you require assistance, you can do it in the following ways:
Aid menu. press F1/ ⌘ -? or select Help > Photoshop Elements Help. When
you do, Elements opens your web browser and displays the Help files for
Elements, where you may search for terms or read a glossary and topic list.
Links to online video tutorials and the Adobe Elements help forum can also
be found in the Help menu.
links in dialog boxes. A few words of brilliant blue lettering appear in a lot of
dialog boxes. (Occasionally, you'll notice a question mark inside of a circle.)
Actually, that line is a link to Elements Help. For example, if you forget what
the Remove Color Cast feature does, simply click the blue words "Color
Cast" in the Remove Color Cast dialog box to be reminded.
NOTE: Elements notifies you while it is working on a lengthy task by
presenting a notice in a dark gray oval that says "Undo Paint Bucket" or
whatever the relevant activity is.
Escape routes
You can use the History panel and the Undo command in Elements to prevent
creating mistakes that cannot be undone. Once you've gotten acclimated to
them, you'll undoubtedly wish you could apply these techniques to other
areas of your life as well as Elements.
Undo
You can virtually always change your mind about what you just did, no
matter where you are in Elements. The most recent modification you made is
undone when you Press Ctrl+Z/ ⌘ -Z.This keystroke only functions when
the image is still open; if you close the file, your changes become irreversible
even if you've recently saved the photo. Press Ctrl+Z/ ⌘ -Z repeatedly to
gradually undo your work.
Press Ctrl+Y/ ⌘ -Y.to undo what you just undid. When deciding whether to
keep changes, it's helpful to toggle them on and off using these keyboard
shortcuts. Both the Organizer and the Editor support the Undo/Redo key
combinations.
NOTE: The key combinations you use for Undo and Redo can be changed if
you don't like Ctrl+Z/ ⌘ -Z and Ctrl+Y/ ⌘ -Y. Open the Photoshop
Elements Editor's General Preferences by selecting Edit > Preferences. The
Step Back/Fwd menu in the Preferences dialog box offers two more options,
both of which require pressing the Z key while simultaneously holding down
the Ctrl, Alt, and Shift keys on a computer running Windows or the ⌘ ,
Option, and Shift keys on a Mac.
The Undo and Redo buttons are located in the bottom left corner of the
Elements window if you would rather use a button than a keyboard.
Additionally, they are mentioned at the top of the Edit menu in case you need
to utilize the keystrokes but have forgotten what they are.
The History Panel
The History panel, which you enter by selecting Window History, gives you
even more control over the operations you can undo in the Editor's Expert
mode. (In some earlier Elements versions, this function was known as the
Undo History panel.)

NOTE: Simply click the action you want to go back to, and you'll see your
modifications disappear. Remember that you can only go back in time
sequentially. For instance, in this case, returning to the Levels adjustment
requires first undoing with the Paint Bucket and then copying the layer to a
new document. To undo your work, select a lower step on the list.
A list of the modifications you've made since you opened your image is kept
in this panel. Simply move the slider upward to see your modifications
gradually disappear.
This panel operates even after you've saved your file, similar to the Undo
command:
Ø The panel keeps track of all your actions as long as you haven't
closed the file.
Ø To undo changes that you've already made, drag the pointer
downward.
You can only go back as many steps as Elements is configured to remember,
so take caution. The software is initially configured to record 50 steps, but
you can modify that number by heading to Edit > Preferences > Performance
> Photoshop Elements Editor > Preferences > Performance and changing the
History States setting.
You can set it to 1,000 steps, but if your computer doesn't have a powerful
CPU, lots of RAM, and a lot of disk space, even 100 steps may cause it to
sputter to a halt. If Elements is running slowly on your computer, lowering
the History States setting to, say, 20 might help.
The One Rule of Elements
You may operate in many various ways with Elements, as you can see. What
works for your neighbor with her images may be very different from how you
would work on the exact same shots. Additionally, most people who use the
application approach tasks in various ways. But practically every veteran of
Elements will give you one vital piece of advice: Never, ever work on your
original. Make a copy of your image at all times and work on that instead.
The good news is that you won't have to worry about accidently destroying
your original images if you keep your photos in the Organizer. When you
alter a photo that is cataloged in the Organizer, Elements automatically
produces a copy so that you can always go back to the original if you save
your files as version sets (Saving Your Work). If you set up Elements as your
external editor, other image-management applications like Apple's iPhoto and
Adobe's Lightroom will also produce versions for you (see Opening Stored
Images).
However, you are not required to utilize the Organizer, as described in
Organizing Your Photos. Follow these instructions to create a copy of your
image in the Editor if you've made the decision not to utilize it or version
sets:
Navigate to File > Duplicate after opening the image you wish to
duplicate.
The dialog window for duplicating images appears.
Give the duplicate a name in the dialog box, then click OK.
The duplicate picture is displayed in the main image window by
Elements.
Locate the original picture and press the Close button there (the X or
the red dot).
The Close button is located on the right side of the tab for the image in
Windows and on the left in Mac OS X if you're using tabs, which you
probably are unless you've modified the settings specified on Image
Windows. The Close button is the typical Windows or Mac Close button
you'd see in any window if you have floating windows (Image Windows).
When you press this button, your original picture is securely stored.
CTRL+S/ ⌘ -S is the shortcut for saving the duplicate.
When you save it, select Photoshop (.psd) as the file type. (After reading
Chapter 3 and learning more about your options, you might choose to select a
different format.)
Now that you have the option to start over, you no longer have to be
concerned about making a mistake or changing your mind.
NOTE: Since Elements lacks an auto-save tool, you should develop the habit
of often saving your work as you work. Attention Mac users: At the moment,
OS X's Auto Save feature cannot be used with Elements. Find out more about
saving at Saving Your Work.
Getting Started Quickly
Here is the simplest way to get started in Elements if you're the impatient sort
and you're starting to wriggle because you want to be up and altering your
photos:
Ø Brightness and color balance adjustments can be made all at once in
 an image.
Ø Open a photo in the Quick Fix window or the Editor's Expert mode.
Ø To find the image you want, navigate by pressing Ctrl+O/ ⌘ -O, and
then click Open.
Ø Press Alt+Ctrl+M/Option- ⌘ -M.
Ø You just used the Auto Smart Fix command in Elements (Figure 1-
18).

NOTE: The quickest and simplest approach to raise a photo's quality is with
Auto Smart Fix. Top left: The unaltered, original image. Top right: Auto
Smart Fix significantly improves the image, while the colors are still a little
off. Bottom: You can improve things even more by utilizing some of the
other options you'll learn about in this book (such Auto Contrast and Adjust
Sharpness).
SHARING A PHOTO
You need to consider the following before deciding on a sharing activity and
ultimately starting to create something:
What device(s) will show out my creations? You have a variety of options
for watching images and videos, including TVs, mobile devices like
smartphones and tablets like the Apple iPad and Samsung Galaxy, and PCs
(including desktops, notebooks, and netbooks). Use different Elements tools
and file types than you would if you were only displaying your projects on a
TV or PC if you want them to be available on all devices.
When using gadgets to see your works, keep the following two things in
mind:
Acrobat Flash: Your video uploads may be converted to Adobe Flash by
some online hosts. Avoid any host that enables Flash-only conversions if you
wish to share images with the several hundred million and counting owners
of iPhone, iPod, and iPad devices.
Area for storage: The amount of storage space allotted by hosts varies
substantially. Make sure the storage server you select provides enough
storage space for you to upload your media if you wish to share huge video
files.
Which storage hosts are most widely used? You can export pictures
straight to Facebook, Flickr, and Twitter using Photoshop Elements. You
have direct support for Vimeo and YouTube for videos. You must edit your
photographs in Elements and submit them to other social media platforms in
accordance with their guidelines if you want to use them on Tumblr,
Snapchat, WhatsApp, and other platforms.
What kinds of works can I distribute? It goes without saying that you can
upload individual images to each internet site. You can select to share
directly to Flickr, Facebook, Twitter, YouTube, and Vimeo by using the
Share panel.
You might want to share the following works in addition to posting a
single photo to a service:
Albums: You may make and share photo albums on a variety of websites.
Slideshows: You may construct a slideshow in Windows and select to export
it as either a movie file (.wmv) or a PDF. A Memories file can be converted
to a video on the Mac, but you must leave Elements and submit the file in
another way. Ultimately, a variety of web hosts are available where you can
watch exported videos. If you use Facebook, your creations are visible on all
devices. Slideshows also have the advantage of supporting audio files. When
you post your creations to Facebook, you may add audio and have it play on
all devices.
Videos: You'll need a little help from Adobe Premiere Elements if you want
to host films on your own website and make the videos accessible to iPhone,
iPod, and iPad users in addition to computer users. You may export video for
mobile devices with Premiere Elements, and the resulting file can be viewed
on both an iPhone, iPod, or iPad and a computer.
Sharing photos in Elements 2023
Not every sharing platform has a direct connection to Photoshop Elements.
There are a lot more social media sharing services available than just those in
the Elements Share menu. To many other services, you may always manually
create and post creations, pictures, and videos. Here is a list of the most well-
known websites.
Picture-sharing services
Source Description
Behance a location where you can show off
your artwork and see examples of top-
notch photography and design.
dotPhoto membership in the club is paid for.
Facebook Free and unlimited photo and video
uploads are available. The next image
shows a Facebook video that was
shared there.
Flickr uploads unlimited photo files up to 1
TB.
Google+ Unlimited photo storage is available.
Photobucket The monthly upload cap for images
and videos is 2GB.
Shutterfly The website concentrates on photo
products including calendars, iPhone
cases, cards, and cushion covers rather
than photo storage.
SlickPic In the free account, 200 images with a
 size restriction (topped at 100MB) can
be stored. For paid accounts, you can
get 50GB of space or more, with no
size restrictions.
SmugMug image-storage service that costs
money. The least amount owing each
month is $3.84.
Twitter the most recent uploads are displayed,
and 100 photos with a maximum file
size of 3 MB each are permitted.
Vimeo Weekly video uploads of 500MB are
free.
YouTube Unrestricted free video uploads of up
to 100MB in size and ten minutes in
length.
The Elements Share Panel's usage instructions
By choosing one of the buttons in the Share panel, you can select an option,
after which one of two interfaces will appear:
Some options direct you to the Share panel's more detailed options.
Other options display a window where you must log in to share photographs.
The options for sharing photos with other services open windows that require
you to log in to your account and go through the preparation and uploading
process for images.
The Share window may be seen in the following figure in both the Organizer
(left) and the Photo Editor (right). The share panel for the photo editor has
fewer options.
The Elements Share Panel's usage instructions
By choosing one of the buttons in the Share panel, you can select an option,
after which one of two interfaces will appear:
Ø Some options direct you to the Share panel's
Ø Other options display a window where you must log in to share
photographs.
Ø The options for sharing photos with other services open windows that
require you to log in to your account and go through the preparation
and uploading process for images.
How to send pictures via email in Elements
Elements makes it simple to send images by email with just one click, saving
your file without requiring you to first open your email program (like
Outlook or Apple Mail) and choose the photo to attach.
Follow these procedures to email a picture or your creation:
Choose the pictures you want to email a friend from the Organizer.
Select Email Attachments in the Share panel after opening it. When
you attempt to send images for the first time, Elements prompts you to
set up your email account in the Organizer Preferences window.
 Complete the text fields, then click OK.
Check Select a quality setting for the attachment, convert photos to
JPEGs, and then click Next. When you move the Quality slider, pay
attention to the file size that is displayed as Estimated Size at the
panel's bottom. Before emailing the picture, you might need to resize
the file if it's large in the Image Size dialog box.

Note: To speed up uploads to your mail server, move the Quality slider to the
middle position.
Add recipients if you want to. Here is an example of the settings for
inserting a message and adding recipients from an address book in the
following screen.
Add the recipients you want to.
It's possible to omit adding recipients from your address book. You can add
recipient email addresses in your email client's new message window if there
are no recipients listed in the Select Recipients menu.
Choose Next: First, the image(s) are sampled to the output size. Once
Elements has finished sampling, wait a few minutes, after which the
photographs will be added to a new email message in your default
email client.
Note: The material is added to a new email message by Elements. To see the
message and send the mail, you must switch to your email client.
Verify the information in the To, Subject, and Attach fields to be sure
 it is accurate. Next, press the Send button.
Note: Elements by default uses the email software you use, which may or
may not be your primary email client application. When you're in the
Organizer, hit Ctrl+K (Command+K on a Mac) to launch the Preferences
dialog box, and then select Email in the left pane, to change the default email
client. Select the email client program that Elements should use from a drop-
down menu in the Sharing options.
Web-based email clients are supported by Elements. You can send your
images using your current mail client whether you have a Yahoo!, Gmail, or
any other account. You must enter your SMTP server information and the
port number if you select Other in the Email Preferences. If you need
assistance configuring the mail for any other accounts not already listed in
the Email Preferences, get in touch with your ISP.
Learn how to use Adobe Premiere Elements.
Adobe Premiere Elements is required for a few choices in the Share and
Create panels. Adobe Premiere Elements is required for the products labeled
as Burn Video DVD/Blu-ray, Online Video Sharing, and Mobile Phones and
Players.
You can try out Adobe Premiere Elements for free for 30 days if any of these
things appeal to you. You can get Premiere Elements from the Adobe Store if
you think it's a useful tool. The combo of Adobe Photoshop Elements 2019
and Adobe Premiere Elements 2019 is available if you're reading this book
and haven't yet purchased Elements 2019. The cost of the bundle purchase is
significantly lower than the cost of purchasing the individual products.
Simply select one of the video sharing choices in the Share panel to access
the Adobe Premiere Elements trial versions, and you will be invited to
download one.
How to upload photographs to social media
On a number of service networks, you have a selection of options for sharing
images and placing orders. In order to connect with a service provider, we
walk through the more well-known services (Flickr, Facebook, and Twitter)
since we don't have enough room in this book to cover all of Elements'
supported services. Look around and investigate your options for the services
you use if other services catch your attention.
Experienced Elements users will notice right away that services like Flickr
and Facebook have been moved up from being options nested in the More
Options drop-down list included in older versions of Elements to buttons
displayed in the Share panel.
How to post pictures on Facebook, Twitter, and
Flickr
The same steps are used in Elements when posting photographs to Flickr,
Facebook, or Twitter. To share a selection of images, albums, or works, click
the Flickr, Facebook, or Twitter buttons in the Share panel.
Before uploading any content, you must give Elements permission to
communicate with these social networks. You enter your account username
and password on the login page after clicking the Authorize button.
The procedure for uploading photographs is simple after you are logged in, as
demonstrated above after we gave Facebook permission.

Note: You can select an album or make a new one after logging in to
Facebook, and you can also write a description.
You can view a photo that has been uploaded on your timeline or in a photo
collection.
a picture posted on a Facebook page.
Using other internet services
Once you've practiced uploading images to one service, you can easily use
the same procedures to upload photos to any of the services that Elements
supports. When accessing Facebook, Flickr, or Twitter, for example, you
initially see the window to authorize an account. You can sign in to the
service and establish a new account while setting one up.
Follow the simple online instructions provided by each provider when you
access a website for sharing images, printing photos, or making goods like
photo frames.
How to make a Facebook cover photo
The Create Panel in the Organizer has long offered the ability to create
Facebook Covers, but Adobe's initial implementations were limited and
awkward. To add a background image and a profile picture without any
default text, you had to work with a small number of themes.
Adobe offers you a number of templates to use in order to design the ideal
Facebook Cover. The Themes Category displays a list of themes.
The file(s) to your Facebook account and make a Facebook cover, as
follows:
Choose pictures from the Organizer. You must first choose your
images in the Organizer because the Facebook cover choice can be
found in both the Editor's and Organizer's Create panels.
Select Facebook Cover in the Create Panel after it is open. As seen
below, the Facebook Cover window opens.

You are immediately redirected to the Photo Editor after selecting Facebook
Cover in the organizer.
Pick a theme. Opens the Facebook Cover Wizard. By selecting a
theme and the relevant theme category, you can choose whether to
utilize a single photo or a collection of photos. In our illustration, we
add a background image and a profile image using the new Clean
template.
 Adjust the photos' sizes and positions. If the image(s) are the right
size, click the green checkmark.
If you'd like to save the document as a.pse file that you can later open
and edit if you change your mind, click the Save button.
When finished, click the Upload button. The final images have been
posted as displayed here.

For Facebook uploads, click the Upload button.

You reach the window where you can upload photos to Facebook. You can
get a preview of your new cover in the window. Select the Next button and
proceed with the instructions to upload the pictures to your Facebook account
if you like what you see.
THE SAVE/SAVE AS DIALOG BOX
When you save a file, Adobe Photoshop Elements also gives you the option
to use unique features. For example, you can save many versions of a file or
add your updated file to the Organizer in addition to storing it to your hard
drive.
This article will walk you through the Save for Web dialog box and the
Save/Save As dialog box (or the Save As dialog box if it's your first time
saving a file).
Elements 2023 gives you a new option for where to save your file before you
save it. When you select File > Save or File > Save As, the Save As dialog
box appears as displayed.

The Save As dialog box that displays after using Save/Save As for the first
time
This dialog box gives you the option to upload your files to the cloud. When
you sign into Adobe Creative Cloud, you can select to save files on the
company's servers and access them from any computer. The alternative is to
decide to save files locally on your computer.
Click the check box at the bottom of the dialog box to stop this dialog box
from appearing each time you save a file.
The Save (or Save As) dialog box is a common location in almost every
program where you can select the kind of file to be saved.
You can save a duplicate copy of your image or a modified copy while
keeping the original file by using the Save As function. To save files for the
web, see the next section instead of using the well-known Save (or Save As)
dialog box if you intend to upload your finished image to the web.
When using the Save (or Save As) dialog box, select File Save to save a file
for the first time or select File Save As to duplicate an open file. A dialog box
will then appear.
NOTE: It's best practice to select FileSave As when opening an image before
doing any photo editing. To make a copy and alter the photo later, save it
with a different filename. If you are unhappy with the editing results, you can
go back to the original, unedited photo and create a new duplicate.
In the Elements Save/Save As dialog box, you can use the same navigational
capabilities that are present in all Save dialog boxes.
These are the two default choices available in the Elements Save/Save As
dialog box:
Filename: This section appears in every Save (Windows) or Save As (Mac)
dialog box. Fill up the text box with the name of your file.
Format: File formats are selected from the drop-down menu.
The Save/Save As dialog box for Photoshop Elements differs from other save
dialog boxes with which you may be acquainted in a few ways.
The Save As dialog box's Save Options section offers the following
options:
Fill out the Elements Organizer with the following information:
Choose this check box if you wish to add the file to the organizer.
Version Set with Original Save: This choice seems a little strange. Any
photo you open using FileOpen in Quick or Expert mode won't have Version
Set available. When you save the file in either manner, you will see Version
Set available after loading the file in the Organizer and opening from the
Organizer in the Photo Editor. With this option, you can modify a file several
times and save them as distinct copies of the same file.
If your file has layers, checking this option will keep those layers intact.
As a Copy: Use this choice to save a duplicate of a file without replacing the
original.
Color: This box regulates the color profile for your image, which helps you
keep correct color. The ICC (International Color Consortium) Profile
checkbox must be selected. The option for sRGB or Adobe RGB appears
depending on the profile you're using (1998). The profile is integrated into
the image when the checkbox is checked.
(Only for Windows) Thumbnail When viewing a file in folders or on the
desktop, you can see a tiny version of your image if you save it with a
thumbnail. It is possible to enable or uncheck the check box if you choose
Ask When Saving in the Saving Files options.
This box is enabled or hidden (grayed out) for you depending on whether you
choose Never Save or Always Save in the Preferences dialog box. If you
wish to modify the setting, you must visit the Preferences dialog box once
more.

How to prepare files for the internet

You can prepare photos to display on the web or merely onscreen by using
the Save for Web command. Select Save for Web under File. Your original
image is displayed on the left in the Save for Web dialog box that appears
(see figure), and the modified file format and quality options are displayed on
the right.

Dialog window labeled Save for Web

Finding the least file size that still produces an acceptable visual appearance
is the general rule for web graphics. You can choose from a variety of options
to reduce the file size in the Save for Web dialog box. Observe how the file
size of the original image is reported below the image on the left in the
preceding example. You can see that the image size is decreased from the
original 12.8MB to 733.5K after selecting JPEG as the file type.
To change the final quality of the saved file, use the Quality item that
displays to the right of the drop-down list. In this case, you must strike the
ideal balance between speedy download speeds and image quality.
Simply pay attention to the preview image and the download time details for
your optimized file.
Set the zoom size to 100% to get the most accurate view. You can enter a
value manually in the field box in the dialog box's lower-left corner or select
the zoom levels from the drop-down list. When watching at a 100 percent
view, you may clearly see the reduction in quality if your chosen settings
considerably reduce your image quality.
Making selections and reviewing the outcomes are the steps involved in using
the Save for Web dialog box. Switch between the available file types and
modify the quality. Change to a different quality setting or file format if you
see image degradation. Always check the file-size item listed beneath the
right-hand image to see what size creates the best-looking image.
 CHAPTER TWO
CONCEPTS OF BASIC IMAGE-
EDITING
Even simple editing apps should have access to the fundamental photo
editing techniques, which may individually be used to improve your
photographs and make them more compelling and shareable. Advanced
editing programs will provide these fundamental capabilities in addition to
enhancements that let you perform more complex editing that is outside the
purview of this tutorial. Although you don't have to perform each of the
fundamental editing processes on every image, they should be carried out in
the sequence indicated.
Of course, images taken by a pro who takes the time to obtain excellent shots
in the field are the ones that require the least amount of editing.
(Additionally, if you want the most editing flexibility, you should think about
shooting in RAW format. For additional information regarding RAW vs. JPG
image formats, read Understanding Your Camera. Make sure your editing
software can handle RAW photos as well.) Consider enrolling in a practical
photography course to start learning how to take the greatest pictures.
1. Crop and Clean Up Your Images

Straighten photos: Although it's best to focus on getting a horizontal horizon

when you shoot, doing so is a simple initial step in post-production.
Image cropping is best used to fix niggling compositional issues, such as
distracting items at the edge of the frame or the tiny repositioning of your
subject.

Images that are free of blemishes: Because the outdoors is a dusty

environment, grit from nature has a tendency of getting onto your camera
lens and onto your pictures. (Reducing this in the field by frequently using a
lens brush.)
A spot-removing feature is present in most editing systems. Clone stamping
and "spot healing" are two other names for the process. Programs also allow
you to alter the view of a picture to highlight specific locations. Till you have
a spot-free image, methodically work your way around your photograph.
2. Modify White Balance
Not exposure levels, but color levels are related to white balance. You can
change the white balance of your photograph to correct a color tone that you
find unpleasant or unnatural. It should be noted that JPG files only allow for a
very little amount of white balance change during editing because they record
significantly less digital data than RAW files.

Most editing tools include preset settings like "flash," "daylight," or "cloudy"
that you can select from in order to properly adjust the image for the lighting
conditions at the time it was taken. Additionally, several allow you to fine-
tune the overall lighting cast on an image by adjusting the "temperature" and
"tint" sliders.
3. Adjust Exposure and Contrast

Making the photo exactly as bright or dark as you want involves adjusting
exposure. Be aware that turning up the brightness occasionally results in
"noise"—a mottled appearance. Because of this, it's always preferable to
shoot the shot with the proper exposure (one that's adequately light).

Changing the contrast: Contrast is the range of dark to light tones. When it's
exceptionally high, the image is stark with all tones—regardless of color—
being either extremely dark or extremely light. When it's really low, the
image is flat and nothing in the frame stands out. A moderate contrast that
stays away from either of those extremes is usually what you desire. But you
can change the contrast to get either of those effects if you prefer them.
How to use a photo histogram: When editing, you can achieve the best
exposure settings by using this graphic depiction of a photo's tonal spectrum.
The histogram is not always necessary, but it might be useful when a shot
contains a lot of dark or a lot of light areas. It is frequently displayed on the
screen where exposure is adjusted in editing tools, making it simple to access.
The tones of a well-exposed picture would range from dark to light, with
more tones concentrated in the middle:

Not always taking pictures with a histogram like the one above is your aim
instead. That is largely dependent on how evenly the subject is lit.
But a spike on the left side of the histogram means your image contains a
lot of darker tones:

A spike on the histogram's right side shows that your image contains a
lot of lighter tones:

Although you can judge exposure as you edit, a histogram may be a very
helpful tool, especially if you develop a routine of looking at it. Here is an
illustration of the identical two photographs' histograms following exposure
editing:

Keep in mind that a histogram can be helpful while taking pictures. Your
camera's backlit LED screen can be challenging to use and frequently makes
photographs appear brighter than they actually are. In order to acquire a
larger range of tones and enough tones in both the dark and light sections of
the histogram, you can modify exposure settings after looking at the
histogram on a tricky exposure. (Again, you'll spend less time later editing
for exposure the closer you go to a good exposure in the field.)
4. Adjust Color Vibrancy and Saturation

After adjusting white balance, you may further enhance colors in your images
by using the vibrancy and saturation controls. The difference between the two
is barely perceptible: Increasing vibrancy boosts color intensity in neutral
color tones while maintaining color intensity in brighter hues. All of the
colors in the frame become more vibrant as saturation is increased. Bright
colors can make a picture appear more dramatic when they stand out.
5. Adjust Sharpness
An image gets a crisper, cleaner look after being sharpened. Numerous
programs provide various sharpening tools. Start by modifying the overall
level of sharpness (on a scale from 0 to 100). Start at 50% and then change
the level up or down to achieve the desired sharpness.
Try out the extra sharpening options in your editing program to see what each
does. A tool for "clarity" or "structure" is one you might want to try. It gives
the image a punchier appearance by making the edges of the things in the
picture stand out more.
To assess how each sharpness modification has changed the frame, you must
pay particular attention to certain sections of the frame. Although it won't
make much of a difference for social media posts, having extremely fine
details will be crucial for any photograph you intend to expand and print.
Be aware that sharpening an image won't make an out-of-focus photograph
sharp. That cannot be accomplished by any editing software. Additionally,
excessive sharpening might produce an artificial halo effect around the items
in the picture.
6. Finalize and Share Your Photos
Place your photos aside once you've finished editing. After that, go back and
review each one to determine if you're satisfied. If not, more edits should be
made as necessary.
Then, before emailing, posting, sharing, or printing your modified
photographs, you must convert RAW files to JPGs due to their size. Along
with the original photographs, you should also save all of the final altered
versions of the images.
Considerations Before You Start Editing
software for altering photos Advanced and pricey professional tools, free
open-source online alternatives, and frequently your camera also comes with
basic editing software are all available. If you purchase a more sophisticated
program, think about whether you want a standalone or cloud-based version
(which will cost you a monthly charge) (a one-time purchase price). The
latest versions of cloud-based software are available, and you can store
images there (an added expense). With a tablet or a mobile version of the
software, you can also edit while out in the field, although it requires an
internet connection. However, purchasing a standalone edition of an editing
tool will typically result in cost savings if you compare prices over time.
Being aware of the distinction between "destructive" and "nondestructive"
editing Nondestructive editing is a feature of several editing programs that
automatically saves your originals. Destructive editing is used by others to
save altered photographs over originals. Since editing requires trial and error,
it's important to have the option of going back to the original file if something
goes wrong. So be sure to understand whether your editing program
duplicates your originals. If not, then before you start editing any
photographs, make a copy of each one.
Importing and Sorting Pictures: One wonderful aspect of digital photography
is the ability to shoot several pictures in an effort to maximize the likelihood
of obtaining some amazing ones. So, after transferring and organizing your
photographs on your computer, your first step is to review them and choose
which ones to alter.
Ways to Modify Image Size and Resolution
In Photoshop Elements, you can alter the resolution and size of an image. It
may be necessary to lower an image's resolution or physical size if it is too
huge. To output your photographs at greater sizes in other circumstances, you
might require a higher resolution.
Resampling an image is the process of altering both the size and the number
of pixels. More specifically, up-sampling is increasing resolution while
down-sampling is decreasing resolution.
When you resize photos, you either create new pixels or throw away old
ones, so proceed with caution.
Adjusting the resolution and size of an image in Elements
There are several techniques to alter the size and resolution of a photograph.
Cropping pictures is one technique. The Crop tool is usable both with and
without resampling photos. The Image Size dialog box, which you frequently
use in Elements' editing sessions, is another option.
These procedures should be followed to resize an image using the Image
Size dialog box:
Pick Image > Resize > Image Size.
The Image Size dialog box's Pixel Dimensions field displays the file size
(such as 2.00M). The image's hard drive storage space is indicated by this
value. Except for when the Resample Image check box is selected, the width
and height values are fixed.

To get the Image Size dialog box, select Image > Resize > Image Size.
You can change the dimensions and resolution in the Document Size
section. Options include:
Width: To adjust the width of the picture, enter a value in the text box. Press
Tab to leave the field and apply the change. You can select a unit of
measurement from the drop-down menu to the right of the text box.
With the exception of having no column setting, the Height choices are
identical to the Width options. You normally alter either the Width or Height
text box, not both, if you want to keep the sizing proportional.
Resolution: To change the resolution, edit the text box and press the Tab key
to alter the value. The values for width and height are adjusted inversely
when resolution is altered (if the Constrain Proportions check box is
selected).
Select the Resample Image check box if you're okay with resampling your
image to get the desired size.
With this check box selected, you can alter both the dimensions and the
number of pixels at once, thereby changing the number of pixels. The
dimensions' values are linked when the box is deselected. The other values
are automatically altered when one value is changed.
You can select a resampling method and other resampling parameters by
checking the Resample Image check box
There are options for resampling methods in the drop-down list.
When you choose the Resample Image check box, the two check boxes
above it become active:
Scale Styles: The Styles panel in Elements allows you to add a wide range of
distinct style effects to photos. When a style, like a frame border, is applied,
the border takes on the specified width. The Scale Styles box is checked
when you scale the image, and this also resizes the Styles effect. The style
maintains its size while the image is resized if the check box is left
deselected.
Constrain Proportions: If you don't want to purposefully distort an image,
leave this check box selected, which it is by default.
 Ø Resize your image by clicking OK.
Re-Sampling Techniques
Method What It Does Best Uses
Nearest This method This method works
Neighbor results in smaller best when there are
files that are sizable patches of the
produced more same hue.
quickly.
Bilinear By using this This option supports
method, an both grayscale and line
image of average art.
quality is
created.
Bicubic This method, Leave this as the
which is the default if none of the
default, produces other methods
a fantastic image. produces better results.
Bicubic This method If sharpness is not
Smoother performs better essential and you
than the Bicubic discover that Bicubic
method, but the isn't exactly working,
edges seem a try this approach.
little softer.
Bicubic High-quality It is advisable to
Sharper photographs are downscale high-
produced with resolution images
this approach before uploading them
that is crisp. to websites or screens
of different sizes.

Recognizing the outcomes of resampling

Note: Generally speaking, decreasing resolution is OK but increasing
resolution is not. Instead of resampling in Elements, try (if you can) to
generate a new file with the desired resolution if you require a higher-quality
image and can return to the original source (such as rescanning the image or
retaking a photo). Upsampled photos can occasionally suffer significant
degradation.
The image must be sampled at 72 ppi if it was taken with a digital camera and
is intended to be added to a web page. The majority of the time, you open the
Image Size dialog box, choose to Resample the image, enter a width or height
value, and enter 72 in the Resolution text box. The final product is an image
that looks fantastic on your website.

Results from image downsampling are often good.

Note: You can forget about using Photoshop Elements or any other image
editor if you start with an image that was initially sampled for a Web page
and you want to print a large poster. Low-resolution photos upsampled
frequently become mush.
Results from up-sampling low-resolution photos are frequently gravely
compromised.
Note: Up-sampling can occasionally produce results that are satisfactory. If
the resample size isn't excessive, you can get better results with resolutions of
300 ppi and higher. If everything else fails, consider using a filter to hide the
issue in an up-sampled, grainy image.
CHOOSING A RESOLUTION FOR PRINT OR
ONSCREEN
Have you ever experienced this? You pick a picture, drop it into another
image, and all of a sudden, the size is different from what you anticipated?
When I used Photoshop for the first time, I experienced this. It's lot simpler to
work once you understand image resolution and size. This is a crucial ability
that you should be aware of, in my opinion.
Another scenario is when someone requests an image with 300 dpi or 2,000
pixels on the long edge.
Consider the following image. It is slightly over 11 inches when the rulers are
opened (Ctrl/Cmd+R).
The size of the image below is also under 10 inches.

How to combine pictures in Photoshop: Suddenly, this "little" butterfly

becomes enormous when I drag it or copy it into the main image. Why? I'll
go through everything.
DISTINCTION BETWEEN DPI AND PPI
You'll hear the phrases DPI (Dots Per Inch) and PPI (Pixels Per inch). If you
live outside of the United States, these would be DPCM (dots per centimeter)
or Pixels/cm (Pixels Per Centimeter). I'll use inches, but if I use cm instead of
inches, everything still functions as it should.
You'll hear these terms used incorrectly rather frequently. Some individuals
just refer to everything as DPI; they are likely from the analog era and haven't
updated their vocabularies to reflect the digital world, which is acceptable.
You'll understand what they mean very shortly.
These two phrases are used to describe density, also known as resolution.
The distinction is:
DPI stands for dots per inch in print. (The dots are ink splotches on paper or
other materials.)
Pixels are pixels per inch (PPI). (A screen's digital resolution)
300 dpi is the typical print resolution. This indicates that there are 300 ink
dots total in a 1-inch square, if you count each one individually.
Due of the high dot density, this file has a high resolution. The dots are big
enough to be seen with the naked eye if you print at a lower quality, like 80
dpi. (Printed resolution can, of course, be much higher than 300, but let's just
use 300 as a standard (It still is the standard) since it's adequate for the
majority of projects. Since this is a beginner's guide, I won't go into line
screen and other things that aren't necessary for you to understand this
concept.)
The number of dots in an inch is thus used to measure print resolution. The
resolution increases as the number rises.
OK, LET'S DISCUSS PICS PER INCH (DIGITAL)
You won't ever need to deal with dots if you never print, therefore you won't
even need to worry about DPI. The good news is that the formula is the same
for DPI and PPI, so if you need to print at 300 dpi, you may use a file at 300
ppi because the print software will convert it to 300 dpi. However, I'm getting
ahead of myself.
The resolution of a screen is expressed in pixels per inch (or pixels per
centimeter). Most screens in the recent past had a resolution of 72 ppi. Now
that computers, tablets, and phones (yes, phones utilize ppi) have HD, 4K,
5K, and retina screens, any resolution is possible, frequently nearing the
resolution of print. If you don't know how to determine your monitor's
resolution yet, I will teach you how to do so very soon.
Okay, let's begin.
The actual Dimensions in pixels are the only quantity that matters on a
screen. That's a bold claim, but allow me to prove it.
Recall the butterfly picture? Its width was 10 inches.

Check out the pixels: they are 3000 × 2250 (image>image size).

The second image was 11.451 inches in size but only had 939 × 932 pixels in
actuality.
How, therefore, can the butterfly at 10 inches seem bigger than the image at
11.4 inches? owing to resolution.
The other image is only 82 ppi, whereas the butterfly is 300 ppi.
Due to the fact that actual pixels represent the image's true size, screen
dimensions in pixels are crucial.

An image's size and resolution are made up of three elements.

(D) Dimensions: the true size, expressed in pixels (S) Size: In cm or inches
(R) Resolution: The number of pixels in a square inch.
By dividing the size by the resolution, we may determine the dimensions. For
instance, 1000 pixels would be required to deliver a 10 inch image at 100
pixels per inch (10 x 100 = 1000).
Let's take a hard look at this.
The original file we examined has a width of 939 pixels (width always comes
before height)
This picture has an 82 ppi screen resolution (the resolution of the monitor, 82
pixels fits into a single inch of screen size) The file is 11.451 inches in width.
As a result, to determine the dimensions, multiply 11.451 by 82 to get 939 (S
x R = D).
Calculating Size is as follows: 939 82 = 11.451 (D R = S)
Resolution is calculated as follows: 939 11.451 = 82 (D S = R)
If we are using 82 pixels per inch for this image, we have enough pixels to
display it nicely at 11.451 inches. On screen, it will appear great.

without using the resample. We can only print this at 3.13 inches if we
increase the resolution to 300 ppi (enough for printing). This photo is the
same size as the one before it since the dimensions remain the same.
The sole factor influencing a digital file's real size is its measurements in
pixels. The resolution indicates the maximum file size that can be used at that
resolution.
This is helpful if you are aware that an image of a specific size and resolution
is required.
ESTIMATING THE PERFECT SIZE FOR A NEW
DOCUMENT
Let's say your poster will be 10 inches by 7.5 inches. At 300 DPI, this will be
printed. (When preparing a file, you must have two pieces of information: the
final size (in inches or centimeters) and the resolution.) Assume the
resolution is 300 if they don't specify it.
So you would calculate 10 x 300 to equal 3000. This means that your
document must be 3000 pixels wide.
Height is 7.5; therefore, 7.5 x 300 = 2250 pixels.
The dimensions of your poster must be 3000 × 2250 pixels. Photoshop will
do the arithmetic for you if you just type in the width, height, and resolution;
however, in order to fully comprehend what is occurring, you must be aware
of how the math works.
ON SCREEN WORKING
Never use inches or centimeters to measure the size of an image on a screen;
always use actual pixels. The actual Dimensions in pixels are the only
quantity that matters on a screen. (The resolution is a made-up number that
aids in determining the size of an image for printing; it really only affects the
rulers in Photoshop. The actual pixels are the only things that exist.
Change your measurement system to pixels and work in pixels if you only
ever work on screens. By pressing Ctrl/Cmd+R, you can activate rulers and
change the unit of measurement. Right-click the ruler and select the desired
unit.
Finally, you can use the resolution to set your monitor to display content at its
actual size.
Recall how we discussed screen resolution? Why is that relevant?
When you are 100% magnified, the image will display at its actual size if the
resolution of your file is adjusted to match the resolution of your screen.
Additionally, you can determine your screen resolution by:
Ø Set your image's magnification to 100%.
Ø Apply a ruler to the document displayed on the screen.
Ø Image > Image size
Ø Disable resampling and enter the width in inches (or cm)
The resolution will change to reflect your monitor's real resolution. An inch
on your screen will now correspond to an inch on a ruler. (Really awesome,
huh?)

WORKING WITH FILE FORMATS

There's good news if you're one of the many, many people who have been
intimidated by the sheer number of file types Photoshop offers us when we
want to save an image. Most of these you may easily disregard!
Yes, only a small number of the 25 file types listed in Photoshop's "Save As"
dialog box are actually used by the majority of users. In this short guide, we'll
quickly go through the key formats we should be familiar with, including
their benefits and drawbacks as well as the circumstances in which they are
most appropriate to employ.
Photoshop PSD
The PSD format is likely the most significant of all the file formats that
Photoshop supports. PSD, which stands for "Photoshop Document," is the
default file type for Photoshop. Layers, layer masks, adjustment layers,
channels, paths, and other potent features that Photoshop provides us with are
all fully supported by PSD, one of the few file types that can. It works as
your working file as well. Regardless of the file format an image was initially
saved in, when we view it in Photoshop, Photoshop temporarily turns it into a
PSD file so we may edit it using all of Photoshop's tools, commands, and
features.
For use as master files and for archiving to CD, DVD, or an external hard
drive for storage, PSD files are the ideal option. Save your work into a
Photoshop PSD file if you've done any kind of picture altering and there's
even the remotest possibility that you'll need to return to it in the future. No
matter how many times you open and save a PSD file, there is no loss in
image quality. In addition, all of your layers, layer masks, adjustment layers,
and so on will be kept as part of the file, enabling you to return at any time
and make adjustments to the image or pick up where you left off.
While many commercial printers can now accept PSDs, some may still
require an EPS or TIFF version of the file instead, so it's always best to check
with your printer to make sure you're providing them with the format they
need. You can easily print your images at home with Photoshop directly from
the PSD file. One of the more recent benefits of PSD files is their ability to be
loaded directly into Adobe InDesign, which gives you full access to each
layer as you build your page layouts. Even better, you can reopen an
InDesign-created PSD file in Photoshop, make changes to it, save it, and your
layout will be updated right away!
The only true drawback of PSD files is that, especially when working on an
image with hundreds or even thousands of layers, the file size can grow
significantly. The creative freedom that Photoshop and its native PSD file
format allow us, however, is well worth the tiny price considering how
inexpensive computer hard drives and RAM are these days. The most crucial
file you can have is your PSD file, therefore make sure you save a master
duplicate of your work as a PSD file so you can always access it in
Photoshop when you need to!
JPEG
For viewing and distributing digital photographs, the JPEG (Joint
Photographic Expert Group) format, which has been available for almost 20
years, has taken the lead. Even the simplest digital cameras can take pictures
and save them as JPEG files since it supports 24-bit color, which can
replicate about 16.7 million colors. You often have the choice of recording
photos in either the JPEG or RAW format with high-end digital SLR
cameras.
It's crucial to remember that "popular" and "widely utilized" are not the same
as "professional quality." Because it compresses the photos, JPEG is referred
to as a lossy file format, which essentially implies that some of your image
information is taken and thrown out the virtual window, never to be seen
again.
This is done in order to make files smaller, however the more compression
you use, the less attractive your photographs become. When saving a file in
Photoshop, the Quality setting is what determines how much compression is
being done to the file. Although your file size will increase, a high enough
Quality option can still generate beautiful photographs. Smaller file sizes can
be achieved with lower quality settings, but if you go too low, you'll
introduce unsightly and noticeable compression artifacts.
Convenience is JPEG files' greatest asset. They are typically tiny enough to
be quickly uploaded, shown on web pages, shared on photo-sharing websites
like Facebook and Flickr, and sent through email to loved ones.
Your images must typically be uploaded as JPEG files if you plan to use an
online printing service. JPEGs have the drawback of having their quality
lowered during picture compression, making them a poor choice for printing
when image quality is your first priority and for archiving your originals.
Make sure you're taking the biggest, best-quality photographs you can if
you're using your camera to record JPEG files. For information on where the
image quality choice is located in your camera's menu system, consult the
user handbook. "Large" is typically used to denote the best quality setting.
Resaving JPEG files repeatedly is something you want to stay away from
whenever you can. You'll add even more compression to the image with each
open and save, and it won't take long for things to start looking bad. Once an
image detail is lost, it is permanently lost (unless of course you read the first
part of this article and saved a master copy of the original as a Photoshop
PSD file).
GIF
Even older than JPEG, the GIF file format, which stands for Graphics
Interchange Format, is the preferred one for web graphics. Not web photos—
notice that I said web graphics. The maximum number of colors that GIF
files can display is 256, a much less number than the hundreds of colors
required to accurately recreate a photographic image (and far less still than
the millions of colors supported by the JPEG format).
On the other hand, the GIF format is crucial for web design. The files work
particularly well for web page layouts, banners, and buttons when they have a
lot of solid color. GIF files are supported by all popular web browsers, and
because of their modest file sizes, they load rapidly.
Simple animations can also be made by site designers using GIFs. GIF
supports transparency, which gives it a significant edge over the JPEG format
and another reason why it's crucial for web designers. However, it only
allows one level of transparency, meaning a pixel is either transparent or it
isn't. If the color of the edge is different from the color of the background it is
laid over, this might lead to sharp edges around artwork. The PNG format is a
superior option for transparency effects with higher quality.
PNG
PNG (Portable Network Graphics) was created with the intention of
dispensing with the GIF format (PNG also stands for "PNG not GIF"). The
PNG format outperforms the GIF format in almost every manner, despite the
fact that it never happened and GIF files are still widely used today. Even the
JPEG format is enhanced by it. PNG files support up to 48-bit color, which
gives us more than 1 billion potential colors, but JPEG files only support 24-
bit color (16.7 million colors). Even JPEG files support more colors than the
human eye can see, thus any distinctions between 24 and 48-bit color in the
actual world are at best negligible.
PNG is a lossless file format, which means that even while it still compresses
images to reduce file size, the compression method it utilizes does not
degrade image quality. This is its main advantage over JPEG. In contrast to
JPEG files, which lose quality with each save, PNG files can be saved several
times without losing quality. PNG is a fantastic option for saving digital
pictures as originals of excellent quality since it offers lossless compression
and over a billion color combinations. The drawback is that PNG does not
support CMYK color, which prevents commercial printers from using them,
and it is not as extensively supported as the JPEG format.
Even though the image quality isn't as outstanding, the JPEG format is still
more practical and easy for everyday viewing and sharing of your digital
photos.
The key benefit of PNG over GIF files, in addition to being able to recreate
256 levels of transparency as opposed to only one level in GIF, is that we can
create seamless transitions around edges without having to worry about the
edges matching the backdrop color. PNG files will load even quicker in a
web browser because they are typically smaller than GIF ones.
Unfortunately, PNG may not be supported by older web browsers, therefore
GIF is still the best option if browser compatibility is your primary issue.
Furthermore, PNG does not support animations whereas GIF does.
The most popular places where PNG files are utilized are in PowerPoint and
Keynote presentations, as well as multimedia tools like Flash.
TIFF
TIFF (Tagged Image File Format) is another excellent option for image
archiving since it offers lossless compression, allowing you to preserve
pictures with the best possible image quality. TIFF files, like PSD files, are
one of the few file types that support all of Photoshop's features. TIFF files
can be relatively huge, especially when compared to JPEG files, therefore the
quality comes at a cost. The most widely used format for photographs
intended for commercial printing, TIFF is compatible with almost all page
layout applications, including QuarkXPress and InDesign.
Although all of the layers, adjustment layers, and other elements you've
added in Photoshop can be stored in TIFF files, it's normally advised that you
save all of those elements in your master PSD file before using the TIFF
format to save a flattened version of the image for print. This makes it simple
to distinguish between the versions of your image that are the main working
file (.psd) and the flattened, print-ready version merely by looking at the file
extension (.tif). Additionally, a flattened version of your TIFF file will often
be required by commercial printers.
TIFF isn't quite as significant as it once was, but it still holds the print
industry standard and has broad acceptance. InDesign can now import and
work directly with layered Photoshop PSD files, and both the PSD and PDF
formats are becoming more popular among print professionals.
EPS
Another long-established print industry standard format is EPS (Encapsulated
PostScript), but usage has been dwindling over time. In the conventional
sense, EPS files are not actually image files. They instead include a set of
guidelines for how a printer should print the image. The "encapsulated"
element means the files are virtually locked and can no longer be updated
until they are reopened in Photoshop, however they can still be imported into
most page layout programs. If you want a preview image to be visible
onscreen while working in your page layout tool, it must be included in the
EPS file when you save it in Photoshop. If it isn't, you won't be able to see it
until the layout is complete.
Even while EPS is still the industry standard, you won't likely use it very
often unless your commercial printer specifically requests it.
PDF
The Portable Document Format (PDF) is gaining popularity as an excellent
option for saving photographs intended for printing, even though the majority
of people are already accustomed with using PDF files for viewing, sharing,
and printing electronic documents (thus the name). The PDF format supports
and maintains all of Photoshop's functionality, including the usage of spot
colors, which the EPS format does not. This is similar to how the PSD and
TIFF formats do. You can choose between lossless ZIP compression and
JPEG compression in PDF. JPEG has a Quality setting that allows you to
balance image quality and file size. And the image can be viewed by anyone
who has the free Adobe Reader software installed on their computer using the
PDF format.
The most crucial thing to keep in mind is to save your working Photoshop
project as an unflattened PSD file to use as your master copy. By doing this,
all of your layers, channels, and other data will be preserved in Photoshop's
native file format, allowing you to return to your work whenever you choose.
Depending on whether the image is intended for print, the web, a multimedia
software, or whatever format your printer has requested, you can then save a
copy in one of the other six formats. There you have it, then!
GETTING FAMILIAR WITH COLOUR
Two color models are used in Adobe Photoshop Elements to modify color.
One model is based on the hue, saturation, and brightness (HSB) perception
of color by the human eye, while the other model is based on how color is
displayed on computer monitors (in amounts of red, green, and blue or RGB).
Another tool for understanding the connections between colors is the color
wheel. There are four image modes in Photoshop Elements that control how
many colors are visible in an image: RGB, bitmap, grayscale, and indexed
color.
About color
Computer monitors display colors by producing variable amounts of red,
green, and blue (RGB) light, whereas the human eye sees color in terms of
three characteristics: hue, saturation, and brightness (HSB). The HSB and
RGB color models are used in Photoshop Elements to choose and modify
color. You can better comprehend how colors relate to one another by using
the color wheel.

HSB design
The HSB model highlights three essential aspects of color based on how
people perceive color:
Hue
the hue that is emitted or transmitted by an object. On the standard color
wheel, it is measured as a position, which is then stated as a degree between 0
and 360. Typically, the name of the color, such as red, orange, or green,
serves as the hue's identifier.
Saturation
the color's intensity or purity. The quantity of gray relative to the hue is
represented by saturation, also known as chroma, and is expressed as a
percentage ranging from 0 (gray) to 100. (fully saturated). Saturation rises
from the center to the edge of the conventional color wheel.
Brightness
The proportion of a color's relative lightness or darkness, commonly
expressed as a range from 0 (black) to 100 (white).
The HSB mode in Photoshop Elements cannot be used to produce or modify
photos, but it may be used to define a color in the Color Picker dialog box.

HSB view in the Adobe Color Picker

A. Saturation B. Hue C. Brightness
Model in RGB
Red, green, and blue (RGB) light can be combined in different ratios and
intensities to represent a substantial section of the visible spectrum. The
additive primary are these three hues. White light is created when red, green,
and blue light are combined. Cyan, magenta, or yellow are created when two
hues overlap.
Lighting, video, and monitors all make use of the additive primary colors. For
instance, your display emits light through red, green, and blue phosphors to
produce color.
phosphors.

Additive colors (RGB).

A. Red B. Green C. Blue D. Yellow E. Magenta F. Cyan
Colouring wheel
The relationship between colors can be conveniently understood and
remembered using the color wheel. The additive primaries are the colors red,
green, and blue. The subtractive primaries are cyan, magenta, and yellow.
Red-cyan, green-magenta, and blue-yellow are the complementary colours
for each additive primary.
Two additive primaries make up every subtractive primary, but not its
complement. In other words, if you use more of a primary colour in your
image, you should use less of its complement. For instance, yellow does not
contain any blue light but is made up of green and red light. In Photoshop
Elements, altering yellow affects the colour values in the blue colour channel.
Your image loses yellow when you add blue to it.

Colour wheel.
A. Magenta B. Red C. Yellow D. Green E. Cyan F. Blue
CHOOSING COLORS
Utilizing the Eyedropper tool, select a color.
Without choosing a swatch, it is simple to replicate a color using the
Eyedropper tool. In order to set a new foreground or background color, it
samples or duplicates the color of a specific area in your photograph. You
can take a sample from the active image, another open image, or the desktop
of your computer.
The sampled color can be added to the Color Swatches panel if you wish it to
always be available. The size of the region that the Eyedropper tool samples
can also be specified. You can configure the eyedropper, for instance, to
sample the typical color values of a 5 by 5 or 3 by 3 pixel area underneath the
cursor.

Selecting a foreground colour with the eyedropper.

A. Point sample B. 5 by 5 Average sample
Ø From the toolbox, pick the Eyedropper tool.
Ø (Optional) Choose an option from the Sample Size menu in the Tool
Options bar to modify the eyedropper's sample size:
Ø To determine the precise value of the pixel you click, point Sample.
Ø To obtain the average value of the specified number of pixels within
the region you select, choose 3 by 3 average or 5 by 5 average.
Ø Choose where the color picker tool should sample from in the Tool
Options bar. Select either Current Layer or All Layers.
Pick a color by doing one of the following:
Click the desired color in your image to change the foreground color.
Click inside of your image and drag your mouse away from it to select
a color that is displayed somewhere else on your computer screen.
Alt-clicking (Option-clicking on Mac OS) the desired color will allow
you to choose a new backdrop color from an image.
The eyedropper tool's foreground color box changes as you click and
move it.
To choose a new color, let go of the mouse button.
Note: While using most painting tools, you can momentarily switch to the
Eyedropper tool, which enables you to swiftly change colors without
selecting another tool. simply keep the Alt key depressed (Option key in Mac
OS). When you've decided on a color, let go of the Alt key (Mac: Option
key).
From the toolbox, select a color.
Choose one of these:
Click the Default Colors icon to change the foreground and
background boxes to black and white.
Click the Switch Colors icon to change the colors in the two boxes.
Click the toolbox's uppermost color box, then select a color from the
Color Picker to alter the foreground color.
Click the toolbox's bottom color picker, then select a color from the
Color Picker to alter the background color.
Make use of the Color Swatches panel.
You can keep track of the colors you frequently use in your photographs in
the Color Swatches panel (Window > Color Swatches). In the Color
Swatches window, click a color swatch to choose a foreground or
background color. To create a unique swatch library, you can add or remove
colors, save a collection of swatches, and then reload it to use in another
image. The Color Swatches panel's thumbnail display can be modified by
selecting a different option from the More menu.
Although the Color Swatches panel may accommodate a large number of
colors, you should control its size and layout for better performance. You can
manage panel by grouping similar or special swatches in libraries.
The several swatch libraries are located in the Photoshop Elements
installation folderPresetsColor Swatches (or Photoshop Elements installation
folderSupport FilesPresetsColor Swatches for Mac) folder. You can
automatically add new custom libraries to the panel libraries pop-up menu by
storing them to the Color Swatches folder.

Utilizing the Color Swatches panel, select a color.

Select Window > Color Swatches to open the Color Swatches panel if
it is not already visible.
 (Optional) Select a swatch library name in the Color Swatches panel
from the Swatches menu.
Choose one of these:
Click on a color in the panel to select the foreground color.
Ctrl-click (Command-click in Mac OS) a color in the panel to select it
as the background color.
To the Color Swatches panel, add a color.
You can save a color as a swatch in the Color Swatches window if it's one
you plan to use frequently. Swatches that have been saved are added to the
panel's library of colors. You must save the complete library in order to
permanently save your customized swatches.
In the toolbox, change the foreground color to the color you want to add.
In the Color Swatches panel, choose one of the following:
At the panel's bottom, click the New Swatch button. The color swatch
is included and given the label Color Swatch 1 by default.
New Swatch can be selected from the More menu.
When the pointer transforms into the Paint Bucket tool, place it over a
blank space in the bottom row of the Color Swatches panel and click
to add the color.

Ø Selecting a color with the eyedropper and adding it as a new swatch

Ø Click OK after giving the new color a name.
Ø In the event that you are required to save the swatch library, type a
new name in the Save dialog box and click Save.
Save and use custom swatch libraries
The Color Swatches panel can be used for any of the following:
Save Swatches can be selected from the More menu to save a library
of swatches. Save the file to the Photoshop ElementsPresetsColor
Swatches (or Photoshop ElementsSupport FilesPresets) folder if you
want the set to appear in the panel's swatch libraries pop-up menu.
NOTE: Restart Photoshop Elements in order to view the new swatch set in
the menu.
Choose Load Swatches from the More option in the panel to pick and
load a swatch library.
Select Replace Swatches from the More option in the panel and a
library to replace the existing swatch library with.
Reset a swatch library to its default color swatches
1.From the pop-up menu in the Color Swatches panel, select a swatch library.
2.Select Preset Manager from the More option in the Color Swatches panel.
3.Swatches can be selected from the Preset Type menu in the Preset Manager
dialog box.
4.Select Reset Swatches from the More menu, and when prompted, confirm
your choice.
Delete a color from the Color Swatches panel
1.Choose one of these:
To delete the color swatch, drag it to the panel's Trash icon and then
click OK to confirm.
Click a color in the Color Swatches panel by pressing the Alt (Mac
OS: Option) key to transform the pointer into a scissors icon.
2.In the event that you are required to save the library, type a name in the
Save dialog box and click Save.
NOTE: You must resave the library that contains the deleted swatches in
order to completely remove them.
Make use of the Adobe Color Picker.
The Adobe Color Picker lets you define colors numerically or by selecting
from a color spectrum to choose the foreground or background color.
Additionally, you have the option of choosing solely web-safe colors or
colors based on the HSB or RGB color models.

Adobe Color Picker

A. Adjusted color B. Original color C. HSB color values D. RGB color
values E. Displays only web colors F. Color field G. Color
slider H. Hexadecimal color value
1.To open the Color Picker, click the toolbox's boxes for the foreground or
background colors.
2.Enter a click in the color box. The numerical values in the color field
change to reflect the new color when you click there. A circular marker also
shows where the color is in the field.
3.To change colors, merely drag the white triangles along the slider.
4.As an alternative, try any of the following to visually represent a number:
Under the RGB values, in the text box, enter the color's hexadecimal
value. Web designers frequently use the hexadecimal color system.
Choose a radio button, then type component values between 0 and 255
for RGB color (0 is no light and 255 is the brightest light).
 Choose a radio button, enter saturation and brightness as percentages
for HSB color, and enter hue as an angle from 0° to 360° that
represents a specific spot on the color wheel.
5.The new color is shown in the top portion of the color rectangle to the right
of the color slider. The rectangle's bottom has the original color on it.
6.To start painting with the new color, click OK.
NOTE: You can choose colors by using a plug-in color picker or the built-in
color picker on your computer. The color picker can be accessed by selecting
Preferences > General.
COLOR CALIBRATION
Calibration of a monitor is what?
Calibration of a monitor or display involves bringing the colors on your
screen into compliance with the RGB (red, green, and blue) color standards.
The majority of TVs and computers use this model, which was developed in
the nineteenth century. Since almost all screens use the RGB model,
correcting color on a correctly calibrated screen will increase the likelihood
that your work will seem as you intended it to on other people's screens.

Where to start when calibrating your colors.

You cannot achieve accurate color with either online calibration software or
the built-in Windows or Mac operating system calibration tools. Because
eyes are subjective, these systems rely on your vision.
You need to use a colorimeter to get color that is objectively accurate. A
colorimeter is a compact calibration tool that you can attach to your screen
and use with calibration software to adjust display color for your specific
screen and the lighting in your space. Wherever you are, tools like the
Datacolor Spyder and X-Rite ColorMunki will measure the ambient light and
suggest the best calibration settings. Give your monitor roughly 30 minutes to
warm up before starting the operation. Avoid shining direct light on your
monitor, and ensure that the surrounding lighting is comparable to how it will
be when you modify the colors in your work.

Your software will prompt you to specify your display type and target
settings as its initial action:
White point.
Pure white light is not a real phenomenon. A white that is heated more
intensely will have a bluish hue, just like the bluest area of a candle's flame.
Redder, orangeter, or yellower hues can be seen in cooler whites. The
temperature setting (measured in degrees Kelvin) that controls the warmth or
coolness of your whites on modern monitors is known as the white point. The
suggested white point for working with video on an LCD monitor is 6500K
or D65. This is sometimes referred to as your monitor's native temperature.
The white point of 5000K (D50) is advised when working with still
photographs that you intend to publish since it appears more white on paper.
Gamma settings.
The rate at which colors go from black to white is known as gamma.
Although a higher gamma value will provide more contrast within that range,
it still has the same black and white extremes as a lower gamma value.
Depending on how you anticipate your video will be viewed, a certain
gamma level may be advised. The suggested display setting for a screen in a
bright space, like an office, is 2.2. The default configuration for Mac and
Windows computers is this. The suggested setting for displays in dim
environments, such as home theaters, is 2.4 since contrast is easier to see in a
dim environment.
Luminance.
The brightness or luminous intensity of the display is referred to as
luminance. When performing color correction, it's crucial to maintain
consistency with this option to avoid correcting one scene at one brightness
level and another at a completely different one. A typical LCD screen should
have a brightness of 120.
The automatic calibration procedure will start as soon as you've verified your
monitor's settings. The colorimeter will compare the colors on your monitor
to industry standards, map the differences, and produce a special color profile
(also known as an ICC profile) just for your display. You can identify the
precise color tones and convey them across devices if your profile is accurate.
How frequently should you calibrate?
To guarantee your colors remain consistent, professional colorists advise you
to calibrate screens at least once a month, especially as your monitor ages and
its hues fluctuate.
Others contend that color on all gadgets is now essentially excellent enough
because technology has gotten to that point. You can test your films on a few
different devices to make sure nothing is noticeably off if precise color isn't
your primary focus. Taylor Kavanaugh, a director and producer, frequently
takes this tact. According to Kavanaugh, "Our users view our content on an
iPhone, iPad, or Samsung television, so we always look at it on all the
platforms that we know it will be viewed on."
You can always play it safe by avoiding significant color modifications if
color fidelity isn't your top priority. According to colorist and editor Gerry
Holtz, "if you're remaining in the broad scope, keeping things kind of even, it
will usually translate over multiple devices pretty well." "When you push
anything, issues start to arise. On a different device, it can be excessive to
oversaturate the colors, provide too much contrast, or crush the blacks.

If issues arise, you can fix them by utilizing Adobe Premiere Pro's Color
Correction curves.

CHOOSING A COLOR WORKSPACE

Choose your color workspace after adjusting your monitor's color using a
hardware profiling technique. You can choose either the sRGB or Adobe
RGB workspace colors in Elements (1998). By selecting Edit --> Color
Options, you may access your color workspace settings. As seen, the Color
Settings dialog box opens.
These choices are available in the Color Settings dialog box:
No Color Management: Selecting this option disables all color
management. For whatever work you complete in Elements, avoid selecting
this option. Working with files that contain color profiles included in the
photographs is required while utilizing No Color Management. These are the
kinds of images you probably won't use.
Always make color adjustments for computer screens: Your workspace is
set to sRGB when this radio button is selected. sRGB color is frequently used
to examine images on a monitor, but this workspace is frequently the best
option for color printing as well. Many color printers are capable of printing
all the hues found in a sRGB workspace.
Selecting this option changes your color workspace to Adobe RGB and says
"Always Optimize for Printing" (1998). The color in this workspace is the
best that can be seen on most modern inkjet printers and modern monitors.
This is your best option by default.
Please Let Me Decide: When you choose this option, Elements asks you to
assign a profile when you access photos without one. If you switch back and
forth between screen and print photos, this setting is helpful.
Recognize how profiles function
When you calibrated your monitor, you most likely produced a monitor color
profile. When you accessed the Color Settings dialog box and chose your
workspace's color, you most likely also picked a color profile. Your
computer's monitor color profile automatically activates when it starts up,
adjusting the overall brightness of the screen and removing unwanted color
casts. Color is automatically changed from your monitor's color space to your
workspace color when you open a photo in Elements.
When it comes time to print, you send your photos to your desktop color
printer using a different color profile. Then, color is changed from the
workspace's color space to the printer's color space. Using each of these color
profiles correctly will decide whether you can obtain high-quality colors.
 CHAPTER THREE
EXPLORING THE PHOTO EDITOR
Open and Import Images
You can open a photo for editing in two different ways with Photoshop
Elements since the Organizer and the Editor are actually two interconnected
programs. Your complete photo library is stored in the organizer, and you
may add metadata like keyword tags. You send an image to the Editor for
editing when necessary. You can open the file directly from the Editor if you
wish to edit a photo without using the Organizer.
Ensure that your camera is plugged into a card reader or that your computer
is connected to the camera's memory card.
Importing data into the organizer
v Click the Organize button on the welcome screen of Photoshop
Elements to launch the Organizer.
v Select File > Get -Photos and Videos in the organizer. Using the
camera or card reader, or by pressing Ctrl+G or Command-G.
v Launch of the Photo Downloader program.

If it isn't already chosen, pick your camera or

memory card from the Get Photos from drop-down menu. A.
“A” To add images to the Elements Organizer, use the Photo Downloader.
v To download the chosen pictures to your PC, click Get Media.
Once the photos have been imported, either click the image you wish to
modify and then select Edit with Photoshop Elements Editor from the context
menu that appears, or click the Fix tab in the Panel Bin and select one of the
editing choices there. B.

“B” Enter the Editor and open the image.

Launching the Editor:
v Open Photoshop Elements, then select Edit from the Welcome page
to access the Editor.
v Selecting File > Open.
v Navigate to and choose the image file you want to modify from the
Open dialog.
v To open the file, click the Open button.
iPhoto (Mac) import instructions:
v Launch iPhoto if you use the Mac version to manage your photo
library.
v Click the name of the camera or memory card in the Devices
sidebar.
v In the Event Name field C, enter a name for the event; iPhoto groups
 images into Events based on the date of import as one way of
organizing the library.

C In iPhoto on the Mac, choose a device and enter an event name.

v Either select the desired photographs and click the Import Selected
button, or click the Import All option.
v In the dialog box that appears once the import procedure is complete
and asks if you want to keep or delete the images you just imported,
click the Keep Photos button.
You just need to complete this step once to be able to edit photographs in
Elements rather than with iPhoto's editing tools: Go to iPhoto > Preferences,
select Advanced, then select In Application D from the drop-down selection
for Edit Photos. Click Open after finding Elements on your drive.
D iPhoto can delegate editing tasks to a third-party program like Elements.
Choose the photo you want to edit, then click the Edit button or select Edit in
External Editor E from the context menu by right-clicking.

E Rather than using iPhoto's editing tools, decide to edit in Elements.

TIP: Before going to the Editor, raw-format photos are first opened in Adobe
Camera Raw.
EXPLORING IMAGE WINDOWS
Using the Expert or Quick modes to view images
v You can view various portions of a picture at various magnifications
 using the Hand tool, Zoom tools, Zoom commands, and the Navigator
panel.
v Your view can be enlarged or shrunk using a variety of techniques.
The zoom percentage is shown in the window's title bar (unless the
window is too small for the display to fit).
v Use the window scroll bars or choose the Hand tool and drag to pan
over the image if you want to see more of an image. The Navigator
panel is an additional option.
NOTE: Hold down the spacebar while dragging within the image to utilize
the Hand tool when another tool is chosen.

Using the Hand tool to move the image's focus to a different region.
Zoom in or out.
Choose one of these:
v Click the Zoom In or Zoom Out button in the Tool Options box after
selecting the Zoom tool from the toolbar.
v To magnify a particular region, click it.
v Each click focuses the display around the point you click while
enlarging or shrinking the image by the next predetermined
percentage.
v The magnifying glass is empty once the image has been reduced to 1
pixel or magnified by 3200%, whichever comes first.
Note: To enlarge a specific area of an image, drag the Zoom tool over the
area. Make sure the Tool Options bar's Zoom In button is chosen. Start
dragging a marquee and then hold down the spacebar while you transfer it to
a new spot to move the zoom marquee around the image.
v In the Tool Options bar, slide the Zoom slider.
v Select either View > Zoom Out or View > Zoom In.
v In the Zoom text box located in the Tool Options bar, type the
appropriate magnification level.
Note: To move between zooming in and out when using a zoom tool, hold
down the Alt key.
Show a picture at 100%
Choose one of these:
v In the toolbox, double-click the Zoom tool.
v Click the 1:1 button in the Tool Options box after choosing the Hand
or Zoom tool.
v Alternatively, right-click the image and select Actual Pixels from the
menu that appears.
v In the status bar, type 100% and hit Enter.
Adapt a picture to the screen.
Choose one of these:
v In the toolbox, click twice on the Hand tool.
v Click the Fit Screen button in the Tool Options menu after choosing
a Zoom tool or the Hand tool. Optionally, right-click the image and
select Fit On Screen.
v Select Fit On Screen under View.
These choices adjust the window size and zoom level to fit the available
screen real estate.
Window resizing while zooming
v Select Resize Windows to Fit from the Tool Options menu while a
Zoom tool is active.
v As you enlarge or minimize the image's view, the window enlarges
or minimizes.
v The window stays the same size regardless of how magnified the
 image is when Resize Windows to Fit is deselected.
v When working with tiled graphics or smaller monitors, this can be
useful.

Making use of the Navigator panel

You can change the image's magnification and field of view using the
Navigator panel.
v The magnification can be adjusted by entering a value in the text
box, using the Zoom Out or Zoom In buttons, or moving the zoom
slider.
v To change the view of an image, drag the view box in the image
thumbnail.
v The bounds of the image window are represented by the view box.
To specify the area of view, you can also click in the thumbnail of the
image.
Note: From the Navigator panel menu, select Panel Options to alter the color
of the view box. Pick a color from the Color menu or use the Color Picker to
select a custom color by clicking the color swatch. Select OK.
Open the same image in many windows
Multiple windows can be opened in Expert mode to show various views of
the same file.
v The Window menu displays a list of open windows, while the Photo
Bin displays thumbnails of each open image. The number of windows
per image might be constrained by memory.
v Select New Window under View. [Image filename] is for. You
might need to reposition the second window in order to see both at
once, depending on where the first window is located.
v To see what the image would look like at 100% size in a separate
window while working with a zoomed-in image, use the New
Window command.
View and group various windows
Choose one of the following in Expert mode:
v Select Window > Images > Cascade to show windows stacked and
 cascading from the upper left to the lower right of the screen.
v Select Window > Images > Tile to display windows edge-to-edge.
The open windows are resized to fit the space as you shut photos.
v Select Window > Images > Match Zoom to display all open images
at the same magnification as the active image.
v Select Window > Images > Match Location to view the same area
(upper-left corner, middle, lower-right corner, and so on) of all open
photos.
v Every window's view adjusts to match the current window's
(frontmost) image. The zoom level stays the same.
v Click Layout in the Taskbar to get more options for organizing
photographs, then select a different layout from the pop-up menu.
Note: The Allow Floating Documents In Expert Mode selection must be
checked in order for the Window > Images options to be available.
Shut windows
Ø Choose one of the following in Expert mode:
Ø To close the currently open window, select File > Close.
Ø On the active window's title bar, click the Close button.
Ø Close can be selected by right-clicking a thumbnail in the Photo Bin.
Ø To close every open window, choose File > Close All.
CONTEXTUAL MENUS
Ø Both the Photo Editor and Organizer workspaces support context
menus.
Ø Commands that are pertinent to the currently active tool, selection, or
panel are displayed in context-sensitive menus.
Ø These menus are frequently an additional method of accessing the
main menu's commands.
Ø Place the cursor over a panel or image item.
Ø Context menus are not available on all panels.
Ø Right-click, then select a menu item to execute.
Use the modifier keys and keyboard shortcuts.
The workspaces for the Photo Editor and Organizer both support keyboard
shortcuts. You can swiftly carry out keyboard operations without utilizing a
menu, and modifier keys enable you change how a tool behaves. When
accessible, the keyboard command is displayed in the menu to the right of the
command name.
Ø See Keys for selecting tools for a list of keyboard shortcuts broken
down by modes and tools.
Ø Save pictures, then add them to Elements Organizer.
Ø Simply save the image to save any modifications and have it appear
in Elements Organizer.
Ø Select the Include in the Elements Organizer checkbox in the
resulting Save dialog box.
Ø The image is then visible in Elements Organizer.
Shut down Photoshop Elements.
Close both the Photo Editor and Organizer workspaces to end Photoshop
Elements; doing so does not close the other.
Choose one of the following from any workspace:
Ø Select File > Exit (Ctrl + Q) in Windows. Press the Command + Q
keyboard shortcut to shut down Photoshop Elements on a Mac.
Ø In the workspace's upper right corner, click the Close button (X).
Ø Make a decision regarding whether to save any open, updated files
before shutting down Photoshop Elements.
SELECTING FROM TOOL OPTIONS
A selection is a portion of a picture that you pick out. The area is modifiable
when you make a selection (for example, you can lighten one part of a photo
without affecting the rest). A selection can be created using a selection
command or a selection tool. The selection is encircled by a selection border
that can be hidden. Pixels inside the selection boundary can be modified,
copied, or deleted, but until the selection is deselected, you are unable to
interact with any locations outside the selection border.
For various selections, Adobe Photoshop Elements offers selection tools. For
instance, the Elliptical Marquee tool selects elliptical and circular areas, and
the Magic Wand tool allows for one-click selection of an area with related
colors.
The Lasso tools allow for the creation of more intricate selections. Even
better, feathering and anti-aliasing allow you to soften a selection's edges.
Note that just the active layer is available for selection. You must first flatten
the image in order to make adjustments to all layers at once.

Ø Selection made with Elliptical Marquee tool, color adjusted in

selected area
Ø Pick something or someone in your photo quickly.
Automatically choose a topic
With just one click, you can now instantly choose the main subject of your
photograph. Adobe Sensei AI technology* is used by Photoshop Elements to
recognize a wide range of objects, including humans, pets, animals,
automobiles, and toys.
To get to the Choose Subject menu:
1.Open a picture in the Quick or Expert workspace.
1.Choose Select > Subject.
2. Give Photoshop Elements a few seconds to choose the main subject(s) in
your shot. A dotted line that moves across the screen makes the selection
visible.

Note: In order to choose the subject automatically, you can alternatively do

the following:
• Press Alt+Ctrl+S (Windows)/Option+Command+S (Mac OS) to save.
From the toolbar, pick one of the following: Auto Selection, Magic Wand,
Refine Selection, Quick Selection, or Selection brush. Click Tool Options,
then select the subject you want to work with.
•Select Replace Background under Special Edits from the Special Edits tab in
the Guided workspace. Click the Select Subject button to begin the first phase
of this Guided Edit.
Improve the automatic choice
Ø To edit the selection, choose one of the Selection Brushes in Tool
Options and click Add to selection or subtract from selection.
Ø To further refine the option, pick > Refine Edge.
Use selection tools
The Tools panel, which is by default on your screen's left side, is where you'll
find the selection tools.
The selection tools in Photoshop Elements are only visible when you are in
Expert mode.
Utilize the Elliptical and Rectangular Marquee tools.
The Elliptical Marquee tool creates elliptical or round selection boundaries,
while the Rectangular Marquee tool creates square or rectangular selection
borders.

Rectangular and Elliptical Marquee tool options

A. Rectangular Marquee tool B. Elliptical Marquee tool C. New selection D.
Add to selection E. Subtract from selection F. Intersect with selection
From the toolbox, either the Elliptical Marquee tool (B) or the Rectangular
Marquee tool (A).
(Optional) Configure the tool choices for the marquee:
Ø Choose whether to make a new selection, extend an existing
selection, reduce the size of an existing selection, or choose a region
where several selections cross.
Ø Enter a Feather value to soften the selected border so that it melds
 into the surrounding area.
Ø Pick Anti-aliased to soften the edges of your selection (Elliptical
Marquee tool only).
Ø Select Normal from the Mode pop-up menu to establish the selection
border's size and proportions visually;
Ø Fixed Ratio to set the selection border's width to height ratio; or
Fixed Size to determine the height and breadth of the marquee.
You can pick an area by dragging it over. When dragging, keep holding down
the Shift key to limit the selection marquee to a square or circle.
Note: After you start dragging, hold down Alt (Windows) or Option (Mac
OS) to move a marquee from the center.
Note: While using the selection tool, hold down the spacebar and drag to
move the border of a marquee tool selection. Once the selection boundary is
in the desired location, let go of the spacebar.
To fine-tune your pick and make it more focused, click Refine Edge.
Examine how you can sharpen a selection's edges.
Use the Lasso instrument
The Lasso tool creates border lines for selections by hand. You can make
extremely exact selections using this tool.

Lasso tool options

A. Lasso tool B. Polygonal Lasso tool C. Magnetic Lasso tool D. New
selection E. Add to selection F. Subtract from selection G. Intersect with
selection
From the toolbox, choose the Lasso tool:
 Ø (Optional) Lasso tool settings can be modified in the Tool Options
bar.
Ø Choose whether to make a new selection, expand an existing
selection, reduce a selection, or choose a region where many
selections cross.
Ø Enter a Feather value to soften the selected border so that it melds
into the surrounding area.
Ø Choose Anti-aliased to soften the edges of your selection.
Draw a freehand selection border by dragging:
v Release the mouse button, hold down Shift, and begin dragging
when the pointer changes to add to the selection.
v Release the mouse button, hit Alt (Mac OS: Option), then drag when
the pointer changes to indicate that the selection should be reduced.
v Hold the mouse button down while pressing Alt (Mac OS: Option)
to add straight-edge segments. When the pointer changes, click the
desired location for the segment's end when the mouse button is
released.
v Release the mouse button to close the selected border. When you let
go of the mouse button, a straight selection segment is drawn from
that location to the selection's starting point.
v To fine-tune your pick and make it more focused, click Refine Edge.
Examine how you can sharpen a selection's edges.
Make use of the Polygonal Lasso tool.
The Polygonal Lasso tool creates parts of a selection boundary with straight
edges. To draw the border of a selection, you can generate as many segments
as necessary.
Polygonal Lasso tool options
A. Lasso tool B. Polygonal Lasso tool C. Magnetic Lasso tool D. New
selection E. Add to selection F. Subtract from selection G. Intersect with
selection

From the toolbox, choose Polygonal Lasso.

(Optional) Configure the Tool Options bar's Polygonal Lasso tool:
Choose whether to make a new selection, expand an existing selection,
reduce a selection, or choose a region where many selections cross.
Enter a Feather value to soften the selected border so that it melds into
the surrounding area.
Choose Anti-aliased to soften the edges of your selection.
Click to start the first straight segment, then click again to start the
next one and mark the spot where the section should terminate.
Click repeatedly to generate portions.
To remove sections after an error, press the Delete key.
By hitting Alt, you can alternate between making straight-edge
segments and free-hand drawing (Option in Mac OS).
One of the following actions will close the selection border:
v Place the cursor over the beginning location, then click.
v When you are over the starting point, a closed circle appears next to
the pointer.
v Click once or hold down the Ctrl key if the pointer is not above the
beginning position (Command-click in Mac OS).
v Your pointer is drawn along a straight section that extends to the
beginning of your pick.
v To fine-tune your pick and make it more focused, click Refine Edge.
Examine how you can sharpen a selection's edges.
Utilize the magnetic lasso tool
When you drag over objects in the image, the Magnetic Lasso tool
automatically constructs a selection border around them. Drawing accurate
selection borders is made simple by this. Use the Magnetic Lasso tool to
swiftly select items with intricate edges set against backgrounds with strong
contrast.

Magnetic Lasso tool options

A. Lasso tool B. Polygonal Lasso tool C. Magnetic Lasso tool D. New
selection E. Add to selection F. Subtract from selection G. Intersect with
selection
The Magnetic Lasso tool should be chosen from the toolbox.
When the Magnetic Lasso tool is selected, one of the following actions
can be used to switch between it and other lasso tools:
v Drag while holding down Alt (Option in Mac OS) to open the Lasso
tool.
v Click while holding down the Alt key (Option in Mac OS) to bring
up the Polygonal Lasso tool.
v (Optional) Configure the Tool Options bar's Magnetic Lasso
settings:
v Choose whether to make a new selection, expand an existing
selection, reduce a selection, or choose a region where many
selections cross.
v Enter a Feather value to soften the selected border so that it melds
into the surrounding area.
v Choose Anti-aliased to soften the edges of your selection.
v Enter a width value between 1 and 256 pixels to define the detecting
area. Only edges that are close to the pointer, as defined by the tool,
are detected.
Note: Pressing the Caps Lock key will cause the Magnetic Lasso pointer to
alter to show the Width value instead of the area of edge detection.
v Enter a number between 1% and 100% for Edge Contrast to adjust
the Magnetic Lasso tool's sensitivity to photo edges.
v Only edges that have a sharp contrast to their surroundings are
detected by a higher value; edges with a weaker contrast are detected
by a lower value.
v Enter a value between 0 and 100 for Frequency to define the rate at
which the Magnetic Lasso tool establishes attachment points. A larger
value more firmly anchors the selection border.
One of the following methods can be used to add border segments to a
selection:
v Click locations near the edge.
v Holding down the mouse button, drag the edge.
v The selection border in the image snaps to the edge.
v Click once to manually add a point to the border if it doesn't
automatically snap to the appropriate edge.
v Then, continue tracing the border and clicking points as necessary.
v Press the Delete key to remove border points if you make a mistake.
One of the following actions will close the selection border:
Drag the cursor back over the beginning position and click to
manually close the boundary.
When you are over the starting point, a closed circle appears next to
the pointer.
Double-click or press Enter to draw a freehand magnetic section to
close the border.
Double-click while holding down the Alt key to close the boundary
with a straight section (Option in Mac OS).
Use the Magic Wand instrument.
With a single click, the Magic Wand tool picks pixels with comparable color
ranges. For the Magic Wand tool's selection, you define the color range, or
tolerance. When you have a region of similar hues, such as a blue sky, use the
Magic Wand tool.
Magic Wand tool options
A. Magic Wand tool B. New selection C. Add to selection D. Subtract from
selection E. Intersect with selection
A Magic Wand tool should be chosen.
(Optional) Configure the Magic Wand tool in the Tool Options bar:
Enter a value for tolerance between 0 and 255.
Enter a low value to choose hues that are strikingly similar to the pixel
you clicked, or a high value to choose a wider variety of hues.
Choose Anti-aliased to define a clean selection edge.
Select Contiguous to only select regions that are adjacent and have the
same colours.
Deselecting this option causes all of the photo's pixels to be chosen to
have the same colour scheme.
Select Sample All Layers to choose colours based on information from
all visible layers.
Deselecting this option causes the Magic Wand tool to only select
colours from the active layer.
Click the colour you want to change in the image.
Unselected areas can be included to the selection by Shift+clicking
them.
Press Alt (Option in Mac OS) and click the area you want to remove
from the selection.
To fine-tune your pick and make it more focused, click Refine Edge.
Examine how you can sharpen a selection's edges.
Make use of the Quick Selection tool.
If you click or click-drag the area you wish to pick, the Quick Selection tool
will make a selection based on how closely the colors and textures match.
Because a border is instantly and easily created using the Quick Selection
tool, your mark doesn't need to be exact.
A color or tone correction is also applied while making selections with the
Smart Brush tool, similar to the Quick Selection tool.

Quick Selection Brush tool options

A. Quick Selection tool B. New selection C. Add to selection D. Subtract from
selection
Go to the toolbar and choose Quick Selection Brush.
Select one of the following from the Tool Options bar:
Fresh Option
Allows you to make a fresh pick. By default, this selection is made.
Insert Selection
Allows you to increase a current choice.
Take Away From the Selected
Allows you to take away from an existing choice. You can choose this
option only after you've made a decision.
From the Brush Picker in the options bar, select a brush. Use a bigger
brush if you want to choose a big region.
Select a lower brush size for more accurate selections.
Release the mouse button after clicking or click-dragging over the
region that contains the object's color spectrum.
The border of the selection emerges.
Any of the following actions will help you narrow down your choices:
Click the Add to Selection button in the options bar, then drag your
 mouse across the region you wish to add to the selection.
By clicking the Subtract from Selection button in the options bar and
dragging your mouse across the region you want to remove from the
selection, you can remove it from the selection.
Click the New Selection button in the options bar to begin a new
selection, and then click or draw to define the new selection area.
To fine-tune your pick and make it more focused, click Refine Edge.
Examine how you can sharpen a selection's edges.
Make use of the Selection Brush tool.
The Selection Brush tool has two selection methods: in Selection mode, you
can paint over the area you want to pick, and in Mask mode, you can use a
semi-opaque overlay to paint over the areas you don't want to select.
With a marquee tool, Quick Selection tool, or any selection tool, you can
create a crude selection before using the Selection Brush tool to refine it.
Using the Selection Brush tool in Selection mode, you can expand the
selection; in Mask mode, you may reduce it.

Selection Brush tool options

A. Selection Brush B. Add to selection C. Subtract from
selection D. Selection pop-up E. Brush pop-up F. Brush
size G. Hardness H. Refine Edge dialog button
From the toolbox, pick the Selection Brush tool.
The Selection Brush may need to be chosen from a list of hidden tools
that shows when you click the Quick Selection tool in the toolbox.
 The tool's default setting is Add To Selection. Click Subtract From
Selection in the options box to remove items from the selection.
(Optional) Optionally configure the Selection Brush tool in the Tool
Options bar:
Ø Select a brush from the pop-up panel for brush presets.
The size of the brush.
Ø From the Mode menu, pick Selection (to add to the selection) or
Mask (to subtract from the selection).
Ø Set the hardness of the brush tip to a number between 1% and 100%.
Note: If you use the Selection Brush tool with a soft-edged brush, switching
the Mode setting to Mask can assist you see the selection's soft edges.
Ø Set the Overlay Opacity in Mask mode to a value between 1% and
100%.
Ø To set the mask color when in Mask mode, click the Overlay Color
swatch and choose a color from the Color Picker.
Ø When the mask color (Overlay Color) and the photo's colors are too
similar, this is helpful.
Ø You can pick or deselect sections by drawing on your snapshot.

Ø Adding to a selection while in Selection mode (left) and subtracting

from a selection while in Mask mode (right)
Utilize the tool Refine Selection Brush.
By automatically identifying the margins of the selection, the Refine
Selection Brush enables you to add or delete sections from the selection. See
Edit and enhance selections for further details.
Utilize the Auto Selection feature.
When you draw a shape around an object you want to pick, the Auto
Selection tool automatically creates a selection. The outline of the thing you
want to choose is all that has to be indicated by the shape, which need not be
exact.
The tool can be found in the Quick and Expert modes' toolbars.

Auto Selection tool options

A. Auto Selection Tool B. New Selection C. Add to selection D. Subtract from
selection E. Rectangle F. Ellipse G. Lasso H. Polygon Lasso
Ø Choosing the Auto Selection tool
Ø Select one of the following from the Tool Options bar:
Ø Allows you to create a new selection.
Ø By default, this selection is made.
NOTE: Add this selection: allows you to increase a current choice.
Ø Allows you to take anything away from a current selection. You can
choose this option only after you've made a decision.
To create a selection circle around the item you wish to pick, choose one
of the following:
Ø Draw a rectangular section of the chosen border using the option
"Rectangle."
Ø Draw an ellipse or circular portion of a selection border with this
option.
Ø Use the lasso option to create free-form selection border segments.
 Ø Use the polygon lasso option to create straight-edged selected
segments.
Ø In the image, draw a circle around the item you want to pick.
Ø The border of the selection emerges.
Note: Picking up one thing at a time will yield better results. Use the Add to
selection option to add another object to your selection after you've made
one.
To narrow down your choices, try any of the following:
Ø Click the Add to selection button in the options bar, then make a
selection around the area you want to add.
Ø By clicking the Subtract from selection button in the options bar and
tracing a line over the region you want to remove from the selection,
you can eliminate a portion of the selection.
Ø Click the New selection button in the options bar to begin a new
selection, and then draw to define the new selection area.
To fine-tune your pick and make it more focused, click Refine Edge. See
Refine edges of a selection for more details.
Make use of the Magic Extractor
Note: Adobe Photoshop Elements 12 and higher do not support the Magic
Extractor tool.
v Make precise selections using the Magic Extractor depending on
how the foreground and background areas appear.
v By placing colored markers in the places, you want to pick, you can
specify these locations.
v Only the foreground portion of the image is seen in the picture after
you mark the areas and dismiss the dialog box.
v Selecting individuals or items to superimpose on different backdrops
is simple with the Magic Extractor.
You could, for instance, crop yourself out of a home bicycle photo and place
it over a picture of Tour de France bikers. The extracted image can be saved
as a file that you can use repeatedly.
Using the Magic Extractor
A. Area you want to extract marked with red dots B. Background marked
with blue dots C. Extracted image
v The object you wish to remove is visible when you open the image.
v Use the Oval or Rectangular selection tool to make a preliminary
selection to restrict what appears in the Magic Extractor dialog box.
v Select Magic Extractor > Image.
v When opening the Magic Extractor dialog box, the Foreground
Brush tool is already chosen.
v Mark the area you want to extract by clicking repeatedly or by
drawing lines.
v To indicate the region that you do not want to be included in your
selection, choose the Background Brush tool and click repeatedly or
draw lines through it.
Note: To achieve a more precise selection when choosing items with
different colors and textures, drag over all of the colors and textures.
Use the Zoom tool or the Hand tool to enlarge and move around the
image to help you make your pick.
 When you want to zoom out when using the Zoom tool on a Mac,
press Alt (Option).
Try one of the following to define a different brush size or color:
From the Brush Size menu, select a different size.
Then click OK after selecting a new color in the Color Picker by
clicking the Foreground Color or Background Color swatch.
To view the current choice, click Preview.
Choose one of the following actions to specify preview settings:
Select Selection Area or Original Photo from the Display menu to alter
what is shown in the preview area.
To move between the two perspectives, you can also press the X key
on your keyboard.
Select a different selection from the Background menu to define a
different background.
After making any necessary adjustments to the selection, preview the
outcomes once more.
Use the Foreground or Background Brush tool to add or remove extra
dots or lines from the selection.
Use the Point Eraser tool to click or drag over the foreground or
background dots you want to remove.
Select the Add To Selection tool, then click or drag over the region
you wish to include in the selection.
Choose the Remove From Selection tool, then drag over the desired
areas to remove them from the selection.
Select the Smoothing Brush tool and drag over the desired areas to
smooth the edges of your foreground selection.
Give the Feather box a greater value to smooth down the edges of your
pick.
Click Fill Holes to fill any additional holes in the primary selection.
By choosing the Delete From Selection Tool and dragging a line
between the main selection and the area you wish to remove, you can
separate and remove a portion of the main selection.
Next, select Fill Holes.
Click Defringe to eliminate any remaining fringe colors between the
foreground and background.
 Choose a value from the Defringe Width menu to alter how much
fringe is eliminated.
To extract the chosen sections, click OK.
Click Reset to erase all markings and start again.

Refine edges of a selection

You can refine your selection in Photoshop Elements by utilizing the Refine
Edge dialog box (select a piece of an image, right-click the selection, and
pick Refine Edge from the context menu).
Ø Select > Refine Edge is another way to get the Refine Edge dialog.
Ø On a Mac, you can choose a section of an image, Control-click the
selection, and then select Refine Edge to display the Refine Edge box.
Ø Select a view mode for your selection from the View pop-out menu.
Ø To cycle through the modes, press F.
Display Radius shows the edge refinement's radius.
Ø Tools for modifying radius and erasing refinements.
Ø Adjust the boundary region where edge refinement takes place
precisely.
 Ø Press E to easily switch between the tools. Press the bracket keys to
alter the brush size.
Note: To add fine details to the selection, brush over sensitive regions like
hair or fur.
Radius Smart: Adjusts the radius automatically for both sharp and rounded
edges that are present near borders. If the border's edges are consistently
harsh or soft, or if you desire more exact control over the Radius setting and
refining brushes, deselect this option.
Radius: size of the selection boundary where edge refining takes place. For
sharp edges, use a small radius; for softer edges, a larger radius
Smooth: creates a smoother outline by reducing erratic regions (such as "hills
and valleys") in the chosen border.
Feather: blurs the boundary between the pixels of the selection and those
around it.
Contrast: Soft-edged transitions along the selection boundary become
increasingly abrupt as they are increased. The Smart Radius option and
refining tools are frequently more efficient.
Move Edge: Moves boundaries with soft edges inward when the value is
negative or outward when the value is positive. It may be possible to get rid
of undesirable backdrop colors from selection edges by moving these borders
inward.
Cleanse the colors: color fringes are replaced with the surrounding fully
picked pixels' color instead. The softness of the selection margins is inversely
correlated with the strength of color replacement.
Note: Since this option alters pixel color, export to a new layer or document
is necessary. Keep the first layer so you can return to it if necessary. (Choose
Reveal Layer as the View Mode to view changes in pixel color more clearly.)
Amount: Alters the degree of replenishment of the fringe and
decontamination.
Result To: determines whether the refined selection creates a new layer or
document, a new selection or mask on the existing layer, or both.
Delete a selected area
A backdrop layer's selected region is replaced when a selection is deleted by
the background color or checkerboard pattern (transparent pixels).
Attempt one of the following:
Ø To remove the selection, select Edit > Delete. (If you unintentionally
delete a selection, you can restore it by selecting Edit > Undo.)
Ø To remove the selection, press the Backspace or Delete key.
Ø To copy the selection to the clipboard, select Edit > Cut. Then you
can paste it somewhere else.
Using instructions, select and deselect areas
Attempt one of the following:
Ø Select > Deselect is the command to unselect selections.
Ø Select the layer in the Layers menu and select Select > All to select
every pixel in the layer.
Ø Select > Reselect can be used to reselect the most recent selection.
Ø Select View > Selection to reveal or conceal the selection borders.
Note: You can deselect simply clicking anywhere outside of the highlighted
region in the image. However, if you're using a selection tool that chooses
depending on clicking, like the Magic Wand tool, you might unintentionally
make additional selections.
About panels
Both Photoshop Elements and Elements Organizer feature panels, but they
function slightly differently in each. Using panels, you may manage, check
on, and edit photographs. Some panels contain menus that offer extra options
and commands. In Expert mode, you may arrange panels in both the standard
and custom workspaces. The Panel Bin can be used to store panels so they
are out of the way yet still accessible.
Dragging a panel.

A menu panel
A few commands are accessible from both the menu bar and the panel menu.
Other commands are only available through panel menus. To display the
different commands in each panel, select the panel menu option.
Panels with pop-up sliders
Pop-up slider options can be found in some panels and dialog boxes (for
example, the Opacity option in the Layers panel). The pop-up slider can be
opened by clicking the triangle if it is present next to the text box. Holding
down the mouse button while dragging the slider or angle radius to the
desired value, position the cursor over the triangle adjacent to the setting. To
close the slider box, hit Enter or click outside of it. Pressing Esc will reverse
modifications.
Note: While holding down Shift, press the Up or Down arrow keys to
increase or decrease values by 10% increments when the pop-up slider box is
active.

Different ways to enter values

A. Dial B. Click to open window C. Text box D. Menu arrow E. Scrubby
slider F. Check box G. Hotkey H. Pop ‑ up slider triangle
Utilize Panels
For quick and simple access, panels group features, data, or functionality into
logical categories. In Photoshop Elements, the Panel Bin is located on the
right side. Depending on the mode you're in or the types of elements you
wish to work with, it shows tabs and panels. In the Panel Bin, it is shown:
Panels available in Expert mode
Panels can be shown in two different ways in the Expert mode:
1.Basic Workspace
2.Custom Workspace.
Basic Workspace
The Basic Workspace is always listed as the available workspace option. The
taskbar in this view contains buttons for the panels that are utilized the most
frequently. The workspace has the following buttons: Layers, Effects,
Graphics, and Favorites. For instance, all the options relating to layers are
displayed when you click the Layers button. Click More to see all of the other
available tabs or to close any open tabs.
Customized Workspace
When viewing panels in the Panel Bin, pick Custom Workspace by clicking
the arrow next to More. Select a tab from the pop-up list after clicking More
to display a list of all the available tabs.
The tab you chose is shown. In the custom workspace, you can leave the
commonly used panels open. Group panels collectively or dock one panel
beneath another. You can drag the tab's title bar and drop it into the tabbed
arrangement, as well as drag and drop the tabs dialog.
Note: To remove a panel from the Panel Bin and leave it open, drag it out of
the bin.

The Panel Bin

Ø Select Window > Panel Bin to reveal or hide the Panel Bin.
 Ø Within the Panel Bin (Custom Workspace),
Ø You can remove a panel from the Panel Bin by dragging its title bar
out of the Panel Bin.
Ø Dragging a panel's title bar into the Panel Bin will add the panel to
the bin.
Ø Drag the panel's title bar to a different point in the Panel Bin to
reposition the panels.
Ø Panels in the Panel Bin can be expanded or collapsed by double-
clicking their names.
In Custom Workspace view, choose one of the following to use panels
that aren't in the Panel Bin:
Ø A panel can be opened by selecting its name from the Window menu
or by clicking the arrow next to the More button in the taskbar and
choosing a panel.
Ø Select the panel's name from the Window menu to close it.
Alternately, you can select Close from the panel's title bar.
Ø Drag any panel corner to adjust the panel's size.
Ø Drag the panel onto the body of the target panel to group panels (one
panel with many tabs). When the pointer is over the appropriate region
for grouping to happen, a thick line is displayed around the target
panel's body.
Ø Drag the panel's tab to the new group if you wish to shift it to another
one.
Ø Drag the panel's tab outside the group to detach it from the group.
Ø Drag a panel group's title bar to reposition it.
Ø Double-click the title bar or panel's tab to expand or collapse the
panel or panel group.
Ø Drag a panel's tab or the title bar to the bottom of another panel to
dock them together (create stacked panels).
Ø When the pointer is above the proper spot, a double line appears at
the bottom of the target panel.
Ø Select Window > Reset Panels to return all panels to their original
places.
Use the taskbar
Taskbar
The taskbar, located at the bottom of Photoshop Elements, features buttons
for the panels and editing actions that users execute the most frequently.
Toggling between showing thumbnails and tool choices is possible by using
the Photo Bin and Tool Options buttons. You can rapidly adjust the layout,
rotate photos, or undo and redo tasks. To launch Photoshop Elements
Organizer, you can alternatively click the Organizer button. You can access
the home screen by pressing the Home Screen button. To go between the
Basic and Custom workspaces when in Expert mode, click the arrow next to
More.
Utilize the Photo Bin.
The Photo Bin shows thumbnails of open images and is situated above the
taskbar near the bottom of the Photoshop Elements window. To flip between
several open photos in your workstation, it is helpful. You can move through
open images, open or shut images, make a certain image the frontmost image,
duplicate an image, rotate an image, or see file information using the tools in
the Photo Bin. Open pictures can be simply edited in Quick mode. Open in
the Create panel are multipage projects made using the Create tab.

The Photo Bin

Do one of the following things:
Ø (On Windows alone) Drag a file into the Photo Bin to open it from
any location on your computer, including the Photo Browser, or from
a storage device that is connected to it.
Ø Click a thumbnail to make the image that is now open the frontmost
 image.
Ø Drag thumbnails in the Photo Bin to reposition images. This order
has no bearing on how the photo is displayed in the Elements
Organizer.
Ø When you right-click a thumbnail in the Photo Bin and select Close,
an image will be closed.
Ø Right-click the thumbnail and select Minimize from the context menu
to make an image in a floating window invisible.
Note: To reveal an image after it has been hidden, either double-click it in the
Photo Bin or right-click it and select Restore from the context menu.
Ø By selecting File Info from the context menu after right-clicking a
thumbnail, you may see the file information for a particular photo.
Ø Right-click a thumbnail, select Duplicate from the context menu, and
then give the new file a name to duplicate a picture.
Ø Right-click a thumbnail to bring up the context menu, then select
Rotate 90° Left or Rotate 90° Right to rotate the image.
Ø Right-click in the Photo Bin and select Show Filenames from the
context menu to display filenames.
Ø The Photo Bin taskbar icon can be clicked to manually display or
conceal the bin.
There are other ways to work with the photographs that are available in
the Photo Bin on the flyout menu:
Bin Files to Print: opens the Print dialog box for Photoshop Elements, which
includes options for printing the photographs that are currently selected in the
Photo Bin.
Bin Save as Album: enables you to give an album with the photos in the
Photo Bin a name and save it. In Organizer, the latest album is accessible.
Grid display gives photos in the Photo bin a grid border.
VIEWING FILENAME
Each image file created when you take a shot with your digital camera
contains details like the date and time the photo was taken, the shutter speed
and aperture, the particular camera model, and more. All of this data is
known as metadata, and you can examine and edit it in the File Info dialog
box in Photoshop Elements as well as the Properties panel of the Elements
Organizer.
As you edit and arrange your collection, you may add file details like a title,
keyword tags, and descriptions to help people locate your photographs.
Photoshop Elements automatically records the file's edit history as you work
on your photos and adds this information to the file's metadata.
View or add file details.
The camera information, caption, and authorship information that have been
added to the file are all displayed in the File Info dialog box. You can edit or
add information to files saved in Photoshop Elements using this dialog box.
Using XMP, the data you add is incorporated in the file (Extensible Metadata
Platform). XMP provides a common XML foundation for Adobe applications
and workflow partners that standardizes the production, handling, and
exchange of document metadata across publishing workflows. You can create
metadata templates to speed up the process of adding information to files if
you have metadata that you frequently enter for various files.
The data displayed for the Camera Data metadata category cannot be
changed.
Note: In the File Info dialog box, tags that were applied to a file in the Photo
Browser appear as keywords.
Ø There are some file types that do not support tags as keywords,
including PDF and BMP.
Ø Select File > File Info while an image is open. (File Info can also be
selected by right-clicking a thumbnail in the Photo Bin.)
Ø To view specific information, select the Description tab at the dialog
box's top.
Ø You can add or change the document title, author information,
keywords, and copyright information in the description.
Ø To embed the information, enter the necessary information in the text
fields and press OK.
Ø Select a copyright status option from the drop-down list.
Guided Edit Search
You may locate the appropriate Guided Edit in Photoshop Elements by using
the Guided Edit Search feature. By searching for - you can quickly and
simply find what you want to do or learn about new things to try.
Text - To find a Guided Edit fast if there is one about which you are positive,
type the Guided Edit's name or other pertinent text into the search box.
Keywords: A list of pertinent Guided Edits is displayed when you click on
the keywords.
Explore the Explore section to find some hidden gems.
To make use of this function, open the Search window by clicking the Search
icon in the Guided workspace.

Use a guided edit

Choose one of these:
v Open Photoshop Elements and a picture.
v Choose pictures from the Photo Bin.
v In the Photoshop Elements window, select Guided.
From the screen for Guided mode, pick any of the following categories:
Basics:
1.Black and White
2.Special Edits and Fun Edits
3.Photomerge
v Choose a guided edit from the offered choices.
v Editing options appear when you open your photo.
v Using the Zoom option, you can enlarge or reduce the image's size
(optional).
v Make adjustments to the image.
(Optional) Utilize the View drop-down to view the outcomes. You can
select from the following choices:
v Horizontal only, before and after
v Vertical Before and After
v Once you've achieved your goal, click Next to decide how to move
forward
v Preserve the newly created image in any of the supported formats by
selecting Save - Save / Save As.
Editing will continue in Quick or Expert: Whether you choose to edit the
image in Quick mode or Expert mode is up to you.
Share through Twitter or Flickr: Select one of the social or sharing
platforms offered by Photoshop Elements to publish your image online.

General Preferences Setting

In the Photo Editor, you may customize your settings to control everything
from your cursor to how photos are saved, performance, and plug-ins.
However, we will only cover the General, Saving Files, and Performance
options in this course. As we learn more about editing and the things
Elements has to offer, we'll cover the other topics later in this course.
Go to Edit>Preferences if you wish to modify or clear your preferences.
Although you can choose to set your preferences for any of the side menu
options, we want to start this lesson by simply selecting General. The
Preferences dialogue box will then be displayed. This dialogue box contains a
list of every option available in the side menu. This is how the General
Preferences dialog box looks:
Now, preferences can be set for
Choosing a color. Standard is Adobe. Windows is an alternative option.
v The quick-step key for going backwards or forward. Ctrl+Z or
Ctrl+Y is the default.
v You can undo and redo using these commands.
v Following that, you can customize Elements by selecting options.
v Put a checkbox next to an option to indicate that you've chosen it.

By choosing Saving Files on the left of the dialogue box or by going to

Edit>Preferences>Saving Files, you can also customize your preferences for
saving files.

Preferences for Saving Files

Go to Edit>Options>Saving Files to set your preferences for Elements' file-
saving behavior.

Examine the File Saving Options area in the dialogue box's upper-right
corner.
You can manage how files are saved by using On First Save.
Check to see if Original is the default choice. When you first save the original
file by selecting this, the Save As dialogue box is displayed. The first save is
replaced by all subsequent saves. (After the initial appearance, the Save As
dialogue box won't show up again.)
When you alter an image, the Save As dialogue box will always open with
the first save.
The previously saved version is replaced by Save Over Current File. No
dialogue box for saving is displayed.
In order to preserve your settings, click the OK button.
 CHAPTER FOUR
Import photos
Don't bother using the software that often comes with digital cameras to
explore and manage your photos. You can either access your camera from
Photoshop Elements and import the pictures you want, or you can copy the
pictures to your hard drive first and then open them in the Organizer.
Importing photos from a digital camera using the standard dialog
Follow the manufacturer's instructions to connect your digital camera to your
computer, or use a card reader to attach the camera's memory card.
Skip to step 3 if the Photo Downloader starts up automatically. Continue to
step 2 if you can't see the Photo Downloader.
v To open the Organizer, click the Organizer button whether you are
on the Home screen or in the Editor.

v If you're already in the Organizer, select From Camera Or Card

Reader when you click Import.
v You may also press Ctrl+G or Command+G to select File > Get
Photos and Videos.
 v The Standard dialog in the Photo Downloader makes it simple to
import all photos at once.
v In the Get Photos From option, your camera or card should already
be selected, but if not, pick it.
The number of images and their total size are listed below the menu:
v By default, the Photo Downloader saves pictures to your Pictures
folder; if the path indicated next to Location is truncated, hover your
pointer over it to see the complete location.
v Click the Browse (Windows) or Choose (macOS) button and choose
a folder or make a new one to save the files in a different location.
then press OK.
v Each batch of imported photographs is by default stored in a new
subfolder created by the Photo Downloader and labelled with the shot
dates.
You can alter this behavior by selecting one of the following options from the
Create Subfolder(s) menu:
v None stores the files in the location's designated folder, which is
often your My Pictures folder.
v Custom Name makes a folder with the name you specify.

By giving subfolders a unique name, you can make it simpler to locate

photographs on your disk in the future.
A folder labeled with the current date is automatically created by Today's
Date.
Shot Date organizes photographs into folders according to the date they were
taken; select your preferred date format from the available possibilities.

v Select a date format to use when naming subfolders using the

capture dates of the photographs.
v Select a renaming option from the menu to give the imported files
names that are more informative than what your camera suggests.
 v The default naming convention for your camera, for instance, is
presumably something like IMG 1031.JPG.
v You can name and number a collection of images "Vacation," for
example, by choosing the Rename Files option.
v Your images will then be saved with the names Vacation001.jpg,
Vacation002.jpg, and so on.
LOCATIONS OF THE IMAGE FILES
The Organizer produces a catalog, normally found in the Pictures folder on
your computer, to keep track of the photographs in your library. The image
files that you import into your library along with the catalog are saved in the
same place.
What happens to the files on the memory card can be selected in the Delete
Options section. I advise leaving the setting at After Copying, Do Not Delete
Originals just to be cautious, then erasing the card in-camera afterwards.
If you want to dump photographs onto the computer without using the Photo
Downloader, the Automatic Download option in the Windows version of the
Organizer is helpful. When a camera or other device is connected, images
download automatically.
Later, under the Organizer's options, you can disable it.
To download the chosen pictures to your PC, click Get Media.
First, each of your photos appears in its own Organizer window. To return to
the main Organizer window, use the Back button (which, depending on the
situation, may also say All Media)
 v The Organizer displays photos that have been downloaded from the
camera or memory card.
Using the advanced dialog, import pictures from a digital camera:
To access the advanced options, in step 2 of the previous procedure, click the
Advanced Dialog button. Then, repeat steps 1 through 8 as directed.
Before importing them, view every picture on your camera in the Advanced
dialog (the left side of the window is shown here).
Click the box next to any photographs you don't wish to import to uncheck it.
The Organizer automatically believes you wish to download each image.
Choose whether to enable or disable the following in the Advanced Options
box.
In the Advanced dialog, you can modify the importing procedure even more
(right side of window here).
As your images are downloaded, Automatically Fix Red Eyes tries to identify
and fix red eye issues.
Automatically Suggest Photo Stacks collects related pictures for simple
organizing and later inspection
When your camera is configured to Raw+JPEG, Automatically Stack Raw
And JPEG combines both image files taken.
Import into Album adds the images to a photo album you've already created
(for more information, see the section below titled "Use Albums to Arrange
and Group Photos").
In the Apply Metadata boxes, provide your name (or the name of the
photographer) and a copyright notice. The images contain this text embedded
within them (but not visible in the image itself).
When importing an image, pick it and then click the Rotate Left or Rotate
Right buttons in the bottom-left corner to rotate it.
Rotate pictures during import to avoid doing it afterwards.
TIP: Instead of worrying about clicking each photo's separate boxes, simply
click the UnCheck All option before selecting the photographs you want to
import. Then, after selecting the photos, click just one box to make your
selections visible in the other boxes.
TIP: The unedited copies of the acquired images are stored in cameras' Raw
formats, which the Organizer may import. More adjustment options are
available with raw than with JPEG (which is processed and compressed in
the camera). When you begin editing a photo in the Editor, the Camera Raw
dialog first opens so that you can make preliminary modifications before
moving on to the Editor.
TIP: All of the imported photographs in that batch are subject to the
metadata values in the Creator and Copyright fields. For instance, if you want
different authors, import them in batches or modify the metadata once they
have been cataloged.

Importing pictures from files or folders:

v Click Import in the organizer and select From Files And Folders.
v If you insert media containing photos into Windows, you could be
prompted to choose an action (if you haven't already) when you do so.
v The Organize and Edit Adobe Elements 2022 Organizer icon should
be clicked to launch a file search dialog.
 v Choose the files you want to import use Shift to choose a range of
files that are consecutive, or Ctrl or Command to select files that are
not consecutive.

Import pictures from external drives or other locations on your hard drive.
v Disable Copy Files On Import and activate Generate Previews if the
photographs are on removable storage and you only wish to import
low-resolution versions (see the sidebar for more information).
v Choose from the processing choices below the preview, just as you
would in the Advanced dialog indicated on the previous pages.
v To import the pictures, click the Get Media option.
v You have the choice to import keyword tags if the images already
contain them.

TIP: Now that those import stages are through and you know what's going
on, here is a lot faster approach: Simply drag image files to the Organizer's
window from a folder on your hard drive. They are effortlessly imported
using Elements.
TIP: If you are unable to locate any images you know are on your hard drive,
let the Organizer do the searching for you. Enter your search parameters by
clicking the Search button in the top right corner.
THE USE OF OFFLINE IMAGES
You have the choice to import only a low-resolution file via removable media
to the hard drive. This option can help you conserve hard drive space,
especially if you have a lot of files stored on multiple CDs or DVDs, a
network drive, or shared storage.
They can be imported as offline photos, which enables you to browse and
manage your complete media library.
In the Organizer, images that are offline are indicated by an icon in the
image's upper-left corner (FIGURE 3.10). You can create collections, add
tags, and carry out other operations. The organizer, however, requests that
you connect the original material if you wish to change the photograph. You
can still modify the low-resolution proxy if it's not available, but the results
won't look well. Elements copies the source image to your catalog as an
online image after you make the original available once more.

Using Watch Folders, import photos like follows:

v The Organizer can be configured to keep an eye on one or more
folders in the background for brand-new files. select "File" > "Watch
Folders."
v Select Add, then go to the folder you want to watch (FIGURE 3.11).
As many folders as you like, repeat the process.
 v When new images are added to one or more folders, the Organizer
can automatically import them.
v When new files are discovered in watched folders, choose an action
from the list; the Organizer will either notify you or automatically add
the files to your library.
v When you're done, click OK.
You are prompted to import photos when you add them to your watched
folder (if you opted to be notified in step 3).
v To move the pictures from the watched folder to the directory where
the Organizer keeps your catalog, click Yes.
(Windows only) How to scan an image into the organizer
Follow the manufacturer's instructions to connect a scanner to your computer.
v Click the Import button and select From Scanner in the organizer.
v Alternately, you can hit Ctrl+U or select File > Get Photos And
Videos > From Scanner.
v From the Scanner menu, select your scanning application.
v Choose an image format and degree of quality.
 v Select OK. For you to finish the scan, the Organizer transfers control
of the scanning process to the scanner's software.
The image is imported into your library after the scan is finished and the
scanner's software is closed.
REMOVE OR QUIT WATCHED FOLDERS
Although they are enabled by default, watched folders might be useful. The
Watch Folders dialog as a result constantly causes me to stop what I'm doing.
v You have the option to disable the feature altogether or remove a
folder from the list of watched objects.
v Select the folder from the list by selecting File > Watch Folders, then
click Remove to remove it.
v Selecting Watch Folders and Their Subfolders for New Files should
be deselected to disable the capability.
USING SCANNER PLUG-INS (WINDOWS)
You can acquire scanned images of your photographs, negatives, and slides
by connecting Elements Organizer to your scanner.
There are two techniques to obtain images from scanners:
The scanner driver plug-in module that came with your scanner should be
used. This program either uses the TWAIN® interface to scan and open
photos directly in Elements Organizer or is compatible with Windows 32-bit
Elements Organizer.
Note: that only Windows is compatible with the TWAIN manager.
To scan and save your photographs, use the standalone scanning program that
was included with your scanner. The photographs can then be added to
Elements Organizer using the methods listed below:
v To import, click. From Scanner, select.
v Choose File > Download Images and Videos using a scanner.
v Obtain images from scanners
Make sure you've installed all the software that came with your scanner
before attempting to scan and open your photos in Elements Organizer. Make
sure your scanner is linked to your computer properly by carefully reading
any instructions that came with it.
v Ensure that your scanner is turned on and connected.
One of the following should be done in Elements Organizer:
v To import, click. From Scanner, select.
v Choose File > Get Pictures And Videos using a scanner.
v Select the scanner's name from the Scanner menu to open the Get
Photos From Scanner dialog box.
Note: Verify that the scanner is turned on and correctly connected to your
computer if you see a None Detected message in the Scanner list.
v To choose a location to save the pictures, click Browse.
v The Save As option allows you to select a file format.
v The ideal option is typically JPEG, which is the default format.
v Drag the Quality slider to raise or lower the scan's quality if you
select JPEG.
v The size of the file increases with quality.

Quality slider
Select OK: Elements Organizer launches the TWAIN driver that came with
your scanner if you're using one with a TWAIN driver. To scan your photo,
adhere to the directions provided with the driver program. In most cases, you
may also pick a spot to scan or fix any color problems you may notice.
If you're using a WIA (Windows Imaging Architecture) scanner in Windows
XP, Windows Vista, or Windows 7, Elements Organizer will launch the
Windows XP scanning interface. The online Help for Windows has
directions. An application with a vendor-specific user interface is launched in
scanners that support TWAIN.
A preview of the scan is shown in the Getting Photos dialog box after the
photo has been scanned. The images are given the import date by Elements
Organizer.
Set scanner preferences
v Select Edit > Preferences > Scanner in Elements Organizer.
v From the Scanner drop-down list in the Import section, select the
name of your scanner.
v You must choose the device from the list each time you connect to a
different scanner. The connected scanner is highlighted to make it
easier for you to see it.
v The Save As option allows you to select a file format. The ideal
option is typically JPEG, which is the default format. Drag the Quality
slider to the desired level if you select JPEG. The size of the file
increases with quality.
v Click OK after deciding on a default location to keep your scanned
pictures.
Note: You always have the option to choose Restore Default Settings before
pressing OK.
Using the TWAIN driver, scan images
Certain scanners, digital cameras, and frame grabbers use the TWAIN
software driver to capture images. The maker of your TWAIN device must
offer a source manager and TWAIN data source in order for it to function
with Elements Organizer.
Install the TWAIN device and related software before using the scanner to
import images into Elements Organizer, then restart your computer. (For
installation instructions, consult the manufacturer's documentation.)
v Click Import > From Scanner in Elements Organizer or choose File
> Get Photos and Videos > From Scanner.
v The image displays in Elements Organizer once it has been scanned.
Note: On some scanners, like the Canon MP960, the scanning progress meter
will appear beneath Photoshop Elements after pressing the scanning button
for the first time. To move the progress bar forward, you can shrink the
Photoshop Elements window.
SCANNING IMAGES ON MAC
v Utilize the Apple ImageKit interface to scan and load images
(macOS)
v Select File > Import > Images from Device from the menu.
v The Image Capture app for Apple will then open.
v From the DEVICES list in the left-hand column, choose the scanner
you want to use.
Note: Check that the software and drivers were correctly loaded, and that the
scanner is connected, if the name of your scanner does not appear in the list
of DEVICES.
To open the resulting scanned image in Photoshop as a new document, select
Create new Photoshop document.
Set the destination, name, file format, color, resolution, and size choices for
your scanned image.
Select Scan.
In Photoshop, the scanned image will open for alteration.
 CHAPTER FIVE
ORGANIZING PICTURES
A TOUR ON THE ORGANIZER
The Organizer and the Editor are the two main workspaces in Photoshop
Elements. To find, import, organize, and share your photographs and media
assets, use the organizer. To edit and enhance your photos and create
presentations to display them, use the editor.
Regarding the workspaces in Photoshop Elements
After importing and selecting a photo in the Organizer, you may open it in
the Editor workspace by selecting Quick Fix, Full Edit, or Guided Edit from
the menu by clicking the Editor button (edit button.jpg) in the top right corner
of the Organizer window.
To access the Organizer workspace while working in the Editor, click the
Organizer button (organizer button.jpg), which is situated close to the upper
right corner of the Editor window.

The Organizer, which is depicted in the figure above as the background, and
the Editor can be switched between using the buttons at the top of the work
area (shown in the foreground).
When the Editor and Organizer windows are both active, you may rapidly
switch between them by clicking on the corresponding icons in the Windows
task bar at the bottom of your screen.

The workplace for the organizer

The Photo Browser pane is the primary workspace in the Organizer
workspace where you can locate, arrange, and manage your images and
media files as well as see the presentations you design to share them. The
Task pane, which contains the Organize, Fix, Create, and Share panels, is
located to the right of the Organizer window.

A single image or media file may be displayed in the Photo Browser pane, or
thumbnails of each file in your library may be displayed in a variety of ways.
If you prefer to see your images and media files by date, the Organizer
includes a Date View workspace that enables you to work with your files in a
calendar style. You may also display your data sorted by import batch, folder
location, or keywords.
With just one convenient window, the Photo Browser makes it simple to
navigate through all the images and materials in your library. Even items that
you keep saved remotely—on a CD or other external media—can have
previews displayed.
Applying keyword tags and organizing your images into albums are two
ways to organize and manage them in the Organize panel of the Task pane.
The Fix panel provides tools for the most popular photo-editing procedures,
including color balancing and red-eye removal. (To go to the Editor
workspace for more difficult editing chores, select Quick Fix, Full Edit, or
Guided Edit from the Editor menu.) Use the Create panel to put together
projects and presentations, such as greeting cards and slide shows, and the
Share panel to share your files with friends, family, clients, or the general
public by creating an online album, burning a CD or DVD, or sending your
photos as e-mail attachments or photo mail layouts.
The editing environment
You'll concentrate on editing, modifying, and fixing your photographs in the
Editor as well as producing projects and presentations to show them off.
There are three options available: Full Edit mode, which includes tools for
color correction, special effects, and image enhancement; Quick Fix mode,
which includes straightforward tools and commands to quickly fix common
image issues; and Guided Edit mode, which offers step-by-step guidance for
editing tasks.
The Quick Fix and Guided Edit modes are fantastic places to start when
altering and fixing your images if you are new to digital imaging.
If you've ever used image editing software, you'll discover that the Full Edit
mode offers a more robust and flexible image editing environment, complete
with tools to assist you make accurate choices and rectify image flaws as well
as instructions for exposure and color correction. Tools for text editing and
painting are also available on the Full Edit tool bar. Move, hide, and reveal
palettes, or arrange them in the Palette Bin, to customize the Full Edit
workspace to how you prefer to work. A photo can be zoomed in or out, and
various windows and views can be configured.
How to Use the Palette Bin
The Palette Bin in the Full Edit workspace offers a handy place to organize
and store the palettes you need for picture editing activities. Only the Effects
and Layers palettes are put in the Palette Bin by default. The workspace is
opened with additional palettes that you select from the Window menu.
Palettes that float are what these are called. Which palettes will be stored in
the Palette Bin and which will float is up to you.
To upgrade the Palette Bin with floating palettes:
v To open the palette you want to put in the Palette Bin, select
Window > [palette name].
v To the Palette Bin by its name tab, drag the palette there.
v The palette can be moved around the screen by dragging it along the
bar at the top of the palette window rather than dropping it into the
Palette Bin.
v By selecting Place in Palette Bin When Closed from the palette
menu, which is available by clicking the triangle circled in the figure
below, and then closing the palette window, you may also add a
floating palette to the Palette Bin.
In order to close palettes or remove them from the palette bin
v Drag a palette by its title bar into the main work area to remove it
from the Palette Bin.
v Disable the option Place In Palette Bin When Closed by opening the
palette menu.
v Window > [palette name] can be used to close a palette, or you can
click the close box (close box.jpg) in a floating palette's upper right
corner.
v When a palette is active, a check mark appears next to its name in
the Window menu.
v Selecting a check-marked palette name closes the palette window.
Changing the Palette Bin's Palette Sizes
By executing one or both of the following, you can change the size of the
palettes in the palette bin:
v To change the Palette Bin's width, drag the triangle on the left
border.
v To change the height of a palette, drag the bars that separate the
palettes up or down.
Create keyword Tags
The Organizer's sorting and filing mechanism is built on the modest small
tag. But I understand why most people don't bother to tag their images. Give
tags a chance even though there are other ways to find photographs. They
significantly simplify using your library. (Technically, keyword tags are
merely one kind of tag, however "tag" and "keyword" are frequently used
interchangeably.) Later in this chapter, I discuss the various categories of
tags.)

To open the panel, select the Keyword/Info button

on the taskbar's right side, then select the Tags tab. To view the keyword tags,
expand the Keywords heading.
The Tags panel displays keyword tags together with other tags.
Keyword tags have complete functionality and are hierarchical: They can
have several subcategories, be color coded, have notes, and have thumbnail
pictures. I'll go into all of that, but first I want to draw attention to the easiest,
least complicated strategy I typically use: the Add Custom Keywords section.
When importing images, keyword tags can also be added.
Using the Image Tags field, formulate keyword tags as follows:
v Choose one or more pictures.
v In the Add Custom Keywords field, enter a keyword.
v Even better, use commas to separate multiple keywords so you may
generate and use them all at once.
v As you enter, recommendations based on already-used keywords
display; click one right away to add one.

To create new tags, enter one or more terms in the Add Custom Keywords
section.
Enter/Return the key or select Add. The new tags are created by the organizer
and are then applied to the chosen image (s). They are listed in the Other
section of the Keywords list
Your newly created keywords appear in the other category.
Importing tags with pictures
Import photos from your hard drive that may already contain keywords by
following the procedures detailed before (for example, if someone sent you
the images or you used another program to assign tags).
Choose the tags you want to add to your list in the Import Attached Keyword
Tags box. Select OK. The remaining photographs in your collection can then
have the tags applied.

You have the option to add keyword tags that are present in the imported
photos to the Tags panel.
TIP: For other choices, including renaming the tags before import, choose
Advanced.
Making a new keyword tag (the difficult way):
The Create Keyword Tag dialog will appear when you click the New (+)
button in the upper-right corner of the Tags panel's Keywords section

To add a new tag, click the New (+) button at the top of the Tags panel.
Select the category or sub-category where you wish to add your new tag from
the Category menu.
Categories house all tags.
v In the Create Keyword Tag dialog, specify a category for your new
tag.
v Put a name for your tag in the Name area.
v You can voluntarily insert details pertinent to the images to which
the tag will be applied in the Note field.
v To end the dialog, click OK.
v The Tags panel displays your new tag in the category you selected.
TIP: The first image you tag with a new tag immediately serves as the tag's
icon. I'll disregard the Edit Icon button for the time being because this is a
quick and efficient way to apply tag icons.
To modify a tag's attributes:
v Choose the name of the tag you want to change in the Tags section
(not its box; more on that shortly).
Choose one of these:
v Select Edit from the menu that appears when you click the New (+)
button

Edit a tag's properties.

 v Right-click the tag whose properties you want to modify in the Tags
panel, and then select Edit from the menu.
v Make the appropriate adjustments in the Edit Keyword Tag dialog
and then click OK.
Removing a tag:
v Right-click the tag you want to remove in the Tags panel.
v You can select Delete from the context menu.

Remove a keyword tag that you don't want.

v To confirm the deletion of the keyword tag, click OK in the dialog
box.
v The tag is eliminated by the Organizer from the Tags panel, from
any Media Browser photos with the tag, and from any previously
stored searches that make use of it.
combining tags:
v Pick tags that have related terms (or other criteria you want to
simplify).
v Select Merge Keyword Tags with a right-click on the tags.
v Choose one tag from the list that displays in the dialog box
 (FIGURE 3.41); the other tags are deleted, and the images with the
previous tags now have the chosen tag.

Merge tags to get rid of duplicate terms.

AUTO CREATIONS
With the Auto Curate check button in the Organizer window's upper-right
corner, Photoshop Elements 2023 gives you access to an art curator.
Elements analyzes the images in the Media Browser window automatically
when the Auto Curate check box is selected. When finished, the media
browser only displays the top photos as determined by Elements' auto
analysis.

Utilizing Elements new Auto Creations feature

The Auto Creation feature, which is brand-new in Elements 2019, builds on
the auto curating tool that was implemented in Elements 2018. It is based on
different occurrences in your images. By accessing the Organizer Preferences
(Command + K on a Mac or Ctrl + K on a PC) and selecting Media-Analysis
in the left pane, you can enable Auto Creations. As seen below, turn on
Generate Auto Creations in the right pane.

Auto-generating creations
Elements browses your catalog and organizes items according to major
events like birthdays, family excursions, weddings, trips, and vacations. It
can take some time before the entire conversion procedure is finished the first
time you convert a previous catalog and have the Auto Creation feature
enabled. New files added to your catalog are instantly added to like events
once you make auto creations.
Introducing new events
To add a new event, click the Add Event Icon. As seen, a side panel opens.
Click Done after entering a name and a description. Items associated with the
new Event are gathered together and added as an Event tag.
RATING IMAGES WITH STARS
Rating my images is my go-to approach for keeping them organized. Star
ratings help me decide which photos are worth preserving, which I want to
alter later, and which I may share with others. I can quickly explore the finest
pictures taken during a specific vacation or holiday by combining ratings
with other metadata, like events, for example.
Rating a picture:
Click the gray stars that display below a picture in the Media Browser to
assign a rating from 1 to 5 when View > Details is enabled (FIGURE 3.24).
To recognize your better images, give them a rating.
To give all of your chosen photos the same rating, click the stars next to any
one of them.
Press the number key between 1 and 5 that corresponds to the rating you
want to apply after choosing one or more photographs.
TIP: Star ratings are arbitrary; you can give them any value, but generally
speaking, a 5-star rating denotes an excellent photo, while a 1-star rating
denotes a photo that is only passably good. The scale that I personally
employ operates as follows: A grade of 1 stars denotes that the image is
acceptable—often not fascinating, but also not blurry or instantly deletable.
Photos with a 2-star rating have the potential to improve after my initial
review; I frequently go back and tweak these photos. Images that have been
altered to my satisfaction receive a 3-star rating. I give images that I think
stand out above others a 4- or 5-star grade.
TIP: I know it's tempting to start editing right away, but after you've
imported your photographs, I suggest spending a few minutes doing a fast-
rating pass. It is then simpler to decide which ones to tackle first.
MARK PHOTOS AS HIDDEN
v Use the Hidden attribute to keep some photos hidden until you need
them if they appear to be clogging up the Media Browser.
v To hide a photo from display, select it and then select Edit >
Visibility > Mark As Hidden (or press Alt+F2/Option+F2).
v Select Edit > Visibility and then either Show All Files or Show Only
Hidden Files to reveal hidden images.
v The face of each concealed photo's thumbnail has an eye icon with a
strikethrough. Select Edit > Visibility > Hide Hidden Files to reveal
them once more.
v Select Edit > Visibility > Mark As Visible, which eliminates the
attribute, to make a hidden file permanently visible once more.
ADDING IMAGES TO AN ALBULM
Another method of organizing your photographs in Photoshop Elements is
through albums. Albums can be used to hold pictures that fit a certain set of
requirements. For instance, you might quickly locate all of the five-star
pictures of your family by using your tags and star ratings. To find all the
pictures you took at a conference in Paris, you can also use your Events and
Places tags.
However, you are not required to star or tag any of the images you add to an
album. The Organizer's albums feature is available for you if you need a
folder for a special collection of digital images. Another method of
organizing your photographs in Photoshop Elements is through albums.
Albums can be used to hold pictures that fit a certain set of requirements.
For instance, you might quickly locate all of the five-star pictures of your
family by using your tags and star ratings. To find all the pictures you took at
a conference in Paris, you can also use your Events and Places tags.
However, you are not required to star or tag any of the images you add to an
album. The Organizer's albums feature is available for you if you need a
folder for a special collection of digital images.
Ways to make an album
You can further segment a collection into groups that you might want to
identify for printing, sharing, or on-screen slide shows using albums and star
ratings.
The steps below can be used to create an album:
1. To choose which images to include in a new album, sort the images in the
Media Browser.
In our illustration, we used the third star to sort the pictures that had three or
more stars.
2. As indicated, click the plus (+) sign next to Albums in the left panel's top
section. Go to the drop-down menu and select New Album.

To access the drop-down list, click the plus (+) symbol, then select New
Album.
3. Give the new album a name.
The panel for adding a new album is located in the Panel Bin. The New
Album panel is located on the right side of the Organizer window. Type the
album's name in the Album Name text box there.

Drag images to the items window in the Add New Album Content panel.
If you didn't organize your files in Step 1, you can do it now or just choose
whatever pictures you want to include in the new album from those that show
up in your catalog.
4. To add images to the Content tab of the Add New Album panel, drag them
from the Media Browser as displayed.
Press Ctrl+A or Command+A to choose all of the photos if they are sorted
and you wish to include them all in the Media Browser, or select Edit -->
Select All. Drag the selected files to the Content pane in the Add New Album
window after selecting them.
Click one or more pictures and drag them to the Content pane if your files
aren't organized. Drag pictures again and again until you have all the ones
you want to include in your new album.
5. At the bottom of the panel, click Done.
Your brand-new album is now visible in the Albums section of the Import
panel.
I'm done now! The images you dragged to the album are added to it, and your
new album is formed. By selecting the album name in the Albums panel, you
can see all the images contained within a specific album in the Media
Browser.
Note: Making several albums only takes a small portion of the computer
RAM needed to replicate the images for various functions, such as printing,
hosting on the web, sharing, and so forth.
Use albums for short-term projects.
You can add an album for short-term work and then remove it after you're
done with it.
You might want to look into some of the creation and sharing options in the
Create and Share panels, for instance. Create an album and add images to it
before exploring the choices. Use the sharing feature that appeals to you after
that. After you're done, right-click to see a contextual menu, then select
Delete.
Edit an album
You might wish to alter an album after you've created it, whether it's to
change the album name, add additional images, remove some, change the
album category, or do something else entirely.
You should always start by looking at the left side of the Organizer before
making any kind of adjustment to an album. You may see a list of albums
under the Albums category of the Import panel. Right-click the album name
and select Edit to edit the album. The album can be found in the Panel Bin on
the right side of the Organizer after selecting Edit. Drag pictures into the
album from the Media Bowser.
Additionally, you can drag pictures from the Media Browser onto the name
of an album to add them.
Simply right-click the album name and select Edit from the context menu to
remove photos from the album. Select a photo and click the Trash icon at the
panel's bottom when the album opens as a panel on the right. The trash icon
cannot be selected while dragging a photo there. You have to pick a picture
and select the Trash icon.
The context menu that appears when you click on an album name in the
Import panel contains additional commands. You can share an album,
examine some export choices, rename an album, remove an album, and
upload new media to your album.
NOTE: You must close the Add New Album panel in the Panel Bin in order
to use the context menu instructions. You cannot click an album name to
bring up a context menu when this panel is open. The Add New Album panel
in the Panel Bin can be closed by clicking Done or Cancel.
Adding to the sharing of your albums
You can do a lot of fascinating things with a collection of images, and an
album is a great place to start. A collection of images that can be seen on
numerous devices and shared with others can be put together using albums.
We examine a variety of methods for sharing your albums with friends,
family, and perhaps the entire world later in this book:
v Create online photo albums and make them accessible to others.
v The albums should be saved to a file on your hard drive.
v Create an album so you can share pictures with others.
v Slideshows of albums can be viewed.
PLACING PICTURES ON MAPS
By location, order the images
Consider your favorite image once more. Once "Who" has been answered,
let's go on to "Where." In the Organizer's new Places view in Photoshop
Elements 11, you can arrange your globe and put your images on the map,
making it entertaining to retrace a family road trip or go back and remember
an exotic holiday.

Your images can be tagged with places.

You'll make the following new Places as part of this exercise: bookmarked
places that you can use as tags to add to your images, making it quick and
simple to locate that shot you took where?
By entering the term "run" in the text search box at the top of the workspace,
you may isolate the photos for this lesson in the Media Browser. Select
Click the Add Places button in the Task bar after selecting the first ten images
in the Media Browser.

Type Manhattan into the Search box located above the map window in the
Add Places dialog box. Click Search to launch the location suggestions menu
if it takes a while to appear. Select Manhattan, New York, NY, USA as the
proposal with the most comprehensive location data so that Photoshop
Elements can use it for tagging.
Manhattan is centered on the map as it zooms in. To add all ten images to the
new location, click the green check mark on the notification that appears
above the pin for the search result. The success of the surgery is indicated by
the appearance of an image count on the new pin. To close the Add Places
dialog box, click Done.
Select the nine photographs that need to be put from the Media Browser.
To include an image you've already placed on the map in the selection, Ctrl-
or Command-click it. In the Task bar, select the Add Places button. Zoom the
map in the Add Places dialog box, and then carefully drag the 10 thumbnails
you've chosen onto the Manhattan pin you already made.
An expedited visit to the Places perspective
Only the photographs in your catalog with location data are shown in the
Places view. After adding a few Places tags, you may start exploring.
NOTE: Keep in mind that the Places view can only display catalog photos
that have GPS position information. Until you add content to the map or
import pictures with GPS data, the Places view will be blank.
v In the workspace's view picker, select Places by clicking it.
v Click the Map button at the right of the Task bar below the
thumbnail grid to open the right panel if it is not already open in the
Places view.
v By selecting the Map tab at the panel's top, you can change the right
panel's display from the List view to the map if necessary.
v According to the picture counts on the map pins, there are 19 photos
in New York and another 36 photos tied to an Italian pin.
To choose every photo in the thumbnail grid that is attached, click the pin
that is located on Italy. To limit the Places view to only showing the images
associated with the selected pin, click the Show Media prompt above the pin
selection.
To view every image in your collection that is linked to a map pin, click the
All-Places button on the actions bar to the left of the thumbnails. Select any
of the unchecked images of the New York marathon after dragging the map
to the left until the USA is entirely outside the frame. The map pans so that
the Place you built earlier in the course is in the center of the screen.
TIP: Select View > Refresh if a pin ever seems to get lost in the move or the
map doesn't hop when you instruct it to.
WORKING WITH EVENTS
Using scripting, Photoshop offers external automation. Scripting languages
like VB Script that allow COM automation can be used in Windows. You can
send Apple events in macOS by using scripting languages like AppleScript.
Although they are not cross-platform, these languages may manage a variety
of programs, including Microsoft Office, Adobe Photoshop, and Adobe
Illustrator. You may manage tasks in Photoshop in macOS by using Apple's
Photoshop Actions for Automator.
JavaScript is also compatible with both platforms. Photoshop scripts may be
created with JavaScript support and run on either Windows or macOS.
Run a JavaScript.
Select the script from the list by selecting File > Scripts. All script files with
a.js or.jsx extension that are stored in the Photoshop 2022/Presets/Scripts
folder are listed in the scripts list. Select File > Scripts > Browse and go to
the script to run it from a different location.

Make scripts and actions run automatically

You can make a Photoshop or JavaScript action be triggered by an event,
such as opening, saving, or exporting a file in Photoshop. You can activate a
script or action with any scriptable Photoshop event, or Photoshop comes
with a number of predefined events. For further details on scriptable events,
go to the Photoshop Scripting Guide.
v Select File > Scripts > Script Events Manager from the menu.
v Select Run Scripts/Actions On Events To Enable.
v Select the script or action's triggering event from the Photoshop
Event menu.
v Choose the script or action to execute when the event takes place by
selecting either Script or Action.
You can pick from a variety of sample scripts in Photoshop. Select Browse,
then go to the script you want to run. Pick one action from the action set in
the first pop-up menu for actions, then pick another action from the same set
in the second menu. To be shown in these menus, the action must be loaded
in the Actions panel.
Select Add. The dialog box lists both the event and any scripts or actions
related to it.
Select the event in the list, then click Remove to disable and remove it.
Deselect Enable Events To Run Scripts/Actions to turn off all events while
keeping them in the list.
 CHAPTER SIX
CATALOGING FILES
The Catalog Manager allows for the creation, deletion, and management of
catalogs. Select File > Manage Catalogs in Adobe Photoshop Elements to
open the Catalog Manager. As seen, the Catalog Manager launches.

The dialog box for Catalog Manager

Before importing images, you can create a brand-new catalog from scratch in
order to keep your photos organized and your catalog files minimal. Take
these actions:
1. Open the Catalog Manager dialog box by selecting File > Manage
Catalogs, then click the New button as displayed.
2. When the New Catalog dialog box appears, in the File Name text box,
enter a name for the new catalog.
3. Tick the option to import free music into all new catalogs if you wish to
add the free music files that Elements installed.
NOTE: Selecting the check box for Import Free Music into All New
Catalogs and Import Music Files is advised. Free audio files are included
with the organizer that you may use to make a variety of things.
4. To create the new catalog, click OK.
5. To add files to the new catalog, select File Get Photos and Videos From
Files and Folders. Alternatively, you can select Import from the left panel's
menu, which is located above Albums and Folders.
The dialog box for getting pictures and videos from files and folders appears.
6. Look through your hard disk and choose the pictures you want to include.
Click Get Media once all of the files have been located.
The chosen images are added to the catalog's new collection of your media.
How to utilize catalogs
The following advice for using catalogs can be helpful after you've created
various catalogs for your images:
Before making your first catalog, consider how you want to arrange your
photos: Sadly, Elements doesn't give you a command that will divide big
catalogs into smaller ones. However, you can manually add new images to a
new catalog and remove photos from the previous catalog if you've generated
a large library and wish to divide it into two or more different catalogs.
Changing to another catalog Select File Manage Catalogs and the name of the
catalog you wish to open whenever you need to open a different catalog file.
To open the chosen catalog, click Open at the bottom of the dialog box. The
files in that catalog are reflected in the Organizer window.
Repairing a damaged catalog: Take note of the figure's Repair button. Your
catalog file may be damaged if you are unable to view thumbnail previews of
photos or open them in one of the editing modes. To attempt a repair, select
the Repair button.
Increasing catalog effectiveness: You may need to optimize a catalog if it
becomes sluggish in order to improve performance. To keep your catalog
performing at its best, you should regularly optimize it (by choosing the
Optimize button in the Catalog Manager).
Creating a catalog backup
Computer users frequently discover the value of backing up a hard drive and
the valuable data they spent time developing and revising the hard way.
Before you spend any more time editing your photographs in Elements, we
can spare you the annoyance right now.
The general guideline is that you should back up your files if you spend
enough time working on a project and it reaches the point where having to
start over would be really frustrating.
You should make a backup of the catalog file before arranging your files,
adding keyword tags, making albums, stacks, and version sets in case the file
gets damaged.
Fortunately, both Windows and Mac users can back up catalogs. Backing up
to a 1TB USB drive will give you the best performance.
The following describes how to use Elements to make a backup of your
catalog:
1. To launch the Backup Catalog Wizard, select FileBackup Catalog.
Elements guides you through the two panels of this wizard to easily generate
a backup of your files.
2. Decide which source to rely on.
These choices are available in the Backup Catalog to Hard Drive Wizard's
first pane:
Catalog-only Backup: In Elements 2021, this object is brand-new. A full
backup, in contrast to this type, includes keywords, tags, locations, events,
and other data. Backups of pictures and videos are also included. If
That backup will take a while if you have a large catalog with plenty of
pictures and movies. You can select this option instead, which backs up all
data except for the images and videos, if you don't need to backup your
photos and videos. Compared to the complete backup, this option operates
much faster.
Use the full backup option when you wish to back up everything of your data,
including your pictures and movies.
If you've already done at least one backup and want to update the backed-up
files, choose this radio button.
3. Select a destination location for your backed-up files by clicking Next.
The Select Destination Drive list displays active disks, external hard drives
that are connected to your computer, mounted network drives, and available
drives. Elements evaluates the writing speed and detects any previously
produced backup files when you select a drive.
NOTE: The wizard reports the total size of the files to copy. This
information is useful so that you can determine whether a backup disk has
enough space to finish the backup (on Windows) or whether more than one
drive is required.
4. Click the Browse option and choose the path if you want to copy files to
your hard drive or to another associated hard disk.
5. Select Save Backup.
The backup process starts. Make sure not to stop the backup. Allow Elements
to continue working until you receive a notification that the backup is
finished, which may take some time.

The backup destination media can be chosen using the wizard's options.
How to backup files and photos
Manually copying files to a second hard drive, CD, or DVD would be time-
consuming because they are spread out across your hard disk. Fortunately,
Elements makes finding files to back up a snap.
Select the Copy Files check box in the dialog box that appears after selecting
File > Copy/Move to Removable Drive, and then click Next. Choose a hard
drive, give the backup folder a name, and press OK. All files visible in the
Organizer are copied by Elements to your backup source.
NOTE: Photos from the Organizer cannot be backed up on CDs or DVDs for
Mac users. On the Mac, you can choose all of the photos in the Organizer,
create a burn folder in the Finder, and then drag the chosen files into the burn
folder. When you press the Burn button, a CD or DVD is created using the
files.
Viewing photos in memories
You may quickly and easily find your memorable moments with the help of
the Enhanced Search tool. Your media can be filtered using a variety of
criteria, all in one location. A search user story can also be created. You can
quickly view the outcomes for any of the following, for instance:
All of John's top photos (ratings of 4 or higher), tagged with the keyword
"Family," and posted in March 2016 (date)
For the past five years, all of Deborah's birthday-related media files
Videos that you shot while on vacation in Hawaii
With Enhanced Search, you have access to a single window from which you
can search across all of these criteria. Once you locate the photographs you're
looking for, Elements Organizer makes it simple to modify or share them.
Supported parameters for Enhanced Search
With Enhanced Search, you can combine one or more of the following
criteria to find media files:
Smart Tags
People
Places
Date
Folders
Keywords
 Albums
Events
Ratings
Media types
By means of Enhanced Search
Follow these steps to use the Enhanced Search feature:
In the menu bar's upper right corner, click the Search symbol.

Search icon
When you click the Search icon, a window appears with a list of all the
search parameters on the left side.
Place the mouse pointer over any tab on the left. A list of all entities included
in the panel is displayed in a panel.
The outcomes of lingering over the Smart Tags, Keywords, and Media Types
parameters are displayed in the following graphs.
Entities can be chosen by clicking on them in the corresponding panel. As
illustrated in the following example, you might begin by choosing a group of
Persons from the people panel.

The grid shows the media files with the individuals you choose.
the next step is to choose more entities from other panels (Smart Tags,
Places, Events, Keywords, and so on). The right panel displays the search
results. The following illustration displays objects chosen from the Date and
Ratings section (in addition to the entities selected from the People panel as
described in the previous step).
As a result, in this illustration, search engine results show media files that
completely match the following requirements:
Add Deborah, Dave, or Sara as examples (that is, the files include one or
more of these people)

On the Text bar, the entities you've chosen are displayed.

Note: As described in the section Searching by entering text in the text bar,
you can also search for media files by entering text in the Text bar.
To return to the main grid after finishing the search, click the Grid () button.
After that, you can edit or distribute the media files you were looking for.
Use the Clear Search button in the right-hand corner of the search field to
clear the search results.
How search functions both within and between categories
The search result shows all media files that have one or more of the entities
you specified when you search for multiple entities within a category. To
demonstrate this idea, consider the preceding example when you looked for
pictures of Deborah, Dave, or Sara in the People panel. In this instance, all
pictures that include any of these individuals (or more) are shown.
The search results are modified to only display media files that contain one or
more of these individuals and that have the star rating of 3 or higher when
you broaden the search to include photos with a star rating of 3 or higher in
addition to these people. For
For instance, a media file with Deborah in it but a star rating of 2 is not
displayed.
Only the media files that meet the criteria across categories are displayed as a
result of searching across the categories.
As a result, in the preceding example, all media files that satisfy the
following criteria are shown in the search results:
The file was created in 2016, it contains one or more of the persons you
choose, and it has a star rating of three or above.
Showing recent search results
A list of your previous searches is shown in the Recent Searches panel. To
view the most recent ten searches you've done, click in the search textbox.
Click the search text to perform the search once more.

Putting text into the text bar to search

By entering a search term in the Text field, you can look up media files
immediately. Elements Organizer displays media files that match the text
based on a variety of parameters when you type a name or word. As you type,
Elements Organizer also suggests words based on the people, places, events,
smart tags, and other items already in your catalog. The persons, places,
events, and so forth that begin with "D," for instance, are revealed when you
input "D."
The list dynamically changes to display tags as you continue to type,
allowing you to choose from options that are displayed that fit the words you
are now typing. . A search for that tag is run when you click any item in the
list, and the results are shown in Elements Organizer.
The "AND," "OR," and "NOT" operators are also supported by the text
search. The following is a representation of these operators:
OR: Denoted by the slash (/)
AND: Denoted by the sign "+"
EXCLUDE: Denoted by the symbol "-"
By default, AND (the "+" sign) and OR (the "/" symbol) are used to separate
elements inside and across panels, respectively (for example, "People"). By
clicking the icon, as displayed here, you can alter the operator.

You can request that particular media files not appear in the results. For
instance, add the keyword "bridge" prefixed with a "-" symbol to exclude the
files with that phrase from the search results.

Why tag many items once, and how to do it

In PSE Organizer, tagging enables more adaptable advanced searching. But
browsing through all of your materials and tags items just one or two at a
time is the worst.
To pick more than one item, click and drag it across the screen while using
the CTRL key.

The first choice is to tag the chosen things by typing a word in the Image Tag
box.
Alternatively, you can drag a ready-made tag onto the chosen items.

Searching in the Organizer with Metadata

The metadata search is an additional search function that I utilize frequently.
Access Find > By Details Metadata...
Simply click the addition sign (+) to add more search parameters to PSE.

Using tags to search in PSE Organizer 12

From PSE6-10 and PSE13 onward, Photoshop Elements 12 uses a different
technique of searching. To view the available tag searching options,
By selecting the Tags option at the bottom right, you may start searching by
tags.

Click on the > (greater than symbol) of a tag to reveal any keyword tags that
have been collapsed.
Simply choose the box next to the relevant detail you want to search under.
 CHAPTER SEVEN
EDITING CAMERA RAW IMAGES
LAUNCHING CAMERA RAW EDITOR
Adobe Camera Raw: What is it?
As you may already be aware, raw files are simply the data that a digital
camera sensor has stored, not images. A RAW converter's job is to perform a
procedure known as demosaicing in order to transform raw data into an
image. Adobe Camera Raw is the RAW converter used by Photoshop.
RAW converters, of course, have advanced greatly over time and can now do
much more than simply degrade RAW files. Most now have cutting-edge
editing tools and features that you can utilize to make alterations to the RAW
data during conversion. These programs can be used to edit and change
picture files like TIFFs and JPEGs in addition to working with RAW files.
Photoshop is launched with Camera Raw
As was already explained, Adobe Camera Raw is used by Photoshop to
process any RAW files before you can modify the picture. For this reason,
Camera Raw starts up automatically when you open a RAW file using the
"File | Open" option in the Photoshop menu.
What if, though, you're working with a standard image, such as a JPEG or
TIFF file? Camera RAW can modify these image files, as we've already
mentioned. How can you start Camera RAW so you can modify those?
Fortunately, Photoshop made it possible to do this a number of years ago.
Opening a Camera Raw Image File
You must choose a pixel layer in the Photoshop Layer Window for this
procedure to function. If an adjustment layer, such as a Curve or Levels
adjustment, is open, the filter won't have any impact.
Making a "Stamp Layer" will ensure that you are working on a pixel layer.
To achieve this, choose the top layer in the Layers Window by clicking on it.
Then, on your keyboard, hit Shift + Option + Cmd + E (Mac). On a Windows
computer, press Shift + Ctrl + Alt + E. This adds a fresh pixel layer atop the
currently chosen layer. All of the other visible layers in the image are
combined into a new layer called a Stamp Layer.

Use the "Filter | Camera Raw Filter..." option from the Photoshop menu with
the new pixel layer selected. It is located near the top of the menu. When you
choose this, Adobe Camera Raw will launch and show your image for
modification.

After making any necessary edits, click the OK button to save the
image.
The Camera RAW filter immediately applies your adjustments to the
newly produced image layer after you click OK.
Easy Ways to Launch Camera Raw in Photoshop
The steps listed here can help if you need to open an image in Camera Raw in
Photoshop quickly. Skip to the following section if you wish to grasp the
details in more detail.
v Go to the Photoshop menu and choose "File | Open". The Open File
dialog is shown as a result.
v Click the Open button after selecting the file you want to open. If the
file you've chosen is a RAW file, Camera Raw will launch.
v If not, proceed to the following step after the image opens in
Photoshop.
v The "Camera Raw Filter..." option can be found near the top of the
Filter menu in Photoshop when the image is open.
v To open the picture in Adobe Camera Raw, click this.
v Click the OK button to apply the edits to your image after making
them in Camera Raw.
v Using Photoshop's keyboard shortcut is an alternative to step 3.
v Photoshop opens Adobe Camera Raw for editing when Shift + Cmd
+ A is pressed (on a Mac) or Shift + Ctrl + A (on a PC).
Even though opening Camera Raw in Photoshop is straightforward, there are
a lot more things you can do, as the rest of this lesson illustrates.
As a smart filter, using Camera Raw
Although it's helpful to be able to open any image directly from Photoshop in
Camera RAW, this feature has a drawback. When you make edits to a pixel
layer, you are permanently altering that layer when you apply your changes.
For instance, you might apply a layer to Camera Raw and boost contrast to
+20. The Contrast adjustment is back to zero when you access the layer in
Camera Raw a second time.
Using what Photoshop refers to as a Smart Object is the solution to this issue.
It's also one of the explanations for why I advise developing a fresh Pixel
Stamp Layer for the Camera RAW filter.
Create and choose a new Stamp Layer (as previously mentioned) in the
Photoshop Layers Window to begin.
The new layer must now be modified to utilize Smart Filters. By choosing
"Filter | Convert for Smart Filter" from the Photoshop menu, we may
accomplish this. Depending on your settings, Photoshop may then offer an
information dialog. Nothing seems to happen once you confirm the
conversion and after a brief interval.
However, if you carefully examine your layer in the Layers Window, you
will notice a tiny icon to the right of the thumbnail.

The layer can now employ Smart Filters, as shown by this icon.
Using Camera Raw to transform a Smart Object
After converting the layer to use Smart Filters, you may use the menu to
launch the Camera Raw filter as you would normally. Accessing a keyboard
shortcut can be used as an alternative to using the Photoshop menu. The
image is opened in Adobe Camera Raw by pressing Shift + Cmd + A (on a
Mac) or Shift + Ctrl + A (on a PC).
To apply your adjustments to the layer after making your adjustment, click
the OK button. The Camera Raw filter is now shown in the Layers Window
categorized as a Smart Filter. A unique class of filter that can benefit from
Smart Objects is known as a Smart Filter.
Double clicking the item (the red outline in the screenshot) in the layers
window will reopen the Camera Raw filter. Reopening the filter allows you
to see your past changes and make additional ones.
You can open and modify the Camera Raw filter at any point in the future if
you save your completed image in a Photoshop file format (like PSD). It
makes no difference if you've already shut down Photoshop or even rebooted
your computer. Your changes are saved by the Smart Filter.
OPENING IMAGES IN THE CAMERA RAW
EDITOR
Bringing the image from camera raw into Photoshop
The Open Image button is located in the bottom right corner of the Camera
Raw dialog box, and all that is required to transfer the image from Camera
Raw into Photoshop is a click. All three file types—not just raw files—are
covered by this:
 v The image will be sent from Camera Raw to Photoshop when you
click "Open Image."
Close Camera Raw and go back to the bridge
Alternatively, I may choose to click the Done button when I'm done with
Camera Raw and just want to shut it off and go back to Adobe Bridge:

v By pressing the "Done" button at the bottom right.

By doing this, the Camera Raw dialog box closes and Bridge is opened again.
The process of opening raw files with Camera Raw is truly as simple as that:
Back to Adobe Bridge.
Using Camera Raw to Open JPEG Files
JPEG file opening in Camera Raw is a little less obvious. JPEG photos are
completely supported by Camera Raw. But by default, Adobe Bridge opens
JPEGs in Photoshop rather than Camera Raw. I'll double-click the
"beach.jpg" thumbnail for my JPEG file in Bridge's Content panel.

double-clicking the thumbnail of the JPEG file.

And as can be seen, Bridge transmitted my JPEG image straight to
Photoshop, skipping the Camera Raw dialog box:
In Photoshop, not Camera Raw, the JPEG image is displayed.
That's not what I wanted, so I'll go to the File menu and select Close and Go
to Bridge to end the image in Photoshop and return to Bridge:

going to Bridge after selecting File > Close.

Although double-clicking the JPEG file's thumbnail didn't work, Bridge still
makes it simple to open JPEGs in Camera Raw. To choose a JPEG file, all
we need to do is click on its thumbnail. Then select Open in Camera Raw
from the File menu (in Bridge) at the top of the screen. We can also utilize
the convenient keyboard shortcut Ctrl+R (Windows) or Command+R (Mac):

v Selecting "File" > "Open in Camera Raw."

Alternatively, we can control-click (Mac) or right-click (Windows) on the
JPEG file's thumbnail in Bridge and select the menu item Open in Camera
Raw:

v Selecting "Open in Camera Raw" from the menu of the thumbnail.

In either case, Camera Raw opens the JPEG file:
Camera Raw has now opened the JPEG picture.
JPEG Image Editing in Camera Raw
I'll make a quick change to my image in the Camera Raw dialog box while
I'm there. By moving the Vibrance slider to the right, to a value of about +40,
I'll increase the color saturation. Although we haven't discussed Camera Raw
yet, you'll see why I'm still doing this in a moment.

Increasing color saturation in Camera Raw by dragging the Vibrance slider.

Here, we can observe that the colors appear a little more lively:

The outcome after changing Camera Raw's Vibrance setting.

Putting The JPEG Image To Bed and Going Back To Bridge
After making that one straightforward adjustment, I'll click the Done button
to close the Camera Raw dialog box and go back to Bridge:

To accept the edit and go back to Bridge, click Done.

The Icon for Camera Raw Settings
This brings me back to Bridge. However, you'll note that something has
changed. The thumbnail of the JPEG file has an icon in the upper right corner
that wasn't previously present.
This indicator indicates that I have now applied one or more Camera Raw
adjustments to the picture. It was my Vibrance slider tweak in this instance:

Above the JPEG thumbnail, on the upper right, is a Camera Raw settings
icon.
Using Camera Raw Settings to Open JPEG Files
Earlier, we observed that Adobe Bridge opens the image in Photoshop rather
than Camera Raw when we double-click on a JPEG file's thumbnail.
However, if we double-click on a JPEG file that already has Camera Raw
settings applied, Adobe Bridge will automatically reopen the image in
Camera Raw.
I'll do a second double-click on the thumbnail as before:
Using the Camera Raw settings this time, double-click the JPEG file
thumbnail.
Bridge opens the photo again in Camera Raw for additional editing this time
because I've already made at least one change to it there:

The image is automatically returned to Camera Raw using Adobe Bridge.

I'll click the Done button once again to close the image and go back to
Bridge:

Returning to Bridge by selecting the Done button.

How to Use Camera Raw to Open TIFF Files
TIFF files can be opened into Camera Raw from Bridge according to the
same procedures as JPEG files. TIFF images are completely supported by
Camera Raw. But by default, opening an image from a TIFF file in Bridge by
double clicking on it opens it in Photoshop rather than Camera Raw.
Click on a TIFF file's thumbnail to choose it and then open it in Camera Raw.
I've chosen my "horses.tif" picture here:

the TIFF file by clicking on it in the Content panel.

Next, select Open in Camera Raw from the File menu, exactly as we did with
the JPEG image. Alternately, you can choose Open in Camera Raw from the
menu by right-clicking (Windows) or control-clicking (Mac) on the
thumbnail itself.
You can also click the icon labeled "Open in Camera Raw" at the top of the
Bridge interface to open pictures in Camera Raw, which works with all three
file types (raw, JPEG, and TIFF):

v Selecting "Open in Camera Raw" from the menu.

Any method you select launches Camera Raw from the TIFF file:

The TIFF file is opened by Adobe Bridge in Camera Raw. Steve Patterson is
pictured.
Camera Raw Editing The TIFF Image
I'll quickly alter my TIFF file, just like I did with my JPEG picture. I'll make
the black-and-white conversion this time using Camera Raw.
The panel section located to the right of the Camera Raw dialog box. There
are other panels available in addition to the Basic panel, which is the one that
is open by default and where I previously made my Vibrance adjustment. By
clicking on the tabs just above the name of the current panel, we can change
between them.
I'll click on the HSL / Grayscale panel's tab to launch the panel and turn my
image to black and white (fourth from the left). I'll then select the Convert to
Grayscale option by checking the box next to it. Finally, I'll select Auto to
allow Camera Raw automatically turn the image black and white:

Use the HSL / Grayscale panel to change the image to black and white.
Here is the result that Camera Raw produced. Although the black-and-white
conversion is not the best, it will work just fine in this case:
Camera Raw's automatic conversion to black & white.
TIFF File Closure and Return to Bridge
I'll click the Done button to exit Camera Raw and return to Bridge with the
TIFF file:

v To return to Adobe Bridge, click "Done."

Using Camera Raw Settings to Open TIFF Files
Back in Bridge, we can see that the icon we saw with the JPEG file is now
present, but this time it is in the upper right corner of the thumbnail for the
TIFF file. I have one or more Camera Raw settings applied to the image,
according to the symbol.
The thumbnail has been updated by Bridge to reflect the adjustments I made
in Camera Raw, as well. The thumbnail in this instance has gone from color
to black and white. After I increased the Vibrance in Camera Raw, Bridge
also updated the thumbnail of my JPEG file, but because the change was
subtle, it wasn't as obvious:

In the upper right corner of the TIFF thumbnail, there is an icon for the
Camera Raw options.
When we double-click on a TIFF file's thumbnail, just like with JPEG files,
Camera Raw will automatically reopen with any Camera Raw settings that
have previously been applied to it.
Double-clicking on the "horses.tif" thumbnail causes the image to reopen in
Camera Raw with the black and white conversion I previously applied:
 Camera Raw opens the TIFF file once more.
SHARPENING AND NOISE REDUCTION
You may utilize a number of tools in Photoshop to edit your photographs.
We'll demonstrate the following corrections in this lesson:
Sharpening: You can make an image sharper if it's not as clear as you'd like.
Image noise can be reduced if there is a lot of it or if the image is very grainy.
We'll also talk about how crucial it is to employ these tools properly.
Sharpening and noise reduction might become a problem if they are applied
improperly. They're a terrific method to give your photographs gloss if you
utilize them carefully.
Sharpening
An image might not always be as clear as you'd want. By increasing the
edges of the objects in the image, sharpening can help the image appear clean
and crisp. A loss in visual detail can result from oversharpening an image,
which can actually make it look worse.
As you can see, the shot seems sharp because of the proper level of
sharpness. For instance, the bird's feather edges are clearly seen in the middle
shot. Too much sharpening can produce halos, which are exaggerated and
unnatural-looking edges, as shown in the image to the right. You may have
also observed that the background of the excessively sharpened image has a
lot more graininess and image noise than the foreground.
Every time you add sharpening, you should carefully examine the image to
be sure you're getting the outcomes you want. In order to achieve the ideal
level of sharpening without introducing additional issues like halos or noise,
you'll frequently need to make precise adjustments.
Sharp mask
Photoshop users frequently sharpen photos with the unsharp mask filter. You
can alter a number of parameters when using this tool, including:
Quantity: The quantity controls how much sharpness will be used. It's a
good idea to experiment with this setting because the amount you'll need
depends on a number of variables, including the size of the overall image.
Radius: It's usually advisable to choose a relatively low number for this
parameter because it determines the size of the features that will be
sharpened. Although you might find it advantageous to use a slightly greater
radius (between 1 and 1.5) for higher-resolution photographs, we advise a
radius between 0.3 and 0.5 for the majority of images.
Sharpening has the tendency to increase the visibility of image noise.
By instructing the unsharp mask to disregard specific portions of the image,
raising the threshold can assist to lessen this. This may, however, also imply
that the sharpening is not applied consistently throughout the entire image.
For this reason, unless the sharpening generates a significant amount of extra
noise, we advise maintaining this value at 0.
To apply an unsharp mask:
Duplicate Layer can be chosen by right-clicking the layer you want to
sharpen. To avoid mistakenly changing the original layer, apply the
sharpening to this duplicate layer.

There will be a dialog box. Click OK after entering a name for the new layer.
In this instance, we'll use the term "Sharpened."
Filter > Sharpen > Unsharp Mask should be selected while the new duplicate
layer is active. You must select Unsharp Mask under Enhance in Photoshop
Elements.

You'll see a dialog window. Decide how much sharpness to add after setting
the ideal radius size. To determine what looks best, try experimenting with
various sharpening levels. To observe how the image is being sharpened,
look at the preview window above the sliders.
Toggle the preview on and off by clicking the preview window. This makes it
simple to contrast the original image with the sharpened version. Within the
preview box, click and drag to explore a different area of the picture. Keep in
mind that the preview is also visible in the main document window.
Once you're happy with the outcome, keep tweaking the settings and click
OK. We'll use the unsharp mask.
Sharpening TIPS
Here are some pointers for sharpening that will produce the greatest results:
1.The image's edges will typically start to glow at some point as you increase
the degree of sharpness added, making them appear overdone. Try reducing
the amount whenever you notice this to make the sharpening appear more
natural.
2.Reduce the opacity of the sharpened layer to make the appearance more
subdued if the sharpening still seems a little out of place.
3.Be aware that a severely blurry or out-of-focus photograph cannot be
corrected by sharpening. Images that are crisp yet have a little soft
appearance perform best.
4.Although Photoshop has additional sharpening effects, which can be found
in the Filter > Sharpen menu, the unsharp mask is still a helpful tool. Some
filters, such Sharpen and Sharpen More, sharpen to a predetermined degree.
Others, like Smart Sharpen, give you even more options for fine-tuning the
modifications, but they're also difficult to use than the unsharp mask.

Noise reduction
There may be a lot of noise in some photographs, giving them a grainy
appearance. By lowering the image noise, like in the example below, you can
make up for this.

Recognizing noise reduction

The information in the image is actually lost when noise reduction is applied.
As a result, it's critical to utilize this tool with caution to prevent removing
too much noise, which might result in blurriness and a loss of detail. The
objective of noise reduction is to make the image look cleaner and crisper
rather than to totally eliminate all noise from the image.
Similar to sharpening, you should always evaluate the image attentively to
ensure that you're obtaining the outcomes you desire. When lowering noise, a
tiny degree of information loss can be unavoidable, so you'll need to make
careful modifications to strike the ideal balance. Less noise should often be
removed in order to retain as much detail as possible.
You can alter a number of parameters when using this tool, including:
Strength: This parameter determines how much noise reduction will be used
overall. It will be simpler to understand the impact of the other settings if you
start with this setting at its highest value (10). Once the other parameters have
been changed, you can reduce the strength as necessary to achieve the
required level of noise reduction.
Preserve Details: This controls how much of the original image's detail will
be retained. A value that is too low will cause the image to lose a lot of detail.
The effects of noise reduction will be negated by a value that is too high. You
should play around with this setting until you are happy with the outcome.
Reduce Color Noise: Color noise, which occasionally appears as small
patches of distinct hues, needs to be avoided. This can be lessened by raising
the Reduce Color Noise setting. For most photographs, we advise choosing a
reasonably low value because raising this setting too high will cause the
various colors in your image to blend together.
Sharpen Details: Reducing image noise also results in a loss of sharpness.
You can restore the sharpness of the image's details using this setting. Be
cautious not to set it too high, though, as this can counteract the results of
noise reduction, exactly like with Preserve Details.
Applying noise reduction
Duplicate Layer can be chosen by right-clicking the selected layer. This
duplicate layer will receive the noise reduction, preventing you from
unintentionally changing the original.
There will be a dialog box. Click OK after entering a name for the duplicate
layer. We will refer to it as noise reduction in this instance.
Click the newly created duplicate layer, then select Filter > Noise > Reduce
Noise.

There will be a dialog box. Spend some time adjusting each parameter while
keeping the aforementioned tips in mind. To see the outcome, glance at the
preview window to the sliders' left.

Toggle the preview on and off by clicking the preview window. This makes
comparing the noise reduction to the original very simple. Within the preview
box, click and drag to explore a different area of the picture. Keep in mind
that the preview is also visible in the main document window.
Click OK once you're happy with the settings after making further
adjustments. There will be a noise decrease.
USE OF CALIBRATION PANEL
One of the least used and misunderstood tools in Adobe Camera Raw and
Lightroom Classic is the calibration panel. So let me explain if you've ever
been curious about what this mystery panel performs.
Note: This guide will assume that you are taking RAW photos. On JPEGs,
the calibration tool performs much worse because there is less data to work
with.

Digital Translation
Digital cameras don't have the same field of vision that your eyes do. A
digital signal is created when light strikes the camera sensor, which causes an
electrical current to be produced. Any given pixel in your image is assigned a
hue and brightness based on the relative intensities of the current that its red,
green, and blue light-detecting sub-pixels generate. If only the red sub-pixel
produces a charge, the pixel will seem red; if the red, blue, and green sub-
pixels produce a charge, the pixel will appear some shade of purple; and if all
four sub-pixels produce a charge, the pixel will appear white or gray. The
precise ratio of electrical charges determines which of the millions of
possible colors it is for each and every one of the millions of pixels in your
image.
The electrical charges that correspond to different hues do not, however, have
a uniform standard. The process by which different camera manufacturers
turn the digital signal into the colors in your image varies only a little. This is
a major factor in the distinctive appearance of Canon and Nikon cameras, as
well as the cameras in Apple and Samsung smartphones. It is also the main
cause of slightly different-looking RAW images taken by two persons using
different cameras while standing side by side.
Of course, no camera maker renders blue as orange or anything, but different
cameras will provide varied results when photographing a blue sky.
Location of the Calibration Panel

The calibration panel is the final panel in the right sidebar of Adobe Camera
RAW.
The Calibration panel is the final panel in the Develop module's right sidebar
in Adobe Lightroom Classic.
How to Use the Calibration Tool

The calibration panel in ACR (right) and Lightroom Classic (left) (right).
You can alter the underlying color assumptions for the entire image using the
calibration panel. Let's dissect it.
You can choose the Adobe Camera RAW version that will be used to convert
the data in your RAW photographs using the Process dropdown menu. The
most recent version is 5, although older photos might be using a different
version. If you find Version 1 or Version 4 or something similar here, replace
it to Version 5. There are very few reasons not to use Version 5. If not, you
can safely disregard it.
You can eliminate any color cast in the dark sections of your image with the
Shadows Tint slider without changing the other colors. Drag it to the right to
add more magenta if the shadows appear to be a little too green. Drag it to the
left to add extra green if something appears to be overly red or magenta.

The Calibration panel's primary tools are the Red Primary, Green Primary,
and Blue Primary selections. There are sliders for the Hue and Saturation on
each.
The Hue slider modifies the rendering of each of the image's underlying color
values. As a result, changing the Blue Primary Hue slider will effect any
colors in your image that include some blue as well as the blues themselves
(which is most of them). The sliders for Red Primary Hue and Green Primary
Hue function similarly.

The strength of each underlying color value in the image is influenced by the
Saturation slider, in a similar manner. The intensity of the blues in every
pixel of the image increases when the blue primary saturation is raised. Green
primary saturation and red primary saturation are equivalent.
How Does the Calibration Tool Work?

Color styling and color correction are calibration techniques. It has such a
large impact on your image because it changes every pixel at once. With no
other tools available, you can use this to make significant, worldwide
changes.
You can adjust colors to make them look nicer or more natural by using the
Hue and Saturation sliders in the Red Primary, Blue Primary, and Green
Primary tools (as well as possibly the Shadows Tint slider). For instance, if
your image contains a lot of artificial light that leans blue, you can lower the
blue primary saturation or move the blue primary hue slider to the left toward
turquoise.
You can essentially do whatever you want with color style. Try adjusting
each slider to see how it affects your photographs. For instance, everything
can pop in a really cool way by raising the Blue Primary Saturation.
WORKING WITH FILMSTRIPS
All of the project's slides are shown in the Filmstrip in the sequence in which
they were published.
A slide can be moved to a different position inside the Filmstrip to change its
order. Holding down the Shift or Control key while clicking on slides will
pick numerous slides. Press Control+A to pick every slide.
Right-click (Windows) or Control-click (Mac OS) on any slide, choose
Filmstrip, and then choose Small, Medium, or Large to alter the thumbnail
size.
If a label (short title) has been assigned to a slide, it will show up underneath
the slide. If you have assigned labels rather than only using the slide number,
it could be s jump to a specific slide if you have assigned labels instead of
just using the slide number.

The filmstrip
 A. Slide Label B. Slide Number
If the slide was recorded in: A handycam icon can be found at the bottom of
slides.
The Video Demo mode
FMR (Full Motion Recording) mode. By hitting F9 (to start FMR) and F10
(to cease FMR) while doing Automatic or Manual recording, you can record
in the FMR mode.
The audio icon can be shown at the bottom of a slide if it has an audio file
attached to it. To access a menu featuring sound options like Play, Import,
and Edit, simply click the sound icon.
If a slide is locked, a lock icon will show up in the slide's upper-right corner.
The slide can be unlocked by clicking the lock button.
The mouse icon can be shown at the bottom of a slide if there has been
mouse activity. To change some mouse properties, click the mouse icon.
WORKING WITH PROFILES
Accurate ICC-compliant device profiles are necessary for precise, reliable
color management across all of your color devices. Without a precise scanner
profile, for instance, a picture that was precisely scanned may appear
inaccurate in another software due to any discrepancy between the scanner
and the program presenting the image. This false depiction could prompt you
to make pointless, time-consuming, and even harmful "corrections" to an
otherwise good impression. A application importing the image will be able to
adjust for any device variances and show the real colors of a scan if the
profile is accurate.
The following types of profiles are used by a color management system:
Observe profiles Describe the color reproduction on the monitor at the
moment. This should be the first profile you make because seeing color
accurately on your monitor enables you to make important color choices
during the design phase. Maintaining color constancy will be impossible if
the colors in your document do not match the colors you see on your monitor.
profiles of input devices Specify which hues a given input device is able to
record or scan. Adobe advises that you choose Adobe RGB if your digital
camera offers a range of profiles. Use sRGB instead if not (which is the
default for most cameras). For more experienced users, employing distinct
profiles for various light sources may also be an option.
Some photographers make unique scanner profiles for every kind or brand of
film that is scanned on a scanner.
Device profiles for output Describe the color space used by output devices
like printing presses and desktop printers. To accurately map the colors in a
document to the colors found in the output device's color space, the color
management system uses output device profiles. Specific printing
circumstances, such the kind of paper and ink, should be included in the
output profile as well. As an illustration, glossy paper may display a wider
variety of colors than matte paper. Color profiles are typically included with
printer drivers. Try out these profiles first before spending money on
personalized ones.
profiles of documents Identify the precise RGB or CMYK color space used
in the document. The application offers a definition of real color appearances
in the document by associating, or tagging, a document with a profile. For
instance, the set of numerals R=127, G=12, and B=107 will be displayed
differently by various devices. However, when associated with the Adobe
RGB color space, these values describe a certain hue or light wavelength—in
this case, a particular shade of purple. In Adobe apps, new documents are
given a profile when color management is enabled depending on the Working
Space settings in the Color Settings dialog box. Untagged documents are
those that have only raw color numbers and no assigned profiles.
Adobe programs show and edit colors based on the working space profile
while dealing with untagged documents.
Managing colour with profiles
A. Profiles describe the color spaces of the input device and the content
B. The color management system determines the actual colors of the
document based on the descriptions of the profiles
C. The profile of the display instructs the color management system how to
convert the numeric values of the document to the color space of the monitor.
D. The color management system converts the document's numerical values
to the output device's color values using the output device's profile to ensure
that the printed colors are accurate.
USING SIDECAR FILM
PSD files can be opened and edited on an iPad thanks to the Sidecar feature
in Photoshop. With Sidecar, you may input data into Photoshop using your
iPad as a tablet or as a secondary monitor. How to utilize Sidecar in
Photoshop is as follows:
1. Verify that your computer and iPad are both logged into the same WiFi
network.
2. Launch Photoshop on your PC and select General under Preferences.
3. Select "Enable Sidecar" by clicking the box next to it under the "Interface"
section.
4. Use a USB cable to link your iPad to your PC.
5. Tap the "Sidecar" icon on your iPad in the top-left corner of the display.
6. Choose your computer from the list of available devices.
7. As soon as Sidecar is connected, your iPad will display your computer's
screen. Now you may use Photoshop with your iPad as a supplementary
monitor or input tool.
Exactly how does Photoshop's Sidecar work?
First, make sure that your iPad and PC are both linked to the same WiFi
network before using Sidecar in Photoshop. Check the box next to "Enable
Sidecar" in Photoshop by going to Preferences > General.
Next, use a USB cord to connect your iPad to your computer, then tap the
"Sidecar" symbol in the top-left corner of the iPad's screen. Sidecar will be
connected after you choose your computer from the list of devices that
appears.
NOTE: Avoid attempting to use the Sidecar feature if you are unfamiliar
with Photoshop. As a result, you can mistakenly alter or delete crucial files
from your computer.
You may now utilize your iPad as a secondary display or Photoshop input
device by making your computer's screen visible on it.
 CHAPTER EIGHT
MAKING AND MODIFYING A
SELECTION
In Photoshop, you can use selections to modify particular portions of your
image, make paths for other projects, and get rid of the background.
Regardless of the method you use to make a selection, it's usual for it to be
either a little bit too little or a little bit too large; this is especially true for
auto selection methods. Fortunately, there are approaches to alter and adjust a
choice in a few simple procedures.
A selection can be changed in a number different ways. It can be made
bigger, have additional content added to it, or have some of it removed.
Option 1: Expand the Selection
You might want to widen your selection after making it to include more of
the image. As you can see, the selection I made needs to be enlarged to
encompass the entire subject of the picture.

v Keep your selection selected while selecting Select > Modify >
 Expand.

Enter the number of pixels by which you want the selection to be extended in
the dialog box that appears, then click OK to accept your changes.

The entire selection will be instantly enlarged by the chosen number of

pixels.
Option 2: Include in the choice
You might want to add stuff to your initial pick after you've made it rather
than generating a larger one. Instead, you could want to limit the expansion
of your choices to a particular area. Let's make a new pick to demonstrate this
in action.
Choose any selection tool from the toolbar in order to make your initial
choice (W). Although I used the Quick Selection tool, these suggestions for
expanding selections can be used with any selection tool.
Then, begin dragging the image in the direction of the region you wish to
pick.

Right-click the Add to Selection icon in the Options bar to add content to the
selection. As I utilized the rapid selection tool, a brush with a plus sign next
to it served as the tool's icon. For each selection tool you select, however,
there is an equivalent icon. For instance, the icon for the magic wand tool's
Add to Selection feature will be a magic wand with a plus sign next to it, and
so on.
Then return to the canvas and carry on creating your choice. Holding Shift
while dragging over the image's desired selection region will add the
selection quickly.

Option 3: Take Something away from the selection

You might find that more regions are being chosen than are appropriate while
making your pick. In my situation, the outfit options faded into the
background.
If something similar occurs to you, keep your selection active, then click the
Subtract From Selection symbol in the Options bar and sweep your mouse
over the region you want to deselect. Alternately, drag the area of the image
to be removed while holding down the Alt (Windows) or Option (Mac) key
on your keyboard.
How To Transform A Selection In Photoshop
Photoshop offers a number of remarkable methods for changing active
selections, and the Transform Selection tool is one of the best.
So, this is the original choice I made, but I want to be able to adjust the
lipstick color by making the choice exactly resemble the model's lips. When
you want the selection to take a unique shape, the transform selection tool
works wonders.

Go to Select > Transform Selection to make the Transform Selection tool

active.
As a result, control points will be created around the selection. Then, without
changing the selection's content, you can transform the selection using the
Transform Selection tool.

Any control point can be clicked up or down to resize the selection.

By selecting the warp icon in the Options bar, you may additionally enable
the Warp setting to have more control over the selection.
Consequently, the selection will become grid-like.

As a result, you will have more freedom when altering your selection since in
addition to control points, you will also have handles at your disposal that
you may move about to change your selection. You can also reposition the
grid mesh up or down to narrow or widen your selection.
Once your option has been transformed, hit Enter on your keyboard or click
the checkbox in the Options bar.

Instructions For Inverting A Selection In Photoshop

When you realize you selected the incorrect area of a picture, inverting a
selection can be useful. Select > Inverse can be used to inverse an active
selection. A different option is to hit Shift + Control + I (Windows) or Shift +
Command + I. (Mac). By doing this, the outside-the-selection content will be
chosen.
Before
 After
How to Make a Selection Disappear in Photoshop
You'll probably want to completely remove an option once you're done with
it or if you make a mistake. Go to Select > Deselect to eliminate a selection.
Alternately, press Command + D or Control + D (Windows) (Mac).

Remember that doing so will eliminate the entire selection. The only way to
undo that action and restore the selection is by pressing the keyboard
shortcuts Control + Z (for Windows) or Command + Z (for Mac).
The best way to save a choice for later use
You can preserve the active selection area for later use when you make a
selection that you'll want to return to in the project. When you have an active
selection, pick Select > Save Selection from the menu.

In the Save Selection dialog box, give the choice a name, then click OK to
confirm.
Select > Load Selection to load the selection for when you return to complete
your work.
Then select a channel from the drop-down option.
There will be a list of your stored choices. Find the one you saved, which I
labeled Selection 1, and click it.

As soon as you're done, click Ok to load your stored selection onto your
project.
Since all of these techniques enable you to easily modify and change the
active selection region, it makes no difference how you made the selection
using these recommendations. These are strategies I employ daily in my
workflow that you'll find really useful when working with selections in
Photoshop. I hope you utilize them to the same extent as well!
CREATING RECTANGULAR AND ELLIPTICAL
SELECTION
The Rectangular Marquee Tool and the Elliptical Marquee Tool, two of the
most fundamental and practical selection tools in Photoshop, are
demonstrated in this lesson on how to utilize them. These are the first two
selection tools you should learn in Photoshop if you're a beginner.
They are collectively referred to as Photoshop's "geometric selection tools"
since they produce selection outlines in either rectangular or elliptical shapes.
They are are really helpful, despite their seeming simplicity, and you'll use
them repeatedly.
Along with demonstrating how to make straightforward picks using these
tools, I'll also demonstrate how to combine two or more selection outlines to
make more intricate options. Additionally, we'll examine a few instances of
each tool in action in Photoshop.
Location of the Rectangular and Elliptical Marquee Tools
Both the Elliptical Marquee Tool and the Rectangular Marquee Tool are
located in the same location in the toolbar, just behind the Move Tool. The
Rectangular Marquee Tool is by default shown.
The toolbar's Rectangular Marquee Tool icon.
However, the Elliptical Marquee Tool can be found if you click and hold on
its icon. A Single Row Marquee Tool and a Single Column Marquee Tool are
also available, but they only choose a single row or a single column of pixels.
I won't be discussing them in this article because they aren't particularly
helpful.

Tools for Marquee selection in Photoshop.

Shortcuts for the Elliptical and Rectangular Marquee Tools on the keyboard
You'll see that the M key on the keyboard serves as the shortcut for both the
Elliptical Marquee Tool and the Rectangular Marquee Tool. The marquee
tool that is currently visible in the toolbar will be selected if you hit M while
another tool, such as the Move Tool, is currently active.
Holding down the Shift key while pressing M on your keyboard will switch
to the other tool. In order to return to the previous marquee tool, press
Shift+M once more.

Shortcut on the keyboard for the rectangular and elliptical marquee tool.
Rectangular Marquee Tool: How to Make
Selections
Elliptical and rectangular marquee tools resemble one another quite a bit. The
only real distinction is that one creates elliptical selection outlines while the
other creates rectangular ones. They behave identically to one another except
from that.
So I'll start by explaining the fundamentals of how a tool operates. And for
that, I'll keep things straightforward and use a plain white background to
make it easier to notice the selection outlines. I'll move on to an image when
we've gone through the fundamentals.
choose to use the Rectangular Marquee Tool available on the toolbar
The Rectangular Marquee Tool will be used first. You can, however, also
access the Elliptical Marquee Tool.
The Rectangular Marquee Tool will be chosen from the toolbar.
The Rectangular Marquee Tool is chosen.
A rectangular selection outline drawing technique
Drawing square or rectangular selection outlines requires the usage of the
Rectangular Marquee Tool. With the tool, you may click and drag to create a
freeform rectangular selection. The moving ants, as they are often known,
show the outline. Everything that falls within the outline is chosen, while
everything outside is not.

Draw a freeform rectangular selection outline by clicking and dragging.

A selection will be cleared and a new one will be drawn if you click and drag
outside of an existing selection outline.
To create a new selection outline, click and drag outside of an existing
selection.
Additionally, moving an outline inside of a selection by clicking and
dragging will do so. The real pixels inside the selection won't be moved.
simply the plan itself. This is a result of our employment of a selection tool
when dragging.
The actual pixels would move if we used the Move Tool to drag inside the
selection. I won't do it right now, but we'll discuss it again once we move to
an image.

To move a selection's outline, click and drag inside of it.

How to move the outline while you make your choices

You can move the outline by starting to draw a selection while holding down
the spacebar on your keyboard. Release the spacebar to resume drawing after
that.
How to get rid of the selected outline
When you're through working with a selection outline, select Deselect from
the Select option in the Menu Bar. Alternatively, on a Mac or Windows
computer, press Command+D or the keyboard equivalent Ctrl+D. Use your
selection tool to simply click anywhere in the document to deselect it.
If you accidentally deselected something, you can undo it by selecting Undo
Deselect from the Edit menu or by pressing Ctrl+Z on a PC or Command+Z
on a Mac.

select the Deselect option from the menu.

Creating a rectangle selection and expanding it from the
middle
You'll see that every time you drag, the selection's corner is used to draw the
selection's outline. But you can also draw it from the center outward. Hold
the Alt key on a PC or the Option key on a Mac as you begin dragging, and
then carry on dragging. Release the Alt or Option key after you have finished
by releasing the mouse button.
Drag initially, then while holding Alt (Windows) or Option (Mac), hold the
selection's center to draw it.
How to create a perfect square selected outline
Use the Rectangular Marquee Tool to start dragging to create a selection that
is a perfect square. After then, while still dragging, hold down the Shift key
on your keyboard. Release the Shift key after releasing the mouse button
when you're finished.
Always remember to release the key you were holding down after releasing
the mouse button. You will lose the effect the key was having if you release it
first. The square would change back to a rectangle in this situation.
Therefore, I'll release my mouse button first, then the Shift key, while holding
down the Shift key.

Drag the cursor to draw the selection as an exact square while holding down
Shift.
Making a fixed-size or ratio rectangular selection
The Rectangular Marquee Tool by default allows for the free-hand drawing
of selections of any size or aspect ratio. This is due to the Style option in the
Options Bar being set to Normal. However, we can also draw a selection with
a predetermined ratio or size.

The Style menu item's default setting in the Options Bar is Normal.
Ratio Fixed
In the Width and Height fields, if the style is Fixed Ratio, enter the required
ratio. Drawing a perfect square requires a ratio of 1:1. I can draw a selection
with a width and height of 4 and 6 respectively.

Entering a ratio in the Width and Height fields while setting the Style to
Fixed Ratio.
By selecting the switch icon located between the Width and Height sections,
you can change the aspect ratio's direction.
To change the orientation between landscape and portrait, click the swap
symbol.
However, for the modification to take effect, you must draw a new selection
outline.

Creating a fixed-ratio rectangle selection outline.

Fixed Size
Enter a value in pixels, inches, or any other measurement unit you require in
the Width and Height sections if the style is Fixed Size. I'll choose a width of
400 pixels. After that, I'll use my keyboard's Tab key to move to the Height
field, where I'll enter 300 pixels.

Entering the size into the Width and Height fields while setting the Style to
Fixed Size.
You can rapidly create a selection outline at the specified size by clicking on
the document after entering the width and height and releasing the mouse
button. The outline can be moved by clicking and dragging. After that, click
and drag your mouse to accept it.
To draw a selection with a predetermined size, click and then release.
To avoid being stuck at that size or aspect ratio the next time you draw a
selection, remember to return the Style choice to Normal when you're
finished.

Resetting the Style back to Normal.

Adding, taking away, or intersecting a rectangle selection
We have so far mastered the skill of drawing one selection outline at a time.
However, we can also mix different selection outlines to make a more
intricate selection. There is a row of four icons along the left side of the
Options Bar. New selection, Add to selection, Subtract from selection, and
Intersect with selection are all listed from left to right. Every time we drag
with the tool, a new selection is drawn because the first icon, New selection,
is by default activated. However, we also have the option of expanding or
contracting the current selection. Additionally, we can limit the selection to
the region that is covered by both the new and the old selections.
The selection possibilities are New, Add, Subtract, and Intersect.
The drawback of selecting one of these symbols in the Options Bar is that
they are sticky, meaning that once you select them, they stay selected until
you select another. Consequently, using their keyboard shortcuts is a superior
approach to reach these choices.
The keyboard shortcut for Add to selection
Press and hold the Shift key on your keyboard to combine your next decision
with the one you've already made. A + sign will appear in the lower right
corner of your cursor. After that, drag a selection outline out.

To add the following selection to the current selection, hold Shift while
dragging.
The prior option is supplemented by the new one.
One selection outline was created by combining the two.
It's not necessary for the selection outlines to touch. By holding Shift while
dragging, you can expand the selection to include an entirely new area. You
can select two or more areas of your image simultaneously in this manner.
Then, on a Windows or Mac computer, use Ctrl+D to instantly erase all of
the selections.

To add more than one area to the selection, hold Shift while dragging.
The keyboard short cut for Subtract from Selection
Press and hold the Alt key on a PC or the Option key on a Mac to remove a
portion of the current selection. The lower right corner of the cursor displays
a minus symbol. Then drag the region you wish to remove around.
To subtract from the selection, hold Alt (Windows) or Option (Mac) while
dragging.
When you let off of the mouse button, the area is reduced. I'll reverse it by
pressing Command+Z on a Mac or Ctrl+Z on a PC.

The initial selection outline was deducted from the chosen area.
The keyboard short cut for intersecting a selection
Finally, hold Shift+Alt on a PC or Shift+Option on a Mac to keep the
selection just in the region where your next selection and the current selection
overlap or intersect. Your cursor will have a small x in the lower right corner.
Then move a portion of your current selection around.
Hold Shift+Alt (Windows) or Shift+Option (Mac) when dragging to only
keep the intersection of the two choices.
Only the region where the two selection outlines overlapped will be retained
when you let go of the mouse button.

The only portion still being picked is the region where the selection outlines
overlapped.
The feather Options
We still need to have a look at the Feather option in the Options Bar. Your
selection's edges get softer or blurrier as you use feather. Therefore, the edge
of the following selection I make would have a 2 px blur added if I were to
increase the Feather amount from 0 (the default) to 2 px.
The issue here is that you must set the Feather amount before drawing the
selection, which is problematic. It has no impact if you change it afterwards.
So this option isn't really helpful if you don't know how much blurring you
need. Additionally, you must always reset it to 0 in order to avoid applying
the same amount of blur to all of your selections.
When we turn to the photos, which is what we'll do next, we'll have a look at
one of the techniques to apply feathering after you create the selection.
Therefore, you should typically leave the Feather value in the Options Bar at
0.

The Feather option.

The Rectangular Marquee Tool: Three Uses
That's the fundamentals of using Photoshop's Rectangular Marquee Tool to
create selections. Let's now see some typical applications for it, such as
cropping a picture to include your selection, copying your selection to a new
layer, and turning your selection outline into a layer mask.
I'll also demonstrate how to use Photoshop's Transform Selection command
to resize your selection's outline after you've drawn it and how to use the
Properties panel's Feather option to soften the edges.
Using the Rectangular Marquee Tool to crop an image
We'll begin by trimming the picture. I'll now go on to the first picture I got
from Adobe Stock.
The Rectangular Marquee Tool is more frequently used to choose an overall
region because it's uncommon to discover something in an image that is a
perfect rectangle or square. It can also be used as a simple and quick crop
tool.
Undoubtedly, Photoshop has a separate Crop Tool with more features.
However, the Rectangular Marquee Tool is excellent if you simply need
something quickly.
Step 1: Create a rectangle selection outline.
To maintain an area, simply draw a selection outline around it. If you need to
adjust the cursor, hold the spacebar while dragging. When finished, release
the spacebar to resume dragging.

Making a crop border by outlining a rectangle selection.

Step 2: Select Image > Crop
Select Crop from the Image menu up top.

Selecting Image > Crop.

Photoshop removes all of the background from your selection. The selection
can then be cleared by hitting Command+D on a Mac or Ctrl+D on a PC.

The edges outside the chosen outline are removed using cropping.
Using Transform Selection, resize a selection's outline.
Here's a useful advice. You don't have to start over and make a new one if the
selection outline you drag out isn't exactly correct. Using Photoshop's
Transform Selection function, you can resize an existing selection outline.
Step 1: Select > Transform Selection
When a selection outline is active, select Transform selection from the Select
menu up top.

Selecting Transform Selection under Select.

Step 2: Resize the outline by dragging the handles.
In contrast to Photoshop's Free Transform command, the Transform Selection
tool uses selection outlines rather than pixels.
To change the outline's size, simply drag one of the handles. The aspect ratio
is fixed by default. As a result, they all move simultaneously when we drag
one of the handles. Hold the Shift key while dragging to modify one side at a
time.
Using Transform Selection, resize the selection's outline.
By checking the box in the Options Bar, you can accept it and end the
Transform Selection command.

Clicking the checkmark.

PAINTING WITH SELECTION BRUSHING
The Selection Brush tool in Photoshop Elements will appeal to you if you
enjoy the sensation of painting on a canvas. You can either paint over
portions of an image that you want to pick or paint over areas that you don't
want to select using two alternative options.
With this fantastic tool, you can also generate a simple, crude selection with
another tool, like the Lasso, and then refine it by brushing more pixels into or
out of the selection.
Here is how to use the Selection Brush to make a selection step by step:
The Tools panel's Selection Brush should be chosen.
or just hit the A key. If the Quick Selection tool is displayed, press Shift+A.
Both Edit Full and Edit Quick modes are compatible with this tool.
Choose your Selection Brush selections from the Options menu.

Options bar options for the Selection Brush.

The details for each choice are as follows:
Brush Presets: From the presets drop-down panel, select a brush. Click the
downward-pointing arrow to the left of Default Brushes and select the preset
library of your choice to load more brushes. The panel's pop-up menu offers
the Load Brushes function.
Choose a brush size between 1 and 2500 pixels. Drag the slider or enter the
value.
Select a mode from Selection or Mask. If you want to paint over the selection
you made, pick Selection. If you wish to paint over something that you don't
want, select Mask.
You must choose a few additional overlay choices if you select Mask mode.
An overlay is a colored layer that hovers over your image and only appears
onscreen, indicating protected or unselected areas.
Additionally, you must select an overlay opacity between 1 and 100%. The
overlay color can be changed from the standard red to any other color. If your
image has a lot of red, this option can be useful.
Set the brush tip's hardness between 1 and 100 percent.
Paint over the areas you want to pick if your mode is set to selection.
A selection border is visible. Every stroke increases the selection. (The
Options bar's Add to Selection button is already chosen.) If you accidentally
add something you don't want, just paint over it while holding down the Alt
(Option on a Mac) key.
The Subtract from Selection button is another option on the Options bar.
Your choice is prepared to use once you have finished painting what you
desire.
Paint over the sections you don't want to pick if your mode is set to Mask.
Once you've finished painting your mask, you can turn it into a selection
border by selecting Selection from the Mode drop-down menu or by selecting
another tool from the Tools panel. Keep in mind that the option you choose is
what you do not desire.
You can see the color of your overlay as you paint. The overlay area grows
with every stroke. You essentially conceal, or mask, the regions you want to
shield from modification while you work in mask mode. Selecting,
modifying color, or using any other Elements command are all examples of
manipulation.
Using the Selection Brush, you may create a mask to select something (right)
(left).
NOTE: Your selection border is encircling the undesirable area if you
painted your selection in Mask mode. Select "Inverse" to change to what you
desire.
What mode should you select? You decide, after all. The ability to partially
select areas is one benefit of working in mask mode, though. You can make
soft-edged selections by painting with gentle brushes. Partially chosen pixels
are the outcome of these fuzzy edges. Your pixels become even less opaque,
or "less selected," if the overlay opacity is reduced.
SELECTING WITH THE AUTO SELECTION
TOOL
When Photoshop Elements 2018 was released, the Auto Selection feature was
also released. By having you design a selection shape around an image item,
it allows Photoshop Elements to try to automatically select the object.
Initially, it's rare for this tool to accurately select the complete object. But it's
a great place to start, and you can then hone the choices it makes.
Furthermore, using it is really simple.
In Photoshop Elements, choose the "Auto Selection" tool from the Toolbox to
use the auto-selection feature. You can also choose it from the Tool Options
Bar if necessary. Along with the Magic Wand Tool, Quick Selection Tool,
Selection Brush Tool, and Refine Selection Brush Tool, it shares a button in
the "Select" button group.
Select the desired type of selection in the Tool Options Bar. The new "Select
Subject" button in Photoshop Elements 2020 is an enhancement. Simply click
the "Select Topic" button at the right end of the Tool Options Bar to ask
Photoshop Elements to try to select the subject for you without requiring you
to make a selection if you have a picture of the subject to choose in a layer.
Aside from the Auto Selection tool, you should also be aware that this button
is accessible when you choose the Quick Selection, Selection Brush Tool,
Magic Wand, or Refine Selection Brush Tools.

Alternatively, you can choose the "New selection" button to make a fresh
choice. Click the "Add to selection" button to add something to an already
existing selection. Selecting the "Subtract from selection" button will allow
you to make changes to an existing selection. Then, select the selection tool
to use in the Tool Options Bar section to the right to create the selection area
where Elements will search for an object to select. Choose from the options
"Rectangle," "Ellipse," "Lasso," or "Polygon Lasso." Use the corresponding
selection tool from the Toolbox along with these selection shape tools.
The Auto Selection tool selects an object in every layer you click and drag
over when the "Sample All Layers" checkbox is selected. If left unchecked, it
only works with the layer that is presently chosen. Check the "Constrain
Selection" checkbox to limit the selection to the area that you click and drag
over. The selection may go beyond the region you click and drag if it is not
checked.
After configuring the tool's settings, click and drag over the portion of the
image that contains the object to initiate an automatic selection. Note that you
must use the selection techniques for the shape type you choose to produce
this selection region. For instance, to pick the "Polygon Lasso" shape, you
must click at various locations around the region, then return to the beginning
point.

After configuring the tool's settings, click and drag over the portion of the
image that contains the object to initiate an automatic selection. Note that you
must use the selection techniques for the shape type you choose to produce
this selection region. For instance, to pick the "Polygon Lasso" shape, you
must click at various locations around the region, then return to the beginning
point.
Photoshop Elements's Auto Selection Tool: How to Use
1.The "Auto Selection" tool in Photoshop Elements must be chosen from the
Toolbox and, if necessary, the Tool Options Bar in order to be used.
2.Then choose the layer in the Layers Panel containing the desired object.
3.Next, pick the kind of selection to make in the Tool Options Bar.
If you're using Photoshop Elements 2020 and there is a picture of the subject
in a layer you want to pick, you can click the "Choose Subject" button at the
right end of the Tool Options Bar to allow Photoshop Elements to try to
select it automatically without making a selection.
4.Also take note that this button is accessible whether you choose the Magic
Wand, Refine Selection Brush Tool, Selection Brush Tool, or Quick
Selection Tool.
5.Alternatively, you can choose the "New selection" button to make a fresh
choice.
6.Click the "Add to selection" button to add something to an already existing
selection.
7.Selecting the "Subtract from selection" button will allow you to make
changes to an existing selection.
8.Next, decide which selection tool will be used to define the selection area
where Elements will search for an object. Choose from the Tool Options Bar
section to the right's "Rectangle," "Ellipse," "Lasso," or "Polygon Lasso"
options.
9.Check the "Sample All Layers" checkbox to select an object from all layers
that you click and drag across.
10.Check the "Constrain Selection" checkbox to limit the selection to the area
that you click and drag over.
11.Once the tool's choices have been selected, click and drag over the area of
the image that contains the object to initiate an automatic selection.
12.The selection techniques for the particular form type you choose must be
used to produce this selection region. For instance, if you selected the
"Polygon Lasso" shape, you would click at various locations around the area
before returning to the beginning point to choose the form.
13.Elements then tries to select the object inside the boundary you specified
after performing the shape selection.
14.With this tool, you may rapidly correct selection problems by clicking and
dragging over them as well. If necessary, you can also utilize the "Add to
selection" and "Subtract from selection" options in the Tool Options Bar.1
FINE-TUNING WITH THE REFINE-
SELECTION BRUSH TOOL
A selection tool is the Refine Selection Brush Tool in Photoshop Elements.
You can use it to smooth out the edges of the choices you've made. By
automatically identifying image edges, you can add or subtract pixels from an
existing selection. Additionally, you can manually add or delete pixels from
selections using Photoshop Elements' Refine Selection Brush Tool.
Additionally, you can eliminate sharp edges from preexisting pixel selections
by using Photoshop Elements' Refine Selection Brush Tool. Select the Refine
Selection Brush Tool from the Toolbox to activate this tool. Select it from the
Tool Options Bar if required after that.

Choose the mode that this tool adjusts pixels in selections in the Tool Options
Bar initially. You can manually add or subtract pixels from pre-existing
selections by clicking the "Add to selection" or "Subtract from selection"
buttons. This tool can behave quite similarly to the "Selection Brush Tool"
because to these modes. You can move an existing selection line by clicking
the "Push Selection" button. The line is then compelled to snap to the first
adjacent image edge that it discovers. You can eliminate rough edges inside
pre-existing selection lines by clicking the "Smooth selection" option.
Use the "Size" slider to adjust the tool's pixel size after choosing the mode to
use. Alternately, type a pixel value in the field next to it. Use the "Snap"
command when utilizing the "Push Selection" mode.
The mouse cursor of this tool appears as two concentric circles while it is
over the image. The size of the actual pixel selection brush is indicated by the
inner circle. The area surrounding the brush in which this tool searches for
picture borders is known as the outer circle. The selection lines can then be
snapped to any discovered edges.
Photoshop Elements' Refine Selection Brush Tool: a photo showing how to
add pixels to a selection using the Refine Selection Brush Tool.
The mode you chose will affect how you use this tool. Click and drag or hold
down the mouse button if you're using the "Add to selection" mode. This then
manually generates a new selection or updates an existing selection with the
pixels under the inner circle. Pixels are added under the inner circle right
away. The selection inside the outer circle also gradually gains pixels as the
mouse button is clicked and held down. These pixels are added based on the
image's edges.
Similarly, if you're using the "Subtract from selection" method, click, drag, or
hold down the mouse button. The pixels under the inner circle of an existing
selection are then manually removed. Pixels beneath the inner circle are
immediately removed. Pixels from the selection inside the outer circle are
also gradually removed by clicking and holding down the mouse button. This
is accomplished using the image's edges.
If you chose the "Push Selection" option and want to widen a selection,
position the cursor inside the existing selection so that any selection lines
inside the outer circle snap outward to widen that selection edge to the
following picture edge located inside the outer circle. Position the cursor
outside the selection to reduce it.
If you want to apply smoothing to the selection lines in an existing selection
while in "Smooth selection" mode, click and drag the cursor over them or
click and hold down the mouse button.
Instructions for using Photoshop Elements' Refine Selection
Brush Tool
1.Select the Refine Selection Brush Tool from the Toolbox to start using it in
Photoshop Elements.
2.Select it from the Tool Options Bar if required after that.
3.Choose the mode that this tool uses to alter the pixels in selections from the
Tool Options Bar. Add to selection, Subtract from selection, Push Selection,
or Smooth Selection are your options.
4.By dragging the "Size" slider or typing a pixel value into the adjacent area,
you can adjust the tool's pixel size.
5.Use the "Snap Strength" slider to modify the strength of the image edge
snapping while utilizing the "Push Selection" mode.
6.The mouse cursor of this tool appears as two concentric circles while it is
over the image. The size of the actual pixel selection brush is indicated by the
inner circle. The area surrounding the brush in which this tool searches for
picture borders is known as the outer circle. The selection lines can then be
snapped to the edges it discovers.
7.Click and drag or hold down the mouse button if you're using the "Add to
selection" mode.
8.This then manually generates a new selection or updates an existing
selection with the pixels under the inner circle.
9.Pixels are added under the inner circle right away.
10.The selection inside the outer circle also gradually gains pixels as the
mouse button is clicked and held down.
11.These pixels are added based on the image's edges.
12.When in "Subtract from selection" mode, click and drag or hold down the
mouse button to move the cursor.
13.The pixels under the inner circle of an existing selection are then manually
removed.
14.Pixels beneath the inner circle are immediately removed.
15.Pixels from the selection inside the outer circle are also gradually removed
by clicking and holding down the mouse button. This is accomplished using
the image's edges.
16.Place the cursor inside the existing selection to cause any selection lines
inside the outer circle to snap outward and stretch that selection edge to the
following picture edge located in the outer circle.
17.Place the cursor outside of the selection to cause any selection lines inside
the outside circle to snap inward, contracting that selection edge to the
following picture edge located in the outer circle. This will enable you to
utilize this tool's "Push Selection" mode to reduce the size of a selection.
18.When in "Smooth selection" mode, click and drag the mouse pointer over
the selection lines to apply smoothing, or click and hold the mouse button
down.
WORKING WITH COOKIE CUTTER TOOL
A potent tool in Photoshop Elements is the Cookie Cutter. It can be compared
to an image version of the Custom Shape tool. But the Cookie Cutter
removes everything outside the shape, but the Custom Shape tool makes a
mask and conceals anything outside the shape. You can choose from a wide
range of intriguing forms in the predefined libraries, such chat bubbles and
Swiss cheese.
The scoop on utilizing the cookie cutter is as follows:
v From the Tools panel, select the Cookie Cutter tool.
v It is impossible to miss since it resembles a star. Additionally, you
can use the Q key.
v On the Selections bar, specify your options.

Here is a list:
Shape: From the preset collection, select a shape. Click the panel pop-up
menu and select a library from the submenu to load additional libraries.
Shape Options: Using these options, you can draw your shape using specific
criteria:
Unrestricted: Allows you to freely sketch.
Maintaining proportionate height and width is possible with defined
proportions.
Defined Size: Crops the image to the selected shape's fixed, original size. It
cannot be made larger or smaller.
You can enter the required width and height for a fixed size.
Allows you to draw the form starting at the middle and moving outward.
Feather: This choice makes a selection with softer edges.
Crop: Select this to resize the image to fit the desired form. It will
completely fill the image window.
Create the form you want by dragging the mouse over the image, sizing it by
dragging one of the bounding box's handles, and positioning it by placing the
mouse cursor inside the box and dragging.
Other transformations like rotating and skewing are also possible.
To complete the cutout, click the Commit button on the Options bar or hit
Enter.
You can always press Esc or click the Cancel button on the Options bar to
escape the bounding box without cutting out.
As you drag through pixels with the Eraser tool, the pixels are altered in the
image. Erased pixels turn to the backdrop color if you're working in the
Background layer or a layer with locked transparency; otherwise, they turn
transparent. The transparency grid shows which pixels are transparent.
Select the Eraser tool from the Draw area of the toolbar. The Eraser tool icon
is located in the Tool Options bar; if you don't see it there, choose the
Background Eraser tool or the Magic Eraser tool, and then click it.
Set the desired choices in the Tool Options bar, then drag over the region you
wish to erase.
You can choose from any of the following settings for the Eraser tool
A brush sets the tip. A brush category can be selected from the Brush drop-
down menu by clicking the arrow next to the brush sample, and a brush
thumbnail can then be selected.
Size
pixels are used to specify the brush size. Use the Size slider or the text box to
specify a size.
Opacity
determines the erasure's strength. A layer's background color and all pixels
are removed when the opacity is set to 100% on the Background layer. A
lower opacity partially paints with the background color on the Background
layer and erases pixels to partial transparency on a layer. (The Opacity option
is disabled if Block mode is chosen in the Tool Options box.)
You may create soft-edged erasures by employing the features of the brush
tool in type Brush mode. Like a pencil, pencil mode creates erasures with a
firm edge. A 16-pixel square with stiff edges serves as the eraser in block
mode.
Make use of the Magic Eraser.
Dragging within a photo modifies all related pixels with the Magic Eraser
tool. The pixels change to the backdrop color if you're working in a layer
with locked transparency; otherwise, they are wiped to transparency. You
have the option of erasing either all similarly colored pixels on the current
layer or only adjacent pixels.

Original image (left), and after erasing the clouds (right)

v Select the layer containing the regions you want to erase in the
Layers panel.
Note: When using the Magic Eraser, the Background will transform into a
layer if it is selected.
The Magic Eraser tool in the toolbox should be selected from the Draw area.
If the Magic Eraser tool is not visible in the toolbox, choose the Background
Eraser or Eraser tool first, and then click the Magic Eraser tool icon in the
Tool Options bar.
v Click the region of the layer you wish to remove after setting the
desired values in the Tool Options bar.
Any of the following Magic Eraser tool settings are available:
Tolerance
establishes the spectrum of colors that will be removed. A low tolerance will
remove pixels that are substantially similar to the one you clicked in terms of
color values. A high tolerance removes pixels over a larger area.
Opacity
determines the erasure's strength. A locked layer's background color and all
pixels on the layer are erased when the opacity is 100%. On a layer with a
lower opacity, pixels are partially transparently erased, and on a locked layer,
the background color is partially painted.
Test Every Layer
use combined data from all visible layers to sample the deleted color. If you
wish to remove only the pixels on the active layer, deselect the option.
Contiguous
only the pixels next to the one you click are erased. To eliminate all
comparable pixels in the image, deselect this option.

Anti ‑ aliasing
makes the margins of the area you've erased more natural-looking by
smoothing them.
Utilize the background removal tool.
With the help of the Background Eraser tool, you may quickly remove an
object from its background by turning color pixels into transparent pixels.
With careful application, you may keep the foreground object's boundaries
while removing background fringe pixels.
A circle with a crosshair denoting the tool's hotspot serves as the tool pointer.
You can remove pixels that are inside the circle and have the same color
value as the pixel underneath the hotspot by dragging the pointer over them.
The foreground item won't be removed if the circle overlaps it and it doesn't
contain pixels that resemble the hotspot pixel.
Getting rid of the troublesome backdrop. Adding a new layer or utilizing the
Clone Stamp tool will allow you to change the backdrop to a different one.
The layer containing the regions you want to remove should be selected in
the Layers panel.
Please take note that while using the Background Eraser, selecting
Background causes it to immediately become a layer.
The Background Eraser tool is located in the Draw section of the toolbox.
The Background Eraser tool icon is located in the Tool Options bar; if you
don't see it there, choose the Magic Eraser tool or the Eraser tool first.
In the Tool Parameters bar, adjust the options as needed, and then drag over
the area you wish to delete.
Avoid using the tool's hotspot on any locations you don't wish to be deleted.

Any of the following Background Eraser tool options can be specified:

Size of the brush in pixels
Tolerance
Indicates how close a pixel's color is to the hotspot in order for it to be
influenced by the tool. A low tolerance restricts erasure to regions that
closely resemble the color of the hotspot. More colors can be removed when
the tolerance is high.
Setting the brush
establishes the brush's presets, including its size, diameter, hardness, and
spacing. Use the Size sliders or text boxes to enter numbers.
Limits
To remove hotspot-colored regions that are related to one another, select
Contiguous. Discontinuous eliminates any circle pixels that resemble the
hotspot color.

REFINING EDGES OF A SELECTION

When working with intricate edges, Adobe Photoshop's Refine Edge tool
comes in handy because it allows you to fine-tune selections.
Edge Detection and Adjust Edge, among other settings in the Refine Edge
tool, make it far simpler to create natural choices than it would be to do so
manually and offer an alternative to the Magnetic Lasso tool. The results
might not always be ideal, but if you wish to refine the selection later, you
can easily alter the resulting layer mask.
NOTE: For versions of Adobe Photoshop after CS5, follow these steps. It's
possible that some commands and menu items vary between versions.
Using the Refine Edge Tool
1.The right-click context menu and the menu bar in Photoshop both offer
access to the Refine Edge tool.
In Photoshop, choose a portion of your file. Marquees, Magic Wands, and
Lasso Tools are all available for use.
2.By selecting Refine Edge from the context menu when the selection
becomes active (you can see "marching ants" around it), you can edit its
edges.
NOTE: Occasionally, the Refine Edge option from the right-click context
menu may not be available depending on the tool you used to make the
selection. If so, you can locate it in the Select menu.

3.Refine Edge defaults to placing your pick against a white background, but
you have a number of additional possibilities that, depending on your subject,
can be simpler for you to work with.
For a complete list of your options, click the down arrow next to View:
1.The image is still visible when Marching Ants displays the common
selection animation.
2.The selection is displayed as a Quick Mask in overlay with a red border
around it.
3.The option is surrounded by a black or white background when On Black
and On White is selected.
4.Black and white causes the background to be black and the selection to be
white.
5.View the layer as it has been covered by the selection using On Layers.
6.When a layer is revealed, it is entirely visible without any masking.
Selecting a mode like On Black will help you focus your pick if your subject
was initially on a simple white background.

The edge's appearance can be significantly changed by checking the Smart

Radius box. When this is chosen, the tool changes how it operates dependent
on the image's edges.
The selection's edge gets softer and more realistic as you raise the value of
the Radius slider. The next set of controls can be used to further customize
your final pick, but this control will have the biggest impact on how it
appears.
NOTE: Choose between turning on and off Smart Radius as you move the
slider to compare the results.
To further fine-tune your outcomes, experiment with the four sliders in the
Adjust Edge group.
1.Any sharp edges are smoothed off using the Smooth slider. If increasing it
significantly reduces the selection, it is recommended to keep this option low.
2.In most circumstances, the Feather setting should also be modest. It makes
the choice more organically melt into its eventual background.
3.The Contrast slider gives your edge more definition, producing an almost
opposing impact from Feature. If you raise it too high, the edge could become
sharp.
4.By default, the Shift Edge slider is at 0. The selection shrinks and more of
the backdrop is visible when you move the slider left to a negative number.
Positive values cause the selection to expand and include more of the source
image.

The Decontaminate Colors checkbox exposes a slider setting that allows you
to remove part of the color fringes that are produced when your subject is set
against a background that is a different color.
You have a variety of alternatives when using your honed edge thanks to the
Output To drop-down menu. If the edge isn't exactly what you want it to be,
use New Layer with Layer Mask to enable modifications afterwards. For
more permanent alternatives, select a New Document or New Layer.

To output your choice and save your modifications, click Okay in the lower-
right corner.
 CHAPTER NINE
WORKING WITH LAYERS
Recognizing Layers
Layers come in handy since they enable you to add elements to an image and
edit each one separately without permanently altering the original. You can
change the color and brightness of each layer, add special effects, move the
layer's content, specify opacity and blending values, and more. Layers can be
used to make web animations, modify the stacking order, link layers so that
they can be worked on simultaneously, and more.
Layers are similar to layered sheets of translucent glass on which you can
paint pictures. The translucent portions of a layer allow you to see through to
the levels below. You can try to achieve the desired effect by working on
each layer separately. Up until the layers are combined (merged), each layer
remains separate.
It is impossible to change the stacking order, blending mode, or opacity of the
Background layer, which is the bottom-most layer in the Layers panel,
because it is always locked (protected) (unless you convert it into a regular
layer).

Transparent areas on a layer let you see through to the layers below.
The Layers panel is where layers are organized. Whenever you work in
Adobe Photoshop Elements, keep this panel visible. The active layer is
visible at a quick glance (the selected layer that you are editing). Layer
management is aided by the ability to join layers so they move collectively.
You can lower the file size of an image by merging layers that you are
finished editing because having more layers makes an image larger. As you
edit photos, the Layers panel is a crucial source of information. Working with
layers is also possible via the Layer menu.
Five different types of layers are available in Photoshop Elements: image,
adjustment, fill, shape, and font. Although you'll probably spend the majority
of your time creating image layers, the following sections discuss each one so
that you are aware of all the different kinds.
Image Layers
In essence, the image layer—often commonly referred to as a layer—is a
computer representation of a clear acetate sheet. Layers can be made from
photos or from blank layers that you can fill with images. The number of
image layers is limited only by the memory capacity of your computer.
NOTE: An image's layers can all be changed independently of one another.
Without changing a single pixel on any other layer or the background, you
can move, paint, resize, or apply a filter, for instance. Additionally, you no
longer need to create a selection in order to choose an element that is on a
layer. Simply use the Move tool to drag the element.
Layers for Adjustment
A unique form of layer called an adjustment layer is used to change the
contrast and color of images. Instead of applying adjustments directly to the
image layer, you can apply corrections using adjustment layers and do so
without permanently altering the pixels.
Adjustment layers have zero destructive potential. The adjustment can also
always be edited, or even deleted, because it is on a separate layer.
Adjustment layers don't influence any of the levels above them; instead, they
solely apply the correction to all the layers below them.
There are eight different types of adjustment layers in Elements, and you can
use as many as you like. The Enhance—Adjust Lighting, Enhance—Adjust
Color, and Filter—Settings submenus all include the same adjustments.
To make an adjustment layer, follow these steps:
v Open a picture that need some minor color or contrast adjustments.
v To apply an adjustment layer, keep in mind that your backdrop does
not need to be converted into a layer.
v Choose your preferred adjustment from the drop-down menu when
you click the Create New Fill or Adjustment Layer icon at the bottom
of the Layers panel.
v On the adjustment layer, a thumbnail and the Adjustment Layer icon
are visible. The layer mask is depicted by the thumbnail. The
Adjustments screen displays the settings unique to your adjustment.
The Adjustments panel is where you should make the appropriate
adjustments.
NOTE: To only let certain areas of your image receive the correction, you
can paint on the layer mask. To paint, using the Brush or Pencil tool.
Alternately, you can choose something and then fill it with any gray, from
white to black. Finally, you may create a progressive application of the
modification by using the Gradient tool on the mask.
Fill layers
You can add a layer of plain color, a gradient, or a pattern using a fill layer.
Layer masks are a part of both adjustment and fill layers. Similar to
adjustment layers, fill layers can be edited, rearranged, duplicated, deleted,
and combined. Utilizing the opacity and blend mode options on the Layers
panel, you may combine fill layers with other layers. Finally, by either
making a selection initially or painting on the mask later, you can limit the
fill layer to only an area of your image.
The steps to making a fill layer are as follows:
v Open an image.
v Use a picture that will look well with some sort of border or frame.
Without a selection, the fill layer completely engulfs your image.
v On the Layers panel, click the Create New Fill or Adjustment Layer
icon. Select a fill with a solid color, gradient, or pattern from the drop-
down option.
v Indicate the fill type possibilities.
v Select OK.
On the Layers panel, the fill layer may be seen. Take note of the fill layer's
layer mask, which was generated.

Layers of Shape
In Photoshop Elements, you can also use drawing tools to create shapes.
These shapes are vector-based, which implies that rather than being defined
by pixels but rather by mathematical equations that produce points and lines.
These objects are always produced with smooth borders and are easily
resizable without incurring deterioration.
Pick up a shape tool from the Tools menu and drag it onto your canvas to
create a shape layer. A shape that you make is stored on a separate, special
shape layer. You can modify the blend modes and opacity of a form layer just
like you do with other kinds of layers. The real shapes are editable, movable,
and transformable.
However, you must first simplify the shape layer in order to apply filters. The
vector routes are converted to pixels throughout this procedure.
Type Layers
Click the Type tool on your canvas and start typing to add text to your
photos. It really is that simple. On the Options bar, you can specify options
like a font family and size, but when you click the Commit button, a type
layer is created. You can notice a layer with a T icon on the Layers window.
Concerning the Layers panel
All layers in an image are listed in the Layers panel (Window > Layers),
starting with the top layer and ending with the Background layer at the
bottom. If you are using the Custom Workspace in Expert mode, you can
drag the Layers panel out and tab it among other panels.
For convenience, the layer you are working on or the active layer is
highlighted. Check which layer is active as you work with a picture to ensure
that the changes you make are applied to the right layer. Check to be sure you
are looking at the current layer, for instance, if you select a command and
nothing appears to happen.
You can create, hide, link, lock, and delete layers, among other things, by
using the panel's icons. With few exceptions, only the highlighted selected or
active layer is affected by your changes.
Layers panel
A. Blending mode menu B. Show/Hide layer C. Layer is linked to another
layer D. Preview of a layer E. Highlighted layer is active layer F. Locked
layer G. Layer has style applied
The panel displays a thumbnail, a title, and one or more icons that provide
details about each layer in the list of layers:
v The layer may be seen: An eye click will reveal or hide a layer. The
icon is concealed while the layer is. They are not printed: hidden
layers.
v The layer and the active layer are connected.
Layer is secured.
The image was imported from Adobe Photoshop and has layer groups. Layer
groups are not supported by Photoshop Elements, and they are shown
collapsed. To make an editable image, you must make them simpler.
Actions are carried by by pressing the buttons on the panel:
Establish a new layer.
Make a brand-new group.
New fill or adjustment layer creation
Remove one layer.
Transparent pixels are locked.
Along with an Opacity text box and a More button that opens a menu of layer
commands and panel options, the panel's Blending Mode menu (which
includes options like Normal, Dissolve, Darken, and others) is also located at
the top.
Adding layers
The selected layer in the Layers panel is positioned above newly added
layers. Any of the following techniques can be used to add layers to an
image:
v Layer selections as layers or add new, empty layers.
v Alternately, you can change a background into a standard layer.
v Copy and paste selections into the picture.
v Use a shape tool or the Type tool.
v Make a copy of an existing layer.
An image can have up to 8000 layers, each with a different blending style and
opacity. Constraints on memory, though, might make this ceiling lower.
New blank layer creation and naming
Use Photoshop Elements to perform one of the following:
v Click the New Layer button in the Layers panel to create a layer with
a default name and settings. The resulting layer is named based on the
order in which it was created and utilizes Normal mode with 100%
opacity. Double-click the new layer and enter a new name to give it.
v Choose Layer > New > Layer or select New Layer from the Layers
panel menu to add a new layer and define its name and parameters.
Click OK after entering a name and other details.
Automatic selection of the new layer causes it to be displayed in the panel
above the previously selected layer.
By using a portion of another layer, create a new layer.
Moving a portion of an image from one layer to a brand-new one while
maintaining the original is possible.
1.Make a selection from an existing layer.
2.Select from the following:
v Layout > New > Layout To duplicate the selection into a new layer,
use Copy.
v To cut the selection and paste it into a new layer, use Layer > New >
Layer Via Cut.
In a new layer, the selected area is present in the same location in relation to
the limits of the image.

Creating a new layer by copying part of another layer and pasting it into a
new layer
The Background layer should be changed to a standard layer.
In an image, the Background layer is at the bottom. The Background layer,
which typically (but not always) holds the actual picture data of a
photograph, is stacked on top of other layers. The Background layer is always
locked to safeguard the image. You must first transform it into a regular layer
if you wish to alter its stacking order, blending mode, or opacity.
Choose one of these:
 v In the Layers panel, double-click the Background layer.
v Select Layer > New > Layer from Background from the menu.
v To keep the Background layer intact and make a copy of it as a new
layer, select the Background layer and select Duplicate Layer from the
Layers panel flyout menu.
Note: Regardless of the conversion method used, you can duplicate the
converted Background layer by selecting it and selecting Duplicate Layer
from the Layer menu.
Name the new layer.
It should be noted that when you drag the Background Eraser tool onto
the Background layer, the layer is instantly transformed into a standard
layer and the regions you've erased become transparent.
Create a layer and name it Background.
If the image already contains a Background layer, you cannot
transform a layer into that layer. In this situation, you must first
change the Background layer from an existing layer into a standard
layer.
In the Layers panel, choose a layer.
Select Background from Layer under Layer > New.
The background color is applied to any transparent portions in the
original layer.

Control the layers

Form a new group.
To keep the layers organized and reduce clutter, you might make a new
group. Choose one of these:
v Click the A New Group icon in the Layers panel's Expert mode to
create a new group using the default parameters.
v Follow these steps to create a new group with personalized settings:
v Choosing Layer > New > Group.
 v Enter a name and other details in the dialog box, then click OK.
DUPLICATING LAYERS
When using Adobe Photoshop, you'll frequently find yourself repeating the
operation of duplicating layers or images. It's a straightforward step that helps
you with the design process.
One of the most helpful lessons I received as a graphic design student ten
years ago was to always save a copy of my work, especially when working
on challenging tasks like designing in Photoshop. In case I accidentally erase
any layers, I ALWAYS duplicate, lock, and conceal them.
Instead of generating a new layer and comparing which one functions better,
duplicating layer enables you to change your artwork.
In addition to saving time and effort, the well-known Photoshop is known for
creating artistic picture effects for posters, many of which are created by
replicating existing images. See this poster here; to recreate it, use the
shortcuts Command + J on a Mac or Control + J on a Windows computer.

Method 1: Choosing from the top menu

Click Duplicate Layer under Layer in the top menu.
Method 2: Layers panel
Step 1: In the Layers panel, right-click the layer you wish to duplicate.

Step 2: Select Duplicate Layer.

Method 3: Layering choices

Step 1: On the Layers panel's upper right corner, select the small hidden
menu.

Step 2: Pick Duplicate Layer.

Method 4: Drag to Layer icon
The layer you want to duplicate is selected, and you can drag it to the icon for
creating a new layer (the little plus sign at the bottom of the Layers panel).

Method 5: Object Selection Tool, Marquee, and Lasso

Step 1: If you happen to be using the Marquee, Lasso, or Object Selection
Tool, right-click on the layer in the document.

Step 2: Pick Duplicate Layer.

Method 6: Shortcut keyboard

To duplicate a layer, press Command (Ctrl on a Windows computer) + J.
Because I can swiftly replicate an image several times using the keyboard
shortcut, this is my preferred way for duplicating an image.

FLATTENED AND MERGE LAYERS

What Does Photoshop's Flattening An Image Mean?
Photoshop's Flatten Image function merges all of the background layers in the
Layers panel into a single backdrop layer. Right-click (Windows) or Control
+ click (Mac) on any layer and choose Flatten Image to flatten the image.

Layers before being flattened

Layers after being flattened
Photoshop fills the transparent parts of layers with white when the layers are
flattened. Additionally, it locks the final layer. Because the backgrounds of
my layers in the aforementioned example were transparent, the resultant
image had a white backdrop.
Since the Flatten Image option automatically flattens every layer in the
Layers panel with the exception of the invisible ones, you don't need to select
any layers before using it. If you are certain that this is your best decision,
that could save you time.
The Flatten Image command eliminates a layer that is concealed. I hid the
pink circle in the image below.
Because the Flatten Image function automatically discards the hidden layer,
when I tried to flatten my layers, Photoshop prompted me to do so.

Once a layer has been flattened, you won't be able to modify any of its
components separately unless you undo the process by pressing Control + Z
(Windows) or Command + Z. (Mac). The action can also be set back in the
History panel.
Flatten Image: Advantages and Disadvantages
Pros
Combine layers immediately to save time.
File size reduction before printing
Cons
fails to maintain layer transparency
removes occult layers
does not allow you to select which layers to flatten.
After layers have been flattened, you cannot change them individually.
What Happens When Layers Are Merged?
Have you ever had a Layers panel with so many layers that you couldn't keep
track of them? It turns out that combining parts is often preferable to
occupying individual layers. Why retain two layers that have the same
geometric shape in separate levels if you need to make the same adjustments
to both of them?
That is, if you don't need to alter or significantly resize the shapes.
Layers that ought to be integrated but aren't can lead to a number of issues.
Your Layers panel, for instance, gets jumbled and perplexing. These
additional layers may cause your computer's memory to become overloaded.
The Merge Layers command can be useful in this situation because it
combines two or more selected layers into a single layer.
The only drawback to this choice is that once layers are combined, you can
no longer change them separately. This is because every change you make to
the merged layer affects the layer as a whole. Additionally, it will convert any
vector layers—like font or form layers—into rasterized layers, which isn't
always the best option.
If you wish to merge all visible layers, which is also an option, you must
choose each layer one at a time. You can decide which layers are mixed and
which ones are left alone as a consequence.
The preservation of transparency is another benefit of merging layers. So
when you combine your layers, you don't have to be concerned about them
getting covered in backdrop colors at random.
The layers must first be selected before choosing Merge Layers with a right-
click (Windows) or Control + click (Mac) command.

Layers before being merged

Layers merged
Remember that when you choose the Merge Layers option, your new layer
will be named after the topmost layer of the selected layers. You are then
responsible for renaming the resulting layer.
If you choose Merge Visible while merging layers, non-visible layers are
additionally disregarded and left unaffected.
Layers before being merged. Notice that there is one hidden layer.
Pros
combines two or more levels into one, improving the Layers panel's
organization and preserving layer transparency
Only certain layers are combined
does not remove any buried layers
Cons
When layers are combined, you can no longer modify them separately.
 CHAPTER TEN
SIMPLE IMAGE MAKEOVER
CROPPING AND STRAIGHTENING IMAGES
There are several ways to crop an image in Photoshop, but the crop tool gives
you greater power because you can straighten, establish a certain aspect ratio,
fix perspective distortion, and even use artificial intelligence to fill in blank
spaces. Here's how to make the most of this straightforward yet effective tool
in the most popular photo-editing software in the world.
Cropping an image in Photoshop

1) Choose the crop tool

The crop tool icon appears as a square with overlapping corners in the toolbar
on the left. To pick it, click on it or simply press the C key on the keyboard
(this is one of Photoshop's keyboard shortcuts that really makes sense). When
the cropping option is chosen, a box will appear over the image, with white
borders at the corners and midpoints to display the size and form of the crop.

2.) Determine the aspect ratio (Optional)

Photoshop by default keeps the image's original aspect ratio (or the last
aspect ratio you selected the last time you used the crop tool). You should
change the aspect ratio if you want the image to be a specific shape, such as
an 8 by 10 poster or a square image for Instagram.
Select the desired ratio using the drop-down menu at the top (which by
default says "original ratio"). As an illustration, 1:1 is square and 4:5 is
shaped like an 8 by 10 inch print.
Press the "clear" button on the top toolbar to activate a free-range crop tool if
you don't want to be forced into an aspect ratio.
3.) Resize
Grab the crop box's corners to pick only the elements you want to appear in
the final image. Additionally, you may click and hold in the center of the
crop box to shift the crop around the image while keeping the overall size the
same and altering the framing.
4.) Make straight (Optional)
Hover the mouse pointer over the crop box's outside corner while it is still
active until the curving, double-headed arrow appears. After that, click and
drag to rotate the crop box to align the picture.
You can also choose the straighten tool from the menu at the top. Next, make
use of the tool to draw a line over an area of the image that ought to be
straight, such as the horizon. Photoshop will automatically straighten the
image after the line has been drawn.
If your image is already straight, skipping this step will allow you to quickly
and easily straighten out the horizon.
5.) Lock the crop.
Press enter to complete the crop. However, you might want to deselect the
"Delete Cropped Pixels" option from the top tool bar before proceeding.
Otherwise, you won't be able to change the crop after you've finalized it
(except to make it smaller). Contrary to Lightroom, cropping in Photoshop is
destructive by default, so unless you are certain you won't need to make
modifications, we advise turning off Delete Cropped Pixels.
Straightening an image in Photoshop
Before
The crop tool is the best and simplest technique to correct a photo that is
crooked simply because the camera wasn't held level when you took it.
However, it is more difficult to adjust for perspective-related slanted lines.
This frequently occurs if the shot was taken at an angle other than straight on,
such as looking up at something or slightly off-axis. The same problem
frequently arises in architectural photography.
It's a good thing that Photoshop offers the tool you require to repair this.
1. Choose to use the perspective crop tool.
Click and hold on the crop tool icon until the sub-menu appears to select the
crop tool instead of using the standard crop tool from the toolbar. Press the
"perspective crop tool" button. (To cycle through the available crop tool
selections, press Shift-C.)
2. Choose the cropped region.
The area of the photo that you want to maintain in the final crop should be
marked with a rough box.

3. Straighten the edges

Next, move the box's corners such that their edges are parallel to the edges of
the image's straight-edged items. To assist, use the gridlines.
Use all four corners to ensure that your horizontal and vertical lines
correspond to the grid.

4. Press Enter to complete.

Press enter once you are confident that the lines are aligned. From this point
on, you can continue modifying the image, including cropping it using the
standard tool if you want it to have a particular aspect ratio.

CUTTING WITH THE CROPPING TOOL

Utilizing the Crop Tool from the toolbar, we may crop an image in
Photoshop.
Pressing the letter C on your keyboard will also allow you to pick the Crop
Tool:

Choosing the Crop Tool.

The Cropping borders
When you choose the crop tool in Photoshop, the image is immediately
surrounded by a cropping border. Additionally, the border's initial size will be
determined by whether or not you've already used the Crop Tool on an
image.
We can see that my most recent image was cropped to an 8 x 10 in the
Options Bar:
The Crop Tool's previous settings are immediately loaded by Photoshop.
The cropping border is also displayed in the document at that aspect ratio (8 x
10). All of this will be covered in greater detail shortly.

It has the previous aspect ratio set as the cropping border.

Tips for resetting the crop tool
Set the Crop Tool's default settings first before moving on. On the tool
icon in the Options Bar, right-click (Windows) or control-click (Mac):

Clicking with the right mouse button (Windows) or control button

(Mac).
 Afterward, select Reset Tool from the menu:

The Crop Tool must be reset.

By doing this, the width and height boxes are left empty and the aspect ratio
is reset to Ratio:

The default Crop Tool settings.

Resetting the crop border
But take note that the cropping border, which is still set to the prior 8 x
10 size, was not also reset when the cropping tool was reset:

The cropping border remained unchanged after resetting the Crop Tool
parameters.
 Re-select the Crop Tool after selecting any other tool from the toolbar
to clear the border.
The entire image is now surrounded by the cropping border:

The actual cropping border has been reset.

How to adjust the crop border's size
You may see crop handles if you scan the border. There is one in each corner,
as well as one on each side, top, bottom, left, and right:

the handles that encircle the crop's border.

To resize the crop border to any desired size, click and drag the handles. You
will maintain the area inside the border and remove the faded portion outside
the border:

Changing the border's size by dragging the handles.

How to move an image within a crop border
To reposition the image, click inside the border and drag. The crop border
will hold its position while the image slides around inside it as you drag:

The image is moved inside the crop border.

How to call off the harvest

Click the Cancel button in the Options Bar to stop using the crop without
actually applying it. I'll postpone it so we may consider alternative approach
to working:

press the Cancel button.

Creating a custom crop border
You have the option to click anywhere inside the image and drag out your
own border rather than utilizing the initial crop border that Photoshop applies
to the image:

Create a crop border by clicking and dragging.

Next, adjust the image's size by dragging the handles, or move it by clicking
and dragging inside the border:
Adjusting the crop after drawing the border.
How to change the crop border's size starting at its center
Press and hold the Alt (Windows) or Option (Mac) key on your keyboard
while dragging a handle to resize the border starting from its center.
The right-side handle is moving along with the left side handle as I drag it
here:

To adjust the crop border's size from the center, hold Alt (Windows) or
Option (Mac).
To reset it, I'll press the Reset button:

Resetting the crop.

How to resize from the center while locking the aspect ratio
Additionally, while dragging the corner handles, hold down the Shift key and
the Alt (Windows) or Option (Mac) key to lock the aspect ratio and resize the
border from its center:

To lock the aspect ratio and resize from the middle, hold Shift and Alt on a
Windows or Mac computer.
How to change the aspect ratio of an image
You can adjust the aspect ratio in the Options Bar if you need to crop an
image to a particular aspect ratio, such as 5 x 7 or 8 x 10.
selecting a standard aspect ratio
Select the Aspect Ratio option to view common aspect ratios like 8 x 10:
the Aspect Ratio menu item in the Options Bar is selected.
Select a preset from a list, such as 1:1 for a square, 8:10, 4:6, and so on. I'll
go with 8:10:

selecting 8:10 from the Aspect Ratio drop-down menu.

The aspect ratio is put into the Width and Height boxes by Photoshop. It
entered 4 x 5, which is equivalent to 8 x 10 in my case:

In the settings, the preset is input.

When I choose it, my cropping border changes to an 8 x 10 ratio right away:
The selected aspect ratio is immediately reflected in the crop border.
Changing the direction of the crop
Click the swap icon (the two arrows) between the width and height values to
switch their values:

changing the settings for width and height.

You may quickly convert between portrait and landscape mode with this:

The new orientation updates the crop border.

Selecting a unique aspect ratio
You can manually enter the aspect ratio if it is not one of the presets.
Imagine that I want to crop my photo to an 11 x 14 size and that I want it to
be in Landscape mode, with the width being more than the height. I'll select
the Width box and type 14 by clicking there. I'll then use my keyboard's Tab
key to move to the Height box and type 11:

the custom aspect ratio input.

Instantaneously, Photoshop resizes the crop border to the 11 x 14 ratio:

the individual aspect ratio.

It's not necessary to hold Shift when dragging the handles to lock the aspect
ratio once a particular aspect ratio has been entered. However, you may still
use the Alt (Windows) or Option (Mac) key to adjust the border's size from
the middle:
Crop border resizing
How to preserve an individual crop preset
You can store it as a custom preset if you anticipate using the same aspect
ratio again. Activate the Aspect Ratio checkbox in the Options Bar.

select the Aspect Ratio menu item.

Afterward, select New Crop Preset from the menu.

Select "New Crop Preset."

Assign a name to the preset. My will be called "11 x 14 Landscape." Click
OK to close the dialog box after that:

give the new preset a name.

The following time you require the preset, simply select it from the list by
clicking the Aspect Ratio option:

The new custom crop preset.

Getting the aspect ratio clear
After entering a certain aspect ratio, you can return to freely adjusting the
crop border by selecting the Clear button to clear the aspect ratio:

erasing the settings for the current aspect ratio.

The handles can then be moved independently:

Resizing the crop border without being locked to an aspect ratio.

How to undo a crop
Select Undo Crop from the Edit menu to undo the crop. Alternately, you can
use the keyboard shortcut Ctrl+Z (Windows) or Command+Z (Mac):

selecting Edit > Undo Crop

This makes the picture resize to its original size:

The image is back to its original size.

Perspective Crop tool
You may crop an image while changing the viewpoint using the Perspective
Crop tool. When an image has some distortion, this is helpful. When an
object is photographed from an unnatural angle or when wide-angle lenses
are utilized to capture a wide area of an object, distortion develops. For
instance, when you photograph a tall building from the ground up, the
building's edges appear to be closer to one another at the top than they are at
the bottom.
Photoshop Elements should now be open.
Select the Perspective Crop tool in Expert mode by going to the
Modify section of the toolbar.
Create a boundary or marquee around the item whose perspective you
want to adjust, then crop the image to that region.

Marquee drawn using the Perspective Crop tool.

To change the marquee's shape, use the selection's corners. When the pointer
turns white while you are hovering over a corner, click to reposition the
corner.
Note: To achieve the best effects, adjust the corners such that the marquee's
vertical edge lines up with a pattern or object in the image that seems vertical.
Modify the shape of the marquee to align the vertical lines in the image.
In the Tools Options panel, you may also enter settings for the width (W),
height (H), and resolution fields. The finished image is altered to the desired
resolution, height, and breadth.

Perspective Crop tool options

Click to change the image's perspective and crop it to the marquee's area.
How to non-destructively crop images
Let's move on to a third image to examine a wonderful function of the Crop
Tool that enables non-destructive image cropping.
I'll once more choose the Crop Tool from the toolbar.

choosing a crop tool.

I'll select the preset 8 x 10 aspect ratio in the Options Bar:

Selecting the setting 8 x 10.

I'll then drag the top handle downward to adjust the size of my crop border.
I'll drag to resize the border starting from its center while holding Alt
(Windows) or Option (Mac):
Resize the crop's border.
I'll hit Enter (on a Windows keyboard) or Return (on a Mac keyboard) to crop
the picture:

the original crop of 8 by 10.

The clipped pixels are deleted
Good news thus far, But what if I want to adjust the crop after I've already
done it? Let's imagine, for illustration, that I want to switch the orientation
from portrait to landscape.
By selecting the swap symbol in the Options Bar, I'll change the aspect ratio:
changing the aspect ratio's width and height.
And once more, Photoshop surrounds the image with a crop border:

The border from the cropping is back.

To restore more of the backdrop as I don't want the image to be cropped in so
closely, I'll move the handles outward:
After the initial crop, adjust the border's size.
But when I let go of the mouse button, Photoshop fills the surrounding space
with white rather than displaying more of the image:

The original crop's surrounding area is entirely covered in white.

The pixels around the original crop were removed by Photoshop when I
produced my crop. As a result, Photoshop is filling the empty spaces with my
current Background color, which is by default white.
The toolbar contains the current Foreground and Background colors. The
bottom right swatch represents the background color:

The toolbar's background color is now displayed.

The option to delete cropped pixels
The Erase Cropped Pixels option in the Options Bar was on, which is what
causes Photoshop to delete those pixels by default:

the option to eliminate cropped pixels.

Reverting the image and canceling the crop
Let's examine an improved working method. By selecting the Cancel button
in the Options Bar, I'll end the crop:
press the Cancel button.
By selecting Revert: from the File menu, I'll then change the image back to
its original size.

selecting File > Revert.

All of those missing pixels are recovered by doing this:
The picture has been fixed.
I'll return to Portrait mode and change the aspect ratio:

converting the aspect ratio from landscape to portrait.

I'll then adjust the border's size by dragging the handles, as I did before:

the crop border's resizing.

"Delete Cropped Pixels" being disabled
This time, however, I'll deselect the Delete Cropped Pixels option first, then
crop the image:

deleting the cropped pixels checkbox.

I'll then click Enter (Win) or Return to confirm my acceptance of the crop
(Mac). So far, everything appears to remain unchanged from before:

a second cropping, this time to an 8 x 10 portrait.

However, observe what occurs if I attempt to resize the crop. I'll return to
landscape mode and change the aspect ratio:

the aspect ratio is switched from portrait to landscape orientation.

And right now, we notice a striking difference. It appears as though the image
was never cropped at all. This is due to the fact that when Delete Cropped
Pixels is disabled, Photoshop only conceals the cropped area. Never are any
pixels erased.
Even after the image has been cropped, all of the original pixels are still
present.
I'll drag a corner handle outward while holding down Alt (Windows) or
Option (Mac) to resize the border and make it cover more of the image:

the crop border's resizing.

The crop will then be accepted by me by pressing Enter (on a Windows
keyboard) or Return (on a Mac).
I was able to crop the image, change the crop border, and then crop it again
without losing any pixels by disabling Delete Cropped Pixels:
The photo has been cropped non-destructively.
THE QUICK FIX
With only a few clicks, you may significantly enhance a photo's appearance
using Elements' Quick Fix capabilities. You may easily modify the
brightness, color, and sharpness of your photos using the tools in the Quick
Fix window. You only need to click a button or move a slider in order to
create an image; you don't even need to understand much of what you're
doing.
Here, you can also easily add fancy textures and unique effects (like
Instagram filters) to images as well as frame them. You could, for instance,
make your image appear to be printed on metal or to have been painted on a
wall in the past but the paint is now peeling and breaking.
Quick Fix Window
If you're in the Editor, it's simple to access the Quick Fix window: Simply
select "Quick" by clicking on it towards the top of your screen.
The Editor can recall the last component you used (Quick, Guided, or
Expert). Consequently, if you right-click/Control-click a photo in the
Organizer and select "Edit using Photoshop Elements Editor," your photo
will immediately go to the Quick Fix window if that's where you were when
you last used the Editor while working in the Organizer. In that case, simply
click the Quick tab located towards the top of the screen.
You may also access Quick Fix from a few of the Create mode projects:
Simply right-click or control-click the image you wish to edit, select Edit
Quick, and the image will be submitted to Quick Fix for your edits. When
you enter Quick Fix in this manner, a "Return to Creations" button is visible
on the left side of the screen. Click this button to resume working on your
project where you left off after finishing altering the image.

NOTE: If you open this window with multiple photographs open, you can
select the one you want to edit using the Photo Bin at the bottom. To make an
image the active image—the one that is displayed front and center in the
Quick Fix preview area—double-click its thumbnail after clicking the Photo
Bin button at the bottom of your screen to make the contents of the bin
visible. For a close-up look at the Adjustments panel on the right side of this
window, see Figure 4-2.
A new set of buttons may be seen at the bottom right of the window:
Adjustments: To edit your photo, go to the Adjustments panel (see Figures
4-1 and 4-2) by clicking this button.
Effects: When you press this button, the panel on the right side of the
window changes to display thumbnails of the various effects you may add to
a photo with just one click, such as aging it or making it appear sketchy. For
additional information on these effects, see Getting Fancy: Effects, Textures,
and Frames.
Textures: To make your photo appear to be printed on canvas, to have had a
color wash done to it in the past, or to be on a bumpy chrome surface, simply
click this button.
Frames: Click this option to give your photo a border that resembles a frame
or makes it appear as though an old film print is lying on the page.

Here, the division names are all large buttons. Clicking one causes that area
to expand so you can utilize the commands it provides (such as Exposure, as
demonstrated above). The portion that was open when you clicked another
one closes.
The tools that Quick Fix offers are briefly described in the following sections,
followed by instructions on how to use them.
TIP: Check out Guided Edit (Guided Edit), which leads you through each
step of simple editing tasks, if you need further assistance.
The Quick Fix Toolbox
The Quick Fix window's toolbox in the Editor has a manageable selection of
the Expert mode's tools. The same keystrokes can be used to move between
tools in both operating modes. Additionally, when you click a tool, its Tool
Options replace the Photo Bin, just like in Expert mode. (Click the Photo Bin
button at the bottom of the screen to bring the Photo Bin back into view.)
What you receive is as follows, starting at the top:
You can zoom in and out on your image with the zoom tool, which is ideal
for getting a nice, close look at details or pulling back to examine the entire
picture. (For further details on this tool, see The Zoom Tool.) Additionally,
you can zoom by utilizing the Zoom slider located in the image preview
area's upper right corner.
The Hand tool allows you to drag and drop your image anywhere within the
image window, much like you would with your five fingers. The Hand Tool
and Navigator Panel include further information about this tool.
You can use the Quick Selection tool to apply Quick Fix commands to
particular image regions. The commands you use with this tool after making
a selection will only alter the targeted area and not the full image. The normal
Selection Brush can also be used in Quick Fix; to do so, simply enable the
Quick Selection tool and then click the Selection Brush icon (the brush with
the downward-pointing paintbrush) in the Tool Options section.
What makes the two tools different from one another? The Quick Selection
tool determines the bounds of your selection based on marks you make on the
image (which don't have to be precise), but the Selection Brush allows you
paint a selection exactly where you want it (or mask out part of your shot to
protect it from changing). Additionally, compared to the standard Selection
Brush, the Quick Selection tool is significantly more automated.
With the Red Eye Removal tool, you can hide those blood-red, ominous-
appearing flash reflections in people's eyes. The green reflections in dogs'
eyes can also be removed using this technique. In general, you should utilize
this tool before making any further modifications to your photo if you need to
repair red eyes on people or luminous eyes on dogs. To utilize it, refer to
Fixing Red Eye.
The Whiten Teeth tool makes it incredibly simple to whiten the pearly whites
of your subject.
How to use it is explained in Whitening Teeth:
The type tool Simply click an image using this tool and begin typing to add
words to it.
It is simple to select a different font and modify the text's size, color, and
other attributes using the Tool Options at the bottom of the window.
Anything you can accomplish without access to the Layers panel may be
done in the Quick Fix window, including warping and bending text
The Healing Brushes. With the Spot Healing Brush, you can quickly and
effectively make completely undetectable adjustments to remove blemishes.
How to use this practical tool is covered in detail in The Spot Healing Brush.
For the time being, if you're a newbie, zoom in so you can see what you're
doing before activating this tool and selecting a brush size that just barely
covers the region you want to correct using the slider in the Tool Options
section. Then click that location, and Elements cleans it up so it matches the
surroundings.
Red eye fixing
The infamous red eye issue—those glowing, demonic pupils that transform
your little cherub into a figure from an Anne Rice novel—has plagued
everyone who has ever taken a flash photo.
Digital cameras are more prone to red eye than film cameras, but thankfully
Elements has a straightforward and excellent technique for repairing it. Your
issues can be resolved by simply clicking the red spots with the Red Eye
Removal tool. This instrument can also be used to treat pet eye, often known
as green eye in animals.
This section's explanation of how to fix pet eyes follows.
Both Quick Fix and Expert modes of this utility operate in a similar
manner. What you should do is:
Zoom in on a picture to make it easier to see where you're clicking.
To make the problematic eyes larger, use the Zoom tool. (If you need
to move the image so that the eyes are in the foreground and center,
switch to the Hand tool.)
Pressing Y or clicking the red-eye icon in the toolbox will activate the
red eye removal tool.
Click the red area
That’s it! Just one click ought to solve the issue. If it doesn't, use Ctrl+Z or -Z
to undo the edit before attempting to drag over the pupil. Sometimes one
approach is more effective than the other. The two options for this tool,
Darken Amount and Pupil Size, which are described shortly, can also be
changed.
You're done once you've completed the opposite eye.
Precise red eye removal
When your photo subject's retina is irradiated by your camera's flash, red eye
is a regular problem. When photographing a subject in a dimly lit space,
you'll see it more frequently because the subject's iris is wide open. Use the
camera's red-eye reduction function, if it has one, to prevent red eyes.
Note: Choose Automatically Fix Red Eyes in the Get Photos dialog box to
have red eyes automatically fixed when photos are imported into the
Elements Organizer. Red eye can also be eliminated from particular
photographs in the Photo Browser.

Correct red eye by selecting an eye (top) or clicking an eye (center).

Select the Eye tool in Quick or Expert mode to manually repair red
eye.
Set the Pupil Radius and Darken Amount values in the Tool Options
bar.
Do one of the following in the picture:
Click the red portion of the eye.
Over the eye region, make a selection.
The eyes' red disappears when you let off of the mouse button.
Note: By selecting Auto Correct in the Eye tool's settings bar, red eye can
also be automatically corrected.
There is a checkbox for Pet Eye in the Tool Options section in case Fluffy or
Fido needs to be fixed. This setting instructs Elements to look for the
appropriate hue since the distinct structure of an animal's eye causes it to
reflect green rather than red. (The Red Eye Removal tool in earlier iterations
of Elements was completely incapable of handling animals.) Before
beginning to treat your pet's glaring retinas, turn this checkbox on. With this
setting, you'll get a variety of outcomes. Figure 4-7 illustrates how well it
performs under ideal circumstances, albeit it doesn't always perform as well.
But it's definitely worth a shot.

NOTE: This cat has a classic case of pet eye, which makes it appear more
worrisome than just irritated. Bottom: He looks somewhat disgruntled rather
than murderous after two clicks with the Red Eye Removal tool's Pet Eye
option, but if you look very closely, you can still make out a few glowing
green pixels that it missed along the upper rims of his eyes.
Auto Smart Fix use
A very effective function for making quick adjustments to your photographs
is Auto Smart Fix. It examines a picture and fixes typical contrast, color
balance, and saturation issues. You'll test your ability to use the Smart Fix
function to automatically clean up an image in this activity.
1 Click the Quick button located beneath the Edit tab while it is selected. This
brings up the Panel Bin's Quick Fix panel. Press the Auto button in the Smart
Fix section.

the Quick Fix mode's Smart Fix Auto button.

2 You must compare the before and after views to observe how this feature
alters the image. The drop-down selection for View is located underneath the
image. From the drop-down menu, select Before & After - Horizontal, and
then click the Fit Screen button in the Options bar at the top of the screen.
You may also enlarge the photos and adjust the viewing areas of both images
using the Hand tool ().

Images from before and after.

3 You might have noticed that the girl's skin tone is now more correct. You
will raise the amount of the Smart Fix to more clearly see the impacts of this
feature. In the Smart Fix section, completely move the Fix slider to the right.
The tree's hues become more vibrant. Observe how the image's contrast and
the full color spectrum have been altered. The lightest points in the image
have been changed using the Smart Fix function to be whiter while the
darkest points have been changed to be blacker.
4 To save your adjustments, select File > Save. Press Save if the Save As
dialog box appears. Press Yes when Photoshop Elements prompts you to
replace the current image. When the JPEG Options dialog box appears, click
OK.
Auto Levels
An image's color may change as a result of Auto Levels' adjustment of the
overall contrast. Try this on pictures with poor contrast and perhaps a color
cast.
When using Auto Levels, the image's darkest portions go darker while its
lightest areas get lighter. You will observe the impact that Auto Levels has on
an image in this exercise.
1 Select the Levels.jpg image from the Lessons folder by choosing File >
Open. Click Open.
2 To fit both previews on the screen, press the keyboard shortcut Ctrl+0 (for
Windows) or Command+0 (for Mac OS).
3 Press the Levels Auto button in the Lighting section of the Panel Bin to
start the Levels command automatically. Some areas of the landscape have
already become noticeably darker.
4 Shadows, Midtones, and Highlights sliders are located at the bottom of the
Lighting portion of the Quick Fix panel. To make the midtones of the image,
which are neither the lightest nor darkest sections, darker, move the Midtone
slider to the right.
5 Following a change, two buttons—the Cancel Current Quick Fix Operation
button () and the Commit Current Quick Fix Operation button—appear at the
top of the Lighting section (). To commit the changes, click the Commit
button when you are finished.
Before and after using the Auto Levels command.
6 To save your changes, select File > Save. Make sure the Save in Version
Set with Original checkbox is not selected when the Save As dialog box
appears, then click Save. Press Yes when Photoshop Elements prompts you
to replace the current image. When the JPEG Options dialog box appears,
click OK.

Auto Contrast.
Auto Contrast and Auto Levels both affect an image similarly. You can
typically use either tool because the effects are frequently so similar. Auto
Contrast modifies an image's overall contrast without changing its color.
1 Select Contrast.jpg from the Lessons folder by choosing File > Open.
2 To fit both previews on the screen, press the Fit Screen button in the
Options menu or the keyboard shortcut Ctrl+0 (Windows) or Command+0
(Mac OS).
3 Press the Contrast Auto button in the Quick Fix panel's Lighting section to
start the Auto Contrast command. Take note of how the image darkens
considerably in some areas.
4 To darken the highlights in the picture, move the Highlights slider to the
right until it reaches roughly 25. You can now clearly see the shirt's missing
details.
5 When you're finished, click the Commit button () at the top of the Lighting
section.

Before and after using the Auto Contrast command.

6 To save your changes, select File > Save. Make sure the Save in Version
Set with Original checkbox is not selected when the Save As dialog box
appears, then click Save. Press Yes when Photoshop Elements prompts you
to replace the current image. When the JPEG Options dialog box appears,
click OK.

Automatically adjusting color

Auto Color analyzes a photo and can fix common color balance issues
brought on by the ambient illumination. For instance, fluorescent lighting is
used in many buildings. Fluorescent lights may appear white, but they
actually have a small green tint, which can give your images a green tinge.
Similar to how using an indoor camera setting when taking images outside
might introduce a blue color cast.
1 Select Color.jpg from the Lessons folder by choosing File > Open.
2 To fit both previews on the screen, press the Fit Screen button in the
Options menu or the keyboard shortcut Ctrl+0 (Windows) or Command+0
(Mac OS).
3 Press the Color Auto button in the Quick Fix panel's Color section to start
the Auto Color command. The hue of the trees has been improved, despite
the rather slight modification.
Saturation and Hue are two sliders found in the Color Section. Depending on
which direction the slider is moved, saturation can make colors more vibrant
or subdued. The hue modifies the current colors.
4 To the right of the Saturation slider, click the disclosure triangle (). This
shows thumbnails with different saturation levels.
5 To alter the saturation level, click on various thumbnails. Select the
thumbnail in the center.
This is taking things a bit too far, so click on the thumbnail you've chosen
and move to the left to somewhat lessen the saturation. Click your mouse
once more to confirm the adjustment after you are satisfied with it.

By using the Saturation slider's previews, you can fine-tune the modification.
6 After making any necessary corrections, click the Commit button () at the
top of the Color section.
You can further enhance an image's colors by using the Balance portion of
the Quick Fix panel. Red and blue get warmer or cooler depending on the
temperature, and green or magenta become more or less intense depending on
the tint.
7 To chill the image, move the Temperature slider to the left. The Commit
button () is located at the top of the Balance section. Press it once you are
satisfied with the modification.

This image before and after using the Auto Color command and Temperature
slider.
8 To save your changes, select File > Save. Press Save if the Save As dialog
box appears. Press Yes when Photoshop Elements prompts you to replace the
current image. When the JPEG Options dialog box appears, click OK.
Image comparison in Full Edit View
The four photographs will now be compared side by side in Full Edit View to
see the results of each command.
1 Click the Full button located just beneath the Edit tab.
2 To display each image in its own window, press the Arrange button () and
the Tile All in Grid button (), the second option in the first row.
3 To ensure that all photographs are at the same magnification and location in
their respective windows, press the Arrange button once more and select
Match Zoom and Location at the bottom of the list. You may compare the
photographs as a result and see how the various tweaks made a difference.
Zoom All by using shortcuts
When using the Zoom tool (), you can zoom in on all open photos at once by
holding down the Shift key. The Zoom tool will simultaneously zoom out on
all open photos if you press and hold the Shift+Alt (Windows) or
Shift+Option (Mac OS) buttons at the same time.
Highlights, Midtones, and Shadows
The other adjustments in the Adjustments panel's Levels section are
incredibly effective in bringing out features that are hidden in your
photograph's shadows or bright spots. Figure 4-10 demonstrates the impact
they can have.

The highlights in this picture are way too bright, and the shadows are way too
dark. Right: As you can see after tweaking the shadows and highlights, there
is a ton of detail present. To eliminate the orange tone, use the color sliders in
the Adjustments panel.
Select the relevant tab in the Levels section of the Adjustments panel to apply
these fixes. Although each of these improvements has a default, you'll
probably find that using the sliders gives you more control.
What each one governs is as follows:
Shadows: As Elements lights up the dark regions of your image, moving this
slider to the right will reveal details that were before hidden in ominous,
black shadows.
Midtones: After adjusting the photo's shadows and highlights, which can
make an image appear flat and lack sufficient contrast between dark and light
parts, try this repair. This slider can assist in restoring a more realistic
appearance.
Highlights: Adjust the brightness of overexposed regions using this slider.
TIP: Though you might assume that a photo simply needs its shadows
lightened, occasionally adding a tiny bit of highlights can also be helpful.
Even if your photo is fairly gloomy, you should feel free to explore with this
slider.
Take it gently; overusing these sliders can result in a flat, washed-out
appearance for your photos.
Sharpening
After doing all of your other adjustments, scroll down to the Sharpen section
of the Adjustments window to sharpen your shot. By enhancing the edge
contrast of objects in pictures, sharpening gives the appearance of improved
focus. Once more, an Auto button is available; select it to initiate the process.

NOTE: The original picture. It needs a little sharpening, like many digital
images do. Middle: The result of selecting the Auto button in the Sharpen
section. Right: The outcomes of applying sharpening that is more intense
than Auto Sharpen's.
The sad fact is that after the shutter is clicked, there is really no way to
enhance the focus of a picture. It's advisable to save sharpening for the very
end of the editing process because photo-processing software like Photoshop
Elements sharpens by boosting the contrast where they detect the edges of
objects. Sharpening before using other editing tools may cause unexpected
results.
TIP: Reduce the Sharpen level until the bizarre flaky spots or funny halo
rings around objects in your images that give the impression that the image
has eczema disappear. In fact, many modern cameras sharpen images very
heavily right in the camera, so you might decide that your photo looks best
without any additional sharpening at all.
When sharpening, always view the image's actual pixels (ViewActual Pixels),
as this offers you the clearest understanding of the changes you're making to
the image. You can undo Auto Sharpen (click the Undo button or press
Ctrl+Z/-Z) and try the Sharpen slider if you don't like the results (which is a
distinct possibility).
When the slider is moved to the right, Elements applies more sharpness; zero
sharpening is at the far left. Although you can also click the default
thumbnails, using the slider is probably more convenient. Generally
speaking, you want to sharpen photos more for printing than for internet use.
For more information on sharpening, visit Sharpening Images.
NOTE: You might find it interesting to know that the Auto Sharpen button
applies Adjust Sharpness (Adjust Sharpness) to images if you've ever used
photo-editing software. But with Auto Sharpen, you have no control over the
parameters, unlike when you use Adjust Sharpness from the Enhance option.
The good news is that you can access that option from within Quick Fix if
you wish to utilize Adjust Sharpness or even if you prefer to use Unsharp
Mask (Sharpening Images). Simply select the desired sharpening from the
Enhance menu.
All that's left to do at this stage is crop your picture; Cropping Pictures
explains how to do that. Additionally, you can use the Touch Up tools
described in the following section to give your shot a little more impact.
TIP: If you own a Mac, OS X comes with some rather advanced sharpening
tools preinstalled. Applying Luminance Channel sharpening in Preview is a
sophisticated technique that you might prefer to Elements' sharpening
options. Open a photo in Preview and compare the results to Quick Fix
(select Tools>Adjust Color>Sharpness) to see which you prefer.
Whitening Teeth
There is a unique tool in the Quick Fix toolkit that may be used to brighten
stained or dull teeth. Simply drag over the region you wish to modify, and
Elements will make a thorough selection of the area and perform the
modification for you. Details are as follows:
Open the image, then adjust everything else first.
NOTE: Use Whiten Teeth first if you are experienced with utilizing
Elements before sharpening. However, if you're a rookie and uneasy working
with layers, sharpen first (Read more about why in Quick Fix Suggested
Workflow.)
Press F or click the toothbrush-shaped symbol for the Whiten Teeth
function.

Your cursor
changes into a circle with crosshairs in it in either case.

These teeth were easily chosen, whitened, and kept appearing realistic with
only one swipe.
EDITING IN QUICK MODE
Elements is a cool piece of software since each of its functions has a unique
interface (or environment).
On the Welcome Screen, select Edit to launch the Edit environment. Just
keep in mind that you can click the icon to get to the Welcome Screen and
then click Edit if you're still in the Organizer environment.
The Edit environment will appear when you open it, and it will resemble the
image below:
You can update or edit photos at any moment using this environment.
Resizing, adding text, and image alteration fall under this category.
Comparing Full Edit and Quick Fix Mode
You have two options in Elements for editing and altering your photographs.
Either Full Edit or Quick Fix Mode are available to you.
Here are the variations:
The inexperienced picture editor should use Quick Fix more. Its functionality
and convenience of use are geared toward individuals who want to edit their
own images and just make simple changes. The majority of the "fixes" you
would need to make to a picture are all conveniently available and simple to
carry out.
The Full Edit mode more closely resembles the Photoshop program. It offers
the palettes and more complex functions that Photoshop does, however you're
not required to be an expert to utilize it. Which one you choose will depend
on your preferences and the work at hand.
Viewing the screen photos below will give you a sense of how Quick Fix and
Full Edit differ from one another.

Full Edit
Quick Fix

Click on the orange edit tab and choose either Full or Quick to swap between
them.

Guided Edit
The Guided Edit is another option. Because Elements accomplishes exactly
what it says it will, Guided Edit makes modifying your photographs even
simpler. It leads you through the edit.
Go to the orange edit tab, click the arrow, and choose Guided Edit to use the
feature. A menu with several editing options and a question about what you
want to change about your image can be found in the window to the right.

All you have to do is choose the editing method you like, and Elements will
walk you through the process.
Full Editing Mode
Simply select Full Edit from the orange edit tab on the right side of the
window to launch it.
The Full Edit mode has a wide range of options. Many of the functions that
Photoshop offers are available here.
You can choose specific areas of a photograph and adjust exposure and color.
Additionally, you can add layers and crop photographs.
Even text and painting tools are available on the toolbar.

The Full Edit workspace can be customized to your preferences and

requirements by displaying, hiding, and relocating palettes. Additionally, you
can arrange several windows and views, as well as zoom in and out of
photographs.
Opening Photo
Navigate to File>Open, then select the desired photos to open in the Edit
environment. The Project Bin that we previously showed you can also be
used.
Additionally, you can open files in various formats by choosing File>Open
As, and you can open recently edited files by choosing File>Open Recently
Edited File. You can find a list of the file names in Elements. Simply choose
one to open it.

CLONING WITH THE CLONE STAMP TOOL

When you require the gentle retouching effect that the healing tools offer,
they are excellent. The Healing Brush tool tries to match the tone of the
underlying area with what you are cloning, so you might notice that the tone
of the cloned area changes. This is the fundamental distinction between the
Healing Brush and Clone Stamp tools. The Clone Stamp duplicates
information precisely. In other words, you get exactly what you see. When
you need to remove the girl's teeth from her lip, for instance, you need to be a
little more precise. In this activity, you'll swap out the girl's tooth with the
nearby lip using the Clone Stamp tool.
1 From the Toolbox, choose the Clone Stamp tool (). Make sure the Mode is
set to Normal and the Opacity is 100% by looking at the settings in the
Options bar at the top.
2 Select the Soft Round 9 pixels brush from the Show chosen brush presets
drop-down box in the Options bar's top left corner. When you hover your
cursor over a brush option, the brush names are displayed.
NOTE: By continually pressing Shift+[(left bracket)] or Shift+, you can
additionally soften or harden the borders of your brush (right bracket).

Pick a small, gentle brush.

3 Select a section of the lip that is relatively close to the tooth and place the
pointer there. You want the hue to be almost the same since you're going to
clone this portion of the lip. Click to designate this as your clone source while
holding down the Alt (Windows) or Option (Mac OS) key.

Set a clone source close to the region you'll be retouching with

Alt/Option+click.
4 Start pressing and releasing the mouse over the tooth's region. Press Ctrl+Z
(Windows) or Command+Z (Mac OS) right away to undo the retouch, and
then Alt+click (Windows) or Command+click (Mac OS) on a source that will
work better if the clone source does not match. The finest results with the
Clone Stamp tool come from selecting a clone source, dabbing on the region
you like to retouch, and then clicking to designate a source (again), possibly
closer to the subsequent area you wish to retouch. A proficient user of Clone
Stamp clicks quite a bit.
Remember that the Opacity text field in the Options bar allows you to lower
the Clone Stamp tool's opacity.
5 To save this file, select File > Save or press Ctrl+S. For the remainder of
this lesson, keep it open.

Using the Clone Stamp tool to clone an area

You used the Clone Stamp tool to retouch in the previous exercise. You will
use an existing tooth to fill in a gap in the following section of the class.
Additionally, you will learn how to copy data from one layer to another.
1 To fit the image within the window, use Ctrl+0 on a Windows or Mac
computer.
2 Click and drag the Zoom tool () over the girl's mouth who is visible in the
picture to the mother's right. She is missing a tooth on the right side of her
mouth, which can be seen now that you are closer to her.

To enlarge the mouth, click and drag the mouse.

3 If you altered the opacity in the Options bar during the last lesson, select
the Clone Stamp tool (), retain the brush size at 9 px, and check that it is back
to 100 percent. In the Options bar, tick the box next to Sample All Layers. If
necessary, you can use this to sample pixel data from one layer and apply it
to another.
4 Click the canine tooth on the girl's left side of the mouth using the
Windows or Mac OS keyboard shortcuts Alt and Option.
To set the left canine tooth as a clone source, use Alt + Click.
5 Select Window > Layers if you are unable to see the Layers window.
6 Alt+click (Windows) or Option+click (Mac OS) the Create a new layer
button in the Layers panel (). Photoshop Elements opens a New Layer dialog
box when Alt/Option+clicking the Create a new layer button, allowing you to
give the layer a name.
7 In the New Layer dialog box's Name text field, enter new tooth, and then
click OK.
8 Place the cursor over the lost tooth's location on the right side of the mouth.
The bare space on the right side will be used to clone the existing canine
tooth. If it is not positioned precisely where it should be, do not panic; in Step
9, you will flip the tooth and realign it. Start moving the left canine tooth into
the spot where the right canine tooth would be by clicking and dragging.
Although the tooth has been cloned, it has not yet been flipped or placed
properly.
9 After you have completed the tooth reconstruction, select the Move tool (),
check the boxes next to Auto Select Layer and Show Bounding Box in the
Options bar, and then either press Ctrl+T (Windows) or Command+T (Mac
OS) or select Image > Transform > Free Transform. Transform handles are
visible.
10 By doing a right-click (Windows) or Ctrl+click (Mac OS) on the teeth and
selecting Flip Layer Horizontal, you can flip the tooth horizontally. The tooth
can be rotated by clicking and dragging on one of the corner handles, if
necessary, and then entering the Enter key to confirm the change.
11 Reposition the teeth using the arrow keys on your keyboard while making
sure the Move tool is active. Selecting File > Save or File > Close will save
and close the file, respectively.
NOTE: You might have Auto-select turned on in the Options tab if you are
having trouble clicking and dragging the tooth. Re-select the tooth layer in
the Layers panel by clicking and dragging it, then tick the option to the left of
Auto-select.
The new tooth following flipping and realignment.
Refine facial features
Utilizing face-aware technologies, the Adjust Facial Features workflow
locates and modifies the facial features of subjects in photos. By using
straightforward sliders to enhance or reduce an effect, you can take a portrait
photograph and modify face features like the jaw, nose, lips, and eyes.
Open Photoshop Elements and a picture.
Note: Make sure there are at least a few faces in the photo you're using for
Adjust Facial Features to function properly.
Select Facial Features > Adjust under Enhance.
You'll see that the person's face is highlighted in a circle in the Adjust
Facial Features box to show that the face-aware feature has located a
face in the image.
Note: Does the image contain multiple faces? There will be numerous circle
highlighters highlighting the areas where Photoshop Elements was able to
detect faces if there are multiple faces in the image. To change the features of
a face, click a ring or a face.
Select a face and adjust the facial characteristics of a person
Using the accessible sliders, you can modify the following features for a
chosen face:

Feature Characteristics

Lips Smile, Height, Width, Upper lip, Lower lip

Eyes Height, Width, Size, Tilt, Distance

Nose Height, Width

Face Width, Forehead height, Jawbone shape, Chin

Shape height

Face Tilt Angle, Left-Right, Up-Down

Note: In Photoshop Elements, Face Tilt debuts.
To check the alterations brought on by sliding the sliders left or right, click
the Before/After toggle button.
Move the sliders to make effect changes on the face.
Double-clicking the slider will revert edits to that characteristic (optional).
This characteristic's modifications are revoked.
Choose one of these:
Click Reset to undo the changes you've made to your face
characteristics.
Click OK to apply the changes to the facial features.
Reposition and move the objects
You can choose an object in your shot and use the Content-Aware Move tool
to move or extend the selection.

The original photograph (left); the kite has been positioned closer to the
ground (middle); the kite has been moved higher into the sky (right).
The Content-Aware Move tool should be chosen.
To specify whether you wish to relocate or duplicate an object, select a mode.
You can move things around the image with the Move command.
You can duplicate the object more more once with extend.
Determine the kind of decision you wish to make:
New
Move the object by dragging it with your mouse, or click and drag to make a
new selection.
Add
Every choice you make builds on the one before it.
Subtract
The overlapped area is eliminated from the final selection when you make a
new selection over an already existing selection.
Intersect
Only the common region that overlaps the new and old selections remains
selected when you make a new selection over an existing one.
Select the object you want to move or expand by dragging the mouse pointer
() across the image.

Drag the mouse around the object you want to select

Ø Move the object to a new spot once you've made your choice. Click
and drag the object to the desired location to accomplish this.
Ø Using the surrounding image content, the area where the selection is
 relocated from is automatically filled.
Ø At the new location, alter your choice. Choose from the list below by
clicking:
Ø Rotate enables you to rotate your selection within the image to a new
angle.
Ø You can change the size of your selection using the scale option.
Ø Skew lets you alter the viewpoint of the image's selection.
Ø Pick the Sample All Layers check box and tweak the Healing slider if
the automatically filled region doesn't look right.

Remove spots and unwanted objects

There are a number of tools in Photoshop Elements that you may use to fix
minor issues with your photographs, such blemishes or unwanted objects.
Remove spots and small imperfections.
Your images can be instantly improved by using the Spot Healing
Brush to eliminate blemishes and other flaws.
You can either drag to remove flaws in an area or click once on a spot
to highlight it.

Easily remove spots or imperfections using the Spot Healing Brush tool
A spot healing brush should be chosen.
Select a brush size. It works best to use a brush that is just a little bit
bigger than the region you want to correct so that you can cover the
entire area with a single click.
Select one of the Type selections from the list below in the Tool
Options box.
Distance Match
finds an image region to use as a patch for the specified area by using the
pixels around the selection's edge. Select Edit > Undo and try the Create
Texture option if this one doesn't fix the issue to your satisfaction.
Make a texture
utilizes each and every pixel in a selection to provide a texture for the
area's repair. Try dragging through the region again if the texture
doesn't work the first time.
To apply your adjustment to all layers of the image, click Sample All
Layers.
Click and drag over a bigger area to select the portion of the image
you wish to edit.
Delete undesirable items using content-aware healing
Without damaging the images, you can delete undesirable persons or objects
from your photographs. You can erase certain things from a snapshot using
the Spot Healing Brush's Content-Aware option. In order to seamlessly fill
the selection and accurately preserve important elements like shadows and
object borders, Photoshop Elements compares neighboring image content.

Image before and after an unwanted object (the brush) is removed with
content-aware fill
To get rid of something you don't want:
Make use of the Spot Healing Brush tool.
In the Tool Options bar, pick Content-Aware.
In order to eliminate an object from an image, paint over it.
Small things are the most suitable for spot healing. Make sure you work with
a high-end computer setup if the image you're working on is vast and
contains a large undesired object.
Try the following methods if you have issues with huge images:
Ø At each brushstroke, make a smaller one.
Ø Reduce the image's size.
Ø Relaunch the application after increasing the RAM allotted.
Fix large imperfections using Healing Brush
When you drag the Healing Brush across flaws, they are much reduced.
Objects with a consistent backdrop, such those in a field of grass, can be
removed.

Before and after using Healing Brush.

A healing brush should be chosen.
Set healing brush options after selecting a brush size from the Tool Options
bar:

Mode
evaluates the blending of the source or pattern with the existing pixels. The
new pixels are overlaid on top of the old ones in normal mode. The edges of
the brush stroke are preserved in film grain and texture when using the
replace mode.
Source
establishes the source to be used for pixel restoration. Pixels from the current
image are used during sampling. Pixels from the pattern you specify in the
Pattern panel are used in Pattern.
Aligned
without losing the current sampling point even if you let go of the mouse
button, continually samples pixels. When you finish painting and start again,
use the pixels that were sampled from the first sampling point by deselecting
Aligned.
Sample Every Layer
To sample data from the current layer, the layer below it, or all visible layers,
select Sample All Layers.
To sample data, place the pointer in any open image and press Alt (Option on
Mac OS).
Note: Unless one of the photos is in grayscale mode, both images must be in
the same color mode when applying a sample from one image to another.
To combine sampled data with existing data, drag the image over the defect.
Each time you let go of the mouse button, the sampled pixels blend in with
the existing pixels.
Note: Make a selection before using the Healing Brush tool if the edges of
the area you wish to heal have a sharp contrast. Make the selection larger
than the area you wish to heal while closely adhering to the contrasting
pixel's edge. The selection stops colors from leaking from the outside when
you paint with the Healing Brush tool.
Correcting Camera Distortion
You can correct common lens distortion issues, such as darker edges brought
on by lens flaws or poor lens shading, using the Correct Camera Distortion
dialog box. For instance, the corners of a photograph of the sky shot in poor
light appear darker than the center. The distortion is resolved by adjusting the
midtone and vignette settings.
Utilize the perspective adjustments to correct distortions brought on by
vertical or horizontal camera tilt. To correct distortions, rotate the image or
alter the viewpoint. The Correct Camera Distortion filter image grid makes
modifications simple and precise.
Correct camera distortion

Select Correct Camera Distortion under Filter.

Check the Preview box.
To improve your image, select one of the following options, and then
click OK.
Remove Distortion eliminates pincushion or barrel distortion in lenses. To
straighten horizontal and vertical lines that slant away from or toward the
center of the image, put a number in the box or use the slider.
Vignette Number
determines how much of an image's edges are lightened or darkened. To
gradually shade the image, enter a number in the box or drag the slider.
Midpoint of a Vignette
specifies the size of the area that the Amount slider will effect. To affect
more of the image, slide the slider or type a lower value. To limit the effect to
the image's edges, enter a larger number.
When the camera is tilted up or down, vertical perspective is employed to
correct the perspective of the image. To align vertical lines in an image, enter
a number in the box or move the slider.
Horizontal Viewpoint
By making horizontal lines in an image parallel, perspective can be adjusted
by entering a value in the box or using the slider.
Angle rotates the picture to make corrections after perspective correction or
to account for camera tilt.
To rotate the image to the left (counterclockwise) or right, enter a number in
the box or use the angle dial (clockwise).
Scale
Increases or decreases the image scale. The pixel sizes of the image remain
unchanged. To erase blank regions of the image brought on by pincushion,
rotation, or perspective corrections, enter a value in the box or use the slider.
When a picture is enlarged, it is essentially cropped and interpolated to reach
its original pixel size.
Grid, Show
Reveals the grid when chosen. when deselected, conceals the grid.
Zoom
offers a view that is closer when you zoom in and farther away when you
zoom out.
Color specifies the color of the grid.
SMUDGING AWAY ROUGH SPOTS
One of those specialized tools that is a little challenging to categorize is the
smudge tool. It is typically used for retouching chores and is grouped with
the Blur and Sharpen tools in Photoshop's toolbar. The Blur tool might be the
Smudgetool's closest relative because it can likewise be used to blur edges
and transitions in an image. However, its true power rests in its capacity to
move image pixels about in your image. When you move the tool through an
area, the pixels spread out and meld with the surrounding pixels, just like
when you pull a brush through freshly painted walls. Use the smudge tool on
background and other surfaces where it may be necessary to eliminate faults
or irregularities while maintaining detail is not essential.

By altering the length and direction of the brushstrokes, you can also produce
some convincing artistic effects with a little effort. The Smudge tool's effects
can be modified using the sliders on the options bar, exactly as the Blur and
Sharpen tools.
Set the brush stroke and other brush characteristics as desired in the Tool
Options Bar. With the help of the various drop-down menus and sliders, you
can choose the blending mode, brush, size, and strength. Additionally, you
can choose by utilizing the combined color value from all layers by checking
the "Sample All Layers" checkbox. If left unchecked, it just smears the color
of the layer that is now visible.
Additionally, you can enable "Finger Painting" to blur each stroke with the
foreground color of your choice. If this option is left unchecked, the tool will
instead begin each stroke with the color under the pointer. Once your
preferences are selected, click and drag anywhere on the image to smear the
paint.
STEPS ON HOW TO USE THE SMUDGE TOOL
Select "Smudge Tool" from the Toolbox and Tool Options Bar to
utilize the Smudge Tool in Photoshop Elements.
Set the brush stroke and other brush characteristics as desired in the
Tool Options Bar.
From the drop-down menu and slider, choose a blending mode and
strength.
Selecting "Sample All Layers" will allow you to make your selection
using the total color value across all layers.
If left unchecked, it will simply smear the color of the layer that is
now visible.
Check the "Finger Painting" checkbox to smear each stroke using the
foreground color you've chosen.
If left unchecked, the tool will instead start each stroke with the color
that is directly beneath the pointer.
After choosing your options, click and drag on the image to smear the paint
where you do so.
SPONGING COLOR ON AND OFF
In Photoshop Elements, the Sponge Tool is used to make small adjustments
to an area's color saturation. Select the Sponge Tool button from the Toolbox
and Tool Options Bar to start using it in Photoshop Elements. Keep in mind
that the Dodge and Burn Tools, as well as the Sponge Tool, all share the
same Toolbox button.
Set your brush parameters in the Tool Options Bar by choosing the type of
brush to use and its size using the "Brush" drop-down and the "Size" slider.
Next, choose "Desaturate" to lessen color saturation or "Saturate" to boost
color saturation using the "Mode:" drop-down. The strength of the chosen
effect can then be adjusted using the "Flow:" slider.
At that point, click and drag within the chosen layer to alter the color's
saturation.
STEPS ON HOW TO USE THE SPONGE TOOL
Ø Select the Sponge Tool from the Toolbox and Tool Options Bar to
start using it.
Ø Set your brush parameters in the Tool Options Bar by choosing the
type of brush to use and its size using the "Brush" drop-down and the
"Size" slider.
Ø Choose "Desaturate," which lowers color saturation, or "Saturate,"
which raises color saturation, from the "Mode:" drop-down menu.
Ø Use the "Flow:" slider to then adjust the effect's intensity.
Ø Click and drag within the chosen layer to alter the saturation of the
color.

COLOR REPLACEMENT
In many artistic circumstances, Photoshop's Color Replacement tool can be
useful. For instance, you could want to use a splash of color to draw attention
to your subject. Alternatively, perhaps you wish to use contrasting hues. Or
perhaps you prefer one color over another. Whatever your motivation, Adobe
Photoshop makes switching out one hue for another simple.

Using the Replace Color tool is one technique to change a color. However,
there are a few additional approaches. Changing a color in Photoshop is
simple with the help of this step-by-step tutorial.
A few tools in Photoshop may be used to turn a blue car green. The Replace
Color tool is just one of them.
Training for the Color Replacement Tool in Photoshop
Brushing a different color over the old one is one of the simplest ways to
change the color in Photoshop. Consequently, let's use the Color
Replacement tool to transform this drab, green car into a vibrant red one.
Step 1: Launch Photoshop and open the image

Open your image in Photoshop first, then proceed.

Step 2: Make a copy of the Background Layer
Utilizing the Color Replacement tool modifies the original image. The tool
becomes non-destructive by duplicating the background layer. If you decide
against it, you can turn the color off. Select Layer > Duplicate Layer from the
Layer drop-down menu to create a duplicate layer.
Make a copy of the layer and add paint to it.
Step 3: Choose the Tool for Color Replacement.
Select the Color Replacement tool from the toolbar while the duplicate layer
is highlighted. Along with other brush tools, it could be grouped. Then, to
select a different color, click the foreground color icon near the bottom of the
toolbar. Select OK.
Pick a new color from the toolbar and the Color Replacement Tool.
Step 4: Apply the New Color by Brush
Over the old color, paint the new one. Keep the + on the original color's brush
in the center. The settings bar's Find Edges option will aid in containing the
new color. If you mess up, choose Undo (Ctrl or Z) or use the eraser tool to
remove the color. You might need to revisit a certain place more than once.

Use the new color to paint. Use the eraser tool to correct any errors you
make.
Compare the image's original and new colors.
Although this approach is simple to understand, it might not be accurate
enough for your purposes. Observe how challenging it is to regulate the color
tones in the reflection. Try using the Replace Color tool if you lose the subtle
color gradations.
How to Use the Replace Color Tool in Photoshop
Photoshop offers a Replace Color tool in addition to a Color Replacement
tool. The latter swaps out one color for another, as you could have inferred
from the name.
Step 1: Launch Photoshop and open the image

The woman wearing the blue jacket in the original image is driving a blue
automobile.
Step 2: Duplicate the Background Layer
The Replace Color tool modifies the original picture. The tool becomes non-
destructive when you duplicate your background layer. If you decide you
don't want the color change, you can turn it off. Layer > Duplicate Layer can
be selected by right-clicking the background layer.
To keep your original, apply the Replace Color tool to a duplicate layer.
Step 3: Dialogue Box for the Replace Color Tool
The duplicate layer is highlighted. By selecting Image > Adjustments >
Replace Color from the Image drop-down menu, you may get the Replace
Color dialogue box.

The Image drop-down menu has the Replace Color tool.

Step 4: Decide the color you want to change.
Use the eyedropper tool to choose the color you want to replace in the
Replace Color tool dialogue box. The majority of photos contain color
gradations. Select the color's most pure example by clicking. After that, add
softer and darker colours with the eyedropper (+).
Check the box next to Localized Color Clusters if you want Photoshop to
only pick out colors in the vicinity of the area you've chosen. The selection of
colors can be made more or less precise using the fuzziness slider.
Choose the color you want to replace in the Replace Color tool dialogue box.
5. Alternate the Color
To select a different color, move the Hue slider. You might need to expand
your selection to include more colors as a result of the findings. Click on the
areas that you wish to add to your color change using the eyedropper + tool.
If other colors in your image also shift, do not be concerned. We will
eliminate undesired color changes in the following phase.
To change the color, move the Saturation and Lightness sliders. Click OK
once you are satisfied with the new color.

To select and fine-tune the new color, use the sliders for Hue, Saturation, and
Lightness.
Remove Unwanted Color Changes in Step 6 using a Layer
Mask
Include a layer mask on the duplicate layer. To accomplish this, either select
Layer > Layer Mask > Reveal All from the Layer drop-down menu or click
the mask symbol in the Layers panel's bottom-right corner.
Toggle the mask on. Paint over the regions of your image where you don't
want the color to alter with a black paintbrush. If you mess up, switch to a
white paintbrush to show the color shift.

Making a layer mask To conceal undesirable color shifts, paint the mask
black.
Look at the image both before and after the color adjustment. The hue was
modified, and the blue wall and the woman's blue clothing both turned pink.
We restored their original color by using the mask on these.
How to Change Colors Using Hue/Saturation Adjustment
Layers
You can alter the colors in your image with the Hue/Saturation adjustment
tool. Using it is equally simple as using the Replace Color tool. However, it is
non-destructive and allows for unlimited color adjustments.
Step 1: Launch Photoshop and open the image
The green skyscraper in the distance merges in with the green automobile.
The two elements will be distinguished by a change in hue.
Step 2: Add a Hue/Saturation adjustment layer
In Photoshop, include a Hue/Saturation adjustment layer. In the adjustments
window, either select the Hue/Saturation symbol. Alternately, select Layer >
New Adjustment Layer > Hue/Saturation from the Layer drop-down menu.
A few things happen when adjustment layers are added. In the layers panel, a
new layer is added atop your original picture. A white mask is displayed next
to the icon for the adjustment layer. A new Properties panel opens as well,
allowing Hue/Saturation changes.
Add a Hue/Saturation adjustment layer from the adjustments panel or the
Layer drop-down menu.
Step 3: Decide on the new color that you want.
In the Hue/Saturation properties panel, select the Hand tool. The eyedropper
tool is now accessible. To change a color, click on it. Consider the fact that
the sliders at the panel's bottom now display a grey region with tabs on either
end. The spectrum of colors that will be impacted is as follows. By pulling
the tabs out, you can expand the palette of colors. Alternatively, you can
select more colors by using the eyedropper + tool.
To choose the colors you want to replace, use your hand and the eyedropper
tool. The palette of chosen colors is displayed as a grey area.
4. Changing the Color
To alter the color, move the Hue slider. If other colors in your image alter, do
not be concerned. The following step is where you will polish the specifics.
To make a color darker or brighter, use the Lightness slider and the
Saturation slider to adjust the saturation.

The Hue slider can be used to alter the color. Use the eyedropper tool to add
other shades.
Step 5: Eliminate Unwanted Color Shifts by using a Layer Mask
A black paintbrush and the white mask layer in the Hue/Saturation layer
should be selected. In your image, paint over any portions you don't wish to
change color. If you make a mistake, switch to a white paintbrush to make it
obvious.
To help define edges, you can utilize selection tools like the Object Selection
tool or Quick Select.

To undo the color change, apply black paint to the layer mask. You can keep
within the boundaries by choosing the object.
Using the Hue/Saturation adjustment layer allows you to go back and tweak
the colors if you wish to change the outcomes later.
Compare the image's original and new colors. The pink tint is now more
noticeable against the background.
Conclusion
Photoshop's Color Replacement tool is really helpful. However, it's not the
sole method for changing a hue. The Hue/Saturation adjustment tool and the
Replace Color tool are further options. All accomplish the task. The most
adaptable tool is the Hue/Saturation adjustment one, though.

INDEX
"tint" sliders, 47
adjustment layer, 183, 275, 276, 280, 372, 374
Adobe Camera Raw., 90
Adobe Creative Cloud, 41
advantageous, 202
Applications, 1
Attachments, 34
Auto Selection tool, 108, 109, 256, 257
AutoPlay, 8
background, 39, 40, 69, 75, 77, 78, 80, 110, 111, 112, 115, 137, 143, 202, 220, 224, 237, 251, 265, 266,
267, 270, 271, 272, 275, 280, 282, 287, 319, 361, 366, 368, 374
Brightness, 28, 73
Calibration, 81, 211, 212, 213, 214
camera, 7, 8, 46, 50, 52, 57, 68, 87, 88, 122, 128, 129, 131, 132, 133, 134, 183, 187, 210, 211, 217, 298,
329, 335, 340, 359, 360
checkbox, 43, 95, 125, 229, 257, 258, 272, 311, 322, 330, 333, 334, 362
compression, 68, 69, 70, 72
configuration, 16, 83
Context menus, 94
contrast, 48, 70, 83, 84, 101, 103, 169, 185, 205, 252, 275, 276, 331, 332, 334, 338, 339, 358
convert photos, 34
Converter, 23
crop tool, 250, 295, 296, 298, 300, 301, 316
Custom, 11, 12, 13, 14, 15, 16, 18, 19, 117, 118, 119, 120, 130, 149, 262, 278
Customer Care., 2
Datacolor, 82
decontamination, 114
Delete Cropped Pixels, 297, 322, 323, 324
Desaturate, 363, 364
Destructive editing, 53
digital photographs, 1, 68
Dimensions, 54, 61, 63, 65
Downloader, 7, 8, 87, 128, 129, 131
Edit tool bar, 145
Editor, 1, 4, 5, 6, 8, 10, 11, 12, 13, 14, 15, 19, 20, 25, 26, 27, 28, 33, 39, 42, 87, 88, 90, 94, 95, 125, 128,
134, 143, 144, 145, 324, 327
eLive, 5, 8
Elliptical Marquee tool, 95, 96, 98
encapsulated, 71
Eraser tool, 112, 264, 265, 266, 267, 268, 282
Expert mode, 10, 11, 12, 15, 20, 23, 25, 28, 42, 93, 94, 98, 115, 117, 120, 124, 278, 283, 314, 327, 330
exploring, 2, 161, 164
Eyedropper, 75, 76, 77
Feather, 98, 99, 101, 102, 112, 114, 248, 249, 263, 271
file types, 29, 44, 66, 67, 70, 122, 187, 197
FilesPresetsColor, 77
fix niggling, 46
Flatten Image, 287, 288, 289, 290
floating, 12, 16, 17, 18, 19, 20, 27, 121, 146, 147
foreground, 75, 76, 77, 78, 80, 110, 112, 143, 202, 267, 329, 362, 366
formats, 42, 45, 66, 67, 71, 72, 124, 134, 346
fundamentals, 237, 249
Grayscale, 198
Guided Edit, 1, 9, 97, 123, 143, 145, 327, 344
hardness, 107, 254, 268
Healing Brushes, 328
highlighted, 14, 115, 140, 278, 351, 366, 369
histogram, 49, 50
History, 12, 18, 24, 25, 26, 289
Home page, 2
horizontal, 19, 45, 299, 359, 360
hue, saturation, 72
Image cropping, 46
images, 5, 6, 7, 14, 15, 16, 19, 26, 27, 29, 31, 33, 34, 36, 37, 38, 39, 40, 45, 51, 52, 56, 67, 68, 70, 85,
87, 89, 90, 93, 120, 121, 129, 131, 133, 134, 135, 136, 137, 138, 139, 140, 141, 144, 145, 148, 149,
150, 152, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 167, 168, 170, 183, 196, 202,
211, 275, 283, 315, 324, 331, 335, 339, 340, 342, 355, 356, 357, 358
implementations, 39
instructions, 9, 27, 32, 33, 38, 40, 88, 115, 128, 138, 139, 141, 145, 162, 326
interchangeably, 148
JPEG format, 69, 70
keyword tags., 87
Landscape mode, 310
Layers, 11, 15, 18, 67, 76, 104, 115, 116, 118, 146, 183, 186, 257, 258, 266, 267, 270, 274, 275, 276,
277, 278, 279, 280, 281, 282, 283, 284, 285, 287, 288, 290, 291, 292, 293, 294, 328, 348, 349, 350,
355, 356, 358, 362, 370, 371
Lightroom, 27, 210, 212, 297
Magic Extractor, 110, 111
Magic Wand tool, 95, 103, 104, 115
magnification, 66, 91, 92, 93, 337
magnifications, 90
Manage Catalogs,, 167
Management, 85
Media view, 7
memory card, 7, 87, 88, 128, 131, 132
methodically, 46
monitor, 61, 64, 66, 81, 82, 83, 84, 85, 86, 216, 218, 219
Navigate, 27, 88, 345
Navigator, 90, 92, 93, 327
new document, 26, 142
onscreen, 13, 43, 71, 254
OptionsKeep, 1
orangeter, 83
organize, 4, 15, 143, 145, 146, 160
Organizer, 4, 5, 6, 7, 8, 10, 15, 25, 27, 33, 34, 36, 39, 40, 42, 87, 94, 95, 115, 120, 121, 122, 128, 131,
132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 143, 144, 148, 153, 154, 155, 158, 159, 160, 161,
162, 168, 171, 172, 178, 179, 180, 181, 324, 329, 341
outdoors, 46
Outlook, 34
Palettes, 146
panel, 3, 6, 11, 12, 13, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 30, 32, 33, 34, 36, 37, 55, 75, 77,
78, 79, 80, 90, 92, 93, 94, 97, 107, 116, 118, 119, 120, 122, 145, 148, 149, 150, 151, 152, 153, 155,
159, 160, 161, 162, 164, 166, 168, 174, 175, 177, 189, 196, 198, 210, 211, 212, 213, 249, 253, 254,
263, 266, 267, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 287, 288, 289, 290, 294,
315, 325, 328, 331, 333, 334, 335, 336, 337, 338, 349, 350, 358, 370, 372
Panel Bin, 12, 13, 15, 17, 18, 19, 88, 115, 117, 118, 119, 160, 161, 162, 331, 333
parentheses, 23
Perspective, 314, 315
Photo Bin, 11, 13, 14, 15, 17, 22, 23, 93, 94, 120, 121, 122, 124, 325, 327
Photoshop, 1, 2, 5, 12, 16, 24, 25, 26, 27, 29, 30, 36, 40, 42, 53, 57, 58, 59, 65, 66, 67, 68, 69, 70, 71,
72, 73, 75, 77, 79, 87, 88, 95, 96, 97, 98, 110, 113, 115, 117, 120, 121, 122, 123, 124, 128, 141, 142,
143, 154, 158, 162, 163, 165, 166, 167, 181, 183, 184, 185, 186, 187, 188, 189, 190, 194, 196, 201,
202, 204, 206, 218, 219, 220, 226, 229, 231, 235, 237, 249, 250, 251, 252, 253, 255, 256, 258, 259,
260, 261, 262, 268, 269, 275, 278, 279, 280, 283, 287, 288, 289, 295, 296, 297, 298, 300, 301, 305,
308, 310, 314, 317, 318, 319, 323, 324, 332, 333, 335, 337, 339, 342, 345, 349, 351, 352, 355, 356,
361, 362, 363, 364, 365, 367, 369, 371, 372, 374
Photoshop Elements., 1, 29, 30, 95, 143, 204, 259, 261, 362, 363
pixels, 53, 55, 58, 60, 61, 62, 63, 64, 65, 66, 76, 102, 103, 104, 114, 115, 210, 221, 236, 239, 243, 252,
253, 254, 255, 259, 260, 261, 262, 264, 265, 266, 267, 268, 275, 278, 280, 317, 319, 320, 322, 323,
324, 331, 340, 346, 356, 358, 361
Polygon Lasso, 108, 257, 258, 259
Polygonal Lasso tool, 99, 100, 101, 102
Portable Document Format, 71
Preferences, 25, 26, 34, 36, 43, 81, 89, 125, 126, 140, 155, 219
proportional, 54
Quick Fix mode, 9, 145, 331
recommendations, 149, 235
Rectangle, 108, 109, 257, 258
Rectangular Marquee tool, 98
Red Eye Removal, 22, 327, 328, 330, 331
Reduce Color Noise setting, 208
resolution, 22, 53, 54, 55, 56, 57, 58, 60, 61, 63, 64, 65, 66, 135, 136, 142, 202, 315
Scanner, 138, 139, 140, 141
Scratch Disks, 6
Selection Brush tool, 105, 106, 107, 253
Sharpness, 29, 51, 340
shortcut key, 23
sidebar, 88, 135, 211, 212
slideshow, 6, 30
Slideshows, 3, 6, 30, 162
Smart Filter, 186, 187
Smooth selection, 259, 261, 262
smudge tool., 361
soft edges, 107, 114
sophisticated, 52, 340
spectrum, 49, 74, 80, 106, 266, 332, 372
Sponge, 23, 363, 364
spot healing", 46
straightforward, 145, 185, 193, 235, 237, 283, 295, 328, 351
subcategories, 149
supporting audio files, 30
Swatches, 75, 77, 78, 79, 80
taskbar, 5, 117, 119, 120, 121, 148
thumbnails, 14, 15, 93, 120, 121, 144, 164, 165, 325, 335, 340
toolboxes, 23
toolbox's, 77, 80
Transform Selection tool, 226, 227, 252
transparency, 69, 70, 264, 265, 290, 291, 294
Undo/Redo key, 25
updated, 3, 40, 60, 67, 71, 95, 200
Upsampled, 57
web graphics, 44, 69
Welcome screen, 4, 5, 6
Window menu, 18, 93, 119, 146, 147
WindowReset, 19, 20
Windows computer, 1, 184, 240, 283, 287
Workspace, 11, 12, 13, 15, 16, 18, 19, 117, 118, 119, 278
Zooming, 20