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CONTINUED FROM PAGE 32 Adding a shadow There was no shadow at all in the photo of the orange slice. But if you look at the original apple, you can see that there was a shadow on the apple. So I had to transfer that to the orange. I used the Pen tool to draw a path where I wanted the shadow to be, and converted it to a selection. Then I used brightness and contrast in the Multiply Blend mode to darken it. Because the shadow wouldn’t have a hard edge in reality, I went into Quick Mask mode and drew a quick selection around the top side, and blurred it with Gaussian Blur. Then I pulled down the layer’s Manage your open fi les. If you’re using Photoshop CS4, take advantage of the new interface to better organize your fi les. When you’re cloning from multiple images, check the box for Match Zoom and Location (or Match All)—it’s easy to revisit possibilities and compare your options without having to move windows all over the place. Return to the Clone Stamp tool. CS4 makes it easy and effi cient to use the Clone Stamp—the new version shows you a preview of your change before you commit to it. I used to waste a lot of time of trying to get just the right clone, always undoing and retrying. Though confusing at fi rst, this change in CS4 is magnifi cent. Clone on new layers. Always clone onto a new, blank layer. Switch between Sampling Current, Current and Below, and All Layers in the pulldown menu in the Options Bar. I recommend that you become very familiar with these distinctions because they are extremely useful when creating complex composites. Label your layers effi ciently. I like to name layers that only have cloned and healed fi xes in them “f” for fi x. This makes them easier to fi nd again later and group together. Make merged copies. The merged copy (Shift + Ctrl [Command on a Mac] + C, followed by Ctrl [Command] + V) is a lifesaver for a warping adjustment, such as Liquify, that must take place on top of a fi le stack on which you’ve already done a lot of work in terms of Adjustment Layers and cloning clean-up layers. Take advantage of Quick Masks. Developing the ability to work simultaneously with Quick Masks and selections is critical to refi ning your compositing workfl ow. Just hit the Q key on your keyboard to enter Quick Mask mode. With Quick Masks, you can paint a mask directly in the working space. Most often, I use Quick Mask in conjunction with the Lasso tool. I’ll load an already created alpha channel for an entire object, switch to Quick Mask mode, and quickly select and delete areas that I don’t want in my current selection. You opacity until the shadow looked natural. I chose to make the shadow fall a little lower than the one in the original apple photo, simply because it worked better aesthetically. Between apple & orange Where there’s a slice, there will be an edge—and the look of that edge is important for a convincing composite. In this case, the pith between the orange fl esh and the apple edge was brought in from the orange shot. I used the Warp tool to carefully match it to the contour of the apple slice. For fi ne adjustments, I used the Liquify brush. can also Ctrl [Command] + click on any layer thumbnail, layer mask thumbnail, channel thumbnail, or path thumbnail to turn it into a selection. Once selected, go into Quick Mask Mode and then alter the selection to make a new mask, or combine multiple selections. Use “scrubby sliders.” Instead of manually inputting numerical values—such those for selection feathering, opacity, or font size—mouse over the word or icon labeling what you want to change, and you’ll see a pointed fi nger. Click and drag left or right to decrease or increase the numerical value in the box. Hide your selections. Typing Ctrl [Command] + H hides or shows the crawling ants selection. I use this all the time. When, say, you have an area selected and you want to increase contrast, it’s important to see how it transitions at the edges. Hiding the noisy ants while you adjust gives you an idea of the real effect of your fi x. This same key command can even hide the warping grid. It’s unbelievably useful, because it allows you to see what’s going on at the edges of the area you are working with. 34 WWW.POPPHOTO.COM POP PHOTO MAY 2009
Flash. Flashier. Sure, your camera comes with a built-in flash, but it lacks the power to take great pictures in any situation. That’s where the Quantaray XLF-50 xtra lite digital flash comes in, providing you with much more power. More power for you means greater flash range for your pictures and more versatility for your digital camera. With the XLF-50, you’ll capture the shots you couldn’t before. It’s small and lightweight for portability, and at only $99 it’s a must-have accessory for your digital camera. Its name is the Quantaray XLF-50. But we like to call it the flashier flash. David Ritz Chairman, CEO When it comes to your pictures, flashier is better. Compatible with Nikon and Canon digital SLR cameras. sunpak.com
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