Smart Filter in Photoshop

To apply a Smart Filter, just follow these steps:
1. Select the layer you want to apply the Smart Filter to.
2. Choose Layer > Smart Objects > Convert to Smart Object.

3. Select a filter and apply it to the Smart Object Layer. A new sublayer will
appear below the Smart Object Layer containing the Smart Filter.
4. Apply several more filters if you want. They will be stacked below the Smart
Object Layer,


Once you’ve added one or more Smart Filters to a Smart Object Layer, you can
do several things to edit, remove, or modify the Smart Filter:
■ Click the triangle icon at the right end of the Smart Object Layer to expand
or collapse display of the Smart Filter(s) that have been applied.
■ Click the Eyeball icon next to the Smart Filters top layer to turn off the effects
of all the Smart Filters in the stack.
■ Click the Eyeball icon next to individual Smart Filters to turn on or off that
filter’s effects.
■ Click the icon at the right edge of each Smart Filter’s layer to edit the filter
options for that filter.
■ Change the order in which Smart Filters are stacked in the Smart Object
Layer.
■ Paint in the Layer Mask area of the top Smart Filter layer to modify what portions
of the image are affected by the Smart Filters. (This is similar to painting
in the Layer Mask of Adjustment Layers.) However, the Layer Mask you
create applies to all Smart Filters that have been applied to a particular Smart
Object Layer; different Layer Masks can’t be applied to individual Smart
Filters in a layer.

Using the Black-and-White Command in photoshop

 Photoshop presents a proposed default black-and-white conversion


1. Click Auto to give Photoshop a chance to analyze your image and provide a
new conversion mix.
2. If you like, you can try one of the black-and-white presets available from the
drop-down list, or you can load a previously saved preset (click the icon next
to the Preset drop-down list and choose Load Preset to select one of your own
settings mix)

3. Alternatively, you can manipulate the reds, yellows, greens, cyans, blues, and
magentas sliders  until you achieve a conversion
that pleases you. Drag left to darken that color’s tones; to the right to
lighten those gray tones.
4. To add a colored tone to your monochrome image, click the Tint checkbox
and adjust the hue and saturation sliders until you get the toning you’d like
to add.
5. You can save your settings as a new preset by clicking the icon next to the
Preset drop-down box.

6. Click OK to apply the changes you’ve made. Compare the Black & White
command conversion with Photoshop’s Desaturate command conversion

Using Merge to HDR in Photoshop

Here are the steps followed to
get the final result.
1. Set your camera up on a tripod to hold it steady for the individual shots. The photos must be
as close to identical—other than exposure—as possible.

2. Prepare to take two or three photos at different exposures times. You should vary the shutter
speed, rather than the lens opening, because changing the aperture will modify the depth-offield
and may change the apparent size of some components of the photo, such as points of light.
If your camera has a bracketing command, you can use that to change the shutter speed between
shots only if your camera allows relatively large exposure increments, such as 1 EV between
bracketed shots. Generally, most cameras bracket using smaller 1/2 or 1/3 EV steps that are not suitable
for Merge to HDR.


3. Make the individual photos at least one or two EV steps apart, such as 1/60th second for the first and
1/250th second for the next, and perhaps 1/15th second for the third. Smaller increments will provide
little extra information for Merge to HDR to work with; larger increments may create photo
sets that are so far apart in exposure that there is not sufficient overlap to produce a smooth tonal
range.

4. Save in RAW or TIFF format in your camera so you’ll get full-range, 16-bit/channel images,
rather than the 8-bit/channel images created by JPEG. However, if Merge to HDR works with 8-
bit/channel images, it will combine them into one new 16-bit/channel image using the HDR
capabilities.

5. If you use an application to transfer the files to your computer, make sure it does not make any
adjustments to brightness, contrast, or exposure. You want the real raw information for Merge to
HDR to work with. You’ll end up with two photos.

6. Activate Merge to HDR by choosing File >Automate > Merge to HDR.

7. Select the photos to be merged.


8. Once Exposure merge has done its thing, you must save in .PSD, .PFM, .TIFF, or .EXR formats
to retain the floating-point data, in case you want to work with the HDR image later. Otherwise,
you can convert to a normal 24-bit file and save in any compatible format.

Adding Clouds in Photoshop

Adding Clouds

open a photo that have sky with a mountain..then

1. Use the Magic Wand with Tolerance set to 20 and clicked in the center of the
sky. This will grab most of the sky,

2. Use Select > Similar to capture virtually all of the rest of the sky. If you see
any non-selected areas (they will “sparkle” with the selection border around
them), press Q to jump to Quick Mask mode and paint in the small dots that
remain unselected.

3. Choose Selection > Save Selection to save your sky mask.

4. Next, load the sky.jpg photo from the website. Copy the image by pressing
Ctrl + V, and, with your sky selection in the Mountain photo still active,
choose Edit > Paste Into (or press Shift + Ctrl/Command + V) to insert the
new clouds into the photo.

5. Use Edit > Transform > Scale and resize the clouds so they fit in the available
area. Notice that you don’t have to resize the image proportionately. You can
stretch in one direction or another to make the clouds fit. The “distortion”
isn’t apparent because clouds are just clouds and have no natural proportions.

6. Next, adjust the opacity of the new cloud layer in the Layers Palette. One key
to making composites is not having one object stick out because it is overly
bright, overly sharp, or overly dramatic. By reducing the opacity of the cloud
layer, the clouds will blend in with the plain blue sky underneath. I reduced
the clouds to 44 percent opacity, and they blended in just fine.

7. You may make one final modification. I returned to the original mountain
layer, loaded the sky selection, then inverted it (press Shift + Ctrl/Command
+ I) to select the mountains and foreground. I then copied that selection and
pasted it down on a new layer above the clouds. Then, I used the Smudge tool
to lightly smudge the edges of the mountains, removing any sharp line
between the mountains and the sky.

Merging Photos the Easy Way in Photoshop

Now, let’s merge the same two pictures using Photomerge, which has been considerably
enhanced for Photoshop.


1. Choose File > Automate > Photomerge.

2. Select the files you’d like to merge. You can choose the files to combine in three ways:
■ Select Files from the drop-down Use list to browse for files on your hard disk.
■ Select Folders from the drop-down Use list to select all the files in a particular folder.
■ Choose Add Open Files from the list to select from files already open in Photoshop. All the
files will appear in the center list, where you can select one or more and click the Remove button
to delete them.

3. Select one of the five Layout options from the left side of the dialog box.



4. Mark the Blend Images Together checkbox if you want Photomerge to attempt to fuse the images together smoothly.

5. Click on OK to start the process. Photoshop will examine the images and attempt to match them If it cannot, you’ll see the dialog box Click on OK, and then drag the images onto the Photomerge workspace


6. If you’re manually lining up images, each image will become semitransparent
as you drag so you can line up its overlapping area with the image underneath.
Photomerge has tools at the left side of the workspace that can be used to
move, rotate, or zoom in on the image, and to set a “vanishing point” that
defines the imaginary horizon when using the Perspective options of
Photomerge.

7. Click the Reposition Only button box on the right side of the dialog. You’d
use the Perspective choice instead if you needed to adjust the tilt of the images.
Our test images are a good match perspective-wise, so Reposition Only works
just fine.

8. Mark the Snap to Image box. This tells Photoshop to go ahead and move one
or more of the images being merged to more closely line up the common
areas.

9. Click on OK to merge the images. You’ll end up with several layers containing
each of the original images, with layer masks applied to blend them
together. You can edit the layer masks or perform other modifications to the
individual components to better match them.
10. When satisfied, flatten the image.
11. Crop the resulting image

Stitching Two Photos Together in photoshop

Tips to stitch two photos together...how to shoot first.

However, if you plan out your panorama as you shoot, you can avoid many of the
problems. Here are some tips for shooting good panoramas.
■ Minimize the number of photos you take to reduce the number of images you
have to stitch together. If you really, really want a 360-degree panorama you
can take one, but plan on spending a lot of time combining images.
■ There are specialized software programs you can buy; however, I recommend
seeing how well Photoshop works for you before buying one of these.
■ Use a tripod with a panning head as a way to keep all your images level.
Adjust the tripod (use an actual level if necessary) and swivel through your
panorama to make sure the transitions will be smooth before taking the first
photo. Some panheads and ballheads have markings in degrees to help you
align the camera.
■ Try to keep exposures, including lens opening and shutter speed, the same
between pictures so they’ll match more easily, assuming that the light doesn’t
change as you swing the camera to take the individual shots.
■ Remember to overlap your images slightly so you’ll be able to blend each
photo into the next.
■ You should know that, technically, the camera should rotate around the optical
center of the lens, not the center of the camera body to produce the most
realistic perspective. Some panorama attachments for tripods include a plate
that includes a tripod mount under the lens center, rather than in the usual
location under the camera body.

Drawing lines,curves in photoshop

Drawing Straight Lines
Here’s how to draw straight lines:
1. Select the Pen tool. Click in the window to set an anchor point. It is called an anchor point because it will anchor one end of a line. Release the mouse button. Click again a distance away to create a second anchor point; a line will be drawn between the two. Notice that a new anchor point is darkened as it is created,
indicating that it is selected. At the same time, the previous anchor point lightens, meaning that it is deselected Release the mouse button and click to create a third anchor point and second line.

2. Release the mouse button and move the pen on top of the first anchor point. A small loop appears to the side of the Pen tool icon, letting you know that clicking will close the path.
Click on the first anchor point to close the triangle. Photoshop will create this new shape in its own shape layer,called Shape 1 by default. Each new object you create with the Pen tool will be created in its own layer, too.



Drawing Curves
Here’s how to draw curves:
1. Click the pen once in the window to create an anchor point in a new shape layer, and holding down the mouse button, drag at an angle to form the first part of a curve. As soon as you begin dragging, the pen will turn into an arrow. The lines that emerge as you drag are called direction lines. The slope of the
curve is the same as the slope of its direction lines, and the height of the direction lines determine the height of the curve. There are two dark dots at the end of each direction line. These are direction points.

2. Release the mouse button to finish drawing the first part of the curve.



3. Position the pen a short distance from the first point. Click, keeping the mouse button held down. A slightly curved line will form between the two anchor points.

4. Still keeping the mouse button down, drag in the direction away from the first anchor point. This
action will shape the curve connecting the two anchor points, making it more exaggerated


5. Release the mouse button and click again, in line with the first two anchor points, and drag in the
direction away from the second anchor point. Another curve is formed. You can continue in this
way, building a gently curved line..

Making Rectangular, Square, Oval, and Circular Selections in photoshop

Here are some of the options you should learn when using the selection tools.
■ Click at the point where you want the rectangle or ellipse to begin and then
drag in any direction. The selection will grow from that point in the direction
you drag.
■ Hold down the Alt/Option key and click a point, then drag in any direction.
The selection will radiate outward, with that point as its center.
■ To draw a perfect square or circle, click and hold down the Shift key while
you drag. Hold down both the Shift and Alt/Option keys when you first click,
and the selection will radiate from the center point where you clicked.
■ Choose Fixed Aspect Ratio from the Style drop-down list in the Options bar,
Leave the Width and Height values at their default 1, and forget about holding down the Shift key. You’ll draw only perfect squares or circles every time you click and drag when this option is active.
■ Type other values into the Width and Height boxes to create selections with
other proportions. For example, using 8 and 1, respectively, will force the
Marquee tool to create only selections that are eight times as wide as they are tall.

■ Choose Fixed Size from the Style drop-down list in the Options bar and type
in dimensions, in pixels, for your selection. Say you had an image that was
800 × 600 pixels and wanted to grab a 640 × 480 pixel chunk of it. Once
you’ve typed the target dimensions into the Width and Height boxes, clicking
with the Rectangular Marquee produces a selection in that size that you
can drag around the screen to the part of the image where you want it to be.

Canceling Red Eyes in Photoshop

Canceling Red Eyes

Photoshop borrowed a trick from Photoshop Elements, in the form of a very

sophisticated red-eye removal feature, called the Red-Eye tool.

1. Open the picture to be de-demonized.

2. Click the Red Eye tool in the Tool Palette (it’s nested with the Healing Brush, Spot Healing Brush, and Patch tool) to activate it (it has a crosshair cursor and eyeball icon).

3. Click in the pupil area of the red eyes. Most of the time, the Red-Eye tool will fix the problem with no further intervention.

4. If the red pupils haven’t been removed, adjust the Pupil Size parameter to control the size of the “brush” used to paint over the red eyes. Set the Darken Amount control to adjust the degree of darkening applied to the red eyes.

5. Click once more in the area that includes the red-eye effect. The tool automatically seeks out the red tone and darkens it, creating more natural-looking eyes.

6. If both eyes are glowing (they usually are), you can repeat

this process for the second eye. 

Soft filter effect in Photoshop

Soft filter effect

1. Open the photo.

2.Go to Filter > Blur > Gaussian Blur.

3. Set the radius to 4-10 pixels (use a high amount for hi-res images, low amount for low-res) and click OK.

4. Go to Edit > Fade Gaussian Blur. (Note: This command is under the Filter menu in older Photoshop versions.)

5.Set the fade opacity to 50%.

6.Go to Filter > Sharpen > Unsharp Mask.

7.Experiment within the following ranges: Amount: 80-200, Radius: 2-5, Threshold: 10-15.

8.Go to Layer > New Adjustment Layer > Hue/Saturation.

9.Move the saturation slider up to somewhere in the 10-20 range and click OK.
that's it

Automatically Crop and Straighten Photos in photoshop

Photoshop  has a great automation tool called Crop and Straighten, which
can be a lifesaver if you capture a photo with your scanner and then discover that
the picture wasn’t squarely lined up on the scanner bed. You can also use this tool
to fix digital photos you might have taken with the camera held askew. This one’s
so easy that I’ll simply provide a list of the steps to carry out. There are no dialog
boxes to mess with, or any other parameters to choose.

Just follow these steps:
1. Load the image you want to realign into Photoshop. The feature works best with images that have clearly
defined horizontal and vertical lines at the edges.

2. Use Image > Canvas Size and add some space around the photo to give
Photoshop some working room.

3. Choose File > Automate > Crop and Straighten Photos. Photoshop rotates
your image to straighten it, then crops around the vertical and horizontal borders
it used to align the image.

Sepia Toning in photoshop

Just follow these steps.
1. Start with a black-and-white image.

2. Convert the image to color using Image > Mode > RGB Color.
3. Choose Image > Adjustments > Hue/Saturation, or press Ctrl/Command +U to produce the Hue/Saturation dialog box.
4. Click the Colorize button, and then move the Hue slider to the 20 position for a sepia tone, or any other position on the scale for a blue, green, or yellow tone, as you prefer.
5. Move the Saturation slider to enrich or mute the tone. Click on OK to apply the toning effect.

6. Use Photoshop’s Brightness/Contrast controls to give the image a somewhat
washed-out, old-timey look if you like.


You can also get a toned effect using Photoshop’s Duotone feature.
1. While in Grayscale mode, choose Image > Mode > Duotone.
2. When the Duotone Options dialog box pops up, choose Duotone from the
Type drop-down list.
3. Click the colored box next to Ink 2 to select a custom color for the second
shade.
4. Click the spectrum in the center of the Custom Colors dialog box to choose
a particular color range, then click on the exact color swatch you want from
the patches on the left side of the dialog box.
5. Click on OK twice to apply the duotone.

Black-and-White Infrared Film

Just follow these steps.
1. First, select the sky area of the image. Press Q to enter Quick Mask mode, and paint around the
sky area with a soft brush


2. Press Q again to exit Quick Mask mode, then press Ctrl/Command
+ J to copy the sky into a new layer. Double-click the layer to activate Photoshop’s renaming
mode, and name the layer Sky.

3. Press Ctrl/Command + S and save the file as infrared.psd to preserve your work so far.

4. Double-click the background layer and name it Castle.

5. Choose Layer > New Adjustment Layer > Channel Mixer, and click on OK
when the New Layer dialog box appears. The Channel Mixer dialog box should pop up.


6. To mimic the infrared effect, we want everything that appears as green in the
image to appear much lighter than normal (because living foliage reflects a lot
of infrared light), but in black and white. Click on the Monochrome button
to apply the changes we’re going to make to a grayscale version of the layer.

7. Lighten the green portion of the image by boosting the Green channel to 200
percent (the maximum allowed by Photoshop). Move the Green slider all the
way to the right.

8. Reduce the amount of red by moving the Red slider to the left, to about
–80%. Click on OK to apply the change


9. Click on the Sky layer and Choose Layer > New Adjustment Layer > Channel
Mixer to create an adjustment layer for the sky.

10. Move the Red slider to the right, to about 90%, and then click on OK to
apply the change.

11. Save the image with the adjustment layers intact. You can reload the image at
any time and make further modifications with the adjustment layers.

12. Flatten the image and save it under a new name.

Cross-Processing in photoshop

There are several methods for creating cross-processed images in Photoshop, but
this is one of the easiest. Just follow these steps.
1.Use Layer > Duplicate to create a copy of the background layer.

2. Choose Image > Adjustments > Curves to produce the dialog box shown.


3. Select Red from the Channel drop-down list.

4. Click on the curve at the fourth vertical line from the left on the graph and
drag to the position shown in the figure, making the Input and Output levels 191 and 190, respectively.


5. Click on the curve between the second and third vertical line and drag to the
position shown. The Input and Output boxes should read about 82 and 46,
respectively. This change gives the image a distinct cyan cast in the midtones.

6. Select Green from the Channel drop-down list.

7. Click on the curve at the positions shown on the third vertical lines from the
left on the graph and drag to the positions shown in Figure 3.23, resulting in
Input and Output figures of 125 and 127. Then drag a point on the fifth vertical
line to positions that equal Input and Output values of 255 and 203, respectively.

8. Select the Blue channel from the drop-down list.


9. Click on OK to apply the changes.

10. Next, choose Image > Apply Image, and select Hard Light from the Blending
Mode drop-down list.

11. Set Opacity to 50%, as shown in Figure 3.25, and then click on OK to apply
the change.


12. Use Image > Adjustments > Brightness/Contrast to lighten the image a little
more and add some contrast, according to your taste.

Reticulation in photoshop

Reticulation is another one of those darkroom processes that can either ruin your photo
When you’ve loaded it into Photoshop, just follow these steps.
1. Create a duplicate layer of the tower image (Layer > Duplicate Layer), to give
you a fresh canvas with which to work.

2. Choose Filter > Sketch > Reticulation to produce the Reticulation dialog box


3. Change the Density slider to a value of 24, Foreground Level to 4, and
Background Level to 13 (although you’re free to experiment with different
settings).

4. Click on OK to apply the filter. You’ll find that the texture looks very much
like real reticulation. If you’d like to see reticulation in color, you need to
merge this reticulated black-and-white version with the original color image
in the layer below.

5. To create a color reticulation, make sure the black-and-white reticulated layer
is selected in the Layers Palette, then choose Overlay from the drop-down
layer modes list at the left side of the palette This
merging mode allows the color of the underlying layer to show through, while
retaining the reticulated texture of the layer on top. (Color Dodge can also be
used to provide an interesting effect.)

6. Merge the two layers (Layer > Merge Layers or Ctrl/Command + E) to produce
the finished image.

Using Photoshop’s Solarize Filter

 Photoshop’s Solarize filter
Follow these steps to solarize an image using Photoshop’s Solarize filter

1. Choose Layer > Duplicate layer to create a new layer to work with.
2. Next, select Filter > Stylize > Solarize. This filter
is a single-step filter with no dialog box or settings to make.
3. You’ll get a dark, murky image with some tones
reversed. Immediately apply Image > Adjustments > Auto Levels to produce the more viewable picture

4. The black background is still a little disconcerting,
so you might want to use the Magic Wand
selection tool to select the background, then click
inside the black areas within the largest filter on the right side of the image,
too. Then choose Image > Adjustments > Invert to convert the black background
to white

5. Although the Solarize filter doesn’t have any controls, you can still customize
your solarization. Choose Image > Adjustments > Hue/Saturation (or press
Ctrl/Command + U) to produce the Hue/Saturation dialog box ..


6. Move the Saturation slider to the right to increase the richness of the colors,
according to your taste.
7. Move the Hue slider to the left or right to modify the colors to get an effect
you like.
8. Click on OK to apply your changes.


Using Photoshop’s Curves to Solarize


1. Choose Layer > Duplicate again with the image you just worked with to create
a new, fresh version to work on, while retaining the original in case you
need to start over.
2. Select Image > Adjustments > Curves to produce the dialog box .
3. Grab a point on the left side of the curve in the graph preview and drag it
upwards. Your image will become washed out, and the colors will start to
change.
4. Drag other points on the curve up or down, creating a series of hills in the
curve. You’ll get a variety of effects.

Using the Adobe Camera Raw Plug-In

Using the Adobe Camera Raw Plug-In

To open a RAW image using Adobe Camera Raw in Photoshop CS3, just follow

these steps:

1. Transfer the RAW images from your camera to your computer’s hard drive.

2. In Photoshop, choose Open from the File menu, or use Bridge.

3. Select a RAW image file. The Adobe Camera Raw plug-in will pop up, showing

a preview of the image

4. If you like, use one of the tools found in the toolbar at the top left of the dialog

box. From left to right, they are:

■ Zoom. Operates just like the Zoom tool in Photoshop.

■ Hand. Use like the Hand tool in Photoshop.

■ White Balance. Click an area in the image that should be neutral gray

or white to set the white balance quickly.

■ Color Sampler. Use to determine the RGB values of areas you click with

this eyedropper.

■ Crop. Pre-crops the image so that only the portion you specify is

imported into Photoshop. This option saves time when you want to work

on a section of a large image, and you don’t need the entire file.

■ Straighten. Drag in the preview image to define what should be a horizontal

or vertical line, and ACR will realign the image to straighten it.

■ Retouch. Used to heal or clone areas you define.

■ Red-Eye Removal. Quickly zap red pupils in your human subjects.

■ ACR Preferences. Produces a dialog box of Adobe Camera Raw

preferences.

■ Rotate Counter-clockwise. Rotates counter-clockwise in 90-degree

increments with a click.

■ Rotate Clockwise. Rotates clockwise in 90-degree increments with a

click.

5. Using the Basic tab, you can have ACR show you red and blue highlights in

the preview that indicate shadow areas that are clipped (too dark to show

detail) and light areas that are blown out (too bright). Click the triangles in

the upper-left corner of the histogram display (shadow clipping) and upperright

corner (highlight clipping) to toggle these indicators on or off.

6. Also in the Basic tab you can choose white balance, either from the drop-down

list or by setting a color temperature and green/magenta color bias (tint) using

the sliders.

7. Other sliders are available to control exposure, recovery, fill light, blacks,

brightness, contrast, vibrance, and saturation. A checkbox can be marked to

convert the image to grayscale.

8. Make other adjustments (described in more detail below).

9. If you want ACR to make adjustments for you automatically, click the Auto

link (located just above the Exposure slider).

10. If you’ve marked more than one image to be opened, the additional images

appear in a “filmstrip” at the left side of the screen. You can click on each

thumbnail in the filmstrip in turn and apply different settings to each.

11. Click Open Image/Open Images image(s) into Photoshop using the settings

you’ve made.

Correcting Perspective Revisited

Correcting Perspective Revisited
The Lens Correction tool’s perspective-fixing features can be useful with images
that need a minor amount of correction.
steps:-
1. Choose Filters > Distort > Lens Correction to produce the dialog box.
2. To make the grid a little easier to view, change the spacing to 64, and click
the Color box and change to a bright magenta color,

3. Click the Straighten tool (or press A to activate it) and drag along the lower
edge of the railing at the base of the columns. This tells the tool that you want
to rotate the image so this line becomes horizontal.
4. Move the Vertical Perspective slider to the left (roughly to the –43 point) so
that the center column is vertical.
5. Move the Horizontal Perspective slider to the left (again, about to the –43
position), providing some side-to-side correction.
6. Click OK when finished. The perspective correction won’t be perfect (try one
of the other methods described earlier in this chapter if you’re fussy), but, with
a little cropping to remove the transparent areas of the image, this drastically
distorted image will look a little more normal,

Correcting Barrel and Pincushion Distortion

Correcting Barrel and Pincushion Distortion

To use this tool, follow these steps:
Step1. Choose Filters > Distort > Lens Correction to produce the dialog box.

Step2. If you want to use the tool’s grid to help you align the image, make sure the
Grid box at the bottom of the dialog is marked.

Step3. Press D to activate the Remove Distortion tool, and then drag portions of the
image to correct for the kind of distortion your image requires. Or, use the
Remove Distortion slider (your best choice for ease of use, plus if you want
to apply the same amount of correction to several different images).

Step4. As you correct the image, it will change in the preview window, and the
Remove Distortion slider will show how much correction is being applied.
Movement of the slider to the left indicates adding a barrel effect (to counter
pincushion distortion), whereas moving it to the right counteracts barrel distortion.

Step5. Note that the boundaries of your image will change as you apply correction.
It’s most noticeable when countering barrel distortion, because your fixed
image will bow inwards, leaving blank areas outside its original boundaries.
In the Edge area of the dialog box you can choose whether Photoshop leaves
the area outside the new edges transparent, fills it with the background color,
or extends the current background to fill up the area.
Your best choice is to select a large enough area for correction that you can
crop out the distorted edges and not need to worry about what they look like
at all. If your image has areas at the edges that have few important details (for
example, sky), you can try extending the current background. Otherwise, use
the Transparent or Background Color options and crop.

Step6. If you want to use the same correction on other images, choose Save Settings
from the fly-out menu in the Settings area, and give your corrections a name
(such as 43-86 Zoom At 43mm).

Step7. Click OK when finished.

Lens Blur Filter in photoshop

Applying the Lens Blur Filter

to apply the Lens Blur filter. Just follow

these steps.

Step1. Choose Filter > Blur > Lens Blur to produce the dialog box .You’ll see the numerous options at the right

side of the dialog box, and a preview image at the left side. If you’re using a relatively

slow computer, you can set the Preview option to Faster, which will cause Photoshop to produce a preview more quickly, instead of More Accurate (which gives you a better idea of how the effect will look).

Step2. In the Depth Map area, choose the  channel, Both, from the drop down list.

Step3. For now, leave the Blur Focal Distance set at 0. This control sets the mid-point of the blur effect.

Step4. Set the Radius slider in the Iris area of the dialog box to a value of 35. As with

a real camera, the nature of the blur effect can depend on the characteristics of the “iris” (like the iris surrounding the pupil of your own eye). After you’ve been using Lens Blur for a while, you can experiment with different shapes and blade curvature using the sliders in the Iris area of the dialog box. For

now, we’ll work only with the Radius slider, which, to oversimplify a bit, controls

the amount of blurring applied.

Step5. You can make brighter pixels blur more strongly, which is what happens in

real life. Slide the Brightness control in the Specular Highlights area to a value

of 55. The Threshold slider adjusts how bright a pixel must be to be affected

by this option. Leave it at 255 for now, but you can play with the slider to see

how it affects the image, if you like.

Step6. Blurring tends to remove the normal “grain” of an image, which is unrealistic.

Set the Noise slider to a value of about 7 to replace some of the grain that

the Lens Blur filter is removing. Choose the Gaussian option to randomize

your noise, and mark the Monochromatic box to ensure that the noise will

add grain only, and not change the colors of your image.

Step7. Click on OK to apply the Lens Blur effect.

WormHole creation in photoshop

How to create a wormhole in Photoshop:-

Step1. Start off with the image you want to poke a hole in, and create another blank image at the same size and resolution, but in grayscale (Image - Mode - Grayscale).

Step2Working on the blank image, create a new Gradiant Fill, alternating dark gray and white.The more stripes you create, the more waves your wormhole will have. For a mild ripple, use a lighter shade of gray. For a really warped look, alternate between black and white. You'll also notice I got farther apart as I moved from left to right - this detail makes the outer waves larger than the inner waves, a characteristic of rippling water. I chose a medium gray.

Step3 :-Then apply the gradiant horizontally to your blank canvas:Next, you're going to apply a Twirl filter to the gradiant (Filter - Distort - Twirl). Play around with the amount to get the effect desired. It doesn't have to be perfect, there will be plenty of time for editing. I used -450 When you're happy with how it looks, save it as a PSD file, such as WARP.PSD.

Step 4:-Back to your source image. First, make a copy of your source onto a new layer (Ctrl-J or Layer - Duplicate Layer). At this time, you can also place your "destination" image between the source and the duplicate, as shown below. Note that my "destination" is much smaller than my source, sized to fit in the "hole" we're going to make later. We can resize and reposition this layer as necessary once we make the hole.

Step5:-With the top (duplicate) layer selected, apply a Displacement Filter (Filter - Distort - Displace). In this example, I used a horizontal and vertical scale of 50, Stretch to Fit, and Repeat Edge Pixels (which aren't important since the displacement map we created on page 3 is the same size as our source image). Apply the filter, specifying the warp file you saved in step 3 as the displacement map.

Step6:-Now you're going to define the wormhole. Apply a Layer Mask to the displaced layer. Set your foreground color to black, background to white, and select a soft-edged brush.
Now, simply "paint" around the outside of the warp to expose what's underneath it. Remember, painting with black will Mask the area you're painting, painting with white will Reveal the area you're painting. Simply press X to toggle your foreground/background colors, painting in and out until you achieve the look you're going for.

Step7:-You could use the soft-edged brush to paint in the center hole to expose your destination, but I prefer the Ellipse Marquee Tool. Still in the Layer Mask, use the tool to make an ellipse in the center of your warp (you'll see how to best fit it to match the warp's waves), then feather it (Select - Feather) about 8 - 15 pixels (varies based on the resolution of your images - experiment!), and with your foreground set to Black, press Alt-Delete to fill the selection with black, exposing the center hole of your warp.

Step8:-Now's your chance to move and resize your "destination" (the Alaska layer in this example). Play around with positioning, size, levels, all that good stuff. You can also return to your Layer Mask and touch up the Masked and Exposed areas of the Warp layer.

Step9:-To round off the image, I use the Smudge tool to smooth out any areas that seem to be too pixellated from the Displacement filter. I also use the Burn tool to darken slightly the opening of the hole, adding just a bit of depth.
For some really cool effects, try the Liquify filter on the warp layer before starting your Layer Mask. You can also change the perspective of the displacement map (step 3) for an angled appearance to your wormhole.

that's it...

How to create rain effect trick in Photoshop

Rain Effect :-
Step 1:- First thing you need to do is open the picture you want to add rain to. You can use any picture you want, or you can use the one provided. Next, duplicate the background layer (CTRL+J) by either dragging the layer to the “Create a New Layer” button at the bottom of the layers pallet OR going to Layer > Duplicate Layer…(this requires you to click “OK”).


Step 2:-On your “background layer copy” go to Image > Image Adjustments > Curves… (CTRL+M) and make your setting something like this: input 130 and output 60.
Or you can play around with them to get the desired effect you want. This gives the image that “dark rainy day” appearance.

Step 3:-Next step, the rain! Create a new layer (Shift+CTRL+N) by clicking the “Create a New Layer” button as before, OR go to Layer > New > Layer… name it “Rain” and fill that layer with White (CTRL+Backspace). Head up to Filter > Noise > Add Noise… and your settings should be close to this: around 10%.

Step 4:-Then head over to Filter > Blur > Motion Blur… and the setting should be close to this:around -65 degree

Step 5:-Now you need to head on over and adjust the levels. (CTRL+L) Go to Image > Image Adjustments > Levels… and my settings are:250,1,255 for rgb

Step 6:-Last step!! Go to the top of your layers pallet and change the mode to “Screen” and Voila! You have a rainy day!

that's so easy to create rains ..

Mmmmmotion Effect in Photoshop

Motion Effect
1 : Making it mmmmmmove
After seeing several of the Mmmmotion contests, I think most of the mistakes have to do with incorrect subject focus or just plain "overdoing it." I tried to address both issues here. Hope some of you find this useful...
For starters, there are several perspectives you can take when setting a picture to motion. Take race car pic in its original form...


Step 1: Using the polygonal lasso tool, crop out your car from the background
Cut and paste the cropped car into a new layer so that only the background remains Since a true moving object appears semi-transparent around the edges, we will need to clone in some of the edges where we cut the car out.
Step 2:Select your cloning tool and set the opacity to about 75%. Begin carefully cloning in the egdes so that you have a smaller exposed (cleared) area with somewhat fuzzy edges.


Step 3:-Our last step is to select the car shape we originally cut out and use the motion blur tool to set it in motion.
Make sure the direction of the blur is consistent with the direction the car is actually traveling in. Be cautious not to overdo things here... your car is not traveling at light speed! A setting of 15-20 pixels will probably be enough.

that's it u have now created a pic in  which motion effect is ready..

How to replace color trick in Photoshop..

steps:-
(1)Choose Image > Adjustments > Replace Color.
To make the selection, first click with the eyedropper either on the image or in the dialog box mask preview window. Click again with the ‘add eyedropper’ icon to add to the selection. Click
with the ‘minus eyedropper’ to remove colors. Use the Fuzziness control slider to determine how
much tolerance you want to apply to the selection area (see magic wand tool). Now change the Hue/
Saturation values. As you can see here, the biggest change took place with the Hue, making the background go green instead of purple. Small saturation and lightness adjustments were also necessary.

(2)After performing the Replace Color operation,there was a little spill-over on to the blue plate.
All you have to do is erase the offending areas –you can use the history brush to do this, then
make a circular selection with the elliptical marquee tool. The marquee actions can be modified
when you hold down the Option/Alt key to draw out from the center and constrained to a circle
when you hold down the Shift key at the same time. If at any time you also hold down the Space bar, you can drag to reposition the selection.If you release the Spacebar (but have still
held down the Option/Alt+Shift keys), you can carry on expanding or contracting the selection.
Now feather the selection and select the Open image state as the History source and restore
the original unaltered image.

(3)To use Color Range, click in the document
window or dialog preview to sample a color on which to base your selection. The Fuzziness
control is like the Tolerance control in the magic wand options. Click on the plus or minus
eyedroppers to add or remove colors from the selection. The dialog preview can either display
the original image or preview the selection as a mask. The Selection Preview can allow you to
view the selection represented as a quickmask.

that's all it's so simple in photoshop.

Tools palette final

(13)Focus: blur/sharpen/smudge
Using the blur tool is just like painting with the gaussian blur filter. I often use the
blur tool to soften portions of an image or to locally modify an alpha channel mask.
The Use All Layers option is new to Photoshop 7.0. When you use the blur, sharpen
or smudge tool, it will read all the visible image data when adding blurred, sharpened
or smudged pixels to the currently active layer. Use the sharpen tool sparingly,
as excessive sharpening can create nasty image artifacts. It is much better to make a
feather edged selection of the area to be sharpened and apply the unsharp mask filter
instead. When the blur or sharpen tool is selected, you can temporarily switch between
one tool and the other, by holding down the Option/Alt modifier key.

(14)Toning: dodge/burn/sponge
Dodging and burning should be familiar photographic concepts. Photoshop provides
a nice element of control over the tool effect: you can choose to apply the toning
effect selectively to either the Highlights, Midtones or Shadows. Thus if you want to
darken or burn the shadow portion of an image without affecting the adjacent highlights,
choosing the burn tool in Shadows mode will enable you to do this. As an
alternative to the clone stamp tool, the dodge tool is excellent for removing wrinkles
and facial lines without altering the underlying texture if applied in very low percentages.
The third option is the sponge tool, which has two modes: Saturate increases
the color saturation, Desaturate lowers the color saturation.

(15)Type tool
The type tool allows direct on-canvas text editing. There are two ways you can use
the type tool: either click in the image window and begin typing – this will add a
single line of text – or you can click and drag to define a type box to which you can
add lines of wraparound text. Click on the Palettes button (on the far right in the
Options bar) to bring the Character and Paragraph palettes to the front of the palette
set. These provide full typographic control of the text.

(16)Shape tools
Photoshop can let you create shapes that can be in the form of a filled layer with a
vector mask (formerly referred to as a layer clipping path), a solid fill, or a path
outline. You can define polygon shapes and also import custom shapes from EPS
graphics, such as a regularly used company logo, and store these as Shape presets
using the Preset Manager. The shape tools are a recently added crossover feature
from ImageReady. Single pixel or wider lines can be drawn with the line shape tool.
To constrain the drawing angle by 45 degree increments, hold down the Shift key
(this applies to all the painting tools as well). Arrowheads can be added to the line
either at the start or finish of the line. Click the Shape... button in line tool Options to
customize the appearance of the arrowhead proportions.

(17)Eyedropper/color sampler
The eyedropper samples pixel color values from any open image window and makes
that the foreground color. The sample area can be set to Point, 3 × 3 Average, 5 × 5
Average. The Point option will sample a single pixel color value only and this may
not be truly representative of the color you are trying to sample. You might quite
easily be clicking on a ‘noisy’ pixel or some other pixel artifact. A 3 × 3 average, 5 ×
5 average sample area will usually provide a better indication of the color value of
the pixels in the area you are clicking. If you hold down the Option/Alt key, the
sample becomes the background color (but when working with any of the following
tools – brush, pencil, type, line, gradient or bucket – holding down the Option/Alt
key will create a new foreground color). The sampler tool provides persistent pixel
value readouts in the Info palette from up to four points in the image

(18)Navigation tools – hand and zoom
To navigate around an image, select the hand tool and drag to scroll. To zoom in on
an image, either click with the zoom tool to magnify, or drag with the zoom tool,
marqueeing the area to magnify. This combines a zoom and scrolling function. In
normal mode, a plus icon appears inside the magnifying glass icon. To zoom out,
hold down the Option/Alt key and click

(19)Selection mode/Quick mask
The left icon is the standard for Selection mode display. The right icon converts a
selection to display as a semitransparent colored ‘Quick mask’. Double-click either
icon to change the default overlay mask color. Hit ‘Q’ to toggle between the two modes.

(20)Orientation and canvas
Use the Image > Rotate controls to orientate your image the correct way up. For
example, you can rotate the image 90 degrees clockwise or anticlockwise, or by an
arbitrary amount, for precise image rotation.

ok that finishes all the tools here..

Tools palette more.

(2)Crop tool:-
The crop tool uses color shading to mask the outer crop area. This provides a useful
visual clue when making a crop.This color can easily be changed
by clicking on the color swatch in the Options bar and choosing a new color from the
picker. The standard color and opacity will enable you to preview the crop with most
images quite adequately. Only if the images you are working on have very dark
background will you benefit from changing the color to something like a ‘ruby lith’
red or another lighter color. You can also hide/show the crop outline using the View
menu > Hide Extras command. The Delete button in the Options bar will delete layered
image data outside of the crop boundary. The Hide button will crop the image, but
only hide the layer data that is outside the crop boundary (also referred to as big data).
The hidden layer data will be preserved, but only on non-background layers. When one
or more layer’s contents extend beyond the canvas boundary, the Image > Reveal All
command can be used to enlarge the canvas size to show the hidden ‘big data’.
You can use the Enter key to OK the crop and the Escape (esc) key to cancel and exit
from a crop.

(3)Slicing tools:-
Slices are a web designer’s tool that is used to divide an image into rectangular
sections. These are then used in Photoshop or ImageReady, for example, to specify
how each individual slice will be optimized, what file format a slice area will be saved in
and what compression shall be utilized. You use the slice tool to manually define a
user-slice. As you create user-slices, Photoshop automatically generates auto-slices
to divide up the other area. You can use the slice select tool
(toggle with the Command/Ctrl key) to go back and edit the size of each slice afterwards.
If you are looking for the Show Slice Numbers checkbox, this is now contained in
the Guides, Grid and Slices preferences. In Photoshop 7.0 you can now auto-create
slices from the Photoshop guides, by clicking on the Slices From Guides button in
the Options bar.

(4)Healing brush/Patch tool
These two tools are the main star attraction of Photoshop 7.0. The healing tools will
enable you to perform complex retouching tasks with an incredible level of finesse
and in a fraction of the time that it took previously.

(5)Brush
The brush tool can be used with a range of brush sizes from a single hard edged pixel up
to the largest soft edged brush (2500 pixels). The airbrush mode makes the brush tool
mimic the effect of an airbrush, producing a spray of paint. As you click with the
mouse or press down with the stylus, just as in real life, if you stop moving the
cursor, the airbrush paint will continue to spread out until the opacity level you set is
reached. The Flow control determines how ‘fast’ the brush tool applies paint to the
image. You can open the Brushes palette by clicking on the palette icon at the far right.
The Wet Edge painting mode (now in the Brushes palette options) builds extra density
around the edges of the brush stroke. This imitates a natural water color effect.

(6)Pencil
The pencil produces hard edged, anti-aliased, pencil-like drawing lines. The pencil tool is
a fast response sketching tool. The ‘Auto Erase’ option converts the tool from painting
with the foreground to the background color. The Auto Erase feature can also be accessed
by holding down the Option/Alt key when painting with the pencil.

(7)Clone stamp/Pattern stamp
An essential tool for retouching work such as spotting (discussed later in Chapter
Ten) and general image repairing. The clone stamp tool is used to sample pixels from
one part of the image to paint in another. Keep the Aligned box checked, hold down
the Option/Alt key and click where you want to sample from. Release the key and
click in the area you want to clone to. This action defines a relationship between
sample and painting positions. Once set, any subsequent clicking or dragging will
allow you to apply the clone stamp, always using the same coordinates relationship
until a new source and destination are defined. The sample point can also be from a
separate image. This is useful for combining elements or textures from other pictures.
The clone stamp normally samples from a single layer only.

(8)History brush
Before History made its first appearance in Photoshop 5.0, there were few ways you
could restore a previous image state. The History amalgamates some of the old workarounds
into a single Photoshop feature. It augments the use of the Snapshot and
very cleverly makes use of the image tiling to limit any unnecessary drain on memory
usage. One can look at the History as a multiple undo feature in which you can
reverse through up to 1000 image states, but in actual fact History is a far more
sophisticated and powerful tool than just that. Painting from History saves you from
tedious work-arounds like having to duplicate a portion of the image to another layer,
retouching this layer and merging back down to the underlying layer again.
The History palette displays the sequence of Photoshop states as you progress through
a Photoshop session

(9)Art history brush
 The most essential Photoshop tool that was ever invented and am at a loss to know
how a photographer like myself might wish to use it. Nevertheless, with art history
you use the art history brush to sample from a history state, but the brush strokes
have some unusual and abstract characteristics which smudge the pixels with sampling
from the selected history state. The brush characteristics are defined in the Art
History Options bar. Fidelity determines how close in color the paint strokes are to
the original color. The larger the Area setting, the larger the area covered by and
more numerous the paint strokes.

(10)Eraser/background eraser/magic eraser
The eraser removes pixels from an image, replacing them with the current background
color. There are three brush modes: brush, pencil and block. If you check the
Erase to History box, the eraser behaves like the history brush. Holding down Option/Alt
as you paint also erases to the currently selected History. The brush flow option is
only available when erasing in brush mode. Note that some graphic tablet devices
like the Wacom™ series operate in eraser mode when you flip the stylus upside
down. This is recognized in Photoshop without having to select the eraser tool.

(11)Gradients
The gradient tool can be used to draw linear, radial, angular reflected or diamond
gradients. Go to the Options bar and click on the gradient ramp (top left) to select a
gradient option such as Foreground to Background color, or click on the small arrow
to the right to open the gradient list. When you drag with the gradient tool inside the
image window, a gradient fill is created between those two points. Hold down the
Shift key to constrain the gradient angle to a horizontal/vertical or 45 degree angle.
Check the Reverse box to reverse the gradient fill colors before you drag. The Dither
checkbox should be kept on – this will add a subtle noise, ensuring there is less risk
of any banding appearing in the gradient fill. When the Transparency box is checked,
the transparency masks in gradients are recognized. A number of preset gradients are
readily available when you first open the gradient list from the Options bar. You can
also easily edit and create your own gradient pattern and any alterations you make to
an existing preset gradient will not overwrite that preset.

(12)Paint bucket
In some ways this tool is in effect nothing more than ‘make a magic wand selection
based on the sampled color and Tolerance setting in the Options bar and fill the
selection with the current foreground color or predefined pattern’. In this mode of
operation, there is none of the flexibility associated with making a magic wand or
Color Range selection and modifying it before filling. You can use the paint bucket
to quickly fill the inside areas of a mask or quickmask outline. The Contiguous option is
also available for the paint bucket (see the magic wand description) and the All
Layers option neatly allows you to fill using a pixel color sample based on all layers.
The paint bucket can also be used for filling with a pattern as well as with a solid
color.

 ....contd.

Tools palette

Tools palette of Photoshop:-

Before moving to tricks part an overview of PHOTOSHOP is     necessary.

The Tools palette contains fifty-five separate tools and their icons give a clue as to

each tool’s function. The individual tool options are located in the Options bar (Window

> Show Options) and double-clicking any tool will automatically display the

Options bar if this happens to be hidden for some reason.

(1)Selection tools

The usual editing conventions apply in Photoshop: pixels can be cut, copied and

pasted just as you would do with text in a word processing document. Mistakes can

be undone with the Edit > Undo command or by selecting a previous history state in

the History palette. Selection tools are used to define a specific area of the image that

you wish to modify separately, float as a layer or copy and paste. The use of the

selection tools in Photoshop is therefore like highlighting text in a word processor

program.

The marquee options include rectangular, elliptical or single row/single column selection

tools. The lasso tool is used to draw freehand selection outlines and has two

other modes – the polygon lasso tool, which can draw both straight line and freehand

selections and the magnetic lasso tool. The magic wand tool selects pixels on the

basis of their luminosity values within the individual channels. If you have a picture

of a red London bus (there are still a few left in London) click on the bus with the

magic wand tool and ‘hey presto’ the red color is selected! That’s what most people

expect the magic wand tool to do; in reality it does not perform that reliable a job.

(a) Lasso: freehand/polygon/magnetic:-

The lasso tool behavior is more or less identical to that of the marquee selection tools –

the same modifier key rules apply. To use the standard lasso tool, just drag around the

area to be selected holding down the mouse as you draw. When you release the mouse,

the selection joins up from the last point drawn with the starting point.

In polygon mode, you can click to start the selection, release the mouse and position

the cursor to draw a straight line, click to draw another line and so on. To revert

temporarily to freehand operation, hold down the Option/Alt key and drag with the

mouse. Release the Option/Alt key and the tool reverts to polygon mode. To complete

the polygon lasso tool selection position the cursor directly above the starting

point (a small circle icon appears next to the cursor) and click.

The magnetic lasso and the magnetic pen tool both use the same code and they are

therefore basically the same in operation, except one draws a selection and the other

a pen path. The magnetic lasso has a sensing area (set in the Options bar). When you

brush along an image edge, where an outline is detectable, the magnetic lasso intelligently

prepares to create a selection edge. You continue to brush along the edges

until the outline is complete and then you close the selection.

(b)Move tool:-

The move tool can now be more accurately described as a move/transform/alignment

tool. The transform mode is apparent whenever the Show Bounding Box is checked

(initially a dotted bounding box appears around the object). When you mouse down on

the bounding box handles, the Options bar display will change to reveal the numeric

transform controls (no longer a menu item). This transform feature is only active when

the move tool itself is selected and not when you use the Command/Ctrl key shortcut.

When several layers are linked together, you can click on the align and distribute

buttons in the Options bar as an alternative to navigating via the Layer > Align Linked

and Distribute Linked menus.

You can use the move tool to:

• Drag and drop layers and selections from one image window to another.

• Move selections or whole images from Photoshop to another application.

• Move selection contents or layer contents within a layer.

• Copy and move a selection (hold down Option/Alt key).

• Apply a Transform to a layer.

• Align and/or distribute layers.

(1)Introduction to PHOTOSHOP

 #Adobe Photoshop Features and Tricks#

Introduction:-

When image editing work stations used to cost a cool half million, digital retouching

was the preserve of an exclusive elite. Photoshop has played an important role in

bringing professional image editing within the reach of many. That is one of the

great virtues of Photoshop – almost anyone can have a go now. Photoshop brings the

power of professional image editing within the reach of the many.

Basic image parameters :-

 hue, saturation, contrast, sharpness,tone and colour space.

Colour Space:

A colour space is a model used by computers to map colours using numbers. Different computational methods use different colour spaces. There are two basic types of colour spaces —

(I)additive colour spaces like RGB and 

(II)subtractive colour spaces like CMYK. 

Additive colour spaces are used on displays and screens, with a different combination of primary colours giving the appearance of a particular colour.

Saturation:

This is basically the intensity of a particular colour. An image with zero colour saturation is a grey-scale image. Some digital cameras have a vivid or high contrast setting to increase the saturation of all the colours in an image. Far greater control can be achieved in Photoshop or other image editing software. Some image organisers and viewers also allow this option.

Hue:

Some dSLR cameras from Canon, Nikon, Pentax and Konica have a hue option for clicking photographs,

which shifts all the colours by a certain degree. You can also achieve this using an image editing software

Contrast: 

Contrast is basically an increased vividity of a colour in terms of its brightness. A high contrast is used in an image to make an object stand out against a background, or to bring to focus a wide array of colourful subjects such as in a busy marketplace or a still life photo. The greater the contrast in an image,

the better is the detail brought out.

Sharpness:

Also called acutance in photography terms, sharpness refers to how detailed the edges in an image are. A greater sharpness results in a grainier image, while a reduced sharpness yields a washed out appearance. Most dSLR cameras have an option to fine tune the sharpness of an image, and so do many digital

cameras. Sharp images are visually appealing mostly in close-ups, or with images having a high amount of detail. A high sharpness in portraits or landscapes can make the photos look unnatural.

Tone:

The tone of an image sets the mood of the picture. A warm tone tends to be redder with prominently orange, red and yellow colours. A warm tone is also more masculine. On the other hand, a cold or cool tone tends to be bluer with soft, mellow colours and is more feminine. Some dSLRs come with a tone setting, with positive or negative steps towards blue or red. A small increment in the saturation of red or blue is enough to set the tone for an entire image.

Black and white:

Black and white or greyscale images are a standard feature in most digital cameras and dSLRs. Black-and-white photographs have a definate charm to them, but this effect is often overused and abused. Greyscale images tend to produce a wide range of emotional responses in an individual, from a feeling

of desolation to nostalgia.

Sepia:

The sepia tone in old photographs is the result of a chemical used in the printing process of black-and-white photographs that allowed the photos to last longer. Modern digital cameras and dSLRs have this as an added feature. Again, this is another abused feature. While taking a photo in the Sepia mode might seem fancy, it is considered terribly amateurish and is hardly ever used effectively.

What’s new in Photoshop 7.0:-

Whenever a new full version of Photoshop is released there is a predictable debate

over whether the new program justifies being classed as a full upgrade or not. But

whatever the pundits and critics like myself write, it is going to be the Photoshop

customers who will ultimately decide if Photoshop 7.0 makes the grade or not.

Speaking as an alpha tester and someone who has had the opportunity to work closely

with the Photoshop engineering team, I can readily acknowledge the hard work and

dedication of the Photoshop engineering team that goes into each and every program

upgrade. And Photoshop 7.0 is no exception. In preparing this update to the book I

counted at least fifty feature additions and tweaks to the program. Admitedly some

of these are quite subtle, but nonetheless these have all gone to provide a version of

Photoshop that is more versatile and equipped ready to meet the demands of users

old and new.