A Beginner’s Guide to Digital Image Repair in Photoshop Volume 2

A Beginner’s
Guide to Digital
Image Repair in
Photoshop: Volume 2
Color Adjustments, Filters, and
Animation
—
Jennifer Harder
A Beginner’s Guide
to Digital Image
Repair in Photoshop:
Volume 2
Color Adjustments, Filters,
and Animation
Jennifer Harder
A Beginner’s Guide to Digital Image Repair in Photoshop: Volume 2: Color
Adjustments, Filters, and Animation
Jennifer Harder
Delta, BC, Canada
ISBN-13 (pbk): 979-8-8688-0762-6 ISBN-13 (electronic): 979-8-8688-0763-3

https://doi.org/10.1007/979-8-8688-0763-3
Copyright © 2024 by Jennifer Harder

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Table of Contents
About the Author��ix
Acknowledgments��xi
Introduction��xiii
Chapter 1: Adjustment Layers, Blending Modes with Masks for

Photo Restoration: Part 1��1
Color Management, Color Correction, and Your Digital Image��2
Image Repair Review��15
Image Adjustment Options��17
Working with the Layers Panel Fill and Adjustment Layers��25
Fill Options��25
Layer Adjustments��63
Additional Panels That Can Assist You While Working with the
Adjustments Panel��68
Properties Panel for Layer Adjustments��83
Working with Multiple Adjustment Layers and the Adjustments Panel��226
Summary��232
Chapter 2: Adjustment Layers, Blending Modes with Masks for

Photo Restoration: Part 2��233
Properties Panel and Adjustment Layer Masks��234
Removing Gradients from Scan Using Several Layer Masks��236
Properties Panel Layer Mask Settings for Normal and
Adjustment Layers��240
iii
Table of Contents
Clipping Masks��250
Applying an Additional Vector Mask with the Properties Panel��253
Working in Combination: Layer Blending Modes and Adjustment Layers��278
Opacity, Fill, and Layer Styles��292
Layer Style Blending Options��297
Blending Options in the Layer Style Dialog Box��298
Using Smart Filters to Make Certain Color Adjustments Nondestructive��308
Shadows/Highlights��313
Smart Filter Blending Options��320
Advanced Adjustment Settings��323
Auto Correction��323
Equalize and Desaturate��325
Adjustments: Working with HDR Images��326
Advanced Color Adjustments��341
Match Color��342
Replace Color��347
Advanced Image Adjustment Options��350
Apply Image��351
Calculations��357
Notes on Out-of-Gamut Colors��359
Working in Lab vs. RGB Color in Separate Channels��364
Photo Project��364
Summary��370
Chapter 3: Basic Filters for Photo Restoration��371

Review: Creating a Smart Object Layer for Smart Filters��376
Basic Filter Overview Specifically for Photo Correction��378
iv
Table of Contents
Blur Filters��379
Blur Gallery Filters��423
Noise Correction Filters��453
Sharpen Filters��475
Render Filters��495
Other Basic Filters to Consider for Image Restoration��511
Summary��523
Chapter 4: Advanced Filters for Photo Restoration: Part 1��525

Liquify Filter Workspace��528
Tools��529
Liquify Properties Brush Tool Options��534
Zoom Tool, Hand Tool, and Undoing steps��535
Load Mesh Options��536
Mask Options��537
View Options��539
Brush Reconstruct Options��541
Face Tool and Properties��542
Camera Raw Filter Workspace��560
Workspace Overview��565
Workspace Additional Panels��634
Other Advanced Filters to Consider Using with Camera Raw��689
Lens Correction Filter��690
Adaptive Wide Angle��706
What Are the Materials Parametric Filters?��719
Summary��725
v
Table of Contents
Chapter 5: Advanced Filters for Photo Restoration: Part 2��727

Neural Filters��728
Workspace Tools and Output��730
Add to Selection (B)��730
Subtract from Selection (E)��731
Hand Tool (H)��732
Zoom Tool (Z)��732
Adding a New Filter��737
Color��741
Restoration��768
Portrait (Facial Adjustments)��773
Photography��788
Creative (Filters for Artistic Work) Landscape Mixer and Style Transfer��795
Filters to Come in the Future��806
Acquiring Other Filter Plug-Ins Through Adobe Creative Cloud��807
Summary��812
Chapter 6: Creating a Parallax: Bring Your Vintage or Historical

Photos to Life��813
Overview of the Timeline Panel��814
Animations (And Preparation)��815
GIF Animation Preparation Considerations��816
Video Parallax Animation Preparation Considerations��817
Creating a New File for the Animation��820
Timeline Panel and Considerations��821
GIF Photo Gallery Project��822
vi
Table of Contents
Video Animation Parallax Project��880

Media Encoder Settings��967
Summary��985
Chapter 7: What Is the Next Step in Your Photo Restoration

Project?��987
Photoshop��988
Saving RGB Files for the Web or Email��988
File Options and Tips for Saving Your Photo for Print��993
CMYK Filter Adjustments for a Specific Channel��997
Saving Your File for Print��1001
Additional Color Conversion Information��1002
Edit ➤ Color Settings��1003
Online Projects (PDF Presentation)��1006
InDesign��1019
Print Presentation��1021
PDF Interactive Presentation��1026
Microsoft PowerPoint Presentation��1029
Inserting an Image or GIF Animation��1029
Video Applications and Considerations��1033
Parallax and Animation��1034
Summary��1042
Index��1043
vii
About the Author
Jennifer Harder has worked in the graphic
design industry for over 15 years. She has a
degree in graphic communications and is
currently teaching Acrobat and Adobe Creative
Cloud courses at Langara College. She is also
author of several Apress books and related
videos.
ix
Acknowledgments
Because of their patience and advice, I would like to thank the following
people, for without them I could never have written this book:
• My parents, for encouraging me to read large computer

textbooks that would one day inspire me to write my
own books and for their assistance in selecting photos
for chapter projects
• My dad, for reviewing the first draft before I sent a

proposal
• My program coordinator, Raymond Chow, at Langara

College, who shares a similar interest in photography
I would also like to thank Spandana Chatterjee and Krishnan

Sathyamurthy at Apress for showing me how to lay out a professional
textbook and pointing out that even when you think you’ve written it
all, there’s still more to write. Also, thanks to the technical reviewer for
providing encouraging comments and to the rest of the Apress team for
being involved in the printing of this book and making my dream a reality
again. I am truly grateful and blessed.
xi
Introduction
Welcome to the book A Beginner’s Guide to Digital Image Repair in
Photoshop: Volume 2.
In today’s digital world, with smartphones and cameras, we can easily
transfer our photos from phone to computer. Then, with Photoshop, we
do a few basic corrections using various healing tools in conjunction with
adjustment layers and filters and then print out the picture with our inkjet
printer or post it on our social media page. However, occasionally we are
left with the old or damaged photos and slides from a loved one who lived
before the age of digital cameras. Now we need to decide what to do with
these old family treasures, whether they be a family portrait or a trip to
a historical location, that we have been keeping in a shoe box for many
years. Some are in good condition and others are very damaged. What can
we do to restore them? Let’s continue that discussion from where we left
off in the first volume. Refer to Figure 1.
Figure 1. Collection of photos, film slides, and negatives in a shoe box
xiii
Introduction
Make sure to review Volume 1 before starting this next volume as

we will explore how you can work with your old historical photos in
Photoshop and digitally restore them so that you can print them out for
family, as well as use them online as still photos or to animate select
images. As we progress through the chapters, you will look at some of the
many tools and filters that Photoshop has to offer, both old and new, that
can assist you in your restoration project.
In Volume 1 we reviewed the following:
• Focused on preparation for working with old historical

photos and reviewed scanner basics for your photo
print, new information on how to work with film
slides and negatives, some guidelines on what type of
scanners and dialog box settings to use for them, and
initial file formats that are created after the scan.
• Reviewed how to set up your Photoshop workspace,

some of the tools and panels, and the basic file formats
to save the files you are working on in.
• Looked at the basic Photoshop “healing tools” that are

useful for very basic photo restoration as well as a few
other additional tools that you incorporated for small
touch-ups, color corrections, or cropping your artwork
while working with the Layers panel on a personal
project.
• Explored some more advanced features such as

working with masks, selections, and other related
commands and workspaces (old and new) that
Photoshop has to offer. You saw that when there are
gaps and details are not present in a photo, you can be
creative and fill in the missing details.
xiv
Introduction
Now Volume 2 will continue to explore the following:
• Chapters 1 and 2: Explore various masks and how we can

use them to color correct the entire scene or selected areas
using the Adjustments panel, its new features, and related
brushes. You will also review what the smart object layer
is and how to apply smart filter adjustments to it that are
nondestructive. Blending modes and other advanced
color adjustment options will be looked at as well.
• Chapter 3: Review some of the main basic filters that

are mostly used for blurring, sharpening, or removing
noise from an image. These filters will be applied to
various layers, but we will also look at situations where
they could be applied to or in combination with a layer
mask, smart object filter mask, or channels.
• Chapters 4 and 5: Explore some advanced filters as

well as some new filters that you may not be aware of
that can help you with your photo restoration project.
We will also take a brief look at how you can go about
acquiring additional filters from the Adobe Creative
Cloud console if you have a subscription.
• Chapter 6: Focus on two possible ways that you can
bring your images to life in Photoshop using the
Timeline panel. One way is to create a basic slideshow
GIF animation, and the second is to create a parallax
video animation from components of a single or several
images. The latter has in recent years become popular
when no historical video footage is available. I will
discuss and look at what kinds of photos do and do not
lend themselves to a parallax and then how to render
the video animation using Photoshop and Adobe
Media Encoder.
xv
Introduction
• Chapter 7: Conclude our discussion on Photoshop and

digital image repair with some final color touch-ups
you can do should you plan to print your images or save
them for online use. I will also mention a few additional
Adobe Creative Cloud and Microsoft apps that you may
want to consider should you want to continue to work
with your images for other multimedia projects.
At this point, I will just mention that though most photos we will be
working with in this book will be historical or vintage, if you have modern
digital photos, you can use them as well.
Note that in this book some of the images where people are
present have had their faces altered (with blurs or mannequin
faces) to protect their original identities, so that you can use them
for practice. However, if you have similar photos of friends or family,
then feel free to use the same techniques mentioned in this book and
practice on them instead of mine.
Installation of Photoshop and Other Adobe

Apps Review
This book assumes that you are using the Adobe Creative Cloud
subscription. Currently, I am using an individual license, but you may have
business/teams or a student license:
www.adobe.com/creativecloud.html
Make sure to install a copy of the Creative Cloud Desktop console on
your computer.
Since the focus of this book is on Adobe Photoshop, if you have not
already done so, make sure to download a copy of Photoshop from your
Creative Cloud Desktop.
xvi
Introduction
Go to Apps ➤ All apps and choose the Desktop option from the list.
Under Essential in your plan, locate Photoshop and click Install. Refer to
Figure 2.
Figure 2. Creative Cloud Desktop settings for installing Photoshop
If you are not sure of your system requirements, you can check
them here:
https://helpx.adobe.com/creative-cloud/system-
requirements.html
xvii
Introduction
https://helpx.adobe.com/photoshop/system-requirements.html
I am currently using version 2024 (25.12).
It may take several minutes for the download to complete, and you
may be prompted to restart your computer. Once complete you would
find the application in your Installed apps section with other applications,
if you installed them earlier. Adobe will occasionally send you updates,
which you can download to keep the software up to date. Refer to Figure 3.
Figure 3. Photoshop settings in the Creative Cloud Desktop to

indicate it is installed and you can open the application
Note that Adobe Bridge, to keep your photos organized, may

also be downloaded. Though not used in this book, it will be briefly
mentioned in Chapter 4 as it relates to the Camera Raw Filter.
Camera Raw may also be installed with your Photoshop application.
You may also want to download a copy of Media Encoder at the same
time, but we will not require the application until Chapter 6. Refer to
Figure 4.
xviii
Introduction
Figure 4. Other Adobe applications that will be installed: Bridge,

Media Encoder, and Camera Raw
Now that Photoshop is installed, click the Open button in the Creative
Cloud Desktop and then, after a minute, it will load and open. Refer to
Figure 5.
Figure 5. Use the Creative Cloud Desktop to open the Photoshop

application
You can leave Photoshop open for now if you are planning to read
Chapter 1 next and continue to use the Essentials (Default) Workspace as
discussed in Volume 1. Or for now you can from the main menu choose
File ➤ Exit (Ctrl/CMD+Q) if you need to exit the application.
Note that this book does not discuss the separate application
Photoshop Express or Beta features unless they are installed in the current
application.
Resources
Throughout this book I will be supplying a link for more details on various
tools using the following link:
https://helpx.adobe.com/
xix
Introduction
You can also access more information on various Photoshop-related

topics from the Photoshop Help menu, Discover panel (magnifying
glass icon), as well as the Creative Cloud console’s Discover tab. Refer to
Figures 6 and 7.
Figure 6. Photoshop Help menu
xx
Introduction
Figure 7. Access to the Photoshop Discover panel along with the

Creative Cloud Desktop gives access to Photoshop tutorials
After you have finished this book, if you are interested in other
Photoshop projects and working in combination with Adobe Illustrator,
you can review some of my other Photoshop-related books should these
topics be of interest to you:
• Graphics and Multimedia for the Web with Adobe

Creative Cloud
• Accurate Layer Selections Using Photoshop’s

Selection Tools
xxi
Introduction
• Perspective Warps and Distorts with Adobe Tools:

Volumes 1 and 2
• Creating Infographics with Adobe Illustrator:

Volumes 1, 2, and 3. These books briefly discuss
Photoshop as it relates to infographic development.
Projects for this book can be found here: Link from Apress.
So now let’s continue our journey into how to work with your box of
historical photo treasures.
xxii
CHAPTER 1
Adjustment Layers,
Blending Modes
with Masks for Photo
Restoration: Part 1
In addition to working on damaged photos with the healing and selection
tools, one of the other issues we discussed briefly in Volume 1 was color
correction. Just because a scanner scans your film or print accurately
does not mean that its appearance is color correct for printing purposes,
especially if it has faded over time due to some environmental factors we
discussed in Volume 1.
Likely, you will want to correct, balance, reduce, or even add more
colors to an image. We talked breifly about other color modes in Volume
1 as well as how they related to images. However, in this chapter you will
discover that Photoshop has a variety of options, whether for overall color
correction or a selected masked area of an image. Photoshop within its
Layers panel has various fill and adjustment layers to accomplish this task,
and each of these unique layers can have blending modes and opacity
altered.
© Jennifer Harder 2024 1

J. Harder, A Beginner’s Guide to Digital Image Repair in Photoshop: Volume 2,
https://doi.org/10.1007/979-8-8688-0763-3_1
Chapter 1 ADJUSTMENT LAYERS, BLENDING MODES WITH MASKS FOR PHOTO
RESTORATION: PART 1
Later, in Chapter 2, you will also discover that you can use those
adjustments and commands in combination with smart filters on smart
object layers and their layer masks. We will also explore three other
masking options that can be applied to layers, which include clipping
masks, vector masks, and smart filter masks.
A brief mention will also be made on when to use layer styles to
improve a photo for display.
Note this chapter does contain projects found in the Volume 2

Chapter 1 folder.
I have also mentioned some of the topics on smart layer objects in
my book Perspective Warps and Distorts with Adobe Tools: Volume 1.
However, that book is not required for this chapter.
In Chapter 2 we will also briefly look at a few additional selection-

related tools as well as a few more advanced and automated blending
options that you may want to use for specific projects and then use what
we have learned from this chapter to continue with the photo project.
olor Management, Color Correction,

C
and Your Digital Image
As a beginner using Photoshop, knowing which dialog boxes to use for
color correction and adjustment can be a confusing and overwhelming
topic. To begin with, it should be mentioned that whether scanning with
a scanner, taking a digital photo, viewing your image on a monitor, or
printing with a printer, the digital image is moving through various color
modes and color profiles. Refer to Figure 1-1.
2
RESTORATION: PART 1
Figure 1-1. The photo print (CMYK) is scanned and enters the
computer (RGB) colorspace and is then printed again on the CMYK
printer. The digital camera RGB images are also stored on the
computer
When you buy new hardware such as a scanner, camera, monitor, or

inkjet color printer, it is assumed that they are color correct or calibrated
and displaying fairly closely to your intended print. Over time however,
hardware ages and so you may need to get additional software updates to
calibrate your hardware or replace the software and hardware altogether.
3
RESTORATION: PART 1
Note the topic of calibrating your monitor in this chapter is not

discussed in this book as it is an advanced topic. However, I do
recommend spending time doing your research when you plan to
purchase a new monitor and looking at various reviews and models
before you buy. Also do some online research on the topic of “monitor
calibration tool.”
In this book we are working in RGB color mode with the Working
RGB sRGB profile that I mentioned in Volume 1, Chapter 2. In your case
you may be working in a different RGB profile like Adobe RGB (1998).
However, it should be noted that different profiles exist for different
hardware and software. For example, some monitors have a larger
range of display colors to display an image, but how the image displays
is also dependent on the choice of mode if one switches from RGB to
CMYK. If you study color theory, you will discover that you are in a sense
limiting the amount of colors you can work with within a color space
when you switch from RGB to CMYK.
RGB is known as an additive color mode. It displays the colors of light,
and so it is visually closer to what your eyes see in the world around you.
The presence of all colors is white, while the absence of all colors is black.
Refer to Figure 1-2.
4
RESTORATION: PART 1
Figure 1-2. Additive computer screen colors RGB create a pure white
color when blended together (left) and Adobe color mode and profile
in a new document set up (right)
However, CMYK (cyan, magenta, yellow, and black) is known as

subtractive color mode. It works with pigments and paper, both of which
are impure. CMYK can never achieve the absolute purest of white (the
paper substrate) or black as closely as an RGB monitor, which is closer
to pure light, and so some colors that are in RGB color mode cannot be
entirely reproduced simply by using CMYK pigments. Black (K) must be
boosted with a separate black ink, as just using CMY creates a muddy dark
gray. Refer to Figure 1-3.
5
RESTORATION: PART 1
Figure 1-3. Subtractive print colors CMY do not create a solid black
color when blended together and need black ink as a booster (left)
and Adobe color mode and profile in a new document set up (right)
RGB has a wider gamut of color as the following example of a

chromaticity compression chart can illustrate. Refer to Figure 1-4.
6
RESTORATION: PART 1
Figure 1-4. Compression chart for RGB and CMYK color spaces
In the case of an sRGB color space, the RGB color options are smaller
than for Adobe RGB 1998.
I will not be discussing the topic of color theory in detail here, but
you can explore that further in my book Creating Infographics with Adobe
Illustrator: Volume 1. However, I will talk a bit more about how to check for
out-of-gamut colors in Chapter 2 and later on how to make adjustments for
your image in CMYK color mode in Chapter 7.
I’ll just note now that, depending on the CMYK printer (offset, laser, or
inkjet), you can have a slightly higher gamut, but this is dependent on the
profiles and inks for your printer. In the case of an inkjet print, additional
“booster inks” may be installed for blues and reds, and so this can slightly
broaden the range of printed colors making it closer to what is seen in the
real work and your screen.
7
RESTORATION: PART 1
However, always keep in mind there will always be that gap between
the colors captured from the real world and what is displayed on the
screen and finally in print no matter how accurately you try to color
manage or correct.
For more information on color management, color profiles, calibration,
and working with Adobe, you can review the following information:
• https://helpx.adobe.com/photoshop/using/
understanding-color-management.html
keeping-colors-consistent.html
• https://helpx.adobe.com/photoshop/using/color-
settings.html
https://helpx.adobe.com/photoshop/using/
working-with-color-profiles.html
managing-documents--printing.html
managing-imported-images.html
proofing-colors.html
Even with an ideal color-managed environment, before you begin to

color correct, you need to take three more factors into consideration.
First, in the context of the black-and-white photos, unless you were
there on scene when the image was captured with the camera, how do you
know what the color was of the people’s clothing or what their eye color
was? Unless it was written down somewhere or you later met that person
or acquired a color image of them, you cannot know. Images that were
8
RESTORATION: PART 1
taken in or before the 1890s and even sometime afterward lacked color.
Often color was added by an artist, and this was called hand tinting or
hand coloring. Refer to Figure 1-5.
Figure 1-5. Example of hand tinting on a wedding photo from

the 1950s
For someone to hand-color then or use Photoshop to digitally color

a black-and-white image, unless the artist can find those exact pieces of
clothing or furniture, it is open to interpretation. It will never be 100%
accurate. You can, for the grayscale, at best achieve a good tonal balance,
and the black-and-white image should appear clean and viewable if
you have used your healing and selection tools from Volume 1 chapters
correctly. However, in this chapter you may want to also achieve some of
the original sepia color or remove some stains, or maybe you want to add
color to selected parts of the image. Refer to Figure 1-6.
9
RESTORATION: PART 1
Figure 1-6. Digitally hand-tinting the castle image in Photoshop
Second, like the monochrome image, color images age and fade
in similar ways. You then have to guess what the exact skin tone of that
person was. In this case no amount of color management can help, only
color correction. Refer to Figure 1-7.
10
RESTORATION: PART 1
Figure 1-7. Faded images make it difficult to recreate exact skin tones
Color is also open to interpretation and people perceive color

differently. How do you view color? If a person is older, with aging eyes,
or has a form of color blindness or even is sitting in a room with different
kinds of lighting, they will see and perceive color differently.
You need to consider the following:
• Do you want the color image to retain some of its
original toning when it was photographed?
• Should it be as original as how you see color in the

world around you?
• What was the weather like in that picture on that day? Is

the green of the grass or the blue of the sky the same on
a sunny summer day as it is on an overcast winter day?
No, it is not. During the day light changes; sometimes
light will take on a red hue during a sunset and other
times it will be more blue or yellow.
11
RESTORATION: PART 1
Thorough study of the colors around you in various lighting and
weather can help you achieve better color balance in Photoshop. With
practice, an accurate color correction is mostly achievable. However, if the
scanned image color channels have been damaged drastically in some way,
returning it to how you envision may take more effort, and it becomes much
like the guessing game of the black-and-white photo. Refer to Figure 1-8.
Figure 1-8. Images that have become discolored due to fading on

prints and photos
12
RESTORATION: PART 1
Third, you may also be a person who likes very bright bold colors or
likes the way the photo appears when it is muted and has low contrast. Our
ideal perception of color correction while we want to repair the image may
take on artistic or surreal looks as well. So each artist will come to various
conclusions as to what is the ideal color repair. For your digital project
you may also want to achieve a reverse effect of making a modern color
photo appear “retro” with a color cast or in black and white overall or in
selected areas, and this can also be achieved with adjustment layers. Refer
to Figure 1-9.
13
RESTORATION: PART 1
Figure 1-9. Applying different color blends to the same image can
add artistic interest
14
RESTORATION: PART 1
Image Repair Review
Before you start your color correction, it is always best to
• Ensure that you have scanned the image of a

resolution of at least 300 dpi/ppi and that it is in RGB
color mode. Scan at 600 dpi/ppi if you plan to do an
enlargement later.
• Work on a duplicate of your image as you have been

doing in the previous volume. Refer to Figure 1-10.
• Correct any major area of damage by removing as

many of the dust particles, blemishes, and scratches as
possible using your healing tools on a new layer.
• Crop and straighten your image.
• Use your selection tools as required to fill in gaps or

missing details.
Then you can begin your color corrections with adjustment layers.
However, because you are working on multiple layers, you still have
the option of turning on and off the various layers’ visibilities as you
work, altering your setting at any time working in a nondestructive way.
Remember that while using various healing tools, as you saw in Volume 1,
Chapter 3, which included the Clone Stamp tool, you can turn on or off
the adjustment layer option in the Options bar if you are worried that you
might clone colors that you did not intend to from alternate adjustment
layers as you work. Refer to Figure 1-10.
15
RESTORATION: PART 1
Figure 1-10. After using the Image ➤ Duplicate dialog box to create
a duplicate file. Use the Clone Stamp tool Options bar panel to turn
off adjustment layer settings when clone stamping certain areas above
or below adjustment layers
Note For advanced professional color correction of digital photos,

Adobe does recommend working in 16 bits and not 8 bits. You can
switch this using the Image ➤ Mode menu. However, you can remain
in 8 bits as you work on a duplicate file, and we are working with
scanned images. Refer to Figure 1-11.
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Figure 1-11. Image ➤ Mode menu settings for bits/channel
You can use 32 Bits/Channel when working with High Dynamic Range
(HDR) photos, which I will mention briefly in this chapter and later in
Chapter 2. However be aware that not all adjustment options are available
for 32 Bits/Channel.
Image Adjustment Options

In this chapter we will begin by looking at which color correction
adjustment layers to use for a specific project. This is important if you
have not used any of these adjustment settings before. I will be giving you
a basic overview of each as well as some ideas of when and how to apply
these adjustment layers for my project examples. Ultimately it will be up to
you to experiment with your settings as every project is different. If you are
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planning to print any of the images you have adjusted, you will ultimately
have do a test print and make further corrections depending on the printer
that is outputting the image. Currently you are using an sRGB profile,
which I find has been working well for me on my inkjet printers. But as
mentioned here and in Volume 1, you may be working with a different
profile. However, when making color corrections, using adjustment layers
in a nondestructive way is ideal so that you can always make changes
quickly if the colors in the print are not at first ideal.
When you want to adjust the overall color of an image, this can be done
in several ways.
First, on your background layer in the Layers panel, while it is selected
you can use the menu Image ➤ Adjustments. Refer to Figure 1-12.
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Figure 1-12. Image ➤ Adjustments submenu
Then choose an option from the menu like Brightness/Contrast or

Levels and begin to use that dialog box to edit while the Preview option is
enabled. Refer to Figure 1-13.
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Figure 1-13. Brightness/Contrast dialog box
However, accessing your options for color correction using this

method can be very destructive. Even though you are working on a copy
of your file, you are still changing the color of the background layer. You
could work on a duplicate of that layer; however, if you must make more
than one color correction using that method, it does not allow you to go
back and edit one of your past color adjustments. This also does not work
well if you have several additional “healing” layers above your background
layer as using this method only color corrects the selected layer and not all
layers below. Refer to Figure 1-14.
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Figure 1-14. Layers panel with Layer 1 selected
To do color adjustments in a nondestructive manner, it is a better

solution to work above all the current layers. To do that you must access
the adjustments from the Layers panel via the fill and adjustment layers
button to see the full list. Refer to Figure 1-15.
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Figure 1-15. Layers panel with the fill and adjustment layers
dropdown list open
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Even though doing so may increase the size of your .psd file, in the long
term you will be able to adjust your colors at any time by clicking the fill
and adjustment layers icon, which we will look at in more detail next along
with its masks in the Properties panel. Refer to Figure 1-16.
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Figure 1-16. Layers panel with an adjustment layer and Properties

panel displaying current settings
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Note Later in Chapter 2 we will return to the Image ➤ Adjustments

menu to discuss a third option so that we can access these same
adjustment options and an additional command, while working with
smart filters in a nondestructive way.
If you find that when you apply an adjustment layer, it is still below
another layer, drag the adjustment layer in the Layers panel upward so
that it is above the other normal layers. Refer to Figure 1-16 where the
adjustment layer is above the background layer.
orking with the Layers Panel Fill

W
and Adjustment Layers
We will now look at how to use and access the various fill and adjustment
layers, which you can apply over your current background layer.
Fill Options
Let’s begin with a review of the fill options, one of which you saw in
Volume 1, Chapter 6, that was used to give the image a clean white
background around the tower image (see tower_solid_fill.psd). Refer to
Figure 1-17.
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Figure 1-17. Layers panel with a Color Fill layer behind a vignette
image with a layer mask
While not found in the Adjustments panel, fill options can be very
helpful for certain photo restoration projects. The three options are located
in the Layers panel’s lower bar in the half-circle icon. They are at the top of
the list when you click the button to reveal the entire menu. They are Solid
Color, Gradient, and Pattern. Refer to Figure 1-18.
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Figure 1-18. Layers panel with the fill and adjustment layers
dropdown list open, just displaying the fills
Solid Color
Solid Color, also known as Color Fill, is ideal to use after you have
completed working with a layer and applying a layer mask to a Layer 0
or a copy of your background. Then you can apply a solid color of white
or whatever color you prefer behind your image. This creates a nice
background border edge if you plan to frame your image. It is a great way
to remove the stains and damage of rips and creases, especially if the
original border is not worth restoring (see army_healing_colorfill.psd).
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Figure 1-19. Army image with a solid color fill added to the
Layers panel
Upon making this choice from the Layers panel list, use the color
picker to choose a color and click OK. You can work with the color picker
area, enter a color in various number settings, or use the eyedropper
(Options bar panel) to select a color that may be somewhere in the image.
In this example I set a color of white, which is R: 255, G: 255, B: 255. Note
that the H or hue ratio button is enabled. Refer to Figure 1-20.
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Figure 1-20. Solid Color color picker open with Options bar
displaying the Eyedropper Tool
Ideally, in other situations, you may want to place the solid color over a
layer to cover areas.
Either way, a layer mask is created so that you can paint on it to remove
some of the color and reveal some of the background image. This is ideal
when you have an older black-and-white image. In the following example
of the castle_solid_fill.psd, I created a selection of my sky area as seen in
quick mask mode (Q). I then exited quick mask mode and applied a solid
color of blue, and this masked out my selection area as seen on the layer.
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Figure 1-21. Using the Polygonal Lasso Tool to make a selection of

the sky and then fill the selection with a solid color fill
After you enter the color, in this case I used R: 209, G: 236, and B: 239
to create the blue, click OK, and the selection is automatically masked out.
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Figure 1-22. Color picker solid fill dialog box settings and the Color
Fill in the Layers panel and on screen
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I could have made the selection more accurate while in quick mask
mode with my Eraser tool. However, should you want to paint over areas
in your image for the purpose of colorizing or tinting, you can touch up the
selection with your Eraser tool on the layer mask. Refer to Figure 1-23.
Figure 1-23. Use your Eraser tool on the layer mask of the Color
Fill layer to hide and cover areas by toggling with the swatches
Foreground and Background settings in the Tools panel
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Remember, as you work with your Eraser with varying brush sizes and
hardnesses on the mask, first press the D key to get your default black and
white colors and then use the X key to switch between hiding and revealing
the mask. You can do this for any fill or adjustment layer.
Tip If you are worried you might have missed covering something
with the mask, Alt/Option + click the mask thumbnail on the layer
itself to reveal just the mask and you can then, if you zoom in on an
area, see if you left any black or white spots and use your Eraser tool
to clean up. Refer to Figure 1-24.
Figure 1-24. Cleaning up areas of the mask with the Eraser tool
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Alt/Option + click the layer mask again when you want to exit, and
you can continue to mask with the solid color visible again.
Likewise, after you finished masking, you can also reduce the opacity
of the solid fill layer and change the blending mode if the color is overlaid
over the background using Hue. This is a good way to work with solid color
if you, for some reason, want to retain some of those background details or
keep some of the original look of the image. Refer to Figure 1-25.
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Figure 1-25. The Layers panel with Color Fill selected and the blue
blending over the background
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We will look at blending modes later in Chapter 2. However, I will
just note that blending modes and opacity can be applied to any fill or
adjustment layer, and they will alter the viewable colors of the underlying
background layer.
I could add more solid color layers like a green for grass and some
trees if I wanted to continue to colorize this image. In this case, while the
layer mask is selected, you can use the command Ctrl/CMD + I to invert
the mask if you want to start with the color not covering the layer until you
paint. As I add more color, different details often reveal themselves that I
can go back to and continue to edit. The color I used was R: 198, G: 229,
and B: 211 with blending mode Multiply. Remember to remain on your
mask as you erase or paint so that you do not rasterize the layer as you
paint. Click Cancel on the warning message and return to the mask. Refer
to Figure 1-26.
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Figure 1-26. As you work on the fill layers, only paint/erase on the
layer mask, or you may get a warning to rasterize the layer
Solid colors are also found and stored in the Swatches panel. Before
you create a solid fill, you can always select one, and it will be stored in the
Tools panel, and then create a solid color fill layer and that color will be
added to the fill. Click OK to exit. Or when a solid color is active, you can
click a swatch and automatically update the color fill without having to
enter the color picker. Refer to Figure 1-27.
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Figure 1-27. Swatches panel with a swatch applied to the foreground

swatch in the Tools panel and then applied to the color fill
If you don’t like the change, use your History panel or Edit ➤ Undo
right away.
At any point in time, you can double-click the solid swatch in the
Layers panel to adjust it and make a color update in the dialog box. Note
that if you see any warning symbols as you work with your colors in the
picker, for either out-of-gamut (triangle) or web safe colors (cube), you can
ignore the web safe warning if you are planning to print the image and not
put online. However, click the out-of-gamut (triangle) warning to ensure
that you are using a color that is CMYK compatible. We will discuss gamut
more in Chapter 2. Refer to Figure 1-28.
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Figure 1-28. Color picker dialog box warnings for out-of-gamut and
web safe colors
Refer to the file castle_solid_fill_final.psd if you want to see the

completed work. We will come back to this image and add a bit more color
later but in a different way (see “Hue/Saturation”). For now, let’s look at
the next fill layer.
Gradient
Gradients are good for applying graduated transitional colors or gradient
effect. In recent years there have been improvements to the Gradients
panel and its related dialog boxes. Refer to Figure 1-29.
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Figure 1-29. Gradients panel, Gradient Fill layer, and its related
dialog box
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Now you can also use your Gradient Tool and a live annotation tool to
create more accurate live gradients. The annotation tool can be dragged on
the canvas to get a more accurate angle. Refer to Figure 1-30.
Figure 1-30. Gradient annotator on the screen, Gradient Tool, and

the Options bar panel settings
The Gradient Tool without the annotator can also be used on the layer
mask for creating vignettes on the layer mask. However, we will be looking
at an easier way to accomplish this later in Chapter 2 when we review the
Properties panel. Refer to Figure 1-31.
Figure 1-31. Layer mask with a gradient applied
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Note that to see additional gradient options in the Options bar panel,
you need to be on either a layer mask or normal layer, and you can
switch to classic gradient, which gives the additional transparency
and blend mode settings. This option will not work on the Gradient
Fill layer itself; instead, for additional options of transparency, you will
need to access the Gradient Editor dialog when you click the gradient
itself in the Gradient Fill dialog box. Refer to Figure 1-32.
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Figure 1-32. Gradient Tool Options bar panel for classic gradient,
Gradient Fill, and Gradient Editor dialog boxes
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Later in this chapter, you will also see a related adjustment layer called
Gradient Map.
When you access the Gradient Fill from the Layers panel, you will enter
the Gradient Fill dialog box. Here you can access a gradient from the list or,
as mentioned, click the gradient itself to access the Gradient Editor. Refer
to Figure 1-33.
Figure 1-33. Gradient Fill dialog box
Outside the editor in the Gradient Fill dialog box, you can also
choose a gradient style or shape, which can include Linear, Radial, Angle,
Reflected, and Diamond. These options are displayed as icons in the
Options bar menu when you later need to edit the gradient further with the
Gradient Tool. Refer to Figure 1-34.
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Figure 1-34. Gradient Fill dialog box settings in the menu are the
same as the icons on the Gradient Tool Options bar menu
You can also adjust the
• Angle (–180°, 0°, 180°)
• Scale (1–1000%), to alter the size
• Reverse, to flip the gradient colors’ order
• Dither, to smooth the gradient and make it appear not

chopped up or banded
• Align with layer check box
• Reset Alignment button, for gradient
• Fit to document button
You can also set a method from the list choose (Perceptual, Linear,
Classic, Smooth, Stripes). Refer to Figure 1-35.
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Figure 1-35. Gradient Fill dialog box with settings
A gradient interpolation method describes how the gradient colors will

appear on canvas and transition from one color to the next. By default, it
is set to Perceptual, which is often considered a good option for natural-
looking gradients that would be perceived by the human eye. However,
some artists may like a similar method like Linear, though this can give
a banding, so Smooth may be a better choice, or the traditional way that
Adobe used to interpolate gradients known as Classic. Stripes gives very
banded gradients and is better for artistic effects.
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More details on what a gradient interpolation method is can be found
at the following link:
https://helpx.adobe.com/photoshop/using/gradient-
interpolation.html
While the Gradient Fill dialog box is open, you can move the gradient
around as mentioned in the Options bar panel. Refer to Figure 1-36.
Figure 1-36. Move tool in the Options bar panel when the Gradient
Fill dialog box is active
Gradient Editor
Creating a custom gradient using the Gradient Editor will let you choose
from various presets found in the Gradients panel. Use the gear icon to
adjust the viewing of the list. Refer to Figure 1-37.
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Figure 1-37. Gradient Editor dialog box and settings
You can then give the gradient a new name.

Set the type (Solid or Noise). Solid is the default smooth transition,
while Noise can be used for more artistic design as it is very banded and
has random bar patterns.
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For a Solid type of gradient, set smoothness (0–100%) and stops with
different opacity, color, and location.
For Type: Noise you would then adjust the roughness (0–100%) down
to a number closer to 0% for a smoother appearance. You can then adjust
the color range in various color model choices (RGB, HSB, and LAB) using
the black and white sliders to adjust shadows and highlights. Other options
allow you to restrict colors, add transparency, and randomize. Refer to
Figure 1-38.
Figure 1-38. Gradient Editor dialog box settings for Noise gradient
Return to Type: Solid and note the slider stops above the gradient
bar control. Each stop has different opacity (0–100%) where black is
100% and white is 0%. Between each slider is a diamond-shaped opacity
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midpoint, and both these sliders can be adjusted by dragging, or in the
Stops area while selected, set the opacity and location. When a certain
stop is not selected those areas are inactive in the dialog box. The bottom
sliders are the color stops, which can be double-clicked to enter the color
picker. Between these are diamond-shaped color midpoints. These can
be dragged, or in the Stops area, while selected, you can set the color and
location. To remove an opacity or color stop, you can either drag it off the
bar or, while selected, click the trash can icon. Refer to Figure 1-39.
Figure 1-39. Gradient Editor dialog box settings for Solid gradient
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Gradients can also be imported and exported as (.GRD) files.
Then click OK to exit this dialog box and return to the Gradient Fill
dialog box. Then click OK to commit the gradient. Refer to Figure 1-40.
Figure 1-40. Gradient Fill dialog box showing the gradient options
Here you can see how this red gradient with transparency could be
placed above or below a framed layer mask, affecting the way the image
appears. Refer to Figure 1-41.
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Figure 1-41. Layer settings for Gradient Fill and how it appears
above and below the image
Gradient Tool and Properties Panel

While outside of the dialog box but while the Gradient Fill layer is selected,
you can use the Gradient Tool and move the annotation sliders (gradient
on canvas widget) on the board. At the same time you can access the
Properties panel to control the gradient adjustments in more detail than
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using just the options found in the Gradient Editor, with a set of gradient
and opacity controls. Quick Actions will allow you to reset the canvas
controls and save a preset. Refer to Figure 1-42.
Figure 1-42. Use the Gradient Tool annotator on canvas and the
Properties panel while the Gradient Fill is active to edit the gradient
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Gradients can also be ideal for black-and-white images or even as basic
skies when you do not want to incorporate clouds as you did in Volume 1,
Chapter 8, with the sky replacement tool. You can again paint on your layer
mask to define where you want the sky to appear graduated or Ctrl/CMD +
click a mask from your solid color and then apply it to the Gradient Fill to
duplicate it and then reverse the gradient. In this example I used a gradient
from the folder Blues, “blue_02.” Refer to Figures 1-43 and 1-44.
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Figure 1-43. Gradient Fill dialog box settings
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Figure 1-44. Gradient Fill applied to the sky area using a layer mask
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In this case I left the gradient at the Normal blend mode of 100%
opacity to cover any artifacts in the sky. Refer to the files castle_solid_fill_
final.psd and tower_gradientfill.psd for reference.
Pattern
Pattern is the third fill option, which you can use to fill an area, found in
the Patterns panel. Refer to Figure 1-45.
Figure 1-45. Patterns panel
While not required for this book, it should be noted that you can
create your own patterns in a variety of ways, which I mentioned in my
book found in this chapter’s introduction. Knowing how to do this is not
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required for working in this book. However, for now, experiment with the
patterns found in this panel using the Pattern Fill dialog box and the fill
layer that is created. Refer to Figure 1-46.
Figure 1-46. Pattern Fill dialog box and Pattern Fill layer
In the dialog box you can choose the pattern from the list, which
is found in the Patterns panel. You can then set the angle (–180°, 0°,
180°) and scale (1–1000%), enable Link with Layer, and click the Snap to
Origin button. The pattern can be moved while the dialog box is open, as
mentioned in the Options bar panel. Refer to Figure 1-47.
Figure 1-47. While the Pattern Fill dialog box is open, you have
access to the Move tool in the Options bar panel
Click OK to commit your pattern. You can double-click the pattern

icon thumbnail in the Layers panel at any time to edit it further.
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Patterns, just like the solid fill or gradient, are ideal for creative borders
when a layer mask is created or the pattern is placed behind the image.
However, patterns could also be used for filling in gaps in an image where
a wallpaper, stone, or even a wood pattern may add additional color and
texture to an otherwise blank area. For example, in Volume 1, Chapter 3,
recall the room where we edited the floor with our healing tools. If you
wanted the glare of the floor to be even more faded, you could add a wood
pattern, which would subtly add a bit of detail but still retain the natural
reflection. Wood pattern is found in the Legacy Patterns and More ➤ 2019
Pattern folder ➤ Wood and could be used to add more texture to the floor
and then brushed with a soft Eraser tool brush to feather the layer mask.
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Figure 1-48. Multiple pattern fills in the Layers panel can be

duplicated and modified and have their opacity reduced to blend
more detail in the floor
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Because the floor, however, moves at slightly different angles of
perspective, you may need to use several pattern fills set to various angles
and scales to adjust. While in the dialog box you can also move the pattern
if you need it to align better with the surrounding grains. I then lowered
the opacity of the fill between 43% and 82% of the fill and set the blending
mode to Overlay. Refer to Figure 1-48 and Figure 1-49.
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Figure 1-49. A wood pattern chosen from the Pattern Fill dialog box
for better blending
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You can move your Pattern Fill and mask together with the Move tool.
To make a copy of the current fill, drag it over the Layers panel, click the
Create a new layer button, and release to make a copy. Refer to Figure 1-48.
Refer to my file big_room_healing_brush_pattern_fill.psd to review
my settings.
Later in Chapter 4, I will mention a new type of pattern option, which is
also considered a filter.
Layer Adjustments
The next section of your fill and adjustment layers button in the
Layers panel are the layer adjustments. There are 16 available. Refer to
Figure 1-50.
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Figure 1-50. Layers panel fill and adjustments layers with all
adjustments revealed
They are Brightness/Contrast, Levels, Curves, Exposure, Vibrance,

Hue/Saturation, Color Balance, Black & White, Photo Filter, Channel
Mixer, Color Lookup, Invert, Posterize, Threshold, Gradient Map, and
Selective Color, which I will be describing next.
These adjustments apply the layer with a mask, and more can be
added with the newly updated (see Modern view) Adjustments panel.
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Figure 1-51. Adjustments panel and options in the menu
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We will now explore each of these options. I will note that in the
updated Adjustments panel, you can choose to use the Adjustments
presets for a quick adjustment of several adjustment layers in a group
folder when you click on a preset. Refer to Figure 1-52.
Figure 1-52. Layers panel with adjustment layers applied
For now, we will use the Single adjustments that we will be looking at
next. As you click each icon in the Adjustments panel, it will be applied
to the Layers panel. When you click the eye, you can turn that adjustment
layer’s visibility on or off as you work. Refer to Figure 1-53.
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Figure 1-53. Layers panel with adjustment layers applied, one of

which has the visibility eye turned off
Note that as you work through the book and gain skills, you will
be able to create your own collection of custom presets, and you
now have the option of storing these in the Adjustments panel as
your presets. You can view your presets either as a list or icons. I
will explain this more at the end of the chapter along with a link to
information on the recently added Adjustment Brush Tool. Refer to
Figure 1-54.
Figure 1-54. Adjustments panel now lets you create and store your
custom presets
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Additional Panels That Can Assist You While
Working with the Adjustments Panel
While working with your adjustment layers, several other helpful panels
you may want to have visible are your Histogram, Info, and Properties
panels as you inspect your images. You can use your own images or the
faded_image.psd and balanced_image.psd if you need to follow along.
Histogram Panel
The Window ➤ Histogram panel is used for giving us an overview of how
the channels are being affected. This will make more sense when we start
looking at the adjustment layers. You can switch from Compact View
to Expanded View or All Channels View using the panel’s menu. This
example shows Compact View, and I have clicked the Uncached Refresh
option in the menu so that I can see the current histogram. Doing so in
no way will alter the image, and clicking the cache data warning icon
or refresh icon as you work will keep the histogram up to date. Refer to
Figure 1-55.
Figure 1-55. Histogram panel and menu with alert and refresh icons
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The Histogram displays how pixels in an image are distributed by
graphing the number of pixels at each color intensity level for tonal
dark (left) and light (right) value. While looking at the currently opened
image, this can often give us clues as to in which channels the lack of or
abundance of pixels might be occurring. A faded or overexposed image
would show lack of pixels in shadows (left), some pixels in the midtone
(middle) area, and some highlight (right) areas often shifted overall to
the right. However, an underexposed image would show the reverse in
distribution with high amounts of pixels in the shadows (left) and midtone
(middle) and lack in highlights (right), the graph shifting to the left. If there
is an extreme lack of pixels in one of these areas, that may make a complete
image restoration difficult. Refer to Figure 1-56.
Figure 1-56. Histogram panel settings for overexposed and

underexposed images
The grayscale color range for each RGB channel level can fall between
0 and 255. However, you will notice that some areas may have higher peaks
than others extending off the graph, meaning that some pixels are being
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clipped and details in those areas are discarded, which can often happen
in extreme areas of shadow and highlight.
Here is an example of a slide image that you might want to restore. It
has faded overtime. You can see in All Channels View that there is lack of
detail in the shadows. The midtones aren’t bad for the red and green, but
something has gone wrong for the blues. Refer to Figure 1-57.
Figure 1-57. Areas of the image have faded and are underexposed as
revealed in the Histogram panel
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In the highlights and midtone, you do have some detail in all channels
that you can work with.
Ideally you would like to see a histogram with an even and full tonality
in all areas, indicating proper exposure, which your modern digital camera
may provide. Refer to Figure 1-58.
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Figure 1-58. Histogram panel shows a fairly balanced image

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However, there is no exact setting as to how this will appear. Every
picture that you take will be different depending on what kind of subject
matter the final image consists of. For example, if you took an image of just
blue sky, you may not expect to see a lot of reds and greens in the image to
correct for. In the case of the preceding image, there are a lot of greens and
reds overall, but there are not a lot of blue midtones to highlight, except
in the extreme highlight region. If there was you would have a blue cast,
especially in the tree areas, which for this scene would not look natural.
If the image was originally black-and-white, you would only perhaps
be able to adjust how the tone of the sepia or yellow tone of the paper or
highlights, midtones, and shadows of the grayscale displayed as there may
be a lack of blue in any channel or maybe all the channels appear very
similar. Refer to Figure 1-59.
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Figure 1-59. Histogram panel reveals fairly similar channels for the
black-and-white image on yellowing paper
So, in essence, the histogram can only give us clues about the current
scan. In a sense, we need to become “color detectives” so we can work
with that information, using our adjustment layers to modify what we
expect to see.
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Info Panel
The Window ➤ Info panel is used for ideally finding the whitest and
darkest areas in the image, which again will assist us with some of the
different color adjustments. In this case you can sample in two different
color modes, RGB and CMYK, to review the different values while using
the Eyedropper Tool to hover over various locations and reading the
information in the panel. Refer to Figure 1-60.
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Figure 1-60. Info panel with option menu
While the Info panel can act similar to the Properties panel in giving
guidance and information, the main thing to be aware of is completely
white highlight areas for RGB will show up as R: 255, G: 255, B: 255, while
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areas of complete shadow black will appear as R: 0, G: 0, B: 0. All other
tones will be a combination of numbers ranging from 0 to 255 in the three
channels. Refer to Figure 1-61.
Figure 1-61. Look for potential highlights and shadows in your image
There is, however, no guarantee that in every image there will be a

complete highlight or shadow. So, using adjustment layers, you may need
to make choices as to what is truly the shadow or highlight in the image.
Note that as you hover over an area with your eyedropper, do not to
hover over a small dust spot or scratch as this will affect your highlight or
shadow options.
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Once you start working with the various adjustment layers, using the
Properties panel, you will be able to use the Info panel to see a before
(original) and after (new changes) of your current RGB and CMYK
numbers with the new values. Refer to Figure 1-62.
Figure 1-62. Properties panel and Info panel
Color Sampler Tool (I)

In your Info panel you can also set up to ten sampler markers on your
canvas as you work for faster reference using the Color Sampler Tool,
which looks similar to the Eyedropper Tool and is found with that tool in
the Tools bar. Use the Options bar panel to set the tool’s sample size. By
default, it is set to Point Sample. Refer to Figure 1-63.
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Figure 1-63. Color Sampler Tool and settings in the Options

bar panel
Click the canvas where you want to add the numbered color sampler
marker. They are saved in the document as you work but like guides, they
do not print. Hold down the Ctrl/CMD key if you need to drag the marker
to a new location. Refer to Figure 1-64.
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Figure 1-64. Setting a sampler marker and viewing one in the

Info panel
As you work, for those you want to delete, you can either right-click
the marker and choose Delete or use the Options bar panel to Clear All to
remove all the markers at once. Refer to Figure 1-65.
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Figure 1-65. Right-click to delete a single marker or use the Options

bar panel to clear them all
Note that if you switch to other tools in the Tools panel, the markers
will temporarily hide until you return to the Eyedropper or Color
Sampler Tool. However, the information will remain in the Info panel.
Tools like Hand and Zoom will continue to display the markers on
screen, and this will be helpful as you navigate to various markers on
the canvas. Refer to Figure 1-66.
Figure 1-66. Hand tool and Zoom tool
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If for some reason your color samplers remain hidden, make sure to
check that View ➤ Extras has a check mark beside it to indicate that the
markers are visible and Color Samplers is checked in the Info panel. Refer
to Figure 1-67.
Figure 1-67. View menu setting to view color sampler markers and
Color Samplers setting in the Info panel
In this case make sure that each of your color sampler markers is set
to actual color. However, for your own projects you can change to other
color sampler options and bit options using the dropdown menus. Refer to
Figure 1-68.
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Figure 1-68. Info panel settings
For more advanced details on these two panels. visit the following link:
https://helpx.adobe.com/photoshop/using/viewing-histograms-
pixel-values.html
Properties Panel for Layer Adjustments

The Properties panel will change options as you select a different
adjustment layer rather than having to open different dialog boxes as
you would if you had used the menu Image ➤ Adjustments. Refer to
Figure 1-69.
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Figure 1-69. Properties panel and menu options for

adjustment layers
I will now give a brief overview of each adjustment option. However, I

will just note that for this chapter make sure that your file is in RGB color
mode, or you may not have access to all the layer adjustment options, as is
the case with CMYK, grayscale, and Lab color where certain adjustments
are grayed out. Refer to Figure 1-70.
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Figure 1-70. There are fewer adjustment options for CMYK,

grayscale, and Lab color modes
Levels
Levels and the Histogram panel appear very similar. You can add the
Levels to your Layers panel by either selecting the icon from the Layers
panel or from your Adjustments panel under Single adjustments, by
clicking the icon button. Hover over an icon if you are not familiar with it.
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Figure 1-71. Use the Adjustments panel to add an adjustment layer

of Levels to the Layers panel
This will then add the adjustment layer to the Layers panel. Then,
when you select the adjustment, the options will be present in the
Properties panel.
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Here we can see an example of an image (see white_terrace_walls.
psd) with a lot of red in it. It was also printed on textured paper, but the
main concern we want to work on right now is the color and see if we can
restore it back to a more normal color. The histogram also gives us clues
that in the red channel the shadows are very low but the midtone and
highlights are high and the green and blue also show areas of imbalance in
the midtone and highlights. Refer to Figure 1-72.
Figure 1-72. Compare the opened image with the Histogram panel
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Levels adjustments are ideal when you want to get better tonal
corrections and color balance in the highlights, shadows, and possibly
midtones. In essence, you should be able to balance and redistribute
your pixels for a more realistic tonal range. You can affect the distribution
overall or for individual color channels in the case of RGB. Refer to
Figure 1-73.
Figure 1-73. Properties panel settings for Levels
First, review the settings that appear in the Properties panel for this
adjustment layer.
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Preset: Select a Levels preset from the list of options. This is similar to
using the Adjustments presets that are in the Adjustments panel. Once you
have selected one, you can manually edit it, and it will display as Custom.
When no changes have been made, it is set to Default. Refer to Figure 1-74.
Figure 1-74. Properties panel settings for Levels presets
RGB: You can work with the RGB channels as a group or separately
from the list when working with more challenging color corrections.
Generally, I like to modify the composite RGB group first and adjust
separate channels later. Refer to Figure 1-75.
Figure 1-75. Properties panel settings for Levels channels
Auto (quickly correct the auto balance in the image using a default
setting; later, you can use the sliders to adjust manually): Click the button
while holding down the Alt/Option key for access to more advanced
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options found in the Auto Color Correction Options dialog box. For now,
leave at the default setting of Algorithms ➤ Enhance Brightness and
Contrast.
Figure 1-76. Properties panel settings for Levels Auto button and
Auto Color Correction Options dialog box
As you advance in your color correction skill, you may want to adjust
these settings depending upon your project, if it involves certain contrasts
you want to enhance such as monochromatic. Some algorithms will allow
you to access “Snap Neutral Midtones” and Target Colors & Clipping options.
Click Cancel to exit. Auto changes to these settings can also be used to
affect other adjustment layers like Curves that access this dialog box. For
more details about auto color, you can refer to the information and link in
Chapter 2.
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Use one of the three eyedroppers to sample in the image black point
(press Alt/Option to display clipping preview), gray point, and white point.
I will often select the specific eyedropper and click on the image to sample
the white point first, then the black, and lastly the gray if I can find a gray
stone in the image that I think should be neutral 50%. Refer to Figure 1-77.
Figure 1-77. Properties panel settings for Levels, three eyedropper

samplers
However, in other projects you may prefer to start with the neutral gray
point first and then work with the white or black eyedropper next. Your
Info panel can help you find the darkest and lightest areas in the image.
Select an eyedropper and then click a point somewhere on your image
using the default target values. You can also preset some marker points
using your Color Sampler Tool. Here, in the current image, I clicked what I
felt was the whitest point on the right on the stone wall and very dark point
near the rocks in the lower part of the page. Refer to Figure 1-78.
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Figure 1-78. Use the eyedroppers of the Levels and your color
sampler marker points to accurately select colors for highlight
and shadow
The gray midpoint is rather difficult to find in this image right away so
that is why I did not click it first, but is likely somewhere on the rock below
the white lower wall. Refer to Figure 1-79.
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Figure 1-79. Use the gray midpoint sampler and a color marker to
find the ideal color point
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After clicking with each dropper to sample each point, you can use
Ctrl/CMD + Z as you work, if you do not pinpoint the color with your
eyedropper as accurately as you hoped. See further tips on checking the
default eyedropper values at the end of this section.
As changes are made, the Levels histogram will update, and on the
image, you can see the color has vastly improved from what it once was. In
this example, Auto could have done little to improve the image, so setting
each point with the eyedropper was the best choice. Refer to Figure 1-80.
Figure 1-80. Properties panel settings for Levels, histogram changes
Shadow, midtone, highlight input level sliders: These you can adjust
manually as you drag the sliders in the dialog box and the input values will
update. The two outer sliders, which are black and white, are meant to map
to the bottom corresponding output sliders. Likewise, they will also update
when using the eyedroppers to set point values or clicking the Auto button.
In the current example dragging the sliders in would not improve the image
as the colors are fairly evenly distributed now. However, in the case of the
image garden_replace_sky.psd, which was looked at in Volume 1, if we
were to add a Levels layer, above the smart object layer, we would see that
dragging the outer black and white input sliders inward might improve the
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overall color at least in the shadow areas. For the shadow slider any pixels
on the left become black and for the highlight slider any pixels on the right
are white. This is known as clipping. Refer to Figure 1-81.
Figure 1-81. Layers panel with adjustment layer Levels selected

and settings adjusted in the Properties panel with the new changes
displayed
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In this example I turned off the visibility of my sky replacement folder
while I worked so that I could focus on the color correction of the image
below the sky.
The gray midpoint slider maps the gamma (9.99 - 0.01) in the image
and is by default set to 1 (or level 128) and can change the intensity values
of the middle gray (RGB) tones without altering the shadows or highlights.
By moving this slider to the left the midtones will be lighter and to the right
they will be darker. It can be a bit of a challenge to remember that gray
is made up various RGB settings and so you may need to work with one
channel at a time when adjusting the midpoint for certain images to get
the correct balance, as an image may have an overall cast in one channel
if fading has taken place. In the case of the white terraces image, I notice
there is still a bit of a red cast, in the midtone, so shifting just that slider
may help in the red channel. Refer to Figure 1-82.
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Figure 1-82. Properties panel settings for Levels with sliders adjusted
for the red channel and results in an image
You can also type your values in manually. Holding down the Alt/
Option key while dragging a slider can help you preview what colors are
being clipped.
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Shadow and highlight output level sliders: To make adjustments, move
the sliders to adjust the values for either the shadows or highlights. Refer to
Figure 1-83.
Figure 1-83. Properties panel settings for Levels output sliders
By default, they are set to 0 (black pixels) and 255 (white pixels), as
seen in the Output Levels text boxes. You may not need to, in every case,
adjust them. When you leave these output sliders in their default position,
you can then move the earlier mentioned input sliders shadow (black) and
highlight (white) to new locations, and they will map to the output slider
values of 0 and 255. Any remaining input levels, including the midpoint
slider, will also redistribute, based on these parameters. The point of the
redistribution is to increase the tonal range or the overall contrast of the
image, not to limit it and potentially make the color quality worse and
cause it to lose contrast.
Be careful if you move any one of the sliders not to over-clip your
highlights and shadows, thus eliminating important details. For the
composite RGB I always just move the shadow and highlight input sliders
to the point where I see the shadow or highlight starting or slightly back off
from that point to ensure a good tonal range. Refer to the garden_image_
replace_sky_color_adjustments.psd image.
For the midpoint slider, moving it a bit to the left or the right may
help, but you need to observe how the histogram is formed or leave at
1.00. Just using the midtone eyedropper may be the best option in some
circumstances. In this case I clicked near the edge of the barn roof near the
middle. Refer to Figure 1-84.
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Figure 1-84. Properties panel settings for Levels with shadow and
highlight input sliders moved inward
The “Calculate a more accurate histogram” icon will appear; you can
click this to get a more accurate histogram reading and refresh the graph.
The warning will then disappear. Refer to Figure 1-85.
Figure 1-85. Properties panel settings for Levels histogram warning
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Note that in the lower area of the Properties panel are settings that
include the following (from left to right in Figure 1-86):
This adjustment affects all layers below (click to clip the layer)
(we will look at the Clipping Mask option later in Chapter 2).
Preview to view the previous state. Use the \ key on your keyboard
to toggle.
Reset to adjustment defaults. This is an alternative to using
Edit ➤ Undo when you need to start from scratch.
Toggle the adjustment layer visibility as you would in the
Layers panel.
Delete the adjustment layer using the trash can icon rather than
directly from the Layers panel. Click Yes or No if a warning message
appears.
Figure 1-86. Properties panel settings at the bottom of the panel
An optional Properties panel menu will change depending upon the

adjustment layer. However, you can use this menu when you need to
save or load a Levels (.ALV) preset. This menu will be available for other
adjustment presets as well. Refer to Figure 1-87.
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Figure 1-87. Properties panel menu options of Levels
One good tip to remember is that it is often best to use the eyedroppers
first before you use your sliders to adjust the sliders for Levels or Curves.
Double-clicking each eyedropper will open the color picker so that you
can view and adjust the target values. White point is set to R: 255, G: 255, B:
255; gray point R: 128, G: 128, B: 128; and black point R: 0, G: 0, B: 0. I leave
at the default values, but you may need to adjust for your projects. Click
Cancel to exit without saving changes. Refer to Figure 1-88.
Figure 1-88. Properties panel settings for Levels eyedropper and

color picker
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Note that as mentioned earlier, if you need to sample colors, use your
Color Sampler Tool and Info panel to record various marker points.
You can refer to this link for more information:
https://helpx.adobe.com/photoshop/using/adjust-
color-tone-levels-curves.html
More details on the Levels adjustment can be found at the

following link:
https://helpx.adobe.com/photoshop/using/levels-
adjustment.html
File ➤ Save your work at this point on both files.Refer to garden_

image_replace_sky_color_adjustments.psd and white_terrace_walls_
final.psd if you need to compare.
Curves
This adjustment has similar settings to the Levels but lets you, in this case,
set up to 14 control points for highlights, shadows, and midpoints together
or for each channel. The curve and its points will affect the entire image’s
tonal range. You may want this adjustment in combination with Levels
for more accurate and balanced settings. I find the Curves ideal when
I am trying to balance a set tonal range that is somewhere between the
midpoint and the highlight and shadow that I can’t quite pinpoint with
the Levels options. You can set highlights and shadows and midtones in
between (quartertone and three-quarter tone). In the case of the white_
terrace_walls.psd image, it is still kind of dark overall, and so adjusting
the midpoint by adding a Curves adjustment might help. Use Image ➤
Duplicate if you need to practice or continue with the file you used while
you looked at Level adjustments earlier. Refer to Figure 1-89.
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Figure 1-89. Image that needs some improvements made with

Curves adjustments
Use either your Adjustments panel (Single adjustments) or your Layers

panel to set this adjustment layer. Initially, when you start, the tonal range
will be represented by a straight diagonal line rising on the graph with a
faded histogram in the background. Refer to Figure 1-90.
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Figure 1-90. Curves adjustment layer applied to the Layers panel

and how settings appear in the Properties panel
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While working on an image with the RGB composite channel, you will
observe that the lower-left area of the graph represents shadows (black)
and the upper-right area represent highlights (white). On the graph’s grid
the horizontal axis represents the input levels or original image values,
and the vertical axis represents the output levels or new adjusted values.
This becomes evident when as you add new control points to the line and
move them, you begin to alter the shape of the curve. These alterations
will reflect as color adjustments on your image. The steeper sections of
the curve will represent areas of higher contrast, while flatter sections
will represent areas of lower contrast. However, if you don’t know how
to alter the curve correctly, it can end in a messy surreal picture. Refer to
Figure 1-91.
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Figure 1-91. Properties panel settings for Curves and an extreme

curve that affects the color in the image
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First, review the following Properties panel settings found for Curves
when in RGB color mode:
Preset: Select a preset curve from the menu. This is similar to using
the Adjustments presets that are in the Adjustments panel. Once you have
selected one, you can manually edit it, and it will display as Custom. When
no changes have been made, it is set to Default. Refer to Figure 1-92.
Figure 1-92. Properties panel settings for Curves, presets
RGB: When set to RGB you can adjust all the channels at once or select
from the list each channel separately when you notice that one is more
damaged than the others and is causing a distinct color cast in the image.
To begin I will often work on my RGB channel collectively and then move
to separate channels if I feel I’m not getting the exact results I want. Note
that some presets will cause all RGB channel curves to appear on the graph
itself. Refer to Figure 1-93.
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Figure 1-93. Properties panel settings for Curves, channels
Auto: Automatically color correct Curves using a default setting. Click

the button while holding down the Alt/Option key if you need to see more
options, as you did for Levels, to access the Auto Color Correction Options
dialog box. The default settings should be the same as the ones for Levels.
Figure 1-94. Properties panel settings for Curves, Auto button and
Auto Color Correction Options dialog box
In this example, I just clicked Auto as soon as I added the adjustment

layer, which was a good option as it continued to balance out the colors in
the image and now the details in the trees are more visible and the sky is
lighter. Refer to Figure 1-95.
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Figure 1-95. The image’s color alters when changes are made to the
Curves in the Properties panel
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On-image Targeted Adjustment Tool: With this button (hand) enabled,
click and drag up or down on the canvas to modify the curve and add
control points. This is ideal when you are visually trying to pinpoint an
area that you feel is not correct in the tonal range and adjust the histogram.
I usually enable this button when I want to adjust a setting somewhere
in the midtones. Click the button again if you need to disable it. Refer to
Figure 1-96.
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Figure 1-96. On-image Targeted Adjustment Tool and Properties

panel settings for Curves, channels RGB and just the green channel
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Dragging in the area of the sky may lighten the image further and add
more control points to your graph, which you may or may not want. Make
sure to carefully observe your image as you drag across it with this tool.
Observe, if you adjust the control points in different channels, which may
affect gray areas like the rocks and blue areas like the sky in your image.
While in RGB composite mode, use one of the three eyedroppers to
sample in the image black point (press Alt/Option to display clipping
preview), gray point, and white point. Refer to Figure 1-97.
Figure 1-97. Properties panel settings for Curves, three eyedropper

samplers
I will often sample the white point first, then the black, and lastly the
gray, if I can find a gray stone in the image that I think should be neutral
50%. Your Info panel can help you find the darkest and lightest areas in the
image. Click an eyedropper and then click a point on your canvas using
the default target values. In this case I clicked again the color sampler
markers in the same order as I did with the Levels: white, black, and gray.
You can use Ctrl/CMD + Z as you work if you do not pinpoint the color
with your eyedropper as accurately as you hoped. See the tip on Levels and
eyedropper values earlier in the chapter. In this case I observed that doing
so made my image take a more bluer tone and did reduce some of the
red that remained in the lower stone and the sky. See how it balanced the
curves and you can see differences in the channels. Refer to Figure 1-98.
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Figure 1-98. Use the eyedroppers to sample the same areas

of the image but this time with the Curves adjustments in the
Properties panel
Note Depending upon the image, it may have no neutral gray areas,
so you still may need to adjust control point settings in each channel
separately to improve the color correction.
Edit points to modify curve button: When enabled you can click and
edit the point that you add to create your curve. This is set by default. Refer
to Figure 1-99.
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Figure 1-99. Properties panel settings for Curves, Edit points to

modify curve button
Draw to modify curve button: When enabled you can draw out your
own custom curve over the original graph as you would with a pencil in the
Curves preview area. Using this method may help you create a more ideal
curve. Then click the Smooth the curve values button or return to the Edit
points to modify curve button if you want to preview the curve with the
new points. Refer to Figure 1-100.
Figure 1-100. Properties panel settings for Curves, Draw to modify

curve button
Smooth the curve values button: While working with the Draw to
modify curve button, you can then click this Smooth the curve values
button to smooth the curve and make it less jagged for better tonal blend.
Steep curves create a stronger contrast. Click more than once to continue
to smooth the curve. Then click the Edit points to modify curve button to
see the results on the graph. Refer to Figure 1-101.
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Figure 1-101. Properties panel settings for Curves, Smooth the curve
values button
On the graph itself the lower-left control point is called the set white
point, and moving this point upward can lighten the image. The upper-
right control point is called the set black point, and moving this point
downward can darken the image. Refer to Figure 1-102.
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Figure 1-102. Properties panel settings for Curves, input/output for

the selected control point
Generally, I leave these points in their set location, so I do not clip off
important color details.
However, if a control point is set in the center of the two, that would
be the set gray point and that is the point or points that, once added, are
generally the ones I manipulate. Refer to Figure 1-103.
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Figure 1-103. Properties panel settings for Curves, adjusting

control points
Moving a point upward lightens, while moving a point downward

darkens the tonal area. Moving a midpoint to the left can lighten and
increase the contrast. Moving the midpoint to the right can darken or
decrease the contrast. When you begin moving control points, test and
observe how subtle or extreme movements affect the colors on the image.
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Figure 1-104. Making adjustment to the color of the image

with curves
You can add up to 14 midpoint (gray) control points and then drag
points off the graph/grid if you no longer want them or when you feel you
have too many points. Often it is best just to have a few points and not the
maximum. Control points remain anchored so you can move a single point
without drastically affecting the other points or parts of your curve. Your
original baseline will continue to display faded in the background. Refer to
Figure 1-105.
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Figure 1-105. Properties panel settings for Curves, control points and
how they affect the current image
Tips to remember while working with control points are as follows:
• If you need to make minor adjustment to a selected

point, try using the up and down arrow keys to nudge it.
• Shift + click multiple points when you need to select

more than one before you drag or nudge them.
• Ctrl/CMD + D will allow you to deselect all points.
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• Use the plus (+) or minus (–) key on the keyboard when
you need to move the selected control points up or
down the baseline curve.
Additional tips can be found at the link provided at the

end if this section.
Calculate a more accurate histogram: Click this button to preview a

more accurate histogram setting, and the icon will disappear and refresh.
Figure 1-106. Properties panel settings for Curves, histogram

alert icon
Move the black and white clipping sliders along the horizontal axis to
adjust settings in the current (input) and new (output) intensity areas and
set the darkest and lightest values in the image. Holding down the Alt/
Option key as you drag can allow you to preview what is being clipped with
black/white points. In my case I dragged the black slider back to avoid
clipping off details. Refer to Figure 1-107.
Figure 1-107. Properties panel settings for Curves, moving the

clipping sliders
Input (current intensity of a selected point) and output (new intensity

of a selected point): These will adjust as you move the various anchor
points in the preview. These adjustments are based on light value (0–255).
While a point is selected, you can enter new values in the Input and Output
text boxes. Refer to Figure 1-108.
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Figure 1-108. Properties panel settings for Curves, with input and
output settings
Curves presets are saved and loaded as (.ACV) files.
Note Besides RGB, if you are working in CMYK, Lab, or Grayscale

color mode, you can also use the Curves adjustment layer. RGB will
show amount of light (0–255) or intensity values (black is 0) in the
lower left. Refer to Figure 1-108.
CMYK will be based on pigment/ink percentages, and so its slider
setting will appear reversed in the Curves display with a range of
0–100%. Highlights are at 0% in the lower-left corner. Refer to
Figure 1-109.
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Figure 1-109. Properties panel settings for Curves, setting for CMYK
Grayscale and Lab will also be set to a setting of light. You can review
Curves Display Options if you select that option from the Properties
menu. This includes showing the channel overlays, histogram,
baseline, intersection line (for better alignment of the control points
with the histogram and grid), and type of grid increment of simple or
detailed. Refer to Figure 1-110.
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Figure 1-110. Properties panel settings for Curves, menu options and
Curves Display Options dialog box
Tip Alt/Option + clicking the preview grid can alter its increments

outside of the dialog box.
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Sometimes creating a gentle S curve is enough to create contrast in
the midtones for pictures that are not overly color damaged. Refer to
Figure 1-111.
Figure 1-111. Properties panel settings for Curves, creating an S

curve with three control points
However, more damaged images, as we have seen, will require

additional work and patience. They may also require an additional
adjustment layer to fine-tune your work. Refer to Figure 1-112.
In the case of the garden_image_replace_sky_color_adjustments.
psd, for curves I just used the Auto setting. Refer to Figure 1-112.
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Figure 1-112. Properties panel settings for Curves for the current
garden image
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Adding the sky replacement visibility back in, we can see the colors in
the image are now overall balanced. On your own project, this may reveal
additional imperfections where you may want to use the Clone Stamp
tool to correct inside of your smart object layer 2. Remember to do that
(double-click) on the Layers thumbnail to open it and make your edits.
When done save any changes inside the opened .psb file before you close
it and return to the .psd file that shows your adjustment layers. Refer to
Figure 1-112.
More details on Curves can be found at the following link:
https://helpx.adobe.com/photoshop/using/curves-
adjustment.html
File ➤ Save any of your open files at this point. Refer to garden_
image_replace_sky_color_adjustments.psd and white_terrace_walls_
final.psd if you need to compare to your own work so far.
Hue/Saturation
This adjustment layer allows you to use the sliders to alter the hue,
saturation, and lightness values of the entire image. However, alternatively
you can also target and alter individual color components.
panel to set this adjustment layer. Refer to Figure 1-113.
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Figure 1-113. Properties panel settings for Hue/Saturation and the

Adjustment Layer
Sometimes I will use this adjustment along with my Levels and Curves
or even separately if I need to adjust clothing or in this case skin tones,
which appear to be red or areas that need saturation reduced.
You can use this selection of an image called accordion_hue_
saturation.psd as there is too much red in this image. Refer to
Figure 1-114.
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Figure 1-114. Color adjustments to skin tone can be made with Hue/
Saturation adjustments
Likewise, I also use the Colorize option when I want to create unique
sepia tone images either as the original color or in new color tint options.
I will show how this can be a great adjustment in combination with masks
on separate adjustment layers when you want to colorize an image. It is
a good alternative to the dodge, burn, and sponge tools mentioned in
Volume 1, Chapter 4, and can be used in combination with your solid color
fills as you saw earlier.
The Properties settings found for Hue/Saturation are as follows:
Preset: Select a preset hue/saturation. This is similar to using the
Adjustments presets that are in the Adjustments panel. Once you have
selected one, you can manually edit it and it will display as Custom. When
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Figure 1-115. Properties panel settings for Hue/Saturation, presets
Master and other color options: Currently this list is set to Master to
affect all colors. However, you can, from the list, choose other options such
as reds, yellows, greens, cyans, blues, or magentas if you want to modify
those colors in the image only. However, like channels for RGB Curves,
note that individual settings in these areas may be different than the
master. Refer to Figure 1-116.
Figure 1-116. Properties panel settings for Hue/Saturation,

color options
On-Image Adjustment Tool button: When enabled, click and drag on

the canvas image to modify saturation or Ctrl/CMD + click and drag left or
right to modify hue. As with Curves this can assist you when you are trying
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to adjust a specific set of colors. Using it will enable a different color as well
as the eyedropper options and additional settings in the before/after color
slider color range adjustments area. Refer to Figure 1-117.
Figure 1-117. Properties panel settings for Hue/Saturation: the slider

can reduce saturation in the image in the reds
Hue slider (–180, 0, +180): The values displayed in the box reflect the
number of degrees of rotation around a color wheel from the original
pixel’s color. Each pixel will shift accordingly, which is why you get some
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unusual results if you move the sliders too drastically left (negative) or right
(positive) while working with the master colors. A positive value indicates
clockwise rotation; a negative value indicates counterclockwise rotation.
Often, to color correct, a slight shift to the right or left is all that is needed.
To affect just the Hue slider in a set color range, you can as mentioned hold
down the Ctrl/CMD key and click and drag on the image with the On-
image Adjustment Tool button enabled. Refer to Figure 1-117.
Saturation slider (–100, 0, +100): Dragging the slider to the left
decreases the saturation or right increases the saturation. Beware that this
can affect the colors in your image overall. To affect just the Saturation
slider in a set color range, you can as mentioned click and drag on the
image with the On-image Adjustment Tool button enabled; this will affect
the set of pixels clicked. Refer to Figure 1-117.
Lightness slider (–100, 0, +100): Drag the slider left to decrease and add
more black or right to increase the lightness adding more white. This is
ideal when you want to create a faded or more shadowed area with a layer
mask or overall. Refer to Figure 1-118.

Lightness slider
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Eyedropper, Add to Sample, Subtract from Sample: These buttons only
become active after you have started to use the On-image Adjustment
Tool button or when you have switched to a color range other than the
Master. Use an eyedropper to first select a color range and then, with the
other eyedroppers, click and drag on the image to either add to or subtract
from the sample. This will then display in the before and after color area
with a specific color range and additional sliders. Subtract the range, such
as selecting other areas, like around an instrument, which have a similar
color to the original skin tone color. Refer to Figure 1-119.

eyedropper samplers with the On-image Adjustment Tool and
color range
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Colorize check box: This is an optional setting that creates a type of
monochrome effect, when enabled for a specific color, which is ideal for
creating sepia tone or hand-tinted prints as you did earlier with the solid
color. With this setting enabled you still have access to the Hue, Saturation,
and Lightness sliders to create an overall color adjustment. In the Tools
panel, if the foreground color is black or white, the image is converted to a
red hue or 0°. However, if the foreground color is neither black nor white,
the image is converted to the hue of whatever the current foreground color
is before the adjustment layer was created. The lightness value of each
pixel will not change unless you manually adjust it along with your Hue
and Saturation sliders. Also shown is a preview bar of the original and
current color adjustments. Refer to Figure 1-120.
Figure 1-120. Properties panel settings for Hue/Saturation, using

the Colorize setting and the Tools panel foreground color to alter
the swatch
In the example of the castle image, notice that I used a brownish red
tile color to colorize select areas of the image (Hue:14, Saturation: 29,
Lightness -10), such as the roof, and painted on the layer mask with the
Eraser tool. In this case I could leave the blending mode at Normal and still
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have the black-and-white details appear behind it. See castle_solid_fill_
final.psd. Refer to Figure 1-121.
Figure 1-121. Hue/Saturation adjustment layer added to the Layers

panel and the roof of the castle is now colorized
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Likewise, you could add more of these adjustment layers to colorize
other areas as you did with the solid fills.
Tip With a color image you can also leave parts in color with
a mask as I did with the following bird.psd image. Refer to
Figure 1-122.
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Figure 1-122. Properties panel settings for Hue/Saturation set to

Colorize and a layer mask around areas of the bird that I want to
remain in real color
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Note To avoid painting over another colored area, I will, when I

first create the adjustment layer without a selection, then invert
the selected layer mask right away (Ctrl/CMD + I), before I begin to
paint on it.
Before/after color slider adjustments (color range): These are available

when the Colorize check box is disabled and you are adjusting the colors
in an image other than the master. It shows preview bar color adjustments
as the sliders are moved. The lower horizontal bar will show after changes
if you alter any of the sliders such as Hue. If your On-Image Targeted
Adjustment Tool button has been used or you set a specific color range,
this area will then have two sliders and two vertical bars that allow you
to in degrees (hue values) adjust the color range for specific colors that
correspond to the color values in the color wheel.
The inner sliders that appear as vertical bars define the color range;
you can move them inward or closer to the outer fall-off sliders. Refer to
Figure 1-123.
Figure 1-123. Properties panel settings for Hue/Saturation, sliders

adjusted for a specific color range
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While the outer triangular sliders show where the adjustments on a
color range “fall off,” Adobe defines the “fall-off” as feathering or tapering
of the adjustments instead of a sharply defined on/off application of the
adjustments. A sharp tapering or low fall-off would be very abrupt or
could have a posterizing or banding effect, which would not look natural.
Dragging on these sliders will not affect the inner color range sliders.
You can also drag on an area between a triangle and a vertical bar
slider to affect the size of the color range. Dragging in the center between
the two vertical bars will move the entire slider set, and this may cause it
to move into a different color range, and the name will appear in the color
options menu. Refer to Figure 1-124.

sliders adjusted for a specific color range such as reds in the color
options menu
However, you can set between 2 and 6 in individual color ranges or

varieties within the same color range. They will have the color name and a
number beside them in the color options menu. Notice in this example it is
now called magentas 2 and no longer reds. Refer to Figure 1-125.
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Figure 1-125. Properties panel settings for Hue/Saturation, sliders

adjusted for a specific color range such as a different magentas from
the color options menu
By default, the settings are color range 30 degrees wide and 30 degrees
fall-off on each side. In some images moving these sliders may have little
or no effect.
Note to undo any settings in the master or individual colors, use the
reset button in the Properties panel. Refer to Figure 1-126.
Figure 1-126. Properties panel settings, reset button in the panel
Hue/Saturation presets are saved and loaded as (.AHU) files.

You can also use Hue/Saturation for fine-tuning of colors in CMYK or
Lab images but not for grayscale.
More details on Hue/Saturation can be found at the following link:
https://helpx.adobe.com/photoshop/using/adjusting-hue-
saturation.html
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File ➤ Save your images so far and you can refer to the files accordion_
hue_saturation_final.psd, castle_solid_fill_final.psd, and bird final.psd
as you work.
Brightness/Contrast
If an image is under- or overexposed, this adjustment layer can make slight
adjustments to improve the image and the overall tonal range. I like to
use this filter in combination with my Levels, Curves, and Hue/Saturation
adjustment layers as it can improve an image that is dull or with a low
contrast.
In the file white_terrace_walls.psd, we looked at earlier, we can
certainly add a bit of brightness and contrast so that areas in the midtone
to highlight areas do not completely become washed out if your overall
color adjustments cause this. Continue to work in your duplicate image.
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Figure 1-127. Use Brightness/Contrast to affect the current image

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Figure 1-128. Properties panel settings for Brightness/Contrast and

the adjustment layer
The Properties settings found for Brightness/Contrast are as follows:

Auto: Automatically correct brightness and contrast. Note that unlike
the Levels and Curves, there is no extra dialog box that you can access from
this button.
Brightness (–150, 0, +150): Control the brightness settings by dragging
the slider. Moving to the left darkens the image shadows, while to the right
it lightens the highlights.
Contrast (–50, 0, +100): Control the contrast setting by dragging the
slider. Drag to the left for a lower contrast and to the right for a higher
contrast. Move in small increments as you do not want to create extreme
contrast settings even in black-and-white images.
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Use Legacy: This check box when enabled uses the older legacy
behavior of shifting the pixels (clips shadow/highlight detail). By default,
it is disabled as it is not recommended for photographic images, only for
editing a layer mask or certain scientific imagery as there could be a loss
or clipping of details. When this setting is disabled, this is considered
“Normal” mode where proportionate adjustments are applied as you
would with Levels and Curves.
This adjustment layer does not allow you to save single presets.
Using the settings of brightness –4 and contrast –1 adds some slight
detail back into the wall darkening some areas. Refer to Figure 1-129.
Figure 1-129. Properties panel settings for Brightness/Contrast and

the alterations in the color of the wall in the image
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Refer to the file white_terrace_walls_final.psd for comparison.
More details on Brightness/Contrast can be found at the following
link: https://helpx.adobe.com/photoshop/using/apply-brightness-
contrast-adjustment.html
Note as you work with multiple adjustment layers, the order in

which you add them can affect the overall color outcome as well.
Reordering or sometimes just turning off and on an adjustment
layer’s visibility can help you discover if it still is required or not. Refer
to Figure 1-130.
Figure 1-130. Check how your adjustments are affecting other

adjustment layers in the Layers panel
Color Balance
Color Balance changes the overall mixture of colors in an image when
moving the sliders. This can alter the colors if you feel that the image
has too much of a cast in one channel. It has some similarities to the
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way Hue/Saturation works and may be a better option for certain color
correction situations that require more intense conversion. In the case of
the following pillar image, we can see that this stonework and the image
overall have taken on a purplish pink cast. I first cleaned up the dust and
scratches in the image surrounding the pillars using a layer mask and
the dust and scratches filter, which we will see in Chapter 3. We need to
balance the stonework, so it looks more natural. See file pillars_color_
balance.psd for reference. Refer to Figure 1-131.
Figure 1-131. This faded image of some pillars needs a color balance

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Figure 1-132. Layers panel and Properties panel settings for

Color Balance
The Properties settings found for Color Balance are as follows:

Tone: Set your overall tonal range settings for either the Shadows,
Midtones, or Highlights by selecting that tone balance setting from the
list; by default it is set to Midtones. As you choose different options for the
sliders, the image will change color to match what current tone setting you
are altering. Refer to Figure 1-133.
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Figure 1-133. Properties panel settings for Color Balance, Tone and
slider settings
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The reason that the sliders area is set up as such is that if we consider
a color wheel there are colors that are opposite of each other, and they are
known as complementary or in this case how the color falls on the wheel
is an example of split complementary. Here Cyan is considered opposite
to Red, Magenta is opposite to Green, and Yellow is opposite to Blue,
balancing the cool to the warm hues. Refer to Figure 1-134.
Figure 1-134. An example of the color wheel displaying the

distribution of the slider colors
Therefore, we use the sliders to shift the balance between these

split complementary pairs to achieve a more balanced result. Refer to
Figure 1-135.
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Figure 1-135. Improvements to the colors of the image made with

color balance
How colors exactly fall is not an exact science where one color begins
in nature and ends; it’s not abrupt but graduated. Observing the flat 2D
color wheel is not the same as the 3D wheel or how it is displayed in
nature. Also, from an art perspective, we would likely consider a red to
green, blue to orange/yellow, and magenta to yellow/green to be actual
complementary color sets. Yet, this is how Photoshop has arranged its
simplified sliders to do the complex math calculations behind the scenes
that affect hue, saturation, and brightness. Refer to Figure 1-136.
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Figure 1-136. Colors in 3D on the color wheel
The settings for the sliders are as follows:

Cyan–Red slider (–100, 0, +100): Use this setting to adjust your color in
either the shadows, midtones, or highlights. You can shift from Cyan to Red
tones to adjust the overall cast toward a color that you want to add to the
image and away from the color you want to remove or reduce in the image.
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Magenta–Green slider (–100, 0, +100): Use this setting to adjust your
color in either the shadows, midtones, or highlights. You can shift from
Magenta to Green tones to adjust the overall cast.
Yellow–Blue slider (–100, 0, +100): Use this setting to adjust your color
in either the shadows, midtones, or highlights. You can shift from Yellow to
Blue tones to adjust the overall cast. Refer to Figure 1-137.
Figure 1-137. Properties panel settings for Color Balance with sliders
The values to the right of these sliders show the color value changes for
the red, green, and blue channels. However, observe your Histogram and
Info panels to get the full understanding of the shift.
Preserve Luminosity: This setting is enabled by default to maintain
image brightness and overall tonal balance and prevent changing the
luminosity values in the image while changing the color values.
Move the sliders in the various tones and observe the changes to
the image.
Adobe also recommends using Color Balance in combination with
Photo Filter for various adjustments.
However, in this case adding a Brightness/Contrast and even adjusting
the levels of the image may also bring out certain color details. Refer to
Figure 1-138.
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Figure 1-138. Additional adjustments of Levels and Brightness/

Contrast may need to be added to the Layers panel and adjusted
using the Properties panel
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More details on Color Balance can be found at the following link:
https://helpx.adobe.com/photoshop/using/applying-color-
balance-adjustment.html
File ➤ Save your work so far. Refer to the file pillars_color_balance_

final.psd and Figure 1-133 for color balance settings used.
Black & White

This adjustment layer is great for when you want to create a black-and-
white or sepia image. I like that you can use this to affect the layers overall
but also, in combination with a layer mask, remove certain colors that may
be caused by stains or discoloration.
In the case of the black-and-white image castle_solid_fill.psd, you
could now use the adjustment layer to enhance the tone of the stone areas
to a more sepia color. These are areas that were not tinted using solid color
or Hue/Saturation. Note however that unless I mask out certain areas, this
will give an overall yellower color to any adjustment layers above and solid
color fills that had blending modes applied. Refer to Figure 1-139.
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Figure 1-139. Altering color using the Black & White

adjustment layers

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Figure 1-140. Layers panel and Properties panel settings for

Black & White
The Properties settings found for Black and White are as follows:
Preset: Select a preset Black & White filter effect. This is similar to using
no changes have been made, it is set to Default grayscale conversion. Refer
to Figure 1-141.
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Figure 1-141. Properties panel settings for Black & White, presets
On-image Adjustment Tool: When enabled, click and drag on the

canvas left (darken) or right (lighten) to modify the overall grayscale color
and the sliders in the panel will update. Refer to Figure 1-142.
Figure 1-142. Properties panel settings for Black & White, On-image
Adjustment Tool
Tint: When this is enabled, it allows you to access a swatch from the
color picker rather than just use overall color sliders to adjust: R: 232, G:
221, B: 197. Refer to Figure 1-143.
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Figure 1-143. Properties panel settings for Black & White for Tint
and Auto button
Auto: Auto sets the black and white settings based on the image’s color
values. Then you can adjust the gray values using the sliders. Unlike Levels
and Curves, it does not have any additional settings. Refer to Figure 1-145.
Reds, Yellows, Greens, Cyans, Blues, and Magentas sliders have a range
of (–200, 0, 300). They are often set to a default of Reds: 40, Yellows: 60,
Greens: 40, Cyans: 60, Blues: 20, Magentas: 80. Refer to Figure 1-144.
Figure 1-144. Properties panel settings for Black & White for
color sliders
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Their main purpose is to adjust the gray tones of a specific color in
your image. Drag the sliders to the left to darken and right to lighten the
gray tones, which will correspond to the colors in your underlying image.
However, you can move these sliders to clear up stains and color casts that
may appear unwelcome in a black-and-white image. This could be overall
or when using the layer mask in a specific area, as you will look at shortly
and later in Chapter 2 when you continue with the army photo project.
Use the Save option in the Properties panel’s menu if you want to save
any settings you create. Black & White presets are saved and loaded as
(.BLW) files.
Use the reset icon in the Properties panel if you need to reset any
setting as you work. Refer to Figure 1-145.
Figure 1-145. Properties panel settings in the lower bar
We can see how the stain is removed from the area overall and around
the car in the following tinted image. See image home.psd. Refer to
Figure 1-146.
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Figure 1-146. Properties panel settings for Black & White can be used
to reduce the stains in the image
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More details on Black & White can be found at the following link:
https://helpx.adobe.com/photoshop/using/convert-color-image-
black-white.html
File ➤ Save any images you have open. Refer to file castle_solid_fill_
final.psd for reference.
Exposure
This adjustment is ideal for working with HDR images to adjust tonality by
performing calculations in linear color space.
HDR in photography refers to High Dynamic Range to capture an
entire image scene that has both bright highlights and dark shadows.
This is often common in digital photography where you may take several
images (2–9) of one scene and some areas are overexposed and others
underexposed. The images may then be blended together to create one
properly exposed image with a complete tonal range. Refer to Figure 1-147.
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Figure 1-147. Use the Exposure adjustment layer to adjust and make
changes in your image
However, when it comes to family photos, unless taken professionally,

it is unlikely that you will have such a set of film prints or slide images
like this, and this is more common with images that you take with a
digital camera. However, using this adjustment layer you may be able to
mimic that. I used the example of the tower image, which we looked at in
Volume 1, Chapter 8, when we were working with the Content-Aware Fill
workspace. However, even though the sky and grass are not bad, the tower
is dark and underexposed, it could be lightened. Refer to the image tower_
exposure.psd. Refer to Figure 1-148.
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Figure 1-148. The tower in the image is dark and underexposed and
could benefit from an exposure setting
While Exposure and HDR Toning adjustments are primarily designed

for 32-bit HDR images, you can also apply them to 16-bit and scanned
8-bit images to create HDR-like effects, as we will in this case.
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Figure 1-149. Properties panel settings for Exposure
The Properties settings found for Exposure are as follows:

Preset: Select a preset Exposure adjustment. This is similar to using
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Figure 1-150. Properties panel settings for Exposure, presets
Exposure slider (–20.00, 0, +20.00): This adjusts the highlight end of the
tonal scale with minimal effect on the extreme shadows. Move to the left to
darken and the right to lighten. Refer to Figure 1-151.
Figure 1-151. Properties panel settings for Exposure, slider settings
Offset slider (–0.5000, 0, +0.5000): This darkens the shadows and

midtones with minimal effect on the highlights. Moving to the left will
cause the image to darken, and to the right it gradually becomes gray with
lowered contrast.
Gamma Correction (9.99, 0.01): This adjusts the image’s gamma range.
Higher values lighten and lower values darken; by default it is set to 1.00.
Set black point, gray point, and white point: Clicking the canvas image
in a specific point will sample and adjust the settings in the preceding
sliders. Unlike eyedroppers found in Levels and Curves, these function a bit
differently; they adjust the luminance values of images (unlike the Levels
eyedroppers that affect all of the color channels). Refer to Figure 1-152.
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Figure 1-152. Properties panel settings for Exposure, three

eyedropper samplers
Set black point eyedropper: Sets the Offset slider, shifting the pixel you
click to zero or a negative number. Refer to Figure 1-153.
Figure 1-153. Properties panel settings for Exposure, Offset slider,

negative value
Set white point eyedropper: Sets the Exposure slider, shifting the point
you click to white or a positive number. Refer to Figure 1-154.
Figure 1-154. Properties panel settings for Exposure, Exposure slider,

positive value
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Set midtone (gray point) eyedropper: Sets the Exposure slider, making
the value you click middle gray but now set to a negative number. Refer to
Figure 1-155.
Figure 1-155. Properties panel settings for Exposure, Exposure slider,

negative value
Note that none of the eyedroppers will alter the gamma correction
and you must set this manually yourself.
Exposure presets are saved and loaded as (.EAP) files.

In this example I manually adjusted the sliders for exposure overall.
Exposure is set to +0.17, Offset 0, and Gamma Correction 1.19. This
lightened the image a bit. Refer to Figure 1-156.
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Figure 1-156. Properties panel settings for Exposure with an overall

Exposure adjustment in the Layers panel to lighten the image and
second exposure required just to lighten the tower
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However, the tower was still a bit dark. In this case, loading the tower
selection by Ctrl/CMD + clicking it in the Channels panel, I then added a
second Exposure adjustment layer and then adjusted the tower so that it
was lighter in color, this time only lightening Exposure to +0.57 but leaving
Offset: 0 and Gamma Correction: 1.00 at the default settings. Refer to
Figures 1-156 and 1-157.
Figure 1-157. Properties panel settings for Exposure with a masked

second Exposure adjustment in the Layers panel to lighten the
tower further
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Later in Chapter 2, I will show you some commands and dialog boxes
that you can use if you have some HDR images or just want to create an
actual HDR effect.
More details on Exposure can be found at the following link:
https://helpx.adobe.com/photoshop/using/adjusting-hdr-
exposure-toning.html
File ➤ Save any files you have open at this point. Refer to image tower_
exposure_final.psd for reference.
Vibrance
This is meant to adjust color saturation so that clipping is minimized
as color approaches full saturation. It can also be used to increase the
saturation of less saturated colors and be used to prevent skin tones from
becoming oversaturated. However, it may also be able to help images with
over- or undersaturated greens. Refer to the geese image_vibrance.psd
that was looked at in Volume 1, Chapter 4. Refer to Figure 1-158.
Figure 1-158. This image needs some more vibrance added overall
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Figure 1-159. Layer adjustment and Properties panel settings for

Vibrance
The Properties settings found for Vibrance are as follows:

Vibrance (–100, 0, +100): Drag left to decrease or right to increase the
vibrance without clipping when colors become more saturated or reach
total saturation.
Saturation (–100, 0, +100): Drag to apply the same amount of saturation
adjustment to all colors regardless of their current saturation; drag left to
decrease or right to increase the saturation.
Vibrance can be added to an image. In this case I moved the Vibrance
up to 64 so that the grass appeared less faded, but to reduce some of the
yellow, I lowered the Saturation down to –2. Refer to Figure 1-160.
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Figure 1-160. Properties panel settings for Vibrance and

Saturation sliders
While Vibrance can help, you may also want to add some Exposure
and maybe try Color Balance, as I found working with Levels and Curves
for this image caused the grass to become too blue-green or too yellow.
Also keep in mind that it was a hot dry day in the park, possibly sometime
in July. Refer to Figure 1-161.
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Figure 1-161. Properties panel settings for Exposure sliders and

Color Balance in Shadows, Midtones, and Highlights
In this case I stored the layers above the background in a group

folder for easier access to turn off and on at once. See geese image_
vibrance_final.psd for reference to adjustment settings. Refer to
Figures 1-161 and1-162.
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Figure 1-162. Use Vibrance along with other adjustment layers like
Color Balance and Exposure
Tip Paint on the Vibrance layer mask with your Brush or Eraser tool
when you want to affect select areas of the image.
More details on Vibrance can be found at the following link:
https://helpx.adobe.com/photoshop/using/adjust-vibrance.html
Photo Filter
This makes color adjustments or a type of color cast by simulating the effects
of using a Kodak wratten or Fuji filter in front of a camera lens. This can
create a feeling of warmth or coolness in the image, enhancing the colors
overall. In color theory warm colors fall in the red–yellow range, while
cool colors are generally green–blue. Note that some yellow-greens and
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magentas/violets could fall into either category. It shares some similarities
to Hue/Saturation when the Colorize setting is added, but in this case the
effect is not as monochrome, and some of the original colors remain.
As mentioned earlier, it can be used in combination with the Color
Balance adjustment layer. However, its main purpose is either to reduce
the cast or add a tint to the image.
Figure 1-163. Layer adjustment and Properties panel settings for

Photo Filter
The Properties settings found for Photo Filter are as follows:

Filter: Select a preset Photo Filter adjustment from the dropdown list.
This is similar to using the Adjustments presets that are in the Adjustments
panel. When no changes have been made, it is set to the default of
Warming Filter (85). Refer to Figure 1-164.
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Figure 1-164. Properties panel settings for Photo Filter, Filter

menu list
Color: If the custom color filter is not available, you can choose your
own custom color by selecting this radio button option and clicking the
swatch and choosing a setting in the color picker (Photo Filter Color). By
default, it is set to an orange color, which is the same setting as Warming
Filter (85). Refer to Figure 1-165.
Figure 1-165. Properties panel settings for Photo Filter, custom

color option
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Density (1–100%): Similar to an opacity setting, this is set by default
to 25% but can be adjusted with the slider to change the filter effect
and adjust the amount of color that is added to the image, and a higher
percentage means more color is applied. A good range for subtle effects is
between 10% and 25%. Refer to Figure 1-166.
Figure 1-166. Properties panel settings for Photo Filter, Density slider
and Preserve Luminosity check box
Preserve Luminosity: This setting is enabled by default to maintain

image brightness and overall tonal balance and prevent changing the
luminosity values in the image while changing the colors.
Adding a simple warming filter of (85) to a fairly tonally balanced
image like the canoe example we saw in Volume 1, Chapter 3, when we
used the Content-Aware Move tool can alter our mood about the image
and the appearance of the cliffs. Trying a blue or cooling filter will change
the tone of the image as well. Use the file canoe_photo_filter.psd if you
want to experiment. Refer to Figure 1-167.
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Figure 1-167. Properties panel settings for Photo Filter and how it
alters the current image’s overall cast
Turn on and off the visibility eye of the adjustment layer if you need
to compare the before and after. See canoe_photo_filter_final.psd for
reference.
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More details on Photo Filter can be found at the following link:
https://helpx.adobe.com/photoshop/using/applying-color-
balance-adjustment.html
Channel Mixer
This modifies a color channel and makes color adjustments not easily
done with other color adjustment layers. It can also be used to create
grayscale, sepia tone, and other tinted images, depending on how you
drag the sliders for various artistic color effects. Use the deer_group_
channelMixer.psd image to practice. Refer to Figure 1-168.
Figure 1-168. Use a Channel Mixer adjustment layer to alter colors

in complex ways
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The Channel Mixer can be a more complex adjustment layer to
understand. It modifies a single targeted (output) color channel using
a mix of the existing (source) color channels in the image. As we have
seen in the Channels panel, these color channels are grayscale images
representing the tonal values of the color components in an image. In this
case we are dealing with RGB channels. Refer to Figure 1-169.
Figure 1-169. Observe your channels in the Channels panel and

Histogram panel
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When you use the Channel Mixer, you are adding or subtracting
grayscale data from a source channel to the targeted (output) channel.
You are not adding or subtracting colors to a specific color component as
you do with the Selective Color adjustment, which you will look at later.
While working with this adjustment layer, I recommend watching your
Histogram panel so you can observe how each channel shifts. Note, before
using this setting, make sure that your composite RGB channel is selected
in the Channels panel, or you may not see accurate results.
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Figure 1-170. Adjustment layer and Properties panel settings for

Channel Mixer
The Properties settings found for Channel Mixer are as follows:

Preset: Select a preset Channel Mixer adjustment from the list. This
is similar to using the Adjustments presets that are in the Adjustments
panel. Once you have selected one, you can manually edit it and it will
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display as Custom. Any one of them may be helpful if you want to create
a monochrome image quickly. However, some may give a better contrast
than others, such as Black & White Infrared (RGB). Refer to Figure 1-171.
Figure 1-171. Properties panel settings for Channel Mixer, preset list
When no changes have been made, it is set to Default. And you can
return to working in color.
Output Channel: Choose which channel to affect – Red, Green, or
Blue – and save the following slider settings to the selected channel. You
will be blending one or more existing channels to the output channel.
Figure 1-172. Properties panel settings for Channel Mixer, Output

Channel list
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When you choose an output channel, this sets the source slider for that
channel to 100% and all other channels to 0%. In this example you can see
how choosing Red as the output channel sets the source channel sliders for
Red to 100% and to 0% for Green and 0% for Blue. Refer to Figure 1-173.
Figure 1-173. Properties panel settings for Channel Mixer, Red

output channel and sliders
Monochrome: This changes the image to display color channels as

gray value (Gray output channel) settings when the check box is enabled.
Adjust the percentage of each source channel to fine-tune the overall
grayscale image. As mentioned, while this setting is enabled you can still
use one of the presets from the list. Refer to Figure 1-174.
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Figure 1-174. Properties panel settings for Channel Mixer, set to

Monochrome
However, by default the check box is disabled and the RGB output
channels are available.
You can then start to adjust the source channels.
To decrease a source channel’s contribution to the preceding output
channel, drag a source channel slider to the left. Refer to Figure 1-175.
Figure 1-175. Properties panel settings for Channel Mixer,

RGB sliders
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To increase the source channel’s contribution, drag a source channel
slider to the right. Refer to Figure 1-176.
Figure 1-176. Properties panel settings for Channel Mixer, RGB

sliders and Total warning
Red (–200, 0, +200%): Modify the influence of the red channel within
the overall mix using the slider.
Green (–200, 0, +200%): Modify the influence of the green channel
within the overall mix using the slider.
Blue (–200, 0, +200%): Modify the influence of the blue channel within
the overall mix using the slider.
By setting the various sliders in the Reds, Greens, and Blues, you can
create unusual effects. Refer to Figure 1-177.
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Figure 1-177. Properties panel settings for Channel Mixer, resulting

color in the image from adjusting various output channels and sliders
Likewise, you can enter values between –200% and +200% in the text box.
Using a negative value will invert the source channel color before it is
added to the output channel.
Total: After moving the sliders, the total value of the source channels
displays in the Total field. If the combined channel values are above 100%,
Photoshop displays a warning icon next to the total. Maintain the overall
tone by keeping the total around 100%. When the number is above 100%,
this can indicate that the processed image will be brighter than the original
and some highlight detail may be lost. Refer to Figure 1-178.
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Figure 1-178. Properties panel settings for Channel Mixer with Total
alert and Constant slider
Constant (–200, 0, +200%): Adjust brightness of the result saved to the

output channel. Drag the slider or enter a value for the Constant option to
adjust the grayscale value of the output channel. In Monochrome negative
values will add black, and positive values will add white. A value of –200%
or negative makes the output channel black or in this case not visible and
a value +200% value makes the output channel white. In RGB color black
negative percentage value in this case may refer to a specific color cast or
shift, like toward cyan with a negative value or toward red when a positive
value is chosen in the Red output channel. Refer to Figure 1-179.
Figure 1-179. Properties panel settings for Channel Mixer with

adjustment of Constant slider and results
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You can use this adjustment layer for CMYK images as well.
Tip: If you are planning to convert an image later from RGB to
grayscale mode, you may want to use this adjustment layer first and work
with the source channel sliders and move the slider to 100% to see how
each channel is affected.
I also found that to achieve the more balanced monochrome total
range, I wanted to add a Curves adjustment layer behind the Channel
Mixer and adjust that, while the other adjustment layer was in the Layers
panel and visible. Refer to Figure 1-180.
Figure 1-180. Combine the Channel Mixer with another adjustment

layer, like Curves, and make changes in the Properties panel
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Channel Mixer presets are saved and loaded as (.CHA) files. You can
access this option from the Properties panel menu.
As well, combining a second Channel Mixer layer can enhance the tint
of the image, similar to the adjustment layer Black & White.
You may find this a good alternative when you work with slides that
have gone completely red and no other color options are working and
changing the file to monochrome is the only solution. Afterward you could
always use various adjustment layers (Hue/Saturation) to add layer mask
tints. Refer to Figure 1-181.
Figure 1-181. Some images may only be improved to the point of

making them black-and-white if too much of the other colors have
faded away in the image
File ➤ Save any files you have open at this point. Refer to the deer_
group_channelMixer_final.psd and pillars.psd images for reference.
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More details on Channel Mixer can be found at the following link:
https://helpx.adobe.com/photoshop/using/color-monochrome-
adjustments-using-channels.html
Color Lookup
Color Lookup is more of a specialized adjustment that can be used to
create unique tones and cast in an image. The initial concepts of this
adjustment date back to the 1800s and 1900s when tinting of black-and-
white images was a common and popular thing to do when there were
none or few actual color photos produced with film. It is more of a complex
filter that you can customize and create your own color filter effects from
previously created adjustment layers.
People will sometimes sell Lumetri Look Up Tables (LUTs) as part of
a collection for photographers to use in Photoshop but also for video use
in applications like Media Encoder, After Effects, and Premiere Pro. The
files store tables of data with color input and output information. However,
you can use the ones available in this adjustment layer, but also buy ones
provided by Adobe Creative Cloud Desktop via the Stock & Marketplace
plugins. Or even better to save some money, you can use Photoshop to
create your own. These are much like presets that you can save for other
photo projects and create a similar color effect. You can use the file light_
house_lookup.psd if you want to practice. Refer to Figure 1-182.
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Figure 1-182. Color Lookup can alter the image’s colors in a variety
of subtle and dramatic ways

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Color Lookup
The Properties settings found for Color Lookup are grouped into the
following radio button and list selection options that contain various
preset filters:
3DLUT File: Choose or load a 3DLUT file from the list. This is
considered a 3D LUT file known as a CUBE file (*.CUBE). But other preset
files in this section may also have different file formats such as 3DL (.3dl),
3DLS (.3dls), 1DLS (.1dls), IRIDAS Look (.look), and Cinespace 3DLUT
(.CSP). Refer to Figure 1-184.
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Figure 1-184. Properties panel settings for Color Lookup,

3DLUT options
Note CUBE files often have additional Data and Table Order settings
as well.
Abstract: Choose or load an abstract profile from the list. This is an ICC
Profile (*.ICM, or *ICC) file. Refer to Figure 1-185.
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Figure 1-185. Properties panel settings for Color Lookup,

Abstract options
Device Link: Choose or load a device link profile from the list. This is
an ICC Profile (*.ICM, or *ICC) file. Refer to Figure 1-186.
Figure 1-186. Properties panel settings for Color Lookup, Device

Link options and Dither setting
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Dither: This is enabled by default for a smoother setting and breaks up
potential banding in the image.
Once you select a file preset option. you can use your up and down
arrow keys to cycle through them.
Optional: Some 3D LUT CUBE files will have additional Data Order
and Table Order radio button settings. Refer to Figure 1-187.
Figure 1-187. Properties panel settings for Color Lookup, Data Order
and Table Order options
The default of the Data Order is usually RGB (Red, Green, Blue) and
the Table Order is BGR (Blue, Green, Red), but you can try the other
options, which, in this case, would give you complementary or opposite
colors on the color wheel. For example, change the data order; if before
a area was orange/yellow, now it is blue with BGR selected, and the tone
becomes lighter or darker depending on what table order is chosen. Refer
to Figure 1-188.
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Figure 1-188. Properties panel settings for Color Lookup: Data Order
and Table Order options alter the image
Then you can change Table Order giving another slightly different look
as well. Refer to Figure 1-189.
Figure 1-189. Properties panel settings for Color Lookup: Data Order
and Table Order options alter the image again
In total you could have four different looks in one 3D LUT.

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Color Lookup Table Creation
All adjustment layers can be used singly or collectively to create your own
custom Color Lookup file. However, some will produce better results. I
would avoid using fill layers like Gradient and Pattern, but using solid color
is OK. Later you can apply blending modes (except for Dissolve) to the
adjustment layer, as well as opacity, as we will talk about this later in the
next chapter. If you adjust some of those settings prior to creating your own
Color Lookup files, those results will also be displayed in the new custom
adjustment preset.
You can export color lookup tables only from documents that have
a background layer and additional adjustment layers to modify colors.
However, make sure that the layer masks on any adjustment layers are
clean and clear of painted effects as this can cause corruption when you try
to create your file. The layer mask should be clean and white with no black
erasing or brushing marks and no feathering (0 px) or change in density
(100%) adjustment made in the Properties panel to the layer mask. Refer to
Figure 1-190.
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Figure 1-190. Combine various adjustment layers in the Layers

panel and check your layer mask in the Properties panel
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It is tempting to create these kinds of modification to an adjustment
layer like Levels or Hue/Saturation, but just like when using the Gradient
or Pattern Fill, it creates, in the file’s color table, missing information and
corruption to the file. If you suspect that your adjustment layer mask may
have some modifications, you can correct this by duplicating the layer and
dragging it on to the Create a new layer button. Refer to Figure 1-191.
Figure 1-191. Duplicate adjustment layers that you want to be part

of the final Color Lookup file
Then turn the eye off, on the original, should you need to keep that
mask for something else. On the layer copy right-click the mask and
choose Delete Layer Mask. Refer to Figure 1-192.
Figure 1-192. Hide unwanted layers and delete the layer mask from
the adjustment copy
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Then, while the adjustment layer is selected, click again the layer mask
icon. Refer to Figure 1-193.
Figure 1-193. Add a clean layer mask back to the adjustment layer
that will be part of the Color Lookup
This will apply a fresh white mask with no marks.
Tip Keeping adjustment layers for color lookup creation in separate

folder groups is a good way to keep organized with a name and a
color for identification. Then, when you’re ready to create your Color
Lookup, turn on only the visibility for that folder with the background
images visible for review. Refer to Figure 1-194.
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Figure 1-194. Store your adjustment layers in a group folder for

better organization and turn off those that will not be part of the
current Color Lookup
Now just turn off the background layers and select just the folder that
you want to create the color lookup table from. Refer to Figure 1-195.
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Figure 1-195. Select only the group folder that you want as part of
the Color Lookup files
From the menu go to File ➤ Export ➤ Color Lookup Tables. Refer to

Figure 1-196.
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Figure 1-196. Export Color Lookup Tables dialog box
In the Export Color Lookup Tables dialog box, enter a description.

The name or description of your saved file will appear on top, but you can
retype it if required. This information is later embedded in the file. In this
case I called it Artistic Effect Blue. Refer to Figure 1-196.
(Optional) Enter a copyright string, such as your name or the name of
your company. Photoshop automatically prefixes © Copyright <current
year> to your entered text. This data is found internally within the file.
You can then choose to enable the check box for Use lowercase file
extensions. Some applications outside of Adobe may be very strict on
whether you can use a .cube or a .CUBE (in lower- or uppercase). I am
using Photoshop, which is not case sensitive, so I can leave this unchecked,
and the file extension will be .CUBE (uppercase).
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The Quality Grid Points field is next, which you may be familiar with
when you set the quality of a saved JPEG or GIF file. You want a setting that
does not lose color quality and cause banding, but at the same time does
not allow the file to become too large and cause the program to crash when
it is loaded. You can either type in a number from 0 to 256, choose a default
setting from the menu ranging from Poor to Maximum, or use the slider to
set the number; the lowest it goes down to with the slider is 7. File sizes can
get quite large with several adjustment layers that require calculations.
The size of the files really starts to creep up once you get beyond 64
grid points. After some testing I discovered it may create a file over 400 MB,
which is definitely going to crash an application. Remember that 3DLUT’s
main purpose is to interpolate using the table data; you do not have to map
what every node or grid point should be. So I found that an amount of 64
or high quality for my photos and small video work is good enough.
Therefore, I will leave it at the default setting of 64. In your case over
time, you may want to experiment with this and document your file sizes
as you make various choices and experiment with quality. However, keep
in mind files at the maximum setting can get very large.
Back to the Export Color Lookup Tables dialog box in Photoshop. We
can see Formats as the last setting. Refer to Figure 1-196.
The options include
• 3DL
• CUBE
• CSP
• ICC Profile
Note that while Photoshop can load all these file formats, some
Adobe programs like Media Encoder or Premiere Pro cannot support
all of them. In most cases I check them all off, but for some projects
certain formats may not be required, so the choice is up to you.
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Now click the OK button to save the file. Refer to Figure 1-197.
Figure 1-197. Export Color Lookup Tables dialog box, clicking OK
Doing this brings you to the next Export Color Lookup dialog box,
which allows you to find a place to save your file. When I am testing LUTs
that I am not sure how they will appear, I save them usually in my Projects
folder for later loading. Refer to Figure 1-198.
Figure 1-198. Export Color Lookup files to a folder
Select the location on your computer where you want to save the
generated files. Also, enter a descriptive base filename to which Photoshop
automatically appends the file extensions. Refer to Figure 1-199.
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Figure 1-199. Save your Color Lookup file with the .lut extension
Leave the .lut extension as this is because you are creating all four file
types at once. Make sure Save as type is set to All Files. Then click Save and
give Photoshop a moment to create the files and file formats.
It may turn your background layer back on afterward.
As they are saved, they are compiled, and you can view them when you
open your file explorer for that folder. Refer to Figure 1-200.
Figure 1-200. Color Lookup file created
Note Color Lookup profiles can be used in various color modes

including CMYK and Lab. However, RGB mode will allow you to use all
the Color Lookup adjustment layer options.
More details on Color Lookup as well as file consideration for
exporting different formats in color modes can be found at the
following link: https://helpx.adobe.com/photoshop/using/
export-color-lookup-tables.html
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Load the Color Lookup File
Now, if you want to load a Color Lookup that you created into Photoshop,
apply a new Color Lookup adjustment layer and then, from the menu,
choose Load 3D LUT and locate the file. Select the file from the folder and
click Load. Refer to Figure 1-201.
Figure 1-201. Locate and load the Color Lookup file using the
adjustment layer and Properties panel
The new Color Lookup is applied, and this creates a compact color
adjustment rather than having to have multiple adjustment layers. This is
also a good way to share a specific color adjustment with your coworkers
or apply a single adjustment to another file. Refer to Figure 1-202.
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Figure 1-202. The current 3DLUT file is applied to the image
If you are familiar with applications like Adobe Media Encoder, After
Effects, or Premiere Pro, you can reuse the Color Lookup files that you
created later in those applications as well. We will be briefly mentioning
Media Encoder in Chapter 6 where I will mention the location where you
can locate LUT files.
Note that if you want to keep all the adjustment layers separate, then
saving them as a preset in the Adjustments panel may be a better option
that we will look at in the end of this chapter.
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File ➤ Save your document so far and refer to my file light_house_
lookup_final.psd.
I have also included a text file in the chapter folder that you can
review if you want information on how to store your profile files in a
folder for regular use for the Photoshop application for Windows. See
Loading_Abstract_and_DeviceLink_Profiles.txt.
Selective Color
This adjustment can be used to adjust the amount of process colors in
individual color components. Ideally, when you need to affect colors in
an image that is in CMYK color mode, you can use this layer to affect the
Cyan, Magenta, Yellow, or Black color using the slider. You can use this
adjustment to dramatically decrease the magenta in the red component
of an image while leaving the magenta in the blue component unaltered.
However, it can also be used to alter images that are in RGB mode. Use the
sunset_selective_color.psd to practice. Refer to Figure 1-203.
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Figure 1-203. Set your Channels panel and make color adjustments
using Selective Color
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panel to set this adjustment layer. Note: make sure that the composite RGB
channel is selected in the Channels panel. Refer to Figure 1-204.

Selective Color
The Properties settings found for Selective Color are as follows:
• Preset: Select a preset Selective Color adjustment

if one has been created. This is similar to using the
Adjustments presets that are in the Adjustments panel.
Once you have selected one, you can manually edit it
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and it will display as Custom. When no changes have
been made, it is set to Default. Currently there are no
additional presets in the list. Refer to Figure 1-205.
Figure 1-205. Properties panel settings for Selective Color, presets
Colors: These are colors you can affect later with the lower sliders.
The list includes reds, yellows, greens, cyans, blues, magentas, whites,
neutrals, and blacks. This will interact with the method you choose. Refer
to Figure 1-206.
Figure 1-206. Properties panel settings for Selective Color,

color options
Cyan, Magenta, Yellow, and Black sliders have a range of (–100, 0,

+100%): Drag the sliders to decrease or increase the color components.
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Figure 1-207. Properties panel settings for Selective Color, CMYK

color sliders
A method radio button is either set to Relative or Absolute, and each

affects the color slightly differently. Refer to Figure 1-208.
Figure 1-208. Properties panel settings for Selective Color,

method options
Relative: This changes the existing amount of cyan, magenta, yellow, or

black (CMYK) by its percentage of the total. For example, if you start with
a pixel that is 50% cyan and add 10%, 5% is added to the cyan (10% of 50%
= 5%) (1.1 × 0.5=0.55 for a total of 55% (0.55) cyan). However, this option
cannot adjust pure specular white highlight, which contains no color
components and is set to C=0, M=0, Y=0, K=0. Specular highlights are often
a small single point on a person’s forehead or shiny object like a fruit. Refer
to Figure 1-209.
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Figure 1-209. Example of specular highlights on an image of

tomatoes
However, as we have seen in this chapter, one or more channels could

be damaged, and this could be due to an uncorrectable large glare without
the use of some healing tool to add more pixels to fill in missing details.
Absolute: This adjusts the color in absolute values. For example, if you
start with a pixel that is 50% cyan and add 10%, the cyan ink is set to a total
of 60%. By default, the method is set to Absolute.
The adjustments are based on how close a color is to one of the options
found in the Colors menu. For example, 50% cyan is midway between
white and pure cyan and receives a proportionate mix of corrections
defined for the two colors, in this case the whites and the cyans.
Selective Color presets are saved and loaded as (.ASV) files.
In my example I effected the following colors:
• Reds: C:0, M:0, Y:0, K:0
• Yellows: C:0, M:0, Y:0, K:–34
• Greens: C:0, M:0, Y:0, K:0
• Cyans: C:0, M:0, Y:0, K:+49
• Blues: C:+75, M:–13, Y:–45, K:–9
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• Magentas: C:–47, M:0, Y:0, K:+4
• Whites: C: –23, M:0, Y:0, K:0
• Neutrals: C:0, M:0, Y:0, K:–2
• Blacks: C:0, M:0, Y:0, K:–2
My method was set to Absolute as Relative was too

subtle. Refer to Figure 1-210.
Figure 1-210. Properties panel settings for Selective Color for Blues
More details on Selective Color can be found at the following link:
https://helpx.adobe.com/photoshop/using/mix-colors.html
File ➤ Save your work so far and you can refer to my file sunset_
selective_color_final.psd.
Keep in mind that for images with extreme blues and magentas on
the screen, you may run into out-of-gamut issues when printing though
it might look fine on the screen. So switching to the relative method may
lead to better printing results.
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Invert
Invert is ideal when you have scanned some negatives, but your older
scanner did not automatically convert them into positives. This adjustment
will automatically invert the colors. What this means is the brightness
value of each pixel in the channels is converted to the inverse value on
the 256-step color-values scale (0–255). For example, a pixel in a positive
image with a value of 255 is changed to 0, and a pixel with a value of 5 is
changed to 250. If the number was 250, then it would be changed to 5.
Zero in this case is considered a number making there be actually 256 steps.
However, you should be aware that it is advisable, for ideal results,
to use your film scanner’s software and settings if possible because color
print film contains an orange mask in its base. The Invert adjustment
cannot make accurate positive images from scanned color negatives.
In the case of black-and-white film, using this adjustment layer should
be fine as no orange mask is used. See snowman_invert.psd. Refer to
Figure 1-211.
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Figure 1-211. A black-and-white image of a snowman inverted from

negative to positive

Figure 1-212. Adjustment layer and Properties panel settings

for Invert
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The Properties panel has no additional settings for Invert.
More details on Invert can be found at the following link:
https://helpx.adobe.com/photoshop/using/applying-special-
color-effects-images.html
Posterize
This adjustment layer allows you to specify the number of tonal levels (or
brightness values) for each channel in an image and then maps pixels to
the closest matching level. This will often give a more broken or segmented
appearance to your image lowering or limiting the tonal range. We saw a
similar result when we set the scanner in Volume 1, Chapter 1. It is not ideal
for photo restoration and is more for artistic effects. Refer to Figure 1-213.
Figure 1-213. A posterize effect and a non-posterized image created

using the scanner
To produce a similar effect in your photos, use either your Adjustments

panel (Single adjustments) or your Layers panel to set this adjustment
layer. Refer to Figure 1-214.
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Posterize
The only Properties setting found for Posterize is as follows:

Levels (2–255): By default, this is set to 4. Move the slider or enter the
number of tonal levels.
This produces a very similar effect to the scan option. A setting above
50 may show very little posterization on the image. Refer to Figure 1-215.
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Figure 1-215. Posterize effect created using the adjustment layer
Use this option for more artistic effects with a setting of 10.
Threshold
This converts grayscale or color images to high-contrast, black-and-white
images. You can specify a certain level as a threshold. All pixels lighter
than the threshold are converted to white, and all pixels that are darker are
converted to black. I do not recommend using this adjustment layer for
digital image repair. It is more for artistic effects if you are creating Color
Lookup LUTs or with a blending mode applied.
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Threshold
The Properties settings found for Threshold are as follows:

The background displays a histogram of the selected pixel’s
luminance levels.
Threshold Level (1–255): By default, this is set to 128. Drag the slider to
adjust the Threshold.
Calculate more accurate histogram: Click the warning to alter the
setting display. Refer to Figure 1-216 and Figure 1-217.
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Figure 1-217. Threshold adjustments on a statue head
Gradient Map
Gradient Map is also a specialized adjustment that creates a gradient-
like effect similar to a grayscale, the Black & White adjustment layer. It
maps the equivalent grayscale range of an image to the custom colors
of a specified gradient fill. If you specify a three-color gradient fill, for
example, shadows in the image are mapped to one of the endpoint colors
of the gradient fill, highlights are mapped to the other endpoint color, and
midtones are mapped to the gradations in between. Refer to Figure 1-218.
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Figure 1-218. Gradient Map effects on the statue head and

adjustment with the Gradient Editor dialog box
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Adding more colors or even choosing a noise gradient can produce
interesting effects much like a heat map, depending on how the colors are
arranged. Or placing one or more on top of the other can produce darker
effects like Film Noir. Refer to Figure 1-219.
Figure 1-219. Multiple Gradient Map adjustment layers in the

Layers panel

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Figure 1-220. Adjustment layer, black foreground in the Tools panel,

and Properties panel settings for Gradient Map
The Properties settings found for Gradient Map are as follows:

Gradient: Select a gradient from the list or click the list to enter the
Gradient Editor, as you saw earlier with the Gradient Fill layer, and create a
custom gradient. Shadows start by default at the left and highlights end on
the right or if there is a darker foreground color in the Tools panel.
Dither: This is by default disabled but can have a smoothing effect. It
adds random noise to smooth the appearance of a gradient fill and reduces
the appearance of banding, which some color transitions may cause.
Reverse: This reverses the color order of the selected gradient fill
and will reverse the order of the gradient map; by default this setting is
disabled.
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Method: This sets how your gradient colors will be displayed on the
canvas. The options are Perceptual, Linear, Classic, Smooth, or Stripes.
Refer to the Gradient Fill settings for more details. By default, it is set to
Perceptual.
Note that you cannot access the Gradient Tool to affect the gradient
map itself, but you can use the Gradient Tool on the layer mask, which we
will review in more detail shortly in the next chapter.
More details on Posterize, Threshold, and Gradient Map can be found
at the following link:
To experiment with examples of Posterize, Gradient Map, and

Threshold, you can look at my file statue_gradient_map.psd to review and
see statue_gradient_map_final.psd as a reference.
Tip A Gadient Map adjustment layer can also have opacity and a
different blending mode applied. Blending modes will be discussed in
Chapter 2.
File ➤ Save your work at this point.
orking with Multiple Adjustment Layers

W
and the Adjustments Panel
I conclude this chapter with discussing the following concerns: if you’re
not sure what kind of a combination to compose in the Adjustments
panel. In the panel under the Adjustments presets, you can find other
combinations for specific adjustments, such as Landscape and Photo
Repair, when you click the More button. Refer to Figure 1-221.
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Figure 1-221. Adjustments panel presets and more preset options
You can hover over a button to preview on the canvas.

Clicking one of these buttons automatically applies several adjustment
layers at once to create the described effect. You can then adjust each of
these presets manually to fine-tune them to create the desired effect. Refer
to Figure 1-222.
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Figure 1-222. Layers panel with new Adjustments presets added
When you need to return to the original presets, click the “Back to view
all” arrow button. Refer to Figure 1-221.
Saving and Reapplying Your Adjustment Settings

If you have created your own adjustment settings, you can now save the
combination, using the Adjustments panel, as well as under the section
Your presets. Choose the adjustments (not fill layers) you want and then
click the plus button on the right-hand side. Enter a preset name and click
the Save button. Refer to Figure 1-223.
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Figure 1-223. Add your own presets to the Adjustments panel; name
and save them
The new preset will be added to your collection of presets, and then
you have the additional options under the ellipsis (…) to rename, delete,
export, or export all custom presets you created. Refer to Figure 1-224.
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Figure 1-224. Rename, delete, or export your presets from the

Adjustments panel and the Settings in the Options bar panel and
contextual task bar for the new Adjustment Brush tool with example
on an Adjustment layer.
Note that all exported presets are saved as PSAP(.psap) files and you
can use the panel’s menu to import your custom presets in the same
file format.
More details on these settings can be found here:
https://helpx.adobe.com/photoshop/using/adjustment-
fill-layers.html
https://helpx.adobe.com/photoshop/using/color-
adjustments.html
https://helpx.adobe.com/photoshop/using/targeting-
images-press.html
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Important Note: Recently a new brush has been added for working with
your Adjustments called the Adjustment Brush tool which is dedicated
to working with Adjustment Layers rather than relying on simply your
Brush and Eraser tools to edit the layer’s Mask. When this tool is selected
when you click on the canvas it will automatically add a new adjustment
layer with the first brush stroke to a Layer mask and you can continue
to paint on it as you would with the other Brush or Eraser tool using the
X key toggle. Refer to Figure 1-224. You can use the Options bar panel
or Contextual Task bar drop down list to quickly switch the kind of
adjustment layers you are using without having to add a new mask. Refer
to the Options bar panel and look from left to right at the icon buttons you
will notice that like other brushes you can:
• Subtract or Add to the layer mask selection as

you paint.
• Change the brush size, hardness, angle, and tilt using

the brush preset picker menu.
• Icon: “Always use pressure for size. When off, brush

preset controls pressure.”
• Choose an object and have the adjustment applied to it

this is similar to using the Object selection tool as seen
in Volume 1.
• Use the checkbox to turn the overlay on or off quickly to

see the affected areas.
• Set the Opacity of the brush stroke (1-100%).
• Icon: “Always use pressure for Opacity. When off, brush

preset controls pressure.”
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• Set the Flow rate of the brush stroke (1-100%).
• Icon: “Enable airbrush-style build-up of effects.”
The contextual task bar will also allow you to add a new adjustment
layer if required as you work.
Note that you are not bound to use this tool on your Adjustment layer
mask exclusively as you will see in the next chapter, and you can at any
time switch to using the Brush tool, Eraser tool or a Selection tool if you
feel more comfortable with those options. Note that this tool cannot be
used on layer masks applied to Fill Layers, Normal, or Smart Object Layers.
More information can be found at the following link: https://helpx.
adobe.com/photoshop/using/adjustment-brush.html.
Summary
In this chapter we looked at a wide range of adjustment layers and looked
a bit at blending, opacity, fills, and layer mask options that can affect the
color correction of an image. In the next chapter we will explore more
about the Properties panel masks and how colors are further affected by
different color blending modes and when colors are considered out of
gamut. We will also look at a few more color adjustment options as well as
layer styles that you may want to use for specific projects.
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CHAPTER 2
Adjustment Layers,
Blending Modes with
Masks for Photo
Restoration: Part 2
In this chapter we will continue to review adjustment layers with the layer
mask as it relates to the Properties panel. Then we will look at other mask
options that include clipping masks, vector masks, and smart object layer
filter masks.
We will look at a few options with the Pen Tool and Paths panel for
mask creation.
Then we will explore opacity and other blending mode options and
take a brief look at layer styles.
We will also return to the Image ➤ Adjustments panel and work with
smart object layers to add another adjustment in a nondestructive way.
Then we will look at a few advanced color blending options, which
will include working with HDR image options, and complete the color
correction of the army photo project, which was started in Volume 1.

RESTORATION: PART 2

Chapter 2 folder. Some text on selections has been adapted from my
book Accurate Layer Selections Using Photoshop’s Selection Tools.
We will now continue with the review of the Properties panel.
roperties Panel and Adjustment

P
Layer Masks
Each adjustment layer can have its own unique layer mask, and you can
copy the mask from one adjustment layer to another by Alt/Option +
dragging the mask onto the other layer. The message Replace Layer Mask?
will appear, and you can click Yes. Refer to Figure 2-1.
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Figure 2-1. Copy one layer mask from one layer to another layer
However, as you update one mask by painting with your Brush Eraser,
Adjustment brush tool or using a selection tool, the other will not update.
Figure 2-2. Paint on your layer mask with your Brush tool, Eraser,
Adjustment Brush tool use X to switch masking settings
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Alternatively, if you need your layer masks to be the same, you can
delete the one layer mask from one layer by right-clicking and choosing
Delete Layer Mask and then again holding down the Alt/Option key while
you drag a copy of the layer mask back to the adjustment layer. Not holding
down the Alt/Option key while dragging just moves the layer mask to the
adjustment layer, which is what you don’t want to do. Refer to Figure 2-3.
Figure 2-3. Delete a layer mask and copy a layer mask from another
adjustment layer
If you want to see how to add several adjustments to one layer

mask, refer to the section “Using Smart Filters to Make Certain Color
Adjustments Nondestructive” in this chapter.
emoving Gradients from Scan Using Several

R
Layer Masks
Having two of the same kind of adjustment layer, such as Levels or Curves,
can be ideal when one masked area requires a slightly different tonal
setting than another area that is not quite as faded or damaged.
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The application of multiple adjustment layers and layer masks with
varying settings may be suitable in situations where you scanned a black-
and-white photo that was slightly bent in an album and has a gutter
highlight or shadow in it. Or it may be because an area of the image faded
or something was wrong with the camera that took the image or the film
did not develop correctly. This causes a banding-like graduated effect. In
Volume 1 using the Clone Stamp tool or one of the healing brushes on a
blank layer above the background is not going to fix this.
You can refer to my file pillars_mulitple_adjustments.psd. Refer to
Figure 2-4.
Figure 2-4. An image that is very damaged with gradient-like stripes
Whatever the reason for this color damage, using multiple adjustment
layers (Levels and Curves or even Selective Color, Hue/Saturation, or Black
& White) of the same kind to feather and blend out in combination with
layer masks can assist. Refer to Chapter 1 if you need to review them. Refer
to Figure 2-5.
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Figure 2-5. Damage can be repaired but only with multiple

adjustment layers and masks
Carefully masking areas and feathering can help certain colors blend
together and greatly reduce the banding if not altogether. At the same
time some overlaying masks should not blend into each other, creating
a color line. Adjustment layer mask order is also very important. Refer to
Figure 2-6.
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Figure 2-6. Some images will require multiple adjustment layers to

repair heavy damage
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In other situations, as seen earlier in Chapter 1 when adding Hue/
Saturation adjustments, two or more could be useful for some older black-
and-white photos or when you want to apply different colorize tints to one
or more areas. Refer to Figure 2-7.
Figure 2-7. Multiple adjustment layers of Hue/Saturation when you

want to paint different areas of the image
We will look at that shortly. However, let’s take a moment to

review Properties panel layer mask settings as we can use this area to
make further adjust adjustments to layer masks on both normal and
adjustment layers.
roperties Panel Layer Mask Settings for Normal

P
and Adjustment Layers
To review, as in the example of the tower image that you saw in Volume 1
and recently in this volume’s Chapter 1, after you have created a selection
on a normal layer (Layer 0) using the Elliptical Marquee Tool or any
selection tool, you can then add it to that layer as a layer mask using
the Layers panel. To practive refer to tower_layermask.psd. Refer to
Figure 2-8.
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Figure 2-8. Create and add a selection as a layer mask to an image
This creates a transparent area behind the layer. However, as you saw
in Chapter 1, you could add a solid color or even gradient fill behind the
masked layer to give your ellipse a bit of a frame. Refer to Figure 2-9.
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Figure 2-9. Behind the layer mask, you can place different fill layers
to enhance the frame
However, this edge around the ellipse is very clean, and you may
want to have a fuzzier or vignette-like appearance. Vignettes can be dark
background shadows surrounding an image. It is a reduction of an image's
brightness or saturation toward the periphery compared with the image
center, but in Photoshop it can be any background color you prefer.
Rather than edit the layer mask directly on Layer 0 by using a brush or
one of the selections options to feather, you can just select the mask and
use the Properties panel. Refer to Figure 2-10.
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Figure 2-10. When the layer mask is selected, use the Properties
panel to make adjustments
Clicking the Layer Mask option in the Properties panel then allows
you to adjust your Density (0–100%). This is like an opacity but just for the
mask. Then adjust the Feather setting (0–1000 px). I put the setting to 9.8
px so that there was still a slight edge and the mask was not overly blurred
so that you could still see the ellipse. Refer to Figure 2-11.
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Figure 2-11. The frame around the image has a feathered edge
In this example, I did not use the Refine action of Invert, which would
invert the selection. Using this method creates a nice vignette that can be
used to frame an object or person. You can at any time unlink the image
from the mask. And then select the layer mask or image with the Move tool
to align better with the vignette. In this case I moved the mask with the
Move tool and then linked it again. Refer to Figure 2-12.
Figure 2-12. Unlink the layer mask when you need to move with the
Move tool and adjust it and link again in the Layers panel
There is, however, more than one way to create a similar vignette.
As I mentioned, layer order is important when working with adjustment
and fill layers. Generally, you want the adjustment or fill to be above
the background layer as this could make it easier to make certain color
adjustments.
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In this example you could leave the background (Layer 0) without a
mask but still create a selection. Refer to Figure 2-13.
Figure 2-13. The selection does not have to be a mask on the image
layer itself
This time add the fill layer of white, and the selection would be applied
to that fill layer. However, in this case the selection may be inverted. Refer
to Figure 2-14.
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Figure 2-14. Add the selection to a solid color fill layer
With the layer mask selected in the Properties panel, you can click the
Refine ➤ Invert button to invert the mask. Then again you can adjust the
framing of your image and apply the same feather and density settings.
Refer to Figures 2-15 and 2-16.
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Figure 2-15. The selection comes in as a solid covering, but you can
use the Properties panel to invert the selection
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Figure 2-16. The solid fill color layer can be placed above the
image layer to cover and frame areas and be feathered using the
Properties panel
Use the Properties panel to make further adjustment to your layer

mask. This technique will work with all adjustment layers that contain
layer masks or when you want to hide parts of the adjustment layers that
may be used to adjust the color of the background image.
The other icons found in the Properties panel while on normal, fill, or
adjustment layers that have masks selected, from left to right, are as follows:
• Load a selection from the mask: This is useful when

you want to add a similar selection to another layer. Use
Ctrl/CMD + D or Select ➤ Deselect when you want to
remove the selection. Refer to Figure 2-17.
• Apply the mask: For normal layers this will apply the
mask to the current layer and remove the mask leaving
only the selection applied. This option is grayed out for
adjustment and fill layers as you want to keep the layer
mask applied. Refer to Figure 2-17.
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• Enable/disable the mask: Use this to toggle on and off
the visibility of the mask. Refer to Figure 2-17.
• Delete the mask: To remove the layer mask. Refer to

Figure 2-17.
Figure 2-17. Visually turn on and off the layer masks using the
Properties panel
Remember Knowing when you are on the adjustment layer or the

layer mask itself is important when you switch between layer options
using the Properties panel. Refer to Figure 2-18.
Figure 2-18. Properties panel set to Masks and a layer mask
We will look at another kind of mask in this section shortly. However,

when working in the Properties panel, the options in the lower area
change. Refer to Figure 2-19.
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Figure 2-19. Use the icons at the bottom of the Properties panel to
affect your adjustment layers
You can now do the following to affect the adjustment layer, looking
from left to right. Refer to Figure 2-19.
• Square and arrow icon: This adjustment affects the

layers below (click to clip the layer). This creates a
clipping mask, which we will look at next.
• Eye with arrow: Click to view the previous state of the

adjustment or use the \ key.
• Counterclockwise arrow: Reset the adjustment layer.
• Toggle the layer visibility with the eye.
• Delete the layer using the trash can icon rather than
using the Layers panel. Refer to Figure 2-19.
Clipping Masks
While working with normal layers or fill and adjustment layers, there are
times when you want to apply select adjustments from another layer to
just a layer below. In the case of fill layers such as a gradient and a solid
color fill, rather than the gradient covering the whole image, you can Alt/
Option + click between two layers to create or remove a clipping mask. The
clipping mask has blended the two fill layers together and does not block
the mask of the color fill. Refer to Figure 2-20.
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Figure 2-20. Add a clipping mask to your current layer or

adjustment layer
However, with normal and adjustments layers, you can use the
Properties panel. In the Layers panel just select the adjustment layer above
the layer you want it to clip to, and from the Properties panel, choose the
square and arrow button: “This adjustment clips to the layer.” The icon will
then change on the layer and in the Properties panel, and now only those
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adjustment settings will be applied to that layer and not others below it,
until you unclip it. Refer to Figure 2-21.
Figure 2-21. Adding a clipping mask to an image to affect color for

that layer
You can do this for multiple normal layers or, in this case, adjustment
layers when you need them to be grouped as part of the clipping mask and
you only want those layers to affect the current layer and not others below.
In this example we can see how two adjustment layers could be clipped to
the above image (Layer 2) but not affect Layer 0 (background layer). This
is how a clipping mask can be used to control color adjustments. The layer
that is affected by the clipping mask has an underline on the name. Refer
to Figure 2-22.
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Figure 2-22. Use the Layers panel to add a clipping mask
To review this you can view my file tower_clipping mask_final.psd or

practice on your own file and experiment with layer order of clipping masks.
pplying an Additional Vector Mask

A
with the Properties Panel
Another additional mask that can be applied from the Properties panel to
normal layers as well as adjustment layers is the vector mask.
This is more of a clean-edged shape mask, but it still can have
feathering and density applied and is good for creating custom geometric
framing. If you have already created and saved a selection in your
Channels panel, then you can quickly create a vector mask with minimal
editing. Refer to the unicorn example we looked at in Volume 1, Chapter 7,
which, after being made, was saved through the main menu Select ➤ Save
Selection. I have saved a copy of it here in the file Unicorn_Vector_Mask.
psd, which you can refer to.
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From your Channels panel begin by loading the selection and then
make sure that your RGB composite layer is selected and the visibility eye
of “unicorn object selection” is turned off. Refer to Figure 2-23.
Figure 2-23. Load a channel as a selection and then make sure you
are on the RGB composite in the Channels panel
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Then go to the Paths panel and click the lower icon “Make work path
from selection.” Refer to Figure 2-24.
Figure 2-24. Use the Paths panel to make a work path from the
selection
This adds a temporary work path to the Paths panel where you can
then double-click the name and rename the path and view it around the
unicorn. This makes the path permanent in the panel. However, it is not a
vector mask yet. Refer to Figure 2-25.
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Figure 2-25. Rename the path to save it in the file
Now, while the layer is selected in the Layers panel, if a layer mask was
already present, you could then click again the mask icon to add the vector
mask. You would now have two masks on your layer, but in this case, you
only need one. To avoid adding the layer mask, this time when you click
the mask button in the Layers panel, hold down the Ctrl/CMD key and
click. Refer to Figure 2-26.
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Figure 2-26. Load the current path as a vector mask
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In the Properties panel, you would now have a vector mask selected.
As with layer masks, you can apply Density (0–100%) and Feather settings
(0–1000 px). However, you cannot invert the mask or access anything in the
Refine settings. Refer to Figure 2-27.
Figure 2-27. Use the Properties panel to alter your vector mask
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Pen Tool and Related Editing and Selection Tools
To create and add this type of mask from scratch, you need to have a bit of
knowledge of how to use the Pen Tool in conjunction with the Paths panel
and the Path Selection Tool and Direct Selection Tool, before creating a
custom vector mask. Refer to Figure 2-28.
Figure 2-28. Pen Tool and selection tools used to alter paths and
anchor points
While I will not go into all the features of working with the Pen Tool and
its related tools (Add Anchor Point, Delete Anchor Point, and Convert Point
Tools), I have provided a link at the end of this section should you want to
explore this area on your own. For reference to these tools, refer to Figure 2-28.
I will just give a few tips on how to create simple, smooth, straight
and curved vector paths that will appear as work paths in the Paths panel
(Figure 2-24). Then while a path is selected, you can then easily add a
vector mask by either clicking Ctrl/CMD on the mask icon in the Layers
panel or using the Properties panel to add your vector mask to a normal or
adjustment layer that may or may not already have a layer mask applied.
Pen Tool Tips

When using the Pen Tool to create a basic mask, follow these next steps. If
you need more details on working with the Pen Tool for other projects, you
can refer to my book mentioned in the introduction about selections or
refer to the link provided at the end of these steps.
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To begin, refer to the Options bar panel for the Pen Tool, not for the
other sub-tools as there are no additional settings for them in the Options
bar panel. Refer to Figure 2-29.
Figure 2-29. Use the Pen Tool and Options bar panel to set the Pen to
a Path mode
In this example, I will just show you how to create a simple shaped
path. Let’s just make a path of the area of the garden framed by the pillars.
You can use a copy of my file Garden_Vector_Path.psd to practice. Begin
by selecting the Pen Tool and then look at the Options bar panel. Refer to
Figure 2-29 and Figure 2-30.
Figure 2-30. You can draw a path and create a framed selection for a
vector path
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In your Options bar panel, make sure that your Pen Tool mode is set to
Path as you will first be creating a path in the Paths panel. It should not be
set to Shape or Pixels. Refer to Figure 2-31.
Figure 2-31. Pen Tool Options bar panel set to Path mode
The path is not actually visible if printed, just a guide on the screen
and is in many ways like when we used the Magnetic Lasso Tool and the
Polygonal Lasso Tool in Volume 1, Chapter 6. However, this time, rather
than letting the path drag out or just clicking straight angles, you will click
out your own set of anchor points where required and be able to accurately
curve them at the same time. Refer to Figure 2-32.
Figure 2-32. Use the Pen Tool to click out a path
To draw a straight line, click out the points. Note that in the Options bar
panel I have Path Operations set to “Exclude Overlapping Shapes” so that I
create a distinct mask area and still have gaps, if required, as seen between
the legs of the unicorn. Refer to Figure 2-33.
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Figure 2-33. Pen Options bar panel settings should be set to Path
Operations ➤ Exclude Overlapping Shapes
Use the Shift key as you click if you want 45° and 90° angles. If the
ground is a bit uneven, then just click without holding the Shift key, and
you can, after you finish the path, use the Direct Selection Tool to adjust an
anchor point, which I will mention later.
For a curved line, click and then, at the next point, click and drag.
Using this technique you can create a curved shape. Dragging in this case
to the right causes the curve to bend the left. Refer to Figure 2-34.
Figure 2-34. Use the Pen Tool to add a curve to the path
To make the next line in the path straight, you can Alt/Option + click
a point again (point 3). Then click to make a point 4 to make the next line
straight. Refer to Figure 2-35.
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Figure 2-35. Use the Pen Tool to add change from a curve to a
straight line
Continue to create the path using these tips as a guide. Here I have
created a basic path for my vector shape, which you can review later in the
file Garden_Vector_Path_final.psd.
As you work, make sure to use the Ctrl/CMD + + to zoom in and your
Hand tool (spacebar) so you do not disrupt the path as you work. Refer to
Figure 2-36.
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Figure 2-36. Use the Pen Tool to make a complete path
To close the path, in this case on the lower left, as you saw with the
Magnetic Lasso in Volume 1, when you reach the beginning anchor point 1,
your cursor will appear with an “O” by the pen. You can click it to close the
path. In this case I need to click and drag downward to finish the last curve
and have the anchor point’s handle appear upward. Refer to Figure 2-37.
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Figure 2-37. Use the Pen Tool to close the path
The path is now seen as a work path in the Paths panel. As mentioned
earlier you can double-click the name and rename in the dialog box and
Click OK so that, like a selection, it is saved and does not get removed by
mistake. Refer to Figure 2-38.
Figure 2-38. Save the path in the Paths panel

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If you need to edit the path before you make your final vector mask,
you can either use the Add Anchor Point Tool or Delete Anchor Point Tool,
or while using the Pen Tool, make sure that the option Auto Add/Delete is
enabled in its Options bar panel. Refer to Figure 2-39.
Figure 2-39. Use the Pen Tool or its related Add and Delete Anchor
Point Tools to edit the path or enable the setting in the Options
bar panel
Then click somewhere on a path when you want to add a point or click
a point when you want to delete it. Use Ctrl/CMD + Z or your History panel
if you need to undo a step. Refer to Figure 2-40.
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Figure 2-40. Add or remove points to or from the path using the
Pen Tool
An anchor point can be altered from corner to curved afterward

by clicking and dragging on it with the Convert Point Tool. Refer to
Figure 2-41.
Figure 2-41. Use the Convert Point Tool to edit paths and points
Click and drag to create a curved point or click to create a corner point.
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Figure 2-42. Use the Convert Point Tool to edit paths and points and
make them curved or straight
To create a combination just click and drag to create the curve and
then click one of the anchor point’s handles and drag it in a new direction.
Figure 2-43. Use the Convert Point Tool to edit points adjusting
separate handles
While working, if your path becomes deselected before you create

your vector mask, you can reselect it with the Path Selection Tool or use
the Direct Selection Tool to select and move individual anchor points and
adjust their handles to correct a curve. You can also select parts of the path
with the Direct Selection Tool and drag on it as well. Refer to Figure 2-44.
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Figure 2-44. Use the Path Selection Tool to move or select the whole
path or Direct Selection Tool to edit an anchor point
While your entire path is selected, you have two choices. First, you can
use the Paths panel to load the path as a selection. This is good if you want
to create a layer mask if you click the Add layer mask button right away.
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Figure 2-45. Use the path to create a selection for a layer mask
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Or second, while the path is selected, you can Ctrl/CMD + click the
mask icon in the Layers panel to add a vector mask. Refer to Figures 2-46
and 2-47.
Figure 2-46. Select the path in the Path panel to create a selection for
a vector mask
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Figure 2-47. Use the path to create a selection for a vector mask and
apply it to the layer
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Once you apply your vector mask to your layer, you can continue to
edit it with the Path Selection or Direct Selection Tool and related pen
tools to apply additional refinement. Likewise, you can use the Properties
panel’s feathering setting. Refer back to Figures 2-27 and 2-28.
If you ever need to invert a vector mask, since you cannot do it directly
with the Properties panel, I recommend loading the selection from the
Paths panel as you would for a layer mask. From the Select menu choose
Inverse (Shift + Ctrl/CMD + I). Then in the Paths panel, choose “Make
work path from selection.” Refer to Figure 2-48.
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Figure 2-48. Use the Paths panel and Select menu to assist in
inverting a selection
After you rename the path, you could then select a layer and Ctrl/
CMD + click the Layers panel mask button, while a layer or adjustment
layer is selected, to create an inverse vector path. Refer to Figure 2-49.
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Figure 2-49. Inverse vector paths can be used for framing an area
This is a good option for creating a framing effect of another image that
you could place behind this layer.
Refer to the following link if you need more details on how to use the
Pen Tool and other advanced related pen tools (Freeform pen, Content-
Aware Tracing and Curvature Pen) in the set for your own personal
projects:
https://helpx.adobe.com/photoshop/using/drawing-pen-
tools.html
Multiple Masks
Generally, when I add a mask for digital repair, I will usually just use a layer
mask as they are easier to edit and blend with a brush or eraser if you are
not yet comfortable with a pen. As was mentioned, you can add both layer
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masks and vector masks separately, which is what I recommend. However,
both can be added to the same layer. Refer to Figure 2-50.
Figure 2-50. Layers can have a combination of layer and

vector masks
If you add one of them by mistake and need to remove it, remember
you can easily remove one or the other by dragging that mask to the
trash icon in the Layers panel. Click Delete in the alert message. Refer to
Figure 2-51.
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Figure 2-51. Use the Layers panel to remove a layer or vector mask
when you do not require it and use the alert message to delete without
applying it
The layer mask appears as black-and-white, while the vector mask

appears gray and white. If you are having difficulty knowing which is a
layer or vector, you can use your Layers panel and from the menu’s panel
options (Layers Panel Options) enable the Show layer mask badges setting.
In this book I left this option unchecked/disabled so that you can see the
mask clearly. Refer to Figure 2-52.
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Figure 2-52. Add badges to your masks when you have difficulty
identifying them
Note Vector masks can be applied to fill layers, but they will turn
the fill thumbnail into a shape layer. Shape layers and shape tools
are not a topic of this book and will not be discussed, but they can be
used to create vector masks.
Refer to this link should you need more details on shape
creation: https://helpx.adobe.com/photoshop/using/
drawing-shapes.html
For the rest of the book, we will continue to use layer masks and
clipping masks.
File ➤ Save any open files you may have at this point.
orking in Combination: Layer Blending

W
Modes and Adjustment Layers
Whether talking about normal layers or adjustment layers, we need to also
consider blending modes, which can also be used to alter the overall color
of the image or the masked area. While a normal layer or adjustment layer
is selected, you can change its blending mode by selecting that option from
the list in the Layers panel. Refer to Figure 2-53.
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Figure 2-53. Apply blending modes to a layer
The blending mode (blend color) chosen will alter the colors of the
underlying (base) layer in a variety of ways, creating a resultant color.
Different color combinations create different blends. For example, a part
of an ancient grinding stone wheel image (blending_mode_examples.
psd) has been color corrected, and then I’ve applied a Hue/Saturation
adjustment layer with the following settings in the Properties panel –
Hue: 22, Saturation: 25, Lightness: 0, and then set to Colorize. Refer to
Figure 2-54.
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Figure 2-54. The image before adjustment and then I add an

adjustment layer to an image with settings in the Properties panel
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By default, this Hue/Saturation adjustment layer is set to Normal. Refer
to Figure 2-55.
Figure 2-55. The adjustment layer is applied with a blending mode

of Normal
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However, if I use different blending mode options, it will change:
Dissolve, Darken, Multiply, Color Burn, Linear Burn, and Darker Color.
Except for Dissolve these blends will darken the colors in the image. Refer
to Figure 2-56.
Dissolve Darken
Multiply Color Burn
Linear Burn Darker Color
Figure 2-56. Blending modes altering the color of the adjustment

layer above the image: Dissolve, Darken, Multiply, Color Burn, Linear
Burn, and Darker Color
Lighten, Screen, Color Dodge, Linear Dodge (Add), and Lighter Color:
These blends will lighten the colors in the image. Refer to Figure 2-57.
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Lighten Screen
Color Dodge Linear Dodge(Add)
Lighter Color

layer above the image: Lighten, Screen, Color Dodge, Linear Dodge
(Add), and Lighter Color
Overlay, Soft Light, Hard Light, Vivid Light, Linear Light, Pin Light,
Hard Mix, Difference, Exclusion, Subtract, and Divide: Some of these
blends will darken some of the colors in the image and others lighten, and
at least four cause a type of colorful inverted effect that is hard to view.
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Overlay Soft Light
Hard Light Vivid Light
Linear Light Pin Light
Hard Mix

layer above the image: Overlay, Soft Light, Hard Light, Vivid Light,
Linear Light, Pin Light, and Hard Mix
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Difference Exclusion
Subtract Divide

layer above the image: Difference, Exclusion, Subtract, and Divide
Hue, Saturation, Color, and Luminosity: These blends will alter the
colors, hue, saturation, or luminosity in the image. Refer to Figure 2-60.
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Hue Saturation
Color Luminosity

layer above the image: Hue, Saturation, Color, and Luminosity
When we use these blending modes in combination with fill and

adjustment layers, you can see how a variety of color-improving or artistic
blends can take place over the background image. Some of these color
shifts would be difficult to make quickly by just adjusting the sliders in
Hue/Saturation alone. Scrolling though the blending mode options while
a layer is selected using the up and down arrow keys can often be best to
find a specific blend. And as mentioned each image may require a different
blend depending on the colors within the image. Try different blending
modes now on one of your own images to compare the similarities and
differences to the example presented here.
If you need to know more about a specific blend and its meaning with
further examples, you can refer to the following link.
https://helpx.adobe.com/photoshop/using/blending-modes.html
By using blending modes and solid fill, you could do such things as
enhance a human’s or animal’s eye color. See file cat_eyes.psd. Refer to
Figure 2-61.
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Figure 2-61. Use blending modes to alter the color of the underlying
image when applied to a fill layer
In this case a blending mode of Hue was added to the Color Fill (R:
158, G: 218, B: 252) layer to enhance the cat’s eyes, which under the house
lighting were not turning up as blue as they should be.
Blending modes can also be applied to paintbrush mode effects in the
Brush tool, Pencil tool, and some healing brushes, including the Clone
Stamp tool, as you saw in Volume 1 in Chapters 3 and 4 in the Options bar
panel. Refer to Figure 2-62.
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Figure 2-62. The Brush tool, Pencil tool, and Clone Stamp tool can
all have blending mode options for painting
The brushes will often come with additional blending modes, like
Behind and Clear, specifically for painting on the background image.
Painting on a normal blank layer in a painting effect blend mode other
than Normal will have little effect on those brush strokes until you switch
to another painting effect mode or another color. The change is only
apparent when there is a buildup of colorful overlapping pixels on the
originally blank layer. Refer to Figure 2-63.
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Figure 2-63. Painting with blending modes only affects areas with
pixels on the current layer
In no way does this affect the actual layer’s blending mode, which can
remain at Normal while painting.
However, using the brushes in this manner does not enhance the
overall color correction, as I would wish, so this is why I generally leave my
brush’s painting mode at Normal and rely on a combination of adjustment
layers and layer blending modes.
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When you want to add the effect overall to several brush stokes that
you applied on a blank layer for the purpose of colorizing an image, like
what we were doing in Chapter 1 with the castle_solid_fill_final.psd, first
paint in Normal mode on the new layer. Then select that layer and change
the blending mode for that layer. For example, change to Multiply, as I did
for the green tree on the left of the image, to complete my painting of some
of the leaves in green. Refer to Figure 2-64.
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Figure 2-64. When you want to paint on a layer and alter the color
overall, then you need to add a blending mode to the layer
This may be a better option for your work, and in some instances, you
may prefer doing this rather than using multiple adjustment layers that
may increase the file size. Blending modes like Darken, Multiply, Linear
Burn, Darker Color, Hard Light, Linear Light, and Pin Light may all be good
blends while retaining the color that you painted with but still showing
some of the underlying details.
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In other situations, as you saw with the Adjustments presets from the
Adjustments panel, you may want to keep multiple adjustment layers
stored in a group folder. To that folder you may prefer to use a specific
blending mode to affect all layers below, which are inside or outside of the
folder. In this case a blend mode of Pass Through is used. Group folders
can also have a layer and vector mask applied. See the file forest_blend.
psd. Refer to Figure 2-65.
Figure 2-65. Blending modes can be added to group folders to affect

layers inside or outside of the group folder
Keep in mind that layer order of the adjustment layers within the folder
can affect the final color correction outcome.
Opacity, Fill, and Layer Styles

When working with normal, fill, and adjustment layers with blending
modes, you can also adjust the opacity of each layer, and sometimes this
can also improve the color correction, making an adjustment layer effect
less intense or more transparent and closer to the pre–color corrected file.
Refer to file forest_blend_options.psd. Refer to Figure 2-66.
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Figure 2-66. Alter the opacity of an adjustment layer to make the

effect less intense
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However, you may notice another type of opacity setting in the Layers
panel just below called Fill. Fill (0–100%) and Opacity seem to work the
same way, causing the pixels to disappear on the layer if we reduce either
of them. So which is correct to use? Refer to Figure 2-67.
Figure 2-67. The Layers panel has two kinds of transparenty options
for layer: Opacity and Fill
Fill is often used in conjunction with another option in the Layers

panel called layer styles. These are applied directly to the normal layer (like
Layer 0 or a copy of the layer) itself. The layer style effect is more visible
when the layer mask has been altered either with the Eraser tool or a
selection like the Rectangular Marquee Tool. Here we can see an example
of an altered mask over a white fill layer. Two layer style effects have been
applied: one is Drop Shadow and the other is Stroke to make the image
stand out. Refer to Figure 2-68.
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Figure 2-68. Layer style options including Blending Options can be

found in the Layers panel layer style list
In this example both the opacity and fill are at 100%. However, first, I
will reduce the opacity to 27%, return to 100%, and then set the fill to 27%
to show you the difference between them. Refer to Figure 2-69.
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Figure 2-69. Use Opacity or Fill to affect the layer and its layer style
It should be noted that Opacity will affect everything on the layer

including the layer style. However, Fill will affect only the pixels, but the
layer style effect will remain unaffected.
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Layer Style Blending Options
When you want to affect your blend options in advanced ways on a normal
or even a fill or adjustment layer, you would, from the layer style list,
choose Blending Options. This will open the Layer Style dialog box to that
tab. Make sure to keep Preview selected so you can observe updates on the
duplicate image of forest_blend_options.psd. Refer to Figure 2-70.
Figure 2-70. Layer Style dialog box for Blending Options
I will now just give a quick review of the Blending Options tab and what
it includes.
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Blending Options in the Layer Style Dialog Box
General blending with the blend mode and opacity is what you have been
doing in this chapter and Chapter 1. If you have at some point altered the
blend mode or opacity for a layer in the Layers panel, it will show that
same change here. Refer to Figure 2-71.
Figure 2-71. Layer Style dialog box for Blending Options, General
Blending
Advanced blending is where you use Fill Opacity (interior opacity)

rather than Opacity to fade the pixels but not affect the layer style. From
here you can also affect individual RGB channels you want to blend on the
layer by turning them off or on. By default, they should all be on. Knockout
lets you set the interior transparency to None, Shallow (Group), or Deep
(Background); by default it is set to None. Refer to Figure 2-72.
Figure 2-72. Layer Style dialog box for Blending Options, Advanced
Blending
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Other options include
• Blend Interior Effects as Group (disabled): If enabled,

applies the blending mode of the layer to the layer
effects that modify opaque pixels, such as Inner Glow,
Satin, Color Overlay, and Gradient Overlay, before
affecting the rest of the document. When enabled, this
is more apparent when you reduce the fill opacity and
have one of the mentioned styles applied.
• Blend Clipped Layers as Group (enabled): Applies the

blending mode of the base layer to all layers within the
clipping mask group. Deselecting this option, which
is enabled by default, then maintains the original
blending mode and appearance of each layer in the
clipping group.
• Transparency Shapes Layer (enabled): Uses the layer

transparency to determine the shape of the interior and
the effects. This will restrict layer effects and knockouts
to opaque areas of the layer.
• Layer Mask Hides Effects (disabled): If enabled this

would use the layer mask to hide the effects rather than
shaping the layer and effects. Refer to Figure 2-72.
• Vector Mask Hides Effects (disabled): If enabled this

would use the vector mask to hide the effects rather
than shaping the layer and effects.
You can then set Blend If to Gray, Red, Green, or Blue. By default, it is
set to Gray so that you can specify a blending range for all channels. Use
Red, Green, or Blue if you want to blend for that specific channel. Refer to
Figure 2-73.
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Figure 2-73. Layer Style Dialog box for Blending Options for Blend If:
Gray and Red
Use the black and white sliders that range from 0 to 255, to either
affect the brightness range of the blended pixels for either the current or
underlying layer. Moving the sliders can cause certain details on the layer
to disappear and show the underlying layer. Refer to Figure 2-74.
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Figure 2-74. Layer Style dialog box for Blending Options for Blend If:
Gray and the result of altering current layer sliders
Hold down the Alt/Option key on one or both sliders separately to

split it and increase the blend. The farther apart the blend when split, the
smoother the transition will appear. This creates almost a winter day effect
in the scene where the sun is melting the snow. Refer to Figure 2-75.
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Figure 2-75. Layer Style dialog box for Blending Options for Blend If:
Gray and the result of altering current layer sliders and splitting them
You can then, on the left of the Blending Options tab, choose various
effects such as Bevel & Emboss with Contour and Texture, Stroke, Inner
Shadow, Inner Glow, Satin, Color Overlay, Gradient Overlay, Pattern
Overlay, Outer Glow, and Drop Shadow. Selecting an effect allows you to
review it, edit it, and click OK to add it to your effects applied to a layer.
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Figure 2-76. Layer Style dialog box displaying various effects applied
while on the Blending Options tab and their appearance in the
Layers panel
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A small double-square icon will appear next to the fx icon when
blending modes have been altered. You can double-click this icon or the fx
icon at any time if you need to enter the dialog box again.
Can Layer Styles Be Used to Improve My Photos?

While I consider the layer styles more for adding artistic effects, there
are two layer styles that I like to use when creating images for a digital
scrapbook page or PowerPoint presentation: Drop Shadow and Stroke.
This makes the photo appear as though it is lying on a surface. I will
generally apply this to the masked image as you saw in the earlier example.
The selection on the mask can be rectangular or any shape you prefer.
For a Drop Shadow effect, you may want to experiment with the
placement of the shadow. While that layer style is selected in the dialog
box, you can drag on the shadow to position it where you want to and then
use the settings to alter it to suit your needs. Refer to Figure 2-77.
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Figure 2-77. Layer Style dialog box for the Drop Shadow style and
Move tool to adjust the shadow on the canvas
Settings that I like to alter under Structure are Opacity, Angle, Distance,
Spread, and Size. Generally, I will not alter Blend Mode or the Quality
settings for contour and noise.
For Stroke, you may want to use a thin or thick stroke and alter
Structure’s Size, Position, Blend Mode, or Opacity as well as Fill Type’s
color settings. This is useful if the image has white in some areas near the
edge so that it appears rectangular and uniform. Refer to Figure 2-78.
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Figure 2-78. Layer Style dialog box for the Stroke style
Tip If by accident you click the Make Default button rather than
the Reset to Default button if you need to reset your style, you can
reset to the factory default only by, for example, on Windows, going
to Edit ➤ Preferences ➤ General and choosing the button Reset
Preferences on Quit. But be aware that this may alter some other
saved preferences within Photoshop, so you may want to back up any
of those settings first. Review this link first if this is something you
need to do:
preferences.html
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Otherwise, you may just want to create some defaults of your own and
make them the new default settings. Whatever settings you choose will be
confirmed for that layer when you click OK to exit.
While I will not be going into detail on all layer style options, you can
refer to the following links for more details:
https://helpx.adobe.com/photoshop/using/layer-opacity-
blending.html
https://helpx.adobe.com/photoshop/using/layer-effects-
styles.html
Additional created layer styles are stored in the Window ➤ Styles
library. Refer to Figure 2-79.
Figure 2-79. Styles panel for storing and locating styles
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Note As mentioned, it is possible to apply a layer style to a fill

or adjustment layer. However, for digital photo repair, I do not
recommend this as it will not improve the look of the image and
some settings may not be obvious unless you paint on the layer
mask. I only recommend experimenting with the blending options for
adjustment layers.
File ➤ Save any open files at this point.
sing Smart Filters to Make Certain Color

U
Adjustments Nondestructive
Unfortunately, as you saw in Chapter 1, not all adjustment options in
the Image ➤ Adjustments menu list are available for adjustment layers.
However, there is another way around this, for a certain adjustment
command. I will present this as a third option, turning a layer or layers into
a single smart object layer using the Layers panel menu, as seen in Volume
1 and as we will review now here. Refer to Figure 2-80.
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Figure 2-80. The sunset image can benefit from an adjustment of

Shadows/Highlights
In this example I used my file, from Chapter 1, that I applied Selective

Color to. I Shift + clicked these layers and dragged them onto the Create
a new layer button to create a copy and, while they were selected from
the Layers menu, chose “Convert to Smart Object.” Refer to file sunset_
selective_highlight_shadow.psd. Refer to Figure 2-81.
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Figure 2-81. Duplicate selected layers and use the Layers panel
menu to convert to a smart object
This will allow you to access smart filters, which use the same options
found in the Image ➤ Adjustments menu in a nondestructive way, this
time with a smart filter mask. Refer to Figure 2-82.
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Figure 2-82. Smart object layers can have multiple adjustments

applied to a single smart filter mask
This allows you to have multiple adjustments that are applied to the
same mask rather than having to duplicate the mask each time. You don’t
have to update the layer mask on each adjustment layer.
This time, rather than using the Properties panel, you will double-click
the adjustment word such as Levels in the Layers panel if you need to
access the dialog box, to enter the new values. Refer to Figure 2-83.
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Figure 2-83. The corresponding adjustment dialog box will open

when you double click it in the smart object layer adjustment
You can, however, still use adjustment layers above a smart object layer
if you need every layer mask to be slightly different. Refer to Figure 2-84.
Figure 2-84. Add additional adjustments above the smart object

layer or drag an adjustment to the trash can icon to remove it
If you do not want any of these adjustments, you can drag them to the
trash can icon to remove them.
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Shadows/Highlights
The other reason that I present this option is that one of the commands,
Shadows/Highlights, in the Adjustments menu is not available as a
nondestructive adjustment layer. Using this smart object layer, you now
have editing access and can adjust any time when you double-click the
name. Refer to Figure 2-85.
Figure 2-85. Apply the adjustment of Shadows/Highlights to the

smart object layer
Shadows/Highlights is a good command for correcting photos with

silhouetted images due to strong backlight or being underexposed. It
can also be used for correcting scenes with items that have been slightly
washed out or overexposed. This could be because they were too close to
the camera's flash or it was a very bright day. Images that are well lit but
still have shadows can also benefit. This command does not do an overall
lightening or darkening but rather focuses on the values of surrounding
pixels in both the shadows or highlights. As you will see in the dialog box,
shadows and highlights are controlled separately, thus providing separate
correction, which in some situation is better than just using Levels or
Curves. The default settings are meant to correct backlighting issues. Refer
to Figure 2-86.
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Figure 2-86. Shadows/Highlights dialog box
The settings in the dialog box are described in the following.
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Shadows
Amount (0–100%): Sets the amount of lighting correction. Larger values
may provide lightening shadows. In my case I did not want to set beyond
35% as the shadows then became too light and contrast became lost.
Tone (0–100%): Controls the tonal width or range of tones. 0% is
considered narrow, restricting you to darker shadow regions, while
increasing up to 100% is broad, increasing the range into the midtones,
which will become partially affected but not the highlights. By default, it is
set to 50%.
Adobe recommends that you experiment with settings in the 0–25%
range in both Amount and Tone if the image is otherwise exposed
correctly.
Radius (0–2500 px): Enter a radius value to set scale size for corrections
or area of localized pixels around what is considered the shadow area.
Moving the slider to the left decreases and to the right increases. I left it at a
setting of 30 px. Refer to Figure 2-87.
Figure 2-87. Shadows/Highlights dialog box, Shadows sliders
Highlights
Amount (0–100%): Sets the amount of lighting correction. Larger values
may provide darkening of highlights, which will become partially affected,
but not the shadows. I left the setting at 0% as I did not want to darken the
current highlights.
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Tone (0–100%): Controls the tonal width or range of tones. 0% is
considered narrow, restricting you to lighter highlight regions, while
increasing up to 100% is broad, increasing the range into the midtones. By
default, it is set to 50%.
Radius (0–2500 px): Enter a radius value to set scale size for corrections
or area of localized pixels around what is considered the highlight area.
Moving the slider to the left decreases and to the right increases. I left it at a
setting of 30 px. Refer to Figure 2-88.
Figure 2-88. Shadows/Highlights dialog box, Highlights sliders
Adjustments
Color (–100, 0, +100): Adjusts the color saturation in changed portions
of the image. However, if the image is a grayscale image, then this slider
setting is known as Brightness. A setting to the left darkens while a setting
to the right brightens the image. By default, it is set to +20.
Midtone (–100, 0, +100): Adjusts the midtone contrast. Moving the
slider left will reduce and right will increase contrast. Increasing midtone
contrast will create greater contrast in the midtones, while darkening the
shadows and lightening the highlights. By default, it is set to 0.
Black Clip and White Clip (0–50%): Enter the values for fraction of
whites and blacks to be clipped to the new extreme shadow (black) or
highlight (white) colors. Higher values will produce an image with greater
contrast. Do not increase clipping values too high, as mentioned when
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discussing Levels in Chapter 1, as this can reduce detail in the shadows or
highlights. Once the intensity values are clipped and rendered, they are
considered pure black or pure white. The default for each is 0.01%. Refer to
Figure 2-89.
Figure 2-89. Shadows/Highlights dialog box, Adjustments sliders

and Load, Save, and Preview options
There are also several check boxes and buttons:

Save Defaults: When you want to save the current settings as the new
default. Press the Shift key on this button if you need to reset to the factory
default.
Check Show More Options if you are not seeing all the available
settings.
Additional buttons on the right let you load and save Shadows/
Highlights presets as (.SHH) files. Make sure that the Preview check box is
enabled so you can see the preview.
Click OK to commit or Cancel if you need to exit without making
changes. Hold down the Alt/Option key if you need to change the Cancel
button to a Reset button as you work. Refer to Figure 2-89.
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As you experiment in the dialog box, be aware of the following:
• As you adjust the amounts and various sliders for

shadows and highlights, avoid crossing over the setting
and suddenly making the shadows too dark so they
appear unnatural.
• Be aware that your tonal width will vary from image

to image. Too large a tone value may introduce halos
around dark or light edges. Keeping at lower or default
settings will attempt to reduce these artifacts. Halos can
also occur when the Shadows or Highlights Amount
values are set too high.
• Try moving the tonal slider in the shadows to affect

the shadows and midtones when trying to darken or
lighten these areas. You may need to go back and adjust
the Amount sliders in both areas.
• The exact setting for Radius can also vary in each

image. A large radius may brighten or darken the whole
image when what you really want to affect is only the
subject of interest. Adjust the Radius settings in the
shadows and highlights to obtain the best balance
between subject contrast and differential brightening
(or darkening) of the subject and then compare this
to the appearance of background. However, be aware
that too high an adjustment may reduce the contrast in
some images.
Tip Use your Histogram panel with this tool if you need to observe
changes.
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In the case of the following image, using Shadows/Highlights did
greatly help brighten many of the shadow areas overall. However, the
original print suffered with some graininess and noise because the image
was shot in low–light level conditions. Refer to Figure 2-90.
Figure 2-90. The result of adding the Shadows/Highlights

adjustments
Using filters on our smart object, we can minimize some of the noise as
we will see in Chapter 3.
Remember that at any time you can double-click the adjustment name
to enter the dialog box. Refer to Figure 2-91.
Figure 2-91. Smart object layers can also be used with other filters
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Additional details about the Shadows/Highlights command can be
found here:
https://helpx.adobe.com/photoshop/using/adjust-shadow-
highlight-detail.html
Smart Filter Blending Options

The smart adjustment filter also has a separate setting on its right side
that you can double-click to set its blending options Mode and Opacity
(0–100%). You could use this if you needed to alter or reduce the
adjustment slightly. Refer to the section “Working in Combination: Layer
Blending Modes and Adjustment Layers” earlier in this chapter if you need
to review. Refer to Figure 2-92.
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Figure 2-92. Each adjustment in the smart object layer has its own
blending options in the Properties panel
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The smart filter mask can also be accessed by the Properties panel
while working with the other two mentioned masks (layer and vector). It
too has property options of Density, Feather, and Invert, which like the
layer mask can be edited with the Brush or Eraser tool. Refer to Figure 2-92.
We will look at smart filters again in Chapters 3, 4, and 5, which will
include a filter that similarly deals with color, known as Camera Raw.
Shadows/Highlights can work for a variety of outdoor images, so I
recommend you practice on a few of your own. Refer to files sunset_
selective_highlight_shadow_final.psd and glacier.psd where I used the
exact same settings. Refer to Figure 2-93.
Figure 2-93. Outdoor images with extreme lighting are great for
using Shadows/Highlights adjustments
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Advanced Adjustment Settings
While we have looked at many of the image adjustment settings in the
previous chapter as they relate to adjustment layers and smart objects in
this chapter, I just want to mention a few additional color adjustments that,
though more advanced and could be destructive, you should be aware of
as they may assist you in completing your particular project. We will look
at these options next and then finish the chapter with a photo project that
uses some of the settings that were discussed in Chapter 1 and this chapter.
Auto Correction
In the Image menu itself are several quick auto steps that you can use
if you feel confident that one could color correct your image. Refer to
Figure 2-94.
Figure 2-94. Image menu Auto Color option
They are Auto Tone, Auto Contrast, and Auto Color. You can apply
these directly to a layer. However, keep in mind that unlike the adjustment
layers mentioned in Chapter 1, there are no additional dialog boxes or
instructions, so you cannot alter these settings once they are made. You
can only use the History panel to undo your most recent steps.
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I also do not recommend using these settings with smart object layers.
While they do work, if you do click one, in the adjustment filters the setting
does not hold and automatically resets itself, as it is not a true filter effect.
For more accurate settings, it is better to just access more options
by Alt/Option + clicking the Auto button in either your Levels or Curves
dialog box. Refer to Figure 2-95.
Figure 2-95. Properties panel for adjustment Levels and the Auto
Color Correction Options dialog box
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However, these current default settings are globally applied to the auto
correction commands. To review some of those details, you can refer to
Chapter 1 or refer to this link:
https://helpx.adobe.com/photoshop/using/making-quick-tonal-
adjustments.html
Equalize and Desaturate

In the Image ➤ Adjustments menu are two other destructive commands
that you can use to quickly adjust your image. I will just mention them
here and give some alternative suggestions so you can operate in a less
destructive way. Let’s look at Equalize and Desaturate.
Equalize: Has no dialog box or additional instructions unless you have
created a selection on the background layer first. If no selection is created,
it will automatically equalize the entire image. With a selection you can
choose to “Equalize selected area only” or “Equalize entire image based on
the selected area,” which could affect the pixels outside the selection. Refer
to Figure 2-96.
Figure 2-96. Equalize dialog box with Options settings
Equalize is meant to balance and redistribute the brightness values of

the pixels in an image so that they more evenly represent the entire range
of brightness levels. This is similar to what you would do with the Levels
adjustment layer with the eyedroppers where you want the brightest
value to represent white (highlight) and the darkest value to represents
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black (shadow) and intermediate values (midtone) are evenly distributed
throughout the grayscale. However, the command can also brighten the
image too much.
Equalize could be used to correct a scanned image that for some
reason appears darker than the original and it requires balanced
lightening. You could use Equalize together with your Histogram panel
and markers, created with your Color Sampler Tool, to check before and
after brightness settings.
Adobe recommends, for similar settings that are nondestructive, to use
your adjustment layers or the Camera Raw Filter, which we will look at in
Chapter 4.
Desaturate: No dialog box or additional instructions. It just desaturates
the current layer of color to a grayscale. For a more accurate desaturation, I
recommend using the adjustment layer Hue/Saturation.
Refer to this link for more details:
Adjustments: Working with HDR Images

There are three other options/commands available in the Image ➤
Adjustments menu. I would recommend for these to always work with a
duplicate of a document image or a copy of the background layer, as these
are destructive.
HDR Toning
This command is specifically for High Dynamic Range (HDR) images.
Basically, you need to have three or more identical images taken of a scene,
with a tripod for stabilization and minimization of camera shake. They
each have slightly different exposure settings to more accurately define
light and dark regions, keeping your aperture setting constant.
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Photoshop has two options for working on these kinds of photos. The
first example found in the HDR_folder I will show does not require more
than one image, so you can test this on a scan you may already have on
hand if you do not have any HDR images. Use the beach example image_
HDR_before.psd. Refer to Figure 2-97.
Figure 2-97. An outdoor image of the beach to apply HDR Toning to
This option only works if you flatten the image first down to one layer.
The image will increase in size to a 32-bit HDR image while working in
the dialog box. Later, you will need to use the History panel if you need to
undo this step. Go to Image ➤ Adjustments ➤ HDR Toning. Click Yes on
the alert message if you have multiple layers to flatten them down to one
single layer. Refer to Figure 2-98.
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Figure 2-98. Alert message that may appear when an image has
more than one layer and the HDR Toning dialog box
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While I will not be going into all the advanced settings of this
dialog box, you can refer to the link at the end of this section for more
details on HDR.
I will just point out its purpose, which is to use for correction to make
your images High Dynamic Range–like. If you have several similar images,
you can refer to my second automated option to combine all images into
one image. In that example you will be merging them together to create
an HDR composite as a single layer. In this case we are just working with
one image, the background layer, but once the changes are made, they are
permanent. Refer to Figure 2-99.
Figure 2-99. Layers are flattened to a single layer after HDR Toning
This is why you are working on a duplicate of your file. In Chapter 1,

we talked briefly about the image adjustment layer Exposure, which is also
good for working with HDR and non-HDR images. Using this command
on single non-HDR digital images and scanned images may improve the
tonal range and details and give you more options than the adjustment
layer does.
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The dialog box has adjustments for the following.
Preset: This allows you to set a toning preset from the menu list. Note
that the gear menu to the right lets you load and save your preset as a 32-
bit toning option (.HDT) file. Refer to Figure 2-100.
Figure 2-100. HDR Toning dialog box, presets
The current default setting was not too bad and did add some tonal
range. Other presets like Saturated and Scott5 are interesting as well. Refer
to Figure 2-101.
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Default Saturated
Scott5
Figure 2-101. Different HDR Toning presets applied to the same

image change the color slightly or dramatically
For now, I will just work with the default setting.

Method: The options for the tone mapping method are Local Adaption,
Exposure and Gamma, Highlight Compression, and Equalized Histogram.
Currently I am set on Local Adaptation, which has the most options. The
method “Exposure and Gamma” only allows you to adjust such options.
“Highlight Compression” and “Equalized Histogram” have no options as
they are automatic. Refer to Figure 2-102.
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Figure 2-102. HDR Toning dialog box, Method options
Continue to look at the Local Adaption settings as these are used

to alter HDR tonality by adjusting local brightness regions throughout
the image.
Edge Glow
Radius (1–500 px): Controls the size of the glow effect or brightness
regions. The current setting is 79 px. A higher setting makes the
images darker.
Strength (0.1–4): Controls the contrast of the glow effect or calculates
the distance of two pixels’ tonal values before they’re no longer part of the
same brightness region. The current setting is 0.52. A higher setting adds
more shadow or glow back into the image depending on the lighting.
Smooth Edges: Enable this check box to provide edge preserving
smoothing while boosting details. In this case I left it disabled. Refer to
Figure 2-103.
Figure 2-103. HDR Toning dialog box, Edge Glow sliders and Smooth
Edges check box
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Tone and Detail
Gamma (9.99–0.01): Adjust the difference between highlights and
shadows. The default setting is 1.00. A lower setting will affect midtones,
while higher settings affect highlights and shadows.
Exposure (–5.00, 0, +5.00): Adjust overall image tone. The values reflect
the camera’s f-stops. Currently I left the exposure at 0. If too low the sky
becomes gray and if too high it causes overexposure.
Detail (–100, 0, +300%): Find detail in the image when you drag the
slider. To the left you reduce or blur details and to the right you increase
or sharpen details. Currently it is set to +30%, but a higher number would
bring more detail into the rocks on the beach and the mountains in the
background. Refer to Figure 2-104.
Figure 2-104. HDR Toning dialog box, Tone and Detail sliders
Advanced
Shadow (–100, 0, +100%): Adjust the luminance of the shadow regions.
Currently it is set to 0. Lower values increase the shadow. Higher values
decrease the shadow.
Highlight (–100, 0, +100%): Adjust the luminance of the highlight
regions. Currently it is set to 0. Lower values decrease the highlight. Higher
values increase the highlight.
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Vibrance (–100, 0, +100%): Adjust the saturation or subtle colors while
minimizing clipping of highly saturated colors. Currently it is set to 0.
Lower values decrease the vibrance making in grayscale. Higher values
increase the vibrance.
Saturation (–100, 0, +100%): Adjust color intensity of all colors. –100
is considered monochrome, while +100 is considered double saturation.
Currently it is set to +20. Refer to Figure 2-105.
Figure 2-105. HDR Toning dialog box, Advanced settings
Toning Curve and Histogram

This area is similar to using the adjustment layer Curves where you
can add control points to the curve and observe the histogram in the
background, which displays the original luminance values. Refer to
Figure 2-106.
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Figure 2-106. HDR Toning dialog box, Toning Curve and Histogram,
with the Eyedropper tool in the Options bar panel
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You can flip the histogram and curve using the lower arrowheads. The
red tick marks along the horizontal axis are in one Exposure Value or EV
(approximately one-f-stop) increments. EV is a number that represents
a combination of a camera’s shutter speed and f-number (measure of
light gathering ability of a camera’s lens). EV is also used to indicate an
interval on the photographic exposure scale, with a difference of 1 EV
corresponding to a standard power-of-2 exposure step. This is commonly
referred to photographers as a stop. More details on the definition of EV
can be found here. https://en.wikipedia.org/wiki/Exposure_value.
Next you can use your Eyedropper tool to find points on the curve when
you click areas of the image.
When a control point is added and selected, you also have access to the
Input % text box, Output % text box, the Corner check box (for more extreme
adjustments), and the reset button. Adding more than one point with a
corner point may make some points more angular. Refer to Figure 2-107.
Figure 2-107. HDR Toning dialog box, altering the toning curve
with points
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Click OK to confirm the settings you choose or Cancel to exit without
making changes. Use the Alt/Option key to change the Cancel button to a
Reset button. In this case I just left the image on the default settings and
did not add any points to the curve. Refer to Figure 2-98 and Figure 2-108.
Figure 2-108. The result of the HDR default toning adjustments
Refer to image_HDR_after.psd for reference.
Note After you have completed working on the file, it will return

from 32 bits to a setting of RGB 8 bits. However, if you ever need
to reduce the file’s bit size manually, remember to go to Image ➤
Mode and select a lower setting such as 8 Bits/Channel. Refer to
Figure 2-109.
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Figure 2-109. HDR files convert from 32 bit back down to 8 bit once
you exit the dialog box
Merge to HDR Pro

The second option if you are working with separate files for HDR is to use
the Automation feature File ➤ Automate ➤ Merge to HDR Pro. Browse for
the files you want and make sure to enable “Attempt to Automatically Align
Source Images” and click OK. You can use the files found in the HDR_
Folder for practice. Refer to Figure 2-110.
Figure 2-110. Merge to HDR Pro dialog box for selecting files
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This time, rather than opening in just a dialog box, you will open all the
images in a workspace, with very similar settings. However, this time you
will be able to use all your images at once to get the ideal range. I selected
the one set to EV 0.00. Refer to Figures 2-111 and 2-112.
Figure 2-111. HDR Pro workspace options with the ideal photo
selected from the list
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Figure 2-112. HDR Pro workspace options for the current image
collection
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Remove ghosts: Removes ghosting shapes that are caused by moving
object. In this case I used that setting as I had to deal with the waves and
tide as I shot each image one after the other on a different exposure shutter
speed. Also, here I can set the output bit mode to whichever I would like,
in this case 32 Bit, 16 Bit, or 8 Bit. In this case I set to 16-bit. I set the Edge
Glow: 25px and Strength to 0.53 with no edge smoothness. Otherwise,
I used the same setting as in the HDR Toning example. Gamma: 1,
Exposure: 0, Detail 30%, Shadow, Highlight, and Vibrance 0% and
Saturation: 20%. Once you have adjusted your settings as you want, click
OK to exit and create the new HDR image. Refer to Figure 2-113.
Figure 2-113. HDR Pro workspace options to confirm settings
And then save your file. See composite_HDR-2.psd as a final example

in the HDR example folder.
Use this link to explore more about HDR and other options that may be
available for certain images:
https://helpx.adobe.com/photoshop/using/high-dynamic-range-
images.html
Some of these settings you may be able to work with more accurately
using Camera Raw, which we will review in Chapter 4.
Advanced Color Adjustments

The next two Image ➤ Adjustments commands are similar to the Color
Replacement tool mentioned in Volume 1, Chapter 4.
I will just explain their purpose briefly here along with the basic
settings.
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Match Color
This is used to match the color: from one image to another image and
from one layer to another layer using a target and a source. This option is
used with a selection in an image to another selection in the same image
or a different image. This command also adjusts the luminance and color
range and neutralizes color casts in an image. You can only work with
RGB images.
This dialog box lets you set the following for the destination image.
Destination Image
Target: In this case this is the currently opened document.
Ignore Selection when Applying Adjustment: If no selection is made,
then this option is grayed out and disabled. When a selection is active,
then this option is available, and you can choose whether to apply the
adjustments to the entire image or layer. When no selection is made, then
the command matches the overall image statistics between images (Target
and Source). Refer to Figure 2-114.
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Figure 2-114. Match Color dialog box
Image Options:
Luminance (1–200): Allows you to adjust the brightness of the target
image. The default is 100.
Color Intensity (1–200): Allows you to adjust the saturation of the target
image. The default is 100.
Fade (0–100): Fades the amount of the adjustment in the target image.
The default is 0.
Neutralize check box: Enable if you need to neutralize the color casts
in the target image.
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Image Statistics:
Use Selection in Source to Calculate Colors: If a selection is active,
use colors in source selection to calculate the image adjustment. Unless a
source selection is set, you cannot access this option. Deselect this option
when you want to ignore the source’s selection and use colors from the
entire source to compute the adjustment.
Use Selection in Target to Calculate Adjustment: If the selection is
active, use colors in target selection to calculate the image adjustment.
Unless a source selection is set, you cannot access this option. Deselect
this option when you want to ignore the target’s selection and use colors
from the entire target to compute the adjustment.
Source: A None setting will not reference a different image to calculate
the color adjustment for the match. With the None setting chosen, the
target image and the source image are the same. To set a different source
image, you must choose one from the list, and that document should be
currently open.
Layer: When the source is set to None, the background or current layer
is chosen. However, if a different source is chosen, you will have access to
whatever layers are available in the list as the new source, and it does not
have to be the background layer. You can also choose the Merged option
from the menu if you want to match colors from all the layers in the source
image. A preview of the current selected layer or layers will display in the
square on the right.
Load Statistics and Save Statistics buttons allow you to save the setting
as (.STA) files.
Click OK to confirm changes or Cancel without making changes. Make
sure the Preview check box is active as you work.
Tip Using the Info panel can help you review the changes as
you work.
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In my example, I used my canoe_content_aware_photo_filter.psd
image (target) and the glacier_2.psd image (source). Make sure that when
you use a copy of the canoe file that you use the Layers menu to flatten
the image first so that the color is applied overall to the background layer.
I experimented with setting the Neutralize check box as this made the
image less blue and still retain some of the original colors. However, in
some situations I would recommend in this case using Levels or other
adjustment layers as that would be less destructive with more natural
colors and easier to control. However, use your own images to see what
kind of color results you encounter. Try changing the source image or
changing the Layer to a setting of Merged. Refer to Figure 2-115.
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Figure 2-115. Use Match Color settings to alter the color in another
background image
More details can be found at this link:
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https://helpx.adobe.com/photoshop/using/matching-replacing-
mixing-colors.html
Replace Color
This dialog box shares some similarities to the Select ➤ Color Range dialog
box. As we saw with the Color Replacement tool in Volume 1, Chapter 4,
this dialog box can be used to replace specified colors in an image with
new color values. That can either be controlled using the slider or the color
picker within the dialog box. Use the bird.psd image in this example again,
to test. Refer to Figure 2-116.
Figure 2-116. Locate an image where you want to replace a selection

of color
Use Image ➤ Adjustments ➤ Replace Color to open the Replace Color

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Figure 2-117. Replace Color dialog box
The following settings are in reference to Figure 2-117:

Eyedropper, Add to Sample, Subtract from Sample: Use to initially
sample from the layer and then use the other eyedroppers to add (Shift +
click) or subtract (Alt/Option + click) to or from the sample.
Localize Color Clusters: Enable this setting to make contiguous
selections.
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Color: Click the square swatch to change the selection color using
the color picker. You can target the color you want replaced, and this will
update in the preview box.
Fuzziness (0–200): Adjust the fall-off beyond the selection boundaries
and to what degree related colors are included in the current selection.
Preview box with mask radio buttons: View Selection or Image mask.
Black areas of the selection are masked, and white areas are unmasked.
The semi-masked area will appear gray. The Image radio button may be
helpful if you are currently zoomed into the image.
Sliders – Hue (–180, 0, +180), Saturation (–100, 0, +100), Lightness
(–100, 0, +100): Use the slider or enter the numbers in the text boxes.
Result: Click the square to use the color picker to adjust the setting.
Use the button on the right to Load or Save your presets as (.AXT) files.
Click OK to commit changes or Cancel to exit without saving changes
and keep Preview enabled as you view the changes on the canvas. Refer to
Figure 2-117.
Use the Alt/Option key if you need to change the Cancel button to a
Reset button.
Adobe mentions that when using this command you cannot replace
pure gray, black, or white with a color. You can change the Lightness
setting to affect the color; however, the Hue and Saturation settings are
relative to existing color, so those sliders have no effect on those colors.
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Figure 2-118. A small area of color can be replaced on the current

selected layer
While this option does replace color in select sections, it can be

difficult to control unless you made a prior selection and is not ideal for
masking out set areas. It will destroy the color of the background image.
For specific color adjustments done nondestructively, the Hue/Saturation
adjustment layer mentioned in Chapter 1 may be a better option for your
project.
More details can be found at this link:
https://helpx.adobe.com/photoshop/using/replace-colors.html
In Chapter 5, we will look at a neural filter called Color Transfer that
can perform similar conversions in a nondestructive way.
Advanced Image Adjustment Options

Besides the color adjustments mentioned in this chapter, there are two
more advanced options found in the Image menu that you may want to use
as you edit photos using the Image menu. Here are some suggestions as to
when you may want to use them, as well as some alternative solutions.
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Apply Image
This is found under Image ➤ Apply Image.
As you saw with the Image ➤ Adjustments ➤ Match Color example,
you can use a source file and apply settings to the current open target
document. The source file can be the current target file, but it can also be
another open document from which you want to apply a specific layer or
a group of layers. Note that you can also invert the source file. The source
must match the target dimensions. Refer to Figure 2-119.
Figure 2-119. Apply Image dialog box
The target can then be blended using a blending mode and opacity.
You can enable Preserve Transparency if working with multiple layers.
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Apply Image and Calculations commands offer two additional
blending modes called Add and Subtract, which let you set an offset (–255,
0, 255) and scale setting (1.000–2.000). Altering these settings will lighten
or darken the image. Add will add the pixel values in two channels, while
Subtract is used to subtract the pixel values in the source channel from
the corresponding pixels in the target channel. Refer to the link at the end
of the Calculations command if you need more information on this topic.
Figure 2-120. Apply Image dialog box, additional blending modes
For Target there is also a mask setting in which you can apply a
blending through a mask.
It can also be either the composite channel or a specific single RGB
channel to the current target image.
You can select an image (Source), then a layer or layers for a merged
mask, and then a channel, which will be a color channel or alpha channel.
Choose an option of Gray, Red, Green, or Blue. It can also be based on
a current active selection or the boundaries of the current layer that
has transparent areas. The mask can also be inverted as well. Refer to
Figure 2-121.
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Figure 2-121. Apply Image dialog box, setting Mask options
This command can be ideal with faded images where you need to
build up more pixels to create a more tonal range. Here is an example of a
before and after of a background image. Refer to Figure 2-122.
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Figure 2-122. Apply Image can make the current image less
overexposed and reduce fading
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However, a nondestructive alternative to this is to make a duplicate
of your current faded layer and apply a blending mode of Multiply to it
over the current background layer. You could reduce the copied layer’s
opacity if you prefer to 51% and add an adjustment layer over it for color
correction, such as Levels. This is also ideal if you need to add a layer for
clone stamps to cover any dust and scratches you may discover as you
color correct. Refer to Figure 2-123.
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Figure 2-123. Use the Layers panel to create a duplicate copy of

a layer and apply a blending mode and adjustment layers for an
improved effect
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Calculations
The Image ➤ Calculations command is like the Apply Image command
but can be used to blend two individual layers or channels from one or two
source images. The result in this case will be more monochrome/grayscale
in appearance. You can then apply the results to a new (target) image or to
a new channel or selection in the active (target) image. You cannot apply
the Calculations command to composite channels. Refer to Figure 2-124.
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Figure 2-124. The Calculations dialog box can be used to create a

black-and-white image
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The result, in this case, can be a new document, a new channel, or a
new selection.
You can refer to my file faded_apply_image.psd to review the Apply
Image example.
A new channel can be useful in situations where there is extreme
damage to a specific channel and you need to create a blend to remove
the damage. Once the new alpha channel was created, you could then
Ctrl/CMD + A to Edit ➤ Copy it and then select the entire damaged
channel and Edit ➤ Paste the copied channel into it. However, this is
no guarantee that this will also color correct the image, so I recommend
first experimenting with one of your adjustment layers, as in Chapter 1,
to see if you can retrieve any color or you may just have to settle with a
monochrome image or colorize the image yourself.
However, in the case of a new document like Image ➤ Apply Image,
you can apply blending modes. Remember that you can experiment with
blending modes and opacities on duplicate layers to achieve similar results.
More information on the topic of Apply Image and Calculations can be
found here:
https://helpx.adobe.com/photoshop/using/channel-
calculations.html
File ➤ Save your open files so far.
Notes on Out-of-Gamut Colors

As you work on various color projects of scanned images, you will be
dealing with colors that may be out of viewer range with either your
computer screen or printer. In this case Adobe refers to out of gamut when
viewing RGB colors that will not match CMYK printing values. Here are
some options for viewing your images on screen that you may want to
print. I used a copy of the file sunset_selective_highlight_shadow_gamut.
psd. I used the Layer panel to then flatten the image.
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RESTORATION: PART 2
To detect out-of-gamut colors, you can use the following:
View ➤ Proof Setup: I have this set to Working CMYK so that the colors
on the screen emulate CMYK as closely as possible. Refer to Figure 2-125.
Figure 2-125. View menu for creating a Proof Setup of

Working CMYK
View ➤ Gamut Warning (Shift + Ctrl/CMD + Y): Toggle this on and

off to see a preview in gray of what areas may not print as brightly as you
hoped. Some of your color-corrected images may have very minimal area,
and others may have areas of blue that are difficult for most CMYK printers
to achieve and will print less vibrant than as seen on the screen. Refer to
Figure 2-126.
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RESTORATION: PART 2
Figure 2-126. Previewing out-of-gamut areas on an image
Tip You can, while in the Tools panel color picker (double-click), set
the View ➤ Gamut Warning on to get a better idea of colors that RGB
cannot reproduce as well in CMYK. Just remember to turn the View
➤ Gamut Warning off again so that you can view your screen colors
correctly. Refer to Figure 2-127.
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RESTORATION: PART 2
Figure 2-127. Using the color picker to preview out-of-gamut colors
In Chapter 4 we will also look at the Camera Raw Filter that can help
you visually detect the color highlight and shadow clipping warnings.
Knowing what is out of gamut in your images can help you adjust your
setting while using adjustment layers and filters if you plan to print your
photos, and we will consider this more in Chapter 7.
However, I will just mention that if you know you have a lot of out-
of-gamut colors after you have done a test print, one thing you can try
to balance this may be to use your Select ➤ Color Range to identify
those areas by selecting the Out of Gamut setting from the list and click
OK. Once you have an active selection, you could then use Hue/Saturation
or another adjustment layer to create a mask and then balance those areas.
Check your out-of-gamut warning and create another test print to see if
you like the results. Refer to Figure 2-128.
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RESTORATION: PART 2
Figure 2-128. The Color Range dialog box can be used to create
out-of-gamut selection, and then you can use an adjustment layer to
correct as required and preview the result
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RESTORATION: PART 2
Remember, however, that while traditional CMYK process standard
printing may have certain gamut warnings, an inkjet printer may have a
wider range of ink colors. This may vary from printer to printer, and likely
your inkjet printer will produce better results. So always do a test print to
compare. File ➤ Save any changes you made to the copies of your files,
and you can see the Hue/Saturation adjustment layer mask I used in the
file sunset_selective_highlight_shadow_gamut.psd.
orking in Lab vs. RGB Color

W
in Separate Channels
Rather than working in RGB color mode, some professional photographers
prefer to work in Lab color mode when adjusting an image. As we saw,
however, in Chapter 1, this may limit which adjustment layers you can
access. Can working in Lab color mode and with channels improve the
color balance of certain photos more than RGB? Yes, in some situations
it can. However, it is a more advanced topic, but if it is of interest to you, a
book that I recommend is Photoshop LAB Color: The Canyon Conundrum
and Other Adventures in the Most Powerful Colorspace by Dan Margulis.
The second edition was done in 2015. In this book the main adjustment
layer is Curves, and he uses it to do many complex adjustments.
Photo Project
From Volume 1, I am now continuing with the army image. Refer to file
army_healing_color_adjustment.psd. In Volume 1 we corrected the
damage of rips and tears as well as the border color. However, here you will
see how you could use adjustment layers to improve the overall black-and-
white of the photo, removing areas of stains and discoloration, and
this may help you discover areas that you still need to use the healing
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RESTORATION: PART 2
and clone stamping tools on as well as the Eraser tool. As your overall
image improves, you can return to a specific layer or create a new one
(Layer 2) and continue to correct turning on and off the visibility of the
adjustment layer.
Using a layer mask in specific areas can control the stain in selected
sections, such as the redness around the man’s shoe or elsewhere. In this
example Black & White is a good layer adjustment option at the default
setting while painting on the layer mask with the Eraser tool. Remember
when you first create a Black & White adjustment layer it will be a white
mask as it applies the adjustment overall you can then use the Properties
panel’s Invert button to Invert the mask and then start to paint back
the white with the Eraser tool. Overall or selective Hue/Saturation with
Colorize enabled may be something you want to add as well. Refer to
Figures 2-126, 2-129, 2-130, and 2-131.
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RESTORATION: PART 2
Figure 2-129. The color stain around boot is then removed with a
select masked adjustment layer, and then a stamp tool can be used on
an underlying layer to further correct the damage
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RESTORATION: PART 2
Figure 2-130. Unusual colors can be corrected with the Black &
White adjustment layer as well as masks, and then further corrections
can be made to a layer below using the Clone Stamp tool as you work
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RESTORATION: PART 2
Figure 2-131. The current image with overall color correction
To create the selection area of the layer mask for Hue/Saturation, I

then Ctrl/CMD + clicked my Layer 1 mask to load a selection, which is the
rectangular frame. I then applied a Hue/Saturation adjustment layer above
the other Black & White Adjustment layer and, in the Properties panel,
enable Colorize with a Hue: +75, Saturation: +5, and Lightness: 0. I also
enabled the Colorize check box. This kept the original color of the image
but took out some of the overall yellowing of the paper and prevented the
frame from being colorized by mistake. Refer to Figure 2-132.
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RESTORATION: PART 2
Figure 2-132. Create a selection from Layer 1 and apply an

adjustment of Hue/Saturation to cover the image with a single color
However, overall, we still must correct for dust or scratches, which we

will look at in the next chapter.
On your own projects, try some of the options from Chapter 1 and this
chapter on your color images. Begin with an adjustment layer of Levels
and then Curves, and then try fine-tuning the color with Hue/Saturation
or Brightness/Contrast. Look at your image and decide if an overall color
adjustment needs to be made, or does one or more sections of the image
require a slightly different tonal adjustment that only can be controlled with
a layer mask? And then decide should you use a similar adjustment layer in
another selection of the image with different settings and another layer mask?
File ➤ Save any of your open files at this point.
Refer to the army_healing_color_adjustment_final.psd for reference.
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RESTORATION: PART 2
Summary
In this chapter we looked at various layers, masks, blending mode, styles,
dialog boxes, and tools that can assist us in color correction of the whole
or part of the image. In the next chapter we will look at some of the basic
filters that can be used to correct areas where a slight sharpening or
blurring is required.
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CHAPTER 3
Basic Filters for Photo

Restoration
As you work through the process of restoring photos, whether it be to
repair minor rips and tears, for selective color correction, or to attempt
to fill in gaps after straightening the image, you will encounter various
additional correction issues. With older photos and slides, there are
always situations where you need to deal with multiple scratches and dust
particles that are small, but too time consuming to correct one at a time.
After cropping and straightening the image, when you begin the process of
filling in the gaps in the image using a selection tool like the Magic Wand
tool and then the Edit ➤ Content-Aware Fill command and Clone Stamp
tool from Volume 1, you may find this to be a fairly easy process. However,
the consequence of doing so without adequately cleaning up all the dust
particles overall can result in incorporation of more dust added to the
newly generated pixels around the border. Refer to Figure 3-1.

Chapter 3 Basic Filters for Photo Restoration
Figure 3-1. Image cropped and rotated and straightened with layers
in the Layers panel
In these situations, you will encounter the need to correct overall or

mask large select areas that require blurring, sharpening, or a reduction in
noise, like dust, in set increments before you continue adding new parts to
the image or using a clone stamp or content-aware fill on separate layers.
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Figure 3-2. Areas of the image may either require a clone stamp or
filter to remove dust and scratches and lessen damage
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Some scanners as noted in Volume 1, Chapter 1, will come with

blurring software. However, if during the scanning process the auto
software results are not ideal, sometimes you want to do the process
yourself and just on a select area of the image.
In Volume 1 we looked at some brush-related tools such as Blur,
Sharpen, and Smudge, but while they are helpful with minor areas of
correction, it is time consuming to use these brushes overall, and there are
situations where you may want to mask some of the blur or sharpening
and be able to adjust the setting, as required later in the process. Refer to
Figure 3-3.
Figure 3-3. The Blur Tool, Sharpen Tool, and Smudge Tool are found
in the Tools panel
Regarding the scanner, while scanning, I will often leave the scanner
settings at default unless I am sure that additional scanner settings will
help improve the image repair process. Refer to Figure 3-4.
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Figure 3-4. Most scanners will present some adjustment options for
color correction and image repair before scanning
Thankfully, Photoshop has filters that can help us perform many of the
same scanner functions of blurring, sharpening, and noise reduction.
In this chapter we will now look at some of Photoshop’s basic filters
that are found in the Filter menu for blurring, noise reduction, and
sharpening and how they can be used on layers in nondestructive ways.
We will also discuss how they can be used with layer masks and channels.
Later, I will also discuss a few other basic filters you may want to use to
enhance your images, and then we will complete the photo project from
the previous chapters.
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Chapter 3 folder. Make sure to work on a duplicate of the files if you
want to practice.
This book focuses only on certain filters in the Filter menu. If there
are some additional filters you would like to explore not related to
photo repair on your own that are not required in this book, you can
refer to my book Perspective Warps and Distorts with Adobe Tools:
Volume 1 or to the links that will be provided in this chapter. However,
most of the filters in this chapter were not discussed in detail in
that book.
eview: Creating a Smart Object Layer

R
for Smart Filters
As you saw in Chapter 2, you can create smart object layers and apply
smart filters to them for the purpose of adjusting color.
However, smart object layers can also be used with the Filter menu
so that you can alter most of your basic and advanced filter adjustments
at any time. Now we focus on the main filters that can be used for basic
digital photo repair. Refer to Figure 3-5.
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Figure 3-5. Filter options from the main menu and then filter applied
to the layer
Note that the files I have supplied in the following examples already
have the final layers turned into a smart object layer using the
Layers panel.
Once a smart filter is applied, you can always return to that filter
through the Layers panel by double-clicking the name for additional
editing. In the case of the filter Dust & Scratches, we will explore it in more
detail later in the chapter. Refer to Figure 3-6.
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Figure 3-6. Dust & Scratches filter dialog box
Remember with your own project, to work with all the filters, make
sure that your images are in RGB color mode. In the Filters menu all the
filters can work with RGB 8-bit images. However, be aware that some filters
may not work in CMYK mode or if the file is set to 16-bit or 32-bit. You can
review the link at the end of this chapter if you are working in a color mode
other than RGB 8-bit.
asic Filter Overview Specifically

B
for Photo Correction
In the Filter menu there are four basic sections that I like to use for photo
correction. They are the Blur, Blur Gallery, Noise, and Sharpen. We will
look at some of the filters within each area, and then later I will mention a
few additional helpful filters in other sections, such as Render and Other.
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Blur Filters
There are several blur filter options available to you from the Blur filter
menu. I have explored quite a number of these in my book Perspective
Warps and Distorts with Adobe Tools: Volume 1. However, there are a few
that were not discussed in detail, and we will focus on five of them in this
book as they relate to digital photo repair. Use Filter ➤ Blur to access any of
the following I will mention in this section. Refer to Figure 3-7.
Figure 3-7. Blur filter submenu list
We will be using the file deer_blur_image.psd and deer_blur_image_

final.psd to review some of these blur filters. Refer to Figure 3-8.
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Figure 3-8. Image of a group of deer on the farm
While the background is slightly out of focus, you may want to blur the
area around the deer more to make it the area of focus. In that case, rather
than having a blur overall after you have applied a select blur, you would
then paint on the smart filter mask with your Eraser or Brush tool to keep
the area of the deer in focus. Using the Options bar panel, I use a variety
of round soft and hard brush sizes and make sure to zoom in closely (Ctrl/
CMD + +) to get an accurate selection while working on the mask. Switch
the default black and white to hide or reveal by pressing D and then press
X to toggle between hide/reveal as you paint. Refer to Figure 3-9.
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Figure 3-9. Mask out areas on the smart filter with your Brush tool,
Eraser tool, and Tools panel swatches after the filter has been applied
First, I will note that with filters Average, Blur, and Blur More have no
dialog box settings. Testing these on a smart object layer is ideal if you want
to use them to compare settings. Average can be used to average all colors,
while Blur or Blur More blurs an image. However, when you use them, you
can’t control how much of a blur occurs, as there is no way to set a precise
value. In the case of Average, you will likely end up with a solid color fill,
and for photo repair this is not helpful. Refer to Figure 3-10.
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Figure 3-10. Applying the Average filter to the image and how it
appears on a smart object layer in the Layers panel
Blur and Blur More will produce a very subtle blur, but there is no way
to increase or adjust the amount. Refer to Figure 3-11.
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Figure 3-11. How the Blur More filter appears on the smart object
layer in the Layers panel and the mask in the Channels panel
Tip If you need to remove a filter while you work, drag it to the trash
can icon to delete it. However, be aware that if you remove all smart
filters, you will also delete your smart filter mask so you may want
to save your selection in the Channels panel or as a layer mask on a
duplicate layer for backup to avoid having to recreate complex masks.
From the Channels panel or the layer mask, you could then load the
selection by Ctrl/CMD + clicking the thumbnail before adding the
smart filter, and it will add it to the smart filter mask. In my examples I
have saved the masks in the Channels panel for you should you want
to quickly add them to your smart filters as you work if they are not
already present in the Layers panel. Refer to Figure 3-11.
The filters Box Blur, Radial Blur, and Shape Blur are for creating
specialized artistic blur effects, such as square, round, twisted, or even
a blur based on the selection of a custom shape known as a kernel. Your
selection or mask needs to be exact so that it does not appear unevenly
blended. Refer to Figures 3-12 and 3-13.
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Figure 3-12. Box Blur and Radial Blur filters applied around the deer
Figure 3-13. Shape Blur dialog box and the filter applied to the
image of the deer
384
However, for photo repair, the five blur filters that I like to use are
Gaussian Blur, Lens Blur, Motion Blur, Smart Blur, and Surface Blur.
Gaussian Blur
This is a helpful blur when you want to create an overall blur quickly, or
you may create a selection and then layer mask when you want some areas
to remain in focus as seen with the deer. The radius of the blur can be set
from 0.1 to 1000 px. In this case I used a setting of 1.6 pixels and previewed
the image. Refer to Figure 3-14.
Figure 3-14. Gaussian Blur dialog box
In the dialog box, use the zoom-out (–) and zoom-in (+) magnifying
glass icons when you want to zoom in on a section in the preview box to
see a blurred area up close and zoom out after. Drag in the preview area
385
when you need to move the image about and compare the blur in certain
areas. You can also toggle Preview on and off to compare the settings in the
dialog box to the canvas.
Optionally, use the Alt/Option key to change the Cancel button to
Reset to reset your original slider settings if you click the button. Holding
down the Ctrl/CMD key changes the Cancel button to the Default button.
These options can be found for most filters.
Click OK to commit the changes. Refer to Figure 3-14.
Outside the dialog box, at any time, you can use a selected smart
filter layer mask and a soft or hard eraser brush to paint back some of the
detailed areas that you do not want to blur. Refer to Figure 3-15.
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Figure 3-15. Image of deer with Gaussian Blur applied to the

surrounding mask in the Layers panel
Remember to click back on the smart object thumbnail when you want
to apply another filter, or you may apply the filter to the smart filter or a
layer mask by mistake.
For an overall Gaussian Blur, consider low-light images where you
want to reduce film grain. But care should still be taken that you do not
lose important details or shift the colors in the process. In this case I
387
just used a setting of 0.6 pixels as I wanted to keep as much fine detail
as possible. See sunset_gaussian_blur.psd as a reference. Refer to
Figure 3-16.
Figure 3-16. Gaussian Blur dialog box with the blur applied to the
smart object layer along with the previous color adjustment in the
Layers panel
388
Note that ordering your color adjustments and smart filters on a

smart object layer can affect how colors would appear. In the earlier
example (Figure 3-16), I placed the Gaussian Blur filter above the
Shadows/Highlights adjustment. However, if I drag it below this color
adjustment, you will notice that the colors in the image will darken,
which may not be what you want. Refer to Figure 3-17.
Figure 3-17. The blur applied to the smart object layer along with the
previous color adjustment in the Layers panel with order reversed in
the Layers panel
In this case I left the Gaussian Blur above the Shadows/Highlights

adjustment. Refer to Figure 3-16.
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The word Gaussian refers to the bell-shaped curve function calculation

(named after the mathematician and scientist Carl Friedrich Gauss).
Photoshop uses this function to generate and apply a weighted average to
the pixels. By adjusting the slider, the filter produces a low-frequency detail
and can produce a hazy or blurred effect in lowered or elevated values.
Figure 3-18. Graph of an example of a Gaussian Blur curve
The Gaussian Blur filter, as well as some of the other blur filters like
Box, Motion, and Shape, should be observed closely as you apply them
as they can sometimes produce some unexpected visual effects near the
edges of a selection. You should try to feather your blur on your layer mask
with your Eraser or Brush tool if the blur does not blend correctly. Here
we see a kind of glow or outline around areas of the deer’s antlers. Refer to
Figure 3-19.
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Figure 3-19. Areas between mask and blur need to feather correctly
to avoid unwanted banding around the border of the mask on
the antlers
Reducing the hardness of the brush using the Options bar panel Brush
Preset picker can minimize this, causing a better blend.
Alternatively, in a very simple masked area, you may want to use
your Properties panel to feather the selection. However, in this complex
example I would not recommend doing that as it may affect small areas
where you want to retain mask details. Leave the Feather setting at 0 px.
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Figure 3-20. Properties panel with Filter Mask active
This uneven blend is more apparent on normal and smart object layers
that have a mask painted on, rather than when you are applying the effect
to the entire layer. Some blur filters, like Gaussian, use the image data that
is outside of the current selection to create the new blurry pixels that will
reside inside the selection of blur. Areas that border around the blurred
(out-of-focus) selection may be contaminated with colors producing a
muddy outline around the area that you want to keep in focus.
To avoid such issues, you will later want to experiment with other blur
options like Smart Blur, Lens Blur, or Surface Blur.
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File ➤ Save your work on your copy of the image deer_blur_image.

psd. We will return to this image again later.
Lens Blur
Lens Blur is used to blur an image to give the effect of a narrower depth
of field so that some objects in the image stay in focus, while other areas
are blurred. While this is a helpful filter, unfortunately, it is one of the few
that cannot be used on a smart object layer, and so you must work on a
duplicate layer of the image if you don’t want to destroy the original. In this
case, if you already had a smart object layer, you could duplicate that layer
and then, from the Layers panel, choose Rasterize Layer. I will be using the
example file Canoe_lens_blur.psd in this case. Refer to Figure 3-21.
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Figure 3-21. In the Layers panel rasterize a copy of the smart object
layer for working with the Lens Blur filter
In the Lens Blur workspace, we can review the following blur tools
and options. Make sure that the Preview check box is enabled. Refer to
Figure 3-22.
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Figure 3-22. Lens Blur workspace options
395
You can choose the option of either Faster or More Accurate. Stay
on the setting of Faster as More Accurate may take longer to process.
Depth Map: Set the source to either None, Transparency, or Layer
Mask, or select a channel that may contain depth map information.
Transparency and Layer Mask will allow access to the next set of options.
If you have a selection in your Channels panel, you can use this as your
focal point. In this case I used my Elliptical Marquee Tool to create a
selection prior to entering the Lens Blur filter. While active, I then saved
the selection using the menu Select ➤ Save Selection to open the dialog
box, gave the selection a name, and clicked OK so it appeared in the
Channels panel. You will find the selection created for you in the file. Refer
to Figure 3-23.
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Figure 3-23. Creating and saving a selection for Lens Blur in the
Channels panel prior to using Lens Blur
397
Then, I went to Filter ➤ Blur ➤ Lens Blur, and in the Depth Map
Source list it will appear as one of the Source options and you can select it.
Figure 3-24. Lens Blur filter Depth Map settings when the saved
selection is chosen and how it currently previews
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For the moment that area will appear blurry, which you can correct.
Set Focal Point: Click somewhere in the canvas, in this case in between
the two canoeists, to set a focal point. This blurs the surrounding area and
leaves the canoe and its occupants in focus. Refer to Figure 3-25.
Figure 3-25. Applying the selection to the Lens Blur as a focal point
Use the Blur Focal Distance slider to set a value (0–255). This allows
you to select an “in-focus” depth. In this case I left it at 255, so I did not
blur the people in the boat. Refer to Figure 3-26.
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Figure 3-26. Lens Blur workspace setting the Blur Focal Distance
The Invert check box setting, when toggled, allows you to flip close and
far depths in the depth map or reverse the blur as you saw earlier. Refer to
The Iris settings allow you to adjust the lens shape or, in this case, the
surrounding blur around the selection. Refer to Figure 3-27.
Figure 3-27. Lens Blur Iris settings
You can choose a shape from the list, such as Hexagon (6). The
options range from Triangle (3) to Octagon (8), each giving a slightly
different blurring result. This will become more apparent as you adjust
other settings in this section. For now, remain on Hexagon (6). Refer to
Figure 3-28.
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Figure 3-28. Lens Blur Iris settings Shape options of 3, 6, and 8
Radius: Lets you set the maximum amount of blur (0–100). A setting
of 15 makes the transition from blur to in focus subtle, while a setting of 29
makes the selection area more apparent. Refer to Figure 3-29.
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Figure 3-29. Lens Blur Iris Radius adjustments and preview
Blade Curvature: Sets the roundness of the iris (0–100). If the Iris is
already rounder, like a hexagon, it may have little effect. However, if you set
the shape to Triangle (3) and move the slider, you may notice a shift in the
blur. Refer to Figure 3-30.
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Figure 3-30. Lens Blur Iris Blade Curvature adjustments and preview
Rotation: Sets the amount of iris rotation (0–360). This setting is

noticeable when set to Shape: Triangle (3) rather than Hexagon (6) and
you move the slider.
Specular highlights, as mentioned in Chapter 1, are often the bright
spots you see on shiny objects like fruits or foreheads on very sunny days.
For this section you can control the following sliders. Refer to Figure 3-31.
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Figure 3-31. Lens Blur Specular Highlights options
Brightness: Sets the amount of highlight brightness boost (0–100). By

default, it is set to 0, but move the slider to a higher number like 80 to see
some of the highlights in the blur more vividly.
Threshold: Selects which pixels to brighten (0–255). By default, it is
set to 255, but move it down to 173 to see how it affects the blur area of the
image. Refer to Figure 3-32.
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Figure 3-32. Lens Blur preview of current settings with a Triangle

shape Iris
The last section, called Noise, is also common in many of the often
used filters to add or remove graininess or pixilation from images. Refer to
Figure 3-33.
Figure 3-33. Lens Blur Noise settings
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Amount: Sets the amount of noise to add to each pixel (0–100). By

default, it is set to 0, but if you increase it to 4, you will start to notice a
noise forming in the blur of the shadows. Refer to Figure 3-34.
Figure 3-34. Lens Blur Noise settings with resultant Uniform noise
added to shadow in preview
Distribution: Can be set to either Uniform (flat) noise or Gaussian

noise. Gaussian, in this case, added too much color into the noise, and this
would not be desirable for image repair. Refer to Figure 3-35.
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Figure 3-35. Lens Blur Noise settings with resultant Gaussian noise
added to shadow in preview
Monochromatic: Makes the added noise gray rather than colorful.

Some images that are not intended to be full color can benefit from this
setting. Refer to Figure 3-36.
Figure 3-36. Lens Blur Noise settings with resultant Uniform

Monochromatic noise added to shadow in preview
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However, in this case I would recommend keeping your noise amount

at 0 and disabling the Monochromatic setting for a smooth blur and
keeping at Uniform. Refer to Figures 3-33, 3-34 and 3-37.
Figure 3-37. Lens Blur preview of current settings
You can use the zoom settings in the lower left to navigate or use Ctrl/
CMD + + or Ctrl/CMD + – to zoom in and out. Refer to Figure 3-38.
Use Ctrl/CMD + Z to undo or Alt/Option + click the Cancel button
to reset.
Holding down the Ctrl/CMD key changes the Cancel button to the
Default button.
You can also use the spacebar key if you do need to access your
Hand tool.
Once you have adjusted the settings to your preference, click OK to
confirm settings. Refer to Figure 3-38.
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Figure 3-38. Lens Blur OK and Cancel buttons with result in the
Layers panel on the normal layer
Upon exit the changes will be applied to the layer permanently. If your
selection is still active, use Select ➤ Deselect (Ctrl/CMD + D) to deselect
on Image.
If you want to work with similar features such as Lens Blur on a smart
object layer, you may want to experiment with Blur Gallery later in the
chapter.
Further details on Lens Blur can be found at the following link:
https://helpx.adobe.com/photoshop/using/adjusting-image-
sharpness-blur.html#add_lens_blur
File ➤ Save your work and refer to my file Canoe_lens_blur_final.psd.
Motion Blur
This filter is used to give the effect of movement when taking a picture
with a fixed exposure time, such as someone running, a car racing, or an
object falling, also known as action shots. If you did not have a fast-enough
exposure time or a slow shutter speed like 1/60 and the camera was not
mounted on a tripod, as the person, animal, or object moves quickly
before the lens, you would have a blur. Refer to Figure 3-39.
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Figure 3-39. Examples of Motion Blur due to a fast-moving cat
Sometimes, you want to add blur to make it appear like very fast
action is happening. But you don’t want everything to be entirely out of
focus while still capturing the main action. In that case you can set the
following settings in the Motion Blur dialog box. In this example of the dog
jumping in the water, he was captured clearly because the shutter speed
was very quick. Use a copy of the file dog_motion_blur.psd and refer to
dog_motion_blur_final.psd. Refer to Figure 3-40.
Figure 3-40. Image of dog bounding through the water at the beach
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I used Filter ➤ Blur ➤ Motion Blur and set the following settings:
Angle (–360°, 0°, 360°): Sets a direction of blur to create the effect of
movement. If I set the speed of the water, I could leave it level at the angle
at 0°. However, because I am trying to show the dog rising quickly out of
the water, I will change the angle to –30°.
Distance (1–2000 pixels): This controls the level of the intensity of
the blur to the pixels. Large numbers drag the pixels outward giving the
impression of speed to an otherwise stationary image. I set it to 141 pixels.
Figure 3-41. Layers panel with a smart filter mask and Motion Blur
applied and settings in the dialog box
see a blurred area up close and zoom out after. You can move the preview
if you need to see another location. You can also toggle Preview on and off
to compare the settings in the dialog box to the canvas.
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Optionally, Use the Alt/Option key to change the Cancel button to

Reset to reset your original slider settings, if you click on it. Holding down
the Ctrl/CMD key changes the Cancel button to the Default button.
Click OK to commit the changes.
I also painted on the smart filter mask with my Eraser tool and then,
using the Properties panel, feathered the smart filter mask so that the dog
and some of the water would appear blurred, making it appear like the dog
was moving much faster out of the water. I used Feather: 17.1px. Refer to
Figure 3-42.
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Figure 3-42. Properties panel with feathering applied to the filter

mask altered with the Eraser tool and the resulting image
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Remember as with the Layer mask, if you do not want to see the filter
effect until you start to paint on the mask with white you can invert the
Filter mask to black and then start to paint the white back with the eraser
or brush. File ➤ Save your work for now and refer to dog_motion_blur_
final.psd. We will return to this image later.
Smart Blur
Smart Blur is considered a more precise blur with additional settings. If
you return to the image of the deer (deer_blur_image.psd and deer_blur_
image_final.psd), you can see how this blur compares to the Gaussian
Blur in the background. Refer to Figure 3-43.
Figure 3-43. Deer image with a smart filter applied
Go to Filter ➤ Blur ➤ Smart Blur and refer to Figure 3-44.
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Figure 3-44. Smart Blur dialog box
In the dialog box you can set the following settings:

Radius (0.1–100.0): A set value determines the size of the area searched
for dissimilar pixels.
Threshold (0.1–100.0): This value determines how dissimilar pixels
should be before they are affected. This setting works together with the
Radius value.
As you work with these two sliders, be aware, as you blur, not to give
your image a blocky or posterized appearance. That can be OK for an
artistic effect, but not for photo repair that needs to be smooth. At the
current setting (Figure 3-44), we can see however that this blur does
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not have the same banding effect around the blur and mask selection
as Gaussian Blur did. In this case I adjusted the radius to 1.3 and the
threshold to about 8.9. Refer to Figure 3-45.
Figure 3-45. Smart Blur dialog box with adjusted settings
Quality (Low, Medium, High): Sets the quality of the blur. You may
need to zoom in close to areas of the image to see the changes. Use a high
blur setting when you want a smoother appearance.
Mode (Normal, Edge Only, Overlay Edge): Normal is the default and is
set for the entire selection. However, for artistic effects that alter the edges
of color transitions, you can use the other options of Edge Only or Overlay
Edge. Refer to Figure 3-46.
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Figure 3-46. Smart Blur dialog box with adjusted settings in Mode:
Edge Only and Overlay Edge
Adobe mentions that in areas of significant contrast, Edge Only will

apply black-and-white edges, and Overlay Edge will apply white, but leave
some color visible.
Tip These settings could be used with the layer’s Smart Blur

filter set to a blending mode option, which would define edges. For
example, in the Filter dialog box, if you tried the mode of Edge Only,
clicked OK, and then afterward set your blending mode option in
that dialog box to Subtract, this could result in the appearance of an
illustration-like drawing, but still retains some photographic potential.
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Figure 3-47. Smart Blur filter Blending Options with a mode of

Subtract and opacity of 100%
In the Smart Blur dialog box, use the zoom-out (–) and zoom-in (+)
magnifying glass icons when you want to zoom in on a section in the
preview box to see a blurred area up close and zoom out after. You can
move the preview around to compare settings on the board to the canvas.
Optionally, use the Alt/Option key to change the Cancel button to Reset
to reset your original slider settings. Holding down the Ctrl/CMD key changes
the Cancel button to the Default button. Refer to Figures 3-45 and 3-47.
In this case I left the filter’s mode on Normal, clicked OK to commit the
changes, and left the Blending Options Mode on Normal with Opacity at
100%. The blur is definably more subtle than the Gaussian, but it does create a
smooth blend of the colors in areas like the barn and grass. Refer to Figure 3-48.
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Figure 3-48. Smart Blur filter applied to the deer image in

Normal mode
File ➤ Save you work, and you can refer to my file deer_blur_image_
final.psd if you need a reference to both Gaussian Blur and Smart Blur
examples.
Surface Blur
Surface Blur is useful for blurring the image while preserving the edges. It
can often be used over skin for an even blur. It is also used to create special
effects while removing noise or graininess.
Refer to my images files falcon_surface_blur.psd and falcon_surface_
blur_final.psd. In this example I want to blur the area surrounding the
small kestrel bird. Refer to Figure 3-49.
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Figure 3-49. Image of a kestrel resting on a man’s hand
You can use the sliders in the dialog box to control the following
settings. Refer to Figure 3-50.
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Figure 3-50. Surface Blur dialog box and Layers panel with a smart
filter and filter mask
Radius (1–100 pixels): This is the size of the area that is sampled for the
blur. I set it to 15 pixels.
Threshold (2–255 levels): Controls how much the tonal values of
neighboring or adjacent pixels must diverge from the center pixel value
before becoming part of the blur. Pixels with tonal value differences less
than the threshold level value are excluded from the resulting blur. Radius
and Threshold values work together to determine this final blur calculation
on the canvas. In this case I set it to 89 levels as I did not want to overblur
but blend the image with the area that I wanted to remain in focus, which I
later painted out on the smart filter mask with my Eraser tool.
see a blurred area up close and zoom out after. You can move the preview
area if you need to compare other areas of the image. You can also toggle
Preview on and off to compare settings in the dialog box to the canvas.
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Reset to reset your original slider settings. Holding down the Ctrl/CMD key
changes the Cancel button to the Default button.
Click OK to commit the changes. This made the man’s arm and glove
appear a bit more out of focus, yet some minor details were preserved now
so that the bird was masked to make it the main focus. Refer to Figure 3-51.
Figure 3-51. Surface Blur applied to the area surrounding the kestrel
Alternatively, you could also experiment with adding a second Surface

Blur with different settings like Radius: 44 and Threshold: 91 on a duplicate
copy of the image. However, you would have to add a layer mask and paint
on that to mask out a separate selection area, as the current smart filter
mask affects all filters applied to that specific layer. Refer to Figure 3-52.
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Figure 3-52. Layers panel example of applying two surface blurs to

different smart object layers with filter mask and layer mask
File ➤ Save your work and check out my file falcon_surface_blur_

Now we will look at the next set of blur filter options.
Blur Gallery Filters

The Blur Gallery (Filter ➤ Blur Gallery) is a type of workspace that has five
kinds of blur that you can use with smart object layers. Some of these blurs
I have discussed in the book I mentioned in the beginning of this chapter,
for the purpose of creating unique warped and artistic effects. However,
three, which relate to digital repair or improvement, were not discussed
in detail, which we will now focus on in this book. They are Field Blur, Iris
Blur, and Tilt-Shift. Refer to Figure 3-53.
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Figure 3-53. Filter ➤ Blur Gallery submenu
We will practice with the following road_image.psd. Refer to

Figure 3-54.
Figure 3-54. Image looking down at the town, river, and roads from
a mountain
Upon opening the workspace, you will find all of these five filters
present in the gallery, so you do not have to add them one at a time as you
work in a single smart object layer.
If you choose, for example, Filter ➤ Blur Gallery ➤ Field Blur, then
this will be currently selected on the right side with a check box enabled,
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and the options will be expanded in the Blur Tools panel, while the others
that have not been chosen will remain unchecked and collapsed. Refer to
Figure 3-55.
Figure 3-55. Blur Gallery Blur Tools panel
You will now focus on the Field Blur, Iris Blur, and Tilt-Shift. As you do
that, you will tour the workspace.
On the top is the Options bar panel, which is used by all filters in the
Blur Gallery. Refer to Figure 3-56.
Figure 3-56. Blur Gallery Options bar panel
It controls the pin options, which will be set on the preview of the
canvas for each blur, which can have more than one. Refer to Figure 3-57.
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Figure 3-57. Selected blur pin with ring
Each blur will have access to various options:

Selection Bleed (0–100%): Controls the amount of blur that filters
into the selected regions and how gradually the blurring bleeds to the
edge of the selection. This option is available for normal layers but will
be unavailable for smart object layers. However, you can still create a
selection prior to entering the filter. This will apply the selection to the
smart filter mask, which you can later blur or feather on your own using
the Properties panel layer mask area, and this was also mentioned with the
blur filters in this chapter. Refer to Figures 3-58 and 3-59.
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Figure 3-58. Rectangular Marquee Tool used prior to entering the

Blur Gallery
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Figure 3-59. The selection of the blur can be feathered later using the
Properties panel after exiting the Blur Gallery
Focus (0–100%): Controls the amount of blur in a protected region of a

pin. This is available for Iris Blur and Tilt-Shift. Refer to Figure 3-60.
Figure 3-60. Blur Gallery Options bar panel: Focus and other options
Save Mask to Channels: Saves a copy of the blur mask in the Channels
panel after exiting. While in the workspace hold down the M key for a
preview. The mask could later be used for other parts of the image or to
make a layer mask on an adjustment layer for further color editing. And
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depending on the blur chosen, some masks may be more visible than
others. Refer to Figure 3-61.
Figure 3-61. Channels panel and Blur Gallery setting enabled
High Quality: Enable for a more accurate bokeh (doing so may affect
performance and speed). Bokeh is a type of blur with settings found in the
Effects panel, which I will mention shortly.
Preview: Turn the blur’s preview on and off with the check box.
Reset (counterclockwise arrow): Reset all blurs and remove all the pins.
The Alt/Option key in this case cannot change the Cancel button into a
Reset button as it is used for other tasks.
OK and Cancel buttons: Use these buttons to exit the workspace after
you have made your adjustments, OK to commit and Cancel to exit without
saving changes. Refer to Figure 3-61.
For now, you want to remain in the workspace with a single pin. Refer
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to Figure 3-62.
Figure 3-62. Single selected blur in Blur Gallery preview
Click to add some more pins to the four corners of the image. The
entire image is quite blurry, but you will correct that shortly. Refer to
Figure 3-63.
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Figure 3-63. Five pins in Blur Gallery preview with the lower right
selected
As you review the preview of each blur pin, note that you can drag on
the center and move the pin on the canvas at any time to a new location.
To remove a single selected blur pin, press the Delete/Backspace key.
In this case you want to have five pins.
Press H when you need to temporarily hide pins while working.
Unselected pins will appear as a single white dot, while selected pins
will often have additional adjustment settings, which include the blur ring.
While in the panel you can zoom in and out using the key commands
Ctrl/CMD + +, Ctrl/CMD + – as well as Ctrl/CMD + 0. As you cannot access
your History panel, if you need to undo a step, you can use Ctrl/CMD + Z.
Remember to use your (spacebar) Hand tool when you want to
navigate on the canvas.
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Field Blur
Field Blur builds a gradient of blurs, by defining multiple blur points with
different amounts of blur. As multiple pins are added to the canvas, the
final result is the combined effect of all pins. Some pins can be placed off
the canvas when you want to blur edges or corners. Refer to Figure 3-64.
Figure 3-64. Adjusting a pin for Field Blur slightly off the canvas
When a pin or multiple pins are placed on the canvas, you have access
to options in the following panels.
Blur Tools Panel

Use the Blur slider to set a blur size amount of 0–500 pixels. For now, I
will have the blur for my four corners each set to 15 px, but the blur in the
center of the image I will set to 0 px. Refer to Figure 3-65.
Figure 3-65. Blur Tools panel for Field Blur and adjusted settings
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Likewise, while a pin is selected, you can use the ring blur handle on
the pin itself to adjust the blur size by dragging on the ring. When setting
multiple pins some should be set to 0% to keep some areas in focus as I
have done for the center of the image. Refer to Figure 3-66.
Figure 3-66. Five field blurs on an image with the center field blur
selected
For your own projects, the blur for other areas you may want to set
pins to ranges from 15–25 px (low blur) up to 500 px for the highest blur.
However, if there is too much blur, you will remove important details. Refer
to Figure 3-67.
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Figure 3-67. A corner field blur set to a high number causes too
much blur
Effects Panel
This panel controls overall the blur effect known as Bokeh, and this setting
is enabled by default. Toggling the check box on and off allows you to
preview the effects. Refer to Figure 3-68.
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Figure 3-68. Blur Gallery Effects panel
Bokeh (pronounced “BOH-kay”) is derived from the Japanese word

for blur or haze. Blur, depending on its kind, forms a pattern based on
the highlights and shadows. The camera lens generally should produce
a pleasing or good bokeh or background blur. However, in older types of
cameras or ones that may be damaged when the image is taken, there’s a
possibility of bad bokeh and so Blur Gallery may be able to correct that.
Tips on bokeh and taking pictures with your digital camera can be
found here:
www.adobe.com/creativecloud/photography/discover/bokeh-
effect.html
The sliders found in Bokeh are used to control the style of the overall
blur effect.
Light Bokeh (0–100%): Controls the amount of highlights in the blur.
Used to brighten out-of-focus areas. Do not set too high, or you could
cause the image to appear overexposed in certain blur areas. Refer to
Figure 3-69.
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Figure 3-69. Preview of changes to the Effects panel Light Bokeh
This is set at 55%. However, for this image I would not recommend
setting it higher than 14% at the most. For now, I will leave at 0%.
Bokeh Color (0–100%): Controls the colorfulness of the bokeh in color
areas in the highlight areas that are not 100% white. It works together with
Light Bokeh. Again, if Light Bokeh and Color Bokeh are set too high, you
will get an odd color shift in the highlight area, which you do not want.
Figure 3-70. Effects panel with changes to Bokeh Color
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For this example, leave both these settings at 0%. Refer to Figure 3-68.
Light Range (0–255): Use the black and white sliders to control the
range of light or tones where the bokeh appears. Be careful as you move
the slider to not create an undesirable color effect if you have already
adjusted your Light Bokeh and Bokeh Color sliders. In this case I will leave
the black slider at 191 and the white slider at 255. Refer to Figure 3-71.
Figure 3-71. Effects panel settings for Light Range
Motion Effects Panel

Field Blur and other blurs in the gallery that I will be discussing in this
book do not require this panel, and you can only use it with Path Blur and
Spin Blur as they have a blur that affects movement. Refer to Figure 3-72.
Figure 3-72. Blur Gallery Motion Effects panel with no settings
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Noise Panel
This panel is used for adding and controlling the level of noise or grain in
the blur areas of the image overall. You can use the Noise panel to make
your custom adjustments. Refer to Figure 3-73.
Figure 3-73. Blur Gallery Noise panel settings
Sometimes an image will become too blurred and appear unnatural,

and so adding some grain back into the picture may give it a more realistic
appearance and a better blend. Refer to Figure 3-74.
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Figure 3-74. Blur Gallery preview with some noise applied to

the blur
This preview setting is enabled by default and set to the Grain option.
In the list you can choose the type of noise you want: Grain, Uniform,
or Gaussian. It is set to Grain by default, and this has the most slider
options in the panel. However, as you experiment you may prefer one
noise pattern over the other. For now, remain on the Grain setting. Refer to
Figure 3-75.
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Figure 3-75. Blur Gallery using the Noise panel list to set the type
of noise
Amount (0–100%): Sets the amount of noise to add to blurred areas

and used to match the noise in non-blurred areas as closely as possible. I
found that a setting of around 19% was fairly close to the non-blurry areas.
Figure 3-76. Blur Gallery using the Noise panel with adjusted
settings
Size (0–100%): Controls the size of the noise grain. The slider is not
available for Uniform or Gaussian noise. I set it to a setting of 20% to
reduce the grain size.
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Roughness (0–100%): Controls the coarseness of the grain texture.

Under 50% the grain will appear uniform, but over 50% the grain starts to
become uneven. The slider is not available for Uniform or Gaussian noise.
I set it to about 14% so the grain was not overly visible.
Color (0–100%): Controls the amount of color variation in noise
being added to blurred areas. Leaving it at 0% will leave the noise
monochromatic or uncolored. I left it at 0% so as not to add extra red dots
into the image.
Highlights (0–100%): Used for better shadow/highlight matching.
Adjusts and reduces the amount of noise applied to image highlights. In
this case I left it at 100%.
Turning the noise preview off and on can help you visualize the effect
of the filter. Refer to Figure 3-76.
Preview the result when you zoom in on areas of the image. Refer to
Figure 3-77.
Figure 3-77. Blur Gallery preview of the subtle noise added to

the image
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In the Blur Tools panel, you can then either turn off the current blur
or leave it on and add then try the next blur in the gallery to the current
image. Generally, most blur kinds are used one at a time, but they can be
combined.
Expand that area in the panel to see all the options. Refer to
Figure 3-78.
Figure 3-78. Blur Gallery transitioning from Field Blur to Iris Blur
In this case I will turn off the Field Blur for now and try the next blur
option. Doing this places an Iris Blur in the center of the image.
Iris Blur
The Iris Blur is used to simulate a shallow depth-of-field effect to your
picture, regardless of the camera or lens used. This is a similar to the
Lens Blur filter we looked at earlier in this chapter but is in this case
nondestructive. When a pin or multiple pins are placed on the canvas,
you have access to options in the earlier mentioned panels. Refer to
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Figure 3-79. Blur Gallery adding an Iris Blur to the preview
Blur Tools Panel

Use the Blur slider to set a blur size amount of 0–500 pixels. Likewise, you
can use the ring on the pin itself to adjust the blur size. I tried a blur of 17
px. Refer to Figure 3-80.
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Figure 3-80. Blur Gallery Blur Tools panel with selected blur in
the panel
Drag on the center of pin to move it to a new location. On the canvas

the pin can be further controlled by dragging on the ellipse handles to
expand or rotate the blur. Refer to Figure 3-81.
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Figure 3-81. Iris Blur handles for scale/rotation, roundness/

squareness, and feathering
To make the blur less rounded and more of a rounded rectangle, use
the square roundness knob. The four inner circular feather handles can
also be used to adjust the blur’s sharp area and fade area by dragging them
in and out. Refer to Figure 3-82.
Figure 3-82. Blur Gallery previewing the altered Iris Blur
Tip Holding down the Alt/Option key + dragging will allow you to

move each of these four feather handles independently. Refer to
Figure 3-83.
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Figure 3-83. Alter one feather handle independently with the Alt/
Option key and drag
Notice in the Options bar panel you can also set the pin focus within
the selected ellipse. Refer to Figure 3-84.
Figure 3-84. Blur Gallery Options bar panel: pin focus
Effects Panel and Noise Panel

The same settings are available as those found in Field Blur, and you can
refer back to that section for more details on Effects and Noise panels. Note
that the Motion Effects panel has no available settings. In the case of the
Effects and Noise panels, if you already set some settings from a previous
blur, they will be retained here. Refer to Figure 3-85.
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Figure 3-85. Blur Gallery Effects and Noise panels
Tilt-Shift
This filter is used to simulate an image taken with a tilt-shift lens. For
information on this kind of lens, you can do an online search on “tilt-shift
photography.” This unique effect blur defines an area of sharpness and
then fades to a blur at the edges in straight sections or bands. It is often
used to simulate photos by giving them the appearance as if they were
miniature objects or landscapes. When a pin or multiple pins are placed
on the canvas, you have access to options in the following panels. Refer to
Figure 3-86.
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Figure 3-86. Blur Gallery Tilt-Shift blur applied
Blur Tools Panel

Use the Blur slider to set a blur size amount of 0–500 pixels. This
controls the blur and sharpness. In this example I set it to 17 px. Refer to
Figure 3-87.
Figure 3-87. Blur Gallery Blur Tools panel with a selected blur pin
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Likewise, you can use the ring on the pin itself to adjust the blur size.
Distortion (–100, 0, 100%): This slider controls the shape of the blur
distortion. I set it to 18%.
Symmetric Distortion: When enabled, applies distortion from both
directions. In some cases, the change may be minimal, so I left this option
disabled. Refer to Figure 3-87.
Using the round handles on the canvas, you can drag to rotate the
blur in negative and positive angle values. Dragging on the inner solid
focus lines allows you to control the sharp and fade area boundaries, and
dragging on the outer dashed feather lines controls the blur area. Refer to
Figure 3-88.
Figure 3-88. Drag on the handle or solid line to control angle/fade or

dashed line to control feather of blur
You can control each of the four lines separately. Refer to Figure 3-89.
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Figure 3-89. Blur Gallery preview of current blur
Notice that like the Iris Blur, in the Options bar panel, you can also set
the pin focus between the two feather lines. Refer to Figure 3-90.
Figure 3-90. Blur Gallery Options Bar panel with a focus setting
Effects Panel and Noise Panel

The same settings are available as found for these panels in the Field
Blur, and you can refer back to that section for more details. There are no
settings in the Motion Effects panel. For the Noise panel, adjust the noise
type as required to affect the overall noise. In this case, if you have already
made adjustments to the Effects and Noise panels, those settings will still
be present. Refer to Figure 3-91.
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Figure 3-91. Blur Gallery Effects and Noise panel settings
Note Path Blur and Spin Blur are also part of this gallery and can be
used for more artistic types of blur. Like the other blurs, you can use
them separately or grouped with the other blurs in the gallery when
you enable or disable the check boxes. Refer to Figure 3-92.
Figure 3-92. Blur Gallery Blur Tools panel with Path Blur and Spin
Blur enabled but not edited in the workspace
Path Blur can be used to create a type of motion blur along a path,
while Spin Blur can create a type of rotational motion blur from a center
point pin.
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If you need more details on how to use these specific filters in the Blur
Gallery, you can refer to the following link:
https://helpx.adobe.com/photoshop/using/blur-gallery.html
When you have completed your settings, click OK to exit the workspace
and review the results on the smart object layer. Refer to Figure 3-93.
Figure 3-93. Preview of the result of Blur Gallery Tilt-Shift applied to

a smart object layer
File ➤ Save your work and refer to my file road_image_final.psd if you

need a reference.
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Noise Correction Filters

Noise correction filters can be used to either add or remove noise to or
from an image. Noise can be defined as pixels with randomly distributed
color levels. In an image this could be a grain effect, a texture, or unwanted
dust and scratches. Noise can also occur in images of low-level light, under
exposure, or when scanning some film, as you saw earlier in the sunset
image that we applied the Gaussian Blur filter to.
Noise may also appear in a grayscale (luminance) grain or patch or in
color with small unwanted color artifacts.
Artifacts will often be more obvious in one or more RGB channels,
often the blue channel, especially in digital cameras. However, when
you’re dealing with a damaged image like a print or slide, noise and dust
can be on every channel. Refer to Figure 3-94.
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Figure 3-94. Selected blue channel in the Channels panel and

looking for potential noise
Refer to the Reduce Noise filter for more details on this particular topic.
Now we will look at five noise filters to either clean up unwanted dust
or scratches that are evenly distributed throughout the image or add some
noise back into the image. Go to the Filter ➤ Noise submenu to review the
following. Refer to Figure 3-95.
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Figure 3-95. Filter ➤ Noise submenu
Add Noise
This filter adds random pixels to an image, simulating the effect of
shooting pictures on high-speed film giving a type of grainy appearance.
Adding grain to an image does not necessarily improve the quality of an
image you are trying to repair but is considered more of an effect. Refer to
Figure 3-96.
However, as you saw with the Blur Gallery, sometimes adding noise
back is good. You can use this filter for corrections as well such as
• To reduce banding in feathered selections or

graduated fills
• To give a more realistic look to heavily retouched areas

that have become blurry due to a healing or clone
stamping tool where you need to match the original
texture again
In the dialog box you can set the following options.
Create a copy of dog_motion_blur_final.psd with the Motion Blur as

the example to add some grain back. Refer to Figure 3-96.
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Figure 3-96. Add Noise dialog box with the Layers panel displaying
smart filters of Add Noise and Motion Blur
Amount (0.10–400%): Higher percentage values add more colored

pixels to the image. In this case I wanted to be very subtle, so I used a
setting of 4.6%.
Distribution: Can be set to either Uniform or Gaussian for noise
distribution. Uniform will distribute the noise’s color values using random
numbers between 0 and plus or minus the specified value. It creates a
subtle effect. However, Gaussian, as mentioned with the blurs, distributes
the noise’s color values along a bell-shaped curve calculation to create a
speckle effect.
In this case I use Uniform.
Monochromatic: When enabled, applies this filter to only the tonal
elements in the image without altering the colors. The color of the noise
is now grayscale and no longer colorful, which is good for images that are
black-and-white. In this case there is color in the image so I will leave this
setting disabled. Refer to Figure 3-96.
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glass icons when you want to zoom in on a section in the preview box
to see an affected area up close and zoom out after. You can move the
preview area around to see other areas in the image. You can also toggle
Preview on and off to compare settings in the dialog box to the canvas.
Click OK to commit the changes and look at the subtle added noise to
the blur in the image. Refer to Figures 3-96 and 3-97.
Figure 3-97. Add Noise applied to an image of a dog in a

masked area
File ➤ Save your work and check out the file dog_motion_blur_noise_
Despeckle
While this filter has no dialog box with additional options, it is used to
detect the edges in an image. The edges are areas where significant color
changes can occur. Then it blurs all of the selection except those edges.
The blurring is meant to remove or reduce noise while preserving details.
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If you apply this filter to an image use your visibility eye on your smart
object layer to turn this setting off and on. In some images the change will
be very subtle. Refer to Figure 3-98.
Figure 3-98. Apply the Despeckle filter as seen in the Layers panel
From experimenting I found that it only blurs very slightly and does
not adequately remove dust and scratches. In this case I recommend
using the next filter instead, but you can try Despeckle on one of your
own images.
Dust & Scratches

Dust & Scratches is a good filter to experiment with, either overall or as a
mask to selected areas when your image has a lot of dust, scratches, and
artifacts covering it and it would take too long to clone stamp and cover
them. At the beginning of the chapter, I showed an example of a structure
of some ancient pillars. The slide had over time acquired dust particles,
which were too small to remove easily. So I used Filter ➤ Noise ➤ Dust &
Scratches. Check out file pillar_dust_example.psd for reference to various
layers. Refer to Figure 3-99.
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Figure 3-99. Image of pillars that requires Dust & Scratches to

be applied
In the original image, as mentioned earlier, it had to be rotated and

cropped. However, before missing gaps could be filled in with the Edit ➤
Content-Aware Fill workspace, to avoid adding more dust to the image, this
filter needs to be used first. See Volume 1 on the topic of using the Content-
Aware Fill workspace with selections.
Dust & Scratches can reduce noise by blurring dissimilar pixels. To
achieve a balance between sharpening the image and hiding defects,
you will need to experiment with various combinations of Radius and
Threshold sliders. Here I am showing the settings that I use in masked
smart filter areas. Refer to Figure 3-100.
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Figure 3-100. Smart object layer with smart filter Dust & Scratches
applied and the dialog box
Radius (1–500 pixels): Determines the size of the area searched for
dissimilar pixels. Try entering values between 1 and 16 to blur the image
gradually and then increase or decrease the value as you move the
Threshold slider. In this example I used a radius of 3 pixels.
Threshold (0–255 levels): Determines how dissimilar the pixels should
be before they are eliminated or blended together. Try experimenting first
with values between 0 and 128 and increase if necessary if you need to
bring some of the details back. To avoid too much blurring, I left the setting
at 3 levels.
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see an affected area up close and zoom out after. You can also move the
preview around to see another area. You can also toggle Preview on and off
to compare settings in the dialog box to the canvas.
Click OK to commit the changes and review the result. Refer to
Figure 3-101.
Figure 3-101. Area of stone without and with the Dust & Scratches
filter applied
Using this filter with a layer mask is helpful when you know that some
of the lines or fine details are not scratches and you want to restore them to
the image. Refer to Figure 3-102.
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Figure 3-102. Dust & Scratches filter enabled in the Layers panel
with additional layers later added to fill in gaps
Using Dust & Scratches will not completely remove every single dust
particle as some will be too large. Larger particles will still need to be
covered on a separated blank new layer using one of your healing tools
such as the Clone Stamp tool, as I demonstrated in Volume 1.
As mentioned, once you have used this filter, you could then add a new
blank layer and use your Magic Wand tool in selected areas below the new
layer on Layer 0 and then enter the Edit ➤ Content-Aware Fill workspace
to fill in the gaps without adding extra dust particles as was demonstrated
in Volume 1. In this case it would rely on the detail in the blurred areas of
the smart layer (Layer 0 copy). In this example you can see the result of
working in that Workspace on “Layer 1 content aware fill” for reference
Figure 3-102, and then again, I made a second blank layer, which I named
“Clone Stamp”, and made adjustments with the Clone Stamp tool in areas
such as the sky or near the edges where the newly filled area meets the
original image to blend everything together. File ➤ Save your work and
refer to the file pillar_dust_example_final.psd for reference.
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We will return to the Dust & Scratches filter at the end of the chapter to
complete the photo project.
Median
This reduces noise in an image by blending the brightness of pixels within
a selection and is often used on images with high luster or stipples that
appear unsharp or grainy after scanning. You saw some examples in
Chapters 1 and 2. This filter can help reduce the appearance of a textured
surface and acts similar to the Dust & Scratches filter.
Using the Radius value, it searches the radius of a pixel selection for
pixels of similar brightness and then discards pixels that differ too much
from adjacent pixels. It then replaces the center pixel with the median
brightness value of the searched pixels. Using the image white_terrace_
walls_median.psd, you can see what occurs when you use Filter ➤
Noise ➤ Median when applied to the smart object layer. Refer to
Figure 3-103.
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Figure 3-103. Image that was scanned from a textured print
Radius (1–500 pixels): A low setting is recommended of 1–2 pixels to

improve the overall surface. Otherwise, it may become too blurry. Because
the details in this image are so fine, I used 1 px. The filter can also be useful
for eliminating or reducing the effect of slight motion on an image. Refer to
Figure 3-104.
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Figure 3-104. Median dialog box and the filter applied to a smart
object layer in the Layers panel
see an affected area up close and zoom out after. Move the preview area
around if you need to see other areas of the image. You can also toggle
Preview on and off to compare settings on the dialog box to the canvas.
To keep some details but still blur a bit more, I found that adding Filter
➤ Blur ➤ Surface Blur also improved the image, with a radius of 2 and a
threshold of 5. Refer to Figure 3-105.
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Figure 3-105. Surface Blur dialog box and the filter applied to a
smart object layer in the Layers panel and preview
Tip Another option you could experiment with is layering duplicate

smart object layers with the similar smart filter applied but a different
opacity to improve the blend.
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File ➤ Save your work so far and refer to my file white_terrace_walls_

median_final.psd.
Reduce Noise
This filter is used to reduce noise while preserving edges based on user
settings. This could affect the overall image or individual channels.
As mentioned earlier in this section, some channels, such as the blue
channel, can have more noise in them. This may be easier to determine
from an image from a digital camera rather than a scanned image.
However, you can use this for your scanned digitized image as well. Before
you start using this filter, take a moment to examine your Channels panel
and see if one of the channels has more noise than the others. Refer to
Figure 3-106.
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Figure 3-106. Check the red, green, and blue channels in the
Channels panel to determine which has the most noise; in this case, it
is the lower blue channel
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In this next dialog box, you can make the following adjustments. Make
sure that the Preview check box is enabled as you work. In this case use the
file sunset_reduce_noise.psd. Go to Filter ➤ Noise ➤ Reduce Noise and
refer to Figure 3-107.
Figure 3-107. Reduce Noise dialog box
There are two radio button options, Basic and Advanced. For working
with your channels, use the Advanced setting.
Settings: The preset settings currently, set to Default, but you can save
a copy of the current settings. They will then be stored in the dialog box for
another time. Unwanted settings can be selected and removed with the
trash can icon.
Overall tab: Many images may need noise reduction overall. The
settings for this tab include
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Strength (0–10): Enter the strength for reducing luminance noise in

all the image’s channels. If the setting is 0, then Preserve Details will be
unavailable. In this example I used a setting of 6.
Preserve Details (0–100%): Enter the amount of detail to be preserved
for the edge and image overall. This could include fine details like hair
and textures on objects. 100% preserves all details but may not balance
luminance noise overall. Experiment with the Strength and Preserve
Details sliders to find an ideal balance in noise reduction. I left it at the
default of 60%.
Reduce Color Noise (0–100%): Enter the strength for reducing
chromatic noise appearing as random color pixels. Gradually increase
the value to reduce the overall noise. As the image had only minor noise
issues, I left it at the default setting of 45%.
Sharpen Details (0–100%): Enter the amount of sharpening to be
applied to restore minor details. As you remove noise the sharpness of
the image is reduced. Setting it too high, however, can produce additional
artifacts. Later, outside the dialog box, you can also apply one of the
sharpen filters to adjust this setting further and restore some sharpness. I
set the slider to a low setting of 25%. Refer to Figure 3-108.
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Figure 3-108. Reduce Noise dialog box: Overall tab
Remove JPEG Artifact: When enabled, will remove blocky artifacts

and halos due to JPEG file compression. This can occur when images like
a copy of a copy have been saved multiple times and varying degrees of
lower quality have been set. Be aware it is better to always work from your
scanned bitmap or TIFF image to keep the highest original quality. With
digital camera .jpg images always work on an image duplicate so as not to
degrade the original. In this example, it can also smooth out the graininess
in some of the low-light areas near the water. However, if you find that
with the setting enabled you are losing some shadows or highlights, then
disable this setting. Refer to Figure 3-109.
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Figure 3-109. Reduce Noise dialog box preview: by enabling and

disabling the Remove JPEG Artifact check box, there can be very subtle
color shifts
Toggle the check box on and off in various close-up areas of the image
to see what is affected by the setting of Remove JPEG artifact.
Per Channel tab: Sometimes just correcting the noise on one or two
channels can improve the overall image. Refer to Figure 3-110.
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Figure 3-110. Reduce Noise dialog box: Per Channel tab
The settings for this tab include

Channel: Preview a channel by choosing Red, Green, or Blue from the
list. Then select a channel to reduce the noise.
Strength (0–10): Enter the strength of the noise reduction. If the setting
is 0, then Preserve Details will be unavailable.
Preserve Details (0–100%): Enter the amount of detail to be preserved.
In this example, for each channel, try the following settings:
• Red: Strength 1, Preserve Details 0%.
• Green: Strength 0, Preserve Details 0%.
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• Blue: Strength 10, Preserve Details 60%. I set this one

higher because, as mentioned earlier, the blue channel
had more noise.
see an affected area up close and zoom out after. You can move in the
various preview boxes (overall and per channel). However, you can also
zoom in and out on the canvas. You can also toggle Preview on and off to
compare the settings in the dialog box to the canvas.
Click OK to commit the changes and review your results. Refer to
Figure 3-107.
In the mountain region you will notice a subtle smoothness of the grain
noise, especially in the blue channel. Refer to Figures 3-111 and 3-112.
Figure 3-111. Composite RGB and reduced noise in specifically the

blue channel
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Figure 3-112. Layers panel and the final image with the Reduce
Noise filter applied
File ➤ Save your work, and you can check out my file sunset_reduce_
noise_final.psd for reference.
Sharpen Filters
The sharpen filters can be used to do basic corrections to an otherwise
blurry image. However, you can oversharpen, but with the filter you can
adjust your setting more accurately. Go to Filter ➤ Sharpen to review the
five filter options. Refer to Figure 3-113.
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Figure 3-113. Filter ➤ Sharpen submenu
Note that the options of Sharpen, Sharpen Edges, and Sharpen More
have no dialog box and no additional settings. Sharpen More is,
however, a stronger setting than Sharpen, but the changes on some
images can be very subtle. So, for better control, we will focus on the
main two, Smart Sharpen and Unsharp Mask.
Smart Sharpen
Use this dialog box to set a preset sharpening algorithm or manually
control the amount of sharpening that occurs in shadows and highlights.
This is ideal to use when you need to experiment with sharpening settings
and reduce noise and halo effects. Besides sharpening layers, it can
also be used to sharpen individual channels. In this example I used file
Plant_Sharpen.psd, where I sharpened the layer of the pot and plant in
the forefront area, which was out of focus. Refer to the file Plant_Sharpen_
final.psd. If you would like to apply a filter mask, go to Filter ➤ Sharpen ➤
Smart Sharpen. Refer to Figure 3-114.
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Figure 3-114. Slightly blurry plant image that requires some

sharpening
Once in the dialog box, make sure that the Preview check box is
enabled so that you can see changes. Refer to Figure 3-115.
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Figure 3-115. Smart Sharpen dialog box
Gear settings: This allows you to use the original legacy settings Use
Legacy or use More Accurate.
The Use Legacy option is from the older CS6 version and processes the
file slowly. You can also enable More Accurate for the removal of blurring.
This, however, as you test and preview, can sometimes oversharpen and
not smooth areas at the same. Refer to Figure 3-116.
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Figure 3-116. Smart Sharpen dialog box settings: Use Legacy and
More Accurate disabled and enabled
By default, these options are disabled to let Smart Sharpen do its job.
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The next set of options include

Preset: Use the custom preset settings that you create. Upon entering
the dialog box, it will show default settings, but when altered it will reset to
custom. From the Preset list files can be saved and loaded as (.SHR) files.
Presets can also be deleted. Refer to Figure 3-117.
Figure 3-117. Smart Sharpen dialog box settings
Amount (0–500%): Enter the strength of the sharpening applied. Try

high values first and then gradually lower the value to see the effect on the
image. Higher values increase the contrast between the edge pixels giving
the illusion that the image has come into focus. However, if there is dust,
scratches, or rough areas, these are enhanced as well. I will use a setting of
200%. Refer to Figure 3-118.
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Figure 3-118. Sharpening can make details including dust more

visible
Radius (0–64 px): Enter the width of the sharpening effect. This
determines the number of pixels surrounding a defined edge that will be
affected by the sharpening. Higher radius values show wider edge effect,
and the sharpening appears more dramatic. First, increase to the point
where you see a halo or increased edge effect and then gradually reduce
it. Work together with the Amount slider to find a balance. In this case I set
the radius to 2.7. Refer to Figure 3-119.
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Figure 3-119. Smart Sharpen dialog box: adjusting the

Radius setting
Reduce Noise (0–100%): Enter the amount of noise reduction. Use this
to reduce unwanted noise, but not affect the important edge areas. If prior
blurring has been applied to the image, then you may want to add back
some noise so that the image does not appear too smooth and plastic-like,
which a high setting can create. If the Amount has been set higher, you
may need to adjust this slider. In my case I want some texture, so I set the
Reduce Noise to 26%. Refer to Figure 3-120.
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Figure 3-120. Smart Sharpen dialog box: adjusting the Reduce

Noise setting
Remove: Used to remove a type of blur such as Lens Blur, Gaussian

Blur, or Motion Blur.
Lens Blur: Detects the image’s edges and details. It is recommended to
provide finer sharpening of details and reduce the sharpening of halos.
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Gaussian Blur: Uses a similar setting to the Unsharp Mask filter and
can sometimes define edges better than Lens Blur.
Motion Blur: Is used to reduce the effects of blur due to camera shake
or subject movement. It will allow you to adjust the angle for correction by
entering the value (–360°, 0°, 360°) or using the angle control rotation icon.
In this case I used Gaussian Blur. Refer to Figure 3-121.
Figure 3-121. Smart Sharpen dialog box: adjusting for the correct
type of blur to remove
Shadows and Highlights sliders are used for sharpening dark and light
areas where halos still appear. Refer to Figure 3-122.
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Figure 3-122. Smart Sharpen dialog box: adjusting Shadows and

Highlights settings
You can set the following for Shadows and Highlights:

Fade Amount (0–100%): Enter an amount of correction to adjust the
amount of sharpening. For Shadows I left the amount at 0%. For Highlights
I increased it to 14%, to reduce some of the white highlights on the pot.
Tonal Width (0–100%): Enter a tonal width value to control the range
moving the slider left or right. 0 is considered narrow and 100 is considered
broad. For both the Shadows and Highlights, I left this setting at 50%.
Radius (1–100 px): Enter a value to set the scale size for corrections.
The value controls the size of the area surrounding each pixel. The value is
used to determine whether a pixel is in the Shadows or Highlights. Move
the slider to the left to set a small area and move it to the right to set a
larger area. In this example for Shadows and Highlights, I left the setting
at 1 px.
see an affected area up close and zoom out after. Move the image in the
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preview area to see another area. You can also toggle Preview on and off to
compare the settings on the dialog box to the canvas.
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Figure 3-123. Smart Sharpen filter applied to the smart object layer
and a painted mask for the smart filter
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In this example, you can refer to Plant_Sharpen_final.psd for the

layer’s smart filter mask. I also painted with the Eraser tool on the smart
filter mask so that only the plant and pot were sharpened and not the
background and area below the pot. Additionally, you may also, on a
separate layer (Layer 1), want to use the Clone Stamp tool to cover any
unwanted dust and scratches that were made visible by the sharpening. In
this case using the Options bar panel Brush Preset picker, a small round
brush of about 9 px, with a 12% hardness, was good for covering tiny dots.
Figure 3-124. Settings in the Options bar panel for the Clone
Stamp tool
File ➤ Save your work and check out my file Plant_Sharpen_final.psd

for reference.
Unsharp Mask
While not as complex as Smart Sharpen, you can use this filter to find the
areas in the image where significant color changes occur and sharpen
them. You can use Unsharp Mask in combination with the Sharpen Edges
filter, which sharpens only edges while preserving the overall smoothness
of the image. However, that filter does not allow you to specify an amount.
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For better color correction control, it is recommended to use the

Unsharp Mask filter with a blending mode to adjust the contrast of edge
detail and produce a lighter and darker line on each side of the edge.
However, before you apply the blending mode, first use the Filter’s dialog
box to emphasize the edge detail and create an illusion of a sharper image.
In this example I will just show you how the same plant image could
appear using Unsharp Mask, and then you can decide if you prefer it over
Smart Sharpen. Refer to the file Plant_Sharpen_final2.psd. I have turned
the visibility off for Smart Sharpen. Refer to Figure 3-125.
Figure 3-125. Unsharp Mask dialog box and the Unsharp Mask
filter applied to the smart object layer with the Smart Sharpen filter
turned off
The following settings in the dialog box are

Amount (1–500%): Use the slider or enter a value to determine how
much to increase the contrast of pixels. Adobe recommends a setting
for high-resolution printed images of between 150% and 200%. I found
visually a setting of 100% did not oversharpen.
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Radius (0.1–1000.0 pixels): Enter a value to determine the number of

pixels surrounding the edge pixels that will affect the sharpening. High
values will cause more dramatic effects, and the sharpening effect will
appear more obvious. On screen, the lower settings you choose may look
OK. However, keep in mind that if the image will be printed, you may have
to increase the radius from 1 to 2 pixels to see improved sharpening in a
wider range of pixels. In this case I tried 2.7 pixels.
Threshold (0–255 levels): Enter a value to determine how different
the sharpened pixels must be from the surrounding area before they
are considered edge pixels, and the sharpening takes place. The default
Threshold value is 0; this sharpens all pixels in the image, or in this
case, the area that is revealed by the mask. However, you may want to
experiment with a value between 2 and 20 depending on how much
sharpening the image requires. In this case I left it at 0.
see a sharpened area up close and zoom out after. Move your preview
around to see different areas. You can also toggle Preview on and off to
compare the settings in the preview to the canvas.
Click OK to commit the changes and review the result. Refer to
Figure 3-126.
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Figure 3-126. Unsharp Mask applied to the image
Each sharpen filter has its own unique sharpen settings. However, I
would not recommend using the two together as this could again cause an
oversharpening in the highlights. Use these one at a time.
Other things that you can try with the smart filter applied are as
follows:
• As noted, use a layer mask or smart filter to avoid

sharpening some areas altogether and leave them
intentionally blurred. This may avoid adding additional
noise or banding to areas that contain skin tones.
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• As mentioned, to control color correction, if colors start

to appear oversaturated in some areas or desaturated
in others, you may want to experiment with the smart
filter blending options to fade blend settings and try
setting the blending mode to Luminosity as well as
fading the opacity. In this example I left the blending
mode at Normal and the opacity at 100%. Refer to
Figure 3-127.
Figure 3-127. Unsharp Mask blending mode options
• If you work on a duplicate copy of an image or layer,

you can use Unsharp Mask on individual layer masks
and channels.
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• Creating selections for the Unsharp Mask filter can be

found on the following link (see “Sharpen an image
using an edge mask”):
adjusting-image-sharpness-blur.html
Refer to this example to discover how you can, on a duplicate of one

of the channels, create an alpha channel that can later be loaded as a
selection for the filter. Besides using Unsharp Mask, you can use additional
filters and adjustment layers to complete this process.
Sharpening Low-Resolution Images

Use Unsharp Mask after resampling when creating an enlargement of a
low-resolution image such as 72 dpi/ppi to 300 ppi. First, use Image ➤
Image Size to enlarge the image. While it is not possible to recreate pixels
that do not exist, after enlargement, adding this Unsharp Mask filter will at
least give the appearance of a sharpened image, as after expansion some
images can be blurry.
During enlargement, in the Image Size dialog box, use the
recommended Resample options (enable check box) of either Preserve
Details (enlargement), Preserve Details 2.0, or Bicubic Smoother
(enlargement) as other settings may introduce unwanted pixels during
scaling or are better suited for reduction. Refer to Figure 3-128.
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Figure 3-128. Image Size dialog box and settings
Then for your project apply the Filter ➤ Sharpen ➤ Unsharp Mask
filter with your settings.
However, after any expansion or sharpening adjustments, always
do a test print. I find that most images cannot expand with good-quality
results beyond 10%–50% of the original scan size. If 100% is the original,
then no higher than 150% in width and height is advised. If the original
scanned or digital image was presented to you at 4 × 4 inches at 72 dpi
and you increase the size to 6 × 6 inches, that might look OK for a basic
print or website. But at the same time, you may want to resample it to 300
dpi at the same size 4 × 4 or to 6 × 6 inches at 300 dpi, and this might be
OK after sharpening. However, keep in mind, because the resolution is
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increasing too, this is actually a scaling of about 417–625% or about 4–6.25

times larger. Any higher an enlargement, unless it is meant to be seen
at a distance and not up close, would look very blurry and there would
be no sharp details. This is why I recommend scanning your images at
at least 300–600 dpi or higher with the scanner or using a digital camera
for professional photography with a camera resolution higher than 12
megapixels because you never know when someone might ask for an
enlargement.
Later, for sharpening, you may want to experiment with the Camera
Raw Filter, which we will look at in Chapter 4.
Render Filters
For artistic work you should, on your own, explore the other filters. However,
I will just mention two render filters that I recommend for your digital
scrapbook projects. Go to the Filter ➤ Render submenu. Refer to Figure 3-129.
Figure 3-129. Filter ➤ Render Submenu
Picture Frame
This filter cannot be used on a smart object layer. However, it does create
a nice decorative frame, which you can later use in conjunction with the
layer style of Drop Shadow that was mentioned in Chapter 2.
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You can use the file castle_frame.psd.

Working on a new blank transparent layer in this case is best, as well
as leaving a transparent area around the image, which you can always
crop around later. Work with a rectangular image and start by creating a
selection area with the Rectangular Marquee Tool or just use Select ➤ All.
Figure 3-130. Use the Rectangular Marquee Tool to create a selection

for a frame
Go to Filter ➤ Render ➤ Picture Frame.

You can use the default setting or create your own preset custom
frame; they can be saved as .xml files. Refer to Figure 3-131.
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Figure 3-131. Frame dialog box
Basic Tab
From the Basic tab, you can choose from at least 47 different kinds of
preset frames.
Options that you can choose from are for
Vines
• Vine Color: Select a color from the color picker.
• Margin (1–100).
• Size (1–100).
• Arrangement (1–200).
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Flower
• Kinds (over 20 options).
• Flower Color: Select a color from the color picker.
• Flower Size (1–100).
Leaf
• Kinds (over 20 options).
• Leaf Color: Select a color from the color picker.
• Leaf Size (1–100).
Actual frame kinds without vines, flowers, and leaves will have these
current settings disabled.
I am using 42: Art Frame with a Vine Color of R: 64, G: 0, B: 0. Refer to
Figure 3-132.
Figure 3-132. Frame dialog box: Basic tab
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However, additional settings will be available under the Advanced tab.
Advanced Tab
Use this tab when you are creating non-floral frames. You can also use
some floral frames, but not all options will be available for all frames. Refer
to Figure 3-133.
Figure 3-133. Frame dialog box: Advanced tab
The possible options are
• Number of Lines (1–30): Here I set it to 15.
• Thickness (1–200): Sets the line thickness.
• Angle (0–360): Sets the angle of floral design.
• Fade (0–100): Fades the frame.
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• Invert: This setting can be used with floral and non-

floral frames to invert the color of the embossed
appearance.
Note that if you need to change the frame’s color, go back to the
Basic tab and use the Vine Color option to access your computer’s
color picker.
Click Reset if you need to reset to the default settings.

Click OK to confirm changes or Cancel to exit without saving changes.
After clicking OK the frame will appear within the selection on the
original blank Layer 1.
Use Ctrl/CMD + D to Select ➤ Deselect the selection. Refer to
Figure 3-134.
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Figure 3-134. Frame applied to blank Layer 1 and a copy made into
a smart object layer
If you find the frame is too small, you can always, afterward, turn it or a
copy (Layer 1 copy) into a smart object layer.
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Use Edit ➤ Transform ➤ Scale or Rotate and the bounding box

handles with your Options bar panel, as seen in Volume 1, to make further
size adjustments. Click the check to confirm, in this case, the scale of
117.58%. Refer to Figure 3-135.
Figure 3-135. Smart object layer scaled and the settings in the
Options bar panel
Then I apply the Drop Shadow using the Layers panel and the Layer
Style dialog box. Refer to notes in Chapter 2.
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While in the dialog box drag the Drop Shadow around on the canvas to
make the shadow appear inside and outside of the frame in the lower right
direction. Set a Structure blend mode to Multiply and the color it black,
Opacity:100%, Angle:135º, Distance:15px, Spread:0px, and Size:7px and
under Quality a contour:Linear and Noise:0. The anti-aliased checkbox is
disable and the Layer Knocks Out Drop shadow is enabled.
File ➤ Save your work and refer to Chapter 2 if you need more details
on using Drop Shadow. Refer to castle_frame_final.psd if you need to
review the effect. Refer to Figure 3-136.
Figure 3-136. Final frame with a Drop Shadow layer style applied
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Lens Flare
While in most cases you would likely want to reduce lens flare, for artistic
effects, you may want to add the lens flare back into the image.
However, be aware that if the layer already has a filter mask, it will then
mask certain areas, including parts of the lens flare.
In this case I worked on a duplicate of the layer of the Smart Object
that I then rasterized using the Layers menu. This applied the current filter
and mask. Check out my example lighthouse_lens_flare.psd for reference
to the Layer 0 copy.
Go to Filter ➤ Render ➤ Lens Flare. Refer to Figure 3-137.
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Figure 3-137. Lens Flare applied to a layer without a mask and the
dialog box
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Drag on the preview to move the point where you want the lens flare to
occur. Holding down the Alt/Option key and clicking the flare lets you set
a precise flare center for the X: 1146.5 and Y: 886.8 coordinates in pixels.
Click OK to commit. Refer to Figure 3-138.
Figure 3-138. Lens Flare Precise Flare Center dialog box
Brightness (10–300%): Sets your brightness level. I set it to 138%. Refer

to Figure 3-137.
Lens Type: Choose a type from the four different options: 50-300mm
Zoom, 35mm Prime, 105mm Prime, and Movie Prime. Refer to
Figure 3-139.
Figure 3-139. Lens Flare dialog box: setting for Lens Type
In this case I used 50-300mm Zoom.

Click OK to commit the changes, in this case the normal rasterized
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Figure 3-140. Image before and image after the Lens Flare filter
was applied
Alternatively, if you just applied the lens flare to a select location, it

can also be applied again right away to a new layer with an Edit ➤ Fill of
Black for Contents with the Blending set to Mode: Normal and Opacity:
100%. Leave Preserve Transparency unchecked and click OK. Refer to
Figure 3-141.
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Figure 3-141. Use the Fill dialog box to make a normal layer filled
with black and with a lens flare
Then apply the same Lens Flare filter again.

Then set the new Layer 1 to a blending mode of Screen and you will get
the exact same effect without damaging any layer. You can also adjust that
layer’s opacity as well as color correct, with additional adjustment layers as
required. Refer to Figure 3-142.
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Figure 3-142. Use the Layers panel to set the new layer to a blending
mode of Screen on top of a smart object layer
File ➤ Save your work and refer to the file lighthouse_lens_flare_

final.psd.
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3D Effects and Lighting Effects Alternatives

Note that in recent versions of Photoshop, the Render ➤ Lighting Effects
filter has been removed because it was used for interaction with other 3D
effects. The 3D part of the Photoshop main menu has also been removed
recently, and any 3D filters and panels are now inactive. 3D effects with
basic objects and text can now be recreated in Adobe Illustrator along with
some lighting effects, then selected and copied, and then in Photoshop
pasted as smart object layers. Refer to Figure 3-143.
Figure 3-143. Illustrator allows you to select and then paste 3D

objects into Photoshop as smart object layers
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Alternatively, you can use the Adobe apps from the 3D Substance
collection. Refer to Figure 3-144.
Figure 3-144. Various applications in the Adobe Substance collection

for 3D creation
More on this topic can be found at the following link:

https://helpx.adobe.com/photoshop/kb/3d-faq.html
3D and Adobe Illustrator are not the topic of this book, but if they are
of interest to you, you may want to take a look at my books mentioned in
the introduction.
ther Basic Filters to Consider

O
for Image Restoration
We don’t use these filters very often when there are called Other filters, but
there are a few here that we can use to affect an image. Refer to the Filter ➤
Other submenu. Refer to Figure 3-145.
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Figure 3-145. Filter ➤ Other submenu
High Pass
This filter can be used to retain edge details in the specified radius where
sharp color transitions occur and suppresses the rest of the image. This
could be images such as a continuous-tone image before applying other
commands or adjustments like Threshold. It is mainly used for line art,
and on its own it can’t be used for image repair. However, if I apply the
filter to the duplicate layer and give the entire layer a blending mode of
Linear Light, this makes the image appear sharpened.
Radius can be set to a range of 0.1–1000 pixels. A lower setting
of 0.1 keeps only the edge pixels. In this case I set it to 10 px. Refer to
Figure 3-146.
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Figure 3-146. High Pass dialog box and filter applied in the
Layers panel
see an affected area up close and zoom out after. Move the preview to
a new location. You can also toggle Preview on and off to compare the
settings in the dialog box to the canvas.
After you apply the blending mode of Linear Light, you will see that the
originally blurred lines appear more in focus. Refer to Figure 3-147.
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Figure 3-147. High Pass applied to a layer to give the appearance of

sharpening
Refer to my file High_Pass_example.psd.
Minimum and Maximum

Along with Gaussian Blur and other blur filters as well as Median, the
filters Minimum and Maximum can also be used to assist with creation
of blur effects on both layers and masks. For masks Maximum is used
to spread out the white areas and decrease black areas. Minimum does
the opposite: shrink white areas and increase black areas. Refer to
Figure 3-148.
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Figure 3-148. Maximum and Minimum filter dialog boxes
You can set the following settings for either filter:

Radius (Maximum: 1–500 px, Minimum: 0.2-500 px): Sets a selected
pixel range. Replaces the current pixel’s brightness value with the highest
or lowest brightness value of the surrounding pixels as you move the slider
or set a value.
Preserve: If the radius is increased, to promote either corners or curves
in the alternation of image contours, you can choose the option of either
Squareness or Roundness.
see an affected area up close and zoom out after. Move the preview area
to a new location. You can also toggle Preview on and off to compare the
settings in the dialog box to the canvas.
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Click OK to commit the changes.

With the file bottles_min_max_example.psd, we can use either
Minimum or Maximum on a copy of the image in combination with a
blending mode of Multiply. Then as a way to sharpen the edges, add Filter
➤ Stylize ➤ Find Edges, which has no dialog box. To enhance the edge,
rather than use a sharpening filter, “Find Edges” creates an interesting
effect in the otherwise bright highlight areas. Refer to Figure 3-149.
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Figure 3-149. A layer with the filters Minimum and Find

Edges applied
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HSB/HSL Filter
HSB stands for Hue, Saturation, and Brightness. HSL stands for Hue,
Saturation, and Luminosity. This is a filter that has been in Photoshop
for some time though like most filters found under the Other submenu,
you probably have not noticed it. It shares some similarities to the Color
Lookup filter that I talked about earlier in Chapter 1. You can use it to alter
colors in the image by changing the Input Mode and Row Order radio
buttons in various artistic combinations (up to six) to make the image
appear like as Andy Warhol-like art. Refer to Figure 3-150.
Figure 3-150. HSB/HSL Parameters dialog box
Note that if you use the same Input Mode and Row Order, no change
will occur, like RGB to RGB. So you need to use, for example, RGB
Input Mode with either an HSB or HSL Row Order.
In the dialog box, optionally, use the Alt/Option key to change the
Cancel button to Reset to reset your original slider settings. Holding down
the Ctrl/CMD key changes the Cancel button to the Default button.
Click OK to commit the changes. Refer to image statue_filter.psd for
reference. Refer to Figure 3-151.
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Figure 3-151. Various HSB/HSL parameters applied to an image
519
Use your filter’s visibility eye if you need to toggle on and off to see the
changes. And double-click the filter name again if you need to enter it and
try a new color combination. Note that some smart filters stacked on top
of this filter will not preview while the filter is being edited. They will only
be applied after you have clicked OK and exited the dialog box. Refer to
Figure 3-152.
Figure 3-152. Warning that appears when HSB/HSL parameters are

edited when another filter is present
For additional references to other basic filters, refer to the

following links:
https://helpx.adobe.com/photoshop/using/filter-effects-
reference.html
https://helpx.adobe.com/photoshop/using/filter-basics.html
https://helpx.adobe.com/photoshop/using/applying-specific-
filters.html
https://helpx.adobe.com/photoshop/using/applying-smart-
filters.html
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Photo Project
To complete the work on the army project, one final thing to do is to clean
up the dust and scratches in the background area. In this example I made
a duplicate of my file and applied the Filter ➤ Noise ➤ Dust & Scratches
overall with a Radius of 3 pixels and a Threshold of 0 levels.
Start with the file army_filter_example.psd. Refer to Figure 3-153.
Figure 3-153. Image with dust and the Dust & Scratches
filter applied
I could then on the smart filter mask paint away areas that I felt were
too blurry such as returning details to the men’s skin and clothes and the
stretchers.
Tip if you need to load the mask “men” that I used before entering
the filter you can find the selection saved in the Channels panel and
Ctrl/CMD+click on it load it to continue your work.
Any remaining scratches could be, as before, covered with the Clone
Stamp tool on a new layer, if required. Refer to Figure 3-154.
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Figure 3-154. Final smart object layer and painted smart mask from
the loaded selection in the Channels Panel
File ➤ Save your work. If you need to see the mask that I used, you can
find the selection saved in the Channels panel.
Refer to army_filter_example_final.psd to examine the settings more
closely.
You have completed the restoration project. Note that if you want to
print the complete image, make sure, on a duplicate file, to choose Layer ➤
Flatten Image. We will discuss this more in Chapter 7.
On your own, experiment with combinations of filters and layer masks
on various layers. Some combinations work well with different blending
modes that may improve the overall color of the current images as well.
For other projects, you will then want to explore additional filters found in
the upper areas of the menu.
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Summary
In this chapter we looked at various basic filters that are often used to
correct sharpening, blurring, and noise. We also looked at a few additional
filters that can enhance your images. In the next chapter we will be looking
at some of the newer and advanced filters that you may want to use for
more specific kinds of restoration, such as portraits and overall color
correction in a single workspace with your smart object layers.
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CHAPTER 4
Advanced Filters for

Photo Restoration:
Part 1
As you have seen in Chapter 3, Photoshop’s Filter dropdown menu has
a variety of filters for basic correction and artistic effects. However, as
you saw with the Blur Gallery filter, some filters are combined into one
workspace area. This is true of other advanced filters that we will be
looking at in this chapter and later in Chapter 5. Some are specifically
for correcting distortion in a photo, and others blur the line between
restoration and adding an artistic effect. Many of these filters have been
in Photoshop for many years, while others have been recently added or
updated. In this chapter we will be taking an overview look at certain
advanced filters that would normally be used for restoration and color
correction in professional digital photography. However, I will be pointing
out sections of these filters that you may want to experiment with on your
scanned images as an alternative to the basic filters that were discussed in
the previous chapter.
Later I will also mention a new kind of pattern filter that has recently
been added to Photoshop.

Chapter 4 Advanced Filters for Photo Restoration: Part 1

Chapter 4 folder. Also, some text has been adapted from the book
Perspective Warps and Distorts with Adobe Tools: Volume 1 as well as
new information added, specific to photo restoration.
The filters that we will be discussing in this chapter and the next can be
found in the upper area of the Filter menu. As before, make sure that the
images you work with are in RGB color mode so that you have access to all.
Again, we will be working on smart object layers so that you can edit your
smart filters at any time during the chapter. Refer to Figure 4-1.
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Figure 4-1. Photoshop advanced filter options and a filter applied to

a smart object layer in the Layers panel
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In this chapter we will be reviewing the filters Adaptive Wide Angle,

Camera Raw Filter, Lens Correction, and Liquify.
Liquify Filter Workspace

Go to Filter ➤ Liquify.
The Liquify filter workspace has been in Photoshop for quite a few
years. It is generally used for distortion or cosmetic touch-ups such as to
make part of a person appear thinner or as they would like to be perceived.
However, you can use it to distort objects as well. Whatever your subject
you plan to alter, you can use various Liquify tools to mask and do these
touch-ups or cosmetic changes to human bodies. In this example we will
use first an some mannequin faces and then a person’s face that I altered
with other mannequin faces. The first example that I supply here, is the file
women_liquify_filter.psd. Refer to Figure 4-2.
Figure 4-2. Mannequin faces to use for practice with the Liquify filter
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Tools
The tools for cosmetic warping changes include
• Forward Warp Tool (W): For moving pixels, based on

the brush size as you drag around on the canvas similar
to the Smudge Tool, outside the workspace. Refer to
Figure 4-3.
Figure 4-3. Liquify Forward Warp Tool applied to the eyebrow
• Reconstruct Tool (R): Does the opposite of the Forward

Warp Tool and pushes the pixels back to where they
were originally within the current brush size as you
drag over the canvas. Refer to Figure 4-4.
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Figure 4-4. Liquify Reconstruct Tool applied to the eyebrow
• Smooth Tool (E): Used with the Forward Warp or any

of the related Liquify tools to smooth out the distortion
making it appear less jagged, within the current brush
size as you drag over the canvas. Refer to Figure 4-5.
Figure 4-5. Liquify Smooth Tool applied to the eyebrow
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• Twirl Clockwise Tool (C): Makes a twirl-like distortion

to the affected pixels within the brush. Holding down
the Alt/Option key while using the tool allows you to
twirl counterclockwise. Refer to Figure 4-6.
Figure 4-6. Liquify Twirl Clockwise Tool applied to the lips
• Pucker Tool (S): Causes the pixels within the brush to

move inward and compress within the brush size as
you hold the mouse key down in that location. Refer to
Figure 4-7.
Figure 4-7. Liquify Pucker Tool applied to the lips
• Bloat Tool (B): Causes the pixels within the brush to

move outward and expand within the brush size as
you hold the mouse key down in that location. Refer to
Figure 4-8.
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Figure 4-8. Liquify Bloat Tool applied to the lips
• Push Left Tool (O): Pushes the pixels within the brush
toward the left and downward within the brush size as
you drag left. Hold down the Alt/Option key to move
pixels to the right and upward. Refer to Figure 4-9.
Figure 4-9. Liquify Push Left Tool applied to the nose
• Freeze Mask Tool (F): A mask that prevents areas of

the image from being altered after it is applied to such
areas when you try to paint on the image with various
Liquify tools. The area in the mask is not altered. Refer
to Figure 4-10.
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Figure 4-10. Liquify Freeze Mask Tool applied to parts of the face
and then the nose warped with the Forward Warp Tool
• Thaw Mask Tool (D): Removes the freeze mask and

allows you to now alter the area again with one of the
other Liquify tools. Refer to Figure 4-11.
Figure 4-11. Liquify Thaw Mask Tool used to remove the freeze mask
and the Bloat Tool applied to an eye
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Liquify Properties Brush Tool Options

The provided tools are used together with all or some of the Properties
Brush Tool Options found on the right. Refer to Figure 4-12.
Figure 4-12. Liquify filter Brush Tool Options
Size (1–15000): Controls the size of the brush and is available for all the
mentioned Liquify tools. By default, it will be set to 100. Vary the size as
you work. I find that sometimes a larger brush is best to cover more area,
especially if you are using the Bloat Tool.
Density (0–100): Controls the brush’s edge strength and is available for
all the mentioned Liquify tools. By default, it set to 50.
Pressure (1–100): Controls the brush’s distortion strength. By default, it
is set to 100, but is not available for the Pucker or Bloat Tool.
Rate (0–100): Changes the brush rate for stationary brushes. Default
settings for brushes can vary. This property is not available for Forward
Warp, Push Left, Freeze Mask, and Thaw Mask tools.
Stylus Pressure: If you work with a stylus, then this option will be
available; otherwise, it is disabled.
Pin Edges: This is by default enabled to lock image edges so that you do
not distort the edges of the canvas. Refer to Figure 4-13.
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Figure 4-13. Liquify filter Brush Tool Options with Pin Edges enabled
and disabled when a brush is applied
Zoom Tool, Hand Tool, and Undoing steps

The provided tools found on the left side of the workspace can be used in
conjunction with the Hand and Zoom tools. Use the Ctrl/CMD + click if
you need to access the Zoom tool and zoom in or Ctrl/CMD + Alt/Option +
click to zoom out while using another tool as you work. Or hold down the
spacebar key to access the Hand tool. Refer to Figure 4-14.
Figure 4-14. Liquify filter Hand and Zoom tools
535
Since you do not have access to the History panel, use Ctrl/CMD + Z to
undo any steps.
The Liquify tools can also be used in combination with other
properties in the panel on the right, and these are briefly explained here in
the following sections.
Load Mesh Options

A mesh helps you see and keep track of distortions; it appears much like
a grid. It can be hard to see your mesh if you are not zoomed in. You can
choose the size and color of a mesh, in the View Options. Options for the
loading of a mesh include Load Mesh, Load Last Mesh, and Save Mesh;
you can use a mesh from one image and apply it to other images. The file
format is .msh. Refer to Figure 4-15.
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Figure 4-15. Liquify filter with Load Mesh Options and View
Options settings with Show Mesh applied to preview
Turn the mesh off in the View Options if you no longer want to see it.
Mask Options
You can create a mask with your Freeze Mask Tool, but you can also create
a mask with a saved selection (Alpha 1) from the Channels panel prior to
entering the Liquify tool. Refer to Figure 4-16.
537
Figure 4-16. Liquify filter Mask Options settings and a mask

previously added to the Channels panel (saved selection) and
accessed from the list
538
A mask selection can be Replaced, Added, Subtracted, Intersected,

or Inverted. with either a selection, transparency, layer mask or another
channel. With the buttons you can also clear the mask (None), Mask All, or
Invert All. The View Options also have additional settings for the mask to
alter its color. Refer to Figures 4-16, 4-17 and 4-18.
Figure 4-17. Liquify filter inverted mask
View Options
These options control how you view the preview and include Show Guides
from outside the workspace, Show Face Overlay, Show Image, Show Mesh
and its settings, and Show Mask and its settings. Refer to Figure 4-18.
Figure 4-18. Liquify filter View Options
539
Show Backdrop is another view option to let you blend in a backdrop

image; by default, it is disabled.
When enabled you can use All or a certain layer and a Mode of In
Front, Behind, or Blend and set an Opacity of 0–100 for the backdrop. Refer
to Figures 4-19 and 4-20.
Figure 4-19. Liquify filter Show Backdrop options
540
Figure 4-20. Liquify filter Show Backdrop options and the Layers
panel before adding the filter
By default, I set it back to All Layers and disabled this setting while I
worked as in Figure 4-19.
Brush Reconstruct Options

This section is used to alter the settings of the Reconstruct Tool brush. You
can reconstruct or set the amount of revert reconstruction for all brushed
areas in the range 0–100%. To remove all brushed distortions, use the
Restore All button. Refer to Figure 4-21.
541
Figure 4-21. Liquify filter Brush Reconstruct Options
I speak about these Liquify tools and properties in more detail in my

book mentioned in the introduction. If this is a topic of interest to you, you
can also refer to the link at the end of this section. However, for this book
these tools in the Liquify filter are not required for the next project, but you
can practice on these faces if you want.
In this book our focus is on doing digital photo repair and not extreme
alterations. However, there are times where maybe we would appreciate
having a more friendly face rather than a serious-looking face of one of our
friends or ancestors. This Liquify filter has a second part to it that you can
use to make a few minor facial updates using the Face Tool and its related
properties.
Face Tool and Properties

Face Tool (A): Is used for altering single or multiple facial expressions. You
can use it in combination with any of the other Liquify tools; however, it
will not work if no human face is present or detected in the image. Refer to
Figure 4-22.
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Figure 4-22. Liquify filter Face Tool and a warning message
If the face is an animal face or too small or a side view, you will have
to rely on your Liquify tools instead to assist. In this case we are using
mannequin faces that are realistic enough to detect. You can either
continue to use the women’s faces or this image of an ancestor, whose
face has been modified from the original with a mannequin head. Refer to
Figure 4-23.
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Figure 4-23. Old black-and-white family photo restored with various

healing tools prior to applying added color
For interest’s sake I will note that on the original I used the Clone
Stamp tool and Spot Healing Brush tool to do most of the major repairs on
a single Layer 1. This image was also colorized using the Hue/Saturation
adjustment layers, which were placed above the layer as I worked. I also
used various filters such as Dust & Scatches and Surface Blur to clean up
the image further and smooth skin. Refer to Figure 4-24.
544
Figure 4-24. Many Hue/Saturation Adjustment layers were added to

the Layers panel to colorize different areas of the image
545
In my case I then made an Image ➤ Duplicate of the image and

selected all the layers (Shift + click each). I flattened all the layers into
one image before I turned that layer into a smart object layer. Here I have
made a copy of the layer. In your case you may want to keep all your layers
separate. Refer to Figure 4-25.
Figure 4-25. Layers panel: images flattened and a copy of the layer
turned into a smart object layer prior to working with the filter
However, before working with the Liquify filter, always turn the
collection of layers into a smart object layer and then apply the Liquify
filter to prevent parts of the image from distorting separately or the colors
not matching an area afterward.
546
I have collected some of the Hue/Saturation adjustment layers into a

separate file if you want to review them later for reference. See file woman_
smiles.psd.
Continue to work with the file woman_smiles_liquify.psd.
Face-Aware Liquify Properties

Use the properties of Face-Aware Liquify and expand and collapse the
triangle options as required to assist you. Refer to Figure 4-26.
Figure 4-26. Liquify filter Face-Aware Liquify options
Select Face and Multiple Faces

Choose faces, from the list, you want to alter that have been detected. You
can reset your selected face or reset all faces. In this case we will work with
just a single face, but if there were more faces, they would be noted in the
list. Refer to Figure 4-27.
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Figure 4-27. Liquify filter Face-Aware Liquify options for one or

more faces
Note that face detection on various parts of the face will also appear on
the preview, which you can use with the following tools as you work. Refer
to Figure 4-28.
548
Figure 4-28. Liquify filter View Options
Also make sure that as you work, in the View Options, Show Face
Overlay is on and Show Backdrop settings are disabled.
549
Eyes
Alter the eyes on the face by moving the sliders; or, on the preview, use the
various points to control each eye. You can manually move each eye. Refer
to Figure 4-29.
Figure 4-29. Liquify filter Face-Aware Liquify options for eyes

and preview
550
In this case, to avoid distortion use the Properties panel. You can adjust
the settings for the right and the left eye together when they are linked (link
icon enabled) or when unlinked (link icon disable); separate settings are
applied. All settings range from –100 to 100. By default, they are set to 0.
Eye Size: Increase or decrease the eye area. Try a setting of 43 for
both eyes.
Eye Height: Expand or contract the eye vertically. Set to 40 for
both eyes.
Eye Width: Expand or contract the eye horizontally. Set to 10 for
both eyes.
Eye Tilt: Adjust the angle of the eye. Set to 0 for both eyes.
Eye Distance: Expand or contract the amount of space between the
eyes. Try a setting of 9 to bring the eyes a bit farther apart.
For both the eyes here are the final settings I used. Notice that the eyes
are linked. Refer to Figure 4-30.
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Figure 4-30. Liquify filter Face-Aware Liquify options for eyes and
preview of changes
552
Nose
Alter the nose on the face by moving the sliders or work on the preview. On
the preview you can manually move the nose. Use the Properties panel.
All settings range from –100 to 100. By default, they are set to 0. Refer to
Figure 4-31.
Figure 4-31. Liquify filter Face-Aware Liquify options for nose

and preview
Nose Height: Raise or lower the nose. Try a setting of 21.

Nose Width: Expand or contract the nose horizontally. Set to –40. Refer
to Figure 4-32.
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Figure 4-32. Liquify filter Face-Aware Liquify options for nose and
preview of changes
Mouth
Alter the mouth/lips on the face by moving the sliders or work on the
preview. On the preview you can manually move the mouth. Use the
Properties panel. All settings range from –100 to 100. By default, they are
set to 0. Refer to Figure 4-33.
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Figure 4-33. Liquify filter Face-Aware Liquify options for mouth

and preview
Smile: Increase or decrease the curve of the mouth. I use a

setting of 77.
Upper Lip: Increase or decrease the thickness of the top lip. Try a
setting of 3.
Lower Lip: Increase or decrease the thickness of the bottom lip. Use a
setting of 16.
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Mouth Width: Expand or contract the mouth horizontally. Use a

setting of –33.
Mouth Height: Expand or contract the mouth vertically. Use a setting
of –100. Refer to Figure 4-34.
Figure 4-34. Liquify filter Face-Aware Liquify options for mouth and
preview of changes
The choices that you make for your own projects will vary depending
on the face structure. In this case you do not want to overstretch the smile
but keep it as natural as possible.
556
Face Shape
Alter the face shape by moving the sliders or work on the preview. On the
preview you can manually move the face shape. Use the Properties panel.
All settings range from –100 to 100. By default, they are set to 0. Refer to
Figure 4-35.
Figure 4-35. Liquify filter Face-Aware Liquify options for face shape
and preview
557
Forehead: Expand or contract the forehead vertically.

Try a setting of -42
Chin Height: Raise or lower the chin. Try a setting of 100.
Jawline: Expand or contract the jawline. Set to 15.
Face width: Expand or contract the face horizontally. Set to -59. Refer
to Figure 4-36.
Figure 4-36. Liquify filter Face-Aware Liquify options for face shape
and preview of changes
Remember to use the view option of Show Face Overlay when you
want to display the face’s features with overlay in the preview. Disable this
setting if you do not require it. Refer back to Figure 4-28.
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Committing Changes
Make sure Preview is enabled. You can use Cancel to exit without saving
changes or, in this case, use OK to confirm changes. Note that the Alt/
Option key will turn the Cancel button into a Reset button to reset certain
settings when you click on it and the Ctrl/CMD turns the Cancel button
into a Default button. Refer to Figure 4-37.
Figure 4-37. Liquify filter Preview and Cancel and OK buttons
It nice to see that she is happier now, and I can go back into the Liquify
filter at any time if I need to adjust a setting by double-clicking the filter
name in the Layers panel. Refer to Figure 4-38.
559
Figure 4-38. Liquify filter final results and Layers panel with the
filter applied
More details on the Liquify filter can be found at the following link:
https://helpx.adobe.com/photoshop/using/liquify-filter.html
File ➤ Save your work and you can refer to my woman_smiles_
liquify_final.psd for review.
Next, we will look at another advanced filter that can assist you with
color correction as well as masking and straightening images.
Camera Raw Filter Workspace

Go to Filter ➤ Camera Raw Filter.
Because some of the settings are more advanced in this area, I will just
be giving a basic overview of each section. However, I will also supply links
at the end of this section should you need more details on this topic.
560
The Camera Raw Filter updates regularly and is often subject to

change in its settings. The current version that I am looking at is 16.5. If
you are, however, familiar with using Adobe Bridge, then you may have
encountered the Camera Raw Filter before for working on projects. In that
application you would right-click an image that is selected in the Content
panel and open in Camera Raw or, when an image is selected, choose the
circular lens icon. If Camera Raw is installed, you will find its icon in the
Creative Cloud Desktop as well, but only be able to open this filter either
using Bridge or Photoshop. Refer to Figure 4-39.
Figure 4-39. Creative Cloud Bridge and Camera Raw applications

and settings
Note that in Bridge not all images will open in Camera Raw, such as
bitmap (.bmp). For practice you can try opening a .tif file.
561
In Bridge, Camera Raw works in the image’s single background

layer to make color changes and adjustments to distortions. However,
in Photoshop you can apply the filter to a single normal layer or smart
object layer while working in your .psd file. There are some other slight
differences in Camera Raw for Bridge and in Photoshop.
One is in Photoshop Camera Raw, there is no cropping image option as
you are working on a single layer and in multilayer documents you should
not crop or rotate the image while inside the workspace. In Photoshop,
cropping and rotation should only be done if required after you have
exited the Camera Raw workspace, and then you can use the crop tools.
For scaling and rotation use Edit ➤ Free Transform or related transform
commands as you saw in Volume 1. Refer to Figure 4-40.
Figure 4-40. Photoshop Tools panel: crop tools
Two other main differences are that in Photoshop you only work
with one layer at a time, while in Bridge there are options to work with
snapshots and film strips for multiple opened images. These settings
are not required for this book. The other difference is that lens profile
correction in Photoshop is done with a separate filter, which I will point
out later as we progress through this chapter.
Camera Raw also shares some similarities with another Adobe
application known as Lightroom Classic. However, this application is
used mostly for color correction of professional digital photos and not
necessarily scanned images. Refer to Figure 4-41.
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Figure 4-41. Creative Cloud Adobe Lightroom Classic application
As this is not a topic of this book, you can learn more about Lightroom
from the following links:
https://helpx.adobe.com/support/lightroom-cc.html
https://helpx.adobe.com/support/lightroom-classic.html
The Camera Raw workspace to a beginner Photoshop learner can

be a bit intimidating. While I will not be going into every detail of the
workspace, I just want to highlight some of the areas of this filter that you
might want to investigate as you enhance your skills in Photoshop and
also do some basic digital repair. As you progress you many find that you
prefer some of the settings in Camera Raw over filters that you explored
previously in the earlier chapters.
I will now use the following file to demonstrate most of the panels and
settings. Open image flower_bed.psd for practice and create an Image
➤ Duplicate. In the file select the smart object layer before you use the
Camera Raw Filter. Refer to Figure 4-42.
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Figure 4-42. Photo of a flower bed leading to a castle and the

Layers panel
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Workspace Overview
Upon entering the workspace, review the layout and the following options.
Figure 4-43. Camera Raw workspace
In the Camera Raw workspace, you will find the preview area on the
left and the main navigation on the bottom left and right. The navigation
on the lower right allows you to view several view settings of before and
after. You can press Q to cycle through these as well as access from the list
of the Preview Preferences. Refer to Figures 4-44 and 4-45.
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Figure 4-44. Camera Raw Filter settings: before and after

viewing options
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Figure 4-45. Camera Raw Filter Preview Preferences dialog box
The other icons, which are currently in gray, allow you to swap before
and after settings (P), copy current settings to before (Alt/Option + P), and
toggle to default settings (\), but only after you have started to make editing
changes. Refer to Figure 4-46.
Figure 4-46. Camera Raw Filter additional viewing icons
For now, remain on the viewing setting of Single View. Refer to

Figure 4-43.
On the far bottom left of the workspace, you will find your other
navigation tools. They allow you to fit in view (Ctrl/CMD+ 0) or to view to
a specified level by clicking 100% or choosing another option from the list.
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Figure 4-47. Camera Raw Filter navigation: zoom tool, hand tool,
color sampler overlay and grid overlay options
The navigation tools on the lower right are

Zoom tool (Z): Double-click this icon if you need to fit in view or
navigate in the preview. Remember to use Ctrl/CMD + + or Ctrl/CMD + –
when you need to zoom in or out. Refer to Figure 4-47.
Hand tool (H): Use to navigate the preview without moving items on
it. Use the spacebar key as well and drag the preview around. Refer to
Figure 4-47.
Toggle Sampler Overlay (S): Acts as a color sampler eyedropper and lets
you select a new sample or reset. This is much like the Color Sampler tool
and Info panel outside of the workspace as we saw in Chapters 1 and 2. The
additional settings are found above the preview, and you can set up to nine
sample points and then observe the changes as you work. Refer to Figure 4-48.
Figure 4-48. Camera Raw Filter Color Sampler tool and options and
a marker placed on the photo
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Toggle Grid Overlay (Ctrl/CMD + Shift + G): Allows you to turn your
grid on and off. In the area above the preview, you can set the Grid Size
and Opacity using the sliders. By default, the grid is deactivated. Refer to
Figure 4-49.
Figure 4-49. Camera Raw Filter grid overlay tool options
Since you don’t have access to the History panel, remember to use
Ctrl/CMD + Z when you need to undo steps quickly.
On the far top right are additional options for
Convert and save image button: This will allow you to access a dialog
box so that you can save the same image in various file formats. Settings
include setting a destination folder, file naming, format, color space, image
sizing, and options for output for sharpening for the screen or glossy and
matte paper. Click the downward-pointing arrow in the box icon for this
Preferences specifically for Camera Raw for general and performance
issues (Ctrl/CMD + K): Click the gear icon to view the dialog box. Refer to
Figure 4-50.
Toggle Full-Screen Mode (F): If you need to expand the workspace
preview to full screen to cover your current work. Click the diagonal arrows
to expand and contract your workspace. Refer to Figure 4-50.
Figure 4-50. Camera Raw Filter: options for saving, preferences, and
full-screen mode
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Now we will look at the various panels and options that are found
in the column on the right under various tabs, which I will give a brief
overview of next, as well as some tips and thoughts on how they could
be used.
Color Adjustments Histogram

Like outside of the Camera Raw workspace, you can work with a ribbon
histogram. The Histogram panel was mentioned in Chapter 1 and shows
the red, green, and blue channels together. And here you can also set the
shadow clipping warning (U) and the highlight clipping warning (O),
which will appear as blue for shadow on the preview and red for highlight
areas on the preview should colors, while correcting, go beyond these set
parameters during your editing. Refer to Figure 4-51.
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Figure 4-51. Camera Raw Filter: working with the histogram to

determine areas of color that are clipping
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While there are no out-of-gamut sliders, note that in the workspace

you will still have access to arrow buttons that when clicked will show
areas of clipped color in red or blue. These can be a good indication of
areas that you may be able to adjust in the Camera Raw Filter by correction
of color or later with a healing brush either inside or outside of Camera
Raw. When colors are OK, the clipping buttons show up as black and the
color warnings may disappear. However, if there are areas of concern,
they may appear for shadows – either white, yellow, or green – and for
highlights, white, red, or yellow, as you work, depending on which channel
or channels are affected. Refer to Figure 4-52.
Figure 4-52. Camera Raw Filter: different images may have different
color clipping issues in the highlights and shadows that are revealed
in the histogram for scanned and digital camera images (ISO and
camera profile) as you work
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Ultimately, only you can determine this for your image as it will be
different for each one, and we will work with the Edit settings next to make
adjustments.
Note After you exit Camera Raw, you can then check your View ➤
Gamut Warning if you need to as seen in Chapter 2.
Edit Panel
The Edit panel has many color settings and adjustments, some of which
can be viewed by expanding the arrows of each tab. Refer to Figure 4-53.
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Figure 4-53. Camera Raw Filter options found in the Edit panel
The first area lets you quickly edit your color layer either with the Auto,
B&W, or HDR option. Refer to Figure 4-54.
Figure 4-54. Camera Raw Filter basic color settings
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In this example we do not have access to the HDR option, not just
because our image was a scanned image with no profile, but currently
it was not in a format that would accept that option, which is mainly for
images taken with a digital camera, and you have to have your display
settings for your monitor set correctly.
HDR (Shift + H) or High Dynamic Range allows you to edit, display,
and save photos in High Dynamic Range. Depending on the image, you
will experience increased depth and realism with brighter highlights,
deeper shadows, and improved tonal separation and more vivid colors.
Figure 4-55. Camera Raw Filter preview of HDR if this setting is

available
In this case we would consider scanned images to be SDR, or Standard

Dynamic Range.
For more detailed information on this, you can refer to the following link:
https://helpx.adobe.com/camera-raw/using/hdr-output.html
Note you can still create your HDR images from your digitized photos
using the settings mentioned in Chapter 2.
For now, we will continue on with the current scanned photo.
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Profile
The current color profile is Color, but you can choose other options from
the list, such as Monochrome, which is like the setting B&W. However,
if you click the search icon or select Browse from the list, you can look
through other profiles, much like using the options in the Adjustments
panel to set additional color presets. Refer to Figure 4-56.
Figure 4-56. Camera Raw Filter basic color settings with basic profile
options and the choice to search for more options
The panel switches to the profile sets you can choose from. They are
also found in categories like Basic, Artistic, B&W, Modern, and Vintage.
Select one from the list to preview the profile.
Use the ellipsis (…) button when you need to access more profile
options. Refer to Figure 4-57.
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Figure 4-57. Camera Raw Filter: search for optional profile settings
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Other profiles will allow you to adjust the strength of the setting with a
slider (0–200), the default being 100. Refer to Figure 4-58.
Figure 4-58. Camera Raw Filter: apply optional profile settings from
previews found in the list
Some of these options may instantly improve the color of your image
without having to use all the other settings. However, for this example I am
working with the Basic color setting.
Click the back arrow when you need to return to the other Edit settings.
Remain on the Profile Color setting for now. Refer to Figure 4-59.
Figure 4-59. Camera Raw Filter Profile setting set to Color
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Note that when the tabs in the Edit panel are altered, the eye will
become active, indicating you made adjustments in these tabs. You can
toggle the eye on and off to act as a preview of that adjustment. Also,
hover over text if you are not sure what a specific setting does. Refer to
Figure 4-60.
Figure 4-60. Camera Raw Filter: when edits are made to a slider, the
visibility eye of that tab appears
Light
The Light tab has the following slider options for light and brightness
alterations to colors. Some of these sliders share similarities to the Layer
Adjustments that we looked at in Chapter 1. Refer to Figure 4-61.
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Figure 4-61. Camera Raw Filter Edit Light tab expanded with sliders
adjusted
Exposure (–5.00, 0, +5.00): Controls the brightness of your photo.

Moving the slider left makes the image darker and right lighter. This shares
similarities to the adjustment filter Exposure. Try a setting of –0.30. Refer to
Figure 4-61.
Contrast (–100, 0, +100): Determines the contrast between your light
and dark colors. Move the slider left to flatten or lower the contrast and
right to raise or dramatically increase the contrast. This is similar to using
your adjustment of Brightness/Contrast. Use a setting of +6.
Highlights (–100, 0, +100): Controls the brightness of the lighter parts
of your image. Move the slider left to darken highlights and recover details
and right to brighten and reduce details. This and the next slider are
similar to using the adjustment of Shadows/Highlights. I did not want to
increase the highlights, so I left it at a setting of 0.
Shadows (–100, 0, +100): Controls the brightness of the darker parts of
your image. Move the slider left to darken/deepen shadows and right to
brighten and recover some details. This is similar to using the adjustment
of Shadows/Highlights. Use a setting of –7.
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Whites (–100, 0, +100): Sets the white point of the image. Move right to
make some colors appear completely white. This is an alternative to using
the white point eyedropper as you saw in the adjustments of Levels and
Curves. A setting of –17 lessens the histogram warning.
Blacks (–100, 0, +100): Sets the black point of the image and darkens
some colors in the process by moving left. This is an alternative to using
the black point eyedropper as you saw in the adjustments of Levels and
Curves. Refer to Figure 4-61. I left the setting at 0. Refer to Figure 4-62 for
before and after.
Figure 4-62. Camera Raw Filter: viewing subtle color changes as the
sliders are adjusted
In this case, after experimenting with the setting, we can see that this
did darken the color slightly and make the image less overexposed, though
in this case we cannot completely eliminate all overly white areas, only
lessen them.
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Color
The Color tab lets you set the following settings for adjusting your colors
overall. These sliders are a bit like using the combination adjustments of
Color Balance, Vibrance, and Hue/Saturation from Chapter 1. Refer to
Figure 4-63.
Figure 4-63. Camera Raw Filter Edit Color tab expanded with sliders
adjusted
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White balance: You can choose the following options from the list:
As Shot, Auto, or Custom. Alternatively, by using the eyedropper White
Balance tool (I), if you click an area that you deem to be white, the balance
changes to Custom. In this case I left the setting on As Shot as I found when
I switched to Auto it made the image have a green cast, which I did not like,
but for your own project this may be OK. Leave on As Shot for now, and as
you move a slider the White balance will change to Custom.
Temperature (–100, 0, +100): Determines how warm or cool the colors
appear in your image. Move the slider left if colors are too yellow (adding
more blue) and right if colors are too blue (adding more yellow). I liked the
current temperature but moved the slider to –1.
Tint (–100, 0, +100): Determines how green or purple the colors are
in your image. Move the slider left if colors are too purple (adding more
green) and right if colors are too green (adding more purple). In this case I
set the slider to –1.
Vibrance (–100, 0, +100): Changes the saturation without causing
unpleasant color casts. Move the slider left to decrease and right to
increase without causing oversaturation. I used a setting of +7.
Saturation (–100, 0, +100): Controls the saturation of colors equally.
Move left to decrease making the photo grayscale and right to increase and
give your colors a boost. The photo needed a boost, so I used +3. Refer to
Figure 4-64.
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Figure 4-64. Camera Raw Filter: previewing the image with the
colors adjusted after using the sliders
In this case we are making subtle changes, and we can always go back
and alter a slider later if required.
Effects
The Effects tab lets you set the following settings that can clear or add
noise to the image. This is an alternative to using some of your basic filters
for blur, noise, and sharpening. You may need to zoom in on areas to see
the subtle changes. Refer to Figure 4-65.
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Figure 4-65. Camera Raw Filter Edit Effects tab expanded with
sliders adjusted
Texture (–100, 0, +100): Enhance or reduce the appearance of texture in

your image. Move to the left to soften the effect or to the right to enhance
the texture. This filter is good for portraits and landscapes. In this case
setting it to –15 reduced some of the noise in the sky but not so much that
the finer details became blurry. I still left some noise. Refer to Figure 4-66.
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Figure 4-66. Camera Raw Filter: previewing an area up close to see if

nose was altered in the image
Clarity (–100, 0, +100): Changes the contrast of edges around objects in

your images. Move the slider left to soften the edge or right to increase the
edge contrast. I used a setting of –1.
Dehaze (–100, 0, +100): Move left to add simulated haze and right to
remove. I used a setting of –1.
Vignette (–100, 0, +100): The slider makes the outer edges of the image
lighter (right) or darker (left). This is a bit more advanced than using the
Properties panel and a color fill to create a vignette. Extreme settings can
cause interesting effects similar to the tower image you saw in this volume
and Volume 1. Refer to Figure 4-67.
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Figure 4-67. Camera Raw Filter Edit Effects tab: altering the
Vignette setting
For Vignette try a setting of –2 to slightly darken the edge as seen back
in Figure 4-64 and in the settings of Figure 4-68.
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Figure 4-68. Camera Raw Filter Edit Effects tab: altering the Vignette
setting to a lower setting
As the slider is adjusted, you can set additional options that control
Style (Highlight Priority, Color Priority, and Paint Overlay), Midpoint
(spread) (0–100), Roundness (shape) (–100, 0, +100), Feather (0–100), and
Highlights (0–100).
In this case I focused on Highlight Priority, Midpoint: 50, Roundness:
0, Feather: 50, and Highlights: 0. Move the sliders left and right to get a feel
of what they actually do and how they affect the vignette.
Grain (0–100): Move the slider to the right to increase the film grain.
Then you can set the Size (0–100) and Roughness (0–100). I did not want
to add more grain to the image and could have left it on a setting of 0, but
for this image set it to 1, with a Size of 4 and Roughness of 29. Refer to
Figure 4-69.
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Figure 4-69. Camera Raw Filter Edit Effects tab: altering the Grain
setting to reduced grain setting but still keep some details
In your own projects you will want to experiment with this panel to get
the right balance. In this case the choices I made did not overly shift the
color in unexpected ways. Refer to Figure 4-70.
Figure 4-70. Camera Raw Filter: previewing the effects of

adjustments in the upper areas of the image
Curve
The Curve tab is much like using the adjustment layer of Curves for
colors and lets you set the following settings. You can use this section
in conjunction with the other previous tabs we discussed here in the
workspace or separately to adjust the tonal range and contrast. Refer to
Figure 4-71.
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Figure 4-71. Camera Raw Filter Edit Curve tab expanded
Adjust options: Allow you to set various curve options. For example,
you can click and drag to adjust the Parametric curve and then adjust on
the curve manually or use the following sliders:
Highlights, –16; Lights, +18; Darks, +4; and Shadows, 9: The range for
each of these is –100, 0, +100. Also, below the curve/ histogram, you can
adjust the three circular sliders for shadows, midtones, and highlights.
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Figure 4-72. Camera Raw Filter Edit Curve tab expanded with
settings altered and the Parametric curve adjusted with the tool on
the preview
When the Parametric Curve Targeted Adjustment Tool is active, you

can edit the highlights and shadows on the preview. Refer to Figure 4-72.
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If you prefer using the more traditional curves in combination, use

the Click to edit Point Curve. Then refine your saturation (0–100) and set
various input and output points as you saw in Chapter 1. You can also use
various presets in the Point Curve list such as Linear, Medium Contrast,
and Strong Contrast. As you adjust the curve, it will reset to Custom. To
remove a point on the curve, Ctrl/CMD + click it. I placed a point at Input
134, Output 121. Refer to Figure 4-73.
Figure 4-73. Camera Raw Filter Edit Curve tab expanded and using
the Point Curve settings
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For Point Curve you can then set the red, green, and blue channels
as well, separately. Note that each time you make an adjustment, a dot
appears near the altered curve adjustment. In this case I did not alter each
channel separately. Refer to Figure 4-74.
Figure 4-74. Camera Raw Filter Edit Curve tab expanded and Point
Curve to edit each of the RGB channels
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Depending on what type of curve adjustment you are using, the

Parametric curve targeted adjustment tool or Point Curve targeted
adjustment tool will be available and appear on the preview as well. Refer
to Figure 4-75.
Figure 4-75. Camera Raw Filter Parametric curve targeted

adjustment tool options used on the preview to edit
When enabled you can use the tone curve setting to adjust your curves
on the preview for the current selected curve settings. Refer to Figure 4-76.
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Figure 4-76. Camera Raw Filter with the Parametric curve targeted
adjustment tool displayed on preview
This tool also can be used to control the Color Mixer, which you will
look at next.
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B&W Mixer/Color Mixer

The Color Mixer tab, or B&W Mixer, when the image appears in grayscale,
lets you set the following settings. In this case we are looking at color, and
the Color Mixer is divided into two sections: Mixer and Point Color. It
shares some similarities with the Hue/Saturation adjustment layer and its
Master and selective color settings for color range found in Chapter 1. First,
we’ll look at the Mixer tab.
Mixer
This section gives you greater control over the individual colors of your
image. Use the list to choose an option:
Adjust (HSL): This allows you to adjust your colors with the following
tabs of Hue, Saturation, Luminance, and All for your reds, oranges, yellows,
greens, aquas, blues, purples, and magentas using the various sliders (HSL
sliders). The slider range is –100, 0, +100. The Hue targeted adjustment
tool, when enabled, allows you to adjust the color by dragging directly
on the image, and you can use the panel as well. You can use it to target
Saturation or Luminance by toggling to that option. In the preview it can
also be used to toggle back to the curves. Refer to Figure 4-77.
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Figure 4-77. Camera Raw Filter Edit Color Mixer tab expanded with
the Parametric Hue targeted adjustment tool on preview
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Here we can see that the grass’s color could be altered by adjusting
yellows (+6) and greens (+11).
Adjust (Color): This allows you instead to adjust by individual colors
the Hue, Saturation, and Luminance. However, you cannot use the Hue
targeted adjustment tool. In this case the Hue sliders in the yellows, greens,
and All were altered, and you can see a dot below them. Currently the
yellows are selected. Refer to Figure 4-78.
Figure 4-78. Camera Raw Filter Edit Color Mixer tab and
Adjust options
Point Color
This is a more recent setting and allows you to select an individual color in
your photo and make fine-tuned adjustments to it. In the Hue, Saturation,
and Luminance ranges, you can set very fine adjustments for that color.
Use the point color dropper somewhere on the photo to add samples.
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Figure 4-79. Camera Raw Filter Edit Color Mixer tab set to
Point Color
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Upon clicking, for instance, a dark-red area of the flower (Figure 4-76),
that will then appear as a swatch in the Point Color area. Refer to
Figure 4-80.
Figure 4-80. Camera Raw Filter Edit Color Mixer tab set to Point
Color with options and alteration to a swatch
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Then you can make adjustments to the Hue, Saturation, and

Luminance and separately to the range sliders (0–100). Note that you use
the eye mask icon by the Range slider to toggle on and off the range overlay
to view and highlight selected colors. Refer to Figure 4-80
I moved the Hue to –25 and left Saturation and Luminance at 0. Then
I altered the Range to +100 to control the colors that are affected and the
Hue Range to 0/28 62/94, Saturation Range 12/67 100/100, and Luminance
Range to 9/41 77/100. However, for every image this will be different for
each person based on preference. The swatch will alter along with the area
above the sliders when changes to colors are made displaying before and
after colors. Refer to Figure 4-80. This color change to the swatch is more
apparent when drastic changes are made otherwise the changes is subtle.
With the Sample point eyedropper enabled, you can click to add more
swatches, like altering the color of the sky with a Hue 0, Saturation +28,
and Luminance +17. Range remained at +50 and Hue Range: 0/33 67/100,
Saturation Range: 0/0 33/88, and Luminance Range: 10/65 100/100.
As well, you can right-click a swatch and choose to Delete Swatch or
Delete All Swatches. Refer to Figure 4-81.
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Figure 4-81. Camera Raw Filter Edit Color Mixer tab set to Point
Color with options and alteration to a swatch, which can be deleted
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After making alterations make sure to turn your eye on and off to see
Figure 4-82. Camera Raw Filter with edits to the Point Color
previewing on the photo
Color Grading
The Color Grading tab lets you set the following settings in regard to
stylizing your images by adding color tints to the shadows, midtones, and
highlights. Similar to the adjustment layer of Photo Filter in Chapter 1 and
a color wheel, you can explore applying complementary colors that are
opposite to each other on the wheel, to your shadows and highlights. Try
adding a cooler blue to the shadows and warmer yellow to the highlights.
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Figure 4-83. Camera Raw Filter Edit Color Grading tab expanded
(three-way)
Adjustments can be made in all three (three-way) or separately for the

shadows, midtones, and highlights, by dragging on the center ring or dot
on or near each color wheel to adjust the Hue and Saturation settings or
dragging the lower slider to adjust the Luminance. Refer to Figure 4-83.
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Alternatively, shadows, midtones, and highlights can be adjusted

individually for their sliders Hue (0–360), Saturation (0–100), and
Luminance (–100, 0, +100).
Or use the color wheel and the sliders for one single global setting.
with Shadows and Global
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Additional settings for Color Grading include

Blending (0–100): Adjusts the transitions between the shadows,
midtones, and highlights. Low blend values will create a more apparent
separation between the colors, while higher values create a more subtle
gradual transition between colors.
Balance ( –100, 0, +100): Shifts color tone emphasis toward darker
(right) or lighter (left) areas. Refer to Figure 4-84.
In this case I just changed my Luminance slightly in my shadows to
+18 as I noticed I was getting a clipping warning in the histogram. Refer to
Figure 4-85. Camera Raw Filter: the histogram may alter with
clipping warnings as you work
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with changes to shadows and previewing an image
607
Detail
The Detail tab lets you adjust settings for image correction. It also is similar
to using some of the basic filters that were used for sharpening and noise
reduction that were mentioned in Chapter 3. Make sure to zoom in if you
need to make detailed adjustments. Refer to Figure 4-87.
Figure 4-87. Camera Raw Filter Edit Detail tab expanded with
changes to sliders
608
Sharpening (0–150): Allows you to sharpen and brighten details when

you move the slider to the right. You can then use the sub-sliders of Radius
(0.5–3.0), Detail (0–100), and Masking (0–100) to refine the settings. In
this example I did not want to oversharpen so I left the Sharpening at 32,
Radius 1.0, Detail 25, and Masking 0.
Noise Reduction (0–100): Move the slider to the right to reduce the
luminance noise. You can then use the sub-sliders to adjust the Detail
(0–100) and the Contrast (0–100). Noise reduction I set to 5 and Detail 50
and Contrast 0.
Color Noise Reduction (0–100): Move the slider to the right to reduce
color noise. You can then use the sub-sliders to adjust the Detail (0–100)
and the Smoothness (0–100). I set the Color Noise Reduction to 4 and
Detail 50 and Smoothness 50. Refer to Figures 4-87 and 4-88.
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Figure 4-88. Slight changes are made in the details to sharpen areas
of the image up close
610
Optics
The Optics tab lets you set the following settings to control distortion,
vignettes, as well as defringe issues. Defringe (chromatic aberration) is
the appearance of greenish and red-purple edges that happen in edges of
high contrast where a dark silhouette element like a tree or branches are
strongly backlit against a bright background like the sky. This can appear
with film cameras and be apparent in the print and then be part of the
scanned image. In the case of a digital camera and its lens, it can appear
when the lens fails to focus on the white light’s different wavelengths,
which are traveling at different speeds, and combine them into one focal
point. None of the filters we have looked at so far deal with defringe. Refer
to Figure 4-89.
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Figure 4-89. Camera Raw Filter Edit Optics tab expanded
Distortion (–100, 0, +100): Controls overall pincushion and barrel

distortions often caused by the lens. Refer to Figures 4-90 and 4-91.
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Figure 4-90. Camera Raw Filter Edit Optics tab expanded and
Distortion slider moved left
613
Distortion slider moved right
614
The grid becomes active so you can see the distortion more clearly.
In the case of the current image we are working on, distortion in this area
of the filter setting is too extreme. There is some minor distortion in the
upper area of the image we may want to correct. Refer to Figure 4-92.
Distortion slider moved back to 0
However, I will show you how to deal with that when we look at the
Geometry panel. For now, leave the setting at 0.
Vignette (–100, 0, +100): Adjust or add as vignette to the image. Use the
sub-slider Midpoint to make further adjustments (0–100) to the spread.
Earlier we added a vignette to the edge of the image with the Effects tab to
darken the image, so we do not want to remove it. You may prefer, in your
own projects, to use this setting to remove a vignette. In this example, I
will leave the Vignette at 0, and the Midpoint will not be available. Refer to
Figure 4-93.
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Vignette slider moved left and right and then set back to 0
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Defringe settings can be adjusted using the sample fringe eyedropper

to sample purple and green areas of fringing that need correction when
you click on those spots in the preview. Then adjust the following sliders:
Purple Amount (0–20).

Purple Hue: Adjust the range of the two sliders 0–100.
Green Amount (0–20).
Green Hue: Adjust the range of the two sliders 0–100.
In our current example there was only a very small amount of

chromatic aberration near some of the white area, and it was outside of
the color range, so trying to select it was not possible and I got a warning
message. Refer to Figures 4-94 and 4-95.
Figure 4-94. Camera Raw error when defringe is not detected
In this other example (fence_defringe.psd) be aware if you are dealing

with areas that contain a lot of green surrounding the aberration. They too
could be affected by the eyedropper color ranges and turn colors gray in
areas you do not want to alter. Refer to Figure 4-95.
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Figure 4-95. Camera Raw Filter Edit Optics tab: editing an image
with the Defringe options
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Also be aware that some purple aberrations may not be able to be

corrected if they fail to fall within the range. One suggestion is to use your layer
mask and use an adjustment layer of Hue/Saturation to cover this area with
a reduced saturation to about –48 in the master. This is a good alternative to
Camera Raw Defringe, if colors are not turning out as you intend and prevent
certain greens or purples in select areas from turning gray. Refer to Figure 4-96.
Figure 4-96. Use the Hue/Saturation adjustment layer and Properties

panel and paint on the layer mask when you need to adjust custom
areas of chromatic aberration such as along the edge of the post
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I find with Defringe in Camera Raw, it usually corrects best when it

is against a solid background where similar colors are not competing, as
when I select the edge of this leaf with a dark wall as a background. Refer
to Figure 4-97 and the files fence_defringe.psd and leaf_defringe.psd for
reference.
Figure 4-97. Camera Raw Filter Edit Optics tab: editing an image
with the Defringe options with selectable colors
Here is a link with information on the topic:
www.adobe.com/creativecloud/photography/discover/chromatic-
aberration.html
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In this case we did not use the Optics tab for the castle flower
bed image.
Lens Blur
The Lens Blur tab lets you set some new settings in this version. It is
currently set to Early Access and so settings are subject to change. This
area is similar to some of the Lens Blur settings that you used in that filter
and also in the Blur Gallery. In this case let’s see how that looks with the
current image that you have been working on. Refer to Figure 4-98.
Figure 4-98. Camera Raw Filter Edit Lens Blur tab expanded
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Apply: Enable this check box when you want to access various settings.
This may take a few moments, but once it is applied, it will reveal new
settings. Currently, however, I think the blur is in the wrong location unless
your focus is on the path and not on the building. However, as we progress
through the settings, we will alter this. Refer to Figure 4-99.
Figure 4-99. Camera Raw Filter Edit Lens Blur tab expanded and
some settings applied and preview of the image
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Blur Amount (0–100): Adjust the strength of the blur effect. A setting of 0
is no blur, while 100 is an extreme blur. For now, I will leave the setting at 50.
Bokeh: You can click various options, which include Circle, Bubble,
5-Blade, Ring/Doughnut, and Cat-Eye. As you hover over each, more
details on each setting are given. Currently, it is set to Circle: Modern
circular lens. Refer to Figure 4-100.
setting blur and bokeh type and then observing change in preview
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As you click another option, like Bubble, notice how the blur changes.
Try each one and then put back on Bokeh Circle for now. Refer to
Figure 4-100.
Boost (0–100): Adjust the brightness of out-of-focus light sources. Only
highlights in the blur are affected by this slider. Moving to the left darkens
and the right lightens. I left at the default of 50. Be aware how even this can
affect the white clipping in your histogram. However, you may want to in
this example overexpose the highlights in an area. In that case, later, you
may want to reduce the setting to 40. Refer to Figure 4-101.
setting Boost
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Next, we will adjust the positioning of the blur and Focus range. Refer
to Figure 4-102.
setting Focus Range
Focus Range: Can be set to Subject focus or Point/Area focus. Currently

it is set to Subject and the blur is in the wrong location. Subject will auto-
adjust using the Set focal range using AI subject detection and is useful
when a person is in a photo. In this case it thinks the subject is the path.
In this case we want to switch to and select Point/Area focus (target).
which will allow you to manually click or drag on the image. In this
case I dragged the selection from the top downward to the area about a
third down as I wanted to have the upper area remain in focus. Refer to
Figure 4-103.
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setting Focus Range and making adjustments
The focus range icon will deselect and for either option you can adjust
the range depth values that are in focus using the slider and side handles
to get a more custom range and accurate result. Try a setting of 45 and 100.
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The numbers will appear when you move the slider, otherwise it will have
the words near and far. Refer to Figure 4-104.
setting Focus Range and making adjustments to the slider
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Lastly, we will try to correct the Visualize depth and refine the focus.
Figure 4-105. Camera Raw Filter Edit Lens Blur tab expanded to edit
depth settings
Visualize Depth allows you to refine the Lens Blur depth map, and it
looks like a rainbow. Enabling this check box shows you what the current
map looks like and display colors on the focus range slider which is
normally white. Disable so that you can see the current image again. This
will then lead to the Refine section. Refer to Figure 4-106.
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depth settings and alter the map
You can use a brush to add focus or add blur. As you make changes you
can start a new refinement with a different blur focus or blur amount or
reset. Refer to Figure 4-107.
Figure 4-107. Camera Raw Filter Edit Lens Blur tab expanded to
edit depth settings and alter the map with the brush to return focus or
add blur
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Focus Amount (0–100)/Blur Amount (0–200): These sliders change

depending on which brush option is used. The slider is used to set the
strength of the current refinement.
Brush Size (1–100): Size of brush.
Feather (0–100): Size of feathering for the brush.
Flow (1–100): Strength of flow for the brush. By default it is set to 100.
Auto Mask: When enabled is used to combine brush strokes to an area
of a similar color. See “Masking Panel Options” later in the chapter for
more details.
In this case I want to blur a bit more on my image so that the focus is
more on the building than the path. I set the blur amount to 128. I will try a
blur brush with a size of 22 and increase the feathering between 84 and 100
and paint over the areas I want to blur more. Refer to Figure 4-108.
depth settings and alter the map with the brush to return focus or add
blur with settings adjusted
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Note that as you work a new button (+) will be added. It allows you
to start a new refinement with a different blur amount; this is similar
to using the pins as we saw earlier in the Blur Gallery in Chapter 3.
The blur I create arches upward on each side to a set point.

If, as you work on the Lens Blur, you want to return an area to focus,
choose that Focus brush again. The same size setting are retained for the
focus and blur brushes except for focus or blur amount and you can paint
some areas back in focus. Refer to Figure 4-108
Painting with Visualize Depth on and then off again may help as well.
You can see my final results here, but blur as you want to for your own
project. Refer to Figure 4-109.
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Figure 4-109. Camera Raw Filter Edit Lens Blur tab expanded with
changes and preview of the image so far
Calibration
The Calibration tab lets you set the following adjustments if you need to
adjust for older versions of Camera Raw. Refer to Figure 4-110.
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Figure 4-110. Camera Raw Filter Edit Calibration tab expanded
Process: Set a version of process. From the list the current version is 6
or the default setting.
Shadows: Adjust the Tint slider. Currently this settings is disabled.
Red Primary: Adjust the Hue or Saturation slider. Their range is –100,
0, +100.
Green Primary: Adjust the Hue or Saturation slider. Their range is –100,
0, +100.
Blue Primary: Adjust the Hue or Saturation slider. Their range is –100,
0, + 100.
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I do not adjust this area very often and leave at the default settings, but
if you need more details, refer to this link:
https://helpx.adobe.com/camera-raw/using/process-
versions.html
Workspace Additional Panels

At this point, for many projects you may want to click the OK button to
exit and save your changes. However, there are a few more panels on the
right that I just want to point out should you need to make a few additional
alterations, based on your project. Refer to Figure 4-111.
Figure 4-111. Other panel options in Camera Raw are found on the
right in the workspace
Geometry Panel
The Geometry panel lets you work with various tools. Set the following
settings to straighten photos and correct distortions. Refer to Figure 4-112.
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Figure 4-112. Camera Raw Filter Geometry panel expanded
Upright: By default, this settings is disabled when there is no distortion

to correct. However, you can choose other options to experiment with like
Auto: Apply balanced perspective corrections. However, be aware that
this setting may not accurately balance in all situations as you intend, so
another Upright setting or manual transformation may be better. Refer to
Figure 4-113.
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Figure 4-113. Camera Raw Filter Geometry panel with

Upright: Auto
Level: Apply only one level correction in the horizontal. This is a good
setting for some images; however, be aware that for this image there is
more of a vertical distortion happening on the sides of the building, so this
is not helping. Refer to Figure 4-114.
Figure 4-114. Camera Raw Filter Geometry panel with Upright:

Level and effect on part of the image
Vertical: Apply level and vertical perspective correction. In this image

we are working on, this does correct the structure distortion in the distance
but also creates too much distortion in other areas in the image and large
blank areas you may not want to alter. Refer to Figure 4-115.
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Vertical and effect on part of the image
Full: Apply level, horizontal, and vertical perspective correction. This

can also straighten the structure but again adds some distortion to other
areas you may not want to alter, and it leaves larger gaps on the sides. Refer
to Figure 4-116.
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Figure 4-116. Camera Raw Filter Geometry panel with Upright: Full
and effect on part of the image
Guided: Draw two or more guides to customize perspective correction.

You can use the Clear Guides button to remove them as you work. Use the
Loupe setting when you want to magnify areas and make sure the Show
Guides settings is enabled. Guided is a good compromise for this image as
I just want to correct the upper area of the building without creating large
gaps in the rest of the image. Refer to Figure 4-117.
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Guided selected to apply to part of the image
Here I dragged two vertical magenta guides on the left and right of the
building. If you are using horizontal guides, they will appear green striped.
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Figure 4-118. Camera Raw Filter vertical magenta guides applied to

the right and left of the building
I then gave the Camara Raw a moment to straighten. Refer to

Figure 4-119.
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Figure 4-119. Draw guides have now straightened the sides of the
building.
You can clear the guides to reset at this point or leave them as I did to
show you the result.
Zooming out you can see how this option created a lot less distortion.
And outside this workspace you may want to crop the image later or fill in
those gaps later using the Edit ➤ Content-Aware Fill workspace that we
discussed in detail in Volume 1. Refer to Figure 4-120.
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Figure 4-120. In Camera Raw you now have an image with gaps,
but you may need to use the Content-Aware Fill workspace and other
layers to correct this issue for a complete picture
You can see an example of that in my extra file flower bed_content-

aware.psd.
However, note that besides Edit ➤ Content-Aware Fill, I also had
to make a copy of one of the bushes on the left to make the edge look
uniform and then use my imagination with a clone stamp tool to cover
or edit gaps that Content-Aware Fill did not edit accurately. Just be aware
that if you make color adjustments in Camera Raw afterward, they will
appear differently on the Camera Raw, from the newly cloned or content-
aware areas outside of the filter, so final touch-ups like this should always
be the last steps when working with this filter and distortions. Refer to
Figure 4-121. The return to Camera Raw and Geometry.
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Figure 4-121. Layers panel with additional layers to cover the gaps
left by the adjustments in Camera Raw to correct distortion
Manual Transformations: Use the sliders to adjust the following

distortions manually in your own projects. In this case I left them at the
default settings of either 0 or 100. But for your own projects, you can test
them if you want to. Refer to Figure 4-122.
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Figure 4-122. Camera Raw Filter Geometry panel Manual

Transformations options
Vertical (–100, 0, + 100): Used to correct vertical distortions by

adjusting the top or bottom of the image.
Horizontal (–100, 0, + 100): Used to correct horizontal distortions by
adjusting the left or right of the image.
Rotate (–10, 0, + 10): Rotates the image, and this can be used to
straighten the horizon if required.
Aspect (–100, 0, + 100): Can widen or narrow the image to correct
minor aspect ratio issues when the Horizontal or Vertical has been
adjusted to an image disproportionately in earlier work.
Scale (50–150): Can be used to expand or contract the image to reduce
the amount of cropping required. In this case I left the setting at 100.
But for your image, rather than crop, you may want a higher setting for
expansion.
Offset X (–100, 0, + 100): Moves the image to the right or left by the set
increments.
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Offset Y (–100, 0, + 100): Moves the image up or down by the set

increments.
Note Further geometry issues can be corrected using the Lens

Correction filter, which we will look at briefly, later in the chapter.
Click OK to exit this project. In this case we will look at the other panels
using other images. However, make sure to File ➤ Save your work. You can
enter the filter any time by double-clicking it. Refer to Figure 4-123.
Figure 4-123. Camera Raw Filter: click OK to exit the panel to see
that the filter is applied to the smart object layer file
Refer to my file flower_bed_final.psd.
Saving Changes Options

Remember to click OK or Cancel to exit. Hold down the Alt/Option key
if you need to reset the workspace using the Cancel button. Note, if you
do click Cancel and have made changes in the workspace, you will get a
warning message asking if you want to discard or cancel all changes. If you
do, then click Yes to exit or click No and remain in the workspace.
Click OK with your changes confirmed. Refer to Figure 4-124.
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Figure 4-124. Camera Raw Filter warning that appears if you click
Cancel after making changes in the filter and you have the option to
cancel all changes and dismiss the Camera Raw Filter
Remove Panel
For the next Camera Raw Filter panel, we will use a different image
waterfall_camera_raw.psd. In this case I have already started to adjust the
color on this image in the Edit area for Light, Effects, and Curve to brighten
the image of this chaotic waterfall among the cliffs. Refer to Figure 4-125.
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Figure 4-125. Previewing the color alteration made to the waterfall

in the Camera Raw Filter
It is an interesting image, but there are a few imperfections of dust that

need to be covered.
The Remove (B) panel lets you work with various tools and adjust
settings on the preview and cover imperfections. This area is similar to
working with many of the healing tools mentioned in Volume 1, which
include the Spot Healing Brush, Remove, and Clone Stamp tools. Use
these tools to remove such things as spots, powerlines, and any other
distractions when you paint over the area or click to cover. I find this tool
best for files with minor imperfections. When they are more numerous and
complex, it may be best to use your healing tools outside this workspace as
was demonstrated in Volume 1. Refer to Figure 4-126.
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Figure 4-126. Camera Raw Filter Remove panel
Remove Tool (Content-Aware): With Early access, new options for Use
Generative AI and Object Aware have recently been added. These options
however are not available for the next two tools in this panel which we
will look at later. For the remove tool use the sliders for the brush settings
of Size (1–100) and Opacity (1–100). Click or drag on the board to cover
an area, and then later you can move that area to a new location or press
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the Backspace/Delete key to remove the selected area on the preview.

Click Refresh to update a selected spot with different content. Refer to
Figure 4-126.
In this case there was a small spot in the waterfall that needed to be
removed. I used a 14 px brush and set the Opacity to 100 and clicked that
location. Refer to Figure 4-127.
Figure 4-127. Camera Raw Filter Remove panel with Show Overlay
enabled and disabled using the Content-Aware Remove tool
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Turn off Show Overlay when you need to see the change in the image
clearly. The overlay is there to indicate what type of healing tool was used
and where.
Continue to remove and cover other spots. You can also Ctrl/CMD +
click or drag on the image first to select a custom source before clicking
and covering a spot. Then click the Refresh button if you do not like the
selected spot’s coverage. Refer to Figure 4-128.
Figure 4-128. Camera Raw Filter Remove panel Refresh button
Note that while a covered remove area is selected, you can change to
another healing tool option when that tool is selected from the panel.
Heal Tool: Adjust the brush slider settings for Size (1–100), Feather
(0–100), and Opacity (1–100). Click or drag on the board to cover an area,
and then later you can move that healed area or just the source area
separately to a new location or press the Backspace/Delete key to remove
the heal. Refer to Figure 4-129.
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Figure 4-129. Camera Raw Filter Remove panel: using the Heal Tool
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Clone tool: Adjust the brush slider settings for Size (1–100), Feather
(0–100), and Opacity (1–100). Click or drag on the board to cover an
area, and then later you can move that clone area or just the source area,
separately, to a new location or press the Backspace/Delete key to remove.
Click Refresh to adjust the source. Refer to Figure 4-130.
Figure 4-130. Camera Raw Filter Remove panel: using the Clone tool
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As mentioned, use the Show Overlay to toggle on and off the visibility
of pin and mask overlay.
Use Visualize Spots (Y) check box when enabled to visualize areas of
possible spots and toggle the setting on and off to see a black-and-white
preview. Adjust the threshold level in the preview using the slider when
enabled. Refer to Figure 4-131.
Figure 4-131. Camera Raw Filter Healing panel: visualizing spots
Keep this setting disabled while working on the image.

You can keep working on this image or experiment with your own.
In this case you can see some of the minor healing areas that I corrected
in this image to remove distracting dust particles. Refer to Figure 4-132
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and my file waterfall_camera_raw_final.psd. Refer to this link if you

need more information https://helpx.adobe.com/camera-raw/using/
enhanced-spot-removal-tool-camera-raw.html
Figure 4-132. Waterfall image with areas of healing and

remove applied
Click OK to exit and save changes when you are done.

File ➤ Save your work.
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Masking Panel Options

The Masking panel is a more complex masking system of options but
does share some similarities with the ones found in the Select and Mask
workspace mentioned in Volume 1. It allows you to alter and adjust masks
that can be used to adjust the color and effects of selected areas while in
the Camera Raw Filter. Note that this mask is internal within the filter and
does not appear on the smart filter layer mask in the Layers panel after
you exit the filter. In this example, I am not focusing on any one particular
image for you to work on but rather to show you which masks to use in
certain examples. In this case, you can practice on an image that we have
used in past chapters and turn the layer into a smart object layer first and
then enter the filter and choose the masking icon. Use my file tower_
camera_raw_mask_test.psd or another image of your choice. Refer to
Figure 4-133.
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Figure 4-133. Camera Raw Filter Masking panel and Layers panel
with Camera Raw Filter
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What kind of masking you choose will depend upon the photo and
your color correction intentions. Once one of the mask options is chosen,
additional options will appear for editing the specific mask or masks.
Some of the more popular masking options are shown at the top of
the list.
Create a new mask for the following:
• Subject: Select and mask the prominent parts of the photo

quickly. Works well with people, structures, animals, and
foreground colors. Refer to Figure 4-134.
Figure 4-134. Camera Raw Filter Masking panel with a Subject

mask applied with options
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• Sky: Applies the overlay mask to the sky and then you
can make adjustment to just the sky area. Refer to
Figure 4-135.
Figure 4-135. Camera Raw Filter Masking panel with a Sky mask
applied with options
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• Background: Automatically selects the background

of the photo and applies a mask. Refer to
Figure 4-136.
Figure 4-136. Camera Raw Filter Masking panel with a Background

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Other kinds of mask overlay include
• People: If present and detected, they can be part of

the selected mask, and you can apply selected edits
to them all or each person selectively. The choices of
masking may be more or less, depending on what the
filter detects. Refer to Figure 4-137.
Figure 4-137. Camera Raw Filter Masking panel with People

identification
Choose an option other than Entire Person, such as Facial Skin or

another option like Body Skin, Eyebrows, parts of the eye, Lips, Hair, or
Clothes. In some situations, you would also have the option to create
separate masks. Click Create. Refer to Figure 4-138.
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Figure 4-138. Camera Raw Filter Masking panel with People

identification and masking setting applied to select locations
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• Objects: Use the selection tool to mask objects using

either the Brush tool to select areas or the Rectangular
Marquee tool to select various objects. This is similar
to using the Object Selection tool outside of the filter
that on certain photos may do a better job of detection.
Figure 4-139. Camera Raw Filter Masking panel with a Objects

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Figure 4-140. Subject mask applied to a preview area
• Brush: Is more of a free-form mask that you can edit as

you choose, when you don’t have a selection that falls
into a set category or when it is hard to mask with the
other options. Adjust settings like brush size, feather,
flow rate, density, and auto mask sensitivity and then
paint or erase over an area you would like to adjust.
You can also choose to have separate eraser settings
when you choose that option from the ellipsis menu
(…). This is much like using a brush or eraser in quick
mask mode (Q) or the Select and Mask workspace
outside the filter as were discussed in Volume 1. Refer
to Figures 4-141 and 4-142.
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Figure 4-141. Camera Raw Filter Masking panel with a Brush mask
applied with options to a leaf
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Figure 4-142. Camera Raw Filter Masking panel with Brush mask
options for brush and eraser
• Linear Gradient: Apply adjustments in a gradually

fading pattern that creates soft transitions. It can be
used to balance a bright sky with a darker foreground.
After the gradient is placed, by dragging on the
preview, you can adjust its size and rotation. Refer to
Figure 4-143.
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Figure 4-143. Camera Raw Filter Masking panel with a Linear

Gradient mask applied with options
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• Radial Gradient: Applies local adjustments to the

inside and outside of an oval gradient that you have
dragged onto the preview area. The gradient can be
scaled and rotated. For natural-appearing effects, you
can also adjust the feathering of the gradient. Refer to
Figure 4-144.
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Figure 4-144. Camera Raw Filter Masking panel with a Radial

Gradient mask applied with options
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• Range: Applies adjustment to certain areas of the

photo based on choices from the list of Color Range,
Luminance Range, and Depth Range, if available.
Color Range, which is similar to Select ➤ Color Range
outside the filter, can be adjusted when you click with
the eyedropper tool on the photo to sample color.
Other options, like click + drag and Shift + click, can
also be used to sample color for greater accuracy or add
multiple samples. Refer to Figure 4-145.
Figure 4-145. Camera Raw Filter Masking panel Range masks with
a Color Range mask applied with options
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You can also sample Luminance Range with the eyedropper tool in a
similar way and edit a luminance map. Refer to Figure 4-146.
Figure 4-146. Camera Raw Filter Masking panel with a Luminance

Range mask applied with options
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Depth Range is only available for photos that have detectable distance
variations or depth information from the camera, which you can then
adjust with the depth slider. An example is an iPhone using the HEIC
format. In this case we are working with scanned images, so this setting
may not be available to you. However, you can learn more about it at the
link provided at the end of this section.
Overall Common Mask Settings

Whichever mask you choose, once the mask is added, you can then control
the following in the mask area for adding or subtracting to or from the
mask using other previous masking options. A mask can also be reset,
removed entirely, or renamed when you double-click the name or choose
an option from the ellipsis (…) menu. Refer to Figure 4-147.
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Figure 4-147. Camera Raw Filter Masking panel with masks applied
and various options for mask editing and creation
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As noted, earlier settings for each type of mask will vary with presets
and brush options. However, you can hide and show the overlay at any
time, change its color, or set additional overlay options, found under the
ellipsis (…). You can invert the mask anytime for most masks.
The mask or overlay in this case is the area that is altered by the options
that you choose to make additional color adjustments to. The overlay is
currently red. On the mask itself it is the white area that is altered.
When a mask is selected, the number of the mask appears here. You can
then select a preset adjustment if available. By default it is set to None and, if
available, you can adjust the strength amount of a new preset (0–200). Refer
to Figure 4-148.
Figure 4-148. Masking panel overlay options and preset options
The areas that are covered with the red mask are the areas that are
affected. As noted, you can invert the mask if you are not getting the effect
on the area you desire or turn off the show overlay to see the effect better,
or as you drag the sliders, the masking will disappear temporarily.
Many of these adjustment settings I have already discussed for overall
color and sharpening effects in the Edit menu, but now they will apply
to masked/overlay areas. When you have the mask to your liking, you
can then use various adjustment sliders to modify the overall mask areas
further. Refer to Figure 4-149.
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Figure 4-149. Camera Raw Filter Masking panel with masking

color adjustment options and previewing changes of lightening the
surrounding sky
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• Light: Refer to the Light tab for more details on how to

set Exposure, Contrast, Highlights, Shadows, Whites,
and Blacks.
• Color: Refer to the Color tab and Color Mixer for
more details on how to set Temperature, Tint, Hue,
Saturation, and Color. Refer to Figure 4-150.
Figure 4-150. Masking color adjustment options for Color
• Point Color: Refer to the Color Mixer tab Point Color for
details on how to work with specific Hue, Saturation,
and Luminance ranges.
• Effects: Refer to the Effects tab for more details on how
to affect Texture, Clarity, Dehaze, and Grain options.
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• Curve: Refer to the Curve tab for details on how to

work with Point Curve options for all or separate RGB
channels.
• Detail: Refer to the Detail tab and Optics tab for details
on how to work with Sharpness, Noise Reduction, and
Defringe. Note, however, that neither of these panels
has an option for Moire Reduction, which is shown
here. This is more common in scanned images that
have been scanned from images in magazine, and the
dot pattern creates an interference pattern. Moiré can
also be present in a photo taken of a TV screen and may
also appear when photographing certain fabrics with a
rippled tight weave. Refer to Figure 4-151.
Figure 4-151. Masking color adjustment options for Detail
Refer to this link if you want some examples of Moiré:

https://en.wikipedia.org/wiki/Moir%C3%A9_pattern
Reset sliders automatically: When enabled is for switching between

photos or creating new masks. Refer to Figure 4-151.
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The masking area gives you key command codes with help and links if
you cannot remember a specific setting. Refer to Figure 4-152.
Figure 4-152. Masking options: help chart for shortcuts
To learn more about masking and selective color adjustments, you can
refer to the following links:
https://helpx.adobe.com/camera-raw/using/masking.html
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https://helpx.adobe.com/camera-raw/using/make-local-
adjustments-camera-raw.html
Red Eye (Pet Eye) Panel

The Red Eye panel is used to remove unwanted pupil reflections from
people and pets. I am using the red_eye_camera_raw.psd file and have
selected the smart object layer. Refer to Figure 4-153.
Figure 4-153. Our pets can have red eye or golden eye that needs
color correction in Camera Raw
Use the Camera Raw filter to adjust for Red Eye. This panel lets you
set the following settings based on Type chosen. This is similar to working
with the Red Eye tool mentioned in Volume 1; however, now you can also
work with pets. Use the cursor to drag a box around the eye or eyes that
need correction. Refer to Figure 4-154.
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Figure 4-154. Camera Raw Filter Red Eye panel and options
Red Eye: Drag over the entire eye to make sure you cover the area. You
can always, on the preview, adjust the sizing if it does not fit. In this case,
using Auto did not detect the eyes. In the panel you can adjust Pupil Size
(0–100) and Darken (0–100) and turn Overlay off and on. Try a setting of
Pupil Size: 50 and Darken: 89. Refer to Figure 4-155.
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Figure 4-155. Camera Raw Filter Red Eye panel and options:
correction of each eye
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Repeat the steps on the other eye.

Pet Eye: Good for golden eyes. Drag over each eye, then move, and
resize the overlay. In the panel, you can adjust the pupil size (0–100) to 50.
Turn on Add Catchlight (specular highlight) and adjust its placement on
the preview. Turn Overlay off and to review. Refer to Figure 4-156.
Figure 4-156. Camera Raw Filter Red Eye panel and options:
correcting each golden eye with a catchlight
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Use the Reset button to undo steps if required, as well as Ctrl/CMD + Z.

Use the Delete/Backspace key if you need to remove a selected overlay.
Click OK to exit and then File ➤ Save your changes.
Later outside of the Camera Raw Filter, to enhance the eyes, you can
always add an additional blue color fill of blue: R: 180, G: 229, B: 255.
Above the smart object layer and on the layer mask painted over the eyes
with the Eraser tool, I used a blending mode of Color and opacity of 28%.
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Figure 4-157. After exiting the Camera Raw Filter, you can enhance
your cat’s eyes further with a Color Fill layer
File ➤ Save you work so far.

You can review my file red_eye_camera_raw_final.psd.
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Presets Panel
When you want to do other fast color adjustments besides the profiles
found in the Edit tab, you can use Camera Raw presets, which will affect
the panels and options we have just reviewed.
Choose or hover over an item from the list and click the text to test
and then move the slider to adjust the strength of that applied preset. By
default, this area is set to None; you can reset this if you click the Adobe
Default setting in the list. Refer to Figure 4-158.
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Figure 4-158. Camera Raw Filter Presets panel and options
This area also allows you to create your own preset using the button on
the left to access a dialog box and under the ellipsis (…). There you have
access to more preset options for viewing or managing the presets. Refer to
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Figure 4-159. Camera Raw Create Preset dialog box and additional
settings
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Figure 4-160. Applying a preset to an image using the Camera

Raw Filter
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More Image Settings Options

Additional options for saving and loading settings can be found under the
ellipsis (…) on the far right. Refer to Figure 4-161.
Figure 4-161. Additional settings in the Camera Raw Filter
Click OK with your changes confirmed. Refer to Figure 4-162.
Figure 4-162. Click OK in the Camera Raw Filter and save changes
More details or additional information on Camera Raw can be

found here:
https://helpx.adobe.com/camera-raw/using/introduction-
camera-raw.html
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ther Advanced Filters to Consider Using

O
with Camera Raw
While working with Camera Raw and entering and exiting the filter, here
are two filters you may want to consider using in conjunction with it when
correcting for distortion, should that be an issue. They are Lens Correction
and Adaptive Wide Angle. Either can be added afterward to the smart filter
Figure 4-163. Other filters can be applied in conjunction with your

Camera Raw Filter
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Their use is more common with digital images than images taken
with a film camera and later scanned, because for automatic correction
they rely on camera type or lens profile detection. However, some of these
filters’ properties can still be used with scanned images with no profile.
Lens Correction Filter

This allows you to do auto and custom correction. In Photoshop, Adobe
recommends, in the Geometry panel, that you use this filter first with the
Camera Raw Filter if you need to add additional correction to a photo
with distortion to correct pincushion and barrel distortion created by the
camera’s lens. It is optional to use however, if the image has no noticeable
distortions and you feel you have adequately corrected using Camera Raw.
Refer to Figure 4-164 and you can use my file wooden_church.psd.
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Figure 4-164. An image of an old wooden church, with some lens

distortion
Go to Filter ➤ Lens Correction to view the workspace of the filter. Refer

to Figure 4-165.
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Figure 4-165. Lens Correction filter workspace
With digital photos directly from your camera or smartphone, you can
work with lens profiles for automatic correction. However, in the book I am
just focusing on scanned images, so some of the options may be limited.
Here are the following settings you can use for images that have no lens
profile.
Use the following tools on the left. Refer to Figure 4-166.
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Figure 4-166. Lens Correction filter tools with the Remove Distortion
Tool used
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Remove Distortion Tool (D): On the preview, drag toward or away from
the center to correct distortion. Refer to the top icon in Figure 4-166.
Straighten Tool (A): As in the Camera Raw Geometry panel, you can
draw a line to straighten the image to a new horizontal or vertical axis.
Figure 4-167. Use the Straighten Tool to straighten the edge of

an image
Move Grid (M): Drag to move the alignment gird. In this case make
sure that the Show Grid preview is on to accomplish this. Refer to
Figure 4-168.
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Figure 4-168. Lens Correction filter with the Move Grid tool and
grid applied
Hand tool (H): Drag to move the image in the window without
affecting the settings. Refer to Figure 4-169.
Figure 4-169. Lens Correction filter Hand and Zoom tools
Zoom tool (Z): Click or drag over the area you want to enlarge. Alt/
Option + click to zoom out. Use the + and – buttons for additional
navigation in the lower-left corner.
In the lower area you can turn the preview on and off, show/hide the
grid, and set its color and size. Refer to Figures 4-168 and 4-169.
In this case, because the scanned image has no camera model, lens
model, or camera settings, these are not indicated on the lower left.
On the right side you will then have limited access to features in the
following tabs for Auto Correction and Custom. Refer to Figure 4-170.
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Figure 4-170. No camera or lens model is identified in the Auto

Correction tab
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Auto Correction Tab

The tab controls settings of the lens profile if present and accessible. The
Correction area will be unavailable unless you can set a matching camera
model, but the setting of Geometric Distortion will be automatically
enabled, while Chromatic Aberration (Defringe) and Vignette will not be
available and you will need to set these in the Custom tab manually or the
Camera Raw Filter, as seen earlier. You do not need to alter these settings
in both filters, only one.
Auto Scale Image: Enable automatic image scaling when correcting
distortions.
Select what will fill the edge when the distortion is made. You can set to
extend the edge or fill with transparency, black, or white fill. Transparency
is best if you plan to alter your image later with the Edit ➤ Content-Aware
Fill workspace as mentioned in Volume 1, to fill in the gaps, and was
seen after using the Geometry panel with Camera Raw Filter. Refer to
Figure 4-170.
In some cases, you may know the camera model or even want to try a
model to see if it will correct the distortion. You can then select a camera
make from the list. Then narrow down the camera model and lens model,
and choose a lens model profile from the list if available. In this example
we will leave this area blank. Refer to Figure 4-171.
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Figure 4-171. Search Criteria in the Auto Correction tab
With scanned images, when you do not know these settings, choose
the Custom tab.
Custom Tab
The Custom tab has many of the same settings found in the Camera Raw
Edit Optics panel and Geometry panel. So, if you have already set those
settings, you do not have to set them again. Refer to Figure 4-172.
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Figure 4-172. Lens Correction filter Custom tab
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I will just point out that it can use the settings of Lens Correction,
Default Correction, Previous Correction, and Custom. You can also load or
save settings as .lcs files using the menu and delete if required. In this case
we are just using Default Correction. Refer to Figure 4-173.
Figure 4-173. Lens Correction filter Custom settings
The next section controls the overall distortion caused by the lens.
Geometric Distortion: Remove distortion for correction of pincushion
(left) or barrel distortion (right) (–100, 0, +100).
In this example there was a definite barrel distortion, so I moved my
slider to the right to straighten out the image, to a setting of 16. Refer to
Figure 4-174.
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Figure 4-174. Lens Correction filter Custom Geometric

Distortion setting
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Chromatic Aberration (Defringe): Correct the following colors around

edge details, by moving the following sliders left or right) (–100, 0, +100):
• Fix Red/Cyan Fringe
• Fix Green/Magenta Fringe
• Fix Blue/Yellow Fringe
I could alter this area here, or as mentioned in the Camera Raw Filter
under the Optics tab, in this case I will leave at the default settings. Refer to
Figure 4-175.
Figure 4-175. Lens Correction filter Custom Chromatic Aberration

settings
Vignette affects the area around the borders of the image darkening or
lightening them. In this case it was already adjusted using the Camera Raw
Filter, so I will leave at the default settings.
Amount: Adjust the amount around the edge of the image; left will
darken and right will lighten (–100, 0, +100).
Midpoint: Modify to affect the spread for the vignette correction
(0–100). Set to +50. Refer to Figure 4-176.
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Figure 4-176. Lens Correction filter Custom Vignette settings
Transform: This area will adjust the perspective distortion further

using the following options. Refer to Figure 4-177.
Figure 4-177. Lens Correction filter Custom Transform settings
Vertical Perspective (–100, 0, +100): Modify the vertical perspective and

the top or bottom of the image. I set it to –47.
Horizontal Perspective (–100, 0, +100): Modify the horizontal
perspective and the left or right side of the image. In this case I left it at 0.
Angle (0–360°): Setting the angle of rotation for the image, which may
also be set by the Straighten Tool. When using this tool, it sets the angle
to 0.32°.
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Scale (50–150%): Scaling the image after correction, this does not affect
the document size. I left it at the default size of 100% as this causes very
little cutoff. Refer to Figure 4-177.
Click OK to commit changes or Cancel to exit without saving changes.
Optionally, use the Alt/Option key to change the Cancel button to a Reset
button and then click. In this case we can see the overall distortion of the
structure has been reduced with this Lens Correction filter. Click OK and
File ➤ Save your work, and you can check out my file wooden_church_
final.psd for reference. Refer to Figure 4-178.
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Figure 4-178. Final image with Lens Correction applied
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Tip If in situations you need to do a batch lens correction of several

files taken with the same settings, use File ➤ Automate ➤ Lens
Correction.
Adaptive Wide Angle

Use Filter ➤ Adaptive Wide Angle.
This is the second optional choice that you can also use with Camera
Raw, if Lens Correction did not achieve your goal or you want to control
the perspective settings more accurately. This filter works best with images
that do have a camera and lens model, but you can still use it on scanned
images as well. Use the file adaptive_wide_angle.psd for practice. Refer to
Figure 4-179.
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Figure 4-179. Apply the Adaptive Wide Angle filter with Camera
Raw to adjust an image’s distortions
Here are the following settings you can use for images that have no lens
profile. Refer to Figure 4-180.
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Figure 4-180. Adaptive Wide Angle filter tools
Constrain Tool (C): Add or edit a constraint by clicking the image or by

dragging at an endpoint. Shift + click or drag adding a horizontal or vertical
constraint. Alt/Option + click the selected line to delete. Right-click them
to choose an orientation from the menu, and this will straighten the image
further. By default, they are set to Unfixed, which is OK for diagonal lines.
But in other cases, you want them to be Vertical, Horizontal, or Arbitrary.
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Figure 4-181. Adaptive Wide Angle filter with the Constrain Tool
and Polygon Constrain Tool applied
709
Polygon Constrain Tool (Y): Add or edit a polygon constraint by

clicking the image or by dragging at an endpoint at least four points. Click
the initial starting point to end. Alt/Option + click the polygon to delete.
In my case I created a constraint of this kind on the floor area. Refer to
Figure 4-181.
Move Tool (M): Drag to move the content in the canvas. Refer to
Figure 4-180.
Hand tool (H): Drag to move the image in the preview without affecting
the settings.
Zoom tool (Z): Click or drag over the area you want to enlarge. Refer to
Figure 4-180. Alt/Option + click to zoom out. Use the + and – buttons for
additional navigation, in the lower-left corner.
On the lower left the camera or lens model would display if available.
Figure 4-182. Adaptive Wide Angle filter additional settings for

navigation and previews
Check Preview to view the before and after.

Enable/disable Show Constraints to show and hide them in the
preview.
Enable/disable Show Mesh to show and hide it above the preview as a
warped grid; by default it is disabled.
Here we can see an example of several constraint lines and a polygon
constraint that was used to correct perspective, in this image that I dragged
out and edited. We can clearly see that there was some distortion in this
image as now the edge has altered slightly on all sides leaving transparent
gap areas. Refer to Figure 4-183.
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Figure 4-183. Adaptive Wide Angle filter: when all the constraints
are applied, we can see distortion along the edges
Alternately, on the left you can set the type of correction (projection
model) you want to use on the right. The current settings are available
from the list (Fisheye, Perspective, Auto, and Full Spherical). Refer to
Figure 4-184.
Figure 4-184. Find your ideal projection or correction model
Fisheye: For correction of the extreme curvature caused by the fisheye

lens. Refer to Figure 4-185.
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Figure 4-185. Correction settings for Fisheye
Set the following settings:

Scale (after correction) (50–150 %): Set a new value to minimize the
blank areas that are introduced after applying the projection model.
Focal Length (2.18–65.5 mm). In this case you will have to set it
manually as no lens information is found. This setting can vary in
different images.
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Crop Factor (0.10–10.00): Set a value to determine how the final image
is cropped. Use this number in combination with the Scale value to correct
for any blank areas that are introduced while applying the projection
model. Dragging to the right will enlarge the image covering the crop
but dragging to the left can also further distort if the image is not scaled
correctly.
As Shot is enabled to the values as defined in the lens profile if the file
were from a digital camera. However, when no lens profile is found, the
option is disabled. Refer to Figure 4-185.
Perspective: This has the same settings as Fisheye and is used to
correct converging lines caused by angle of view as well as camera tilt. This
is the setting that I used for this image with the constraint lines. In this case
Scale is set to 100%. Focal Length may be slightly different (0.28–8.49 mm);
it is set to 6.74. Crop Factor is 10.00 so I did not distort the image. Refer to
Figure 4-186.
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Figure 4-186. Correction settings for Perspective
Auto: Detects the appropriate correction, but this setting is not

available unless the filter can detect the camera and lens model profile.
Click OK to exit the warning. Refer to Figure 4-187.
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Figure 4-187. Warning when the Auto setting is not available
Full Spherical: Corrects 360-degree panoramas and then allows for

scaling. Refer to Figure 4-188.
Figure 4-188. Warning when the Full Spherical setting is not

available
It will not be available unless the image is a certain aspect ratio of 2:1,
not 1:2, as it says in the warning. In this case, click OK to exit the warning.
If you want to use this option, use your Crop tool first on your file if you
need to set a ratio size for this before changing to a smart object layer and
adding the filter. Refer to Figure 4-189.
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Figure 4-189. Crop tool Options bar panel for altering your image
before you apply an Adaptive Wide Angle setting for Full Spherical
This option will then be available but will create a very rounded
distortion, which you can scale 50–150%. Refer to Figure 4-190.
Figure 4-190. Correction settings for Full Spherical
Note some photos may also allow for another separate projection
model called Panorama after you have used File ➤ Automate ➤
Photomerge, which was mentioned in Volume 1.
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Look at the details in the lower preview area as you hover over areas in
the preview. Refer to Figure 4-191.
Figure 4-191. Adaptive Wide Angle filter details
Note you can also adjust your preferences from the menu for the
constraint settings, as well as save and load constraints that are saved as
.wac files. Refer to Figure 4-192.
Figure 4-192. Adaptive Wide Angle filter: additional options menu
Click OK to commit changes or Cancel to exit without saving changes.

Optionally, use the Alt/Option key to change the Cancel button to a Reset
button and then click. Use the Ctrl/CMD key to change the Cancel button
to a Default button. Click OK to exit. Refer to Figure 4-193.
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Figure 4-193. Click OK to exit the Adaptive Wide Angle filter and
save changes
File ➤ Save your work and you can review my file adaptive_wide_
angle_final.psd.
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Note if you are interested in the topic of distortion with images that
have lens profiles, which are not required for this book, you can see
some examples in my book that I mentioned at the beginning of the
chapter or refer to the following links for more details on the topic:
https://helpx.adobe.com/photoshop/using/correcting-
image-distortion-noise.html
https://helpx.adobe.com/photoshop/using/adaptive-
wide-angle-filter.html
What Are the Materials Parametric Filters?

As mentioned in Chapter 3, in recent years Adobe has moved many of its
3D features out of Photoshop and into Adobe Illustrator or into a group of
3D applications known as the Substance collection. Refer to Figure 4-194.
Figure 4-194. Adobe Illustrator and the Substance collection apps

now have a number of 3D features
While the focus of this book is not about working in 3D, I will point out
that Adobe has continued to save many of these previous 3D Substance
materials that are now part of the Substance collection within Photoshop
as parametric filters. They are very similar to patterns and can be placed
on their own layers. You can access these 3D materials under Window ➤
719
Materials and review the panel. You can add your own Substance materials
that were created in a program like Substance 3D Designer or work with
the many Adobe Substance materials supplied in the panel. These filters
work best in RGB mode. Refer to Figure 4-195.
Figure 4-195. Photoshop Materials panel
When you click a choice from the panel, you add a material layer to
the Layers panel. It appears similar to a smart object layer with a smart
filter and adds a new parametric filter with blending options. Refer to
Figure 4-196.
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Figure 4-196. Photoshop Layers panel with a parametric

filter applied
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To edit the parametric filter using the Parametric Properties panel,

either double-click the name or access the panel from the Materials list.
Different materials will have varying options, which will include the
following. Refer to Figure 4-197.
• Resolution
• Properties: For color, sizing, and texture
• Lighting Properties: Rotation, height color, and

displacement
• Transform: Scaling and duplication
• Technical Parameters: Effect color and appearance
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Figure 4-197. Parametric Properties panel
These filters offer a wider range of options for each material to

customize it by adjusting various list properties and sliders and create your
own repeating background patterns. Like other smart filters you can edit
the filter mask.
Hold down the Alt/Option key if you want to add a second parametric
filter to your layer when you click one from the Materials panel. Use your
Blending Options dialog box to adjust blend modes and opacity if you
need to blend both patterns together, and you can use the Parametric
Properties panel to switch between materials. Refer to Figure 4-198.
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Figure 4-198. Applying various parametric filters to the Layers panel

and editing them in the Parametric Properties panel
You can also add other basic filters mentioned in Chapter 3 for further
enhancement. Refer to Figure 4-199.
724
Figure 4-199. Applying other filters in combination with the

parametric filter
Parametric filters are not the same as the neural filters collection,
and Adobe at some point will likely add more parametric filters to this
collection after newer filters move out of Photoshop (Beta) development
likely replacing some of its older filters for color, noise, grain, blur, and
various artistic stylized effects in the future.
However, the neural filter workspace is becoming more popular, and
we will look at some of those filters in Chapter 5.
Summary
In this chapter we reviewed the filters of Liquify, Camera Raw, Lens
Correction, and Adaptive Wide Angle. Then we briefly looked at the new
parametric filters. In the next chapter we will look at the final set of filters
that that can be used with smart object layers.
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CHAPTER 5
Advanced Filters for

Photo Restoration:
Part 2
Over the years, Photoshop has added more filters to its collection. In
recent years, we have seen some new developments in the neural filters.
You may have noticed this name in the list but not had an opportunity to
experiment with these new filters. In this chapter, we will explore several
of them and consider how they could be applied to a specific project while
working in that workspace. Refer to Figure 5-1.
Figure 5-1. Filter menu for access to neural filters

Later we will also look at where you can acquire other filters and plug-
ins via the Creative Cloud Desktop.

Chapter 5 folder. Also, some text has been adapted from the book
Perspective Warps and Distorts with Adobe Tools: Volume 1, as well
as new information added, specific to Photo Restoration.
Neural Filters
The neural filter workspace contains many new filters that you may
want to test, some of which may have already been downloaded and
others you can download now from the Creative Cloud, which it uses to
do calculations with the filters. I will just briefly describe the download
process, and then we will look more in depth of at least five filters and
briefly mention a few others. I will also provide links in this chapter to
more information.
Using a file that has a Smart Object layer as you did with past filters,
we will now experiment with this set of filters. Go to Filter ➤ Neural filters.
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Figure 5-2. In neural filter workspace list of current filters available

to access and download
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Note that some of these filters are in Beta and are subject to changes
and, as new filters are added, they may not appear in the exact same
location in the list as the current figure.
Workspace Tools and Output

On the left side of the filter, you will find the following tools. As you click
each you will find their options in the Options bar panel earlier. Note that
in the Options bar panel on the left, there is an arrow that will allow you to
cancel any operation and exit the workspace without saving changes. Refer
to Figure 5-3 and Figure 5-4.
Figure 5-3. Neural filter workspace tools
Add to Selection (B)

This tool can be used to add to a selection mask overlay on your preview
image if you have already applied a mask. Refer to Figure 5-4.
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Figure 5-4. Neural filter workspace Add to Selection tool brush

options and Options bar panel
As with brushes outside of the neural filter workspace, you can control
the brush’s Size (1–5000px), Hardness (0–100%), Spacing (1–1000%), Angle
(-180, 0, 180°), and Roundness (0–100%). Additional settings allow you to
set dynamic control for size if you plan to use a pen or stylus wheel and set
level of tolerance when using the stylus. Other settings in the Options bar
panel include Opacity (1–100%). Hide/Show mask overlay, color of mask,
and other mask control buttons which include Invert, Clear, Select Subject,
Select Sky, and Reset.
Subtract from Selection (E)

This tool can be used to subtract from a selection mask overlay on your
preview image if you have already applied a mask. Its settings are the same
as the Add to Selection tool. Refer to Figure 5-5.
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Figure 5-5. Neural filter workspace subtract from selection tool brush
Options bar panel
While these tools are useful, not all projects in the neural filters require
that you use them and so they are optional, as in most cases you are editing
the whole image with the filter and you can always later edit your smart
filter mask outside the workspace, if required.
Hand Tool (H)

As seen outside the workspace, the Hand tool allows you to move around
on your canvas without disrupting settings, which is useful when you are
zoomed in on an area. The following options in the Options bar panel
include Scroll All Windows, Zoom 100%, Fit Screen, and Fill Screen.
Alternatively, you can also use your Spacebar key if you are using another
tool. By default when the this filter’s workspace is opened it is set to this
tool. Refer to Figure 5-6.
Figure 5-6. Neural filter workspace Hand tool Options bar panel
Zoom Tool (Z)

The Zoom tool has the same options as seen outside the workspace and in
other past workspaces we have looked at in Volume 1 and this volume. Use
the Zoom tool to get closer to the subject or zoom out. The other options
include Resize Windows to Fit, Zoom All Windows, and Scrubby Zoom as
well as the same buttons found in the Hand tool. Refer to Figure 5-7.
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Figure 5-7. Neural filter workspace Zoom tool Options bar panel
In the workspace, you can also use the key commands of Ctrl/CMD++
and Ctrl/CMD+-.
If you need to undo a step, since you do not have access to the History
panel, remember to use Ctrl/CMD+Z to undo your last action, if required.
Before we work with the filters, I will just point out that while working
with your preview you may want to, as you saw in Camera Raw, see a
before and after. In this case, the preview button is located in the lower
area of the workspace. Refer to Figure 5-8.
Figure 5-8. Neural filter workspace Preview Navigation and

Output Options
Click to Preview changes or show original artwork. Refer to Figure 5-9.
Figure 5-9. Neural filter workspace Preview Navigation

Options before/after
Other settings in this area include the following:

Layer Preview which allows you to Show all layers or Show selected
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Figure 5-10. Neural filter workspace Preview Navigation Options

viewing layers
Output options in this case are set to Smart filter when working on a
smart object layer, but in other situations as you will see later, you may
prefer to output to a New layer, New layer masked, or a New document.
Figure 5-11. Neural filter workspace output options and list
After working on the layer with a filter, the OK button will be active,
but, if you need to exit before or after making changes without confirming
them, you can click the Cancel button. OK will apply the filter settings to
the Smart Object layer. Refer to Figure 5-12.
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Figure 5-12. Neural filter workspace OK and Cancel button before

changes area made
In this case, remain in the neural filter workspace.

If you have or have not used some of the filters, they may or may not be
downloaded from the All filters list which currently runs on my graphics
processor (GPU); this info is found under the ellipsis menu (…). Refer to
Figure 5-13.
Figure 5-13. Neural filter workspace enables graphics

processor settings
Those that are downloaded appear with a Toggle button beside them
to activate them. However, if in the image something like a face is not
detected in the photo, then those that apply to that topic will be inactive,
as seen here with Smart Portrait which I will mention later in the chapter.
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Figure 5-14. Neural filter workspace filters are divided into

various categories
Those that are not downloaded yet will have a cloud with a down arrow
beside them. Before you decide to download or use the available filters,
you can hover over each one and learn more about what they can do and
then decide if they will be right for your current project or one you plan to
work on. Refer to Figure 5-15.
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Figure 5-15. Some filters are not active if people are not in the image,
but you can still review what the filter does
Adding a New Filter

When you want to download a new filter to your collection, here are some
steps you can follow.
For example, let’s add the colorize filter, which is currently found
in the color section of the list and has a cloud symbol beside it. In this
case, the other two are already downloaded and available to me. Refer to
Figure 5-16.
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Figure 5-16. Review the neural filter, and choose one that you would
like to download
Hover over the filter first to determine what it is for. It looks like it is for
colorizing a black-and-white image.
Now click the filter to reveal the download information on the right
side of the panel. Refer to Figure 5-17.
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Figure 5-17. Click the download button to download and install

the filter
If you want to use this filter now or in the future for a project, click the
download button to let Photoshop install the filter. This may take a few
moments. Refer to Figure 5-18.
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Figure 5-18. Wait for the installation to complete, and then the new
filter will be active or ready to toggle on
If the filter can be used with your current photo, it will then be toggled
on and active. At this point, download any other filters that you might be
interested in.
If you don’t plan to use the filter now, you can click the Cancel button,
but it will still be available when you enter the Workspace for the next
project, and you do not have to download it again. Refer to Figure 5-19.
Figure 5-19. Click OK or Cancel after you have downloaded and

used the filter to exit the workspace
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Note if the filter is in Beta you may get updates every time Adobe
updates the Photoshop software, so some settings may be altered
and not remain the same from filter to filter as seen in the current
notes. You can always refer to the links at the end of this chapter if
you need some current information.
Now let’s start to work with each filter. I will give you a few highlights
next, under the various selection.
Color
Alter colors quickly with the following filters found in this section.
Colorize
Along with three other filters, it is found in this section. The filter helps
with the re-colorization of black-and-white photos. In Chapter 1,
we looked at ways to colorize photos using a variety of fill layers and
adjustment layers, such as Hue/Saturation with the colorize settings or
painting on a Normal blank layer and then adjusting the Layers blending
mode. In this example, we can use a filter to do some of the work. Use the
following file. In this example, I spent some time cleaning up some of the
more obvious scratches from an older photo and then, while it was black-
and-white, used the black-and-white adjustment layer as well so that there
were no visible stains and discoloration before I started working on it. I
then turned the copy of those layers into a Smart Object layer. Use the file
village_scene_colorize.psd. Refer to Figure 5-20.
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Figure 5-20. Select the Smart Object layer that you want to apply a
neural filter to
Select the Layer in in this case called Black & White 1 copy.
Go to Filter ➤ Neural filter if you do not already have the image open,
and toggle on the colorize filter as you review it in the preview. Refer to
Figure 5-21.
Figure 5-21. Colorize neural filter activated
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From the initial preview, we can see that the filter does recognize areas
of the sky as being blue, colorizes the people and trees, and does recognize
other areas as being gray or brown, but AI on its own does not colorize
everything as I would like it to. Refer to Figure 5-22.
Figure 5-22. Colorize filter applies color automatically
We need remove some of the green in the lower road area so I will
use the setting on the right side of the preview to improve this. Refer to
Figure 5-23.
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Figure 5-23. Colorize filter settings
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Note Use the backward pointing underlined arrow in this upper

area near the name of the filter if you need to reset your parameters
at any time. This is the same for all filters I will mention in this
chapter. Refer to Figure 5-23.
To adjust some of the colors in the preview image, use the Focal Points
preview to click in areas that you want to add a new color to in the lower
area on the street. Refer to Figure 5-24.
Figure 5-24. Colorize filter allows you to manually color the image
using the Focal Points preview
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On the Preview on the left, click the eyedropper tool and this brings up
the color picker (Focus Point Color) so that you can choose a more natural
gray brown color R:175, G:167, B:161 and click OK. Refer to Figure 5-25.
Figure 5-25. Use the color picker dialog box to set and choose a
Focus Point color
This will now add that color to the general preview area, and then you
can adjust the strength or swatch color further. Selected focal points can
also be removed as well by clicking that button. Refer to Figure 5-26 and
Figure 5-27.
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Figure 5-26. Focal point and color applied
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Figure 5-27. Preview of image with another color focal point added
In this case, Auto color Image is enabled, but you may still have to
click in other areas of the ground or elsewhere to continue to colorize to
suit your requirements and alter the colors of the focal points accordingly.
Refer to Figure 5-28 and Figure 5-29.
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Figure 5-28. Preview of image with multiple color focal points added
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Figure 5-29. Preview of color focal points in filter
As you add the various color focal points, you can always go back and
select them and then edit the color of that point.
Further adjustments can then be made. Refer to Figure 5-30.
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Figure 5-30. Additional adjustments colorize filter options that you

can use to alter the overall image
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Currently the profile is set to none. However, you may want to test
other color profiles from the list which is similar to working with the
adjustment layers or Camera Raw filter, and then you would have access to
the profile strength slider (0–100). Refer to Figure 5-31.
Figure 5-31. Adjustments colorize profile options
In this case, we will leave Profile at a setting of None as we want to

make some overall manual adjustments. Experiment with the following
sliders; in my case, I made some small adjustments so that it did not alter
the color of the sky too much.
Saturation (-50,0, +50): Adjust overall saturation levels. Try a
setting of +2.
The next slider set is Cyan/Red (-50,0, +50), Magenta/Green (-50,0,
+50), and Yellow/Blue (-50,0, +50) which are used to balance the
complementary of those colors much like using the adjustment layers of
color balance. Try some settings like -1 or +1, or leave the settings at the
default of 0.
Color artifact reduction (0-100): May help reduce discoloration in
select areas. Try a setting of 15.
Noise reduction (0-100): Remove additional grain and soften the image
overall; try a setting of 10 or higher. Refer to Figure 5-32.
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Figure 5-32. Adjustments colorize slider options
Keep in mind that as you adjust colors, the filter appears to work in
small patches, so you may have to update areas manually of color focal
points on your preview. Refer to Figure 5-33.
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Figure 5-33. Colorize focal points and the final colorized image with
the sky adjusted
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I do like this filter; I would recommend it for simple colorizing

projects. However, for more complex ones, using some Hue/
Saturation adjustment layers would be best for smaller details to
control exact color placement. The control is more exact when you
can paint on an individual adjustment layer’s layer mask as seen in
Chapter 1 and in the example in Chapter 4 of the woman’s portrait.
Nevertheless it is definitely a good starting point for colorization.
The last setting allows you to output as a new color layer with or
without a mask. The output would appear as a normal layer (Layer 2) set to
a blending mode of Color with pixel paint applied above the current Smart
Object layer. Refer to Figure 5-34.
Figure 5-34. Colorize filter output options and example of color layer
in the Layers panel
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However, keep this output setting disabled if you want to retain your
settings within the smart object output and the color applied to the filter
and then click OK. Refer to Figure 5-35.
Figure 5-35. Colorize filter output options and example of filter

applied to layer in the Layers panel
This would then allow for additional editing later.

File ➤ Save your work. Refer to file village_scene_colorize_final.psd
for reference.
Additional Filter Color Adjustments

The color section also has two additional filters you may want to try and
experiment with on your own. They are used more for artistic color effects.
Harmonization
This filter can be used to harmonize the color and luminosity of one layer
to another layer to make a flawless composite. This filter requires a layer
with a mask or transparency. In this case, I am just using some normal
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layers that have been named correction and source that I place side by side
for comparison. I have selected my layer that I labeled correction before
entering the Filter ➤ Neural filter workspace. Refer to Figure 5-36.
Figure 5-36. Harmonization filter Layers panel and two images side
by side for working on
While this filter is currently in Beta, I can see how it is good for working
with making adjustments to similar images that you may have taken on the
same day of a particular scene. It can also be for correction of a collection
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of images that may all be part of a panorama scene. The purpose is so that
the overall tone is adjusted and similar. In this case, I selected from the
reference image layer called source. Refer to Figure 5-37.
Figure 5-37. Harmonization filter – choose a reference image
Further adjustments may still have to be made to the sliders to get a

more balanced look. Refer to Figure 5-38.
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Figure 5-38. Harmonization filter – adjust the settings to correct the

colors in the image
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While the source image is active, you can adjust the following sliders:
Strength (0–100): I increased this to 100.
The next set of sliders are used to balance Cyan/Red, Magenta/Green,
and Yellow/Blue. These, in this example, do not have an increment range,
so you need to move the sliders left or right and observe how they adjust
the preview. In this case I left them roughly in the center with Yellow/Blue
moved slightly to the right.
Saturation (-50,0, +50): I left this settings at 0.
Brightness (-50,0, +50): I raised to +50.
I would not, however, recommend this filter for drastically different
color shifts or scenes, as the filter currently does have difficultly
referencing some color shifts and making it as accurate as I would expect it
to be. It is not for black and white images.
In this case, you could output your changes as a smart filter, should you
want to reference your changes later for comparison. Then click OK. Refer
to Figure 5-39.
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Figure 5-39. Harmonization filter output to Smart Object layer in the

Layers panel and the final result
Refer to beach_harmonization.psd for reference.
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Color Transfer
This filter can creatively transfer a color pallet from one image to another.
You can either use preset images or upload your own, using the Custom
tab. See and use a copy the file forest_path.psd if you want to practice.
Figure 5-40. Neutral Filter Color Transfer
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While working in the presets, you could select an image to alter the
overall color, similar to working with adjustment layers or Profiles in
Camera Raw. I used the green leaves to test. Refer to Figure 5-41.
Figure 5-41. Color Transfer filter with preset applied to image
Then choose a color space of Lab or RGB; note how the preview alters
when the color space change is made. Refer to Figure 5-42 for options from
the list.
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Figure 5-42. Color Transfer filter settings Lab or RGB color space
Work with the Lab color space.

Then adjust the sliders for the following. Refer to Figure 5-43.
Figure 5-43. Color Transfer filter settings Lab color space options
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Preserve Luminance: When enabled, keep the lightness of the image;

however, the Luminance slider will not be available. Refer to Figure 5-44.
Figure 5-44. Color Transfer adding Preserve Luminance to the image
Luminance (-50, 0, +50): Currently, it is set to 0 as I have enabled the

Preserve Luminance slider. However, a setting of -50 can yield a more
monochrome result. Refer to Figure 5-45.
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Figure 5-45. Color Transfer adjusting the Luminance slider on the

image and then with Preserve Luminance check box is disabled and
then enabled
Color strength (-50, 0, +50): I set to +12.

Saturation (-50, 0, +50): Try a setting of -25.
Hue (-90, 0, +90): Set to -19.
Brightness (-50, 0, +50): Set to +5. Refer to Figure 5-46.
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Figure 5-46. Color Transfer filter settings
Note that the RGB color space only uses the slider of Saturation,
Hue, and Brightness. Refer to Figure 5-42 and Figure 5-46.
Unlike with the Hue/Saturation adjustment layer mentioned in

Chapter 1, in this Color Transfer filter, you are a bit more bound by the
colors that are used from the reference image. This actually is much like
using the Color Lookup adjustment layer from Chapter 1. However, in
this filter, the sliders do give a broader range of options which the Color
Lookup adjustment layer does not possess.
You can then output as a smart filter and click OK. Refer to Figure 5-47.
Refer to forest_path_color_transfer.psd as a reference.
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Figure 5-47. Output as a smart filter settings
Restoration
Use the next set of filters to restore images quickly.
Photo Restoration (Beta)

Quickly restore old photos with the Power of AI. You can improve contrast,
enhance details, and remove scratches and later combine with the
colorize filter. Download this filter if you have not already done so, but
keep in mind this filter is currently in Beta, so it is subject to changes. Note
that afterward, the word new may be removed from the filter. Refer to
Figure 5-48.
Figure 5-48. Neural filter Photo Restoration
Can this filter do a better job of restoration than you? You can certainly
find out when you apply the filter to the original damaged image or a Smart
Object layer and compare. In this case, I think, based on my settings, I was
able to eliminate at least 85% of many of the dust particles and scratches in
this earlier black-and-white image which I could now go back and colorize
again if I wanted to. You can refer to my file village_restoration.psd. Refer
to Figure 5-49.
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Figure 5-49. Neural filter Photo Restoration before and after once
settings were applied
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Every image will be different, but you can certainly try the following
settings. Refer to Figure 5-50.
Figure 5-50. Photo Restoration filter settings
Photo enhancement (0–100): Move the slider; in this case, I used 5 as

I found too high a setting created some unwanted spots or some details
were lost.
Enhance face (0–100): This is an optional setting that appears only if a
face is visible and present. If there are no recognizable faces in the photo,
this option is not present. Refer to Figure 5-51.
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Figure 5-51. Photo Restoration filter settings for faces
Scratch reduction (0–100): I set this to 6 so as not to lose important

details. However, for your image, you may want a higher setting. Refer to
Figure 5-50.
Adjustments can also be for
Noise reduction (0–100): Removes some noise from the image. I set
this setting to 2.
Color noise reduction (0–100): Removes some colored spots from the
image which would not be present in a black-and-white image. I would try
between a range of 0–2. I left at 0.
Halftone artifact reduction (0–100): Some prints that are from a
magazine may have visible halftone dots that appear in the scan; this can
help eliminate them. Likewise, you could see if this option would improve
issues with the Moiré effect. In this case, I left the setting at 0.
JPEG artifact reduction (0–100): Often more common on digital
photos, this could be used to clean up any unwanted color artifacts, as was
mentioned in Chapter 3 with the Reduce Noise filter. I used a settings of 2.
You can then output to the smart filter and click OK. Refer to
Figure 5-52.
Figure 5-52. Output as a smart filter setting
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While this is not a perfect solution to all heavily damaged images, later
I could always create a new blank later and, with the Clone Stamp tool,
cover the remaining scratches or powerline, and this could save me some
time. And you can paint with the Eraser tool on the smart filter mask to add
back any details you did not intend to remove. Refer to Figure 5-53.
Figure 5-53. Clone Stamp tool and Additional layer in Layers panel
for additional touch-ups of file if required
Likewise, you could test this as an alternative to the dust and scratches
filter in other images like the Army Photo in Chapter 3 to see if it would be
an improvement to that filter. If you do so, work on an Image ➤ Duplicate
of the file.
This filter can also work with damaged color images as well and may
be able to repair areas that are damaged in some RGB channels as well
while working on the composite. So, I do recommend experimenting with
this filter.
An additional related Photo Restoration filter that you may want to use
for other specific digital projects is also available in this section.
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JPEG Artifacts Removal

Used for removing artifacts resulting from JPEG compression. The
following settings are only for Strength: Low, Medium, and High. We
saw an example of this in the Reduce Noise filter in Chapter 3. Refer to
Figure 5-54.
Figure 5-54. Neural filter JPEG Artifacts Removal filter
Just make sure to do a before and after comparison if you are

concerned about losing fine details in your image.
Portrait (Facial Adjustments)

There are three filters in this section that you may want to experiment with.
As an alternative to Liquify filter from Chapter 4 for faces in this workspace,
try Smart Portrait. If the filter can detect a face, then it will be active for
you to toggle on.
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Smart Portrait
I have used this filter in my book, mentioned earlier, which can do many
of the similar settings by adjusting the sliders and adding a more realistic
smile. You can adjust each face one at a time as you select it from the list.
Some of the key settings in this filter you may want to experiment with
are found in the Featured, Expressions, Global, and Setting tabs when
you expand them. In this case, you can again work on a copy of the file
womens_heads_example_start.psd. Refer to Figure 5-55 and Figure 5-56.
Figure 5-55. Neural filter Smart Portrait filter and preview
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Figure 5-56. Neural filter Smart Portrait filter and settings
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Currently Auto balance combinations is enabled. Which constrains

combinations to create a more natural looking result.
Feature allows you to adjust settings like level of
Happiness (-50, 0, +50): Move left to create a neutral expression and
right for a happier face. Refer to Figure 5-57.
Figure 5-57. Smart Portrait filter and Happiness settings
Facial age (-50, 0, +50): Moving the slider left can add more youth and
right make the person look older. Refer to Figure 5-58.
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Figure 5-58. Smart Portrait filter and Facial age reduction
Hair thickness (-50, 0, +50): For people with thinning hair, this can be a
useful setting. This can also correct some gaps that may appear around the
head as you adjust other sliders. Refer to Figure 5-59.
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Figure 5-59. Smart Portrait filter and Hair thickness increase
Eye direction (-50, 0, +50): This setting can shift the eyes slightly to the
left or right. Refer to Figure 5-60.
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Figure 5-60. Smart Portrait filter and Eye direction moved right
Be aware, as you work with these settings, that areas like the eyebrow
or around the neck may be altered in unexpected ways. I will talk about
that at the end of this filter section.
Expressions control facial reactions like Surprise (-50, 0, +50) and
Anger (-50, 0, +50). Refer to Figure 5-61.
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Figure 5-61. Smart Portrait filter and adjustment to expression
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Global controls have three main sliders which are for the movement
of the Head direction left or right, Fix head alignment if head shifts
incorrectly, and Lighting direction. Each has a slider range of (-50, 0, +50).
Move the sliders to try different settings and refer to Figure 5-62.
Figure 5-62. Smart Portrait filter and adjustment to Global direction

of the head
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Settings can be adjusted to control and retain unique details (0–100)

in the face as well as mask with feathering (0–100). I found that lowering
the retain unique details to 5 and raising the Mask feathering to 85 did
eliminate some of the broken areas around the hair eyebrows and neck.
Figure 5-63. Smart Portrait filter and adjustment to settings options
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To create a happier face, you may want to go back and set the
Expression settings back to 0, and in the retain unique details, set this to 0.
Figure 5-64. Smart Portrait filter and adjustment to Expressions and

Settings options and then try alternative alignments
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For practice, go back and alter the angle of the head in another
orientation you want using the sliders.
Then output to smart filter. Refer to Figure 5-65.
Figure 5-65. Output as a smart filter settings
Note that every face is different and if you are still running into issues
around the eyebrow or neck area, some recommendations that I can
make are painting on the smart filter mask to paint back some of the
details or use the Clone Stamp tool to cover broken area that you do
not like.
There are two other filters you may want to try in this section.
Skin Smoothing
This filter is used to remove skin imperfections and acne from portraits.
Adjust additional settings like Blur (0–100) and Smoothness (-50, 0, +50)
on a selected face. In this case, our models already have smooth faces,
but on your own project, you may want to try these settings to soften their
features and skin glare further as I did on the second model’s face around
the eyes and nose. Refer to Figure 5-66.
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Figure 5-66. Neural filter Skin Smoothing settings and output as a

smart filter settings
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Output to your smart filter, click OK, and save your work.
You can see the work so far on womens_heads_example_final.psd.
Makeup Transfer
This filter is used to move colors from one face to another using a
reference image which could be a currently open image. As with the other
mentioned filter, you would then select a face in your current image. This
filter works best when there is only one person in the image as two or
more people seem to throw an error when attempting the transfer. Refer to
Figure 5-67.
Figure 5-67. Neural filter Makeup Transfer settings
Browse for one or more open reference images. You could then crop
the area in the reference image to the targeted areas. Refer to Figure 5-67
and Figure 5-68.
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Figure 5-68. Neural filter Makeup Transfer settings applied to select

face preview
Then transfer that information onto your selected face.

Beware, however, that if your selected face to add the filter to already
has makeup present, this filter may not work as intended. It could also
interpret someone with a different skin tone in the reference image and
look at areas where there is no makeup present such as around areas
above the eye or around the cheeks, and apply that skin tone instead to
the selected face which may not be intended. Working with someone of a
similar skin tone or cropping the reference image may improve the result.
For more information on this topic, you can refer to the following links
at the end of this section.
Refer to my two files in the Makeup Transfer Test folder (woman_
reference.psd and woman_subject_selected.psd) if you need to review.
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Photography
In Chapters 3 and 4, we looked at various filters for sharpening and
blurring. Here are two other alternatives you may want to explore. Make
sure to download them if you have not already done so.
Super Zoom
Use this filter to get a closer crop to an image, and then let Photoshop add
in details to compensate for the loss of resolution. Its main settings let you
Drag to reframe image.
Enhance image details using the magnifying icons and the check box.
Then Zoom in 2 or more times.
Remove JPEG artifacts from digital photos.
Noise reduction (0–30): Reduce noise grain in the image.
Sharpen (0–30): Increase to sharpen the image, as when it enlarges it
may blur.
Enhance face details when faces are detected. Refer to Figure 5-69.
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Figure 5-69. Neural filter Super Zoom settings and Output settings
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You can then output to a new layer or new document.

Use a copy of womens_heads_example_start.psd or your own project
if you need to test this.
Depth Blur
Use this filter to create environmental depth to an image. Note that this
option is currently in beta. Use a copy of the forest_path.psd in this
example. Refer to Figure 5-70.
Figure 5-70. Neural filter Depth Blur filter and settings applied
to preview
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The initial blur will come in reverse. You can then reset this using the
settings on the right to edit the focal point. Click to edit the focal point on
the focal point preview. Then drag to a new focal point position. Or remove
the focal point. Refer to Figure 5-71.
Figure 5-71. Neural filter Depth Blur filter setting a focal point
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If no focal point is preset, you can set a focal distance (0–100). I used a
setting of 100. Refer to Figure 5-72.
Figure 5-72. Neural filter Depth Blur filter and filter settings applied
to preview
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Focal range (0–100): Use a setting of 47.

Focus subject: Keep this setting disabled if you add a focal point later.
Other settings include
Blur strength (0–100): Decrease or increase the blur. The default is
set to 50.
Haze (0–100): Adds a type of mist or atmosphere to the image; by
default, it is set to 0.
Temp (temperature) (-50,0, +50): Add more blue or yellow to the
image; by default, it is set to 0.
Tint (-150,0, +150): Add more green or magenta to the image; by
default, it is set to 0.
Saturation (-50,0, +50): Decrease or increase the saturation; by default,
it is set to 0.
Brightness (-50,0, +50): Decrease or increase the brightness; by default,
it is set to 0.
Grain (0–100): Increase the noise or grain in the image; currently, it is
set to 0. Refer to Figure 5-73.
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Figure 5-73. Neural filter Depth Blur filter and filter settings to adjust
the blur
If you need to output depth map only (to a new layer or masked new
layer), you can enable this setting. It will also allow you to preview the
current gradient depth maps as well.
In this case, I have disabled that setting and want to output to my
Smart Object layer filter. Refer to Figures 5-73 and 5-74.
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Figure 5-74. Neural filter Output settings
This is a good option for basic blurs. Alternatively, you may prefer to
use the Blur Gallery (Chapter 3) or the Camera Raw Lens Blur (Chapter 4)
options.
See file forest_path_depth blur.psd for reference.
reative (Filters for Artistic Work) Landscape

C
Mixer and Style Transfer
For more artistic work, I recommend Landscape Mixer (Beta). This can
certainly enhance an otherwise dull photo or add more to the scene, by
mixing with another image or landscape by changing attributes like time of
day or season from a reference image or one you upload. You can continue
with the forest_path.psd image if you want to continue to test this and
setting of the final filter. In this case, I am just using one filter at a time, so I
am working with a copy. Refer to Figure 5-75.
Figure 5-75. Neural Filter Landscape Mixer tool activated
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However, you can create a wide range of scene variations with the
presets. Refer to Figure 5-76 and Figure 5-77.
Figure 5-76. Current image in preview and then a Landscape Mixer

preset applied
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Figure 5-77. Experiments with other presets in the Landscape

Mixer filter
If you like the idea of an overgrown landscape or a fantasy world, you

can certainly experiment with the filter.
The following sliders are available Presets, or upload your own Custom
landscape style images using that tab. Refer to Figure 5-78.
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Figure 5-78. Landscape Mixer filter preset
Note that some presets lend themselves better to one image over
another. I find that forest scenes work best. They can, however, contain
features like streams and waterfalls or mountains. Use the preset images to
guide you, and then use the sliders to adjust the following.
Strength (0–100): Set the amount of preset that is applied.
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Set a time of Day (0–100), Night (0–100), or Sunset (0–100).

Set a season Spring (0–100), Summer (0–100), Autumn (0–100), and
Winter (0–100).
Try them in any combination that you want to create a unique image.
Refer to Figure 5-79 and Figure 5-80.
Figure 5-79. Landscape Mixer filter preset applied
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Figure 5-80. Landscape Mixer filter settings
Other options you can enable are

Preserve Subject: This will allow you to enable the Harmonize Subject
check box.
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Currently, I disabled these settings, and in some images, the effects

may be more visible than others.
You can then output to your smart filter. Click OK. Refer to Figure 5-81.
Style Transfer
Another artistic filter found in this section is Style Transfer which can
transfer texture, color, and style from a reference image or apply a style
of a specific artist. This is much like using the Filter Gallery, and you can
choose various artist or image styles. It comes with a few preset but you
can also download more from the Cloud if you want to. Or upload your
own custom reference image artwork using the Custom tab. Refer to
Figure 5-82 and Figure 5-83.
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Figure 5-82. Neural filter Style Transfer using artist styles

and preview
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Figure 5-83. Neural filter Style Transfer using image styles

and preview
Some of your photos will lend themselves better to one artwork than
another, so take time to experiment.
Once you select an image from the menu, you can adjust sliders for the
following. Here I left them at the default settings. Refer to Figure 5-84.
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Figure 5-84. Neural filter Style Transfer options
Strength (0–100): I left it at the setting of 20.

Style opacity (0–100): Determines how the style covers the artwork. I
left this at 100.
Detail (0–100): I left this at the setting of 100 for full artwork details.
Background blur (0–100): Blurs the image. I left it at 0.
Brightness (-50, 0, +50): Decrease or increase the brightness. I left
it at 0.
Saturation (-50, 0, +50): Decrease or increase the saturation. I left
it at 0.
Preserve color: Enabled when you want to keep some of the color from
the original image. Refer to Figure 5-85.
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Figure 5-85. Neural filter Style Transfer options for preserve color
and preview
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You can then output to your Smart Object filter. Refer to Figure 5-86.
Refer to my file forest_path_landscape.psd and forest_path_styleT.

psd for reference.
Filters to Come in the Future

Adobe, at some point, will add more filters, and you can preview some
possible upcoming ones under the Wait List. For me, Shadow Regenerator
would be a nice addition to my digital repair tools. But other ones you
may be interested in could be Portrait Generator, Water Long Exposer, and
Noise Reduction. Additionally, it would be interesting to see a new Shake
Reduction filter added to this list as well, for images with extreme motion
blur. Or what about an Urban Landscape Mixer? Refer to Figure 5-87.
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Figure 5-87. Neural filter Wait List options
Click OK to apply any of the chosen filters to your Smart Object layers,
and exit the workspace.
File ➤ Save your work so far.
More details on the current filters can be found in the following:
https://helpx.adobe.com/photoshop/using/neural-filters.html
https://helpx.adobe.com/photoshop/using/neural-filters-list-
and-faq.html
https://helpx.adobe.com/photoshop/using/neural-filters-
feedback.html
cquiring Other Filter Plug-Ins Through

A
Adobe Creative Cloud
If you want to add additional filters or plug-ins to Photoshop from the
Adobe Creative Cloud Stock and Marketplace, here are some steps you
can take.
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In your main menu, go to Plugins and Choose Browse Plugins. Refer to

Figure 5-88.
Figure 5-88. Photoshop Plugin menu
This will link up with your Creative Cloud Desktop for Stock and
Marketplace, specifically for all available plug-ins for Photoshop found
under the Plugins tab. Refer to Figure 5-89.
Figure 5-89. Adobe Creative Cloud Desktop look for Stock and
Marketplace plug-ins options
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You can then see which ones are free or paid for and search by
key words such as the word “filter” or “motion blur” to narrow down
your search. Press the Enter key to confirm the search word. Refer to
Figure 5-90.
Figure 5-90. Seach and filter topics with Adobe Creative

Cloud Desktop
Whether it is a free or paid plug-in, click the name of the item so

that you can review it’s details, and reviews. Before you buy or download
and make sure that it is the same version compatibility as the current
application. Refer to Figure 5-91.
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Figure 5-91. Locate filters you are interested in and then view details
about them
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As mentioned in Chapter 1, Adobe Stock and Marketplace is also a

good place to find items such as color LUTs, but you can also look for plug-
ins for your other Adobe applications.
The Plugins menu in Photoshop also allows you to view plug-ins in its
panel and Manage Plugins. Refer to Figure 5-92.
Figure 5-92. Photoshop Plugin menu and Plugins panel
Note Keep in mind that you can also purchase plug-ins and filters
outside of Stock and Marketplace. However, if they have not been
approved by Adobe or have not been recently updated, they may not
work with your latest applications.
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Photo Project
Now that you have learned about neural filters, you could apply some to
your past projects.
In this case, take time to review some of your past image projects
where you used filters in previous Chapters 3 and 4. Consider which neural
filters you could use instead, to improve them, like Colorize, Smart Portrait,
or Photo Restoration. In some situations, does the Photo Restoration filter
or another one do a better job than the healing tools from Volume 1, or is it
better to use a combination of both? Additionally, try various combination
of neural filters together to see how you can apply artistic effects with a
portrait or outdoor scene using Style Transfer or Landscape Mixer.
Summary
In this chapter, we looked at a variety of advanced and new filters that
have been added to Photoshop in recent years and looked at how they
can improve various images. We also looked at where to acquire filters
currently not found in your Photoshop application, via the Creative Cloud.
In the next chapter, we will look at how you can add interest to your Photo
Restoration project and make your static image more dynamic, with basic
animation.
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CHAPTER 6
Creating a Parallax:
Bring Your Vintage
or Historical Photos
to Life
Static digital photos, while they can be fun to restore using various
Photoshop tools, can be made even more interesting for a presentation, if
they are turned into a type of basic slideshow or video animation.
One of the easiest animations that you can create is a GIF Photo
Gallery, using the Timeline panel frame animation option, if you plan to
post a small collection of two or three images on your website that will
fade and appear in a timed setting. However, the Timeline panel has even
more advanced options with the video timeline, which can be used in
combination with an old photo, to create a parallax effect as though we
are zooming into or out of the image. This gives the appearance of an
almost 3D lifelike effect as in a movie or historical film. That is why it is
also known as 2.5D. We will look at what kind of photos work best for this
type of animation. Later, you will also look at how to render the animation
and what settings to use to complete the rendering, using the application
Adobe Media Encoder.

Chapter 6 Creating a Parallax: Bring Your Vintage or Historical Photos to Life
Note that this chapter does contain projects found in the Volume
2 Chapter 6 folder. Some of the information in this chapter has
been adapted from my book Graphics and Multimedia for the Web
with Adobe Creative Cloud. However, our focus is working with
photographs and not actual video footage which is not required for
this chapter.
For this chapter, make sure to download your application Adobe Media
Encoder if you have not already done so, from the Adobe Creative Cloud
Desktop console. If you have already done so, the word Install will be
replaced by the word Open. Media Encoder is an ideal and easy to learn
application which is suitable for beginners who are not familiar with the
more advanced applications like Premiere Pro and After Effects but just
want to quickly render some videos to an .mp4 file. Refer to Figure 6-1.
Figure 6-1. Creative Cloud Adobe Media Encoder
Overview of the Timeline Panel

Back in Photoshop, let’s now explore how to use the Timeline panel. The
Window ➤ Timeline panel is for beginner artists and is a very helpful
panel if you are interested in both digitized photos, film restoration, and
animation. Refer to Figure 6-2.
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Figure 6-2. Photoshop Timeline panel and its menu
In my book, Graphics and Multimedia for the Web with Adobe Creative
Cloud, I talk a bit about using video you shot with your digital camera,
working with actual film clips and tracks. However, here our focus is on
animation of still photos. Learning how to do this is ideal when actual
historical footage is nonexistent, but you still want to tell your story.
Nevertheless, before you start to create any animation, there are some
things to consider.
Animations (And Preparation)

Before creation of any animation, it is important, as you have seen in
Volume 1 and this volume, to make sure that the image that you plan to use
is fully restored.
Remember, you can do that using your various healing tools such as
the Clone stamp tool found in the Tools panel.
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In the process, you would also create selections for masking an

area that requires healing or use the masks on adjustment layers for the
purpose of color correcting your images.
The next step may be adding various filters as required.
Once you have completed this work, you will want to keep the original
unflattened image (.psd) with all the layers visible and available, should
you need to make adjustments for another project later on.
However, to create the animation, you then need to consider what to
do next. Are you creating a GIF animation gallery or a video animation?
GIF Animation Preparation Considerations

In this case, let’s assume that you have three images that you want
to place into your gallery. These could be on any topic (e.g., family,
pets, landscapes, travel). Once you know your theme, here are some
considerations to take.
1. Create a copy of each of these photos and
flatten the image. If you have been following my
recommendations throughout Volume 1 and this
volume, currently these photos will likely be at
a resolution of 300ppi and in the color mode of
RGB. The color mode of RGB (profile sRGB) is good
for animations as they will likely appear on a website;
however, the resolution for the animation is too high.
2. You could, at this point, lower the resolution of
the image using Image ➤ Image Size to 72ppi.
We will look at each example on how to reduce
the resolution to 72ppi for both the animations
shortly and take into consideration scaling as well.
However, before you do that to each image, you
need to consider what will be the dimensions of the
GIF animation width and height overall.
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3. GIF animations can be in a variety of sizes and be

square or rectangular, but this can all depend on the
area you plan to fill on your web/social media site
with your gallery image. A size like 720px X 480px @
72ppi might be a good size to experiment with, but
you can always make the size custom if this is too large
for the area you plan to fill, or it may be viewed on a
mobile phone. Make sure to determine this size first
and then go back to your gallery images to see if they
will fit or require some scaling, as we will see shortly.
4. Make sure that the images you plan to use are also
the orientation of all landscape or all portrait as this
will make it much easier to scale them later on.
ideo Parallax Animation

V
Preparation Considerations
Much of what I have described in the previous section also applies to your
video animation as well, in regard to resolution, which will need to be
altered from 300ppi to 72ppi at some point. You also want to make sure the
color mode remains in RGB.
However, if you plan to create a video timeline which would be an .mp4
file that might appear on your web site, part of a slideshow presentation, or
on the YouTube site, then you need to consider a larger dimension size like
HDTV 1920 px X 1080px @72ppi which would be a better option. But keep
in mind that this is also dependent on the size and quality of the source
images you are working with so you may have to work with a smaller sized
file. In this situation, a landscape orientation is best. However, unlike the
GIF animation, each of your initial separate overlay images does not need
to be any particular orientation, as we will see shortly, because some may
include layer masks and selections that will be covering certain areas.
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dditional Considerations for Choosing

A
Parallax Images
For the Video Parallax Project, in order to create a short animation,
we will need to consider what kinds of photos work best for parallax.
Doing this research now can save you time later, so you don’t waste time
experimenting with photographs that may not allow you to achieve your
desired outcome.
Some things to look for in photos that can be used for potential
parallaxes are
• For the video animation, you can use single image to

create an expansion, but if you have multiple images
of the same scene, that will work as well. This is helpful
when you need to capture details of the background
that in some images may be blocked by a person or
object. I will discuss that more as we work through the
project and the output render options when we get to
that section in the chapter.
• Look for unique historical content or landscape scenes

that are not overly cluttered with people or items that
are blocking the main content or background.
• A large scene, either square or in landscape view,

is the best kind of dimension to work with. Narrow
portrait images are not ideal unless you can build more
background around the image using Edit ➤ Content-
Aware Fill workspace or using the steps in Volume 1 to
create a Panorama.
• The image contains various areas of depth that can
be used as transition points that can be separated
later into sections such as foreground, midground,
background, or even sky. Note that while most images
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can be scaled large or small as one unit, the point

of the parallax is to be able to define sections that
move at slightly different scales or rotation so that the
animation appears similar to how a camera would
move or pan across a scene.
• If there are people or objects in the forefront, they

should be easily selected with the selection tool and
masked so that they can be moved as part of the
animation, on a separate layer, such as moving closer
or farther away or to the left or the right of the image.
If parts of the person or object are missing, then it is
more difficult to create an animation with a natural
movement throughout the scene, should they need to
expand or shrink at some point. If you plan to add a
new person to that scene, be mindful of that person’s
standing perspective, scaling, and eye orientation
in the scene. Viewers of the video will notice that
something is out of place if the person or even a new
object is out of perspective in the scene, if they were not
part of the original image.
• In the case of keeping the original person in the image,
you will want to select them and place them on their
own layer. However, the area behind the person or
object that you selected should also be easy to add
information back into whether it be with the Clone
Stamp tool, Remove tool, or Edit ➤ Content-Aware
Fill workspace as seen in Volume 1. Photos where you
must guess what might be behind the object may be
tricky to figure out, but you don’t want areas of the
scene to be missing or not evenly blended, especially
where movement is happening. Ideally, if you can
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use additional images of the same scene, this could

be helpful to fill in missing gaps. However, with older
black-and-white photos, the chances of that are not as
common. With color images, if possible, incorporate
images with similar colors and perspectives so that the
scene looks natural. Also, be aware of the areas of the
photo that are in and out of focus. Later, when creating
the animation, you can add areas that are, for a time,
out of focus but come back into focus as you move in
the scene.
• Areas that might be easy to fill in missing details could

be water, areas with a lot of trees or sky, and areas of
repeating patterns like walls, floors, or solid fabrics.
However, in areas where there are crowds of people
covering the main structure, this may not work as well.
Don’t be discouraged if some images you have don’t lend themselves

to complex parallax animations. Every project to build a parallax
animation will be different, and so you should take time to review your
images and practice with a variety of examples.
Creating a New File for the Animation

When you need to create a new file to hold the layers of the animation, go
to File ➤ New.
When creating a New Document, rather than choosing the Print Tab
for document presets, this time choose a preset from the Film and Video
Tab. Adjust the settings slightly and then click Create. Refer to Figure 6-3.
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Figure 6-3. New Document dialog box
We will look at some specific options and layouts for each project, in
a moment.
Timeline Panel and Considerations

Coming back to the Photoshop Timeline panel, there are two kinds of
animations to consider when working in Photoshop with your scanned
images: GIF animation and video animation.
We can use the button list in the center of Timeline panel to set either
one. Refer to Figure 6-4.
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Figure 6-4. Timeline panel
GIF Photo Gallery Project

As noted for the Gallery project, we will work with three images that are
each on their own layer in the file and make them fade from one to the
next. Then, from the Timeline panel, we will choose the Create Frame
Animation to start the process. Refer to Figure 6-5.
Figure 6-5. Timeline panel settings button to create a Frame

Animation
To begin, let’s look at the file in the folder called Gallery. In this
folder are three photos that have been color corrected, and then each
image was flattened. In this case, I left them at 300 ppi but as mentioned I
could scale them to 72ppi using the Image ➤ Image Size dialog box with
resample unchecked and then checked to adjust for pixel with height and
resolution. However, in this case, I will not, because, while the images are
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all landscape, I may want to scale them initially in the new GIF animation
file to fit and move them around if they require some centering. Refer to
Figure 6-6.
Figure 6-6. Image Size Dialog box settings
Create a New Document

Now using File ➤ New, create a new document from the Film and Video
tab that I chose, for this example NTSC DV 720px X 480px@72ppi. Refer to
Figure 6-7.
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Figure 6-7. New Document dialog box settings
Remember, for your own project, you do not have to choose this width
and height dimension. If you know the size of your project, put that width
and height dimension in instead; it may be smaller than mine. Figure this
out with your web designer first to get the exact pixel dimensions.
Orientation will be landscape, color mode RGB Color 8bit. Refer to
Figure 6-7.
Background contents: White. However, now I will modify the preset
settings because it was going to be for the Web, not actually film. I set the
Color Profile to Working sRGB as I did in the past and set the Pixel Aspect
Ratio back to Square Pixels. I then clicked the Create button. Refer to
Figure 6-8.
824
Figure 6-8. New Document dialog box original Advanced Option

settings now modified to custom settings
Note that this file may appear with guides which can be helpful if
you plan to incorporate text and need guidance for placement within
select boundaries so that text is orientated correctly. However, we
will just View ➤ Guides ➤ Clear the guides to remove them in this
example as text is not a focus of this book. Refer to Figure 6-9.
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Figure 6-9. New Document with and without guides and the
Layers panel
826
You can save this file as a .psd as your work, but you can also start with
an Image ➤ Duplicate of my file animation_gallery_start.psd if you need
a reference point.
In the Gallery folder, File ➤ Open each of my three images so that they
are available to you as you work. These have been named image_1.psd,
image_2.psd, and image_3.psd. You do not have to number them as I did,
but this can help when you want to figure out the order of the sequence
you want. Refer to Figure 6-10.
827
Figure 6-10. Images to use as part of the gallery
I will then copy each background layer into the New file. Remember to
copy a single background layer from each file by choosing Select ➤ All or
Ctrl/CMD+A. Then Edit ➤ Copy (Ctrl/CMD+C). Then go to the new gallery
animation file and choose Edit ➤ Paste or (Ctrl/CMD +V). This pastes the
image on top of the background layer. Refer to Figure 6-11.
828
Figure 6-11. Adding Images to the Layer panel
829
I started with image 1 and then repeated these steps with image 2 and
then image 3.
I should, excluding the white background, now have three layers. Refer
to Figure 6-12.
Figure 6-12. Adding All the images to the Layers panel
You can, at this point, close the gallery images as you do not need them
anymore, but keep the copy of your animation_gallery_start.psd file open
and File ➤ Save, as you proceed to the next step.
In your case, you can always drag the images up and down in the
Layers panel if you need to reorder as I have done here, putting Layer 1 at
the top, next Layer 2, and then Layer 3 below. Keep the Background as the
lowest level. Refer to Figure 6-13.
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Figure 6-13. Reordering the Layers in the Layers panel
Note that at this moment the images are oversized because they came
from a file that was 300ppi and while they are 72ppi in this new document,
they are too large for the current dimensions. Now you are sizing them
down to match the new canvas width and height. Refer to Figure 6-14.
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Figure 6-14. The image on the canvas is too large
In this case, you will now turn each of these images into a smart object
Layer by selecting and using the Layers menu. Refer to Figure 6-15.
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Figure 6-15. Converting Layers to Smart Object Layers
Now you will scale them. Start with selecting Layer 1, and then you can
repeat these steps for Layer 2 and Layer 3.
Select each one at a time and Edit ➤ Free Transform (Ctrl/CMD+T),
and then, using the bounding box handles, scale the images so that they
fit the area of the canvas. I use the lower right handle to drag and scale my
first image layer to about 41.08% for width and height maintaining aspect
ratio link. Refer to Figure 6-16.
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Figure 6-16. Scaling Gallery Images using Free Transform
If some of the image overlaps off the canvas, that is OK as we will adjust
placement later. Click the Check on the Options bar panel to commit your
scale settings. Refer to Figure 6-17.
834
Figure 6-17. Confirming the scale of the gallery image and the result
on the layer
Now repeat those steps with Layer 2 and Layer 3. You can first
temporarily turn off the previous layers’ visibility if you find it easier to
scale, and then Edit ➤ Free Transform. Refer to Figure 6-18.
835
Figure 6-18. Selecting the next layer to Free Transform
Layer 2 was scaled to 23.67% for width and height. Refer to Figure 6-19.
Figure 6-19. Layer with scaling adjusted
Layer 3 was scaled to 41.05% for width and height. Refer to Figure 6-20.
Check the Confirm in the Options bar panel after each scale. Refer
back to Figure 6-17.
836
Figure 6-20. Layer with scaling adjusted and then visibility returned
to all layers
837
Once done, turn on all the layers’ visibility eyes and select Layer 1
again. Refer to Figure 6-20.
If you find that your images are not adequately centered, you can
afterward use the Move tool and your left and right or up and down arrow
keys on the keyboard if you need to nudge the image to center or adjust the
placement. I did this to Layer 1 as I wanted less of the sky and more of the
rail track, but the other images I left as is. If you cannot see those layers, turn
off the visibility temporarily, and select each layer one at a time to nudge it
into place and then return the visibility to all layers. Refer to Figure 6-21.
Figure 6-21. Using the Move Tool and keyboard to nudge images
into the correct locations
838
Once you have centered all three images, you can start to create the
animation with the Timeline panel.
Note that if you need to at some point turn your image into a normal
layer, select it and choose Rasterize Layer from the Layers menu, but
for this example, you can leave each layer as a Smart Object layer.
Figure 6-22. Layers panel menu Rasterize Layer command
Creating the GIF Animation with the Timeline Panel

In this example, you would now select, from the Timeline panel, the Create
a Frame Animation option.
You will start with a default single frame; in this case all the Layers in
the Layers panel are visible. Click the button to confirm and view the new
frame. Refer to Figure 6-23.
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Figure 6-23. Layers panel with frame animation set in the

Timeline panel
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Next, you want to create a new identical frame; this will be Frame
2 where the second image will appear. To do that, click the new frame
(Duplicates selected frames) button. Refer to Figure 6-24.
Figure 6-24. Timeline panel duplicating selected frames
With this new Frame 2 selected, in the Layers panel, now turn off the
visibility of Layer 1. Refer to Figure 6-25.
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Figure 6-25. Layers panel hiding layer and Timeline panel

with changes
This creates a frame transition.

Now with Frame 2 selected, create another frame, this time turning off
Layer 2 in the Layers panel. Refer to Figure 6-26.
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Figure 6-26. Timeline and Layers panel with changes and

three frames
843
You should now have three transition frames. If you make a mistake as
you work, you can always select a frame as you work and delete, using the
trash can icon (Delete selected frames). Refer to Figure 6-27.
Figure 6-27. Timeline panel delete selected frames
Or you can click each frame and observe which layers have been
turned off or on and adjust the visibility accordingly. In this case, make
sure you have the same three frames. Refer to Figure 6-26.
In this case, the three images can be previewed quickly using the play
button and then stop using the stop button. You can also use the addition
buttons to select the first frame, previous frame, or next frame as you
test. Hover over the icon if you need to refer to a specific button. Refer to
Figure 6-28.
Figure 6-28. Timeline panel stopping and starting the animation
844
If you plan to make a cycling animation as we are doing here, then

create one more frame at the end with all the layers on again. Refer to
Figure 6-29.
Figure 6-29. Timeline panel adding a frame and adjusting the layer
visibility in the Layers panel
845
Another way you can do that is by selecting the first frame, duplicating
the selected frame, and then selecting and dragging it to the last frame.
Now you will have a total of four frames.
Tip In situations where you need to reverse frames, you can Shift
select several or all frames and choose that option from the Timeline
menu. Additional settings can always be found in the Timeline menu.
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Figure 6-30. Timeline panel and menu and adjustments with the
History panel
847
In this example, we will not be reversing the order. Click the Reverse
Frames text in the menu again if you made that mistake or use your History
panel to undo that step.
In the menu, make sure, in this case, that the menu setting “New
Layers Visible in all frames” is enabled and then option “Create a New
Layer for Each New Frame” is disabled. Refer to Figure 6-30.
Currently your timeline should look like this with the first frame
selected. Refer to Figure 6-31.
Figure 6-31. Timeline panel first frame
The next step is to adjust the timing and transition for the layer images.
To adjust timing, you would then choose the option of time for when
the photo moves to the next. This, if we play preview, creates a short pause
and then moves onto the next photo. Setting a pause (frame delay) of at
least 2 seconds would slow down the animation and let the person see the
next image. Other will allow you to set your own custom delay settings.
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Figure 6-32. Timeline panel adjusting timing
The Looping Option (Loop count) is set to Forever, but you can set the
cycle to other options like once, three times, or other as an amount of your
choosing. Refer to Figure 6-33.
Figure 6-33. Timeline panel adjusting looping

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For now, leave on a setting of Forever, and this will allow us to quickly
transition through the images, but the transition is choppy and not faded
or blending from image to image as I would like. Return again to Frame 1.
Figure 6-34. Timeline panel settings
In this case, we need to create some transitional frames in a process

known as Tweening. To create your first tween, select frames 1 and 2 by
Shift+clicking and then click the Tweens animation frames button. Refer to
Figure 6-35.
Figure 6-35. Timeline panel selection of two frames and the

tween button
The dialog box will now open, and here you will set how many frames
you want in between the two frames and what you expect them to do. Refer
to Figure 6-36.
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Figure 6-36. Tween dialog box and settings
The tween dialog box lets you tween with the selection, previous frame
or next frame. Use Selection.
You can then add how many frames you want; between 5 and 8 will
make a fairly smooth transition – the range is 1–999. I will try 5 to keep the
file size small but you may prefer 8 or more.
This is not the same as frame rate in Video, as we will look at later.
Choose Layers in this case as we are working with “All layers” and not
the “Selected Layers” option. Refer to Figure 6-36
Then choose the Parameters. In this case we are allowing such things
as position, opacity, and effects to be altered as we transition from one
frame to the next. Position would refer to the layers up, down, left, or right
movements but not rotation. Opacity for the fade is the most important.
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The layer’s opacity changes from 100% to 0% in set increments based on

the number of frames. Effects refers to Effects (drop shadow) applied to the
layer that may be altered in the transition. In this case, there are no effects
applied to any layer.
Click OK and then frames are added between the two current frames;
in this case, between Frame 1 and Frame 7 are five new frames. Refer to
Figure 6-37.
Figure 6-37. Timeline panel and extra tween frames
Then Shift + click select Frame 7 and 8 and click the tween button
again using the same settings. Click OK. Refer to Figure 6-36 and
Figure 6-38.
Figure 6-38. Timeline panel and frames selected
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And repeat these steps with now Frames 13 and 14, and you should
have a total of 19 frames. Refer to Figure 6-39.
Figure 6-39. Timeline panel and frames selected and new

tween created
You do not need to add any more tweens as you will be cycling back to
the first images. To test, press Play and preview your animation. Click stop.
In this case, the 2 seconds between each tween image is too slow.
Set the timing for those frames back to 0 or no delay. These would
be Frames 2–6, 8–12, and 14–18. You can also set 19 to no delay as we are
repeating the cycle forever. If you were cycling once, you may just leave it
on 2 seconds along with Frames 1, 7, and 13. Refer to Figure 6-40.
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Figure 6-40. Timeline panel with time settings and final frame
Press Play and Stop again. If you are happy with the result, you can
continue on to the next section or use your History panel if you need to
undo any steps. Refer to Figure 6-41.
Figure 6-41. Timeline panel play animation
854
Note: Use your menu to check that your Timeline menu Optimize
Animation dialog box settings are set to Bounding Box and Redundant
Pixel Removal. This will not affect the current file, but later when you
create the final GIF animation. Refer to Figure 6-42.
Figure 6-42. Optimize Animation dialog box
Another setting that you may want to check is when you right-click
each frame, they are set to Automatic. Other options in this area are Do
Not dispose and Dispose, as they can affect how the animation renders
and plays if it contains transparent areas. For these examples, leave
on Automatic as we are only affecting the layers’ overall opacity in the
transition and there are no solidly transparent areas. Refer to Figure 6-43.
Figure 6-43. Timeline panel additional frame settings
Click back Frame 1. Refer to Figure 6-44.
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Figure 6-44. Timeline panel return to first frame
Then File ➤ Save the document (.psd). You can return to this file at
any time if you need to edit the gallery. You can look at my file animation_
gallery_final.psd if you need a reference.
Make sure your Timeline panel remains visible.
Save for Web the GIF Animation

You will now complete the saving of the GIF animation using the
File ➤ Export ➤ Save for Web (Legacy) dialog box. Alt/Option +Shift
+Ctrl/CMD +S.
This is the only way to save the GIF animation as the option File
➤ Export ➤ Export As only saves static GIF files and will not create an
animation, and we will look at in Chapter 7. Now refer to Figure 6-45.
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Figure 6-45. Save for Web dialog box overview
Once you have entered the dialog box, I will now briefly go over the
settings I would use for this animation, but you may need to adjust your
settings based on your project and the level of image quality you require.
In all cases on the right, ensure that you have the Optimize file format
set to GIF so that you have the animation option. Refer to Figure 6-46.
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Figure 6-46. Save for Web dialog box Preset settings
Leave the preset [Unnamed] (this is the same as default), but you can
choose other GIF options from this list as you would any other presets in
this chapter.
You do not need to access anything from the Optimize menu. However,
you can use this area to save settings later if you have a preference. Edit
Output Settings is more appropriate for building a web page which in this
case we are not doing. Refer to Figure 6-47.
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Figure 6-47. Save for Web dialog box Menu settings
In this case, you do not need to use any of the tools on the right
hand side other than the Zoom tool (Z) and Hand tool (H), if you need
to navigate around the image to compare. For the Zoom tool, hold down
the Alt/Option key when you need to zoom out. Likewise, you can use
the navigation buttons in the lower left. The other tools Slice Select tool,
Eyedropper tool, Eyedropper color, and Toggle Slices Visibility are not
required for this book and are mainly used for website design. Refer to
Figure 6-48.
Figure 6-48. Save for Web dialog box tools and navigation
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Note The preview and the globe button, in this case, are only used
if you are building a web page with the current image, so you can
ignore these. Refer to Figure 6-48.
In this case, the image is set to 2up so that you can view the original
image and the Optimized along with its alterations. You can have up to
four images (4up) if you need to observe different quality settings. But for
now, 2up is best to see a before and after image. Refer to Figure 6-49.
Figure 6-49. Save for Web dialog box preview original and optimize
setting summary
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Note that because this is a GIF animation, colors will be limited as

these types of animation cannot hold the same level of quality as a JPEG or
PNG image. These settings are optimized to keep the animation to a small
file size, so do not expect the same range of quality colors as you would
with a video animation as we will look at later.
Here are the settings. I used on the right image. Refer to Figure 6-50.
Figure 6-50. Save for Web dialog box GIF animation settings
Color reduction algorithm: From the list, you can set the following
options: Perceptual, Selective, Adaptive, Restrictive, Custom, Black-White,
Grayscale, Mac OS, and Windows. Refer to Figure 6-51.
Figure 6-51. Save for Web dialog box Color reduction

algorithm options
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For color Photos, using a setting of either Perceptual, Selective, or

Adaptive will produce the best results. You may need to zoom in though to
see which is giving you the best color distribution.
• Perceptual gives priority to colors for which the human

eye has greater sensitivity.
• Selective is similar to Perceptual but favors broader

areas of color as well as the preservation of web colors
and maintains the greatest color integrity. It is the
default setting.
• Adaptive will create a custom color table, sampling

colors from the predominant spectrum in the image,
such as the greens or blues. If each image is drastically
different in its spectrum, this may not be the best
solution.
You can try the other options as well, but note how the quality of the
image degrades for options like Restrictive in comparison with Selective.
Figure 6-52. Save for Web dialog box Color reduction algorithm
Selective (left) and (right) Restrictive
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In this case, I chose the option of Selective. However, if you are making
a black-and-white animation, then maybe try the setting of Grayscale.
Figure 6-53. Save for Web dialog box Color reduction algorithm
Selective (left) and (right) Grayscale
Note that Black-White, Mac OS, and Windows will also limit your color
options as well.
Colors (2-256): By default, if you chose Selective, this is set to 256. You
can use the menu to set lower options, but this will degrade the image’s
color. Refer to Figure 6-54.
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Figure 6-54. Save for Web dialog box color reduction options
Dither algorithm: The following options are No Dither, Diffusion,

Pattern, and Noise. In this case, this type of grain or noise tricks the eye
into believing there are more colors in the image than there actually are.
Test each one; in my case, I found that Diffusion displaced the color fairly
well randomly and prevented noticeable banding, but in other situations,
you may prefer Noise. Refer to Figure 6-55 and Figure 6-56.
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Figure 6-55. Save for Web dialog box Dither Algorithm set to
No Dither
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Figure 6-56. Save for Web dialog box Dither Algorithm set to
Diffusion, Pattern, and Noise
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Dither (0–100%): By default, set to 100%. In this case, a lower setting

gives the appearance of banding and posterization. This setting is only
available for Diffusion. Refer to Figure 6-57.
Figure 6-57. Save for Web dialog box Dither present
Transparency: If the animation contains actual areas of transparency,

enable this setting. If not, it can be disabled, but I leave it on by default. GIF
animations can have transparent areas, but they do need direction as to
what colors they can blend into if on a website with a custom background.
Figure 6-58. Save for Web dialog box Transparency enabled
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Matte: Defines background color to blend transparent pixels against.

In this case, it is set to the default of white which is the same as the
background layer. If your GIF animation did have transparent areas, you
could set to None, or you will want to check what that custom color of
your website background is and set it here using Other and enter that HEX
color using a Color Picker. This will specify a fill color for pixels that were
transparent in the original image. In this case, leave at the white setting
and no change is required. Refer to Figure 6-59.
Figure 6-59. Save for Web dialog box Matte setting
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Specify transparency dither algorithm: The options are No

Transparency Dither, Diffusion Transparency Dither, Pattern Transparency
Dither, and Noise Transparency Dither. This is similar to the dithering
we saw earlier but specifically for transparent areas. In this example, the
images are solid, so No Transparency Dither is set, and the Amount is
disabled. Refer to Figure 6-60.
Figure 6-60. Save for Web dialog box transparency dither algorithm
Amount (0–100%): This option is for transparency, if preset, or if you

have chosen the transparency dither algorithm Diffusion Transparency
Dither. Leave this setting disabled for this example. Refer to Figure 6-60.
Interlaced: Download multiple passes first displaying a low-resolution
image. This can ensure the viewer that the image is gradually appearing
and downloading. However, doing so can increase the file size. By default,
it is disabled. Refer to Figure 6-61.
Figure 6-61. Save for Web dialog box Interlaced, Web Snap, and
Lossy options
Web Snap (0–100%): Snaps close colors to web palette, based on

tolerance. By default, I leave this setting at 0% as I find that higher settings
can alter the color of the image and limit colors. Refer to Figure 6-61 and
Figure 6-62.
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Figure 6-62. Save for Web dialog box web snap at 0 and
altered to 100%
Lossy (0–100): Controls amount of lossiness allowed in GIF

compression. By default, it is set to 0, and higher settings can lower the
quality of the image. Refer to Figure 6-61 and Figure 6-63.
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Figure 6-63. Save for Web dialog box Lossy at 0 and altered to 100%
Convert to sRGB: Check box to convert image colors to sRGB color

space if you have not already done so. In this case, we already have set up
this color profile when we built the image, but check this setting anyway.
Figure 6-64. Save for Web dialog box convert to sRGB options
Preview: Choose how the image display colors in the preview. There
are various options that you can view under this setting, but I leave the
default on Monitor Color. Refer to Figure 6-65.
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Figure 6-65. Save for Web dialog box preview options
Metadata: Select kind of metadata to include in output images. In

this case, it is set to Copyright and Contact Info which is information you
may want to include to prevent others from using your animation without
permission and you don’t get the credit. Alternatively, you can set to None,
Copyright, All Except Camera Info, or All. Refer to Figure 6-66.
Figure 6-66. Save for Web dialog box metadata options
However, where does this information come from? If you are not sure if
you set your copyright and contact information, then before you enter the
Save for Web dialog box area, make sure to set it under
File ➤ File Info Basic. Currently this area is blank, but you can, for
your own projects, enter your information here in the Basic tab. Refer to
Figure 6-67.
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Figure 6-67. File Info Dialog box
Back in the Save for Web dialog box Color Table and its menu is a more
advanced area; essentially, its purpose is to display all the colors that are
present in the image as 256, including the option of transparency. This
area will vary in color swatches depending on quality and Color reduction
algorithm you choose. Refer to Figure 6-68.
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Figure 6-68. Save for Web dialog box color table and menu
Or create your own custom colors when selected and alter such things
with the icons below the color table
• Map selected colors to be transparent.
• Shift/unshift selected colors to the web palette.
• Lock selected colors to prohibit being dropped.
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• Add a new color or delete a selected color.
• In this case, when working with photographs, I usually

leave this area alone as I am working with the current
images. Refer to Figure 6-68.
Image size: Width (W), height (H); currently is set to W:720px and
H:480px as the current output size. You can use this area to scale your
image, though I would only recommend downscaling and not upscaling
as this may not produce quality results. You can scale disproportionately
if you unlink, but in this case, I recommend keeping linked to maintain
image proportions. Refer to Figure 6-69.
Figure 6-69. Save for Web dialog box linked and unlinked width and
height Image Options
Note that the current image size is about 4.14MB which should be
OK for most websites today, but if the file was smaller in dimensions,
this would reduce the file size as well, just like more frames would
increase the file size. These are just things to consider if you plan to
build more than one animation size from the same .psd file.
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Percent: You can also scale by percentage. By default, it is set to 100%,

but for your project, you may want to scale to 75% or 50% if your animation
needs to fill a set area. Leave at 100%. Refer to Figure 6-69.
Quality: Nearest Neighbor, Bilinear, Bicubic, Bicubic Smoother, Bicubic
Sharper. By default, it is set to Bicubic, but you may prefer another setting
for your image. No change is noticed in this case because you are leaving
the animation at the original size. Refer to Figure 6-70.
Figure 6-70. Save for Web dialog box Image Options Quality settings
Animation Looping Options and Preview

The Timeline panel in Photoshop can be a bit slower than working in the
dialog box, and so it may be good to preview and play your animation
here, not only to observe quality but also the speed of the transitions. After
playing it here on the Forever Looping, I felt the speed was a bit fast. Here
you can also go to first, previous, play/stop, next, and last frame. Press the
play/stop button to stop the preview. Refer to Figure 6-71.
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Figure 6-71. Save for Web dialog box Animation options
To keep my settings so far, I clicked the Done button to briefly exit but
save my current settings and then returned to my Timeline panel and edit
the timing in my Timeline panel. Refer to Figure 6-72.
Figure 6-72. Save for Web dialog box option buttons
I set Frames 1, 7, and 13 to a time of 5 seconds with slides 2–6, 8–12,

and 14–19. I set to 0.2 seconds each. Refer to Figure 6-73.
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Figure 6-73. Timeline panel adjust time settings for each frame
File ➤ Save and then return to the File ➤ Export ➤ Save for Web
(Legacy). Your prior settings should still be there. Test play again and the
speed should now be slowed down. Refer to Figure 6-74.
Figure 6-74. Save for Web dialog box Animation preview settings
Click the Save button and save using the next dialog box Save
Optimized As in a location of your choice.
Set a file name. In this case, set the Format to Images Only as you only
want the GIF animation. Refer to Figure 6-75.
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Figure 6-75. Save for Web dialog box click save to and enter Save
Optimized As and click Save
Leave the settings at the Default settings and Leave All Slices disabled.
Navigate to where you want to save the file and Click the Save button. You
will then exit the dialog box.
File ➤ Save your .psd file to retain the changes, and close this file
as well.
Now that the .gif animation (see file animation_gallery_final.gif) is
created, you can preview in your computer’s Photos application or in your
browser. Refer to Figure 6-76.
Figure 6-76. Find a viewer to watch your saved GIF file
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You can later upload this image onto your website or email to a friend
or insert in a PowerPoint slide as you would a .jpeg image as will be seen
later in Chapter 7. Refer to Figure 6-77.
Figure 6-77. Final GIF animation file
For more details on GIF animations settings specifically for website, you
can refer to the following link which is both for GIF animations in Photoshop
and Adobe Animate which uses a similar dialog box and settings:
https://helpx.adobe.com/animate/using/optimization-options-
for-images-and-animated-gifs.html
I will talk more about Animate briefly in Chapter 7.
While GIF animations are useful, they are limited in their ability when
it comes to movement, scaling, and rotation. You also cannot incorporate
the option of sound/audio directly into the animation. However, with
video .mp4 files, this is possible.
Video Animation Parallax Project

Earlier in this chapter, I discussed some of the criteria one should look
for when deciding on what kind of a photo is best for a parallax image.
Creating a Parallax or video animation in Photoshop presents its own set of
challenges that are slightly different than working with the GIF animation
gallery.
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As with the GIF animation gallery for the background, at least you want
to make sure that you have a fairly high resolution image that can be scaled
up or down should the plan be that you want to create a zooming in and
zooming out effect.
In this case, I chose such images and made sure to scan the originals
at 300–600dpi/ppi or higher to get the most information out of them as
possible before they go into my video file that will be 72ppi.
Also, if I am planning to add anything additional to the image, I will
want to scan it as well at a similar resolution so that it can be scaled as well.
In this case, the images that I worked with were originally in black-
and-white. To add interest, I colorized them and also altered the woman’s
face to make it more in focus and protect her original identity. Refer to
Figure 6-78.
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Figure 6-78. Main images that will be used in the Parallax

animation
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These final images, in this case, have already been created for you and
flattened using the Layers panel menu, ready for use before I started to create
the actual animation file, which I will explain more about shortly. Refer to
files girl_final.psd and landscape_final.psd in the chapters Parallax folder.
However, I will just mention, for your own projects, that to add more
interest to your vintage photos, remember to try, as you saw in previous
chapters, to add multiple hue/saturation adjustment layers and try various
blending modes and opacities. Here is an example of layers that were
used on the girl file and with the background landscape scene. Notice how
many adjustment layers there are, some with a blending mode of normal
and others using Linear Light, Darker Color, Color Burn, and Darken.
The opacity of some of the layers was also altered. There are also separate
layers for healing with the clone stamp, a sky replacement group folder
was required, and various layer masks to show and hide details. You do
not need to do this work for these examples as the focus in this chapter is
on the animation itself. You can see, however, that each project is unique
and has its own set of preparation challenges. Refer to Figure 6-79 and
Figure 6-80.
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Figure 6-79. Layer panel with separate layers
Figure 6-80. Each of the layers has been flattened for the project
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As you will see shortly, some additional layers and further adjustments
were later created within the parallax itself.
I will mention some other additional options while studying a second
example of a parallax.
reate a New Document for Your Parallax

C
Video Animation
Creating a new document for your video animation is similar to creating it
for the GIF Animation. In this example, we are creating a larger file. For my
project, I have already created the file for you. However, should you want
to create your own project, I will just review those steps with some slight
differences here.
In Photoshop, go to File ➤ New, to enter the New Document dialog
box. From the Film & Video tab, this time, choose HDTV 1080p 1920 X
1080 px. @72 ppi. Refer to Figure 6-81.
Figure 6-81. New Document dialog box settings
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There are many other presets in this area, but we will practice with
this one because we do not have any actual footage but still want high
quality images for the video parallax. This size is also known by the ratio
of 16:9 (16x120 = 1920 and 9x120=1080) and is a common size found
on YouTube. In your own projects or depending where your video will
be posted if not on your own website, you may want to use a different
preset. Do your research first to discover what that correct dimensions
should be.
Now we’ll review the preset options again.
The width and height are 1920 x 1080 pixels. The orientation is
landscape which is ideal for video. The resolution is 72 pixels/inch and the
color mode is RGB color, 8 bit, and Background Contents: White.
Note, with the Color Profile, we will leave at Don’t Color Manage rather
than sRGB because it may be used for other purposes other than a website,
and we should not alter the color profile too much at this time, as the
Rendering process will deal with this. The Pixel Aspect Ratio will remain at
Square Pixels. Then I will click the Create button. Refer to Figure 6-82.
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Figure 6-82. New Document dialog box settings preset settings and
Create button
Again, in this case, the file will come in with guides displayed, and this
is ideal should you want to incorporate type and do not want to go beyond
the canvas bounds. In this example, we will not be using any Type as we
are just focusing on the animation. Refer to Figure 6-83.
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Figure 6-83. The new document with guides
Rather than this time going to View ➤ Guides ➤ Clear Guides to delete
them, in this case we’ll just hide them as we work. View ➤ Show ➤ Guides
or Ctrl/CMD + ; (semicolon). Pressing this key combination will allow you
to show and hide the guides as required. If you are worried that the Guides
might shift, then, from the View menu, choose View ➤ Guides ➤ Lock
Guides or Alt/Option + Ctrl/CMD + ; (semicolon). Refer to Figure 6-84.
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Figure 6-84. Hiding and Locking guides if required
If you do need to show or unlock guides, return to these areas of the

View menu again.
File ➤ Save your file as before as a .psd file. In this case, you can refer
to my file parallax_start.psd to begin your own Parallax project. Refer to
Figure 6-85.
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Figure 6-85. File saved for working on future projects
If you want to start the Parallax project with my files, you can then
refer to the starting file parallax_zoom_out.psd and make an Image ➤
Duplicate to work with. Refer to Figure 6-86.
Figure 6-86. Image of girl placed over blurred background
First let’s look at this file and the additional layers that were then added
to it. I turned off the guides in my file. Refer to Figure 6-87.
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Figure 6-87. Layers panel for parallax animation
As with the GIF animation, after all adjustments were complete, the
layers from the mentioned files girl_final.psd and landscape_final.psd
were made into an Image ➤ Duplicate file and the Layers were flattened.
And saved in the folder Parallax. The girl, in this case, had a mask around
her so that I could separate parts of her from the white background to
avoid it appearing in the animation. Refer to Figure 6-88.
Figure 6-88. Layers that were added from other files
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I then copied each Image, such as the background Ctrl/CMD+A to

Select ➤ All then Edit Copy (Ctrl/CMD+C). I then went to my new Parallax
file and Edit ➤ Paste (Ctrl/CMD+V) onto a separate layer. However, to
retain the layer mask during copying I dragged the layer 4 with the girl into
the new parallax file and used the Move tool to move her into place. Some
layers were later renamed.
In then turned each of the layers into Smart Object Layers. Refer back
to Figures 6-86, 6-87 and 6-89. The girl layer was then renamed to Layer 1.
For example, we can see Layer 1 (girl) and Layer 2 (background).
I then used my Move tool to Position these selected layers. Layer 1
(girl) has an additional layer mask applied to cover any white border that
might have been missed during the first masking in the smart object layer.
Sometimes, this cannot be caught until one layer is placed over the other.
Figure 6-89. Layer renamed
An additional layer, Color Fill 1, is black (R:0, G:0, B:0) and was placed
above all the layers. On the layer mask, I used an elliptical marquee to
create a selection that went slightly beyond the boundaries of the canvas
creating a frame.
I made sure that white was the foreground color in the Tools bar and
pressed the Delete/Backspace key to cut out the selection. Then I used
Select ➤ Deselect (Ctrl/CMD+D).
The opacity of that layer was left at 100%. However, in the Properties
panel, the feathering of the layer mask was altered to 138.0px. It gave a
vignette-like appearance that you might see in old vintage photos and film.
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Figure 6-90. Elliptical Marquee Tool and Tools, Layer and Properties
panel Panels used to add a Vignette ellipse
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Layer 2 background was duplicated (Layer Copy 2) and then applied as

a Smart filter of Filter ➤ Blur ➤ Gaussian Blur. Radius is 23.5 pixels. Refer
to Chapter 3 if you need to review that filter. Refer to Figure 6-91.
Figure 6-91. Layer duplicated and Gaussian Blur dialog box
I did this because on this layer, we want to start with an out of focus
background with the girl in focus, and then, as we expand, the whole
image including the girl will be in focus by the time we see Layer 2.
This part of the animation takes two layers to work correctly. Refer to
Figure 6-92.
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Figure 6-92. Layers panel with duplicate layer and Gaussian

blur applied
The intent is to have the girl then appear like she is standing by the
bank of the river. In this case, I luckily had two similar images as reference:
the scene I colorized and also an additional black-and-white image, both
which can help me figure out the final perspective and scaling. Refer to
Figure 6-93.
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Figure 6-93. Reference images as to where the girl should be placed
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The girl in that image was not in focus enough to use for my final
animation, but as mentioned, it’s good to have multiple images of the same
scene as you work, to determine how it can be animated.
In this case, I was able to find a similar perspective of the same girl
in another old family photo that was more in focus. She too is standing
at roughly the same perspective from a larger photo. So now the original
photo can assist me to know how much to scale the new girl so that she
does not look out of proportion to the scene. Refer to Figure 6-94.
Figure 6-94. Colorized image of girl to be added to the image

and scaled
This is an ideal scene as I do not have to worry about covering any

missing details and cutting the girl out of the background. In your own
projects, however, you may have to figure out how to fill in missing details
that surround or are behind a person in an image. I had to do this with
a completely different image, of a solider, that I wanted to separate from
the surrounding castle as he was all part of one image. Some healing and
corrections were required as well. Refer to Figure 6-95.
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Figure 6-95. Removing figures from an image
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Tools and workspaces that you should use in such examples are the
Clone Stamp Tool, Remove tool, and Edit ➤ Content-Aware Fill workspace
prior to creating your animations, as were discussed in Volume 1. However,
if you want to use the soldier or alter the sky in the animation, these would
all need to be grouped as separate smart object layers and created in a new
file prior to creating the parallax animation file. Refer to Figure 6-96.
Figure 6-96. Organizing layers for parallax
You can review these layers later in the files castle_sky.psd and castle_
sky_part2.psd. I will talk about the file actual animation file castle_sky_
paralax.psd later.
Returning to the Girl and Landscape example, we will work with these
layers in the timeline scaling and adding keyframes.
Then, from the Timeline panel, we will choose the Create Video
Timeline to start the process and click the button. Refer to your copy of
the file parallax_zoom_out.psd and later to the file parallax_zoom_out_
final.psd if you need a reference as you work. Refer to Figure 6-97.
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Figure 6-97. Timeline panel set to Create Video Timeline
Working with the Timeline Panel with the Layers Panel

The video timeline panel layout is rather different than the Create Frame
Animation, and, if you are not used to working with video, it can be a bit
overwhelming to a beginner. However, keep in mind that, like the Frame
Animation, the Timeline panel works together with the Layers panel. Refer
to Figure 6-98.
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Figure 6-98. Timeline Track added and Layer panel
Adding Your Layer Tracks

In this case, we start by adding our layers or tracks to the Timeline
panel when we click the button. The timeline adds any active layers
automatically, as seen in purple. Normally, if we were working with
actual video clips, these would be added here as well. These would be the
imported video layers. However, in this case, these are just smart object
layers and a color fill layer.
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The Layers panel currently contains four layers that I will use to create
my animation. The background, which is locked and stationary, in this
case is not included. For your own projects, as you add more layers to the
Layers panel, they are added to the timeline as well as separate tracks.
Likewise, you can also use the (+) at the end of each track if you need to
add some media to that track line like additional video footage or another
file. Refer to Figure 6-98.
The blue playback slider and red line can be moved along the timeline,
currently for a duration of 4.29 seconds or about 5 seconds which is a
default as you can see no movements or transitions are added and so all
the layers currently remain stationary.
Note a .5 second is always left off and this is as far as the playhead can
move. This is a type of buffer though the full animation at this point will be
5 seconds. Refer to Figure 6-99.
Figure 6-99. Timeline panel with Blue playhead and settings in the
lower area of the panel for the location
The two sliders below the blue playback slider are the “Set Start of
Work Area” (left) and “Set End of Work area” (right). You can move the “Set
Start of Work Area” slider to the right if you need to hide or clip some of the
initial animation and the “Set End of Work Area” to the left to clip some of
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the ending animation. The “Set End of Work Area” slider cannot be moved
right to extend the timeline. You will need to extend individual tracks to do
this. For now, keep these sliders spread apart so that you do not hide any
part of the animation by mistake. Refer to Figure 6-100.
Figure 6-100. Set Start and End of Work area
We will explore this section more in a moment.

Now that the layers are added as tracks. Let’s consider what is going
to happen.
As you plan any video, you need to have a vision. Consider the canvas
as your camera lens. What are you planning to do? Pan across the scene
left, right, up, or down? Zoom in or out? What else might be taking place
while this is happening? A rotation or other objects moving in or out of
the scene? Because we are working with static photographic images, we
are limited by what kinds of animation objects or people can do. However,
basic motion can be used cleverly, and remember to also consider your
filters for blurring and your layers for altering opacity. This can all be
useful in adding to the animation.
In this case, I would like to focus on the girl’s face and then zoom
out and focus on the scene beyond. In the process of doing that, the
background behind her is currently blurred, but as the scene expands,
everything comes into focus. Then the animation stops. Refer to
Figure 6-101.
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Figure 6-101. Current Starting image
Some layers will move, and some will remain stationary throughout
the animation. In this case, the vignette layer will not move, as it is just
an overlay, but the girl and the background do need to contract from the
expanded state so that they appear framed in the scene. To these layers, we
will need to add some form of transitions and keyframes.
Adding Motions and Keyframes to Your Tracks

We will start by making sure that we are at the beginning of the track. So
that we can focus one part of the animation at a time, you will turn off the
layer visibility of the color fill vignette, the girl Layer 1, and then turn off
just the Smart filter that is currently on Layer 2 copy but keep both Layer 2’s
visible as I begin my scaling of the layers. Refer to Figure 6-102.
904
Figure 6-102. Active Layers in the Layers panel and Timeline panel
The scene should currently look something like this. Refer to

Figure 6-103.
905
Figure 6-103. Canvas with some layer and the filter visibility
turned off
Track Removal and Other Video Options

Tracks can be deleted as well, if you click the little film strip on the track
and choose that option. However, that will also delete the layer as well.
Use Edit ➤ Undo (Ctrl/CMD+Z) if you remove a track by mistake, or your
History panel. Refer to Figure 6-104.
Figure 6-104. Option menu for each track
906
This drop-down menu also provides other options used when working
with video such as Add Media, New Video Group, New Video Group from
Clips, and Replace footage. However, those options are not required for
this book.
Increasing Each Track Duration

Now I need to Shift+Click to select all the Layers (visible and hidden)
except the Background layer and adjust the duration. Refer to Figure 6-105.
Figure 6-105. Layers panel and Timeline panel with all layers’ tracks
selected
907
Select the end of one of the tracks, and when the mouse pointer
changes to the three prong arrow, drag on the end to extend the duration
to about 10 seconds. Refer to Figure 6-106 as seen with Color Fill 1.
Figure 6-106. Timeline panel lengthening a track
If all the tracks do not stretch at the same time, then drag them one at
time so they reach the 10 second duration. Refer to Figure 6-107.
908
Figure 6-107. Timeline panel lengthening all tracks
Generally, even with video, you should scale and move your tracks one
at time, and you can even shift their position if required so that they don’t
all line up in a column. This can be good for a gallery when you do picture
Figure 6-108. Timeline panel moving a track
909
In this case, however, we do want the track’s location and duration to

be exactly the same, and we will make adjustments to each one separately
in a moment. Use Edit ➤ Undo or your History panel if one of the tracks
has become out of alignment.
Transitions and Interpolations

We can see what sorts of things you can affect with keyframes when
you expand each area beside the layer name in the timeline. Refer to
Figure 6-109.
Figure 6-109. Timeline panel looking at keyframe options
910
Different kinds of layer tracks contain similar and different keyframe

options that you can alter.
For Fill/Adjustment Layers, Normal Layers, Smart Object Layers, and
Type Layers, which are optional, you can alter the following.
• Position: For Fill/Adjustment Layers and Normal

Layers, this allows you to adjust the placement of the
layer at set keyframes.
• Transform: For Smart Object Layers and Type Layers, it

allows you to adjust the placement of layers but also do
advanced scaling, panning, and rotations.
• Opacity: Adjust the level of opacity for all layers.
• Style: If layer style effects fx (drop shadow) have been

added in the Layers panel, these can be altered at each
keyframe. This could be a hiding or showing of the
visibility of the effect or a Fill opacity change.
• Layer Mask Position (optional): This option will only

be available to alter the layer mask placement if the
layer contains a layer mask. However, it cannot be used
to control scaling, which I will explain in more detail
as we progress through the project. If a vector mask
is present, then the other option will be Vector Mask
Position.
• Layer Mask Enable (optional): This option will only

be available to Enable or Disable the layer mask when
enabled if the layer contains a layer mask. If a vector
mask is present, then the other option will be Vector
Mask Enable.
911
• Text Warp (optional): Only available for type layers

if present, used to control add warp effects. Refer to
Figure 6-109.
• For information on additional kinds of keyframes for

layers and lighting, refer to link at end of section.
Preset Motions
We will look at the actual keyframes in a moment. However, note that for
Smart Object Layers and Type layers, you will have, on the track, itself a
right pointing arrow with some preset motion options that you can use to
Adjust your Transform keyframe options, if you do not want to do custom
work. Normal Layers and Color Fill Layers and Adjustment layers do not
have this option icon. However, normal layers will have this icon and if you
use it, they will be automatically converted to smart object layers. Refer to
Figure 6-110.
Figure 6-110. Timeline panel preset motions
Currently all Smart Object tracks are set to No Motion which is

currently what we want. I will just use Layer 2, in this case, to demonstrate
other options.
However, from the motion option menu, you can choose five other
options. Refer to Figure 6-111.
912
Figure 6-111. Timeline panel preset motions options from the list
• Pan and Zoom: Allows you to pan or move across a

set area at an angle (-360,0,360°) while either zooming
in or zooming out. You can also enable Resize to Fill
Canvas before you begin. In this case, I am panning
horizontally. If you need to revert back to the original
state on No Motion, use Edit ➤ Undo or the History
panel. Using only the Motion panel will not undo the
change automatically. Note: The Resize to Fill Canvas
option is available for all motions to resize the graphic.
913
Figure 6-112. Timeline panel preset motions for Pan and Zoom, the
History panel, and motion applied to a layer
914
• Pan: Only allows you to Pan at a set angle (-360,0,360°)

and Resize to fill Canvas. In this case with a setting of 0 °,
I would be panning in a horizontal movement. To pan
vertical, I would adjust my angle to 90 ° first. Refer to
Figure 6-113.
Figure 6-113. Timeline panel preset motions for Pan and motion
applied to a layer
915
• Zoom: Zoom in or zoom out from a set location that

you mark using your reference point location in this
case from the center of the layer. Refer to Figure 6-114.
Figure 6-114. Timeline panel preset motions for Zoom and motion
applied to a layer
916
• Rotate: Used to rotate the layer clockwise or

counterclockwise. Refer to Figure 6-115.
Figure 6-115. Timeline panel preset motions for Rotate and motion
applied to a layer
You cannot, however, set the angle to stop or create a complete

rotation. That would be something you would have to adjust with your Edit
➤ Free Transform options as a custom setting with additional and custom
keyframes which I will mention later.
917
• Rotate and Zoom: Used to rotate the layer clockwise or

counterclockwise and zoom in or zoom out at the same
time. Refer to Figure 6-116.
Figure 6-116. Timeline panel preset motions for Rotate and Zoom
and motion applied to a layer
When any motion is added and the motion menu is collapsed, this
automatically sets the keyframes. The motion is applied to the layer for
the Transform. These diamond keyframes are called Linear Interpolation
918
keyframes. Interpolation is much like tweening in that we are trying to fill

in the parts of the animation that are missing or unknown, between the
known values.
Initially, when the motion is applied, they will appear as red diamonds
with a red bar. However, when you right-click them individually and move
or adjust them they will appear yellow (selected), or gray (unselected).
Figure 6-117. Timeline panel added keyframes for Transform and

you can alter the keyframe settings
Keyframes can also be moved in unison if shift clicked. Also, you can
use the pop-up menu when you need to delete, copy, and paste changes to
a single keyframe in the same track.
As you move the keyframe, the motion will then change to custom.
Figure 6-118. Altered keyframes sets the motion preset to custom

919
Note: Linear Interpolation keyframes appear as yellow or gray

diamonds which may appear two toned beginning and ending key frames
or a solid color if in between or only one keyframe is present. But for
Masks options, the Linear Interpolation keyframes will appear as yellow
or gray squares as the enabling and disabling of the mask are considered
abrupt states.
In other situations, like when working with Transform Transitions,
however, there is a second kind of keyframe known as Hold Interpolation
that also looks like the yellow gray square. In other situations, it may
appear as yellow or red (selected) gray (unselected) left point arrow
when used in combination with the linear diamond keyframe during
transformations like strobe effects or when you want layers to appear or
disappear suddenly.
However, we are not using Hold Interpolation keyframe in this book,
and if you noticed that your keyframe has altered from the original
diamond shape, then right-click it and choose Linear Interpolation
instead. Refer to Figures 6-117 and 6-119.
Figure 6-119. Examples of Linear and Hold Interpolation Keyframes

on the Timeline
For now, make sure that your transform keyframes are set to No
Motion. As mentioned, use the History panel to revert if you have tried any
of my motion examples on your own. Refer to Figure 6-120.
920
Figure 6-120. Timeline panel preset motions set to No Motion
In this case, I want to start with a custom Zoom for the two Layers.
Click Select Layer 2 Copy in the Layers panel. Refer to Figure 6-121.
Figure 6-121. Layers panel with single layer selected
921
In the Timeline panel, click each Transform stopwatch Icon to set a

keyframe at the start of the animation. Refer to Figure 6-122.
Figure 6-122. Timeline panel settings a starting keyframe for

Transform for one layer
Then do the same for Layer 2. Select the Transform stopwatch, and
apply a keyframe at the start of the animation. Refer to Figure 6-123.
Figure 6-123. Timeline panel settings a starting keyframe for

transform for another layer
Now Shift+Click and select Layer 2 Copy and Layer 2 in the Layers
panel as we want to do the transformation for them both at the same time.
922
Figure 6-124. Layers panel with both layers selected
Drag the Blue Playback slider to about the 7 second mark. You can see
this below, to the left of the frame rate. Refer to Figure 6-125.
923
Figure 6-125. Timeline panel with both players selected and moving
the playhead
Now go to Edit ➤ Free Transform. In this case, because a smart filter

was applied to a layer, you may get a warning message that that filter will
be turned off until the transformation is committed. That is why we turned
the visibility of the filter off before we started. Click OK to proceed. Refer to
Figure 6-126.
924
Figure 6-126. Warning message that may appear if Smart filters are
applied to a Smart Object Layer
In the Options Bar panel, the image is currently at 100%. Refer to

Figure 6-127.
Figure 6-127. Free Transform Options bar panel and Image to be scaled
925
First, to scale, drag using the lower right bounding box handle. To set
the width to touch the lower edge of the canvas. You may need to use Ctrl/
CMD++ to zoom in as you adjust. This width and height scale will need to
be about 81.6%. Refer to Figure 6-128.
Figure 6-128. Free Transform Options bar panel and Image

partially scaled
Now drag to scale from the upper right bounding box handle to affect
the width again. The final width and height will be about 49.16% and
should touch the edges of the canvas on the left, right, and bottom as
shown here. Refer to Figure 6-129.
926
Figure 6-129. Free Transform Options bar panel and Image fully
scaled and committed
It’s OK if some of the image is cut off at the top as we will adjust that
later as part of the animation.
The main thing as you scale is that no white from the background layer
appears as a border near the edges of the canvas.
For now, just click the Check in the Options bar panel to Commit and
review the scene so far.
New keyframes have been added for each layer in the transform area of
the Timeline.
927
You can move the blue playhead back and forth to see how this
appears. Refer to Figure 6-130.
Figure 6-130. Timeline panel new keyframes added to both

layers at once
However, make sure to keep both layers selected as you work and then
move the playhead to the 9 second mark. Refer to Figure 6-131.
928
Figure 6-131. Timeline panel moving the playead for the next
transformation
This time, select the Move Tool, and with the down arrow key on your
keyboard pressing, several times, move both selected images until you can
see more of the sky and now just a bit of the bank. Refer to Figure 6-132.
929
Figure 6-132. Use the Move Tool and the arrow keys for the next
transformation to move the image down
This now adds another keyframe and then you can use the blue
playhead to observe the movements as the scene becomes more centered.
930
Figure 6-133. Timeline panel new keyframes added to both

layers at once
Later, if you need to adjust these movements, make sure to keep both
keyframes in unison parallel and also keep the layers selected as you work
to avoid one transforming differently than the other.
Now move the playhead back to the 0 point on the left and just select
the layer Layer 2 copy, and in the Layers panel, turn the smart filter’s
visibility back on so that the Gaussian Blur is visible. Refer to Figure 6-134.
931
Figure 6-134. Timeline panel with only the Layer 2 copy blur layer
selected
932
Adjust Blur and Opacity

This time, for this layer, only set a keyframe for opacity by clicking the
Opacity stopwatch. Refer to Figure 6-135.
Figure 6-135. Timeline panel adding a keyframe for opacity
Currently, the Gaussian blur is at 100% opacity, and now, we are

going to alter it at the 7 second mark to 0%, where the full scene comes
into focus.
Drag the playhead to the 7 second mark. Refer to Figure 6-136.
Figure 6-136. Timeline panel moving the playhead for the next
keyframe for opacity
933
Now on Layer 2 copy, lower the opacity to 0% and a new keyframe is

added. Refer to Figure 6-137.
Figure 6-137. Timeline panel moving using the Layers panel to add
next keyframe for opacity
Move the Blue Playhead to observe the effects of the blur disappearing
and the image coming into focus. Refer to Figure 6-138.
934
Figure 6-138. Opacity at set keyframe is now reduced for this layer.
Simple animations like this can take time so don’t expect to do this all
in 1 hour.
File ➤ Save your work so far. Next, we will now add the girl back into
the image.
935
Tip You can use the lower white slider to the right of your frames
per second indicator (fps) if you need to get a more detailed look at
the precise location of keyframes if you do not have them in the exact
location or need to drag and move them around or see a preview
image of the frame itself. However, I usually keep it at the small left
side, as the preview movement could slow down my work. Refer to
Figure 6-139.
Figure 6-139. When working in the timeline, you can view tracks
better by adjusting the scaling slider or icons in the lower area of the
panel to zoom out or in on the Timeline panel
Adding Movement to Other Layers

In your current project, move the playhead back to the left 0 mark.
Make sure that Layer 1 containing the girl is visible and selected in the
Layers panel.
In her case, a few transformations may have to take place to get the
scaling and movement correct. Refer to Figure 6-140 and Figure 6-141.
936
Figure 6-140. Select Layer 1 in the Layers panel to work with the
image of the girl
937
Figure 6-141. Timeline panel Layer 1 selected
However, at this point I will note that while this layer does contain an
external layer mask that does allow keyframes to control position, you will
not be able to control the scaling (transform) of the layer mask for both
keyframes as it transitions.
So, at this point, I would recommend converting this layer again to a
smart object layer so that the mask is now internal. Refer to Figure 6-142.
Figure 6-142. Layers panel converting Layer 1 to a smart object layer

to internalize the mask
938
Doing so will remove the options of Layer Mask Position and Layer
Mask Enabled from your choices, but that is OK in this case as Transform
scaling everything at one time is what we really want.
Again, here you will want to set a keyframe for the transform as the
starting point 0 for Layer 1. Refer to Figure 6-143.
Figure 6-143. Select Layer 1 and create a starting keyframe
Move the slider to about the 7 second mark. The girl is currently
blocking the scene. We want to scale her and move her into place too.
However, to do that while we have a start point and will now create an
endpoint, additional keyframes in between may be required. Refer to
Figure 6-144.
939
Figure 6-144. Dragging the Playhead to the next point to add a

keyframe
Go to Edit ➤ Free transform and then move and scale the girl into
place, similar to how she is placed here. Refer to Figure 6-145.
940
Figure 6-145. Use the Free Transform panel to scale and move the
girl to her new location
Currently, she is about 16.17% in width and height. Now click the
check in the Options bar panel to confirm. Refer to Figure 6-146.
Figure 6-146. Free Transform panel; click the check to confirm the
Transformation
941
The keyframe is now added to second 7 in the transform. Refer to

Figure 6-147.
Figure 6-147. Timeline panel; a new transform keyframe is added to

the Timeline
Now drag the blue playhead and play/preview the animation to see
now the movement is affected on the canvas as you reach 7 seconds.
The movement, in this case, up to here is good and does not require
any additional midpoint movements and scaling. However, in your own
projects, you may need to adjust for this.
However, after 7 seconds, the scene moved down and so the girl must
move down too.
Move the sider to the 9 second mark. Currently, the girl is in the
air levitating over the water which is definitely not natural. Refer to
Figure 6-148.
942
Figure 6-148. When I drag the playhead to the end of work area, the
girl now appears in the air because we panned the background up
As you did with the background layers, you need to, with the Move
tool, move nudge her downward with the down arrow key. Refer to
Figure 6-149.
943
Figure 6-149. At the new location nudge the girl downward so she
appears like she is moving with the scene
This may take a bit of nudging up and down and then moving back to the
previous keyframe 7 to compare, to get the downward movement correct.
A new keyframe is added to the transform area of the track. Refer to 6-150.
Figure 6-150. A new transform keyframe appears on the Timeline
File ➤ Save your work so far.
944
Custom Rotations
Earlier, when we discussed adding motions, I noted that a preset rotation
can be created. However, for custom rotations and scaling, remember,
you can also use your Edit ➤ Free Transform to create the rotation as well
using your bounding box handles to adjust while in Free Transform. While
this current animation does not have any rotation. Rotation animations
that you could consider could be objects like wheels spinning or to give
the impression that something is falling off a shelf to the ground. Rotation
could also be used in the sky along with expansion to give a different
movement to clouds, as you can see in this example of the soldier at the
castle that you may want to explore on your own after we have completed
the current project. Refer to file castle_sky_parallax.psd. Refer to
Figure 6-151.
945
Figure 6-151. Rotation for the sky can also be achieved with the
Free Transform panel
946
Like the current project, most animation action occurs using the
Transform keyframes, as seen in the Timeline panel. Refer to Figure 6-152.
Figure 6-152. Timeline panel with multiple keyframes for transform

in the Timeline panel and the layers in the Layers panel
We zoom out to see the castle; the sky slightly shrinks and moves at
an angle to give the impression that the clouds are changing as the wind
moves them. The solider can be scaled moved along the path as well, as it
is possible he may have moved by the time the camera fully zoomed out.
However, because he is a static photo, he only slides along.
947
To animate him more accurately, you would need additional photos

of his leg and arm movements, or if you had animation knowledge, a
different application would have to be used to create the animation
and rigging of the joints. That kind of animation is a more advanced
topic not discussed in this book; however, we can see in this example
that keyframes of transform do need to be adjusted to keep the man
accurately on the path with his shadow. In this case, the man’s movement
was animated last, and I started with the keyframe at 0 second and then
moved and scaled the last keyframe near the 10 second mark and then
in the middle keyframes moved him again at set keyframes where he
diverges from the path; this required about additional five keyframes
between the starting and ending keyframes.
Adding a Vintage Overlay

Coming back to our current project, return to timeline and set the playback
to 0 seconds, and now make sure to put the Layer Visibility back on for the
Color Fill 1 Layer and select it in the Layers panel. Refer to Figure 6-153.
948
Figure 6-153. Adding the color fill vignette to the image
This layer will have no keyframes added to it. It is simply an overlay to

give a vintage look, as you might see in historical tv shows. However, I will
add a fade effect to this layer in a moment.
File ➤ Save you work so far.
Tip For your own projects, make sure to include ground shadows

for people behind the individuals, if required, especially if they are
standing and their feet are visible. In this example, the ground where
the girl was standing was only seen very briefly, and most of that
area where the shadow would be is covered by the vignette, so it was
not necessary to add in this instance. Refer to Figure 6-154.
949
Figure 6-154. No extra shadow below the girl’s feet is required as this
area is dark enough
As a suggestion, you could create a shadow on a blank layer, paint with

black using your Brush tool with a soft brush, and set the blending mode of
that layer to Multiply and an Opacity of 30 % and place the layer behind the
person. You could then, using your keyframes, adjust the opacity as required
so that it would only appear on the scene as needed and then remove the
shadow as required. If there is movement in the scene, make sure to use the
Position keyframes to adjust its placement or convert that layer to a smart
object layer and use the Transform keyframes to adjust accordingly.
Duration and Frame Rate

While working with a video animation, we need to consider such things
as FPS or frames per second, also known as frame rate. Various film
recorders like your smartphone or digital camera take many pictures
quickly when creating a video, in every second. Depending on the camera,
it can be between 24 and 30 (29.97) frames (photos) per second. When
incorporating vintage film that has been digitized for you, this can be
important to how the film will display. And in the case of the Parallax, this
can affect the speed of the animation as well as rendering time. In this
case, we are working with 30 frames per second, but I want the entire video
950
to last about 10 seconds, just to keep the animation short. You may want it
shorter or longer depending on its complexities or the speed you require,
but you need to have a common frame rate. Refer to Figure 6-155.
Figure 6-155. Timeline panel with FPS settings
Frame rate can be checked or adjusted as well. From the Timeline

panel menu, use “Set Timeline Frame Rate” if you need to adjust this for
your own projects. You can set between 10 and 60 fps from the list, and
altering this number can affect the speed overall at which the animation
plays, but I will leave this on the default settings that I chose of 30. Refer to
Figure 6-156.
Figure 6-156. Timeline panel use the menu to access the Timeline
Frame Rate dialog box
951
Additional menu items can be accessed as well, and if you need more
information on many of these advanced options, you can refer to the link
at the end of this section.
Playback and Sound Options

Before we render, I will just go over a few more options and considerations
that you may want to add to your own projects. Refer to the upper area of
the Timeline panel. Refer to Figure 6-157.
Figure 6-157. Timeline panel playback options and additional

settings
As with the GIF frame animation timeline, you also have access to
some playback features.
• Go to first frame.
• Go to Previous Frame.
• Play (Triangle)/Stop (Square).
• Go to Next Frame.
I use these if I want to play a small clip. However, large

animations can slow down preview time until it has
built up a frame cache, so doing this kind of preview,
you may find that the initial speed may not be that
accurate and everything moves slowly.
952
• The speaker icon lets you enable or mute audio

playback if it is present. In this case, there is currently
no sound, so it does not matter that it is by default on.
Figure 6-158. Timeline panel turning auto on and off while playing
The next settings under the gear allow you to set additional playback
options which includes Resolution set to a default of 50% as a lower setting
can play back faster and Loop Playback which is disabled if you do not
want the video to play again when it reaches the end. Refer to Figure 6-159.
Figure 6-159. Timeline panel settings resolution while previewing

playback
Split at Playhead
This icon resembles a scissor you can use with layers and video clips
if you need to split a clip/track at a place where the playhead is sitting
and move that part of the track to a new location, such as maybe an
object will appear elsewhere later. For Layers in the Layers panel, this
automatically creates a duplicate copy of the layer. Refer to Figure 6-160.
Use your History panel if you need to undo this step.
953
Figure 6-160. Splitting Layers at playhead results in two

duplicate images
Adding a Fade (Transition)

Other things you may want to try is adding a fade at the beginning or end
of the animation, known as a fade in or fade out. This is often useful when
you plan to incorporate the video with other footage clips later and you are
transitioning to the next scene or ending the video. Refer to Figure 6-161.
954
Figure 6-161. Timeline panel adding a fade transition
However, it can be added to the beginning or end of a layer track as

well including fill layers. Some options you can try are Fade, Cross Fade,
Fade with Black, Fade with White, or Fade with Color for a custom look.
The duration can be set of 0.25–10 seconds. Choose one and then drag
it onto the tracks beginning or end. And adjust the fade using the three
prong arrow pointer while on the Layer track to edit the Duration, and you
can right-click the Transition if you need to edit as well. Refer to parallax_
zoom_out_final.psd where I have added a short fade at the beginning of
the color fill layer of 2 seconds. Refer to Figure 6-162.
955
Figure 6-162. Timeline panel with fade added to start of vignette

and, if required, to the end as well
Here we can test how a fade might look at the start of an animation.
956
Figure 6-163. Vignette hidden at start of animation then

gradually appears
However, note that Cross Fades can only be used when two layers are
part of a video group, as in when two duplicate layers are split and then
added to the same track. Refer to Figure 6-164.
957
Figure 6-164. Cross fades in the Timeline will only work if the layers
are converted to a Video group
In this example, we are not using a cross fade.
Adding Sound
While video track is important, you can also incorporate audio in the
form of narration, music, or sound effects to the scene as well. This is not
possible with GIF animation, but with video, separate audio tracks can
be added in the form of .mp3 and other audio files. The audio, once it is
added and you right-click the track, can also be turned on and off or the
volume lowered or faded in or out if two sounds are occurring at once. And
then you can turn audio on or off or mute the audio. Refer to Figure 6-165.
958
Figure 6-165. Timeline panel adding an Audio track
Here I have also added some audio to a copy of the file. In this case,
you would want to adjust the Set End of Work area slider back to the 10
second frames because the audio, being longer than the video, would
continue to play after the video had stopped. Be aware of this as you add,
edit, or delete sounds. See parallax_zoom_out_sound.psd for reference
and AmbienceCreek.mp3. Note that the sound I used was extracted from
a file that I created with the Adobe Animate application. Animate has a
sound clip asset library which is very useful for when you need some test
sounds to practice with in Photoshop. Refer to Figure 6-166.
959
Figure 6-166. Timeline panel adjusting the work areas for a lengthy
audio track
On you own project, continue from this point to test and make
adjustments.
Deleting a Timeline
If you ever do need to delete the Timeline using the Timeline Panel menu
to revert, make sure to do this on an Image ➤ Duplicate as you will lose
all the work you did so far and you will need to use Edit ➤ Undo or your
History panel immediately if you made this mistake. Refer to Figure 6-167.
960
Figure 6-167. Use the Timeline panel menu when you need to make
additional and advanced adjustments
Note that additional options can be found in the Timeline panel menu
if you are looking for an additional setting for keyframes, showing types of
video clips/tracks, and other related video settings:
https://helpx.adobe.com/photoshop/using/creating-timeline-
animations.html
an a Video Animation Be Turned Back into

C
a GIF Animation?
Yes, though sound will not be available. If you need to do this, always
work on a copy of the file in case you decide later to switch back, as some
settings would be lost.
961
I would not recommend, however, creating a GIF animation over a

minute or two long as this would create a buildup of too many frames
and may be too large a file size and be difficult to render. And keep to very
simple movements and not using high color images as we saw with the
gallery, as color quality could be lost.
Click the Convert to Frame animation button. Refer to Figure 6-168.
Figure 6-168. Converting a Timeline animation to a frame

animation using the Timeline panel
Then when you see the Alert message regarding frame conversion,
click Continue to see a frame by frame version. Refer to Figure 6-169.
Figure 6-169. Warning that may appear before you convert

your video timeline to a frame animation and the result in the
Timeline panel
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Then refer to the File ➤ Export ➤ Save for Web (Legacy) instruction
that I describe earlier in the chapter to Output a GIF animation.
In this example, in the Save for Web (Legacy) dialog box, optionally
you could use lower width and height percentage as the GIF animation
would likely not be as large as a video. But make sure to observe your
compression settings to see how they affect quality when you do so. Refer
to Figure 6-170.
Figure 6-170. Save for Web dialog box GIF animation adjustment
Image Size settings
Likewise, you can turn your GIF animation into a video, but beware
that with any converting back and forth, certain animation settings will be
lost and not appear as the original work. Refer to Figure 6-171.
Figure 6-171. Use the Timeline panel to convert a Frame Animation

to a video timeline
So, making the decision on the type of animation you want in the
beginning is best.
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Render the Video File

Returning back to our video timeline example, we will now look at the
render option and the dialog box. Click the following Arrow button, or
choose Render Video from the Timeline panel menu. Refer to Figure 6-172.
Figure 6-172. Timeline panel use the arrow key to begin rendering
the Video
The final step to Render is to work with the dialog box and set the
following settings. In this example, I am rendering the parallax_zoom_
out_final.psd which does not contain audio. Refer to Figure 6-173.
Figure 6-173. Render Video dialog box
Location: Name your .mp4 file.
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Select folder that you would like to output to and optionally create new
subfolder if required.
Use Adobe Media Encoder from the list, not the other option
Photoshop Image Sequence.
For now, use the default settings:
• Format: H.264. Other options are DPX and Quick time

which we are not using.
• Preset: High quality. There are other options you can

choose from the list to adjust the quality level.
• Size: Leave at the Document Size of 1920 x 1800 to

avoid distortion.
• Frame rate: Leave at the Document Frame Rate

of 30 fps.
• Field order: Leave on the Preset of (Progressive) and

keep Color Manage check box enabled.
• Pixel aspect radio: Leave on the default setting of

Document (1.0) which is the same as square.
• Range: Use the setting of All Frames. However, if you

need to set a range, you can use Start Frame number
and End Frame number or Work Area if different than
the number of frames, for example, in the case of the
file containing audio parallax_zoom_out_sound.psd.
To clip the video correctly, you would choose Work
Area instead as All Frames would create 2705 frames
rather than 299. Refer to Figures 6-173 and 6-174.
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Figure 6-174. Alter your Render Range setting if required to only the
Work Area
• Render options: Leave these at the default settings. In

this case, there is no Alpha Channel being used, and
there is no 3D options as they were removed recently
from the dialog box. Refer to Figure 6-173.
Note that because we are working with a small file, the rendering
should happen quickly. Larger files will render very slowly, and
if your computer does not have enough RAM, it could cause the
Application to crash, so make sure that when you render your file not
to have any other applications, open other than Photoshop until the
process is complete. Check RAM usage under Edit ➤ Preferences ➤
Performance.
In the Render Video dialog box, then click the Render button. This may
take a few minutes depending on your file’s length. Refer to Figure 6-175.
966
Figure 6-175. Click render and create your video
A file then will be created based on your settings in the folder

location that you choose. In my case, refer to my files parallax_zoom_
out_final.mp4 and parallax_zoom_out_sound.mp4 for review.
You can also refer to the file castle_sky_parallax.mp4.
Later, if you choose, you can edit further in Adobe Media Encoder.
While not required for this project I will just give a brief overview of the
application of certain features you may want to use with your MP4 file. Use
parallax_color.mp4 for practice.
Media Encoder Settings

If your .mp4 files do not open automatically in Media Encoder, you can still
use this application to do some final editing to the color. Use the Creative
Cloud desktop console to download and then Open Media Encoder. Refer
to Figure 6-176.
Figure 6-176. Creative Cloud Desktop Media Encoder

Application access
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While I am not going into all the details of working with Media Encoder
for the Window ➤ Default Workspace, the main panels that you should see
open are Tool area, Media Browser, Queue, Preset Browser, and Encoding
panels. In this example, we will not be looking at the Watch Folders. Refer
Figure 6-177. Media Encoder Application Open
Figure 6-178. Make sure the Default Workspace is active
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If the file is not already found in the Queue, you would use the Media
Browser panel to locate the file using your folder and add it to the Queue
panel by dragging it over, as I did with my file parallax_color.mp4. Refer to
Figure 6-179.
Figure 6-179. Find files to add to Media Encoder using the Media
Browser panel and drag to Queue panel
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Once in the Queue Panel, make sure that the file is set to Format H.264
which is the same as an .mp4 file, which can include audio if present. You
can, at this point, view and edit various custom settings, if required. Click
on the Preset Match source High bitrate link and if adjusted this will reset
the preset to Custom.
While I will not be going through all the settings, here are a few you
may want to observe or edit.
Export Settings
This dialog box controls the settings for the Source Document and the
file you want to Output, in this case you are creating a copy to the Output
file folder. We do not want to edit the Source file or use the Compare tab
so stay on the Output Tab you can Leave the settings of Source Scaling as
Scale To Fit and you want to keep the Source Rotation the same, so leave at
None (0). Refer to Figure 6-180.
Figure 6-180. Export Settings dialog box
On the right are further Export settings. These are the current Format,
the Preset which will become custom as it is edited, an area for comments
and the output name of the file.
In this case for the .mp4 file, we want to make sure that Export Video
and Export Audio are enabled. Likewise, for some projects you may want
to exclude the audio or just export audio so you can check either of these
off or on. Refer to Figure 6-181.
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Figure 6-181. Export Settings dialog box options
Summary settings
This is a text version of your overall settings changes for both output and
source. This can tell us such things as Size of file, frames per second, and
any other settings that were added during previous rendering, editing or
capturing of video.
The next section controls additional edits that you can make to the
output video. They are divided into separate tabs, and each section under
those tabs can be expanded using the arrow and reveal more settings.
Some, in this case, are not relevant and too advanced for this project, but I
will briefly mention the purpose of each tab and some specific settings, as
well as a link to more information at the end of the section.
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Effects
This tab controls some of the rudimentary effects that you can apply to a
video. These include the following sections: Tone Mapping, Lumetri Look/
LUT, SDR Conform, Image Overlay, Text Overlay, Time Code Overlay
(watermark), Time Tuner, Video Limiter, and Loudness Normalization.
Figure 6-182. Export Settings dialog box Effects tab
The main setting adjustment that I want to point out here that you
may want to adjust is under Lumetri Look/LUT. Under the area called
Applied, currently this area is set to None. However, as we saw in Chapter
1 when we create the adjustment layer Color Lookup files, here again can
we reuse them, when we choose to enable the check of that option. From
the applied list, choose either a loaded preset option or choose Select and
locate and choose a file format option listed of Looks and LUTs. Use the
folder Looks if you need a file to test. Refer to Figure 6-183.
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Figure 6-183. Export Settings dialog box Effects tab set

Lumetri Look/LUT
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Then click the open button to load a (.CUBE) file. Refer to Figure 6-184.
Figure 6-184. Export Settings dialog box Effects tab set

Lumetri Look/LUT from custom file
In this case from Photoshop, I could use the .cube or .3dl found in
the Looks folder. Other formats that can be used are .look, .itx, .lut, .fccp,
.ilut, irlut, .txt, .cc, and .cdl, but these are not all created in Photoshop. The
whole video clip, if this setting is applied, will have a blue color cast effect.
Figure 6-185. Preview of Lumetri Look/LUT
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To remove or preview the option, just turn the check box off and then
on again. Refer to Figure 6-186.
Figure 6-186. Export Settings dialog box Effects tab disable

Lumetri Look/LUT from custom file
Tip If you do not want to create this effect in Media Encoder and
prefer using Photoshop to have greater control over where color is
altered, in your video, alternatively add an adjustment layer like Hue/
Saturation with the colorize setting enable over your current layers in
your .psd file before you render the file.
Video
This area controls various video settings and notes the settings of the
source video. The main area to look at here is the Basic Video settings
which control the Width (1920) and Height (1080) of the document which
linked to maintain aspect ratio, Fame Rate (30), Field Order (progressive),
and Aspect (ratio) (square pixels) (1.0) currently defaulted to Match
source. The setting Render at Maximum Depth is disabled. Refer to
Figure 6-187.
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Figure 6-187. Export Settings dialog box Video Tab
Other additional selections in this area include Encoding Settings,

Mastering Display Color Volume, Content Light Levels, Bitrate Settings,
Advanced Settings for Keyframes, and VR Video.
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Audio
This area controls the various audio settings for the Video which fall under
the sections of Audio Format Settings, Basic Audio, and Bitrate Settings. If
your video has no audio or you do not plan to adjust any default settings,
you can ignore this area. Refer to Figure 6-188.
Figure 6-188. Export Settings dialog box Audio Tab
Multiplexer
It is an advanced area that is used for data selection for the output of the
video. However, basic settings for the MP4 file can be adjusted here. Refer
to Figure 6-189.
Figure 6-189. Export Settings dialog box Multiplexer Tab
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Captions
If your video requires captions, this information is set here. However, for
this format, the settings are disabled and cannot be adjusted. Refer to
Figure 6-190.
Figure 6-190. Export Settings dialog box Captions Tab
Publish
This option in Media Encoder is a quick way to set up the publishing of
your video to multiple social media sites that include Behance, Facebook,
FTP (your personal website), X (formerly Twitter), Vimeo, YouTube, and
TikTok. Refer to Figure 6-191.
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Figure 6-191. Export Settings dialog box Publish Tab
For example, if you choose to upload to YouTube, you would need to

sign in and set various parameters in the area of the dialog box before you
could upload the file. Refer to Figure 6-192.
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Figure 6-192. Export Settings dialog box Publish Tab YouTube
In this case, I will leave the setting disabled as I am just saving to my

folder on my desktop.
Each social media site has different parameters that you need to
review. Also, you need to check which sites you can upload to based on the
type of file format you choose to render if it is something other than .MP4.
In this case, .mp4 is available for all the listed social media sites.
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Additional settings that can be set include the following:

Use Maximum Render Quality, Use Previews, Use Proxies, Set Start
Timecode, and Render Alpha Channel only. These options are disabled.
Time interpolation which set to Frame Sampling.
Estimated File Size: This will vary based on the project and Maximum
File Size which is also disabled. The Meta data button lets you add
additional metadata information if required. Refer to Figure 6-193.
Figure 6-193. Export Settings dialog box additional settings for

output file
On the left, below the preview, note that you can Clip the video’s
start and end area using the lower triangle sliders to remove those parts
from the entire clip. Drag the blue slider playhead to preview the video
by moving the blue dial. You can also fit the zoom level of the preview or
toggle on and off aspect ratio correction. Source Range is set to Custom.
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Figure 6-194. Export Settings dialog box adjusting the length of the
clip to output if required
Click OK to exit this dialog box if you have made changes. Refer to
Figure 6-195.
Figure 6-195. Export Settings dialog box OK and cancel dialog box
and return to the Queue panel
The preset is now Custom. Click on the Output File line to set an
output file location for the file; in this case, it will have a “_1” or the next
number in the sequence at the end so that the source is not overwritten,
and observe the status as it is set to Ready. Refer to Figure 6-196.
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Figure 6-196. Media Encoder Queue Panel settings
Note Media Encoder is limited in how it combines video clips, and

as this application does not have timeline tracks, it can however
merge two or more clips together. In these examples, because we
were working with still photos, we did not use all the options found
in this area of the Queue panel, but if you would like to know more
about these options, you can refer to the following links at the end of
the chapter.
In this case, click the green triangle play button to start rendering the
new file, but before you do that, make sure that auto computer shutdown
is not checked as you do not want this to happen. The renderer, in my case,
is set to Mercury Playback Engine GPU Acceleration (CUDA) but you may
have a different Engine. Refer to Figure 6-196.
When you click the Green Play arrow. This will allow you to complete
the process. Then you would render, and the completed file will appear in
the Encoding panel until it is completed and it will then read “Done” in the
queue. This rendered for me the file parallax_color_1.mp4
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Figure 6-197. Media Encoder Queue Panel and Encoding panel

settings and final render
If you need to render the same file again, you can right click the name
in the Queue and choose Reset Status, from the pop-up list.
You can then close the Media Encoder application. File ➤ Exit
(Ctrl/CMD+Q).
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In Photoshop, remember to File ➤ Save your work. You can now close
any .psd files and play any .mp4 files you have created in your computer’s
video viewer to review your work.
More on the topic of Media Encoder can be found at the following link:
https://helpx.adobe.com/media-encoder/get-started.html
https://helpx.adobe.com/media-encoder/using/overview-media-
encoder-user-interface.html
Summary
In this chapter, we reviewed the Timeline panel and how it can be used to
create either a GIF Frame Animation or render a video timeline animation
as a MP4 file. We also briefly looked at Media Encoder, should you want
to try some additional edits. In the final chapter, we will look at what your
next steps are, using other Adobe Creative Cloud and Microsoft apps, as
you continue to work on your photo restoration project.
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CHAPTER 7
What Is the Next

Step in Your Photo
Restoration Project?
So far, the focus of this book has been mainly on Photoshop for photo
restoration. However, after the photo has been restored, what are some
of the next steps that you should consider as you work on your project?
How do you intend to display your photos? In print, as part of a scrapbook,
maybe online, or part of a slideshow as a memorial for a friend? What
other applications would you use that are part of the Adobe Creative Cloud
or maybe a Microsoft application? In this chapter, we will briefly look at
several applications and suggestions.
Note that this chapter does contain projects found in the Volume 2
Chapter 7 folder. There are various folders you can review, based on
the application discussed.

Chapter 7 What Is the Next Step in Your Photo Restoration Project?
Photoshop
In this chapter, before we conclude the topic on working in Photoshop.
Here are a few remaining things you can do to complete your work should
you want to export your images for other projects.
Some tips and tricks about online viewing can be found here for online
work and color management:
https://helpx.adobe.com/photoshop/using/color-managing-
documents-online-viewing.html
For this section, you can refer to the Photoshop Projects Folder for
files you can edit and open if you want to experiment and follow along.
Saving RGB Files for the Web or Email

Also, remember that if you plan to save your files for the Web in RGB
color mode, as mentioned before, for optimum color quality online, I
recommend using .jpeg and .png files.
As you saw with the .GIF animation file, you can use File➤ Export
➤Save for Web (Legacy). This will offer you alternative options for saving
your files as either a .jpg or .png format when you choose that file format
from the optimize file format list (JPEG, PNG, PNG-24) or choose a preset.
Once a format is chosen, then you can set similar settings as you did for the
animation but this time for the static image, such as adjust quality levels
and transparency. Note that some file formats may have less options than
others. For example, JPEG do have a setting for Low, Medium, High, Very
High, and Maximum. However, you can use the Quality and Blur sliders
for greater control of quality as well. You can refer back to Chapter 6 if you
need more details or need to compare. Refer to Figure 7-1 and Figure 7-2.
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Figure 7-1. Save for Web dialog box
989
Figure 7-2. Save for Web dialog box settings for other file formats
990
Likewise, JPEG will not allow for any transparent areas while the PNG
formats will.
After choosing a JPEG, PNG-8, or PNG-24 option, you would then save
the file. In the Format of Images Only, Settings: Default settings, and save
the file to a new location. Refer to Figure 7-3.
Figure 7-3. Saving a jpeg file for Output
If the image was 300ppi, it will automatically convert the image

in 72ppi.
However, when you need to save in multiple size formats of the same
file in either JPEG, PNG, or GIF (static only) at once, I recommend using
File Export ➤ Export As dialog box. Refer to Figure 7-4.
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Figure 7-4. Export as dialog box and resulting files

You can learn more about this dialog box and other export options
from the following links:
https://helpx.adobe.com/photoshop/using/export-artboards-
layers.html
https://helpx.adobe.com/photoshop/using/content-
credentials.html
992
F ile Options and Tips for Saving Your Photo

for Print
In most of the book, we have been working with our images in RGB color
mode. However, when you are ready to print your images, you may want to
convert your images to CMYK.
Note that with some inkjet printers, you can leave the format in RGB,
and the image will print out very nicely as the printer’s software does its
own conversions. However, if a printing company has asked you to convert
the image to CMYK, here are a few tips to consider.
Before converting the file to CMYK, you can use the View➤ Proof
Setup and View ➤Gamut Warning options, as were discussed in Chapter 2.
If the changes are minor, you may prefer not to make any adjustments, or
you may want to use one of the adjustment layers like Hue/Saturation, to
make some adjustments to select areas, using a layer mask selection. Refer
to Figure 7-5.
Figure 7-5. View menu settings
993
As always, make sure to work on an Image➤ Duplicate of the file so

you do not destroy the original RGB document. Then make sure to Layer
➤ Flatten the image using your Layers panel menu if there are additional
layers. Refer to Figure 7-6.
Figure 7-6. Duplicate image dialog box and flatten the image in
Photoshop
994
However, for more technical information on exact color adjustments, as

we discussed in Chapters 1 and 2, you can also refer to the following link:
https://helpx.adobe.com/photoshop/using/color-
adjustments.html
Once you have flattened the image, then Choose Image ➤ Mode ➤
CMYK Color. You will get a warning message that you are making a color
conversion. Click OK. Refer to Figure 7-7.
Figure 7-7. Photoshop warning message
You may also notice a color conversion on the screen when you do
this. This is because RGB has a wider range of colors than CMYK. However,
CMYK inks are how files are printed, by, for example, an offset printer or
press. Yet the colors can appear duller, as we discussed earlier in Chapter 2,
because you are now printing in pigment and not viewing in the light of
your screen.
Here are some printing tips to note: When you go to File ➤ Print your
document,
• Become aware not only of your screen profiles but
also printer profiles for the hardware you work with.
Knowing and understanding what kind of quality your
inkjet or laser printer can output is important and can
995
be reviewed for each printer under the Print Settings

dialog box. You can discover such things as what kind
of paper or paper sizes it can or cannot accept before
you click print. Also, you may want to consult the print
company or your home printer’s online manual as well.
Figure 7-8. Photoshop Print Settings dialog box
When choosing a paper, consider the following:
• Glossy paper will often produce a better color result

which is ideal for photos.
• Matte paper is good for situations where there is a
combination of images and text.
996
• If you are going for a more artistic effect, you may want
to look at canvas options for pictures you plan to frame.
• For optimum results of any paper that you use, make

sure it is compatible with your inkjet or laser printer
and the color is a bright white, as paper that has a
dull yellow or another color will affect printing results
as well.
• Always have a few extra sheets of the paper available,

and ensure that the toner or inkjet cartridges are not
running low if you must run a few test prints.
CMYK Filter Adjustments for a Specific Channel

One recommendation, after converting to CMYK and before printing, is to
use a sharpen filter for a final touch-up before printing.
A bit of sharpening is always helpful as you can use an Unsharp Mask
or the Smart Sharpen filter, as we saw in Chapter 3. It was mentioned that
sharpening can improve the image if it has gone through an image size
conversion and been enlarged after using Image ➤ Image Size. Refer to
Figure 7-9.
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Figure 7-9. Image size dialog box in the process of enlarging

an image
When in RGB color mode, you saw that you could do an overall
sharpening. However, while in CMYK mode, this might make some colors
shift or create some unwanted noise. However, in the Channels panel, by
just selecting Black channel and applying the Sharpening filter of unsharp
mask to it, this may be adequate. Refer to Figure 7-10.
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Figure 7-10. Channels panel and Unsharp Mask filter
999
To compare results, you can always work on an image duplicate of your

layer before you flatten the layers to see if the sharpening took effect as
you intended. Select a layer, then select your black channel, and apply the
filter so it only affects that layer. Keep the Unsharp mask settings low for
the Amount, Radius, and Threshold as you do not want to over sharpen the
channel and introduce too much noise, but just enough to still reveal some
details. Make sure to click the composite channel when you are done. See
file image_sharpen_channel.psd. Refer to Figure 7-11.
Figure 7-11. Layers renamed with my settings and channels panel
1000
Warning Do not convert a CMYK document back to RGB as with

each conversion you will lose information. Always keep a copy of your
RGB original as a backup.
Saving Your File for Print

Then, for the print company, you can flatten the image copy and File ➤
Save your images as a .tif as this format will keep the image’s quality and
not compress the file further, as a .jpeg would. Refer to Figure 7-12.
Figure 7-12. Save as dialog box save image as a TIFF file
In the dialog box, I used the settings of Image Compression None. I

left the Save Image Pyramid option disabled, left Pixel order at Interleaved
(RGBRGB), and the Byte Order at IMB PC, but for your files it may be
Macintosh. There are no extra layers in this file so the Layer Compression
options were not required and I clicked OK, to complete the save. Refer to
Figure 7-13.
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Figure 7-13. TIFF Options dialog box
Once you have printed your file, you can see how it compares with the
image on the screen and various printers.
Additional Color Conversion Information

If the conversion is not ideal and you need to have your images
professionally printed, then you may need to consult with your print
company as to what kind of color settings and profile you should be using.
This is a more advanced topic, but you can find these settings here in the
Edit menu as well. Use them in combination with the View ➤Proof Setup
and Gamut Warning menu as you consult with the print company you are
working with. Refer to Figure 7-14.
Figure 7-14. Edit menu color stings options
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Edit ➤ Color Settings

This dialog box will give you information on the current color settings that
Adobe is using for your Working spaces of RGB, CMYK, Gray, and Spot as
well as Conversion Options, Color Management Policies, and Advanced
controls. Refer to Figure 7-15.
Figure 7-15. Color Settings dialog box
You can hover over any of these items if you need a more detailed
description. The ideal workspace, as seen for the RGB color mode
mentioned here, is sRGB which has a limited color gamut but is OK
for my inkjet printers. However, if you are working with professional
prints and photography, your instructor or print company may suggest
a different workspace like Adobe RGB (1998) or another printer profile.
Some print companies may even supply you with their custom profile and
give instructions on how to load for one of your Workspaces like RGB or
CMYK. Refer to Figure 7-16.
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Figure 7-16. Color settings dialog box reviewing Working Spaces

from the list
For now, if you do not want to make changes, just click Cancel and exit
this dialog box. If you need more detailed information on this topic, you
can refer to the following link:
https://helpx.adobe.com/photoshop/using/color-settings.html
1004
• Edit ➤ Assign Profile: Can be used to assign a profile to

a document if it does not currently have it and you are
receiving a warning or you want to switch the profile
because maybe it was not assigned correctly. Likewise,
you can choose not to color mange the document or
just quickly view what the current profile is. Refer to
Figure 7-17.
Figure 7-17. Assign Profile dialog box
• Edit ➤ Convert to Profile: This can be set to an

advanced or basic setting to convert to a specific
destination profile. Consult with your printing
company if they require you to make any changes in
this dialog box. Refer to Figure 7-18.
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Figure 7-18. Convert to Profile Advanced settings dialog box
Note that many of these color settings will also be synchronized with
your other Adobe applications like Illustrator and InDesign.
Online Projects (PDF Presentation)

If you are planning to present a few images in a gallery format other than
a GIF animation, as mentioned in Chapter 6, another option is to create a
PDF Presentation which you can do directly from Photoshop using File
➤ Automate ➤ PDF presentation. In the dialog box, you can Browse and
then add various source files, organize them, duplicate, remove, or sort
by name and then create a presentation with various transition options.
1006
Make sure, when you do this, that the width and height of each is the same
orientation (portrait or landscape). They do not have to be the exact same
dimension, but this can make a better presentation. Add open files or
browse for files you want to add to the list. Refer to Figure 7-19.
Figure 7-19. PDF Presentation dialog box
Choose your output options and change Save As: from Multi-Page
Document to Presentation. Set the background if it shows up in the final
output to white, gray, or black. Set the font size to 6–16pt should you plan
to include information in the Presentation, such as Filename, Extension,
Title, Description, Author, Copyright, EXIF Info, and Notes. Remember, as
mentioned in Chapter 6, most if this information is found in File ➤ File
Info area of each document, some of which may have been auto entered
when each file was created or later by yourself. In this case, I have only left
only the Notes checkbox enabled.
In the Presentation Options, you can set a duration of Advance Every 5
or more seconds if you want to play the animation automatically. You can
also set it to Loop after the last page or leave that option disabled to stop
after the last page. Then set a Transition for the slide if you want a type of
transition animation. Currently, it is set to None. Each transition can have
a different effect. Try another option like Fade or Randon, and edit that
setting afterward in Acrobat Pro. Refer to Figure 7-20.
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Figure 7-20. PDF Presentation dialog box Presentation Options
Click Save and locate a location to save the file in the Save As dialog
box. Then click the next Save button. Refer to Figure 7-21.
Figure 7-21. Save As dialog box and saving the file
1008
This will then switch to the Save Adobe PDF dialog box. In this case, you
can adjust the Quality of your Adobe PDF Preset from High Quality Print to
another setting; set a Standard and Compatibility Level. In this case, I left
the standard at none and the compatibility at Acrobat 5 (PDF 1.4).
The General area will give a description of those current choices.
In this case, the presentation could have a dual purpose, both for
presentation and print. Refer to Figure 7-22.
Figure 7-22. Save Adobe PDF dialog box General settings
The General tab also lets you set additional viewing options once the
file is saved.
1009
Other tabs in this section include
• Compression: For setting additional image

compression options and image quality for all the
images as well as conversion of images from 16 Bit/
Channel to 8 Bits/Channel. Refer to Figure 7-23.
Figure 7-23. Save Adobe PDF dialog box Compression settings
• Output: Advanced settings for Color conversion or

settings for the type of PDF profile. Generally, you can
leave this area at its default settings of No Conversion.
1010
Figure 7-24. Save Adobe PDF dialog box Output settings
• Security: If you plan to have the PDF on your website,

you may want to alter these settings so that people can’t
change or edit your PDF and need a Password to do
so. In this case, I did not set this area as I might want
to print images, or it will be on my laptop which no
one else will access during the presentation. Refer to
Figure 7-25.
1011
Figure 7-25. Save Adobe PDF dialog box Security Settings
• Summary: This is just an overview of the settings and

warnings chosen and no changes can be made here.
1012
Figure 7-26. Save Adobe PDF dialog box Summary Options
Click Save PDF button. The output is a PDF file. See file gallery_
presentation.pdf found in the gallery_PDF_presentation folder.
Edit in Acrobat Pro

This is a good option if you do not have access to Microsoft PowerPoint,
as the files can be opened in the free Application Acrobat Reader or from
the Creative Cloud Application Acrobat Pro. In Pro, you can edit your
transitions further. Then display using presentation mode when opened.
1013
Figure 7-27. Creative Cloud Desktop Adobe Acrobat Open Menu
For example, when the PDF is open in Acrobat Pro, it will automatically
display in Presentation Mode, or you may receive a warning that it will do
so. Agree and click yes and let the presentation play. Refer to Figure 7-28.
Figure 7-28. Adobe Acrobat Full Screen warning message
To exit this Presentation Mode, you can press the Esc button on your
keyboard.
Tip to edit your transition settings in Acrobat Pro under the All Tools
section of the New Acrobat Display, locate the Organize Pages Tool and
click it. Refer to Figure 7-29.
1014
Figure 7-29. Adobe Acrobat menu to get to the Tool Organize Pages
Then Locate the sub-tool options Page Transitions, and click it to

access the dialog box. Refer to Figure 7-30.
1015
Figure 7-30. Adobe Acrobat working with Page Transitions and

options in the dialog box
Besides similar transition options which you can choose from the
list, you can set, for some, the direction and also a speed (slow, medium,
or fast) and Auto flip after every 5 seconds. Alternatively, you can also
set a page range for All pages in the document, Pages that are selected
in the panel, or a Page range. Once you have made your choices and
adjustments, click OK.
1016
From the main menu, choose Save and then exit the Organize Pages
tool by clicking the back arrow. Refer to Figure 7-31.
Figure 7-31. Adobe Acrobat menu Options and exiting the Organize
pages tool
Make sure to return your presentation to the first page. And then
from the menu, choose View ➤ Full Screen mode if you want to view your
presentation with the changes. Refer to Figure 7-32.
1017
Figure 7-32. Resetting the page number and then viewing in full
screen mode
Later you can close the file and use the Menu to exit the Acrobat
Application.
If your PDF Presentation will also have extra text descriptions, you
can add the Type using Photoshop, or alternatively, I would recommend
creating the Interactive presentation instead, in Adobe InDesign, which I
will briefly mention next.
1018
Remember, if you are just planning to upload your images to the Web
separately, then keep them in RGB Color mode and a .jpeg file is fine as we
saw earlier in the chapter.
InDesign
The InDesign Application is a good application to learn if you are planning
to create a booklet for Print exported as a PDF or to export an interactive
PDF for a presentation like the one mentioned earlier for Photoshop. Refer
to Figure 7-33.
1019
Figure 7-33. Creative Cloud Desktop InDesign Application
The steps to creating an interactive PDF and print PDFs using InDesign
are a bit more complex than in Photoshop, due to the fact you are working
with Text as well as multiple graphics on separated pages. For this section,
you can refer to the InDesign Project Folder for files you can edit and
open and review. See files Digital_Scrapbook_Layout_Example.indd and
page_transitions.indd.
1020
InDesign’s purpose is not to correct photos but only for layout and
display. Various forms of digital scrapbooking have become popular
in recent years. If you have not added effects like a drop shadow or
transparency, you can add these effects to your photos afterward in
InDesign and add some surrounding text or additional shapes and
enmeshment to tell your story.
Print Presentation
Here are a few layout ideas on 8.5x11 inch (Letter-size) pages to get you
started. Refer to Figure 7-34 and Figure 7-35.
Figure 7-34. InDesign Page Layout ideas with rectangular frames

and text
1021
Figure 7-35. InDesign Page Layout ideas with different borders and
drop shadow effects
These images which are stored in the “images” folder are added using
File ➤ Place and linked to the (.indd) file. You can view there linkage via
the Links panel and the Pages panel as they appear on individual pages
or spreads. Using the frames of your images, you can then cover areas and
enlarge or decrease the images within the frames as well as apply effects
and border style strokes to the frames using the Tools, Control, and Effects
panels. Refer to Figure 7-36.
1022
Figure 7-36. InDesign Page panel, Links Panel, Tools Panel, Effects
panel, and Part of the Control panel
While the purpose of this book is not to go into any detail on InDesign
layout, you can learn more about the application in the following links:
https://helpx.adobe.com/support/indesign.html
https://helpx.adobe.com/indesign/using/exporting-
publishing-pdf.html
1023
Color mode in this type of Document is controlled by Edit

➤Transparency Blend Space and can only be either RGB or CMYK for
print files. By default, it is set to CMYK and during file conversion, the RGB
image files should convert as well. For more accurate results, before linking
images, you should do this color conversion ahead of time, as well as set
your resolution to at least 300ppi.
After saving your (.indd) file, you could then use File ➤Export and
choose Adobe PDF (Print) and Save the file. Refer to Figure 7-37.
Figure 7-37. Export Options dialog box
In the Export as PDF, most settings are very similar to the ones located
in Photoshop’s dialog box and can be left at default if you choose High
Quality Print. Adjust the General area to set quality as well as page order
and viewing settings. The Compression area, as before, controls the quality
of image output, and the Output area controls Color and additional PDF
settings.
1024
However, additional settings and tabs such as Marks and Bleeds

and Advanced for Fonts and Transparency may be areas that you are
not familiar with, so if you are not familiar with these settings, you may
want to review the help link listed earlier as well as consult with your
print company if these are settings that you would need to include when
exporting a PDF. As mentioned earlier for Print Documents, do not alter
the Security Tab settings, and leave the protection off. Refer to Figure 7-38.
Figure 7-38. Export to PDF dialog box
1025
Then click the Export button to save the PDF file.

And you can then Print your files using Adobe Acrobat Pro.
Note If you are creating a printed album, make sure to check what
kind of paper options you could use. Additionally, if placing images in
an album that you have printed out with your laser or inkjet printer,
make sure to use acid-free glue and picture mounts.
PDF Interactive Presentation

In the case of a digital PDF presentation, this can be set up using the Page
Transitions panel and your Pages panel. Refer to Figure 7-39.
Figure 7-39. Page Transitions panel and Pages panel with

transition applied
1026
Then you would access the PDF settings under File ➤ Export. Choose
the option of Adobe PDF interactive. Click Save. Refer to Figure 7-40.
Figure 7-40. Export options dialog box
The dialog box Export to interactive PDF appears. The General Tab lets
you set how many pages you want to have appear in your presentation. In
the Viewing area, look for the sections of View, Layout, and Presentation,
and then finally review the Page Transitions options that were already
chosen earlier as you built the Document. Refer to Figure 7-41.
1027
Figure 7-41. Export to Interactive PDF dialog box
This dialog box also lets you set additional image compression,
advanced accessibility options, and security options.
After you have adjusted your settings, you would then click the Export
button to create the PDF file, now complete with the transition option of
your choice, and again, the file could be further adjusted in Acrobat Pro if
required, such as adding a timed flipping for pages.
More information about working with InDesign and Interactive PDFs
can be found in the following links:
https://helpx.adobe.com/indesign/using/dynamic-pdf-
documents.html
https://helpx.adobe.com/indesign/using/page-transitions.
html#page_transitions
1028
Microsoft PowerPoint Presentation

After you have created a JPEG version of your images, if you need to create
a PowerPoint presentation for a celebration or memorial, consider using
PowerPoint to create a presentation. For this section, you can refer to
the PowerPoint Project Folder for files you can edit and open. Refer to
Figure 7-42.
Figure 7-42. PowerPoint Application logo
You can learn more about PowerPoint from the following link:
https://support.microsoft.com/en-us/office/basic-tasks-for-
creating-a-powerpoint-presentation-efbbc1cd-c5f1-4264-b48e-
c8a7b0334e36
Inserting an Image or GIF Animation

However, if you need to insert a basic image into PowerPoint, you can do
the following:
Open your blank or currently created new presentation file. Refer to
Figure 7-43.
1029
Figure 7-43. Create a New blank presentation file using PowerPoint
With PowerPoint open, from the Ribbon go to Insert ➤ Pictures and

Choose to Insert Pictures From ➤ this device, then locate the image in the
folder that you want to insert, and in the dialog box, click Insert. Refer to
Figure 7-44.
1030
Figure 7-44. Locate and Insert a Picture into your PowerPoint file
1031
One of the things that I do like about PowerPoint is that they have a lot
of templates. Also when one or several images are copied or inserted onto
a slide, the application will often give Designer Ideas for how to arrange
those slides, and then you can choose an option and the slide is updated.
This can be especially useful when you are on a very short deadline, such
as for a celebration of life event, and need to come up with a presentation
in a week or two. Refer to Figure 7-45.
Figure 7-45. Use PowerPoint Designer to Quickly create a

professional presentation
1032
Likewise, you can use the same process if you need to insert a GIF
animation that will play in the presentation as well.
Video Applications and Considerations

In Chapter 6, we reviewed how we could create a Parallax animation using
Photoshop’s Timeline panel along with Media Encoder to render the video.
However, if you are interested in incorporating this animation with other
video footage, here are a few other Adobe Applications that are part of the
Creative Cloud collection you may want to look at in more detail for your
digital restoration projects.
Premiere Pro can be used to edit your video footage which as
mentioned in Volume 1 Chapter 1 you may have had converted from film
or tape to a digital file. Along with these videos, you could incorporate your
parallax file from Chapter 6 and create a new film. Premiere Pro also has
color correction options for videos. Refer to Figure 7-46.
Figure 7-46. Adobe Creative Cloud Desktop Premiere Pro
More details on this application can be found in the following link:
https://helpx.adobe.com/support/premiere-pro.html
After Effects can be used in combination with Premiere Pro to add

special effects to your work. Refer to Figure 7-47.
1033
Figure 7-47. Adobe Creative Cloud Desktop After Effects
https://helpx.adobe.com/support/after-effects.html
Audition can be used in combination with Premiere Pro to create

and edit sounds and audio that would be a part of your video. Refer to
Figure 7-48.
Figure 7-48. Adobe Creative Cloud Desktop Audition
https://helpx.adobe.com/support/audition.html
Parallax and Animation

While not specifically for Photo restoration, you can paste high or low
resolution images into another Adobe Animation application that works
with a very similar timeline panel, in this case Adobe Animate.
For this section, you can refer to the Animate Project Folder for
files you can edit and open and review in regard to this chapter. Refer to
Figure 7-49.
1034
Figure 7-49. Adobe Creative Cloud Desktop Animate
While more for artistic animations for the Web, you can incorporate
your image that you edited in Photoshop into the background of your
animations projects. These files are saved in a (.fla) (HTML 5 Canvas)
file before you publish the file from Animate as in this case of a .HTML5
canvas or another format. Refer to Figure 7-50.
1035
Figure 7-50. Create an HTML Animation in the New Document

dialog box
In Photoshop one quick way to export an image to another file or

application as we have seen is to use Select ➤ All (Ctrl/CMD+A) and then
Edit ➤ Copy. Once the Animate canvas is open, image can be directly
pasted (Ctrl/CMD+V) directly on to an open timeline layer keyframe. Refer
1036
Figure 7-51. Add images from Photoshop to Animate, but they may
be larger than the canvas after export and require scaling
1037
Figure 7-52. Animate Timeline
This image is also stored in the Library panel for use in other
keyframes. Refer to Figure 7-53.
Figure 7-53. Animate Library and Tools panels and the image scaled
1038
Changes to scaling and sizing are made to the image using the
Properties panel and Tools found in the Tool panel, such as the Free
Transform tool. Refer to Figure 7-54.
Figure 7-54. Animate Properties panel settings when the Document

or Object is selected
1039
While I will not be going into any detail here about animation, I
just want to mention that this application is great for creating basic
GIF animations with more control over movement, such as rotation
and scaling. The various Publish export settings are found using the
application’s menu File ➤Export or File ➤Publish options.
If you are specifically interested in Parallax animation, it has a number
of panels, such as the Assets panel, which contains additional animations,
static images, and sound clips, and the Layer Depth panel if working with
distances and depths. Refer to Figure 7-55.
1040
Figure 7-55. Animate Assets and Layer Depth panel
1041
More details on this application can be found at the following link:
https://helpx.adobe.com/support/animate.html
Summary
This concludes our discussion on photo restoration in Photoshop as well
as our discussion of possible applications within the Adobe and Microsoft
applications that you may want to use to continue working on your project.
I hope that you have enjoyed the topics in this volume and will continue
your photo restoration journey.
1042
Index
A add images from
Photoshop, 1037
Additional selection-related
animate project folder, 1034
tools, 2
assets and layer depth panel,
Add Noise, 457
1040, 1041
Add Noise dialog box, 456
canvas, 1036
Adjustment layers, 153, 211, 220,
HTML animation, 1035, 1036
221, 227, 238, 239
library and tools panels, 1038
clipping masks, 250–252
properties panel settings, 1039
damaged image, 237
timeline, 1038
Hue/Saturation
Animations, 815, 816
adjustments, 240
Audition, 1034
layer masks, 248
copying, 234, 235
deletion, 236
painting, 235
B
opacity, 292, 293 Basic tab, 497
repaired image, 237, 238 Blending modes, 291
Adjustments panel, 65, 66, 86, 89, brushes, 288, 289
154, 155, 226, 228, 229 color shifts, 286
Adobe Illustrator, 719 difference/exclusion/subtract/
Adobe Lightroom Classic divide, 283, 285
application, 562, 563 dissolve/darken/multiply/color
Adobe Media Encoder, 814 burn/linear burn/darker
Adobe substance collection, 511 color, 282
After effects, 814, 1033, 1034 group folders, 292
Animate, 1035 Hue/Saturation, 279–281

https://doi.org/10.1007/979-8-8688-0763-3
INDEX
Blending modes (cont.) Blur Gallery Blur Tools panel, 451

Hue/Saturation/Color/ Blur Gallery Effects, 447
Luminosity, 285, 286 Blur Gallery Motion Effects, 437
human’s/animal’s eye color, Blur Gallery Tilt-Shift, 452
286, 287 Blur slider, 432, 443
layers, 278, 279 Blur Tools panel, 432, 442, 448
Lighten/Screen/Color Dodge/ corner field, 434
Linear Dodge (Add)/ dragging, 449
Lighter Color, 282, 283 Brightness/contrast
options, 282, 286 additional adjustments, 152
overlapping pixels, 288, 289 adjustment layer, 143
Overlay/Soft Light/Hard Light/ Cyan–Red slider, 150
Vivid Light/Linear Light/ legacy behavior, 143
Pin Light/Hard Mix, magenta–green slider, 151
283, 284 midtones, 146
painting, 287, 288, 290, 291 photoshop, 149
Blur filter menu, 379 properties panel settings, 142
dialog box settings, 381 settings, 143
digital photo repair, 379 yellow–blue slider, 151
mask, 380, 383 Brush-related tools, 374
photo repair, 381
shape Blur dialog box, 384
submenu list, 379 C
subtle blur, 382 Camera raw filter, 561
Blur filters, 514 adaptive wide angle filter, 689
Blur Focal Distance slider, 399 additional options, 717
Blur Gallery, 423, 428, 441–446, auto, 714, 715
450, 455 constrain tool, 708, 709
Blur tools panel, 425 crop factor, 713
channels panel, 429 crop tool, 715, 716
options bar panel, 425 details, 717
panel layer mask, 426 distortion, 710, 711
preview, 430, 431 fisheye lens, 711, 712
submenu, 424 focal length, 712
1044
INDEX
full spherical, 715 savings changes options,

hand tool, 710 645, 646
ideal project/correction text guides, 640, 641
model, 711 upright, 635, 637
image distortions, 706, 707 vertical, 636, 637
move tool, 710 zooming out, 641
navigation/preview, 710 healing panel, 647
OK/cancel button, 717, 718 clone tool, 652
perspective, 713, 714 content-aware remove tool,
polygon constraint tool, 710 648, 649
rounded distortion, 716 healing tool, 650, 651
scale, 712 refresh button, 650
as shot, 713 show overlay, 649
tools, 707, 708 tools, 647
zoom tool, 710 visualize spots, 653
Adobe Lightroom Classic waterfall image, 654
application, 562 histogram panel, 570, 572
color alteration, 646, 647 layout/options, 565
color sampler tool, 568 lens correction filter, 689, 690
and creative clould Bridge, masking panel, 655
561, 562 background, 659
edit panel, 573 brush, 663–665
flower bed, 563, 564 color adjustment,
geometry panel, 634, 635 673, 674
auto, 635, 636 color mixer tab, 675
content-aware fill, 641, 642 color tab, 675
full, 637, 638 curve tab, 676
guided, 638, 639 depth range, 671
layer panel, 642, 643 detail tab, 676
level, 636 effect tab, 675
magenta guides, 639, 640 help charts, 677
manual transformations, and layer panel, 655, 656
643, 644 light tab, 675
OK button, 645 linear gradient, 665, 666
1045
INDEX
Camera raw filter (cont.) Channel mixer, 178–180,

luminance range, 670 182, 184–189
mask editing/creation, Channel mixer adjustment, 181
671, 672 Clipping masks
mask options, 657 adjustment layers, 250–252
objects, 662 image, affect color, 252
overlay options, 673 layers panel, 251–253
people, 660 Clone stamp tool, 15, 521, 815,
person, 660, 661 819, 899
preset options, 673 Cloud desktop for stock
radial gradient, 667, 668 and marketplace, 808, 811
range, 669 search/filter, 809
red mask, 673 CMYK color mode, 209
reset sliders, 676 Color balance, 144, 151
sky, 658 adjustment layer, 145
subject, 657, 663 faded image, 145
navigation tools, 567, 568 properties panel
overlay tool options, 569 settings, 147
panel options, 634 properties settings, 146
presets, 684, 685, 687 Colorize filter, 737
preview preferences, 565, 567 activation, 742
red eye panel adjustment layers, 741
color corrections, 678 adjustments, 750, 751
color fill layer, 682, 683 applied color, 755, 756
options, 678, 679 apply color
pet eye, 681 automatically, 742, 743
red eye, 679, 680 manually, 745
reset button, 682 auto color Image, 748
uses, 678 color layer, 755
saving/preferences/full-screen color picker, 746
mode options, 569 download, 738, 739
settings, 688 focal points
viewing icons, 567 addition, 748
view settings, 565, 566 and applied colors, 746, 747
1046
INDEX
final colorized image, 753, 754 settings, 766, 767

multiple colors, 748, 749 smart filter, 767
preview, 750 Content-Aware Move tool, 176
Hue/Saturation, 755 Cross fades, 957, 958
installation, 739, 740 Curves, 102
OK/cancel button, 740 adjustment, 102
output options, 755, 756 current garden image, 125
profile options, 752 default settings, 108
re-colorization, 741 eyedroppers, 113
scratches, 741 layers panel, 104
selection, 737, 738 midpoint, 117
settings, 743, 744 properties panel settings, 106,
slider options, 752, 753 108, 114, 117, 120
smart object layer, 741, 742 S curve, 124
updates, 741 values button, 114
Color Lookup, 190–192, 194, Cyan, magenta, yellow, and black
195, 207 (CMYK), 78
Color Lookup file, 197, 199, 208 black-and-white photos, 8
Color-managed environment, 8 monochrome image, 10
Color mode, RGB, 816, 817, 824 pigments, 5
Color reduction algorithm, printer, 7
861–863, 873 properties panel settings, 122
Color Sampler Tool, 78 subtractive print colors, 6
Ctrl/CMD key, 79 Cyan–Red slider, 150
dropdown menus, 82
hand tool and zoom tool, 81
markers, 80 D
Color transfer filter, 762 Digital camera, 471
Hue/Saturation, 767 Digital photos, 16, 542, 562, 692
lab color space, 763, 764 Digital scrapbooking, 1021
luminance slider, 765, 766 Digital scrapbook projects, 495
preserve luminance, 765 Dither algorithm, 864–867
presets, 763 Drop shadow, 495, 503
RGB color space, 763, 764, 767 Dust & Scratches, 458, 459, 461–463
1047
INDEX
E HDR option, 575

Lens Blur tab, 621
Edit panel, Camera Raw Filter,
apply, 621
573, 574
auto mask, 630
activation, 579
blur amount, 622
basic color settings, 574
bokeh, 623
calibration tab, 632, 633
boost, 624
color grading tab, 603
brush, 629
adjustments, 603, 604
bubble, 624
balance, 606
depth settings, 628
blending, 606
focal range, 625
histogram, 606
focus amount, 630
preview, 607
painting, 631
shadows/global, 605
point/area focus, 625, 626
color mixer tab/B&W mixer, 596
preview, 631, 632
adjust options, 596, 598
range depth values, 627
point color, 598–603
settings, 621, 622, 630
Color tab, 582–584
visualize depth, 628, 629
Curve tab, 589, 590
light tab, 579–581
adjust options, 590, 591
optics tab, 611, 612
highlights, 590
defringe settings, 617,
parametric curve targeted
618, 620
adjustment tool, 594, 595
distortion, 612–615
point curve, 592, 593
Hue/Saturation, 619
detail tab, 608–610
vignette, 615, 616
effects tab
profile, 576
clarity, 586
categories, 576
dehaze, 586
color setting, 578
grain, 588, 589
options, 576, 577
preview, 589
setting, 578
sliders adjustments, 584, 585
Effects panel
style, 588
Bokeh, 435, 436
texture, 585
settings, 437
vignette, 586–588
Eraser tool, 32, 33, 133
1048
INDEX
Export color lookup, 204 confirm scale settings,

Export color lookup dialog box, 205 834, 835
Export color lookup tables dialog convert layers to smart
box, 203 object layer, 832, 833
Eyedropper tool, 75 to custom settings, 825
dialog box settings, 824
F gallery_animation_start.
psd, 827
Fade in/fade out, 954
images to use, sequence
Field Blur, 432, 437
order, 827, 828
Filters, 511, 522
match new canvas, 831, 832
dialog box, 513–516
rasterize layer
linear light, 513
command, 839
radius, 512
reorder layer panel, 830, 831
Frame dialog box, 497–499
scale image using transform
Frame rate, 851, 923, 950, 951
panel, 833, 834
Frames per second (FPS), 950, 951
scaling adjust and visibility
Free transform panel, 834–836, 917,
return, 836, 837
924–927, 941, 945, 946
select next layer to free
transform, 835, 836
G use move tool and keyboard
Gaussian Blur, 387, 414, 484, 514 to nudge images, 838
curve, 390 with and without guides and
dialog box, 385, 388 Layers panel, 826
experiment, 392 gallery, 822
filter mask active, 392 Image Size Dialog box
layer mask, 385, 386 settings, 823
layers panel, 389 looping options and preview
properties panel, 391 file animation_gallery_final.
GIF animation gif, 879
create frame animation, 822 final GIF animation file, 880
create new document save optimized as, 878, 879
add images to layer timeline panel adjust time
panel, 828–830 settings, 877, 878
1049
INDEX
GIF animation (cont.) with timeline panel

Web dialog box animation add frame and adjust layer
options, 877 visibility, 845
Web dialog box Animation additional frame
preview settings, 878 settings, 855
Web dialog box option adjust looping, 849
buttons, 877 adjust timing, 848, 849
preparation considerations, deletes selected frames, 844
816, 817 duplicates selected
save for Web dialog box, 856 frames, 841
color reduction algorithm and extra tween
options, 861–863 frames, 852
color reduction options, first frame, 848
863, 864 frames selection and create
color table and menu, new tween, 853
873, 874 layers panel hiding layer,
convert to sRGB options, 871 841, 842
Dither algorithm, 864–867 and Layers panel with
File Info Dialog box, 872, 873 changes, 842, 843
GIF animation settings, 861 layers panel with frame
image options, 875, 876 animation set, 839, 840
interlaced options, 869 optimize animation dialog
Lossy options, 870, 871 box, 855
Matte setting, 868 panel settings, 850
menu settings, 858, 859 panel with time settings and
metadata options, 872 final frame, 853, 854
overview, 857 play animation, 854
preset settings, 857, 858 return first frame, 856
preview original and and select frames, 852
optimize setting stop and start
summary, 860 animation, 844
tools and navigation, 859 timeline menu and
transparency, 867–869 adjustments with History
Web Snap options, 869, 870 panel, 846, 847
1050
INDEX
tween dialog box and HDR Pro workspace options

settings, 850, 851 confirm settings, 341
tweening, 850 current image collection, 340
GIF animation file, 988 ideal photo, 339
GIF animations, 817 HDR toning, 327
GIF Photo Gallery, 813 adjustment layer, 329
Gradient editor, 47, 48, 53 advanced settings, 329,
Gradient fill, 52, 54, 56 333, 334
Gradient fill dialog box, 44, 45, alert message, 327, 328
47, 51, 55 automated option, 329
Gradient interpolation method, 46 dialog box, 330
Gradient Map, 44, 222–224 edge glow, 332
Gradients, 39, 41, 50 flattened to single layer, 329
Gradient tool, 41, 52, 226 method, 331, 332
presets, 330, 331
tone and detail, 333
H toning curve and
Hardware, 3 histogram, 334–338
Harmonization filter identical images, 326
layer, mask/transparency, 756 remove ghosts, 341
layer panel, 756, 757 Histogram, 120
output, 760, 761 Histogram panel, 68, 70, 74, 318
reference image, 757, 758 image, 73
settings, 758, 759 levels, 85
sliders, 760 and menu, 68
High Dynamic Range settings, 69
(HDR), 17, 160 Hold Interpolation keyframe, 920
effect, 169 Hue/Saturation, 145, 174, 189
exposure, 162 adjustment layer, 126, 134
gamma correction, 164, 166 CMYK, 139
properties settings, 163 color adjustments to skin
High Dynamic Range tone, 128
(HDR) images colorize check box, 133
HDR Pro dialog box, 338 color options, 129
1051
INDEX
Hue/Saturation (cont.) equalize, 325, 326

color range, 131 HDR images, 326
dragging, 138 match color, 342
eyedropper, 130, 132 check box, 345
inner sliders, 137 dialog box, 342, 343
lightness slider, 131 image options, 343
presets, 129 image statistics, 344
properties panel settings, 127, settings, 345, 346
133, 136, 139 target, 342
saturation slider, 131 replace color
Hue, Saturation, and Brightness Adobe mentions, 349
(HSB), 518 Alt/Option key, 349
Hue, Saturation, and Luminosity dialog box, 347, 348
(HSL), 518 locate image, 347
select sections, 350
settings, 348, 349
I uses, 347
Image adjustment options Image/GIF animation, 1029–1033
adjustment layer, 25 image repair review
apply image color correction, 15
blending modes, 352 nondestructive way., 15
dialog box, 351 InDesign application, 1019
duplication, 355, 356 compression area, 1024
faded images, 353, 354 creative Cloud
mask options, 352, 353 Desktop, 1020
source file, 351 digital scrapbooking, 1021
calculations, 357–359 export options, 1024
color adjustments, 21 export PDF dialog box, 1025
color correction, 17, 20 InDesign Page Layout ideas
layers panel, 24 color mode, 1024
sRGB profile, 18 with different borders and
Image adjustment settings drop shadow effects, 1022
auto correction, 323, 325 with rectangular frames and
desaturate, 326 text, 1021
1052
INDEX
Tools, Control and Effects move tool, 244

panels, 1022, 1023 selection, without mask, 245
PDF interactive presentation, solid fill color layer, 246, 248
1026–1028 vignettes, 242
Info panel, 75, 76, 78, 83 Layers menu, Convert to Smart
Interactive PDFs, 1019, 1020, Object, 309, 310
1027, 1028 Layers panel, 67, 95
Invert, 216, 217 badges, 277, 278
Iris Blur, 442, 445 deletion, 276, 277
fill/opacity, 294
parametric filter, 724
J, K Layers panel fill, 64
JPEG Artifact, 471 adjustments panel, 26
jpg/.png format, 988 blending modes, 36
CMYK compatible, 38
color fill, 27
L fill options, 25
Lab color vs. RGB color, 364 layer mask, 29
Landscape Mixer (Beta) filter pattern, 57, 59
activation, 795 Layers panel list, 28
output, 801 Layer style dialog box, 502
preserve subject, 800 blending options, 297
presets, 796–798 advanced blending, 298, 299
settings, 800 effects, 302, 303
sliders, 798 general blending, 298
unique image, 799 gray/red, 299, 300
Layer adjustments, 63 sliders, 300, 301
Layer masks splitting, 301, 302
add/selection, 240, 241 Layer styles, 294
adjustments, 242, 243 drop shadow effect, 304, 305
feathered edge, 243, 244 fill/adjustment layer, 308
fill layers, 241, 242, 245, 246 make default button, 306
invert selection, 246, 247 opacity/fill, 295, 296
layer order, 244 options, 294, 295, 307
1053
INDEX
Layer styles (cont.) remove distortion tool, 694

settings, 305, 307 straighten tool, 694
storing/locating, 307 tools, 692, 693
stroke, 305, 306 workspace, 691, 692
Lens Blur, 393 zoom tool, 695
blade curvature Lens flare, 504–506
adjustments, 403 dialog box, 506
canvas, 399 filter, 507, 508
channels panel, 397 Levels adjustments, 88
current settings, 408 Levels histogram, 94
Iris radius adjustments, 402 Linear Interpolation keyframes,
Iris settings, 400 918, 920
layers panel, 393 Liquify filter, 528
lens Blur workspace, 394 bloat tool (B), 531, 532
noise settings, 405–407 brush reconstruct options,
OK and cancel buttons, 409 541, 542
specular highlights options, 404 brush tool options, 534
transparency and layer Face-Aware Liquify options, 547
mask, 396 eyes, 550, 552
workspace options, 395 face/multiple faces, 547, 548
Lens correction filter face shape, 557, 558
auto correction tab, 695–698 mouth, 554–556
custom tab, 698, 699 nose, 553, 554
chromatic aberration, 702 face tool
final image, 704, 705 Hue/Saturation layers,
geometric distortion, 544, 545
700, 701 layers panel, 546
settings, 700 mannequin faces, 543
transform, 703, 704 uses, 542
vignette, 702, 703 warning message, 542, 543
digital photos, 692 women’s faces, 543, 544
hand tool, 695 final results, 559, 560
lens distortion, 690, 691 Forward Warp Tool (W), 529
move grid, 694, 695 Freeze Mask Tool (F), 532, 533
1054
INDEX
Hand and Zoom tools, 535 Workspace, 968

Load Mesh options, 536, 537 Microsoft PowerPoint, 1013–1017
mannequin faces, 528 Monochromatic, 407
Mask options, 537, 539 Monochromatic setting, 408
OK/Cancel button, 559 Monochrome, 183
Pucker tool (S), 531 Motion Blur, 484
Push left tool (O), 532 dialog box, 410, 411
reconstruct tool (R), 529, 530 distance, 411
smooth tool (E), 530 effect of movement, 409
Thaw Mask Tool (D), 533 properties panel, 413
Twirl Clockwise Tool (C), 531 smart filter mask, 412
View options, 539, 548, 549
layer panel, 541
Show Backdrop, 540, 541 N
Lumetri Look Up Table (LUT), Neural filters, 728
190, 972–975 colorize filter, 737
color transfer, 762
depth blur filter
M adjustments, 793, 794
Media encoder, 814 focal distance, 792
application access, 967 focal point, 791
application open, 968 output, 794, 795
export settings, 970 settings, 790, 793
additional settings, 981 filters menu, 727
audio settings, 977 harmonization, 756
captions, 978 JPEG Artifacts Removal
dialog box options, 971 filter, 773
effects tab, 972–975 Landscape Mixer (Beta), 795
multiplexer, 977 photo restoration, 768
publish, 978–980 portrait (facial adjustments), 773
queue panel, 982–984 style transfer, 801
video settings, 975, 976 super zoom filter, 788, 789
queue panel, 969, 970 wait list options, 806, 807
using Media Browser panel, 969 workspace list, 728, 729
1055
INDEX
Neural filter workspace tools, 730 CMYK process, 364

add to selection, 730, 731 color picker, 361, 362
categories, 735, 736 color range, 362, 363
GPU, 735 preview, 360, 361
hand tool, 732 test print, 364
key commands, 733 view menu, 360
layer preview, 733, 734
OK/cancel button, 734, 735
output options/list, 734 P
preview button, 733 Panorama, 716
show original artwork, 733 Parallax animation, 883, 1033, 1040
smart filters, 736, 737 add layers/tracks, 901–904
subtract from selection, 731, 732 add motions and
toggle button, 735 keyframes, 904–906
zoom tool, 732, 733 add movement to other
Noise correction filters, 453 Layers, 936–944
color changes, 457 add vintage overlay, 949–951
RGB channels, 453 adjust Blur and
Noise filter, 454 Opacity, 933–935
Noise panel, 446, 450 create GIF animation, 962, 963
Blur Gallery, 440, 447 create new document, 885
custom adjustments, 438 colorized image, 897
grain setting, 439 create video timeline,
grain texture, 441 899, 900
settings, 438, 451 dialog box settings, 885–887
Non-floral frames, 499 Elliptical Marquee Tool, 893
Gaussian blur applied, 895
Gaussian Blur dialog
O box, 894
On-image Targeted Adjustment with guides, 887, 888
Tool, 110 hiding and locking guides,
Opacity, 851, 883, 892, 911, 888, 889
933–935, 950 layer renamed, 892
Out-of-gamut colors layers panel, 891
1056
INDEX
organize layers, 899 start keyframe for

place image, 890 transform, 922
reference images, 895, 896 timeline panel new
remove figures from image, keyframes, 928, 931
897, 898 transformation, 929
save file, 889, 890 use Move Tool, 929, 930
Smart Object Layers, 892 warning message, 925
tools and workspaces, 899 zoom in/zoom out, 916
custom rotations, 945–948 render video file, 964–967
duration and frame sound effects, 958–961
rate, 950–952 split layers at playhead,
fade transition, 954–957 953, 954
file landscape_final.psd, 883 timeline panel lengthening
flatten image, 884 track, 907–909
to frame animation, 962, 963 timeline track and Layer
GIF animation gallery, 881 panel, 901
layer panel will separate layers, track removal and other Video
883, 884 options, 906, 907
main images, 882 transitions and
playback and sound options, interpolations, 910–912
952, 953 video timeline panel
preset motion options, 912 layout, 900
free transform Parallax effect, 813
options, 925–927 Parametric filter
keyframes, 918, 919 add filters, 724, 725
layers panel, 923 background patterns, 723
linear Interpolation blending options, 720, 721
keyframes, 920 layers panel, 724
motion option menu, 912 and neural filters, 725
options from list, 913 parametric properties panel,
pan/move, 913–915 722, 723
rotate and zoom, 918, 944 Paths panel, 255
set to No Motion, 920, 921 Pattern Fill, 63
single layer selected, 921 Pattern Fill dialog box, 58
1057
INDEX
PDF Presentation, photo layer mask, 365

restoration, 1006, 1007 stamp tool, 366
compression, 1010 Photo projects, 812
dialog box, 1007 Photo restoration
edit in Acrobat Pro, 1013 CMYK filter adjustments
all tools section, 1014, 1015 channels panel and unsharp
Cloud Desktop Adobe mask filter, 998, 999
Acrobat Open Menu, 1014 image size dialog box,
full screen warning 997, 998
message, 1014 layers renamed and
menu options and exit channels panel, 1000
Organize pages tool, 1017 color conversion, 1002
page transitions, 1015, 1016 color settings, 1003
view full screen mode, assign profile dialog
1017, 1018 box, 1005
interactive presentation, 1018 convert to profile advanced
multi-page document, 1007 settings, 1005, 1006
output, 1010 dialog box, 1003
presentation options, 1007, 1008 RGB color mode, 1003
save Adobe PDF, 1009 workspaces, RGB/CMYK,
save file, 1008 1003, 1004
security, 1011, 1012 color stings options, 1002
Photo filter export, dialog box and resulting
adjustments panel, 174 files, 992
color theory, 173 file options for save photo
custom color filter, 175 choose paper, 996
Photo project duplicate image dialog
adjustment layer box, 994
black & white, 367 file to CMYK, 993
color stain, 366 flatten image, 994
Hue/Saturation, 368, 369 photoshop warning
adjustment layers, 364 message, 995
clone stamp tool, 367 print settings dialog box, 996
color correction, 368 view menu settings, 993
1058
INDEX
InDesign, 1019 materials panel, 720

online viewing, 988 plugin menu, 808, 811
and parallax animation, plugins panel, 811
1040–1043 Photoshop main menu, 510
PDF presentation, 1006 Photoshop’s basic filters, 375
Photoshop Projects Folder, 988 Blur filter, 379
PowerPoint presentation, digital photo repair, 376
1029–1033 layer masks and
save image as TIFF file, 1001 channels, 375
save jpeg files for output, 991 layers panel, 377
save RGB files for Web/ object layers, 376
Email, 988–992 photo correction, 378
TIFF Options dialog box, RGB color mode, 378
1001, 1002 Polygonal Lasso Tool, 30
video applications, 1033, 1034 Portrait filters (facial
Photo Restoration filter, 768, 769 adjustments)
clone stamp tool, 772 makeup transfer, 786, 787
color noise reduction, 771 skin smoothing, 784, 785
damaged color images, 772 smart portrait
dust particles and expressions, 779, 780, 783
scratches, 768 eye direction, 778, 779
Halftone artifact reduction, 771 facial age, 776, 777
JPEG artifact reduction, 771 global controls, 781
noise reduction, 771 hair thickness, 777, 778
photo enhancement, 770 happiness, 776
scratch reduction, 771 preview, 774
settings, 770 settings, 775, 782, 783
smart filter, 771 smart filter, 784
Photoshop, 1, 2, 9, 12, 242, 306, Position keyframes, 950
327, 727 Posterization, 219
Camera Raw Filter, 562, 563 Posterize effect, 218
crop tools, 562 PowerPoint Designer, 1032
filters, 526, 527 PowerPoint presentation,
locate filters, 809, 810 1029–1033
1059
INDEX
Premiere Pro, 814, 1033, 1034 Reduce noise, 467, 469

Properties panel, 83, 86, 97, 98 Reduce noise dialog box, 471, 473
algorithms, 90 Reduce noise filter, 475
bottom of panel, 100 Render submenu, 495
CMYK, grayscale, 84 RGB channel
eyedropper and color curves, 107
picker, 101 level, 69
eyedroppers, 91, 92 RGB profile, 4
gray midpoint, 92, 93
histogram warning, 99
and menu options, 84 S
menu options of Levels, 101 Set black point, 115
settings for levels channels, 89 Shadows/highlights command
settings for levels presets, 89 adjustments, 313
shadow and highlight, 99 adjustment sliders, 316, 317
adjustment layer, 249, 250 blending options, 320, 321
clipping masks, 250 check boxes and buttons, 317
icons, 248, 249 dialog box, 313, 314, 318
layer mask, 249 filters, 319
layer options, 249 outdoor images, 322
layers masks, 240 sliders, 315, 316
smart filter mask, 322 sunset image, 308, 309, 319
vector masks, 255 uses, 313
Shape creation, 278
Sharpen filters, 475
Q dialog box, 477–480, 483
Quality grid points, 204 legacy settings, 478
Queue panel, 969, 970, 982 setting, 475
shadows and highlights,
476, 484
R sharpening effect, 481
Rectangular Marquee Tool, submenu, 476
427, 496 Smart Blur, 414
Reduce color noise, 470 dialog box, 415–418
1060
INDEX
and Gaussian Blur, 419 create new file for animation,

mask selection, 416 820, 821
Smart filter mask paint, 521 GIF animation preparation,
Smart object layers, 510 816, 817
adjustment dialog box, 311, 312 GIF Photo Gallery, 813
adjustment layers, 312 GIF photo gallery project, 822
filters, 319 media encoder, 967
multiple adjustments, 310, 311 and menu, 814, 815
Smart Sharpen dialog box, 485 video animation parallax
Smart Sharpen filter, 487, 997 project, 880
Solid color, 27, 37 video parallax animation
Static digital photos, 813 preparation, 817–820
Style transfer filter Transform keyframes, 947
artist styles/preview, 801, 802 Tweening, 850, 851, 919
image styles/preview, 801, 803
options, 803, 804
output, 806 U
preserve color/preview, Unsharp mask, 488, 489, 493, 997
804, 805 Alt/option key, 490
Substance collection color correction, 489, 492
applications, 719 dialog box, 490
Subtractive color mode, 5 enlargement, 493
Surface Blur, 419 high-resolution printed
dialog box, 420, 421, 466 images, 489
layers panel, 423 a low-resolution image, 493
settings, 422 pixels, 490
scanning, 495
selections, 493
T sharpen filter, 491
Targeted Adjustment Tool, 137 sharpening, 495
Tilt-shift lens, 447, 448 sharpening adjustments, 494
Timeline panel, 822 sharper image, 489
animations, 815, 816 smart filter, 491
create Frame Animation, 822 threshold value, 490
1061
INDEX
V invert selection, 274

layer mask, 269, 270
Vector masks, 278
options bar panel, 260
alteration, 258
path mode, 261
layer mask, 256
path operations, 261, 262
loading path, 256, 257
path selection tool, 268, 269
multiple masks, 275–278
saving path, 265
paths panel, 255, 259
shift key, 262
pen tool, 259
straight line, 262, 263
Add/Delete Anchor Point
vector mask, 271, 272
Tool, 266
renaming path/save, 255, 256
add/remove points, 266, 267
selection, channels panel,
clicking, 261
253, 254
closing path, 264, 265
Vibrance, 169–171, 173
completed path, 263, 264
Video footage, 1033
convert point tool, 267, 268
Video Parallax Project, 818
curved line, 262
direct selection tool, 268, 269
drawing path, 260
frame selection, 260
W, X, Y, Z
inverse vector path, 274, 275 Wood pattern, 59
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A Beginner’s

ISBN-13 (pbk): 979-8-8688-0762-6 ISBN-13 (electronic): 979-8-8688-0763-3

Copyright © 2024 by Jennifer Harder

Chapter 1: Adjustment Layers, Blending Modes with Masks for

Chapter 2: Adjustment Layers, Blending Modes with Masks for

Chapter 3: Basic Filters for Photo Restoration���������������������������������371

Chapter 4: Advanced Filters for Photo Restoration: Part 1���������������525

Chapter 5: Advanced Filters for Photo Restoration: Part 2���������������727

Chapter 6: Creating a Parallax: Bring Your Vintage or Historical

Video Animation Parallax Project�����������������������������������������������������������������880

Chapter 7: What Is the Next Step in Your Photo Restoration

• My parents, for encouraging me to read large computer

• My dad, for reviewing the first draft before I sent a

• My program coordinator, Raymond Chow, at Langara

I would also like to thank Spandana Chatterjee and Krishnan

Figure 1. Collection of photos, film slides, and negatives in a shoe box

Make sure to review Volume 1 before starting this next volume as

• Focused on preparation for working with old historical

• Reviewed how to set up your Photoshop workspace,

• Looked at the basic Photoshop “healing tools” that are

• Explored some more advanced features such as

Now Volume 2 will continue to explore the following:

• Chapters 1 and 2: Explore various masks and how we can

• Chapter 3: Review some of the main basic filters that

• Chapters 4 and 5: Explore some advanced filters as

• Chapter 7: Conclude our discussion on Photoshop and

Installation of Photoshop and Other Adobe

Figure 2. Creative Cloud Desktop settings for installing Photoshop

Figure 3. Photoshop settings in the Creative Cloud Desktop to

Note that Adobe Bridge, to keep your photos organized, may

Figure 4. Other Adobe applications that will be installed: Bridge,

Figure 5. Use the Creative Cloud Desktop to open the Photoshop

You can also access more information on various Photoshop-related

Figure 6. Photoshop Help menu

Figure 7. Access to the Photoshop Discover panel along with the

• Graphics and Multimedia for the Web with Adobe

• Accurate Layer Selections Using Photoshop’s

• Perspective Warps and Distorts with Adobe Tools:

• Creating Infographics with Adobe Illustrator:

© Jennifer Harder 2024 1

Note this chapter does contain projects found in the Volume 2

In Chapter 2 we will also briefly look at a few additional selection-

 olor Management, Color Correction,

When you buy new hardware such as a scanner, camera, monitor, or

Note the topic of calibrating your monitor in this chapter is not

However, CMYK (cyan, magenta, yellow, and black) is known as

RGB has a wider gamut of color as the following example of a

Even with an ideal color-managed environment, before you begin to

Figure 1-5. Example of hand tinting on a wedding photo from

For someone to hand-color then or use Photoshop to digitally color

Figure 1-6. Digitally hand-tinting the castle image in Photoshop

Color is also open to interpretation and people perceive color

• Should it be as original as how you see color in the

• What was the weather like in that picture on that day? Is

Figure 1-8. Images that have become discolored due to fading on

• Ensure that you have scanned the image of a

• Work on a duplicate of your image as you have been

• Correct any major area of damage by removing as

• Crop and straighten your image.

• Use your selection tools as required to fill in gaps or

Chapter 3: Basic Filters for Photo Restoration��371

Chapter 4: Advanced Filters for Photo Restoration: Part 1��525

Chapter 5: Advanced Filters for Photo Restoration: Part 2��727

Video Animation Parallax Project��880

Installation of Photoshop and Other Adobe

olor Management, Color Correction,

Image Adjustment Options

orking with the Layers Panel Fill

Color Sampler Tool (I)

Properties Panel for Layer Adjustments