国外ps案例风景修片.docx
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国外ps案例风景修片.docx
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国外ps案例风景修片
WrittenbyThomasPhinney|12September2010
InthistutorialIwillcoverthefourintroductoryadjustmentsthatgointoagooddigitalphoto.WewillbeusingtheLevels,Curves,Hue/SaturationandSelectiveColorAdjustmentLayers.
Step1
Thefollowingphotographwastakenbymywifeafewyearsagoofalandmarkbarnnearourhome.ShotwithanoldNikonD100inJPEGmode,Idismissedthephotoforyearsfeelingthatitwastoomuddytoeverproduceagoodfineartprint.OnedaywhilesortingthroughandorganizingphotosIdecidedtogivetheJPGalittleworkandwasblownwiththephotographhidingbeneaththemud.
Unliketoday’sdigitalSLRcameras,theD100wasn’tverygoodatproducingaprintqualityimagestraightoffthechip,whichiswhywhenshootingitIinsistedonshootingRAWfilessoI’dhavemoretoworkwith.Intheearlydaysmywifewasn’tasfamiliarwiththecameraandshootingassheistodayandmadethebeginnermistakeofshootingapotentialfineartshotinJPG.Withafewbasicadjustmentshowever,wecanrevealthebeautifulphotographhidingjustbelowthesurface.
Step2
Levels
WiththeimageopeninPhotoshopstartbyclickingontheadjustmentlayericonatthebottomofthelayerspalette(*note:
ifyoudon’tseethelayerspalette,openitfromthemainmenuWindow>Layers),theiconisacirclethat’shalfblackandhalfwhite.Whenthemenupopsup,chooseLevelsfromthemenu.
ThegraphiscalledaHistogramanditdescribesthetonalrangeofthephotostartingwiththeblacksontheleftandcontinuingrighttowhite.AnidealHistogramwouldtapertoeachendwithoutgoingofftheedge.Ifyouseeablockofthegraphthatterminatesintotherightorleftwallofthehistogramitmeansthatyou’velostinformationinyourphoto.Eitheryou’veblownouthighlightsORyou’veunderexposedyourshadowsandhavelostdetailthere.Thehistogramforthisparticularfileisactuallyverygood.
Ifyoushootacamerathatoffershistogramfeedbackwhileyou’reoutshootingthisisagreatwaytorecognizeproblemimages,blownhighlightsandlostshadowdetailwhileyouarestillinthefieldandhavethechancetore-shootthem.Afeaturethatwithsomepracticewillsaveyouheadachesanddissapointmentinthefuture.
Step3
LevelsPart2
Iftherearegapsbetweenwherethehistogramendsandtheendofthegraph,goaheadanddragtherightandleftslidersbeneaththehistogramuntiltheyalmosttouchtheedgesofthegraph.Whatwe’veessentiallydoneiseliminateallthemudcausedbylackofinformationoneithersideofthehistogramandtightenedhowthetonesareinterpreted.Bringingtheslidersallthewayintotheedgesofthehistogramdoesn’talwaysgetthedesiredresulthowever,sobesuretowatchyourphotowhileyouadjust.Becausewearemakingtheseadjustmentson"AdjustmentLayers"ratherthandirectlyontotheimage,wecancomebackandchangeoursettingsatanytimeordeletethemaltogetherwithoutanydamagetoouroriginalimage.WhentheimagelooksrighttoyoureyegoaheadandclickOKtosavetheadjustmentlayer.YouwillnoticethatthereisanewlayeraboveyourimageinthelayerspalettecalledLevels.
(*note:
bymovingtheendpointsintheLevelsdialogthecenterpointwillautomaticallyadjust.Thismidpointdefinesthecenterofthetonalrangeandmostofthetimeit’sbesttoleaveitwhereitis.Youcanslideitrightandleftbetweentheoutsidemarkershowevertovarythedarknessofyourmidtones.
Step4
Curves
OurnextadjustmentisCurves.ClickontheAdjustmentLayericonatthebottomofthelayerspalettelikewedidinstep2andthistimechooseCurves.
Thefirstthingwewanttodohereislockourmidtonesbymovingthemousetothecenterofthegraph(itturnsintoacrosssoit’sveryeasytolineup),whenyou’reattheexactcenterclickthemouseandapointwillbesetinthecenterofthecurvesgraph.
Step5
CurvesPart2
MuchliketheLevelsadjustment,thecurvesdialogrepresentstheoveralltonalrangeoftheimage.Forthissimpleadjustmentsimplydragthemarkersintheloweranduppercornersalongthex-axis1/3to1/2ofthewayintothefirstsquareliketheexamplebelow,thengoaheadandclickok.
Whatwe’veessentiallydoneisaddcontrasttotheimagebyshorteningthetopandbottomofthespectrumtomakeourlightslighterandourdarksdarker.
Step6
Hue/Saturation
WiththeLevelsandCurvesoutofthewayit’stimetoaddsomevibrancyandpoptothecolorsintheimage.ClickontheAdjustmentLayericonatthebottomofthelayerspaletteagainandselect…yes,youguessedit…chooseHue/Saturation.
Everyimageisdifferentandyouwillhavetodevelopyoureyefindingthespotswherethisadjustmentcanreallyworkit’smagic.Becarefulnottoover-saturatehowever,nothingruinsabeautifulphotoquiteaseasilyasanoverzealousphotographergoingoverboardwiththesaturation.Everyoneknowsthatgrassisnotbrightneongreeninreallife!
IchoseaMastersaturationadjustmentof+10forthisimagewhichresultedintheyellowsaspenleavesbeingmuchtoobright.Byclickingonthedrop-downmenuatthetopoftheHue/SaturationboxIchoseYellowandloweredthelightnessto-10andthesaturation-5.Youcanadjusttheentirespectrumhere(intheMastersetting)oryoucanadjusteachareaindividually.Experiencewillteachyouwhentouseeach.Experimentationisoftenthebestteacher.
Step7
Nowtheimageisstartingtolookcrisperandmuchmorevibrantthanthemuddymesswestartedoutwith.Iwouldhoweverliketobringuptheredtonesinthehillsinthenextstep.
Hereistheimagesofarwiththelayerspaletteforreference.
Step8
ImentionedinStep7thatIwouldliketobringtheredtonesinthehillsupalittlebit.IattemptedthisintheHue/Saturationstepwhileyouweren’tlooking,butdidn’tgettheresultsI’dhopedfor,soI’mgoingtoteachyouaboutonemoreadjustmentlayerthatisoftenoverlookedinphototutorials,butwhenusedintherightsituationshasmuchmorepleasingresultsthanHue/Saturationalone.
SelectiveColor
BacktotheAdjustmentLayerbuttonforonelastround,thistimechooseSelectiveColorfromthemenu.It’stheRedsthatI’mmostlywantingtoeffect,andSelectiveColorisoneofthefewwayswecanisolateasinglecolor.Becausethereisnorealredinthebarnorforegroundoftheimage(whichwouldmakeabuseofthistoolextremelyobvious),I’mgoingtobequiteaggressivewithmyadjustments.
(*note:
thegreatthingaboutmakingadjustmentsonAdjustmentLayersratherthandirectlytotheimageisthatyoucangobackandre-adjusteachtoyourheartscontentinanon-destructivemanner.Inthiscase,onceI’dsetmySelectiveColoradjustments,IwentbackandplayedwiththeRedadjustmentsintheHue/Saturationdialog.Tore-editanyadjustmentlayer,simplydouble-clickonthelayerthumbnailtoopenit’sdialogbox.)
Step9
Hereisthebeforeandafter.
Step10
Andfinallythefinishedproduct.Prettyniceresultswithonly4simpleadjustments.
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