国外ps案例风景修片.docx

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.