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cheat
Photoshop
CS3
The art of creating
photorealistic montages
Steve Caplin
AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD
PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO
Focal Press is an imprint of Elsevier
HOW TO
IN
This eBook does not include ancillary media that was packaged with
the printed version of the book.
Focal Press is an imprint of Elsevier
Linacre House, Jordan Hill, Oxford OX2 8DP, UK
30 Corporate Drive, Suite 400, Burlington, MA 01803, USA
First published as
How to Cheat in Photoshop
2002
Reprinted 2002, 2003
Second edition 2004
Third edition 2005
Reprinted 2006
First published as
How to Cheat in Photoshop CS3
2007
Copyright © 2002, 2004, 2005, 2007, Steve Caplin. Published by Elsevier Ltd. All rights reserved
The right of Steve Caplin to be identified as the author of this work has been asserted in accordance
with the Copyright, Designs and Patents Act 1988
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form
or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written
permission of the publisher
Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford,
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locate/permissions, and selecting Obtaining permission to use Elsevier material
Notice: No responsibility is assumed by the publisher for any injury and/or damage to persons or
property as a matter of products liability, negligence or otherwise, or from any use or operation of any
methods, products, instructions or ideas contained in the material herein.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record for this book is available from the Library of Congress
ISBN–13: 978-0-240-52062-9
For information on all Focal Press publications visit our website at www.focalpress.com
Book design and cover by Steve Caplin
Printed and bound in Canada
07 08 09 10 11 11 10 9 8 7 6 5 4 3 2 1
How to cheat, and why . . . . . . . . . . . . . . .
Acknowledgments . . . . . . . . . . . . . . . . . . .
How to use this book. . . . . . . . . . . . . . . . .
1
Natural selection
vi
viii
1
Layer masks 3: soft edges . . . . . . . . . . . . .
Layer masks 4: smoothing . . . . . . . . . . . . .
Blending 1: fire power . . . . . . . . . . . . . . . .
Blending 2: plane view . . . . . . . . . . . . . . .
64
66
68
70
2
Selection: the fundamentals . . . . . . . . . . .
The Lasso and Magic Wand. . . . . . . . . . . .
QuickMask 1: better selection . . . . . . . . .
QuickMask 2: tips and tricks. . . . . . . . . . .
QuickMask 3: transformations . . . . . . . . .
The Quick Selection tool 1 . . . . . . . . . . . .
The Quick Selection tool 2 . . . . . . . . . . . .
Refine Edges: going further. . . . . . . . . . . .
The Pen is mightier… . . . . . . . . . . . . . . . . .
The Pen tool by numbers . . . . . . . . . . . . . .
Putting the Pen into practice . . . . . . . . . .
Losing the edges. . . . . . . . . . . . . . . . . . . . .
Lock and load . . . . . . . . . . . . . . . . . . . . . . .
Find and replace . . . . . . . . . . . . . . . . . . . . .
Color by numbers . . . . . . . . . . . . . . . . . . . .
Brush-on color . . . . . . . . . . . . . . . . . . . . . .
4
6
8
10
12
14
16
18
20
22
24
26
28
30
32
34
Interlude: Graphics tablets
. . . . . . . . . . . . .
4
Image adjustment
72
74
Shadows and highlights. . . . . . . . . . . . . . .
Learning Curves . . . . . . . . . . . . . . . . . . . . .
Matching colors with Curves . . . . . . . . . .
Major color changes . . . . . . . . . . . . . . . . .
Multi-layer enhancement . . . . . . . . . . . . .
Sharpening: Unsharp Mask . . . . . . . . . . . .
Natural healing. . . . . . . . . . . . . . . . . . . . . .
76
78
80
82
84
86
88
Interlude: Getting started
. . . . . . . . . . . . .
5
Composing the scene
90
92
Location is everything . . . . . . . . . . . . . . . .
Relative values: interaction. . . . . . . . . . . .
I only have eyes for you . . . . . . . . . . . . . .
Game, test and match . . . . . . . . . . . . . . . .
Back to the foreground . . . . . . . . . . . . . . .
Composition tips and tricks. . . . . . . . . . . .
People and cars. . . . . . . . . . . . . . . . . . . . . .
94
96
98
100
102
104
106
Interlude: The perfect setup
. . . . . . . . . . . .
2
Transformation and distortion
36
38
The Free Transform tool . . . . . . . . . . . . . . .
Step and repeat rotation . . . . . . . . . . . . . .
Introducing Image Warp . . . . . . . . . . . . . .
Image Warp in combination . . . . . . . . . . .
Cloning in perspective . . . . . . . . . . . . . . . .
Special effects with cloning . . . . . . . . . . .
Transformation in practice . . . . . . . . . . . .
40
42
44
46
48
50
52
Interlude: Digital cameras
. . . . . . . . . . . . .
6
Getting into perspective
108
110
Establishing the horizon . . . . . . . . . . . . . .
Introducing vanishing points. . . . . . . . . . .
Two point perspective . . . . . . . . . . . . . . . .
Three point perspective . . . . . . . . . . . . . . .
Correcting perspective . . . . . . . . . . . . . . . .
Using existing perspective. . . . . . . . . . . . .
Boxing clever: doubling up . . . . . . . . . . . .
Vanishing Point filter 1 . . . . . . . . . . . . . . .
Vanishing Point filter 2 . . . . . . . . . . . . . . .
Vanishing Point filter 3 . . . . . . . . . . . . . . .
11 2
11 4
11 6
11 8
120
122
124
126
128
130
Interlude: The freelance artist
. . . . . . . . . .
3
Hiding and showing
54
56
Texture with layer modes . . . . . . . . . . . . .
Layer masks 1: intersections . . . . . . . . . . .
Layer masks 2: transparency . . . . . . . . . . .
58
60
62
iii
Cropping in perspective . . . . . . . . . . . . . . .
132
A change of expression . . . . . . . . . . . . . . .
Liquify: turning heads . . . . . . . . . . . . . . . .
Sleep and the art of healing . . . . . . . . . . .
Coloring black and white images . . . . . . .
A change of skin. . . . . . . . . . . . . . . . . . . . .
202
204
206
208
210
Interlude: Photomontage ethics
. . . . . . . .
7
Light and shade
134
136
Shadows on the ground. . . . . . . . . . . . . . .
Shadows on the wall . . . . . . . . . . . . . . . . .
Creating complex shadows . . . . . . . . . . . .
Light from windows . . . . . . . . . . . . . . . . . .
Mood, light and emphasis . . . . . . . . . . . . .
Multiple shadowed objects . . . . . . . . . . . .
Shading on Hard Light layers . . . . . . . . . .
Visible light sources . . . . . . . . . . . . . . . . . .
The romance of candlelight. . . . . . . . . . . .
Turn the lamp on . . . . . . . . . . . . . . . . . . . .
Shading using Dodge and Burn. . . . . . . . .
Shading using light modes . . . . . . . . . . . .
Extreme shading. . . . . . . . . . . . . . . . . . . . .
Making smoke without fire . . . . . . . . . . . .
Making fire without smoke . . . . . . . . . . . .
Lighting up: perfect neon . . . . . . . . . . . . .
Day for night . . . . . . . . . . . . . . . . . . . . . . .
138
140
142
144
146
148
150
152
154
156
158
160
162
164
166
168
170
Interlude: Sourcing images for free
. . . . .
9
Shiny surfaces
212
214
Introducing… Plastic Wrap . . . . . . . . . . . .
Blood and gore, no sweat . . . . . . . . . . . . .
Getting hot and sticky . . . . . . . . . . . . . . . .
I’m forever blowing bubbles . . . . . . . . . . .
Water, water everywhere. . . . . . . . . . . . . .
Making water from thin air. . . . . . . . . . . .
Snow and icicles. . . . . . . . . . . . . . . . . . . . .
Making it rain. . . . . . . . . . . . . . . . . . . . . . .
A cool glass of water . . . . . . . . . . . . . . . . .
Getting the glazing bug. . . . . . . . . . . . . . .
Glass: refraction . . . . . . . . . . . . . . . . . . . . .
Glass: reflection . . . . . . . . . . . . . . . . . . . . .
Complex reflections . . . . . . . . . . . . . . . . . .
Putting things in bottles . . . . . . . . . . . . . .
Distortion with backgrounds. . . . . . . . . . .
Glass: putting it all together. . . . . . . . . . .
Through grimy windows . . . . . . . . . . . . . .
216
218
220
222
224
226
228
230
232
234
236
238
240
242
244
246
248
Interlude: Sourcing images
. . . . . . . . . . . .
8
Heads and bodies
172
174
Making the head fit . . . . . . . . . . . . . . . . . .
Complex head fitting . . . . . . . . . . . . . . . . .
Combining body parts . . . . . . . . . . . . . . . .
Changing history . . . . . . . . . . . . . . . . . . . .
The perfect haircut. . . . . . . . . . . . . . . . . . .
The solution for flyaway hair . . . . . . . . . .
The problem of hair loss . . . . . . . . . . . . . .
Beards and stubble. . . . . . . . . . . . . . . . . . .
A fuzzy hairbrush . . . . . . . . . . . . . . . . . . . .
The ageing process. . . . . . . . . . . . . . . . . . .
Reversing the ageing process . . . . . . . . . .
A change of clothing . . . . . . . . . . . . . . . . .
It’s all in the eyes . . . . . . . . . . . . . . . . . . . .
176
178
180
182
184
186
188
190
192
194
196
198
200
Interlude: The photographic studio
. . . . . .
10
Metal, wood and stone
250
252
Instant metal using Curves . . . . . . . . . . . .
Metal with Adjustment Layers . . . . . . . . .
Metal with Layer Styles . . . . . . . . . . . . . . .
Turning silver into gold . . . . . . . . . . . . . . .
Metal with Lighting Effects. . . . . . . . . . . .
More on Lighting Effects . . . . . . . . . . . . . .
Rust, grime and decay . . . . . . . . . . . . . . . .
Reflection on a knife edge . . . . . . . . . . . .
Photographing shiny objects. . . . . . . . . . .
254
256
258
260
262
264
266
268
270
iv
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