Image Resolution, Correcting, Painting and Retouching

You can use the Canvas Size feature to add space around an existing image, or to contract
the existing image by adding negative values. You can add the space to one, two, three or
all four sides by anchoring. Before adding extra space, you can choose the color for the
extra space from the Canvas extension color pop-up menu in the dialog.
The Canvas Extension Color menu is not available unless the image contains a background
layer.
When you select the Relative option in the Canvas Size dialog, zeros replace the current
canvas width and height amounts. This can make it easier to add/subtract a set amount
of pixels without having to do any calculations. For example, to add 20 pixels all around,
select pixels as the unit measurement, click the middle anchor, add 20 in both boxes and
click OK.
To change the pixel dimensions of an image, choose Image Image Size and then enter the
desired value in the Pixel Dimensions section of the Image Size dialog. Select Constrain
Proportions in order to maintain current height to width ratio and Resample Image to
downsample or upsample the image. Choose an interpolation method from the Resample
Image pop-up menu and click OK.
To change document dimensions without changing its resolution, open the Image Size
dialog (Image Image Size), select Resample Image, enter desired values in the Document
Size: Width or Height box and then click OK. When Resample Image is selected, document
dimensions and resolution change independently of each other. When Resample Image is
deselected, in order to preserve the total pixel count, Photoshop automatically adjusts the
other setting when you alter either one.
The Bicubic Smoother interpolation method is recommended for enlarging continuous
tone images, such as photographs. Bicubic is recommended for resizing images containing
gradients but can be used on photographs. Bilinear adds pixels by averaging color values of surrounding
pixels but is rarely used. Nearest Neighbor is good for enlarging images
that do not contain anti-aliased edges.
Bicubic Sharper is recommended for reducing (downsampling) image size. When used,
it automatically adds some sharpening and, therefore, appears to maintain more detail.
However, it may over-sharpen some areas of an image. In which case, Bicubic is the
alternative recommended method.
Once an object is selected, you can skew it. To do so, choose Edit Free Transform (Ctrl+T,
Cmd+T), hold down Ctrl+Shift, Cmd+Shift and apply the transform to the object by
dragging a side handle. Alternatively, you can choose Edit Transform Skew, and then
apply the transform.

Once an object is selected, you can alter its perspective. To do so, choose Edit Free
Transform (Ctrl+T, Cmd+T), hold down Ctrl+Alt+Shift, Cmd+Opt+Shift and apply the
transform to the object by dragging a corner handle. Alternatively, you can choose Edit
Transform Perspective, and then apply the transform.
When you use the transform command, you can change the objects reference point by
clicking on one of the squares in the reference point locator in the Options bar. By default,
it is set to center. Each square represents a handle found on the transform bounding box.
You can also drag the reference point in the image (shaped like a color sampler icon) to a
new location while the transform is active.
You can control the position of an object precisely by entering values in the X (horizontal)
or the Y (vertical) text box in the Options bar when you use the Free Transform command.
You can also control the width, height, angle, and the horizontal and vertical skew using
the respective text boxes. Values can be entered as pixels, inches, centimetres, millimetres,
points or picas by right-clicking, Ctrl-clicking in the text box and then choosing an item
from the context menu.
When you transform an object, you can click the icon located between the X and Y text
boxes in the Options bar to enable relative positioning of the reference point.
In order to create a good quality print, the resolution needs to be higher than 72 ppi. If
your image doesnt contain enough pixels to fill an 8x10 inch area at a resolution higher
than the camera default of 72 ppi, then you either need to decrease the print size or
increase the pixel count. A 10x8 print at 240 ppi will require 2400 x 1920 pixels. If your
camera has captured 1,600 by 1,200 pixels at 72 ppi, then you will need to increase the
pixel dimensions and the resolution using the Image Size dialog.
How large an image appears on-screen depends on a combination of factors: Image pixel
dimensions, monitor size, and monitor resolution.
When your monitor display is set to 1024 x 768 and you open an image whose pixel dimensions
are 1280 x 960, the image will not fit on your screen when you view it using
the Actual Pixels (100% magnification) command. The reason it wont is because, at 100%
magnification, one image pixel displays as one monitor pixel. In order to fit the screen, the
images pixel dimensions need to be the same as the monitors display resolution setting,
or the pixels stretched to fit the screen. The images resolution setting (72 ppi) has no
impact on how it is viewed on a monitor because the video card driver determines how
many pixels per inch are displayed.
In Photoshop, the File Info dialog (File File Info) can be used to apply metadata to the
currently opened document. The metadata travels with the image and can be read by
metadata compliant applications.

You can use the File Info dialog while in Photoshop to add, replace or append metadata,
such as author (called creator under the IPTC tab), contact info, copyright, or keywords.
You can do this by selecting an appropriate tab and then either typing into a text field, or
selecting from the pop-up menu, located at the foot of the dialog, a previously created
metadata template. Note: you can open the File Info dialog from Bridge too by selecting a
file and then choosing File Info from the File menu or the context menu.
The Radiance file format supports 32-bits/channel. Its used to store high dynamic range
images (HDR).
Because a 32-bits/channel image can use floating-point representation, it can result in
greater fidelity and numerical accuracy than is possible with conventional 8-bits/channel
or 16-bits/channel images that use non-floating point representation.
For the most part, working with 8-bits/channel images is to be preferred unless you are
editing computer-generated graphics, especially if they include gradients, or working in a
wide gamut color space, such as ProPhoto RGB. Some grayscale images can also benefit if
large corrections are applied to smooth areas, for example, a gradated sky.
Two key benefits of working on 16-bits/channel images are, one, you can take advantage
of wider gamut color spaces, such as ProPhoto RGB, two, rescue borderline tonality
more successfully by applying more extreme edits. To take advantage of a 16-bits/channel
workflow over an 8-bits/channel workflow, digital captures and scans should be imported
into Photoshop in 16-bits/channel and then tone and color adjustments applied before
converting to 8-bits/channel.
An image in 16-bits/channel mode is not generally used on the World Wide Web. The
common file formats being JPEG, GIF and PNG-8; all of which only support 8-bits/channel.
Some of the advantages of working with 8-bits/channel images are:
File size is smaller, so requires fewer resources
You can choose from a wider selection of filters
You can use the Art History Brush tool
You can use the Variations feature
The JPEG (Joint Photographic Experts Group) file format supports millions of colors, so is
an ideal candidate for saving continuous-tone images, such as photographs, for displaying
on the World Wide Web.
The JPEG (Joint Photographic Experts Group) file format does not support layers, alpha
channels, 16-bits per channel, transparency, or Notes. It does support the RGB, CMYK,
Grayscale Color modes and clipping paths.
The JPEG (Joint Photographic Experts Group) file format selectively discards data and,
therefore, is considered as a lossy file format. However, when saved with the Maximum
quality option (setting #12), the resulting file may be indistinguishable from the original.

The TIFF (Tagged-Image File Format) file format supports 3 types of compression: LZW
(Lemple-Zif-Welch), JPEG and Zip. It can accommodate file sizes up to 4 GB, which can
be opened in Photoshop CS and later, though most other applications cannot read files
larger than 2 GB.
LZW (Lemple-Zif-Welch) is a universal, lossless form of compression. It does not affect
image quality. The compression scheme is supported by TIFF, PDF, GIF and PostScript
language file formats.
Graphics that contain text, flat color or transparency and destined for output to the World
Wide Web should be saved in the CompuServe GIF (Graphics Interchange Format) file
format.
When continuous tone images, such as photographs, are output to the web, they should
be saved in the RGB Color mode. Note: sRGB in not a color mode. It is a color space. For
a fuller explanation, click theRGB Color mode hyperlink below.
Bitmap images are made up of pixels (picture elements), whereas vector images are made
up of mathematically defined objects and shapes. Each pixel is assigned a position on a
grid and a color. Because bitmap images can represent subtle shades of color and tone, they
are ideally suited to creating and acquiring continuous-tone images, such as photographs.
Bitmap images can consume more storage space than vector graphics because more bits
are required to describe the color information.
Each bitmap image contains a fixed number of pixels. In order to scale up an image,
Photoshop has to interpolate the existing data. That entails adding pixels, which in turn
can result in loss of fine detail.
Vector graphics are composed of mathematically defined objects called vectors. These
objects may consist of scalable, straight lines or curves that contain editable attributes, such as color,
outline and location. Because the objects are mathematically defined, they
can be scaled to any size without losing image quality.
Whereas all available file formats preserve paths in Mac OS, only JPEG, JPEG 2000, DCS,
EPS, PDF, TIFF and PSD support paths in Windows.
The PDF file format allows you to set security, so that a file can be viewed by a recipient but
not printed. Furthermore, changing the document, content copying, content extracting,
changing comments and form fields can also be disallowed.
In addition to the recommended DCS 2.0 (Desktop Color Separations) file format, spot
channels can also be saved in the commonly used PDF, PSD and TIFF file formats. The
DCS file format is a version of the standard EPS (Encapsulated PostScript) file format.
Note: to print DCS files, a PostScript printer is required.

The following popular file formats can preserve alpha channels: BMP, Large Document
Format (PBS), Photoshop PDF, Photoshop (PSD), PICT, Pixar, Targa, TIFF. The Photoshop
DCS 2.0 file format preserves only spot channels.
When a file is saved in the Photoshop EPS format and Include Vector Data is selected, any
vector data in the file (such as shapes and type) is preserved. However, the vector data is
only available to other applications, Photoshop rasterizes the vector data when the file is
opened.
The Photoshop EPS file format supports four encoding options: ASCII or ASCII85:
recommended if printing from Windows or experiencing printing difficulties; Binary:
produces a smaller file but not supported universally; and JPEG: discards some image
data and requires Level 2 or later PostScript printers and may not separate into individual
printing plates.
You can create documents containing up to 300,000 pixels in either direction in Photoshop.
These large documents can be saved in the PSB (Large Document Format) file format.
All Photoshop features are preserved when a document is saved in the PSB file format.
However, only Photoshop CS, or later versions, can open the file.
All images in Duotone mode (Photoshop documentation refers to duotones, tritones and
quadtones as duotones) are 8-bits per channel, single-channel grayscale images. To specify
how inks are laid down, you have to use the Duotone Options dialog instead of using
individual channels. You can use duotones to increase the tonal range of a grayscale image
by using black ink for the shadows and gray ink for the midtones and the highlights, or to
create an accent by using a spot color.
An image must be in 8-bits per channel and Grayscale mode before you can convert it to
a duotone (Image Mode Duotone). Ink density increases, not decreases, as you move
up the vertical axis in the curve graph in the Duotone Curve dialog; the horizontal axis moves from
highlights (at the left) to shadows (at the right). In Duotone Options dialog,
you must specify all ink colors before you can overprint colors.
Duotone images need to be saved in Photoshop EPS, Photoshop PDF or Photoshop (PSD)
file format when exporting to a page-layout application. Custom colors must be named
with an appropriate suffix, otherwise they may not print correctly.
The EPS, DCS 2.0, JPEG, PDF, PICT, PSB, TIFF and, of course, the native Photoshop PSD
file format all allow you to embed a color profile.
The EPS and the PDF file formats both allow you to embed the profile selected in Proof
Setup. When you select the Use Proof Setup option in the Save dialog, Photoshop converts
the documents colors to the proof profile space.
You can use Curves or Levels to adjust the tonal range in an image. However, to make
precise adjustments to individual color channels in an image, you need to use Curves
because Levels only allow you to make three adjustments: shadow (black point), midtone
(gamma), or highlights (white point).

The Adjustments panel contains color and tonal adjustment tools in one convenient place.
It also contains presets that you can use to correct common image faults. Clicking one of
the icons, or selecting an item from the panel menu, creates a non-destructive adjustment
layer. Opening one of the presets by clicking the arrow and then clicking on a preset name
creates a non-destructive layer and applies the preset settings to the image.
Use the icon located next to the Trash in the Adjustments panel to reset adjustments to the
default setting. It will return the curve to the default 45 (degree) angle.
The On-image tool found in the Curves Adjustment panel and in the modal Curves dialog
allows you to make adjustments by clicking in the image and dragging the pointer. The
curve adjusts automatically as you drag.
To preview clipping as you adjust the black and white points in the Curves Adjustments
panel, hold down Alt/Opt as you drag the black and white sliders. Alternatively, enable
Show Clipping For Black/White Points from the Adjustments panel menu, or Show
Clipping in the Curves dialog if using the latter. With the option enabled, clipping will
show without the need for a modifier key.
When using an adjustment layer, you can toggle between the current and previous state
by pressing and holding down the Backslash key (\), or clicking the third icon from the
right in the foot of the Adjustments panel.
When you use the eyedropper tools in the Curves Adjustments panel, you can identify
areas that are being clipped (black or white) by holding down Alt/Opt and then hovering
over the image with the tool.
In order to adjust color and tonality using Curves, you can set anchor points on the curve
by clicking on it or, if the anchor points need to correspond with specific detail in the
image, by selecting the On-image tool then clicking in the image (when using a Curves
adjustment layer), or Ctrl-clicking, Cmd-clicking on the detail in the image (when using
the Curves dialog).
You can set the shadow and highlight target values by using Curves or Levels when you
need to prepare images for an offset printer. To do so, open either dialog, double-click on
the Set Black Point or Set White Point Eyedropper tool button to open the Color Picker,
set the required values in the Brightness (B) text box under HSB, exit and then drag the appropriate tool
over a shadow or highlight in the image.
You can set the sample size of the Eyedropper tool, which also affects the Set Black Point
and Set White Point Eyedropper tools, before you enter the dialogs or by right-clicking,
Ctrl-clicking in the image once you are in a dialog; a 3 x 3 Average is normally used for
this purpose.
In the Curves dialog and Curves Adjustment panel, you can place up to 14 points on the
curve and move them up, down, left, or right in order to adjust the color and tonality of a
given image. Moving the curve left or right in a straight line modifies input levels; moving
it up or down in a straight line modifies output levels.

In the default view, a straight diagonal line represents original intensity values, with
highlight at the top right corner and shadow at the bottom left corner. In the Pigment/Ink
view, this behavior is reversed with highlight at the bottom left corner and shadow at the
top right corner (click radio buttons to change views).
You can access the Auto Color Corrections Options dialog to define behavior of the
Auto command. In the Curves or Levels Adjustment panel, choose Auto Options from
the panel menu, or Alt-click, Opt-click the Auto button. In the Curves or Levels dialog,
click the Options button.
The Auto Color Correction Options dialog lets you control tonal and color corrections,
as applied by the Auto button in both Levels and Curves. The options also let you specify
shadow and highlight clipping percentages (by default set to 0.5%), as well as assign
color values to shadows, midtones and highlights. To access the dialog, Alt-click, Opt click
the Auto button in Curves/Levels Adjustments panel, or the Options button in the
corresponding modal dialogs.
To use the Auto button to remove a color cast, select the options Find Dark & Light
Colors, and Snap Neutral Midtones under Algorithms in the Auto Color Correction
Options dialog. Click OK to exit and then Auto to apply. To access the dialog, Alt-click,
Opt-click the Auto button in Curves/Levels Adjustments panel, or the Options button in
the corresponding modal dialogs.
Moving the gray Input slider to the left lightens the shadows by expanding the levels. It
also has the effect of compressing the highlights. When you move the gray Input slider to
the right, it has the opposite effect on the image: highlights are expanded while shadows
are compressed.
You can use the Levels command to expand levels if the full range from 0-255 is not being
used. For example, if there are empty levels either side of a histogram, you can move the
black Input slider to the right till it touches the histogram and, likewise, the white Input
slider to the left. Once the values of the extreme shadow and highlight pixels have been
properly set by using the black and white Input sliders, all the tonal values can expand across the full 256
available levels. To see the histogram update as you move the Input
sliders, have the Histogram panel in view. Note: The two Input sliders map the black and
white points in the image to the values set by the Output sliders, which by default are set
to 0 (shadows) and 255 (highlights).

The Output Levels sliders in the Levels dialog can be used to compress image detail into
a range less than 0 to 255, so that it can print on a press without clogging the shadows or
blowing out the highlights. For example, if a press cannot print above level 242 and you
have important detail at level 248, you can move the highlight slider to level 242. Doing
so will ensure the highlight detail prints safely. The same principal principle applies to the
shadow slider.
The icons at the bottom of the Adjustments panel read from left to right:
1. Return to adjustment list
2. Switch panel to Expanded View
3. Clip to layer below
4. Toggle layer visibility
5. View previous state
6. Cancel current changes and reset to previous state (when icon looks like a half
circle anti-clockwise arrow). Reset to adjustment defaults (when icon looks like
a three quarter anti-clockwise arrow).
7. Delete current adjustment layer
The Vibrance command increases saturation without clipping colors as they approach full
saturation. It does this by increasing the saturation of less saturated colors more than the
colors that are already saturated. Its also an ideal tool for increasing saturation without
over-saturating skin tones.
Selective Color can be used on RGB images, even though it uses CMYK colors to correct
an image. Its used to selectively alter the amount of color in a primary color without
affecting the other primary colors in the image. You can adjust colors in absolute values
(adding 10% to a pixel that is 50% blue will add 10% blue), or in relative values (adding
10% to a pixel that is 50% blue will add 5% blue, which is 10% of 50%).
When using the Brush tool on an image, you can sample a color quickly by switching
temporarily to the Eyedropper tool. To do so, hold down the Alt/Opt key and then click
anywhere in the image. Let go of the Alt/Opt key to return to the Brush tool again. You
can also hold down the I key to temporarily access the Eyedropper tool provided its icon
is showing in the Tools panel.
To change the brush tip size on the fly, Alt+right-click, Opt+Ctrl-click in the image and
then drag left to decrease or right to increase.
To change the brush tip hardness on the fly, hold down Alt+Shift+right-click, Cmd+Opt+Ctrl, click
in the image and then drag left to decrease or right to increase.
To clear the brush dynamics quickly for a selected brush, choose Clear Brush Controls
from the Brushes panel menu. The command will clear all brush controls bar Smoothing
and brush shape settings that you have applied.
To paint a single, straight line with the Brush tool, click to define a start point, hold down
the Shift key and then click to define an end point. When you define the end point, the
Brush tool automatically connects the two points. You can also paint a horizontal or
vertical straight line by Shift-dragging in said direction.

When painting, you can elect to paint only on the transparent pixels on a layer, without
encroaching on any solid pixels the layer may contain, by setting the tools blend mode to
Behind. You can also select the object, inverse the selection to protect the object and then
paint on the transparent areas.
You can use the Pattern Stamp tool to paint in freeform style using predefined brushes
and patterns, accessible from the Options bar. It supports all the brush tool options plus
Aligned and Impressionist.
The Airbrush option for the Brush tool mimics traditional airbrush techniques. It allows
you to build paint gradually while you hold down the mouse button. The option is available
for the following tools: Brush, History Brush, Clone Stamp, Pattern Stamp, and Eraser.
To restart the pattern each time you stop and start painting with the Pattern Stamp tool,
deselect Aligned in the Options bar.
The Pencil tool is useful for drawing hard-edged lines that arent anti-aliased.
You can use the Pencil tool to erase strokes automatically by selecting Auto Erase in the
Options bar. When the option is selected, drawing over the foreground color replaces it
with the background color.
You can erase pixels with the Eraser tool set to Brush, Pencil, Block or Airbrush mode.
You can also use it to erase to a history state by selecting one as the source in the History
panel and then the option Erase to History in the Options bar. Furthermore, you can
control the opacity and flow of the strokes from the Options bar when the tool is in Brush
mode. Flow isnt available in Pencil mode, while only Erase to History is available in Block
mode.
When you use the Eraser tool on the background layer or when transparency is locked,
pixels under the tool change to the background color.
To remove a red eye effect caused by a camera flash, click with the Red Eye tool on or near
a pupil. The tool does not need a selection in order to function. You can draw a marquee around the
pupil with the tool to confine the sampled area but its not a requirement.
For difficult images, you can alter the default Pupil Size and Darken Pupil settings in the
Options bar, which can help to improve results.
When you use the Smudge tool, it uses the foreground color at the start of each stroke if
you have Finger Painting selected in the Options bar. If you dont have the option selected,
the Smudge tool picks up the colors under the pointer. Applied judiciously, the Smudge
tool can help blend edges when compositing images.
You can switch quickly from the Burn tool to the Dodge tool, or vice versa, by pressing
and holding down Alt/Opt. Once you let go of the key, the tool reverts to the one selected
in the Tools panel.

Having sharpened an image with the Smart Sharpen filter and created a snapshot, you
can paint back selected, sharpened details by undoing, setting the snapshot as source and
painting with the History Brush tool. The History Brush tool can be used to paint from
any useable state or snapshot shown in the History panel.
When you use the Color Replacement tool, select the Background Swatch sample option
to force Photoshop to replace only the current background swatch color, regardless of the
color under the tool. The other sampling options are Continuous and Once, which are
self-explanatory. The foreground swatch is used to define the replacement color and is not
an available option.
You can control how the Dodge and Burn tools behave by limiting their affect to the
shadows, midtones or highlights in the image and by specifying an exposure level in the
Options bar. Blending modes are not available for the Dodge or the Burn tool.
The Sharpen tool is ideal for applying local sharpening. For fine control, you can use a
suitable brush tip and also set the tools strength and blend mode in the Options bar.
The Sharpen tool supports the following blend modes: Normal, Darken, Lighten, Hue,
Saturation, Color and Luminosity.
When an image is in Grayscale mode, the Sponge tool increases and decreases contrast by
moving levels away from or towards mid-gray, depending on the blend mode chosen in
the Options bar. For example, Saturate increases contrast while Desaturate decreases it.
The Sponge tool supports only two blend modes: Saturate and Desaturate.
By using the Fade command from the Edit menu straight after a filter has been applied to
a layer, you can apply the filter through a blend mode and lower its opacity. Not only filter
effects can be faded this way, many adjustment and painting moves can also be faded.
Unlike the Darken and Lighten blend modes, Darker Color and Lighter Color do not produce a
third color. Instead, they compare the total values of all the channels for the
source and target and then display the lowest or the highest values, respectively. So, for
example, painting in Darker Color blend mode displays the lowest values and Lighter
Color the highest values.
To create a custom brush tip from an image, select an image or part of it with any one of
the selection tools, choose Edit Define Brush Preset, name the brush in the Brush Name
dialog and click OK.
When you define a new custom brush tip from an image:
The maximum supported size for a custom brush tip is 2500 by 2500 pixels
Feathering must be set to 0 pixels to create a sharp-edged brush
You can use any of the selection tools to define the brush tip shape
Color brush shapes appear as gray values

In order to create a custom brush, select a painting, erasing, toning or focus tool. This
will enable the Brushes panel. Then select an existing brush tip from Brush Tip Shapes in
the Brushes panel, or an existing brush preset from Brush Presets in the Brushes panel.
Click the Create new brush icon at the bottom of the panel or select New Brush Preset
from the panel menu, name it, click OK and then customize it. Note, to save a brush
permanently, you must save it as part of a brush set. You can do this by choosing Save
Brushes from the panel menu.
You can increase/decrease a brushs purity by selecting Color Dynamics from the list in
the Brushes panel and then using the Purity slider. Likewise, you can edit shape dynamics,
brush scattering, texture, dual brushes, other dynamics, other brush options include noise,
wet edges, turning on airbrush, smoothing and protecting texture. Once you are happy
with a preset, you can click the lock icon to prevent changes, or the brush reverting to its
default setting when its deselected.
Like the cloning tools, you must sample an area by Alt-clicking, Opt-clicking on a source
before you can use the Healing Brush tool; not required if healing by using a pattern as
the source, which you can do by setting the tools mode to Pattern in the Options bar and
then selecting pattern from the Pattern Picker pop-up panel.
The Healing Brush tool can heal an area by matching the texture, shading, lighting and
transparency of the source sampled pixels with the destination pixels being healed.
When using a pressure-sensitive digitizing tablet or a stylus wheel, you can vary the size
of the healing brush over the course of a stroke using pen pressure. To vary the size, select
the Healing Brush tool, click on its brush tip icon in the Options bar and then choose an
option from the Size pop-up menu.
When you use the Healing Brush or Clone Stamp tool and select the Current & Below or All
Layers option in the Options bar, you can ignore adjustment layers by clicking the
Ignore Adjustment Layers button, located to the right of the Sample pop-up menu.
The Spot Healing Brush tool can be used to quickly repair small areas of an image, such
as black spots created by dust on the camera sensor. There is no need to define a source
point in the image, unlike the Healing Brush tool or Clone Stamp tool. This makes it the
better tool for repairing small areas quickly and efficiently.
The Spot Healing Brush tool works in a similar fashion to the Healing Brush tool, except
it doesnt require you to specify a sample point. Its designed to quickly remove small
blemishes, dust spots, and so forth, by clicking on or dragging next to the area you want
to heal. If using a soft edged brush, select Mode: Replace to preserve noise, film grain and
texture at the edges of the brush stroke.

When using the Patch tool to heal a damaged area of an image, you can either heal the
selected area by dragging the selection to find a suitable source or select the source first
and then drag the selection to the damaged area. To do the former, select Source in the
Options bar, draw a selection with the Patch tool around the damaged area, and then drag
the selection to a suitable source area. To do the latter, select Destination in the Options
bar, draw a selection around a suitable source area, and then drag-n-drop the selection
over the damaged area.
When using the Patch tool, a marquee can be predefined using any of the selection tools
before the Patch tool is selected, or with the Patch tool. Furthermore, you can use the Shift
or Alt/Opt keys to modify the marquee as you create it with the Patch tool. Marquee can
also be modified subsequently as required using Quick Mask mode, commands available
in the Select menu, or the Refine Edge command.
If you are cloning from another open document, the color modes must be identical before
a clone can take place. In addition, the bit depths of the source and target documents must
be the same.
If the option Aligned for the Clone Stamp, Healing Brush, or the Pattern Stamp tool
isnt selected, each time you paint a new stroke, the tools sample from the same spot
that was initially defined as a sample point. However, if the option Aligned is selected, a
new sample point is selected each time you paint a new stroke while the original relative
position between sample point and target is maintained.
When you use the Clone Stamp or Healing Brush tool, you can elect to view a sample
source overlay by selecting Show Overlay in the Clone Source panel or choosing Show
Overlay from the panel menu. You can set its opacity and blend mode to help with the
visualization. You can also set the X, Y co-ordinates of the sample source or transform the
overlay using the W, H and rotation values.
The Clone Source panel allows you to transform the sample source overlay by specifying values
in the W, H and rotation text fields. You can return the sample source overlay to its
default size and horizontal angle by clicking the Reset Transformation button, located to
the right of the rotation text field.
If you do not have Show Overlay selected in the Clone Source panel, you can hold down
Alt+Shift, Opt+Shift to show the sample source overlay temporarily. While you hold down
the shortcut keys, the brush tool changes to the Move Source Overly tool, which can be
used to drag the source overlay to a new location.

When the opacity is set to 50%, Invert selected and Clipped deselected in the Clone Source
panel, any identical areas in the clone source overlay and the underlying image appear
solid gray, which can be used to align matching areas. Alternatively, the opacity can be set
to 100% and the Difference blend mode selected; in which case, any identical areas will
appear solid black when aligned.
In the Clone Source panel, you can:
Auto hide the overlay
Clip the overlay to the brush size
Set the appearance of the overlay
Invert the colors in the overlay
Use scrubby sliders to specify values
Scale the sample source while maintaining its aspect ratio
Set a maximum of five different sampling points
The Gradient tool can be used to apply custom gradients or a gradient based on the
foreground and background colors.
When you use the Gradient tool, you can choose to paint with five different patterns:
Linear, for a straight-line gradient
Radial, for a circular gradient
Angle, for a counter clockwise sweep
Reflected, for symmetrical linear gradients
Diamond, for a diamond shape
When painting with the Gradient tool, you can create a smoother blend by selecting the
Dither option for the tool. Dither adds random noise in order to smooth the transition
from one color to another, which otherwise can result in banding.
To open the Gradient Editor, select the Gradient tool and then click on the gradient sample
in the Options bar. The Gradient Editor lets you modify the current gradient or create a
new one from a copy of an existing gradient. Additionally, the Gradient Editor lets you
create a new noise gradient. A noise gradient differs from a smooth gradient in as much
as its composed of a specified range of colors that can be distributed randomly. To add custom colors to
a new gradient in the Gradient Editor, so that a gradient can be
composed of a blend of colors, double-click below the gradient bar to add a color stop
and launch the Color Picker dialog at the same time. Choose a color and click OK to close
the Color Picker. To change an existing color, double-click on a stop to launch the Color
Picker or choose from the Color pop-up menu. Color stops are added below the gradient
bar and transparency stops above the bar. You can reposition the stops by dragging or
entering a value in the Location text field. You can delete stops by dragging them off the
gradient bar or by selecting them and then pressing the Backspace/Delete key.

When you create a gradient in the Gradient Editor, you can choose between two types of
gradients: Solid or Noise.
A noise gradient is made up of arbitrarily distributed colors within the range of colors that
you have specified when you created the gradient. To create a noise gradient:
Select the Gradient tool
Open the Gradient Editor (click the gradient icon in the Options bar)
Choose Gradient Type: Noise from the pop-up menu
Choose roughness value, color model, options
Name gradient
Click New to create the gradient
To define a pattern from an image by using the Define Pattern command (Edit Define
Pattern), the image must be in RGB Color mode, 8-bits or 16-bits per channel mode, and
feather must be set to 0 pixels.
If you do not want the current layer to be filled with a new pattern when you use the
optional Pattern Maker filter, you can duplicate the layer, which will leave the original
untouched. Alternatively, select an area, copy it onto the clipboard, create a new layer,
select Use Clipboard as Sample in the Pattern Maker dialog and click OK. Once a pattern
has been saved as a preset, the Clone Stamp tool, and the fill, pattern overlay and pattern
adjustment layer commands can all access it.
In the Pattern Maker dialog (optional plug-in), the Smoothness and Sample Detail settings
control the parameters for new patterns generated. Increasing the Smoothness value (1 to
3) decreases the contrast of the edges of the tiles that go to make up a pattern. Increasing
Sample Detail (321) forces the Pattern Maker filter to show more detail and less cutoff.
In the Pattern Maker dialog (optional plug-in), a low value in the Sample Detail setting
uses smaller slices in the tile. A high value maintains more of the original detail in the
pattern and tiles take more time to generate.
You can use the Reduce Noise filter not only to reduce luminous and chromatic noise
but also JPEG artefacts, and to restore sharpening. Furthermore, you can apply noise
reduction globally or to individual channels in advanced mode.
By default, Reduce Noise affects all the channels but high ISO images tend to have more
noise in the blue channel. You can reduce noise on a per-channel-basis by setting Strength
and Reduce Color Noise to zero in the Basic mode, selecting Advanced mode, then an
individual channel from the Per Channel tab and balancing the Strength and Preserve
Details values.
You can use the Surface Blur filter for creating special effects and for removing noise and
graininess from images. The filter preserves edges while applying a blur to the image.
The Lens Blur filter can be used to blur some areas of an image while keeping others in
focus. Its used to create a shallow depth-of-field; similar to the effect you get when you
shoot with a wide aperture.

To apply a shallow depth of field effect with the Lens Blur filter, you can use an alpha
channel as the source for a Depth Map. The filter can determine how much each region of
the image should be blurred by reading the grayscale values of the alpha channel. It treats
black areas as if they are in the near distance and white areas as if in the far distance. You
can also use transparency and layer masks as the source. Furthermore, you can apply the
filter to a selection or uniformly to an entire document.
You can use the Smart Sharpen filter to reduce motion blur caused by camera or subject
movement. To do so, select Motion Blur from the Remove pop-up menu and then set the
angle of the motion blur with the dial or the text field. You can also remove Gaussian Blur
and Lens Blur. When sharpening, you can reduce shadow or highlight halos, and select
More Accurate for multiple iterations.
Because images shot with a high ISO setting tend to exhibit more noise in the shadows, you
can use the controls in the Shadow tab of the Smart Sharpen filter to limit the sharpening
in the shadow areas. To do so, increase the Fade Amount, which will fade the amount of
sharpening applied.
In the Unsharp Mask dialog, the Threshold slider determines how different the pixels
values should be before they are acted upon. The higher the setting, the lower the apparent
sharpness. Additionally, the Amount slider determines the intensity of the sharpening
halo and the Radius slider determines the width of the halos created around the edges in
the image.
Lens Correction can compensate for darkened edges around an image (vignetting) caused
by a lens or improper use of a lens shade or filter.
You can use the Lens Correction filter to minimize chromatic aberration. The Fix Red/
Cyan Fringe slider compensates for red/cyan color fringing by adjusting the size of the
red channel relative to the green channel. The Fix Blue/Yellow Fringe slider compensates
for red/cyan color fringing by adjusting the size of the blue channel relative to the green channel.
The Filter Gallery allows you to experiment with different filters without applying them
to the actual image until you click the OK button. You can create multiple filter effects
and preview the effect; reorder the filter effects; turn filter effects on/off; choose a filter by
clicking its thumbnail or from a pop-up menu. Furthermore, you can see a larger preview
by hiding the filter thumbnails by clicking the button located to the left of the OK button.
To stack filter effects in the Filter Gallery, create a new effect layer and then select a filter,
either by clicking on a thumbnail or by choosing from the filter pop-up menu. To create a
new effect layer, click the New effect layer button at the bottom of the dialog.
The Liquify filter supports 8-bits and 16-bits per channel images but doesnt support
images in 32-bits per channel. It also works in RGB, Lab, CMYK and Grayscale Color
modes but not Indexed Color mode.

The Reconstruction tool in the Liquify filter works on specific areas of the preview image
without disturbing the frozen areas. Note: the Liquify filter cannot be used on type unless
it is rasterized first. To distort type, use the Create warped text command.
In the Liquify filter, when you hold down the mouse button or drag:
The Pucker tool moves pixels inwards towards the centre of the brush tip
The Bloat tool moves pixels outwards and away from the centre of the brush tip
The Mirror tool copies pixels to the brush area
The Push Left tool pushes pixels to the left when you drag upwards and to the
right when you drag downwards
The Forward Warp tool pushes pixels in the direction of the drag
The Turbulence tool smoothly scrambles pixels it encounters
The Twirl Clockwise tool rotates pixels clockwise, or anti-clockwise when you
hold down the Alt/Opt key
When you elect to show a mesh in the Liquify filter, you can change its color, grid size,
save it and reload it.
In the Liquify filter, you can save a distortion mesh after distorting the preview image.
When you load a mesh, the mesh is scaled to fit the image if the image and distortion
mesh arent the same size. Adding a mesh helps to see and keep track of the distortions.