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Masks let you isolate and protect areas of an image as you apply color changes, filters, or other effects to the rest of the image. When you select part of an image, the area that is not selected is “masked” or protected from editing. You can also use masks for complex image editing such as gradually applying color or filter effects to an image. Layer masks and vector masks let you produce a mix of soft and hard masking edges on the same layer. By making changes to the layer mask or the vector masks, you can apply a variety of special effects. In addition to the temporary masks of Quick Mask mode, you can create more permanent masks by storing them in alpha channels. This allows you to use the masks again in the same image or in a different image. You can create an alpha channel in Photoshop and then add a mask to it. You can also save an existing selection in a Photoshop or ImageReady image as an alpha channel that will appear in the Channels palette in Photoshop.

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Before		After

What is Knockout ?DTP term. When one element cuts out the part of another element that it overlaps. Different to overlay where transparency or overprinting allows lower element(s) to be visible.

1. 1. You can edit an alpha channel to add or remove color in it, and you can specify settings for the masking colors and opacity. See Managing channels (Photoshop) for information on rearranging, duplicating, or deleting alpha channels.

      Use a painting or editing tool to paint in the image. Paint with black to add to the channel, paint with white to remove from the channel, or paint with a lower opacity or a color to add to the channel with lower opacities.

      1. Do one of the following:
         • Select the channel in the Channels palette, and choose Channel Options from the palette menu.
         • Double-click the channel thumbnail in the Channels palette.
      2. Enter a new name for the channel.
      3. Choose display options, as described in steps 2 through 4 of the procedure on Quick Mask options in

   New tools, enhanced features, richer images–Adobe Photoshop CS meets the needs of today’s photographer.

   Control your raw camera images

   The new generation Camera Raw plug-in is incorporated directly into Photoshop CS, allowing direct manipulation of raw camera data, for the ultimate control over image preprocessing. Camera Raw features new color calibration controls, batch processing through the File Browser, and support for most major digital camera models. (See Working with camera raw image files.)

   Comprehensive 16-bit editing

   All core Photoshop features are now available to 16-bit images, including layers, painting, text, and shapes.

   Match colors fast

   Apply the color scheme of one image to another, or one layer to another, to easily achieve a consistent look between shots in fashion or commercial photography. (See Using the Match Color command (Photoshop).)

   View live histograms as you work

   View an image and its histogram simultaneously with the new Histogram palette, allowing you to monitor the changes in your image as you make them. (See Using a histogram to view the tonal range of an image (Photoshop).)

   Create lens blur effects

   Easily produce the effect of highlights taking on the shape of the camera lens aperture. Lens Blur can be applied to an entire image or selection, or it can use an alpha channel as a depth map. (See Blur filters.)

   Simulate photo filter effects

   Customize filter adjustment layers to simulate the effect of standard photographic lens filters. (SeeUsing the Photo Filter command (Photoshop).)

   Easily correct exposure problems

   Use the Shadow/Highlight adjustment to modify shadows and highlights while preserving existing image midtones, easily correcting over- and underexposed areas in any image. (See Using the Shadow/Highlight command (Photoshop).)

   Quickly replace color

   Effortlessly change the color of any area of an image, while retaining the original texture and shading, with the new Color Replacement tool. (See Using the Color Replacement tool.)

   Automatically crop and straighten

   Take the pain out of scanning multiple images. Place one or more photos onto a scanner bed, scan them into Photoshop, and then run Crop and Straighten to let Photoshop automatically copy each image into its own document and rotate it as necessary. (See Using the Crop and Straighten Photos command (Photoshop).)

   Create panoramas fast

   Combine images into seamless panoramas, with each image optionally preserved to a separate layer for even more control over the final output. (See Creating panoramic images using Photomerge (Photoshop).)

   Customize your picture packages

   Picture Package gives you a variety of ways to easily combine multiple images, or multiple instances of one image, in a single print. For Photoshop CS, the Picture Package window now allows you to interactively edit existing layouts, making it easy to precisely control image position and spacing. (See Creating picture packages.)

   Modifying alpha channels (Photoshop)

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   To edit an alpha channel:

   To change an alpha channel’s options:

Photoshop CS for photographers

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Use a clipping path to create transparency that layout programs can recognize.

Some page layout programs display and print the transparent portions of an image as white unless you define those areas using a clipping path. A clipping path lets you isolate the nontransparent portion of your image so that layout programs print the image as expected. A clipping path masks anything outside its boundary, through all layers of the image, making those areas transparent.

2. In the Layers palette, select the layer containing the area you want to be transparent.
3. Using a selection tool, select the nontransparent portion of the image. If it is easier, you can select the transparent area (or the area you want to be transparent) and choose Select > Inverse to reverse the selection.
4. Click the Paths tab to bring the Paths palette to the front or, if the palette isn’t open, choose Window > Paths.
5. Click the Make Work Path button at the bottom of the Paths palette. Photoshop converts your selection to a path and displays it in the palette.
6. Double-click the Work Path name. In the Save Path dialog box, type a name for the path, and click OK.
7. Click the menu arrow on the top-right corner of the Paths palette and choose Clipping Path from the menu. In the Clipping Path dialog box, make sure the path you just created is listed for Path, leave Flatness blank, and click OK. The path name in the palette changes to bold type (Windows) or outline type (Mac OS) to indicate that the path is a clipping path. You see no other indication that the area will be clipped.
8. Save the file.
9. If the page layout program cannot place PSD files, choose File > Save As.
10. In the Save As dialog box, choose the appropriate format from the Format menu. For printing to non-PostScript printers, choose TIFF. For printing to PostScript printers, choose Photoshop EPS. Then click Save.
11. In the TIFF Options or EPS Options dialog box, set the options as noted below. Leave any remaining options at their default setting, and click OK.
    • TIFF Options dialog box: set Image Compression to None.
    • EPS Options dialog box (Windows): set Preview to TIFF (8 bits/pixel) and Encoding to ASCII85.
    • EPS Options dialog box (Mac OS): set Preview to Mac (8 bits/pixel) and Encoding to ASCII85.
    1. • Manually reduce the number of anchor points on the path. (See Adding, deleting, and converting anchor points.)
       • Increase the tolerance setting used to create the path. To do this, load the existing path as a selection, choose Make Work Path from the Paths palette menu, and increase the tolerance setting (4 to 6 pixels is a good starting value). Then re-create the image clipping path. For more information, see Converting paths to selection borders and Using image clipping paths to create transparency.

    Sometimes an imagesetter has difficulty interpreting image clipping paths, or a printer finds the image clipping path too complex to print, resulting in a Limitcheck error or a general PostScript error. Sometimes you can print a complex path on a low-resolution printer without difficulty but run into problems when printing the same path on a high-resolution printer. This is because the lower-resolution printer simplifies the path, using fewer line segments to describe curves than does the high-resolution printer.

    You can simplify an image clipping path in the following ways:

Note: If the layout program displays transparent areas as white, try printing the document. Some layout programs do not display clipping paths properly, but print them as expected.

If you experience printing errors, choose Clipping Path again, choose the same path, and set a Flatness value between 8 and 10 for high-resolution printers (over 600 dpi), and between 1 and 3 for low-resolution printers (600 dpi and lower).




Printing image clipping paths

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About masks (Photoshop)

Masks let you isolate and protect areas of an image as you apply color changes, filters, or other effects to the rest of the image. When you select part of an image, the area that is not selected is “masked” or protected from editing. You can also use masks for complex image editing such as gradually applying color or filter effects to an image.


Examples of masks A. Opaque mask used to protect the background and edit the butterfly B.Opaque mask used to protect the butterfly and color the background C. Semitransparent mask used to color the background and part of the butterfly

Masks and channels are grayscale images, so you can edit them like any other image. With masks and channels, areas painted black are protected, and areas painted white are editable. Masks let you save and reuse time-consuming selections as alpha channels. Alpha channels can store selections so you can use them again, or you can load a saved selection into another image.

Photoshop lets you create masks in the following ways:

Quick Mask mode

Lets you edit any selection as a mask. The advantage of editing your selection as a mask is that you can use almost any Photoshop tool or filter to modify the mask. For example, if you create a rectangular selection with the Marquee tool, you can enter Quick Mask mode and use the paintbrush to extend or contract the selection, or you can use a filter to distort the edges of the selection. You can also use selection tools, because the quick mask is not a selection. (See Using Quick Mask mode to make selections (Photoshop).) You can also save and load selections you make using Quick Mask mode in Alpha channels (see Saving a mask selection).

Alpha channels

Lets you save and load selections. (See Storing masks in alpha channels.) You can edit Alpha channels using any of the editing tools. When a channel is selected in the Channels palette, foreground and background colors appear as grayscale values. (See Using Quick Mask mode to make selections (Photoshop).)

Layer masks and vector masks let you produce a mix of soft and hard masking edges on the same layer. By making changes to the layer mask or the vector masks, you can apply a variety of special effects. (See Masking layers.)

Before making color and tonal adjustments

1. • Work with a monitor that’s calibrated and profiled. For critical image editing, this is absolutely essential. Otherwise, the image you see on your monitor will look different when printed. For more information on keeping color consistent throughout your workflow, see An introduction to color management.
   • Whenever you make a color or tonal adjustment to an image, some image information is discarded. It’s best to be judicious regarding the amount of correction you apply to an image.
   • (Photoshop) For critical work and maximum preservation of image data, it’s best if the image you work with is 16 bits per channel (16-bit image) rather than 8 bits per channel (8-bit image). As you make tonal and color adjustments and image data is discarded, the loss of image information is more critical in an 8-bit image than a 16-bit image. Photoshop CS has improved support for 16-bit images. Generally, 16-bit images have a larger file size than 8-bit images.
   • Duplicate or make a copy of the image file. Working on a copy of your image preserves the original in the event you need to use the image in its original state. (See Duplicating images.)
   • Remove any flaws such as dust spots, blemishes, and scratches from the image before making color and tonal adjustments. For more information on retouching an image, see Retouching and repairing images.
   • (Photoshop) Plan to use adjustment layers to adjust the tonal range and color balance of your image rather than applying an adjustment directly to the image layer itself. Adjustment layers let you go back and make successive tonal adjustments without discarding data from the image layer. Keep in mind that using adjustment layers adds to the file size of the image and demands more RAM from your computer. For more information on using adjustment layers, see Using adjustment layers and fill layers (Photoshop).
   • (Photoshop) Open the Info or Histogram palette in Expanded view. As you evaluate and correct the image, both palettes display invaluable feedback on your adjustments. For more information on using the Info palette, see Viewing the color values of pixels (Photoshop) and for more information on the Histogram palette, see About the Histogram palette.
   • You can make a selection or use a mask to confine your color and tonal adjustments to part of an image. Another method to selectively apply color and tonal adjustments is to set up your document with image components on different layers. Color and tonal adjustments are applied to only one layer at a time and will affect only the image components on the targeted layer.

The powerful tools in Photoshop and ImageReady can enhance, repair, and correct the color and tonality (lightness, darkness, and contrast) in an image. Here are some items to consider before making color and tonal adjustments.

Note: If you jump back and forth between Photoshop and ImageReady, be aware that ImageReady converts 16-bit images to 8-bit for editing. Once the files are saved in ImageReady, they are permanently converted to 8-bit, and the discarded data is unrecoverable. However, if you are editing a 16-bit image in ImageReady and haven’t saved it yet, you can return to Photoshop and the image will open as 16-bit without data loss.

Retouching and repairing images

You can use the Clone Stamp tool, Pattern Stamp tool, Healing Brush tool, and Patch tool to clone pixels and repair images.

Related Subtopics:

Using the Clone Stamp tool
Using the Pattern Stamp tool
Using the Healing Brush tool (Photoshop)
Using the Patch tool (Photoshop)
Using the Color Replacement tool
Using the Smudge tool (Photoshop)
Using the Blur tool (Photoshop)
Using the Sharpen tool (Photoshop)
Using the Dodge tool and the Burn tool (Photoshop)
Using the Sponge tool (Photoshop)
Working with bitmap images and vector graphics
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1. Bitmap images–technically called raster images–are made up of a grid of dots known as pixels. When working with bitmap images, you edit pixels rather than objects or shapes. Bitmap images are the most common electronic medium for continuous-tone images, such as photographs or digital paintings, because they can represent subtle gradations of shades and color.

   Bitmap images can lose detail when scaled on-screen because they are resolution-dependent, they contain a fixed number of pixels, and each pixel is assigned a specific location and color value. Bitmapped images can look jagged if they’re printed at too low a resolution because the size of each pixel is increased.

   
   Example of a bitmap image at different levels of magnification

   Reconstructing distortions

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   After you distort the preview image, you can use a variety of controls and reconstruction modes to reverse changes or redo the changes in new ways. Reconstructions can be applied two ways. You can apply a reconstruction to the entire image, smoothing out the distortion in unfrozen areas, or you can use the reconstruction tool to reconstruct in specific areas. You can use the Freeze tool to protect distorted areas from being reconstructed.

   
   Reconstruction based on distortions in frozen areas A. Original image B. Distorted with frozen areas C.Reconstructed in Rigid mode (using button) D. Thawed, edges reconstructed in Smooth mode (using tool)

   To reconstruct an entire image:

   1. Select a reconstruction mode from the Reconstruct Options area of the dialog box.
   2. Press the Reconstruct button in the Reconstruction Options area to apply the effect once. You can apply the reconstruction more than once to return the image to a less distorted appearance.

   To remove all distortions:

   Click the Restore All button in the Reconstruct Option area of the dialog box. This removes distortions even in frozen areas.

   To reconstruct part of a distorted image:

   1. Freeze areas you want to keep distorted.
   2. Select the Reconstruct tool . Choose one of these Reconstruct tool modes from the Brush Options area of the dialog box.
   3. Hold down the mouse button or drag over the area. Pixels move more quickly at the brush center. Shift-click to reconstruct in a straight line between the current point and the previous point that you clicked or Shift-clicked.

   To repeat distortions sampled from a starting point:

   1. After distorting the preview image, choose one of these reconstruction modes from the Mode menu in the Tool Options area of the dialog box.
   2. Select the Reconstruct tool , and in the preview image, hold down the mouse button or drag from a starting point.

   This creates a copy of the distortion sampled at the starting point, similar to the way you can paint a copy of an area using the Clone tool. If there is no distortion, the effect is the same as using Revert mode. You can set new starting points and use the Reconstruct tool repeatedly to create a variety of effects.

Computer graphics fall into two main categories–bitmap and vector. You can work with both types of graphics in Photoshop and ImageReady; moreover, a Photoshop file can contain both bitmap and vector data. Understanding the difference between the two categories helps as you create, edit, and import artwork.
Stroke a path
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How To Tip:

Stroke a path to add it to your image.

A path created with the pen or shape tools does not become an image element until you stroke or fill it. The stroke uses the current attributes of the Brush tool, so before stroking a path, you need to select the Brush tool and set its characteristics.

1. Click the Path Selection tool in the toolbox (it may be hidden by the Direct Selection tool ), and select the path. (If the path is not currently visible, select it in the Paths palette. If you haven’t saved the path, it will be the Work Path.)
2. Click the Brush tool .
3. In the options bar at the top of the work area, choose a brush size and style from the Brush pop-up palette.
4. Click the Foreground color to open the Color Picker dialog box.
5. In the Color Picker dialog box, locate the color range you want using the triangle sliders on the color spectrum bar, and then click the desired color in the color field. The color you select appears in the top half of the color swatch. The original color remains in the bottom half. Click OK.
6. In the Paths palette, choose Stroke Path from the palette menu.
7. In the Stroke Path dialog box, select Brush from the Tool pop-up menu and click OK. Photoshop applies the stroke to the shape you drew.

Use a clipping path to create transparency

How To Tip:

Use a clipping path to create transparency that layout programs can recognize.

Some page layout programs display and print the transparent portions of an image as white unless you define those areas using a clipping path. A clipping path lets you isolate the nontransparent portion of your image so that layout programs print the image as expected. A clipping path masks anything outside its boundary, through all layers of the image, making those areas transparent.

1. In the Layers palette, select the layer containing the area you want to be transparent.
2. Using a selection tool, select the nontransparent portion of the image. If it is easier, you can select the transparent area (or the area you want to be transparent) and choose Select > Inverse to reverse the selection.
3. Click the Paths tab to bring the Paths palette to the front or, if the palette isn’t open, choose Window > Paths.
4. Click the Make Work Path button at the bottom of the Paths palette. Photoshop converts your selection to a path and displays it in the palette.
5. Double-click the Work Path name. In the Save Path dialog box, type a name for the path, and click OK.
6. Click the menu arrow on the top-right corner of the Paths palette and choose Clipping Path from the menu. In the Clipping Path dialog box, make sure the path you just created is listed for Path, leave Flatness blank, and click OK. The path name in the palette changes to bold type (Windows) or outline type (Mac OS) to indicate that the path is a clipping path. You see no other indication that the area will be clipped.
7. Save the file.
8. If the page layout program cannot place PSD files, choose File > Save As.
9. In the Save As dialog box, choose the appropriate format from the Format menu. For printing to non-PostScript printers, choose TIFF. For printing to PostScript printers, choose Photoshop EPS. Then click Save.
10. In the TIFF Options or EPS Options dialog box, set the options as noted below. Leave any remaining options at their default setting, and click OK.
    • TIFF Options dialog box: set Image Compression to None.
    • EPS Options dialog box (Windows): set Preview to TIFF (8 bits/pixel) and Encoding to ASCII85.
    • EPS Options dialog box (Mac OS): set Preview to Mac (8 bits/pixel) and Encoding to ASCII85.

Note: If the layout program displays transparent areas as white, try printing the document. Some layout programs do not display clipping paths properly, but print them as expected.

If you experience printing errors, choose Clipping Path again, choose the same path, and set a Flatness value between 8 and 10 for high-resolution printers (over 600 dpi), and between 1 and 3 for low-resolution printers (600 dpi and lower).

Draw a path

How To Tip:

Draw a path using the Pen tool.

To draw a path with the Pen tool, you click to set anchor points for the path, and Photoshop draws lines between the points (called segments). To draw a curve, you click and drag, which both sets a point of the path and adjusts the shape of the curve. Unlike elements you draw with the Brush or Pencil tool, a path has no pixels associated with it, so you must fill or stroke it before it becomes part of your image.

1. Select the Pen tool in the toolbox.
2. In the options bar at the top of the work area, click the Paths button .
3. In the document window, click to set the first point of the path for a straight line. To set the first point of a curve, drag in the direction you want the path to curve.
4. To create a straight line, click where you want the endpoint of the line. To create a curve, move the pointer to the location for the next point, and drag away from the point. The curve changes shape as you drag. Notice the direction lines that appear and move with the mouse.
5. Click or drag to continue adding points. To delete the point you just added, press the Backspace key (Windows) or Delete key (Mac OS).
6. To close a shape, position the pointer over the first point. When a circle appears next to the pointer, click (for a straight segment) or drag (for a curve).
7. To adjust a curve, click the Direct Selection tool in the toolbox (it may be hidden by the Path Selection tool ). Then select the curve. The direction lines of the anchor points on either side of the curve appear. Drag the endpoints of the direction lines until you are satisfied with the curve.

You can add or delete points using the Add Anchor Point and Delete Anchor Point tools (found under the Pen tool).