PHOTOSHOP
ADJUSTMENT LAYERS | TOOLS | VIEW | BLENDING MODES | IMAGE | OPACITY | LAYERS | TRANSFORM
Among other Adobe products, Photoshop is an industry standard editing software.
Photoshop is capable of truly amazing processes and results.
There are so many (almost too many) ways to arrive at a similar effect in Photoshop. This can seem daunting to its users, who try to ascertain the “best” or most efficient way. Just as there are many methods and techniques In Photoshop, there are even more opinions on what the “right” process may be.
At Visionspire, we like to be practical. It’s not just important that you “like” what you create; we want to empower and instruct you to create what you like. You should confidently create with purpose.
Find inspiration, make a plan, follow through, and feel the satisfaction of a successfully executed vision. Stumbling upon a final image can be exciting, but accidents are not reliable.
If you feel intimidated by Photoshop, you’re in good company. Trust me, we’ve all been there. To get started, you can:
1. Wade through information until inspiration strikes and you’d like to try something you learn (for the adventurous).
2. Set out with a technique or final aesthetic in mind – then try to achieve it (for the problem-solvers).
3. Check out Visionspire Case Studies if you’re still brainstorming your plan (for those who need a little extra motivation).
Not yet convinced you should dive in? Here are some before-and-afters that demonstrate just a fraction of what Photoshop can do.
Photoshop allows its users to create and manipulate information in an image, stored in pixels by value and color.
In this section, we will discuss fundamental concepts in Photoshop like layers, masking, and adjustments. We will also discuss more advanced processes and specific problem-solving within retouching. Each section also has short videos that demonstrate basic Photoshop functions and tools. For more detailed explanations of technique and application, check out our Tutorials and How-To videos.
ADJUSTMENT LAYERS
Black and White
The Black and White adjustment layer converts an image into grayscale, removing all hue. It is located in the adjustments tab on the right side of the workspace. The adjustment panel also allows one to change the value or intensity of selective hues in the original image: Red, Yellow, Green, Cyan, Blue, and Magenta. When adjusting the “Red” slider, for example, only the reds in the original image will change in intensity.
This adjustment also offers the ability to add a tint to grayscale. To overlay a hue on the black and white image, click on the box next to “Tint” near the top of the adjustment panel. To create a sepia tone effect, for example, select the colored square next to “Tint” and change the hue.
Brightness/Contrast
The Brightness/Contrast adjustment layer affects the tonal range of a photograph. It is located in the adjustments tab on the right side of the workspace.
Moving the “Brightness” slider to the right will cause the image to be brighter, while moving it to the left will cause the image to be darker.
Moving the “Contrast” slider to the right will expand the tonal range, making the shadows darker and the highlights lighter. Moving this slider to the left will reduce the tonal range, making the highlights darker and shadows lighter.
Brightness/Contrast affects tonal range proportionally, similar to other adjustment layers like Curves and Levels. However, when “Legacy” is selected, it shifts all pixel values indiscriminately, which can cause clipping or information loss. For this reason, the Legacy function is not recommended for adjusting images. It can be useful for other elements or advanced processes like masking.
Channel Mixer
A color channel is a grayscale representation of tonal value of color in an image.
Let’s break that down. A grayscale image lacks color. Instead, it shows a tonal range from white to black, with a variety of gray in the middle. These highlights (white), midtones (gray), and shadows (black) have different tonal values because they vary in brightness.
A grayscale representation of color would demonstrate the amount of color present in an image by monochromatic tones only.
In the red color channel, for example, the areas of an image with the most red appear light or white. The areas of an image with the least amount of red appear dark gray or black. The red color channel looks like a black and white image, but it communicates color information: how much red is present, and where it is present in the image.
To create color with light, as with a computer, there are three colors that compose the color spectrum: Red, Green, and Blue. This often appears as
“RGB.”
For this reason, there are three main color channels: Red, Green, and Blue.
The Channel Mixer adjustment layer actually reads and adjusts the value information (lights and darks) in a color channel, not just the hue like Selective Color.
Channel Mixer can be found in the adjustments tab on the right side of the workspace.
Selecting an output channel, i.e. Green, will change that color channel by adjusting how much each original color channel contributes. With green selected as the output channel, adjusting the three sliders to the left will add magenta and pushing them to the right will add green.
Consider the following, due to complementary colors:
- Red Output Channel: Sliders will add Cyan (left) and Red (right)
- Green Output Channel: Sliders will add Magenta (left) and Green (right)
- Blue Output Channel: Sliders will add Yellow (left) and Blue (right)
Notice the “Total” value near the bottom of the adjustment properties. If this number shows 100%, the image should be exposed similarly to the original. If it is above 100%, then it will be overexposed. If it is below 100%, it will be underexposed. To maintain a proper exposure, consider balancing this percentage with the sliders.
The “Constant” slider will affect the overall tonal values in a color channel. Similar to the examples above, if the Green Output Channel is selected, pushing
Constant to the left will introduce more magenta. Pushing it to the right will add more green.
Another Illustration
Channel Mixer affects color by reading and adjusting grayscale information in each color channel.
Red Channel
- Grayscale Representation
– More red appears as lighter tones
– Less red appears as darker tones - RGB Representation
– More red also means less cyan
– Less red also means more cyan - Translate
– More Red -> Lighter Grayscale Tones -> Appears as Less Cyan
– Less Red -> Darker Grayscale Tones -> Appears as More Cyan
Green Channel
- Grayscale Representation
– More green appears as lighter tones
– Less green appears as darker tones - RGB Representation
– More green also means less magenta
– Less green also means more magenta - Translate
– More Green -> Lighter Grayscale Tones -> Appears as Less
Magenta
– Less Green -> Darker Grayscale Tones -> Appears as More Cyan
Blue Channel
- Grayscale Representation
– More blue appears as lighter tones
– Less blue appears as darker tones - RGB Representation
– More blue also means less yellow
– Less blue also means more yellow - Translate
– More Red -> Lighter Grayscale Tones -> Appears as Less Cyan
– Less Red -> Darker Grayscale Tones -> Appears as More Cyan
Color Balance
Color Balance changes color through the RGB color channels and can be used to add hues in the highlights, midtones, and shadows. Color Balance is located in the adjustments tab on the right side of the workspace. Through Color Balance, hues can be shifted from Red to Cyan, Green to Magenta, and Blue to Yellow. Note that this adjustment adds color to the image rather than manipulate pre-existing hues.
Color Lookup
The Color Lookup adjustment uses lookup tables to change color and value information in an image. Color Lookup can be found in the adjustments tab on the right side of the workspace.
A Lookup Table or “LUT” is
The first option in the adjustment panel is “3D LUT File.” This will not render anything as three-dimensional; the “3D” refers to how color is understood and adjusted – through Red, Green, and Blue (RGB). The majority of presets will be located in this first option. Some
Selecting Crisp Warm, for example, makes the image warmer and increases contrast. Futuristic Bleak, on the other hand, desaturates the image and slightly reduces contrast.
Other LUT options in the adjustment panel include “Abstract” and “Device Link.” Abstract profiles are the most flexible and can be applied to any color mode. There are not typically Device Link profiles preloaded in Photoshop, but they can be created and exported in CMYK mode. 3D LUT profiles can only be exported in RGB mode.
The “Dither” option introduces some noise to the image to smoothly blend color transitions and create the perception of color where it is not present. This effect is recommended with Color Lookup. Changing layer opacity and blending mode also allow an editor to apply LUT effects with more subtlety.
Curves
The Curves adjustment alters an image’s tonal range. Curves can be found in the adjustments tab on the right side of the workspace.
The Curves adjustment panel displays a graph with a diagonal line. The left, lower side of the line represents shadows or dark values in the image. The right, higher side of the line represents highlights or light values in the image.
Clicking anywhere on the line will create a point. Dragging that point up or down will increase or decrease the values in the tonal range. Adjusting point placement on the graph changes the curve of the line.
For example, an “S” curve typically describes a higher-contrast adjustment because of the way the curves line appears.
By default, the Curves adjustment will alter all values in “RGB.” To affect colors more selectively, choose one of the following channels in the
As with many other adjustments, Curves comes with preloaded presets. Presets quickly produce a curve to achieve the desired effect and can still be altered after selection. Some presets include:
- Color Negative
- Cross Process
- Darker
Increase Contrast- Lighter
- Linear Contrast
- Medium Contrast
- Negative
- Strong Contrast
Down the left side of the adjustment panel, there are several other options to adjust the curve:
- Click and Drag In Image – Move the cursor over the image. Left click and hold on
a color or value, then push the mouse up or down. This will alter the curve for the range where the selected value belongs. - Sample to Set Black Point – Move the eyedropper over the image and select a dark, black element without
colorcast . This will overwrite any previous adjustment in curves, so complete this adjustment first if desired to adjust color. - Sample to Set Gray Point – Move the eyedropper over the image and select a neutral gray. This will overwrite any previous adjustment in curves, so complete this adjustment first if desired to adjust color.
Sample to Set White Point – Move the eyedropper over the image and select the whitest element (without colorcast ). This will overwrite any previous adjustment in curves, so complete this adjustment first if desired to adjust color.- Edit Points – This option is selected by default when the Curves adjustment panel is opened. This allows the editor to create and drag points on the line itself. To delete a point, click on the point and hit “delete” or click and drag a point off the grid.
- Draw to Modify – This function allows an editor to draw a desired curve on the graph.
- Smooth Curve Values – This function smoothes differing values on the line to a more neutral slope, blending the overall desired effect.
Exposure
The Exposure adjustment alters image tonality in a linear color space. Exposure can be found in the adjustments tab on the right side of the workspace.
Like many other adjustments, Exposure comes loaded with presets:
- Plus 1.0 – Overexposed by one stop
- Plus 2.0 – Overexposed by two stops
- Minus 1.0 – Underexposed by one stop
- Minus 2.0 – Underexposed by two stops
To adjust the image manually, select “Custom” in the
Exposure primarily adjusts the value of highlights. Moving the exposure slider to the left will make highlights darker in value while moving it to the right will make them lighter in value.
Offset primarily adjusts the value of
Gamma adjusts pixel values with a non-linear function. Moving the gamma slider to the left will make the overall image appear lighter with less
At the bottom of the adjustment panel, three eyedropper icons appear:
- The Set Black Point Eyedropper sets the offset or black value.
- The Set Gray Point Eyedropper sets the exposure or middle gray value.
- The Set White Point Eyedropper sets the exposure or white value.
- This adjustment layer is typically used for HDR images.
Gradient Map
The Gradient Map adjusts hues in an image by associating a color range with the original tonal range. Gradient Map can be found in the adjustments tab on the right side of the workspace.
If a gradient is created using two colors, Gradient Map will map “Color A” to image highlights and “Color B” to image shadows. Midtones will appear as a combination of the two colors. The lighter the
Gradient Map includes default presets that appear as colored squares. To select a preset gradient, click the down arrow next to the horizontal gradient in the adjustment layer. The top left and bottom right corners in a square
middle will mainly affect the image’s
To further customize the gradient, click on the horizontal gradient of color in the adjustment panel (not the arrow next to it). A “Gradient Editor” window should appear with more advanced options. Here, gradients can be created, loaded, and exported. Some editor options include:
- Gradient Type: Solid or Noise
- Smoothness
Color assigned to highlights,midtones , and shadows (represented in a horizontal gradient). The amount or weight of each color is also adjustable.
Dither and Inverse are selections in the Gradient Map adjustment panel. Dither blends the effect further by creating some noise. Inverse flips the colors in the gradient; it inverts which color will map to highlights and which will map to shadows.
Adjusting layer opacity and blending mode can create more subtle gradient effects.
Hue/Saturation
Hue/Saturation manipulates color by adjusting hue, saturation, and lightness or value. Hue/Saturation can adjust all present colors through a channel called “Master,” or more selectively, by manipulating specific colors in an image.
Specific channels include Red, Yellow, Green, Cyan, Blue, and Magenta. A new hue/saturation adjustment layer can be added from the adjustments tab on the right.
This adjustment affects colors that already exist in the image, but the panel also has an option at the bottom to ‘colorize’ – which overlays the image with a hue. The “colorize” hue can be adjusted by hue, saturation, and lightness as well.
For more advanced adjustments, understanding layer masks will allow one to be more selective – creating or changing colors in specific areas of an image.
Invert
In an image, each pixel is located on a color-value scale. The Invert adjustment converts each pixel’s value to its inverse or opposite value on the scale. Invert can be found in the adjustments tab on the right side of the workspace.
Invert is commonly used to convert scanned black and white film negatives to produce a positive black and white image. It can also quickly switch black and white values when designing a logo or editing a layer mask.
Levels
The Levels adjustment affects tonal range and color. Levels can be found in the adjustments tab on the right side of the workspace.
The adjustment panel shows a histogram with three markers: black, middle gray, and white. The tonal range in the histogram is a spectrum of values from 0 (true black) to 255 (true white).
The marker at the bottom left of the histogram controls black. Sliding this marker to the right will make shadows darker and crush blacks, increasing image contrast.
The marker at the bottom right of the histogram controls white. Sliding this marker to the left will make highlights brighter and potentially blow out whites, increasing image contrast.
The marker at the bottom of the histogram in the middle controls middle gray. Sliding this marker closer to the left or right marker will affect overall tonal values in either direction, with less
slider to the left will make the image lighter because it relocates more of the image’s tones between the middle gray marker and the white marker. Moving the middle gray slider to the right will make the image darker because it relocates more of the image’s tones between the middle gray marker and the black marker.
The horizontal gradient at the bottom of the adjustment panel adjusts output levels, redefining the values for true black and true white. Moving the left slider will increase the lowest output level, making all blacks or shadows lighter. Moving the right slider will decrease the highest output level, making all whites or highlights darker. This slider decreases contrast because it limits the two poles of the tonal range.
To adjust colors by using grayscale data (white, middle gray, and black values), the dropdown menu that says “RGB” by default can be changed to the Red, Green, or Blue color channels. All of the levels adjustments still apply, but they affect color using tonal values. In the Red Channel, adjustments to highlights and shadows will produce red or cyan. In the Green Channel, adjustments to highlights and shadows will produce green or magenta. In the Blue Channel, adjustments to highlights and shadows will produce blue or yellow.
The adjustment panel also comes with loaded presets to help establish a starting point or facilitate quick edits. Some presets include:
Increase Contrast- Lighter
- Darker
- Midtones Brighter
Photo Filter
The Photo Filter adjustment applies colored effects to the image. Photo Filter can be found in the adjustments tab on the right side of the workspace.
Note that the Photo Filter adjustment is different than other “Filters” that Photoshop offers. Photo Filter can be a simpler, more rudimentary way to achieve different colored effects. The adjustment panel has loaded presets to choose from, a solid color option, and a density slider. Some presets include:
- Warming Filter
- Cooling Filter
- Violet
- Deep Emerald
- Underwater
Adjusting the density slider will increase or decrease the effect.
If another color is desired, click on the color square to customize the effect. “Preserve Luminosity” is a checkbox that prevents colors or effects from changing the image exposure. If the editor selects a red filter with 100% density, highlights in the original image will become red and the overall image will appear darker. With Preserve Luminosity, the original exposure will be unaffected and the highlights will only have a red tint.
Posterize
The Posterize adjustment creates a flat, poster-like image. Posterize can be found in the adjustments tab on the right side of the workspace.
In areas with natural color transitions or gradient, Posterize creates color banding. This removes detail and instead produces more rudimentary shapes and colors to simplify the image. Posterize essentially breaks down blended elements of an image to create defined, separated shapes and colors.
The Posterize adjustment panel has one slider called “Levels.” Moving the slider to the left will increase the Posterize effect while moving it to the right will decrease or eliminate the effect.
Selective Color
Selective Color can edit the following color channels: Red, Yellow, Green, Cyan, Blue, Magenta, White, Neutral, and Black.
Each channel in Selective Color has four color sliders: Cyan, Magenta, Yellow, and Black (CMYK). Cyan, Magenta, and Yellow affect color while the Black slider affects value or luminosity.
Remember that affecting color balance within a color channel will appear as more or less of complementary colors. Decreasing yellow, for example, will make an image appear
- Cyan – Red
- Magenta – Green
- Yellow – Blue
- Black – White
To manipulate a specific color in an image, select the appropriate color channel. To adjust grass, for example, an editor may select the green color channel. To make the grass appear cooler, an editor might increase cyan, decrease magenta (allowing for more green), and decrease the yellow percentage (allowing for more blue). To lighten the grass, the editor could decrease the amount of black found in the green channel.
To make grass appear warmer, an editor might decrease cyan (allowing for more red) and increase yellow.
Threshold
The Threshold adjustment converts an image into a high-contrast black and white image.
The adjustment panel shows a histogram, slider, and numerical threshold level. All pixels with a value less than the threshold will be converted to black and all pixels with a higher value than the threshold will be converted to white.
Moving the slider to the right will increase the threshold, so more pixels will be converted to black. Moving the slider to the left will decrease the threshold, so more pixels will be converted to white.
Vibrance
The Vibrance adjustment increases or decreases saturation without clipping information. Vibrance can be found in the adjustments tab on the right side of the workspace.
The adjustment panel has two sliders: one for
Note that the least amount of
The saturation slider also makes colors more rich and vivid, but it can create clipping or information loss when pushed to an extreme. Moving the slider to the right will increase saturation while moving it to the left will decrease saturation. For more realistic edits, saturation should be used more selectively and in moderation.
TOOLS
Background Eraser Tool
The Background Eraser Tool can be used to quickly remove the background from an image. This tool samples color at the center of the brush and deletes pixels with
The Background Eraser Tool can be found on the left side of a default Photoshop workspace, in the vertical toolbar. Click and hold on the Eraser Tool to engage a
To use the Background Eraser Tool, simply click and drag the brush over the background. Keep the center of the brush away from essential elements that should not be erased.
This tool is not the most precise way to remove a background, but it can be
Blur Tool
The Blur Tool makes elements appear as if they are out of focus. Adjusting brush style, size, and strength allows for more precise blur effects.
The Blur Tool can be found on the left side of a default Photoshop workspace, in the vertical toolbar.
To add blur, simply click and drag the brush to desired areas of an image.
This tool can be used to draw less attention to busy elements or imitate shallow depth of field by separating the subject from the background.
Blurring one element will also make other nearby elements appear sharper in comparison.
Smudge Tool
The Smudge Tool pushes pixels in
To use the Smudge Tool, simply click and drag the brush to desired areas of an image. This tool distorts different elements by stretching or compressing surrounding pixels, changing their sharpness and quality.
The Smudge Tool can be used in several different modes to achieve other effects while it smudges the image: Darken, Lighten, Hue, Saturation, Color, and Luminosity. The default mode is Normal.
The Intensity can be set at the top of the workspace in the Tool Options bar. The higher the intensity, the more dramatic the smudge effect will be. The more the Smudge Tool is used in one area, the less detail and color distinction will be visible. Use this tool sparingly for realistic, subtle edits.
To change specific brush settings, open the Brush Panel.
Sharpen Tool
The Sharpen Tool selectively increases clarity and sharpness in an image. The Sharpen Tool can be found on the left side of a default Photoshop workspace, in the vertical toolbar. This tool is located in a menu with the Blur Tool and the Smudge Tool. Hold down the Blur Tool in the toolbar to see the menu.
To use the Sharpen Tool, simply click and drag the brush over desired areas of an image.
The Sharpen Tool can be used in several different modes to achieve other effects while it sharpens the image: Darken, Lighten, Hue, Saturation, Color, and Luminosity. The default mode is Normal.
The Intensity can be set at the top of the workspace in the Tool Options bar. The higher the intensity, the more dramatic the sharpening effect will be.
To change specific brush settings, open the Brush Panel.
This tool can be used to draw more attention to significant elements. Sharpening one part of an image can make nearby areas appear blurred or out of focus in comparison.
If this tool is used excessively in one area, it may generate grain or undesired hue along sharp edges. Use this tool sparingly for realistic or subtle edits.
Brush Tool
The Brush Tool applies color to the background image using strokes. The Brush
To use this tool, click and drag the cursor on the image. To change the color, select the colored squares at the bottom left of the screen and select a color from the picker. Although the Brush Tool can be used to apply colors organically, the Brush Tool is also frequently used to create new elements in an image or alter layer masks.
To customize or modify how the brush applies color, several settings can be changed:
- Blending Mode – Blending modes alter how this tool changes pixels of an image. Changing the mode can allow more selective and stylized
changes. - Brush Tip (Shape) – The shape of the brush stroke is called the brush tip. The tip can also be changed into identifiable shapes to create elements
like grass, hair, and patterns. Photoshop contains brush tip presets, but custom shapes can also be created and saved for use. - Brush Hardness – If the brush is softer, it will create color with smooth, soft transitions. If the brush is harder, it will create color with more rigid,
defined edges. - Brush Size – The brush size can be changed to control how much of the image is affected by the tool.
- Brush Spacing – The spacing affects how the stroke applies color – in separated shapes (greater spacing) within the stroke or in one
continuous line (shorter spacing). - Opacity – The brush opacity affects how opaque or transparent the color appears when applied. If the opacity is set to 100%, none of the
background image will show through the color applied. If the opacity is set lower, the layer beneath will show through. - Flow – The flow controls how much color is applied per stroke.
- Airbrush – The airbrush function applies soft color, imitating an airbrush. These options are located at the top left of the workspace or within the Brush Panel.
More advanced brush shape settings within the Brush Panel include:
- Shape Dynamics
- Scattering
- Texture
- Dual Brush
- Color Dynamics
- Transfer
- Brush Pose
- Noise
- Wet Edges
- Build-Up
- Smoothing
- Protect Texture
Tips:
- To edit non-destructively, create a new layer or duplicate layer to paint on. Brush strokes cannot be erased independently without erasing pixels
from the underlying layer. If this tool is used on the only layer, the editor must go back through the History to remove undesired brush strokes
(History shows a limited number of recent actions). - To select a color within the image for the brush tool, hold “
Alt” and click on a pixel of the desired color. This will change the color accordingly. - To paint on a layer mask, make sure the layer mask (not the layer itself) is selected before using the Brush Tool.
Burn Tool
The Burn Tool darkens areas of an image. This tool imitates a darkroom technique called “
The Burn Tool is located on the vertical toolbar on the left of the default Photoshop workspace. The shortcut for the Burn Tool is “O” or “Shift + O” because it’s located in a menu with the Dodge Tool and the Sponge Tool.
To use this tool, click and drag the cursor on the layer or image. The Burn
burn areas with more control:
- Brush Tip (Shape) – The shape of the brush stroke is called the brush tip. This affects how burn effects appear when the stroke is applied.
- Brush Hardness – If the brush is softer, it will burn the image with smooth, soft transitions. If the brush is harder, it will burn the image with more rigid, defined edges.
- Brush Size – The brush size can be changed to control how much of the image is affected by the tool.
- Range – This changes the tonal range affected by the Burn Tool. It can selectively affect highlights,
midtones , or shadows. - Exposure (Intensity) – This changes the intensity of the Burn Tool. A low exposure (less than 10%) is often recommended for subtle, organic edits.
- Protect Tones – Checking the “
Protect Tones” function will reduce clipping and preserve information in highlights and shadows. This will also minimize hue changes due to the Burn Tool.
All of these options are located at the top left of the workspace or within the Brush Panel. This tool is often used to make shadows more dramatic, contour shapes, and make certain elements less noticeable in an image.
Dodge Tool
The Dodge Tool brightens areas of an image. This tool imitates a darkroom technique called “Dodging” where a specific area of a print is made brighter when it is exposed to less light. (Paper used to print in a darkroom is light sensitive, so more light exposure will produce darker tones and less light exposure will maintain lighter tones).
The Dodge Tool is located on the vertical toolbar on the left of the default Photoshop workspace. The shortcut for the Dodge Tool is “O.” It is located in a menu with the Burn Tool and the Sponge Tool.
To use this tool, click and drag the cursor on the layer or image. The Dodge Tool uses a brush-like applicator so several settings can be adjusted to dodge areas with more control:
- Brush Tip (Shape) – The shape of the brush stroke is called the brush tip. This affects how dodge effects appear when the stroke is applied.
- Brush Hardness – If the brush is softer, it will dodge the image with smooth, soft transitions. If the brush is harder, it will dodge the image with more rigid, defined edges.
- Brush Size – The brush size can be changed to control how much of the image is affected by the tool.
- Range – This changes the tonal range affected by the Dodge Tool. It can selectively affect highlights,
midtones , or shadows. - Exposure (Intensity) – This changes the intensity of the Dodge Tool. A low exposure (less than 10%) is often recommended for subtle, organic edits.
- Protect Tones – Checking the “Protect Tones” function will reduce clipping and preserve information in highlights and shadows. This will also
minimize hue changes due to the Dodge Tool.
All of these options are located at the top left of the workspace or within the Brush Panel. This tool is often used to make highlights more dramatic and add emphasis to certain elements in an image. In portraits, for example, the Dodge Tool can quickly brighten eyes, hair highlights, and brighten skin tones.
Sponge Tool
The Sponge Tool selectively increases or decreases saturation. The Sponge
To use this tool, drag the cursor over the image and click anywhere to change saturation.
Several settings are located in the Tool Options bar at the top of the workspace:
- Brush Size, Hardness, and Shape
- Mode: This tool can saturate or desaturate. Select the mode to change its function.
- Flow: This setting changes the intensity of the effect each time the brush is applied.
- Airbrush: This feature imitates an airbrush when applying the desired effect.
- Vibrance: This feature preserves color information and reduces clipping. This tool uses a brush-like applicator, so the Brush Panel can be used to make more specific or specialized edits.
Clone Stamp
The Clone Stamp tool duplicates pixels and applies them to another area of the image. Clone Stamp is located on the vertical toolbar on the left of the default Photoshop workspace. The shortcut for the Clone Stamp Tool is “
To use this tool,
The “
If the Aligned function is deselected, the original sampling point will be reused after the editor releases the mouse. Every time the mouse is released, the sampling point will return to the original selection.
The Clone Stamp uses a brush-like applicator, so several settings can be adjusted to clone areas with more control.
- Blending Mode – Blending modes alter how this tool affects pixels in an image. Changing the mode can allow selective and stylized changes.
- Brush Tip (Shape) – The shape of the brush stroke is called the brush tip. The tip can also be changed into identifiable shapes to create elements like grass, hair, and patterns. Photoshop contains brush tip presets, but custom shapes can also be created and saved for use.
- Brush Hardness – If the brush is softer, it will clone the sampled pixels with smooth, soft transitions. If the brush is harder, it will apply the sample area with more rigid, defined edges.
- Brush Size – The brush size can be changed to control how much of the image is affected by the tool.
- Brush Spacing – The spacing affects how the stroke applies the cloned pixels – in separated shapes (greater spacing) within the stroke or in one continuous line (shorter spacing).
- Opacity – The brush opacity affects how opaque or transparent the sampled area appears when cloned. If the opacity is set to 100%, none of the background
image will show through the cloned information. If the opacity is set lower, the layer beneath will show through. - Flow – The flow controls how much of the cloned information is applied per stroke.
- Airbrush – This function makes the brush imitate an airbrush when reproducing the cloned information.
The Clone Stamp Tool is frequently used to remove undesired elements in an image by replacing one area with information from another.
Content-Aware Move Tool
The Content-Aware Move Tool allows an editor to copy part of an image, apply it elsewhere, and fill the original location with surrounding elements. The Content- Aware Move Tool is located in the vertical toolbar on the left side of the default Photoshop workspace. Click and hold on the icon for the Spot Healing Brush Tool and a drop-down menu will appear; Content-Aware Move is in the same menu as Spot Healing Brush Tool, Healing Brush Tool, Patch Tool, and Red-Eye Tool.
The Content-Aware Move Tool can act as a free-hand tool for organic selections. To make a selection, click and drag the tool to outline the element that will be relocated. If a more precise selection is desired, use other selection tools like the Magic Wand Tool or Quick Selection Tool. If the initial selection is made with another tool, be sure to click on the Content-Aware Move Tool before attempting to relocate the selection.
Click on the selection and drag it to the desired destination. At this point, the selection can be resized or positioned differently. Click on the check mark at the top of the screen or hit enter to complete the move. Last, the tool fills in the previous location with an approximation of surrounding elements. The fill approximation is rarely perfect, but it can provide a good starting point to clean up the area. This function is most effective when the moving element is isolated from other parts of the image or located on a background with mostly similar pixels.
To customize this tool, several settings at the top left of the workspace can be changed:
- Selection Preferences
– New Selection – creates a freehand selection with the tool
– Add to Selection – creates an additional selection with the tool if aselection has already been made
– Subtract from Selection – removes part of an existing selection
– Intersect with Selection – only uses overlapping areas of a new selection and existing selection - Structure – Scale from 1 to 7. This influences how strictly the tool maintains the original information or pattern once the selection has been moved. A value of 1 retains less while 7 retains more.
- Color – Scale from 0 to 10. This influences how the tool blends color once the selection has been moved. A value of 0 disables color blending so the selection preserves all original color. A value of 10 is maximum color blending in an
attempt create more natural transitions once the selection has been moved.
Crop Tool
The Crop Tool removes part of the image to recompose or resize an image. The Crop Tool is located in the vertical toolbar on the left side of the default Photoshop workspace. The hotkey for this tool is “C.”
Borders appear on the image when the Crop Tool is selected. To adjust the crop borders, drag any corner in the desired direction.
To rotate the crop, drag the cursor over a
When the borders represent the desired crop, click the check mark at the top of the workspace or hit enter to commit to the crop. To cancel a crop, click the cancel button at the top of the workspace.
The first drop-down menu at the top left of the workspace has several grouped options:
- Crop Measurement
– Ratio
– Width x Height x Resolution - Ratio Options
- Width x Height x Resolution Options
The width and height values can also be entered manually in the rectangular fields at the top of the workspace. Clicking the arrows between the two will swap the width and height, flipping the orientation of the crop. Click “Clear” to reset the width and height.
The “Straighten” function allows the editor to draw a line with two points. Click to create the first point, then move the cursor and click to create the second point. The Crop Tool will consider this line level and rotate the image accordingly. To straighten an image properly, select a line in the image that should be perfectly level.
Different overlays can assist in making a precise, intentional crop. Overlays can be set to always appear, automatically appear, or never appear. There are several options in the overlay menu located at the top of the workspace:
- Rule of Thirds
- Grid
- Diagonal
- Triangle
- Golden Ratio
- Golden Spiral
“Delete Cropped Pixels” at the top of the workspace removes pixels so that a
Tip: Another way to maintain the original ratio of the image is to hold shift when dragging corners of the crop border.
Eraser Tool
The Eraser Tool removes pixels and replaces them with transparency. If a top layer has erased pixels, information from the layer beneath it will show through.
The Eraser Tool is located on the vertical toolbar on the left of the default Photoshop workspace. The hotkey for this tool is “E.”
To erase with more control, several settings at the top left of the workspace can be adjusted:
- Opacity – The opacity affects how much is removed when touched by the eraser. If the opacity is set to 100%, all affected pixels will be removed and an underlying background or layer will show through completely. If the opacity is set lower, the eraser will make the affected areas more transparent, showing underlying layers only partially.
- Mode
– Brush – The Eraser Tool will use a brush-like applicator. This also allows the editor to further customize in the Brush Panel. Brush Mode also allows for different Flow settings and an Airbrush function.
– Pencil – The Eraser Tool will use a pencil-like applicator. This also allows the editor to further customize in the Brush Panel.
– Block – The Eraser Tool will remove pixels with a square shape. - Only in Brush Mode and Pencil Mode:
– Size – The eraser size can be changed to control how much of the image is affected by the tool.
– Hardness – If the eraser is softer, it will remove pixels and leave behind smooth, soft transitions. If the eraser is harder, it will remove pixels and leave behind more rigid, defined edges.
– Brush Tip (Shape) – The shape of the brush stroke is called the brush tip. The tip can also be changed into identifiable shapes. Photoshop contains brush tip presets, but custom shapes can also be created and saved for use. - Smoothing – A higher smoothing percentage reduces shake or inconsistency in eraser strokes.
Eyedropper Tool
The Eyedropper Tool samples and selects
To use the Eyedropper Tool, click anywhere on a selected layer. Clicking on
To turn off the sampling ring preview, deselect the checkbox at the top left that says “Sampling Ring.”
The Eyedropper Tool can also sample color from different sources. To change the sample source, look under the “Sample” menu at the top left of the workspace. Options include:
- Current Layer
- Current and Below
- All Layers
- All Layers No Adjustments
- Current & Below No Adjustments
The sample size can also be adjusted. By default, the Eyedropper Tool uses a “Point Sample,” but it can also provide the average color for a given area around the selected sample point. Other options can be found in the Sample Size menu at the top left of the workspace:
- Point Sample
- 3×3 Average
- 5×5 Average
- 11×11 Average
- 31×31 Average
- 51×51 Average
- 101×101 Average
Gradient Tool
The Gradient Tool fills the selected layer with a gradient of color. This tool is located in the vertical toolbar on the left of the default Photoshop workspace. The shortcut or hotkey is “G.”
The Gradient Picker, located at the top left of the workspace, looks like a horizontal color gradient or transition. To select a preset, click the down arrow next to the Gradient Picker.
To open the Gradient Editor, click in the middle of the Gradient Picker menu instead of the arrow next to it. In this window, gradients can be created, loaded, and exported. Some editor options include
- Gradient Type: Solid or Noise
- Smoothness
Color assigned to highlights,midtones , and shadows (represented in a horizontal gradient). The amount or weight of each color is also adjustable.
Since this tool fills the selected layer with color and changes its pixel information, duplicate the original layer before applying a gradient. Using a duplicate layer is considered non-destructive and allows for more flexibility when applying the gradient.
To use the Gradient Tool, move the cursor over the image. Click and drag the cursor, then release. The longer the editor drags the cursor before releasing it, the longer and smoother the color transitions will be in the gradient. The direction in which the cursor is dragged will determine the gradient direction. The cursor can be dragged past the edge of the image in any direction to create a longer or offset gradient.
The gradient shape or orientation can be changed by selecting one of the icons at the top left of the workspace:
- Linear Gradient
- Radial Gradient
- Angle Gradient
- Reflected Gradient
- Diamond Gradient
When “Dither” is selected, color transitions are blended further with noise. Adjusting layer opacity and blending mode can create
Hand Tool
The Hand Tool allows the editor to move the display while zoomed in. This tool can help save editing time because it eliminates the need for manual scrolling in any direction. This tool does not move or reorient the image itself; it shifts which part of the image is viewed within the workspace.
The Hand Tool is located in the vertical toolbar on the left side of the default Photoshop workspace. The shortcut for this tool is “H.”
To use the Hand Tool, click anywhere on the image and drag the cursor in any direction.
Hand Tool can also be engaged while using any other tool. Hold down
History Brush Tool
The History Brush Tool reverts part of an image back to a previous stage in the editing process. Any unselected area of the image remains unchanged.
The History Brush is located in the vertical toolbar on the left side of a default Photoshop workspace. The shortcut for this tool is “Y.”
To use the History Brush, open the History Panel on the right side of the workspace. Check the box to the left of
checked action.
Select the History Brush Tool in the toolbar or use “Y.” Click and drag the cursor on the image area to be reverted. This tool is similar to the Brush Tool because they both use a brush-like cursor or applicator.
To customize or modify the area affected by the History Brush, several settings can be changed:
- Blending Mode – Blending modes alter how this tool changes pixels of an image. Changing the mode can allow more selective and stylized changes.
- Brush Tip (Shape) – The shape of the brush stroke is called the brush tip. The tip can also be changed into identifiable shapes to create elements
like grass, hair, and patterns. Photoshop contains brush tip presets, but custom shapes can also be created and saved for use. - Brush Hardness – If the brush is softer, it will create smooth, soft transitions between the reverted areas and unchanged areas of an image. If the brush is harder, it will create more rigid, defined edges.
- Brush Size – The brush size controls how much of the image is affected by the tool.
- Brush Spacing – The spacing affects how the stroke applies color – in separated shapes (greater spacing) within the stroke or in one continuous line (shorter spacing).
- Opacity – The brush opacity affects how opaque or transparent the stroke appears when applied. If the opacity is set to 100%, the selected area will be completely reverted to a previous edit. If the opacity is set lower, the previous edit will only partially show through the current version.
- Flow – The flow controls how much is applied per stroke.
- Airbrush – The airbrush function applies soft brush strokes, imitating an airbrush. These options are located at the top left of the workspace or within the Brush Panel.
More advanced brush shape settings within the Brush Panel include:
- Shape Dynamics
- Scattering
- Texture
- Dual Brush
- Color Dynamics
- Transfer
- Brush Pose
- Noise
- Wet Edges
- Build-Up
- Smoothing
- Protect Texture
Lasso Tool
The Lasso Tool is a freehand selection tool used to select specific areas of an image.
The Lasso Tool can be found on the left side of the workspace in the vertical toolbar, or by using the shortcut “L.”
Left-click to start a selection and hold it down while dragging the cursor to create the desired shape. Releasing the mouse will close off the selection with a straight line from the original click to the final point created.
This tool can be used to make selective adjustments, transform the selected area, create a mask, or create a new layer containing only the
selected area. Once closed, the selection edge can also be altered through feathering, creating a harder or softer edge.
To get rid of a selection, deselect by using Command+D or Control+D, or click deselect under the “Select” menu at the top.
Note: After a selection has been created,
Selection Options are located in the Tool Options bar at the top left of the workspace.
- New Selection – if selected, the tool creates a new selection and disregards any pre-existing selections.
- Add to Selection – if selected, the tool creates a selection that adds to any pre-existing selections.
- Subtract from Selection – if selected, the tool eliminates where it overlaps with another pre-existing selection.
- Intersect with Selection – if selected, the tool creates a new selection where it overlaps with another pre-existing selection.
The Anti-alias function of this tool smoothes jagged edges.
Polygonal Lasso Tool
The Polygonal Lasso Tool creates selections with straight edges. The Polygonal Lasso Tool can be found in a menu with the Lasso Tool and
Magnetic Lasso Tool, on the left side of the workspace in the vertical toolbar. The shortcut for this tool is “L” or “
To use this tool, left-click anywhere on the image to make the starting point for the selection. Drag the cursor to the desired end point to create the first straight line. Click on the image again to create the end point for that line. Each time a point is made by clicking on the image, the cursor can create a straight line in any direction from that axis.
Simply click to create a starting point, move the cursor to preview the line, and click again to complete that line. To close or complete the selection, click on the original starting point.
Selection Options are located in the Tool Options bar at the top left of the workspace.
- New Selection – if selected, the tool creates a new selection and disregards any pre-existing selections.
- Add to Selection – if selected, the tool creates a selection that adds to any pre-existing selections.
- Subtract from Selection – if selected, the tool eliminates where it overlaps with another pre-existing selection.
- Intersect with Selection – if selected, the tool creates a new selection where it overlaps with another pre-existing selection.
The Anti-alias function of this tool smoothes jagged edges.
To erase the most recently created line, press the Delete key.
To create straight lines in increments of 45 degrees, hold shift before clicking to end the line segment.
Magic Wand Tool
The Magic Wand Tool selects pixels that are similar in color. The Magic Wand
To use the Magic Wand Tool, drag the cursor over the image and click to create a selection.
To use this tool with more control, there are several customized settings available at the top left of the workspace:
- Selection Options
– New Selection – if selected, the tool creates a new selection and disregards any pre-existing selections. To add selection in this mode, simply hold Shift and click. To subtract selection in this mode, hold Option and click.
– Add to Selection – if selected, the tool creates a selection that adds to any pre-existing selections.
– Subtract from Selection – if selected, the tool eliminates where it overlaps with another pre-existing selection.
– Intersect with Selection – if selected, the tool creates a new selection where it overlaps with another pre-existing selection. - Sample Size
– By default, the Magic Wand Tool uses a “Point Sample” to choose a reference color to make the selection. It can also reference the average color of a given area around the sample point:
— Point Sample
— 3×3 Average
— 5×5 Average
— 11×11 Average
— 31×31 Average
— 51×51 Average
–101×101 Average
- Tolerance affects the way this tool assesses color and selects similar pixels. If the tolerance is set higher, this tool will select pixels that are
generally similar in color. Consequently, more image area will be selected. If the tolerance is set lower, this tool will only select pixels that are extremely similar in color. Consequently, less image area will be selected. - Anti-Alias – If checked, this will smooth the edges of the selected area
- Contiguous – If checked, the Magic Wand Tool will only affect pixels with similar color that are connected or touching.
- Sample All Layers – If checked, the tool will select pixels based on color information from all visible layers.
- Select and Mask – Click this button to refine or change
qualities of the selection. This will open a separate panel with additional settings.
Quick Selection Tool
The Quick Selection Tool creates a selection by detecting defined edges in an image. The Quick Selection Tool is located in the vertical toolbar on the left side of the default Photoshop workspace. The shortcut for this tool is W.
To use the Quick Selection Tool, drag the cursor over the image and click to create a selection. Click and drag the cursor along the desired selection area. The tool should create borders along edges in the image based on value and color variation.
To use this tool with more control, there are several settings in the Tool Options bar at the top left of the workspace:
- New Selection – if selected, the tool creates a new selection and disregards any pre-existing selections.
- Add to Selection – if selected, the tool creates a selection that adds to any pre-existing selections. This mode is typically set by default.
- Subtract from Selection – if selected, the tool reduces pre-existing selection where it interacts with the cursor or brush.
- The Quick Selection Tool uses a brush or pen-like applicator. Adjust the brush size and hardness in Brush Options to control how selections are created.
- Sample All Layers – If checked, the tool will select pixels based on color information from all visible layers.
- Auto-Enhance – This feature refines selection edges created with the Quick Selection Tool. Activate Auto-Enhance before creating a selection to see its effects.
- Select and Mask – Click this button to refine or change
qualities of the selection. This will open a separate panel with additional settings.
Marquee Tool
The Marquee Tool creates selections in precise shapes. The Marquee Tool is located on the vertical toolbar on the left of the default Photoshop workspace.The shortcut for the Marquee Tool is “M.” The Marquee Tool menu contains a Rectangular Marquee Tool, an Elliptical Marquee Tool, a Single Row Marquee Tool, and a Single Column Marquee Tool.
Select the Marquee Tool with the desired shape. Left-click to start a selection and hold it down while dragging the cursor to create the desired shape. Releasing the mouse will close off the selection.
To get rid of a selection, deselect by using Command+D or Control+D, or click deselect under the “Select” menu at the top
Selection Options are located in the Tool Options bar at the top left of the workspace.
- New Selection – if selected, the tool creates a new selection and disregards any pre-existing selections.
- Add to Selection – if selected, the tool creates a selection that adds to any pre-existing selections.
- Subtract from Selection – if selected, the tool eliminates where it overlaps with another pre-existing selection.
- Intersect with Selection – if selected, the tool creates a new selection where it overlaps with another pre-existing selection.
A selection can be refined further by opening the “
The Anti-alias function of this tool smoothes jagged edges.
The Style drop-down menu in the Tool Options Bar allows the editor to adjust the selection dimensions. Select Fixed Ratio or Fixed Size to specify dimensions before making a selection. “Normal” is the default style without constraints.
This tool can be used to make selective adjustments, transform the selected area, create a
Tip: After a selection has been created,
Paint Bucket Tool
The Paint Bucket Tool fills areas of an image with color. The Paint Bucket Tool is located on the vertical toolbar on the left of the default Photoshop workspace.
The hotkey for this tool is “G” or “Shift+G” because it is located in a menu with the Gradient Tool and the 3D Material Drop Tool.
To use the Paint Bucket Tool, select the fill color. There are two square color swatches at the bottom of the left-hand vertical toolbar. Click on the top colored square and select the desired fill color. To choose a color that exists within the image, use the Eyedropper Tool.
Once the desired color has been selected, drag the paint bucket cursor over the image and click on the area to be filled. This tool will affect pixels with similar hue and value information.
To customize the effect, an editor can change blending mode, opacity, and tolerance.
- Blending modes alter how this tool changes pixel color. Changing the mode can allow more selective and stylized color adjustments.
- Opacity affects how opaque or transparent the color appears when applied. If the opacity is set to 100%, none of the background
image will show through the color applied. If the opacity is set lower, the layer beneath will show through. - Tolerance affects the way this tool assesses and fills similar pixels. If the tolerance is set higher, this tool will fill pixels that are generally similar in color. Consequently, more image area will be filled with color.
If the tolerance is set lower, this tool will only fill pixels that are extremely similar.
Consequently, less image area will be filled with color. Other optional settings for the Paint Bucket Tool include:
- Anti-Alias – If checked, this will smooth the edges of the filled area
- Contiguous – If checked, the Paint Brush Tool will only affect similar pixels that are connected or touching.
- All Layers – If checked, the tool will affect pixels based on color information from all visible layers.
All three options can be engaged by checking a box on the top toolbar.
Patch Tool
The Patch Tool can remove unwanted elements in an image. The Patch Tool is located in the vertical toolbar on the left of the default Photoshop workspace. The shortcut or hotkey is “J” or “Shift + J” because it is in a menu with the Spot Healing Brush Tool, Healing Brush Tool, and
To use the Patch Tool, click and drag the cursor on the image to make a freehand selection. Release the mouse to close or complete a selection. Click anywhere in the selection and drag it over an area of the image to fill its previous location. Release the mouse to replace the originally selected area with fill information from where it was dropped.
The Patch Tool will also move and replace pre-existing selections made by other tools.
To use the Patch Tool with more control, there are several custom settings in the Tool Options located at the top left of the workspace:
- Selection Options
– New Selection – if selected, the tool creates a new selection and disregards any pre-existing selections.
– Add to Selection – if selected, the tool creates a selection that adds to any pre-existing selections.
– Subtract from Selection – if selected, the tool eliminates where it overlaps with another pre-existing selection.
– Intersect with Selection – if selected, the tool creates a new selection where it overlaps with another pre-existing selection.
- Patch Type: Normal
– Source (Default) – if selected, the tool will use the area where the selection is dragged and dropped as a source to replace the
original selection.
– Destination – if selected, the tool will use the area where the selection is dragged and dropped as a destination to reproduce the
original selection.
– Transparent – If Source is selected, the source information will fill the original selection at a low opacity. IfDestination is selected, the
original selection will appear slightly transparent where it has been reproduced, blending with the original information.
– Diffusion – A high Diffusion value will soften the edges of the selection when it is moved or filled.
- Patch Type: Content-Aware
– A high Structure value will blend the selection with fill by maintaining pre-existing patterns or textures.
– A high Color value will blend the selection with fill by maintaining pre-existing colors.
– Sample All Layers creates and blends fill by using information from all layers. The target layer must still be selected in the Layers Panel.
Pen Tool
The Pen Tool creates shapes or paths with precision. The Pen Tool is located on the vertical toolbar on the left of the default Photoshop workspace. The shortcut for the Pen Tool is “P.”
To use this tool,
To manipulate the line segment or create curves, hold left-click and drag when creating an anchor point. Dragging the cursor will change the angle at which the line connects with the anchor point, ultimately causing it to curve. Releasing the mouse will create the line segment or curve
The angle for the next line segment can be changed as well. Create an anchor point and hold left-click to adjust the angle of the line. Do not release the mouse. Press and hold the “Alt” or “Option” key while holding left-click. Move the cursor now to adjust only half of the angle – this will affect the angle of the line that leaves the anchor point.
To erase the recently created anchor point, press the “Delete” key.
To erase any pre-existing anchor point, regardless of its position in the path or shape, left-click on the anchor point. The point will disappear and the line will change accordingly.
To adjust or move a pre-existing anchor point, hold “Alt” or “Option.” Then click and drag the anchor point. Notice that the lines connected to it change as well.
To complete the path or shape, click on the original anchor point. An amazing resource to practice and master the Pen Tool is called the Bézier
Game and can be found at this link: http://bezier.method.ac/
Spot Healing Brush
The Spot Healing Brush Tool removes blemishes by blending color, texture, and luminosity from a surrounding sample area. This tool can be used on solid surfaces as well as patterned surfaces.
The Spot Healing Brush can be found on the left side of a default Photoshop workspace, in the vertical toolbar. The shortcut key for this tool is “J”.
When removing a small, contained blemish, select an appropriate brush size and click on the undesired item.
When removing a more directional element, the brush can be used in one fluid motion; click and drag the tool in a line, going with the direction of the pattern or surrounding elements.
This tool is organic and unpredictable at times, so it doesn’t always work with the first attempt. Try different movements or sizes to see if this tool is the most efficient and successful for the desired effect.
Zoom Tool
The Zoom Tool magnifies the image to facilitate detailed edits and adjustments. The Zoom Tool is located in the vertical toolbar on the left side of the default Photoshop workspace. The hotkey for this tool is “Z.”
To use this tool, drag the cursor over the image and click on any area to magnify it.
Several functions are located in the Tool Options bar at the top of the workspace:
- Zoom In (Default)
- Zoom Out
- Resize Windows to Fit
- Zoom all Windows
- Scrubby Zoom – When this feature is enabled, left-click and hold, then drag the cursor left or right. Dragging it right will zoom in, dragging it left will zoom out.
- 100% – The image will be visible at 100% magnification (most accurate).
- Fit Screen – The entire image will be visible in the workspace.
- Fill Screen – The image will fill the workspace, potentially cutting some edges.
The current magnification or zoom can be seen at the bottom left of the workspace.
Some shortcuts for the Zoom Tool include:
- Control + or Command + to zoom in
- Control – or Command – to zoom out
- Control “0” or Command “0” to fit the image to the workspace.
Type Tool
The Type Tool creates text with vector-based outlines, allowing the editor to resize or scale the letters without losing information, regardless of resolution
Before typing, select or change several formatting options in the Tool Options Bar at the top of the workspace:
- Text orientation (Vertical or Horizontal)
- Font
- Style (Italic, Regular, Bold)Size
- Alignment (Left, Right, Center)
- Color
- Warping
Open the Character and Paragraph Panel to change additional formatting. The text can also be transformed into a 3-dimensional object by clicking the "3D"
function. To alter formatting after
Another way to create type, other than simply clicking and typing, is to click and drag the cursor over the image to create a rectangle. The text created will wrap or be visible according to the dotted borders. This function can be particularly helpful with more controlled layout and design. To change the size of the rectangle, drag the cursor over one of the small boxes along its borders. Click and drag the edge as desired.
Once the type has been formatted, switch to any other tool or click the check mark at the top of the workspace. Because this tool creates a type layer, the layer opacity and blending mode in the Layers Panel can change the way that text interacts with the image. To move the text, select the Move Tool (V) and drag it to a new position. Switch back to the Type Tool (T) to continue making type adjustments.
This tool uses vector-based outlines to create type. Notice that other tools like the Brush Tool or Eraser Tool cannot edit the type layer. To edit the text like other layers or elements, the editor must Rasterize the type layer first.
Be sure that text formatting is final before rasterizing to preserve quality. Right click on the type layer and select “
VIEW
Grids, Guides, and Rulers
Grids, Guides, and Rulers facilitate precise placement of elements within an image. These tools will not print with an image or save with most file types
(unless layers are preserved).
Grids
To enable a grid overlay, look under “View” at the top of the screen. Select “Show” and “Grid.” To hide a grid, deselect “Grid” under “Show.”
Guides
To create a guide, look under “View” at the top of the screen and select “New Guide.” Guide placement and orientation are optional specifications. A guide appears as a horizontal or vertical blue line. Select the move tool to click and drag a guide. To remove a guide, look under “View” again and select “Clear Guides” or “Clear Canvas Guides.” To lock guides so they cannot be moved accidentally, look under “View” and select “Lock Guides.”
“New Guide Layout” under “View” will create several guides with specifications.
Some options in New Guide Layout include:
- Presets
- Columns – Quantity, Width, and Gutter are customizable
- Rows – Quantity, Height, and Gutter are customizable
- Margin – Top, Left, Bottom, and Right of image
- Center Columns
- Clear Existing Guides
Selecting both “Columns” and “Rows” will essentially make a custom grid. If the guides do not appear on the image when this window is open, make sure “Preview” is selected. To customize specific aesthetic options, select “Guides, Grid, & Slices” under “Preferences.”
Rulers
To make the rulers visible, look under “View” at the top of the screen and select “Rulers.” A horizontal ruler will appear at the top of the workspace and a vertical ruler will appear to the left of the image. Another way to create a guide is to select the ruler with the desired orientation and drag the cursor towards the image. Another way to delete a guide is to click and drag the guide off of an image onto the ruler. Doing so will make the guide disappear.
BLENDING MODES
Blending Modes
Blending modes determine how pixels are edited in an image. Blending modes affect layers and certain tools.
To better understand layer blending modes, consider layer opacity. Adjusting layer opacity affects the entire layer, making it more or less visible. If a top layer has low opacity, the layer beneath it shows through. All pixels are affected equally and the layers appear to blend together.
Blending modes also affect how layers interact with one another, but with specific calculations to blend more precisely. Many blending modes selectively affect pixels according to color, luminosity, transparency, and contrast.
In Photoshop, there are 27 blending modes organized into six groups:
- Normal
– Normal
– Dissolve - Darken
– Darken
– Multiply
– Color Burn
– Linear Burn
– Darker Color - Lighten
– Lighten
– Screen
– Color Dodge
– Linear Dodge
– Lighter Color
- Contrast
– Overlay
– Soft Light
– Hard Light
– Vivid Light
– Linear Light
– Pin Light
– Hard Mix - Inversion
– Difference
– Exclusion
– Subtract
– Divide
-Component
– Hue
– Saturation
– Color
– Luminosity
“Darken,” for example, replaces lighter values in the blend layer with darker values of the base layer. When using the Brush Tool with this mode, the color selected will only replace lighter pixels – producing an overall darker image. Pixels that are darker than the selected color will remain untouched.
Consider the opposing blending mode, “Lighten.” Lighten replaces darker values in the blend layer with lighter values of the base layer. When using the Brush
The default blending mode for layers is “Normal.” To change a layer’s blending mode, select the layer and then click on the
The default blending mode for tools is “Normal.” To change the blending mode when using a tool, select the drop-down menu at the top left of the workspace that should say “Mode: Normal.
Tools affected by blending modes include:
- Healing Brush
- Spot-Healing Brush
- Brush
- Pencil
- Clone Stamp
- Pattern Stamp
- History Brush
- Art History Brush
- Paint Bucket
- Gradient
IMAGE
Color Mode
Changing the Color Mode will affect color detail and file size. Different color modes combine and create colors through different processes. Some commonly used color modes include:
- RGB
- CMYK
- Grayscale
Other color modes include:
- Indexed
- Bitmap
- Lab
- Duotone
- Multichannel
To select a color mode in Photoshop, look under “Image” and move the cursor over “Mode.” A
RGB is the standard color mode for non-print media. The RGB standard creates color when
CMYK is the standard color mode for print media. The CMYK standard creates color when
Grayscale is a color mode that evaluates pixels in terms of intensity or value, producing tones in shades of gray. The Grayscale Color Mode is not equivalent to “
When a color mode is changed, the color values in an image are changed. For this reason, it’s recommended to complete all edits in the original color mode (RGB for digital cameras), save a version with the original color mode to preserve color information, and then convert the final image to the appropriate color mode (CMYK for a printed image).
Another qualification with Color Modes is called Bit Depth. Three options are available in Photoshop:
- 8-bits/channel
- 16-bits/channel
- 32-bits/channel
Bit Depth specifies color information capability. The Bit Depth for each channel is described in "
RGB mode with 8bits/channel is capable of producing 256 values per color channel, over 16 million colors value in total. The human eye can typically perceive up to 10 million colors, so the benefit of higher bit depth is not necessary to simply view most images.
The difference becomes apparent, however, with image processing and editing. For example, when an image cannot produce enough color information to create smooth transitions, color banding may occur. The more bit depth available, the more flexibility an editor has to adjust an image – both in color and value.
This comparison is evident in the difference between editing a JPG image and editing a RAW image. Standard JPG images have 8 bits per channel to reproduce color. RAW images are dictated by the native bit depth of the image- processing chip used to create them. Consequently, RAW files typically have 12, 14, or 16 bits per channel, which offers greater flexibility when manipulating color and value information.
Image Size and Canvas Size
Image Size is located in the “Image” menu at the top of the screen. This function allows you to change image resolution and dimensions.
The first measurement in the Image Size panel says “Image Size” with a number. This refers to the file size under current settings. If it says 64M, for example, then the file will be 64MB. This number will update if other specifications are changed.
Image dimensions can be measured and adjusted in several different units:
- Percentage
- Pixels
- Inches
- Centimeters
- Millimeters
- Points
- Picas
There are preset options for image dimensions and ratio, listed under the “Fit To”
Resolution can be measured in pixels per inch or pixels per centimeter. Another acronym commonly used to describe resolution is “DPI” or dots per inch. The standard value for quality is 300 dpi.
Canvas Size is also located in the “Image” menu at the top of the screen. This function allows you to essentially change the image workspace, consequently changing the file size and dimensions. Canvas Size extends the canvas the image is on, not the image itself.
In the Canvas Size panel, it displays the current file size and dimensions. The “New Size” will change according to how the dimensions are adjusted. The height and width can be measured and adjusted in several different units, similar to Image Size, but they are only adjusted independently.
Here’s the main difference between Image Size and Canvas Size:
- If dimensions are made smaller with a consistent ratio in Image Size, the image will get smaller but will not be cropped. If dimensions are made smaller in Canvas Size, the image will be cropped.
- If dimensions are made larger with a consistent ratio in Image Size, the image will be enlarged. If dimensions are made larger in Canvas Size, the image will remain the same size and the canvas around it in will expand.
To manipulate the canvas expansion, select one of the directional arrows. For example, selecting the right arrow will push the current image to the right and create more canvas space to its left.
The canvas also has fill options: black, white, gray, background, and foreground. Fill colors can be customized through “other.”
OPACITY
Opacity
Opacity refers to the density of a layer or tool application. The more opacity something has, the more visible or opaque it will be. The less opacity it has, the more transparent or see-through it will be.
For some tools like brush and clone stamp, effect opacity is located at the top of the workspace to the right of “Mode.” For layers, opacity is located at the top right of the layer panel on the right of the workspace.
Opacity is measured as a percentage. If the top layer is at 50% opacity, then the layer below it will show through. If the top layer is at 100% opacity, only that layer will be visible.
Opacity is especially useful when blending elements of an image (like compositing) or applying adjustments with subtlety (with layer masks).
LAYERS
Layer Masks
Layer masks allow certain areas of a layer to be hidden or visible. If an adjustment has a layer mask, any area of the mask that is hidden will not apply the adjustment to any layers below it. Any area of the mask that is visible will apply the adjustment to layers below it.
An area of a mask filled with black will be hidden while an area of a mask filled with white will be visible. Different tones of gray, usually achieved by adjusting brush opacity, will cause an area to be partially visible.
Layer masks can selectively apply edits to an image in a non-destructive manner because it preserves information in the original layer. If an area of a mask is mistakenly painted black and consequently hidden, painting it white will make it visible again.
How to create layer masks:
- An adjustment layer creates a white mask by default. Create an adjustment layer by selecting one of the icons in the adjustments tab on the right side of the workspace.
“Create Mask” can be found at the bottom right of the workspace, below layers. This function will apply a mask to a selected layer.- Look under “Layer” and select “Create Layer Mask.” “Reveal All” will create a white mask; “
Hide All” will create a black mask. This function will apply a mask to a selected layer.
Note: Layer order is important. Remember that the top layer is in the “front” of what the editor sees and anything below it can be considered in the “
If a layer with an image of a chair is above a layer with an image of a beach, the chair can be composited onto the beach. Applying a layer mask and making only the chair visible will reveal the beach image below it – but only the areas where the chair is not visible.
Tip: Select a layer mask. Hit backslash (above the enter key) to preview visible and invisible areas. Invisible areas of a layer will have a red tint while visible areas will not. This is incredibly helpful with making specific selections that are otherwise difficult to discern.
Layer Management
Layers are essential to
At the bottom right of the workspace, there are several options that apply to layer management. From left to right:
- Link Layers – Changes and movement applied to one layer will affect all linked layers. Linked layers will retain this relationship until the chain is broken. (Selecting multiple layers will produce similar results, but when the selection changes layers are no longer associated.)
- Add Layer Style
- Add Layer Mask
- Create New Fill or Adjustment Layer
- Create New Group – Groups sort selected layers into a folder. Groups are especially useful when organizing layers by the specific edits they contribute
- Create New Layer – This is a great technique to make adjustments while preserving the original background layer
- Delete Layer
Layers can be renamed to easily distinguish differences. To rename a layer, double click the current name. To assign a color to a layer for quick identification or organization,
To make a layer invisible, click the eye-shaped icon to the left of the layer name. To make it visible again, click the same icon.
The layer panel displays layers as if they are stacked. If the top layer is at 100% opacity and has no transparent elements, none of the other layers will be visible. If a layer is stacked above another layer, it will always be dominant and cover the layer below it. This concept is similar to other programs that involve sending items or objects to the back or front. Consider the top layer at the “front” with the lower layers behind it. To move a lower layer to the top, simply click and drag it.
- Decreasing opacity of the top layer will allow lower layers to show through.
- Adjustment layers apply differently and will not necessarily compete with one another.
Layers with vector data or generated data (such as a fill layer) cannot be edited with painting tools or filters unless they are first Rasterized.
Layers with vector data include:
- Type Layers – created when using the Type Tool
- Shape Layers – created when using any of the shape tools (Rectangle Tool, Ellipse Tool, Line Tool, Custom Shape Tool)
- Vector Masks – Precise paths that cut out layer contents
- Smart Objects – Smart Objects are layers that preserve original source data to facilitate non-destructive editing
To Rasterize a layer, make sure it is selected and look under “Layer” at the top of the screen. Select “Rasterize” and “Layer.” Another option is to right-click a selected layer and click “Rasterize Layer.”
To combine or consolidate layers, there are three main options: Merge Layers, Merge Visible, and Flatten Image.
Merge Layers will combine selected layers. Select the layers that need to be combined,
Merge Visible will only combine visible layers.
Flatten Image will combine all layers, fill any transparent elements with white, and discard any invisible or hidden layers.
TRANSFORM
Transform
Transform primarily changes proportion, perspective, and orientation of a layer or selection.
Select the layer first. Look under “Edit” at the top of the screen and move the
cursor over “Transform.” The layer must be unlocked to enable Transform.
Various functions include:
- Scale – resizes
- Rotate – turns
- Skew – slants
- Distort – stretches
- Perspective – designates one-point perspective
- Warp – transforms shape
This menu also contains the option to rotate or flip an image.
Flipping an image horizontally will flip it over the y-axis (elements that were on the left will appear on the right). Flipping an image vertically will flip it over the x- axis (elements that were in the top of the image will appear on the bottom).
Free Transform allows the editor to switch between transform functions in the same action. In Free Transform, right-click the image to select a new function.
“Again” repeats the most recent transformation.