PHOTOSHOP CHANGING AN IMAGE IN A PSD FILE

photoshop Changing an image in a PSD file

Adobe Photoshop is one of the world's best known software applications and widely used in professional graphics, both in print and for web work. While there are some great open source graphics applications like GIMP or Krita, sometimes Photoshop is still the only application which can be used in certain cases - especially in the pre-press world.
One of the sources of its power is the native PSD file format. A PSD file can not only hold image data, but is more of a large container which can include metadata, camera info, text, vector artwork and more. Most other programs only handle a small subset of its capabilities.
PSD Import
Scribus does have its own native capabilities to import PSD files from version 6 and earlier - the latest version of the PSD format which is publicly documented. The Scribus Team has also been able to worm some features out of files created with later PS versions, so most PSD files can at least be loaded into Scribus, but they may have file format features which are not supported.
In general, PSD support is quite extensive, including:
The ability to manipulate and adjust layer settings.
The option to enable and use masking along with the paths embedded in the file.
In almost all cases, provided they are not defective, ICC color profiles which are embedded into a PSD are detected and used when color management is enabled.
Scribus generally will import 8-bit Greyscale, RGB and CMYK PSD files without issue.
Alpha transparency is supported.
Scribus will import PSD files with normal layers and will display the individual layers in the Extended Image Properties dialog, which is avialable from the Context Menu.
Clipping paths in PSD files will be recognized and can be used for text flow.
Blending modes which are in the image file can be used to affect the way the image displays and prints. It's also possible to modify blending or to apply other modes between PSD layers. This won't affect the original file.
In almost all cases Scribus will automatically detect the file encoding, whether it is ASCII, Binary or Binary with JPEG.
Potential Issues
Adjustment layers and effect layers are not yet supported. In such a case, Scribus will fall back to using a "flattened" version of the file.
Layered TIFFs saved from Photoshop are often not handled well by other TIFF readers and importing applications. This is because Photoshop actually embeds PSD type layers in a private tag. Scribus will attempt to read the PSD layers info and, if successful, make it accessible to the Extended Image Properties dialog. Text and vector layers within this private tag are not yet supported.
Specialties
DCS (Desktop Color Separations) 1.x/2.0 files are a special flavor of EPS saved in Photoshop and are imported natively - much like a PSD file - and complete with ICC profile support. Image quality should be close to or equivalent to the native PSD file. Vector masks are also detected and can be used to control the display within Extended Image Properties. DCS files can also be saved from Quark XPress®, but this flavor will be imported using Ghostscript as a filter for the time being. This is partly because the way Quark X-Press® exports them does not conform to the DCS specifications properly.
Scribus can detect Duotones, Tritones and Quadtones in PSD and Photoshop EPS files and import them. The difference between both formats is that you need to import the spot colors from the EPS separately via Edit > Colors > Import. If you import a PSD file, you can directly manipulate each of the spot colors within it via the Image Effects dialog, which is available from the Context Menu. In most cases, Scribus will detect the image as Duo, Tri or Quadtone and automatically import the colors from the PSD file.
Microsoft Expression Web enables you to generate a .png (PNG-24), .gif, or .jpg file from an Adobe Photoshop .psd file and select the Photoshop layers you want to include or exclude from the image. If you want to make changes to the original .psd file, in Expression Web, you can select the web-optimized image that Expression Web generated for you and conveniently open the original .psd file in your default .psd file editor, such as Adobe Photoshop.

Expression Web can import Photoshop .psd files that have all the following properties:

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REVIEW PHOTOSHOP CS6 BACKGROUND SAVE AND AUTO SAVE

Background Save
If you've been using Photoshop for a while, you know that as we add more and more layers to a document, we increase the file size. You probably also know that the bigger the file size becomes, the longer it takes Photoshop to save your work. With Photoshop CS5 and earlier, saving a large file often meant taking a break, whether you wanted to or not, because Photoshop would essentially freeze as the file was being saved, locking you out of the program and preventing you from doing anything more until the saving process was completed. Thanks to the new Background Save feature in Photoshop CS6, that's no longer the case.

Here's an image that I currently have open in CS6:

A newly opened image.
If we look in the bottom left of the document window, we see that the current file size is 121 MB, which is fairly small as far as Photoshop files go:

The file size is displayed in the bottom left of the document window.
If we look in my Layers panel, we see that at the moment, my document contains only one layer, which is why the file size is relatively small:

The Layers panel in Photoshop CS6.
With small file sizes like this, saving them isn't a problem. The process happens so quickly that you barely notice it. Where the new Background Save feature in Photoshop CS6 begins to shine is when we start working with files that are hundreds of megabytes or more in size.

To see how it works, I'll quickly increase the size of my file by making multiple copies of my image. To do that, I'll press the keyboard shortcut Ctrl+J (Win) / Command+J (Mac) several times. Each time I press it, I make a new copy of the layer that the image is sitting on. Here we can see that my document now contains 8 layers - the original image on the Background layer, plus 7 copies above it:

The document now contains 8 layers in total.
When we look again in the bottom left of the document window, we see that my file size has increased from 121 MB all the way up to 967.9 MB:

The file size is now much larger after making multiple copies of the image.
Saving a file as large as this will take some time, and as I mentioned, in Photoshop CS5 and earlier, we would essentially be locked out of Photoshop and unable to continue working until the saving process was finished. Watch what happens, though, as I save the file in Photoshop CS6, which I'll do by going up to the File menu in the Menu Bar along the top of the screen and choosing Save:

Going to File > Save.
The first clue that something is different with CS6 is that Photoshop now shows us how far along we are in the saving process by displaying a couple of progress indicators. The first one can be found in the name tab at the top of the document window, where the progress is displayed as a percentage. Here, Photoshop is telling me that the save process is 34% completed:

The first progress indicator appears in the name tab at the top of the document window.
The second indicator appears in the bottom left of the document window, and this one is a bit more helpful because along with the percentage value, it also displays the save process as a familiar blue progress bar:

The save process is displayed as a percentage and as a progress bar in the bottom left of the document window.
While these progress indicators are a nice new addition to the interface, the real power of the Background Save feature in Photoshop CS6 is that, as its name implies, the saving process now takes place entirely in the background. What does that mean? It means that our workflow will no longer be interrupted when we go to save a large file because we won't be locked out of Photoshop. We can continue working on the image even while it's been saved!

As an example, here we can see that I've started working on a black and white conversion of my image (by adding a Black and White adjustment layer) even though the progress indicators at the top and bottom of the document window are telling me that the save process is still only 51% completed. The Background Save feature will even let us switch to a completely different image to work on while the original image is being saved, something that was not possible in Photoshop CS5 and earlier:

With Background Save, we can keep working while Photoshop is saving the file. We can even work on a different image while the first one is being saved.
Auto Save
A second and even more impressive new feature in Photoshop CS6 is Auto Save. Even though Photoshop has evolved into a very mature and stable program, there's always the chance that something will go wrong and Photoshop will crash. When that happens, we often end up losing all the work we've done on our image, forcing us to start over again from scratch. At least, that's the way things used to be back in Photoshop CS5 and earlier.

Auto Save allows Photoshop to save a backup copy of our work at regular intervals so that if Photoshop does happen to crash, we can recover the file and continue from where we left off!

We can tell Photoshop how often we want it to save a backup copy of our work in the File Handling section of the Preferences. On a PC, go up to the Edit menu at the top of the screen, choose Preferences, and then choose File Handling. On a Mac, go up to the Photoshop menu, choose Preferences, then choose File Handling:

Go to Edit > Preferences > File Handling (Win) or Photoshop > Preferences > File Handling (Mac).
Here, you'll find the Automatically Save Recovery Information Every option, which by default is set to 10 minutes, meaning that Photoshop will save a backup copy of your work every 10 minutes. You can increase it to every 5 minutes, as I've done here, or if you're more of a gambler, you can set it to save a backup copy once every hour (there's also a 15 minutes and 30 minutes option):

We can have Photoshop save our recovery information every 5, 10, 15 or 30 minutes, or once every hour.
It's important to note that Photoshop isn't saving over your original file (which would be very bad). The recovery information is kept in a separate backup file. If Photoshop does happen to crash while you're working, simply re-open Photoshop and it will automatically open the most recently saved backup copy, complete with all the work you had done up to the point where Photoshop saved the backup copy (assuming, of course, that you had been working long enough for Photoshop to have made at least one backup copy). You'll know it's the backup copy because Photoshop adds Recovered to the file name (which is displayed in the tab at the top of the document window):

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PHOTOSHOP ACTION BATCH CONVERT COLOR SPACE

photoshop action Batch convert color space

RGB by itself, with no modifiers, is not a designation for a color profile. It is simply a generic description of the file type (like CYMK or grayscale). sRGB is a designation for a specific RGB profile.

If you open one of these images in PSCS3 (and if you have selected the appropriate warnings in the Color Management dialog) the program will inform you if the image is tagged with a profile other than your working color space, or if the image is not tagged at all. If the former, then just convert to sRGB. If the latter, assign sRGB profile.
Batch processing is very useful when a large number of files require the same processing. For example, using a camera to digitize a diary can easily generate hundreds of images that need to be rotated and renamed. Batch processing allows the changes to be applied to a group of files.
The main steps that may need to be done with batch processing for historical images are listed below in the order they would typically be applied.
· Crop the image
· Rotate the image
· Adjust tone and color
· Set the resolution to determine the size of the output image
· Assign or convert color space for the image
· Set the format of the output file
· Rename the file
Batch processing begins by identifying the changes that need to be made for a group of images. Typically, the changes are made to one of the files and the steps or settings recorded. Then these changes are specified for batch processing and applied to the other files. Output file names typically have characters identifying the group of files and then a number that is incremented for each file in sequence (e.g., dmb_diary_1926_001, dmb_diary_1926_002).
The safest strategy for batch processing is to put the output files in a separate folder from the input files. The input files should not be deleted until the batch processing has been verified to have completed successfully. While batch processing can greatly speed processing, it can also cause extensive damage if there are problems. With separate input and output folders batch processing can easily and reliably be redone if there are problems.
As would be expected, Photoshop CS has powerful batch processing capabilities. Photoshop Elements has limited batch processing capabilities that primarily can convert the format and apply auto adjustments to a group of files, but does not have a way to rotate the images or make custom adjustments. The free XnView image viewing application has useful batch processing capabilities but is limited to processing with only 8 bits per channel. XnView used alone or along with Photoshop Elements is usually adequate for processing simple documents such as diaries.
It is highly recommended that each image is checked to make sure the result of the batch processing was as expected. These checks can be done quickly with image viewing software such as XnView or the Windows Photo Viewer.

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COLOR-ADJUSTMENT TUTORIALS IN PHOTOSHOP

Have you wanted to learn more about color correction? The focus of this tutorial is to help you delve deeper into color correcting to up the production value of your images. Learn a few simple techniques while creating.

I will be using Photoshop CS4 for this tutorial, but all of the features I will use are available in previous versions of Photoshop. Or in any decent photo-editing software.

Primary Color Correction
In this tutorial, our work will be primary color correction. "Primary color correction affects the whole image, utilizing control over intensities of red, green, blue, gamma (mid tones), shadows (blacks) and highlights (whites)."

Overview

Before we begin, you'll want to be sure that you have at least a novice understanding of the following tools in your photo-editing program: Curves, Hue/Saturation, Photo Filter, and Black & White adjustment layer.

Quick Tip
Keep effects on adjustment or separate layers to enable quick alteration or removal at any time during the color correction process.

Monochrome and Sepia

A monochromatic image is one whose range of colors consists of shades of a single color or hue.

Step 1: First, let's make our image grayscale. There are various ways to do this, but we'll look at just two:

I think the best way is to use the Black & White adjustment layer. (This can be found at the bottom of the Layers toolbox.) What is so great about this adjustment layer is the ability to control the luminance of the 6 primary and secondary colors – red, green, blue, cyan, magenta and yellow with the sliders. This is a very useful tool for fine-tuning the the tonal range of your image.

However, the Black & White adjustment layer is only in Photoshop CS3 and newer. So, if you're using an older version, skip to the next step.

Step 2: Apply the Hue & Saturation adjustment layer. Click the Colorize checkbox and this will automatically desaturate and tint your image. However, the Hue is wrong. So set the Hue to 35. Now it's starting to look right.

Step 3: Lastly, perfect color brightness of your image with the sliders in the Black & White adjustment layer. Use the eyedropper tool that comes with the filter to select the part of the image you want to alter and it will hightlight which color is in range. But be careful not to drastically change the colors or you'll be in danger of posterizing the image.

Usually changes solely in the Black & White filter are not enough to correct the image; so apply a Curves adjustment layer on top and get your image looking right. (It's best to do these steps last – after your color adjustments – so that you're seeing and effecting the color-corrected spectrum.)

And, for sepia, you're done.In addition, using other monochromatic color schemes are done the same way. Instead of setting the Hue to 35, move the slider to the color of your choice. You also could up the Saturation a bit to make the colors pop. (For the image below, I set the Hue to 295 and the Saturation to 35.)

Rollover Image

Bleach Bypass

A popular image treatment is the bleach bypass. In actual film-developing, this means skipping the bleaching process. This leaves a silver tint on the photograph, as if the black-and-white and color image had been combined. So that's exactly what we're going to do.

Step 1: Apply the Black & White adjustment layer once again to your image. (Or desaturate with a Hue & Saturation adjustment layer.) Then, the only alteration we need to do is in the blending mode: change it from Normal to Overlay.

Step 2: Apply a Curves adjustment layer on top. A characteristic of most bleach-bypassed images is increased contrast. So add a contrast curve to your image. But be careful. Adjustments should be minor at this stage because the image has a lot of contrast. Make sure you're not overexposing in the highlights or underexposing in the shadows.

Rollover Image

Extra: Often, another characteristic of bleach bypass, along with increased contrast, is graininess. If you like, take this effect a step further by adding some noise: Filter > Noise > Add Noise. Make sure it's monochromatic.

Quick Color Theory

Before we begin working on our next style, we're going to talk quickly about color theory.

Take a look at the color wheels below. You'll notice the three primary colors in our RGB color model: red, green and blue. Then, in between those you'll notice the secondary colors of CMY: cyan, magenta, and yellow. Secondary colors are formed by the sum of two primary colors: cyan is green + blue, magenta is red + blue, and yellow is red + green. Simple enough.

The secondary colors are opposite on the color wheel to the primary colors. Hence:

Red – Cyan

Green – Magenta

Blue – Yellow

Another six tertiary colors are created by mixing primary and secondary colors. But we don't need to get into that in detail right now.

The primary and secondary colors, and their relation to each other, are important for us to know. In the Curves adjustment layer you can effect color in the red, green, and blue channels separately. So, for instance, any adjustments upward of the diagonal line in the red channel increase the red in the image. Lowering, below the diagonal line, increases the cyan. The other channels are the same: Upward in the green channel, green; lower, magenta. Upward in the blue channel, blue; lower yellow.

Blockbuster/Fashion Look

Ok, now that we got that covered, let's begin. This style is used a lot in big summer movies, such as the Transformer films. It's also popular in fashion photography.

First off, take a look at the picture above. In an effort to create this look, determine the color hue and tint of the shadows, midtones, and highlights. Most importantly, the shadows and highlights. You'll notice that the shadows are very bluish and the highlights – mainly the part of the image containing the skin tones – are, well, the color of skin.

This is a complementary color scheme. Meaning the colors used, blue and orange, are opposite each other on the color wheel.

When working with humans in your compositions, you have to take the skin tone into account. You can't have people turning green, magenta, or blue. That would look odd. Skin will always be between orange, orange-yellow (tertiary), and yellow. Therefore to complement the subject, generally use opposite colors: between cyan, blue or blue-violet (tertiary).

Now that we know this, let's stylize our photo.

Step 1: Apply a Curves adjustment layer to your image.

Quick Tip
Nearly every colorist starts color correction with the shadows; then the highlights; and lastly the midtones.

Step 2: In the color dropdown menu, change from RGB – which affects the overall brightness and contrast of the image – to blue. We'll work backwards up the list, starting with blue and ending with RGB.

What we'll want to do is bring the lower end of the curves slider up. This will increase the blue in the shadows. Next, to compensate for our first adjustment, we'll want to decrease the blue in the highlights – taking it towards yellow – so that the skin tones stay closer to being correct.

Step 3: You'll notice that the image has quite a purple tint to it. This is because the green and red channels are at equal intensity. To get a more blue color you can either go to the green channel and raise the shadows, or go to the red and lower the shadows. But there's a difference here and you would do well to note it: If you were to raise the green shadows, the image would get slightly lighter and loses contrast. If you lower the red shadows, the image gets darker and gains contrast. The first is subtracting color and the second is adding.

In most cases, you'll want to go with the option that subtracts, not adds.

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