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If you got a little too close in a flash photo, Paint Shop Pro may be able to
help you back off a bit. Try this fast fix:

1. Choose Adjust➪Photo Fix➪Backlighting.
The Backlighting Filter dialog box comes to your aid. The photo may
already look better in the sample in the right window. If so, click OK and
skip the rest of these steps.
2. To make the picture darker, drag the Strength bar to the right.
Larger strength values dim the overall light values of the photo.
3. Click OK.

Photos with way too much flash are washed out, which may be harder to fix.
If, for example, portions of someone™s face are practically white, you need to
restore skin tone without affecting the rest of the picture. A little work with
the Smudge tool (refer to Chapter 8) can help you push skin color into small
white areas. Alternatively, try carefully selecting the entire face area with a
feathered edge and then using the Manual Color Correction effect, which we
describe in Chapter 6, to change the white area to skin tone. (You may have
to disable the Preserve Lightness check box in that effect.)

Revealing Dark Corners
If you need to cast light into the dark corners of your life, Paint Shop Pro can
help. Of course, nothing can reveal totally dark details, and ” as in life itself ”
details that are very dark are generally not too attractive anyway, when
brought to light. But, given those limitations, here™s something you can do
to reveal dark corners or other dark areas of your photo.

This approach is the computer equivalent of an old darkroom trick known as
dodging. Dodging requires a little eye-hand coordination because you, in
effect, brush lightness and contrast onto just the dark portions of your
photo. Follow these steps:

1. Choose the Dodge tool (the white comet-looking icon) from the
retouch tool group.
2. Locate or open the Tool Options palette.
Press F4 on your keyboard to toggle the palette on or off.

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Chapter 17: Ten Fast Fixes for Photo Failures

3. Make these choices:
Size: To lighten broad areas, the best setting for this value is about
25 percent of the width or height of the image, whichever is larger.
(Image dimensions appear on the status bar, in the lower-right
corner of the Paint Shop Pro window.)
Hardness: Set this option very low, or at zero, unless the dark area
has well-defined edges and you have a steady hand.
Opacity: A good typical setting is about 20. A higher number gives
you a stronger effect per stroke. A lower number gives you a
weaker effect.
Step: A good typical setting is about 25. If you set it too high, you
may see a dotty effect.
Density: 100.
4. Drag over the dark areas of the image to lighten those areas.
Keep the mouse button down and do a first pass over the area. Then
release the mouse button and drag again over areas that need more
lightening. Return to Step 3 and adjust any settings that you think may
be necessary, especially Opacity (strength of effect) or Size. Press Ctrl+Z
to undo your most recent pass at the image, if necessary.

As you brush the image, objects in the dark become brighter and the con-
trast against any black or very dark background is increased. The improve-
ment can be dramatic!

Removing Unwanted Relatives
Removing unwanted relatives is much easier in Paint Shop Pro than in real
life. You™re not limited to relatives, though. You can use the same Paint Shop
Pro tricks to remove other unwanted features, like power lines or passing

Like removing unwanted relatives in real life, this task requires some skill. It
also requires some sort of continuous or repeated background, like the clap-
boarded side of a building, a grassy field, a rail fence, some water, or some
shrubbery. If the unwanted relative is blocking more than half of some unique
feature (like a fireplace, chair, or china cabinet), the job gets nearly impossible.

The main tool for the job is the Clone Brush tool, which you use to extend
the background over the unwanted feature. For example, you can brush out
junk on a lawn by brushing lawn taken from just below or alongside the junk.

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Refer to Chapter 8 for a full-fledged example (we removed a mat, but the prin-
ciple is the same). Here™s the general idea:

1. Click the Clone Brush tool (the 2-headed icon) on the Tools toolbar.
2. Right-click the background that you want to brush over your object, in
an area that has no unique features.
For example, if you™re removing a pile of junk from your lawn, right-click
the lawn, not the junk. Don™t click too near the object you want to
remove, either. Because backgrounds tend to have horizontal strips of
stuff, like grass at the bottom, trees in the middle, and sky at the top,
clicking to the left or right of the object you want to remove usually
works best.
3. Drag carefully across the object you want removed.
If, in Step 2, you right-clicked to the left or right of that object, move the
cursor only horizontally before you drag. That precaution ensures that
you extend the correct strip of background and don™t paint grass, for
example, where you want trees. As you brush, the Clone Brush tool
picks up pixels from under an X that starts where you right-clicked and
follows your motion. Keep an eye on the X to make sure that it doesn™t
pick up pixels you don™t want. You may need to reset the X in a new loca-
tion periodically; return to Step 2 to do so.

You probably need some trial and error to get a feel for the process. Press
Ctrl+Z to undo any errors.

One problem with removing relatives and other objects is that if they were
initially blocking a unique object, that object now has a hole in it. For exam-
ple, the relative may well be blocking one arm of a person or half of a piano
(if that relative is fairly wide). Fortunately, many objects are symmetrical; if
Aunt Katy™s left arm is now missing, you may be able to copy her right arm
and paste it in place of the left one. (You can even mirror half a face to make
a whole one in some instances. Your results may be unsatisfactory.)

Use any selection tool (the Freehand tool, for example) to select the object
you need to copy (refer to Chapter 3). Press Ctrl+F to float the selection, press
Ctrl+M to mirror it, drag it to the correct position, and then press Ctrl+Shift+F
to defloat it. Press Ctrl+D to remove the selection marquee. You may need to
do a little painting and retouching because any light striking the object is now
coming from the wrong direction.

Adding Absent Relatives
If Great-Grandma just couldn™t make the wedding, boost her spirits (or seri-
ously confuse other missing relatives) by creating a picture that includes her
with the happy couple. The same trick works for adding anyone or anything.
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Chapter 17: Ten Fast Fixes for Photo Failures

Have a new product to add to your product line? Just add it to the product
family photo. Here are the basic steps, with references to other parts of the
book that provide more detail:

1. Open the original photo (the one without Great-Grandma) in a
2. Press Ctrl+B or choose File➪Browse to open the image browser.
The browser window opens. Arrange the browser and image windows so
that you can see both. (For example, choose Window➪Tile Vertically.)
3. Drag the thumbnail of the new image (Great-Grandma) from the
browser to the main image window.
The new image becomes a new layer of the original photo. You can close
the browser window now, if you like. (Click the X in its upper-right
4. With the Eraser tool (refer to Chapter 9), erase everything except the
part of the new image that you want (leave Great-Grandma).
5. Click the Deformation tool on the Tools toolbar (second from the top)
and drag the new image (Great-Grandma) to the place where you
want it.
Refer to Chapter 4 for help with the Deformation tool.
6. If the image isn™t the correct size or rotation, drag the handles
(squares) that appear around the new image to make adjustments.
The image may need some repositioning; if so, drag it from any place
except on one of the handles.
7. Double-click the image, when you™re done sizing and positioning, to
apply the deformation.

Repeat Step 4 to make any additional erasures that you discover are neces-
sary at this point. For example, if Great-Grandma™s head and shoulders are to
appear behind the wedding couple, erase her from the shoulders down.
You™re done! Note that you now have an image with layers, so if you save it,
Paint Shop Pro asks whether you want to merge layers. Reply Yes.

Zapping Zits
One noticeable difference between professionally done portraits and the
ones you (and we) take is that the pros retouch their photos to get rid of
unsightly blemishes. Throughout this book, we describe lots of tools that are
useful for retouching and even devote one whole chapter (Chapter 8) to
removing or adding elements to your photo.

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To get rid of a simple blemish, however, is a matter of a few steps. Zoom in on
the blemish and then try these steps:

1. Choose the Smudge tool (the comet streaking to the upper left) from
the retouch tool group on the Tools toolbar.
(Refer to Chapter 8 for more information about this tool.)
2. Open the Tool Options palette, if it™s not already open.
Press F4 to toggle the window on or off. Refer to Chapter 1 for more
information about this palette.
3. Set the brush size to roughly zit-size on the Tool Options palette.
See the discussions of setting tool options in Chapter 1 for help with
other options.
4. Click just to one side of the blemish, on clear skin of similar (but
unblemished) color.
5. Drag across the blemish.
Dragging along, rather than across, any natural folds or wrinkles is usu-
ally a good idea. Also, don™t drag from one area of unblemished skin
color into a differently colored area.
6. Repeat Steps 4 and 5 from the opposite direction.

Making Gray Skies Blue
Don™t let an overcast day rain on your parade. You can make the skies blue in
a photo, and, even though a snapshot may never look completely natural, it
will probably be more attractive. You can™t make a gray day look too natural
because if it were really taken on a sunny day, the sun would appear to shine
on all the subjects in the photo, casting highlights and shadows. Paint Shop
Pro has several tools you can use. The following steps, however, outline the
simplest approach:

1. Click the Magic Wand tool from the selection tool group on the Tools
2. On the Tool Options palette, set the tolerance to about 20 or 30 for a
typical gray sky.
Press F4 on the keyboard to toggle the Tool Options palette on or off.
Refer to Chapters 1 and 4 for more information about this window and
its options, like brush size.

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Chapter 17: Ten Fast Fixes for Photo Failures

3. Click the overcast area of the image, to select it.
If the whole sky isn™t selected, press Ctrl+D to clear the selection and
then try again with a higher Tolerance value on the Tool Options palette.
If more than sky is selected, try again with a lower value. Chapter 3 has
more ways to help you select just sky.
4. Press Shift+U to open the Red/Green/Blue dialog box.
5. Increase the number in the Blue value box.
As you adjust, keep an eye on the right preview window in the
Red/Green/Blue dialog box, which is showing you the new sky color.
Stop adjusting whenever you like the color, and click the OK button.

Making Colors Zippier
As we take a photo, we find that our mind™s eye makes the colors livelier than
they turn out to be in reality, and the photo looks a bit dull. Perhaps it™s just
that our antidepressant doses need adjusting, but if you have the same prob-
lem, try adjusting the saturation (of your image, that is). Take these steps and
don™t call us in the morning:

1. Choose Adjust➪Automatic Saturation Enhancement.
The Automatic Saturation Enhancement dialog box springs into action.
2. Choose the More Colorful option on the left side of the box.
3. If the photo contains a significant amount of skin, click the Skintones
Present check box.
4. Choose the Weak, Normal, or Strong option on the right side of the
box, depending on which choice gives better results in the right pre-
view window.
Click the button with the eye icon whenever you want to see the effect of
your chosen options in the image window.
5. Click OK.

If that doesn™t brighten up your day, check out Chapter 7 or see your friendly
primary care physician.

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302 Part V: The Part of Tens

TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 18
Ten Topics a Little Too Advanced
for the Rest of This Book
In This Chapter
Saving tool and effect settings as presets
Drawing smooth curves
Aligning objects
Distributing objects
Using the Paint Shop Pro grids
Advanced selecting techniques
Creating Web pages
Advanced undos and redos
Using scripts

C hris Rock, a famous comedian, has a routine that discusses creepy guys
who hang around hip nightclubs. “They™re not old,” he says. “Just a little
too old for the club.”

That™s what the ten items in this chapter are: just a little too advanced for the
rest of the book. Thankfully, none of them is difficult (or creepy) ” and, after
you have mastered the essentials of Paint Shop Pro, these ten techniques
save you lots of time.

Saving Tool and Effect
Settings As Presets
Paint Shop Pro has lots of options for each of its tools and effects, and setting
them all by hand can be tedious. If you painstakingly set the opacity, shape,

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304 Part V: The Part of Tens

blend mode, stroke width, and thickness to get a watercolor-style effect from
the Brush tool, you can save those settings as a single preset. Then, the next
time you want to paint in watercolors, you can load all your carefully tweaked
tool options with a single click. Then, you don™t have to remember each of
the controls™ settings and set each of them individually.

You can find presets in one of two separate places, depending on whether the
settings you need to save are in a tool, like the Magic Wand, or in a dialog box
that pops up whenever you try to apply an effect or adjustment, like the
Mosaic effect or the Automatic Color Balance:

In Effects and Adjustments, the preset controls are along the top of the
dialog box, as shown in Figure 18-1.
For tools, the presets are in the upper-left corner of the Tool Options
palette. Click the small arrow next to the tool™s icon to display the drop-
down Presets list.

Presets menu Save Preset

Figure 18-1:
The Presets
coming to
the top of a
dialog box
near you.

Reset to Default

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Chapter 18: Ten Topics a Little Too Advanced for the Rest of This Book

To save a particular group of settings, set all the dials, slider bars, menus,
colors, and other options to the settings you want to remember ” and don™t
do anything else! When you have everything tweaked to perfection, press the
Save Preset button (the one with the little floppy disk) and enter a memo-
rable name for the effect. (If you want, you can also add your name, a copy-
right notice, and a description by clicking the Options button in the Save
Presets dialog box.)

Then, the next time you want to call up a group of settings, just choose the
appropriate preset from the drop-down list and Paint Shop Pro automatically
enters all the numbers you saved. If you feel that you have made too many
changes and want things back to the way they were originally, click the Reset
to Default button, which sets the controls back to the way they were when
you first installed Paint Shop Pro.

To delete a preset, click the Resource Manager button, as shown in Figure
18-1, which pops open the Resource Manager dialog box. Select your preset,
click the Delete button, and then confirm the deletion.

The Materials palette has no presets, but you can save textured gradients
and colors as swatches, which are similar to presets; refer to Chapter 10 for

You have probably used masking tape, or at least you admire those people
who do. (They™re so tidy!) Masking tape hides certain areas and lets others
remain visible.

In Paint Shop Pro, masking also hides certain areas while letting others
remain visible. A mask is a special type of layer that turns parts of an under-
lying layer transparent, thus allowing a third layer to show through. (Alas,
the similarities between masking and masking tape end there.)

You can put any image you like on a mask layer. Where the image on the mask
layer is darker, the pixels on the layer underneath it become more transpar-
ent and reveal the background (or perhaps another layer). Where the image
on the mask layer is lighter, the pixels on the layer underneath are more visi-
ble. In fact, you can think of masking as applying a special transparency paint
to a layer.

If you don™t know what layers are, you have gone too far! Quick ” go to

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