ptg 248 Chapter 14 By dragging with the Clone Stamp tool, you can clone all or part of an image from one layer to another in the same document or between docu- ments. is tool is useful for creative montaging, commercial retouching, and video editing. e Clone Source panel lets you keep track of up to ve dier- ent source documents (represented by a row of but- tons at the top of the panel); reassign new sources; clone repeatedly from the same source; and trans- form the source pixels before or as you clone them. To use the Clone Stamp tool and the Clone Source panel: 1. Open one or more RGB documents to be used as source imagery, and create or open a target document. 2. Choose the Clone Stamp tool (S or Shift-S). From the Options bar, choose a Soft Round brush, a Mode, an Opacity of 100% (to start with), and a Flow percentage, and check Aligned. Optional: If you have a stylus and tablet, you can activate the Tablet Pressure Controls Opacity button and/or the Tablet Pressure Controls Size button on the Options bar. ★ Optional: If the source le contains adjustment layers and you want the Clone Stamp tool to ignore their eects when sampling, activate the Ignore Adjustment Layers When Cloning button. 3. Display the Clone Source panel. A By default, the rst source button is selected. Check Show Overlay and Auto Hide, then set the Opacity to around 35–50% so you’ll be able to preview the source as an overlay (a faint version of the source layer). If you want the overlay to display only within the brush cursor, check Clipped. 4. In the target document, create a new blank layer. 5. Click the source document tab. From the Sample menu on the Options bar, choose which part of the document is to be cloned: Current Layer, Current & Below, or All Layers. For either of the rst two options, also click a layer. 6. Alt-click/Option-click an area in the image to set the source point. B e source le and layer will be assigned to, and will be listed below, the rst source button on the Clone Source panel. 7. Click the target document tab. 8. To position the clone, move the pointer over the image without clicking. Adjust the tool diameter by pressing [ or ], then start dragging to make the cloned pixels appear ( A , next page). e overlay will disappear temporarily (because you checked Auto Hide), then will reappear when you release the mouse. (For other ways to transform the overlay, see the next page.) 9 . To clone from another document, click the second source button at the top of the Clone Source panel, then repeat steps 4–8. Or to switch to a dierent clone source, click its button. Beware! e Clone Source panel keeps the links active only while the source documents are open. If you close a source document, its link to the Clone Source panel is broken! ➤ To use the Clone Stamp tool to retouch imager y within the same document, see pages 276–277. B With the Clone Stamp tool, we Alt-click/Option-click in a source document. A Using the Clone Source panel, you can transform the clone overlay and switch between multiple sources. Using the Clone Stamp tool and the Clone Source panel ptg Combining Images 249 Once you start cloning with the Clone Stamp tool, the position and orientation of the source overlay becomes xed. Well…not permanently. You can repo- sition, scale, ip, or rotate it by changing values on the Clone Source panel or by using keyboard short- cuts before you resume cloning. Note: e new values will apply only to the currently selected source. To reposition, scale, flip, or rotate the clone source overlay: With the Clone Stamp tool selected and an overlay displaying in your document, do any of the following (if you use the Clone Source panel, you can use the scrubby sliders): To reposition the source overlay, change the Offset X and/or Y values on the panel; or Alt-Shift-drag/Option-Shift-drag the overlay. To scale the source overlay, change the W or H values on the panel; or hold down Alt-Shift/ Option-Shift and press (and keep pressing) [ or ]. Activate the Maintain Aspect Ratio button to preserve the current aspect ratio as you change the W or H value. Try not to scale the source more than 120 or –120%. To ip the source, click the Flip Horizontal and/or Flip Vertical button. B ★ To rotate the overlay, change the Rotate value, or hold down Alt-Shift/Option-Shift and press (and keep pressing) < or >. Drag to clone at the chosen angle. ➤ To restore the default scale, ip, and rotation values to the current clone source, click the Reset Transform button. ➤ To display the Clone Source panel when the Clone Stamp tool is selected, click the Toggle Clone Source panel button on the Options bar. A We’re dragging with the Clone Stamp tool on a new blank layer in our target document to brush in some pixels from the source document. B  i s t i m e , b e f o r e w e b e g a n c l o n i n g t h e b o t t l e , w e c l i c k e d the Flip Horizontal button on the Clone Source panel and changed the Oset values (see the panel at right). ptg 250 Chapter 14 Using the Photomerge command e Photomerge command combines two or more photos of the same scene into a single panoramic image. It creates a layer from each photo and adds a layer mask to each one to control the transitions between them. Photoshop does the work for you! To merge photos into one document via the Photomerge command: 1. In Bridge, arrange the photos in the correct sequence for the panorama (this will help Photomerge work faster), then multiple-select them. PSD les are processed more quickly than raw les. 2. Choose Tools > Photoshop > Photomerge. e Photomerge dialog opens. A 3. Click a Layout option: Auto (Photoshop picks the best layout), Perspective, Cylindrical, Spherical (best for a 360° panorama), Collage (photos are combined by stretching and rotat- ing), or Reposition (no stretching or rotating occurs) ( A–C , next page). Unfortunately, the layout can’t be previewed. SHOOTING PHOTOS FOR A PANORAMA To get good results from the Photomerge command, Adobe makes the following recommendations: ➤ For the most precise alignment among multiple photos, and to help prevent distortion, use a tripod and shoot all the photos from the exact same spot, in the sequence needed for the panorama. ➤ Choose the same focal length (zoom) setting for all the photos. ➤ Overlap the viewing area from one shot to the next by approximately 40%. ➤ For optimal results, choose the same exposure or aperture setting for all the shots. You don’t have to fuss over matching the exposures perfectly, because as Photomerge processes the fi les, it will even out exposure discrepancies. A Choose a Layout and correction options in the Photomerge dialog. 4. Check any of the following correction options, if they’re available for your Layout choice: Blend Images Together uses color matching and layer masks to create seamless transitions between the photos. By default, this option is checked for all the Layout options. Vignette Removal lightens any dark areas that the camera lens produced around the perimeter of the photos. Geometric Distortion Correction corrects lens distortion, such as pincushioning (pinching), barreling (bulging), or extreme wide angles. 5. Click OK, then sit back while Photoshop opens the source les, aligns and blends them into a panorama, and opens a new document onscreen. 6. To eliminate any unwanted transparent areas from the edges, use the Crop tool. 7. Save the new document. ➤ e Tools > Photoshop > Process Collections in Photoshop command (in Bridge) locates a series of photos within the current folder that contain similar exposure settings and capture times, creates a panorama, saves the le to the current folder in the PSD format, then closes it. ptg Combining Images 251 THREE OF THE LAYOUT OPTIONS IN PHOTOMERGE A  e P e r s p e c t i v e L a y o u t o p t i o n in Photomerge shrank the images in the center to add depth but also produced some distortion on the left side (attened the roadway). is option would be better suited for creating a narrower panorama from just two photos, preferably ones that don’t show obvious lens distortion. B  e C y l i n d r i c a l o p t i o n enlarged the images at the center. is option is good for a wide panorama like this one (a panorama made from three or more photos). C  e R e p o s i t i o n O n l y o p t i o n simply places the images in a row without transforming them. For our photos, this option produced results similar to the Cylindrical option, except here the horizon became slightly arched in the center. We chose these three source photos for our panorama. ptg 252 Chapter 14 Using Smart Guides, ruler guides, and the grid Sometimes successful composite images come together in a serendipitous way without a lot of forethought or careful alignment. At other times, you may need to plan ahead or position objects more precisely — perhaps if your Photoshop image needs to t perfectly within the connes of a Web or print page layout. To accomplish this, such layout features as grids, rulers, and guides come in handy. Our favorite precision alignment feature in Photoshop is Smart Guides. If this feature is on and you move an item (such as an image or type layer) in a multilayer document, temporary guide lines will appear onscreen when it nears the top, middle, or bottom of another layer. To use Smart Guides while moving a layer: 1. Make sure both the View > Extras and View > Show > Smart Guides commands have check marks. 2. Click a layer in a multilayer document. 3. With the Move tool (V), drag the layer. Magenta (the default color) lines will appear when the layer nears the top, middle, or bottom of imagery or type on other layers. A–B Let the layer snap to a guide or to a pair of intersecting guides. ➤ In the Guides, Grid & Slices panel of the Edit/ Photoshop > Preferences dialog, you can change the color of guides, Smart Guides, and the grid, and choose other related options (see page 394). Your preference settings will apply to all Photoshop documents. A With the help of a Smart Guide, we are aligning the top of the blue buttery layer to the top of the yellow buttery layer. B Here, we are aligning the bottom of the blue buttery layer to the center of the yellow buttery layer. VIEWING EXTRAS The View > Extras command (Ctrl-H/Cmd-H) shows or hides whichever features are currently enabled on the View > Show submenu. Among the Show submenu features that you can show and hide are Layer Edges, Selection Edges, the Grid, (ruler) Guides, and Smart Guides. These choices affect the current document and any documents that you subsequently open. Mac OS users: If a dialog opens when you choose the Extras command for the fi rst time, see the fi rst tip on page 158. ptg Combining Images 253 e rulers display on the top and left sides of the document window. ey are useful for positioning objects (as we show you in this task) and for creating guides (as in the next task). To show or hide the rulers: Do either of the following: Choose Show Rulers from the View Extras menu on the Application bar (and make sure Show Guides is also checked). Choose View > Rulers or press Ctrl-R/Cmd-R. e current location of the pointer on the image is indicated by a dotted marker on each ruler. Move the pointer, and you’ll see what we mean. If you drag a layer with the Move tool, you can note its position using the markers on the rulers. A ➤ To change the units for both rulers quickly, right- click either ruler and choose a unit from the con- text menu. Or to get to the Units & Rulers panel in the Preferences dialog quickly, where you can also change the units, double-click either ruler. ➤ To change the ruler origin (to measure distances from a specic location), starting from the upper left corner where the two rulers meet, drag diagonally into the image. To restore the default origin, double-click in the upper left corner. You can place ruler guides where you need them and remove them individually at any time. Like Smart Guides, they have magnetism (see “To use the Snap To feature” on the next page), but unlike Smart Guides, they linger onscreen and save with your le. To create ruler guides: Show the rulers, then drag from the horizontal or vertical ruler into the image, B–C releasing the mouse where you want the guide to appear. As you create guides, you can do the following: Snap a guide to a selection, to the edge of imag- ery on a selected layer, or to the grid, if displayed (see the next page). Make sure View > Snap is checked, then Shift- drag slowly to snap a guide to a ruler increment. ➤ You can move any existing guide with the Move tool (the pointer becomes a double arrow), pro- vided the guides aren’t locked (see the next page). ➤ Alt-drag/Option-drag as you create a guide to switch its orientation from vertical to horizontal, or vice versa. A As we move a layer, the current location of the pointer is indicated by a dotted line on each ruler. B To create a guide, we are dragging downward from the horizontal ruler. C We snapped the new guide to the top edge of the buttery layer. (Via the Guides, Grid & Slices panel of the Preferences dialog, we changed the color of our guides to light red.) ptg 254 Chapter 14 e grid is a nonprinting framework that you can snap a layer or selection to. It can be displayed or hidden as needed, and can be turned on or o for individual documents. To show or hide the document grid: To show or hide the grid, A choose Show Grids from the View Extras menu on the Application bar or press Ctrl-’/Cmd-’. If the View > Snap To > Grid option is on, a selection, layer, or ruler guide will snap to a grid line if it is moved within 8 screen pixels of the line. To measure the distance and angle between two points: 1. Choose the Ruler tool (I or Shift-I). 2. Drag in the document window. e angle (A) and length (L1) of the measure line will be listed on the Options bar and the Info panel. Shift-drag to constrain the angle to a multiple of 45°. 3. Optional: You can drag the measure line to a new location. Or to change the angle of the line, drag either of its endpoints. 4. To hide the measure line, choose another tool. ➤ To redisplay the measure line, hold down I for a temporary Ruler tool. To remove the line, click Clear on the Options bar. A document can contain only one measure line at time. When the View > Snap command is on (and depend- ing on which options are checked on the View > Snap To submenu), as you move a selection border or layer near a ruler guide, grid line, the edge of layer imagery, or the canvas area, the pointer or item will snap (to the item) with a subtle tug. (Personally, we prefer to use Smart Guides… but here it is, for what it’s worth.) To use the Snap To feature: 1. Choose View > Snap To > Guides, Grid, Layers, Slices, Document Bounds, or All (of the above). Note: For the Snap To > Guides, Grid, or Slices option to be available, that feature must also have a check mark on the View > Show submenu. 2. Make sure View > Snap has a check mark (Ctrl- Shift-;/Cmd-Shift-;). is command enables whichever options are currently checked on the Snap To submenu. To reposition ruler guides (Move tool), they must be unlocked rst. Conversely, to prevent guides from being moved unintentionally, lock ’em up. To lock or unlock all ruler guides: Choose View > Lock Guides (Ctrl-Alt-;/Cmd- Option-;). Rechoose the command to unlock. ➤ If guides aren’t locked and you change your document size via the Image Size command, the guides will maintain their relative positions in proportion to the image. To create a ruler guide at a specific location: 1. Choose View > New Guide. 2. In the New Guide dialog, click Orientation: Horizontal or Vertical, enter a Position value relative to the 0 (zero) point on that axis in any measurement unit that is used in Photoshop, then click OK. A guide appears in the document. To remove ruler guides: Do either of the following: To remove one guide at a time, make sure guides aren’t locked, hold down V to spring-load the Move tool, then drag the guide out of the document window. Beware! Don’t press Delete, or you could delete the current layer. To remove all the guides from the document, choose View > Clear Guides. A  e g r i d i s d i s p l a y e d i n t h i s d o c u m e n t . . more quickly than raw les. 2. Choose Tools > Photoshop > Photomerge. e Photomerge dialog opens. A 3. Click a Layout option: Auto (Photoshop picks the best layout), Perspective, Cylindrical,. from the edges, use the Crop tool. 7. Save the new document. ➤ e Tools > Photoshop > Process Collections in Photoshop command (in Bridge) locates a series of photos within the current. layer from each photo and adds a layer mask to each one to control the transitions between them. Photoshop does the work for you! To merge photos into one document via the Photomerge command: 1.