History and Virtual LayersLayer-based edits offer great freedom and flexibility, but they have one major disadvantagethey make large files that can also be dauntingly complex. It's often a sobering exercise to return to a layered file you created months or years ago and try to figure out what each layer was supposed to do. Layer naming helps, but only up to a point.We confess that when the History feature first appeared in Photoshop, we saw it as little more than a massively overengineered multiple undo. But our friend and colleague Jeff Schewe, who has probably had more influence on the History feature's development than anyone outside of Adobe, dropped some hints that made us realize the error of our ways.History certainly gives you many levels of Undoup to 1,000but it does much more besides. When you use History in conjunction with blending modes and the History Brush, you have something that lets you apply very similar effects to those you can achieve with layers and masks. Virtual LayersWe like to think of History as providing "virtual layers" because it lets us do many of the things we can also do with layers. But let's look at the important ways in which History's virtual layers differ from real ones.History is ephemeral. It's only around as long as your file is open. Once you close the file, its history is gone forever, giving a whole new twist to the old adage that those who can't remember history are doomed to repeat it. You can't save History with the file, so you have to get your edits right before you close. (You can save a history log, either in the file's metadata or in a text file, but the log doesn't let you re-create previous states of the image.)History is easier than layers when you know exactly what you're doing and can get things right on the first (or possibly second) try, but if you're less decisive than that, it quickly becomes more work than using layers to achieve the same effects.History can be even more demanding on your hardware than adjustment layers. It requires plenty of scratch space, and the faster the disk, the better. Nevertheless, History is a powerful feature for making quick, effective, dare we say gonzo, edits. History ToolsHistory works using just a handful of tools. The History palette lets you set the source for your History-based editsthe pixels that you'll apply to the image (see Figure 7-52). Figure 7-52. The History palette[View full size image] The History paletteThe History palette lets you click in the left column to set the History source to a History state or snapshot (the paintbrush icon indicates the current History source), or click on a snapshot or History state's tile to set the current state of the image.The three icons at the bottom of the palette let you create a new document from the current History state, create a new snapshot, and delete the current History state, respectively. Snapshots are a convenience featurethey're usually easier to track than History states, and unlike History states, you can name them. Applying HistoryYou can apply History using either the History brush tool or the Fill command from the Edit menu. Fill is easier when you have a selection or you want to affect the entire image. The History brush is useful for actually brushing in edits. When you use either one, you can immediately use the Fade command (on the Edit menu) to adjust the edit's opacity (and hence its strength).Figure 7-18, but this time we'll make the edits using History instead of layers. No masking is involved, so we simply use Fill from History to make all the edits. Figure 7-53. Simple History edits[View full size image] Combining Blend Modes with HistoryHistory also lets you do things that you can't do as easily with layers. One trick we often use is to make a basic setup of three snapshots, one for the original image, a second darkened with Multiply, and a third lightened with Screen. Then we apply the darkened and lightened versions using Soft Light or Hard Light/Overlay to darken or lighten while adding contrast.Figures 7-54 and 7-55 show a quick set of edits performed entirely with History. We don't necessarily advocate using this approach for all, or even most, edits, but it's one more useful set of techniques to get under your beltthe more techniques you master, the easier it is to pick the one that will get you the results you want with the minimum of effort in any given situation. Figure 7-54. Setting up Snapshots[View full size image] Figure 7-55. Applying the edits[View full size image] Print OptimizationAs with the wet darkroom, the goal when working in the digital darkroom is often to make printsotherwise the digital darkroom wouldn't be worthy of the name. But the digital darkroom offers a key advantage over its analog counterpart: Thanks to the wonders of color management, it lets you see what will happen in the print before you make it.The naïve view of color management is that it makes your prints match your monitor. If you've read this far, you've probably realized that this is an impossible goalprinters simply cannot print the range of color a good display can display. Instead, color management tries to reproduce the image as faithfully as the limitations of the output process will allow.But color management knows nothing about images; it only knows about the color spaces in which images reside. So no output profile, however good it is, does equal justice to all images. When you convert an image from a working space to the gamut and dynamic range of a composite printer, the profile treats all images identically, using the same gamut and dynamic range compression for all.But thanks to Photoshop's soft-proofing features, you can see ahead of time exactly how the profile will render your images, allowing you to take the necessary corrective action. If you want great rather than good, you need to optimize images for different output processes, because something always has to give, and each image demands its own compromises.Adjustment layers provide a very convenient method for targeting images for a specific output process. You can use adjustment layers grouped in layer sets to optimize the same master image for printing to different printers, or to the same printer on different paper stocks. The following technique uses three basic elements.A reference image. Create a duplicate of the image, with Proof Colors turned off, to serve as a reference for the image appearance you're trying to achieve.A soft proof. Use the Proof Setup command to provide a soft proof that shows how the output profile will render the image.A layer set containing adjustment layers. Group each set of optimizations for a specific output condition (printer, paper, ink) into a layer set, so that you can turn them on and off conveniently when you print to one or another device. Making the reference imageChoose Duplicate from the Image menu to make a duplicate of the image. The duplicate will serve as a reference for the appearance you're trying to achieve on the print.You need to make a duplicate rather than simply open a new view because you'll be editing the master image to optimize it for the print, and the edits would show up in a new view. The duplicate isn't affected by the edits you make to the master file, so it can serve as a referencea reminder of what you want to achieve in the print. Setting the soft proofChoose Custom from the Proof Setup submenu on the View menu to open the Proof Setup dialog box. Load the profile for your printer, and check Paper Color to make Photoshop use absolute colorimetric rendering to the monitor (see Figure 7-56). We find that all the soft-proof views (using the different combinations of Paper Color and Black Ink) tell us something useful, but the absolute colorimetric rendering produced by checking Paper Color is, in theory at least, the most accurate. Figure 7-56. Setting the soft proof[View full size image] Figure 7-57. The soft proof and the reference image[View full size image] Make your editsWe suggest starting out viewing the soft proof and the reference image side-by-side. Once you've edited the soft-proofed image to get it back to where you want it to be, fine-tune your edits looking at the soft-proofed image in full-screen view.Some images need minimal editing; others may require significant reworking. We start by applying adjustment layers to get the soft-proofed image to match the reference (the duplicate) as closely as possible. Then we group these adjustment layers in a layer group named for the print process it addresses. That way, we can easily optimize the master image for different print processes by turning the layer sets on and off, without having to create a new file for each print condition. Figure 7-58 shows the edited and reference images with the individual edits and their accompanying layer sets. Figure 7-58. The edited image and the reference image (part 1)[View full size image] Figure 7-58. The edited image and the reference image (part 2)Imaging from Photoshop" in Chapter 13, Image Storage and Output. |