Quick Trick: No More Blemishes!

PDF Version : https://bit.ly/3AA0q81

Have you ever looked at a heritage photo and wanted to display it or create a layout with it, but it has a big fold, crack, scratch or wrinkle you can’t crop out? This tutorial is for you! (Only thing is… you need Elements 14 or more recent.)

This photo of my grandmother’s younger sister Mamie was in the treasure trove my grandmother’s cousin (still alive and well at 90!) has in her archives. It’s in pretty decent condition, considering it was taken in 1915. But it has some scratches, cracks and foxing, all things that happen to old prints. Black and white photo paper has a layer of gelatin emulsion impregnated with silver halide crystals that undergoes a chemical reaction when exposed to light. This emulsion layer is relatively fragile, especially as it ages and becomes more brittle; it’s easily scratched and is prone to cracking when the paper is flexed. This gelatin layer is what causes old photos to curl over time. But enough with the history lesson! How can these precious photos be repaired? With the Content Aware Move Tool!!

I Zoomed in on the area where I want to start my repairs. I also added a new blank layer above my photo. This is the layer I’ll be working on as I do the restoration.

To find the Content Aware Move Tool, look at the Tool Panel along the left side. It’s the one with the criss-crossing arrows icon at the bottom just above the Color Picker. Click on that. Before you use the Tool, make sure the settings are as shown: Mode = Move, Healing = 50%, Sample All Layers = ON and Transform on Drop = OFF. Then drag out a Selection around the spot you want to fix.

Then click and drag the Selection onto an area of the photo that doesn’t need fixing. Elements, using AI technology, cleans up the spot automatically. Be aware though that once you’ve used any “clean” area of the photo, it’s off-limits for reuse. Why? Because when you go to Delete the Selection, it’ll restore any other flaw you may have moved there. I found that out the hard way.

Since we’re FIXING and not just REARRANGING damage, the next step is to Delete what’s inside the Selection. You can do the multi-step Edit>Delete or just hit the Delete key. Elements doesn’t care. [You’ll know if you’ve forgotten to activate the BLANK layer because the area you’re Deleting will turn blue. AHHHH!]

These three steps are all you need to know. You don’t need to Deselect to move on to the next damaged area, just go ahead and Select it. Easy-peasy!

For more complex damage, like this crack/scratch/crease combo, it works best to do it in chunks.

The Tool can make very detailed Selections, which don’t have to be super precise.

And there it was… gone! (My dad says that all the time.)

Once you get to the point where all that’s left to clean up is dust spots and little discoloured areas, Merge the two layers together – Click>SHIFT>click on the layers then right-click and choose Merge Layers or CTRL/CMD>E. Then you can go ahead and use the Spot Healing Brush and/or the Clone Stamp to finish up. The image can be printed and framed, or used in a layout (or both!) as desired. I only have about 40 more photos to do now……

I’m sure there are other ways this Tool can be used. I’ll put my thinking cap on and see what I can come up with!

Guided Edit: Perfect Landscape

PDF Version : https://bit.ly/3GDI35u

By popular request! Let’s get this one off on the right foot from the start… this Guided Edit wasn’t available until Elements 2021 launched. If you’re using an older version of Elements (2018, 2019 or 2020), you’ll have to use the old-school method I showed you here. Anything older than that and you’ll have to manually extract the sky, find a sky overlay and add it on. Much more work. 🙁

Landscape photos can be stunning, or they can be kinda blah. Uniformly gray skies can provide great saturated colour to objects in the foreground, but overall, they can make for a pretty boring image. Most of the photos I took while in Ireland have a blown-out almost white sky. But now, with the Perfect Landscape Guided Edit, I can do something about that, fairly easily too! I’d already used my usual editing arsenal on this image – there was a car in the original photo! – but that sky drags the whole thing down. Let’s fix it!

You’ll find this marvel on this path: Guided>Special Edits>Perfect Landscape. Elements uses Artificial Intelligence for this Edit. It seems to be fairly competent at it too.

This is what the Perfect Landscape interface looks like. Because I’ve already edited the photo before, I’ll skip over the Crop, Straighten and Remove Haze tools. They’re pretty much self-explanatory and/or have been featured in other tutorials. I’m going right to the Choose a new Sky toolkit. There are 16 different sky options here. Experiment with them to see what will look best with your particular photo. To undo your choice, just CTRL/CMD>Z.

What do you think of this one? I know, right?! [Please ignore the typo in the image. Ta!]

This is the progress bar for the analysis part of the Edit, while AI is working. It’s deciding where the sky is and judging how bright to make the replacement sky.

Here you can see I’ve chosen the very first option from the palette with the Opacity and Brightness at 100%, and the photo looks better. But not quite right. There are a few adjustments that can be made manually, so let’s look at them.

Watch closely when you make adjustments. Every time. You need to see what’s happening so you can decide how much of a change the action is creating and if it actually looks better or worse. Ticking the Auto Match Color Tone box made the entire image darker and the details less visible. It’s a no for me, dawg.

When you hear about how much it rains in Ireland, it’s not an exaggeration. They have a lot of “soft days” – when it’s drizzling. In my photo there’s a muddy area just in front of the opening in the back wall. So maybe I should move the sky around so there are a few more clouds, to give the impression that a storm has blown through and the ground is drying. The Move Tool button activates the layer with the sky on it so I can do that.

That’s better. Because the AI worked flawlessly, I don’t really need to make any more changes to this one. So I’ll click Next down at the lower right corner of the canvas to the next menu.

I’ll Save As this image as an edit of the original, but I’ll do it in the Expert editing area. I might decide I want to use the photo right away on a layout.

I wanted you to see all the steps Elements took in the background. You can see the first thing it did was to isolate the sky area. Then came a gradient layer, the sky image layer, a brightness adjustment layer then a mask that concealed all but the sky area. Last is a composite of all the layers. Because the top layer is a composite, adjusting any of the other layers makes no change to the end result.

So. What happens if part of the photo is mistaken for sky by the AI bot? In this photo, the buildings along the upper right are bright white, just like the sky. So our AI bot was confused and added sky to them. How can that be remedied?

Easy! Use the Refine Edge toolkit. I want to remove the sky from the buildings, so I clicked on Subtract and using a smallish, hard, round brush at 100% Opacity I erased it from view. if you’ve used any other brush just prior to doing this edit, you’ll run into trouble so click through to the Expert Edit, check the brush and then click back to the Guided Edit. I could pretend that I did this on purpose so I could tell you it works, but that would be a fib… I had the arrow brush I use on my screenshots active and it was a MESS!

There are still a few things I want to adjust on this image. For example, the water under and in front of the bridge should reflect some blue and cloud, and the area under the arch in the foreground would probably be a bit lighter and brighter with a blue sky. But I think it’s all doable.

My tip for making this easy and quick: Choose a photo with an easily identified sky and let the software do all the work!

The Key to Painless Extractions!

Greetings GingerScrappers! It’s Tuesday again… the weeks are just flying by for me. Hubby and I have started working on the “non-essential” area of the house, what I’m calling #jansworld… the huge room in our downstairs that will be my hobby space. The movers dismantled all of our storage shelves and two of my desks. They also just loaded the room with every box that had “office”, “Jan” or “craft room” on them, piling them up 5 or 6 high with no rhyme or reason. So it’s a monumental job to get that space sorted out. We’ve made a good start but when I told him today I had a tutorial to write and we weren’t going to spend any time in there… he went ahead and did some things without me and then had to interrupt me twice to ask for guidance. Grrrrrrrrrrrr. So I know I’m going to miss my usual post time. Sorry… Thankfully my boss (the amazingly generous Ginger!) isn’t too much of a stickler.

On to the tutorial. I’m feeling like I should be able to get some scrapping done this month so I looked at the July Challenges and decided which ones I might be interested in taking up. The Inspiration Challenge Lina of LDragDesigns has tossed out is to use an extraction on a layout. I like extractions but find them very time consuming. What to do, what to do… How about checking to see if Elements+ has a quick mode?! Why yes, yes it does!

I’m intrinsically lazy, so if I’m going to do something as fiddly as an extraction, you know I’m going to choose carefully. I’m going for a clean cut and as little work as I can get away with. This photo from Pixabay ticks all my boxes. The Elements+ feature I’m going to show you is in the Selections menu, which makes perfect sense because that’s what an extraction is. I think for the sake of Working Smart, Not Hard, I’ll be using the Effects button at the bottom of the Layers panel and choosing Elements+ from the drop-down.

You can see what each of those Elements+ icons is for by holding your cursor over them and letting the name pop up. The Selections icon is at the centre of the top row. The Selections menu appears on the left of the workspace as shown.

But first, before we go down the rabbit hole, I made a Duplicate photo layer… just in case I do something I can’t undo. I’m going to start off with the Polygonal Lasso Tool. It’s the one that looks like a Greek symbol with a tail. I also turned off visibility for the background layer.

You’re not going to believe how long it took me to figure out how to use the Polygonal Lasso tool. Let’s just say it took a LONG time – I hated it because it didn’t do what I wanted it to do – and leave it at that. But now that I know how to use it, I quite like it! The trick with it is to make small nibbles, and to get as close to your subject as you can. It might sound like a slow process but it isn’t. As my mother used to say, less haste and more speed! Click on a spot where it makes sense to start out. Then move your cursor to a natural spot to change course. I started at the left of her hands, just below them. I went over to the area just below where the heel of her hand starts to lift off the rock and clicked there as my next reference point. Then I went to the bottom of her bracelet, clicked and moved to just past the bead on her bracelet. By taking a little bit of extra time with this step, it sped up the subsequent steps. I kept making small (and a few not so small) runs, clicking at the end of each, all the way around her. When I got back to my original starting point I double-clicked and I had a nice, free-form selection!

In this screenshot you can almost see the outline of my Lasso’d area. Now I went back to the Selections menu and clicked on Quick Mask Mode. Red is the default colour, but if I was trying to extract something from a red background, I could easily change the mask colour to blue, green or a chosen colour.

And that was all I had to do to create a mask on my image! Now I can fine-tune the edges.

Next I went to the Brush tool to clean up my extraction. Because I’ve put a layer mask on the active layer, the Brush tool automatically sets up for concealing and revealing – the colours in the picker are black (which CONCEALS) and white (which REVEALS). I flip back and forth between erasing and replacing by clicking on the “X” key. (JUST the X key… I don’t want to go to another keyboard shortcut accidentally!) I was able to get pretty close to the outline of her body with my Lasso so I can go with a fairly small brush size – 9 pixels – and I can adjust the size up or down by using my square brackets keys. The Left bracket makes it smaller, the Right makes it larger in the same way using them with the CTRL/CMD key zooms in and out.

I just started brushing away the mask with the foreground colour set to white. I zoomed in quite a lot to see clearly where my edges are.

There is a bit of very minute detail in her hair that I’ll have to brush back in, so I can switch the foreground colour to black, make my brush smaller and paint it back. Before I forget… If I didn’t manage to include an important area of my image, I can add it in during this step really easily. Brush it in with black!

My brush size ranges from 1 pixel for the really tight spots, to 12 pixels for the straightaways.

Now that I’ve finished with the clean-up, I went back to the Layers panel. This step tells Elements+ that I’m moving on to a new operation.

To get Elements+ to finish the job, I clicked again on the Selections icon then told it to Exit Quick Mask Mode.

The red mask is gone, and now I have marching ants instead. I just need to…

Invert the Selection (Select>Inverse or CTRL/CMD/Shift>I) and then I can eliminate the sky, the water and the rocks.

Two ways as usual, Edit>Cut or CTRL/CMD>X.

Boom! It looks pretty sharp to me.

Here’s what the whole workspace looks like when I Zoom back out.

So before I Save it, I’m going to Crop it down to a more useable size.

I want to keep the background transparent so I’m going to Save As a .png. The keyboard shortcut for Save As is CTRL/CMD>Shift>S.

To keep as much sharpness as possible I’ll save it at the Smallest compression but it doesn’t need to be interlaced.

Now I can put this yoga queen on just about anything! I’ll have to figure that part out later.

Unlocking the Photoshop Elements Easter Eggs

The other day I was scrolling through Google News on my phone looking for celebrity stories and horoscopes… who doesn’t? I’d at one time done a Google search for tutorial ideas and obviously Google stores away all that information to use against me at a later date. Because there in front of me was a video extolling the virtues of Photoshop Elements+. I’d heard of Elements+ in passing before but never actually looked at it. I mean, who wants to spend more money than we have to for hobbies, right? But I watched the video anyway. Then I went over to the Elements+ website and bought it! My first pleasant surprise was the cost – $12 US ($17.87 CDN at today’s exchange rate, but still a steal!). They have a free demo option which is a much-abbreviated set of features, and if you aren’t sure you want to spend the cash, maybe give it a look first before you decide. What do you get for the cost of a couple of gourmet coffees? A TON!!

This first screenshot shows the key to the (very lengthy) list of features and which version they’re part of. The type is quite tiny but if you go to the website you can see the list full-sized. There is an Elements + version for every release of Elements from 1 through 2020, and the patch (that’s what the developer is calling it) unlocks all the hidden potential of the Elements software that turn it into so much more of a powerhouse. There are a lot of features in here that won’t appeal to the average scrapper, but don’t let that hold you back! The first block of features are RAW corrections. You may remember quite some time ago I gave you a tutorial on editing in Camera RAW, which is super for taking a so-so photo into the amazing realm. Elements + adds several functions not present in the basic software.

The second block of features in the screenshot are for Color and Tone. They’re pretty complex edits, and only the real photography snob or the wedding photographer might use them. But handy to have, no? Of note, there are some features that are only in the Windows version, or the Mac version, but not both, and the chart shows you which.

The list continues with Selections, a group of edits that make extracting much more precise and with fewer steps. They’ll take a bit of a learning curve, I think.

Next is a section on Layers. What caught my eye is the one called “Creating layer from style” and it’s making me giddy! I can’t wait to put my styles on their own layers so I can bend them to my will.

Then comes Smart Objects. I’ll confess, after using Elements 17 and being frustrated by Smart Objects, I think I need to learn how to make them work for me, so I’ll be exploring these functions.

Layer Styles options look pretty interesting. “Photoshop-like dialog with undocumented effects and advanced blending options” sounds like something I need to know! “Saving custom styles” is also something that might be fun to learn.

Masks refers to layer masks, not the sort we’d use for clipping photos or papers to, but for making adjustments to individual layers. I’ll need to do some playing to understand how they work.

Smart Filters sounds like Instagram went to college. But I suspect there are some really useful edits to be found in there.

In Elements‘ later versions there’s a text option for putting words on a path. You know, putting test around the outside of a box, a heart, a star or some other shape. These options under Paths expand and extend that to so many applications, from creating paths to creating shapes from a path to using a path as a selection, there’s a lot to unpack there.

Text options to allow scaling of individual characters, the ability to edit only a fragment of text (not for Mac), text inside a shape and paragraph justification will make journaling much more interesting.

Pen Tools are only available in Versions 10-14. Bézier curves are a bit beyond my limited geometry, algebra and trigonometry education so I can’t explain that one. Anyone smarter than me care to dumb it down?

Macros are little bits of code that define a specific process. The two entries in this category relate to recording and replaying macros you create yourself. Let’s say you have several edits you do to every one of your photos or layouts and you wish you had a way to automate that. This is it! But. It needs something called Scripting Listener to be installed and functional within PSE. Let me look into that further…

Droplets could be a game-changer! The website says this: ““Droplets” provide a quick and intuitive way to apply scripts to pictures. You just drag one or more image files onto the droplet icon and… it’s done! ” The example they show is resizing a whole batch of photos to a defined size. (I might be interested in this for my tutorial screenshots…) I think this particular feature will be really handy for scrapbookers, because you can create a Droplet of your favourite script (I’m going to talk about Scripts next) and apply it to multiple objects. Once I’ve played with this, if there’s interest from my faithful readers, I’ll put it all into a tut.

Let’s talk about Scripts. These are just what they sound like – series of instructions to be followed in order. I’ve used some of the scripts and will show you what I did with them in a bit. These Scripts let you do so many things it’ll make your head spin! The ones I think will be the most useful for scrapbooking are the Edge Effects scripts. Burnt Edges!! There’s one that turns your photo into a piece of Film, and another one that turns a series of photos into a Filmstrip. Another one applies Hand-stitching to the edges of whatever you want. The script varies the length and angle of each stitch so it’s completely random, and won’t be exactly the same twice. The colour of the stitches and the background texture are customizable. Page Curl rolls the corner of your photo or paper, putting the perfect shadow on it. Photo Corners, Rough Bounds, Rounded Corners, Stamp Edges, Torn Edges, Wavy Edges, Yellowed Margins and Zig-Zag complete the list. Then there are the Photo Effects scripts that expand significantly on the basic effects already in Elements. Randomize is something I want to get deeper into to see if I can make my own fabulous scatters. That’s just a sampling of what’s in the Scripts treasure chest.

This screenshot just continues the list of Scripts. More POWER!

This too is a continuation of the Scripts list. At the very bottom they show the functions available in Versions 1-5. Of course they’re much more limited because Elements has evolved so much over the years.

Still with Versions 1-5…

Notice how the lists are much shorter…

Okay! On to my experiment from earlier today. I downloaded the software and installed it. Then I opened up Elements and let it absorb all the new goodness. This will take several minutes, so if you decide you want to try it out make sure you have time to let it get set up.

How do you find your Easter eggs? There are two ways to do it. You can click on File>Automation Tools (which would have been greyed out before) and the category menu opens.

Or you can click on the Effects button at the bottom of the layers palette and select Elements+ from the drop-down menu. Then you have all these thumbnails to give you an idea of what they hold.

I had this Instagram photo I downloaded from my phone that was okay, but not really what my eyes were seeing when I shot it. So I thought, why not give it the RAW treatment? And I can get to it with the photo already open in Elements, which is fantastic! I’m going to tell you that, start to finish, this edit took me all of 2 minutes. And I’m impressed! The RAW menu looks a little different and offers a few options that aren’t found in the Open in Camera RAW menu. But the preview screen is still the same and lets you see what you’re doing as you do it.

I did some basic editing to see if I could pull a bit more detail from the foreground, which was pretty underexposed. Of course, that washes out the sky a bit… but okay, onward and upward.

I took a look at the Scripts and was intrigued by the Favorites on the menu, but don’t know enough about it yet to do much with it. Later…

However… further down the list is Landscapes.  So I opened it. And there’s a Cloud Booster. YES! I selected it then hit the green triangle icon that represents the Play button.

I haven’t shown it here but the Script creates a copy of the background layer and works upward. There’s a RAW layer, and then the Cloud Booster layer, which includes a layer mask. The Brush menu also opens so you can use a brush to adjust where and how much the effect changes your image. I didn’t touch the image with a brush though.

Instead, I took a look at the layers palette.

I toned down the Opacity of the layer mask, which softened up the mountains a bit, but didn’t change the Blend Mode.

Then I spied the Neutral Density Filter script. Oh my heart! I have a neutral density filter for my DSLR, but find it cumbersome to use. To say nothing of pricey! ND filters are especially useful for landscape photos, where you know there’s going to be trouble getting the exposure just right. They come in a range of intensities from almost imperceptible to very dark. The glass is gradient-tinted; the filter needs to be positioned so that the darker part is over the lighter, brighter part of the intended photo – usually the sky. It decreases the amount of light getting through the lens in that area of the photo so it’s less exposed than the rest of the image. Using the filter takes practice, experimentation, exposure-bracketing and shooting purely in manual settings. How can Elements+ replace the on-lens filter? Let me show you!

This is my photo after I ran the ND Filter script. Notice how the sky is darker now, maybe just a bit TOO dark? But because this is completely digital, I can make adjustments to the layer and fine-tune it so it’s just right. Let’s say I was shooting a snowscape and it was the FOREGROUND that’s over-exposed. I could rotate the filtered area so it’s at the bottom of the photo. If the filtered area bleeds into the part of the photo that is already correctly exposed, I could either shrink the filter area, or slide it up so that it only touches the area of the photo where it’s needed. And then there’s the on-its-own-layer thing. Bingo, more control!

So let’s look at that. The Blend Mode is Soft Light, which works. The Opacity was about 45% at the default setting, and I just pulled it down to 32%.

The last thing I did was to Merge all the layers and Save As an edited image.

Just for you, I put the original next to the edited version. Now you see what my eyes saw on Sunday evening when I took my photo.

I think there’s a gold mine in this patch! I want to dig into how it can be leveraged for digital scrapbooking for you and then show you how to make it happen for your layouts. So much potential!!