Magazine Journalism

                                                                         Introduction

Magazine journalism uses the traditional journalism tools of interviews, background research and writing to produce articles for consumer and trade magazines. Magazine journalism differs from newspaper journalism in at least five ways.

1. Newspapers have a very broad audience with widely varying ages and interests confined to one metropolitan area. Magazines have a national audience who has a very specialized interest in one particular topic.

2. Magazines are published monthly instead of daily. Therefore readers expect articles that are longer with much more in-depth analysis of issues and trends.

3. Magazine, a publication issued at regular intervals, usually weekly or monthly, containing articles stories , photographs, advertisement, and other features, with a page size that is usually smaller than that of a newspaper but larger that that of a book.

4. Magazine today is an important source of information. It performs entertainment function very well and builds the opinion of reader on the other hand.

Brief History:

• First magazine was “review” in 1704 written for nine years by Daniel defoe. It consisted of four pages three times a week.
• In 1709 “tattler “by Richard steel was published. It was edited by a fictitious editor called “isac Bickerstaff”.
• In 1711 “spectator” by joseph Addison was published.

In sub continent:
• First magazine published in 1870 was “hickey gazette” . the editor was James Augustus Hickey. It was an English magazine.
• After independence of Pakistan there was the birth of a new independent society in Pakistan.
• Journalism played up role in information of society.
• National press trust was created in 1963.
• General yahya relaxed restrictions but imposed later on.
• General ziaulhuq lifted restrictions for a short period.
• In 1988 interim government cancelled the press and publication ordinance and a new ordinance i.e. Registration of printing and press ordinance (RPPO) was made.

CHANGES IN MASS MEDIA IN AYUB’S ERA AND ITS IMPACTS

• In Ayub’s age newspapers faced a big challenge because newspapers were habitual of keeping their
focus on politics since 1857 in Indo-Pak. So to maintain the interest of the readers in the newspapers
was a big challenge as martial law government put ban on all political news.
• This resulted in an effort on the behalf of newspapers to seek other topics and they started to publish
different supplements like Sports Supplements, Women Supplement, and Youth Supplement etc. So the focus shifted to social life. In the mean while ‘Imroz’ hired a woman reporter and started to publish an article on the problems of women and its title was “Khatoon ki Nazar Main”. Imroz was the first newspaper to introduce such trends in newspapers.
• After the efforts of ‘Imroz’, Mashriq and Kohistan from Lahore started to publish women Pages.
• Feature writing also got a new dimension. The features along with the pictures were printed.
• Some newspapers got the attention of the public by publishing film pages and film bulletins. It gave rise to glamorous journalism. It also created a bad impact on those magazines that were purely film
magazines. So with the variety of film pages in daily newspapers, the purely film based magazines just disappeared gradually because they lost leadership.
• The trend also shifted to weekly and episodically features. These features covered the social and cultural aspects.
• The entry of television affected the readership of the newspapers. Because poets and writers were
writing for the newspapers without any financial gain. Television ended this trend and they were paid
for writing anything for the television. So they stopped writing for the newspapers and gradually the
newspapers lost readership.
• Periodical journalism also went to decline because all the newspapers gradually started to publish in
different supplements where all the material for different age group people was present in one single
newspaper.
• Official statements of government ministers replaced the touch of political news not only it highlighted the policy of government but also papers felt themselves secure after portraying government point of
view.
• Even today newspapers present government ministers statements but this is not a healthy trend in
terms of journalism. Official statements are subjective while news should be objective. Also, a page to represent subjective opinion is present and it is called Editorial page. So the official statements should
not cover the major portion of the newspapers.
• A newspaper is for public and it is a device to build public opinion. The term ‘Public’ does not mean every citizen but it also means a specific group of people. There are three different terms that are used frequently in the mass medium namely, Mob, Mass and Public.

Mob is a result of an immediate problem. When the problem will not be there mob will also not be there. Secondly the people in a crowd or in a mob have no link with each other. They
gathered quickly without any plan on a problem. Thirdly, they have no resemblance among
each other of income, status and intelligence.

Mass have the same reaction about like and dislike but it is not a deliberate effort. For example
the reading of a famous daily by 1 million people is a similarity of liking but they did not start it
deliberately. It is by chance that their liking matched among themselves.

Public is a group of people that emerged after an effort. Paper builds opinion so its audience is
called public. Public opinion is never unanimous. Sometimes even the opinion of minorities
prevails as public opinion. Public opinion is the opinion of those people who assert their
opinion by using different communication techniques. Any opinion to become public opinion
must be apparent. So public opinion should be expressive.

So in a nut shell we can say that papers of Ayub’s era were not to build a public opinion but
they were for masses to assert the news of government policies.

ROLE OF PAKISTANI MASS MEDIA IN AYUB KHAN’S ERA

􀂃 In 1961, Press laws were reformed and all the newspapers strongly condemned that move and
demanded that Ayub government should revise it. So in 1963, government revised it but still it was
without much flexibility.
􀂃 According to the Press Act of 1823, declaration was submitted to the government official (Deputy
Commissioner) who was not supposed to decline it as it was not considered a license. Ayub
government announced that Deputy Commissioner had the right to refuse the declaration so for
the first time it was treated as a license. It was a strong check against anti-government newspapers.
􀂃 District Magistrates started a practice with the support of government to gather secret information
regarding the person who filed the declaration. So it became a common practice that the applicant
was blamed in any charge by the Commissioner and he gave a verdict against him. This was against
the ethics of law that Commissioner was given the right to blame and also to make a decision.
􀂃 Advertising plays a major role in profit taking of newspapers and government sector
advertisements are very important for any newspaper. Governments usually use this policy to
pressurize newspapers and governments do not give advertisements to anti-government
newspapers. Ayub government also used this famous tool to manipulate newspapers.
􀂃 In Pakistan almost all the printing material is imported and import license is required to import
these materials. Ayub government restricted the quantity of import material for anti-government
newspapers to pressurize them and to stop their circulation on a large scale.
􀂃 During 1965 war, radio, television and newspapers supported government stance and the
unrealistic and exaggerated stance regarding the victory in war was presented to the people. But
when Tashqand agreement was signed in Jan 1966 and people protested against it because
government was declaring it as victory and Tashqand was humiliation in the eyes of the people. So
protests against government started and a student died. This helped to build a mass movement
against the government and ultimately it ended on the resign of Gen Ayub Khan in March 1969. It
was a direct result of a wrong media policy by hiding facts from the government.
􀂃 Government celebrated “A decade of development” in 1968 and radio television and newspapers
were used as mouth piece of government.
􀂃 Mass media is a source by which rulers can well understand what people think and what they want
and it plays a role of a watchdog. They give direct response to government policies because they are
directly affected by that policy. Ayub Khan closed that channel so government remained blind to
public opinion and it resulted in severe hatred against government policies which ultimately lead to
the fall of Ayub Khan.

MASS MEDIA AFTER INDEPENDENCE & AYUB KHAN’S ERA

􀂃 After independence there was no organized structure for mass communication in Pakistan and
there were few radio stations that were functional. The Radio station of Peshawar was built in 1927
and it was under agriculture department used to give instructions to the farmers.
􀂃 After the establishment of Pakistan it was expected that there would be a shift in the print media
and it would be far better from the age of colonialism. But the problems at the time of
independence were so grave like the problem of refugees, lack of infra structure, absence of official
machinery and lack of administration that government remained disheveled and so as the print
media. Therefore, it was very unfortunate for the mass media that it could not bear any change.
Law and order situation of the country hindered the freedom of press.
􀂃 Most of the newspapers that were in Delhi prior to independence were shifted to Karachi while the
papers of Lahore continued to work in their normal routine. However, some civil and military
gazettes were printed in English.
􀂃 ‘Imroz’ started its publication and for the first time this paper collected a good team in Pakistan.
Many prominent personalities like Abdullah Malik, Faiz Ahmed Faiz, and Chragh Hassan Hasrat
came under one roof. So ‘Imroz’ very quickly attained a reputable place in the leading newspapers.
􀂃 In 1953 ‘Kohistan’ was published by a famous novel writer Nasim Hijazi in Rawalpindi. This paper
gave a new trend to publications by starting Offset printing method instead of Litho printing.
There was a big problem in offset printing method that pictures could not be printed in this sort of
typing. So till 1953, before the arrival of Litho printing there was no photo journalism.
􀂃 In 1953, communal riots between Muslims and Ahmedis started and a commission was appointed
to investigate the causes. The members of the commission were Justice Munir Ahmed and justice
Kiyyani and after sometime the commission published its findings and it blamed newspapers for
provoking the emotions of the people for communal riots.
􀂃 Till 1957 media was free in Pakistan and there were only 60 cases that were registered in the entire
country in which actions were taken against newspapers.
􀂃 In 1960 Magazines were replaced by ‘Digests’ that were influenced by western style.
􀂃 Progressive Papers Ltd. Published Lail-O-Nehar, Imroze, Pakistan Times and the literary
personalities attached with Progressive Papers Ltd. started Progressive movement in literature.
During that time there was a shift in the government and Gen M. Ayub Khan took control of the
country as President of Pakistan and imposed Martial Law. So the progressive movement was
unacceptable for government. Therefore, government took over Progressive Papers Ltd.
􀂃 There were two independent news agencies APP (Associated Press of Pakistan) and PPI (Pakistan
Press International) were working in the country. Martial Law government also took over those
news agencies. Ayub government also bound international news agencies that they will not
distribute news and reports directly to the radio and other newspapers. So government took a
complete hold over all the news resources and the freedom of press was totally abolished.
􀂃 National Press Trust was established by the government and government took the stance that the
trust will look after or take over those newspapers that are suffering from financial crisis. So
gradually till 1960, it took over almost 60% renowned newspapers of the country.

EMERGENCE & ROLE OF PRINT MEDIA IN THE SUB-CONTINENT

• The emergence of democratic societies asserted that knowledge is the right of everyone and no one
can be denied from the basic rights. It also gave the idea of respect to everyone. The same idea
came in the sub-continent when people became aware of their rights. So, this awareness led them
to have their own press and their own papers.
• Print media in the sub-continent carried the same style as of English newspapers and it was very
simple in its style. There was no concept of headlines, format settings and catch lines. The
newspaper was just in a story form.
• The emergence of print media in the sub-continent was an ill omen for the East India Company
because soon these newspapers started to condemn the brutalities of East India Company and
people started to become aware of the callous attitude of the Englishmen. So this emergence of
Print Media started a concept of unity. Because now a person of Bengal and Lahore can well
assume the critical situation regarding the atrocities of the Englishmen.
• The Urdu papers of Lucknou and Delhi adopted a harsh stance and strong words were used
against East India Company. Till 1857, this practice continued. In Oct 1857 Delhi fall occurred and
Englishmen took control of the entire India. After one year a report for the causes of the revolt
were sent to the Queen Victoria by the appointed commission. This report also blamed some
Indian papers and Molvi M, Baqar, who was printing Sadiq-ul-Akhbar, was given capital
punishment.
• In 1858, Queen Victoria declared India as a colony and the Police Act of 1861 was introduced for
the people of India as the slaves of the colony. This created a sense of inferiority among the people
and they got the idea that they are under a constant suppression. In the mean while Sir Syed
Ahmed Khan started reformation and he assured the people that suppression could be ended by
just getting modern education and Muslims were not in a position to afford any conflict with the
rulers. On the other hand, he assured Englishmen that Muslims were not only responsible for
revolt but it was done by all the natives collectively so to target Muslims was not the best idea. Sir
Syed was not a professional journalist but he used print media to educate people.
• After the abrogation of Bengal Division Muslims became more aware of their rights and also some
incidents like World War1 occurred on international arena in which Muslims of the Sub-continent
were having sympathies with Turks because of the Caliph and Turks were fighting against England.
Therefore, British Govt. kept a close eye on Indian press and never allowed to publish anything
against the interest of the rulers.
• Despite, the punishments Muslims continued to work for presented and adopted a bold stance in
print media. Maulana Zafar Ali Khan, Maulana Muhammad Ali Johar and Maulana Hasrat Mohani
were the famous names of that era. These people never cared about the ferocious laws of British
Government and they continued their work. Zimindar that was published by Maulana Zafar Khan
faced several time bans but it continued to print and gained much popularity among people. This
brave stance of Journalism in the history of Print Media of Sub-continent is knows as Militant
Journalism.
• Quaid-e-Azam after Pakistan Resolution paid special attention to print media and he published
Dawn from Delhi that was later shifted to Karachi after communal violence. Similarly the Urdu
daily ‘Manshoor’ and weekly ‘Aaj- Kal’ were printed in the same age. In the same era Jang from
Delhi started to publish and Nawa-i-Waqat from Lahore. ‘Inqalab’ was representing Uninest party
in Lahore but after Pakistan Resolution it started to portray Muslim League stance.
• In 1937, Progressive Papers Ltd started Pakistan Times in Lahore by Mian Iftikhar.
• All these above newspapers played a vital role in awakening people for the struggle of Pakistan as a
homeland where Muslims can save themselves from cultural eclipse of the dominating Hindu
majority.

EVOLUTION OF MASS MEDIA

• The oldest mass medium is print media. Human history gives us a clue that posters, banners and pictures were first used to convey the messages.

• In the 10th century handmade press was first established. Book printing was started in 15th & 16th century in Europe.

• Mass Media at first faced a lot of restrictions because when mass media emerged at that time mperialism was in rule. The rulers were using Church in Europe as an authority over people toconvey any message. Because Church was the only platform that was influential and was in reach of
people and government. So most of the times Church was considered the first platform of Mass
Medium.

• The emergence of Print Media created doubts in the minds of the rulers and they took it as a threat
against their rule. The rulers presumed that people would become aware of their rights and they will
challenge the authority. So most of the rulers in Europe took it as a revolt and declared capital
punishment for the persons involved in Mass Media. In 1663, the last capital punishment was given
to a publisher because he published a book of an anonymous writer. This book contained the idea
that rulers are accountable for their deeds and decisions to the masses and if any ruler does not feel
himself accountable then masses have the right to overthrow his rule. This was the last capital
punishment that was awarded in the history of England.

• Print media could not get its full growth till the 18th century as illiteracy was the major problem in
all the societies and most of the newspapers were read by the elite class because state was not
responsible for the education of the masses and elites had a privilege to get private education from
the arranged tutors.

• In the sub-continent East India Company started some papers that were in English language and
mostly read by the employees of the East-India company. In 1757 when East India Company
conquered Bengal, there were one lakh informal institutions that were either run by Hindu Pandits
or Muslim Ulamas. So publishing papers entirely in English language means that they ignored the
factor of local educated people. Later on the English papers started to publish in Madras, Bombay
and Calcutta because East India Company offices were in all these cities. So, it proved that publish
of this paper was entirely for Company employees and not for the local Indians.

• In 1822, first Urdu paper named Jam-e-Jahanuma emerged and English rulers took it as a threat
against them and they started to think to impose press laws to outclass local papers. Therefore, in
1823 Press Act came to suppress Urdu press and it was made compulsory that the name of the
Editor, Publisher and Owner along with the address should be on the first page of the newspaper.
So that the government can recognize the authority of these papers. It was named as Press &
Publication Ordinance (PPO). So, the era before the division of India was a tough one for the mass
communication as many press owners and editors faced punishments several times under this
ordinance.

5 Useful Methods of Collecting Primary Data in Statistics

Statistical data as we have seen can be either primary or secondary. Primary data are those which are collected for the first time and so are in crude form. But secondary data are those which have already been collected.

Primary data are always collected from the source. It is collected either by the investigator himself or through his agents. There are different methods of collecting primary data. Each method has its relative merits and demerits. The investigator has to choose a particular method to collect the information. The choice to a large extent depends on the preliminaries to data collection some of the commonly used methods are discussed below.

1. Direct Personal observation:

This is a very general method of collecting primary data. Here the investigator directly contacts the informants, solicits their cooperation and enumerates the data. The information are collected by direct personal interviews.

The novelty of this method is its simplicity. It is neither difficult for the enumerator nor the informants. Because both are present at the spot of data collection. This method provides most accurate information as the investigator collects them personally. But as the investigator alone is involved in the process, his personal bias may influence the accuracy of the data. So it is necessary that the investigator should be honest, unbiased and experienced. In such cases the data collected may be fairly accurate. However, the method is quite costly and time-consuming. So the method should be used when the scope of enquiry is small.

2. Indirect Oral Interviews :

This is an indirect method of collecting primary data. Here information are not collected directly from the source but by interviewing persons closely related with the problem. This method is applied to apprehend culprits in case of theft, murder etc. The informations relating to one's personal life or which the informant hesitates to reveal are better collected by this method. Here the investigator prepares 'a small list of questions relating to the enquiry. The answers (information) are collected by interviewing persons well connected with the incident. The investigator should cross-examine the informants to get correct information.

This method is time saving and involves relatively less cost. The accuracy of the information largely depends upon the integrity of the investigator. It is desirable that the investigator should be experienced and capable enough to inspire and create confidence in the informant to collect accurate data.

3. Mailed Questionnaire method:

This is a very commonly used method of collecting primary data. Here information are collected through a set of questionnaire. A questionnaire is a document prepared by the investigator containing a set of questions. These questions relate to the problem of enquiry directly or indirectly. Here first the questionnaires are mailed to the informants with a formal request to answer the question and send them back. For better response the investigator should bear the postal charges. The questionnaire should carry a polite note explaining the aims and objective of the enquiry, definition of various terms and concepts used there. Besides this the investigator should ensure the secrecy of the information as well as the name of the informants, if required.

Success of this method greatly depends upon the way in which the questionnaire is drafted. So the investigator must be very careful while framing the questions. The questions should be

(i) Short and clear

(ii) Few in number

(iii) Simple and intelligible

(iv) Corroboratory in nature or there should be provision for cross check

(v) Impersonal, non-aggressive type

(vi) Simple alternative, multiple-choice or open-end type

(a) In the simple alternative question type, the respondent has to choose between alternatives such as ‘Yes or No’, ‘right or wrong’ etc.

For example: Is Adam Smith called father of Statistics ? Yes/No,

(b) In the multiple choice type, the respondent has to answer from any of the given alternatives.

Example: To which sector do you belong ?

(i)  Primary Sector

(ii) Secondary Sector

(iii) Tertiary or Service Sector

(c) In the Open-end or free answer questions the respondents are given complete freedom in answering the questions. The questions are like -

What are the defects of our educational system ?

The questionnaire method is very economical in terms of time, energy and money. The method is widely used when the scope of enquiry is large. Data collected by this method are not affected by the personal bias of the investigator. However the accuracy of the information depends on the cooperation and honesty of the informants. This method can be used only if the informants are cooperative, conscious and educated. This limits the scope of the method.

4. Schedule Method:

In case the informants are largely uneducated and non-responsive data cannot be collected by the mailed questionnaire method. In such cases, schedule method is used to collect data. Here the questionnaires are sent through the enumerators to collect informations. Enumerators are persons appointed by the investigator for the purpose. They directly meet the informants with the questionnaire. They explain the scope and objective of the enquiry to the informants and solicit their cooperation. The enumerators ask the questions to the informants and record their answers in the questionnaire and compile them. The success of this method depends on the sincerity and efficiency of the enumerators. So the enumerator should be sweet-tempered, good-natured, trained and well-behaved.

Schedule method is widely used in extensive studies. It gives fairly correct result as the enumerators directly collect the information. The accuracy of the information depends upon the honesty of the enumerators. They should be unbiased. This method is relatively more costly and time-consuming than the mailed questionnaire method.

5. From Local Agents:

Sometimes primary data are collected from local agents or correspondents. These agents are appointed by the sponsoring authorities. They are well conversant with the local conditions like language, communication, food habits, traditions etc. Being on the spot and well acquainted with the nature of the enquiry they are capable of furnishing reliable information.

The accuracy of the data collected by this method depends on the honesty and sincerity of the agents. Because they actually collect the information from the spot. Information from a wide area at less cost and time can be collected by this method. The method is generally used by government agencies, newspapers, periodicals etc. to collect data.

Information are like raw materials or inputs in an enquiry. The result of the enquiry basically depends on the type of information used. Primary data can be collected by employing any of the above methods. The investigator should make a rational choice of the methods to be used for collecting data. Because collection of data forms the beginning of the statistical enquiry.

For Discussion:

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Photoshop Lesson Nine (Deleting backgrounds, replacing backgrounds)

Deleting backgrounds.
This is incredibly handy for magazine cover design, when you need a transparent background. And Photoshop gives you more than one way to do it, of course. Here are two methods.
You may wish to delete a background and replace it with nothing--that is, create a transparent background. Or you may wish to delete a background and fill it with something else. Both begin the same way.
You can do this exercise with your own photos, or choose these:
remove background.
replacement background.
I. The background is nearly monochromatic.
If your background is pretty much the same color, you can just erase it.
1. Create a Duplicate the background layer from the Layers pulldown or the flyout menu at right of Layers panel.
2. Turn off the original background layer from the Layers panel by toggling off the eye icon.
3. Choose the Background Eraser from the toolbox.
4. Set the tolerance in the contextual menu at top as necessary. Start with about 25 percent.
5. Set the cursor size as necessary (use the bracket keys as a shortcut, [ and ]) and click and/or drag to erase background. You may have to adjust cursor size and tolerance several times. Begin with a large size Background Eraser.
6. To repair areas of your image you want to keep, Choose the Eraser Tool. Toggle on Erase to Background. Erase the areas to bring back the image. Clean up background by dragging Background Eraser. (Use keystroke command to zoom in or out: Command and + or - keys.)
7. You can replace a background, if you wish. Choose a photo, Open. Copy.
8. Choose New Layer from Layer pulldown or panel flyout. Paste the image onto that new layer.
9. In the Layers panel drag the background copy layer up--this puts that layer above the other layer.
9. Scale the image to fit by choosing Transform, and Scale from the Edit pulldown.
10. Working on the background copy layer, clean up background, if necssary. Use the Command-z keystroke to go back, if necessary. Yes, I know this takes a deft touch. Mousing precisely is a skill....
11. Save as jpg.
II. Background is cluttered.
It's hard to do a good job with the Background Eraser in a colored background, because it looks for similar colors to select. So let's try a Quick Mask instead.
1. Open photo in Photoshop. Duplicate background layer, and work from background copy layer. Toggle off view of original background layer, as above.
2. Choose Quick Mask mode from bottom of toolbox.
3. Choose the Brush Tool. Choose a hard edged brush.
4. Brush in the image area you want to keep. Note it will change to a ruby red as it's masked. Try to do your best, but it doesn't have to be perfect.
5. Click off Quick Mask mode. The ruby area turns to a selection.
6. Adjust your selection more accurately using the Lasso Tool. Choose the second option (minus selection) to select areas of the mask you want to add, or vice versa.
7. When you're ready, choose Delete. Deselect.
8. If you want to delete the foreground instead of the background, choose Inverse from the Select pulldown, and Delete.
9. If you wish, add another background as explained above.

Photohop Lesson Eight (Nip and tuck)

Nip & Tuck Two: Digital plastic surgery.
By Ross Collins, North Dakota State University
This tutorial is based on a YouTube video feature. Check out Virtual Weight Loss in Photoshop.
To improve reddish skin tones, see Nip & Tuck Tutorial One.
Everybody knows nowadays that the models you see in fashion magazines aren't real. They're Photoshop Pholks: normal people with a few (or more) problems made perfect using Photoshop tools.
But what we might not know is how far we can take this. We can produce people who never existed, not even close. One way is to reduce our increasingly obese American society. Photoshop weight reduction won't give us better physical health. (For that, see Ross's Fargo Fit pages.) But it might give us better mental health, as we are spared the pain of seeing how we really look in photos.
Consider the photo at left. Now this person probably will not like the way she looks on the beach. Who would?
Well, we can fix that. And the surprising tool that we'll use is the Liquify Filter.
1. Download this photo and open in Photoshop. Crop as necessary.
2. Choose Liquify from the Filter pulldown.
3. Zoom into the middle section. Note in liquify you can zoom by dragging with the Command key held down. You can adjust by clicking on plus and minus tabs at bottom left.
4. The liquify dialogue box and tools will appear. Choose the first tool (Forward Warp) if not chosen by default. Adjust brush size and other features on right.
5. Push on the midsection with the tool to reduce. Note you can use this tool also to slim the legs and arms and adjust to look natural. Understanding a little anatomy here helps.
6. Reduce inside areas (such as the, um, rear end), by choosing the Pinch Tool and clicking inside.
7. When you're ready, choose Done to save your work. (It's a good idea to save in several stages, because the History Panel doesn't let you go back to stages before Liquify.)
8. We need to deal with the folds of skin. Try the Patch Tool (might be under the Healing Brush). Choose an area you'd like to remove, such as the skinfold. Click in the middle of that area, drag to an area you'd like to replace it with, such as clear skin above that area.
9. Work with the Smudge Tool if necessary to smooth out blotches.
10. For more complicated areas, choose the Clone Stamp Tool. Option key + click on a clear area you'd like to clone. Without holding down the mouse button (CS5), drag the mouse over the area you'd like to fix. Click to accept the clone.
11. With just a few minutes' work, you can create a new person! See below for the before, during and after photos. And with a little more time, you can improve skin, and adjust proportions to make it perfect.

Below we've continued to improve our reddish award winner: fixed red eye, removed blemishes, improved skin tones, slimmed down face. The nose also seemed to be a little big, and the hair needed some smoothing.... Same person? Mmm....
12. Last warning: This work is considered unethical in photojournalism!

Photoshop Lesson Seven(b) (Create a poster)

Create a Poster!

(And see below to create a Web photo gallery.)

What self-respecting photojournalist wouldn't want a poster of her or his work? Fame and fortune will likely follow. Well, here's an easy way to make a professional-looking poster. It's based on a tutorial from the indefatigable Scott Kelby.

This poster uses both Bridge and Photoshop. It does work best with photos all in the same format, but if that doesn't work for you, feel free to use whatever you like best.

1. You may wish to make a title image for your poster collection, as used in the bottom right of the poster above. To do so

a. Open one of the photos you plan to use, so that your title image is the same size.

b. Change your foreground color to something that matches the rest of your photos. One option is to use the Eyedropper tool to sample from an actual photo, and save that to your swatches panel. To do that, with the Eyedropper tool click on the color, go to the Swatches panel, Choose New Color from the flyout menu at right.

c. Or choose a color from the Color Picker (click on the foreground icon at bottom of toolbox).

d. Choose the keystroke combination Option-Delete (PC: Alt-Backspace) to replace the background layer with the color.

e. Be sure to Save As to a new filename, so you don't wreck your picture!

f. Click the Type tool in the colored box. Choose a font and a color. (See Tutorial Five, Working with Type.) I wrote "Winter," and in a separate layer added my web URL underneath.

g. Save as JPEG in the same folder as your other poster images.

2. Open the folder of your poster photos in Bridge.

3. Drag to arrange photos. Title image is usually last.

4. One you have everything ready, choose Output from the top right. Choose the PDF icon.

5. In the Document area (see right), choose a Width and Height as you need. Many posters are 12 inches by 18 inches. I choose 11.5 by 17 to leave some margin along the edge, but it depends on how you plan to output the poster. I leave everything else in the Document area as default.

6. In the Layout area, choose the number of rows and columns you'd like for your photos. As I have nine photos here, I decided to choose three columns and three rows.

7. Toggle off Use Auto Spacing and space as you wish. You can try my numbers for starters, see left.

8. In the Overlays area, toggle off Filename. Otherwise your poster will include them. under each image.

9. Click in image area on left to choose the image you want to be first. Holding down the Shift key, click on last image to Select All.

10. If you don't like the arrangement of your images, click outside the image area to Deselect, and drag them in the bottom area until they work for you.

11. Select All again. Click Refresh Preview. You'll see your photos in pdf poster form.

12. When everything's perfect, again Select All the images at bottom, and choose Save from the bottom of the Output panel. Toggle on View PDF After Save if you want to see how it looks.

13. You could stop here with your poster pdf. But we're going to do a little more tweaking in Photoshop.

14. Open your pdf in Photoshop. When the pdf dialogue box comes up, choose Media Box from the Crop To flyout, so that you retain your original poster measurement. The default Bounding Box crops the image.

15. You have no background layer, but you'll need one. To fill those transparent pixels, go to the Layers panel, and create a New Layer from the flyout menu at right, or the icon at bottom.

16. Drag that new layer in the Layers panel until it's second in line, after your image layer. This puts the new layer underneath your image layer.

17. Choose a color for your poster's background from your Swatches panel, or click on the small overlapped square icons at bottom of tool box to revert to the default black and white.

18. Working in your new layer, fill with the background color or paint with the foreground color. To fill the background color, use the keystroke combination Command-Delete (PC: Alt-Backspace). To paint the foreground color, choose the Paint Bucket tool, and click in the layer.

19. Add a polished look by putting a border around each of your photos. First, duplicate your image layer by choosing that layer in the panel and then choosing Duplicate Layer from the flyout or from the Layers pulldown at top.

20. Working on that Layer copy, go to the Edit pulldown. Choose Stroke.

21. In the dialogue box, change the width to around 6 pixels, and the color to your choice. I chose black.

22. When you OK, borders will automatically be added to each photo.

23. Now for your final florish: your byline or title. Choose the Text tool. Click to add a new layer. Type and style as necessary.

24. If you like the sort of sophisticated look of extra space between each letter, it's better to add that from the Character panel (Windows pulldown). Select the type. In the tracking icon window, stretch space to about 250. I've also selected Small Caps from the Character panel flyout menu to give it that oh-so-polished look.

25. Save as a Photoshop pdf--or as a tiff, depending on how you'll output your poster.

26. Now ain't that cool.

Bonus! Create a Web photo gallery (Flash file).

1. Begin as above, with your chosen photos in their own file.

2. As above, choose Output. But instead of PDF, choose Web Gallery.

3. In the Site Info dialogue box, change information as necessary. Most of these are pretty self-explanatory.

4. At bottom is the Save. Save to a separate folder. This folder can be burned to a CD or uploaded to a website.

5. Here's an example, using the same photos as for the poster above.

Photoshop Lesson Seven (Create a montage)

Creating a montage

Collages, or montages, as they are sometimes called, have become a standard of contemporary design. That's because they're so easy to do in Photoshop. Here's the directions for a simple montage using four photographs.
1. Open your first photo for the montage. This will serve as your background photo; other photos will blend into this. Ideally the photo should have space around the center of interest to make the blend work. Use Image Size to make the photos the size and resolution you need.
2. Open your second montage photo. Crop as necessary, and size so that it fits into the background photo as you need.
3. Using the marquee tool, drag around the second photo. Copy. (Alternatively, you can drag and drop the second photo into the first. Paste copied photo into background photo.
4. The second photo will be placed on top of the first on its own layer. Choose the move tool to move it as you want. Use the transform option (Edit pulldown) and Scale to fit the image to area desired in the original photo. Choose Return to accept transform.
5. In the Layers panel, choose the Add Layer Mask icon at bottom (the little circle icon).
6. Choose the gradient tool from the Toolbox. (It might be behind the paint bucket tool).
7. In the foreground/background color icon, choose black to white (or white to black, if you want to fade to black).
8. Drag horizontally on the second photo to smoothly blend the second photo with the first. You may have to experiment with this a bit to get it just right. Use the Command-z keystroke combination to go back.
9. When you're ready open the third picture. Same procedure: size, crop, copy, paste into your montage. Move, Layer Mask, gradient.
10. Add a fourth picture, or more, if you wish.
11. You will have to adjust the sharp edges between photos. To do that, choose the brush tool. Choose a soft-edged brush, and set your foreground color to black.
12. With the chosen layer mask active (click on it from the layers panel), paint over the image to blend. Adjust hardness and opacity of brush as necessary.
13. Add text, if you wish.
14. Save as tif or jpg for publication or the Web.
Below are some practice photos, and a sample montage I'm sure you can improve on.
Wabakimi, Ontario, sunset.
Fisherman.
Canoes.
Canoe sailing.

Photoshop Lesson Six (Layers, red eye removal, improving skin tones)

Lesson Six: layers, red eye removal, improving skin tones.
I. Layers
We've been making a shocking carnage with our images, mucking about perhaps a desperate level of hopeless degradation, after which only a thorough cleansing (choose Step Backward under File menu, or use the History panel) can bring us back to some sort of pristine original. Better would it not be to muck about on a crystal sheet of clear acetate hovering above our image? Messy failings can merely be whisked away, and the original image remains unsullied. Such is the principle of layers, as introduced in Lesson Five. Let's delve further here.

Geezer note: Some of us remember in grade school those serious-minded books describing "the human body," in which several layers of plastic with important bones, glands, organs, hair and zits could be superimposed on layers one at a time to complete the whole lurid picture. Similarly, we can set up layers collect strange bits of pictures into one composite image, or work with one detail of an image without disturbing others.

1. Save these practice images from the Photoshop practice photos file: Limerick.jpg; Clubmoss.jpg; Dijon.jpg.

2. Open Limerick, then Clubmoss. The plan is to copy and paste that bearded Irish stone head into the moss--and make it ghostly. (Illustration on right. Vaguely ghostly, no?)

3. Zoom in on head image to about 200% so that you can accurately select the head with the Lasso tool or Quick Selection tool.

Remember: To add or subtract pixels from your selection for a perfect copy, hold down the Option key (to subtract) or Shift Key (to add), and circle with the Lasso tool or drag with the Quick Selection tool what you want to add or delete.
From the Select pulldown, choose Refine Edge. In the dialogue box, adjust the Feather slider to about 5 pixels. This gives you a softer blend between images.

4. Zoom back out so that both club moss and Limerick are at 100 percent screen view size. Now click on the Arrange Documents icon at top menu bar. Choose the 2-up icon so you can compare both photos at the same time. This gives you an idea of how well your head will fit into the moss. As you can see, the head is a little small. Using the Image Size command, chop pixels off your club moss (make the image smaller) until the result looks more in perspective to the head.

5. To move the head, choose Copy and Paste, Cut and Paste, or with the Move tool just drag and drop from one image to the other. If it's not precisely placed, use the arrow keys to nudge pixel by pixel. (Note that Copy and Paste or drag and drop keep your original image intact, which you usually want.) The head will drop onto a new layer automatically created by Photoshop.

6. Likely the head will be a bit big or small. From the Edit menu, choose Transform and Scale. Try Distort or Warp also to add a more spirit-like look. Note that dragging to enlarge can pixellate a low-res image, so use this feature sparingly. Double-click on the image (or Return key) to accept the changes.

7. Under Window pulldown, choose Show Layers (if the Layers panel isn't already open). Yep, the head's a new layer all right, likely called Layer 1. The layer you're currently working on will be highlighted. You can move or change anything on this layer without affecting the rest of the image. Click to choose other layers to work on. The panel will always show a background layer. The eye means the layer is visible--to make it temporarily invisible, toggle off at the eye. Layers are displayed on the panel in the order they appear on your image--top in the panel is top in the image.
Note: You can't work on a layer that's not highlighted in the panel--the droll failing of drippy debutantes, which you're not. Right? (But I guess I am. I forget this all the time....)
Choose Layer Properties from the flyout menu on the Layers panel. Name the layer something nifty like "ghostly man," if you want. In the Layers panel choose Opacity of about 60 percent. See how the head looks, well, slightly more ghostly.
10. Cool, yes, but could be cooler. Put opacity back to 100 percent. Then, on the Layers panel, scroll down the blend mode options menu (Normal is shown), and select Multiply. This burns your image into other layers, giving you a darker version. To blend into a lighter version, choose Screen (see illustration). Or try Lighten or Darken. Or, for something completely eerie, choose Difference. This gives you a negative version of an image. Note: you can't apply more than one blend mode at a time, though you can mix blends and opacity.

11. You can paint inside a selection without first having to carefully marquee around it, by toggling on the Layer panel's first Lock option, Lock Transparent Pixels. This limits your painting to only the image area, like spreading glue on a spot, then spreading the glitter. Except that was a lot messier, made Mom mad, and therefore was a lot more fun. (See painted yellow hat on illustration.)

12. Wait! Not done yet. These Dali-esque images take time, you know.

Don't know who Salvador Dali was? Check this out.

Open Dijon.jpg, a rather ghostly street in the medieval French town which gave the world the yellow condiment. Arrange to 3-Up so you can see all views at once.

Geezer's full disclosure: I lived in Dijon for six months. Don't ask me about mustard.

Maybe we could enhance our composite by adding a sort of dungeon from which Monsieur Creepée could emerge into the club moss forest. The window and lamp at the left of look fairly dungeon-esque. First reduce the image size to a better fitting dungeon lair. Then marquee. Refine edges, and copy. Paste into the composite image.
13. Change opacity or blends on this new layer as necessary for better effect.

14. If those are still pretty hard edges on the right of the "dungeon," here's another softening method. Try choosing the Eraser tool, Airbrush Mode from top menu bar, Reduce Opacity and Flow as necessary. Erase the hard edges to help the background show through. Or try the Smudge or Blur tool. You're the graphic artist, after all, not me. So why am I choosing your tools for you?
Note: This layer thing can be done just about to infinity--up to 8,000 layers. However, layers hog computer memory. You don't have enough for 8,000 layers, believe me. Or even 1,000. Or, in an NDSU cluster, even three. Or so it seems, sometimes.

15. You can save this as a Photoshop document, and preserve your layers. If you save it in most other formats, the layers flatten. After saving as a Photoshop document, you can save a copy as a jpg (or other format), using the Save As... command.

16. Working with many layers creates large files and can slow down your computer operation. You may wish to merge layers to speed things up. To do so, hide all layers you don't want to merge by toggling off the eyeball in the Layers panel. Then, from Layers pull-down menu, choose Merge Down. Or choose Flatten Image if you want to get rid of all the layers for good, but that'll be the end to your fun and games with separate body parts

II. Fixing the dreaded red
Of the sundry problems the amateur's point-and-shoot photo leaves for the hapless Photoshop pixel-pusher to fix is called red eye. That is, pupils of people's eyes look an ugly red, or pink.

Egghead's note: This happens, in case you're interested in the vaguely disconcerting explanation, because when the light is dim pupils dilate so that we can see better--like a camera lens aperture "wide open." Unfortunately, that leaves our retinas wide open to invasion of a brief burst of intensely bright flash. We victims blink and wait to get our sight back after that mean trick temporarily blinds us (hey, says the eye, the light was supposed to be dim!). The flash has actually reflected off the blood-engorged back of our retina (that was the disconcerting part), and directly back into the camera. Hence, red eye.

Okay, but how to fix? Used to have to work with the Clone tool, or paint in black pupils. Tricky. We now have something called the Color Replacement tool. This is sooooooo easy:
1.Download and open this dreadful photo (or this dreadful photo) needing attention. Heck, I've seen a pile of 'em in student projects. Choose the Red Eye tool under the Healing Brush in the toolbox.
2. Find the offending eye. Zoom in for a better view.
3. Click the tool on the red eye. Tah-dah, maybe. If you're not satisfied, undo, change pupil size and darken size, keep trying.

Geezer warning: In the future, if I see any red-eye photos in your pictures and designs, automatic F! Even if you've already graduated! You can't hide from us old professors, you know.

III. Nip & tuck one: basic skin tones.

We already learned how to remove scars and blemishes. But people with slightly reddish, blotchy, pimply skin won't be enthusiastic to see their flaws emphasized in digital photos. Unfortunately, digital systems tend to emphasize these, particularly when the unfortunate is photographed with flash on camera. I don't believe it's lying to soften unflattering skin tones that the unforgiving pixels have made harsher. And here's a fairly easy way to do it. (Based on a tutorial by Lee Varis in Macworld, March 2007).
(Right: original and improved red eye and skin tones.)
1. Download this photo, or a similar one with skin problems. Fix the red eye, using technique above. This man also really needs some work on that reddish skin, although in this case he apparently doesn't have to worry much about acne blemishes. But this technique below works well for people with those problems as well.
2. Open a New Adjustment Layer from the Layer pulldown, Hue/Saturation.

A reminder on Adjustment Layers: While you can make adjustments on the actual picture from the Adjustments options in the Image pulldown, it's safer to make changes on a separate Adjustment Layer. If those changes don't work out the way you want, just throw away the layer--drag it to the trash icon in the Layers panel--and start over. Otherwise, you'll have to go back using the History panel.

3. The Hue/Saturation panel emerges at right. From the "Master" flyout, choose Reds.
4. Select the left eyedropper (bottom left) if not already. Find a really red area or pimple. Click. Note the gray bar in the color bars at bottom indicates sample area.
5. Now select the minus eyedropper tool, on the right. Click on a nicer-looking area of skin color.
6. To check to see what area of skin will be affected, slide the Hue slider all the way to the left. The cyan areas indicate what part of the image will be changed. If you want to make the affected area less, slide the right corner of the gray bar to the left.
7. Slide the hue slider back to 0, and then over toward the yellow/green, until the skin looks good.
8. Try moving the Lightness slider a little to the right to get a more uniform skin tone.
(Illustration right: the hue/saturation dialogue box on adjustment layer.)
9. If some areas are too yellow, clean that up; choose Yellows. Use left eyedropper tool to select area that's too yellow. Then use minus eyedropper tool to select red areas, now cleared to more natural skin tone. Move the hue slider to the right to make yellow areas a little more reddish.
10. Should be much better! Sometimes lots of pimples, lines or blemishes will still show up a bit darkish. You can lighten them with the dodge tool on the background layer.
Submit for grading by email attachment to me, ross.collins@ndsu.edu: 1. Your creepy man composite. 2. Your skin-tone fix. Note: To submit, Save as to a jpg. Don't submit the much larger psd (Photoshop) file.
IV. Nipping & tuck two: digital plastic surgery.
This tutorial shows you how to really work on body parts. For 2 pts. extra credit, work through tutorial and submit photo.

Photoshop Lesson Five (Working with type)

Lesson Five: Working with type

You can do so much with Photoshop to enhance your web site or publication, and we have so little time to cover it in this class. But here's one more technique you might find really handy: adding text to photos.

I. Working with text in Photoshop: creating text

1. Download this relaxing wildnerness canoeing photo (or use one of your own) and open in Photoshop. You'll be annoying the original photographer by adding text to this nice sunset.

2. Choose the Horizontal Type Tool (big solid T) from the toolbox.

3. Click in your image where you wish to place text. Not that it matters; you can move it around later. Type away like a mad word processing-freak (common at end-of-semester term paper time). Or you can drag a frame (bounding box) first, to constrain the type to a certain size, just like InDesign, PageMaker, QuarkXPress, or whatever you perhaps have used in the graphic arts world. You can even bring up an InDesign-style character/paragraph panel by choosing the options from the Window pull-down (A coincidence as Adobe sells both Photoshop and InDesign?). Or just be content with the basics on the top menu bar.

Drag over to highlight type and change style. Note that text has automatically set itself on a new layer (choose Layers from Window pulldown). You also can double-click on the right side of the layer icon (big T) to choose text.

Geezer note: A layer is a metaphor going back to the days when graphic artists actually set up clear acetate sheets in layers over their art work, so that they could add color or other effects without changing the original image. Photoshop does the same thing in its inimitable pixellated way.

Change size, alignment, etc., from the contextual menu bar at top, or open the Paragraph or Character panel from the Window pulldown. Note the panels offer more options.

The opacity slider in the Layers panel will allow the background layer to show through--cool effect for adding type to photos.

Don't like the color? With the foreground color box chosen at bottom of toolbox (type is foreground, doncha' know), choose from the Colors or Swatches palette.

Really important note: If you leave the type layer you've been working on, you have to go back to it to work on the text again. As well, you have to move to the background layer to use other Photoshop features.

Note: It's obvious that light colors won't show up well on light background, etc. The photo you can download from step one above is helpful because it has some really dark areas to make text stand out.

4. Choose an appropriate font and type size and type "North Country Canoeing." Change to a a lighter color in the Colors or Swatches panel (If not showing, go to Window pulldown, Show Color or Swatches).

5. As the type pops onto its own layer, you can move it around independently. Choose the Move tool, and drag around. You can even drag over the text and edit; choose Copy, Paste, check spelling, etc., from the Edit pull-down, and do those noble deeds.

To use Photoshop's Preset special effects, you need to Rasterize the type (Layer pulldown, and Rasterize; see below for more information). This converts your type from a vector graphic to a graphic based on pixel resolution, like a photo. Now choose Styles panel (see illustration), and give something a try. Works best with larger sizes and fatter fonts. Note: type style options don't work on rasterized text.

Reminder: While 72 points = 1 inch in the paper world, it is not necessarily an inch in Photoshop's world. It depends on resolution, expressed in fractions of the whole. If you have a photo saved at a resolution of, say, 400 ppi (pixels per inch), that means 36 pts. (half inch) is 200 pixels tall. However, if it's saved at 100 ppi, the type is only 50 pixels tall.

Note: Anti-aliasing can be set to crisp (sharper), strong (fatter), or smooth (what do you think?). There's also a sharp option, but I can't see the diff from crisp.

6. Check out the text warp feature. With the text chosen (vector graphic, not rasterized), click the Create Warped Text icon at top. Choose options as your frivolous nature dictates.

Transform from the Edit pulldown allows you to scale or warp text by dragging.

7. Decide you don't want some text? You can delete the letters, but better to just delete that layer. Drag it to the little trash can icon at the bottom right of the Layers panel.

II. Working with text in Photoshop: more on rasterizing

Rasterizing text.

You can turn type from vector-based to bitmapped (Photoshop) pictures by rasterizing the layer. Choose the type layer you want to rasterize, and then Rasterize from the Layer menu. Why rasterize? Now you can paint, sharpen, smudge, erase, or whatever with your type, mucking about just like with the rest of your photo.

Note: Once you rasterize, the type options (size, font, etc.) are no longer available. But you can always go back from the History panel.

7. Type "Grab your paddle now!" (or another less corny phrase), style to about 60 pt Impact, Helvetica Neue bf (boldface), or another fatter sans serif font. Center, color, as desired.

8. Still working in this layer, choose another tool (not the Type Tool). From the Layer pulldown, choose Rasterize type. Now you can add a gradient. (Although I admit you can do some pretty cool effects using the Styles panel. But we need choices.)

9. Choose the letters with the Magic Wand tool; hold down the Shift key while clicking to add each letter. OR take the shortcut: In the Layers panel, with your cursor over the Layer Thumbnail of the layer your working in (left side), hold down the Control Key (lower left) and click. Choose Select Pixels. Or hold down the Command Key, click again on the layer thumbnail, and they'll be selected automatically. Photoshop just knocks itself out to accommodate our every whim. To select foreground and background colors:

1. Click on the foreground or background square at bottom of tool box, or from the Color panel, to choose. Note that you need to click on the foreground or background boxes to make them active before choosing colors; default is foreground.

2. Double click (if choosing from the Color panel) box to choose color from the Picker. Or eschew the Picker and choose color from color ramp at the bottom of the Color panel, or from the Swatches panel.

I prefer choosing from the Swatches panel. Steps:

a. From the Color panel, click on upper left box, the foreground color, to highlight (a black box surrounds it).

b. Go to Swatches panel. Choose foreground color.

c. Go back to Color panel. Click to choose lower right box, background color.

d. Go to Swatches panel. Choose background color.

An interesting alternative to harmonize your colors is to sample colors from the photo. Choose the Eyedropper tool from the toolbox; sample foreground and background colors.

10. Now choose the Gradient tool (it might be under the Paint Bucket). With Radial Gradient chosen (first icon at top), drag over type from middle to right to see sunburst effect (you may wish to change foreground and background colors). When ready, choose Deselect (Apple+ d). Choose the Move tool (upper right) and drag the rainbox text to bottom center.

11.Okay, I agree with you that it's not a wonderful design but, hey, this is practice. You'd do a lot better on a "real" one, right?

12. Save as jpg.

III. Working with text in Photoshop: making photo type.

I know you're ready for for a potty break, but this exercise is so exciting yet so easy that you'll completely forget about your mundane physical needs. Ever seen those keen letters that look like they're cut out of a photo? Used to be a toughie. With Photoshop it's the big easy (and I'm sure people do this a lot in New Orleans). Here's what we're looking for. (Note: the following instructions are based on a Photoshop tip from Lorna Olsen at ITS, so thank her if you see her.)

1. Open a New document in photoshop, size about 4 inches by 2 inches horizontal, resolution about 200 ppi.

2. With Text tool chosen, type some short headline. Style this to a large (72 pt or more), fat font. I chose bragadoccio; Lorna says impact also is good, or your own choice. Experiment, but note that thin fonts really don't display the effect very well. Save.

3. Still with the text file open, open a saved photo you want to appear as background. I'll include this one for starters, but I'd really prefer that you choose your own photo. Selection is important, though; not all photos work used this way.

4. With the marquee tool (upper left), Choose the part of the photo you want behind your type. Copy. Close photo file without saving.

5. Choose your type's layer, if not chosen already. With your cursor on that layer in the Layers panel, click at left and choose Select Pixels, as you did above to create the gradient. Type should be marqueed (those "marching ants").

6. From the Edit menu, choose Paste Special and Paste Into.

7. Use the Move tool (top or upper right of toolbox) to drag the image about until it appears behind the letters as you think it looks best.

8. Note: you may have to adjust image size of your photo before Copying and Pasting Into, so that proportions look right. Of course, you can also Paste a photo into text written into another photo.

9. Yes, you're excused to use the facilities.

10. Submit for grading (jpgs, please!): One image with syled and/or gradient type; one image with photo type.

Photoshop Lesson Four (Cutting, pasting, erasing, color balance, fill flash)

Lesson Four: cutting, painting, erasing, color balance, fill flash
I. Cutting and Cloning
1. Download and open the sun practice photo from Class Resources. (Saved as Washington State 1982; sample illustration at right.). (Yes, I know it's small.) Wouldn't this be even better taken exactly at sunrise? Well, I'm sorry, I didn't get up that early. No matter.

2. Choose the sun, using Magic Wand (adjust tolerance) or Quick Selection tool.
Note: If using the Magic Wand, change Tolerance or Grow (from Select pulldown) if necessary to select more accurately. Or add/subtract from the Magic Wand selection by clicking with shift/option key held down. Holding down the Shift or Option key also works to add or subtract using the other selection tools.
Remember: to Deselect, choose Deselect from the Select pulldown, or keystroke combination Apple-d.

3. Choose Move tool (upper right corner).

4. Drag selected area closer to horizon.

5. Deselect. Choose Clone Stamp tool.
This time instead of deleting an object, we moved it. Now it's time to fill in the background. You might find this one more challenging with the clone stamp, because the red background is not uniform, but many shades.
A better alternative in this case might be the Paint Bucket tool, because it fills large expanses of similar color more easily. To use this, you sample a color close to the area you want to fill, then pour that color into the area using the Paint Bucket.

• Select the white spot again. Choose the Paint Bucket tool (might be under Gradient Tool).
• Hover the cursor just outside the white spot, holding down Option key. You should see it turn into an eyedropper tool. Sample color.
• Click in white spot to fill. Note: You can also sample the color with the Eyedropper tool from the toolbox.

7. Work with the Smudge Tool and Clone Stamp tool to soften the boundaries and make the sunset look more natural. At right is my own effort, not perfect, but still looks like sunrise to me. Save and move on to painting.
Remember the history panel: You can step back all the way to your original image through the history panel (top left of panel dock). Extremely useful if you've partially, but not completely, mucked things up, and so want to return to the time when everything still looked good. If only we had a history panel in real life.

Note: It's not hard to create your own reality in Photoshop, as you no doubt see by now. No wonder those aging models look so good in Vanity Fair magazine! If only perfection were so easy in real life. Warning: now you know how to do stuff news people can get into ethical hot water for. Learning the skill is not learning the judgment, and this class is more than learning the skill. Moving, adding, deleting objects: fine in advertising, a lie in news. What about blurring a background, however? Your call.

II. Painting
Well, now that we're already on the subject, let's talk some more about those messy paint tools.
Choosing a color.
Photoshop can paint in two colors: the foreground color and the background color. These default to black and white, and nestle in the lower end of the toolbox, two overlapping boxes. The front box indicates foreground color; the back box indicates, well, what do you think? The tiny version of these overlapping boxes at lower left resets the default colors, should you dreadfully muck things up and wish to turn back the clock. (Such a feature is, as woefully noted, not available in personal relationships.) The curved arrow exchanges background and foreground colors.
By now you've probably already clicked on one of the boxes. Did I give you permission to do that? See what you've done now? A hideously complex Color Picker explodes onto the screen. You may wish to pick through the options of this Picker. I don't pick the Picker. If, on the other hand, you want to learn what I think is an easier alternative, Cancel and forge on. (Illustration: color picker, right of image, vs. color panel, far right panel.)

1. Call up the Color Panel from the Window pulldown, if not on the dock already.

2. Set the color you wish to change, foreground (for painting) or background (to color your Canvas, that is, the area on which your photo reposes). To choose the foreground/background, click on the appropriate square in the Color Panel. Then choose a color from the rainbow bar, or chose RGB sliders.
Note: the Eraser tool also erases to the background color, unless you have the "Erase to Memory" toggle selected. See explanation below.

3. Altnernatively, Choose another color slider bar (if not defaulted) from the flyout menu at right of panel. The slider bars to find the color you want, RGB for the three additive primary colors. (Note additive primaries are appropriate for web pages, PowerPoint presentations, and other projected color applications; CMYK subtractive primaries are appropriate for printing applications, but we usually begin with RGB and convert later.)
3a. Still alternatively, choose the Swatches panel and choose from there. Use defaults, or choose another color system, probably Pantone coated or matte for Pantone Matching System (PMS) spot color printing, from the flyout menu. You're in college now: you make your own choices. As a professor I merely present options. And then grade your foolish choices, bwaa-ha-hah!
4. The exclamation point triangle which occasionally pops up when you use the slider bars means you've chosen a color which won't print accurately. If that bothers you greatly, click on it, and it will smartly (or often not so) choose the color nearest your combination that will print.

5. You can choose a shade of gray by sliding the three bars to the same value, or by choosing Grayscale Slider from the flyout menu, and sliding the K slider. "K" means black in printer's terminology, you probably don't recall from a recent lecture.

6. The li'l panel is an versatile tool, but it may just not have the exact color you're looking for. If you prefer to choose a color from an image, Select the Eyedropper Tool from the Tool Box and click on the color you want in your image.
7. Finally, to start over, choose the small black and white boxes at lower left of the Toolbox.

Painting a color or gradient.
This tutorial is designed for photojournalists, webmasters, and graphic artists. Ipso facto, you cannot draw worth a darn. (That's left to those much-admired yet little-understood illustrators). Nevertheless, today we are going to draw: it's photo-karaoke night here at the Photoshop, and you're on the pixellated stage.

Photoshop offers you three painting tools. You think this perfectly adequate, which proves you're not an artist. But these tools still leave us an amazing variety of ways to leave our photos looking as if they passed through a class of kindergarteners.

• Your Pencil tool leaves hardish edges.
  
• Your Brush tool leaves softish edges. Click on the airbrush icon at top menu to turn the tool into an ersatz airbrush. Adjust flow from the menu bar.
  
• Your Color Replacement tool samples the color under the crosshairs and replaces it with the foreground color.

In other words, these tools pretty much mimic the real art studio items. We've all used pencils and brushes. Some of us have even used airbrushes, and usually had to clean up for hours afterwards. No mystery here. (Note: the Pen Tool doesn't draw lines, but draws paths.)

1. Okay, let's try these tools. Either continue working with the sun, or open another photo. It can be one of your own, or one from the practice files.

2. Choose a foreground color from the Color panel, Swatch panel, or sample from another area of the photo with the Eyedropper tool.

3. Choose the Brush tool, and brush size. Paint your image as the mood strikes you. Select Cmd-z often to Undo, or revert in the History palette. Change your brush size as necessary.

Shortcuts: To change the size of a brush, use the [ or ] keys. To step backward, choose Option-Command-z.

4. For more control over your painting, choose other options from the topmost menu bar. The Opacity (for paintbrush) or Pressure (for airbrush) slider controls the translucence of your color. Other Modes are worth experimenting with, if you're the curious sort with time to kill.

Like drawing with a potato, precisely controlling the paint tools with a mouse demands lots of practice. More than you feel like doing right now. Tom Sawyer had to do some fair persuading to get someone else to do his painting. (Don't know who Tom was? Check out his website.) Photoshop needs no persuading at all: it's always at your call, the golden retriever of pixel-land.

5. Return to that tired old Washington (sun) practice image, which you perhaps saved. Or download again.

Geezer note: I never realized when I took this picture of Washington's Birch Bay in pre-digital days that I'd end up seeing it abused ad nauseam as a class practice photo. What an pathetic fate. Kind of like the Doors as elevator music.

a. Choose the Quick Selection tool, or your preferred selection tool. Select the sun again.

b. In the Color Panel, choose a color strikingly different from the normal yellow.

c. Choose the Airbrush or Paintbrush tool, and drag. Note your color stays within the selected boundary. Very tidy.

Other ways to fill:

• The Color Replacement tool samples the color underlying the plus sign in the paintbrush, and replaces it with your chosen foreground color as you drag.
• The Paint Bucket tool, as we used above, replaces a solid color. If you do not select an area first, the Paint Bucket tool will fill all areas of an adjacent color, similar to the selection process of the Magic Wand Tool. Control this with the Tolerance option.
• You also can quickly fill a selected area by choosing Option-Delete (foreground color) or Cmd-Delete (background color). I really don't know why we need so many ways to do one little thing in Photoshop.

That rising sun may be okay enough. A bit bland, however. Many of us have seen the rising sun, but those party days are over (or they will be soon for you seniors). Still, how much more dramatic could it be if it weren't that, well, blah solid. What I'd really like is to cast a sort of inner glow of nature, suggesting the dawn of a new day, a new century, a new millennium...and you can help with that.

1. Select the sun, as above.

2. Choose new foreground and background colors, as above, something really bold.

3. Choose Gradient Tool from the toolbox (under Paint Bucket). Note the Gradient Tool offers a menu of gradients at top. Let's try the second, radial gradient.
Note: A gradient is a gradual change from one color to another.

4. Begin the cursor at the sun's center, trace out to the edge.

5. Way cool.


III. Adjusting color balance
Photographs taken outside, or with electronic flash, usually display fairly accurate color. That's because film/digital is "balanced" to that kind of light. However, photos taken under incandescent light (light bulbs) will display an orangish cast. Worse, photos taken under florescent light will display some kind of sickly green cast. Sometimes photos taken in deep shade will look bluish, and photos next to brightly colored walls may pick up a color cast from that wall. You can adjust most digital cameras to correct for some color balance problems, but you don't have to, if you know how to do it in Photoshop.
Geezer note: Color balance used to be one of the great miseries of photojournalists using color. We relied on filters over the lens, but you needed about five different kinds to match different lighting situations, and you still might not hit it right. One of the worst problems was light from multiple sources, such as daylight (5500 degrees K, blue cast) and lightbulbs (2400 degrees K, or orange cast). Even with Photoshop, though, light from multiple sources is a challenge.
1. Open up a photo with an objectionable color cast you want fix. Or use this practice photo with a yellowish cast; or this one with a florescent cast.
2. Under Layer, choose New Adjustment Layer, and Color Balance or Selective Color.
3. Choose the area you need to adjust: highlights, midtones or shadows. In the practice photo, the highlight appear to be the biggest problem.
4. Dial the sliders until the color meets your expectations. This is an art, you know, I can't tell you what's best. Often it works better to subtract a color rather than add one.
IV. Basic Erasing
You've already probably overused the Step Backward command. Let's give those poor Cmd-Option-z keys a rest. The Eraser tool sits on your Toolbox exhibiting the vague shape of a Hershey bar. Try choosing it and dragging in a photo. As you may see, it probably erases to the background color, generally white, unless you've chosen another. How useless is that?

That's where some people decide they'll never use this stupid tool again. But we smart designers know there's a lot more to the tool than that. Let's investigate.

1. Open an image.

2. Choose Eraser Tool.

3. Select a size of Eraser. Erase some stuff. Should erase to white, the default background, unless you've chosen another background color.

4. Choose the Stamp Tool. Option + click to choose an area to clone. Clone around.

5. Your image is now thoroughly messed up. Try the Undo command. All you Undo is the last action. What if you want to Undo some other glitches? You could use the History Palette, okay. But then you'd go back on everything. What if you just want to take back a little bit, like after an email to your arrogant boss?

6. Try the Eraser Too!. Holding down the Option key, drag over an area you'd like to Undo. Tah-dah! It "saves to history," that is, to the original version. If you want the Eraser to Erase to History without using the Option key, check that in the top menu bar.
7. The Background Eraser will remove the color from your background.
Note: if Save to History was already selected, holding down the Option key while using the Eraser will erase to the background color.
Submit for grading: One photo of sunrise, one photo of color replacement, and one photo of sunrise as gradient. Choose a different photo for color replacement.
Quick tip! Fill-in flash.