1. Ch 11: Adjusting and Filtering
Photoshop CS6 Essentials
By Scott Onstott

2. Ch 11: Adjusting and Filtering
Remapping the Tonal Range
• Photos and scans often do not fill the tonal
range available in the file.
• Use the Histogram to see if the full tonal range
is occupied by the black graph
• If there is a gap on one or both ends you
should remap the tonal range with Levels
• Drag the shadows and/or highlight (left and
right) sliders to say what the new value of
black and/or white is respectively
• Adjust the gamma slider to shift the midpoint
and thus brighten or darken the image

3. Ch 11: Adjusting and Filtering
Understanding Data Loss
• A histogram that shows missing areas (bands) or
areas piled on top of each other (spikes) has
suffered data loss
• Data loss means there is no longer an even
gradation of tone but uneven jumps or
discontinuities
• Every direct application of filter or adjustment you
perform harms the data in some way
• Use smart filters and adjustment layers for a non-
destructive (and re-editable approach)

4. Ch 11: Adjusting and Filtering
Previewing Filters
• Always preview sharpen and noise
reduction filters at 100% magnification;
otherwise the magnification algorithm
itself will lead to undesirable results
• Prints typically need to be sharpened more
than looks good on screen; some OEM
print drivers apply another dose of
sharpening at print time to compensate
• Press P to toggle the preview off and on
• Drag whatever filter dialog box you are
using out of the way to preview it larger
in the document window

5. Ch 11: Adjusting and Filtering
Shifting Color Balance
• You can shift the balance of color by applying
the Color Balance adjustment
• There are separate controls for shadows,
midtones, and highlights as controlled by
the radio buttons at the bottom of the
dialog box
• Hue/Saturation can be used to adjust hue,
saturation, and lightness independently;
you can also colorize grayscale images
with Hue/Saturation
• Use Black/White to mix strengths of different
colors as they translate into grayscale

6. Ch 11: Adjusting and Filtering
Fading Adjustments and Filters
• Often times you’ll apply and adjustment or filter
and think, “That’s a bit too much”; this is
where Fade comes in.
• Choose Edit > Fade immediately after applying
an adjustment or filter; it won’t work if you
perform any other actions after application.
• Think of Fade as Undo on a slider; simply
decrease the opacity to fade it out
• Fade can also be used in ways you may not
have considered; try changing the blend
mode to Luminosity to leave color alone for
example

7. Ch 11: Adjusting and Filtering
Creating Textures from Scratch
• You can create textures that you can use
in illustrations, in Vanishing Point, or
in other applications from scratch in
Photoshop
• Start by creating a base document that
contains a few smart filters.
• By varying the filters used and their order
you can create endless varieties of
textures
• Each smart filter has blending options

8. Ch 11: Adjusting and Filtering
Smart Filters
• There are many benefits to applying filters as
smart filters
• Smart filters remain editable, allowing you to
change your mind later or next next week
without having to start over
• Smart filters each have their own blending
options; it’s like having a persistent fade
available 24/7 for each filter!
• Smart filters are the same thing as smart objects;
and it truly is the smart way to work

9. Ch 11: Adjusting and Filtering
Using the Filter Gallery
• The filter gallery is an environment
where you can experiment with a
plethora of filters
• Create new effect layers to feed the
output of one filter into the input
of the next filter
• Drag effects above or below in the
effect stack to reorder them
• Apply the Filter Gallery to a smart
object and you’ll be able to
create numerous variations

10. Ch 11: Adjusting and Filtering
Using the Blend If Controls
• You can blend layers by varying opacity,
masking, using blend modes, and the
“blend if” controls
• Access the two blend if sliders in the Blending
Options page within the Layer Style dialog
box
• Drag the shadow or highlight flags to blend
only a part of the dynamic range
• Each flag can be divided by holding the
Option/Alt key and dragging it apart.
• Increasing the separation between flag halves
creates a smooth tonal gradient at the
onset of the blend; try it yourself to see