One of the cool features about type in Photoshop is that you're never stuck with it.
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With this permanent link, from now on, you'll only have to select one layer to move and the other(s) will follow.
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Plus, too many layers are just plain hard to deal with.
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Then click the Filter menu and choose Sharpen>Unsharp Mask.
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Here's where you'll learn what the difference is.
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The lower opacity will allow us to blend things better.
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However, this shadow not only falls on the outside of the photo but on the inside, as well.
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Option-click-and-drag the mask from the soccer player layer to the hexagon layer.
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Back in Chapter 9, one of the examples of Smart Objects showed an image wrapped onto a t-shirt.

Just Right-click on the layer and choose Convert to Smart Object.
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Click OK, and you should have a nice soft shadow emanating from behind the soccer player.
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I picked this style up from the National Association of Photoshop Professionals' Photoshop special effects wizard, Corey Barker.
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I also reduced the layer's opacity to about 90% to fade the reflection a bit.
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We share everything from camera tips, to shooting advice, studio setups, and lighting techniques, as well as some post-production ideas.
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Why? Because I didn't think it was right to do what I'm about to do to a portrait of someone else.
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Now, you'll see the contents of Layer 1 on top of Layer 2.
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Choose Inflate from the Warp pop-up menu on the left of the Options Bar, and bend the photo to match the distorted (bulged) perspective you'd probably see in the reflection of someone's goggles.
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We used Edit>Free Transform, but there's something even better: With the Rectangle tool, in the Options Bar, click on the Add to Shape Area icon (shown circled in red).

Nothing was deleted—it's just hidden.
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Try it.
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The white slider knob on the right side works the same way, but removes the white, or brightest, areas first.
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You should only have two layers at this point: the t-shirt layer at the bottom, and the graphic you want to blend onto it on the top layer.
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This reveals more of the original layer that is below.
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Bring the Saturation setting all the way to the left.
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It doesn't matter how black and white get there.
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However, leave the drop shadow wherever it extends past the white stroke edge to give the appearance that the snowboarder is indeed breaking out of the photo.
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This effect is a little too much for this image, so reduce the Opacity of that layer to 50% to blend it with the photo below.

This panel (added in Photoshop CS4) gives you an easy way to adjust your masks without having to know a lot of the secret handshakes that layer mask users used to memorize.
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Now we can change the image if we ever need to.
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Things are back to normal, as if nothing ever happened.
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Go back to the gradient example and switch the gradient layer's blend mode to Soft Light.
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Okay, you're ready to paint some highlights in now.
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You'll also see that, even though we have two Hue/Saturation adjustment layers on top of each other, the changes aren't being applied to the whole photo.
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Just click where the Eye icon was to turn it back on.
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If you want to see the entire cover design (wavy floating layers, background images, and all), I've put a video online for you at this book's download site mentioned in the introduction.
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So you'll want to sample an area that's close to what you're going to be cloning.

HDR photography is hot these days.
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The first thing you need to do is add the shape that you want to use as the watermark.
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Where you see black on the layer mask, you see through the soccer player layer to whatever is underneath it in the Layers panel (in this case, the soccer stadium).
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Often, you'll have a photo where one of the colors just doesn't stand out like it did when you took the photo.
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Remember, when you have a selection, adding a layer mask will keep the selected area visible and hide whatever is not selected.
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If it were a higher-resolution photo (150 ppi or higher), I'd use 175%-200% for the Amount.
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Press Command-A (PC: Ctrl-A) to select the photo.
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While selections are great, brushes give you the ultimate flexibility.
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Take a look over at the right side of the dialog.

The next part is fun.
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But, it takes just one click to get the same effect.
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Now let's create a gradient that starts on the left with a dark blue, then goes to a lighter blue.
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If your selection needs improvement, click on the layer mask thumbnail, then go to the Masks panel and press the Mask Edge button to adjust it.
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Now let's blur the selection a little to soften the edges.
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The first one is the Shape Layers icon, so make sure you click on it to select it.
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Now click-and-drag from the top of the word health to the bottom to add the gradient.
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Since the color appears a little obtrusive as it is, let's make it a bit more subtle.

Section 4 (probably the least used) lists blend modes that show differences between two layers.
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Another cool feature of Shape layers is that you're not stuck with the shape once you create it.
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White shows you whatever is on the layer that the layer mask is on.
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Make sure it's the topmost layer in the Layers panel.
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It's worth taking some time to zoom in and get the selection right (press Z to get the Zoom tool).
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Go to the Adjustments panel and click on the Curves icon to add a Curves adjustment layer.
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Let's make another selection with the Quick Selection tool.
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One more thing: We're only creating the main image from the cover here.
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Throughout this book, we've duplicated a layer many times, applied an effect to the duplicate, and then reduced the opacity of the layer.

However, anything that was 50% gray became transparent.
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Click on Open Object and your photo automatically opens in Photoshop as a Smart Object layer.
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Any text you create is automatically set to your Foreground color, so try to have that picked out ahead of time (you can change it later if you need to, though).
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But, we'll do something different here to make our selection.
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Use the Move tool (V) to position it toward the bottom.
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Double-click on the layer to open the Layer Style dialog.
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Otherwise, when we sample a point with the Clone Stamp tool, it'll just sample from the transparent layer (which has nothing on it).
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This is good around areas that you don't really want to draw people's attention to.
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The designs you can create with Smart Object layers are not, from a visual aspect, any different from what you could create with regular layers.

From the Select pop-up menu at the top, choose Shadows, and then click OK to select the blacks in the photo.
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Then, select the Brush tool (B) and choose a soft-edged brush from the Brush Picker.
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Then, move any of the sliders to make the corresponding color lighter or darker.
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The Density slider is like an Opacity slider for the mask.
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The color values are R: 128, G: 128, B: 128.
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Then set the brush's Opacity to 30% in the Options Bar.
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Then, change the blend mode of the top layer to Screen.
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The white slider knob on the right side works the same way, but removes the white, or brightest, areas first.
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Let's do this for the two small photos and their associated stroke layers.

In the Options Bar, click on the brush thumbnail to open the Brush Picker, and set the Size to something large (like 250 pixels) and the Hardness to 0% to create a large, soft-edged brush.
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The more times you click, the more you'll erase.
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Use the Zoom tool (Z) to zoom in, if necessary.
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It works great on text, but you can use it on just about any shape you'd like.
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Then, click the Invert button in the Masks panel to turn the mask black and hide the HDR-toned version.
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Just like everything else we've done in this chapter, your retouching in this project is all going to be done on its own layer.
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Go ahead and add a Curves adjustment layer above the DJ, click on the center of the curve, and drag it downward to darken him a bit.
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Finally, move the top slider toward Red to bring back a little color in the skin tones, if your photo has people in it.
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This paints black on the layer mask next to the Curves adjustment layer thumbnail.