IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! I'm Jan Kabili. Welcome to Enhancing a
Travel Photo with Photoshop and Lightroom.
| | 00:10 | Throughout this course, we'll work on
this image in Photoshop and Lightroom, and
| | 00:14 | we'll enhance it to look more like this.
| | 00:17 | This processing project starts with the
RAW photo in Lightroom, where we'll make
| | 00:21 | basic global adjustments to color,
to tone, and to digital artifacts.
| | 00:27 | In Photoshop, we'll make some targeted
adjustments to individual parts of the
| | 00:31 | photo, making the most of Photoshop's
precise adjustment features, like
| | 00:35 | selections, masks, and curves.
| | 00:39 | We'll remove some unwanted content
with Photoshop's powerful content
| | 00:42 | aware retouching tools.
| | 00:44 | So, let's get started with Enhancing a
Travel Photo with Photoshop and Lightroom.
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| Using the exercise files| 00:00 | I've prepared a couple of exercise
files that you'll have access to if you're a
| | 00:04 | premium subscriber to Lynda.com.
| | 00:07 | If you are, download the exercise files,
and I suggest that you put the Exercise
| | 00:11 | Files folder on your Desktop,
as I have here.
| | 00:14 | I'll open that folder, so
you can see what's inside.
| | 00:17 | Inside the Exercise Files folder, there
are two subfolders: start, and finish.
| | 00:21 | Inside the start folder is one file,
venice.dng, the RAW file with which
| | 00:27 | we'll start this course.
| | 00:28 | We'll be processing this
file throughout the course.
| | 00:31 | I've also included a subfolder called
finish. Inside that folder there is a
| | 00:35 | single file: venice-Edit.tif.
That's an example of how the photo will
| | 00:39 | look if you work through
all the lessons in this course.
| | 00:42 | Now let's talk about how to access the
start photo to begin working along with
| | 00:47 | me through this course.
| | 00:48 | To do that, you need to import the
exercise files into your copy of Lightroom.
| | 00:53 | Let's jump over to
Lightroom to see how to do that.
| | 00:56 | Here in Lightroom, I'm in my Library
module. I don't happen to have any photos
| | 01:00 | in this particular Library.
| | 01:02 | You can import the exercise files into
an empty Library like this, or into your
| | 01:06 | ongoing Lightroom Library.
| | 01:07 | To import the Exercise Files, go down to
the big Import button at the bottom left
| | 01:12 | of the Library, and click there
to open the large import window.
| | 01:16 | In the import window, go to the
Select a source menu at the top left,
| | 01:21 | and if you've put your exercise files
on your Desktop, then choose Desktop here.
| | 01:25 | Then navigate in the Source panel
on the left into the Desktop folder,
| | 01:31 | and there you'll find
the Exercise Files folder.
| | 01:33 | Select the Exercise Files folder, and
you should see thumbnails of these two
| | 01:37 | photos here in the center
portion of the Import window;
| | 01:41 | venice.dng, and venice-Edit.tif.
| | 01:44 | Make sure that Includes Subfolders
is checked in the column on the left.
| | 01:48 | In the center, make sure
that Add is selected,
| | 01:51 | and you can leave everything else at its defaults.
Then come down and click the Import button.
| | 01:56 | That will close the import window, and
take you back to the Lightroom Library.
| | 02:00 | Over in the Folders panel on the left,
you should see the Exercise Files folder,
| | 02:04 | and it's two subfolders:
finish, and start.
| | 02:07 | When you're ready to start the
course in the next chapter, click the
| | 02:10 | start subfolder, and that will show you the
starting file; the RAW file called venice.dng.
| | 02:16 | To start working on that file in Lightroom's
Develop module, which is where we
| | 02:19 | start the course, just select that
thumbnail, and then click the Develop module
| | 02:24 | label at the top of Lightroom.
| | 02:26 | And here you can see our starting
file opened in Lightroom's Develop module,
| | 02:30 | and you're all ready to begin
working with me to process this file in
| | 02:34 | Lightroom, and in Photoshop.
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1. Processing in LightroomAnalyzing the project photo| 00:00 | Throughout this course, we'll work on
processing this RAW photo that I shot at
| | 00:04 | dusk on a recent trip to Venice, Italy.
| | 00:06 | This image is typical of the kind of photos
that I think many of us shoot on our travels
| | 00:11 | in that it was captured on
the fly without pre-planning,
| | 00:14 | but the light was striking, the scene
was stunning, and my trip was short, so I
| | 00:18 | took this shot of the scene, and a few
others, knowing that I could enhance them
| | 00:22 | in post-processing in
Lightroom and Photoshop.
| | 00:24 | Our approach to this photo will be
to make basic global adjustments;
| | 00:28 | adjustments that affect the entire
photo here in Lightroom. Then we'll take the
| | 00:32 | photo into Photoshop to make local adjustments,
and remove some of the clutter in this scene.
| | 00:36 | Now, granted, you could try to do
some of that with Lightroom's limited
| | 00:40 | local adjustment tools,
| | 00:41 | but since Photoshop has more precise
masking features, and much more powerful
| | 00:46 | content aware retouching tools,
| | 00:48 | I'll often fine tune my
favorite travel photos in Photoshop.
| | 00:51 | Before we actually start processing
this photo, it's a good idea to take a
| | 00:55 | closer look at a photo to see where it falls
short, and strategize about how we might improve it.
| | 01:00 | Just looking at the photo on my
screen, I see a bluish color cast that I'd
| | 01:03 | like to try to fix,
| | 01:05 | and some tonal values in the sky that
I'd like to bring out more, as well as
| | 01:09 | some distracting elements
that I'd like to remove.
| | 01:11 | But it's difficult to diagnose everything
about a photo by just looking at it here.
| | 01:15 | That's where the Histogram panel
can be a help.
| | 01:18 | The Histogram panel is over here at
the top of the column on the right.
| | 01:21 | If your Histogram panel isn't open
then, click its title bar to open it.
| | 01:25 | If you're not familiar with the
histogram, it's a bar chart that represents the
| | 01:28 | potential tonal values in a photo,
from black on the far left through varying
| | 01:33 | shades of gray, over to
white on the far right.
| | 01:36 | The gray mound in the middle of the
histogram represents the actual tonal values
| | 01:40 | in this photo, with the tallest parts
of the mound indicating where there's the
| | 01:45 | highest frequency of tonal values.
| | 01:48 | The shape of the mound in this particular
photo confirms that this photo has no
| | 01:52 | tones in the brightest highlight areas.
| | 01:55 | If we could pull some of these tonal
values over toward the right side of the
| | 01:59 | histogram, adding some highlight values,
and expanding the range of tones all the
| | 02:03 | way from dark to light,
| | 02:05 | I bet we could get this photo
to look brighter and punchier.
| | 02:08 | So, that's something we'll try to do as
we make global adjustments to this photo.
| | 02:12 | There's also some useful diagnostic
information underneath the histogram when I
| | 02:17 | move my mouse off of it.
| | 02:19 | Here you can see some of the camera
settings that I used when I took this shot.
| | 02:23 | You can see that my ISO, which controls the
camera sensitivity to light, was set to 800.
| | 02:29 | My DSLR often produces more digital noise
then I'd like at an ISO of 800 or higher,
| | 02:35 | so this information reminds us that we need to
check this photo to see how much noise it has.
| | 02:40 | The shutter speed display here is also
useful, particularly when you've shot
| | 02:43 | handheld, as I did with this photo.
| | 02:45 | I'm usually pretty steady shooting
with this camera at 1/125th of a second,
| | 02:50 | but that's a slow enough shutter speed
to warrant a closer look for camera shake.
| | 02:54 | You really can't get an accurate read on
camera shake, or digital noise, or focus
| | 03:00 | when you're zoomed out to
this default fit on screen view,
| | 03:03 | and you can see over here at the top
of the Navigator panel that Fit is the
| | 03:07 | current zoom magnification.
| | 03:08 | Zooming in to 1:1, or a 100%
view is very simple to do when you're
| | 03:13 | working on a photo here in
Lightroom's Develop module.
| | 03:17 | If I want to zoom in, I'll just click
on the photo. My cursor automatically
| | 03:21 | changes to a hand tool, so I can click
and drag to move the photo around in the
| | 03:26 | document window, so that I check
for noise, and camera shake, and focus.
| | 03:30 | Now, I'm seeing quite a bit of digital
noise, especially in the darker and
| | 03:34 | midtone areas of the photo, so we'll sure
to try to reduce digital noise as we're
| | 03:39 | processing the photo in this chapter.
| | 03:41 | By the way, I don't see much evidence of
camera shake, so I think we're okay there.
| | 03:45 | Now, to zoom back to the fit on screen
view, all I have to do is click again in
| | 03:49 | the document window.
| | 03:51 | By the way, you may have noticed that
everything looked more clear zoomed in to
| | 03:54 | 1:1 view than it does here
in the zoomed out fit on screen view.
| | 03:59 | So, don't be discouraged by a blurry
appearance here in fit on screen view; it's
| | 04:03 | the 1:1 view that counts.
| | 04:05 | Taking the time to analyze a photo as
we just did, with the help of information
| | 04:09 | in the Histogram panel, is a great way
to develop a road map for what you might
| | 04:13 | do to enhance a photo.
| | 04:15 | With this quick analysis in mind,
we'll get started adjusting this photo in
| | 04:18 | the next movie.
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| Making basic adjustments to tone and color| 00:00 | We'll start processing our
project photo in the Basic panel in
| | 00:03 | Lightroom's Develop module.
| | 00:05 | The Basic panel contains the basic
global adjustments to tone and color that
| | 00:09 | you'll apply to almost every
photo that you process in Lightroom.
| | 00:12 | If your Basic panel isn't open, then
click its title bar here in the column on
| | 00:16 | the right of the
Develop module to expand it.
| | 00:18 | Here you'll find a series of
sliders divided into three sections.
| | 00:23 | The most efficient approach to these
controls is to start at the top, and just
| | 00:27 | work your way down, but feel free to jump
back up to readjust any slider at any time.
| | 00:32 | If you want to start over, you can
always go down to the big Reset button at the
| | 00:36 | bottom of the column, and click that to
set all the sliders back to their defaults
| | 00:40 | of 0. And Command+Z, or Ctrl+Z on a PC,
will Undo your last move, including clicking
| | 00:48 | the clicking the big Reset button.
| | 00:50 | Now, let's start at the top
with the White Balance controls.
| | 00:54 | I remember this scene as being a bit
warmer than the blue color cast that I see
| | 00:58 | in the photo now, but the auto white
balance setting on my camera, which I often
| | 01:02 | use while traveling, was fooled
by the changing light at dusk.
| | 01:06 | To fix that, I'm going to go over to the
Temperature slider, and drag it slightly
| | 01:10 | from the blue end of its
scale toward the gold end.
| | 01:13 | To warm things up a little more, I'll go
to the Tint slider, and drag it away from
| | 01:19 | the green end of its
scale toward the magenta end.
| | 01:24 | By the way, if you're working along
with me on this photo, don't feel that you
| | 01:28 | need to use the exact values that
I've chosen here, or for any of the
| | 01:31 | adjustments in this course.
| | 01:32 | The brightness and color of your monitor
may be different than mine, so you can
| | 01:36 | move the sliders in the same direction
that I'm doing, but I suggest you choose
| | 01:40 | values that look best
to you on your monitor.
| | 01:43 | Let's go on to the Tone section of the
Basic panel. Here we'll use the Exposure
| | 01:48 | slider to set the overall
brightness of this photo.
| | 01:51 | This photo is a little dark, so I'm going
to drag the Exposure slider to the right.
| | 01:56 | If I go too far, like this, brightening up
the photo too much, I can get the slider
| | 02:00 | back to its starting point of 0 by
double-clicking this slider head. That's a
| | 02:04 | really useful shortcut that
works on any of these sliders.
| | 02:08 | Now I'll drag the Exposure slider
just slightly to the right to make the
| | 02:11 | photo slightly brighter.
| | 02:14 | Next we come to the Contrast slider.
This slider offers a quick way to increase
| | 02:18 | or decrease the range of tones in the
photo, making a photo look either more
| | 02:22 | contrasty, like this, or flatter, like this.
Let's drag this slider just slightly
| | 02:28 | to the right of its default. I'm
using a particularly light hand with this
| | 02:33 | Contrast slider, because later in this
course, we'll be adding more contrast to
| | 02:37 | this photo in Photoshop.
| | 02:39 | The next four sliders in the Basic panel
are for setting the tonal values of the
| | 02:43 | dark and light parts of the photo.
| | 02:45 | The Highlights slider affects the
three-quarter tone bright areas most.
| | 02:49 | If I hover over that slider head, take a
look up in the histogram, and you'll see
| | 02:54 | a slight overlay over the part of the
histogram that's most affected by this
| | 02:57 | slider, and the same is true
of these other four sliders.
| | 03:01 | The Highlights slider can help you to
see more detail in light areas of a photo,
| | 03:04 | like the clouds in this scene.
| | 03:06 | So, I'm going to drag the Highlights
slider way over to the left to try to get
| | 03:11 | more detail back in those clouds.
| | 03:14 | The Shadows slider, on the other hand, can
brighten relatively dark areas, like the
| | 03:19 | foreground of this photo,
| | 03:20 | so I'm going to drag the Shadows
slider over to the right to do just that.
| | 03:24 | The next two sliders, the Whites
and Blacks sliders, affect the extreme
| | 03:30 | light tones, as you can see by the
overlay in the histogram, and extreme
| | 03:34 | dark tones, respectively.
| | 03:35 | In the last movie, when we took a look
at the histogram, we saw that there are
| | 03:39 | no extreme bright tones in this photo,
and we decided that that's something we
| | 03:43 | want to correct in order to brighten the
light areas, and give the photo more contrast.
| | 03:48 | So, I'm going to drag the Whites
slider to the right, but before I do, I'm
| | 03:52 | going to turn on a highlight
clipping warning, which will let me know if I
| | 03:55 | drag the Whites slider too far to the
right, so that I'm blowing out detail in
| | 03:59 | the brightest tones.
| | 04:00 | To turn on the highlight clipping
warning, I'll click this small triangle at the
| | 04:04 | top right of the histogram, and now
I'll go back down to the Whites slider, and
| | 04:08 | I'll drag to the right. You can see
that if I drag too far, I see these big
| | 04:13 | red marks in the photo. Those indicate
the parts of the photo that are being
| | 04:16 | blown out to pure white,
with no detail.
| | 04:18 | So, I'll drag the Whites slider back
over to the left, until those little red
| | 04:22 | marks just disappear, or until there are
just a couple of them left in the photo,
| | 04:26 | and then I'll turn the highlight
clipping warning off by clicking the triangle
| | 04:29 | on the top right of the histogram again.
| | 04:32 | Now let's go to the Blacks slider.
| | 04:33 | Using the Blacks slider to push the
darkest tones in a photo to pure black is a
| | 04:37 | good way to intensify the
look of a washed out photo.
| | 04:41 | To add a little black to this photo, I'll
drag the Blacks slider slightly to the left.
| | 04:45 | The last three sliders, those in the
Presence section, are the ones that can
| | 04:49 | really give a photo personality.
| | 04:51 | The Clarity slider is one of my favorites;
| | 04:53 | it's useful for increasing or
decreasing midtone contrast.
| | 04:57 | If you shoot scenes with detail on your
travels, then you'll love what dragging
| | 05:01 | the Clarity slider to the right can
do to bring out detail and texture. I'm
| | 05:06 | going to zoom in on this image, so you
can see this better, and then I'll go to
| | 05:11 | the Clarity slider, and I'm going to drag
it to the right, and as I do, you can see
| | 05:16 | the detail come out in this photo.
| | 05:17 | I'll click again in the
photo to zoom back out.
| | 05:20 | Finally, you have a choice of two
sliders in the Basic panel that will increase
| | 05:24 | or decrease overall color saturation.
| | 05:27 | The Saturation slider will intensify
all colors equally, so it's often not the
| | 05:32 | best choice, as you can see in this photo if I
drag the Saturation slider over to the right.
| | 05:37 | I think that the red buildings
are getting just oversaturated,
| | 05:41 | so I'm going to put the Saturation
slider back to its default of 0 by
| | 05:45 | double-clicking its playhead, and I'll
use the Vibrance slider instead, dragging
| | 05:49 | that over to the right to
saturate with a lighter hand.
| | 05:53 | The Vibrance slider often does a better
job on colorful travel photos like this,
| | 05:57 | because it intensifies the colors
that needed most, rather than all colors
| | 06:01 | equally, and it protects the colors
often found in skin tones, like the reds and
| | 06:06 | yellows that we have in these
buildings. That brings us to the end of the
| | 06:10 | controls in the Basic panel.
| | 06:12 | To compare where we are now to
where we started, I'm going to press the
| | 06:16 | backslash key. That's the three to
the right of the P key on my keyboard.
| | 06:20 | When I press the backslash key, you
can see that before version of the photo;
| | 06:24 | this is where we started, if you can
believe it, and I'll press backslash
| | 06:28 | again to see where we are now.
| | 06:30 | As you can see, the global adjustments to
tone and color that we just made in the
| | 06:33 | Basic panel have gone a long way toward
enhancing this photo, but there's more
| | 06:38 | to do in Lightroom before we
take this photo into Photoshop,
| | 06:41 | so please stay tuned
for the next movies.
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| Reducing digital noise| 00:00 | When you are shooting a travel photo,
of course you can't always control the
| | 00:03 | lighting conditions, and you may find
yourself shooting in dim light, as I was
| | 00:07 | here when I shot this scene at dusk.
| | 00:10 | Because the light was fading, I had to
increase the ISO in my camera to 800, and
| | 00:15 | I know that that ISO is likely to
have produced more digital noise in this
| | 00:19 | photo than I would like, but you can't
see the digital noise in the photo unless
| | 00:24 | and until you zoom in to
a 100%, or 1:1 view.
| | 00:27 | So, I'm going to do that now by
just clicking once on the photo.
| | 00:31 | Noise reduction in Lightroom
is done in the Detail panel,
| | 00:35 | so let's scroll down to the Detail
panel using the scrollbar on the far right
| | 00:38 | of the Develop module, and then clicking on
the title bar of the Detail panel to expand it.
| | 00:44 | Here in the Noise Reduction section of
the Detail panel, there are sliders for
| | 00:47 | reducing two kinds of digital
noise: Color noise, and Luminance noise.
| | 00:52 | By default, the Color slider is set to
25, and that's pretty much canceling out
| | 00:56 | the color noise in this photo,
| | 00:57 | but just so that you can see what the
original color noise looked like here, I'm
| | 01:02 | going to drag the Color slider over
to 0, and now you can see these little
| | 01:06 | specks of color here, and particularly in the
dark areas of the photo. So, that is color noise.
| | 01:11 | If I put the Color slider back to its
default by double-clicking the playhead on
| | 01:16 | the color slider,
the color noise goes away.
| | 01:19 | Reducing color noise can sometimes also
reduce detail in a photo, and so there's
| | 01:23 | a Detail slider under the Color slider,
which at it's default to 50 is bringing
| | 01:27 | back a sufficient amount of detail.
| | 01:30 | Now let's talk about luminance noise.
| | 01:32 | If you look closely, you can see
some little specks of grayscale noise.
| | 01:36 | It almost looks like film
grain. That is luminance noise.
| | 01:39 | If you want to reduce the luminance
noise, then you use the Luminance slider here
| | 01:43 | in the Noise Reduction section.
| | 01:45 | Now, be careful about taking this
slider too far, like this, because that
| | 01:48 | creates this sort of smooth, bland, painterly
look to a photo, so it just doesn't look real.
| | 01:54 | But I did want to take the Luminance
slider too far, so that I can show you what
| | 01:57 | the Detail and Contrast
sliders can do for you.
| | 02:01 | If you increase Luminance as you can clearly
see that smoothing away detail and contrast.
| | 02:05 | Dragging the Detail and Contrast
sliders over to the right can bring some of
| | 02:10 | that back, as you can see right over
here, so keep your eye there as I send the
| | 02:14 | Contrast and Luminance sliders back to
their defaults by double-clicking their
| | 02:17 | playheads, and you'll
see that detail go away.
| | 02:20 | By the way, this Detail and Contrast
slider are not available unless you move the
| | 02:25 | Luminance slider off of its default of 0.
| | 02:28 | So, I do think the image
is too smooth looking now.
| | 02:31 | To fix that, I'll take the Luminance
slider, and I'll drag it back over to the
| | 02:34 | left, trying to reach a compromise
between retaining the detail in my photo, and
| | 02:39 | reducing some of that luminance noise.
| | 02:42 | So, I'm going to put my Luminance slider
about here. Where you decide to place it
| | 02:46 | is really a matter of personal taste.
When I'm done, I'll zoom back out, so I
| | 02:50 | can see the entire photo by
clicking once in the image.
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| Removing chromatic aberration| 00:00 | Another unwanted element that you may
get in a digital photo like this one that
| | 00:04 | you won't see when you're zoomed out
to the default fit on screen view is
| | 00:09 | chromatic aberration.
| | 00:10 | Let me zoom in, so you can see that there
is some chromatic aberration in this photo.
| | 00:15 | If you look at the edges of these trees,
for example, you can see a magenta line
| | 00:19 | over here, and a green line over here,
and if I click and drag to pan over to the
| | 00:24 | tower, you can see a slight green
line to the left side of the tower.
| | 00:28 | Fortunately, there is a quick way to
remove chromatic aberration from this photo.
| | 00:32 | Here in the Develop module, I'll
scroll down to another panel, the Lens
| | 00:36 | Correction panel, and I'll click
on its title to open this panel.
| | 00:40 | In the Lens Correction panel, I click
on the Color tab, and here is a checkbox
| | 00:44 | labeled Remove Chromatic Aberration.
All I have to do is click in that checkbox,
| | 00:49 | and like magic, that green line is gone
on the tower, and if I come over to the
| | 00:54 | trees, I can see that most of the
chromatic aberration is gone. I still see a
| | 00:59 | little bit of a green in here,
| | 01:01 | so what I'm going to do is come down to
these sliders, and drag the green Amount
| | 01:05 | slider over to the right slightly.
| | 01:07 | Down here is a slider that controls the
range of greens that are being reduced.
| | 01:12 | I want to expand that range, so I'll
drag these sliders over a little bit, until
| | 01:16 | I've removed most of that
green from the trees.
| | 01:19 | Finally, I'll be sure to pan around to
other high contrast areas of the photo to
| | 01:24 | make sure that I don't see any other
bits of chromatic aberration, and when I'm
| | 01:27 | satisfied, I'll click to zoom back out.
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| Taking the photo from Lightroom to Photoshop| 00:00 | Now that we've made basic global
corrections to this photo in Lightroom, let's
| | 00:04 | take it over to Photoshop for
some more targeted adjustments.
| | 00:07 | This is the workflow that I typically
follow with the best photos that I take on
| | 00:11 | my travels; the ones that I want
to fine-tune before I show them off.
| | 00:15 | In Photoshop, we'll have access to
features that aren't available in Lightroom,
| | 00:18 | like layers, masks, and content aware
retouching tools that we'll use to correct
| | 00:23 | isolated parts of the photo with
more precision than Lightroom offers.
| | 00:28 | In this movie, I'll briefly show you how
to take this RAW file over to Photoshop
| | 00:32 | with all the changes that we've
already made in Lightroom, further enhance it
| | 00:35 | there, and what happens when we
save, and bring it back into Lightroom.
| | 00:40 | If you'd like to know more about
moving files between Lightroom in Photoshop
| | 00:43 | than I can show you in this brief movie,
please take a look at another of my
| | 00:48 | courses in the Lynda.com library:
Using Lightroom and Photoshop Together.
| | 00:52 | By the way, before you take this photo
from Lightroom into Photoshop, please
| | 00:56 | make sure that you've updated the
version of the Camera RAW plug-in that goes
| | 01:00 | with Photoshop, so that you get
a smooth transition like I do.
| | 01:03 | Now, to take this photo into Photoshop
from Lightroom, I'll go up to the menu
| | 01:07 | bar at the top of Lightroom to the
Photo menu, and I'll go down to Edit In, and
| | 01:12 | the first choice in this menu will be the latest
version of Photoshop installed on your computer.
| | 01:16 | I'll either click here, or I could use
the keyboard shortcut Command+E on the Mac,
| | 01:23 | or Ctrl+E on the PC.
| | 01:24 | That launches Photoshop, and opens
our photo, ready for editing here.
| | 01:28 | Notice that this isn't the dull bluish version
of the photo that we started with in Lightroom;
| | 01:32 | it's the version with all of the
Lightroom enhancements baked in.
| | 01:36 | I'm noticing some distracting
content around the edges of this photo that
| | 01:40 | I'd like to crop away.
| | 01:41 | I'll select the Crop tool from here in
Photoshop's toolbar, and then I'll move
| | 01:45 | into the image. I'm going to hold down
the Shift key to constrain proportions,
| | 01:49 | and I'm going to click on the top left
corner of the bounding box around the
| | 01:52 | image, and drag in, and as I do, I'm
keeping my eye on the left side of the photo
| | 01:58 | to delete some of the
unwanted elements there.
| | 02:00 | When I release my mouse, you can see
the part of the photo that's going to be
| | 02:04 | cropped away covered
in this gray overlay.
| | 02:06 | Now, I actually don't want to
permanently delete those pixels.
| | 02:09 | I may change my mind about this crop,
and want to come back in later to bring
| | 02:13 | these pixels back into view,
| | 02:15 | so it's important that I go up to the
options bar for the Crop tool, and uncheck
| | 02:20 | Delete Cropped Pixels, like that.
| | 02:22 | Now I'm going to commit this crop.
| | 02:25 | To do that, I'll go up to the options bar
again, and I'll click the big checkmark there.
| | 02:29 | With that crop in place, I
want to save my work so far.
| | 02:33 | I'll go to the File menu, and
I'm going to go down to Save.
| | 02:37 | Now, because I want to save this image
in a way that will ensure that it appears
| | 02:42 | in my Lightroom library, I'm going to be
sure to choose Save, rather than Save As,
| | 02:46 | and I'm not going to try to change the
name or the location as I save this file.
| | 02:52 | I'll just use File > Save.
| | 02:54 | Notice that when I do that,
the name of the file has changed.
| | 02:57 | This hyphen and the word Edit was
automatically appended to the end of the file
| | 03:01 | name, and the file format has changed
from DNG, which is a RAW file, to TIF, which
| | 03:08 | is a pixel-based image.
| | 03:10 | That's because Photoshop
is a pixel editor,
| | 03:13 | so when you're working in Photoshop,
you're always working on a pixel-based
| | 03:16 | file, not a RAW file.
| | 03:18 | Let's go back to Lightroom, and see what
we have there now. I'm going to go ahead
| | 03:22 | and close this file by pressing Command+W
on my keyboard, that's Ctrl+W on a PC
| | 03:27 | keyboard, and I'll switch
back to Lightroom.
| | 03:29 | Here in Lightroom's Develop module, I'm
going to go down to very bottom of the
| | 03:33 | screen, and click the bar there to open
up this filmstrip, so that you can see
| | 03:37 | that I now have in my Lightroom
library two files, represented by the two
| | 03:42 | thumbnails here in the filmstrip.
| | 03:45 | As I click on each of these thumbnails,
you can see its name right here at the
| | 03:48 | top of the filmstrip.
| | 03:50 | So, this one is the TIF file that I just
saved from Photoshop, and right next to
| | 03:54 | it is the RAW file; the file that we
took from Lightroom into Photoshop.
| | 03:59 | If you look closely, you'll see that
the RAW file still has the parts of the
| | 04:03 | photo that we cropped
away in Photoshop.
| | 04:05 | In other words, changes made in
Photoshop are not visible on the RAW file.
| | 04:10 | But this RAW file does have all of the
adjustments that we made in Lightroom
| | 04:14 | throughout this chapter.
| | 04:15 | The only file that has both the Lightroom
and the Photoshop adjustments is our TIF.
| | 04:20 | I'll select that one, and if you look
closely, you'll see that the cropped away
| | 04:24 | elements don't appear here in the TIF
file, but the TIF file does have all the
| | 04:28 | changes that we made in Lightroom.
| | 04:29 | Those Lightroom changes are baked into
the TIF file, so I can't go back and Undo
| | 04:34 | or reset those Lightroom changes in
the TIF file as I could in the RAW file.
| | 04:39 | But what I can do is take the TIF file
back into Photoshop, and I'll have access
| | 04:44 | to any adjustments that I made
in Photoshop, so I can tweak those.
| | 04:48 | To show you that, with the TIF file
selected down here in the filmstrip, I'll go
| | 04:52 | up to the Photo menu, I'll choose Edit
In, and Edit in Photoshop again, and this
| | 04:57 | time, because we're taking a TIF file,
rather than a RAW file, from Lightroom to
| | 05:01 | Photoshop, we have
another dialog box to deal with.
| | 05:04 | In this dialog box, I'm going
to choose to Edit Original.
| | 05:07 | If you'd like to learn more about what
all these choices mean, again, take a look
| | 05:11 | at my longer course: Using
Lightroom and Photoshop Together.
| | 05:15 | For now, just know that Edit Original is
the best choice when you want to go back
| | 05:19 | and reedit the changes that you've
made in Photoshop in this workflow.
| | 05:22 | So, I'll click Edit, and that
reopens the TIF file here in Photoshop.
| | 05:27 | If I'd added layers to this file, they
would appear over here in the Layers panel.
| | 05:31 | If you remember, what I did was crop
the file, and I can go back and edit that
| | 05:36 | crop. By making sure I have the Crop
tool selected in the toolbar, I'll just
| | 05:40 | click once in the canvas here, and
that brings back all of those grayed out
| | 05:44 | pixels that I chose not to
delete when I made my crop.
| | 05:48 | So, now I have the
opportunity to change this crop.
| | 05:51 | Maybe I want to crop away something on
the side, so I'll move my cursor over the
| | 05:55 | top right corner point on the bounding
box, I'll hold the Shift key to constrain
| | 06:00 | proportions, and I'm going to drag in,
and that crops away that post on the right
| | 06:05 | side of the gondola.
| | 06:06 | I'd also like to move the image
around inside the bounding box to bring back
| | 06:10 | a little more of the sky, because
I really like the cloud up there,
| | 06:13 | so I'll click inside the
bounding box, and I'll drag down a bit.
| | 06:18 | And I could make other adjustments here in
Photoshop too, as we'll do in the next chapter,
| | 06:23 | but for now, I'm just going to
accept this crop, and save the file again
| | 06:27 | with these changes.
| | 06:29 | I'll close the file, Command+W or Ctrl+W,
and again, I go back to Lightroom.
| | 06:35 | The thumbnail for the TIF file is
selected down here in the filmstrip, and if you
| | 06:39 | look closely over on the right, you can
see the change that we just made to the
| | 06:42 | crop in Photoshop. The post on the far
right of the gondola is cropped away, and
| | 06:47 | I have moved the file down a bit, so
that more of the sky showing at the top.
| | 06:52 | In the rest of this course, we'll be
working on the TIF version of the file that
| | 06:56 | contains both our Lightroom
changes and our Photoshop changes.
| | 07:00 | So, I'm going to go ahead and reopen
this TIF file into Photoshop one more time,
| | 07:04 | making sure that I have the TIF thumbnail
selected in the filmstrip, and then
| | 07:08 | again, going to the Photo menu, Edit In >
Edit in Adobe Photoshop, choosing Edit
| | 07:14 | Original, and clicking Edit, and here is
our project photo, ready for more fine
| | 07:19 | tuning in Photoshop in the next chapter.
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|
|
2. Specific Adjustments in PhotoshopPrecisely targeting an adjustment with a mask| 00:00 | Photoshop excels at fine-tuned photo
corrections, and that's what we'll be doing
| | 00:05 | to our project photo here in
Photoshop throughout this chapter.
| | 00:08 | If you're working along with me, we'll
be using the same file with which we
| | 00:11 | finished the last chapter:
this TIF version of our photo.
| | 00:15 | You'll recall from the last movie
that we got this TIF version by moving the
| | 00:19 | RAW file with our Lightroom adjustments
from Lightroom to Photoshop, and then
| | 00:23 | saving it in Photoshop.
| | 00:25 | One reason we're bringing this photo
into Photoshop is to take advantage of
| | 00:28 | Photoshop's exclusive features for
isolating part of an image: selections,
| | 00:32 | adjustment layers, and masks, so that we
can make corrections to different areas
| | 00:37 | of this photo independently.
| | 00:38 | For example, what really attracted me
to this scene when I was shooting was the
| | 00:42 | glow of these red Italian
buildings at dusk.
| | 00:45 | Their colors were really intense in the
setting sun, so I'd like to try to get
| | 00:50 | the same look in these
reds that I saw in the scene.
| | 00:53 | The first step is to select just the
reds in the buildings, and I'm going to use
| | 00:57 | two selections tools together to do that.
| | 00:59 | First, I'll get the Rectangular Marquee
tool in Photoshop's toolbar, and I'll use
| | 01:04 | that to isolate just the buildings.
| | 01:06 | Then I'll go up to the Select menu, where
I'll choose the Color Range feature, a
| | 01:13 | powerful selection feature for selecting
items by color that's often overlooked,
| | 01:17 | because it up in that Select menu.
| | 01:19 | Here in the Color Range dialog box,
I'll make sure that the Select menu is set
| | 01:23 | to Sampled Colors, and that I have the
first eyedropper selected over here. I'll
| | 01:28 | leave the other settings as you see them,
and then I'll move into the image, and
| | 01:32 | I'll click on what I think is a
representative red in these buildings; maybe
| | 01:36 | right here, and that is selected that particular
red, along with a range of reds around that color.
| | 01:42 | In order to preview the selection
here in the document window, I'm going to
| | 01:46 | go back to the Color Range dialog box, and
change the Selection Preview menu to Black Matte.
| | 01:52 | In the document window, everything that
is black is not being selected, including
| | 01:56 | the black inside of the rectangular
marquee here. Everything else, the reds in
| | 02:00 | the buildings, is being selected.
| | 02:02 | I'll change the Selection Preview back
to None, and if I wanted to add to the
| | 02:07 | selected area, I could do that by sampling
other colors with the plus eyedropper,
| | 02:12 | and there is also a minus eyedropper
if I select too much. But I'm pretty
| | 02:16 | happy with that selection, so I'm going to
click OK to close the Color Range dialog box.
| | 02:22 | So, now we have a selection of the
reds in just the buildings. I'm going to
| | 02:26 | convert that selection into a
layer mask on an adjustment layer.
| | 02:30 | To do that, I'll go up to the Adjustments
panel, where there are icons for various
| | 02:34 | kinds of adjustments. I would like to
saturate the reds in this building, so I'm
| | 02:38 | going to choose the Hue/Saturation
adjustment layer.
| | 02:41 | By the way, if your Adjustments panel
isn't showing, you can go up to the Window
| | 02:45 | menu, and enable it there.
| | 02:47 | So, I'll click on this Hue/Saturation
adjustment layer icon, and that adds a new
| | 02:52 | Hue/Saturation adjustment
layer just above my photo layer.
| | 02:55 | One of the things I like about adjustment
layers is that they don't directly
| | 02:59 | impact the photo. All of the adjustments
are occurring on this separate layer
| | 03:03 | that floats above the photo layer.
| | 03:04 | That adjustment layer has two icons.
| | 03:06 | The icon on the right represents the
layer mask. The icon on the left represents
| | 03:11 | the actual adjustment.
| | 03:12 | When I added this adjustment layer,
that opened the Properties panel with the
| | 03:16 | controls for a Hue/Saturation adjustment.
| | 03:19 | I'll use the Saturation control
here to increase the saturation of just
| | 03:23 | the selected areas.
| | 03:24 | Now, that's obviously too much, but I
wanted you to see that this adjustment is
| | 03:28 | affecting just the most
obvious reds in these buildings.
| | 03:32 | So, I'm going to move back a bit, and leave my
increased Saturation maybe just around their.
| | 03:38 | I'm also going to increase the Lightness
slider in the Hue/Saturation properties
| | 03:43 | panel by dragging that over to the
right to lighten those reds a bit.
| | 03:47 | Now I'm going to close the Properties panel
by clicking the X at the top of the panel.
| | 03:52 | I can always bring that panel back and
tweak those adjustments by clicking this
| | 03:56 | icon on the left side of the Hue/Saturation
adjustment layer, but for now, I want
| | 04:01 | to concentrate on the layer
mask icon on that adjustment layer.
| | 04:04 | I am going to hold the Option key,
that's the Alt key on the PC, and click
| | 04:08 | right on the Layer mask thumbnail to preview
the layer mask here in the document window,
| | 04:12 | because I want to show you what
that layer mask is doing to limit the
| | 04:16 | application of this Hue/Saturation
adjustment to just the reds in the buildings.
| | 04:19 | Wherever this layer mask is black, the
black is hiding the adjustment, so it
| | 04:24 | doesn't show in our image.
| | 04:26 | Wherever the layer mask is white, the
Hue/Saturation adjustment is showing. And
| | 04:31 | where the layer mask is gray, that
adjustment is partially showing through, and you
| | 04:35 | can see how precise these areas are,
which is the beauty of making adjustments
| | 04:40 | here in Photoshop. I'm going to hold the
Option or Alt key again as I click back
| | 04:44 | on the Layer mask thumbnail to
bring the photo back into view.
| | 04:47 | Another advantage of using an adjustment
layer with its layer mask is that
| | 04:51 | you can add to and subtract from the areas
being affected by the adjustment pretty easily.
| | 04:57 | So, I'm going to zoom in to add this
same adjustment to this building over here
| | 05:02 | on the left. I'll hold the Spacebar to
move the image over, so you can see that
| | 05:06 | building, and then I'll select the Brush
tool in the toolbar, and I'll go down and
| | 05:11 | make sure that I have white
paint as my foreground color.
| | 05:13 | In this case, I need to switch my foreground
and background colors, so I'll press X
| | 05:18 | on my keyboard, and then I'll move into the
image, and I'll paint with white on the
| | 05:23 | layer mask. Because I'm painting with
white on the mask, that's letting the
| | 05:27 | adjustment show through
wherever I'm painting.
| | 05:30 | I like the way the adjustment looks on
the right side of the building, but I
| | 05:33 | think it's making the left side of the
building rather dull. No problem; it's
| | 05:37 | easy to paint back with black on the
layer mask to hide this adjustment from
| | 05:41 | this part of the image.
| | 05:42 | So, I'll switch my colors by pressing X
on the keyboard, so black is the color
| | 05:47 | I'm painting with, and I'll paint
with black on the layer mask, hiding the
| | 05:51 | adjustment where I don't
want it on this building.
| | 05:55 | Sometimes the best way to see what you've
accomplished is to see a before and after view.
| | 06:00 | So, while we're zoomed in like this,
I'll click the eye icon on the
| | 06:03 | Hue/Saturation adjustment layer, so you
can see where we started, and how we've
| | 06:08 | added punch and glow to the reds in
these buildings with this Hue/Saturation
| | 06:13 | adjustment. I'm going to zoom back
out to the fit on screen view by double
| | 06:17 | clicking the hand tool.
| | 06:18 | So, that's how precise you can
get with adjustments in Photoshop.
| | 06:22 | In the next movie, we'll work on
bringing out the color and tones in another
| | 06:25 | part of this image, the sky, using
multiple adjustment layers, including the most
| | 06:30 | powerful of Photoshop's adjustments: curves.
| | Collapse this transcript |
| Correcting the sky with Curves| 00:00 | Now let's work on bringing out more
of the tone and color in the sky using
| | 00:04 | adjustment layers and masks.
| | 00:06 | We'll start by isolating the
sky with a quick selection.
| | 00:09 | I'll get the Quick Selection tool in
the toolbar, and with a small brush tip,
| | 00:13 | I'll click and drag over the sky to
get a pretty good initial selection.
| | 00:17 | To remove this steeple from the
sky, I am going to zoom in a bit.
| | 00:21 | I'll go up to the options bar for the
Quick Selection tool, and get the Subtract
| | 00:26 | from Selection icon, and then I'll
click and drag over that steeple.
| | 00:31 | I'll do the same here, and over here.
| | 00:35 | I can refine the selection edge a bit
further by going up to the options bar, and
| | 00:38 | clicking Refine Edge, and that
opens the Refine Edge dialog.
| | 00:42 | I've set the View menu to On White, and
with the Refine Radius tool, I'll move
| | 00:48 | into the image, I'll make my brush a
bit bigger by pressing the Right Bracket
| | 00:52 | key a couple of times, and I'm going to
click on some of these steeples to get a
| | 00:59 | better selection edge around them.
| | 01:02 | I'll do the same over here, and along
the tops of these trees, right where the
| | 01:08 | sun is setting, which you can see
right there, and then I'll click OK.
| | 01:14 | Now let's add a Curves adjustment Layer.
| | 01:17 | To do that, I'll click on the topmost layer
in the Layers panel, and then I'll go up
| | 01:22 | to the Adjustments panel, and
I'll click this Curves icon.
| | 01:25 | That converts our selection of the sky
into a mask on this adjustment layer, and
| | 01:29 | where that mask is white, the curves
adjustment we're about to make will show
| | 01:33 | through. Where the mask is black,
that will hide the Curves adjustment.
| | 01:37 | This ability to isolate a Curves
adjustment with a mask is one of the things
| | 01:41 | that makes curves in Photoshop more
useful for local adjustments than the global
| | 01:45 | tone curve in Lightroom.
| | 01:47 | Now, I know that some photographers shy
away from curves, because they haven't
| | 01:51 | had the best of luck with them,
| | 01:52 | but there are a couple of things
that will help you to use curves.
| | 01:55 | One of those is the menu of defaults
here at the top of the Curves controls in
| | 02:00 | the Properties panel, which by the way, I
just moved over to the left, so there is
| | 02:03 | more room to see the sky.
| | 02:05 | From that menu, I am going to choose
the Darker preset, because I want to start
| | 02:09 | off by darkening the entire sky.
| | 02:10 | If you take a look at the curve, you
can understand why the sky is now darker.
| | 02:15 | The diagonal line represents the baseline,
and where the curve is lower than that
| | 02:19 | diagonal line, the corresponding tones
in the image are darker, so that includes
| | 02:23 | all the tones, in this case.
| | 02:24 | Now I'd like to add another curves
adjustment layer, which is another
| | 02:29 | advantage of using curves in Photoshop
over using curves in Lightroom: you can
| | 02:33 | have more than one.
| | 02:34 | To add an additional adjustment layer,
I'll go back to the Adjustments panel, and
| | 02:38 | I'll click the Curves icon again.
| | 02:40 | Rather than start again making a
selection, I am just going to copy the layer
| | 02:44 | mask on the Curves 1 layer
up to the Curves 2 layer.
| | 02:48 | To do that, I'll hold the Option key, or
the Alt key on a PC, and I'll click on
| | 02:52 | the mask on Curves 1, and drag it up to
Curves 2, and release, and then I'll click Yes.
| | 02:58 | Now, to see the controls for the Curves 2
adjustment layer over in the Properties
| | 03:01 | panel, I click the
Adjustment icon on the Curves 2 layer.
| | 03:05 | Over in the Curves panel, I don't need
those presets now, so I am just going to
| | 03:10 | scroll down in the Curves panel, so I
can see more of the Curves controls.
| | 03:13 | Another Curves feature that can make
things easier for you is the Targeted
| | 03:17 | Adjustment tool, which you can activate
by clicking this little hand icon on the
| | 03:21 | left side of the Curves controls.
| | 03:23 | With that tool, I am going to move into
the image. I'll hold the Spacebar, so that
| | 03:27 | I can drag over to the left, so I can
see more of the photo, and I'm going to
| | 03:31 | click on this little bright area of the
photo that I'd like to keep this bright.
| | 03:35 | That sets an anchor point representing
those tones here on the curve.
| | 03:40 | Next, still using that Targeted
Adjustment tool, I'll click on a darker area,
| | 03:44 | maybe right here, and I'm going to drag
down in order to increase contrast in the
| | 03:49 | sky, and at the same time, I'm darkening
the sky a bit, and adding more color.
| | 03:54 | That's because Curves adjustments
do affect color, as well as tone.
| | 03:58 | Now if you take a look at this curve,
you can see that we've increased the
| | 04:01 | steepness of the curve here, and
that's what increases contrast in the sky.
| | 04:05 | I am going to double-click on the
hand tool in the toolbar, so we can see
| | 04:09 | the entire image again.
| | 04:10 | I like that look, but if you think
that we have bumped up the contrast in
| | 04:14 | color too much, you can reduce the Opacity
of either of these Curves adjustment layers.
| | 04:19 | So, with the Curves 2 layer selected in
the Layers panel, I'll try pressing the
| | 04:23 | number 8 on my keyboard, and you'll see
that that reduces the Opacity of that
| | 04:27 | Curves adjustment to 80%.
| | 04:30 | There is one more thing I want to change
about the color in the sky, and that's
| | 04:33 | this bright blue corner up here, which
looks a bit out of balance with the other
| | 04:37 | softer colors in the sky.
| | 04:39 | To tone it down, let's add one
more Adjustment layer; this time, a
| | 04:43 | Hue/Saturation adjustment layer, which
I'll add by clicking the Hue/Saturation
| | 04:47 | icon in the Adjustments panel.
| | 04:49 | I'll go over to the Properties panel,
which is now showing the Hue/Saturation
| | 04:53 | controls, and it has its own Targeted
Adjustment tool, which I'll activate by
| | 04:57 | clicking this hand icon.
| | 04:59 | And then I'd come up to that bright
blue corner, and I'll click and I'll drag to
| | 05:03 | the left to tone down the saturation
of that bright blue part of the sky.
| | 05:07 | Now, that adjustment is affecting all
of the blues in the image, because as of
| | 05:11 | now, there is no black paint
on that layer mask.
| | 05:13 | So, I'm going to fill the layer mask
completely with black, and then just paint in
| | 05:18 | where I want this adjustment.
| | 05:19 | To fill with black, I'll set my foreground
color to black by pressing X on my
| | 05:23 | keyboard, and then I'll use one of my
favorite shortcuts, which is the shortcut
| | 05:27 | for filling with the foreground color.
| | 05:30 | That's Option+Delete on the
Mac, or Alt+Backspace on the PC.
| | 05:34 | Now that that entire mask is black,
I'll get my Brush tool, I'll switch my
| | 05:39 | foreground color to white by pressing
X on the keyboard, and with a large soft
| | 05:44 | brush, I am just going to paint in with
white on the layer mask over that bright
| | 05:48 | blue area of the sky to balance out the
colors a little more, and then I'll close
| | 05:52 | the Properties panel.
| | 05:53 | Now that we've got the sky looking just
about the way I remember it as the sun
| | 05:58 | was going down over this scene, I am
going to save to save these adjustments
| | 06:02 | back to the TIF that we've been
managing in Lightroom's Library.
| | 06:05 | That's Command+S on the Mac,
or Ctrl+S on the PC.
| | 06:09 | Now, if you're following along on this
photo, keep in mind what I've done with
| | 06:12 | these adjustment layers is really
subjective, and it's certainly not the only
| | 06:16 | way to adjust this sky.
| | 06:17 | Feel free to make the sky look however
you like it by experimenting with the
| | 06:21 | controls for any of these adjustment
layers, and adding others if you like.
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| Removing distracting objects with content-aware tools| 00:00 | When you're shooting a travel photo,
you can't control everything in the scene.
| | 00:04 | You may have a distracting background, or
a clutter in the image, or a person, or a
| | 00:08 | car, or a boat may enter
the side of your photo.
| | 00:12 | In this case, the sun was about to set,
and I knew I wasn't going to have another
| | 00:16 | chance to get this photo,
| | 00:17 | so I went ahead and shot it, even though there
is more clutter than I would like in the scene.
| | 00:22 | Fortunately, Photoshop offers a number
of sophisticated retouching tools which
| | 00:27 | you can use to remove some of the
clutter here, and in your other travel photos.
| | 00:31 | So, let's take a look at what we can
do to clean up some of this image.
| | 00:34 | Before I start retouching, I like
to make a separate layer to hold my
| | 00:38 | retouching patches, and that gives me a
lot more flexibility if I change my mind
| | 00:43 | about what I've done.
| | 00:44 | So, I am going to go to the Layers
panel, and click on the topmost layer, and
| | 00:48 | create a new layer by clicking the
New Layer button, and I'll name this new
| | 00:52 | empty layer retouch.
| | 00:54 | Next, I am going to double-click the
Zoom tool to zoom into 100%. I'll hold the
| | 00:59 | Spacebar, and I'll pan over to this area,
where there are a couple of items I'd
| | 01:04 | like to try to eliminate.
| | 01:05 | Let's start by trying to eliminate
this boat, and the post behind it.
| | 01:09 | Often, the first retouching tool I'll
try is the Spot Healing Brush tool, because
| | 01:13 | it's semi-automatic, and it
often does a really quick job.
| | 01:17 | So, I'll go to the toolbar, and I'll
select the Spot Healing Brush tool.
| | 01:21 | Up in the options bar for this tool, I want
to make sure that Content Aware is enabled.
| | 01:26 | This will help the tool blend the patch
that it's making in with the surrounding
| | 01:31 | area, and I'll be sure to check Sample
All Layers, so that as Photoshop builds
| | 01:35 | this patch, it will sample the
content from all of the layers, not just the
| | 01:39 | retouch layer, but the layers below,
including the important photo layer.
| | 01:43 | Then I'll move into the image, I'll
put my brush tip on top of the content I
| | 01:48 | want to eliminate, and I'm going to make
the brush tip just a little bit bigger
| | 01:52 | than that boat and post, and then I'll
click. I think that's done a pretty
| | 01:58 | convincing job of covering the boat
and post, and blending the patch in with
| | 02:02 | the surrounding area.
| | 02:03 | I'll come over to this post, and I'll
make my brush tip a little smaller by
| | 02:07 | pressing the Left Bracket key, and I'll
eliminate that post too, and up here I see
| | 02:12 | something that looks like an airplane in
the distance, so I'll make my brush tip
| | 02:16 | much smaller, again, pressing the Left
Bracket key, and I'll eliminate that.
| | 02:20 | Now let's take a look at how that works
by holding the Option key, or the Alt key,
| | 02:25 | and clicking the eye icon to the left
of that retouch layer to turn off the
| | 02:30 | visibility of all the other layers for
a moment, and here you can see the little
| | 02:34 | patches that the Spot Healing Brush
tool created for me, and those patches are
| | 02:38 | covering up that content.
| | 02:40 | If I Option+Click or Alt+Click again on
that icon, that turns on all the other layers.
| | 02:45 | So, if I wanted to, I could select one
of those spots, and just delete it to
| | 02:49 | bring the content back,
| | 02:50 | but I am going to leave
things as they are.
| | 02:53 | Now let's pan down to
another area of the photo.
| | 02:56 | Here there is a metal object floating
in the water that I'd really rather
| | 03:00 | not have in my photo.
| | 03:02 | I could try to eliminate this with the
Spot Healing Brush, but I think that the
| | 03:06 | Patch tool is going to do a better job.
| | 03:08 | So, let's take a look at the Patch
tool, which is over in the toolbar behind
| | 03:13 | the Spot Healing Brush.
| | 03:14 | I'll select the Patch tool and
I'll go up to the options bar.
| | 03:17 | Now, with the Patch tool, it's very
important to change the Patch menu from
| | 03:22 | Normal to Content Aware, and that's
something that you may forget to do, because
| | 03:27 | it's kind of a hidden feature, but
it's very powerful, because it gives the
| | 03:31 | Patch tool the power to blend its patch
with the surrounding area, like the Spot
| | 03:35 | Healing Brush tool.
| | 03:36 | I'll also make sure that Sample All
Layers is checked here, and that's an option
| | 03:41 | that you don't have unless you
change the Patch tool to Content Aware.
| | 03:45 | Then, with the retouch layer still
selected in the Layers panel, I'll move into
| | 03:49 | the image, and I'm going to use the
Patch tool like a selection tool to draw a
| | 03:54 | selection around this object.
| | 03:56 | I want to be sure to include in the
selection I am drawing a little bit of the
| | 04:01 | surrounding water, because the
Patch tool needs that to do a good job.
| | 04:05 | Then I'll click inside of the selection
I just created, and I'll drag to find an
| | 04:10 | area from which to sample the water.
| | 04:13 | I want to make sure to get an area that
has similar tone and texture to the area
| | 04:17 | I am trying to cover, and you can see a
preview inside of my original selection
| | 04:21 | of how it's going to look.
| | 04:23 | I think that's fine,
so I'll release my mouse.
| | 04:25 | Now, in this case, I think we got a
pretty good result, but sometimes you don't
| | 04:30 | get a great result, and if that happens
to you, just click inside your selection,
| | 04:34 | and try moving it to a different area,
and if you still don't like the result,
| | 04:38 | the you can come up to the options
bar for the Patch tool, even after you've
| | 04:42 | made your initial patch like this, but
before you have deleted the selection,
| | 04:46 | and you can try some different
Adaptation methods, and this is really just a
| | 04:51 | matter of experimentation.
| | 04:52 | When you're working in a texture area
like this, often Loose or Very Loose will
| | 04:57 | get you a good result.
| | 04:59 | If you're looking closely inside that
patch, you can see the result change as I
| | 05:04 | choose between these
different Adaptation methods.
| | 05:07 | So, I'll go with Loose in this case, and
then I'll eliminate the marching ants at
| | 05:12 | by pressing Command+D,
or Ctrl+D on the PC.
| | 05:15 | Now let's go back to look at
the image in full screen view by
| | 05:18 | double-clicking the hand tool.
| | 05:19 | So, those are some ways that you can
start to eliminate the clutter in this image.
| | 05:24 | I think it looks better already.
| | 05:25 | If there are some other things you'd
like to try to eliminate, perhaps this boat
| | 05:29 | coming in over here on the right, or
this boat up here, you can give those a try
| | 05:34 | using the tools that I have showed you
here, and stay tuned for the next movie,
| | 05:38 | where we are going to tackle a more
challenging retouching job: moving this post
| | 05:42 | away from this boat.
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| Retouching and moving content| 00:00 | There is a distracting item in the
center of this photo, this post in the
| | 00:04 | middle of the boat,
| | 00:05 | that I haven't had luck removing,
| | 00:07 | so what we're going to try to do in this
movie is to move that post, so at least
| | 00:11 | it's not on top of the boat,
| | 00:13 | and to do that, we'll use the Clone
Stamp tool, and the Content Aware Move
| | 00:17 | tool in Photoshop CS6.
| | 00:20 | Let's start by zooming into a 100% by
double-clicking the Zoom tool, and then
| | 00:24 | panning over to that post.
| | 00:26 | I'm actually going to zoom in even more,
so that we have a really good view of
| | 00:31 | the post where it crosses the boat.
| | 00:33 | Then I'm going to go
over to the Layers panel.
| | 00:35 | Let's make a new layer by clicking the New
Layer icon, and we'll name this one clone.
| | 00:39 | With th,at layer selected, I'll go to the
toolbar and I'll select the Clone Stamp tool.
| | 00:44 | Up in the options bar for the Clone
Stamp tool, it's important that we change
| | 00:49 | this menu from Current Layer to either
Current & Below ,or All Layers, so that
| | 00:54 | Photoshop samples the content for
the patch that we'll make from all the
| | 00:58 | layers in the file.
| | 01:00 | I'll leave Aligned checked, so that the
sample point move with me as I work on
| | 01:04 | this image, and I'll leave all the
other options at their defaults.
| | 01:08 | Then I'll move into the photo, and I'm
going to start by trying to cover up this
| | 01:13 | area, which is a little bit complicated,
because it means sampling content from
| | 01:16 | different parts of the boat.
| | 01:17 | I'll start maybe over here, because I
want to have enough that I can cross
| | 01:21 | over that entire post.
| | 01:23 | I'll hold down the Option key, that's
the Alt key in the PC, and I'll sample.
| | 01:28 | Now when I move my cursor, you can see
what I've sampled inside of the cursor.
| | 01:33 | I'll move over to the beginning of the
post, and I see that this really isn't
| | 01:36 | going to work, because my brush is so soft
that the content is fading out at the top.
| | 01:41 | So, I'm going to make my brush tip
harder by holding the Shift key, and pressing
| | 01:45 | the Right bracket key, and I'll
sample again from about the same location,
| | 01:50 | holding the Option key
or Alt key to sample.
| | 01:52 | Then I'll move over to the post, and that
looks like it's going to be a better fit,
| | 01:57 | so I'll click to lay down that part of
the patch, and then I'll carefully move
| | 02:01 | over to the left, and as I do this, I
am keeping that rim of the boat lined up,
| | 02:06 | and I'll click again.
| | 02:08 | That's a pretty good result.
| | 02:10 | Now I'll move to this section of the
boat. I'll hold the Option or Alt key
| | 02:14 | to sample, I'll move over to the post,
and this time I think I can get away
| | 02:18 | with click and drag.
| | 02:21 | For the next area, I'll hold the
Option or Alt key, and sample here,
| | 02:27 | I'll line that patch up
with the boat, and I'll drag.
| | 02:29 | Now I'm going to come over this way, and
I'll sample from this side, and click and drag.
| | 02:38 | I've double-clicked on the
Zoom tool to go back to 100% view.
| | 02:41 | I'm pretty happy with this result, but
I'd like to do one more thing, and that is
| | 02:45 | to try to move this post down,
| | 02:47 | so there's more breathing room
between the post and the boat.
| | 02:50 | I'll go over to the Layers panel, where I'm
going to make a new layer for that purpose.
| | 02:54 | I'll call this layer move, and next I'm
going to make a selection around the post,
| | 02:58 | including a little bit of sea around
the post, because the Content Aware Move
| | 03:03 | tool needs to see the
surrounding area inside this selection.
| | 03:07 | I can use any of the selection tools
including the Content Aware Move tool
| | 03:11 | itself, which acts like a Lasso tool.
| | 03:13 | But because this is a pretty regular
geometric shape, I think I'll do best using
| | 03:19 | the Rectangular Marquee tool,
| | 03:20 | so I'll select that in the toolbar, and
then I'll click and drag a selection
| | 03:24 | around the post, including
a little bit of the sea.
| | 03:27 | I'd like to include some of
the reflection down here as well,
| | 03:31 | so I'll get the Lasso tool, I'll make
sure that I have the Add to selection
| | 03:34 | icon selected in the options bar, and I'll
add a little bit of this area to my selection,
| | 03:40 | just clicking and dragging around the
reflection, and ending up back at the
| | 03:45 | rectangular marquee selection
to add that in.
| | 03:48 | Now I'm going to select the Content
Aware Move tool, which is here in the same
| | 03:52 | place as the retouching tools. With
this tool, I'll make sure in the options bar
| | 03:56 | that Mode is set to Move, and
Sample All Layers is checked.
| | 03:59 | I'll leave Adaptation at
Medium, and see how that does.
| | 04:03 | Then I'll move inside of the selection, and
I'm going to click and drag down just a bit.
| | 04:07 | You can't too far with this tool, but I
will be able to move this post a bit, and
| | 04:13 | when I do, Photoshop not only moves
the post, but it also creates a patch that
| | 04:19 | covers the area where
the post used to be.
| | 04:21 | I'll press Command+D or Ctrl+D
to remove that selection.
| | 04:24 | Now, I can see that this
isn't a perfect blend.
| | 04:27 | There is a little bit around the
post that you can still see here.
| | 04:30 | To try to fix that, I'm going to
add a layer mask to the move layer.
| | 04:34 | So, I'll go to the bottom of the Layers
panel, and I'll click the Add layer mask
| | 04:38 | icon, which comes in white, and now I'll
put some black paint on that layer mask
| | 04:43 | to try to hide some of
this area around the post.
| | 04:46 | If black isn't your foreground color
then, press X on your keyboard. I'm going
| | 04:50 | to get my Brush tool,
| | 04:52 | I'll move into the image, and I'm just
going to carefully paint along the edge
| | 04:55 | of this post to try to remove some of that
surrounding area that didn't blend in very well.
| | 05:02 | When I'm satisfied, I'm going to double-click
the hand tool to go back to see
| | 05:06 | the entire image on my screen,
| | 05:09 | and you can see the result here.
| | 05:11 | The post is no longer on top of the
boat. It's been moved down, so there is a
| | 05:14 | little space around the boat, and I
think that improves the composition.
| | 05:18 | So, I'm now finished making
changes to this image here in Photoshop.
| | 05:23 | You're more than welcome to work
on this image further in Photoshop.
| | 05:26 | When you're done, as I am now, be sure
to save the image with these changes.
| | 05:30 | I'll press Command+S on my
keyboard, or Ctrl+S on a PC keyboard.
| | 05:34 | So, that completes our work on this
photo in Photoshop and in Lightroom.
| | 05:38 | Stay tuned for the next movie, in
which we'll compare the final photo with
| | 05:42 | the original that we started with at
the beginning of this project, and talk
| | 05:46 | about potential next steps that you
could take with this photo, and your own
| | 05:50 | travel photos.
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|
ConclusionNext steps| 00:00 | Let's finish up by comparing the
photo as it looks with all the adjustments
| | 00:04 | we've made to it, to the way it looked
when we started this project, and talking
| | 00:08 | about some potential next steps.
| | 00:09 | Here in Lightroom's Library module, over
here on the right, you can see the final
| | 00:13 | corrected version of the image that
contains both the global adjustments that we
| | 00:17 | made in Lightroom, and the more precise
corrections that we made in Photoshop.
| | 00:21 | And over on the left, you can see the
RAW photo, the DNG file, that has just
| | 00:25 | the corrections that we made in Lightroom;
the global adjustments in the first chapter.
| | 00:29 | I would like to set that RAW file back to
the way it looked when we started this course,
| | 00:34 | so I'll click on it here in the library,
and then I'll right-click, I'll choose
| | 00:38 | Develop Settings, and Reset.
| | 00:40 | If I wanted to bring back those Lightroom
adjustments, by the way, I could do
| | 00:44 | that at any time by going into the
Develop module, and finding the correct state
| | 00:48 | in the History panel.
| | 00:49 | But for now, I would just like to show
you a better view of the before and the
| | 00:54 | after state of our project photo,
| | 00:56 | so I'm going to select both of them by
holding the Command key on the Mac, or the
| | 01:00 | Ctrl key on the PC, and clicking on the
other thumbnail here too, and then I'm
| | 01:04 | going to come down and click on the
Survey View icon, which is here in the
| | 01:08 | toolbar, in the Library module.
| | 01:10 | By the way, if your toolbar isn't
showing, you can press T on your keyboard.
| | 01:16 | Now I want to dismiss all of these
panels, so I'll hold the Shift key, and press
| | 01:20 | the Tab key, and then, to set the
background to black for an even better view,
| | 01:24 | I'll press the L key two
times for lights out view.
| | 01:27 | So, again, this is the final corrected
TIF on the right, and the RAW file we
| | 01:32 | started with on the left.
| | 01:34 | As the photographer, I feel that we've
enhanced the photo significantly with
| | 01:38 | the changes that we've made to the
version on the right, making it look a lot
| | 01:41 | more like the original rich scene that I
photographed, that had so much color and tone.
| | 01:46 | Let's press the L key again, and Shift+Tab
again, and I'll click on the final
| | 01:51 | image on the right and press E to
see it as a single image in loop view.
| | 01:56 | At this point, there are many potential
next steps for you to explore with this
| | 01:59 | travel photo, and your own travel photos,
in terms of both processing, and output.
| | 02:04 | Although you can't change any of the
Lightroom adjustments that we added to the
| | 02:07 | photo in the TIF version, you can
add more Lightroom adjustments here.
| | 02:11 | You could take it into the Develop
module, or you can even make some changes to
| | 02:15 | it here in the Library in
the Quick Develop module.
| | 02:18 | For example, if I click this menu that
says Defaults, and go down to one of these
| | 02:22 | categories of Lightroom Presets, I can
choose from all of these various preset
| | 02:27 | filters to get an entirely
different look on this photo.
| | 02:31 | If I want to undo, that I'll press Command+Z;
that's Ctrl+Z on the PC. And if you
| | 02:36 | want to tweak any of the corrections
that we made to the TIF in Photoshop, or
| | 02:40 | add something more to it in Photoshop,
maybe a type layer, or maybe you want to
| | 02:44 | combine it with another photo in a
layer collage, you can reopen this TIF in
| | 02:48 | Photoshop, work on it further there, and
save it again, all as I showed you how
| | 02:53 | to do in the last movie in chapter 1
| | 02:55 | on taking a photo from
Lightroom to Photoshop.
| | 02:58 | Finally, if you're completely satisfied
with the way the file looks, you could
| | 03:01 | output a copy using the Export command,
which you'll find down here at the bottom
| | 03:06 | of the column on the left.
| | 03:08 | And there you'll find options for
resizing, reformatting, renaming, and even
| | 03:12 | sharpening a copy to suit
whatever you plan to do with the file.
| | 03:15 | Or you could use some of the other
modules that are available at the top of
| | 03:20 | Lightroom; maybe take the photo to the
Print module to print it on your inkjet
| | 03:24 | printer, or include it in a
slide show, or a photo book.
| | 03:27 | So, there are many next potential steps.
| | 03:30 | I'd urge you to go ahead and experiment
with some of these options on the travel
| | 03:33 | photo you used to work along with me
through this course, and on your own favorite
| | 03:37 | travel photos to bring out their best.
| | 03:40 | As you do, if you need help with a
Lightroom tool or technique, I'd invite you
| | 03:43 | to view another of my Lynda.com training
courses: Up and Running with Lightroom 4,
| | 03:48 | and you'll find lots of other useful
information about tools and techniques in
| | 03:53 | the many other Photoshop and
Lightroom courses in the Lynda.com library.
| | 03:57 | Thank you so much for joining me
for Enhancing a Travel Photo with
| | 04:01 | Photoshop and Lightroom.
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