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Bryan O'Neil Hughes is a photographer, a car buff, and the senior product manager for Photoshop. In Photo Workshop: Portrait of an Exotic Car, these passions combine at a workshop hosted by lynda.com and Adobe Systems.
In the first portion of the course, Bryan photographs a carefully lit Mercedes-Benz SLS AMG and shares tips for photographing cars. He shows how to evaluate the lines of the vehicle and compose shots for the greatest dramatic effect. Along the way, he employs a variety of lenses and shooting techniques, from macro to high dynamic range.
Next, Bryan guides the workshop's attendees through his Lightroom and Photoshop workflow. He shares insider tips on how to take advantage of the features in Photoshop CS6, such as the revamped Crop tool, the Iris Blur and Tilt-Shift filters, the Content-Aware Move tool, and video editing tools.
So the next I'll talk about is performance. So we'll use this file 16 meg file, 5D Mark II. Any of you guys shooting medium format, much larger file. I'm going to open CS5, and I'm going to open a RAW file in there of the 5D II. We're pushing more and more stuff through the GPU. GPU is a Graphics Processing Unit. Essentially, it's just a computer on your computer, and the gaming companies have known for years that there's a lot of power in that. So Photoshop is increasingly been taking advantage of that over the years.
So just to show you the way it used to be, let's open another 5D, this is of a grown horse, another 5D II file. Open that. It's off the same camera, it's the same size, and I want to show you a couple different things here. One of the things I'm going to show you is Liquefy. So I'm going to thoroughly disrespect this image. But I should tell you, Liquefy is not just about completely contorting the image. That works well for onscreen. Fashion photographers, I just at a New York meeting with fashion photographers, and they use it extensively for moving hair, and moving water, and moving fabric, and just a subtle shifts.
Things that are very interesting just not when you're sitting in a big dark room watching a screen. So what I'm going to do is way over the top here. So same size file, I'm going to feed this into Liquefy and the first thing I'm going to notice in CS5 is it tiles. It comes in pieces, it takes a while to open up. If that were a file off the S2, we could all have another lunch while we waiting for it to come in here. It takes a long time. The other thing is the Brush Size is limited to 1500 pixels. Now 1500 pixels in Photoshop 6, which is when we introduced this, 12 years ago? That was probably a huge brush, but that's not that big of a brush anymore, really isn't.
So if I take this, and I start--I told you I'd do terrible things to this. But if I start liquefying the image, I'm just doing it to the horse at this point. I don't want to do anything to her. I can take my fingers off the keyboard, and it's still working. It's really easy to get ahead of it. There's this leg. So that's what's happening in CS5. Let's quit out of that and look at the difference with the file that's the same size in CS6. So first thing you'll notice is when we come in here, it just loads automatically. There's no tiling.
It's just immediately present. It's because it's going through the GPU, and what this allows us to do is use a much larger brush. So instead of being capped at 1500 pixels, it's now capped at 15,000 pixels. We think that's going to hold you for a while. I hope. It's a lot there. So even with a 3300-pixel brush, watch how fast this thing works. It's just real-time.
We're trying to attach a number to this and say how fast it was, it's real time. You won't get ahead of it. It does a great job. So really, really fast. The other thing that we're doing with the GPU is transforms. So all of our transforms are now piped directly through the GPU. So they are lightning fast, and you see that I've got a little widget that tells me the dimensions of my image. So I can spin this around, I can do anything I want, and it's going in real-time.
So any sort of image transformation, there's not a lag as I'm waiting for to do its thing. I can move really, really quickly. So any of that stuff. The other thing I'll show you here with crop. So it used to be that if I cropped in Photoshop that the first thing I do is I select the whole image. We did more research leading up to CS6 that we have in any prior version. And every time you watch someone crop, they do the exact same thing, they select the entire image.
But when I come into the Crop tool now it does it automatically for me. It's says chances are you want to select the whole image. So it does that. I'll get a nice grid kind of like I do in Lightroom that'll show me my image if I want to see different information on there, I can see that. It turns out we've got what's called Headlights, which is an opt-in program for observing how people use Photoshop. And we were able to tell that the Crop tool is the most used tool in Photoshop. For all intents, we really hadn't changed it in two decades.
This is an opportunity for us to fix a lot of stuff. The most important thing about it--let's do something a little more extreme with this. Let's actually make this closer to, I don't think we can get a vertical out of it, but we can really squish that in there quite a bit. So clearly changing our image. Now normally the way it would work is if we crop image, that's that, we come back later, and we're out of luck. Well, one of the great things here with the Crop tool is its all nondestructive now.
So we're holding on to all of your data for you so that you can go back to where you've started. This happens all the time. People get really fired on their workflow and they are like, I don't want that orientation, I need more room. I may have to start all over again. So now it's all nondestructive crop. So we like to say the most used tool is now the most useful tool.
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