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Abba Shapiro introduces Perfect Photo Suite, eight powerful modules that allow you to enhance photos, add effects, swap backgrounds, retouch portraits, and convert color photos to evocative black-and-white images. Perfect Photo Suite can be used as both a standalone application and integrated with Aperture, Lightroom, and Photoshop. Abba covers both workflows, and delivers three different adjustment challenges, which help you test your skills.
This is an introductory course produced by RHED Pixel to help both beginner and seasoned photographers quickly realize the benefits of Perfect Photo Suite 8. We are honored to host this training in our library.
The trick here is we're going to try to turn this Ferris wheel on the Santa Monica pier into kind of a period or a retro post card. So let's go ahead and jump in and see how we can manage this. So as usual, I'm want to take the image, I want to bring it into my layers mode. We're going to edit a copy. I want to work with all my layers so we'll keep these as the defaults that I've been working with and say OK. Now the first thing I might want to do is, crop this picture down a little bit and erase that little piece of the wood in the foreground.
It's distracting at this point. So to remove that, what I might do is go ahead and grab the clone tool. Select it, pick another area, another piece of the water. I'm going to hold down my Option key and now, I can make my brush bigger by using the right bracket, and simply paint out that area. And that works pretty nice. I have a little area here that I want to change, so I'll go grab another section of the water and paint right over it. So immediately that wood is not distracting us, and I'm ready to start cropping the image and working with it.
So let's go over to the cropping tool. We have that selected and I'm going to simply grab this and draw a crop that I like. I like using the rule of thirds. So if you'll notice in the upper third of the image I have the Ferris wheel and I can actually move that over. This gives me some nice balance to work with, and I think the composition is much better. I'm going to hit the return key and this will execute the crop, and I'm ready to start aging this image. So the first thing we should do is, is let's go into maybe perfect black and white and turn this image into something that feels older, and that might be either a black and white or a sepia feel for this image.
So let's take a look at our presets to see how we can get close to where we want to be. Well I think a hint of color would be nice. Though I do want it to be aged, so we'll look first at the 19th century processes. And looking down here, there's a lot with frames and whatnot. And I think that some of these feel too old. But this one's a good start, the the carbon print warm might work for me, or maybe the glass negative, it has a little bit of color. I think I'm going to go with the carbon print warm.
So, I'll select that, and it feels like it's aged a little bit. But it's not quite where I want it to be. So, I'm going to go ahead and work with some of the sliders to tweak it, and make it feel a little bit older. So the first thing I may want to do is add a little bit of film grain. I want to add some noise to this image. So I'm going to go ahead and jump all the way down to the bottom to some of the higher ISOs. Those tend to be more grainy. Let's go with the Opherd, and it's already adding a little more grain. And if I want to see the grain in more detail, I may switch over to the Loop.
And the nice thing about the Loop is, I can actually hover my mouse over any of the areas and see what the grain looks like. Now, I want a little bit more. So let's go ahead and we're going to increase the size of our grain and we're going to increase the amount of grain. So this is definitely looking older. I like it so far. Are there any other tweaks I want to do? Well I think there are. I want to see some of the detail underneath the pier. So I'm going to go ahead and I'm going to recover some of the shadow areas, and that's going to reveal the pylons below the structure.
I think we're in good shape here and we're ready to step back into the layers module to take this image a little further. Now I think this image needs more drama and I'm going to go into one of the available images that come with Onone's Perfect Photo Suite, and I'm going to jump over and take a look at some of the clouds to make that sky more dramatic. So stepping over into the Extras tab. I'll reveal the backgrounds, borders, and textures and we're going to go into backgrounds. We're going to jump straight to skies, and if we scroll down through the skies, there's a really dramatic sky that they have towards the bottom.
And the coloring is very similar to this antique coloring I already have. So let's go ahead and add this as a new layer. I can select it and click on layers, or simply double-click it. It will ask me how I want to bring it in. I want to add it as a layer, and I'll hit OK. So now I have this layer on top. It doesn't quite match. The position's a little bit off, but I'm ready to start manipulating it. The first thing I may want to do, I'm going to go ahead and hit the V key. So I get into the transform mode. Because I want to grab it, and I want to move it up so that the ground here, kind of matches the ground in the background of the image behind the Ferris wheel.
So that's pretty nice. I'm going to go ahead and hit the return key to go ahead and accept that transformation. And now I want to blend this together, and I have a couple of ways I can do that. I can use blending modes, and I can also go ahead and use a bug or gradient bug. Let me use the bug first so I can really see what's happening. And then I'm going to try some different blending modes so it lays nicely on top. So to add the bug, I can select it here or I can hit the m key. What I want is a nice linear bug from the bottom up, and just as a reminder, what you see as white will show what's on the top layer and what you see as black, will show what's on the bottom layer.
So now I have this. You notice it put it right in the center of my image and I can go bring that down. There's my rotate I, I don't want to rotate this, it's a nice smooth background. But I want to move it down so I see the clouds coming in over here and maybe make this a little more narrow. And don't worry that we're actually obscuring the Ferris wheel because it's all going to come together as soon as I switch the blending mode. I'm going to go ahead, click on the blending modes, and as I hover over them, I can see what each blending mode will do to my image.
I can use the up and down arrows to very quickly go between these and you know, some of these are really dramatic and nice but I want to maintain that feel that I had before. So I'm going to go ahead I'm going to try, I think hard light is what I want to work with. But I can very quickly go over that. Now soft light's nice. It gives me the clouds but it doesn't give me as much drama. So I'm still thinking hard light. But it never hurts to go through all of your different options. Dark color isn't bad. So, let's take a look at dark color versus hard light.
There's hard light. There's dark color. I'm thinking hard light is going to be the best now. You may be saying to yourself, well, the colors don't quite match. And this is where the Opacity comes into play. If I pull the opacity down, it really starts to blend in. I still have a little flavor of color here, but nowhere near as harsh as it was before I started blending it together. I think that's a nice feel, even though it's on top of the Ferris Wheel. When you look at it it doesn't feel like it's on top of the Ferris Wheel. I'm going to go ahead re-select the bug because now I can tweak it a little bit more.
And here I may want to rotate it a little bit. So that we have it blending in, nice and smooth. And I think we're good to go with that layer. So, I have a nice image here, and I'm ready to turn this into a postcard. So, I want to put something on top of it. I'm going to jump back over to my extras folder, and in the extras folder, let me just jump up one level. You see, in addition to my Backgrounds, which I'm going to go ahead and close, I also have Borders and Textures. So, I could go ahead, select a border, I'm going to go into Antique borders, and one of the borders I really like is the simple Antique Decalled image.
So I'm going to go ahead and add that on top, exactly as we did before, and you'll notice that it actually doesn't quite fit. The shape of the border is wrong. I'm going to go ahead and zoom back a little, Command + (minus). And now if I hit the V key, I can see that that border's too big. So all I need to do is, I can grab the corner and shrink it down so it fits in over here. And on the bottom lower left, shrink it down just so it fits in over there. And now I have a nice border on my image.
I'm going to hit command+0 and bring that full screen, and as you can see, this is really starting to work for me. I'm going to do a couple more things that are really going to bring this into play. I want to add a layer of paper on top of it, and maybe make it a little crumpled, or folded. Now if I go ahead and I send this over to my perfect effects, it's only going to send that top layer. I want more than that top layer. I want the whole composite image. I'm going to tweak this just a little bit, as I have been speaking I saw that I had a little bit of overlapping.
And now I can go over to layer, and you might think the best solution is going to be merging down all my layers or merging what's visible. There's a great little tool here called new stamped layer. When I select this, I forgot to apply my transformation. Luckily the program protects me. So I'll apply that, and now that that's out of the way, a new layer has been created, which is a composite of all the layers below. I'm going to take that layer, and bring it into the perfect effects module, and now what I want to do is I want to add something on top to make it feel old and weathered.
And there's a couple of great things I can do. The first thing I want to do is add some texture to it. So I'm going to go to the texturizer, and we have a lot of great things to choose from. If I want to, kind of give it a little more of an aged feel, I could throw one of these elements on top of it. To kind of yellow the edge a little bit, let's take a look at clean paper. I like that, not only does it yellow the edges, but it also smooths out that transition of the clouds. So I'm going to accept that, I'm going to add one more layer on top of it by hitting this Plus button, and I'm going to scroll down, and there is another area I really like.
Now you do see crumpled paper, but that's not the, that's not the one that really works for me, it's down here where we are talking about folded paper. And you can either choose folded paper as folded in quarters or I can have it folded in eight sections, and I think that's nice. It really shows off that it's aged and it's weathered. So let's go ahead, we're going to apply that, and I think we're done. So let's go ahead, click apply. It's going to apply all the effects and bring this back as a new layer in the layers module.
And I'm good to go. Taking a look at this image, I think it looks like an old post card that is on a crumpled piece of paper, and was very easy to do using bits and pieces of the Perfect Photo Suite.
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