1. Getting StartedWelcome| 00:00 | >> Male Speaker: Welcome.
| | 00:01 | My name's Chris Orwig, I will be your
host and guide on this training adventure.
| | 00:05 | I am a professional photographer, interactive designer, and on the faculty
at the Brooks Institute of Photography in Santa Barbara, California.
| | 00:13 | And I thoroughly enjoy what I get to do for a living.
| | 00:16 | Therefore, it is a distinct honor and privilege to partner with you in
this training endeavor and I'm really excited about the ground we have
| | 00:23 | to cover, so without further delay, let the adventure begin.
| | Collapse this transcript |
| Opening words| 00:01 | >>Male Speaker: Photography is savoring
life intensely at 100th of a second.
| | 00:06 | In this training title we'll be looking at how we can enhance
our photography with the amazing tool, Adobe Photoshop CS2.
| | 00:14 | You know I trace a lot of my creative roots to being
a little guy and growing up in an amazing family.
| | 00:19 | My mom is an artist and my dad designed and built the house
that I grew up in, so I grew up around a lot of tools.
| | 00:25 | And one of the things I've learned about tools from a young age was
that tools help you achieve things that were otherwise impossible.
| | 00:32 | I also learned that tools are inherently fun.
| | 00:34 | I loved picking up dad's saws and seeing what I could create.
| | 00:38 | Another thing that I learned was that the more technical
I became with the tool, the more creative potential I had.
| | 00:45 | Technical expertise equaled creative potential.
| | 00:48 | Therefore, if I could get good with a saw
and hammer, I could build a skateboard ramp.
| | 00:53 | And it's true with this tool of Photoshop.
| | 00:55 | One is that it helps us achieve things
that would have otherwise been impossible.
| | 00:59 | It is incredibly fun and amazing to work with.
| | 01:02 | And also as we gain more technical expertise,
we will have more creative potential.
| | 01:08 | A while ago I read an article in the LA Times that
said there isn't a creative professional out there
| | 01:13 | that doesn't use Photoshop, and that's a pretty profound statement.
| | 01:16 | Photoshop is used in so many ways, shapes, and forms it's unreal.
| | 01:21 | In this training title though, what we're going to look
at is: How do we use this tool as a photographer?
| | 01:26 | The title is geared towards professional
photographers, imaging professionals,
| | 01:30 | or enthusiasts who want to learn how to get more out of their photography.
| | 01:34 | We will learn cutting-edge, professional-level techniques.
| | 01:37 | And keep in mind as we learn these techniques, our technical
expertise will always be at the service of our creativity.
| | 01:44 | We will become technical in order to become creative.
| | 01:47 | Well we have a lot of ground to cover, and I'm
confident that you'll enjoy the journey ahead of you.
| | 01:52 | So without further delay, let the adventure begin.
| | Collapse this transcript |
| General tips 1| 00:01 | >>Male Speaker: Before we get into Photoshop, I have a few
tips that will help you get the most out of this training.
| | 00:05 | I don't know about you, but I am a visual learner.
| | 00:07 | So I'm always looking for techniques that
will help me learn things more effectively.
| | 00:10 | One of the things that I take advantage of when I'm
getting started and learning a software application,
| | 00:15 | is using a technique of creating a screen grab or a screen shot.
| | 00:19 | Here we have the instructions on how to do that on a Mac or a PC.
| | 00:21 | On a Mac it's Shift+Command+4.
| | 00:24 | We then click and drag, then that will save
the screen grab as a PDF to the desktop.
| | 00:28 | On a PC you press the Print Screen button, then you open a new
document in Photoshop, and then you press Control+V, or Edit > Paste,
| | 00:35 | and it will past that screen grab into that document.
| | 00:38 | It's a wonderful way to quote "take notes"
when you're learning a software application.
| | 00:41 | So how would I use this technique?
| | 00:43 | Well, for starters in CS2, there's a way
to highlight all the new features in CS2.
| | 00:47 | It's really cool.
| | 00:48 | So if you go to Window > Workspace > What's New
in CS2, it will then highlight all those menus.
| | 00:53 | Let me show you what that looks like: Window > Workspace > What's New in CS2.
| | 00:58 | So now when I go to my menus and I go down to, let's say, Sharpen, I
notice that there's a new technique for sharpening, it's phenomenal.
| | 01:05 | Smart Sharpen is an amazing tool.
| | 01:07 | I wouldn't have known that was there unless
I was able to turn on that highlighting.
| | 01:11 | So when I discovered that feature I thought, I need to memorize that.
| | 01:14 | So I went ahead and went to that location.
| | 01:17 | Let me turn that off for a second.
| | 01:18 | So I went ahead and went to that location in the
menu, press the shortcut for Mac: Shift+Command+4,
| | 01:24 | click and drag to take the screen grab and then temporarily hide Photoshop.
| | 01:29 | You'll notice that it saves this document to the desktop, and I'm gonna
name this "What's New CS2", and then I'll double-click it to open it up.
| | 01:36 | And notice that what it's done is that it's saved that.
| | 01:39 | It's taken a picture of that menu: Window > Workspace > What's New in CS2.
| | 01:43 | I would then either print this out, or I would just save it in
a folder as an archive in case I forget where that's located.
| | 01:49 | And it's a great way to take "visual
notes" when you're working in Photoshop.
| | 01:54 | Back to Photoshop now; so as a quick refresher we have instructions here.
| | 01:59 | You might want to pause the movie and then write those
down, because it's a wonderful way to take notes.
| | Collapse this transcript |
| General tips 2| 00:01 | >>Male Speaker: Another tip that I would like to share with you
comes from an experience I had living in Spain in the early 90s.
| | 00:06 | I lived there for about a year, and one of
my goals was becoming fluent in Spanish.
| | 00:11 | And a number of people had told me different telltale signs of when you were fluent in Spanish,
| | 00:15 | and you became fluent when you could dream
in Spanish or something like that.
| | 00:19 | But I believe you're fluent in another language when one, you can
tell a joke in that language, and two, you can get a haircut.
| | 00:25 | I will never forget the first haircut I got in Madrid, it looked
like I had been attacked by a lawnmower; it wasn't pretty.
| | 00:32 | So why am I talking about foreign languages?
| | 00:34 | Well, a lot of times to me, learning something
like Photoshop with all of its shortcuts
| | 00:38 | and all of its language and terminology is a lot like a foreign language.
| | 00:42 | I want to jump to a PDF file real quick,
and here we have the CS2 shortcuts.
| | 00:48 | And I'm just going to scroll through these pages, and they go on,
and on, and on, and we're just looking at a portion of them.
| | 00:54 | And when I look at something like that, it looks like a bunch
of gobbledygook, and it's a lot of vocabulary; a lot to take in.
| | 01:00 | So something I learned when I was in Spain was that one way
to increase your vocabulary is to keep a little notebook.
| | 01:07 | And what it was was a little book like this, this is just a snapshot, that I would keep in my back pocket or my backpack at all times.
| | 01:14 | And whenever I came across a word I didn't
understand, I would write it down.
| | 01:18 | And this is something I recommend you do with Photoshop.
| | 01:21 | Because what happened for me when I was in Spain is that as my
vocabulary increased, my experience was enriched and deepened.
| | 01:29 | And I think that's really true while working in Photoshop.
| | 01:32 | As we pick up the terminology and shortcuts, our experience
is enriched, and the final outcome is a heck of a lot better.
| | 01:38 | So I recommend you have a notebook that's dedicated to shortcuts.
| | 01:42 | Because what typically happens is you have pages of notes, you
have a few shortcuts or definitions interwoven between the rest
| | 01:48 | of your notes, and it's really hard to go back and review those.
| | 01:51 | But if you have a book that's dedicated to
shortcuts, it will really help increase your speed,
| | 01:56 | your proficiency, and ultimately your creativity in Photoshop.
| | 02:01 | Another thing you could do is post shortcuts on your office wall.
| | 02:05 | This is a snapshot of my office wall, and I put a
little fake shortcut here: Command+O equals Open.
| | 02:11 | I don't have any shortcuts on my office wall now, but in the past I have.
| | 02:15 | Whenever I come up with a shortcut I'll take an image
and I'll type the shortcut on top of it and I'll print it
| | 02:20 | out so that it's something I'm walking by continually.
| | 02:22 | I found that that really helps you remember it; it keeps it on
the forefront of my mind, and eventually I pick up that shortcut.
| | 02:29 | Another one of my language instructors, this
was Doctor Sam; he was a crazy, nutty character.
| | 02:34 | He would teach us things in the most wild off-the-wall ways.
| | 02:37 | And one of the things that he would do is say, let's say we're going to learn
the shortcut to jump to Adobe's Bridge and then to jump back to Photoshop.
| | 02:45 | He would say it in this way: "Okay class,
we're going to learn about extreme bridge jumping.
| | 02:49 | All right!
| | 02:50 | I need you to imagine that you're in New Zealand on top of a 300-foot
bridge and you're about to bungee jump, okay picture yourself.
| | 02:55 | You're there right?
| | 02:57 | I'm going to count down: 3, 2, 1, and when I say 1, I want you
guys to yell out the shortcut to jump to the Adobe Bridge."
| | 03:04 | So he would go:"3, 2, 1," and the whole class would shout
out Shift+Command+O, or on a PC, Shift+Control+O.
| | 03:11 | And we would memorize that shortcut, and it would
be something that would be ingrained in our mind.
| | 03:16 | And at first we thought, this guy's just crazy, and then after
a while we thought, you know, he's crazy but he's brilliant.
| | 03:22 | And it really helped us learn things.
| | 03:24 | And one of the techniques he was using is a
technique that any memory expert will tell you to use.
| | 03:29 | The technique is: memorize left-brain
information with right-brain techniques, e.g.,
| | 03:35 | jump if you're going to jump to the file browser,
Shift+Command+O or Shift+Control+O.
| | 03:39 | Come up with a mnemonic device, come up with a story, come
up with an acrostic, or some way to memorize that technique.
| | 03:46 | As you go through this training I challenge you to try
and learn this left-brain info with some right-brain fun.
| | 03:53 | A couple more tips for you, the power of the spoken word.
| | 03:56 | One of my students Michael was telling me in the beginning of a
Photoshop class how his girlfriend had had Photoshop two years earlier,
| | 04:03 | and that she was always teaching him things about Photoshop.
| | 04:06 | And now that he was taking Photoshop, he was
going home and able to teach her all these things.
| | 04:10 | And when he told me that, I knew he was
going to be at the top of the class.
| | 04:13 | The reason I knew he would eventually be at the top of his
class, which he was, was that if you have the opportunity
| | 04:19 | to tell someone else what you've learned,
your learning will go up by leaps and bounds.
| | 04:24 | Find some way to say it out loud.
| | 04:26 | If you don't have someone else that you can
teach, teach your dog or tell someone else.
| | 04:29 | So if you just learned a shortcut, Shift+Control+O or
Shift+Command+O launches the bridge, say it out loud.
| | 04:35 | Say "hey, Shift+Command+O, launch the bridge."
| | 04:38 | And you'll be amazed at how just verbalizing it,
not just watching it, not just writing it down,
| | 04:42 | but verbalizing it will really increase your learning.
| | Collapse this transcript |
| General tips 3| 00:01 | >>Male Speaker: Another tip I have for you
has to do with how we work in Photoshop.
| | 00:04 | And what you've probably discovered is that
you end up spending a lot of time in Photoshop.
| | 00:09 | And in the midst of that, it's critical to take breaks.
| | 00:12 | It's critical for a number of reasons.
| | 00:14 | Some people I know, what they do, is they
set a kitchen timer to 30 minutes.
| | 00:17 | And every 30 minutes when the timer goes off, they get up and take a walk.
| | 00:21 | One of the reasons that it's critical to take a break is to rest your eyes.
| | 00:25 | I was talking to an eye doctor, he said there are two
reasons people have eye problems when working on a computer.
| | 00:29 | One of the reasons has to do with the refresh rate and the brightness of
the monitor, but the number one reason is, because people don't blink,
| | 00:37 | they forget to blink, because they're looking so
intently at something that they keep focusing in.
| | 00:41 | And in Photoshop, we're looking so intently, and then a lot
of us even move close to the screen as if that would help.
| | 00:47 | So we need to make sure that we take time to
take breaks, and to blink, and to stretch.
| | 00:51 | I have a couple little handouts in the exercise files, which come with the
CD-ROM, or with the premium subscription, and these files are from a friend
| | 00:57 | of mine who is a physical therapist, and they have to do with
stretches to do when you've been sitting for a long time.
| | 01:03 | If nothing else, it's worth it every once in a while to get
up out of your seat, take a break, and become refreshed.
| | 01:07 | And what I've found when I do that and I come back to my images,
| | 01:10 | I'm able to invest much more creativity and
energy, and the end result is much better.
| | 01:16 | There's another stretch that I included here, and
this is a stretch that has to do with stretching
| | 01:20 | of the muscles in your face, and it's a pretty funny stretch.
| | 01:23 | And what it says here is that there's a lot of tension that
happens in a face due to squinting, and as a result of eyestrain.
| | 01:31 | So what the stretch recommends you do is open your eyes and lift
up your eyebrows as wide as possible and stick out your tongue,
| | 01:36 | and then according to this guy, or at least in this handout, it says:
"This will get tension out of the muscles in your face, and you'll smile."
| | 01:42 | And I don't know if you smile just because the tension's
gone from your face, or if you just feel goofy doing it.
| | 01:47 | But anyway it's good to get that tension out of the face
so that you're approaching your work with freshness.
| | 01:53 | My final tip is to have fun.
| | 01:54 | Photoshop is an incredibly fun program.
| | 01:57 | Make sure you have fun while working in Photoshop.
| | 01:59 | If you feel yourself getting frustrated, take a break
and then go outside and then come back to your work.
| | 02:03 | I hope that these tips have been helpful.
| | 02:05 | My final tip is to point you in the direction of a resource site.
| | 02:08 | I'm going to jump to the Internet here, and
I'm going to the site Photoshop In Focus.
| | 02:14 | And this is a beta version of a site that
I've created, with a goal of being a resource
| | 02:19 | that will help people transition to getting the most out of Photoshop CS2.
| | 02:22 | There are a handful of helpful resources here.
| | 02:25 | And again, by the time you visit the site, it will be
in round two, so it will look a little bit different.
| | 02:30 | But for starters, there are a bunch of resource links, some
other areas where you can get great training resources.
| | 02:36 | Resource links to other Photoshop Web sites, some great Photoshop books,
| | 02:40 | I also have some links to different shortcuts,
some of the shortcuts that we'll cover here.
| | 02:44 | There's that one we learned, Option+Command+O, or
on a PC, Option+Control+O to open the file browser,
| | 02:50 | as well as a highlight of a number of different shortcuts.
| | 02:54 | It's a little bit of a blur right now, but definitely take advantage of
that site, and I will be posting more tutorials and tips on that Web site.
| | 03:01 | Well I hope that these general tips have been
helpful, and we're ready to jump into Photoshop.
| | Collapse this transcript |
| The interface| 00:01 | >>Male Speaker: At first glance what we'll notice about the Photoshop
CS2 interface is that not much has changed, which is really great.
| | 00:07 | There are a few things that have changed, we have a different tool
over here, the Spot Healing Brush, right on the Healing Brush on top,
| | 00:12 | but for the most part everything is identical;
Tools over here, Options bar up top,
| | 00:17 | Palettes over on the right-hand side, and then our drop-down menus up top.
| | 00:21 | There are two things that I recommend you
do before beginning to work in Photoshop.
| | 00:24 | One is go to Window > Workspace > Reset Palette Locations.
| | 00:28 | What that will do is it will take everything back to normal.
| | 00:30 | So if your palettes have gotten messed up a little bit
and you go to Window > Workspace > Reset Palette Locations,
| | 00:35 | it will just take everything back to where it belongs.
| | 00:38 | It's a really nice way to start.
| | 00:40 | The second thing I'd like to do is go up to the
Options bar and right-click or Control-click any of the tools
| | 00:46 | that are visible in the Options bar and choose Reset All Tools.
| | 00:48 | This will restore all the tools to their default
settings, and you definitely want to do that.
| | 00:52 | You want to start on default settings, and then modify things as you go.
| | 00:56 | It will help you learn how the tools work,
etc, etc. Go ahead and click OK to that.
| | 01:01 | A few more things I would like to point out.
| | 01:03 | There's a new feature, which I mentioned in a previous movie that you
can use to highlight the new features in Photoshop CS2.
| | 01:10 | You definitely want to do that as you're
beginning to get familiar with CS2.
| | 01:13 | Go to Window > Workspace > What's New in CS2.
| | 01:17 | Again, as I mentioned previously, this will then highlight
with a blue highlighter, the new features in Photoshop CS2.
| | 01:23 | I found that it's really helpful initially to
turn that on, but after a while it got annoying.
| | 01:27 | I really love how the Photoshop interface is pretty much without
color, because that helps me focus on the color in an image.
| | 01:34 | So once you get used to what's new, go ahead and
turn that off by going: Window > Workspace > Basic.
| | 01:40 | The last thing I want to look at is a feature that's new to CS2, which
is a way to customize the interface, which is actually really cool.
| | 01:47 | So let's say you're working on retouching and
there are only a few palettes that you need.
| | 01:51 | You want the Info palette, the Histogram, and the Layers palette.
| | 01:55 | So I'm clicking on the tabs and dragging those
out, and I'll go ahead and click on the little red
| | 02:00 | "X" in the top-left corner to close the other palettes.
| | 02:03 | Now nothing is new about this so far, except for the
the way that we can connect these palettes.
| | 02:09 | We saw in the past that we could click on a tab and drag over another
palette and drop, and then we would have the two palettes combined.
| | 02:16 | Well let's say, I need to see both of these palettes
at the same time and I still want them to be connected.
| | 02:21 | What I can do is drag over the palette and then drag down
to the bottom; I found that's the easiest way to do this.
| | 02:26 | You'll see that the bottom of the palette is
highlighted and then you can let go of your mouse button.
| | 02:30 | This will then connect those palettes.
| | 02:32 | I'll go ahead and do that with Layers as well so we can see how that works.
| | 02:35 | Go down to the bottom of the palette, let go, and now I have all of these
palettes connected, which would be perfect for a retouching environment.
| | 02:42 | And let's say I want them over there in the top-right-hand side so I have a nice big space to work on the image.
| | 02:46 | Once I've done that, I would save that
workspace by navigating up to Window > Workspace >
| | 02:52 | Save Workspace, and I'll give this one the name of "Retouching."
| | 02:56 | I want the palette locations to be saved, the menus to be saved as is,
| | 03:01 | and I haven't created any new keyboard
shortcuts so I'll leave that one unchecked.
| | 03:04 | Go ahead and click Save.
| | 03:06 | And now I can go to the Workspace > Reset
Palette Locations so I'm back to normal,
| | 03:10 | and then let's say I want to go to that
specialized workspace that I've set up.
| | 03:13 | I'll just go to Window > Workspace, and then choose
that down here at the bottom of the menu, Retouching.
| | 03:19 | Well that wraps up our look at the interface, and in the next
movie we'll look at how we can set up our Photoshop Preferences.
| | Collapse this transcript |
| Custom menus and shortcuts| 00:01 | >>Male Speaker: There are a couple other new
features in Photoshop CS2, which are really cool
| | 00:04 | and they have to do with customizing menus and shortcuts.
| | 00:07 | There are two different ways to access this information.
| | 00:10 | One way is to choose Edit > Keyboard Shortcuts or Menus.
| | 00:14 | You can also go to Window > Workspace, Keyboard Shortcuts and Menus.
| | 00:18 | Both of those will take you to the same dialog window.
| | 00:21 | So let's go there.
| | 00:22 | And you'll notice in this dialog window we have Keyboard Shortcuts
and Menus, we can click on either tab, let's start with menus.
| | 00:29 | For starters, we are in the menu Set Photoshop Defaults.
| | 00:33 | I want to save a different preference setting here,
which will be my preferences for the menu.
| | 00:37 | So I'm going to click on that icon there, and give this one a name,
"corwig_new, ah, ha, spelled my name wrong there, "corwig_new,"
| | 00:45 | and these will be my specific menu customization options.
| | 00:49 | Go ahead and click Save.
| | 00:51 | You'll notice that the set it's pulling from is
corwig_new, and then I have two options in the menus;
| | 00:55 | I can go ahead and label specific menu items that I think are important.
| | 01:00 | So first let's take a look at these menu items that we have labeled.
| | 01:03 | Clicking OK, you'll notice those are now highlighted in red.
| | 01:07 | And this could be really helpful if you're teaching
someone Photoshop and you want to highlight a few things,
| | 01:11 | or even for yourself, if you want to remember a few specific locations.
| | 01:14 | Let's go back to Edit > Menus, and then take off that labeling there.
| | 01:20 | Next we'll look at how you can show or hide menu items.
| | 01:23 | Edit in Image Ready, let's say I don't do that very
often, I also don't use the Import > PICT Resource,
| | 01:29 | or Import > Anti-aliased PICT, so I'm going to turn the visibility of those off.
| | 01:32 | Clicking OK, going back to the File menu,
you'll notice that those are now gone.
| | 01:37 | Import shows me something very interesting.
| | 01:39 | It says that there are some other menu items,
which are hidden; Do I want to see all those?
| | 01:43 | I can always click on that and say; Show All
Menu Items, and then I have access to that.
| | 01:47 | A real good way to customize our menus.
| | 01:50 | Let's look at customizing keyboard shortcuts.
| | 01:53 | Customizing keyboard shortcuts isn't new to CS2, but we
now have more control over shortcuts than ever before.
| | 01:59 | Let's go ahead and create a new set, and I'll
call it "corwig_new," for my keyboard shortcuts.
| | 02:05 | And one shortcut that I want to add is in regards to Image > Canvas Size.
| | 02:09 | There currently isn't a shortcut for that.
| | 02:11 | So let's go ahead and scroll down to Image > Canvas Size.
| | 02:14 | I want to add a shortcut to this menu item, because I go
there every once in a while and I'd like to have a shortcut.
| | 02:19 | We click in the field next to the menu item name, and I'll give this one a
shortcut of Shift+Command+C, and what that says is that it's already
| | 02:27 | in use and will be removed from Edit > Copy Merged if
accepted, if I go ahead and accept that by clicking
| | 02:33 | on the Accept button, I'll lose that shortcut in a different place.
| | 02:36 | I don't want to do that, so I'm going to keep searching.
| | 02:38 | I'll go for Option+Command+C, and there we go, we got it.
| | 02:42 | We found a shortcut that isn't being used by one of the other shortcuts.
| | 02:45 | And it will always give you that warning, be careful if you do accept
it, but know that you can always go back to the Photoshop Defaults.
| | 02:52 | Let's go ahead and click Accept, and notice that I
could take that off by going to Photoshop Defaults.
| | 02:58 | All right, well I hope that this movie has been
helpful, and I'll see you in the next movie.
| | Collapse this transcript |
| Photoshop preferences 1| 00:01 | >>Male Speaker: As I mentioned in a previous movie,
I grew up in a home that my dad designed and built.
| | 00:05 | So as a young guy I was always walking around job sites.
| | 00:08 | And one of them in particular really impressed me.
| | 00:10 | It was a house on a hillside that was right next
to a creek, and it was surrounded by oak trees
| | 00:15 | and redwood trees, and it was so fun to watch a house being built.
| | 00:18 | But one of the things I learned just by wandering
around was the importance of a foundation.
| | 00:21 | That a foundation is so critical, that it
affects the house for the lifetime of the house.
| | 00:26 | Although you don't see it later, it's really important.
| | 00:28 | So Preferences and Color Settings are
kind of like that for us in Photoshop.
| | 00:31 | So in this movie we're going to look at how we
can set up our Preferences most effectively.
| | 00:36 | I'm going to launch the Bridge to highlight a file
that we have that you can use as a resource file.
| | 00:42 | And there are a couple of ways you can get to the Bridge.
| | 00:44 | One is by clicking on this icon in the upper right-hand
side of the Options bar, another way is navigating to File >
| | 00:51 | Browse, or pressing the shortcut, Shift+Command+O.
| | 00:55 | In the Bridge what we can see is I have a number of files,
and these files are available again if you have the CD-ROM
| | 01:00 | or the premium subscription, if you don't have them no
big deal, because I'll be going through the settings here.
| | 01:05 | I'll go ahead and open up that Preferences
document, take it to full screen mode.
| | 01:10 | I'm going to double-click the Zoom tool to go
to 100 percent, and go to my Layer Comps
| | 01:17 | and go to the first Layer Comp so I can click through this demo.
| | 01:21 | I'm going to actually hide the Toolbox and palettes
for a second and open up the Layer Comps.
| | 01:29 | As I mentioned the Preferences are really critical.
| | 01:31 | One of the reasons I have the image of a stop sign, and
this was all done on camera just by spinning the camera.
| | 01:35 | And it's so fun to spin cameras, because what's in the center of the
frame actually stays in focus, and in the blurred creases as you go out.
| | 01:42 | The reason I have the stop sign here is
because it's critical to just kind of stop,
| | 01:46 | let's get everything in order, and then let's begin to work on our images.
| | 01:49 | A lot of times we just jump into Photoshop
without having everything set up properly,
| | 01:53 | and then we lose some time because we're doing
some things with a "cracked foundation."
| | 01:57 | So we want to get that foundation secure.
| | 01:59 | All right, clicking to the first Preferences, we can access
these Preferences by going up to Photoshop > Preferences > General.
| | 02:07 | I'm not going to go there because I want to click through the
screen grabs of these Preferences, highlighting a few things,
| | 02:13 | and then I'll go back and actually set them up the correct way.
| | 02:15 | For starters, these are the things that we
need to deal with in the General window:
| | 02:19 | The Image Interpolation, History States, Zoom, and Launching the Bridge.
| | 02:23 | We're going to go to the next slide.
| | 02:25 | Here we're going to look at Maximize Backwards Compatibility and File List.
| | 02:30 | Next we'll look at changing the size of our Brush Tip, next
the Scratch Disks, next our Cache and Memory Usage Settings,
| | 02:38 | our Font Preview, and that takes us through the Preferences.
| | 02:41 | So I just want to highlight that there is a resource that you
can go back to so you have all of that information in a file.
| | 02:47 | All right, I'm going to head and open up the
Preferences now, and let's start from scratch.
| | 02:51 | Photoshop is currently installed with all of the default
settings, and I'm going to go through and modify those.
| | 02:56 | Image Interpolation, setting the Image Interpolation is really
important, because it will determine how the Crop tool functions,
| | 03:02 | how the Marquee tool functions when we use it as Crop, and how
different image resizing happens in Photoshop when you can't choose
| | 03:09 | which type of Image Interpolation you want to have happen.
| | 03:12 | Bicubic Smoother is the one to choose if
you're resizing or resampling images up.
| | 03:17 | Bicubic Sharper is the one to use if
you're resizing images to a smaller size.
| | 03:22 | What I find is that I'm typically making images smaller.
| | 03:25 | And that if I am making them larger, I will go
ahead and manually select Bicubic Smoother.
| | 03:30 | So I'm going to set this to the setting Bicubic
Sharper, and that's what I recommend.
| | 03:35 | We'll talk more about this as we get to the next
chapter, and we start to talk about image size.
| | 03:39 | Next Zoom Resizes Windows, this is a really nice feature especially
if you're working in a view mode other than full screen view mode.
| | 03:46 | And what it will do is the window will
change size as you're zooming in and out.
| | 03:50 | So let's take a look at what that looks like.
| | 03:52 | Here we are in this document window, and I'm going to use a shortcut to
zoom in and out, that's going to be, Command or Control, Command on a Mac,
| | 03:59 | Control on PC, plus (+) or minus (-), and notice
when I zoom out it resizes the window.
| | 04:03 | This is new to CS2, a wonderful addition, and
you definitely want to have that checked on.
| | 04:08 | The next one I'm going to check off is Show Tool Tips.
| | 04:11 | The Tool Tips, which it just popped up, is this little window,
which will give me information about a particular tool,
| | 04:17 | pretty much anything in Photoshop if you
hover over it, it will give you a tip.
| | 04:20 | I'm going to check that off, because I find that it kind of gets in the way.
| | 04:24 | If you're new to Photoshop, leave that on and it will help you get
familiar with how things work, and it's a great way to learn about tools.
| | 04:31 | Next, I'm going to go over to check Automatically Launch
Bridge, Bridge is now in a separate application.
| | 04:37 | And one of the biggest complaints you'll hear from people is,
it's so annoying that when you click the Bridge icon or Shift+
| | 04:43 | Command+O, to have to wait for the Bridge to open.
| | 04:45 | And rather than having to wait for it, have it launch at startup.
| | 04:48 | And now here's a little sideline note for Mac users.
| | 04:51 | This is what I do on my computer.
| | 04:53 | I go to the Apple menu > System Preferences, click Accounts,
choose my account, and then go to Login Items.
| | 05:03 | In this Login Items window, what I'm able to do is add
applications that will be launched when I start up my machine.
| | 05:10 | Well I never use my computer without using Photoshop.
| | 05:13 | I always, at least, use Photoshop once.
| | 05:15 | So that is one of the programs that I
want to launch when I start up my machine.
| | 05:19 | Another one that I always use is ITunes,
so let me show you how I would add that.
| | 05:26 | Select the application, next click Add,
and that will then show up in this window.
| | 05:31 | If I want this application to hide once it's been launched, I'll click on
the check box, which I want all of those to hide, and then I'm good to go.
| | 05:38 | So again, as a quick refresher, System Preferences,
Accounts, Login Items, click on the plus sign,
| | 05:45 | and then that will determine which applications
are launched when you first start up your computer.
| | 05:50 | And I love this feature.
| | 05:51 | What I do is I fire up my machine, and then I wait for
all those applications to launch, and I do other things.
| | 05:55 | I write some notes about the day, I look at my calendar,
and then once they're done opening I come back to Photoshop.
| | 06:01 | I think it's kind of a waste of time to sit
and watch the software applications open.
| | 06:05 | I don't get much out of it just watching it open, open, open.
| | 06:08 | I want to start it up, go do something else, and then
come back, and then when it's done I'm ready to go.
| | 06:12 | And so that's one of my speed tips for you.
| | 06:15 | In the next movie we'll keep looking at our Preferences, and
go through the rest of the Preferences so we can learn how
| | 06:20 | to create a good solid foundation for the rest of our work in Photoshop.
| | Collapse this transcript |
| Photoshop preferences 2| 00:01 | >>Male Speaker: Okay, here we are in the Preferences
dialog window, we'll click the Next button.
| | 00:05 | Here most of the default settings are good.
| | 00:06 | There are a couple that we want to change.
| | 00:08 | We want to go ahead and go to the Maximize PSD and
PSB File Compatibility, and change that to Never.
| | 00:14 | By default it's on Always, we want to take that to Never.
| | 00:17 | Pretty much what this will do is it will save a flattened
version of your file, and this would be helpful if you're working
| | 00:23 | with someone who had Photoshop 2.5 or previous versions.
| | 00:26 | And that just is kind of silly, there's really no need to do it.
| | 00:29 | Basically it makes your file size bigger, and it doesn't help out
in any way, shape, or form, so you want to take that to Never.
| | 00:35 | Another thing that I like to take up is Recent File Lists.
| | 00:37 | I like to take this up to a high number, maybe 10, 20, or 30.
| | 00:40 | And what this will do is give you in your File menu;
it will show you the files that you recently opened.
| | 00:45 | Sometimes it's a real quick way to jump to
those files and it helps out quite a bit.
| | 00:50 | Clicking the Next button, Cursors.
| | 00:52 | There is a new option here; we have this full brush size tip.
| | 00:56 | And what this tip is, as you can see it has jagged edges.
| | 00:58 | I'm going to show you that, clicking OK.
| | 01:00 | Going to my Brush tool, and then I'm going to
make a bigger brush size here real quick.
| | 01:06 | And you'll notice that the brush now has this rough edge.
| | 01:11 | And what this is going to show me if I go ahead and paint, is
that if I click with the soft brush and then keep clicking,
| | 01:17 | eventually the brush's reach is going to hit that outer edge of the circle.
| | 01:21 | Now that's not very effective to me, because when I use a soft
edge brush I paint like this, or actually with a Wacom tablet,
| | 01:27 | so I don't need to know where it goes to because my
brush doesn't actually go all the way to the edge.
| | 01:32 | So my preference, in regards to the brush size, is to go to the
normal brush tip, clicking OK now, and then go ahead and clicking.
| | 01:39 | And I know it's going to expand a little bit
beyond that, and yes, if I were to hold down,
| | 01:42 | and hold down and keep clicking, it would expand much more than that.
| | 01:45 | But that's not distracting to me.
| | 01:47 | I don't find that problematic.
| | 01:48 | So I go ahead and turn that off.
| | 01:50 | But you may want to experiment with that
and see if you want to use that feature.
| | 01:54 | Okay, going ahead and clicking the Next button,
Transparency and Gamut, those default settings are great.
| | 01:59 | That's how the transparency will be displayed
if there are transparent pixels.
| | 02:03 | Clicking Next, Units and Rulers, again all
of the presets here are pretty good to go.
| | 02:08 | Guides, Grid, and Slices, those are good to go, and then
Plug Ins and Scratch Disks, we want to modify something here.
| | 02:13 | For the Scratch Disk, you want this to be on a disk
other than a disk where the application is installed.
| | 02:18 | So in this case, I'm running Photoshop off of the Macintosh
hard drive A, so I'm going to select Macintosh hard drive B,
| | 02:25 | and that will help Photoshop run quite a bit faster.
| | 02:28 | Clicking the Next button, the Cache Settings,
it's really critical that you take these up.
| | 02:32 | Cache Levels, I like to take this up to 5, 6, or 7, and then
RAM, to take that up to a percentage of about 70, 75 percent.
| | 02:41 | Now this is going to depend on the way that you use Photoshop.
| | 02:43 | I have one colleague that when he works in
Photoshop that is the only application he has open.
| | 02:48 | In that case he takes his percentage up to 95 percent.
| | 02:51 | That's a little bit extreme.
| | 02:52 | I tend to have four or five applications open, my email program, maybe
Microsoft Word, a Web browser, ITunes, so I take this down a little bit.
| | 03:00 | One hardware consideration is, that if you're buying a
computer, the one extra you want to invest in is RAM.
| | 03:06 | It's one of the most important things.
| | 03:08 | RAM is Random Access Memory, and it will really help
Photoshop run a ton quicker by increasing your amount of RAM.
| | 03:15 | But even without making the investment in more RAM, you want to
take those Cache levels up and then increase the amount of RAM
| | 03:20 | that you're dedicating to Photoshop, and it will really speed things up.
| | 03:24 | Clicking the Next button to Type.
| | 03:26 | There is a new, added preference here,
which I really like, Font Preview Size.
| | 03:30 | You're going to go ahead and click OK.
| | 03:32 | You're going to choose the Type tool.
| | 03:34 | And when I choose the Type tool, I can navigate up to the Options bar.
| | 03:38 | And new in CS2 are type previews; in this case they're set to small.
| | 03:43 | But now finally, I can see which font I'm selecting
and what that font will probably look like.
| | 03:49 | Although that is a little bit small, I'm going to take this up.
| | 03:55 | So I'm going to go back to the Photoshop > Preferences >
General, or Command+K or Control+K, go down to the Type.
| | 04:01 | And there I'm going to take my Font Preview Size
to Large, this is a great addition to CS2.
| | 04:07 | Go ahead and click OK and now grab your
Type tool, and navigate to the Options bar,
| | 04:13 | and you'll notice that you now have large previews of the fonts.
| | 04:17 | There are a few people that I've talked to that actually
don't like this because they have their fonts memorized.
| | 04:21 | I don't have fonts memorized and I'm always adding fonts and
changing fonts, so I find it to be a really helpful feature in CS2.
| | 04:29 | Well that takes us through our Preferences.
| | 04:31 | The next step is to look at our Color
settings, and we'll do that in the next movie.
| | Collapse this transcript |
| Color settings| 00:01 | >>Male Speaker: In this brief movie we'll be looking at
how to set up our Color Settings in Adobe Photoshop CS2.
| | 00:06 | Color Settings can be located by going to the Edit menu,
and then from the Edit menu, choosing Color Settings.
| | 00:11 | There's also a shortcut Shift+Command+K for Mac, Shift+
Control+K for PC, and that will open those Color Settings.
| | 00:18 | Before I open the Color Settings, I want
to highlight a source file I have for you.
| | 00:22 | This is in the Chapter 1 exercise files.
| | 00:25 | Color Settings, and here we have a screen
grab of how we'll be setting these up.
| | 00:30 | So just know that you have that reference that you can refer back to later.
| | 00:34 | All right, let's go ahead and open the Color Settings, Shift+Command+K.
| | 00:38 | And by default, Photoshop will come set
this way: North America General Purpose 2.
| | 00:46 | Our initial color space will be sRGB, so I'm looking
in the working spaces right below my cursor there.
| | 00:52 | And there are only a few things that we need to
change here, but most importantly we need to get
| | 00:56 | out of this sRGB color space, and we need to get to Adobe RGB 1998.
| | 01:01 | Why do we need to do that, and what's that about?
| | 01:03 | Well, let me show you with a little visual.
| | 01:06 | The Adobe sRGB color space, I like to think
of it like this little, small box of crayons.
| | 01:12 | You only have 16 colors, it's very limited in its depth of
color, and it's just not as good as, dun, da, dah, you know,
| | 01:21 | the Adobe RGB 1998 color space, the huge box of crayons that as a kid,
every kid coveted with a built-in sharpener that would always break,
| | 01:29 | but still was really cool, 64 colors, it's amazing
what you could draw, giraffes, palm trees, you name it.
| | 01:36 | And so it's just a much bigger color space,
i.e., more color options, more color depth.
| | 01:41 | And if we're interested in printing our images
ever, we need the most amount of colors as possible.
| | 01:45 | So jumping back to Color Settings, we need to
change this default setting to Adobe RGB 1998.
| | 01:53 | A couple of other things that we want to change here, one is
going down to the gray, we're going to change that to 2.2,
| | 01:58 | and as you'll notice in the description down
below, down here, when we hover over that,
| | 02:02 | it uses the equivalent of a monitor gamma of 2.2, which is a lot darker.
| | 02:06 | It will help us, especially when we're going to print
our images, I'll talk about that in a second.
| | 02:10 | The gamma settings of your monitor define the brightness
of the midtones, it's the density of the image.
| | 02:15 | And we want to see those a little bit darker on image,
because we're viewing them with color created via light,
| | 02:20 | and then we're going to print them with color created via ink.
| | 02:23 | So what this gray gamma will do, is darken up our blacks a little
bit more, which will help us brighten those up so they don't get muddied
| | 02:30 | and blocked up when we print them, really key
to change that setting, Gray Gamma of 2.2.
| | 02:35 | Going down the color polices, for now what
we want to do is simply leave the defaults,
| | 02:40 | Preserve Embedded Profiles, and then click on Ask When Opening.
| | 02:44 | We'll talk more about Color Management in a subsequent movie,
but for now this gets our color settings ready and raring to go.
| | Collapse this transcript |
|
|
2. An In-Depth Look at Digital ImagesBit depth 101| 00:05 | >>Male Speaker: In this movie we'll dive into the topic of bit depth.
| | 00:08 | And bit depth has to do with how digital images are made.
| | 00:12 | And this understanding of digital images will really
help us as we work on these images in Photoshop.
| | 00:17 | So why is there a picture of this guy, James Clerk Maxwell?
| | 00:20 | Well, he was a Scottish physicist who played a key role
in the discovery of color photography in the 1800s.
| | 00:27 | It's kind of amazing to think that photography's only been around
for a few hundred years, and color photography much less than that.
| | 00:33 | Well anyway, this guy was an early Scottish photographer.
| | 00:36 | And it reminds me of a friend of mine who is an Irish photographer,
| | 00:39 | and the first time I met him I was talking
with him and I said: "So Aden, what do you do?"
| | 00:44 | And he says, "I shoot grass for a living."
| | 00:47 | And I looked at him strangely and I said, "What do you mean?"
| | 00:49 | He says, "Oh, I take pictures of golf courses."
| | 00:51 | He was a golf course photographer; I thought
that was a great way to say it.
| | 00:54 | Anyway, that was a little bit of a tangent.
| | 00:56 | But here we have this guy, James Clerk Maxwell, and like I
said, he played this key role in discovery of color photography.
| | 01:02 | And this will relate to bit depth, and here's how.
| | 01:05 | In the 1860s, he used the subject called a tartan ribbon, and basically
what he did is he took an image with different color filters, red, green,
| | 01:13 | and blue, and then he projected the images that he captured
through these same filters and then he was able to recreate color.
| | 01:20 | And it was pretty amazing.
| | 01:21 | And this whole concept of red, green, and blue, is the basis
for our RGB color space, which is how we create color via light.
| | 01:30 | And what that looks like in Photoshop, is it's kind of like mixing paint.
| | 01:34 | And in this little demo slide we see that, we're saying theoretically,
this color red was created with 237 red, 12 green, and 12 blue,
| | 01:42 | or kind of like when you go to Home Depot to mix
paint they put a certain amount of each color in,
| | 01:46 | and then the mix of those colors together creates a color.
| | 01:49 | This is an actual measurement of that color,
but follow me with this one for a second.
| | 01:54 | So the color in the Adobe RGB color space is unique, no
other color combination will produce this specific color.
| | 02:00 | If you change these numbers, you change the color.
| | 02:03 | These numbers are derived from bit depth.
| | 02:06 | So what the heck is bit depth?
| | 02:08 | Well, "pixel" is the concatenation of the two words, "picture" and "element."
| | 02:13 | And concatenation just means combination.
| | 02:16 | And we know that if we zoom in on an image, as we can see
the zoomed-in portion of the image, pixels are square.
| | 02:21 | And so therefore, if something is pixilated, what
we're saying is we can actually see the pixels,
| | 02:26 | we can see those 45-degree corners, which we don't want to see.
| | 02:29 | And we don't want to see those because the
image doesn't look like it's continuous tone.
| | 02:33 | What gives the image a look of continuous tone is bit depth.
| | 02:38 | The word "bit" is a concatenation of the two words, "binary" and "digit."
| | 02:41 | And there we have some information about how we get file size.
| | 02:44 | But basically what we need to know about
a bit is that it's a zero or a one.
| | 02:48 | Binary means two, and then digit is just a number, so it's a zero or a one.
| | 02:53 | So a bit can be compared to a light switch.
| | 02:56 | So follow me on this one for a second.
| | 02:57 | I know it's a little bit abstract, but hopefully
it'll begin to sink in as we go through it.
| | 03:02 | So if we have a light switch, we can turn
that light switch on or off, right?
| | 03:06 | So if we have a one pixel, one bit image, we have two options: on or off.
| | 03:11 | And therefore, what the image looks like is this white to black image.
| | 03:15 | We don't have any continuous tone.
| | 03:17 | But then we go up to the next level.
| | 03:18 | We have one pixel, and now we have two bits of information.
| | 03:22 | So you can see that we have these different combinations, we
have a light switch that can be on and on, let' say that's black.
| | 03:28 | Off and off, that's dark gray.
| | 03:30 | On and off, that's light gray.
| | 03:31 | And then off and on, and that's white.
| | 03:34 | So we're beginning to get tonality, or depth.
| | 03:37 | If we take that one step further, we have one pixel, a three-
bit image, we're getting even closer to continuous tone.
| | 03:44 | And then finally, in a gray scale, eight
bits per pixel, or 256 levels of gray.
| | 03:50 | The eye is fooled into seeing continuous tone, because
all of a sudden we have all of this depth of color.
| | 03:56 | So as we have a higher bit depth, we have more tonal variety.
| | 04:00 | So then how does this relate to the Adobe RGB color space?
| | 04:04 | Well, in the RGB color space, we have three channels -- red, green, and
blue -- and each of those channels typically has eight bits of information.
| | 04:12 | In a subsequent movie we'll talk about 16-bit files, but for
starters let's just wrap our mind around 8 bits per channel.
| | 04:19 | So we have 8 bits of information in red, 8 bits of
information in green, 8 bits of information in blue.
| | 04:26 | And this is the color model photographer's use.
| | 04:28 | For an image to have a full range of colors, each color
channel has to have a minimum of 8 bits per pixel.
| | 04:34 | This yields over 16 million color possibilities,
i.e., 256 x 256 x 256, or 2 to the power of 24.
| | 04:42 | So it's bit depth that gives us the ability to
create what looks like continuous tone images.
| | 04:50 | A couple more illustrations, here we have an
illustration of a gray scale, 8 bits, 256 levels of gray.
| | 04:57 | If we take that to a 12-bit, we have 4,000
gray levels, 14 bit, 16,000 gray levels,
| | 05:03 | and then if we go up to 16-bit you can see I
have that number up top, 65,000 gray levels.
| | 05:08 | So the higher the bit depth, the more tonal
variety, and you can see that in those gray scales.
| | 05:15 | Well then where the heck does this show up in Photoshop?
| | 05:17 | We're going to see this a number of different places.
| | 05:19 | Here we have a screen grab of Photoshop, and
we have a screen grab of the Levels dialog,
| | 05:23 | we'll talk about this when we begin to work on color later in the training.
| | 05:28 | And in this Levels dialog, what you can see in the bottom portion
of the dialog window you have that gray scale from black to white.
| | 05:35 | And you see the numbers above that, 0 to 255,
that's telling us that the tonal values there
| | 05:41 | in this RGB image run from 0 to 255, and that's that gray scale.
| | 05:46 | That's the bit depth.
| | 05:47 | And then in Curves, we can see that gray scale on the left-
hand side of this Curves dialog, and then on the bottom.
| | 05:53 | We haven't gotten into levels and curves yet, what I want to highlight
is that this gray scale, or the bit depth, it's all over Photoshop.
| | 06:01 | Okay, as a quick refresher.
| | 06:03 | Color in Photoshop is made up of combination of three different channels.
| | 06:09 | Pixels are just simply picture elements.
| | 06:13 | A bit is a binary digit, a one or a zero,
and we're comparing that to a light switch,
| | 06:19 | and what we're seeing is that the higher
the bit depth, the more tonal variety.
| | 06:23 | And finally, once we get to our RGB color space, it is
having 8 bits of information of red, green, and blue,
| | 06:30 | and then the combination of that information,
which then gives us a color image.
| | 06:34 | Well I hope that this short tutorial on bit depth has been
helpful, and in the next movie we'll look at image size.
| | Collapse this transcript |
| Intro to image size| 00:01 | >>Male Speaker: In this movie we will
deconstruct the mystery of image size.
| | 00:05 | Two of my favorite girls in the entire world are my wife and daughter.
| | 00:10 | I am an incredibly lucky guy.
| | 00:11 | There they are.
| | 00:12 | And my wife's a fifth grade teacher.
| | 00:13 | And every once in a while I will go into her classroom
and help out with an art project or something,
| | 00:18 | and it's a really fun experience because I always feel like a superhero.
| | 00:21 | All the kids say: Mr. Orwig, you know, WOW.
| | 00:24 | And they, if I go and play with them on the playground
they say: Look how high he can jump, how fast he can run.
| | 00:28 | Anyway, it's kind of a funny, fun experience.
| | 00:31 | And anyway, one day I was driving away from her school and I was
thinking about image size, and I was thinking about my own experience
| | 00:38 | in fifth grade and I thought: perfect illustration of image size.
| | 00:42 | Well, when I was in fifth grade, one of our art
projects was to create a mosaic out of kidney beans.
| | 00:46 | So we would go up to our teacher and say "Hey, can we get some kidney beans?"
| | 00:50 | And then our teacher would give us a fixed amount of kidney beans.
| | 00:53 | So here we have a total of seven kidney beans.
| | 00:57 | And then once I had those kidney beans, and
I know that this is a little bit abstract,
| | 01:01 | but follow me on this one because I think
it will be helpful in regards to image size.
| | 01:05 | Once I had those kidney beans, I was
determined to make a mosaic on a 10-inch paper plate.
| | 01:11 | And I went ahead and did that.
| | 01:13 | And I made a picture of a smiley face.
| | 01:15 | The smiley face didn't look too good.
| | 01:17 | It was pixilated, because I could see the gaps between the kidney beans.
| | 01:21 | So then I went back to the teacher and
said "Hey can I get some more kidney beans?"
| | 01:24 | And this time I resolved to make the same image on a five-inch paper plate.
| | 01:29 | And then the image looked good, it had integrity,
you could read it, you could see what was happening.
| | 01:34 | So how then does this relate to Photoshop's image size?
| | 01:37 | Well, I'm going to pull up the Image Size dialog window
here and deconstruct how this dialog window works.
| | 01:43 | On top what we have is the pixel grid, or the actual pixels.
| | 01:47 | So those are the kidney beans, that's the raw material, that's the
stuff we either captured through digital capture, or through a scan.
| | 01:54 | And this is the stuff that we have to work with.
| | 01:57 | In this case, we have seven kidney beans.
| | 01:59 | And the area below, the document size, has to do with resolution.
| | 02:03 | In the kidney bean analogy it was that I resolved
to use a 10-inch plate or a 5-inch plate.
| | 02:08 | So resolution has to do with printing.
| | 02:11 | The part up top again, pixel grid, actual raw materials; the
part down below is how we distribute those raw materials.
| | 02:19 | So just as a way of highlighting, keep in mind that the top part
of the image size dialog window has to do with raw material.
| | 02:27 | The part down below that's inside that box, document
size, has to do with resolution and printing.
| | 02:34 | And we'll talk more about that in the next movie.
| | Collapse this transcript |
| Image size 1 - resize| 00:01 | >>Male Speaker: In this movie we'll be using a
handful of files that are in the Chapter 2 folder.
| | 00:04 | If you have those files, go ahead and navigate there.
| | 00:06 | And the first one we're going to work on
is the image of the Monarch butterfly.
| | 00:09 | There's some instructions that say: "For
the Monarch, Shift+double-click it."
| | 00:12 | It's a camera raw file.
| | 00:14 | You want to skip the camera raw plug-in for now;
we'll talk about that in a subsequent movie.
| | 00:18 | So go ahead and press the Shift key and
then double-click that file to open it up.
| | 00:23 | Once the file's opened up, press F on the keyboard,
this will take us to the Full Screen view mode.
| | 00:28 | If you press F multiple times, it will toggle or
scroll through the different Full Screen view modes.
| | 00:33 | It's a great way to look at an image, because it
clears up all the rest of the clutter from the desktop
| | 00:38 | or the Bridge, or whatever else is open behind Photoshop.
| | 00:41 | And then we'll press the spacebar, which will jump to the Hand
tool, and click and move the image to the upper part of the screen.
| | 00:48 | One of the reasons you want to do this is because if you have the
image near the bottom of the screen, you're head will tilt down,
| | 00:52 | it's bad for your posture, so you want to lift
that up and really take a good look at it.
| | 00:56 | So here we have a raw image as shot.
| | 00:58 | It's kind of a fun shot, because it's on a banana tree in my backyard
and a bunch of Monarch caterpillars have created cocoons there,
| | 01:06 | and this was one that I caught right as it had
opened up, and it was just so stunning and beautiful.
| | 01:10 | And I kind of liked how the banana leaves, the shape
of them mirror the shape of the wing and everything.
| | 01:15 | Needs some cleaning up.
| | 01:16 | We're not going to do that here, but at
least we can look at its image size,
| | 01:19 | and how the heck do we deal with image size in regards to a raw file.
| | 01:23 | We're going to go to the Image Size dialog menu, navigate up to
the Image menu, and then choose Image Size.
| | 01:29 | You'll notice that, yes indeed, there is now a shortcut for
Image Size, this is Option+Command+I, that is phenomenal.
| | 01:37 | On a PC that's going to be Alt+Control+I.
| | 01:40 | So I'm going to use the shortcut key, because I want to get faster at this.
| | 01:43 | That is a dialog menu that I'm going to be using on every image, therefore
I want to know that shortcut; you'll want to jot that one down.
| | 01:50 | If you don't know it, get to know it.
| | 01:52 | So here we have the Image Size dialog window.
| | 01:54 | What we've learned in the previous movie is that the top part has to
do with the raw material; the part down below has to do with printing.
| | 02:03 | There are four steps that we want to take when resizing the image.
| | 02:06 | The first step is click off Resample;
the second step is change the Resolution.
| | 02:11 | Let's say for some reason I need to print this at 300 pixels per inch.
| | 02:16 | The next step is click Resample on.
| | 02:19 | The final step is to resize.
| | 02:22 | So let's say I want to resize this so that it's no wider than six inches.
| | 02:26 | And now it's going to print at 6 x 9.
| | 02:30 | Those would be our four steps for resizing an image.
| | 02:33 | Let me pull up a slide so that you can have those
in written format, and take some notes on that.
| | 02:42 | So here are our steps for image resizing.
| | 02:45 | Step one, turn Resample off, step two, change our Resolution,
step three, turn Resample on, finally step four, resize.
| | 02:56 | There are a number of different ways to resize,
and we'll look at a few of those as we continue.
| | 03:01 | Let's go ahead and close this file, we'll close it by
pressing Command+W or Control+W and then D (for "don't save").
| | 03:08 | The next image we're going to work on is the one of the desert sign.
| | 03:11 | Go ahead and double-click that image and open it up.
| | 03:14 | Press F to go to Full Screen view mode, press the spacebar
to reposition the image to the top part of the screen,
| | 03:20 | and then go ahead and press that Image Size shortcut.
| | 03:23 | And remember it's Option+Command+I or Alt+Control+I.
| | 03:28 | And let's go through those steps one more time.
| | 03:30 | Resample off, Res to the appropriate resolution.
| | 03:33 | This one I'm going to print at 240 pixels per inch.
| | 03:36 | Resample back on, and then finally resize.
| | 03:39 | And the way we're going to resize it is by modifying the height
and the width, in this case, I'd advise this one to go at 6,
| | 03:46 | so again I'll print this one as a 6 x 9, and then
I'll go ahead and click OK to resize that image.
| | 03:52 | For some reason I really like this shot.
| | 03:54 | It's out in the desert on the way to Las Vegas,
and just think the sky color is really interesting.
| | 03:59 | So then how do we work on an image?
| | 04:01 | Well what we want to do is double-click the Zoom tool.
| | 04:03 | By double-clicking the Zoom tool, what we're
going to do is take the image to 100 percent.
| | 04:08 | And we want to work on our images a lot of times at 100 percent, or
at least jump to 100 percent, in order to see the detail we have.
| | 04:15 | See how the sharpness looks, see where we need to
dust and scratch, what we need to clean up, etc.,
| | 04:19 | etc. If we want to be able to see the entire image,
what we can do is double-click the Hand tool.
| | 04:24 | And then what that will do, is it will take this
image to a view mode where it fits onscreen.
| | 04:29 | So those two shortcuts are very helpful.
| | 04:31 | Let's exit out of this image and keep working on image size.
| | 04:34 | Command+W or Control+W and press D (for "don't save").
| | 04:37 | Navigating back to the Bridge, I'm going to
open up the file resize_bro_flwrs.
| | 04:42 | These are some flowers that my brother, double-
click the Zoom tool to go to 100 percent,
| | 04:46 | and his wife sent to my wife and I when we had our little girl.
| | 04:50 | And it's a good image to look at in regards
to how we're doing our resizing.
| | 04:55 | As a quick refresher, what we've said when we resize is we go through
these four steps and then finally the last step, we have Resample on,
| | 05:03 | and we have some different options here, which I haven't talked about yet.
| | 05:06 | By default, Photoshop is set to Bicubic.
| | 05:09 | We have Bicubic, Bicubic Smoother, and Bicubic
Sharper, and in this file I have a couple of examples.
| | 05:15 | I'm not sure how this is going to work on the video, but at
least you can open up the file and see how this looks.
| | 05:20 | Let me go back to 100 percent, probably be a little bit clearer there.
| | 05:23 | The bottom layer, it was resized down, or Resample down, just
using Bicubic interpolation, that's the default setting.
| | 05:31 | The one above it is Bicubic Sharper.
| | 05:34 | So what you want to do, I'm not sure if you'll be able to see this, but
the before and after, there's significant difference in the sharpness.
| | 05:41 | If you resize with Bicubic on, the image goes soft.
| | 05:45 | So you want to have that Bicubic Sharper
on, which really brings out the details.
| | 05:49 | And you'll see the details in the middle of the yellow rose, in the rose in
the bottom right-hand corner, those two roses that are in focus and sharp.
| | 05:57 | So make sure when you're doing your resizing, you have
that setting on Bicubic Sharper when you go smaller.
| | 06:03 | And when you go larger go to Bicubic Smoother.
| | 06:06 | We're going to learn more about image size in our next movie.
| | Collapse this transcript |
| Image size 2 - crop| 00:01 | >>Male Speaker: In this movie we'll expand our understanding of image size.
| | 00:03 | We'll be working on these three images here
starting off with sunflowers_crop_4_6.
| | 00:08 | Go ahead and double-click that image to open it.
| | 00:10 | Let's take it to full screen mode by pressing the F key, then double-
click the Zoom tool to go to 100 percent to see what detail we've captured.
| | 00:18 | This image was captured on the Canon 1DS,
we got a lot of really good detail here.
| | 00:22 | And so it looks sharp, we're good to go.
| | 00:25 | Let's open up the Image Size dialog window.
| | 00:27 | And what we'll notice is that this image has been sized
down to approximately a 4 x 6, at 240 pixels per inch.
| | 00:34 | So someone's already done the resizing for us, but
for some reason we need to change this to a 3 x 5.
| | 00:40 | If we just go ahead and try to do that by entering in the number
here, we'll notice that we get close to 3 x 5, but not quite.
| | 00:48 | So rather than do it through Image Size, we're going to use another tool.
| | 00:51 | Press Option+Alt, which will change Cancel to Reset.
| | 00:54 | Notice that up there in the top-right corner of this
Image Size dialog window, click Reset, and then Cancel.
| | 01:01 | Let's double-click the Hand tool and relocate the image to the
upper part of the screen, and zoom out even a little bit more.
| | 01:08 | We'll zoom out by pressing Command+- (minus sign)
or Control+-, that's a great shortcut.
| | 01:12 | Command++ (plus sign) zooms in, Command+- (minus sign) zooms out.
| | 01:15 | And then grab the Crop tool.
| | 01:16 | We can grab the Crop tool by pressing the letter C on
our keyboard, or clicking on the tool in the toolbox.
| | 01:22 | And we'll then set some options here for our width.
| | 01:26 | I want 5 "in" for inches, 3 "in" inches for my height, Resolution I want 240.
| | 01:32 | And now I'll go ahead and click and drag the Crop tool
out, and you'll notice that it will constrain the Crop tool
| | 01:38 | to that aspect ratio of 3 x 5, which is really nice.
| | 01:41 | Once I'm ready to apply this crop, I'll go ahead and click the checkbox,
double-click inside of the transformation area, or press Return.
| | 01:49 | I'm going to press Return.
| | 01:51 | Then open up the Image Size dialog window,
Command+Option+I on the Mac, Control+Alt+I
| | 01:56 | on the PC, and you'll notice that we have exactly a 3 x 5.
| | 02:00 | So know that the Crop tool's going to be extremely helpful when
you need to get a very specific size, when you're going to crop
| | 02:07 | and lose pixels in order to get it the specific dimensions.
| | 02:09 | Okay, Command+W or Control+W and press D
(for "don't save"); let's go to the next image,
| | 02:14 | brooklyn_marquee_crop, go ahead and go to
full screen mode by pressing the F key,
| | 02:18 | press the spacebar to move the image to near the upper part of the screen.
| | 02:23 | In this case what we want to do is look at
using a different technique for cropping.
| | 02:27 | We're going to use the Marquee tool.
| | 02:28 | Press M on the keyboard, or click on the Marquee tool in the Toolbox.
| | 02:33 | And one of the things that's nice about the Marquee tool is you can click
and drag, and without letting go of your mouse button, press the spacebar.
| | 02:40 | This gives you the ability to move around that selection
to get it into the exact spot right where you want it.
| | 02:46 | And what I want to do in this case, is I want to crop the image so that
the cables from the Brooklyn Bridge meet right up with the corners there.
| | 02:55 | This bottom corner's a little bit off.
| | 02:57 | So I got three corners, I didn't get my bottom
right-hand corner, but that's fine.
| | 03:00 | I think this will be kind of an interesting crop for the image.
| | 03:03 | So I take in the Marquee tool, made a selection,
next I'll go to the Image menu and choose Crop.
| | 03:09 | And you'll notice that what that will do is
it will then crop based on that selection.
| | 03:14 | And just as a side note, I love the Brooklyn Bridge.
| | 03:17 | I was in New York a couple of months ago and had the opportunity
to wander out there one morning and take some photos of it,
| | 03:22 | and I just absolutely love that bridge, I think it's phenomenal.
| | 03:26 | Okay, well that's all we're going to look at with the Marquee crop,
let's go ahead and press Command+W and D (for "don't save").
| | 03:31 | One more image with this movie.
| | 03:33 | We'll go ahead and open up the image canvas_size, go to full screen mode by pressing F,
| | 03:38 | and press spacebar to move the image to the upper part of the screen.
| | 03:42 | This time what we're going to do is increase
the canvas size two different ways.
| | 03:46 | One way, the traditional way to do canvas size is to go to Image > Canvas
Size, notice there's a shortcut there, I'll talk more about that later.
| | 03:53 | And in the Canvas Size we'll then add a Width
of let's say 8 inches, and a Height of 5 inches.
| | 03:59 | The problem with this though, if we go ahead
and click OK, is it's pretty haphazard.
| | 04:03 | We don't really know what it will look like
until after that Canvas Size has been expanded.
| | 04:08 | So the better way to expand Canvas Size, is to grab the Crop tool.
| | 04:12 | Make sure you have a good color in your background color, whatever
color you have there; it will create that color as the background color.
| | 04:19 | Grab the Crop tool, go up to the Options bar.
| | 04:21 | We want to clear these settings, and we're
going to do that by clicking on the Clear button.
| | 04:25 | Now click and drag over your image, and then grab one
of the corner anchor points and expand beyond the image.
| | 04:32 | So in this case I'm expanding beyond the
image, and then go ahead and press Return,
| | 04:36 | or double-click inside of the transformed area, or click the checkbox.
| | 04:39 | I'll press Return here.
| | 04:41 | And notice that what it did is it expanded the canvas area, and that's
a really nice way to do it, especially for someone like me who's visual.
| | 04:48 | And I want to be able to previsualize what it will look like.
| | 04:50 | There are other times when I need to go to an exact
size that I still like using the image Canvas Size.
| | 04:55 | So both techniques are really helpful, and I hope
that this short movie on image size has been helpful.
| | 05:00 | In the next movie we'll look at a few more
techniques that have to do with image size.
| | Collapse this transcript |
| Image size 3 - scans| 00:01 | >>Male Speaker: In this movie we'll be working on a few images that
are located inside the Chapter 2 folder, in the subfolder Scans.
| | 00:07 | The first one we're going to work on is an old family
photograph of my mom, and her sisters, and her dad.
| | 00:13 | And I really love this shot, I think it's really fun.
| | 00:16 | It really captures my mom as a little girl.
| | 00:18 | And as a quick side note, I think this is really kind of
neat; this is my daughter here just about a month ago or so,
| | 00:25 | and you can really see a similarity between my mom and my daughter.
| | 00:29 | Isn't my daughter just incredibly cute?
| | 00:31 | She is so wonderful.
| | 00:33 | Anyway, all right, enough of baby photos there.
| | 00:35 | So how then do we straighten this photo once it's been
scanned, say on a flatbed scanner, something like that.
| | 00:40 | We're going to go to the Toolbox and then click on the Eyedropper tool.
| | 00:44 | Underneath the Eyedropper tool, you'll notice the Measure tool.
| | 00:47 | Real quick shortcut for you, right now the
Eyedropper tool we're seeing is the letter I.
| | 00:50 | One of the things that you can do is press the I key, and then
press Shift+I to toggle to the other tools underneath that.
| | 00:57 | If you go to your Preferences by pressing Command+K,
| | 01:00 | I know we've already talked about Preferences, but just to highlight,
there's a checkbox that says "Use Shift Key for Tool Switch."
| | 01:06 | You can turn that off, which would mean you would just
press the letter I to toggle through the different tools.
| | 01:12 | What I find is it's helpful to have that on and use the modifier
key, the Shift key, to toggle through the different tools.
| | 01:17 | Because sometimes you accidentally press it twice, or something happens.
| | 01:20 | So I still like the old fashioned way of
using the Shift key for a tool search.
| | 01:24 | Go ahead and click OK.
| | 01:25 | So we have the Measure tool, we'll click and drag and measure something
that we think should be straight, in this case the bottom of the image.
| | 01:33 | And then we'll go to Image > Rotate Canvas > Arbitrary.
| | 01:38 | It will give us an angle, and that angle
is based on that line that we have drawn.
| | 01:43 | It says: "That line needs to be moved 3.8 degrees
counter-clockwise in order for it to be straight."
| | 01:49 | Go ahead and click OK, and now we have an image oriented the correct way.
| | 01:52 | We then could grab the Crop tool, and the Crop tool works like the
Marquee tool, you can hold down the spacebar to reposition the crop.
| | 02:00 | You can also reposition the anchor points after you've set
those, and then go ahead and click Return to apply that crop.
| | 02:07 | Press Command+W and D (for "don't save").
| | 02:11 | There's another image I recommend you go ahead and
open up, and then practice applying that technique.
| | 02:16 | Go ahead and see if you have that one down.
| | 02:17 | I'm going to skip over to the image santa_cruz_solsen.
| | 02:20 | Sammy's a good friend and a great surf photographer.
| | 02:24 | And here we have an image, we'll go ahead and open up
the Image Size dialog window, and it's been sized down.
| | 02:29 | But it's been sized down in a way that replicates
the file size once the image has been scanned.
| | 02:35 | Typically what happens is you have pixel dimensions,
the raw material of a scan, and then your document size
| | 02:40 | and your resolution is something really
outlandish, like 4,000 pixels per inch.
| | 02:45 | And typically, like I said, this is what happens when an image is scanned.
| | 02:48 | I've sized this one down, otherwise the full
scan, which I think was 60 megabytes or something
| | 02:52 | like that, would be too big to include with the training.
| | 02:54 | So I've sized it down for something more manageable.
| | 02:57 | So then how then do we deal with that?
| | 02:58 | Well for starters we want to do a crop without any
settings to get rid of the edges of the transparency.
| | 03:05 | So I'm going to go ahead and crop this down, press Return.
| | 03:08 | Next go to the Image Size dialog window and go through the four steps.
| | 03:12 | Step one, Resample off, step two, change the Resolution,
step three, Resample on, and then finally step four, resize.
| | 03:22 | And if we were going to resize this image down, let's
say we need exactly 2 across, we're about 2 x 3,
| | 03:28 | and again it's not a realistic size, but it's helpful for an illustration.
| | 03:32 | When you are scanning film, you want to make sure
you're resampling down, rather than resampling up.
| | 03:37 | If you don't have enough information, if we needed to make this, let's
say, an 8 x 10, we need to go back to the scanner and scan again,
| | 03:43 | because we don't have enough raw material to make the image anything bigger
than what it was set at, which was 3 x 2, so a little postage stamp.
| | 03:53 | All right, well I hope that these movies on image sizes have been
helpful, and in our next chapter we'll get into color management.
| | Collapse this transcript |
|
|
3. Foundations of Color ManagementIntro to color management| 00:05 | >>Male Speaker: Color management sure is
a hot topic these days, and rightly so.
| | 00:09 | It is a critical part of working on digital files.
| | 00:13 | And what exactly is color management?
| | 00:15 | Well, in its simplest form, color management is
creating color accuracy between multiple devices.
| | 00:21 | Let me explain.
| | 00:21 | Color management basically seeks to help you replicate color,
| | 00:25 | so that the color you see on your monitor is
matched in the color that comes out of the printer.
| | 00:30 | Well let me explain how this process works.
| | 00:33 | For starters, in Photoshop we're working in this Adobe RGB color space.
| | 00:40 | And when we send something to print it's actually translated to a
different color space, the lab color space, which is a huge color space.
| | 00:46 | It's actually the largest color space.
| | 00:48 | It tries to represent what the eye can see, the human eye.
| | 00:51 | And then that color is then translated into
this new color space of CMYK for our printer.
| | 00:57 | So for example, if we had a color of red, and
let's just say it was red number 3 in Adobe RGB.
| | 01:03 | Well that red number 3 would then be translated to red number 1 in lab.
| | 01:08 | And then when it went from lab to CMYK, it
would be translated to red number 6 in CMYK.
| | 01:14 | So as you can see there are a few different steps of communication, and
there's a big chance that something could get lost in communication.
| | 01:21 | And I'm sure all of you have played that game Telephone, where
someone says a message to the person sitting next to them,
| | 01:26 | and then they say the message to the next
person, and eventually it comes around the circle,
| | 01:30 | and the message has somehow been lost in the process.
| | 01:33 | Well color management seeks to create clear
communication between multiple devices.
| | 01:38 | It's a really important foundational step for what we do.
| | 01:41 | There are a few things that we need to take into consideration.
| | 01:43 | Some of them have to do with creating color profiles;
using specific hardware, specific lighting situations,
| | 01:50 | and we'll talk about those in the subsequent movies.
| | 01:52 | But before we do that, I have a couple of resource links for you.
| | 01:55 | These resource links can be found in the Chapter 3 folder.
| | 01:57 | And if you don't have those files, no big deal, you
can always just pause the movie and write these down.
| | 02:02 | Another location where you can find these resource
links is on the Web site that I've mentioned previously.
| | 02:07 | And this website is Photoshop in Focus.
| | 02:09 | And like I said previously, this is just a beta version of the site.
| | 02:12 | It will change the way it looks, but those
links will be located in the resource links tab.
| | 02:17 | That site is PhotoshopInFocus.com.
| | 02:20 | I want to highlight a few of the resources.
| | 02:22 | The first one is Real World Color Management,
by Bruce Fraser, Chris Murphy, and Fred Bunting.
| | 02:27 | It is a phenomenal book.
| | 02:28 | It's a little bit heady, a little bit difficult to
get through, but definitely well worth the read.
| | 02:33 | Professional Photoshop, again a really good color management book and
Photoshop Color Correction, and there are a few other Web sites there
| | 02:39 | that have some helpful resources in regards to color management.
| | 02:43 | Now that we have a basis for understanding color
management, we'll look at some of the different aspects
| | 02:47 | for creating a color managed workflow,
and we'll do that in the following movies.
| | Collapse this transcript |
| Hardware considerations| 00:01 | >>Male Speaker: As we dive into the topic of color
management, the inevitable question rises about hardware.
| | 00:06 | Well what type of hardware should I use?
| | 00:07 | Because if it's all about clear communication between your monitor
and your printer, what type of devices should I be using?
| | 00:14 | Well I have some general overview tips for you.
| | 00:17 | And let's take a look at those.
| | 00:18 | For starters, there's a lot to consider: different
types of monitors, desktop, laptop, Mac, or PC.
| | 00:23 | And for starters, just know that Photoshop's going to
run effectively and efficiently on both platforms.
| | 00:29 | And then it's going to depend on a couple of other things in regards to speed.
| | 00:32 | Typically desktops are going to run faster than
laptops, just because you're going to get more computer
| | 00:37 | for the same amount when you get a desktop versus a laptop.
| | 00:40 | In regards to your monitors, a couple of things that you want to consider.
| | 00:44 | If you're going to get a monitor, it's a really good idea to have a
lens hood, like we see in the upper right-hand monitor over there.
| | 00:50 | What a lens hood does is it protects straight light coming in
from the top of your monitor, or the sides of your monitor,
| | 00:55 | and it helps maintain the integrity of the color that
you're seeing so that you're not getting color that's coming
| | 01:00 | in at an angle onto the monitor; it's a really good idea.
| | 01:02 | If you're using a laptop, it's incredibly
helpful if you can also buy a monitor.
| | 01:07 | So you can see in the image in the bottom right-hand corner.
| | 01:10 | It's critical to have that type of a workflow,
because of the gamut in an LCD monitor,
| | 01:16 | a quality LCD monitor, is going to be so much higher than a laptop LCD.
| | 01:19 | And I have an image to illustrate that, which I'll do in a second.
| | 01:23 | The next thing I want to point out is RAM.
| | 01:24 | It's one of the most important things for Photoshop users to upgrade.
| | 01:28 | A friend of mine, who's an incredibly successful photographer,
always says: "Buy what you need, not what you want."
| | 01:34 | So you have to take all of these things into
consideration in regards to what you can afford, etc.,
| | 01:39 | etc. But RAM is one of the things that tends to be more important.
| | 01:43 | I recommend you have at least have 1 gigabyte of RAM.
| | 01:45 | And someone explained RAM to me like this:
| | 01:47 | It's kind of like your desk size, if you have a very small desk where
you can open up, let's say, two magazines on that desk at one time,
| | 01:55 | if you have a huge desk you could open up 15 magazines at a time.
| | 01:59 | And RAM is the size of your desk; it's how much you can have open at once.
| | 02:03 | It's how fast you can get through that information.
| | 02:06 | And RAM is incredibly important for Photoshop.
| | 02:08 | There are a few things in your Preferences, I'm going to go there
real quick, that you can do to help Photoshop get things going.
| | 02:15 | We didn't talk about this in the Preferences movie, but
the History States is critical to the speed of Photoshop.
| | 02:20 | A high number here means Photoshop runs slower.
| | 02:23 | Typically the default number of 20 works pretty well.
| | 02:26 | Some people lower this even further, because what Photoshop has
to do, it has to remember everything you've done for 20 steps.
| | 02:33 | If you have a lower number, it has to remember less.
| | 02:36 | The other thing that we pointed out in a
previous movie was Memory and Image Cache.
| | 02:39 | To take those Cache Levels to approximately
6 or 7, and then your RAM usage, 75 percent to 95 percent,
| | 02:47 | depending on how many other applications you have open.
| | 02:51 | There are two types of monitors.
| | 02:52 | Liquid crystal displays, which are very thin and small,
and don't take up much desk space, and then CRTs,
| | 02:57 | cathode ray tubes, which are much bigger, and deeper, and heavier.
| | 03:01 | And there's a big shift in the quality of monitors.
| | 03:04 | The long and the short of it is, that if you have a few hundred
dollars to spend, it's a waste of time to buy a liquid crystal display.
| | 03:10 | And you would want to spend $500 or $600
on a CRT, although those are more difficult to find.
| | 03:15 | It's more worth the investment to spend approximately $700
or $800 on a liquid crystal display, and up.
| | 03:21 | Let's say for example, the one I think
over here is approximately $1500.
| | 03:25 | So then again it depends on how much money you have.
| | 03:27 | But if you spend approximately $800, you're going to get a much
higher quality LCD, which in the long run is going to save you money,
| | 03:34 | because the color you're seeing will be able to replicate
it much more closely to the color that you print.
| | 03:40 | The reason that you want to get a quality LCD screen, not a LCD screen
that costs $100 or $200, is because of it's gamut.
| | 03:48 | And you can see this 3D model of a cheap LCD
gamut, versus a relatively inexpensive CRT.
| | 03:54 | The LCD is the gamut in the inside of this 3D
illustration, and you can see it's a ton smaller.
| | 04:02 | You're not going to be able to get these real deep
saturated reds, or deep saturated blues over here.
| | 04:07 | And this gamut comparison is actually very similar
to the gamut comparison of a laptop computer.
| | 04:12 | The gamut's going to be the gamut that we see in the middle of this screen.
| | 04:16 | So how to make sense of all this stuff.
| | 04:18 | The long and the short of it is this: If you're going to use a laptop,
| | 04:21 | it's a really good idea to have another monitor that's
a higher quality monitor, which has a larger gamut.
| | 04:27 | If you're going to use a desktop, it's a really
good idea either to invest in a middle-range CRT,
| | 04:34 | or a higher-range LCD, higher-range meaning $800 and above.
| | 04:39 | Well, there's one more important tip that I have
for you, which is probably the most important tip.
| | 04:44 | One of the most overlooked aspects of color management
is the light source that we have in our office or studio.
| | 04:50 | It's really critical that we get a light source that is neutral.
| | 04:54 | In this slide what you can see is we have a light bulb here.
| | 04:56 | And this light bulb was purchased at Home Depot.
| | 05:00 | And you can find lights like this at your local home improvement store.
| | 05:04 | What you're looking for is a light that's daylight balanced.
| | 05:07 | On the back of the package it says that the light
temperature, 6500 Kelvin, this actually isn't true.
| | 05:13 | The actual temperature of this bulb is
5700 Kelvin, and that's pretty typical.
| | 05:17 | If it says 6500, it's probably 5700.
| | 05:21 | The ideal light source is 5500 Kelvin, so this is pretty close.
| | 05:26 | It's not perfect, but it's pretty close.
| | 05:28 | And what you'll notice when you use a bulb like this, is that the light
that's emitted from the light bulb is really white, which is a good thing.
| | 05:36 | Because what it means is that the light
source that is hitting your monitor is white,
| | 05:40 | rather than casting a yellow shift onto your monitor, it's now white.
| | 05:44 | So that's critical.
| | 05:45 | It's really key that you modify your light source so that it's neutral.
| | 05:49 | When you first do this, it'll feel a little bit sterile, because we're used
to seeing really warm and yellow lights, which is nice in the evening,
| | 05:58 | when you drive up to your house and your lights are on in the
living room, and it's very warm, and the lights very yellow.
| | 06:03 | But in a studio or office, that's not a very good thing.
| | 06:06 | We want a neutral light source in order to have a color-managed workflow.
| | 06:11 | Well I hope that these color management tips have been helpful.
| | 06:14 | In our next movie we'll look at how we can calibrate our monitors.
| | Collapse this transcript |
| Monitor calibration| 00:01 | >>Male Speaker: As I mentioned in a previous movie, there are
certain things that we want to do before we get started in Photoshop.
| | 00:06 | Monitor calibration is one of those.
| | 00:08 | It really is foundational.
| | 00:09 | In fact I've heard some people say that it's not even
worth working on a monitor that isn't calibrated.
| | 00:14 | And you know what?
| | 00:15 | I agree. It's a critical step in creating a color-managed workflow.
| | 00:19 | And the reason it's so important is it will save you
time in the long run, because the color that you're seeing will be able
| | 00:25 | to be translated into other devices, especially to other printers.
| | 00:29 | And it will speed up your whole workflow, and the work that you're
doing in regards to tone, objective color, and subjective color,
| | 00:38 | will be worth the time you're investing,
because you'll be more assured of the outcomes.
| | 00:43 | So what is monitor calibration about?
| | 00:45 | Well really it's about communication between a monitor and printer.
| | 00:49 | And it's making sure that that communication is clear.
| | 00:51 | A couple of calibration tips.
| | 00:53 | If you're using a CRT, you'll want to warm up the
monitor for 30 to 60 minutes before calibrating.
| | 00:59 | On a CRT you'll want to set that brightness to
zero, on a LCD, you want to set that to 100 percent.
| | 01:04 | When you're going through those calibration steps,
you want to set the white point to 6500 Kelvin.
| | 01:09 | Well what are those calibration steps?
| | 01:11 | Let's take a look.
| | 01:12 | If you're on a PC, you can use Adobe's Gamma utility.
| | 01:16 | You can find this in the Control Panel, which
you can get to from the Windows Start menu.
| | 01:21 | And this is a step-by-step utility that will take
you through the process for calibrating your monitor.
| | 01:27 | If you're on a Mac what you can use is the Display Calibrator Assistant.
| | 01:31 | Choose the Apple Menu > System Preferences > Displays > Color.
| | 01:35 | Click on the Color tab, and then click the Calibrate button.
| | 01:38 | Again, it's a step-by-step utility that will take
you through the process for calibrating your monitor.
| | 01:44 | If you haven't calibrated your monitor at this point, why don't
you go ahead and stop the movie and go through that process.
| | 01:50 | You will be amazed at the differences that you will see.
| | 01:53 | The accuracy between what you're seeing on your monitor and what
you're getting in your printer, will match so much more closely.
| | 01:59 | If you want to go above and beyond, which as a professional
photographer you do, because color is really important.
| | 02:05 | If you think about it, when is color not important?
| | 02:08 | Because color and tone are both really important.
| | 02:11 | So what I use is a Gretag-Macbeth Eye-One calibrator system.
| | 02:15 | And what this system involves is a spectrophotometer, which
basically is this device that you can see on a LCD screen or on a CRT,
| | 02:24 | and it measures color that's coming off of
the screen and then it creates a profile.
| | 02:30 | What that profile is, is a file that interprets that
color and tone information, and it's much more accurate,
| | 02:37 | because it's actually measuring the color
and tones that are coming off of the monitor.
| | 02:42 | Here are those tips again, and then below that I have a couple of links.
| | 02:46 | Remember that you can access those links from that
site that I've highlighted in previous movies.
| | 02:51 | The site is Photoshop in Focus, or you
can pause the movie and write those down.
| | 02:55 | But those links will lead you to different locations where
you can learn about color management hardware and software,
| | 03:01 | and also find some links to where you can purchase those devices.
| | 03:06 | Finally monitor calibration is about clarifying
communication between your monitor and your printer.
| | 03:12 | Well what do I recommend?
| | 03:13 | How often do you do this?
| | 03:14 | I say you calibrate at least once a month.
| | 03:16 | I have some colleagues that calibrate weekly.
| | 03:18 | It depends how important color is to your workflow and how
often you're printing, etc., etc. Here's a tip for you though.
| | 03:25 | Right now go ahead and set it on your calendar
to run your calibration at least once a month.
| | 03:29 | Maybe you're going to do it the first Monday of each month.
| | 03:32 | And set this out for a few months.
| | 03:34 | This way you'll build the habit of calibrating your monitor, because
it's a really critical step to developing a color-managed workflow.
| | 03:41 | Second tip, as I've already highlighted, it's really key to
have some kind of a calibration system, begin to save for it.
| | 03:48 | You don't need to go out and buy it right now, but go ahead and integrate
that into your budget, and work towards saving for a calibration system.
| | 03:56 | And it's one of those devices that will really pay for itself.
| | 03:59 | It will pay for itself in time, the time that it will save you,
and then also the time that you spend in regards to ink and paper.
| | 04:06 | Well I hope that these tips on monitor calibration have been helpful.
| | 04:09 | In the next movie, we'll look at how to
set up our color settings in Photoshop.
| | Collapse this transcript |
| Color settings| 00:01 | Male Speaker: In this movie we'll be looking at how
to set up our color settings in Photoshop CS2.
| | 00:06 | I'll be using a few files that I'll be pulling from the Chapter 3 folder.
| | 00:09 | Before I open up those images, I'm going go to Photoshop's
color settings by navigating to Edit > Color Settings.
| | 00:16 | You'll notice this is now in a new location in Photoshop CS2.
| | 00:20 | Open up those color settings and by default Photoshop
comes with this North America General Purpose 2.
| | 00:26 | Our Working Space is RGB, Color Management Policies are set
to Preserve, but there isn't a Profile Mismatch checked on.
| | 00:34 | What happens when we open up an image that's in a different color space?
| | 00:37 | This image right here, campus_point, which is a
shot of a local surf break I really like to surf
| | 00:43 | at Campus Point, is in the color space of Adobe RGB1998.
| | 00:47 | If I go ahead and open that up what happens is nothing.
| | 00:51 | I don't know that it's in the incorrect color space; I don't
know that there's been a mismatch; so that's a problem.
| | 00:57 | This image down here is in sRGB, I'll go ahead and open that one up
and same thing; I don't know that there has been some kind of problem.
| | 01:04 | So for starters, let's go back to our Color Settings,
Shift+Command+K on a Mac, Shift+Control+K on a PC.
| | 01:10 | We want to change this to Adobe RGB (1998); we've already talked about
this briefly in another movie; we need that large gamut of color.
| | 01:18 | Next, we want to go to Profile Mismatch, Ask When Opening, Ask When
Pasting and if there's a Missing Profile, and Ask When Opening.
| | 01:25 | Finally, we're going to take our Gray to a gamma of 2.2, that's really
critical of a photographer; it'll really help our overall work flow
| | 01:33 | and it will help us work with our blacks and
mix them a little bit darker so we brighten them
| | 01:37 | and then the end result when we print, they'll look really solid.
| | 01:40 | So, you definitely want to change your Gray gamma to 2.2, clicking OK.
| | 01:44 | Now when I go back and go ahead and open up the campus_
point image which is in Adobe RGB (1998) there was no problem.
| | 01:51 | It opened up the image just fine.
| | 01:53 | I'll then go ahead and open up this sRGB image and we'll
notice that it gives us this Embedded Profile Mismatch.
| | 01:59 | Well, what'll we do here?
| | 02:01 | There are a couple of options.
| | 02:02 | Using embedded profile instead of the working space, which will
stay in sRGB, convert the document's color to the working space
| | 02:09 | or discard the embedded profile, don't color manage.
| | 02:12 | Well, that is always a bad idea.
| | 02:14 | You will never want to discard the embedded profile.
| | 02:17 | The majority of the time, 90 percent of the time, you want
to go to convert documents colors to the working space.
| | 02:23 | You want to make sure that the color we're seeing and working with is
the color in that space so go ahead and convert the document's color
| | 02:29 | to the working space, click OK, and then when we go to save this
document, it's critical that we tag the document with this color space;
| | 02:37 | so in this case in the lower part of the screen it says Embed
Color Profile Adobe RGB (1998), and this is called tagging the file
| | 02:46 | with that color space, and you can think of
tagging an image just like a tag on a garment.
| | 02:50 | If you were to go to a store to buy a T-shirt and you were looking around
the store and noticed there weren't any tags on any of the T-shirts,
| | 02:56 | it would be really hard to know which shirt to buy
because it would just be a shirt in a certain size
| | 03:02 | but no clarification on what size it was, which would be ridiculous.
| | 03:06 | The same thing is true with digital images.
| | 03:08 | They need to be tagged with a specific color space so in this
case we're tagging the file with the Adobe RGB (1998) color space;
| | 03:15 | I'll save that to the desktop and then we would be good to go.
| | 03:19 | Well, I hope that this chapter on color management has been really helpful.
| | 03:23 | In the next chapter, we're going to get into one of the most
amazing new features in Photoshop CS2, and that is the Bridge.
| | 03:29 | See you in the next chapter.
| | Collapse this transcript |
|
|
4. Using Adobe BridgeBridge 101| 00:05 | Male Speaker: Wheehoo!
| | 00:06 | Welcome to the chapter on using Adobe Bridge.
| | 00:10 | I'm really excited about the new features
in Bridge and I think you will be too.
| | 00:14 | For starters I want to reiterate one of
the Preferences you definitely want to set.
| | 00:18 | If you go ahead and hit Command+K or Control+K and this
will take you to your General Preferences.
| | 00:23 | You want to check on Automatically Launch Bridge
because Bridge is now a separate application; you want
| | 00:28 | to have that fired up right when you open up Photoshop.
| | 00:30 | So go ahead and click that on if you haven't done so already.
| | 00:33 | So let's go ahead and launch the Bridge, 3, 2, 1,
Shift+Command+O or clicking one of those shortcuts.
| | 00:40 | Let's talk a little bit about what we see
here in the Bridge just to get familiar
| | 00:43 | with how the Bridge is laid out, how it
works, and then we'll dig deeper and deeper.
| | 00:47 | The Bridge is really going to become something that's
crucial to our effectiveness
| | 00:52 | in Photoshop; it has some really incredible features.
| | 00:55 | Alright, I am going to navigate to the Chapter 4
folder Adobe Bridge and then to the resources folder.
| | 01:01 | I am going do go ahead and open the up the image bridge_
overview and what this will do is help us talk about the Bridge
| | 01:07 | and walk through the different aspects of the Bridge.
| | 01:10 | Let's start with the top left-hand corner.
| | 01:12 | It may be helpful for you to have Bridge open at this point
or just follow along with what I'm talking about here.
| | 01:17 | Top-left corner we have Back and Forward buttons; these buttons
work a lot like the Back and Forward button on a Web browser,
| | 01:23 | meaning the Back button goes to the folder that you were
previously at, and you can click Forward to return to that folder.
| | 01:29 | It's pretty neat -- works just like a Web browser.
| | 01:31 | Moving over to the right we have up one level.
| | 01:34 | We also are able to choose folders from this drop-down menu here.
| | 01:37 | Moving over to the right even further, we have a way
to filter what thumbnails we are viewing in Bridge.
| | 01:42 | We can filter it by their star rating or their labels.
| | 01:45 | We are also able to create new folders with this icon.
| | 01:48 | We can rotate the thumbnails to the right or left,
| | 01:51 | delete those thumbnails, and then we have different
view points for the entire Bridge window.
| | 01:54 | There are compact and ultra compact view modes; etc., etc.
| | 01:58 | Let's keep going clockwise and go down to the bottom.
| | 02:00 | Down here we have different ways to display the content in the Bridge
a light box view mode, film strip view mode, etc. We'll get to those.
| | 02:08 | Then we have ways to change the size of the thumbnails; this is really
cool you can grab the slider to the left or right to change the size
| | 02:14 | of the thumbnails, you can double-click the small view of the
thumbnail and it'll take us tot he smallest view of the thumbnail.
| | 02:20 | You can double-click the largest view possible
and it'll take it to the largest view based
| | 02:24 | on your monitor resolution and what you have open in regards to the Bridge.
| | 02:28 | Moving over to the left-hand side, show/hide panels, If you click on that
button what you'll see is the panels on the left over there will collapse
| | 02:36 | and become hidden, or if you click it again they will become revealed.
| | 02:40 | Kind of a nice way to close and hide those.
| | 02:42 | Moving on up we have metadata and keywords, we have some resize handles.
| | 02:47 | This is like what we had in the file browser in Adobe Photoshop CS.
| | 02:51 | We could click and drag those handles to
change the area that they're displaying.
| | 02:55 | So if we want metadata to be larger we could click and drag that up.
| | 02:58 | If we want thumbnail data to be smaller
we can click and drag that to the left.
| | 03:02 | I'll show you this in Photoshop but I find it's helpful to talk
about everything in this way before we get too deep into the Bridge.
| | 03:09 | Moving up to the top we then have an area where
we can click on Folders and also look at our Favorites.
| | 03:15 | All right, now that we have a brief overview of the Bridge's
interface let's go ahead and look at some of the Bridge Preferences
| | 03:21 | and see how we need to set those up, and we'll do that in the next movie.
| | Collapse this transcript |
| Bridge preferences 1| 00:01 | >> Male Speaker: Welcome back.
| | 00:02 | In the next couple of movies we'll look at
how to set up the Preferences in Bridge.
| | 00:06 | The nice thing about the shortcut to the Preferences,
it's the same shortcut to the Preferences in Photoshop.
| | 00:11 | That's Command+K or Control+K; you can also
access that by going to Bridge > Preferences.
| | 00:16 | Let's go ahead and go there and start on the General tab.
| | 00:19 | We'll go through this menu from top to bottom; Thumbnails, by default
| | 00:23 | Photoshop comes with the thumbnail view in a pretty light gray.
| | 00:26 | You can take that from white to black and your images are
almost always going to look better with the black background
| | 00:32 | but it's a little bit problematic because what's happening is we see
color and tone and relative to the color and tone that surrounds it.
| | 00:39 | Color and tone is always based on relationships.
| | 00:42 | So the blacks in our image are going to connect to the blacks and then
it's going to look like there's more contrast than there actually is.
| | 00:48 | So we want to go to middle gray, something right there in the middle
| | 00:51 | so that we get a more accurate representation
of the tone and color of the image.
| | 00:56 | Moving down to the next item, show Tooltips.
| | 00:58 | I find that it's kind of helpful to have that on initially, maybe for a
first couple of runs through the Bridge, but then eventually turn it off.
| | 01:04 | It really, at least for me personally, kind of gets in the way,
| | 01:07 | but initially was helpful to kind of hover
over things and see what stuff was called.
| | 01:11 | But I'll let you make the call on that one.
| | 01:13 | Additional Lines of Thumbnails Metadata, this is super cool.
| | 01:16 | I'm going to click OK and then in the Chapter 4
sample file folder, I'm going to go to the raw folder,
| | 01:23 | and inside that raw folder you'll notice we have an
image name and then we also have information below.
| | 01:28 | In this case, we have File Size and then Dimensions.
| | 01:31 | Going back to the Preferences and moving
them over a little bit, I can check to show
| | 01:35 | or hide those additional Preferences, I can also change what's displayed.
| | 01:38 | So let's say rather than File Size, I want Date Created.
| | 01:42 | And that will give me the date 8/25/05, and what
I've found is it's really helpful to be able to modify that metadata,
| | 01:49 | it's key when you're looking at files and
determining which file to use etc., etc.
| | 01:53 | I don't recommend checking these off, and the reason is because
there's a really cool shortcut to hide all that metadata instantly.
| | 02:01 | Go ahead and click OK, go back to the raw folder, and here you can press
Control+T or Command+T, that's one of the shortcuts you definitely want
| | 02:08 | to write down because I find it's so helpful to just see images every
once in awhile but then yes I need to go back to the metadata,
| | 02:14 | see if I have enough information, is the
file size correct, etc., etc.
| | 02:18 | So go ahead and leave those checked on.
| | 02:20 | Favorite items, where are those located?
| | 02:22 | Moving the Bridge Preferences over to the right, the
Favorites are located over here, so let's go ahead
| | 02:27 | and go to that Favorites panel and then
open up the Preferences one more time.
| | 02:31 | You'll notice that I can show or hide specific items.
| | 02:34 | I'm going to hide the items that I don't use: Bridge Center; Adobe Stock
Photos; Collections is one I definitely want to leave on and I'll tell you
| | 02:40 | about that more later; Desktop, I like to have that checked
on; Pictures, I'm not going to use; Computer, Version Cue,
| | 02:47 | Home, or Documents and then go ahead and click OK.
| | 02:51 | And now you'll notice that I have just the items either that I've
added and then a few of the items that were added via the Preferences.
| | 02:58 | If I want to remove something from the Favorites, I'll right-click
it or Control+click it and say Remove from Favorites and as you saw,
| | 03:06 | you can also right-click and choose Reveal in Finder.
| | 03:09 | That's really helpful because sometimes you don't know
where a folder is, you can click Reveal in Finder
| | 03:13 | and then it's going to show you that this is on the desktop.
| | 03:16 | I'll go ahead and close that for now.
| | 03:18 | Let's say I want to add a folder to my Favorites.
| | 03:21 | I'm going to go to exercise_files, and I
decide I want to add the 04_adobe_bridge folder
| | 03:27 | to my Favorites because that's one of my favorite folders ever.
| | 03:30 | So what I can do is simply click, drag, and drop, and
it hasn't relocated that folder in the Favorites,
| | 03:35 | it's just added it to the Favorites so I can access it.
| | 03:38 | Now check this out, this is really cool,
I can go from Favorites to Folders,
| | 03:42 | and it's going to show me where that folder
is in the folder structure or the folder tree.
| | 03:48 | So it's showing me it's inside of exercise_files and there it is.
| | 03:51 | That's a really nice feature; I find it's kind of
helpful to kind of jump back and forth between those two.
| | 03:56 | Well this is a good breaking point; in our next movie, we'll
look at some of the other Preferences inside of Adobe Bridge.
| | Collapse this transcript |
| Bridge preferences 2| 00:01 | >> Male Speaker: All right we have more ground
to cover in regards to our Preferences in Bridge.
| | 00:04 | I'm going to navigate my way to the raw
folder and select one of these raw images.
| | 00:10 | I'm going to then grab the resize handle to resize
this panel here and open up the view of the metadata
| | 00:17 | down below and I'm going to scroll down through this metadata.
| | 00:19 | You notice there is a ton of metadata; in particular
there is a lot of metadata about the camera there.
| | 00:25 | Let's go ahead and open up Preferences and look at how we can modify that.
| | 00:29 | Navigating to the Metadata tab you notice that
we can open and close the different fields
| | 00:34 | and going to the Exif Camera Data info, I'm
going to scroll down to the serial number.
| | 00:39 | This isn't really that helpful to me, I don't necessarily need
to know the serial number of the camera, so I'm going to check that off
| | 00:46 | and you'll notice there isn't a live update of that.
| | 00:48 | You have to click OK and then what you'll
see is that metadata is no longer revealed.
| | 00:53 | You can always turn it back on, the metadata hasn't been deleted or
anything, but sometimes it's nice to just clean up this menu a little bit
| | 01:00 | with things that you find yourself not using that often.
| | 01:03 | Jumping down to the next tab, we have Labels.
| | 01:06 | We're able to now label images red, yellow, green,
purple, and blue by pressing a command key plus a number.
| | 01:13 | We'll go ahead and click OK and I'm going to go back to
the adobe_bridge folder and I'm going to select an image.
| | 01:19 | I then want to expand the size of the preview there so I'm going
to double-click the word "metadata," which will collapse that panel
| | 01:26 | and then grab the resize handle to open up the panel of the preview.
| | 01:30 | I will then use the arrow keys on the keyboard to scroll through
the images and I'm going to see if I have any keepers here.
| | 01:35 | I'll say that's a keeper, Command+6, increase my thumbnail size a little
bit and I'm going to do that with the slider at the bottom of the Bridge
| | 01:45 | and then I'll say, okay that's a keeper,
Command+8, and that one, Command+9.
| | 01:56 | You'll notice that now these thumbnails have
different labels, they're labeled blue, green, and red.
| | 02:02 | I can modify what those labels are called and I can modify them by
saying that red is Best and these are going to be 2nd Best.
| | 02:11 | Click OK, I can also add labels by single-clicking an image and going
to the Label menu and then choosing the label that I want, Best or 2nd Best.
| | 02:21 | Now why would that be helpful?
| | 02:23 | It's helpful because I can view specific images based on their label.
| | 02:27 | I'll click on this Unfiltered drop-down menu and say
show the images that have the best label possible.
| | 02:34 | So there it is, there's the one image that I've determined is a
keeper out of the whole group and so that labeling really helps out
| | 02:40 | and it's nice that the name of the label is updated here.
| | 02:43 | So you may want to modify that in your labels,
you don't have to, red, yellow, green is fine,
| | 02:48 | you just will want to remember what color label means what.
| | 02:51 | File Type Associations really quickly, CS can now read a
ton of different file types, it's actually pretty cool.
| | 02:57 | If we click OK and then go back to Show All
Items, and I'm going to select in this case,
| | 03:05 | whats_new.pdf a resource file that's included there for you.
| | 03:09 | I can then click though that PDF,
I can also change the view of it and it will give me
| | 03:15 | a dynamic update as its being changed and
I can actually view a PDF from within Bridge.
| | 03:20 | So Bridge now reads a ton of different file types.
| | 03:22 | I found that the default settings here in File Type Associations, i.e.,
what types of files can Bridge read, is more than exhaustive.
| | 03:30 | It's really good, there's nothing that needs to be changed there.
| | 03:32 | In our next movie we're going to look at probably the
most important preference in Bridge and we'll find
| | 03:37 | that in the Advanced tab and I'll join you in the next movie.
| | Collapse this transcript |
| Bridge preferences 3| 00:01 | >> Male Speaker: All right, in this movie we're going to
learn the most important preference setting in Bridge.
| | 00:05 | If you take away nothing else from this training so
far, take this away, this is the most important thing.
| | 00:11 | Before we get to that I want to comment on this image, sea_glass_beach,
| | 00:14 | it's this beach up in northern California,
and the entire thing is made of sea glass.
| | 00:17 | It is just amazing, it just boggles my mind.
| | 00:20 | Okay let's get to the shortcut, Command+K to open up Preferences and let's
go to the Advanced tab and talk through the different preferences here.
| | 00:27 | For starters, "Do not process files larger than two hundred megabytes."
| | 00:30 | Well I know my machine can handle it, and a lot of my files are much
larger than that, so I'm going to take that up to 800 MB.
| | 00:36 | "Number of recently visited folders to display,"
15, that default setting is fine.
| | 00:41 | "Double-click edits, camera raw settings
in Bridge," I'm not going to check that
| | 00:46 | and I'll tell you more about that when we get into the Camera Raw setting.
| | 00:49 | Okay jumping down to Cache, now let's
pause and talk about this one for a second.
| | 00:53 | When you install Photoshop by default,
"Use a Centralized Cache File" is selected
| | 00:58 | and that's not what you want to have selected and I'll tell you why.
| | 01:02 | What is a cache file and why is this so important?
| | 01:05 | Well a cache file consists of the image order, so if you do a custom
image order, it also consists of the image ranking either by the stars
| | 01:13 | or the labels, and then most important, it consists of the image preview.
| | 01:18 | So on the right-hand side you can see I have all those thumbnail previews
and it takes Photoshop a bit to actually create the thumbnail previews.
| | 01:26 | So if you use a centralized cache and then copy a folder to an external
drive or a CD, you have to go to File > Export Cache in order to bring all
| | 01:36 | of that information with you, which is an extra step
and you don't want to have to take that extra step.
| | 01:41 | And if you don't take that extra step, you then lose
all the thumbnail previews, the order and the ranking.
| | 01:46 | If you use a distributed cache what happens is
it creates a cache file in that specific folder.
| | 01:52 | So any folder that you visit will then have a cache file.
| | 01:55 | You can copy folders outside of Photoshop
and it's a much more effective way to go.
| | 02:00 | Using a centralized cache puts all your eggs in one basket.
| | 02:03 | If that drive were to ever have problems,
and hard drives always do have problems,
| | 02:07 | I read recently, I can't remember where, but someone was saying
that hard drives are a lot like pets, they all die, which I thought,
| | 02:13 | man that's so sad, but it's kind of true
in the sense that hard drives go bad.
| | 02:17 | And we just need to plan on that and we don't want to put
everything in one drive and then lose all that information
| | 02:23 | because it's really valuable information because it deals with time,
and a lot of time to rebuild that cache as we went through our images.
| | 02:30 | So you definitely want to select here,
"Use Distributed Cache Files When Possible."
| | 02:35 | Let me show you what that will look like.
| | 02:37 | We'll click OK, I'm going to hide the Bridge with the
shortcut Command+H or Control+H, that's a nice one to know,
| | 02:42 | and I'm going to go to the desktop here and open up the
exercise_files and then open up the folder, 01_getting_started.
| | 02:49 | And what you'll notice is that we have those cache files.
| | 02:52 | And those two cache files are inside of that folder.
| | 02:56 | So any folder you visit with Bridge, it will create those files for you.
| | 03:00 | Let's check out another folder.
| | 03:01 | Go into the Chapter 2 folder.
| | 03:03 | Again we're going to see that there are those two files.
| | 03:06 | So if I wanted to copy this folder to another drive, I simply
would need to select it, drag and drop it to another drive
| | 03:13 | and all of the cached information would travel with that folder.
| | 03:16 | I want to jump back to Bridge real quick and highlight a resource
inside of our resources folder, I've also included a screen grab
| | 03:25 | of that advanced setting that we want to
check on, "Use Distributed Cache Files When Possible."
| | 03:29 | I recommend you spread the word, let people
know that that's much more effective.
| | 03:33 | If you want to do some good reading on that, the book I've found that has
the best info on it is Bruce Fraser's Camera Raw with Adobe Photoshop CS2.
| | 03:40 | There are a ton of other resources out there, but that's a really
good one that goes into more details about what a cache is.
| | 03:46 | Well I hope that this discussion on the preferences in Bridge have been
helpful and in the next movie we'll look at how we can use the Bridge.
| | Collapse this transcript |
| Using the Bridge 1| 00:01 | >> Male Speaker: One of my favorite surf photographers of all time
is Sammy Olsen; Sammy created this image by setting a bunch
| | 00:07 | of his slides on a light box and then taking a photo of it.
| | 00:09 | He used it for a promotional piece and I thought
it's perfect, a perfect illustration for the Bridge
| | 00:14 | because the Bridge really is a digital light box extraordinaire.
| | 00:18 | There are some incredible features in the Bridge that we'll explore.
| | 00:21 | In order to become effective at using the
Bridge, we need to learn a number of shortcuts.
| | 00:25 | And I'm going to throw a lot of shortcuts at you here but remember
that learning shortcuts is a lot like learning a foreign language,
| | 00:31 | you need to see them, you need to write
them down, and then you need to do them.
| | 00:35 | So let's go through them and slowly you'll absorb these into your
own workflow and it will help you become faster and more effective.
| | 00:41 | Alright, for starters Shift+Command+O or Shift+Control+O is the
shortcut to toggle between Photoshop and the Bridge.
| | 00:47 | I'm going to press that shortcut key and you'll notice that it's taking
me to Bridge, I'll press it again, it's taken me back to Photoshop.
| | 00:54 | F5 will refresh, so going back to the Bridge, if I have a
folder that's been updated and I can't see the update here,
| | 01:00 | I will press that F5 key, and then it will update the view of those images.
| | 01:05 | The arrow keys, that moves you through your images,
I'm going to go back to the Bridge to highlight that.
| | 01:11 | If I select an image and press the arrow
keys, I can then select various thumbnails.
| | 01:16 | And that's the same thing that it was in
the file browser, which is really nice.
| | 01:21 | We now have this new system of ranking and labeling.
| | 01:24 | Let's go back to the Bridge and in the Bridge, I'm going
to click on the Folders tab and then the raw folder.
| | 01:30 | And what I want to do in this folder is
I want to rank and label these images.
| | 01:35 | Alright, this image let's say is a keeper; I'm
going to press Command+5 for five stars.
| | 01:41 | This image is not a keeper; I'm not even going to
give it a star rating because it's out of focus.
| | 01:47 | This one, yeah it's in focus, I can see the butterfly's
wing, it's not amazing so maybe Command+4.
| | 01:53 | And now I'll go through my images again, this one it's the right
idea, I think trying to capture the butterfly right after it came
| | 01:59 | out of the cocoon, but it's not a good image
so I'm not even going label or rank it.
| | 02:03 | This one again, didn't make the cut, there's
too much white at the top of the image.
| | 02:07 | Oh that's really interesting, the composition is good, I moved around
the banana tree a little bit, so that one's going to get a rating as well.
| | 02:14 | I can then also add those labels, Command+8 to add that
green label, and then I can filter based on labels or stars,
| | 02:22 | and I'll say just show me the images that
have let's say at least three or more stars.
| | 02:26 | And then I have those images.
| | 02:27 | It's a great way to edit and organize files.
| | 02:30 | Jumping back to our shortcut list here, we have a screen
grab of those labels, and you may want to print that out.
| | 02:37 | Take a screen grab of that on your own computer and the
location where you can find that is under the Label menu
| | 02:43 | and that's what I took a picture of and then included in that other file.
| | 02:48 | Moving right along, we have the ability to switch to different
view modes, Command+\, and I'll show you that in a second,
| | 02:55 | and I want to show you that once we look at the next shortcut.
| | 02:59 | The next shortcut is Command+F1 through Command+F5, which switches
our window mode and I want to look at those in the next movie
| | 03:06 | because it deserves a little bit of our focused attention.
| | 03:09 | So I'll catch up with you in the next movie.
| | Collapse this transcript |
| Using the Bridge 2| 00:01 | >>Male Speaker: All right, let's take a look at
the different view modes inside of the Bridge.
| | 00:06 | Shift+Command+O or Shift+Control+O will take us to the Bridge.
| | 00:09 | And here we are on the Bridge, and that there are a handful
of different ways that we can access the different view modes.
| | 00:13 | There are thumbnails at the bottom of the screen, I'm going to
lift those up just a little bit here, we can click on.
| | 00:18 | Currently we're viewing the images in the Thumbnails view mode.
| | 00:21 | We can click on the Filmstrip view mode, and if we want to get rid
of the panels, do you remember we can click on the Show/Hide icon?
| | 00:30 | We also have another shortcut to view the Details
view, and then finally, the Versions and Alternate view.
| | 00:36 | So we can click on those thumbnails, again remember you can
double-click the small icon to go to the smallest view of the thumbnail,
| | 00:43 | and also double-click the large icon to
go to the largest view of the thumbnail.
| | 00:47 | There are a few other ways to access the different view modes.
| | 00:50 | One of them is to scroll through them with Control+\ or Command+\,
| | 00:54 | that's going to take us through those different view
modes, which is really nice way to get through those:
| | 00:58 | Command+\ or Control+\.
| | 01:00 | We can also go to Window > Workspace, and then here
you see that we have a bunch of different workspaces.
| | 01:06 | We have the default, which is the way that it comes when we first open it.
| | 01:10 | We can also go to Lightbox, File Navigator,
Metadata Focus, if we're going to add some metadata.
| | 01:16 | Let's go to the Lightbox, and we can
do that either with the shortcut Command+F2,
| | 01:21 | or just go ahead and click on Window > Workspace > Lightbox.
| | 01:24 | All right, that takes us to this Lightbox view mode;
the panels by default are hidden, which is kind of nice.
| | 01:30 | And we could then go through and view our images, larger or smaller sizes.
| | 01:35 | Command+- (minus sign) is going to make them smaller, or
we can go ahead and grab the slider as well.
| | 01:40 | On of the things that I've found that is really nice
about the workspace layout is you can save custom layouts.
| | 01:47 | Let's go to Window > Workspace, and you'll
notice that I have a few custom layouts here.
| | 01:52 | One of them is edit_thumb_right (edit thumbnails right).
| | 01:54 | And so what I did for this one, is this
is typically how I like to edit my images.
| | 01:58 | I have them over on the right-hand side; I have access to the Folders
if I need to and Favorites, and the Metadata and Keywords if I need them.
| | 02:05 | And I then go through the images with the arrow keys.
| | 02:08 | I like having a really large preview because it will show me,
like in this case, this image is out of focus, it's not a keeper.
| | 02:14 | To delete the image, I can go ahead and press the Delete key.
| | 02:17 | It's asking me: Am I sure I want to throw that to the Trash?
| | 02:19 | Yep, I'm sure.
| | 02:20 | And then I'll go ahead and trash that file.
| | 02:23 | I hope that this movie has been helpful, and we'll continue
to look at even more ways to use Bridge in the next movie.
| | Collapse this transcript |
| Using the Bridge 3| 00:01 | Male Speaker: As you see in the Adobe Bridge, it gives us an incredible
amount of control into configuring the way that the interface is laid out
| | 00:06 | and we've looked at how we can save a custom layout, but let me show
you another custom layout and then talk about why I use that layout
| | 00:13 | and then talk about how you can set that up for yourself.
| | 00:16 | I'm going to go down to one of these images and go to Window > Workspace,
compare_image, or press the shortcut Command+F7, and then I'm going
| | 00:24 | to press Command+N or Control+N; what that will do is it will open up a
second Adobe Bridge window and this is a really nice feature especially
| | 00:32 | when working to decide which image you're going to
keep and you want to look at them side by side.
| | 00:38 | So, now I have the ability to look at these two images side by side; the
two images show very different emotions and seeing them side by side,
| | 00:44 | this large preview mode would help me
determine which image I wanted to keep.
| | 00:48 | So it's a nice feature about the Adobe Bridge
that you can have multiple windows open.
| | 00:52 | So, how would you set that up?
| | 00:53 | I'm going to go ahead and take this back to a normal view
mode, Command+F1 will take me back to the default view mode.
| | 00:59 | What I would do is double-click the icon at the bottom of the screen
for the largest thumbnail view, then hide the panels by clicking
| | 01:05 | on the Show/Hide Panels icon and then go ahead and minimize
the window so that it's taking up half the screen.
| | 01:11 | I would then navigate to Window > Workspace > Save Workspace, and I'll call
this one "compare_new," assign a shortcut to it. Then I'm going
| | 01:21 | to take this back to the default layout, and when I'm ready
to jump to my new workspace I'll go to Window > Workspace > compare_new
| | 01:29 | or use the shortcut I have assigned to it and then open up
a new Adobe Bridge window, Command+N, that's going to be the same size
| | 01:38 | as the window I had there and I'll scroll down to the other image and
you can see then that I have the ability to compare those side by side.
| | 01:46 | I hope that this movie has been helpful and we'll continue to
look at even more ways to use Adobe Bridge in the next movie.
| | Collapse this transcript |
| Using the Bridge 4| 00:01 | Male Speaker: There are some really powerful features inside of Bridge.
| | 00:03 | Let's keep looking at some of our shortcuts
and some of the ways that we can use Bridge.
| | 00:06 | Command+T; we've talked about that, that's to toggle on
and off the metadata so we can only view the thumbnails.
| | 00:12 | I'm not going to show each of these until I get to a
couple more that are a little bit more significant.
| | 00:16 | Command++ (plus sign) or Command+- (minus sign)will decrease or increase our thumbnail size.
| | 00:19 | Although, I actually don't use that shortcut very often because I
find that it lags a little bit compared to the slider down below.
| | 00:25 | Command+O and Command+R open Raw in Photoshop or Bridge.
| | 00:29 | I'll talk more about this when we get to the movie
on Camera Raw but this is actually really cool.
| | 00:34 | You can open the Camera Raw plug-in in Photoshop and Bridge simultaneously
and there's some real advantages to that in real specific situations.
| | 00:41 | Again, more on that when we hit the chapter on Camera Raw.
| | 00:45 | Command+H or Control+H is a shortcut to hide Bridge, which is really nice
sometimes if you just need to get out of Bridge or hide it quickly.
| | 00:52 | Command+(left bracket) or Control+(right bracket) will rotate
an image; let's look at that one real quickly.
| | 00:56 | So when I'm viewing an image, and I'll go ahead and go to the 04_adobe_bridge folder.
| | 01:01 | I can press Command+] and you'll notice that will then rotate it.
| | 01:05 | I can also press the Rotate icon here, and I'll go ahead
and rotate that one or I can select multiple images.
| | 01:12 | In this case, both of these images.
| | 01:15 | This view here is a little bit odd, let me change that
one; let me change the layout here in Bridge for a second.
| | 01:21 | Both of these images are rotated incorrectly; so I'm going to select one
and then press the Command or Control key to select that second image
| | 01:28 | and then press that shortcut, Command+]or go ahead
and click the icon to rotate the image counterclockwise.
| | 01:35 | That's a great shortcut.
| | 01:37 | Know that you can select multiple images in Bridge by selecting one
image then pressing the Shift key and that will select contiguous images.
| | 01:45 | You can also select images that are discontiguous with the
Control key and then modify those either by rotating or ranking.
| | 01:53 | So I'll give those all ranking of five stars.
| | 01:56 | So know that you can do that as well.
| | 01:58 | Command+0 (zero), is going to take those stars off.
| | 02:00 | While we're looking at the shortcut to rotate I think it would be
good to go back to Photoshop and add that shortcut there as well.
| | 02:07 | Because if we're going to learn how to rotate images in
Bridge with a shortcut, we might as well do it in Photoshop.
| | 02:12 | I'm going to jump back to Photoshop and
jump out of full screen mode for a second
| | 02:17 | and reset my palette locations, and I'm going
to go to Edit > Keyboard Shortcuts.
| | 02:23 | I already have a new set here and I'm going to go to the Image
menu, Rotate Canvas and here I've already added that shortcut.
| | 02:34 | I click in that field, Option+Command+] so it's a little
bit different from the Bridge because Command+] is taken.
| | 02:40 | That's taken -- it has to do with the
ranging of bringing things forward and backwards.
| | 02:45 | So I'm going to then go ahead and use that Option key.
| | 02:47 | So in Photoshop to rotate an image it's Option+Command+].
| | 02:50 | So if I was viewing this file and I wanted to rotate it I then
would have that ability to do that with these bracket keys.
| | 02:58 | So that's a good shortcut to have in your bag of tricks.
| | 03:01 | So let's look at a few others; Spacebar to rename an image.
| | 03:04 | Very cool, I'm going to go back to the Bridge.
| | 03:06 | Before, you used to have to click inside the field like I'm doing here to
rename an image; now you can use the arrow keys to scroll through images.
| | 03:14 | If this were an image I want to rename I press the spacebar.
| | 03:17 | It just highlights the name of the image.
| | 03:19 | I'll call this one "monterey_bench" and then I can keep clicking.
| | 03:25 | So it frees me up from having to use the mouse when I want to rename files.
| | 03:28 | That is a shortcut that I use all of the time; definitely one
you want to have in your bag of tricks. Write that one down.
| | 03:34 | A couple others, batch renames; that's really helpful as well.
| | 03:37 | We now have a shortcut for that and let's
take a look at that in the Bridge.
| | 03:41 | I'm going to go back to that raw folder
where I have images that were similar.
| | 03:44 | I'll select those images with the Command key to
get all of them and then I'll go to batch rename.
| | 03:50 | We saw that there was a shortcut; let's go
to the non-shortcut way to name this file.
| | 03:54 | We're going to navigate to the Tools menu and choose Batch Rename.
| | 03:58 | By default, this is how this window will look.
| | 04:00 | Let's talk through the different options.
| | 04:02 | We have a destination folder where you can
rename to the same folder, move to another folder,
| | 04:07 | or copy the file so that we save the original to another location.
| | 04:11 | I'm going to go ahead and copy these to a new
folder and I'm going to click on the Browse button.
| | 04:16 | Destination is a New Folder, I'll name the folder "monarch".
| | 04:21 | Next, I'll go to the drop-down menu for the new filename and I'll type
in the name "monarch" plus a sequence number and I'll go for two digits here
| | 04:33 | so it's showing me it's going to be named; and
its spelled wrong, good thing I checked that.
| | 04:37 | monarch_01 go ahead and fix that typo.
| | 04:42 | Then down below option "Preserve current filename in XMP
Metadata," and that can be helpful especially when we need
| | 04:49 | to search for a file based on its original filename.
| | 04:52 | So in this case I'm going to say yes, it's not
going to affect the file size in huge ways.
| | 04:57 | So I'm going to go ahead and leave that checked on and then select Rename.
| | 05:01 | It says that the metadata will be written to an XMP sidecar
file, and that's where all the Raw information is stored rather
| | 05:08 | than the original raw file, which is fine, and then click "Don't show again".
| | 05:11 | Then go ahead and process that.
| | 05:13 | It's copied and then renaming those files,
| | 05:16 | I'm going to then go to the desktop and find that folder, and in
that folder I now see that I have raw files that have been renamed
| | 05:23 | and copied to a new location and they also have all of the
ranking information and the labels, which is pretty darn cool.
| | 05:29 | All right, well, I hope this movie has been helpful.
| | 05:31 | In the next movie we will look at some more ways we can use the Bridge.
| | Collapse this transcript |
| Using the Bridge 5| 00:01 | >> Male Speaker: Hey welcome back.
| | 00:02 | I hope you've been enjoying what you've
been learning about the Bridge so far.
| | 00:05 | There are a few more things to look at and what we're going to look
at is how we can use our ranking system to view specific files.
| | 00:12 | If you want to become a power user, you definitely want to
learn this stuff, it has to do with the show and hide shortcut.
| | 00:18 | So let's take a look at that in Bridge.
| | 00:19 | I'm going to press Shift+Command+O or Shift+Control+O, it's going to
launch the Bridge, and you notice that those files that I've copied
| | 00:24 | to new folder I have labeled and ranked in some mysterious ways.
| | 00:28 | I have star rating from one through five,
labels, and some with some with labels and stars.
| | 00:33 | Well how the heck does it work?
| | 00:34 | Well we can go to the Filter menu and choose "Show 1 or More Stars".
| | 00:38 | You'll notice that it will show anything with a star, labeled or not.
| | 00:41 | We can also add to that; show something with that Best label
and that's only going to show something with both of those.
| | 00:47 | So it's cumulative, it's adding the one or
more star and the Best label to the search.
| | 00:52 | I can check that off by clicking on it again.
| | 00:55 | Same thing if I press the shortcut.
| | 00:57 | On the Mac, it's Command+Option+6; on a PC, Control+Option+6; and if I press
that shortcut again, I'm toggling that on and off.
| | 01:06 | So if I press Command+Option+1, what that's going
to do is show the images that have been starred,
| | 01:10 | and I can press it again, it will show all the images again, too.
| | 01:14 | So I'm toggling those on and off by pressing them multiple times.
| | 01:18 | If I want to do a search for multiple items, I'm
going to press Command+Option+1, then Command+Option+6,
| | 01:23 | and then I get just those items that have a label and a star.
| | 01:27 | You can always access the information via the Filter menu as you're
getting familiar with the shortcuts, but you may want to get a screen grab
| | 01:34 | of the shortcuts and print them out or write them down; begin to
experiment with them because they will really help you become a power user.
| | 01:40 | I can select one image and then press Shift+Command+I or Shift+Control+
I and that will inverse-select all of the other images.
| | 01:47 | So that shortcut which we're using in Photoshop for selections is
also applicable here, Shift+Command+I, then Command+A to select all,
| | 01:55 | and then if I click off of the thumbnails I'll deselect them.
| | 01:58 | If I want to copy a file to another folder, I can go ahead and Option+
click and drag it to another folder, I'll save that file to the desktop.
| | 02:05 | Something else that I can do is view these images in unique ways.
| | 02:09 | Currently they all have the names monarch_03, monarch_04, etc..
| | 02:13 | I want to sort them by their filenames so I'll go to
View > Sort, Ascending Order by Filename.
| | 02:20 | Now they'll be ordered 01, 02, 03, etc.
| | 02:23 | There are a number of different sort options
as you can see, Document Kind, Date Created,
| | 02:29 | and then of course you can do Manually and go back to your manual sort.
| | 02:33 | There are a couple more things that you can do inside Bridge.
| | 02:35 | As you know Photoshop rewards people who
experiment, who tinker around, who look for things.
| | 02:40 | If you Control+click or right-click, there
are a number of different options.
| | 02:44 | Some of these options are camera options we'll look at later.
| | 02:47 | Some of them are simply Rotate, Move to Trash or even add a Label.
| | 02:51 | So as you've experienced in Photoshop there
are multiple ways to do the same things.
| | 02:55 | The trick is figuring out which ways you want
to use, which are going to be most effective.
| | 03:00 | Here's my recommendation for getting started.
| | 03:02 | I'm going to go ahead and take off all of the labels.
| | 03:06 | What I recommend as you're getting familiar with these shortcuts
is to simply use the arrow keys to scroll through your files,
| | 03:12 | press Command+1 to give it a single
star rating, or even click on the rating.
| | 03:17 | You can go ahead and just click right where that rating is there.
| | 03:20 | And just start out really simple, one star, no labels,
nothing else, and then try to get your shortcut
| | 03:25 | down to filtering at one or more stars: Option+Command+1.
| | 03:29 | That's how I started out and I found it to be very helpful and then
as I learned the shortcuts a little bit more, I got more complex.
| | 03:35 | I didn't want to introduce too much complexity to the
editing, because editing in and of itself is difficult enough.
| | 03:41 | I wanted to think about the images, not think about Bridge and
all these crazy shortcuts and all of this stuff that was going on.
| | 03:47 | So my recommendation is start small and then grow from there.
| | 03:51 | Let's jump back to Photoshop to look at one more shortcut, and the final
shortcut we're going to look at is launching slideshow.
| | 03:58 | The slideshow is a really cool feature in Bridge and we're
going to take an exhaustive look at that feature in the next movie.
| | Collapse this transcript |
| Bridge slideshow| 00:01 | >> Male Speaker: Welcome back.
| | 00:01 | Here is a fun snapshot of my daughter, Annika.
| | 00:05 | Aren't those eyes just amazing?
| | 00:07 | In this movie we're going to look at the slideshow feature in Bridge.
| | 00:11 | Before we get to that, I want to highlight some of
the shortcuts that we'll be seeing here in a second.
| | 00:16 | The first one is Command+L, which will launch the slideshow,
on a PC that's going to be Control+L. Once we get
| | 00:22 | into the Slideshow view mode, we're going to see this screen.
| | 00:26 | And the first time I saw this information, I thought whoa
that's a lot of gobbledygook, I couldn't make any sense of it.
| | 00:32 | And when we see info like that what we
need to do is simply divide and conquer.
| | 00:36 | So let's do that, here we go.
| | 00:38 | Let's look at some of the shortcuts, let's start with
General, and see what the heck these shortcuts are about.
| | 00:43 | Escape key to exit slideshow, no problem, I can remember that
because Escape gets you out of almost anything in Photoshop.
| | 00:49 | If you have a transform you want to get
rid of, Escape will get you out of it.
| | 00:52 | Using the Pen tool, you have a path you want to
get rid of, Escape will get you out of it, okay.
| | 00:56 | That's easy to remember.
| | 00:57 | Looping on and off, I may or may not remember that;
caption mode, that's going to be the metadata info;
| | 01:04 | and then to increase the slideshow duration it's
going to be S or Shift+S will increase or decrease,
| | 01:11 | maybe I'll remember that, I at least know it's there.
| | 01:14 | Moving to the next slide, I see I have the
ability to pause or play with the spacebar.
| | 01:18 | I'm probably going to try to remember that one.
| | 01:20 | And then Window mode, Window mode will take us to the full
screen Window mode, that's definitely a shortcut we want to have,
| | 01:26 | and then D for Display mode will also modify our Display mode.
| | 01:30 | Going down to the next row here, Navigation, we have the ability to
go to the documents before or after using the arrows or Command+arrows
| | 01:39 | and then the next one, same kind of thing, right arrow.
| | 01:42 | So I know that my arrow keys are going to be
important, I'm going to at least try to remember that.
| | 01:46 | All right.
| | 01:47 | Moving right along here, Editing, we have the ability to edit.
| | 01:50 | Remember that bracket key?
| | 01:52 | This is where it gets a little bit loopy.
| | 01:54 | Inside of Bridge its Command+bracket key to rotate,
inside of Bridge slideshow it's just a bracket key.
| | 02:01 | I don't know why those aren't the same, but they're not.
| | 02:04 | Same thing with the rating, before it was Command+1
for one star, now it's just the 1 key to add one star.
| | 02:10 | It was Command+. (period) or Command+, (comma) to decrease or increase, now it's
just the period key or comma key; then we have the 0 (zero) key to clear rating.
| | 02:17 | So it's a little bit different, but at
least they're somewhat similar there.
| | 02:20 | I wish they were the same; I'm not sure why they're not.
| | 02:23 | We can rotate the image again, rating, and
we've seen all these shortcuts before.
| | 02:27 | Now that we've taken a quick look at that, let's go ahead and
go to the Bridge and look at how we can launch the slideshow.
| | 02:34 | There's some really cool ways that we can enter the Slideshow mode.
| | 02:37 | One way is just to press Command+L, that will then show us a
slideshow of all the images that we have open in the Bridge.
| | 02:44 | Notice it started with the image I had selected.
| | 02:47 | I can also Command+click or Control+click various images, press Command+L
now and it will show me just those images that I had selected.
| | 02:56 | That's very helpful as well.
| | 02:58 | Something else that I could do is rank images and then just
view the images that I've ranked and then open the slideshow.
| | 03:05 | I'm going to do that, I'm going to change our
view mode here a little bit so we can see the ranking a little bit better.
| | 03:12 | And here's another add-on shortcut for you, I know I'm throwing a
lot at you, but it's good to know that this is at least out there.
| | 03:18 | If I press Command=1 or Control+1, and if you see I can
also press Command+Z or Control+Z and it will undo that rating.
| | 03:24 | So we even have the ability to undo.
| | 03:26 | But in this case, I want to select a few files and I'm going to select
these files here, and press Command+1 and then without letting go
| | 03:34 | of the Command key I'm going to hold down the Option key as well;
on a PC you would've pressed Control+1 and then Control+Alt1.
| | 03:41 | It's a great way to learn that shortcut, right?
| | 03:43 | Command+1 gives it the star, Command+Option+1
filters the view by that star rating.
| | 03:48 | Now I can go ahead and press Command+L
and that's going to launch the slideshow.
| | 03:52 | It says press H for options, so I'm going to press H, and
notice I have all of those options there that I've seen before.
| | 03:59 | H will turn those on and off as well as the other keys that don't work as
shortcuts, so E, R, T, Y, turns those on and off which is kind of funny.
| | 04:08 | If I scroll through them, which I can do with the
arrow keys, so I'm going to press H to pull those up.
| | 04:13 | A couple of the shortcuts that are helpful, C for caption (press H to
hide those shortcuts), and then go ahead and press C and you notice that we're able
| | 04:20 | to view the ranking of the image and the metadata info.
| | 04:24 | I can add stars to that by pressing the numbers
on the keypad and then also labels as well.
| | 04:29 | Let's look at a few more of the shortcut keys.
| | 04:31 | We have the spacebar to pause and play and then if we're going to do that we
want to make sure we have the ability to increase or decrease the duration.
| | 04:40 | Press H to hide that menu and then spacebar to play
and then S will modify how long each image plays, more
| | 04:51 | or less, and then press the spacebar to pause that.
| | 04:55 | Jumping back to the image, the way that I've found slideshow to
be helpful is to hide the captions and to change the display mode.
| | 05:02 | If I go to a horizontal image, we'll see it more clearly.
| | 05:05 | Press D, it's Scale to Fit, Fill Screen, or Centered.
| | 05:10 | I've found that Centered or Scale to Fit works really well, and then use the
arrow keys to scroll through the images and add the ranking of Command+1.
| | 05:18 | If I want to escape the Slideshow view mode,
I'm going to press the Escape key or the W key.
| | 05:24 | The W key will take it to a smaller view mode, which I
can then scroll through and close by pressing Command+W
| | 05:30 | or Control+W or clicking on the red X in the top-left corner.
| | 05:34 | Well the slideshow feature is really cool in Bridge.
| | 05:36 | It's a very welcome addition; it's a way to view your images at
full screen mode without all the clutter of the rest of Bridge.
| | 05:42 | I hope you got a lot out of this training movie and in the
next movie we'll look at even some more features in Bridge.
| | Collapse this transcript |
| Metadata and collections| 00:01 | >> Male Speaker: In the next couple of movies
we'll look at how we can add metadata to our photos.
| | 00:05 | For starters, we're in the standard view mode.
| | 00:07 | This one isn't ideal for working in metadata.
| | 00:09 | So let's see what we can find.
| | 00:11 | For most of us visual people we usually look for some kind
of a button, we click on this one, the Filmstrip view mode.
| | 00:17 | That's not very good.
| | 00:18 | And note that you can't toggle back and forth between having
the thumbnails on the right-hand side and on the bottom.
| | 00:23 | And there actually isn't a button for the view mode we're looking for.
| | 00:26 | We're going to need to go to Window > Workspace > Metadata Focus (Command+F4).
| | 00:30 | Some of you I'm sure remember that, which is great.
| | 00:32 | It expands the view of our metadata window, while
it decreases the size of the thumbnail view.
| | 00:37 | And I'm going to make that even a little bit smaller over there.
| | 00:40 | I'm going to then click on the jump menu here and
increase the font size of my metadata information.
| | 00:45 | Here we're seeing the filename, when the file was captured,
and we have some other information as far as a copyright.
| | 00:51 | Well let's say that we want to add some metadata information
to this file and all the rest of the files here.
| | 00:56 | I'll select all of them by pressing Command+A or Control+A and then I'm going to
go into the Creator field, and it says you have selected multiple files,
| | 01:03 | it will affect all of them, do you want to continue?
| | 01:06 | Yes, I do.
| | 01:06 | I want to affect all of them.
| | 01:07 | And I'll add a copyright to all of these images.
| | 01:10 | I've added my copyright info.
| | 01:11 | I'm ready then to add some keywords.
| | 01:13 | I'm going to expand the view of my Keywords window.
| | 01:15 | And what I'd like to do is add a whole new
folder and I'll call this folder "nature".
| | 01:20 | And inside of the nature folder I'm going to create a new keyword set.
| | 01:25 | And the keyword is going to be "monarch".
| | 01:27 | Once I've created that keyword I'll go ahead and click the checkbox,
it's again asking me do you want to apply it to all of them.
| | 01:32 | Yes, I do.
| | 01:33 | And now that we know that we can apply this to
multiple files, I'm going to say Don't Show Again.
| | 01:37 | I don't need to see that message again.
| | 01:39 | And we'll click Yes.
| | 01:40 | So now all of those files have that metadata info.
| | 01:43 | And as I scroll down I realize, oops I don't
want these two to have the monarch keyword.
| | 01:49 | So I'll go ahead and select those two images and then click on
the checkbox to change those to take that off and click OK.
| | 01:56 | Now those don't have that keyword, rather I want
those two images to have a different keyword.
| | 02:05 | And the keyword I'm going to look for
here is "sierras" in the Snow Camping set.
| | 02:12 | We can now see that the keyword is updated at the bottom of the page.
| | 02:16 | The nice thing about keywords is that we're
able to now search for files based on keywords.
| | 02:21 | I'm going to do a search for specific files, and I'm going to do
that by pressing Command+F or Control+F or go to Edit > Find.
| | 02:30 | I'm going to look for Keywords, and I want to just look
in the folder raw, keyword that contains "sierras".
| | 02:39 | Click Find.
| | 02:40 | And once it finds those images it look like it replaces the Bridge
I was working at, but actually that window is behind this one.
| | 02:48 | So now I have a new window with the search criteria.
| | 02:50 | The nice thing about that is I can toggle back and forth between those.
| | 02:53 | I want to save these files as a collection.
| | 02:56 | I'm going to click Save As Collection.
| | 02:58 | And I'll save them as a collection titled "snow_camping" and click Save.
| | 03:03 | And then I'll go ahead and close this Bridge window.
| | 03:06 | I'm going back to the other Bridge window; I can then click
on Collections and notice that collection has been saved.
| | 03:11 | This is incredibly powerful, because now I don't have to do that search
again to find those specific files and the folder I was searching.
| | 03:19 | I'll just double-click it and then it goes ahead and finds
those files, again it pulled them up in a new Bridge window.
| | 03:25 | So it really speeds up my whole workflow.
| | 03:27 | If you have the luxury of working on double monitors, this is really nice
| | 03:30 | because a search can be running while you're doing
other work in Bridge or Camera Raw or Photoshop.
| | 03:35 | So again it speeds up your whole workflow.
| | 03:37 | So we looked at one technique for adding metadata
to our images, and the technique we'll be looking
| | 03:42 | at in the next movie is adding metadata via a metadata template.
| | 03:47 | See you in the next movie.
| | Collapse this transcript |
| Metadata template| 00:01 | >> Male Speaker: In this movie we'll look at creating a metadata template
and we'll create that in Photoshop and then apply that template in Bridge.
| | 00:08 | Okay so here we are in Photoshop, what we need to do is create a PSD.
| | 00:11 | It can be a blank PSD.
| | 00:13 | The one I have happens to have text in it, but it doesn't need to have text in it.
| | 00:16 | Next we'll go to File > File Info, and there is
a shortcut for this, but it's quite a mouthful,
| | 00:21 | its Shift+Option+Command+I on the Mac, Shift+Alt+Control+I on the PC.
| | 00:27 | That's going open up the file info dialog window.
| | 00:29 | And here we're going to just add the simple metadata of the author,
we'll go ahead and add some copyright info and we want to jump
| | 00:36 | to the flyout menu and choose Save Metadata Template.
| | 00:40 | We're going to save this template as "copyright chris orwig".
| | 00:45 | Click Save and then go ahead and save and close this file.
| | 00:50 | Once we've done that we can then jump to
the Bridge, Shift+Command+O or Shift+Control+O,
| | 00:55 | and then once we're in the Bridge we're going to
select the images we want to apply this template to.
| | 01:00 | Quick comment on this screenshot, this was
from a promo that I created a little while ago,
| | 01:05 | and later in the training we're going to look at creating promo pieces.
| | 01:08 | I love doing things like that.
| | 01:09 | I think it's really fun to combine multiple images or see how we can
effectively promote our own photography, so a little bit of a tangent.
| | 01:17 | Let's get back on track.
| | 01:18 | We're going to select multiple images.
| | 01:19 | Once we have those images, we're going to navigate up to the drop-down menu.
| | 01:24 | We're going to go to Tools > Append Metadata (or Replace Metadata).
| | 01:29 | If we choose to append, it will add this metadata
to the currently existing metadata.
| | 01:33 | If we choose to replace, it will actually replace
whatever metadata we have there.
| | 01:37 | So if there was a different copyright it would then overwrite that one.
| | 01:41 | So we'll go ahead and go Tools > Replace Metadata > copyright chris
orwig, and then if we were to pull up the Metadata tab and click off
| | 01:50 | and then click back on, we'll notice that
that metadata has been added to the file.
| | 01:55 | It's really helpful to have these templates that we can use,
because then it will speed up our whole workflow process.
| | 02:00 | So if you ever find yourself adding repeat metadata.
| | 02:03 | Go ahead and create a template and do that in Photoshop, and as a quick
refresher the way that you're going to do that is go into Photoshop,
| | 02:13 | create a blank document, go to File > File Info, add the info you want to add
in regards to your metadata, and then from the flyout menu choose Save
| | 02:20 | as Template, and then once you get to the Bridge
you can then append or replace the metadata.
| | 02:25 | That wraps up our discussion on metadata.
| | 02:27 | In the next movie we're going to look at
using the Bridge for batch processing.
| | 02:31 | See you then.
| | Collapse this transcript |
| Batch processing with Image Processor| 00:01 | >> Male Speaker: In this movie believe it or not we will be
learning one of the most helpful new additions to Photoshop CS2.
| | 00:08 | I am so glad that this new feature has been integrated into CS2.
| | 00:11 | And the new feature is the Image Processor.
| | 00:15 | Okay, so I'm in the 05_camera_raw folder and I have a number
of images that I need to convert to a different format.
| | 00:20 | I'll go ahead and select those images.
| | 00:23 | And I'm selecting the image by clicking and then Shift+
clicking to select contiguous files or I can go ahead
| | 00:30 | and Command+click or Control+click to select discontiguous files.
| | 00:34 | So once you have the images selected, navigate
up to the Tools menu, drop down to Photoshop,
| | 00:40 | now we've seen these options previously in CS, most of them, Batch, Contact,
there are a few new ones, Image Processor, Merge to HCR,
| | 00:49 | there's some new features that have been added to PDF
Presentation, and then also there's some new features down here.
| | 00:54 | We'll dig into some of the other features in the following movies.
| | 00:58 | This movie we're going to focus on the Image Processor, as I said
this is one of my favorite features that's been added to CS2.
| | 01:05 | And the reason is because it saved me a ton of time.
| | 01:09 | So let me show you how it works.
| | 01:10 | Go ahead and click on Image Processor.
| | 01:12 | What you'll notice is now it's launched Photoshop
and we're inside of Photoshop and we have the option
| | 01:18 | to select the images to process, process files form the Bridge only.
| | 01:21 | It's telling me I've selected nine, which is great.
| | 01:24 | I don't have to go through and reselect those.
| | 01:27 | Select the location to save the processed images.
| | 01:30 | One of the nice things about this is that if you save it in
the same location, let's say you're going to save these files
| | 01:35 | as JPEGs it will create a folder titled "jpeg" and
it will save all the files inside of that folder.
| | 01:41 | So it's really nice because it helps you stay organized.
| | 01:44 | Jumping down to File Type, we now have the ability to save as JPEG.
| | 01:48 | We can Resize to Fit, which in this case because they're raw files,
| | 01:52 | and these raw files came off the Canon 1DS or
the Canon 20D, so they're pretty large files.
| | 01:57 | We would want to resize these to fit.
| | 01:59 | And let's say we want them to resize to fit inside
of 700 x 700, Convert Profile to sRGB, this is new.
| | 02:07 | Previously we used Doctor Brown's Image Processor, if you remember that.
| | 02:10 | But we didn't have this feature, converting the profile to sRGB.
| | 02:14 | If you're saving a file to JPEG and it's going
to be viewed on a monitor, which most JPEGs are,
| | 02:20 | because you end up emailing these or posting them on a Web site.
| | 02:23 | It's critical that you convert this to sRGB.
| | 02:26 | We'll talk more about this when we talk about saving files for the Web,
| | 02:30 | but just know for now that you definitely want
to click that on, Convert Profile to sRGB.
| | 02:35 | You can also Save as PSD and TIF.
| | 02:37 | And then they even added another feature,
which is really cool: Preferences.
| | 02:41 | We can now include an ICC profile, which
for JPEGs isn't really a good idea.
| | 02:46 | It just makes the file size larger.
| | 02:48 | And when viewing images on a monitor the profiling system
hasn't been standardized enough, so it just adds file size.
| | 02:55 | It doesn't increase quality.
| | 02:57 | If I was saving to a PSD I would definitely want to have that checked on.
| | 03:00 | So I'm going to go ahead and check that off.
| | 03:02 | I can also run an action.
| | 03:04 | So in one of the subsequent chapters, were
going to learn how to convert to black-and-white.
| | 03:08 | And we'll create a black-and-white conversion action, so we can
actually run that action, which will then create a couple of new layers,
| | 03:15 | which would give us the option of having that image in black-and-white.
| | 03:19 | This wouldn't be completely effective if we were saving this as
a JPEG, but it might be more effective if we were saving as a PSD
| | 03:26 | and then we want those black-and-white conversion
layers on top of the image so we have the option
| | 03:31 | to see what the black-and-white conversion would look like.
| | 03:33 | Alright, so we've made it through all of our options.
| | 03:36 | We'll go ahead and click Run.
| | 03:43 | While that's running, one of the nice things about
Photoshop and Bridge being separate application is
| | 03:49 | that while it's running I can actually jump back to the 05_camera_raw folder in Bridge
and I can continue to process raw images, let Photoshop do its thing,
| | 03:59 | and then I can come back here and keep editing my work in Bridge.
| | 04:02 | Very cool; really saves me time on that end as well.
| | 04:05 | You see that it's updated with this JPEG folder.
| | 04:08 | If we go ahead and select that we now have those image saved as JPEGs.
| | 04:13 | So in sum I cannot tell you how stoked I am that they added that to CS2.
| | 04:18 | It is a great feature.
| | 04:20 | Tools > Photoshop > Image Processor.
| | 04:23 | I am grateful for how much that feature has sped up my workflow.
| | Collapse this transcript |
|
|
5. Camera RAWCreative tip: Gear| 00:00 | >> Male Speaker: Hey welcome back to another creative tip.
| | 00:06 | You know the other day I was listening to a photographer
friend of mine talk with another photographer.
| | 00:11 | And they were talking about gear.
| | 00:13 | And one of the comments that he said really struck a chord with me.
| | 00:17 | What he said was you know if you owned all the gear in
an entire camera store, in a month it wouldn't be enough.
| | 00:25 | So when I heard that it really made me chuckle, because it's so true.
| | 00:29 | Because in a month's time something new would come
out, some new item that you would just have to have.
| | 00:35 | And when they were talking about gear, it
really got me thinking about gear in general.
| | 00:40 | And as photographers, our relationship to our gear,
and how it's so easy to become distracted by gear.
| | 00:47 | Let me tell you another story.
| | 00:48 | This is of a different photographer.
| | 00:50 | This particular photographer was at lunch with an
art director, in L.A., at a really nice restaurant.
| | 00:55 | And he was showing the art director his portfolio and
they were flipping through the pages of the portfolio.
| | 01:01 | And while they were doing this, the owner of
the restaurant happened to walk by their table.
| | 01:04 | And he said, "hey do you mind if I take a look at your portfolio."
| | 01:08 | And the photographer said, "of course not, go ahead."
| | 01:11 | So the owner of the restaurant was looking at the
photographs, and he said, "wow these are amazing photographs.
| | 01:17 | You must have an incredible camera."
| | 01:19 | And this comment completely angered the photographer.
| | 01:23 | He really didn't know what to do.
| | 01:24 | And now this photographer is a little bit edgy,
a little bit arrogant, so he ate his lunch.
| | 01:29 | And after lunch he went up to the owner of the restaurant and
he said you know the lunch was exquisite, the food was divine.
| | 01:36 | You must have incredible pots and pans in your kitchen.
| | 01:39 | And when I heard that, it made me chuckle,
because it's kind of true in a way.
| | 01:44 | You know it's so often that we tend to associate good
gear with good results, especially in photography.
| | 01:51 | And we all know this isn't true.
| | 01:52 | I especially know this isn't true.
| | 01:54 | You know I've taken some horrible photographs
with really high-end equipment.
| | 01:59 | There's only one problem with this story.
| | 02:01 | I thing it belittles things a little bit.
| | 02:03 | I like to think of the relationship between a photographer and
his or her gear more like a musician and his or her instrument.
| | 02:10 | And growing up I had this old piece of junk guitar that I bought at Sears,
of all places, and I had this friend, Bill, who is an incredible musician.
| | 02:19 | Now I kind of disregarded this piece of junk guitar.
| | 02:22 | But one day he came over and I'll never forget this.
| | 02:24 | He came over, picked up that guitar, and
made the most amazing music with it.
| | 02:30 | It totally changed the way I viewed that guitar.
| | 02:33 | And you know it got me thinking a lot about gear
and about how so often we come to say "if only."
| | 02:40 | "If only I had this lens in this situation."
| | 02:42 | "If only I had this camera body."
| | 02:45 | "If only I lived in this situation."
| | 02:47 | "If only, if only."
| | 02:48 | The most creative photographers that I know, and the most
creative people that I know, for that matter, are not the "if onlys."
| | 02:55 | They're not hung up on the "if onlys."
| | 02:57 | While the rest of us are dwelling on our "if onlys."
| | 03:00 | These people are out and about making the impossible a reality.
| | Collapse this transcript |
| Camera RAW 101| 00:01 | >> Male Speaker: Welcome to the chapter on Camera Raw.
| | 00:03 | Now if there is any reason to update to Adobe Photoshop
CS2, it's because of the new features in Camera Raw.
| | 00:09 | And you've probably heard it said that you should always shoot in
the raw but don't shoot in the buff, because you might get arrested.
| | 00:15 | And why is that, what's the big deal with raw?
| | 00:17 | Why is it so important?
| | 00:18 | JPEG versus raw, let the games begin.
| | 00:21 | Well let's take a look.
| | 00:22 | For starters, when an image is captured digitally off of a sensor and a
JPEG file is created, it goes through a number of processes, Bayer interpolation,
| | 00:29 | white balance, contrast, etc., etc., compression, i.e., pixels
are lost, actually thrown away, and then you get this JPEG file.
| | 00:37 | So you've actually lost information; in contrast the raw file
comes straight off the sensor, all of the information is there,
| | 00:44 | and then you simply modify the way that info is interrupted.
| | 00:47 | So you actually never lose information.
| | 00:49 | So it's definitely the way to go if you have a camera where you
can shoot in the raw, you definitely want to be shooting in the raw.
| | 00:55 | If you don't, I have a number of source file here
so you can get some experience using raw files
| | 01:00 | and eventually once you have your own raw files you'll be
able to apply all the principles that we'll be learning here.
| | 01:05 | All right, I want to point out a quick resource; I'm going
to jump to that Web site that I've highlighted before.
| | 01:10 | The Web site is Photoshop in Focus.
| | 01:12 | A couple of things I want to point out here.
| | 01:14 | One is there will be a way to subscribe to a mailing list,
and I'm going to send out a monthly email with tutorials
| | 01:21 | and updates and anything that's changed in Photoshop.
| | 01:23 | You may want to look out for that and subscribe to that.
| | 01:26 | The second thing I want to point out is if you go to the shortcuts
page, there will be a link to this Bridge and Camera Raw shortcuts.
| | 01:32 | If you click on that link it will open up this PDF file, and these
files a lot of times, because they are exhaustive, look like a big blur.
| | 01:39 | But there are a couple of things that are actually pretty valuable.
| | 01:41 | So for starters let's say you use auto adjustment -- Command+U or
Control+U -- that's a great shortcut to have in your bag of tricks.
| | 01:49 | And we'll look at that in Camera Raw, or even
rotating images, where we've seen this in Bridge.
| | 01:55 | We can now do that in the Camera Raw dialog with Command+[ or Command+].
| | 01:59 | So typically when you have a file like this, I
recommend grabbing a highlighter and highlight a few
| | 02:03 | of the shortcuts that are valuable as you start learning Camera Raw.
| | 02:06 | Alright I'm going to jump to Bridge, and in the Bridge I'm in
the folder for Chapter 5 and then in the subfolder resources.
| | 02:15 | I'm going to go ahead and open up this resource file by double-
clicking it in Photoshop, and if you have these source files,
| | 02:21 | what you can do to navigate through them is go to Layer
Comps and then click on the Next and Previous buttons,
| | 02:25 | and that will take you through the various layer comps.
| | 02:28 | All right so let's slow down a little bit and talk about Camera Raw.
| | 02:33 | For starters, this an image of my daughter's hand when she was maybe two or
three weeks old and we were out for a walk and she fell asleep with her hand
| | 02:41 | in my hand and I just thought that was so
wonderful and actually captured this in Camera Raw.
| | 02:47 | Before we get into actually using Camera
Raw, what I want to look at is the interface
| | 02:52 | and deconstruct it a little bit, point out a few things that are new.
| | 02:55 | Now I know this is going to be little bit hard to read but know that
we'll be seeing this again when we actually start working in Camera Raw.
| | 03:02 | For starters, up top we have a bunch of tools.
| | 03:05 | I want to go through those tools from left to right.
| | 03:08 | On the far left-hand side we have the Zoom tool, we
have that zooming in and out (Command++ and Command+- also work.)
| | 03:15 | Next tool we have is the Hand tool; you can access that tool by pressing
the spacebar temporarily, just like in Photoshop, which is really nice.
| | 03:22 | And that gives you the ability to scroll around on the image.
| | 03:24 | Then we have the White Balance tool,
| | 03:26 | which is a really effective tool, and typically you want to click on something
that is actually not pure, pure white, but something that should be neutral.
| | 03:33 | And we'll look at how you use that tool.
| | 03:35 | And then we have the Color Sampler tool,
really helpful for getting neutral colors.
| | 03:39 | Then we have a couple of new tools in that next set there.
| | 03:42 | We have a Crop tool and a Straighten tool.
| | 03:44 | And what we can do now in the new Camera Raw, we can actually crop an image
so that we don't lose pixels by doing
| | 03:53 | that in Camera Raw; we can also straighten
our images as well in Camera Raw.
| | 03:57 | And then we have those Rotate buttons.
| | 03:59 | Moving over to the right, we have the Preview checked
on, and we can also check on Shadows and Highlights.
| | 04:05 | And what that will do is it will show us if we've lost any detail.
| | 04:09 | Going down below we see the histogram --
this diagram right here.
| | 04:14 | Underneath that we have our usual tabs: Adjust, Detail, Lens,
and Calibrate, but then a new one snuck in there, Curve.
| | 04:22 | And this Curve we can actually modify for
contrast and a few other things as well.
| | 04:27 | Down below we have our controls we saw in Adobe Photoshop CS.
| | 04:30 | And we'll go over all of these controls when we get there.
| | 04:33 | I just want to highlight a few things and then finally down to the
bottom right-hand corner, we're seeing some new stuff down there.
| | 04:39 | Save, Open, Cancel, Done, what I want to point out is that
the Option (Mac) or Alt key (PC),
| | 04:46 | it actually will change that Open button to Open
as Copy -- that's a really cool feature in CS2,
| | 04:52 | because now we can open up multiple copies of an image from a raw file.
| | 04:57 | We weren't able to do that in CS.
| | 04:59 | And it also changes Cancel to Reset, and that's a really nice feature.
| | 05:03 | Jumping over to the left-hand side we see that we have our color
space, we also have the size of the image, fit, depth, and resolution,
| | 05:10 | and right above that we have the ability to
zoom in and out or have the image fit to the window.
| | 05:15 | As way of highlight, again those tools up top so we get
familiar with them, Zoom, Hand, White Balance, Color Sampler,
| | 05:23 | Crop tool, Straighten tool, and then our Rotation tools.
| | 05:27 | Another menu you want to look at is the flyout menu.
| | 05:29 | If you click on this button right here, this menu will open up,
and we have a couple of different things that we can do here.
| | 05:35 | Load and save settings, export settings, there's that shortcut to
turn on and off the auto adjustments, and then we can actually dial
| | 05:43 | in a specific Camera Raw setting and then save that as the default setting,
| | 05:48 | so that automatically when you look at a folder of Camera
Raw files they all will be set with these specific settings.
| | 05:54 | It's pretty cool.
| | 05:55 | And then finally that bottom shortcut to Preferences, Command+K.
You can also get to Preferences by clicking on the Photoshop
| | 06:01 | or Bridge drop-down menu and then choosing Preferences.
| | 06:05 | Let's take a look at the Preferences.
| | Collapse this transcript |
| Camera RAW preferences| 00:01 | >> Male Speaker: Okay for starters we have Save Image Settings;
I'd recommend you save those in a sidecar XMP file.
| | 00:07 | The advantage to doing that is if you burn a CD
or DVD, the edits travel with the image and so,
| | 00:13 | therefore they travel along with the Camera Raw file, rather then
being saved in a main folder, a Camera Raw database somewhere else.
| | 00:20 | So that's definitely the way to go.
| | 00:21 | The other positive is Bridge will hide the sidecar XMP file by default,
so they're not going to get in the way, they're not going to clutter things up.
| | 00:28 | So you definitely want to take that setting
to Save Image Settings to sidecar XMP files.
| | 00:35 | All right, moving right along.
| | 00:36 | Apply sharpening to preview images only.
| | 00:39 | This is just my recommendation; my recommendation
is to sharpen outside of Camera Raw, and here's why.
| | 00:45 | The sharpening inside of Camera Raw is really basic;
you have one slider, sharpening, or no sharpening.
| | 00:51 | Now, in CS2 there's some new ways to sharpen that are
much more advanced and you get much better results.
| | 00:57 | So I like to do my sharpening outside of Camera
Raw, rather then doing it inside Camera Raw.
| | 01:01 | But I want to preview the image with a little bit
of sharpening so I can see if it's worth working on.
| | 01:06 | If indeed the image is actually sharp.
| | 01:08 | Moving down to the next field, Camera Raw Cache.
| | 01:12 | What the heck is this?
| | 01:12 | So let me talk about it a little bit.
| | 01:14 | For starters, a cache file for a raw file averages about 5 MB.
| | 01:19 | This default setting of 1 GB holds the pre-parsed
data for about 200 of the most recently viewed images.
| | 01:26 | Well what does that mean, pre-parsed data?
| | 01:28 | Well if you've looked at a Camera Raw file, it
actually will save or cache that temporarily.
| | 01:33 | It remembers in this case approximately
up to 200 images that you've viewed.
| | 01:37 | Which is very helpful, it will speed things
up as you're working on your images.
| | 01:41 | And here's the one side note.
| | 01:43 | If you edit folders with more then 200 raw files,
you really want to increase the cache's size limit.
| | 01:49 | So let's say you're a wedding photographer, and from one shoot you're
using a 4 GB card or something and you have 200, 300,
| | 01:56 | 400 images and you're looking at that folder in one
time, and you definitely want to increase that raw cache.
| | 02:03 | You can go ahead and purge the cache at anytime
if you feel like things are kind of bogging down.
| | 02:08 | You can go ahead and purge that.
| | 02:09 | No info is lost by doing that.
| | 02:11 | It simply cleans out the cache, and it will rebuild it as you go.
| | 02:15 | DNG File Handling, I recommend you
check on "Update embedded JPEG previews."
| | 02:20 | I'm using a medium preview rather then a full size.
| | 02:23 | Here's why: the positive side to this is all of the
previews of the edits that you make are auto updated.
| | 02:28 | And that's a good thing.
| | 02:30 | The negative side of it: it takes time
to generate the new thumbnail preview.
| | 02:34 | I've found that it's worth it.
| | 02:35 | We'll talk more about DNG later.
| | 02:37 | It's a pretty interesting format.
| | 02:38 | I know some people who work in DNG actually have this off as they
are working on their files and then turn it back on when they are done,
| | 02:45 | so that all of the thumbnails can be generated at one time.
| | 02:49 | I find that a little bit encumbering so my
recommendation is check that on and choose Medium Size.
| | 02:54 | The final preference we'll look at is "Ignore sidecar XMP files".
| | 02:59 | And this has to do with the way that DNG files
work with the previous version of Photoshop CS.
| | 03:04 | There's a good chance that it may need to be opened up in CS.
| | 03:07 | You want to go ahead and check that on.
| | 03:10 | Well all right that takes us through our
first look at Adobe Photoshop Camera Raw.
| | 03:15 | In the next movie we're actually going to
start working on files and I'll catch you then.
| | Collapse this transcript |
| Camera RAW workflow 1| 00:01 | Male Speaker: As a quick side note this image was shot in Antelope
Valley this last year and the wild flowers there were just going crazy!
| | 00:08 | They were like fireworks; that entire hill that is yellow in
the background had poppies and all kinds of flowers all over it.
| | 00:14 | It was amazing. As I was driving down this road there was a road
off to the right and I was deciding which way to go because there were
| | 00:20 | so many cool options and the clouds were
amazing and I just had a wonderful time.
| | 00:25 | One of the cool new features in CS2 is the ability to open raw files two
different ways, and so the question is which way is the best way to go?
| | 00:34 | You can open raw files that will be opened by Bridge or by Photoshop.
| | 00:39 | What path to take? Well let me tell you.
| | 00:41 | Here's your tip: When you're opening multiple files and
you're going to process those files, do that in Bridge
| | 00:47 | so then you can go to Photoshop and continue working.
| | 00:50 | Well how do you open files in either Bridge or Photoshop? With
a shortcut, and the shortcut from Bridge is Command+R or Control+R,
| | 00:58 | which will open the raw file hosted by Bridge or Command+O
or Control+O will open that shortcut in Photoshop.
| | 01:05 | Well, this doesn't totally make sense yet
because we haven't actually done this.
| | 01:08 | But at least we know, "hey there's two different ways to do this."
| | 01:11 | So let's take a look at Camera Raw and as were going through that
we'll look at how we can open these files in Photoshop and Bridge.
| | 01:18 | All right, I'm going to jump to the Bridge real quickly here and I'm
going to go ahead and open up a file from that same time in the desert.
| | 01:27 | This time I'm going to press Command+R and you'll notice that
this is opened up in the Bridge; and how can I tell that?
| | 01:36 | Well, there are a couple different ways; one of the ways I
can tell is it says the Bridge in the top left-hand corner.
| | 01:40 | The second way is by noticing the options that I have down
here; currently is says; Save, Open, Cancel, and Done.
| | 01:47 | I'm going to go ahead and cancel out of that and I'm going to
go ahead and press Command+O, and it jumped to Photoshop quickly,
| | 01:53 | and you'll notice the Photoshop menu up top and this time we have
Save, Cancel, Open, and Done, and the Open button is highlighted.
| | 02:01 | So there are a couple differences but everything else is identical.
| | 02:05 | It doesn't really matter which one you're in,
except when you're processing multiple files.
| | 02:10 | So far what we've seen is you can open the Camera
Raw plug-in that's hosted by Photoshop and Bridge.
| | 02:17 | What's the advantage of doing this one way or the other?
| | 02:21 | Well, we'll look at that in the next movie.
| | Collapse this transcript |
| Camera RAW workflow 2| 00:01 | >> Male Speaker: All right in this movie I want to briefly look at
a couple more techniques for processing multiple Camera Raw files.
| | 00:07 | When you're shooting, if you have the luxury of being able to shoot
a grey card, either Macbeth color checker chart or Macbeth grey card,
| | 00:14 | or there a number of different types of grey cards out there.
| | 00:16 | It can be incredibly helpful.
| | 00:18 | As we've seen before, one of the things that
you can do is open up multiple raw files,
| | 00:22 | here you're going to open up two raw files, Command+R to open them in Bridge.
| | 00:26 | Select both of these files and then simply
go ahead and use the White Balance tool
| | 00:32 | to white balance an item in this image that I know that should be neutral.
| | 00:38 | And once I've done that, both of these images are now
color balanced and I'm done with them. I can click Done,
| | 00:44 | and we'll see that update here in the Camera Raw dialog window.
| | 00:49 | Another view of that with a different grey card, Command+R, here we
have a grey card on paper, the previous grey card was on plastic.
| | 00:57 | This one will work as well as long as we select both images and
then go ahead and sample an area in the image and then we'll see
| | 01:05 | that we have that color balance happening across the board.
| | 01:10 | Finally the last thing I want to look at is when
we have a ton of images from a particular shoot.
| | 01:16 | And we want to use the White Balance setting
and apply those to other files.
| | 01:21 | Here I'll grab the eyedropper and I'll color
balance this image and go ahead and click Done.
| | 01:27 | And then I'll go back to Bridge and press Command+Option+C and select the
other files and press Command+Option+V. And I want to paste everything
| | 01:37 | in this case and we'll notice that those are
now updated and they're correctly color balanced.
| | 01:42 | The advantage to doing that is there are times we have so many
raw files you can't open them all up in the raw dialog window.
| | 01:49 | It will actually slow Photoshop down.
| | 01:50 | So there are times when it's advantageous
to select one file, the initial file
| | 01:55 | and then copy those Camera Raw settings and paste them onto the other files.
| | 01:59 | I've found that at times it works a little bit more quickly.
| | 02:02 | All right, I hope that you've enjoyed this brief movie on color balancing.
| | 02:06 | In the next movie, I want to look at something that's unique to Photoshop,
and that is image resizing, and take a little side trip down the question
| | 02:14 | of should you resize your images in Photoshop or
in Camera Raw and we'll do that in the next movie.
| | Collapse this transcript |
| Camera RAW workflow 3| 00:01 | >> Male Speaker: I'm going to select
these two images of the pumpkin here.
| | 00:03 | And I'm going to open both of these images up at the same time in Camera Raw.
| | 00:08 | This is a really cool feature that we can now process
multiple images inside the Camera Raw dialog window.
| | 00:14 | So as you noticed I have two images open here.
| | 00:16 | And both of the images have a color shift.
| | 00:19 | And what I want to do is correct that.
| | 00:21 | And I can correct that a couple of different ways.
| | 00:23 | One of the ways I can correct it is using the White Balance eyedropper tool.
| | 00:28 | I could just simply select that tool, the shortcut is the I key, or click on
it and then click on something I think should be neutral in this image.
| | 00:35 | In this case I know this grey should be neutral there, so then
it just neutralizes the color and I've color corrected the image.
| | 00:42 | I want to undo that by pressing Command+Z; rather
then just correct one image I want to correct both.
| | 00:48 | So I'll go ahead and select both of those images
| | 00:51 | and now with the eyedropper tool selected I'll click
on that and notice the update in the image below.
| | 00:56 | So now both images have been updated.
| | 00:59 | So the advantages of using this type of workflow are amazing, especially
if you're shooting in a studio and you have very similar lighting.
| | 01:06 | You can have someone hold a grey card in the
first shot and then color balance the next 15, 20,
| | 01:12 | however many shots inside Camera Raw, it's really cool.
| | 01:15 | Let's take a look at another tool here.
| | 01:18 | I'm going to undo that edit and then go to the next
tool which is called the Color Sampler tool.
| | 01:23 | We'll go ahead and click on that and then
I'm going to set some sample points.
| | 01:27 | And you can actually set up to nine points.
| | 01:36 | Now do we need that many points?
| | 01:38 | No. So I'm going to get rid of the ones I don't need, holding the Option
or Alt key and that will change the cursor to the scissors there
| | 01:44 | and then I'll take those points off, because I
don't need to see all that color information there.
| | 01:49 | One of the things you may or may not know about the RGB color
space, that for neutral colors the RGB numbers need to be equal.
| | 01:56 | So let's go ahead and select both images again
and then sample the grey, and you'll notice now
| | 02:03 | that our RGB numbers are very close to equal in the grey card.
| | 02:06 | We're getting some color in point #4 but
that's okay, because that actually isn't neutral there.
| | 02:11 | I know that just because I shot that one.
| | 02:13 | So that's a really helpful tool.
| | 02:15 | It helps us just look at color and take note of what's happening.
| | 02:19 | Jumping to another tool, notice I still have both images selected.
| | 02:22 | I'm going to go ahead and crop.
| | 02:24 | And the cool thing about crop is I can actually
save this out without losing those pixels.
| | 02:29 | Did you notice how it updated both images?
| | 02:31 | So here's the crop, you can see it update both of those images.
| | 02:35 | And so we can set a crop on multiple images and then click
off and then actually click on one image and modify it.
| | 02:41 | And now it will just be that crop for that particular image,
which is really helpful, so you can apply it in that way.
| | 02:48 | All right, we've done a few important edits.
| | 02:50 | We've color corrected the image, and we've cropped the image, and
now here's the advantage to opening Camera Raw files in Bridge.
| | 02:57 | Once I've made those changes, I'm going to go ahead and select both images
by holding the Shift key and clicking on both of them, or the Command key,
| | 03:05 | or clicking the Select All button or pressing Command+A.
And then I'll click Save 2 Images.
| | 03:11 | I have some options here.
| | 03:13 | Select the folder they're going to be saved to,
I'm going to save it to a folder called examples.
| | 03:17 | Leave the document name as is, I want the extension to be
".psd", and I also want to preserve those crop pixels.
| | 03:24 | I don't want those to be discarded, it will
hide those in case I need to bring them back.
| | 03:28 | And that is really cool, because there hasn't been any
destruction, to the raw file or to the PSD file.
| | 03:34 | So go ahead and click Save, and you'll notice
that it will be Save Status: 2 remaining.
| | 03:38 | While that's happening I'm going to jump back
to Photoshop, and notice that you'll be able
| | 03:43 | to see the status in the background there, it's still running.
| | 03:45 | And then I can work in Photoshop and be processing my image and making
edits; in this case I'm working on the lighting in the foreground.
| | 03:53 | And I decided that it looks really good,
I'll go ahead and save that file out to the desktop.
| | 04:00 | Once I've done that, I close the file, and I notice that
Bridge is already done saving those files, so I can jump back.
| | 04:07 | So it can really speed up your workflow.
| | 04:09 | In this case there were two images, it wasn't that significant.
| | 04:13 | But imagine if you're processing 10 or 20 images, and the savings happen
| | 04:17 | in the background while you can then jump to
Photoshop and get on with some other images.
| | 04:22 | So it can really speed up your workflow.
| | 04:25 | One of my colleagues who does a ton of studio shooting said that using
this technique has literally cut his post-production time in half.
| | 04:33 | That's one of the reasons I say that if there is one reason to update
to CS2 it's because of some of these new features in Camera Raw.
| | 04:40 | And we'll look at some more of those features in the next movie.
| | Collapse this transcript |
| Camera RAW workflow 4| 00:01 | >> Male Speaker: More on Camera Raw, for
starters I want to highlight a few things.
| | 00:04 | In this case we have this image, lisa_tri; this is by one of
my colleagues, Tree, who works at Brooks with me as well.
| | 00:10 | And a couple of things to note, for starters, what
are these icons that we're seeing in Photoshop?
| | 00:14 | Well this icon is telling us that the
settings have been modified in Camera Raw.
| | 00:19 | The next one the Crop tool, that's pretty easy, the image has been cropped.
| | 00:22 | And finally the little open or new icon, which we see in Photoshop,
tells me that this document is currently opened in Photoshop.
| | 00:30 | We can double-click the file -- that will open it up in Photoshop.
| | 00:33 | I'm going to go ahead and press Command+K to go
back to our Preferences and to the Advanced tab.
| | 00:38 | When we talked about Preferences, I skipped over this
"Double-click edits Camera Raw settings in Bridge."
| | 00:44 | And I said to leave it checked off.
| | 00:46 | The reason is because I wanted to talk about the whole
concept that you can open in Bridge or in Photoshop.
| | 00:51 | Now that we understand that, it kind of makes sense, right?
| | 00:54 | To do most of our Camera Raw work in Bridge
so we don't even have to touch Photoshop.
| | 00:59 | And a lot of our editing, processing, etc. is now going to
happen inside of Camera Raw and then later we'll go to Photoshop.
| | 01:05 | So I'm going to check that on.
| | 01:06 | Double-click opens in Bridge.
| | 01:08 | Go ahead and click OK.
| | 01:09 | Now I'm going to either press Command+R,
Control+R on the PC, or double-click to open.
| | 01:14 | And in this case, this image would really benefit from white balance.
| | 01:17 | This looks like it was white; we'll go ahead and set an eyedropper there,
| | 01:21 | and we'll see that our RGB numbers are
definitely showing we have a blue shift.
| | 01:25 | And we'll grab the eyedropper and click on
that, and that definitely corrected the color.
| | 01:30 | So we don't always have to have a grey card in the image, a lot of times
it's finding something that is neutral which will help us then color correct.
| | 01:38 | But be sure to pick something that's neutral; whites of the eye actually
aren't neutral, teeth aren't neutral, there's color in both of those items.
| | 01:46 | So we want to pick things that are neutral.
| | 01:48 | And if you click around a little bit and click something that
isn't neutral, what you'll get is some kind of a color shift,
| | 01:53 | because it's trying to make whatever you are clicking neutral.
| | 01:56 | So just be careful where you are clicking and make
sure you are getting something that is neutral.
| | 02:01 | All right, going to the next image, this is fun shot of my daughter
Annika, and opening this up and grabbing the eyedropper tool,
| | 02:09 | and sampling the color here back on, this is a pillow behind her.
| | 02:14 | When I do that it actually added a blue shift.
| | 02:16 | I don't know if you are able to see that on your end, but it's
a subtle but significant blue shift, which I don't like.
| | 02:22 | So then what are different ways that I can deal with color temperature?
| | 02:25 | Well one way is I can go through the White Balance option.
| | 02:28 | I can go to Auto, which again is really cool,
or Daylight, which is going to be kind of nice.
| | 02:33 | It warmed it up, right?
| | 02:34 | It looks a lot better.
| | 02:35 | It looks a lot more inviting
| | 02:37 | as shot, there's really a cool and blue to that
daylight balance, which is really nice and warm.
| | 02:43 | We can also grab the slider; by going to the
left, we're going to lower the temperature,
| | 02:47 | it's going to become cooler; going to the right is going to become warmer.
| | 02:51 | If I mess up my temperature and I need to go back, I can always
go back to As Shot or I can hold down the Option+Alt key,
| | 02:58 | which will change Cancel to Reset, which will reset everything.
| | 03:01 | Going down to Daylight, we then have the option of changing
color, in this case it's going to go from green to magenta,
| | 03:08 | to dial in that color.
| | 03:10 | And then we have some other options, which
we'll look at in subsequent movies.
| | 03:15 | Jumping to one more image, this is an image
shot up in the Sierras this last spring.
| | 03:20 | And this image is shot right as the sun is rising so it's very warm.
| | 03:24 | So just to point out with images like this
we're not going to want to neutralize the color.
| | 03:28 | The reason it was shot in this setting was to have a skewed type of color,
and every once in a while I'll see people pulling out, say, the warmth
| | 03:36 | of an image, so the color's neutral when
they shot it right as the sun was setting.
| | 03:40 | And just as a highlight you don't necessarily want to do that, and
this would be one of the examples, where we would just leave it as is.
| | 03:47 | One more example, this is a snapshot from that same snow camping trip.
| | 03:51 | And it was really cold, but incredibly fun.
| | 03:54 | And in this case we know that snow is white, so we think
okay grab the eyedropper tool, let's sample the snow.
| | 04:00 | Well it did neutralize the image, but it
definitely changed the mood of the image.
| | 04:05 | So there is something to be said for subjective
color or even the color that was just as shot.
| | 04:10 | And the color that was captured as shot, or the
different color temperatures between the open shade,
| | 04:15 | the blue on the snow because the sun had already gone down
over the mountain, and then the warmth and red of the fire.
| | 04:21 | So again this one's probably technically correct, because that snow is neutral.
| | 04:26 | And it's a much different feel.
| | 04:28 | But just note that neutral color isn't always the best way to go.
| | 04:32 | It's worth experimenting with but it's not always the best way to go.
| | 04:35 | All right in the next movie we'll dig into
even more of the features in Camera Raw.
| | Collapse this transcript |
| Camera RAW workflow 5| 00:01 | >> Male Speaker: More on Camera Raw, this is just a quick note.
| | 00:03 | These images I mention were shot when I did
the snow camping trip with a bunch of guys.
| | 00:08 | And I love this shot, not because it's a good photograph, but because our
campground was right there and this little pond would freeze over at night
| | 00:15 | and some of my buddies, Jim and I in the mornings just a few minutes
after this photo was taken, jumped into this pond and we broke the ice
| | 00:24 | as we jumped in and man was it cold, but
I have never felt more alive in my life.
| | 00:29 | So anyway let's look at some more features in Camera Raw.
| | 00:32 | I'm going to go ahead and open up this image here,
snow_camping_10; a couple of things to point out.
| | 00:37 | For starters we have the ability to view the
Preview, which we definitely want to have on,
| | 00:41 | we want to be seeing the live preview of the edits we're making.
| | 00:44 | And then we can also turn on our Shadows and Highlights.
| | 00:47 | Notice that the shadows it's now showing me, I'll
bring that up so we can see that more clearly,
| | 00:51 | it's showing me that I don't have any detail or information in this area.
| | 00:55 | It doesn't really matter to me that those are blocked, because those are
trapped shadows, so I don't necessarily need detail in those areas.
| | 01:01 | It's a great way to get to know the total
range of your image by having those checked on.
| | 01:06 | A couple of other things, remember that we said there's
a shortcut Command+U, which will turn on and off Auto.
| | 01:12 | And in this case I'm turning on Auto, and what it is do is it's trying to
preserve the detail in the shadows and also not blow out the highlights.
| | 01:19 | I can go beyond this, so what I found, it's really
nice to start out with the Auto on and then modify it.
| | 01:26 | I want things to be a little more punchy, I like to
have a little more contrast than that, brighten stuff up.
| | 01:31 | Notice my highlights haven't blown out, if they did
as I go up we'll see that happen in the snow there.
| | 01:36 | There still detail in that snow.
| | 01:38 | So this is still pretty safe.
| | 01:40 | I haven't edited this beyond repair.
| | 01:42 | I'll go ahead and click Done.
| | 01:44 | Because now I'm done editing that image.
| | 01:46 | And I want to apply the settings of this image to the image of the self
portrait; I was pretty tired at that point but also pretty happy.
| | 01:54 | Set the camera on a rock, you know I had
to have a picture up on top of there.
| | 01:57 | This is where we hiked up, there are my buddies down below.
| | 02:00 | We walked way up to the top, this peak here, it was amazing.
| | 02:03 | Anyway so I have applied Camera Raw settings to this file.
| | 02:06 | A couple different ways I can access those.
| | 02:09 | I can go to Edit > Apply Camera Raw Settings > Copy Camera Raw Settings;
notice the shortcut on a Mac: Option+Command+C, and on a PC, Alt+Control+C.
| | 02:19 | I'm going to use a shortcut, so I'm going to go Option+Command+C, and then go
to the next image, Option+Command+V and it gives me the option to
| | 02:26 | to paste Everything or just the White Balance settings.
| | 02:29 | I'm going to go ahead and paste Everything.
| | 02:30 | I can also specifically check items on and off.
| | 02:33 | Go ahead and click OK and you'll notice the preview is then updated.
| | 02:36 | For this image it went to dark, right.
| | 02:38 | I lost too much detail.
| | 02:39 | So I need to open that image up and I'm seeing in
my shadow area that the shadows just got blocked up.
| | 02:45 | So I need to back those off and open up some of the highlights or the
Brightness value; the problem with that is because of the dark shadow.
| | 02:52 | So what we've seen is you can copy and paste Camera Raw settings.
| | 02:56 | Same thing is true here.
| | 02:58 | We have a black-and-white conversion.
| | 02:59 | These are the guys that were on the trip.
| | 03:01 | Let's try that one.
| | 03:02 | Option+Command+C on the Mac, Alt+Control+C on the PC, and then
Option+Command+V. Go ahead and click OK and then we'll paste those
| | 03:12 | black-and-white settings. We can do that to multiple images as well.
| | 03:15 | So it's one way to apply the same setting to multiple images.
| | 03:19 | We saw the other way was to open up the images at the same time.
| | 03:22 | I want to look at one more thing that's unique
to Camera Raw and CS2, which is pretty cool.
| | 03:27 | I'm going to open this up, Command+R, and I am going
to go ahead and go through, leave the settings on Auto,
| | 03:34 | I'm going to navigate to one of the new tabs,
which is Curve, and take this to Strong Contrast.
| | 03:40 | You are going to see that there's a stronger S curve there.
| | 03:43 | And those of you who are used to using Photoshop
and the rest of you know about this S curve.
| | 03:48 | The rest of you once we get into color
and tone will be working with S curves.
| | 03:53 | The steeper the curve, so I'm going to make this
a little bit exaggerated here, the more contrast.
| | 03:58 | That's too much contrast.
| | 03:59 | So I'm going to go back just to the Strong Contrast curve there.
| | 04:02 | I don't use Strong Contrast but it will be easier to visually
see what's happening by setting this to Strong Contrast here.
| | 04:10 | Once we've made those settings, we can go to the flyout menu and
say Save New Camera Raw Defaults, click OK, and then click Done.
| | 04:19 | And you'll notice that the images that haven't been affected in
Camera Raw will now be updated with that specific default setting.
| | 04:27 | So in our cache, all of our images will now
then be updated with those specific settings.
| | 04:33 | It's really cool.
| | 04:34 | I want to turn that off, so I'm going to go back to Camera Raw and
I'll leave Auto on, Curve of Medium Contrast, and then click Done.
| | 04:42 | The wonderful thing about this is that in CS we had
to look at our Camera Raw files, and they looked flat,
| | 04:49 | they looked unsharpened, and they didn't look very good.
| | 04:53 | It was really disappointing, but now we can set this default setting
| | 04:57 | so that our images are automatically kind of
bumped up to what a JPEG would look like.
| | 05:01 | So the level of sharpness, the level of
contrast, etc. can then match those.
| | 05:07 | And it's a much more illuminating view, meaning it helps us know
whether this image is a keeper or not and we can tell that right away.
| | 05:14 | All right well that's all for this movie and I'll see you in the next one.
| | Collapse this transcript |
| Camera RAW workflow 6| 00:01 | >> Male Speaker: All right.
| | 00:01 | We are really cranking.
| | 00:03 | Good work keeping up with all this stuff.
| | 00:05 | There's a lot of cool stuff in Camera RAW.
| | 00:06 | There's so much stuff it's pretty amazing.
| | 00:09 | I'm going to go ahead and open up this next image.
| | 00:10 | Command+R or double-click it to open it up in Camera RAW.
| | 00:13 | Turn off my Shadows and Highlights for a second.
| | 00:15 | And I'm going to zoom really far in on this image.
| | 00:18 | This image is the Santa Barbara mission.
| | 00:20 | And I always like trying to shoot places that are overshot, meaning that
people photograph so often and come with a different perspective on it.
| | 00:28 | Such a challenge.
| | 00:29 | So, anyway, this is one of those shots,
to just get a different perspective.
| | 00:32 | Let me zoom in a little bit more here.
| | 00:34 | And I want to take a look at a couple different
settings inside of Camera RAW.
| | 00:38 | Go into the Detail tab.
| | 00:39 | I'm going to take Sharpness, Luminance, and Color Noise off.
| | 00:42 | And these are really helpful.
| | 00:44 | Sharpness, we set in our Preferences, Command+K, to
Preview Only because we want to do sharpening in Photoshop.
| | 00:50 | We'll talk about that in another chapter.
| | 00:51 | It's really cool.
| | 00:52 | So, I though, am going to exaggerate the sharpness
so I can see what's happening to this image.
| | 00:57 | So, for starters, what I can see, if I zoom in even
further, I think about 400 percent is far as I can go there.
| | 01:03 | What I'm seeing is that there is a ton of noise
in the sky that I've created from the sharpening
| | 01:08 | and then also in the part of the image where it's sharp.
| | 01:11 | Let's take a look at what Luminance Smoothing does.
| | 01:13 | And when we take up Luminance Smoothing, what we're going to see is that
all of a sudden the illuminant's luminance variance in the sky has been pulled out.
| | 01:21 | So, that's before and then after.
| | 01:23 | Very cool.
| | 01:23 | Of course, we wouldn't have sharpness on that high.
| | 01:25 | It would probably be right around there and it's going to go from a more
subtle before and after, which you'll be able to see on your end.
| | 01:31 | But when you're working on this file you'll definitely be able to see it.
| | 01:34 | Let's take this Sharpness back up because
it will just train us how this works.
| | 01:37 | The next one is Color Noise Reduction.
| | 01:39 | Check this out.
| | 01:40 | See how it pulls out the color in the sky?
| | 01:42 | Let's just look at sky for a second.
| | 01:44 | Sharpness all the way up.
| | 01:46 | Color noise reduction.
| | 01:47 | We can see all of the artifacts in there and then the
Color Noise Reduction is just going to pull that out.
| | 01:52 | It's also going to pull out a lot of color noise, zooming
out a little bit; we'll be able to see some of that.
| | 01:56 | A lot of the color noise out on the image
as well where we have some noise artifacts.
| | 02:02 | It's not that critical in this image simply
because there isn't a ton of noise.
| | 02:06 | But when we're shooting at real high ISOs, it's
really important that we dial in the Luminance
| | 02:11 | and Color Noise Reduction on our raw files
because it does a really good job.
| | 02:15 | And then in the movie later, we're going to look at noise reductions
inside of Photoshop in ways to deal with that there as well.
| | 02:22 | Clicking then to the Lens tab.
| | 02:25 | I want to look at chromatic aberrations.
| | 02:27 | Zoom in on this portion of the image.
| | 02:30 | And what chromatic aberration is, is just
a fancy way of saying color fringing.
| | 02:34 | And it happens a lot of times on the edges of images, especially when we're
shooting with wide-angle lenses, but you'll see it other places as well.
| | 02:41 | So, right now I'm just going to focus in on this little fringe of color there.
| | 02:46 | I can increase the color actually.
| | 02:48 | So, we're going to add to it.
| | 02:49 | So, now that's very red.
| | 02:51 | I can also decrease it.
| | 02:52 | In this case, it's probably going to be a pretty subtle edit.
| | 02:56 | We're looking at plus 19 or 20.
| | 02:58 | But you can see that it pulled out that chromatic aberration.
| | 03:02 | Go ahead and go to Fit in View, for zoom
mode, and then look at before and after.
| | 03:06 | We're not going to see it too strongly back here, but on the
print we definitely would if we were zoomed in that close.
| | 03:12 | The sliders will really help us reel in and pull out those
different color fringes, red/cyan and blue/yellow.
| | 03:19 | Okay, let's look at another image.
| | 03:21 | We're going to open up this image of the Nelsons.
| | 03:24 | And in this image we notice that the horizon isn't straight.
| | 03:27 | We have a new tool in Photoshop which is the Straightening tool.
| | 03:30 | The way that it works is a little bit funky.
| | 03:32 | You notice that there is that bottom line on the
tool, that's where the line will actually be created.
| | 03:37 | So, you want to put that right on what you think
should be straight and then click and drag.
| | 03:42 | So, in this case, I think that this should be straight here.
| | 03:45 | And notice that it's showing me how the image needs
to be straightened and it's also applying a crop.
| | 03:50 | And then it jumped to the Crop tool, which is pretty interesting.
| | 03:53 | The Crop tool is pretty cool.
| | 03:54 | So, it's on Normal.
| | 03:56 | And if I want to undo this I need to go to Clear Crop.
| | 03:59 | I don't want to undo this because it looks pretty good.
| | 04:03 | I would like to dial in my color and tone
and all that here, but that's not why we're on this image.
| | 04:08 | Sometimes you just get carried away doing that kind of stuff.
| | 04:11 | So, then we'll go ahead and click Open and as it's
opening we'll notice that -- I'm going to pull out my rulers here,
| | 04:19 | we'll talk more about this later --
| | 04:20 | now that line is straight, which is great.
| | 04:23 | And we'll also notice that my thumbnail was
updated so that that horizon line is now straight.
| | 04:28 | Really great addition to Photoshop CS2.
| | 04:32 | Okay, back to the Bridge.
| | 04:33 | I want to pull up this file from Central Park in New York.
| | 04:38 | Double-click it to open it up in Camera Raw or Command+ R. And
I'm going to press Command+ U to go to the Auto settings.
| | 04:45 | Okay. Does the image look good in Auto?
| | 04:48 | No. I'm going to then undo that by pressing
Command+Z. Does that look a lot better?
| | 04:53 | Heck, yeah.
| | 04:53 | Well, what's happening here?
| | 04:55 | Well, in this case we're just dialing in the
amount of Shadows, Brightness, and Contrast.
| | 05:01 | If I click on the Shadows box, it's going to be pretty
illuminating that I'm losing detail in these areas.
| | 05:06 | Well, for this type of a moody image I'm okay with that.
| | 05:09 | Rather than preserving the detail, and I'll go back here, like that, I'm
okay with losing some of that detail and having that go straight to black.
| | 05:17 | You need to make those decisions as you're working through those images.
| | 05:20 | Let's look at one more aspect of what's happening here.
| | 05:23 | We have a Vignetting option.
| | 05:26 | In this case, the amount is at negative 27.
| | 05:28 | We're going to take that off to zero and then
if you dial the Vignetting all the way
| | 05:33 | in so we can see what's happening, the
Vignetting is the darkening of our corners.
| | 05:38 | And there's times where it's helpful to add or actually to take away
Vignetting, especially when you're shooting with a wide-angle lens.
| | 05:44 | A lot of times you need to take it away by dialing it away.
| | 05:47 | The midpoint is how far the reach of the Vignetting goes in.
| | 05:51 | And what I found is that subtle Vignetting will prevent
the viewer's eyes from falling off of the image.
| | 05:58 | And why is that?
| | 05:58 | Well, tell me this.
| | 05:59 | What does the eye go to in a photograph?
| | 06:01 | It first goes to what's brightest.
| | 06:03 | It second goes to what's in focus.
| | 06:06 | So, if you have a really bright area on a
corner of your image, the eye is going to go there.
| | 06:10 | It's going to travel out of the image.
| | 06:12 | And in this case, I don't want that to happen.
| | 06:14 | I want them to hit the left-bottom corner of the image.
| | 06:17 | I want that to be where they hang out, in that kind of glowing
center and kind of catch that there's some leaves around it
| | 06:22 | so that their caught and hung up in that nice beautiful image.
| | 06:26 | All right, we have more ground to cover,
and we're going to do that in the next movie.
| | Collapse this transcript |
| Camera RAW workflow 7| 00:01 | >> Male Speaker: All right in the next few images we're
going to look at creating visual interest using Camera Raw.
| | 00:05 | I'm going to go ahead and open this shot of the Robinsons,
family friends of ours, from a camping trip we were on.
| | 00:12 | And for starters I can turn on the Auto
settings with Command+U. We'll notice
| | 00:16 | that the image is somewhat interesting, but
I want to make it even more interesting.
| | 00:20 | So, increasing visual interest, a lot of times for me is
adding a little bit more of my Shadows, my Brightness.
| | 00:25 | I know that I'm losing some detail down on the shirt,
but I'm okay with that for this particular image.
| | 00:30 | And we want to go that Vignetting, the lens there.
| | 00:33 | And a lot of the way that we see color is in color relationships.
| | 00:37 | So we need to grab our slider and take those back
and forth to see where we want the image to go.
| | 00:43 | And just to highlight one more thing, sometimes
it's even worth desaturating a little bit.
| | 00:47 | When we increase contrast, what we do is we then increase color saturation.
| | 00:52 | So, what I found in an image, say like this, it may
be worth it just a couple points to pull it back,
| | 00:57 | to have it a little bit more of a nostalgic feel and then
also I'm going to warm it up a little bit there as well.
| | 01:02 | So, it just increases the visual interest.
| | 01:05 | I'll go ahead and click Done.
| | 01:07 | Much different image.
| | 01:08 | A couple other images.
| | 01:10 | This is of my brother and his wife, Becky.
| | 01:12 | They have since had their little baby.
| | 01:14 | And this is in my dad's garden in the backyard.
| | 01:17 | And my brother's like, how do you want us to stand?
| | 01:19 | I said act natural.
| | 01:20 | So, he did that, which I thought was pretty funny and
he's going to kill me for putting that image on this.
| | 01:26 | But I had to do that just for him.
| | 01:27 | So, there you go, bro.
| | 01:28 | So, let's look at this image here.
| | 01:30 | The Antelope Valley shot.
| | 01:32 | And one of the things that we can now do in CS2
much more easy is use different areas of the image.
| | 01:39 | So, multiple exposures.
| | 01:40 | So, what I'm going to do is just look at the sky on this image
and dial in what I'm interested in having the clouds look like.
| | 01:47 | I know the foreground has gotten very dark, but I'm okay with that.
| | 01:51 | I'm going to even add a little bit of Vignetting there just to
darken those clouds up a little bit more and then click Open.
| | 01:58 | That's going to open the file in Photoshop.
| | 02:02 | Next, I'm going to go back to the file.
| | 02:03 | Again, open it in Camera Raw.
| | 02:05 | This time I'm going to just expose for the foreground area.
| | 02:09 | And I'm going to do that with the Auto settings.
| | 02:11 | Those look pretty good.
| | 02:12 | I might want to make it a little bit more punchy, a little
bit more contrast to give it some brightness in there.
| | 02:16 | And then go ahead and click Open.
| | 02:18 | So, what's new is the fact that you can
now open multiple files from one Camera Raw file.
| | 02:23 | So, now I have two different files with "multiple exposures."
| | 02:27 | Holding down the Shift key, I'll click
and drag this image into the other one.
| | 02:32 | And I know we haven't
| | 02:33 | had a chance to get into layers and all of that just yet,
but as a quick highlight to think about where we're going,
| | 02:40 | what we could then do is grab an eraser -- and there are much better ways to
do this, and we'll look at those better techniques when we get to masking --
| | 02:53 | but what I'm going to do here is just erase
out this with a real nice soft brush.
| | 03:00 | And I am really speeding through this.
| | 03:03 | Again, there are much better ways to do this and to do it with masking.
| | 03:07 | But so, you get an idea of what I'm trying
to illustrate, I think it's a good visual.
| | 03:11 | Now, I have an exposure for the clouds and an exposure
for the foreground and a much more interesting image.
| | 03:17 | Of course, we want to do more work on it and that's the
kind of stuff we're going to learn in the chapters to come.
| | 03:23 | I'll go ahead and close that file and jump back to Bridge.
| | 03:25 | Shift+Command+O will take me there.
| | 03:27 | Adding visual interest.
| | 03:29 | A couple more files.
| | 03:30 | This is a file from a sign in New York.
| | 03:33 | And we'll notice that the contrast is incredibly high.
| | 03:36 | Let's look at the Auto settings, Command+U.
Not much of a visually interesting image.
| | 03:41 | I'm going to undo that and go back.
| | 03:43 | So, note that a lot of times what you're going to
need to do is dial in the amount of Contrast.
| | 03:47 | In this case, I've taken my Shadows way up.
| | 03:50 | Now, a lot of people will freak out by the fact that I've done that,
| | 03:53 | if you click on our Preview of Shadows, because
I have blocked up all of this information.
| | 03:58 | What I know is that I can then create two files and bring in a
file where there is information or there is detail in that area
| | 04:06 | and then I can combine both of those like we saw in the last image.
| | 04:10 | And the technique that I'm using is use Camera Raw
and use the sliders to create vision for the image.
| | 04:16 | Take a look at the image.
| | 04:17 | Turn those previews off for a second and be freed up from that and
see where you want to take the image and then go and run with it.
| | 04:25 | Open up one more here for you.
| | 04:27 | This is a shot of a photo of a VW Bug and
there's a little bit of a story behind this.
| | 04:32 | It's kind of a tangent, but one of my classes, I think I mentioned
about how I always wanted to have car parts hanging on my office wall.
| | 04:38 | And at the end of one of my classes, this guy came up to
me and said, Hey, Orwig, do you have space in your car?
| | 04:43 | And I thought, well, yeah.
| | 04:44 | He was like, "Come out here, man.
| | 04:46 | I've got something for you."
| | 04:47 | And he gave me this hood to a car and it's pretty cool.
| | 04:50 | Anyhow, the image isn't?
| | 04:51 | Very visually interesting.
| | 04:53 | I just sat in a parking lot and took a
snapshot of it with a really wide angle lens.
| | 04:58 | But how then can we make it more interesting?
| | 05:00 | Well, our Shadows are going to do that, increasing Contrast, Brightness.
| | 05:04 | And then we have all these bright areas around the image.
| | 05:07 | That's where that Vignetting technique's going to come in.
| | 05:10 | So, I'm going to bring that Vignetting actually way in.
| | 05:13 | And again, I know that I've lost a ton of
detail back there and in the foreground.
| | 05:18 | But in this case, I'm okay with it because I'm
just trying to create something that's very moody.
| | 05:22 | I like those deep blues.
| | 05:24 | And I'm not so much interested in creating realism.
| | 05:26 | It's not a product shot and if I were to print it, it
just would be for myself as just kind of a fun snapshot.
| | 05:32 | But it definitely creates a little bit of visual interest.
| | 05:35 | Much more than was there on the original shot.
| | 05:38 | All right, well we have even more ground to cover.
| | 05:41 | And we'll cover that in the next movie.
| | Collapse this transcript |
| RAW resizing| 00:01 | >> Male Speaker: One of the important things to talk about
in Camera Raw has to do with bit depth and image size.
| | 00:06 | So let's go ahead and take a look at that.
| | 00:08 | Here we have an image open in the Camera Raw dialog window.
| | 00:11 | This one's shot on the 20D, a 16 to 35mm
lens, shot at two-eight wide open.
| | 00:17 | And down below we have our bit Depth option, and previously it's
made sense to stay in 8 Bits/Channel, and the general wisdom is
| | 00:25 | that if you're kind of a mid-level user, 8 Bits/Channel
is going to be more than enough info,
| | 00:30 | but if you're a high-end user you definitely
want to go to the 16 Bits/Channel.
| | 00:34 | I'm now working on all of my stuff in 16 Bits/Channel.
| | 00:38 | CS2 now gives you access to doing many
more things with 16 Bits/Channel.
| | 00:43 | They'll have to be downsized to 8 bits when printed,
but it makes sense to make edits in that larger size,
| | 00:49 | and I've actually changed the way I've
thought about that over the last little while.
| | 00:52 | Now I'm doing everything in 16 bit.
| | 00:55 | The disadvantage is file size.
| | 00:57 | It creates an incredibly large file size, which means it's more processor-
intensive, it takes longer to work on the images, etc., etc.
| | 01:04 | So you'll have to make that call based on the type of photography that
you do and based on how intense your modifications of your images are.
| | 01:12 | Jumping over to Size.
| | 01:13 | There will always be the native size.
| | 01:16 | This is, with this particular camera, it comes off that
camera with a file that's 8.2 megapixels (MP).
| | 01:22 | How then should we resample the file?
| | 01:24 | Well, there's some discussion out there about whether you should resample
inside of Raw or inside of Photoshop.
| | 01:31 | Well, I took this file and I resampled it up to about 6000 pixels wide by
about 4000 tall, made it a 25 megapixel image, and opened it in Photoshop.
| | 01:42 | I also took it, left it at its native size, and
then opened that in Photoshop and resized it.
| | 01:47 | Let's take a look at those results.
| | 01:51 | Here we have the image, its a couple hundred
megabytes, and I have the two conversions.
| | 01:56 | I have the conversion that was done in Raw, and I
have the conversion that was done in Photoshop.
| | 02:01 | If we click the before and after we're not going to notice very much.
| | 02:05 | I picked an image like this because there are a lot of sharp lines in the
image, and the different zoom levels, even zoomed way in, we're not going
| | 02:12 | to see much of a difference at all in regards to the resizing.
| | 02:16 | I've done a bunch of testing on this, images with people in them,
images of objects like this sign, and I haven't noticed any difference.
| | 02:24 | I'm doing my resizing and resampling inside of Camera
Raw because it just speeds up my whole workflow.
| | 02:30 | I don't have to then do it in Photoshop.
| | 02:32 | Just as a quick reminder, if you're going to size up in Photoshop, remember
if you're making the image larger you want to go to Bicubic Smoother,
| | 02:39 | if you're going to make it smaller take it to Bicubic Sharper.
| | 02:43 | All right, well that wraps up this movie
on resizing images with Camera Raw.
| | Collapse this transcript |
| DNG overview| 00:01 | >> Male Speaker: In this movie we'll be discussing and
looking at a new format that's now available in Photoshop CS2.
| | 00:07 | It's called DNG, which stands for the digital negative.
| | 00:11 | There's a lot of hype about this format
so let's deconstruct it a little bit.
| | 00:15 | For starters, what is the DNG?
| | 00:17 | Well, it's Adobe's proposed standard for
an open, non-proprietary raw format.
| | 00:24 | What Adobe is trying to do is create a format that's used across the board.
| | 00:29 | Just last night I was actually talking with a friend
of mine who's an incredibly successful photographer.
| | 00:34 | He's incredibly inspiring to me.
| | 00:36 | I was asking him what he thought about DNG and one of the things he
said is he thinks it's the right way to go because it's kind of silly
| | 00:43 | to have a particular camera maker say
that you have to use their raw format.
| | 00:49 | It would be the same as if a camera said you
can only use this brand of film in our cameras.
| | 00:54 | That's kind of ridiculous.
| | 00:55 | I agree with that.
| | 00:56 | I agree that it's definitely going in the right direction.
| | 00:59 | There have been some camera companies who have adopted this format.
| | 01:02 | There are some pros and cons to using it.
| | 01:04 | Let's talk about those.
| | 01:05 | Pros. Well, for starters you don't need sidecar files, XMP files; all
of that information is now embedded in the DNG file, that's kind of nice.
| | 01:14 | Secondly, it contains a full size or medium JPEG preview
and it really speeds up file browsing, it's a nice feature.
| | 01:21 | The third one, which I really like, is there's some
lossless compression happening, i.e., smaller file size.
| | 01:27 | So it takes that raw file and makes it smaller.
| | 01:30 | What lossless means is that no information is lost so it's compressed
in a way where you haven't lost anything except you've saved file size.
| | 01:38 | I don't know about you but one of the things I
wrestle with most is digital asset management.
| | 01:43 | How do I manage all of these files that I have and
how do I deal with these super large file sizes?
| | 01:49 | Another positive is it will give you archival confidence, i.e.
the particular raw format that you're working on won't all
| | 01:56 | of a sudden be outdated and replaced by a new format, which
has happened in the past, so it standardizes everything.
| | 02:02 | Finally, it's a single raw processing solution, i.e.
You don't need to use the camera-specific raw processor.
| | 02:09 | You can do everything in one location.
| | 02:11 | There are a few cons to consider.
| | 02:13 | One is you have to convert proprietary raw files.
| | 02:16 | So you have to go through a conversion process.
| | 02:18 | The biggest downside on this is time.
| | 02:21 | It takes time to make that conversion.
| | 02:23 | We'll look at how that works and we'll
actually do that together here in a minute.
| | 02:27 | The other negative is that these DNG files
can't be opened by a proprietary raw converter.
| | 02:32 | Now for me that's not that big of a negative because I do
all of my raw conversion inside of Photoshop and like to stay
| | 02:39 | in one application rather than jumping back and forth between applications.
| | 02:43 | I want to point out a couple resources for you.
| | 02:45 | In the 05_camera_raw folder there's a subfolder DNG.
| | 02:49 | Inside of that folder is a link, if you go ahead and click on
that or double-click on that it will take you to Adobe's site
| | 02:54 | where you can learn more information about the DNG format.
| | 02:58 | There's also a location where you can
download the DNG converter for Mac or PC.
| | 03:03 | We'll look how that converter works and we'll actually run it.
| | 03:07 | I do recommend downloading it and trying it.
| | 03:09 | Another way you can get that link is to go to the Photoshop in
Focus site, of course, and then go to the resource links page.
| | 03:15 | That will be linked up there as well.
| | 03:18 | Before we actually do some DNG raw conversion I want to
look at this folder here where we have a number of files
| | 03:25 | and they have been converted to the DNG
format in a number of different ways.
| | 03:29 | Know that that folder is there for your reference.
| | 03:32 | I'm going to exit Bridge temporarily, pressing Command+H,
exit Photoshop, Control+Command+H and open up that folder.
| | 03:41 | Here we have the folder, which I have labeled dng_raw_comparison.
| | 03:45 | Let's deconstruct what we're seeing here.
| | 03:47 | For starters here's the raw file as captured,
about 8 MB of info.
| | 03:51 | We have then the raw file and then we have its sidecar XMP file.
| | 03:55 | These two files have to do with the cache because I'm using a
distributed cache, which is what I recommend, definitely the way to go.
| | 04:02 | So anyway here, we can ignore those.
| | 04:04 | For now we have raw file, XMP file, that's what we're used to seeing.
| | 04:08 | Then I have a couple of different conversions.
| | 04:09 | I converted to a DNG with a full JPEG preview.
| | 04:13 | It's now 7.4 MB.
| | 04:15 | It's a little bit larger with that full JPEG preview.
| | 04:18 | Going down to the medium JPEG preview the file is smaller,
that's that lossless compression I was talking about,
| | 04:25 | and then finally no preview, which isn't a good idea, is even much smaller.
| | 04:29 | The last one to look at, which again isn't going to be very effective
for us, is a medium jpeg preview and embed the original file.
| | 04:37 | Some people are using this for archival purposes, i.e., it's creating a DNG
and then inside of that you have the DNG format and then the original raw,
| | 04:44 | so it's kind of packaging everything in one little place.
| | 04:48 | For some people they feel this is a good way to archive things.
| | 04:51 | I'm not doing that.
| | 04:52 | I'm just converting to DNG and I found that
to be a really effective way to do that.
| | 04:57 | So how then do we convert to DNG?
| | 04:59 | Well, let's look at that in the next movie.
| | Collapse this transcript |
| DNG conversion| 00:01 | >> Male Speaker: Welcome back.
| | 00:01 | In this movie we'll look at a few techniques
for converting our files to the DNG format.
| | 00:06 | I have this image selected of Annika when she was just a few days old.
| | 00:10 | I love it simply because she's so little
her hand is smaller than those rose petals.
| | 00:15 | I think that is so cute.
| | 00:16 | Let's convert these images of Annika, and then
that little self-portrait of Annika and I.
| | 00:22 | I want to convert those.
| | 00:23 | There are a couple different ways to convert them.
| | 00:25 | One of them is through Camera Raw, so open up Camera Raw.
| | 00:27 | Notice I have the images.
| | 00:29 | I could go through and make some edits here to dial in the Exposure, Color
Temperature, and all of those items that we've looked at in previous movies.
| | 00:37 | Once I've done that, I'll go ahead and select all of the images
and then I'm going to click on the Save 4 Images button.
| | 00:44 | This will open up the Save Options.
| | 00:45 | We've seen this before but we're going to have a few new options.
| | 00:48 | We're going to choose the DNG format.
| | 00:50 | Of course, we want to select a folder.
| | 00:52 | I'm saving these to the desktop.
| | 00:54 | Actually I'll save them somewhere else, to the examples folder.
| | 00:56 | We want to select our folder.
| | 00:58 | Filename, I'm going to keep it as is with just the
added extension, Format of Digital Negative; Compressed (lossless),
| | 01:06 | you definitely want to check that on it will conserve some disk space.
| | 01:09 | Then from my testing that folder I showed you previously,
we want to go to that JPEG Preview of Medium Size.
| | 01:17 | I've found that that is most advantageous
because I definitely don't want to add file size.
| | 01:21 | I want to decrease that a little bit and
take advantage of that lossless compression.
| | 01:25 | Then I'll go ahead and click Save.
| | 01:27 | The Save Status will be running over here in the bottom right-hand corner.
| | 01:31 | What's another way to convert images to DNG?
| | 01:35 | I'll cancel out of Camera Raw, and I'll go down to the
application, which is called the Adobe DNG Converter.
| | 01:43 | You can download this from their Web site
and it's a little mini application.
| | 01:47 | First you can select a folder, and I will select this folder here.
| | 02:01 | So we select the folder.
| | 02:03 | Next we'll select the location where we want to
save these converted images to the same location
| | 02:08 | or to a different location, same thing document name, same thing extension.
| | 02:13 | Then we have some preferences.
| | 02:15 | You'll notice my preferences are JPEG Preview Medium,
Compressed (lossless), and I don't want to preserve the raw image.
| | 02:21 | I also don't want to embed the original file in there.
| | 02:24 | If I need to change these I can go ahead and click in and
if I wanted to, for archival reasons, embed that original.
| | 02:31 | I don't think that's necessary, but you can change those preferences.
| | 02:35 | And then go ahead and click Convert.
| | 02:37 | I'm not going to do that because it would take a while with that folder.
| | 02:40 | Well, this concludes our discussion of DNG.
| | 02:43 | I hope it was helpful and I imagine that we're going to start to see more
and more info on this as things progress, and if there are any updates
| | 02:50 | of changes I'll be sure to add them to that Web site, Photoshop in Focus.
| | Collapse this transcript |
| Black and white 1| 00:01 | >> Male Speaker: One of the things I love most about Camera
Raw is the ability to convert images to black and white,
| | 00:05 | to do so in a non-destructive way, i.e., you're not committed to that
conversion, you're simply changing the way the pixels are interpreted,
| | 00:11 | you're not actually changing pixels, and then also
the way that you're able to dial in specific controls.
| | 00:17 | Let's take a look at how we can convert images to black
and white and talk a little bit about the why as well.
| | 00:22 | For starters, I'm just going to have to show you a few images.
| | 00:24 | I just love photography.
| | 00:26 | I think it's because I love life.
| | 00:27 | It's a little self portrait of Annika and I.
| | 00:29 | The hand shot I think you saw.
| | 00:30 | That was when we were going for a walk
and you can see she fell asleep there.
| | 00:34 | This is when she's just a day old or is actually the morning after
she was born and someone picked up my camera and took this photo,
| | 00:42 | which I absolutely love because I don't have a ton of photos
of she and I because I'm always the one taking the pictures.
| | 00:48 | Well, there's something interesting we can do when we look at this picture.
| | 00:51 | I'm going to take the Saturation off here for a second.
| | 00:53 | We notice that the color is kind of messed up, right?
| | 00:56 | There's a lot of red in the image in my face and in Annika's face and
also we notice that it's not as interesting when it's in that color mode.
| | 01:04 | I'm going to take the Vignetting off as well
and all of a sudden we see so many details.
| | 01:09 | There's so much variation, the brightness
values that pull our eyes different ways.
| | 01:13 | So we need to work on the image a bit.
| | 01:15 | If we were going to stay in color we could use our eyedropper, right?
| | 01:18 | And we know that probably this is gray back here,
we could click on that to neutralize things.
| | 01:23 | We could try clicking on the shirt as well that's probably a neutral gray.
| | 01:26 | It's going to pull out some of the color.
| | 01:28 | We still have some problems with all of the red in the face.
| | 01:31 | One of the things you can do is click on
the Calibrate tab and then drag the slider
| | 01:36 | to a real extreme to see which part of the image you're working on.
| | 01:39 | I know that looks really horrible but it's showing me, Ok, if I move
the slider those are the pixels I'm going
| | 01:47 | to modify, likewise if I were to do that with the Green Hue slider
it's showing me that also there's some magenta in there,
| | 01:52 | green magenta down there so green saturation might
do something as well, probably just red saturation.
| | 01:58 | I'm going to go ahead and pull out the Red Saturation and then I'm
pulling that down, it looks a little bit lifeless so I need to go back
| | 02:05 | to the Adjust tab and then take the Temperature not cool,
not this way, but I'm going to warm it up a little bit.
| | 02:12 | So now the skin looks a lot better.
| | 02:14 | It's really just a visual adjustment.
| | 02:16 | I'm not going by any numbers or anything.
| | 02:19 | Once we get in to Photoshop we're going to look at color correcting
skin by the numbers but I just wanted to highlight that here especially
| | 02:25 | because the camera wasn't color balanced, etc., etc.
| | 02:28 | Well then let's go to the black-and-white conversion.
| | 02:30 | We take the Saturation all the way down.
| | 02:33 | We're going to dial in our Shadows detail
looking at which shadows are being clicked off.
| | 02:37 | We don't want to lose too many of those details, Brightness down.
| | 02:40 | Go to the Lens tab and this is where I'm going to add some Vignetting.
| | 02:44 | There have been a number of photographers who have really inspired me
| | 02:47 | and one of the photographers always says,
"Reduce and simplify, reduce and simplify."
| | 02:52 | So that's what I'm looking to do here.
| | 02:54 | I don't want to lose too many of those shadows, a little bit
in the hair, that's not going to be the end of the world,
| | 02:59 | take my Brightness values down there and
I just want to dial this one in here,
| | 03:10 | increase the Contrast a little bit and
bring up the exposure a bit there.
| | 03:15 | Simply reducing and simplifying, i.e., we did that
with tone and then also the black-and-white conversion.
| | 03:20 | Go ahead and click Cancel.
| | 03:22 | A couple other images I want to look at, this is
just friends of friends, some snapshots at a wedding.
| | 03:27 | One of the things I want to point out here is the whole
concept of reduce and simplify and looking for the moment.
| | 03:32 | This isn't the shot, right?
| | 03:33 | That didn't capture it.
| | 03:35 | They're not quite relaxed.
| | 03:36 | And there you say, yep, they got it.
| | 03:39 | They're very relaxed.
| | 03:40 | We'll go ahead and open up the image.
| | 03:41 | If we wanted to color balance this we'd use
the eyedropper tool and we'd probably click
| | 03:45 | on the shirt there and it looks like that's pretty neutral already.
| | 03:49 | Then we'll go to desaturate and we'll dial in the Brightness, the Shadows.
| | 03:53 | We're going to look at what detail we have there.
| | 03:55 | Another way to find that detail is to hold
down the Option Alt key and drag the slider.
| | 04:01 | It's a little bit more difficult, right?
| | 04:03 | Because I can't really tell where I'm losing
information but it is a good technique.
| | 04:08 | You can do that with Exposure as well, Option Alt key.
| | 04:11 | When you see something white it's going to tell
you that you lost detail on your highlights then.
| | 04:16 | The new addition to CS2 having these sliders is much better, I'm sorry,
recommend you use those but just wanted to point out those techniques.
| | 04:23 | Let's get this image beach_camping_004 (unclear) and based on how it's set
up right now the Shadows preview shows me I don't have any detail.
| | 04:35 | Here's a good shortcut I should talk about as I
just made that mistake, but it's a good mistake.
| | 04:39 | I had accidentally zoomed in.
| | 04:40 | You can zoom in, Command++ (plus sign) or zoom out, Command+- (minus sign).
| | 04:43 | But if you want to jump to Fit and View mode
it's going to be Command+0 (zero) or Control+0 (zero),
| | 04:47 | and it will just take it to that Fit and View mode, which is really cool.
| | 04:50 | I want to save all that detail so I'm going to pull those Shadows
back and then I'm going to then lower my Contrast a little bit here
| | 04:59 | so I don't have any detail that's being lost and then take
those Shadows off and then maybe brighten it up a little bit.
| | 05:07 | So the way that I'm dialing it in is I'm working with those sliders.
| | 05:10 | You'll notice I'm barely losing any detail at all in my shadows, and
my highlights have a few areas that I'm losing some information.
| | 05:17 | I'll try to dial that in.
| | 05:18 | I might need to do multiple exposures,
but it looks like, there we go we got it reeled in.
| | 05:23 | One of the advantages of having your Preferences set to the
gamma of 2.2 in Photoshop, remember I talked about that?
| | 05:29 | Our tones are going to be a little bit denser, i.e.,
our blacks are going to be a little bit blacker
| | 05:33 | so although the image isn't going to look as punchy as we want it.
| | 05:37 | Say I want it to look like this, real punchy, real high
contrast; it's probably going to look like that when we print it.
| | 05:43 | Although I've said there are times when it's
worthwhile working around having information, your shadows
| | 05:48 | and highlights, are also an incredibly good guide and a lot of it
takes just dialing in the amount of shadows, brightness, and contrast
| | 05:55 | and working with those three sliders to get the correct tonal mix.
| | 06:00 | All right.
| | 06:00 | Well, there are a couple more things I want to cover in black-
and-white conversion and we'll do that in the next movie.
| | Collapse this transcript |
| Black and white 2| 00:01 | >> Male Speaker: Welcome.
| | 00:02 | Another movie on Camera Raw.
| | 00:05 | This time we're in the raw_creativity folder.
| | 00:08 | We're going to look at few more black-and-white techniques.
| | 00:10 | I'm going to go ahead and open up this image, new_york_12,
the Brooklyn Bridge, and this one was shot as well with the 20-D.
| | 00:18 | I'm going to turn off the Shadows warning there for a second.
| | 00:21 | Highlights, they're in pretty good shape.
| | 00:22 | We have some shadows where we don't have detail there.
| | 00:25 | I'm just going to turn that one off for now and take a look at the image.
| | 00:30 | How was this effect created inside of Camera
Raw, this particular black-and-white conversion?
| | 00:36 | Well, it's actually pretty nutty and I want to deconstruct it for you.
| | 00:40 | We're going to go to the Calibrate tab and you'll notice
that I've dialed in a bunch of different settings here.
| | 00:45 | I'm going to take all of those settings
off, so I'm going to take them to zero.
| | 00:48 | Why don't I just do it by clicking in zero there so they're all exact?
| | 00:55 | Zero and zero.
| | 00:56 | Go back to the Adjust tab, press Command+U for the Auto and notice now that
the image has been converted to black and white simply by desaturation.
| | 01:05 | Our shadows are okay there.
| | 01:06 | But the image isn't as visually interesting to me.
| | 01:09 | So then how did I create that black-and-white creative effect?
| | 01:11 | Well, as a lot of people are doing with Camera Raw, they're thinking
outside of the box a little bit and using it for other creative endeavors.
| | 01:17 | I went ahead and dialed in the regular sliders.
| | 01:21 | Typically you go from the top down working on your
sliders and then I jumped over to the Calibrate tab.
| | 01:27 | A lot of this I just did by experimenting and I started to grab my sliders
and play with them a little bit to see how it would affect the tone
| | 01:35 | and basically what I'm looking to do is to create tone
that I can then control or dial in the density of.
| | 01:44 | Let's go back to the Adjust tab for a second, I go into Saturation.
| | 01:48 | Whoa, that's crazy!
| | 01:49 | So I pretty much turned everything purple-blue, and especially the sky,
but then what that gave me the control to do was with that last slider,
| | 01:58 | as you saw, it gave me the ability to really
dial in the density of the aspects of the image.
| | 02:05 | Something that's important to do when you're working on an image like
this is in the Detail tab to make sure you have Luminance Smoothing
| | 02:11 | on because you want to have a really significant amount of Luminance
and Color Noise Reduction because I'm pushing the channels pretty far.
| | 02:19 | I'm really exaggerating certain things and I want to be
really careful about making sure to reduce the noise.
| | 02:26 | If I want to make sure I have detail there I'm going to take
down my Shadows and then dial in my sliders a little bit more
| | 02:33 | so that I have visual interest that I'm looking for and go back to my
Calibrate tab and keep working on those sliding them back and forth.
| | 02:42 | All right.
| | 02:42 | So that's one creative technique that we
can use while converting to black and white.
| | 02:48 | Let's look at another one, San Francisco Bay Bridge.
| | 02:51 | This image was shot a little while ago but
we're going to look at a very similar technique.
| | 02:56 | We're going to take out the Saturation and turn off Shadows temporarily.
| | 03:01 | Go to the Calibrate tab and, again, I'm going to make the reds,
kick those way up there, change actually the color of the reds
| | 03:07 | and saturate those and go back to
the Adjust tab so we can see what's happened.
| | 03:14 | Again, I'm trying to control the colors, which
is then affecting the density of the image.
| | 03:21 | Let's go ahead and desaturate that.
| | 03:23 | Looks like I need to do a little bit more customizing of this one.
| | 03:27 | I'm going to increase the Saturation there and
then go ahead and dial in my Shadows a little bit.
| | 03:35 | I'm going to bring down a little bit of the banding that was happening down
below, make sure I go to my Detail tab and do that Luminance Smoothing.
| | 03:43 | It's going to reduce any luminance variance that we've created here.
| | 03:47 | Go ahead and keep taking that down and dial the tone right
in so it looks almost as if the shot was captured at night.
| | 03:54 | The next step would then be to crop the image.
| | 03:57 | Quick note on cropping, something I haven't
mentioned before in the previous movies.
| | 04:01 | I'm going to click the Crop tool and highlight a few other things.
| | 04:05 | There are a couple of aspect ratios we can choose so if we want to
turn this into a 5 x 7 and then click and drag the crop,
| | 04:12 | we'll notice that what it will do is actually will constrain the crop
dimensions to those proportions and it will also resize our image.
| | 04:21 | In this case it's resized it down because I've lost information.
| | 04:24 | To undo the Crop tool you can press the Escape key but
those aspect ratio crops are actually really quite helpful.
| | 04:31 | I wouldn't do that in this image.
| | 04:32 | I would just do a custom crop, something like that and
I'll go ahead and click Done there and then maybe come
| | 04:38 | up with something like this, a little promotional piece.
| | 04:41 | I actually have printed this image rather large and it's held up.
| | 04:44 | It looks pretty good.
| | 04:45 | It's definitely a specialized effect but it's been pretty interesting.
| | 04:49 | Well, that wraps up a look at Camera Raw creativity
in regards to black-and-white conversions.
| | 04:55 | Let's now take a look at Camera Raw creativity with
color and we'll do that in the following movie.
| | 05:01 | See you then.
| | Collapse this transcript |
| Creative color 1| 00:01 | >> Male Speaker: Now I don't know if it's just because I'm
a Californian but I absolutely love California Poppies.
| | 00:06 | Let's go ahead and open that image.
| | 00:08 | In this movie we're going to look at a couple different color techniques
for working on our files using Camera Raw creatively in regards to color.
| | 00:16 | For starters, if I turn on my Shadows, show my shadow problems
and then drag up the Shadows you notice that I'm not going
| | 00:22 | to get any warning until the shadows are just out of control.
| | 00:25 | Well, I know I have problems in the rest of the image,
how can I get that more detailed look at the image?
| | 00:30 | Remember that's that Option Alt key.
| | 00:32 | I can click and drag and I'm going to bring up the Contrast.
| | 00:36 | What I'm noticing is that this part of the image, where those reds are, the
red channel is starting to fall apart, meaning it has potential for banding
| | 00:44 | or posterization or just blocking up when it's printed.
| | 00:47 | Could be a little bit problematic it may be okay.
| | 00:49 | How then could I fix that?
| | 00:51 | Well, I'm going to dial in the amount of Brightness and Contrast.
| | 00:54 | So I go to the Detail tab, want some Sharpness on for the preview, Luminance
Smoothing definitely, and Color Noise Rejection -- want that one checked on,
| | 01:03 | Vignetting, I'm actually going to go the other way
to brighten up my corners just a tad bit there,
| | 01:08 | Curve, we'll leave on that Medium Contrast, that's fine; and then
the Calibrate tab, this is where we'll be able to correct things.
| | 01:14 | The Calibrate tab, if we exaggerate it, and if you want learn
something in Photoshop, exaggerate it, go one way and then go the other.
| | 01:20 | You see it goes red to green.
| | 01:22 | I'm going to bring this down a little bit and that's increasing
the greens in the background, pulling out the red there.
| | 01:29 | Go back to the Adjust tab and now click on it and you'll notice
that -- well, let me get it to a little bit smaller value right there;
| | 01:35 | I'm going to leave it right there --
| | 01:36 | We have a very small problem with the red channel.
| | 01:38 | Go back to the Calibrate tab, take that to normal and
then show it again and notice that that area got larger.
| | 01:45 | I was able to clean up that area just by taking the
Shadow Tint down, which it actually increased the green
| | 01:52 | in the background in a positive way, and then come back.
| | 01:55 | It's almost all fixed.
| | 01:56 | I'll just lower it a tad bit.
| | 01:58 | So know that you can go to that Calibrate tab when you have
tricky color situations to dial in the amount of color,
| | 02:06 | the amount of density on that particular color
channel to help you out with your color images.
| | 02:11 | I'll click Cancel so you can work on that image later.
| | 02:14 | Let's go ahead and open this one, Command+R to open.
| | 02:17 | This is a shot from the fiesta in Santa Barbara.
| | 02:20 | If we turn on our shadow and highlights
we notice we have a handful of problems.
| | 02:24 | What did this image look like as shot?
| | 02:27 | We'll go ahead and take it back to As Shot and what we'll notice is
the image was actually pretty warm and we'll then lower our shadows
| | 02:34 | or turn those on, the default setting is Command+U,
and we'll see that, not a very interesting image.
| | 02:41 | Well, how can we make it more interesting?
| | 02:43 | Let's turn on the warning for Shadow and Highlights, take up
our Shadows until we start to see some problems with the image.
| | 02:51 | Brightness will brighten the image a little
bit; increase the Contrast there.
| | 02:55 | The loss of detail in these areas I'm not too worried about because
those are lights and if it goes to pure white there that's okay.
| | 03:03 | I could dial it in by lowering the Exposure but I'm
going to leave that as is and just take that loss.
| | 03:09 | And then the real edit here comes in our color
Temperature, just changing our color Temperature,
| | 03:14 | and we're going blue, gives it a much different feel.
| | 03:19 | We can also go to that Calibrate tab and then dial in the amount
of blue if we want to desaturate that or increase the blue,
| | 03:27 | maybe pull a little bit out and change the Hue just a bit.
| | 03:32 | So now we have this real rainy-day feel combining warm tones and
cool tones and it makes a much more visually interesting image.
| | 03:41 | All right.
| | 03:42 | We have more to cover in Camera Raw creativity
and again we'll do that in the next movie.
| | Collapse this transcript |
| Creative color 2| 00:01 | >> Male Speaker: Welcome back to more Camera Raw creativity and fun.
| | 00:05 | I want to show you a quick Bridge shortcut while we're
working in Camera Raw and on my desktop I have a folder
| | 00:11 | and inside that folder are two images of the
second-most traveled-to place in the world.
| | 00:16 | Any guesses where that would be?
| | 00:18 | Well first I guess we have to guess what's
the first-most traveled-to place in the world.
| | 00:22 | Any guesses?
| | 00:22 | Any guesses?
| | 00:24 | The first-most traveled-to place in the world is Mecca;
coming in second place is none other than Las Vegas.
| | 00:33 | Isn't that amazing?
| | 00:34 | You have to stop and think about that one.
| | 00:36 | East and west, very interesting.
| | 00:39 | Anyway, I want to view the images in this folder.
| | 00:41 | The way I'm going to do that is click and
drag that folder on to the preview pane.
| | 00:45 | And notice that then in the folder hierarchy
it shows me where that folder is located.
| | 00:49 | And it jumps to that location and then reveals the images here.
| | 00:52 | I'll go ahead and click inside the Bridge window and
press Command+L to launch the Slideshow view mode.
| | 00:57 | And just for fun, a couple of images, this
is of the Mandalay Bay as you approach it.
| | 01:02 | You know kind of all of its opulence and ominous and overpowering,
all the grandeur of Vegas and one of the things that's
| | 01:09 | so wild to me about Vegas is that it's a land of paradoxes.
| | 01:13 | So this is one view and this is the view
from the strip, the amazing Mandalay Bay.
| | 01:18 | And I'm always interested in seeing things from different perspectives
so I was walking around, walked across the way a little bit
| | 01:25 | and this is what I came across, this empty just
deserted desert field I guess for lack of a better word.
| | 01:32 | And there are these old car parts there and it was just
perfect to be able to frame the Mandalay Bay in background.
| | 01:38 | You know kind of the odd paradox of Las Vegas.
| | 01:41 | Anyway, let's jump to the Bridge here real quick; we'll exit out of that.
| | 01:45 | And jumping back to the Bridge, I then want
to go back to the folder I was in previously.
| | 01:50 | I'm going to click on the Go Back button and that's going
to take me back to the folder I was in, which is really nice.
| | 01:56 | Well I have a couple of images here that
have kind of a cross-process type of a look,
| | 02:00 | a really unique creative color effect that I created in Camera Raw.
| | 02:04 | How was that created?
| | 02:05 | Well, let's take a peek at this.
| | 02:06 | For starters, if we take the Saturation up, we'll
notice that there is a lot of color in this image.
| | 02:12 | I brought that color down and then I went to the Calibrate tab.
| | 02:16 | And with the Calibrate tab I basically dialed in
very specific colors going for a very unique look.
| | 02:23 | I also added some Vignetting, and the image, as shot, was something like this.
| | 02:30 | Very different compared to the image that was created.
| | 02:33 | Conjures up a very different mood and emotion.
| | 02:36 | Okay, well, let's take a look at how we can do that.
| | 02:38 | Here we have a shot and this one was actually
on the other side of the Mandalay Bay.
| | 02:43 | So on one side was this desert area with the car parts
in it and on the other side was this old motel sign.
| | 02:50 | I thought it was just, it was just so odd to visually see
the Mandalay Bay sign and then to see this old motel sign.
| | 02:57 | Anyway it was just kind of a fun visual juxtaposition.
| | 03:00 | And I love this shot because of those two birds that landed on the sign.
| | 03:03 | I was so ecstatic when I saw them land on that sign
and snapped away and got a fun little photo here.
| | 03:09 | So how then can we dial in something similar to this photo?
| | 03:12 | Well, we'll go ahead and navigate to the Calibrate tab.
| | 03:15 | That's probably a good place to start.
| | 03:17 | And there we're going to start off by changing the shadow tint.
| | 03:19 | We know that we can go green or red.
| | 03:21 | And we want this image to look old, so
we're going to add a lot of green there.
| | 03:25 | The Red Hue I'm going to change as well.
| | 03:27 | The Saturation of that hue, I'm going to pull way back.
| | 03:30 | Green Hue, I'm going to modify that one.
| | 03:33 | Going to my Green Saturation, so how the
heck would we know to do something like this?
| | 03:38 | Like we're doing here on this image.
| | 03:39 | Well, there isn't really any logic to it.
| | 03:42 | It's a lot of experimentation, going back to the Adjust tab and
lowering our Saturation quite a bit, coming back to Calibrate,
| | 03:49 | dialing in the amount of blue we want in the image,
the amount of green and the green hue is shifted.
| | 03:56 | And then we'll go to that Lens tab, add some Vignetting, the Midpoint.
| | 04:01 | It's a little bit too strong there, so we'll just keep it real subtle;
Adjust tab, and probably pull out even more color there.
| | 04:08 | And so it now gives us this really dreary old feeling to the
photograph, much different than the way that the image was captured.
| | 04:16 | Well this wraps up out conversation on Camera Raw creativity.
| | 04:20 | As you can see, there are a lot of technical
and creative uses of the Camera Raw plug-in.
| | 04:25 | I hope that this chapter has been helpful.
| | 04:27 | I'll see you in the next chapter where we're going to finally
get into Photoshop and in particular we're going to look at some
| | 04:33 | of the new features in regards to layers in Photoshop.
| | 04:36 | See you in the next movie.
| | Collapse this transcript |
|
|
6. LayersOverview| 00:05 | >> Male Speaker: Welcome to the chapter on layers.
| | 00:07 | There are some new, really cool features in CS2 in regards to layers.
| | 00:10 | For starters, let's take a look at how layers
work, and we'll do that in a blank document.
| | 00:15 | I'm going to jump to the Bridge, Shift+Command+O or
Shift+Control+O. Now we get to the File menu and choose New.
| | 00:21 | Notice there is a shortcut for a new document:
| | 00:23 | Command+N or Control+N; let's go ahead and create a new document.
| | 00:26 | We'll do a preset size of 800 x 600, 72 pixels per inch.
| | 00:30 | That is great for screen res; we're not too concerned about printing
this because we're just going to be goofing around here a little bit.
| | 00:36 | Press F to go to full screen mode, press the spacebar
to take the image to the top of the screen.
| | 00:42 | And I'm going to go ahead and reset my palette
locations because mine were a little bit modified there.
| | 00:47 | And then I'm going to grab the Layers palette and just click and
drag and cover the palettes that are there in the background,
| | 00:55 | to simplify it a little bit so we can see what we're working on.
| | 00:58 | You don't need to do that, but it will
help as I'm showing what we're going to do.
| | 01:02 | Okay, for starters we're on the Background layer.
| | 01:04 | You'll notice that the Layers palette looks a little bit different.
| | 01:07 | And we're going to go ahead and create a new layer.
| | 01:09 | There are probably five ways to do this.
| | 01:12 | We're going to look at a couple ways.
| | 01:13 | One is to go ahead and click on the New
Layer icon, that creates a new layer above.
| | 01:18 | A second way is to press a shortcut.
| | 01:21 | On a Mac, Shift+Command+N. On a PC, that's Shift+Control+N. I'll
name this layer the shortcut so you can have a visual for that:
| | 01:29 | shift+cmd/cntl+n. So that creates a
layer and then it gives me options to name a layer.
| | 01:37 | Sometimes you're just in a hurry and you
need to really crank out a new layer.
| | 01:41 | That's going to be on the Mac, Shift+Option+Command+N, and notice
that just created the layer without asking me what I want to name it.
| | 01:48 | That can be really helpful as well.
| | 01:50 | On a PC that's going to be Shift+Alt+Control+N. So
I'm going to go ahead and write those down as well.
| | 02:03 | Okay, so multiple ways to create new layers.
| | 02:06 | How did I rename that?
| | 02:08 | Well I just went ahead and I double-clicked on the
name and that gives me the ability to rename a layer.
| | 02:13 | Well, I need to delete this layer, so I'm
going to go ahead and drag it to the Trash.
| | 02:17 | Another way to delete is going to be right-click and choose Delete Layer.
| | 02:21 | The background when you rename that by double-clicking it, you do get
this New Layer dialog and I'll go ahead and give that one a name.
| | 02:29 | So what I would like you to do is create
a couple of layers above your background.
| | 02:32 | And go ahead and grab the Brush tool (B on the Toolbox),
and draw something that's different colors in each layer.
| | 02:40 | And I'm just going to go through this real quick so we
can get some common ground in regards to our layers.
| | 02:45 | So, so far what we're seeing is that the
layer above is covering the layer below.
| | 02:49 | I know a lot of us know this, but for a few of us this
real quick refresher on layers will be helpful.
| | 02:54 | And so we can reorder these layers by clicking and
dragging them to the top or the bottom of the layer stack.
| | 03:01 | We can also turn off the visibility of a layer.
| | 03:04 | In this case, the visibility is showing in these gray and white squares.
| | 03:07 | That's set up in our Preferences, and we left
that that way when we did our Preferences here.
| | 03:12 | You know, a nice joke to play on people is to change this
and like something like that and then they freak out,
| | 03:17 | they don't know what's wrong with Photoshop
or where that preference was set.
| | 03:20 | But of course you wouldn't want to do that.
| | 03:22 | I'll take this back to a nice light gray there.
| | 03:24 | So we have that, we have a few different
abilities to lock in regards to our layer.
| | 03:29 | I can lock everything, which means I can't move
it, I can't modify it, I can't do anything.
| | 03:33 | I can lock its position, so if I grab the
Move tool, it won't allow me to do that.
| | 03:37 | I can lock it so I'm not able to use the paint
brush, and then I can lock transparent pixels.
| | 03:42 | Go ahead and unlock that and then lock transparent pixels.
| | 03:45 | And what that means if I pick a new color, I won't be able
to paint anywhere but where there's already content.
| | 03:53 | So that's really nice because it gives me
access just to the area where there is content.
| | 03:57 | Let's look at some more real examples.
| | 03:59 | This is just a real brief overview of layers.
| | 04:01 | And for that we're going to close this
file, Command+W and D (for "don't save").
| | 04:06 | Jump to the file browser -- Shift+Command+O or Shift+Control+O --
and go ahead and open up the image organize.psd.
| | 04:14 | All right.
| | 04:15 | In order to free up my view a little bit so that it's less cluttered as
we're talking through layers, what I'm going to do is press Shift+Tab.
| | 04:21 | That hides everything but the Toolbox and then
press F7, which just brings back the layers.
| | 04:27 | If you didn't catch that, no worries, but it was
Shift+Tab and then F7 to bring back the layers.
| | 04:32 | Okay, so we're looking at a layered document and let's look
at a couple shortcuts we have with layers as a way of review,
| | 04:38 | things we've all ready known in CS.
| | 04:41 | We can Option+click or Alt+click the eye icon of any layer and what that will do
is it will turn on that layer and then turn off all of the other layers.
| | 04:49 | So we can see what that layer is about.
| | 04:51 | If we Option+click or Alt+click that a second time it then
turns on the rest of the layers so that we can see those.
| | 04:57 | That's a really nice shortcut to have in your bag of tricks.
| | 05:00 | We saw the trick about renaming; we can
double-click inside of the text field.
| | 05:04 | Now what happens when we need to erase some layers?
| | 05:07 | I need to get rid of these layers up top.
| | 05:09 | This is where we're going to enter some new territory.
| | 05:12 | I'll select the layer by clicking to the right of the icon.
| | 05:16 | This is now new.
| | 05:17 | We can't select by clicking on the icon because it
will give us some problems that I'll explain as we go.
| | 05:22 | And then I want to select discontiguous layers.
| | 05:25 | I'm going to hold down the Command or Control key and
that will help me select those discontiguous layers.
| | 05:31 | I can also deselect by holding down the Command
or Control key and selecting the layer again.
| | 05:36 | Now what happens if I Command+click the icon?
| | 05:38 | What you see is that it then turns that area into a selection.
| | 05:42 | That's not what I want.
| | 05:44 | I want to go ahead and select all of these.
| | 05:45 | So I'm going to select one layer by clicking on it, hold down the Shift
key, which will select contiguous layers, and now I've selected all of those.
| | 05:54 | There's another location where we can delete
these layers, and this is the flyout menu.
| | 05:58 | I'll click on that and if I select Delete Layers
it will ask me, do you really want to do this?
| | 06:03 | I'm going to click No and then this time I'll go ahead
and hold down the Option or Alt key when I click.
| | 06:09 | Doesn't ask me the message, nice, snaps things
up, and I got rid of those layers really quickly.
| | 06:15 | We'll notice that now by default I'm on Layer 10.
| | 06:17 | And we can see that the layer has a specific opacity.
| | 06:21 | When I near the opacity I see the scrubby sliders that I'm
able to change the opacity or the intensity of that layer.
| | 06:27 | So I'm making it more opaque.
| | 06:29 | Here's the quick shortcut for that.
| | 06:31 | If we go to the Move tool, shortcut V, and then
press a number on our keypad, I pressed the number 5.
| | 06:38 | It takes the opacity to that setting, take it to 22 takes it to 22;
| | 06:43 | it's a great way to change opacity using the
keypad but you have to be in the Move tool.
| | 06:49 | Well as you can see there's a lot with layers and
there is actually a ton more that we're going to cover
| | 06:53 | and we'll do that in the following movies, see you then.
| | Collapse this transcript |
| Linking and groups| 00:01 | >> Male Speaker: Welcome back -- more on layers. The image
we're going to work on is this one titled the_daily_sojourn;
| | 00:06 | and real quick note there's a little link in here to go to this site,
| | 00:09 | which is www.sojournphotos.com, which
is my photography site for this class today.
| | 00:14 | And this is a site where I post an image a day.
| | 00:16 | It's been a really fun way for me to stay creative, and I shoot just with
creativity in mind, here are a few images from the last couple of days.
| | 00:23 | And you can scroll through them.
| | 00:25 | Oh, this is a fun one, that's my daughter
out in front of our house the other day.
| | 00:29 | So anyway, you may want to check that out, it's just kind of a fun way
for me to stay creative and keep shooting and working in Photoshop.
| | 00:35 | Occasionally I'll do files like this and
this was one from a post couple of weeks ago.
| | 00:39 | So what we have is a file, we open it up by double-clicking it.
| | 00:42 | And you'll notice for starters that there are a
bunch of layers, and as we're getting into layers,
| | 00:47 | let's talk about how we can move a couple of the different layers.
| | 00:51 | I want to move the layer the daily sojourn and then my name down below.
| | 00:55 | Well in the past what we would do is we would link these layers
and then we would either align them or move them together.
| | 01:02 | In CS2, you don't necessarily need to link
layers anymore and let me show you why.
| | 01:07 | Well I'm going to select both layers by Command+clicking
to the right of the icon there.
| | 01:11 | And then clicking the Link icon.
| | 01:14 | So once I've linked these layers, I'm able to move them around in unison.
| | 01:18 | If I were to check off of the Link icon I could move one layer at a time.
| | 01:23 | And I'm selecting the layer by clicking
on it in the Layers palette over here.
| | 01:27 | Well it's really nice to be able to have layers
that are linked and then to go ahead and align them.
| | 01:31 | Let's say we want to left justify them
or have the text somewhere over there.
| | 01:36 | I can then also center or right justify.
| | 01:39 | The advantage to using the linking feature is that
it remembers which layers are linked together.
| | 01:45 | I can turn this off by Shift+clicking.
| | 01:48 | And Shift+clicking and making sure I only have one layer selected.
| | 01:52 | I can then move that and then Shift+click and it turns that linking back on.
| | 01:56 | So that's a real good shortcut, you'll want to have that
in your bag of tricks, Shift+click the Link icon.
| | 02:02 | To turn the link off you can click on the
Link icon at the bottom of the Layers palette.
| | 02:06 | So we've seen how linking works.
| | 02:08 | Well there's a way to work on layers as
if they're linked, which is really cool.
| | 02:13 | If you go ahead and select both of those layers you still have access
to be able to move them in unison, align them in different ways.
| | 02:20 | Let's go ahead and left justify those.
| | 02:22 | And then once you click off of them, you lose the linking
functionality, which for me I've found works a lot more effectively.
| | 02:30 | Because I'm able to get in and out of linking much quicker.
| | 02:34 | If I want to link files, I can go ahead and
just select both of them and then reposition.
| | 02:39 | One more thing that's nice with layers, and we're
going to do more than just with type layers.
| | 02:43 | This will be in regards to adjustments, etc., etc.,
is we can now group the layers with a pretty cool shortcut.
| | 02:49 | That's going to be Command+G or Control+G. There's another
way to put them in group, as well I should highlight.
| | 02:54 | Flyout menu > New group from Layers; it asks you for the name; I
like this shortcut of course, it speeds things up, Command+G,
| | 03:01 | or Control+G. Once you group them and you select on the
group folder, you then can move all of the layers in unison
| | 03:08 | or you can click on individual layers to move them one at a time.
| | 03:11 | But again clicking on that will act as if they are already grouped.
| | 03:15 | Of course though, you don't have the alignment
features that you had previously.
| | 03:20 | All right, well we've learned yet some more information
about layers and there's still some more ground to cover.
| | 03:25 | So I'll see you in the next movie.
| | Collapse this transcript |
| Alignment| 00:01 | >> Male Speaker: Amigos, bienvenido, a una pelicula nueva.
| | 00:04 |
| | 00:04 | Welcome to new movie, here we go.
| | 00:07 | Let's open the file of the_daily_sojourn_1.
| | 00:10 | All right, press F to go to full screen mode, spacebar to move the
image to the top part of the screen because we don't want our head
| | 00:16 | to tilt down, we want it to tilt up so we're looking up.
| | 00:19 | And we're going to look at some more shortcuts
and ways to organize layers.
| | 00:24 | For starters we notice that we have layers
1 through 4 and then I have a copied layer.
| | 00:29 | Well, what I want to do is align these so that
all of these little strips of images are lined up.
| | 00:34 | One of the fastest ways to navigate from layer to layer is
to press the Command key and click on the different layers.
| | 00:40 | And you'll notice that sometimes I'm getting the
background and then the text is a little bit more difficult.
| | 00:45 | This works if a layer is at an opacity level of at least 50 percent.
| | 00:49 | If I take this down less than 50 and I Command+click,
you notice I'm going through the layer to the background.
| | 00:56 | Well, how do I get around that?
| | 00:57 | Or how do I get around when a lot of layers are really
close to one another like this, we have overlap.
| | 01:02 | Well, I'll do that with a right-click or Control+click and then it
will give me the layer names, and I say hey, I want Layer 4.
| | 01:09 | I can then reposition that one and use the shortcut
for opacity on the keypad, 100, take that one back up.
| | 01:15 | Command+click this one and I'm just going to get these guys close
and I'm Command+clicking and then moving with the Move tool.
| | 01:23 | So now that they're pretty close, actually why don't I offset
them a little bit, which would kind be cool for illustration purposes.
| | 01:28 | Now that they're relatively close, I'll go ahead and
click a layer, Shift+click to select all the layers,
| | 01:35 | and then align those bad boys and make
sure there is even space between them.
| | 01:40 | And we saw the align shortcuts previously.
| | 01:43 | Finally what's the shortcut to put these layers into a group?
| | 01:46 | You remember that one, Command+G or Control+G.
And that takes it into a group.
| | 01:50 | If we want to rename the group, we'll just double-click
that and call this film_strips, and we have learned
| | 01:56 | yet a few more shortcuts and techniques for working with layers.
| | Collapse this transcript |
| Layer order and Clipping Masks| 00:01 | >> Male Speaker: More fun with layers.
| | 00:03 | Yee who! Let's go ahead and open up the file shortcuts.psd, good work
so far, hopefully you're learning some good stuff about shortcuts.
| | 00:12 | And in this movie we're going to learn some
pretty cool tricks for working with layers.
| | 00:16 | I'm going to go ahead and turn on the visibility of a bunch
of the layers, everything except for the top one, short_cuts.
| | 00:22 | And we have color and tone applied to this image
and again just kind of a creative piece here.
| | 00:26 | And what I want to do is have these text layers which,
sadness falls like rain and sadness and sadness.
| | 00:32 | I want to have these above the image layer.
| | 00:34 | How can I reorder my layers?
| | 00:36 | Well I can reorder them by clicking and dragging, we've
seen that before, so now we see the text shows up, up top.
| | 00:41 | But that's kind of an old school, slow way
of doing things and we want to be new school.
| | 00:45 | We want to go fast and furious, go big, right?
| | 00:48 | So, we have a couple shortcuts for you.
| | 00:50 | Those shortcuts are Command+[ or ] or Control+[ or ] equals reorder or
reposition of the layer, Option+ [ or ] or Alt+[ or ] equals select a layer.
| | 01:00 | And those shortcuts are really powerful, jot them down, memorize
those because it will help you as you're working on layers.
| | 01:08 | They will help you in the rest of training, too, because
we'll be doing a ton with layers as we go.
| | 01:12 | Well let's illustrate how those work.
| | 01:13 | I'm on the bg layer.
| | 01:15 | I'm going to press Command or Control key and then brackets.
| | 01:18 | And you know what?
| | 01:18 | You never remember which way the bracket goes, it's a 50-50 chance.
| | 01:23 | Try one then try the other.
| | 01:24 | You notice that I'm actually relocating that particular layer.
| | 01:28 | When I hold down the Option or Alt key, what I'm doing is I'm
selecting or scrolling through and then targeting different layers.
| | 01:35 | That's a really, incredibly valuable shortcut
because it will speed up your time as you're working
| | 01:40 | on layers and as you begin to modify multiple layers.
| | 01:43 | Quick comment about this image, again it was for that
daily post, and something really sad happened in my life.
| | 01:49 | When things happen in life, I try to figure
out how can I visually create something
| | 01:53 | that represents how I feel, how can I
externally represent an internal reality?
| | 01:58 | So, kind of fun to do that.
| | 01:59 | I think Photoshop is great for that.
| | 02:01 | And it's also great for other professional reasons as well.
| | 02:04 | And we'll be looking at both of those as
we go through the rest of the training.
| | 02:07 | Command+W or Control+W, then D (for "don't save").
| | 02:10 | Let's open up another file.
| | 02:11 | The next file that we're going to open up
is going to be layer_clipping_mask.jpeg.
| | 02:16 | Go ahead and double-click that one, take it to full screen
view mode by pressing the F key, take the spacebar,
| | 02:23 | press that down and then move the image up to the top part of the screen.
| | 02:26 | This is another one of those sunflower field shots from central California.
| | 02:30 | I was just blown away by that.
| | 02:32 | Fields and fields of sunflowers, it was beautiful.
| | 02:34 | We're going to look at a technique in layers
for creating what is called a clipping mask.
| | 02:39 | It's a pretty interesting technique and let me show you how it works.
| | 02:42 | I'll demo it here.
| | 02:43 | Going to double-click the background and name this layer "flowers".
| | 02:47 | And now that I've renamed that, I'm going to then
grab the Type tool by pressing T on the keyboard.
| | 02:53 | And then click and type out the word "sunflowers".
| | 02:58 | Once I'm finished typing I will press Command+8
or Control+8, highlight the type there.
| | 03:03 | Go up to my font and click on the scrubby
sliders to make this a lot bigger.
| | 03:09 | And another shortcut that is kind of cool.
| | 03:11 | If you hold down the Option or Alt key and then the right arrow,
you can actually increase the space between the letters there.
| | 03:16 | I like that shortcut.
| | 03:17 | If you have multiple lines of text, and you select all and Option or Alt
key plus the up or down arrows, then you can increase the line spacing as well.
| | 03:25 | So some cool little side-note shortcuts.
| | 03:28 | And have to throw some of those in.
| | 03:30 | Okay, so we have the font, I want to increase
the size of the font even more.
| | 03:34 | I'll do that by free transforming it.
| | 03:36 | Free transform is Command+T or Control+T and
then I'll click on one of the anchor points.
| | 03:43 | I want a really big, huge font so I can illustrate something here.
| | 03:48 | So far, we see that we have this text and
this text is currently on top of the flowers.
| | 03:54 | I want to reorder my layers so that the text is underneath the flowers.
| | 03:58 | What's the shortcut?
| | 03:59 | Your shortcuts revolve around those bottom keys
in the lower left-hand corner of your keyboard.
| | 04:03 | So the one to move a layer is going to be Option or Command, one of those.
| | 04:08 | It's either Option or Alt, or the Command key, plus a bracket.
| | 04:11 | So just try one.
| | 04:11 | In this case its Command+[ or ]and that will make
it so that the text is underneath the flowers layers.
| | 04:17 | I'm going to then create what is called
a clipping mask between these two layers.
| | 04:22 | And I do that by holding down the Option key and when I hover
over the line that separates the layer, I get this new cursor.
| | 04:30 | It looks like these two layers are somehow being combined.
| | 04:33 | And when I do that, what you'll notice is, and I'm going
to change my font here so we can really see this one.
| | 04:41 | So now we can really see what is happening.
| | 04:43 | We have a layer clipping mask.
| | 04:46 | And right now this is just kind of a special effect.
| | 04:49 | Later this is going to become critical for retouching, for tone,
for color, and we'll be using this in a ton of different ways.
| | 04:56 | But it's helpful to see it in this visual way
because it's a really good way to learn it.
| | 05:01 | So let's review how that works.
| | 05:04 | Currently we have two layers and we reorder the layers
so that there's a layer above that's going to fill
| | 05:10 | or it's going to apply only the layer immediately underneath it.
| | 05:14 | In order to make that happen, it's the Option or Alt key, hover between
the two layers, go ahead and click, and then you'll see that update.
| | 05:22 | Note you can still change the background there.
| | 05:24 | You can also change the text as you saw me do.
| | 05:27 | And it gives you a lot of control in regards to doing that.
| | 05:31 | All right, we need to look at a more realistic
application of this, and let's do that in the next movie.
| | Collapse this transcript |
| Layer style effects| 00:01 | >> Male Speaker: In this movie we'll work on the image layer_style_effects.
| | 00:05 | Go ahead and crack that one open by double-clicking it.
| | 00:07 | F to go to full screen view mode, and then double-
click the Zoom tool to take it to 100 percent.
| | 00:14 | Here we have an image, and this was shot in Soho in New York after a
wonderful dinner with some cool people and I love it when it rains.
| | 00:23 | I love taking photos when it rains.
| | 00:24 | It's so funny.
| | 00:25 | A lot of people, when it rains they put their camera away.
| | 00:28 | That's when I pull mine out because you get some of the most
unique stuff because no one else shoots during that time.
| | 00:32 | Anyway, the rain had just past, and this was a really neat little alleyway.
| | 00:35 | Okay, so it's all kind of sized down, low res so we can work on it.
| | 00:39 | Here is a really important shortcut.
| | 00:41 | This full screen mode that we're working in right now is a light gray.
| | 00:45 | Not a good way to preview images.
| | 00:47 | We talked about this before that if it's really dark like
the black full screen mode; it makes it feel more contrast.
| | 00:53 | If it's too light or white, it makes it feel flatter.
| | 00:56 | So we want this to go to middle gray.
| | 00:58 | The way that we can change that is go into our Paint
Bucket tool and then picking a color in our color picker.
| | 01:04 | Again this is a great joke to play on your colleagues is to
grab the Paint Bucket tool and then Shift+click the background
| | 01:11 | and then that full screen mode is now mint green, which is pretty hideous.
| | 01:16 | Of course you would never want to do that to your own computer and maybe
I shouldn't endorse playing jokes on people because I'll get in trouble.
| | 01:21 | But anyway, you want to take this to middle gray.
| | 01:23 | The way we're going to do that is selecting the color picker, going to
a hue of 0, saturation of 0, and brightness value of 50 percent.
| | 01:31 | So H is hue, S is saturation, B is brightness.
| | 01:34 | If we want to go to middle gray, you can also enter 128, 128, 128, and RGB.
| | 01:39 | That will take it to middle gray and then go ahead
with the Paint Bucket and Shift+click that background.
| | 01:44 | Once you've done that once, it will always
be set that way until you change it.
| | 01:48 | So a great way to view images, you definitely
want to change that full screen view mode
| | 01:53 | and it will help you analyze both the color and the tone of your image.
| | 01:56 | All right, back to layers.
| | 01:58 | Here we have a few layers.
| | 01:59 | And we want to create a little promo card, let's say.
| | 02:02 | And we don't know what all these layers are yet.
| | 02:04 | We will soon though.
| | 02:05 | And we have this image of the bridge and then above
that we have this layer that affects the color.
| | 02:12 | The only problem is that when I turn off this layer, I notice that this
color layer or adjustment layer, it's actually a curves adjustment layer,
| | 02:21 | more on that in the next couple of chapters actually.
| | 02:23 | So I don't want this curves adjustment to effect
anything but the image immediately underneath it.
| | 02:29 | Well, you know that shortcut.
| | 02:30 | You learned it last time.
| | 02:32 | The way that you do that is you Option+click or Alt+click
between the two images, your cursor will change.
| | 02:37 | And now what you'll see even when you turn that image off,
this adjustment layer is disabled, the eye icon is shaded out.
| | 02:45 | i.e., it's only affecting the image underneath it.
| | 02:48 | There's great power in that little shortcut
of creating what's called a clipping mask.
| | 02:54 | All right, let's learn a couple more things about layers.
| | 02:57 | We can see that the layer soho_ny_05
has what's called a layer style effect.
| | 03:02 | If you click on the arrow, you see that there's an effect and it's a
stroke, which is a brush stroke of color around the perimeter of the image.
| | 03:10 | How the heck was that created and what are some
shortcuts that are new to CS in regards to using these?
| | 03:15 | Let's go ahead and click and drag that to
the Trash and then target that layer.
| | 03:19 | So we'll target the layer soho_ny_05,
and go down to the Layer Style Effects icon.
| | 03:26 | From the pop-up menu, choose Stroke, and you'll
notice now that you have a bunch of different options.
| | 03:32 | Right now the corners of the brush stroke are soft.
| | 03:35 | If you want them to be hard, take it to a Position of Inside.
| | 03:39 | We can change the dimensions of that brush stroke and also the color.
| | 03:43 | And so I'm going to try to choose a color from inside the image,
| | 03:47 | maybe find something kind of interesting
there, and now I have this brush stroke effect.
| | 03:51 | If I want to add a drop shadow, I'll click the Drop
Shadow icon and then click on the field for Drop Shadow
| | 03:57 | and notice that the options have now updated in the middle of the screen.
| | 04:01 | I'll reel it in, make it a little bit closer, a little bit less prominent.
| | 04:05 | I can also pull it away if I want to and change the angle.
| | 04:09 | So you have a ton of different options in regard to layer style effects.
| | 04:12 | Most of these are really straightforward, so
you'll want to experiment a little bit with those.
| | 04:16 | Let's at least apply two, Drop Shadow and Stroke, click OK.
| | 04:22 | All right, so that's cool.
| | 04:23 | The only problem is when I go to turn on the
other image; it doesn't have those same effects.
| | 04:28 | So of course I could go back to layer style effects,
and apply them again, but that would take a lot of time.
| | 04:32 | So how can I do things in a more efficient manner?
| | 04:35 | Well, what I can do is I can actually drag and drop these layer effects.
| | 04:39 | If I simply click on them and reposition them, we'll
notice that now they're attached to this image.
| | 04:45 | The only problem with that is that I lost them on the image below.
| | 04:49 | So how can I drag and drop, i.e., copy and paste?
| | 04:52 | Well, let me show you a shortcut.
| | 04:54 | This shortcut is true in most operating
systems, and you need to type out some text.
| | 05:01 | Currently we have text, and in almost all operating systems,
you can Option+click or Alt+click and drag and it will copy and paste.
| | 05:09 | This works in folders as well.
| | 05:11 | If you have folders you need to copy and paste, it works
within the Bridge, it works within PC operating system,
| | 05:17 | Mac operating system, and it also works inside of Photoshop.
| | 05:20 | So we're going to take advantage of the knowledge of that shortcut,
go the effects and go ahead and option or alt click and drag.
| | 05:27 | And you'll notice that now there are double the effects, i.e., there are
effects on that image as well as on this image and they're identical.
| | 05:35 | Which is really nice because I didn't
have to dial in the exact effect twice.
| | 05:39 | Well, let's say I want to change the effect or I want to
turn off the drop shadow, I can do that with the eye icon.
| | 05:44 | I can also right-click or Control+click the F icon.
| | 05:48 | This is new to CS2, kind of cool.
| | 05:50 | And I can choose, well let's say, Outer Glow.
| | 05:53 | And then that will open up the menu to that
particular setting and I can add an outer glow.
| | 05:59 | I can also choose Stroke, and then it will take me to
the brush stroke and there I could either turn it on
| | 06:05 | or off or change its width or something along those lines.
| | 06:09 | So I must say I'm impressed with the new
features that Adobe added to the Layers palette.
| | 06:13 | I think they're great; they definitely will
speed up our workflow, which is always important.
| | 06:17 | And they will ultimately help us become more creative.
| | Collapse this transcript |
| History| 00:01 | >> Male Speaker: In this movie we'll look
at how history works in Photoshop.
| | 00:03 | Open up the file, history.psd; have to go to full screen view mode.
| | 00:08 | Nice to have that middle gray background around the image now, and
we'll have that for the rest of our training, which will be really nice.
| | 00:15 | All right, so in our Layers palette you'll notice that we have a drawing
layer, a layer with some years on it and then finally the background layer.
| | 00:24 | I want to click in the drawing layer.
| | 00:26 | And in the drawing layer I'm going to draw some lines with the brush.
| | 00:30 | Maybe I should get an interesting brush here.
| | 00:31 | Couple of different ways to select brushes, one is to
go up to the Brush options bar and then choose a brush.
| | 00:37 | Another way to do it is to right-click and then there you can
change the diameter of the brush and select the brush as well.
| | 00:44 | You just want to be sure to click off of the image or click
on the options bar to close either of those dialog windows.
| | 00:51 | All right, so I'm going to add a blue line to 2001, 2002, 3, 4, 5, and 6.
| | 00:59 | And the reason I'm doing this is I find it's helpful to get
our minds wrapped around how history works in Photoshop.
| | 01:05 | I moved the Layers palette over intentionally so we can see history.
| | 01:08 | Currently what we see are the different states of history in this document.
| | 01:13 | So I can go back in time by clicking on those different
states to when the different brush strokes were made.
| | 01:19 | I can also go all the way back before any painting was done.
| | 01:23 | One of the unique things about Photoshop is the ability to undo.
| | 01:26 | There is a tool called the History Brush.
| | 01:29 | I'm going to go into the Toolbox and select the History
Brush, make sure not on the Art History, but the History Brush.
| | 01:36 | And currently the History Brush, as a way of illustration,
is set to the file before any edits were made.
| | 01:43 | So if I then use the History Brush, what I'm going to be doing
is painting back in time to before any of those edits were made.
| | 01:53 | And let's pick up a couple other shortcuts while we're here.
| | 01:56 | I'm changing my brush size with the bracket keys.
| | 01:59 | Right bracket means larger brush, left bracket smaller brush.
| | 02:04 | Shift+] is harder brush, if you see
the preview up there; it's now a real hard brush.
| | 02:09 | And then Shift+[ is a soft brush.
| | 02:13 | I want to type those out for you.
| | 02:14 | Hey, there are the shortcuts for you, if you want to jot them down.
| | 02:19 | The left bracket makes that brush smaller, the
right bracket larger, Shift+[ softer,
| | 02:24 | that kind of makes sense, softer and smaller go together.
| | 02:27 | And then Shift+], harder,
which kind of goes with larger as well.
| | 02:31 | On a little bit of tangent, but any brush can be resized that way.
| | 02:34 | In this case, we're resizing the History Brush with those shortcuts.
| | 02:38 | All right, I'm going to go back in time here a little bit.
| | 02:41 | One of the things that I can do above and beyond going back to the history
state before any edits are made, I can also select let's say 2003 here.
| | 02:50 | And then I'll go ahead and erase, and you'll notice
that I'm erasing back to 2003 with the History Brush.
| | 02:56 | So I'm going back to that specific era in time.
| | 02:59 | One quick note is that when you save your
Photoshop document, you actually lose the history.
| | 03:04 | So the history is only live during the
session that you're working on the document.
| | 03:09 | Couple other quick side notes; the shortcut for the History Brush is
Y, which is totally easy to remember because you say "why did I do that?"
| | 03:16 | And that jumps you to the History Brush, pressing Y on the keyboard.
| | 03:20 | And then you can use that.
| | 03:21 | The other quick side note is that the History States,
how many times it records, in this case is 20.
| | 03:28 | The higher the number, the slower Photoshop will run.
| | 03:30 | The lower the number, the faster Photoshop will run.
| | 03:33 | I find the default of 20 is a pretty good way to go.
| | 03:36 | You may want it a little bit higher as you're getting started in Photoshop.
| | Collapse this transcript |
|
|
7. MaskingIntro to masking| 00:05 | >> Male Speaker: Welcome to the chapter on masking.
| | 00:07 | Masking is one of the most powerful things in Photoshop.
| | 00:11 | It literally will revolutionize the way you work on your
images, and the increased quality control is amazing.
| | 00:17 | All right so we have this image that was taken by Sammy Olson.
| | 00:21 | You should check out his Web site, sammyolson.com, he's a really
cool guy, great photographer, I just love this shot for some reason.
| | 00:26 | And we'll use this one to get familiar with masking, but before
we do that, let's talk a little bit about how masking works.
| | 00:33 | So, my wife and I found out we were going to have a daughter and
so I decided of course she's going to be a little surfer girl.
| | 00:38 | I began to collect some things, got her some women's surfing magazines,
| | 00:42 | a friend of ours gave us this t-shirt, my
dad surfs better than your dad, I love it.
| | 00:47 | And I decided that I wanted to decorate her room with a
stencil of a hibiscus flower around as kind of a border.
| | 00:53 | So I went ahead and I created this stencil and cut it out of a piece
of cardboard and the way that the stencil worked is I would hold it
| | 00:59 | against the wall, and believe it or not, this does have to with masking,
| | 01:03 | you just have to keep rolling with me,
| | 01:04 | so I'd hold it against the wall and I would
fill it in with paint, not blue paint,
| | 01:08 | and then I would pull away the stencil and all that would
remain would be whatever was painted through the stencil.
| | 01:14 | So here you can see this stencil on her wall and as a border
kind of around her room and you get a better shot of it.
| | 01:19 | It was such a fun and expectant time.
| | 01:21 | We just couldn't wait for her to arrive.
| | 01:24 | And she did arrive, and here's a mini collage of a bunch
of pictures of her from the first few days of her life.
| | 01:31 | And we just can't get enough of her.
| | 01:34 | We think that she is amazing.
| | 01:37 | Here's a shot of her just from a few weeks
ago of her getting ready to go to bed.
| | 01:42 | If that doesn't make you smile, I don't know what will make you smile.
| | 01:45 | Here's another shot of her eating spaghetti.
| | 01:47 | She definitely likes spaghetti.
| | 01:50 | And one of my Photoshop students said, "do
you do anything to her eyes in Photoshop?"
| | 01:54 | And I said "no way, those are the real things."
| | 01:57 | There's no way I'm going to modify her eyes.
| | 01:59 | Isn't she quite the cutie?
| | 02:01 | All right, well there are couple shortcuts that we need to know
in regards to masking and that is white reveals and black conceals.
| | 02:08 | Well, what do I mean by that, and how exactly does masking work?
| | 02:12 | Well, let's take a look.
| | 02:13 | All right, here we have this image and you can open
this image if you want to from the file browser.
| | 02:19 | I'm going to go ahead and jump out of full screen mode here real
quickly, go to Window > Workspace, Reset Palette Locations.
| | 02:27 | And then scroll down to the layer with this image.
| | 02:31 | If I were to create a selection, grab your Marquee tool, which
is M on the keyboard, then press Shift+M, to go to the Circular
| | 02:40 | or Elliptical Marquee, click and drag, don't let go of the mouse.
| | 02:43 | Use the spacebar to move the ellipse around,
until you have circle where you want it.
| | 02:48 | Okay, so for starters, what we can see here is
that I've selected the middle part of this image.
| | 02:55 | I then want to create a mask off of that.
| | 02:57 | The way that I'm going to do that is go to my Layers palette, double-
click the word "Background" to rename it; I'll name this one "wave".
| | 03:04 | And you'll notice that one of the new features in
regards to layers is that this layer is now highlighted,
| | 03:09 | we can see the brackets around the layer,
showing us that we're on the layer.
| | 03:14 | This is changed in CS.
| | 03:16 | We'll then click on the Mask icon; the Mask icon looks like a stencil.
| | 03:20 | And we see that we created a mask.
| | 03:22 | In this case, the mask is now selected, you can see the brackets
around that, click on the image, now you see the brackets there.
| | 03:29 | Click there, you see them over there.
| | 03:31 | It's changed a little bit, I actually like that.
| | 03:33 | I think it's much more effective.
| | 03:34 | And we have the stencil and what this stencil looks
like is a black outer edge and then white in the middle.
| | 03:40 | How did I get to that view mode?
| | 03:42 | Well that's actually a pretty cool shortcut,
its Option+click, or Alt+click, the mask.
| | 03:46 | There's another shortcut, which is Shift+click or Option+click
Alt+click, it goes to this ruby red overlay.
| | 03:53 | So there's some different view modes and then if you
click it again, it'll take it out of that view mode.
| | 03:58 | Okay so, so far what we're seeing is that we can create a mask which acts
kind of like a stencil, and we know that white reveals and black conceals.
| | 04:06 | Well how can we modify this further?
| | 04:08 | If you go ahead and click on this link icon, you can
then pick up the mask and move that around the image.
| | 04:15 | You can also free transform it, Command+T or
Control+T. So I'm going to make it smaller.
| | 04:20 | So it's just the wave there.
| | 04:22 | And then to apply that transformation, press Return.
| | 04:25 | I can click in the image; notice the image now has
the brackets showing me I've selected the image.
| | 04:31 | I can move that around in the background, like the wave's about to crash.
| | 04:35 | (Laugh) Okay, okay, that was pretty corny.
| | 04:39 | So what we can see so far is that we can
create a mask and then we can move the mask
| | 04:44 | or modify the mask and also modify the content that's being masked.
| | 04:48 | All right, well that wraps up our initial look at masking.
| | 04:51 | There's a ton more to get into and we'll do that in the following movie.
| | 04:55 | See you then.
| | Collapse this transcript |
| Using masking| 00:01 | >> Male Speaker: One of the things you'll notice
about this training is that it's cumulative.
| | 00:04 | And I'll keep rolling in new shortcuts, new techniques, new
tips, and we'll get better and better and better as we go.
| | 00:10 | So here's another shortcut for you that will be helpful as we go.
| | 00:13 | Its Command+Z or Control+Z, moves back and forth in our history;
on the Mac, Command+Option+Z, on a PC Control+Alt+Z, undoes multiple times.
| | 00:23 | So what I mean by that is if I go ahead and make some edits in
a file, and then press Command+Z, that is going to take me back
| | 00:32 | and forth in my history, back one step and
then bring me back to the current time.
| | 00:36 | Command+Option+Z on the Mac, Control+Alt+Z
will take me back multiple spaces.
| | 00:41 | So it's a real helpful shortcut.
| | 00:43 | We'll begin to use that as we roll through these movies.
| | 00:46 | Okay, enough on that and back to masking.
| | 00:48 | So we have the image of the wave and rather than mask off part of the
wave, I want to see the entire wave but only a portion of it in color.
| | 00:57 | Let me show you what I mean here.
| | 00:59 | First of all, let's talk about adjustment layers.
| | 01:01 | There's an icon at the bottom of the Layers palette,
it's a circle that's half black and half white,
| | 01:05 | if you click on it, you have a bunch of different adjustments.
| | 01:08 | This is definitely the way to make adjustments like this.
| | 01:11 | For example, Hue/Saturation, if I make that adjustment and pull out
the color, that's one way to convert to grayscale, the poorest way.
| | 01:19 | We'll look at some other really cool ways
to do that in a chapter down the road.
| | 01:23 | But the reason this is a good way to create a Hue/
Saturation adjustment is because I can turn it on and off,
| | 01:29 | I can also lower the Opacity, no pixels have been damaged.
| | 01:33 | In comparison, if I click on that layer and go to Image > Adjustments > Hue
Saturation, I then lower the saturation but there's no way to back it off.
| | 01:42 | I can fade it, but then I lose that, if I go ahead and do other things.
| | 01:46 | So the most effective way to work in Photoshop is with layers.
| | 01:49 | These adjustment layers are really small in file size.
| | 01:52 | It doesn't take up a lot of weight in regards to your file size.
| | 01:55 | So definitely the way to go.
| | 01:56 | So, so far what we see is that we can desaturate everything.
| | 02:00 | I'm going to click and drag that to the Trash.
| | 02:02 | We can also add a Color Balance layer.
| | 02:05 | And then what we're going to do is modify the color
of this image, let's do something maybe like that.
| | 02:12 | Cyan green effect.
| | 02:15 | So now I have this color affecting the entire image.
| | 02:18 | And so far how this is working is that it's applying the effect everywhere.
| | 02:22 | Well, why is that?
| | 02:24 | If you look over you see that there's a mask.
| | 02:26 | Remember white reveals, so that white mask
is saying reveal this color edit everywhere.
| | 02:32 | This is going to be a little bit weird at
first, but it'll make sense I think in a second.
| | 02:37 | Making a selection, going to Hue/Saturation
and then I'm going to desaturate.
| | 02:44 | Okay, so what's happening here?
| | 02:47 | I'm going to pull out the Layers palette so we can take a look.
| | 02:51 | What's happening is we have a mask, white
reveals, and what is white revealing?
| | 02:56 | I went to this view mode by Option+clicking or Alt+clicking the mask there.
| | 02:59 | White is revealing is desaturation.
| | 03:03 | So in the case, the middle part of the image is now desaturated.
| | 03:08 | Well let's say I would rather have it the opposite.
| | 03:11 | What's one quick way to change that?
| | 03:13 | Well there's a wonderful shortcut in Photoshop on any layer
or mask, channel, or path, you can press Command+I or Control+I.
| | 03:20 | And notice here what it does is it gives me the negative of the image.
| | 03:24 | So it inverts the layer.
| | 03:26 | I'm going to go ahead and go to my adjustment layer, click
in the mask, so that that is targeted by the brackets there,
| | 03:32 | press Command+I or Control+I, and it inverted my mask.
| | 03:35 | That mask shortcut is going to be one of
the most important shortcuts that we learn.
| | 03:40 | because a lot of times what will happen is you'll create a mask,
you're not sure if your selection is the right way or the wrong way
| | 03:46 | and then you can go ahead and hit Command+I
and it will invert that selection.
| | 03:50 | Let's look at one more quick feature in this movie in regards to masking.
| | 03:54 | Currently white is revealing.
| | 03:56 | Let's go ahead and invert because it will
be easier to see how to apply this effect.
| | 04:00 | And then go to my layer styles effects, choose Stroke and notice that
it's now on the outside of the white, I want to go to the inside.
| | 04:08 | I'll make it a nice white there.
| | 04:11 | I can add a drop shadow and then go ahead and click OK.
| | 04:16 | So I have a layer style effect, which is connected to a mask.
| | 04:19 | If I invert the mask, it's going to change things around.
| | 04:22 | Notice the drop shadows in the opposite spot, the
brush stroke is now around the white part of the mask.
| | 04:29 | So it's always related to the white part of the mask.
| | 04:32 | Let's open those layer style effects by right-clicking or
Control+clicking the F, and choosing Stroke.
| | 04:38 | And then changing this to Outside.
| | 04:40 | That will give us those nice hard corners and then create
an inner shadow instead of that drop shadow and click OK.
| | 04:47 | Now we have things back to normal.
| | 04:49 | It's pretty powerful that you can actually
add those layer style effects to the mask.
| | 04:52 | Well, we're just getting started and we'll continue in the next movie.
| | Collapse this transcript |
| Masking and color| 00:01 | >> Male Speaker: Go ahead and open up the file goleta_beach_shovel.psd.
| | 00:05 | Going to leave my Layers palette expanded here, and it's
kind of helpful to reduce and simplify a little bit,
| | 00:12 | as we're getting familiar here with how masking works.
| | 00:16 | All right.
| | 00:16 | For starters we have a couple new shortcuts that we're going to learn.
| | 00:19 | More shortcuts if you can believe it.
| | 00:21 | These shortcuts are incredibly important and you'll see why as we
go though the masking training as well as the rest of the training.
| | 00:28 | Let's deconstruct them though for a second.
| | 00:30 | Delete key removes something right?
| | 00:33 | so if we press a modifier key or one of the big
shortcut keys, Command or Option or Control or Shift
| | 00:39 | or one of those keys, it's going to modify the way Delete works.
| | 00:42 | So for starters, I want to create a new layer and put a color
in my foreground color and also a color in my background color.
| | 00:50 | So you notice I have red and blue.
| | 00:52 | When I press Option+delete, it fills with red or foreground,
when I press Command+delete it fills with background color.
| | 00:59 | Now the way that I remember it this technique doesn't work on a PC.
| | 01:02 | I see that the Option key is to the left of the Command key and in the
color picker the foreground color is to the left of the background color,
| | 01:10 | and so that helps me remember which key does what type of fill.
| | 01:14 | If you forget, it doesn't really matter.
| | 01:16 | You have four keys to try down there.
| | 01:18 | Just try one, if it's wrong, Command+Z to undo.
| | 01:20 | Try the other one until you get it.
| | 01:22 | So why is that important?
| | 01:24 | Well, let's delete that layer; we can delete
the layer a couple different ways already.
| | 01:27 | Right-click, choose Delete Layer, that's a pretty quick way to do it.
| | 01:30 | Why is that important?
| | 01:31 | I'm going to go ahead and rename the background layer "shovel".
| | 01:33 | And I'm ready to apply an edit.
| | 01:36 | I'm going to go to my Adjustment Layer icon.
| | 01:38 | I'm going to choose Hue/Saturation.
| | 01:40 | We'll learn a little bit about Hue/Saturation while we're at it.
| | 01:43 | How does the Hue/Saturation dialog window work?
| | 01:45 | Well for starters, you notice that when we have
colors here, we have red, which is mapped to red.
| | 01:50 | If I move the slider, my reds now become purple.
| | 01:54 | What was blue is now the cyan green color and so there is actually
some logic behind it even though it seems really haphazard.
| | 02:02 | Saturation increases the color of saturation, desaturation pulls it out.
| | 02:06 | Lightness is like you would think, lighter or darker.
| | 02:09 | We can also go into specific colors.
| | 02:11 | So I could go into just the blues.
| | 02:13 | And then pull the saturation out of those blues, which gives me
a very specific effect, making that shovel stand out really.
| | 02:21 | I could also go into the reds, because I think the shovel is red.
| | 02:26 | I can click on the shovel and you'll notice that
it will shift which colors it's actually selecting.
| | 02:32 | This area shows you the colors that it's going
to work on and then this is the transition.
| | 02:36 | It's going to transition into other colors.
| | 02:39 | You can bring this in, have a shorter reach in
the colors, or expand it to have a broader reach.
| | 02:43 | And now when I go ahead and do the saturation,
it's a very targeted desaturation.
| | 02:48 | In this case, it's affecting the sunset and the
shovel because those are both similar in color range.
| | 02:54 | All right, so we need to make some kind of an edit
here, so I'm just going to work to change the color
| | 02:59 | of the shovel to, let's say, I'm going to make the shovel red.
| | 03:04 | Clicking OK.
| | 03:05 | Well so far everything is affected.
| | 03:08 | The background is affected, the shovel is affected, how can I change that?
| | 03:11 | Well you use that shortcut, in my case I'm going to press Option and
then the Delete key and that masks away or hides all of that edit.
| | 03:20 | I'll them zoom in, grab a Brush tool, a normal brush there.
| | 03:25 | And just click off the screen and then I'm going
to go ahead and I'm going to paint with white.
| | 03:32 | And painting with white is going to do, we'll learn some
techniques for making a little bit better selections
| | 03:37 | than we're doing here, but this will get us going at least initially.
| | 03:40 | What painting with white is doing is it's
revealing the edit of the color adjustment.
| | 03:47 | So essentially, I'm painting that color adjustment
into just this particular part of the image.
| | 03:53 | The nice thing about doing that, going back is then that
edit doesn't affect the other colors in the same range.
| | 03:59 | If I go ahead and Option+click that I can see the shovel or
Shift or Option+Alt+click it, I see it in the red reveal overlay.
| | 04:06 | If I want to modify the color further, I can double-
click the icon for this particular adjustment.
| | 04:12 | Hold down the Option or Alt key to click Reset so it's back to
normal, and then I can go in and I can modify this further.
| | 04:19 | And one of the things that I'm seeing is that my edges aren't very good.
| | 04:22 | I can see where they peeled off into the background of the beach there.
| | 04:26 | Go ahead and click OK.
| | 04:27 | I need to fix that up, so I'm going to
zoom in, that's a little bit too far.
| | 04:31 | I'm going to zoom in, grab the paint brush
and if white was reveal, black is conceal.
| | 04:37 | So I'm going to choose black in my color picker, the
quickest way to chose that black is to press the X key.
| | 04:42 | So you press the X key to fix it up, press
the X again to paint in, X key to fix.
| | 04:48 | Oops, I made a mistake.
| | 04:49 | X key to paint in, X key to paint out, and
you're going to this back and forth little jig,
| | 04:54 | painting back and forth until you have
a good selection of a particular area.
| | 04:59 | Now that shovel selection isn't very strong, but lets say for
demo purposes I think we're starting to see how this works.
| | 05:07 | Let's say I want to apply a similar adjustment
but just to the background of the image.
| | 05:12 | Everything but the shovel.
| | 05:13 | How could I do that?
| | 05:14 | We'll go to my mask, press Command+I, which will invert that selection.
| | 05:19 | So now everything is being affected but the shovel, and
I can go in and continue to modify that as I see fit,
| | 05:26 | so that I'm just working on the shovel and the reason is because
the black is concealing this edit, so keep the shovel normal.
| | 05:35 | This is a little bit abstract principle, I realize, but as we go through
the training you'll see that we'll apply this in more concrete ways
| | 05:43 | and I'm confident that it'll be much more clear as we go.
| | Collapse this transcript |
| Modifying color/tone| 00:01 | >> Male Speaker: Let's go ahead and open up the file dylan.jpg.
| | 00:04 | Here's this little guy, Dylan across the
street from his house in Lake Tahoe, California.
| | 00:10 | And as we've begun to see, Photoshop is based on a gray scale.
| | 00:13 | And it's based on tone and color based on that grayscale and then
based on those selections we can then modify specific areas of an image.
| | 00:20 | So in this case, let's say we want to change the color of the
green of the jacket and the green of the canoe in the background.
| | 00:26 | We can use a tool to do that with just Select > Color Range.
| | 00:29 | Once we choose Select > Color Range, we have the option of clicking
on a color in the image and adjusting the Fuzziness slider.
| | 00:35 | You can see the fuzziness acts as kind of a transition area.
| | 00:38 | And then click on the plus icon and you can either click on the image or
actually in this little mask area, Command+Z to undo, I went too far there.
| | 00:47 | And then take my Fuzziness down, maybe click around,
again too far, so I can grab the minus sign to subtract
| | 00:55 | out any area that I added which I don't want to have on this.
| | 00:58 | So I'll go ahead and click through, looks like
that's about as good as I'm going to get, click OK.
| | 01:03 | This shows me that I now have a selection with the marching ants.
| | 01:07 | This selection is a little bit problematic.
| | 01:09 | I am going to clean it up.
| | 01:10 | Grab the Lasso tool, and with the Lasso I can hold
down the Shift key and I can add to the selected area.
| | 01:17 | So what the heck am I doing here by adding to
the selected area and why did I have to do that?
| | 01:22 | Well, let me show you in another file.
| | 01:24 | Go ahead and click open a new file.
| | 01:26 | If I have a selection, and I have one of the selection tools
and hold down the Shift key, I can add to that selection.
| | 01:35 | You notice the cursor changes.
| | 01:36 | There is a plus sign next to it.
| | 01:38 | If I hold down the minus sign, I can subtraction from that selection.
| | 01:42 | So in the case of the Dylan shot, I needed to add
some of the areas that weren't quite selected in there.
| | 01:47 | Once I've done that, and yours may have been good.
| | 01:50 | A lot of times when you select color range,
you nail it, and you get it right on.
| | 01:53 | I probably should have increased fuzziness a little bit more.
| | 01:56 | But at least we got to see about adding and subtracting to selections.
| | 01:59 | So let's go down to the Adjustment Layer icon, and choose Color Balance.
| | 02:02 | And what we want to do is just change the color of this jacket.
| | 02:05 | We're going to make it this real aqua green color or something like that.
| | 02:09 | And we'll click OK.
| | 02:11 | So now we have the mask, we turn that on and off, we're noticing
that the color of the jacket is being changed as well as the canoe.
| | 02:17 | Well, let's say we don't want the canoe to change.
| | 02:20 | Well, we know what we can do.
| | 02:22 | Grab the brush and paint, which color do we paint with, white or black?
| | 02:26 | Black, right?
| | 02:27 | Because we want to conceal the edit in that part of the image.
| | 02:31 | And we can look at the mask by Option+clicking or Alt+clicking it,
and it'll also show us we have a few little problem areas.
| | 02:38 | In my case I have a few areas up here I need to clean up and then I could
go into the jacket and paint with white to clean up the mask down here
| | 02:46 | to make sure that that color is really coming
through in those areas also down in here.
| | 02:52 | Option+click or Alt+click and then we'll be able to see
that that is much cleaner color coverage there.
| | 02:57 | I can go back in and modify it some more
and continue to tweak this and play with it.
| | 03:02 | And I can always modify my mask.
| | 03:04 | One of the most amazing things about a
mask it that it's a selection, right?
| | 03:08 | I've selected a particular area of an image.
| | 03:11 | It's nondestructive and I can continue to edit it.
| | 03:14 | There is no end to it.
| | 03:16 | So that if I make a mistake and paint too far into the rock there, I
can just go ahead and paint that away by switching to the other color.
| | 03:25 | If I paint some of the color away, I can go ahead and paint that back.
| | 03:29 | Okay, well let's say we want to do something
more specific other than work on the jacket.
| | 03:34 | Let's say we want to work on the eyes.
| | 03:36 | What we're going to do is grab the Lasso tool, make a selection
of the eyes, and we're going to make a really rough selection
| | 03:42 | and then hold down the Shift key and select the other eye.
| | 03:46 | The reason we're going to make a rough selection is because
we know that we can fix this selection up with a mask.
| | 03:52 | Once I have those areas selected, I'm going
to go to the Adjustment Layer icon and choose Levels.
| | 03:58 | Now this is a dialog window we haven't gotten to yet, but
we're cheating a little bit, but we'll just jump in anyway.
| | 04:04 | I'm going to brighten up the eyes just a little bit there, and
I'm going to go a little bit farther than I'm comfortable with.
| | 04:09 | And I'll tell you why.
| | 04:11 | Click OK, grab the brush.
| | 04:13 | Yea, he does look pretty wild right now.
| | 04:15 | And then with a nice soft edged brush, I'm going to go ahead and paint away
the brightness around the eye, and I know that this is still over the top.
| | 04:27 | But what I tend to like to do is make these type of
edits a little bit stronger than you're comfortable
| | 04:32 | with because it gives you the control to then back them off.
| | 04:37 | So let's look at our before and after.
| | 04:39 | Yea, a little bit too strong.
| | 04:40 | So then we'll go to Opacity and lower the Opacity
of that layer, get it to a comfortable range.
| | 04:46 | And so now all that we're doing is just bringing a little bit
more light into the eye, and again, this is a subjective edit.
| | 04:52 | We're deciding how much we want to brighten those eyes.
| | 04:54 | And if you start to think about it, that
principle is actually really powerful.
| | 04:59 | And we'll apply that principle in a number of ways
when we get to the chapter on retouching people.
| | Collapse this transcript |
| Quick mask and more| 00:01 | >> Male Speaker: All right, a discussion on masking
would not be complete without talking about quick mask.
| | 00:06 | Let's open up the image quick_mask.psd.
| | 00:09 | This isn't one of my photographs; this is a photograph by one my
colleagues Ralph Clevenger, one of my all-time favorite photographers.
| | 00:16 | He was recently about a month ago down in Costa
Rica and he took this photo of this little guy down there.
| | 00:23 | So one of the things that we often want
to do is change or modify eye color.
| | 00:27 | And we can do that on people, actually do that
later, but I thought it would be fun to work
| | 00:31 | on this frog and to look at how we can modify eye color.
| | 00:34 | And we're going to do that with quick mask.
| | 00:36 | Quick mask is really interesting.
| | 00:38 | We're going to actually use quick mask and regular mask in combination.
| | 00:42 | And let me show you how that's going to work.
| | 00:44 | For starters, the way that you enter quick mask is either by pressing Q
on the keyboard or clicking this icon, which will toggle you to quick mask.
| | 00:52 | Notice there is that red highlight.
| | 00:54 | So I'm going to press Q, and then grab a brush.
| | 00:57 | And for starters, I'm just going to do a really kind of silly edit.
| | 01:02 | I'm going to then select the frog there; I'm going to press Q again.
| | 01:05 | Notice that what that did is it selected a specific area.
| | 01:09 | It actually selected everything but the area where I painted.
| | 01:13 | So if I want to invert that and just select
the frog, I would go to Select > Inverse.
| | 01:19 | Now just the frog is selected.
| | 01:21 | To deselect, I would press Command+D or Control+D or Select > Deselect.
| | 01:27 | All right, I'm throwing a lot at you, let's review.
| | 01:29 | Quick mask, Q, we paint with the paint brush and when we
see red, what the red actually is is what won't be selected.
| | 01:37 | We press Q again and now we can see everything is selected but this area.
| | 01:41 | How to illustrate that, well if I fill
it, everything but that area is filled.
| | 01:46 | If I invert the selection, Shift+Command+I or Shift+Control+I,
and then fill, notice that just that area is selected.
| | 01:53 | So I can use quick mask to create a rough
selection and then build a mask out of it.
| | 02:00 | I don't think that quick mask is very good
to use unless you create a regular mask.
| | 02:04 | The reason is you lose the quick mask.
| | 02:07 | It's nice because you get in really quick,
but then you lose what you've created.
| | 02:11 | So I like to combine the two.
| | 02:12 | All right, I'm going to press Q. And this time
I'm going to paint with black again on the eye.
| | 02:18 | And it's going to be a little bit rough,
which is okay because I can fix this up later.
| | 02:23 | Press the Q key again and notice now, everything is selected but the eye.
| | 02:27 | And the trick is if you don't get this
right, who cares, you can invert it later.
| | 02:31 | And so let's just leave it as is.
| | 02:33 | We'll go to a Color Balance Adjustment Layer and
then we'll tweak the color out here a little bit.
| | 02:39 | Okay, so we've changed the color and we'll click OK.
| | 02:43 | And looking down our Layers palette, we notice
that everything is changing except for the eye.
| | 02:47 | If I want that to be inverted, the mask is
selected; I can see that by the corner brackets.
| | 02:52 | I click in the mask and press Command+I or Control+I.
| | 02:56 | And now what I'm changing is just that eye color.
| | 02:58 | I'll go ahead and make an edit that's more drastic
so we can kind of see what's happening here.
| | 03:05 | It looks pretty scary actually.
| | 03:07 | So now I have the ability to turn that on and off and
also lower the opacity or clean up any of my edges.
| | 03:13 | I want to zoom in.
| | 03:15 | And here is another shortcut for you.
| | 03:17 | I'm going to keep throwing these shortcuts at you and as we go
through the training, you'll find that you'll begin to integrate them
| | 03:22 | into your own workflow as you hear them more often.
| | 03:24 | The shortcut for zoom or to toggle to the
Zoom tool is Command+spacebar or Control+spacebar.
| | 03:30 | It jumps you right to that Zoom tool, and
I'm going to then click and drag to zoom in.
| | 03:35 | Now with my Brush tool, I want to lower my brush size so
I'm going to use left bracket, get a real small brush size.
| | 03:41 | And then I want to paint with white to reveal
that color edit on the other eye over here.
| | 03:47 | And remember that if we mess up, if we're fixing up this eye over
here and we go too far, we simply press X and then paint backwards.
| | 03:54 | Something that I've found to be very helpful
is to Option+click or Alt+click the mask.
| | 03:58 | Because that will show you how the mask is working.
| | 04:00 | And what this revealed to me is I have a bunch of spillover into the
other area of the frog because I was using such a soft edge brush.
| | 04:09 | Now it wasn't that much of a problem because the areas around the eye
are white, but it could be a problem that I would need to fix later.
| | 04:16 | Now I've successfully changed the eye color
of the frog using a mask and quick mask.
| | 04:22 | But we're not going to stop there.
| | 04:23 | How can we stop there?
| | 04:24 | Let's see how we can use this mask to our
benefit and apply a completely different edit.
| | 04:30 | We all the sudden decide we want everything else desaturated but the eyes.
| | 04:34 | We already have a really nice selection
of the eyes, which is here on the mask.
| | 04:37 | So what I can do is Command+click or Control+click
the mask and it activates that as a selection.
| | 04:44 | So when I click on the Mask icon, it turns that into a selection.
| | 04:49 | Next step, I don't remember if I need to invert this or
not, but who cares because we can flip it so easily later.
| | 04:55 | I'll go to Hue/Saturation and desaturate.
| | 04:59 | I notice that that's backwards, so I'm going to press Command+I,
and now I have everything else desaturated except for those eyes.
| | 05:07 | And I notice that there is definitely
that spillover that I was talking about.
| | 05:11 | So this is good because it will help me realize that I need to
clean that up and I've picked up the wrong color on my brush.
| | 05:17 | So I'm going to go ahead and press the X key to flip between
black and white and then pull out the color there, get this going,
| | 05:26 | and kind of looks like the frog is smiling a little bit there, actually.
| | 05:30 | And then now I have this effect where I've
desaturated everything except for the eyes.
| | 05:36 | And I did that by Command+clicking on the mask.
| | 05:40 | All right, there is some helpful stuff there.
| | 05:41 | If you find that any of these movies are a little bit fast, I recommend
you either pause them or you just go back and watch them again
| | 05:48 | and then take some notes or try it out for yourself.
| | 05:50 | Another thing I recommend, too, depends on where you're
at in the training, but make sure you're taking a break.
| | 05:55 | So if you haven't taken a break for awhile, take a break!
| | 05:57 | Get out of your chair, make sure you blink, stretch, walk
around, have some fun, and I'll see you in the next movie.
| | Collapse this transcript |
| Custom borders 1| 00:01 | >> Male Speaker: In this movie, we'll be working on
the file frames.psd, go ahead and open that one up.
| | 00:05 | I'm going to open it up by pressing Command+O, Control+O on the PC.
| | 00:10 | Hold down the spacebar; move it to the upper part of the
screen and you'll see we have a couple images in this folder.
| | 00:16 | And we're going to look at how we can create custom frames and then
also look at a plug-in that creates really cool frames as well.
| | 00:22 | So for starters on the couple layer, one of the things
that I can do is go ahead and click the Mask icon.
| | 00:28 | Now what's happening is the mask is currently
white, which is revealing everything.
| | 00:33 | I could then grab a brush, and grab an interesting brush.
| | 00:37 | So I'm going to click on the drop-down menu and then choose a brush.
| | 00:41 | Click off and make this a little bit larger,
and I'm going to paint with black.
| | 00:46 | And when I paint with black, what I'll be doing is painting away the image.
| | 00:51 | If I go too far one way I can go ahead
and paint with white and bring the image.
| | 00:55 | And I can keep going back and forth also changing my brush size and
even the type of brush I'm using might be a little bit interesting
| | 01:03 | to have something a little bit more scratchy there on the edges.
| | 01:06 | So I kind of am creating this custom edge on this
particular image and usually these take a bit of time.
| | 01:13 | I've kind of hacked through this really
quickly so you can see how it works.
| | 01:16 | And how it works is by simply creating a mask.
| | 01:20 | Now if I want to frame color, what I need to
do is create a layer underneath this layer.
| | 01:25 | Okay, here is one of those five-dollar shortcuts
you can impress all your coworkers with.
| | 01:30 | If you just click on the new layer icon, it creates a layer above.
| | 01:34 | If you press the Command plus the new layer icon, it
creates a layer below, which is really cool.
| | 01:39 | I'll then fill that layer with the shortcut, Option+delete or Alt+delete, and now
I have a black frame or if I fill it with white, I now have a white frame.
| | 01:49 | There are a couple little areas I'll need to clean up and so I could go
ahead and do that and just paint over those areas to fix up those edges.
| | 01:56 | One of the nicest things about using a mask as a
frame is that I can apply it to other images as well.
| | 02:01 | I can apply this mask to another image by clicking
and dragging and dropping and notice that now,
| | 02:07 | turn off that image back there, the mask is applied to the wave photo.
| | 02:11 | So that's a drag and drop.
| | 02:13 | If you want to copy and paste, remember, that's just like
those layer style effects, Option+click or Alt+click and drag
| | 02:19 | and now I have a mask on both images, which I could then go and modify.
| | 02:23 | Couple more things to look at in regards to masking.
| | 02:26 | I can modify this mask in a number of different ways.
| | 02:28 | One way is to apply a filter to it.
| | 02:30 | Filter > Distort > Ripple.
| | 02:34 | Who knows what that will do, but we'll see.
| | 02:36 | I'm going to zoom over to my edge here, so I
see this ripple effect that's taking place.
| | 02:44 | click OK and what we see is that filter
has then been applied to the mask.
| | 02:50 | That's not super interesting to me, but it is
interesting to note that you can apply filters to masks.
| | 02:57 | All right, ding, ding, ding, round one has
been completed for creating a custom frame.
| | 03:02 | We'll look at round two in the next movie.
| | Collapse this transcript |
| Custom borders 2| 00:01 | >> Male Speaker: All right, let round two begin.
| | 00:04 | In this movie we're going to look at how we can apply a frame from an
external file and also look at a really cool plug-in called PhotoFrame.
| | 00:11 | So for starters, what I'd like you to do is go in your
History palette and click on the initial snap shot.
| | 00:16 | It will take this file back to its original state.
| | 00:19 | Once you've done that, navigate to the file browser, Shift+Command+O,
| | 00:23 | and we're going to work on the file border_0393,
go ahead and double-click that one to open it up.
| | 00:30 | And each of these files will work a little bit
differently, so you're going to have to get creative.
| | 00:34 | And there are a ton of frames out there that you can find online.
| | 00:36 | You can also use the ones that I've included here.
| | 00:39 | so we have this frame, we're going to drag and drop that
into our image and for starters what we'll notice is
| | 00:43 | that we can't even find the frame because it's so huge.
| | 00:46 | It also has this weird edge on it that we need to fix.
| | 00:48 | We will fix that.
| | 00:50 | So first things first, let's go ahead and free transform this,
Command+T or Control+T. Ah, I can't even find the corner points.
| | 00:57 | How do I get there?
| | 00:58 | What's that shortcut?
| | 01:00 | Command+0 (zero) or Control+0 (zero) takes it to a view mode
where you can actually see all those corner points.
| | 01:05 | That is so cool.
| | 01:07 | And then we'll go ahead and resize this frame so that we can see
it and double-click the Zoom tool to take us back to 100 percent.
| | 01:15 | For starters, we're just trying to determine is
this frame cool or not; yeah, it's pretty cool.
| | 01:19 | I think this one will work for me.
| | 01:21 | So, I'll go ahead and Command+click or Control+click it.
| | 01:25 | And then hide the visibility of the frame.
| | 01:27 | I'm going to create a mask from that frame because I want a frame
that is much cleaner than the one that I just was looking at.
| | 01:32 | I'll click on the image layer that I want to work on, in this case couple.
| | 01:36 | And I don't know if the selection is right or not.
| | 01:38 | You know we actually do, but sometimes you
don't, so just go ahead and create the mask.
| | 01:42 | You'll find out it's better to just click away because you can fix
it so quickly by pressing Command+I or Control+I to invert that mask.
| | 01:51 | Now we need a background color and want that underneath this layer.
| | 01:54 | How do we create a new layer underneath?
| | 01:57 | You remember that shortcut.
| | 01:58 | That one is Command+click the new layer and then
fill that with white or black, and the shortcut
| | 02:04 | to fill is Option or Alt+Delete or Command or Control+Delete.
| | 02:08 | One of the nice things about frames as we've seen before
is you can click and drag this frame to a new image.
| | 02:15 | Turn that layer off.
| | 02:16 | And see that looks for that one.
| | 02:19 | I think white is kind of cool.
| | 02:20 | So we've created a pretty cool effect in a relatively small amount of time.
| | 02:25 | The whole sloppy border frame looks really good,
it's very subtle, it's clean, totally dig it.
| | 02:29 | I think that's really working.
| | 02:31 | Okay, let's look at another technique for using frames.
| | 02:34 | Go to your History palette, click on the Frames icon, and
then let's show the visibility of the wave photo here.
| | 02:42 | If you've been tinkering around a little bit, you've
noticed there is a whole folder full of frames
| | 02:47 | and you can turn these frames on and off
and they're actually pretty interesting.
| | 02:51 | And you can actually combine multiple versions of the frames
so that you have kind of a hybrid of different types of frames.
| | 02:58 | Pretty interesting.
| | 02:59 | Well how are those created and how can we work with frames like that?
| | 03:02 | Those were created through a program called PhotoFrame.
| | 03:06 | It's created by a software company called onOne Software.
| | 03:09 | The Web site is ononesoftware.com.
| | 03:11 | This is a plug-in so you won't be able to do this
on your computer unless you have the plug-in.
| | 03:16 | But I still want to showcase it because it's something that I use
personally and professionally as a potential plug-in that you may consider.
| | 03:22 | So check this out, I'll show you how it works.
| | 03:24 | You can navigate to it from this drop-down menu, onOne >
PhotoFrame, or go to Filter > onOne > Photo Frame.
| | 03:31 | So go ahead and open that up, and we notice
that we get this real quick preview of a frame
| | 03:36 | and there are hundreds and hundreds of frames that we can choose from.
| | 03:40 | We can select the frame and then go down
here and then modify the background color.
| | 03:45 | We can change the size of the frame and the positioning of the frame.
| | 03:48 | We can also go through and add borders and glows and
drop shadows and a bunch of different items there.
| | 03:54 | You can combine multiple frames, let's change
that one to white, gray didn't look too good.
| | 03:59 | And then make the size a little bit bigger so we just barely see that.
| | 04:02 | And I'll add another frame to it.
| | 04:04 | So I've added these three frames together
to create something that is pretty unique.
| | 04:08 | I can dial in all of the different preferences and its
pretty self-explanatory as you start to click through this.
| | 04:14 | The key is that you want to apply to a new layer.
| | 04:18 | You can also click and drag and move the frame as I'm doing here or
free transform that frame and it depends on which frame layer you're in.
| | 04:26 | Works a lot like Photoshop, it's very intuitive.
| | 04:28 | The key thing with PhotoFrame is that
you click Apply to New Layer, not Apply,
| | 04:32 | because that will apply it to the layer you're on.
| | 04:35 | We'll go ahead and Apply to New Layer.
| | 04:36 | It creates this frame pretty quickly and
it's nice because it's on its own layer.
| | 04:41 | I could invert the layer, Command+I to
show what it would look like in black.
| | 04:44 | I can also look at this frame.
| | 04:47 | The frame is on its separate layer and
therefore I can use it for other images.
| | 04:51 | Another technique you may want to try is Command+clicking the
frame that you created and then create a mask based on that.
| | 04:58 | And then go in and modify it.
| | 05:01 | Take a brush and modify it even a little bit further just to
make it real unique based on the image that you're working on.
| | 05:07 | Like right up there it didn't look good, but
there wasn't information on that part of the file.
| | 05:11 | So I could go ahead and customize that.
| | 05:13 | I'm not destroying any pixels, it's completely
editable and I can turn it on and off at any time.
| | 05:19 | Pretty cool feature and it's a pretty cool plug in.
| | 05:24 | You may want to check it out.
| | 05:25 | I'll have a link from the Web site Photoshop in Focus,
but you want it again its ononesoftware.com.
| | 05:31 | All right, this wraps up our look at frames.
| | Collapse this transcript |
|
|
8. SelectionsCreative tip: Kitchen| 00:00 | >> Male Speaker: Hey!
| | 00:01 | Welcome to my kitchen and yes that is a chef's hat I'm wearing on my head.
| | 00:05 | Well, as you know, or as you may have heard me say before,
I trace a lot of my creativity to being a young guy.
| | 00:12 | And I grew up in a really fun family with an artistic and creative mom.
| | 00:16 | So during summer vacation while other kids would be slumped over
in front of the TV either playing video games or watching cartoons,
| | 00:24 | my mom would take us out in the world for
these adventures to discover and to learn.
| | 00:29 | And I know now that what she was doing then was teaching us creativity.
| | 00:34 | And one of the things that she did is
she took us on field trips to factories.
| | 00:38 | Now I know what you're thinking, that sounds a little bit strange,
and it is a little bit strange, but it actually was pretty cool.
| | 00:44 | Because I got to see how licorice was made, how fortune cookies were
made, pasta was made, jelly bellies were made, mother's cookies were made.
| | 00:52 | But all of those factory visits paled in
comparison to the visit to the Hostess factory.
| | 00:58 | Now that was amazing.
| | 01:00 | And it was there that my sister, brother,
and I discovered how Twinkies were made.
| | 01:07 | What we learned was that the chef would start off with ordinary
ingredients, the same ingredients we had in our kitchen.
| | 01:17 | Flour, eggs, sugar, more sugar, and then some more sugar and it would
go through this process and I remember walking through the process
| | 01:25 | as the tour guide would take us through the factory.
| | 01:28 | And I'll never forget turning the corner and seeing hundreds
upon hundreds of Twinkies sliding down these conveyor belts.
| | 01:35 | And then there were these quality control people with eagle eyes
staring these Twinkies down, looking for Twinkies with blemishes.
| | 01:42 | And if they would find one, they would
grab the Twinkie and throw it on the floor.
| | 01:46 | And I remember looking to my brother saying,
man, we could eat those Twinkies.
| | 01:51 | And it was really fun to see that process unfold.
| | 01:55 | And it was even more fun to discover one
of the great mysteries of childhood.
| | 01:59 | And that is how do they get the whipped cream inside of those Twinkies.
| | 02:03 | We saw it with our own eyes.
| | 02:05 | Anyhow, so it was a really fun experience to see this process.
| | 02:10 | And one of the things that I learned was that creativity
is taking what's ordinary and making it extraordinary.
| | 02:20 | And that's really what we do as photographers, right?
| | 02:23 | We're taking what's ordinary and we make it extraordinary.
| | 02:28 | Well I hope that this little creative trip to my kitchen
and this story will help you in your own creative process
| | 02:35 | as you seek to make extraordinary things out of ordinary stuff.
| | 02:42 | Thanks.
| | Collapse this transcript |
| Replacing color| 00:05 | >> Male speaker: Select before you correct.
| | 00:07 | That is one of the sayings that I heard again
and again as I was getting the Photoshop.
| | 00:12 | And I heard that the better that you can become at making
a selection the better your Photoshop work will be.
| | 00:17 | And you know that's really true.
| | 00:18 | So we'll take a few brief looks at how we can make some
good selections and then we'll begin to apply those
| | 00:23 | as we work on our images throughout the rest of the training.
| | 00:25 | We're going to go to the file replace_color.psd.
| | 00:28 | Click OK, and this image is just sized way down.
| | 00:32 | And what we want to do is change the color of the umbrella.
| | 00:35 | There're a number of different ways that we can do that.
| | 00:37 | We can use some of the selection tools or we could use a tool that's
based on the selection tools and then we'll change color force.
| | 00:44 | So let's do that, Image > Adjustments > Replace Color.
| | 00:47 | And the way that this tool works, like some of the other selection
tools, is you sample a color and you can go in with the plus,
| | 00:54 | the eyedropper with the plus next to it and either
click on the mask or click on the image itself.
| | 01:00 | And increase the fuzziness to add more to
that selection or decrease to add less.
| | 01:04 | And what that will do is it will kind of create transition points.
| | 01:07 | You can go ahead and hold down your mouse button and really just
hover over the image until you've gotten everything you need.
| | 01:12 | Now I have a few stray pixels over here that I've picked up.
| | 01:14 | That's fine I'll fix that later.
| | 01:17 | Go ahead and then modify the hue of this.
| | 01:20 | And then I'm going to saturate it quite a bit more.
| | 01:23 | Change the whole lightness of that one.
| | 01:26 | And then see which way do we want to go with this umbrella?
| | 01:29 | What would be kind of interesting?
| | 01:39 | So the most important thing here is that I get all the color that I need.
| | 01:44 | And it's okay if it spills over; in fact
I almost want to make it spill over.
| | 01:50 | That's a little bit too much.
| | 01:56 | There we go we, have some spillover up top.
| | 01:58 | We'll go ahead and click OK.
| | 01:59 | And let's look at our before and after.
| | 02:01 | Command+Z before and after.
| | 02:04 | And what we can do if we have too much spillover,
I actually didn't get enough to illustrate it.
| | 02:09 | So I'm going to have to run it again.
| | 02:11 | I'll go Image > Adjustments > Replace Color, and I'll click on a
portion of the background where I don't want the color to be.
| | 02:19 | If I get those stray pixels to come in, I'll
grab the History brush; shortcut is Y.
| | 02:24 | And then with the History brush I'll go ahead and paint that away.
| | 02:27 | So I'll paint it to any earlier era of time, before those
color adjustments were there and then I have that new color,
| | 02:34 | if you look at our before, there's a before and after.
| | 02:38 | Pretty quick selection of specific tones and
color, and modifications of those tones and color.
| | 02:45 | All right, let's look at some other techniques for
selections in Photoshop and we'll do that in the next movie.
| | Collapse this transcript |
| Magic Wand| 00:00 | >> Male speaker: In this movie, we'll be
working on the file disney_concert_hall.psd.
| | 00:04 | If you haven't seen this building it is phenomenal.
| | 00:09 | It's in downtown Los Angeles, the structure
is completely and utterly stunning.
| | 00:15 | All right we're going to look at how to use the Wand tool.
| | 00:17 | Grab the Wand tool by pressing W on your
keyboard or clicking on it in the Toolbox.
| | 00:21 | The way that the Tolerance setting works is, if you have a real
low Tolerance you're just going to accept a few little pixels.
| | 00:27 | You're saying "hey these guys are part of my gang."
| | 00:29 | You know just a couple of them.
| | 00:30 | But if you have an extremely high Tolerance,
you're going to say, "hey you know what?
| | 00:33 | Everyone's part of the party," so increasing the
Tolerance increases how much area is selected.
| | 00:39 | To select off of a selection you can navigate to Select > Deselect,
or press Command+D or Control+D. Or you know what else you can do?
| | 00:46 | Just click in the selection; it'll disappear and then click again.
| | 00:50 | One technique that's really helpful with this is to have
a low Tolerance and then to build up your selection.
| | 00:55 | So go ahead and add to the selection by holding the Shift key and slowly
building out your selection until you have all the pixels that you want.
| | 01:04 | Sometimes it works a little bit better that way.
| | 01:06 | If you take Contiguous off what you'll notice is you'll
actually get pixels that aren't touching each other.
| | 01:11 | So if I am to select over here I get pixels,
I'm selecting pixels everywhere.
| | 01:15 | So typically you want to have Contiguous on,
although, it depends what you're trying to select.
| | 01:20 | Alright so I'm just going to hold down the Shift key, add to
my selections until I get a good selection of the background.
| | 01:25 | As a quick side note, note that there is a folder above
the image and those are the selections that we'll be making
| | 01:31 | if you need to refer to those later as a way of reference.
| | 01:39 | Okay what I would like to do here is add some density to the sky.
| | 01:42 | And I want to do that with a gradient.
| | 01:44 | So for starters I need to pick a couple blues in my color picker
so my background coloring, I'm going to do a nice deep dark blue.
| | 01:51 | And then go to the blue and do one that's quite a bit lighter.
| | 01:58 | I'll try one of those.
| | 01:59 | And that's a little bit too purplely, isn't it?
| | 02:02 | So do one of those.
| | 02:04 | Okay, now that I have those two colors picked I'm going to go ahead
and go to the Adjustment Layer icon, and choose Gradient Map.
| | 02:12 | And by default it's going to create a gradient
based on the colors I have in my color picker.
| | 02:17 | If I choose Reverse we'll notice that it's going to flip the
orientation of that gradient, which is what I want to do.
| | 02:22 | I want to have it darker up top.
| | 02:24 | I'll go ahead and click OK and then I'll look at my before and after.
| | 02:28 | When I see that it's darkening up the sky, and it's
especially darkening up the top part of the sky.
| | 02:33 | I'll lower the opacity because that's much too intense for what I want to do.
| | 02:36 | I simply want to keep the viewer's eyes in the image; I
don't want them to trail off the top of the image.
| | 02:41 | And I was able to do that by creating that gradient to darken up that area.
| | 02:46 | Once I have a good selection like this I can Command+click the
selection and then create another adjustment layer based on it.
| | 02:52 | This time I'm going to invert the selection, Shift+Command+I or Shift+Control+I.
| | 02:56 | You know that shortcut.
| | 02:57 | Go to Hue/Saturation, and now when we modify the image, we'll
notice that we're modifying that particular part of the image.
| | 03:05 | Of course we can invert the selection which
would then modify the other portion of the image.
| | 03:11 | There are times when we need to continue to modify our mask.
| | 03:14 | Let's take a look at this.
| | 03:15 | It looks a little bit jagged here.
| | 03:16 | One of the things that you can do is apply
a filter to a mask, as I mentioned before.
| | 03:21 | I'm going to apply a Gaussian Blur filter to that mask and
I'm going to take it just down to maybe a couple points.
| | 03:27 | And notice what it's doing is it's creating a feathered edge on that.
| | 03:32 | Go back to 100 percent and it's creating a
smoother transition that's a lot less choppy.
| | 03:37 | I can apply even a stronger filter if find that I need to do that.
| | 03:41 | Another way to modify that would be to have a selection and before
you make an adjustment layer choose one of your selection tools,
| | 03:48 | hover over the selection, right-click and choose Feather.
| | 03:52 | What feather does is it creates transition.
| | 03:55 | I'm going to choose a huge feather and what you're going to
notice is that this particular selection has a large area
| | 04:07 | of transition because the feather was incredibly high.
| | 04:10 | So if you want a smoother transition that's much
smaller you just would enter a much smaller number,
| | 04:15 | perhaps a feathered edge of one to two
pixels would work on this particular image.
| | Collapse this transcript |
| More on color| 00:01 | >> Male speaker: One of the things that you'll begin
to notice on your educational journey in Photoshop is
| | 00:07 | that there are a number of ways to do the same exact thing.
| | 00:09 | Let's go ahead and open up the file jellyfish.jpg.
| | 00:12 | And Photoshop actually works in very similar ways.
| | 00:15 | It just has different ways of saying the same type of tool.
| | 00:18 | What we're going to do is look at changing the background color of the sign.
| | 00:21 | And the reason this file is titled jellyfish.jpeg is
because I was swimming at this beach training for a triathlon
| | 00:28 | and I actually swam into a huge jellyfish the size of a frisbee.
| | 00:32 | Fortunately I didn't get stung.
| | 00:34 | I was very happy about that.
| | 00:36 | Anyway, so we're going to try and change the
brown color of the sign and a few other things.
| | 00:40 | One of the ways we can do that is go into Select > Color Range.
| | 00:42 | And how color range works as we seen before is we have a Fuzziness slider.
| | 00:46 | It gives us a pretty good selection.
| | 00:48 | We can add to the selected area and then go ahead and click OK.
| | 00:52 | And what we'll notice is that we have a pretty rough selection here.
| | 00:55 | Most of the sign's selected, except we have some problem areas.
| | 00:58 | We can clean those problem areas up with a lasso.
| | 01:01 | Holding in the Option or Alt key, I'm going to subtract from the selection.
| | 01:04 | We've already seen this technique, but it's worth seeing
again in light of our conversation about selections.
| | 01:10 | And then in the inside, what can we do?
| | 01:11 | Well one thing we can try is Select > Grow or Similar.
| | 01:15 | Here's the secret, these are actually just the Magic Wand,
and the Tolerance setting is based on the Magic Wand.
| | 01:22 | Grow is Magic Wand on Contiguous.
| | 01:26 | Similar is Magic Wand on Discontiguous.
| | 01:28 | So it's just kind of a tricky way to say the same thing.
| | 01:31 | So rather than do that, which is a little bit haphazard, I'm
going to jump to the Magic Wand and set my Tolerance setting.
| | 01:37 | Hold down the Shift key to add.
| | 01:39 | And just go ahead and click through here and look
to click to add the rest of these pixels here.
| | 01:44 | And I can then grab my Lasso tool once I
have a good area and add to the selection.
| | 01:50 | And I'm lassoing this up, yee haw, just by running around
them with the Lasso tool trying to get a good selection.
| | 01:57 | The nice thing about this is we're going to create a mask, so
if we have any problems with our selection we'll be able
| | 02:03 | to modify it with our mask, which we'll most likely need to do.
| | 02:06 | You almost always need to do that.
| | 02:07 | Alright, once we've done that we'll go down
to the Adjustment Layer icon, choose Hue/Saturation,
| | 02:12 | and then we're going to modify the color of this particular sign.
| | 02:17 | And we'll say we'll make it kind of green.
| | 02:20 | Have the sign go green.
| | 02:23 | Okay, once we have that selection we want to take
a look at it and see what we need to modify.
| | 02:28 | You always want to Option+click your masks and
it will show you areas where you have problems.
| | 02:33 | In this case I have lots of problem.
| | 02:35 | Lots of little dots floating around here that
is either letting or not letting color through.
| | 02:40 | So I want to make sure it's all uniform.
| | 02:41 | So I'm going to go ahead and paint with black or
white on those problem areas to fix up the mask.
| | 02:46 | I know this chapter isn't on masking.
| | 02:49 | But masking essentially is a way to create a selection.
| | 02:52 | And I'd like to zoom in and see what I have here.
| | 02:55 | I probably am going to need to take the color out on that little boat there.
| | 02:59 | Make sure that's nice and clean.
| | 03:00 | Okay next thing I would like to do here on this file is kind of
clean up the sign a little bit where I want it to be white.
| | 03:07 | So I'm going to go ahead go down the background layer, Wand tool, press
the Shift key and click around on the areas that I want to be white.
| | 03:15 | And it's going to take a little bit of clicking and
a little bit of modifying my tolerance settings.
| | 03:21 | I already have a little bit of a problem
area over there getting into the sky.
| | 03:26 | But that's okay, I'll press Command+Z to undo that.
| | 03:31 | Looks like that's about as good as I'm going to get.
| | 03:32 | Go to Hue/Saturation.
| | 03:34 | What I would like to do is pull out the color on
those areas, and then look at my before and after.
| | 03:41 | And all that that's doing is pulling out that
color shift in the specific area on the file.
| | 03:47 | So in this movie the main items that I wanted to highlight was
using Select > Color Range in combination with the Magic Wand,
| | 03:55 | and noting that Select > Grow and Similar are just the Magic Wand.
| | 03:58 | And they actually select based on whatever
Tolerance setting you have in the Magic Wand tool.
| | 04:03 | So if you have that low or high, it'll make a selection based on that.
| | Collapse this transcript |
| Intro to paths| 00:01 | >> Male Speaker: In the next couple of movies we'll be looking at
an advanced way to make selections, and this is with the Pen tool.
| | 00:08 | Before we get started I want to describe how
the Pen tool works and how we create pass.
| | 00:12 | Okay, a few things on vocabulary, this little
point here we will be calling the anchor point.
| | 00:17 | We think of it as an anchor, it's square and it stays in place.
| | 00:21 | The diamond is a handle.
| | 00:23 | The handle determines direction.
| | 00:25 | We have a couple of shortcuts that we'll be using.
| | 00:27 | We will Command+click or Control+click the anchor.
| | 00:30 | That's kind of easy to remember, right? Command+click the anchor, because
the captain of the ship says "I command the anchor to be dropped."
| | 00:35 | So Command+click that one and then if we want to have
the option to steer something to turn a handle,
| | 00:41 | we will Option+click the handle, Option+click or Alt+click.
| | 00:44 | An alternate way to go.
| | 00:46 | Alright, the way that a path works is we think of finding a curve.
| | 00:50 | In this case we have a curve on the light.
| | 00:53 | The direction where this curve right here is pointing, if I were to
draw a line over it and to create an arrow would be right about here.
| | 01:00 | So we use that knowledge to our benefit in order to create a path.
| | 01:05 | And let me show you what I mean.
| | 01:06 | And what I'll do is pull up the source file from our in class folder
| | 01:11 | and this is in the same folder we've been working in,
in selections and it's paths_1.jpeg.
| | 01:18 | So let's take a look at how we can use
the Pen tool on this particular file.
| | 01:22 | We'll select the Pen tool by pressing P on the keyboard.
| | 01:25 | And then the Options bar, it's critical
that we choose the second option there.
| | 01:29 | This is the option for creating a path.
| | 01:32 | Well before we start creating our path let's
click around a little bit and see how this works.
| | 01:35 | We notice when we click and drag we set
an anchor point and pull out a handle.
| | 01:40 | And then when we click and drag a second
time, we set out more anchor points.
| | 01:44 | Well how does this actually work?
| | 01:46 | Well remember our shortcuts.
| | 01:48 | Command key will move the anchor points.
| | 01:50 | So if I Command+click and drag the anchor point
I can move the position between those two points.
| | 01:57 | If I Option+click and drag the handle I can then change the path.
| | 02:04 | And I'm changing the trajectory of the path and
also how high, how steep or shallow the curve is.
| | 02:12 | And I can actually create an S. So the handle somehow
determines the line of the path that we'll be creating.
| | 02:22 | So in this case this handle controls this half of the
path and then this handle controls this half of the path.
| | 02:29 | Well I know it's still a little bit blurry.
| | 02:31 | Let's take a look at example on this light.
| | 02:35 | If I wanted to create a path around the edge of
this lamp post I would click and drag out toward
| | 02:41 | where this curve points, which is right about here.
| | 02:44 | I would go down to the bottom of the screen and click
and drag down and then go back and fix the path.
| | 02:49 | I'll fix it by Option+clicking the handle.
| | 02:52 | And I'm going to need to Option+click and drag each half
going back and forth until I have a really good path there.
| | 02:59 | So why the heck would we want to use a path?
| | 03:01 | Well we would want to use a path in order to be able to make a selection.
| | 03:05 | So I'm just going to go through the rest of this one
here real quickly see if I can get something decent.
| | 03:13 | Okay, so what I have done is I've gone around
the lamp post and created a path around it.
| | 03:19 | Why the heck would I want to do that?
| | 03:20 | Well I want to do that to create a selection that's editable.
| | 03:24 | Let's take a look at how that works in a practical situation.
| | 03:27 | And we'll do that in the next movie.
| | Collapse this transcript |
| Creating and using paths| 00:01 | >> Male Speaker: In this movie we'll look at how we can use the Pen
tool to create a path in a practical situation and then turn that path
| | 00:08 | into a selection in which then we use
to modify a certain part of the image.
| | 00:12 | There are a couple of really good images to work with here.
| | 00:14 | One image that would be really good to practice on would be getty.
| | 00:17 | The best one to start on would probably tent.psd.
| | 00:19 | Let's go ahead and open that file up, and
we're going to zoom in to 100 percent here.
| | 00:24 | And we're going to begin by creating our path.
| | 00:27 | For starters what we'll want to do is select the point where we want to begin.
| | 00:31 | Select the Pen tool, P on the keyboard.
| | 00:34 | In the Options bar, be sure to click the path option and then
go ahead and click and drag where you want to start your path.
| | 00:41 | Remember that you're dragging the handle in
the direction where the curve is pointing.
| | 00:46 | So on this tent opening it's always going to be
pointing out or away from the tent opening.
| | 00:52 | So once we have one point set we'll go ahead and click and drag a second.
| | 00:56 | And what you typically need to do is click and drag, and then
fix half of the path and then go back and fix the other half.
| | 01:02 | And it's kind of a little bit of a give and
take game where you're going to go back and forth.
| | 01:06 | Find the next point and click and drag.
| | 01:08 | And one thing that's important with paths is that
you try to make as few path points as possible.
| | 01:13 | Now there's times where you will mess up.
| | 01:15 | And you'll need to go back and either add
a path point or move one all together.
| | 01:20 | Remember you can Command+click and drag and move a path point
if you need to, if you find that the curve is too complex
| | 01:26 | and you need to go ahead and bring it back in closer.
| | 01:30 | It's better to have fewer path points,
so the fewer the path points the better.
| | 01:33 | Alright I'm just going to go ahead and click through this one real quick.
| | 01:36 | I'm not going to be too ultra concerned about getting the perfect path.
| | 01:41 | If I were doing this for real, i.e. something other than a
demo, I would take a little bit more time than I am here.
| | 01:48 | But, for speed's sake, we'll get this going.
| | 01:50 | This section notice the path takes a different turn.
| | 01:53 | It's now pointing out to the left of the screen.
| | 01:56 | So I'm dragging my handle out to the left of
the screen and then I'll click and drag down.
| | 02:02 | How the heck do I know to drag down?
| | 02:04 | Well when I was learning paths a person told
me that it was a lot like riding a bike.
| | 02:08 | That at first it's very wobbly and awkward
but then eventually you'll get the hang of it.
| | 02:12 | And that is true, so just time in the water will
help you out and help you learn how this works.
| | 02:17 | But there are some tricks, too.
| | 02:19 | Notice that the shape is going in this direction, and
that when I set my point, I clicked and dragged the point
| | 02:26 | down in the same trajectory or direction of the path.
| | 02:30 | So that may be a helpful tip for you and for a lot of these what
you're going to need to do is go in and click and modify half the curve.
| | 02:39 | And then go back and modify the other half.
| | 02:41 | It's a real give-and-take going back and forth on this one.
| | 02:46 | Some of you are thinking, you know, I don't ever want to
have to touch paths, why the heck are we even seeing paths?
| | 02:52 | Well the reason we're seeing it is that a lot of people argue it is
the best way to make a selection when you have a complex selection.
| | 03:00 | And it's so effective because you can
continually modify it and go back to the path.
| | 03:05 | And you know that's really true.
| | 03:06 | And once you get fast at it, it's a really
effective way to make a path selection.
| | 03:12 | One of my friends is a product photographer.
| | 03:14 | He shoots products for the skateboard and surf
industries, and every time he shoots a shoot and brings it
| | 03:20 | into Photoshop he makes a path around the
shot, extracts it from the background.
| | 03:24 | So it also depends on what type of workflow
you have and what type of shooting you do.
| | 03:28 | But at least you're getting exposure to how it works here.
| | 03:30 | To connect the last two points, you're going to need to Option+click or
Option or Alt+click the anchor and then Option or Alt+click the other anchor.
| | 03:37 | Alright well that's a pretty decent path, once we have that we'll
go to the Paths palette and we have the name of the path Work Path.
| | 03:43 | It's critical that you name the path.
| | 03:45 | If you don't name the path you will lose it.
| | 03:47 | So go ahead and name this window.
| | 03:51 | And I'm ready then to turn that into a selection.
| | 03:54 | A couple ways to do that, one way Command+click the icon.
| | 03:58 | Another way, click and drag it to the Selection icon.
| | 04:01 | Or go to the pop-up menu and choose Make Selection.
| | 04:05 | Three ways to create a selection there, there are a couple others as well.
| | 04:08 | But those are three of the most effective ways to do that.
| | 04:12 | Next go to the Layers palette.
| | 04:14 | And on the Layers palette we're going to go to Hue/Saturation and we'll
make a real drastic modification here so we can see what's happening.
| | 04:22 | Looks like our path is pretty good.
| | 04:23 | We need to invert the mask so we can tell that the
mask is selected by those corner bracket points, right.
| | 04:30 | What's that shortcut to invert?
| | 04:32 | I know you remember that one, it's Command+I or Control+I.
| | 04:35 | Cool, so now what we have is the ability to
control the tent color, everything but the window.
| | 04:40 | And we're able to do that because we created
a path around that portion of the image.
| | 04:46 | We could also pull out the color, etc., etc.
| | 04:49 | The whole advantage to that is I can always go back to that path and
Command+click it to reactivate it and then continually modify it.
| | 04:57 | So if I notice that there's a portion of the path that's messed
up I could go in and fix that and create a new selection.
| | 05:04 | Like right there, that portion wasn't very good and then I could
create, and right there I overlooked a little bit of a problem.
| | 05:09 | I could create a new selection based on this.
| | 05:12 | It's a real nice way to be able to make a selection of a specific area.
| | 05:17 | You know I'm going to leave this path in this particular
file so at least you have something to look at.
| | 05:22 | So go ahead and leave that layer in there so
that you can click around and see how that works.
| | 05:27 | Save this file, Command+S and then Command+W to save.
| | 05:31 | Another file you may want to try is the file of this shot of the Getty
Center in Los Angeles, because there's some really good curves here.
| | 05:39 | And what you would do in a file like this again is go through
the file and work to create a path around these curves
| | 05:46 | and decide on a specific area that you would like to select.
| | 05:50 | So in this case let's say that I would like
to select the top part of the building.
| | 05:55 | And I'd like to keep going around so that I could then modify it.
| | 05:59 | Or maybe the center part of the building.
| | 06:01 | Once you've done that, go to your Paths tab
and then you'll Command+click your path.
| | 06:07 | So in this case I have a path I've created previously.
| | 06:09 | And then from there I could go ahead and
add some color to that specific area.
| | 06:15 | And the only way I was able to do that in
such an exact way was by creating a path.
| | 06:20 | So again another file that would be really good to practice on.
| | 06:23 | And the reason I'm pointing out a file that has a lot of curves,
which is actually pretty difficult, is that paths simply take time.
| | 06:30 | And it's worth investing a little bit of time now while it's fresh
to give it a go and see if you can figure out how paths work.
| | 06:36 | Because it will definitely help how you make selections.
| | 06:39 | And remember the better the selection you make the better the
correction and the better the overall image at the end of the day.
| | 06:45 | Alright well this wraps up our conversation on paths.
| | 06:47 | I hope that this one's helpful and I'll see you in the next chapter.
| | Collapse this transcript |
|
|
9. LevelsUnderstanding levels| 00:05 | >> Male Speaker: In this movie we will uncover the mystery of levels.
| | 00:09 | If you want to learn how to do pretty much anything in
Photoshop, you create a grayscale and then you begin
| | 00:15 | to modify it with the filter, with the adjustment, or whatever.
| | 00:19 | And it will help you understand how it works.
| | 00:21 | So we're going to do that here.
| | 00:22 | Levels is a really powerful way to modify tone and color.
| | 00:27 | Yet at the same time it's more of a starting point than ending point.
| | 00:31 | We'll start here and then we'll graduate to using curves.
| | 00:34 | But let's start with levels.
| | 00:36 | Alright you'll notice in the Layers pallette I have a gray_scale_2
there and I'm targeting that layer.
| | 00:41 | I'm going to make a levels adjustment to that layer.
| | 00:44 | I can get to the levels by pressing Command+L or Control+L or by going
to the Adjustment Layer icon and creating a Levels adjustment layer.
| | 00:53 | I'm just going to go ahead and do that shortcut Command+L or Control+L.
You notice that I now have the Levels dialog window open
| | 00:59 | and I'm going to place this right underneath
the levels grayscale I have here.
| | 01:05 | For starters, let's deconstruct what we have.
| | 01:07 | We have a histogram and you'll notice
it's a very evenly distributed histogram.
| | 01:12 | And why is that?
| | 01:13 | Well the histogram is simply a visualization of the total values
of a particular image, and in this case of a particular layer.
| | 01:21 | Well this layer is very evenly distributed.
| | 01:24 | So we expect to have a real smooth curve,
lots of information across the line.
| | 01:29 | You notice we have our grayscale.
| | 01:30 | There are blacks and then there are our whites over there.
| | 01:35 | We have a few sliders we can modify.
| | 01:37 | We have the slider for the darkest tones.
| | 01:40 | And that slider is black, which makes sense.
| | 01:42 | And then one for our midtones -- this controls the density of our image.
| | 01:45 | And then one for our highlights over here, and that one is white.
| | 01:48 | So let's take a look at how this works.
| | 01:50 | If I go ahead and click+drag the white eyedropper.
| | 01:53 | Notice how it compressed the grayscale to this point right here.
| | 01:58 | It set everything at this point into the right is now white.
| | 02:01 | So it changed it, remapped all of those tonal values and it actually,
based on where it's sitting, it followed my slider pretty evenly.
| | 02:09 | I would do the other side and again you see that it made everything
black right up to about this point and compressed the tonal scale.
| | 02:15 | So one of the things that we can do, if we want to
increase contrast, we can compress both of these sides
| | 02:21 | because now we have darker blacks and more black and we have more white.
| | 02:25 | So it's a higher contrast.
| | 02:27 | Let's take a look at the midtone slider.
| | 02:29 | This will control the density of the image, and you can
see how it affects all of those midtones in there.
| | 02:35 | It affects everything except the bright whites and the darkest blacks.
| | 02:39 | Alright now that we're armed with this information, let's apply
this to a few images and see how we can make these images pop
| | 02:45 | and really come to life using a levels adjustment layer.
| | 02:48 | And we're going to do that in the next movie.
| | Collapse this transcript |
| Enhancing with levels 1| 00:00 | >> Male Speaker: Before we begin working
with bubbles I want to jump backwards.
| | 00:03 | I realize I shortchanged you a little bit in the previous movie by saying
| | 00:06 | that when you want to learn how Photoshop works,
create a grayscale and the modify that grayscale.
| | 00:11 | But I didn't tell you how to create the grayscale.
| | 00:13 | So I want to do that.
| | 00:14 | What you do is you create a new layer.
| | 00:15 | So I'll go ahead and create a layer by pressing the shortcut
Shift+Command+N or Shift+Control+N. That will create that new layer.
| | 00:22 | And then I'll make a selection with the Marquee tool.
| | 00:25 | Once I've made that selection I'll make sure I have black and
white in my color picker and I'll choose the Gradient tool.
| | 00:32 | The shortcut for the Gradient tool is G. And what
you want to do when you create the gradient is make sure
| | 00:37 | when you click and drag from end to end of your selected area.
| | 00:40 | If you make a small click and drag you have a very small gradation.
| | 00:43 | You want to have the full grayscale there going from 0 to 255.
| | 00:48 | So that's how you create that gradient.
| | 00:50 | And that's a really valuable skill to have because it will help
you learn how a lot of the things inside a Photoshop work.
| | 00:57 | Alright we'll go ahead and close that file.
| | 01:00 | And we're going to go back to the file browser and we're going
to start off by opening up the image chalk_drawing.psd.
| | 01:10 | Above this image we have a picture of the histogram.
| | 01:13 | And I want to talk about this histogram here and compare it
to the histogram that we have up top in our Layers palette.
| | 01:20 | In expanded view mode by clicking on the flyout menu.
| | 01:24 | And we'll notice that our histogram is very
similar to the histogram we're seeing here except
| | 01:28 | that the histogram that I have a screen grab of has spaces between it.
| | 01:33 | Well what are those spaces and how did those spaces happen?
| | 01:36 | Go ahead and replace that histogram.
| | 01:39 | Well how that happens is if we click in the background layer and
then wonder down to the Adjustment Layer icon and choose Levels,
| | 01:48 | we'll see we now have our histogram here.
| | 01:51 | And there are a couple problems with our histogram.
| | 01:53 | For starters we don't have a ton of information
over here in our darkest tones.
| | 01:58 | We have really good midtones, we don't have a lot of highlights.
| | 02:00 | And that makes sense when you look at the image it's actually pretty flat.
| | 02:03 | So what we need to do is actually bring
in our sliders to increase the contrast.
| | 02:09 | We'll go ahead and do that.
| | 02:11 | This image will start to look much better.
| | 02:13 | It will really snap.
| | 02:15 | And what we'll see now is in our histogram
it looks just like that screen shot.
| | 02:19 | We'll go ahead and click OK and talk about why that is.
| | 02:23 | This is called combing of the histogram.
| | 02:26 | Now there are different takes on this.
| | 02:27 | There are people out there who will tell you if your
histogram is combed like this you're in trouble.
| | 02:33 | And the reason is, is because you've actually lost information.
| | 02:36 | If you think about it, we have a grayscale here and
the grayscale, remember way back when we were talking
| | 02:41 | about bit depth and I said that digital images depend on bit depth.
| | 02:45 | And it's a foundation for all, you know, digital images etc., etc.
| | 02:48 | And we talked about this thing called
a grayscale, which goes from 0 to 255.
| | 02:53 | Well here we have it again.
| | 02:53 | And basically what we have is 255 levels of gray.
| | 02:59 | And the combing is telling us, let's say this is level 162 is missing.
| | 03:06 | So that tone is now gone from the image.
| | 03:10 | Because we took the grayscale that was compressed and said stretch it out,
so as like we took a T-shirt and we actually stretch it, we expanded it.
| | 03:18 | But then as we expanded it the fabric became more see-through.
| | 03:21 | Right because if you keep stretching it you begin to see gaps.
| | 03:24 | Well some people argue that that's a problem.
| | 03:27 | I'm on the side of the fence that says "hey it's
not a problem as long as the print looks good."
| | 03:31 | Of course if you do something to the extent
where you have really extreme combing
| | 03:37 | and you've lost information like this,
well yea that's definitely a bad thing.
| | 03:41 | We've lost detail and we've lost information.
| | 03:44 | But in regards to bringing the two ends of the histogram
in, that is a phenomenal thing to do it will add contrast,
| | 03:50 | it'll add punch, it'll add contrast punch and color to your image.
| | 03:55 | It'll add contrast, which in turn
deepens and enriches the color of the image.
| | 04:01 | Alright well let's keep working on this.
| | 04:03 | We need a little bit more practice.
| | 04:04 | And let's do that in the next movie.
| | Collapse this transcript |
| Enhancing with levels 2| 00:00 | >> Male Speaker: Well welcome back.
| | 00:02 | We'll go ahead and open up the image santa_barbara_mission.
| | 00:05 | Take it to full screen mode.
| | 00:07 | Let's go to the Adjustment Layer icon
and choose Levels, pretty straight shot.
| | 00:12 | What we need to do, we need to bring in both of the end points.
| | 00:15 | We want to be careful not to bring them in too far.
| | 00:17 | Once we bring them in, we then want to go to
the Density slider and dial in the density.
| | 00:23 | First dial in contrast, second density.
| | 00:28 | So we go ahead and click OK.
| | 00:30 | And the image looks a lot better.
| | 00:32 | Again this is a shot of the Santa Barbara
Mission, always interested in trying
| | 00:36 | to find different angles that aren't always the typical postcard angles.
| | 00:40 | And there's a really neat fountain there with lily pads in it.
| | 00:43 | This is sunrise one morning.
| | 00:46 | Well let's say we want to modify the color a little bit.
| | 00:49 | How do we do that inside of levels?
| | 00:51 | I'm going to go back to our demo file temporarily and pull
up our grayscale again and do our levels adjustment.
| | 00:57 | So far what we've seen is that we can affect the tone of an image.
| | 01:01 | And the reason we can do that is because we're working on
the composite of the three channels: red, green, and blue.
| | 01:07 | Well let's say we go into red.
| | 01:09 | Well this is going to be interesting.
| | 01:11 | We can add more red; we can also add more cyan.
| | 01:16 | If we go into the green channel we're going to see green.
| | 01:19 | And then we're also going to see magenta.
| | 01:22 | And then finally the blue channel is going to be blue yellow.
| | 01:25 | We'll talk more about this when we get into curves.
| | 01:28 | But just as a quick note, back to our image, if we
go ahead and open up the Levels dialog again,
| | 01:34 | we can actually go into the different
channels and begging to add information.
| | 01:39 | So in this case, I'm adding both red and cyan.
| | 01:43 | And warming it up just a little bit there.
| | 01:46 | going to go into the blue yellow channel and what typically
happens when you add yellow you need to go back
| | 01:55 | to the green channel and add some magenta to make up for that.
| | 02:02 | click OK and then do before and after.
| | 02:05 | So much different image, the tones are a little
bit richer, the image is a litter bit warmer.
| | 02:10 | We could modify those even further.
| | 02:12 | But for starters this is getting us in the right direction.
| | 02:16 | Okay, Command+W or Control+W, and press D (for "don't save").
| | 02:20 | Let's go ahead and look at our last image which is shadows.jpg.
| | 02:23 | One more time to look at how this works, again going up to Levels.
| | 02:28 | This time what we're going to do is Option+click or Alt+click and drag the sliders.
| | 02:32 | And what you'll see is something very
similar to what we have in Camera Raw.
| | 02:37 | When I start to see color, that's telling me
that I've lost detail in specific channels.
| | 02:43 | So I want to go right up to where I'm not losing much detail.
| | 02:47 | I don't want my blacks to be completely muddied up.
| | 02:50 | And then on the right-hand side I'm going to go over and click
and drag that in and that's telling me I'm losing some detail.
| | 02:56 | I'm going to be okay with that and it's not every channel
that I'm losing information in just a few channels there.
| | 03:03 | And I'll look at my preview before and after.
| | 03:06 | I want to modify the density of the image.
| | 03:09 | And this one could use some warming as well.
| | 03:11 | We'll go into the blue channel, go ahead, and add some yellows in there.
| | 03:19 | Go back to the green channel, and then some magenta, just pretty subtle.
| | 03:32 | And the red channel finally and click OK.
| | 03:37 | So are before and after a very different image.
| | 03:41 | The tones are much richer.
| | 03:43 | And you know what?
| | 03:44 | I don't know if I really like the color that I added to the image.
| | 03:47 | So the way I would take those out would be Option+click, hold down
the Option key to change Cancel to Reset and then go for that again.
| | 03:54 | Let's just see how it looks if we just simply
apply the contrast change and click OK.
| | 04:00 | And then compare before and after.
| | 04:04 | Well maybe somewhere in-between, this one
feels like a little bit over the top for me.
| | 04:08 | But either way the image is much better than the way that it started.
| | 04:12 | In this case the image is flat; we need to make that image pop.
| | 04:15 | So we definitely want to increase the contrast and color saturation.
| | 04:19 | And we can do that with levels.
| | 04:21 | Now there are some more advanced techniques to deal with
color and tone, and those techniques involve using curves.
| | 04:27 | Now that we know a little bit about levels
we're ready to graduate to curves.
| | 04:31 | I'll look forward to connecting with you in the next chapter on curves.
| | Collapse this transcript |
|
|
10. CurvesDemystifying curves| 00:05 | >> Male Speaker: Well welcome to the chapter on curves.
| | 00:08 | Curves really is the next step for us.
| | 00:10 | Levels is a great starting point and our next step now is curves.
| | 00:14 | One of my colleagues often says, in regards to levels and
curves, "why drive a Honda when you could drive a Porsche?"
| | 00:21 | And what he means by that is you could do everything
that you can do in levels with curves but more.
| | 00:28 | So why use levels?
| | 00:30 | Now there are some times when it's really
effective to go back to levels and to use that.
| | 00:34 | But as you'll start to see, curves gives us a
lot more control in regards to tone and color.
| | 00:40 | Before we start using the tools, let's deconstruct it a little bit.
| | 00:44 | For starters let's talk about colors for a little bit.
| | 00:47 | Here we have the color wheel and what we can see is that red is
made up of magenta and yellow, green is made up of yellow and cyan.
| | 00:56 | And we kind of see those color relationships around the color wheel.
| | 00:59 | And in order to understand curves we need to
memorize a few aspects of the color wheel,
| | 01:03 | and that is the relationship between red and
cyan, green and magenta, yellow and blue.
| | 01:10 | And let me show you what I mean here.
| | 01:12 | In curves we're able to modify all of our color and
tone information at once or go into specific channel.
| | 01:19 | And one of the channels that we can go into is the
red channel, which we have a screen graph of here.
| | 01:24 | And this is the Curves dialog window and it looks a
little bit odd at first if we're not used to using it.
| | 01:29 | But it will become very familiar to us and we'll
actually become really good at using curves.
| | 01:35 | So for starters here we are in the red channel.
| | 01:37 | We think about the red channel as the red cyan channel.
| | 01:40 | So if we are to click on this line right here and
drag up, the image will become more red and less cyan.
| | 01:47 | If we were to click and drag down it'll become more cyan and less red.
| | 01:52 | The next channel is a green channel.
| | 01:53 | Think of that as the green magenta channel.
| | 01:57 | And how the heck do you memorize that?
| | 01:59 | Well what you can think of if you pull the curve towards
the name of the channel it will become more of that color.
| | 02:05 | And the great thing about curves is that if you're not
exactly sure just click and drag one way or the other
| | 02:11 | and you'll find out really quickly how each channel works.
| | 02:14 | The blue channel we think of as the blue yellow channel.
| | 02:18 | Okay, well let's take a look at how this would work on an image.
| | 02:22 | Okay I'm going to pull up the Curves dialog window
here and currently I'm in the RGB composite view mode.
| | 02:27 | What this will do is it will affect all of the channels.
| | 02:30 | So in this case I'm affecting the tone, which does in turn affect color.
| | 02:34 | And we'll look more at that in a second.
| | 02:37 | So I'm going to click on a point and drag it and then
I can remove a point by clicking and dragging it off
| | 02:43 | to any of the four sides to the Curves dialog window.
| | 02:46 | You're also noticing that I'm viewing this with
a 10 x 10 grid behind the curve line here.
| | 02:51 | I can change that by Option+clicking or Alt+clicking.
| | 02:54 | By default you'll see the 4 x 4 grid.
| | 02:56 | We definitely want to use that 10 x 10 grid.
| | 02:59 | And I'll talk about this more as we're working in
curves but just want to highlight that while I'm here.
| | 03:03 | I'm going to go down to the red channel, you notice
there's a shortcut for that Command+1 or Control+1.
| | 03:07 | And now that I'm in the red channel I'll click and drag up, there
we see more red, click and drag down, we're going to see more cyan.
| | 03:16 | Go to the green channel Command+2 or Control+2, we see green.
| | 03:22 | And then if we pull down which way does that go?
| | 03:24 | Yep magenta, and finally the blue channel.
| | 03:29 | In this channel the effect isn't going to be as strong
because we have a ton of yellow in the image.
| | 03:33 | So we'd really need to pull it far in order to
actually see the blue because there's so much yellow.
| | 03:38 | And then we go to the yellow side we're just
going to see those yellows being enhanced there.
| | 03:42 | All right now that we have an overview understanding
of curves, let's dig a little bit deeper.
| | Collapse this transcript |
| Getting to know curves| 00:01 | >> Male Speaker: Alright, more on curves.
| | 00:04 | Up top we have this gray scale.
| | 00:05 | Let's see what happens when we modify this with levels.
| | 00:08 | I'm going to press Command+L or Control+L to modify this with levels.
| | 00:12 | And remember when we were talking about levels we said we
would bring in the outside sliders to increase contrast.
| | 00:18 | It's compressing the grayscale, i.e. there are more
whites more blacks and then we have our midtone slider,
| | 00:25 | which gives us the ability to control the density of the image.
| | 00:32 | The outside sliders control contrast the middle slider controls density.
| | 00:37 | How does that work in curves?
| | 00:38 | Well pressing Command+M or Control+M to open up the Curves dialog
window in the composite view of all three of the channels.
| | 00:45 | I'll click and drag up my highlights.
| | 00:47 | Notice that I am now increasing the amount of the highlights there.
| | 00:51 | And then I'll go down to my blacks and I'll decrease the amount of blacks.
| | 00:57 | So we're learning something very interesting.
| | 00:59 | This is called an S curve.
| | 01:01 | The stronger the S curve the higher the contrast.
| | 01:04 | And why does that work?
| | 01:05 | Well, in curves the steeper the angle of the curve, and I'm just going
to go ahead and create a really steep angle, the higher the contrast.
| | 01:13 | The flatter the angle of the curve, the
less contrast, the more flat the image.
| | 01:18 | Alright how does that work with color?
| | 01:21 | If we go down to this gradient here, press Command+M or Control+M,
| | 01:29 | and go ahead and create the S curve bringing up
our whites and then bringing down are blacks.
| | 01:35 | What we notice is that we not only have increased
contrast, we also have increased color saturation.
| | 01:43 | Now that we have a foundational understanding of how
curves work, let's apply this knowledge to a few images.
| | 01:49 | Alright, we'll go to the curves folder in the Bridge.
| | 01:52 | Let's start of by working on this image of a breaking wave.
| | 01:56 | It's a morning wave by Sammy Olson, my buddy who's the surf photographer.
| | 02:01 | The image looks okay but it could definitely use a curves adjustment.
| | 02:05 | Almost all of your images are going to need some kind of a curves adjustment.
| | 02:09 | So we'll go ahead and create that adjustment and I'm going to
open up the Layers palette so we can see what we're doing here.
| | 02:15 | You don't need to do this.
| | 02:16 | You can leave that in the bottom part of your screen
if you find it more helpful to leave it over there.
| | 02:21 | We're going to click on the Adjustment Layer icon and choose Curves.
| | 02:24 | Why are we doing this via an adjustment layer?
| | 02:26 | Well the reason is it gives us the ability to back it off, to show or hide
the adjustment, and it's a nondestructive edit, i.e. pixels are not damaged.
| | 02:35 | We'll go into the curves, before we begin to make our curves
adjustment, by default you'll see the 4 x 4 background.
| | 02:45 | That's not the ideal way to use curves.
| | 02:47 | So go ahead and Option+click or Alt+click that background,
it'll take it to the 10 x 10 grid there.
| | 02:53 | And let's play a little bit with this dialog window.
| | 02:56 | First we'll grab midpoint, these are our midtones.
| | 02:58 | This is identical to the point in levels which deals with midtones.
| | 03:02 | So in this case we are brightening the image and then darkening the image.
| | 03:07 | So it has to do with density, the middle part of the curve.
| | 03:12 | Let's go ahead and create that S curve by clicking in
the upper part of the curve to increase our highlights
| | 03:16 | and then the bottom part of the curve to decrease those shadows.
| | 03:20 | Wow, that image looks really cool.
| | 03:22 | That is stunning.
| | 03:24 | Another way that we can modify these points is with the
arrow keys, so I'm using the up arrow or down arrow.
| | 03:30 | And what's happening?
| | 03:31 | What's happening is that what was once at this level of
brightness is now being taken down, that level brightness,
| | 03:41 | it's being taken down to a darker level of brightness.
| | 03:44 | So I take that all the way to black, we can
see what was this level of gray is now black.
| | 03:50 | And remember that the stronger the S in
the S curve, the stronger the contrast.
| | 03:57 | I'm going to make this a little bit too strong, click OK.
| | 04:00 | And look at the way that we can modify this.
| | 04:02 | Well of course we can turn the visibility
on and off to see our before and after.
| | 04:06 | We can also go up to the Opacity slider and lower the intensity of
that curve in order to dial in that effect just to the right amount.
| | 04:14 | Let's go ahead and press Command+W or Control+W, and D (for "don't
save"), jump back to the Bridge, and open up another image.
| | 04:23 | Let's open up kim_phoebe.
| | 04:26 | And I think that is just such a funny shot
of Phoebe trying to eat her hand there.
| | 04:30 | Let's go ahead and apply the curves adjustment.
| | 04:33 | Go to the Adjustment Layer icon, select
Curves, and let's create an S curve.
| | 04:41 | Look at our preview of before and after, click OK.
| | 04:45 | Again click on the I icon to look at before and after.
| | 04:49 | The image looks a heck of a lot better.
| | 04:51 | So that we can see that we have the same control that we have in levels.
| | 04:54 | It increases contrast, and color saturation;
Command+W or Control+W, and D (for "don't save").
| | 05:02 | Jumping back to the Bridge let's open up the image bee_desat_red.
| | 05:07 | Let's go ahead and apply the S curve to this image.
| | 05:12 | And we'll apply a real subtle S curve
here, but we notice we have a problem.
| | 05:17 | All the sudden the image has become too red.
| | 05:21 | There are a couple of different ways we can modify that.
| | 05:23 | We could go into the red channel.
| | 05:25 | And if we go into the red channel and start clicking
around the image, we're going to see where the tones are.
| | 05:31 | In this case, we're noticing there's a lot of
red right there in the middle range of the image.
| | 05:35 | We could go in and pull those out by decreasing
the amount of red, which would then increase cyan.
| | 05:41 | If I go the opposite way we see the image becomes very red.
| | 05:44 | But at this state we don't have real good control of the curve.
| | 05:48 | We'll learn how to dial that in.
| | 05:50 | So for starters we'll just say, well we'll do our S
curve, we like the contrast, the color's a little bit off.
| | 05:56 | Let's then combine what we know about Hue/Saturation
and create a Hue/Saturation Adjustment Layer.
| | 06:03 | Jump to the reds and again remember that
this area defines the reds that are selected
| | 06:10 | and then this determines how far out the
adjustment reaches into similar colors.
| | 06:16 | We can even click in the image and it will
re-orientate that selection to the appropriate colors.
| | 06:22 | Once there we'll desaturate a little bit.
| | 06:25 | So I'm pulling out those reds, click OK,
and then turn that one on and off.
| | 06:30 | So we're just pulling back the reds and let's Option+click, the Option or
Alt+click of the I of the background layer and we can see our before and after.
| | 06:37 | And we can see that we've deepened the tone
without bringing in an excessive amount of red.
| | 06:42 | Now maybe I took out too much red.
| | 06:44 | How would I modify that?
| | 06:46 | Well I could double-click the icon, the adjustment layer,
go back to the reds, and then bring those reds back up.
| | 06:52 | Another thing that I can do, let me exaggerate this so we can see
how this works, click OK, is dial it in with the Opacity slider.
| | 07:00 | Couple different ways to use the Opacity slider, one is to use the scrubby
sliders there, another technique is to just go ahead and type a number
| | 07:08 | on your keypad and that will take it to the different percentages.
| | 07:15 | So there we just have a real subtle movement of the red.
| | 07:18 | So know that as you make adjustments in adjustment
layers you can continue to dial in the appropriate amount
| | 07:24 | of that adjustment with opacity, which is really quite cool.
| | 07:27 | Okay we have more to learn about curves.
| | 07:30 | And now that our foundational knowledge of curves is being built up we can
continue to build upon that base and we'll do that in the following movie.
| | Collapse this transcript |
| Enhancing color and tone 1| 00:00 | >> Male Speaker: All right more on curves.
| | 00:02 | Let's open up the image sunrise_lake_tahoe.
| | 00:05 | Have to go to full screen view mode, spacebar to reposition the
image to the upper part of the screen so the head isn't tilted down
| | 00:14 | and we're looking at the image at eye level, good posture.
| | 00:18 | All right, we are going to do something that has never been done
before in a Photoshop training movie and I have a song for you guys.
| | 00:25 | I have my guitar with me if you can believe it or not.
| | 00:27 | And I want to play a song and it does relate to Photoshop and hear it goes.
| | 00:33 | Ready?
| | 00:33 | ( Guitar playing )
| | 00:33 | Woo hoo, ha ha, pretty funny.
| | 00:38 | Why the heck am I playing a guitar?
| | 00:45 | One of the things that's really interesting about music is the
way that instruments are tuned and the way the guitar is tuned.
| | 00:53 | So I'm playing the guitar for two reasons, one to talk about tuning the
guitar, and the second reason is because now I can tell all my buddies that,
| | 01:00 | yea you know I was in the sound studio you know,
setting down some guitar tracks recording some stuff.
| | 01:06 | Which I'm really not that good of a guitar player but I like
hacking around playing around the campfire and what not.
| | 01:11 | But let's talk about tuning.
| | 01:12 | So when you tune a string instrument what you do is
you play one string and then you tune that string.
| | 01:17 | You tune the next string to that string.
| | 01:19 | So if the string were out of tune, let's take it out of tune there, you
bring it into tune, it goes sharp, go flat until you find the sweet spot.
| | 01:35 | And, which brings the string in tune.
| | 01:40 | So the whole point of it is that you, you find something that's in tune and
then you tune something in relationship to that going sharp and going flat.
| | 01:51 | And you know Photoshop works a lot like that.
| | 01:54 | We have sliders where can take things sharp, we can
take things flat, and we can continually modify them.
| | 02:01 | So a lot of times when I'm working on an image I'm thinking
of dialing in the appropriate amount of tone or color.
| | 02:07 | And I'm going to take the image to extremes.
| | 02:11 | I'm going to take it too far one way to go
sharp, to far the other way to go flat.
| | 02:15 | And then find that sweet spot of what my vision for the image is.
| | 02:19 | Alright, so let's go ahead and do that to this image.
| | 02:21 | We'll go to the Curves Adjustment Layer,
and we'll create a real subtle S curve.
| | 02:26 | This doesn't need a lot of enhanced contrast right, it's already there.
| | 02:28 | Next let's jump to the red channel, that's Command+1 or Control+1.
| | 02:32 | And in the red channel let's start clicking around the image.
| | 02:34 | We're going to see the update and I'm looking
to see where the color is in the image.
| | 02:38 | And you know it's mostly the midtone range.
| | 02:40 | So I'm going to go ahead and click right in the
middle of the curve and bring up some reds.
| | 02:44 | I can also do that with the arrow keys.
| | 02:46 | Then jump down to my green channel and add some magenta.
| | 02:49 | We're thinking green magenta.
| | 02:51 | And in the green channel let's take it the
other way, see what happens when we go green.
| | 02:55 | Okay that isn't as appealing to me, go back
down, that's too far, bring it right in there.
| | 03:03 | Next go to the blue channel, Command+3 or Control+3 there.
| | 03:07 | And I'm going to warm the image up.
| | 03:09 | And I'm going to go way down here and bring a lot of warmth up.
| | 03:13 | See what happens if I cool it off, a very different type of a sunrise.
| | 03:16 | Keep that one nice and warm, go back to green channel, maybe add some
more magenta there, back to the blue channel add some more yellow,
| | 03:26 | go into my red channel, pull down some of those reds.
| | 03:31 | And so I'm continually swinging the curve one
way or the other until I find the sweet spot.
| | 03:37 | I'm going to exaggerate this one a little bit clicking
okay, because I still have more control of the image.
| | 03:43 | I can obviously click the icon on and off.
| | 03:46 | I can go to my Opacity sliders to see what it looks like at
different levels of opacity to really dial in the appropriate amount.
| | 03:52 | And maybe I just want something that kind of
pulls out the cyan blue shift that I had there
| | 03:57 | and warms up the sunrise, that'll take the opacity all the way up.
| | 04:00 | Let's try something else just through way of experimentation.
| | 04:03 | Press Command+J or Control+J and it won't look that good but
it's going to double the intensity of that layer adjustment.
| | 04:11 | And sometimes we'll learn things when we do this.
| | 04:13 | And we'll say okay, you know, maybe I want to add a little bit
more but not that much, maybe just five or ten percent more.
| | 04:20 | And then we'll go ahead and click before
and after there a little bit more even.
| | 04:24 | And so sometimes what we have to do is even think outside of conventional
wisdom and take images to places where we're not necessarily comfortable
| | 04:33 | with, i.e. sharp or flat, but until we find the sweet spot, until we
find the location that matches our vision for the particular image.
| | 04:40 | Alright well this wraps up our movie on tuning
the guitar, which is pretty classic, and curves.
| | 04:49 | We'll do some more in the next movie.
| | Collapse this transcript |
| Enhancing color and tone 2| 00:00 | >> Male Speaker: Let's go and open up the image truck.jpg.
| | 00:02 | Have to go to full screen view mode.
| | 00:05 | Remember we want that neutral gray background.
| | 00:07 | If you didn't catch that in the previous background as a quick refresher,
you're going to go to the Paint Bucket tool, click on the color picker.
| | 00:14 | I like to pick color in the hue view mode.
| | 00:17 | So click on that radio button.
| | 00:20 | Take hue to zero, saturation to zero, brightness
to 50 percent, and then Shift+click the background.
| | 00:26 | And what that will do is it will change that background color.
| | 00:30 | We want that on neutral gray.
| | 00:31 | Okay, couple curves adjustment too.
| | 00:33 | Let's go to the Adjustment Layer icon, open up Curves.
| | 00:36 | Cracked open curves, we're going to add some
contrast to this image which is a good first step.
| | 00:42 | I'm going to click OK.
| | 00:44 | As a way of illustration I'm going to do multiple curves adjustment layers.
| | 00:47 | I'm going to click Curves to create a second curves adjustment layer.
| | 00:50 | This time I'm going to go into the reds channel.
| | 00:52 | What I'm going to do in the red channel is create an S curve there as well.
| | 00:56 | Green channel very similar, notice when I bring
the greens up it's affecting the entire image.
| | 01:01 | But I don't want to affect the darker tones I
want those to become a little bit more magenta.
| | 01:05 | And then the blue channel lets see how we
want this one similar and then click OK.
| | 01:11 | So let's look at that next adjustment, so here's were
we're just adding contrast and increase color saturation.
| | 01:18 | And then taking color even further and creating a much different
image, something where it's almost like the colors are just vibrating.
| | 01:28 | And we're able to dial in the specific amounts of colors.
| | 01:31 | So when you're doing things like this there's no
recipe to it, it takes a lot of experimentation.
| | 01:37 | And going through the different channels, and of course going through and
experimenting with the intensity of that edit and it might look better
| | 01:45 | in my case at about 30 percent, it just had a little bit
more of a snap and I like the image a lot better that way.
| | 01:51 | Command+W and press D (for "don't save").
| | 01:53 | Let's open up the image for times_square here, and full
screen view mode, we'll go ahead and create the S curves.
| | 02:03 | Bring those colors out.
| | 02:04 | And the energy of Times Square is just unreal.
| | 02:08 | I just cannot believe how crazy Time Square actually is.
| | 02:13 | And so we went ahead and we increased our contrast and color saturation,
| | 02:18 | which is good but let's say we want to increase a
little density in the sky portion of the image.
| | 02:23 | We know how to do this right, we'll do this
with curves though this time and a mask.
| | 02:27 | Select a background image, go to Select > Color Range and sample the sky.
| | 02:33 | We'll increase the fuzziness and with the eyedropper
on the plus mode we'll go ahead and click OK.
| | 02:41 | This will create a selection, notice it selected a lot of
areas that I don't want to have selected, but I'm okay with that.
| | 02:48 | Once I have an active selection I'll go to the Curves Adjustment
Layer, and I'm looking at just bringing down the density of the sky
| | 02:56 | so I'm going to darken the sky, and click OK and then I'm going to
look at my before and after and one of the things that I noticed is
| | 03:06 | that the sky looks a lot better, but I've
messed up some other parts of the image.
| | 03:10 | Well how can I fix those parts of the image.
| | 03:13 | You remember those shortcuts from the masking chapter, right?
| | 03:15 | Option+click or Alt+click the mask and this will show you the mask you've created.
| | 03:19 | And the way that masks work, as you know is that anything that's
white reveals the edit, anything that's black conceals the edit.
| | 03:26 | Lets grab the Magic Wand tool and start clicking around the white
areas of this mask, so I'm going to select the areas were I want the edit
| | 03:34 | to come through, and I'm doing this, the only way I'll be able to do
this would be to Option+click or Alt+click the mask and go inside of the mask
| | 03:41 | and then with the Lasso tool, holding down the minus key I'm going to
subtract this area here because I don't want that to be part of the edit,
| | 03:50 | and I'll subtract a few other areas over
here, oops, okay so that looks pretty good.
| | 03:56 | Once I have that selection I'm going to go ahead and invert it, pressing
Shift+Command+I or Shift+Control+I , the long-cut is Select > Invert.
| | 04:04 | So why do I talk about shortcuts so much?
| | 04:07 | Well think about it, if your telling a friend how to get to
your house you wouldn't tell them the longest way to get there,
| | 04:12 | you'd tell them the quickest most efficient
way to get there, so that's what I'm doing.
| | 04:15 | And eventually as I say them over and over
again you'll integrate them into your workflow.
| | 04:19 | Now that I have everything selected but the sky area,
| | 04:23 | I'll fill with black so that is going to then hide or mask off that portion
of the image, Option+click the mask and so now we can see our before
| | 04:32 | and after, we're just increasing the density there in the sky.
| | 04:35 | We always want to lower our opacity,
| | 04:37 | especially when were making edits like this.
| | 04:39 | Because a lot of times we'll have problems with edges here and
there we may even need to go in and fix some of those edges.
| | 04:45 | I'm going to dial this quite a bit down maybe 50, 40 percent there and
look at my before and after, just adds a little bit of density to the sky.
| | 04:53 | Makes the image that much more interesting.
| | Collapse this transcript |
| Curves and actions| 00:01 | >> Male Speaker: One of the things that you'll notice,
as you begin working more and more in Photoshop,
| | 00:04 | is that you'll do certain things over and over again.
| | 00:07 | One of the things that you can do in Photoshop is create
what is called an action, and record specific steps,
| | 00:13 | and then play those steps when you need access to them.
| | 00:17 | And I have a handful of actions included
in this folder, they're enhancing_default.
| | 00:21 | And the way that you can open those actions is by double-clicking them.
| | 00:24 | And you'll notice that I have the folder of actions there.
| | 00:27 | And some of these actions have to do with curves adjustments.
| | 00:31 | There's some other actions down below merging, sharpening,
conversion, corner burn, resizing, etc., etc.
| | 00:39 | Let's just look at these first few here.
| | 00:41 | We're going to look at those on one of the images in the image beach_rock.
| | 00:44 | Go ahead and open up beach_rock.
| | 00:46 | The way that you can play the action is by selecting
and clicking the Play icon or the shortcut Command+F1.
| | 00:54 | You'll notice that what that did in the Layers palette is
it created a Curves Adjustment Layer with no adjustment.
| | 01:01 | If I pressed Command+F2, or click on the Play button
here, it creates a curve with a subtle S curve.
| | 01:09 | So there's the subtle S curve and then
finally the last one press the Play button.
| | 01:14 | That one is now the one curve with a medium S curve.
| | 01:20 | So a little bit more intense on that one.
| | 01:22 | So one of the reasons it's nice to have a shortcut
for those is that you can press that shortcut
| | 01:27 | and then go ahead and open up the curve and begin to modify it.
| | 01:31 | So let's look at writing one of our own actions.
| | 01:34 | I'm going to temporarily delete these curves
actions that I've created and recreate them.
| | 01:41 | The way that I'll create them is click in the folder
enhancing_default, actually why don't I just go ahead
| | 01:48 | and delete the whole set and create some new ones from scratch.
| | 01:52 | So I'll call this folder "curves".
| | 01:55 | Click on the new action, and I'll label this one curves_no_adjustment.
| | 02:01 | I'll assign a function key of Command+F1, go ahead and start recording,
| | 02:06 | create a Curves Adjustment Layer, click
OK, and then press the Stop button.
| | 02:11 | Now if I ever want to add a Curves Adjustment Layer, I'll simply press
Command+F1 and that will continually add Curves Adjustment Layers.
| | 02:18 | Well that's pretty cool.
| | 02:20 | Alright let's create another action.
| | 02:22 | Click the New icon, "curves_medium_contrast",
assign this one Command+F2,
| | 02:36 | go ahead and open up the Curves
Adjustment Layer, click OK, and then Stop.
| | 02:44 | And you can see how you can continually record actions.
| | 02:47 | So if you ever find yourself doing something over and
over again in Photoshop, look at how you can record
| | 02:52 | an action and then call that action whenever you need to.
| | 02:56 | It's a really good way to speed up your workflow.
| | 02:59 | And I'll refer a few of the other actions later in the movie.
| | 03:02 | Feel free to use the options that I have included with the training.
| | 03:05 | Or create your own and customize those based on
the shortcuts that you find to be most helpful.
| | 03:10 | This now wraps up our chapter on curves.
| | 03:12 | And the next chapter's on blending modes, which
are really cool, and I'll see you in that chapter.
| | Collapse this transcript |
|
|
11. Blending ModesCreative tip: Dead Sea| 00:02 | >> Male Speaker: Hey welcome back to another creative tip.
| | 00:06 | You know, a good friend of mine went to a very
prominent business school in Southern California.
| | 00:11 | And he learned a handful of thing there that I thought
were really interesting that I want to share with you.
| | 00:16 | Now why do you go to business school?
| | 00:19 | Well primarily you go to business school to be
more productive and effective at business, right?
| | 00:24 | So in light of that, one of the things that he learned at school
was about the Dead Sea, and the Middle East of course.
| | 00:30 | Do any of you know why the Dead Sea is dead?
| | 00:34 | Well it's dead because it has water that
flows into it but it doesn't have any outlets.
| | 00:39 | Now they take that concept and apply it to
business and say that if you want to be successful
| | 00:44 | at business you need to figure out a way to have outlets.
| | 00:48 | You need to give away at least ten percent of everything that's coming in.
| | 00:52 | Now it's not religious, it's not moral it's simply good business.
| | 00:56 | And that's really interesting, isn't it?
| | 00:58 | You know I think we can apply that to our creative lives as well.
| | 01:00 | If we simply have things coming in and
no outlets, we become stagnant and stale.
| | 01:05 | But we don't want to be stagnant and stale like the Dead Sea; we want to be
deep and vibrant like Lake Tahoe, full of life, full of vitality.
| | 01:14 | So if you ever find yourself in a creative
rut, apply that Dead Sea principle.
| | 01:19 | Figure out a way to give back either to the
community in specific or general ways, to friends.
| | 01:27 | Figure out a way to apply that principle.
| | 01:30 | Well what would that look like?
| | 01:31 | Here are a couple stories of what it looked
like to me on the receiving end.
| | 01:36 | One of my good friends, Nate, was having a bachelor party
on the Eastern Sierras and it was a backpacking trip.
| | 01:42 | And at that time in my life I had this really crazy foot
injury for a couple years of my life and I actually had
| | 01:47 | to use a wheelchair a lot of the time.
| | 01:50 | And it was during that time that he was having this bachelor party.
| | 01:53 | 15 guys were going on the trip, and I thought
I'd join them on the first night because it's car camping.
| | 01:59 | And then I'll skip out for the rest of the trip, because
I couldn't scoot my wheelchair up the mountainside.
| | 02:04 | So I joined them on the first night and I get up there and my friends,
Nate and this other guy Gregg, said hey no way man you're coming with us.
| | 02:12 | And I thought well, that sounds great but I don't know how I'm
going to wheel up a trail you know, a few thousand vertical feet.
| | 02:19 | But they said no way, you're coming with us.
| | 02:22 | So the next day these guys proceeded to build what
became known affectionately as the chariot of pain.
| | 02:30 | They took a lawn chair and put two poles underneath the
lawn chair and took some branches and rope and duct tape,
| | 02:36 | you know guys getting together and just built this thing.
| | 02:39 | And they proceeded to carry me up the mountain, two guys in
front of me, then me in the chair, and two guys behind me.
| | 02:45 | And they had to dead arm hang, you know, kind of hold me,
because they couldn't hold me up like this because, then aah,
| | 02:52 | fall off the mountain, kind of defeat the whole purpose.
| | 02:54 | So they would carry me up the mountain and we would pass
hikers on the trail and I would just be sitting there
| | 02:59 | in the chair, you know kind of like a king or something.
| | 03:01 | And I'd wave at these people as we passed by them, it was incredible.
| | 03:05 | And you know that experience turned an ordinary
hiking trip into something amazing and profound.
| | 03:12 | It really brought us all together.
| | 03:14 | The fact that those guys gave.
| | 03:16 | And it was really tough because what happened is the guys would have to
wear a back pack on front and on back, run the back pack up, drop it off,
| | 03:22 | run back down the hill, take a turn carrying me up the mountain.
| | 03:25 | And they climbed a few thousand vertical
feet over rocks and all this crazy stuff.
| | 03:29 | It was incredibly difficult.
| | 03:31 | But somehow that made that trip so special and
it bonded us all together in such a special way.
| | 03:37 | Or maybe another story, I'll never forget the time
when I went to surf Rincon with four other guys.
| | 03:42 | And Rincon is one of my all-time favorite places to surf.
| | 03:45 | And there waves were happening and it was so good.
| | 03:48 | The conditions were perfect.
| | 03:50 | We get out of the car and we're scrambling to
get ready and I realize I'd forgotten my wetsuit.
| | 03:55 | And you can't surf this place without a wetsuit, at least in deep winter.
| | 03:59 | So I think oh I am so out of luck I can't believe it.
| | 04:03 | So the three other guys go and surf.
| | 04:04 | And we had two hours.
| | 04:06 | And one of them came in after an hour, took off his wetsuit
and threw it to me, and said, "hey Orwick, get out there."
| | 04:11 | And I was like, "oh my gosh, are you serious?"
| | 04:13 | He was like "Yeah."
| | 04:15 | And it made that surfing experience so
special because he gave something up for me.
| | 04:20 | And it, you know and it, again it connected us in a deeper way.
| | 04:24 | So anyway, as you're thinking about your own
creative life, apply this business principle
| | 04:32 | from this prominent business school called the Dead
Sea principle, or at least that's what they call it,
| | 04:37 | of making sure in your life, you have more than just stuff coming in.
| | 04:42 | You have outlets, you have things going out.
| | 04:44 | And I encourage you to try and apply that principle to your
life sometime maybe this week, this month, maybe in general.
| | 04:51 | Grand, general ways, specific ways, it could be simple or grand.
| | 04:55 | It doesn't really matter, but what I found
is that this is an incredibly creative
| | 05:01 | and personal revitalizing technique and I'm
really glad my friend shared it with me.
| | 05:05 | So I hope that's helpful, see you in the next one.
| | Collapse this transcript |
| Understanding blend modes| 00:05 | >> Male Speaker: Welcome to an introductory movie to blend modes.
| | 00:08 | Blend modes are often an overlooked feature in Photoshop.
| | 00:12 | And it's too bad they're overlooked, because there's some
powerful and profound things that you can do with blend modes.
| | 00:17 | Let's take a look at what the blend modes are.
| | 00:19 | For starters we have these groups of blend modes.
| | 00:22 | You can find these in different locations.
| | 00:24 | So we have a drop-down menu in our Layers palette
you'll also notice that if we were to pull
| | 00:28 | up in the Options bar for the brush we have different blend modes.
| | 00:32 | And we'll see these in a number of different locations.
| | 00:36 | And the location we'll use the most often is in the Layers.
| | 00:40 | Let's deconstruct how these work a little bit.
| | 00:42 | For starters, let's look at these in groups.
| | 00:45 | They are actually put into groups, and understanding how the groups of blend
modes work will really help us deconstruct these and begin to use them.
| | 00:54 | Okay, up top we have Normal and Dissolve.
| | 00:56 | I never really found a good use for Dissolve but,
Normal is just the normal blend mode of the image.
| | 01:00 | The next group, those blend modes have to do with darkening the image.
| | 01:04 | And you remember that by looking at the first name of the group, Darken.
| | 01:08 | The group underneath that has to do with
lightening; the next group has to do with contrast.
| | 01:15 | And then finally there's a group of Difference and Exclusion.
| | 01:18 | Those are usually used for special effects or
aligning items, and aren't used very often.
| | 01:23 | I will show you that briefly, but again those aren't used very often.
| | 01:26 | And then finally, that bottom group has to do with color.
| | 01:29 | So I have some information here.
| | 01:31 | Again, Normal and Dissolve it leaves the color unchanged,
no interaction with the layers below, at least for Normal.
| | 01:37 | Darken, Multiply, Color Burn, and Linear darkens the underlying layer.
| | 01:42 | Now there are different times when you want to darken the layer.
| | 01:45 | Or Color Burn could actually increase
intensity of (unclear) or intensity of colors.
| | 01:50 | The next group: Lighten, Screen, Color Dodge,
and Linear Dodge, lightens the underlying layer.
| | 01:56 | Overlay, Soft Light, Hard Light, Vivid Light, Linear Light, and Pin Light
adds contrast to the underlying area by making some areas lighter or darker.
| | 02:05 | Difference and Exclusion compares the active layer with underlying layers.
| | 02:08 | And then Hue, Saturation, Color, and Luminosity changes aspects
of color on the active layer that affect the underlying layers.
| | 02:17 | So pretty interesting stuff.
| | 02:18 | Alright well let's take a look at how this works.
| | 02:22 | We have a grayscale here and I'm going to
scroll through the different blend modes.
| | 02:26 | I'll go down to Darken.
| | 02:28 | What you see is how Darken worked, it
simply affected the darker side of the pixels.
| | 02:33 | Multiply, very similar.
| | 02:35 | Just the dark side of the color range is affected.
| | 02:38 | There's nothing being affected over here.
| | 02:40 | If I look at my before and after, there's
actually no effect this side of the grayscale.
| | 02:45 | Color Burn, we'll see something very similar.
| | 02:47 | Linear Burn.
| | 02:49 | Let's go to the lightening side.
| | 02:50 | Now it's on the other side.
| | 02:52 | So Screen is the opposite of multiply.
| | 02:55 | And the way that you can think of Screen, it actually works as if you have
two slide projectors and you're projecting the image onto the same screen.
| | 03:05 | It's double the light intensity, so you can see that there with the image.
| | 03:09 | All right, back to our blend mode here, Color
Dodge, we're seeing very similar things.
| | 03:14 | Opposite, these two groups work in opposites.
| | 03:16 | Overlay, what happens here?
| | 03:18 | Let's look at our before and after.
| | 03:20 | It increased the lightness values and the
dark values, didn't touch the midtones.
| | 03:25 | So it increases contrast.
| | 03:27 | Soft Light is just a lesser, more humane version of overlay.
| | 03:32 | And again we have more contrast blend modes.
| | 03:35 | Jumping down to Difference and Exclusion.
| | 03:37 | Let's take a look and see how that works when we have a copy of an image.
| | 03:41 | I'm going to take this to Difference.
| | 03:43 | And one of the nice things about Difference is if
I offset the image, which I'm doing by clicking
| | 03:47 | and dragging, I can see that the image isn't aligned up.
| | 03:52 | So remember I said that this is pretty
much used for aligning, and now that it's exactly
| | 03:57 | on, I don't see any of those lines on there with Difference.
| | 04:00 | Exclusion works in similar ways, although it's a little bit harder to see.
| | 04:04 | And the only other occasion that I found for
using those blend modes is for special affects.
| | 04:09 | We'll look at the Color blend mode with a different sample file.
| | 04:14 | Okay let's look at this in another view with these different strips.
| | 04:18 | So our grayscale is now broken up into percentages.
| | 04:23 | I'll go to Darken, and you'll notice that
what happens is just the dark tones,
| | 04:27 | the shadow details up into the midtones are
affected, nothing happens over here in highlights.
| | 04:32 | Jump down to Lighten.
| | 04:33 | It's going to be the opposite, right?
| | 04:35 | Then I go down to Overlay.
| | 04:37 | Notice that in Overlay the highlights
are affected, the shadows are affected.
| | 04:42 | Nothing happens there at 50 percent gray.
| | 04:45 | We can use that to our advantage.
| | 04:47 | Go down below that to Soft Light; that's just a
more humane version of contrast enhancement there.
| | 04:53 | Highlights are brought out, shadows are
deepened, nothing happens to middle gray.
| | 04:59 | All right, I'm going to turn on yet another layer.
| | 05:01 | Here I have a layer with some different colors
and we're going to look at the Color blend modes.
| | 05:06 | One of the problems with digital images is noise.
| | 05:09 | We find noise in our shadows, we find noise when we shoot high ISOs,
and people are starting to become really particular about noise.
| | 05:17 | And actually CS2 has some great noise reduction
features, which we'll look at in another chapter.
| | 05:21 | But for now let's say that this is noise.
| | 05:24 | This is exaggerated noise and it looks
like confetti, there's so much of it.
| | 05:29 | If we go to our blend mode of Color, what were going to
see is that we still get the detail in the background.
| | 05:36 | The color is interacting with the layer
underneath it in a way that we still get details.
| | 05:41 | So when we need to change color, it's a
really good idea to use that Color blend mode.
| | 05:46 | Another blend mode that's really helpful is Luminosity.
| | 05:49 | When we take it to the Luminosity blend mode what
we noticed is that we don't see the color anymore,
| | 05:54 | we just see the luminance values or the brightness values of the color.
| | 05:59 | So if we had a layer that we were sharpening, and when you sharpen an
image you actually exaggerate noise, and we took that layer to a blend mode
| | 06:07 | of Luminosity, it would really help our sharpening, because our
sharpening wouldn't exaggerate noise it would just sharpen the tone.
| | 06:15 | So that Luminosity blend mode can be really helpful.
| | 06:18 | All right, more on blend modes.
| | 06:21 | Up in this folder, burning and dodging, I want to talk about that.
| | 06:25 | Here I have a layer and we'll actually go
through this again in a movie down the road,
| | 06:31 | but just so we can get a handle on how our
blend modes work, let's take a look now.
| | 06:35 | I have this layer that has middle gray
and then it has black in the corners.
| | 06:39 | Remember middle gray, which is this color here,
on a blend mode of Soft Light, doesn't show up.
| | 06:45 | So as we can see nothing happening to the middle of the image.
| | 06:49 | It gives me the ability to burn in my corners.
| | 06:51 | If I want more intense burning I'm going to press Command+J to intensify that.
| | 06:56 | I'm going to undo that.
| | 06:57 | I can also lower the Opacity so that I can just bring those corners down,
| | 07:01 | again so that the viewer's eyes don't travel off the
edge of the image, but really stays on that image.
| | 07:08 | All right, well this wraps up our first look at blend modes.
| | 07:12 | Those are pretty cool, aren't they?
| | 07:13 | It's amazing when you deconstruct them, and you really
start to think about them, they're not that complex.
| | 07:19 | Darkening, lightening, contrast; these are best for
alignment or special effects; and then finally color.
| | 07:25 | I'll see you in the next movie.
| | Collapse this transcript |
| Using blend modes 1| 00:00 | >> Male Speaker: All right, let's apply
what we've learned to the image rural_design.
| | 00:03 | Go ahead and open that image up, and F to go to full screen view mode,
and then spacebar to move the image to the upper part of the screen.
| | 00:13 | Okay, we're going to go ahead and select the sky, and
we're going to select the sky with the Magic Wand tool.
| | 00:18 | You can dial in your Tolerance and hold
in your Shift key to add to the selection.
| | 00:22 | Once you have a good selection of the sky, what
I would like you to do is to create a new layer
| | 00:27 | and we'll call this layer "sky", and go ahead and grab the Gradient tool.
| | 00:34 | And with the Gradient tool, we're going to choose black to
white and click and drag to create a gradient on the sky area.
| | 00:42 | Now so far that doesn't look very good, right?
| | 00:45 | Because it just looks like we have gradation back there in the sky area.
| | 00:50 | We're going to change the blend mode, and we're
going to change the blend mode to Soft Light.
| | 00:55 | And what Soft Light will do, is it will help build up density in the sky.
| | 00:59 | That's too intense, of course.
| | 01:01 | Let's lower the opacity so that we can just have it very subtle.
| | 01:06 | It also is changing the direction that the light falls, right?
| | 01:09 | Your eye is now going down towards the top of this barn
roof rather than hanging out up in the top part of the image.
| | 01:17 | Once we have a selection like that, we can begin to use in multiple ways.
| | 01:22 | In order to turn a layer into a selection,
you Command+click the icon for the layer.
| | 01:27 | Remember Command+clicking the layer to the
right of the layer name selects the layer.
| | 01:32 | Command+clicking the icon turns the layer into a selection.
| | 01:37 | Now that I have that as a selection, I'm going to go ahead
and invert the selection, navigating to Select > Inverse.
| | 01:46 | And then I will go to my background layer and
press Command+J. So what I have in this layer,
| | 01:53 | if I Option+click or Alt+click the eye icon, is just the barn roof.
| | 01:56 | And that's pretty cool because I can use that in
my blend modes to control how the barn roof looks.
| | 02:03 | One of the best shortcuts in regards to blend modes is to select the
Move tool, click V on the keyboard, and then click Shift++ (plus) or Shift+- (minus),
| | 02:12 | which will scroll through the different blend modes.
| | 02:16 | And so if I scroll down to Soft Light where I can
click on the drop-down menu and choose Soft Light.
| | 02:23 | I can add contrast to just that part of the image.
| | 02:27 | That of course is a little bit too high, so I
want to dial that in or tune that up a little bit.
| | 02:32 | And there I'm just adding a bit of contrast using a Soft Light blend mode.
| | 02:37 | Pretty cool.
| | 02:38 | And in comparison, if I wanted to darken up that part
of the image, I could change the blend mode to multiply.
| | 02:44 | And you know, this effect is going to help us out when we're
retouching people, and we have highlights that we need to bring down.
| | 02:50 | We can take it to a blend mode of Multiply.
| | 02:53 | We'll look at that in the retouching chapter.
| | 02:55 | Okay, let's keep working with blending
modes, and we'll do that in the next movie.
| | Collapse this transcript |
| Using blend modes 2| 00:00 | >> Male Speaker: In this movie, we'll
work on the image el_capitan_yosemite.
| | 00:05 | And let's go ahead and use blend modes, and we want
to use blend modes to increase some (inaudible) in the sky.
| | 00:10 | We know how to do that.
| | 00:11 | So grab the Magic Wand, select the sky, create a new layer.
| | 00:15 | Remember the shortcut for a new layer?
| | 00:16 | That is on the Mac Shift+Option+Command+N,
on the PC Shift+Alt+Control+N. New layer.
| | 00:27 | Grab your Gradient tool and click and drag past the edge of your selection.
| | 00:32 | You don't want it to go to white too much down
there, so we want a real nice, smooth transition.
| | 00:36 | And then we're going to take it to the blend mode of Soft Light.
| | 00:39 | This is great practice to work on this.
| | 00:41 | Shift++, to go down to Soft Light.
| | 00:44 | You'll see it's just down there, right after overlay,
and then lower the opacity using your keypad.
| | 00:52 | I'm going to take it to maybe 40 percent.
| | 00:55 | Let's look at our before and after.
| | 00:56 | Okay. That's already looking a lot better.
| | 00:58 | Probably even less than that though.
| | 01:00 | Okay. Let's say we want to increase the color saturation
and contrast and so we try to do this with an S curve.
| | 01:08 | And with an S curve what we find is that we
darken up too much of this portion of the image.
| | 01:15 | So how can we just target the sun that's hitting ElCap right there?
| | 01:18 | Well one of the ways that we can do that is going to Select > Color Range
and clicking on that part of the image and then clicking
| | 01:24 | through with the plus icon to add to that selection.
| | 01:28 | Go ahead, click OK and drag the layer down to the new layer
icon, which will copy the layer, and click on the Mask icon.
| | 01:37 | And so what we have on this layer is just this area selected.
| | 01:41 | The reason I did this on a new layer rather than copying it to a new
layer, is in case I need to modify that mask, which I might need to.
| | 01:47 | Probably not, but I like to have the flexibility there.
| | 01:50 | So on this layer; I'll then take my blend mode to Soft Light.
| | 01:54 | It's going to be a little bit too strong.
| | 01:56 | The seams have a little bit of a problem here, right?
| | 01:59 | Because of the transition between the sun to
the warm to the cool colors doesn't quite work.
| | 02:04 | So I'm going to modify my mask.
| | 02:06 | Grab a brush, right bracket to make it a nice big brush.
| | 02:10 | Shift+[ (left bracket) to make it a soft brush.
| | 02:12 | What I'm going to do is just go through
this area and paint in some transition.
| | 02:23 | Look at my before and after and if I look at the mask what I'm seeing is
| | 02:29 | that I'm just creating transition along
those areas where it hits the edge there.
| | 02:34 | I'm concealing a portion of that so the edge isn't that sharp.
| | 02:40 | Option+Alt+click the mask again.
| | 02:42 | All right.
| | 02:42 | So that increased my contrast, and saturation, it's obviously too strong.
| | 02:47 | I need to lower Opacity.
| | 02:48 | I need to dial this in.
| | 02:50 | Okay, maybe about 30 percent.
| | 02:52 | There's my before and after.
| | 02:54 | It's subtle, yet significant.
| | 02:56 | Think of it like tuning a guitar.
| | 02:57 | When a guitar gets out of tune.
| | 02:59 | It's subtle that it's out of tune, unless it just goes crazy out of tune.
| | 03:03 | When I'm working on images like this, I'm thinking
about what one of my friends, Mark, told me.
| | 03:07 | He was taking a cooking class, and what he learned in his
cooking class was that the best cooks use spices in a way
| | 03:15 | that they can't be identified when the person is eating the dish.
| | 03:19 | Which I thought was really interesting.
| | 03:20 | Use the spices in a way that they can't be identified.
| | 03:23 | So they're subtle, yet significant.
| | 03:25 | I want to do the same thing when I'm working on my
images, so I want to be careful to dial that in.
| | 03:30 | All right, well that wraps up this movie.
| | Collapse this transcript |
| Using blend modes 3| 00:01 | >> Male Speaker: In this movie, we'll be working on the image sf_sign.
| | 00:04 | Go ahead and open up that file.
| | 00:05 | F to go to full screen view mode, spacebar to
move the image to the top part of the screen.
| | 00:11 | And this shot is from the Mission district of San Francisco.
| | 00:15 | And I just love old signs.
| | 00:16 | I just think that old sign is so interesting.
| | 00:19 | What we want to do here is change the color
of the cross in the middle of the sign.
| | 00:22 | There are a number of different ways that we can select the cross.
| | 00:25 | One way that will be pretty effective is Select > Color Range.
| | 00:28 | What we do in Select > Color Range is sample a color
and then with the plus icon add to that color.
| | 00:34 | Because we have a pretty solid area, I'm not too concerned
about the area that I've selected outside of the cross.
| | 00:42 | I'll be able to fix that later.
| | 00:43 | Go ahead and click OK and then go to your Adjustment
Layer icon and choose Solid Color and from here we're going
| | 00:50 | to pick a color. I'm going to choose red, and click OK.
| | 00:53 | So it doesn't look so good right now, my before and after.
| | 00:58 | It's changing the cross, yeah, but it just doesn't look good, right?
| | 01:01 | So how can I modify it?
| | 01:03 | Let's go ahead and Option+click or Alt+click the mask.
| | 01:06 | This will take us to the black and white view mode.
| | 01:09 | We'll then use the Wand tool to select just the cross.
| | 01:13 | Now we're going to invert the selection by choosing Select > Inverse.
| | 01:17 | I bet you're starting to
memorize that shortcut, which is great.
| | 01:20 | Good job, by the way, if you are.
| | 01:22 | That's going to be Shift+Command+I, or Shift+Control+I.
| | 01:26 | And then we want to fill it with the foreground or
background color, and I have a little shortcut slide
| | 01:32 | for us here, just as a way of visually remembering this one.
| | 01:35 | We've talked about this one before, but it's worth having a visual.
| | 01:39 | Option+Delete or Alt+Delete will fill with that foreground color.
| | 01:43 | Command+Delete or Control+Delete will fill with the background color.
| | 01:47 | So in this case, I want to fill it with
black, so let's go back to the image.
| | 01:52 | And for me that will be Option+Delete.
| | 01:56 | Because I'm on a mask that will now hide the red
from anywhere except for the cross, which is great.
| | 02:02 | I need to deselect, and I will deselect by pressing Command+D or
Control+D. I can also deselect by going to Select > Deselect.
| | 02:10 | And there's that shortcut.
| | 02:12 | Alright. Once we've done that, let's go ahead and Option+click or
Alt+click the mask, and now this takes it back to just seeing the red.
| | 02:19 | So it's not looking very good.
| | 02:21 | How do we get it to look good?
| | 02:22 | We'll do that with the blend mode, and the blend
mode of Color, a really powerful blend mode.
| | 02:27 | Remember there's a shortcut to scroll through the blend modes?
| | 02:30 | You grab the Move tool, V on the keyboard,
and then press Shift++ (plus) or Shift+- (minus).
| | 02:35 | I happen to know that Color is Shift+-- (minus, minus).
| | 02:38 | Pretty cool.
| | 02:39 | You can also go to it by clicking on the
drop-down menu and selecting Color.
| | 02:45 | That will give you the same results.
| | 02:47 | I want to lower our Opacity just a little bit.
| | 02:49 | Most edits in Photoshop really benefit from lowering Opacity.
| | 02:52 | Even if you just do that a tad bit.
| | 02:55 | The nice thing about this is that I now have
the ability to change the color even further.
| | 02:59 | I can continue to go through it and choose different
colors because I'm using this adjustment layer.
| | 03:06 | I'll click OK.
| | 03:09 | Look at my before and after.
| | 03:11 | Another nice thing about using adjustment layer and a mask is that I
can zoom into the image and I noticed that I have a problem area there.
| | 03:19 | I'll go ahead and grab my brush, a nice small brush.
| | 03:22 | I'll change the brush size this time by
right-clicking or Control+clicking and no hardness,
| | 03:28 | i.e. it's a soft brush, and in this case I want to paint with white.
| | 03:32 | So I'll go ahead and paint in those areas.
| | 03:36 | That didn't quite get caught up.
| | 03:38 | Double-click the Zoom tool to go back to 100
percent, and now that looks much better.
| | 03:43 | Alright, well we have just scratched the surface with blend modes.
| | 03:46 | They are incredibly powerful.
| | 03:49 | Don't underestimate them, and hopefully from what you've seen
so far, you realize they are an incredible asset to Photoshop.
| | 03:56 | Once again, I hope that this chapter has been
helpful and I'll see you in the next chapter.
| | Collapse this transcript |
|
|
12. Color CorrectionRemoving redeye| 00:04 | >> Male Speaker: Welcome to the chapter on color correction.
| | 00:07 | I'm really excited about what we have ahead of us in this chapter
| | 00:10 | because there are some amazing things that
we can do in regards to color in Photoshop.
| | 00:14 | Let's start off real simple.
| | 00:15 | This is going to be a quick movie.
| | 00:17 | We're going to look at how we can deal with the dreaded red eye.
| | 00:20 | Go ahead and open up the file Annika.jpg.
| | 00:23 | Go to full screen view mode.
| | 00:26 | This is a snapshot from a point-and-shoot camera and typically that's
where we get the red eye is when we're using point-and-shoot cameras.
| | 00:33 | And it captured a fun moment though of Annika
playing in the box, which I kind of liked.
| | 00:37 | Let's go ahead and take it to 100 percent
and zoom in even a little bit further there.
| | 00:42 | Now we're going to go to the Red Eye tool.
| | 00:45 | It's located under the Spot Healing Brush tool.
| | 00:48 | That would be pressing J and then Shift+J
a few more times to get to that tool.
| | 00:52 | Notice we don't have the same visuals that we had in CS.
| | 00:55 | In CS we had a plus sign with a circle around
it, and now we just have the plus sign.
| | 00:59 | We can dial in the pupil size and the darkening
amount and with this tool it works incredibly well.
| | 01:05 | Simply we want to get that plus sign over the
area of the pupil that has the color change,
| | 01:10 | go back to 100 percent and then look at our before and after.
| | 01:14 | Now doesn't that do a really phenomenal job?
| | 01:16 | I'm thoroughly impressed with the improvements
in the Red Eye reduction tool.
| | Collapse this transcript |
| Fixing color with levels/curves 1| 00:01 | >> Male Speaker: In this movie, we're going to be
looking at how we can use the eyedroppers in the Curves
| | 00:05 | and Levels dialog window to color correct our images.
| | 00:08 | We're going to start off working on this image, malaysia.psd.
| | 00:11 | This was captured by a colleague of mine, Dean DePhilipo.
| | 00:14 | He has traveled all over the world and created some amazing photos.
| | 00:18 | He's a really cool guy as well.
| | 00:19 | All right.
| | 00:20 | So this image has a color shift.
| | 00:21 | Well how do we know that?
| | 00:22 | We can hover over an area that we think should be neutral.
| | 00:25 | In this case we can hover over the shadows underneath and
between those rocks and I'm looking at the Info palette.
| | 00:30 | Check out the Info palette in the top right-hand corner.
| | 00:33 | What we should see for neutral colors is that the RGB numbers are equal.
| | 00:37 | Well how do I know that?
| | 00:38 | Let's take a look.
| | 00:39 | Remember the trick, that if you want to learn how to do something
in Photoshop, create a grayscale and then hover over it?
| | 00:45 | Well now I'm hovered over the grayscale and wherever I go in
this grayscale, I'm seeing that the RGB colors are always equal.
| | 00:52 | Okay, that's kind of interesting.
| | 00:54 | Well I can use that to my benefit to color correct an image.
| | 00:57 | Now we need to find out where our highlight point is and
where our shadow is in order to color correct this file.
| | 01:05 | We'll go ahead and go to Image > Adjustments > Threshold.
| | 01:08 | And in this dialog window we're just going to use this to
pinpoint the darkest area of our image where we want detail
| | 01:15 | and then also the brightest area where
we want some detail as well, up there.
| | 01:20 | You'd set those points by Shift+clicking.
| | 01:23 | We'll click Cancel because we don't want to render
that out and turn our image into that threshold view.
| | 01:28 | Another way to do that is to go to the
Adjustment Layer and choose Threshold, same thing.
| | 01:33 | You would set those points by Shift+clicking to set the point and then hit
Cancel to undo that, because we don't really need that adjustment layer.
| | 01:42 | Okay, so far as a quick way of reference what we've
said is we're going to go to one of the threshold views,
| | 01:48 | move the sliders to where we find the
darkest information point in, Shift+click,
| | 01:56 | move the slider to where the brightest info
is coming in and Shift+click, hit Cancel.
| | 02:02 | Now let's take a look at our Info palette.
| | 02:04 | We have the info for those two points, and those
two points are showing me that I have a green shift.
| | 02:10 | But you know what?
| | 02:11 | I'm not exactly sure if those are accurate.
| | 02:13 | The reason is because I need to double-check my eyedropper.
| | 02:16 | What is my eyedropper set to?
| | 02:18 | In this case, my eyedropper is set to 5 x 5 average.
| | 02:21 | By default, it's set to Point Sample.
| | 02:24 | And that actually isn't accurate.
| | 02:26 | And let me illustrate why.
| | 02:29 | With the eyedropper, here we have this image of this
old Chevy truck and with the eyedropper set to Point Sample,
| | 02:40 | what we're actually selecting is a single pixel and we know
that that isn't very accurate because if we zoom in on color,
| | 02:47 | what we see is that a single pixel actually doesn't represent a color.
| | 02:51 | Even if we go over to the yellows here.
| | 02:53 | There's a lot of color variation, which makes up particular tones.
| | 02:56 | So we want to change that to either a 3 x 3 or a 5 x 5
sampling and what that does is it actually says "take the pixels
| | 03:05 | within this 5 x 5 radius, average those, and give me that color."
| | 03:10 | Alright, back to our image.
| | 03:11 | Make sure your eyedropper is set to a sample of 3 x 3 or 5 x 5.
| | 03:16 | Now that we've done that, we're ready to color correct this bad boy.
| | 03:19 | Now we get to the Adjustment Layer icon, click
on Curves, and we need to set our eyedroppers.
| | 03:26 | We're going to do that by double-clicking the eyedropper, in this case, my
black eyedropper, right at about 5 or 6 percent in the brightness value.
| | 03:34 | No hue and no saturation, click OK, and then
click in the point that we had sampled there.
| | 03:41 | We'll see an update in the Info palette.
| | 03:43 | It's now 15, 15, 15.
| | 03:45 | Excellent.
| | 03:46 | Double-click the white eyedropper.
| | 03:48 | This one is going to be 95.
| | 03:50 | Those are pretty industry standard numbers.
| | 03:52 | 5 and 95. Click OK.
| | 03:54 | We're going to click on the clouds.
| | 03:55 | And then click OK to render that out.
| | 03:57 | Here's our before and after.
| | 03:59 | It looks a lot better, except the sky is purple.
| | 04:02 | So I need to correct that.
| | 04:03 | And I'm going to do that with Hue/Saturation.
| | 04:05 | Create a Hue/Saturation Adjustment Layer, go down to the
blues and then click on the sky to really target those colors.
| | 04:12 | What we're going to do is just shift the sky over a
little bit so there's a little bit more blue in them.
| | 04:17 | And then here we have our before and after.
| | 04:21 | Real quick note, if we use Hue/Saturation and we don't
go to a specific channel, well we'll do this side,
| | 04:27 | we're going to affect the entire image, which isn't what we want to do.
| | 04:31 | Also if we do go to a specific channel and grab the slider and
go too far we're going to obviously have an extreme color edit.
| | 04:38 | We want this to be something that's pretty subtle just
to pull out that magenta purple that was in there.
| | 04:43 | Go ahead and Option+click or Alt+click the eye icon, you should see our before and
after, and what it should look like, it's as if we lifted off the sheet
| | 04:51 | of green saran wrap off the top of the image and
that now the color is accurate and beautiful.
| | Collapse this transcript |
| Fixing color with levels/curves 2| 00:00 | >> Male Speaker: All right, a few more images
to work on and a few more techniques to learn.
| | 00:03 | Let's open up the file monarch_wing.psd.
| | 00:07 | Go into full screen mode.
| | 00:09 | In this file, we're not going to set the threshold, we're just going to
simply go to Curves and we know it's pretty easy to identify our blacks
| | 00:16 | and our whites, and we'll go ahead and sample our blacks and then go
into our whites and our eyedroppers are already set to those numbers.
| | 00:23 | 5 and 95, so we're able to really go in quickly and pull
out the color shifts, and the image looks a lot better.
| | 00:30 | Again, it looks like it lifted off all of the incorrect color.
| | 00:34 | So again, it just corrected the color really quickly.
| | 00:37 | The whole point of that is just illustrating the fact
that there are times where we'll be able to speed things
| | 00:42 | up a little bit, especially if we have those eyedroppers set.
| | 00:46 | So when you go ahead and set your eyedroppers to 5 and 95, or
6, they can vary a little bit there, and then you click OK,
| | 00:54 | and asks you, "save the new target colors as default?"
| | 00:57 | Definitely click Yes.
| | 00:58 | You can use that to your advantage.
| | 01:00 | So we don't want to get sloppy with our color correction,
but just know that there are times in specific images
| | 01:05 | where you can identify your highlights and your shadows really quickly,
like in this image, and just jump right in and color correct it.
| | 01:12 | Command+W and D (for "don't save").
| | 01:13 | Let's look at another technique here, on this file ny_performers.
| | 01:17 | This image obviously has a color shift.
| | 01:19 | And if we start hovering around, we know
that the asphalt should probably be neutral.
| | 01:23 | The info that I'm seeing up there says that
there's a blue shift and that's what we expected.
| | 01:29 | Now eyedroppers will work really effectively,
and we could use the eyedroppers on this image.
| | 01:33 | Yet there's another technique that we
could use and it's an auto adjustment.
| | 01:37 | I usually don't recommend auto adjustments.
| | 01:39 | I'm going to go to Image > Adjustments > Auto Color.
| | 01:42 | But I just want to show it because there are
situations where we don't have a lot of time.
| | 01:47 | Occasionally, Auto Color will do the job.
| | 01:50 | On an image like this, it does a pretty good job.
| | 01:53 | There's our before and after.
| | 01:55 | Let's hover over something we think should be neutral.
| | 01:58 | Yeah, that is now neutral down there.
| | 02:00 | The sign. That's really close to neutral.
| | 02:03 | So we definitely have color corrected it in a good way.
| | 02:06 | What I found with other Auto Color is that
on certain images it will give you problems.
| | 02:11 | I rarely, rarely use it, yet I wanted to
show it so that you know that it's there.
| | 02:15 | It's doing the same thing that we're doing with our eyedroppers.
| | 02:18 | It almost feels like we're blindfolded when we're color correcting.
| | 02:21 | I want to have a lot more control when I'm color
correcting, and for that reason I'll be using my eyedroppers.
| | 02:26 | Command+W and D (for "don't save").
| | 02:28 | The next file we're going to open is antelope_valley.psd.
| | 02:31 | Now in this file, we don't have real good highlights and shadows.
| | 02:36 | If we were to try to do the old technique of the eyedroppers, we
would go up maybe and click on the cloud and possibly click on one
| | 02:45 | of these shadow areas down here, and it didn't
do much for us, so I'm going to hit Reset.
| | 02:50 | So what then can we do?
| | 02:51 | And we know there's a color shift because
there's certain memory colors in the image.
| | 02:56 | We know that grass should be green, sky
should be blue, and that's not the case.
| | 03:01 | The grass is green yellow.
| | 03:02 | So we have some kind of color problem.
| | 03:05 | One thing you can do is use your midtones eyedropper and try to find
something in the image that you think is approximately middle gray.
| | 03:14 | Hovering over the image, I'm guessing that this
area in here, on the path, is probably middle gray.
| | 03:20 | I'm going to click on it, we'll see how good
the results are and go ahead and click OK.
| | 03:25 | And here's our before and after.
| | 03:27 | That's actually a pretty unorthodox way to color
correct, but at the same time, it did a pretty good job.
| | 03:33 | You can use that middle eyedropper.
| | 03:35 | Occasionally you want to use all three eyedroppers.
| | 03:38 | But I wanted to simply point out that there are times
when your white and black eyedropper won't cut it.
| | 03:44 | In that case, if you can find something that you think should be
neutral gray, that can really help you when you're correcting the image.
| | 03:51 | And that correction was actually really good.
| | 03:53 | This was incredibly close to the way that this image was captured.
| | Collapse this transcript |
| Color correction with a color chart| 00:01 | >> Male Speaker: In this movie, we'll look
at how we can correct color by the numbers.
| | 00:05 | In particular, we'll look at how we can shoot something that's neutral
and then make and adjustment and apply that adjustment to multiple layers.
| | 00:12 | We'll start off with the image guy_boat_1 and guy_boat_2.
| | 00:16 | So go ahead and open those up.
| | 00:17 | I'm right-clicking or Control+clicking to select Open or pressing
Command+O or Control+O. Let's start off with the image guy_boat_1.
| | 00:25 | Here we have an image, he's holding a QP card.
| | 00:27 | I like those cards because they're small and they also
have an adhesive on the back of them like a sticky note,
| | 00:32 | so you can place it somewhere if there isn't someone around to hold it.
| | 00:36 | Well I know that the middle square here is middle
gray, so I'll go to my Curves Adjustment Layer
| | 00:41 | and choose my middle eyedropper, which is by default set to middle gray.
| | 00:46 | And then I'll click on that.
| | 00:48 | That has then color corrected the image.
| | 00:51 | I'll exit full screen mode and I'm going to drag and
drop the Curves Adjustment Layer on to the other image,
| | 00:57 | which has successfully color corrected that images as well.
| | 01:02 | Pretty cool.
| | 01:02 | Let's close these files.
| | 01:03 | Command+W or Control+W and D (for "don't save".)
| | 01:06 | Let's look at how this works on the Macbeth color checker chart.
| | 01:09 | We're going to open up three images, macbeth_1,
macbeth_color_checker, and kel.jpg.
| | 01:15 | Right-click and choose Open.
| | 01:17 | Right-click or Control+click or Command+O will do it, the same thing.
| | 01:20 | I'm going to keep this one up as a cheat sheet.
| | 01:23 | It's showing me how the color checker chart works.
| | 01:26 | And then here we have this fun photo of my wife when she was pregnant.
| | 01:31 | We have a Curves Adjustment Layer as a sample there.
| | 01:34 | I will trash that one.
| | 01:35 | Okay, let's create our own Curves Adjustment Layer and we have Curves open.
| | 01:40 | We'll start off with our black eyedropper.
| | 01:43 | We'll go ahead and double-click that.
| | 01:45 | And we're going to set this to approximately 10.
| | 01:49 | Click on that.
| | 01:51 | Our middle eyedropper.
| | 01:52 | Make sure it's at 128, 128, 128.
| | 01:55 | Sample that square.
| | 01:57 | And then find the white eyedropper.
| | 01:59 | We want this one to be at about 240 to 245.
| | 02:03 | We'll click OK there and then sample that.
| | 02:06 | We have now successfully color corrected that image.
| | 02:11 | Again, to apply that correction to another
image, we'll click drag and drop.
| | 02:15 | And now this one has been successfully color corrected as well.
| | 02:21 | I'm going to press Command+Option+W, on a PC Control+Alt+W
to close all the open files and D (for "don't save") when they open.
| | 02:31 | Alright, one more quick look at how this works.
| | 02:33 | We have the file macbeth2_match and in this file we've
created a curve based on that Macbeth color checker chart.
| | 02:42 | And then we're going to click and drag and drop it into the other image.
| | 02:45 | And as you can see, it's color corrected that one as well.
| | 02:49 | So note that you can use that technique
for people or when you're on location.
| | 02:55 | As long as the lighting on the card is even and it's the same
quality of light and type of light, you can use that technique.
| | 03:02 | Well this wraps up our movie on color correction by the numbers.
| | Collapse this transcript |
| Skin by the numbers 1| 00:01 | >> Male Speaker: In this movie, we're going to
learn how to color correct skin by the numbers.
| | 00:05 | This is actually one of the more difficult things to
do, but also one of the more rewarding things to do.
| | 00:11 | So we're going to take this step by step.
| | 00:13 | Let's go ahead and open up the file bikers.jpg.
| | 00:16 | What I want to do for starters is talk about skin.
| | 00:20 | In the Info palette, I have a point, and this point is point
number one, and I set that by Shift+clicking on the image.
| | 00:28 | Remove them by Command+clicking or Control+clicking and dragging off of the stage.
| | 00:33 | I then went to the eyedropper, clicked on that, changed it to CMYK.
| | 00:37 | Right now what we're looking at is the CMYK color mix of
this particular image of this particular person's skin.
| | 00:46 | And one of the things that we're noticing
is that we have certain percentage amounts.
| | 00:50 | 17 percent cyan, 41 percent magenta, 84 percent yellow.
| | 00:56 | Well what the heck do those percentages mean, and how
do they relate to color correction by the numbers.
| | 01:03 | Well I have a source files here for us and this source file
will be our recipe for color correcting skin by the numbers.
| | 01:11 | For starters, the amount of cyan that we need
is one-third to one-fifth of magenta or yellow.
| | 01:19 | I'll explain this as we go, let's first just read through it.
| | 01:22 | For magenta and yellow, we need those to be close,
yet yellow is almost always higher than magenta.
| | 01:30 | So this recipe for skin tone color correction
will work on almost all types of skin.
| | 01:36 | The one area where there will be variation will be the cyan.
| | 01:39 | And that will be depending on the type
of skin, light skin, dark skin, etc.
| | 01:44 | So let's go ahead and try to apply this to an image.
| | 01:49 | I'm going to drag and drop this file onto our
image here so we have a cheat sheet to follow.
| | 01:58 | For starters, I'm ready to create a curves adjustment
layer and I'm looking at my CMYK numbers there.
| | 02:05 | I'm going to, in the RGB composite view, I'm
going to brighten up the image just a little bit.
| | 02:11 | That's going to take that K value to 0.
| | 02:13 | That's going to give it a good exposure, just open it up a little bit.
| | 02:17 | Where to start?
| | 02:18 | Well I'm going to start in my blue yellow channel.
| | 02:21 | Yellow we want to be higher, but not that much higher.
| | 02:24 | So when you start doing this, you want to click in
the image and you'll see where those tonal values are.
| | 02:30 | You can also Command+click and it will set a point.
| | 02:33 | And then when you start clicking to drag the point,
you'll notice that the color will begin to change.
| | 02:39 | A lot of times you don't know which direction to go, so click
one way, you'll notice that's the wrong way, click the other way.
| | 02:46 | And what I'm looking to do is real in
that really high number there in yellow.
| | 02:50 | So I'm going to take that down to where
it's just a few points above magenta.
| | 02:55 | So acceptable would be, maybe 40, would
be pretty good for this particular image.
| | 03:01 | Next I'm going to go to my red cyan channel.
| | 03:04 | What I need this channel to be is one-
third to one-fifth of these two values.
| | 03:09 | What that means is that I can multiply this number by
three and what I get is 39 and I can multiply it by 5
| | 03:17 | and then what I get, I have to do my math quickly, what I get is 65.
| | 03:23 | Right? So yeah, that's right in the range.
| | 03:25 | Let's go ahead and sample that and let's see what happens
if we lower it because we could still lower this number.
| | 03:32 | That then affected the magenta channel as well, so I'm
going to go ahead and take some magenta out and click OK.
| | 03:43 | Let's look at our before and after.
| | 03:45 | Here's the before.
| | 03:46 | The skin tone didn't look good, the image didn't look good.
| | 03:50 | Here's the after.
| | 03:51 | It looks much better.
| | 03:53 | And one of my colleagues often says that you can
color correct skin even if you're color blind.
| | 04:00 | You simply need to follow that recipe in order to create the
appropriate amounts of cyan, yellow, and magenta for skin.
| | Collapse this transcript |
| Skin by the numbers 2| 00:01 | >> Male Speaker: More on color correcting skin by the numbers.
| | 00:03 | Go ahead and open up the file girl.psd.
| | 00:05 | Let's take this to full screen view mode.
| | 00:09 | You'll notice we've already set a couple of spots here for us.
| | 00:12 | You can add those by Shift+clicking, remove them by
Command+clicking or Control+clicking and dragging off of the stage.
| | 00:19 | Before we begin on this image, I'd like to curve the
adjustment layer that increases the contrast a little bit.
| | 00:24 | I'm going to exaggerate this and then take it back.
| | 00:26 | The S curving affects, as we've seen, both contrast and color.
| | 00:31 | Notice the red that we get in the transition here.
| | 00:34 | If I don't want that to occur, which I don't, because I want this to
be more neutral, I'm going to take it to a blend mode of luminosity.
| | 00:41 | That's going to affect color, but not as drastic.
| | 00:45 | That S curve was much too strong for this image,
so I'm just going to do a real subtle S curve.
| | 00:50 | Something along those lines.
| | 00:52 | Click OK.
| | 00:53 | And that's in a blend mode of Luminosity.
| | 00:55 | Just to add some contrast, a little bit of visual interest there.
| | 00:58 | Now I'm ready to color correct.
| | 01:00 | Creating another Curves Adjustment Layer,
what I'm going to do is check out my numbers.
| | 01:04 | I'm noticing magenta's high.
| | 01:06 | That means go for the green channel.
| | 01:08 | I'm going green.
| | 01:09 | I will Command+click one of my points to set an anchor point and then
I'm going to use the arrow keys, decreasing the amount of magenta.
| | 01:17 | Once I have that right in the ballpark
area, I will then go to the red channel.
| | 01:23 | Now the red channel should be one-third to one-fifth of magenta or yellow.
| | 01:27 | That means 3 times 6 is 18.
| | 01:30 | Okay, that's not quite in the range.
| | 01:32 | 5 times 6 is 30, that is in the range.
| | 01:35 | Let's take a look over here.
| | 01:37 | 3 times 12 is 36, 5 times 12 is 60.
| | 01:42 | Okay, so. I had to do some math there.
| | 01:44 | It's in the range.
| | 01:45 | We may be able to modify this one a little bit.
| | 01:48 | Click to set the point.
| | 01:50 | So we may need to modify this one.
| | 01:51 | I'm guessing, though, that for the most part this is going to be okay.
| | 01:55 | If I decrease that, it's going to go a little bit too low, and
then by increasing the cyan, it's just going to be too much cyan.
| | 02:03 | So I don't think we need to do that.
| | 02:05 | So in this case we're able to really just get it with that green channel.
| | 02:08 | Let's look at our before and after.
| | 02:10 | Now we can see that that color shift has been removed.
| | 02:13 | But these numbers still have a little bit too much variation between them.
| | 02:17 | Therefore I'm going to go into the highest channel, which
is yellow, and click around to see where these tones are,
| | 02:23 | and then I'm going to go ahead and reel
in the yellow, lowering those values.
| | 02:29 | And click OK.
| | 02:34 | And now we have our final adjustment with skin tone properly balanced.
| | 02:39 | Notice that I've included a couple of reference files in here that
you can refer back to so you can see yet another skin tone conversion.
| | 02:47 | This one's a little bit warmer and there's
a higher amount of magenta and yellow,
| | 02:52 | so you can check that out as you begin to work through this process.
| | 02:56 | So we still have more ground to cover in regards
to this, and we'll do that in the next movie.
| | Collapse this transcript |
| Skin by the numbers 3| 00:01 | >> Male Speaker: All right.
| | 00:01 | We have more ground to cover.
| | 00:03 | Open up the file mike.psd, take it to full screen view mode.
| | 00:07 | We already have a sample point and there's definitely a color shift, right?
| | 00:11 | We can see it visually.
| | 00:12 | There's a problem with the color.
| | 00:14 | We could go into our Curves and color correct by the numbers.
| | 00:17 | So far the way we've approached the image is
simply getting those numbers in range using Curves.
| | 00:23 | Well at times what can happen is if you color correct, if you color correct
the image and in this case I'm going to use my midtones eyedropper,
| | 00:33 | and I know that this was gray, a good neutral gray, and I sample that,
| | 00:38 | which then color corrected the image, so
my grays are gray, my blacks are black.
| | 00:43 | That actually took care of the skin.
| | 00:46 | The skin is one point off, so I could go ahead and go into my Curves
Adjustment Layer, go down to my blue yellow channel and then take
| | 00:54 | that up a couple of points, just so that the yellows
are a little bit higher than the magenta, click OK.
| | 01:00 | And that was a pretty quick way to correct
the color and the skin in the image.
| | 01:04 | So note that it's a really good idea to try to get the
image as neutral as possible and then go to the skin.
| | 01:10 | Command+W, or Control+W on the PC, and then D (for "don't save".)
| | 01:14 | Let's open up the next image.
| | 01:16 | This is a studio shot, studio.psd.
| | 01:19 | We have our eyedropper set and we want to set our
eyedropper on a point where the skin is very diffused.
| | 01:24 | That's a great spot.
| | 01:25 | I want to stay away from the cheeks.
| | 01:26 | And this is a photograph by one of my colleagues, Tree.
| | 01:29 | We'll actually be working on this photograph
on the retouching chapter later.
| | 01:33 | Notice there's a folder that's a reference folder with the
adjustments we'll be making so that you can refer back to those as well
| | 01:39 | as the subjective edits we'll be making on this file as well.
| | 01:43 | Okay, first things first.
| | 01:45 | CMYK numbers.
| | 01:46 | Magenta is crazy high, yellow's low, cyan we're not
sure because we need to modify magenta yellow first.
| | 01:53 | So let's create a Curves Adjustment Layer, and the magenta's
the highest number, but I know my yellow needs to come up,
| | 02:01 | so I'm going to jump to the blue yellow channel,
Command+click and then begin to bring in more yellow.
| | 02:11 | I'm then going to navigate to the green magenta
channel, Command+click or Control+click there, and I'm going
| | 02:18 | to reduce that by a point and then take a look at my cyan.
| | 02:21 | How's that doing?
| | 02:22 | Well you remember the math, right?
| | 02:23 | 3 times 7 is 21, 5 times 7 is 35.
| | 02:27 | So it's a little out of range.
| | 02:28 | Let's go to the red cyan channel.
| | 02:30 | Go ahead and Command+click and we need a number that's a little lower.
| | 02:36 | 3 times 5 is 15, 5 times 5 is 25.
| | 02:39 | That's right in the correct range.
| | 02:41 | That also modified my magenta and yellow channel, so I'm going to go back
to my blue yellow channel and just add one more point there, click OK.
| | 02:49 | Let's look at our before and after.
| | 02:52 | That is a heck of a lot better.
| | 02:54 | Now if this image were printed, the skin would look really good.
| | 02:57 | Let's say we want to go above and beyond this.
| | 02:59 | There are times when you want a little bit more than objective color.
| | 03:04 | Let's say we want to add a little bit of subjective color to this.
| | 03:06 | I'll go to my Curves Adjustment Layer.
| | 03:09 | Go to the blue channel there to the
skin, and I want to simply warm this image up.
| | 03:16 | And I'm going to do that in the blue channel, the red channel and add a
little bit of red, and the green channel, just a few points of magenta.
| | 03:31 | Go back to the composite RGB mode and apply a real small S curve.
| | 03:38 | Okay. So let's look at this next edit.
| | 03:40 | The skin is no longer, if following our objective standards,
but let's say I want to take this image another place.
| | 03:48 | I want to warm it up.
| | 03:49 | I want to make it look as if I was using maybe a
real subtle gold reflector or something like that.
| | 03:54 | So as you are working on your skin tones, know that you can go
above and beyond the numbers, but the subjective edits are easy.
| | 04:02 | It's easy to create color shifts.
| | 04:04 | It's difficult to create an image that is color correct.
| | 04:09 | So I just wanted to point that out.
| | 04:11 | Know that that's still there, but you definitely want
to work on your color-correction-by-the-number skills.
| | 04:16 | And we need a little bit more work on
this, and we'll do that in the next movie.
| | Collapse this transcript |
| Skin by the numbers 4| 00:01 | >> Male Speaker: In this next movie, I'm going
to simply showcase a file with some corrections
| | 00:04 | that have already been made to start to think about variety in skin.
| | 00:09 | One of the big questions is, well how do
you color correct different types of skin?
| | 00:13 | Well I have this snapshot of these family friends
of mine and because they're a multiethnic family,
| | 00:19 | it provides us with this unique challenge to color correct the
image so the numbers are correct for all the different types of skin.
| | 00:27 | Well if you look in the Info palette, you'll
notice that all the numbers are right on.
| | 00:33 | The one that is off is number one, and that makes sense.
| | 00:36 | I think that Steve was a little sunburned that day
so you're seeing a little bit more magenta there.
| | 00:41 | How were those corrections made?
| | 00:42 | Well if you go back to the file browser, there's a screen grab of the
Curves Adjustment Layer that was created in order to correct that image.
| | 00:52 | They're also included in this corrections folder so
that you can click through those and see how those work.
| | 00:57 | But I just wanted to showcase that because I find that
it's really important to see how the numbers vary.
| | 01:03 | And remember that if there is one number that's going to
vary from skin type to skin type, it's going to be cyan.
| | 01:09 | Occasionally it will vary from the one third to one
fifth, depending on the tone or the darkness of the skin.
| | 01:16 | Alright. Well this wraps up our look at
color correcting skin by the numbers.
| | 01:21 | I want to highlight that there is an extra
file in that folder, this one, Kristin.psd.
| | 01:25 | It would be a great file to practice on.
| | 01:27 | Practice on this one.
| | 01:28 | See if you can color correct by the numbers,
this particular file, or try one of your own.
| | 01:33 | I'll see you in the next movie.
| | Collapse this transcript |
| Advanced color correction 1| 00:01 | >> Male Speaker: Hello, and welcome to another movie.
| | 00:03 | In this movie we will be working in the
folder advanced_color on a product shot.
| | 00:07 | And the title of the file is adv_color, go ahead and
open that file up and let's take it to full screen view mode.
| | 00:16 | Thanks to Andre Diaz for allowing us to use this here.
| | 00:21 | For starters I want to point out some reference layers.
| | 00:24 | If you click open that folder.
| | 00:26 | There are a bunch of layers and we will be
creating all of those layers here in this movie.
| | 00:31 | But you may want to refer back to those to see how they work.
| | 00:34 | Ok, we'll let's begin to work on this from the ground up.
| | 00:38 | The way were going to be working on this files in a couple
of stages so I will cut the movie up into manageable pieces.
| | 00:43 | What I recommend you do is watch and then try it on your own.
| | 00:47 | Alright, here we go, the first adjustment layer
were going to use is a Curves adjustment layer.
| | 00:51 | But, were going to apply curves to specific portion of the image.
| | 00:54 | So select the background and go to Select > Color Range, click on the sardine
can increase our Fuzziness a little bit there and with the plus sign click
| | 01:04 | around until you've made a really good selection of the sardine can.
| | 01:11 | Once you have that click OK.
| | 01:14 | Invert the selection by going to Select > Inverse
or Shift+Command+ I, Shift+Control+I on the PC.
| | 01:22 | Next create a Curves adjustment layer.
| | 01:27 | Here were going to add a contrast curve and S curve; we've seen this before.
| | 01:31 | And what were looking to do is to increase the
contrast everywhere else except on the product.
| | 01:37 | So we have a mask and if we look at our mask
we see that white reveals and black conceals
| | 01:42 | so that contrast edit is not affecting the product
there at least the red portion of the product.
| | 01:49 | Alright step one looks good so far; step two, this is where it's going to
get a little bit more interesting another Curves adjustment layer.
| | 01:57 | This time we will be going into all three of the channels
and we will also be making a edit on composite RGB view mode.
| | 02:04 | Now as we start to get into this it is a good idea to pick
up these shortcuts so we can jump through those channels.
| | 02:11 | The RGB composite view we'll go ahead and create an S curve.
| | 02:19 | And I'm looking at the image visually
determining how much contrast to dial in.
| | 02:24 | Also it would be worth saying that the
background layer is the image as it was shot.
| | 02:30 | So that's how the file was shot and now
were going in and correcting things.
| | 02:36 | going to press Command+1 or Control+1 to go to the red channel.
| | 02:41 | Bring the red down a little bit by clicking the top point.
| | 02:49 | And we think of the red channel as the red cyan channel.
| | 02:53 | And again just looking at the image visually.
| | 02:58 | Let's go to the next channel green or Command+2 or Control+2.
| | 03:12 | If you're just picking up in this movie and you're wondering how we
have that 10 x 10 grid in the background, remember it's an Option+click
| | 03:19 | or Alt+click, it'll give you a 10 x 10 versus 4 x 4 grid,
| | 03:23 | which gives us more detail control.
| | 03:25 | Green channel's looking good.
| | 03:26 | Let's go to the blue yellow channel Command+3 or Control+3.
| | 03:34 | And as we are building up this color edit.
| | 03:38 | One of the things you'll notice is that it's progressing,
it's not necessarily going to look good on any one channel.
| | 03:46 | But, we're looking for the cumulative effect to
increase the color quality of this image, and once we've made
| | 03:54 | that edit let's click OK and then look at our before and after.
| | 04:00 | Right, the image is going in a pretty good
direction; a little bit of a problem back
| | 04:04 | in the green channel so I will go back to the green channel.
| | 04:07 | I don't like how much green I brought there
there's quite a bit of green coming in on the fork.
| | 04:17 | Click OK and now let's look at our before and after;
alright, the image is starting to really to snap.
| | 04:24 | As we are build out these layers, we're looking at the image,
identifying problem areas, identifying things that we like.
| | 04:31 | And one thing I noticed is that ice cube right
above the S in "sardines" needs a little bit of work.
| | 04:36 | So I am going to go to Quick Mask view mode by pressing Q on the
keyboard and then choose a small brush and I am going to paint,
| | 04:46 | create a selection of this ice cube, Q on the keyboard, and I'm painting
with black, and then I'll press Q again, and when we use quick mask, a lot
| | 04:56 | of times we don't know if we selected the correct location.
| | 04:59 | In this case, I haven't, but it doesn't matter.
| | 05:01 | We can either flip it here, Shift+Command+I or
Shift+Control+I or Select > Inverse, or we can invert our mask.
| | 05:08 | I'm going to leave it as is an invert our mask, alright.
| | 05:11 | Next I'm ready to go to yet another Curves adjustment
layer, and you'll notice that I now have a mask down there
| | 05:21 | and I'm going to make a real drastic edit so I can see what's happening.
| | 05:24 | So I'm noticing everything but the ice cube is affected,
so go into the mask, press Command+I or Control+I.
| | 05:30 | And now I have the ability to dial in the edit right on the ice cube.
| | 05:34 | I'm also noticing that my edges aren't very good on this mask.
| | 05:37 | But it's hard to see, how can I fix that? Well I can Option+click the mask,
but that's not very helpful; what about Shift+option+click or Shift+Alt+click
| | 05:46 | on the PC? That shows me this mask in this red ruby lip
overlay which is incredibility helpful and I'll paint
| | 05:53 | with black and white with a much smaller brush to clean this up.
| | 05:58 | As you'll notice a lot of the work I do I start big and then I refine.
| | 06:03 | Maybe it's kind of like what a sculptor would start with
a big huge rock, determine if that rock is going to work
| | 06:10 | and once they've said, "yeah you know it this is worth
committing to" and then they go in and do all their detail work.
| | 06:18 | Ok, so I'm just getting my edges.
| | 06:20 | I'll still have the ability to clean this
up later but want to get it decent.
| | 06:24 | And then I'll go ahead and Shift+option+click
or Shift+Alt+click to take that back.
| | 06:28 | Ok, let's go ahead and modify this now I'm going to take off that edit.
| | 06:32 | And what I want to do to that ice cube is pull out a
little bit of the color that has come into that ice cube,
| | 06:37 | a little bit distracting because it is so close to the product.
| | 06:40 | The RGB channel, go ahead and brighten this up.
| | 06:46 | Next go into the red channel.
| | 06:48 | I'm going to click around to see where the color
is and the green channel pull that down.
| | 06:58 | Pull out our greens there, click OK, and then zoom back to 100
percent, see how this is looking; we'll look at our before and after.
| | 07:07 | Yeah, that looks pretty good.
| | 07:08 | Alright, the next adjustment layer were going to use
is Selective Color from the Adjustment Layer icon.
| | 07:16 | Choose a Selective Color adjustment layer.
| | 07:19 | Here were going to jump to a few places; yellows,
notice the yellows are kind of green.
| | 07:25 | I'm going to take that out; it's actually some cyan in there so I'm going to
pull out the yellows -- these are before and after, much, much better.
| | 07:37 | Think we still will need to do more with those.
| | 07:39 | We'll look at that later.
| | 07:41 | Then we'll go down to the whites.
| | 07:44 | Let's pull out some of the cyan out of the
whites, as well as some of the magenta.
| | 07:50 | Pull up the yellow from the whites.
| | 08:01 | And that looks pretty good.
| | 08:03 | Let's look at the before and after.
| | 08:06 | Whites look a lot better, and the ice cube and the yellows look better.
| | 08:11 | Ok, we have just a few more adjustments to make.
| | 08:14 | Let's go down to the Adjustment Layer icon, choose
Hue/Saturation, and here I want to navigate to the yellows.
| | 08:22 | I want to sample the yellows there.
| | 08:25 | going to increase the yellows just a little bit.
| | 08:30 | Let's look at our before and after.
| | 08:33 | Yeah, that's nice navigate to the blues, I'm going to take down the
blues I don't want it to look like neon blue so I'm going to pull those out.
| | 08:49 | Not as strong; we'll go back to the yellows and take a look at that window.
| | 08:53 | Do I want to bring those down a little bit?
| | 08:55 | Which I think I'm going to desaturate the yellows there.
| | 08:58 | Again I think they're a little bit over the top, and then I'll click OK.
| | 09:04 | So I changed my mind on that one.
| | 09:06 | Alright let's go ahead and look at our before
and after by clicking on the background layer.
| | 09:10 | The eye on that layer with the Option or Alt key
we have the before and after, before and after.
| | 09:20 | There is one more thing I would like to do.
| | 09:23 | We go ahead select the fork down here; click in the
background layer now select the fork with the Magic Wand tool.
| | 09:31 | I'm looking to get the darker area of the fork.
| | 09:33 | I'm going to create a Hue/Saturation adjustment
layer and I'm going to do it on top of all my layers.
| | 09:39 | And I'll go ahead and click Hue/Saturation
and I just want to affect these areas.
| | 09:43 | I want to see what kind of color I have in there.
| | 09:45 | Ok, exaggerate it.
| | 09:47 | It looks like maybe some red, some yellow, and some green.
| | 09:52 | I'm going to go into the reds, pull some of those down just a little bit.
| | 09:57 | Go into the yellows, pull some of those out.
| | 10:00 | Greens, any greens in there, nope.
| | 10:03 | Go into the cyans, let's see if I have any cyans in there, nope.
| | 10:07 | I'm going to click on the layer there; reds too,
and I'm just going to pull some of that color out.
| | 10:14 | Let's look at the last adjustment see if
that one was worthwhile; before and after.
| | 10:18 | Yeah, I'm going to lower the Opacity; I don't need to pull quite that much out,
but just want to take a little bit of the color off there, naturalize that.
| | 10:28 | And that wraps up this image. Let's look at our before and
after, Option+click or Alt+click the background layer, before and after.
| | 10:36 | Phenomenal work; this wraps up our look at advanced
color correction; there's some amazing things you can do.
| | 10:44 | The trick with this is using multiple layers, selecting specific
locations, going into our Curves, going into Selective Colors,
| | 10:52 | going into Hue/Saturation, and it's a
combination of all of those adjustments
| | 10:56 | that will help us achieve incredible color like we have in this image.
| | Collapse this transcript |
|
|
13. Modifying Color and ToneEnhancing color 1| 00:05 | >> Male speaker: Here is a message from our sponsor.
| | 00:07 | Have some fun enhancing color.
| | 00:09 | Enhancing color is really cool; it's amazing
what you can do with color in Photoshop CS2.
| | 00:14 | All right, let's go ahead and jump the bridge
and we're going to open up the file liquid_gold.
| | 00:19 | We're going to crank up through a few files here.
| | 00:20 | Go to full screen mode and we'll create a Curves adjustment layer.
| | 00:26 | And what were going to do in the Curves adjustment layer is
increase contrast, we want this to look like liquid gold.
| | 00:32 | Navigate to the red channel add some red there; navigate to the blue
red channel, warm that one up; and the green magenta channel there.
| | 00:45 | Once you've made those Curves adjustments, click OK.
| | 00:49 | Press Tab to get rid of your Toolbox and our
palettes, F to go to the full screen mode on black.
| | 00:54 | It's a real nice way to look at an image.
| | 00:56 | See how it looks.
| | 00:57 | If you want your palettes to come back, press F7.
| | 00:59 | If you want everything to come back, press Tab;
Shift+Tab hides everything but the Toolbox.
| | 01:05 | You even have the Options bar up there, which is pretty
cool; F7 brings back those layers -- remember that one.
| | 01:10 | So Tab; scroll those on, and off let's go out of full screen mode.
| | 01:13 | We saw one look how to enhance color using curves.
| | 01:17 | Ok, let's go to another image.
| | 01:19 | Lupines -- in this image we're going to go to Image > Adjustments > Replace Color.
| | 01:27 | Replace Color works a lot like Selective Color; we
sample color, increase the Fuzziness or the colors
| | 01:33 | that have been selected by clicking in either the image or the mask.
| | 01:38 | Once we've done that we can dial in the
different color with the Hue slider.
| | 01:44 | And in this case, does this image really
need a change of color? Well, probably not.
| | 01:49 | It's a real nice visual to show how this tool works.
| | 01:52 | Maybe we'll just make him a little more purple there and then
darken the color; click OK, and let's say we want this flower
| | 02:00 | to change but not the rest of them. Grab the History brush.
| | 02:02 | Shortcut is Y; yep you got it, and then go through and
History away the color change on the rest of the flowers
| | 02:09 | so that we now just have the change happening on this flower here.
| | 02:13 | Replace color a really effective way to replace color,
usually the color replacement is subtle and pretty clean.
| | 02:20 | Good technique Command+ W and then D (for "don't save").
| | 02:23 | Let's go to another file.
| | 02:24 | Go ahead and open up mission, go to full screen view mode.
| | 02:29 | As you know we can enhance color with adjustment layers.
| | 02:32 | Click on the Adjustment Layer and choose Color Balance; in this one we're
going to add red, magenta, and yellow; click OK, here's our before and after;
| | 02:46 | now go to Curves and add a little bit more contrast and click OK.
| | 02:53 | We have before and after.
| | 02:56 | Much different image; pretty subtle change but also pretty cool.
| | 03:01 | And this is the shot of the mission. There's even more we can
do with color, and we're going to do that in the upcoming movies.
| | 03:07 | And have fun with this -- experiment a little bit.
| | 03:09 | See you in the next movie.
| | Collapse this transcript |
| Enhancing color 2| 00:01 | >> Male Speaker: Let's go ahead and open up the file leatherman.psd.
| | 00:03 | One of my all-time favorite tools.
| | 00:05 | We have a curve here, which created an
incredibly specialized effect, pretty unique.
| | 00:10 | How the heck was that created?
| | 00:12 | Well if we open up the Curves, what we'll see is that
the red curve, the green curve, is pretty typical,
| | 00:17 | and then the blue curve is what merely made it come together.
| | 00:21 | So, let's try and do something like that.
| | 00:22 | We'll go ahead and create a Curves adjustment layer.
| | 00:25 | Go into the red curve, and what we're looking to do
here is just kind of modify a color a little bit.
| | 00:29 | There isn't a science to this.
| | 00:31 | It just comes by tinkering, experimenting, tuning,
and then that blue channel is going to be the one
| | 00:37 | where it will really come together and
we'll really start to see the effects.
| | 00:41 | So, what we're doing is pushing the curve in a pretty far
direction, not typically a direction you would tend to go,
| | 00:48 | go back to RGB, let's add a lot more contrast there.
| | 00:53 | And, boom, we have something similar, yet a
little bit different then the curve we had before.
| | 00:57 | We could have followed that curve exactly, but it's kind of
fun to experiment a little bit with it and see where it goes.
| | 01:02 | This is much more of photo illustration, obviously, we're
looking at using subjective color to create a mood or emotion.
| | 01:09 | Whenever you can combine warm and cool colors, like
this, yellow and blue, images become appealing,
| | 01:14 | because those tones contrast the scene
in the same image, it's really appealing.
| | 01:18 | We're going to look at an image in another chapter that has those
qualities, which is a straight photograph, it's really interesting.
| | 01:25 | Anyhow, that's down the road.
| | 01:27 | Okay, let's scroll down to sierra_sunrise.psd.
| | 01:30 | I have to go to full screen view mode, and the one thing I want to look
at here is, dealing with sunsets, a lot of people will do their sunsets
| | 01:38 | with color balance and kind of have set
ways to do it, red, magenta and yellow.
| | 01:43 | And then also use some Curves adjustments,
dial in a little bit more tone there.
| | 01:51 | We'll go ahead and click our before and after.
| | 01:53 | Definitely changed the mood and emotion of the image.
| | 01:56 | I also have one more layer here, and this is a layer that was selected.
| | 02:00 | I loaded the highlights with a shortcut Command+Option+Shift+~ (tilde)
and then I copied those highlights to a new layer.
| | 02:09 | So, go ahead and do that, Command+Option+Shift+~ and then press
Command+J or Control+J and then take that layer to a blend mode of Multiple.
| | 02:18 | And what that's doing is it's helping bring
down the tones of those specific layers.
| | 02:23 | I want to have it underneath there, so it's going to be
affected by the color, but notice I have much more sky detail
| | 02:28 | and the clouds are a lot darker, a lot more visual interest.
| | 02:31 | If I double it, I'm going to get double that effect.
| | 02:34 | And you know what, when I double it, let's say I don't
like it in the foreground, well we know how to fix that.
| | 02:39 | Create a mask, grab your brush, and paint with black.
| | 02:42 | I know I'm going a little bit fast on these; my hope is
that you're getting exposure to techniques and you're seeing
| | 02:49 | that Photoshop really rewards people who experiment.
| | 02:53 | One thing to note is that when you do, do multiple blend
modes, sometimes it's a good idea to just try Soft Light.
| | 02:59 | Because what Soft Light can do is bring
back some of the contrast that was lost.
| | 03:04 | In this case do we really need it in this image?
| | 03:06 | No. But it is kind of nice.
| | 03:07 | We still have detail up there.
| | 03:08 | It's better than that, and it brought some of the contrast back in.
| | 03:12 | It obviously depends on what type of image you're going for.
| | 03:15 | All right.
| | 03:16 | Command+W, then D (for "don't save").
| | 03:18 | More images to work on.
| | 03:23 | Let's open up the file gull.jpg.
| | 03:25 | And, we'll create a Curves adjustment layer.
| | 03:28 | And in the Curves adjustment layer we'll bring down our
blacks a lot, we really want to go for a silhouette there.
| | 03:34 | Going to the red channel, bring up those reds.
| | 03:37 | And you would think just bringing up the reds would do the trick.
| | 03:39 | We want this to become really bright red.
| | 03:41 | We actually need to combine that with magenta.
| | 03:44 | Now, that's too purpley red, and then finally add the yellow into it.
| | 03:49 | And then that's the sunset red I'm looking for.
| | 03:52 | That's what I'm talking about.
| | 03:54 | Very different image.
| | 03:55 | That image was actually shot when there were a bunch of fires in the
area, so the sun was setting and the haze and the color was quite intense.
| | 04:02 | It wasn't quite that intense, but again, this is more for
illustrative purposes and becomes a much more interesting image.
| | 04:08 | This image wouldn't even make it past the initial edit.
| | 04:11 | I like the composition, but here, I finally
like the color and the composition.
| | Collapse this transcript |
| Enhancing color 3| 00:01 | >> Male Speaker: Let's open up the file childhood_dreams.
| | 00:04 | In this file what we want to do is increase color saturation, contrast,
but we don't want to lose too much detail on the back of this little guy,
| | 00:13 | looking out into the ocean about ready to go surfing.
| | 00:16 | So, what we're going to do is create a Curves
adjustment layer and we're going to dial
| | 00:20 | in the color, changing exposure and tone there, before and after.
| | 00:29 | And then on the mask layer, zoom in a little
bit, with a brush, we'll paint with black
| | 00:35 | and what that will do is, as you can see, it will bring back the detail.
| | 00:40 | We'll need to be really careful as we get close
to our edges and spend some good time cleaning up.
| | 00:44 | If we ever find what we cut in, like I did there,
press the X key, smaller brush this time and go in
| | 00:51 | and clean up those edges that we might have accidentally messed up on.
| | 00:55 | So, we'll go through and keep going around the
image until we brought back all that detail.
| | 01:00 | I just want to highlight the importance when working
with color and tone, to make sure you're using masking.
| | 01:06 | Even though an image looks good, you may
want to go in and do some detail work.
| | 01:11 | A lot of times what I'll do is I'll start by doing a large
edit, like I've done here, in regards to the color and tone,
| | 01:17 | and I'll determine if it's worth going back and doing some detail work.
| | 01:22 | All right, so we're starting on our detail work, there's a
little bit more to go, hand needs to be taken care of, right?
| | 01:28 | And some other aspects of the image still need some work.
| | 01:31 | If we want to see the before and after, without the mask, we
can Shift+click that mask and look at our before and after.
| | 01:37 | It's always a good idea to lower Opacity, just a little bit, especially
when you're using a mask, so we can blend things together.
| | 01:42 | I'm not going to finish this one out.
| | 01:44 | I more wanted to illustrate the concept of
where we're going, Command+W, then D (for "don't save").
| | 01:49 | There are a few other files I want to highlight.
| | 01:52 | One of them is snuggle_rub.psd; note that there's a folder
above this, to show you how the color was created.
| | 02:00 | Maybe something you want to explore.
| | 02:01 | I just want to include that for your reference
there, Command+ W, D (for "don't save").
| | 02:06 | Same thing in this file, toucan_rclevenger, and note that
there is a source file there; one thing I would like to point
| | 02:15 | out in regards to these layers, have to do with selective color.
| | 02:19 | So, I'm going to go up to the adjustment layers Selective Color, navigate
to my yellows, and I want to change the density of the yellows, and I can do
| | 02:26 | that with the Cyan sliders as well as the black sliders.
| | 02:30 | Notice that it's increased the texture there, of those yellows,
change the color if I want to, which I don't want to do.
| | 02:38 | So, I'm going to go ahead and do that, and the problem
with that is that I get some banding in the background.
| | 02:44 | So, again, once you've created an edit like that, make sure that
you go back with the mask, if there's areas where you have banding,
| | 02:51 | like I have here, because I'm pushing the envelope a
little bit, I'm enhancing color in a pretty extreme way,
| | 02:57 | I don't want the background to have any problems,
because I like the color that's created there.
| | 03:03 | And look at my before and after.
| | 03:05 | If I don't want the color effect from that layer,
remember you're going to go to that blend mode
| | 03:09 | of Luminosity, so now let's look at our before and after.
| | 03:12 | All that we're changing is the luminance values, and we can dial that
in, with our Opacity slider, just bringing out a little bit more depth,
| | 03:21 | a little bit more texture in a specific location on the bird.
| | 03:26 | We can also go to the Selective Color layer and choose the whites.
| | 03:29 | And on the whites layer we'll be able to dial in a
little bit more detail, try to keep it pretty good,
| | 03:37 | a little bit more detail there, in the white part of the image.
| | 03:41 | Again, if we have any problem with the banding, we'd want to mask that off.
| | 03:44 | Command+W and D (for "don't save").
| | 03:46 | Those are more; just want to show you as a way to
reference, to know that you can experiment with those files.
| | 03:52 | I've concluded a few other files, in the folder,
that may be worthwhile for to you to experiment with.
| | 03:56 | Shoes would be really nice, to warm that
file up and make it look a little nostalgic.
| | 04:01 | You'd do that with curves.
| | 04:02 | Do your saturation and then you want to add a little bit of yellow.
| | 04:05 | That will make it feel warm and nostalgic at the same time.
| | 04:09 | There's this other image, guy_canoe, again there are
sample layers, so you can take a look at how that was created.
| | 04:17 | All right, well this wraps up our conversation on enhancing color.
| | 04:20 | I just want to highlight a few things here.
| | 04:23 | For starters enhancing color is pretty darn fun,
because you can really bring things out subjectively
| | 04:29 | and change the whole mode and projection of a particular image.
| | 04:33 | The second thing, that is as you do it, be sure to back
it off, tune it in, you know, sometimes you'll go too far,
| | 04:39 | like with the seagull image, did I go to far in the reds? Heck yeah,
| | 04:43 | I should have pulled that back to maybe
75 percent, 60 percent.
| | 04:46 | But I needed to go too sharp in order to go
flat and in order to find the sweet spot.
| | 04:51 | It takes a little bit of experimenting, a little bit of
tinkering, and the principles are pretty straightforward.
| | 04:57 | Use adjustment layers, curves, selective color, color balance, be sure
to use the mask that comes with the adjustment layer, and have some fun.
| | 05:05 | I hope you've gained something valuable from these movies
on enhancing color, I'll see you in the next movie.
| | Collapse this transcript |
| Cross-processing with curves 1| 00:01 | >> Male Speaker: In this movie we're going to learn a very cool effect.
| | 00:03 | We're going to learn how to create a cross-
processing effect in post-production.
| | 00:08 | We have a file that we'll be working on,
and the file is cross_processing.psd.
| | 00:12 | And we also need to open up the file curves_guide.psd.
| | 00:16 | For starters, let's look at the cross-processing file.
| | 00:18 | I'm going to expand my Layers palette here,
so that we can see what's going on.
| | 00:22 | You don't need to do that, but it will be helpful for us.
| | 00:25 | You'll notice that there are two folders.
| | 00:26 | One folder is titled E-6 to C-41.
| | 00:29 | When we click that on and off we get a cross-
processing effect that tries to mimic that E-6 to C-41.
| | 00:36 | Now cross-processing is produced by chemicals and film,
which means that there are so many different variables.
| | 00:42 | So, what we're doing is simply trying to replicate that kind of effect,
using curves, which is really kind of profound and kind of amazing,
| | 00:49 | because then we can have an image that was captured regularly
or a digital file that now has a cross-processing effect.
| | 00:55 | And if we click through the images we'll notice that
this effect will affect those images in different ways.
| | 01:01 | Let's turn that off and then turn on this folder here, and you'll
notice that this effect will then affect images also in a different way.
| | 01:09 | A lot of times what we need to do is combine multiple
versions of these Curves layers to get the best results
| | 01:15 | and lower Opacity on one; we'll do some of that as we go along.
| | 01:18 | But before we get going too far ahead, what the
heck's happened here and how does this work?
| | 01:23 | Well, if we go ahead and open up that other file,
you'll notice that I've created for you a cheat sheet.
| | 01:29 | And what this cheat sheet is, the Curves adjustments
that I have made in order to create that effect.
| | 01:36 | So, if you wanted to simulate this effect, you could open up the Curves
dialog window, adjustment layer, and go through and mimic the curve
| | 01:46 | that I've created, going through channel by channel, red channel.
| | 01:49 | Notice where the points are, where they fall.
| | 01:51 | And you would go through that and eventually,
as you went through all the channels,
| | 01:57 | you would have created your own curve, in your own unique cross-processing.
| | 02:01 | So, of course you can do that.
| | 02:03 | You may want to experiment with that, but if you
want a shortcut, I've already created this file
| | 02:07 | for you, so you can use it to apply to your own image.
| | 02:11 | How would you do that?
| | 02:12 | Well let's go back to the Bridge, open up this
file, the file entitled llantas,
| | 02:18 | both of these were a shot when I was getting my oil changed the other day.
| | 02:22 | It's a Raw file; we'll just say Auto Contrast, and Shadows and all that
stuff's fine, click Open, and, we want to apply the cross-processing
| | 02:31 | to this one, so we'll open up the file cross-processing.
| | 02:35 | Find the effect we're interested in.
| | 02:37 | Drag and drop and voila, we now have an image that's cross-processed.
| | 02:42 | Of course we may want to experiment a little bit.
| | 02:44 | Copy that cross-process curve and change the blend mode
to Soft Light and then turn off the background one.
| | 02:50 | Let's see what that did.
| | 02:51 | Well that kind of added an interesting amount
of color, not enough color though, for me.
| | 02:56 | We can also do things like work on the density
of the sky and not lose all of that information.
| | 03:01 | We're going to do that in the next movie, on another file.
| | 03:04 | This at least gives us some initial information, how we can
begin to cross-process files and post production, pretty cool.
| | Collapse this transcript |
| Cross-processing with curves 2| 00:01 | >> Male Speaker: More on cross-processing.
| | 00:02 | Go ahead open up the file, laundry.jpg.
| | 00:04 | Grab the Magic Wand tool and start clicking
around so you can select the sky.
| | 00:11 | Hold down the Shift key to add to that selection.
| | 00:14 | And once you have a decent selection of the sky, go ahead
and copy the background layer and click the Mask button.
| | 00:21 | What we now we have on the layer is just a
version of the sky, which is pretty cool.
| | 00:25 | We're going to take our blend mode to Multiply,
which is darken, so it's darkening up the sky.
| | 00:30 | We're also going to apply a Curves adjustment layer, just to that image,
so we're going to darken it up, take out some of the whites there,
| | 00:39 | click on OK and then hold down the Option or Alt key, so
that Curves adjustment layer is just happening to the sky.
| | 00:46 | Very cool.
| | 00:47 | Once we've done that, we're ready to go back to our cross-processing file,
drag and drop, and the reason we added the density back there, in the sky,
| | 00:55 | is it adds a little bit more visual interest seeing those clouds.
| | 00:58 | There are a couple things we'd want to fix up with
this file, but for starters you see with effects,
| | 01:02 | like cross-processing, having density really enhances the image.
| | 01:07 | And don't ever be afraid to double it, try
different blend modes of Overlay or Soft Light,
| | 01:13 | or to even just go into the curve and tweak it a little bit.
| | 01:20 | Experimentation is well rewarded with cross-processing.
| | 01:24 | Command+W, then D (for "don't save".)
| | 01:26 | Let's open up a black-and-white photo.
| | 01:27 | This is a photo we've seen previously.
| | 01:29 | And this time we're going to drag one of the cross-processing
that filters onto it, and just to show you how it will interact
| | 01:35 | with the black-and-white image, kind of interesting.
| | 01:38 | One of the things that we can do here,
is again, try a blend mode, Soft Light,
| | 01:41 | it's going to be really subtle color here, but also kind of interesting.
| | 01:45 | We can also go to blend modes like Color, which take
out all of the contrast, doesn't necessarily work here,
| | 01:51 | or Luminosity, which will just use the contrast of that layer.
| | 01:55 | Again, this one, Normal is probably going to be your best bet,
| | 01:58 | but know that you can use it on grayscale images
as well, to create some pretty interesting effects.
| | 02:04 | I've seen some people go above and beyond color balance layer, above
this and then begin to dial in the type of color they're using.
| | 02:12 | Again, a very different cross-process there, click OK, or even
a Hue/Saturation, and begin to shift colors yet another direction.
| | 02:25 | All right in this case I think it's going
to look best just on the regular blend mode.
| | 02:29 | I hope that these couple of movies on cross-processing have been helpful.
| | 02:33 | Have fun experimenting.
| | Collapse this transcript |
| Advanced saturation with Lab| 00:01 | >> Male Speaker: In this movie we'll be looking
at an advanced technique for saturating our images.
| | 00:05 | And it's super cool.
| | 00:07 | Let's open up the file aspen.jpg.
| | 00:10 | This image was shot by Ralph Clevenger, colleague and friend of mine.
| | 00:13 | So, we have this tree and we want to saturate the colors.
| | 00:17 | One way we can do that is with Hue/Saturation.
| | 00:20 | But what happens with hue saturation, if we exaggerate it,
we can see that color is actually plugged or blocked up.
| | 00:27 | We actually lose color variety, the more saturated the image becomes.
| | 00:32 | Now, that's not good.
| | 00:33 | Especially in the case of the tree and these bushes.
| | 00:36 | We want to have more color.
| | 00:38 | The way we can do that is by using this technique which takes us to
a new color space and doing a Curves adjustment in that color space.
| | 00:47 | It's super cool.
| | 00:48 | Check it out.
| | 00:49 | Here we go.
| | 00:50 | Image > Mode > Lab Color.
| | 00:54 | Now that we're in Lab Color, we'll create an adjustment layer of Curves.
| | 00:58 | And you don't have to an adjustment layer, but I like to do that
because I have the ability to back it off, dial it in, etc.
| | 01:05 | We're going to lose this adjustment layer
eventually; I still like to have it temporarily.
| | 01:10 | All right.
| | 01:10 | Well how the heck do curves work in a Lab Color space?
| | 01:13 | For starters we have a Lightness channel.
| | 01:15 | This works just like the Luminance blending mode in the RGB color
space, i.e., it's only affecting the Luminance values, not color of the image.
| | 01:27 | Next we're going to the "a" channel, here's
where we have the magenta, green information.
| | 01:32 | The "b" channel, this is where we have the yellow, blue information.
| | 01:35 | All right.
| | 01:36 | So, in order to increase the saturation, we're going to create an S curve
on the Luminance channel, navigate to the "a" channel and bring this in.
| | 01:46 | Now, I'm going to exaggerate it so we can see it.
| | 01:48 | Bring it in.
| | 01:49 | Let's say exactly two points there, and
I'm going to bring this one in two points.
| | 01:53 | It's critical that the middle of this curve
line is still in the middle, which it is,
| | 01:58 | because both of these points have been equidistantly brought in.
| | 02:02 | Navigate to the "b" channel and we'll do the same thing.
| | 02:05 | And then go ahead and look at our preview before and after.
| | 02:12 | Not only do we have more color saturation,
we actually have more color variety.
| | 02:17 | I want to take this a step further and actually warm the image.
| | 02:21 | So, now that we can see it, that it increases
the saturation in color and variety,
| | 02:25 | I'm going to back off the saturation and
I'm going to do that by pulling these back.
| | 02:30 | So, now here's our before and after, a lot better,
going in the "b" channel, which contains the blue,
| | 02:36 | yellow info and I'm going to warm the image
up, click OK, here's before and after.
| | 02:43 | Oh, that looks great.
| | 02:45 | Now, switch back to RGB mode -- Image > Mode > RGB -- flatten
the image, yep, and now we have this color variety
| | 02:54 | and saturation that we couldn't have achieved any other way.
| | 02:58 | Command+W or Control+W and D (for "don't save".)
| | 03:01 | Let's try it with the files, lupines.jpg.
| | 03:04 | You know the routine.
| | 03:05 | Image > mode > Lab Color, then Curves adjustment layer.
| | 03:10 | Lighten this if we need contrast, maybe
just brighten the image up a little bit.
| | 03:14 | Go into the "a" channel, the intensity is
going to be determined by how far you go in,
| | 03:19 | which affects the steepness of the curve
and I'm not looking to go in super far.
| | 03:25 | And this one, I might even warm this one up as well.
| | 03:28 | You're not necessarily going to warm up all
of your files, but I'm warming up these two.
| | 03:33 | We'll look at our before and after.
| | 03:35 | One of the nice things about this is we can then lower Opacity, we're
not necessarily looking to make it so punchy that it doesn't look real.
| | 03:43 | We just want to add a little bit of a snap to it and then we need to
convert back to that RGB color mode, flattening the file as we go.
| | 03:52 | That is a wonderful technique for increasing
both color variety and saturation.
| | Collapse this transcript |
| Non-destructive burning/dodging 1| 00:01 | >> Male Speaker: In this movie we'll look
at how we can form a non-destructive edit
| | 00:04 | to our image, using a technique for burning and dodging.
| | 00:07 | We're going to go ahead and open up this
file of Annika, its called guacamole.psd.
| | 00:12 | And this was on her first birthday.
| | 00:16 | This was her first experience eating guacamole and she loved it.
| | 00:21 | Okay. Let's say that what we want to do this
image is burn in the corners a little bit.
| | 00:25 | Because it was shot as a JPEG, unfortunately, we didn't have the
ability to dial that in, that Vignetting effect in Camera Raw.
| | 00:33 | How do we do that in Photoshop or how do we
burn and dodge in Photoshop for that matter?
| | 00:37 | We'll create a new layer.
| | 00:38 | Couple different ways to do that.
| | 00:39 | You can click on the New Layer icon or press on
the Mac, Shift+Option+Command+N, on the PC,
| | 00:46 | Shift+Alt+Control+N. That will create that new layer for you.
| | 00:49 | Go ahead and name that layer "burn/dodge".
| | 00:52 | We will be filling this layer with black.
| | 00:56 | So, I'll go ahead and select that black in the color
picker and then use my shortcut to fill it black.
| | 01:02 | Do you remember that one?
| | 01:02 | It is Option+Delete or Command+Delete on the Mac, Alt+Delete or Control+Delete on the PC.
| | 01:09 | So, I'll press Option+Delete.
| | 01:11 | Once I've done that, I'll grab the brush and I'm going to
choose a huge brush, with a soft edge, no hardness there.
| | 01:18 | And then from the color picker I'll pick 50 percent brightness.
| | 01:23 | Once I've done that, I'm ready to click in the middle portion
of the image and then take the blend mode to Soft Light.
| | 01:32 | Very cool.
| | 01:33 | A non-destructive burning and dodging.
| | 01:35 | I love that.
| | 01:36 | I use that all the time, in any situation
that I would be burning and dodging.
| | 01:41 | Let's look at one more technique, when we're creating
a new layer, for use, we'll use this shortcut,
| | 01:44 | Shift+Command+Enter, or Shift+Control+Enter, and this dialog window opens up.
| | 01:49 | In this case I'll name the layer "burn/dodge" and I can even chose my blend
mode, Soft Light, and I can fill it with neutral gray, 50 percent.
| | 01:59 | Okay. So now I have my burn/dodge layer, all that I need to do then
is grab my brush and this time paint with black where I want to burn.
| | 02:10 | And typically what you'll need to do is either
lower Opacity on the layer, or undo that real quick.
| | 02:17 | You can always lower your brush Opacity so that you're bringing in a
much more subtle effect and typically when you're burning and dodging,
| | 02:26 | you want to start subtle and build it up as you
go, as you would have done in the dark room.
| | 02:33 | All right, let's look at some more techniques in regards
to burning and dodging and we'll do that in the next movie.
| | Collapse this transcript |
| Non-destructive burning/dodging 2| 00:01 | >> Male Speaker: In this brief movie, we'll look at
another application of burning and dodging to an image.
| | 00:06 | In this case, we'll be opening up the image bw.psd.
| | 00:10 | Another shot of my daughter Annika, just crawling around in our living room.
| | 00:14 | So we'll go ahead and create a new layer.
| | 00:16 | A couple of ways to do that, Shift+Option+Command+N.
It's probably the quickest way to get there on the Mac.
| | 00:22 | Shift+Alt+Control+N on the PC.
| | 00:25 | Once we have that layer, we'll grab the brush.
| | 00:27 | B for the brush tool.
| | 00:28 | And I'm going to use a bracket key to make that brush smaller.
| | 00:31 | That's the left bracket.
| | 00:33 | What I'm going to do is actually paint with black here.
| | 00:36 | Take my Opacity slider up a little bit.
| | 00:39 | Paint with black.
| | 00:40 | And I'm going to leave it in the normal blend mode
so that I can see the edges and where I'm painting.
| | 00:46 | And what I'm interested in doing is simply just bringing down a
little bit of the information that got a little bit too bright.
| | 00:53 | Once I've done that, I'll then go to the Soft
Light blend mode and look at my before and after.
| | 01:00 | And all that did was bring down those highlights and again,
I could continue to dial that in painting with more black.
| | 01:08 | And I can erase by going to 50 percent brightness.
| | 01:13 | And once I'm at 50 percent brightness I
can then paint away any of those edits.
| | 01:18 | I can, of course, always go into the Opacity layer and dial that down.
| | 01:23 | But I just wanted a little bit more detail there in the arms.
| | 01:27 | Next I want to take away some of the background.
| | 01:30 | And I'll create a new layer, and on that new layer again, I'm going
to be painting with black and I could just get away with painting
| | 01:38 | with black all the way around the background layer, but rather than do
that as complete black, I'm going to take that layer to a blend mode
| | 01:45 | of Soft Light, once again, and lower my Opacity,
so that I have a little bit of light back there.
| | 01:52 | This will help prevent banding, and it creates a little bit more visual
interest for me, just bringing down the background a little bit more.
| | 01:59 | So as you can see, you can use all the
traditional burning and dodging techniques.
| | 02:03 | I went through this pretty quickly, but the whole point of
it is just to show you that you can do this on a new layer.
| | 02:09 | It's nondestructive, i.e. you can turn it on and off, which is really cool.
| | 02:13 | We'll look at one more technique in regards to dealing with
burning and dodging and tone, and we'll do that in the next movie.
| | Collapse this transcript |
| Non-destructive burning/dodging 3| 00:01 | >> Male Speaker: All right, we have one more image to look at.
| | 00:03 | Go ahead and open up baxter.jpg.
| | 00:05 | This is my parent's dog.
| | 00:07 | The shot is underexposed.
| | 00:08 | We're going to look at how we can burn and dodge or deal with tone.
| | 00:12 | It's not technically burning and dodging, but if you think
about it, all that burning and dodging is, is dealing with tone.
| | 00:18 | So we're going to expand on what we know, and
let me show you how we're going to do that.
| | 00:21 | For starters, navigate to Select > Color Range and choose the clouds.
| | 00:26 | We want to have a good selection of the clouds.
| | 00:28 | Go ahead and go inside and add to those clouds.
| | 00:32 | Once you have that selection, click OK, and press Command+J
or Control+J. This will copy those clouds to a new layer.
| | 00:40 | We're going to take these to a blend mode of soft light.
| | 00:43 | So what did they do?
| | 00:43 | They just increased contrast in the sky area.
| | 00:47 | Press Command+J or Control+J a second time.
| | 00:50 | Let's look at our before and after.
| | 00:51 | Much more visually interesting sky.
| | 00:53 | Okay, we're going in the right direction.
| | 00:55 | Next step, click on the background image.
| | 00:58 | Command+J or Control+J one more time.
| | 01:00 | This time we're going to go to a blend mode of Screen,
so this is going to be kind of like dodging, right?
| | 01:07 | So it brightened up the image.
| | 01:09 | We need to create a mask, and now that we're targeting the mask, notice
we have the brackets there, we're going to grab the Gradient tool,
| | 01:17 | G on the keyboard, we're going to click and drag, and what
you'll see is that we'll be able to dial in the brightness there
| | 01:26 | in the foreground and it depends on how far you drag this.
| | 01:31 | So we'll look at the before and after, just brightening up the
foreground and then finally going in with a nice soft brush
| | 01:39 | of somewhat low Opacity, we're painting with white now.
| | 01:42 | We're going to go in and brighten up the dogs.
| | 01:44 | We want to bring out the details of that guy.
| | 01:47 | Very cool dog by the way.
| | 01:48 | He just loves running in those hills.
| | 01:50 | I'm going to brighten up the Opacity a little bit
more and click on the eye there and the nose.
| | 01:55 | I want to bring some detail back.
| | 01:57 | Even more.
| | 01:58 | Make sure that's coming through all the way.
| | 02:02 | And let's look at our before and after.
| | 02:04 | There's before, and after.
| | 02:05 | Basically we've worked on exposure in an image that's a little
bit complex because we have the bright sky in the background.
| | 02:12 | Sometimes if you need to open up exposure you can
simply copy a layer and take the blend mode to Screen.
| | 02:17 | In this case, we've lost all of the sky detail, so that
wasn't a good direction, that's why we need to create a mask
| | 02:23 | but know that you can do that and then combine multiple masks.
| | 02:26 | And essentially what we're doing here is working with tonal values.
| | 02:30 | Some people will go for working on their
images with the Burn and Dodge tool over here.
| | 02:34 | I actually don't do that.
| | 02:36 | The reason is I always want to have it on a layer.
| | 02:38 | I want to have the ability to lower Opacity if
I need to and I also want to have the ability
| | 02:43 | to double the intensity by copying the layer and then lowering Opacity.
| | 02:48 | So maybe I need one and a half times the light there.
| | 02:51 | So I recommend you go for a workflow that includes
layers and that you really take advantage
| | 02:56 | of the ability to make non-destructive tonal edits to your images.
| | 03:01 | Well that wraps it up for now.
| | 03:02 | I'll see you in the next movie.
| | Collapse this transcript |
|
|
14. Black and White ConversionCreative tip: Disney| 00:03 | >> Male Speaker: Okay, welcome back.
| | 00:06 | Isn't this a beautiful setting?
| | 00:09 | You know I've driven by this building a dozen times,
but I've never stopped to create a photograph here.
| | 00:15 | Now why is that?
| | 00:16 | Well I think I haven't stopped because it's so ordinary in my
daily life, but actually it's pretty extraordinary, isn't it?
| | 00:24 | And I think that happens to us so often.
| | 00:26 | We become numb to the things we see everyday,
and somehow we need to see things anew.
| | 00:32 | And I learned an incredible lesson about
the ordinary while I was at Disney.
| | 00:39 | It seems like I was continually inspired while I was there.
| | 00:42 | And one day, I went and hung out with some of the
animators and I'll never forget this particular day.
| | 00:48 | I sat down with this one animator who was the coolest.
| | 00:51 | He had been there since Walt's days, and he was just, as you
would imagine an animator, incredibly creative, incredibly kind.
| | 00:58 | Really neat guy.
| | 00:59 | And the movie he was working on at this point was 102 Dalmatians.
| | 01:03 | And if you've seen that movie, you know it's a live
action movie with some CGI stuff and some animation stuff
| | 01:08 | in it and he was asked to work on one particular scene.
| | 01:11 | And the scene was where this train in London was going down the tracks
and the dog was running behind it and the tracks were underexposed.
| | 01:20 | So they came to them and said, hey, can you fix this problem for us?
| | 01:23 | Can you create some new tracks?
| | 01:25 | And he said no problem.
| | 01:26 | It was the end of the day so he went home.
| | 01:29 | And when he went home, he saw a brownie dish, a brownie dish.
| | 01:33 | The most ordinary thing that you could find in any kitchen, and he took
this brownie dish, flipped it upside down, put it on a flatbed scanner,
| | 01:40 | and he used that metal lip on the brownie dish, you know, that's
kind of bent over, and he used that as the railroad tracks.
| | 01:47 | He brought it into Photoshop.
| | 01:49 | One railroad track here, cloned the other one closer over there.
| | 01:52 | He created, he drew a railroad tie and then clone
stamped those down the line, he left all the texture,
| | 01:57 | all of the rust and old food on the brownie
dish as a texture of the concrete.
| | 02:02 | He drew in a couple of cracks, clone stamped
those, free transformed them, and voila.
| | 02:07 | If you watch the movie, look for the scene where
the train is actually driving across a brownie dish.
| | 02:13 | And his wife loves that story because that's kind of
her claim to fame; hey my brownie dish is in the movie.
| | 02:18 | And it's pretty neat.
| | 02:20 | But when he was telling me about this and showing me what he
created, I just thought, wow, this is quintessential creativity.
| | 02:28 | It's taking what is ordinary and making it extraordinary.
| | 02:32 | So I encourage you this next week to look
for the extraordinary in the ordinary.
| | Collapse this transcript |
| Black and white conversion 1| 00:05 | >> Male Speaker: There is something about black-
and-white images that just captures my attention.
| | 00:11 | The door to my heart can be slammed shut and locked from the inside and
I'll see a good black-and-white photo and it's as almost as if it sneaks
| | 00:19 | under the door frame to my heart and bursts the door open.
| | 00:23 | It captures my senses.
| | 00:24 | It enthralls me.
| | 00:26 | I'm not sure what it is.
| | 00:27 | It's such a reduction and simplification of life.
| | 00:30 | Almost like poetry.
| | 00:32 | For what poetry says in 20 words a novelist says in 20,000.
| | 00:37 | I love black and white.
| | 00:38 | Let's look at a few different techniques for converting to black and white.
| | 00:42 | We'll start on this file, truck.
| | 00:45 | Now some people would just go ahead and pull out all color.
| | 00:49 | That's a pretty bad idea.
| | 00:50 | The reason is, is that we have channels.
| | 00:52 | And we actually have different types of color in each channel.
| | 00:57 | So we want to maximize that and get the most out of color.
| | 01:00 | One of the ways we could do that would be we could
select a channel and then choose Image > Mode > Grayscale.
| | 01:05 | And we would convert the image to grayscale
or to black and white by doing that.
| | 01:10 | Yet we don't have a ton of control there.
| | 01:12 | How can we gain more control?
| | 01:15 | We can gain control using a few techniques.
| | 01:17 | They're a little bit advanced, but they're simple.
| | 01:20 | You gotta love those advanced techniques, but they're easy to use.
| | 01:24 | Create two Hue/Saturation adjustment layers.
| | 01:26 | Command+J or Control+J to copy those.
| | 01:29 | The top layer you want to pull out all color.
| | 01:32 | The middle layer, take the blend mode to Luminosity.
| | 01:36 | Next, open up the Hue/Saturation adjustment.
| | 01:40 | We can then go through this channel-by-channel changing the density there.
| | 01:48 | In some channels we won't get much.
| | 01:50 | And we're targeting specific colors.
| | 01:52 | Cyan, there's nothing on the cyan channel.
| | 01:55 | Darken those up a little bit; I can obviously
do my lightness and darkness as well.
| | 02:00 | Magentas, not much in that one either.
| | 02:03 | Let's click OK and look at our before and after.
| | 02:06 | Notice how we change the entire focus of the
image and we were able to target specific tones.
| | 02:13 | Well here's another way we can use that technique.
| | 02:15 | Create a Curves adjustment layer.
| | 02:18 | We do the same exact thing.
| | 02:20 | The green channel, which is green magenta.
| | 02:23 | The blue channel.
| | 02:25 | And we can even go back to the composite view and dial in a contrast there.
| | 02:34 | Click OK.
| | 02:36 | And now here is before and after.
| | 02:37 | Again, a very different image.
| | 02:39 | So what we want to do then, is take that
Curves adjustment layer to Luminosity
| | 02:44 | so that we're just affecting the luminance
values, and of course we can lower Opacity.
| | 02:49 | Again, we're creating a much different black-and-white image.
| | 02:53 | Alright, there are some more techniques for black-and-
white conversion and we'll look at those in the next movie.
| | Collapse this transcript |
| Black and white conversion 2| 00:01 | >> Male Speaker: In this movie, we'll be looking at a technique
for converting to black and white using a Channel Mixer.
| | 00:06 | Let's go ahead and open up the file self.
| | 00:09 | And this is a self-portrait.
| | 00:11 | There are some color problems, but we're
not going to be too concerned about those.
| | 00:15 | We'll just go ahead and click Open to open that file up.
| | 00:18 | Now that it is in Photoshop, let's select part of the background.
| | 00:24 | This shot was taken in the kitchen, that's a refrigerator back there.
| | 00:27 | So I'm going to select part of the refrigerator that's in good
shape and press Command+J or Control+J to copy that to a new layer,
| | 00:35 | Command+T or Control+T and then click and drag to
expand it just to cover up the rest of the background.
| | 00:41 | We want to reduce and simplify here.
| | 00:44 | Next step's going to be to merge these two layers together.
| | 00:48 | From the flyout menu you can choose Merge Down, or Command+E
or Control+E. You can also go to Layer > Merge Down.
| | 00:56 | There's that shortcut again.
| | 00:57 | I'm just going to press Command+E, it'll merge that layer down.
| | 01:01 | Alright, I'm doing that just for simplification sake so
that we can see how the black-and-white conversion works.
| | 01:08 | Navigate to the Adjustment Layer icon, choose Channel Mixer,
| | 01:13 | and then Monochrome.
| | 01:16 | This is going to give us the ability to mix
certain amounts of our three different channels.
| | 01:22 | Very cool.
| | 01:23 | So, for starters, the red is at 100 percent, blue is at 0, green is at 0.
| | 01:29 | What we need to have here is a total of 100 percent, so that if
I take the red down and bring the green up and then the blue up;
| | 01:38 | I would need the total of these three numbers to equal
100 in order to have a pretty good quality print.
| | 01:44 | So I'll need to experiment a little bit with this.
| | 01:49 | And there's no logic to what works and what doesn't work,
except that you want these to all equal 100 percent.
| | 01:56 | Once you've done that go ahead and click OK.
| | 01:58 | Next step is going to be to enhance this a little bit further.
| | 02:01 | We're going to create a Curves adjustment layer.
| | 02:04 | We begin to make some Curves adjustments, and I'll do this on each channel.
| | 02:09 | I'm going to actually try to keep my shadows up
there a little bit, going into the red channel.
| | 02:16 | Don't worry too much about the color we're
seeing, because we're going to pull that off.
| | 02:22 | And you know how we're going to get rid of that?
| | 02:24 | We're going to get rid of that with a blend mode of Luminosity.
| | 02:28 | Click OK.
| | 02:29 | Let's take the Curves adjustment layer to
Luminosity, so now we have this additional edit on top
| | 02:35 | of Channel Mixer, and then finally create a new layer.
| | 02:39 | And on this new layer what we're going to
do is paint in some burning and dodging.
| | 02:43 | I want to highlight a tool that works well for this.
| | 02:46 | It's the Air Brush tool up here.
| | 02:49 | We can set the flow to a certain percentage.
| | 02:51 | And the way that the Air Brush tool works in that it's different than the
brush, as you continually hold it down, more and more paint comes through.
| | 02:59 | So I'm able to paint actually in passes and
then continually bring in more and more.
| | 03:04 | It's the closest thing to pressure sensitivity.
| | 03:06 | So if you're not able to use a Wacom tablet, the Air Brush tool is great.
| | 03:11 | Of course, Wacom tablets are amazing.
| | 03:13 | I'll talk a little bit more about those when we get to the chapter
on retouching, and I use one all the time and recommend you use one.
| | 03:20 | If you don't have one, you probably want to put it in the budget.
| | 03:23 | As you'll see when we get to retouching, it will really help out.
| | 03:26 | Alright, so, for starters, what we're going to do is just
look to burn in some information over here on the side.
| | 03:32 | We want to reduce and simplify a little bit more and take
this to a blend mode of Soft Light, and then lower Opacity.
| | 03:41 | Here's our before and after on that burn.
| | 03:44 | And we have successfully converted this image to black and white.
| | 03:48 | Except I think I want to little bit more punch to the image so
I'm going to modify my Channel Mixer a little bit more here.
| | 04:03 | There we go.
| | 04:05 | Final adjustment.
| | 04:07 | Real subtle.
| | 04:09 | Alright, before we close this file out, I want to
look at adding a little bit of color to the image.
| | 04:13 | If we're going to print this to a desktop, we can
simply add color using Curves or Color Balance.
| | 04:18 | I'll go ahead and go to Curves.
| | 04:19 | Let me go to the red channel and add a little
bit of red there, the blue yellow channel,
| | 04:24 | add some yellow, and the green channel, a little bit of magenta.
| | 04:29 | Go back to the blue yellow channel, I want a little
bit more yellow in that, and then a tad bit more red.
| | 04:35 | Click OK.
| | 04:36 | I'm going to lower Opacity.
| | 04:38 | And now here's my before and the after.
| | 04:42 | And another way I can do that is with Color Balance, adjustment layer.
| | 04:47 | Color balance is actually a really effective way to add color and tone.
| | 04:53 | Clicking OK, and then we have our before and after.
| | 04:56 | If you go down to the bottom image, we have
our before and after, a much different image.
| | 05:02 | Well, this now wraps up our look at the technique for
black-and-white conversion using the Channel Mixer.
| | Collapse this transcript |
|
|
15. Retouching The art of retouching| 00:05 | >> Male Speaker: Retouching is an art.
| | 00:08 | Or I guess it can be.
| | 00:09 | It depends on you.
| | 00:11 | One of my favorite authors, Anne Lamott, says that
you can set a brick as a laborer or as an artisan.
| | 00:19 | And what's the difference between a laborer and an artisan?
| | 00:23 | Passion. Detail.
| | 00:25 | And the questions that the artisan asks are
different than the questions of the laborer.
| | 00:30 | The laborer asks when will it be 5 o'clock, the artisan
asks Oh my gosh, how can it already be 5 o'clock?
| | 00:38 | The ability to retouch images in Photoshop is quite profound.
| | 00:43 | And what we're going to look at in this chapter is a number
of different techniques that we can use to retouch our images.
| | 00:50 | And as we learn the techniques, we'll also be
thinking through how we can apply the techniques.
| | 00:56 | And let me illustrate with a song.
| | 01:00 | ( Music )
| | 01:37 | And one of the things that I think is interesting about music
in relationship to retouching is that it's just notes, right?
| | 01:46 | And I could play the same notes...
| | 01:49 | ( Music )
| | 01:57 | Or I can play...
| | 01:59 | ( Music )
| | 02:08 | So first we have to learn the notes, and next
we have to learn how to play those notes.
| | 02:16 | And in the following movies we'll learn a number of different
techniques that will help you on your way in the art of retouching.
| | Collapse this transcript |
| Nature 1| 00:01 | >> Male Speaker: One of the tools that I've found
incredibly helpful for retouching is a Wacom tablet.
| | 00:05 | In the folder, chapter 15, I have a link to the Web site.
| | 00:09 | If you go ahead and go to that, and you click on products,
you'll see a number of different products that they have.
| | 00:16 | And the advantage to using this tool is that it
gives you the ability to have pressure sensitivity
| | 00:22 | when you're making your edits, which I've found to be incredibly valuable.
| | 00:26 | And personally, the tablets that I've used, the 6 x 8 tablet, as well
as the 9 x 12, and Wacom has recently come out with a new tablet
| | 00:35 | that is specifically designed for wide format screens
and I can't wait to get my hands on one of those.
| | 00:41 | So anyway, I just wanted to point out
that resource, it's helped me a bunch.
| | 00:44 | Know that you don't have to use that.
| | 00:45 | You can do really quality retouching without it,
but it may be something you want to look into.
| | 00:51 | Well let's start really simple.
| | 00:52 | We'll go to the folder nature.
| | 00:54 | Open up the file dew.jpg.
| | 00:56 | This is a small little file.
| | 00:58 | And let's take a look at the Toolbox before we begin.
| | 01:02 | For starters, in the first group of tools,
have you ever notice these tools are grouped?
| | 01:06 | They're actually inside of a box and there's a space between them.
| | 01:09 | Well these tools have to do with selections, cropping, moving.
| | 01:13 | The next group of tools are tools for retouching.
| | 01:17 | We have painting, cloning, healing, erasing, burning, dodging.
| | 01:21 | And then finally we have kind of a miscellaneous
box, moving, zooming, line, type tools.
| | 01:27 | So we're going to spend a lot of time in this area, and
we'll also spend a lot of time in layers and masking.
| | 01:33 | A set of tools that are really helpful in retouching are the
Spot Healing brush, Healing brush, Patch tool and Red Eye tool.
| | 01:39 | We've seen how these work in other movies but in case you're just jumping
into this one, I want to show the new Spot Healing brush tool and in this file,
| | 01:47 | what we're going to do here is just go ahead and
click through the areas where there are some spots.
| | 01:52 | And typically what you want to have is the width of the
brush about the width of the blemish you're replacing.
| | 01:59 | The Spot Healing brush tool works the same way the Healing brush does,
except it's a little bit more intelligent and it's trying to find an area
| | 02:07 | that looks good and it's sampling that
and then bringing in the info from there.
| | 02:14 | And what I'm doing in this file as I'm clicking through it
is I'm just looking to reduce and simplify a little bit.
| | 02:19 | A lot of times what we need to do in our photography is simply
reduce distractions and so the Healing brush can really help us do that.
| | 02:28 | And one of the things we want to do is when we first
start retouching is start with cleaning up an image,
| | 02:34 | whether we're working on an image of a person or an image of dew drops.
| | 02:39 | So let's go ahead and look at our before and after real quick,
| | 02:41 | Before and after, much more visually interesting
now that we've reduced and simplified a little bit.
| | 02:49 | In our next movie, we'll take this even further.
| | 02:51 | Command+W and D (for "don't save").
| | 02:53 | And what we're going to do is look at this elephant_seal shot, and we're
going to look at how we can retouch some of the distracting features.
| | 03:00 | We're also going to look at tone and color and
we're going to spend quite a bit of time on that one.
| | 03:06 | And we'll do that in the next few movies.
| | Collapse this transcript |
| Nature 2| 00:01 | >> Male Speaker: In this movie, we'll
be working on the file elephant_seal.psd.
| | 00:04 | Go ahead an open that file up, take it to full screen view mode.
| | 00:09 | And we're going to begin with the Healing brush.
| | 00:12 | Select the Healing brush.
| | 00:13 | And in the Options bar, make sure that Sample All Layers is on.
| | 00:17 | Let's zoom in a little bit further than 100 percent and create a new layer.
| | 00:21 | You remember how to do that one, right?
| | 00:22 | Shift+Command+N or Shift+Control+N so that we can
name the layer while we create this new layer.
| | 00:27 | Shift+Command+N or Shift+Control+N. We'll name
this one "clean up 1", clicking OK.
| | 00:33 | And J is the shortcut for the Healing brush.
| | 00:36 | We're going to go through and sample areas
and then begin to remove blemishes.
| | 00:41 | And one of the reasons we're using the Healing brush versus the spot
removal tool is because it will help us as we are matching areas
| | 00:50 | of tone, so I really like to use this tool versus spot.
| | 00:55 | And also, I have so many spots that I need
to be able to sample good areas of tone.
| | 01:02 | You'll notice that my tool currently is, on the
Options bar, that it's not selected to Align.
| | 01:09 | The reason is that in order to deal with these areas, there
isn't really any good area of tone, so I have that checked off.
| | 01:17 | I'll check it back on when I want the source
sample and the healing to travel together.
| | 01:25 | So I'm clicking through here, cleaning up the image and looking
for any blemish or any detail that may be a little bit distracting
| | 01:32 | because I have a vision to kind of reduce and simplify this image.
| | 01:36 | I'm not going for realism; I'm more going for mood here.
| | 01:41 | Quick comment on the Healing brush, if when you get to areas like this,
when there's an area of contrast, when there's sometimes when you heal;
| | 01:47 | let's zoom in so you can actually see that, it
broadened the darker tones into this lighter area.
| | 01:52 | That's a problem.
| | 01:53 | To prevent that, grab your Lasso tool, select the area
first, J to go back to the Healing brush, and then heal.
| | 02:00 | And you'll notice that it won't bring in those tones.
| | 02:03 | Another thing that you want to do is have your Healing brush about the size
of the blemishes, and you'll notice that this is just a lot of detail work.
| | 02:10 | We need to get down to the sand and clean up some of these areas.
| | 02:14 | You want to be really careful when healing to not create any
kind of a repeating pattern, like I just did right there.
| | 02:21 | Perfect timing.
| | 02:22 | In this case if you notice, I have two
highlights in the sand that are identical.
| | 02:28 | That is uno problema.
| | 02:30 | Tengo que irregarlo.
| | 02:32 | I have to fix that because if any eye for
that matter sees repetition like that in tone
| | 02:39 | or shadows it will know that, it will just be very distasteful to the eye.
| | 02:43 | So we want to prevent that and the way that we
can prevent it is from sampling multiple areas.
| | 02:48 | Okay. So you get the gist on how we're going to be working on this image.
| | 02:52 | Cleaning it up initially, want to go through an initial clean up like this.
| | 02:56 | Let's look at our before and after so far.
| | 02:58 | Okay, we're going the right direction.
| | 03:00 | Now we have this big area that we want to retouch, and
we're going to need to do that by copying the background layer.
| | 03:07 | We'll copy the background layer and name this "clean up patch".
| | 03:12 | The patch to it, you'll need to actually have all the information there.
| | 03:16 | You can't patch to a new layer.
| | 03:18 | Select the Patch tool by pressing Shift+J and make
a selection around the area that you want to repair.
| | 03:26 | In this case, we have Source checked by default,
which means we're going to drag this to a good source
| | 03:32 | of information, and voila we now have that cleaned up.
| | 03:36 | My patch left a little bit of edges on the selection area, so I'm
going to take the Healing brush, Shift+J a few times, and then Option+click
| | 03:46 | and I want to clean up the edges so that those are not discernable.
| | 03:51 | Alright, well you get the gist of how we're going to do
our clean up and we're going to do that in multiple stages.
| | 03:55 | I'm going to stop the movie here and do that work, because it
will just take a long time to watch that, a lot of clicking.
| | 04:01 | But the areas I'm going to work on are the sand down in here.
| | 04:04 | I'm going to work to remove all of the kelp from the sand, the
leaf back there, the other kelp and some of the debris in the sand,
| | 04:12 | and I'll go through that, and then catch up with you in the next movie.
| | Collapse this transcript |
| Nature 3| 00:01 | >> Male Speaker: All right, welcome back.
| | 00:02 | That took longer than I expected.
| | 00:04 | I worked on this file quite a while ago and had to put in the time.
| | 00:08 | So clicking through the cleanups, we can see if we
click on those layers there's simply a lot of healing,
| | 00:15 | a little bit of patchwork and a lot of work with the sand.
| | 00:20 | And most of this has all been done with the Healing brush.
| | 00:23 | Almost all of it.
| | 00:24 | Some of it a little bit of copying and pasting.
| | 00:26 | The one problem I'm noticing with my sand in
the foreground here is that it's pretty soft
| | 00:30 | and that's probably happened to yours if you've worked on it as well.
| | 00:34 | So I want to add some noise back to that area.
| | 00:36 | And this will work pretty well because
sand, by its nature, has grain or noise.
| | 00:42 | So what we're going to do is turn off the two
background layers so we just have all of these layers
| | 00:48 | of our healing, and we're going to merge these layers.
| | 00:51 | Shift+Option+Command+E on the Mac, on the PC that's Shift+Alt+Control+E.
And then Option or Alt, click the Eye icon so we just have this layer
| | 01:01 | on top and now all of the healing now is on one layer.
| | 01:05 | We'll title that layer "noise".
| | 01:06 | Navigate to Filter > Noise > Add Noise.
| | 01:11 | We want to add Monochromatic noise, and the amount,
let's see, I'm not sure how much we'll do here.
| | 01:19 | Well, about 4 percent looks pretty good to me.
| | 01:22 | Click OK.
| | 01:23 | And now let's Option or Alt, click the Eye icon again, and
turn on our background layers and see how that edit looks.
| | 01:31 | Hey, that looks a lot better.
| | 01:33 | There are a few little problem areas, and I want to lower the Opacity.
| | 01:37 | Actually, that looks pretty good almost as is.
| | 01:43 | I am going to create a mask though, and choose a brush,
and a brush that's a little bit odd, like this one.
| | 01:51 | And I want to paint away some of that noise.
| | 01:56 | The reason is it creates noise in a really uniform pattern,
so what I'm doing here, if you look at my mask before
| | 02:08 | and after, I'm just trying to remove some of those areas.
| | 02:13 | In a little bit haphazard way, I'm going to change my brush size.
| | 02:18 | A little bit less noise where it's out of focus back there, right?
| | 02:21 | I don't need to add more noise to that.
| | 02:25 | And then look at what the mask is looking
like and let's turn everything else back on.
| | 02:32 | Now we have our before and after and now that I'm seeing the noise
on the elephant seal, it's making me realize I need to take that out.
| | 02:40 | That doesn't look good at all.
| | 02:42 | So go ahead and just mask that out all together.
| | 02:45 | The added noise there is a little bit distracting
because that fur is actually pretty soft and smooth.
| | 02:52 | I'm going to pull it out in the background, too.
| | 02:53 | I don't want to add any extra noise where things are out of focus.
| | 02:57 | So there is our before and after.
| | 03:00 | Let's now zoom in and work on the nose.
| | 03:03 | We'll create a new layer.
| | 03:04 | Shift+Command+N, or Shift+Control+N on the PC.
| | 03:08 | Press Command+spacebar to toggle to the Zoom tool.
| | 03:11 | Whoa, that was a little bit too close.
| | 03:14 | Control+spacebar will do that as well.
| | 03:16 | And here we're going to use the Clone Stamp tool, S is the shortcut.
| | 03:20 | We're going to take our blend mode to
Darken, sample all layers, and aligned.
| | 03:26 | This darkened blend mode is really cool because
what it will do is it will seek to darken the pixels
| | 03:32 | so it will only affect lighter pixels and it
somehow works to maintain grain much better.
| | 03:39 | So Clone Stamp, if it's not in a blend mode, simply
takes what's there and covers it with something else.
| | 03:47 | In this case, it's working more on the tonal value.
| | 03:50 | So I want to keep going with this to remove
those boogers from this guy's nose here.
| | 03:56 | And we'll do some detail work, zoomed way in.
| | 04:06 | Sample some darker areas, maybe a larger brush for that one there.
| | 04:13 | Let's go back to 100 percent, see how it looks.
| | 04:19 | There's our before and after.
| | 04:22 | Very cool.
| | 04:23 | Alright, there's more to do and we'll do that in the next movie.
| |
|
|
