IntroductionWelcome| 00:00 | >> Michael Ninness: Hello, my name is Michael Ninness.
| | 00:02 | I'm the executive director here at lynda.com.
| | 00:04 | I'm very pleased and privileged to be your guide through Photoshop CS2.
| | 00:07 | These movie-based tutorials are designed for beginning users
who what to learn the essentials of Adobe Photoshop CS2.
| | 00:12 | This training begins with an overview of the software, including
simple functions such as managing documents and managing palettes.
| | 00:19 | And then it quickly moves on to cover more specific
topics such as image adjustment, manipulation,
| | 00:23 | tone and color correction, cloning, healing, and other more advanced tools:
| | 00:27 | working with layers, masks, type blending modes, and so on.
| | 00:31 | If you are a Premium subscriber to the Online
Training Library or have purchased the CD-ROM version
| | 00:36 | of this training title you can access the exercise files that accompany
the training, allowing you to follow along and learn at your own pace.
| | 00:42 | I certainly hope you enjoy learning from me as
much as I enjoyed recording this title for you.
| | 00:46 | Cheers.
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1. Interface EssentialsThe Default Workspace| 00:01 | >>Michael Ninness: Let's spend a few minutes here
talking about the default workspace in Photoshop CS2.
| | 00:05 | As we take a look at the top of the screen we have, of
course, your basic Menu bar with all your menu commands,
| | 00:10 | but right below that is something very important called the Options bar.
| | 00:14 | And this is a contextual palette, or contextual bar
that changes based on the tool that you have selected.
| | 00:19 | So currently we have the Move tool selected, right here
with the little Pointer tool and the directional arrow tool.
| | 00:25 | And you'll see that the controls that are available to me, the
options that are available to me, are contextual to that Move tool.
| | 00:31 | So if I switch to a different tool, let's say the Crop
tool, then I've got options that are specific to that tool.
| | 00:38 | We'll talk more about that later.
| | 00:39 | And of course on the left-hand side is the Tools
palette, where you can access all your tools.
| | 00:45 | You have your Document window.
| | 00:47 | And on the right-hand side, you have your default palette arrangement.
| | 00:52 | One other thing to mention about the Options bar is that you
have this one-button access to something called the Adobe Bridge,
| | 00:58 | or Go To Bridge, and if I click that, that will launch the Bridge.
| | 01:02 | And this takes you to a separate application where you can
look for files, see thumbnails, do some other functions.
| | 01:09 | There will be a separate movie on just the Adobe Bridge, but for
now that's just a one quick way to jump back to the Adobe Bridge.
| | 01:15 | If you want to get back to Photoshop, the keyboard
shortcut for that on the Mac is Command + Shift +
| | 01:20 | O as in open, and on PC it would be Control + Shift + O.
| | 01:24 | And that's a way to toggle back and forth via
the keyboard between the Bridge and Photoshop.
| | 01:28 | So just doing Control + Shift + O, or Command + Shift + O, clicking
that button takes you there, or Command + Shift, or Control + Shift + O.
| | 01:34 | To the right of the Bridge button is something called the
Palette Well, and this is where you can actually dock palettes
| | 01:40 | that you don't necessarily want open on your screen on the
right-hand side, but you don't want them closed altogether.
| | 01:45 | You can drag the tabs into what's called the Palette Well.
| | 01:48 | And if you roll over a tab, it actually brings that
tab to the front to show you what that palette is.
| | 01:53 | If I click on one of the tabs, it pops down temporarily,
and when I click outside of it, it goes away.
| | 01:58 | So back to the palettes over here on the right. I call these
the default palette groups as well: there's the Navigator group,
| | 02:04 | the Color group, the History group, and the Layers group.
| | 02:08 | And what I mean by that is, you know, layers;
it has channels and pads in it as well.
| | 02:13 | History has actions with it, Color has swatches and
styles, and the Navigator palette has info and Histogram.
| | 02:18 | Now by default, every one of these palettes has a unique
F key assigned to it, to open and close the entire group.
| | 02:25 | So for instance, if I were to press the F7 key,
that would open and close the Layers group.
| | 02:30 | The F8 key would open and close the Info group,
and then F6 would open and close the Color group.
| | 02:37 | Option F9 would open up the History and Actions group.
| | 02:42 | What's great about that is that every palette in a
particular group has the same keyboard shortcut, technically.
| | 02:47 | So for instance if I want to get to the Channels palette, and if
it's not open, if I were to hit the F7 key to open the Layers group,
| | 02:55 | then I could just click on the Channels Path,
or the Channels tab to select that palette.
| | 03:00 | So I don't have to worry about memorizing, you
know, all these different shortcuts for each
| | 03:04 | of these palettes, I only need to remember the one for the group.
| | 03:07 | Basic rule of thumb: press F6 through F9,
you'll get to the palette you're looking for.
| | 03:12 | Eventually over time you'll memorize the
ones that you were actually wanting.
| | 03:15 | That's just a lot easier than going up to the Window
menu and finding the specific palette you're looking for.
| | 03:20 | You can see here the default F key shortcuts to open up those groups.
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| Palette Management| 00:01 | >>Michael Ninness: One of the nice things about the Adobe
interface, specifically with the Photoshop interface,
| | 00:05 | is that these palettes can be customized, palettes here on the right.
| | 00:07 | You can reorganize them, regroup them with other
palettes, minimize them, close them, and so forth.
| | 00:14 | This is just again, like I said in the previous
movie, this is the default arrangement of them.
| | 00:18 | You might find that the default arrangement
doesn't necessarily work for you.
| | 00:20 | For instance, if you're going to start working with multiple layers,
currently the way the Layers palette is configured I've only got enough room
| | 00:26 | in the Layers palette to show maybe about six or seven different
layers here before I'm going to have to start scrolling that list.
| | 00:32 | It may be that I want the Layers palette
to be much taller so I can see more layers.
| | 00:37 | So I need to start reorganizing the palettes around my screen in a way
that makes more sense to me, so to move an entire group, of course,
| | 00:44 | you move the Title bar, and that you can use
to move the palettes around on your screen.
| | 00:49 | If you're on a Windows machine, you can resize a palette group from any
edge, so I can go to the bottom, or the top, or the left, or the right.
| | 00:56 | If you're on a Mac, you can only resize a palette group from the
bottom right hand corner, so you can make it taller that way.
| | 01:02 | Since I'm recording this on a Windows machine, I'll go ahead and
just make the Layers palette taller here, and now I've got more room.
| | 01:08 | One of the things I advise new users to do is, I see them
all the time constantly moving their palettes out of the way;
| | 01:14 | they're fighting with their palettes, they start dragging palettes
on top of other palettes, and they start overlapping things,
| | 01:21 | and it just gets to be kind of a nightmare of palette management.
| | 01:25 | So what I recommend is doing a couple of tricks.
| | 01:27 | So first of all, like I said, you can resize palettes,
move them out of the way, move them as a group.
| | 01:32 | If you click on a tab of a palette, not the title
bar but the tab, you can rip the palettes out
| | 01:38 | and reorganize them, and regroup them with other palettes.
| | 01:41 | So for instance, let's say I wanted the, for whatever
reason, the Styles palette to go with the Actions palette.
| | 01:46 | I could grab the tab of the Styles palette, move it into the Actions
group here and let go, and I've now combined those two palettes together.
| | 01:54 | A lot of you may have already known that,
that's typical for all Adobe applications.
| | 02:00 | What some people don't realize is that you can actually dock
palettes as well, and that's slightly different than grouping them.
| | 02:06 | So a docked palette is this, let's say I wanted
to see the Color palette and the Swatches palette
| | 02:11 | at the same time, but I wanted them to act as one palette.
| | 02:14 | So I'm going to go ahead and click on the Swatches tab, and drag it out
of the Color palette, so now they're two separate floating palettes.
| | 02:20 | If I click on the Swatches palette again, the tab, and start
dragging it to the bottom of the Color palette, and then just beyond,
| | 02:28 | see when I first move to the bottom it wants
to snap and align itself to the Color palette.
| | 02:32 | If I keep dragging slightly into the Color palette, just
towards the bottom, you'll see a black rectangle there,
| | 02:38 | and then when I let go I've now combined these two
palettes into a single palette, they're now docked.
| | 02:44 | And I can tell they're docked because the Swatches palette itself
doesn't have a blue Title bar, nor of course on the Mac
| | 02:52 | the gray Title bar above the Swatches tab itself, so now
if I press the Title bar of the group they all move together.
| | 02:59 | But it also means they share the same keyboard
shortcut, so F6 opens and closes the Color palette,
| | 03:04 | and since swatches is now attached to that, or docked to it, they act as a unit.
| | 03:10 | So I want to give you a clue as to how I like to set up my workspace.
| | 03:14 | I'm going to go ahead and move, rip out the Navigator palette,
take that out of the screen here, out of that group.
| | 03:21 | I'm going to click on the Histogram palette, and then
I'm going to dock Layers to the bottom of Histogram.
| | 03:28 | And we'll cover what a Histogram is later on.
| | 03:31 | Once I've got Layers docked to Histogram, I'll then
drag the Channels palette and regroup it with Layers.
| | 03:38 | And if I want I can put Paths in there as well.
| | 03:41 | Unfortunately, I can't dock an entire group to the bottom
of another palette, I have to do this one at a time,
| | 03:45 | and then regroup the palettes I want to put together.
| | 03:48 | But then I'll take the History tab, and I'll dock that to the
bottom of the Layers palette. Let's bring Layers back to the front.
| | 03:58 | And then I'll throw Actions into the History group.
| | 04:01 | And what I've done here is I've created one palette.
| | 04:04 | One, what I call one uber palette that I can
go back and forth and customize a lot easier.
| | 04:10 | And one of the pitfalls about these floating palettes is that when
you resize one of them, like let's say I resize the Navigator palette
| | 04:16 | and make it taller, you see that I'm covering
up the palette that's above it.
| | 04:20 | The Styles palette doesn't get smaller as I drag the Navigator
palette up, and it doesn't move itself out of the way.
| | 04:26 | But now these palettes over here are docked, I can actually
make the History palette taller temporarily if I needed to,
| | 04:34 | and the Layers palette just gets shorter as I do that.
| | 04:36 | And that's happened because I've docked these two palettes together.
| | 04:40 | So this is how I typically set up my screen, is I've got Histogram
and Info at the top grouped, Layers docked underneath it with Channels
| | 04:48 | and Paths added back to it, and then History and Actions
docked underneath, and this is my primary palette setup.
| | 04:55 | Then I can just decide where I want the rest of the palettes
that I don't really care about the majority of the time.
| | 04:59 | So I'll put Styles in with Navigator, just move it at the top.
| | 05:03 | I'll rip out Swatches again and regroup that with Color.
| | 05:05 | Let's try that again.
| | 05:07 | You've got to drag the tab inside the other group,
and I'll just align these palettes like so,
| | 05:14 | and since I'm not going to use them very often I'm going to just go ahead
and close them and leave these palettes open the majority of the time.
| | 05:21 | Great. So this is a much more useful, I think, way to manage my palettes.
| | 05:25 | I've taken advantage of a much taller Layers palette.
| | 05:28 | If I need to see more layers, or fewer layers, or more history steps,
| | 05:32 | I can resize that without worrying about
covering up one palette over another.
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| Customizing Your Workspace| 00:01 | >>Michael Ninness: From the previous movie, I showed you how to change the
default palette arrangement into something that looks more like this,
| | 00:07 | where I've created what I call this uber palette on the right.
| | 00:09 | I don't mean to communicate to you that this is the way I think you
should set up your palettes, this is just the way I've set them up.
| | 00:15 | I think it's appropriate for me.
| | 00:17 | The point is that you can customize the
Photoshop workspace to whatever works for you.
| | 00:22 | I chose to create this tall, docked palette because I think it's
easier to resize the Layers palette and the History palette;
| | 00:30 | those are two palettes I use most of the time, probably 90
percent of the time, when I'm going to a particular palette,
| | 00:36 | because this is where I navigate around my document,
and this is where I can undo and redo in History.
| | 00:42 | The point is that you may now, after you've set up your workspace
to suit your needs, you may want to record that or save it,
| | 00:49 | and give it a custom name so that if things get
screwed up again, or you want to have more than one
| | 00:53 | of these workspace settings, you can easily
switch back and forth between them.
| | 00:56 | To do that you can go to the Window menu, pull down to
Workspace, and then say Save Workspace and give this a name.
| | 01:03 | So we'll go ahead and hit Save.
| | 01:05 | And I'll just name it like, My Uber Palette.
| | 01:09 | And, new to Photoshop CS2, workspaces can save more than just the
palette locations, they can also save any changes you've made
| | 01:18 | to the keyboard shortcuts, and also any changes you've made to the menus.
| | 01:23 | We'll cover that later on in a different movie.
| | 01:25 | But for now I'm just saving my palette locations the
way I've configured my palettes over here on the right.
| | 01:30 | Go ahead and hit the Save button.
| | 01:32 | And now if I accidentally screw something up, if I move the Layers palette
out, I ungroup it, or if I open up another palette, say the Navigator,
| | 01:40 | and I've got these things all covered up on top of each other now,
and I'm just wanting to get reset back to where I had saved it.
| | 01:47 | I can go back in the Window menu to Workspace and pull down to the
| | 01:51 | My Uber Palette workspace that I saved, and
it just gets me right back to where I started.
| | 01:57 | One other thing about palette management, again
the strategy is to set up the palettes one time,
| | 02:02 | get them in the location you want them
to be, and then just leave them there.
| | 02:06 | To protect yourself, save it as a workspace so you can
reset it back, but when you're not working with a palette,
| | 02:12 | you don't necessarily need to close them and get them out of the screen,
you could just simply hide them and you can hide them with the Tab key.
| | 02:18 | So if I press the Tab key on my computer,
the palettes are hidden temporarily.
| | 02:22 | They're not technically closed; they've just been hidden.
| | 02:25 | If I hit the Tab key again, the palettes come back.
| | 02:28 | So if I hit the Shift key and then Tab, hold Shift and press Tab,
both on Mac and PC, I'll hide everything but the Tools palette.
| | 02:35 | So it's just a slight twist on that.
| | 02:37 | Sometimes it's easier just to press the Tab key to get the palettes
out of the way, when you don't need to see what's going on in a palette.
| | 02:43 | It can be distracting from what you're doing working on the image.
| | 02:46 | Then when you want to bring the palettes back, just hit the Tab key
again and you're right back to having your palettes on your screen again.
| | 02:54 | Again, what's nice about the custom menus, or the custom workspaces,
is if I've screwed things up, or if I've created two of these
| | 02:59 | and I want to switch back to them, I can just
go back to the Window menu, over to Workspace.
| | 03:03 | This time I'm going to take us back to the default workspace where the
palettes are arranged as they were when you first installed Photoshop.
| | 03:11 | This could be a great spot if you wanted to set up a
different workspace for a different particular task.
| | 03:15 | Maybe you're doing Web animation, or retouching, or color correcting, and
you wanted to create a different workspace for each one of those workflows.
| | 03:24 | If you go to the Window Workspace menu again, you'll see that Photoshop
now actually ships with some of these workspaces already set up.
| | 03:31 | So for instance, if I was going to do some Web
design work, I could switch to Web Design.
| | 03:35 | It gives me a warning saying: "Hey, when you do this some keyboard shortcuts
have been changed, would you like to apply that to this workspace?"
| | 03:41 | I'm just going to say no for now.
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| Customizing the Menus| 00:01 | >>Michael Ninness: Another customization feature that is actually available
in CS2 for the first time is the ability to customize your menus.
| | 00:08 | Now if you're just beginning this feature may not make all that much
sense to you, because you probably need to know a little bit more
| | 00:15 | about Photoshop before you know which menus to
customize to turn things on or off and so forth.
| | 00:21 | But even if you are just a beginner, there is one portion of this feature
that could be helpful, and another Window menu - I'll show that to you.
| | 00:27 | Under Window Workspace, there's a preset here called What's New in
CS2, and if you look at the menus here first, just as I go through these,
| | 00:37 | you don't see anything special, the menus
are just normal as they always have been.
| | 00:42 | Let's go back to Window Workspace and then this time let's choose What's
New in CS2, and it's going to ask you: "Do you really want to modify this?"
| | 00:50 | Yes, we're going to and we'll not show that warning again.
| | 00:53 | Now if I go back up to the Window menu, or any of
the other menus, you'll see that anything that's new,
| | 00:58 | a new feature in Photoshop CS2, has been labeled blue.
| | 01:02 | So the ability to assign a color label to a menu
item is part one of the customization of menus.
| | 01:09 | And in this particular context, anything that's a new
feature in Photoshop CS2 has now been labeled blue.
| | 01:14 | So this is a great way if you're upgrading, just
to see what exactly is new in the product.
| | 01:19 | So under the Mode menu, you've got the ability to have
high bit or 32 bits per channel images and so forth.
| | 01:26 | A new adjustment is the exposure control.
| | 01:28 | Anyway, just being able to colorize the
features that are new is very helpful.
| | 01:32 | If you want to get back to the defaults where nothing is labeled, you
can go back to Workspace and you can either choose Default Workspace,
| | 01:39 | which will reset all the menus, all the keyboard shortcuts, and all the
palettes to their defaults; or you can choose to reset only the menus,
| | 01:47 | or only the keyboard shortcuts, or just the palettes.
| | 01:49 | We'll go ahead and just choose Default Workspace to get
everything back to the way it was just out of the box.
| | 01:54 | Now, if there is a particular menu command that
you want to add a label to yourself, you can do that.
| | 02:00 | So let's say, for instance, you were having a problem remembering
which menu the Unsharp Mask filter was under, so under Filter,
| | 02:08 | Sharp and Unsharp Mask, you want to colorize this
menu command to be red and its containing menu to be red
| | 02:15 | as well so you can help identify it a little bit easier.
| | 02:18 | So let's go back to Window, Workspace and choose Keyboard Shortcuts and
Menus, that'll open up a dialog box where we can choose the Menus tab.
| | 02:26 | And if I scroll down to Filter, and then scroll down this list until we
get to the Sharpen subcategory, I can click on Sharpen and when I click
| | 02:37 | on the word None, I get a pop-up menu where I can choose a color.
| | 02:40 | So I'm going to choose red to highlight or label the Sharpen submenu,
| | 02:44 | and then for Unsharp Mask we're also going to make
that red, and I'll go ahead and click OK.
| | 02:51 | So now if I go to Active Filter you'll
see that Sharpen has been labeled red.
| | 02:54 | If I go down to Sharpen the command inside Sharp
and Unsharp Mask has been labeled red as well.
| | 02:59 | So you can customize any of these menu commands and make them colorized.
| | 03:03 | Colorize them in different sets; maybe you want
certain ones to be green, certain ones to be red,
| | 03:07 | because that can mean different things to you, whatever you want.
| | 03:10 | The last thing you can do with the Customize Menu Command feature,
| | 03:14 | is you can turn menu commands off that you
don't necessarily think are useful to you.
| | 03:19 | So let's say under the Image menu, I don't
ever use Apply Image or Calculations.
| | 03:24 | Maybe I don't really want them taking up space in my menu, I just want to
remove the distraction, remove the noise, of features that I never use.
| | 03:32 | So let's do that.
| | 03:33 | We can go to Window, Workspace, and Keyboard Shortcuts and Menus again.
| | 03:39 | And if I scroll up to the Image menu, which is what we were just looking
at, and then scroll down to the commands that we don't care about,
| | 03:48 | go down to Apply Image and Calculations,
you'll see that there is an eye
| | 03:51 | in the visibility column next to the menu command that we're talking about.
| | 03:55 | So I'll turn off the eye for Apply Image, and turn off
the eye for Calculations, and go ahead and click OK.
| | 04:01 | Now if I go back to the Image Menu, you'll see
that those commands are not listed anymore.
| | 04:05 | And some of you might be a little worried about this feature.
| | 04:08 | Like, OK well, I've turned menu commands off, I
don't remember doing that. How do I get them back?
| | 04:13 | You can either go back to the Window, Workspace, Keyboard
Shortcut and Menus command, or if any menu has been modified,
| | 04:21 | if any commands have been turned off, you'll see at the bottom of the
Image menu there is a command here that says Show All Menu Items.
| | 04:28 | And that will bring back any of the hidden menu items in this
particular menu, and bring them back and make them visible again.
| | 04:34 | So it's a way to get them back menu-by-menu.
| | 04:36 | And then, of course, if you want to reset the entire Applications
menu back to the default, again you can go to Window, Workspace,
| | 04:43 | and this time I can just say, Reset Menus, but
leave my palettes and my keyboard shortcuts alone.
| | 04:49 | And then it says: "Do you really want to save these changes, yes or no?"
| | 04:51 | I'm going to say No. And now if I go back to
the Image menu, everything's back to normal.
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| Customizing the Keyboard Shortcuts| 00:01 | >>Michael Ninness: One other customization feature in Photoshop
is the ability to customize your keyboard shortcuts.
| | 00:07 | Some menu commands may have shortcuts that are
different than they are in other applications.
| | 00:11 | You may not like that; you may want to synchronize them.
| | 00:14 | Or some menu commands in Photoshop may
not actually have a keyboard shortcut yet.
| | 00:18 | A good example of that is something under the Image, Adjustments menu,
something called Shadow and Highlight. This is a command that you'll end
| | 00:25 | up using a lot to adjust the tonality of an image, and you can
see it currently doesn't have a keyboard shortcut assigned to it.
| | 00:32 | I may actually want to assign a keyboard shortcut
to that, so where would you go to do that?
| | 00:35 | It's a little joke - what's the keyboard
shortcut for the Keyboard Shortcut Editor?
| | 00:41 | When in doubt, hold down the entire left-hand side of your keyboard, on
the Mac it's Command + Option + Shift, on the PC it's Control + Alt + Shift,
| | 00:47 | and then K, opens up your Keyboard Shortcut Editor.
| | 00:51 | Now for you menu people, under the Edit menu is
Keyboard Shortcuts, takes you to the same thing.
| | 00:58 | This brings up the Keyboard Shortcut Editor,
and it defaults to the Application Menus.
| | 01:03 | You can actually choose menu shortcuts for palettes, the fly-out
menus in palettes, or you can actually change tool shortcuts as well.
| | 01:10 | You know, if you don't like that, the V key is used for
the Move tool, you could change that if you wanted to.
| | 01:16 | Let's go back to the Application Menus, and we
said we wanted to add a keyboard shortcut to Image,
| | 01:21 | and then Adjustments, and then Shadow and Highlight.
| | 01:25 | And the way you do that is you just click on the
command that you want to assign a shortcut to.
| | 01:30 | Now if you assign a shortcut, or attempt to assign a
shortcut that is already being used, Photoshop will warn you.
| | 01:37 | So to assign a shortcut you simply press the key
combination that you want to assign to this command.
| | 01:43 | So let's do something that I know is in use somewhere else.
| | 01:46 | We'll do Control + L, and it's going to give me a warning saying:
"Hey, that's already in use, that's the shortcut for Levels."
| | 01:54 | If you want to keep this Control + L and re-map it from
Levels to Shadow and Highlight, you can just click Accept
| | 02:02 | and that'll do that, or you can Accept it and go to Conflict.
| | 02:05 | And what that will do is, it will take you to
the conflicting command, in this case Levels,
| | 02:10 | where you can assign a different keyboard shortcut
to that if that's something you wanted to do.
| | 02:14 | I'll go ahead and take this back to Control + L and make that Levels.
| | 02:19 | It's saying that's now in use to be used for Shadow and Highlight.
| | 02:22 | I'm going to go back to Shadow and Highlight,
and make Shadow and Highlight F11 instead.
| | 02:27 | Again, that may not be something you would want to do on a
Mac, because certain F keys are already in use by the OS.
| | 02:34 | But in this case, since I'm on a Windows machine,
F11 will work just fine for Shadow and Highlight.
| | 02:38 | So I'm going to go ahead and Accept that Conflict
and go ahead and click the OK button,
| | 02:44 | and now when I press the F11 key, I bring up Shadow and Highlight.
| | 02:48 | So that was an example of a menu command that didn't have a shortcut, and
I wanted to change it so that it would have whatever shortcut I wanted.
| | 02:57 | Let's go back to Edit Keyboard Shortcuts.
| | 02:59 | A question I get often when I'm speaking at seminars: "Is there
a way to print out a keyboard shortcut list from Photoshop,
| | 03:07 | a way to get all the keyboard shortcuts that are currently assigned?"
| | 03:10 | And there actually is.
| | 03:11 | If you click the Summarize button, this will generate an
HTML document that you can save out to your hard drive.
| | 03:17 | And then if you wanted to format it you could open it up in Word, or
Excel, or something like that and make it all pretty and then print it out,
| | 03:24 | and you would have your own custom keyboard shortcut list.
| | 03:26 | If you want to save out your shortcut changes as an
actual set, that you can switch back and forth from,
| | 03:32 | you can then click the little Save icon and say, you know, My Shortcuts.
| | 03:38 | To save it to a particular location, I'm going to include
the three letter extension, so KYS for keys.
| | 03:45 | I'll save it to the desktop and then click
Save, and that way I can switch back and forth.
| | 03:51 | So I can go back to the Photoshop defaults where Shadow and
Highlight doesn't have the F11 shortcut, and then click OK.
| | 03:57 | Or if I want to switch back to My Shortcuts, I can do that as well.
| | 04:01 | So it's kind of a nice useful feature to get
Photoshop customized to just the way you want it.
| | Collapse this transcript |
| Tools and Tool Presets| 00:01 | >>Michael Ninness: In this movie we'll take a brief tour
of the Tools palette and talk about tool presets.
| | 00:06 | So the tool I have selected right now is the Move tool.
| | 00:08 | And you see in this group of tools at the top, where
this divider line is, this is the Selection group.
| | 00:15 | This group here, the second group, is the Painting and Retouching group.
| | 00:18 | The third group here is your Vector group, so things like
your Path tools, your Shape tools, and your Type tools.
| | 00:25 | And then this fourth group here is your Information
group, or Navigation group, so your Pan and Zoom tools,
| | 00:33 | and Annotation and Eyedropper and things like that, the Measure tool.
| | 00:36 | Down below, the last group here is your Current Foreground and
Background Colors, they're always defaulting to black and white.
| | 00:44 | The next two icons are for switching in and out of
Quick Mass mode, which we'll cover in a different movie.
| | 00:50 | These three icons here are for switching to different screen modes,
which is covered in a movie all by itself in the Navigation chapter.
| | 00:58 | And in this last row of buttons, this is the Jump To
button, to switch this document over into ImageReady
| | 01:05 | and vice versa when you're in ImageReady to get back to Photoshop.
| | 01:08 | So every tool in Photoshop has a letter assigned to it
that you can just press to switch from tool to tool.
| | 01:14 | And you don't have to hold down any other modifier keys to do this.
| | 01:17 | So for instance if you want to switch to the Marquee tool, you just
press the letter M, and that selects the M, the Marquee tool.
| | 01:23 | If you type the letter L, that switches you
to the Lasso tool, W for Wand, C for Crop.
| | 01:30 | And again, most of these make sense.
| | 01:32 | If you don't happen to know a shortcut for a particular tool, like
for the Slice tool, I think that might be K...yes, I'm right.
| | 01:39 | But let's say I didn't remember what the
shortcut was for a particular tool.
| | 01:43 | If you put your mouse over a tool and just hover it there for a
second, you'll get a tool tip that tells you the name of the tool,
| | 01:49 | and then in parentheses you'll see the letter assigned to that tool.
| | 01:53 | So if I put my mouse over the Magic Wand tool, it tells me it's
the Magic Wand tool and that the W is the key to switch to it.
| | 01:59 | So again, most of these make sense.
| | 02:01 | The Healing Brush tool is J, that's one that doesn't make sense.
| | 02:04 | You might ask, "Well, why is it J?"
| | 02:07 | Why is the Healing Brush J?
| | 02:08 | And that's how you remember it; it's that odd one out.
| | 02:10 | And I just remembered why the Slice tool
might be K, for like K for knife.
| | 02:14 | I know it's a stretch, but work with me.
| | 02:16 | B for Brush, S for Stamp, Y for Art History Brush, E for Eraser,
| | 02:23 | G for Bucket and Gradient tool, R for
Blur, O for Dodge and Burn, and so forth.
| | 02:29 | And then again, the point of this movie is not to have you
frantically writing down these shortcuts as you're watching the movie,
| | 02:35 | but rather to let you know that if you put your
mouse over the tool again it tells you the name
| | 02:38 | of the tool, and gives you the letter assigned to that.
| | 02:42 | Over time your brain will just memorize these, and rather than having
to stop what you're doing in the middle of working on an image,
| | 02:48 | your finger will just go to the key that you need automatically.
| | 02:52 | So, I know that I want to paint something with a brush, I'm just
going to press the letter B and that switches me to the Brush tool.
| | 02:57 | This actually brings up a good point.
| | 02:59 | Currently you might be wondering: "Why is my Brush tool looking like a star?"
| | 03:03 | And here's a little giveaway that my 3-year-old was
playing with Photoshop here a couple hours ago.
| | 03:08 | She wanted to paint with the Brush tool using the star.
| | 03:12 | To reset a tool actually, you can do that in
the Options bar at the top of your screen.
| | 03:18 | It always shows the icon of the current tool you have selected, but if
you right-click on a PC with your mouse, or Control + click with a Mac,
| | 03:27 | you get a little pop-up menu, a contextual menu that lets you
reset either this tool or reset all tools back to their defaults.
| | 03:33 | I'm going to go ahead and choose Reset All Tools.
| | 03:35 | Yes, I want to do that, click OK.
| | 03:37 | If you just click on the pop-down menu, the little icon, you won't
get a Reset menu, you'll get something called the Presets menu.
| | 03:47 | The ability to save settings on a tool and save it as preset and give it a
name so that you can quickly switch back and forth between tool settings.
| | 03:56 | A good use for this would be, let's say, the Crop tool.
| | 03:58 | So if I click on the Crop tool, or press C for the Crop tool, and it
may be that you're creating certain types of print sizes all the time,
| | 04:07 | you're cropping to a particular print size frequently.
| | 04:09 | So what I could do here is type in, let's say, 7 inches
and 5 inches for the height, and a resolution of 300.
| | 04:17 | So I'm going to send this to an inkjet printer,
let's say, and hit Enter to apply those numbers.
| | 04:22 | Now rather than having to constantly type in those numbers again the
next time that I want to do a crop of that particular width and height
| | 04:29 | and resolution, I can click on the drop-down
menu for the current tool and there's a new icon.
| | 04:35 | I wonder if I put my mouse over it, it'll say Create New Tool Preset.
| | 04:37 | You can see that we already ship with a 5 x 7
crop, well let's pretend that that wasn't there.
| | 04:43 | I can click on the new button, give this a
name that defaults to some intelligent name.
| | 04:47 | I might just want to make it simpler and say,
5 x 7 horizontal at 300 dpi, and click OK.
| | 04:56 | Now later on if I come back to the Crop tool
a week later and the values have been changed
| | 05:02 | or they're empty, I can go to the tool icon and choose the preset.
| | 05:05 | If I double-click on the preset that I want, it will
automatically switch the settings to match the preset.
| | 05:11 | Now there's actually a Preset menu, or Preset palette called, Tool Presets.
| | 05:17 | And this can be used one of two ways, you can actually filter
the palette to only show you the presets for the current tool,
| | 05:24 | or you can turn this off, turn this checkbox off,
and have it show the presets for all your tools.
| | 05:29 | And this is a way to switch from tool to tool as well.
| | 05:31 | But you're not just switching to the tool, you're
switching to the tool with those settings applied as well.
| | 05:36 | So if I want to Airbrush Soft Round Brush at 50 percent flow, if I double-
click on that tool, it switches me to that tool and applies those settings.
| | 05:44 | If I double-click on the actual text, it's
going to ask me to change the name of that.
| | 05:48 | I can just hit Escape, the Escape key on my keyboard to get rid of that.
| | 05:52 | Honestly, I don't really find the Tool Presets palette all that useful.
| | 05:55 | It just takes up screen real estate.
| | 05:57 | You always have your Tool Presets available in the Options bar.
| | 06:01 | So whatever tool I have selected, if there are any presets stored
for that tool, if I just go to the drop-down menu for that icon,
| | 06:08 | it shows me basically the exact same thing as the Tool Presets palette.
| | 06:13 | If I turn that checkbox back on, it only show me the presets for that
particular tool, and you'll see with this tool there are no presets.
| | 06:20 | So again, I think having the Tool Presets menu out in the
open is just kind of a waste of time, or at least screen real estate.
| | 06:26 | So a couple of other things to mention about tools, if you look in the
Tools palette, you'll notice that some of the tools have a little triangle
| | 06:33 | or arrow in the bottom right-hand corner of that tool.
| | 06:37 | Each one of these tools is in what we call a tool slot.
| | 06:40 | So if you see a little triangle or arrow at the bottom right-hand
corner of a tool that means there's more than one tool in that slot.
| | 06:48 | You only see one tool at a time, the current tool for that
group or that slot, but if you click and hold on a tool
| | 06:55 | that has a little triangle you'll get a pop-down menu, or pop-up
menu, that shows or lists all the other tools available in that slot.
| | 07:02 | You can simply choose from that pop-up menu.
| | 07:04 | You notice that some of the tools, when you click on the slot, give
you the same letter shortcut that the default slot for that tool has.
| | 07:14 | So the Lasso tool, if you press the letter
L that switched you to the Lasso tool,
| | 07:17 | but you'll see that there's also a Polygon
Lasso tool and a Magnetic Lasso tool.
| | 07:22 | We'll talk about what these specific tools do later on.
| | 07:25 | But you'll see they all have the same shortcut. Well, how does that work?
| | 07:28 | Well, if I press the letter L, that switches me to the Lasso tool.
| | 07:32 | If I press the letter L again nothing else happens,
it's not actually switching me to a different tool.
| | 07:37 | By default, you need to hold down the
Shift key, and then press the L again.
| | 07:41 | So Shift + L will cycle me through the different Lasso tools in that slot.
| | 07:47 | Same thing if I press the letter M, I get the Marquee tool.
| | 07:50 | It's currently on the Elliptical Marquee tool.
| | 07:53 | If I hold down Shift and press M again, I toggle back and forth
between the Elliptical Marquee tool and the Rectangular Marquee tool.
| | 08:01 | Now if you don't like the fact that you have to hold down the Shift
key to toggle back and forth between the tools in these slots,
| | 08:07 | you can actually change that as a preference
under the Edit menu on Windows, Edit Preferences,
| | 08:13 | or the Photoshop Menu on the Mac, Preferences, will be a general category.
| | 08:18 | We'll go ahead and choose that category.
| | 08:20 | And one of the checkboxes here is Use Shift Key for Tool Switch.
| | 08:26 | If you turn that off, then just pressing the letter by
itself will cycle you through the tools in a given slot,
| | 08:32 | holding down the Shift key is necessary when this is turned on.
| | 08:35 | So we'll go ahead and leave it on for my preference, click OK.
| | 08:38 | And again, certain tools don't have letters assigned to them.
| | 08:41 | Like these single row or single column Marquee tools, these
aren't tools you'll use very often, so they don't cycle through.
| | 08:48 | Just keep in mind though, if there's a tool that you're looking
for, it may not be present in the current slot for that tool,
| | 08:56 | so press on the tool and you'll get a pop-up menu for the slot.
| | 09:00 | One I always kind of forget is the Gradient tool and the Bucket tool.
| | 09:03 | Those two are grouped together, and sometimes I'll be
looking for the Gradient tool and I can't find it anywhere.
| | 09:08 | I just now know that it's under the Bucket
tool; G is the letter for that group.
| | 09:14 | Shift + G will cycle me through to Gradient and Bucket.
| | Collapse this transcript |
| Essential Preferences| 00:01 | >>Michael Ninness: I'm going to walk through some basic preferences that
you should be aware of when you're first starting out with Photoshop.
| | 00:06 | To get to the Preferences on the PC it's under Edit, Preferences.
| | 00:09 | I believe on the Macintosh it would be under the
Photoshop menu on the far left of your screen.
| | 00:13 | And you can either jump to the specific preference that you want to change,
or you can just start at the very basic ones, the General Preferences,
| | 00:21 | which is also either Command, or Control + K,
and brings you up to the rather large dialog box.
| | 00:26 | And I'm not going to run through every single one of these options here.
| | 00:29 | We'll talk through the ones that are really
important to know as a beginner.
| | 00:32 | The first one is Image Interpolation.
| | 00:35 | The default is set to Bicubic, and if you want more
specific information about what I'm talking about here,
| | 00:40 | in the Digital Image Essentials chapter, I talk
about resizing images and re-sampling them,
| | 00:47 | and we talk specifically about what the interpolation engines are doing.
| | 00:51 | But as a summary here, generally when you are making
images smaller, you want to choose Bicubic Sharper.
| | 00:58 | When you're making images larger, you want to use Bicubic Smoother.
| | 01:02 | Normally this is an option you would choose in the Image
Size dialog box, but you can set the default setting
| | 01:08 | for the Image Size dialog box here in your Preferences dialog.
| | 01:11 | I'm going to choose Bicubic Sharper, because a majority of the
time you're making your images smaller rather than larger.
| | 01:18 | And it's important to choose the Interpolation algorithm as a
preference here, because this also controls what algorithm is being used
| | 01:26 | when you transform or scale or crop an image inside Photoshop.
| | 01:31 | History States is another important one.
| | 01:33 | This basically determines the number of undos you have in Photoshop.
| | 01:37 | The default is 20.
| | 01:39 | The higher the number, the more memory, or the more
RAM, Photoshop needs to use to keep steps in memory.
| | 01:45 | So that's why the default side is actually relatively small,
but I find that I rarely need to go back more than 20 times.
| | 01:54 | So just keep that in mind.
| | 01:55 | You can increase the number, but it also increases
the amount of RAM that Photoshop will need.
| | 01:59 | Show Tool Tips, you've seen in earlier movies
that, you know like when you mouse over a tool,
| | 02:04 | it will tell you the name of the tool and
give you the keyboard shortcut for that.
| | 02:08 | If you find the Tool Tips annoying over time as you become more advanced,
| | 02:12 | if you don't like those little yellow balloons flashing
everywhere on your screen, you can certainly turn that off.
| | 02:18 | This one, Zoom Resizes Windows, it's turned off by default.
| | 02:21 | Let's go ahead and turn that on.
| | 02:23 | Actually, leave it off first and then we'll come back and turn it back on.
| | 02:26 | And if you're using the keyboard shortcut to resize your image,
Control + Plus or Minus, or on the Mac Command + Plus or Minus.
| | 02:34 | If I do Control + Plus, you'll see that the image gets larger,
| | 02:39 | but the Document window itself does not get larger,
only the image inside the window is getting larger.
| | 02:44 | Or if I go down, Control or Command + Minus, the image is
getting smaller, but the Document window is not changing size.
| | 02:51 | If I go back to the Preferences Dialog, Control or Command + K, and turn
on the Zoom Resizes Window shortcut, and now go ahead and click OK.
| | 03:01 | Now when I do Control + Minus, you'll see
that the window size also gets smaller.
| | 03:05 | And if I do Control + Plus, the window size also gets bigger, up
to the maximum allowed by what we call the Palette Protection.
| | 03:12 | Once it gets to the edge of the palettes it's going to stop growing.
| | 03:15 | Control + Minus will take us back down.
| | 03:17 | I actually really like this modified behavior, so back in my
preferences I'm going to leave that on, Zoom Resizes Windows.
| | 03:25 | And then again that only affects the keyboard shortcut method for
zooming the Command + Plus or Minus, or Control + Plus and Minus on Windows,
| | 03:32 | it does not affect using the Magnifying Glass tool itself, which is
another reason why I like keeping that shortcut that's turned on,
| | 03:40 | the Zoom Resizes Windows checkbox on,
because now I've got two ways to zoom.
| | 03:44 | If I use my Magnifying Glass tool, I know that the
Document window size will not get larger or smaller.
| | 03:50 | And if I use the keyboard shortcut, Plus or Minus, I
know that the Document window will get larger or smaller.
| | 03:55 | So I can choose which one I want to use based on what I want to do.
| | 03:59 | Another kind of controversial one is the Use Shift Key for Tool Switch.
| | 04:04 | In previous versions of Photoshop it used to be that you didn't
have to hold down the Shift key, and then they came out with a version
| | 04:09 | where you did have to hold it down, some people got upset by that.
| | 04:13 | So now it's a preference.
| | 04:14 | If you don't want to be able to hold the Shift key down to switch
from tool to tool within a given slot, you can turn that off.
| | 04:20 | This automatically launched Bridge, this is new to Photoshop CS2.
| | 04:23 | the Bridge, the Adobe Bridge, is a separate application
that can be used to preview and launch files.
| | 04:30 | You can do a bunch of other stuff inside the
Bridge as well, like work with camera raw files.
| | 04:34 | There's a separate chapter just on the Bridge
in this title, so you can check that out.
| | 04:38 | What this preference does is it automatically
launches the Bridge when you open up Photoshop.
| | 04:43 | It launches it in the background so that the first time you go click
on the Bridge button, which you can see back here in the background,
| | 04:50 | or you use the Menu command, you won't have to wait for the Bridge
to launch the first time, it will already be open in the background.
| | 04:56 | So I typically like to leave that on so that the
Bridge does launch whenever I open up Photoshop.
| | 05:02 | Another option here is the Zoom with Scroll Wheel,
if you have a mouse that's got a scroll wheel on it,
| | 05:06 | which a large percentage of you do unless you're on a Macintosh.
| | 05:10 | Actually just as a pet peeve, I recommend if you're on the Mac,
| | 05:14 | invest in a two- or three-button mouse, or at
least a two-button mouse with a scroll wheel.
| | 05:20 | Photoshop is one of the applications that
does very well with contextual menus.
| | 05:24 | So a right-click is easier than holding on
the Control key to get your contextual menus.
| | 05:28 | So anyway, no flames, I work both ways, Mac or PC, doesn't matter to me.
| | 05:32 | It's just that if you're on a Mac, it's very helpful
to get a mouse with a scroll wheel and two buttons.
| | 05:37 | If this is turned on, the Zoom with Scroll Wheel, go ahead and click
that on, you can now. I'm just rolling the scroll wheel in the middle
| | 05:43 | of my mouse to zoom in and out of an image, which is kind of nice.
| | 05:47 | When that is turned off, lets go back to Preferences,
Zoom with Scroll Wheel, that's not turned on,
| | 05:53 | then the scroll wheel is used for panning up and down.
| | 05:56 | So if we zoom in on this image a little bit further, and we zoom up
or down, or scroll up or down, I'm just using my wheel to do that.
| | 06:05 | To go left and right, you would hold down the Control key
and use the scroll wheel, and you can pan left or right.
| | 06:11 | Or if you're on a Mac with a scroll wheel mouse, holding down the Command
key and moving up or down the scroll wheel will pan you left and right.
| | 06:18 | Without the Control or Command key, up and down, with the Control
key, left and right, or the Command key left and right on the Mac.
| | 06:25 | Control + K, it'll go back to Preferences, and if I turn that back on, now
instead of panning up and down, without holding down any modifier keys,
| | 06:35 | the scroll wheel is used to zoom in and out of the image.
| | 06:38 | You can still pan with the scroll wheel by holding down
the Option key on the Mac, or the Alt key on Windows,
| | 06:44 | and it basically just gives you the same behavior
that you had before you turned on that preference.
| | 06:49 | And again if I hold down Control and Alt, or
Command and Option, I can scroll left and right.
| | 06:54 | OK? Let's take that back to the Fit to Window command,
and I can get that back to where we want to see the image.
| | 07:00 | OK, let's go back to Preferences, Control + K, or Command
+ K, and that's all I'm going to say for the general preferences.
| | 07:05 | We'll get the Next button, that's the same thing as just going up
to the pop-up menu and choosing the next one down, so File Handling.
| | 07:11 | What I want to mention here is the Maximize PSD File
Compatibility option, the default is set to Ask.
| | 07:19 | This is a little bit annoying, because every time you save
a layered file, you're going to get a dialog box saying:
| | 07:23 | "Are you sure you want to maximize the Photoshop compatibility?"
| | 07:27 | And of course you always do.
| | 07:29 | So you would want to change this to Always, and not get that
annoying dialog box coming up every time you save a layered document.
| | 07:35 | Basically for translating this into English, when you have a multiple
layer document, maximizing the PSD file compatibility, when this is turned on,
| | 07:44 | it's saving a flattened version of the
layered document inside the layered document.
| | 07:49 | So that when you take it to an application that doesn't support
the layers, you still see a composite version of the file.
| | 07:56 | In the Display & Cursors category, there's
a couple new options here worth mentioning.
| | 08:01 | The default cursor for your Painting tools is the normal brush tip.
| | 08:05 | This was always a little bit misleading in previous versions of Photoshop,
and I'm going to leave it on the default and show you what I mean by that.
| | 08:11 | If I'd choose a brush by clicking on the Brush
tool, and I've got a pretty big cursor here,
| | 08:16 | but you can see in my Brush Softness here, it's a very soft brush.
| | 08:21 | So the circle is actually not an accurate picture of how far
the paint might be coming down when I paint with my brush.
| | 08:29 | You can see when I painted here, I'll just paint a couple strokes here,
the soft paint kind of goes a little up beyond the edge of that circle
| | 08:36 | and it's hard to tell where that fall-off is really going to end.
| | 08:39 | So if I go back to Preferences, under Edit, Preferences, and choose
Display & Cursors, the new option here is the Full Brush Size Tip.
| | 08:48 | And if I go ahead and click OK, you'll see that I haven't
changed brush size at all, it's still the 200 brush,
| | 08:55 | but the cursor, the circle is much bigger on my screen.
| | 08:59 | That more accurately represents the fall-off on the soft edge there.
| | 09:04 | You can also see that the edge of the brush itself looks a little rough,
that's meant to signify that it's a soft edge there instead of a hard line.
| | 09:12 | One other thing to mention there on the Display options
here is if you turn on Show Crosshair in Brush Tip,
| | 09:19 | that just gives you a real easy way to see the center of your brush.
| | 09:22 | Can be very handy when you're trying to line things up as you're painting.
| | 09:26 | So a couple of different options there for your display cursors.
| | 09:29 | Going back to Preferences, Control or Command + K, and let's go through.
There's Display & Cursors, lets go to Next, Transparency & Gamut,
| | 09:37 | nothing I'm going to mention here other than if you don't
like the gray checkerboard for representing transparency,
| | 09:43 | you can either change that to a different
color, or turn off the grid altogether.
| | 09:48 | Some people like to do that, especially if they don't
like that noisy pattern in the background there.
| | 09:52 | Units & Rulers, if you want to change your
measurement system from inches to pixels,
| | 09:56 | you can certainly do that here by changing your units right there.
| | 09:59 | And then finally the last category I really
want to talk about is the Memory
| | 10:03 | & Image Cache options, and the maximum amount of RAM used by Photoshop.
| | 10:10 | This is a percentage of your installed memory, and typically
you want to give Photoshop as much memory as possible,
| | 10:17 | however you don't want to max it, you don't want to make it 100 percent.
| | 10:19 | You still need memory left over for your operating systems,
so you can do things like print and save and things like that.
| | 10:24 | But certainly with almost two gigabytes of RAM installed
on this machine, I've got a lot of leeway here,
| | 10:29 | I could probably crank this up to something
more like 80 percent of my available RAM,
| | 10:34 | and this will not change Photoshop until
the next time you quit and restart.
| | 10:38 | But just keep in mind that if you want to give Photoshop
access to more RAM, you can increase that amount.
| | 10:43 | I said that was the last one, but there's actually one
more Preferences category that I want to talk about.
| | 10:47 | And this is new to Photoshop CS2 as well, it's the
Font Preview Size, and the default is set to Medium.
| | 10:52 | Let's go take a look at that, what I mean.
| | 10:54 | If I switch to the Type tool and when I click on the font
field, you'll see now that we have what we call WYSIWYG Font Menus.
| | 11:03 | WYSIWYG standing for "What you see is what you get."
| | 11:05 | So in addition to actually seeing the name of the font like, Verdona,
to the right you see the word Sample in that actual typeface.
| | 11:14 | So the name of the font on the left is currently being displayed
in your system font, whatever you've got that set to.
| | 11:19 | But on the right, you're actually seeing the word
Sample in the actual typeface of that particular font.
| | 11:25 | You can see the default size of medium for this text here on the
right, isn't all that big, especially for the quiggly wiggly typeface.
| | 11:35 | The word Sample there is very hard to make out.
| | 11:37 | So let's go back to our Preferences, Control + K, or Command + K, choose
Type, and let's change the font preview size to Large and click OK.
| | 11:47 | Now when we come back to our font menu, you can see I get
a much larger size there to preview the font on the right.
| | 11:54 | So if we go back to quiggly wiggly, we, I just like to say
quiggly wiggly, we can see the typeface a little bit better.
| | 12:02 | So again, I didn't go through every single preference, but the basic
ones that you might need to know about as a beginner are there for you.
| | 12:09 | And I hope you found that helpful.
| | Collapse this transcript |
| Using Help| 00:01 | >>Michael Ninness: So, one welcome improvement to
Photoshop CS2 is a vastly improved Help system.
| | 00:07 | You can access the Help system under the Help
menu, and the keyboard shortcut that is also F1.
| | 00:11 | And there's a bunch of stuff in this menu that we'll talk about in just
a second, but for now we'll just open the basic Photoshop Help command.
| | 00:17 | And the first thing to note here is that the Adobe Help
Center, this window that you see on your screen here now,
| | 00:24 | this is actually a separate application, it's outside of Photoshop.
| | 00:27 | If you happen to be a Creative Suite user and you've
installed the other applications in the Suite,
| | 00:32 | you'll see it's one central application
now for help for all the Suite products.
| | 00:36 | So right now it defaults to Adobe Photoshop CS2,
because that's the product you launched it from.
| | 00:41 | But if I pull down on this list, you'll see that I can jump to the Help
for all the other products in the Suite if I had those installed as well.
| | 00:47 | So it's very helpful if you're working back
and forth between multiple applications.
| | 00:50 | On the left-hand side we've got Contents, Index, and Bookmarks.
| | 00:54 | Contents is pretty straightforward; if there's a particular topic
that you know you want to investigate you can dive into the topics,
| | 01:01 | let's say on color, and I want to change the color or
learn something about channels and dip depth or whatever,
| | 01:06 | I can click through and dive down to the topic I'm looking for.
| | 01:10 | I also have an alphabetized index, so if I want to find something about the
Levels command, I can click on L and scroll down until I find something
| | 01:17 | on Levels, there it is, the Levels command,
and then there are specific topics for that.
| | 01:22 | Sometimes though, it's just easier if you know what
you're looking for, is to just type in a search query.
| | 01:26 | So if I wanted to do Tonal Correction and click Search, then the Help
Center will do a search for relevant content based on your search query.
| | 01:35 | So, oh, there it is, Correct Color and Tone, and it gives
me a little tutorial on how to do color cast removal
| | 01:41 | and adjust the shadows and the highlights using the Levels command.
| | 01:44 | Now if this is something that I may want to either print out
and have my own little tutorial there next to my computer,
| | 01:50 | or maybe I want to bookmark it so that I can come back to it easily
at some other point in time, there's a Bookmarks feature up here.
| | 01:57 | Add a bookmark for the current help contents, we'll
go ahead and click that and you can give it a name.
| | 02:01 | It defaults to the chapter or topic name that's
already there, you can rename it if you want.
| | 02:06 | I'll go ahead and click OK.
| | 02:07 | And now if I click on the Back button, or click on Home, Home would take
me to that initial startup page where I saw the three tabs for Contents,
| | 02:14 | Index, and Bookmarks. I can click the Back button
as well since I've only gone one level deep here.
| | 02:20 | And now in my Bookmarks tab, you can see I've
created a bookmark for Correct Color and Tone.
| | 02:25 | So it's a great way, you can actually customize the Help system to keep
track of contents that you want to be able to refer back to later on.
| | 02:32 | So that's very handy.
| | 02:33 | The other thing is if you've actually found something that you want to try
to use in conjunction with the application you're searching on the topic for,
| | 02:41 | there's a button up here in the upper right-hand
corner called the Compact View Toggle button.
| | 02:45 | And if I switch that on, that just minimizes this Help application
| | 02:49 | to just show you the content being offered
to help you, so you can scroll through that.
| | 02:53 | It's a floating window, so you can go back
to, you know, in this case Photoshop,
| | 02:58 | and try to do the steps in the order that the
Help content is telling you to do them in.
| | 03:03 | And you can go back and click into that window to bring
it back to the front and scroll through the next content.
| | 03:08 | So, very, very handy minimized view or the full view to
take it back and click on that button to expand it back.
| | 03:14 | So I encourage you to spend some time in the actual
Help Center when you're looking for specific content.
| | 03:19 | Not only has the interface of this application been vastly improved, but
the content itself has been improved, and kudos to Adobe for doing that.
| | 03:27 | Right now we'll go ahead and close this application and show
you that there's a couple other quick ways to jump into Help.
| | 03:33 | This is just the basic Help Command.
| | 03:35 | There's the initial welcome screen, which I've turned off by default.
| | 03:40 | Normally if you haven't turned this off, every time
you launch Photoshop you're going to get this welcome screen.
| | 03:44 | You can turn that off by clicking on the
"Show this dialog at startup" checkbox.
| | 03:48 | These are links here, What's New in Photoshop and Tutorials.
| | 03:51 | These are links to online content at a Adobe.com, so you can see
additional video clips, or see PDF- or HTML-based tutorials,
| | 04:01 | and clicking on these links will launch your
browser and take you to the appropriate page.
| | 04:05 | Go ahead and close that.
| | 04:07 | And at the bottom of the Help menu are basically just
shortcuts for some common contents in the Adobe Help system.
| | 04:14 | So let's say that I was looking to learn how
to print multiple pictures on a single page.
| | 04:19 | So maybe under, oh, How to Print Photos, all the
how-to content here, so How to Print Photos
| | 04:24 | and there just happens to be, To Print Multiple Photos on a Page.
| | 04:27 | Oh, great, that's what I wanted to learn about.
| | 04:28 | Let's go ahead and click on that, and
that will launch the Adobe Help Center.
| | 04:33 | And it's basically just a saved or preloaded bookmark, and
jumps you to the appropriate spot in the Adobe Help Center.
| | 04:39 | That would teach you how to do multiple photos in a picture package.
| | 04:42 | So anyway, I think you'll agree that this is a vast improvement
over how Help has been in the past, if you've looked at help systems
| | 04:48 | in previous versions of Photoshop, and I find it very helpful.
| | 04:52 | Ha, Ha, Ha.
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|
2. NavigationThe Document Window| 00:01 | >>Michael Ninness: The Document window in Photoshop actually contains
a lot of information, and in some cases it's the only place
| | 00:06 | where you can get certain types of information, especially
if you've got palettes hidden and things like that.
| | 00:12 | First thing to notice is, of course, the Title bar of the document,
and it gives you the name of the file and the current zoom percentage.
| | 00:18 | Now there's a couple different places to see the current zoom percentage
that you're at. One is the Navigator palette over here on the right,
| | 00:24 | and also in the bottom left-hand corner you actually have a zoom
percentage field there that you can click into and type in a value.
| | 00:32 | So if I click in there and type 100 percent and then hit
Enter, that'll change my zoom to 100 percent there as well.
| | 00:38 | One other tip there, if you want to type in 50 percent, if you
hit the Enter key that actually applies that value, but if you do Shift +
| | 00:45 | Enter, that applies that value, but keeps focus in that field.
| | 00:50 | It keeps that value selected, so if you want to try
another zoom percentage you could type a different number.
| | 00:54 | So let's take it back to say, 100 percent
and hit Enter again to take that back.
| | 00:59 | To the right of the current zoom percentage
is also some information that tells you
| | 01:05 | about the current color mode of the document, so this is an RGB document.
| | 01:08 | If I went and changed this to grayscale or CMYK, let's just
choose CMYK, it would then say CYMK and so forth. We'll undo that.
| | 01:16 | To the right of that is either going to be 8 or 16, and that just tells you
the bit depth of the file, whether it's an 8-bit image or a 16-bit image.
| | 01:26 | Most images that you'll work with will probably be 8, but if you're
shooting camera raw images or capturing raw files on a digital camera,
| | 01:34 | you might end up with a 16-bit file, which is a lot more
information, a lot more colors per channel or tones per channel.
| | 01:39 | This Title bar actually gives you some other information
based on where you are in the current document as well.
| | 01:45 | So right now since I'm on a Background layer, it just shows me RGB/8.
| | 01:48 | But if I convert this to a different type of layer, oh, I'll
just do that by double-clicking on the name and clicking OK.
| | 01:54 | It now also tells you what layer you're currently on -
handy if the Layers palette is not open or is hidden.
| | 02:01 | Also if you're currently on a Layer Mask, and again
we'll talk about Layer Masks later in the other chapters,
| | 02:07 | but if you're on a Layer Mask sometimes it's hard to tell which you're
on in the Layers palette; are you on the layer or the Layer Mask?
| | 02:15 | The Title bar also tells you that as well.
| | 02:17 | You're on layers, and you currently have the Layer Mask selected.
| | 02:21 | In the bottom of the Document window is something called the Status bar,
| | 02:25 | and by default this shows you the current
document sizes split into two numbers.
| | 02:30 | The number on the left is how big the file would
be if it was just flattened down to a single layer.
| | 02:37 | And currently since there's only one layer
here, the two numbers are the same.
| | 02:40 | The number on the right is how big the layered version is.
| | 02:43 | So if I were to duplicate this layer, let's say, just by doing
Control or Command + J, I have two layers on the document.
| | 02:50 | So as a two-layer document it's 2.25 megabytes,
but as a flattened version it's half of that.
| | 02:56 | So that's what the two numbers of the split mean.
| | 02:59 | You can change what the Status bar displays
by using the pop-up menu here under Show.
| | 03:05 | A new feature in CS2 actually, is this
new command called Reveal and Bridge.
| | 03:10 | This is kind of handy - if you click on that, it will open up the Adobe
Bridge and select the file for you as a way to navigate back and forth.
| | 03:17 | I'll go back to Photoshop here, I can do
Command + Shift + O, or Control + Shift +
| | 03:20 | O, on Windows to go back to Photoshop,
there's a way to toggle back using the keyboard.
| | 03:27 | If I go back to the options here under Show, I've
now got some other useful pieces of information
| | 03:32 | that I can choose to show instead, again the default is Document Sizes.
| | 03:36 | If I want to see what color profile has been assigned to
this document, whether it's sRGB, or Adobe RGB, or whatever,
| | 03:42 | I can choose Document Profile and it tells me that as well.
| | 03:45 | Or I can have it show Document Dimensions.
| | 03:48 | I don't recommend choosing Document Dimensions, because
you can get that information elsewhere in a quicker way.
| | 03:53 | So if I take this back to Document Sizes, you know you
can always get Document Dimensions under Image Size
| | 03:59 | as one way to do it. It also gives you the current resolution.
| | 04:03 | But if you hold down the Alt key on PC, or Option on the
Mac, and click on that little Status bar information,
| | 04:09 | you can get a pop-up menu of the current document dimensions.
| | 04:14 | So there you go.
| | 04:15 | And then another one that's useful is the Efficiency choice.
| | 04:22 | So if I choose Efficiency, what this does
is this tells me if I'm 100 percent in RAM.
| | 04:28 | If everything I'm doing is able to stay in memory.
| | 04:32 | If that number starts to drop significantly, or it
stays at a lower number constantly throughout your work,
| | 04:39 | you might consider installing more RAM on your machine,
because that will give you a performance boost.
| | 04:44 | This is basically telling you whether or not
you're able to stay 100 percent in memory.
| | 04:48 | One of the problems that there's been in the past versions
of Photoshop, is that because this document information,
| | 04:56 | this Status bar information is attached to the Document window,
you lose that information if you go to the Full Screen mode.
| | 05:02 | So if I press the letter F to go to full screen, I no longer have that,
the Title bar of the image for one, and I don't have the Status bar either.
| | 05:09 | So, new to Photoshop CS2, is you've got the
ability to customize the Info palette now.
| | 05:14 | So I'm going to drag the Info palette out just to show it.
| | 05:17 | And by default it's showing, you know, some color information based on
the pixel, XY position, width and height of a selection, and so forth.
| | 05:25 | But if I go to the Palette Options fly-out menu here, all the information
that's typically only shown in the Status bar in previous versions
| | 05:33 | of Photoshop, you can now turn on to have appear in the Info palette.
| | 05:36 | So if I turn on Document Sizes, and Document
Dimension, Document Profile, Efficiency,
| | 05:42 | and go ahead and click OK, that information now is in the Info palette.
| | 05:48 | So I may be in Full Screen mode, but as long as I have the Info
palette up, I basically duplicated the information that's normally
| | 05:53 | at the bottom of the document and put it in the Info palette.
| | 05:56 | One other useful thing that you can choose
under Palette Options is to show the Tool Hints.
| | 06:01 | And when I click OK there, based on whatever tool I
have selected, it tells you what modifiers you can hold
| | 06:07 | down to get additional behavior or what
other shortcuts are available for the tool.
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| Using the Navigator Palette| 00:01 | >> One of the easiest ways to navigate through a document in terms
of zooming in and out, is actually to use the Navigator palette.
| | 00:07 | I know a lot of beginners like the Navigator palette
because it's friendly, it's easy to see and use.
| | 00:13 | And they don't have to remember any keyboard
shortcuts or even remember what tool to use.
| | 00:17 | Some people don't like it because it takes up screen real
estate to have a palette dedicated just for navigation.
| | 00:22 | But it is very friendly to use.
| | 00:24 | So you've got a slider here, and that pretty much
makes sense just to make things large or small.
| | 00:28 | And the thing about the Navigator palette is it's very fast.
| | 00:31 | I mean, you see how fast the zooming can
be when you move in and out of an image.
| | 00:36 | You can also go and set increments by
clicking what we call the Mountain buttons.
| | 00:40 | And the Big Mountain or the Small Mountain - so zoom down or zoom up -
| | 00:44 | it just goes in a certain increments there.
| | 00:47 | And then once you've got a zoomed-up view, you get a little proxy of your
current document view with this red rectangle inside the Navigator palette.
| | 00:56 | So you can actually click on the red rectangle and move that
rectangle around inside the little thumbnail to navigate that way.
| | 01:03 | Or you can just click directly on the thumbnail
to navigate to that particular section instantly.
| | 01:08 | If you want a specific value, percentage value,
you can click in the field where the percentage is.
| | 01:14 | Just like you can down the bottom left-hand corner of the Document window.
| | 01:17 | And just type in a number.
| | 01:18 | So if I want to go to 100 percent, hit Return
or Enter to actually lock in that zoom percentage.
| | 01:25 | Now what a lot of people don't realize is that
the Navigator palette can be resized as well.
| | 01:30 | So let's pull this palette up on its own, and
we'll go ahead and make that palette a lot bigger.
| | 01:36 | And you're thinking, "Well, why would you do that?"
| | 01:38 | Well, let's say you have a second monitor, you
could move the palette over to the second monitor,
| | 01:43 | make it really, really big, and you have this full-size preview.
| | 01:46 | Now you can't see the Document window behind me, but
hopefully you'll get the idea where I'm going with this.
| | 01:51 | And now I've got a very quick way to see almost a 100-percent-
view image in the Navigator palette by looking at the thumbnail,
| | 02:00 | or the proxy, get that as close to 100 percent as possible.
| | 02:05 | And then I can zoom up the image to 1,600 percent.
| | 02:08 | So I've got this way to see a really close-up pixel
view and an almost 100 percent view at the same time.
| | 02:15 | Again, kind of difficult to show on the video
here, but if you had two monitors that's probably
| | 02:18 | where you might consider resizing the Navigator palette up,
instead of having to duplicate windows and things like that.
| | 02:24 | Nice little trick.
| | 02:26 | 1
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| Panning and Zooming| 00:01 | >> There are a lot of other ways to navigate in
a document besides just using a Navigator palette.
| | 00:05 | So let's run through several of those.
| | 00:07 | And we'll start out with the basic ones and
then show you some more tricky ones as well.
| | 00:11 | So of course, the two most basic tools for navigating through
a document are the specific Hand tools and Zoom tools.
| | 00:17 | You can click on the tool to switch from tool to tool.
| | 00:21 | Or if you want, you can use the letters associated with those as well.
| | 00:24 | So, if I'm in any other tool and I type H, I get
the Hand tool, if I type Z, I get the Zoom tool.
| | 00:30 | Now the Zoom tool can be used to zoom in, of course.
| | 00:32 | If I click, where you click is where it gets bigger.
| | 00:35 | But the default behavior is to zoom up.
| | 00:37 | If I look at the Options bar for the Zoom tool, you can see that
I can change the behavior to zoom down by clicking on that button.
| | 00:43 | That actually changes the way that tool's now working.
| | 00:46 | That's not as efficient as it could be.
| | 00:49 | A better way is to hold down the Option key on the Mac or the Alt key
on Windows, and that turns the current behavior into its opposite.
| | 00:56 | So if it's zooming up, when I hold down the Option
key on Mac or Alt on Windows, it turns into zoom down.
| | 01:02 | So I can click the zoom down.
| | 01:04 | And zoom down further.
| | 01:06 | The two most common views in Photoshop are the
actual Pixels view and the Fit to Screen view.
| | 01:12 | So also known as the 100 Percent view or the Fit to Window view.
| | 01:15 | If you want to get there quickly, you can double-click on the Hand
tool to take you to the Fit to Window view or the Fit to Screen view.
| | 01:24 | Or you can double-click on the Zoom tool to take you
to the 100 Percent view or the actual Pixels view.
| | 01:29 | And if you look at the Options bar, you've got that ability to
just click on buttons to take you to those two views as well.
| | 01:35 | So if you are already in those tools, you can click on these buttons.
| | 01:40 | If you're in a different tool and just
want to jump to those two views quickly,
| | 01:43 | you can double-click on the specific tool
to jump you to those two views as well.
| | 01:48 | Changing the way the Zoom tool works, if you hit the zoom
tool and you just click and drag over an area and let go,
| | 01:54 | that'll make the area that you surrounded as big
as it can in your current Document window size.
| | 01:59 | And then if I want to zoom back down, I hold
down Alt or Option to zoom back down there.
| | 02:04 | Now you notice that as I make the document size larger or
smaller, the Document window itself is not changing size.
| | 02:13 | It's just getting larger or smaller within the document size.
| | 02:17 | You can change that behavior with this little
checkbox here that says Resize Windows to Fit.
| | 02:22 | If I turn that on, now when I Alt or Option + click down,
you'll see that not only did the document get smaller,
| | 02:28 | but the Document window resized down around the image as well.
| | 02:31 | So I can do that or let go of the key and zoom up,
you'll see the Document window growing larger as well.
| | 02:38 | Sometimes this is just a much more efficient way to manage Windows
so you don't end up with an extra large Document window taking
| | 02:45 | up screen real estate and getting in your way,
when you are trying to work with multiple documents.
| | 02:49 | Once you've turned that option on, the Resize Windows to Fit option,
you've got another checkbox here that says Ignore Palettes.
| | 02:57 | And notice that when Ignore Palettes is turned off, the Document window
will only grow up to the edge of the palettes and then stop growing
| | 03:05 | so that your scroll bars don't end up behind your palettes.
| | 03:09 | Some people want to be able to maximize the Document window regardless of
the palettes, because they know they can hit the Tab key to hide the palettes
| | 03:16 | on and off, or hide the palettes, toggle them back and forth.
| | 03:20 | So if I turn the Ignore Palettes option off, the
Document window also grew behind the palettes.
| | 03:28 | If I hit the Tab key, you'll see that that's where my scroll bar is.
| | 03:30 | I don't find this all that useful.
| | 03:33 | I end up forgetting that it's turned on, and I get frustrated.
| | 03:35 | So I usually leave that off.
| | 03:36 | But that's there for you to use at your leisure as well.
| | 03:41 | One other way to do the navigating, and something that I
like to do, is turn off the Resize Windows to Fit option
| | 03:48 | and then use the keyboard shortcut for resizing a window.
| | 03:53 | So, Control + Minus or Command + Minus on the Macintosh, makes the
document size smaller or makes the document smaller inside the window;
| | 04:03 | Command + Plus or Control + Plus makes it bigger.
| | 04:07 | And if I add Option or Alt to that shortcut, then I
get the ability to resize the Document window as well.
| | 04:14 | So, Control + Alt + Minus or Command + Option + Minus
on the Mac, lets me resize the window as well.
| | 04:21 | Command + Option or Control + Alt + Plus lets me
make the Document window size larger as well.
| | 04:27 | So by leaving this turned off, I've got two methods
for navigating or zooming in on the document.
| | 04:34 | If I use the Zoom tool, the Document window stays the same size.
| | 04:39 | Or zoom out, the Document window stays the same size.
| | 04:42 | And if I use the keyboard shortcut method
of Control + Alt + Minus or Control + Alt + Plus,
| | 04:47 | then with the keyboard I can make the
Document window larger or smaller as well.
| | 04:54 | OK? So two other keyboard shortcuts if you care about keyboard
shortcuts, Control + Zero is the keyboard shortcut for Fit Screen,
| | 05:04 | and Control + Alt + Zero or Command + Option + Zero is the 100 percent view.
| | 05:09 | There you have it.
| | 05:09 | Lots of different ways to do the same things.
| | 05:12 | Again, not to confuse you or overwhelm you with all the different options.
| | 05:15 | You just have to decide which method you like the best.
| | 05:18 | And you'll see that each method has its own little nuance
and is appropriate for a particular things that you're doing.
| | 05:23 | 1
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| Changing Screen Modes| 00:01 | >> By default, when you open a document in Photoshop,
it opens up in what's called the Normal screen mode.
| | 00:06 | Or I guess they call it the Standard screen mode now.
| | 00:09 | The Standard screen mode is the one where the Document window is
shown, and it actually shows you the Title bar of the document,
| | 00:15 | so you can see its name and its current zoom percentage and whatnot.
| | 00:19 | There are two other screen modes though in Photoshop, and their
screen mode icons are here at the bottom of the Tools palette.
| | 00:25 | The middle icon is called the Full screen
Mode with Menu Bar, it's kind of a mouthful.
| | 00:28 | And then the third icon here is the Full screen Mode.
| | 00:33 | You can click on the buttons to take the
document to the particular screen mode you want.
| | 00:37 | Or you can just press the letter F to cycle through the screen modes.
| | 00:40 | So again, here's the normal Standard screen mode, if I hit F once,
| | 00:44 | it centers my image on a neutral gray
background, and I lose the Document Title bar.
| | 00:49 | This is probably where you might want to consider
doing your color correction, because
| | 00:53 | if you've got a bright hot pink desktop pattern on the Mac showing through
or a green background or whatever, that can change the perception of color.
| | 01:02 | in the actual image you're working on.
| | 01:04 | So putting it on a neutral gray background neutralizes those color
casts that might affect the way you perceive your color of your image.
| | 01:11 | The thing about the screen mode though, is that you only
see one image at a time when you're in a Full screen mode.
| | 01:16 | So doing work between multiple documents, like dragging
one file to another, you typically work in the Standard screen mode.
| | 01:23 | But then when you want to zero in and just work on one
particular document, that's what the Full screen mode is for.
| | 01:28 | Again, you press the letter F one time, you're in this gray screen mode.
| | 01:31 | If you hit the F one more time, you're in what we call the
Presentation mode or the Full screen mode, the black screen.
| | 01:38 | In here, it just makes it much more dramatic.
| | 01:40 | And if you hit Tab to hide your palettes, you don't even
necessarily need to know you are in Photoshop at all.
| | 01:45 | Just a great way to kind of review or present your work.
| | 01:48 | If you want to show someone, or have someone
peek over your shoulder to see what you're doing.
| | 01:51 | Hit the Tab key to bring the palettes back, and then to toggle back to
the Standard screen mode, you press F again, and it takes you back.
| | 01:59 | I'm going to open up the Bridge here and click the Bridge button.
| | 02:02 | I'm going to open up several other documents.
| | 02:06 | And these are just some sample files in
the Navigation folder of the Class Files folder here.
| | 02:11 | And we'll go ahead and open up all of these.
| | 02:13 | And what I want to show you, is that each
document actually has its own Screen Mode setting.
| | 02:19 | So if I click on the Flowers document here, and press the letter F,
that takes that one document to the Full screen mode with Menu bar.
| | 02:28 | So I still have the menus at the top of my screen.
| | 02:30 | And if I go to the Window menu, and down at the bottom
I see the other documents that I have listed here,
| | 02:35 | if I switch to the Branches document you'll see that
that comes open, and it's still in the Standard screen mode.
| | 02:42 | So every Document window has its own Screen Mode setting.
| | 02:46 | That can both be a good thing or a bad thing,
depending on your perspective at any given time.
| | 02:51 | So if I want to cycle through these documents,
first of all going to the Window menu and having to switch
| | 02:57 | from document to document this way can be a real drag.
| | 03:00 | Especially if you haven't named your documents,
your images, something useful.
| | 03:04 | Like straight off the camera, where the file names
are, you know, dsc081.jpg.
| | 03:10 | Or img_0381.jpg or whatever.
| | 03:14 | The file name isn't necessarily enough to let you
know what document you're trying to switch to.
| | 03:18 | So one way of switching between documents via your
keyboard, is to hold down the Control key on both Mac
| | 03:26 | and PC. So this is the same, literally the same key, the Control key.
| | 03:30 | Not the Command key on the Mac, but the Control
key on both Mac and PC, and the Tab key.
| | 03:35 | So Control + Tab cycles you through your open documents.
| | 03:38 | So you can see as I cycle through each document,
each document has its own Screen Mode setting.
| | 03:44 | So if I take the leaves here, and I press F once to the
gray screen mode - the Full screen mode with Menu bar -
| | 03:50 | and then F one more time to the black screen
mode where I lose the Menu bars as well.
| | 03:55 | And again, cycle through the screen modes by doing Control + Tab,
and then you can see that every document has its own screen mode.
| | 04:01 | Now what might be useful to do is actually set the
screen mode for all open documents to be the same.
| | 04:07 | The way you do that is, you hold down the Shift key and you
click on the screen mode that you want all documents to share.
| | 04:12 | So if I click on the third one, they'll
all be set to the black screen mode.
| | 04:16 | Or if I click on the middle one, they'll
all be set to the gray screen mode.
| | 04:20 | So now if I do Control + Tab and cycle through,
they've all been set to the gray screen mode.
| | 04:25 | Shift + click again on the third icon, they're
all set to the black screen mode here.
| | 04:30 | And Control + Tab to cycle through the open documents again.
| | 04:33 | And if I want to get all the documents to go back to the normal screen
mode again, I Shift + Click on the normal or Standard screen mode icon
| | 04:41 | and they all back up to show me the Title bars and they're floating on
top of each other, and I can click back and forth between them that way.
| | 04:48 | So that's also handy.
| | 04:50 | One other thing to note about the Full screen mode, it's
a welcome change that was introduced in Photoshop CS,
| | 04:55 | is that when I'm in the Full screen mode I
can still pan the document around the screen.
| | 05:00 | OK? Normally you weren't able to do that in earlier versions.
| | 05:04 | So it may not seem like a big deal for you
new users, but this is very, very handy.
| | 05:07 | So for instance, if the document is zoomed up and part of it is behind
the palettes, rather than having to hide the palettes or move the palettes
| | 05:15 | out of the way, you can just move the image out of the way by panning it.
| | 05:20 | And to pan this without switching tools,
I'm just holding down the Space Bar again
| | 05:25 | to get the Hand tool temporarily, and I can move the image around.
| | 05:28 | I can move it either way from the palettes or I can move it to
the center of my screen so I can see the corner, or whatever.
| | 05:33 | So to tell you the truth I really don't use the normal or
the Full, the Standard screen mode all that much,
| | 05:40 | except when I need to switch from document to document.
| | 05:43 | Or move one image or one layer from one document to another.
| | 05:47 | Normally the first thing I do when I open up a
document is I press F to go into Full screen mode,
| | 05:52 | and then sometimes I just hit the Tab key to hide my palettes.
| | 05:55 | So it's just a much better way to maximize your screen real estate.
| | 05:58 | And then once I'm in the screen mode, I can do Control + Minus, Command
+ minus or Command + plus or Control + Plus to zoom in and out very quickly.
| | 06:07 | And then just Space Bar to pan around very quickly as well.
| | 06:13 | Control + Zero, Command + Zero to fit to window.
| | 06:15 | So those are the shortcuts that I use the most, and you can
see that there's probably more than one way to do something.
| | 06:21 | You figure out which way you like best.
| | 06:23 | 1
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| Managing Multiple Document Windows| 00:01 | >> At the end of the previous movie we had multiple documents open and
we were setting screen modes for all the open documents to be the same.
| | 00:08 | Well now that we've got multiple documents open, we can talk about some
ways to manage multiple documents to split up the screen.
| | 00:14 | Right now in just normal default behavior, each document is its own thing.
| | 00:18 | It can be switched back and forth just by clicking in between, or
| | 00:22 | inside of any portion of the window that
you can see to bring that one to the front.
| | 00:25 | You can also see that every Document window, of
course, is going to have its own zoom percentage.
| | 00:29 | So this one's at 200 percent.
| | 00:30 | This one's at 33.3.
| | 00:31 | This one's at 85.9, whatever
zoom percentage you've set these to be.
| | 00:37 | If you want to share the screen or split the screen equally across
all open documents, under the Window menu you've got the Arrange menu.
| | 00:45 | And the first thing you can choose is, you can
choose to tile them horizontal or vertically.
| | 00:49 | I'm going to go ahead and choose Tile Vertically.
| | 00:52 | And you see that each Document window now takes up an equal
amount of screen real estate, and it just organizes them.
| | 00:58 | And then the document you had in the front, the active document,
is the one that's still active when you're done with this.
| | 01:03 | Now that each document's at a different zoom
percentage, you can synchronize those as well.
| | 01:08 | I happen to like that I can see the entire
image on this particular Document window.
| | 01:12 | So I'm going to make that the active Document window.
| | 01:15 | And if I go back to the Window menu and say Arrange, I can say Match Zoom,
Match Location, or the one I use most often is the Match Zoom and Location
| | 01:24 | at the same time, and watch what happens to all the other documents.
| | 01:27 | They all are now synchronized.
| | 01:28 | So they're all at the same zoom percentage.
| | 01:31 | Now because these four documents all have the same pixel
dimensions, it all looks nice and clean and tidy as well.
| | 01:36 | So that may not be the case with your multiple documents.
| | 01:39 | If they're all different pixel dimensions,
they'll still all be at the same zoom percentage.
| | 01:43 | But they may not all be the same proportions and so forth.
| | 01:46 | Now that I've got multiple documents open, they're all set
to the same zoom percentage, that means I can have the Zoom
| | 01:53 | and Pan tools act just a little bit differently as well.
| | 01:55 | So if I go back to the Zoom tool and I've got this document active,
there's a little checkbox for the Zoom tool called Zoom All Windows
| | 02:03 | and also for the Hand tool, called Scroll All Windows.
| | 02:06 | If I set the Zoom tool here, and if that box is
not checked, Zoom All Windows is not checked,
| | 02:12 | zooming up then just zooms the one window that I clicked into.
| | 02:16 | If I want to synchronize the zooming and do it all at the same time
for all these documents, I can turn on the Zoom All Windows checkbox,
| | 02:23 | and now they all zoom at the same time no matter which one I click
in, which is very, very handy when I'm doing comparisons, let's say.
| | 02:30 | And again, if I hold down the Alt key or Option on the Mac, then they would
all zoom down at the same time because I have that checkbox turned on.
| | 02:37 | If I've zoomed in, 300 percent let's say for all
four of them, and I want to pan them all at the same time,
| | 02:44 | that's what the Scroll All Windows checkbox is for as well.
| | 02:46 | So if I turn that on, that lets me pan around each of these
Document windows all at the same time in the same relative position,
| | 02:53 | because the document pixel dimensions are all the same.
| | 02:57 | So again, maybe kind of a weird example because
these are four distinctly different images.
| | 03:01 | But they do share the same pixel dimensions.
| | 03:03 | So relatively, I'm panning them and zooming
them all in the same location and scale factor.
| | 03:07 | So again, working with multiple documents you
can tile them and pan and zoom them altogether.
| | 03:12 | Now, one advanced tip: if you want to leave this turned off, the
Scroll All Windows checkbox, and the Zoom All Windows checkbox,
| | 03:20 | just simply adding Shift to your Zoom and Hand tools
will basically turn on that checkbox for you temporarily.
| | 03:27 | So if I get my Zoom tool, press Z for zoom, and if I
click in this window here, only that one window zooms.
| | 03:33 | But if I Shift + Click they will all zoom.
| | 03:36 | Or if I pull down the Alt key to zoom
down, only that one window zooms down.
| | 03:40 | But if I add Shift to it, so Shift + Alt
or Shift + Option, they will all zoom down.
| | 03:45 | So, that's a nice way to not have to remember
whether this option is turned on or not.
| | 03:50 | Just add Shift to your favorite Zoom and Pan shortcuts
and they will all do it together at the same time.
| | 03:55 | 1
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| Changing the Matte Color| 00:00 | >> So you may have noticed that when you switch screen modes, the two
screen modes that we have beyond the normal or the Standard screen mode,
| | 00:07 | the first time you press the letter F, it takes you to
a gray screen, centers the image on the gray screen.
| | 00:11 | If you hit F again, it takes you to a black screen.
| | 00:13 | You can actually change the color, what is
called this Matte area, to any color you want.
| | 00:19 | Now there's some great practical joke implications
here, but let's go back to the Bucket tool here.
| | 00:24 | If I use the Bucket tool which is hidden under the Gradient tool,
and I choose some random foreground color like toxic green,
| | 00:33 | and your co-worker goes to lunch and is foolish enough to leave Photoshop
open and available for you to come along and play a practical joke.
| | 00:41 | Pick a different foreground color, and with the Bucket
tool, Shift + click on the Matte with the Bucket tool
| | 00:46 | and you can change it to this god-awful green color.
| | 00:49 | And you're thinking, "OK, why would I ever do that?"
| | 00:51 | Well, for the practical joke of course.
| | 00:53 | But also if you want to simulate what your image is going to
look like against the color of the page it's being printed on,
| | 00:59 | if you're maybe printing this in a book or something or a magazine,
| | 01:01 | then you can simulate that by picking your
page color, whatever that happens to be.
| | 01:06 | This neutralish, tannish color with a slight green tint.
| | 01:11 | And then Shift + click on the Matte with the
Bucket tool to change that background screen.
| | 01:16 | And then to get it back, you would just right-click or click
on the foreground color, choose black again and Shift + click
| | 01:24 | on the Matte color again, to take it back to the black matte.
| | 01:29 | You can change the color of either the
gray or the black to any color you want.
| | 01:33 | To get it back, you simply Shift + click with the Paint
Bucket tool to get it back to its default color.
| | 01:37 | So you can use that trick for good or evil.
| | 01:40 | It's up to you.
| | 01:41 | 1
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|
|
3. Digital Image EssentialsFile Formats| 00:01 | >> I'm going to spend a few minutes in this movie talking
about the various different file formats that you might run
| | 00:05 | into when you're working inside Photoshop
and need to send that file somewhere else.
| | 00:10 | For instance, a page layout application, or an email, or
you want to put it on a website, or something like that.
| | 00:16 | Whenever you work inside Photoshop, whenever you open a file, regardless
of what file format it is, when you open the file it always gets converted
| | 00:23 | into a Photoshop document while you're working on it.
| | 00:26 | We call that the working file.
| | 00:28 | So if I show you the explanation for PSD, you'll see it's a working file.
| | 00:34 | It keeps all the layers in a particular document, so all the type
layers; the Layer Masks or Channels and Paths and things like that.
| | 00:40 | It keeps everything that you may have done inside that file.
| | 00:45 | And this is why we call it the working file.
| | 00:46 | Because if you ever want to go back and modify any of those
particular layers or settings that make up the document,
| | 00:54 | you would want to go back to the layered file,
so you could go back and get to those layers.
| | 00:58 | Any other file format that you are going to choose from, or at least almost
all of them, will end up creating what we call a flattened version of it,
| | 01:06 | a flattened file,
| | 01:07 | where all the layers get compressed or collapsed into a
single layer and then saved into a different file format.
| | 01:13 | So for instance, if I were to go to File, Save As right now, and choose
a different file format other than Photoshop, other than .PSD,
| | 01:20 | any option I choose here, whether it's JPEG or GIF or PNG or
whatever, you'll notice that the Layers checkbox here is grayed out.
| | 01:29 | Which means I can't save the layers when I choose the JPEG file format.
| | 01:33 | It also tells you that if you choose something other
than a .PSD, it's going to be saved as a copy.
| | 01:38 | So again, that's just a way to protect the
original layered file from being saved over.
| | 01:42 | And also because you're choosing different
file formats that don't support layers.
| | 01:46 | So PSD again is the working file.
| | 01:49 | If you want to send your file to an online photo service, or
you want to compress it to send it in an email to someone,
| | 01:56 | or to put it up on a website, you have two file formats to choose from.
| | 01:59 | The first one is JPEG.
| | 02:00 | J-P-E-G, and the file extension is either .J-P
-G or .J-P-E-G. And this is a "lossy" file format,
| | 02:10 | which means it loses information when you save it as a JPEG.
| | 02:13 | It compresses the file to make it smaller.
| | 02:16 | And in compressing it, it throws away information.
| | 02:18 | So you really only want to save something as a JPEG one time.
| | 02:22 | And that's why you keep your layered Photoshop file.
| | 02:24 | If you need to make a modification, you go back to the layered
file, make your change, and then resave that out a new JPEG
| | 02:30 | with probably the same compressions you used the first time.
| | 02:33 | When you reopen a JPEG and then resave it back out, as
a JPEG again, you will be compressing the file again.
| | 02:41 | Nothing happens to the JPEG if you're just opening it.
| | 02:43 | It's only if you want to go back and save it again, you'll be recompressing
it a second time or a third time depending on how many times you do this.
| | 02:51 | So one other note about that, is when most of you
are taking digital pictures with a digital camera,
| | 02:57 | more often than not the pictures you're capturing that are ending
up on the camera's memory card are being shot or saved in JPEG.
| | 03:04 | So they take up less space on the actual
card, so you can take more pictures.
| | 03:07 | When you copy them to your hard drive, when you're working with
the file and you're going to do modifications to it, again,
| | 03:13 | if you are going to do lots of modifications, you
want to save the working file as a layered .PSD,
| | 03:18 | and then your final version of that you could save back as a JPEG one time.
| | 03:23 | So there's that.
| | 03:25 | Again, to save this as a JPEG, you would just go
to File, Save As, choose JPEG as your file format.
| | 03:29 | And then once you do that, if you chose JPEG, most file formats
that you choose from will bring up a secondary dialog box
| | 03:38 | that gives you options for that particular file format.
| | 03:40 | So for JPEG, you get the ability to set a
quality setting - how big the file will be.
| | 03:45 | And there's a slide here for small versus large.
| | 03:47 | If I make it very, very small the file size is going to be a lot smaller.
| | 03:51 | It's only going to be 19k. But the
image quality is going to be horrible.
| | 03:53 | And you can see in the background how the text is just getting mangled.
| | 03:56 | It's giving you a preview of what that's going to do.
| | 03:58 | So again, typically if you're saving digital photographs and you
want to make them archival, just make them as small as possible.
| | 04:05 | But keeping all the quality, you would choose the largest setting.
| | 04:09 | So quality of 12.
| | 04:10 | And again, just do that one time.
| | 04:12 | Go ahead and cancel that.
| | 04:14 | The next file format for the Web would be the GIF file format.
| | 04:19 | And this is also a "lossy" file format,
because the loss happens before you save it.
| | 04:24 | In order to save something as a GIF you have to
convert it into what's called an 8-bit graphic.
| | 04:29 | And basically, 8 bit means you can only have
256 colors in the file, or less.
| | 04:35 | So this is typically used not for photographic images, but for graphics.
| | 04:39 | So a logo or text on a dark background, you know,
light text on a dark background or something like that.
| | 04:44 | Your interface elements.
| | 04:46 | Something that has a lot of contrast in it.
| | 04:49 | So line art, and things like that.
| | 04:50 | You would convert - I'm not going to show you how to do that
right now - but you would convert this into an 8-bit graphic,
| | 04:55 | or you would choose a color table that has 256
colors or less in it, and then you would save that as a GIF.
| | 05:01 | So if you go on the Web, you really have
two file formats: the JPEG or the GIF.
| | 05:04 | JPEG is typically used for photographs, GIF is used for graphics.
| | 05:07 | Both of them are an approximation of the original file.
| | 05:10 | You'd want to keep the working PSD in any
case, in any file format that you choose.
| | 05:15 | Always keep that layered Photoshop file
around in case you need to change your mind.
| | 05:19 | The next file format that you might run into is the P-N-G file, or "ping."
| | 05:23 | And most of you probably won't be using PNGs all that much.
| | 05:27 | They are especially good if you're taking graphics
and taking them into Flash, Macromedia Flash.
| | 05:33 | Because it is a file format that does support transparency.
| | 05:37 | Again, we'll talk more about transparency and what that
means in the Layers chapter, later on in this title.
| | 05:42 | But for now, if you've got an image on a transparent background
and you want to save that transparent area instead of them turning
| | 05:48 | into opaque white, the PNG file format does support that.
| | 05:51 | Which is why if you want to take a layered Photoshop file or an
image that has a transparent background in it into Flash and maintain
| | 05:58 | that transparency, PNG is the file format that you would choose.
| | 06:01 | If you're going to a print application, something like
InDesign or Quark, you have two file format choices there.
| | 06:08 | One's going to be either EPS or TIFF.
| | 06:10 | I'll get to TIFF in just a second.
| | 06:12 | For EPS, basically EPS stands for Encapsulated Postscript File.
| | 06:16 | And really what that means, it's a black box.
| | 06:18 | Which means you can't touch it once it's been generated.
| | 06:22 | You can't modify what's inside the EPS file.
| | 06:25 | So that's why a lot of service bureaus
or a lot of IT people like EPS files.
| | 06:28 | Because when you place them into InDesign or Quark,
they can't be damaged, they can't be touched,
| | 06:33 | by the designer inside the page layout application.
| | 06:37 | All you're really placing in the page layout
application is a small JPEG preview of the larger file.
| | 06:43 | And these EPS files cannot be modified.
| | 06:45 | You can scale them or transform them, rotate them, things
like that, but you couldn't let's say, apply color to them.
| | 06:51 | All that type of editing would need to be done in say, Photoshop.
| | 06:55 | And then when you save it as an EPS, it's basically
being printed in advance, being printed to a file.
| | 07:01 | And then a JPEG preview is putting it in front of that file.
| | 07:04 | And that's what you're actually placing in InDesign or Quark.
| | 07:07 | The preview just shows it up on the page and it's
pointing to the already printed file on your hard drive.
| | 07:14 | And then when you actually do the Print command, it goes
out and gets that EPS file and sends it to the printer.
| | 07:18 | So if I were to go File, Save As, and choose EPS,
again like a lot of these other file formats,
| | 07:25 | you'll get a secondary dialog box that
comes up that says, you know, EPS Options.
| | 07:30 | You can have a high resolution preview, a TIFF, or it can be a JPEG.
| | 07:34 | If you're on a Mac, you can choose the JPEG format.
| | 07:38 | Again, this is just the preview of the file that you'll place.
| | 07:42 | OK? Go ahead and click Cancel.
| | 07:44 | The last file format that you might run into, again for the majority of
you, is that second file format for print workflows, and that's TIFF.
| | 07:52 | This is a little bit more flexible, or a lot more flexible than EPS
files, because you can modify them within the page layout application.
| | 07:59 | Say if it's a grayscale TIFF file, you can
apply a spot color to it in the page layout application
| | 08:05 | without having to go back outside of Photoshop to do that.
| | 08:07 | So it's little bit more flexible.
| | 08:09 | Some people think that's a good thing,
some people think that's a bad thing.
| | 08:12 | Just depends on your perspective.
| | 08:13 | So these are a summary of the file formats you'll most
likely run into as a basic beginning Photoshop user.
| | 08:19 | Again, the PSD file is the working file.
| | 08:21 | JPEG, probably the second most common file format that you'll run into.
| | 08:24 | Because, for a lot of you, that's the
file format that you're starting out with.
| | 08:28 | And just keep in mind that if you're going to be doing lots of editing,
especially during different sessions, you would want to save out a PSD
| | 08:36 | from the original JPEG, and then you can go
back and save a JPEG when you're all done.
| | 08:40 | 1
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| Resolution, Color Mode, and Bit Depth| 00:01 | >> Let's spend a few minutes talking about what makes up a digital
image in terms of resolution, and color mode, and bit depth.
| | 00:07 | And maybe why that's actually important.
| | 00:09 | When you look at an image, let's go ahead and zoom this image
up to, let's say, 1,600 percent, zoom all the way in,
| | 00:15 | we'll just do that quickly with the Navigator palette.
| | 00:16 | As I look at the individual pixels in this image,
I'm zoomed up far enough where I can see them,
| | 00:21 | you'll see that the shape of these pixels is actually square, not round.
| | 00:25 | A lot of people describe an image as dots
per inch when they talk about its resolution,
| | 00:30 | and really it doesn't become dots until you print the file,
| | 00:33 | if you're actually going to an output device that uses dots.
| | 00:35 | What we're really looking at here is the digital
equivalent of our original conventional photographic print.
| | 00:41 | And if I were to take a magnifying glass to a
print, or a loupe, and take a look through that,
| | 00:46 | you wouldn't actually see dots, you would see tonal information.
| | 00:49 | And that's the equivalent here.
| | 00:51 | This is one reason why what you see on your screen isn't
always necessarily the same thing you see on the output.
| | 00:58 | Because again, what I'm seeing here is
a continuous-tone image on my screen,
| | 01:01 | and depending on where you output it to,
it might be turned into a halftone image.
| | 01:07 | And that's an image that's made up of dots instead of pixels.
| | 01:09 | So let's actually just go ahead and create a new file here.
| | 01:12 | And we're going to spend a few moments in the new document
dialog box, just kind of understanding what's behind an image.
| | 01:18 | There are three things really to know about.
| | 01:19 | The dimensions, which is the easiest to understand.
| | 01:22 | Obviously, the larger the dimensions and width and
height, the larger the file size is going to be.
| | 01:27 | The resolution, and what's called the
bit depth or the color mode of the file.
| | 01:31 | Now why am I spending some time on this?
| | 01:33 | Well, I often get asked, "How much RAM, or how much memory, does Photoshop need?"
| | 01:37 | And of course, my joke answer is, "More than you have.
| | 01:39 | Buy more, it's cheap."
| | 01:40 | But in reality, what Photoshop wants to work with a file comfortably
in memory is three to five times the amount of RAM as your image size.
| | 01:48 | So if you're working with a 20 megabyte file, typically that would mean
you would need about 100 megabytes of memory available in Photoshop
| | 01:55 | to be able to work comfortably, and that's per open file.
| | 01:58 | So if you've got five 20 megabyte files, you would need
500 megabytes of RAM for Photoshop to work comfortably.
| | 02:03 | Now that doesn't mean if you don't have that
much RAM you can't work inside Photoshop.
| | 02:07 | It just means that Photoshop could potentially slow down.
| | 02:10 | When you run out of real memory in Photoshop it goes out
and uses your hard disk as a scratch disk or as fake memory.
| | 02:16 | So again, back to the new document dialog box.
| | 02:19 | Three things that affect the file size of an image: the width
and height, the dimensions, the resolution and the color mode.
| | 02:25 | Right now my resolution is set to 72 pixels
per inch and my color mode is set to RGB color.
| | 02:31 | I'm going to change this to Bitmap.
| | 02:32 | And we'll describe that in just a second.
| | 02:34 | But right now, I've got a seven by five inch photograph and a
resolution of 72 pixels per inch and a color mode of Bitmap.
| | 02:41 | And the image size is relatively small.
| | 02:43 | It's 22k. Even though dimensionally
it's pretty large, a five by seven photograph,
| | 02:48 | the file size is significantly smaller because
it's a resolution of 72 pixels.
| | 02:53 | Now resolution literally means the number of pixels
per inch, but it also means the size of those pixels.
| | 02:59 | Resolution - the size of the pixels - is kind of relative
to the output destination of the file that it may go to.
| | 03:06 | So in this context, each pixel is now
1/72 of an inch which is pretty large.
| | 03:12 | If I were to double that resolution, go ahead and click
on the Resolution field, and type in 144,
| | 03:17 | you will see my file size didn't just simply
become, you know, double; it quadrupled.
| | 03:22 | Changing the resolution of an image has an exponential effect on file size.
| | 03:26 | I mean, you look back here and the purple pixels here, where each
one's square, if I were to double the resolution of this image,
| | 03:33 | each square would be basically cut in half and cut in half again.
| | 03:36 | So I'd end up with four pixels for every one pixel that was already there.
| | 03:40 | And that's why the file size quadrupled by doubling the resolution.
| | 03:43 | So if I change the - talking about the color mode here - if I
were to change that, I would get a file size change as well.
| | 03:50 | When you change the bit depth of an image, you're
changing the number of possible colors each pixel can be.
| | 03:57 | So if you look at this particular document, the color mode is set
to Bitmap and that's just a fancy way of saying black and white.
| | 04:04 | In a Bitmap mode graphic in Photoshop, each pixel
can only be one of two colors: black or white.
| | 04:11 | And that kind of graphic is often called, you know, a bitmap image,
a black and white image, a line art scan, or a one-bit image.
| | 04:18 | All those terms basically mean the same thing.
| | 04:20 | In Photoshop, a Bitmap mode image or an image set to the Bitmap
color mode is basically a black and white or line art image only.
| | 04:28 | If I change the color mode of this image from Bitmap
to Grayscale, watch what happens to the file size.
| | 04:33 | It jumped from 88k to
708k. That's a pretty significant jump.
| | 04:38 | My resolution didn't change; it's still 144.
| | 04:40 | My dimensions didn't change, it's still seven by five.
| | 04:43 | So what had to change was the number of possible
colors each pixel in the image could be.
| | 04:48 | Instead of only being two colors now, black and white, they
can now be one of 256 shades of gray.
| | 04:54 | And that's why the file size increased so significantly.
| | 04:57 | Photoshop doesn't actually care what color
a given pixel is at any given time.
| | 05:02 | It cares about what color it could be.
| | 05:04 | And in the Grayscale mode image, instead of being one of two,
black or white, it can be now be one of 256.
| | 05:09 | So Photoshop has to keep track of the possibilities.
| | 05:12 | Let's go ahead and change the resolution again.
| | 05:13 | We'll change that to 300.
| | 05:15 | And you can see that I'm now up to a three megabyte file.
| | 05:18 | And all I've been doing is changing the
resolution and the bit depth of the color mode.
| | 05:22 | Dimensionally, the file is still a seven by five inch image.
| | 05:25 | Let's change the color mode one more time.
| | 05:27 | We'll change it from Grayscale to RGB color.
| | 05:30 | And here you'll see the image went from three megabytes to nine megabytes.
| | 05:33 | Again, the dimensions didn't change, the resolution didn't change.
| | 05:36 | But the number of possibilities per pixel changed.
| | 05:40 | We went from grayscale, which was
256 shades of gray, to RGB color.
| | 05:43 | Now we haven't mentioned the word channels yet,
but basically you've just learned something.
| | 05:47 | An RGB image is three channels of information: a
red channel, a green channel, and a blue channel.
| | 05:53 | Now just like in the grayscale image where there was a single channel
of information, that channel had 256 shades of gray.
| | 06:00 | So there are 256 shades of red,
256 shades of green, and 256 shades of blue.
| | 06:06 | You multiple 256 by 256 by 256,
and you end up with 16.7 million colors per pixel.
| | 06:13 | So each pixel can be one of 16.7 million possibilities.
| | 06:17 | That's why the file size now went from three megabytes to nine megabytes,
| | 06:21 | because you went from
a one-channel image to a three-channel image.
| | 06:26 | We'll change that resolution one more time to 600 pixels per inch.
| | 06:29 | And you see I'm now at a whopping 36 megabytes.
| | 06:31 | And this is often way more resolution than you actually need.
| | 06:36 | We'll talk about what kind of resolution you need later on in a
different movie, but for now I just wanted you to see the impact
| | 06:42 | that changing the dimensions, changing the resolution,
and changing the color mode has on file size.
| | 06:47 | 1
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| What Resolution Does Your Image Need to Be?| 00:01 | >> Basically there are three different output destinations
you can send a digital file to, a digital image to.
| | 00:07 | The first one I'll talk about is what's called a halftone device.
| | 00:10 | And that's a printer that renders your image out using dots.
| | 00:15 | It converts a continuous-tone image into a halftone image.
| | 00:18 | And there's a couple of things that happen along that process.
| | 00:20 | One is using a halftone screen, versus what they call the line screen,
to convert your continuous tone information into halftone information.
| | 00:28 | Basically, it's a printer, like a laser
printer, or something called an image setter.
| | 00:32 | And if you're a designer, you know, you might know what an image setter is.
| | 00:35 | Basically, a laser printer on steroids.
| | 00:37 | It's a very high resolution output device that can print to paper or film.
| | 00:41 | And then you take that piece of film and turn it into a printing plate.
| | 00:45 | At any rate, you're basically rendering your image as a series of dots.
| | 00:50 | There, the resolution you need, is two times the line screen.
| | 00:54 | Whatever line screen you're using to generate the halftone.
| | 00:57 | Now if you don't know what a line screen is, or you don't know what line
screen you're using, you would talk to your printer, the offset printer.
| | 01:04 | And they would give you the recommended line screen
for the paper that you were printing on, and so forth.
| | 01:08 | Whatever number they give you for the line screen,
that's what you would double, that line screen.
| | 01:12 | That would be what we would call the target resolution for your image.
| | 01:16 | So let's say in the case of your printing to newsprint, you're
preparing an image that was going to be printed in a newspaper.
| | 01:22 | A typical line screen or newsprint is 85 lines per inch.
| | 01:26 | So to output an image or prepare an image to be printed out on the printing
press, on newsprint, you would take that 85 lines per inch,
| | 01:34 | double it, and end up with a target resolution
of 170 pixels per inch.
| | 01:38 | And you wouldn't need anything more than that.
| | 01:40 | In fact, anything more than that wouldn't make the image
look any better, it would just make the file size larger.
| | 01:44 | The second output device that we'd like to talk about is
continuous-tone output or the illusion of continuous tone.
| | 01:50 | And the most well-known example of that is an inkjet printer.
| | 01:54 | If you take a magnifying glass to an inkjet
print, you shouldn't see any dot pattern.
| | 01:58 | You'd see the illusion of continuous tone.
| | 02:00 | It's almost like you're looking at an actual photographic print.
| | 02:03 | They're that good.
| | 02:04 | Anyway, typically the target resolution you need for inkjet
prints is no more than 300 pixels per inch.
| | 02:09 | You can actually get away with much less, depending on how large
the size is going to be, and how far away you're going to view it.
| | 02:15 | But typically, you never need more than 300 pixels
per inch, and that's your target resolution for inkjet prints.
| | 02:20 | And of course, the third output device is your screen, the monitor.
| | 02:24 | Whether it's being projected on a large projector at a presentation,
| | 02:27 | or whether it's part of a kiosk, or on a
cell phone or, you know, on a Web page.
| | 02:32 | The target resolution is just the pixel dimensions of the output
device or the monitor device that you're sending an image to.
| | 02:38 | So for instance, if I were to send - talking about halftone output again -
and change the resolution of this image from 300 to 600,
| | 02:45 | you'll see I end up with a whopping 36 megabyte file.
| | 02:48 | A very large file, lots of information, but actually more than
we would need for again, let's say for that halftone example,
| | 02:54 | for printing to newsprint where we said the target
resolution only needed to be 170.
| | 03:00 | So if I were to change my resolution from 600
to 170, look at the file size difference.
| | 03:04 | It went from a 36 megabyte file to just under three megabytes.
| | 03:09 | And the image wouldn't have looked any worse when printed to newsprint.
| | 03:12 | Again, there's just that magic correlation between the line screen and
the target resolution that you need when you're going to halftone output.
| | 03:20 | If you're printing this out on an inkjet print, you would never need
more than 300 pixels per inch for your final target size.
| | 03:26 | And that's just the way the continuous tone output devices work.
| | 03:30 | And then again, if you're going to a Web page, or a monitor per
se, you would not use inches and not really care about resolution
| | 03:38 | at all, you would change your measurement system to pixels.
| | 03:41 | So if I change it to pixels here, and work with pixel dimensions.
| | 03:45 | So let's say I wanted my graphic to be full screen on a
projector, so 1,024 by 768, let's say.
| | 03:52 | If I change the measurement system there to pixels and then enter
in a width and height of 1,024 by 768,
| | 03:59 | it really doesn't actually matter what resolution you
choose for images that are going to end up on screen.
| | 04:04 | And notice that right now at 300 pixels
per inch, it's two and a quarter megabytes.
| | 04:08 | If I change that resolution to something wacky like one
pixel per inch, it's still only two and a quarter megabytes
| | 04:14 | because the file size doesn't change with the
dimensions, the pixel dimensions don't change.
| | 04:19 | This is still a 1,024 by 768 file.
| | 04:22 | I'm going to talk more about this whole concept of
pixels and resolution and file size in another movie here
| | 04:26 | in this chapter, when we talk about resizing versus resampling.
| | 04:30 | But as a summary for this particular movie that we're talking
about here, the three different output devices you need to be worried
| | 04:35 | about at any given time are halftone output,
continuous-tone output or a monitor screen.
| | 04:41 | Two times the line screen for halftone output is your target resolution.
| | 04:44 | 300 BPI for your continuous-tone output
or less, but never more than 300.
| | 04:49 | And then of course, if you're dealing with a screen graphic,
a monitor graphic, you don't care about resolution at all.
| | 04:55 | You just care about pixel dimensions.
| | 04:57 | How many pixels across versus how many pixels down.
| | 04:59 | 1
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| Image Size: Resize vs. Resample| 00:01 | >> In this movie we're going to talk about the
difference between resizing versus resampling an image.
| | 00:05 | Now the particular image I have open here is just one
that I've included in the Digital Image Essentials folder.
| | 00:11 | You're welcome to use that.
| | 00:12 | It really doesn't matter.
| | 00:13 | You can use any file.
| | 00:14 | Chances are, when you're taking digital pictures, they're
a lot of times a lot larger than they really need to be.
| | 00:20 | Especially for the common print sizes that you might be printing
your images out, you know, if you're going to print out a four by six
| | 00:24 | or something like that, you probably have
plenty more information than you actually need.
| | 00:28 | So it comes time to resize an image or change its output dimensions.
| | 00:32 | And the place you do that is under the Image menu, Image, Image Size.
| | 00:36 | And there are two ways to use this dialog box.
| | 00:38 | You can use it to resample versus resize.
| | 00:41 | The Resample option is the one that's turned on by default.
| | 00:44 | That's the checkbox down here, Resample Image.
| | 00:46 | We'll talk about what these options are here in just a minute.
| | 00:48 | But I like to describe the Style box
as having an upstairs and a downstairs.
| | 00:53 | Now the upstairs is used for Web graphics, and the
downstairs is used for when you are printing a graphic.
| | 01:00 | And you'll notice that the upstairs doesn't
have something that the downstairs does.
| | 01:04 | And that is Resolution.
| | 01:05 | Again, because when you are working with a Web graphic
there's no such thing as resolution, just pixel dimensions.
| | 01:09 | And that's why there's no Resolution field up here on the top.
| | 01:13 | Downstairs though, you do need to specify an output resolution.
| | 01:16 | And that's why there's a Resolution field.
| | 01:19 | So this file has currently 10 by 6.75
at 300 pixels per inch.
| | 01:25 | I'm going to turn off the Resample checkbox.
| | 01:28 | And when you do that, this dialog box now becomes a Resize dialog box.
| | 01:32 | You'll notice that the upstairs is no longer available.
| | 01:35 | I can't edit those values, which means anything I do downstairs
is not going to affect the overall file size of the image.
| | 01:42 | Which means this is non-destructive.
| | 01:44 | Anything I do here doesn't actually change
the amount of information in the file.
| | 01:48 | You're just changing the output print dimensions at this point, OK?
| | 01:51 | When your samples are turned off, all you're doing is changing
the output dimensions and the corresponding resolution.
| | 01:57 | So this is a rubber band effect.
| | 01:59 | If I change the width or the height, the
resolution has to change in tandem or vice versa.
| | 02:04 | If I change the resolution, the width and
height need to change correspondingly as well.
| | 02:08 | For instance, if I were to click on the width field and
type in a width of four to make a four by six print,
| | 02:14 | you notice that the resolution jumps up to 500 pixels per inch.
| | 02:18 | And again that's because the file size is not changing.
| | 02:21 | So if the dimensions are smaller, the pixels have
to get smaller as well to fit the smaller space.
| | 02:29 | So the number of pixels isn't changing, just their size.
| | 02:32 | Smaller dimension, smaller area, same number of pixels.
| | 02:35 | The pixels have to get smaller.
| | 02:37 | Likewise, if I make the dimensions larger,
say if I make it 12 inches wide,
| | 02:41 | the resolution goes down to 166,
approximately, from 300.
| | 02:46 | The file size again is not changing, so the overall
number of pixels is not changing, just the relative size.
| | 02:51 | So if the dimensions are larger, the pixels themselves
have to get larger to fill that larger space.
| | 02:57 | So the larger the pixel, the lower the resolution.
| | 03:01 | So now if I were to say, OK I did want
to make a 12x18 print on this.
| | 03:05 | This is the resolution I'd have to live with at this point.
| | 03:08 | If I were to click OK, many Photoshop users
when they're first beginning get a little confused
| | 03:13 | because it doesn't look like anything happened on your screen.
| | 03:15 | And that's because Photoshop really doesn't care
what the output dimensions and resolution are set to.
| | 03:22 | It's just going to print it out whatever you told it to.
| | 03:24 | The onscreen display of that doesn't really matter.
| | 03:27 | Photoshop only cares about showing you actual pixels.
| | 03:30 | So if you look at the current zoom percentage right now, it's 16.7
percent, we haven't changed the number of pixels in the file.
| | 03:36 | Our zoom view percentage of this or our
onscreen view of this, doesn't change.
| | 03:41 | And if we go back to Image, Image Size and let's take this back to
300 pixels per inch, which is where we first started out.
| | 03:48 | Now let's turn on Resample and see the difference.
| | 03:51 | When Resample is turned on, this now becomes a
Resample dialog box instead of a Resize dialog box.
| | 03:57 | I know it's kind of confusing, but this dialog box can do two things.
| | 04:00 | But that's just what you got to know.
| | 04:02 | So now, if I were to change the width or height or the resolution,
that will affect the overall number of pixels in the file.
| | 04:10 | And so the file size will either get larger or smaller
depending on if I upsample, meaning add pixels to the document,
| | 04:16 | or if I downsample, meaning take away pixels from the document.
| | 04:19 | So if I were to make this a four by six, let's say, since I'm
keeping the resolution the same, I had more pixels than I needed
| | 04:27 | to print a four by six from its original dimensions.
| | 04:29 | The file size is going to go down.
| | 04:31 | I'm downsampling the image.
| | 04:33 | And you notice that the width and the height, the pixel
dimensions, have changed as well because I'm throwing away pixels.
| | 04:39 | When I'm resampling an image, I have what's
called interpolation algorithms.
| | 04:45 | Which is geek speak for "guessing what pixels to keep when I'm making it
smaller or guessing what pixels to create if I'm making the image larger."
| | 04:54 | And you see the default choice here is Bicubic.
| | 04:57 | That's talking about the interpolation algorithm.
| | 05:00 | I've got two other choices that I might consider - just ignore Nearest
Neighbor and Bilinear, these are from old-school Photoshop days,
| | 05:06 | which aren't really relevant any more at this point.
| | 05:09 | The default choice is Bicubic, which used to be the
best choice; it used to give you the best quality.
| | 05:15 | But starting in Photoshop CS and now continuing on in Photoshop CS2,
you have two other options: Bicubic Smoother and Bicubic Sharper.
| | 05:22 | And the rule of thumb is if you're making your image smaller
than the original size, you would choose Bicubic Sharper.
| | 05:28 | And that's going to give you an image that
retains much more detail than the original image.
| | 05:33 | If you're making the image larger, you would choose Bicubic Smoother.
| | 05:37 | And that tries to create an image with fewer aliased edges and artifacts.
| | 05:42 | So, smaller - Bicubic Sharper; larger - Bicubic Smoother.
| | 05:45 | We'll go in and click OK now, and you'll see most people when
they first do this are like, "Oh, something happened this time."
| | 05:52 | Well, something happened when you resized it as well.
| | 05:54 | It's just that you didn't see it on screen.
| | 05:56 | It didn't change until you printed the file out.
| | 05:59 | When you resample, since you are changing the number of pixels
in the file, it looks like something happened right away
| | 06:05 | because Photoshop always is going to show you an
updated view based on the number of pixels in the file.
| | 06:10 | I'm going to go ahead and revert this file, and I'll show
you a comparison between the Bicubic and Bicubic Sharper.
| | 06:16 | Now I doubt you're going to be able to see the results of
this closely in the video due to the video compression,
| | 06:22 | but if you were to do this on your own, I'll show you how to do it here,
| | 06:25 | you should see the difference between
the different interpolation algorithms.
| | 06:28 | So I'm going to take this file and we're going to go to
Image Duplicate and just generate another version of this,
| | 06:33 | create a second window here, we'll move it side by side.
| | 06:36 | Now in this image, the first one here
on the left, we're going to go to Image,
| | 06:40 | Image Size and I'm going to make sure Resample is
turned on, and we're going to leave it at Bicubic.
| | 06:45 | And we'll go ahead and make the width 300 pixels wide
here, and you see the file size is going to change significantly
| | 06:51 | from 17 megabytes to just
about 400k. Go ahead and click OK.
| | 06:56 | And the image is going to get much smaller on our screen.
| | 06:58 | We'll go ahead and make this a little bit bigger
with our Zoom tool, take it up to 100 percent.
| | 07:04 | Now we'll take this image over here and we'll go back to Image,
Image Size, and this time we're going to choose Bicubic Sharper,
| | 07:11 | change the width to 300 again, click OK.
| | 07:15 | And now I want this document to look exactly the same as this
document in terms of the zoom and percentage and things like that,
| | 07:22 | so I'm going to choose this document as the one I want it to match.
| | 07:26 | Go to the Window menu and Arrange to Tile Vertically so
they're side by side, and then again I'll click on this window
| | 07:33 | to make sure that's the one I am referencing, and I'll go
back to Window, Arrange, and Match Zoom and Location.
| | 07:38 | So I can see them side by side.
| | 07:39 | Now again, hopefully you'll see the results of this, but the image
on the right should look a bit sharper than the image on the left.
| | 07:46 | And here's a good reference point right here, is this little mossy area.
| | 07:51 | Should look a little crisper here than
it does in its counterpart over here.
| | 07:54 | So that's the difference between Bicubic on
the left and Bicubic Sharper on the right.
| | 07:59 | Now most of the time I would argue that you're probably downsampling your
images more often than you're upsampling them, because hopefully by now,
| | 08:07 | you realize that if you upsample, you're going to
lose quality because the pixels don't actually exist.
| | 08:10 | If you're downsampling, you're throwing away extra pixels
that you don't need, so you've got a better chance of retaining quality.
| | 08:16 | If that's something that you're going to be doing the majority of the time,
| | 08:19 | then maybe we should change the preference for
what interpolation algorithm is actually used.
| | 08:24 | So under Edit Preferences on Windows, at the end of the Photoshop menu, on
the Mac you'd have Preferences and we'd go to just the General Preferences.
| | 08:35 | And you see here the Image Interpolation by default set to Bicubic.
| | 08:38 | You could change it to Bicubic Sharper.
| | 08:40 | And so now the next time you go into the Image Size
dialog box there, it's already set to Bicubic Sharper.
| | 08:47 | OK? So that's the difference between Bicubic and Bicubic Sharper.
| | 08:50 | Again, if you make an image larger instead of
smaller, you would choose Bicubic Smoother.
| | 08:54 | And again, because that's just something you're doing not
as often if you change the default to Bicubic Sharper.
| | 08:59 | If you do need to use Bicubic Smoother, you can just do that when
you're inside the Image Size dialog box for that one image.
| | 09:05 | So, choose Bicubic Smoother there and the next time you come back to
Image Size, it will be reset back to Bicubic Sharper by default.
| | 09:13 | 1
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| How Big a Print can You Make?| 00:01 | >> Another question I get asked often is, "How
big a print can I make from the file that I have?"
| | 00:06 | And there's a really easy way to figure that out.
| | 00:09 | You just have to remember what your target
resolutions are, depending on your output device.
| | 00:13 | We're going to go to Image, Image Size, and what you want to
do is turn off the Resample dialog box or the checkbox.
| | 00:19 | This puts you in a mode where you're resizing, not resampling.
| | 00:22 | Which means it's non-destructive.
| | 00:24 | And you'll notice that this image is straight
off the camera, the camera I happen to use.
| | 00:29 | And most digital cameras set the default resolution of the pictures that
they take to 72 pixels per inch, which is pretty unrealistic.
| | 00:37 | You would wouldn't really want to print your
image out at 72 pixels per inch.
| | 00:40 | And because it's set to 72, the
document size is probably much larger
| | 00:45 | than it really should be in terms of where
you're going to go with the file.
| | 00:48 | So here it's 42x28
inches off the particular camera that I used.
| | 00:52 | To figure out how big a print you can make straight off the
camera without having to resample it or change its size,
| | 00:58 | what you would do is in the Resolution field you would type
in the target resolution of your particular output device.
| | 01:03 | So let's say you're going to an inkjet printer.
| | 01:06 | Well, we know that the inkjet printer's target
resolution for the majority of the printers
| | 01:09 | out there is never going to be more than 300 pixels per inch.
| | 01:13 | So if I change the resolution to 300, again with Resample
turned off, I see that without resizing or cropping or anything,
| | 01:20 | I can print a 10 by 6.75 size image.
| | 01:24 | And get native quality without having to add or subtract pixels.
| | 01:29 | Now some printers, like say the Epson printers, actually they say
their target resolution is 240 pixels per inch.
| | 01:35 | So if I change it to 240 you see that I can actually
get an 8x12 and I'm just rounding down here.
| | 01:41 | So again, just a real quick way to figure out how big a
print you can make before you're actually having to scale
| | 01:47 | up the image to match the print dimensions you want.
| | 01:51 | Open up Image Size, turn off Resample, dial in your
target resolution with the particular output device.
| | 01:57 | Now if you're going to halftone output, something like a laser printer,
or you're preparing this to be printed on an offset printing press,
| | 02:03 | you need to know what line screen is being used to generate the half-
tone, and then you would you just double that to get best quality.
| | 02:10 | So let's say that you're using a line screen of 100 lines per inch.
| | 02:14 | So 100 times two is 200.
| | 02:15 | Let's change the resolution to 200.
| | 02:18 | And if this image was going to be printed on an offset printing
press using a line screen of 100 lines per inch,
| | 02:23 | I would have enough information straight off
the camera to do just over a 10 by 15.
| | 02:27 | So again, this is just a very quick, easy way to figure
out how much information you have to start out with.
| | 02:32 | Keep in mind that the larger the file, especially for inkjet, the larger
the dimensions that you intend on printing out, on an inkjet printer,
| | 02:41 | typically the lower the resolution you
need, especially for photographic prints.
| | 02:45 | Because if it's a larger print size,
your intended viewing distance is probably going
| | 02:50 | to be a lot farther away than just right up to your face.
| | 02:53 | There's just something in the nature of
handling a four by six print,
| | 02:57 | you tend to be holding it up very close to
you, looking at the details.
| | 03:00 | But if you're printing out let's say a 20 by 30 poster,
| | 03:04 | you're probably not going to be standing four
inches away from the poster when you are viewing it.
| | 03:08 | You're going to be standing at least several feet away from it.
| | 03:11 | So the larger the viewing distance from the actual
print size, the lower the resolution can be.
| | 03:17 | That's why I've seen very decent results for poster prints
at say 150 and even 100 pixels per inch.
| | 03:23 | Because your eye has a great way of just kind of naturally filling
in the gaps there, so to speak, when you view an image far away.
| | 03:31 | 1
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| The Resize Image Wizard| 00:01 | >> Now if after watching the movies in this chapter about resizing and
resampling or resolution, and things are just still a little confusing,
| | 00:07 | there's actually a tool or a wizard in Photoshop
that can help you during the resizing process.
| | 00:12 | And it's under the Help menu and it's called Resize Image.
| | 00:14 | It's been there for several versions.
| | 00:16 | Now it hasn't been updated in a while, so the verbiage
in here isn't necessarily as clear as it could be.
| | 00:20 | But it's just a basic walk-through wizard that
asks you a series of questions about what you want.
| | 00:24 | So first question is, "Do you want to
have this image appear on a website?"
| | 00:28 | You know, online, or are you going to print it out.
| | 00:30 | We will run through the print options here.
| | 00:31 | Go ahead and click Next.
| | 00:32 | It says, "Great.
| | 00:33 | Well, how big an image do you want this to be?
| | 00:35 | What are your output dimensions?"
| | 00:36 | And if you notice behind the scenes it actually has duplicated the
original window so we're not actually damaging the original file.
| | 00:42 | So let's say on this particular one I want it to be
a five by seven print, it's horizontal, so a seven-by
| | 00:48 | is close to that proportionally because
the dimensions here are locked proportionally.
| | 00:55 | Go ahead and click Next.
| | 00:56 | It says, "OK.
| | 00:56 | Well, since you're printing this graphic, what line
screen is going to be used to print the image at?"
| | 01:02 | And let's say I was going to newsprint, I would choose 85.
| | 01:06 | Or if I was going to print this on a coffee table book,
high quality paper, maybe it's a 150 or whatever.
| | 01:12 | And go ahead and click Next.
| | 01:14 | It says, "OK.
| | 01:14 | What quality factor would you like to use?"
| | 01:18 | And earlier, in earlier movies I said you would
never use more than two times the line screen
| | 01:23 | if you're going to halftone output and printing this file.
| | 01:26 | So you notice that the slider doesn't go beyond two times.
| | 01:29 | I can actually choose a lower image quality to get a
smaller file size, but I can never go higher than two.
| | 01:35 | So if I do two times and I use a line screen of 150,
| | 01:38 | you look at the resolution I'm going to
end up with is 300 pixels per inch.
| | 01:41 | I go ahead and click Next, and I'm done.
| | 01:44 | And you see that it resized a duplicate file
of the exact dimensions I want it to be.
| | 01:49 | Now if I go to Image, Image Size you'll see it's a seven by as close
to five inches as it could be, at a resolution of 300.
| | 01:56 | And I was using Bicubic Sharper as my interpolation
algorithm because I changed the default.
| | 02:01 | So it gave me a nice crisp downsampled image.
| | 02:05 | Now I'll do this one more time.
| | 02:05 | We'll go ahead and close this image.
| | 02:08 | And more and more people are using inkjet prints
or inkjet printers to create photographic prints.
| | 02:15 | And you notice that there were no options here for inkjet.
| | 02:19 | So I'm going to show you how to use the Resize Image wizard to resize
your images if you're going to be printing them on an inkjet printer.
| | 02:25 | You would choose the Print option, click Next.
| | 02:28 | Again, put in your desired output dimensions.
| | 02:30 | We'll do seven by the corresponding height.
| | 02:33 | Click Next.
| | 02:34 | And at this point where it's asking a halftone screen -
technically there's no halftone screen used in inkjet prints.
| | 02:40 | That's the inkjet technology, is the illusion of continuous tone.
| | 02:45 | So there's no halftone screen.
| | 02:46 | But what you'll do is since we know that the target
resolution of an inkjet printer is no more than 300,
| | 02:53 | we'll choose 150 for the line screen and then the
next screen we'll crank that up to two times the quality,
| | 02:58 | so that my target resolution ends up being 300 pixels per inch.
| | 03:02 | Go ahead and click Next.
| | 03:03 | And I end up with a duplicated file, resized to the dimensions
I wanted it to be, at the target resolution of my inkjet print.
| | 03:10 | OK, let's go back to Image, Image Size just to show you that.
| | 03:14 | There it is, 7x4.643 at
300 and I'm ready to print the file out.
| | 03:19 | One last way to use the Resize wizard under Help, Resize Image. This time
we'll choose an Online option because we want it to be a Web graphic.
| | 03:29 | Again, we click Next, it says, "Oh, what size do you want your image to be?"
| | 03:33 | Notice that the measurement system is in pixels.
| | 03:35 | There's no such thing as inches on the Web.
| | 03:36 | It's how many pixels across and how many pixels down.
| | 03:39 | So let's say we want it to be 500 pixels
wide and we can go ahead and hit the Next button.
| | 03:43 | Notice that there's no such thing here as
a resolution field or a line screen option.
| | 03:48 | It's just pixel dimensions.
| | 03:50 | And it even gives you a hint that maybe
you might want to Unsharp Mask this.
| | 03:53 | Since you've downsampled it.
| | 03:55 | Now because in an earlier movie we showed you how to
change your interpolation algorithm to Bicubic Sharpen,
| | 04:03 | this last Unsharpen step really isn't necessary anymore.
| | 04:06 | If you hadn't changed it to Bicubic Sharpen, you were still using
Bicubic as your preference, then yes indeed you would want to go back
| | 04:11 | and use the Unsharp Mask filter to bring back some of the original details.
| | 04:15 | So anyway, there you have it.
| | 04:16 | The Resize Image wizard can help you just make sense of all this resolution
nonsense as you figure out where to make your image larger or smaller.
| | 04:25 | 1
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| Accurate Print Size Preview| 00:01 | >> Early in this chapter I said that Photoshop doesn't really care
| | 00:03 | to show you what the output dimensions of
this image would be if you were to print it.
| | 00:08 | It only cares about showing you the actual pixels.
| | 00:10 | Well you can actually ask Photoshop to show you the print size on screen.
| | 00:14 | But there's a little bit of a trickery to get it to actually be accurate.
| | 00:18 | So let's see what I mean.
| | 00:19 | First, let's go to Image, Image Size and we
will go ahead and make this image a lot smaller.
| | 00:24 | We'll say 300 pixels per inch.
| | 00:26 | And we want the width to be six inches wide.
| | 00:29 | So a six by four, four by six, 300, click OK.
| | 00:32 | And the image gets smaller on screen because I downsampled the image.
| | 00:35 | Now, in my Zoom options, in the Options
bar I've got the Zoom tool selected.
| | 00:40 | I can choose Actual Pixels.
| | 00:42 | Which shows me all the pixels in the image and I can
pan for acres because there's a lot of pixels here.
| | 00:46 | I can hit the Fit Screen button which shows me
all of the image as large as possible without having
| | 00:52 | to scroll the image, you see there's no scroll bars.
| | 00:54 | And then there's another button here called Print Size.
| | 00:57 | And if I turn on the Print Size button but then
turn on my rulers, under the View menu, View Rulers.
| | 01:04 | I'm going to change my measurement system right now from pixels to inches.
| | 01:07 | Because right now it's set to pixel.
| | 01:09 | On a Mac you can hold down the Control key and click on the Ruler bar.
| | 01:13 | Or on PC if you right-click you can actually
change the measurement system right there to inches.
| | 01:18 | And if you were to actually hold - I can't do
this because I'm doing a screen capture here -
| | 01:23 | but if I were to hold a ruler, an actual ruler up to my screen right
now and line up the zero on the ruler with the zero on the screen.
| | 01:31 | I'm guessing that the six-inch mark on the screen
would not match up with the six-inch mark on the ruler.
| | 01:38 | And that's because Photoshop is assuming that the
resolution of your monitor is 72 pixels per inch.
| | 01:45 | Which hasn't really been the case for quite some time.
| | 01:48 | You can get Photoshop to give you an accurate print
size preview though, if you go edit the preferences.
| | 01:53 | So again under Edit, Preferences on the PC or
under the Photoshop menu, Preferences on the Mac.
| | 01:58 | And if you choose Units and Rulers, you'll see the default
screen resolution is set to 72 pixels per inch.
| | 02:04 | Well the majority of the flat panel LCD screens out there
actually have a resolution of 100 pixels per inch.
| | 02:12 | So what you'd want to do is change your screen
resolution to 100 pixels per inch.
| | 02:17 | Now when I click OK, if you were to hold up your ruler now
showing print size and hold up your ruler to your screen,
| | 02:25 | you should get a much more accurate view of your actual print dimensions.
| | 02:29 | So now you've still got your actual Pixels view, your Fit
to Screen view, and now a much more accurate Print Size view
| | 02:36 | to see how big that image is going to be before you print it out.
| | 02:39 | 1
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| Cropping Images| 00:01 | >> One potential problem that you might run into when you want to
resize an image is that the proportion of the image that you're starting
| | 00:07 | out with may not match the proportion of the
print size that you actually want to output it at.
| | 00:11 | That's especially true if you are using a lower-end digital camera,
| | 00:13 | or prosumer camera that doesn't take pictures at
the same proportions as say a digital SLR does.
| | 00:19 | So let's take a look at that.
| | 00:20 | If we go to Image, Image Size and this particular
image if I wanted to make this into a five
| | 00:26 | by seven print, let's go ahead and change the width to seven.
| | 00:29 | Because I've got the proportions locked, if I'd changed
the width the height is going to change proportionally.
| | 00:34 | You'll see that the height doesn't quite match up to the
five inches that I need it to be, for a five by seven print.
| | 00:39 | It's just short of that.
| | 00:40 | So if I don't compensate for this some way, then I'm either going
to end up with a blank border on one side of the image,
| | 00:46 | or part of the image will be clipped, depending on the direction I'm going.
| | 00:49 | To address that issue then you don't use the Resize dialog
box or the Image Size dialog box, you use the Crop tool instead.
| | 00:55 | Best way to use the Crop tool is to first
put the image in the Full Screen mode.
| | 00:59 | You can do that just by pressing the letter F.
That way you can see the entire edge of your image.
| | 01:04 | And just press the letter C for the Crop tool.
| | 01:07 | And if you happen to know the dimensions or
proportions that you want your image to be,
| | 01:11 | you can enter those numbers in directly
into the Options bar for the Crop tool.
| | 01:15 | So in the width field I can type in seven i-n
for inches, five i-n for inches, and then for the resolution,
| | 01:22 | you'd put in the target resolution you would
need for the output device you are going to.
| | 01:26 | If this is being printed on an inkjet printer, then I would
type in 300 pixels for that target resolution.
| | 01:32 | So once I've got the numbers in there, I can now drag out
a crop boundary, and you'll notice that it only allows me
| | 01:38 | to draw a shape that's proportional to the seven by five dimension.
| | 01:44 | Once I've got the crop boundary established, I can reposition
it by pressing inside and dragging it around the image.
| | 01:50 | I can also do a rotate by moving outside the boundary box.
| | 01:55 | And again, once I get this position where I want
it, I can resize it by going to another corner.
| | 02:01 | When I want to actually apply the crop if I hit Enter or Return on the
keyboard, or I can click the check marks up here on the Options bar.
| | 02:10 | Then it actually crops the image down or rotates it to a perfect
seven by five image as a resolution of 300 pixels per inch.
| | 02:17 | So now if I go to Image, Image Size, sure enough,
I end up with a seven by five at 300.
| | 02:22 | So if you want to control where that image is
going to be clipped, do it with the Crop tool.
| | 02:25 | Put in the dimensions that you need it to be, and the target resolution.
| | 02:29 | Drag out the boundary where you want it to go.
| | 02:31 | One other short little trick here.
| | 02:33 | Go ahead and revert this file.
| | 02:34 | If I wanted to take a horizontal picture and create a
vertical crop from it, well now I've got the dimensions.
| | 02:41 | In the Crop tool options there's this little double arrow between the
width and the height. I can just click on that, to swap the values.
| | 02:48 | And now I'll drag out a five by seven instead of a seven by five.
| | 02:51 | And again, it only lets me do a proportional shape here.
| | 02:55 | Position it where I want it, hit Return or Enter,
and I end up with a five by seven at 300.
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| Adding a Border by Extending the Canvas| 00:00 | >> By default in Photoshop, your image
actually sits on top of what's called a Canvas.
| | 00:04 | And the Canvas starts out by being the actual size of the image dimensions.
| | 00:09 | You currently have a Background layer in this particular image.
| | 00:12 | We'll talk more about layers in the Layers chapter.
| | 00:14 | But for now a Background layer basically is the size of
the actual image which corresponds to the Canvas size.
| | 00:20 | If I want to extend the Canvas, to say add a border to the image,
| | 00:24 | then I can increase the Canvas size to do that.
| | 00:27 | Just one note about the Background layer, the background
layer corresponds to the current background color.
| | 00:32 | So if I were to add Canvas to this image, the new Canvas that
extended beyond the image area would be the background color.
| | 00:41 | Whatever that happens to be right now.
| | 00:42 | So here it's white.
| | 00:43 | If it was pink, then it would be pink
| | 00:45 | if I added Canvas at that point.
| | 00:46 | There's two ways to add Canvas to an image.
| | 00:48 | You can do it numerically through the Canvas Size dialog
box or you could do it visually with the Crop tool.
| | 00:53 | We'll do the numeric way first.
| | 00:55 | Under Image, Canvas Size, by default the Relative
checkbox is not turned on. You see the width
| | 01:01 | and height as it is currently and you can sit here and try to do math.
| | 01:05 | Let's say I wanted to do a half-inch border
around all four edges of my image.
| | 01:08 | I would have to kind of figure out
6.667 plus .5 or whatever.
| | 01:13 | Too much work for me.
| | 01:14 | I'm going to turn on the Relative checkbox and that lets me
just type in whatever size I want for the additional Canvas.
| | 01:20 | So I'm going to do half an inch border around all sides.
| | 01:22 | So .5 for width and height.
| | 01:24 | And the Anchor area lets me tell Photoshop where I want the
new Canvas to be added to in reference to the original image.
| | 01:31 | So by default it's center, which means the new area is going
to be added all the way around the four edges of the image.
| | 01:37 | If I click on the upper left-hand corner then it's going to
be just added to the right and to the bottom and so forth.
| | 01:41 | So I'll go back and click the middle.
| | 01:42 | Go ahead and click OK, and you'll see the Canvas has now
been added to this image, and it's a background color of white.
| | 01:49 | Sometimes it's a good idea to put the image in the Full Screen mode so you
can actually see the edges more clearly against the gray background here.
| | 01:55 | I'm going to go ahead and undo the adding the Canvas with that
method and show you that you can do it with the Crop tool as well.
| | 02:01 | If you know how much you want it to be, use Canvas Size.
| | 02:03 | If you just kind of want to do it visually,
you can do it with the Crop tool.
| | 02:06 | The one thing you might need to do before you start using the Crop
tool, is clear out the current settings that are in the Crop tool.
| | 02:12 | If there are width and height and resolution settings in here, you're
going to be resampling the image, in addition to doing the crop.
| | 02:18 | And that may not be what you had intended.
| | 02:20 | You may have just wanted to up the Canvas size without doing a resampling.
| | 02:24 | So I'll go ahead and hit Clear to empty out those values.
| | 02:27 | Now the first time I drag out a crop boundary,
it lets me draw any shape I want.
| | 02:31 | But it's constrained to the current Canvas size.
| | 02:34 | I can't go outside the Canvas.
| | 02:36 | You may be thinking, "Well, why would you want to do that?"
| | 02:38 | But, go to the edge of the Canvas, let go, drag a boundary again after
you've let go the first time, and now it lets you extend beyond the Canvas.
| | 02:46 | And by default, it's dragging
the width and height at the same time.
| | 02:49 | If you hold down the Option key on the Mac or the Alt key on
Windows, you can drag the boundary from the center of the image.
| | 02:56 | And you can just kind of figure out how much Canvas you want to add.
| | 02:59 | So maybe I want the size to be a little bit narrower
and I want the top to match the sides, like so.
| | 03:06 | But I want the bottom to be just a little
bit taller for an unusual border crop.
| | 03:11 | You're now basically dictating the size of
the Canvas by that shimmering marquee area.
| | 03:15 | And now if I hit Return or Enter, I get the same result of using
Canvas Size, except I was doing it visually and the new Canvas color
| | 03:22 | that gets added to the image is the current background color.
| | 03:25 | Which in this case, is white.
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4. Adobe Bridge EssentialsAccessing the Bridge| 00:01 | >> If you've used a previous version of Photoshop before, perhaps the
biggest change in Photoshop CS2 is something called the Adobe Bridge.
| | 00:09 | And by change, I mean it's actually a separate application.
| | 00:12 | Before, in earlier versions of Photoshop, like Photoshop CS or
Photoshop 7, there was something called the file browser.
| | 00:18 | And when you opened up the file browser, that was a way, a visual
way, that you could look and organize and view your images instead
| | 00:24 | of just the standard Open command or the Open dialog box.
| | 00:27 | In Photoshop CS2, the file browser has been
replaced with something called the Adobe Bridge.
| | 00:32 | It's opened the same way that the old
file browser used to be opened, that is,
| | 00:35 | that there's an icon here in the upper right-hand
corner of the Options bar, and it's called Go to Bridge.
| | 00:41 | It's this little folder icon with the little seashell there.
| | 00:44 | You can also access it from the File menu with the Browse command.
| | 00:49 | So File, Browse would launch Adobe Bridge.
| | 00:52 | Or, clicking on this icon will do it as well.
| | 00:54 | This icon will be here no matter what tool you have selected.
| | 00:59 | The Options bar changes to show you options for the current tool.
| | 01:02 | But the Bridge icon will always be located here.
| | 01:05 | So I'm going to go ahead and open up the Bridge.
| | 01:07 | And the first thing to note is that this is not just
a regular window or another palette inside Photoshop.
| | 01:14 | And you may not notice it the first time you open
this, but this is actually a separate application.
| | 01:19 | So Adobe Bridge basically moved the functionality
of the file browser which used to be just a palette
| | 01:26 | or a window, and moved it into a separate application.
| | 01:30 | As you might note or guess, because it's a separate application,
there's a lot more functionality and things you can do with the Bridge.
| | 01:37 | Now because the Bridge is a separate application, you
want to make sure you don't click the red X when you mean
| | 01:43 | to close the Bridge or close the window and go back to Photoshop.
| | 01:46 | Because what that's really going to do is actually close the application.
| | 01:49 | And then you would have to sit there and wait for it to relaunch.
| | 01:52 | So if all you want to do is switch back to Photoshop, don't use the
red X. What you'd want to do instead is there's a link over here
| | 01:59 | in the Favorites section of the Bridge, over on
the left-hand side where it says Adobe Photoshop.
| | 02:04 | And because I can't see the full name, it's truncated this.
| | 02:07 | This palette pane, this divider that separates,
you know, the palettes from your actual thumbnails,
| | 02:13 | it can be widened by dragging the divider to the right a little bit.
| | 02:16 | And if I drag it just a little bit to the right, you'll see
there's a shortcut to take me back to Adobe Photoshop CS2.
| | 02:21 | So if I go ahead and click on that, that takes
me back to Photoshop and hides the Bridge.
| | 02:26 | So it goes back to behind the scenes here.
| | 02:29 | If I click on the Bridge icon again, it just pops back open.
| | 02:32 | One thing I like to do to kind of help remind myself that it is actually
a separate application instead of just this floating window here as a part
| | 02:39 | of Photoshop, is I like to expand the Bridge to fill my screen.
| | 02:44 | So I'm going to maximize the window here and
because I don't see Photoshop in the background,
| | 02:49 | it makes it a little bit easier to know that I'm in this other environment.
| | 02:52 | And then if I just want to go back to Photoshop, I
can click on that link to take me back to Photoshop.
| | 02:58 | Also, the keyboard shortcut, Control + Shift + O or on
the Mac Command + Shift + O, will take you back as well.
| | 03:04 | So Command + Shift + O, if you noticed in the
Browse command here under the File browse,
| | 03:09 | Alt + Control + O or Command + Option + O on the
Mac, will take us back to the Bridge.
| | 03:15 | Back and forth.
| | 03:15 | So Control + Alt + O, Control + Alt + O again to toggle back and forth.
| | 03:21 | One other thing, when you open up Photoshop, and then
click on the Bridge icon, if the Bridge isn't already open,
| | 03:28 | there's going to be a delay while the Bridge
actually launches as a separate application.
| | 03:33 | You can actually modify that behavior if you go to Edit Preferences, or on
the Macintosh you'd go to the Photoshop menu on the upper left-hand corner.
| | 03:41 | Under general preferences there's a checkbox
here for Automatically Launch Bridge.
| | 03:46 | I'm going to go ahead and turn that on.
| | 03:47 | And now whenever you open up Photoshop, Photoshop will first open and then
it will open up the Bridge behind it so that as you're working on
| | 03:56 | whatever you're doing in Photoshop, when you
next, the first time you want to go to the Bridge,
| | 03:59 | it'll already be open and just launch for you automatically.
| | 04:02 | So, quick easy ways to go back and forth from the Bridge into Photoshop.
| | 04:06 | A couple other things along those topics.
| | 04:09 | If you click or look in the upper right-hand corner, you'll see
there's this little icon here, it says "switch to compact mode."
| | 04:15 | And if I click that button, that reduces the Bridge to
a much smaller window. You lose the directory pane,
| | 04:23 | the panel pane on the left-hand side there, and you just have
a much more simplified interface of just viewing thumbnails.
| | 04:28 | This is a great mode or a great way to just use the Bridge
if you wanted to drag and drop between applications.
| | 04:33 | So if you wanted to drag Sofija, that JPEG here, this file, into an
InDesign document or an Illustrator document or GoLive or whatever.
| | 04:42 | You can switch the Bridge into this compact mode and
be able to see your other applications behind it.
| | 04:47 | It can be reduced even further, kind of like the ultra compact mode.
| | 04:51 | If I click on this icon, it just becomes the
Path and a couple icons to switch back and forth.
| | 04:58 | So that can be, you know, easily moved
to a different location of the screen.
| | 05:01 | You get it out of the way and so forth.
| | 05:03 | Now that you've switched it to the ultra compact
mode, this master button has a switch to full mode.
| | 05:09 | Takes you back to either completely full,
or back to the last mini mode you had.
| | 05:14 | So since this was the ultra compact mode, it went back to that when
I clicked on the button again, the Maximize button or Switch button.
| | 05:21 | If I click the Switch to Compact button again, and
then go back to full mode, and then click it again,
| | 05:27 | it goes back again to the last size you had it, other than the larger size.
| | 05:32 | So rather than resizing the overall window, I simply expand
the window to fill the screen and then I can make it larger
| | 05:38 | or smaller by doing this switch operation
from compact, ultra compact, or full mode.
| | 05:43 | And that's where you can open or close the Bridge.
| | 05:45 | We're going to go ahead and take that back to the full mode.
| | 05:47 | And in the next movie, we'll talk about how to customize this workspace
to suit your needs and interact with your images a little bit better.
| | 05:54 | 1
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| Changing the Workspace| 00:01 | >> So now that we've got the Bridge opened, there's
a number of ways that we can customize this view,
| | 00:05 | and so the default workspace here.
| | 00:08 | And it's got a thumbnails view of what's called a Lightbox
view of your images in the particular folder you're in.
| | 00:14 | Up in the left-hand corner it actually shows you the current folder
that you're in, the current place you're looking at your images in.
| | 00:21 | This is your next folder up.
| | 00:23 | So go up the folder
| | 00:25 | this folder is contained in.
| | 00:27 | These are History buttons.
| | 00:29 | You can go back and forth in history.
| | 00:31 | This is a Filter view.
| | 00:32 | We'll talk about this later where you can rate and
rank and label your images and then just show images
| | 00:38 | or filter the image based on these particular properties.
| | 00:42 | If you've got some images that need to be rotated,
there's some shortcut buttons here for rotating,
| | 00:45 | and then you can delete by clicking on the Trash Can.
| | 00:48 | Or you can just simply hit the Delete key as well.
| | 00:50 | And then, as discussed in the previous movie, there's this button
to switch from compact mode and toggle back to full mode.
| | 00:56 | On the left-hand side we have what's called the Palette pane here.
| | 00:59 | And these are the default palettes that are open.
| | 01:01 | You've got a Favorites panel or a Favorites palette and a Folders palette.
| | 01:06 | This just gives you a directory of your particular hard dive.
| | 01:09 | And you can cycle through that.
| | 01:11 | If you click on Favorites, this is where you can actually
drag specific folders or hard drives or locations to,
| | 01:17 | and they just become links to that particular spot.
| | 01:20 | The items above the line are things that the Bridge considers favorites.
| | 01:24 | These are there by default.
| | 01:26 | Everything that's underneath the line, you can add or delete yourself.
| | 01:30 | The Preview palette, I don't actually think is all that necessary.
| | 01:34 | One, it's really tiny.
| | 01:36 | So if I were to click on a particular image here, you'll see
that I get a slightly larger preview in the Preview palette.
| | 01:41 | But I don't think the size difference here is all that helpful.
| | 01:45 | So especially since now in Adobe Bridge
you can actually scale the thumbnails,
| | 01:49 | not something that was as easy to do in the old file browser.
| | 01:54 | I mean, you could do it but you had to go through a menu.
| | 01:56 | Here I've just got a slider.
| | 01:57 | So I can click on the slider to make the thumbnails much
larger and you can see it's pretty fast, pretty fluid.
| | 02:03 | It gets slightly blurry until you let go of the
slider, and then the images come back into focus.
| | 02:07 | So here I can see all my thumbnails at a much larger view.
| | 02:10 | If I click on the icon here, the far right icon, the largest
thumbnail size that automatically scales me to as large
| | 02:17 | as that particular thumbnail can be, given my current window size.
| | 02:21 | And if I click on the small icon they get very small.
| | 02:23 | And the Bridge actually kind of does something very smart here.
| | 02:26 | It starts dropping out information to show you more items here,
or starts adding it back in as it creates more room for itself.
| | 02:32 | So you see here I only see the name of the image.
| | 02:35 | And of course, if I roll over the image, I get a tool tip.
| | 02:37 | That gives me a lot more information about
its size, its dimensions and so forth.
| | 02:42 | If I drag that slider to the right you'll see that eventually once they
get big enough, I now see the date and time that the image was taken.
| | 02:49 | And if I keep going, I eventually will get
the names of the file that dropped to the left,
| | 02:55 | or to underneath it, instead of to the right of the thumbnail.
| | 02:57 | So anyway this takes me back to about
the size they were when I started here.
| | 03:01 | So I can scale all the thumbnails uniformly.
| | 03:03 | If I want to make the preview bigger, I can drag the panel
divider to the right to make more room horizontally here.
| | 03:11 | And you see that that starts to condense the Lightbox area.
| | 03:14 | Eventually I'll start dropping out the
number of columns that are being displayed.
| | 03:19 | And then if I actually want to see this side getting bigger,
I would need to resize one of the other panes.
| | 03:24 | You can see it's pretty interactive so as I drag one of the panes
up or down, that thumbnail will get larger in the preview panel.
| | 03:31 | Now what I would probably do is drag the
Preview tab into this other group at the top.
| | 03:39 | So that I don't have to constantly resize this
particular area to get a larger thumbnail.
| | 03:44 | So I can still jump back to my favorites.
| | 03:46 | This actually gives the other benefit of seeing
more of my favorites or more of my tree structure
| | 03:51 | in the same amount of space, and then getting the larger preview.
| | 03:54 | And again though, you'll see in just a minute that
the preview, I don't think is all that necessary.
| | 03:58 | It just takes up extra space.
| | 03:59 | So I'm going to go ahead and go to the
View menu and turn off the Preview panel.
| | 04:04 | I don't think we actually need it.
| | 04:06 | You could either group it with this like I did
there, or you could just turn it off altogether.
| | 04:10 | Now I'm going to take us back to the Window menu here, down to Workspace,
and I'm going to reset us back to the Default Workspace.
| | 04:17 | Now the reason I did that is I want to show you, down
at the bottom right-hand corner are three other icons,
| | 04:24 | or two other icons here that I want to show you.
| | 04:26 | This icon here is called the Filmstrip view.
| | 04:28 | And if I turn that on, or switch to that mode, what that does is
that kind of negates the Preview panel here, the Preview palette.
| | 04:36 | Because I get one large image up at the top of the Lightbox here.
| | 04:42 | And then my thumbnails become this horizontal strip down at the bottom.
| | 04:45 | I can cycle through my thumbnails by using my Arrow keys so
I'm just using a left and right to go to the next image,
| | 04:51 | which is kind of nice.
| | 04:52 | Now the thumbnails can still be scaled here, and as I scale the thumbnails
down, you'll see that the larger preview starts to get very big.
| | 05:01 | So it's totally up to you how big you want the thumbnails to be.
| | 05:04 | And it's a lot more interactive, and I think a heck
of a lot more useful than just this Preview panel.
| | 05:10 | So again, what I'll do is I'll drag that Preview panel up here to group it.
| | 05:13 | Switch over to my Favorites or whatever
and now I've got a much larger preview
| | 05:17 | that tells me the name of the file.
| | 05:19 | I've got small thumbnails down at the bottom and I can
cycle through here by clicking or I can use the keyboard,
| | 05:25 | the left and right arrows on my keyboard, or just interact with
the thumbnails directly by clicking on them or scrolling to them.
| | 05:31 | I doubt you'll end up scrolling.
| | 05:32 | It's just easier to use the Arrow keys to
cycle through these things very quickly.
| | 05:36 | Or if you want to keep your mouse on a button,
you can just click the arrows left and right here.
| | 05:40 | This button here, which is kind of cool, changes the film
strip orientation from being at the bottom, to the right.
| | 05:48 | So if you just want to stack your thumbnails vertically then
you could use your up and down Arrow keys to cycle through.
| | 05:54 | Depending on what type of shots you have, that
could make the Preview area, the Lightbox, larger.
| | 05:59 | Especially if you've got a lot of vertical images.
| | 06:02 | The preview looks a little bit bigger here than
it would if you switched to the horizontal view.
| | 06:08 | That is the way to switch back and forth.
| | 06:09 | The third view here, the Details view, is a way to
see a lot more textual information based on the file.
| | 06:16 | So you get things like the file size, what type of
image it is, whether it's a JPEG or a TIF or a RAW file,
| | 06:21 | what color mode it's in, the aperture and f-stop that was used.
| | 06:25 | This subset of metadata can be edited and
we'll talk about that in just a few minutes.
| | 06:29 | So again, you can change the size of the thumbnails.
| | 06:33 | The larger the thumbnail, eventually all that
information starts condensing into a single column.
| | 06:40 | If I drag it to the left, to conserve space, it starts
to move that information to a split column there.
| | 06:46 | And eventually it goes to three.
| | 06:49 | Just always try to maximize the available space there.
| | 06:52 | So again, I've got the ability to go to Filmstrip
view, Thumbnail view, or a Details view.
| | 06:59 | And this Palette pane acts independently of these three views.
| | 07:02 | And I can collapse it at any time.
| | 07:04 | So if I double-click on that divider, it's just a shortcut
for dragging that divider all the way to the left.
| | 07:10 | And now if I go back to the Thumbnails view, I've
got more thumbnails so they now fit in two rows.
| | 07:15 | Whereas if I re-expand this, if I double-click on
it, it goes back to the last position it was in.
| | 07:21 | I now have three rows of thumbnails.
| | 07:23 | Same thing with the Filmstrip view.
| | 07:25 | If I collapse that down by double-clicking, then I've
just got more working space to see my thumbnails,
| | 07:30 | and my preview would get larger if I had a horizontal image
| | 07:34 | like this. So I get a much larger preview because I've collapsed the space.
| | 07:39 | If I double-click or if I click on the Show/Hide panels
button in the lower left-hand corner, that brings it back.
| | 07:45 | And again, you can also manually resize these to any dimension you want.
| | 07:49 | If you want to take advantage of this particular vertical space, the
panels, like say in the Folder view you want to see more of your folders.
| | 07:57 | If you double-click on these tabs, the Metadata
tab, that will collapse that down.
| | 08:00 | And then you'll see that the Folders view takes up the whole space here.
| | 08:05 | If I double-click, it goes back to the previous location.
| | 08:08 | I can switch to Keywords, double-click on that as well.
| | 08:12 | So lots of little shortcuts for just maximizing the space,
| | 08:16 | and customizing it to your liking.
| | 08:17 | So I'm going to go ahead and collapse this
down again and switch to the Thumbnails view.
| | 08:22 | So earlier in the movie I showed you under the
Workspace menu, there was a Reset to Default Workspace command.
| | 08:28 | Go ahead and take that and that gets us back to where we started.
| | 08:30 | But you may have noticed that there were some other default workspaces as
well: Lightbox, File Navigator, Metadata Focus, and Filmstrip Focus.
| | 08:38 | If I switch to Lightbox, go ahead and see what that does, it just does
a lot of the customization that I just showed you how to do as a pre-set.
| | 08:45 | So it collapses the paddle pane over here
and enlarges my thumbnails quite a bit.
| | 08:51 | And just maximizes that area.
| | 08:52 | If I go back to the Workspace menu and choose File
Navigator, that changes which palettes are available here.
| | 08:58 | Just switches you to Favorites and Folders.
| | 09:00 | And again, gives you a much larger preview.
| | 09:02 | It's not changing from the Thumbnails view, it's part of
that workspace, so you're still in the Thumbnails view.
| | 09:07 | It's just again, changing it to a different workspace view.
| | 09:10 | If I go to the Workspace again and choose Metadata Focus,
| | 09:14 | here it's taking advantage of a much larger
area to view more metadata on a per file basis.
| | 09:19 | So if I cycle through the scroll bar you can see all this
rich information that I can find out about this file.
| | 09:25 | So it was shot with a Nikon D70, what camera mode it was
set to, the color space it was taken in and all sorts of things.
| | 09:33 | What it was edited in and on and on and on.
| | 09:35 | You can customize all this metadata.
| | 09:38 | Basically what this is letting me do is interact with the
Bridge multiple ways depending on what you're trying to do.
| | 09:43 | If you are trying to read about the particular files, if you're trying
to just get an overview of a particular photo shoot or whatever.
| | 09:49 | The last default workspace is the Filmstrip Focus.
| | 09:52 | And again, that's just something I showed you how to do manually earlier.
| | 09:55 | It's just a shortcut for clicking these buttons.
| | 09:57 | So why does those workspaces exist?
| | 09:59 | Well, the cool thing about them is that
they've got default shortcuts to them as well.
| | 10:03 | So Control + F1 or Command + F1 on the
Mac, so anywhere you see Control here
| | 10:08 | on this Windows version it would be Command and the F key on the Macintosh.
| | 10:13 | So Command + F1, Command + F2, and so on.
| | 10:15 | So if I use my keyboard and do Control + F1,
that switches me back to my default workspace.
| | 10:21 | If I do Control + F2, that takes me back to my Lightbox view,
Control + F3 takes me to the Folders and Favorites view,
| | 10:31 | Control + F4 takes me to the Metadata view, the workspace,
Control + F5 or Command + F5 takes me to the Filmstrip.
| | 10:38 | So you may find that you may not actually need to do any more
customization other than just switching through the default workspaces.
| | 10:44 | If you find that you want to just tweak this just a little
bit more to your liking you can go ahead and do that.
| | 10:49 | So maybe the thumbnails are just too big.
| | 10:50 | You want to go ahead and downsize these just a little bit.
| | 10:54 | Maybe you want this on the right and maybe you
do want to see just the Favorites, let's say.
| | 11:01 | Let's squish this down a little bit.
| | 11:04 | And that's the particular workspace that you want to save.
| | 11:07 | You can go to the Window menu, Workspace and say Save Workspace.
| | 11:10 | I'm going to call it My Custom View.
| | 11:16 | And it actually lets you save the Window location
as part of the workspace which is a nice feature.
| | 11:21 | And then you can add your own keyboard
shortcut to this particular workspace.
| | 11:26 | So I'll do Control + F6 and save this.
| | 11:30 | And now if we do Control + F1 or Command + F1 on the Mac
this takes me back to the default view, the default workspace.
| | 11:36 | If I do Control + F6, it takes me to my custom workspace.
| | 11:40 | So great ways to interact and customize the view as
you're working with your files in the Adobe Bridge.
| | 11:47 | 1
| | Collapse this transcript |
| Sorting and Rating Your Images| 00:00 | >> So here we are in the default workspace of the Adobe Bridge again.
| | 00:03 | In this movie, I'm going to walk you through the different ways you
can organize and view and sort your images, your thumbnails here.
| | 00:12 | So I'm in a particular folder here, I'm
in the Adobe Bridge Essentials folder.
| | 00:15 | So these are just some sample images to work with.
| | 00:18 | And in the default view, you'll see that the thumbnails are kind
of small, and I've got two lines of metadata information here.
| | 00:25 | It's showing me the file name and then as much of the date
and time that can be displayed in the current size here.
| | 00:31 | I am going to go ahead and customize this workspace.
| | 00:33 | We are going to go ahead and close the Palette pane,
the Panels pane, so I can see more of my thumbnails.
| | 00:39 | And by default, the default sort order for
the Lightbox area here, is by file name.
| | 00:45 | And then alphanumerically.
| | 00:47 | So the first file being 01 and the last file being 22 here.
| | 00:51 | You can change the way these things are being
sorted by going to the View menu and choosing Sort.
| | 00:56 | You can see the default is Ascending Order By File Name.
| | 00:58 | If I turned off Ascending Order then it just reverses those files.
| | 01:02 | And the last one becomes first and vice versa.
| | 01:04 | Let's go back to View and Sort and turn Ascending Order back on again.
| | 01:09 | You can also do all sorts of other sorting options here.
| | 01:11 | So under Sort, you can change by what's in this menu.
| | 01:14 | So By Document Kind, Date Created, File
Modified, File Size, and so forth.
| | 01:18 | I'm going to go ahead and choose File Size.
| | 01:20 | That's often a useful view.
| | 01:22 | I'm going to go back and change this to By Filename.
| | 01:26 | Now a lot of people don't discover or pay attention to or think
they can even try, is that you can manually rearrange these items.
| | 01:34 | It's called the Lightbox for a reason.
| | 01:35 | Because in a lightbox you would typically, you
know, move slides around in any order that you want.
| | 01:40 | So if I wanted to put this flower image here,
I could go ahead and just drag it there.
| | 01:44 | And the minute I do that I know have switched to the manual sort order.
| | 01:47 | Just by dragging a thumbnail to a different location, a different position.
| | 01:51 | If I go to View, Sort, you'll see now Manually is checked.
| | 01:55 | Go ahead and get out of that menu.
| | 01:57 | So if I want to move this one here and move that one here, and
what's really nice is you get that semi-transparent overlay.
| | 02:04 | So it actually hasn't moved the file.
| | 02:05 | You can see where its original location is.
| | 02:07 | But then you can actually see where it's
being dragged to before you let go.
| | 02:11 | It's really a nice feature there.
| | 02:12 | Go ahead and drag that one there,
| | 02:14 | whatever. So, just like a lightbox you can put
these things in whatever position you want.
| | 02:18 | Now if I want to organize these in a different way, I
can start customizing what information is displayed here.
| | 02:25 | Whether that information is there at all.
| | 02:27 | Let's go ahead and make the thumbnails just a little bit larger
| | 02:30 | so I can actually see the full metadata information
here, the date and the time and the full file name.
| | 02:36 | If I go to Preferences under Edit Preferences,
or Control or Command + K on the Mac,
| | 02:42 | you'll see that I have the ability to turn
on additional lines of thumbnail metadata.
| | 02:47 | And here I've got Date Created.
| | 02:49 | I can say Show Dimensions, Show any
Keywords that have been assigned to these.
| | 02:53 | I don't have any keywords here so I can either
turn that off or I can choose a different category.
| | 02:58 | So maybe I want file size to be here.
| | 03:01 | Or, the copyright information, the color profile.
| | 03:05 | If it's an SRGB or Adobe RGB or something like that.
| | 03:08 | I'm going to go ahead and change this to File Size.
| | 03:11 | So I've got Date Created, the Dimensions and the File Size.
| | 03:14 | I'm going to go ahead and click OK.
| | 03:15 | And you see I've got a couple of more lines of information here.
| | 03:19 | So another thing you can do is you can actually toggle this metadata,
these three or four lines of metadata from being displayed at all.
| | 03:26 | Under the View menu is Show Thumbnail Only.
| | 03:29 | And it's got a great keyboard shortcut command or
Control + T. Command + T on the Mac, Control + T on Windows.
| | 03:33 | I'm going to turn that off.
| | 03:35 | And you see now I've just got a much cleaner,
simplified view, of just the thumbnail.
| | 03:38 | So if you don't care about seeing that metadata
all the time, you just want to look at thumbnails.
| | 03:42 | Sometimes it's just less distracting.
| | 03:44 | You can turn that off.
| | 03:45 | And I just remember the toggle: Control + T
or Command + T just turns that on and off.
| | 03:50 | I'm going to switch to my Filmstrip view
and kind of talk about reviewing your images.
| | 03:55 | So let's say that you just dragged in, you know, 100
files off your camera card reader and you want to start deciding
| | 04:01 | which images you like, which images you want to keep.
| | 04:05 | Which images that you maybe want to delete, you don't care about.
| | 04:08 | So a great place to do that is the Filmstrip view, the Filmstrip mode.
| | 04:11 | And again, in a previous movie we saw that we could toggle this filmstrip
orientation to either be along the bottom or along the right-hand edge.
| | 04:20 | I'm going to change it to the right-hand edge.
| | 04:22 | I'm going to do Control + T to turn off the thumbnail
data because I just want miniature thumbnails here.
| | 04:28 | And then I'm going to use my Arrow keys to cycle through each image.
| | 04:33 | So I'm just using the Up and Down Arrows
to go back and forth between these two.
| | 04:37 | Now later on, I may want to decide to
see the ones that I really, really like.
| | 04:41 | So I want to have some way of marking the ones that I like.
| | 04:45 | And the Bridge lets me do that in one of two ways.
| | 04:47 | I can either rate them or I can label them.
| | 04:50 | I'm going to go ahead and teach you about the ratings.
| | 04:53 | If you take a look over here in the Label menu, you'll
see there's a menu here for rating images by stars.
| | 04:59 | So I can assign a one star, a two star, a three
star, a four star, a five star or back to zero stars.
| | 05:04 | And they've got these great keyboard shortcuts
that are easy to understand, easy to remember.
| | 05:09 | And it's Control + 0 through Control + 5, or
on the Mac Command + 0 through Command + 5.
| | 05:15 | So if I want to rate these my number one images, the ones I
care about the most, I don't want to give this a one star or vice versa.
| | 05:22 | If you want to give the more important ones
more stars, you could do it that way too.
| | 05:26 | It's really up to you.
| | 05:27 | So rather than, you know, clicking on a
thumbnail and constantly going to the Label menu,
| | 05:32 | you'll just want to do this very quickly in the Review mode.
| | 05:34 | So I keep one hand on my Arrow keys, my up and down Arrow keys.
| | 05:38 | The other hand on my Control key, and I'm ready to type a number.
| | 05:41 | So let's say I like this image a lot, I'm going to rate that a one.
| | 05:45 | So I'll do Control + 1 or Command + 1 on the Mac.
| | 05:48 | Now you can't see what just happened to this thumbnail,
so I'm going to turn on the thumbnail data again.
| | 05:52 | Control + T or Command + T. And let's switch back to the
Lightbox view, and you'll see that there's a star there.
| | 06:00 | So if I click on that, that's a Control + 1 again, I like that one.
| | 06:05 | Maybe on this particular image, I want
that to be a two star, so Control + 2.
| | 06:11 | Again, I'll switch back to Filmstrip mode to do that.
| | 06:13 | I just wanted to show you that when I do the keyboard shortcuts, I
can see the stars being applied here when I switch to a larger view.
| | 06:19 | If I go back to Filmstrip view,
| | 06:21 | even though I don't see the stars happening here,
they are being applied to that particular thumbnail.
| | 06:26 | So again, I'll cycle through.
| | 06:28 | That's maybe a two as well, Control + 2.
| | 06:31 | I'll skip that one.
| | 06:32 | Skip that one.
| | 06:34 | Skip that one.
| | 06:34 | Make that a Control + 1.
| | 06:36 | And just down using my Down Arrow.
| | 06:38 | OK, I like that one, Control + 1.
| | 06:41 | Make that a Control + 2.
| | 06:43 | And let's go back to the end.
| | 06:46 | Yeah, that's good.
| | 06:47 | So now, if I go back to the Lightbox view, you can see I've got
several images that are rated ones, several images that are rated twos.
| | 06:56 | Now I just want to view my ones or my twos isolated from everything else.
| | 07:01 | So that's where I've got the ability to filter my
current Lightbox view to show me just particular images.
| | 07:07 | So I can say, you know what, show me all the
images that are at least one or more stars.
| | 07:11 | When I let go of that, I get the ability to see that.
| | 07:14 | Now they're not sorted in any particular order.
| | 07:16 | I'll do that in just a second.
| | 07:18 | If I just want to see my twos, I can say Show 2 or More Stars.
| | 07:21 | If I want to see just my threes, since I
didn't rate any of these threes or higher,
| | 07:27 | I get a message that says nothing's currently
labelled with that particular filter value.
| | 07:31 | So I can go back to Show 2 or More or go back to
Show 1 or More or go back to Show All Items.
| | 07:40 | Now sometimes what I like to do is after I've done
over an initial review and decided what are my keepers
| | 07:45 | and what are my almost keepers, but I'm kind of on the fence on,
| | 07:48 | so all my keepers are ones, one stars.
| | 07:50 | All my almost keepers, not quite sure, are twos.
| | 07:53 | Everything else is unrated.
| | 07:55 | I like to go change my view to show me, you know,
two or more stars or show me one or more stars.
| | 08:00 | But sometimes it's actually useful to go back
and say, OK show me everything that's unrated.
| | 08:05 | So now I can decide, OK do I, are there any
of these that I really just want to delete.
| | 08:09 | And you can do that as well.
| | 08:11 | So if I click on an image that I want to delete, I can click on that image.
| | 08:14 | Say on image 14 and I can just hit the Delete key and that's
actually moved it to your Recycle Bin or your Trash Can on the Mac.
| | 08:22 | So it's just as if you were in the desktop or the Explorer here.
| | 08:26 | I'm going to go back to Edit, Undo and undo that delete.
| | 08:29 | So now that I'm viewing all the images that are unrated,
I can decide if I want to go through another rating pass
| | 08:35 | and say rate them threes or fours or fives or just leave them unrated.
| | 08:38 | So it's kind of a helpful view.
| | 08:40 | If I wanted to start another review process,
I could switch back to the Review mode.
| | 08:44 | Again, I'm only seeing the images that are currently unrated.
| | 08:47 | It tells me that I'm seeing a Filtered view.
| | 08:50 | If I've seen everything, it would say Unfiltered here.
| | 08:53 | So I can cycle through and say OK, I want you to be
a three, Control + three or Command + three on the Mac.
| | 08:59 | And you'll notice what happened now is that because
I've changed my Filtered view to Show Unrated Items Only.
| | 09:06 | Whenever I rate something now, it gets filtered out of my current view.
| | 09:11 | So, if I decide I want that to be a three star, Control + 3, you'll
see that once I rate that, Control + three or Command + three on the Mac,
| | 09:19 | it's now taken out of my current review because it's now got a
ranking and I've chosen my filter to show me only unrated items.
| | 09:28 | You'll notice it's some very useful keyboard shortcuts here as well.
| | 09:31 | Just like I can do Control + 1, 2, 3, 4, or 5, to
rate an image, I can also switch my filter by just adding Option
| | 09:39 | on the Mac or Alt on Windows to my rating keyboard shortcuts.
| | 09:44 | So if I could do Control + Alt + A or Command +
Option + A, that shows me all my thumbnails.
| | 09:50 | If I go back to the Thumbnails view, you
can see I have all my images again.
| | 09:54 | Control + Alt + A will show me all of my images there.
| | 09:57 | If I do Control + Alt + 1, it shows me just
my one or higher rated star images.
| | 10:03 | Control + Alt + 2, just my twos.
| | 10:05 | Control + Alt + 3, just my threes and so on.
| | 10:07 | So Control + Alt + 4 or Control + Alt + 5 or Command + Option and those numbers.
| | 10:10 | If I want to go back to see everything whether it's rated or
not, it's Control + Alt + A or Command + Option + A to see everything.
| | 10:17 | I'm going to go back to Show 1 or More Stars and you
can see that these are not sorted in a particular order.
| | 10:26 | They're just showing me my rankings.
| | 10:29 | They're still sorted alphabetically,
| | 10:31 | but not by the ratings.
| | 10:32 | If I want to sort them by the ones and the twos and the threes, I
can then go back to the View menu and under Sort, say Sort By Rating.
| | 10:39 | And now I've got all the ones together, all
the twos together, and all the threes together.
| | 10:42 | So you can see that there's quite a robust way of
interacting with your images, assigning some values to those.
| | 10:48 | Some sort of rating mechanism through this star-based system.
| | 10:51 | And you can do it very efficiently with a series of keyboard
shortcuts and the Filmstrip mode to review through those.
| | 10:57 | 1
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| Viewing Your Images in a Slideshow| 00:01 | (Michael Ninness)In the previous movie, I talked about using the Filmstrip mode
or Filmstrip view and then your label shortcuts for kind of setting
| | 00:09 | up a review workflow, and the analogy was
bringing in 100 images off your camera.
| | 00:14 | You want to decide which one you like, which ones you don't and
you just want to cycle through them very quickly and label them.
| | 00:20 | Well, an alternative way to do that and a visually more appealing way to do
it is to actually take advantage of a Bridge feature called the Slideshow.
| | 00:26 | You can basically take any current location, all the images
in your current location, and you view them in a Slideshow.
| | 00:31 | Before I do that let's go ahead and take this
back to zero stars, so with the Control + 0
| | 00:36 | or Command + 0 on the Mac, to eliminate the stars there.
| | 00:40 | To start a Slideshow you simply either use the menu command under
View, Slideshow or the keyboard shortcut is Command or Control + L;
| | 00:48 | Command + L on the Mac; Control + L on Windows; that happens to be the
same keyboard shortcut that takes Acrobat into a full-screen kind
| | 00:55 | of presentation mode as well, so that's where that shortcut came from.
| | 00:58 | Control + L takes you into the Slideshow and by default it's paused.
| | 01:02 | I'm going to go ahead and press the H key, and the H key is for help,
so right here in the Slideshow you've got this screen that can come up
| | 01:11 | and tell you all the keyboard shortcuts to
interact with this Slideshow as it's playing.
| | 01:15 | The one key that I'm going to press first is the L for Loop because
I'm going to be cycling through this Slideshow multiple times here;
| | 01:22 | so I'm going to turn on the Loop command and I just
press L to do that and you can see the Loop on.
| | 01:26 | It shows up on the screen for a second or two.
| | 01:29 | If you hit Escape, the Escape key, that just cancels the
Slideshow and takes you back to your directory here.
| | 01:34 | I'm going to do Control + L or Command + L to relaunch the Slideshow and H for
Help, and any time in the Slideshow while it's playing you can just press H
| | 01:42 | to get up these keyboard shortcuts and to
find out what you can do during a Slideshow.
| | 01:47 | I'll go ahead and press H to turn the Help off.
| | 01:50 | The Right Arrow keys and Left Arrow keys just
let you go to the next image on your Slideshow.
| | 01:56 | If you press Space, that's play and pause, so if you just let it go, it
will go advance to the next image after maybe two or three seconds or so.
| | 02:06 | If you want to advance it manually then again you can again
hit the Spacebar to pause this and then use your Right
| | 02:11 | and Left Arrow keys to cycle through the images manually.
| | 02:16 | If you want to change how these images are being displayed, in terms of
whether they're being shrunk or filling the screen or something like that,
| | 02:22 | you can change that by pressing D to access the Display
options. So D the first time will switch you to fill the screen,
| | 02:30 | so the image gets as large as it can to Fill Screen
there. D again will hit Centered and then D will Scale to Fit.
| | 02:38 | So again you just cycle through those three different
options just by pressing the letter D. Again,
| | 02:42 | I'm not pressing any other modifiers; I'm just pressing the letter.
| | 02:45 | The W key, which is kind of nice, actually
puts the Slideshow in a floating window.
| | 02:50 | This is helpful, if you wanted to, say,
play the Slideshow on a second monitor,
| | 02:54 | keep your Bridge on one monitor but run
the Slideshow in a different monitor.
| | 02:59 | You could press W to put this in a floating window, then move that window
to the second screen and press W again to take you back to full screen.
| | 03:07 | I'm going to go ahead and cycle through these again by using my Arrow keys.
| | 03:10 | If I press the letter C, C for Caption,
I have several different Caption modes.
| | 03:15 | Here, the first time I press it, I get the full caption.
| | 03:17 | It tells me the file name and it also shows me the current ranking and
since I don't have any ranking or rating on this there's no stars here.
| | 03:26 | It also tells you the date and time the image was taken and the dimensions.
| | 03:28 | Now that you can actually see the caption, I can just, without a modifier
key, I can just press 1 through 5 to assign stars to this image;
| | 03:38 | so if I press 1 I get one star, two, three, four, five, and so forth.
| | 03:42 | 0 takes me back to zero stars.
| | 03:44 | If I press 2 and I get two stars or whatever.
| | 03:46 | If I press C again I get a mini-caption in the lower left-hand corner.
| | 03:50 | It just shows me the file name and if I
press C again it gives me a page number.
| | 03:56 | Now here it doesn't make much sense because I'm just looking at
single images but if I were viewing, let's say an InDesign document
| | 04:01 | or a PDF in the Bridge, when I got to that thumbnail I'd have a way to
see the current page number that I'm on in that particular document.
| | 04:10 | Again, C will turn off the captions altogether again.
| | 04:13 | You can just toggle back and forth between those.
| | 04:15 | So, C for Full and so forth. Let's cycle
through...great way to interact with these images.
| | 04:22 | If I decide that I like that image I'll press 1, come back to that
image...I like that one, press 1, and I'll make that a two...go through
| | 04:31 | and make that one...looks like a five, and whatever.
| | 04:34 | If I come across an image that needs to be rotated, like this one, I can
use my Left and Right Bracket keys. So the Right Square Bracket key rotates
| | 04:42 | that clockwise, the Left Bracket key, pointing to
the left there, counterclockwise, and so forth.
| | 04:48 | I can cycle that all the way around. And again, the point is if you ever
forget what these keyboard shortcuts are, there're just an H key away;
| | 04:54 | just press the letter H to bring up Help
and you've got your shortcuts right there.
| | 04:59 | There's even a couple that I haven't talked about and that I don't use
very much, but they're there for yourself to experiment with as well.
| | 05:06 | So again, I think this is even a quicker way to kind of
review the images when you first bring them on to a machine.
| | 05:12 | You can launch the Bridge, go to the directory where your images
are, Control + L or Command + L to go into the Slideshow mode.
| | 05:18 | I'm going to go ahead and press the Space to start playing the
Slideshow on its own while I'm talking here, and turn the captions
| | 05:24 | on by pressing the letter C. Now the other thing too, if I turn the
captions off altogether, if I just press a number like the number 3,
| | 05:33 | it will turn that caption on temporarily, just so that I
can definitely see that I did get the rating as I did that.
| | 05:40 | Since I've turned on my Slideshow to loop, it is just
going to keep going until I either turn the Loop off
| | 05:47 | by pressing the letter L again, or hit
the Escape key to cancel the Slideshow.
| | 05:52 | Now that I've cancelled my Slideshow you can see the images that I rated
during the playback and I can then go on to filter them or sort the view
| | 06:00 | or whatever. If I want to filter them to show me one or more stars
or whatever, and then go to sort them under View, Sort by Rating.
| | 06:10 | So you might be thinking, "Why would I ever use a Slideshow
whenever I'm in the middle of using Photoshop CS2?"
| | 06:15 | But here is a good example of why you would or how useful it can be.
| | 06:19 | Now if we could only just assign a music file to play that would be
cool too, but alas there is no way to play any music unless you crank
| | 06:27 | up your own stereo while you're doing your Slideshow.
| | Collapse this transcript |
| Assigning Keywords and Finding Your Images| 00:01 | (Michael Ninness) So, in this movie I'm going teach you how to create Keywords,
how to assign Keywords to an image or a group of images and then how
| | 00:07 | to do a find or a search for images that
have been tagged with those Keywords.
| | 00:11 | Lastly, at the end of the movie, I'll teach how to do what
is called a Saved Search and what Bridge calls a Collection,
| | 00:17 | and I'll define what that is and how that can be useful as well.
| | 00:20 | So to begin, I'll first talk about these Keywords and how to create them.
| | 00:25 | If you look over in the Keywords palette, in the bottom left-hand corner
you'll see I've created two Keywords here; one's Flowers and one's Hawaii2004.
| | 00:33 | Now it turns out that the Hawaii2004 was
actually not created from within Bridge.
| | 00:38 | This was a Keyword that Bridge is picking up on some of these files
that was created or attached to these images outside of the Bridge,
| | 00:46 | so that's why it's in italics. This Keyword Flowers that is not
italicized, that's a Keyword that I actually did create in the Bridge.
| | 00:54 | So again, if you see an italicized Keyword here,
that's a Keyword that's embedded in an image
| | 00:59 | through its metadata and it's a Keyword that travels with the document.
| | 01:04 | Now, by looking at these thumbnails right now, I can't
tell if any image has a Keyword assigned to it just
| | 01:09 | by looking at the metadata that's being displayed here.
| | 01:11 | If I happen to click on an image that has a Keyword assigned to it,
say for instance this one, and it happens to show the Keyword here,
| | 01:19 | it has a checkmark there so I know that image
has been tagged with a Hawaii2004 Keyword.
| | 01:25 | One thing you might want to do though, is change what
information was displayed here in the Metadata Thumbnail area.
| | 01:30 | To do that, I'm going to go edit my preferences. That's Control +
K on the keyboard or Command + K on the Macintosh, or you can go
| | 01:37 | to the Edit, Preferences menu here, and I believe that will be the Bridge
menu on the Macintosh. In my General category there's Additional Lines
| | 01:47 | of Thumbnail Metadata. I'm going to change it from Show File Size to
Show Keywords, and then when I click OK you're going to see that any image
| | 01:54 | that has a Keyword assigned to it, it now is listed in my metadata.
So these images all have a Hawaii2004 listed or attached to them.
| | 02:03 | If I wanted to create a new Keyword it's
a simple as going to the Keywords palette
| | 02:07 | and clicking either the New Keyword icon or the New Keyword Set icon.
| | 02:11 | So I can create categories of Keywords and that's what these bold words are
with the twisties that you can collapse and expand to organize your Keywords,
| | 02:20 | and then you can create a new Keyword within a particular group.
| | 02:22 | So, if I wanted to create a new Keyword and call it Maija and start
tagging all the images of Maija here, I can hold down the Control key
| | 02:32 | or the Command key on the Mac and select all the images that include Maija and
then I can just click the Maija Keyword and the checkbox next to the Keyword.
| | 02:42 | And because this is the first time I selected multiple files it brings
up this warning saying, "Do you really want to do this to all the images
| | 02:48 | that you have selected?" and Yes I don't
want to see that error message again.
| | 02:51 | So I'm going to click on Yes and now after a second or two the
word Maija is now applied as a Keyword to these select images.
| | 02:59 | You can obviously see that an image can have more than one
Keyword assigned to it, that's one of the benefits of Keywords.
| | 03:04 | So if I resize these thumbnails a little bit,
eventually I'll make enough room for both Keywords
| | 03:09 | to show up; going to resize those down a little bit, alright.
| | 03:13 | So, now I want to do a Find for all my
images in a particular search location
| | 03:19 | that have the Keyword Flowers assigned
to them and to do this, I've set this up.
| | 03:23 | I've created some files; I've tagged some of the exercise files
that go along with this set of movies with the Keyword Flowers.
| | 03:31 | Now, I've downloaded my exercise files,
I have them on my hard drive somewhere.
| | 03:34 | If you're a Premium subscriber and you've downloaded the
exercise files or if you have the exercise files from the CD-ROM,
| | 03:40 | I recommend that you actually create a shortcut
for the exercise files in your Favorites area.
| | 03:48 | I'll show you how I did that.
| | 03:49 | Basically I went to wherever the directory is where
your exercise files are and you just drag that folder
| | 03:55 | to your Favorites panel and when you let go it creates a shortcut for that.
| | 03:59 | So, this is a great way to just go back and forth
between all the exercise files that are associated
| | 04:03 | with these movies for this particular training title.
| | 04:06 | So, I'm going to click on Exercise Files because this is where I
want my search to begin for all the images in the exercise files
| | 04:14 | that have been tagged with the Keyword Flowers,
regardless of what folder those images are in.
| | 04:18 | I'm going to access my Find command, which is under the Edit menu; you
might guess the Keyword shortcut is Control + F or Command + F on the Mac.
| | 04:27 | I'll go ahead and do the Find command.
| | 04:28 | There's no icon anywhere to do a search.
| | 04:31 | The only way to get to it is either the
keyboard shortcut or under the Edit menu.
| | 04:35 | I'll go ahead and do find and it's basing the default
value here for Look in is based on the current location,
| | 04:41 | so that's why it was nice to designate that location through your
Favorites, otherwise you have to go through the Browse button
| | 04:46 | and kind of navigate through your directory to get to it.
| | 04:49 | I'm going to include all the subfolders in my Exercise
Files directory, and I've already done this search previously
| | 04:56 | so it's remembering the last search I've done, which is a nice feature
as well. So I've set my criteria to do any of these options here
| | 05:02 | but I chose Keywords is, or contains, or does not contain,
or starts, or ends with. I'm going to do is Flowers
| | 05:10 | and find all the images that match that particular criteria.
| | 05:13 | You can also have the results show up in a new browser
window, that's something that I haven't mentioned yet.
| | 05:19 | One of the nice things about the Bridge is that you can actually create
new or multiple windows for different purposes, for different views,
| | 05:27 | to view one directory in another, to do a search result
in another, move one to a different monitor, and so forth.
| | 05:33 | I'm going to go ahead and click the Find button and
you'll see that it searched across all those directories
| | 05:39 | and found all the documents that have been tagged with the Keyword Flowers.
| | 05:43 | You can see that some of these documents are the same image just with
different names because I've used the same image for different examples
| | 05:49 | across this set of movies; but you can see I've got a dynamic
set of images here across a particular range of directories
| | 05:57 | that it's looking for and it tells me the Find criteria.
| | 06:00 | It found all images with the Keyword Flowers in
exercise files directory and all its subfolders.
| | 06:05 | Now, you'll see this button here, once I've done a search and I have the
results of a search, on the right-hand side I have a button here that says
| | 06:13 | Save As Collection, and a Collection is just a fancy name for a
saved search; so a search that you don't actually have to go back
| | 06:20 | and reconfigure the next time you want to find all these
images that have been tagged with the Keyword Flowers.
| | 06:26 | We'll go ahead and hit Save As Collection, and
we can give this a name; so I can call it Flowers
| | 06:30 | or All Flowers, or whatever you want to name it.
| | 06:35 | If you can kind of think ahead and think of how this might be useful;
let's say you are working on a particular project for a particular client
| | 06:42 | and you want to tag all the associated images or resources that
belong to that particular project or associate with that client,
| | 06:50 | you could create a Keyword or a set of Keywords relative to that
particular client or project, assign those images with those Keywords,
| | 06:58 | do a search for all the areas, all the images across your designated set of
directories for those Keywords, get the results and then save that result
| | 07:07 | as a collection and you're thinking, "Well why is that useful?"
| | 07:09 | Well, there is part two of this I'll show you in just a second.
| | 07:12 | We'll go ahead and hit the Save button and that creates something
called a Collection and if I look in my Favorites panel,
| | 07:18 | there's a special icon here for Collections, so if I go back to Exercise
Files and back to the Adobe Bridge folder, here's the images I was working
| | 07:26 | with earlier. But now if I go back and click on the
Collections, Favorite, it jumps me back to my saved searches.
| | 07:33 | Now here is a test I was doing, so I'm going to ahead and delete that
Collection, I don't really need that one, but here is the All Flowers one
| | 07:39 | that I just created. so now if I double-click,
you'll see that it just re-executes that search
| | 07:45 | with all the criteria I saved, OK, that's just a review.
| | 07:49 | Where it gets interesting is the next thing I'll show us.
| | 07:51 | Let's go back to Exercise Files and I'm going to go back to the
Adobe Bridge folder, chapter 04, and I'm going to tag this flower image
| | 08:00 | with the Flowers Keyword, just click on the checkbox for the word Flowers
and it updates that image to now have Flowers, and just so it's easy
| | 08:08 | to test, we'll go ahead and rename this file just by clicking on the name
and pausing and we'll call it Test so that when I want to see if it shows
| | 08:17 | up somewhere else, I'll know that that's the file that I just changed.
| | 08:20 | So, I'm going to go back to my collection and if this is a saved
search that updates itself automatically when I double-click
| | 08:28 | on this All Flowers collection we should see now that, yep, that file
number 17 Test that we just renamed has now been added or found as a result
| | 08:38 | of rerunning that saved search or opening
up or double-clicking on that collection.
| | 08:43 | So, Keywords can be a great way to organize and arrange your
particular images in conjunction with searching or the Find command,
| | 08:51 | and then saving those searches with Collections, they
become a very powerful way to keep track of your assets.
| | Collapse this transcript |
| Using the Batch Rename Command| 00:01 | >> A common problem and annoyance when you are
shooting images on a digital camera is the file names
| | 00:06 | that come in that the camera assigns to your images.
| | 00:09 | You end up with these really obscure and useless file
names like dsc061.jpg and so on.
| | 00:16 | So a more useful thing to do is to maybe
apply or assign a more descriptive file name.
| | 00:21 | Like maybe the name of the location, followed by an
underscore, followed by the date that you took the images,
| | 00:27 | with the file extension coming at the end or something like that.
| | 00:30 | So the Bridge makes it quite easy to actually
do a batch rename on a series of files.
| | 00:35 | And it gives you a ton of options to control the process.
| | 00:39 | I'm going to go ahead and batch rename this folder of images here.
| | 00:43 | And, you have to be careful, just a word
of warning - this action is not undoable.
| | 00:47 | So if you make a mistake, you'll need to go back and
do another batch rename to fix your mistake.
| | 00:52 | But we'll go ahead and do this.
| | 00:53 | We'll select all these images.
| | 00:54 | Just Control + A or Command + A on the Mac.
| | 00:57 | And under the Tools menu, the first command
here is the Batch Rename command.
| | 01:01 | And that brings up this dialog box and
it remembers the last thing I've done.
| | 01:04 | So I'm gone to go ahead and delete these criteria and show
you what happens when you first enter in this dialog box.
| | 01:12 | Under the Destination Folder, you've got Rename in the same
folder, Move to another folder, or Copy to another folder.
| | 01:19 | It just depends on what you want to do as the result.
| | 01:22 | If you're really safe you say Copy to another folder, so if you
make a mistake and really screw up the name of your files,
| | 01:27 | you can always go back to the original folder and do it again.
| | 01:30 | I'm going to live a little bit on the edge and
just go ahead and rename them in the same folder.
| | 01:34 | And if you choose Move or Copy, it asks you, "Where do
you want to create or where do you want those files to end up?"
| | 01:40 | So I'll go ahead and do Rename.
| | 01:42 | In New Filenames, the first criteria can be a Text or a Current Filename,
or Preserved Filename, Sequenced, Numbered, whatever you want.
| | 01:50 | I'm going to go ahead and do Text.
| | 01:51 | If you choose Text, you can just type in what you want the base name to be.
| | 01:55 | So we'll just call this Bridge with all caps turned off there.
| | 02:00 | Bridge. And what's nice is, it actually starts to give you a
preview of what the new file name structure will look like.
| | 02:06 | So here's what the first file is currently called.
| | 02:09 | This is what it's going to be called if I were to click the Rename button.
| | 02:12 | I'm going to go ahead and add an additional piece of criteria.
| | 02:14 | I'm going to want a serial number to come after Bridge.
| | 02:18 | And if I want to separate that I can just type the
underscore character which is Shift + Hyphen on a keyboard.
| | 02:23 | And I'll add another criteria to my renaming structure.
| | 02:27 | Instead of Text, I'm going to change it to a Sequence Number.
| | 02:30 | And I can make it be One Digit or Two Digits or Three Digits or whatever.
| | 02:34 | And if I want to change the starting number,
I just change the number directly in here.
| | 02:38 | It just defaults to start at number 1.
| | 02:40 | But if you're doing a series of batches,
| | 02:43 | maybe you're unloading several cards, you can just pick
up where you left off on the last rename that you did.
| | 02:48 | So if you want this to rename it, you know, starting
at 11 or whenever, you can see the preview actually
| | 02:53 | updates and tells you where it's going to be starting from.
| | 02:56 | We'll go ahead and start this at 1.
| | 02:58 | And if I want a serial or a date to come after
the serial number here, but I want a separator,
| | 03:04 | then I would add another Text criteria by clicking the + button.
| | 03:08 | Choose Text and type in an underscore so
that will get a separator between there.
| | 03:12 | I'll add another +, and this time I'll just manually type in a date.
| | 03:16 | If I choose the date from the pop-down, the pre-sets, I
don't have any choice on how that date gets formatted.
| | 03:23 | I only get to choose Today or Yesterday.
| | 03:26 | So that might work for you, I'm a little bit anal about my names.
| | 03:30 | I want to know that that's the month and
that's the day and that's the year.
| | 03:33 | So I like to put periods between those.
| | 03:35 | So to accomplish that, change this from Date to Text, and
then you can just type in the date format any way you want it.
| | 03:42 | So if I want it to be 05.01.2005, I've got that.
| | 03:49 | And then, I want to add the extension so I'll go back to the criteria here.
| | 03:54 | I added another criteria, I'll do New
Extension and I'll type the file extensions.
| | 03:58 | So .JPG all uppercase.
| | 04:01 | I'm going to go ahead and click the Rename button and, living on the edge,
| | 04:05 | all my files are instantly renamed Bridge
with the serial number and then the date.
| | 04:10 | So Batch Rename, very powerful command.
| | 04:13 | Bring the images off your card, load up the Bridge, go to
that directory, select the images that you want to rename.
| | 04:19 | Go to the Tools, Batch Rename command, fill out
your criteria and it does it instantly for you.
| | 04:24 | Pretty handy.
| | 04:25 | 1
| | Collapse this transcript |
| Ordering Prints Online| 00:01 | (Michael Ninness) So these days it's pretty easy to order prints of your images
from online photo services, and Adobe Bridge actually makes it even easier.
| | 00:08 | You can order prints directly from within the Bridge. I'm going to go
ahead and select some images I might want a print of and I'll go ahead
| | 00:14 | and Control + click or hold down the Command key on the Mac to select
the images I might want to order some prints of and then you go
| | 00:22 | to the Tools menu and choose Photoshop CS2 Services, Photo Prints.
| | 00:25 | This will launch the Photoshop CS2 Services
dialog box and take you to an ordering page
| | 00:32 | for the Kodak EasyShare Gallery Service and
it loads little thumbnails of the images.
| | 00:38 | You can choose what size print you want and if you don't have an account,
it's a free account, free service, you just pay for the actual prints
| | 00:46 | and shipping cost, but if you want to sign up for
a new account you click the Sign Up Now button.
| | 00:50 | It walks you through the registration process directly in here.
| | 00:53 | If you're already a member, you can sign in just by logging
in with your credentials, which I'll go ahead and do,
| | 00:59 | and go ahead and click the Next button and after a second to verify and
log myself in, it'll give me the opportunity to actually change the number
| | 01:11 | of prints. And then if I click the Next button it can ask me where I
want these shipped and what kind of shipping prices that I want to do.
| | 01:17 | And it gives me a total, and then it will go ahead
and upload these images to their website in an album
| | 01:22 | that you can then log in directly and take a look at.
| | 01:25 | So, it actually doubles as a archival services of the images that you
actually get prints of. And then you can expect your prints in anywhere
| | 01:32 | from three to seven days depending on where you
live and where you're having these shipped.
| | 01:36 | So, anyway, very convenient service - I'm going to go
ahead and cancel this - built right into the Adobe Bridge.
| | Collapse this transcript |
|
|
5. Camera Raw EssentialsWhat is Camera Raw?| 00:01 | (Michael Ninness) The movies in this chapter are
about working with camera raw files.
| | 00:03 | Now, some of you may be wondering, "What the heck is a camera raw file?"
| | 00:07 | Well, depending on the camera that you are shooting with, your camera
might be able to shoot or capture an image and it generates either a JPEG
| | 00:16 | or something called a Raw file, and let's talk about the JPEG first.
| | 00:21 | If you're shooting JPEG, saving the images as JPEGs when you're
using a digital camera, the camera is making some decisions for you.
| | 00:29 | It's making an assessment about the exposure and
brightness and contrast, the saturation, the sharpness;
| | 00:36 | in a sense it's generating what it thinks is an appealing
image for you based on what it sees in the sensor.
| | 00:43 | When you bring that into Photoshop CS2, the image that you have to work
with then is basically a subset of all the information that was there
| | 00:52 | at the time of capture; so while you can push tonal
levels around with Levels and Curves and things like that,
| | 00:58 | you have a limited range of tonal values to
play with and highlight and shadow detail.
| | 01:04 | If you remember from earlier movies and from previous chapters, we
said that there were 256 shades of gray per channel in a typical JPEG.
| | 01:14 | Camera Raw, on the other hand, has 16,000 shades of
gray per channel, so you've got a lot more information.
| | 01:23 | When you shoot and capture a Raw file, basically no preprocessing
is being done to the image; it's just the Raw capture.
| | 01:31 | So no sharpening is taking place, no exposure control or
adjustment or highlight or shadow clicking or anything like that.
| | 01:40 | You're bringing in the original data capture with the camera.
| | 01:44 | Now, the advantage of Raw is that with all that information
you can generate the perfect print so to speak,
| | 01:52 | by manipulating all that raw data to get just the optimal
image, so you're starting out with more information.
| | 01:58 | The flip side of that is that because every image has to be touched, you
have to touch every image; so it ends up creating a lot more work for you.
[0:02:06.436]
So whether you shoot Raw or JPEG really comes down to a
kind of question of context. What subjects are you shooting,
| | 02:15 | what are the shooting circumstances, is it action, is it
children moving around, do you need that much information?
| | 02:22 | Personally I find myself shooting a combination of Raw and JPEG.
| | 02:26 | When I'm shooting portraits or I know I'm going to be doing
compositing or I'm shooting difficult lighting conditions, you know,
| | 02:32 | I definitely shoot Raw because I know that I might want to be able to
play around with all that information to generate a decent-looking image.
| | 02:39 | If I'm shooting action shots or candid shots or just family
get-togethers or whatever, I probably don't bother with Raw all that much,
| | 02:47 | just for ease of use and speed. Plus I have a
wife who asks me to touch just about every image
| | 02:53 | that she wants a print of so sometimes it's just quicker to shoot JPEG.
| | 02:57 | Now, with that being said, how can you tell if an image is
a Raw file or not, when you bring it into the Adobe Bridge?
| | 03:05 | One clue is the file extension on the end of a file.
| | 03:08 | It might be something you've never seen before.
| | 03:11 | If you're shooting with a Canon digital
camera, like I'm shooting with a Canon 20D,
| | 03:15 | the file extension is CR2 for Canon Raw second version or camera raw.
| | 03:20 | If you're shooting with a Nikon, it might
be NEC I think is the file extension.
| | 03:25 | Anyway, the point being is that it might be an unusual file extension.
| | 03:29 | Another clue is the file size; you're typically capturing 16 bits per
channel with a high megapixel count so your file sizes are quite large
| | 03:38 | because there're uncompressed, because you're not
throwing away information when you capture it.
| | 03:43 | If you want to be sure though, if you're just absolutely not
sure, you can ask the Bridge to kind of help you out here.
| | 03:49 | If we go to Edit Preferences or I believe under the Bridge
menu on the Mac or you can do Control + K or Command + K.
| | 03:55 | On the General tab here Additional Lines of
Thumbnail Metadata sometimes it's helpful to change,
| | 04:01 | let's say, this last option to show me
the Document Kind and when I click OK,
| | 04:06 | now at the very bottom here it says Camera Raw
or JPEG file; so it's kind of easy to see that.
| | 04:13 | The other clue is that if you double-click on a JPEG obviously
that's going to open up in Photoshop CS2 and you're on your way.
| | 04:18 | I'll go ahead and close that and go back to the Bridge.
| | 04:21 | If you double-click on a camera raw file, let's go ahead and double
click on that, well Photoshop CS2 doesn't really know what to do
| | 04:27 | with a Raw file yet because it's, well, it's a raw file.
| | 04:30 | You haven't generated, let's say, a print of it, a digital print of it.
| | 04:35 | Essentially what you're dealing with is a digital negative that contains
all the information, and in order to work with it in Photoshop CS2 you have
| | 04:44 | to choose the settings you want to make the particular image look
the way you want it to, and then when you click the open button here
| | 04:50 | down at the bottom right-hand corner, what that's going to do is it's going
to convert the image to the settings that you've chosen here on the left
| | 04:58 | in terms of how many bits per channel, what color
space you'll be using, the size and the resolution,
| | 05:03 | and then with all the image adjustments
you've assigned. And then once it's opened
| | 05:08 | in Photoshop CS2 you could save it as a JPEG or a TIF, or a PSD or whatever.
| | 05:13 | What's important to note here though, is that all these changes that
you're making in the Camera Raw dialog box are basically just a text file.
| | 05:21 | You're never damaging the original Raw file.
| | 05:24 | When you click Open, you're generating a copy of that image
that's being converted from the camera raw file to, you know,
| | 05:31 | whatever file format you're going to save it out as.
| | 05:33 | So, the great thing about this is you can do whatever you want to.
| | 05:36 | It's like you can royally screw it up or push it to one
extreme and it won't matter because when it comes time to quote
| | 05:43 | "save something," you're never actually saving back over the Raw file;
you're saving a copy of it with the settings that you've applied
| | 05:50 | as your starting point. So I'll go ahead and click Done and this will just
cancel that out. I'll go back to the Bridge and this thing is untouched.
| | 06:00 | In the next movies in this chapter we're going to talk about actually
adjusting these camera raw settings and generating an actual file,
| | 06:07 | and then how to do that on multiple files as well, so stay tuned.
| | Collapse this transcript |
| Processing a Camera Raw File| 00:00 | >> Michael Ninness: So in this movie we're going to
talk about using the Camera Raw dialog box,
| | 00:04 | the camera raw settings, to basically create
an image from our digital negative.
| | 00:09 | So I'm going to choose this first image, this first raw image.
| | 00:13 | Go ahead and double-click on it, and because it's a raw file, it opens up
the Camera Raw dialog box and starts out with the camera raw defaults.
| | 00:22 | So the camera raw defaults are just basic starting points of what
the Camera Raw dialog box thinks this image should look like based
| | 00:29 | on the camera profile and the camera raw file that it is reading.
| | 00:33 | New to Photoshop CS2 or the Bridge here in the Camera Raw dialog box is
this Auto checkbox for all these: Exposure, Shadow, Brightness, and Contrast.
| | 00:42 | And these are just some kind of quick fixes, and most
| | 00:48 | of the time they actually do a pretty decent job
of making the image look pretty decent.
| | 00:52 | The first thing you want to do is choose a White Balance and this is coming
in As Shot, but if you happen to know that your lighting conditions fell
| | 01:00 | under these you could actually choose a different
lighting condition to change the Temperature and Tint.
| | 01:05 | So the White Balance is really just a
preset for the Temperature and Tint sliders.
| | 01:09 | So if I choose Tungsten, I do get an extremely different look on
this image if I change to Daylight or Auto, whatever.
| | 01:16 | I'm going to be basically adjusting the Temperature and Tint.
| | 01:19 | So it's really important to get the White Balance right.
| | 01:21 | I'm going to go ahead and take it back to As Shot;
this is what camera raw thinks the camera saw.
| | 01:27 | If you want to adjust that, you can do it.
| | 01:28 | I'm going to go ahead and take the Temperature
down to about 4,000;
| | 01:33 | it was a little bit cooler when we shot this, so maybe 4,200.
| | 01:37 | If I take the Temperature to the right just a little
bit more, then of course it's going to warm it up.
| | 01:40 | That's going to start to get too orange and too yellow so I'm
going to take it down to say 4,200 or 4,250.
| | 01:48 | At this point I can go ahead and play with the controls down below and
again there is really no wrong here, it's just, it's completely up to you.
| | 01:54 | And you don't really have to worry about damaging your
image because again you're adjusting the raw file.
| | 01:59 | All these changes that you're making are just being saved as a text
document or text information being applied back to the raw file.
| | 02:07 | You're going to end up with a copy of this file and then
you'll save that copy out in whatever format you want.
| | 02:13 | So if I want to increase the Shadows here a little bit, just increase the
shadow detail, darken this up just a little bit to increase some contrast.
| | 02:21 | We'll change the Brightness setting as well just to make
that a little bit brighter, open up the highlights a touch,
| | 02:27 | and as you're playing with the Brightness and Shadow sliders,
you want to be paying attention to the Histogram up here.
| | 02:32 | You know if you move the Shadows too far to the right here, you'll
see the shadow ramp detail starting to get clipped in that Histogram.
| | 02:40 | Obviously the image looks bad as well, but
this, using in conjunction with the preview
| | 02:45 | and the Histogram ramp can give you a good
bearing on what's happening to your image.
| | 02:49 | Same thing with the Brightness, if I drag that
too far, you'll see things starting to clip,
| | 02:53 | and all the detail and the highlight is getting blown out.
| | 02:55 | You can also turn on the Shadow and Highlight clipping preview so shadows,
if they are turning to solid black, those will turn to blue pixels here,
| | 03:04 | so you see I'm loosing shadows, shadow detail. Let's bring that back down
to about ten, click Auto. Auto thinks it should be 11 and Brightness,
| | 03:12 | if I drag that too far to the right, the highlights will blow out to red.
| | 03:17 | Let's go ahead and change the contrast so you can actually see.
| | 03:20 | So there, those highlights are going to extreme
white and that's what the red preview is.
| | 03:23 | It's not like she's suddenly breaking out in a rash or something like
that, it's because I have the Highlight preview clipping warning on.
| | 03:29 | So I can turn that off and on.
| | 03:32 | Let's bring that Contrast back to Auto and the Brightness back to Auto.
| | 03:36 | There we go, and we can turn those off now.
| | 03:38 | Now you can also toggle the preview on and
off, so there is before and there is after.
| | 03:44 | So it's just a modest change, just changing the Temperature
a little bit and playing with the Exposure settings.
| | 03:49 | If I want to bring the Exposure back down, we can do that,
I can click back to Auto, it thinks it should be 0.9,
| | 03:55 | I'm going to make that just a little bit
darker to add a little bit more contrast.
| | 04:01 | OK. So I've done these basic settings over here to generate
what I think is a slightly more appropriate image.
| | 04:07 | Down over here on the left is also very
important; you can choose the Bit Depth.
| | 04:11 | The original capture was 16 Bits/Channel so that's going
to be still a rather large file when you bring it into Photoshop.
| | 04:18 | I'm going to convert this to an 8 Bits/Channel.
| | 04:20 | Ideally you'll want to downsample or upsample your image
from within the Camera Raw dialog box rather than doing it
| | 04:26 | after the camera raw settings and then doing it in Photoshop.
| | 04:30 | You want to resample it from the original capture here.
| | 04:35 | So I can choose an appropriate size, whether I want it to be like
a four by six or a five by seven or eight by ten or whatever.
| | 04:40 | So I'm going to choose a 2.8 megapixel file
and I can set a resolution as well. And this just is going
| | 04:45 | to change the print dimensions of this,
the print output resolution of this.
| | 04:49 | What we really care about are the pixel dimensions here.
| | 04:52 | So now if I were to click Open, this would take this file and open it
up in Photoshop and the raw file back in the Bridge would be updated
| | 05:02 | with this new preview but I would end up
with a secondary file that would then save.
| | 05:07 | New in Photoshop CS2 now with the Bridge and the Camera Raw
dialog box is I can actually bypass Photoshop altogether.
| | 05:14 | I don't need to go to Photoshop anymore just to save this file as
say a TIFF, a JPEG or a PSD, I can do it right here from camera raw.
| | 05:22 | So if I hit Save, it's going to bring up a Save dialog box where I
can choose a Destination, a Naming structure, and then also a Format,
| | 05:29 | whether I want a Digital Negative, JPEG, TIFF, or Photoshop.
| | 05:32 | So that's handy.
| | 05:33 | Which means you can do an entire camera raw
workflow without ever actually having to go
| | 05:37 | into Photoshop at all; you can do it all from within the Bridge.
| | 05:40 | If I click Done, that's just going to apply these
changes and get me out of the Camera Raw dialog box.
| | 05:48 | If I go back to the Bridge and wait a second here, we'll see if this
thumbnail now gets updated, this preview, and I get a new icon here
| | 05:55 | in the right-hand corner that lets me know that I have touched
or changed the camera raw settings for this particular image.
| | 06:03 | If I double-click on this image here, the next one, again it's going
open up camera raw and take me back to the Camera Raw Defaults.
| | 06:12 | Now if I want, I can ask the Camera Raw dialog box to use the exact same
settings that I just used in the previous conversion. Under the Settings pop-up
| | 06:21 | menu here I can choose Previous Conversion and
that just updates this particular preview here
| | 06:27 | to use the exact same settings that I used on the previous files.
| | 06:30 | I'll go ahead and click Done on this one as well and we'll go back to the
Bridge and we'll wait a second here and that thumbnail will update as well,
| | 06:37 | and I'll get the icon that lets me know
that I have tweaked this camera raw file.
| | 06:42 | Now the good news is if I've really screwed something up, let's go ahead
and double-click on it and do something kind of crazy like really bump
| | 06:50 | up the Contrast and blow out the Highlights and just do
something silly, we'll desaturate that as well and sure, why not?
| | 07:02 | Make it kind of blow out and make a high-key glow here.
| | 07:05 | Alright, so let's go ahead and click down here, you
know I'll come back a week later and be looking
| | 07:09 | at that image and go "Ah, what did I do to that image?
| | 07:11 | It looks horrible."
| | 07:13 | Well the good news is that again all these settings
have not actually damaged this camera raw file.
| | 07:19 | You've just updated the preview of it.
| | 07:21 | When you double-click on it, it takes that camera raw and
just applies the settings that are saved with the file.
| | 07:27 | If you want you can manually double-click on
this file and just reset the settings there.
| | 07:32 | Let's go ahead and do that.
| | 07:32 | I can double-click, reset the Settings, and say
Image Settings, take it back to Camera Raw Defaults,
| | 07:39 | and it just goes back to the way it came out of the camera.
| | 07:42 | Now I'll go ahead and hit Done there and that will just set it back.
| | 07:45 | I'll go ahead and hit Cancel though because you
can actually clear out the camera raw settings
| | 07:49 | without actually having to open up the Camera Raw dialog box.
| | 07:51 | If you Control + click on a Macintosh or right-click
on the Windows machine, you get a contextual menu
| | 07:58 | and one of the commands here is Clear Camera Raw Settings and that
just takes you back to the original file without those adjustments
| | 08:05 | and that little camera raw icon will go away, letting
you know that you're back to your original file.
| | 08:12 | So now that I've done this conversion, if I actually want to then
generate a Photoshop file from it, I can go double-click,
| | 08:19 | reopen the Camera Raw dialog box and then click the Open
button and that returns the camera raw file back to the Bridge
| | 08:27 | and generates that copy of the file for me in Photoshop.
| | 08:32 | So now I can do whatever I want to it in Photoshop.
| | 08:34 | I can add a Layer Mask to it, or retouch her cheeks,
or whatever it is that you want to go on and do with that file
| | 08:40 | and then you would go do a File, Save As,
and save it as a JPEG or a Photoshop file or whatever.
| | 08:46 | So that's just basic camera raw editing
and you do it from within the Bridge.
| | 08:51 | If it's a camera raw file and you double-click on it, it will
automatically bring up the Camera Raw dialog box where you can tweak
| | 08:57 | and make the image look as best it can
before turning it into your secondary file.
| | Collapse this transcript |
| Processing Multiple Camera Raw Files| 00:01 | (Michael Ninness) In the previous movie we learned that we could process a
Raw file and apply some settings to it and it was non-destructive.
| | 00:09 | It just updates this preview and anytime we want to
reset that we can just double-click on that thumbnail
| | 00:13 | and tweak with the settings again and again;
it will just update this preview image.
| | 00:18 | Well, I've got this particular image that I've already processed and
I can see that by the camera raw icon in the lower right-hand corner.
| | 00:26 | Well, as you can see, these images were all shot at the same time, the
same lighting conditions, so if I've got a conversion here or a process
| | 00:34 | of settings that I like for this image and I want the other
images to have the same settings, it's very easy to do that now.
| | 00:41 | What I'll do is I'll right-click on this particular image or
you can Control + click on the Macintosh to get a contextual menu
| | 00:47 | and there's a keyboard or a menu command
here called Copy Camera Raw Settings.
| | 00:52 | I'll go ahead and choose that, then I can simply select the other images
that I want to have use the same settings; either right-click again
| | 01:00 | or Control + click on the Mac and say Paste
Camera Raw Settings and a dialog box will come
| | 01:05 | up saying, "Well, what settings do you want me to apply?"
| | 01:07 | I'm going to go ahead and choose just all of them, the default
settings here, because I touched a lot of these settings.
| | 01:12 | If you only wanted to apply say a White Balance setting or any of these
things, if you just turn them off you'll ignore those particular settings.
| | 01:20 | I'll go ahead and click OK and it'll take a second but it's going to go
rip through these particular images and apply the same camera raw settings
| | 01:28 | to all those images, and then you'll see they'll all update and get the
camera raw icon here letting you know you tweaked these from the original.
| | 01:36 | Let's do that again but do something a little more drastic.
| | 01:38 | We'll go ahead and double-click on this camera raw file and what we're
going to do is we're going to convert this into a grayscale image just
| | 01:44 | by taking the Saturation slider all the way down to negative
100; then we can do things like play with the Temperature
| | 01:51 | or the Tint to modify what that grayscale image will end up looking like.
| | 01:57 | I'm going to increase the contrast just a little
bit too, and sometimes it's helpful just to zoom up.
| | 02:02 | If you want to zoom up to 100 percent you can double-click on
the Magnifying Glass tool or the Zoom tool, just double-click
| | 02:07 | and that takes you to 100, look at the Hand tool and
you can hand that around to zoom up right on the detail
| | 02:13 | and you can see it captures every little
hair of that camera raw file format.
| | 02:18 | It's a very high-detail image here; so you end up actually
having to do sometimes more retouching than you normally would,
| | 02:25 | because it does really capture every single piece of detail.
So go ahead and increase the Shadow detail just a bit,
| | 02:32 | just make this a very high contrast glamour conversion here, no big deal.
| | 02:37 | Go ahead and click Done and again that will take us back to
Photoshop CS2; we'll open up the Bridge again and we'll see
| | 02:42 | that that again has been converted to grayscale image.
| | 02:45 | Again, I'm either going to Control + click or right-click on the PC and
say, Copy Camera Raw Settings to steal the settings I've applied
| | 02:54 | to that particular image and then we'll Shift + click on the first image
and Shift + click again on the last image to select multiple images here
| | 03:02 | and then we'll go ahead and either Control + click again
or right-click to use the Paste Camera Raw Settings command;
| | 03:09 | then again it brings up this dialog box, we'll go ahead and
click OK and very quickly it's going to convert all of those
| | 03:15 | to grayscale images using the same camera
raw settings that I used previously.
| | 03:21 | So, now that I've converted these camera raw files to black
and whites I might actually want to now generate images
| | 03:27 | that I can actually then send somewhere else either to print them
or to place them in another application or something like that;
| | 03:34 | so I can't do that with the raw file, we need to convert those
into either a TIF or a JPEG or at least a Photoshop CS2 file,
| | 03:40 | if I wanted to continue working on them inside Photoshop CS2.
| | 03:43 | So, what I'll do is I'll go ahead and select these
three images and then I could select all of them,
| | 03:47 | I'll just do these three and I want you to watch what happens.
| | 03:49 | When I double-click on one of the these files, when I've got more
than one selected, a Camera Raw dialog box will still come up
| | 03:56 | but I've got a new section over here on the left that
lets me actually switch between individual documents.
| | 04:02 | I can actually process multiple files one at a time but without
having to go back to the Bridge, which is kind of a nice feature here.
| | 04:11 | Now if I want, I can select all these images and I have two options here.
| | 04:15 | I can save all three of these images and choose a different format
for them, or I can open them in Photoshop CS2 to do other work.
| | 04:22 | I'm going to go ahead and click the Save three Images button and this brings
up the Save options and I can chose to save these in a number of ways.
| | 04:30 | I can save them in a new location or in the same location.
| | 04:34 | If I do Save in Same Location I can chose Select Folder
and generate a new folder in that Camera Raw Essentials folder
| | 04:41 | that I've got these originated in; I'll go ahead
and hit Cancel, just for argument's sake here.
| | 04:47 | In the file naming I can then customize this as well; I'm going
to go ahead and just leave it alone, but I could do Document Name,
| | 04:53 | choose another Serial Number or Date and Time or whatever,
and for my format I'm going to turn these all into JPEGs.
| | 04:59 | Then I can choose a Quality setting; so I'll go ahead and make this a
High quality and it'll probably be good enough and go ahead and hit Save.
| | 05:07 | It's going to rip through all those files and it's actually giving me a
status of what's happening here, so this actually allows me to continue on
| | 05:16 | and do other things; so I could actually click on this image and do some
other adjustment to it while it's saving these images in the background.
| | 05:23 | I'll go ahead and just kill some time until the Save status lets
me know that it's done and then when I click the Done button,
| | 05:30 | when I go back to the Bridge, you should see I now have
a corresponding JPEG for these files that I was working
| | 05:39 | on before; so there's the JPEG that I just generated.
| | 05:42 | I'll go ahead and drag that next to the camera raw file.
| | 05:46 | So the Bridge makes it very easy to process multiple files.
| | 05:49 | You can copy and paste camera raw settings from one file across a range of
other camera raw files and then you can convert them very quickly as well
| | 05:58 | by selecting multiple files and then in the resulting camera
raw dialog box either open them all in Photoshop CS2 all at once
| | 06:06 | or actually bypass Photoshop CS2 altogether by clicking the Save button
and ripping those out to either JPEG or TIF or Photoshop CS2 format.
| | Collapse this transcript |
| Non-Destructive Cropping| 00:01 | >> Michael Ninness: If you have used previous versions of a Camera Raw
plug-in for Photoshop, you kind of know a little bit more about it,
| | 00:07 | but there is a brand-new feature in the Adobe
Photoshop CS2 version of the Camera Raw plug-in.
| | 00:13 | I'm going to go ahead and double-click on
this camera raw file and show you what I mean.
| | 00:17 | It allows you to do non-destructive cropping.
| | 00:20 | Notice that there is a Crop tool up here.
| | 00:22 | I'm going to go ahead and press on the Crop
tool and I can jump to a preset proportion.
| | 00:27 | I'm going to go ahead and choose 2 to 3, let's say, and it's really
kind of neat, because if I drag in a vertical direction it assumes
| | 00:34 | that I want a vertical-oriented crop, but if I drag
a little bit more horizontally than I do vertically,
| | 00:40 | then it will automatically guess that I'm supposed to do a horizontal one.
| | 00:43 | In fact once I saw that, I actually wondered why the Crop
tool in Photoshop proper doesn't work that way, so
| | 00:50 | maybe in the future it will, it will work like that.
| | 00:52 | That would be great.
| | 00:53 | Anyway, I drag out this crop boundary and I can go ahead and
position to where I want it and OK, it looks about where I want it.
| | 01:01 | OK. I can go on and continue to do whatever Camera Raw Setting adjustments
that I want to use, I'll go ahead and choose maybe this Tungsten setting
| | 01:11 | and convert this to a black and white and
maybe increase the Contrast a little bit.
| | 01:19 | There we go.
| | 01:20 | So now go ahead and click Done, and when I come back to the Bridge, you'll
see that it now shows me that I've cropped this image, but don't be fooled.
| | 01:31 | You haven't actually cropped or lost any of that original information.
| | 01:34 | It's still there.
| | 01:36 | The icon here tells me that I have adjusted the settings
in Camera Raw and then this icon here, the Crop icon,
| | 01:41 | tells me that I have played with the crop as well, but
if I double-click on the camera raw file and reopen it,
| | 01:48 | it's still in memory where that crop was set and it still
shows me the original information so if I were to click Open,
| | 01:57 | yes I would generate a new file with those cropped proportions
and all that data is gone here inside the file that I've opened
| | 02:04 | up in Photoshop, but it's not gone in the original camera raw file.
| | 02:09 | So what's great about this is it lets you create
a cropping if I want to try to create a vertical
| | 02:13 | out of a horizontal or vice versa, I don't have to commit to this.
| | 02:16 | It's non-destructive.
| | 02:17 | I can always go back to the original proportions from the camera
raw file at any point and if I just want to reset the preview back
| | 02:24 | to the original crop, again I can either right-click or
Control + click, right-click on PC or Control + click with the Mac,
| | 02:31 | and say Camera Raw Settings and it will return it back to the
original color version of that and the original crop as well.
| | 02:38 | So, non-destructive cropping, pretty cool feature.
| | Collapse this transcript |
|
|
6. Undo and HistoryUndo and History| 00:01 | >> Michael Ninness: In this movie we're going to talk
about history and undoing things in Photoshop.
| | 00:05 | If you have the exercise files, I'm in Chapter 06 here, and
I'm just going to open up the first file here, History.
| | 00:10 | I'm in the Bridge right now so if I just double-click
on this thumbnail it will launch that file in Photoshop.
| | 00:15 | I'm going to begin by putting the document in the full-screen mode just by
pressing the letter F and then I'll hold down the Spacebar so I can pan
| | 00:23 | that image around, just press and drag it with the
Spacebar held down just a little bit away from the palettes.
| | 00:28 | I'm going to go ahead and do a couple of things to this image. First of all,
I'm going to do a Levels adjustment to open up the midtones and shadows.
| | 00:35 | Maija's looking a little bit dark here, so I'm going to go to
the Image, Adjustments menu, choose Levels and I'll go ahead
| | 00:43 | and bring in the white slider to establish a true bright
point and we'll open the midtones just a tad and like so.
| | 00:51 | OK. So go ahead and click OK and the Undo command in
Photoshop is Command + Z on the Mac or Control + Z on Windows,
| | 00:59 | just as it is in just about every other
application out there, so Control + Z,
| | 01:03 | Command + Z and what I like about this command
in Photoshop is that it's a toggle.
| | 01:07 | It undoes or redoes the last thing you did by default,
so Control + Z takes me back before the levels adjustment,
| | 01:13 | Control + Z again takes me to after the levels adjustment,
and that's essentially the same as being able
| | 01:19 | to do a preview when you were in the Levels dialog box.
| | 01:23 | Now I can just go back and forth between the last thing I've
done and back to prior to that, which is kind of handy.
| | 01:30 | Now if I go off and do additional items here, so let's go get
the Rubber Stamp tool here and we're going to stamp out this knee
| | 01:38 | in the bottom left-hand corner, or bottom right-hand corner.
| | 01:41 | I'm going to lower my brush size by pressing the Left Bracket key, just
make that a little bit smaller and I'm going to hold down the Option key
| | 01:48 | or the Alt key to take a sample and clone that area over that knee.
| | 01:52 | Now I'm going to do it in multiple strokes, paint once, let go
of my mouse and then paint again, so I've got two strokes here.
| | 01:59 | So now if I do Control + Z again or Command + Z on the Mac, you'll
notice that again each paint stroke is considered one Undo item.
| | 02:08 | So you can see with just Control + Z, I can
only undo or redo the last thing I did.
| | 02:14 | Helpful when you just want to preview something
like that levels adjustment to see before and after
| | 02:19 | but when you're doing multiple paint strokes or rubber stamp
strokes to build up an end result, undoing and just toggling back
| | 02:26 | and forth between the last thing, the last stroke isn't always
necessarily all that helpful, so you want to go back further
| | 02:32 | in history and there are a couple of ways to do that.
| | 02:35 | First you can go to the Edit menu and you can see the last thing you've
done is listed directly under the Edit menu and that's the Control + Z
| | 02:43 | or Command + Z shortcut but then you've also got a Step Backward
command or a Step Forward if you were to come backward in time.
| | 02:49 | So a Step Backward is Control + Alt + Z on Windows or Command Option + Z
on the Mac, so if I step back once I get back that original knee.
| | 02:58 | If I go back again, under Step Backward,
I go back to before the levels adjustment.
| | 03:04 | If I go back to the Edit menu and say Step Forward,
I can go back through all those steps I had taken,
| | 03:10 | in this case three, to get to the half of the knee going, being gone.
| | 03:15 | So I'm going to go ahead and get rid of the rest of the knee.
| | 03:19 | So the other way to do it other than the menu command is of
course the keyboard shortcuts, that's what I just showed you,
| | 03:23 | and menu is the Control + Shift + Z or Command + Shift + Z on the Mac, that
takes you forward, Control + Alt + Z or Command + Option + Z takes you backwards.
| | 03:34 | And if you have been paying attention on the right hand corner of
your screen there is a History palette and this is just a visual way
| | 03:40 | to do the same thing as going up to the Edit
menu or remembering the keyboard shortcuts.
| | 03:44 | I like the keyboard shortcuts because it means that I don't necessarily
have to have the history open on my screen, so it doesn't take
| | 03:49 | up your screen real estate, but again the nice visual thing about
the History palette is you can actually see the name of the commands
| | 03:55 | that you've recently done and I can just click anywhere on one of these
commands to go back to that point in time or that point in history.
| | 04:02 | Technically it's called that State, that History State.
| | 04:06 | So I can go all the way back to the beginning of the document when
I first opened it, the Open command or all the way back to the end
| | 04:11 | where I've gotten rid of the knee completely or anywhere in between.
| | 04:15 | Now how many States show up in the History palette by default is 20, and
that's determined by the Preference under Edit, Preferences, under General,
| | 04:25 | or on the Macintosh it would be the Photoshop menu on the left-
hand side of your, the top of the screen in Preferences there
| | 04:32 | and you'll see the History States here is numbered here at 20.
| | 04:35 | So again the higher the number, the higher the
number of States listed in the History palette.
| | 04:41 | Once you get to State 21, then the very
first State would be dropped off the list
| | 04:47 | so that's why having a higher number gives you more steps
before things start dropping off. But the higher the number
| | 04:52 | of course the more RAM Photoshop is going to
require to keep all those History States in memory
| | 04:58 | and give you the ability to go further back in history.
| | 05:01 | So again for a beginner, the History palette is nice and friendly.
| | 05:04 | It's a visual way to click back and forth back in time.
| | 05:07 | Now one thing you might want to consider - I don't personally
do it myself because I actually like the ability to toggle back
| | 05:13 | and forth between the last thing you did and before that -
but some people don't like this notion that there is more,
| | 05:20 | that there's two separate keyboard shortcuts to go back through history.
| | 05:23 | So if I go to the Keyboard Shortcuts Editor on the Edit menu, one of
the things that you consider is under the Edit Menu Commands is getting rid
| | 05:31 | of the Undo/Redo toggle, just deleting that keyboard shortcut and then
having going back, Step Backward just be Control + Z or on the Mac Command + Z,
| | 05:41 | and then going forward Control + Shift + Z or Command + Shift + Z on the Mac.
| | 05:45 | So again it's fewer shortcuts to remember and this
is most, what most other applications out there do.
| | 05:51 | They don't have this, just this special case of
undoing and redoing the last thing you've done.
| | 05:56 | This makes it more like other applications.
| | 05:58 | If I go ahead and Accept that, then that's what I'll now have as my
Undo/Redo scheme, so now Control + Z just undoes and goes back in history
| | 06:08 | or Command + Shift + Z or Command + Z on the
Mac and then Control + Shift + Z would redo.
| | 06:12 | So it's up to you.
| | 06:14 | Again I like actually keeping that little toggle so
I'm going to go back and make Undo/Redo Control + Z
| | 06:21 | and Step Backward Control + Alt + Z. It's completely
up to you, if you want to change it or not.
| | 06:27 | That's what the Keyboard Shortcut Editor is for.
| | 06:29 | Go ahead and click OK and I'm back to where I started.
| | Collapse this transcript |
| History Palette Options| 00:01 | >> The History palette has some options
that I'd like to show you as well,
| | 00:04 | so by default the History list in the History palette is a linear list.
| | 00:09 | Which means, if I were to go back in History in any of these steps, so for
instance, go back to the Levels adjustment, you'll see that all the items
| | 00:17 | that came after Levels in that History stack are grayed out right now.
| | 00:22 | That's to let me know that if I were to do any other
change to this image, at this point in the History stack,
| | 00:28 | I would lose the ability to go back to
any of these other points in History.
| | 00:32 | So, it's a linear process here.
| | 00:34 | So let's go ahead and do that.
| | 00:35 | If I were to create a New Layer, you see all the options
that were there before, all the editing, the cloning of the knee,
| | 00:43 | those steps are now lost because I'm in a linear editing mode.
| | 00:46 | So if I go back to a previous step and then do anything at that point, any
previous steps that came after that in the History palette are lost to me.
| | 00:55 | So I'm going to undo that New Layer option or
whatever it was that got rid of those options here.
| | 01:00 | If I go back to the fly-out menu for the History palette and choose History
Options, you'll see one of the options is to Allow Non-Linear History.
| | 01:10 | Let me go ahead and turn that on.
| | 01:11 | And click OK.
| | 01:12 | And the way you can see whether or not your palette has been set to
do this, the History palette has been set to be Linear or Non-Linear,
| | 01:19 | is that when you go back in History, the non-linear version
of it does not gray out the commands in the History palette.
| | 01:27 | So, if I were to go and add a New Layer here, the last item you
did, in this case New Layer, gets appended to the bottom of the list.
| | 01:35 | But you still have the ability to go back
to previous steps in a non-linear way.
| | 01:40 | So that's the difference between Linear and Non-Linear.
| | 01:43 | Personally, I had to do that a couple
times to kind of wrap my head around it.
| | 01:46 | The advantage of video training is you can go back and
listen to me explain that again, until it sinks in.
| | 01:51 | But, it doesn't really matter, there's no right or wrong way of what
option to choose here, it's really up to you how you prefer to use it.
| | 01:58 | Me, I am a linear type of guy.
| | 01:59 | So, I like to keep things linear.
| | 02:01 | I want to go to History Options and turn that back off to just Linear.
| | 02:06 | Now, one other change that's kind of nice, this is new to Photoshop
CS2, is the ability to Make Layer Visibility Changes Undoable.
| | 02:13 | It's like, "What?
| | 02:14 | What does that mean?"
| | 02:15 | And it's off by default.
| | 02:16 | OK. So, I am going to go ahead and click OK.
| | 02:19 | And I am going to create a New Layer here, and I'm
just going to fill a shape here with some color.
| | 02:25 | I just drew a Marquee tool and I'm going to fill it
with black by holding down the Option or the Alt key
| | 02:29 | and hitting Backspace or Delete to fill the selection with the color,
| | 02:33 | current foreground color.
| | 02:34 | I'm going to go ahead and deselect that, Command or Control + D. Now, if
I turn off the eyeball, or the, I'm sorry, the Eye for Layer 1,
| | 02:43 | and if I do Control + Z or Command + Z on the Mac, you'll see
that the last thing that gets undone is the Fill command.
| | 02:49 | The filling that selection with the black.
| | 02:51 | Not turning that layer on or off.
| | 02:53 | OK. So, I'm going to redo that to
get the black in my document here.
| | 02:59 | We'll go ahead and make a selection, we'll fill it with black again.
| | 03:02 | And deselect it.
| | 03:05 | Now I'm going to go to the History palette and under the History
Options I'm going to turn on Make Layer Visibility Changes Undoable.
| | 03:13 | Click OK.
| | 03:14 | Now if I turn off the Eye for Layer 1, and do Control
+ Z or Command + Z, I can toggle that layer on and off.
| | 03:21 | OK. Just, without having to go back to the History
palette, or the Layers palette in order for that to happen.
| | 03:27 | This is very, very useful, especially when you're
turning on and off multiple layers at the same time.
| | 03:32 | So, let's say I had a couple of these layers, so
Control + J or Command + J, to duplicate that layer.
| | 03:38 | And we'll just move these around.
| | 03:40 | Again, this isn't something you would probably
do to your image, but just to prove the point.
| | 03:44 | Now, we'll cover layers extensively in the Layers
chapter, but for now you can turn off multiple layers
| | 03:50 | by clicking on one Eye and dragging through other Eyes.
| | 03:54 | To turn them all off in one step.
| | 03:56 | Now, if I toggle that Undo, so Control + Z or Command + Z on the Mac,
| | 04:01 | you'll see I can toggle those layers being
turned on and off in one keyboard shortcut.
| | 04:06 | So again, changing that option is very, very handy, it just
adds the Layer Visibility state as an undoable action.
| | Collapse this transcript |
| Painting with History States and Snapshots| 00:01 | >> So one of the coolest things about History in Photoshop is
| | 00:03 | that Photoshop keeps all these History States
in memory as we discussed in the previous movie.
| | 00:08 | Well the fact that these images, these states, are in memory
means you can do some pretty interesting things with them.
| | 00:13 | Specifically paint from History.
| | 00:16 | What do I mean by that?
| | 00:17 | Well let's do a couple things to this
image and I will show you what I mean.
| | 00:20 | So let's go to Adjustments, Shadow/Highlight.
| | 00:23 | We'll improve the tonality of this image here.
| | 00:27 | We'll make the brightness a little bit
nicer and the color pop a little bit.
| | 00:31 | Go ahead and click OK on these settlings.
| | 00:33 | And then let's do another thing, like desaturate the image,
| | 00:35 | pull all the color out. So let's go to
Image, Adjustments and choose Desaturate.
| | 00:40 | And what I want to do is create a black and white
version of this image, but with the pink of the
| | 00:46 | suit here and the ladybug boots coming back.
| | 00:50 | Well, if I look at my History palette, I happen to have
several different states of this image available to me.
| | 00:56 | I have the original one, with listed here as Open, I have
the one where I improved the color and contrast in the Shadow/
| | 01:02 | Highlight detail, and I have the version that's just grayscale.
| | 01:06 | Well, it turns out there is a brush in the
Tools palette called the History Brush.
| | 01:09 | And if I choose that brush it's just like a painting brush, a
Paintbrush tool, but instead of painting with a foreground color
| | 01:16 | or a background color, you can choose to paint with a History State.
| | 01:21 | Currently, the Snapshot here, the document that's listed at
the top of the History palette, you'll see there is a divider line,
| | 01:29 | this listing listed up here, above the top line here, is called a Snapshot.
| | 01:34 | And by default this Snapshot is set as the
source for the History Brush to paint from.
| | 01:40 | So, if I want to go back to the previous version of the image
where there was still color, I could click to the left of the item
| | 01:48 | in the History palette and set that as the source for the History Brush.
| | 01:52 | So, now, if I start painting, you'll see
I'm painting with that colored version.
| | 01:56 | The one before I desaturated it.
| | 01:59 | So I'm just pressing and dragging.
| | 02:00 | And I'm not really painting with pink, I'm
painting the color version of the document.
| | 02:05 | So, if I let go the paint brush, you'll see that now
History Brush is another state in the History palette.
| | 02:10 | So, if I paint too far over an area that I didn't want to
bring back in color, I can simply choose the Desaturate state
| | 02:17 | as the History State and paint back the gray version.
| | 02:20 | OK. So, that's kind of nice.
| | 02:22 | Now, you'll notice though that I might run into a problem if every
time I paint, that stroke shows up as a History item in my list.
| | 02:31 | So, if I do a bunch of paint strokes, and maybe choose the Shadow/
Highlight again as my source, and paint a bunch of these,
| | 02:40 | so I'm just clicking about twenty or thirty times here.
| | 02:43 | You'll notice that I've lost my Desaturate
source or state in the History palette
| | 02:49 | because the History palette can only store by default 20 states.
| | 02:53 | So, what can we do about that?
| | 02:55 | Well, turns out that you can save any state of an image as
a Snapshot and basically capture the current state of that
| | 03:03 | as something that doesn't get lost based on the History stack.
| | 03:06 | It actually gets saved as a Snapshot available
to you as long as you have this file open.
| | 03:11 | So, to create a Snapshot, you can click on the bottom of the History
palette and create a Snapshot by clicking the little Camera button.
| | 03:18 | To do that though I'm going to revert this file.
| | 03:21 | Revert.
| | 03:23 | And let's go back to the beginning where we went to Image,
Mode, or Adjustments and chose Shadow/Highlight.
| | 03:30 | And go ahead and click OK again.
| | 03:34 | And, I want to now save a Snapshot of this image at this state.
| | 03:38 | So, I'm going to go ahead and click the Snapshot button.
| | 03:40 | And now if I go back up to the History
palette, we'll go to make this taller.
| | 03:45 | You'll see I have Snapshot 1.
| | 03:46 | I'm going to double-click on Snapshot 1 and
change its name to Color Correction.
| | 03:51 | Or Color Corrected.
| | 03:54 | Whatever. Doesn't really matter.
| | 03:55 | Just something that was more useful than Snapshot 1.
| | 03:58 | And then I'm going to go to Image, Adjustments, Desaturate.
| | 04:03 | And create a Snapshot from here as well.
| | 04:06 | And double-click on Snapshot 1 and call it Desaturate.
| | 04:12 | So now everything, again, above this dividing
line is independent of the History stack.
| | 04:17 | So, if I go back and get my History Brush, and paint or choose the color-
corrected Snapshot as my source, I can now paint back in the color version
| | 04:27 | and it doesn't really matter how many steps I take, because
I'm not going to lose that Snapshot from my History list.
| | 04:34 | As long as this file is still open.
| | 04:36 | So if I want to go back and get the grayscale
version of it, I can click on the Desaturate Snapshot
| | 04:41 | as my source and paint back in the grayscale version of that.
| | 04:46 | Which is kind of nice.
| | 04:47 | So, this is a way of kind of compositing images without
the complexity or overhead of the Layers palette,
| | 04:54 | and in working with multiple layers.
| | 04:56 | Now it's not as flexible as layers, because
if you save a document that has layers in it,
| | 05:01 | the layers will be there when next time you open up the document.
| | 05:04 | Whereas with Snapshots, these Snapshots
only stick around when the file is open.
| | 05:09 | If I were to close this document and reopen
it, those Snapshots would not be there.
| | 05:13 | The last button to mention here is that the Camera
buttons creates a Snapshot within this current document.
| | 05:19 | This button over here allows me to create
a new document from the current state.
| | 05:24 | Meaning the current position of where I'm at in the History palette.
| | 05:28 | So if I click on this button, I will get an entirely new document.
| | 05:32 | That's a great way if you want to save out a
version of the document at its current state.
| | 05:37 | Just a quick way to do that.
| | 05:38 | Click that, create a new document, do a File, Save As,
whatever, save that off and then when you come back you're back
| | 05:44 | to this original document with all these other states.
| | Collapse this transcript |
| Creating a History Log| 00:01 | >> Michael Ninness: One thing that might be particularly useful for a
beginner, is the ability to be able to go back and see what you've done
| | 00:07 | in a particular image, especially if you're exploring
and kind of screwing around on a particular file.
| | 00:13 | And you may want to go back and do something
you've done to one file, to another image.
| | 00:18 | And you may not remember all the steps that you've done.
| | 00:21 | You can accomplish this by creating something called a History Log.
| | 00:24 | And in Photoshop the History Log feature is turned off
by default, I'll show you where to go to turn that on.
| | 00:29 | We're just going to open up this file from the Bridge here.
| | 00:31 | Which is file number 03, if you have the exercise files,
it's in the Chapter 06 folder, file number 03, History Log.
| | 00:36 | We'll go ahead and double-click on this file
and we'll go ahead and take that to full screen,
| | 00:40 | by just hitting the F, we'll zoom that up, Command Control + Plus.
| | 00:44 | We'll zoom up that image a little bit here.
| | 00:48 | Under the Edit Preferences menu or on the
Macintosh, under the Photoshop menu Preferences,
| | 00:53 | under the General Preferences category, there's
an option at the bottom called History Log.
| | 00:58 | Now, if you're just beginning and just
installed Photoshop, this will be turned off.
| | 01:02 | You turn that on and you've got a couple choices here.
| | 01:05 | You can Log Items To something called a Metadata file, or Metadata
information, or you can do it as a separate Text File, or both.
| | 01:15 | And what I mean by Metadata, the metadata gets actually
saved with the file and travels with that document.
| | 01:22 | So, if you take it to another application that supports
or reads metadata you'll be able to see it there too.
| | 01:27 | Most notably the application where you'd be looking at this is
the Bridge, so you can see the metadata, the particular file,
| | 01:32 | when you're in the Adobe Bridge, which I'll show in just a few minutes.
| | 01:35 | If you want you can actually log the metadata information to a text file as
well, if I were to choose Text File, it's going to say, "Where do you want me
| | 01:43 | to save that text document that it's going to create?"
| | 01:45 | I'm going to go ahead and Cancel that.
| | 01:47 | And I have the option to do both as well, if I click
both again, it's going to ask me where do I want
| | 01:51 | to save the resulting text file that it's going to generate.
| | 01:53 | I'm just going to leave it on Metadata.
| | 01:55 | And I got two Log Item choices.
| | 01:58 | I can choose Concise, or I can choose Detailed.
| | 02:02 | I can also do Sessions where it shows me when I've
opened the file, when I closed it and so forth.
| | 02:07 | Concise is going to be an abridged version.
| | 02:10 | It's only going to show you the name of the command that you've used.
| | 02:14 | So, for instance if I went and used the Levels
command and then went into the Curves Adjustment.
| | 02:19 | The log would only show levels and curves.
| | 02:23 | Where as if I chose Detailed, which is what I'm going
to chose here, Detailed will not only list the command,
| | 02:27 | but will also log the specific settings you used in that command.
| | 02:32 | So, that can be useful
| | 02:33 | for a little bit more information, but
it's a little bit more useful as well.
| | 02:37 | So, I turned the option on by turning on History Log.
| | 02:40 | I've chosen Metadata to keep the information with the
file and I've chosen Detailed as my setting there.
| | 02:46 | I'm going to go ahead and click OK.
| | 02:48 | And now Photoshop's going to pay attention
and log everything I do to this image.
| | 02:51 | So, I think the first thing I'll do is I'll
add a Channel Mixer adjustment layer here.
| | 02:56 | And I'm going just going to do some random
things just to show you what it's capturing.
| | 02:59 | It's going to turn this into a grayscale image, with something called
the Channel Mixer, just boost the contrast a little bit here, good.
| | 03:06 | And then I'll create, I think, a new Layer, and I'll merge a copy of
all this information in this particular document, into this new Layer.
| | 03:16 | So, the keyboard shortcut for that is Command + Option + Shift + E or Control + Alt
+ Shift + E and that just gives me a merged copy of all these images here.
| | 03:24 | Then I'm going to go duplicate this document, this Layer, Control +
J or Command + J and blur it, so a Filter, Blur, Gaussian Blur,
| | 03:33 | I'm going to blur it quite a bit to give some
nice softness to the image and then click OK.
| | 03:39 | And last I'll change the blending mode of this
particular Layer to something called Soft Light.
| | 03:46 | Now, again the purpose of this movie is not necessarily to show you
this technique, but to show you the log information later on, so,
| | 03:54 | there's the image before the Soft Light blur, here's with it.
| | 03:58 | It just gives it a lot, a softer, dreamier
focus and punches up the contrast a bit.
| | 04:03 | I'll duplicate that Layer, one more time, Control +
J, and there, I got quite a nice effect there.
| | 04:08 | And now I'm done with this file and I'll go ahead and do a File, Save As,
and we'll name this History_Log.psd, the Photoshop version of that.
| | 04:18 | And go ahead and hit Save and now, let's go over to the Bridge.
| | 04:23 | We'll close this document and reopen the Bridge
here and click on the document we just saved.
| | 04:29 | Now, I've collapsed the Metadata palette in the Bridge, I'm
going to go ahead and double-click on that tab to expand it.
| | 04:34 | And when I click on this file, I'll click
on this one, to kind of force a redraw,
| | 04:39 | I'm going to click on this bottom file, the file that we just saved.
| | 04:41 | And one of the last options here is Edit History, in the
Metadata panel and you can see all the options I chose.
| | 04:49 | So, I made an Adjustment Layer, a Channel Mixer, using the settings I
used, I duplicated the Layer, I Merged with Visible and all the steps
| | 04:58 | that I did, the Blur, the Blend Mode change and so forth.
| | 05:02 | So, again, all this information now travels with
this document, if I like this particular effect,
| | 05:07 | if I want to apply it to another image I can
go to my Bridge, look at the Metadata panel.
| | 05:11 | If I want I can make this wider so it gets a wider
line break there and it makes it easier to read.
| | 05:18 | But anyway, a very useful feature, off by default. In the Preferences
turned on, you choose between Concise or Detailed and again,
| | 05:24 | this is purely optional, you just have to
decide whether or not you think it's useful.
| | 05:27 | It might be something that comes in handy if you're billing
by the hour, you can actually have a time,
| | 05:33 | it gives you the time when you open the file and at
the end it gives you a time when you close the file.
| | 05:38 | So, if you're trying to track your billable time, that would be
another reason to enable the History Log, during a particular session.
| | Collapse this transcript |
|
|
7. TransformationsRotating and Flipping| 00:00 | >>Michael Ninness: One common problem that can occur when you're
taking pictures with a digital camera is that some of the cameras
| | 00:05 | out there don't automatically rotate your images
if you've taken it at a vertical orientation.
| | 00:10 | So when you bring it into Photoshop, of course, it's not rotated
correctly and you'll want to fix that problem, very easy to do.
| | 00:17 | You go to the Image menu, pull down the Rotate Canvas, and
depending on the orientation that you need to correct it to,
| | 00:24 | you've got 90 degrees counterclockwise here, or 90 degrees clockwise.
| | 00:28 | And we'll choose 90 degrees clockwise for this particular
image, so spin it to the right so that you get it
| | 00:32 | to the correct orientation, so very easy to fix there.
| | 00:36 | If you needed to go the other direction you just choose counterclockwise.
| | 00:39 | So we'll go ahead and close this file.
| | 00:42 | Another problem that you might run into: you've been given a scan from someone,
| | 00:46 | or somebody scanned a transparency or a
negative; the image might actually be flipped.
| | 00:51 | So if I were to rotate this image, put this in
the full screen mode, press F for full screen.
| | 00:56 | If I were to rotate this image, it would still be flipped.
| | 00:59 | So if I go to Image, Rotate Canvas, in this
case 180 degrees, it's still reading backwards.
| | 01:05 | So we'll undo that rotate 180, because there's another
command here called Image, Rotate Canvas, Flip.
| | 01:12 | I can flip it horizontally, or I can flip it vertically.
| | 01:15 | So that does both a rotate and a flip at the
same time and corrects the wrong direction there.
| | Collapse this transcript |
| Straightening Crooked Images| 00:00 | >> Michael Ninness: Here's an image that also needs to be rotated
but more in the context of it needing to be straightened.
| | 00:05 | So, obviously you can see the Empire State
Building here, it's looking a little crooked,
| | 00:09 | and we want to correct the orientation here, so it's perpendicular.
| | 00:13 | Now, there's a couple different ways to do this and I'll show you both.
| | 00:15 | The way you don't want to do it is, go to Image,
Rotate Canvas and you would chose Arbitrary here and try
| | 00:22 | and guess what angle you should use to rotate this in the direction.
| | 00:25 | I'll go ahead and Cancel that.
| | 00:26 | I mean that's what computers are for;
we want the computer to do that for us.
| | 00:30 | So, to get Photoshop to do it for us and figure out what the
rotation should be, you use a tool called the Measure tool.
| | 00:36 | It's located under the Eyedropper tool.
| | 00:38 | I can press on the Eyedropper and choose Measure Tool.
| | 00:41 | And then what you do is you click, at some
reference point of the start of the reference point,
| | 00:46 | and drag to the end of the other reference point that you want to use.
| | 00:50 | So, I'm going to line up the Measure tool with
the angle of this reference building here,
| | 00:54 | and go ahead and let go, and it's going to leave a line on my screen.
| | 00:57 | But you'll notice that it gives me an angle up here,
in my Options bar reading, or in my Info palette.
| | 01:03 | But it gets even better than that. If I go to Image, Rotate Canvas
and chose Arbitrary again, it automatically puts in the correct angle
| | 01:12 | and guesses which direction it needs to
be rotated to straighten out this image.
| | 01:17 | So, we'll go ahead and click OK.
| | 01:18 | Now, the result of this will be to straighten the image, but it adds
canvas to the image to maintain the actual rectangular shape of the canvas.
| | 01:30 | So, at this point you would need to go back and get the
Crop tool and crop out the rectangular shape again.
| | 01:37 | We'll just drag the corner of the canvas here, I just press C for
the Crop tool, and I pressed and dragged to get an initial boundary.
| | 01:45 | And once I got a start here I can go to the corners or the sides and just
resize the crop boundary to keep it in or back to a rectangular shape.
| | 01:52 | If that's what I wanted to do.
| | 01:53 | If I hit Return or Enter to apply that,
then I've got a cropped and rotated image.
| | 01:58 | Now, there's a different way to do that.
| | 02:00 | You can crop and rotate it with a Crop tool actually. I'll
use this image to do that, I'll put that on full screen
| | 02:08 | and zoom up here, Control + Plus or Command + Plus on the Mac.
| | 02:11 | You can see this is a very modest straightening job, but you can
see the horizon line, it's a common thing where you want the horizon
| | 02:17 | to be a little more straight, so again, we start by getting
the Measure tool and we'll click on one side of the horizon
| | 02:24 | and drag to the other side of the horizon to get a reading.
| | 02:27 | And here it says I need to rotate it 1.1 degrees.
| | 02:31 | OK. I'm just getting the angle with the Measurement tool.
| | 02:35 | Now, I could go to Image, Rotate Canvas,
Arbitrary and it would automatically do that,
| | 02:39 | but then I would end up with that white canvas being added to the image.
| | 02:42 | So, I'm going to crop and rotate this in one step.
| | 02:46 | So, I get the Crop tool, I'm going to go
ahead and drag out a crop boundary, like so.
| | 02:50 | And I'm going to figure out where I want the crop to be.
| | 02:54 | Now, if I want a specific proportion image for the crop, instead of
Arbitrary I might want to escape this, hit the Escape key to cancel that.
| | 03:01 | I'm going to type in four inches by six
inches, so that I get a proportion here.
| | 03:07 | So now I can only draw four by six.
| | 03:09 | Go ahead and drag out a pretty decent crop.
| | 03:13 | And now the trick here is we're going to rotate this and I've
got, what I have here is my Info palette up and available for me.
| | 03:19 | And you can see there's an angle reading here.
| | 03:22 | I'm going to rotate this counterclockwise, 1.1 degrees.
| | 03:28 | So, the same measurement that I got when I used the Measure tool.
| | 03:33 | So now I got the correct orientation.
| | 03:35 | When you rotate the crop-bounding box, before you actually apply the crop,
the result, when I hit Enter or Return, will be to straighten the image.
| | 03:44 | So you can crop and rotate at the same time.
| | 03:47 | First step, take the measurement, find out what the measurement is,
get the Crop tool and when you put your mouse outside the crop boundary
| | 03:53 | and move it left or right it will rotate the crop
boundary, much easier than, I think, the first method.
| | 03:59 | Either way is fine.
| | 04:00 | I just like to do it in that one step instead
of having to deal with white canvas later on.
| | Collapse this transcript |
| Cropping and Straightening Photos Automatically| 00:00 | >> Michael Ninness: In the previous movie I talked about, or showed you how
to straighten an image and I taught you how to use the Measure tool to do
| | 00:07 | that in conjunction with the Crop tool or the Rotate Canvas command.
Here's a scenario where I've scanned an image and it's slightly off-skew
| | 00:16 | and of course this one's a little bit more than
slightly, but I did that to illustrate a point.
| | 00:20 | Photoshop can go ahead and rotate and crop this image for you
automatically rather than you having to do all this manual work.
| | 00:27 | So it's a command underneath the File menu, File, Automate, the Automate
command, and one of the commands here is Crop and Straighten Photos.
| | 00:36 | You want to go ahead and choose this menu command and watch what happens,
Photoshop automatically will evaluate that image, and it creates a duplicate
| | 00:44 | of it so it doesn't actually touch the original file,
and rotates it and crops out the extra information
| | 00:50 | and puts it in a perfectly rectangular shape, so that's pretty cool.
| | 00:53 | Now you're thinking, "Hmm, how can I make this a little bit trickier?"
| | 00:59 | Well, if you have to scan more than one image, don't worry about
doing one at a time or trying to get them lined up just right.
| | 01:07 | I don't know how many of you have had this happen - you'll
line up an image on a scanner, line it up with the edge there
| | 01:12 | and as you close the lid it shifts just a little bit and you're
like, "Grr!" when you get into Photoshop and you see that it's crooked.
| | 01:17 | Don't worry about it anymore.
| | 01:18 | Just throw the images, as long as they are right side up,
the correct side, on the scanner in any arbitrary manner
| | 01:25 | that makes them fit for you and then use that Automate command again.
| | 01:29 | File, Automate, Crop and Straighten Photos.
| | 01:36 | This will take a little bit of a second because it's going to do more
than one but you'll see you'll now end up with three images all removed
| | 01:43 | from the original that have been cropped
and rotated to the correct orientation.
| | 01:49 | Now this one you can see was pretty much horizontal on the original
scan so it made the assumption that it's a horizontal picture.
| | 01:56 | It's not able to figure that out but that's OK.
| | 01:58 | We can just go back to Image, Rotate Canvas and choose
90 degrees counterclockwise and that one's done as well.
| | 02:04 | So that's the automatic crop and straighten for multiple photos.
| | Collapse this transcript |
| Correcting Perspective with the Crop Tool| 00:01 | >> Michael Ninness: So here's an image that's just a
little bit more complicated then just a basic rotate
| | 00:04 | or straighten, because there's perspective involved.
| | 00:06 | The reason I shot this image this way, is I was in a dimly lit
room and I needed to use the flash to get a decent exposure.
| | 00:13 | If I had shot the painting head-on, I would have gotten a bounceback
of the flash, off the glass, off the front of the print here.
| | 00:20 | So, I shot it at an angle, knowing I could fix this distortion,
| | 00:23 | this perspective distortion, in Photoshop,
with the technique I'm going to show you.
| | 00:27 | Now, this is very useful because if you're shooting an image of
a building, let's say from down below and you're shooting back up,
| | 00:34 | you can get a keystoning effect where the building looks narrow at
the top, or wider at the top, then it does at the bottom and so forth.
| | 00:40 | So, this same technique can be used to fix a problem like that.
| | 00:44 | The technique is this.
| | 00:45 | You use the Crop tool; you press the C for the Crop tool.
| | 00:47 | Now, I want to pay attention and see that I actually
have some values in the Width and Height fields already,
| | 00:54 | if I were to use the Crop tool right now I would be constraining it
to those proportions, so I'm just going to quickly delete those values
| | 01:00 | and I'm going to do that just by clicking
the Clear button, just to start from scratch.
| | 01:04 | I'll go ahead and draw an initial boundary and you'll notice
| | 01:06 | that it's letting me draw a rectangular shape in
just a four-square corner shape here.
| | 01:12 | Then go ahead and let go.
| | 01:14 | Now, if I were to go back and grab another
corner again, it's just resizing that rectangle.
| | 01:18 | What I'm going to do is turn on the Perspective
checkbox, that's in the Crop options,
| | 01:24 | that's in the Options bar, and this will enable perspective cropping.
| | 01:26 | Go ahead and turn that on, now that lets me move each corner independently.
| | 01:31 | So, I'm going to line up each one of these corners, close to
the actual corner of the painting that I want to crop here.
| | 01:39 | And I might just go check my work by zooming up, holding the Control and
Space or Command and Space on the Mac, and just drag it over an area,
| | 01:46 | and just making sure that this is indeed lined up
with the actual corner that I want to reference here.
| | 01:50 | I'll go back to Fit to Window, Control + 0, or Command +
0 on the Mac, we'll assume I began in that corner,
| | 01:56 | and just make sure this is in the right spot, where I want it to be.
| | 02:01 | Good. I'll go back to Fit to Window and come
and check in this corner, and line that up.
| | 02:06 | And we'll do that last corner, and this is just to
make sure I'm getting the correct reference point here.
| | 02:13 | Good. So, I've lined up all the corners like so.
| | 02:16 | Good, I'll go back and Fit to Window.
| | 02:18 | And when I'm ready, I just hit the Enter or the Return key.
| | 02:20 | I can also hit the Checkmark key with my mouse, I can check the Checkmark,
| | 02:24 | hit Enter and you'll see that it automatically
straightens and corrects the perspective on that image.
| | 02:30 | So, that's pretty neat.
| | 02:31 | I'm going to undo this and do it one more time.
| | 02:33 | I was cheating, because I was just getting the print.
| | 02:36 | What if I wanted to get the actual frame and some of the wall as well?
| | 02:40 | Well, what I can do is begin by dragging out a
perspective crop, do the exact thing I did earlier,
| | 02:47 | by lining up the corners with my reference,
let's go ahead and do that real quick.
| | 02:51 | Line up the corners like so.
| | 02:53 | And we'll just quickly check the work.
| | 02:55 | You can see in a small pixel view it's not the most
accurate view, so sometimes a good idea is to zoom up
| | 03:01 | and make sure that you've actually got the correct crop.
| | 03:04 | Good. We'll line up that corner there.
| | 03:07 | Command or Control + 0 to Fit to Window, we'll zoom up, line up that corner.
| | 03:11 | Again, I'm just doing Command + 0, or Control + 0 to Fit
to Window and then I'm holding down Control and Space,
| | 03:17 | or Command and Space to get the Zoom tool temporarily.
| | 03:21 | OK. Now that I got this lined up again, like I
did the first time, I can now use the side handles,
| | 03:27 | the ones here to extend that perspective out beyond my reference objects.
| | 03:33 | I'm just going to resize this, just drag it,
| | 03:36 | each side separately, to outside the frame and you'll see that, that
shape, that perspective shape, has been maintained as I resized that out.
| | 03:45 | Now, when I hit Enter or Return, it's going to do the exact same
thing, except it's going to include that additional area and straighten
| | 03:52 | out the frame and I should have four nice
straight corners there, which I do.
| | 03:56 | So, perspective cropping, it's your friend.
| | Collapse this transcript |
| Scaling, Skewing and Rotating with Free Transform| 00:01 | >>In all the other movies in this chapter, we've been resizing or cropping
images here, but we've been doing it in the context of the canvas.
| | 00:08 | The canvas has been getting larger or smaller.
| | 00:11 | There are times you want to resize an image but the canvas
or the size of the documents aren't actually changing.
| | 00:17 | This is most often going to occur when you're actually using the same
multiple layers - so maybe a little bit weird to do in this document
| | 00:23 | where there's only one layer - but to teach you Free
Transform, which is what this movie is all about,
| | 00:28 | we'll go ahead and stick with this one-layer document.
| | 00:31 | Now, in order to do Free Transform on a particular layer,
it needs to be a layer other than a Background layer.
| | 00:36 | So we're going to convert this Background layer to a layer
that supports transparency and a layer that can be transformed
| | 00:43 | by simply double-clicking on the word Background in the Layers palette.
| | 00:46 | If I double-click and either give it a different
name or just keep it Layer 0, whatever,
| | 00:51 | and go ahead and click OK, I now have a layer that can be transformed.
| | 00:55 | Now, the easiest way to get into the Free Transform mode - it's not a tool,
there's no tool over here in the Tools palette for scaling or rotating
| | 01:02 | or something like that - it's the Free Transform mode in Photoshop.
| | 01:06 | The easiest way to remember this is do
Control + T on Windows or Command + T on the Mac.
| | 01:13 | And that puts a bounding box around your image with
some handles that you can use to resize, and so forth.
| | 01:18 | Let me go ahead and Escape.
| | 01:20 | If you just don't like keyboard shortcuts it's also under Edit,
Free Transform, Control + T. And now it's pretty straightforward.
| | 01:27 | You use corner handles to scale.
| | 01:30 | So I can stretch it in any dimension here.
| | 01:33 | If you want to scale it proportionately, we'll go ahead and undo that.
| | 01:37 | You can hold down the Shift key to scale the image proportionately.
| | 01:41 | So any corner lets you scale about the width and height at the same time.
| | 01:45 | If you go from a side handle, then you can squish the
picture in whatever dimension you're going to squish it in.
| | 01:52 | I'm going to undo that.
| | 01:54 | By default, Free Transform does the transformations
you ask it to from the center of the image.
| | 01:59 | And you see that there's this little crosshair or
center proxy point for the purpose of determining
| | 02:04 | where the anchor point's going to be for transformation.
| | 02:06 | So you can move this to a different location.
| | 02:08 | So if I wanted to move this to the upper left-hand corner, I wanted to
move it even outside the document, pretend that there was another image
| | 02:17 | or a spot in this image that you wanted to make the
transformations you're doing relative to that point.
| | 02:23 | So if I move it outside the image, now when I grab a corner
handle, you'll see it will be scaling from that reference point.
| | 02:29 | But again, if I hold down the Shift key, it does it proportional.
| | 02:33 | Let's move that back to the center here.
| | 02:34 | And as you move it close to the center,
it'll want to snap so you can just let go.
| | 02:39 | If you move your mouse outside the bounding box,
you'll see that your cursor turns into a rotate icon.
| | 02:44 | Then you can use it to rotate the image as well,
so scale over a handle, rotate outside of a handle.
| | 02:51 | This is where the transformation point becomes useful.
| | 02:54 | If I wanted to rotate around Mount Rainier here, the top
of it, I could move that anchor point to the top of that image.
| | 03:01 | And now when I rotate, it's rotating based on that anchor point.
| | 03:04 | So again, that becomes very useful.
| | 03:06 | Some other things you can do, if you hold down the Control key or
Command on the Mac, you can now do something called Perspective Scaling.
| | 03:16 | So you can actually look like this is on a dimensional plane -
still a flat plane but it looks like it's in 3D perspective.
| | 03:24 | And just pressing the corner handle lets me
flip or rotate that image around in perspective.
| | 03:28 | I can go to any corner, kind of make it narrower or make it kind
of weird-looking, stretch it out to whatever I want to do there.
| | 03:36 | So that can be kind of cool.
| | 03:37 | Make it look like it's a postcard in space or something.
| | 03:40 | And then if I do a side handle I can skew it that way as well. So again,
some interesting things you can do with a Transform or Free Transform mode.
| | 03:50 | When I think I got it the way I want it, I'll go ahead and just
Control and make it look like that, like it's going off in space here.
| | 03:57 | I'll hit the Enter or Return key to apply
that, and I've done my transformation.
| | 04:02 | So again, Control + T or Command + T to get into Free Transform.
| | 04:05 | Once I'm in the Free Transform mode, if I don't know
if I'm going to remember these modifier shortcuts
| | 04:09 | or remember that certain handles do certain things,
if you Control + click on the Mac or right-click
| | 04:15 | on Windows you get a contextual menu for the Free Transform commands.
| | 04:19 | So if I want to do a quick Flip Vertical and have it go the other
direction, you can always undo the last thing you did - Control
| | 04:26 | or Command + Z - or you can Flip Horizontal to have it go in the
other direction, or you can go into any of the other modes.
| | 04:33 | I can go to Skew or Distort and the handles will act a little
bit differently. Or if I just choose Scale, then I can only scale it
| | 04:43 | and I can't do the Free Transform and
so forth, or I can't do the perspective.
| | 04:47 | So anyway, Control or right-click gives you a pop-up menu, contextual
menu, to get to specific commands if that's what you want to do.
| | 04:54 | You also have the option at the top, up
here, to do numeric transformations.
| | 04:58 | So if I know I want to scale it 50 percent,
I can go in the Width and Height fields
| | 05:03 | and type in those dimensions or I can rotate it a specific amount.
| | 05:06 | Again, to do that you just click on the field or if you
click on the label it will highlight the field for you.
| | 05:11 | You can type over that label, so let's do 50 percent.
| | 05:14 | And if I click the Lock button it'll do it
proportionately, Maintain aspect ratio.
| | 05:18 | And then hit Enter to apply that, and you're done.
| | 05:21 | Again, you can always undo the last thing
you've done when in Free Transform mode.
| | 05:25 | If you just want to get out of this altogether and escape,
go back to the last thing you did before Free Transform.
| | 05:31 | Just hit the Escape key and that will take you back
before you entered into the Free Transform mode.
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| Warping Images| 00:00 | >> Michael Ninness: Photoshop CS2 has a brand-new additional
feature in the Free Transform mode called Warp or Image Warp.
| | 00:08 | It's pretty interesting, let's go ahead and show you how to get in there.
| | 00:11 | Again, we would need to do this on a layer other than the background
layer, so we'll convert this from a Background to a Layer 0.
| | 00:17 | And we can do this just by double-clicking on the word
Background and clicking OK in the resulting dialog box.
| | 00:23 | Now to enter Free Transform mode, you can do Command or
Control + T or go to the Edit menu and choose Free Transform.
| | 00:31 | Once we're in the Free Transform mode, there
should be an Options mode on top of the screen,
| | 00:35 | gives me the numeric entries for Scale, Skew, and Rotate, so forth.
| | 00:39 | We'll go ahead and scale this down, just a little bit, by holding on the
Shift key and we'll move that image in the center of the screen here.
| | 00:45 | Now, on the right side of the Options bar, for the Free Transform
mode, is a new button here, called Warp, Switch between Free Transform
| | 00:55 | and Warp modes, so you access it by getting to
Free Transform and then clicking the Warp button.
| | 00:59 | This overlays a grid on top of your image, where you
can do these custom warps or bendings of your image.
| | 01:05 | There's some preset Warp shapes, so I can do something like an Arc,
| | 01:10 | and this is an extreme scale here, so I
can change the size of that if I want to.
| | 01:14 | But I'll just run through some of the others.
| | 01:16 | Bulge is kind of interesting.
| | 01:17 | And, no matter what shape you choose there'll
be a handle, a resize handle of some sort,
| | 01:22 | and it shows up in different places on the
grid, depending on what shape you choose.
| | 01:26 | But here I'm just using the bend, this transform handle
here, to change how this bulges, either out or in.
| | 01:32 | And then there's a button here, depending on the shape you
chosen, the warp shape, that changes the warp orientation,
| | 01:37 | so right now it's a vertical budge here,
it's a horizontal bulge and kind of makes a
| | 01:42 | kind of an atlas shape effect here, where
it looks like it's wrapping around a globe.
| | 01:47 | And again, each one of these has their own options
here, so the ever-popular and useful Fish transform.
| | 01:54 | Not sure what to use for that, but hey, what am I to say about that?
| | 01:58 | Maybe the Flag, if you want to make your
image look like it's waving and so forth.
| | 02:02 | I actually think some of the more interesting
ones, or the most interesting one, is Custom.
| | 02:06 | I'm going to go back and change that to Custom and that's based on the
current shape that you have chosen, so I'm going to go back and say None.
| | 02:13 | This takes it back to a regular rectangle.
| | 02:15 | I'm going to chose Custom again, and now
you can do some interesting things.
| | 02:19 | I can make it look like it's maybe a page that's
turning over in the wind, or something like that.
| | 02:23 | So, each corner is kind of its own free-form shape.
| | 02:26 | And I can twist and bend the image, just about any way I want to.
| | 02:30 | So, bring this one down.
| | 02:33 | And then these all have control points as well, so if I
want to flip and change the corner and change the angle,
| | 02:40 | I can do some pretty interesting things here, with a custom work shape.
| | 02:44 | OK, when I get it to the way I want it, again,
you may not end up doing something like this,
| | 02:49 | but I teach you how to use the tool, not how to use, or what to use it for.
| | 02:54 | Photoshop can be used for good or evil.
| | 02:56 | You decide.
| | 02:58 | We'll click out of the Warp mode and it goes back into regular
Free Transform where you can click and scale and rotate
| | 03:04 | or do whatever it is you want to do with Free Transform.
| | 03:07 | When you're done, or happy with your warpage, go and hit Enter or
Return and you've warped your image into some bizarre looking shape.
| | Collapse this transcript |
|
|
8. Selections and ChannelsUsing the Marquee and Lasoo Tools| 00:01 | >> Michael Ninness: In this movie, we're going to cover basic
selection tools, the Marquee tools, and the Lasso tools.
| | 00:07 | Now before we begin, one thing to mention here is that when you actually
have nothing selected in Photoshop, you actually have the opposite of that,
| | 00:13 | everything's selected because you've not protected
anything, you've not masked off any particular area.
| | 00:19 | So to illustrate that, if I were to get the Brush tool, just press
the letter B for that, and I just start painting, you can see,
| | 00:25 | I can paint anywhere in this image because
I actually haven't selected anything.
| | 00:29 | So everything's selected when nothing's selected.
| | 00:33 | It's kind of a weird thing.
| | 00:34 | I'm going to go ahead and undo that, Control or Command + Z. If I just make
a basic selection shape here, if I press the letter M for the Marquee tool
| | 00:42 | and drag out a selection, you'll see that now
when I get the Brush tool, press the letter B,
| | 00:47 | I can paint anywhere inside the selection but nowhere outside of it.
| | 00:52 | So in a sense I've created a very basic mask, a temporary mask.
| | 00:57 | I'm going to undo that painting.
| | 00:59 | Now what I mean by temporary mask, is that the minute I click
outside of it with another selection tool, it will go away.
| | 01:05 | So if I get my Marquee tool and just click, that selection is now gone.
| | 01:09 | So the marquee on your screen, it's temporary, it's very
fragile, just clicking outside of it makes it go away.
| | 01:15 | If I drag another selection again just by pressing and dragging, if I
put my mouse in the middle of a selected area or on the inside of it,
| | 01:22 | you'll see I get a special cursor, it looks like
a little hollow arrow with the Marquee icon.
| | 01:28 | If I press and drag, I'm moving the selection
shape to a different location.
| | 01:33 | I'm not actually moving the pixels contained within that shape.
| | 01:36 | If I want to move actual pixels then I need to use the Move tool.
I can click on the Move tool and now I get a different cursor,
| | 01:41 | I get a little arrow with the scissors icon letting me know
that if I now press and drag, I'm going to be moving the pixels
| | 01:47 | or cutting them and moving them to a different location.
| | 01:50 | So I'm going to go ahead and undo that.
| | 01:52 | To move just the selection, I just need to be in a selection tool.
| | 01:55 | So any of them work, so I go to the Magic Wand tool, you'll
see I get that special cursor again for moving the selection.
| | 02:01 | The Lasso tool or the Rectangular tools all work the same there.
| | 02:05 | I'll go ahead and deselect to start.
| | 02:08 | If I press and drag or just press and hold on a particular
tool slot here, I can switch from the pop-up menu the tools,
| | 02:14 | I can go back and forth between Rectangular
and Elliptical, or I can do Shift + M here,
| | 02:18 | M for the Marquee tool, Shift + M to toggle
back and forth between those two tools.
| | 02:22 | With the Rectangular tool, the way the tool works by default
is if I press and drag, usually in the diagonal direction,
| | 02:28 | I'm going to be drawing the width and
height of that shape at the same time.
| | 02:32 | Of course I could just drag right or left and just
change the width or up and down to change the height.
| | 02:37 | But you'll see that I'm drawing some just random rectangle.
| | 02:40 | I'm going to put this back to the window here and we'll
pan and hold down the Space for it, we'll pan this.
| | 02:46 | Sometimes your computer gets a little fast on you.
| | 02:49 | Now that I've got this rectangular shape, if I wanted to add
to my current selection, you know by default if you just click
| | 02:57 | and drag somewhere else outside of the selection, you're going
to be deselecting the first selection and starting a new one.
| | 03:02 | Sometimes that's what you want; sometimes that's not what you want.
| | 03:05 | If you've got an existing selection and you want to add to it,
you hold down the Shift key and you'll get a little plus sign
| | 03:11 | on your cursor indicating that you will
be adding to your current selection.
| | 03:15 | So Shift and drag, click and drag with the Shift key down -
you're just adding more shapes to this general selection.
| | 03:21 | If you merge two rectangles over each other, when you
let go, they merge into a composite shape like that.
| | 03:27 | If you want to subtract from a selection, you hold down the Alt key or
the Option key on the Mac and here you get a little minus sign instead
| | 03:33 | of a plus sign letting you know that you'll
be taking a bite out of the current selection.
| | 03:37 | So Alt or Option + drag to subtract, Shift to add.
| | 03:42 | OK? And then to deselect, I'm going to
teach you a keyboard shortcut for that.
| | 03:48 | Clicking is usually something you want to avoid when
you've got a selection, cause you could spend five minutes
| | 03:54 | or so making this complex selection here
and a simple click makes it go away.
| | 03:58 | You can certainly undo that click if that's the last thing you
did, you can do Control + Z or Command + Z. I like to teach people
| | 04:04 | to do the specific keyboard shortcut for deselecting so that
you know that it's a deliberate action, you meant to do it.
| | 04:09 | So it's Control + D or Command + D on the Mac to deselect.
| | 04:12 | When you don't have a selection started and you start pressing and
dragging with the Marquee tool, again, you're dragging the width
| | 04:18 | and height, you're drawing any random rectangle here.
| | 04:21 | If you hold down the Shift key instead, you'll constrain that selection.
| | 04:25 | So instead of just a random rectangle, I'm getting a perfect square.
| | 04:28 | If I'm in my Elliptical tools, so I'll do shift and the toggle back to
that tool, you get a perfect circle instead of just a random ellipse.
| | 04:36 | Now it doesn't matter when you hold down that Shift
key as long as you've got the mouse still held down.
| | 04:42 | If I'm dragging, I'll let go of the Shift key, I'll toggle this on and off.
| | 04:45 | You'll see it jumps from a regular ellipse to a perfect circle.
| | 04:48 | So it only really matters what you let go of first, of the mouse.
| | 04:52 | So if you want to constrain it and make it be a
perfect circle, you let go of the mouse first.
| | 04:57 | If you let go of the Shift key it's going to stop constraining and
you're going to end up with an ellipse, so hold down the Shift key.
| | 05:02 | Again, let go of the mouse first and now I've got that perfect circle.
| | 05:06 | I can switch back and forth between any of these
selection tools when I have an active selection.
| | 05:11 | So I started with a circle here, I can switch back to the Rectangular
Marquee tool; hold down the Shift key to add to that existing selection.
| | 05:20 | Or hold down the Alt or Option key to subtract from that selection.
| | 05:23 | So it doesn't matter which one you start with, you can
switch back and forth between those given selection tools.
| | 05:27 | The Lasso tool works very much the same, except instead of drawing a
regular constrained shape here, you're just drawing any freeform shape.
| | 05:35 | I'm going to deselect and just draw with the lasso
tool; I'll just drag any old random shape that I want.
| | 05:41 | Again if I want to add to that shape, I'll hold down the Shift
key and add to my current selection by pressing and dragging.
| | 05:48 | If I want to subtract from my selection I hold
down the Alt or Option key and I get the minus sign
| | 05:54 | on my cursor and I can subtract with the Lasso tool.
| | 05:57 | So again, very easy to make just basic to complex
shapes using these tools in conjunction with each other.
| | 06:03 | The last basic selection tool, I'll go ahead
and deselect here, is the Polygonal Lasso tool.
| | 06:08 | And instead of just drawing a free-form shape with the regular Lasso
tool, this is more of a point and click or rubber band type of tool.
| | 06:14 | If you click once, you're starting the selection.
| | 06:17 | I can let go of the mouse button here, I don't have to keep the
mouse button down as I'm dragging, like with the regular Lasso tool.
| | 06:23 | This just lets you draw out a straight segment, when I drop an anchor point
down again, I click again with the mouse, move to the next point,
| | 06:31 | click again move to the next point, click again, and so on.
| | 06:34 | So this is a great tool to use if you're trying to make a selection of an
area with straight edges, let's say, like a building or something like that.
| | 06:41 | It lets you be a little bit more accurate than trying
to keep a straight edge with the regular Lasso tool.
| | 06:46 | And you get back to the beginning; you'll get
a little circle in the bottom right-hand corner
| | 06:49 | of that Lasso tool icon and click once to finish that selection there.
| | 06:54 | Then I can switch back to the Lasso tool if I want and subtract by
holding down the Alt or Option or add by holding down the Shift and so on.
| | 07:01 | So those are your basic selection tools, and remember when you have
nothing selected, it means you actually have everything selected.
| | 07:07 | So if you want to run a filter or a level
adjustment on a particular area of the image,
| | 07:13 | you would need to make that basic selection
first before going off and doing your next thing.
| | 07:19 | Oh, sorry.
| | 07:19 | One last bonus thing.
| | 07:21 | Let's go ahead and make a regular selection and
we'll make it something random, might as well.
| | 07:26 | Let's switch to the Elliptical Marquee tool
and just make a crazy looking selection here.
| | 07:32 | If I wanted to transform the selection, not
the actual pixels but the actual selection.
| | 07:38 | If I normally do a Control or a Command + T, I bring up a
bounding box but that's free-transforming actual pixels.
| | 07:46 | So if I were to scale that, you'll see
that the pixels are actually changing.
| | 07:49 | That's not actually what I want to do so I'm
going to escape that by hitting the Escape key.
| | 07:53 | The Transform Selection is an actual separate command
under the Select menu, Transform Selection.
| | 07:59 | It looks exactly the same, you've got the same bounding box, but now if I
press and drag on the corner, you'll see that I'm actually just reshaping
| | 08:06 | and resizing or rotating the actual marquee area, the selection area.
| | 08:10 | So that can come in handy if you just want to
scale it or rotate it or something like that.
| | 08:16 | So separate command, it's Transform Selection under the Select
menu, Command + T or Control + T will actually transform the pixels.
| | Collapse this transcript |
| Using the Magic Wand Tool| 00:00 | >> Michael Ninness: So the Magic Wand tool is
another one of your basic selection tools.
| | 00:04 | And for a lot of people it's a little
bit difficult, or a little bit confusing,
| | 00:08 | at first, to understand what it's actually doing when you use the tool.
| | 00:11 | I'm going to press W for the Magic Wand tool and there's some options
that are in the Options bar for the tool that are very important.
| | 00:17 | The first one being the Tolerance setting.
| | 00:20 | The default is set to 32.
| | 00:22 | And first of all, when you're doing Magic Wand selections, what you're
actually doing is you're going to click on a particular area and it's going
| | 00:29 | to make a selection based on the color or tonal
value of the pixel that you actually clicked on.
| | 00:34 | The Tolerance setting tells Photoshop how many
different tonal values or colors, in relation to
| | 00:40 | or relative to the pixel you actually
clicked, should it include in its selection.
| | 00:44 | So 32 levels, it would look in either direction 32 levels, it would
mean 16 levels darker and 16 levels brighter would be included
| | 00:55 | in the selection that you actually start or begin with.
| | 00:58 | So if I click in a particular area, you'll see that
it's going to go out and grab all the pixels adjacent
| | 01:04 | to the pixel you clicked on that are within that range.
| | 01:08 | What I mean by adjacent is that because you had
Contiguous turned on, it's only going to find pixels
| | 01:13 | and grow out that selection that are adjacent to the pixel that you clicked on.
| | 01:17 | If deselect, Control + D, and turn off Contiguous, which is
on by default, here it's going to look at the entire image
| | 01:25 | and find all the pixels within the image that fall within that range.
| | 01:28 | So I'll get a much different selection here
if I click again in the general same area.
| | 01:32 | Now, part of the problem with the Magic Wand is that it's kind
of hard to know what you actually ended up selecting here.
| | 01:38 | Is it the background selected?
| | 01:39 | Is it the bag that's selected?
| | 01:41 | And this is true for just about any selected area.
| | 01:44 | Sometimes it's hard to know what you've
ended up with by just looking at the marquee.
| | 01:48 | And that's when I want to introduce something called the Quick Mask mode.
| | 01:52 | Right now you're in the Normal mode and at the bottom, towards the bottom
| | 01:55 | of the Tools palette are these two icons
here for going into the Quick Mask mode.
| | 02:00 | Or Edit in Standard Mode or Normal mode.
| | 02:03 | Q is the letter shortcut that you can just press
to switch back and forth and watch what happens
| | 02:07 | when I press the letter Q. You're now seeing what's called the mask.
| | 02:12 | It's still a temporary mask because it's
based on the selection that you have active.
| | 02:16 | It just that instead of seeing marching ants, shimmering
marquee on your screen, you're seeing a red overlay.
| | 02:24 | The red overlay shows you what's not selected.
| | 02:27 | The clear areas are showing you what is selected.
| | 02:30 | So you can see that it's making a pretty complex selection.
| | 02:33 | This would be a much tougher selection to create
with say the Rectangular tool or the Lasso tool
| | 02:40 | because it's making the selection based
on tone rather than just a basic shape.
| | 02:46 | Quick Mask mode can go back and forth; you can
just type Q again to go back to the standard mode.
| | 02:50 | I'm going to go ahead and deselect, you saw it made a
big difference between turning Contiguous on or off.
| | 02:56 | If I turn it back on, click in the general same area and press
Q again, you can see that the selection was just constrained
| | 03:04 | within adjacent pixels based on the Tolerance setting.
| | 03:08 | So let's go ahead and go back to the Standard mode.
| | 03:11 | So what this means is that the lower the Tolerance the
fewer tones are evaluated in the selection you end up with.
| | 03:17 | So if I change this to 0, and click in a particular area, I'm only going
to get pixels that are exactly the same tonal value as the one I clicked on.
| | 03:29 | So I end up with a very small selection. If
I type Q again to go back to Standard mode,
| | 03:33 | you can see I have just a very small clear dot of selection area there.
| | 03:37 | So why would I ever chose a Tolerance of zero?
| | 03:40 | Well that can actually be used to verify that
a particular area is all one solid color.
| | 03:45 | So if I click on this area here, I still get a single pixel.
| | 03:49 | And so you can see that what that tells me is that I've got
several different shades of gray in any given area in this image.
| | 03:55 | They're not just all flat white or flat black.
| | 03:59 | If I change the Tolerance to say 16, hit Enter and then click
somewhere else, I get a much smaller selection than when I had it at 32
| | 04:08 | because I'm seeing, I'm including fewer
shades in my Tolerance, or in my evaluation there.
| | 04:14 | But you can see that even at a modest setting of
16, I'm picking up a much bigger selection.
| | 04:19 | So you can kind of go from here in two different ways.
| | 04:23 | I can continually deselect this and change the Tolerance
setting to a higher number, like 32, the default here.
| | 04:29 | You'll see I get a broader selection.
| | 04:32 | And I can sit here and try to guess, you know, what
number to include before I get the entire background.
| | 04:37 | So let's say if I did 64 instead.
| | 04:41 | And clicked deselect, click again, and you'll see that my selection grew,
| | 04:46 | but I'm still not including these areas
here in the bottom right-hand corner.
| | 04:50 | Again if I type Q to go the Quick Mask mode,
you can see those areas are still not included.
| | 04:54 | So we'll go back to the Standard mode.
| | 04:56 | So I could try 128, let's do that.
| | 04:59 | 128, enter, click to deselect, click again to go ahead and select the area.
| | 05:05 | And you'll see that 128 is too high of a Tolerance
because it's now including areas inside the bag here.
| | 05:13 | If I type Q again to go to Quick Mask mode,
you'll see its creeping into that end.
| | 05:17 | The Tolerance between the background and the foreground subject
matter is too high at 128 to keep those isolated from each other.
| | 05:26 | So go ahead and go back to Standard mode, deselect that.
| | 05:29 | Another way to do it instead is just leave it at 32 or a relatively
low number, click in a particular area and then just like you learned
| | 05:36 | in the previous selection movie, if you watched that.
| | 05:40 | To add to an existing selection, you can just Shift + click.
| | 05:42 | So I'll hold down the Shift key and I'll click in the bottom area of
the image and any other area that needs to be added to the selection.
| | 05:51 | So I can quickly zero in on this particular product bag selection.
| | 05:57 | And this is a lot quicker and faster than using something like
the Lasso tool or even worse the Rectangular Marquee tools.
| | 06:06 | Now you'll learn later on that you don't have
to get the selection perfect the first time.
| | 06:10 | This is just an attempt to get you to 90 to 95 percent of the way there.
| | 06:14 | You can always modify the selection later.
| | 06:15 | But you see I didn't have to sit there and
guess, you know what Tolerance setting to use.
| | 06:19 | I used a basic setting like 32, the default, and then I just
continually Shift + clicked in other areas to add to that selection.
| | 06:26 | If I type Q again, you can see I've very quickly
isolated that product bag from its background.
| | 06:32 | You can see there are areas that need to be touched up.
| | 06:34 | And we'll touch on that later on.
| | 06:36 | Going back to the Standard mode, going deselect.
| | 06:38 | Now Anti-alias means create a soft edge selection.
| | 06:43 | If this is turned off then I'm going to get a
very chunky, or stair-steppy edge let's say.
| | 06:48 | If Anti-alias is turned on, the pixels along the edge of
the selection you end up with are partially transparent.
| | 06:56 | So it tricks the eye into seeing a softer edge.
| | 06:59 | The good news of that is that it creates a nice smooth
edge, the bad news of that is that it picks up some
| | 07:04 | of the background color from where the image was taken out of.
| | 07:07 | So if I were to take this bag and place it on an image with
a dark background, I would probably see a little white halo,
| | 07:13 | a little white edge around the background of that image.
| | 07:15 | You know it turns out that there are some menu commands that work with the
Magic Wand tool that do not show up on the Options bar for some reason.
| | 07:22 | So for instance if I click on this particular area here, there very well
may be other areas in the image that fall within the same Tolerance setting
| | 07:30 | and have the same tonal values of the area that I just clicked on.
| | 07:34 | But there's no way to know that or add to that
selection based on the current Tolerance in the Options bar.
| | 07:41 | Now I could Shift + click and pick other areas that I think are the same,
but if you want Photoshop to figure out if those areas are the same,
| | 07:47 | you can go to the Select menu, and say, "You know what?
| | 07:50 | Select all the areas in the image that are
similar to the currently selected pixels."
| | 07:55 | So if I click the Similar or chose the
Similar command, it goes off and does that.
| | 07:59 | If I go back to the Quick Mask mode, type Q, you
can see what it added to that particular selection.
| | 08:05 | Now if that still didn't get you all the areas you're looking for,
then you could hold down the Shift key and click in other areas again.
| | 08:12 | Or you could also say, "Photoshop, I want you to grow this current selection
using the current Tolerance setting that I have in the Options bar."
| | 08:20 | So I currently have it set to 32, if you chose Select, Grow, it's going
to grow the current selection based on the current Tolerance setting.
| | 08:28 | You can see I selected a little bit more area.
| | 08:30 | I'll type Q again to see that.
| | 08:32 | You'll notice that when I chose the Grow command, it did
start to select certain areas within the bag because they fell
| | 08:38 | within the same Tolerance as the area that was selected outside the bag.
| | 08:42 | If I press Q again to go back out, and go, Select, Grow
again, again it's creeping in more and grabbing more
| | 08:50 | of the background but it also grabbed a little bit more of the bag.
| | 08:53 | So if we go back to Quick Mask mode, you can see I've got a lot more
of the background, I didn't have to keep Shift + clicking in other areas.
| | 09:00 | The bummer about it is that it did grab some of the inside of the bag.
| | 09:04 | Couple different ways you can address that.
| | 09:05 | If I type Q to go back to the Standard mode, you
can see that I just have a regular Marquee tool now.
| | 09:11 | I can switch to my Lasso tool, and to subtract the adornments
or the beads or the bright parts here from this selection.
| | 09:20 | If I want to subtract them from that, I can hold down the Alt key
or Option on the Mac, and just drag around those particular areas
| | 09:28 | to subtract them from the interior of this selection.
| | 09:33 | So again, you've got your basic selection tools.
| | 09:35 | You can use them in conjunction with each other.
| | 09:37 | You can use the Magic Wand tool to do a much more complex shape and then
just modify that with your basic selection tools before you move on.
| | 09:45 | Go back to the Magic Wand tool here.
| | 09:47 | And we'll go ahead and deselect.
| | 09:50 | More often than not I typically just leave the
options for the Magic Wand set to their defaults.
| | 09:55 | And I kind of know within a few clicks
whether or not it's going to work out for me.
| | 09:58 | So you know, I just click, I start Shift + clicking in other areas.
| | 10:02 | And if I don't start getting a pretty clean
selection right away after a few Shift + clicks,
| | 10:06 | I just kind of tell myself that maybe this isn't
the tool to be using to select the particular image.
| | 10:11 | On this image it worked great.
| | 10:12 | In other images it may not work so great.
| | 10:15 | And you may try a different technique or a different set
of tools to select the area that you're trying to get.
| | 10:20 | But again, on an image like this, and you
would think it's actually a complicated image.
| | 10:25 | But the Magic Wand actually does a pretty good job
even though this is not a consistent background.
| | 10:30 | It's consistent enough or separate enough from the subject matter that
the Magic Wand tool does a pretty good job of selecting that area.
| | Collapse this transcript |
| Using the Magnetic Lasso Tool| 00:00 | >> Michael Ninness: So in this movie I get to show you
how to use one of my favorite tools in Photoshop,
| | 00:04 | or at least one of my favorite selection tools,
and that's called the Magnetic Lasso tool.
| | 00:08 | Before I begin though, showing you that tool, I'm going to show you why I
wouldn't use the Magic Wand tool to select the flower from this background.
| | 00:16 | In the Magic Wand movie, if you're following
these in order, the previous movie here,
| | 00:21 | I said kind of my own litmus test is I'll grab the Magic
Wand tool and I'll click, I'll just use the default settings,
| | 00:28 | I'll click and I'll hold down the Shift
key and I'll start clicking other areas.
| | 00:32 | If within a few clicks I'm not getting the selection I'm looking
for I'm going to start thinking about maybe using a different tool.
| | 00:39 | That's exactly the case here.
| | 00:40 | I'm Shift + clicking on the leaf and because the highlighted
leaves are different than the shadow leaves I'm having
| | 00:46 | to do too many Shift + clicks to get this selection the way I want.
| | 00:50 | I'm going to go ahead and Deselect.
| | 00:52 | And yes, I could massage and fine tune the Magic Wand tool to
maybe build a better selection for me but I'm just going to move
| | 00:58 | on to a different tool, specifically the Magnetic Lasso tool.
| | 01:02 | I'm going to click on the Lasso tool and get the
pop-up menu and choose the Magnetic Lasso tool.
| | 01:06 | Then I get this little cute icon with a Lasso tool with a magnet on it.
| | 01:09 | I don't find that icon all that useful so I'm
going to turn on the Caps Lock key on my keyboard
| | 01:15 | and that gives me a circle with a crosshair in the center of that.
| | 01:19 | The Magnetic Lasso tool, what makes it so
great, is that it is an edge detection tool.
| | 01:24 | If you look at this image there's a well-defined edge between
the flower and its background in most portions of the flower,
| | 01:32 | in this image especially right here where there's the yellow next
to the dark shade or the shadow of the particular background here.
| | 01:38 | What this circle is showing you is the area that it's going to
evaluate and look for tonal differences or edge differences.
| | 01:48 | The larger the circle, the more area gets evaluated for edge details,
the smaller the area, then the smaller the area that gets evaluated.
| | 01:57 | The best way to use the tool is to actually just
click once on a particular area that you want
| | 02:03 | to start defining and then you can let go of the mouse button.
| | 02:05 | You don't actually have to keep the mouse button down.
| | 02:08 | Just move the mouse around near the edge.
| | 02:12 | You don't actually have to be very specific. As long as your circle
there has the area that you're trying to select within it, you don't need
| | 02:19 | to be all that accurate, in fact, you can move pretty quickly.
| | 02:22 | You'll notice though that every once in a
while Photoshop will drop-down an anchor point;
| | 02:28 | those are the little rectangles there, along the edge of that flower.
| | 02:31 | It's just drawing a Path for you so as you get over a particular area
and it feels like it needs an anchor point it will drop one down for you.
| | 02:38 | I'm not going really very carefully around the
edge of this flower, it's doing that work for me.
| | 02:43 | I'm just slowing down for the purposes of the video illustration here.
| | 02:47 | When you get to a particular area that it might have a problem with,
typically those are corners, so you can see here as I'm nearing the corner
| | 02:54 | of this flower where the one petal meets up
with another petal there's a corner there.
| | 02:59 | When I get to that corner the Magnetic Lasso tool is going to
be like, OK, there's more than one edge in this particular area.
| | 03:05 | I'm not sure where to drop-down an anchor point.
| | 03:07 | If that happens to you, then click and drop a manual
anchor point down and then you can continue dragging.
| | 03:14 | Whenever you get to a problem area you can always tell, like
right here is another area, I'm going to click a manual point down
| | 03:21 | and go on loosely dragging with the mouse,
again not holding the button down anymore.
| | 03:27 | If you go off kilter here and you drop-down anchor points that you really
don't want including in your selection here, if I manually click one,
| | 03:35 | you can always back up, anchor point to anchor point, simply
by hitting the Backspace key or the Delete key on the Mac.
| | 03:43 | You'll notice that when I hit it once the last little handle will be deleted,
if I click it or hit it again the next rectangle goes away.
| | 03:50 | I can keep hitting Backspace until I go back
to the control handle that I want to keep.
| | 03:57 | There, if I can keep dragging, get to a corner, click, move, move, move,
move, move, just drag, drag, drag, drag and I can do this very quickly,
| | 04:06 | click a corner point and move in around the edge of this
flower, click at a corner point and just keep going.
| | 04:12 | I can do this in very quick motions here.
| | 04:15 | I don't need to be all that accurate.
| | 04:17 | When I get back to the beginning I get a little
circle letting me know that I'm back where I started.
| | 04:21 | I can go ahead and click and I've got my selection.
| | 04:23 | So if I hadn't been talking and trying to show you
this I probably could have done this in five seconds,
| | 04:29 | a lot quicker than Shift + clicking all day
multiple times with the Magic Wand tool.
| | 04:35 | The purpose of the Magnetic Lasso tool.
| | 04:37 | A lot of people when they first start out with this tool they see that it
doesn't give them perfect results and they're like, "Oh, this tool sucks."
| | 04:44 | That's not the point of the tool.
| | 04:45 | The tool is to get you about 90 to 95 percent of the way there
| | 04:49 | and then you can modify the selection a different
way, which is what I'm going to show you now.
| | 04:54 | Here I have my selection; again the Marquee tool isn't all that accurate, or
| | 04:57 | sorry, the Marquee area, the shimmering marching ants here is
not an accurate picture of what is selected or not.
| | 05:04 | To get an accurate view of that we can switch over
to the Quick Mask mode, so I type Q for Quick Mask.
| | 05:09 | It's a lot easier to see about what's selected and what's not.
| | 05:13 | Now, for me, when I'm making selections or making masks I want to get
into the Paintbrush tool as soon as I can because I can do a lot more
| | 05:23 | with the Paintbrush tool than I can with the basic selection tools.
| | 05:26 | What can I do with a brush?
| | 05:27 | Well, I can control its size.
| | 05:28 | I can also control how hard or soft the edge of the brush is.
| | 05:32 | I can also change the opacity of the brush.
| | 05:35 | So I can really fine tune a selection
when I use a Paintbrush tool to do it.
| | 05:41 | One of the greatest things about the Quick
Mask mode is that it's a painting mode.
| | 05:45 | I can paint in the Quick Mask mode to modify my selection.
| | 05:49 | I'm going to zoom up to a particular area that I know is wrong.
| | 05:53 | So right here I've got a little blip here where the Magnetic
Lasso tool didn't grab the edge of the flower correctly.
| | 05:59 | I can hold down Control and Space or Command and
Space on the Mac and I'll just zoom up on there
| | 06:04 | by pressing and dragging and holding down Space to pan.
| | 06:07 | Here I can see where I need to add some red to this side of the mask here.
| | 06:12 | I'm going to switch to my Brush tool, type in B for brush, and
turn off my Caps Lock key so I can see the circle of my brush.
| | 06:19 | You can see the brush is pretty darn big here so I'll lower the brush
size by using my Left Bracket key, that's the square bracket key
| | 06:26 | on your keyboard, and get it to a more appropriately sized brush here.
| | 06:31 | I'm going to paint with black.
| | 06:33 | Black is my current foreground color.
| | 06:35 | If I paint with black I'm adding to the mask.
| | 06:38 | So if I do that I'm now deselecting or selecting
a portion of the flower here, which I didn't want.
| | 06:45 | So if I switch back out of Quick Mask mode, just by
pressing Q, you'll see I just added to that selection there.
| | 06:51 | I'm going to go back to Q, Quick Mask mode, by pressing the
letter Q. If I paint too far in a particular area I'm just going
| | 06:58 | to paint with the opposite color, in this case, white.
| | 07:00 | I'm going to press X to exchange my foreground
and background colors, X for exchange,
| | 07:06 | then I'll just paint out that area that
I don't want, including the selection.
| | 07:10 | So in this manner I can press X again to exchange foreground and
background and I can just go along an edge of this particular selection.
| | 07:17 | I'm going to hold down the Spacebar to pan and I'm
going to look for problem areas around the edge.
| | 07:22 | There's a little dark area there that needs
to be deleted from the selection, pan again.
| | 07:27 | Here I've got a little blip there so I'm going to use a very small
brush, Left Bracket to make the brush size smaller and I'm going
| | 07:33 | to click right there to subtract that from the selection, make the brush a
little bit bigger, Right Bracket, and it's going to take me about a minute
| | 07:41 | but I'm going to pan around, add to the selection by painting with black.
| | 07:45 | Black hides, white reveals, or black protects, white
selects, a little song you can sing to yourself there.
| | 07:55 | Again, I'm just holding down the Spacebar to pan around the image,
| | 07:58 | painting with black to add to the mask,
painting with white to subtract with the mask.
| | 08:02 | If I go too far in I can just X to exchange and paint the red away here.
| | 08:07 | The red is just representing the mask here, just painting that
again, good, panning again and adding and subtracting from the mask.
| | 08:16 | Again, it doesn't take very long to modify this edge.
| | 08:20 | I'm just going over particular areas that I know
need to be modified and painting very quickly.
| | 08:26 | Again, the secret here is we're painting in the Quick Mask mode.
| | 08:29 | I'm just modifying my selection here.
| | 08:33 | It's still temporary, I haven't saved the selection.
| | 08:35 | I still have the marquee, it's just being
represented by this red temporary mask.
| | 08:41 | So go over here and modify that and good, let's
go back to Fit to Window, Control or Command + Zero,
| | 08:47 | and if I press Q to get out of Quick Mask I've got my
selection that's been modified and it looks a lot better.
| | 08:54 | So again, the goal was to get about 90 percent of the way
there, 95 percent of the way there with the Magnetic Lasso tool,
| | 09:00 | then switch to the Quick Mask mode and modify
that mask by using my Paintbrush tool instead.
| | Collapse this transcript |
| Saving and Reusing Selections| 00:01 | >> In the previous movie, we talked about how to select this
flower from this background by using the Magnetic Lasso tool.
| | 00:08 | And, you know, it didn't take very long to do, but it took
maybe three or 4 or 5 minutes to build this complex selection.
| | 00:14 | This may be a selection that you want to use again at
some other point in your working with this file.
| | 00:20 | And we said earlier that the marquee selections, the little
marching ants on the screen here, these are temporary,
| | 00:26 | they're very fragile masks if you will, just by
clicking outside the selection with the Selection tool.
| | 00:32 | So if I get the Marquee tool and if I click, my selection is gone.
| | 00:35 | Or if I close the file - we'll undo that -
| | 00:38 | if I close the file this selection will be gone.
| | 00:42 | So, we need to have a way to make these selections
permanent, so that if I want to use them again,
| | 00:47 | I don't have to go through the rigor of
actually making the selection again.
| | 00:50 | Two different ways to save a selection.
| | 00:53 | You can go on the Select menu at the top
of your screen and choose Save Selection.
| | 01:00 | Brings up the Save Selection box where you can actually
give your selection a name, so I can go and call it Flower,
| | 01:05 | and it also lets you choose where you want to save the Channel.
| | 01:08 | So, you can choose a different file, or create
a new document with just that selection in it.
| | 01:13 | If there's another document open, you could
choose to save it in that other document.
| | 01:18 | So it's one way to get a selection from one document to another.
| | 01:21 | It's always going to create a new Channel here when
you do that. And I am going to go ahead and click OK.
| | 01:25 | Some of you may be wondering, "OK where did that go?"
| | 01:29 | And that's going to be your first entry over to the Channels palette.
| | 01:33 | By default the Layers palette is open, and
the Channels palette is grouped with Layers.
| | 01:37 | If I click over on the Channels tab, there's my selection.
| | 01:41 | It's now been saved as something called an Alpha Channel,
or a Mask Channel or a Channel Mask or an Alpha Mask,
| | 01:48 | or whatever.
| | 01:48 | There's a bunch of different names for it.
| | 01:50 | Really all it means is that you've taken this temporary marquee selection
and frozen it into a more permanent form called a mask or an Alpha Channel.
| | 01:59 | Now, if I go ahead and deselect the marquee that's on my image here,
it doesn't matter, because I have saved my selection permanently
| | 02:06 | in this file until I choose to get rid of this Alpha Channel.
| | 02:10 | Some of you when you first are beginning, you may
be a little intimidated by the Channels palette.
| | 02:14 | I know it took me a while to understand, you know, what is this?
| | 02:17 | I felt more comfortable over in the Layers.
| | 02:20 | Kind of, don't show me behind, what's behind the curtain here.
| | 02:23 | But that's what happening on the Channels palette.
| | 02:25 | If you click on the Red channel and then the Green channel and
the Blue channel, these are just three different grayscale images,
| | 02:32 | each grayscale channel representing a shade of light.
| | 02:35 | So here's the Red channel; it represents
or has 256 different shades of gray.
| | 02:40 | Meaning 256 shades of red, 256 shades of green, 256 shades of blue.
| | 02:45 | After the Blue channel, any channel that you
add to the file is called an Alpha Channel.
| | 02:52 | And they're used as masks.
| | 02:55 | So, anything that's black in an Alpha Channel is
not selected, everything that's white is selected.
| | 03:01 | So, black protects, white selects.
| | 03:04 | Or, black hides, white reveals.
| | 03:06 | Depending on how you want to remember this.
| | 03:09 | So, later on if I were to load this channel as a selection,
everything that's white would come up as a selected area,
| | 03:17 | and everything that's black would be protected or not selected.
| | 03:20 | So, that's what I mean by an Alpha Channel.
| | 03:22 | It's just a saved selection in the form of a channel and gets added
to the Channels palette and then when I save the file, and reopen it,
| | 03:30 | that Alpha Channel will still be there as long as I've saved
it in the file format that still saves the Alpha Channels.
| | 03:36 | And, most normally that's going to be, you're going to
be saving working files as PSD or Photoshop files.
| | 03:41 | So, you'll get your Alpha Channels back.
| | 03:42 | I'm going to go ahead and go back to the RGB composite
and show you the second way of saving a selection.
| | 03:49 | We'll go ahead and delete the Flower channel.
| | 03:51 | We'll click on it, it'll let you drag it to the Trash Can and it's gone.
| | 03:54 | See here I am back to having my marquee
selections very temporary, hasn't been saved yet.
| | 03:58 | First method was to go to the Select menu and
choose Save Selection at the bottom of the menu.
| | 04:02 | The other option is to actually go to the Channels palette and
click on the little icon here that says Save selection as channel.
| | 04:12 | Now when you do that, it just gets a generic name called Alpha 1, instead
of being able to name it as you do it, so you can always just double-click
| | 04:19 | on the name in the Channels palette and call it Flower.
| | 04:22 | Then Enter to apply that.
| | 04:24 | Now that I've got the selection saved as a mask, in the Channels
palette as an Alpha Channel, I can go ahead and deselect it from the image,
| | 04:31 | Control + D or Command + D. If I click back on the name of the
composite channel, RGB, I'm back in the composite channel now,
| | 04:39 | if I turn on the Eye for the Alpha Channel that I've
saved, I can see the image and the mask at the same time.
| | 04:46 | This kind of feels like you are in the Quick Mask mode.
| | 04:49 | It looks exactly the same, it's just now it's not a quick mask, it's
a permanent mask because you have saved it to the Channels palette,
| | 04:55 | which means that if I click on Flower, the Alpha Channel called Flower, I
can modify the mask just like I was able to do that in the Quick Mask mode.
| | 05:02 | If I got my Brush tool and painted with black I'd be adding to the mask.
If I painted with white, I'd be subtracting from the mask and modifying
| | 05:08 | that mask permanently because it's now an Alpha Channel.
| | 05:12 | Go back to the composite RGB channel and turn off the Alpha
Channel, by turning on its Eye or clicking on its Eye.
| | 05:19 | And now I'm back to just seeing the image by itself.
| | 05:22 | Now, if a week later or tomorrow or something like that I need
to do something to this flower, I've already got it selected.
| | 05:28 | It's already saved with this file, I just
need to load that channel as a selection.
| | 05:32 | And again, there's two different ways to do that.
| | 05:34 | I can go to the Select menu, and choose Load Selection.
| | 05:39 | And, it's going to default to the first Alpha
Channel in the current file you're in.
| | 05:42 | In this case it's called Flower, which is
great, so we are done. I just click OK.
| | 05:46 | If I had more than one Alpha Channel, you can save multiple
selections in a given file and they just become Alpha 1, Alpha 2,
| | 05:54 | Alpha 3, or if you name them whatever you want to name them,
| | 05:57 | you get a drop-down list of the other Alpha Channels
that you might have in this particular image.
| | 06:01 | I'm going to go ahead and click OK, and voila,
| | 06:04 | I've got my selection back as a marquee in a temporary state.
| | 06:08 | And I can go on and do anything I want to it.
| | 06:10 | So, I'll go ahead and deselect.
| | 06:11 | The second way of loading a selection is to go to the Channels palette and
just Control, or Command + click on the Mac, on the actual name of the channel.
| | 06:21 | So by Control + click on PC or Command + click on the Mac and click
on the word Flower, I've loaded that particular Alpha Channel
| | 06:29 | as a selection directly just by going to the Channels palette.
| | 06:32 | Sometimes that's just a little bit quicker than
bringing up the dialog box under the Select menu.
| | 06:36 | OK? Now that I've got the selection started, or
loaded, and if I want to do something to it like transform it,
| | 06:42 | I can go to the Select menu and say Transform Selection.
| | 06:45 | I'm going to scale this from the center proportionally so I'm going to hold
down the Alt key or Option on the Mac and the Shift key to scale it
| | 06:52 | proportionally from the center and just
make that selection a little bit smaller.
| | 06:55 | Maybe move it over here.
| | 06:57 | And hit Enter.
| | 06:58 | Haven't actually done anything to the pixels, just the selection itself.
| | 07:02 | And if I wanted to I could save this as an additional selection as well.
| | 07:04 | I could go to the Channels palette and say, "You know what,
turn that current selection into a new Alpha Channel."
| | 07:10 | And again it's called Alpha 1, and I can call it Small Flower.
| | 07:13 | Or whatever.
| | 07:14 | And then deselect it.
| | 07:15 | Control + D. I've now got an image with two Alpha Channels in it,
| | 07:21 | one just derived from the other, and you can load them by
Control or Command + clicking and when I Control or Command + click
| | 07:29 | on another Alpha Channel, it deselects the
first one and loads the one I click on.
| | 07:34 | Like you learned in an earlier movie, holding down the Shift key can
add to a selection, so if I hold down Control or Command on the Mac,
| | 07:40 | that lets me select or load a channel as a selection.
| | 07:44 | If I add Shift to that, so Command and Shift or Control and Shift,
I can click on a second Alpha Channel and add that to the first one.
| | 07:52 | Or, subtract it by holding down the Alternative and Control
or Alternative and Command keys to do the same thing.
| | 07:58 | So, again, the same shortcuts that you're learned
earlier apply to loading channels as selections.
| | 08:04 | Go ahead and deselect, Control + D, and
we'll go back over to our Layers palette.
| | 08:09 | The good news is that once you've gone to the work of making
these complex selections, you can save them, include them
| | 08:14 | in the file, by saving the selection as an Alpha Channel.
| | Collapse this transcript |
|
|
9. PaintingBrush Tool Essentials| 00:00 | In this movie I'm going to give you an overview of using
the Brush tool in Photoshop, how to select brushes,
| | 00:06 | and customize them, and paint with them, and so forth.
| | 00:08 | In the previous chapter we talked about painting selections, and you can
see that the Paintbrush tools are much more flexible and easier to control
| | 00:17 | and manipulate than, say, the Selection tools,
like the Marquee tools, or the Lasso tools.
| | 00:21 | So, knowing how to use the Brush tool effectively is really
going to help you in just about all your Photoshop tasks,
| | 00:27 | especially when it comes to retouching,
or creating masks, or things like that.
| | 00:32 | So, we'll begin by pressing the letter B to select the Brush tool.
| | 00:35 | B for brush.
| | 00:36 | And, we've just got the default brush here.
| | 00:39 | And, the Options bar at the top of our screen gives us a list of
preset brushes, and then you can change certain characteristics of them
| | 00:47 | like the blending mode that you can paint with, and the
opacity of the particular paint that you're painting with.
| | 00:53 | If I click on the Down Arrow for the brush
presets I get a pop-up menu of the current brush.
| | 01:00 | It tells me the current size of it, and gives me a little stroke preview
of what that would look like if I were to paint a stroke with that brush.
| | 01:07 | If I put my mouse over the actual brush preview it actually
gives me the name of the brush, and again just the size of it.
| | 01:13 | So, if I hesitate over the three brush it will tell me Hard Round 3.
| | 01:17 | So, it's nice to get kind of a description that it's a
hard edge as opposed to a soft edge, and things like that.
| | 01:21 | If I were to select that brush I could go ahead and
double-click on the thumbnail to get that brush selected.
| | 01:27 | That's actually a good point. If I come back here, if I click on a brush,
let's say the three brush, but then come over to my image and click to make
| | 01:35 | that pop-up menu go away, you'll see that I
actually dropped some paint down on my canvas.
| | 01:39 | So, that's something you want to not get in the habit of doing.
| | 01:42 | I'm going to go ahead and undo that, Control + Z or
Command + Z. I'm going to go back to the pop-up menu.
| | 01:46 | And again, if I want to actually activate a brush, double-click on
the brush to make that pop-up menu go away and then you've selected
| | 01:54 | that brush without dropping any paint down on the canvass.
| | 01:57 | So let's go ahead and start painting here.
| | 01:58 | If I just paint a few strokes, you can see I've chosen the 5 Hard brush and
you can see the edges are on the hard side, more of a kind of hard lead pencil.
| | 02:06 | If I go back to the pop-up menu and choose the 1 brush, and double
click on it, it's the same type of brush, just a thinner diameter.
| | 02:14 | You get a slightly different stroke there.
| | 02:17 | And, as I can scroll through down in these lists I can see all
the default preset brushes and they get thicker as I go down.
| | 02:24 | These are all hard brushes that just get in larger sizes.
| | 02:28 | When I get to about 10 brushes down I
start getting into some softer brushes.
| | 02:32 | So, here is a Soft 5 brush, and I'll double-click to
select that, and paint that right next to the Hard 5 brush.
| | 02:39 | And, you can see that it's the same diameter but
just a softer edge where it starts to anti-alias out
| | 02:45 | and start to go to be partly transparent around the edges.
| | 02:48 | So, you end up with a softer look.
| | 02:50 | Let's go back to the pop-up menu.
| | 02:52 | Again, these are just all presets, and if
I scroll down I get much softer brushes.
| | 02:56 | Eventually I get to much larger and softer brushes, and so forth.
| | 03:01 | Eventually I'll get to some Airbrush tools or some Airbrush
tips where the edge can be manipulated if you change the Flow.
| | 03:11 | So, right now the Flow setting is set to 100 percent.
| | 03:14 | If I lower that Flow to say 10 percent, or 20 percent, you'll see now
the longer you keep the mouse in a given area the more paint comes out.
| | 03:24 | If I just do the light paint strokes the Flow is only set
to 20 percent, so only 20 percent of the paint comes out.
| | 03:32 | If I drag to the right or left here I can build
up the paint because the flow has been lowered.
| | 03:39 | The longer you keep your mouse in a given area, the more paint builds up.
| | 03:42 | So, it's just like holding down the trigger of an Airbrush tool.
| | 03:45 | I'll go ahead and delete our canvas here.
| | 03:46 | You can do that by doing Control + A or Command + A on
the Mac, hitting the Backspace key or the Delete key,
| | 03:53 | and then doing Control + D or Command + D to deselect that.
| | 03:57 | That's because we're currently on a Background layer.
| | 03:59 | So, we can just...We're basically just filling our selection with our
background color when we hit that Delete key, or the Backspace key.
| | 04:05 | So, we'll take the Flow back up to 100 percent.
| | 04:08 | And, actually this is a good time to tell you that if you change the
Flow and you've changed the Opacity, and you've changed the Blend Mode,
| | 04:16 | or whatever, and you've chosen a different
color, and now you go to paint a week later
| | 04:22 | and you start getting these very weird things
like, "OK, I'm not getting any color on my screen.
| | 04:27 | Is that paint?
| | 04:27 | Why is that?"
| | 04:28 | Because the Mode has been changed to Overlay and you've forgotten or whatever.
| | 04:32 | So, one of the things you can do to get the brush back to default
is on a PC you can right-click on the Tool icon in the Options bar.
| | 04:40 | On a Mac you would Control + click on the Options bar and choose Reset,
| | 04:45 | either this Tool or All Tools back to the default settings,
| | 04:48 | and that just gets you back to Normal Blend
Mode, normal Opacity, normal Flow, and so forth.
| | 04:54 | So, as you go into the pop-up list you'll see that as you go down
the list you're changing the type of brush you're painting with.
| | 05:00 | And, the sizes are changing as well, that just happens to be an
arbitrary default size for the type of brush you're choosing.
| | 05:07 | We'll talk about changing the size of a
specific brush in just a few minutes here.
| | 05:11 | But, you can see that as we go down we
get to start into different brush tips.
| | 05:16 | So, I can get into the natural media brushes,
where the edges are changing just a little bit.
| | 05:19 | Let's go ahead and paint with this brush here.
| | 05:22 | You can see it's more of an actual paint brush
instead of a pencil or a pen or something like that
| | 05:27 | where the edges are randomized and a little bit rough, and so forth.
| | 05:32 | Now, this is the default view, this kind of stroke preview.
| | 05:37 | You can see as I get further along I get into these kind of special effect
brushes, ones you wouldn't really use that much if you're doing retouching,
| | 05:44 | but if you're illustrating and things like that,
the Grass brush is always a favorite one to show.
| | 05:48 | So, I double-click on that one and I can paint the illusion of grass.
| | 05:52 | Now, this doesn't really look like grass because of the colors, but if
I were to click on the foreground color and choose kind of a dark green,
| | 05:59 | click OK, then click on the background
color, and choose kind of a lighter green,
| | 06:03 | so that I get two different types of green
here, and now paint with the Grass brush.
| | 06:10 | You can kind of see I can simulate some grass here.
| | 06:13 | You can also customize this brush to kind of simulate hair
by changing the size, and opacity, and the angle, and so forth.
| | 06:20 | But again, you can see that the brushes are very powerful, and I'm
not going to spend too much more time on the special effects brushes,
| | 06:26 | or how to customize these brushes in this particular
movie, but if you want to learn about using brushes
| | 06:31 | for illustration purposes there's actually a five-hour movie on just
brushes available in the lynda.com Online Training Library.
| | 06:40 | So, you can check that out.
| | 06:41 | It's a very thorough in-depth movie on just brushes.
| | 06:44 | Anyways, go back to the preset list here and you can see
I've got leaves, and stars, and all sorts of crazy things.
| | 06:52 | Again, I'm given a brush preview.
| | 06:53 | And, I'm having to scroll quite a bit to see through my brushes here.
| | 06:57 | I've got some nice wet media brushes here.
| | 06:59 | Let's go ahead and double-click on that one.
| | 07:01 | You can see it's kind of a watercolor, water paint
kind of brush where it's partially transparent as well.
| | 07:08 | Let's go ahead and clear out our canvas here, Control +
A or Command + A on the Mac, Delete or Backspace.
| | 07:13 | It's filling in with green here because my colors are set to green.
| | 07:16 | So, I'm going to type a D to reset my colors back to default black and white.
| | 07:20 | Go ahead and hit Backspace or Delete again, and
then deselect, Control + D or Command + D on the Mac.
| | 07:25 | Let's go back up to the preset list here.
| | 07:27 | And, one of the things I can do is change
the way these presets are being displayed.
| | 07:32 | So, if I go out to the fly-out menu here I can
say, "You know what, show me just a small thumbnail."
| | 07:38 | And now, I can kind of see the scope of my brushes here in a quicker way.
| | 07:44 | I'm going to go ahead and choose say the 13 Soft brush.
| | 07:46 | Double-click on that to select it.
| | 07:48 | And, you'll see that I get a cursor, a circle showing
me the size of the brush before I would start painting.
| | 07:56 | Now, if I want to change the size of the brush I could go
back up to the preset and chose the Master Diameter slider,
| | 08:02 | and go ahead and make the brush larger or smaller, but I
don't really see a preview of that happening as I do it.
| | 08:08 | I'm just changing a slider here.
| | 08:11 | But, if I put my mouse back into the image I can see
that the circle has now changed and I can, you know,
| | 08:16 | make that smaller or larger and come back to see the preview here.
| | 08:20 | I think a better way to change the brush
size though...There's actually two ways.
| | 08:24 | There's a full-on Brushes palette.
| | 08:25 | This is just a preset, kind of a subset of
all the brush functionality that's available.
| | 08:30 | If I open up the Brushes palette, and the keyboard shortcut is F5 for
that, or you can go down to the Window menu and pull down to Brushes.
| | 08:37 | I'll just go ahead and do that by hitting F5.
| | 08:41 | And, you'll notice that if I choose the Master
Diameter here I get a much larger preview,
| | 08:46 | and it's showing me the stroke preview in a much more realistic way.
| | 08:51 | So, it's not as blind there to modify it this way.
| | 08:55 | The other way to do it is to not have to take the mouse out of the
current position, especially if you're in the middle of actually painting;
| | 09:01 | and there is a keyboard shortcut for increasing or decreasing the brush
size, and that's your Right and Left Square Bracket keys on your keyboard.
| | 09:09 | So, if I use the Right Bracket key you'll see the
cursor, the circle, is actually getting larger,
| | 09:15 | and then the size indicator on the Options bar is also increasing.
| | 09:19 | So, now it's a 200 sized brush.
| | 09:21 | And, you can see in the Brushes palette
the size is also changing here as well.
| | 09:26 | So, once you get to a smaller size for the preview
you can actually see the preview changing as well.
| | 09:33 | So, Left Bracket just makes the brush smaller.
| | 09:36 | Right Bracket makes the brush larger.
| | 09:38 | Again, it's the same thing as using the slider there
on the Master Diameter slider, but it's a much quicker
| | 09:43 | and more interactive way of doing it as you're painting.
| | 09:45 | To that end you can also change the softness of
a brush, or what Photoshop calls your Hardness.
| | 09:51 | So, if I go back up to the pop-up list you can see there's
a Hardness slider and I can make the brush hard or soft.
| | 09:57 | So, this started out as a soft brush and now that I've increased
its Hardness you can see the preview here has gotten a lot harder.
| | 10:05 | And, when I dropped down some paint that's got
a hard edge if I go back to the brush preset
| | 10:10 | and make the Hardness all the way down
to zero I now have a much softer brush.
| | 10:16 | Same brush size, but because the softness has gotten,
or the Hardness value has gotten lower you can see
| | 10:23 | that it radiates out and creates a soft edge from the center there.
| | 10:26 | Now, just like there was a keyboard shortcut for changing the
size, the diameter of the brush, you can also change the softness
| | 10:33 | or the Hardness on the fly with a keyboard shortcut as well.
| | 10:37 | And that's just adding Shift to the Bracket keys.
| | 10:40 | So, Left and Right Bracket made the brush larger or smaller.
| | 10:42 | If you add the Shift key to that Shift + Left Bracket makes the brush softer.
| | 10:47 | Shift + Right Bracket makes the brush harder.
| | 10:50 | So, you can see the brush circle changing a little
bit on my screen as I'm using the Shift + Right
| | 10:55 | and Left Brackets, and the preview is also changing as I doing this.
| | 10:59 | So, go ahead and watch that.
| | 10:59 | So, Shift + Left Bracket makes it softer, softer, softer.
| | 11:04 | Shift + Right Bracket makes it harder, and harder, and harder.
| | 11:07 | A couple other things to note as you're
working with this brush cursor, this circle.
| | 11:12 | This is the default appearance of the circle, of the brush cursor.
| | 11:15 | You can actually change that by going into your Preferences.
| | 11:18 | So, I'm going to go into Edit, Preferences, or on the Mac it would be
under the Photoshop menu in the upper left-hand corner of your screen.
| | 11:26 | And, there is a preference specifically for Display & Cursors.
| | 11:28 | So, I'm going to go and choose that.
| | 11:30 | And, you can change it from a Normal Brush
Tip to what's called a Full Size Brush Tip,
| | 11:35 | and that's going to include the softness setting in the cursor preview.
| | 11:40 | So, you can actually get a more accurate view of how big an
area the paint actually drops down from hardness to softness.
| | 11:48 | And, you can also include a Crosshair in Brush Tip.
| | 11:51 | You can actually see the center of the brush a little bit easier.
| | 11:54 | So, go ahead and click OK and now you
can see the brush has changed slightly.
| | 11:58 | It gives you a crosshair, and the circle is the accurate size
of the actual brush, of how much paint is going to be dropped down.
| | 12:06 | But, go ahead and make the brush softer,
Shift + Left Bracket to make it softer.
| | 12:10 | You see the diameter of the brush actually grows and you get
kind of like this deckled edge instead of a hard edge to indicate
| | 12:17 | that it's a soft-edged brush before you actually start painting as well.
| | 12:21 | And now, if I go ahead and click, you can see that the
paint...Hopefully you guys can see that the paint has gone
| | 12:26 | out beyond the hard edge here through, all the
way through, the deckled preview of the cursor.
| | 12:32 | So, you can see that it's actually dropping
down more paint than you have realized.
| | 12:36 | So, I've actually gone and changed my preference
and left it that way to show it this way.
| | 12:41 | This is new to CS2, Photoshop CS2.
| | 12:43 | You get a much more accurate view and preview of how much
paint you're actually dropping down when you are painting.
| | 12:50 | A couple of other useful and essential
keyboard shortcuts for when you're painting.
| | 12:53 | Again, let's go ahead and paint a large area here just
by pressing and dragging with this nice soft brush.
| | 12:59 | If I wanted to paint with the opposite color
I could just hit the X key on my keyboard.
| | 13:04 | X for exchange to exchange my foreground and background color.
| | 13:07 | And, now when I paint I'm painting with a
new foreground color, white in this case.
| | 13:12 | So, it's just easy to switch back and forth.
| | 13:14 | If I click on a color chip in the Tool
palette and choose a different color,
| | 13:20 | go ahead and paint with that now.
| | 13:22 | Pick a different background color...
| | 13:24 | We'll get this random blue, click
OK, and paint with that by pressing X
| | 13:30 | to bring my background color and make it the foreground color instead.
| | 13:34 | You can see as the soft edges merge over each
other I get a blend between those two colors.
| | 13:39 | Now, if I want to reset my colors back to default black and
white, remember X exchanges your foreground and background color.
| | 13:45 | D resets them back to default black and white.
| | 13:49 | So, now I've just gone back to default black and white again.
| | 13:53 | So, Left and Right Brackets to increase the size
of the brush or decrease the size of the brush.
| | 13:58 | Add Shift to that to change the softness or the hardness of the brush.
| | 14:02 | D for default colors.
| | 14:03 | X for exchange foreground or background colors.
| | 14:06 | You might be wondering why is there
kind of two areas to work with brushes in Photoshop.
| | 14:11 | There's the full-on Brushes palette, and you can see there's
almost a dozen different variables or properties that you can change
| | 14:17 | on a particular brush: the Dynamics, the Tip, the
Scattering, the Texture, and things like that.
| | 14:22 | Again, these are all the topics that are
covered in the longer five-hour brush title.
| | 14:27 | It talks about how to create special effects brushes
for just using these dynamics and things like that.
| | 14:33 | The brushes preset list here is just a subset of those.
| | 14:37 | So, if you don't need to modify all these crazy properties on
the brush, you don't really need to have the Brushes palette open.
| | 14:43 | Either way is fine.
| | 14:45 | If I wanted to append the brushes or load in
new brushes other than the default brushes here
| | 14:51 | in Photoshop, you can actually do that in either location.
| | 14:53 | It really doesn't matter.
| | 14:54 | You can use the fly-out menu in the pop-up menu from the Options
bar or the fly-out menu here on the actual Brushes palette.
| | 15:01 | Either way is fine.
| | 15:02 | You get the same exact menu.
| | 15:04 | I tend to not have the Brushes palette on my screen because it's huge
and I'm not modifying my brush very often if I'm doing retouch work.
| | 15:11 | Now, if I'm illustrating and things like that, that's why
I might want to have the full-on Brushes palette open.
| | 15:15 | But, most of the time I just modify things either
with the keyboard or directly from the pop-up menu
| | 15:22 | from the Options bar when I have the Brush tool selected.
| | 15:25 | So, if I click on the fly-out menu here, you can see the pop-up menu here,
| | 15:28 | I've got several brush libraries that I can load in.
| | 15:31 | These are the ones that ship with Photoshop.
| | 15:34 | If I want to bring some of these brushes in, let's say like the Wet Media
Brushes, I can go and click on that preset library and similar to loading
| | 15:42 | in swatches or other types of content into Photoshop,
it asks if you want to replace the current set of brushes
| | 15:48 | or append them, add them, the new set, to the existing set.
| | 15:52 | I'm going to go ahead and click Append.
| | 15:55 | And, those brushes don't look like they're
here yet, but if I scroll down you'll see
| | 15:59 | that here I start getting the Wet Media Brushes
and I can click that particular brush here.
| | 16:05 | Again, this is where the larger Brushes palette does give you a
nicer preview so you can actually see what that stroke looks like.
| | 16:11 | If you were to paint it you'd get a larger-size thumbnail here.
| | 16:16 | And now, we're going to start painting, and you see I get very
much different effects just by loading in different brushes
| | 16:22 | because different properties have been set for these.
| | 16:24 | I want to reset.
| | 16:25 | Let's go ahead and make my canvas all white again.
| | 16:28 | So, we'll do Control + A, or Command + A on the Mac.
| | 16:30 | Go ahead and delete that.
| | 16:31 | And then deselect, Control + D, or Command + D, so
you can see that paint a little bit easier.
| | 16:37 | Now, what I like to use these kind of special effect brushes
for is to create custom edge treatments on a particular image.
| | 16:44 | So, I've already got another image open.
| | 16:45 | I'm going to go ahead and bring that to the front.
| | 16:48 | You can cycle through open documents by doing
Control + Tab, and that's both on a Mac and on a PC.
| | 16:53 | Control + Tab will cycle you through your open documents.
| | 16:56 | I'm going to hold down the Spacebar to get my Hand tool.
| | 16:59 | Just kind of move this away here.
| | 17:00 | And, if I wanted to create a custom edge on this, what I
can do is open up my Layers palette and create a mask here.
| | 17:08 | So, let's go ahead and do that.
| | 17:10 | So, I've just pressed the F7 key to open up the Layers palette here.
| | 17:13 | You can also go to the Window menu and choose Layers from this menu here.
| | 17:18 | I'm going to go ahead and create a new layer above the Background layer.
| | 17:21 | Go ahead and click New Layer here.
| | 17:23 | I want to fill this with white.
| | 17:25 | So, I can go to the Edit, Fill menu and choose White, and click OK.
| | 17:30 | It's going to cover up my entire image, and
I'm going to add a Layer Mask to this.
| | 17:34 | Again, this is not something you're familiar with.
| | 17:36 | You can watch the Image and Layer Mask
Chapter to learn how to do this in depth.
| | 17:40 | But, for now we'll just add a Layer Mask.
| | 17:42 | And, the basic rule is if I paint with black on this Layer Mask I'm going to
be hiding the white layer here and revealing the image layer through it.
| | 17:52 | So, I'm going to go pick an interesting brush here.
| | 17:54 | I'm going to go reset my brushes.
| | 17:56 | Again, when you choose a different brush
set you can either Append or Replace.
| | 18:00 | Since we appended we've got a lot more brushes now.
| | 18:02 | If you want to reset it back to the default set of
brushes you can click Reset Brushes, and click OK.
| | 18:08 | And, I'm going to take this back to a Stroke Thumbnail instead of
just a small thumbnail and go down to the bottom of my list here
| | 18:15 | and choose an interesting brush like this one, the bottom brush.
| | 18:18 | Go ahead and double-click on that one to select it.
| | 18:22 | And, I can increase my brush size here by using my Left and Right Brackets.
| | 18:25 | We'll make it just slightly bigger.
| | 18:27 | I've chosen black as my foreground color, and now as I paint
you'll see I'm getting a very nice soft kind of watercolor effect
| | 18:34 | and I'm creating a custom edge treatment for my image.
| | 18:37 | So, instead of just having a rectangle or hard edge it's
got this nice watercolor effect and a nice soft edge.
| | 18:43 | If I go ahead and just zoom up with a Control + Plus,
and then hold down my Spacebar to get the Hand tool,
| | 18:48 | you'll see I've got a very nice painterly effect for a custom edge effect.
| | 18:52 | We'll zoom back down, Control + Minus.
| | 18:54 | And, I can go back and paint on the inside and make that just a
little bit more opaque and go back in multiple strokes to create kind
| | 19:02 | of this overlapping, different opacity
watercolor kind of edge treatment here.
| | 19:07 | So again, all I did was created a new layer above my image layer, filled
it with white, added a Layer Mask, and painted with black on the Layer Mask
| | 19:16 | with a special edge brush to get this custom edge treatment.
| | 19:19 | So, that's kind of a cool effect.
| | 19:21 | So anyways, hopefully this has been a good overview of how to pick a brush,
modify it, change its size, its hardness and softness, and its opacity.
| | 19:30 | And, just work with the basic Brush tool.
| | 19:33 | It's something you'll need to know how to use, and
be really good at, especially as you're masking
| | 19:37 | and retouching, and things like this, doing special effects.
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|
|
10. Picking ColorsUsing the Color Picker| 00:00 | So, in this movie I'm going to show you how
to access the Color Picker in Photoshop.
| | 00:04 | There's a number of ways to do that.
| | 00:06 | There will be times where you want to specify specific colors
that you either want to paint with, or color your text with,
| | 00:11 | or replace a different color with in an image, and so forth.
| | 00:14 | Perhaps the easiest way, or most common way to access the Color Picker, is
to simply click once on either the foreground or background color chip.
| | 00:23 | So, that's these chips here in the Tools palette.
| | 00:26 | If I click on the foreground color, that
will open up the Color Picker dialog box.
| | 00:30 | By default the Color Picker is set to display colors
in the Hue Saturation Brightness model, so HSB.
| | 00:37 | And, currently the H, Hue button, is selected.
| | 00:41 | So, that means this ramp here, this vertical
ramp, is showing you all your different hues.
| | 00:46 | This big color field here on the left is then
showing you the two other axes on the color model.
| | 00:52 | So, from left to right it's showing you saturation,
and from top to bottom it's showing you brightness.
| | 00:58 | So, if I want to really saturate it in bright
red I would go to the upper right-hand corner.
| | 01:04 | If I wanted just a tint of that red I'd go somewhere in the
middle or all the way to the left to make it less saturated.
| | 01:11 | If I wanted it to be darker I'd move it up or down.
| | 01:14 | I'd move it down to make it darker, and then up to make it brighter.
| | 01:18 | So, that's the current model here.
| | 01:19 | As I click somewhere in my color field the little circle
tells you what color you're currently at and then this square
| | 01:26 | up here, or rectangle, is showing you the current color.
| | 01:31 | The bottom portion of this little rectangle
is showing you the color you started with.
| | 01:36 | If you click on Saturation, the S radio
button here, then the color model changes.
| | 01:41 | Instead of showing you all the hues from top to bottom
it's showing you the saturation of the current color.
| | 01:47 | So, in effect the colors have just swapped out.
| | 01:48 | What used to be the Hue slider here, the Hue ramp, has now
turned into the Saturation ramp; which means hue is now from left
| | 01:55 | to right and brightness still remains from top to bottom.
| | 01:59 | Again, if I choose the Brightness radio button, now I've got
brightness from top to bottom in the small vertical ramp.
| | 02:06 | I've got huge going from left to right.
| | 02:09 | And then, I've got saturation from top to
bottom, and the big color field in the left.
| | 02:13 | So, all of these are just different color models, and the color ramp
and the color field just changed to the corresponding color model.
| | 02:20 | RGB is much the same way.
| | 02:22 | You get a much different way to interact
with color by switching color models.
| | 02:26 | If I choose green and then blue.
| | 02:28 | Some people really like this display of
colors because it's pretty to look at.
| | 02:32 | It's not always easy to understand where you're going from one
color to the other unless you understand these color models,
| | 02:39 | which is why the default model, HSB, it's the easiest to understand
| | 02:41 | and visualize the color you're going to in
relation to the color where you started from.
| | 02:47 | Now, if you want a specific color and you happen to know their RGB
values, then you can click on the RGB fields and type in the number.
| | 02:53 | So, lets say I want a midtone gray.
| | 02:56 | I'll make that 128.
| | 02:57 | I can just hit the Tab key and go to the next field and make that 128.
| | 03:02 | Hit the Tab key again and make that 128, and you'll see that
the current color is updating as I type in those numbers.
| | 03:09 | When I'm happy with a color I want to
use I can just go ahead and click OK.
| | 03:13 | And, the foreground colors now have been updated to show me that gray.
| | 03:16 | I want to change background color.
| | 03:18 | I can click on the background color chip and again just click on
the Hue ramp to dial in the specific range of hue that I want,
| | 03:25 | and then I can play with the saturation and the brightness to
match the color I'm looking for, find something I'm happy with.
| | 03:31 | OK, let's go ahead and click OK.
| | 03:33 | Other places where you can access that Color Picker.
| | 03:36 | If I happen to have a Shape layer when you
draw a shape...And let's go ahead and do that.
| | 03:40 | We'll draw another shape with our Shape tool.
| | 03:42 | It's going to currently be filled by default
with your current foreground color.
| | 03:48 | And, I can double-click on the color chip, go to Tool palette to pick a
new foreground color, but that's not going to change the color of my shape.
| | 03:54 | To change the color of my shape you could double-click on
the actual thumbnail in the Layer palette for that shape.
| | 04:00 | If I double-click I get the exact same Color Picker.
| | 04:03 | And, now I can pick a different color for
that particular shape, and it's updating that.
| | 04:07 | Same thing with something called a Color Fill layer.
| | 04:10 | That's why this background is gray here,
| | 04:12 | Color Fill layer. If I double-click on that thumbnail
in the Layers palette, I get the exact same Color Picker
| | 04:17 | where I can choose a different color for that fill layer.
| | 04:21 | Click OK.
| | 04:22 | There's also sometimes a color well or color chip in the
Options bar depending on what tool or layer you have selected.
| | 04:29 | Here I've got a Shape tool selected.
| | 04:31 | So, I have again a color chip that is
currently specified on what color that would be.
| | 04:35 | If I double-click, or just click once I get the exact same Color Picker.
| | 04:39 | And, same thing for the Type tool.
| | 04:40 | If I type T for the Type tool there's a color chip here, and clicking on
that color chip brings up the same Color Picker that I showed you already.
| | Collapse this transcript |
| Using the Color Palette| 00:00 | (Michael Ninness:) A different way to specify
color in Photoshop is to use the Color palette.
| | 00:05 | So under Window menu I can open up the Color palette,
and this is kind of like a miniature Color Picker.
| | 00:11 | The interface is slightly different but
the concepts are relatively the same.
| | 00:15 | You've got a Hue ramp down at the bottom and by default
it's showing you the RBG color model and range of colors.
| | 00:23 | So from left to right you've got hue and from top to
bottom you've got the brightness of a particular color.
| | 00:28 | If I just click anywhere in this ramp you are
picking an actual color in the RBG space here.
| | 00:33 | Then the RGB sliders at the top will reset
themselves to the actual color that you clicked on.
| | 00:40 | So the good side or the good thing about the Color palette is that it's
right here, it's compact, it doesn't take up a lot of screen real estate.
| | 00:47 | It let's you pick the colors quickly and
then modify or tweak their coloring.
| | 00:51 | So if I want to add more green to it I just move it to the right;
| | 00:54 | if I want to add less green to the color; I
can pull green out by moving it to the left.
| | 00:58 | Same thing with red; if I want to add red or take away from red.
| | 01:02 | Some people like this interface better because it's easier to kind of
understand the direction you're going to go versus where you currently are.
| | 01:10 | The downside of the Color palette is that it's tiny and it's tiny because
it's a palette you don't want to take up a lot of screen real estate.
| | 01:16 | But if you want to see a better preview of the colors that
you're working on that's what the Color Picker is for.
| | 01:21 | Then again, the other advantage of the Color palette is that
if I wanted to pick a color for the foreground and the background,
| | 01:28 | when I was using the Color Picker, the dialog box I'd have to
click on the foreground color chip, pick a color or whatever,
| | 01:35 | click OK, click on the background color chip, go back
to the dialog box, pick another color and click OK.
| | 01:40 | So it's a little bit broken up.
| | 01:42 | Here in the Color Picker palette I can just pick a color for my
current foreground color and just click on the background color chip
| | 01:48 | and choose different color for that without
having to go to a dialog box twice.
| | 01:53 | So that's another advantage for that.
| | 01:54 | It's also nice to have a quick way to get back to white or back at the end
of the color up here. And that's your basics of the Color Picker palette.
| | 02:05 | You can also change the color model you're using. By default
it's using RGB, but you can also have it use HSB, Hue Saturation
| | 02:13 | and Brightness, CMYK, lab colors, or even a grayscale slider.
| | 02:17 | So if I'm using grayscale I'm getting zero percent, or white,
all the way up to 100% black or any gray value in between.
| | 02:24 | So if I want to work in shades of gray or paint with
grays, sometimes this is a lot easier to understand,
| | 02:30 | especially when you're coming from a print
background, when your thinking percentage tints.
| | 02:34 | I can change the color model back over to HSB.
| | 02:36 | This is one of my favorite color models. Actually
it corresponds to the default Color Picker as well.
| | 02:42 | But I think it's easier to understand than the Color Picker because you've
got clearly labeled for H slider for Hue; you've got a Saturation slider,
| | 02:50 | so the more I drag it to the right the more saturated
the color will get or the less saturated and so forth.
| | 02:56 | Same thing with the Brightness slider. If I drag it to the right the color
will get brighter; if I drag it to the left it gets lower or less bright.
| | 03:03 | The reason that I like human saturation and brightness because it lets
you just pick a target hue and then you're not moving the color wheel
| | 03:11 | as you change the saturation or brightness for that same hue.
| | 03:15 | So it's just a different way of picking colors and I kind of like it.
| | 03:18 | You can also change the color model to CMYK.
| | 03:21 | So if you're specifying CMYK colors or you're working with a process
color book and doing CMYK work they often just give you the CMYK percentages
| | 03:28 | and you can just type in what those percentages
are for that particular color your looking for.
| | 03:33 | The other thing that's kind of cool is when you combine the color ramp
down below, the default ramp here is RGB, so as you're picking RGB colors
| | 03:42 | in the ramp it's giving you the CMYK equivalencts or the
closest equivalent for the particular RGB color that you chose.
| | 03:49 | That can be handy if your monitor
is RGB but you're printing out CMYK.
| | 03:56 | Then you can also change the ramp down at
the bottom of the Color palette as well.
| | 04:01 | So you can change it to be an RGB spectrum.
| | 04:03 | You can change it to a grayscale ramp,
you can change it to the current colors.
| | 04:08 | If you choose the current colors it's actually showing you the
gradient between your foreground color and your background color.
| | 04:14 | This is actually a real easy way to click on tints between the
two colors that are currently foreground and background color.
| | 04:21 | I'm going to change this back to the RGB sliders.
| | 04:24 | As a little bonus here: if you Shift + click on the color
ramp, that cycles you through the four different option there
| | 04:31 | without actually having to go to the fly-out menu for the Color palette.
| | 04:35 | There's no way to change the color model
without actually going to the fly-out
| | 04:39 | but the color ramp can be changed again
by Shift + clicking on the color ramp.
| | 04:43 | So hopefully that makes a little bit more sense. It
doesn't really matter if you like the Color Picker,
| | 04:48 | it's nice and big and you can use that, it's just as well.
| | 04:51 | Some people like having the Color palette directly
on their screen; I think it's more flexible.
| | 04:55 | Some people don't like it because it takes
up screen real estate; it's up to you.
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| Saving Custom Colors as Swatches| 00:01 | >> Michael Ninness: So if you're specifying colors in Photoshop, you
might reach the point where you're tired of having to re-enter
| | 00:07 | or re-specify the same color over and over and over
again, you may want to save that as a custom color.
| | 00:12 | Custom or saved colors in Photoshop are called Swatches.
| | 00:15 | I've got the Color palette open here and by default,
the Swatches palette is grouped with the Color palette,
| | 00:20 | so if I click on the Swatches tab, you see
it's showing me these little color chips.
| | 00:24 | This is just a default collection of colors, the default Swatches palette
and the Swatches palette can be organized a couple of different ways.
| | 00:31 | First of all, to change the current color
into a color from the Swatches palette,
| | 00:35 | you just put your mouse in the Swatches
palette and it turns into an Eyedropper.
| | 00:40 | If you hover over a color, it actually will give you a tool tip and tell
you the name that's been applied to this color. And if I want to specify
| | 00:46 | that color, you just click on it and that
changes the current foreground color.
| | 00:51 | If you want to change the background color, you can type the
letter X, the foreground color then becomes the background color
| | 00:57 | and the current background color becomes the foreground
color, so then you can click on that color to change it again.
| | 01:03 | For you power users out there, if you want to specify the background
color and foreground color separately, without having to switch them -
| | 01:09 | so if I click on this red color, that's the foreground color, if you
hold down the Control key on Windows, with the Command key on the Mac,
| | 01:16 | and click on the color, you'll actually specify the background color here.
| | 01:19 | So now I've got purple here.
| | 01:21 | You can also change the way the Swatches color is
displayed, or the palette displays the colors there.
| | 01:26 | I'm going to rip the Swatches palette out of the Color palette
and put it down below so I can see both of them at the same time.
| | 01:33 | Then I'll change from the fly-out menu here, you can change
it to say a Large Thumbnail, Small List, or Large List.
| | 01:39 | I'm going to choose Small List and that gives
me the swatch and the actual name as well.
| | 01:43 | I can make the palette longer.
| | 01:45 | If I want to rename a swatch, I can just double-click on its name
and type in something different and just hit Escape to cancel that.
| | 01:52 | If you want to create your own Swatches, based on the colors that
you've actually specified in the Color palette on the Color Picker,
| | 01:58 | you can add those to the Swatches palette.
| | 02:00 | I'm going to change this back to the Small Thumbnail view
in the palette, it's a lot bigger than it needs to be now.
| | 02:06 | But we'll just pick out some random colors here and
the RGB color sliders here, so there's a color I like.
| | 02:11 | That's my current foreground color.
| | 02:13 | If I just click anywhere in the blank spot of the Swatches palette,
that will add that swatch and ask me to name it, so My Green, whatever.
| | 02:21 | You can also click on the new button, but sometimes
it's just quicker to click on a blank spot.
| | 02:26 | So again, if I pick a different color,
click on a blank spot, My Magenta, whatever.
| | 02:33 | If you want to delete a color from a Swatches palette, you can
hold down the Alt key on Windows or the Option key on the Mac,
| | 02:39 | and you'll get a little pair of scissors and then
you can just click on whatever color you don't want.
| | 02:43 | This is a pretty easy way to delete them.
| | 02:45 | If you want to delete a lot of colors at once, so
you can build your own custom palette from scratch,
| | 02:51 | a better way to do that is to use something called the Preset Manager.
| | 02:55 | So I've gone to my fly-out menu for the Swatches palette,
choose Preset Manager, and this brings up the Swatches Presets.
| | 03:04 | Here I can actually click on a color and it's selected and then I can
Shift + click on the other color at the end and it selects all the colors
| | 03:11 | in between, then I can hit the Delete button
and I'm just left with my two custom colors.
| | 03:17 | Go in and click Done and I can just continue specifying my own
custom colors here, clicking on a blank spot, clicking OK,
| | 03:24 | I don't need to give it a name every time if I don't want to,
| | 03:27 | clicking OK and giving them just a default
name and I can build up this custom Color palette.
| | 03:32 | Now, if I want to change the order that these colors are
in, I can go back to the Preset Manager to do that as well.
| | 03:39 | So, fly-out menu, Preset Manager, and I believe if I just press and drag on
them, I can change the order, exactly, that the Swatches are displayed in.
| | 03:49 | So if you want to color-coordinate them or something like that.
| | 03:51 | Go ahead and click Done.
| | 03:53 | So, this is my palette that I want to be able to use again and again
and again; I've basically modified the default Color palette here.
| | 03:59 | I want to save that out, as a new swatch.
| | 04:03 | A Swatches palette.
| | 04:04 | So I can click the Save Swatches command and it will bring
up a dialog box, asking me where I want to save this.
| | 04:10 | It defaults to the default location where all the other
Swatches palettes that ship with Photoshop are stored,
| | 04:14 | so I'm not going to change the directory here, I'm
just going to leave it alone and I'm going to call it
| | 04:18 | My Swatches, and you want to make sure
that the ACO file extension is at the end.
| | 04:25 | That way it's cross-platform, you can share these between other
users and they can load up your Swatches palette pretty easily.
| | 04:32 | In fact, the easiest way to do it is, if you send someone a
Swatches palette and they download that to their hard drive or whatever,
| | 04:38 | if they just simply double-click on the Swatches, it will actually
get loaded into Photoshop and to the correct location automatically.
| | 04:45 | I go in and hit Save here and now I've saved that off.
| | 04:48 | If I want, I can reset the Swatches back to their default.
| | 04:53 | It's going to ask me, "Do you want me to completely replace
everything that's in the current Swatches palette
| | 04:58 | or do you want me to append the default to your custom colors here?"
| | 05:02 | I'm going to go ahead and say, OK to replace
everything, and now I'm back to the default Swatches.
| | 05:08 | If I want to get my Swatches, I can click on the fly-out menu again
and say Load Swatches and find the My Swatches option that I want
| | 05:18 | and click Load and now those have been appended to the end.
| | 05:21 | So whenever you load, they automatically get loaded to the end.
| | 05:25 | You actually have a command here to replace as well.
| | 05:28 | So if I wanted to not append a new swatch library to the existing one,
I would choose the Replace command instead and choose My Swatches again
| | 05:38 | and now I'm just left with those particular Swatches.
| | 05:40 | One of the Swatches palettes or swatch libraries that comes with Photoshop,
is actually one of my favorites and I'll show you how to load that one.
| | 05:48 | I'm going to ahead and Replace Swatches again, or actually I'll just
choose, it's from the preset list here, I'm going to choose VisiBone,
| | 05:54 | it's kind of a random name but that's the name of the company or name
of the person that created this palette, decided to name it VisiBone.
| | 06:02 | I'm going to go ahead and Replace and it's
basically a color wheel view but in Swatches mode.
| | 06:10 | So it's organized by the color wheel.
| | 06:14 | There's a second variation of that.
| | 06:15 | If I choose VisiBone 2, it's the same number of colors, it's just
that it's been collapsed so it takes up less screen real estate.
| | 06:23 | I like that swatch view, it's actually one that I leave on my machine
quite a bit, if there's just preset colors that I want to use and hopefully
| | 06:31 | that gives you some idea of how to use the Swatches palette.
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| Sampling Colors with the Eyedropper Tool| 00:00 | >>One additional way of specifying color in Photoshop
is to use something called the Eyedropper tool.
| | 00:06 | And that's handy because that lets you specify colors from
another image if you want to match the color of a shirt on one person
| | 00:12 | with the color of a shirt in another file, let's say.
| | 00:14 | I can select the Eyedropper tool just by pressing the
letter I, and that will switch me to the Eyedropper tool.
| | 00:21 | Then, I simply just click in the image that I want to sample the
color from, on the specific area that I want to take the color for,
| | 00:29 | and every time I click with the Eyedropper tool I get a new color.
| | 00:32 | One little behavior that a lot of people don't realize is there, is
that you can actually sample colors outside of Photoshop as well,
| | 00:39 | as long as you start clicking and dragging
first, you hold the mouse button down.
| | 00:44 | If you try to click outside the image window you
see that you lose the Eyedropper and so a lot
| | 00:48 | of people don't think that you can sample colors outside of Photoshop.
| | 00:51 | Why would you want to do that?
| | 00:52 | Let's say you wanted to sample a color from an image
off a Web page, let's say, or another application,
| | 00:57 | and you would need to be able to do that outside of Photoshop.
| | 00:59 | So let's set that up.
| | 01:00 | We'll go ahead and minimize the application window here
a little bit so I can see something outside of Photoshop.
| | 01:05 | As long as I first start pressing and dragging, you'll see that
as I go outside the Photoshop window now to this image here,
| | 01:13 | I'm still specifying those colors even though I'm outside
the Photoshop Document window in the application window.
| | 01:19 | So again, the trick there is just make sure you click with the Eyedropper
tool somewhere in the Photoshop interface in the document, first.
| | 01:25 | Then, as you drag outside you can specify whatever
color you want once you got that drag going.
| | 01:31 | So that's the Eyedropper tool - pretty handy.
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|
|
11. Tonal CorrectionThe Evils of Brightness/Contrast| 00:01 | >> Michael Ninness: So if you look at this image, it looks a little bit flat.
| | 00:03 | It's a nice enough looking image, but it
could use a little bit of a contrast bump.
| | 00:07 | Maybe define the shadows and highlights a little bit
more and maybe change the midtones just a bit as well.
| | 00:12 | Now, a lot of beginners, when they first start out, they end up using
the brightness and contrast command in Photoshop, and as you can tell
| | 00:19 | by the title of this movie, I don't necessarily recommend that.
| | 00:22 | The title of this movie is called, "The Evils of Brightness and
Contrast," so I might have a hidden agenda here in this movie.
| | 00:27 | The reason why people gravitate toward brightness and contrast
initially is, when they're looking to find the command in Photoshop
| | 00:35 | to do basic tonal corrections, they go to Image, Adjustments,
and when you look at this list of many commands,
| | 00:41 | if you don't know what Levels is and you don't know what Curves
is, Desaturate, well I can guess that that pulls color out,
| | 00:47 | but I'm looking around and I'm not finding a lot of commands that
might do what I want, except, oh there's one, Brightness/Contrast.
| | 00:53 | Well it turns out that even the folks at
Adobe think Brightness/Contrast is evil.
| | 00:58 | I can prove it because they've taken away the keyboard shortcut for it,
| | 01:01 | so you really want to have to make your images
suck or be damaged, in order to use this command.
| | 01:06 | Let me show you what it does, so you can at least understand why
I have this opinion and many others have this opinion as well.
| | 01:11 | Again, don't feel bad if you've used it before, I'm just
going to teach you why it's not such a good idea all the time.
| | 01:17 | So, if we open up Brightness/Contrast, what's great about it is,
it's only got two controls, and they're easy enough to understand.
| | 01:23 | You've got Brightness and Contrast, and you can
only move them two directions each.
| | 01:27 | So, people like it because when you drag the Brightness slider to the
right, you look at that and you go, "Hey look at that, the image got brighter,"
| | 01:33 | and you know, you feel good because the
control did what it said it was going to do.
| | 01:36 | If you drag it to the left, the image got darker.
| | 01:40 | Now, the problem is that, what happened to the pixels in the image?
| | 01:43 | If I drag this to the right, what happened to the
pixels that were already bright in this image?
| | 01:47 | Well they got brighter too and that's what I mean by linear correction.
| | 01:51 | Every pixel gets changed by the same amount.
| | 01:54 | So any pixel that was already bright, just got brighter.
| | 01:57 | Which means you lost detail in your highlights and you weren't able to
preserve your shadow detail at the same time, so everything was linear.
| | 02:04 | Plus, if you're like me, when I first started out with
brightness and contrast, I couldn't really touch the brightness
| | 02:09 | without touching the contrast, so I did the little brightness and
contrast dance, so that took a little bit of this and a little bit of that
| | 02:14 | and a little bit of this and a little bit of that
and I don't know, looks good there, click OK.
| | 02:19 | Then you'd be done.
| | 02:20 | OK, we're going to undo that.
| | 02:22 | I'm going to give you a little illustration of what
Brightness/Contrast is doing to your image.
| | 02:27 | So I'm going to turn on this chart here.
| | 02:29 | So let's pretend that the red line here represents
the tonal values of your image from dark to light.
| | 02:36 | So, 0 to 256, 256 being the number of tonal
values per channel, 8-bit per channel image.
| | 02:43 | Zero being dark or black, 256 being white or bright.
| | 02:49 | So if this is a graph and again, it's not accurate, it's just an
illustration, but if this were a graph of the tonal values of this image,
| | 02:55 | if I were to drag the Brightness slider in the brightness and
contrast dialog box to the right, making the image brighter,
| | 03:03 | then I would effectively be pushing this line up and any pixels
that were already at 256, would be off the chart at this point.
| | 03:11 | So all these pixels here would be going to solid white.
| | 03:15 | I'd be blowing them out and losing detail in the highlights
and making certain areas that wouldn't need to be improved
| | 03:21 | or changed, affecting them in a negative way as well.
| | 03:24 | If I were to bring that brightness slider to the left, making
the image darker, then I would effectively be moving this line
| | 03:30 | and any pixels that were already at zero, would be left alone.
| | 03:35 | But any image that was dark, would also be pushed towards zero, so I'd
be losing details in the shadows, while making the image overall dark.
| | 03:43 | Move this back to zero setting now.
| | 03:45 | Now, the Contrast slider, what you're doing to the
red line here is changing the slope of the line.
| | 03:52 | So let's pretend I'm going to rotate this now.
| | 03:55 | If I were to drag the contrast slider to the right,
I would be making the slope steeper so I'd end
| | 04:00 | up with a posterized image, things would
be going to extreme black or white.
| | 04:04 | If I drag that Contrast slider to the left, I'd be making
the slope less severe, ending up with a very flat gray image.
| | 04:12 | So when someone says that an image is flat, it has no
contrast, that's kind of an illustration of what they mean.
| | 04:17 | It's flat, everything is just gray or muddled gray.
| | 04:21 | So that's why you don't want to use Brightness and Contrast.
| | 04:24 | What you want to use is something that uses non-linear correction,
something like Levels or Curves or Shadow/Highlight,
| | 04:31 | which each have their own movie, later on in this chapter.
| | 04:34 | Those commands allow you to adjust the highlights
independently of the shadows and vice versa
| | 04:40 | and also give you the ability to control more than just two tonal ranges.
| | 04:43 | For instance, Levels lets you control three
tonal ranges: shadows, highlights, and midtones.
| | 04:49 | Curves lets you adjust up to 16 different tonal ranges, so you
can do a three-quarter tone adjustment between the shadows as well.
| | 04:56 | So again, brightness and contrast is really intended
to be used for black and white or line art images,
| | 05:02 | where you want to push the white and black threshold around.
| | 05:06 | It does have its uses sometimes, if you don't care about losing detail
in particular areas, but most of the time, you're going to twiddle around,
| | 05:13 | you might make a print, you might notice that
in the print, certain areas have been lost,
| | 05:17 | so you want to go back to the original detail and push it around some more.
| | 05:21 | So, anyway, Brightness/Contrast - it's evil.
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| Using the Histogram Palette| 00:00 | >>In this movie, I wanted to introduce the concept of
a Histogram and how that can help you evaluate an image
| | 00:06 | in terms of making tonal adjustments and tonal corrections.
| | 00:10 | So I want you to pretend that, or imagine
that, this image here is a tile wall,
| | 00:15 | where each pixel in the image is representing a square tile, let's say.
| | 00:19 | So if I zoom up to 1,600 percent, you can kind of see what I
mean, where each one of these little squares is like a tile.
| | 00:25 | Now, in a given RGB image, there are 256 shades
of tonality, or shades of gray, if you will,
| | 00:32 | per channel where zero would be black and 255 would be white.
| | 00:38 | So if I say a pixel has a tonal value of 30, you would say
that that's probably a dark pixel, a pixel on the dark side.
| | 00:45 | If a pixel has a tonal value of 200, you would
say that's a light pixel, a bright pixel.
| | 00:51 | So imagine, if you will, that an earthquake happens and your tile wall
just falls to the ground - completely demolished - and you want to rebuild it
| | 00:58 | because you really like this bathroom tile wall;
and you're thinking this is a really weird analogy.
| | 01:03 | Just work with me.
| | 01:04 | You've got all these tiles strewn all over the ground; you want to rebuild
the tile wall and you think maybe a good idea to get yourself organized is
| | 01:10 | to find all the tiles that are black and stick them into a pile.
| | 01:14 | So basically find all the individual tones spread out throughout
the tiles, and stick each one of those tones in a separate pile.
| | 01:21 | So you find all the black ones - tonal value zero - you stick
them in the pile; you find all the tiles that are almost black
| | 01:26 | but not quite tonal value of one; you stick them into a pile; stack them up
next to the zeros and you keep doing this all the way throughout the range
| | 01:33 | of the tonal values of the tiles and when you're done,
hopefully you'll have 256 piles of tiles. So, piles of tiles,
| | 01:41 | that's what a Histogram is.
| | 01:43 | So if I were to go and show you here the Histogram palette - yes,
the nerdy name for this is a Histogram, a chart of tonal values -
| | 01:51 | you now know this as a chart of piles of tiles and the Histogram
tells you everything you need to know about this particular image.
| | 01:58 | So the Histogram palette is organized like
this: On the left are the dark piles of tiles;
| | 02:03 | on the right are the light piles of tiles.
| | 02:07 | And then, of course, the middle would be the midtone or the midtone grays.
| | 02:10 | So if you look at this Histogram, it's kind of telling you that
this image has no contrast and we can kind of see that just
| | 02:15 | by looking at the image itself, but the Histogram verifies it.
| | 02:18 | There are no piles of tiles in the white area of the Histogram.
| | 02:22 | There are very small piles of tiles in the dark part.
| | 02:26 | So again, the Histogram is a much more accurate
way of reading what's going on with your image.
| | 02:31 | This little Warning symbol, here on the Histogram palette,
what that means is that it's not an accurate Histogram yet.
| | 02:37 | It's showing you the Histogram for the
image it has in its cache, in its memory.
| | 02:42 | It's easy to update the Histogram and make sure it's current and accurate.
| | 02:46 | You just click on the little Warning symbol and it updates
the Histograms here, looking at an accurate Histogram.
| | 02:50 | Now, the great thing about a Histogram palette is that you now
have access to the Histogram no matter what dialog box you're in.
| | 02:58 | In previous versions of Photoshop, before Photoshop CS, the only
way you could see the Histogram was go to a specific Histogram window,
| | 03:05 | which you couldn't really do anything to, or in the Levels
dialog box which I'll show you in a different movie.
| | 03:12 | If I were to open up the Brightness/Contrast command -
again this is not something I would use all the time,
| | 03:20 | but it's a good way to illustrate pushing around a Histogram -
and in the Brightness and Contrast movie I was saying
| | 03:26 | if you move the Brightness slider to the right, all the
pixels are going to get brighter by the same amount.
| | 03:31 | And now when you look at the Histogram, it helps you visualize this.
| | 03:35 | The great thing about the Histogram palette is
it gives you an overlay of the before and after.
| | 03:39 | So the Histogram before was this gray screened back version of it.
| | 03:44 | And you'll see as I move that Brightness slider to the
right, the entire stack of piles of tiles is shifting
| | 03:50 | to the right, and it's all shifting by the same amount.
| | 03:53 | So you can use the Histogram to your advantage.
| | 03:55 | You know that once the piles of tiles reach the end of
the right-hand side here of the Histogram palette,
| | 04:01 | that's where things are going to start clipping to absolute white.
| | 04:05 | Right now, if I just take it right up to the
edge, everything is shifting by the same amount
| | 04:09 | but I'm at least not blowing everything or anything to absolute white.
| | 04:13 | In this particular image, if I drag it past 61 here and start
going further now I'm definitely losing detail in the highlights.
| | 04:22 | So I'd want to at least, at a minimum, back this off
until I'm right up against the edge of that chart.
| | 04:30 | Now the Contrast slider in the Brightness and Contrast movie, I was
telling that you were changing the slope of the steepness of this graph
| | 04:38 | and you're either making all the pixels into an extreme same tonal
range or you're trying to separate those out into extreme opposites.
| | 04:49 | So let me show you that.
| | 04:50 | If I move the Contrast slider to the right you'll
see I start introducing gaps in this Histogram.
| | 04:56 | Those gaps mean I'm trying to spread out the tones and introduce
more contrast between, make things more extreme to black and white.
| | 05:04 | If I keep dragging this further, you'll see I get lots more gaps, fewer
tonals overall because I don't have a lot of tonals to work with here.
| | 05:12 | You can't invent new tones with this, you can only
spread them out and change their corresponding contrast. You'll see
| | 05:22 | that I'm condensing the piles of tiles where
all the tiles are merging into the same tone.
| | 05:29 | So again, I'm either spreading tones out to create significant differences
or bringing more contrast, or I'm condensing the tones into a similar stack
| | 05:41 | where everything is going to turn out to be gray and have no contrast.
| | 05:44 | Again, if I spread the Brightness slider to the left
or the right you can see that whole stack moving left
| | 05:50 | or right uniformly or here spreading it out or condensing it.
| | 05:56 | OK. So that's the Histogram palette, very useful as
you're using any of the Image, Adjustment menu commands.
| | 06:03 | So if I went to Curves or the Channel Mixer or
the Shadow/Highlight, any of these that we'll talk
| | 06:11 | about in other movies, if I went to Color Balance let's say.
| | 06:15 | The minute you start touching these sliders, you can actually see
what's happening in relation to the Histogram for the overall image.
| | 06:23 | So, a very handy tool, and that's why I've docked it at the top
of my Layers palette so I can always see what's happening
| | 06:29 | to my image regardless of where I am in the interface.
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| Improving Tonality with Levels| 00:01 | >> So Photoshop has three really powerful tools
in its arsenal for making tonal corrections.
| | 00:06 | That would be Levels, Curves, and something
called Shadow and Highlight or Shadow/Highlight.
| | 00:12 | This movie will cover Levels and we'll cover the other two later on.
| | 00:16 | But the Levels command is under Image, Adjustments, Levels, or the
keyboard shortcut is Command or Control + L. And pretty soon you just kind
| | 00:24 | of memorize those shortcuts, but we'll open up Levels.
| | 00:26 | And if you watched the previous movie you learned
about the Histogram and what this little graph is.
| | 00:32 | This area here is called the Histogram.
| | 00:34 | And to review, that's a chart of the tonal values in your image.
| | 00:37 | The darks here indicated by the black triangle.
| | 00:41 | The whites are highlights indicated by the light
triangle or white triangle and then the midtone grays.
| | 00:46 | These are piles of tiles, it shows you how many, relatively, how
many pixels in the image fall under those particular tonal values.
| | 00:53 | So you can see in this image that it has no true white value.
| | 00:58 | And it has only a few pixels that are truly black.
| | 01:02 | And then there's a big spike here at the quarter tones
or halfway between the midtones and the highlights.
| | 01:09 | So the way Levels work or the way you should use Levels to adjust an
image, is you use it to establish a true black and a true white point.
| | 01:15 | So you're increasing contrast in the process.
| | 01:17 | So you can press on the white triangle and drag
it toward where the piles of tiles actually begin.
| | 01:23 | Now, if I drag it here to 220 let's say, I basically said,
"Photoshop, everything that's 255 to 220, I want you to go to 255."
| | 01:32 | You're establishing a white point.
| | 01:34 | Now the great thing about this is that it's non-linear
as opposed to Brightness/Contrast, which is linear.
| | 01:40 | And what I mean by this being non-linear is that adjusting the
white point here had no effect on the shadows in the image.
| | 01:46 | Or the shadow point.
| | 01:48 | So I'm able to control the highlights
independently of the shadows and vice versa.
| | 01:53 | This is also not as destructive as Brightness/Contrast, because there's
hardly any pixels, actually there's no pixels in here between 250 and 220,
| | 02:02 | so you might be asking if there's no pixels between 250 and
220, why is the image changing as I move that white slider?
| | 02:08 | And the answer is because if you pay attention,
you'll see that the gray slider is moving as well.
| | 02:13 | This is your midpoint.
| | 02:15 | Your middle gray point.
| | 02:16 | And this is always trying to establish the
middle gray point between black and white.
| | 02:21 | So if I move the black slider, the gray slider will
move as well as does it with the white slider.
| | 02:27 | So, that's why even though if I'm moving between here
where there's technically no pixels in that tonal range,
| | 02:32 | I'm still seeing an adjustment because it's adjusting the midtone as well.
| | 02:35 | So when I get to 220 I can start deciding OK, there are a few pixels
in this tonal range, what happens if I push them to absolute white,
| | 02:43 | because that's what you're doing where you move within the piles of tiles.
| | 02:47 | Move inside that, you're basically saying some
of these pixels are going to go to absolute white.
| | 02:52 | Now because there's very few pixels in this
range, it's not a very destructive change.
| | 02:58 | So you can decide to go maybe where the
pixels actually start to begin in quantity.
| | 03:01 | So maybe more like 196 on this particular image.
| | 03:04 | Now, if I go too far to the left here, I'm really
going to start seeing detail blowing out to white quickly.
| | 03:10 | I'm basically saying all these pixels
here, there's no detail there anymore.
| | 03:15 | It's all just white.
| | 03:17 | So I might want to back off there.
| | 03:18 | So as this point it's not right or wrong to go into the piles of tiles.
| | 03:22 | You just now need to make the editing
choice that that's what you want to do.
| | 03:26 | So I'm going to leave it here about 195.
| | 03:28 | Same thing on the black side now.
| | 03:30 | I would want to move this to establish a true
black point to add contrast back on the dark ends.
| | 03:35 | You can see that there are a few pixels
here that are already absolute black.
| | 03:39 | I'm going to go ahead and negate those and ignore them.
| | 03:43 | Until I get the contrast back up to the level I want.
| | 03:46 | So I'm going to go right about Level 10, let's say.
| | 03:49 | You gotta remember I'm not just adjusting the
shadows, the midpoint is also getting darker
| | 03:54 | when I move the black slider because it's
establishing a new midpoint as well.
| | 03:57 | And I can always move that back after I've moved the black slider,
but I want to, just, clip the low end here or the high end here.
| | 04:04 | Now that I've got a black and a white plane established, I can
click on the Preview checkbox, turn it off, to see the before.
| | 04:11 | And you can see it's quite a difference.
| | 04:12 | It's like I took a rag and wiped away a film from the image.
| | 04:15 | And that's simply by just adjusting it to a true black and a true
white and having the gray tone, the middle point, adjust automatically.
| | 04:23 | Turn that back off.
| | 04:24 | There's the before.
| | 04:25 | Turn that back on, there it is adjusted.
| | 04:28 | Now I can decide if I want the midtones to be lighter or darker.
| | 04:31 | So I can move the middle slider.
| | 04:33 | If I move it to the right, the image is going to get darker,
because that means there's more dark tones on the left
| | 04:38 | of the slider than there are light tones on the right.
| | 04:42 | So, that's why the image gets darker when you move it right.
| | 04:44 | If you move it left, then the midtones are getting lighter.
| | 04:48 | So you just make an adjustment.
| | 04:50 | So I'm going to do it to about 1.2 here.
| | 04:52 | And I can use my Arrow keys in the fields here, so if I want to
get granular and specific, the tab will move from field to field
| | 05:00 | and let you use your Arrow keys then to adjust it.
| | 05:04 | Little by little.
| | 05:05 | So, I think that's good.
| | 05:06 | Ten, 1.2 and 195.
| | 05:08 | And go ahead and click OK.
| | 05:10 | And you'll see that the Histogram is now adjusted.
| | 05:12 | You know, I've shifted it over to the
right and I've opened up those midtones.
| | 05:17 | So, if I do an undo, Control + Z or Command + Z, pay attention
to the upper right-hand corner of your screen here,
| | 05:25 | and you'll see the Histogram was opened up, it
got a little wider on the stacks of piles here,
| | 05:30 | and it also got shifted to the right to make the image brighter.
| | 05:35 | And that's pretty much how Levels works.
| | 05:37 | Let's go ahead and open up another image here.
| | 05:40 | And show you another variation of it.
| | 05:44 | Take this in the full screen.
| | 05:45 | Just press the letter F. We'll zoom up, Control + Plus here.
| | 05:49 | And again, this is an image that has a bit more
contrast but you can see by looking at the Histogram,
| | 05:54 | there's no true black, there's not a lot of pure white.
| | 05:58 | Just in the very, very highlights of the water here.
| | 06:03 | So, again, to correct this image I would go to Image, Adjustments, Levels.
| | 06:08 | I would want to establish a true white point.
| | 06:12 | Maybe bring it up to about 235.
| | 06:15 | Bring the black slider in, just a touch, maybe to about 10.
| | 06:19 | And then I can do a midtone adjustments to open or close them.
| | 06:23 | So, if I make it just a little brighter, you can especially
see it here on the sand underneath the very shallow water here.
| | 06:30 | You can see those tones changing and opening
up, you can see a little bit more detail.
| | 06:34 | So I just have to decide how much contrast I want in midtones.
| | 06:38 | And again, I'm going to go to that 1.2.
| | 06:39 | Here's my before, by turning off the Preview checkbox.
| | 06:43 | And there's after.
| | 06:45 | So, the darks have gotten darker, the brights have gotten
brighter, and the midtones have opened up a little bit.
| | 06:50 | And, I'm improving the overall contrast of the image.
| | 06:52 | Click OK.
| | 06:53 | And again I'll do my before and after.
| | 06:55 | There's before.
| | 06:56 | And there's after.
| | 06:57 | Again, there's no real right or wrong here, it
just depends on how your want your image to look.
| | 07:01 | And just to note what happened to the Histogram, here's
the original Histogram, and there's the after Histogram.
| | 07:08 | It actually, this is the original Histogram,
and that's the after Histogram.
| | 07:11 | So I've spread it out and established a true dark and a true light.
| | 07:16 | So that's Levels, and hopefully that gives
you a better understanding of one
| | 07:20 | of the first tools you should consider using when doing tonal adjustments.
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| Using the Auto Contrast Command| 00:01 | >>One thing you can try when you're trying
to correct the contrast of an image is
| | 00:05 | to use Photoshop's Auto Contrast command
under Image, Adjustment, Auto Contrast.
| | 00:10 | And this essentially is going to be moving the
black and white sliders in the Levels dialog box
| | 00:15 | to where the piles of tiles begin, in quantity, automatically for you.
| | 00:19 | Now, before I actually show you this command, I'm going to go
ahead and duplicate this document and do a comparison of doing it -
| | 00:25 | a Levels Adjustment - manually, versus using Auto Contrast.
| | 00:28 | So to duplicate an image you can go to the Image menu,
choose Duplicate, and we'll go ahead and click OK.
| | 00:34 | Now I've got two versions of this document and we'll go
ahead and tile these windows, so under Window, Arrange,
| | 00:41 | Tile Vertically and I'm going to Match Zoom and Location on these.
| | 00:45 | So I like the zoom percentage and location on this image on the
left so we'll go to, Window, Arrange, Match Zoom and Location.
| | 00:53 | Now they're both the same.
| | 00:54 | OK. So we got these two images side by side.
| | 00:57 | On the one on the left, we're going to do a manual levels adjustment like
we did in the previous movies, so we'll go to Image, Adjustments, Levels.
| | 01:04 | And we move the white slider in to about 196.
| | 01:09 | We made a decision to move the black slider in to make
it a little bit darker contrast in the shadows as well,
| | 01:14 | and then I moved the middle slider to about 1.2. Go ahead and click OK.
| | 01:19 | So there's that image. The one on the left is our manual adjustment.
| | 01:23 | The one on the right we'll just use the
Image, Adjustments, Auto Contrast command.
| | 01:28 | You see I got some of the results but they are
slightly different, especially in this darker corner.
| | 01:34 | I'm going to grab my Scroll tool, my Hand tool, and turn on the Scroll
All Windows option and we'll pan both these windows at the same time.
| | 01:41 | And hopefully you're seeing that this corner is a little bit darker than it
is on this corner; this area up here is a little bit brighter than it is
| | 01:48 | up here; and then there's a couple of differences there.
| | 01:52 | The reason that Auto Contrast is different is that it's making a very
calculated decision about where to move the sliders that are based on math,
| | 02:00 | whereas in this image on the left, we did it manually based
on the visual feedback we were getting from the image.
| | 02:06 | So now that's not exactly the same
as doing a levels adjustment yourself,
| | 02:10 | it has to do with some automatic adjustments. It's basically just
making a decision based on where the piles of tiles begins.
| | 02:16 | So in this case, the Auto Contrast command
would not have touched the black slider
| | 02:22 | because there were already some pixels over
on the left-hand side of the Histogram.
| | 02:27 | So if I were to undo this - Edit, Undo Auto Contrast, you'll see
that the black slider already has some significant pixels there.
| | 02:34 | So it did not move that slider in, and it
did not touch the midtone adjustment either.
| | 02:38 | It's only adjusting the middle, the dark and the light, if
they can be moved, or what Photoshop thinks they can be moved.
| | 02:45 | So that's why we did get a significant difference between the two.
| | 02:48 | So I teach you about Contrast.
| | 02:50 | Try it. If you like the results, then you're done.
| | 02:53 | If you're not happy with the results, then you can simply undo it and go do
it manually by opening up the Levels dialog box and moving the sliders
| | 02:59 | to the positions that are better aligned with your tastes.
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| Improving Tonality with Curves| 00:00 | So, when I teach Photoshop classes I get a lot of questions
about whether or not people should be using Levels
| | 00:05 | or Curves to do image adjustments or tonal corrections.
| | 00:08 | And, I always begin by teaching people Levels.
| | 00:11 | That's why that movie came first in this chapter.
| | 00:14 | And, just as a review: Levels, there's three control points.
| | 00:18 | There's shadows, highlights, and midtones.
| | 00:21 | The tonality information is represented on a horizontal
grid, a horizontal plane, with the shadows on the left,
| | 00:27 | and the highlights on the right and the midtones of course in the middle.
| | 00:30 | And, you have the nice benefit of having the
Histogram directly in the Levels dialog box.
| | 00:34 | Now, for years this is why I always taught Levels first because when
you go to the Curves dialog box under Image, Adjustment, Curves,
| | 00:43 | you don't have the Histogram inside this dialog box.
| | 00:46 | Now that the Histogram palette is indeed its own palette, and
it can be open no matter what dialog box you have open,
| | 00:53 | that makes Curves a lot more viable for beginners
to understand because you have the benefit of having
| | 00:57 | that friendly Histogram, or piles of tiles available for you.
| | 01:00 | Now, I think the reason why Curves can be a little
bit intimidating for beginners, or even still me -
| | 01:06 | I mean, I'm still freaked out by Curves - is just that it's a very
unusual way to represent an image if you're not math inclined,
| | 01:15 | or if you're a little bit more visual rather than analytical.
| | 01:18 | But, basically they've taken Levels, which
is horizontal, and put it at an angle.
| | 01:23 | OK? With the darks at the bottom, and the lights at the top.
| | 01:27 | And, then of course, your midpoint would still be in the middle.
| | 01:30 | So, the major difference between Curves and Levels is that they've
taken the Histogram horizontal orientation, put it on an angle,
| | 01:38 | and then instead of giving you just three control points, give
you the ability to see up to 16 different control points.
| | 01:46 | So, for instance, if I wanted to replicate what I wanted to do in
the Levels command, I could click a point in the middle of this grid
| | 01:54 | and now I have a shadow point, a highlight point, and a midtone point.
| | 01:59 | And, moving this midpoint up or down is the same thing
as moving the middle slider in Levels left or right.
| | 02:08 | OK? So, if I move it to down and to the right
it's as if I was moving that middle slider
| | 02:14 | in Levels to the right, therefore making the midtones darker.
| | 02:18 | If I move it up and to the left it's as if I grabbed that middle slider
in Levels and moved it to the left, making the image brighter in the midtones.
| | 02:25 | OK? So, just placing a point by clicking right on that line
| | 02:30 | and adding a control point I basically have
Levels here just in a different representation.
| | 02:35 | What you can't do in Levels is then click additional points.
| | 02:39 | So, if I wanted to do just a three-quarter tone adjustment I could click a
point right here and make an adjustment just between this range of tones.
| | 02:47 | Now, you can really start screwing up
an image really quickly by doing this.
| | 02:50 | But, if you do just modest tweaks, I can do just a slight
adjustment in three-quarter tones to maybe add some contrast there,
| | 02:57 | but smooth that out back to the midpoint and
then leave the highlights relatively untouched.
| | 03:03 | So, just gives you the ability to have much
more flexibility on in between tone adjustments.
| | 03:09 | I can do three-quarter tones and so forth.
| | 03:10 | If I wanted to adjust the highlights between the absolute white
and the midtone gray I can do that again just by tweaking the curve
| | 03:18 | and having it smooth out between the two points that I've done.
| | 03:22 | So, I mean you can do really crazy things by
continuing to add multiple control points here.
| | 03:27 | Sometimes this is necessary.
| | 03:28 | Sometimes it's just, you're doing special effects at that point.
| | 03:31 | As a general rule, if you want to reset any dialog box in
Photoshop, you want to just get rid of any of these control points,
| | 03:37 | I can just hold down the Alt key or the Option key in
the Mac and the Cancel button will turn in to Reset.
| | 03:42 | So, I can click the Reset button and just be back to where I started.
| | 03:45 | Now, if I wanted to move the white slider, the equivalent of what I did
in Levels, so if I wanted to move the white slider as if I were moving it
| | 03:53 | to the left, like in Levels, I would basically do the same thing.
| | 03:57 | I'd drag that control point for the highlights and drag it left.
| | 04:01 | Now, I don't know if you remember from the previous
movie, but on this particular image we drag
| | 04:05 | that white slider and levels to 196, and there it is.
| | 04:09 | It's the exact same thing.
| | 04:11 | And, if you look at the Histogram palette, the Histogram
is exactly the same as if I had done this in Levels.
| | 04:17 | What I had done in Levels before is I had moved the black
slider to 10, and sometimes it jumps to specific amounts.
| | 04:24 | You can always override that and click on that and say 10.
| | 04:26 | And, this is as if I moved the black slider
and levels to the right to level 10.
| | 04:31 | And then, if I wanted to make a midtone adjustment
further to open up the midtones, I could open the midtone
| | 04:37 | and drag that up as much as I wanted to open up the midtones there.
| | 04:41 | So, again it's really the same thing as
Levels just with more control points.
| | 04:46 | It's a different representation of the total information.
| | 04:50 | I know a lot of geeks, or a lot of power users,
think that they're supposed to use Curves.
| | 04:53 | It doesn't really matter.
| | 04:55 | It's just whatever you want.
| | 04:56 | If you want more control, and want to do in between
tonal corrections, then Curves is your tool of choice.
| | 05:02 | Otherwise, anything you can do in the default of
Curves you can do in Channels or in Levels as well.
| | 05:09 | And, it really doesn't matter which one you use.
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| Creating an "S" Curve to Boost Contrast| 00:00 | >>Another thing that Curves is really useful
for is to make your images really pop.
| | 00:05 | A lot of us are kind of in love with our images being
really saturated and really having a lot of nice contrast.
| | 00:12 | So here's an example of an image that actually looks pretty
great already, but if you want to give it that extra little pop,
| | 00:18 | you can use something called an S Curve to
increase the contrast and boost the saturation.
| | 00:23 | To create an S Curve, you go to the Image, Adjustments,
Curves, and by S Curve, you're creating a shape on the graph
| | 00:31 | that resembles an S. I usually do it by clicking at the three-
quarter tone for the Shadow and the three-quarter Highlight
| | 00:38 | as well, and just clicking the points there to start there.
| | 00:41 | And then you can click and drag the curve up or down, but
I tend to use these preset numbers as starting points.
| | 00:49 | So I want the three-quarter highlight to be slightly higher contrast.
| | 00:52 | So I'd want to increase the curve up so I'm
going to make that number 196, just slightly.
| | 00:59 | And then I can click on the shadow three-quarter tone that I
put there and I wanted that to be at 64, and make the output 59.
| | 01:10 | So I'm just taking it five levels down in the Shadows and five levels
up in the Highlights, and we'll show you the before and the after.
| | 01:18 | And you may not see that significantly on the video, but if you open up the
image, if you have the exercise files that go with this movie and are able
| | 01:26 | to do that, then you can probably see that even better.
| | 01:29 | But you should hopefully see some bit of boost;
especially take a look at the contrast in the leaves here.
| | 01:35 | How the flowers themselves look really, really
nice and they're popping, initially, already.
| | 01:41 | But the leaves themselves look a little flat.
| | 01:43 | If I turn on the Preview again to see the after, you can see that
we've increased the contrast there because of this little S Curve.
| | 01:50 | Now this is just a very modest S Curve enhancement,
so go ahead and click OK - there's before.
| | 01:56 | So I'm going to close this file and go open a different
file here and do a little bit more of an extreme curve.
| | 02:05 | Again, overall the image isn't looking all
that bad, it looks pretty good actually,
| | 02:10 | but it does look a little bit flat in those three-quarter tone areas.
| | 02:14 | So again, we're going to go to Image, Adjustments, Curves
or Control or Command + M - that's a keyboard shortcut -
| | 02:20 | and you'll see by default it goes back to just a flat curve.
| | 02:25 | I'll show you a trick here, going to Cancel that.
| | 02:27 | If the keyboard shortcut is Control or Command + M, if you add Option on
the Mac or Alt to it, so Control + Alt + M or Command + Option + M on the Mac,
| | 02:36 | it reopens the Curves dailog and displays the last curve
you used so you can see there's that modest curve again.
| | 02:44 | So I'm going to click on the control point that I had chosen earlier.
| | 02:49 | And you'll notice that if you try to click on a curve point sometimes
you can accidentally miss and end up moving the curve at the same time.
| | 02:57 | So here this was at 191 moving to 196 but if you just
don't get it quite right, you actually end up moving it.
| | 03:03 | So I'm going to show you a workaround for that.
| | 03:05 | So I'm going to cancel this.
| | 03:06 | Again Control + Alt + M or Command + Option + M to reopen the dialog.
| | 03:10 | You can also do it with the menu if you just hold down the Option
key on the Mac or the Alt key before you go choose the command.
| | 03:16 | So Option is held down or Alt is held down and then choose
Curves again and it reopens it with the last curve you used.
| | 03:23 | Rather than trying to click on that point, if you hold down the
Control key and that's both on the Mac and the PC, the Control key,
| | 03:30 | and Control + Tab, that will navigate you from control point to control point.
| | 03:35 | So you see here I have the shadow control points to 0.
| | 03:38 | Control + Tab again, and now I've gotten that other control point selected
and I haven't accidentally moved it so that's kind of a nice trick.
| | 03:45 | So I'm going to boost this and make this a
little more severe, so here's before, here's after.
| | 03:49 | And it definitely looks better, but
I think it could use even more punch.
| | 03:53 | So I'm simply going to just take this down another
five levels so instead of 59, we'll make it 54,
| | 03:58 | making it ten levels darker. Control + Tab to the next control point of -
instead of 196, we'll make it 201 to increase the contrast there.
| | 04:09 | So there's before and there's after.
| | 04:11 | So just using the steeper S Curve by making
the three quarter tone shadows even darker
| | 04:16 | and making the three-quarter tone highlights even brighter,
I've got even more contrast and even more saturation.
| | 04:22 | Now for one, I can just screw around and make this even more
severe by making a much more shapely S. And you can see
| | 04:30 | within reason I'm increasing the contrast
and the saturation of the overall image.
| | 04:35 | Go ahead and click OK on that.
| | 04:37 | So there's the before and there's after, just getting
that additional punch and nice saturation of colors.
| | 04:44 | Let's go ahead and close this.
| | 04:47 | We'll do this one more time but this time
I'm going to do something slightly different.
| | 04:52 | And remember in an earlier movie I was talking
about, do I use Levels or do I use Curves.
| | 04:57 | Well, sometimes you use both in conjunction
with each other at the same time.
| | 05:02 | So here's the original image, this koi fish here taking in the water.
| | 05:05 | We're going to open up Levels - Control + L or
Command + L or Image, Adjustments, Levels.
| | 05:10 | And we're going to do the typical Levels adjustments, where
we want to establish a true white point, maybe 225 here, 226,
| | 05:19 | establish a true shadow point, maybe a level ten - good - and then maybe
open up the midtones just a little bit. I'll give it a 1.2, and click OK.
| | 05:30 | Now, I did the best I could there with Levels because I only had
three control points. But now I want to adjust the three-quarter tones,
| | 05:37 | the shadow, and the three-quarter highlight,
again, to give this just a little bit more pop.
| | 05:41 | So again I'm going to go back to Curves and
that's Control + M or Command + M on the Mac.
| | 05:47 | And because I didn't hold down the Option or Alt
key, I just get back the default, flat curve here.
| | 05:52 | Again, I'm going to click a point at the three-quarter tone shadow
and the three-quarter tone highlight and then just boost these,
| | 05:58 | so I'll make this 201 and then I'll Control + Tab or Control + Tab
on both platforms and where this is 64, I'll make that 54.
| | 06:10 | You'll see the before and the after.
| | 06:12 | So again, just taking what was a really nice improved image but
just making just that one step further by punching up the contrast
| | 06:20 | in those three-quarter tone highlights and shadows with an S Curve.
| | 06:22 | So there, I used Levels and Curves together to get a better-looking image.
| | Collapse this transcript |
| Shadow/Highlight is Your Friend| 00:01 | >> Now when you've got an image like this
that's got more than one problem on it,
| | 00:04 | it's not just an easy fix to open up Levels
and do a tonal adjustment there.
| | 00:09 | And what I'm talking about is if, obviously
you look in the shadow area and it's all dark there,
| | 00:13 | and you don't see a lot of the fence detail and the flower detail, well we're
going to have to do such an extreme adjustment to open the shadows up here,
| | 00:21 | that there's a good chance that we'll be affecting
other parts of the image that we don't want affected.
| | 00:25 | So, whenever you end up having to do that, you usually have to
create either a selection before you go use the Levels command
| | 00:32 | or you end up having to mask the results
of the global correction you made,
| | 00:37 | so that would be just local to the area that you wanted to actually affect.
| | 00:40 | So, if I were going to do this the old-school method, I
would go to Image, Levels, and open up that adjustment.
| | 00:49 | But that would be doing it to the original layer and
I wouldn't be able to mask off the results of that.
| | 00:53 | So what I am going to do first is I am going to duplicate
this original Background layer by dragging it
| | 00:58 | down to the New Layer icon at the bottom of the new Layers palette.
| | 01:00 | It's now called Background copy, so we'll go ahead and rename this.
| | 01:03 | Let's call it Levels.
| | 01:04 | And then we'll go to Image, Adjustments, Levels.
| | 01:07 | And we'll open up the shadows here by dragging
that left middle gray slider to the left,
| | 01:16 | and you can see all that nice shadow detail
starting to appear which is good.
| | 01:20 | When you look at the sidewalk and you look at the
grass, and those areas are definitely changing.
| | 01:25 | This area here is getting too bright as well.
| | 01:28 | So, and I had to do such an extreme adjustment, you know
2.85 from the starting point of 1 that, of course,
| | 01:34 | other areas are going to get affected in a negative way.
| | 01:36 | So at this point I would click OK.
| | 01:38 | You know, because it's a layer.
| | 01:39 | I can turn that on and off to see the before and after.
| | 01:43 | And because it's a layer, I can create something called a Layer Mask.
| | 01:46 | We'll cover layers and masking in another chapter, but for now, I'll
just click on the Add Layer Mask button, and I'll get my Paintbrush tool
| | 01:54 | by typing letter B, use a nice, big brush, and I'll
paint out the area that I didn't want to have affected.
| | 02:02 | So, maybe this fence over here.
| | 02:04 | Now that's a little bit too dark, still, so I'll undo that and start
with a 50 percent opacity brush just by typing the number 5.
| | 02:13 | And so I can paint back that fence in at
not so bright from where it got adjusted to.
| | 02:19 | And the shadow detail is staying because I opened that up.
| | 02:22 | OK. So, basically, it's not that this is all that
complicated or too much work; it's just that I have to do additional work
| | 02:31 | because only a portion of the area needed to be adjusted.
| | 02:35 | Or, it needed to be adjusted differently than the rest of the image.
| | 02:38 | So, let's go back to the Background layer.
| | 02:40 | We'll turn off the Levels layer.
| | 02:43 | And, to do a comparison, what we're going to use is
a command called Shadow and Highlight instead.
| | 02:47 | We are going to go ahead and duplicate this layer
again, and we'll name this one Shadow Highlight.
| | 02:54 | It's located under the Image menu, Image, Adjustments, Shadow/Highlight.
| | 02:59 | Once you've seen this feature, and used it a couple times,
you'll probably find that you'll end up using it a lot.
| | 03:05 | And you'll probably want to assign a keyboard
shortcut to it using the Keyboard Shortcut Editor.
| | 03:08 | But for now we'll just use Shadow/Highlight.
| | 03:10 | And when you open it up to the first time, it'll be drawn like this.
| | 03:15 | You'll just see a very simple dialog box, with two sliders,
a Shadows Amount slider and a Highlights Amount slider.
| | 03:21 | So if I drag the Amount for Shadows, you'll see I'm opening up
the shadows, but you see what's kind of tricky about this is
| | 03:29 | that Photoshop is basically creating a mask for you on the fly.
| | 03:34 | You'll see that this part of the fence is not getting
adjusted like it did when you were using Levels.
| | 03:39 | It knows to only adjust the shadow portions of the
image, and leave the midtones and highlights alone.
| | 03:45 | So, I'm able to do this custom adjustment here, without having
to go back and add a Layer Mask and paint out the effect.
| | 03:51 | And the areas that got affected that I didn't want to.
| | 03:53 | So it's kind of nice.
| | 03:54 | I've also got a separate slider for Highlights.
| | 03:55 | So I can click on that.
| | 03:58 | And, dampen them down just a bit if they're too hot.
| | 04:01 | So independent control over both of those.
| | 04:03 | Now if I click OK, there's before.
| | 04:08 | Obviously too dark.
| | 04:09 | And there's after.
| | 04:10 | And you can see I had a lot more flexibility and
control without having to do all the masking.
| | 04:16 | So, Shadow/Highlight, great useful feature.
| | 04:19 | Let's close this document, and we won't
save changes, and move back to this one.
| | 04:25 | This is a different document with the same kind of issue.
| | 04:28 | And just like in the previous chapter we talked
about using levels in conjunction with an S Curve,
| | 04:34 | we'll do that here as well.
| | 04:35 | We're going to use Shadow and Highlight to open up my wife's face here.
| | 04:40 | Obviously too dark.
| | 04:41 | And we want to bring back the brightness of their expression here.
| | 04:45 | And then we'll do an S Curve to bring up the
contrast and boost the color saturation as well.
| | 04:50 | So with this image, we'll use Shadow/Highlight again,
but we'll also use an S Curve in conjunction with it,
| | 04:55 | just like we did in a previous movie by doing a Contrast adjustment,
| | 04:59 | boosting the color saturation and the contrast by
adding an S Curve once we did a levels Adjustment.
| | 05:04 | Here we'll do the same thing after we've
done a Shadow/Highlight adjustment.
| | 05:07 | So we'll begin by duplicating the layer,
drag it down to the New Layer icon here.
| | 05:11 | And we'll rename this and call it Shadow Highlight.
| | 05:17 | Good. Under Image, Adjustments, Shadow/Highlight,
and again, we're just going to use that Amount slider.
| | 05:25 | And the Highlight slider just a little bit.
| | 05:28 | Now, I'm going to get some more options here
by clicking the Show More Options checkbox.
| | 05:32 | Always nice when it is easily labeled or easy to understand.
| | 05:36 | And you've got Tonal Width and Radius for each, Shadows and Highlights.
| | 05:40 | What this allows you to do is adjust exactly which
range of tones are going to get brighter in the shadows,
| | 05:46 | or which range of tones are going to get darker in the highlights.
| | 05:49 | So I'm just going to expand that a little bit.
| | 05:51 | And what you want to watch out for is areas getting kind
of posterized or looking a little bit glowy, so to speak.
| | 05:58 | So I can just increase the Radius until it looks a little bit more natural.
| | 06:02 | And that's looking much better.
| | 06:04 | Good. And then for the midtone contrast, I can
increase the contrast there as well just a touch.
| | 06:11 | I might just leave that as a modest 10.
| | 06:15 | And I'll leave that alone.
| | 06:16 | Good. So, this is looking a lot better, there's before, there's after.
| | 06:20 | And again, it was able to just do that correction without having to build
a mask after the fact, after I did a global Levels adjustment instead.
| | 06:27 | Let's go ahead and click OK.
| | 06:29 | And now we'll open up Curves, Control + M or Command + M on the Mac.
| | 06:35 | And we'll boost the three-quarter highlights up
a little bit and take the three-quarter shadows
| | 06:41 | down a little bit, just to increase the contrast in those areas.
| | 06:46 | And you can see there's before, looked a little flat.
| | 06:48 | There's after.
| | 06:49 | So even after Shadow and Highlight, I went back and touched it up
with an S Curve just to increase the overall punch of the image.
| | 06:55 | Click OK.
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|
|
12. Basic Color CorrectionRemoving a Color Cast with Auto Color| 00:00 | As you can see this image has an obvious color cast to it.
| | 00:04 | That's something that can happen if you're not paying
attention to the white balance setting on your digital camera,
| | 00:09 | and setting it for the appropriate lighting
conditions that you're shooting in.
| | 00:13 | So, for instance; if you're shooting outdoors
you can tend to get a blue cast,
| | 00:18 | or especially under incandescent lightbulbs
you can get a yellow cast, and so on.
| | 00:22 | Well, Photoshop has a number of ways to
neutralize an image, remove the color cast.
| | 00:27 | And, the first thing you can try to do is to
actually use something called the Auto Color command.
| | 00:32 | That is located under the Image menu, Image, Adjustments, Auto Color.
| | 00:38 | It actually happens to have its own keyboard shortcut, Command + Shift + B,
or Control + Shift + B. I'm going to go ahead and choose the Auto Color command,
| | 00:44 | and you can see just that one menu command automatically
neutralized this image, and removed the color cast.
| | 00:50 | So, here's before.
| | 00:51 | I'm just going to undo, Control + Z. There's before, and then here's after.
| | 00:56 | What I thought I'd do here is actually show you
what Auto Color is actually doing behind the scenes.
| | 01:01 | So, let's undo this, and what we'll do is we'll open up
the Levels dialog box, Control + L or Command + L. And,
| | 01:09 | what we're going to do is look at the individual channels on this image.
| | 01:14 | Now, in the Levels movie that I did earlier, I was
working on the composite RBG channel using these sliders,
| | 01:23 | but you can also go in the individual channels, the Red channel, the
Green channel, and see a Histogram for each one of the channels by itself.
| | 01:30 | What I'm going to do for each of the Red, Green, and Blue channels, is I'm
going to move the sliders in to where the piles begin in large quantity.
| | 01:37 | So, for the Red channel, take the shadows to three and the highlights to 205.
| | 01:42 | I'm going to leave the midtone triangle alone for right now.
| | 01:45 | Then I'll go to the Green channel and do the same thing.
| | 01:48 | We'll bring that to, let's say level 10.
| | 01:51 | We'll bring this to level 240.
| | 01:54 | And, we'll do that for Blue as well.
| | 01:56 | So, essentially setting the black and white points, or shadow and
highlight point, for each of the individual channels separately.
| | 02:05 | And then, what we're going to do is go back to the middle sliders for each
individual channel to remove the remaining color from the midtones.
| | 02:15 | What I might want to do is take a look at a particular area in an
image and watch what's happening to it as I adjust these sliders.
| | 02:23 | So, I've got my Eyedropper tool, as when I move out
of the dialog box my cursor turns to an eyedropper.
| | 02:29 | And, you can see the Info palette in the upper right-hand corner.
| | 02:32 | It's updating and showing me the numbers.
| | 02:34 | There's two sets of numbers here when you read the RGB sliders here.
| | 02:40 | The first number is the original value and the second number
| | 02:43 | after the slash is what the value is being
adjusted to currently in the Levels dialog box.
| | 02:49 | And, what you can do is when you're in the Levels and you put your
cursor in the image, if you Shift + click, hold down the Shift key
| | 02:56 | and click on a portion of the image, you'll set what's called a Color
Sampler, and then it doesn't matter where you move your mouse in the image,
| | 03:04 | the number 1 here, the number 1 RGB is giving me a
specific readout of that particular area in the image.
| | 03:12 | If an image is going to be neutral, the midtones
are going to not have a color cast in them,
| | 03:17 | then the RGB values for that particular area
would be the same, or close to the same value.
| | 03:23 | So like all 124, 124, 124, or so forth.
| | 03:28 | So, if you look at the color sample for number 1 here.
| | 03:31 | The values for the Color Sampler you'll
see is 124 red, 153 green, 134 blue.
| | 03:37 | So, there's a significant more amount of green than any other color.
| | 03:41 | And so, what I'm going to do with the blue is move that blue
slider until it comes closer to an in between number.
| | 03:49 | So, I'm going to make it like 138.
| | 03:51 | I'll go to green, the Green channel and
drag that slider left or right until it goes
| | 03:58 | to the direction I'm looking for, so 139, 138, as close as I can get it.
| | 04:03 | And, same thing with red.
| | 04:04 | I'll go to the Red channel and move that the
appropriate direction until it gets to 138.
| | 04:11 | You can see by making that one reference
area the same for the midtone adjustment
| | 04:16 | for each individual channel, I'm making the RGB values the
same, I'm neutralizing the image and removing the color cast.
| | 04:23 | That essentially is what Auto Color did for you automatically.
| | 04:26 | It looked at each individual channel, found the dark and light point
for each one, moved the black and white slider to those points,
| | 04:33 | and then adjusted the target midtone to a neutral
gray or a neutral value to remove the color cast.
| | 04:40 | Many times that's going to work out just great.
| | 04:43 | You try the Auto Color command and it looks beautiful.
| | 04:46 | Other times, you need to make visual decisions about
the end result because the mathematical approach
| | 04:53 | that Photoshop is using is going to give you a
different aesthetic than you're looking for.
| | Collapse this transcript |
| Adjusting the Auto Color Settings| 00:01 | In this movie I wanted to show you how to tweak the
settings that the Auto Color command is actually using
| | 00:07 | to evaluate an image and then remove the color cast.
| | 00:11 | If I open up the Levels...Actually, before we do
this we're going to go ahead and duplicate this image.
| | 00:15 | I'll just drag the Background layer down to the New Layer icon down
at the Layers palette, so we'll end up with two versions of this.
| | 00:21 | I'm going to name this Default AutoColor.
| | 00:29 | And, I'll name this Adjusted AutoColor.
| | 00:35 | And then, turn this top layer off just by clicking on its Eye, and we'll
select the Default AutoColor and just use that command again.
| | 00:41 | So, Image, Adjustments, Auto Color,
| | 00:44 | and it does its thing.
| | 00:46 | An area I want you to pay attention to in this
image as we do a comparison is right here.
| | 00:50 | As a matter of fact, I'm going to set a
Color Sampler to take a look at that area.
| | 00:54 | I'm going to go to the Eyedropper tool, press
on it, and choose the Color Sampler tool,
| | 00:58 | and then I'm going to click right on that
bright spot there for a color sample.
| | 01:03 | And then, it shows me that it's 255, 253, and 255 for the RBG values.
| | 01:09 | I'm going to go ahead and turn on this top layer
again and you can see in that area it's -
| | 01:13 | in the original it's 195, 236, and 192, so obviously a lot of green there.
| | 01:19 | I'm going to go ahead and open up the Levels command, Control + L or Command +
L on the Mac, and under the Options for the Levels command is
| | 01:28 | where you can set the Auto Color Correction Options, the
settings that is being used when you actually run the command.
| | 01:34 | And, what we want to do is change the default Target Colors for
the Shadows and the Highlights, specifically the Highlights as well
| | 01:42 | because if you click on the Highlights you see that right now
| | 01:45 | when you use the Auto Color command it's finding the brightest
point in the image and setting it to be absolute white.
| | 01:52 | Now, you really don't want to have that happen because
even in a bright area of an image you want some detail.
| | 01:58 | You want some levels of gray.
| | 02:01 | The only portion of an image that should be truly absolute
white would be something like a specular highlight
| | 02:06 | like a glint off a piece of chrome, or something like that.
| | 02:08 | So, what we're going to do is change these default values
for the Auto Color command for the white value here.
| | 02:16 | And, I'm just going to tell you what the CMYK values are.
| | 02:20 | It just happens to be the ones I've memorized.
| | 02:21 | You can memorize the RGB values to use as well, but 5, 3, 3, and 0.
| | 02:27 | And, I'm just hitting the Tab key to go from field to field here.
| | 02:31 | I'm setting it to 5, 3, 3, and 0 which gives me corresponding RGB values.
| | 02:36 | Now when I use the olive color command the brightest point
in the image is not going to be blown out to absolute white.
| | 02:41 | It's going to still have some level of detail in there.
| | 02:44 | So, these are more appropriate default settings for the highlight.
| | 02:47 | We're going to go ahead and click OK.
| | 02:48 | We're going to do the same thing for the shadow details.
| | 02:50 | We're going to tweak it just slightly.
| | 02:53 | Make it 75, 63, 63, and 95.
| | 02:59 | And again, to make it close to black but not absolute black.
| | 03:02 | We'll go ahead and click OK.
| | 03:04 | And, I've saved these settings now.
| | 03:06 | When I click OK it's going to ask me
if I want to save these new target colors
| | 03:12 | as the defaults, and yes I do, so I'm going to go ahead and click Yes.
| | 03:16 | Now I'm going to undo the adjustment that I've done on this layer.
| | 03:19 | Ill go ahead and undo that but I'll go back
and use the Adjustment, Auto Color command.
| | 03:25 | Now, because I've saved those settings
on the Color Picker for the highlights
| | 03:29 | and the shadows I won't have to go back and change that every time.
| | 03:32 | It's been saved now.
| | 03:33 | So, if I do Auto Color you'll now see that that
highlight area that we referenced with the Color Sampler,
| | 03:38 | it's 243, 246, and 244 on this adjusted Auto Color layer.
| | 03:44 | If I turn that off and choose the default Auto
Color layer, you'll see that it's 255, 253, and 255.
| | 03:52 | So, by using the default settings you're going to be losing details in
your highlights and shadows that you really shouldn't be loosing.
| | 03:58 | So, I recommend that you change those values for the Auto
Color command so that you don't clip unnecessary detail.
| | 04:04 | I still remove the color cast, but I'm still maintaining
highlight and shadow details where appropriate.
| | Collapse this transcript |
| Removing a Color Cast with the Levels Eyedroppers| 00:01 | >>Sometimes when you use the Auto Color command, you'll end up,
actually, with a result that visually doesn't actually appeal to you.
| | 00:07 | So if you'd take a look at this image, it was shot under incandescent
light and it has a very warm feeling to it, a warm temperature to it.
| | 00:13 | Now, the blanket actually is a white blanket, so maybe I want to
neutralize it a little bit to bring back some of the original brightness
| | 00:20 | to that blanket, but I don't necessarily want to
change the feeling or temperature of this image.
| | 00:26 | So if I do the Auto Color command under Image, Adjustments, Auto
Color, you'll see that Photoshop does exactly what you asked it to do.
| | 00:34 | It's neutralized the image and made the blanket white
and neutralized the grays and the midtones and so forth,
| | 00:40 | but the overall effect and feel of the image has changed significantly.
| | 00:44 | So if I undo this, there's before and there's after, and she's lost a
lot of the warmth of her skin and her little sweater here isn't as red.
| | 00:53 | So I'm going do undo this, and teach you how to use
the Auto Color command in kind of a different way.
| | 01:00 | We'll go back to the Levels command - Control + L or Command + L on
the Macintosh - and you'll see that there's an Auto button here.
| | 01:08 | Avoid that for now.
| | 01:09 | What we're going to do is click the Options button.
| | 01:12 | And what's great about here, we saw the Auto
Color Correction Options in the previous movie.
| | 01:17 | But what's neat here is there's actually three Auto commands in
Photoshop - there's Auto Levels, Auto Contrast, and Auto Color.
| | 01:26 | And in the Auto Color Correction Options dialog box
which you access by opening up Levels and clicking Options,
| | 01:33 | you actually have a way to test drive all three of those
options one by one and see which one you like the best.
| | 01:40 | So this first one - Enhance Monochromatic Contrast -
it's the same thing as the Auto Contrast command.
| | 01:46 | The second one, Enhance Per Channel Contrast,
is the same thing as the Auto Levels command.
| | 01:50 | And then this third one, Find Dark &
Light Colors, is the Auto Color command.
| | 01:56 | So it's as if you went to Image, Adjustments
and chose one of those three commands.
| | 02:00 | Here you're actually able to walk through all three of them and preview
the effects of them to see if one appeals to you more than the other.
| | 02:08 | You also have the ability to do three more different settings
by turning on the Snap Neutral Midtones, which means it's trying
| | 02:15 | to neutralize the midtone for all three of these options.
| | 02:19 | If I turn that on and then walk through, you can
see whether or not you like one more than the other.
| | 02:24 | I'm going to go ahead and Cancel.
| | 02:27 | The other thing you can do is to manually adjust
where your black and white and midtones should be
| | 02:35 | and to pull color cast out of them using the Eyedropper tools.
| | 02:38 | So maybe I like the shadow detail and maybe I'll leave
the midtone alone, but if I click the Wide Eyedropper,
| | 02:44 | I can say you know what, I want you to neutralize the whites.
| | 02:47 | Now the Eyedropper icon itself isn't always all that helpful.
| | 02:51 | So I'm going do turn on my Caps Lock key and that
will convert my Eyedropper to a precise target.
| | 02:57 | And then you can click where you want the white point to be.
| | 03:01 | And you can see that I've neutralized the whites now.
| | 03:03 | The blanket looks nice and bright and white but I've
not changed the overall temperature of the image.
| | 03:08 | Her skin still has that warm, pinkish,
yellow glow and her sweater is still red.
| | 03:13 | So the moral of the story here is: Try out a color.
| | 03:17 | If it gets you the result you want, great, but if it's changing too
much of the image in too much of a mathematical way, then undo it.
| | 03:25 | Open up the Levels dialog box, either click on the Options button and walk
through the three different options there to try those, or kind of switch
| | 03:34 | over to manual mode - is what I call it here - by clicking
on the particular tonal range that you want to adjust -
| | 03:40 | either the white point, the gray point, or the shadow point.
| | 03:42 | And you can see you don't have to do all three.
| | 03:44 | You can do one or the other or a combination thereof,
to get the image looking the way you want it to.
| | 03:49 | So here I've neutralized the whites and
left the midtones and the shadows alone.
| | 03:53 | Here's before and there's after, so just another
way to fine tune and adjust removing a color cast
| | 04:01 | with the Auto Color command and the Levels dialog box.
| | Collapse this transcript |
| Adjusting Color Balance| 00:01 | In the previous movies in this chapter we talked
about removing color casts and neutralizing images.
| | 00:07 | Sometimes you actually want to adjust the overall color
balance of the image even if it means introducing a color cast
| | 00:13 | or at least skewing it in one particular temperature or color.
| | 00:17 | So, in this particular image it's a little bit cold, a
little bit blue, and I want to warm it up a little bit.
| | 00:25 | Well, one of the commands you can use to change the temperature
of an image is something called the Color Balance command.
| | 00:30 | So, Image, Adjustments, Color Balance; it's Control or Command + B. And,
| | 00:36 | it comes up with three sets of sliders: Cyan
to Red, Magenta to Green, Yellow to Blue.
| | 00:42 | And then, you can control which tones you're shifting or changing the
color temperature of: the Shadows, the Midtones, and the Highlights.
| | 00:50 | Typically if you don't want to introduce a color cast,
skew it in one direction too much, then you'll end up using the top
| | 00:58 | and bottom sliders, the Cyan to Red, and Yellow to Blue.
| | 01:02 | And, whatever direction you drag one, you'll
drag the other one the opposite direction.
| | 01:07 | So, what do I mean by that?
| | 01:08 | Well, we want to make this image less blue, we want to warm it up a bit.
| | 01:12 | So, I'm going to drag the Cyan slider towards
the Red direction maybe a small value, just 5.
| | 01:18 | You don't need to use big increments for this to see an immediate effect.
| | 01:23 | Since I move the Cyan-Red factor towards Red, a positive 5, then I
would drag the Yellow-Blue slider the opposite direction to negative 5.
| | 01:32 | And, I'm going to do the same adjustment for
all three - Shadows, Midtones, and Highlights.
| | 01:36 | We'll make this positive 5, and I can use my Arrow keys too.
| | 01:40 | I can use the Tab key and use the Down Arrow key.
| | 01:43 | It's a little bit easier to do.
| | 01:45 | And then, go to the Highlights and drag the Highlights to 5 percent
or plus 5 Red, and then the Yellow-Blue slider to negative 5.
| | 01:55 | So, here is before.
| | 01:56 | I'm going to turn the Preview off and see, there's before where it is a little
bit blue, and then there's after where I've really warmed things up.
| | 02:03 | You can really see that the pink of her
jacket here is much pinker, much warmer.
| | 02:07 | And then, the hat and her skin tones have been warmed up as well.
| | 02:13 | So, this may seem counter-intuitive.
| | 02:15 | It's like I'm introducing a color cast to the image.
| | 02:18 | Yes, because I want to enhance the temperature,
or the particular color of the overall image.
| | 02:22 | So, that's what you can use for Color Balance.
| | 02:24 | Now, Magenta and Green is used for basically tinting
an image, and you typically won't use this very often
| | 02:30 | but this is just a global slider to make
it, you know, more magenta or more green.
| | 02:36 | Typically if you're just wanting to change the temperature of an
image without introducing a tint you'll just use again the Cyan
| | 02:43 | and Red slider, and the Yellow and Blue
slider and leave the middle slider alone.
| | 02:46 | And, go ahead and click OK here.
| | 02:48 | And again, there's before, and here's after.
| | 02:50 | Let's go ahead and do the opposite of this.
| | 02:52 | We'll close this image.
| | 02:53 | And, here's an image that we want to make more blue.
| | 02:57 | It's a little bit too yellow, or too warm.
| | 02:59 | We want to cool it down a little bit.
| | 03:01 | So again, we'll go to Color Balance - Image, Adjustments, Color Balance.
| | 03:06 | And, we'll go the opposite direction of the previous image.
| | 03:10 | This time we'll go towards Cyan...negative 5, positive 5 for midtones.
| | 03:15 | For Shadows...negative 5, positive 5.
| | 03:19 | And for Highlights...negative 5, positive 5.
| | 03:24 | And, we'll begin to see the difference before and after.
| | 03:28 | You can see the sand especially had kind of a warm
cast to it, and the sky was a little bit warm as well.
| | 03:35 | So, by doing this, by shifting it away from Red and Yellow towards Cyan
and Blue, I am neutralizing part of the image, but I'm also cooling it off
| | 03:43 | and making her shirt more blue and the sky more blue, and just taking a
little bit of the warmth out of the skin where it was a little bit too hot.
| | 03:51 | So, Color Balance, a very effective tool, shifting to blue or red.
| | 03:55 | Those are commands I use often.
| | 03:58 | So, what I've actually done is created a couple of actions
| | 04:01 | that automatically creates a Color Balance
adjustment using those settings instead of having
| | 04:05 | to adjust six different sliders for - actually I guess it's - yeah two times three.
| | 04:11 | Anyway, six different sliders.
| | 04:12 | The action just does it all for me automatically.
| | Collapse this transcript |
| Selective Desaturation| 00:01 | Now here's an image that's got just wonderful color,
but almost to the point where it's oversaturated.
| | 00:06 | You've got this nice big red flower in the middle that's really really red.
| | 00:10 | It's going to be tough for a lot of printers to reproduce that accurately.
| | 00:14 | They'll tend to blur things out and things will
just go to solid red in this particular image.
| | 00:19 | So, we want to learn to adjust or desaturate certain parts of
an image, or increase saturation in other parts of an image.
| | 00:26 | So, in this particular file I'm going to want to desaturate the reds of
this flower, maybe bring down the greens just a little bit so they're not
| | 00:32 | so hot, but also increase the saturation of the
blue sky to make the sky little bit more blue.
| | 00:37 | So, a great tool to do that is the Image, Adjustments, Hue/Saturation;
very powerful dialog box and adjustment command inside Photoshop.
| | 00:49 | Now, when you open up the Hue/Saturation it's default set to
Edit the Master, meaning the overall image, adjust the color
| | 00:58 | and saturation of all the colors in the image uniformly.
| | 01:02 | So, if I were to grab the Saturation slider you can see that I
can desaturate, or increase the saturation on a global level.
| | 01:08 | Well, that's not what we want to do so I'm going to undo that.
| | 01:11 | What you can do with this Edit pop-up menu is actually dial
in, or choose specific ranges of the color that you want
| | 01:18 | to modify. So for instance, the Reds in this particular image.
| | 01:22 | And, a lot of people know this already, they'll choose
Reds, or Yellows, or whatever but they don't do anything else.
| | 01:26 | They just start adjusting the Hue and Saturation sliders.
| | 01:29 | What you want to do is tell Photoshop which reds,
which specific reds do you want to start adjusting.
| | 01:35 | It just kind of defaults to grab the center of the red here, but as
you click inside your image, if you move outside of the dialog box,
| | 01:42 | bring the cursor out, and start clicking and dragging, if you take a
look at the ramp, the color ramp down below you'll see that it's shifting
| | 01:50 | to center itself specifically on the range
of colors that I'm dragging through.
| | 01:55 | And, what's great about this is that you actually end up dragging
into a different area of the image, like say blues, or cyan.
| | 02:02 | It automatically adjusts the edit field to the correct color range.
| | 02:07 | So, if you thought it was red, but as you clicked through it actually turned
out to be magentas, Photoshop would automatically switch that to magentas
| | 02:14 | for you if that's what you had actually clicked through.
| | 02:17 | So, again I'm just clicking through the specific
range of colors that I want to change.
| | 02:20 | In this case it's the reds.
| | 02:23 | Now that I've targeted that range of colors I
can go to the Saturation slider and just bring
| | 02:27 | that down a bit until it looks more what I want it to look like.
| | 02:31 | So, I'm just going to bring that down to let's say negative 10.
| | 02:34 | Just a modest adjustment but enough to just make that's not as intense.
| | 02:39 | I'll turn the Preview on and off.
| | 02:41 | You can see you can just take that.
| | 02:42 | What it actually ends up doing is it brings out some
midtone detail there in the red that was being blown
| | 02:48 | out because it was too red in those particular areas.
| | 02:51 | So, again if I want to modify the greens
I can go to the greens in my pop-up slider.
| | 02:57 | And, again there's a wide range of greens here.
| | 02:59 | So, I can click on the specific range of greens that I want to adjust.
| | 03:03 | I can either adjust the dark greens or the light greens.
| | 03:06 | And, you can see the color that we're changing. It turns out that if I click
| | 03:09 | on what I think is bright green it turns
out it's actually more close to yellow.
| | 03:15 | So, Photoshop again is taking care of me there as I
drag through the specific color that I want to change.
| | 03:19 | So, I'm going to go through the greens, and I'll desaturate
those as well, just bring them down a notch.
| | 03:25 | And, I'll take those down to say negative 40, or 38, whatever.
| | 03:30 | Negative 40.
| | 03:32 | And, we'll turn the Preview on and off
and you can see the before and after.
| | 03:35 | Now, it's adjusting the red and the greens when I do the preview.
| | 03:39 | And then, I want to adjust the sky so I'll go to either Cyans or Blues.
| | 03:45 | I'll try cyan first and click through the
specific range of blue that I want to change.
| | 03:49 | And, this time I'm going to increase the Saturation.
| | 03:51 | I want the sky to be even bluer than it
already is, so I'll take it to say 35.
| | 03:56 | And, there's before and after.
| | 03:58 | So, I've downplayed the red a little bit, brought out some detail
in the petals there where it was blowing out to complete red,
| | 04:04 | decreased the saturation of the green leaves, but increased
the saturation of the blue sky and made it look a lot better.
| | 04:11 | Click OK.
| | 04:12 | Here's before.
| | 04:13 | And then there's after.
| | 04:16 | So, Hue and Saturation, a very powerful tool.
| | 04:19 | It lets you adjust these ranges of color without
having to build complex selections first.
| | 04:25 | It was smart enough to know that there's certain areas in the image
that are red, certain portions of the image that were blue and green,
| | 04:31 | and it automatically builds in the selection masks
for you when you use the Hue and Saturation controls.
| | Collapse this transcript |
| Using Hue/Saturation| 00:01 | (Michael Ninness:) Now here's an image with a number of problems.
| | 00:03 | First of all, it's got a blue cast to it. If
you take a look at the sock that's supposed
| | 00:07 | to be white, it definitely looks like it's
more of a light blue or a blue sock here.
| | 00:11 | The patio or porch that the baby is sitting on is
also supposed to be gray; it's actually painted gray.
| | 00:18 | Then the collar, and headband and arm bands, or the wrist bands
of this particular pumpkin outfit are supposed to be green as well
| | 00:25 | but they're definitely looking a little bit blue or cyan.
| | 00:29 | So first thing we need to remove the color cast,
we're going to try to use the Auto Color command.
| | 00:32 | So we'll go to Image, Adjustments, Auto Color and you'll see that
will do a really decent job of neutralizing the color cast.
| | 00:42 | So the sock now looks white and the porch looks closer to gray now.
| | 00:46 | You can go ahead and undo that before and after.
| | 00:49 | But the pumpkin outfit didn't get green where it needed to be green.
| | 00:53 | So that's where we would use something that's
called Hue/Saturation again to do hue shifting.
| | 00:59 | In the previous movie, I showed you how to use Hue/Saturation
to desaturate a particular part of an image.
| | 01:04 | Here we're going to use it to shift one hue to a different hue.
| | 01:07 | So we'll go to Image, Adjustments, Hue/Saturation.
| | 01:12 | When we open this dialog box the first thing we want to do is
dial in the specific range of colors that we want to shift.
| | 01:18 | So in this case it's probably going to be the Cyans.
| | 01:20 | So we'll go to the Cyans in the edit list and we'll drag, just to
make sure it is the Cyans, we'll drag through those colors a little bit
| | 01:27 | to make sure that Photoshop doesn't think that
they're different colors and shift it on us.
| | 01:32 | Once we've got the particular hue that were trying
to change dialed in then we'll use the Hue slider
| | 01:37 | and we'll drag it the direction that we want it to go.
| | 01:41 | So I can make it really blue or I can probably
bring it back towards green, which is what I want.
| | 01:47 | So I'm going to drag it back to about thirty.
| | 01:50 | Now don't pay attention to the fact that the eyes are turning
green or other portions of the image are turning green as well.
| | 01:55 | Were going to ignore that for now because
there's more than one area of cyan here.
| | 01:59 | Were just going to pay attention to the
green of the collar and the rest of the suit.
| | 02:03 | You can see now that's much too green so we'll also desaturate
that to bring it back down to the green that it's supposed to be.
| | 02:11 | So this nice dark green rich green here.
| | 02:13 | I can adjust the hue a little bit more until I get it the way I want it.
| | 02:18 | So right about there is good.
| | 02:20 | So we'll go ahead and click OK.
| | 02:22 | And like I said earlier, other portions of the image
got affected that I didn't want to have affected.
| | 02:27 | So what I can do without going through,
because I didn't do this using Layers,
| | 02:32 | I can go back to the Auto Color step and click in
the second column or just the column to the left
| | 02:40 | of Auto Color to set that as the state of the History brush.
| | 02:44 | So we can go back to the History brush,
choose that as a tool, and then I'm painting
| | 02:49 | with the previous state which means I'm get back the blue eyes again.
| | 02:53 | I can make the brush a little bit bigger and
paint back the gray of the brick here as well.
| | 03:04 | Get it to the way I want it.
| | 03:07 | I can change the color of the patio so I'm going to paint that back
to the way it was before we did the Hue and Saturation shift as well.
| | 03:16 | OK, so all we've done is we're using the History brush and we're
just choosing the state previous to this Hue and Saturation shift
| | 03:23 | and now we've got the pumpkin looking orange and the patio looking gray,
her eyes are still blue, and the suit is now the appropriate green.
| | 03:32 | If I go back to the beginning of the History palette, the top of the History
palette, I can actually click the snapshot of the image that was created
| | 03:40 | when you opened the file and then we can do the before and after.
| | 03:43 | So there's as it was before we did anything to it and
then I'll just do undo to go back to the last state.
| | 03:49 | So before and after.
| | 03:51 | Easy to do, color cast removal and then shift the
hues that we need to adjust to a different hue.
| | 03:58 | And again we didn't have to create any
complex masking or selection to do that.
| | 04:02 | It's all based on color.
| | Collapse this transcript |
| Matching Color Across Multiple Images| 00:01 | So, for those of you watching this movie who have children and have
ever tried to do a family portrait you know how challenging that can be
| | 00:07 | to get everybody to look at the camera at the same time.
| | 00:10 | In this particular image you can see that
my girls are looking decent enough.
| | 00:14 | Maija is looking right at the camera.
| | 00:15 | Sofija is dazing off on something, but it's acceptable here.
| | 00:19 | My wife, on the other hand, is looking at me and giving me the evil eye.
| | 00:21 | Of course, that probably means I'm doing
something wrong, because she's always right.
| | 00:25 | And then, if I turn the bottom layer off, or the top layer off, you'll
see in the bottom layer where Vivian is looking right at the camera
| | 00:32 | and smiling because now I'm doing something right,
my girls are definitely not looking at the camera.
| | 00:37 | I have no idea what they're doing.
| | 00:38 | So, we want to create a composite.
| | 00:40 | As a general rule, if you ever get a Christmas card from me it's
probably a safe bet that it's a composite image until the girls are older
| | 00:46 | and actually look at the camera when we tell them to.
| | 00:48 | But, for now we want to create a composite of these two particular images.
| | 00:51 | But, as I turn the top layer on and off you'll see not only
are they looking at different locations and different poses,
| | 00:59 | but the color and temperature of the two
different layers are different as well.
| | 01:04 | So, we would probably want to match the color of these two
source images to be the same before we actually composited them.
| | 01:11 | The command I'm going to show you is called the Match Color command.
| | 01:14 | And there is two ways you can use it.
| | 01:16 | You can use it with two separate files.
| | 01:19 | So, you can match one file to another, or you can
match two different layers in the same document,
| | 01:24 | which is of course what we're going to do here in this movie.
| | 01:28 | So, I think that the color of the top layer is the color
that we want to borrow from, the one that we want to match.
| | 01:33 | So, I'm going to turn that layer off and
select the layer that I want to change.
| | 01:37 | In this case I want to change Source 1.
| | 01:39 | And, we're going to go to Image, Adjustments,
Match Color, which is right here.
| | 01:45 | And, the style box will come up.
| | 01:47 | And, what we actually want to do first
is at the bottom of the dialog box.
| | 01:51 | It's not at the top.
| | 01:52 | We actually want to choose our Source.
| | 01:54 | So, under the Source, None we're going to choose the
current document that I'm in which is this one here.
| | 01:59 | You can choose any open document.
| | 02:00 | And then, from the layer, if you're using
more than one layer in a particular document,
| | 02:06 | to use this you would choose the layer you're trying to match.
| | 02:08 | So, in this case we wanted to match Source 2 which
is the top layer up here that we saw earlier.
| | 02:13 | So, I'll choose Source 2, and I'll go ahead and click OK.
| | 02:17 | It's that fast.
| | 02:18 | So, here's before and there's after.
| | 02:23 | And, now as I turn the top layer back on you'll see while their
position changes, the color does not shift from layer to layer.
| | 02:31 | So, that's the Match Color command.
| | 02:33 | It's very very useful, especially in this particular scenario.
| | 02:37 | I've gotten to the point now where I'll
either stay in the same relative position,
| | 02:41 | and keep snapping a bunch of pictures
knowing that I'll get 2 or three to work with.
| | 02:46 | And, if the color is off I can just use the
Match Color command to get them all in sync.
| | Collapse this transcript |
|
|
13. Layers EssentialsThe Background Layer| 00:01 | >> Layers are such a fundamental part of working with an image
in Photoshop that it's very important that you understand
| | 00:06 | how they work and how to use them effectively.
| | 00:09 | To start that teaching lesson, the first thing you
need to understand is that every image by default
| | 00:15 | or at least almost every image has something called a Background layer.
| | 00:19 | Now the Background layer is different than
any other layer that you'll work with.
| | 00:22 | It can't be moved, it can't be deleted, and it can't be transparent.
| | 00:27 | It's always opaque and it's always at the bottom of the layer stack.
| | 00:30 | Every image that you bring in from a digital
camera will have a Background layer in it.
| | 00:35 | It will be a single layer and it'll be a Background layer.
| | 00:38 | When you create a new document, let's go to File, New for a second.
| | 00:41 | You have the option of creating an image with
a Transparent layer or one with a Background.
| | 00:46 | If you choose Background or White and click OK, here, you'll
end up with a new file with a Background layer which is opaque.
| | 00:55 | In this case it's white.
| | 00:56 | And, again, it's locked; it can't be moved and so forth.
| | 01:00 | If you were to create a new document where the background was
transparent, if you actually made that choice and clicked OK,
| | 01:07 | you'll notice that you don't have a Background layer.
| | 01:09 | It's not called Background, its called
Layer 1, and you have this checkerboard.
| | 01:12 | This checkerboard represents transparency, and in
areas where there are no pixels on a particular layer.
| | 01:19 | So, a layer, a new document that's filled with a transparent
background just means there is no information in this file.
| | 01:25 | There's just no pixels there.
| | 01:27 | So back to this image here where I've got
just a single layer, called a Background.
| | 01:33 | If I were to make a selection, just get my selection
tool and I'll make a selection in the image.
| | 01:38 | If I hit the Delete key or the Backspace key, I'm not
actually deleting anything when I'm on a Background layer.
| | 01:46 | Rather, instead of deleting something, you're
filling the selection with the background color.
| | 01:51 | In this case, the background color happens to be white.
| | 01:53 | So, I have filled my selection with my background color.
| | 01:56 | With white here.
| | 01:56 | If I were to switch my colors, let's say, hit X, press
the X on my keyboard and hit Delete or Backspace again,
| | 02:03 | I've now filled my selection with my current
background color which is black.
| | 02:07 | Again, if I choose some random red color to illustrate this again.
| | 02:11 | Hitting Delete does not actually delete anything on the Background layer.
| | 02:15 | It just fills the selected pixels with a particular color.
| | 02:18 | So let's go ahead and revert this.
| | 02:19 | File, Revert.
| | 02:21 | If I want to delete to transparency I need to convert the Background
layer to a layer that is a transparency, which means any other layer.
| | 02:29 | The quickest way to convert a Background layer is just to double-
click on it and change its name to anything other than Background.
| | 02:34 | Let's leave this Layer 0 or give it a
descriptive name, whatever, it doesn't matter.
| | 02:38 | Click OK.
| | 02:39 | Now if I were to make a selection and just
select this area again and hit Delete,
| | 02:43 | now instead of filling it with the background
color, now you see a checkerboard.
| | 02:47 | So you're actually deleting those pixels and
revealing transparency on that particular layer.
| | 02:52 | If there was another layer underneath Layer 0, you would see that
layer through this hole that you just punched in that particular layer.
| | 03:00 | So the Background layer is very special.
| | 03:02 | You can always convert a layer or create a new layer
and make it a Background layer if you removed it.
| | 03:09 | To do that you can go to Layer, New, and say Background From Layer.
| | 03:13 | So, make the current layer a Background layer,
which means it no longer can be deleted,
| | 03:19 | it can no longer be moved, and it can't have transparency in it.
| | 03:22 | So, that's the Background layer.
| | Collapse this transcript |
| Working with Layers| 00:01 | >> When you think of layers in Photoshop you basically think of layers
of acetate, where each image is on its own layer and you can build
| | 00:07 | up a composite image by stacking these layers up on top of each other.
| | 00:11 | If I want to create a new layer in a document at the bottom of
the Layers palette, you simply click on the New Layers icon.
| | 00:16 | That gives you a new layer, named Layer 1 or Layer 2 or Layer three and so on.
| | 00:21 | Filled with transparency so there's nothing in that layer.
| | 00:24 | If I were to turn the Background layer off, you'll see that, again,
there's nothing on that layer, so all you see is a checkerboard.
| | 00:30 | Turn the Background layer back on so a layer can be visible.
| | 00:34 | It can also be selected or it can be both.
| | 00:36 | So right now, Layer 1 is visible although there's nothing on that layer.
| | 00:39 | Let's go ahead and change that.
| | 00:40 | I would say press B to paint some purple paint on that layer.
| | 00:44 | So Layer 1 is both visible and selected.
| | 00:47 | I know it's selected because it's highlighted in the Layers palette,
blue, or whatever your highlight color is for your operating system here.
| | 00:54 | It's also in the Title bar. It tells me what layer
I'm on, so it says Layer 1 there in parentheses.
| | 00:59 | So, now the Background layer is selected and
visible; Layer 1 is only visible but not selected.
| | 01:07 | If you have used previous versions of
Photoshop before CS2, this is a major change.
| | 01:12 | This next thing I'll show is, you can
now select more then one layer at a time.
| | 01:16 | If you hold down your Shift key you can select multiple layers.
| | 01:19 | This is the first version of Photoshop where that's been possible,
| | 01:22 | which means you can move multiple layers
without having to link them and so forth.
| | 01:26 | There's a whole bunch of stuff that you can do because you can select
multiple layers now which also means you can have no layers selected.
| | 01:34 | If I click somewhere other than a layer name in the
Layers palette, you'll see that I have nothing selected.
| | 01:40 | I'll go ahead and click on the Background layer again.
| | 01:43 | Now, in the previous movie we talked a
little bit about the Background layer.
| | 01:47 | One thing I didn't show in the previous
movie - I just said that you couldn't move it.
| | 01:50 | Well here's what I mean.
| | 01:50 | Now that I've got two different layers,
a Background layer and a layer above it,
| | 01:54 | if I try to move the Background layer
above Layer 1, I can't because it's locked.
| | 01:59 | If I wanted to change the stacking order of these two particular
layers, so that the Background layer was on top of Layer 1,
| | 02:05 | I would need to convert that Background layer first.
| | 02:07 | So, again, I can just double-click on that, the name of
the layer, just leave it Layer 0 for now, that's fine.
| | 02:11 | Click OK, and now to change the stacking order you
simply press either on the thumbnail or the layer name,
| | 02:17 | it doesn't matter which, and drag it above the layer above you.
| | 02:23 | And now I've repositioned or changed that stacking order.
| | 02:27 | So, it's important to know that the Image window isn't necessarily
the most accurate representation of the particular document.
| | 02:33 | If I was just looking at the Image window, I would actually not have
any way of knowing that there was more than one layer on this document,
| | 02:39 | so the Layers palette becomes a very central thing or separate UI
element that you want to have open at all times, most of the time.
| | 02:47 | So you can see what actually is making up your image.
| | 02:49 | Here I can see there's actually 2 layers in there, Layer 0, Layer 1,
| | 02:53 | I'm going to drag the top layer down below
Layer 1 again to change that stacking order.
| | 02:58 | To delete a layer, you can either select
the layer and click on the Trash Can,
| | 03:02 | and it's going to ask you if you really want
to do that, yes, I do want to do it.
| | 03:06 | You can turn off this Don't show again checkbox, which is nice.
| | 03:09 | And then I can undo that.
| | 03:12 | Or, you can also drag a layer directly
to the Trash Can and delete it that way.
| | 03:17 | To change the name of a layer, simply double-click on its name.
| | 03:20 | Go ahead and double-click on Layer 0 and I'll call it Flower.
| | 03:24 | And then to apply that name just hit Enter or Return.
| | 03:27 | A common thing that you'll want to do if you're doing compositing
is move one layer from one document into another document.
| | 03:35 | The easiest way to do that is actually with the Move tools.
| | 03:38 | You just click on the Move tool, or press V for move,
and then simply drag it from one window to another.
| | 03:43 | I've seen a lot of people do like they'll Select
All, Command + A, in this particular document,
| | 03:48 | and copy to the clipboard, go to the other document and paste it.
| | 03:51 | And while there's nothing technically wrong with that, it's just more
work than it needs to be, because it's easier just to grab the Move tool
| | 03:56 | and then simply drag from one Image window into the other and let go.
| | 04:01 | Now, when you let go it gets dropped in the particular target document.
| | 04:06 | Now, you may be wondering why the flower looks so
much smaller in the document I dragged it into,
| | 04:11 | versus the way it was when I first dragged it from this document over here.
| | 04:15 | And that's because these two documents have different
pixel dimensions, different pixel resolutions.
| | 04:20 | This image is much larger relative to the flower file.
| | 04:23 | So when you drag this in, the flower is going to look smaller, because
it's going to adhere to the resolution of the document you drag it into.
| | 04:30 | Notice that when you drag it in, it came in as a layer and
it's named the same thing as it was in the original document.
| | 04:37 | So it's retaining that.
| | 04:38 | So again, the easy way is to drag and drop from one document
window to another which means when you're doing that kind of work,
| | 04:44 | you're probably going to be in the standard screen mode.
| | 04:46 | Because if I'm in a full screen mode, if I press the letter
F here, I can only see one Document window at a time.
| | 04:53 | So I'll press F until I get back to the standard screen mode again.
| | 04:56 | I'm going to go ahead and delete this Flower
layer just by dragging it to the Trash Can.
| | 05:00 | We'll click in this document to bring it back to the front.
| | 05:04 | Now, when you press and drag from one document to another, and
if you hold down the Shift key before you let go of the mouse,
| | 05:12 | the document you dragged will center into the document you dragged it into.
| | 05:16 | So, it can just be random by you dragging it wherever you let go of, or,
| | 05:20 | if you hold down the Shift key you center
and register those two images together.
| | 05:24 | We'll go ahead and delete that layer again by dragging it to the Trash Can.
| | 05:29 | Now, so that was just duplicating one
layer into another just by dragging it.
| | 05:33 | You can also do that by dragging a selection from one
document to another, so a subset of a particular layer.
| | 05:40 | This document actually has an Alpha Channel in it
already, so I'm gone go into the Channels palette,
| | 05:44 | and control or command click on that Alpha
Channel to load that as a selection.
| | 05:48 | We'll go back to the Layers palette, and now as long as
I put my mouse inside the selection and start dragging it
| | 05:54 | to that other document, and if I hold down the Shift key it will center it.
| | 05:57 | When I let go, the flower comes in as a generic
layer because I didn't bring in the whole layer.
| | 06:03 | It's Layer 1 now.
| | 06:05 | And if I go back on the original document
it's still here with this selection active.
| | 06:09 | So I'm going to go ahead and deselect that.
| | 06:11 | Control + D or Command + D and close this document.
| | 06:14 | Say No to changes.
| | 06:15 | Now I'll go to full screen for this one.
| | 06:18 | F for full screen.
| | 06:19 | We'll zoom up a little bit so now I've got
this flower floating on its own layer, Layer 1.
| | 06:24 | We'll go and call it Flower just by double-clicking on it.
| | 06:27 | We'll call it Flower 01.
| | 06:30 | If I want to duplicate a layer, rather then creating a new one
from scratch, I can either drag Flower 01 to the Make Layer icon.
| | 06:37 | I can go ahead and do that, drag it down, make a copy of it.
| | 06:40 | It's called Flower 01 copy.
| | 06:41 | I can go ahead and rename that to Flower 02.
| | 06:44 | It's sitting right on top of the original, so with my Move tool I'll press
in my Image window and just move that flower to a different location.
| | 06:53 | I think what we'll do, just to help us separate
these, we'll change the color of this.
| | 06:57 | Let's go to Hue and Saturation real quick and we'll just turn
on Colorize and we'll make this, let's say a purple flower.
| | 07:04 | Go ahead and click OK.
| | 07:06 | I'm going to rename this Purple and then we can rename this one Yellow.
| | 07:13 | The other thing you can do to duplicate a layer is to have the layer
active that you want to duplicate and use the keyboard shortcut Control + J
| | 07:23 | or Command + J on the Mac and that will again call it Yellow copy,
we'll go ahead and call this one Green by double-clicking on the name.
| | 07:30 | Go ahead and move that directly into the Image window
just by pressing and dragging with the Move tool.
| | 07:35 | We'll bring up Hue and Saturation, Command or Control + U.
We'll Colorize and we'll make this a green flower, let's say.
| | 07:43 | Good. So now I've got these three layers: Purple, Green, and Yellow.
| | 07:48 | If I want to select all three of them, I can do that now by holding on
the Shift key and they all get highlighted in the Layers palette.
| | 07:56 | And now I can press on either one of them and they will all
move together as a unit because I've got them all selected.
| | 08:02 | If I want to just deselect one of them, I can just click
on the one I want to keep selected and the other two deselect.
| | 08:08 | Now, there's another option here in the Options
bar for the Move tool called Auto Select Layer.
| | 08:13 | I'm going to turn that off.
| | 08:15 | You'll see that wherever I click in my image, I'm not
changing my selection, which means I can click over here,
| | 08:21 | down the bottom left-hand corner and I'm going to be moving the
active layer in the Layers palette which, in this case, is Green.
| | 08:29 | If I want to select a particular layer just by clicking on it in the
image rather than the Layers palette, I can turn on the Auto Select Layer.
| | 08:37 | Before I do that if I want to move a purple flower here, I would need
to go the Layers palette, make sure the Layers palette was visible,
| | 08:43 | click on the word Purple, and now I can press anywhere in my
image to select and move that particular flower.
| | 08:50 | If I want to do it directly without the Layers palette,
I can turn on something called the Auto Select Layer
| | 08:55 | checkbox.
| | 08:56 | And now wherever I click the pixel directly underneath the
cursor, whatever layer it belongs to will become selected.
| | 09:04 | So in this case the Yellow layer gets selected because I clicked there.
| | 09:06 | If I click on the Green layer the Green layer gets selected.
| | 09:09 | If I click on Purple it gets selected.
| | 09:11 | If I click on Background I can't currently
select that one because it's locked.
| | 09:15 | So, it can't be moved and edited and modified.
| | 09:17 | If I wanted to be able to select that, I'd double-click, change its
layer name to Layer 0, let's say, and now I can click on the Green layer.
| | 09:24 | I can click on the Background layer which is
now called Layer 0 to select that as well.
| | 09:28 | So again, if I want to select more than one I can Shift + click on these three.
| | 09:33 | If I want to now move these as a unit, or keep them grouped together,
I now have the ability to just group these with a Group command.
| | 09:42 | That's Command + G or Control + G on PC, Command + G on the Mac.
| | 09:45 | If I just go ahead and do that they now get placed inside a group
called Group 1 and the folder is an icon representing that group.
| | 09:54 | It has a little arrow, if I turn that arrow down you'll see
that those three layers have now been placed into that group.
| | 10:01 | That folder icon.
| | 10:03 | If I click on the group and then just press in my image somewhere, all
3 of the flowers will move together as a unit because I've grouped them.
| | 10:12 | There's another checkbox here, when you've got Auto Select Layer turned on
| | 10:15 | and you have groups involved, you have
Auto Select Groups as well as an option.
| | 10:19 | If I turn that off, and I close the group here
| | 10:23 | by clicking on the triangle, if I click on let's say the purple
flower, it automatically expands the group to show me the layers
| | 10:30 | in that particular group, but you'll notice that I'm only selecting
the one flower at a time when I click on them in the particular group.
| | 10:38 | If you turn on Auto Select Groups again, in the Options bar for the Move tool,
| | 10:42 | now if I click on any one of the flowers,
the entire group will be selected.
| | 10:47 | So this is a great feature if you have a
set of layers that you want to keep unified.
| | 10:52 | You don't want to merge them, and we'll talk about
merging in a minute, but you don't want to merge them.
| | 10:56 | You want to keep them as individual layers, so you can edit them later on.
| | 11:00 | But you want to keep them organized and move
as a unit, you can just put them in a group.
| | 11:04 | Now if I press and drag on any one of them, I
didn't have to actually select each one individually
| | 11:09 | because the group automatically got selected for me.
| | 11:11 | If I want to ungroup layers, I can do that as well.
| | 11:16 | On the Layer menu, you've got two menu commands: Group Layers, the
keyboard shortcut I showed you earlier, Control + G or Command + G on the Mac;
| | 11:22 | and then you've got Ungroup Layers which is Control + Shift + G or
Command + Shift + G. And that gets rid of the folder that they were in.
| | 11:29 | And that's back to having individual layers now.
| | 11:31 | If there's a layer that you would like to protect,
for instance, you don't want it to be moved or edited.
| | 11:36 | I can select that particular layer and at the top of the Layers palette
are these four icons here, and I can lock certain aspects of it.
| | 11:43 | So this box here is Lock all transparent pixels
which means I can't paint on any area that's transparent.
| | 11:51 | Here I'll show you that. I will get the Purple layer here.
| | 11:53 | I'll lock the transparency and get a Lock icon on that layer.
| | 11:56 | This becomes highlighted.
| | 11:58 | If I get my Brush tool and try to paint on the
transparent areas, nothing happens because it's locked.
| | 12:04 | If I paint over where the flower is I can only
paint on the pixels on that particular layer.
| | 12:09 | I'm going to turn that back off.
| | 12:11 | This second icon, the brush, that disallows
any painting whatsoever on the entire layer.
| | 12:19 | The third one prevents you from moving the layer and then you can
do all three by locking all three at once, by clicking on the Lock icon.
| | 12:27 | So, let's go ahead and turn that off.
| | 12:29 | If I don't want to be able to move the Background layer,
I can select that layer and turn on the Lock All button,
| | 12:33 | and then you'll notice that when I put
my mouse over that portion of the image,
| | 12:37 | I get a Can't Do It sign because I have that layer currently selected.
| | 12:41 | Get my Move tool now.
| | 12:43 | And now I can click on any layer other than
the Background layer to select and modify that.
| | 12:50 | If I want to merge these layers down and lose their individual
layerness, if you will, I can do that with a Merge command as well.
| | 12:57 | I'm going to go ahead and select Yellow and just move that here now
because these layers are not touching, they're not overlapping in terms
| | 13:05 | of the pixels on them, there's really no harm in merging
these particular layers because I can always select
| | 13:11 | around the particular flower and lift it up onto its own layer again.
| | 13:15 | As a matter of fact, why don't we do that.
| | 13:16 | We'll go ahead and merge these. The Merge command, or Control +
E or Command + E on the Mac, it's also another Layer menu.
| | 13:22 | It would be, Merge Down, down towards the bottom of the
menu, Merge Down, Control + E or Command + E. And the layer
| | 13:31 | that was active, selected, merged with the layer underneath it.
| | 13:35 | And, the layer that it got merged into is the layer name that got retained.
| | 13:39 | So in this case it's now called Green.
| | 13:41 | I'll do that again, Control or Command E,
and now they all merge into the Yellow layer.
| | 13:45 | So now I have one single layer for all three of these flowers.
| | 13:48 | And again, really not a big danger there because these flowers were not
overlapping and if I want to separate these into individual layers again,
| | 13:55 | it's very easy to do with my little Lasso tool here.
| | 13:59 | I can just select around that particular flower and I can
either copy that, duplicate it up to its own layer,
| | 14:08 | or I can remove it from the Yellow layer and put it on its own layer.
| | 14:11 | Control + J or Command + J on the Mac is the Duplicate Layer command.
| | 14:16 | And what I just did here is I duplicated the
layer, the yellow flower, up onto its own layer.
| | 14:21 | So if I turn off the Yellow layer, you'll see I
just have the one yellow flower sitting by itself.
| | 14:28 | If I turn the layer back on I can move Layer 1 and I've got two of these now.
| | 14:32 | I'm going to undo that a couple times to
just go back to the single layer here.
| | 14:37 | So, Control + J was, or Command + J was Duplicate,
| | 14:40 | lift a copy of this up onto its own layer.
| | 14:43 | If I want to cut this yellow flower from the Yellow layer
up onto its own layer, remove it from this particular layer,
| | 14:50 | then I would add Shift to the Duplicate Layer command.
| | 14:53 | So Control + Shift + J or Command + Shift + J on the Mac removes the
yellow flower from the Yellow layer and puts it on its own layer.
| | 15:01 | So now if I turn off the Yellow layer, you'll
see that flower is isolated again by itself.
| | 15:05 | OK. So as long as these particular layers are not overlapping
their pixels, not a big deal to lose those layers by merging them.
| | 15:14 | It does become a problem though if I've got a situation like this
where the yellow flower is now overlapping the purple flower.
| | 15:21 | If I were to merge this down now, Control + E or Command + E, I've now
lost the ability to edit these pixels independently of each other.
| | 15:29 | If I were to save this file now, it's a pretty dramatic loss of data there.
| | 15:34 | So as a general rule, you don't merge your layers
unless you absolutely have to, or you only merge them
| | 15:41 | if the layers are not affecting each other,
you know, or overlapping this way.
| | 15:45 | As long as they are not overlapping it's real easy to go back and just isolate
them again up on their own layer if you need to do an individual edit.
| | 15:52 | But, you need to think about if you ever need
to change your mind on a particular attribute
| | 15:56 | of that particular layer, do I need to change its color.
| | 15:58 | Do I need to scale it up or reposition it?
| | 16:01 | Does it matter if it's interacting with any
other layers in the process, and so forth.
| | 16:05 | So you saw how you can merge individual layers together.
| | 16:08 | If you want to flatten an image, meaning condense everything down to a
single layer, then there's a separate command for that called Flatten.
| | 16:15 | You can do that either from the Layers menu
or the fly-out menu of the Layers palette.
| | 16:20 | There's a Flatten Image command and that, again,
squishes all your layers into a single Background layer.
| | 16:27 | Now, the composite image doesn't look any different, but the file
structure of this particular document is significantly different.
| | 16:34 | You've lost your individual layers there.
| | 16:36 | So that covers the basics of layers, watch the other movies
in this chapter to get a little bit more deeper in detail.
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| Changing the Opacity of a Layer| 00:01 | >> Another attribute of a layer that you can change is its opacity.
| | 00:04 | So if I wanted to screen back a portion of this image
and maybe put text over it or something like that,
| | 00:09 | we can change the opacity of one layer over another.
| | 00:11 | So let's draw a Shape layer here.
| | 00:13 | We'll get our Rectangular Shape tool.
| | 00:15 | I'm just going to draw a rectangle.
| | 00:16 | By default it's going to fill with my current
foreground color which happens to be white here.
| | 00:21 | So, I've got a special layer here in the Layers
palette called Shape 1, it's a Shape layer.
| | 00:25 | And it's currently got a selection highlight around it.
| | 00:28 | This little black line around it.
| | 00:30 | If I click on the actual Shape icon, in
the layer icon, in the Layers palette.
| | 00:34 | You can toggle that little highlight on and off.
| | 00:37 | Sometimes I think it's annoying and distracting.
| | 00:40 | So I turn that off so I don't have to see it.
| | 00:42 | But I get my Move tool.
| | 00:44 | I can then lower or change the opacity of
this Shape layer so that I can see a portion
| | 00:49 | of the layer underneath it, through it, to change how these two layers blend.
| | 00:53 | So right now the Opacity of this Shape layer is set to 100 percent.
| | 00:57 | I can click on this little arrow and get a
pop-up slider and lower the Opacity this way.
| | 01:01 | So if I change it to 50 percent I can see 50 percent of
the white rectangle and 50 percent of the image underneath it.
| | 01:08 | So I'm changing how these two layers blend with each other.
| | 01:11 | And I can just play around with that slider to
get that desired blending of opacity that I want.
| | 01:16 | I can click outside that slider to deselect it.
| | 01:20 | An easier way to play with Opacity though, is if you
have the Move tool selected, as we currently do here -
| | 01:25 | you can just press V if you don't have it
selected - is to just simply type a number.
| | 01:30 | So if I press the number 5, I've changed the
Shape 1 layer to 50 percent Opacity.
| | 01:37 | If I type an 8, I change it to 80 percent.
| | 01:39 | And if I wanted to get it back to 100 percent, I can type a 0.
| | 01:44 | If I want to do single-digit increments, so right now if
I do just a single number it's ten percent increments,
| | 01:49 | so 1 would be ten percent, three would be 30 percent, and so on.
| | 01:52 | If you type two numbers quickly you can get single-digit increments, so
if I type 45 I've changed the Opacity of this layer to 45 percent.
| | 02:01 | Or, you know, 88, 88 percent.
| | 02:03 | 66, 66 percent.
| | 02:05 | Just don't type 666.
| | 02:06 | That reformats your hard drive.
| | 02:08 | Just kidding.
| | 02:10 | So, anyway, each layer can have its own Opacity setting.
| | 02:13 | If I were to duplicate this layer, Control + J, and get my Move tool
and move it, you know, so now I have two overlapping layers here.
| | 02:21 | You know, each layer has its own Opacity and
where they overlap I get a combined Opacity.
| | 02:27 | So I'm going to go ahead and scale this, Control + T or
Command + T, and just reshape this, resize it a little bit.
| | 02:33 | Hit Enter to apply it.
| | 02:34 | And now if I change this Opacity.
| | 02:36 | So I press V for the Move tool and I type, let's say, three for
30 percent, I've got this one rectangle set to 33 percent
| | 02:43 | or 30 percent and I've got the other rectangle set to 66 percent.
| | 02:48 | And where they overlap I get a composite.
| | 02:50 | A different Opacity there.
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| Using a Clipping Mask| 00:00 | >> Michael Ninness: In this movie I want to show you how
to get one layer to only show up inside another layer.
| | 00:07 | The technical term for this is to create a Clipping Mask.
| | 00:10 | And what I want here is, I have this background
image separate from the type and I only want
| | 00:16 | to see this background image where there are pixels on the type layer.
| | 00:20 | So I basically want to make the type be
kind of a cookie cutter for the layer underneath it.
| | 00:26 | Now in order for that to happen I actually need
to reverse the stacking order of these layers.
| | 00:29 | The Background layer needs to be above this text layer, and before
you can move a Background layer of course you need to convert it
| | 00:35 | to a layer that supports transparency, one that can be moved.
| | 00:39 | To do that we'll just go ahead and double-click on the word Background.
| | 00:42 | And we'll just name this Mountains.
| | 00:46 | And now I can move the Mountains above the type.
| | 00:50 | Now it's going to completely cover up the text or the type
because this layer fills up the entire document here.
| | 00:57 | But, what we want to do is have the mountains only show
up in the text below inside the shape of that layer.
| | 01:03 | The command for that is to go to the Layer
menu and choose Create Clipping Mask.
| | 01:08 | Now if you used previous versions of Photoshop this name
changes from version to version, from time to time.
| | 01:13 | Used to be called the Clipping Group; it's now called Clipping Mask,
and if I choose that command you'll see that the image now only shows
| | 01:21 | up where there's type and the layer becomes
indented and moves in a little bit to the right.
| | 01:26 | The layer that's being used as the mask is
underlined and there's a little Down Arrow that points
| | 01:32 | to the layer that's being used as a
mask as well for the Mountains layer here.
| | 01:36 | So, now that I've got this acting as a mask there, as a
cookie cutter, I can now move these two layers independently.
| | 01:42 | So if I want to reposition the image inside the type I just select
the image layer and I can move that around inside the text.
| | 01:49 | If I want to reposition the text, then I choose the text layer and I
can decide where I want that text to show up in the document as well.
| | 01:57 | So, this is called a Clipping Mask. It's a great way to use one
layer as a mask without having to create complex selections
| | 02:04 | or masks with Layer Masks and things like that.
| | 02:06 | Just a built-in cookie cutter if you will.
| | 02:08 | To unclip these if you will, to make it not a Clipping Mask anymore,
you can select the layer that's being clipped, go to the Layer menu
| | 02:17 | and say Release Clipping Mask and now it's back to normal.
[00:02:22S.866]
The position's been changed cause we modified that, but it's no longer being
clipped by the layer underneath it. Again, if you want to clip it, go to Image,
| | 02:29 | under Layer, Create Clipping Mask and it's
back inside the layer underneath it.
| | Collapse this transcript |
|
|
14. Layer MasksLayer Mask Essentials| 00:01 | In addition to layers in Photoshop,
| | 00:02 | Layer Masks are again an essential thing that you have to understand
because you'll be using them quite a bit, and they're just so flexible
| | 00:10 | and powerful, and they enable you to do non-destructive editing.
| | 00:14 | So, in this particular portrait we're going to create
more of a soft-focus feel and soften the image a bit.
| | 00:19 | And, the way we're going to do that is
we're going to duplicate this layer first.
| | 00:24 | The Duplicate Layer command is Control + J, or Command + J on the Macintosh.
| | 00:28 | Control + J here.
| | 00:29 | And, I'll go ahead and name this Blur.
| | 00:32 | And, we're just going to do a Gaussian Blur on
this duplicate layer to soften all the details.
| | 00:38 | So, we'll do a Blur, a Gaussian Blur.
| | 00:40 | And, we're going to do a pretty significant blur.
| | 00:42 | I'm going to blur this at say eight pixels.
| | 00:44 | And, you can see the image is now very soft.
| | 00:47 | Now there's a couple different ways to blend these two layers together.
| | 00:51 | So, I've got a completely blurred image on top
of the original sharp image, or focused image.
| | 00:57 | And, I can do things like change the Opacity of the Blur layer.
| | 00:59 | So, as long as I have the Move tool selected I can change
the Opacity of a given layer just by typing a number.
| | 01:05 | Now, if I had a Brush tool selected, if I type a
number that's going to change the Opacity of that brush.
| | 01:11 | But, if I have the Move tool selected, so I press V for move.
| | 01:14 | Now pressing, say the number 5, would make the blur layer 50 percent
opaque, and so I can see 50 percent of the original here underneath it.
| | 01:23 | So, let's say make it 70 percent.
| | 01:25 | By typing the 7, I get 70 percent opaque.
| | 01:28 | Now, the problem here is that in a portrait, the thing
that's probably the most important is the eyes, the focus on the eyes.
| | 01:34 | So, I don't necessarily want the eyes to be as soft as they are.
| | 01:38 | I kind of like the feeling of the rest of the image
here where it's a nice soft glow and a warm effect here,
| | 01:44 | but I want to bring back some of the detail of the blurred layer.
| | 01:48 | Now, what you could do is you could get the Eraser tool and start
erasing the Blur layer and revealing the layer underneath it.
| | 01:57 | Let's go ahead and do that.
| | 01:58 | We'll erase here the eyes to bring back the sharpness of the eyes.
| | 02:00 | Not only does that look a little spooky but it's also destructive.
| | 02:04 | So, if I turn off the Background layer by clicking on
the eye here you'll see that I've actually punched a hole
| | 02:10 | in the Blur layer and actually deleted those pixels.
| | 02:13 | So, if I were to close this document, Save Changes,
and reopen it I don't get those pixels back.
| | 02:18 | So, you rarely really want to be erasing actual
pixels, rather instead we'll go ahead and undo this.
| | 02:25 | You would rather mask or hide pixels that you want to play with.
| | 02:32 | So, you can always bring them back if you need to.
| | 02:34 | So, I'm going to switch back to the Brush
tool, and type the B for the Brush tool.
| | 02:38 | And, at the bottom of the Layers palette
is Add Layer Mask, a button or icon.
| | 02:42 | I'm going to go ahead and click on that.
| | 02:44 | And, that adds a second icon, or second
thumbnail to the right of my Layer thumbnail.
| | 02:49 | So, here I have the image selected and
I have a line around the thumbnail now.
| | 02:54 | Now, if I click on the Layer Mask I now
have the line around the Layer Mask here.
| | 02:59 | By default when you create a Layer Mask or add a Layer
Mask to a layer it is set to be filled with white.
| | 03:06 | And, the rule of masking: white reveals.
| | 03:09 | So, if this Layer Mask is filled with 100 percent white, then
the layer that the Layer Mask is on is 100 percent revealed.
| | 03:18 | So, I see the entire effect of that layer.
| | 03:21 | If this Layer Mask was filled with black that would be set to hide.
| | 03:25 | So, if I filled this layer with black...And one thing
you can do with a mask is you can just invert the mask.
| | 03:30 | So, if I do Control + I on the PC or Command + I on the Mac I invert that
mask - so white - I now have black, and you'll see that now I don't see any
| | 03:39 | of the blurred layer because the Layer Mask is set
to hide everything because it's filled with black.
| | 03:45 | I'm going to invert the Layer Mask one more time,
Control + I or Command + I on the Mac and I'm back
| | 03:50 | to revealing the blurred layer 100 percent
of that, but set to 70 percent Opacity.
| | 03:56 | So, now that I know kind of what this black
and white and how that affects a Layer Mask,
| | 04:01 | I can paint with a Paintbrush, and I'm going to paint with black.
| | 04:04 | So, right now white is my current foreground color.
| | 04:07 | If I press the letter X that exchanges my foreground and
background color, so now black is my background color.
| | 04:13 | If I press O the opacity of my brush is now set to 100 percent.
| | 04:18 | I'm going to pick a smaller brush, and can use the
Left Bracket key on my keyboard to do that.
| | 04:22 | And, I have a nice soft brush as well.
| | 04:25 | So, if I look at the Brush icon up here it has a nice soft edge to it.
| | 04:29 | Now, if I paint with 100 percent black I'm going to be
completely erasing the blur effect, and revealing the sharpened
| | 04:38 | or the original version underneath in place of that.
| | 04:41 | The difference here is if I turn off the Background
layer here I still look like I have a hole in that layer,
| | 04:48 | but you'll notice that those pixels are
not gone, they're just being masked.
| | 04:52 | If I hold down the Shift key and click on the Layer Mask
thumbnail, you'll see that I'm just turning that mask on and off.
| | 05:00 | It's a toggle.
| | 05:00 | I Shift + click again and the Layer Mask comes back.
| | 05:04 | I'm only hiding the pixels, I'm not destroying them or deleting them.
| | 05:07 | So, I'll turn that back on by Shift + clicking
and I'll turn the Background layer back on.
| | 05:12 | The point here is that 100 percent opaque might be
a little bit too strong to paint with the mask in.
| | 05:18 | So, I'm going to undo this paint stroke.
| | 05:19 | I can either undo, or if I've done multiple strokes, I
can simply just switch my colors by typing the letter X
| | 05:25 | for exchange and I can paint with the opposite color.
| | 05:28 | In this case, painting with 100 percent white
basically brings back the blurred pixels.
| | 05:35 | So, black hides, white reveals, is the little dance,
or little song you sing inside your head there.
| | 05:39 | If I were creating this composite for real, what I would
probably be doing is lowering the Opacity of the brush
| | 05:44 | and paint in the effect gradually, over multiple strokes.
| | 05:48 | So, I'm going to start with let's say 30 percent Opacity.
| | 05:51 | Again I've got my Brush tools selected.
| | 05:52 | I'm just going to press the number three to change the Opacity of
my brush to 3, and then I can gradually bring in with black,
| | 06:00 | painting with black, just typing X to bring black to the
foreground again, and paint with 30 percent of black.
| | 06:06 | And, it kind of feels like you're painting with 30 percent
of the detail image, which is in fact what you're doing,
| | 06:12 | because you're hiding the blurred layer and revealing the original
layer underneath it by painting with black on this Layer Mask.
| | 06:21 | So, I can just paint in gradually around the eyes and multiple strokes
kind of bring back that focus, paint around the lips slightly to bring some
| | 06:28 | of that detail back, just around the edge of
the nose, and maybe around the eyebrows as well.
| | 06:34 | And, every once in a while you can turn the
layer on and off to see the before and after,
| | 06:39 | and you can Shift + click on the Layer Mask to
turn it on and off to see the before and after.
| | 06:44 | And, you can just decide what level of detail you want to bring back.
| | 06:46 | So, maybe I want to bring just a touch of the hair back into
focus, just a bit, maybe a little bit on the diamond earring,
| | 06:56 | and just a touch on the chin, and just gradually
painting in a little of the detail back,
| | 07:02 | but softening part of the image that you want less focus on.
| | 07:06 | It's always kind of fun to actually see a Layer Mask by itself.
| | 07:09 | So, like I said earlier, you Shift + click, turns the mask on and off.
| | 07:12 | If you Alt + click, or Option on the Mac + click on
the Layer Mask you see just the mask by itself.
| | 07:18 | So, you can see wherever there's white I'm
seeing 100 percent of the blurred layer.
| | 07:24 | Wherever there's black I'm seeing 100 percent
of the sharpened layer, or the original layer.
| | 07:29 | And then, wherever there's gray I'm seeing a blend between the two.
| | 07:33 | You just Alt or Option + click again on the Layer Mask thumbnail
you'll bring the mask back and the image back together.
| | 07:40 | If you Shift and Option or Shift and Alt + click on the
Layer Mask you see the mask and the image at the same time.
| | 07:46 | So, these are just three great shortcuts to
kind of interact with the mask a little bit.
| | 07:51 | Shift + Alt or Shift + Option again turns the overlay back off.
| | 07:55 | Shift turns on and off.
| | 07:57 | Option or Alt sees the mask by itself.
| | 08:00 | Shift and Alt or Shift and Option together sees the mask at the same time.
| | 08:04 | So, that's the basics of the Layer Masks.
| | 08:07 | You add a Layer Mask at the bottom of the
Layers palette and then you paint with black
| | 08:11 | or white to hide or reveal the image that the mask is applied to.
| | Collapse this transcript |
| Swapping Heads in a Family Portrait| 00:00 | >> Michael Ninness: I don't know how it is at your household, but at
my house, because I'm the resident Photoshop expert in the family,
| | 00:07 | I get lots of requests for swapping heads between two
images, especially when you're shooting family portraits.
| | 00:14 | Inevitably the subjects, the kids, are looking at the camera
and the wife's not or vice versa and that's the case here.
| | 00:20 | I've got two images on two different layers where one, Vivian is looking
at the camera but the girls are looking at traffic going by or something
| | 00:27 | like that and then in this image where the girls are looking
great, right at the camera or at least not too far away,
| | 00:34 | The picture of Vivian didn't quite come out right.
| | 00:37 | So what we want to do is combine these two images into a composite.
| | 00:40 | That's just a classic job for Layer Masks.
| | 00:43 | What we're going to do is go to the source
layer, the Source 1 layer at the bottom here,
| | 00:48 | and we're going to make a selection of Vivian's smiling face.
| | 00:51 | We're just going to do a really complex selection
here with the Marquee tool and - very, very complicated -
| | 00:56 | We're going to press and drag.
| | 00:58 | I'm just kidding.
| | 00:59 | It's a very simple selection, don't need to do
anything complicated here, just select the head.
| | 01:03 | That's really all we need in this particular layer.
| | 01:07 | Then I'm going to move this selection up onto its own layer, so move a copy
of it and we'll do Command or Control + J to lift that up to its own layer.
| | 01:16 | Now that we've got that head or face isolated on
its own layer I can turn the bottom layer off.
| | 01:21 | I don't really need that layer anymore, Source
1, so I'm going to go ahead and throw that away.
| | 01:25 | Then we'll move Layer 1 above Source 2
and then turn the bottom layer back on.
| | 01:30 | There, it looks better already, right?
| | 01:33 | We'll go ahead and rename Layer 1.
| | 01:34 | We'll name that Smile, great.
| | 01:40 | We now want to composite this.
| | 01:42 | Well, the first thing we need to do is get this in the right
position and so the best way do that is get the Move tool.
| | 01:47 | Press V for the Move tool.
| | 01:49 | It would be helpful if we could actually see the
same reference point in both layers at the same time.
| | 01:55 | The simple way to do that is just lower the Opacity
of that top Smile layer to, say, 50 percent.
| | 02:00 | I'm just going to type a 5 to do that.
| | 02:02 | Now I can see both sets of eyes and I can use that as a reference
point to align these two layers up so I'm going to move this layer
| | 02:11 | up into the left a little bit until I register their eyes.
| | 02:15 | Then to fine tune things, as long as you have the
Move tool selected you can nudge the layers one pixel
| | 02:20 | at a time by just using your Arrow keys on your keyboard.
| | 02:23 | You can move it up one pixel, down one pixel, left, right, and so forth.
| | 02:26 | I'm going to get this approximately in the right location.
| | 02:30 | Now the nice thing about this technique is that it
lets you know if you've got the relative scale correct.
| | 02:35 | If the eyes are much larger or much smaller relative to one layer than to
another you would need to do a Free Transform and scale them appropriately.
| | 02:42 | For this particular image it's close enough.
| | 02:45 | Once I have them roughly in the right spot in terms
of registration I'm going to take the Opacity back
| | 02:52 | to 100 percent by pressing the number 0 on the keyboard.
| | 02:55 | Then to finish the composite it's simply just a
matter of adding a Layer Mask to the Smile layer
| | 03:01 | and painting out the portion of the image that we don't need.
| | 03:05 | So I'll go down to the bottom of the Layers palette and click the Add
Layer Mask button that adds a white rectangle thumbnail to my layer
| | 03:13 | and I'll type the letter B for the Brush tool
and then I'm going to start painting with black.
| | 03:18 | I'm going to check my Opacity of the brush.
| | 03:20 | Right now it's set to 30 percent.
| | 03:21 | I'm going to type a 0 to take it back to 100 percent and I'm just
going to paint out the portion of the image that I don't need. So right
| | 03:29 | around the top of Maija's head, at the neckline here, to do a composite
there, at the top of Sofija's head, and then I can come around here,
| | 03:37 | the edge of the bricks where those don't quite seam up but the hair
does and then, of course, you can do all sorts of crazy things.
| | 03:43 | Just remember Photoshop can be used for good or evil.
| | 03:46 | It's up to you to decide how to do it.
| | 03:47 | But if you want, let's say, her smiling, but her eyes to
not be, you know...ehh, it gets kind of weird-looking there.
| | 03:55 | We'll go ahead and just swap our colors by
typing X for exchange, painting with white.
| | 04:00 | This is the great thing about Layer Mask is I can just
paint with white, the opposite color, and bring that back.
| | 04:05 | This is actually a good exercise to begin
portrait retouching, to practice that.
| | 04:10 | Because you can see how much a face changes based on their expression
and you can see how weird it looks if you don't make things look right.
| | 04:18 | For instance, if I hide the smile at this point
where her mouth is not smiling but her eyes are,
| | 04:25 | it just obviously doesn't look right at all so it's good practice there.
| | 04:29 | We'll go ahead and switch the colors again, X for exchange,
and we'll paint with black to bring back that smile.
| | 04:36 | Good. So again, I'm just very carefully, I'm going to go back with black
now around the outside edge, just painting with black on the Layer Mask
| | 04:46 | and just deciding which part of the image I need
to keep and which part I need to get rid of.
| | 04:50 | So right here around the eye is another issue where
I've got some hair coming across her eye in this one
| | 04:55 | so I'll just gently erase that to reveal the hair of the other layer.
| | 05:03 | Good. Now I've got this very easy composite back and
forth between and now I can turn the layer on and off.
| | 05:09 | Here's before and there's after.
| | 05:12 | I'm just turning that on and off to do that.
| | 05:14 | Then I can turn off the mask as well by Shift + clicking
on the mask and Shift + clicking again to bring it back.
| | 05:19 | Compositing doesn't have to be all that complicated, especially here
where the position of the images didn't change from exposure to exposure.
| | 05:29 | You just make a selection, lift it up to its own
layer, position, and mask off the edges there.
| | 05:35 | Hopefully you thought that was helpful.
| | Collapse this transcript |
| Adding a Gradient to a Layer Mask to Isolate Corrections| 00:00 | >> Michael Ninness: When you want to correct an image, it's a good
idea just to kind of pause for a second, take a look at it,
| | 00:06 | and talk yourself through the problems
on what might be wrong with the image.
| | 00:09 | Because that often leads you to what you need to do to fix the image.
| | 00:14 | So we take a look at this image, the background seems a
little washed out, the sky is a little bit pale there.
| | 00:20 | And the foreground is a little bit too dark.
| | 00:22 | You know, the rocks have lost some detail in the shadows.
| | 00:24 | So when you look at that you say, OK, the
image has two distinctly different problems.
| | 00:29 | Which generally means you're going to
have to do a localized image correction.
| | 00:32 | If I were just to do a Levels command on this
whole image, I might be able to get the foreground
| | 00:37 | to look better but at the expense of the background and so forth.
| | 00:41 | So this is just a job that screams out for masks, specifically Layer Masks.
| | 00:47 | There is a number of different ways to correct this image.
| | 00:49 | I'm going to just show you this technique
because it reinforces using Layer Masks.
| | 00:53 | It's not necessarily the only way to correct the two problems in this
image, but it will work to show off some Layer Mask techniques as well.
| | 01:00 | We're going to start by duplicating this Background layer and
we'll just do Control + J or Command + J. Or you can drag the layer
| | 01:06 | to the Make Layer icon at the bottom of the Layers palette,
| | 01:09 | to create Background copy. I'm going to go ahead and
rename this Foreground and what I'm going
| | 01:16 | to do is use something called a Blending mode, a Layer Blending mode.
| | 01:21 | Now I'll talk more about Blending modes.
| | 01:22 | It has its own chapter later on in this
tutorial, so you can catch up on that there.
| | 01:27 | But for now I'm just going to lighten the
foreground by using a Blend mode called Screen.
| | 01:32 | And you can see how the rocks have opened
up and you can see more shadow detail.
| | 01:37 | Now at the expense though, of the background.
| | 01:41 | You see the background got brighter as well.
| | 01:42 | Screen made the entire image brighter, made the foreground look
much better, but it made the background look worse. So what we need
| | 01:50 | to do is create a mask on this layer, the foreground layer, and
mask out the portion of the image that we didn't want affected.
| | 01:56 | So I'll do that by adding a Layer Mask
by clicking the Add Layer Mask button
| | 02:00 | to the foreground layer, go ahead and do to that, I get a second thumbnail there.
| | 02:04 | And I can either get a paintbrush and paint out this
background or I can use something called a Gradient tool.
| | 02:10 | There is a natural transition between foreground
and background in this particular image.
| | 02:14 | Convenient enough, the water here is this natural transition zone.
| | 02:17 | So I'm going to type a G for the Gradient tool.
| | 02:21 | And I'm going to make sure that my gradient is set to the default setting.
| | 02:25 | And I'm going to choose the first gradient in the Options
bar for this drop-down list of foreground to background.
| | 02:31 | I can double-click on that too.
| | 02:32 | Close that pop-up.
| | 02:34 | And I'm going to drag from the bottom to the
top here of this transition area in the image.
| | 02:41 | And you can see that the result is I created a gradient.
| | 02:44 | If you look at the Layer Mask, wherever there's
black, I'm hiding the effect of the Screen layer.
| | 02:51 | Wherever there is white, I'm revealing it.
| | 02:53 | So now the foreground looks better and the
background looks just like it did before.
| | 02:58 | So if I turn off the Layer Mask by Shift + clicking, you see that that is
hiding the effect of that screen effect in the background of the image.
| | 03:07 | If I turn the layer on and off, the entire layer,
you'll see that the foreground is getting brighter,
| | 03:11 | that the background is not changing because I've hidden the effect of that.
| | 03:15 | So we're going to do the opposite of this and correct the background.
| | 03:18 | We're going to make the background a little bit darker.
| | 03:21 | To do that I'm going to go ahead and duplicate this
entire layer here, that's already got a Layer Mask on it.
| | 03:26 | I'll do Control + J or Command + J on the Mac to just duplicate that.
| | 03:29 | I'm going to go ahead and rename this, call it Background.
| | 03:33 | Or I can name it Sky maybe, since I all ready have a Background there.
| | 03:37 | And the first thing I'm going to do is I'm going
to change the Blend mode of this to Multiply.
| | 03:42 | And that just happens to make things darker.
| | 03:45 | Now as I look at this, you can see that the rocks got worse because the
mask here is revealing. The rocks actually need the opposite of that.
| | 03:55 | So I'm going to click on the Layer Mask of the Sky layer and
invert it, Control + I or Command + I on the Mac, to reverse that mask.
| | 04:03 | So now I've hidden the effect of the Multiply
on this layer so I'm revealing the fixed rocks.
| | 04:08 | And now the Multiply is only applying to the sky.
| | 04:11 | Now the sky looks a little bit too dark, so the great
thing about layers and Layer Masks is I can switch back
| | 04:19 | to the Layer icon here and lower the Opacity of this Multiplier effect.
| | 04:22 | So I'll press the V key for my Move tool, then I can just type a number.
| | 04:26 | I might try 50 percent Opacity on the Sky layer, so that
it just gets a little bit darker but not completely dark.
| | 04:34 | Now I can turn that on and off to see the before and after.
| | 04:37 | So the point being is that you can do these localized image
corrections by doing a global correction to the entire layer,
| | 04:44 | adding a Layer Mask to that layer, and painting out the areas or
using a gradient in this case to hide the areas that you don't want
| | 04:52 | to have the particular effect that you've done on that particular layer.
| | Collapse this transcript |
| Flowers of Hawaii Composition Project| 00:01 | >> In this movie I am going to walk you through creating a composite.
| | 00:04 | So there's a Composite Project folder in the Layer Masks
chapter of the exercise files if you happen to have those.
| | 00:11 | I'm going to open up the Composite Project folder here and
we'll start by looking at what we're going to end up with.
| | 00:16 | So, here's the final document.
| | 00:19 | We'll take a look at that.
| | 00:21 | And it's just a very simple composite, multiple images.
| | 00:24 | We're doing some resizing and positioning and
things like that and then masking some things off.
| | 00:29 | Let's take this image in the full screen just by pressing the
letter F, and we'll zoom up doing Control or Command + Plus.
| | 00:35 | And then if I hit the Tab key to hide my palettes I
can just take a look at what the image looks like.
| | 00:41 | So I've got a background image being masked off to a white
background and I've brought in three other images and scaled them
| | 00:48 | and positioned them and their particular places here.
| | 00:52 | Then I've got a text graphic that I've positioned as well.
| | 00:54 | So, we're going to do this from all the component
pieces and this is what we are going to end up with.
| | 00:59 | So if you take a look at the Layers palette, each one of the images
is on its own layer and I've got a Layer Mask masking off the leaf.
| | 01:06 | If you Shift + click on a Layer Mask you can actually turn the mask off.
| | 01:10 | I think it's a red X there.
| | 01:12 | And you can see that's what the image looked like
before we masked it and that's with the mask.
| | 01:17 | So let's go ahead and close this document and we'll go
back to the Bridge here and open up the first two files.
| | 01:23 | So, Flowers_Start and the Leaf image here.
| | 01:26 | Go ahead and opens these up together, and
what we're going to do is drag the Leaf document
| | 01:32 | into the Flowers Start document, and we just do that with the Move tool.
| | 01:37 | Now, it turns out that these two documents have the same pixel dimensions.
| | 01:40 | So the nice thing about that is that if I were to drag the leaf into
this other document, and just let go, so if I let go right here,
| | 01:48 | it's just going to end up kind of in a random position based on where I
dropped the mouse, but because I'm going to go ahead and undo that, Control + Z,
| | 01:55 | Command + Z on the Mac, but because these two images are the same pixel
dimensions, I can have them register when I drag one into the other.
| | 02:04 | And to do that you just simply start dragging
into the target document, hold down the Shift key,
| | 02:09 | and then let go of the mouse, and they end up perfectly registered.
| | 02:13 | So now that I've got the leaf inside my working document here,
I can bring this back to the front and go ahead and close that.
| | 02:19 | And we'll go ahead and name our layers, it's always
a good idea to give your layers logical names
| | 02:23 | and so just name each Layer 1, Layer 2, Layer three and so on.
| | 02:27 | We'll go ahead and rename this by double-clicking and calling it Leaf.
| | 02:30 | Now the Leaf is covering up this guide layer that I've created for
you so I'm going to go ahead and change the stacking order of the Leaf,
| | 02:36 | and to do that you just press on Leaf and drag it below
the Guide layer and then we can still see our guides.
| | 02:42 | Let's go back to the Bridge and open up the next file.
| | 02:45 | The Bird of Paradise.
| | 02:46 | Go ahead and double-click on that to open it and we'll just
move this out of the way a little bit and we'll move the Bird
| | 02:53 | of Paradise image with the Move tool into our composite.
| | 02:57 | Now you can see when this comes in it's quite a bit larger
then the actual size we need it to be, so we can go back
| | 03:03 | and bring the Bird of Paradise to the front and you close it.
| | 03:05 | And I want to be able to scale this image into the Guide.
| | 03:10 | So I'm going to bring Layer 1, we'll rename that
by double-clicking and name it Bird of Paradise.
| | 03:15 | I'm going to move that above the Guide layer and
then with the Move tool, move the Bird of Paradise
| | 03:25 | and line it up with the upper left-hand corner of that guide.
| | 03:28 | So I know where the position needs to be there and just get that
into place and kind of snaps there, and then to transform this,
| | 03:36 | to scale this to the size of the Guide, I'm going to do Control + T or
Command + T on the Mac and that brings up the Free Transform bounding box.
| | 03:44 | I want to scale this image proportionately from the lower right-hand
corner so I'm going to hold down the Shift key, press on the corner handle
| | 03:51 | and resize this until I can see just cover up the
little guide rectangle that I created here in the file.
| | 04:00 | And there, once I get it in the location and size I want it
to be, I hit Enter or Return and that locks that into place.
| | 04:07 | Great. So now we're ready to bring in the other file.
| | 04:10 | The Hibiscus file.
| | 04:12 | I'll go back on the Bridge, double-click on Hibiscus and
again, we'll drag this from one document into the other.
| | 04:19 | Like so. Close the document that we don't need open anymore and
this time I'm going to put this image into the full screen mode.
| | 04:28 | I'll press the letter F for that to go to full screen
and I'm going to rename Layer 1, rename that Hibiscus.
| | 04:38 | Good. And I want to move this into the upper
left-hand corner of the guide that I created.
| | 04:45 | And again I want to go into Free Transform,
Control + T or Command + T on the Mac.
| | 04:49 | Now, the mounting box is outside the document, that's OK.
| | 04:52 | This image is just being clipped by the canvas.
| | 04:55 | It's still there, I haven't lost that image data, it's just hiding because
the canvas is smaller then where this image is currently located.
| | 05:03 | This again, the scale is proportionate, I'll hold down the Shift key,
drag that up to the guide that I placed in this document for you.
| | 05:10 | Once I get it into position, hit Enter or Return, we're good.
| | 05:14 | We're ready to move on and get the Ginger file.
| | 05:16 | So go back to the Bridge, double-click on Ginger.
| | 05:20 | And again, we'll position this so we can see the other
Document window and we'll drag that into this document.
| | 05:26 | Now, because I'm in the full screen mode, I
can't see the other Document window to click back
| | 05:31 | into it to be able to bring it to the front and close it.
| | 05:33 | I could go to the Window menu and pull down to the
file I'm looking for which is perfectly reasonable.
| | 05:39 | The other method is to hold on the Control key and this is both
the same on Mac and PC, the Control key, so if you're on a Mac,
| | 05:45 | not the Command key, the actual Control key, and hit Tab.
| | 05:48 | Control + Tab will cycle you through the open documents.
| | 05:52 | So this is just taking you back and forth between
the Ginger document and the composite document.
| | 05:56 | I'll do Control + Tab again, bring it to the
front, and then I can close this document.
| | 06:00 | Good. Now I've got this Ginger, I want to rename it.
| | 06:04 | Ginger. Good.
| | 06:05 | And I want to scale it and position it, so I'm just going to put this in the
right location and then I'll do Control + T again, Command + T on the Mac.
| | 06:14 | And you notice I can't see the bottom
right-hand corner handle to grab it and scale it.
| | 06:19 | So to do that we want to resize our image here to be able to,
or change the zoom on our image to be able to see the handle.
| | 06:25 | Just do Control + zero or Command + zero on the Mac, and that will take
you down far enough so that you can still see the corner handle
| | 06:33 | or the complete mounting box, if you will, of the Free Transform.
| | 06:36 | So we'll hold down the Shift key and scale
this proportionately to the guide.
| | 06:39 | Get it where we want it, hit Enter or Return.
| | 06:43 | And then I can zoom up by doing Control + Plus or Command + Plus.
| | 06:46 | Get this back to where I want it.
| | 06:48 | OK. Last one we want to bring in is the text element that
I created so go back to the Bridge, there it is, number 06,
| | 06:56 | Flowers of Hawaii.
| | 06:56 | Go ahead and reopen that.
| | 06:59 | And I cheated,
| | 07:00 | this is also the same pixel dimensions of the document we're taking
in to, so we just want it to register in the correct location.
| | 07:06 | So I'm going to grab it with my Move tool, hold down the Shift key
before I let go of the mouse, and then let go with the Shift key down
| | 07:12 | and it just drops right into position where I need it to be.
| | 07:16 | I'm just holding down the Spacebar to be
able to pan this image around on my screen.
| | 07:19 | Holding down Space and then dragging with the mouse.
| | 07:23 | Now that I've got everything in position, I can go ahead and get
rid of my guides; I can either turn it off or simply delete it.
| | 07:29 | To delete a layer you can simply just
drag it to the Trash Can and it goes away.
| | 07:35 | Great. Let's go back to Fit Window, Control + zero or Command + zero.
| | 07:38 | And this image is looking good, but the
background element is overpowering.
| | 07:44 | The three pictures here, the flower.
| | 07:46 | So I want to subdue that a little bit, and the best way to do that is not
to erase or delete anything, but just to mask it off with a Layer Mask.
| | 07:53 | So the bottom of the Layers palette is the Add Layer Mask button, so I've
got the Leaf layer selected and then I click on the Add Layer Mask button,
| | 08:00 | and then it creates a second thumbnail to the right
of the image thumbnail where I can paint a mask.
| | 08:06 | And, again, the rules of masking, black protects, white selects.
| | 08:10 | Or black hides and white reveals.
| | 08:12 | So because the Layer Mask is filled with white by default
here, I'm seeing the entire leaf in the image background.
| | 08:20 | Now if I wanted I could get my Paintbrush tool, just
press B for that, and get a pretty big, large brush.
| | 08:25 | I can use my Right Bracket key to increase the size of that brush, and if
I painted with black on this Layer Mask and it's the selected item here,
| | 08:35 | I could create a random mask and just paint this out to white.
| | 08:40 | The reason it's being painted out to white is because
underneath the Leaf layer is a white Background layer.
| | 08:47 | So anywhere I paint with black on the Layer Mask of the Leaf layer,
| | 08:50 | I'm going to be revealing the layer underneath it
which, in this case, would be the white background.
| | 08:55 | So, you know, I could just paint this whole thing out.
| | 08:58 | Now, I'm going to go ahead and undo that, Control + Z, and since
I did two paint strokes, I would need to do another undo
| | 09:04 | or I can just fill this Layer Mask, again, with white.
| | 09:08 | Since white is my background color, I can do Control + Delete, or
Command + Delete on the Mac, to fill that with my background color.
| | 09:17 | Alt + Delete or Option + Delete on the Mac
would fill with the foreground color.
| | 09:22 | So now since I filled it with black, I don't see any of the leaf.
| | 09:25 | OK. So I'm going to fill that back with a background color again.
| | 09:29 | Control + Delete or Command + Delete.
| | 09:31 | Then I'll go back to where I started.
| | 09:32 | So, one of the things I can do with that Layer Masking
is I if I'm painting with the Brush tool I'm painting
| | 09:37 | with 100 percent; I might want to paint with a lower Opacity.
| | 09:40 | So I'm just going to press the number 5 on my keyboard and
that changes my Opacity of the brush to 50 percent.
| | 09:46 | So now when I paint, I'm only getting rid of part of the leaf
because I'm revealing 50 percent of the leaf and 50 percent
| | 09:54 | of the white background which is painted in strokes here. So I can build
up the effect and decide how much of the leaf I want to see
| | 10:02 | versus how much I don't, and just create a random soft
edge here by masking that off in multiple paint strokes.
| | 10:10 | So that's one way to do it.
| | 10:11 | We'll go ahead and fill that Layer Mask with white again.
| | 10:14 | So Control + Delete or Command + Delete on the Mac.
| | 10:17 | If I want a uniform mask then a nice
big paintbrush, if you will, is actually the Gradient tool.
| | 10:24 | So we'll type a G for the Gradient tool or click on the
Gradient tool icon, and I'm going to choose the first Gradient
| | 10:31 | in the Gradient pop-up list here, which
is just simply Foreground to Background.
| | 10:35 | So in this case black to white.
| | 10:36 | Hit Enter or double-click on that little
thumbnail to close that little pop-up menu,
| | 10:41 | and what we're going to do is we're going to drag from left to right.
| | 10:45 | So, if I press and drag from one side to the other, I'm going to
get a nice soft transaction between the background and the leaf.
| | 10:53 | And you can look at the corresponding Layer Mask.
| | 10:55 | The black, wherever it's black, it's hiding the
leaf, wherever it's white it's revealing the leaf.
| | 10:59 | Now if you're not happy with that gradient, the default
gradient here from black to white, foreground to background,
| | 11:05 | every time you drag a different gradient on this Layer Mask,
it's going to replace the existing one or the previous gradient,
| | 11:11 | so if I went from is this direction instead, from
right to left, then I'm just going to get the inverse of that.
| | 11:17 | You can go diagonally as well.
| | 11:19 | We'll go ahead and drag like that to get that kind of an effect.
| | 11:22 | And it really just is up to you, where you want the gradient to be.
| | 11:26 | Now, if you want to build up a gradient in multiple passes,
currently because it's foreground to background,
| | 11:33 | any time you drag your gradient you're
going to replace the existing one in that Layer Mask.
| | 11:38 | Let's fill this with white again.
| | 11:40 | Control + Backspace or Control + Delete.
| | 11:42 | Command + Delete on the Mac.
| | 11:44 | I'm going to change the gradient type on foreground to Transparent.
| | 11:47 | I'm going to go ahead and double-click on that and this
time when I drag a gradient I get the first one.
| | 11:54 | Just a very small layer.
| | 11:56 | I can drag multiple times and build up the Layer Mask.
| | 12:00 | You can see how the Layer Mask has some black at
the top and a little bit to the left-hand corner.
| | 12:04 | And if I drag from here to here, from left corner towards the
middle, you'll see each time I drag with foreground transparent,
| | 12:12 | I'm adding to the mask, instead of replacing the existing mask.
| | 12:15 | So I'm going to undo that last paint stroke and I can just decide,
you know, where I want this mask to come in in multiple strokes
| | 12:23 | and create a custom mask here with broad
paint strokes using the Gradient tool.
| | 12:26 | So there's that.
| | 12:27 | Now we're going to do a slight variation of this.
| | 12:29 | I've got the background masked out the way I want
it and I'm going to do just a very soft gradient again.
| | 12:36 | I'm going to go ahead and fill this with white, Control + Delete,
and I'll do a very long gradient from left to right over here.
| | 12:44 | Holding down the Shift key will make you end up
with a straight line before you let go of the mouse.
| | 12:49 | There you go.
| | 12:50 | And so what we're going to do now is just a slight variation.
| | 12:52 | I'm happy with this effect, but I want to
have these images have soft edges around them.
| | 12:57 | So let's go ahead and do the Bird of Paradise first.
| | 13:00 | I'm going to Control + click, Command + click on the
Mac, on that layer, the Bird of Paradise layer.
| | 13:05 | And where you Control or Command + click on
a layer it loads that layer as a selection.
| | 13:10 | So it selects all the pixels on that layer.
| | 13:12 | So if I Control + click or Command on the Hibiscus
layer it selects that, the Ginger and so forth.
| | 13:17 | So I'm just Control or Command + clicking on the
Bird of Paradise layer to load that as a selection
| | 13:22 | and then I'm going to go on the Select menu and go to Modify, Contract.
| | 13:27 | I want to shrink this selection by 10 pixels.
| | 13:30 | Go ahead and click OK and it comes in.
| | 13:33 | And I'm not, you notice I didn't use a feather value.
| | 13:35 | I want a soft edge selection, I'd prefer to make a selection, shrink it
a little bit, then go into the Quick Mask mode by pressing the letter Q
| | 13:44 | and then I see the actual mask that I've created, this temporary selection.
| | 13:48 | And I get a nice sharp edge here.
| | 13:50 | What I'm going to do now is go to Blur, Filter, Blur, Gaussian Blur, and now
I have an interactive way of seeing how soft that edge is going to be.
| | 13:59 | The reason I don't like using the Feather command before I make my
selection is one, I forget the Feather is turned on and the next time I go
| | 14:05 | to the selection I keep ending up with these
rounded edges and I don't know why, plus,
| | 14:09 | I can't actually see how soft a feathered
selection is by just looking at a marquee.
| | 14:13 | Where if I go into the Quick Mask mode I can actually
get a preview of the blur and that looks great.
| | 14:17 | So this is by 10 pixels and I'm going to blur it by 5 pixels so
I that I end up with a soft edge selection, so click OK.
| | 14:25 | Get out of the Quick Mask mode by pressing
the letter Q, and back to my Standard mode.
| | 14:30 | And because I have a selection on the layer that I want to mask,
| | 14:34 | if I add a Layer Mask by clicking the Add Layer Mask
button, my selection will get turned into a mask.
| | 14:40 | And I now have a soft edge masking the Bird of Paradise here.
| | 14:44 | I can turn the mask on and off by holding down
the Shift key and clicking on the Layer Mask icon.
| | 14:48 | So you can see the before and after.
| | 14:49 | A hard edge versus a soft edge.
| | 14:51 | So, we've created a little vignette around the Bird of Paradise.
| | 14:54 | We are going to do the same thing for the other two layers.
| | 14:55 | We'll select the Hibiscus layer.
| | 14:58 | Control + click on it, because I'm on a PC.
| | 15:01 | Command + click on it if you're on a Mac.
| | 15:03 | Again we're going to go contract the selection
by going to Select, Modify, Contract.
| | 15:09 | Contract it by ten pixels, click OK.
| | 15:11 | Go into Quick Mask mode.
| | 15:12 | We're going to do it by pressing the letter Q, we're going to do
the same blur that we did before, so under the Filter menu,
| | 15:17 | the last filter you've used is listed at the top
here so I'm just going to use Gaussian blur, again.
| | 15:22 | Get out of Quick Mask mode, and then click on the Add Layer
Mask button for that layer to turn that into a Layer Mask.
| | 15:29 | And again, the great thing here is I haven't deleted these pixels; if I want
to modify the mask or just remove it or hide it I can still do that.
| | 15:36 | Shift + click to hide it, Shift + click again to bring it back.
| | 15:40 | Go back to the Ginger layer.
| | 15:41 | Control + click on it, or Command + click on the Mac to load it as a selection.
| | 15:46 | Select, Modify, Contract by 10 pixels again.
| | 15:50 | Go into the Quick Mask mode by pressing
the letter Q, and we'll do a blur again.
| | 15:55 | Gaussian Blur, to soften that edge.
| | 15:57 | Go back out of Quick Mask and go to the
Standard mode by pressing the letter Q again,
| | 16:02 | and at the bottom of the Layers palette the Add Layer Mask button.
| | 16:06 | And now all three layers have been masked.
| | 16:09 | The Ginger, Hibiscus, and Bird of
Paradise all have soft edge masks on them.
| | 16:13 | Again, it's not right or wrong, it's a different look,
different feel and it, again, reinforces how to use Layer Masks.
| | 16:19 | So, there you go.
| | Collapse this transcript |
|
|
15. Adjustment LayersAdjustment Layer Essentials| 00:00 | >> Michael Ninness: If you're watching these movies in order then you've
already watched the Tonal Correction and Basic Color Correction chapters.
| | 00:07 | And during those chapters I show you how to do things like do Levels
Adjustments and use Curves and Hue and Saturation and so forth.
| | 00:15 | And during those movies I was just trying
to teach you about those specific commands.
| | 00:20 | Those are the commands under the Image, Adjustments menu.
| | 00:23 | So things like Curves and Color Balance and Hue and Saturation, etcetera.
| | 00:28 | During those movies though, I didn't actually mention that the technique
I was showing you was destructive, meaning we were doing the adjustments
| | 00:36 | on the original Background layer of every
image that we were using in those movies.
| | 00:41 | And that's something that I usually don't do very often.
| | 00:44 | And I'll show you why, because we want to be
using something called Adjustment Layers.
| | 00:48 | To illustrate this first, let's do a standard Levels
Adjustment just like you saw in an earlier movie.
| | 00:52 | So if we went to Image, Adjustments, Levels, or Control or Command + L, you
bring up the familiar Levels dialog box with the Histogram, showing you
| | 01:02 | how many pixels, or how many tonal
values are in given areas in the image.
| | 01:07 | And we make a modest Highlight adjustment, maybe to 215 here.
| | 01:12 | Do a little Shadow adjustment to level 15 let's say.
| | 01:17 | And then we open up the midtones a little bit too, maybe 1.2.
| | 01:20 | And then we click OK.
| | 01:23 | That's all fine and dandy, the image looks better.
| | 01:25 | But if we were reopen the Levels dialog box at
this point, if I just do Control + L or Command + L,
| | 01:30 | you'll see that the Histogram looks a lot
different than when it first started out.
| | 01:34 | And that's because what we've done is permanently
changed the pixel information in this image.
| | 01:39 | It's destructive.
| | 01:41 | It may look better but we don't know that for sure until we actually
print it out and make sure that it looks good on our print as well.
| | 01:48 | So if it was wrong and it needed to be adjusted further, because
I had done the levels adjustment on the original Background layer,
| | 01:54 | I'm no longer comparing it to the original where I started from.
| | 01:58 | And so if I were to do another levels adjustment right now, I would be
losing even more information and more detail in certain areas in the image.
| | 02:07 | And if I click OK.
| | 02:08 | So now I've done actually two levels adjustments
and really lost detail in the highlights.
| | 02:13 | So now that you know this, that you're doing things in the background,
you shouldn't really be doing that very often, what should you do instead?
| | 02:20 | So let's revert this file.
| | 02:21 | And you can choose File, Revert or in this case I choose the F12 key.
| | 02:27 | It turns out that everything that's in the Image, Adjustments menu or almost
everything, the main commands, is also under Layer, New Adjustment Layer.
| | 02:37 | And so you've got Levels, Curves, Color Balance, Hue/Saturation, these main
commands that you saw in the Image menu are also here under the Layer menu.
| | 02:45 | They're also available at the bottom of the Layers palette,
which is where I usually access them more often than not.
| | 02:51 | There is this little icon here, the Fill or Adjustment Layer
menu or pop-up menu at the bottom of the Layers palette.
| | 02:57 | And if I click on that, it's the same thing as
going up to the Layer, New Adjustment Layer menu.
| | 03:02 | And here's one and when I choose this, I'm going to get the exact same
dialog box that I got before by going to Image, Adjustments, Levels.
| | 03:12 | And I'm going to do the same adjustment, I'm going to take this to I think
we said up to 15 or something like that, make this one 15 for the shadows.
| | 03:21 | And we'll make the midtones 1.2.
| | 03:24 | And now when I click OK, we'll see in the Layers
palette I've actually ended up with a layer.
| | 03:31 | It's called Levels 1.
| | 03:33 | The great thing about a layer is that it can be turned on and off.
| | 03:35 | It can be visible, so you can see that it's non-destructive.
| | 03:39 | I haven't damaged my original Background layer here at all.
| | 03:42 | It's there untouched and the levels adjustment now is just
sitting here on top as a layer Affecting what's underneath it.
| | 03:48 | The great thing about an Adjustment Layer other than
it being non-destructive is also, it can be reedited.
| | 03:53 | So if I double-click on the thumbnail for the Adjustment Layer,
it reopens the dialog box and shows me where I left the sliders.
| | 04:01 | And you notice that it hasn't changed the Histogram.
| | 04:04 | It's the same original Histogram from the original image
and it's just showing me where I've modified the sliders.
| | 04:10 | So in the scenario where I actually did do a print and I look at
the print and it's like that's too dark, it's too light, whatever.
| | 04:15 | I don't have to go back to the original file and start all over.
| | 04:19 | All I need to do is just double-click on that
Adjustment Layer and tweak the settings here live.
| | 04:24 | So it's non-destructive.
| | 04:26 | The other great thing about Adjustment Layers is that
every Adjustment Layer has a built-in Layer Mask.
| | 04:32 | So if you watched the Layer Mask chapter, you know
how useful those are to do localized corrections.
| | 04:37 | So in a particular area of an image, let's make this extreme.
| | 04:40 | Let's reedit the Adjustment Layer and we'll
really darken the shadows quite a bit.
| | 04:47 | Bump up the midtones here; really make this a contrasting image.
| | 04:52 | If there is a part of the image where you don't
like the effect of that levels adjustment.
| | 04:57 | Well, because the Adjustment Layer has a built-in
Layer Mask, all I need to do is get my Brush tool,
| | 05:01 | pick an appropriately sized brush, maybe type a 5 for 50 percent Opacity.
| | 05:07 | And I can just paint out the levels adjustment on a particular
part of the image where I don't want that adjusted as much.
| | 05:15 | See here I'm just painting 50 percent black and
what I'm really doing is painting on the mask.
| | 05:20 | So if I look at the Layer Mask here, I can see where
this portion of the image is not being affected
| | 05:25 | as strongly with that levels adjustment as this upper portion.
| | 05:29 | So, Adjustment Layers, very flexible,
non-destructive and they can be masked.
| | 05:35 | Now pretty much every adjustment you would think
about doing, Curves, Levels, Hue and Saturation,
| | 05:42 | Color Balance, is available now as an Adjustment Layer.
| | 05:45 | The only one that's not is Shadow and Highlight.
| | 05:48 | So if you watched the movie for shadow and highlight, you saw
even there I was doing it on the original Background layer.
| | 05:55 | And because if I look at the Adjustment Layer
menu, there is no option for Shadow and Highlight.
| | 06:00 | So the work around there is to at least duplicate your
original layer and run Shadow and Highlight on a duplicate.
| | 06:06 | So you get the same result as an Adjustment Layer.
| | 06:09 | In that sense it would be non-destructive because you'd
be doing it on a duplicate and then you could mask that.
| | 06:14 | So here if I were to do Shadow and Highlight for real, I would
duplicate the layer, Control or Command + J, go to Image, Adjustments,
| | 06:22 | Shadow and Highlight, and run the adjustment on this duplicate.
| | 06:27 | So I can lighten up the shadows a bit and
down play the highlights just a touch.
| | 06:33 | So they're not so hot.
| | 06:35 | And click OK, and now because it's on a
duplicate layer, I can turn it on and off.
| | 06:41 | It's acting very much like an Adjustment Layer.
| | 06:44 | I just don't have a real Adjustment Layer for Shadow and Highlight.
| | 06:47 | So by and large, when in doubt, don't do image adjustments anymore.
| | 06:52 | These work on an actual layer.
| | 06:55 | They're destructive.
| | 06:56 | And that's kind of a weird word.
| | 06:57 | They do make things look better but you can't go back
and change your mind when you've used these commands.
| | 07:02 | Instead use the commands available on the Adjustment menu
for either the Layers palette or under the Layers menu.
| | Collapse this transcript |
| Using Auto Color as an Adjustment Layer| 00:01 | (Michael Ninness:) Again, if you watch these movies in order you
might recognize this image from the Basic Color Correction
| | 00:07 | or Tonal Correction chapters where we
were eliminating the color cast from the image.
| | 00:12 | And we used a feature called Auto Color.
| | 00:15 | Now, just for review we'll go to Image, Adjustments and choose Auto Color.
| | 00:19 | It's a very useful command for removing color cast.
| | 00:24 | This one had a yellow cast to it and it neutralized it.
| | 00:29 | The bummer about this is that the Auto Color commands, Auto
Levels, Auto Colors, Color Contrast, all work on layers.
| | 00:36 | They are all being applied to the actual original
imagine here, which means it's destructive.
| | 00:40 | I can't go back and modify it and change it
later if I close this document and reopen it.
| | 00:46 | What I'd like to be able to do is have the
flexibility and the power of the Auto Color commands
| | 00:51 | and Auto Contrast upper levels as well, but on an adjustment layer.
| | 00:55 | So let's undo this Auto Color command and instead access the Auto
Color, Auto Contrast, or Auto Levels through an adjustment layer.
| | 01:04 | We could go through the Add Adjustment Layer button at the
bottom of the Layers palette and choose Levels or Curves.
| | 01:09 | It doesn't matter which one you choose because those
commands are available in either of those dialog boxes.
| | 01:14 | But we'll go ahead and choose Levels and the Options here,
| | 01:19 | if I click the Options button in the Levels dialog
box, opens up the Auto Color Correction Options.
| | 01:25 | If I was going to use the Auto Color command, that's the same thing as
using the Find Dark & Light Colors and then turning on Snap Neutral Midtones.
| | 01:33 | If I choose Find Dark & Light Colors, Snap Neutral Tones,
clicked OK, and clicked OK again; this is the exact same result
| | 01:40 | as running the Auto Color command on the original Background
layer but because it's an adjustment layer it can be modified.
| | 01:47 | It can be turned on and off, it can be masked, you can
change the Opacity of it; it's got a layer mask built in,
| | 01:54 | you can change the Blend mode of it; it's just a lot more flexible.
| | 01:58 | So there is keyboard shortcut for doing the Image, Adjustments,
Auto Color command, and Auto Contrast, and Auto Levels.
| | 02:07 | I actually recommend that you don't use
these commands when you want the flexibility.
| | 02:12 | Instead, you create a Levels or Curves adjustment layer.
| | 02:15 | Click the Options button and then run through one of the three choices
that you want: either Auto Contrast, Auto Levels, or Auto Color.
| | 02:23 | Then you obtain the ability to have it in a non-
destructive way by having it be an adjustment layer.
| | Collapse this transcript |
| Masking the Effects of an Adjustment Layer| 00:01 | >> Michael Ninness: In the Basic Color Correction chapter
there is a movie on Hue and Saturation,
| | 00:05 | showing you how to shift hues. And in that movie I did a color
cast correction first and then went on to use Hue/Saturation
| | 00:15 | and again just bring down the point, I was doing that all on the Background
layer, whereas in this chapter I'm going to show you how
| | 00:21 | to do the same thing but doing it with adjustment layers
because it gives you the flexibility to do each correction,
| | 00:27 | each image correction, as a separate adjustment layer
and then be able to control them independently.
| | 00:32 | Rather than always stacking these corrections
on top of the original Background layer.
| | 00:37 | So, the first thing we did was did a color correction.
We're going to do that with a Levels adjustment layer...
| | 00:43 | Levels. I'm going to click on Options and I'm going to choose
Find Dark & Light Colors and Snap Neutral Midtones.
| | 00:49 | And again this is the same thing as using the Auto Color command.
| | 00:52 | But we're doing that as an adjustment layer.
| | 00:54 | Go ahead and click OK and click OK again. I might even want to
rename this and just call it AutoColor.
| | 01:02 | You know the adjustment level can be renamed as well.
| | 01:06 | Now the Auto Color looks good, and makes the white sock
white, makes the gray porch gray, but I want the trim
| | 01:13 | of the pumpkin outfit to be the appropriate color; it needs to be green.
| | 01:17 | So, instead of going to Image, Adjustments,
Hue/Saturation, we're going to go the bottom of the Layers palette
| | 01:22 | and choose a Hue/Saturation adjustment layer
from the Add Adjustment Layer button or menu.
| | 01:27 | Go ahead and click that, that brings up the Hue/Saturation dialog
box, just as you have seen it before from the Image menu.
| | 01:35 | Were going to choose the Cyans and click through the specific colors
we want to change and then we'll adjust the Hue slider towards green
| | 01:44 | and then bring down the Saturation about that, enough to make
it a little more of a nontoxic color here, and you'll see
| | 01:51 | that there's multiple areas in the image that are changing that shouldn't.
| | 01:55 | So, for instance I don't want her eye
to change, her eye had some cyan in it,
| | 01:59 | and because I didn't make a selection before I began
using Hue/Saturation, it's affecting all the colors
| | 02:06 | in the image, all the pixels in the image that are cyan.
| | 02:09 | That's OK for now, we're going to click OK.
| | 02:11 | We like this adjustment.
| | 02:12 | The reason it's not a big deal is because every
adjustment layer has a Layer Mask built right into it.
| | 02:17 | All I need to do is get my Brush tool, so I'll type a B, pick an appropriately
sized brush - let's type the Left Bracket here to make the brush smaller -
| | 02:26 | and I'm going to type a zero to reset the brush back to 100 percent and
I'm going to paint with black, my current foreground color on this Layer Mask.
| | 02:34 | Remember, black will hide the effect of that Hue/Saturation adjustment.
| | 02:38 | So, if I paint with black over her blue eye the blue eye
comes back, because I'm hiding the adjustment on this layer
| | 02:46 | and revealing the layers underneath, which
in this case is the blue of her original eyes.
| | 02:52 | That can make the brush a little bit bigger and now I can now
paint out the effect that the Hue/Saturation adjustment layer had
| | 03:00 | on the porch here. I don't want that to shift as much as it did.
| | 03:04 | I want to bring back some of that cyan, it was more of a cool gray, and
then on the mortar of the brick, let's touch that up a little bit more.
| | 03:14 | That adjusted as well, I might lower the Opacity of my brush
to 50 percent and then just paint in over the mortar.
| | 03:22 | So, again this a great way to get localized
image correction by using adjustment layers
| | 03:28 | because every adjustment layer has a Layer
Mask sitting there waiting for you to use it.
| | 03:34 | And the other cool thing here is that each
adjustment has been done separately.
| | 03:38 | So, if I turn off Auto Color I still have done a Hue/Saturation
adjustment on the green where it used to be cyan and I can turn that off.
| | 03:47 | So, each one of these things can be built up separately instead
of just dog-piling the corrections all on the original layer.
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| Digital Photo Filters| 00:00 | >> Michael Ninness: Starting in Photoshop CS, Adobe added
a new type of adjustment layer called a Photo Filter.
| | 00:05 | And they're still here in Photoshop CS2 as well.
| | 00:08 | You can access them through the Layers palette, at the bottom
of the Layers palette is the Add Adjustment Layer button.
| | 00:14 | I'm going to go ahead and click on that and choose Photo Filter.
| | 00:17 | Now if any of you are photographers and know about
the analog filters that you can put in front of your lens,
| | 00:24 | the concept is the same, it's just that you have digital filters now.
| | 00:27 | And if I look at my pop-up list here, I've got a
set of Warming Filters, a set of Cooling Filters,
| | 00:33 | specific color range filters, I have a Sepia filter which is kind of cool.
| | 00:37 | I even have an Underwater filter for correcting
images that were shot underwater.
| | 00:41 | This image had an obvious cool blue cast to
it, so I'm going to choose a Warming Filter.
| | 00:49 | And something you can't do in an analog filter is
play with the Density of that particular Photo Filter.
| | 00:55 | So if I want to increase the Density of that, I can change the
strength of the overall effect of that Warming Filter adjustment layer.
| | 01:04 | So if the Density is at 1 or almost at 0 here, you can see
almost the original layer, the original image with that blue cast to it.
| | 01:12 | But by choosing a Warming Filter, I can
change the temperature of that image
| | 01:16 | and bring it back more towards the neutral just by
increasing the Density on this particular image.
| | 01:22 | So this is yet another tool for correcting color casts on an image.
| | 01:27 | But it also has a lot of creative uses for just adjusting it dynamically.
| | 01:31 | And because again, it's an adjustment layer, it can be turned on and off.
| | 01:34 | You guys are getting used to this drill, the Opacity can be
changed, it can be massed and so on, and so on, and so on.
| | 01:39 | So now Photo Filters: great digital equivalent
of your analog filters found in your camera bag.
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| Color to Grayscale with Channel Mixer| 00:01 | >> A very useful adjustment layer is something called
the Channel Mixer, and it's kind of a weird name,
| | 00:06 | but once you see what it does it will make sense to you.
| | 00:08 | I'm going to use a Channel Mixer here to
convert this image into a grayscale image.
| | 00:13 | So remove all the color information and
create a custom grayscale conversion.
| | 00:17 | Now there's a number of ways to convert a color image to grayscale.
| | 00:20 | I'm not going to get into all those different ways now, but one technique
that has been used well before Channel Mixers were ever around,
| | 00:29 | was to go to the Channels palette and take a
look at the individual channels on an RGB image.
| | 00:34 | So if I look at the Red channel, I look at the Green channel and
I look at the Blue channel just by clicking on the channel names,
| | 00:40 | you'll see that what I'm really looking
at are three individual grayscale images.
| | 00:44 | And I can take a look at which particular channel
I think looks the best for this particular image.
| | 00:49 | And typically the Red channel is where you get a lot of
contrast, the Green channel is where you get a lot of detail,
| | 00:55 | and the Blue channel is where you get a lot of crud, or a lot of noise.
| | 00:59 | Now this isn't always the rule, but, more often than not that is the rule.
| | 01:02 | It's Red is contrast, Green is detail, Blue is crap.
| | 01:06 | Or grossness.
| | 01:06 | This is where you see a lot of noise or artifacting sometimes.
| | 01:09 | So as we take a look at these three grayscale images, it looks
like the Red channel gives me a lot of nice contrast,
| | 01:16 | lot of nice brightness, but the Green channel gives me a lot of detail.
| | 01:19 | It'd be neat if I could actually mix parts of the Red channel and parts
of the Green channel to get a new result and create a custom black
| | 01:27 | and white image that way or a grayscale image that way.
| | 01:29 | And that's exactly the idea behind the Channel Mixer.
| | 01:32 | So I'm going to click back on the RGB composite
channel and go over to familiar territory.
| | 01:37 | The Layers palette.
| | 01:38 | At the bottom of the Layers palette is that Channel Mixer or
the Adjustment Layer menu where I can choose Channel Mixer.
| | 01:44 | I'm going to go ahead and choose that and click OK.
| | 01:47 | And the default here is just to choose 100 percent red.
| | 01:50 | The image doesn't look any different but at
the bottom left is a Monochrome checkbox.
| | 01:54 | I am going to turn that on and that gives me a grayscale conversion.
| | 01:59 | But the great thing here is I haven't lost
my original color version of the image because it's
| | 02:04 | on its own separate layer and I actually
haven't done a grayscale conversion.
| | 02:08 | It only put a grayscale adjustment layer,
if you will, above the color layer.
| | 02:13 | And not destroying anything in the process.
| | 02:16 | So, we said that maybe it would be interesting to do a maybe
50 percent of the Red channel and 50 percent
| | 02:22 | of the Green channel to get a custom grayscale image.
| | 02:26 | And you'll see that that actually looks a lot better.
| | 02:28 | It's got a lot of the highlight detail from the Red channel, and
a lot of the shadow and midtone detail of the Green channel.
| | 02:34 | And I'm just mixing the two.
| | 02:35 | Now I can drag the sliders and, you know, if
I want to even lower Green and increase Blue.
| | 02:41 | It's really up to you.
| | 02:42 | There's really no science to this.
| | 02:43 | It's just a matter of dragging these sliders left and right
until you're happy with the resulting grayscale image.
| | 02:50 | I just want to make sure that I'm watching the Histogram palette
and making sure that I'm not blowing out details in certain areas.
| | 02:55 | So if I go too far to the right, you'll see that the
Histogram here dragged off, it's off the chart here.
| | 03:01 | I've obviously lost a lot of detail in the highlights here.
| | 03:04 | I'm going to bring this back.
| | 03:05 | If you don't want to lose any details, the general rule is that you
have these three sets of nu |
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