IntroductionWelcome| 00:04 | Hi! I am Deke McClelland.
| | 00:05 | Welcome to Adobe Photoshop.
| | 00:08 | First and foremost Photoshop
lets you modify digital photographs.
| | 00:12 | You can correct a photo to bring out
every tone and color, retouch an image so
| | 00:17 | that your subjects all look their very
best, and selectively modify details so
| | 00:23 | every nook and cranny of your image has impact.
| | 00:27 | Everyone has heard of Photoshop and
for good reason it is perhaps the most
| | 00:31 | powerful computer graphics tool ever created.
| | 00:35 | The purpose of the following movies is
to get you up and running with Photoshop
| | 00:39 | in the shortest amount of time possible.
| | 00:42 | I make no attempt to cover every
feature in the software, far from it.
| | 00:46 | Instead I show you just those
features that you need to know to make every
| | 00:51 | photograph look its impeccable best.
| | 00:54 | My goal is to help you succeed.
| | 00:56 | Specifically, I show you how to
import and organize your photos and get
| | 01:01 | them into Photoshop.
| | 01:02 | I show you how to adjust brightness,
contrast, and color to bring out the best
| | 01:07 | in your photographs and I show you how
to retouch away blemishes and sharpen
| | 01:12 | details so that your images resonate
with even the most casual observer.
| | 01:18 | Note that I assume no
prior knowledge of Photoshop.
| | 01:22 | If you happen to know a thing
or two about the program, great.
| | 01:25 | If not, that is not a problem.
| | 01:28 | If ever you felt like you wanted to
enhance your photographs, but weren't
| | 01:31 | entirely sure what questions to
ask this is the place to start.
| | 01:36 | In the end if you feel like there's
more you like to learn, I will point you in
| | 01:40 | a couple of directions.
| | 01:42 | In the meantime here's how
to make the most of Photoshop.
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1. Image File EssentialsGetting photos from your camera| 00:00 | In this exercise I am going to show
you how to get photos from your digital
| | 00:03 | camera or from a media card reader
using the Adobe Photo Downloader which is
| | 00:09 | part of the Adobe Bridge
which ships along with Photoshop.
| | 00:13 | Now there is a couple of different
ways to get to the Photo Downloader.
| | 00:16 | One is to connect your camera to your
computer or take out its media card and
| | 00:21 | place it inside of the media card reader.
| | 00:24 | That may cause the Photo Downloader
to launch automatically as it has in my
| | 00:28 | case, but if that doesn't happen,
here as an alternate way to work.
| | 00:31 | I am going to cancel out of the Photo
Downloader, return to Photoshop and then
| | 00:36 | go up to the File menu and choose
Browse in Bridge and that'll go ahead and
| | 00:39 | launch the Adobe Bridge.
| | 00:42 | Then go up to the Bridge's File menu
and choose Get Photos from Camera and
| | 00:47 | that'll bring up that exact same
Photo Downloader we saw a moment ago.
| | 00:51 | The next step is to identify the
device that contains your photos.
| | 00:54 | In my case, I will go up to Get Photos
from, click on this down point arrowhead
| | 00:59 | and choose my G drive.
| | 01:00 | Of course, in your case
the drive maybe different.
| | 01:03 | Next, you will go ahead and Browse to the
Location to which you want to save your images.
| | 01:08 | You can also store all of the images
in a subfolder, if you like, which in my
| | 01:12 | case is coming up by default as Today's Date.
| | 01:14 | Probably, you want to set it to the
Shot Date that is the date on which the
| | 01:17 | photos were actually captured.
| | 01:19 | I am going to go ahead and say None
however, because I'm going to go ahead and
| | 01:22 | save my files to a
subfolder I created in advance.
| | 01:26 | Now I will drop down to my Rename Files option.
| | 01:29 | You can choose not to rename the
images so you just stick with the original
| | 01:32 | files as captured by your camera.
| | 01:35 | However, I am going to switch to Custom
Name and I am going to enter the name of
| | 01:39 | the photographer Andy_Ta.
| | 01:40 | I also want to restart my sequencing number at 1,
so I will go ahead and dial in the number 1.
| | 01:46 | This next check box will go ahead and
store the original file name as part
| | 01:50 | of the files metadata.
| | 01:52 | We will be talking about metadata in
a future exercise, but when in doubt
| | 01:56 | leave the check box on.
| | 01:57 | After we get down copying the images,
presumably we want to go ahead and see
| | 02:01 | them inside the Bridge.
| | 02:02 | So go ahead and leave the
next check box on as well.
| | 02:05 | If you're copping over images captured
in your camera's raw file format then you
| | 02:10 | may or may not want to go
ahead and convert them to DNG.
| | 02:13 | In my case I do, that's
Adobe's Digital Negative format.
| | 02:17 | It's a more efficient format, it
features lossless image compression, and it's
| | 02:21 | an open standard that's
supported by all kinds of applications.
| | 02:24 | Now generally speaking if you want to
go ahead and delete the original files,
| | 02:28 | those would be the file on your
camera's memory card, because that way you free
| | 02:32 | up space on the card so that
you can shoot more images later.
| | 02:35 | However, in my case I am going to turn
that check box off and then this next
| | 02:40 | check box, definitely turn it on.
| | 02:43 | This allows you to save copies of all
your images to a different location to
| | 02:47 | make sure that you back up each
and every photograph you capture.
| | 02:51 | Now if you think you might want to
transfer some images but not others, go ahead
| | 02:55 | and click on this button that says
Advance Dialog and that'll allow you to
| | 03:00 | preview each and every single
image that's on the memory card.
| | 03:04 | Now let's say in my case I want to
transfer over just the first three images.
| | 03:09 | Then I will drop down here to
UnCheck All and click on it.
| | 03:13 | So I've unchecked every single one of
the files, and then I'll just go ahead and
| | 03:16 | turn on the first three files in the list.
| | 03:19 | Let's go ahead and credit Andy Ta as
the photographer and then finally I will
| | 03:23 | click on the Get Photos button in order to
transfer these three images over to my hard drive.
| | 03:28 | Now in my cases it's not going to take
very long, because all I have is three files.
| | 03:34 | In your case you may be transferring
hundreds or even thousands of images in
| | 03:38 | which case you can expect
the process to take longer.
| | 03:41 | And that's how you download images
captured by a digital camera using a
| | 03:44 | combination of the Adobe Photo
Downloader and the Adobe Bridge.
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| Previewing and evaluating images| 00:00 | In this exercise I am going to
introduce you to the Adobe Bridge which ships
| | 00:04 | with each and every copy of Photoshop out there.
| | 00:07 | The Bridge allows you to preview
and evaluate entire folders full of
| | 00:11 | photographs at a time.
| | 00:13 | If you're working inside Photoshop as
I am, then you can get to the Bridge
| | 00:16 | either by going to the File menu and
choosing the Browse in Bridge command or if
| | 00:21 | you prefer, you can go to the
application bar at the top of the screen and click
| | 00:25 | on that orange icon that says Launch Bridge.
| | 00:28 | Now it happens to switch me to the
Bridge very quickly, because I have the
| | 00:32 | Bridge running in the background.
| | 00:33 | If your copy of the Bridge was not running,
it will take a moment or two to start up.
| | 00:38 | Now notice that initially I'm seeing my
desktop here inside the Content panel.
| | 00:43 | In order to navigate to a folder I
will click on the Folders tab over here on
| | 00:47 | the left-hand side of the screen, and
then I will expand the desktop item by
| | 00:52 | clicking on the triangle to the left of it.
| | 00:54 | I will expand my exercise files folder
which is available to those of you who
| | 00:58 | are premium members of the lynda.com
Online Training Library, and finally inside
| | 01:03 | I've got a folder called Bonnaroo,
which is the name of a music festival that I
| | 01:08 | attended with some friends.
| | 01:09 | Now notice that I'm seeing tiny thumbnails of
all 91 photographs contained in this folder.
| | 01:15 | If you want to see larger thumbnails,
all you need to do is go ahead and drag
| | 01:19 | this slider bar down here in the
lower right region of the screen.
| | 01:23 | Now I am going to scroll down the list
of images here inside the Content panel
| | 01:27 | and I'm doing that using
the scroll button on my mouse.
| | 01:30 | Now notice that I've got an image here it's
called Andy_Ta_12.dng and it's on its side.
| | 01:37 | That's actually is a mistake.
| | 01:38 | I am going to click on it in order to
select it and I am going to zoom even farther in;
| | 01:42 | this time from the keyboard by
pressing Ctrl+Plus here on the PC that would be
| | 01:47 | Command+Plus on the Mac.
| | 01:48 | You can see Andy went ahead and short
this image at an angle, but notice we have
| | 01:53 | this light rigging at the top of a staff.
| | 01:56 | That tells me that it
should be a vertical image.
| | 01:58 | I can switch it from landscape to
portrait that is horizontal to vertical by
| | 02:03 | going over to this icon that reads
Rotate 90? Clockwise and clicking on it.
| | 02:08 | Now I will go ahead and zoom out by
pressing Ctrl+Minus or Command+Minus on the Mac.
| | 02:13 | I will scroll to the top of the list.
| | 02:16 | Now let's say you want to review
some images at full-screen size.
| | 02:20 | One of your options for evaluating
images is to switch to the Slideshow mode.
| | 02:24 | I am going to go ahead and click on
this first image Andy_Ta_01.dng and then
| | 02:29 | Shift+Click Andy_Ta_07.dng.
| | 02:32 | Notice that goes ahead and selects a
range of adjacent images, and then I will
| | 02:37 | go up to the View menu and
choose this Slideshow command.
| | 02:40 | We start things off with one of my
buddies Fatima waiting at the beginning in
| | 02:44 | this massive car line.
| | 02:46 | Then we see the police navigating the line.
| | 02:49 | The line was so long that we didn't
actually arrive in the park until sunrise
| | 02:53 | and you can see that there are
still a lot of cars to navigate through.
| | 02:57 | Our gang had to get out of the car
for a moment during a safety check.
| | 03:00 | This is in fact the safety check of our
car captured by the one in back and then
| | 03:05 | finally we end up with another
image of Fatima in a rearview mirror.
| | 03:09 | Once you're done reviewing the images
in the slideshow, all you have to do to
| | 03:13 | pause the slideshow is press the Spacebar,
to escape out just press the Escape key.
| | 03:18 | Another option for
evaluating images is the Review mode.
| | 03:22 | I will go and scroll toward the bottom
of my list of images here and I have a
| | 03:26 | couple of JPEGs of the gang.
| | 03:28 | I will go ahead and click on one, Shift+
Click on the other in order to select them both.
| | 03:34 | Then I will go to the View menu
and choose the Review mode command.
| | 03:38 | Now in my case I just have a couple of
images open, so they appear side by side.
| | 03:42 | If you've selected three or more images you
would see them in a kind of carousel mode.
| | 03:47 | Now at this point I can view details
inside my images by clicking inside
| | 03:52 | either of the image.
| | 03:53 | Notice as soon as I click, I get this
kind of square magnifying glass better
| | 03:57 | known as a loop and I'll go ahead and
point it at the face of fellow author
| | 04:00 | James Williamson so I can
see a magnified display.
| | 04:04 | I can do the same thing over here in
the right-hand image as well and I will
| | 04:08 | notice that James is
smiling on the right-hand side.
| | 04:11 | A little bit of his face is getting cut
off so I will go ahead and drag the loop
| | 04:14 | over to the right-hand side and
then move it back into the display.
| | 04:18 | If you want to move two or more
loops at the same time here is a little
| | 04:22 | trick that's available.
| | 04:23 | You press and hold the Ctrl key or the
Command key on the Mac and you go ahead
| | 04:27 | and drag one of those loops.
| | 04:29 | So at this point I can see that James
is smiling in right-hand image not so
| | 04:33 | much in left-hand image.
| | 04:34 | I will also note if I Ctrl+Drag or
Command+Drag the loops over that Jacob
| | 04:39 | is available over here in the right-hand
image and he is missing entirely
| | 04:42 | in left-hand image.
| | 04:43 | So I will prefer the one on the right.
| | 04:46 | Now I can see then it's the right-hand
image that's selected, because its file
| | 04:50 | name appears in Black where the
left-hand file name is dimmed.
| | 04:54 | If I want to change that without
hiding either of my loops all I have to do
| | 04:57 | is press the Tab key.
| | 04:59 | I am going to go ahead and switch
activity over here to the right-hand image
| | 05:03 | again, and now let's say I
want to give it a star rating.
| | 05:06 | You can rate images from one to five stars.
| | 05:09 | You typically reserve five stars
however for outstanding images that have gone
| | 05:13 | through several levels of evaluation.
| | 05:15 | This is our first evaluation, so I am
just going to press the 1 key in order to
| | 05:20 | raise that rating to one star.
| | 05:22 | However, you also have two for two stars,
three all the way up to five for five stars.
| | 05:27 | Zero will remove the star rating entirely.
| | 05:31 | As I say though, I'll give it one star
and then to escape out of the Review mode
| | 05:35 | just press the Escape key.
| | 05:37 | Your final option for evaluating
an image is a Full Screen Preview.
| | 05:42 | Let's say I go ahead and press the
Arrow key in order to advance to the next
| | 05:46 | image in the list which is called Jacob_C_30.
| | 05:49 | Jacob C. being Jacob
Cunningham, the photographer.
| | 05:52 | In order to switch to the full-screen
mode, I just go up to the View menu and
| | 05:55 | choose Full Screen Preview or
even better just tap the Spacebar.
| | 05:59 | Now currently I am zoomed out from the
image, so I can see the entire thing.
| | 06:03 | If you want to zoom in, just press the
Plus key and then wait for the image to
| | 06:08 | refresh on screen and then if you want
to pan to a different location, just go
| | 06:12 | ahead and drag inside the image, like so.
| | 06:15 | To zoom back out go ahead
and press the Minus key.
| | 06:17 | I will go ahead and advance to the Next
image, the one of this woman blowing bubbles.
| | 06:22 | I really like it.
| | 06:23 | I want to give it one star rating,
so I will tap the 1 key once more.
| | 06:26 | Then I will advance to the next image
of my buddy Scott, and then to the one
| | 06:31 | after that I can see a file name dimmed
down here at the bottom of the screen.
| | 06:35 | I like this image once again.
| | 06:36 | So I will press the 1 key
in order to give it one star.
| | 06:40 | Then I will press the Escape key in
order to leave the Full Screen Preview.
| | 06:45 | Notice over here in the bottom left
portion of the screen, we have a Filter panel.
| | 06:49 | Well, there are all sorts of ways to
filter images, that is to say you can see
| | 06:54 | exactly how many DNG images you
have, how many JPEGs and so forth.
| | 06:58 | Let's say with ratings expanded right
here, I just want to see the images to
| | 07:03 | which I've applied one star rating.
| | 07:05 | In that case, I'd click on one
star in order to filter the list.
| | 07:09 | We still have a total 91 images inside
this folder, but as I can see down here
| | 07:14 | at the bottom of screen, three
items visible and 88 are hidden.
| | 07:18 | If I want to switch things around, that
is, I just want to see the images that
| | 07:22 | have no rating, I would press the Alt
key or the Option key on the Mac and click
| | 07:27 | on No Rating in order to switch
No Rating on and one star off.
| | 07:31 | If I now want to see all of the images
whether they have a star rating or not, I
| | 07:36 | would just go ahead and click on
No Rating to once again turn it off.
| | 07:39 | Finally, you can open an image from
the Bridge and edit it in Photoshop.
| | 07:43 | Now most of the images inside this
particular folder are DNG files which will
| | 07:48 | open in a separate utility called Camera Raw.
| | 07:51 | However, your TIFF, JPEG, and PSD
files will open directly inside Photoshop.
| | 07:57 | So I will switch to File type here
in the Filter panel in the lower left
| | 08:01 | region of the screen and click on
JPEG file in order to filter my list so I
| | 08:05 | see the JPEG files only.
| | 08:07 | Then I'll go ahead and double-click on
this group star to which I assigned one
| | 08:11 | star rating and the Bridge switches
me to Photoshop and Photoshop opens the
| | 08:15 | file as you can see.
| | 08:17 | I will go ahead and press Ctrl+Plus or
Command+Plus on the Mac in order to zoom in on
| | 08:21 | the image, and that friends, is how you
preview and evaluate your images inside
| | 08:26 | the Adobe Bridge and finally
open them up inside Photoshop.
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| Getting around an image| 00:00 | In this exercise, I'm going to show you
how to get around an image inside Photoshop.
| | 00:05 | That is to say zoom in on the
image, zoom out, and pan around.
| | 00:09 | Along the way, I'm going to be
passing along quite a few different
| | 00:12 | keyboard shortcuts.
| | 00:13 | You can choose to ignore
those shortcuts if you like.
| | 00:16 | However, if you take a little time to
memorize them, then you'll find yourself
| | 00:19 | moving around without even thinking
inside Photoshop, so that you can spend your
| | 00:24 | energies on creative
applications of the software.
| | 00:27 | I'm working inside a file called
Indian elephant.jpg found inside the
| | 00:31 | exercise files folder.
| | 00:33 | If you're working along with me, you
can open that file from inside the Adobe
| | 00:36 | Bridge, or you can open it directly
inside Photoshop by going to the File menu
| | 00:42 | and choosing the Open command.
| | 00:44 | Either way, when you first open the image,
you'll see the entire image on screen
| | 00:48 | at once, which is to say you're
well zoomed out from the image.
| | 00:52 | To find out how far zoomed out you are,
check out the Percentage value in the
| | 00:57 | upper left corner in the title tab here
on the PC, or dead center at the top of
| | 01:01 | the screen in the title bar on the Mac.
| | 01:04 | In my case, I'm zoomed out to the tune
of 20%, which means I can only see one
| | 01:08 | out of every five pixels
horizontally, and one out of every five pixels
| | 01:12 | vertically, or one out of every five
out of five pixels, that is one out of
| | 01:17 | every 25 pixels in all, which means I
can't see nearly all the detail this
| | 01:22 | image has to offer.
| | 01:24 | If you want to zoom in or out from the
image, you go to the View menu and you
| | 01:28 | choose either the Zoom In or Zoom Out command.
| | 01:31 | Now you'll be using these commands an
awful lot inside Photoshop, so you might
| | 01:35 | as well take the time to
memorize their shortcuts.
| | 01:38 | That's Ctrl+Plus or Command+Plus on the Mac to zoom
in, Ctrl+Minus or Command+Minus on the Mac to zoom out.
| | 01:46 | Each time you press Ctrl+Plus or Command+Plus,
for example, you'll zoom in incrementally.
| | 01:52 | Each time you press Ctrl+Minus or Command+Minus;
| | 01:55 | you'll zoom out incrementally as well.
| | 01:57 | Now notice one of the things about zooming in.
| | 02:01 | I'll press Ctrl+Plus or Command+Plus on the
Mac a few times here, until I zoom in all
| | 02:06 | the way to the 100% view size, which
means I'm seeing one image pixel for every
| | 02:11 | screen pixel, and it also means I
can't see nearly all the image at a time.
| | 02:16 | I've also managed to zoom in on the
animal's shoulder, which isn't where I
| | 02:20 | wanted to zoom in at all.
| | 02:22 | Rather I wanted to zoom in on its eyes.
| | 02:24 | Well, problem is when you take advantage of
either of those commands, Zoom In or Zoom Out;
| | 02:29 | you're always zooming with
respect to the center of the image.
| | 02:33 | Let's say I want to
control my zoom a little better.
| | 02:35 | First thing I'm going to do is go to
the View menu and choose Fit on Screen, or
| | 02:40 | I can press the shortcut Ctrl+0 or
Command+0 on the Mac to zoom out all the way,
| | 02:45 | so that I can take in all of the image at once.
| | 02:48 | Then to zoom in on a specific location,
you go ahead and select the Zoom tool,
| | 02:54 | which is located down here at the
bottom of the toolbox and you click.
| | 02:58 | However, here's an even better way to work.
| | 03:01 | Again, because you're going to be going
to that tool a lot inside Photoshop, you
| | 03:06 | can get it from the keyboard by
pressing Ctrl+Spacebar at the same time.
| | 03:10 | That's Command+Spacebar on the Mac,
and then click at a location to zoom in
| | 03:16 | on that spot, like so.
| | 03:18 | To zoom out, you press Alt+Spacebar or
Option+Spacebar on the Mac and click.
| | 03:23 | Now notice that every option I've showed you so
far allows you to zoom in or out incrementally.
| | 03:30 | Let's say you want to zoom in
continuously as well, then I'll go ahead and press
| | 03:34 | Ctrl+Spacebar at the same time and
I'll click and hold in order to zoom in.
| | 03:40 | If I want to zoom back out, I'll press
the Alt key or the Option key on the Mac,
| | 03:44 | and I'll release Alt or Option
to zoom back in and so forth.
| | 03:48 | Here is another way to work.
| | 03:49 | I'll go up to the View menu and
choose Fit on Screen again, or of course, I
| | 03:53 | could press Ctrl+0, Command+0 on the Mac.
| | 03:56 | Another thing you can do is you can press
Ctrl+Spacebar in order to get the Zoom In tool;
| | 04:01 | that's Command+Spacebar on the Mac,
and drag to the right in order to zoom in
| | 04:06 | continuously, or drag to the left
in order to zoom out continuously.
| | 04:11 | I'm going to go ahead and zoom in
pretty far to this image and then release.
| | 04:16 | I can see in my case that I've zoomed
into 242%, so that each image pixel is
| | 04:21 | taking up more than one pixel on screen.
| | 04:24 | That means the image is going to look a
little jagged, because the pixels are so big.
| | 04:29 | If I want to return to the 100% view
size, then I'd go up to the View menu and
| | 04:33 | choose Actual Pixels, or
you can press Ctrl+1 for 100;
| | 04:37 | that's Command+1 on the Mac
in order to zoom back out.
| | 04:41 | Any time you're zoomed in on an image,
whether it's 100% or some other zoom ratio;
| | 04:47 | you're only going to see part of the
image at a time, which means that you're
| | 04:51 | going to need to be able to pan around.
| | 04:53 | You can do that using the scroll bars
over here in the right-hand side of the
| | 04:56 | screen and at the bottom of the screen as well.
| | 05:00 | However, there's a better way to work.
| | 05:02 | Notice that you've got this Hand tool that's
available toward the bottom of the toolbox.
| | 05:07 | You can select it if you want to, or
you can press and hold the spacebar in
| | 05:12 | order to access the Hand tool on the fly.
| | 05:14 | Then just drag the image
to a different location.
| | 05:17 | When you're done using the Hand tool,
just go ahead and release the Spacebar.
| | 05:21 | Now at the risk of overwhelming you,
here's another Hand tool variation that you
| | 05:26 | might find very useful.
| | 05:27 | When you're zoomed in on an image,
let's say you want to move to a
| | 05:30 | totally different location.
| | 05:32 | There's a Bird's eye option that's
available to you that involves the key
| | 05:37 | shortcut for the Hand
tool which is H. Watch this;
| | 05:41 | if you press and hold the H key, and
then you click and hold, you'll zoom out to
| | 05:46 | taking the entire image and you'll see a
rectangular border around the place you
| | 05:51 | were formerly zoomed in.
| | 05:52 | Then you can go ahead and drag this
rectangle to a different location and
| | 05:56 | release in order to switch to
that position inside the image.
| | 06:00 | I'll demonstrate this again,
because it's a little tricky.
| | 06:03 | You press and hold the H key, click
and hold, then go ahead and drag the
| | 06:07 | boundary to a different location like so,
and release, in order to zoom in on a
| | 06:12 | completely different portion of the image.
| | 06:15 | Finally, if ever you want to re-center the
image inside the image window, try this trick.
| | 06:21 | First press Ctrl+0 or Command+0 on the
Mac in order to fit the image inside the
| | 06:26 | image window and then zoom into the
desired zoom ratio by pressing Ctrl+Plus or
| | 06:31 | Command+Plus on the Mac.
| | 06:33 | And that's how you zoom in, zoom out,
and pan around an image in order to get
| | 06:39 | around the photograph here inside Photoshop.
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| Adding copyright and metadata| 00:00 | In this exercise I am going to
introduce you to the concept of Metadata.
| | 00:04 | Now at first this might seem like a
pretty geeky term, but in fact, Metadata can
| | 00:09 | be very helpful for organizing
your image files for three reasons.
| | 00:13 | First of all, Metadata shows you exactly
when and how a digital photograph was captured.
| | 00:19 | Secondly, you can use Metadata to
enter copyright and web site information,
| | 00:23 | and finally you can assign keywords to
your images so that you can easily find
| | 00:28 | them in the future.
| | 00:30 | I am back in the Bridge looking at the
contents of the Bonnaroo subfolder inside
| | 00:34 | the exercise files folder.
| | 00:36 | As I review these images, I notice that
some of them are more successful than others.
| | 00:40 | For example, I am pretty fond of Andy_Ta_28.dng.
| | 00:42 | It has a nice albeit symmetrical
composition, some good natural lighting, and
| | 00:49 | some complementary colors as well.
| | 00:51 | Let's say I want to find out
how that file was captured.
| | 00:54 | Well, there are two parts to any image file.
| | 00:57 | There are the actual colored pixels that
make up the photograph and then there's
| | 01:00 | the metadata which tells you everything else.
| | 01:03 | To find that metadata you go to the
Metadata panel, which by default is
| | 01:08 | located in the lower right region of
the screen, assuming that the Essentials
| | 01:12 | workspace is active.
| | 01:14 | Notice that things start off here with
File Properties, including the Filename
| | 01:18 | and the Date and Time at which that
digital photograph was first captured.
| | 01:23 | We also see the File Size, the physical
dimensions of the image in pixels and so forth.
| | 01:28 | If you scroll down the list, you'll
see another category of information
| | 01:32 | called Camera Data (Exif).
| | 01:34 | Down here at the bottom we see
the Make and model of the camera.
| | 01:38 | We can see that the Flash did not fire,
the Maximum Aperture Value, the Focal
| | 01:42 | Length, and so forth.
| | 01:44 | Some data such as the ISO value
are located in this upper left box.
| | 01:48 | So that's how you review the existing metadata.
| | 01:51 | How do you add your own?
| | 01:52 | Well, I am going to go ahead and
scroll down the list until I come to the
| | 01:56 | first image from Jacob Cunningham,
which is called Jacob_C_01.dng, and then I
| | 02:01 | will continue scrolling down the list until
I see Jacob_C_38.dng and Shift+Click on it.
| | 02:08 | Now let's say I want to go ahead
and assign credit to the photographer.
| | 02:11 | With these files selected, I will
go up to the File menu and choose the
| | 02:15 | File Info command, and note that this exact
same command exists also inside Photoshop.
| | 02:21 | I'll choose the command in
order to bring up this dialog box.
| | 02:25 | Then I will enter copyright notice, and
I suggest you do this for every digital
| | 02:29 | photograph you put out there as well.
| | 02:32 | To enter a copyright symbol on the
Mac, you press Option+G for golf.
| | 02:37 | Here on the PC you do something more elaborate.
| | 02:40 | You press and hold the Alt key and
then dial in 0169 sequentially on your
| | 02:46 | numerical keypad, and
then you release the Alt key.
| | 02:50 | It's a little bit strange, so I'll repeat it.
| | 02:52 | Go ahead and press and hold Alt, dial
in 0169 on the keypad and release Alt.
| | 02:59 | Then go ahead and enter the year and the
name of the photographer and change the
| | 03:04 | Copyright status from Unknown to Copyrighted.
| | 03:07 | You can also go ahead and enter a URL.
| | 03:09 | I'm going to enter in lynda.com/deke
and from that point on, all anyone has to
| | 03:14 | do to check out that web site
is click on the Go To URL button.
| | 03:19 | Now that you've done that or
assigned your own information to your own
| | 03:22 | photographs, click on the OK button.
| | 03:25 | Finally, let's go ahead and assign
a few key words to our photographs.
| | 03:29 | I am going to scroll up to the top of
the list and you may recall things start
| | 03:33 | off with this photograph of Fatima.
| | 03:36 | To assign a corresponding keyword
to this image, I will switch to the
| | 03:39 | Keywords panel and notice that we
have a few default keywords for Events,
| | 03:43 | People, and Places.
| | 03:45 | Now I've changed out my People keywords.
| | 03:47 | By default, they're Matthew and Ryan.
| | 03:50 | If you don't know any Matthews or Ryans,
you can get rid of those keywords by
| | 03:53 | right-clicking and choosing Delete.
| | 03:56 | In my case, however, I've managed to
create a keyword for everyone in my
| | 03:59 | group, except Fatima.
| | 04:01 | So I am going to add a new one.
| | 04:03 | To add a new keyword you right-click
on the Category which is actually a
| | 04:07 | keyword, a bit confusing, and then you
choose New Sub Keyword to create a Sub
| | 04:11 | Keyword in that category.
| | 04:13 | Then in this case go ahead and dial
in the name of the person and press the
| | 04:17 | Enter or Return key.
| | 04:19 | Now I am going to turn on the check box in
order to assign that keyword to this image.
| | 04:22 | Now there are a few others as well.
| | 04:24 | I don't expect you to necessarily keep
up with me, but they include Andy_Ta_7,
| | 04:28 | Andy_Ta_13, and this one here Andy_Ta_17
and I'm selecting them independently,
| | 04:34 | by the way, by Ctrl+Clicking on their
thumbnails or Command+Clicking on the Mac.
| | 04:39 | We've got a few others down lower in
the list, this woman with two carrots in
| | 04:42 | her mouth, the cellphone,
and this group of people there.
| | 04:45 | And then anywhere where you see a
woman with a blue bandanna on her face,
| | 04:49 | that's Fatima as well.
| | 04:51 | I think that pretty well takes care of it.
| | 04:53 | Now that I've selected those images, I will
go ahead and turn on the Fatima check box.
| | 04:58 | Now that's the
conventional way to assign keywords.
| | 05:01 | There is another way as well.
| | 05:03 | I am going to scroll up the list
until I find this picture here, not the
| | 05:06 | greatest photograph, but
it has an interesting story.
| | 05:09 | It features Alicia, James, and Max,
so I will go ahead and turn on those
| | 05:13 | keywords that I in
particular have created in advance.
| | 05:16 | It looks to me I think I missed this
photograph right there, the next-door
| | 05:20 | neighbor, it should have
Fatima assigned as well.
| | 05:23 | Anyway, I will return to this image and
notice that Max is holding something here.
| | 05:28 | It's hard to identify, because it's
not a high-quality photograph, but if I
| | 05:32 | click inside the Preview in order to
bring up the loop, you can see that what
| | 05:36 | we've got is $100 bill that
Max found lying on the ground.
| | 05:39 | Well, that's a pretty interesting story.
| | 05:42 | So I would like to
remember it by adding a keyword.
| | 05:44 | But this particular keyword
doesn't fall into any of my categories.
| | 05:48 | So I'll go up to the File menu
and choose the File Info command.
| | 05:52 | Notice that I will seek
keywords for Alicia, James, and Max.
| | 05:56 | I will go ahead and click after Max and enter (;
| | 05:59 | $100 bill), and then I'll click OK in
order to create that new keyword, and the
| | 06:06 | keyword now exists at the
bottom of the Keywords list.
| | 06:10 | The italics tell me that it's not an
actual Bridge keyword, but one that
| | 06:13 | I've made up on the fly.
| | 06:15 | Now I can actually search this
folder according to keywords by going over
| | 06:20 | here to my Filter panel in the lower
left portion of the screen, expanding
| | 06:24 | the Keywords item, and notice I have
entries for each of my keywords assigned this far.
| | 06:29 | I will click on Fatima and now I see
each of the 10 images to which I've
| | 06:33 | assigned that keyword.
| | 06:35 | Now that's very useful, but one of
several months later, you'd like to be able
| | 06:38 | to find all of these tagged
images across your entire hard drive.
| | 06:43 | Well, let's go ahead and switch over
to Desktop here in the Folders panel.
| | 06:47 | You can also find Desktop in the
Favorites panel, and let's say I've got a bunch
| | 06:52 | of folders on my desktop,
I want to search them all.
| | 06:55 | I will go ahead and click in the Search
field in the upper right corner of the
| | 06:58 | screen, and I will enter the name
Fatima and press the Enter key or the Return
| | 07:02 | key on the Mac, and you can see how
the Bridge is capable of searching all
| | 07:06 | subfolders on the desktop.
| | 07:08 | This works when searching system
and remote hard drives as well.
| | 07:12 | That's how you work with Metadata,
including reviewing Exif data from your
| | 07:16 | Digital Camera and assigning
copyrighting keywords here inside the Bridge.
| | Collapse this transcript |
| Understanding the photography workspace| 00:00 | In this exercise, I'll introduce
you to the photography workspace.
| | 00:04 | I'll also show you how to switch
between screen modes, so that you can better
| | 00:07 | review and present your
photographs here inside Photoshop.
| | 00:12 | I'm once again working inside
Photoshop looking at the image called Horseshoe
| | 00:15 | bend.psd found inside the exercise files folder.
| | 00:19 | Notice that the central image window is
surrounded by a few interface elements,
| | 00:24 | including the toolbox over
here on the left-hand side.
| | 00:27 | We have the Applications bar, then the
menu bar, and then the Options bar, at
| | 00:31 | the top of the screen and then finally
we have a collection of panels over here
| | 00:36 | on the right-hand side.
| | 00:37 | You can bring up other panels by going
up to the Window menu and choosing the
| | 00:41 | desired panel from the list, starting
with Actions up here at the top, all the
| | 00:46 | way down to tool presets.
| | 00:48 | You can also switch between collections of
panels that Adobe has created for you in advance.
| | 00:52 | For example, click on the Double
Pointing Arrowhead over here on the right-hand
| | 00:57 | side of the applications bar and notice
this list of so-called workspaces, which
| | 01:02 | switch between different collections of panels.
| | 01:05 | I'd like you to choose the Photography
workspace, which brings up a group of
| | 01:08 | panels best suited to editing photographs.
| | 01:12 | Now in my case because my screen is
fairly small, I'm seeing the Histogram
| | 01:16 | panel, I'll explain how
that works in a later exercise.
| | 01:19 | We're also seeing the Adjustments panel,
but the layers panel, which you use
| | 01:23 | routinely inside of Photoshop is collapsed.
| | 01:27 | In order to make room for the layers panel
I need to collapse one of the other ones.
| | 01:31 | So I'll go up to the Histogram panel
and double-click to the right of the Info
| | 01:35 | tab in order to collapse it.
| | 01:38 | Then to expand the layers panel,
I'll double-click to the right of the
| | 01:42 | word Paths, like so.
| | 01:44 | Now let's say I want to bring up a
missing panel, specifically the color panel.
| | 01:48 | I'll go out to the Window menu and
choose the Color command and that will add
| | 01:53 | a series of icons to this column of icons
directly to the right of the image window.
| | 01:59 | And it also bring up a pop up version of
the color panel, to hide it, all I need
| | 02:03 | to do is click on that Color icon, of
course, I can also bring back that pop up
| | 02:08 | panel by clicking on the icon again.
| | 02:10 | Now byproduct of these interface
elements is that they take up room on screen
| | 02:15 | that might be better spent on the image
itself, which is why Photoshop offers a
| | 02:19 | trio of different screen modes.
| | 02:21 | You can get to those screen modes by
clicking on the Screen mode icon up here in
| | 02:26 | the application bar.
| | 02:27 | Notice currently we're looking at the
Standard Screen mode in which the image is
| | 02:31 | housed inside of a window.
| | 02:33 | If you want to abandon that image window,
then choose Full Screen mode with menu bar.
| | 02:37 | And notice that the image window
slides behind the panels and we have a
| | 02:41 | free-floating image that you can pan
as we reviewed in a previous exercise by
| | 02:46 | pressing the spacebar and dragging.
| | 02:49 | However, you can go even
farther than this if you want to.
| | 02:52 | You can switch to a Full Screen mode
that has no interface elements whatsoever
| | 02:57 | by going up to that Screen mode icon
once again and choosing Full Screen mode.
| | 03:02 | At this point Photoshop is going to
warn you what's going on it's going to tell
| | 03:06 | you that everything is going to
disappear, and then you can switch back to the
| | 03:10 | standard screen mode by pressing the Escape key.
| | 03:13 | Go ahead and click on Full Screen in
order to make the interface go away.
| | 03:17 | And notice now you can go ahead
and zoom in on the image by pressing
| | 03:21 | Ctrl+Plus or Command+Plus on the Mac
in order to present that image, for
| | 03:25 | example, to a friend or client.
| | 03:28 | Don't worry that everything has disappeared.
| | 03:31 | Now what's amazing about this image mode
is that you can actually work inside of it.
| | 03:35 | For example, I can go ahead and
drag inside the mode in order to draw a
| | 03:39 | rectangular marquee.
| | 03:41 | If I want to get rid of that marquee,
I just press Ctrl+D or Command+D on
| | 03:45 | the Mac to deselect it.
| | 03:47 | And once you become more familiar with
Photoshop, you may find yourself working
| | 03:51 | inside this mode quite a bit.
| | 03:53 | To get out, just press the Escape
key, and you'll bring back the entire
| | 03:57 | interface along with the standard image window.
| | 04:00 | You can also switch between the screen
modes by pressing the F key for full screen.
| | 04:05 | So press once for the standard full
screen, press again for the absolute
| | 04:09 | full screen, and then press the F key a
third time to reestablish the standard screen.
| | 04:15 | You can also hide and show interface elements.
| | 04:18 | If you press the Tab key, you'll hide
both the toolbox on the left-hand side and
| | 04:23 | the panels on the right-hand.
| | 04:24 | So bring back those interface elements,
press the Tab key again, or you can
| | 04:30 | press Shift+Tab in order to hide
just the right side panels and press
| | 04:34 | Shift+Tab to bring them back.
| | 04:36 | Now one of the things you might notice
as you switch between the screen modes is
| | 04:40 | the difference between the
colors of the background.
| | 04:43 | If I press Ctrl+0 or Command+0 on the
Mac to zoom out, you'll see that the
| | 04:48 | pasteboard around the image is light
gray when I press the F key it's still
| | 04:52 | light gray and then when I press
the F key again it becomes black.
| | 04:57 | I most prefer seeing my photographs
against a dark background if you do as well
| | 05:02 | here is how you switch out the
background for the standard screen mode.
| | 05:06 | I'll go ahead and press the F key
again in order to return to that mode.
| | 05:09 | Then I'll drop down to this tool the
Gradient tool and click and hold on it in
| | 05:14 | order to switch to the Paint Bucket tool.
| | 05:17 | Then let's go ahead and dial in a dark
color from the color panel by clicking on
| | 05:22 | the Color icon in order to bring up that panel.
| | 05:25 | I'm also going to switch to a
different color model, so I'll click in this
| | 05:29 | little flyout menu icon in the upper
right-hand corner and choose HSB sliders,
| | 05:35 | which will bring up different sliders
for Hue, Saturation, and Brightness.
| | 05:39 | I'll leave the Hue & Saturation
value set to 0, and I'll dial in a
| | 05:43 | Brightness value of 35%.
| | 05:46 | Now I'll go ahead and close that Color
panel, and to switch out the color of the
| | 05:49 | background, you press the
Shift key and click in it.
| | 05:53 | It's a hidden trick that can come in very handy.
| | 05:56 | Now I'll press the F key in order to
switch to the full screen mode, notice that
| | 06:00 | it still has a light background.
| | 06:01 | Press the Shift key and click
in its background to switch out.
| | 06:05 | Press the F key to switch to the
absolute full screen mode, my recommendation
| | 06:09 | is to leave it black and then press the F key
again to return to the standard screen mode.
| | 06:15 | And that's how you work inside the
photography workspace, as well as switch
| | 06:19 | between screen modes here inside Photoshop.
| | Collapse this transcript |
|
|
2. Basic Color AdjustmentsAdjusting brightness and contrast| 00:00 | In this exercise, I'll show you how
to approach basic luminance and color
| | 00:04 | adjustments inside Photoshop.
| | 00:06 | I'm working inside a file called
Amusement park.jpg found inside the
| | 00:10 | exercise files folder.
| | 00:12 | This is a classic example of a badly
backlit photograph, because the camera
| | 00:17 | automatically exposed for the
background, the foreground is left dark.
| | 00:22 | I could have compensated in advance
for this problem by turning on the
| | 00:25 | strobe, but I didn't.
| | 00:26 | So we're left to our
devices here inside Photoshop.
| | 00:30 | Now the first thing I want to review
with you is a fairly technical topic called
| | 00:34 | the Histogram, and we'll become more
familiar with it as we work inside the
| | 00:38 | exercises, but I want to give you
a preview of how it works upfront.
| | 00:42 | If you've selected the Photography
workspace, then you'll see the Histogram
| | 00:46 | panel in the upper right corner of the
screen, and I quite have room to display
| | 00:50 | it on this screen however, so I'm
going to collapse the Adjustments panel by
| | 00:54 | double-clicking to the right of the word Masks.
| | 00:56 | Then I'll expand the Histogram panel by
double-clicking to the right of the word Info.
| | 01:00 | Now I'm going to make two additional
modifications, just so that we can see the
| | 01:05 | histogram in more detail.
| | 01:06 | I'll click on the flyout menu in the
upper right-hand corner of the panel and
| | 01:10 | switch to the Expanded View.
| | 01:12 | That will give us a little more room to
work, and then I'm going to change the
| | 01:16 | Channel from Colors to RGB, so that
we end up perhaps by surprise with this
| | 01:22 | entirely black histogram.
| | 01:25 | Now what is a Histogram inside Photoshop?
| | 01:28 | It's a kind of bar graphs of all of
the luminance levels inside of an image,
| | 01:33 | starting with blacks over here on the
far left-hand side and going all the way
| | 01:37 | to white on the far right-hand side.
| | 01:40 | So by Luminance Level I essentially
mean brightness values inside the image.
| | 01:46 | You can see that we have a preponderance
of dark values or shadows inside this image.
| | 01:51 | We have very little in the way of light
values notice that, since we have very
| | 01:57 | little in the way of graph going on.
| | 01:59 | These are the highlights inside the
image, and then finally we have a fair
| | 02:03 | wealth of middle luminance
levels, which are known as Midtones.
| | 02:08 | What we need to do is take this entire
histogram and shift it over to the right,
| | 02:13 | so much for the technical part.
| | 02:15 | Now let's see how we do it.
| | 02:17 | To access Luminance and Color
Adjustment functions inside Photoshop, you go to
| | 02:21 | the Image menu and you
choose the Adjustments command.
| | 02:25 | That brings up a long list of color
adjustments that are available to you.
| | 02:29 | The most basic among them are
Brightness/Contrast for adjusting luminance and
| | 02:34 | Vibrance for adjusting color.
| | 02:37 | Let's start with Brightness/
Contrast since that's our biggest problem.
| | 02:41 | You have two sliders to work with
inside this dialog box, I'm going to move it
| | 02:45 | over to the side, so we can see its
effect on the histogram and the image in
| | 02:49 | real-time as long as the
Preview check box is turned on.
| | 02:53 | What you want to do with the dark
image like this one is obviously increase
| | 02:58 | the brightness of the image, and I'm going
to take the Brightness value up pretty high.
| | 03:02 | We can see the modification to
the image live in the background.
| | 03:06 | We can also see the difference
that will be made to that histogram.
| | 03:10 | Notice we're shifting the
histogram very radically over to the right.
| | 03:14 | So we now have lots of highlights inside
the image, or least we will, once we're done.
| | 03:19 | We still have a lot of shadows, but
they're brighter and we're flattening out
| | 03:24 | some of these Midtones.
| | 03:26 | Now what I want to do is
modify the Contrast to compensate.
| | 03:30 | You might expect that what we want
is more contrast out of this image.
| | 03:34 | However, in truth it already had too
much contrast to begin with, so I'm going
| | 03:39 | to take that Contrast value down, let's
say to -20, and that's going to squeeze
| | 03:45 | the Histogram together.
| | 03:46 | So in other words, we're moving this big
mountain of highlights over to the left
| | 03:51 | and we're moving the big mountain of
shadows over to the right, and as a result
| | 03:56 | we're adding a little bit
of detail to those Midtones.
| | 04:00 | Now I'm going to go ahead and take
that Brightness value down, let's say to
| | 04:03 | about 100, just so that
you can follow along with me.
| | 04:07 | I do advice you though, you don't need
to get too hung up on these values as
| | 04:10 | you work, you just want to be able to
eyeball it here on the screen and then of
| | 04:15 | course inside the histogram, if you need
another mechanism for gauging what's going on.
| | 04:21 | Now I'll go ahead and click OK in
order to apply that modification.
| | 04:25 | Now at this point, because I've
reduced the contrast of the image, I've also
| | 04:29 | taken down what's known as color saturation;
| | 04:32 | that is, how vivid these
colors are inside the image.
| | 04:37 | In order to bump up that color
saturation, I'll go to the Image menu, choose
| | 04:42 | Adjustments and I was telling you the
most basic command for adjusting luminance
| | 04:46 | is Brightness and Contrast.
| | 04:47 | The most basic command for adjusting
Color, specifically Saturation is Vibrance.
| | 04:54 | You have two different options to work with;
| | 04:56 | Saturation, which is going to
increase the saturation or reduce the color
| | 05:01 | saturation across the board.
| | 05:03 | So notice if I take the Saturation
value down to -100, I get a graying scale
| | 05:08 | image as we're seeing here.
| | 05:10 | If I take the Saturation value up to +
100, we get these unrealistically vibrant
| | 05:16 | colors across the board.
| | 05:18 | Typically, you either want to apply
very small saturation adjustments or steer
| | 05:23 | clear of the Saturation value entirely.
| | 05:26 | And instead, focus your attention on Vibrance.
| | 05:29 | Vibrance is more selective in its
application of saturation adjustments.
| | 05:34 | Notice if I take Vibrance all the way
down to -100, I don't completely eliminate
| | 05:40 | the colors inside the image.
| | 05:41 | I still have some blue inside these left
-hand sunglasses, some reds inside the
| | 05:46 | right-hand sunglasses, and notice the
Reds inside the stripes of the American
| | 05:50 | flag have survived as well.
| | 05:53 | What Vibrance is doing is it's
reducing or increasing the vibrancy of the
| | 05:58 | colors, the saturation values based on
how saturated they were in the first place.
| | 06:03 | So, low saturation colors get more
attention than high saturation colors.
| | 06:08 | Also, if I go ahead and increase the
Vibrance value, you'll see that it does a
| | 06:14 | better more realistic number on
the flesh tones inside the image.
| | 06:18 | So I can take that Vibrance value
pretty darn high up to +60 in this case, and
| | 06:24 | still achieve credible results.
| | 06:26 | Now I'll go ahead and click OK in
order to apply that modification.
| | 06:31 | Now to get a sense of what we've
accomplished with the image, I'm going to go up
| | 06:34 | to the File menu and choose the Revert command.
| | 06:37 | Now normally that's a
very dangerous thing to do.
| | 06:41 | What this command does is it throws
away all the modifications we've made and
| | 06:45 | reloads the original version of the
image, and in another piece of software
| | 06:50 | where I had to choose Revert, I would
get a warning telling me, I'm going to
| | 06:53 | lose all of my work.
| | 06:55 | However, in Photoshop I get no
warning at all, I just lose all of my work.
| | 07:00 | And you can see that the image was
a lot worse off before we started.
| | 07:05 | The great thing about Revert inside
of Photoshop however is that it's an
| | 07:09 | undoable operation, so I can go up to
the Edit menu and choose Undo Revert or
| | 07:14 | press the standard keyboard shortcut,
Ctrl+Z or Command+Z on the Mac to
| | 07:18 | reestablish everything I've done.
| | 07:21 | And now at this point I can use Ctrl+Z,
Command+Z on the Mac to switch back and
| | 07:25 | forth between the before and after views.
| | 07:28 | So this is the Before version
and this is the After version.
| | 07:32 | Thanks to some very basic
applications of Brightness/Contrast and Vibrance,
| | 07:38 | here inside Photoshop.
| | Collapse this transcript |
| Using adjustment layers| 00:00 | In this exercise, I'm going to replay
those exact same adjustments I applied in
| | 00:05 | the previous exercise.
| | 00:06 | However, I'm going to do so using what
are known as adjustment layers and you'll
| | 00:10 | see how they provide us
with greater flexibility.
| | 00:14 | Now assuming you're working with the
PHOTOGRAPHY workspace, and if you want
| | 00:18 | to confirm that, you can go ahead
and drag this double-vertical line item
| | 00:22 | here inside the Applications bar over to the
left in order to expand your workspace list.
| | 00:28 | And you'll see that
PHOTOGRAPHY is active for me.
| | 00:31 | Assuming that that's the case, your
ADJUSTMENTS panel will be sandwiched between
| | 00:35 | HISTOGRAM and LAYERS.
| | 00:37 | Now in my case as I was saying, I don't have
enough room for all these panels on screen.
| | 00:42 | So I'm going to double-click to the
right of the word INFO in order to collapse
| | 00:45 | the HISTOGRAM panel.
| | 00:47 | Then I'm going to double-click to the right
of the word ADJUSTMENTS in order to expand it.
| | 00:52 | Adjustment layers are color adjustments,
the same commands that were offered in
| | 00:56 | the Image Adjustment submenu.
| | 00:58 | However, they're available as
independent layers, which mean that they don't
| | 01:02 | permanently affect the colors of the
pixels in the image and we can go back and
| | 01:07 | change our minds anytime we like.
| | 01:08 | Now notice that each one of those commands
that we saw before are represented as an icon.
| | 01:15 | So this very first icon in the
top row is Brightness/Contrast.
| | 01:19 | This first icon in the second row is Vibrance;
| | 01:22 | we'll be taking advantage of both.
| | 01:24 | To create a Brightness/Contrast
adjustments layer, just go ahead and click on
| | 01:28 | this first icon in the first row and
you'll see a new layer down here in the
| | 01:32 | LAYERS panel that's
called Brightness/Contrast 1.
| | 01:36 | Now we have access to those same
Brightness/Contrast sliders that I showed you
| | 01:40 | in a previous exercise, and for now,
I'm going to apply the same values.
| | 01:44 | And I'm going to do so not by dragging
the slider triangle, which of course you
| | 01:48 | can do, but rather by nudging
the values from the keyboard.
| | 01:52 | So I'll go ahead and click
inside this value to make it active.
| | 01:55 | And then notice, in my case, its -1;
| | 01:58 | if I press the Up Arrow key, it changes to 0.
| | 02:01 | So pressing Up or Down Arrow
changes the value in increments of 1.
| | 02:05 | If I press Shift+Up Arrow, then I
increase that value in increments of 10.
| | 02:09 | So I'm going to go ahead and increase
that value by pressing Shift+Up Arrow
| | 02:14 | until I take it up to 100.
| | 02:16 | Then I'll press the Tab key in order to
advance to the Contrast value and I'll
| | 02:20 | press Shift+Down Arrow a couple of
times in order to change that value to -20.
| | 02:26 | On a side note, make sure that the Use
Legacy check box is turned off as by default.
| | 02:31 | If you turn that check box on, you
can end up clipping luminance levels.
| | 02:36 | That is, you'll change many of
your shadows to black and many of your
| | 02:39 | highlights to absolute white which is not what
you want inside of a continuous tone photograph.
| | 02:46 | Next we need to add color saturation
just as we did in the previous exercise, so
| | 02:50 | I need to add a Vibrance adjustment layer.
| | 02:53 | Well, because I'm working on this
Brightness/Contrast layer, I can't see my list
| | 02:57 | of color adjustments here
inside the ADJUSTMENTS panel.
| | 03:00 | One of two ways you can now get to Vibrance;
| | 03:03 | one is you can drop down to the
bottom of the LAYERS panel, see that little
| | 03:07 | black and white circle, go ahead and
click on it and you'll see a list of the
| | 03:11 | adjustment layers that are available to you.
| | 03:14 | You'd go ahead and choose Vibrance, and
then you see those Vibrance options up
| | 03:18 | in the ADJUSTMENTS panel.
| | 03:19 | The other option that's available to
you and my preferred way of working is to
| | 03:24 | drop down to the bottom left corner of
the ADJUSTMENTS panel and click on this
| | 03:28 | left-pointing arrowhead.
| | 03:29 | Notice it even tells you that
you'll return to the adjustment list.
| | 03:33 | If for some reason you need to go back
to the Brightness/Contrast options, you
| | 03:38 | can click on this right-pointing
arrowhead, or you can double-click on the
| | 03:42 | little black and white circle to the
right of the Brightness/Contrast layer.
| | 03:46 | In our case though, we want to see this
list and I want to add a Vibrance layer
| | 03:50 | by clicking on the first icon in the second row.
| | 03:54 | Then I'm going to go ahead and take that
Vibrance value up to +60 just as I did before.
| | 04:00 | Now at this point you might figure we
haven't really done anything that we
| | 04:04 | didn't do in the previous
exercise, which is of course true.
| | 04:08 | The great thing now is I don't have to
take advantage of that precarious revert
| | 04:12 | trick that I showed you before in order to
compare the before and after views of the image.
| | 04:17 | Instead, I can drop down to these little eyes
that allow me to turn the layers on and off.
| | 04:24 | If you click on one of the eyes,
that'll go ahead and turn that layer off;
| | 04:28 | click again to turn it on.
| | 04:30 | So that gives you a sense of the
contribution of that one color adjustment.
| | 04:35 | You can also turn Brightness/Contrast
off and then on independently of the
| | 04:40 | Vibrance adjustment to see
what kind of contribution it made.
| | 04:43 | And if you want to see that original
background image by itself without any
| | 04:48 | color adjustment applied, then you
press the Alt key the or the Option key on
| | 04:52 | the Mac and click that Eye icon.
| | 04:54 | That goes ahead and leaves the one that you
Alt+Clicked on and turns the other two off.
| | 04:59 | To go ahead and turn them back on so
we're seeing the after view, you Alt+Click
| | 05:04 | on that Eye icon again.
| | 05:06 | Another great advantage to working
with these adjustment layers is you can
| | 05:09 | now change your mind.
| | 05:11 | So let's say in reviewing the
Brightness/Contrast adjustment, I figure that I
| | 05:15 | added a little too much brightness to
the image because I'm starting to lose
| | 05:19 | some of the definition in the sky.
| | 05:21 | I'll just click on the Brightness/Contrast
layer in order to make it active.
| | 05:25 | And then I see those dynamic
Brightness/Contrast values represented inside
| | 05:29 | the ADJUSTMENTS panel.
| | 05:30 | I'm going to take the Contrast value
down to its absolute minimum by pressing
| | 05:35 | Shift+Down Arrow three times
in a row, the minimum being -50.
| | 05:40 | And then I'm also going to take
that Brightness value down to +60.
| | 05:44 | So we end up with a darker image with
less contrast that darkens the foreground
| | 05:49 | subjects of the image but
it also brings down the sky.
| | 05:52 | So we can see the variation offered by the
blue of the sky and the white of the clouds.
| | 05:57 | One more trick that you
might want to know about;
| | 06:00 | check out how very small these little
layer icons are, and you can barely make
| | 06:05 | out that thumbnail preview
associated with the background image.
| | 06:08 | If you'd like to see bigger thumbnails
in your LAYERS panel, then drop down to
| | 06:12 | this empty area below the background
image, right-click and go ahead and choose
| | 06:17 | either Medium or Large Thumbnails.
| | 06:19 | I'm going to be working with
Large Thumbnails inside this course.
| | 06:22 | Now that squeezes the LAYERS panel to
the point that I can't see all the layers,
| | 06:27 | in which case I would go ahead and
collapse the ADJUSTMENTS panel by
| | 06:30 | double-clicking to the right of the word MASKS.
| | 06:32 | Now to give you a sense of what we've
accomplished, I'll Alt+Click on the Eye
| | 06:36 | icon in front of the background image
to see the before version, and then I'll
| | 06:40 | click again in order to see the after version.
| | 06:43 | And that's how you take advantage
of editable dynamic adjustment layers
| | 06:47 | here inside Photoshop.
| | Collapse this transcript |
| Adjusting levels and hues| 00:00 | In this exercise, I'm going to show you how
to adjust levels and hues inside Photoshop.
| | 00:05 | I could just as easily call it what
to do when brightness, contrast, and
| | 00:09 | vibrance don't work.
| | 00:11 | I have opened an image called Group photo.
jpg found inside the exercise files folder.
| | 00:16 | As you can see it's washed-out and yet
it has a fairly high degree of contrast.
| | 00:22 | Let's see if we can fix it using
the Brightness/Contrast adjustment.
| | 00:25 | I'll go over here to the first icon in
the Adjustments panel and click on it,
| | 00:30 | and then because the image is too bright,
it needs to be darkened up, I'll take
| | 00:35 | down the Brightness value, and because
it has too much contrast, I'll reduce the
| | 00:40 | Contrast value as well.
| | 00:42 | Now, I suppose I could apply a more
nuanced adjustment than that, but our
| | 00:46 | adjustments so far looks terrible and
it's not taking care of the real problems.
| | 00:50 | Notice that the shadows inside
this image really lack weight.
| | 00:54 | And we can get a better sense of
what's going on here by collapsing the
| | 00:58 | Adjustments panel and
expanding the Histogram panel.
| | 01:01 | Take a look at that Histogram;
| | 01:03 | notice that we have nothing
in the way of shadows going on.
| | 01:07 | What we really need is some nice
rich blacks inside this image, and
| | 01:10 | Brightness/Contrast is
not going to do that for us.
| | 01:14 | So let's get rid of the current
adjustment layer and you do that by
| | 01:17 | selecting the layer and pressing the
Backspace key here on the PC, or the
| | 01:21 | Delete key on the Mac.
| | 01:23 | Now I'm going to collapse my Histogram
panel and expand my Adjustments panel.
| | 01:28 | When Brightness/Contrast fails you, the
thing to do is to move to the next icon
| | 01:32 | over, which is Levels.
| | 01:34 | Go ahead and click on that icon and
notice what we have is an inset histogram
| | 01:39 | inside the adjustments panel with
three different values underneath.
| | 01:44 | These represent what are
known as the Input Levels values.
| | 01:47 | We also have a couple of Output
Levels values that are associated with this
| | 01:51 | gradient slider bar
towards the bottom of the panel.
| | 01:54 | You can safely ignore those for
standard photographic image adjustment;
| | 01:59 | instead, what we want to do is
focus our attention on the Histogram.
| | 02:03 | Notice that we have these three
slider triangles, black, gray, and white.
| | 02:07 | Each one of them are
associated with the values underneath.
| | 02:10 | So this is the black point value, this
is the gray value, known as the gamma
| | 02:14 | value and I'll explain why in a moment
and then this is the white point value.
| | 02:19 | By default, the black point is 0,
which is the luminance level for black.
| | 02:23 | 255 is the luminance level for absolute
white, because there are a total of 256
| | 02:31 | luminance levels, per color channel.
| | 02:34 | Why you may ask then
isn't this value 256 instead?
| | 02:38 | Well, if you consider that there are
255 variations from nearly black all the
| | 02:44 | way up to white and then there is one more at
0 that's how you end up getting a total of 256.
| | 02:51 | If I lowered this white point by
dragging the slider to the left, then I'm
| | 02:56 | saying at this point now that I've
reduced the value to 221, I'm saying any
| | 03:01 | luminance level of 221 or
brighter is now getting clipped to white.
| | 03:06 | That means we're losing all of these
highlights, which obviously as witnessed
| | 03:10 | here inside the image is not what we want.
| | 03:12 | So I'll go ahead and restore this white
point value back to 255, instead what we
| | 03:18 | want is to go ahead and
clip some of the shadows.
| | 03:21 | So I'm going to drag this black point
slider all the way up to 40, which is
| | 03:26 | telling Photoshop to take any luminance
level of 40 or darker and make it black
| | 03:31 | and that gives us some very rich shadows indeed.
| | 03:35 | I'm going to pass along one more trick
just so that you can see exactly what's
| | 03:39 | going on inside of an image.
| | 03:41 | If you Alt+Drag either the white or the
black slider triangle and that would be
| | 03:46 | an Option+Drag on the Mac, then you'll
see exactly which portions of the image
| | 03:51 | are getting clipped.
| | 03:52 | So anything that's not black at this
point as I drag this white slider triangle
| | 03:56 | is going to be clipped in
one or more color channels.
| | 04:00 | Anything that appears absolutely white
is getting clipped to absolute white,
| | 04:05 | which is a bad thing, you want to
minimize that as much as possible.
| | 04:08 | I'll go ahead and put that
white triangle back where it was.
| | 04:11 | I can do the same thing by Alt+Dragging,
or Option+Dragging the black slider
| | 04:16 | triangle, as I drag it over to the
right, then anything that's not white is
| | 04:21 | being clipped in one or more color channels.
| | 04:23 | Anything that's appearing black is being
clipped to absolute black, which again,
| | 04:29 | is not what we want.
| | 04:30 | So we want to minimize that as much as possible.
| | 04:32 | Basically you want to take that value
up until you just start to see little
| | 04:37 | flickers of color inside the image,
which is about 40 in the case of this one.
| | 04:43 | The purpose of this middle value 1.0 by
default is to compensate for your shadow
| | 04:47 | and highlight adjustments.
| | 04:49 | It changes the brightness of the Midtones
without affecting the strict blacks and whites.
| | 04:54 | So if you drag this slider over to the
right, you'll darken the Midtones, if you
| | 04:59 | drag it to the left you'll lighten the Midtones.
| | 05:02 | I want to take that value to about 1.1 in
order to brighten the Midtones just slightly.
| | 05:08 | Now I look at the image and I think
that our faces look slightly too red, as
| | 05:13 | if we might be sunburnt, where the face tones
aren't getting quite captured by the camera.
| | 05:18 | So the solution is to apply another
Adjustment layer, but it can't be Vibrance,
| | 05:22 | because where vibrance gives you
control over saturation, it does not give you
| | 05:27 | control over hue, which is
the core color component.
| | 05:30 | So we're going to try a different
adjustment by clicking on the Left Pointing
| | 05:33 | Arrow in the bottom left corner of the
adjustments panel, and then we'll move
| | 05:37 | from Vibrance over to the
second icon in this row, which adds a
| | 05:41 | Hue/Saturation adjustment.
| | 05:43 | Now the Hue slider allows you to
apply radical color adjustments.
| | 05:48 | Notice if I start dragging that Hue
slider, I'm rotating all the colors inside
| | 05:54 | of every single bit of this image and
after a certain point if I drag to the
| | 05:58 | right, I'm going to end up
turning as green and then finally blue.
| | 06:02 | That's obviously not what I want;
| | 06:04 | instead I want to apply
a very subtle adjustment.
| | 06:07 | If I drag this slider triangle over to
the left, I'm going to make our faces
| | 06:11 | even redder than they were before.
| | 06:13 | So obviously I need to go to
the right, but just a tiny amount.
| | 06:18 | In the case of this image, a
Hue value of +2 does the trick.
| | 06:21 | I'm also looking at the image and thinking
that the colors are a little bit oversaturated.
| | 06:26 | So I'll take the Saturation value
down to -5, and that ends up correcting
| | 06:32 | the image quite nicely.
| | 06:33 | To see what we've done I'll collapse
the Adjustments panel, and then I'll
| | 06:37 | Alt+Click, or Option+Click on the
Eye in front of the background image.
| | 06:40 | This is the image as it appeared at
the beginning of the video, and if I
| | 06:44 | Alt+Click, or Option+Click on the Eye
again, this is the image after our levels
| | 06:48 | and Hue/Saturation adjustments.
| | Collapse this transcript |
| Fixing shadows and highlights| 00:00 | In this exercise, I am going to show
how to correct Shadows and Highlights in a
| | 00:04 | photograph, using the
Shadows Highlights Command.
| | 00:07 | Now, in many way, shadows is the
opposite of levels, whereas Levels allows you
| | 00:11 | to darken the shadows,
and brighten the highlights.
| | 00:15 | Shadows highlights does the opposite.
| | 00:17 | You breathe life into the shadows by
brightening them, and you downplay the
| | 00:21 | highlights by darkening them.
| | 00:23 | The problem is that you cannot apply
shadows highlights as an adjustment layer.
| | 00:28 | You can only apply it as a static effect,
but we still have some flexibility, where
| | 00:32 | modifying the effects
of the command are concerned.
| | 00:35 | Now currently I have an Adjustment
layer active, so if I were to go up to the
| | 00:39 | Image menu, and choose the Adjustments
command, you can see that it's dimmed.
| | 00:43 | And that's because the
Adjustments command can only be apply to
| | 00:46 | pixel-based layers.
| | 00:48 | So I'll go ahead and Escape out of
the menu, and click on the pixel-based
| | 00:51 | Background image to make it active.
| | 00:53 | Then go up to the Image menu, choose
Adjustments which is now available, and
| | 00:57 | drop down here, to the
Shadows/Highlights command.
| | 01:00 | Now by default, you can see that the
command is set to brighten the shadows
| | 01:04 | fairly dramatically, and do nothing
whatsoever to the highlights, which is
| | 01:07 | really what you want.
| | 01:09 | But just so you have a
sense of how this command works.
| | 01:11 | I'll go ahead and increase that
shadows amount value dramatically, so you can
| | 01:15 | see how we are brightening those shadows,
and then I will also increase the
| | 01:19 | Highlights value, so you can
see how it darkens the highlights.
| | 01:23 | The result of such intense modifications,
are a lot of Solarization, that is we
| | 01:28 | are really flattening out that
shadow and highlight detail, and we are
| | 01:32 | increasing the color saturation like
crazy, which is why you typically want to
| | 01:36 | apply pretty subtle adjustments.
| | 01:38 | I am going to take the Shadows amount
value down to 10%, tab to the Highlights
| | 01:42 | amount value and take it down to 20%.
| | 01:45 | So effectively, we are dimming the
Highlights more than we are brightening the Shadows.
| | 01:49 | Now when you first choose this
command, you only get these two options.
| | 01:52 | If you want to see a wealth of
additional options that are available to you,
| | 01:56 | that allow you to do things like modify
the mid tones, as well as downplay the
| | 02:01 | saturation values, Then you can turn
on the Show More Options check box.
| | 02:06 | However, for now I'm going to
advice that you leave it off, and just go
| | 02:09 | ahead and click OK.
| | 02:11 | Because what we can do after this point,
is modify the effect of the command,
| | 02:15 | and so here's the trick.
| | 02:17 | You can always change the last
static adjustment applied in Photoshop.
| | 02:21 | By going up to the Edit menu,
and choosing the Fade command.
| | 02:24 | Notice in this case it tells me we
are going to Fade Shadows/Highlights.
| | 02:28 | The first thing we need to Fade, is
that enhancement to the color saturation,
| | 02:32 | and you can do that by changing this
mode value from Normal to Luminosity, which
| | 02:37 | still shadows highlights to affect the
Luminance levels of the image, without
| | 02:41 | affecting the color at all.
| | 02:42 | So go ahead and choose Luminosity,
notice that that relaxes the color values.
| | 02:47 | And then let's reduce you Opacity value to
let's say 50%, and go ahead and click OK.
| | 02:53 | Now of course, this time around, we
didn't apply adjustment layers, we applied a
| | 02:57 | static modification.
| | 02:58 | So to get a sense of the before and
after view of the image, we need to go up
| | 03:02 | to the File menu and choose a
Revert command, unless you also have that
| | 03:06 | keyboard shortcut of F12.
| | 03:08 | And by choosing Revert, I can see the
images that appeared at the beginning of
| | 03:12 | the exercise, so this is the before
version of the image, and if I press Ctrl+Z
| | 03:16 | or Command+Z on the Mac,
this is the after version.
| | 03:20 | More subtle adjustment that what
we've seen in the past, but a very
| | 03:23 | meaningful one as well.
| | 03:25 | Thanks to the power of the Shadows
Highlights command, here inside Photoshop.
| | Collapse this transcript |
|
|
3. Correcting in Camera RawCorrecting white balance| 00:00 | In this exercise I'll introduce you
to Camera Raw which is an independent
| | 00:04 | utility that ships along with Photoshop.
| | 00:07 | Camera Raw's primary function is to
allow you to develop images that are
| | 00:11 | captured to your digital
camera's Raw file format.
| | 00:15 | Now not every camera out there
allows you to shoot to a Raw format,
| | 00:20 | especially at the low end.
| | 00:22 | But your typical midrange or high-end
camera especially an SLR will provide some
| | 00:27 | sort of Raw file format whether it's
CR2 for Canon or NEF for Nikon or ORF for
| | 00:35 | Olympus or what have you.
| | 00:37 | If your camera provides a Raw format, I
urge you to use it, because you're going
| | 00:41 | to a lot better color and tonal depth out of it.
| | 00:45 | However, Camera Raw is also useful for
developing JPEG and TIFF images for two reasons.
| | 00:51 | First of all, its color adjustment controls
are well-organized and fairly easy to use.
| | 00:57 | Secondly, Camera Raw always
applies nondestructive modifications.
| | 01:02 | So you can't harm a
single pixel inside your image.
| | 01:06 | I'm once again working inside the
Adobe Bridge and I've it trained on the
| | 01:09 | contents of the exercise_files
folder and I've got this image right here
| | 01:13 | called Alicia in hat.dng.
| | 01:15 | DNG stands for Digital Negative
and its Adobe's Raw file format.
| | 01:21 | So if I were to double-click on the image, it
would automatically open up inside Camera Raw.
| | 01:26 | However, regardless of the image that
you're working on whether it's a Raw image
| | 01:30 | or a JPEG or a TIFF, here's how
you open that file in Camera Raw.
| | 01:35 | Go ahead and click on its thumbnail
here inside the Bridge and then choose Open
| | 01:39 | in Camera Raw, or you can press Ctrl+R
on the PC or Command+R on the Mac and
| | 01:45 | that goes ahead and takes you
to the Camera Raw interface.
| | 01:48 | Much about Camera Raw works the
same as it does inside Photoshop,
| | 01:52 | especially navigation.
| | 01:53 | So if you press Ctrl++ or
Command++ on the Mac, you'll zoom.
| | 01:57 | If you press Ctrl+- or Command
+- on the Mac, you'll zoom out.
| | 02:02 | Up at the top of the screen, we have
a toolbar and then over here on the
| | 02:06 | right-hand side, we have our panel options.
| | 02:09 | Now you can switch between panels by clicking
on these little icons above the word, Basic.
| | 02:13 | So we have Tone Curve, and Detail,
and HSL/Grayscale and so forth.
| | 02:18 | However, the Basic options are the most
powerful and they're also the ones that
| | 02:23 | you will be applying to every single
image that you open inside Camera Raw.
| | 02:27 | Now as you can see the main problem with
this photograph is that it's blown out.
| | 02:32 | We have these ultra bright
highlights and not much in the way of shadow.
| | 02:35 | We will eventually correct for that
using the exposure through contrast
| | 02:40 | sliders in the next exercise, but for now, I
want to focus our attention on White Balance.
| | 02:45 | So I am just going to go ahead and click
on Auto in order to apply a sequence of
| | 02:50 | automatic adjustments.
| | 02:52 | Photoshop applies some color automation,
but the automatic color adjustments
| | 02:57 | here inside Camera Raw work much better.
| | 03:00 | As you can see, they do a
pretty darn good job on this image.
| | 03:04 | However, in my opinion, Alicia's
face is just too darn pink and that's a
| | 03:09 | function of what's known as White Balance.
| | 03:11 | The idea behind White Balance is that
you need to adjust for the color of the
| | 03:15 | light source and you do so using these
White Balance controls right here at the
| | 03:20 | top of the Basic panel.
| | 03:22 | So notice that I have this
White Balance pop-up menu.
| | 03:25 | I will go ahead and click on it, and
then I could say all right, this image
| | 03:29 | was shot using tungsten light which is a
very warm yellowish light source, by the way.
| | 03:34 | I will go ahead and choose that and
notice that ends up making the image very
| | 03:38 | blue, which might seem strange.
| | 03:40 | I am working with the yellowish light
source and I just made the image blue.
| | 03:43 | And if I go ahead and switch to Cloudy,
which would be the daylight associated
| | 03:48 | with a cloudy day, which
is of course quite bluish.
| | 03:51 | I will go ahead and choose Cloudy and
notice that that warms up the image that
| | 03:55 | is to say, it makes it more of a yellow orange.
| | 03:59 | What's happening here is that Camera
Raw is correcting for the light source.
| | 04:04 | So in other words, if the light source
was very blue then Camera Raw will make
| | 04:08 | the image more yellow, because
yellow is the color complement to blue.
| | 04:13 | So you can go ahead and try out those
preset controls if you like, and I say
| | 04:16 | preset because each one of them makes
automatic adjustments to Temperature and Tint.
| | 04:22 | Or you can modify those
Temperature and Tint values manually.
| | 04:26 | Now notice if I drag the Temperature
slider over to the right-hand side, I am
| | 04:30 | going to make the image more yellow, because
I'm compensating for a bluish light source.
| | 04:35 | If I reduce the Temperature value, then
I am going to make the image more blue,
| | 04:39 | because I'm compensating
for a yellowish light source.
| | 04:43 | In my case, something around 6500
degrees looks pretty good, but you'll want to
| | 04:48 | adjust that value to taste, of course.
| | 04:51 | Now your next control is Tint and in
order to understand Tint, I want you to
| | 04:55 | think of the colors in the
rainbow being mapped onto a circle.
| | 04:59 | So imagine that circle starts with red,
and then it goes to orange, yellow,
| | 05:03 | green, blue, and so forth until it wraps
all the way back through purple to red again.
| | 05:09 | Temperature draws a straight line
from yellow to blue through that circle.
| | 05:15 | If you were to then draw a
perpendicular line through that circle, you
| | 05:18 | would come up with Tint.
| | 05:20 | So the Tint axis runs
perpendicular to Temperature.
| | 05:23 | Now whether you feel like you really
have your brain wrapped around that or
| | 05:26 | not, you can see that the Temperature slider
is going to take you between green and magenta.
| | 05:32 | Now it's rare that you look at an
image and say, gosh, I wanted it to be
| | 05:35 | greener, or gee whiz, I'd
like it to be more magenta.
| | 05:38 | Instead what you do is you look at
the image and say, this image is still a
| | 05:43 | little bit too pink.
| | 05:45 | So I will go ahead and move the slider
away from pink toward green, or I might
| | 05:51 | look at the image and say,
gosh, this image is too green.
| | 05:54 | I'm going to move the slider
away from green toward pink.
| | 05:58 | In my case, I want to take
out a little bit of pink.
| | 06:00 | So I am going to take that Tint value to -15.
| | 06:04 | Now at this point if you want to get a
sense of what you've accomplished, you
| | 06:08 | can do a before and after comparison
by clicking on this Preview check box at
| | 06:12 | the top of the screen, or
you can just press the P key.
| | 06:16 | So if I press P, I will see the before
version of the image as you can see quite blown out.
| | 06:21 | Definitely, don't have enough rich black
shadow detail and then if I press the P
| | 06:26 | key again, we have a much
richer image as a result.
| | 06:30 | Once you're done you can either click
on the Open Image button down here in the
| | 06:34 | lower-right corner in order to open
that image inside Photoshop, or you can
| | 06:39 | click on the Done button in order to
save your changes and return to the Bridge.
| | 06:44 | That's what I am going to do.
| | 06:45 | I am going to go ahead and click on Done,
and notice that my thumbnail and the
| | 06:49 | preview update here inside the Adobe
Bridge which has all the while been
| | 06:54 | running in the background.
| | 06:55 | Now you may remember that I was telling
you one of the great things about Camera
| | 06:59 | Raw is that it never harms
the pixels inside the image.
| | 07:03 | So why does the image look so
different after I've applied my modifications?
| | 07:08 | And the answer is the original pixels
are the same as they ever were, but the
| | 07:13 | metadata has now been modified.
| | 07:15 | If I go down to the Metadata panel
and scroll down the list, you'll notice
| | 07:20 | underneath the item that says Camera
Data (Exif) immediately following that is
| | 07:25 | this Camera Raw data and notice that
it's keeping track of every one of the
| | 07:30 | modifications I've made.
| | 07:32 | So now you have a sense of how to
modify images in Camera Raw, including how to
| | 07:37 | correct White Balance.
| | Collapse this transcript |
| Using Exposure controls| 00:00 | In this exercise, we're going to take
a look at the basic color adjustments
| | 00:03 | here inside Camera RAW starting with Exposure
and continuing all the way down to Saturation.
| | 00:10 | I'm working inside an image called H
White-balanced Alicia.dng found inside the
| | 00:14 | exercise files folder.
| | 00:16 | Now, what I've done is I've applied
those White Balance settings from the
| | 00:19 | previous exercise, and then I went ahead,
and cleared out the rest of the basic
| | 00:23 | adjustments by clicking on this Default button.
| | 00:25 | That way, we can get a sense of the
contribution of each one of these settings.
| | 00:29 | Now, many of them are analogous to some of
the functions that we saw inside of Photoshop;
| | 00:35 | other ones are different or
better than they are in Photoshop.
| | 00:39 | Notice up here in the top-right
corner of the screen, we have our by
| | 00:42 | now familiar Histogram.
| | 00:44 | It's showing us a bar graph of the
Luminance levels, starting at Black on
| | 00:48 | left-hand side, and continuing on
to White on the right-hand side.
| | 00:52 | You can see that we've got a ton of whites
because of the spike at the end of the graph.
| | 00:56 | However, we have nothing in the way
of blacks, which is why we have such
| | 01:00 | a washed-out image.
| | 01:02 | Now, if you take a look down here, the
basic color adjustments start off with Exposure.
| | 01:07 | Exposure is in many ways the white point
balance provided by the Levels command,
| | 01:12 | that is to say, it allows you to take
the highlights and make them brighter.
| | 01:16 | However, it also allows you to
recover highlights, so you can darken up the
| | 01:21 | image and bring the highlights back
into the visible spectrum which is very
| | 01:26 | useful if you have blown highlights as we do.
| | 01:29 | Now if you want to get a sense of
exactly how you should set the Exposure and
| | 01:33 | where your highlights are turning
white inside the image, then you take
| | 01:37 | advantage of that same
trick that we saw in Photoshop.
| | 01:39 | You press the Alt key or the Option
key on the Mac and you go ahead and drag
| | 01:43 | that slider triangle.
| | 01:45 | So at this point, I'm seeing a lot
of whites as well as other colors.
| | 01:48 | That means, those are going to turn into
blown highlights inside the image, that
| | 01:52 | is, they are going to appear
white in one or more color channels.
| | 01:56 | The blacks are protected.
| | 01:58 | I want to go ahead and take this value down
until I'm just seeing a few areas of white, like so.
| | 02:05 | It turns out that I land on
an Exposure value of -0.90.
| | 02:10 | Now, by the way, some of you
might find this interesting;
| | 02:14 | Exposure is talking to you in terms of F-stops.
| | 02:17 | Next, we have Recovery which is very
much like the Highlights option that's
| | 02:21 | provided by Photoshop
Shadows/Highlights command.
| | 02:24 | That is to say, it goes
ahead and dims the highlights.
| | 02:28 | Notice as you drag this Highlights
slider over to the right, we're dimming
| | 02:31 | highlights inside the image.
| | 02:32 | You can also, by the way, press the
Alt key or the Option key on the Mac, and
| | 02:36 | drag this slider triangle.
| | 02:39 | What I typically do is I start
dragging until the point where the highlights
| | 02:43 | don't really seem to beginning that much
smaller, and you can see that above 10,
| | 02:47 | we're not really making much of a difference.
| | 02:49 | So I'll go ahead and settle on a
value of 10 where this image is concerned.
| | 02:53 | Next is Fill Light which is like
the Shadows option provided by the
| | 02:57 | Shadows/Highlights command, that is, it
brightens the shadows as you can see here.
| | 03:01 | So I'm actually breathing life
into those shadows as it were.
| | 03:05 | I'm going to take that value up to 10 as well.
| | 03:08 | Unfortunately, Alt+Dragging, or Option+
Dragging that one doesn't make any difference.
| | 03:13 | However, Blacks, that is the black
point value that is provided by Levels.
| | 03:19 | So in other words, I'm going to take the
darkest colors in the image and make them darker.
| | 03:24 | As I drag this slider triangle over
to the right, I'm actually smashing the
| | 03:29 | Histogram over to left-hand side as well.
| | 03:31 | So watch that Histogram as I change this value.
| | 03:34 | This is what the Histogram looks like
with the Blacks value of 0, this is what
| | 03:39 | the Histogram looks like
with the Blacks value of 30.
| | 03:41 | What you want to do when you're
modifying this value is once again press the Alt
| | 03:46 | key or the Option key on the Mac and
drag that slider triangle until you see
| | 03:51 | just a few spots of color.
| | 03:53 | Mostly you should see white, that means
the image is protected, but just a few
| | 03:57 | spots of color here and there tell you
that you are making those areas black in
| | 04:01 | one or more color channels.
| | 04:03 | I eventually settled on a Blacks value of 25.
| | 04:06 | Next, we have Brightness which is like
that mid-tone gamma value that's provided
| | 04:11 | by Levels, that is, we're changing
the mid range of colors without harming
| | 04:16 | either the brightest colors or the darkest ones.
| | 04:19 | So reducing the value is going to give
you a darker image, increasing the value
| | 04:23 | is going to give you a brighter image.
| | 04:25 | Ultimately, you just want to settle
on a value that looks good to you.
| | 04:29 | By the way, from this point on,
Brightness, all the way down, Alt+Dragging or
| | 04:33 | Option+Dragging produces no effect.
| | 04:36 | Now Contrast, pretty obvious, just
like the Brightness/Contrast control.
| | 04:39 | In fact, Brightness and Contrast are
the same as the controls that are provided
| | 04:44 | by the Brightness/Contrast command.
| | 04:46 | If you increase the Contrast value,
you're going to get more, if you reduce it,
| | 04:50 | you're going to get less.
| | 04:51 | I'm going to go ahead and take it
down just a little bit from its default
| | 04:54 | setting of 25 down to 15.
| | 04:57 | Now Clarity applies contrast around
edges inside the image, that is, areas of
| | 05:03 | rapid luminance transition.
| | 05:05 | So Alicia's jaw line, for
example, would be an edge.
| | 05:09 | If I increase the Clarity value, then
I'm going to increase the Contrast along
| | 05:13 | that edge and I'm going to bring out
details inside of her skin, which might not
| | 05:18 | be the route you want to go for a portrait shot.
| | 05:21 | It's going to be great for details
inside of her hat, by the way, not so good
| | 05:25 | for pores and so forth.
| | 05:27 | When working on a portrait shot, you
typically want to take this value down a
| | 05:31 | little bit, not all the way down to -100
which looks just plain strange, but
| | 05:36 | let's say in this case down to -5.
| | 05:37 | I'm going to drop down the
Saturation for a moment so that we can see
| | 05:42 | what happens when you increase the
Saturation value to +100, obviously
| | 05:46 | produces garish colors.
| | 05:47 | If you take it down to -100,
you're going to get a grayscale image.
| | 05:51 | In my case, I'm going to leave it set to 0.
| | 05:53 | Vibrance once again is better changing
the saturation of colors based on the
| | 05:57 | need and this is what the image looks
like at a Saturation value of +100 and
| | 06:01 | this is what it looks like at -100.
| | 06:06 | We need a little less than
0 Vibrance in this image.
| | 06:08 | So I'm going to take this value down to -10.
| | 06:12 | To get a sense of what we're able to
accomplish here, I'll press the P key, so
| | 06:16 | we can see the before version of the
image subject to the proper white balance,
| | 06:20 | however the default exposure through
saturation values and this is what the
| | 06:24 | image looks like now.
| | 06:25 | Thanks to some very basic manual
color adjustment here inside Camera RAW.
| | Collapse this transcript |
| Converting to black and white| 00:00 | In this exercise, I'm going to show you
how to convert an image to black and white.
| | 00:04 | I've gone ahead and opened up a
file called Me in baseball cap.dng;
| | 00:09 | it's found inside the exercise files folder.
| | 00:11 | And I open it in Camera Raw by
selecting the image in the bridge and pressing
| | 00:15 | Ctrl+R on the PC, or Command+R on the Mac.
| | 00:18 | Now you can convert images to black and white,
both inside Photoshop and inside Camera Raw.
| | 00:25 | In Photoshop you use an
adjustment layer called black & white.
| | 00:29 | However, Camera Raw gives you more control.
| | 00:32 | So even if you're working with the
JPEG or TIFF image, this is the way to go.
| | 00:37 | To convert an image to black and white,
go up to this list of icons above the
| | 00:41 | word Basic on the right-hand side of
the screen and click on the one that
| | 00:44 | says HSL/Grayscale.
| | 00:47 | Then drop down to this check box
Convert to Grayscale and turn it on, and that
| | 00:52 | will leave you with one subpanel
called Grayscale Mix, along with several
| | 00:57 | different slider bars, which allow you
to control the amount of any one color
| | 01:01 | ingredient that goes into the
final black and white mixture.
| | 01:05 | So in other words, if you increase the
Reds' value, you are brightening up the
| | 01:10 | reds inside the image.
| | 01:11 | If you reduce the Reds' value, you're
darkening up the reds inside the image.
| | 01:16 | Now what I've done so far looks pretty terrible.
| | 01:19 | If I want to seek Camera Raw's advice
for the best grayscale mix, then I'll
| | 01:23 | click on the Auto button, and, by the way,
you're going to get different results
| | 01:26 | for every single image
you open inside the program.
| | 01:30 | If you just want to 0 out the values,
which is where I'm going to start, because
| | 01:33 | I want to make some manual
adjustments, then click on Default.
| | 01:37 | So I'm going to start with Reds and
typically when you're working with the
| | 01:40 | portrait shot, you want to enhance the
so-called warm values inside the image,
| | 01:44 | that is your Reds, Oranges, and Yellows.
| | 01:47 | And you want to takeaway some of the
cooler values, including Greens all the
| | 01:51 | way down to Purples.
| | 01:52 | As you'll see, the Magentas
slider often affects the lips.
| | 01:56 | And the reason I'm suggesting this
basic approach is that it ends up providing
| | 02:00 | the highest degree of contrast.
| | 02:02 | I'm going to press Shift+Up Arrow with
that Reds value selected, and I'm doing
| | 02:07 | so until this guy over here on the
right-hand side of the screen starts to
| | 02:11 | disappear a little bit, because
he's actually wearing a red shirt.
| | 02:15 | Notice if I reduce the Reds value he
starts to become more and more prominent.
| | 02:19 | If I increase that Reds value, he more
or less disappears at a certain point.
| | 02:24 | If I go too far, he ends up brightening
up, and so do my lips and the few other
| | 02:28 | details inside my face.
| | 02:30 | So I ultimately arrived at the Reds value of 30.
| | 02:32 | Then I'll drop down to the Oranges value
by pressing the Tab key, and I'll press
| | 02:36 | Shift+Up Arrow a couple of times in
order to brighten my face, and further
| | 02:41 | reduce the contribution of this
guy over here on the right-hand side.
| | 02:44 | A value of 20 is what
I've ultimately arrived at.
| | 02:47 | Now typically you're going to increase
the Yellows value when you're working
| | 02:51 | with the portrait shot, but in my case
doesn't really have all that much effect,
| | 02:55 | except to bring out some of
the fact that I didn't shave.
| | 02:58 | And so I'm seeing what is
unfortunately become gray hair on my face.
| | 03:02 | I'm going to go ahead and take that
Yellows value down in order to deemphasize
| | 03:07 | the contribution of the whiskers to -30.
| | 03:09 | It doesn't make me look
clean-shaven or anything like that.
| | 03:12 | Now I'm going to Tab down to the Greens
value and press Shift+Down Arrow several
| | 03:17 | times and you'll notice as I do so, I'm
darkening up this range of color up here
| | 03:22 | toward the top of the screen;
| | 03:24 | these are some bleacher
seats behind me incidentally.
| | 03:27 | And then I'll Tab down to Aquas,
which is essentially the cyan range
| | 03:31 | between greens and blues.
| | 03:33 | Now I'll take this value
down significantly as well.
| | 03:36 | It doesn't make the biggest contribution,
however it does have something of an
| | 03:40 | effect on the background.
| | 03:41 | Blues is always going to
have an effect on the sky.
| | 03:45 | So if you want this sky to be brighter,
why then increase the Blues value.
| | 03:49 | If you want this sky to be darker and
moodier, then decrease that Blues value.
| | 03:54 | I want it to be a little stormy back
there, only for the sake of contrast.
| | 03:59 | So I'll take the Blues value down to -80.
| | 04:02 | Purples doesn't really make any
contribution to this image, you can try it out
| | 04:05 | if you want, but I'm going to leave it set to 0.
| | 04:07 | And then Magentas, notice if I crank
the Magentas up, I get brighter lips.
| | 04:12 | You know I'm not wearing lipstick or
anything like that, just natural magenta
| | 04:15 | going on in those lip tones.
| | 04:17 | If you want the lips to be darker,
then you would reduce the Magentas value.
| | 04:21 | I don't want my lips to look any
different than they did, so I'll leave
| | 04:24 | that value set to 0.
| | 04:26 | Now let's say that we want to convert
this image to a kind of sepia tone so
| | 04:30 | we're going to breathe some
colors into the highlights and shadows.
| | 04:34 | To do that click on this little icon
that says Split Toning, and the idea is
| | 04:38 | that you can colorize the Highlights
and Shadows independently of each other.
| | 04:43 | First thing you want to do is increase
the Saturation value, in this case for
| | 04:47 | the highlights, so you can see
the color you want to work with.
| | 04:50 | I'm going to go ahead and take that
saturations value a pretty high for the
| | 04:53 | moment, and then change the Hue value,
let's say to something around 40, which
| | 04:59 | is going to give you a shade of orange.
| | 05:01 | And then I'm going to do the same thing
for Shadows, I'm going to increase that
| | 05:05 | shadows value to about let's say 40 as well.
| | 05:08 | And you can see that with the Hue set
to 0, we're getting reddish shadows, then
| | 05:13 | go ahead and set the Hue value
to whatever you're looking for.
| | 05:16 | The Hue value, by the way, is measured
in degrees around the circle, 0 and 360
| | 05:22 | are both red, and you can see all the
other colors in-between, but somewhere in
| | 05:27 | the 30 to 40 range is where
you're going to see your oranges.
| | 05:30 | I'm going to go ahead and take
that value to 40, so, 40 for Hue, 40
| | 05:34 | for Saturation as well.
| | 05:36 | Now I'm thinking that's great for the
shadows, but that's not really the color
| | 05:39 | I'm looking for, for the highlights.
| | 05:40 | Let's say we want a complementary color.
| | 05:42 | I could drag this slider all the way
over to 240, which is going to take me
| | 05:47 | well into the blues.
| | 05:49 | So we've got these blue highlights
combined with these brownish shadows, and
| | 05:52 | then just so the colors isn't so
garish, I'll go ahead and take the
| | 05:56 | saturation value to a mere 10, so we have a very
slight contribution of color to the highlights.
| | 06:01 | Now to get a sense of what we've done,
you can once again turn on and off the
| | 06:05 | preview check box, or you just press the P key.
| | 06:07 | So if I press P, I'll see the before
version of the image, but not entirely
| | 06:13 | all the way out, right?
| | 06:14 | I'm still seeing the image in black and white.
| | 06:17 | And that's because the preview check
box has a habit of only turning on and off
| | 06:21 | the controls that you're
seeing in the active panel.
| | 06:24 | So in this case, I'm just turning off
the Split Toning, this is before the split
| | 06:28 | toning, this is after.
| | 06:30 | If I want to see a comparison between
what I'm seeing now in the full color
| | 06:34 | image, then go ahead and
switch over to HSL/Grayscale.
| | 06:37 | And now if I press the P key I'm
turning off both the conversion to grayscale
| | 06:42 | and the sepia toning and I'm seeing
the full color original, and then I press
| | 06:46 | the P key to see the after version of
that image, and that's how you create a
| | 06:50 | fully custom black and white image
complete with sepia tone, here inside
| | 06:56 | Camera Raw.
| | Collapse this transcript |
| Fixing chromatic aberrations| 00:00 | In this exercise, I am going to
show you how to remove Chromatic
| | 00:03 | Aberrations, inside Camera Raw.
| | 00:06 | Now even though chromatic aberration
sounds like a very technical term, it's a
| | 00:10 | kind of thing that affects just
about every photograph you capture.
| | 00:14 | It's an area where the color falls
apart, along the edge of a detail.
| | 00:19 | Let me show you what I'm talking about.
| | 00:21 | I am working inside of an image
called Rialto bridge.dng, found inside the
| | 00:26 | exercise files folder, and I am going
to go ahead and zoom in on the central
| | 00:30 | portion of this image, just by clicking with
the Zoom tool, which is selected by default.
| | 00:35 | And here I am viewing the image at the
100%, so I can see one image pixel per
| | 00:40 | every screen pixel, and
things appear to be fine.
| | 00:43 | If you take a very close look, I will
go ahead and zoom in one more click here,
| | 00:47 | you can see, that we have some color
fringing going on, around the edges of
| | 00:52 | this person's coat.
| | 00:53 | But they're not all that bad.
| | 00:55 | Things look pretty darn good.
| | 00:56 | However, if I press the spacebar, in
order to get the hand tool, I will go ahead
| | 01:00 | and scroll over to left-hand side of the image.
| | 01:03 | Until I can see the statue right there,
as well as these windows, and notice,
| | 01:08 | that were seeing these very
pronounced colored edges going on here.
| | 01:12 | These Green and then Magenta edges
around the windows, and then we have the Cyan
| | 01:17 | and sort of Purplish edges around the statue.
| | 01:20 | I am going to make this problem more
pronounced, by increasing the Vibrance
| | 01:24 | value, all the way to 100, and then I will tab
to the Saturation value, and take it up to 20.
| | 01:30 | The only reason I'm doing this, is so
that we can really see those problem edges.
| | 01:35 | Now chromatic aberrations occur,
because the light bends differently as it
| | 01:39 | enters different portions of your camera lens.
| | 01:43 | The lens is designed so the light
enters properly right through the center, but
| | 01:47 | around the edges of the lens,
we end up having problems.
| | 01:50 | And these kinds of problems, have a
habit of magnifying, as you apply additional
| | 01:55 | modifications inside Photoshop.
| | 01:57 | So you want to take care of them, as
early as possible, and here's what you do.
| | 02:02 | Go to these icons above the basic panel,
and click on more or less the middle
| | 02:06 | icon, Lens Corrections.
| | 02:08 | Then you can go ahead and turn on this
check box right here, that says Enable
| | 02:12 | Lens Profile Corrections.
| | 02:14 | And if Camera Raw has a Profile for
your camera's lens, which it finds out from
| | 02:19 | the metadata, then it will
apply an automatic correction.
| | 02:22 | That may or may not take care of your problem.
| | 02:25 | In our case, it didn't address the
problem at all, in which case you go
| | 02:28 | ahead and click on the Manual tab, and
then drop down to these two Chromatic
| | 02:33 | Aberration sliders.
| | 02:34 | Now even after you become very
familiar with Photoshop, these liners are
| | 02:39 | anything but predictable.
| | 02:40 | In other words it's hard to know
whether you should Fix the Red/Cyan Fringe or
| | 02:44 | the Blue/Yellow Fringe.
| | 02:46 | Really what I'm seeing is Green/Pink
Fringe, and then Cyan/ Purplish Fringe,
| | 02:51 | neither of which falls into these categories.
| | 02:54 | So what you do, is you just
manipulate the sliders to see what happens.
| | 02:58 | In my case I'll go ahead and
increase this Red/Cyan Fringe value, and if
| | 03:02 | anything, the problem ends up getting
worse, which means, that you need to go
| | 03:07 | the other direction with the modification.
| | 03:10 | So I reduce this value and as I do, I
see the problem especially around the
| | 03:14 | windows go away, at a value of -30.
| | 03:18 | However, I am still seeing a
few problems around the statue.
| | 03:21 | Now I want you to understand, you
may not ever completely get rid of the
| | 03:25 | chromatic aberration, you're just
going to dramatically reduce it.
| | 03:29 | Once you come up with a value that
works for Red/Cyan, then drop down to
| | 03:33 | Blue/Yellow, and do the exact same thing.
| | 03:35 | In my case I will start off by testing
a negative value, which makes my edges
| | 03:40 | worst, notice that I have a more
pronounced Blue edge, along with the sort of
| | 03:44 | Greenish edge around the statue that's
no good, so I must need to move it in the
| | 03:48 | opposite direction, and where this
image is concerned, at about a value of +15,
| | 03:54 | those edges nearly completely go away.
| | 03:57 | Nest what I will do, is return to the
Basic panel, by clicking on this Basic
| | 04:02 | icon, and then I'll go ahead and drop
down to Vibrance and Saturation, which I
| | 04:06 | have to increase solely for the purpose,
of making sure that I could see these
| | 04:10 | aberrations as clearly as possible.
| | 04:12 | I will reduce the Saturation value to 0,
and I'll also take the Vibrance value
| | 04:17 | down to where I had it before, which was 65,
and now notice the difference that were seeing.
| | 04:23 | Now I want to see a kind of before and
after preview here, I can't do that from
| | 04:27 | the Basic panel, because I will just
turn on and off the differences in the
| | 04:31 | Vibrance and Saturation values which is nothing.
| | 04:34 | When I first entered camera the
values were at 65 and 0, so there's nothing
| | 04:38 | to turn on and off.
| | 04:40 | Instead, I can either switch back to
Lens Correction, or I can switch to the
| | 04:44 | very last icon Snapshots, and whenever
you have Snapshots selected, press in the
| | 04:49 | P key will turn on and off,
everything you've done.
| | 04:52 | So if I press the P key, in order to
turn off the preview check box, these are
| | 04:56 | my original chromatic aberrations,
which are pretty severe as you can see, then
| | 05:01 | I will press P again in order to
make the chromatic aberrations go away.
| | 05:05 | All right now I will press Ctrl+0 or
Command+0 on a Mac to zoom up to 100%, and
| | 05:10 | then maybe zoom in a click in order
to take in the final version of this
| | 05:14 | particular image, and that's how you
recognize and correct for chromatic
| | 05:18 | aberrations, here inside camera raw.
| | Collapse this transcript |
|
|
4. RetouchingCorrecting red-eye| 00:00 | In this exercise, I am going to you how
to automatically correct redeye inside of
| | 00:04 | Photoshop, and along the way,
I'll show you two tools.
| | 00:08 | One is the redeye tool, and
the other is the History brush.
| | 00:12 | I am working inside a file called
Laser eyes.jpg, found inside the
| | 00:16 | exercise files folder.
| | 00:17 | And you can see my son Max here,
has quite the case of redeye.
| | 00:21 | Now you typically only get
redeye with low-end cameras.
| | 00:26 | The kind where the strobe that is the
flash, is mounted very close to the lens,
| | 00:31 | as a result the light bounces into the
dilated pupils, this especially happens
| | 00:35 | with evening shots, and then
bounces right back into the lens.
| | 00:39 | If you want to avoid redeye, then you
need to work with the flash that's mounted
| | 00:43 | far away from the lens.
| | 00:45 | However, if you experience it, as in the
case of the shot, it is pretty easy defects.
| | 00:50 | I will drop down to this tool, which
by default is the Spot Healing Brush, go
| | 00:54 | ahead and click and hold on it, and
then, from the fly up menu, go ahead and
| | 00:58 | choose the Redeye tool.
| | 01:00 | The next step is to either drag around
the red pupil, and then let the redeye
| | 01:05 | tool do its thing, that may or may not work.
| | 01:08 | In the case of this image, it
doesn't, we end up getting this kind of
| | 01:11 | Crescent Moon of red, so I will press
Control+Z or Command+Z on the Mac, to
| | 01:16 | undo that modification.
| | 01:18 | The other way to work, is to either
click slightly outside the redeye, or
| | 01:22 | slightly inside the redeye,
either one should do the trick.
| | 01:27 | I will go ahead and click slightly
outside, where this eye is concerned, and
| | 01:30 | notice that goes ahead and
fills that redeye with black.
| | 01:34 | While leaving the Iris in pretty
good shape, we also leave the so-called
| | 01:37 | specular highlight in
place that little bit of white.
| | 01:40 | Next I will move over to the other red
pupil, and click slightly inside of it.
| | 01:45 | Just so that we have a
sense of how that might work.
| | 01:48 | Now in both cases, the pupils look way
better, however, I'm going to go ahead
| | 01:52 | and zoom in here, by Control spacebar
or Command spacebar clicking, notice that
| | 01:57 | it worked a little too well.
| | 01:59 | In addition to blackening up the pupils,
leaving the Irises and highlights in
| | 02:03 | place, we have a little bit of
grayness drifting into the eyelid.
| | 02:08 | If you experience that, you want to
take care of the problem, and again it's
| | 02:12 | easy to do, using this tool
right here, the History Brush.
| | 02:16 | Now the idea of the History Brush, is
that it can paint back to an earlier
| | 02:20 | time in the history of the image, and
by default that's going to be when you
| | 02:23 | first open the image.
| | 02:25 | And all you need to do, is then paint
along the area, that should be restored
| | 02:29 | to its previous appearance, and notice by
virtue of the fact that I painted above the eyelid.
| | 02:34 | I went ahead and painted
the flesh tones back in place.
| | 02:37 | So I will go ahead and do the same
thing over the right eye as well.
| | 02:41 | And now just to get a sense of what
we have been able to accomplish, I will
| | 02:44 | press the F 12 key in
order to revert that image.
| | 02:47 | These are what I would call fairly
pronounced red eyes, inside the original image.
| | 02:52 | And if I press Ctrl+Z or Command+Z
on a Mac, these are the more normal
| | 02:56 | looking black pupils.
| | 02:57 | Thanks to a combination of the
redeye tool and the History Brush,
| | 03:01 | inside Photoshop.
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| Dodging and burning details| 00:00 | In this exercise I am going to
demonstrate how to use the Dodge and Burn tools,
| | 00:04 | which allow you to selectively brighten
and darken details inside of an image.
| | 00:09 | I'll also show you how to use the
Sponge tool, which allows you to either
| | 00:13 | extract or add Saturation.
| | 00:15 | I am working inside of an image called
Max on carousel.jpg, found inside the
| | 00:20 | exercise files folder.
| | 00:21 | And notice my son is a little dark
in the foreground here and that the
| | 00:25 | background is a little bit too bright.
| | 00:27 | So once again, he's backlit, but
this time I want to solve the problem
| | 00:30 | selectively by brushing, because
it's going to give me more control.
| | 00:34 | The tools in question are all
located in this slot right here.
| | 00:39 | Notice this pan looking tool, that's
the Dodge tool, go ahead and click on it
| | 00:43 | in order to select it.
| | 00:45 | And now I want to increase the Size of my
brush, so that I can cover more area at a time.
| | 00:50 | And I will do that by right-clicking
inside of the image window, which brings up
| | 00:54 | this mini Brush's panel.
| | 00:56 | And I'll go ahead and increase the Size
value to let's say about 100 pixels for now.
| | 01:01 | Notice that the Hardness value is set
to 0%, that means we have a very soft
| | 01:06 | brush, which is exactly what you want when
you're dodging and burning inside Photoshop.
| | 01:12 | Now I'll press the Enter key or the
Return key on the Mac a couple of times in
| | 01:16 | order to hide that panel.
| | 01:17 | Now, my brush still isn't as big as
I want it to be, which means I could
| | 01:20 | right-click again and increase that Size value.
| | 01:23 | But here's a better way to work, you can
change the Size of the brush on the fly
| | 01:28 | by pressing the square
bracket keys on your keyboard.
| | 01:31 | These are the keys directly to the
right of the P as in Paul key, on an
| | 01:35 | American keyboard, press the right
bracket key in order to increase the size of
| | 01:40 | the brush incrementally.
| | 01:41 | Press the left bracket key in
order to reduce the size of the brush.
| | 01:45 | I am going to press the right bracket
key until it's about yay big, and by yay
| | 01:49 | big I mean 300 pixels, and I can tell
that because Photoshop shows me the brush
| | 01:54 | Size on the far left side of the Options bar.
| | 01:58 | Now I'll go ahead and paint the inside of Max's
face in order to brighten it up significantly.
| | 02:03 | And you can see that, that adds a lot of bounce
to that face, so it's showing up quite nicely.
| | 02:08 | Let's say I want to go a little bit
farther however, I am going to go ahead
| | 02:12 | and press Ctrl+Plus a couple of times in order to
zoom in, might as well pan the image as well.
| | 02:18 | Now, you can paint with a Dodge tool
pretty much as many times as you like,
| | 02:22 | but it's unlikely you're going to want to
paint over the same region at full intensity.
| | 02:26 | Notice that if I paint more inside of
Max's face, it ends up becoming fairly
| | 02:30 | alarmingly bright, and I don't want that.
| | 02:33 | So I'll press Ctrl+Z, Command+Z
on the Mac to undo that change.
| | 02:37 | Notice the Options bar
contains these two options;
| | 02:39 | Range and Exposure.
| | 02:42 | The Range determines which portions of
the image will be modified by the tool;
| | 02:46 | by default its set to Midtones, which
is fine for our purposes right now, we'll
| | 02:50 | come back to that one.
| | 02:51 | Exposure determines how
much of an effect the tool has.
| | 02:55 | A 50% Exposure value tends to work
well for our first brush stroke, but it's
| | 03:00 | often too much when
repainting over the same area.
| | 03:03 | You can adjust the value by clicking
on this arrowhead right there and then
| | 03:08 | modifying the value using the slider bar.
| | 03:11 | Or here's another way to work.
| | 03:12 | You can just type in a value from the keyboard.
| | 03:15 | So if you press, for example, the 1 key,
you'll reduce the Exposure value to 10%.
| | 03:20 | If you press 2, you'll get 20%, and so forth.
| | 03:23 | I'm gong to press 3 for 30%.
| | 03:26 | Paint in the top portion, which is shaded by
the ball cap, to lighten it ever so slightly.
| | 03:31 | Alright! Now I'll go ahead and zoom out a little bit,
so I can take in more of the image at a time.
| | 03:36 | Press the right bracket key a couple of time
in order to increase the size of that brush.
| | 03:40 | Then I will paint over his shirt.
| | 03:42 | I'll press the left bracket key a few
times in order to reduce the size of the
| | 03:45 | brush and then paint his arm, then
paint over this other arm as well.
| | 03:49 | And I'd like to paint across
the entire length of the pole.
| | 03:52 | Here's a little trick you might find
helpful when painting along straight objects.
| | 03:56 | Go ahead and click at the top of the pole,
and then Shift+Click at the bottom of
| | 04:00 | the pole in order to paint a straight
line of lightness across the entire thing.
| | 04:05 | Now let's take a stab at
darkening the background.
| | 04:08 | I am going to click and hold on the
Dodge tool in order to bring out a flyout
| | 04:12 | menu and then choose the
Burn tool from the list.
| | 04:15 | You can remember the Burn tool, because
when you burn toast, it ends up getting darker.
| | 04:19 | I am going to press the right bracket
key several times in order to increase the
| | 04:23 | Size of my brush dramatically, and
then just paint across the background in
| | 04:27 | order to dim it down.
| | 04:28 | I might paint across the left side of
the background as well, reduce the Size of
| | 04:32 | my brush a little bit by pressing the
left bracket key, and then paint in this
| | 04:36 | region of the background.
| | 04:37 | Notice if I zoom in here that I have
this little bit of a halo next to Max's
| | 04:42 | neck, that is not a function of
the way in which I dodge the image.
| | 04:46 | That's something that was
part of the original photograph.
| | 04:48 | I still want to get rid of it however,
and what I am going to do is reduce the
| | 04:52 | Size of my cursor, and as opposed to
dragging, which might produce too big of an
| | 04:56 | effect, you can see I am over
burning this region right there.
| | 04:59 | I'll go ahead and press Ctrl+Z or
Command+Z on the Mac to undo that change,
| | 05:03 | and I will just go ahead and click a couple of
times perhaps in order to dim that region down.
| | 05:09 | Now, that ends up dimming his shoulder
a little bit too, so what I'd like to do
| | 05:13 | is go back and redodge it.
| | 05:15 | I could take advantage of the History
Brush, which I showed you in the previous
| | 05:18 | exercise and revert that
area to its previous appearance.
| | 05:22 | But it might end up looking too dark,
because I did end up dodging that area as well.
| | 05:27 | So instead I'll switch back to the Dodge tool.
| | 05:30 | Now, if I just started clicking with the
Dodge tool in that area, I don't really
| | 05:34 | appear to be doing anything to it.
| | 05:37 | So I'll press Ctrl+Z, Command+Z on
the Mac to undo that modification.
| | 05:41 | The problem is the Range setting;
| | 05:43 | right now it's set to Midtones, which
means I'm only going to affect that mid
| | 05:47 | range of Luminance Levels.
| | 05:49 | If I click, you can see that I have
the option of instead modifying the
| | 05:53 | Highlights, so I would brighten the
brightest colors in the image, or I could
| | 05:58 | set it to Shadows to
brighten the darkest colors.
| | 06:00 | That's what I want in this case.
| | 06:02 | Now, notice that the values have
gotten kind of stuck right there, that
| | 06:05 | happens on Windows;
| | 06:07 | if it happens to you, you just press
the Escape key, so that you can now modify
| | 06:11 | the size of the cursor once again by
pressing the left bracket key, and now I'll
| | 06:16 | paint over that area and it ends up
brightening the shoulder quite nicely.
| | 06:20 | The final tool I want to
show you is the Sponge tool.
| | 06:23 | Where the Sponge tool becomes
useful is in taking saturation out of
| | 06:28 | strangely colored areas.
| | 06:30 | For example, notice these
highlights inside of Max's eyes.
| | 06:32 | Now, the irises themselves are
colored properly, but we shouldn't see these
| | 06:37 | purples and these blues.
| | 06:39 | In order to get rid of those I am going
to switch over to the Sponge tool, which
| | 06:43 | by default is set to Desaturate, which
is going to get rid of color, and that's
| | 06:47 | what you normally want to do.
| | 06:48 | I do want you to see however that you can
increase the Saturation of irises as well.
| | 06:53 | Anyway, I'm going to Escape out of that option.
| | 06:55 | Then I'll reduce the Size of my cursor
by pressing the left bracket key, paint
| | 06:59 | inside of the other highlight as well,
and then over into this left region of
| | 07:03 | the right eye, and that takes care of it.
| | 07:05 | I am going to go ahead and press Ctrl+0,
Command+0 on the Mac to zoom all the way out.
| | 07:10 | I'll zoom in and click as well, and
I'll press Shift+Tab in order to hide
| | 07:14 | those right side panels.
| | 07:16 | And now to get a sense of the progress
we've made, I'll press the F12 key in
| | 07:20 | order to revert to the
original version of the image.
| | 07:23 | So this is the Before image, and
this is the After version of the image,
| | 07:27 | thanks to our ability to selectively
modify Luminance Levels, using the Dodge
| | 07:32 | and Burn tool, as well as desaturate
teeth and other areas using the Sponge
| | 07:37 | tool here inside Photoshop.
| | Collapse this transcript |
| Healing blemishes| 00:00 | In this exercise, I will show you how to
heal away blemishes inside of an image.
| | 00:05 | We will specifically focus on skin blemishes.
| | 00:07 | However, you'll find that these
techniques work just as well for dust and
| | 00:11 | scratches and spots and all sorts
of problems inside your photographs.
| | 00:15 | I am working in a file called Bluebeard.jpg
found inside the exercise files folder.
| | 00:21 | It comes to us from the PhotoSpin Image
Library, and notice that we have lots of
| | 00:25 | surface details to work on.
| | 00:27 | You may also notice that this
image is rife with digital noise.
| | 00:31 | It's not going to get in the way of
our ability to heal this image, and it's
| | 00:34 | something that we can resolve later
as we will in the future exercise.
| | 00:39 | For now, what I'd like you to do is
drop down to the Spot Healing Brush
| | 00:43 | here inside the toolbox.
| | 00:44 | If you don't see that tool, you
may see the Red Eye tool instead.
| | 00:48 | Go ahead and click and hold on the
Red Eye tool and choose the Spot Healing
| | 00:51 | Brush from the flyout menu.
| | 00:53 | Next, go ahead and paint on some
surface detail you'd like to resolve and then
| | 00:57 | release your mouse button and
Photoshop will do its thing.
| | 01:00 | Now, by that I mean that Photoshop is
looking elsewhere inside the image for a
| | 01:05 | surface detail that it
thinks more or less matches.
| | 01:09 | Then it takes the texture from that
detail and maps it on to the new area, so
| | 01:14 | that it matches the color and luminance
of its new surroundings and as a result,
| | 01:18 | you get something very
closely resembling a seamless patch.
| | 01:22 | Now sometimes, the
patches are better than others.
| | 01:25 | I will go ahead and paint over
that area, looks pretty darn good.
| | 01:27 | I might just click at that
location in order to heal it away.
| | 01:31 | Then I'm going to scroll up slightly
and paint over this detail right here, see
| | 01:36 | how that ends up looking.
| | 01:37 | You may every once in a while notice a
repetition in detail inside the image.
| | 01:42 | For example, I am going to go ahead
and zoom in here, and I will switch to my
| | 01:45 | Arrow tool just because it
allows me to point to things nicely.
| | 01:48 | Notice that this new bit of
information right there very closely matches this
| | 01:54 | information up into left.
| | 01:56 | That's what Photoshop does;
| | 01:58 | it goes ahead and clones
one area into a new location.
| | 02:01 | You don't always know where it's
cloning from, and in many cases the Spot
| | 02:05 | Healing Brush will clone from
many locations into a new one.
| | 02:10 | As a result, you shouldn't very
often see repetition of detail.
| | 02:13 | But if you do, as in our case, the
solution is to go ahead and stick with that
| | 02:17 | Spot Healing Brush, reduce the size of
the cursor and just paint over part of
| | 02:22 | that healed spot in order to bring in
some new surface texture. All right!
| | 02:26 | Now, I will go ahead and increase the size
of my cursor and paint over that region there.
| | 02:30 | Notice that I have another repetition of detail.
| | 02:32 | This time I have repeated
these pixels into this location.
| | 02:36 | So I might just click once again in
order to see if I can resolve some of that
| | 02:39 | repetition away and that worked pretty nicely.
| | 02:42 | The Spot Healing Brush, by the way, does
live up to its name in two important regards;
| | 02:47 | first of all as you can see, it's good
at healing, secondly, it's good at spots.
| | 02:53 | So single little spots at a time, you
may find that it works best when you just
| | 02:57 | click inside of an image as opposed to drag.
| | 03:00 | What about those times when you need to
heal bigger regions like this large mole
| | 03:05 | on the left side of the gentleman's face.
| | 03:07 | In that case, you may be better off
with this feature known as Content Aware
| | 03:11 | Fill and here's how it works.
| | 03:13 | I will go ahead, and grab my Lasso
tool near the top of the toolbox.
| | 03:17 | This tool allows you to draw free-form
selections just by dragging inside the image window.
| | 03:22 | Notice that as I drag, I'm giving wide
berth to that mole so that there's plenty
| | 03:26 | of good skin around it, that's
important, so that Photoshop matches the color
| | 03:31 | and luminance of that good detail.
| | 03:34 | Now then, I don't want to see these
marching ants here, this animated selection
| | 03:38 | outline, because that will interfere
with my ability to see what's going on.
| | 03:42 | So I am going to hide the selection by
pressing Ctrl+H or Command+H on the Mac;
| | 03:47 | that H is for Hide.
| | 03:49 | The selection is still active,
by the way, it's still there.
| | 03:51 | It's just hidden from view.
| | 03:53 | Now, what I'd like you to do is go up to
the Edit menu and choose the Fill command.
| | 03:57 | When you are working on a flat image
like this, or in other words, you're
| | 04:00 | working on the background inside the
layers panel over there, then you can also
| | 04:05 | get to the Fill dialog box by
pressing the Backspace key on the PC or the
| | 04:09 | Delete key on the Mac.
| | 04:11 | Next, make sure that you are
seeing the default settings.
| | 04:13 | Use should be set to Content-Aware and
then mode should be set to Normal, Opacity:
| | 04:18 | 100%.
| | 04:20 | If so, go ahead and click on the OK
button, and notice what a dramatic
| | 04:24 | difference it's made.
| | 04:25 | Now, once again, that doesn't mean
things are altogether perfect, notice we do
| | 04:29 | have a repetition of detail here.
| | 04:31 | So what I'd like you to do is press
Ctrl+D or Command+D on the Mac in order
| | 04:36 | to deselect the image, then go ahead and
switch back to the Spot Healing Brush tool.
| | 04:41 | Let's go ahead and paint
that repeating detail away.
| | 04:44 | If we are still seeing some nasty
stuff there, you can continue painting or
| | 04:47 | clicking or what have you.
| | 04:49 | This little guy just doesn't want to go
away at all, in which case what I can do
| | 04:53 | is specify exactly which portion of
the image I want a clone into the new
| | 04:58 | region, and I'll do that using not the
Spot Healing Brush tool, but the next one
| | 05:02 | down, the Healing Brush tool.
| | 05:04 | Here is how you use it.
| | 05:06 | You have to tell Photoshop exactly what
area you are cloning, and you do that by
| | 05:11 | pressing and holding the Alt
key or the Option key on the Mac.
| | 05:14 | Notice when Alt or Option is down,
that you see a target cursor.
| | 05:18 | Go ahead and Alt+Click or Option+Click
on an area that looks relatively clean
| | 05:22 | and is nearby the area into
which you're going to paint.
| | 05:26 | That's very important.
| | 05:28 | After you Alt or Option+Click, then
you just go ahead, and paint that region
| | 05:32 | away and Photoshop should come up with
a different healing texture. All right!
| | 05:36 | Now, let's see a more
advanced application of healing.
| | 05:39 | Let's say that we want to take the
right eye on this fellow's face and heal
| | 05:43 | it onto the left eye.
| | 05:45 | For starters, I'll go ahead and Alt or
Option+Click in this right eye, and then
| | 05:50 | I will increase the size of my cursor
dramatically by pressing the right-bracket
| | 05:54 | key several times, and I will just go
ahead and click into the new location.
| | 05:58 | Now, Photoshop has done a brilliant job
I have to say of replicating the right
| | 06:03 | eye as well as matching the color and
luminance information around that eye.
| | 06:09 | However, the right eye looks
completely wrong in this new location because it
| | 06:12 | points in the wrong direction.
| | 06:14 | We need to flip the eye as we clone it.
| | 06:16 | So I will go ahead and press Ctrl+Z,
Command+Z on the Mac to undo that
| | 06:20 | change, then go up to the Window menu
and choose Clone Source to bring up the
| | 06:24 | Clone Source panel.
| | 06:25 | Now, there is a lot going on inside
this panel, but just a couple of options
| | 06:29 | that we need to pay attention to;
| | 06:31 | we want to flip the eye
horizontally as you may recall.
| | 06:34 | So go to this icon right there to
the left of the W, notice it says Flip
| | 06:38 | horizontal, and turn it on.
| | 06:41 | If you move your cursor into the image
window, you will now see that the eye is
| | 06:44 | getting flipped inside of that circular cursor.
| | 06:47 | However, that's not quite good enough.
| | 06:49 | We need to also rotate the eye
into place and you do that using this
| | 06:54 | Rotate value right there.
| | 06:56 | What I'd like you to do because you
don't really know exactly the degree of
| | 06:59 | rotation, go ahead and select that
Degree value, then move your cursor into the
| | 07:03 | image window, and try pressing Shift+Up-arrow.
| | 07:06 | That's going to increase the
value in 1 degree increments.
| | 07:09 | As you press Shift+Up-arrow, you will
notice inside your cursor here, that the
| | 07:13 | eye is rotating in the
wrong direction. All right!
| | 07:15 | Fair enough, so now press
Shift+Down-arrow instead.
| | 07:19 | At about -6 degrees, the angle of the eye
looks pretty darn good to me. All right!
| | 07:23 | Now I will go ahead and
close the Clone Source panel.
| | 07:26 | I am going to increase the size of my
cursor even more like so, and I want to
| | 07:30 | get this eye into more or
less the right location.
| | 07:33 | However, I don't mean that it needs
to be absolutely symmetrical, because
| | 07:37 | people's eyes in general are not
symmetrical, they are a little off.
| | 07:42 | However, I would like to make sure that we
leave enough room for the bridge of the nose.
| | 07:45 | So right about there looks good, and
then just go ahead and click in order to
| | 07:49 | set the location of that eye.
| | 07:50 | Now, it doesn't look exactly right
because we have some weird edges around that
| | 07:54 | circular paint spot.
| | 07:55 | However, that does set the relationship
between the clone source, and the clone destination.
| | 08:01 | Now, go ahead and press Ctrl+Z or
Command+Z on the Mac to undo that change,
| | 08:05 | and then what I want you to do is go up to the
options bar, and turn on the Aligned check box.
| | 08:10 | Each brushstroke we make in the future
is aligned to the last one, and you can
| | 08:14 | see how that works as I move
my brush around. All right!
| | 08:17 | I am going to reduce the size of my
brush cursor significantly now, and I'll
| | 08:21 | paint in just those areas that
require the attention of this brushstroke.
| | 08:27 | Once I get done, I will go ahead and
release in order to heal that eye into place.
| | 08:32 | All right!
| | 08:33 | Let's see what we've managed to accomplish here.
| | 08:35 | Go ahead and center the image a little
better and I will press the F12 key in
| | 08:39 | order to reinstate the
original version of the image.
| | 08:42 | So that's the before image, and if I press
Ctrl or Command+Z, that's the after image.
| | 08:47 | Thanks to the power of the Healing
Brush, Content-Aware Fill, and the Clone
| | 08:52 | Source panel here inside Photoshop.
| | Collapse this transcript |
| Covering up unwanted details| 00:00 | In this exercise, I'll show you
another way to retouch an image by covering
| | 00:04 | up unwanted details.
| | 00:06 | I am working inside the most recent
version of that Bonnaroo group photo.
| | 00:10 | It's called Shadows highlights.psd
found inside the exercise files folder.
| | 00:14 | And if you take a look around,
you'll see a handful of distracting
| | 00:17 | background elements.
| | 00:19 | There is this guy with his back to
us wearing a hat to left of Scott.
| | 00:22 | There is this little bit of
scaffolding rising up from Max's hat, and then
| | 00:26 | there is this kind of random leg
between James and I. All that stuff I feel
| | 00:30 | like I can live with.
| | 00:32 | After all that's what you get
inside of a crowded music festival.
| | 00:35 | But there's one item I cannot abide
and that's this head, that's rising out
| | 00:40 | of Jacob's shoulder.
| | 00:41 | This guy right there; he has got to go.
| | 00:44 | Now, we saw a few methods that might
help us remove these kinds of details in
| | 00:48 | the previous exercise;
| | 00:50 | the one that's most likely
to work is Content-Aware Fill.
| | 00:53 | So I will go ahead and grab my Lasso
tool which I can get by pressing the L key,
| | 00:57 | by the way,, and then I will just make
a general selection around this guy's
| | 01:02 | head like so and I'll make sure that
the background image is selected here
| | 01:06 | inside the layers panel.
| | 01:07 | If you can't see the layers panel,
go up to the Window menu and choose
| | 01:11 | the layers command.
| | 01:12 | Then go up to the Edit menu
and choose the Fill command.
| | 01:16 | Make sure Use is set to Content-Aware,
and that the Blending options are set to
| | 01:19 | their defaults, then go ahead, and
click OK and let's see what happens.
| | 01:24 | Well, that really doesn't work.
| | 01:25 | Photoshop has decided to basically rip
apart Jacob's shirt and then add a few
| | 01:30 | random elements from the
crowd in the background.
| | 01:33 | Obviously, we don't want that.
| | 01:34 | So go ahead and press Ctrl+Z or Command+Z
on a Mac to undo that modification.
| | 01:39 | Then press Ctrl+D or Command+D on a
Mac in order to deselect the image, and
| | 01:45 | here's what I want you to do.
| | 01:46 | Instead of dragging with the Lasso tool,
I want you to press and hold the Alt
| | 01:50 | key here on a PC, or the Option key on the Mac.
| | 01:53 | Go ahead and keep that key down, and
then click like so along Jacob's shoulder.
| | 01:59 | So I want you to click close
to the shoulder just like this.
| | 02:02 | Because we have the Alt or Option key
down, each click becomes a corner in
| | 02:07 | the Selection Outline.
| | 02:08 | Notice also the appearance of the cursor,
it has those little horns there which
| | 02:12 | shows you that you are drawing a free-form
polygon instead of a standard
| | 02:16 | free-form Selection Outline.
| | 02:18 | I want you to click all the
way around the guy's head.
| | 02:20 | Notice that I am leaving liberal room
around his head even though I'm tight
| | 02:24 | to Jacob's shoulder.
| | 02:25 | Also, go ahead and select around that
tiny yellow flag underneath the guy's nose
| | 02:29 | and then come down around the chin, like so.
| | 02:33 | Make sure you're leaving a lot of
wiggle room round the guy's head, and then
| | 02:36 | once you go back tight to Jacob's
shoulder, go ahead and release the Alt key or
| | 02:40 | the Option key on the Mac in order
to complete that Selection Outline.
| | 02:44 | Once you get something that resembles
what you're seeing on my screen, we need
| | 02:48 | to do a couple of things.
| | 02:50 | First of all, we need to smooth out
those sharp corners and secondly, we need to
| | 02:54 | soften the Selection Outline ever so
slightly, so we get natural transitions.
| | 02:59 | To do the first, that is, round off
the corners, go up to the Select menu,
| | 03:03 | choose Modify, and then
choose the Smooth command.
| | 03:07 | I want you to change the
Sample Radius value to 3 pixels.
| | 03:11 | And basically, what we're doing is
we're drawing these tiny 3 pixel circles at
| | 03:15 | each one of the corners.
| | 03:16 | Then go ahead and click OK in order to
round those corners off, you'll see just
| | 03:20 | a very slight difference in
the animated Selection Outline.
| | 03:24 | Next, to soften that selection, go back
to the Select menu, again choose Modify,
| | 03:29 | and then choose the Feather command,
and change the Feather Radius value this
| | 03:34 | time to just 1 pixel.
| | 03:35 | So we're just applying a slight
amount of blur, then click OK.
| | 03:40 | You won't see much of any
difference in that selection.
| | 03:43 | However, take my word for it,
it's now slightly soft. All right!
| | 03:46 | Let's go ahead and scroll over to
the right a little bit so we can better
| | 03:49 | see what we're doing.
| | 03:50 | Now, I want you to take note of how the
selection registers with a background.
| | 03:54 | Notice that this corner that I am
tracing along right there basically intersects
| | 04:00 | that horizontal line.
| | 04:01 | Now, your Selection Outline might be a
little different, that's okay, just find
| | 04:05 | out some point of registration.
| | 04:07 | Then what I want you to do is
go ahead and drag that selection.
| | 04:10 | Notice you can move the Selection
Outline independently of the image.
| | 04:13 | Go ahead and press the Shift key
however as you do until you've moved that
| | 04:17 | Selection Outline all the way to the
right of the guy's head, so we should
| | 04:22 | have a little bit of room between
the animated Selection Outline and the
| | 04:25 | bridge of the guy's nose. All right!
| | 04:27 | Now I want you to press the down-arrow
key just to scoot that Selection Outline
| | 04:32 | down ever so slightly.
| | 04:34 | Now, we're going to go ahead and move
these selected pixels back onto the guy's
| | 04:37 | face, and I want you to do that by grabbing
the Move tool at the very top of the toolbox.
| | 04:44 | Then instead of just dragging because
if you drag, you'll leave a hole like
| | 04:47 | so, we don't want that.
| | 04:49 | So I will press Ctrl+Z or Command+Z
on the Mac to undo that move.
| | 04:52 | Instead, you want to go ahead and press
the Alt key or the Option key on the Mac.
| | 04:56 | Notice that, we have a little double-
arrowhead cursor to show us that we're
| | 04:59 | going to create a clone of the active selection.
| | 05:02 | With the Alt or Option key down, go
ahead and drag that selected area on to
| | 05:07 | Jacob's shoulder, like so.
| | 05:09 | Also, hold the Shift key, so you should
have both the Shift and Alt keys down on
| | 05:13 | a PC, the Shift and Option keys down on
the Mac, and when you get that Selection
| | 05:18 | Outline tight back to Jacob's shoulder,
go ahead and release the mouse button,
| | 05:22 | then release the Shift and Alt keys or
the Shift and Option keys on the Mac, and
| | 05:27 | go ahead and deselect the image by
pressing Ctrl+D or Command+D on a Mac.
| | 05:32 | Now, you can see we've done a pretty darn
good job, it's not perfect but it is very good.
| | 05:37 | What we need to do now is finesse things a bit.
| | 05:40 | I'd like you to start by going to this
History Brush tool, midway down in the
| | 05:43 | toolbox, and then notice this little
bit of weird corner near my Brush Cursor.
| | 05:48 | I am going to go ahead and paint
over it in order to smooth away that
| | 05:51 | transition, and I am going to paint into
Jacob's shoulder but if you go too far,
| | 05:55 | you're going to start
painting the guy's face back.
| | 05:57 | You don't want to do that.
| | 05:59 | So I will press Ctrl+Z or Command+Z on the Mac.
| | 06:01 | I guess to better leave that area alone.
| | 06:03 | Everything up here looks pretty good
as well, although that purple flag looks
| | 06:07 | like a little bit of repeat.
| | 06:08 | But if I try to paint it away, notice
that I start painting that guy's neck back
| | 06:12 | again, so that's no good. All right!
| | 06:14 | So I will press Ctrl+Z, Command+Z on
the Mac, and apparently what I need to do
| | 06:17 | at this point is switch to the Healing
Brush, not the Spot Healing Brush tool
| | 06:21 | but rather the Standard Healing Brush,
and I want to get rid of this flag detail
| | 06:26 | right there, because it
looks a little bit out of place.
| | 06:30 | I will press and hold the Alt key or
the Option key on the Mac, and click about
| | 06:33 | there in order to set a source point
for my healing, and then I'll go ahead and
| | 06:37 | paint over this region like so, in
order to heal that extra flag away and I may
| | 06:43 | be able to get away with painting away
this extra flag too but I am going to
| | 06:46 | have to stay clear of Jacob's shoulder.
| | 06:49 | I will Alt+Click or Option+Click in this
area of trees, and then I'll paint, like so.
| | 06:54 | If I paint tight to Jacob's shoulder,
watch what happens, I get this flare of red.
| | 06:58 | That's no good.
| | 06:59 | So I will press Ctrl+Z,
Command+Z on the Mac to undo that.
| | 07:02 | Instead, I will just kind of dip down
like that, and that ends up creating kind
| | 07:06 | of a burst of purple.
| | 07:08 | If you encounter a little problem
like that where some color is kind of
| | 07:11 | exploding, what you want to go ahead
and do is change the mode up here in the
| | 07:16 | options bar from Normal to Replace,
and then, go ahead and paint inside that
| | 07:22 | region again and this time,
you shouldn't get a flare at all.
| | 07:25 | However, you may end up
with some harsh transitions.
| | 07:29 | To get rid of the harsh transitions
and you could barely see them here.
| | 07:32 | You may be able to see
them on your screen better.
| | 07:35 | I'll change the mode back to Normal.
| | 07:37 | Then I will Alt+Click or Option+Click
again to set another source point, and I
| | 07:40 | will paint that area away.
| | 07:43 | So that looks pretty good.
| | 07:44 | It's going to look even better
once we zoom out from the image.
| | 07:47 | So I will press Ctrl+0, Command+0
on the Mac to zoom all the way out.
| | 07:51 | Then I'll zoom in let's say to about 50
% here and scroll over to that area of
| | 07:55 | Jacob's shoulder and now as usual just
to see what we've done, I will press F12
| | 08:01 | to revert the image.
| | 08:02 | That's the before version of the
image with the guy coming out of Jacob's
| | 08:05 | shoulder and that's the areas it appears now.
| | 08:08 | Thanks to our ability to cover up
unwanted elements here inside Photoshop.
| | Collapse this transcript |
|
|
5. Cropping and ResolutionStraightening a crooked image| 00:01 | In this exercise, I will show you how
to straighten a crooked photograph, both
| | 00:04 | here inside Photoshop and in Camera Raw.
| | 00:07 | I'm working inside this file called
Cruise ship.jpg, it's found inside the
| | 00:11 | exercise files folder.
| | 00:13 | And notice that the image is
listing down into the left.
| | 00:16 | In truth, it's not the scene or the
ship that's listing rather it's me.
| | 00:20 | I shot the photograph at a slight angle.
| | 00:23 | In Photoshop, straightening a
photo is a function of a Hidden tool.
| | 00:26 | To get to that tool, go to the Eyedropper,
click and hold on it, and then choose
| | 00:31 | a Ruler tool from the flyout menu.
| | 00:33 | The next step is to draw a perpendicular
line, that is to say, you want to trace
| | 00:37 | an element in your photo, that ought
to be absolutely vertical or horizontal.
| | 00:42 | Now it might be tempting to go ahead
and trace a vertical element of the image,
| | 00:47 | as I have done with the
staff at the front of the ship.
| | 00:49 | The problem is, thanks to the
perspective of the scene, one vertical item may
| | 00:54 | not match another, so I have to get on
drawing the line, and I will go ahead and
| | 00:58 | drag the end points to get things just right.
| | 01:00 | Then you can drag the line to a
different location, and you can see that even
| | 01:04 | just this far away, the vertical axis
that matched the forward staff, doesn't
| | 01:09 | match the one midway in.
| | 01:11 | So, it's difficult to figure out
exactly which vertical element, represents the
| | 01:16 | actual vertical axis of the scene.
| | 01:18 | Whereas, you always know that the
horizon line should be exactly horizontal.
| | 01:23 | So instead of tracing a vertical element,
I am going to go ahead and trace along
| | 01:27 | the forward portion of this dark like
so, knowing that this ought to be an
| | 01:32 | exactly horizontal element of the scene.
| | 01:34 | Your next step, is to go up to the
Options bar, and click on the Straighten
| | 01:38 | button, and notice that,
that performs two operations.
| | 01:42 | Not only doesn't it straighten the scene
according to the horizontal or vertical
| | 01:45 | axis you laid down, but it also
goes ahead and crops the scene.
| | 01:49 | If you were to press Control+Z or
Command+Z on Mac, you will see that you undo
| | 01:53 | just one of those two operations,
that is you just undo the crop.
| | 01:57 | If I press Control+0 or Command+0 to
zoom out just a little bit, you'll see that
| | 02:02 | I have these white wedges around my scene.
| | 02:05 | Now ostensibly, you want to perform
that crop, so you go ahead and press
| | 02:08 | Control+Z or Command+Z again,
in order to re perform that step.
| | 02:13 | Now let's say, you had done
straightening the scene, and it still looks crooked,
| | 02:17 | you want to take a second stab at things.
| | 02:19 | In that case you've got a
back step two operations.
| | 02:22 | Now the fact that Ctrl+Z or Command+Z
on a Mac, both un-does and redoes an
| | 02:26 | operation, may lead you to believe that
Photoshop provides one and only one undo.
| | 02:31 | That is not true.
| | 02:32 | However, Photoshop's approach to
multiple undoes, is a little bit unusual.
| | 02:36 | To get to this feature you go to the
Window menu, and you choose the History
| | 02:40 | command, and that brings up the
History panel as you can see right there.
| | 02:44 | Notice my first step was to Open the
scene then, I went ahead and rotated the
| | 02:49 | canvas, that is to say I applied the
straightening operation, and then I applied Crop.
| | 02:55 | However, I applied both Rotate Canvas and
Crop, just by clicking the Straighten button.
| | 03:00 | If you click on Rotate Canvas, you
will go back one step, so you un-crop the
| | 03:04 | image, if you click on Open, which is
the open state of the image you will
| | 03:09 | unrotate it as well.
| | 03:11 | After doing that, you would go ahead and
close the History panel, redraw a line,
| | 03:16 | and try to do a better job this time
around, to try to learn from whatever
| | 03:19 | mistake you might've made, and then
click on a Straighten button again and see
| | 03:23 | if it doesn't look better.
| | 03:25 | In my case, it looks pretty darn good
Now, the one downside was straightening
| | 03:29 | inside Photoshop, is that
it's a destructive operation.
| | 03:32 | And by destructive, I mean that
Photoshop has to recalculate every single
| | 03:37 | pixel inside the image.
| | 03:39 | What if you want to instead, apply a
nondestructive straightening, that doesn't
| | 03:43 | permanently change a single
pixel, in the original file.
| | 03:46 | In that case, you would use Camera Raw.
| | 03:48 | To get to Camera Raw, click on the
Launch Bridge icon here in the Applications
| | 03:52 | bar, then locate the Cruise ship.jpg
file inside the exercise files folder,
| | 03:57 | right-click on it, and then choose
Open in Camera Raw or press Ctrl+R on a PC
| | 04:03 | or Command+R on a Mac.
| | 04:05 | Then inside Camera Raw, go up to the
toolbar and select the Straighten tool.
| | 04:09 | Use the Straighten tool just like you
use a Ruler tool with one exception, you
| | 04:14 | can't edit the line after you draw it.
| | 04:16 | So you have got one chance to draw the
line, and then you will create this crop
| | 04:20 | boundary as you are sure about to see.
| | 04:22 | So, I will take the tool, and I'll draw
along this forward portion of the dark
| | 04:26 | like so, and then release.
| | 04:28 | Then notice the Camera Raw, didn't
actually rotate the image, instead it drew a
| | 04:32 | rotated crop boundary around it.
| | 04:35 | The great news here, is that you
can edit this crop boundary details.
| | 04:38 | So, for example, if I want to crop a
little tighter to the bottom of the image,
| | 04:43 | so I don't have quite so much of water,
and I don't have this distracting line
| | 04:46 | down here along the bottom right corner,
then I could go ahead and drag up on
| | 04:49 | the crop boundary ever so slightly, I
might even want to take the right and left
| | 04:53 | sides out a little bit, by dragging this
upper right corner handle, and dragging
| | 04:57 | the lower left corner handles
well too about there I think.
| | 05:00 | Then to see the upright image, go
ahead and switch away to a different tool.
| | 05:05 | For example, in this case, I'm going to
switch to the Zoom tool, and Camera Raw
| | 05:08 | shows me the upright version of the image.
| | 05:10 | Now you have the option of opening the
image inside Photoshop, or you can just
| | 05:15 | click the Done button in the far
bottom right corner, in order to save your
| | 05:18 | changes as metadata, without
harming a single pixel inside the image.
| | 05:23 | And that's how you straighten a crooked
photograph, both inside Photoshop, and
| | 05:27 | here inside Camera Raw.
| | Collapse this transcript |
| Cropping| 00:00 | In this exercise, I will show you
how to crop and rotate an image inside
| | 00:04 | Photoshop while still permitting
yourself the leeway, to recompose the
| | 00:08 | shot after the crop.
| | 00:10 | I'm working inside a file
called Precarious workspace.jpg.
| | 00:13 | It's found inside the exercise files folder.
| | 00:16 | You can both crop and rotate an image
inside Photoshop using a single tool and
| | 00:21 | that's the Crop tool.
| | 00:22 | Then drag inside the image window, in
order to define a preliminary crop boundary.
| | 00:28 | Now notice at this point, you can drag
one of these corner handles to change the
| | 00:31 | size of the boundary, you can
either drag a top or side handle as well.
| | 00:36 | Notice also that we have these two
vertical and two horizontal guidelines.
| | 00:40 | Those are a visual depiction, of the
classic rule of thirds, which states that
| | 00:44 | the primary compositional elements
inside of your photograph, ought to be
| | 00:48 | aligned to the
intersection of two of those guide.
| | 00:52 | Now, this is a great rule of
thumb, but that's all it is.
| | 00:55 | You can choose to adhere to it or not
adhere to it, depending on your personal taste.
| | 00:59 | Now you may notice that this
photograph is fundamentally crooked, because the
| | 01:03 | horizon is dipping down into the right.
| | 01:06 | You can rotate the crop boundary by
moving your cursor outside the boundary
| | 01:10 | like so, notice I have this little rotate
cursor now, and dragging inside of the image window.
| | 01:16 | Now I want to make sure that the
boundary is aligned to the scene.
| | 01:19 | And so I am going to use this top
horizontal guide, and I'm going to align it to
| | 01:23 | the horizon by dropping the
top of the crop boundary down.
| | 01:26 | Then I'll drag outside the boundary
little more, until things look like
| | 01:30 | they line up properly.
| | 01:31 | Then I will go ahead and raise the top
of the boundary, until everything looks
| | 01:35 | more or less the way I want it.
| | 01:37 | Now, in order to apply the boundary,
you either click on this check mark, up
| | 01:41 | here in Options bar, or more simply
you just press the Enter key or the
| | 01:45 | Return key on the Mac.
| | 01:47 | Now here's the problem.
| | 01:48 | Let's say you look at the shot, and you
decide you want to move it in some way,
| | 01:52 | shape or form, you want to scoot
him over to the left let's say.
| | 01:55 | Normally, if I was working with an
independent layer, I could go ahead and
| | 01:58 | select the Move tool at the top of the
toolbox, and I could drag inside of the
| | 02:03 | image window to move that layer.
| | 02:05 | But in this case, as soon as I release,
I get this alert message that tells me
| | 02:08 | that Photoshop cannot complete my
request, because the layer is locked.
| | 02:12 | And sure enough, if you take a
look at the layers panel here.
| | 02:15 | You will see that this flat
background image has a lock icon next to it.
| | 02:19 | That's always the way it is, whenever
you have a background layer, it is locked
| | 02:23 | down, other than click OK,
in order to hide the message.
| | 02:26 | Now what I would like to do, is
undo the crop, so I can start over.
| | 02:29 | However, if I go up to the Edit menu, you
can see that the undo command is dimmed.
| | 02:33 | And that's because Photoshop got
mixed up by my request to move the image,
| | 02:38 | however, I can go back by choosing
the Step Backward command, and that goes
| | 02:42 | ahead and reinstates the original image.
| | 02:44 | Let's take a more flexible approach,
that includes an independent layer.
| | 02:48 | Step number one, is to go over to the
layers panel, and if you can't see it then
| | 02:52 | go to the Window menu and
choose the layers command.
| | 02:55 | Then let's convert this
Background item to an independent layer by
| | 02:59 | double-clicking on it which
brings up the New layer dialog box.
| | 03:02 | I will go ahead and rename
this layer Photo, and click OK.
| | 03:06 | And now notice, it's a same image it
ever was, doesn't change one iota on screen.
| | 03:11 | However, we now have an independent layer at
the layers panel, and the Lock icon goes away.
| | 03:16 | The next step is to once
again select the Crop tool.
| | 03:19 | And let's say this time around, I
want to maintain the original size of my
| | 03:23 | image, so I will go up here to the Options
bar, and click on the Front Image button.
| | 03:28 | And Photoshop tells me that this image
currently measures 12 inches Wide, by 8
| | 03:32 | inches Tall, with a
resolution of 300 pixels per inch.
| | 03:35 | We will get to resolution, in a future
exercise, but if we were to keep that
| | 03:40 | resolution value in place during a
crop, then we would force Photoshop to
| | 03:44 | invent new pixels, which aren't going to do us
any good, will actually blur the image slightly.
| | 03:48 | So we will get rid of that resolution
value, just by selecting it and pressing
| | 03:52 | the backspace key, with the Delete key on a Mac.
| | 03:55 | Now are ready to re-crop the image.
| | 03:57 | I will go ahead and draw Crop Boundary, like so.
| | 03:59 | Now before you do anything else, we
need to return to the options bar.
| | 04:04 | Notice Cropped Area is set to Delete,
that is, we are telling Photoshop to
| | 04:08 | Delete any pixels outside the Crop Boundary.
| | 04:11 | What we really want to do is Hide those
pixels, so that they remain available to
| | 04:15 | us inside the image.
| | 04:17 | So turn on the Hide option by clicking
on it and then drag the corner handles
| | 04:21 | as desired, notice that we no longer
have any top or side handles, that's the
| | 04:26 | function of the fact that we locked on the
image to 12 inches Wide by 8 inches Tall.
| | 04:30 | Another words, we can't change the
Aspect ratio, but we can change the size
| | 04:35 | as much as we want.
| | 04:36 | You can also rotate the boundary, as
we did before by dragging outside of it.
| | 04:41 | I am going to go ahead and move the
Crop Boundary down, so that I can confirm
| | 04:44 | that the top guideline, is aligned
with the horizon, looks pretty good but I
| | 04:48 | might make a slight adjustment.
| | 04:50 | All right with this point I am going
to go ahead and increase the size of the
| | 04:53 | crop boundary as desired,
this looks pretty good to me.
| | 04:57 | All right now I will press the Enter
key or the Return key on a Mac, in order
| | 05:01 | to accept that crop.
| | 05:03 | Now I'm looking at the image,
everything is more or less okay but I'm not very
| | 05:07 | happy with this little bit of green
rock or vegetation, or whatever it is over
| | 05:12 | here on the far left side.
| | 05:13 | I want to move that out of the same.
| | 05:15 | So I will go ahead and get by Move
tool, and by virtue of the fact that I'm
| | 05:19 | working with an independent layer, I
can move it around inside of the Canvas,
| | 05:24 | which is to say, the
physical limitations of the image.
| | 05:27 | Now, I want to move it so far, that I am
seeing this checkerboard pattern, which
| | 05:31 | represents transparency
because then there's nothing there.
| | 05:35 | In other words I want to make sure the
images type, all the way around to the
| | 05:38 | four walls of the canvas. And that's it.
| | 05:40 | We have managed to crop and rotate the
image, while maintaining its original
| | 05:44 | proportions of 12 inches Wide by 8
inches Tall, and the entire layer is
| | 05:48 | still intact.
| | Collapse this transcript |
| Correcting lens distortion| 00:00 | In this exercise, I'll show you how
to apply what's known as a manual lens
| | 00:04 | correction to straighten an image that
defies either the Ruler or the Crop tool.
| | 00:09 | I'm working inside a file called
Interior pool.jpg found inside the
| | 00:13 | Exercise files folder.
| | 00:15 | And to my eye this image looks like
it's at an angle it looks like it's kind of
| | 00:19 | drooping down into the right.
| | 00:21 | So I'll go over to the Eyedropper tool,
click and hold and select the Ruler, and
| | 00:26 | then I'll drag along the bottom edge of
these pillars and sure enough my ruler
| | 00:29 | line is going down and
right so that's a good sign.
| | 00:32 | And then I'll go up to the Options bar
and I'll click on the Straighten button
| | 00:36 | and after Photoshop gets done with
the image it looks worse than ever.
| | 00:40 | What is wrong with this image?
| | 00:42 | It is unstraightenable is what it comes down to.
| | 00:45 | And the problem is that there is
some distortion built into the scene.
| | 00:49 | Some of the distortion might be a
function of the lens element and some of it
| | 00:53 | might be a function of my
angle as I captured the scene.
| | 00:57 | Now Photoshop provides this command
under the Filter menu called Lens Correction
| | 01:01 | and you can use it to achieve many
of the results, I'm going to show you.
| | 01:04 | However, in my opinion Lens Correction
is better applied in Camera Raw, so let
| | 01:09 | me show you how that works.
| | 01:11 | I'll go up to the Application bar and
click on Launch Bridge in order to switch
| | 01:14 | to the bridge there is Interior pool.
jpg I'll right-click on it and choose Open
| | 01:20 | in Camera Raw, or you can press
Ctrl+R, or Command+R on the Mac.
| | 01:24 | And then above the word Basic, go ahead
and click on the Lens Corrections icon
| | 01:28 | which brings up the same options we saw
when correcting for chromatic aberration
| | 01:32 | in a previous exercise.
| | 01:34 | Once again, you can start things
off by selecting Enable Lens Profile
| | 01:38 | Corrections, and then you can
switch setup from Default to Auto.
| | 01:42 | And in my case, Camera Raw tells me
that it's Unable to locate a matching lens
| | 01:46 | profile automatically.
| | 01:47 | So I'm going to have to correct the
image manually which is no problem actually.
| | 01:51 | I have to tell you I actually think it's fun.
| | 01:53 | Go ahead and click on the Manual tab
in order to bring up these Transform
| | 01:57 | functions right there.
| | 01:59 | Now I'm going to go ahead and distort
the image and you can either bow the
| | 02:03 | image outward, like so.
| | 02:05 | And I'm applying a negative Distortion
value by dragging this slider triangle to
| | 02:09 | left, or you can go ahead and bend it
inward in order to create a Pincushion
| | 02:13 | effect by applying a positive value.
| | 02:16 | I found that a value of +8 looked about right
for me where the specific image is concerned.
| | 02:22 | Now the image also appears to be
sort of coming at us over here on the
| | 02:26 | right-hand side and
perhaps toward the top or bottom.
| | 02:29 | I'm not exactly sure.
| | 02:31 | Let's go ahead and start with
this Vertical distortion option.
| | 02:34 | If I drag the slider to the right
then notice that I moving the bottom of
| | 02:37 | the image toward me.
| | 02:38 | If I drag the slider to the left I'm
moving the top of the image forward.
| | 02:42 | Again, just through trial and error
I ended up coming up with a Vertical
| | 02:46 | distortion value of -1 so I am moving the
top of the image ever so slightly forward.
| | 02:52 | Now let's go ahead and
adjust the Horizontal value.
| | 02:54 | I'll drag the slider triangle to the
right to move the right side of the image
| | 02:58 | forward, or to the left to
move the left side forward.
| | 03:01 | In my case of course, at a value is 0
the right side already looks like it
| | 03:05 | was coming toward me.
| | 03:06 | So I'm going to move that
slider to the left to a value of -8.
| | 03:11 | Again, these are merely
trial and error modifications.
| | 03:14 | Now notice this dark gray area that
surrounds the image that indicates area
| | 03:18 | that's outside the
photograph that I need to crop away.
| | 03:21 | Here is how you do that.
| | 03:22 | Go ahead and switch to the Crop tool up
here in the horizontal toolbar and then
| | 03:27 | drag across the entire image like so,
and release and notice that Camera Raw
| | 03:32 | automatically snaps the crop
boundary to the confines of the image.
| | 03:36 | And that's a function, by the way.
| | 03:37 | If I click and hold on the Crop tool
icon, that's the function of this option
| | 03:41 | right here Constrain to Image
you want to leave that option on.
| | 03:45 | All right I'll go ahead and click up
here in the toolbar in order to hide that
| | 03:47 | menu, and then I'll switch to the
Zoom tool in order to apply that crop.
| | 03:53 | Now to see what we've done I'll press the P
key in order to turn off the preview check box.
| | 03:57 | That's the way the image looks before
the manual lens correction and that's the
| | 04:01 | way it looks after the
correction applied here inside Camera Raw.
| | Collapse this transcript |
| Understanding image size and resolution| 00:00 | In this exercise, I'll explain a
couple of core concepts that tend to
| | 00:04 | confuse both beginning and experienced users
alike and these are image size and resolution.
| | 00:11 | Now image size is the
dimensions of an image in pixels.
| | 00:15 | In other words, an image measures so
many pixels wide by so many pixels tall.
| | 00:19 | You may have also heard the term megapixels.
| | 00:22 | You may in fact own a 12-megapixel
camera, for example, which captures a little
| | 00:27 | bit more than 4000 pixels wide a
little more than 4000 by a little less than
| | 00:32 | 3000 gives you 12 million
pixels in all or 12 megapixels.
| | 00:37 | Resolution is the number of
pixels packed into a linear inch.
| | 00:41 | The professional print standard is 300
pixels per inch, many 300 pixels wide by
| | 00:47 | 300 pixels tall for a total of
90,000 pixels per square inch.
| | 00:52 | Image size is important for
print and web images alike.
| | 00:56 | So whether you're printing an image or
whether you're emailing or posting it to
| | 01:00 | the web, you care about the image size.
| | 01:02 | However, resolution affects print images only.
| | 01:06 | The resolution of an image has no effect
whatsoever on the size of an image when
| | 01:11 | you email it or post it to the web.
| | 01:14 | You can resize an image in two ways,
one is to reduce the number of pixels
| | 01:19 | known as downsampling and the other is to
increase the number of pixels known as upsampling.
| | 01:26 | Changing the size of an image in
either direction is generically known as
| | 01:30 | resampling just in case you hear these terms.
| | 01:33 | Now there is a few different reasons to
downsample an image, in fact, this is a
| | 01:37 | common operation even a good
operation and I'll explain that in a moment.
| | 01:42 | You may downsample an image for print.
| | 01:44 | For example, an image may normally
measure 18 inches wide, but it's too big to
| | 01:48 | fit on a piece of paper from your
printer then you might downsample the image
| | 01:52 | just to make it fit, or a reason you
would definitely downsample an image is to
| | 01:57 | email it to a friend or a client and
then finally if you're going to post an
| | 02:02 | image to the web you would
definitely need to downsample it as well.
| | 02:06 | Now the reason downsampling is not
only common, but in many cases good is
| | 02:10 | because it's smooths away noise and
other imperfections inside of an image.
| | 02:15 | There are a couple of reasons to upsample,
however these reasons are rare and in
| | 02:20 | many cases are not a good idea.
| | 02:23 | First of all, you might
upsample an image for print.
| | 02:26 | Again, for example, the image measures
18 inches wide, but you want to print it
| | 02:31 | at 36 inches wide, then you might want
to upsample, but it's unclear whether
| | 02:36 | it's going to help you out or not.
| | 02:38 | Second, you might want to match the
size of two images, so that you can combine
| | 02:43 | them into a single layer composition.
| | 02:45 | And we'll be talking about
layers in the future exercise.
| | 02:48 | The reason upsampling is not always a
good idea is because it's softens details
| | 02:54 | while bloating file size.
| | 02:55 | Photoshop just isn't all that good at
adding pixels to an image and let me
| | 03:00 | show you what I mean.
| | 03:01 | I have this cropped version of this
guy sitting at a table and we're seeing
| | 03:05 | the image at the 100% view size so
this is a very small image just a little
| | 03:09 | more than 600 pixels wide by 500 pixels tall
which isn't going to do you very well for print.
| | 03:15 | However, let's say you want to
upsample the image that is add more pixels.
| | 03:19 | Then we have this guy right there I'm,
including inside the Exercise files
| | 03:23 | folder as an image called Upsampled guy.jpg.
| | 03:27 | Now you may look at the image and say
well it looks just as good as the previous
| | 03:30 | one, but that's because we're zoomed out to 25%.
| | 03:32 | I'll go ahead and press Ctrl+1, or Command+1
on the Mac in order to zoom in on this image.
| | 03:39 | Check out the guy's face and you can see
how fairly blurry, and indistinct it is.
| | 03:43 | I'll zoom in even farther and you can
see that Photoshop has magnified the
| | 03:48 | defects in the image.
| | 03:49 | Well, not really doing much for the
good detail, so Photoshop is not been able
| | 03:53 | to add any detail to the eyes or ears
or nose or any of that stuff, because
| | 03:58 | Photoshop does not recognize this to be
a man, all Photoshop sees is the pixels
| | 04:03 | and when you upsample an image you
just average the existing pixels.
| | 04:07 | All right, I'm going to
switch back to the slide show.
| | 04:10 | Another way to work with an image is to
scale it for print without resizing, and
| | 04:16 | what that does is it changes
just the resolution of the image.
| | 04:20 | So this is a print specific scenario
while not affecting the image size 1 iota.
| | 04:26 | And the great thing about working
this way is that it's nondestructive, not
| | 04:30 | so much as a single pixel and the image gets
rewritten, and no resampling whatsoever occurs.
| | 04:38 | So just to review we've got image
size which is the physical dimensions of
| | 04:42 | the image, we have resolution which
is the number of pixels that print per
| | 04:46 | linear inch, we've got resampling
whether downsampling or upsampling which is
| | 04:52 | what happens when you change the
number of pixels inside the image, and we've
| | 04:56 | got scaling for print which is
when you change the resolution without
| | 05:00 | changing the image size.
| | 05:02 | In the next exercise, we'll see how to
bring all these concepts together using
| | 05:06 | the image size command.
| | Collapse this transcript |
| Resizing| 00:00 | Now that we understand a few basic
concepts, let's see how to put them in play.
| | 00:05 | I am working inside a file called
Canyonlands.jpg, found inside the
| | 00:09 | exercise files folder.
| | 00:11 | Whether you want to change the Size or
Resolution of an image, you go up to the
| | 00:15 | Image menu and you
choose the Image Size command.
| | 00:18 | This may be the single most
important command in all of Photoshop.
| | 00:22 | Notice that it's divided into
a couple of areas upfront here.
| | 00:26 | Pixel Dimensions represents Image Size.
| | 00:29 | So we start off by seeing this value, 36.4M,
that shows you how big the image is in memory.
| | 00:36 | If you take that number and
divide it by 3, you get the megapixels.
| | 00:40 | So 36 divided by 3 gives
you a 12-megapixel image.
| | 00:45 | It measures 4368 pixels wide by 2912
pixels tall, that's why I have to be so
| | 00:52 | very zoomed out from the image, I'm
looking at the image at the 21% zoom ratio
| | 00:57 | in order to take in the entire image on screen.
| | 01:00 | The Document Size information
tells you how big the image will print.
| | 01:04 | In this case it will be 18 inches wide by 12
inches tall at a Resolution of 240 pixels/inch.
| | 01:09 | 240 is about the minimum number
of pixels you want when printing.
| | 01:17 | Typically the standards are these:
| | 01:19 | for professional level output, you
either want 267 pixels/inch at the low end or
| | 01:25 | 300 pixels/inch at the high end, and
you would want to talk to your commercial
| | 01:29 | printer about which setting is ideal.
| | 01:32 | When printing to an inkjet printer, you
can go anywhere from 240 when printing
| | 01:36 | at the highest print resolution for your
specific inkjet printer, using the best
| | 01:41 | quality paper you might go
as high as 360 pixels/inch.
| | 01:44 | Now, let's say in this case we're
most concerned about just outputting this
| | 01:50 | image, currently it says it's going to
print at 18 inches wide, I want to print
| | 01:55 | my image to an inkjet printer that uses
standard paper, so I'm going to go ahead
| | 01:59 | and resize this image to 10 inches wide.
| | 02:01 | However, there's no point in Resampling,
we don't need to change the number of
| | 02:06 | pixels in the image upfront.
| | 02:08 | We might as well go ahead and just
change the Resolution value, and if you
| | 02:13 | want to do that, then you drop down here to
this check box, notice it says Resample Image.
| | 02:18 | Let's go ahead and turn that off.
| | 02:20 | Notice now that the pixel
dimensions become unavailable to us.
| | 02:24 | We can no longer change the Image Size,
instead we can change the size of which
| | 02:29 | the image will print, and that
will affect the Resolution value.
| | 02:33 | So notice if I reduce the Width of my
image to 10 inches, the Height drops down
| | 02:37 | automatically to 6.2/3 inches, after
all Photoshop is going to go ahead and
| | 02:42 | scale the image proportionally, and the
Resolution of the image goes up, because
| | 02:47 | we're packing more images into that
linear inch, and it jumps automatically.
| | 02:52 | Photoshop determines what that value
needs to be and it tells me the Resolution
| | 02:56 | is now going to be 437 pixels/inch.
| | 03:00 | Now, between you and me, that
doesn't really matter, I don't really care
| | 03:03 | how many pixels get packed in that inch, as
long as it's more then say 240 pixels/inch.
| | 03:09 | But let's say at this point we want to
go ahead and save this reduced version of
| | 03:14 | the file, so we actually want to get
rid of some of the pixels, downsample the
| | 03:18 | image and firm up the details.
| | 03:20 | Then I would go back down to the
Resample Image check box and turn it on, and
| | 03:25 | now you can see so far I haven't
changed the size of the image at all.
| | 03:29 | In other words, if we go up to Pixel
Dimensions, it was 36.4M, it still is 36.4M.
| | 03:36 | So this is a good starting point for me,
because I know it's now 10 inches wide.
| | 03:41 | I am going to drop that Resolution
value down to 300 pixels/inch, because
| | 03:45 | that's the print standard.
| | 03:46 | Now the Image Size information changes.
| | 03:49 | I've dropped the Width value down to
3000 pixels, the Height value is dropped to
| | 03:53 | 2000 pixels, and the new size of the
image in Photoshop's memory is 17.2 megs,
| | 03:59 | which means if you do the math, if
you divide that value by 3, that's
| | 04:03 | approximately a 6 megapixel image.
| | 04:06 | Now I'll go ahead and click OK in
order to accept that modification, and
| | 04:11 | Photoshop actually changes the size of the
image, you just saw it get smaller onscreen.
| | 04:16 | Photoshop actually rewrote
every single pixel inside the image.
| | 04:20 | So strictly speaking, this
is a destructive modification.
| | 04:24 | Anytime you modify the color of
a pixel, that is termed to be a
| | 04:28 | destructive change.
| | 04:29 | However, in truth, we've gone
ahead and firmed up the detail.
| | 04:34 | We've averaged out some
of the neighboring pixels;
| | 04:36 | that means we've gotten rid of a lot of
noise, which is the digital equivalent
| | 04:40 | of film grain, and we've also
firmed up the integrity of the edges.
| | 04:44 | Now what you would do if you wanted to
keep this file, you'd go up to the File
| | 04:48 | menu and not choose to Save command,
because then you'd overwrite the original,
| | 04:53 | you never want to do that, you don't
want to overwrite your original images,
| | 04:58 | instead, you would choose the Save As
command and you would save the image under
| | 05:03 | a different file name.
| | 05:04 | Now, we will be discussing saving and
the various file formats available to
| | 05:08 | you in an upcoming exercise, but for
now just remember, anytime you perform a
| | 05:12 | destructive modification, such as Resampling,
go ahead and choose Save As instead of Save.
| | 05:18 | Now let's say we want to email this
image to a person, whether it's a client or
| | 05:23 | a coworker or just a friend.
| | 05:25 | At its current size, which we can see
down here in the lower left corner of the
| | 05:29 | image window, of 17.2M,
this image is way too big.
| | 05:34 | It contains way too many pixels to do
the person on the receiving end any good.
| | 05:38 | It's going to take forever for that file to
send and it may be too big for the email server.
| | 05:43 | So go back to the Image menu and choose
the Image Size command, this time I am
| | 05:48 | going to make sure that Resample Image
is turned on, because we definitely want
| | 05:52 | to downsample that image.
| | 05:54 | And I'm going to reduce the
Width value to say 1000 pixels.
| | 05:58 | There is no magic number here, by the way.
| | 06:00 | I'm just taking this value down so I get
the file size and memory below 2 or 3M,
| | 06:06 | that way the image will compress when
you save it as a JPEG file to about 1,
| | 06:11 | maybe 1.5 megabytes, which
is a great size for emailing.
| | 06:14 | Now, that's going to automatically
drop the Height value to 667 in our case,
| | 06:19 | because again, we're resizing this
image proportionally by virtue of the
| | 06:23 | fact that Constrain Proportions
is turned on, otherwise we'd end up
| | 06:27 | stretching the image.
| | 06:28 | Of course we don't want that.
| | 06:29 | The Resolution value
incidentally doesn't matter at all.
| | 06:33 | You can safely ignore it,
Resolution is strictly for print.
| | 06:37 | Then what I suggest you do is drop
down to the Bicubic option and change it
| | 06:42 | from (best for smooth gradients) to
Bicubic Sharper which says (best for
| | 06:46 | reduction), but what it should say is best for
huge reductions, and that's what we are doing here.
| | 06:51 | We are dropping the file size
dramatically from 17.2 megs to a mere 1.9 megs.
| | 06:57 | Then go ahead and click OK, and that
not only scales the image down as we can
| | 07:02 | see here, I am viewing the image at 100%
view size, but it also goes ahead and
| | 07:07 | sharpens up the detail ever so slightly.
| | 07:10 | Once again, you would now go up to the
File menu and choose the Save As command,
| | 07:15 | Save this image under a different
name and then email the image as desired.
| | 07:20 | Now, if you wanted to post the image to
a web site, it's still actually too big,
| | 07:24 | it measures 1000 pixels wide, very few
web pages allow you to post such images.
| | 07:30 | So you'd probably want to scale it down
further, and we'll discuss that in the
| | 07:34 | future exercise, when we talk
about saving images for the web.
| | 07:38 | In the meantime, that's how you go
about changing Image Size and Resolution,
| | 07:42 | using the Image Size
command here inside Photoshop.
| | Collapse this transcript |
|
|
6. Filter EssentialsReducing digital noise| 00:00 | In this exercise we are going to talk
about digital noise and what you can do to
| | 00:04 | reduce its effects here inside Photoshop.
| | 00:07 | I am working in a file called Ten
years younger.jpg, found inside the
| | 00:11 | exercise files folder.
| | 00:12 | Now, even this far zoomed out you may
be able to see the noise inherent in this
| | 00:16 | image, but I am going to zoom in even
farther into the Shadow detail in the
| | 00:21 | lower left region of this image.
| | 00:23 | Now, digital noise is random
variations in the color and luminance of
| | 00:27 | neighboring pixels, and these random
variations have nothing to do with the way
| | 00:32 | the scene looked in real life.
| | 00:33 | The camera invented this noise during
the capture process, so you might think of
| | 00:38 | noise as being the digital
equivalent of grain in the old film days.
| | 00:43 | Now, thanks to the way that cameras
capture light, noise is always going to be
| | 00:47 | most evident in the Shadow detail, and
that's because the camera, in order to
| | 00:51 | convert the image to the way that we
see the world, has to automatically
| | 00:55 | compress the Highlight detail
and expand the Shadow detail.
| | 00:59 | So by virtue of the fact that the
Shadow detail is being expanded, the natural
| | 01:04 | noise variations in the darkest
pixels is getting exaggerated.
| | 01:09 | So that's just something to bear in mind.
| | 01:11 | If you're going scouting for noise
inside of one of your photographs, look in
| | 01:15 | the Shadow detail to see where
that noise exists. All right!
| | 01:19 | I'm going to go ahead and zoom out a
couple of clicks here and center this image
| | 01:22 | inside the image window.
| | 01:24 | Now, there is no such thing as
entirely getting rid of digital noise.
| | 01:28 | You'll always see noise to some
degree or other inside your photos.
| | 01:31 | However, you can greatly reduce the
effects of noise by going up to the Filter
| | 01:36 | menu, choosing Noise, and then
choosing the Reduce Noise command.
| | 01:41 | And that brings up this big Reduce Noise filter.
| | 01:44 | Now, a couple of notes about these
sorts of filters inside Photoshop.
| | 01:48 | They not only feature very large
previews inside the dialog box, but you also
| | 01:53 | see a preview of the image
in the larger image window.
| | 01:56 | I am going to go ahead and press
the spacebar and drag the image in the
| | 01:59 | background window over a
little bit so that we can see it.
| | 02:02 | Now, at this point you may think, well,
what's the point of seeing a preview
| | 02:05 | of the image in the background and seeing
the very same thing here inside the dialog box?
| | 02:10 | Well, truth be told, there is no point to that.
| | 02:13 | That's why you want to go ahead and
zoom the image in by clicking in the little
| | 02:16 | plus and then panning to a very noisy
portion of the image, just by dragging
| | 02:21 | inside of the dialog box in order to
get a different view of that same image.
| | 02:27 | Another thing to note is that, when you
click and hold inside the preview in the
| | 02:31 | dialog box, you see the
Before version of the image.
| | 02:34 | When you release, you'll see the After version.
| | 02:38 | Now, at this point, subject to the
Default settings, we're not actually removing
| | 02:41 | that much noise, and the reason is
that the Default settings are designed for
| | 02:46 | inherently low noise images.
| | 02:48 | So the kinds of images that you
might capture with today's high-end SLRs.
| | 02:53 | However, in my opinion, this command is
most useful for very high noise images.
| | 02:58 | Here's what I recommend you do.
| | 03:00 | First of all, for an image like this,
you want to go ahead and crank up the
| | 03:04 | Strength value to a full 10.
| | 03:05 | And the idea behind the Strength
value is it's reducing Luminance Noise.
| | 03:10 | That is, random variations and the
brightness of neighboring pixels.
| | 03:14 | If you skip a couple of options down
you'll see that you have this Reduce Color
| | 03:17 | Noise option that's available to you.
| | 03:20 | That specifically addresses
random variations in the color of
| | 03:23 | neighboring pixels.
| | 03:24 | Now, by default Photoshop already has
this value cranked pretty high, to a full
| | 03:28 | 45%, you can take it higher if you
want to, all the way up to 100%, but then
| | 03:34 | you'll notice that the colors
start bleeding between the details.
| | 03:37 | So the greenish blue colors in the
background, for example, start bleeding
| | 03:41 | into the guy's hat.
| | 03:42 | For this image I am going to go ahead
and take the value down to about 50%.
| | 03:46 | Now, there's really no reason, in my
opinion, to Sharpen Details when you're
| | 03:52 | smoothing over noise, regardless of
how much noise your image contains.
| | 03:57 | So I invariably take this Sharpen
Details value down to 10%, and the reason is
| | 04:02 | quite simply, there's a better way to
sharpen images inside Photoshop and I'll
| | 04:05 | show you that way in the next exercise.
| | 04:08 | That leaves just one option, Preserve Details.
| | 04:11 | Now, here's the idea, when you're
reducing noise inside of an image you're
| | 04:15 | effectively averaging the
colors of neighboring pixels.
| | 04:18 | If you go too far with that operation,
you're going to end up making real good
| | 04:22 | details in the image less distinct.
| | 04:25 | For example, the edges around the eyes
and the nose and the mouth, somehow you
| | 04:30 | have to keep those details intact.
| | 04:32 | And that's the function of
the Preserve Details option.
| | 04:35 | As you take this value higher, you're
going to preserve more details and get rid
| | 04:39 | of less noise inside the image.
| | 04:41 | If you want to balance things in favor
of getting rid of the noise, then you
| | 04:45 | want to go ahead and take
that Preserve Details value down.
| | 04:48 | For this image, I recommend a value
of around 15%, but of course you can
| | 04:52 | experiment with these settings to taste.
| | 04:55 | Now, the final thing you want to do before
leaving this dialog box is Save your settings.
| | 05:00 | Now, this is a two-step operation.
| | 05:02 | It's a little peculiar, so
let me show you what's going on.
| | 05:05 | First you want to click this little
disk icon, and I'll go ahead and call this
| | 05:08 | setting High noise to indicate that these
values are best suited to a high noise image.
| | 05:13 | Then I will click OK in
order to save those settings.
| | 05:17 | Problem is that the Settings
value remains set to Default.
| | 05:21 | So if you go ahead and click the OK
button, you will actually overwrite the
| | 05:25 | old Default Settings.
| | 05:26 | You don't want to do that, so take a
moment to go ahead and click the down
| | 05:29 | pointing arrowhead and then choose
High noise to make sure that those are the
| | 05:34 | settings that are in effect, and
then click OK in order to apply those
| | 05:38 | settings to the image.
| | 05:40 | Now, typically one pass of the Reduce
Noise filter is going to do the trick, but
| | 05:44 | in the case of very high noise images
like this one, you might even want to
| | 05:49 | apply the command twice in a row, in
which case you'd go up to the Filter menu
| | 05:53 | and choose the very first command.
| | 05:55 | You will always see the last filter
applied at the top of the list, or you
| | 05:59 | can press Ctrl+F or Command+F on the Mac
in order to apply that filter a second time.
| | 06:05 | If that goes too far, then you can go
up to the Edit menu and choose the Fade
| | 06:10 | command, which always allows you to
back off the last pixel level modification,
| | 06:15 | in this case the Reduce Noise filter.
| | 06:17 | I will go ahead and take the Opacity of
the effect down to 50% and then click OK.
| | 06:23 | Now to get a sense of what we've been
able to accomplish here, I will go ahead
| | 06:26 | and zoom in on the image like so, and
then I will press the F12 key in order to
| | 06:32 | revert the image to its original appearance.
| | 06:34 | This is the high noise version of the image.
| | 06:37 | Notice all of the color noise in
particular that's apparent inside this image,
| | 06:41 | including this little bit of purple,
I don't know if you can make that out,
| | 06:45 | underneath the guy's nostril.
| | 06:46 | Then I will Press Ctrl+Z or Command+Z on
the Mac to see the After version of the image;
| | 06:52 | much smoother, far less noise, and yet
we're still able to maintain the detail
| | 06:57 | information, thanks to the Reduce
Noise filter here inside Photoshop.
| | Collapse this transcript |
| Sharpening edge details| 00:00 | In this exercise I'll show you how to
sharpen the details in a photograph using
| | 00:04 | the Smart Sharpen filter here inside Photoshop.
| | 00:08 | I'm working inside a file called
Komodo dragon.jpg found inside the
| | 00:12 | exercise files folder.
| | 00:13 | Now I want to make something clear
before we start because if you've never seen
| | 00:17 | this filter before, it may seem like a
little bit of magic, but it's important
| | 00:22 | to understand what it does.
| | 00:23 | It does not sharpen the focus of an image.
| | 00:26 | That is not something Photoshop can do.
| | 00:29 | You can only do that inside your digital camera.
| | 00:32 | So if you miss the focus, if the
image comes out blurry, then it's going to
| | 00:36 | remain blurry inside Photoshop.
| | 00:39 | The purpose of the Smart Sharpen
filter is to take the good detail inside the
| | 00:43 | image and make it appear even
more crisp especially in print.
| | 00:48 | And Photoshop does this by
exaggerating the degree of contrast around the
| | 00:53 | edges inside of an image.
| | 00:55 | So it takes the perceived edges,
that is the areas of rapid luminance
| | 01:00 | transitions between dark and light, for
example, and it makes the dark edge even
| | 01:04 | darker and the light edge even lighter.
| | 01:07 | Our eyes respond to that exaggerated
edge as a more sharply defined detail.
| | 01:13 | Let me show you how it works.
| | 01:14 | I'll go up to the Filter menu and
choose the Sharpen command and then bypass
| | 01:18 | these initial options and choose Smart
Sharpen, which is the most capable of
| | 01:23 | the sharpening filters.
| | 01:25 | Now then, notice that we're seeing the
image at the 100% view size inside of the
| | 01:29 | Smart Sharpen dialog box.
| | 01:31 | I'm seeing the image at the 33% view
size in the background, and that'll give me
| | 01:36 | a better idea of what the
image looks like in print.
| | 01:39 | Now I'll go ahead and pan that image over
by spacebar+Dragging inside the image window.
| | 01:44 | Now let's take a look at what's
going on inside the dialog box.
| | 01:47 | Notice you have this
Amount value and a Radius value.
| | 01:50 | Amount is pretty easy to understand.
| | 01:53 | If you want to sharpen the image just
a little bit, reduce the Amount value.
| | 01:56 | If you want to sharpen it a
lot, increase the Amount value.
| | 02:00 | I'm going to go ahead and take the
Amount value all the way up to 500% which I
| | 02:05 | would not do in the
course of my normal image work.
| | 02:07 | However, this will help us see the
results of the next value which is a little
| | 02:11 | more difficult to understand.
| | 02:13 | Radius is that thing that
exaggerates the degree of edge contrast.
| | 02:17 | So what's happening is Photoshop is
drawing tiny halos around the darkest
| | 02:22 | and lightest edges.
| | 02:24 | The size of those halos is
defined by the Radius value.
| | 02:28 | So if you take the Radius value down very
low, you'll get very distinct crisp edges.
| | 02:34 | Low Radius values are
going to look great on screen.
| | 02:37 | However, they're going to disappear in print.
| | 02:39 | Because you're packing all those pixels
into such a small area, when you print
| | 02:44 | an image, those tiny
radius values end up going away.
| | 02:47 | So what you need to do
is raise the Radius value.
| | 02:50 | Now if you go super-high with the
Radius value like so, you're going to get
| | 02:54 | extremely gooey edges.
| | 02:56 | Notice that we get these huge halos
around the light areas and the dark areas
| | 03:01 | inside the folds of this lizard's
skin, which really isn't what we want.
| | 03:05 | So I'm going to take this value down
to about 3 pixels which ends up being a
| | 03:09 | really great value for print, because
after all, if you take an image and print
| | 03:13 | it at 300 pixels per inch, then these 3
-pixel Radius halos are going to drop
| | 03:18 | down to 1/100th of an inch
which is going to be razor-sharp.
| | 03:23 | Next comes the Remove value.
| | 03:24 | Now by default it's set the Gaussian Blur,
which is great for sharpening for the
| | 03:29 | effects of downsampling as you might
apply using the Image Size command.
| | 03:33 | Motion Blur, the last one
in the list, that's good.
| | 03:36 | Not really great, but good for
reducing the effects of camera shake.
| | 03:41 | However, the best setting for
sharpening digital photographs is Lens Blur.
| | 03:46 | So I suggest you go ahead and select that.
| | 03:49 | Next comes More Accurate.
| | 03:50 | Now this seems like the kind of check
box you would always want to turn on.
| | 03:54 | After all, why would you
want less accurate sharpening?
| | 03:58 | However, here's what it actually does.
| | 04:00 | When you turn on More Accurate, you
get a second pass of micro-sharpening.
| | 04:05 | So you're essentially sharpening
around every single little pixel of
| | 04:08 | detail inside the image.
| | 04:10 | That is rarely what you want.
| | 04:12 | Now it's going to produce tragic
effects when you're sharpening portraits,
| | 04:16 | because after all, you're going to end
up sharpening pores on peoples' faces.
| | 04:20 | In fact, it's only a good idea in my
opinion when sharpening still images such
| | 04:25 | as product shots or landscapes that
have very little noise, otherwise, and when
| | 04:31 | in doubt, leave More Accurate turned off.
| | 04:34 | Now again, this is more a
sharpening that I would normally apply.
| | 04:37 | On a regular basis, I would probably take
this Amount value down to say about 100%.
| | 04:43 | However, I'm going to leave it
cranked up to 500%, again for demonstration
| | 04:48 | purposes, so we can see
the effects of the next step.
| | 04:51 | But before we leave the dialog box,
let's go ahead and save our settings by
| | 04:55 | clicking on the Disk icon and I'll go
ahead and call this Maximum sharpening,
| | 05:00 | and then click the OK button.
| | 05:02 | Then make sure to change the Settings
option from Default to Maximum sharpening
| | 05:07 | and click the OK button so you don't
overwrite the default settings. All right!
| | 05:10 | I'm going to ahead and zoom the image
into 100% so we can see that not only
| | 05:15 | have we brought out a lot of good
detail inside the image, but we've also
| | 05:19 | brought up a wealth of noise.
| | 05:22 | Now this image contains a ton of color noise.
| | 05:24 | I could've gotten rid of it and I
would recommend that you get rid of it in
| | 05:28 | advance by choosing the Reduce Noise command.
| | 05:31 | So that's the way you work.
| | 05:32 | You start with Reduce Noise,
then you apply Smart Sharpen.
| | 05:36 | However, I've left the color noise in
place, so I can show you this next step.
| | 05:40 | I'll go up to the Edit menu and we can
back off the effects of the Smart Sharpen
| | 05:44 | filter by choosing Fade Smart Sharpen.
| | 05:47 | The first thing that you want to do and you
want to do this with every image you sharpen.
| | 05:51 | That's my recommendation, go ahead and
change mode from Normal to Luminosity,
| | 05:56 | and I want you to watch what happens
to the color noise inside this image.
| | 06:00 | As soon as I choose Luminosity,
that color noise disappears.
| | 06:04 | What's really happening is that the
color noise is no longer getting sharpened.
| | 06:09 | We're only sharpening the luminance detail.
| | 06:11 | Now I'm going to go ahead and reduce
the Opacity value to 50% to back off the
| | 06:17 | effects of that very high
Amount value and I'll click OK.
| | 06:21 | Now to give you a sense of what we've
been able to accomplish, I'll go ahead and
| | 06:25 | zoom out a click so that we're
taking the image in at 66.7% in this case.
| | 06:30 | Now I'll press the F12 key in
order to revert the image to its
| | 06:34 | original appearance.
| | 06:35 | This is the before version of the image,
and then if I press Ctrl+Z or Command+Z
| | 06:40 | on the Mac, this is the after version of
the image, thanks to the effects of the
| | 06:44 | Smart Sharpen filter here inside Photoshop.
| | Collapse this transcript |
| Removing and redistributing weight| 00:00 | In this exercise, I'll show you how to
remove and redistribute weight using the
| | 00:05 | Liquify filter inside
Photoshop. The idea is this;
| | 00:09 | if the camera adds ten pounds, then
Liquify allows you to remove those ten
| | 00:13 | pounds and then some as we'll see.
| | 00:16 | I'm working inside a file called Tummy.
jpg found inside the exercise files folder.
| | 00:21 | Now this is a fairly
exaggerated example I would think.
| | 00:25 | Hopefully, the subjects of your
photographs have more subtle weight issues and
| | 00:29 | hopefully, they also have their clothes on.
| | 00:31 | However, if you can take on an image
like this one, you'll be ready to take on
| | 00:35 | anything inside the program.
| | 00:37 | Now the first step is to go up to the
Filter menu and choose Liquify which
| | 00:42 | brings up not so much a filter as a full-blown
independent utility, much along
| | 00:47 | the lines of Camera RAW.
| | 00:49 | Now by default, the Forward Warp tool
is selected and you can think of it as
| | 00:54 | just being the Warp tool;
| | 00:55 | the notion of Forward really doesn't
have that much to do with the way it works.
| | 00:59 | What you do is you scoot portions of
the image around by dragging, so I can go
| | 01:04 | ahead and drag like so in
order to warp or stretch that area.
| | 01:08 | Now obviously, that's an
awfully big modification.
| | 01:10 | So I'll press Ctrl+Z or
Command+Z on the Mac to undo it.
| | 01:14 | Instead I want to be
working with a larger brush.
| | 01:17 | So I'm going to press and hold the
right bracket key until I get an awfully
| | 01:21 | large brush like this one here, and then
I'm going to drag inside the details of
| | 01:27 | the image and I want to start things off
by raising this guy's belly up a little
| | 01:31 | bit and raising the
waistline of his pants as well.
| | 01:35 | And notice that I'm working
in fairly small increments;
| | 01:38 | I'm not making huge drags like that
because if I do, I'm going to add a lot of
| | 01:43 | stretch marks to my image, and I
certainly don't want that to happen.
| | 01:46 | Now you are going to get some stretch
marks as you work along and I'll show you
| | 01:51 | how to resolve those.
| | 01:52 | But the trick is when
inside Liquify, less is more.
| | 01:56 | So short brush strokes are the best way to work.
| | 01:58 | I'll go ahead and press Ctrl+Z or
Command+Z on the Mac to undo the motion
| | 02:03 | of that belly button.
| | 02:04 | And then I'll approach it
incrementally, just raising bits and pieces here
| | 02:08 | and there because I do want to raise that
tummy a little bit higher so it's not so droopy.
| | 02:13 | And I'm going to continue to
raise that waistline as well.
| | 02:16 | Now as you work, you will notice that
you end up with a little bit of wiggle
| | 02:22 | that's going on here.
| | 02:23 | Notice that the waistline
goes kind of up and down.
| | 02:26 | One way to approach that problem is to
reduce the size of the cursor and I'm
| | 02:30 | doing that by pressing and holding the
left bracket key, and then I'll go ahead
| | 02:34 | and raise those little bits of droopage,
go ahead and drag that guy up as well.
| | 02:39 | And another way to work and this one
is really great, especially if you get a
| | 02:43 | lot of wiggles going on.
| | 02:46 | You can switch over here to the Pucker tool.
| | 02:48 | Now normally what the Pucker tool does,
I'll go ahead and select it and increase
| | 02:53 | the size of my cursor by pressing
and holding the right bracket key.
| | 02:57 | Normally the way you use this tool is
to click at points in order to pucker a
| | 03:01 | specific location, that is,
in order to move it inward.
| | 03:05 | So if you have an area that's too bulbous,
for example, you can tuck it in using Pucker.
| | 03:10 | But you don't want to click and hold,
then you can tuck it in with Pucker.
| | 03:14 | I've gone a little bit too far there.
| | 03:16 | So I'll press Ctrl+Z or Command+Z on the Mac.
| | 03:18 | You want to watch out for those
little areas of checkerboard because that
| | 03:22 | indicates that you're exposing undefined pixels.
| | 03:25 | Also, don't just click and hold with
the tool, not in a normal basis, because
| | 03:29 | you'll end up creating
these exaggerated results.
| | 03:32 | I'll go ahead and press Ctrl+Z to undo
that as well, Command+Z on the Mac, and
| | 03:35 | I'll just click a couple of times in
order to settle down that chest region.
| | 03:40 | Then I'll switch over to the Warp tool
once again and move that area up so we're
| | 03:44 | not seeing any of that checkerboard.
| | 03:47 | But the other use for the Pucker tool
that I was telling you about is smoothing
| | 03:51 | out details, and here's how you do that.
| | 03:53 | Go ahead and press and hold the left
bracket key in order to reduce the size of
| | 03:57 | that cursor fairly significantly and
then just drag along those areas that you
| | 04:02 | want to smooth out and notice how that
gets rid of those wrinkles quite nicely.
| | 04:07 | And if you have to drag multiple
times, that's just fine. All right!
| | 04:10 | Now I'm going to switch back to my
Warp tool that is far and away the tool
| | 04:14 | you're most likely to use inside Liquify.
| | 04:16 | And I'll go ahead and tuck in these
love handles over here just a little bit.
| | 04:19 | Notice as I do, I'm
increasing the size of the arms.
| | 04:22 | So you have to bear in mind that as
you're reducing the size of one area, you're
| | 04:26 | necessarily increasing the size of another.
| | 04:30 | The opposite of the Pucker tool is
this next tool down, the Blow tool.
| | 04:34 | And what it allows you to do is take
details that are too skinny or undeveloped
| | 04:38 | and make them larger.
| | 04:39 | For example, in this guy's case, I'll
reduce the size of the cursor just a
| | 04:43 | little bit, and then I'll click.
| | 04:45 | Once again, you don't
want to drag with this tool;
| | 04:47 | just go ahead and click in various
locations in order to expand the size of his
| | 04:52 | muscles just a little bit, makes it
look like he's actually lifting things on
| | 04:56 | an occasional basis.
| | 04:57 | And that will go ahead and give
him some sort of meatier details.
| | 05:00 | I maybe going a little bit too far in
certain areas, so I may have to sort of
| | 05:03 | visit other arm as well in order
to make things fairly symmetrical.
| | 05:08 | Now let's say you get to a point that you
like and you're tempted to click the OK button.
| | 05:12 | Don't do it;
| | 05:13 | before you ever leave this dialog box,
you want to make sure to save your mesh
| | 05:18 | because that way you can come back to
the point at which you last left off.
| | 05:22 | This is a very good habit to get into.
| | 05:25 | Now let me explain what's going on here.
| | 05:27 | I'll go ahead and turn on the Show Mesh
check box so you can see that there's a
| | 05:31 | mesh at work inside this image.
| | 05:33 | The whole time we've actually been
defining a mesh as we've been dragging around.
| | 05:39 | And that mesh is what you can go ahead and
save by clicking on the Save Mesh button.
| | 05:44 | So I'm going to turn off Show Mesh
because it kind of gets in the way as you're
| | 05:47 | working inside Liquify.
| | 05:49 | And then I would go ahead and
click Save Mesh and then click OK.
| | 05:53 | Now it turns out I've already
done that in advance for this image.
| | 05:56 | So I'll go ahead and click on the Load
Mesh button, and notice here inside the
| | 06:00 | exercise files folder, there's a
document called Tummy fixer.msh.
| | 06:05 | Go ahead and click on it and then click
the Open button, and Liquify will load
| | 06:09 | those settings that I last applied.
| | 06:11 | Now I'm going to click on the OK button in
order to apply those settings to the image.
| | 06:15 | Now you may recall I was talking
about the stretch marks and we can see a
| | 06:19 | few stretch marks down here at the base of the
belly and in fact, they're pretty pronounced.
| | 06:24 | So I'll go ahead and zoom in, in
another click so that you can take them
| | 06:27 | in inside the video.
| | 06:28 | Here's how I recommend you get rid of them.
| | 06:30 | I'll go ahead and switch over to the
standard Healing Brush, and then I'll
| | 06:35 | Alt+Click or Option+Click in a
fairly good region of the image above the
| | 06:39 | belly button, like so.
| | 06:40 | And then I'll increase the size of my cursor
by pressing the left bracket key a few times.
| | 06:45 | I'll drop down to this region, I don't
want to paint right along the waistband
| | 06:49 | because then I pick up some of the
colors and the luminance levels of that
| | 06:52 | waistband and they'd
start bleeding into the belly.
| | 06:55 | Instead, I'll drag well within the
belly, it looks like I'm dropping down a
| | 06:58 | little too much and
catching some of that belly button.
| | 07:01 | Then I'll go ahead and release to apply
those changes, and I'll reduce the size
| | 07:04 | of my cursor and maybe paint in this
area a little bit, definitely paint over
| | 07:08 | that extra belly button
like so and make it go away.
| | 07:11 | Increase the size of my cursor a
little more, repaint in that region, and so
| | 07:15 | forth until I get the effect I'm looking for.
| | 07:18 | I'll go ahead and press Ctrl+0, Command+0
on the Mac in order to center my zoom,
| | 07:23 | Ctrl+Plus in order to zoom a little bit in.
| | 07:25 | Now just to get a sense of the
amazing difference we've managed to achieve,
| | 07:30 | I'll press the F12 key.
| | 07:31 | That's the before version of the image,
we've got something of a fair gut going on there.
| | 07:36 | And then I'll press Ctrl+Z or Command+Z
on the Mac and it ends up looking like
| | 07:40 | the Incredible Hulk.
| | 07:42 | Thanks to the amazing power of the
Liquify filter here inside Photoshop.
| | Collapse this transcript |
|
|
7. Selections and LayersSelecting portions of an image| 00:00 | In this exercise, we will explore the
world of selections inside Photoshop.
| | 00:05 | The ideas is this, using Photoshop
Selection tools located near the top of the
| | 00:10 | toolbox you can isolate regions of an
image so that you can paint or filter them
| | 00:15 | independently of other portions of an image.
| | 00:18 | You can even move a selection against a
different background in order to create
| | 00:22 | a remarkably credible composition.
| | 00:25 | I have opened two images, one is
called Giraffe.jpg the others Bolivian
| | 00:29 | backdrop.jpg, both found inside the
exercise files folder, and our job is going
| | 00:34 | to be to take this giraffe
and move it into a new home.
| | 00:38 | Incidentally, I'm able to see both
images because I went up to the Applications
| | 00:42 | bar, clicked on the Arrange Documents
icon and then selected this 2 Up display.
| | 00:48 | But for now let's go ahead and view
the giraffe independently, notice that
| | 00:51 | Giraffe.jpg is the active image window;
| | 00:54 | I can tell that because its title
tab is highlight whereas Bolivian
| | 00:57 | backdrop.jpg is not.
| | 01:00 | So we'll go back to that Arrange
Documents icon, click on it and choose the very
| | 01:04 | first option Consolidate All.
| | 01:06 | Now let's go ahead and zoom in on this image.
| | 01:09 | Now I want to be able to select the
giraffe independently off the sky.
| | 01:13 | However, given the nature of this
image, the sky is the thing that's a
| | 01:17 | lot easier to select.
| | 01:19 | You always want to select the
easiest thing because you can reverse your
| | 01:23 | selection any old time, and I'm going
to select the sky using one of the oldest
| | 01:27 | automated selection tools in Photoshop.
| | 01:30 | Drop down to the Quick Selection tool
icon, click and hold on it and then go
| | 01:34 | ahead and choose the Magic Wand tool.
| | 01:37 | Next, make sure that all of your
options are set to their defaults here inside
| | 01:41 | the options bar, and the easiest way to
do that is to right-click in that Magic
| | 01:45 | Wand icon and then choose Reset tool.
| | 01:48 | That will go ahead and make sure
that you and I are on the same page.
| | 01:52 | Now click in the background, up into the
left of the Giraffe's head let's say in
| | 01:56 | order to select a large region of sky.
| | 01:58 | I am going to press Ctrl+0 or
Command+0 on the Mac in order to fit the
| | 02:02 | image inside the window.
| | 02:04 | Now notice that we have selected an
awful lot of sky but not the entire thing,
| | 02:09 | and that's because when you click with
a Magic Wand, Photoshop goes ahead and
| | 02:12 | grows this selection to
include similar adjacent pixels.
| | 02:16 | But it will drop-off when it thinks
and encounters pixels that don't fall
| | 02:21 | inside of what's known as the
tolerance range defined by this Tolerance value
| | 02:25 | up here in the Options bar.
| | 02:26 | Now you can play with that value if you
want, however that tends to be a little
| | 02:30 | bit of a headache over time.
| | 02:32 | The easier way to work if you want to
add to the selection is to press the Shift
| | 02:36 | key and notice you will see a
plus sign next to your cursor.
| | 02:40 | Then click in some deselected
pixels in order to add them to the mix.
| | 02:45 | Another way to work, a way that you
might find a little more expedient is to go
| | 02:49 | on to the Select menu and
choose the Similar command.
| | 02:53 | What Similar does, is it goes ahead and
essentially doubles the effect of the Magic Wand.
| | 02:58 | It reruns the Magic Wand on the
selected pixels and selects an even wider
| | 03:03 | range of adjacent colors.
| | 03:05 | So I will go ahead and choose
Similar and that wraps the selection down
| | 03:10 | underneath the giraffe's head, still
doesn't quite select everything we want it to.
| | 03:14 | So I will Shift+Click under the
giraffe's head again in order to add those
| | 03:18 | pixels to the selection.
| | 03:20 | Still missing a few pixels behind the
giraffe's neck, so let's go up to the
| | 03:24 | Select menu and choose Similar once
again, and that seems to do the trick.
| | 03:30 | Now bear in mind of course, that
we've managed to select the sky not the
| | 03:33 | giraffe, that's exactly
the opposite of what we want.
| | 03:37 | So go up to the Select menu and choose the
Inverse command which reverses the selection.
| | 03:42 | As soon as I choose that command
notice that the marching ants along the
| | 03:46 | outside of the giraffe have disappeared and
we end up selecting just the giraffe instead.
| | 03:52 | There is an exception here.
| | 03:53 | I've got just a few pixels selected
over here in the far left side of my image.
| | 03:59 | I am going to get rid of that by
switching to a different selection tool, the
| | 04:02 | Rectangular Marquee tool, which is
your default tool inside Photoshop.
| | 04:07 | You can mix and match tools with each other.
| | 04:10 | If you press the Shift key you add to a
selection, if you want to subtract from
| | 04:15 | a selection which is what we're
looking to do then you press and hold the Alt
| | 04:18 | key or the Option key on the Mac, and notice
that my cursor now has a minus sign next to it.
| | 04:23 | I will Alt+Drag or Option+Drag
around that little area of marching ants,
| | 04:28 | marching ants being the animated selection
outline in order to deselect that region.
| | 04:34 | Now we have just the giraffe selected.
| | 04:37 | Now the problem with our selection
so far is it incorporates a little bit
| | 04:41 | too much of the sky.
| | 04:42 | I'll go ahead and zoom in on the back
of the giraffe's mane and notice that the
| | 04:46 | selection outline goes ahead and
includes not only the brown bits of mane, but
| | 04:51 | also some blue bits of sky.
| | 04:54 | You could spend an awful lot of time
trying to deselect those little blue pixels
| | 04:58 | and you're still not going
to totally get rid of them.
| | 05:01 | So here is a better way to work.
| | 05:02 | I am going to go ahead and zoom out.
| | 05:04 | Let's say we want to colorize that
region in Brown and I will do that
| | 05:09 | by grabbing my Brush tool, which
you can get either by clicking on it
| | 05:13 | or by pressing the B key.
| | 05:14 | Notice that I have a very small cursor;
| | 05:16 | I will right-click inside my Image
window in order to bring up this Pop-up panel.
| | 05:21 | Make sure the Hardness value is set
to 0%, that's very important so that we
| | 05:25 | have soft transitions.
| | 05:27 | I am going to increase the Size value
to let's say 80 pixels should work out
| | 05:31 | pretty nicely, and then I will press
the Enter key or the Return key on the Mac
| | 05:34 | in order to hide that panel.
| | 05:37 | The Brush tool always paints in the
Foreground color and you can see the
| | 05:40 | Foreground color listed down at
the very bottom of the toolbox.
| | 05:44 | By default, it's black.
| | 05:46 | I want it to be brown instead, so I am
going to press and hold the Alt key or
| | 05:51 | the Option key on the Mac.
| | 05:53 | When you press Alt or Option when the
Brush tool is active, it switches to the
| | 05:57 | eyedropper allowing you to
lift a color from the image.
| | 06:00 | Then I'm going to click and right about
that location in the mane, as long as I
| | 06:05 | have my mouse button down, I can see
the new foreground color at the top of the
| | 06:09 | ring and the old foreground color down
at the bottom of the ring, and I can move
| | 06:13 | my cursor around a little bit like so
in order to select exactly the shade of
| | 06:18 | brown I'm looking for.
| | 06:19 | Well pretty much any shade of brown
should do pretty well, and so I will go
| | 06:23 | ahead and release my mouse button and I
will release the Alt or Option key, and
| | 06:27 | notice that brown is now my new
foreground color at the bottom of the toolbox.
| | 06:31 | Now if I just set in painting brown,
it's great that I am painting just inside
| | 06:36 | the Selection outline, that's a
remarkable thing about Photoshop.
| | 06:40 | However, I am also covering up the
details in the mane which is no good.
| | 06:44 | So I will press Ctrl+Z or Command+Z on
the Mac to undo that change and I will go
| | 06:48 | up here in the mode option in the
Options bar and I will go ahead and click on
| | 06:53 | the word Normal in order to
reveal this long list of Blend modes.
| | 06:57 | Now we have all kinds of training on
blend modes here at the lynda.com Online
| | 07:03 | Training Library that you
can check out in detail.
| | 07:06 | But the mode I am looking for is Hue
and what that allows you to do is just lay
| | 07:11 | down some base colors using the brush
while maintaining the original saturation
| | 07:16 | values, the color intensity as you may
recall as well as the original luminance
| | 07:21 | levels inherent in the giraffe's mane.
| | 07:23 | So I will go ahead and choose Hue and
now I will paint in the giraffe's mane
| | 07:28 | like so and we end up laying down
just brown and replacing the blue.
| | 07:32 | Now I am going to paint inside of the
few others as well, maybe along the top
| | 07:36 | of the ears, here inside the top of the
giraffe's horn and we need to replace a
| | 07:41 | few blues in the giraffe's snout
underneath the mouth and then in the hairs
| | 07:46 | along the chin as well.
| | 07:47 | That should pretty much do the trick.
| | 07:49 | So now I want to be able to se
both images at the same time.
| | 07:52 | So I will go up to the Arrange
Documents icon ones again, and choose that 2 Up
| | 07:57 | display and I will go ahead and press
Ctrl+Minus or Command+Minus on the Mac a
| | 08:02 | couple of times so that we
can see the entire animal.
| | 08:05 | Now I will switch to the Move tool,
which as you may recall allows you to move
| | 08:09 | layers and selected pixels around
inside Photoshop and now I am going to drag
| | 08:14 | the giraffe into the other image window.
| | 08:17 | Now I could just go ahead and drop it
into place if I want to, but then it will
| | 08:20 | landed in arbitrary location.
| | 08:23 | I want to make sure that I center
the giraffe inside the new image.
| | 08:27 | So I will press and hold the Shift key,
then drop the giraffe into place and
| | 08:31 | then release the Shift key and now
the animal is moved into its new home.
| | 08:36 | The Bolivian backdrop is now the
active image, so I will go back up to the
| | 08:40 | Arrange Documents icon and choose
Consolidate All so we are viewing this image
| | 08:44 | by itself, and I will go ahead
and zoom in on the image as well.
| | 08:48 | Notice two things, first of all the
giraffe which was presumably captured
| | 08:52 | either in Africa or at a zoo looks
great against this Bolivian backdrop here,
| | 08:58 | so it doesn't matter where these
images originate, they can end up merging
| | 09:02 | beautifully inside Photoshop.
| | 09:04 | I want you also to notice here inside
the layers panel that the giraffe is
| | 09:08 | automatically isolated to an independent layer.
| | 09:11 | I am going to go ahead and rename
that layer by double-clicking on layer 1,
| | 09:16 | entering the word giraffe and then
pressing the Enter key or the Return key on
| | 09:20 | the Mac and that's how you select an
image, paint inside of it and drag and drop
| | 09:25 | it into a new background here inside Photoshop.
| | Collapse this transcript |
| Working with layers| 00:00 | In this exercise I'm going to show you
one of the many possible ways to exploit
| | 00:05 | the full power of layers inside of Photoshop.
| | 00:08 | Now layers allow you to isolate images
from each other and stack them on top of
| | 00:14 | each other so that you can edit each
image independently inside what's known as
| | 00:18 | a layered composition.
| | 00:20 | And as a result, you can build up
some amazingly credible effects.
| | 00:24 | For example, we're going to take this
image which I've called Pretend snow.tif,
| | 00:29 | and we're going to move it into this
background, and the result will look
| | 00:32 | absolutely impeccable.
| | 00:34 | I'll start off inside this image.
| | 00:36 | What I want to do is move this model
against the Mount Everest background.
| | 00:41 | So I'll go to the layers panel.
| | 00:43 | If you don't see that panel on the right
-hand side of the screen, then go up to
| | 00:46 | the Window menu and choose the layers command.
| | 00:49 | Once the panel is visible, right-click
in the Background layer and
| | 00:53 | choose Duplicate layer.
| | 00:55 | Then inside this dialog box let's go
ahead and call the new layer snow, and
| | 01:01 | instead of creating the new layer
inside the existing image, I'm going to move
| | 01:05 | it to the other image by changing this
Document icon to Mount Everest.jpg, then click OK.
| | 01:11 | Now it doesn't appear as if we've done anything.
| | 01:14 | That's because we're still
inside the Pretend snow.tif image.
| | 01:17 | Let's go ahead and switch over to Mount
Everest.jpg and you can see that we now
| | 01:21 | have a new layer called snow.
| | 01:23 | You can turn off if you want to by
clicking on the eye and you'll see the
| | 01:26 | mountains in the background.
| | 01:28 | Turn that layer on again to see the model.
| | 01:30 | Now I ultimately need two versions of
this layer in order to pull off this effect.
| | 01:36 | So I'm going to make a copy of this
layer by going up to the layer menu,
| | 01:40 | choosing New and then choosing layer via Copy.
| | 01:43 | Just kind of a strangely named command,
but it's got a great keyboard shortcut,
| | 01:47 | Ctrl+J on the PC or Command+J on the Mac.
| | 01:51 | that will go ahead and jump a copy of the layer.
| | 01:53 | I am going to go ahead and rename this
layer by double-clicking on snow copy,
| | 01:57 | and I'm going to call it model and then
press Enter or Return to accept that new name.
| | 02:01 | Now I'm going to go ahead
and turn this snow layer off.
| | 02:04 | Make sure the model layer is active.
| | 02:06 | This may seem like a strange approach,
but we need both of these layers in order
| | 02:10 | to pull off this effect.
| | 02:12 | I'm going to go ahead and switch this
time from the Magic Wand tool which we
| | 02:15 | used in the previous exercise.
| | 02:17 | I'll click and hold and
choose the Quick Selection tool.
| | 02:20 | The Quick Selection tool allows you
to drag inside of the image in order to
| | 02:24 | select portions of it.
| | 02:26 | It's a kind of Brush tool, and I'm
going to increase its size by pressing the
| | 02:29 | right bracket key a few times.
| | 02:32 | Then I'll just drag in this
background in order to select it.
| | 02:35 | Not only does that select all that blue
background, but it selects all this snow as well.
| | 02:40 | Not too worried about that, we've got
that extra snow layer ready and waiting
| | 02:45 | for when we need it.
| | 02:46 | Right now, we just need to isolate the model.
| | 02:48 | Press Ctrl+0 or Command+0 on the Mac to
back out slightly, so we can see that we
| | 02:54 | have this little bit of
blue in the upper right corner.
| | 02:56 | Just go ahead and drag over it as well.
| | 02:59 | The Quick Selection tool is set to
automatically add to the existing
| | 03:03 | selection, so you've selected the blue over
here in the left-hand side and the right-hand side.
| | 03:08 | Both the Quick Selection tool and the
Magic Wand tool are great automation tools.
| | 03:13 | They allow you to rough-in
selections with little work.
| | 03:16 | Now of course, I don't want to select the
background, I want to select the foreground.
| | 03:20 | So I'll go up to the Select menu
and choose the Inverse command.
| | 03:24 | Now both the Quick Selection tool and
the Magic Wand tool are great tools from
| | 03:28 | the vantage point of ease of use.
| | 03:30 | You can rough-in a selection
outline with very little work.
| | 03:34 | The problem is those outlines are quite jagged.
| | 03:38 | Fortunately, you can smooth out the edges
using this Refine Edge button in the options bar.
| | 03:44 | So go head and click on Refine Edge
to bring up the Refine Edge dialog box.
| | 03:49 | Now at this point we're seeing the
selected region against a white background,
| | 03:52 | and you can see those
edges are in pretty bad shape.
| | 03:55 | They don't look realistic at all.
| | 03:57 | We'll see those edges even better if we
go to the View option right there, click
| | 04:01 | on it, and switch to On Black, and
then we'll see better contrast, anyway.
| | 04:06 | Click off that menu in order to hide it.
| | 04:08 | There are all kinds of options available
to you inside the Refine Edge dialog box.
| | 04:13 | We're going to be focusing on
this one right here, Edge Detection.
| | 04:16 | What it allows you to do is tell
Photoshop to reevaluate the selection outline
| | 04:21 | inside of a specific zone around the
existing edges, and that zone is determined
| | 04:27 | by the Radius value.
| | 04:28 | So if I increase this Radius value ever
so slightly, notice we've a little bit
| | 04:33 | of softening going on.
| | 04:34 | What's really happening is Photoshop
is reevaluating those edges within this
| | 04:39 | zone that we're defining.
| | 04:41 | I want to crank this zone up as big
as it gets by increasing that value to
| | 04:45 | a Radius of 250 pixels, and now notice how
soft and beautiful and organic that selection is.
| | 04:53 | Now, I've got a little bit too much
snow, I can turn off some of that snow by
| | 04:57 | turning on the Smart Radius value,
which is going to go ahead and collapse that
| | 05:01 | zone just a little bit.
| | 05:03 | Then finally, I don't want these
little blue edges that are hanging on here.
| | 05:07 | So I'll go ahead and turn on the
Decontaminate Colors check box, and that will
| | 05:13 | set those edges to more of an organic brown.
| | 05:15 | Now if you see some blue edges sort of
poking out here and there, just go ahead
| | 05:19 | and brush them away using this Brush
tool that's available to you when you're
| | 05:23 | working inside the Refine Edge dialog box.
| | 05:27 | This looks pretty good to me.
| | 05:28 | We have some stray snowflakes,
but that's not a problem.
| | 05:31 | Now I'll click the OK button in order to
refine that selection and create a new layer.
| | 05:36 | And this is very important;
| | 05:38 | Photoshop has added
what's known as a layer mask.
| | 05:42 | You can see this little thumbnail here.
| | 05:44 | Wherever the mask is white
that makes the layer visible;
| | 05:48 | wherever the mask is black
that makes the layer invisible.
| | 05:51 | It's a little bit advanced,
but it's a very powerful tool.
| | 05:56 | Now if you want to, you can go
ahead and throw that model layer away.
| | 05:59 | We don't need it anymore.
| | 06:00 | Just go ahead and click on it in order
to select it and press the Backspace key
| | 06:04 | or the Delete key on the
Mac in order to get rid of it.
| | 06:08 | Now turn off the new
model layer for just a moment.
| | 06:10 | It's actually called model copy, and if
you want to get rid of the copy you can
| | 06:14 | just double-click on the words model
copy once again and delete copy and then
| | 06:19 | the layer is just called model.
| | 06:21 | All right, now we need to work on the snow.
| | 06:24 | Click on the snow layer to make it
active, and then turn the layer on.
| | 06:28 | Now let's go ahead and select that
background again, except this time we'll use
| | 06:32 | the Magic Wand tool.
| | 06:33 | So go ahead and choose the Magic Wand
from the Quick Selection tool flyout menu.
| | 06:37 | Click inside some region of blue,
Shift+Click in the region of blue up here
| | 06:41 | in the upper right-hand corner in order to
select just about all the blue in the image.
| | 06:45 | Just to make sure you really got it all,
go up to the Select menu and choose
| | 06:49 | the Similar command.
| | 06:50 | Of course, we also need to go to the
Select menu and choose Inverse to make sure
| | 06:55 | we're selecting her and the snow
as opposed to the background sky.
| | 06:59 | Then click on Refine Edge to bring up
the Refine Edge dialog box once again.
| | 07:05 | Crank the Radius value up to 250 pixels
just as we did before, but this time we
| | 07:10 | want all of that snow.
| | 07:12 | So do not turn on the Smart Radius check box.
| | 07:15 | We're going to make one additional
change however, down here in the Output
| | 07:18 | option, notice it says, Output To: Selection.
| | 07:21 | We don't want a selection outline, we want a
layer mask just as we achieved a moment ago.
| | 07:26 | Before Photoshop automatically
selected layer mask, because we turned on
| | 07:30 | Decontaminate Colors.
| | 07:32 | This time we don't want that
option on, but we do want a layer mask.
| | 07:36 | Now click OK in order to create that
new layer, and notice this time we've got
| | 07:41 | the snow but we've some sort of
fakey edges going on. Watch this.
| | 07:45 | I'm going to brighten up everything,
with the snow layer selected, by clicking
| | 07:50 | on this Blend mode option, top left
here inside the layers panel, click on the
| | 07:54 | word Normal in order to reveal a list
of Blend modes and select Screen, which
| | 07:59 | creates an overall universal
lighting effect which is great for the snow,
| | 08:04 | doesn't look so great for her however.
| | 08:05 | It's why we have this model layer on top.
| | 08:08 | Go ahead and turn it back on and
we end up with this effect here.
| | 08:11 | So the best of both worlds.
| | 08:13 | We've got the snow on one layer;
| | 08:15 | we've the model on the other.
| | 08:17 | I'm going to go ahead and press the F
key a couple of times in order to switch
| | 08:21 | to the Full Screen mode and
then zoom on into this image.
| | 08:25 | This credible composition and much, much
more is available to you when you start
| | 08:31 | to explore the world of
layers here inside Photoshop.
| | Collapse this transcript |
| Combining adjustments with layers| 00:00 | One of the great things about
isolating images to separate layers inside
| | 00:04 | Photoshop is that you can edit
their luminance levels and color values
| | 00:08 | independently using adjustment layers.
| | 00:11 | Now we've already seen adjustment layers
in a previous exercise, now let me show
| | 00:16 | you how much more powerful they
can be inside a layered composition.
| | 00:20 | I'm working inside a file called
Water model.psd, found inside the
| | 00:24 | exercise files folder.
| | 00:26 | And notice we've got three layers
over here inside the layers panel.
| | 00:30 | I want you to see how
each layer is put together.
| | 00:33 | You can view one layer by itself, by
Alt+Clicking, or Option+Clicking on the Eye
| | 00:38 | icon in front of that later.
| | 00:40 | So I'm going to Alt+Click, or
Option+Click on the Eye in front of the
| | 00:43 | Background layer, and then also we
have a very basic blue at the top to white
| | 00:48 | at the bottom gradient.
| | 00:49 | I created that gradient using the
gradient tool, which is located about midway
| | 00:54 | down inside the toolbox.
| | 00:56 | Above that I've got this facing layer.
| | 00:58 | Once again, I'm going to Alt+Click, or
Option+Click, this time in the empty box
| | 01:03 | in that eye column, and notice this
time around we're seeing this model against
| | 01:07 | this checkerboard background.
| | 01:09 | Again, whenever you see that
checkerboard that indicates transparency inside a
| | 01:14 | Photoshop, and the transparency
is created using this layer mask.
| | 01:18 | If you want to be able to see that
layer mask inside the image window, all you
| | 01:22 | have to do is Alt+Click, or Option+Click
on the layer mask thumbnail here
| | 01:26 | inside the layers panel.
| | 01:27 | So you're probably getting the sense
that you Alt+Click and Option+Click for
| | 01:32 | special options inside
Photoshop, and that's true.
| | 01:36 | So once again bare in mind, when
you're looking a layer mask anything that's
| | 01:39 | white indicates an opaque portion of
the layer, anything that's black indicates
| | 01:44 | a transparent portion of that layer.
| | 01:46 | The great thing about layer masks is
that you can change them anytime you like.
| | 01:51 | I'm going to Alt+Click, or Option+Click
on that layer mask thumbnail once again
| | 01:55 | to bring back the layer.
| | 01:57 | You can also turn off a layer mask
if you like by Shift+Clicking on that
| | 02:02 | layer mask thumbnail.
| | 02:03 | And then you'll see all of the
pixels inside the image are still intact.
| | 02:06 | I'm going to Shift+Click inside the layer
mask thumbnail again to turn it back on.
| | 02:12 | Now let's see the top player in the
stack by Alt+Clicking, or Option+Clicking
| | 02:16 | in the Eye column for this side layer,
and you can see that once again the same
| | 02:20 | model is captured from a different angle
and set against the transparent background.
| | 02:25 | I'm going to go ahead and turn on all
layers inside the image by dragging across
| | 02:29 | the empty portion of the Eye column.
| | 02:31 | Then I'll click on that top
layer side in order to turn it on.
| | 02:35 | Now let's say that I want
to add an adjustment layer.
| | 02:38 | I'll double-click to the right of
the word Masks in order to expand the
| | 02:41 | adjustments panel and I'm going
to show you two variations on the
| | 02:45 | Hue/Saturation adjustment layer.
| | 02:48 | So, drop down to the second icon in the
second column and click on it in order
| | 02:52 | to create a new layer.
| | 02:54 | Let's say what I want to do is want to
increase the saturation of just the reds
| | 02:59 | inside the image, specifically those
reds that correspond to the models lips.
| | 03:04 | I can selectively modify saturation
values using this special tool that's
| | 03:09 | associated with the Hue/Saturation
adjustment layer, and it's known as the
| | 03:13 | Target Adjustment tool.
| | 03:15 | Go ahead and click on it to make it
active and then using this Eyedropper
| | 03:19 | drag to the right from the models lips in order
to increase the saturation of those red values.
| | 03:25 | Drag to the left if you want to
decrease the saturation values.
| | 03:29 | Notice the Saturation value on the
far right side of the image window is
| | 03:34 | changing there inside the Adjustments
panel until the saturation value increases
| | 03:39 | to let say about 30%.
| | 03:42 | Notice that Photoshop is
relegating its modifications to the reds;
| | 03:46 | we can see that right here.
| | 03:48 | Any of the other color values,
including those blues inside the gradient
| | 03:52 | background and the blues inside
the model's eyes are not changing.
| | 03:56 | Problem is that at this point I really
want to affect the left-hand model and
| | 04:00 | not the right-hand model.
| | 04:01 | The thing about adjustment layers
is they affect all layers below them.
| | 04:07 | That means I can move this adjustment
layer one layer back in order to affect
| | 04:11 | just the layer behind it.
| | 04:12 | Now it's hard to see, because our
layers panel is so short on screen.
| | 04:16 | So I'll double-click to the right of
the word Masks in order to collapse
| | 04:20 | the Adjustments panel.
| | 04:21 | And then I'll drag that new Hue/Saturation below the side layer and above the
| | 04:25 | facing layer, and as a result we're
just affecting the model on left and not
| | 04:30 | the model on right.
| | 04:31 | Now let's say I want to slightly
colorize the model on the right.
| | 04:35 | I'll go ahead and click on that side
layer to make it active, and I'm going to
| | 04:39 | switch to my Eyedropper tool here
inside the toolbox, which I can get by
| | 04:43 | pressing the I key, and I'll click the
Blue at the very top of the image window.
| | 04:49 | And notice I'm now switching the
foreground color from black to blue, and we can
| | 04:52 | see this new foreground color down
here at the bottom of the toolbox.
| | 04:57 | Next, I'm going to expand the
adjustments panel once again by double-clicking to
| | 05:00 | the right of the word Masks, I'm
going to add yet another Hue/Saturation
| | 05:04 | adjustment layer and this time I'm
going to turn on the Colorize check box.
| | 05:09 | And that's going to go ahead and colorize
all the layers below with that shade of blue.
| | 05:15 | Now problem is, at this point, how do
I affect the side layer which is on top
| | 05:19 | without affecting that facing layer
which is below, especially given that an
| | 05:25 | adjustment layer affects all layers below it?
| | 05:28 | The trick is to clip the active
adjustment layer to the layer below it.
| | 05:32 | And you do that by dropping down to this
icon at the bottom of the adjustments panel.
| | 05:37 | Notice it says in parentheses over on
the right-hand side, click to clip layer,
| | 05:41 | go ahead and click on it, and now we
affect just the right-hand layer without
| | 05:46 | affecting the left-hand layer at all.
| | 05:48 | So that's the final version of our
image and that's just the beginning of what
| | 05:53 | you can do with adjustment layers
inside of a layered composition.
| | Collapse this transcript |
|
|
8. Merging and SavingMaking a panorama| 00:00 | In this exercise, I'll show you how to
stitch together multiple images that you
| | 00:04 | capture with your digital camera into a
very large seamless panorama using the
| | 00:09 | Photomerge command inside Photoshop.
| | 00:12 | Now this is as much about getting the
shots right in the first place as it is
| | 00:17 | about using Photomerge.
| | 00:18 | So I'll be focusing on both topics.
| | 00:21 | You start off in the Adobe Bridge and if
you're working along with me, make sure
| | 00:26 | the Bridge is trained on the contents
of the Venice pano subfolder inside the
| | 00:30 | exercise files folder.
| | 00:32 | Then click on any one of the image
thumbnails and press Ctrl+A or Command+A on
| | 00:36 | the Mac to select all ten of these images.
| | 00:40 | Then I'll press the spacebar in
order to enter the full screen preview.
| | 00:44 | Now here's how it works.
| | 00:46 | You need to plant your
feet in a stationary position;
| | 00:48 | you do not want to step from side
to side, or you'll ruin the effect.
| | 00:52 | Then pivot your shoulders
from one shot to the next.
| | 00:56 | You can either start on the left-
hand side as I'm in this case, or in the
| | 00:59 | right, doesn't matter.
| | 01:01 | Now for what it's worth, I'm standing
on the Ponte Accademia in Venice, looking
| | 01:06 | down the Grand Canal.
| | 01:07 | So I'm starting on the left-hand side,
and then I'm pivoting to the right and
| | 01:11 | taking another shot.
| | 01:13 | Notice that each one of these images
overlaps the other by at least a third.
| | 01:19 | Now there will definitely be
moving objects in your shot.
| | 01:22 | You want to avoid that as much as you can,
but there's no avoiding it altogether.
| | 01:26 | For example, I've got these boats along
the Grand Canal and they're moving back
| | 01:31 | and forth and I certainly can't stop them,
That doesn't mean you rush the shots.
| | 01:35 | You want to be very careful and
deliberate because there's a good chance you
| | 01:39 | will not be back to this
location to re-shoot the images.
| | 01:42 | That was most certainly
the case for me in Venice.
| | 01:46 | This is the tenth and final shot
over here to the right-hand side.
| | 01:50 | So again, in each case, I have my
feet anchored down, I'm just pivoting my
| | 01:54 | shoulders from one shot to the next.
| | 01:56 | I'll go ahead and press the Escape
key in order to return to the Bridge.
| | 02:00 | With all ten of the images selected
in this case, and, by the way, you can
| | 02:04 | choose as many images as you like, go
up to the tools menu, choose Photoshop,
| | 02:09 | and then choose the Photomerge command.
| | 02:11 | That will automatically switch to
Photoshop and load the images into the
| | 02:15 | Photomerge dialog box.
| | 02:17 | Now by default, Layout will be set to Auto.
| | 02:20 | That's not necessarily what you want
because it could end up producing the sort
| | 02:24 | of bowtie effect where the images
at the outside bend out towards you.
| | 02:28 | Instead, you want either Cylindrical
or Spherical, and you can go ahead and
| | 02:33 | experiment with those options to
see which one works best for you.
| | 02:36 | In our case, if you're working along
with me, select Cylindrical, make sure
| | 02:40 | Blend Images Together is turned on.
| | 02:43 | You can generally leave the
other two check boxes off.
| | 02:46 | Then click on the OK button
to let Photoshop do its thing.
| | 02:49 | Now you'll notice over here inside the
LAYERS panel that Photoshop is assembling
| | 02:54 | all ten of the images
into a layered composition.
| | 02:57 | Its next step, and all of these
things are things that Photoshop is doing
| | 03:01 | automatically, is to align the images
with each other, so that they're not
| | 03:05 | stacked directly on top of
each other, in other words.
| | 03:08 | So Photoshop expands the canvas
horizontally and moves each image into place.
| | 03:13 | Now that the images are positioned
properly, as we can see once again inside the
| | 03:18 | LAYERS panel, Photoshop
is blending them together.
| | 03:21 | It's doing two things in this case.
| | 03:23 | It's changing the colors of each one
of the layers and it's automatically
| | 03:27 | producing a series of layer
masks as you can see here.
| | 03:31 | Now that Photomerge is done, it's up to you
to check that the command has done a good job.
| | 03:36 | What you're looking for is
seams between one image and another.
| | 03:40 | Now as I look through the image,
I can't really see any seams;
| | 03:44 | things seem to be fine.
| | 03:46 | If you want to check things out for sure,
what you do is you convert the layer
| | 03:50 | masks into selection outlines.
| | 03:52 | So I'm looking at the far right portion
of the image which happens to be located
| | 03:56 | at the bottom of the image stack.
| | 03:58 | And so I'll convert this layer mask
right here, the bottommost layer mask into
| | 04:02 | a selection by pressing the Ctrl key or
the Command key on the Mac and clicking
| | 04:08 | on that layer mask.
| | 04:09 | Ctrl+clicking or Command+clicking
on a layer mask always convert it to
| | 04:13 | a selection outline.
| | 04:14 | Now I can see the marching
ants tracing along that scene.
| | 04:17 | Of course, the marching ants are
blocking the scene, so I can't really see
| | 04:20 | what's going on until I
hide that selection outline.
| | 04:24 | And I'll do that by pressing
Ctrl+H or Command+H on the Mac;
| | 04:28 | that hides this e election.
| | 04:30 | And then if I want to reconfirm where
the selection edge is, I press Ctrl+H or
| | 04:34 | Command+H again to bring the selection back.
| | 04:37 | And you'll want to do that for each
and every layer inside the composition.
| | 04:42 | Now in my case, I've already worked
through this example several times and it
| | 04:46 | works out just fine. All right!
| | 04:48 | So let's go ahead and back out from the
image by pressing Ctrl+0 or Command+0 on the Mac.
| | 04:53 | I press Ctrl+D as well or Command+
D on the Mac to deselect the image.
| | 04:58 | Now at this point, you may want to go
ahead and save this ten-layer composition,
| | 05:03 | one layer for each image in the
panorama to the native PSD format.
| | 05:08 | And I'll explain how that
works in the very next exercise.
| | 05:12 | After you've done that, you want to go
ahead and merger all the layers together.
| | 05:16 | And the safest way to accomplish that
is to go up to the Image menu and choose
| | 05:20 | the Duplicate command.
| | 05:21 | That way you don't harm the original.
| | 05:23 | And I'm going to go ahead and call this
image Venice panorama and I'll turn on
| | 05:28 | Duplicate Merged layers Only so that we
end up with a single layer composition.
| | 05:33 | Click OK and you'll see that new
image window with a single layer here
| | 05:37 | inside the LAYERS panel.
| | 05:39 | I'll go ahead and rename this layer panorama.
| | 05:42 | Now, of course, we need to crop the
image so it's not shaped like a waving flag
| | 05:46 | and we don't have this
transparency checkerboard in the background.
| | 05:49 | So I'll go ahead and switch to the Crop
tool which you can get by pressing the C
| | 05:52 | key, and I'll draw a crop
boundary around the composition.
| | 05:55 | I'll also scoot the corners in a
little bit so I have some wiggle room
| | 05:59 | around the outside.
| | 06:01 | That is to say I want to make sure that the
layer is much bigger than the final canvas.
| | 06:06 | Then once you're happy with the crop
boundary, go up to the Options bar and make
| | 06:10 | sure Cropped Area is set to Hide, not Delete.
| | 06:13 | That way we're not
permanently deleting any of the pixels.
| | 06:16 | Then press the Enter key or the Return
key on the Mac in order to accept that crop.
| | 06:21 | Now I'm going to press Shift+Tab in
order to hide those right side panels and
| | 06:25 | zoom in on my image.
| | 06:27 | And to my eye, it looks like the
image is drifting down into the right.
| | 06:31 | So I need to go ahead and straighten it,
but I'm going to do so in a way that we
| | 06:35 | haven't seen before, by rotating
the layer inside of the canvas.
| | 06:40 | And you do that by going up to the
Edit menu and choosing the Free Transform
| | 06:44 | command, or you can press
Ctrl+T or Command+T on the Mac.
| | 06:49 | I mentioned the keyboard shortcut
because this is a very common command.
| | 06:53 | What it allows you to do is both scale,
if you like, and rotate the active layer.
| | 06:58 | I'll go ahead and choose that command
and we end up with this transformation
| | 07:02 | boundary that looks a lot like the
crop boundary that we've seen in the past.
| | 07:06 | To see the entire boundary, press Ctrl+
0 or Command+0 on the Mac to back out.
| | 07:12 | Now notice if I move my cursor outside
the crop boundary, I get a little rotate
| | 07:16 | cursor, I'll go ahead and drag from
this upper right region up and to the left
| | 07:22 | just a little bit like so, in
order to slightly rotate the image
| | 07:26 | counterclockwise, and I mean very slightly.
| | 07:30 | If you notice up here in the Options
bar, I've got a Rotate value and in my
| | 07:33 | case, it's set to -0.43?.
| | 07:36 | Even such a small value is
going to make a big difference.
| | 07:39 | Now press the Enter key or the Return
key on the Mac in order to accept that
| | 07:43 | modification, and that is the finished panorama.
| | 07:47 | Go ahead and press the F key a couple
of times in order to switch to the Full
| | 07:50 | Screen mode and zoom on in.
| | 07:52 | And that, my friends, is how you
assemble multiple images into a large seamless
| | 07:58 | panorama using the Photomerge
command here inside Photoshop.
| | Collapse this transcript |
| Saving your image| 00:00 | In this exercise, I'm going to show you
how to save your work inside Photoshop.
| | 00:05 | Now if this were another program, you
would save your work by going up to the
| | 00:09 | File menu, choosing the Save command,
then you would navigate to a destination,
| | 00:14 | some folder presumably on your hard drive.
| | 00:16 | You would name the file and you would
click the Save button and you would be done.
| | 00:21 | Things work differently inside Photoshop,
because there are so many image file
| | 00:25 | formats out there and Photoshop does
a terrific job of supporting them all.
| | 00:30 | However, here's the deal.
| | 00:31 | There are only three formats that
really matter where saving is concerned;
| | 00:35 | there is the native PSD format, there
is TIFF and there's JPEG, and I'll show
| | 00:40 | you how each one of them
works and why you would use them.
| | 00:44 | Now I'm looking at those two panorama
files that we created in the previous exercise.
| | 00:49 | The active image is the 10 layer
composition that includes each one of the
| | 00:53 | original images subject to a layer mask.
| | 00:57 | To save that file, go up to the File
menu and choose the Save As command.
| | 01:02 | And, by the way, I really want you to
get in the habit of using Save As, instead
| | 01:06 | of Save, because after you do your work
inside of Photoshop the last thing you
| | 01:11 | want to do is save over your original image.
| | 01:14 | Now as you work inside the program,
your skills will undoubtedly get better and
| | 01:19 | if you end up saving over those
originals, a year or two years from now, you're
| | 01:23 | going to lament that fact, because
you'll know you could have done a better job.
| | 01:27 | As long as you choose Save As, then
those original images are protected.
| | 01:32 | So go ahead and choose Save As or press
Ctrl+Shift+S, Command+Shift+S on the Mac
| | 01:37 | in order to bring up the Save dialog box.
| | 01:39 | Then navigate to the desired folder, in
my case, I'm going to save my work to be
| | 01:43 | exercise_files folder.
| | 01:45 | Go ahead and give the image a name.
| | 01:47 | I'll go ahead and rename mine, Multi-
image panorama, and then make sure that
| | 01:53 | the layers check box is turned on because you
most certainly want to save all of your layers.
| | 01:57 | Also make sure that the ICC Profile is
turned on, so that the color space is
| | 02:02 | identified inside the file.
| | 02:04 | I'll leave the Lower Case Extension
check box turned on here on the PC, but it
| | 02:07 | really doesn't matter.
| | 02:09 | Your biggest choice will be the File
Format and if you click on this Format
| | 02:13 | option you'll see that you
have an awful lot to choose from.
| | 02:16 | But as I say the only ones that
matter are the native PSD format, which is
| | 02:21 | exactly how you go about saving layered
compositions like this one. The TIFF format;
| | 02:27 | which is useful for saving images for
commercial reproduction, and then JPEG,
| | 02:32 | which is great for
everyday average flattened images.
| | 02:35 | For this file, we need the native
Photoshop format, which ends in the extension PSD.
| | 02:41 | Then click on the Save button.
| | 02:43 | At this point you'll get an alert
message that asks you if you want to
| | 02:46 | Maximize the Compatibility?
| | 02:48 | Now this is a fairly controversial topic.
| | 02:51 | If you want to be safe, you'll go
ahead and leave this check box turned on,
| | 02:55 | however, that's going to result in a
much bigger image file on disk, because
| | 02:59 | Photoshop includes along with each
one of these 10 layers, it includes a
| | 03:04 | flattened version of the image.
| | 03:06 | Now this is essential if you're going
to take the image over to Lightroom or
| | 03:10 | Premiere or some non-Adobe
application that doesn't support layers.
| | 03:15 | However, if you're exclusively
interested in opening this file inside Photoshop,
| | 03:19 | which is the case for me, then turn
Maximize Compatibility off, and that way
| | 03:25 | you'll get a much smaller file.
| | 03:26 | You still have all the information
intact, by the way, every single one of
| | 03:29 | layers, all the layer masks, and so on.
| | 03:32 | So it's not going to harm the file at all.
| | 03:35 | Then go ahead and click OK
in order to save that image.
| | 03:38 | Now I'll switch over to the other image
that I have opened, which is the single
| | 03:43 | layer version of my panorama.
| | 03:45 | Now I'd go ahead and save this image as
well to the native PSD format, because
| | 03:50 | after all it does have one layer, and I
do that by choosing the Save As command,
| | 03:55 | and then I call it Venice
panorama.psd, that's fine.
| | 03:59 | And make sure the layers check box is turned on.
| | 04:01 | Click the Save button, turn off the
check box in my case and click the OK button.
| | 04:06 | Now let's say that I want to print this image.
| | 04:09 | I want to hand it off
specifically to a commercial printer.
| | 04:12 | Commercial printers really like the
TIFF format and I base this on about 25
| | 04:18 | years of experience of working with them.
| | 04:21 | Here's how you prepare an image for TIFF.
| | 04:23 | You go up to the layer menu and
you choose the Flatten Image command.
| | 04:27 | Now you don't have to do this because
TIFF does technically support layers,
| | 04:31 | because most folks, who receive
a TIFF image, expect a flat file.
| | 04:36 | Now you may think, well, you already have
a flat file, because it's just one layer.
| | 04:40 | In fact, it's a layered
composition that contains a single layer.
| | 04:44 | So go ahead and choose Flatten
Image, and notice the difference.
| | 04:47 | Now we have a background image and
we've also, by the way, lost all of the
| | 04:52 | pixels that are outside of the canvas,
so the image is now permanently cropped.
| | 04:58 | Now at this point, you would go to the
File menu, and again, don't choose the
| | 05:02 | Save command, choose the Save As command,
because we've made a big destructive
| | 05:05 | modification, and presuming that we're
sending this off to a printer, go ahead
| | 05:10 | and change the Format to TIFF.
| | 05:12 | Now the great thing about the TIFF
format is it's a lossless file format, just
| | 05:17 | as the native PSD format is.
| | 05:19 | I'll go ahead and call this, Panorama for print.
| | 05:23 | And then I'll click the Save button.
| | 05:26 | That'll bring up the TIFF Options dialog box.
| | 05:28 | Now by default Image Compression is set to None.
| | 05:31 | What you want to do is turn on LZW.
| | 05:34 | That will dramatically
reduce the size of the image file;
| | 05:38 | however, it applies what's known as
lossless compression, so not a single pixel
| | 05:43 | of information is harmed.
| | 05:45 | The other options are fine as is.
| | 05:47 | You want to leave Pixel Order set
to its default, which is Interleaved.
| | 05:51 | Byte Order actually doesn't matter,
even if I'm working on a PC, I can select
| | 05:55 | the Macintosh format.
| | 05:56 | You Macintosh people can select
the PC format, just does not matter.
| | 06:00 | Every application in the last
decade that supports TIFF, supports both.
| | 06:05 | Go ahead and leave the final check
box turned off and then click on the OK
| | 06:08 | button in order to save that file.
| | 06:11 | Now the final option assuming that
you're working with a flat image as we are;
| | 06:15 | is to save the file to the JPEG format.
| | 06:18 | This is especially great, if you decide
to downsample the file and email it to
| | 06:23 | a client or a friend.
| | 06:24 | After downsampling or what have you,
go to the File menu and again choose the
| | 06:29 | Save As command and this time let's go
ahead and switch from the TIFF format to JPEG.
| | 06:34 | And I'll rename the file this time, just
so you have a copy of it, as Compressed
| | 06:39 | panorama, and I'll click on the Save button.
| | 06:42 | Now the thing about the JPEG format
is it applies lossy compression, in
| | 06:47 | other words, it rewrites every
single pixel inside the image in order to
| | 06:52 | reduce the size of the file.
| | 06:54 | The degree to which that image gets
rewritten depends on the Quality setting.
| | 06:59 | Notice that the Quality setting of 12
which is the absolute Maximum you can see
| | 07:03 | how the slider triangle, is all
the way over to the right-hand side.
| | 07:06 | I'll end up with an image on disk,
that's 4.3M, which is a heck of a deal,
| | 07:11 | because if you look down here in the
lower left corner, the actual size of the
| | 07:14 | file is 23.1 Megabytes.
| | 07:17 | So this is a big savings.
| | 07:19 | However, you can get it down really
super low if you reduce the Quality
| | 07:22 | setting to 0, to just 272 K. The thing is
you'll pretty well ruin your image in doing that.
| | 07:29 | It's going to look terrible.
| | 07:31 | What I recommend is you save your
images at a Quality setting of 10 or higher
| | 07:36 | and I'll tell you what, I go ahead and
save every JPEG file I create using the
| | 07:41 | Save command here in Photoshop with a
Quality setting of 12, because that still
| | 07:45 | gives me a big savings and I apply
as little compression as possible.
| | 07:50 | The Format options don't
really make that much difference.
| | 07:53 | When in doubt, go ahead and set it to
Baseline Optimized and then click on the
| | 07:56 | OK button in order to save that file.
| | 07:59 | And that's how you Save your
multilayered images to the native PSD format, your
| | 08:04 | images for commercial reproduction to
the TIFF format, and your images for
| | 08:09 | everyday use, including email to
the JPEG format here inside Photoshop.
| | Collapse this transcript |
| Saving for the web| 00:00 | In this exercise, I am going to show
you how to save an image for the Web.
| | 00:04 | Now specifically we are
going to be saving two images.
| | 00:07 | Imagine the scenario.
| | 00:08 | We want to post a small version of a
photograph on a web page and then when
| | 00:12 | you click on that small image, you'll see
a larger image inside of a separate window.
| | 00:17 | Now I am not going to show you how to create
any of the HTML required to make that work.
| | 00:22 | I will just show you how to
create the image assets themselves.
| | 00:25 | I am working inside of a file
called Pont du Gard.psd found inside the
| | 00:30 | exercise files folder.
| | 00:32 | And this is a multi-layer image, as
you can see here inside the layers panel.
| | 00:36 | Now before we embark, I am preparing
this image for the Web, make sure that
| | 00:40 | you've saved all of your changes.
| | 00:42 | That's very important.
| | 00:43 | Then go up to the layer menu and
choose the Flatten Image command in order to
| | 00:48 | merge all of those layers together.
| | 00:51 | Now make sure that you do not save your
changes at this point, because you will
| | 00:55 | lose all of those layers,
which would be a very bad thing.
| | 00:59 | Now at this point, I go ahead and
create two separate versions of the image,
| | 01:03 | as I was telling you.
| | 01:04 | We want a small one that fits on a web
page and a larger one that will appear
| | 01:08 | in a separate window.
| | 01:09 | So I will go up to the Image menu
and choose the Duplicate command.
| | 01:13 | It doesn't matter what you call this new image.
| | 01:15 | I will just go ahead and click OK in
order to create a separate copy of the file.
| | 01:20 | Let's say that this is going be the small
version of the image that appears on the web page.
| | 01:24 | Go up to the Image menu and choose the
Image Size command, and then make sure
| | 01:29 | that the Constraint Proportions and
Resample Image check boxes are turned on.
| | 01:33 | Scale Styles doesn't matter when we
are working in a flat file, and then you
| | 01:37 | want to go ahead and dial
in the desired Width value.
| | 01:40 | Now that depends on what
kind of site you are posting to.
| | 01:43 | In the case of my site.deke.com, I know the
widest image that I can post is 590 pixels wide.
| | 01:49 | So that's what I will go with.
| | 01:50 | Then because we are performing a big
down sample, you want to go ahead and
| | 01:55 | change this Option from Bicubic to
Bicubic Sharper, which is best, as I was
| | 02:00 | telling you in a previous
exercise for big reductions.
| | 02:04 | Then click OK to down sample the file.
| | 02:06 | Now it's going to look way smaller on screen.
| | 02:08 | Press Ctrl+ 1 or Command+1 on the Mac, in
order to view the image and its actual size.
| | 02:14 | The next step is to go up to the File menu
and choose the command Save for Web & Devices.
| | 02:20 | And that command is ideally
suited for saving an image to the Web.
| | 02:24 | Go ahead and switch to the 2-Up
display, so that you can see the original
| | 02:29 | uncompressed version of the file on
top, and the Web compressed, so-called
| | 02:33 | optimized version at the bottom.
| | 02:35 | By default, the file format is going to
be set to GIF, that's not what you want
| | 02:40 | for continuous toned photographs.
| | 02:42 | What you want is JPEG, so go ahead and
switch to the JPEG format, and then I
| | 02:48 | recommend that you set
the Quality setting to High.
| | 02:51 | Then go ahead and check out the size of
the compressed file and you'll see that
| | 02:55 | listed below the word JPEG down here
in the lower left corner of the window.
| | 02:59 | In my case this file is going to 73K.
| | 03:03 | That may or may not work for you,
depending on your specifications, you would
| | 03:08 | want to talk your web site developer to
make sure, but if it's a personal site,
| | 03:11 | that's probably going to be just fine.
| | 03:13 | Leave the Progressive check box turned
off, that way the image will display in
| | 03:18 | one fell swoop, rather than
displaying incrementally on screen, which is an
| | 03:23 | old-style way of working.
| | 03:25 | Go ahead and turn Optimized on.
| | 03:27 | Embed Color Profile really doesn't
matter, but you do want to make sure that
| | 03:31 | Convert to sRGB is turned on.
| | 03:34 | Also make sure that the Blur value
is set to 0, as it is by default.
| | 03:39 | Don't worry about the Quality number,
that's determined by the High setting
| | 03:42 | that we just applied.
| | 03:44 | And that's it, and then
click on the Save button.
| | 03:46 | In my case, I'm going to go ahead and
navigate to my Exercise files format, and
| | 03:51 | I'll call this image Pont du Gardsmall.
jpg, and I will click on the Save button
| | 03:56 | in order to save out that file.
| | 03:58 | Now at this point you can go and
close the file, because we don't need it
| | 04:02 | anymore and this is going
to sound downright insane.
| | 04:05 | But you want to say No, that you
don't want to save your changes.
| | 04:09 | On the Mac you would say, Don't Save.
| | 04:11 | And the reason that we're throwing
away our changes, is because we just got
| | 04:15 | done saving them from Save for Web,
and we don't want to run the risk of
| | 04:19 | overwriting the original file.
| | 04:21 | Now in this case, there is no
original file, because this is a copy of the
| | 04:24 | original, but still
there's no reason to save it.
| | 04:28 | Now we're back in that original
once upon a time layered composition.
| | 04:33 | Now we have to be more careful than ever,
because if you were to accidentally go
| | 04:36 | to the File menu and choose the Save
command, you would overwrite your layers,
| | 04:40 | so definitely do not do that.
| | 04:42 | All right, now we need to create a
scaled version of the image, that's still
| | 04:46 | large by screen standards, however,
it's much smaller than what we have here.
| | 04:50 | So I will go up to the Image menu and
choose the Image Size command in order to
| | 04:55 | once again downsample the image.
| | 04:57 | Constraint Proportions and
Resample Image should still be turned on.
| | 05:01 | Now as I was telling you the
image is almost 2400 pixels wide.
| | 05:05 | You want this image even when it's
displayed larger to approximately fit on the
| | 05:09 | screen, at the 100% Zoom level,
because that's the way it's going to appear
| | 05:14 | inside of a web browser.
| | 05:15 | Now a typical screen is about 1400 pixels wide.
| | 05:19 | I am going to dial in 1770, which is
three times the 590 value I entered for the
| | 05:25 | previous image, and I just happened to
figure that out with my phone calculator,
| | 05:29 | but it really doesn't matter, you
don't have to come out some multiple, and
| | 05:33 | that's just what I am doing here.
| | 05:34 | And that means when the image is
viewed on a monitor that's 1400 pixels wide,
| | 05:39 | then the person who is looking at my
image has little room to pan around.
| | 05:42 | Now this time, I am not going
to change the Bicubic setting.
| | 05:45 | I am going to leave it set to the
Default, which is best for smooth gradient.
| | 05:49 | I will click OK, in order to resample the image.
| | 05:52 | Now if I press Ctrl+1 or Command+1 on
the Mac in order to view the image at
| | 05:56 | actual size, you can see that this is still a
large image with a lot of pixels to look at.
| | 06:02 | Then go back to the File menu and
choose Save for Web & Devices, and we will
| | 06:08 | just go ahead and use those exact
same settings we applied before.
| | 06:11 | Now the one exception might be, you
could go ahead and raise the Quality setting
| | 06:16 | to something like Very High.
| | 06:17 | On occasion I will do that, because I
figure that the person who clicked on my
| | 06:21 | image really wants to see it at its very best.
| | 06:24 | In this case though this is going to
result in a much larger file. Notice at 778K.
| | 06:29 | So it's approaching a full megabyte.
| | 06:31 | Make sure Optimize is turned on.
| | 06:32 | Convert to sRGB as well and then click
on the Save button, and this time I'll
| | 06:37 | call my image Pont du Gardlarge, and I
will click the Save button in order to
| | 06:42 | save that image to disk.
| | 06:44 | Now that you have successfully saved
both of your web images, here is what I do
| | 06:48 | when I'm creating my graphics.
| | 06:49 | I go up to the File menu and I
choose the Revert command and that will go
| | 06:54 | ahead and restore the layered version
of the composition, so I don't run the
| | 06:59 | risk of saving over it.
| | 07:01 | If only because we are done, I will go
ahead and Press the F key a couple of
| | 07:04 | times in order to fill the screen with
the image, backup just a little bit like
| | 07:08 | so, and that friends is how you save
images for the Web, both the small image to
| | 07:13 | be inset inside of a web page, and a
large image to be viewed independently,
| | 07:18 | here inside Photoshop.
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ConclusionNext steps | 00:00 | With any luck, you now have a solid
sense for how to start using and move
| | 00:04 | forward with Photoshop.
| | 00:06 | Welcome to the club.
| | 00:08 | But corny as it may sound,
your journey has just begun.
| | 00:12 | This is one of the most powerful
and beloved applications ever created.
| | 00:16 | So there are lots more to discover.
| | 00:18 | If you're a member of the lynda.com
Online Training Library, I recommend two
| | 00:23 | avenues for further exploration.
| | 00:26 | The first is my own Photoshop One-on-One
Fundamentals in which I immerse you in
| | 00:31 | the software, so that you emerge with a
sense of not just comfort, but fluency.
| | 00:37 | Also check out Chris Orwig's
Photoshop for Photographers;
| | 00:41 | it's an excellent way to develop your
photos and photography skills at the same time.
| | 00:46 | Wherever you go, thanks for having been here.
| | 00:49 | On behalf of lynda.com, this is Deke
McClelland and let me end by reminding you
| | 00:55 | of something you obviously already know;
| | 00:57 | there is no better investment
than the time you invest in yourself.
| | 01:03 | Take care!
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