IntroductionWelcome| 00:00 | Adobe Photoshop.
| | 00:01 | To many people it's more than
just another computer program.
| | 00:04 | Photoshop has changed the way that
people handle their photographs, their
| | 00:08 | designs, and their creative ideas.
| | 00:10 | (Music playing.)
| | 00:16 | I am Jan Kabili, and I am one of those
people whose lives have been changed by Photoshop.
| | 00:21 | I have made using and teaching
Photoshop my focus for more than ten years.
| | 00:26 | Now I am excited to have this opportunity
to teach you Photoshop CS4 Essential Training.
| | 00:31 | If you want to learn or review the
fundamentals of Photoshop, then this is
| | 00:35 | the course for you.
| | 00:37 | Whether you use Photoshop to enhance
photographs, to create graphic designs or
| | 00:42 | just for fun, this course will give
you the foundation that you need to wow
| | 00:46 | folks with your creative prowess.
| | 00:48 | I'll teach you the basics of Photoshop,
covering everything from creating a
| | 00:53 | layered file from scratch,
to printing a finished image.
| | 00:57 | I'll show you how to turn a flat photo
like this one into an image that pops
| | 01:02 | off the screen like this.
| | 01:03 | You'll learn how to adjust shadows
and highlights to turn this into this.
| | 01:10 | I'll cover ways to automate your work in
Photoshop, to add text to images and to
| | 01:14 | retouch photos to make your
subjects look a whole lot better.
| | 01:18 | So it's time to get your creative
juices flowing and get started learning
| | 01:22 | Photoshop basics, here in
Photoshop CS4 Essential Training.
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| Using the example files| 00:00 | If you are a premium member of lynda.
com Online Training Library or if you are
| | 00:05 | watching this course on a DVD-ROM,
you have access to the exercise files used
| | 00:09 | throughout the course.
| | 00:10 | The exercise files are photos and
other image files that I use as examples as
| | 00:15 | I teach each lesson.
| | 00:17 | I have organized the exercise files by
chapter, the same chapters that you see
| | 00:21 | in the table of contents.
| | 00:22 | You can see my Exercise
Files folder open here on my Mac.
| | 00:26 | Inside the Exercise Files folder, are
individual folders for each chapter and
| | 00:31 | inside each one of those chapter
folders, are the individual exercise files.
| | 00:36 | In some movies, I'll ask you to open
files into Photoshop from Adobe Bridge.
| | 00:41 | In others, I'll just start with the files
open in Photoshop and you can follow along.
| | 00:46 | If you are a monthly subscriber or an
annual subscriber to lynda.com, I'm sorry
| | 00:50 | but you don't have access to the Exercise Files.
| | 00:53 | But that's okay, because you can still
follow along with the lessons by using
| | 00:57 | your own photographs.
| | 00:58 | I hope you enjoy using these files as
examples to learn the basics of Photoshop.
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|
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1. The InterfaceTouring the interface| 00:00 | Whenever I think about how many
features and controls there are in Photoshop's
| | 00:04 | interface, I am amazed at how user
friendly the interface really is.
| | 00:08 | The interface is composed of
just a handful of elements.
| | 00:12 | On the left-hand side is the toolbox
that contains the tools you will use
| | 00:16 | to edit your images.
| | 00:17 | Above that is the Tool Options bar here
| | 00:20 | that contains options for
whichever tool is selected at the moment.
| | 00:24 | On the right are one or more columns of
panels that are chock-full of commands
| | 00:28 | for working with images.
| | 00:30 | And at the top of the screen is a
typical menu bar with dropdown menus
| | 00:34 | that contain commands.
| | 00:35 | Many of which you'll find
duplicated in the panels.
| | 00:39 | There are a couple of new interface
elements that bring Photoshop's interface
| | 00:43 | into line with the interface
of other Adobe applications.
| | 00:46 | One of those is the Application Bar.
| | 00:49 | On a PC, the Application Bar
is combined with the menu bar.
| | 00:53 | On a Mac, the Application Bar is
separate and you can see it right here.
| | 00:57 | It's this bar that starts with Photoshop symbol.
| | 00:59 | The Application Bar contains commonly
used controls, like the Hand tool and
| | 01:04 | the Zoom tool, which we will
be covering in other movies.
| | 01:07 | Some new features like the Rotate
View tool and the Arrange Document menu,
| | 01:13 | which contains various ways to view multiple
documents that happen to be open at the same time.
| | 01:18 | And a switcher, for viewing your
open documents in various screens modes.
| | 01:23 | I'll be talking about those new items
in other movies, but I do want to bring
| | 01:27 | your attention to one item here in the
Application Bar, which is the View Extras menu.
| | 01:32 | The items in this menu aren't new,
but now they are more discoverable.
| | 01:36 | So you don't have to go diving down into
menus to enable Guides, Grids and Rulers.
| | 01:41 | So for example, I can turn on the
Rulers for this open document window by
| | 01:46 | selecting Rulers there.
| | 01:48 | By default, the Rulers measure in
inches, but if you are working on a web
| | 01:51 | document and you want to see your
Rulers in pixels, on the Mac you'll
| | 01:55 | Control+click on the Ruler, on a PC right-
click and choose Pixels rather than Inches.
| | 02:00 | I'm going to leave mine set to Inches,
and I'm going to go back up to the View
| | 02:06 | Extras menu, click, and toggle off Show Rulers.
| | 02:11 | The other new interface
element is the Application Frame.
| | 02:14 | The Application Frame is built into
Windows, but on a Mac it is off by default.
| | 02:19 | I'm going to turn the Application
Frame on, on my Mac, by going to the Window
| | 02:24 | menu at the top of the screen,
and going down to Application Frame.
| | 02:29 | When I do that, the open document window
snaps to the Application Frame and the
| | 02:34 | Application Frame fills the
background of the application.
| | 02:37 | The Application Frame keeps all the
interface elements together, so that you
| | 02:41 | can move them as one.
| | 02:43 | With the Application Frame enabled,
I can move everything around together by
| | 02:47 | clicking on the title bar of the
Application Frame and moving it like this.
| | 02:52 | I can also resize the
entire frame from any side.
| | 02:56 | So for example, if I move over to the
right and hover over the right edge of
| | 03:00 | the Application Frame, my cursor
changes to this double pointed arrow and I can
| | 03:05 | click and drag to resize the frame.
| | 03:11 | On a Mac, if I want to disable the
Application Frame, I can go back to the
| | 03:16 | Window menu and toggle-off Application
Frame, and now my document window is a
| | 03:22 | separate free-floating window here,
just as in previous versions of Photoshop.
| | 03:28 | The document window is used to
display open documents of course and it also
| | 03:32 | displays some useful information about a file.
| | 03:35 | So for example, here I have the name of
the file, the magnification percentage,
| | 03:40 | the color mode, which in this case is RGB,
or Red, Green, Blue, and the bit depth.
| | 03:47 | The bit depth means the amount of color
information in every channel of the file.
| | 03:51 | There is also useful information at the
bottom of every document window, down here.
| | 03:56 | If you click the arrow at the bottom of
the document window and then go down to Show,
| | 04:00 | you'll see this list of
information about your documents.
| | 04:03 | So for example, from here I could
choose Document Dimensions and that changes
| | 04:08 | the information about the documents
that's displayed here at the bottom of
| | 04:11 | the document window.
| | 04:12 | So that is Photoshop's interface in a nutshell.
| | 04:14 | As you can see, the biggest
change is the new Application Bar and
| | 04:18 | Application Frame that brings
Photoshop's interface into line with the
| | 04:22 | interface of other Adobe applications.
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| Working with tabbed documents| 00:00 | In the past, whenever you opened a new
document or created one from scratch,
| | 00:04 | it opened in a separate free-floating
document window, like the one that you
| | 00:08 | see here for bee.jpg.
| | 00:10 | But sometimes you'd end up with so many
documents open that some would be hidden
| | 00:14 | behind others and your workspace
could get messy pretty quickly.
| | 00:18 | In Photoshop CS4, there is a solution
to that in the form of a new feature
| | 00:22 | called tabbed documents.
| | 00:24 | In CS4 when you open a new
document, as I am going to do now
| | 00:27 | by going to the File menu and going down
to Open Recent, and choosing a recently
| | 00:34 | opened document like flowers.jpg,
| | 00:37 | the new document does not float free.
Instead it snaps in with the other open
| | 00:42 | document, in a single document window.
| | 00:44 | Let me open one more document the same way,
File > Open Recent > pool.jpg, and
| | 00:51 | you can see my three documents
next to one another in this window.
| | 00:55 | To cycle through the documents, I can
either click their tabs here or I can use
| | 01:00 | this keyboard shortcut and that
takes me through these documents.
| | 01:04 | You may be a bit surprised at first by
the order of cycling through the documents.
| | 01:08 | The documents don't cycle by the order
they appear here in the document window,
| | 01:12 | but rather by the order in which
the individual documents were opened.
| | 01:16 | So for example, let me take the bee.jpg
tab and move it in between flowers.jpg
| | 01:22 | and pool.jpg in this document window.
| | 01:25 | To do that, I'm just going to click on the
tab for bee.jpg and move over to the right.
| | 01:31 | Now if I use the cycling shortcut,
you can see that the order of cycling is not
| | 01:39 | the location of the tabs in the window,
but rather the order in which these
| | 01:42 | documents were opened.
| | 01:44 | If you want to remove a document
from this tabbed arrangement, there are
| | 01:47 | two ways to do that.
| | 01:48 | You can either just drag a document
out and then release, and it floats free
| | 01:53 | in its own window or with the tabs
selected in the single document window,
| | 01:58 | you can go to the Window menu at the top
of the screen and choose Arrange and
| | 02:02 | Float in Window to release the
single selected document or Float All in
| | 02:06 | Windows to release them all.
| | 02:08 | I am going to do that and now all
three documents are floating free.
| | 02:13 | I can move them by their
tabs, so you can see that.
| | 02:16 | To put them back together again in a
single window, I'll go to Window > Arrange
| | 02:22 | > Consolidate All to Tabs.
| | 02:25 | Here is something else to be aware of.
| | 02:27 | If I pull one of these tabbed documents
away from the others so it's floating free,
| | 02:32 | I have to be a little bit careful
that it doesn't get grabbed back into the
| | 02:36 | other tabbed documents, because if I
move the free floating window by its title bar
| | 02:41 | and I get close to the tabbed
documents, you can see that it tries to bring
| | 02:45 | that single document back into
the tabbed document arrangement.
| | 02:49 | Let me pull pool.jpg out again
to show you how to avoid that.
| | 02:54 | If you plan to move your free
floating window near to the tabbed documents,
| | 02:58 | first click and hold the Command key
on a Mac or the Ctrl key on Windows and
| | 03:04 | then drag your document.
| | 03:06 | And as long you're holding down
Command or Ctrl, it won't be snapped into
| | 03:10 | the other documents.
| | 03:12 | If you don't like the tabbed document
arrangement, you can disable it from
| | 03:16 | Photoshop's Preferences.
| | 03:18 | On a Mac you access those from the
Photoshop menu at the top of the screen.
| | 03:22 | On a PC, you access Preferences from
the Edit menu at the top of the screen.
| | 03:26 | I'm going to choose Preferences and
then I am going to choose Interface and
| | 03:32 | here are the two preferences that I
would disable, if I didn't want any of the
| | 03:37 | docked arrangement.
| | 03:38 | Open Documents as Tabs and Enable
Floating Document Window Docking.
| | 03:42 | I'll leave them checked for
now though and I'll click OK.
| | 03:45 | I am going to move pool.jpg back in
with the other tabbed documents so that I
| | 03:50 | can show you another related feature
and that is the ability to view multiple
| | 03:54 | documents in various layout arrangements.
| | 03:57 | I'm going to go to the Application Bar
at the top of the screen and I am going
| | 04:02 | to click on the new Arrange Documents menu.
| | 04:05 | Here I see a number of icons that represent
various layouts for multiple open documents.
| | 04:10 | Let's try some of these out.
| | 04:13 | When I click on one of them,
I can see all three documents in this
| | 04:16 | vertical arrangement.
| | 04:17 | I might try a different one.
| | 04:19 | Let's see what this one looks like.
| | 04:22 | These multiple document
arrangements are useful if you are using tabbed
| | 04:26 | documents, but you want to do something
like compare images one to the other or
| | 04:30 | perhaps move a layer from image to
another, when you're creating a composite,
| | 04:35 | as you'll learn how to do later in this course.
| | 04:37 | To return to one tabbed window from
any of the multiple document layouts,
| | 04:42 | go back to the Arrange Documents menu,
click, and then click on the first icon,
| | 04:47 | Consolidate All.
| | 04:49 | How do you close a tabbed document window?
| | 04:52 | Notice a little X on each tab.
| | 04:54 | If you click there that will close that
document or if you want to close all of
| | 04:58 | the tabbed documents, you can go the
File menu and you can choose Close All.
| | 05:04 | The new tabbed document feature
can help you keep your desktop tidy.
| | 05:08 | Use it along with the new multiple
document layouts, when you are working with
| | 05:12 | more than one document in Photoshop CS4.
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| Using tools efficiently| 00:00 | Photoshop's tools are among its most
basic yet its most important features.
| | 00:05 | The tools are located in the toolbox,
which is in this single column on the
| | 00:09 | left side of the screen.
| | 00:11 | If you prefer a double-column toolbox,
just click the double-pointed arrow at
| | 00:14 | the top of the toolbox, and it
will become a two-column toolbox.
| | 00:18 | I am going to go back to a single
column because that gives me more room for
| | 00:22 | my document windows.
| | 00:23 | The first thing to know about tools is
that there are more than meets the eye.
| | 00:27 | There are so many tools that
they don't all fit in the toolbox.
| | 00:31 | So Adobe has hidden some tools behind others.
| | 00:34 | If you see a tool that has an arrow
like this one here, click on that tool and
| | 00:39 | out will come a fly-out menu that
gives you a list of related hidden tools.
| | 00:44 | To select one of those hidden tools,
you just move your mouse over it in the
| | 00:48 | fly-out menu and release.
| | 00:49 | Of course, before you can use a tool,
you have to select it in the toolbox.
| | 00:53 | One way to do that is as I just showed you.
| | 00:56 | But there is another way to select
tools and that's by using their shortcuts.
| | 00:59 | You don't have to memorize all those shortcuts.
| | 01:01 | Instead, if you move your mouse over a
tool in the toolbox and wait a moment,
| | 01:06 | up will come a tool-tip that tells you
the name of the tool and its shortcut.
| | 01:11 | So I just learned that the shortcut
for accessing the Move tool, which allows
| | 01:15 | you to move the content of an
image, is to press the V key.
| | 01:19 | Using tool shortcuts will make you
more efficient and more productive when
| | 01:24 | you're working in Photoshop.
| | 01:25 | When you select a tool in the toolbox,
keep your eye on the Tool Options Bar
| | 01:30 | above the document window, and you'll
see that the options there change to
| | 01:35 | become specific to the tool you've selected.
| | 01:37 | So right now, we're looking at
the options for the Move tool.
| | 01:41 | If I go down in the toolbox and I click
on this big T, which is the icon for the
| | 01:45 | Horizontal Type tool, the options
in the Tool Options bar change again.
| | 01:51 | So for example, with the Type tool,
these options allow you to change the font,
| | 01:56 | the font style, the font size and so on.
| | 02:01 | If you're going to remember one thing from
this movie, please take my advice on this.
| | 02:06 | One of the most important things to
know about tools is how to reset the
| | 02:10 | options to their defaults.
| | 02:11 | I say this because some tool options are sticky.
| | 02:14 | So in other words, if I were to select
the Crop tool in the toolbox and then I
| | 02:18 | went up to the Options bar and I typed
in a Width and a Height, say 6in x 4in for
| | 02:28 | inches, and I then dragged out a crop box
in the image and clicked Return to crop
| | 02:35 | my image, the settings I just chose in
the Options bar would stay there and the
| | 02:40 | next time I went to crop an image,
I would be stuck with those settings unless
| | 02:43 | I remembered to be reset that tool.
| | 02:46 | So here's how you reset a tool in Photoshop.
| | 02:48 | No matter which tool you have selected,
its icon will appear here on the left
| | 02:52 | side of the Tool Options bar.
| | 02:55 | On a Mac Ctrl+Click that icon, on a
PC right-click that icon, to get this
| | 03:01 | menu which allows you to reset the
currently active tool or all the tools in
| | 03:06 | your copy of Photoshop.
| | 03:08 | If someone else has access to your
copy of Photoshop, then I strongly suggest
| | 03:12 | that you reset all tools whenever
you begin working on that computer.
| | 03:16 | It's also a good idea to reset all your
tools in between projects so you're not
| | 03:21 | stuck with some old
things that you don't expect.
| | 03:24 | When you choose Reset All Tools,
Photoshop asks if you really want to do that
| | 03:28 | and you say OK, and notice then that
those settings that I had in the Crop tool
| | 03:32 | options, for example, have now disappeared.
| | 03:35 | I am not going to go through the individual
tools and ask you to memorize what they do.
| | 03:39 | I think the best way for you to learn
how to use tools is in context and that's
| | 03:43 | what we are going to give as we move
through this course, and you become
| | 03:46 | familiar with the tools in Photoshop CS4.
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| Arranging panels| 00:00 | Many of Photoshop's commands and
features are located in its panels.
| | 00:04 | There are many panels.
| | 00:06 | And I think the best approach for you
to take to panels is to think about the ones
| | 00:11 | that you really need at the moment
for the task that you're doing and close
| | 00:14 | all of the rest of them so you don't
have a bunch of clutter in front of you.
| | 00:18 | Right now, we're looking at the
default setup for panels here on the right.
| | 00:21 | As you can see,
the panels are arranged in groups.
| | 00:24 | So for example, in the first group
here, we've got three panels, and we can
| | 00:28 | cycle among them by just
clicking on their tabs in the group.
| | 00:31 | Now let's say we don't need any of
these particular panels for the task that
| | 00:36 | we're doing. We can close the
entire group by going to this icon on the
| | 00:41 | right side of the group.
| | 00:42 | This is the panel menu icon and it's a
really important one to know about, yet
| | 00:47 | it's hard for many people to
find and every panel group has one.
| | 00:51 | If you click there, you'll find all
kinds of commands and items related to
| | 00:57 | the selected panel.
| | 00:58 | And way at the bottom, you'll find
commands to close the entire group or just to
| | 01:03 | close the selected panel.
| | 01:04 | I am going to close this entire group.
| | 01:07 | So that's how you close
a panel or a panel group.
| | 01:10 | How do you open a panel that's not showing.
| | 01:12 | You go to the Window menu at the top of
the screen, and you find the panel you want.
| | 01:17 | I often work, for example,
with the History panel open.
| | 01:20 | We'll learn about the History panel in
another movie, but basically it keeps
| | 01:23 | track of all of the actions that
you've taken in the order you've taken them.
| | 01:27 | It allows you to go back and fix mistakes.
| | 01:29 | When I open that panel, it appears in
a second column here and it is flipped out
| | 01:35 | so that it's ready to use.
| | 01:37 | If you want to collapse a panel to its
column, you can click this double-pointed
| | 01:40 | arrow, and that's a really good thing
to do I think, because it gives you more
| | 01:44 | room to work, and you have less
distracting items on the screen.
| | 01:47 | So sometimes if I have two columns of
panels as I do now, I'll just click the
| | 01:51 | double-pointed arrows on
both to get them out of the way.
| | 01:55 | When you close panels down to their
icons, you can either see just the icons,
| | 01:59 | or if you click-and-drag, you can see
labels for the icons and those can prove helpful.
| | 02:04 | The other thing you can do with your
panels is to join them together so that you
| | 02:08 | have the most important ones always
together and you can move them around the screen
| | 02:11 | and put them wherever you want.
| | 02:13 | So for example I'm going to open my
Layers panel by clicking on its icon here,
| | 02:18 | and I am going to drag it out of its
panel group and out of these docked columns
| | 02:22 | by clicking on its tab and dragging like this.
| | 02:24 | Then I'm going to close the rest
of these panels by clicking the
| | 02:27 | double-pointed arrow.
| | 02:28 | Now, I am going to get the other
panel that's most important to me right now,
| | 02:31 | the History panel.
| | 02:32 | I'll click on it and I'll drag it
out of its group and close its group.
| | 02:38 | Now, I am going to join these two
panels together by dragging the History panel
| | 02:42 | by its tab and butting it up
against the bottom of the Layers panel.
| | 02:47 | Now they are joined together.
| | 02:48 | And if I click on this top bar here, I can
drag and move them anywhere on my screen.
| | 02:53 | I can also collapse them if I want to
icons by clicking the double-pointed
| | 02:57 | arrow, just like I can do with
the docked columns of panels.
| | 03:01 | A new feature in Photoshop CS4 is the
ability to take this entire iconized
| | 03:06 | column and drag it over to a second
monitor so that you can devote your main
| | 03:10 | monitor to your document and put all your
panels over on a second monitor out of the way.
| | 03:15 | Sometimes you are going to want to get
all your panels out of view temporarily.
| | 03:18 | To do that, hold down the Shift key on
your keyboard and press the Tab key and
| | 03:23 | all the panels disappear.
| | 03:24 | To bring them back, you can toggle
with the same shortcut, Shift+Tab.
| | 03:29 | So those are some ways to handle the many
panels that are available to you in Photoshop.
| | 03:34 | The main idea is to figure out
which panels you need at any given time.
| | 03:38 | Close everything else and get the
panels that you need arranged in the way
| | 03:42 | that works best for you.
| | 03:43 | Consider closing all the panels that you
don't need and organizing and arranging
| | 03:48 | those you do need so that they are most
useful for you to accomplish your tasks.
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| Customizing keyboard shortcuts| 00:00 | As you get more familiar with Photoshop,
you're going to want to use keyboard
| | 00:04 | shortcuts to make your work
faster and more efficient.
| | 00:07 | In Photoshop, you can
customize your own keyboard shortcuts.
| | 00:10 | Let's say for example that
you often duplicate images.
| | 00:14 | If you go to the Image menu at the top
of the screen, you'll see that some of
| | 00:18 | the commands have keyboard
shortcuts listed next to them.
| | 00:22 | But the Duplicate command does
not have a keyboard shortcut.
| | 00:25 | So you can make your own.
| | 00:27 | To do that, go to the Edit menu at the
top of the screen and all the way down
| | 00:31 | to Keyboard Shortcuts.
| | 00:34 | In the Keyboard Shortcuts dialog box,
all of the shortcuts for all of the
| | 00:38 | commands are listed.
| | 00:39 | I'm going to start by going to the Set
field and clicking this icon to the right
| | 00:44 | of that field to create a new set of
keyboard shortcuts so I don't mess up my
| | 00:49 | original Photoshop defaults.
| | 00:51 | I'll click Save and then I'm going to
go down to the Image menu here, make sure
| | 00:57 | that it's arrow is pointed down, and
then I'm going to click and drag so I can
| | 01:03 | see all the commands that are in the
Image menu until I find a Duplicate and
| | 01:09 | I see there is no Shortcut there for Duplicate.
| | 01:12 | So I'm going to click in the Shortcut
column and in this empty field, I'm going
| | 01:16 | to come up with a shortcut.
| | 01:18 | Duplicate starts with a D, maybe Cmd+D.
But I can't use Cmd+D, because as
| | 01:25 | Photoshop tells me Cmd+D is already in use.
| | 01:29 | And if I want you to use it here,
I have to remove it from the command where
| | 01:32 | it's being used which is an
important one, Select > Deselect.
| | 01:37 | So I'm not going to use this shortcut.
| | 01:39 | Instead I'll undo the changes from
this button at the bottom and I'll
| | 01:43 | try something else.
| | 01:44 | How about Shift+Cmd+C? Well, I'm told
that Shift+Cmd+C is also being used for
| | 01:52 | this command, Edit > Copy Merged.
| | 01:54 | That's not something I often do.
| | 01:56 | So I don't mind removing that
shortcut and using it for Duplicate instead.
| | 02:01 | So I'm just going to click Accept and
then I can see that shortcut has been
| | 02:05 | assigned to the Duplicate
command, so I'll click OK.
| | 02:08 | And then back in Photoshop, if I do
go to the Image menu and I look at
| | 02:12 | Duplicate, I can see that my new
shortcut is assigned to that command.
| | 02:17 | Let's try this one out.
| | 02:18 | On a Mac, I'm going to press Shift+
Cmd+C and indeed Photoshop begins
| | 02:25 | to duplicate my image.
| | 02:26 | I'll click OK and I now have not only
the original image but the copy as well.
| | 02:31 | Now, if you are in a PC, you would
have made an equivalent shortcut there,
| | 02:35 | Shift+Ctrl+C, and that Shortcut
would appear in your Image menu.
| | 02:39 | Think about the commands that you use
most often, and if they don't already
| | 02:43 | have shortcuts then make your own personalized
shortcut from the Keyboard Shortcuts dialog box.
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| Saving a custom workspace| 00:00 | As you work on different tasks in
Photoshop, perhaps creating graphics for the
| | 00:05 | web or working with typography or
proofing your photographic prints,
| | 00:10 | you'll find that you need different configurations
of panels and keyboard shortcuts and menus.
| | 00:16 | Adobe helps you with this in two ways.
| | 00:18 | First it offers some preset
workspaces for common tasks.
| | 00:22 | And secondly, it allows you to create
your own personalized workspace just the way
| | 00:26 | you want it and save that workspace
so you can get back to it at any time.
| | 00:31 | Let's take a look at some
of the preset workspaces.
| | 00:34 | You can access those from the right
side of the Application Bar up here.
| | 00:38 | We're currently looking at
the Essentials Workspace.
| | 00:41 | But if I click the arrow to the right of
Essentials, you can see that there is a
| | 00:45 | Basic Workspace, a workspace that
emphasizes what's new in Photoshop CS4.
| | 00:50 | And then some task-based workspaces.
| | 00:53 | I think the Color and Tone
Workspace is particularly important.
| | 00:56 | That's for adjusting colors
and tones in your photographs.
| | 01:00 | This workspace for proofing your
photographic prints is interesting.
| | 01:03 | Here's a separate
workspace for the web and so on.
| | 01:06 | Let's look at Color and Tone.
| | 01:08 | Here we can see the panels that are
important when you're doing that particular task.
| | 01:13 | I often use some of these panels but not all.
| | 01:16 | So I'm going to simplify this
particular arrangement and then save it as my
| | 01:19 | own custom workspace.
| | 01:21 | From all these panels, I'm going to
pull out the Histogram, which I often use,
| | 01:25 | the Adjustments panel for creating
adjustment layer masks, which I will dock to
| | 01:29 | the bottom of the Histogram.
| | 01:32 | And I'll pull out the Layers panel and
I'll dock that to the bottom of this column.
| | 01:37 | And then I'm going to go to this
column that's left and I'll click the panel
| | 01:40 | menu on the top panel and
I'll say Close Tab Group.
| | 01:44 | And I'll do that for each of
these groups to close them all down.
| | 01:48 | And then I'll just move my personalized
column of panels over where I want it on the right.
| | 01:54 | This is the configuration that I would
like to save along with my personalized
| | 01:58 | keyboard shortcuts that I've been making.
| | 02:00 | So I'm going to go back to the
Workspace menu, which now says Color and Tone,
| | 02:05 | and I'm going to choose Save Workspace.
| | 02:08 | I'll call this jan's photo, and then I'm
going to be sure to save not only these
| | 02:14 | panel locations, but also my keyboard shortcuts.
| | 02:17 | I also could save any changes that I
made to menus but I haven't made any
| | 02:21 | lately, and so I click Save and
now I can see my photo workspace.
| | 02:27 | Let's say that I am working
and I've changed things around.
| | 02:31 | Perhaps I've come up here and gone
back to Essentials, and then maybe I've
| | 02:35 | pulled some panels out and
I've collapsed some other panels.
| | 02:40 | But it doesn't matter because I
could always get back to my jan's photo
| | 02:43 | workspace by clicking the
Workspace menu and choosing jan's photo.
| | 02:50 | I'll click Yes at this prompt and now I have my
personalized photo workspace at my fingertips.
| | 02:56 | And you can do the same with
your personalized workspaces.
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| Changing screen modes| 00:00 | Photoshop CS4 offers three different
display modes for viewing and showing your images.
| | 00:06 | You can access the three modes from the
application bar at the top of the screen
| | 00:10 | using this last menu, the Screen Mode menu.
| | 00:14 | You can see that we're currently in
Standard Screen Mode and you're familiar
| | 00:17 | with that, but you might want to try
out these two other Screen Modes to share
| | 00:21 | your images without all the
interface elements surrounding them.
| | 00:24 | I'm going to choose a Full
Screen Mode With Menu Bar.
| | 00:27 | Notice that I currently have three images open.
| | 00:29 | They're represented as three
tabs in this single document window.
| | 00:33 | If I choose the Full Screen Mode With
Menu Bar, I get this view of one of my images.
| | 00:38 | From here I could press the Tab key
on my keyboard and that will make
| | 00:43 | all the panels and the toolbox
disappear and show me one of my images.
| | 00:48 | Notice that I still have my menus at
the top, if I need to navigate around or
| | 00:53 | use a command on this image.
| | 00:56 | If I need to get my panels back in this
mode, I can just move over to the right,
| | 01:00 | and the panels come back temporarily if
I need to use one of the commands from
| | 01:03 | there and the same is true
if I move over to the left.
| | 01:07 | I can get my toolbox back.
| | 01:09 | Now I want to go to the last of the
three modes and that is a Full Screen Mode,
| | 01:13 | but I don't have any command
for that. It doesn't matter.
| | 01:16 | There is a shortcut and that is
pressing the letter F on the keyboard.
| | 01:21 | That takes me into this very nice
Presentation Mode where I see only my images
| | 01:25 | with absolutely no chrome around them.
| | 01:27 | I'm going to move my cursor out of the
way too so you can get the full effect.
| | 01:31 | Now to cycle through the currently
open images, I'll press another keyboard
| | 01:36 | shortcut, holding down the Ctrl key and
pressing the Tab key at the same time.
| | 01:41 | That gives me this temporary sideshow
effect that I can use to display my images
| | 01:46 | to family, friends, and clients.
| | 01:48 | If I need to get back to Standard
Screen Mode, I just press the F key on my
| | 01:52 | keyboard and then I press the Tab key
to bring back all the interface elements,
| | 01:57 | so I can do some more work in Photoshop.
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|
|
2. BridgeTouring the Bridge interface| 00:00 | I meet so many people who already own
Photoshop and use it and have no idea that
| | 00:06 | they also own another
program called Adobe Bridge.
| | 00:10 | Adobe Bridge is a very useful program
for previewing your files and organizing
| | 00:14 | your files before you bring them into Photoshop.
| | 00:17 | Bridge 3.0 ships with Photoshop CS4 and
with the Adobe Creative Suite, because
| | 00:23 | Bridge is designed not only for use
with Photoshop but for use with other
| | 00:27 | programs in the Suite.
| | 00:29 | The thing that most people use Bridge
for most often is previewing and then
| | 00:33 | opening their files directly into Photoshop.
| | 00:35 | In other words a visual way of
choosing the files you want to work on, but
| | 00:39 | there are other organizing functions in
Bridge that I'd like to show you in this chapter.
| | 00:44 | First, we're going to take a tour
of the Bridge interface to get you
| | 00:47 | familiar with the program.
| | 00:48 | You can launch Bridge as you do any
application from your Start menu on Windows
| | 00:53 | or from the Finder or the dock on Mac.
| | 00:56 | But if Photoshop is already open, the
fastest way to launch Bridge is to go to
| | 01:00 | the application bar at the top of the
screen as I'm doing now and clicking this
| | 01:04 | icon to launch Bridge.
| | 01:07 | This is how Bridge looks when it first opens.
| | 01:10 | Basically, you have panels on the left,
panels on the right, and a Content area
| | 01:16 | in the middle where you can see
the content of your hard drive.
| | 01:18 | Right now we're looking at the various
folders in my home folder on my machine.
| | 01:24 | To navigate from there to see the
Exercise Files that we're using for this
| | 01:28 | course for example, I would move
first to this panel on the left called
| | 01:33 | Favorites and click on the Desktop
there and then in the Content area I can see
| | 01:38 | everything that's on my desktop.
| | 01:40 | I only have one folder there,
the Exercise Files for this course.
| | 01:43 | If I want to look inside that folder,
I can just double-click it here in
| | 01:47 | the Content area and shows me all of the
subfolders inside the Exercise Files folder.
| | 01:52 | If you're following along with me,
double-click this second folder called
| | 01:56 | chapter02 Bridge and finally we can
see thumbnail images of all of the
| | 02:03 | photographs that are inside that subfolder.
| | 02:05 | If you'd like to see these thumbnails
better to evaluate your photos, you can do
| | 02:09 | that by changing their size down at the
bottom of Bridge where you can move this
| | 02:14 | slider over to the right to increase
the size of thumbnails, or to the left to
| | 02:19 | decrease, or click on the icons on
either side of the slider bar to move from
| | 02:26 | size to size, up and down.
| | 02:33 | You can sort your thumbnails to
view them in many different ways.
| | 02:36 | The Sort menu is located here at
the top of the Bridge interface.
| | 02:41 | If I click the arrow to the right of
Sort By Filename, which is the default sort
| | 02:45 | criteria, I will see all the
other ways that I can sort.
| | 02:48 | So I could sort by Type for example and
that would show me files sorted by file format.
| | 02:54 | So now I can see my JPGs first and if I
use the scrollbar to scroll down in the
| | 02:58 | Content panel, then I'll see some
Photoshop document or .psd files altogether
| | 03:04 | and finally some TIFF files altogether.
| | 03:07 | Or I can go back to the Sort menu and
sort By Date Created. Date Modified.
| | 03:12 | I can also sort By Size, which shows me
the highest resolution files at the top.
| | 03:18 | So let me scroll up there to see those.
| | 03:22 | And I can change any of the
sort orders by clicking this icon.
| | 03:26 | So now I have the lowest
resolution photos at the top.
| | 03:28 | Now this particular arrangement of
the Bridge interface isn't the only way
| | 03:32 | to view the program.
| | 03:33 | In Bridge 3.0 there are preset Bridge
workspaces, set up here at the top of the screen.
| | 03:39 | Right now we're in the Essentials
workspace, but we can change to the Filmstip
| | 03:44 | workspace, which I really like better,
because it gives me a larger area to
| | 03:48 | preview my photos and then I can come
to the bottom of the screen where the
| | 03:51 | thumbnails are and click on them one by
one to see the associated photographs.
| | 03:58 | Then I can scroll over to find others
that I want to see and click on those.
| | 04:06 | These preset arrangements aren't set in stone.
| | 04:08 | You can customize them.
| | 04:09 | So let's say for example that I wanted
to have my Filmstip not on the bottom of
| | 04:13 | the screen, but rather over on the right.
| | 04:16 | I can do that by moving my mouse to
the right and there is a border there and
| | 04:20 | if I move my mouse over it, my cursor
becomes a double-pointed arrow.
| | 04:23 | I'll click-and-drag to the left to open up
a space there and then I'm going to down
| | 04:28 | to the area where my thumbnails live,
which is called the Content panel and
| | 04:32 | I'll drag that panel by its tab over
into this blank area on the right and now
| | 04:37 | I have a vertical Content bar of
thumbnails with a much larger space for the
| | 04:41 | preview in the middle.
| | 04:43 | I can scroll down to see other
thumbnails and click on them so that I can see
| | 04:47 | them here in Bridge.
| | 04:50 | So as you can see Bridge does a really
good job of letting you see your photos
| | 04:55 | before you bother opening
them to work on them in Photoshop.
| | 04:59 | I can further customize this area by
going to the left side and closing all of
| | 05:05 | these panels by dragging that left
boundary over all the way to the side of the
| | 05:09 | screen and now when I look at the
horizontal image, it takes up almost the whole screen
| | 05:13 | and I really get a great big view.
| | 05:16 | Once you've setup your particular
workspace the way you want it in Bridge,
| | 05:20 | you can save that workspace just like
you can save a workspace in Photoshop.
| | 05:24 | So if I want to save this particular
workspace, I'll go to the Output workspace
| | 05:28 | at the top of the screen, click the
arrow, and choose New Workspace and
| | 05:32 | I'll call this Big Preview and I can choose
whether to save the window locations as
| | 05:38 | part of this workspace and the particular sort
order that I'm currently using, which is By Size.
| | 05:44 | So I'll click Save.
| | 05:46 | Now my personalized workspace is listed
here along with all the others and I can
| | 05:50 | get back to it at any time.
| | 05:52 | So if I were to go and look at my
Essentials workspace for example and then I
| | 05:56 | wanted to go back to Big Preview, I'll
just click on Big Preview and I can see
| | 06:00 | my images in the way that I prefer.
| | 06:02 | Now when you look at your images in
Bridge, you're actually looking into the
| | 06:06 | folders on your hard drive.
| | 06:07 | You can get your images into your
computer any way you want. Bridge does have
| | 06:11 | a Photo Downloader feature that you
can use, but you don't have to use that
| | 06:16 | particular feature.
| | 06:17 | Anyway, as you bring your photos in,
Bridge will look into the photos on your
| | 06:20 | drive and preview them for you.
| | 06:22 | So the next time that you take a batch
of great photos, use Bridge to preview them
| | 06:27 | and decide which ones
you're going to work on in Photoshop.
| | Collapse this transcript |
| Opening images from Bridge| 00:00 | The purpose of this very short video is
simply to make sure that you know that
| | 00:05 | where Bridge really shines is in its
ability to help you to visually choose and
| | 00:10 | open files directly into Photoshop.
| | 00:13 | So imagine that you are in Photoshop and
you are looking for a file by its file name.
| | 00:17 | You know how hard it can be to
remember the names of all of your many files,
| | 00:21 | particularly when you are dealing with
photographs that come in from your camera
| | 00:24 | with nothing, but numbers for names.
| | 00:27 | Contrast that with the picture that
you see here, this preview in Bridge
| | 00:31 | that lets you know, hey, this is the
photo I am looking for and the one I
| | 00:34 | want to open in Photoshop.
| | 00:36 | As long as the photo is in a format
that is associated with the Photoshop, like
| | 00:41 | PSD, Photoshop Document or JPEG or TIFF,
all you have to do is double-click on
| | 00:47 | the photo thumbnail to
open that photo in Photoshop.
| | 00:50 | I actually like to hold down the Option
key, that's the Alt key on Windows,
| | 00:54 | as I double-click at thumbnail to
dismiss Bridge from the background.
| | 01:00 | That opens the photo in Photoshop, as you
can see up here, ready to be worked on.
| | 01:04 | So I urge you, if you are using the Exercise
Files for this course, try to get yourself
| | 01:08 | in the habit of looking for the file
and opening it from Bridge rather than
| | 01:13 | searching for a file by name directly
from Photoshop and do the same on your own
| | 01:17 | personalized photos when you're at home.
| | Collapse this transcript |
| Reviewing images| 00:00 | When you first bring in photos from a
camera, it's a good idea to go through
| | 00:03 | them all and see which ones you like
the best, which you are your picks and
| | 00:08 | which ones you are going
to work on in Photoshop.
| | 00:10 | Bridge has a star rating and a labeling
system that you can use for that purpose.
| | 00:14 | Combine that with its special
Review Mode feature and you have a really
| | 00:18 | manageable way to deal
with lots of digital photos.
| | 00:22 | Let's see how it works.
| | 00:23 | First, I am going to go to the Label
menu at the top of the screen in Bridge to
| | 00:27 | show you the star rating system.
| | 00:29 | It's really simple. The choices are:
no rating at all, a Reject rating, and
| | 00:35 | a choice of five different stars.
| | 00:37 | I like to keep my rating system really simple.
| | 00:40 | Everything gets five stars, no
rating at all, or completely rejected.
| | 00:45 | In addition to stars, you
could attach labels to photos.
| | 00:48 | So sometimes although I am not sure
about the star rating, I know that I want to
| | 00:52 | go back and review a photo again, and so
I will attach a label that says Review.
| | 00:57 | I can go in and change
what these labels mean too.
| | 01:00 | So to do that, I can go to Adobe Bridge
> Preferences > Labels and just type in
| | 01:07 | something other than these defaults.
| | 01:09 | So I might have one that says
Correction, because I know it needs some photo
| | 01:14 | correction done to it, and say OK.
| | 01:17 | Now let me show you Review Mode where
you can go to efficiently review and add
| | 01:22 | stars and labels to individual photos.
| | 01:25 | I am going to scroll up in my Content panel
over here till I find these photos of flowers.
| | 01:32 | These are actually scans that I took on
my flatbed scanner, using the scanner as
| | 01:37 | a camera, a neat trick.
| | 01:39 | I have selected the first of those
photos and then I am holding down the Shift
| | 01:42 | key and selecting the last,
and that selects all in between.
| | 01:47 | As long as I have selected more than
five photos, when I go into Review Mode,
| | 01:51 | I'll be able to see them in a carousel display.
| | 01:54 | Let me show you what I mean.
| | 01:56 | I am going to go to the Refine menu,
which is right here, and from that menu I am
| | 02:01 | going to choose Review Mode and that
opens this carousel of my photos.
| | 02:06 | The arrows at the bottom left will cycle me
through these photos so that I can look
| | 02:11 | at them one at a time.
| | 02:13 | As I am looking at them, I can decide what
stars and what labels I am going to give them.
| | 02:18 | The easiest way to apply stars
is by using the keyboard shortcuts,
| | 02:22 | Command+1 through Command+5.
| | 02:25 | That's Ctrl+1 through Ctrl+5 on a PC.
| | 02:28 | So I might give this photo
five stars by pressing Command+5.
| | 02:33 | Move on to the next by clicking this arrow.
I will give this one five stars as well.
| | 02:38 | Click the arrow again. This one I am
not going to give any stars, and so on.
| | 02:44 | This one I might reject.
| | 02:45 | In order to reject, I am going to
press the Delete or Backspace key.
| | 02:49 | And it says Reject in red letters down there.
| | 02:53 | I also can drop photos out of the review
process by clicking this down facing arrow.
| | 02:58 | This does not delete them
from the computer in any way.
| | 03:01 | It just takes them out of the carousel.
| | 03:03 | I like this one so I will
give this five stars as well.
| | 03:05 | I will drop this one out.
| | 03:08 | I'll drop this one out.
| | 03:12 | Then this one I want to review again so
I am going to press Command+9, which is
| | 03:18 | the shortcut for the review label that
I have showed you a little while ago.
| | 03:21 | I will drop this reject out as well.
| | 03:25 | Now that we have less than five photos left,
they no longer appear in a carousel.
| | 03:29 | Instead I can see and
compare them all right here.
| | 03:33 | In this view I can zoom in
to look at them with a loupe.
| | 03:37 | To apply a loupe to any one of the
photos, I will just click in the photo and
| | 03:41 | the loupe shows me a magnified view.
| | 03:43 | I can add a loupe to this photo too,
and I can move the loupes around by
| | 03:48 | clicking on their points and dragging.
| | 03:52 | If I want to move multiple loupes
together, I can hold the Command key,
| | 03:57 | that's the Ctrl key on the PC, as I drag
so that I can compare similar areas of the
| | 04:03 | various photographs.
| | 04:05 | This is a great way to see how sharp
your photos are or whether there's a lot of
| | 04:09 | noise in the shadow areas of photos.
| | 04:13 | To dismiss one of these loupes, I just
click the X or if I want to dismiss them all,
| | 04:17 | I hold the Command key that's the
Ctrl key on a PC and click that X.
| | 04:22 | To get out of Review Mode, I click
the X at the bottom right of the screen.
| | 04:26 | So that's how you can use Bridge's star
rating system, its labeling system, and
| | 04:30 | Review Mode to take a first cut at your
photos, identifying those that you like
| | 04:35 | the best, those that aren't worth
pursuing, and those that you may want to work
| | 04:39 | on later in Photoshop.
| | Collapse this transcript |
| Finding images| 00:00 | Bridge has a number of features that
will help you to find just the photo you're
| | 00:03 | looking for from among your growing
collection of digital photographs.
| | 00:07 | Using Bridge you can append metadata
and keywords to files and then you can
| | 00:13 | make use of Bridge's filtering features and
its collection features to find your photos.
| | 00:18 | I'm going to start here in Bridge by
going back to the Essentials preset
| | 00:22 | workspace by clicking Essentials
up here at the top of the screen.
| | 00:26 | When you make a digital photo or when
you make a scan, a lot of information
| | 00:30 | about the image is
already appended to your file.
| | 00:33 | You can add more information here
in the Metadata panel of Bridge 3.0.
| | 00:37 | I am going to scroll down in the Metadata
panel until I get to the area called IPTC Core.
| | 00:44 | All of the fields here have a
pencil next to them, meaning that I can
| | 00:48 | add information here.
| | 00:50 | So I could put in as Creator, myself.
| | 00:55 | I can add other identifying information.
| | 00:58 | I can even add a Copyright Notice.
| | 01:00 | On a Mac, I would do that by pressing
Option+G. On a PC, I would press Alt+0169
| | 01:09 | and then I will type my name and the year.
| | 01:11 | You can also add keywords or
subject matter tags to your photos.
| | 01:16 | When I click off the Metadata panel,
I am asked whether I want to apply the
| | 01:20 | changes I made to the image
that was selected at the time.
| | 01:24 | And I will say yes, go ahead and apply that.
| | 01:26 | You can also create and apply subject
matter keywords to individual photos.
| | 01:30 | I am going to click on the Keywords
tab here, and you can see some suggested
| | 01:34 | keywords that come with the program.
| | 01:36 | I am going to add a keyword of my own
by clicking the plus sign at the bottom of
| | 01:40 | the Keywords panel, then typing flowers.
| | 01:43 | I will press Return and then I am going to
select some photographs to apply this keyword to.
| | 01:50 | I will click on the first flower photograph,
hold down the Shift key, and click on the last.
| | 01:56 | Then I am going to click in the
checkbox to the left of the flowers keyword to
| | 01:59 | apply that keyword to these particular photos.
| | 02:01 | Now let me show you how to find
photos using metadata or keywords.
| | 02:06 | This becomes more important as you start to
add more and more photos to your computer.
| | 02:11 | I am going to move over to
the Filter panel on the left.
| | 02:14 | Let's make this wider by
clicking on its border and dragging.
| | 02:17 | As you can see there are a
number of filter criteria.
| | 02:21 | First, we can see how many of our
photos have no label on them. 29.
| | 02:25 | And how many do have a label? There's 1.
| | 02:28 | If I wanted to see which one that was,
I would just click there, and it would
| | 02:31 | show me in the Content
panel which photo has a label.
| | 02:34 | I can also see how many of
these photos have five stars.
| | 02:38 | First, I will deselect the Review
criteria, because none of the photos with a
| | 02:42 | Review label also have ratings.
| | 02:45 | Then I will click on the five stars and I see
all three of the images that have five stars.
| | 02:51 | Now I am going to go down to the File
Type, and I can select to see all of my
| | 02:55 | JPEGs that have five stars. There are none.
| | 02:58 | So I'll deselect the five
stars and now I see all my JPEGs.
| | 03:02 | I could see all of my Photoshop
documents and my JPEGs and so on.
| | 03:06 | I am going to deselect those criteria.
| | 03:08 | If I scroll down further in the
Filter panel, I see Copyright Notice.
| | 03:12 | I am going to click the arrow to the
left of that area and I can see that there
| | 03:16 | is one photo that has the
copyright symbol and my name.
| | 03:20 | There are 21 other photos to which I
appended my copyright information earlier.
| | 03:25 | Let's just look at the one photo that
we worked on together and you can see it
| | 03:29 | here in the Content area.
| | 03:31 | And I will click on that again to deselect.
| | 03:34 | Now let's talk about keywords.
| | 03:37 | I will go to the Keywords area of the
Filter panel and there I can see my only
| | 03:41 | keyword that I have used, which is flowers.
| | 03:43 | If I click on that keyword, it will show
me all eight photos that have that keyword.
| | 03:49 | Once I have isolated some photos like
this, I can save the results of this
| | 03:53 | search as a collection.
| | 03:55 | I am going to click on the first of my
photos and then click on the last and
| | 03:59 | then I am going to go to the
Collections panel here and I am going to create a
| | 04:02 | new collection by clicking the icon
at the bottom of the Collections panel.
| | 04:07 | Yes, I do want to include the
selected files in this collection, and these
| | 04:11 | are my flower scans.
| | 04:15 | Adding these files to a collection
has not moved them on my hard drive.
| | 04:19 | It simply keeps track of those
particular photos where they live on my hard
| | 04:23 | drive and I know that I can always
access just those photos by coming to the
| | 04:27 | Collections panel and clicking
on the flower scans collection.
| | 04:31 | Let me show you one more thing and that
is how to make a Smart Collection, which
| | 04:34 | automatically updates itself.
| | 04:36 | To do that, I will click on the New
Smart Collection icon at the bottom of the
| | 04:40 | Collections panel and I can set some criteria.
| | 04:43 | Let's say I want to have a collection of all
photos that have a Copyright Notice on them.
| | 04:49 | So I will select
Copyright Notice as the criteria.
| | 04:52 | Copyright Notice contains, I'll
put the copyright symbol Option+G or
| | 04:58 | Alt+0169, and my name.
| | 05:02 | I can add another criteria if I
want or I can just leave it at that.
| | 05:05 | I'll match if any criteria
are met, and I will click Save.
| | 05:10 | Bridge has gone out again and found the
images that are keyworded with flowers.
| | 05:15 | But if I were to go in and remove the
keyword from one of these items, it would
| | 05:19 | also then automatically be
removed from my Smart Collection.
| | 05:22 | Let me name this collection,
which is smart flower scans.
| | 05:32 | Now if I have other photos to which
I add the keyword flower, they will
| | 05:36 | automatically appear here in this collection.
| | 05:39 | If I delete the keyword flowers from
any one of the existing photos, that photo
| | 05:44 | will be deleted from this
collection. So let's try that.
| | 05:48 | I'm going to click on one of my flower
photos here and then I am going to go
| | 05:51 | over to the Keywords panel, then I am
going to uncheck flowers and then I will
| | 05:56 | click in a blank area here.
| | 06:00 | Then I will click off of the smart
flower scans and back on it and as you can see,
| | 06:04 | that particular flower scan,
which was flowers001.tif, has now been
| | 06:10 | automatically removed from my
smart flower scans collection.
| | 06:13 | You can use some or all of the powerful
features that I've shown you in this movie
| | 06:18 | to organize your own photo collection.
| | 06:20 | And you can do that right here in
Bridge 3.0, which is already on your computer
| | 06:24 | if you've installed Photoshop
CS4 or the Adobe Creative Suite 4.
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|
|
3. BasicsSetting preferences| 00:00 | Photoshop's preferences control how
some basic functions work under the hood.
| | 00:05 | You can get right down in there, and
change the preferences to your liking.
| | 00:09 | Let me show you how to access
preferences and suggest some preference settings
| | 00:13 | that you might want to
change in your copy of Photoshop.
| | 00:16 | To open preferences, I'm going to go
to the Photoshop menu on a Mac or the
| | 00:20 | Edit menu on a PC, and I am going to choose
Preferences and then I'll choose General.
| | 00:26 | In the column on the left,
there are categories of preferences.
| | 00:29 | Let's take a look at the Interface
Preferences here in the column on the left,
| | 00:34 | and there is a preference
that I sometimes change here.
| | 00:36 | That's the one for showing tooltips.
| | 00:39 | A tooltip is the little yellow box that
pops up when you hover over a tool or a command.
| | 00:44 | Tooltips can be useful when you're
first learning Photoshop, but as you get
| | 00:48 | better at the program, they
sometimes interfere or distract.
| | 00:52 | So you may want to turn them
off by unchecking this field.
| | 00:55 | And if you want to turn off the new
docked tabs feature, you can uncheck these
| | 00:59 | two check marks here, at the bottom
of the Panels & Documents section.
| | 01:03 | I'm going to go to the File Handling
section of Preferences because I want to
| | 01:08 | show you this preference,
Maximize PSD and PSB File Compatibility.
| | 01:14 | It's a long phrase, but basically
what it means is when you go to save a
| | 01:18 | document, do you want Photoshop to
create a hidden composite layer that contains
| | 01:23 | the contents of all the
other layers in the file.
| | 01:26 | That's generally a safe thing to do
because it helps other programs and older
| | 01:31 | versions of Photoshop read your Photoshop files.
| | 01:34 | The default behavior here is Ask, which
means that every time you go and save a file,
| | 01:38 | Photoshop is going to
ask you if you want to do that.
| | 01:41 | I'd suggest changing this to Always so
that the behavior always happens behind
| | 01:47 | the scenes and you don't have to
deal with it every time you save a file.
| | 01:50 | The next category of Preferences
deals with Photoshop's performance.
| | 01:55 | In Photoshop CS4, there are some new
features based on OpenGL technology.
| | 02:01 | I'll be showing you some of those
features in the movie on panning and zooming.
| | 02:05 | If you are not getting the kind of
results that I show you in those movies, you
| | 02:08 | might want to come here into this
Performance category of Preferences, and take
| | 02:12 | a look at the video card that
Photoshop is detecting on your machine.
| | 02:16 | I'm going to go to the Cursors category
now and suggest that you change the way
| | 02:21 | that the Brush Tip is
displayed on your Painting Cursors.
| | 02:24 | If you leave this set to Normal Brush
Tip and you use a soft edged or fussy brush,
| | 02:28 | the round icon that represents
the circumference of the brush won't
| | 02:32 | really tell you everywhere that the
brush is going to put down some pixels.
| | 02:36 | So change that to Full Size Brush Tip
to get a better sense of where your
| | 02:40 | soft-edged brushes are going to be painting.
| | 02:43 | And that applies not just to the Brush
tool, but to other tools that use a brush tip,
| | 02:48 | like the Dodge tool and the Burn tool,
the Sharpen tool, the Healing Brush tools,
| | 02:53 | the Clone Stamp
tool and the Eraser tools.
| | 02:56 | The other thing that I like to do
is check Show Crosshair in Brush Tip.
| | 02:59 | And you can see in this little icon
that now you'll get a crosshair indicating
| | 03:04 | the center of every brush stroke.
| | 03:06 | Over here on the right, you can
change the way that your other kinds of
| | 03:09 | cursors are displayed.
| | 03:10 | If you like seeing a little icon of
the particular tool you're using, leave
| | 03:14 | this set to Standard.
| | 03:16 | But if you want to see more precisely
where your tool is going to do its work,
| | 03:20 | you can change this to Precise and then you
get this little target icon on every tool.
| | 03:24 | I'm going to go back to Standard so
that you can see what tool I'm using,
| | 03:28 | as we work through the course.
| | 03:30 | I would like to show you one more
preference, and that's in the Units &
| | 03:33 | Rulers category here.
| | 03:35 | By default the Rulers field is set
to Inches, which means that the rulers
| | 03:38 | that you can display at the top end side of
your document window will measure in inches.
| | 03:44 | But if you are a Web designer, you may
want to come in and change the default
| | 03:48 | unit of measurement in your rulers to pixels.
| | 03:51 | If you only do Web design occasionally,
you can leave this set to Inches and
| | 03:56 | change your rulers on a case-by-case
basis, as I showed you how to do in the
| | 04:00 | interface overview movie.
| | 04:02 | When you're done making your changes
in Preferences, you want to click OK.
| | 04:06 | Some of the preferences will take
effect right away, but a few of them require
| | 04:10 | you to restart Photoshop
before you notice any difference.
| | 04:13 | So those were some suggestions for
customizing Photoshop's preferences to
| | 04:17 | personalize the program, so that it
better serves the way that you work in Photoshop.
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| Choosing color settings| 00:00 | Photoshop has a number of color
management features whose goal is to make the
| | 00:05 | colors you see on your screen match the
colors in your prints or the colors on
| | 00:10 | other people's screens, if you
are making images for the Web.
| | 00:12 | That's a challenge, because every
printer and every computer monitor takes the
| | 00:17 | raw numerical values that make up
color and interprets them in slightly ways.
| | 00:22 | You've probably seen that if you've
ever been in a store that sells television sets,
| | 00:25 | and they have the television
sets lined up on the wall, all showing the
| | 00:29 | same program, but the color
looks slightly different on each set.
| | 00:32 | There are several things that you
can do to help Photoshop try to keep
| | 00:36 | color consistent for you.
| | 00:38 | One of those things is to set up
Photoshop's color settings properly, but even
| | 00:43 | before you do that, I urge you to
go out and buy or beg or borrow,
| | 00:48 | however you can get one, get yourself a
hardware device called a color remitter.
| | 00:53 | A color remitter is a fancy name for a device
that looks somewhat like a mouse or a hockey puck.
| | 00:58 | It comes with software and together
the software and hardware measure the way
| | 01:02 | that your particular monitor
reproduces color at this point in time.
| | 01:07 | It may set you back a couple of hundred
dollars or so for a good color remitter,
| | 01:10 | but it's well worth it, if you want
your output to match what you see on your
| | 01:14 | screen in Photoshop in terms of color.
| | 01:17 | Now let me show you how to set
up Photoshop's Color Settings.
| | 01:20 | I am going to open the Color Settings
dialog box from the Edit menu in Photoshop.
| | 01:28 | This dialog box is one that
some people find daunting.
| | 01:31 | There are a lot of settings here,
and the explanations are difficult.
| | 01:35 | Color management is a really big subject,
but the good news is you don't have to
| | 01:39 | deal with every single setting here separately.
| | 01:42 | This field at the top that says
Settings offers some presets that control
| | 01:46 | all the settings below.
| | 01:48 | So my advice is this. If you are
primarily working to prepare images for print,
| | 01:53 | then set this bundle of presets to
North America Prepress 2, and if you are
| | 01:57 | working primarily for the Web, set
it to North America Web/Internet.
| | 02:02 | Let me show you what happens when
you choose the print settings,
| | 02:05 | North America Prepress 2.
| | 02:08 | That sets the RGB Working Space, or the
color environment for editing RGB color
| | 02:14 | files to Adobe RGB (1998).
| | 02:17 | That working space is particularly
good for the purpose of printing files,
| | 02:21 | because it offers a wide range of colors.
| | 02:24 | Choosing North America Prepress 2
also changed some of the Color Management
| | 02:29 | Policies down here, which are
basically rules for how to handle color in any
| | 02:33 | file that you open or in a new file.
| | 02:36 | Rather than try to describe to you how
this work, let me show you by opening
| | 02:39 | some files now that we've made this change.
| | 02:41 | I am going to click OK to accept these settings.
| | 02:44 | And from Photoshop, I am going to jump
over to Bridge, by clicking the Bridge
| | 02:48 | icon in the Application
Bar at the top of the screen.
| | 02:51 | If your Application Bar isn't showing,
you can get to Bridge from the File menu
| | 02:56 | and choosing Browse in Bridge.
| | 02:58 | In Bridge, I have navigated to the
Exercise Files on my Desktop and
| | 03:03 | the Chapter03 Basics folder.
| | 03:05 | And I am going to double click this
thumbnail, flatirons_adobergb.psd, to
| | 03:11 | open it in Photoshop.
| | 03:13 | So the lesson to take from that is
that when you open a file that was created in
| | 03:18 | and has been stamped with, or tagged with
the same color profile as your working space.
| | 03:25 | You get no special messages.
| | 03:26 | You don't have to take any
special actions when you open the file.
| | 03:30 | If you look at the bottom of this
particular image, you'll see this indication
| | 03:34 | that this file has indeed been
tagged with an Adobe RGB color profile.
| | 03:39 | If you don't see that here, click the
arrow to the left of this information field.
| | 03:44 | Choose Show and choose Document Profile.
| | 03:46 | I'm going to close this file without
saving it by clicking the X here on the tab.
| | 03:52 | And I'm going to go back to
Bridge and open another file.
| | 03:57 | This one here, Orchid_srgb.psd.
| | 04:00 | This particular file has attached to it
a color profile that is different than
| | 04:05 | the Adobe RGB working space
that we have set up in Photoshop.
| | 04:09 | This particular file has a sRGB color profile.
| | 04:13 | I'll double-click this thumbnail and
back in Photoshop I get this message.
| | 04:17 | It's telling me that there is a
mismatch between the color profile embedded
| | 04:22 | in the file, which is an sRGB
profile, and the color profile that is our
| | 04:27 | working environment.
| | 04:28 | And it asks what I want to do.
| | 04:30 | The answer depends on where the image came from.
| | 04:33 | Let's say that this image came out of my camera.
| | 04:35 | Many cameras automatically embed
the sRGB profile in photographs.
| | 04:40 | But it's not necessarily the space
that you want to work in, because
| | 04:44 | photographers love to have
more colors available to them.
| | 04:47 | So if you're working with a file that
comes directly from the camera, you may
| | 04:50 | want to convert its colors to your
Adobe RGB working space by clicking here.
| | 04:56 | However, if you got this file from
another photographer who consciously attached
| | 05:01 | to it the sRGB color profile, then you
may want to accept that choice so that
| | 05:06 | the colors on your screen look as
close as possible to that photographer's
| | 05:10 | colors on his screen.
| | 05:12 | But I'll leave this at Convert colors
to working space for now, and I'll click
| | 05:16 | OK and the image of the orchid opens.
| | 05:19 | If I look at the document information
field down at the bottom of the window,
| | 05:23 | I see that it really has been
converted into an Adobe RGB image.
| | 05:27 | Let's close this one from the tab at
the top of the screen here and let's
| | 05:32 | open one more image.
| | 05:33 | This is the third
situation you may find yourself in.
| | 05:36 | When you have an image like this one
in Bridge that is untagged, that has no
| | 05:42 | color profile attached to it.
| | 05:44 | I'll double-click door_untagged.psd,
and this time I get a message that
| | 05:49 | this file is missing a profile.
| | 05:52 | It just doesn't have any embedded RGB profile.
| | 05:54 | What would I like to do?
| | 05:56 | Well, I would like to choose visually
which profile I want on this particular photo.
| | 06:00 | To make that happen, I am going to choose
Leave as is (don't color manage) and
| | 06:05 | then I'm going to go into
Photoshop to choose the profile.
| | 06:08 | So I click OK here, and
the photo opens in Photoshop.
| | 06:12 | And if you look at the bottom of the
document window, you see that it really is untagged.
| | 06:16 | Now I am going to go to the Edit menu
at the top of the screen, and I am going
| | 06:20 | down to Assign Profile.
| | 06:22 | That's the best choice when you have an
untagged image, and you need to add a profile to it.
| | 06:27 | I'll click OK at this warning and
here in the Assign Profile dialog,
| | 06:34 | I'll click the Profile choice.
| | 06:36 | Then I'll use this dropdown menu to
choose the color profile that I want to
| | 06:40 | attach to this particular file.
| | 06:42 | I am only interested in the profiles
above this faint line here at the top.
| | 06:47 | And so I am going to go through those
one by one, and see the results in my mage.
| | 06:50 | So here is how it would
look with an Adobe RGB profile.
| | 06:54 | That's pretty much the way I
saw the scene, so I like that one.
| | 06:58 | Let's try Apple RGB.
| | 07:00 | In this case I get a little bit duller result.
| | 07:02 | sRGB, even duller, because sRGB is a
narrower color range offering fewer colors.
| | 07:11 | ProPhoto is another possible choice for
photographs, but in this case I think it
| | 07:15 | makes the image look too saturated.
| | 07:18 | And ColorMatch also doesn't look bad.
| | 07:21 | In this case, I am going to
stick with Adobe RGB and say OK.
| | 07:26 | So that's how I recommend that you deal
with the Color Settings dialog box and
| | 07:31 | then how to handle files that match or
don't match the working space that that
| | 07:36 | you set up in Photoshop's Color Settings.
| | 07:38 | One more thing, if you are using the
Exercise Files to follow along with me in
| | 07:42 | this course, you may want to go
back into your Color Settings,
| | 07:45 | from Edit > Color Settings, and change
the preset to the default, which is North
| | 07:51 | America General Purpose 2, and click OK.
| | 07:55 | And that way you won't get any warnings when
you open most of the files used in this course.
| | 07:59 | What we learned here is not all there
is to color management. You'll have some
| | 08:03 | more color management tasks to do
when you save and print your images.
| | 08:07 | And I'll cover those subjects in
later movies on printing and saving.
| | Collapse this transcript |
| Zooming and panning| 00:00 | You'll spend a lot of time
navigating around your images in Photoshop.
| | 00:04 | Zooming in so you can do close detail
work, zooming back out to see the whole picture,
| | 00:08 | and panning around in a
zoomed in image to see its different parts.
| | 00:13 | Thanks to the new OpenGL technology
that's built into Photoshop CS4,
| | 00:18 | zooming and panning are more fun and
a lot faster than they ever were before.
| | 00:22 | Let's take a look at how zooming works.
| | 00:25 | I'm working on a photograph that is
displayed on my screen at 33.3% as you can
| | 00:30 | see here in the tab for this document.
| | 00:32 | Let's say I want to get in closer. I'll
go the toolbox and I'll select my Zoom tool
| | 00:38 | or just press Z on the
keyboard to select that tool.
| | 00:42 | And then I'm going to click in my image and
each time I click, I zoom in a little closer.
| | 00:47 | Now it may go without saying but just to
make sure you understand, at this point
| | 00:51 | I'm not resizing my image in any way.
| | 00:54 | I'm simply changing the
magnification at which I'm viewing it.
| | 00:57 | Now, if I go all the way in close,
I can see a grid of pixels that are the
| | 01:03 | actual building blocks that make up this image.
| | 01:06 | To zoom back out, I'm going to hold
down the Option key on my Mac keyboard,
| | 01:10 | that's the Alt key on PC, and click
and it takes me out in increments.
| | 01:16 | Now here's the new exciting part.
If you have OpenGL capability on your
| | 01:20 | computer, to zoom in all you have to
do is select the Zoom tool and then press
| | 01:25 | down on your mouse and you get
continuous zooming like this, all the way down.
| | 01:32 | And then to zoom out, continuously hold
the Option key down. As you press your
| | 01:37 | finger down on the mouse and you
get this continuous zoom, very nice.
| | 01:42 | You'll also notice that even when you're
zoomed to an odd percentage, like right
| | 01:46 | now when I'm zoomed to 32.3%, all the
details in the image look pretty good.
| | 01:51 | You don't see any jagged edges and that
wasn't true before the advent of OpenGL technology.
| | 01:58 | To take advantage of the features that
rely an OpenGL. You have to have a video
| | 02:03 | card in your computer that supports
OpenGL and you also have to have an OS that
| | 02:07 | supports that technology, either Vista on the
Windows side or Mac OS 10.4.1.1 on the Mac side.
| | 02:16 | There are a number of shortcuts to
keep in mind when you're zooming.
| | 02:19 | One is that instead of going over and
getting the Zoom tool you can just press
| | 02:22 | the keyboard shortcut Command+Plus,
that's Ctrl+Plus on a PC, to zoom in from
| | 02:29 | your keyboard or Command+Minus,
Ctrl+Minus on a PC to zoom back out.
| | 02:35 | You can also access the Zoom tool
from the new Application Bar up here at
| | 02:38 | the top of the screen.
| | 02:39 | I'm going to zoom back in to show you
what happens when you're zoomed in close
| | 02:46 | and you want to see a part of an
image that isn't showing at the moment.
| | 02:49 | That's when you need the Hand
tool to pan around the image.
| | 02:52 | You can either select the Hand tool
from here in the toolbox or you can switch
| | 02:57 | temporarily to the Hand tool,
no matter which tool you have selected, by
| | 03:01 | clicking and holding the Spacebar.
| | 03:03 | Now you can see my cursor is a
little hand symbol and when I click, hold,
| | 03:07 | and drag, I can move the image around in
its window to get to the part I want to see.
| | 03:12 | There is another new
feature related to the Hand tool.
| | 03:15 | It's called the Bird's Eye Zoom.
| | 03:17 | I'm going to press down the H key
and hold it and then I'm going to
| | 03:20 | click-and-hold and I see
this faint box around my cursor.
| | 03:25 | If I move that box up, it indicates the area
to which I will zoom when I release my mouse.
| | 03:32 | And then I release the H key.
| | 03:33 | This pretty much does away with the
need for the old Navigator panel, because
| | 03:37 | you can navigate right to the area
you want to see using Bird's Eye Zoom.
| | 03:42 | One more new feature is the
ability to flick to scroll.
| | 03:44 | To do that I'm going to hold down
the Spacebar to get my Hand tool back
| | 03:49 | temporarily and rather than clicking-and-
dragging with the mouse, I'm just going
| | 03:53 | to click and flick with the mouse.
| | 03:56 | And the image to scoots over to left
even when my finger isn't down on the mouse.
| | 04:00 | The last thing I want to show you is
how to zoom when you have multiple images
| | 04:05 | open at the same time.
| | 04:07 | You can see that I have a
second tabbed image here, fence.psd.
| | 04:11 | To see both the plains photo and the
fence photo together, I'm going to go up to
| | 04:15 | the Application Bar to the Arrange
Documents menu and I'm going to choose this
| | 04:19 | horizontal 2 Up layout.
| | 04:22 | The top image is zoomed way into more
than 100% and the image on the bottom is
| | 04:27 | zoomed out at only 50%.
| | 04:28 | I'm going to take my Hand tool by
pressing the Spacebar and clicking in the
| | 04:33 | bottom image and I'm going to
push that image up so I can see its
| | 04:37 | bottom-right corner.
| | 04:38 | Because what I want to show you
now is that you can quickly match the
| | 04:41 | position and the zoom level of the top image
to the bottom one, so that you can compare them.
| | 04:46 | To do that I'm going to go back to the
Arranged Documents menu and I'm going to
| | 04:51 | choose to Match Zoom and Location.
| | 04:54 | And right away, I can see the bottom-
right corner of the top image, also now at
| | 04:58 | the same zoom percentage of 50%.
| | 05:01 | And finally, if I want to pan around
these two images together, I'm going to
| | 05:05 | hold down the Shift key and the
Spacebar and click-and-drag in either one of them
| | 05:10 | and there they go together.
| | 05:12 | So as you can see, panning and zooming
has become more useful with the advent
| | 05:15 | of OpenGL technology.
| | 05:17 | These are skills that you're going to
have to use all the time as you work in
| | 05:20 | Photoshop, so please practice the few
techniques I've shown you and pretty soon
| | 05:24 | you'll be getting around your images like a pro.
| | Collapse this transcript |
| Resizing and image resolution| 00:00 | When you have that one great image,
odds are you're going to want to share it
| | 00:03 | at different sizes.
| | 00:05 | Maybe you want the original size to put
in a frame and some smaller ones to put
| | 00:09 | on the web or to put in your wallet.
| | 00:12 | Before you resize images, it's
important to understand how Photoshop handles
| | 00:16 | resizing and the related
topic of image resolution.
| | 00:20 | To resize an image, I'm going to go to
the Image menu at the top of the screen
| | 00:24 | and choose Image Size.
| | 00:26 | In this dialog box I can see
the current size of my image.
| | 00:30 | Here at the top, I see the size in pixels.
| | 00:33 | Every photograph or other rasterized
file is made up of small rectangles of
| | 00:38 | color information called pixels,
which stands for picture elements.
| | 00:41 | Down here, I can see the size of the
file as it would be when printed in inches.
| | 00:47 | Right now, this file is going to print pretty
big at over 16 inches wide and 25 inches high.
| | 00:52 | That's do in part to the fact that this
file came in for my digital camera with
| | 00:57 | 72 pixels allocated to every inch.
| | 01:00 | That actually is too low a resolution
when I'm preparing a file for print.
| | 01:05 | So, I want to increase the resolution
to around 300 pixels/inch, which is what
| | 01:10 | my inkjet printer needs in
order to make the best print.
| | 01:13 | That number may change depending on your
brand of inkjet printer and the kind of
| | 01:16 | print you're making.
| | 01:17 | But 300 pixels/inch is a
good round number to use.
| | 01:21 | To change the resolution, I first need
to go down to the Resample Image field
| | 01:25 | and uncheck that box.
| | 01:27 | And now I want to come in and change the
Resolution from the 72 pixels/inch that
| | 01:32 | my camera offered to the 300 pixels/
inch that my printer needs, the width and
| | 01:37 | height are reduced.
| | 01:38 | But as you can see at the top of this
dialog box, I haven't thrown away information.
| | 01:42 | I still have the same number of pixels in
width and height and the same file size.
| | 01:46 | I've just rearranged that
information into a different configuration of
| | 01:50 | inches and resolution.
| | 01:52 | Now let's say that I decide I want a
copy that's actually 3"x2" but I do want it
| | 01:58 | to have 300pixels/inch of resolution.
| | 02:01 | In that case, I have to check the
Resample Image dialog box and now when I
| | 02:05 | change any of these fields, I'll
actually be throwing away some information.
| | 02:09 | So, I'm going to scale down this
image to say 3 inches in height, the width
| | 02:13 | changes accordingly to 2 inches and
the resolution has stayed the same.
| | 02:17 | But at the top of the dialog box, I can see
that I really have thrown away information.
| | 02:22 | When I do reduce the overall size of
an image like this, I want to make sure
| | 02:26 | that Photoshop uses the best possible
formula, when it decides which image
| | 02:31 | information to discard.
| | 02:32 | I'm going to go down to this menu at
the bottom of the screen and there I
| | 02:36 | can see that when I'm reducing an image,
this is the best formula to use, Bicubic Sharper.
| | 02:41 | So, I'll choose that one and I'll click OK.
| | 02:45 | And now my image is ready for print at 3"x2"
at the proper resolution for my inkjet printer.
| | 02:52 | One more thing to keep in mind when
you're resizing images is it's fine to
| | 02:56 | resize down as I just showed you how to
do, but be conservative about scaling an
| | 03:00 | image up, because when you do so,
you're asking Photoshop to make up some image
| | 03:05 | information to fill in some gaps.
| | 03:07 | If you need to resize your own images
please keep these tips and techniques
| | 03:11 | in mind so that you get just the right size
image without degrading your photo quality.
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| Adding to the canvas| 00:00 | There are going to be times when you
want to add some canvas around your image
| | 00:04 | without changing the actual size of the image.
| | 00:07 | This comes in handy if you wanted to
add a matte around all the sides of the image,
| | 00:11 | or maybe you want to add a
little bit of blank space at the bottom into
| | 00:14 | which you could type a
caption or a title for your photo.
| | 00:17 | To change the Canvas Size you'll go up
to the Image menu and choose not Image Size
| | 00:23 | but rather Canvas Size.
| | 00:26 | In the Canvas Size dialog box, you
want to make sure to check mark Relative
| | 00:31 | and then type the amount of space you
want to add around your image into the
| | 00:35 | Width and Height fields.
| | 00:36 | I'm going to add a quarter inch or
0.25 inches in Width and in Height.
| | 00:41 | Then I'll look at the Anchor diagram
here and make sure that the center box is
| | 00:46 | highlighted in gray.
| | 00:48 | That tells Photoshop to add a little bit
of Canvas on all four sides of the image.
| | 00:53 | I can also come in and choose the
color that's going to be added around my image.
| | 00:57 | I can choose from White, Black
or Gray or whatever colors are in the
| | 01:01 | foreground or background color box in
the toolbox, or I can choose Other in
| | 01:06 | which case the color picker opens
and lets me choose any color I want.
| | 01:10 | I'll leave this at Black and I'm going
to click OK and now I have this nice even
| | 01:14 | matte all the way around my picture.
| | 01:17 | What if I wanted to have more space
at the bottom to add a caption or a title?
| | 01:21 | Then I would go back to the
Image menu, choose Canvas Size again and
| | 01:25 | this time with Relative checked, I'm going to
click on the top middle square in the diagram.
| | 01:32 | That tells Photoshop to add space only at the
bottom, not on the top or sides of my photo.
| | 01:39 | I'm not going to add any width. I'm just
going to add about another half-inch at
| | 01:42 | the bottom, so I'll type 0.5 into the
Height field, and I'll leave the Canvas
| | 01:47 | color set to Black and click OK.
| | 01:50 | The important point is that I've added
canvas around this image but I haven't
| | 01:54 | changed the image size and I have what I
think is pretty nice effect and a place
| | 01:59 | to type in some information about the photo.
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| Rotating the canvas| 00:00 | There's another new feature in
Photoshop CS4 that will appeal to those of you
| | 00:04 | who use a drawing tablet with Photoshop
and that is the new Rotate View tool.
| | 00:10 | You can use this tool to rotate the
actual canvas rather than rotating the image.
| | 00:15 | Let me show you how it works.
| | 00:17 | I'm going to go to the new
Application Bar at the top of the screen and I'm
| | 00:20 | going to press this icon for the
Rotate View tool, another way to access the
| | 00:24 | tool is from this Rotate
View icon in the toolbox.
| | 00:28 | Then I'm going to come in and I'm just
going to drag in my image. I'm going to
| | 00:31 | drag to the right and the
whole Canvas tilts to the right.
| | 00:36 | I happen to be left-handed so this is
perfect for the way that I use a tablet,
| | 00:40 | because it reflects the position of
the drawing tablet as it is on my desk.
| | 00:44 | When you rotate an image this way, you
get this compass in the middle that shows
| | 00:48 | you where true north is in the
image even when it's rotated.
| | 00:51 | If you happen to know the exact angle
at which you want to see the image,
| | 00:54 | you can come in and just type that here in
the Rotation Angle field in the Options
| | 00:58 | bar and when you want to return to the
original angle, just click Reset View.
| | 01:03 | This is another feature that makes use of
the new OpenGL technology in Photoshop CS4.
| | 01:10 | Keep in mind that when you rotate an
image this way you're simply rotating the
| | 01:13 | canvas temporarily while
you're working on the image.
| | 01:16 | If you want to actually change the
orientation of your photograph, then you have
| | 01:20 | to go up to the Image menu and choose
Image Rotation and make a choice here.
| | 01:25 | So, if I choose 90? clockwise for
example, I end up turning the entire image on
| | 01:30 | its side and I can save
it and print it this way.
| | 01:33 | But if this actual rotation isn't
what you have in mind, you can still
| | 01:37 | virtually rotate your photographs as
you work on them in Photoshop using the
| | 01:41 | new Rotate View tool.
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| Choosing color| 00:00 | There are number of tools and features
that use color in Photoshop, so you'll
| | 00:04 | need to know how to select a color.
| | 00:06 | Down at the bottom of the toolbox we
have two fields, the foreground color field
| | 00:10 | and the background color field.
| | 00:12 | Whatever color is showing in the
foreground color field is the one that the
| | 00:15 | Brush tool and other painting tools will use.
| | 00:17 | So, right now if I come into this image and
draw with the Brush tool, I get some red paint.
| | 00:22 | There is also a background color here
and that's used in combination with the
| | 00:26 | foreground color for things like gradients.
| | 00:28 | So here, if I select the Gradient tool
and then I click-and-drag in the image,
| | 00:32 | I am going to get a red to green gradient.
| | 00:35 | I am going to undo that by pressing
Command+Z, which is Ctrl+Z on a PC.
| | 00:39 | If you want to get your colors back to
their defaults, which are black and white,
| | 00:43 | there are two handy shortcuts.
| | 00:45 | The first is to press the D key on your
keyboard, which gives you black as the
| | 00:49 | foreground color, and if you want white
as your foreground color, you press the
| | 00:53 | X key on your keyboard.
| | 00:54 | Now how do I get a color
into the foreground color box?
| | 00:58 | There are three different ways.
| | 01:00 | I can use the Color Picker, the
Color panel, or the Swatches panel.
| | 01:04 | First the Color Picker.
| | 01:06 | To open the Color Picker I'm going to
click once on the foreground color box.
| | 01:10 | The foreground Picker is a big
dialog box. There is a lot to it.
| | 01:13 | I usually start here
with this bar in the middle.
| | 01:16 | Right now the bar is showing color
arranged by Hue. As you can see here,
| | 01:21 | the H for Hue button is selected.
| | 01:23 | So, if I wanted to use say a blue, I
would click-and-drag one of these handles
| | 01:27 | on the bar up to the blue area and then
I'd move over to this larger field and
| | 01:32 | choose a shade of that blue.
| | 01:35 | The color I've selected appears
here in this large square on top of the
| | 01:38 | last selected color.
| | 01:40 | And if I wanted that color,
I could just click OK.
| | 01:42 | But before I do let me show you that
you can arrange the colors in other ways.
| | 01:46 | If you prefer, you can see them arranged
by Saturation, both here in the bar and
| | 01:51 | here in this large field, where the
colors are more saturated at the top than
| | 01:56 | they are at the bottom.
| | 01:57 | I can also arrange them by brightness
of color and now you see the brighter
| | 02:02 | shades of colors at the top and
the lighter shades at the bottom.
| | 02:05 | And we have some other ways of
arranging colors here. RG and B stands for the
| | 02:10 | RGB color mode, which is one system of
describing color, and the system that is
| | 02:15 | most often used when you're
working on photographs in Photoshop.
| | 02:19 | Another color mode you may find
yourself using is CMYK, which stands for Cyan,
| | 02:24 | Magenta, Yellow and Black.
| | 02:26 | This is the color mode that is
used in commercial printing presses.
| | 02:30 | You must often be working in RGB mode
and if you want, you can click the R, the
| | 02:34 | G or the B button to see
colors arranged in different ways.
| | 02:39 | Sometimes I'll do this just to get some ideas
about which colors might look nice together.
| | 02:43 | Once I've selected a color I'll just
click OK here in the Color Picker and
| | 02:47 | the color appears here in the foreground
color box and I can now apply it to an image.
| | 02:52 | So for example, I might click on the Brush
tool and just make a stroke here of blue.
| | 02:57 | Another way to choose color is from the
Color panel over here in this column of panels.
| | 03:01 | Because this image is in RGB color
mode, the color panel displays three sliders,
| | 03:06 | one for each channel in this image,
the red channel, green channel and blue channel.
| | 03:11 | I can just drag these sliders until
I see a color selected that I like.
| | 03:16 | The color shows up here in the foreground
color box in the Color panel and also down
| | 03:21 | here in the foreground color box in the toolbox.
| | 03:24 | I can use the spectrum at the
bottom of the Color panel to get in the
| | 03:27 | general right here.
| | 03:28 | So, if I am looking for a yellow I'll
click here and then I'll now fine tune
| | 03:32 | using these sliders.
| | 03:33 | Finally, let me show you the Swatches
panel, which provides another alternative
| | 03:37 | for choosing a color.
| | 03:38 | To use the Swatches panel, you just
click on one of these color swatches and
| | 03:42 | when you do, the color in the
foreground color box in the toolbox changes.
| | 03:47 | If you click the panel menu on the
Swatches panel, you see that there are lots
| | 03:51 | of other preset swatch
collections here that you can load.
| | 03:55 | So, I'll just choose one at random.
| | 03:57 | Do I want to replace the
swatches that are here or add to them?
| | 04:01 | I'll say okay, we can replace them and
we have now some other less saturated
| | 04:05 | colors to choose from.
| | 04:06 | There is one more way to choose color
that I really like and that is to use
| | 04:10 | the Eyedropper tool.
| | 04:12 | The Eyedropper tool is
located over here in the toolbox.
| | 04:15 | I am going to click on it and now when
I come into this open image and I click
| | 04:19 | anywhere in the image, I am sampling the
color from underneath the point of the Eyedropper.
| | 04:24 | The color I clicked on now appears
here in the foreground color box.
| | 04:28 | This is a good way to choose colors
that go with whatever image you are
| | 04:31 | working on at the moment.
| | 04:32 | So, those are four different ways that
you can choose color in Photoshop to use
| | 04:36 | with any of Photoshop's color related features.
| | 04:39 | You have the Color Picker that you
access from the foreground color box.
| | 04:43 | You have your Color panel, the
Swatches panel and your Eyedropper tool.
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| Sizing a brush tip| 00:00 | There are lots of tools that
use a brush tip in Photoshop.
| | 00:04 | Not only the Paintbrush tool but all
the tools in this area of the toolbox that
| | 00:08 | are used to correct photographs, like
the Healing Brush, the Clone Stamp tool,
| | 00:13 | the Toning tools here.
| | 00:14 | So you'll need to know how to change
the size and hardness of a brush tip
| | 00:18 | whether you are a painter or
a photographer or a designer.
| | 00:21 | I have the Brush tool
selected here in the toolbox.
| | 00:24 | One way that I can change the size and
hardness of this brush is to come up to
| | 00:28 | Brush Picker in the Options Bar, click
on it, and then start sliding the Master
| | 00:32 | Diameter slider here to change the
brush size and the Hardness slider to change
| | 00:37 | the hardness of the brush.
| | 00:38 | A hard brush has a well-defined edge.
| | 00:41 | A soft brush has a kind of a blurry edge.
| | 00:44 | You can see some diagrams here of marks
made by soft brushes and here of marks
| | 00:48 | made by a hard brush.
| | 00:50 | The problem with using the controls
here in the Brush Picker is that they
| | 00:53 | don't give you a preview of how big
or how soft a brush is going to be
| | 00:57 | relative to your image.
| | 00:59 | So I am going to close the Color Picker by
clicking in a blank area of the Options Bar.
| | 01:03 | Now I'll come into my image and here
I'm going to show you how to size and
| | 01:07 | change the hardness of a brush on
the fly while you're using the brush.
| | 01:11 | The technique is to use the bracket
keys on your keyboard. Pressing the Left
| | 01:15 | Bracket key makes a brush tip smaller;
pressing the Right Bracket key makes a brush bigger.
| | 01:20 | And if you hold the Shift key as you
press either of those bracket keys,
| | 01:24 | you'll vary the softness
or hardness of the brush.
| | 01:27 | So Shift+Left Bracket makes a brush softer;
Shift+Right Bracket makes a brush harder.
| | 01:33 | I'll go ahead and draw with this
relatively hard brush so you can see what I mean.
| | 01:37 | There is my hard brush and now I'll
make the brush softer by pressing the Shift key
| | 01:41 | as I click the Left Bracket
key and there is a soft brush.
| | 01:45 | Now the problem is particularly when I
have a soft-edged brush like this one,
| | 01:49 | I can't tell from the brush icon exactly
where the pixels are going to be when
| | 01:53 | they are laid down and how opaque
or transparent they are going to be.
| | 01:57 | So there is a new feature in Photoshop CS4
that helps with that and that's the Brush Preview.
| | 02:02 | This feature is based on the new
OpenGL Technology, so you'll only be able to
| | 02:06 | use it if your video card and your
operating system support OpenGL as I've
| | 02:11 | discussed in other movies.
| | 02:12 | So I am going to bring my
brush over this circle here.
| | 02:15 | Let's say that I want to draw right on
top of that circle and I want to be able
| | 02:18 | to estimate how big my brush tip is going to be.
| | 02:20 | I am going to hold down this key
command. I'm pressing the Option key and
| | 02:25 | at the same time I am holding down the
Control key. That's on a Mac, on a PC I'm
| | 02:29 | going to right-click, keep my finger
on the mouse and press the Alt key, and
| | 02:34 | then I'm going to drag.
| | 02:35 | And as I do, I see this representation
in red of exactly what this brush mark
| | 02:40 | is going to look like.
| | 02:42 | How it's going to be opaque in the
middle and then fade out at the edges.
| | 02:46 | When I release my mouse I haven't left any
marks on the image. I've simply seen a preview.
| | 02:51 | And now I can come in and actually lay
down some paint there, and I know where
| | 02:54 | it will paint and how soft a mark it will make.
| | 02:57 | So if your computer system supports the
new OpenGL technology you can enjoy this
| | 03:01 | useful new Brush Preview technique.
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| Undoing and the History panel| 00:00 | In the old days you didn't get very many
chances to undo a mistake in Photoshop.
| | 00:05 | Things have changed, and now there are
some great features that will help you to
| | 00:09 | move back in time or even
forward in time to fix your mistakes.
| | 00:13 | One of those is the Multiple Undo command.
| | 00:15 | I'm going to come in and select my
Brush tool here and just make a few random
| | 00:19 | strokes on the image.
| | 00:22 | Now, obviously I don't want to keep those.
| | 00:22 | So to get rid of them, I'm going to
go to the Edit menu at the top of the
| | 00:26 | screen and choose Undo, and it even tells you
what the command is that you are going to undo.
| | 00:31 | And you can see to the right of that
command the shortcut for Undo, which is
| | 00:35 | Command+Z on a Mac or Ctrl+Z on a PC.
| | 00:39 | So I'll actually use the shortcut.
| | 00:41 | I'm pressing Command+Z and then I'll
press Command+Z again, and it will toggle
| | 00:46 | that second line back on.
| | 00:48 | So with Command+Z, you can undo and
then the second time around, redo.
| | 00:52 | Now, what if you wanted to step
backward and take away both of these strokes?
| | 00:56 | Then you would press Command+Z,
and for the second stroke to go back
| | 01:00 | even further, hold down the Option
key on a Mac, or the Alt key on a PC,
| | 01:05 | and Command+Z again.
| | 01:06 | The Undo commands are useful, but if
you're undoing very far back in time,
| | 01:11 | it can be a bit confusing as
to exactly where you are.
| | 01:13 | So I'd like to use the History panel instead.
| | 01:16 | This is the History
panel over here on the right.
| | 01:19 | I opened it from the Window menu here, and
then I docked it into this column of panels.
| | 01:23 | The History panel keeps a running list of
all the actions that you take in image.
| | 01:28 | So for example, I'm going to go over
to the toolbox again and I'm going to
| | 01:32 | select from underneath the
Dodge tool here, the Sponge tool.
| | 01:36 | Then I'm going to go to the tool
Options Bar and I'm going to tell the Sponge
| | 01:40 | tool to Saturate rather than Desaturate,
so that I can use the tool to increase
| | 01:44 | the color intensity of a
small area of this photo.
| | 01:47 | Then I am going to come into the photo
and click-and-drag a few times and every
| | 01:53 | time I release my mouse in the
History panel you see another state.
| | 01:58 | Each one of these is a
stroke with the Sponge tool.
| | 02:02 | Now I'll do something else. I am going
to get my Eyedropper tool in the toolbox.
| | 02:06 | I'm going to use it to select a color,
this gold color around the GG sign on the post,
| | 02:11 | and then I am going to get my
Paintbrush tool, I'll move into the image
| | 02:16 | and I'll make my tool bigger by
pressing the Right Bracket key.
| | 02:19 | I'll give myself a preview of where
this is going to paint by holding down the
| | 02:26 | Ctrl key and the Option key, that's
right-click and the Alt key on a PC, then
| | 02:31 | I'll drag to see where I'm going to paint.
| | 02:33 | Now, what I wanted to show you is
that none of that showed up here in the
| | 02:37 | History panel, because I wasn't
actually taking actions on the photo.
| | 02:41 | I was just getting things set up.
| | 02:43 | But now if I come in and I start
clicking on that area of the photo to fill it
| | 02:47 | in with the color in the foreground
color box, each click is a separate state
| | 02:52 | here in the History panel.
| | 02:53 | The beauty of the History panel is that
I can now go back in time and click on
| | 02:57 | any state to return the photo
to its appearance at that time.
| | 03:01 | So if I want to go back before I was
making any of these gold brush marks,
| | 03:05 | I would come back just before the first
Brush tool state, click on the Sponge tool
| | 03:09 | state there, and in my image I lose
all my brush marks. Not only that.
| | 03:14 | If I change my mind again, I can walk forward
and bring any of those Brush tool marks back.
| | 03:20 | Now let's say I go back, click on the
last Sponge tool state again to get rid of
| | 03:24 | my brush marks, and I am
going to do something else now.
| | 03:27 | I'm going to come in and from behind the
Saturate tool, I'm going to choose the Burn tool.
| | 03:34 | The purpose of the Burn tool is to help you
burn in, or make darker small areas of an image.
| | 03:40 | So let's say I wanted to make these
clouds darker up here. I could come in with
| | 03:44 | this Burn tool and drag, and notice in
the History panel, each time I drag I get
| | 03:49 | another state with the Burn tool,
but, and here is the point to take home,
| | 03:53 | all of the strokes that I've made
with the regular Brush tool are now gone
| | 03:57 | forever, because once you back up and
start down another path, you change the
| | 04:01 | linear history in the History panel.
| | 04:04 | The other nice thing about the History
panel is that you can always go back to
| | 04:07 | square one, because at the very top of
the panel, there is a snapshot of the way
| | 04:11 | your image looked at the
beginning when you first opened it.
| | 04:14 | Sometimes I'll use this to compare the
way my photo was at the beginning to
| | 04:19 | the way it is at the end.
| | 04:20 | So if click there, I can see the
original photo, and then if I go back to my
| | 04:25 | very last state, I can see the
photo with the changes I've added.
| | 04:28 | And if I like the way the photo is
right now, I can take a snapshot of it by
| | 04:33 | going to the Camera symbol at the
bottom of the History panel, clicking, and
| | 04:37 | there is my snapshot.
| | 04:38 | So I might double-click on the word
Snapshot to give this a meaningful name.
| | 04:42 | I'll name it saturated and burned.
| | 04:47 | So that's how you can use the History
panel to preserve your image at any state
| | 04:51 | in time and to move back and forward
in time to give you the flexibility you need
| | 04:56 | when you're editing
your photos in Photoshop CS4.
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| Saving and file formats| 00:00 | Saving your files is one of those basic
things that you have to do all the time.
| | 00:04 | There are few things to know about
saving your files that will help you to
| | 00:07 | preserve your hard work in Photoshop.
| | 00:10 | I am going to make a change to this image.
| | 00:12 | I am going to grab the Burn tool here,
and just make a little mark, anything will do,
| | 00:17 | because what I want to show
you is that when you do make an edit to an image,
| | 00:21 | and then you look at its
tab you will see a little asterisk.
| | 00:25 | The asterisk means it's time to
save, that there is an unsaved edit
| | 00:28 | associated with the file.
| | 00:30 | So at this point, I would go to
the File menu and I would go down and
| | 00:33 | choose Save or Save As.
| | 00:35 | Now be careful about choosing Save.
| | 00:37 | Because when you save, you immediately
overwrite the file with the same name.
| | 00:41 | If you're not sure you want
to do that then choose Save As.
| | 00:45 | And that opens the Save As dialog box.
| | 00:48 | To avoid overwriting a file, you
can change any of the parameters here.
| | 00:52 | You could change the name, you could
change the location where you are going
| | 00:56 | to save the file, which is what I'm
going to do, or you could change the
| | 01:00 | format of the file.
| | 01:01 | If you've associated a color profile
with your file, a subject that I cover in
| | 01:06 | an earlier movie on Color Settings,
then you are going to want to leave this
| | 01:09 | field checked to ensure that the color
profile goes along with the saved file.
| | 01:14 | Let's take a brief look before
leaving this dialog box at the Format menu.
| | 01:19 | These are the formats in
which you can save from Photoshop.
| | 01:22 | The first choice here, Photoshop, is
the native file format for the program.
| | 01:27 | This format will preserve
Photoshop layers and all special Photoshop
| | 01:31 | features you may have added to a
file, like Smart Objects, adjustment
| | 01:35 | layers, filters, and more.
| | 01:37 | In order to preserve all of that work,
I suggest that you always archive a
| | 01:41 | master copy of your files in Photoshop
format, and then you can make copies from
| | 01:46 | that master to save in any
other format that you may need.
| | 01:50 | Once you have chosen your
format, you can click Save.
| | 01:53 | And now when you look at the tab for
this document, there is no asterisk.
| | 01:57 | Let's talk a little more about file formats.
| | 02:00 | The next document that I have open is a JPEG.
| | 02:03 | JPEG is a common format for saving
photographs because it does a good job
| | 02:07 | of compressing the kind of continuous
tone information that's found in a photograph.
| | 02:12 | Keep in mind that the JPEG format does
not preserve layers, and also the JPEG is
| | 02:18 | a lossy file format.
| | 02:19 | So you don't want to save an image over
-and-over in JPEG format, because each
| | 02:23 | time you do, a little
more image data is discarded.
| | 02:27 | JPEG is a great format when you are
compressing a small photograph to attach to
| | 02:32 | an email, and it's also a
common format for web work.
| | 02:35 | A subject I'll cover in
separate movies later in this course.
| | 02:38 | I also have a TIF open here.
TIF stands for Tagged Image Format.
| | 02:43 | It's a standard format used by graphic
designers for including in page layout
| | 02:48 | programs like Adobe InDesign or QuarkXPress.
| | 02:51 | Unlike JPEG, TIF is a non-lossy format,
so you can save over-and-over in this
| | 02:56 | format without fear of degrading an image.
| | 02:58 | TIF is also a format that can preserve layers.
| | 03:01 | The last format I have open here is GIF.
| | 03:04 | GIF or Graphics Interchange Format
is used primarily for web graphics.
| | 03:09 | A GIF can contain a maximum of only 256
different colors and the GIF format does
| | 03:14 | not preserve layers, like the
native Photoshop format or TIF.
| | 03:18 | I'll talk more about saving
graphics for the web later in this course.
| | 03:21 | But for now, that's a quick overview
of the major file formats that you're
| | 03:25 | likely to use when you are
saving your files in Photoshop.
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| Creating a file from scratch| 00:00 | Most of the time when you're working in
Photoshop, you'll be opening existing files.
| | 00:05 | Once in a while you want to
create a new file from scratch.
| | 00:08 | You might want to do that for example,
if you are creating a graphic for the web
| | 00:12 | or perhaps you are making a collage and
you want a big blank file into which you
| | 00:17 | can drag lots of small photographs.
| | 00:19 | To create a blank file from scratch,
go to the File menu at the top of the
| | 00:23 | screen, and choose New.
| | 00:25 | In the New dialog box, you can name
your file or you can wait until you save
| | 00:29 | the file to name it.
| | 00:30 | You can type a custom Width, Height and
Resolution in these fields, or you can
| | 00:35 | choose a preset from this menu, like
for example U.S. Paper, and that fills in
| | 00:40 | these fields for you.
| | 00:41 | Double-check that the Units of
Measurement is set to what you want, either inches
| | 00:46 | or pixels, or in a rare case
one of these other choices.
| | 00:50 | And that the Resolution is the
resolution that you need for your
| | 00:53 | particular brand of output.
| | 00:55 | If you are going to be outputting to
a desktop inkjet printer then 300 is
| | 00:59 | an acceptable choice.
| | 01:00 | If you are creating a file for
the web then I suggest you do this.
| | 01:03 | Change the Units of Measurement to
pixels here, type in the exact number of
| | 01:07 | pixels you want, and then it doesn't
matter what is here in the Resolution field,
| | 01:11 | because in this dialog box
Resolution just means the number of pixels
| | 01:16 | in a file that will be assigned to each inch
as you see here, if and when the file is printed.
| | 01:21 | I am going to put these Units of
Measurement back to inches and continue on to
| | 01:26 | select the Color Mode.
| | 01:27 | In most cases I suggest that you do
choose RGB Color, which stands for Red,
| | 01:32 | Green and Blue Color Mode.
| | 01:33 | That's true even if you are creating a
file that's going to have black and white
| | 01:37 | content, because an RGB Color file has
three channels of information as opposed
| | 01:42 | to a Grayscale file, which has only one channel.
| | 01:45 | Another choice here is CMYK Color.
| | 01:48 | If you are preparing a file for
professional printing, ultimately it may have to
| | 01:52 | be converted to CMYK.
| | 01:54 | But I suggest that if you are creating
a color file even for commercial printing,
| | 01:58 | you start in RGB Color Mode
so that you have access to all of
| | 02:01 | Photoshop's editing features.
| | 02:03 | And then you can convert your
file at the end of the process.
| | 02:06 | Next you can choose the bit depth for your file.
| | 02:09 | The bit depth determines the amount of
color data in each pixel of the file.
| | 02:13 | Your basic choices are 8 bit or 16 bit.
| | 02:16 | In most cases I suggest you use 8 bit
when you are creating a file from scratch.
| | 02:20 | Although 16 bit will give you
lots more color information,
| | 02:23 | you usually won't see much of a
difference particularly if you are making a
| | 02:27 | graphic type of file.
| | 02:28 | And your file will be much
bigger in 16 bit than it is in 8 bit.
| | 02:32 | Your next choice is what color of
the background of the file will be.
| | 02:36 | You can choose white or whatever color
is in the background color box in the
| | 02:39 | toolbox or transparent.
| | 02:42 | Transparent generally comes into play only
if you are creating a graphic for the web.
| | 02:46 | And no matter what choice you make here,
you can always change the background of your file.
| | 02:50 | So I wouldn't worry about this too much.
| | 02:52 | You may find this Advanced area
of the dialog box closed like this.
| | 02:57 | If it is, be sure to click this
arrow so you can double-check which color
| | 03:02 | profile is going to be
associated with this particular file.
| | 03:05 | And you can make that choice from this menu,
or just accept the Working RGB color profile.
| | 03:11 | You can learn more about color profiles
in the earlier movie on color settings.
| | 03:15 | This last field is only relevant if
you are creating an image for a video.
| | 03:19 | So when you are all done going through
those fields, you'll just click OK, and
| | 03:23 | you'll have your blank file and
you can start creating in Photoshop.
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|
|
4. SelectionsMaking geometric selections| 00:00 | Making a selection is the way to
isolate part of an image in Photoshop.
| | 00:04 | Why would you want to isolate part of an image?
| | 00:06 | So that you can work on just that area
without affecting the rest of the image.
| | 00:10 | Before we start making selections on
this file I'd like to show you a couple of
| | 00:14 | examples of why you might
want to make a selection.
| | 00:17 | Let's say that you were working on
this photograph and you decided that you
| | 00:21 | wanted to make the sky more contrasty but you
didn't want to affect the color of the buildings.
| | 00:25 | The way to do that is to first make a
selection of the sky and then correct the contrast.
| | 00:29 | Or let's say you're working on this
file and you want to change the color of
| | 00:33 | the yellow balloon but leave the
color of everything else the same.
| | 00:36 | The first step is to make a selection of the
balloon. Or let's say you have this shot of
| | 00:41 | a water tower but the background has that
white sky look that just isn't very appealing.
| | 00:46 | So you want to take the water tower
and its plants and put it against a
| | 00:50 | more vibrant background.
| | 00:51 | Yes, you would select the water
tower and the plants even though that's a
| | 00:55 | little more difficult than the other
files I showed you, and then drag the
| | 00:58 | water tower into another image.
| | 00:59 | In this chapter I'll show you how to
make all of the selections I just showed you,
| | 01:03 | but first, let's go back to basics.
| | 01:05 | You'll learn in this chapter that
there are lots of Selection tools and
| | 01:08 | features available to you.
| | 01:10 | The trick is knowing which of those is
best suited for a particular selection.
| | 01:13 | We are going to get started by
looking at the tools that you'll use to make
| | 01:16 | geometric shape selections, like
squares, circles and most importantly shapes
| | 01:22 | made up of straight lines, and that
includes things like triangles and polygons
| | 01:26 | and irregular shapes too.
| | 01:27 | So how do you make a
selection in the shape of a rectangle?
| | 01:30 | I'm going to the toolbox and I'm going
to click on the first of the Selection
| | 01:34 | tools here, which is the Rectangular
Marquee tool, and to make a rectangular
| | 01:38 | selection all I'm going to do is come
over to the image, click and holding the
| | 01:42 | mouse down I'm going to drag and I'm
dragging diagonally to the other corner of
| | 01:46 | this rectangle and releasing my mouse.
| | 01:48 | These animated lines that you see
are the boundaries of my selection.
| | 01:51 | These are called the marching ants.
| | 01:53 | Now what if I decided I
don't want this selection?
| | 01:56 | Then I'm going to deselect. The way to
deselect is to go to the Select menu at
| | 02:00 | the top of the screen and choose Deselect.
| | 02:02 | This is something you're going to do
all the time so it's worth remembering the
| | 02:05 | shortcut, which is Command+D
on a Mac or Ctrl+D on a PC.
| | 02:09 | And by the way while I have this menu
open, take a look and you'll see that
| | 02:12 | there are lots of different commands
here that are related to Selections.
| | 02:16 | So if you're looking for a selection
related command at any time, this menu
| | 02:19 | is the place to go.
| | 02:20 | Now if I do want to deselect using that
shortcut I'm going to press the Command key
| | 02:24 | and the D key at the
same time, Ctrl+D on the PC.
| | 02:28 | And now I want to show you how you can
constrain a rectangular selection to a square shape.
| | 02:33 | To do that I'm going to hold down the
Shift key on the keyboard and then I'm
| | 02:36 | going to drag and then the portions of
the selection will stay in the shape of a
| | 02:40 | square no matter how big or
small I make the selection.
| | 02:43 | Now what's important here is to release
your mouse before you release the Shift key.
| | 02:48 | I'm going to deselect this selection
by pressing Command or Ctrl+D and now
| | 02:52 | let's talk about how to
make a circular selection.
| | 02:55 | That requires a different tool, one
that's hidden behind the Rectangular
| | 02:58 | Marquee, so I'm going back to
the toolbox and I'm going to choose
| | 03:01 | Elliptical Marquee tool.
| | 03:03 | And I'm going to come over and make
a selection around this red circle.
| | 03:06 | First I'll just draw an oval to show
you that you can click-and-drag and make
| | 03:10 | an oval in any shape or any size like this,
Command or Ctrl+D to delete that selection.
| | 03:16 | If I want to make a circular selection
constraining that oval I have a couple of ways to do it.
| | 03:20 | One way is to hold the Shift key down as
you drag and that constrains the circle.
| | 03:25 | But I actually don't like to do it that
way, because in order to make the circle
| | 03:29 | fit right on top of that red dot I
have to use my free hand to hold down some
| | 03:33 | other keys on the keyboard
as I'll show you in a minute.
| | 03:36 | So instead Command+D or Ctrl+D to
deselect I'm going to go up to the Options Bar
| | 03:41 | for the Elliptical Marquee tool and I'm
going here where it says Style and I'm
| | 03:45 | going to choose Fixed Ratio.
That fills in the Width and the Height with a
| | 03:48 | one-to-one ratio, which is
the ratio for drawing a circle.
| | 03:52 | So now I'm going to come down into my
image, I'm going to start with my cursor
| | 03:56 | at the top left of the red
circle in the photograph.
| | 03:58 | This time I don't have to hold the
Shift key. I'll just start dragging and
| | 04:02 | I'm making a selection in the shape of a
circle but notice that it moved away from
| | 04:06 | the arc of the red circle in the photograph.
| | 04:09 | So here's how you do this.
| | 04:10 | I haven't released my finger from the
mouse yet and that's the important point.
| | 04:14 | You have to leave your finger
down the whole time on the mouse.
| | 04:17 | So with the mouse pressed down,
with my other hand I'm going to press the
| | 04:20 | Spacebar and now with the Spacebar and
the mouse down, I can move that selection
| | 04:25 | boundary over so it just
fits on top of the circle.
| | 04:27 | And then I've released the Spacebar.
| | 04:29 | If I wanted with my mouse down I
could still tweak this a little, moving it
| | 04:32 | bigger or smaller, and when I am
all done, I'll release the mouse.
| | 04:36 | Command+D, Ctrl+D on a PC to deselect.
I'm going to go back up and change
| | 04:40 | that Style to Normal so that next time I
use this tool I'm not constrained to a circle.
| | 04:45 | Now I'd like to show you how to make
one more kind of geometric shape and that
| | 04:48 | is a straight-edged shape.
| | 04:50 | For that I'm going to use a different tool.
| | 04:52 | Tools here below the
Marquee tools are the Lasso tools.
| | 04:56 | The first of those is just a free-
form drawing tool, the Lasso tool.
| | 05:00 | I usually don't use that because you
have to have a very steady hand to draw a
| | 05:04 | smooth selection with that tool.
| | 05:06 | But I do often use the Polygonal Lasso tool.
| | 05:09 | So I'll select that one and then I am
going to come over to my image and I'm
| | 05:11 | going to start drawing a
triangular selection around this block.
| | 05:15 | To do that I'll click once and then
I'm releasing my finger from the mouse
| | 05:19 | and I'm just going move the mouse down,
and as I do I'm taking this line with the me.
| | 05:23 | It's like a thread.
| | 05:24 | When I get to the other corner of the
triangle, I'll click there and then I'll
| | 05:27 | go in the other direction moving the
thread up without pressing the mouse and
| | 05:31 | click there, and as I get back toward
the beginning I can double-click or I can
| | 05:35 | wait till I get to the beginning and
I'll see that tiny circle next to the Lasso
| | 05:38 | tool icon. I'll click there and that
closes the selection that I'm making.
| | 05:42 | Now you can use the same method with
any shape that has straight edges, be it a
| | 05:46 | polygon or a star or even a square.
| | 05:49 | The Geometric Selection tools that
I've just showed you are very basic.
| | 05:52 | They are just a starting place for
learning about Photoshop selections.
| | 05:55 | And they'll come in handy when you are
trying to select anything in a photograph
| | 05:58 | or build a graphic image
that involves a geometric shape.
| | 06:02 | Like any of the selection features,
these tools allow you to isolate an area of
| | 06:06 | an image so that you can affect just
that area with an adjustment, a filter,
| | 06:10 | a deletion or almost anything you
can do to an image in Photoshop.
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| Modifying selections| 00:00 | Once you've made an initial selection
with one of the Selection tools you'll
| | 00:03 | often need to adjust the selection
boundaries to get them just right.
| | 00:07 | For example, you might want to
reposition a selection boundary or transform its
| | 00:11 | shape so that it better
fits the underlying image.
| | 00:14 | And sometimes you're going to want
to completely invert your selection.
| | 00:17 | Let's take a look at how to make these
kinds of modifications to a selection.
| | 00:21 | To start with I'm going to make a selection,
not a very good one, one that needs adjusting.
| | 00:25 | I'll go to the toolbox and I'll select
the Elliptical Marquee and then I'm going
| | 00:29 | to come in and I'm holding my Shift
key down to constrain to a circle and
| | 00:33 | I'm going to drag, but I'm not going to
get it in the right position there.
| | 00:36 | Now if I want to move this selection
you might think to go to the Move tool,
| | 00:40 | which is here in the toolbox and then
drag inside the selection, but notice that
| | 00:45 | the Icon is now changed to scissors
and what that means is that if you
| | 00:48 | click-and-drag a selection with the
Move tool, you take with the selection
| | 00:52 | boundary the underlying image.
| | 00:54 | That isn't what I wanted to do in this
case, so I'm going to undo by pressing
| | 00:57 | Command+Z or Ctrl+Z on a PC.
| | 01:01 | If I want to move just the selection
boundary then I need to go back to the
| | 01:04 | toolbox and choose one of my selection tools.
| | 01:07 | Any of the Marquee tools here, the
Lasso tools here, or any of the tools in this slot,
| | 01:12 | which are Color Selection
tools that we'll cover in another movie.
| | 01:16 | So I get one of my Marquee tools
and then I'm going to come in and
| | 01:19 | click-and-drag that selection
boundary and it goes without the
| | 01:22 | underlying content.
| | 01:23 | So I can use this technique to get
that circle more where I want it in the image,
| | 01:28 | and then if it still isn't
exactly right, I can go onto transform
| | 01:32 | the shape of the selection.
| | 01:34 | To do that I'm going to the Select menu
at the top of the screen and I am going
| | 01:37 | to choose Transform Selection.
| | 01:40 | That gives me this
bounding box with anchor points.
| | 01:42 | I can click on any of the anchor points
with my cursor and drag in to modify the
| | 01:47 | shape of the selection or drag out if
I didn't get it exactly right until it
| | 01:51 | looks the way I want it, and I can
also reposition with this bounding box.
| | 01:55 | When I am all done making the
transformation, I have to go up to the Options Bar
| | 02:00 | and click this checkmark
to accept the transform.
| | 02:03 | If I want to reject the transformation
I click this icon next to the checkmark.
| | 02:06 | I'll click the checkmark right
now and the bounding box disappears.
| | 02:10 | Sometimes you're going to find that it
is easier to select the opposite of what
| | 02:14 | you actually want to select in the end.
A good example of that is when you are
| | 02:18 | making changes to a landscape and the
sky is relatively open so that it's easy
| | 02:22 | to select, but the foreground has all
kinds of objects on it and so would be a
| | 02:26 | little more difficult to select.
| | 02:27 | So you might find it easier to select
the sky and then to invert your selection
| | 02:32 | to get the foreground so that you can
make some adjustments to the foreground.
| | 02:35 | To invert a selection you'll go up
to the Select menu at the top of the
| | 02:38 | screen and choose Inverse.
| | 02:40 | This is another shortcut
you may want to remember.
| | 02:42 | It is Shift+Command+I on the
Mac or Shift+Ctrl+I on a PC.
| | 02:49 | So keep your eye on the image and
notice that now there is a selection boundary
| | 02:54 | all around the outside of the image
indicating that everything except the red
| | 02:58 | circle has been selected.
| | 02:59 | Just to prove it I'm going to go to the
toolbox and select the Brush tool, which
| | 03:03 | has some black paint here in the
foreground color box, and I'm going to
| | 03:07 | click-and-drag and you see the black
paint only goes in the selected area, which
| | 03:11 | is every place except for the circle.
| | 03:13 | Let me undo that by pressing Command
or Ctrl+Z, and then I'll deselect by
| | 03:18 | pressing Command or Ctrl+D. Let me show you
one more way that you can modify a selection.
| | 03:22 | I find this one really comes in handy.
| | 03:24 | It's the ability to
automatically expand a selection.
| | 03:27 | I'll show you what I mean.
| | 03:28 | I'm going to command with
the Rectangular Marquee tool.
| | 03:32 | Let's say I wanted to
select this whole green area.
| | 03:35 | An easy way to do it is just to click-
and-drag a small rectangular selection
| | 03:39 | there and then go up to the Select
menu at the top of the screen and go down
| | 03:43 | to the Grow command. And boom!
| | 03:46 | I've now selected all of the green
that is contiguous to the small rectangle
| | 03:50 | that I initially selected.
| | 03:52 | By contiguous to, I mean that pixels are
touching one another in this selected area.
| | 03:56 | Now watch what happens if I go
back to the Select menu and I choose
| | 04:00 | Similar instead of Grow.
| | 04:02 | Now Photoshop automatically selects
all of the green in the photo, not just
| | 04:07 | contiguous patches of green.
| | 04:08 | So this is a great way to select a
large area without going to the trouble of
| | 04:13 | selecting everything. You can just make
a small selection and let Photoshop do
| | 04:16 | the heavy lifting for you.
| | 04:18 | It's actually making the selection
based on similar colors and tones.
| | 04:22 | So please keep in mind that your
initial selection isn't necessarily your final
| | 04:26 | selection. There are quite a few
ways that you can modify your initial
| | 04:29 | selections. You can move them with any
Selection tool, you can adjust them with
| | 04:33 | the Transform Selection command, you can
invert them, or you can use the Grow and
| | 04:37 | Similar commands I just showed you to
let Photoshop do the work of making a
| | 04:41 | larger selection for you.
| | Collapse this transcript |
| Combining selections| 00:00 | When you have any of the Selection
tools highlighted here in the toolbox,
| | 00:04 | you'll see these four
icons in the Tool Options Bar.
| | 00:07 | These are the icons that allow you to
combine selections in different ways.
| | 00:11 | I'd like to show you how to use these
icons to add to a selection, to subtract
| | 00:15 | from a selection, and to
make an intersecting selection.
| | 00:18 | But first I want to tell
you this important point.
| | 00:20 | By default the first two of these icons is the
ones that's highlighted for a Selection tool.
| | 00:25 | And what that means is that if you
have a selection going, like this one for
| | 00:28 | example, and you still have a Selection
tool highlighted and you click somewhere
| | 00:32 | in your image, you are going
to lose your initial selection.
| | 00:35 | So I want to make sure that you know
that so if it happens to you,
| | 00:38 | you'll understand the reason.
| | 00:39 | Now let's say I do have an initial
selection and I want to add to it.
| | 00:44 | Say I want to add this red block over
here on the right. Then I am going to
| | 00:48 | go up to the Options Bar, and I am
going the second icon, Add To Selection,
| | 00:53 | and I can come in and drag over the red block
and that won't eliminate the first selection.
| | 00:58 | It will add to it.
| | 00:59 | Now let's say I want to add this green
block, which is right next to the initial
| | 01:02 | selection, and this is often what you
are going to be doing when you are making
| | 01:05 | a more complex selection in a photograph.
| | 01:07 | Then you can just come in and add to
the initial one and the two selections
| | 01:11 | will combine like this.
| | 01:13 | You can even use more than one tool
when you are adding to a selection.
| | 01:16 | So for example, let's say I want to add
this triangle to this selection over here.
| | 01:20 | I am going to go to the toolbox and from
behind the Lasso tool I am going to get
| | 01:24 | the Polygonal Lasso.
| | 01:26 | Then I'll go to the Options Bar for
this tool and I'll click on the Add To
| | 01:30 | Selection icon, and then I will come in
and draw a selection around the triangle
| | 01:35 | and all I am doing is clicking at
each point. Because that's the way the
| | 01:38 | Polygonal Lasso works as I
discussed in another movie.
| | 01:41 | And so now I have added this
triangle to the initial selection.
| | 01:44 | To cover more things about adding to a
selection. One is that you don't have to
| | 01:48 | go up here and click on this icon.
| | 01:50 | There is a keyboard shortcut and that
is to just hold-down the Shift key as you
| | 01:54 | create additional selections, and
they will be added to the initial one.
| | 01:57 | And I also want to make the point that
you can use more than one Selection tool
| | 02:01 | together and in fact, that's something
you'll often do when you are actually
| | 02:04 | working on your own images.
| | 02:06 | Now let me show you how you
can subtract from a selection.
| | 02:09 | It's pretty much the same, except that
you are going to use another icon,
| | 02:12 | this one right here, the
Subtract From Selection icon.
| | 02:16 | So I'll click on that one.
| | 02:17 | I have the Polygonal Lasso tool selected.
| | 02:20 | So I get rid of this triangle by
clicking, my finger is off the mouse, I click
| | 02:25 | down here, and then I'll click here
and I'll click here, and I am just
| | 02:28 | surrounding that part of the selection.
| | 02:30 | I don't have to select it exactly,
and when I close the selection,
| | 02:33 | the triangular part of the selection is
subtracted from or disappears from the
| | 02:38 | rest of the selection.
| | 02:39 | And finally let me show you how
to make an intersecting selection.
| | 02:42 | I am going to go back to the
Rectangular Marquee for this one and I'll go up to
| | 02:46 | the Options Bar for that tool and
I'll click the fourth icon here.
| | 02:49 | I'll come down and I am just going to
drag a wide stripe across the entire image,
| | 02:54 | release my mouse and now the only
pieces that are selected are those that
| | 02:58 | that intersected all the existing selections.
| | 03:01 | So those are ways that you can combine
your selections adding to, subtracting from,
| | 03:05 | and intersecting with selections.
| | 03:07 | I have shown you this on a very
basic image but these are techniques that
| | 03:11 | you'll use in more complex situations
as you are working on your own images in Photoshop.
| | Collapse this transcript |
| Using the Quick Selection tool| 00:00 | The Quick Selection tool, which was
introduced in the last version of Photoshop,
| | 00:04 | is so often the most
useful of the Selection tools.
| | 00:07 | With this tool, you get to
paint in your selections.
| | 00:10 | You just click-and-drag over part of
the image and the tool selects similar
| | 00:13 | colors and tones to those you are dragging over.
| | 00:16 | It will even find the edges of a tonal
area to set selection boundaries for you.
| | 00:20 | I am a real fan of this tool.
| | 00:22 | Let me show you how it works.
| | 00:23 | Let's say here that I want to select the sky.
| | 00:25 | I am going to go over to my toolbox
and I am going to select the Quick
| | 00:29 | Selection tool here.
| | 00:30 | In the Tool Options Bar, I do
have an option to sample all layers.
| | 00:34 | You can see in the Layers panel that I
do have more than one layer in this file
| | 00:38 | but I don't want to sample them both.
All I want to do is sample the photo layer
| | 00:42 | because that's where the sky is located.
| | 00:44 | So I will not check Sample All Layers.
| | 00:47 | I am also not going to check Auto-Enhance.
| | 00:49 | What Auto-Enhance does is attempts to
give me a very smooth selection, and
| | 00:54 | I don't really need a smooth selection
here because I have a lot of sharp corners
| | 00:57 | at the edges of the building and the sky.
| | 01:00 | So I am going to leave Auto-
Enhance Unchecked as well.
| | 01:02 | Then I am going to come into the
image and I am going to resize my brush.
| | 01:06 | I'd like to size the brush right in the
image rather than up in the Brush Picker
| | 01:10 | in the Options Bar up here because in
the image, I really get a sense of how big
| | 01:14 | the brush tip is going to
be on this particular image.
| | 01:17 | So I am going to press my Left
Bracket key to make the brush small.
| | 01:21 | It's best to work with a very small brush
when you are using the Quick Select tool.
| | 01:25 | Now I am going to go over
and start selecting the sky.
| | 01:28 | So I am going to press down on my mouse and
start dragging as I paint in this selection.
| | 01:32 | You can see that Photoshop has just
run off in front of me and selected the
| | 01:36 | whole thing for me and I am done.
| | 01:37 | Well, I am almost done because as you can
see, this isn't a perfect selection yet.
| | 01:41 | One thing about the Selection Brush
is that after you make your initial
| | 01:44 | selection, it immediately is
ready to add to the selection.
| | 01:48 | You don't have to go up to the
Options Bar and click on the Add To icon.
| | 01:52 | So if I wanted for example to add
this extra bit over here, I would make my
| | 01:56 | brush even smaller and just click on that
portion and it would be added to the selection.
| | 02:01 | Then if you want to eliminate some
areas from the selection, like this bit
| | 02:04 | here and over on the right, you would
go to the Options Bar and select the
| | 02:08 | minus sign, and then come in and drag
over the areas that you want to subtract
| | 02:13 | from the selection.
| | 02:14 | And this sometimes works well, but
sometimes you end up going back and forth
| | 02:18 | between adding to and subtracting from.
| | 02:20 | So there you see I went too far and
now I have to go back and add to and to,
| | 02:24 | and that can be a little time-consuming.
| | 02:26 | So there is something else that you
can do instead, and that is you can train
| | 02:29 | the Quick Selection Brush before you
use it, teaching it what you don't want to
| | 02:33 | be included in your selection.
| | 02:34 | That's just so great that I have to show you.
| | 02:37 | So I am going to delete the selection I
have now by pressing Command+D on a Mac,
| | 02:41 | or Ctrl+D on the PC.
| | 02:43 | And I am going to go back and this time,
with the Quick Selection Brush, I am
| | 02:47 | just going to select a small area to
start and then I am going to go up to the
| | 02:50 | Options Bar and I am
going to click the minus icon.
| | 02:54 | And now with the minus icon, I am going
to go over all the colors and tones that
| | 02:58 | I don't want to have selected here.
| | 02:59 | We just have to go around the edges
of the buildings and I am even going to
| | 03:06 | make my brush small enough to travel up that
little chimney there, going all the way around.
| | 03:22 | It's kind of hard to draw with a mouse.
| | 03:23 | It's like drawing with a bar of soap, isn't it?
| | 03:25 | All right, here we go.
I am almost done. There.
| | 03:30 | Now if I go back to the Options Bar and
click the plus icon there and come back
| | 03:34 | into my image and start drawing a
selection, notice that Photoshop obeys my
| | 03:39 | training and it did not include in the
selection, the buildings over here this time,
| | 03:43 | and it even left out of the selection
that small chimney that I trained it to avoid.
| | 03:48 | So that's the way that I suggest
that you use this really amazing tool.
| | 03:51 | That's just to show you that there is a
reason to have made this selection, I am
| | 03:54 | going to press the Delete key on my keyboard.
| | 03:56 | That's the Backspace key on a PC to cut
that sky away and that allows me to see
| | 04:01 | the pink sky on the layer below, and
then I'll press Command+D on the Mac,
| | 04:05 | Ctrl+D on the PC to delete that selection.
| | 04:08 | I am going to revert this file to its
original, and if you are working with me
| | 04:11 | with the Exercise Files,
I suggest you do that too.
| | 04:14 | By going up to the File menu at the top
of the screen and choosing Revert, and
| | 04:18 | that will bring back that gray sky.
| | 04:20 | Before we had the Quick Selection tool
in Photoshop CS3, the only similar tool
| | 04:25 | that we had was the Magic Wand.
| | 04:27 | It's still there and you may still use
it but it just isn't as useful as the
| | 04:31 | Quick Selection tool mostly because you
can't control which areas it's going to
| | 04:35 | select as well as you can
with the Quick Selection tool.
| | 04:37 | So just to see what the Magic Wand does,
I am going back to the Quick Selection
| | 04:42 | tool slot and I'll chose Magic Wand tool.
| | 04:44 | Now with this tool, depending where I
click in the sky, Photoshop is going to
| | 04:48 | select different areas.
| | 04:50 | Now here it went too far and
included some of the blue and brown.
| | 04:53 | If I click somewhere else, it'll take a
different selection and so on like this.
| | 04:58 | So the difficulty here is
controlling exactly what will be selected.
| | 05:01 | What the tool does is looks at the
color and tone of the pixel you happened to
| | 05:05 | click on and then it selects within
a range of similar colors and tones.
| | 05:09 | So what you can try to do is to
change that range of tones by changing the
| | 05:14 | number in the Tolerance
field here in the Options Bar.
| | 05:17 | So maybe, I'll try 50 and see what
happens and now I'll come in and I'll
| | 05:21 | try clicking again.
| | 05:22 | Well, that time is selected too much.
| | 05:24 | So although the Magic Wand is
still there, I prefer using the Quick
| | 05:27 | Selection tool whenever I can
because it just gives me more control over
| | 05:31 | selecting by color and tone.
| | Collapse this transcript |
| Refining selection edges| 00:00 | Often you are going to want
to fine-tune your selections.
| | 00:03 | Fortunately, Photoshop gathers all the
fine-tuning controls into one convenient
| | 00:07 | location for you called the Refine Edge panel.
| | 00:10 | From there you will be able to soften
your selection edges, contract and expand them,
| | 00:14 | and otherwise refine your
selections to make them fit your images.
| | 00:17 | Before I show you the Refine Edge panel,
I need to have a selection going and so
| | 00:21 | I am going to use my favorite
Selection tool, which I showed you in another
| | 00:24 | movie, the Quick Selection tool here.
| | 00:26 | I am going to go to the Options Bar and
set it back to its default icon, which is
| | 00:30 | the first one here, and then I am going
to come in and just drag down the river
| | 00:34 | with a very small brush, letting
the tool select the river for me.
| | 00:38 | Then I will go back to the Options bar
and I will click on the minus icon and
| | 00:42 | I will come in and go over these
small areas that the tool added to the
| | 00:47 | selection and I really don't want them
in here because I want only the river
| | 00:50 | selected at this point.
| | 00:51 | I am not going to be too careful
because I am going to let the Refine Edge
| | 00:55 | dialog do a lot of this work for me.
| | 00:56 | Here is just a couple of
spots to get and I am done.
| | 01:00 | Now I actually wanted to have the banks of
the river selected rather than the river itself.
| | 01:05 | So to do that, I am going up to the
Select menu and I am going to choose Inverse
| | 01:09 | and now everything is selected except the river.
| | 01:11 | So now I am going to open the Refine
Edge dialog to refine the edges of the
| | 01:16 | selection along the trees here.
| | 01:18 | I can access the Refine Edge dialog
from the Options bar for this tool and for
| | 01:22 | other selection tools or I can go to
the Select menu and open the Refine Edge
| | 01:26 | dialog box from here.
| | 01:28 | The first thing to notice about the
Refine Edge dialog box is that it shows the
| | 01:32 | selection not as marching ants by
default but rather against a white background.
| | 01:38 | Alternatively, I can view the
selected trees against a black background or
| | 01:42 | against this mask view or I can see the
actual mask that Photoshop is creating
| | 01:47 | from this selection.
| | 01:48 | A mask is just another way of
displaying a selection and in this case, when you
| | 01:53 | look at the mask, the selected areas are
white, the non-selected areas are black,
| | 01:58 | and the partially selected edges of
the trees are various shades of gray.
| | 02:02 | In this case, I prefer to
use the white background.
| | 02:05 | So with that option selected, I am going to
use these controls to refine my selection.
| | 02:10 | I usually start by putting everything
over all the way to the left back to 0 to
| | 02:14 | see how the selection
would look without any changes.
| | 02:16 | As you can see, it's pretty rough.
| | 02:19 | Then I am going to go to the Radius
slider at the top and I am going to move
| | 02:22 | that over to the right.
| | 02:23 | I will go a little ways and then I will
release my mouse and as I go, I see that
| | 02:28 | the edges of the trees, including the
individual branches, are starting to come
| | 02:31 | back as I refine that selection edge.
| | 02:34 | And you will notice that when I am
hovering over the Radius control, at the
| | 02:38 | bottom of this dialog box, there is a
description that tells me that radius will
| | 02:41 | improve the edge in areas with
either soft transitions or fine details.
| | 02:46 | These are certainly fine details and
I think the Radius slider is doing a pretty
| | 02:49 | good job of it for me.
| | 02:51 | Now along with radius, I will sometimes
use Contrast because when you increase
| | 02:55 | the radius, you do sometimes get a
little bit of fuzzy artifact along the
| | 02:58 | selection edge as the description tells us here.
| | 03:01 | So I am going to move the Contrast
slider over a little and you can see the
| | 03:04 | edges on my trees filling in
with a little more contrast there.
| | 03:07 | There are some other sliders
that sometimes come in handy.
| | 03:10 | Sometimes, I will move the Contract/
Expand slider over to the left a bit to
| | 03:14 | contract a selection edge.
| | 03:16 | That helps you move any fringes of dark
or light pixels that sometimes appear on
| | 03:19 | the edge of the selection.
| | 03:21 | And sometimes I will use Feather,
particularly when I am making a selection of
| | 03:24 | an object that I want to include in a
collage. So I'll want to have a soft edge
| | 03:28 | that blends with another background.
| | 03:29 | So you can see that when I pull Feather over to
the right, it blurs the edge of this selection.
| | 03:34 | I am going to take that back to 0 in
this particular case and finally, there is
| | 03:38 | a Smooth slider that does what it says.
| | 03:40 | It makes selection edges smoother.
| | 03:42 | And again, I don't want that in this case.
| | 03:44 | So when I am all done, I am just going
to click OK, and that takes me back out
| | 03:48 | to my normal selection
view with the marching ants.
| | 03:51 | When you are viewing your initial
selection with marching ants, like reviewing
| | 03:54 | this selection, it's almost
impossible to judge the quality of the edge.
| | 03:59 | So it's always a good idea to go into
Refine Edge to review your selection
| | 04:03 | against the various backgrounds
offered there and to use the sliders in
| | 04:06 | Refine Edge to fine-tune the selection
that you have made with any of the selection tools.
| | Collapse this transcript |
| Using Quick Mask mode| 00:00 | Quick Mask Mode offers you
another way to refine selections.
| | 00:04 | Quick Mask Mode comes in handy when you
have a small area to select and you just
| | 00:08 | want to manually paint in a selection.
| | 00:10 | Quick Mask Mode is also useful to
clean up a selection that you've made with
| | 00:13 | another tool that just needs a
quick touch up here and there.
| | 00:16 | Let's give it a try here.
| | 00:18 | I'm going to get my Quick Selection
tool and I'm going to make a really quick
| | 00:21 | selection of these pots.
| | 00:23 | You can see how imperfect this selection is.
| | 00:25 | I need to add to this selection on
the right and remove part of this
| | 00:29 | selection on the left side.
| | 00:31 | I could use the Quick Selection Brush
options to do that, but it's probably
| | 00:35 | just as fast in this case to go down and click
on Quick Mask Mode at the bottom of the toolbox.
| | 00:41 | Quick Mask Mode is showing
me the selection as a mask.
| | 00:44 | A mask is just another way of
displaying selection information.
| | 00:47 | The clear areas of the mask are the
selected areas, and the red translucent
| | 00:52 | areas are the masked areas.
| | 00:54 | In Quick Mask Mode, I can just paint
away this masked area and paint in a mask
| | 00:58 | over here on the left.
| | 00:59 | To do that, I'm going to the toolbox
and I'm going to the toolbox and I'm going
| | 01:02 | to select my Regular Brush tool.
| | 01:03 | Then I'm going to go down and see what
color is available for me to paint with.
| | 01:07 | When I'm working on a mask,
I won't be able to paint with any color.
| | 01:10 | Only with black, white or shades of gray.
| | 01:13 | I'm going to switch my foreground
color from black to white by pressing the X key
| | 01:17 | and then I'm going to go over to
this pot and I'm just going to paint away
| | 01:22 | that part of the mask
that's encroaching on the pot.
| | 01:24 | What I am doing is actually
adding to the selection of the pot.
| | 01:29 | Then if I need to clean up the edge
there a little bit, I'll switch from white
| | 01:33 | to black paint by pressing the X and I'll
fix the edge where I over-painted just a bit.
| | 01:39 | Then I'll go over to the left side
and I'll paint the mask in there.
| | 01:42 | I'm still painting with black, which
adds the mask back in and is actually
| | 01:47 | deleting from the selection.
| | 01:50 | I'll do this bit really fast.
| | 01:51 | I am all done and I can now exit
Quick Mask mode and there is my selection.
| | 01:57 | The beauty of using Quick Mask mode is
that it offers you the fine control you
| | 02:01 | sometimes need to get in and
just clean up some small areas.
| | 02:04 | Although the automatic selection
tools like the Quick Selection tool are
| | 02:08 | great to get you most of the way
there, the Manual Quick Mask feature is
| | 02:12 | often just what you need to take you
that extra inch toward your goal of
| | 02:15 | making the best selection possible.
| | Collapse this transcript |
| Selecting with the improved Color Range command| 00:00 | There is another selection feature in
Photoshop that you might not have found on
| | 00:04 | your own because it's not a tool in the toolbox.
| | 00:07 | That's the Color Range command.
| | 00:09 | I like to use the Color Range command
when I need to make a selection based on
| | 00:12 | color and I want a feature that
can make fine distinctions in color.
| | 00:16 | So for example, here, what I would like to
do is change the color of this yellow sign.
| | 00:20 | So I want to select the solid yellow
parts of the sign, but I don't want to
| | 00:24 | fully select the graffiti on the
sign that's the light yellow at the
| | 00:27 | bottom-right or the light scratches on
the sign, because I want the recolored
| | 00:32 | sign to retain its character.
| | 00:34 | That's when the Color Range
command can come in handy.
| | 00:36 | I am going to go up to the Select
menu and I'll choose Color Range.
| | 00:40 | The first thing I do here in the
Color Range dialog box is go to Selection
| | 00:44 | Preview and click that menu and I'm
going to cycle through these choices to see
| | 00:48 | how I want to preview this
selection over in the document window.
| | 00:52 | That's how Grayscale is going to show up.
| | 00:55 | This is how Black Matte will
show up. White Matte. And Quick Mask.
| | 01:01 | In this case, I think that either this
Quick Mask view or perhaps this Black
| | 01:05 | Matte view will be the most useful.
| | 01:07 | What I am seeing here is the parts that
are not selected are black or gray and
| | 01:11 | the parts that are currently selected are
clear so that I can see through to the yellow sign.
| | 01:16 | There are several ways to make a
selection in the Color Range dialog box.
| | 01:20 | One is to use the presets
in the Select menu up here.
| | 01:24 | I'm going to try that first, by coming
down and choosing Yellows, which asks
| | 01:28 | Photoshop to select all
the yellows in the image.
| | 01:31 | That does a pretty good job
as I can see in this preview.
| | 01:34 | All the clear areas, which are the
yellow areas, are selected and the other
| | 01:38 | areas are not selected.
| | 01:40 | However, there is one thing I see that
is selected that I don't want to include
| | 01:44 | in the selection and that's this area
down at the bottom, which happens to be a
| | 01:47 | yellow sign in the background.
| | 01:49 | So I can't use the preset because
there is no way to take that away.
| | 01:53 | Instead, I'm going to change Select back
to Sampled Colors and this means that I
| | 01:58 | get to sample the colors to be selected myself.
| | 02:01 | To sample colors, I'll use the
Eyedropper over here and I'll click on an area
| | 02:06 | that I want to select here in the
image or I could do the same thing over
| | 02:09 | here in the preview.
| | 02:10 | I will do it here for now.
| | 02:12 | That did a pretty good job of
selecting much of the yellow.
| | 02:15 | If I wanted to select other colors
similar to the one I clicked on, I could get
| | 02:20 | the Plus Eyedropper and click related colors
until I got the full selection that I wanted.
| | 02:26 | If I selected a color I didn't want, then I
will get the Minus Eyedropper and use that.
| | 02:30 | I can also use the Fuzziness slider here to
increase the range of colors that I have selected.
| | 02:35 | So if I drag that to the right, I'm
selecting a wider range of colors including
| | 02:40 | some of that yellow that I didn't want.
| | 02:42 | So I'm going to drag that back toward the left.
| | 02:44 | But notice that there is still some of that
background sign included in the selection.
| | 02:50 | So there is a new feature here that I
can use to eliminate that and that is the
| | 02:54 | Localized Color Clusters checkbox.
| | 02:56 | I'm going to check that box and then
I have access to the Range slider here.
| | 03:02 | If I drag the Range slider to the
left, that sign and the distance
| | 03:06 | disappear from the selection.
| | 03:08 | This new feature is based on special
tolerance technology that allows you to
| | 03:12 | control which pixels are selected in
an image not only by their color but
| | 03:16 | also by their distance.
| | 03:18 | Now that I have made that change, I need
to come back in with my Plus Eyedropper
| | 03:21 | and this time I'll do it in the image.
| | 03:23 | I'm going to click to include a
few more areas in the selection.
| | 03:27 | When I am satisfied, I'll click OK
and here I can see this selection in the
| | 03:31 | document, represented the
typical way as marching ants.
| | 03:34 | I'm going to recolor this selection by
selecting my Brush tool in the toolbox,
| | 03:39 | going down to the foreground Color box
and clicking to open the Color Picker and
| | 03:43 | I'm going to choose a color
in the orange range and say OK.
| | 03:47 | Then I'll come in and I'm going to
make my brush a little bit bigger.
| | 03:51 | I'm just going to paint over
the selected areas of the sign.
| | 03:58 | The non-selected areas, like this
graffiti and that red mark on the sign and the
| | 04:03 | scratch over on the left did not get
recolored because they weren't selected.
| | 04:07 | I'm going to deselect by
pressing Command+D on the Mac.
| | 04:10 | That's Ctrl+D on the PC and that's
the result, exactly what I wanted.
| | 04:15 | The Color Range command offers a really
different approach to selecting than the
| | 04:18 | selection tools that I
have covered in other movies.
| | 04:21 | Color Range is a color-based method
that can work well when you need to make
| | 04:24 | fine distinctions based
on color, as in this photo.
| | 04:27 | Give it a try on one of your own
photos to see how it works for you.
| | Collapse this transcript |
| Selecting with the Magnetic Lasso tool| 00:00 | The Magnetic Lasso tool is one of
those tools than often gets overlooked, but
| | 00:04 | it's useful when you need to select an
object with a high-contrast edge like
| | 00:09 | these balloons against the blue sky.
| | 00:11 | With the Magnetic Lasso tool,
you can get this job done without even
| | 00:14 | holding your mouse down.
| | 00:16 | You might say it's the
lazy woman's way of selecting.
| | 00:18 | I'm going to choose the Magnetic Lasso
tool from the toolbox where it can be found
| | 00:23 | in the flyout menu with the other Lasso tools.
| | 00:25 | Then I'm going to move over to this
balloon and I'm going to click once right
| | 00:30 | on its edge and then I'm going to
lift my finger off the mouse and I'm just
| | 00:33 | moving the mouse around the balloon with my
finger not pressing down on the mouse button.
| | 00:38 | As I do, the Magnetic Lasso is
laying down anchor points, attaching this
| | 00:42 | thread to the balloon.
| | 00:43 | Now once in a while it will make a
mistake, like it did here, where it's
| | 00:47 | actually attaching itself to
some of the pixels in the sky.
| | 00:49 | Here is how you back up
to fix a mistake like that.
| | 00:53 | I'm going to just move this thread back
and then I am going to press the Delete key,
| | 00:56 | that's the Backspace key on a PC,
and that will delete those anchor points
| | 01:01 | and then I can continue to move around.
| | 01:03 | Also, if I find a problem area like
that, I can click to add my own anchor
| | 01:07 | points, rather than relying on the tool
to set the anchor points automatically.
| | 01:12 | When I get to an area where there really is
no problem and there is nothing out to decide.
| | 01:16 | I can make it easier on myself by
increasing the width of the brush tip.
| | 01:21 | To do that on the fly, I'm first going
to press the Caps Lock key so that I can
| | 01:25 | see what the current width of that brush tip is.
| | 01:28 | Then I'm going to use my Right Bracket
key to increase the brush size, just like
| | 01:32 | I do with any Brush tool.
| | 01:34 | Now as I go around the balloon here,
I don't have to worry about being so
| | 01:37 | close to the balloon.
| | 01:38 | There is another mistake.
| | 01:39 | Let me back up and start it again.
| | 01:41 | So you have to keep your eye on it,
but it pretty much does the work for you.
| | 01:46 | When I get to the beginning,
I'll click and there is my selection.
| | 01:50 | There are a couple of other options in
the Options bar that I'll explain to you.
| | 01:54 | The Frequency option governs how many
anchor points are set down around the edge.
| | 01:58 | If you're working on a bigger image
then you'll need more anchor points to keep
| | 02:02 | the selection through to the edge.
| | 02:04 | If you are working on an object that
doesn't have as much contrast with its
| | 02:08 | background as this one does, you might want to
increase the Contrast field a little bit too.
| | 02:12 | But the Magnetic Lasso has given me
that selection that I want in this case.
| | 02:16 | Even though the Magnetic Lasso tool is
often hidden from view behind the other
| | 02:20 | Lasso tools in the toolbox, do keep
it in mind as an option, when you are
| | 02:24 | working on an object with a high-contrast edge.
| | Collapse this transcript |
| Using the Background Eraser tool| 00:00 | The Background Eraser tool
does two jobs for you in one.
| | 00:03 | It both selects and
deletes pixels at the same time.
| | 00:06 | It's often the best choice for
selecting a neutral background like this one,
| | 00:10 | when you have a lot of
fine detail in the foreground.
| | 00:12 | What I want to do here is select this
neutral sky, so I can replace it with a
| | 00:16 | more interesting image.
| | 00:17 | So I'll select the Background Eraser
tool from the toolbox right here, behind
| | 00:22 | the Eraser tool and I am
going to go up to the Options bar.
| | 00:25 | I want to make sure that this
first sample 1's icon is selected.
| | 00:28 | This works fine when I have a background
that is pretty much one color, like this one.
| | 00:32 | If I had a multicolored background,
then I would select the next option, which
| | 00:36 | would sample continuously as I
moved the tool around the image.
| | 00:39 | I am also going to set the Limits to
Discontiguous, and that will allow me to
| | 00:44 | select pixels that aren't
necessarily touching one another.
| | 00:47 | I'll leave the Tolerance at its default.
| | 00:49 | When I click on a pixel of a particular
color and tone, Tolerance determines the
| | 00:54 | range of pixels around that one
that will be selected and deleted.
| | 00:58 | Finally, I am going to
protect the foreground color.
| | 01:01 | I'll click this check box and then I
am going to go to my toolbox and get
| | 01:04 | my Eyedropper tool.
| | 01:06 | I am going to click on the
color that I want to protect.
| | 01:08 | Maybe this light green here.
| | 01:10 | That color now shows up in
the foreground Color box.
| | 01:13 | When I go back to my Background
Eraser tool, it will be the foreground
| | 01:17 | color that's protected.
| | 01:19 | That means that pixels of that
particular green won't be selected and deleted.
| | 01:23 | Now I am going to go into the image.
I'll start at this bottom-right and I am
| | 01:27 | going to place the crosshair of the
brush tip on the neutral sky color and I am
| | 01:32 | going to make sure that the circumference
of the brush tip includes the green vines
| | 01:35 | and I'll just start to drag.
| | 01:38 | I might increase my brush or decrease my
brush as I go, depending on what I want
| | 01:42 | to select and delete.
| | 01:44 | As I select and delete, you can see
the gray sky of the image on the layer
| | 01:49 | below showing through.
| | 01:51 | The tool really shines up here at the top
where I have lots of fine detail in the plant.
| | 01:56 | If I just click once right here, I am
able to select and delete the sky around
| | 02:00 | all these fine stems and leaves.
| | 02:03 | When I come over here, I'll make the
brush bigger so that it can get that
| | 02:08 | whole area at once and then I'll make the
brush smaller to continue around the water tower.
| | 02:15 | I am not going to finish doing this
because I think you get the point.
| | 02:18 | But what I would normally do is go all
the way around the water tower and then
| | 02:23 | I would take my Lasso tool and I would
select everything outside of that deleted area.
| | 02:28 | So I just make a really rough lasso
like this and come all the way down and
| | 02:34 | around the outside of the image.
| | 02:38 | With that area selected, I would press
the Delete key on a Mac or the Backspace
| | 02:42 | key on a PC, and that would
delete the rest of the sky.
| | 02:45 | I am going to press Command+D on a Mac,
that's Ctrl+D on a PC, and you can see
| | 02:51 | how well this tool did by deleting
the area around these fine vines.
| | 02:55 | Selecting fine detail like
this is always a challenge.
| | 02:58 | If you are looking for a solution to
selecting trees or animal fur or perhaps hair,
| | 03:02 | then the Background
Eraser is a tool that you should try.
| | Collapse this transcript |
| Saving selections| 00:00 | Once you've taken the time and trouble to
make a selection, it's a shame to lose it.
| | 00:04 | And if you do have one selection
going in your image and you have to make
| | 00:07 | another one somewhere else then
you're going to lose the first selection.
| | 00:10 | So I would like to show you how you
can save a selection after you make it.
| | 00:14 | You'll always be able to bring back
your saved selections, because saved
| | 00:17 | selections stay with the file even if
you close and then reopen the file later.
| | 00:21 | I am going to make a selection here
with the Quick Selection tool, choosing it
| | 00:25 | in the toolbox and then just
coming in and moving over the sky.
| | 00:28 | Now if I wanted to save that selection,
I would go to the Select menu at the top
| | 00:33 | of the screen and move down to Save Selection.
| | 00:37 | Here in the Save Selection dialog box,
I simply have to give the selection a name.
| | 00:41 | I'll call it sky and I'll click OK.
| | 00:44 | Then I am going to delete this
selection by pressing Command+D on a Mac or
| | 00:48 | Ctrl+D on a PC and if I wanted to,
I could close and then reopen the file
| | 00:54 | somewhere down the line and when I
wanted to use that selection, I would simply
| | 00:58 | go to the Select menu and I would
choose Load Selection and here I will have a
| | 01:03 | choice in the Channel menu of all
of the selections that I have saved.
| | 01:07 | Now here there is only one, sky, but if
there were others they would be in this menu too.
| | 01:11 | So I would choose that and click OK
and my selection comes right back.
| | 01:16 | Taking that extra minute after you make
a selection to load it into memory like this
| | 01:20 | can save you the time and the
effort of reselecting the same item later.
| | 01:24 | It's just one more small thing that you
can do to make your experience of using
| | 01:28 | Photoshop smoother and more productive.
| | Collapse this transcript |
|
|
5. LayersUnderstanding layers| 00:00 | Layers are the building
blocks of a Photoshop file.
| | 00:03 | Layers give you the flexibility to
make changes to artwork that's isolated on
| | 00:06 | its own layer without
affecting the artwork on other layers.
| | 00:09 | In this movie, I'll talk about what
layers are and the benefits of making
| | 00:13 | liberal use of layers in your Photoshop files.
| | 00:16 | To visualize what layers are, you
might think of several flat panes of glass.
| | 00:19 | Imagine that you've put a bit of paint
on each pane of glass and then you've
| | 00:23 | stacked all the panes of
glass one on top of the other.
| | 00:26 | Where the panes at the top are
transparent, you would be able to see down to
| | 00:30 | what was on the glass below, but where
there was paint on a pane of glass,
| | 00:34 | you wouldn't be able to see through
to it to the panes of glass below.
| | 00:37 | Layers work just like that.
| | 00:38 | Also in this analogy, if you took one
of those panes of glass and change the
| | 00:42 | painting on it, but not on the others,
it wouldn't directly affect what was on
| | 00:47 | all the other panes of glass
and the same is true of layers.
| | 00:50 | You see what I mean, as we look
through this layered file in Photoshop.
| | 00:53 | Make sure that your Layers panel is open.
| | 00:55 | If it's not, go to the Window menu at
the top of the screen and choose Layers.
| | 01:00 | If you would like your icons in your
Layers panel to be big like mine are here,
| | 01:04 | then you can go to the Layers panel
menu right here and choose Panel Options.
| | 01:09 | In the Panel Options dialog, I
selected the large thumbnail here and I also
| | 01:14 | selected Layer Bounds so that each
thumbnail only shows me what's on a
| | 01:17 | particular layer, not the
entire document and I will click OK.
| | 01:21 | So let's take a look at what is on
the individual layers in this file.
| | 01:25 | This is what I do actually whenever I
open a file that I get from someone else
| | 01:29 | so that I can deconstruct what's on each layer.
| | 01:31 | Each of the bars in the Layers panel
represents a layer in the document and
| | 01:35 | you'll notice to the left of
each layer bar is an Eye icon.
| | 01:39 | If you click on the Eye icon next to
a layer, it turns off temporarily the
| | 01:43 | content of that layer.
| | 01:45 | So the best way to go about de-
constructing a Photoshop file is to make each
| | 01:49 | layer temporarily invisible as
you keep your eye on the document.
| | 01:52 | In that way, you can see what's on each layer.
| | 01:54 | So here I can see that only the
NO.5 text is on the logo layer.
| | 01:58 | If I move down to the cup layer, the only
thing that seems to be there is the cup.
| | 02:03 | On the tin layer, I have got not only
this tin, but also that glow behind it and
| | 02:07 | the text that's on the tin and down to
the design layer, which is the pattern on
| | 02:14 | the background and
finally, the Background layer.
| | 02:18 | When I turn the Background layer on
and off you can see that it is fully
| | 02:21 | covered with brown paint, but that when it's
off, there is a grey and white checkerboard.
| | 02:26 | That gray and white checkerboard
represents transparency in Photoshop.
| | 02:30 | So that means that at the bottom of
this stack of layers, there is nothing.
| | 02:34 | There is just transparency.
| | 02:35 | I will turn that Background layer back on.
| | 02:37 | By the way, if you wanted to see just
what was on a particular layer, another way
| | 02:41 | to go about that is to hold down
your Option key on a Mac or your Alt key on
| | 02:45 | a PC, as you click on one of these Eye icons.
| | 02:47 | So if I do that on the tin layer,
everything else turns off temporarily so I can
| | 02:52 | see just what's on the tin layer.
| | 02:54 | That's also a useful technique when
you are trying to understand what's on
| | 02:57 | the layers in a file.
| | 02:59 | I will turn the other layers back on by
Option or Alt clicking again on the Eye icon.
| | 03:03 | The most important thing to know about
layers is that you have to select a layer
| | 03:07 | before you can do something
to the artwork on that layer.
| | 03:10 | For example, let's say that I wanted to
take the tin and move it over a little.
| | 03:15 | I would have to select the layer on
which the tin lives, which is this layer
| | 03:18 | right here, before I could move its content.
| | 03:21 | So I am going to click on the tin
layer and I am careful to just click in the
| | 03:24 | blank empty space and that selects the layer.
| | 03:27 | It turns blue as a visual cue
that this is a selected layer.
| | 03:31 | Now I could come in, for example, and
get my Move tool and if I click-and-drag
| | 03:36 | anywhere in the image, all of
the content of that layer moves.
| | 03:39 | I am going to press Command+Z, that's
Ctrl+Z on a PC to put that tin right back
| | 03:44 | where it was before I moved it.
| | 03:46 | There is another way to select
layers and that's the Auto-Select feature.
| | 03:50 | That's an option in the Options bar
when you have the Move tool selected.
| | 03:54 | You will see it right here.
| | 03:55 | It says Auto-Select.
| | 03:56 | Sometimes this comes in handy
because what it allows you to do is this.
| | 04:00 | With Auto-Select checked, if I come into
the image and I click on an object, say
| | 04:04 | this cup, keep your eye on the Layers
panel and you will see that the cup lives on
| | 04:09 | is automatically selected and now I
could do whatever I wanted to this layer.
| | 04:14 | Or say I wanted to work on the tin then
I would click on the tin and that would
| | 04:17 | become automatically selected.
| | 04:19 | Two things about the Auto-Select feature.
| | 04:21 | The first is I strongly urge you to
turn it off when you are not using it,
| | 04:25 | because if you leave it
checked you could be surprised.
| | 04:27 | For example, if I were working on this
tin and I just happened to move my mouse
| | 04:31 | up here and click, that would
automatically take me to another layer and that
| | 04:34 | can be a surprise and not always very helpful.
| | 04:36 | So I do turn off Auto-
Select when I am done with it.
| | 04:39 | Another thing about Auto-Select is this.
You need to understand how it works if
| | 04:43 | you have content in the same
place on several different layers.
| | 04:46 | For example, if I go right here on top of the
No. 5, I have content on lots of layers here.
| | 04:53 | I have content on the logo layer, on
the cup layer, maybe on the design layer
| | 04:57 | right here, as well as on thebackground layer.
| | 04:59 | So if I click right here, Photoshop
automatically selects the top layer on which
| | 05:04 | there is content right under my
cursor, in this case the logo layer.
| | 05:07 | But what if I really wanted to
select something beneath that?
| | 05:11 | Then I would hold down the Ctrl key on
a Mac or right-click on a PC and click
| | 05:15 | and that would give me a small menu that
listed all the layers that have content
| | 05:19 | at that particular point.
| | 05:21 | So if I was really after the background
layer I could click on that and it would
| | 05:25 | select the background layer in the Layers panel.
| | 05:27 | So I do want to stress that the real
benefit of using layers is that you can
| | 05:31 | isolate separate pieces of artwork from
the rest of the file and that means that
| | 05:35 | you have a lot more flexibility and
creative freedom to work with one part of
| | 05:39 | your document without directly
impacting the rest of the file.
| | Collapse this transcript |
| Creating layers| 00:00 | The first step in making a layered
document in Photoshop is to create a new layer.
| | 00:04 | In this movie, I'd like to show you a
couple of ways to create a new layer,
| | 00:08 | by starting one from scratch and then by
dragging a layer of content in from another document.
| | 00:13 | The first thing to do when you're
about to create a new layer is decide where
| | 00:17 | you want it in the layer stack.
| | 00:18 | In this case I'd like to put a new
layer right above the cup layer and so I
| | 00:23 | select the cup layer.
| | 00:24 | There are several ways to
create a new layer in Photoshop.
| | 00:27 | My favorite way is to go to the bottom
of the Layers panel and there is a small
| | 00:31 | icon there that looks like a
page with the corner turned up.
| | 00:34 | That's the Create New Layer icon.
| | 00:36 | I'm going to click that one and it
immediately makes a new layer for me.
| | 00:39 | I know that it seems like just one
extra step to name a layer but I think it's
| | 00:43 | really important because if you're
going to create a file with lots and lots
| | 00:46 | of layers in it, it's difficult to know what's
on a layer unless the layer has a meaningful name.
| | 00:51 | So here's how you name a layer.
| | 00:52 | You just go to the label on
the layer and double-click.
| | 00:55 | That opens the editing field and you can
type the name for your layer. I'll call
| | 00:59 | this one circle and then press Return or Enter.
| | 01:02 | If you start to get lots of layers in
the Layers panel, you might find it hard
| | 01:06 | to get in there and double-click right
on those words, so here is another way to
| | 01:09 | rename the layer. Hold down the Option
key on the Mac or the Alt key on a PC and
| | 01:14 | double-click anywhere in
the blank area of the bar.
| | 01:17 | That opens the Layer Properties dialog box.
| | 01:19 | You could type a name there and click OK.
| | 01:22 | Notice that the new layer came in right
above the cup layer, the one that I'd selected.
| | 01:26 | That's the general behavior,
that a new layer will be created above
| | 01:29 | whatever layer is selected.
| | 01:31 | When a new layer comes in, it's blank
and you can see that here by the gray and
| | 01:35 | white checkerboard in the
icon on the circle layer.
| | 01:38 | So let's put some content on this layer,
which is what you'd normally do when
| | 01:40 | you create a new layer.
| | 01:41 | I'm going to go to the toolbox and
select the Elliptical Marquee tool there.
| | 01:45 | I'm going to come in and I'm going to
draw a circle by holding the Shift key and
| | 01:50 | dragging to constrain the elliptical
selection to a circular shape instead.
| | 01:54 | As long as I still have the Selection
tool highlighted, I can click and drag
| | 01:57 | inside the selection boundary to move
that boundary into place and now I'd like
| | 02:01 | to fill the selection with color.
| | 02:03 | Filling is something you do all the time.
| | 02:05 | Let me show you how you do it.
| | 02:06 | First you need to select a color.
| | 02:08 | You can do that from the color picker
or if you have your Color Swatches panel open,
| | 02:13 | you can just come in there
and click on a color that you like.
| | 02:15 | I'm going to use this magenta color
and that sets my foreground color box.
| | 02:19 | Then I'm going to go up to the Edit
menu at the top of the screen and I'm
| | 02:22 | going to choose Fill.
| | 02:25 | In this dialog box from the Use menu, I
can choose what color I'm going to fill with.
| | 02:30 | In this case, I'm going to fill with the
magenta that's in the foreground color box.
| | 02:34 | The other choices here are whatever
colors in the background color box or you
| | 02:38 | can just choose Color and that would
open the color picker at which point you
| | 02:41 | could make your color choice now or
you can fill with Pattern, with Black,
| | 02:45 | with Gray or with White.
| | 02:46 | I'm going to press OK to fill the
selection with magenta and I'll press
| | 02:51 | Command+D on the Mac or
Ctrl+D on the PC to deselect.
| | 02:55 | Over in the Layers panel, you can see the
content that I've just added to my new layer.
| | 02:58 | So that's how to create a layer from scratch.
| | 03:01 | Another way to create a new layer is
to bring in content from another file.
| | 03:04 | I have another file open up here.
| | 03:06 | It's called whipped.psd and if I
click on its tab, I can see what's there.
| | 03:11 | It doesn't look like much but it
actually is a photograph of whipped cream.
| | 03:15 | There are two ways to bring content in
from one file to another in Photoshop CS4,
| | 03:19 | when you're using the new docked
tabs feature to display multiple files.
| | 03:23 | One way to do it is to select what you
want in the active document, copy it,
| | 03:29 | then move to the second document and paste it.
| | 03:31 | Another way would be to go to the
Arrange Documents menu in the new Application Bar,
| | 03:35 | click there and choose one of the
layouts that will show you both documents at once.
| | 03:40 | I'll select this 2 Up view here.
| | 03:43 | Now I'm going to go to the
toolbox and get my Move tool.
| | 03:46 | With the Move tool, I'll click
anywhere in the whipped.psd document and
| | 03:50 | I'll drag over into
the simplelayers document.
| | 03:53 | Notice that there is only one
layer in the whipped document.
| | 03:56 | If there were more than one, I would
select the multiple layers before dragging.
| | 04:00 | Here I go. I'm taking the whipped
cream over and when I see this light gray
| | 04:04 | bounding box in the simplelayers document,
I'll release my mouse and that brings
| | 04:09 | in the whipped cream.
| | 04:10 | Now I'm going to close the whipped.psd
file, I don't need that one anymore, by
| | 04:14 | clicking the X on its tab.
| | 04:16 | In the Layers panel you'll see that
the whipped cream came in with the layer
| | 04:20 | name from the other document and that
it was dropped on top of the circle layer
| | 04:24 | because the circle layer
is the one I had selected.
| | 04:27 | It doesn't matter where I drop the whipped
cream in this file because I can move it.
| | 04:31 | As long as I have the Move tool selected,
I can just come in and put it where I want it.
| | 04:35 | So I'm going to put it on top of the cup.
| | 04:37 | When I'm all done, I'm going to save
this file with its new layer and I'm going
| | 04:41 | to give it a new name.
| | 04:42 | So I'll go to File and Save As and then
I'm going to navigate to my desktop and
| | 04:48 | there I'll save this as
creamylayers and click Save.
| | 04:54 | So there you have a couple of
different methods for creating a new layer.
| | 04:58 | You can either make a blank layer and
then add content to it, as I did for
| | 05:02 | the magenta logo, or you can drag a
new layer in with content ready to go
| | 05:06 | from another file, if you're making
something like a design layout or a photo collage.
| | Collapse this transcript |
| Working in the Layers panel| 00:00 | The Layers panel is command
central for working with layers.
| | 00:03 | From here you'll create layers, delete
layers, change their stacking order, and more.
| | 00:08 | In this movie I'll show you some of those
essential functions of the Layers panel.
| | 00:12 | I'm working in creamylayers.psd, which I
saved at the end of the last movie when
| | 00:16 | I showed you how to create a layer.
| | 00:18 | And you may remember that I showed you
how to temporarily make a layer invisible
| | 00:22 | by clicking its eye icon right here.
| | 00:25 | But what if you want to permanently
delete a layer. How do you do that?
| | 00:28 | There are a couple of ways.
| | 00:30 | One way is to select the layer you
want to delete and then go down to the
| | 00:34 | trashcan at the bottom of the Layers panel.
| | 00:37 | Click the trashcan and you'll get
this message asking if you really want
| | 00:40 | to delete the layer.
| | 00:42 | You may want to click Don't show again
so that you don't have to keep seeing
| | 00:46 | this message, and then you'll click
Yes if you do want to delete the layer.
| | 00:50 | I'm going to click No because I
still need that layer in this case.
| | 00:54 | Another way to delete a layer is to click and
hold and drag it down on top of the trashcan.
| | 01:00 | In that case you won't get the warning.
I'll put it back, because I really don't
| | 01:03 | want to delete this layer now.
| | 01:05 | Not only can you delete layers from here,
you also can change their stacking order.
| | 01:10 | And when you change the stacking order
of the layers in the Layers panel,
| | 01:13 | the vertical display of the artwork in
the document will change as well.
| | 01:16 | For example, if I take this whipped
cream layer in the Layers panel, click
| | 01:20 | and hold and drag down until I see a black
bar beneath the circle layer and then release,
| | 01:27 | the whipped cream layer is now beneath
the circle layer in the Layers panel and
| | 01:30 | also in the image, you see the content
of the circle layer on top of the content
| | 01:35 | of the whipped cream layer.
| | 01:36 | That doesn't look very good, so I'm
going to take the circle layer and I'm going
| | 01:39 | to drag that beneath the whipped cream layer.
| | 01:41 | So these are couple of essential
functions that you'll do in the Layers panel.
| | 01:45 | I do want to warn you when you're
deleting a layer that the trashcan in the
| | 01:49 | Layers panel doesn't work like the
trashcan in your operating system.
| | 01:53 | In other words you can't reopen
it to take something out of it.
| | 01:56 | So if you do delete a layer and then
you change your mind about having deleted it
| | 02:00 | what you need to do is use the Undo
commands or the History panel, which I've
| | 02:04 | covered in another movie.
| | 02:05 | Even if you save your file, you'll still
be able to recover deleted layers using
| | 02:09 | those techniques unless and until
you actually close the saved file.
| | 02:13 | So you do have a little bit of
wiggle room even if you mistakenly delete a layer.
| | Collapse this transcript |
| Locking layers| 00:00 | From time to time you'll want to
lock a layer down so that you don't
| | 00:03 | inadvertently paint on it or move it after
you've spent a lot of time getting it just right.
| | 00:08 | At the top of the Layers panel you
will see a series of lock icons that you
| | 00:11 | can use in that situation and in
another important situation I am going to
| | 00:14 | show you in just a moment.
| | 00:15 | But first let's look at what's here.
| | 00:17 | If I have a layer selected like this
circle layer here, and I click this big lock,
| | 00:22 | the black one, that
layer is completely locked down.
| | 00:25 | Now, I am unable to move that layer.
| | 00:27 | So if I get my Move tool for example
and I try to move, I get this message that
| | 00:31 | I can't, because the layer is locked.
| | 00:34 | And if I try to paint on a layer with
the Brush tool or any of the brush type
| | 00:37 | tools, I also prevented from doing so.
| | 00:40 | Now, if you want to protect your file
from painting on it but you still want the
| | 00:44 | ability to move it, then you can go to
the layer locks, click this big lock to
| | 00:48 | disable it and just click
on the painting lock here.
| | 00:51 | Now the layer could be moved, but it
won't accept any of the paint tools.
| | 00:55 | And if you want to be able to paint
on a layer but not move it, then you
| | 00:58 | disable the paintbrush lock and you click the
next lock up here, the one that prevents moving.
| | 01:03 | Finally, we have this lock, which
protects transparent pixels in the layer.
| | 01:06 | Let me show you how that one works.
| | 01:08 | I am going to select the cup layer here
and on that layer I've already set the
| | 01:13 | transparent pixel lock.
| | 01:14 | With this lock activated, I can add
paint to a layer either with the Brush
| | 01:18 | tool or by filling the layer, and it will
only affect the existing content on the layer.
| | 01:22 | Let me show you what I mean.
| | 01:23 | I am going to get my Eyedropper
tool in the toolbox and go down to the
| | 01:27 | Background layer, which has a nice
brown paint that I want to use, and then I'm
| | 01:31 | going to click in the image to sample
that brown paint and put it here in the
| | 01:35 | foreground color box.
| | 01:36 | I want to paint on the cup layer.
| | 01:38 | So I will select the cup layer and I
am actually going to make all the other
| | 01:41 | layers invisible for just a moment so
that you can better see what I'm doing,
| | 01:45 | although that isn't an
essential part of this technique.
| | 01:47 | Now I am going to select
the Brush tool over here.
| | 01:49 | With the Brush tool selected, I am
going to go to the Mode menu in the Options Bar
| | 01:54 | and here I can see a lot of
different formulas for painting.
| | 01:58 | The default is Normal.
| | 01:59 | I am going to select Color.
| | 02:01 | When you paint with the brush set to
Color, it will respect the shading and
| | 02:04 | texture in the image and it won't
just paint over with a flat color.
| | 02:08 | Now I am just going to click-and-drag
over this cup and as you can see it's not
| | 02:13 | only respecting the shading in the
image, but it's not painting on the
| | 02:16 | transparent pixels that are
represented by the gray and white checkerboard.
| | 02:20 | So this is a really quick and easy way
of changing the color of the content of
| | 02:24 | a layer without having to select it.
| | 02:26 | Now I am going to go back to the
Layers panel, hold the Option key on a Mac
| | 02:29 | or the Alt key on a PC and click there to turn
the layers on that were on just a minute ago.
| | 02:34 | One more thing about locking layers.
| | 02:36 | I want to draw your attention
to the Background layer here.
| | 02:39 | The Background layer is a special layer
that comes automatically with a layer lock.
| | 02:43 | Many single layer documents like
photographs from a digital camera usually have
| | 02:47 | a background layer like this.
| | 02:49 | Don't be surprised when you try to work
on the background layer and you see that
| | 02:52 | it doesn't behave like the
other layers in your file.
| | 02:55 | For example, if you try to take this
brown background layer and drag it above
| | 02:59 | another layer in this document,
you'd be prevented from doing so.
| | 03:02 | Watch, and you'll see you get that
little cancel symbol when you try it.
| | 03:06 | You also might think that because
this layer is at the bottom of the Layers panel,
| | 03:10 | when you erase on this layer,
you should see transparency, that
| | 03:13 | that's what's behind.
| | 03:15 | But in fact if I were to go and get
the Eraser tool in the toolbox and then
| | 03:19 | erase with the Background layer selected,
I would see whatever color happens to
| | 03:23 | be in the background color box in
the toolbox rather than transparency.
| | 03:27 | I am going to undo that by pressing
Command+Z on the Mac or Ctrl+Z on the PC,
| | 03:32 | because now I want to show you how
you can change a background layer into a
| | 03:35 | regular layer if those
behaviors are getting in your way.
| | 03:38 | All you have to do is double-click the
name background on this layer, the New
| | 03:42 | Layer dialog opens and you can click OK there.
| | 03:45 | The name of the layer automatically
changes to layer 0 and it's no longer in italics.
| | 03:49 | So this is now our regular layer.
| | 03:51 | I can move it in the layer stack and if I
erase on it, I erase back to transparency.
| | 03:56 | I am going to press Command+
Z or Ctrl+Z on a PC again.
| | 04:00 | So the next time you'd like to lock down
a layer so that you don't inadvertently
| | 04:03 | move it or paint on it or you'd like to
change the color of the content of a
| | 04:08 | layer without having to make a selection
first, take a look at the Lock icons in
| | 04:12 | the Layers panel and don't be surprised
by the behavior of a background layer.
| | Collapse this transcript |
| Working with multiple layers| 00:00 | When you're building a layered file
with lots of elements on different layers,
| | 00:03 | you may find yourself with
lots of layers to deal with.
| | 00:06 | I'd like to show you some ways to
handle multiple layers in the Layers panel.
| | 00:10 | I am going to cover selecting
multiple layers, grouping layers, and linking
| | 00:13 | layers in this movie.
| | 00:15 | When you have related layers, you may
want to move them or change their size or
| | 00:21 | rotate them or do something to
all of them at the same time.
| | 00:24 | When that's the case, you can select
multiple layers in the Layers panel.
| | 00:28 | So for example, let's say that I would
like to move the entire cup with the logo
| | 00:33 | and the numbers and the
whipped cream and the cup together.
| | 00:35 | I am going to go to the Layers panel
and I will click on the logo layer,
| | 00:39 | then I'm going to hold the Shift key and I'm
going to go down and click on the cup layer.
| | 00:43 | Holding the Shift key selects all the
layers in between and now if I were to get
| | 00:47 | my Move tool for examples and drag,
all of those layers would go together.
| | 00:51 | I will undo, Command+Z on
a Mac or Ctrl+Z on a PC.
| | 00:55 | Now I am going to click on just one of
those layers to deselect the multiple layers.
| | 00:59 | Now what would happen if I wanted to
move just the logo and the circle together?
| | 01:03 | They are not next to one another in the
Layers panel, so I have to select them another way.
| | 01:07 | First, I will select the Logo layer
by clicking on it and then I'm going to
| | 01:11 | hold down the Command key on a Mac or the
Ctrl key on a PC as I click on the circle layer.
| | 01:16 | That's how you select
noncontiguous layers in the Layers panel.
| | 01:20 | Now if I drag with the Move tool, only
the content of those two layers will move.
| | 01:24 | Again, I am going to undo with Command
or Ctrl+Z. Selecting multiple layers the
| | 01:29 | way I just showed you is just a
temporary way of putting layers together.
| | 01:32 | As soon as I click on some of other
layer, the multiple selection goes way,
| | 01:36 | but there will be times when you want
to connect layers one to the other in a
| | 01:39 | more permanent fashion.
| | 01:41 | There are two ways to do that.
| | 01:42 | One thing you can do is to create a layer group.
| | 01:45 | So let's say for example that I want to put
together the logo and the circle in one group.
| | 01:50 | First, I need to have them next
to one another in the Layers panel.
| | 01:53 | So I'm going to take the logo layer
and click-and-drag it just on top of
| | 01:56 | the circle layer here.
| | 01:58 | Then I am going to hold down my
Shift key or my Command or Ctrl keys to
| | 02:01 | select the circle layer.
| | 02:03 | Now to make a group from the selected
layers, I'm going to go to the Layers
| | 02:06 | panel menu up here and I'm going to go
down and choose New Group from Layers.
| | 02:11 | I will just call this Group 1 and say OK.
| | 02:16 | I no longer see either my circle layer
or my logo layer. Where did they go?
| | 02:20 | They're inside of this group.
| | 02:22 | I am going to click this
arrow to the left of Group 1.
| | 02:25 | That expands Group 1 and you can see
my layers indented inside of Group 1.
| | 02:30 | If I select Group 1, I can then move
these layers together or I could add a
| | 02:35 | layer mask that affects all the
layers or I could change a blend mode that
| | 02:38 | affects all the layers and more.
| | 02:40 | Groups are also useful for
organizing your Layers panel particularly when
| | 02:44 | you get lots of layers there,
because you can collapse any group by just
| | 02:47 | clicking its arrow.
| | 02:48 | There is one more situation you may
run into when you want to connect two layers,
| | 02:53 | but they are not next to one
another in the Layers panel and they can't be.
| | 02:57 | That's the situation here.
| | 02:59 | Say, I want to connect the whipped
cream to the cup, because I want to scale
| | 03:02 | them both down together, but I can't
put them in a group because I need to have
| | 03:06 | the logo in between the whipped cream
and the cup so that it appears under the
| | 03:11 | whipped cream in the image.
| | 03:12 | In that case, I am going
to use the Link function.
| | 03:15 | I am going to click on the whipped cream layer.
| | 03:16 | I am going to hold down the Command key
on the Mac or the Ctrl key on a PC and
| | 03:21 | click on the cup layer.
| | 03:22 | Then I'll link them together by going
to the bottom of the Layers panel and
| | 03:25 | pressing this little Link icon.
| | 03:28 | Now each of them has a Link icon on it,
and if I were to move them or scale them
| | 03:32 | or do something else to
them, they would go together.
| | 03:34 | I will undo that change, Command+Z or
Ctrl+Z. If you want to unlink linked
| | 03:39 | layers, you select and then you go
to the bottom of the Layers panel and
| | 03:43 | click the Link icon.
| | 03:44 | So those are some ways that you can
connect layers to one another so that you
| | 03:48 | can scale them or move them or
otherwise work on them together.
| | 03:52 | You can either multi-select them for a
temporary connection and just do what
| | 03:55 | you have to do and then deselect them,
or for a more permanent relationship
| | 03:59 | between layers, you can put them
together into a group or you can use the Link
| | 04:03 | icon to link them together.
| | Collapse this transcript |
| Merging and flattening layers| 00:00 | As you build a layered file you will notice
that your file size gets bigger and bigger.
| | 00:04 | Here at the bottom of the document window I
have gone in and I've chosen Show > Document Sizes.
| | 00:10 | The numbers here suggest the difference
between the file with and without layers.
| | 00:15 | You can see that it's going to take
up quite a bit more space on my hard
| | 00:17 | drive with these layers.
| | 00:19 | So if you're building a multilayered
file with lots and lots of layers, you
| | 00:23 | may from time to time want to merge
layers that you will think you'll never
| | 00:26 | need separately again.
| | 00:28 | But be conservative about doing that,
because once layers are merged, you cannot
| | 00:32 | access them separately without
reselecting and separating their content.
| | 00:36 | Here for example let's say that I have
now decided once and for all that I'm
| | 00:39 | going to use this nice light
brown design on my brown background.
| | 00:44 | Rather than keep those as two separate
layers, I could select the design layer,
| | 00:47 | hold down the Shift key or the
Commander or Ctrl key, and click Background.
| | 00:52 | With those two layers selected, I'm
going to go to the Layers panel menu up here
| | 00:56 | and please don't forget about this menu.
| | 00:58 | It has all kinds of good stuff in it,
including the Merge Layers command.
| | 01:03 | This command will join together
whatever layers are selected and you can see
| | 01:08 | that now those two layers have been
merged into this one Background layer.
| | 01:11 | If I turn that on and off, you will
see that they disappear together and
| | 01:15 | come back together.
| | 01:16 | So if you're short on storage space
or working capacity from time to time,
| | 01:20 | select a couple of layers and
choose Merge Layers to merge only those
| | 01:24 | selected layers together.
| | 01:25 | Another way to merge layers together is to
stamp them together into a composite layer.
| | 01:31 | By that I mean you can take some or
all of the layers in a file and create an
| | 01:35 | additional layer in the file that
contains the content of all of them.
| | 01:38 | When might you want to do this?
| | 01:40 | Well, it comes in handy when there is
something that you need to do to all the
| | 01:43 | layers at once, like your final
sharpening on the image or when you're retouching
| | 01:48 | a portrait, you may want to use the
Liquify filter to change the shape of the face
| | 01:52 | and you want to be sure to
include all the layers on which you've done
| | 01:55 | retouching before that.
| | 01:56 | So to make that happen, I am going to
click on this top layer and then I am
| | 02:00 | going to hold the Shift key
and go down to the bottom layer.
| | 02:03 | Then I am going to go to the Layers
panel menu here and there is a command here
| | 02:07 | that says Merge Visible.
| | 02:08 | But before I release my mouse there,
I'm also going to hold down the Option key
| | 02:13 | on a Mac or the Alt key on a PC.
| | 02:16 | So Alt+Merge Visible or
Option+Merge Visible does this.
| | 02:19 | It makes a brand-new layer above the
top layer that I have selected which
| | 02:23 | contains the content of all the layers below.
| | 02:25 | Let me turn on the other layers off so
that you can see what's on that top layer.
| | 02:29 | I am just going to click-and-drag down
the column of eye icons, and you can see
| | 02:34 | that I still see in the document window
the entire composition because it's all
| | 02:38 | been copied or stamped onto this new Layer 1.
| | 02:40 | Let me turn everything else back on.
| | 02:42 | And I want to show you one
more thing about combining layers.
| | 02:46 | When you finish with a layered file,
I think it's really important to save the
| | 02:50 | file with all those layers and to
archive that layered file, but you may also
| | 02:55 | have reason to flatten all the layers
down to make the file smaller in size and
| | 02:59 | to make it easier to share.
| | 03:01 | When you're ready to flatten a copy of
your file, then you'll go back to the
| | 03:04 | Layers panel menu and you
will choose Flatten Image.
| | 03:09 | When you do that, you lose all the
layers except for one that contains all the
| | 03:12 | content in the image.
| | 03:14 | You want to be careful after you've
flattened a file that you don't re-save over
| | 03:18 | the layered file of the same name.
| | 03:20 | So example here my layered
file was called multilayers.psd.
| | 03:25 | So I always make it a practice to add
the word flat at the end of the layer name
| | 03:29 | after I've flattened.
| | 03:31 | So I might save this one by going
to File > Save As and calling this
| | 03:35 | multilayers_flat and I'll
save that to my Desktop.
| | 03:42 | If you've flatten a file in error, even
if you save the file, you still have a
| | 03:45 | chance to rescue that layered file by
walking back up the states in the History panel.
| | 03:50 | Just be sure to do that before you
actually close the file, because then it
| | 03:54 | will be too late.
| | Collapse this transcript |
| Adding a shape layer| 00:00 | Shape layers are a special kind of
layer made up of a color and a vector mask
| | 00:04 | that defines the shape.
| | 00:06 | When you need a geometric or graphic
shape, it makes sense to use a Shape
| | 00:10 | layer rather than to fill a
selection on a regular layer because you can
| | 00:13 | always reshape a shape layer without
degrading its image quality, or resize it
| | 00:18 | and its edges are likely to be much
smoother than the edges of the shape on a
| | 00:22 | regular pixel-based layer.
| | 00:24 | Let's take a look at this layer, the
circle layer which is a pixel-based layer.
| | 00:28 | If I get my Zoom tool and zoom in on that,
you can see that its edges are indeed
| | 00:33 | made up of square pixels.
| | 00:35 | If I were to scale up this pixel-
based object, it wouldn't look very good.
| | 00:39 | You might actually be able to see the
jagged edges of the shape as you can here
| | 00:43 | when I am zoomed in.
| | 00:43 | And if this was a photograph, the
photograph would probably get blurry and soft
| | 00:48 | if I scale it up too far.
| | 00:50 | By contrast, a shape layer does
allow you to scale and resize.
| | 00:54 | So let's see how to make a shape layer.
| | 00:56 | I am going to go back to 100% view by
clicking this Actual Pixels button in the
| | 01:00 | Zoom Tool OptionBar.
| | 01:01 | I am going to borrow this magenta color
from the pixel-base circle by getting my
| | 01:05 | Eyedropper and clicking with the circle
layer selected on the magenta circle and
| | 01:10 | that puts magenta in the foreground color box.
| | 01:12 | Then I am going to go over to the
Layers panel and I am going to click the Eye
| | 01:15 | icon on the circle layer to
make that layer invisible.
| | 01:18 | And now I am going to get my Shape tool.
| | 01:21 | The Shape tools are located here
in the toolbox above the Hand tool.
| | 01:24 | If I click on that, you will see a fly-
out menu with a series of geometric Shape
| | 01:29 | tools and a Custom Shape tool, which
we are going to revisit in a moment.
| | 01:33 | But for now, I am going to take the
Ellipse tool and I am going to use it in
| | 01:37 | this image by holding the Shift key
down to constrain the ellipse to a circle
| | 01:41 | and I am going to draw out a circle,
release my mouse, and it immediately fills
| | 01:46 | with the foreground color.
| | 01:47 | Over in the Layers panel, I can see
that I automatically have a new layer.
| | 01:51 | I didn't have to create this
layer first as I did when I made my
| | 01:54 | pixel-based circle.
| | 01:56 | This layer has two components:
| | 01:58 | a solid color represented by this
icon and a vector mask represented by this icon.
| | 02:03 | And you can see the vector defined
circle in the middle of that mask.
| | 02:07 | In this image you can see the edge
defined but if I click off of that shape layer,
| | 02:11 | the edge becomes smoother to the eye.
| | 02:14 | Even after I have created this shape,
I could reshape it using the Direct
| | 02:17 | Selection tool here or I could scale it up.
| | 02:20 | With my Shape layer select and in
particular the vector mask on that layer
| | 02:24 | selected, I could go to the Edit menu
and Free Transform Path and then I could
| | 02:29 | hold the Shift key to constrain
proportions and drag that shape up without
| | 02:34 | fearing that I was degrading
the image quality of the shape.
| | 02:36 | So when I click this checkmark and then
click off of that layer, it looks just
| | 02:40 | as smooth as it did when it was smaller.
| | 02:42 | I am going to undo, Command+Z or Ctrl+Z on a
PC, and now let me show you the custom shapes.
| | 02:48 | I am going to go back to the Shape
tool and this time I am going to choose
| | 02:52 | the Custom Shape tool.
| | 02:54 | In the Options bar for the Custom Shape
tool, there is a Shape field right here.
| | 02:58 | If I click the arrow on that field,
I see a number of small graphic shapes and
| | 03:02 | if I go to the arrow on that drop-down
menu and choose All and choose OK and
| | 03:07 | then drag down the menu, I can see all
of the shapes that come with Photoshop
| | 03:11 | and there are quite a few here to choose from.
| | 03:13 | So for example, I could get a puzzle
piece and then click in the Options bar
| | 03:17 | to close that menu and then if I
come in and draw on this layer, I have a
| | 03:22 | separate shape layer with this
puzzle piece on it and I could reshape and
| | 03:25 | resize the puzzle piece too.
| | 03:27 | I am going to undo to get rid of the
puzzle piece, that's Command+Z or Ctrl+Z,
| | 03:31 | and show you one more kind of custom
shape layer that can really come in handy
| | 03:35 | and this is a tiling shape layer.
| | 03:37 | Let's say I'd like to have a
different design on this background.
| | 03:40 | I am going to go to my design layer and
click its eye icon to turn that design off
| | 03:44 | and then I am going to go back to
my custom shape picker and I am going to
| | 03:49 | scroll down and from here I am going
to choose this tiling shape that looks
| | 03:54 | like diagonal lines.
| | 03:55 | I will close the Shape Picker by
clicking in the blank area of the Options bar.
| | 03:59 | Then I am going to come in to the top-
left corner of the image and I am going
| | 04:04 | to drag diagonally and you can see it's
dragging out a series of shapes in a tiled pattern.
| | 04:09 | When I release my mouse, those
shapes all fill with the foreground color.
| | 04:13 | When I click off of that layer, you can
see the shapes without the vector outline.
| | 04:18 | I am going to take that new Shape 2
layer and drag it to the bottom of my Layers
| | 04:22 | panel just above the Background layer.
| | 04:24 | And I have changed the background of my image.
| | 04:27 | If you need to add a graphic or a
geometric shape like this one to a layered file,
| | 04:31 | do check out the shapes that are
available with Photoshop's Shape tools.
| | 04:35 | They offer the advantage of smooth
edges and scalability that you may not get
| | 04:40 | with a regular pixel-based layer.
| | Collapse this transcript |
| Basic layer masking| 00:00 | Layer masking is one of the most
useful of the layer related features in Photoshop.
| | 00:05 | Layer masks give you the
flexibility to edit an image nondestructively.
| | 00:08 | As I will show you here, you can hide
parts of an image without permanently
| | 00:12 | deleting or erasing those parts.
| | 00:14 | So you can always get those bits
back if and when you need them.
| | 00:17 | In this case I'd like to add a layer
mask to the whipped cream layer here.
| | 00:21 | Let me show you what's on that layer.
| | 00:23 | I'm going to click its eye icon on
and off so that you can see that what's
| | 00:26 | there is this big glob of whipped cream
part of which is spilling over the edge of the cup.
| | 00:31 | I'd like to see how this looks without
the spilling over portion, so that the
| | 00:35 | whipped cream looks more like
it's sitting inside the cup.
| | 00:38 | But since I'm not sure how that's
going to work out, I want to avoid erasing
| | 00:41 | parts of the whipped cream because
maybe I want to get those parts back again.
| | 00:45 | I'm going to add a layer mask to this
layer by going to the layer mask icon at
| | 00:49 | the bottom of the Layers panel and clicking.
| | 00:51 | When the layer mask comes in, it's
filled with white and that means it's not
| | 00:55 | going to have any visible effect on the
image here because the general rule is
| | 00:59 | that on a layer mask,
white reveals and black hides.
| | 01:03 | What does that mean?
| | 01:04 | It means that when a mask is white,
it is going to show or reveal everything
| | 01:09 | that's on the layer to which its
attached, which in this case is this
| | 01:13 | whipped cream layer.
| | 01:14 | But where there is black paint on a
mask, that paint will hide the content of
| | 01:18 | the layer to which the mask is attached.
| | 01:20 | So the next step is to add
some black paint to this mask.
| | 01:23 | But before I do, I want to tell you
one of the things that sometimes
| | 01:26 | trips people up.
| | 01:27 | By mistake they may end up selecting
the content thumbnail on a masked layer.
| | 01:32 | So, for example, if I clicked here on
this icon of the whipped cream and then I
| | 01:37 | came and painted on the image,
I would actually be painting directly on the
| | 01:41 | pixels of the image, and I would be
harming them and I certainly wouldn't be
| | 01:44 | getting the mask effect that I wanted.
| | 01:46 | Let me show you what that would look like.
| | 01:47 | I am going to get my Paintbrush and
with some black paint I am just going to
| | 01:50 | paint and I am just painting
right over the image. Bad idea.
| | 01:53 | So I am going to press Command+Z on my
Mac or Ctrl+Z on a PC to undo that and
| | 01:59 | I'm going to make sure that I have the
mask thumbnail selected by going to a
| | 02:03 | panel that's new in
Photoshop CS4, the Masks panel.
| | 02:06 | Here in the Masks panel, if I click on
this representation of a layer mask,
| | 02:10 | I am automatically switched over to
the mask portion of this layer and now
| | 02:14 | I can begin painting.
| | 02:16 | I am going to zoom in a bit to paint
here by pressing the Command key and the
| | 02:20 | Plus key on my Mac, that's Ctrl+Plus
on a PC, and I am just going to start
| | 02:24 | painting away on top of the spilled
over portion of the whipped cream.
| | 02:28 | It's like magic, isn't it?
| | 02:30 | And there it goes.
| | 02:31 | Now let me show you the mask that I
just created by going back to the whipped
| | 02:35 | cream layer and holding the Option key
on the Mac or the Alt key on a PC and
| | 02:39 | clicking on that mask and here you can
see right in the document window where
| | 02:43 | I've added that black paint that
hides the content of the whipped cream layer.
| | 02:48 | Where there is white paint, you
can see the whipped cream layer and in
| | 02:51 | between at the edges where my soft
edged brush laid down some grey paint,
| | 02:55 | the layer content will be partially
hidden and partially showing, giving a nice transition.
| | 03:00 | So you just don't see a straight
line between the mask area and the non-mask area.
| | 03:04 | I am going to hold the Option or Alt
key again, and click on that layer mask to
| | 03:09 | go back to my regular view.
| | 03:10 | Let's see what would happen if I went
too far when I was painting with black and
| | 03:14 | by mistake I went in and cut off some of
the image content that I meant to keep.
| | 03:19 | One of the advantages of using a layer
mask is that you can alter it so easily.
| | 03:23 | To get that content back, all I
have to do is switch my foreground and
| | 03:26 | background colors here in the toolbox.
| | 03:28 | I will just press the X key
on my keyboard to do that.
| | 03:31 | Now that I have white paint on my brush,
I can come in and paint on the layer mask,
| | 03:36 | revealing the content
on the associated layer again.
| | 03:41 | If I went too far again in the other
direction, I will press X on my keyboard to
| | 03:45 | get black paint and I will fix that little bit.
| | 03:48 | I am going to go back to 100% view now
by pressing the Command+Minus keys on the Mac,
| | 03:52 | that's Ctrl+Minus on the PC, and
that's the result of my layer masking.
| | 03:57 | If I press the Shift key and click on
the layer mask icon, you can see how
| | 04:01 | things were without a mask and
how they are now with the mask.
| | 04:05 | So as you can see, layer masks
really give you lots of flexibility when
| | 04:09 | you're editing an image.
| | 04:10 | They are a cornerstone of what's going
to be called nondestructive editing,
| | 04:13 | which is a kind of editing that I
strongly recommend you do, where you try to
| | 04:16 | avoid deleting or erasing portions of
your image allowing yourself to bring
| | 04:20 | them back if necessary.
| | Collapse this transcript |
| Using layer blend modes and opacity| 00:00 | When you're combining images on two
different layers, there are some controls
| | 00:04 | in the Layers panel that come in real
handy, and those are up here, the Layer
| | 00:08 | Blend Mode menu and Layer Opacity, and
the new Masks panel also has some useful
| | 00:13 | controls when you are creating a composite
image like the one I am about to show you.
| | 00:17 | I am starting here with two images
that in themselves aren't very exciting.
| | 00:21 | On the top layer is this old
overexposed photograph of a tent, and on the layer
| | 00:26 | beneath is a scan that I made of a map
that had been sitting in the garage and
| | 00:30 | got some water damage and some wrinkled areas.
| | 00:33 | The first thing I'm going to do is
to soften the edges of the tent photo.
| | 00:37 | I will get the Rectangular Marquee
tool here, and I am going to come in and
| | 00:41 | click and drag close to the edges of
the photo, and then I'm going to add a
| | 00:44 | layer mask to that layer by going to the
bottom of the Layers panel and clicking
| | 00:48 | the layer mask icon.
| | 00:50 | When the mask comes in, the areas that
were not selected are black and the areas
| | 00:54 | that were selected are white.
| | 00:56 | With the Mask icon selected on the tent layer,
I'm going to go up to the new Masks panel.
| | 01:00 | Here there are two controls for
changing the appearance of the mask.
| | 01:04 | Be it a layer mask like this one, or
a vector mask like the mask that you
| | 01:08 | have on shape layer.
| | 01:09 | The Density control here makes
the layer mask more or less opaque.
| | 01:13 | So as I move density down, I can see
through the black portions of the mask.
| | 01:17 | I think I'm going to leave that all
the way at 100% for this image, but I am
| | 01:21 | going to use the next control, which
will blur the edges between the black
| | 01:25 | portions of the mask and the
white portions of the mask.
| | 01:27 | I really like the Feather control,
because it lets me see right on the image the
| | 01:31 | effect that the control is having.
| | 01:33 | So I'll leave it somewhere around there.
| | 01:35 | And if you'd like to see this mask,
I'll hold down the Option key on my Mac,
| | 01:38 | that's the Alt key on a PC, and click
right on the mask in the Layers panel.
| | 01:43 | and you can see that there now is
black, which is hiding part of the tent image,
| | 01:47 | white which is revealing part of
the tent image, and where I added that
| | 01:51 | feather to blur this edge, there are grey
pixels which gradually hide or show that area.
| | 01:57 | In other words they
partially let the photo show through.
| | 01:59 | I'm going to Option or Alt+Click back on
the layer mask icon to bring the image back.
| | 02:04 | Now I'm going to show you
how to use the blend modes.
| | 02:06 | I have clicked back on the tent layer to
select the image thumbnail there rather
| | 02:10 | than the mask thumbnail.
| | 02:11 | Then I am going to open up the
Layer Blend Mode menu for you to see.
| | 02:16 | In this menu there are a number of
different blend modes, each of which
| | 02:19 | represents a different formula for
blending the colors and tones on the active
| | 02:23 | tent layer with the colors
and tones in the layer below.
| | 02:27 | I think the best way to deal with this
menu is not to try to memorize what each
| | 02:30 | one of these does, but
rather to approach them in groups.
| | 02:33 | This second group here, Darken and
Multiply and Color Burn and so on down to
| | 02:37 | this line, in general darken a blended image.
| | 02:41 | The next group lightens a blended image.
| | 02:44 | The next group works with the contrast
of the blended image, making some areas
| | 02:48 | lighter and some areas
darker than the originals.
| | 02:51 | And those in this group have an
extreme, almost reversing effect on color and
| | 02:55 | those down at the bottom
work on the properties of color.
| | 02:59 | Even knowing that much,
it's hard to choose a blend mode.
| | 03:02 | So here is how I suggest
that you approach this feature.
| | 03:04 | I am going to close the menu and I
am going to go over to the toolbox and
| | 03:08 | select the Move tool.
| | 03:10 | With that selected, I can press a
keyboard shortcut that is going to cycle
| | 03:14 | through all of these blend modes.
| | 03:15 | So keep your eye here on the Blend Mode
menu, as I hold down the Shift key and
| | 03:20 | then click repeatedly on
the Plus key on my keyboard.
| | 03:23 | The first time I click the Plus key,
you can see how the Dissolve blend mode
| | 03:27 | looks on this image.
| | 03:28 | I click again and I can see
the Darken blend mode and so on.
| | 03:32 | I will just go through the blend modes
until I find one that I think looks good.
| | 03:35 | I kind of like that effect, Color Burn,
so I will try to remember that one as I
| | 03:39 | go down through the others, and you
can see that with some of these you can
| | 03:42 | really see through to the map layer below.
| | 03:45 | With others you get a more subtle
effect of the map showing through.
| | 03:48 | I think this is nice too, the Liner
Light, and these behave differently
| | 03:53 | depending on which image is you working on.
| | 03:55 | So I think I'm going to go with Color Burn.
| | 03:57 | I'll just come in and I'll select Color Burn.
| | 04:00 | I like this effect, but I think
the color is a little too strong.
| | 04:03 | So I'm going to make it less intense
by lowering the opacity of this layer.
| | 04:07 | I go over to the Opacity field here, and
there are several ways to deal with it.
| | 04:11 | I could click on the arrow to the
right of the Opacity field and drag this
| | 04:15 | slider down or-- I'll click in
this blank area to close the slider.
| | 04:20 | I could just move my
mouse over the word Opacity.
| | 04:23 | When my mouse changes to a double
pointed arrow, I'll just scrub to the left
| | 04:26 | and as I do that, Opacity is being reduced.
| | 04:29 | You'll find these kinds of scrub
sliders on many controls in Photoshop and
| | 04:33 | I find them very efficient.
| | 04:35 | Another way to handle Opacity is this.
| | 04:37 | I am going to put it all the way back up to 100.
| | 04:39 | As long as I have the Move tool selected,
I can just press single digit numbers
| | 04:43 | on my keyboard to change the amount of Opacity.
| | 04:46 | Say for example, if I press the
number 2, Opacity changes to 20%, 3 gives
| | 04:52 | it 30%, 40%, 50%, I've pressed six
and it's at 60%, and I kind of like that
| | 04:58 | look because I can see the pathways
of the map through the rather antique
| | 05:02 | looking image on top of it.
| | 05:04 | So that's how you can use layer masks
with the new Masks panel along with layer
| | 05:09 | blending modes and layer opacity to take
some rather ordinary looking images and
| | 05:13 | change them into something, if
not extraordinary, at least unusual.
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|
|
6. Photo ManipulationCropping| 00:01 | If you didn't get just the composition
you want in your camera, use Photoshop's
| | 00:04 | cropping features to remove unwanted
content around the frame of your photo and
| | 00:09 | focus in on what's most
important in your photograph.
| | 00:12 | There are a couple of ways to crop in Photoshop.
| | 00:14 | You can use the Crop tool or you can
crop to a selection. I will show you both.
| | 00:18 | Let's start with the Crop tool.
| | 00:20 | I have the Crop tool
selected here in the toolbox.
| | 00:23 | The first thing I do after Crop tool
is check the Crop Tool Options Bar.
| | 00:27 | If there are any numbers in the Width
or Height field, I click the Clear button
| | 00:31 | to eliminate those, because otherwise
these sticky settings, which are left over
| | 00:35 | from the last time I used the tool,
will govern my crop this time.
| | 00:39 | I also go to the Layers panel, which I
have here, and if yours isn't showing
| | 00:43 | you can open it from the Window menu,
and if I have a special background layer
| | 00:47 | like this one in my file, I'll
change this to a regular layer.
| | 00:50 | To do that I double-click the word
Background and I say OK, and the reason I did
| | 00:55 | that is because I like to use a special
feature that hides but doesn't delete
| | 01:00 | the cropped content, which I will
show you in a minute, and that just doesn't
| | 01:03 | work on a background layer.
| | 01:05 | I'm going to collapse the Layers panel
by clicking this double pointed arrow,
| | 01:08 | and I'm ready to crop.
| | 01:09 | So I'll just come in drag out a
crop boundary wherever I want it.
| | 01:13 | What I'd like to do here is just
eliminate the buildings from the photo.
| | 01:16 | The area that's clear is what will
remain in my photo and the area that's dark
| | 01:20 | will be cropped away.
| | 01:21 | I can click in the middle of this crop
boundary and move it anywhere I want, or
| | 01:27 | I can move my mouse over any one
of the edges and change that edge.
| | 01:36 | Let's take a look at the Options bar.
| | 01:38 | Here in the Options bar, the Shield
feature is what makes the area to be cropped
| | 01:42 | away look dark in this preview.
| | 01:43 | If I uncheck that, then I can see the
whole image, and sometimes I'll uncheck it
| | 01:47 | and then check it again just to
make sure that I have everything I want left
| | 01:51 | in my cropped image.
| | 01:52 | By default when you crop, the area
that's under the shield will be removed
| | 01:57 | or deleted completely.
| | 01:58 | To be conservative, sometimes I'll hide
that content rather than delete it and
| | 02:03 | that means that I'll be able to
get it back even after the crop.
| | 02:06 | When I am all set to crop, I'll come
to the right side of the Options bar and
| | 02:09 | click this check mark,
and that commits the crop.
| | 02:12 | This is my cropped image.
| | 02:14 | I think it looks a lot better
without the buildings, don't you?
| | 02:16 | But if I change my mind and I want the
buildings back, because I chose to hide
| | 02:20 | rather than delete the cropped content,
I can go to the Image menu at the top of
| | 02:24 | the screen now and I can choose
Reveal All, and that will reveal the entire
| | 02:30 | image, which still was there.
| | 02:31 | It just was invisible.
| | 02:32 | The only down side of doing this is
that the file size will be a little larger
| | 02:36 | than if I had deleted that cropped area.
| | 02:38 | Now, I'll show you another way to crop.
| | 02:40 | I like to do this when I just
need a small portion of an image.
| | 02:43 | So, for example, let's say I
needed the sky here to use as a backdrop
| | 02:48 | behind another image.
| | 02:49 | I might just come to one of my
Selection tools. Any of them will do.
| | 02:53 | I am going to use the Lasso tool.
| | 02:54 | I will come into the image and I will
draw a rough selection around the sky
| | 02:59 | that I want to keep.
| | 03:01 | Then I'll go to the Image menu at the
top of the screen and I'll choose Crop,
| | 03:06 | and then I'll press Command+D on my Mac
to deselect or Ctrl+D to deselect on a PC,
| | 03:11 | and I've cropped away
everything except this bit of sky.
| | 03:15 | So those are a couple of ways to crop
an image in Photoshop, either using the
| | 03:20 | Crop tool or using a Selection
tool and cropping to the selection.
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| Straightening| 00:00 | If a photo is crooked, it can be
disconcerting to you and to your viewers.
| | 00:04 | Sometimes it's just hard to hold your
camera straight or if you are scanning
| | 00:08 | a printed photo on a flatbed scanner, it's
particularly hard to get a straight photo.
| | 00:13 | But don't worry.
| | 00:14 | You can straighten things up in
Photoshop as I'll show you here.
| | 00:17 | First, I'd like to use the
Ruler tool to straighten an image.
| | 00:21 | The Rule tool is located in the
toolbox behind the Eyedropper tool.
| | 00:25 | I'm going to select it here, and then
I'll come into my image and I'm going to
| | 00:29 | find something that I think should be straight.
| | 00:32 | It's pretty clear in this case
that that should be the horizon here.
| | 00:35 | So I'm going to click on the horizon.
| | 00:37 | Holding my mouse down, I'm just going
to drag this Rule tool over, and release.
| | 00:42 | It doesn't matter exactly
where you release either.
| | 00:44 | Then I'm going to go to the Image menu
at the top of the screen and choose Image
| | 00:48 | Rotation > Arbitrary.
| | 00:50 | When I do that, Photoshop tells me
exactly what angle it will have to rotate the
| | 00:54 | image to in order to make the
horizon straight. So I'll say OK.
| | 00:59 | The horizon is now straight, but
of course the photograph isn't.
| | 01:03 | So that's the tradeoff.
| | 01:04 | At this point I would use my Crop tool
here in the toolbox, come in and drag
| | 01:09 | out a crop boundary, and I am going to
fit the corners of the crop boundary as
| | 01:14 | far as they will go inside of the image here
without getting any of the white around it.
| | 01:18 | That's probably as much as I can get,
and so I am going to go up and click the
| | 01:22 | check mark in the Options bar to accept
that crop and now I do have a straight
| | 01:27 | horizon in my photo.
| | 01:29 | Sometimes when I'm scanning, I'm lazy
and I don't want to scan one photograph at
| | 01:33 | a time, so I'll scan several and
I'll get a result like this one.
| | 01:38 | The second image I have open here is
scan.psd, where the photos are just a
| | 01:42 | little crooked on the scanner bed.
| | 01:44 | I will show you my Layers panel here,
so that you can see that all three of
| | 01:48 | these photos are on one individual layer, so
there's no easy way to cut them out one by one.
| | 01:53 | Instead, what I can do is just go to
the File menu at the top of the screen,
| | 01:59 | go down to Automate, and go over to this
command, Crop and Straighten Photos.
| | 02:05 | It's one you might not find on your own.
| | 02:06 | So try to remember it.
| | 02:08 | It really comes in handy for scanning.
| | 02:10 | I release and then I wait
while Photoshop does all the work.
| | 02:13 | It's now made three separate images for me.
| | 02:16 | Let me show you all three.
| | 02:18 | This separate of the pool, a separate
one of the sunflowers, and a separate one
| | 02:23 | of this individual sunflower.
| | 02:25 | Now sometimes it misses and
doesn't get the edge exactly right.
| | 02:29 | As here you can see, if I zoom in, that
there's a little bit of white at the edge.
| | 02:33 | So in that case, I'll just get my
Crop tool and I'll crop that away and
| | 02:37 | if you have trouble getting your Crop tool
to behave when it gets near the edge of
| | 02:40 | a photo, that's because under the View menu,
this commands Snap is activated by default.
| | 02:48 | So I'm going to toggle Snap off,
and now I'll be able to get these crop
| | 02:51 | boundaries and drag them just where I
want them without them trying to snap to
| | 02:55 | the edge of the photo, and then I will
press the check mark to commit that crop.
| | 02:59 | So that's a look at two of the
straightening features in Photoshop.
| | 03:02 | Use the Ruler tool on a single
photo to straighten things up and if you
| | 03:06 | scanned multiple images together on
one layer of the file, use the File >
| | 03:11 | Automate > Crop and Straighten command
to separate, straighten, and crop them
| | 03:15 | all in one go.
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| Transforming| 00:00 | When you want to change the size or
the shape of an image then you will use
| | 00:04 | the Transform commands.
| | 00:05 | You can transform an entire layer, as
I will show you how to do here, or a
| | 00:09 | selection or even a selection boundary.
| | 00:11 | The thing to keep in mind about
transforming is that it does degrade the image.
| | 00:15 | So you don't want to transform
the same content over and over.
| | 00:19 | The solution to that is to convert a
layer that you want to transform to a Smart
| | 00:23 | Object before transforming.
| | 00:25 | I'll show how to do that in an upcoming movie.
| | 00:27 | For now, let's just look
at the Transform commands.
| | 00:30 | I have the flowers layer selected in
this image and I am going to go up to the
| | 00:34 | Edit menu and I am going to choose Transform.
| | 00:37 | Here you can see a whole list of the
different kinds of Transform commands.
| | 00:41 | Sometimes I'll come to the Transform
menu when I want to do something unusual
| | 00:45 | like Flip Horizontal.
| | 00:47 | What that did is actually flipped the
image, so I see a mirror image of the
| | 00:51 | way it was originally.
| | 00:52 | That can come in handy if you're doing
something like making a collage, but for
| | 00:56 | the most part, when I'm transforming I
use the other kind of Transform, which
| | 01:00 | is Free Transform, and I use the
shortcut for that which is Command+T on the
| | 01:05 | Mac or Ctrl+T on a PC.
| | 01:07 | You can see that command here in the
Edit menu above the Transform command.
| | 01:12 | So I'll select that and when I do, I
get a bounding box around the content of
| | 01:17 | the selected flowers layer.
| | 01:18 | And there are some anchor points at the
corners and on the edges of the bounding box.
| | 01:23 | Let's say that I want to
make the flowers image smaller.
| | 01:26 | To do that, I'll move my mouse over
one of those anchor points so that the
| | 01:30 | cursor changes to a double-pointed arrow.
| | 01:32 | Then I'm going to hold the Shift
key down and I'm going to drag down.
| | 01:36 | It's important to hold the Shift key,
because that constraints the proportion.
| | 01:40 | Then I'm going to release my
mouse and then release the Shift key.
| | 01:43 | While I'm still in Transform mode, I can
click anywhere in the image and drag to move it.
| | 01:49 | If I were done transforming at this
point, I would go to the Options bar and
| | 01:52 | click the checkmark at the top-right.
| | 01:54 | And I'm not going to do that now, because
I want to transform this layer some more.
| | 01:58 | As long as I don't click the checkmark,
I can perform as many Transform commands
| | 02:02 | as I want without degrading the image.
| | 02:04 | So for example, if I wanted to rotate
the image, I would move my mouse over one
| | 02:09 | of its corners and when the cursor
became a double-pointed curved arrow, I would
| | 02:13 | drag and that would rotate the image.
| | 02:15 | You can also rotate the image from the
Options bar by typing the angle in this field here.
| | 02:20 | In the Options bar you can change
the reference point for rotating.
| | 02:24 | So for example, if I click right there
and then I rotate, the image rotates from
| | 02:30 | the lower-left corner.
| | 02:31 | I'll put that back to the middle
| | 02:33 | so I can show you a couple
of other Transform commands.
| | 02:36 | Let's say I want to distort the image.
| | 02:38 | In that case I will come to one of the corners.
| | 02:41 | I'll hold down the Command key
on a Mac or the Ctrl key on a PC.
| | 02:46 | Remember I'm still in Free Transform
and I can distort the image that way.
| | 02:50 | I'll press Command+Z on the Mac
to undo that or Ctrl+Z on the PC.
| | 02:56 | If I want to skew the image, which means
to slant it, then I'm going to hold down
| | 03:00 | the Command and Option keys on the Mac
or the Ctrl and Alt keys on a PC and
| | 03:06 | I will go to one of the side anchor points,
and drag on that to slant the image.
| | 03:10 | I am going to undo that with Command+Z
or Ctrl+Z. Finally, if I hold down three
| | 03:16 | keys at once, the Command+Option+Shift
key on a Mac, that's the Ctrl+Alt+Shift
| | 03:23 | key on a PC, and I go to one of the
corner anchor points and drag, I can change
| | 03:29 | the perspective of the image.
| | 03:30 | I'll Command+Z or Ctrl+Z again to undo that.
| | 03:33 | There is one more kind of transforming
that I want to show you and that's Warping.
| | 03:37 | I am still in Free Transform mode and
from here I can go up to the Options bar
| | 03:41 | and click this third icon from the
right to switch over to Warp mode.
| | 03:46 | Now if I come into the image and I
drag on any one of the corners, I can
| | 03:50 | really change that shape.
| | 03:51 | When I drag a corner I also
get one of these Bezier handles.
| | 03:55 | You can barely see it here.
| | 03:56 | I am going to click on the point at
the end of the handle and then drag to
| | 04:00 | further warp the image.
| | 04:02 | You can also click inside the image
when you're warping and drag and that kind
| | 04:07 | of bumps the content out.
| | 04:09 | When I am all done Warping, I'll go
back to the Warp icon, click it, and that
| | 04:14 | takes me back to Transform mode.
| | 04:16 | From here I could perform another
Transform command like sizing or rotating or
| | 04:20 | whatever I want and when I'm all done
transforming, and only then I go to the
| | 04:25 | checkmark and click, and
that commits the transform.
| | 04:28 | So you can see you have lots of
flexibility with the Transform commands, but
| | 04:33 | they do degrade the image.
| | 04:34 | So you should convert layers to Smart
Objects before transforming them, as I
| | 04:39 | will show you how to do in an upcoming movie.
| | Collapse this transcript |
| Working with Smart Objects| 00:00 | Every time that you perform a
Transform command on an image, like scaling or
| | 00:05 | distorting or rotating, you're degrading
the image and if you transform an image
| | 00:10 | more than once, it really can start to
look poor, blurry and pixelated and you
| | 00:14 | may not want to use it.
| | 00:15 | There is a solution to this problem
and that is to convert layers into Smart
| | 00:20 | Objects before you transform the content.
| | 00:23 | You can make a Smart Object
out of one or more layers.
| | 00:26 | In this case, let's make a Smart Object
out of the flowers layer and the black
| | 00:30 | matte layer behind it.
| | 00:31 | I'll show you what's on those layers.
| | 00:33 | The first layer has these flowers and the
second has just this plain black rectangle.
| | 00:38 | And then there is a book behind them.
| | 00:40 | I'll select both the flowers layer
and the matte layer by holding down the
| | 00:44 | Command key on a Mac or the Ctrl key
on a PC, and clicking the second layer.
| | 00:48 | And then I'm going to combine those
into one Smart Object by holding the Ctrl
| | 00:53 | key as I click on a Mac and right-
clicking on a PC to bring up this menu, where
| | 00:59 | I see Convert to Smart Object.
| | 01:01 | I can select that command from
here or from the Layers panel menu.
| | 01:05 | I'll click that and now you don't see
the matte layer here in the Layers panel.
| | 01:09 | It's been combined with the flowers
layer and put inside a Smart Object that's
| | 01:14 | represented by this icon
here on the layer thumbnail.
| | 01:17 | Because this is a Smart Object,
I can transform more than once without
| | 01:21 | harming image quality. Let me show you.
| | 01:24 | I'm going to press Command+T on a Mac,
that's Ctrl+T on a PC, to bring up my
| | 01:29 | Free Transform bounding box.
| | 01:31 | And then I'm going to move my mouse
over one of the corners of the box, hold
| | 01:35 | down the Shift key to Constrain
Proportions and drag down to make this
| | 01:39 | image really small.
| | 01:40 | I'll release the mouse and release
the Shift key and then I'll go up to the
| | 01:45 | Options Bar, and I'll click the
checkmark to commit the transform.
| | 01:49 | So, let's say that later I
decide gee, I don't like this.
| | 01:52 | I'd like the flowers to be big again.
| | 01:54 | So again, I'll press Command+T on the Mac,
Ctrl+T on the PC, I'll hold the Shift key
| | 01:59 | and I'll drag from one of the
corner points to scale the image up.
| | 02:03 | I just want to be careful not to go
more than 100% up, because that would be
| | 02:09 | asking Photoshop to create
image information for me.
| | 02:13 | So, I'm keeping my eye on the W and the
H fields in the Options bar to make sure
| | 02:17 | I don't go higher than 100%.
| | 02:18 | I'm going to click the checkmark in
the Options bar and you can see that
| | 02:23 | even though, I have transformed that image
twice in a very extreme way, it still looks fine.
| | 02:29 | What's happening here is that when I
created that Smart Object, Photoshop took
| | 02:33 | the image information about the
original image and tucked it away or embedded it
| | 02:37 | inside the Smart Object.
| | 02:39 | And then when I transformed the Smart
Object, Photoshop referenced that original
| | 02:43 | information and rerendered the image.
| | 02:45 | You can see how useful Smart Objects are
when you're transforming, but there are
| | 02:49 | some things that you can't do to a Smart Object.
| | 02:51 | For example, if I get my Paintbrush and
I try to paint on this layer, I'm going
| | 02:55 | to get a warning saying that I can't do
it unless I rasterize the Smart Object,
| | 03:01 | which means turn it back into a regular layer.
| | 03:03 | If I don't want to do that, I'll press
Cancel, and I have yet another warning
| | 03:08 | saying that I can't use the
Brush tool on a Smart Object.
| | 03:11 | So I'll say okay. Basically you can't do
any pixel-based editing directly on the
| | 03:15 | Smart Object and you can't access the
layers that have been embedded inside the
| | 03:19 | Smart Object, unless you do this.
| | 03:21 | I am just going to double-click on the
layered thumbnail on this Smart Object layer,
| | 03:25 | and I get this message reminding me
that after I edit the contents of
| | 03:29 | this Smart Object I should save it to
the same place so that my changes are
| | 03:34 | updated in the file I'm working in.
| | 03:36 | I'll say OK and Photoshop goes
ahead and opens a second image for me.
| | 03:40 | This one is called flowers2.psb and you
can see it's different than plant.psd,
| | 03:47 | which is the original image I
was working in a moment ago.
| | 03:50 | Here in this psb image, if I look in
the Layers panel I see that I have my
| | 03:54 | original layers back again, the
flowers layer and the matte layer.
| | 03:58 | So, let's say I want to
paint on the flowers layer.
| | 04:00 | I've got my Paintbrush
selected over here in the toolbox.
| | 04:04 | In the Options bar I've set the
Painting Mode to Color, so that I can paint on
| | 04:08 | this image and still retain its shading.
| | 04:11 | I've lowered my Opacity to about 50%
and I'm going to come in with the blue
| | 04:15 | paint that's in the foreground color box,
and just paint a little bit of blue on this.
| | 04:25 | I could do other pixel-based editing too.
| | 04:27 | For example, I could get the Dodge tool
and I could come in and dodge some here
| | 04:33 | making the image a little bit lighter.
| | 04:34 | When I'm all done with my edits, I'll
make sure to save in the same location.
| | 04:38 | I'll choose File and Save and then File > Close.
| | 04:44 | That takes me back to my original image,
plant.psd, and I can see the changes that
| | 04:49 | I just made inside the Smart
Object here in my main file.
| | 04:52 | I'd like to show you one more thing
about Smart Objects and that's something
| | 04:56 | new in Photoshop CS4.
| | 04:58 | In the past if you added a layer mask
to a Smart Object, the mask would not be
| | 05:02 | linked to the object.
| | 05:03 | And that would be a problem if you
moved the object around, because the mask
| | 05:07 | wouldn't go with it.
| | 05:08 | Now, in Photoshop CS4 layer
masks are linked to Smart Objects.
| | 05:13 | To show you that, I'm going to get my
Rectangular Marquee tool here and I'm
| | 05:17 | going to drag a rectangular
selection inside of the photo.
| | 05:21 | Then I'm going to add a layer mask, by
clicking the Create New Layer Mask icon
| | 05:26 | at the bottom of the Layers panel.
| | 05:28 | You can see the layer mask here and you
can see its Link icon and in the image,
| | 05:33 | you can see that it's
hiding the edges of this image.
| | 05:37 | Just to make that look a little
better, I have my Masks panel open here.
| | 05:40 | This is a new panel in Photoshop CS4.
| | 05:43 | If yours isn't open, you can open it
from the Window menu at the top of the screen,
| | 05:46 | and I'm going to drag my Feather
slider over to the right to just soften
| | 05:50 | the edge of that mask.
| | 05:52 | Now let's say that I need to
move the photo over a little bit.
| | 05:56 | If I get my Move tool and I drag the photo,
the mask goes with it and it still looks good.
| | 06:02 | I can go the other way
and the mask goes with it.
| | 06:06 | The change is that in the last version
of Photoshop, there was no Link icon here
| | 06:10 | between the mask and its Smart Object.
| | 06:13 | So without that Link icon, which
I've just turned off by clicking,
| | 06:17 | if I moved the image the mask would
not go with it and that doesn't look
| | 06:21 | right, as you can see.
| | 06:22 | So I'm going to undo that by pressing
Command+Z on the Mac or Ctrl+Z on a PC and
| | 06:28 | I'll link the mask back to its Smart
Object by clicking between the two and
| | 06:33 | then I'll drag my image back into place.
| | 06:35 | And that's what I wanted to
show you about Smart Objects.
| | 06:38 | As you can see they come in
really handy when you are transforming.
| | 06:42 | Just be sure to convert layers to a
Smart Object first and you can transform as
| | 06:46 | many times as you like.
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| Using Content-Aware Scaling| 00:00 | Content-aware scaling is the new
feature in Photoshop CS4 that has the
| | 00:05 | biggest wow factor.
| | 00:06 | The idea behind Content-Aware Scaling
is that it can scale the size of an image
| | 00:11 | while preserving its important content.
| | 00:13 | So, why would you want to do that?
| | 00:15 | Well, it's a great way to
change the orientation of a photo.
| | 00:18 | For example, here I have a horizontal
photograph and I'd like to turn it into a vertical.
| | 00:23 | But I don't want to just crop away
this side because I want to keep the tree
| | 00:27 | here to frame the boy.
| | 00:28 | So, here is how I would go about
using content-aware scaling to make this
| | 00:33 | horizontal photo into a vertical one.
| | 00:35 | First of all, let me show you what doesn't work.
| | 00:37 | I found that on many images this feature
doesn't work perfectly right out of the box,
| | 00:41 | but there are ways
to give it a little help.
| | 00:44 | So, let's see what it
does without any help first.
| | 00:47 | The first thing I need to do is go to
my Layers panel and I see that I have a
| | 00:50 | special background layer there.
| | 00:52 | That's a layer that's locked.
| | 00:54 | So, I need to unlock that by double-
clicking the word Background, accepting the
| | 00:58 | new name, and clicking OK.
| | 00:59 | Now I can go to the Edit menu
and choose Content-Aware Scale.
| | 01:05 | This gives me these anchor points all
around the image. I will click on the
| | 01:09 | anchor point on the far left and
I'll start to move toward the boy.
| | 01:12 | And you can see right away that it is
not respecting the boy's face or his body,
| | 01:17 | which are all getting squeezed unmercifully.
| | 01:20 | So, that doesn't work right out of
the box on this particular image.
| | 01:24 | I'm going to click the cancel sign here
and I'm going to see if the feature that
| | 01:28 | preserves skin tones will help.
| | 01:30 | So again, I'm going to the Edit
menu and down to Content-Aware Scale.
| | 01:35 | Here in the Options bar, I see a
picture of a person and if I click that,
| | 01:40 | Content-Aware Scale makes an effort to
protect skin tones, like the boy's face here.
| | 01:46 | So, let's see what happens this time.
| | 01:48 | If I click on the anchor point and
drag to the right... So far so good.
| | 01:53 | His face actually is being protected,
but look what's happening to his right arm.
| | 01:59 | Not good.
| | 02:00 | So, that's not going to work.
| | 02:02 | What else can I do?
| | 02:04 | I can make an alpha mask that protects
just the parts that I want to keep, and
| | 02:08 | I've found that that's the
best way to use this feature.
| | 02:11 | I'm going to go to the cancel icon again,
and before I try to scale again, I'm
| | 02:15 | going to get my Quick Selection tool
and I'm going to run it over the boy.
| | 02:19 | I've got a little bit too much there, so
I'll press the Option key on a Mac,
| | 02:24 | the Alt key on the PC and get
a little bit better selection.
| | 02:28 | And I'll add in his hand and the book.
| | 02:31 | It doesn't have to be a perfect selection.
| | 02:32 | It just has to define the
area that I want to protect.
| | 02:35 | Now, I'm going to turn this selection
into what's called an alpha mask.
| | 02:39 | An alpha mask is just another
way of representing a selection.
| | 02:42 | One way to do that is to go to the
Select menu at the top of the screen
| | 02:46 | and choose Save Selection, which
I showed you how to do back in the
| | 02:50 | chapter on selections.
| | 02:51 | I'll call the new alpha mask grad,
and click OK, and then I'll deselect by
| | 02:57 | pressing Command+D on the
Mac or Ctrl+D on the PC.
| | 03:00 | If I look at my Channels panel, I can
see beneath my regular RGB Channels,
| | 03:06 | the new grad alpha channel and it's
basically just a mask in the shape of my selection.
| | 03:11 | I'm going to go back to my Layers panel there
and I'm going to try to scale one more time.
| | 03:20 | I'll go to Edit menu again
and choose Content-Aware Scale.
| | 03:24 | This time in the Options bar, I'll
uncheck that icon of the person and instead,
| | 03:29 | I'll go to the Protect menu and I'll
click-and-hold to see a list of all the
| | 03:34 | alpha channels in the image.
| | 03:36 | There is only one, my grad channel.
| | 03:37 | So, I'll select that and now if I
come over to the left, and I drag that
| | 03:42 | anchor point, I'm happy to see that the boy is
being protected as I make the image vertical.
| | 03:51 | And I can get in pretty
tight and he is still protected.
| | 03:55 | He doesn't get squeezed.
| | 03:57 | Notice that when
Photoshop did the scaling for me,
| | 04:00 | it made some choices about what was
the content to keep and what was the
| | 04:03 | content to throw away.
| | 04:05 | So, it did keep this tree to frame the
image over here, but it did away with all
| | 04:09 | that plain area of white snow,
which was just the right thing to do.
| | 04:14 | When I'm all done with my content-
aware scaling, I'll come up and I'll click
| | 04:17 | the checkmark up here to commit the change.
| | 04:21 | It takes a minute to transform, but
I think you can see that this really is a
| | 04:25 | remarkable new feature.
| | 04:27 | To finish this up, I'm going to trim
away the transparent pixels on the left,
| | 04:31 | represented by this gray and white checkerboard.
| | 04:33 | I'll go to the Image menu at the top of
the screen, choose Trim and in the Trim
| | 04:40 | dialog box, I'll make sure that
Transparent Pixels is selected here.
| | 04:44 | And I'll click OK and that
automatically crops away the transparent pixels and
| | 04:49 | then I can save this image
in its new vertical format.
| | 04:52 | Give content-aware scaling a try
on your own photos and if you're not
| | 04:56 | getting the results you want,
remember to make a selection of the area you
| | 04:59 | want to preserve and to use that selection
as an alpha mask to protect your best content.
| | Collapse this transcript |
|
|
7. Photo AdjustmentsReading histograms| 00:00 | You may have heard the term histogram
and be wondering exactly what it means.
| | 00:04 | In Photoshop, the Histogram is a panel
that contains a bar chart that represents
| | 00:09 | the distribution of tones in an image.
| | 00:11 | If you know how to read a histogram,
it can be useful when you're correcting
| | 00:15 | colors and tones in a photograph.
| | 00:17 | In this movie, I'm going to explain
how the histogram works in Photoshop and
| | 00:21 | show you some examples of photographs
that have different kinds of histograms.
| | 00:25 | If your Histogram panel isn't open,
go to the Window menu at the top of the
| | 00:29 | screen and choose Histogram, or you can
change to the Color and Tone workspace
| | 00:34 | from the Workspace menu, as I've done here.
| | 00:37 | I usually go to the panel menu on the
Histogram and change it from its default
| | 00:41 | Compact View to Expanded View.
| | 00:44 | Right now the histogram is showing us
information about all the color channels
| | 00:47 | in the special Colors view.
| | 00:49 | To make it easier to read, I'm going to
change the Channel menu there to look at
| | 00:53 | an RGB Composite View.
| | 00:55 | So what is the histogram?
| | 00:57 | As I mentioned it's a bar chart that
represents the distribution of tones in the open image.
| | 01:03 | The left side of the chart
represents the darkest tones in an image.
| | 01:06 | The right side of the chart represents
the brightest tones in an image and the
| | 01:10 | area between represents all the
possible gray tones in an image.
| | 01:14 | This black mound here represents the
actual tonal values in the open photograph.
| | 01:20 | If you could pull this mound apart,
you would see it's made up of individual
| | 01:24 | vertical bars. Each of those bars is
above a particular point on the graph.
| | 01:28 | Where there is a tall bar, that means
there is a relatively large amount of that
| | 01:32 | particular tone in the image, and
where there are no bars, that means there's
| | 01:36 | none of that particular tone.
| | 01:38 | Every photograph will
have a different histogram.
| | 01:40 | You don't always want a histogram that
looks like this, but many photographs do
| | 01:44 | look best if they have a wide range of tones.
| | 01:47 | Those photographs like this one will
have a histogram that runs across the
| | 01:50 | entire Histogram panel.
| | 01:52 | But let's take a look at some other
kinds of photographs and their histograms.
| | 01:56 | I'm going to click on the
second tab that I have open here.
| | 01:59 | The over.psd image.
| | 02:01 | You can see by looking at it
that this is a very bright image.
| | 02:05 | If you look at the histogram for this
photograph, you'll see that all of its
| | 02:08 | tones are indeed over at the
white side of the bar graph.
| | 02:12 | There are very few grays and no blacks at all.
| | 02:15 | Let's look at the clipped.psd image.
| | 02:18 | The foreground of this photograph
looks fine, but as you can see, many of the
| | 02:21 | clouds are pure white, lacking in detail.
| | 02:24 | That's represented on this
histogram by this spike on the far right.
| | 02:28 | If you have a spike in an image,
that's usually not a good thing because it
| | 02:31 | means you have lost detail, either in
the highlights if the spike is there or in
| | 02:35 | the shadows if the spike is over here.
| | 02:37 | You'll notice something else in this
histogram. There's a yellow triangle here.
| | 02:41 | That means that the histogram has
changed and needs to be updated.
| | 02:45 | You see this in Histogram panel when
you make an adjustment to an image.
| | 02:49 | To update the histogram you can click on
this double curved arrow and the yellow
| | 02:53 | warning symbol will go away.
| | 02:55 | Let's take a look at a really dark image.
| | 02:58 | Its histogram is located primarily
in the dark area, but there is a lot
| | 03:01 | of middle gray too.
| | 03:03 | If you'll notice in the Layers panel,
there are two layers in this image.
| | 03:06 | The top layer is composed
only of this dark bank building.
| | 03:10 | I can set the histogram to show me
just the tones in a single selected layer
| | 03:15 | by going to its Source menu and choosing
Selected Layer instead of Entire Image.
| | 03:19 | Watch how the histogram changes when I do that.
| | 03:22 | Now as expected, we see that all of
the pixels are over on the left side
| | 03:26 | representing just the dark
pixels in the bank layer.
| | 03:29 | I'd like to show you one more
image and that is this one, flat.psd.
| | 03:34 | I find the histogram particularly
useful on an image like this, because when I
| | 03:38 | look at it, I can see that
it doesn't look very good.
| | 03:39 | But I'm not necessarily sure how to fix it.
| | 03:42 | It helps me to see in the histogram
that all of the pixels in this image are
| | 03:46 | concentrated in the gray tones in the middle.
| | 03:49 | That means it doesn't have much contrast.
| | 03:51 | In other words, it doesn't have
white whites and black blacks.
| | 03:54 | So, if I wanted to correct this image
I would probably do a Levels or a Curves
| | 03:58 | adjustment, trying to expand this tonal
range and get some whites and blacks and
| | 04:02 | different shades of gray into the photograph.
| | 04:04 | The histogram really is a useful tool
that can help you to analyze an image
| | 04:08 | when you're beginning to edit it and to
understand what your edits are doing as you make them.
| | 04:13 | Now that you've seen a few examples
of different kinds of photographs and
| | 04:16 | their histograms, I hope you'll be
better able to read the histograms on your own images.
| | Collapse this transcript |
| Using adjustment layers and the Adjustment panel| 00:00 | When you're correcting colors or tones
in your photographs, the best way to work
| | 00:05 | is to apply adjustment layers
rather than to apply direct adjustments.
| | 00:10 | Adjustments layers are preferable
because they won't permanently change the
| | 00:13 | pixels in your photographs.
| | 00:16 | Another benefit of adjustment
layers is that they remain editable.
| | 00:20 | So you can come back at any time even
after you've saved and closed a file and
| | 00:24 | tweak the adjustments that you've made.
| | 00:26 | In Photoshop CS4, adjustments have
gotten even better, because now there's a
| | 00:30 | separate panel, the Adjustments panel,
from which you can apply and manage
| | 00:34 | your adjustment layers.
| | 00:35 | My Adjustments panel is open over here.
| | 00:38 | If yours isn't open, you can open it from
the Window menu at the top of the screen.
| | 00:42 | There are two main sections to this panel.
| | 00:45 | In the top portion are icons that
represent all of the available adjustment layers.
| | 00:50 | If I click here, I'll apply a
Brightness/Contrast adjustment layer.
| | 00:54 | Here is Levels adjustment layer,
a Curves adjustment layer.
| | 00:59 | Down here is a Black/White adjustment
layer, a Hue/saturation adjustment layer,
| | 01:04 | a Vibrance adjustment layer and more.
| | 01:06 | We will be looking at some of
these in detail in other movies.
| | 01:10 | For now, I'd like you to see how the
Adjustments panel works and get a sense of
| | 01:14 | the benefits of using adjustment layers.
| | 01:17 | The bottom part of the Adjustments
panel consists of presets for each of the
| | 01:21 | kinds of adjustment layers.
| | 01:22 | We will take a closer look there in a minute.
| | 01:25 | But first let's go ahead
and apply an adjustment layer.
| | 01:29 | This photo is a little dark.
| | 01:30 | So I am going to start with a Brightness
/Contrast adjustment layer right here.
| | 01:34 | I will click that icon and two things happen.
| | 01:38 | First, the Adjustments panel changes
to show me just the controls for the
| | 01:42 | Brightness/Contrast adjustment.
| | 01:44 | And second, down in the
Layers panel, you will see a new
| | 01:47 | Brightness/Contrast adjustment layer.
| | 01:50 | An adjustment layer looks a little
different than other kinds of layers.
| | 01:53 | It has this adjustment icon on the
left and it comes with its own layer mask.
| | 01:59 | In another movie, I'll show you how to
use that layer mask to control the areas
| | 02:03 | where an adjustment
appears and where it's hidden.
| | 02:06 | For now, let's go up to the Adjustments
panel and I'll work with these two sliders.
| | 02:10 | The Brightness slider darkens the photo
if I pull it to the left and brightens
| | 02:14 | the photo if I go to the right.
| | 02:16 | I am going to brighten this photo a bit.
| | 02:20 | And you'll notice that that
histogram in the panel above changed when I
| | 02:23 | made that adjustment.
| | 02:25 | I use the Histogram panel as a guide.
| | 02:27 | For example if I go too far with the
brightness adjustment, I will see a spike
| | 02:32 | over here on the right side of the histogram.
| | 02:34 | That will tell me that I went too far and
I will back off a little on the adjustment.
| | 02:38 | In the Brightness/Contrast
Adjustment panel I also can adjust contrast,
| | 02:42 | lowering contrast by pulling to the left or
increasing contrast by pulling to the right.
| | 02:49 | You can have more than one
adjustment layer on an image.
| | 02:52 | So let's go back to the Adjustments
panel in its initial state and add
| | 02:57 | another adjustment layer.
| | 02:58 | To do that, I will click this green
arrow at the bottom of the Adjustments panel.
| | 03:02 | That takes me back to the initial view
and from here, I am going to click on
| | 03:06 | another adjustment layer icon, the
Black & White Adjustment icon right here.
| | 03:12 | You can see that the Adjustments panel
is now replaced with all the controls for
| | 03:15 | the Black & White adjustment.
| | 03:17 | And in the Layers panel, there is a
second adjustment layer, a Black &
| | 03:21 | White adjustment layer.
| | 03:22 | I will leave the controls in the Black &
White adjustment layer at their default for now.
| | 03:27 | As you can see the image has
changed to black and white.
| | 03:30 | I am going to leave all these controls
at their defaults for now, and I am going
| | 03:33 | to go back in assume that I am
working else where in my image, making other
| | 03:37 | adjustments and tweaks.
| | 03:39 | And then say that I decide that I don't
like the way the Black & White adjustment is.
| | 03:43 | I would like to change it a little.
| | 03:45 | At any time, I can come back and just
click on that Black & White adjustment
| | 03:48 | layer and my controls come up to
the same settings as I left them.
| | 03:53 | At this point, I can change the
adjustment however I like. I could move any of
| | 03:57 | these sliders, or I could just come up
and click Tint, and that will change the
| | 04:02 | black and white look of the image
to a tinted or a colorized look.
| | 04:05 | I did that because I want to show
you the Preview icons at the bottom of
| | 04:09 | the Adjustments panel.
| | 04:11 | If I click this Eye icon, I am taken
all the way back to before I applied any
| | 04:15 | black and white adjustments.
| | 04:16 | I will turn that back on to
show you the next icon here.
| | 04:21 | If I click on this icon and hold,
I get a preview of the last state of the
| | 04:26 | Black & White adjustment.
| | 04:28 | If I want to return to the last state of
this adjustment, I click the next icon,
| | 04:33 | and I go back to before I added the tint.
| | 04:36 | If I want to delete the Black & White
adjustment completely, I can click this
| | 04:40 | trashcan and I can click Yes in
this dialog box, and the Black & White
| | 04:45 | adjustment layer
disappears from the Layers panel.
| | 04:47 | I would like to show you one more
thing about the Adjustments panel.
| | 04:50 | So I am going to go back to its initial
view by clicking this large green arrow.
| | 04:56 | And I wanted to show you how easy it
is to apply an adjustment layer preset.
| | 05:01 | Let's say that I think I need a
little more contrast in his image.
| | 05:04 | I can just click on the arrow to the
left of Levels presets, scroll down this
| | 05:09 | list of available presets,
and choose the one that I want.
| | 05:13 | I am going to try Increase Contrast 2.
| | 05:17 | That did increase the contrast in the image.
| | 05:19 | It also opened the Levels controls here
in the Adjustments panel and it added a
| | 05:25 | Levels adjustment layer in my Layers panel.
| | 05:28 | At this point I could come up to this
menu at the top of the Levels Adjustments panel,
| | 05:33 | and I could choose a different preset.
| | 05:35 | They appear here as well as in
the initial Adjustments panel.
| | 05:40 | Or I could leave things as they are or I
could tweak these adjustments as necessary.
| | 05:44 | I am going to leave them as they are
for now, and recommend again that when
| | 05:48 | you need to adjust your photographs,
you turn to adjustment layers rather than
| | 05:52 | direct adjustments.
| | 05:53 | When you use adjustment layers, you can
feel confident that you are preserving
| | 05:57 | your original image and that you can
come back at any time and tweak or even
| | 06:02 | delete your adjustment.
| | Collapse this transcript |
| Adjusting tones with Levels| 00:00 | Almost every image can
benefit from a Levels adjustment.
| | 00:03 | When you adjust levels, you're
remapping the darkest tones in an image to pure black,
| | 00:08 | and the brightest tones to pure white.
| | 00:11 | That causes all the gray tones in
between to be stretched out across the range
| | 00:15 | between the whites and the blacks.
| | 00:17 | The result is an image with more
contrast between darks and lights, and a wide
| | 00:22 | distribution of gray tones in between,
which usually makes a photo look better.
| | 00:27 | Now, adjusting levels often does
impact the colors in an image, but in this
| | 00:31 | movie, I'm not focusing on adjusting
color. Rather I am looking at adjusting
| | 00:35 | tones in a color image.
| | 00:37 | To get a sense of what tones are,
if you're not already sure, try this
| | 00:41 | "high-tech" technique.
| | 00:43 | Squint your eyes and focus on the
photograph you see here and try to see just
| | 00:47 | the dark, light and gray
shading, rather than the color.
| | 00:51 | Those are the tones that I am
talking about in this movie.
| | 00:54 | As with all of the image adjustments
that I am covering, I strongly recommend
| | 00:58 | that you apply Levels as an adjustment
layer rather than as a direct adjustment.
| | 01:02 | Because as you know from other movies
an adjustment layer is non-destructive of
| | 01:07 | the image pixels and it can always be re-edited.
| | 01:10 | In Photoshop CS4, you can create a
Levels adjustment layer not only from the
| | 01:16 | Layer menu at the top of the screen up
here, as you always have been able to,
| | 01:21 | but and this is the new piece,
from the Adjustments panel.
| | 01:24 | If your Adjustments panel isn't open,
then you can open it from the Window menu
| | 01:27 | at the top of the screen and when you're
ready to create a new Levels adjustment layer,
| | 01:31 | you will go this
second icon right here and click.
| | 01:35 | That causes two things to happen.
| | 01:37 | Down in the Layers panel, you can see
the new Levels adjustment layer floating
| | 01:41 | above the background photo layer, and
in the Adjustments panel you see all of
| | 01:46 | the controls for Levels.
| | 01:48 | Notice that there is a histogram
inside the Levels Adjustment panel, and it
| | 01:53 | looks just like the histogram
up here in the Histogram panel.
| | 01:56 | In fact they are the same.
| | 01:58 | But the reason I like to have the
Histogram panel open also is that the
| | 02:02 | histogram in the Levels Adjustments
panel doesn't update as I make changes to it,
| | 02:06 | like the Histogram panel does.
| | 02:08 | So I use the Histogram panel to
check my work as I'm doing it in the
| | 02:12 | Levels Adjustments panel.
| | 02:14 | The Levels histogram just like the one
in the Histogram panel is a bar chart of
| | 02:19 | the 256 potential grayscale
values that an 8-bit image can have.
| | 02:25 | In the Levels panel, you actually can see
those tones represented here in this gradient.
| | 02:30 | If you could push this gradient up
underneath the chart, it would be even
| | 02:34 | easier to see that the far left of the
chart represents the blackest blacks,
| | 02:39 | the far right of the chart represents whitest
whites, and in between are all the gray values.
| | 02:45 | The black mound in the middle
represents the actual tones in this open image.
| | 02:49 | It's not really a mound.
| | 02:51 | It's a collection of vertical bars,
squeezed up next to one another.
| | 02:55 | Each bar represents the prevalence of a
particular shade of gray in this image.
| | 02:59 | The tall bars here mean that there
is a relatively large amount of that
| | 03:03 | particular shade of gray, which would
be represented here on the bar chart.
| | 03:08 | The short bars, like those over here,
mean that there is very little of that
| | 03:12 | particular shade in his image.
| | 03:13 | So in this case, there are very little
dark shades and almost no white shades,
| | 03:19 | except for maybe those represented by
the short spike, which I believe are the
| | 03:23 | specular highlights right here.
| | 03:25 | These we really don't care about when
we're doing a Levels adjustment because by
| | 03:28 | nature, they are always pure white.
| | 03:31 | My goal when adjusting levels in his
image is to take that mound and stretch it out,
| | 03:36 | so it reaches further across
this bar chart and also to make sure that
| | 03:40 | there are some white whites and some
black blacks, and that there is detail in
| | 03:44 | the light and dark areas at
either end of the tonal curve.
| | 03:48 | So to adjust the levels, all I have to
do is come into the Adjustments panel
| | 03:53 | and take this white slider here and
drag it in toward the left until it just
| | 03:58 | touches these short bars.
| | 04:01 | What that does is take any pixels that
are to the right of that slider and push
| | 04:05 | them to pure white with no detail.
| | 04:07 | So that's why I don't want to go too
far into this mound, because if I do,
| | 04:12 | I am taking all the pixels represented by
the bars to the right of this and making
| | 04:16 | them pure white, so that there
isn't enough detail in the image.
| | 04:19 | I am going to pull that
slider back to the right.
| | 04:23 | Because the question is,
well, how far in should I go?
| | 04:26 | And the way that I can tell is by
holding down the Option key on my Mac, or
| | 04:30 | the Alt key on the PC, as I drag that slider
in, and looking for little patches of color.
| | 04:36 | There I can see a little bit of red
color there and that represents some pixels
| | 04:40 | that are starting to go pure white.
| | 04:43 | The bright white pixels at the bottom-
right corner are the ones that represent
| | 04:46 | the specular highlights, and I am not
really worried about those going white.
| | 04:49 | Now I am going to go over to the
other side of the chart and grab the black
| | 04:54 | slider, and I am going to hold down my
Option key again, and drag to the right
| | 04:58 | so I can see where to stop with that slider.
| | 05:01 | I also want to put this one
just under the mound of pixels.
| | 05:04 | Now, you can see a big blue
patch on the left that is pure blue.
| | 05:08 | Those are pixels that are pure black and
they came in like that from the digital camera.
| | 05:13 | They are represented by the black
spike on the far left of the chart.
| | 05:16 | I am just going to let those stay pure
black, because I think it fits in fine
| | 05:20 | with the design, and I am more
interested in these other blue pixels.
| | 05:23 | So when I just see a few of those,
I release my mouse and that's my
| | 05:27 | initial Levels adjustment.
| | 05:29 | The other thing I want to do is come to
the gray slider in the middle and drag
| | 05:33 | that to the right to darken the
entire image, and that happens without
| | 05:37 | disturbing the new Black &
White points which I just set.
| | 05:40 | Now, if you look in the histogram above,
you will see that that the mound has
| | 05:44 | spread out so that you can see
gaps in between the vertical bars.
| | 05:49 | This is because the tones in the
image have now been spread out across the
| | 05:52 | entire tonal range, which is what I
wanted, and I think the image looks better.
| | 05:57 | Sometimes it's hard to see small
differences in brightness and contrast.
| | 06:01 | So at this point, I will go down to the
bottom of the Adjustments panel and
| | 06:05 | I will click this Preview icon right here,
holding it so I can see how the image
| | 06:09 | looked when I started.
| | 06:10 | It had this kind of gray dull film
over it, as compared to now, when it pops
| | 06:15 | with contrast and brightness.
| | 06:17 | Because I made this adjustment as an
adjustment layer, I can come in and
| | 06:20 | change it at any time.
| | 06:22 | So if I were working on another layer,
like this background layer, and
| | 06:26 | I wanted to come in and tweak the Levels
adjustment, I could just click on the
| | 06:29 | Levels 1 adjustment layer and come back in and
move those sliders wherever I wanted them to be.
| | 06:34 | And I can do that at any time, even after
I save and close the image and reopen it.
| | 06:40 | A couple of more things to show you here.
| | 06:42 | There are presets for Levels.
| | 06:43 | They are located back in the
Adjustments panel or here in the Custom menu at
| | 06:48 | the top of the screen.
| | 06:49 | So you can try those out if you
want as opposed to creating a custom
| | 06:54 | Levels adjustment as I just showed you how
to do, and there is also an Auto button here.
| | 06:58 | I avoid the Auto button.
| | 07:00 | In the Levels Adjustment panel, the
Auto button sometimes results in a
| | 07:04 | colorcast, because it adjusts
each color channel individually.
| | 07:08 | So for example, if I click Auto here, you
can see a faint magenta cast in the image.
| | 07:13 | So I will press undo.
| | 07:15 | That's Command+Z on a Mac, Ctrl+Z on a PC
to go back to my good Levels adjustment.
| | 07:21 | That's the basic technique for adding
contrast and brightness to an image with Levels.
| | 07:26 | You've given the image some true
black and white tones and stretched out
| | 07:30 | the gray tones in between,
eliminating the dull look that was caused by a
| | 07:34 | lack of optimum contrast.
| | 07:37 | Sure, there's more you could do to the image now.
| | 07:39 | You might add a Hue/Saturation
adjustment layer or some color adjustments,
| | 07:43 | but you certainly have improved the basic
tonal structure of the image by applying Levels.
| | Collapse this transcript |
| Limiting adjustments with layer masks| 00:00 | Every adjustment layer comes
with its own built-in mask.
| | 00:04 | You can use that mask to limit the area
in an image where the adjustment shows up.
| | 00:08 | I am going to show you two
different ways to do that in this movie.
| | 00:11 | But I also want to remind you that there is
a new Masks panel in Photoshop CS4 that
| | 00:17 | will also help you to limit
adjustments with masks, which we are going to be
| | 00:20 | looking at in a separate movie.
| | 00:22 | In the first technique, I'm going to
make an adjustment layer and then paint on
| | 00:26 | the mask in order to hide the
adjustment from parts of the image.
| | 00:30 | If you take a look at the
histogram up here, you can see that all the
| | 00:33 | pixels fall in the middle and that
there are no white pixels and no black
| | 00:37 | pixels in this image.
| | 00:39 | That's calling for a Levels adjustment.
| | 00:41 | So I'm going to go to my Adjustments
panel and click the Levels icon here to
| | 00:46 | change the Adjustments panel to the
Levels controls and to add a Levels 1
| | 00:50 | adjustment layer in the Layers panel.
| | 00:51 | I will come into the Histogram, I will
click on the White slider, I will hold
| | 00:56 | down the Option key on a Mac, that's the
Alt key on a PC, and I will drag toward
| | 01:00 | the center until I start to see some
colored pixels, indicating that these
| | 01:05 | pixels are going to become pure white.
| | 01:07 | I will do the same with the black
slider, holding down the Option key on the
| | 01:11 | Mac, the Alt key on a PC, and dragging
to the right, until I see some colored
| | 01:15 | pixels, which are going to
become pure black. What a difference?
| | 01:19 | Here is how this was a
moment ago and here's how it is.
| | 01:24 | It's pretty intense right now, so I am
going to take the Gray slider and I am
| | 01:27 | going to move that to the left
to make the whole image brighter.
| | 01:31 | Now that I have a Levels adjustment,
I am happy with it on the cliffs but I
| | 01:36 | don't like the way it looks in the sky.
| | 01:38 | So here is the part where I limit the
adjustment to just part of my image.
| | 01:42 | I am going to go to the toolbox and I am going
to select this tool, which is the Gradient tool.
| | 01:47 | What I want is a black to white
gradient, so I check that my foreground is
| | 01:51 | black and my background is white. If yours isn't,
you can press D and then X on your keyboard.
| | 01:57 | Then I look in the Tool Options Bar
and I look in the Gradient field here and
| | 02:02 | make sure it's showing a
black to white gradient.
| | 02:05 | If it isn't, click on the gradient
and choose the foreground to Background
| | 02:09 | gradient from these presets, and click OK.
| | 02:13 | Then I am going to go to the Layers
panel and make sure that I have the Levels
| | 02:17 | layer selected with the layer mask highlighted.
| | 02:21 | Finally, I will come into the image,
and I am going to draw a black to white
| | 02:25 | gradient starting at the top of the screen
and I will end around the middle of the image.
| | 02:30 | It doesn't really matter where you end
or in which direction you pull this line,
| | 02:34 | you will just get a different result every time.
| | 02:37 | So what I've done is to mask out this
Levels adjustment from the top of the
| | 02:41 | image and allow it to completely
show through where the cliffs are.
| | 02:45 | Let me show you the mask that I
just made by adding that black to white
| | 02:48 | gradient to the Levels mask.
| | 02:51 | I will hold down the Option key on a Mac,
that's the Alt key on a PC, and click
| | 02:55 | on the mask to show it
here in the document window.
| | 02:58 | The black hides, the white shows, and the
gray only partially shows the Levels adjustment.
| | 03:04 | I will Option or Alt+Click again on
the icon on the Levels layer to come
| | 03:10 | back and see the image.
| | 03:11 | Now, let me show you yet
another way to do something similar.
| | 03:15 | This time, I am going to be using the
second image, tent.psd, which is here in
| | 03:20 | this tab, and what I want to do here
is to make a selection first and then to
| | 03:25 | apply an adjustment layer and the
selection will automatically act as a mask.
| | 03:30 | Let me show you how.
| | 03:31 | I am going to go to the toolbox and
select the Quick Selection tool there.
| | 03:34 | I am coming into the image and I am
just going to drag out a selection, and
| | 03:39 | I am going to include the
sky as well as the red tent.
| | 03:43 | I want to apply a Levels adjustment to
the foreground part, which is too dark,
| | 03:47 | and leave the awning and the sky as they are.
| | 03:50 | So I need to invert the selection.
| | 03:52 | For that I will go to the Select
menu at the top of the screen and choose
| | 03:56 | Inverse or I can use the shortcut
Command+Shift+I or Ctrl+Shift+I on a PC.
| | 04:02 | Now I am going to feather the edge of
this selection by going to the Refine Edge
| | 04:07 | button in the Options Bar and there I
am going to drag the feather way up high.
| | 04:13 | This is pretty extreme but I don't
want to see any transition between the
| | 04:22 | adjustment on the
foreground and the rest of the image.
| | 04:24 | So I click OK and now I am ready
to create a Levels adjustment layer.
| | 04:30 | To do that, I will go to the Adjustments
panel, and I will click the Levels icon
| | 04:34 | there and then I will drag the White
slider on the Levels histogram over to the
| | 04:38 | left until it touches the pixels
that represent tones in this image.
| | 04:42 | And then I will drag the Gray slider
over to the left to lighten the whole thing.
| | 04:46 | Now, let's take a look at what I have done.
| | 04:48 | I am going to press the Preview button at the
bottom of the Adjustments panel. That's how it was.
| | 04:53 | That's how it is.
| | 04:54 | So you can see that this adjustment is
now affecting just the foreground, which
| | 04:58 | I'd selected before I
created the Levels adjustment.
| | 05:02 | If you'd like to see that mask, I will
hold the Option key and click on it in
| | 05:06 | the Layers panel. Here is my mask
with black hiding the adjustment, white
| | 05:11 | showing the adjustment, and the gray in
between caused by the feathering of the
| | 05:15 | selection, letting the
adjustment partially show through.
| | 05:18 | I will Option or Alt+Click again
on the Levels adjustment mask icon.
| | 05:23 | There are going to be many times when you
want to limit the reach of an adjustment.
| | 05:27 | No matter what kind of adjustment
layer you've made, Levels or Curves,
| | 05:31 | Hue/Saturation, Black & White, you can
use these very same techniques I've just
| | 05:36 | showed you to hide the
adjustment on a portion of your image.
| | Collapse this transcript |
| Using masks in the new Masks panel| 00:00 | There is a brand-new panel in
Photoshop CS4 called the Masks panel.
| | 00:05 | You can use this panel to help you to
create masks, to refine their edges and to
| | 00:09 | control the density or the
strength of the mask on an image.
| | 00:14 | You can use the Masks panel with any
kind of mask, a layer mask, a vector mask,
| | 00:18 | but where it really shines is when
you're using it with an adjustment layer mask
| | 00:22 | to limit the area where the
adjustment shows up in your image.
| | 00:26 | I introduced this subject in an earlier
movie. Now I want to add this additional piece,
| | 00:30 | which is using the Masks
panel with adjustment layer masks.
| | 00:34 | Take a look at this photo.
| | 00:36 | It's a typical backlit photo.
| | 00:38 | I shot it into the sun, so the camera
exposed for the sky and now the foreground
| | 00:42 | needs some tonal adjustments.
| | 00:44 | It needs some whites, some blacks
and a range of grays in between.
| | 00:48 | But the background is probably okay as-is.
| | 00:51 | So what I am going to want to do is
apply a Levels adjustment layer to this
| | 00:55 | image but prevent that
adjustment from affecting the sky.
| | 00:59 | I am going be using a Levels adjustment
but the techniques I will show you using
| | 01:02 | the Masks panel work with any adjustment layer.
| | 01:05 | The first step is to create a Levels
adjustment layer, so I am going to go back
| | 01:09 | to the Adjustments panel here and from
there, I am going to click the Levels icon
| | 01:13 | and then in the Levels Adjustment panel,
I'm going to drag the white slider to the left.
| | 01:19 | I will hold down the Option or Alt key
so I can see where to stop dragging.
| | 01:23 | Now notice all of these pixels
that are showing up are in the sky.
| | 01:27 | I am not really interested in them.
I am going to let that blow out completely,
| | 01:30 | and it's when I start to see bits of color
in the grass that I am going to stop dragging.
| | 01:35 | I am just adjusting for the foreground
right now, and trying to ignore the sky.
| | 01:40 | Then I will hold Option key down,
that's the Alt key on a PC, and click on the
| | 01:45 | black slider and drag it to the
right and right away, I start to see some
| | 01:48 | pixels, so I am going to
back off a little and release.
| | 01:52 | And then I am going to take the gray
slider and I am going to drag the left to
| | 01:57 | make the foreground of the
image a little bit brighter.
| | 01:59 | Now it's time to visit the new Masks panel.
| | 02:01 | I am going to click on the Masks tab
here, and if your Masks panel isn't open,
| | 02:06 | you can open it from the Window
menu at the top of the screen.
| | 02:10 | The first thing I want to do is to
create a masked area that will hide this
| | 02:14 | adjustment from the sky.
| | 02:16 | I can use any of the Selection tools
or I could paint with black or make a
| | 02:20 | gradient from black to white
on the adjustment layer mask.
| | 02:24 | But here in the Masks panel, I can
click the Color Range button and make a
| | 02:29 | mask directly from here.
| | 02:32 | I showed you how to use the Color Range
dialog box in another movie. As I showed
| | 02:36 | you there, you used these
eyedroppers to select an area.
| | 02:40 | And you can change your Selection
Preview down here from this menu.
| | 02:43 | I will leave this set to Black Matte,
and I am going to get the Plus Eyedropper
| | 02:49 | and I am going to click in the image
on the other parts of the sky to try to
| | 02:52 | select the entire sky.
| | 02:54 | I think it will be easier to select the
sky in this image then to try to select
| | 02:58 | the land because there's
less variation in the sky.
| | 03:06 | Now, I noticed that I'm starting to see
part of the land here, so I want to go
| | 03:10 | up to my Fuzziness slider, and I am
going to drag it to the left to decrease the
| | 03:14 | range of tones around those I have
clicked on that will be selected.
| | 03:19 | That doesn't look too bad, so I am going
to click OK, and now if I go down to my
| | 03:23 | adjustment layer mask, hold the Option
key on a Mac or the Alt key on a PC, and
| | 03:28 | click on it, I can see my mask, but
this mask is upside down. I need the white
| | 03:34 | part to be on the bottom to show the
adjustment there, and the black part to be
| | 03:38 | on the top to hide the adjustment in the sky.
| | 03:40 | Let me get back to the regular view by
Option or Alt+Clicking on this Levels
| | 03:45 | adjustment layer mask, and then I am
going to go back to the Masks panel and
| | 03:49 | just click the Invert button there.
| | 03:51 | And you can see in the thumbnail that
now black is on top and white is on the
| | 03:55 | bottom, and in my image, the
adjustment is in the foreground but the
| | 03:59 | background is as it started.
| | 04:00 | There is only one trouble here, and
that is this transition between the area
| | 04:04 | that's adjusted and the area that isn't.
| | 04:07 | I need to soften that a lot.
| | 04:09 | So I am going back to the Masks panel, where
there are some other features that will help me.
| | 04:13 | With the Levels adjustment layer mask
selected in the Layers panel, I could try
| | 04:18 | just dragging the Feather slider.
| | 04:20 | And I can see the results
right here in the image.
| | 04:23 | That doesn't look too bad.
| | 04:25 | Just to show you, if I click on mask edge
that opens the Refine Mask panel. I have
| | 04:32 | shown you this panel in connection
with selections in earlier movies.
| | 04:35 | It's the same panel, with the same sliders.
| | 04:38 | I can click on the first of these
views to see the entire image and if I
| | 04:42 | don't want to see the marching ants,
I am going to hold down the Command+H keys.
| | 04:46 | That's Ctrl+H on a PC.
| | 04:49 | I haven't deselected the marching ants.
| | 04:51 | I have just hidden them temporarily.
| | 04:53 | So here I could use these other
sliders to try to smooth out the transition
| | 04:57 | between the adjusted and non-adjusted
area even more, but I actually think
| | 05:01 | that I like the way it looks right now,
so I am not going to use any of these,
| | 05:04 | but I did want to show how easy it
is to get to the Refined Mask panel
| | 05:08 | directly from the Masks panel.
| | 05:10 | I will click OK there and there is one
slider in the Masks panel that I would
| | 05:14 | like to show, and that's the Density slider.
| | 05:17 | If I take that slider and drag to
the left, I am making the entire mask
| | 05:22 | a little bit see through.
| | 05:24 | So the adjustment partially affects the
sky and if you look in the mask in the
| | 05:29 | Levels 1 adjustment layer,
I will Option or Alt+Click that.
| | 05:33 | You can see that moving the Density
slider has changed that mask from black to
| | 05:37 | gray, and that's why it
partially shows the adjustment.
| | 05:40 | I will Option or Alt+Click
that icon again to go back.
| | 05:45 | So the new Masks panel in Photoshop
CS4 really comes in handy when you are
| | 05:49 | working with layer masks on an adjustment layer.
| | 05:52 | It allows you to feather and
adjust the density of the mask.
| | 05:55 | It helps you to create the mask by
taking you right to the Color Range command,
| | 05:59 | and it even will take you to the Refine
Edges dialog, where you can refine the
| | 06:03 | transition between the masked and the
unmasked view of your adjustment layer.
| | Collapse this transcript |
| Limiting adjustments by clipping| 00:00 | An adjustment layer affects the
content of all layers beneath it.
| | 00:04 | If you're building a file with lots of
layers, sometimes you don't want to have
| | 00:08 | your adjustment layer affect all the layers.
| | 00:11 | Well, here's how to quickly limit an
adjustment to just the layers you want it
| | 00:15 | to affect by clipping one layer to another.
| | 00:18 | In Photoshop CS4, clipping has
become a one step easy operation,
| | 00:23 | thanks to the addition of a new
Clipping button in the Adjustments panel.
| | 00:27 | I am going to be using a Brightness/
Contrast adjustment layer here, but this
| | 00:31 | technique works with all adjustment layers.
| | 00:34 | You can see in the Layers panel
that this file has two layers.
| | 00:37 | On the top layer are these houses,
and if I make that layer temporarily
| | 00:41 | invisible by clicking the Eye icon,
you will see that behind it is a photo of
| | 00:46 | some mountains, and I just use
that for the gray sky behind.
| | 00:49 | What I want to do is brighten up the
buildings on the houses layer, but not
| | 00:55 | brighten up the sky on the layer below.
| | 00:57 | I am going to add a Brightness/
Contrast adjustment layer from the Adjustments
| | 01:01 | panel by clicking the Brightness/Contrast icon.
| | 01:05 | You can see the new Brightness/Contrast
adjustment layer down here in the Layers
| | 01:08 | panel and the controls for that
adjustment here in the Adjustments panel.
| | 01:12 | It's really pretty simple.
| | 01:14 | If you drag the Brightness slider to
the right, it increases the brightness
| | 01:18 | of the entire image.
| | 01:19 | And if you drag the Contrast slider
to the right, you increase the contrast
| | 01:24 | between the light areas and the dark areas.
| | 01:26 | By the way, if you have been using
Photoshop for a long time, you may have heard
| | 01:30 | not to use the Brightness/Contrast adjustment.
| | 01:33 | That was true in the past, when this
particular adjustment often clipped the
| | 01:37 | highlights and the shadow areas of images.
| | 01:39 | But that was fixed in the last
version of Photoshop, Photoshop CS3.
| | 01:44 | So it's fine to use the Brightness/
Contrast adjustment in Photoshop CS4 too.
| | 01:49 | So now my adjustment is affecting not
only what's on the houses layer, but also
| | 01:54 | what's on the sky layer below, and
I really don't want to brighten the sky.
| | 01:59 | All I have to do is make sure that my
Brightness/Contrast adjustment layer is
| | 02:02 | selected here in the Layers panel and
then go to the bottom of the Adjustment panel
| | 02:07 | and click this icon, the one that
looks like a black and white circle, and
| | 02:13 | that clips the Adjustment layer to the
houses layer below, preventing it from
| | 02:18 | reaching down to the sky layer
at the bottom of the layers stack.
| | 02:22 | You can see that the adjustment layer
is clipped to the layer below it because
| | 02:26 | it is indented and it now has
this down-facing arrow on it.
| | 02:30 | I could add more adjustment layers on
top of this one and clip them to one
| | 02:34 | another just the same way.
| | 02:36 | If I want to unclip the adjustment layer,
I just make sure it's selected and
| | 02:41 | I click the Clipping icon one more time.
| | 02:44 | You may remember from previous versions
of Photoshop that to make this happen,
| | 02:48 | you had to move your mouse over the
border between the adjustment layer and
| | 02:51 | the layer below, hold down the Option key on
a Mac or the Alt key on a PC, and then click.
| | 02:57 | You can still do it that way if you
like, but having this new Clipping button
| | 03:01 | right here makes this a
really easy one-click operation.
| | Collapse this transcript |
| Adjusting with Shadow/Highlight| 00:00 | The Shadow/Highlight adjustment
should be at the top of your list of
| | 00:03 | techniques to try, whenever you're
dealing with a photo that needs tonal or
| | 00:07 | lighting adjustments.
| | 00:09 | Shadow/Highlight adjusts the dark and
light areas of an image separately, which
| | 00:13 | makes it great for correcting
backlit photos like this one.
| | 00:17 | It also does a really good job on over-
flashed photos, which is the opposite
| | 00:21 | problem to what you see here, where
the main subject is too bright and the
| | 00:24 | background is too dark.
| | 00:26 | And it works on just lots of photos
that have both dark and light areas.
| | 00:30 | One thing about Shadow/Highlight
adjustment is it is a direct adjustment.
| | 00:34 | There is no Shadow/Highlight
adjustment layer available.
| | 00:37 | And so the problem is that if you apply
it directly to the photo layer, it will
| | 00:42 | permanently change the pixels of the
photo and we don't like to do that when
| | 00:45 | we are practicing nondestructive editing.
| | 00:47 | So here's the solution.
| | 00:49 | Treat the Shadow/Highlight
adjustment like a filter.
| | 00:52 | Let me show you what I mean.
| | 00:53 | I am going to go to the Layers panel
and make sure that my lion layer is
| | 00:56 | selected and then I'm going up to the
Filter menu at the top of the screen and
| | 01:00 | I am going to choose Convert for Smart Filters.
| | 01:04 | That's going to make the
lion layer into a Smart Object.
| | 01:07 | I will say OK at this message, and you can
see the Smart Object icon on the lion layer.
| | 01:15 | Now, I'm going to go and apply my Shadow
/Highlight adjustment by going to Image
| | 01:20 | > Adjustments and down to Shadow/Highlights.
| | 01:25 | This is the default behavior of
the Shadow/Highlights adjustment.
| | 01:29 | First thing I do here is take the
Amount slider for Shadows, and drag it to the left,
| | 01:34 | because this is how
the image is originally.
| | 01:37 | And then I click Show More Options.
| | 01:41 | Let's find out what's here.
| | 01:43 | You will notice that the Shadows
controls are located in one section and the
| | 01:47 | Highlights controls in another.
Because this adjustment treats shadows and
| | 01:51 | highlights separately,
| | 01:52 | I will start with the Shadows area and
I'm going to increase the amount of this
| | 01:56 | adjustment and as I do, right away
you can see the lion is looking better.
| | 02:01 | By increasing this slider, I am just
increasing the strength of the adjustment
| | 02:05 | to the Shadows portion of my image.
| | 02:08 | The Tonal Width slider here controls
what is considered a shadow for purposes
| | 02:12 | of this adjustment.
| | 02:14 | If I drag it to the left, fewer areas
are considered shadows that need to be
| | 02:18 | adjusted, and if I drag it to the right,
more areas are adjusted as shadows.
| | 02:24 | Then there is the Radius slider.
| | 02:26 | The way that Shadow/Highlights works is
that it looks at neighboring pixels to
| | 02:31 | figure out whether it's working
in a dark area or a light area.
| | 02:35 | The Radius slider determines the range
of neighboring pixels that the adjustment
| | 02:39 | will look at when it's
making that determination.
| | 02:42 | You basically just have to eyeball this slider.
| | 02:44 | You don't want to drag it too far to
the left, where everything will look flat,
| | 02:48 | or too far to the right where
not enough pixels get adjusted.
| | 02:52 | So just somewhere in between
where it looks good to you.
| | 02:56 | The Highlights area has the same three sliders.
| | 02:58 | So I will drag the Amount slider over to the
right to darken the highlights in the image.
| | 03:04 | And you can see the sky is
getting more dramatic and dark.
| | 03:08 | The Tonal Width slider determines the
range of tones that will be affected by
| | 03:11 | this particular adjustment.
| | 03:12 | I think I'll drag that over to the
left a little, because I only want the sky
| | 03:17 | pixels to be affected.
| | 03:18 | And then we have the Radius slider.
| | 03:20 | Do you see that there is kind of
a halo or a glow around the lion?
| | 03:25 | I can usually fix that by
dragging the Radius slider.
| | 03:27 | I am going to try to increase Radius to
just smooth out that glow a little bit.
| | 03:35 | When you apply a Shadow/Highlight
adjustment, you usually also have to pump up
| | 03:39 | the saturation of the colors a bit.
| | 03:42 | You can do that using
this Color Correction slider.
| | 03:44 | I will drag that to the right to
increase the saturation of the image just a bit.
| | 03:49 | The Midtone Contrast slider affects the
contrast or the difference between dark
| | 03:53 | and light in the midtone
grays, like this area here.
| | 03:58 | If I drag that to the right, I get a
little more contrast in that area and
| | 04:02 | the photo looks better.
| | 04:04 | If I had a lot of photos that I shot the
same way, I could save all of this as a
| | 04:07 | default and apply it every time.
| | 04:09 | But I am just going to
click OK here and now I have my
| | 04:13 | Shadow/Highlight adjustment.
| | 04:15 | But the really interesting part is that
that adjustment is re-editable because I
| | 04:19 | treated it like a Smart Filter.
| | 04:21 | So if you look in the Layers panel
down here, you can see that I have a
| | 04:25 | Shadow/Highlights adjustment layer
here, and I can turn that on and off
| | 04:30 | temporarily by clicking the Eye icon.
There is it off, as the image was before
| | 04:34 | the adjustment, and on, as
it is with the adjustment.
| | 04:37 | There is also a layer mask that comes
in automatically with any Smart Filter,
| | 04:42 | and I could use that layer mask to
limit the areas to which this adjustment applies,
| | 04:47 | just like I use an adjustment
layer mask, by painting on this mask or
| | 04:51 | perhaps adding a gradient to it.
| | 04:53 | Don't hesitate to give the Shadow/
Highlight adjustment a try whenever you have
| | 04:57 | an image with some areas that are
light and others that are dark, which means
| | 05:01 | almost any image really, and it's a
must for backlit and over-flashed photos.
| | Collapse this transcript |
| Adjusting with Curves| 00:00 | If you were on a desert island with your
computer and Photoshop and some kind of
| | 00:05 | solar energy, and you could only have
one tonal and color correction feature
| | 00:09 | with you, what feature
would that be? I'd say Curves.
| | 00:14 | Curves is the most complete of the tonal
and color correction features in Photoshop.
| | 00:18 | In this movie, I'd like to show you
how to use Curves to adjust contrast and
| | 00:22 | brightness in an image.
| | 00:24 | It's very much like making the same
kinds of adjustments with Levels, as I
| | 00:28 | showed you how to do in another movie.
| | 00:30 | But with Levels, you could only
adjust the tonality of three points:
| | 00:34 | a shadow point, a highlight point, and midtones.
| | 00:37 | By contrast with Curves, you have the
flexibility to adjust any of the 256
| | 00:42 | grayscales tones in an image.
| | 00:45 | So once you're comfortable learning
Levels, I suggest that you give Curves a try too,
| | 00:49 | when you're making
changes to brightness and contrast.
| | 00:52 | Curves are also used for color
correction, but that's not going to be the
| | 00:56 | focus of this lesson.
| | 00:58 | In this lesson, we would be looking just at
adjusting brightness and contrast of tones.
| | 01:03 | Like all the adjustments in Photoshop,
when I apply a Curves adjustment, I try
| | 01:07 | to use an adjustment layer
rather than a direct adjustment.
| | 01:11 | To apply a Curves adjustment layer,
I'll go to the Adjustments panel here, and
| | 01:15 | I'll click the third icon
from the left in the top row.
| | 01:19 | That adds this Curves adjustment layer
in the Layers panel and it changes the
| | 01:23 | controls in the
Adjustments panel to the Curves controls.
| | 01:26 | Let's take a quick look at what's here.
| | 01:29 | In this box, there is a baseline curve,
which represents at the top right the
| | 01:35 | brightest possible tones, and in the bottom
right, the darkest possible tones with
| | 01:39 | all the great tones in between.
| | 01:41 | It's similar to the Bar Chart in the Levels
dialog box but turned up on its end 45 degrees.
| | 01:47 | You can see a Histogram in the Curves
dialog box that represents the initial
| | 01:51 | tones in the open image.
| | 01:53 | You can use this as a reference, but I
also suggest that you have your Histogram
| | 01:57 | panel open, so you can see the
Histogram update as you make changes in the
| | 02:01 | Curves Adjustments panel.
| | 02:03 | There are two gradients here
in the Curves Adjustments panel.
| | 02:06 | The one on the bottom represents the
current tones in the image, with dark tones
| | 02:10 | on the left and light tones on the right.
| | 02:13 | When you use Curves, you are
remapping those tones to other tones and those
| | 02:17 | are represented in the vertical bar here
with dark on the bottom and right on the top.
| | 02:22 | So for example, if I click in the
middle of this curve and then I drag up,
| | 02:28 | notice the horizontal line that's
intersecting the vertical bar on the left.
| | 02:33 | What it's telling me is that the
middle gray that I've currently got under my
| | 02:37 | cursor is being changed to a lighter
gray as I move up the vertical bar chart.
| | 02:42 | I press Reset to eliminate that curve.
| | 02:45 | And now let me quickly show you some
of the Preset Curves that come with the
| | 02:49 | Curves Adjustments panel.
| | 02:52 | Those are located here at the
top of the panel, in this menu.
| | 02:55 | I want you to see what happens when
you make a curve to darken an image.
| | 03:00 | As you can see this kind of a
curve bows down beneath this light gray
| | 03:05 | baseline reference.
| | 03:07 | And if I go up to the Presets and I
choose Lighter, I get the opposite, a curve
| | 03:12 | that bows up above the baseline reference line.
| | 03:16 | And if I go back to the Presets and
choose Increase Contrast, I get an S-shaped
| | 03:22 | curve, which goes up in the
highlight area and moves below the baseline
| | 03:26 | reference point in the shadow area.
| | 03:29 | This kind of a curve is
typically used to increase contrast.
| | 03:32 | I'll press Reset again.
| | 03:35 | And let's go ahead and make a curve to
improve the contrast and brightness in this image.
| | 03:40 | The first step is to go to the
sliders at the bottom of the Curves panel.
| | 03:44 | This white slighter right over here on
the right is just like the white slider
| | 03:47 | in the Levels dialog box.
| | 03:50 | Before I move that slider, I am
going to go to the panel menu, up here at
| | 03:54 | the top of the Adjustments panel
and make sure that Show Clipping for
| | 03:57 | Black/White Points is checked.
| | 04:00 | That way I don't have to hold down the
Option key on the Mac or the Alt key on a
| | 04:04 | PC in order to see where to place this slider.
| | 04:08 | So as I drag to the left to set the
white point for the image, I go until I see
| | 04:15 | some colored and white pixels.
| | 04:17 | Those pixels are going to be pushed
to pure white as well everything to the
| | 04:21 | right of the place that I leave this slider.
| | 04:23 | I'll do the same on the left with the
black slider dragging it to the right
| | 04:28 | and right away I do see some pixels at the
bottom of the screen, which are already black.
| | 04:33 | So I am going to release my mouse there.
| | 04:36 | Now if I go to the Preview button at
the bottom of the Adjustments panel and
| | 04:39 | I press-and-hold, I can see how the
image was without this curve, and how it
| | 04:44 | is with this curve.
| | 04:45 | And all I have done so far is
set the black-and-white points.
| | 04:49 | Now what if I also want to
lighten the entire image?
| | 04:52 | I could come in and set a point on this
curve by clicking right in the middle,
| | 04:56 | and then drag up, but in Photoshop CS4
there is a better way of customizing
| | 05:01 | your curves and that is to use the On
Image control which is located right here.
| | 05:06 | I'm going to click to select that
control and then I am going to come in my image
| | 05:10 | and make some visual adjustments.
| | 05:13 | So for example, let's say I want to go
to this gray area over here and open it
| | 05:17 | up, so I can see more detail there.
| | 05:19 | You will notice when I move my mouse
over that area, a small hollow circle
| | 05:24 | appears on the curved baseline showing
me which part of the curve represents
| | 05:28 | these particular colors and then I'll
click and I'm going to drag up, and as I do,
| | 05:34 | I am lightning this area of
the image and the curve is moving up.
| | 05:39 | That also sets a point on the curve.
| | 05:41 | So I can go back to that point if I want.
| | 05:43 | Now I am going to move my cursor down
here to a darker area and you can see
| | 05:48 | that that's in a lower part of the
curve, and I'll click-and-drag down to
| | 05:53 | make that area darker.
| | 05:55 | What I'm doing now is darkening the
shadows and creating an S-curve in the
| | 06:00 | Curves Adjustments panel.
| | 06:01 | And as you saw with the Preset
an S-curve increases contrast.
| | 06:06 | That's particularly true in areas like
this where there is a steep part to the curve.
| | 06:12 | To recap, I just drag the sliders in to
set the white point and the black point,
| | 06:16 | then I click the On Image icon and
came into my photograph and clicked and
| | 06:21 | dragged in areas where I wanted to open
up highlights or make shadows darker, or
| | 06:26 | you could do the opposite if you wanted to.
| | 06:27 | I am going to preview the image now with
this Contrast Curve by pressing down on
| | 06:33 | the Preview icon to see how the image
looked without the Curves adjustment layer,
| | 06:37 | and how much more it pops now.
| | 06:41 | You can see that not only the contrast and
the brightness changed here but also the color.
| | 06:45 | This life preserver is really orange now.
| | 06:48 | When you make curves adjustments
you often do end up impacting color.
| | 06:52 | And if all you want to do is affect
the contrast and the brightness, then you
| | 06:56 | can change the blending mode
of the Curves adjustment layer.
| | 06:59 | To do that, I'll go to the Layers
panel, make sure that adjustment layer is
| | 07:03 | selected, and go to the Blending Modes
menu where I'll click and drag down all
| | 07:08 | the way to the bottom and choose Luminosity.
| | 07:12 | Now let's preview what we have.
| | 07:13 | Here is the image now without that big color
change, and here's how it was when I started.
| | 07:20 | Much more contrasty now.
| | 07:22 | As you have seen Curves gives you a
lot of control over the brightness and
| | 07:25 | contrast of particular areas in a photo,
and the new On Image control paired
| | 07:30 | with the black and white sliders for
setting the black and white points make
| | 07:33 | curves in Photoshop CS4 accessible to everyone.
| | Collapse this transcript |
| Adjusting with Hue/Saturation| 00:00 | The Hue/Saturation adjustment allows you
to vary the basic color of an image and
| | 00:05 | its saturation or intensity.
| | 00:08 | Almost every image looks
better with a little extra pop from
| | 00:10 | increased saturation.
| | 00:12 | You can use this adjustment alone or
maybe after you've varied contrast and
| | 00:16 | brightness with another kind of
adjustment like Levels or Curves.
| | 00:20 | Let me show you how Hue/Saturation works.
| | 00:23 | Like other adjustments, I'd like to
apply this adjustment as an adjustment layer.
| | 00:27 | So I'll go to the Adjustment panel and
I'll click the second icon from the left
| | 00:32 | in the middle row here, and that adds
a Hue/Saturation adjustment layer to my
| | 00:36 | Layers panel and it changes the
controls in the Adjustments panel to the
| | 00:40 | Hue/Saturation controls.
| | 00:42 | Let's take a look at this
first slider, the Hue slider.
| | 00:45 | If I drag that to the right, it
changes the hue of everything in the image.
| | 00:50 | You can get some pretty wacky effects this way.
| | 00:52 | Let me put that back.
| | 00:54 | To show you the Saturation slider
here, if I drag that to the right,
| | 00:59 | it saturates my image
globally affecting all the colors.
| | 01:02 | And if I drag to the left,
it de-saturates everything.
| | 01:05 | If I go all the way to the left, I can
take it all the way down to Grayscale.
| | 01:09 | I am going to reset by clicking this
icon at the bottom of the Adjustments panel.
| | 01:16 | You don't have to apply Hue/Saturation
adjustments to all the colors in an image.
| | 01:21 | There are several ways to limit your
changes to just a specific range of tones.
| | 01:25 | My favorite is the new On Image
control, which is located right here.
| | 01:29 | I am going to click that and now if I
come into the image and I click say in
| | 01:34 | this blue water and I drag to the
right, I increased the saturation of just
| | 01:39 | the cyans in the image.
| | 01:41 | And if I drag to the left, I decrease
the saturation of just the cyan colors.
| | 01:46 | Let me reset that to show you something
else you can do with the On Image control.
| | 01:51 | Now I am going to hold down the Command
key on a Mac or the Ctrl key on a PC as
| | 01:56 | I drag, and this time I am
varying the hue of the cyans.
| | 02:00 | You can see that Hue slider
moving back and forth with me.
| | 02:05 | Another way to limit my changes to
ust a range of tones is to use this menu here,
| | 02:09 | and to choose for example Reds.
| | 02:12 | And now if I increase Saturation,
it affects the reds in the image.
| | 02:17 | If I want that change to affect other
colors, say yellows, I am going to take
| | 02:22 | this Plus Eyedropper down here and
click on the yellow portion of the image and
| | 02:27 | you can see that that became more saturated too.
| | 02:30 | These gray sliders indicate
which colors are going to be changed.
| | 02:35 | The colors within this dark-gray portion
are targeted for change, and the colors
| | 02:40 | that fall within these light-gray
portions on this side will partially change.
| | 02:44 | They are in the fall-off zone.
| | 02:47 | You may like a have a
monotone effect in your image.
| | 02:49 | To get that you can go to the Colorize
checkbox and click there, and then you
| | 02:53 | can come to the Hue slider and drag
until you have the monotone that you like.
| | 03:03 | You can also vary the Saturation of that effect.
| | 03:05 | And finally, if you come to be menu at
the top of the Hue/Saturation Adjustments
| | 03:09 | panel, you can find some useful
presets like Sepia or Cyanotype.
| | 03:18 | So those are some ways that you can use
the Hue/Saturation adjustment layer to
| | 03:22 | change the basic color or the
saturation of colors in an image.
| | 03:26 | If you find that the Saturation
adjustment in this dialog box is too strong for
| | 03:29 | a particular image, or if you happen to
be working on skintones, you can't get
| | 03:33 | the saturation just right here.
| | 03:35 | There is another
adjustment that you may want to try.
| | 03:38 | That's the new Vibrance adjustment,
which I cover in another movie.
| | Collapse this transcript |
| Adjusting with Vibrance| 00:00 | The Vibrance adjustment, which is new
in Photoshop CS4, offers a subtle way to
| | 00:05 | make colors more intense.
| | 00:07 | The beauty of this new adjustment is
that it uses a light touch on skin tones
| | 00:11 | and it concentrates on colors that are
less saturated than others in the image,
| | 00:15 | which helps even out the
saturation of colors across a photograph.
| | 00:19 | You might think of color
as having three qualities:
| | 00:22 | Hue, which is the basic color;
| | 00:24 | Brightness, which is the
lightness or darkness of the color;
| | 00:27 | and Saturation, which is
the intensity of the color.
| | 00:30 | You'll find that many color
images just look better with a touch of
| | 00:34 | increased saturation.
| | 00:35 | Until now the main way to increase
saturation was with the Hue/Saturation
| | 00:40 | adjustment, which is right
here in the Adjustments panel.
| | 00:43 | If I click there to open the Hue/
Saturation controls and I make a minor
| | 00:48 | adjustment, I'm just going to pull the
Saturation slider to the right, you'll
| | 00:51 | see that the model's skin
quickly becomes oversaturated.
| | 00:55 | It looks like she has a bit of a sunburn.
| | 00:57 | So this isn't exactly doing what I want.
| | 00:59 | I'm going to go down to the trashcan at
the bottom of the Adjustments panel and
| | 01:03 | click it and say Yes to delete
the Hue/Saturation adjustment.
| | 01:07 | Instead, I'm going to try the
Vibrance adjustment, which is right here in
| | 01:11 | the Adjustments panel.
| | 01:12 | I'll click the Vibrance icon and I
can see in my Layers panel the new
| | 01:17 | Vibrance adjustment layer.
| | 01:20 | The adjustment has two sliders:
| | 01:22 | The Saturation slider works a lot
like the Saturation slider in the
| | 01:25 | Hue/Saturation dialog box.
| | 01:27 | It just overdoes the skin tones a bit.
| | 01:30 | To put that back to its default, I'm
going to type zero in the Saturation field,
| | 01:35 | and now I'm going to try moving the
Vibrance slider to the right instead.
| | 01:42 | As you can see the Vibrance
slider is a lot more subtle.
| | 01:45 | It has made the colors
in the image more intense.
| | 01:48 | You can see that particularly down here in the
skirt, but it hasn't overdone the model's skin.
| | 01:53 | If I go down to this Preview icon and
I click and hold, you can see how it
| | 01:57 | was before I applied this adjustment, a little
bit dull, and how it is with the adjustment.
| | 02:03 | It just pops.
| | 02:04 | That's how simple it is to increase the
saturation in an image without overdoing it.
| | 02:10 | Give the new Vibrance adjustment a try
on your own images, particularly where
| | 02:13 | you have photographs of people.
| | Collapse this transcript |
| Removing a color cast| 00:00 | Sometimes an image has an overall
colorcast like the one that you see here.
| | 00:05 | There are lots of ways to correct a
colorcast, some more complicated than others.
| | 00:10 | In this movie I'd like to show you a
few quick ways to try to eliminate a
| | 00:14 | colorcast in a photo.
| | 00:15 | None of these are guaranteed and
they don't always work on all images but
| | 00:19 | they're certainly worth a try.
| | 00:21 | The first one is the Auto Color command.
| | 00:23 | I'm going to go up to the Image menu at
the top of the screen and there I see 3
| | 00:27 | Auto commands: Auto Tone,
Auto Contrast and Auto Color.
| | 00:32 | Auto Color is the one to
try to remove a colorcast.
| | 00:35 | I'll select it, and that is the
result on this particular image.
| | 00:39 | So that you can compare this to the original,
I'll press Command+Z on a Mac or Ctrl+Z on a PC.
| | 00:46 | There's the original and I'll press
that shortcut again to show you the current
| | 00:51 | version, quite a bit better.
| | 00:53 | Now there is more to do to this image
for sure, but at least I've removed that
| | 00:58 | glaring yellow cast.
| | 00:59 | Let me undo that again to talk about a
completely different method, and that is
| | 01:05 | the Average Color Method.
| | 01:06 | I'm going to make a copy of the single
layer in the file by Ctrl+Clicking on the
| | 01:12 | layer on a Mac or right-clicking on a PC
and choosing Duplicate Layer. I'll say OK.
| | 01:19 | With that duplicate layer selected I'm
going to go to the Filter menu at the top
| | 01:23 | of the screen and choose Blur and Average.
| | 01:26 | That averages all the colors in the
layer and gives me this kind of muddy brown.
| | 01:31 | Now what I need to do is to
get the complement of this color.
| | 01:34 | To do that I'll go to the Image menu and
down to Adjustments, and over to Invert
| | 01:40 | or I could have just pressed the shortcut,
Command+I on a Mac or Ctrl+I on a PC.
| | 01:45 | So the compliment of the muddy
brown is just rather nice blue.
| | 01:48 | Notice in the Layers panel that I have
my photo on the Background layer and then
| | 01:53 | I have that light blue on the layer above.
| | 01:56 | I'm going to use a layer blending mode
to blend the light blue with the photo.
| | 02:01 | So with the light blue layer selected
I'll go to the Layer Blending Mode at the
| | 02:05 | top of the Layers panel and I'm
going to go down and choose Overlay.
| | 02:11 | And that's the result.
| | 02:12 | I don't think it looks too bad.
| | 02:14 | It's not perfect, but it's
certainly better than the original.
| | 02:17 | I'll show you how that look to remind
you by turning the Eye icon off next to
| | 02:21 | the Background copy layer here.
| | 02:23 | That was the original and this is
the result of the Average method.
| | 02:28 | If it's too much I can try a
different blend mode like Soft Light, which
| | 02:33 | brings back a little of the yellow
and I can also vary the opacity of the
| | 02:37 | Background copy layer.
| | 02:39 | But for now I'm just going to take
that Background copy layer and drag it to
| | 02:42 | the trashcan at the bottom of the
Layers panel, so I can show you one more
| | 02:46 | quick and dirty method to remove a
colorcast and that is to use the Gray
| | 02:52 | Eyedropper that you'll find in both the Levels
Adjustments panel and the Curves Adjustments panel.
| | 02:58 | So I'll go to the Levels icon here
and click to open the Levels Adjustments
| | 03:03 | panel and add a Levels
adjustment layer in the Layers panel.
| | 03:07 | There are 3 eyedroppers
here as there are in Curves.
| | 03:10 | I'm going to click the black eyedropper
and with that I'm going to click on the
| | 03:15 | area of the image that I want to be the darkest.
| | 03:17 | I think that's right here and when I
do that, that particular color is both
| | 03:24 | turned to pure black and neutralized,
so that it doesn't have any cast in it.
| | 03:28 | I'm going to click the
White eyedropper right here.
| | 03:31 | Now this is a little trickier and I
may have to click a few different times
| | 03:35 | but I'm going to try to click right on this
white crack there and that's pretty close.
| | 03:40 | So that removes any cast in the
highlights, and if there's still a cast in the
| | 03:44 | mid-tones, although there isn't much
anymore, I'll get this gray eyedropper and
| | 03:49 | I'll find an area that I think should
be gray, perhaps somewhere over here.
| | 03:53 | I'll have to click a few times to
get just the look that I want but that
| | 03:59 | just about does it.
| | 04:00 | So now if I come back to the Layers
panel and I click the Eye icon to the left
| | 04:05 | of the Levels adjustment layer, you'll
see how the image was and how it is now
| | 04:10 | after applying the Black and White
eyedropper to set the black and white
| | 04:14 | points and neutralize those and then
the Gray eyedropper to remove any color
| | 04:18 | cast in the mid-tones.
| | 04:19 | So those are three quick and dirty
methods for reducing colorcast in your images.
| | 04:24 | I hope you give them all a try.
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| Using the Black & White adjustment layer| 00:00 | There are lots of ways to convert a
color image to black and white in Photoshop.
| | 00:05 | One of my favorites is the Black &
White adjustment layer, because it's
| | 00:08 | relatively easy to apply unlike some
other methods, but it gives you control over
| | 00:13 | the brightness of each color as you
convert from color to black and white.
| | 00:17 | The Black & White adjustment layer
isn't new in itself but what is new in
| | 00:20 | Photoshop CS4 is that you can apply it
from the new Adjustments panel like the
| | 00:25 | other adjustment layers.
| | 00:26 | I'm going to apply a Black & White
adjustment layer here by going to the
| | 00:30 | Adjustments panel and clicking
on this icon right in the middle.
| | 00:35 | When I click there, I see the new Black
& White adjustment layer in the Layers panel
| | 00:40 | and the Adjustments panel has
changed to show me controls for just the
| | 00:44 | Black & White Adjustment.
| | 00:45 | There are several ways to work here.
| | 00:48 | You could come and just click the Auto button.
| | 00:51 | But the beauty of this adjustment
is that you can do it yourself.
| | 00:54 | So I'm not going to go there.
| | 00:55 | You can also apply a tint by just
clicking this button right here.
| | 00:59 | That gives you a monochrome look, and
you can change that tint by clicking in
| | 01:03 | this field to open the Color
Picker and choosing a different color.
| | 01:07 | So I might go up and add a blue tint,
maybe make that a little lighter,
| | 01:12 | and say OK.
| | 01:14 | I'm going to uncheck that.
| | 01:16 | Another option is to use the presets
available from the menu here at the top
| | 01:20 | of the panel.
| | 01:21 | These simulate the effect of camera filters.
| | 01:24 | So for example, if you try the Blue
filter the blue sky gets light and the Red
| | 01:29 | filter makes the blue sky dark.
| | 01:31 | I'm going to try the Yellow filter.
| | 01:34 | I like the look of that
but I'd like to customize it.
| | 01:37 | I could come down and change these
sliders myself just guessing at which one
| | 01:41 | controlled which color in this image.
| | 01:43 | But there's a better way to do it.
| | 01:45 | I'm going to click at this icon,
which sets up the On Image controls.
| | 01:49 | And now I can come into the image and
just click and drag in an area and the
| | 01:54 | sliders will move with me.
| | 01:55 | For example if I wanted to darken
this area, I don't have to guess whether
| | 01:59 | this is yellow or green.
| | 02:01 | All I have to do is click here and when
my cursor changes, I'll move to the left
| | 02:06 | and you'll see that in the Black &
White Adjustment panel that yellow slider is
| | 02:10 | moving and in the image the
yellows are getting darker.
| | 02:14 | If I want to lighten area, up here
for example, I'll click and I'll drag to the right.
| | 02:20 | This is actually moving the Cyans slider,
something I might not have guessed if
| | 02:24 | I didn't have this On Image control.
| | 02:26 | And that's how easy it is to use a
Black & White adjustment layer in Photoshop CS4.
| | 02:31 | It will give you the freedom that you
need to control the process and hopefully
| | 02:35 | give you an image that you
like without a lot of hard work.
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| Using the Dodge Burn and Sponge tools| 00:00 | The Toning tools, which are the Dodge
tool, the Burn tool, and the Sponge tool
| | 00:05 | in Photoshop, have always been
intended to help you change the exposure and
| | 00:09 | saturation of localized areas of a photo.
| | 00:12 | But in previous versions of Photoshop, they
often did more harm to an image than good.
| | 00:16 | So Photoshop users
tended to stay away from them.
| | 00:18 | But these tools have been improved in
Photoshop CS4, so much so that there are
| | 00:23 | a really useful way of changing the exposure
and saturation in localized areas of an image.
| | 00:28 | I am going to start by selecting the
Dodge tool right here in the toolbox.
| | 00:32 | Like a Dodge tool in a traditional
darkroom, the Dodge tool will make areas of
| | 00:36 | a photo lighter and it used
to do a pretty bad job of that.
| | 00:39 | Let's see how it does on this photo.
| | 00:41 | Before I get started, I
will check the Options bar.
| | 00:44 | Here I can vary whether the Dodge tool
concentrates on the Shadows, the Midtones
| | 00:48 | or the Highlights in a photo.
| | 00:50 | I will leave this at its default, Midtones.
| | 00:53 | The Exposure determines
the strength of the effect.
| | 00:56 | I am going to lower that.
| | 00:57 | I would like to start with it low and
then I can apply the tool successively to
| | 01:02 | increase the effect in the image.
| | 01:04 | The important checkbox is
the Protect Tones checkbox.
| | 01:07 | Do leave that checked, because that
will make the tool behave a lot better than
| | 01:11 | in older versions of Photoshop.
| | 01:13 | So let's see how it does on this image.
| | 01:15 | One thing I would like to do is to
lighten the area under the model's eyes.
| | 01:17 | I will come into the image and I am
going to make my brush big by pressing the
| | 01:21 | right bracket key, and I am just
going to drag under the eyes and that
| | 01:24 | immediately makes that area lighter.
| | 01:26 | I will do the same under the brows,
and then I will make the brush bigger by
| | 01:30 | pressing the right bracket key again,
and I will give it a hit in the middle of
| | 01:33 | the forehead lightening that area too.
| | 01:36 | I might run the brush over the hair
to brighten it, and finally I might try
| | 01:41 | to lighten the eyes by making the brush
smaller and moving it over the inside of each eye.
| | 01:47 | So the effects are subtle, but I really
think they have improved the look of the photo.
| | 01:52 | Next I am going to select the Burn tool,
which is located in the same tool slot.
| | 01:57 | As in the traditional darkroom, the
Burn tool will make an image darker.
| | 02:01 | So I am going to use it to darken the
background area here to focus the eye on the subject.
| | 02:06 | I am going to make the tool bigger
and I will leave all the defaults in the
| | 02:09 | Options bar including the check next to
Protect Tones, and then I am just going
| | 02:14 | to drag over areas of the
background, darkening them.
| | 02:17 | I will make my brush smaller with the
left bracket tool to get in here and in here.
| | 02:26 | Now let's try the Sponge tool.
| | 02:28 | I will go back to the Tool Options
bar and down to the Sponge tool and if
| | 02:33 | you look in the Options bar here,
you will see that this tool is set to
| | 02:36 | Desaturate by default.
| | 02:37 | I would like to increase the saturation
of parts of this image, so I will click
| | 02:41 | on the Mode menu and I will choose Saturate.
| | 02:44 | Notice that there is a Vibrance checkbox here.
| | 02:47 | This means that in Photoshop CS4, the
Sponge tool is using Vibrance technology.
| | 02:52 | We've come across Vibrance before as a new
kind of adjustment in the Adjustments panel.
| | 02:56 | Vibrance is a subtle way of
varying the saturation of color.
| | 03:00 | It concentrates on colors that are less
saturated than others in an image and it
| | 03:04 | tends to protect skin tones.
| | 03:06 | So it should be just what we need here.
| | 03:07 | I am going to come in and make my
brush smaller by pressing the left bracket key,
| | 03:11 | and then I am just going to click
in the eye to saturate it just a bit and
| | 03:16 | I will do the same in the other eye.
| | 03:17 | I am going to reduce the Flow by
clicking and dragging to the left over the word Flow,
| | 03:22 | and then I am going to run the
Saturation brush over the lips, adding a
| | 03:27 | little saturation to the color there.
| | 03:29 | I see that the model's nostrils are
a little bit red and to fix that I am
| | 03:34 | going to change the mode of the
Sponge tool to Desaturate, and then I will
| | 03:39 | come in with that low Flow and I
will just run my mouse over the nostrils
| | 03:42 | removing some of that red.
| | 03:44 | To compare how the image looks now with
these changes with the original image,
| | 03:48 | I am going to go to the History panel,
go to the very top, and I will click the
| | 03:52 | snapshot at the top.
| | 03:53 | So here is how the image is with the
changes, and here is how it was when we started.
| | 03:57 | So as you can see, you can use these
Toning tools in Photoshop CS4 to quickly
| | 04:04 | brighten areas of a photo, darken
other areas, and add a little bit of
| | 04:08 | saturation where you need it most.
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| Reducing noise| 00:00 | If you shoot with a digital camera and
use a high ISO, or if you are shooting in
| | 00:05 | dark circumstances, you are bound to get
some digital noise in your photographs.
| | 00:09 | Fortunately Photoshop has a pretty
good Noise Reduction filter built-in.
| | 00:13 | I am going to zoom into this image, so
that you can see the noise in the backs
| | 00:17 | of these seals, and you can see it's
particularly prevalent in the shadows.
| | 00:22 | To deal with this, I am going to come
at the Filter menu at the top of the
| | 00:25 | screen, go down to Noise
and choose Reduce Noise.
| | 00:28 | I could convert this file for Smart Filters
first so that my filter would be re-editable.
| | 00:33 | But I have shown you that in other movies, so
I am going to move right on to Reduce Noise.
| | 00:38 | That opens this large dialog box
where I see a preview of the image.
| | 00:43 | As long as the Preview box is checked,
I could also preview my image out here,
| | 00:47 | but I just don't have room
on my screen at the moment.
| | 00:49 | I am going to start by taking all
these sliders over to the left to see the
| | 00:55 | image as it is without noise reduction.
| | 00:57 | There are two kinds of digital noise.
| | 01:00 | There is the colored noise that you see
here, and then there is also grayscale
| | 01:04 | luminance noise, which resembles film grain.
| | 01:07 | To try to reduce the color noise I will
use the Reduce Color Noise slider, and
| | 01:11 | I will drag it over until
the color noise goes away.
| | 01:16 | Because that blurs the image, I could
sharpen details a bit, but I do prefer to
| | 01:20 | do most of my sharpening
in the Sharpen dialog boxes.
| | 01:23 | If this image had been compressed in
a camera or in Photoshop as a JPEG,
| | 01:28 | it might have gotten some square looking artifacts.
| | 01:30 | I can try to remove those by
checking Remove JPEG Artifact.
| | 01:34 | But that's not the case for this
image, so I will leave that unchecked.
| | 01:36 | Now I still can see some grain here and
that's the kind of luminance noise that
| | 01:42 | this slider, the Strength slider, can help with.
| | 01:43 | I am going to take that
slider and move over to the right.
| | 01:46 | Now just as I do that Preserve Details
comes on, because what this slider does
| | 01:52 | is add quite a bit of blur to the image.
| | 01:54 | And as I move to the right, I can
see some of that luminance noise going
| | 01:57 | away and smoothing out.
| | 01:59 | There is an Advanced tab here too.
| | 02:03 | The main difference there is that it allows
you to deal with noise on a per channel basis.
| | 02:08 | So, you can look through the Channels
here to see how much noise is in each and
| | 02:12 | then you can vary the Strength
slider for individual channels.
| | 02:15 | In most cases, you will find most of
your noise in the Blue Channel, but I am
| | 02:19 | not going to do that now.
| | 02:20 | I am just going to click OK and back in
my image, I can see that I have improved
| | 02:25 | the noise situation
somewhat although it's not perfect.
| | 02:27 | I will press Command Z on a Mac,
that's Ctrl+Z on a PC, to show you how the
| | 02:33 | image looked with the noise and
how it looks after noise reduction.
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| Sharpening| 00:00 | Sharpening is an important
last step in a digital workflow.
| | 00:04 | You have to sharpen, because the very
process of capturing an image digitally,
| | 00:07 | either from a camera or a
scanner, softens the image.
| | 00:11 | And then at the other end of the workflow,
when you go to print, you soften it further.
| | 00:15 | Some people sharpen more than once.
| | 00:17 | At first when they capture an image,
during the editing process, and then they
| | 00:21 | also sharpen for final output.
| | 00:23 | I concentrate primarily on the
final output sharpening when I sharpen.
| | 00:27 | Before I show you how to sharpen
an image, I would like to explain
| | 00:30 | what sharpening does.
| | 00:31 | To do that, I have this plain
image of light gray next to dark gray.
| | 00:35 | I am going to go to the Filter menu at
the top of the screen, and I am going
| | 00:39 | to choose Sharpen and Unsharp Mask, which
is the filter I most often use to sharpen.
| | 00:44 | I am going to zoom way in, in the
preview here, so that you can see what's
| | 00:49 | happening in the Unsharp Mask dialog box.
| | 00:52 | This filter has found the edge
between the light gray and the dark gray.
| | 00:56 | And to make that edge look sharper,
it makes the light side of the edge lighter
| | 01:00 | and the dark side of the edge darker.
| | 01:02 | That's what those bands are right here.
| | 01:04 | And that's really all sharpening is,
increasing the contrast in an edge to give
| | 01:08 | the illusion of sharpness.
| | 01:11 | So what do these three sliders
do in the Unsharp Mask dialog box?
| | 01:14 | The Amount slider affects the strength
of sharpening, and the way it does that
| | 01:18 | is to change the brightness
or the darkness of this edge.
| | 01:22 | So, for example, if I drag that slider
to the left, you can see the edge becomes
| | 01:26 | less bright and less dark and so
sharpening doesn't look as intense.
| | 01:30 | Let me put that back for a moment to
show you what the Radius slider does.
| | 01:35 | The Radius determines the range of
pixels at an edge that will be sharpened.
| | 01:39 | So if I drag that to the right, you
can see that there are now more pixels at
| | 01:43 | this edge that are getting this
lightning and darkening treatment, and
| | 01:47 | finally there is Threshold.
| | 01:49 | What Threshold does is protect
those pixels that aren't really an edge
| | 01:52 | from being sharpened.
| | 01:53 | If Threshold is at 0, there are more lines here.
| | 01:57 | More pixels are getting
sharpened around the edge.
| | 02:00 | But if I increase Threshold, some of
this disappears, because I am setting a
| | 02:04 | Threshold beneath which
there won't be sharpening.
| | 02:06 | Let's cancel out of here and
get a real image to sharpen.
| | 02:10 | I am going to click in the second tab
to see slipper.psd, and again, I am going
| | 02:16 | to go the Filter menu, but before I
choose Unsharp Mask, I am going to choose
| | 02:20 | Convert for Smart Filters and say OK.
| | 02:25 | In the Layers panel, you can see that
what that has done is to convert the
| | 02:29 | slipper layer into a smart object.
| | 02:31 | And because this is a smart object, I
can apply my Unsharp Mask filter in a way
| | 02:36 | that will make it re-editable in the future.
| | 02:38 | So I am going to go to the Filter
menu again and go down to Sharpen and
| | 02:43 | choose Unsharp Mask.
| | 02:44 | By the way, of the choices here, the
only ones I recommend are Unsharp Mask
| | 02:49 | and Smart Sharpen, which is similar to
Unsharp Mask but has some additional features.
| | 02:54 | So I will choose Unsharp Mask and I want
to make sure that at least one of these
| | 02:58 | previews is at 100%.
| | 03:01 | In fact both of them are, as I see here
and here, because 100% view is necessary
| | 03:06 | in order for you to really judge the sharpening.
| | 03:08 | So when I use this dialog, I usually
do set Amount really high and then I
| | 03:13 | vary the Radius, because with Amount high
I can see the effects of changing the Radius.
| | 03:20 | Now I never go larger than about 2, and
you can see that does not work in this image.
| | 03:26 | Your choices for the Amount slider and
the Radius slider will vary depending
| | 03:30 | upon the size of the image, so I
strongly recommend that you resize your
| | 03:34 | images before sharpening.
| | 03:36 | I usually have a master copy of a
layered file, and then I make separate
| | 03:40 | copies from there, resize the copies
for whatever my output is, and then
| | 03:44 | sharpen the copies.
| | 03:46 | So I have got my Amount, I have got my Radius.
| | 03:49 | I might increase my Threshold here,
because I see that some items are getting
| | 03:52 | sharpening up here that aren't
really edges, these little white spots.
| | 03:57 | So as I increase Threshold, those
will go away and it won't be sharpened.
| | 04:01 | I will click OK, and that
completes the sharpening.
| | 04:05 | Now because I converted the slipper
layer into a smart filter, I can always come
| | 04:09 | back in and re-edit my sharpening settings.
| | 04:13 | So if I change my mind and I think that
this slipper looks a little too crispy,
| | 04:17 | I can double-click Unsharp Mask and I
will just turn the Amount down a bit and
| | 04:22 | that looks better. I will click OK.
| | 04:25 | So that's how sharpening works.
| | 04:27 | Be sure to resize your images before
sharpening, and here's a tip if you are
| | 04:31 | sharpening for print.
| | 04:32 | You are going to want to sharpen to an
extent that looks like a little bit too
| | 04:36 | much on your computer screen, and that
will give you a print that's just the
| | 04:40 | right amount of sharp.
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|
|
8. Photo RetouchingUsing the Spot Healing Brush tool| 00:00 | Even the best-looking model can use
some retouching, particularly if a photo is
| | 00:05 | not shot professionally.
| | 00:06 | Harsh lighting or uncontrolled
natural light can really emphasize
| | 00:10 | imperfections in the skin.
| | 00:11 | That's okay, because there's a lot
you can do in Photoshop to retouch
| | 00:15 | a portrait, whether it's a professional
portrait or whether it's just a grab-a-shot.
| | 00:20 | In this movie, I am going to show you
one of the tools that you can use to
| | 00:23 | retouch, and that's the Spot Healing Brush.
| | 00:26 | This tool is great for removing blemishes
and other small imperfections on a face.
| | 00:31 | When I am retouching, I like to
have two copies of an image open.
| | 00:35 | On one copy, I will be zoomed in and
doing my retouching, and on the other copy,
| | 00:39 | I will be zoomed out, ideally to 100%
so that I can see the effect of what I am
| | 00:44 | doing on the whole image.
| | 00:46 | To open another copy of the same image,
I am going to go to the Window menu at
| | 00:50 | the top of the screen and move down to
Arrange and then choose New Window for
| | 00:56 | and the name of the file.
| | 00:58 | Now I have two tabs open here in the
document window, they are both the same
| | 01:01 | image as you can see, and what I would
like to do is take the one on the right
| | 01:06 | and move it over so I have more
room to work with the one on the left.
| | 01:09 | So I am going to go to the Arrange
Documents menu in the Application Bar, click
| | 01:13 | on that and choose this 2 Up view.
| | 01:17 | Then I am going to move my mouse over
the border between the two images and drag
| | 01:22 | to the right, just giving myself some
more room to work over here on the left.
| | 01:25 | I will press the Spacebar to access the
Hand tool temporarily, and I will drag
| | 01:30 | to move the model's face just into the
middle, so I can see the whole thing.
| | 01:34 | Now that will only work if you
have that image on the right selected.
| | 01:38 | In other words, you have to have clicked
on it before you drag with the Hand tool.
| | 01:41 | And now I am just going to leave
this one here as a reference image and
| | 01:44 | everything I do to the one on the left will
update in the reference image on the right.
| | 01:49 | So I am going to use the Spot Healing Brush to
remove some of the blemishes on the skin here.
| | 01:54 | I can see over on the right that
there are a few little scars that I would
| | 01:58 | like to get rid of.
| | 01:59 | To do that, I am going to select the
Spot Healing Brush, which lives here,
| | 02:03 | behind the Healing Brush.
| | 02:04 | From the flyout menu, I will choose Spot
Healing Brush tool, and then I am going
| | 02:09 | to move over to the Layers panel, and
I am going to click the Create New Layer
| | 02:13 | icon at the bottom of that panel.
| | 02:15 | That creates a new layer where
I am going to do my Spot Healing.
| | 02:19 | I will call this one spot healing,
because I think it's important to name your
| | 02:24 | layers when you are retouching.
| | 02:25 | You get so many layers that later you
won't be able to know which is which,
| | 02:29 | unless you give them all meaningful names.
| | 02:31 | I am going to go up to the Options bar
for the Spot Healing tool, and I am going
| | 02:34 | to tell it to Sample All Layers.
| | 02:37 | What this means is that it's going
to look at all the layers in the file.
| | 02:41 | In this case, there is only one other
layer and that's the Background layer.
| | 02:44 | And it's going to take some good pixels,
some unblemished pixels, from all the
| | 02:48 | layers in the file, and then it's going
to place them down on the layer that's
| | 02:52 | highlighted, here the spot healing layer.
| | 02:54 | I would like to put those healing pixels
on a separate layer for several reasons.
| | 02:58 | First, then they don't directly
change the photo on the original background
| | 03:03 | layer, and I then have the flexibility
to get rid of that healing layer if I
| | 03:08 | don't like the look of things, or to
reduce its Opacity to give it less strength.
| | 03:13 | So with those changes I am
ready to spot heal this image.
| | 03:16 | I am going to come over to the image
on the left and click on it to make
| | 03:20 | that the active image.
| | 03:21 | Then I am going to zoom in.
| | 03:22 | I could use this Zoom tool to zoom in
or I could use this keyboard shortcut.
| | 03:27 | Command+Plus on a Mac or Ctrl+Plus on a PC.
| | 03:31 | And that zooms in. I will hold
down the Spacebar to get the Hand tool
| | 03:36 | temporarily and I will move
over here to see these scars.
| | 03:39 | To use the Spot Healing Brush, I am
just going to move my brush over one of
| | 03:42 | those scars, and I am going to press
the Left Bracket key on the keyboard.
| | 03:47 | That will make my brush a little
smaller until it just covers that scar, and
| | 03:52 | then here is the magic.
| | 03:53 | All I have to do is click.
| | 03:55 | What's happened is that the Spot
Healing Brush has sampled pixels from
| | 04:00 | somewhere in the vicinity of this brush
tip, and if I move the brush tip away,
| | 04:03 | you will see that it has placed
those pixels down on the scar and then it
| | 04:08 | blended the pixels in perfectly, in
terms of color and tone and shading, with
| | 04:12 | the pixels in the area.
| | 04:13 | It's pretty amazing.
| | 04:15 | So that's how it works.
| | 04:16 | Now all I have to do is use it on
the other blemishes on the face.
| | 04:20 | So this goes pretty quickly.
| | 04:21 | I can just move over a blemish, I use
my Left Bracket key to make the brush
| | 04:25 | smaller, and I will click, and I can
use that size brush for most of these
| | 04:29 | tiny blemishes, fixing them, there is
a lighter colored one down here, then I
| | 04:34 | hold down my Spacebar, and I click and drag in
the image to see some others that I might fix.
| | 04:40 | Here's one here, here's one here,
here's one here, here's one here and so on.
| | 04:46 | Then I am going to look at my reference
image and see where else I need to go.
| | 04:50 | There's a little spot up
there and some on the chin.
| | 04:52 | I will go for the one above the eyebrow
by pressing the Spacebar, moving there,
| | 04:57 | and clicking on the spot.
| | 04:58 | Then I will go down to the chin, and
you can see how fast this goes, and I will
| | 05:04 | click on those spots on the chin, and
I think that's all I am going to do with
| | 05:08 | the Spot Healing Brush.
| | 05:10 | So that's how quick and easy it is
to use this magic brush to get rid of
| | 05:14 | blemishes in a portrait.
| | Collapse this transcript |
| Using the Healing Brush tool| 00:00 | When you are removing blemishes from
skin, you'll often be able to use the Spot
| | 00:04 | Healing Brush, which I covered in another movie.
| | 00:07 | But sometimes the Spot
Healing Brush doesn't work for you.
| | 00:10 | In that case, the next tool that I
reach for is the Healing Brush, which I'll
| | 00:14 | show you in this movie.
| | 00:16 | I have two copies of the same image
open, face_2.psd, and I opened the second
| | 00:21 | copy, which I'll just use as a
reference, by going to the Window menu at the
| | 00:25 | top of the screen, choosing Arrange and
choosing New Window for, and the name of the image.
| | 00:30 | And then, I used the Two Up view from
the Arrange Documents menu to get them
| | 00:35 | both showing on the screen.
| | 00:36 | I would like to remove this
rhinestone from the model's nose.
| | 00:40 | I am going to try to do it with the
Spot Healing Brush, which I have selected
| | 00:44 | in the toolbox here.
| | 00:45 | I'll click on the image on the left to
make that the active one and then I'll
| | 00:49 | zoom in and I'll use my Hand tool to
move to the area around this nose jewelry.
| | 00:55 | With the Spot Healing Brush, I should be able
to just click on the spot and have it disappear.
| | 01:00 | And it kind of does, but I
still can see a part of it.
| | 01:02 | At this point I might try to change the
brush size for the Spot Healing Brush.
| | 01:06 | Sometimes a very hard brush will work
better with this particular tool or I
| | 01:11 | could try to use the Healing Brush instead.
| | 01:12 | I am going to do the latter.
| | 01:14 | So I am going to press Command+Z on a Mac
or Ctrl+Z on a PC, to undo that last action.
| | 01:21 | And then, I am going to go over to the
toolbox again and I am going to choose
| | 01:25 | the Healing Brush tool.
| | 01:27 | The Healing Brush tool works just like
the Spot Healing Brush, except there's
| | 01:30 | one more thing that I have to do.
| | 01:32 | I get to decide from where the
brush is going to sample good pixels.
| | 01:36 | So I'll have to target the good pixels.
| | 01:38 | With the Spot Healing Brush,
the tool itself finds the good pixels.
| | 01:43 | The first step with the Healing Brush
is to go over to the Layers panel, and to
| | 01:46 | click the Create New Layer
icon at the bottom of that panel.
| | 01:49 | And I am going to double-click the
layer name, and call this one healing.
| | 01:53 | Now I want to be sure to select the
healing layer and then I am going to go up
| | 01:58 | to the Options bar for the Healing
Brush and I am going to choose from the
| | 02:02 | Sample menu, either
Current & Below or All Layers.
| | 02:07 | When I choose Current & Below, the
Healing Brush is going to sample good pixels,
| | 02:11 | not just by looking at the currently
highlighted healing layer, but looking at
| | 02:16 | the layer below as well, the
Background layer, and that's the one I wanted to
| | 02:19 | look at, but then it will lay down
those good pixels on the healing layer.
| | 02:24 | The advantage of working that way is I
am not permanently impacting the photo on
| | 02:28 | the Background layer, and I can then
edit or throw away the healing layer if I
| | 02:33 | don't like the result.
| | 02:34 | One other choice I am going to make
in the Options bar is to click Aligned.
| | 02:39 | When Aligned is selected, the source of
the pixels will move along with me as I
| | 02:43 | move the Healing Brush, and you'll
see that as I work in this image.
| | 02:46 | So I am going to now come into the
image and I am going to choose the good
| | 02:49 | pixels that I want to sample.
| | 02:51 | To sample the pixels I'll hold the Option
key down on a Mac, that's the Alt key on a PC.
| | 02:56 | The cursor changes to this
target symbol and I'll click.
| | 03:00 | Then I will just move over the nose
jewelry and Photoshop actually shows me a
| | 03:04 | preview of those good
pixels inside of the brush tip.
| | 03:07 | So I know that looks like it's going to work.
| | 03:09 | I'll click there and when I move
away, I have done a pretty good job of
| | 03:13 | covering up that area.
| | 03:15 | And the pixels that are laid down are
automatically blended with the pixels on
| | 03:20 | the layer below, in terms of
color and tone and shading.
| | 03:24 | I might click one more time
there, with a bit smaller brush.
| | 03:27 | I'll make my brush smaller by
pressing the left bracket key.
| | 03:30 | I'll go right next to what remains of that spot.
| | 03:33 | I'll hold down the Option key on a Mac,
the Alt key on a PC, click to sample
| | 03:38 | some good pixels and go over
the rest of that spot and click.
| | 03:42 | And now it looks great.
| | 03:43 | You can never know that there
had been some nose jewelry there.
| | 03:45 | Now I am going to go over to the Layers
panel and show you where those good pixels live.
| | 03:50 | If I turn off the Background layer by
clicking its eye icon, you can see just
| | 03:55 | what's on the healing layer and there
is that little patch that I just made
| | 03:58 | with those two clicks.
| | 04:00 | Because this patch lives on its own
layer, I can throw it away or I can lower
| | 04:04 | the opacity of the layer if I wish.
| | 04:06 | I even could move these pixels.
| | 04:07 | I am going to turn the Background
layer back on and I am going to heal
| | 04:10 | something else here.
| | 04:12 | I see in the reference image
that there's a scar on the forehead.
| | 04:15 | I am going to hold down the spacebar to
change my cursor to a hand temporarily.
| | 04:19 | And then I'll click and drag and go up
there to that discolored area, and just
| | 04:24 | as before I am going to hold down the
Option key to target some good pixels and
| | 04:28 | release my mouse and then
come over the area to be healed.
| | 04:32 | And then I am just going to drag
over this area and if you see that little
| | 04:35 | crosshair that's going with me,
that is the source of the good pixels.
| | 04:41 | And because I checked Aligned in the
Options bar, that source is moving with me
| | 04:45 | as I lay down the good pixels.
| | 04:46 | Rather than staying in one place,
I will be sampling from the same spot, great.
| | 04:50 | And I'll do that one more time.
| | 04:52 | I'll sample from the left side this
time and then I'll go over and release.
| | 05:00 | Now sometimes, if you click and drag like
that, you end up with a repeating pattern.
| | 05:04 | So you want to be a little bit
careful about clicking and dragging.
| | 05:06 | Sometimes it's better to do a succession of
little clicks instead of one click and drag.
| | 05:12 | The Healing Brush works on all
kinds of areas, not just blemishes.
| | 05:15 | So to show you that I am
going to scroll down to her lips.
| | 05:19 | And you can see that there
is a crack in her lips here.
| | 05:21 | I'll hold down the Option or Alt key,
I'll click and then I am just going to do
| | 05:26 | a succession of little clicks here.
| | 05:28 | And when I get up to this lighter part,
I am going to target some different
| | 05:32 | pixels and then move over and cover there.
| | 05:37 | So as you can see the Healing Brush
gives you a little more control over
| | 05:40 | retouching than the Spot Healing Brush
does and I'll often use one tool,
| | 05:44 | the Spot Healing Brush and then the other,
the Healing Brush, to get to the point
| | 05:47 | where the model's face is
completely blemish free.
| | Collapse this transcript |
| Using the Patch tool| 00:00 | When you're retouching, there are
times when it doesn't make sense to use the
| | 00:04 | Healing Brush or the Spot Healing Brush.
| | 00:07 | For example, when you have a large
area to do a way with, like these
| | 00:10 | long strands of hair.
| | 00:11 | I could try to eliminate those with
the Healing Brush, but it would probably
| | 00:14 | take a while and I run the risk of
leaving the marks of brush tips as I do that.
| | 00:20 | So, instead I'm going to use the Patch
tool, which is the subject of this movie.
| | 00:24 | You'll notice I've two
copies of this image open.
| | 00:27 | The one on the right is just a
reference copy, so that I can see how my changes
| | 00:30 | look in a complete view of the model's
face when I am zoomed in and working on
| | 00:35 | the image on the left.
| | 00:36 | And I got the reference copy by going
to the Window menu at the top of the
| | 00:39 | screen and choosing Arrange and then
choosing New Window for face_3.psd ,which is
| | 00:46 | the image I'm working on here.
| | 00:47 | Now if you look in the Layers panel,
you can see that I have already done
| | 00:51 | some work on this image.
| | 00:53 | The bottom layer is just the photograph.
| | 00:55 | The next layer is a layer on which I
did some work with the Healing Brush.
| | 00:59 | I'm going to hold down the Option key on
a Mac or the Alt key on a PC as I click
| | 01:03 | on the Eye icon to the
left of the Healing layer.
| | 01:06 | That turns off all the other layers,
because I just want to show you what's
| | 01:09 | on the Healing layer. These few patches
that I'd already made with the Healing Brush.
| | 01:14 | I'll Option+Click or Alt+Click again on
that eye icon to bring back the other layer.
| | 01:20 | My tool of choice for the next bit of
retouching is the Patch tool and that's
| | 01:24 | located here behind the Healing Brush.
| | 01:27 | From the flyout menu, I'll choose Patch tool.
| | 01:29 | Now I'm going to look in the Options
bar and I see that I have no option for
| | 01:34 | healing onto a blank separate layer
as I do with the Healing Brush and the
| | 01:38 | Spot Healing Brush.
| | 01:40 | So if I look in the Layers panel,
I realize that I could use the patching tool
| | 01:44 | directly on this photo layer, the
Background layer, but since there is no way to
| | 01:48 | sample the pixels from that layer
without actually having that layer selected,
| | 01:53 | my other choice is to make a composite
of both layers together and use the Patch
| | 01:57 | tool on the composite.
| | 02:00 | To make that composite, I'll first
select the top layer in the layers stack.
| | 02:04 | Then I'll hold down the Option key on a
Mac or the Alt key on a PC and I'll go
| | 02:09 | to the Layers panel menu here and
I'm going to choose Merge Visible.
| | 02:14 | That stamps the content of all the
layers below onto this new Layer 1.
| | 02:18 | I'm going to rename Layer 1 by double-
clicking its name and I'll call this
| | 02:23 | merged patch and hit
Return or Enter on the keyboard.
| | 02:28 | Now with this new merged patch
composite layer selected, I'll go over to the
| | 02:33 | document window on the right and I'll
click there to make that window active
| | 02:37 | and then I'm going to take my Patch
tool and I'm just going to drag around
| | 02:42 | these hairs right here.
| | 02:44 | I'm leaving the little
cowlick at the top out of this.
| | 02:46 | I don't mind having those in the image,
but I don't want these long strands
| | 02:50 | hanging in the model's face.
| | 02:52 | And I'll come back to the beginning of
the selection and now I see the marching
| | 02:56 | ants of the selection.
| | 02:57 | You don't have to use the
Patch tool to make the selection.
| | 03:00 | You can use any of your selection tools,
and then select the Patch tool in the toolbox.
| | 03:05 | Now that I have that selection, I'm
going to check my Options bar and I see that
| | 03:10 | Patch is set to Source and that's
exactly the way I want it to set when I Lasso
| | 03:15 | the bad pixels in an image, rather
than the good pixels that I want to use to
| | 03:19 | cover the bad pixels.
| | 03:21 | If I wanted to start by lassoing the good
pixels, I would click Destination first.
| | 03:25 | So, I usually leave this at Source,
lasso the bad pixels, and then I click
| | 03:30 | inside of the selected area and
I drag to an area of good pixels.
| | 03:34 | So I'll drag here to my right and as I
do, I can see on top of the strands of hair,
| | 03:39 | a preview of what the good pixels are
going to look like when I release my mouse.
| | 03:45 | So I will release my mouse and I have
patched right over the strands of hair.
| | 03:49 | I'm going to press Command+D on a
Mac or Ctrl+D on a PC to deselect that
| | 03:54 | selection, and that's the result.
| | 03:57 | The Patch tool not only covers up the
bad pixels, it also blends the patch in to
| | 04:02 | the surrounding pixels in terms of
color, tone, and shading. Pretty amazing!
| | 04:08 | Now I'll just go on and do that
with this other long strand of hair.
| | 04:10 | I'll come down here and I'll get
around the bottom of it, and I'll come up.
| | 04:16 | I don't want to take everything away up
there, because that won't look real anymore.
| | 04:19 | We'll do something like this and then
I'll drag all of that over to a clean area
| | 04:25 | of good pixels and release, and
I've healed that other area as well.
| | 04:30 | I'll press Command+D on a Mac,
Ctrl+D on a PC, to deselect.
| | 04:35 | Then I could come in with the Healing
Brush or the Spot Healing Brush, clean up
| | 04:39 | this other strands, and maybe fix this
area here which looks a little bit like
| | 04:42 | she had a whack job of a haircut there.
| | 04:45 | So that's the Patch tool, which
you use to clean up larger areas when
| | 04:49 | you're doing retouching.
| | Collapse this transcript |
| Using the Clone Stamp tool| 00:00 | When I'm retouching a face, sometimes
I'll have to get too close to an edge
| | 00:05 | to allow the Healing Brush, the Spot
Healing Brush, or the Patch tool to work properly.
| | 00:10 | That's because all three of those
tools try to blend the good pixels that are
| | 00:14 | covering up a blemish with the surrounding area.
| | 00:18 | So sometimes they'll pickup some
of the image that you don't want.
| | 00:21 | For example here, if I want to cover
up the stray hairs in the eyebrow, it's
| | 00:26 | possible that any of those blending tools
might pick up some of the dark hair right here.
| | 00:31 | So rather than try those, I'm going to
try another tool called the Clone Stamp
| | 00:35 | tool which is the subject of this movie.
| | 00:38 | I'm working here in face_4.psd and I
have two copies of the same image open.
| | 00:44 | I open the second one by going to the
Window menu and choosing Arrange > New
| | 00:48 | Window for face_4.psd.
| | 00:51 | So this one on the right is just a
reference image, so that I know how my
| | 00:55 | changes look when I can see the whole
face of the model, and I'm working over
| | 00:59 | here on the image on the left.
| | 01:03 | I've selected the Clone Stamp
tool from right here in the toolbox.
| | 01:06 | Before I use it, I'm going to go over
to the Layers panel and I'm going to make
| | 01:09 | a new blank layer on which to paste
down my cloned pixels, much like you can
| | 01:15 | when you use the Healing Brush
or the Spot Healing Brush tools.
| | 01:18 | I'll select the top layer in the image
and then I'll click the Create New Layer
| | 01:22 | button at the bottom of the Layers panel.
| | 01:25 | That makes a new layer, which I'll
rename by double-clicking the words Layer 1
| | 01:30 | and I'll type instead clone and then
I'll press Return or Enter on the keyboard.
| | 01:36 | Now with the Clone Stamp tool selected
and the new Clone layer highlighted in
| | 01:40 | the Layers panel, I'm going to go to
the Options bar and I'm going to set my
| | 01:44 | options for using the tool.
| | 01:46 | First, I'm going to make sure that
Sample is set to Current & Below, because I
| | 01:51 | want this tool to sample the good pixels from
the layers below which include the photograph.
| | 01:57 | And I'll set those pixels down on
the highlighted layer, the clone layer.
| | 02:01 | I'll make sure that Aligned is checked,
so that the source point for the good
| | 02:05 | pixels moves along with me
as I cover up the bad pixels.
| | 02:09 | And here is the most
important change I'm going to make.
| | 02:12 | Because I'm covering up dark pixels, I'm going
to change the mode with which the tool works.
| | 02:18 | Here is the most important point.
| | 02:20 | The Clone tool, like other brush tools,
can be applied with different blending modes.
| | 02:26 | So to get the Clone Stamp tool to try
to blend the edges of the pixels it lays down, I
| | 02:30 | 'm going to change the blend
mode here from Normal to Lighten, because I
| | 02:36 | only want it to cover up dark pixels.
| | 02:38 | In other words lighten
dark pixels in the hairs here.
| | 02:42 | Then I'll hold down the Option key on a
Mac, the Alt key on a PC, while I click
| | 02:47 | on the sample of good pixels, and then
I'll move over to the pixels I want to
| | 02:50 | cover up and I'll click and drag there.
| | 02:54 | Sometimes I'll just make a number of
different brush strokes with this tool to
| | 02:58 | avoid getting a repetitive line.
| | 03:00 | I am going to come to the left
of these other hairs and select a
| | 03:03 | different source point.
| | 03:04 | So, I have some variation so that it
looks more real, because remember there
| | 03:08 | isn't much blending going on with this tool.
| | 03:09 | So I'll hold down the Option key or
the Alt key on a PC again to sample some
| | 03:14 | pixels from here, and then I'll click
several times on these hairs to do some
| | 03:20 | virtual eyebrow shaping.
| | 03:21 | I might try the same tool over here on the scar.
| | 03:25 | Now this time, I only want to darken,
because I want to cover up this light scar.
| | 03:30 | So first, I'll make my brush a little
bit bigger and then I'm going to go up the
| | 03:34 | Mode menu and I'm going to choose Darken.
| | 03:38 | I'll come in and I will hold down the
Option key on a Mac or the Alt key on a PC
| | 03:43 | as I target these pixels, and
then I'll move over the scar.
| | 03:47 | That did a great job of covering the scar there.
| | 03:50 | I'll do it once more, Option or Alt+
Click on the good pixels and cover up
| | 03:56 | the scar by clicking.
| | 03:58 | So that's how you can use the Clone
Stamp tool to its best advantage, by changing its
| | 04:02 | blend mode to Lighten or Darken,
depending on the lightness or darkness of the
| | 04:06 | area you're trying to fix.
| | Collapse this transcript |
| Enhancing eyes| 00:00 | The eyes are the most
important part of a subject's face.
| | 00:03 | If the eyes are red or have dark
circles underneath them, they can really
| | 00:08 | detract from the beauty of the subject.
| | 00:09 | In this movie, I'll show you some ways
some ways to make tired eyes look better.
| | 00:12 | I'm working in face_5.psd, and
I've got two copies of the image open.
| | 00:18 | The one on the right is here just so
that I can see my changes on the model's
| | 00:22 | full face and I opened that from Window
> Arrange > New Window for face_5.psd.
| | 00:29 | Working in the image on the left, you
can see in the Layers panel that there are
| | 00:32 | number of layers here already.
| | 00:34 | We have been doing some retouching
using the Healing Brush, the Patch tool, and
| | 00:38 | the Clone Stamp tool.
| | 00:39 | I'm going to use the Healing Brush again,
but I am going to do it on yet another layer.
| | 00:44 | So, I will go to the Create New Layer
icon at the bottom of the Layers panel,
| | 00:48 | make a new layer and I'll call this
lefteyecircle and press Return or Enter.
| | 00:54 | I'll get the Healing Brush tool.
| | 00:56 | I'll check in the Options bar that
it's going to be sampling from the current
| | 01:00 | layer, the lefteyecircle layer, and below.
| | 01:02 | So that the tool looks at the layers
below including the photo layers below to
| | 01:06 | find good pixels and then lays
them down on this lefteyecircle layer.
| | 01:11 | Now I'm going to go into my image and
I'm going to press the Right Bracket key
| | 01:15 | to make my brush bigger.
| | 01:16 | I'm going to hold down the Option key
on a Mac or the Alt key on a PC and click
| | 01:21 | on this unblemished skin underneath the
dark circle to sample some good pixels.
| | 01:25 | Then I'm just going to come
over that dark circle and drag.
| | 01:29 | At first, that's not going to look very
good, but when I release my mouse,
| | 01:34 | the Healing Brush tool blends those
good pixels into the pixels underneath.
| | 01:37 | We'll do it another time from the other side.
| | 01:41 | Option or Alt+clicking here on some
unblemished pixels, and then running over
| | 01:46 | the dark circle, and then I can just
come in and fix up this area where I see a
| | 01:50 | little bit of a pattern.
| | 01:51 | I'll make my Brush a little bit smaller,
I'll hold the Option or Alt key,
| | 01:56 | I'll sample some pixels a couple of times,
and I'll click a couple of times.
| | 02:00 | Up here is a little bit
where I might do the same.
| | 02:02 | Now take a look at the difference between
this eye that I just worked on and the other eye.
| | 02:08 | I think that's quite an improvement.
| | 02:11 | If I go to the lefteyecircle layer and
I click the eye icon to the left of the layer,
| | 02:15 | you'll see how it was a minute
ago and when I click again, you'll see
| | 02:19 | how the eye looks now.
| | 02:22 | The next thing I want to do to this eye
is to make sure that the whites in the
| | 02:25 | eye really are white.
| | 02:27 | I'm going to zoom in a little further by
getting the Zoom tool and zooming in like this.
| | 02:32 | You can see that this eye isn't pure white.
| | 02:34 | There is some red here around the edges.
| | 02:36 | So the first thing I'm going to do is
to create a Levels adjustment layer to
| | 02:40 | brighten up the white parts and then
I'll try to get rid of the red parts with a
| | 02:44 | Hue/Saturation layer.
| | 02:45 | I'm going to open my Adjustments panel
by going up to the Window menu at the top
| | 02:50 | of the screen and choosing Adjustments.
| | 02:52 | I'm going to take the Adjustments
panel and drag it beneath the Layers panel,
| | 02:56 | and then I'll close this extra tab group.
| | 02:59 | Here in the Adjustments panel,
I'm going to click on Levels.
| | 03:03 | Now I see my Levels controls in the
Adjustments panel and all I'm going to do
| | 03:07 | is to take that gray slider and drag
it over to the left just a bit to
| | 03:12 | brighten the entire image.
| | 03:14 | Now I don't want the
whole image to be this bright.
| | 03:16 | It doesn't look real.
| | 03:18 | So I'm going to use this layer mask that
comes with the Levels adjustment layer,
| | 03:22 | to hide this adjustment from
everywhere except for the model's eye.
| | 03:26 | I'll start by filling the
layer mask completely with black.
| | 03:30 | To do that, I'm going to press D on my
keyboard to switch the foreground and
| | 03:34 | background colors to white and black, and
then I'll press X on my keyboard, and
| | 03:39 | that makes the foreground color black.
| | 03:41 | You can see that way over here in the toolbox.
| | 03:44 | In the Layers panel, the layer mask is
selected and to fill with that foreground
| | 03:48 | color of black, I'm going to
press Option+Delete on the Mac.
| | 03:52 | That's Alt+Backspace on the PC.
| | 03:54 | So now the Levels adjustment is
affecting nothing in the image.
| | 03:57 | I'm going to get the Brush tool from the
toolbox and I want to change my colors,
| | 04:02 | so that the foreground color is white.
| | 04:05 | I can either click this double pointed
arrow or just press X on the keyboard.
| | 04:08 | Now, I am going to move in with my Paintbrush.
| | 04:12 | I've got a soft medium size brush here,
and I'm going to paint across the entire eye
| | 04:17 | including the iris and the
pupil and the whites of the eye.
| | 04:23 | As you can see in the reference
image, that doesn't look very good.
| | 04:26 | To fix that I'm going to go to the
Levels 1 layer, make sure that it's
| | 04:29 | highlighted and I'm going to go to the
Opacity slider and drag to the left to
| | 04:34 | reduce the opacity of that levels
change until it looks quite normal.
| | 04:38 | I might stop somewhere around 50%.
| | 04:40 | I'm going to evaluate whether I like
the iris and the pupil like this and
| | 04:46 | I think in this model, the iris
would look better if it were dark.
| | 04:49 | So I am going to switch my
foreground color to black by pressing X on the
| | 04:53 | keyboard and with my Paintbrush, I'm
just going to paint back over the iris and
| | 04:58 | the pupil of the eye.
| | 04:59 | I think you can see that better in this
reference image than you can in the closeup.
| | 05:05 | Because this is a Levels adjustment
layer, I can modify this adjustment at any
| | 05:08 | time either by increasing the opacity
of the layer or by coming in and making a
| | 05:14 | change in the Levels Adjustment panel.
| | 05:17 | Another thing I might do here is to
emphasize the catchlights in the eye here
| | 05:21 | and the reflection of
those catchlights right here.
| | 05:24 | I'll make my brush a little bit
smaller again, and this time I am going to
| | 05:28 | switch and go back to white paint and
drag over just the catchlights, and then
| | 05:34 | I'll make my brush a little bigger and
I'll drag down here to add that glean.
| | 05:39 | You can see in the reference
image that looks pretty nice.
| | 05:43 | So that's how you can use the Levels
adjustment layer along with a layer mask to
| | 05:48 | really spruce up a model's eye, and if
there is some red still in the eye, then
| | 05:52 | I'll bring in a Hue/Saturation layer.
| | 05:54 | So I'll go to this large arrow at the
bottom left of the Adjustment panel to go
| | 05:58 | back to see the icons in the
Adjustments panel and I'll choose Hue/Saturation.
| | 06:03 | That adds yet another adjustment layer
in the Layers panel and I'm going to
| | 06:07 | use the controls in the Hue/Saturation
Adjustments area by clicking on this On Image control.
| | 06:13 | This allows me to come right into the
photo and click and drag on the red part
| | 06:18 | of the eye to reduce the saturation.
| | 06:20 | I'll click and drag to the left and
just the reds on which I have clicked are
| | 06:26 | becoming less saturated.
| | 06:28 | We can do it a little over here too.
| | 06:30 | So I'm going to use the very same mask
on the Hue/Saturation layer that I used
| | 06:35 | on the Levels layer.
| | 06:37 | To do that, I'll just hold down the
Option key as I click and drag the mask
| | 06:42 | from the Levels layer up to the mask
area on the Hue/Saturation layer, and
| | 06:46 | I'll say Yes when asked if I want to replace
the layer mask on the Hue/Saturation layer.
| | 06:50 | So now that reduction of red is
affecting only the model's eye.
| | 06:56 | I'll show you how her eye looked a
few moments ago by turning off both the
| | 07:00 | Hue/Saturation and the Levels 1 layer.
| | 07:03 | I've brightened it up and I've reduced the red.
| | 07:06 | There is one more thing I'd like to do
to make these eyes pop a little bit and
| | 07:10 | that is to add some virtual eye makeup.
| | 07:12 | To do that, I'll go back to the
Adjustments panel, I'll click the green arrow,
| | 07:17 | and I'll choose a Levels adjustment again
to make yet another Levels adjustment layer.
| | 07:22 | In the Levels adjustments controls,
I'm going to take the gray slider and I'm
| | 07:27 | going to move just slightly to
the right to darken the entire face.
| | 07:31 | I am going to fill the layer mask on
this Levels adjustment with black by
| | 07:36 | pressing X on my keyboard, so that
black is my foreground color, and then
| | 07:40 | pressing the Option+Delete shortcut,
that's Alt+Backspace on a PC, for filling
| | 07:45 | with the foreground color.
| | 07:46 | I have now hid the darkening
adjustment from the entire image and I'll just
| | 07:51 | paint it back where I want it.
| | 07:52 | I'll get my Paintbrush, I'll switch
to white paint by pressing X on the
| | 07:58 | keyboard, and I'll come in and I'll
soften my brush, maybe I'll make it a
| | 08:02 | little bigger than this and I'm pressing the
Shift key and the Left Bracket to soften the brush.
| | 08:08 | I'm just going to paint along the edge
of the eyelid, darkening there slightly.
| | 08:12 | I can do that on the
bottom eyelid too if I want.
| | 08:16 | Also, I'm going to make the brush
bigger and paint on the eyebrow.
| | 08:22 | Make it smaller again, and I'm making
the brush bigger and smaller using the
| | 08:26 | Left Bracket key to make it smaller,
the Right Bracket key to make it bigger.
| | 08:30 | Now if you look here you can see that
that's way too much makeup, but that's okay.
| | 08:35 | I can do two different things here.
| | 08:37 | I could either reduce the opacity of
this Levels layer or I could come back to
| | 08:40 | the Levels adjustments and drag the
slider a little more to the left, so it's
| | 08:45 | not creating such an extreme effect.
| | 08:47 | There, I think that looks a little better.
| | 08:49 | It's really important that eyes
look their best without looking fake.
| | 08:52 | I've shown you a number of different
techniques for making eyes look better.
| | 08:57 | One of the things I did is take the
Healing Brush and do some coverup of the
| | 09:01 | dark circles under the eye.
| | 09:03 | You can use that same technique to
reduce any wrinkles or crow's feet on an
| | 09:07 | older subject, and you can even come in
with the same technique and reduce the
| | 09:11 | shadow on the inner side of the eye.
| | 09:13 | I also have lightened the whites of
the eyes, got rid of some of the red,
| | 09:17 | enhanced the catchlights, and added a
little bit of eye makeup, all of which
| | 09:21 | combine to make the eye look better.
| | 09:22 | You might want to try all of these
things on your own on the other eye and see
| | 09:26 | if you can improve that one too.
| | Collapse this transcript |
| Changing facial structure| 00:01 | When you are retouching a face, you can
do more than just cover up imperfections
| | 00:05 | and emphasize the good points.
| | 00:07 | You can actually change the shape of
the face, and that's what I want to show
| | 00:10 | you how to do in this movie.
| | 00:12 | I'm working this time with face_6.psd
and you can see that I've done quite a bit
| | 00:17 | of retouching to this image already.
| | 00:19 | I've used the Healing, Patch, and Clone
tools to reduce some imperfections, and
| | 00:25 | then I've used a combination of
techniques to make the eyes look better, and
| | 00:29 | I've tried to do all of this on separate
layers, so that anything can be changed
| | 00:33 | or deleted if necessary.
| | 00:35 | To change the shape of the face
I'm going to use the Liquify filter.
| | 00:39 | The Liquify filter
applies to a single layer only.
| | 00:42 | So I need to make a composite of all
of these changes and the original image
| | 00:46 | on one single layer.
| | 00:48 | To do that, I'll select the top layer in
layers stack, I'll hold down the Option
| | 00:52 | key on a Mac or the Alt key on a PC, and
I'll click the panel menu in the Layers
| | 00:57 | panel, and I'll choose Merge Visible,
and that gives me this composite layer.
| | 01:02 | If I hold the Option key on the Mac or
the Alt key on a PC and click the eye
| | 01:07 | icon to the left of this in new
layer, you'll see all the other layers
| | 01:10 | turned off temporarily, but I still have all
of my changes on this one layer that's showing.
| | 01:15 | So I'll Option or Alt+click again on
there eye icon to bring the other layers back,
| | 01:20 | and I'm going to name the new
layer by double-clicking its name and
| | 01:24 | I'll call this one reshape.
| | 01:26 | With the new reshape layer selected,
I'm going to go to the Filter menu at the
| | 01:30 | top of the screen and
I'm going to choose Liquify.
| | 01:33 | Liquify is actually more than just a filter.
| | 01:36 | It's an entire interface as you see here,
and for the most part, you don't have
| | 01:40 | to use all these controls.
| | 01:42 | Pretty much I everything I do in this
dialog box is limited to using a few tools
| | 01:47 | from the toolbox on the left.
| | 01:49 | The first of those is
the Forward Warp tool here.
| | 01:52 | I'm going to select that one and then
I'm going to come into the image and I'm
| | 01:56 | going to change the shape of the face over here.
| | 01:58 | I've got to zoom in so I can
see more clearly what I'm doing.
| | 02:01 | So I get the Zoom tool, and I'll click
on the image, and then with that Forward
| | 02:05 | Warp tool, I'll move next to the image
and I'll reduce my brush size by pressing
| | 02:10 | the left bracket key.
| | 02:11 | Now what I'm going to do here is just very
carefully push on the pixels of the face.
| | 02:16 | Pushing them in just a little bit.
| | 02:18 | I can't go very far or it won't look
real and the hair will get all tangled up,
| | 02:23 | and I have to be very careful to
keep relatively straight line there.
| | 02:27 | I already see a little bit of a
problem with the hair, but I'm just going to
| | 02:30 | ignore that for now because I don't want
take your time as you watch me fixing this.
| | 02:34 | So I've changed the line of the face there.
I can even push in this area of the jaw.
| | 02:39 | Now I can go over to the other
side and do something similar there.
| | 02:46 | On an older person, you can use the
same technique to lift up the chin.
| | 02:50 | We can also push in her ear here and I
see just a couple of more spots that I
| | 02:58 | might want to make a little
narrower. But that's not all I can do.
| | 03:03 | Her mouth is turning down at the
corners quite a bit, so I'm going to use this
| | 03:06 | very same tool to push
the edges of the mouth up.
| | 03:09 | I'm pressing the left bracket key to
make my brush smaller and then I'm going
| | 03:13 | to come in and I'm just going
to push those pixels up a bit.
| | 03:16 | Again, you have to be careful
that you don't make it look unreal.
| | 03:21 | If I go too far, I'll press the
Command and Z key on the Mac that's Ctrl+Z
| | 03:25 | key on a PC and to go back more than
one step I'll hold the Option key and
| | 03:30 | press Command+Z on the Mac, Ctrl+Z on the PC.
So I'm going to try that right side again.
| | 03:36 | I think I am going to make my brush
bigger this time and give it a push with a
| | 03:40 | little bigger brush and that looks better.
| | 03:43 | I'm also going to try to
push up this area of her nose.
| | 03:46 | This time I'll need a smaller brush
and I'm just going to push a little, and
| | 03:52 | then I'm going to take another tool,
which is the tool right here, the Pucker tool,
| | 03:56 | and with the Pucker tool, I'll
move my cursor over the tip of her nose and
| | 04:01 | I'll make the cursor bigger this time
by pressing up the right bracket key
| | 04:04 | several times, and then I'm going to
click to bring in the pixels right at the
| | 04:08 | tip of her nose, just to firm it up a
little bit, and I can do the same as I
| | 04:12 | move back along the nose here.
| | 04:15 | I could try the same technique on
the nostrils, trying to bring them in a little,
| | 04:18 | but again I don't want to go
too far or it won't look real. Good!
| | 04:23 | So now I'm going to click OK and that
takes us back out at the Liquify filter
| | 04:28 | and into our image and we can see how it looks.
| | 04:31 | It's very subtle, if I turn that
reshape layer off temporarily by clicking
| | 04:35 | its eye icon, you can compare how things
are now with the way they were a moment ago.
| | 04:41 | You can see that the face was wider
and the mouth down turned, and the nose a
| | 04:45 | little more blunt than it currently is.
| | 04:47 | Now I don't know if you agree with
these changes, but I just wanted to show you
| | 04:50 | the kind thing you can do, and the key
is to use a light hand and only change
| | 04:56 | things in a subtle manner to
make the model look better.
| | Collapse this transcript |
| Softening skin| 00:01 | Softening a subject skin smoothes out
any remaining imperfections and makes the
| | 00:06 | subject look more pleasing overall.
| | 00:08 | I've done a lot of retouching on this
image which is now face_7.psd, and that
| | 00:14 | means I have a lot of different
layers here in the Layers panel.
| | 00:17 | I'm going to soften this
model's skin by applying a filter.
| | 00:20 | I want to be sure to impact all of the
different changes that I've made to the image so far.
| | 00:25 | So I'm going to make a composite
layer of all of the layers below and apply
| | 00:29 | the softening filter to that composite,
because a filter can only affect one layer at a time.
| | 00:34 | So I hold down the Option key on the
Mac or the Alt key on the PC and I'll
| | 00:38 | click and I'll choose Merge Visible,
and that adds a layer above the top layer,
| | 00:44 | which I had selected.
| | 00:45 | The new layer I'm going to rename
soften by double-clicking the layer name,
| | 00:49 | typing in a new name, and pressing Return.
| | 00:51 | I'm going to go to the Filter menu,
and from there I'm going to convert the
| | 00:56 | soften layer for Smart Filters.
| | 00:59 | I like to use Smart Filters because
when I do that, I can always come back in
| | 01:02 | and reedit a filter.
| | 01:05 | This is telling me that the layer is
going to become a Smart Object and that's okay,
| | 01:08 | and now you'll see the Smart
Object symbol on to the soften layer.
| | 01:13 | Now I'll go back to the back to the
Filter menu and I'm going to apply a Filter
| | 01:17 | called Median, which is
located in the Noise group.
| | 01:20 | Filter > Noise > Median.
| | 01:23 | In the Median dialog box, I'll choose a
radius, which controls the strength of
| | 01:27 | this softening effect.
| | 01:28 | This looks like too much to me.
| | 01:30 | Let's see how looks at 3. Still quite heavy.
| | 01:33 | Let's try 2.
| | 01:34 | I think I am going to go back to 3,
exaggerating things, because I want to be
| | 01:37 | sure that you can see it on
your screen, and I'll click OK.
| | 01:40 | Now you can see that there is a new
Smart Filter layer on the soften layer with
| | 01:46 | the Median filter applied.
| | 01:48 | By the way, there are other filters
you could use to blur the image other
| | 01:51 | than the Median filter.
| | 01:52 | I like this one, because it blurs
while retaining a little bit edge detail.
| | 01:56 | Other possibilities are the Gaussian Blur
filter or the Dust and Scratches filter.
| | 02:01 | Now that I've applied this filter,
I'd like to limit the areas where it
| | 02:05 | appears on the image.
| | 02:06 | To do that I'm going to use this layer
mask that comes with the Smart Filters layer.
| | 02:10 | I'll click on that layer mask.
| | 02:12 | Currently the mask is white, meaning you
can see the filter everywhere in the image.
| | 02:16 | Then I'll get my Paintbrush, I'll
make sure the foreground color is set to
| | 02:20 | black, and I'm going to come in and
paint over the areas that I do not want to
| | 02:25 | affect with this blur, in particular
the eyes, and as I paint I'm bringing them
| | 02:32 | back by hiding the Smart
Filter in just these areas.
| | 02:35 | I'll paint over the eyebrows, which I
also want to be not blurry, and I might
| | 02:41 | try the lips as well, and maybe just
a click or two at the tip of the nose.
| | 02:46 | Now I want to blend this entire blurred
layer in with the texture of the face underneath.
| | 02:51 | So I'm going to go to the Layer
Blending Mode menu here and I'm going to
| | 02:55 | choose Lighten blend mode.
| | 02:57 | In some cases, another blend
mode might look just as good.
| | 03:01 | You can try the Darken blend mode, but
this one looks good on this image, and it
| | 03:05 | brings a little bit of texture back
into the face while retaining the smoothing
| | 03:09 | almost glowing effect of the blur.
| | 03:10 | So that's how you would soften a model's face.
| | 03:14 | Applying a blurring filter like this
not only makes the skin look smoother,
| | 03:18 | it can also add a glow to the subject,
which I think is the perfect finishing
| | 03:21 | touch for any portrait.
| | Collapse this transcript |
|
|
9. Raw Processing in Adobe Camera RawWhat's a raw image?| 00:00 | Many digital cameras today, not just
the high-end expensive ones, allow you
| | 00:05 | to shoot RAW photos.
| | 00:06 | If you have a camera like that then
you've got to decide whether you're going to
| | 00:10 | shoot RAW or whether you'll
shoot your photographs as JPEGs.
| | 00:13 | And it may help you to know a
little about what RAW files are and the
| | 00:16 | advantages of shooting RAW over JPEG
in most circumstances, but not all.
| | 00:22 | A RAW file is composed of the
unprocessed data from your camera's sensor.
| | 00:26 | By contrast JPEGs are pretty
heavily processed inside your camera.
| | 00:31 | White balance is set there and colors
are interpreted, the image is sharpened,
| | 00:35 | and the JPEG file is then
compressed before you ever see it.
| | 00:38 | But when you get the RAW data from your
camera, then you'll retain the creative
| | 00:42 | freedom to make the processing
decisions yourself, which you'll do later in
| | 00:46 | Adobe Camera RAW, the RAW converter
that comes with Photoshop as a plug-in.
| | 00:51 | One of the advantages of RAW files over
JPEG is that RAW files contain much more
| | 00:56 | image data than JPEGs.
| | 00:58 | You may be getting between 10 and 14
bits of RAW data in a RAW file, whereas
| | 01:02 | JPEGs only give you 8 bits of data.
| | 01:06 | That extra data in RAW files
gives you much more editing latitude.
| | 01:10 | So if for example you're making a big
print for a fine art piece, or maybe a
| | 01:14 | large landscape photo, and you intend
to do some really large and substantial
| | 01:18 | editing, having that extra latitude of
more data in your file means that you'll
| | 01:22 | be able to make all your edits,
without having to worry that you might end up
| | 01:25 | with some visible
posterization or banding in the image.
| | 01:29 | Another advantage of shooting RAW is
that you get to control the white balance
| | 01:33 | or the overall colorcast of the image
| | 01:35 | when you do the processing in
the Adobe Camera RAW dialog box.
| | 01:38 | Many cameras have white balance
controls in them that attempt to compensate for
| | 01:42 | the color of the light
in which you are shooting.
| | 01:44 | But when you are shooting RAW, you
don't have to worry whether you are shooting
| | 01:47 | under green fluorescent lights, or
whether you are outdoors, or whether you are
| | 01:50 | indoors, because you'll set the white
balance yourself in Adobe Camera RAW.
| | 01:55 | Yet another advantage of RAW files
over JPEGs is the possibility to recover
| | 02:00 | blownout highlights if you shoot RAW.
| | 02:02 | If you've got an image where the
whites are overexposed, and so they don't
| | 02:06 | contain enough detail to
make the image look good.
| | 02:09 | If you've shot RAW it's possible that
you'll be able to recover that highlight
| | 02:13 | detail when you process the
file in the Adobe Camera RAW dialog.
| | 02:17 | But if you've got a JPEG then you may just
have to live with the blownout highlights.
| | 02:21 | And finally, an advantage of RAW over JPEG
is that a RAW file is like a digital negative.
| | 02:27 | It remains in its pristine state,
regardless of what changes you may make as you
| | 02:32 | process the image in Adobe Camera RAW.
| | 02:34 | So you can always come back to that
original RAW data to reprocess the file with
| | 02:38 | different settings at any time.
| | 02:41 | The photos you just saw were all shot as
RAW images, and processed in Adobe Camera RAW.
| | 02:46 | This file is an ordinary JPEG.
| | 02:48 | And I want to make the point that
there are some situations in which it's
| | 02:51 | appropriate to shoot JPEGs over RAW.
| | 02:53 | One of those times as if you are
shooting action photography like sports,
| | 02:57 | because JPEGs are smaller files, and
they therefore take up less room in
| | 03:01 | your camera's buffer.
| | 03:02 | You're probably going to be able to
shoot more pictures faster if you are
| | 03:05 | shooting JPEG than if you are shooting RAW.
| | 03:07 | Another time when it makes sense to
shoot JPEGs is when you are shooting what I
| | 03:11 | call a Quickie Mart photos.
| | 03:12 | So for example, you are just shooting
some snapshots at a birthday party, and
| | 03:16 | you promise to give prints to all the
parents, and all you want to do is run
| | 03:19 | down to the Quickie Mart
and have those prints made.
| | 03:22 | Your life will be a lot easier if you've
shot those as JPEG, because the Quickie
| | 03:26 | Mart is set up to handle your JPEGs.
| | 03:28 | And finally, another time when it
makes sense to shoot JPEGs is if you're
| | 03:32 | running low on space in your memory card
inside your camera, and you happen to
| | 03:36 | be out in the field and you don't have
any other cards with you, because JPEGs
| | 03:39 | are smaller and will just
take up less space on your card.
| | 03:42 | But nowadays storage space is so
affordable that it's really easy to avoid this
| | 03:47 | problem by arming yourself with big
memory cards before you go out shooting.
| | 03:51 | So that should give you a sense of
what people mean when they talk about RAW
| | 03:54 | files and what the advantages are of
shooting RAW over JPEG in most, but not all cases.
| | 04:00 | When you come in from shooting with a card
full of RAW images, what's the next step?
| | 04:04 | The images need to be processed and
converted into a format that you can print
| | 04:08 | or that you can take into
Photoshop for further editing.
| | 04:11 | That processing and converting can be
done by Adobe Camera RAW, which is a
| | 04:15 | separate RAW converter
that comes with Photoshop.
| | 04:18 | I'll be covering the details of how to
use Adobe Camera RAW to process your RAW
| | 04:22 | photos in upcoming movies.
| | Collapse this transcript |
| Touring the Camera Raw interface| 00:01 | Adobe Camera Raw is a plug-
in that comes with Photoshop.
| | 00:04 | Its purpose is to give you a place to
process and convert the RAW data in the file
| | 00:08 | so that the image can be opened
into Photoshop for further editing, or so
| | 00:12 | that a copy can be saved in a non-RAW
format for printing or other output.
| | 00:16 | Adobe Camera Raw has a separate
interface from Photoshop proper.
| | 00:20 | In this movie I'm going to
show you around that interface.
| | 00:23 | But first I am here in Adobe Bridge,
because I want to show you how to open up
| | 00:27 | a RAW image from Bridge into Photoshop.
| | 00:29 | What you are seeing here is contents
of the Chapter 9 Exercise Files folder.
| | 00:34 | I clicked on that folder in the Folders
panel of Bridge and then I hit the Tab key
| | 00:38 | to close the panels on either side
so we can see these thumbnails better.
| | 00:42 | What I'd like you to see is
the title of each thumbnail.
| | 00:46 | Notice that each one ends
in the file extension CRW.
| | 00:50 | That's the flavor of RAW file
that's made by my personal Canon camera.
| | 00:54 | Other manufacturer's cameras
produce RAW files with other extensions.
| | 00:58 | So for example if you have a Nikon then
your RAW files will have .NEF extension.
| | 01:03 | I'd like to open one of these photos
into the Adobe Camera Raw interface.
| | 01:08 | To do I'll just click on one of these
thumbnails to select it, and then I'm
| | 01:12 | going to press this keyboard shortcut,
Command+R on a Mac, or Ctrl+R on a PC.
| | 01:18 | That launches Adobe Camera Raw and opens
my file in the Adobe Camera Raw window.
| | 01:23 | This is a separate interface from
Photoshop proper, although it comes with Photoshop.
| | 01:27 | In this interface, you'll choose the
settings that will be used to process the
| | 01:31 | RAW data in this file, like the
white balance, and the exposure, and the
| | 01:35 | saturation, and other settings.
| | 01:37 | Those settings are over
in the column on the right.
| | 01:40 | The most essential settings
are here beneath this Basic tab.
| | 01:44 | But there are other tabs too
that have other settings in them.
| | 01:47 | And we'll be taking a look at
some of these in the upcoming movies.
| | 01:50 | For example here is the Tone
Curve tab that has its own settings.
| | 01:55 | A Detail tab with other settings and so on.
| | 01:58 | I'll go back to the Basic tab for now.
| | 02:01 | Up here is a button you can use to
give you a full screen view of the
| | 02:05 | Adobe Camera Raw window.
| | 02:06 | I am going to go back to regular view
and next to that is a Preview button
| | 02:10 | that you can toggle on and off to see
the results of the changes you make by
| | 02:14 | varying these controls.
| | 02:16 | Over here is an abbreviated toolbox.
| | 02:19 | You're already familiar with
some of these tools from Photoshop.
| | 02:21 | For example here is a Zoom tool.
| | 02:24 | I can come in and click with the
Zoom tool several times to zoom in.
| | 02:28 | And if I hold down the Option key
on a Mac or the Alt key on a PC and click,
| | 02:32 | I'll zoom back out.
| | 02:34 | Next to that is a Hand
tool just like in Photoshop.
| | 02:37 | If I select the Hand tool and then
click-and-drag in the image, it moves to
| | 02:41 | zoomed-in image around so I can see
different parts of the photograph.
| | 02:44 | I am going to skip over
the next two tools for now.
| | 02:47 | The first is a White Balance Eyedropper
and the next is a Color Sampler tool,
| | 02:52 | and talk about the next
tool, which is a Crop tool.
| | 02:55 | This is similar to the Crop tool in
Photoshop, but I think it works even better.
| | 02:58 | I am going to go back to make the
image fit in this window by double-clicking
| | 03:02 | the Hand tool, and then I am going to
click-and-hold on the Crop tool here.
| | 03:07 | This Crop tool, unlike the one in Photoshop,
offers you ratios that you can crop to.
| | 03:11 | 2 to 3 is a typical ratio for a photograph.
| | 03:15 | So I am going to select that one.
| | 03:17 | So now when I come in and drag out a crop
bounding box, it's always in 2 to 3 ratio.
| | 03:23 | I can move it around to wherever I want
or I can make it bigger or I can make it
| | 03:26 | smaller, but it's still 2 to 3.
| | 03:29 | And when I'm ready to crop
I can just hit the Return key.
| | 03:32 | You may think it's not a good idea to
crop so early in the process, before I've
| | 03:36 | even gotten the image in to Photoshop.
| | 03:38 | But it's okay, because at anytime
even if I'm out of the Adobe Camera Raw
| | 03:42 | window, I can reopen the file and come
back to Crop tool and choose Clear Crop
| | 03:48 | and I'll get back all of my file.
| | 03:50 | And that's because the changes I make
here in the Camera Raw interface do not
| | 03:54 | directly change the underlying RAW data.
| | 03:56 | It's always all still there.
| | 03:58 | Next is a Straighten tool and that
works much like the Ruler tool in Photoshop,
| | 04:02 | which I covered in another movie.
| | 04:04 | So we won't do that one again.
| | 04:06 | The next tool is a Spot Removal tool.
| | 04:08 | This comes in handy if you happen to
have a spot on your camera sensor or on
| | 04:12 | your camera lens that's appearing in the
same place on every RAW image that you shoot.
| | 04:16 | Because you can eliminate the spot in
one image and then synchronize that change
| | 04:21 | to all of your images.
| | 04:22 | This is not a full-featured retouching
tool like the Healing Brush or the Patch
| | 04:26 | tool in Photoshop. What it's mostly
used for is if you happen to have a spot on
| | 04:30 | your camera sensor or on your lens and
that's appearing in a number of photos.
| | 04:34 | Because you can use this tool to
remove the spot on one image, and then apply
| | 04:38 | that change to a number of images.
| | 04:40 | This is the Red Eye tool and it's used
to eliminate the red eye in a subject's
| | 04:44 | eyes that you sometimes get when
you use the flash on your camera.
| | 04:49 | This next tool, the Adjustment Brush, is
one of the new tools in Camera Raw CS4.
| | 04:54 | That tool and the one next to it, the Graduated
Filter, I'll cover in detail in another movie.
| | 04:59 | These tools allow you to apply your
changes to just isolated parts of an image,
| | 05:03 | which really extends the
capabilities of the Camera Raw interface.
| | 05:07 | I think you are going to
like learning about those.
| | 05:09 | The next icon is a way to access
preferences that are specialized for just Camera Raw.
| | 05:15 | Those are separate from
the Photoshop Preferences.
| | 05:18 | And then there are a couple of Rotate tools.
| | 05:20 | There are some important buttons
at the bottom of the dialog box.
| | 05:23 | You click this button to save an
image, this button to open an image in
| | 05:27 | Photoshop, and this button to just
close the Adobe Camera Raw window while
| | 05:32 | applying the changes that you've made here
and we'll look at those in another movie too.
| | 05:37 | And finally there's this blue underlinef text.
If you click this you get Workflow Options.
| | 05:43 | These options don't govern the way a
photo looks here in Adobe Camera Raw, but
| | 05:47 | rather how it will open
from Camera Raw into Photoshop.
| | 05:50 | So here you can choose, for example,
your color space, which I've discussed in
| | 05:54 | detail in the movie on color settings.
| | 05:56 | I will leave that at Adobe RGB, which
is a typical workspace for photographs.
| | 06:01 | Here you can choose the bit depth.
Because this is a RAW image, I can choose to
| | 06:05 | open it in Photoshop as a 16-bit
image, which contains much more image
| | 06:09 | information then an 8-bit image.
| | 06:11 | So I am going to go ahead and choose 16-bits.
| | 06:14 | My file will be bigger than it would
be if it were 8-bits but I can always
| | 06:17 | change this later by reducing it to 8-
bits in Photoshop if I want to do that.
| | 06:22 | In the Size area I usually select the
size that has no plus or minus on it,
| | 06:26 | which is the native size
at which the image was shot.
| | 06:29 | You can see here the dimensions in
pixels and the total file size, or the space
| | 06:34 | that the image would take up on a hard drive.
| | 06:36 | You can always reduce the size of
the file later in Photoshop, so I
| | 06:39 | usually don't do that here.
| | 06:40 | I try not to make my files bigger than
their native size, but if you have to
| | 06:44 | do it with a RAW file, I suggest you do that
here rather than wait till you get to Photoshop.
| | 06:50 | Down here you can set the Resolution of the
file, as it will be when it opens in Photoshop.
| | 06:54 | That's something that you
can also change in Photoshop.
| | 06:56 | So it's not crucial how
you set the resolution here.
| | 06:59 | And now I'll just click OK to close that box.
| | 07:03 | So that's a quick look at what's available
to you in the Adobe Camera Raw interface.
| | 07:07 | And I will be covering many of these features
in more detail in other movies in this chapter.
| | 07:11 | What's important to remember is that
the changes you make here do not directly
| | 07:15 | change the original RAW file.
| | 07:17 | If you were to open this file after
making changes in Photoshop, you'd see
| | 07:21 | the file with the changes you made here,
but the original RAW file will never change.
| | 07:26 | It will always remain as
pristine as it once was.
| | 07:28 | So you can feel free to be creative
here in this window, because you can always
| | 07:32 | come back and do it again in another way later.
| | Collapse this transcript |
| Working in the Basic panel| 00:00 | The Basic panel, which is over here on
the right side in the Adobe Camera Raw
| | 00:05 | window, is where you'll do most of
the processing of your raw files.
| | 00:08 | This is where the essential controls live.
| | 00:11 | I'd like to show you how to use
these controls on this image, which is
| | 00:14 | skulls_0015.CRW from the
Chapter 9 Exercise Files folder.
| | 00:20 | I opened this file from Adobe
Bridge into Adobe Camera Raw.
| | 00:24 | First I'll make sure that the Basic tab
is selected here in the right-hand column.
| | 00:29 | That shows me these controls.
| | 00:31 | The first control here is
the White Balance control.
| | 00:34 | White balance is about the color of
the light in which you shoot a photo.
| | 00:37 | The color of a light can affect
the overall color of a photograph.
| | 00:40 | For example, if you shoot in fluorescent
lights, there can be a green cast to an image.
| | 00:45 | The purpose of the White Balance
controls here in Adobe Camera Raw is to
| | 00:49 | compensate for the color of
light in which a raw file is shot.
| | 00:52 | You use these controls to neutralize
the overall colorcast of the image.
| | 00:57 | If you're shooting JPEG you have to
rely on the white balance controls in your
| | 01:00 | camera, but when you are shooting Raw,
it doesn't matter how your camera's white
| | 01:04 | balance controls are set, because you
can always change the white balance here
| | 01:08 | in the Adobe Camera Raw window.
| | 01:11 | There are a couple of ways to do that.
| | 01:13 | One way is to get this White Balance
tool from the toolbox at the top of the screen,
| | 01:17 | and then to come into the image
and try to find an area that you think
| | 01:21 | should be gray and click on that.
| | 01:22 | So I am going to try clicking
here on this gray area of this plate.
| | 01:26 | That's not a bad result, but if I were
to click somewhere else, say in the horns here,
| | 01:30 | I get a result that's too blue.
| | 01:33 | So I don't often use this eyedropper,
because its results are so variable.
| | 01:37 | Instead I'll come in and start from
the White Balance menu here, which offers
| | 01:42 | a number of presets.
| | 01:44 | The As Shot preset is the way that
the image looks right out of the camera.
| | 01:48 | The auto setting is Adobe Camera
Raw's best guess at how the white
| | 01:52 | balance should be set.
| | 01:54 | I'll just run through these one by
one until I see a result that's close to
| | 01:57 | the way that I want it.
| | 02:00 | There is the Daylight setting,
which makes it quite warm;
| | 02:03 | the Cloudy setting, it's even warmer;
| | 02:05 | the Shade setting, and so on.
| | 02:08 | I think in this case probably
Daylight isn't bad, and then after I select
| | 02:12 | from that menu, I'll come down to
the Temperature and Tint sliders and
| | 02:16 | fine-tune that result.
| | 02:18 | If I move the Temperature slider to the
right, the image gets more gold or more
| | 02:22 | warm, and if I move to left, the
image gets more blue or more cool.
| | 02:27 | I am going to go somewhere in
between, maybe right about there.
| | 02:30 | You'll notice as I move that slider,
that the numbers here are changing.
| | 02:34 | These numbers represent units of
measurement on the Kelvin scale, which is scale
| | 02:37 | that's used to measure the temperature of light.
| | 02:40 | I can also vary the Tint slider, which goes
from green on end to magenta on the other.
| | 02:45 | When I am working with a photograph of a
person, I'll often add a little magenta here.
| | 02:50 | In this case I am going to back off, put it
just about right where it was to start with.
| | 02:55 | After adjusting the White Balance,
I'll move down to the Exposure slider.
| | 02:59 | What this slider does is set a white
point in the image, similar to the White
| | 03:03 | Point slider in the Levels Adjustment
panel and in the Curves Adjustment panel.
| | 03:08 | I want to set a point that should be
bright white, but I also don't want to lose
| | 03:12 | detail in the white portions of the image.
| | 03:15 | Before I use this slider I come up and
make sure that the Highlight clipping
| | 03:18 | warning is turned on, in other words it
has this little white border around it,
| | 03:23 | and that will let me see if I
go too far with this setting.
| | 03:25 | Then I'll take the Exposure slider,
and I will move it over to the right to
| | 03:29 | brighten the image, and if I go too
far, I'll see areas like this red here
| | 03:33 | and here, telling me that those particular
pixels are being set to pure white with no detail.
| | 03:40 | And then I'll back off a little until
I don't see those warnings anymore and
| | 03:44 | I'll leave the slider
there to set my white point.
| | 03:46 | Now I am going to drag this slider over
to the right to show you that there may
| | 03:50 | be times when I just can't get rid of
the red highlight warnings by moving the
| | 03:54 | Exposure slider to where I want it.
| | 03:56 | In a case like that, I'll set the
Exposure slider where I think it should be
| | 04:00 | visually, and then I'll come down to the
Recovery slider and I'll drag that to the right.
| | 04:05 | What the Recovery slider does is give
you the opportunity to bring back some
| | 04:09 | blown out highlights in an overexposed image.
| | 04:12 | That by the way is one of the benefits
of shooting Raw over shooting JPEG, that
| | 04:17 | you do have this opportunity
to recover detail in highlights.
| | 04:21 | I am going to the Recovery slider back,
and in this case I am going to move that
| | 04:25 | Exposure slider back to the left.
| | 04:26 | So I might set it just about there.
| | 04:29 | And then I'll turn off my
Highlight clipping warnings.
| | 04:32 | The next slider I'll use is the Blacks slider.
| | 04:34 | This slider sets the black point in the image.
| | 04:37 | It's similar to the Blacks slider in
the Levels Adjustment panel and in the
| | 04:41 | Curves Adjustment panel.
| | 04:43 | Before I use this slider, I'll go up
and turn on the Shadow clipping warning on
| | 04:47 | the histogram by clicking it so it has
this white outline around it, and then
| | 04:51 | I'll come in and drag the Blacks slider
all the way to the left and then start
| | 04:54 | moving it to the right.
| | 04:55 | I don't have to go very far in this
image before I can see these blue clipping
| | 05:01 | warnings here and here,
and over in the red peppers.
| | 05:03 | So I will just leave this slider where
it is and then I'll go up and click the
| | 05:08 | Shadow clipping warning again to turn it off.
| | 05:11 | If I want to try to bring in some detail
in those clipped black areas, then I'll
| | 05:16 | use the Fill Light slider here moving
that over to the right to bring in some
| | 05:20 | light into the darkest areas.
| | 05:22 | It doesn't really do anything for me in this
particular case, so I'm going to drag it back.
| | 05:26 | But I do want to make the point that
the Recovery slider and the Fill Light
| | 05:29 | sliders are among the most useful sliders here.
| | 05:33 | Remember that you can use Recovery
slider to try to bring back detail in the
| | 05:36 | highlights, and the Fill Light slider to try
to bring back detail in the darkish shadows.
| | 05:41 | Next there is a Brightness setting here.
| | 05:43 | It's at its default now.
| | 05:45 | If I want to make the entire image darker,
I drag the Brightness settings to the left,
| | 05:48 | and if I want to make the entire
image brighter, I'll drag the Brightness
| | 05:52 | setting to the right.
| | 05:54 | This setting is similar to the Gray
slider in the Levels and Curves Adjustment
| | 05:58 | panels inside Photoshop.
| | 06:00 | Moving it doesn't disturb
the white and black points.
| | 06:03 | It just repositions the gray pixels in between.
| | 06:06 | The next slider adjusts contrast.
| | 06:09 | I usually leave the Contrast slider
as it is and instead I'll make my
| | 06:13 | adjustments to contrast here in the Tone
Curve tab, which I address in another movie.
| | 06:18 | The Tone Curve tab is similar
to curves in Photoshop proper.
| | 06:23 | Next we have a Clarity slider.
| | 06:24 | This almost always makes an image look better.
| | 06:27 | If I drag the Clarity slider
to the right, look what happens.
| | 06:31 | The image just gets a little
sharper and pops a little more.
| | 06:35 | The next slider is the Vibrance slider,
and before I show you that I want to
| | 06:38 | show you my cursor, which now looks
like a hand with a double pointed arrow.
| | 06:42 | Whenever I hover just above one of the
sliders, the cursor changes to that icon,
| | 06:47 | and that means that I can just click-and-drag.
| | 06:49 | It's called scrubbing from
left to right, to move the slider.
| | 06:52 | I don't actually have to click on the
slider triangle to vary the control.
| | 06:57 | What Vibrance does is add a bit of
saturation in the less saturated areas of an image.
| | 07:03 | So, if I move Saturation way over to
the right, you'll see that everything in
| | 07:07 | this image gets saturated.
| | 07:08 | I'll put that back to 0 and show you
that if I move Vibrance over to the right,
| | 07:13 | it doesn't overdo the areas that
already are quite saturated in color.
| | 07:17 | You are welcome to use the Vibrance
slider to adjust saturation, but you
| | 07:21 | may prefer to use the controls in
another tab, which is this one here in
| | 07:25 | the HSL/Grayscale tab.
| | 07:28 | From here you can change the
saturation of individual colors in an image.
| | 07:32 | We'll learn how to do that in another movie.
| | 07:34 | But for now I go back to the Basic tab
where I am done showing you the controls
| | 07:38 | that are available here.
| | 07:40 | These really are the essential controls
for processing an image in Adobe Camera Raw.
| | 07:44 | One thing I like about these controls is
that they are all in one place, so they
| | 07:48 | are easy to find and they are pretty
straightforward in the way that they behave,
| | 07:52 | making them a pleasure to work with.
| | Collapse this transcript |
| Working in the Tone Curve panel| 00:00 | Most of the adjustments that you will
make in the Camera Raw window will be here
| | 00:04 | in the Basic tab, but there
a number of other tabs here.
| | 00:08 | I would like to show you this second tab,
the Tone Curve tab, which also can be useful.
| | 00:13 | When I click on this tab, I see
something that looks an awful lot like Curves in
| | 00:17 | Photoshop proper and in fact, the Tone
Curve tab offers two different ways to
| | 00:22 | apply curves to an image here in Camera Raw.
| | 00:25 | I am going to click on the Point tab first.
| | 00:28 | This is very similar to the Curves dialog box.
| | 00:31 | It starts out with a medium contrast
curve, which has a slight S curve to it.
| | 00:37 | And I could come in here and grab
anyone of these points and drag on it to
| | 00:41 | alter the curve and as I do, I am changing
primarily the contrast in tones in this image.
| | 00:47 | Alternatively, I can choose
another preset from this menu.
| | 00:50 | So I could choose Strong Contrast, for
example, and get yet another curve with
| | 00:54 | another result in the image.
| | 00:57 | Or I could come up to the Preset menu
and choose Linear and this takes away all
| | 01:01 | the adjustments to the basic curve.
| | 01:02 | I have done that because I want to
show you what's under the Parametric tab
| | 01:06 | and whatever changes I make in the
Point tab are cumulative to what I would do
| | 01:11 | in the Parametric tab.
| | 01:12 | So now I am back at ground zero and I
can go to the Parametric tab and show you
| | 01:17 | how easy it is to adjust curves from here.
| | 01:19 | Instead of adding points and dragging
on the curve itself, I can simply use
| | 01:23 | these sliders to adjust the curve.
| | 01:26 | So if I want to increase contrast by
increasing the lights and decreasing the
| | 01:30 | darks, I would start with the Lights
slider and drag it to the right, and that
| | 01:36 | increases the three-quarter
tone highlights in this image.
| | 01:40 | And then I go to the Darks slider and
drag to the left and that would decrease
| | 01:45 | the three-quarter tone darks in the image.
| | 01:47 | Where the curve is steep, the
contrast is increasing and if I go up to the
| | 01:53 | Preview checkbox and turn it off, and
then on, you can see the effect that
| | 01:58 | creating this curve have had on the image.
| | 02:00 | In the Parametric tab, I also have
the option to move these sliders here to
| | 02:05 | change the area of the curve that each
one of the four sliders at the bottom of
| | 02:09 | the panel will affect.
| | 02:11 | The Tone Curve panel and its
Parametric tab and in its Point tab offers some
| | 02:15 | really useful options for creating
curves and doing it without a lot of pain.
| | Collapse this transcript |
| Working in the HSL/Grayscale and Split Toning panels| 00:00 | Another one of the useful tabs in the
control area of the Camera Raw window is
| | 00:05 | this one, the HSL/Grayscale tab.
| | 00:08 | In this movie, I would like to show
you how this tab works and also its
| | 00:11 | neighbor, the Split Toning tab.
| | 00:13 | I am going to go back to the HSL/Grayscale tab.
| | 00:17 | HSL stands for Hue, Saturation, and Luminance.
| | 00:22 | Hue means basic color.
| | 00:23 | Saturation means the intensity of a
color and Luminance is about the brightness
| | 00:28 | and darkness of the color.
| | 00:30 | I can vary each of these properties of color
separately for individual colors in the image.
| | 00:35 | Everything from Reds to
Oranges to Aquas and even Purples.
| | 00:40 | So for example, let's say that I want
to play with the color of these peppers.
| | 00:44 | I am going to click on this Luminance
tab, and from here, I am going to go to
| | 00:48 | the Reds slider because those peppers
are obviously red and if I want to make
| | 00:52 | them brighter, I am going to take the
Reds slider and I am going to move that to
| | 00:56 | the right to brighten
just the reds in the image.
| | 00:59 | If I move this slider to the
left, the reds would get darker.
| | 01:03 | Now let's say I want to change
the color intensity of these reds.
| | 01:06 | I will click on the Saturation tab,
and I will grab the Reds slider again and
| | 01:11 | I am going to move it to the right to
increase the saturation of just that
| | 01:14 | color in the image.
| | 01:15 | There is a little bit of red down here
as well and that's also increasing but
| | 01:19 | I can live with that for now.
| | 01:20 | Finally, I am going to go to the Hue tab
and say I wanted to change the color of
| | 01:26 | these red peppers entirely.
| | 01:28 | I will get that Reds slider again and I
will drag it over to the right and I can
| | 01:34 | change the color of those peppers to orange.
| | 01:36 | If I move the other way, I can change the
color of the peppers to a different color.
| | 01:41 | Now the other function of this
panel is to allow me to make a grayscale
| | 01:45 | conversion right here inside Camera Raw.
| | 01:48 | All I have to do is click Convert to
Grayscale and then I can fine-tune this
| | 01:53 | Grayscale mix by going to the
individual color sliders and moving them.
| | 01:57 | So if I want the peppers to look
lighter in this Grayscale conversion, I will
| | 02:01 | take the Reds slider and I will move
it toward bright and you can see where
| | 02:04 | bright is by the coloration of the scale.
| | 02:08 | I think there might be some
oranges in the rest of this image.
| | 02:11 | So I am going to try moving the
Oranges slider to the right and that lighten
| | 02:15 | some other areas of this Grayscale conversion.
| | 02:17 | This tab gives you a lot of control
over converting a color image to Grayscale.
| | 02:22 | If you are preparing an image for use
in Photoshop, you might want to do your
| | 02:25 | Grayscale conversion here, rather than
wait till you get into Photoshop, where
| | 02:28 | you can use the Black & White Adjustments panel.
| | 02:32 | One of the reasons is you have
more colors to work with here in the
| | 02:35 | HSL/Grayscale tab than you do in the
Black & White Adjustments panel in Photoshop.
| | 02:39 | I would also like to show you the next
tab here, which is the Split Toning tab.
| | 02:44 | I can use this on a
grayscale image or on a color image.
| | 02:47 | And what it does is lets me add a
monotone colorization to the highlights in the
| | 02:52 | image and a different one to the shadows.
| | 02:54 | To see how that works, I am going to go
to the highlights area and I am going to
| | 02:58 | drag this Hue slider into
the orange-yellow range.
| | 03:01 | Then I am going to take the Saturation
slider for the highlights and drag it
| | 03:05 | to the right and now you can see a monotone
orangey-gold in the highlights of this image.
| | 03:10 | Then I will move to the shadows area and I am
going to choose another Hue for the shadows.
| | 03:15 | I will drag the Hue slider all the
way over to the Blues and then I will
| | 03:19 | increase the saturation of that color
in the shadows only and that gives me the
| | 03:24 | split tone effect with blue
shadows and gold highlights.
| | 03:28 | I can take the Balance slider and play
with that in order to vary the balance
| | 03:33 | between the blue shadows and
the gold highlights in the image.
| | 03:37 | So those are some ways to alter color
inside of Camera Raw from the Split Tone
| | 03:41 | panel and from its
neighbor the HSL/Grayscale panel.
| | Collapse this transcript |
| Looking at the other Camera Raw panels| 00:00 | There are a few other tabs here in the
Camera Raw window that you may not use as
| | 00:04 | often but I do want to introduce you to
them so that you know what they have in
| | 00:08 | case you need these controls.
| | 00:11 | Right now I am in the Detail tab,
which is the third one from the left.
| | 00:15 | From here, you can sharpen the
image and reduce noise in an image.
| | 00:19 | I talked about digital noise in
another movie on reducing noise inside
| | 00:23 | Photoshop proper and as I mentioned
there, there are two kinds of possible
| | 00:27 | noise in a digital image.
| | 00:29 | Luminance noise looks like black and
white grain and color noise looks like
| | 00:34 | little specks of color.
| | 00:36 | You can reduce either kind of noise
using these sliders but be a little
| | 00:40 | conservative because when you do drag either
slider to the right, you tend to blur the image.
| | 00:45 | From here you can sharpen an image
using controls similar to those in the
| | 00:49 | Unsharp Mask filter in Photoshop proper,
which I covered in another movie on sharpening.
| | 00:54 | But you should know that there are some
people who don't like to sharpen here in
| | 00:58 | Camera Raw but rather prefer to
sharpen only once at the end of their entire
| | 01:03 | editing workflow in Photoshop.
| | 01:05 | So they will take an image from here
in Camera Raw into Photoshop, make some
| | 01:09 | edits, resize the image, and
then sharpen the image there.
| | 01:13 | If you are among those people, then you
want to turn off sharpening here in Camera Raw.
| | 01:19 | To do that, you can go to the
Preferences icon right here, to open the Camera
| | 01:23 | Raw Preferences and where you see
Apply sharpening to All Images, click and
| | 01:29 | choose Apply sharpening to Preview Images only.
| | 01:33 | That will make the preview of the
image here in Camera Raw look sharp, which
| | 01:37 | will help you to correct its color and
its tone, but there won't be any actual
| | 01:41 | sharpening taking place.
| | 01:42 | So I will click OK here to accept that setting.
| | 01:45 | Here is another tab.
| | 01:47 | This is the Lens Corrections tab.
| | 01:49 | From here, I can control the vignetting or
light or dark areas at the corners of an image.
| | 01:55 | And I also can try to
remove chromatic aberration.
| | 01:59 | Chromatic aberration looks like red or
cyan or blue or yellow fringing at high
| | 02:05 | contrast edges in a digital image.
| | 02:08 | You can see some red fringing in this
image over here on the left side of the skull.
| | 02:13 | I am going to zoom in so you can see
that better by selecting the Zoom tool and
| | 02:17 | dragging over that area.
| | 02:20 | There is the red fringe.
| | 02:22 | I can remove that fringe by going to the
Fix/Red Cyan Fringe slider and dragging
| | 02:27 | to the left until the red fringe goes away.
| | 02:30 | When you fix chromatic aberration, you
do want to go back to 100% to see how the
| | 02:35 | image looks with the fix.
| | 02:36 | So I will double-click the Zoom tool to do that.
| | 02:38 | Good, I like that result.
| | 02:40 | So I will go on to show you
what's behind these other tabs.
| | 02:44 | You can use the Camera Calibration tab
to try to counteract any idiosyncrasies
| | 02:49 | of your particular camera and the way
that it's handling color here in Camera Raw
| | 02:53 | and if you go to the Presets tab,
you can save out any or all of the
| | 02:59 | settings that you've adjusted in this
particular image so that they could be
| | 03:02 | applied to another image.
| | 03:04 | To do that, you go to this icon at the
bottom of the tab, click, and in this
| | 03:10 | dialog box, choose the settings
that you want to record as a preset.
| | 03:13 | I will leave all these selected and I will
give the preset a name, and then I will click OK.
| | 03:23 | And if I opened another image that
had similar issues to adjust, I could
| | 03:26 | just come to the Presets tab and click on the
skull's preset to apply all of those settings.
| | 03:32 | So that's a quick look at what's
available to you under the Detail tab,
| | 03:37 | the Lens Corrections tab, the Camera
Calibration tab, and the Presets tab in the
| | 03:43 | Camera Raw window.
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| Using the Adjustment Brush tool| 00:00 | The big new feature in this version of
Camera RAW is the Adjustment Brush and a
| | 00:05 | related tool, the Graduated Filter Brush.
| | 00:08 | In this movie, I would like to take a
look at the Adjustment Brush, which allows
| | 00:11 | you to paint in localized adjustments
right here in the Camera RAW window.
| | 00:16 | This is big news, because up until now
the only localized adjustment that you
| | 00:20 | could make inside of Camera RAW were
with the Spot Removal Brush, which was
| | 00:24 | pretty limited in what it could do.
| | 00:26 | I am going to select the
Adjustment Brush from here in the toolbox.
| | 00:30 | That changes the controls over
here to the Adjustment Brush controls.
| | 00:34 | The controls at the bottom of this panel
affect the way that an adjustment is laid down.
| | 00:39 | Here I can change the size of my brush,
the softness of my brush, and the flow
| | 00:43 | and density of the way the brush will work.
| | 00:45 | I'll leave all of those sliders at
their defaults and now I am going to go up
| | 00:49 | and choose the adjustments that I want
to make to the peppers on the far left of
| | 00:53 | this image where it's pretty
dark, because it was a rainy day.
| | 00:57 | To lighten that area, I am going to
increase Brightness and I might increase
| | 01:01 | Exposure a little too.
| | 01:03 | I don't have to be too precise in making
those choices, because I can adjust any
| | 01:07 | of these sliders after I make my brush stroke.
| | 01:10 | Now I'll come into the image and I
have a really big brush as you can see.
| | 01:14 | As I have mentioned in other movies,
one way to brush size is with the bracket
| | 01:17 | keys on the keyboard.
| | 01:18 | I'll press the left bracket key to
make this brush smaller and then, I am
| | 01:23 | just going to come in and paint the
adjustments that I have selected on top of the peppers.
| | 01:28 | And as I do so, they
automatically become brighter.
| | 01:30 | Now that's pretty exciting, isn't it?
| | 01:35 | You may have notice the screen pin
that appeared when I made this adjustment.
| | 01:38 | The pin represents the underlying mask which
isolates this adjustment to just the peppers.
| | 01:45 | If I move my cursor over
that pin, you can see the mask.
| | 01:50 | I can alter the mix of adjustments
that I have applied to that mask by going
| | 01:54 | back to the Adjustment Brush panel
and either changing the Brightness or
| | 01:57 | Exposure sliders or adding something else.
| | 02:00 | So maybe I will add a little more
saturation as well and if you have got a sharp eye,
| | 02:05 | you'll see a little more
saturation in those peppers.
| | 02:08 | Now let's say I want to add a completely
separate adjustment here over the skulls.
| | 02:12 | I'll go back to the Adjustment Brush
controls and this time I'll click New and
| | 02:16 | I'll do something different over the skulls.
| | 02:18 | I am going to make them a little darker.
| | 02:20 | So I'll move the Brightness slider to
the left and the Exposure slider and I am
| | 02:25 | going to add a color to the
adjustments that I paint in over the skulls.
| | 02:29 | By default, there is a
slight warm tone in the color box.
| | 02:33 | If I click the color box, that opens this Color
Picker from which I can choose a different color.
| | 02:38 | I could choose from here or I can
just select one of these presets.
| | 02:43 | I'll take this blue color and I'll click
OK and now I am going to come in and
| | 02:47 | I am going to paint on top of these
skulls and as you can see, it's darkening the
| | 02:52 | skulls and painting them blue.
| | 02:54 | I can always change that effect by
coming over to the Adjustment Brush controls
| | 02:59 | again and maybe dragging the
Brightness slider to the right.
| | 03:03 | I think that looks a little better or I
could even change the color by clicking
| | 03:07 | back on the color field and choosing a
different color blue and clicking OK.
| | 03:12 | And you notice that there is now a
second pin in the image right down here and
| | 03:16 | if I move over that pin, you can see
the mask associated with this combination
| | 03:20 | of adjustments entirely separate
from the local adjustments over here.
| | 03:25 | If I want to delete one of these
adjustments, I just have to make sure that it's
| | 03:29 | pin is selected, by clicking on that pin
and then I'll press the Delete key on a Mac,
| | 03:34 | or the Backspace key on a PC, and
that adjustment is gone and if I wanted
| | 03:39 | to clear out all the adjustments,
I could do that by clicking this Clear All
| | 03:43 | button over in the Adjustment Brush controls.
| | 03:45 | This new tool really increases
the usefulness of Adobe Camera RAW.
| | 03:50 | It means that you may have situations
where you no longer have to take your
| | 03:53 | image into Photoshop after
processing it here in the Camera RAW window.
| | 03:57 | I think you are really going to love
this new tool and I hope you will give it a try.
| | Collapse this transcript |
| Using the Graduated Filter tool| 00:00 | There's another new brush in Camera Raw,
and that is the Graduated Filter Brush.
| | 00:05 | What this tool does is lets you lay
down one or more adjustments in a gradient
| | 00:10 | pattern, so that they blend
nicely into the rest of the image.
| | 00:13 | I am going to show you how to use that
brush on this image of the stormy sky.
| | 00:17 | But first I want you notice that this
image is not a raw image. Instead it's a JPEG.
| | 00:23 | Yes, it's true that you can open JPEGs
or even TIFFs into the Camera Raw window.
| | 00:29 | Some people prefer to do that because
they just like the way the Adjustment
| | 00:32 | tools are laid out here in Camera Raw.
| | 00:35 | Regardless of whether I'm working on a
JPEG or on a raw image, I can apply the
| | 00:39 | new Graduated Filter Brush tool.
| | 00:41 | The first step is to select the
Graduated Filter Brush from here in the toolbox.
| | 00:47 | That changes the controls over on
the right to Graduated Filter controls.
| | 00:51 | What I wanted to do with this image
is to open up the clouds, making them
| | 00:55 | lighter so that I can see
more detail in the clouds.
| | 00:58 | But I don't want to make the
foreground part of this image any lighter.
| | 01:02 | If I'd had a Neutral Density Filter
on my camera when I shot this image,
| | 01:05 | I would have been able to take care of
this problem in camera, evening out the
| | 01:09 | exposure between the sky and the
foreground but instead I'm going to do that
| | 01:13 | here in Camera Raw.
| | 01:14 | So in the Graduated Filter controls,
I am going to increase Brightness, and
| | 01:19 | I will increase Exposure a little too and
then I am going to come into the image
| | 01:24 | and click-and-drag from the top of the
document on down and you'll notice
| | 01:29 | that I get these green and red dotted
lines which identify the beginning and
| | 01:35 | ending of my gradient.
| | 01:36 | That's not a very strong adjustment.
| | 01:38 | So I am going to come back over to the
Graduated Filter controls. Notice that
| | 01:43 | the Edit button is selected and so
I can increase the Brightness, maybe
| | 01:48 | increase the Exposure a little, and
that increases the strength of this
| | 01:51 | combination of adjustments.
| | 01:53 | Now let's say I want to add
some thing more to this adjustment.
| | 01:56 | Maybe I want to add a little blue in the clouds.
| | 01:58 | So I'll come to the Color field and
click there and in the Color Picker,
| | 02:03 | I'll try this preset blue.
| | 02:04 | It doesn't look too bad.
| | 02:06 | I might actually take the Saturation
slider here in the Color Picker and drag to
| | 02:10 | the left to reduce the saturation
of that color and then I'll click OK.
| | 02:15 | I can adjust the position of this
gradient at any time by clicking and dragging
| | 02:19 | to rotate it or dragging to
change how long or short it is.
| | 02:23 | If I don't want to see that outline
I can come down to this Show Overlay
| | 02:27 | check box and uncheck it.
| | 02:30 | I know that the gradient is still
there but it's just not in my way as
| | 02:33 | I analyze the photo.
| | 02:35 | Let me show one more thing about the
Graduated Filter and that is that you
| | 02:38 | can use it in conjunction with the
Adjustment Brush, which I covered in another movie.
| | 02:43 | So for example when I added the
gradient to make the sky a little bluer and a
| | 02:47 | little brighter, this post
also was covered by the gradient.
| | 02:50 | If I want that to be a little warmer
and darker, I can get my Adjustment Brush
| | 02:54 | tool here, come over to my adjustments
and lower the Brightness a little, maybe
| | 03:01 | lower the Exposure and click in the
Color Field and choose a Light Yellow.
| | 03:06 | Then I'll move over my image and
I'll paint in on top of that fence post.
| | 03:11 | If I don't like the way that looks,
I can edit that adjustment by making sure
| | 03:15 | the Add button is highlighted here and
maybe I'll decrease the Saturation there
| | 03:21 | and decrease the Brightness a little.
| | 03:23 | That green pin that you see there
represents the mask that allows me to localize
| | 03:29 | this adjustment to adjust the fence post.
| | 03:31 | If I move over that pin you'll see
that mask and as you recall I've used
| | 03:36 | this Adjustment Brush on top of the
Gradient Filter that I also applied to this image.
| | 03:41 | So that's how to use the new
Graduated Filter tool and how to use it in
| | 03:44 | conjunction with the Adjustment Brush.
| | 03:46 | And as a little bonus, a reminder that
you can process not only your raw images
| | 03:51 | in the Camera Raw window but
also your JPEG and your TIFFs.
| | Collapse this transcript |
| Working with multiple files| 00:00 | If you shoot a number of raw photos
in the same location and under the same
| | 00:04 | lighting, odds are that they'll
need the same kinds of adjustments.
| | 00:08 | You can adjust just one of the images in
the Camera Raw window and quickly apply
| | 00:13 | the same adjustments to all the rest.
| | 00:15 | The first step in this multiple image
workflow is to select the items that you
| | 00:20 | want to open into Camera Raw.
| | 00:22 | So I am here in Bridge in the Chapter 9
Exercise Files folder, and I am looking
| | 00:26 | at some of the thumbnails in that folder.
| | 00:28 | If you are wondering where the panels
are on this side of Bridge, I've pressed
| | 00:31 | the Tab key in my keyboard to make the
panel disappear temporarily, so I can see
| | 00:36 | these thumbnails better.
| | 00:37 | So now I am going to select these
thumbnails by clicking on the first one and
| | 00:41 | holding the Shift key and clicking on the last.
| | 00:44 | There are two show ways to
process multiple files in Camera Raw.
| | 00:48 | I can have Photoshop host Camera Raw
or I can have Bridge host Camera Raw.
| | 00:52 | If I knew I was going to be
processing a lot of images, I would definitely
| | 00:56 | have Bridge host Camera Raw,
because then I could have the processing of
| | 01:00 | multiple images occurring in the
background and still be able to go into
| | 01:03 | Photoshop and do other work there.
| | 01:06 | To have Bridge host the images, I would
press Command+R on a Mac, Ctrl+R on a PC.
| | 01:11 | To have Photoshop host the images, I would
press Command+O on a Mac, Ctrl+O on a PC.
| | 01:18 | I'll go ahead and do Command+O or Ctrl+O
because I don't have many images to process here.
| | 01:23 | When I press that keyboard shortcut,
Adobe Camera Raw opens with all of the
| | 01:28 | selected images showing up over
here in this column on the left.
| | 01:32 | Because I have the first one of those
selected that's the image showing here for editing.
| | 01:36 | But I could click on any one of those
and that would be the image to which I
| | 01:40 | apply the adjustments.
| | 01:42 | I'll go back to the first image in the
column and I am going to make some quick
| | 01:45 | adjustments in the basic panel. Maybe
I'll move the Temperature slider over to
| | 01:49 | the right, I'll increase the Blacks,
I'll increase the Clarity slider and maybe
| | 01:56 | add a little Vibrance.
| | 01:58 | So let's say I am satisfied with those
adjustments and I would like to apply the
| | 02:02 | same adjustments to the other open images.
| | 02:04 | I'll come back to the column on the
left and click Select All and then I'll
| | 02:08 | just click Synchronize.
| | 02:09 | Now notice that right now only one
of the images has this little symbol.
| | 02:13 | That means it's been adjusted in Camera Raw.
| | 02:15 | When I click Synchronize, in this dialog
box I can choose which of my settings I
| | 02:20 | want to apply to all the images.
| | 02:22 | I'll leave them at their defaults and
I'll click OK and in just a second all
| | 02:26 | of the other thumbnails get that little symbol
that indicates they have been adjusted in Raw.
| | 02:31 | At this point, I would go through them
one by one and make sure that I liked the
| | 02:35 | each one had been adjusted.
| | 02:36 | If there is some thing I want to change
in one of these images, I'll make sure
| | 02:40 | that's it's highlighted here in the
left column and then I'll come into the
| | 02:44 | controls and I'll make an adjustment.
| | 02:46 | So here for example I might turn down
the Vibrancy to make those red peppers a
| | 02:50 | little less saturated.
| | 02:51 | So now that all the images are adjusted,
I have a couple of choices of how to finish up.
| | 02:57 | I could Select All the images and
just click the Done button here.
| | 03:01 | If I do that, the Camera Raw window will close.
| | 03:04 | By clicking Done, it's not going to
write over my original Raw images;
| | 03:09 | those never get directly changed.
Instead what will happen is the Camera Raw will
| | 03:14 | write a little text file, a
metadata file, to go along with each image.
| | 03:19 | Those files will contain all of the
instructions for the adjustments that I've
| | 03:23 | chosen here and that I've applied to each image.
| | 03:25 | And back in Bridge, I would be able to
see the thumbnail of each image update,
| | 03:30 | so that it appeared with
the changes I've made here.
| | 03:33 | So that's one choice.
| | 03:34 | The other choice is to go to the Save Images
button here and click to open this dialog box.
| | 03:40 | From here I can save a copy of each file
as a JPEG, a TIFF, a Photoshop document,
| | 03:47 | or a Digital Negative.
| | 03:49 | So this is where I would come if I
didn't intend to do any more editing on these
| | 03:52 | files and I just wanted a non-Raw copy
of each file without going into Photoshop
| | 03:58 | and doing anything else to them.
| | 03:59 | You know what JPEG, TIFF and
Photoshop formats are, but what is this
| | 04:03 | Digital Negative format?
| | 04:05 | This is a special Raw format developed
by Adobe to hedge against the possibility
| | 04:10 | that manufacture's proprietary Raw
formats might be impossible to open in the
| | 04:14 | future, if a particular camera
company went belly up. Because .DNG is not a
| | 04:19 | proprietary format and because it's
publicly documented, then saving a copy of a
| | 04:24 | Raw file in DNG format means that
theoretically you'll be able to open your Raw
| | 04:29 | files in the future.
| | 04:30 | So if I choose Digital Negative, I am
making a copy of the file as a raw file
| | 04:34 | but in a special Raw format.
| | 04:37 | In this dialog box, I not only can
choose a format in which to save a copy of
| | 04:41 | the adjusted files, I can also choose a
location and I can name the individual files.
| | 04:47 | I am actually going to cancel out of
this dialog box because I am not going to
| | 04:50 | save them right now.
| | 04:51 | I want to show you one last thing
that I can do to finish at these files.
| | 04:55 | Let's say that I want to make further edits
to one or more of these images in Photoshop.
| | 04:59 | Because if you think about it there
are quite a few things you can do to an
| | 05:02 | image in Photoshop that you
can't do here in Camera Raw.
| | 05:05 | You can't add text.
| | 05:07 | You can't add filters.
| | 05:08 | There are no layers to work with here.
| | 05:10 | You can't make composites and so on.
| | 05:13 | So I could select any number of these images.
| | 05:15 | I am just going to click on
the first one to select one.
| | 05:18 | Then I'll click the Open Image button
here at the bottom of the Camera Raw window.
| | 05:23 | That goes back to Photoshop and opens
this image here in Photoshop where I can
| | 05:27 | do further editing on the file.
| | 05:28 | Notice here in the document
tab that this is a 16-bit image.
| | 05:32 | So there are a few features in Photoshop that
won't be available when you edit this file.
| | 05:37 | For example if I go to the Filter menu,
you'll see that a number of these filter
| | 05:41 | categories are grayed out because
they don't work on 16-bit images.
| | 05:44 | Also if I edit this file in Photoshop
and then I decide to save it as a JPEG,
| | 05:50 | I am going to run into this problem.
| | 05:51 | I'll go to the File menu and I will
choose Save As and from the Format menu
| | 05:56 | there, I just don't have the
choice of saving as JPEG at all.
| | 06:00 | So if that's my situation, I'll cancel
out of here and I'll change my 16-bit
| | 06:05 | image back to an 8-bit image, by
going to the Image menu at the top of the screen,
| | 06:09 | choosing Mode and
choosing 8 Bits/Channel.
| | 06:13 | Then I can come to the File menu, down
to Save As and I do have the option to
| | 06:18 | save as JPEG and any of these other formats.
| | 06:21 | So I'll just click Save and OK.
| | 06:25 | And now I've made a JPEG out of my
Camera Raw image with all of the adjustments
| | 06:29 | that I added in the Camera Raw window
along with any additional adjustments that
| | 06:33 | I've made here in Photoshop.
| | 06:35 | So that's a look at how to work with
multiple files in the Camera Raw window and
| | 06:39 | how to finish up your work by either
saving them as DNGs, JPEGs, TIFF or PSDs
| | 06:45 | from the Camera Raw window or opening
them into Photoshop to take advantage of
| | 06:50 | all the additional
features that Photoshop offers.
| | Collapse this transcript |
|
|
10. PaintingUsing the Brushes panel| 00:00 | Photoshop isn't just a
photo editing application.
| | 00:03 | It also offers sophisticated
brush features for digital artists.
| | 00:07 | The Brushes panel alone offers a countless
number of possible combinations of brushes.
| | 00:12 | Before you open the Brushes panel, you
have to select a Brush Type tool, or else
| | 00:16 | the entire Brushes panel will be grayed out.
| | 00:19 | Its options won't be available to you.
| | 00:21 | A Brush Type tool includes not only the
painting tools like the Brush tool and
| | 00:25 | the Pencil tool, but any tool that uses
a brush tip like the Toning tools, the
| | 00:30 | Healing Brushes and the History Brushes.
| | 00:32 | I am going to select the regular
Brush tool here in the toolbox.
| | 00:35 | Now I can select a specific brush
either from the Brushes panel or from up here
| | 00:40 | in the Options bar, where
there is a Brush Picker.
| | 00:43 | I'll click on this arrow
to open the Brush Picker.
| | 00:46 | This isn't a bad place to go, if all you
want is a plain, round, soft or hard edge brush.
| | 00:51 | You can just select it here, and you
can vary the diameter and hardness here or
| | 00:55 | by using the bracket keys on your
keyboard as I have taught you in other movies.
| | 01:00 | I am going to click on the Options bar
to close the Brush Picker though, because
| | 01:04 | it really isn't the best option when
you want to take advantage of all that
| | 01:07 | Photoshop has to offer in the way of brushes.
| | 01:10 | Instead, I'm going to open my Brushes panel.
| | 01:13 | You can do that from the Window menu
or if you have the painting workspace
| | 01:18 | selected as I do here, the Brushes
panel will open right in that workspace.
| | 01:22 | This is the way the Brushes
panel looks when it first opens.
| | 01:25 | The Brush Presets option is selected on
the left and that displays in the box on
| | 01:30 | the right, a preview of every one of
the brushes in the default brush set.
| | 01:34 | If you select one of those brushes here,
you'll see a preview of the kind of
| | 01:38 | stroke that it makes down here.
| | 01:40 | So let's say, for example, that I
just select a regular round brush.
| | 01:44 | I see the stroke change down here, and
then I can go to the Brush Tip Shape
| | 01:49 | option in the left-hand column to
bring up some controls for changing the
| | 01:53 | shape of this brush tip.
| | 01:55 | So, for example, I could change the
Roundness of the brush tip by typing
| | 01:59 | another number in here.
| | 02:00 | I have just made an oval brush and
I see the stroke representation change.
| | 02:04 | I put that back to a 100% to show you
another setting here, the Spacing setting.
| | 02:11 | This controls the amount of
space between each brush mark.
| | 02:14 | If I drag that slider to the right,
with a plain round brush, you get this
| | 02:19 | interesting effect, which is
basically a brush that draws a dotted line.
| | 02:24 | So if I come into the image and drag,
I can get a dotted line like that.
| | 02:27 | I am going to undo that with
Command+Z on a Mac or Ctrl+Z on a PC.
| | 02:33 | So no matter which brush tip you
select up here, you'll be able to customize
| | 02:37 | that brush tip with these options in this area.
| | 02:40 | But there are lots more
options in the Brushes panel.
| | 02:43 | There are all these various dynamic options.
| | 02:45 | The dynamic options introduce
variations of color, size and scattering in the
| | 02:50 | way that a brush paints.
| | 02:52 | In order to show you some of these
options, I would like to choose a
| | 02:54 | more interesting brush.
| | 02:55 | I am right over to the right and
scroll down and select this grass brush.
| | 03:00 | As an example of the dynamic options,
let's take a look at Scattering.
| | 03:05 | If I click the checkbox next to
Scattering, that means that Scattering will be
| | 03:09 | active for this selected brush.
| | 03:11 | If I want to customize the way that
Scattering occurs, I have to do something else,
| | 03:15 | which is to click on the word Scattering.
| | 03:18 | And when I do that, I get these
special controls for Scattering on the right.
| | 03:22 | I use the brush stroke preview down here to
see what the various controls are going to do.
| | 03:27 | So for example, I'll take the Scatter
slider and I'll move it to the right,
| | 03:31 | and I can see that this makes the
individual brush marks move apart from one another.
| | 03:35 | If I try varying the Count slider, I
can see that there are now more pieces of
| | 03:39 | grass in every brush mark.
| | 03:41 | There's no way you could possibly
remember what all of the variations on
| | 03:44 | all these options do.
| | 03:45 | So what I suggest that you do is select
the options with the brush that you want and
| | 03:50 | just try them out and experiment.
| | 03:52 | Let's see for example what Color Dynamics does.
| | 03:54 | This one is really interesting.
| | 03:56 | I am going to make Color Dynamics
active for this brush and I'm going to click
| | 04:00 | on the word Color
Dynamics to see these controls.
| | 04:03 | Notice that a lot of the
controls include the word Jitter.
| | 04:07 | Jitter means randomness.
| | 04:08 | So for example, if I were to increase
the Hue Jitter, I would get brush strokes
| | 04:13 | of varying random hues.
| | 04:16 | To show you how this works, I am going
to change the background and foreground
| | 04:19 | colors in my toolbox.
| | 04:21 | I could choose colors from the color
picker or the Color panel or the Swatches.
| | 04:26 | I am going to do it by
using the Eyedropper tool here.
| | 04:29 | You'll notice that if you look at the
Options bar for the Eyedropper, there are
| | 04:34 | a couple of new features here.
| | 04:35 | In the Sample Size menu, you now have
more choices than you had before about
| | 04:39 | the number of pixels at this tool will take
into account when you click with it in an image.
| | 04:43 | There's another choice here in the Sample menu.
| | 04:47 | In Photoshop CS4, you can choose
between sampling from All Layers in a file or
| | 04:52 | from the Current Layer.
| | 04:53 | This particular file has only one
layer, but I wanted to bring those new
| | 04:57 | features to your attention.
| | 04:58 | So with the Eyedropper tool,
I am going to sample a color.
| | 05:01 | I'll click on one of these green
colors and then I'm going to switch my
| | 05:05 | foreground and background colors by
pressing X on the keyboard and I'll
| | 05:09 | sample another color.
| | 05:10 | Sampling colors out of an image is a good
way to get colors that work well together.
| | 05:15 | And then, I'll go back and get my Brush
tool again to bring my Brushes' options back.
| | 05:19 | Now I am going to take some of these Color
Dynamics sliders and drag them over to the right.
| | 05:23 | So I am going to increase the
randomness between foreground and background
| | 05:28 | colors, and the randomness of the Hue,
the Saturation, the Brightness and the
| | 05:34 | Purity of my brush strokes.
| | 05:36 | The results are always a surprise,
but they're often a pleasant surprise.
| | 05:40 | So now I am going to come into the
image and I am going to drag with this brush
| | 05:44 | and I can paint in some graphic brush strokes.
| | 05:48 | And if I change these sliders
again, I'll get different colors.
| | 05:51 | Now if I want to set the Dynamic
options in the Brushes panel back to their
| | 05:56 | defaults for use with another brush,
then what I need to do is to click on each
| | 06:01 | option I want to reset, like the Color
Dynamics for example, and then go to the
| | 06:05 | Brushes panel menu over here
and choose Clear Brush Controls.
| | 06:10 | I can protect any one of these
categories from changes by clicking its lock.
| | 06:13 | I am going to go back and click
on Brush Presets, and I am going to
| | 06:17 | select another brush.
| | 06:19 | Here's another grass brush and then
I'll change something about its Color
| | 06:22 | Dynamics for example.
| | 06:24 | I'll increase the Hue, and the
Saturation, and the Brightness Jitter and I'll
| | 06:28 | change some of its Scattering features,
perhaps I'll scatter those brush strokes
| | 06:31 | a little bit and I'll move the Count
slider to the left, and then I'm going to
| | 06:37 | drag with my brush to see what it does.
| | 06:39 | Now let's say I really like those
changes and I want to save them as a
| | 06:44 | special custom brush.
| | 06:46 | To do that I'll go to be Brushes panel
menu and I'll choose New Brush Preset.
| | 06:51 | I'll give this brush a name,
maybe Dune Grass 2, and I'll click OK.
| | 06:58 | And now if I go back to my Brush Presets,
I'll find that new brush here at the
| | 07:04 | bottom of the default set of brushes.
| | 07:06 | So I can select it at anytime.
| | 07:08 | However, this brush really isn't safe,
because there are other sets of brushes
| | 07:13 | that I can load here.
| | 07:15 | If I go back to the Brushes panel
and I look down here, you'll see that
| | 07:18 | Photoshop ships with quite
a few other sets of brushes.
| | 07:22 | So if I were to choose one of those and
load it, I would lose my brand-new brush
| | 07:26 | that's been placed in the default brushes.
| | 07:29 | So if I want to keep that brush then
what I have to do is go to the Edit menu,
| | 07:34 | choose Preset Manager, choose Brushes as
the Preset Type, and from there click on
| | 07:41 | my new brush and then click Save Set
and that saves that whole set of brushes
| | 07:47 | with the new brush in it.
| | 07:48 | So I might save this as defaults with
dune brush, and this new brush set will
| | 07:56 | be saved along with all the other brush sets
in the proper place for Photoshop to find it.
| | 08:01 | So I'll just click save and I'll click Done.
| | 08:04 | And then even if I change the current
set of brushes, I can always go back and
| | 08:09 | load my custom brushes
from the Brushes panel menu.
| | 08:13 | This is only a taste of the many
combinations of brushes that you can create
| | 08:17 | with the controls in the Brushes panel.
| | 08:19 | You can imagine that the
combinations are almost countless and that the many
| | 08:22 | options they offer give digital
artists an almost infinite number of
| | 08:27 | possibilities for expressing themselves.
| | Collapse this transcript |
| Filling with color| 00:00 | One of the things you'll find
yourself doing all the time particularly when
| | 00:03 | you're painting is using the Fill command.
| | 00:05 | You can fill an entire layer with color.
| | 00:08 | You can fill a selection with color.
| | 00:10 | You can even fill an area on a
mask with gray, black or white.
| | 00:14 | And by a mask I mean a layer mask or the
mask on an adjustment layer or even
| | 00:19 | the mask on a smart filter.
| | 00:21 | Let's say that I want to select one of these
balloons and fill it with a different color.
| | 00:25 | I am going to get my Quick Selection
tool here and I'm going to click-and-drag
| | 00:29 | over the green balloon.
| | 00:30 | To fill this balloon, I'll go up to
the Edit menu and that's where I'll
| | 00:34 | find the Fill command.
| | 00:36 | In the Fill dialog box, you can
choose to fill with Foreground Color, which
| | 00:41 | means whatever color is here in the
foreground color box in the toolbox, or you
| | 00:46 | can choose to fill with the Background
Color, which is the color that's in the
| | 00:49 | background color box in the toolbox.
| | 00:52 | If you've forgotten to choose a color
before you open the Fill dialog, you can
| | 00:55 | go to Color and you can choose
your own color from the color picker.
| | 01:00 | You also can choose to fill with black,
white or gray and these other options,
| | 01:03 | but these aren't used very often.
| | 01:05 | So I am going to choose Foreground
Color and I'll click OK and that fills my
| | 01:10 | selection with this solid color.
| | 01:12 | Filling with the foreground color is
something you do so often that it's worth
| | 01:15 | remembering the shortcut for that
and that's what I'll show you next.
| | 01:18 | I am going to press Command+D on a Mac,
Ctrl+D on a PC to deselect that balloon,
| | 01:24 | and I'm going to select this purple
balloon with my Quick Selection tool.
| | 01:28 | I am holding the Option key on a Mac,
the Alt key on a PC to run over the sky to
| | 01:35 | eliminate that from my selection.
| | 01:36 | Now with this purple balloon selected, I
am going to fill with the foreground color.
| | 01:41 | Let me switch these colors so that
orange is now my foreground color.
| | 01:45 | I did that by clicking this double
pointed arrow or pressing X on the keyboard.
| | 01:48 | Now here is the shortcut for
filling with the foreground color.
| | 01:53 | On a Mac, you'll hold down the
Option key and press the Delete key.
| | 01:57 | On a PC you'll hold down the Alt
key as you press the Backspace key.
| | 02:01 | I am going to do just that.
| | 02:03 | Option+Delete on my Mac and I filled
that selection with the orange that's in
| | 02:07 | the foreground color box.
| | 02:08 | I'll press Command+D on my Mac, Ctrl+D
on a PC to deselect again, and I want to
| | 02:14 | show you one more thing.
| | 02:16 | Filling with the solid color
gives a graphic look like this.
| | 02:19 | But what if you want to fill in a way that
retains the shading in the underlying image.
| | 02:24 | For that you have to go
back to the Fill dialog box.
| | 02:27 | So for example, with the Quick
Selection tool, I'm going to select this yellow
| | 02:31 | balloon then I'll go up to
Edit, and I'll go down to Fill.
| | 02:36 | Here, I am going to choose my own
color by going to the Use menu, clicking
| | 02:40 | Color to open the Color Picker and
I'll just accept this blue that's
| | 02:44 | already here, and click OK.
| | 02:45 | Now here is the trick.
| | 02:46 | You have to go to the Blending Mode menu
and from there, go down and choose Color.
| | 02:53 | You have seen blending
modes elsewhere in Photoshop.
| | 02:55 | There are layers blending modes in the
Layers panel for blending the colors of
| | 02:59 | one layer with colors on the layers below.
| | 03:01 | There are also blending modes in the Brush
Tool Options bar to use when you're painting.
| | 03:06 | And now you see blending modes a
third time when you're filling with color.
| | 03:10 | So if I choose this blend mode Color
and I click OK, my balloon fills with the
| | 03:15 | selected color but it retains the
underlying shading in the balloon.
| | 03:20 | Command+D or Ctrl+D, you can see that
I have a highlight here and I have a
| | 03:23 | little bit of dark area here, and that looks
different then these plain solid color fills.
| | 03:28 | So that's all there is to filling.
| | 03:30 | You use it not only to fill with color
but also when you're feeling a mask with
| | 03:34 | black white or gray.
| | 03:35 | So try to remember where the Fill
command is under the Edit menu, and when you
| | 03:40 | are ready to fill with the foreground
color, remember the shortcut Option+Delete
| | 03:44 | on a Mac, or Alt+Backspace on a PC.
| | Collapse this transcript |
| Replacing color| 00:00 | There will be times when you need to
change the color of a photographic object
| | 00:05 | and you don't want to just paint over
it with a solid color. Instead, you want
| | 00:08 | to retain the tonality in the underlying image.
| | 00:12 | So for example, let's say I wanted to
change the colors in this blue shirt.
| | 00:16 | It would be hard to paint those
colors in because there are so many other
| | 00:19 | little details here.
| | 00:21 | In that situation I will
use the Replace Color command.
| | 00:25 | That command is located under
Image > Adjustments > Replace Color.
| | 00:31 | The Replace Color dialog box looks a
lot like the Color Range dialog box that I
| | 00:36 | talked about in another movie.
| | 00:37 | What you can do here is take this
Eyedropper and click on a color and that
| | 00:43 | begins to select it as you can see
here in this tiny black and white preview.
| | 00:47 | If you didn't get all of the blue in
that one click, you could select the Plus
| | 00:52 | Eyedropper and click
elsewhere to get more of the blue.
| | 00:56 | You can click either in the
image or right here in the preview.
| | 00:59 | You also can move the Fuzziness slider
back and forth to control the range of
| | 01:04 | colors that are selected.
| | 01:05 | So I can see I have something
selected that I don't really want back there.
| | 01:09 | So I am going to drag the Fuzziness
slider to the left to try to remove
| | 01:13 | them from the selection.
| | 01:14 | That looks pretty good.
| | 01:16 | Now when I have that area selected
from right here in the dialog box, I can
| | 01:20 | move the Hue, Saturation and the Lightness
sliders to change the color of the selected areas.
| | 01:26 | So for example, I might take the Hue
slider and drag to the left to change all
| | 01:31 | the blue in the shirts to green, or I can go
the other way and change everything to red.
| | 01:38 | Now I see that I don't
have all the blue selected.
| | 01:40 | So at this point I can still come back
in with that plus eyedropper and click
| | 01:45 | on these other areas of blue to add
those to the selection so that the red
| | 01:49 | fills them as well.
| | 01:52 | I could also try to increase the
Fuzziness or the range of blues that's being
| | 01:57 | selected, and that does a
pretty good job right there.
| | 02:00 | I also can change the saturation of
the replacement color. Dragging the
| | 02:05 | Saturation slider to the right, makes
that red more saturated and going to the
| | 02:10 | left makes it desaturated and I can
choose the brightness or the darkness of
| | 02:16 | the replacement color.
| | 02:17 | So you can see that the Replace
Color command can really come in handy.
| | 02:20 | It does a pretty good job of changing color
that's surrounded by lots of other details.
| | 02:25 | I am going to click Cancel and I want
to mention that there are a couple of
| | 02:29 | other ways to replace color in Photoshop CS4.
| | 02:33 | One thing you can always do is take the
Brush tool, go up to the Options bar and
| | 02:38 | change its blend mode to Color.
| | 02:40 | These blend modes are just like the
ones in the Layers panel and the ones in
| | 02:44 | the Fill dialog box that I have
talked about in other movies and with a
| | 02:48 | brush like that which I will make
bigger by pressing the right bracket key
| | 02:52 | you can drag and paint over a color, replacing
the color by retaining the tonality below.
| | 03:00 | I am going to undo that by pressing
Command+Z or Ctrl+Z and I'll show you one
| | 03:06 | more way to replace color and
that's to use the Color Replacement tool.
| | 03:10 | I am going to switch my foreground
color to red again and I am going to click
| | 03:14 | on the Brush tool and from the fly-out menu,
I will choose the Color Replacement tool.
| | 03:19 | This tool samples the underlying
color and replaces just that color when
| | 03:23 | you click-and-drag.
| | 03:24 | I am going to leave all this settings
here set at their defaults except this one
| | 03:28 | that says Contiguous.
| | 03:29 | I want to change that to
Discontiguous and that will help me to paint in
| | 03:34 | these tiny areas here.
| | 03:35 | Then I am going to increase my brush
size and if I click with the crosshair here
| | 03:40 | on yellow and paint, you can see that
the color carries over in between all
| | 03:45 | those other embroideries and
even behind the hanger here.
| | 03:49 | So that I can get in and replace the
color in all those areas without having to
| | 03:56 | spend a lot of time painting spot-by-spot.
| | 04:00 | So that's yet another way to replace color.
| | 04:02 | You can try using this Color
Replacement tool, you can try painting with the
| | 04:06 | Brush tool set to Color mode, or for
what I think are the best results, you can
| | 04:11 | try using the Replace Color command.
| | Collapse this transcript |
| Using gradients| 00:00 | Using a gradient lets you lay down
color with a gradual transition from
| | 00:05 | one color to another.
| | 00:06 | The Gradient tool is
located here in the toolbox.
| | 00:09 | Your first stop after selecting that
tool is the Options bar where you can see
| | 00:14 | in this Gradient bar what your
gradient is going to look like.
| | 00:17 | The default gradient is the
foreground to the background color.
| | 00:20 | Right now I have black and white as
my foreground and background colors.
| | 00:25 | If I change those, the
default gradient will change too.
| | 00:28 | So I am going to click on the
foreground color and I am going to choose
| | 00:31 | something else, and then I will click
on the background color and then I will
| | 00:36 | chose a different color for that, and
you can see that has changed the gradient
| | 00:42 | in the Gradient bar.
| | 00:43 | Now how do I lay down a gradient?
| | 00:45 | I just click-and-drag in the image and
the length of the line and the direction
| | 00:49 | of the line that I drag determines
what the gradient will look like.
| | 00:53 | So if I were to start at the bottom for
example, the gradient would be different.
| | 00:57 | And if I drew a line from the corner,
the gradient would be different here again.
| | 01:02 | When you are creating graphic designs,
a gradient can come in handy to make an
| | 01:05 | interesting background.
| | 01:07 | When you are working with a photograph
you may prefer to change the blend mode
| | 01:11 | of whatever gradient you are using by
going to the Options bar, clicking on the
| | 01:16 | Mode menu and choosing something like Color.
| | 01:19 | Now, I am going to revert the image by
going to File > Revert and show you that
| | 01:23 | if I click and drag with the Color
mode I get an entirely different look.
| | 01:28 | My gradient is there but I
can see the image through it.
| | 01:32 | The other useful option in the Gradient
Tool Options bar are these five icons.
| | 01:37 | The first, the Linear Gradient, is selected by
default and you just saw me draw a Linear Gradient.
| | 01:43 | The next one, Radial Gradient, also
comes in handy if I select that, and then I
| | 01:48 | click in the middle of the image, and
drag in any direction, it will draw a
| | 01:52 | radial gradient from one color to
the other in a circular pattern.
| | 01:56 | I could use that from a corner to
draw a gradient like this and if I drag
| | 02:01 | further that orange will come out even further.
| | 02:04 | So when you are making a gradient,
I suggest you experiment with the various
| | 02:07 | color modes and that you check out
the Radial Gradient and even try some of
| | 02:12 | these other options, although
you won't use those as often.
| | 02:16 | I am going to click back on the Linear
Gradient and now I want to show you how
| | 02:19 | to choose other kinds of gradients.
| | 02:21 | I am going to click here in the
Gradient bar in the Options bar and that opens
| | 02:25 | the Gradient Editor.
| | 02:26 | Here there are a number of presets.
| | 02:28 | You have already seen this first
choice, Foreground to Background.
| | 02:31 | The next choice gives you a gradient
using the foreground color to transparent
| | 02:36 | and then you have a number of color presets.
| | 02:39 | There are many more presets that you can
load here by clicking on this arrow and
| | 02:43 | making another choice from this menu.
| | 02:45 | So I am going to choose to see the
pastel gradients that ship with Photoshop.
| | 02:49 | I will say OK to replace the current
gradients and these are my choices.
| | 02:53 | So say for example, I choose this
second preset and I say OK. I will revert my
| | 02:58 | image again and then I will try drawing
with this preset gradient, maybe I will
| | 03:02 | start over here and I will just draw a short
line, bringing in some yellow at the top right.
| | 03:07 | It's pretty interesting.
| | 03:09 | Now I can customize any gradient by
going back to the Gradient Editor,
| | 03:14 | clicking first on the Gradient bar to open the
Gradient Editor, and then coming down to this area.
| | 03:19 | Each one of these stops
represents the color in the gradient.
| | 03:22 | I can eliminate any one of these stops by
just clicking-and-dragging it off the bar.
| | 03:27 | I can change the color of the stop by
clicking on it and then going to the Color
| | 03:31 | field and choosing either the
Foreground Color, the Background Color or User
| | 03:36 | Color to open the Color Picker.
| | 03:38 | I will change this to that dark color
that I have in the Background Color box.
| | 03:42 | I can also vary the position of these
individual colors by clicking-and-dragging
| | 03:46 | them here in this bar, and I also have
these intermediate marks that I can drag
| | 03:51 | to change the distribution
of colors in the gradient.
| | 03:54 | Finally, I can go to the stops on the top of
this bar to change the opacity of any color.
| | 04:00 | So here I could lower the opacity of
yellow in this gradient and I will click OK
| | 04:07 | and now I will revert the image again
and try dragging with this new gradient.
| | 04:12 | So that's how you apply gradients in
Photoshop CS4 and how you can create your
| | 04:17 | own custom built gradient.
| | 04:19 | You use them to color images as I
have shown you here and you will even use
| | 04:23 | black to white gradients when you are
working in masks, like layer masks or the
| | 04:28 | mask on an adjustment layer.
| | 04:29 | So knowing how to use
gradients can really come in handy.
| | Collapse this transcript |
|
|
11. TextWorking with point type| 00:00 | When you add text to an image in Photoshop,
it comes in on a special type layer of its own.
| | 00:05 | A type layer is made up of
vector outlines, not pixels.
| | 00:09 | Because Photoshop type is vector-
based it can be scaled up or down and will
| | 00:14 | still have a smooth edge when it's printed.
| | 00:16 | And Photoshop Type always remains
editable, so you can change its appearance or
| | 00:21 | its content at any time.
| | 00:22 | The kind of type that's used to add
a few words or a couple of lines to a
| | 00:26 | Photoshop image is called Point Type.
| | 00:28 | That's one of the kinds of type in Photoshop
and that's what I'm going cover in this movie.
| | 00:32 | You will notice that I'm working here
in the Typography workspace, one of the
| | 00:37 | preset workspaces, which is a good
workspace to choose when you're creating and
| | 00:40 | editing type, because it opens the
panels that you will use the most.
| | 00:44 | The Character panel and the Paragraph panel,
which we will address a little bit later.
| | 00:48 | To create some point type, I'm going
to go over to the toolbox and select the
| | 00:52 | tool with the T, which is the Type tool
and from there, I am going to select the
| | 00:56 | Horizontal Type tool.
| | 00:58 | That tool and the one beneath it, the
Vertical Type tool, are the ones that
| | 01:01 | create vector-based type.
| | 01:03 | So, with the Horizontal Type tool, I'm
going to go up to the Options bar and I'm
| | 01:07 | going to choose a Font, and a
Font Size, and a Font Color.
| | 01:12 | To choose a font, I will click this
arrow and that opens up this big menu of
| | 01:16 | fonts available to me.
| | 01:17 | What I like about this menu is that
over on the right, I can see a sample of
| | 01:21 | what each font looks like.
| | 01:22 | I am going to choose a font
that I like down here, Trojan Pro.
| | 01:27 | You can choose any font you
want if you're following along.
| | 01:30 | The next field is the Style Field.
| | 01:32 | Different fonts come with different styles.
| | 01:34 | Some have Bold, some have
Italics, some have Bold Italic.
| | 01:37 | In this case, I will leave the Style set to
Regular and I will go to the Font Size field.
| | 01:42 | Here I can see a list of preset Font
Sizes. I can choose from one of these or
| | 01:46 | I can type my own number
into this Font Size field.
| | 01:48 | I am going to try 36 points here.
| | 01:51 | Next is the Anti-Alias field.
| | 01:53 | This controls how soft or sharp
the edge of the type will look.
| | 01:57 | For the most part, I leave it at its
default. Sometimes I need a little bit
| | 02:00 | smoother type and sometimes if I'm
making text that's going to go on the web,
| | 02:04 | I will choose None so that I don't get any
soft edges that are difficult to see on screen.
| | 02:08 | But I will just choose the default for now.
| | 02:11 | These icons control the alignment of
one line of text to the other if you have
| | 02:15 | multiple lines of text in a single type layer.
| | 02:17 | And the next field is where you
can go to choose the Font Color.
| | 02:21 | The color you see here in this field
comes from whatever color is in the
| | 02:24 | foreground color box in the toolbox.
| | 02:27 | In this case, I will leave it set to white.
| | 02:29 | Next, I am going to look at my Layers panel.
| | 02:31 | There I want to make sure that I have
selected the layer above which I want the
| | 02:35 | new Type layer to come in, because
the Type tool creates its own layer.
| | 02:39 | I don't have to make a blank layer here first.
| | 02:41 | And then I will come in and I will click
in my image, the cursor changes to this
| | 02:46 | blinking I-beam, and I will type some text.
| | 02:49 | Now, if I keep typing, my
text will just go off the screen.
| | 02:53 | That isn't what I want to do here.
| | 02:54 | So, I am going to back up by pressing
the Delete key or the Backspace key on a PC,
| | 02:59 | and after the word Gourmet, I am
going to press Return or Enter on the
| | 03:03 | keyboard and that will give me two
lines of text on the same Type layer.
| | 03:07 | When I am done entering text,
I have to apply that change.
| | 03:11 | To do that I will go up to the Options bar
for the Type tool and click this check mark.
| | 03:16 | In the Layers panel, I have a new
layer and it's got a special T icon on it,
| | 03:20 | which means it's a Type layer.
| | 03:22 | In some respects it acts like any layer.
| | 03:24 | So, for example, I can get the Move
tool and I can click-and-drag in the image
| | 03:28 | and move the text into the
area where I want it to be.
| | 03:32 | But this layer is special in that
the text on this layer remains editable.
| | 03:35 | Let me show you some ways
that you can edit this text.
| | 03:38 | For example, let's say I want to change
the color of all the text on the layer.
| | 03:43 | I will make sure the layer is selected
here in the Layers panel and then I'll go
| | 03:46 | over to the toolbox and I'll click
on the Horizontal Type tool there.
| | 03:49 | Then I will go up to the Options bar
and I will click in the Color field.
| | 03:53 | That opens the Color Picker and you'll
notice as I click in the Color Picker
| | 03:58 | that the text changes color automatically.
| | 04:00 | That live preview is really useful
when I am trying to choose a color that
| | 04:03 | goes with my image.
| | 04:04 | Another way to choose a color that goes
with an image is just to move the cursor
| | 04:08 | out of the Color Picker and over
an area of the image and click.
| | 04:12 | Taking that magenta from right out of
the image helps me to get a color that
| | 04:16 | looks good in this particular document.
| | 04:18 | So, I will click OK to accept that color.
| | 04:20 | Now, let's say that I wanted to change the Font.
| | 04:23 | To do that, I just make sure that my
Type tool and my Type layer are still
| | 04:26 | selected, and I'll go to the Font field here.
| | 04:29 | I don't have to open this menu and
choose manually from all of those fonts.
| | 04:33 | I simply can click inside of the field
and then I can use the arrow keys on my
| | 04:37 | keyboard to cycle through
the fonts with a live preview.
| | 04:40 | So, here I am pressing the Up arrow on
my keyboard and it's going to take me
| | 04:44 | through the available fonts, and I can
just do that until I see one that I like.
| | 04:48 | I can go back the other way by pressing
the Down arrow. Maybe I will stick with
| | 04:52 | something simple like Times for now.
| | 04:54 | If I want to change the size of the font,
I still have my Type tool and my Type
| | 04:59 | layer selected and I can just come over
to the Type Size menu and I can choose
| | 05:04 | a larger font for example.
| | 05:05 | One of the things I really like about
a Type layer is that you can scale it
| | 05:09 | up and down, and it doesn't degrade
the edges of the image. They will still
| | 05:12 | print clean and smooth.
| | 05:14 | To scale this text up, I can just go to
the Edit menu and choose Free Transform
| | 05:19 | or I could use the keyboard shortcut,
Command+T on a Mac or Ctrl+T on a PC.
| | 05:25 | That puts this bounding box around my
text and I can hold down the Shift key
| | 05:28 | to constrain proportions, move my
mouse over one of the corner anchor points,
| | 05:32 | and drag, and I can make that type
really big and it will look just as good as
| | 05:36 | it did when it was smaller, or I can go to
the other way and get it just the way I want it.
| | 05:41 | When I'm done with that transforming,
I have to go back to the Options bar and
| | 05:45 | click the check mark to accept that change.
| | 05:47 | So, those are ways that you can edit
all of the type on a layer, changing its
| | 05:51 | color, its font, its size.
| | 05:53 | But what if you just wanted to change a
few characters or a word on a Type layer.
| | 05:57 | Then what you have to do, with the
Type tool selected, is come in and
| | 06:01 | click-and-drag over whatever
characters you want to change.
| | 06:04 | That highlights the letters and so it
makes it a little difficult if you are
| | 06:08 | trying to change the color of the letters.
| | 06:09 | So, what I'll do in that case is
press the Command+H keys together.
| | 06:14 | That's Ctrl+H on a PC.
| | 06:17 | And that just hides the highlighting.
| | 06:19 | These letters are still selected, but I
don't see that ghosted effect on top of them.
| | 06:23 | So, now for example, I could come back
to Color field, open the Color Picker,
| | 06:27 | choose a color from there, and
it affects just the selected letters and
| | 06:31 | I will just click OK.
| | 06:33 | You can have more than one
Type layer in the same document.
| | 06:36 | To add another layer, I will click off
of the Type layer that I have selected
| | 06:39 | onto a regular layer, and then I will
click in my document again, and I will add
| | 06:44 | some more text, which appears on its
own layer in the Layers panel and I will
| | 06:48 | click the checkbox and then I can edit
this layer separately from the other.
| | 06:52 | So, for example, with the imported
layer selected in the Layers panel and
| | 06:56 | the Type tool selected in the toolbox,
I can come in and choose another font.
| | 07:00 | If I click in the Font field and I know
the font that I want, I can just start
| | 07:04 | typing it and after I have typed just a
couple of letters, Photoshop finds the
| | 07:08 | closest font for me, in this case
Minion Pro and then I will press Return or
| | 07:12 | Enter on the keyboard to accept that change.
| | 07:14 | And I also could change
the font size for example.
| | 07:17 | So, I will come in here and I
will choose a much smaller font size.
| | 07:21 | And then I can get my Move tool and I
can move this layer around where I want it.
| | 07:25 | And I will get the other Type layer
and I will move that into place too.
| | 07:28 | When there is more than one Type layer
in a document, there are some things that
| | 07:31 | I can do to them together.
| | 07:33 | So, if I select both of these Type layers,
by holding the Command key on my Mac,
| | 07:38 | or the Ctrl key on a PC and clicking the
second of the layers, I can then use my
| | 07:42 | Move tool and go to the Options bar to
align the two layers one to the other.
| | 07:47 | I am just going to align their left
edges by clicking this icon right here.
| | 07:51 | I can also change the color of both
selected layers at the same time by going
| | 07:56 | to select the Horizontal Type tool
again and then, with both layers selected in
| | 08:00 | the Layers panel, click on the Color field in
the Options bar and choose a different color.
| | 08:06 | Maybe I will do something in the
orange area this time and click OK.
| | 08:11 | The Options that you see in the
Options bar aren't the only options that are
| | 08:14 | available for editing type in Photoshop.
| | 08:17 | There are lots more over
here in the Character panel.
| | 08:19 | If your Character panel isn't open,
you can use this icon on the Type Tool
| | 08:23 | Options bar to toggle it open, or you
can select it from the Window menu at
| | 08:27 | the top of the screen.
| | 08:28 | I am going to select just the imported
layer in the Layers panel to show you
| | 08:32 | some of the options here in the Character panel.
| | 08:35 | For example, I could come down to
these buttons and see what they do.
| | 08:38 | This first one will change the
text on imported layer to uppercase.
| | 08:42 | This one over here would underline the text.
| | 08:44 | If I click again, the underline goes away.
| | 08:47 | And there are more options in these
fields up here that are similar to ones you
| | 08:50 | might see in a page layout program.
| | 08:52 | So, for example, if I select the
gourmet chocolate layer, I can come up and
| | 08:56 | change the spacing between the two
lines in this layer, by altering the leading
| | 09:00 | from this menu right here, I will try
36 point and keep your eye on the text in
| | 09:05 | the image to see that it gets closer.
| | 09:06 | I will go back in and set that Auto for now.
| | 09:09 | I can also adjust the spacing between
letters. This is the tracking field that
| | 09:14 | controls the space between all of the
letters on a layer, so if I choose 25 for
| | 09:17 | example, the letters
space out a little bit more.
| | 09:20 | And that's just a selection of the
many controls available to you here in
| | 09:24 | the Character panel.
| | 09:25 | So, as you can see, you get lots of
flexibility when you use Point Type in
| | 09:28 | Photoshop, to type a few
lines of text or a few words.
| | 09:32 | You can scale the text way up and
be confident that it will retain its
| | 09:35 | smooth vector-based edge.
| | 09:37 | You can change the color, the font, or
the font size and you can make the kind
| | 09:41 | of character level changes, like
tracking and leading and other options from the
| | 09:45 | Character panel that you might expect
to see only in a page layout program.
| | 09:49 | There is another kind of type in
Photoshop that's called Paragraph Type.
| | 09:52 | That's the kind of type you would use
if you are entering larger amounts of text,
| | 09:55 | and I will be
covering that in another movie.
| | Collapse this transcript |
| Working with paragraph type| 00:00 | Photoshop is primarily an image editing program.
| | 00:03 | So in most cases when you're working
with type in Photoshop, you're working with
| | 00:07 | a few words, or a few lines of text.
| | 00:10 | But there may be a few times when you
need to add more text to a document.
| | 00:13 | In that case you'll use the paragraph type
feature, which I am going to show you in this movie.
| | 00:18 | To create paragraph type I need to
have my Type tool selected here in the
| | 00:22 | toolbox, and then I will come into my
image and I will drag out a bounding box
| | 00:27 | and then I'll start typing.
| | 00:29 | So I might type 'This
Chocolate Will Tickle Your Palate.'
| | 00:38 | You will notice a couple
of things about this type.
| | 00:41 | First of all it wraps
automatically within the bounding box.
| | 00:44 | I don't have to press Return at the end of
each line to get it to move to a new line.
| | 00:48 | And secondly, you can't see
all of the text that I typed.
| | 00:52 | I typed This Chocolate Will Tickle Your Palate.
| | 00:55 | If you notice a four square icon at the
bottom right corner of the bounding box,
| | 00:59 | that means that there is more
type here than will fit in the box.
| | 01:03 | So what you do at that point is click-and
-drag on the anchor point until the box
| | 01:07 | is big enough so that you
can see all of the text.
| | 01:10 | You can reshape the box to
make it just the way you want.
| | 01:13 | So for example, I might have it like that.
| | 01:16 | As with Point type when you're done
entering your text, you have to apply the text.
| | 01:21 | To do I will go to the checkmark in the
Options bar at the top of the screen and click there.
| | 01:26 | You can edit paragraph text the
same way you can edit point text.
| | 01:29 | You just have to have your Type tool
selected in the toolbox and you have to
| | 01:33 | have the type layer selected in the Layers
panel and then you can edit the color or the font.
| | 01:38 | So for example, I can go to the Color
field here in the Options bar, click on it,
| | 01:42 | and move my mouse out
to select this magenta color.
| | 01:47 | And I could play with that a
little here in this Option box.
| | 01:50 | I might make it a little brighter and say OK.
| | 01:54 | There are a few more options for editing a
paragraph text here in the Paragraph panel.
| | 01:58 | For example, from these icons you can
change the alignment of the text to its box.
| | 02:03 | Let me click inside the box, so you can
see the box. You don't have to do that.
| | 02:08 | Then I'll click on another of these
alignment icons and you can see how the
| | 02:11 | text shifts in the box.
| | 02:13 | There are also justify icons here.
| | 02:17 | I can go back to left aligned.
| | 02:18 | These other controls allow me do
things like indent the text in the box, or
| | 02:22 | indent the first line, or add
some space at the top of the box.
| | 02:26 | But other than that you'll treat your
paragraph text just like your point text
| | 02:29 | when you're editing it.
| | 02:30 | I am going to make the bounding box go
away by clicking on another layer, and
| | 02:34 | then clicking back on this type layer.
| | 02:37 | Then with the Type tool still selected
I can come into Character panel here and
| | 02:41 | do things like change the leading,
which is the spacing between lines.
| | 02:44 | For example, if I choose 48 point
I have more space between these lines.
| | 02:49 | I can put that back to Auto.
| | 02:51 | So that's how paragraph type works in Photoshop.
| | 02:54 | If you do plan to add a lot of text to a
design like a brochure, you'll probably
| | 02:58 | want to create most of the final text
in a page layout program like InDesign.
| | 03:02 | But Photoshop is still useful for
you mockup the location and maybe the
| | 03:06 | appearance of long paragraphs of text.
| | 03:08 | For that you use the same type tools
as you did for point type, but you just
| | 03:12 | drag out a bounding box before entering
your text as I showed you in this movie.
| | Collapse this transcript |
| Warping text| 00:00 | One of the more fun text
features in Photoshop is the Warp Text.
| | 00:05 | Warping text is useful when you want
to make some crazy special effects on text,
| | 00:08 | or when you want to try to bend
text around an object, like the can that
| | 00:13 | you see right here.
| | 00:14 | To start I have a regular type layer,
which you see here in the Layers panel.
| | 00:18 | This is point type and after I've
created the text I just came in and selected
| | 00:22 | this top line and changed its font size.
| | 00:26 | So the first thing I have to do to bend
this text around the can is to make it smaller.
| | 00:30 | Because this is vector text, I can
change the size as much as I want.
| | 00:34 | I can scale it up, or scale it down
without risking degrading its appearance.
| | 00:39 | To scale this down I am going to
use the Free Transform command.
| | 00:42 | To invoke that command, I'll press
Command+T on a Mac or Ctrl+T on a PC.
| | 00:47 | Then I get this bounding box.
| | 00:50 | What I'd like to do is
to resize from the center.
| | 00:53 | So I am going to hold down the Option
key on a Mac, or the Alt key on a PC
| | 00:57 | plus the Shift key.
| | 00:59 | The Shift key is to constrain proportions.
| | 01:02 | Then I'm going to move my mouse over
any one of the corner points and drag and
| | 01:06 | you see that it's dragging in from the center.
| | 01:08 | That will make it easier for me to
see when I have adjusted the right size
| | 01:12 | to fit on this can.
| | 01:13 | That looks about right.
| | 01:14 | Then I'll click inside the bounding box
and I will just move it up on top of the can.
| | 01:18 | Then I will go up to the Options bar
at the top of the screen where I have to
| | 01:22 | click that checkmark to accept the transform.
| | 01:24 | So now I want to bend this text,
so it follows the line of the can.
| | 01:29 | That's where Warp Text comes in.
| | 01:31 | With my Type tool still selected and
this type layer still selected in the
| | 01:36 | Layers panel, I'll go up to the
Options bar and I will click this icon right
| | 01:40 | here, which is the Warp Text icon.
| | 01:43 | That opens the Warp Text dialog box, where
I can choose from a number of preset styles.
| | 01:48 | I'll click on that menu, where there
is a list of the various preset warp
| | 01:52 | styles that are available.
| | 01:53 | There are some really crazy
ones like the Fisheye down here.
| | 01:58 | Here is one in the shape of a fish.
| | 02:00 | But for the most part I start with
those at the top, like the Arc, or the Lower
| | 02:06 | Arc, or the Upper Arc.
| | 02:09 | I think in this case the
Arch is going to be the best.
| | 02:12 | It doesn't look correct right now,
but I can use these sliders to customize
| | 02:17 | any of the presets.
| | 02:18 | What I want to do to here is to
bend that arc in the other direction.
| | 02:22 | So I am going to grab the
Bend slider and move to the left.
| | 02:26 | As I do you can see the type is coming
down into the direction that I want, and
| | 02:30 | I'll just do it until I get to a
point where it looks good to me.
| | 02:33 | Then I will click OK.
| | 02:36 | I'll get my Move tool and I'll
just move that into place. That's it.
| | 02:42 | If you look in the Layers panel, you'll
see that there is a new icon on this layer.
| | 02:46 | It's the Warp Text icon and what it means
is that this is still an editable type layer.
| | 02:51 | So I could change the color, or the
content, or anything about this if I wanted.
| | 02:56 | If I wanted to change the way that
the type is warping, I could go back and
| | 02:59 | select my Type tool again, and then
go up and click on the Warp icon and I
| | 03:04 | could change it again and click OK.
| | 03:06 | You may remember that there is another
warp feature in Photoshop and that's the
| | 03:10 | Warp feature under and Edit > Transform.
| | 03:12 | So don't mix these two up.
| | 03:14 | You can use this Warp on type as
well, but the Text Warp feature is
| | 03:18 | specifically for type.
| | 03:19 | If I want to try this one, I can do
that and then I will have a little anchor
| | 03:22 | point and I can get some more precise
control using the Transform Warp and then
| | 03:27 | click the checkmark.
| | 03:29 | So Warp Text is a fun special effect
for making crazy shaped headlines, or
| | 03:33 | it can be quite useful when you need
bend some text around an object as I
| | 03:37 | showed you how to do here.
| | Collapse this transcript |
|
|
12. Special EffectsAdding a layer style| 00:00 | When you want to add a little bit of
dimension, or a little definition to the
| | 00:04 | content of a layer, try Layer Styles.
| | 00:07 | Layer Styles are common special
effects like Drop Shadow, Glow, Inner Shadow,
| | 00:13 | Stroke and a few more.
| | 00:15 | In this movie, I am going to introduce
you to Layer Styles and show you how to
| | 00:18 | add a Stroke Layer Style to this
photograph to define this edge here that's
| | 00:23 | bleeding into the white matte behind.
| | 00:25 | Take a look at the Layers panel and you
see that I have just two layers in the file.
| | 00:29 | If I turn the top layer off by clicking
its eye icon, you can see that the matte
| | 00:33 | layer here is just a plain white layer,
and I will turn the eye icon on the
| | 00:37 | photo layer on again, so
you can see the photo above.
| | 00:40 | I'll turn the matte layer off so you
can see that the photo layer actually has
| | 00:45 | some transparency around it.
| | 00:46 | That's allowing you to see
through to the matte below.
| | 00:49 | I have set it up this way so I can easily
add a layer style that affects just the photo.
| | 00:54 | I will turn the matte layer back on
and I'll make sure the photo layer is
| | 00:57 | selected, and then I'll go down to the bottom
of the Layers panel and I am going to click fx.
| | 01:03 | That brings up this menu
of available Layer Styles.
| | 01:06 | You can see that there is Drop Shadow
and Inner Shadow, Outer Glow and so on.
| | 01:11 | I am going to go all the way down
to the bottom and choose Stroke.
| | 01:14 | That opens the very
large Layer Style dialog box.
| | 01:18 | In order to get the whole thing on
screen, I am going to move it over to the
| | 01:21 | right, so you won't be able
to see this area over here.
| | 01:24 | But that's all right, because that's just
where I say OK when I am all done with this.
| | 01:29 | Over on the left is a list of the available
layer styles with the Stroke style highlighted.
| | 01:34 | When a style is checked, that means
that it's been applied to an image.
| | 01:37 | When the style is highlighted, then
you'll see options in the next column
| | 01:41 | for that style only.
| | 01:43 | If you look in the image, you can see
that stroke has already been applied with
| | 01:47 | the default options that you see here.
| | 01:49 | There are a few things I might change.
| | 01:51 | For example, I am going to make this a
little bigger, so you can see the stroke.
| | 01:55 | To show you that its corners are rounded now.
| | 01:58 | If I want to have sharp corners
instead of round corners, I will go to the
| | 02:01 | Position menu and from
there I will choose Inside.
| | 02:04 | When the stroke is on the inside,
it gets sharp corners like that.
| | 02:08 | And then I will change the size
so the stroke is smaller again.
| | 02:12 | There are other options here that I
could change like the Opacity of the stroke,
| | 02:15 | the Color of the stroke and so on.
| | 02:17 | But I am just going to leave it as it
is and click OK to apply the layer style,
| | 02:23 | because I want you to see what
the Layers panel looks like now.
| | 02:26 | Now there is an Effects sublayer on the
photo layer with another sublayer below
| | 02:31 | that for the Stroke effect.
| | 02:33 | And if there were more effects applied,
because you can have more than one layer
| | 02:37 | style on a layer, they would
appear here as more sublayers.
| | 02:41 | If you have lots of styles on a layer, it
can take up a lot of space in the Layers panel.
| | 02:46 | So you can collapse all of the styles
by going to the arrow to the right of fx
| | 02:51 | here on the layer and clicking, and
you'll always know that you have layer
| | 02:55 | styles on a layer, because you'll see this icon.
| | 02:57 | One of the advantages of using layer
styles over using something like filters
| | 03:01 | for special effects is that
layer styles remain editable.
| | 03:05 | So if I want to reopen the Layer Styles
dialog box and tweak this stroke, I can
| | 03:09 | do that by double-clicking on the photo layer.
| | 03:13 | That opens the Layer Style dialog box
and I can go and select the stroke style
| | 03:17 | over here to get the options for the
stroke showing in the middle column, and
| | 03:22 | then I could change any of these settings.
| | 03:23 | So I might alter the size of the
stroke a little, and then I will OK again.
| | 03:28 | If you decide you don't like an effect,
you can always delete it, you can expand
| | 03:33 | the effects on the layer, and then you can
click the eye icon to the left of an
| | 03:36 | effect to make it temporarily invisible,
or you can always just drag it to the
| | 03:41 | Trash Can down here to
get rid of it permanently.
| | 03:44 | I am not going to do that this time now.
| | 03:45 | So that's an introduction to layer
styles, which add that little extra
| | 03:49 | something to layer content.
| | 03:50 | They're quick to apply and they
can be customized to your liking.
| | 03:53 | They also have the advantage of
being nondestructive of the image itself,
| | 03:57 | because they live on sublayers that
are separate from the affected layer.
| | 04:01 | And layer styles can be reopened at
any time if you want to change them.
| | Collapse this transcript |
| Customizing a layer style| 00:00 | The most commonly used
layer effect is a Drop Shadow.
| | 00:03 | A Drop Shadow can add dimension to an
image by making the contents of one layer
| | 00:07 | appear to float above the background.
| | 00:10 | I'd like to show you how to apply and
customize a Drop Shadow layer effect,
| | 00:14 | and this movie also makes the point that you
can have more than one layer effect on a layer.
| | 00:18 | So I am starting with a layer that
already has one effect and that's the Stroke
| | 00:22 | effect here on this photo layer.
| | 00:25 | If I want to add another effect, I can
either double-click this layer, which
| | 00:29 | will open the Layer Style dialog box,
or I can go to the Effects menu and choose the
| | 00:33 | additional effect from here.
| | 00:34 | Let me show you what happens
when you double click the layer.
| | 00:38 | On the left side I see
all of the available styles.
| | 00:42 | You can see that the Stoke layer has
already been applied, because it has a
| | 00:44 | checkmark next to it.
| | 00:46 | If I want to add the Drop Shadow to
this image, I can just go and add a
| | 00:50 | checkmark next to Drop Shadow here
and that applies the Drop Shadow with
| | 00:54 | its default settings.
| | 00:55 | You can see a tiny Drop Shadow
already on the image down here.
| | 01:00 | Now, if I want to customize that effect
I am going to click on Drop Shadow and
| | 01:04 | that changes the middle
column to the Drop Shadow settings.
| | 01:08 | Often I'll change the color of a Drop Shadow
by clicking in this box to open a color picker.
| | 01:13 | And that's because if an object has a
color, the shadow that it casts usually
| | 01:17 | has a tint of that color too.
| | 01:19 | But in this case, I am just
dealing with a flat image.
| | 01:22 | So I don't have to bother
changing the color of the shadow.
| | 01:25 | I can change the Opacity of the shadow.
| | 01:27 | I will do that in just a minute,
after you can see the shadow better.
| | 01:29 | I am going to come down and change the
spread of the shadow, which affects its size,
| | 01:34 | and you can start to see the
shadow poking out from under the photo.
| | 01:38 | And then I will drag the Size
slider, which makes the shadow softer.
| | 01:42 | So now you can really see it.
| | 01:44 | Now I am going to lower its opacity
to blend it in with the background.
| | 01:47 | So it's not so strong.
| | 01:49 | If I drag the Distance slider to the
right, it makes the photo look like it's
| | 01:53 | floating higher above the background.
| | 01:55 | I can also change the angle here.
| | 01:57 | So if I click-and-drag on this wheel,
I can make the shadow look like the light
| | 02:01 | is coming from the other side.
| | 02:03 | So I can change the distance and the
angle from these sliders but another way
| | 02:06 | to do the same thing is just to
come into the image and click-and-drag.
| | 02:09 | And that will move the
shadow wherever I want it.
| | 02:13 | I can do this while the Layer Style
dialog box is open, but not after it's closed.
| | 02:17 | Effects also have contour settings.
| | 02:20 | If I click here, you can see
the various preset contours.
| | 02:24 | And what these do is
change the shape of the effect.
| | 02:27 | So if I were to try out one of
these other ones, you can see the shadow
| | 02:30 | change dramatically.
| | 02:31 | I'll just stick with the initial one,
but I wanted to show you those.
| | 02:36 | When I'm done customizing this
Drop Shadow, I will click OK.
| | 02:41 | If you now look at the Layers panel,
you'll see that I have in addition to
| | 02:44 | my Stroke effect, a Drop Shadow, and I can
always go back in and tweak either of these.
| | 02:50 | So if I double-click the photo layer,
it will reopen the Layer Style dialog box.
| | 02:54 | I am actually going to move that over to
the right, so I can see the photo more.
| | 02:58 | I'm going to click on Drop Shadow,
and I am going to change this photo.
| | 03:02 | I'm going to lower the size, so it's
not so spread out, and then I'm going to
| | 03:06 | click inside the image.
| | 03:08 | And I'm going to drag the shadow down
a bit, so it's only coming off one side.
| | 03:12 | And I also decrease the spread.
| | 03:16 | When I am done, I will click OK and
I am satisfied with that Drop Shadow.
| | 03:21 | Try using a Drop Shadow on your own
images when you want the entire contents of
| | 03:25 | a layer to appear to hover over the background.
| | 03:28 | A Drop Shadow can add interest to an
otherwise flat composition and make your
| | 03:32 | work look more realistic.
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| Copying a layer style| 00:00 | Once you go to the trouble of
creating and customizing a layer style on one
| | 00:04 | layer, you can use the same
layer style again on other layers.
| | 00:07 | The way to do that is just to
copy a layer style between layers.
| | 00:11 | You can do that within an open photo
or if you have more than one photo open,
| | 00:15 | you could even copy from one to the other.
| | 00:17 | So for example, here I've a
photo with a few mattes behind it.
| | 00:21 | I'll turn these layers on and
off so you can see what's on them.
| | 00:25 | The top layer that you can see has a
photo that's surrounded by transparency.
| | 00:30 | Behind that is this plain gray matte,
which has transparent pixels around it and
| | 00:35 | you can see through those transparent
pixels to the plain white matte beneath.
| | 00:39 | We turn this back on.
| | 00:41 | I also have a type layer here that says ASPEN.
| | 00:44 | I'm going to leave that off for now.
| | 00:46 | I'm going to add an inner
shadow to the gray matte layer here.
| | 00:50 | By selecting the gray matte layer and then
going down to fx and choosing Inner Shadow.
| | 00:56 | That opens the Layer Style dialog box.
| | 00:58 | I'm going to push it to the right a
little bit, so that we can see the
| | 01:01 | most important parts.
| | 01:02 | With Inner Shadow selected and
highlighted here, I can customize that shadow.
| | 01:07 | I'm going to try to increase
the size of the shadow a bit.
| | 01:10 | And as I do, you can see
that shadow around the gray box.
| | 01:14 | It really makes the gray matte looked
pushed in as if it's behind the white matte.
| | 01:18 | Now I'm going to click OK in the Layer
Style dialog box to apply that Inner
| | 01:23 | Shadow to the gray matte layer.
| | 01:25 | Let's say that I'd like to make the
photo look pushed in as well, so that it
| | 01:29 | looks like it's behind the gray matte.
| | 01:31 | To do that I can copy this customized
Inner Shadow from the gray matte layer.
| | 01:36 | I'm going to Ctrl+Click on a Mac or
right-click on a PC on the Inner Shadow
| | 01:40 | Effects layer, and I'm going to down from the
menu that appears and choose Copy layer style.
| | 01:46 | And then I'm going to go and click on
the photo layer and again I'll Ctrl+Click
| | 01:50 | on the Mac or right-click on the PC,
and this time I'll choose Paste Layer Style,
| | 01:55 | and now the photo looks like
it's receded behind the gray matte.
| | 01:59 | Let me apply that same Inner Shadow to a
text layer to give the text a cutout look.
| | 02:04 | I'm going to click on the eye icon to
the left of the ASPEN text layer and then
| | 02:08 | I will be sure to click on the
ASPEN layer to select that layer.
| | 02:11 | I've the Move tool selected in the Toolbox.
| | 02:14 | So to move that text, I just click
and drag and I'm putting it in the place
| | 02:19 | where it can't be seen very well, because
it's white text against a white sky there.
| | 02:24 | To define that text, I can add the Inner Shadow.
| | 02:27 | I could just copy and paste as I did
a moment ago, but I want to show you
| | 02:30 | another way to copy effects between
layers, and that is to hold down the Option
| | 02:35 | key on a Mac or the Alt key on a PC and
drag the Inner Shadow sublayer on top of
| | 02:41 | the ASPEN layer and then release.
| | 02:43 | So that adds the effect here in the
Layers panel and it also adds the effect to
| | 02:47 | the text in the image.
| | 02:49 | If I didn't like the way that it came out,
I could open the Layer Style dialog
| | 02:52 | box for the ASPEN layer and tweak it further.
| | 02:55 | But I think its fine the way it is.
| | 02:56 | So you can see that you can use the
same layer style multiple times by copying
| | 03:01 | it and pasting it from layer to layer.
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| Creating a new style| 00:00 | Once you've made a layer style from a
combination of layer effects and you've
| | 00:04 | customized that layer style,
| | 00:06 | if you like it, you may want to save it,
so that you can apply it to layers in
| | 00:10 | other files in the future.
| | 00:12 | You can preserve a layer style so it
can be used on more than just this image,
| | 00:15 | by saving it in Styles panel as a new style.
| | 00:19 | The Styles panel is a collection of layer
styles and other kinds of special effects.
| | 00:24 | You can see in this image that the
photo layer has several effects on it.
| | 00:28 | Let me show you what they are by
opening the Layer Style dialog box by
| | 00:32 | double-clicking on the photo layer.
| | 00:34 | There is a Stroke effect in this style with
a deep brown color and a size of five pixels.
| | 00:41 | And then there is an Inner Shadow that
I've customized by increasing the Size slider.
| | 00:45 | Those two together are making up the style
that you see around the edge of the photo here.
| | 00:51 | I'll click OK, and then with the photo
layer selected in the Layers panel,
| | 00:56 | I'm going to go up to the Styles panel.
| | 00:58 | If your Styles panel isn't open, you
can open it by going to the Window menu at
| | 01:02 | the top of the screen and choosing Styles.
| | 01:05 | I'm going to click on the panel menu to
the right of the Styles panel and from
| | 01:09 | here I'm going to choose New Style.
| | 01:11 | Another way to do the same thing would
have been to click this icon here at the
| | 01:15 | bottom of the Styles panel.
| | 01:17 | In the New Style dialog box
I'll give my style a name.
| | 01:20 | I'll call this shadowstroke.
| | 01:24 | I want to be sure that Include Layer
Effects is checked, because this style is
| | 01:28 | made up of layer effects and I usually
also check Include Layer Blending Options
| | 01:33 | just in case there are any, and I'll click OK.
| | 01:35 | Now if I move my mouse over this last
style here in the Styles panel, I see that
| | 01:40 | this is my new shadowstroke style.
| | 01:43 | If I want to apply that style to another
layer in this file or in another file
| | 01:48 | I can select the appropriate layer, in
this case the ASPEN type layer, and then
| | 01:52 | click on that new style in the Styles panel.
| | 01:55 | And it adds the style here in the
Layers panel to the ASPEN layer and you can
| | 01:59 | see it here in the image.
| | 02:01 | With my Move tool, I'm actually going
to move ASPEN up here, where it can now
| | 02:05 | be seen against the sky, because it has the
stroke and the shadow around the white text.
| | 02:10 | So that's how to create a new style in
Photoshop. But I'm not quite finished
| | 02:15 | because if I replace this entire set of
default styles in the Styles panel with
| | 02:20 | one of the others that's available from
here in the Styles panel menu, Buttons
| | 02:25 | Styles, Dotted Strokes Styles, and so on,
| | 02:27 | then I'd lose my new
addition to the default styles set.
| | 02:32 | So at this point I'm going to click
on Preset Manager to open the Preset
| | 02:36 | Manager which is the place to go to
manage features like styles, brushes,
| | 02:41 | gradient, swatches, and so on.
| | 02:43 | I can see my default set of styles here and
right here is my new one, the shadowstroke.
| | 02:49 | I'll just click on that and now
I have the option to save this set.
| | 02:53 | And that's what I need to do to make
this change more or less permanent.
| | 02:56 | I'll click Save Set and I'll call this
default plus and I'll save it here in
| | 03:02 | this default location, so that
Photoshop knows where to find it.
| | 03:05 | Then I'll just click Save and I'll
click Done and then if I were to replace this
| | 03:10 | set of styles with another and come
back to this set of styles, I would always
| | 03:15 | see my new style appended there at the end.
| | 03:17 | So the next time that you make a layer
style and you want to save it so that
| | 03:21 | you can apply it to other images in the
future, make it into a new style in the
| | 03:25 | Styles panel and then save the entire
set with your new style, so that you have
| | 03:30 | access to it in the future.
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| Using Smart Filters| 00:00 | Another way to add special
effects to an image is to apply filters.
| | 00:04 | When you do use filters, it almost
always make sense to use them as Smart
| | 00:08 | Filters, because Smart Filters are not
destructive of the underlying photo layer
| | 00:13 | and because they remain editable and
can be reopened for tweaking at any time.
| | 00:18 | There are many filters in Photoshop.
| | 00:20 | Lot's of them are decorative only, but
some can be used to simulate photo effects.
| | 00:24 | In this movie, I'm going to apply a
filter as a Smart Filter and that filter is
| | 00:29 | the Gaussian Blur filter.
| | 00:30 | I am going to use it to simulate
shallow depth of field in this photo.
| | 00:35 | Shallow depth of field is often
something that you accomplish in your camera
| | 00:39 | by opening up the aperture to a wide
F-stop, and that makes the image blurry in
| | 00:44 | the background and to a lesser degree in the
foreground, focusing attention on the subject.
| | 00:50 | Since I didn't do that when I shot
this photo I would like to do it now in
| | 00:53 | Photoshop, using the Gaussian
Blur filter as a Smart Filter.
| | 00:57 | I am going to start by going to the
Filter menu at the top of the screen and
| | 01:01 | choosing Convert for Smart Filters.
| | 01:04 | I'll click OK at this warning and that
turns the single layer in this file into
| | 01:08 | a Smart Object and you can see
that from this icon on the layer.
| | 01:13 | I covered Smart Objects in another movie.
| | 01:14 | So if you want to learn more about them,
you can go back and listen to that movie.
| | 01:18 | I am now going to add a
filter to this Smart Object layer.
| | 01:21 | I'll go to the Filter menu and I'm
going down to Blur and I'm going to
| | 01:25 | choose Gaussian Blur.
| | 01:28 | In the Gaussian Blur Filter dialog box,
there's only one slider, this Radius slider.
| | 01:32 | If I drag this to the right, the image
gets really blurry; if I drag it to the left
| | 01:37 | it gets less blurry.
| | 01:38 | I am going to increase it just a bit.
| | 01:41 | And as long as the Preview box is checked,
I can see the effect on my image here.
| | 01:45 | I'll say OK and now I can see beneath
the photo layer, a sublayer for Smart
| | 01:50 | Filters and below that another
sublayer for the Gaussian Blur filter.
| | 01:55 | Because the Gaussian Blur has been
applied as a Smart Filter, it's not directly
| | 01:59 | changing the pixels of this photo layer.
| | 02:02 | And because it's a Smart Filter I can
reopen it at anytime for more tweaking.
| | 02:06 | So if I double-click it the Gaussian
Blur dialog box opens again and I could
| | 02:10 | change my Radius slider.
| | 02:13 | Notice that there is a white
box on the Smart Filters sublayer.
| | 02:17 | That box is a mask.
| | 02:19 | Just like a layer mask or an adjustment
layer mask, which I covered in other movies,
| | 02:23 | I can paint in this mask with black,
white, or gray to control where the filter
| | 02:27 | appears in the image.
| | 02:29 |
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