IntroductionWelcome| 00:00 |
| | 00:06 | Hey, good morning. My name is Chris
Orwig and I'm a professional photographer
| | 00:10 | and I'm also on the faculty of the
Brooks Institute in Santa Barbara,
| | 00:13 | California where we are right now and
it is a beautiful morning. The sun has
| | 00:17 | just risen, the ocean air is crisp,
it is a wonderful winter morning. I'm going
| | 00:23 | to be your host and guide on this
training adventure and I'm really excited
| | 00:27 | about this one and here is why.
| | 00:29 | What we are going to do is take a
look is how we can use Photoshop from a
| | 00:32 | photographic perspective. What that
means is we are going to take a look at how
| | 00:35 | we can use Photoshop in order to
create more compelling photographs. So what
| | 00:41 | are we actually covering in this
training title? We are going to cover a wide
| | 00:43 | range of creative effects but some of
the creative effects that we will be
| | 00:46 | covering are how can we add light to
our photographs or work with shadows. How
| | 00:51 | can we add bit of film grain in
order to create a nostalgic or a vintage
| | 00:54 | effect. We are going to also look at
some other traditional photographic
| | 00:57 | effects, like infrared or soft focus.
Now one of my favorite things to do in
| | 01:02 | Photoshop is to blend layers together
or blend multiple exposures together and
| | 01:06 | at one point in this training title
I'm going to provide you with some
| | 01:08 | realistic composite inspiration.
That's just going to be really fine.
| | 01:12 | We are kind of look at how someone can
put together a realistic composite in
| | 01:15 | Photoshop and then we are going to
build our own realistic composite. We will
| | 01:19 | also spend sometime adding borders or
edges around our photographs and then
| | 01:23 | near the end of the training title,
we are going to spend some time working on
| | 01:26 | these little mini projects that will
illustrate a concept or a theme like
| | 01:30 | simplicity, or speed, or strength.
| | 01:33 | Now throughout the entire training
title my hope is this: I hope that it
| | 01:37 | provides you with quite a bit of
information, some really good techniques. But
| | 01:41 | even more, I hope that this
training title provides you with a ton of
| | 01:45 | inspiration and that's something that I
can get passionate about. So for me it
| | 01:49 | is a huge privilege to partner with
you in this training venture. So I hope
| | 01:53 | that you enjoy this one and I look forward
to working with you. Let the adventure begin!
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| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com Online Training Library or if you
| | 00:04 | watch this tutorial on a disk, you
have access to the Exercise Files and here
| | 00:09 | you can see I have my Exercise Files
folders. I double click that to open it up.
| | 00:12 | One of the things you will
notice straight off the bat is that these
| | 00:15 | exercise files are organized by way of
the different chapters. Now in order to
| | 00:19 | use and to take advantage of these
Exercise Files, you have to go ahead and
| | 00:22 | navigate over to the Adobe Bridge,
I will go ahead and open up the Adobe Bride
| | 00:26 | here and then what you want to do is
navigate to the Exercise Files folder and
| | 00:30 | then pick the particular
chapter that you are working on.
| | 00:32 | Let's say for example, we are working
in Chapter 1. Here you can see all the
| | 00:36 | different photographs that we are
working on inside of Chapter 1. Now if you
| | 00:41 | don't have access to these exercise
files, no big deal. You can always use your
| | 00:44 | own photographs or you can simply follow
along. All right, well let's get started.
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|
|
1. Adding LightSan Francisco Bay Bridge: Illumination| 00:00 | Welcome to Chapter 1. In this
movie we will be working on the file
| | 00:03 | corwig_bay_bridge. You can find it
in the Chapter 1 folder. Before you
| | 00:08 | actually begin to work on this image,
I want to evaluate it and I want to share
| | 00:11 | with you a little tip that I use when
working with the Adobe Bridge and when I
| | 00:15 | really want to get creative with my
photographs. Well, here is what I do.
| | 00:18 | I select the image, then I press the
Spacebar key. Ah! All the sudden it minimizes the
| | 00:22 | interface, right. It takes the image to
that Full Screen View mode. Now that's
| | 00:26 | so helpful because if I want to
evaluate an image, I really have to get rid of
| | 00:30 | everything else. So I can focus in on
the task at hand. Now this particular
| | 00:34 | photograph, I like it because it feels
a little bit more like a fine art photograph.
| | 00:37 | Now this bridge, the Bay Bridge, is a
commuter bridge, right. Yet I cut out all
| | 00:41 | the traffic because I want it to be a
little bit more about the idea of the
| | 00:45 | bridge, not the practical, daily
commute of that bridge, but something more. So
| | 00:49 | what I want to do in this project is
look at how we can add some light in order
| | 00:52 | to take that concept, or that idea, or
the fine art nature of this image even
| | 00:57 | further. All right, let's press the
Spacebar key to exit Full Screen View mode
| | 01:00 | and let's go ahead and open up this
file by double clicking it, then press F to
| | 01:03 | go to Full Screen View mode. Press
the Spacebar key and click and drag to
| | 01:07 | reposition the image so that you are
looking up and you are not looking down.
| | 01:11 | That way you have good posture when
you are working on your photographs.
| | 01:14 | All right, well the first thing that I
want to do with this image is I want to
| | 01:17 | add a little bit of light to it. So
we are going to go down to our Layers
| | 01:20 | palette, we are going to click on the
Background layer and drag it to the new
| | 01:23 | icon which will then copy that layer.
We will double click the name of this new
| | 01:26 | layer and then type out 'light' to give it
a new name there. We will navigate to the
| | 01:31 | Filter pulldown menu. We are going to
go to Render and then Lighting Effects.
| | 01:35 | Now the lighting effect that we are
interested in using is Omni. Now that's a
| | 01:38 | little bit too intense for me. So I'm
going to go ahead and lower this. What
| | 01:41 | I'm looking to do is just bring some
light into this area of the image and I'm
| | 01:46 | going to modify these sliders
till I find a nice, sweet spot.
| | 01:48 | Now keep in mind that I'm not looking
to try and create an effect that looks
| | 01:52 | perfect here. Because what we will do
is we will blend this into the Background
| | 01:57 | layer. But I think for the most part
that's looking pretty good. I will click
| | 02:00 | OK to apply that. All right, well, so
far so good. Next step is to change our
| | 02:04 | blend mode. So we will click on the
pulldown menu and we are going to choose
| | 02:07 | Soft Light. All right, really
interesting. Let's take a look at what happened
| | 02:10 | here. Here is our before and after.
It's a pretty subtle change. Yet in my
| | 02:14 | opinion, kind of significant, right.
It's bringing more attention to this area
| | 02:18 | of the bridge. Now something that's
kind of interesting to try at this stage is
| | 02:22 | to copy this layer in order to
duplicate the intensity of that effect.
| | 02:26 | Now we already saw that we can copy
this by clicking and dragging it to the new
| | 02:29 | layer icon. You can also press Command+J
on a Mac, Ctrl+J on a PC and now
| | 02:34 | we will turn this on and off to look
at that before and after. So here is our
| | 02:38 | overall before and then after. Now
this top layer is actually kind of
| | 02:41 | interesting yet. It went a little bit
too far. So we are going to go ahead and
| | 02:45 | click on the Opacity slider, drag that
down. Just want to add a little bit more
| | 02:48 | of a snap there, all right. So far,
so good. Well, the next thing that I'm
| | 02:52 | going to do is go ahead and desaturate
this image. So I'm going to click on the
| | 02:55 | option to pull out all the color and we
will go to our Black & White adjustment layer.
| | 03:00 | Now a lot of times what I like to do
when I'm getting creative with Black &
| | 03:02 | White conversions is try some of the
different default settings. For example, I
| | 03:06 | will try the Blue Filter. Now I like
that. I like how it darkened the bridge a
| | 03:10 | bit. Now of course, you always want
to go in and modify your sliders just a
| | 03:13 | touch here to get the exact Black &
White conversions that you like. So I'm
| | 03:16 | just going to modify these sliders a bit.
Okay, well I think that looks pretty
| | 03:20 | nice. Well now that I have pulled all
the color out I want to add some of my
| | 03:23 | own color back to this image. So I
will go back to my Adjustments panel by
| | 03:27 | clicking on the arrow and I'm going to
go to Curves. In the Curves panel, I'm
| | 03:31 | going to go on to my Red channel, I'm
going to add quite a bit of red to this
| | 03:34 | image and then go to that Blue/Yellow
channel. Remember if you click and drag
| | 03:38 | up towards the word Blue there, it
becomes blue. If you click and drag down it
| | 03:42 | adds a complimentary color, in this case Yellow.
| | 03:44 | I will go to the Green/Magenta channel
and add a little bit of Magenta and go
| | 03:48 | back to the Red/Cyan channel there and
I'm just going to bring this down. Now
| | 03:53 | it's not actually called the Red/Cyan
channel. It's called the Red channel.
| | 03:56 | Yet, I like to think of it as Red/
Cyan because those are the two different
| | 04:00 | colors you can add. Here I can add Cyan
or I can add Red. All right, well at this juncture,
| | 04:05 | the colors is just overpowering,
right, but that's okay because I'm
| | 04:08 | going to blend this back into the image.
So I will go to my blending mode and
| | 04:12 | I'm going to choose good old fashioned
Soft Light. All right, that's what we are
| | 04:16 | talking about, right. So here is our
before and then there is our after with
| | 04:20 | that really interesting color and
again, what I'm looking to just create a
| | 04:23 | little bit more of a monochromatic feel.
Yet I want some of those deep sepia tones as well.
| | 04:27 | All right, well so far so good we are
making some progress with this image.
| | 04:31 | I'm going to double click the tab on the
Adjustment panel to close it. Then I'm
| | 04:36 | going to create a new layer. I'm going
to click on the New Layer icon and I'm
| | 04:39 | going to name this new layer corners.
What I'm looking to do here is just to
| | 04:43 | darken the corners. So I'm going to go
ahead and burn down those corners and
| | 04:47 | I'm going to do that by filling this
layer with a color and then changing the
| | 04:51 | blend mode. So I will navigate to my
Edit pulldown menu and choose Fill and
| | 04:55 | then I'm going to choose from the
Content pulldown menu, Black. So I'll fill
| | 04:59 | that layer with black, perfect.
| | 05:01 | Take this down to a blend mode of Soft
Light. Well, now that we can see it's
| | 05:04 | darkening out the overall image. I
want to mask some of that out. So I will
| | 05:08 | click on the Add Layer Mask icon. All
right, so far so good. Press the B key to
| | 05:12 | select your Brush tool. Make your Brush
bigger and you can do that by pressing
| | 05:16 | the right bracket key. You also want to
have a pretty soft brush. So if you go
| | 05:20 | up to your Brush menu, take the
Hardness all the way down. All right, perfect.
| | 05:24 | And here what we are going to do is
just paint with black in the middle of the
| | 05:27 | image. We are just looking to limit
that darkening effect just to the outer
| | 05:30 | edge of the frame. That looks really
nice. Just keeping the eye in the center
| | 05:34 | of the frame. All right, well so far
so good. I think there is just one more
| | 05:37 | step with this photograph. The next
step is going to be click on the Adjustment
| | 05:41 | Layer icon and this time go to Color
Balance. Now with Color Balance we are
| | 05:45 | going to add some color to our midtones.
What I want to do is just make this a
| | 05:47 | little bit more golden. I felt like the
color was a just little bit too reddish
| | 05:51 | there. Add a little bit of that golden,
nice yellow effect. Double click the
| | 05:56 | Adjustments tab so we can see our
before and after by clicking on this icon.
| | 06:00 | Really nice.
| | 06:01 | Now down here in our Curves layer
where we added that color, I'm feeling that
| | 06:04 | that's just a little bit too intense,
so I will click on that and lower the
| | 06:08 | Opacity. All right, I like that. Color
Balance layer, let's take a look at our
| | 06:12 | before and after. That looks really
nice. Although I need to modify it a bit.
| | 06:15 | So couple of ways you can do that. One
is just double click the icon there for
| | 06:19 | Color Balance. It will open up the
Adjustments panel right above and here you
| | 06:23 | can swing these options one way or the
other and I'm just going to go ahead and
| | 06:27 | modify those a little bit further.
Go in to my Highlights. We will bring a
| | 06:30 | little bit more Yellow there and the
shadows as well I'm going to bring a
| | 06:35 | little bit of Yellow and a little bit
Red into those shadows. Again, I'm just
| | 06:38 | having some fun with colors. Here is
our before and after with that adjustment layer.
| | 06:42 | All right, well we have taken this
image to a whole new place. In addition,
| | 06:46 | I hope you have picked up some
shortcuts along the way. Let's go ahead and walk
| | 06:50 | through the progress. So I will turn
off the eye icons here and all the other
| | 06:53 | layers by holding on the Option key on
the Mac, Alt key on the PC and clicking
| | 06:57 | on the eye icon for the Background
layer. Here is our original file. We added
| | 07:02 | some light to the center of the image.
We duplicated that layer, added a little
| | 07:05 | bit more. Converted to Black & White
and brought in our own color. A little bit
| | 07:09 | more muted tone here and then darkened
those corners and then brought in some of
| | 07:13 | that golden light and we
have a pretty interesting image.
| | 07:16 | The overall before and then after and
again what we did here is we slowly built
| | 07:21 | up that effect. Isn't that really
interesting? One thing that you have to keep
| | 07:24 | in mind is while we used this effect for
a bridge, you can use this technique on
| | 07:28 | a wide range of images. It's actually
really fascinating. You can redirect
| | 07:32 | how the viewer actually looks at your
photographs, by using that Filter > Render >
| | 07:36 | Lighting Effects. It's a really
interesting filter and the trick with using
| | 07:40 | that filters be sure to use some
blending and keep in mind that while we apply
| | 07:44 | this particular filter with this sepia
tone effect, you can also apply it to
| | 07:47 | color images as well.
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| Road bike pt. 1: Adding light| 00:00 | In this movie we are going to
continue our conversation about how we can
| | 00:03 | enhance our photographs by adding
light as well as how we can work on the
| | 00:06 | overall color and tone. We will be
working on the file corwig_bike.psd. You can
| | 00:11 | find it in the Chapter 01 folder. Go
ahead and select that file and double
| | 00:14 | click it to open it up in Photoshop.
Press F to go to Full Screen View mode and
| | 00:18 | then press the Spacebar to click
and drag to reposition the photograph.
| | 00:21 | Now I like this particular image
because of the juxtaposition. The real
| | 00:25 | high-tech track bike. One of the most
amazing bikes ever built really and it's
| | 00:29 | in this warehouse. So kind of this high-
tech in this old warehouse environment.
| | 00:34 | I like the natural light. Yet, I want
to add a little bit of drama to this
| | 00:37 | photograph. So I'm going to focus down
on the layers a bit. So I will go ahead
| | 00:41 | and double click the Color tab and
double click the Adjustment so I can focus
| | 00:44 | in on my layers. Now if your layers
are too small, you can right click or
| | 00:48 | Ctr-click and choose a different size.
I will go to Large Thumbnails, so we can
| | 00:51 | see that thumbnails a little bit more
readily. All right, well now that we have
| | 00:55 | this, one of things that I notice
that I want to do is again I want to add
| | 00:58 | drama. The lights are a little bit
too even for me. So I want to accentuate
| | 01:02 | this idea of juxtaposition to make this
image a little bit dramatic. So I will
| | 01:05 | click on my Background layer, copy it
by pressing Command+J on the Mac, Ctrl+J
| | 01:08 | on a PC and I'm going to name this layer tire.
| | 01:11 | Next I will navigate to the Filter
pulldown menu > Render and then Lighting
| | 01:16 | Effects. I'm just going to work on this
back tire or this back wheel over here.
| | 01:19 | I'm going to choose Omni. I want to
just create a little bit of an Omni light
| | 01:23 | on this particular wheel, make this one
a little bit smaller. Now as far as the
| | 01:28 | overall Ambience I'm going to brighten
the overall Ambience up, add a little
| | 01:32 | bit more light here. Click OK to apply
that. Now let's take a look at how we
| | 01:36 | are doing. Before and after. So again,
just bringing a little bit more to this
| | 01:40 | area of the image. Now I notice that
I have a few problems though. The yellow
| | 01:44 | on the bike isn't looking too good.
I went a little bit too far there. So let's
| | 01:48 | do this. So let's create a layer mask
or add a layer mask. But let's do this
| | 01:51 | unique way. Rather than just click on
the Add Layer Mask icon we are going to
| | 01:55 | hold down the Option key on the Mac,
Alt key on the PC. Then click on the icon,
| | 01:59 | so that the mask is filled with black.
| | 02:01 | Next we will grab our Brush tool. Now
that we have our Brush tool, make this
| | 02:05 | brush a little bit bigger. I will do
this by pressing the right bracket key and
| | 02:09 | I'm going to then paint with white.
Now currently black is in my foreground
| | 02:13 | color so I will press the X key to
foot those two and then I'm just going to
| | 02:17 | start to paint with white here to bring
in a little bit of white to this tire.
| | 02:21 | Now I have a little bit too much light
on the bike itself. So I'm going to mask
| | 02:26 | that out, I will press the X key and
I will go ahead and just paint back across
| | 02:29 | this. Now if my particular masking
right here isn't very good, that's okay.
| | 02:35 | It's not the end of the world because
we can always modify that layer. We can
| | 02:39 | do that by navigating to our Mask panel
and then increasing the Feather, which
| | 02:42 | will then increase the softness of the
edge of that particular mask. Let's take
| | 02:46 | a look at our before and after. Three
is before and there is after. Okay well,
| | 02:49 | some pretty important detail there.
| | 02:51 | All right, well, next what I want to
do is apply another light effect to the
| | 02:54 | overall image. In order to do that,
what I really need to do is merge these two
| | 02:59 | layers together. How am I going to be
able to do that? Well first I'm probably
| | 03:03 | going to want to lower the Opacity here.
I don't have to lower the Opacity but
| | 03:06 | just to make sure this blending looks
really nice and then on the Mac I will
| | 03:10 | press Shift+Option+Command+E, on a PC
Shift+Alt+Ctrl+E to merge the underlying
| | 03:17 | layers to the top. I will name this top
layer Light. Next step navigate to our
| | 03:22 | Filter pulldown menu > Render >
Lighting Effects we are going to go ahead and
| | 03:26 | add another Omni. This time in the
middle of the bike. What we want to do is
| | 03:30 | brighten up this bike, make this
puppy glow. Now that's a little bit too
| | 03:34 | bright. I think you would agree, right?
| | 03:36 | We will lower the Ambience there a
bit. We want to have quite a bit of
| | 03:41 | brightness on the bike itself. Click
OK to apply that. Now when I do that one
| | 03:46 | of things that I'm starting to notice
is I'm having some problems with the
| | 03:48 | image, right. There is way too much
brightness on this tire back here and I'm
| | 03:51 | also just blowing out all the detail
here on the yellow part of the bike. I can
| | 03:56 | fix that by using my mask. So I want to
make sure I have my Mask panel open, I
| | 03:59 | will click on the Mask icon. What I'm
going to do is navigate to Color Range.
| | 04:03 | So when I go to Color Range. I can
then click on a particular area of the
| | 04:07 | image. In this case I'm clicking on
the yellow of the bike. I'm going to
| | 04:11 | increase the Fuzziness until I see
that I have a pretty good selection of the
| | 04:14 | yellow of the bike. Next I will click
on the plus icon eyedropper. I will go
| | 04:18 | ahead and just click across this
particular area of the image. I can also click
| | 04:22 | in the Mask. Either one will do.
| | 04:24 | Now I went too far. I grabbed some of
the background, and some of the bike so I
| | 04:27 | need to undo that. Press Command+Z on
the Mac, Ctrl+Z on the PC. Go and click
| | 04:32 | OK to apply that. So now what we have
is this adjustment that's just affecting
| | 04:36 | the bike. So we can see our before and
after. Well interesting, because that's
| | 04:40 | exactly the opposite of what I want to
do. So I will go ahead and make sure I
| | 04:44 | have targeted the mask. I can see that
by the little brackets around that as
| | 04:48 | opposed to the brackets that now are
around the image. I can also see that the
| | 04:51 | Mask panel is highlighted here and
I will click on Invert. Well now that I have
| | 04:56 | inverted that I have added light
everywhere except for on the frame. So here we
| | 05:00 | can see our before and after. Now that
light is much, much too strong. Yet, all
| | 05:06 | I need to do is back this off. I'm
just looking for a little bit of a snap, a
| | 05:10 | little bit of a redirect. So that this
image has a touch more about the bike
| | 05:14 | and here you can see just like I'm turning
the light on and off in this area of the image.
| | 05:19 | We also have this layer in the
background, right. We can still control the
| | 05:22 | intensity of that and when I look at
that now I realize, it is just a bit too
| | 05:26 | high for me. So I will bring this down.
Well, here is my tire. There is the
| | 05:30 | overall bike. Now let's see our overall
before and after. Hold down the Option
| | 05:34 | Key on the Mac, Alt key on a PC and
now here is before and then after. Again,
| | 05:38 | just redirecting the focus to this
portion of the image. Well, let's take that
| | 05:42 | even further and we will
do that in the next movie.
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| Road bike pt. 2: Adding drama| 00:00 | Let's create a burn layer. Let's work
on the edges and the corners of this
| | 00:04 | image and we'll do that by pressing
Shift+Command+N if you're on a Mac. That's
| | 00:08 | Shift+Ctrl+N on a PC. We'll name this
layer Burn. We're going to go to a Soft
| | 00:13 | Light blend mode. Now we could Burn or
Dodge on this layer. But just to keep
| | 00:17 | things simple I'm going to name this
Burn and only do that for myself. This
| | 00:21 | layer is too low. How could I make this
layer go up to the top without clicking
| | 00:25 | and dragging it? I can, of course,
click and drag. Well there is a shortcut.
| | 00:28 | It's Command+Right Bracket on a
Mac. Ctrl+Right Bracket on a PC.
| | 00:34 | Well now that we have this layer up
top we'll grab our Brush tool. Press the
| | 00:36 | B key. Make sure you have your brush.
We want a real big brush press the
| | 00:40 | Right bracket key. What we want to look
to do is paint with black. Currently I
| | 00:44 | have complete black in my foreground
color there. So I'll press the D key
| | 00:48 | which will take it to the default black
and white. In order to illustrate that
| | 00:51 | even more let's say I have a color
there and I press the D key. Now for sure,
| | 00:55 | t hat's black and white. Currently I'm
painting with the 100% Opacity and I'm
| | 00:59 | doing that in order to see my edges.
| | 01:01 | One of things I'm trying to do here is
as well is not paint in exactly the same
| | 01:05 | way. So I'm creating a little bit of
shape almost like a figure eight around
| | 01:09 | the bike. So here we can see that
before and after. And I don't quite like the
| | 01:14 | transition edge. I want a little bit
more of a fanned-out edge. So I'll
| | 01:18 | navigate to my Filter pulldown menu >
Blur and then Gaussian Blur. One of the
| | 01:22 | things you are picking up on here is
that it's a really good idea to try to
| | 01:25 | work on that mask and try to get it to
blend in to the background. Click OK.
| | 01:29 | Here's my before and after. So
again that shape was much too distinct.
| | 01:33 | Now what's happening is a little bit
more like we are experiencing that shape
| | 01:37 | of the darkening but we can't really
identify it. Okay I'll go ahead and lower
| | 01:41 | the Opacity here. Just looking to
again zero the focus in on the bike.
| | 01:46 | That's looking really nice.
| | 01:47 | So let's do one more burn layer. This
time we're going to press Shift+Command+N
| | 01:51 | on a Mac, Shift+Ctrl+N on a PC. Name
this layer burn 2. Blend mode? You got it,
| | 01:56 | good old Soft Light. Click OK to apply
that. Now we got to try a little bit of
| | 02:00 | a different technique here. I'm
going to go ahead and grab my Rectangular
| | 02:04 | Marquee tool. I'm going to move in
from the edge and I'm going to click and
| | 02:09 | drag across the image. And that will
create a pretty rough and hard selection.
| | 02:14 | If I right-click or Ctrl-click inside
of that selection, I can actually change
| | 02:18 | its feather. I'm going to go ahead and
increase its feather, in this case, to
| | 02:21 | about 15 pixels. Now the actual amount
of the feather will be contingent upon
| | 02:26 | the file's resolution. In this case
it's a pretty small file side of pretty low
| | 02:30 | amount of my feathering there.
| | 02:31 | Well, what I want to do next then is
invert the selection because currently I
| | 02:36 | have the middle of the image selected.
I want to invert that so I only have the
| | 02:40 | outer edge. On a Mac press Shift+Command+I,
on a PC Shift+Ctrl+I or navigate to
| | 02:45 | Select and then choose Inverse. All
right, well now we just have this outer
| | 02:50 | edge selected. We're going to then
fill that with black. Edit. We can choose
| | 02:55 | Fill and then we're going to select
Black there. Click OK. All right well now
| | 03:00 | we have this nice
darkening effect around the edge.
| | 03:03 | Now we can't really see much of
anything because of those marching ants. So
| | 03:06 | let's hide those. We're going to do
that by going to Select > Deselect or by
| | 03:09 | pressing that shortcut key. All right
well that's a nice little finishing touch
| | 03:13 | there, right. There's our before and
after. Now again if this is too intense
| | 03:17 | lower the Opacity or if it's not
intense enough you could double this effect.
| | 03:21 | Right, you could create another
layer and has that same effect simply by
| | 03:24 | duplicating it.
| | 03:25 | Yet my opinion I think this is looking
pretty good. Let's go ahead and evaluate
| | 03:28 | the image. We'll go back to the
background layer holding the Option key on a
| | 03:31 | Mac, Alt key on a PC, clicking on that
Eye icon of that background layer. Here's
| | 03:34 | our before and then after.
Again our before and after.
| | 03:38 | Now this final evaluation. I like that
we're able to add a little bit of drama.
| | 03:41 | I like that I still have nice detail on
the bike. One of things I'm noticing is I
| | 03:45 | almost have too much attention on this
back tire. I lost a little bit of focus
| | 03:49 | on this front tire. So I'm going to
create one more adjustment layer by
| | 03:52 | clicking on the Add
Adjustment Layer icon, choose Curves.
| | 03:55 | I am going to go ahead and brighten
this up and add a little bit of contrast.
| | 03:58 | I'm just looking to focus in on this
tire here. I'm then going to invert this
| | 04:02 | mask by pressing Command+I on a Mac,
Ctrl+I on PC. Press B on the keyboard to
| | 04:08 | grab my Brush tool. Left Bracket to
make that brush much smaller and then I'm
| | 04:12 | going to paint with white. So make sure
I have white my foreground color there.
| | 04:15 | And I'll just go ahead and paint across
this area. This is going to be a subtle
| | 04:22 | adjustment. But I want to bring
the brightness of this tire up to the
| | 04:27 | brightness of the other one and just
fix my mask here. So that looks good.
| | 04:30 | Again it's a subtle little adjustment.
I could make this even further if need be.
| | 04:35 | May be I need to darken it up a little
bit, there we go. Add a little bit more
| | 04:38 | contrast on that one so that it matches
the back wheel there. Also going to go
| | 04:42 | down to this layer. And that looks
pretty good actually. I was going to say I
| | 04:46 | was going to lower the Opacity but I
think that looks pretty good. So now there
| | 04:50 | is just one more thing I want to do
with this particular image. One of the things
| | 04:53 | I'm noticing is that there's a little
bit of a blue cast in the background on
| | 04:57 | this wall. I think the bike
isn't quite bright enough.
| | 05:01 | I like that I brought light around it and
around the edges of the bike but I want
| | 05:04 | to bring that bike out even further. So
I'm going to click to the topmost layer
| | 05:08 | here. I click on the icon to add
an adjustment layer. And I'll choose
| | 05:12 | Hue/Saturation. I'm going to go ahead
and navigate down to my Blues and then
| | 05:16 | click on the Target Adjustment
tool and click and drag the left.
| | 05:19 | This allows me to pull the Blues out
of the image. Now we can see our before
| | 05:23 | and after by clicking on this icon
here. And when you zoom in we're really
| | 05:26 | going to see that yeah, we're
removing quite a bit of that Blue in the
| | 05:28 | background and I may also want to go
on to the Cyans just to make sure I'm
| | 05:32 | pulling out any other Hue.
So here's my before and after.
| | 05:35 | That's looking so much better. Well
how about working on the bike? We'll go
| | 05:39 | ahead and move this so I can see the
bike and really focusing on that. I'm then
| | 05:43 | going to navigate to my Yellows and
here I'm going to increase the overall
| | 05:45 | saturation just a touch. And increase
the brightness or the lightness of the
| | 05:49 | Yellows. Now I'll make this real
drastic you can see here that I'm controlling
| | 05:52 | those. So I'm going to go ahead and
brighten those up just a bit there as well.
| | 05:55 | Let's take a look at our before and
after. Here's before and then after.
| | 05:59 | We zoom out a bit so we can see the
entirety of this layer. Here's our before
| | 06:03 | and after. Pretty subtle adjustments
but they're looking pretty good. We're
| | 06:07 | almost done. We'll navigate to the
Master channel and here we're just going to
| | 06:10 | increase the overall lightness just a
touch there. Bring that up a bit more and
| | 06:14 | then go back to those Yellows and in
those Yellows I'm going to brighten that
| | 06:18 | up just a find that perfect spot there
and I'm just swinging this one way or the other.
| | 06:23 | So I get this spot that I think
looks just right. Here's my before
| | 06:26 | and after on that.
| | 06:27 | Go back to the Master and now I see
that I think this needs to come back down.
| | 06:32 | Bring it down a little bit further and
then go back to my Yellows. Again try to
| | 06:36 | find the spot where that bike looks
really nice. Looks like it just a little
| | 06:40 | bit up just bringing that a touch up,
little bit of saturation there and again,
| | 06:44 | just a subtle adjustment.
| | 06:45 | But it's a nice way to add a little
bit of an extra snap to that. We'll zoom
| | 06:49 | out so we can see the overall before
and after. Press the F to go the Full
| | 06:53 | Screen View mode. Press the F7 key to
pull up the Layers palette and then zoom
| | 06:57 | in just a touch here. So I'll go ahead
and zoom in. That was a bit too far. So I'll
| | 07:02 | zoom out here. All right let's see if we
can get a good zoom spot for this one so
| | 07:08 | we can evaluate the image. I think that
looks pretty nice. Hold down the Option
| | 07:12 | key on a Mac, Alt key on a PC.
| | 07:13 | Here's our overall before and then
after. All right well done! Well my hope
| | 07:19 | with this particular movie is that you
picked up some tips and tricks in order
| | 07:23 | to learn how you can enhance your
images. And in addition I hope that you
| | 07:26 | picked up a little bit of the overall
thought process in regards to how
| | 07:29 | a workflow like this actually works.
| | Collapse this transcript |
| Creative tip 1: Being creative in your current context| 00:00 | Hey welcome to another creative tip.
In this creative tip I want to share a
| | 00:05 | story with you about Miguel. Now Miguel
went to fight for his country. He was a
| | 00:09 | valiant warrior for his country for
that matter, and then he came back to his
| | 00:12 | homeland and he was wrongly imprisoned.
I mean talk about being down and out.
| | 00:17 | Being wrongly imprisoned after
you went to fight for your country.
| | 00:21 | A lot of times what happens in regards
to creativity or in regards to creating
| | 00:24 | creative effects like we're doing in
Photoshop is we think, only if I had this
| | 00:28 | image, if only I could travel to this
place to capture this photograph, then I
| | 00:32 | would be truly creative or then I could
really create a wonderful creative effect.
| | 00:36 | But creativity doesn't work that way.
And Miguel knew that and so he was
| | 00:40 | imprisoned that Miguel Cervantes
actually begin to write Don Quixote. One of
| | 00:45 | the best pieces of literature of all
time. So here's my tip for you. No matter
| | 00:50 | what your context, it may be good, it
may be bad or you may be thinking of only
| | 00:53 | I could get out of this situation, it
would be better. Whatever your context,
| | 00:57 | start to look where you are at. Don't
look to go somewhere else but look where
| | 01:01 | you are at and look around see where
you are at and see what can you do to
| | 01:04 | become creative in your current context.
| | 01:07 | Because the people I have met who are
most creative, are creative in whatever
| | 01:11 | context they're in. So it's more about
them then it is about their context. All
| | 01:15 | right, well I hope that you enjoyed
this little creative tip, and I hope that
| | 01:18 | it inspires you to look in your current
context to be even more creative where
| | 01:22 | you currently are.
| | Collapse this transcript |
| Seattle: Adding light for emphasis| 00:00 | In this movie we're going to be
working on the file Corwig_Seattle. You can
| | 00:04 | find it in the Chapter O1 Adding Light
folder. Let's go ahead and double click
| | 00:08 | this file to open it up in Photoshop.
Press F to go to Full screen view mode
| | 00:12 | and then press Spacebar tool and click
and drag to reposition the photograph.
| | 00:15 | You know I love creating photographs
when I'm traveling. In this particular
| | 00:19 | case I was up in Seattle and a lot
of people have photographs of the Pike
| | 00:23 | Street Market. Yet enough they have
photographs like this and here's why?
| | 00:27 | I love photographing in the rain
because of all the reflections. I love that
| | 00:30 | the market is closed. I love that
I can see a little bit of the rain here. I
| | 00:34 | also loved that this guy walked right
into the scene. As he started to walk I
| | 00:38 | was just like, Oh please and he
walked right through the scene and for me
| | 00:42 | that's what makes the image. You know
sometimes it's that subtitles that really
| | 00:46 | make an image strong. Speaking of that I know
that I have few problems with this photograph.
| | 00:50 | One of them so I called the dark
tones on the outer edges. Those are nice.
| | 00:54 | Because of these hubcaps; they're just
so bright. I need to get rid of those.
| | 00:58 | So let's create a new layer, let's
create a burn layer. We're going to do that
| | 01:01 | by pressing Shift+Command+N on a Mac,
Shift+Ctrl+N on the PC. Name the layer
| | 01:05 | burn in blend mode; you know it Soft
Light, Right click OK. Grab our Brush tool
| | 01:09 | press the B key. And we're going to go
ahead and just paint over some of these
| | 01:12 | bright areas where we don't
want the eye to travel to.
| | 01:15 | Also on this side. Don't need to go
there. Little bit around the edge. Little
| | 01:21 | bit on this structure there. Now
these are all subtle changes, yet a lot of
| | 01:26 | times what happens is that if you have
brightness on the edge of a frame the
| | 01:28 | eye gets hung up on it a little bit. So
I'm going to go ahead and darken those.
| | 01:32 | I'm going to do the foreground just a
bit but not at 100%. So I'll press the 3
| | 01:36 | key on my keyboard. That's a 30%. I'm
just going to look to just darken this up
| | 01:40 | just a bit now. Well most people
notice that no but I will. So that matters
| | 01:46 | right. All right so far so good.
| | 01:48 | Let's take a look at our before and
after. Before and after, very nice. Well
| | 01:51 | these are still too bright for me.
I want to paint with black right over that
| | 01:54 | one. So I'm going to create new layer.
Shift+Command+N on a Mac, Shift+Ctrl+N
| | 01:57 | on a PC. Name that layer Black, blend
mode Normal, click OK. I'm just going to
| | 02:02 | paint with black, right over that.
Right now I'm painting that 30% Opacity. So
| | 02:07 | I'm just slowly getting rid of those
bright spots there. I like that I can get
| | 02:12 | away with that, with this kind of
image right. All right well so far so good.
| | 02:16 | I want to do a little bit more to
bring out some of the other details in the
| | 02:19 | photograph. Shift+Command+N on the Mac,
Shift+Ctrl+N on a PC blend mode is
| | 02:23 | going to be Soft light. This is going
to be our Dodge layer. I want to brighten
| | 02:26 | up a few things. We'll press the X
key that will flip our foreground and
| | 02:30 | background colors. So we can now paint
with white. I'm just going to look to
| | 02:33 | bring in a little bit more detail on
some of these building the background the
| | 02:37 | rain. I love that rain coming down there.
| | 02:40 | And yes these brush strokes are
exaggerated at this point. I want to show you
| | 02:44 | how we're going to soften those,
anywhere else we need to brighten up. I think
| | 02:47 | for the most part we're pretty good
with these adjustments. Well because these
| | 02:50 | are pretty harsh brush strokes. We
want to go to our Filter pulldown menu.
| | 02:53 | Choose Blur and then Gaussian Blur.
| | 02:56 | And with this we're just going to look
to soften up those edges and we want to
| | 02:59 | bring it to a spot where we just
started to diffuse the brush strokes I made.
| | 03:04 | Click OK. Now here's our before and
after. Again just bringing up a little bit
| | 03:08 | of light to that area. Trying to
direct some attention down here and also
| | 03:12 | drawing a little bit attention
to those neat elements up there.
| | 03:15 | I'll lower their Opacity touch because
that was just a bit too bright for me.
| | 03:19 | Now here's my before and after. All
right, great. I'm thinking to myself so far
| | 03:22 | so good. I really like this image
I like how I reduced and simplified things
| | 03:26 | but haven't really fully improved the
image right. Because so much of this
| | 03:30 | photograph is about this character here.
| | 03:33 | So in order to improve him we'll
double click the Adjustments tab so we can
| | 03:36 | focus in on our layers. We'll click at
the topmost layer. We're going to merge
| | 03:40 | all the underlying layers to the top.
We're going to do that by way of a
| | 03:44 | shortcut. Shift+Option+Command+E.
That's one of the shortcuts you just have to
| | 03:48 | write down and that's a shortcut for a
Mac. On a PC it's Shift+Alt+Ctrl+E. I'm
| | 03:52 | going to repeat that because it's so
important. Shift+Option+Command+E on a
| | 03:57 | Mac, Shift+Alt+Ctrl+E on a PC. All
right we'll go ahead and name this layer
| | 04:01 | Light, and we're going to navigate to
our Filter pulldown menu. We're going to
| | 04:05 | go to Render and Lighting Effects.
You know where I'm going right? An Omni
| | 04:09 | Filter right on this guy and I want
to brighten this guy up quite a bit.
| | 04:15 | Little bit more of a Positive Ambience
there. I'm really going to bring a ton
| | 04:19 | of lightning on this guy. Click OK
to apply that. We're going in a good
| | 04:23 | direction. Now of course the light
here is way too intense but stick with me.
| | 04:29 | You always want to apply more
then you need. So you can back it up.
| | 04:32 | Well now that I have more then I need
I'm going to try out different Opacities.
| | 04:36 | So I'll press the V key to choose the
Move tool here. So now that have that
| | 04:39 | tool selected or just click on it in
the tool box, I'll press the 1 key that
| | 04:43 | will take my Layer Opacity to 10%,
then the 2 key that's 20%, 3, 30%, 4, 40%
| | 04:48 | okay I'm getting to a pretty good spot.
| | 04:52 | Here's my before and after. I'm
starting to like that. Need to go a little bit
| | 04:56 | higher. I'm going to go to the 5 and
then 6 and then 7, no that's too high,
| | 05:01 | looks like down about 50% is going to
look good. Now this juncture I'm kind of
| | 05:06 | worried about how much light I have
coming to the image and some of the other
| | 05:09 | places.
| | 05:10 | So what I want to do is create a
mask and then mask in the light to the
| | 05:14 | specific areas. I'll hold down the
Option key on a Mac, Alt key on a PC and
| | 05:18 | keep in mind that's not renegade
shortcut key. That's our shortcut key that
| | 05:21 | says hey I want to do something
different. When we hold down that key and click
| | 05:24 | on the Add Layer Mask icon, the mask
is filled with black rather than being
| | 05:28 | filled with white which is a default.
| | 05:30 | So again Option-click on a Mac, Alt-
click on a PC the Mask icon. Next step grab
| | 05:35 | your Brush tool. Now that we have our
Brush tool you know where I'm going,
| | 05:38 | right? I'm going to paint with white
so I'll go ahead and choose white in my
| | 05:41 | foreground color. There is White. Bring
up my Opacity quite a bit. Here we want
| | 05:47 | this to be nice and high.
| | 05:48 | I am just going to start to bring in
some light around this character here and
| | 05:53 | I'm just painting in some light and
this time I'm actually painting with my
| | 05:56 | mouse because today at this moment it
will happen to have my Wacom tablet with
| | 06:01 | me. Now most of times I actually use a
Wacom tablet, which gives me pressure
| | 06:04 | sensitivity in order to make nice adjustments.
| | 06:07 | If I don't have one what I will do is
I will make an adjustment like this on
| | 06:10 | the mask and I'll go to that Mask panel.
I modify the mask density. Now this is
| | 06:15 | going to control the overall density.
Sometimes it kind of helps me kind of
| | 06:19 | balance things out a little bit. So
I'll just look at how I'm doing there.
| | 06:22 | That's nice. I'll also lower the layer Opacity
until I find the sweet spots. So it's always
| | 06:27 | combining tools together. Now I think
that looks pretty interesting. Now the
| | 06:31 | enhancements here are pretty subtle.
Yet for me pretty important. Let's take a
| | 06:34 | look at the overall before and after.
We can see that by holding on the Option
| | 06:37 | key on a Mac, Alt key on a PC clicking
on the background layer. Here's before
| | 06:41 | and then after and again there is a
little bit of a shift of focus in this
| | 06:45 | light here. It was tied into this light
that I created here and you know in my
| | 06:49 | opinion we created a much better photograph.
| | Collapse this transcript |
| San Francisco sign pt. 1: Adding copy | 00:00 | In the next couple of movies we are
going to have some fun. We are going to be
| | 00:03 | working on this file corwig_sf_sign.
You can find it in the Chapter_01 folder.
| | 00:09 | Go ahead and select that file in the
Adobe Bridge and press Command+O on a Mac,
| | 00:12 | Ctrl+O on a PC and press F to go to
Full Screen View mode and then press the
| | 00:17 | Spacebar and click and drag
to reposition the photograph.
| | 00:20 | Now this is one of those photographs
that you just happen upon, right. I was
| | 00:23 | walking those conferences in San
Francisco and I looked down this one
| | 00:26 | particular road and I saw the sign,
I was just like, oh wow, so fascinating.
| | 00:30 | Even a zoom lens will kind of compress
everything and I just like the way
| | 00:34 | this image turned out.
| | 00:35 | So what we are going to do in this
movie is have a little bit of fun, we are
| | 00:37 | going to add some type to the + sign
here and then in the next movie, we are
| | 00:41 | going to look at how we can enhance
the overall lighting of this photograph.
| | 00:45 | All right, well, first things first,
let's go ahead and add some type. So I
| | 00:47 | will press the T key on my keyboard to
grab the Type tool and I'm going to go
| | 00:51 | ahead and click and then start typing.
I'm going to add some type there,
| | 00:55 | lynda.com. Press Enter to apply that.
I will go ahead and reposition this type
| | 00:59 | to the area in the cross.
| | 01:01 | Now at this juncture, the type doesn't
looks very good. It's a little bit too
| | 01:04 | simple. I'm going to try to find a
little bit more of a distressed font. So
| | 01:08 | there are a couple of ways you can re-
access this particular type layer. The
| | 01:11 | easiest way is to double click the T
icon in the Layers palette and then
| | 01:15 | navigate up to the Options Bar and in
our case; we will just choose a new font.
| | 01:19 | I will go ahead and try one of these
fonts right here. Okay that's kind of
| | 01:21 | interesting. I will then press Enter or
Return or I will click on another tool
| | 01:25 | in order to apply that.
| | 01:27 | Now I need to rotate the type a little
bit. That's Command+T on a Mac, Ctrl+T
| | 01:30 | on a PC, approach one of those corners
and then click and drag just to have a
| | 01:35 | little bit of rotation there. Press
Enter or Return to apply that and then
| | 01:39 | because I have the Move tool selected,
I can use my arrow keys to nudge this around.
| | 01:44 | Now it might be kind of nice to blend
this type into this + sign. Couple of
| | 01:49 | different things we can try here.
One is we can click on our Layer Style
| | 01:51 | Effects and go ahead and try Inner
Shadow and what that can do sometimes is it
| | 01:55 | can make it feel like it's a little bit
offset. Now when I add the Inner Shadow
| | 01:59 | I'm not seeing much because I'm seeing
this inner shadow on this black type.
| | 02:03 | Let's go ahead and apply that and then
talk about how we can change the font
| | 02:06 | color. Double click that Type tool
again and what we are going to is click on
| | 02:10 | this little icon here to flip from
black to white. Press Enter or Return to
| | 02:14 | apply that and now we can
see that Inner Shadow effect.
| | 02:18 | Now if the Inner Shadow effect is too
intense what you need to do, we will
| | 02:21 | double click the word Inner Shadow,
reposition this dialog here. Here we can
| | 02:25 | lower the Opacity. What we could do
is just kind of create effect where it
| | 02:28 | looks like, it's a little bit more
ingrained or deep on this particular + sign.
| | 02:32 | Okay, well so far so good.
| | 02:33 | We are starting to see how we can do
this. We want to change the color again.
| | 02:37 | Double-click the Type tool there. This
time we are going up to the Options bar.
| | 02:40 | Here what we are going to is click Only
Web Colors off and then sample a color
| | 02:45 | here on this side. So we are going to
try to get a color that blends in there,
| | 02:49 | perhaps just a little bit brighter.
Okay click OK to apply that and then press
| | 02:53 | Enter or Return and again what I'm
trying to do here is just have a little bit
| | 02:56 | of fun and also show you a few
things about working with type.
| | 03:00 | You know another thing that would be
interesting to try would be blend mode. So
| | 03:03 | go ahead and click on the pulldown
menu and choose Soft Light. Now when I do
| | 03:06 | that that text just blends a little bit
more into the + sign. Now of course, I
| | 03:11 | can lower my opacity and I can kind of
take this where I want it to go. In my
| | 03:14 | case perhaps, just a little bit back
and again just having a little bit of fun there.
| | 03:18 | All right, well so far so good. We
are about ready to begin to work on the
| | 03:21 | light. Yet I want to work on the +
sign just a little bit. So I'm going to
| | 03:24 | create a new layer and I'm going to
create a new layer by way of shortcut. This
| | 03:28 | is one of those shortcuts you just
have to have in your bag of tricks. It
| | 03:31 | Shift+Command+N on a Mac, Shift+Ctrl+N
on a PC and then name this layer burn,
| | 03:37 | because I'm going to burn down some details.
| | 03:39 | So I'm going to take this to a blend
mode of good old Soft Light. Now if you
| | 03:43 | find that any of these techniques
that I'm doing here are a little bit too
| | 03:46 | advanced for you. I recommend that you
dig into some of the essential training
| | 03:49 | titles that you can find on the lynda.
com library in order to learn some of the
| | 03:53 | essential skills so that you can get
even more creative as we are doing so here.
| | 03:57 | All right, well let's go ahead and
click OK to apply that. Next, we are going
| | 04:00 | to grab our Brush tool, press the B key
and then we are going to right-click or
| | 04:03 | Ctrl-click on top of the image with
that Brush tool. Okay, this is our Brush
| | 04:07 | menu, we are going to choose kind of an
interesting brush here and I will click
| | 04:11 | off of that. I want to paint with black.
| | 04:13 | Now to flip these two colors, press
the X key. That flips the foreground and
| | 04:17 | background color. We want to paint
with black here and a little bit larger
| | 04:20 | brush. So I will press the Right
Bracket key. What I'm going to do is just
| | 04:23 | darken this up a bit and I know that it
looks a little bit harsh on my lines or
| | 04:28 | a little bit too jagged, yet
I'm okay with that, here is why.
| | 04:32 | A lot of times what you will do is
you will make an adjustment perhaps like
| | 04:35 | this and then you back it off by
navigating to a Filter > Blur > Gaussian Blur
| | 04:40 | that's going to then soften this out
completely, soften those edges. I want to
| | 04:44 | do this pretty significantly almost
till I'm losing the shape of the brush. Yet
| | 04:49 | the unique brush digging me a little
bit of interesting texture. Click OK to
| | 04:52 | apply that and here we have our before
and after. Just some burning down again,
| | 04:57 | zoom in a little bit more on the copy
there. I will lower the opacity so it's
| | 05:00 | not quite so dark. I want a
little bit of that effect.
| | 05:03 | All right, now our overall before and
after so far. Here is before and after.
| | 05:08 | All right, well so far so good. We
have added some type and we have learned a
| | 05:11 | few tips and tricks. Now in the next
movie, let's take a look at how we can
| | 05:14 | enhance the lighting in this photograph.
| | Collapse this transcript |
| San Francisco sign pt. 2: Adding lights | 00:00 | All right, now that we have added some
typography and we have worked on the Plus sign.
| | 00:03 | Let's work on the rest of the
image. Press the M key to select the
| | 00:07 | Marquee tool. Then press Shift+M to
select the Elliptical Marquee tool.
| | 00:11 | Now here is what we are going to do.
We are going to hold down the Shift key,
| | 00:13 | click and drag to create a selection,
then press the Spacebar key to reposition
| | 00:19 | your selection. Never let go of the
mouse button, never let go of the Shift
| | 00:22 | key. So we are repositioning that, so
it's right on top of this sign. Click and
| | 00:27 | drag to expand it some more.
Reposition it by pressing the Spacebar button,
| | 00:32 | clicking and then dragging, let go of
the Spacebar and then click and drag to
| | 00:36 | change the overall size.
| | 00:38 | So again, you never let go of the
mouse button. All right, well now that we
| | 00:41 | have a pretty nice selection on this
portion of the image, what I want to do is
| | 00:44 | invert that selection. So I'm going to
navigate to Select and choose Inverse or
| | 00:48 | use a shortcut of course and I can go
ahead and click on the Curves icon to
| | 00:53 | open up the Curves dialog
inside of the Adjustments panel.
| | 00:56 | What I'm interested in doing here is
just darkening the background. I will go
| | 00:58 | ahead and bring down my white point a
bit. I just want to add quite a bit of
| | 01:01 | darkening effect there. Let's take a
look at our before and after either by
| | 01:05 | clicking on this eye icon or this one
here. Here is before and after. Again,
| | 01:09 | just darkening the overall background.
| | 01:10 | Now I don't want to darken all the
background, so I will go ahead and make sure
| | 01:14 | I'm clicked in the mask, press the B
key and then right-click on the image to
| | 01:19 | choose little bit more normal brush,
nice soft brush and I think that worked
| | 01:23 | pretty well, little bit larger there.
Clicked off of that and I'm going to
| | 01:27 | paint with black.
| | 01:28 | Currently white is on my foreground,
press the X key, now I have black. I'm
| | 01:32 | just looking to bring back a little bit
of detail on this portion of the sign.
| | 01:36 | It came a little bit darker and also
bring back some of the detail on the wall
| | 01:41 | here, some of those deeper tones.
I don't want to lose all that detail and of
| | 01:47 | course, I'm going for a pretty high
contrast effect, yet just going to bring
| | 01:51 | back some of those details in the
darker areas. Let's do a little quick bit of
| | 01:55 | masking. Okay let's look at our before
and after now. Before and after and with
| | 02:00 | that mask we can see the before and
after by Shift-clicking it. There is before
| | 02:04 | and then there is after. All
right, well so far so good.
| | 02:07 | The next thing that I want to do is
grab the Marquee tool again. Press the M
| | 02:09 | key. Click and drag to make a selection,
a rough selection around the sign here
| | 02:14 | and then we are going to create
another curves adjustment. We will do that by
| | 02:17 | clicking on the Adjustment Layer icon
and choosing Curves and here what we are
| | 02:21 | going to do is brighten this up, add a
little bit more contrast to it. I'm just
| | 02:24 | looking to add, just a little bit more
snap to that and bring down those whites
| | 02:29 | a bit up top and then here is our
before and after on this side. Now I created
| | 02:33 | a pretty hard edge selection.
| | 02:35 | Sometimes that's going to be a
problem for you. In order to view your mask,
| | 02:39 | what you want to do is hold down the
Option key on a Mac, Alt key on a PC and
| | 02:42 | click on the Mask icon. This will show
you the mask. Again, a pretty hard edge.
| | 02:46 | Not a very good idea.
| | 02:48 | So I will go to my Masks panel and
I will add a bit of Feather and as I
| | 02:51 | increase this you can see a much more
transition that's probably too much. Go
| | 02:55 | ahead and navigate back to the Layers
palette. On a Mac, Option-click, on a PC
| | 02:59 | Alt-click that icon so that we see the image.
| | 03:02 | Now of course, you can work on the
feather without looking at the mask, but I
| | 03:05 | find that at times it's kind of helpful
to look at it in that view. All right,
| | 03:09 | well so far so good. We have a little
bit of effect on the center; we have an
| | 03:13 | effect on the background. Hold down
the Option key on a Mac, Alt key on a PC,
| | 03:16 | click on your Background layer, overall
before and after. All right, so far so good.
| | 03:21 | What I want to do at this juncture is
I want to merge all of these layers to my
| | 03:24 | topmost layer and I'm going to do that
by way of a shortcut. Now this is a bit
| | 03:28 | of a crazy shortcut but an important
shortcut. It's Shift+Option+Command+E and
| | 03:33 | that shortcut allows you to take all
of your underlying layers, merge them to
| | 03:36 | top. We will go ahead
and name this layer merged.
| | 03:39 | Now that these have all been merged,
I'm going to navigate to my Filter
| | 03:42 | pulldown menu and choose Render and
then good old fashioned Lighting Effects.
| | 03:47 | Now I don't want to apply an Omni
light there. Although that looks pretty
| | 03:50 | interesting to have that on the sign
with a darker background. What I'm going
| | 03:53 | for in this one is a Spotlight. So
I have this nice spotlight effect. I need to
| | 03:57 | rotate that. I will click and drag on
the square and make this a little bit
| | 04:02 | more thin and I'm looking to add some
lights, coming off of the actual lights
| | 04:09 | that we have here.
| | 04:10 | All right, well there is one light
source. Click on the Light icon, add another
| | 04:14 | one. Rotate this one around so that it
is aligned up with the other light and
| | 04:20 | of course we need to get a rotation
just right and then expand it a bit more.
| | 04:26 | Of course, what we can do is we can
further modify these controls, just looking
| | 04:33 | to make this look kind of interesting.
Bring some light on the sign there a little bit.
| | 04:37 | So I'm going to go ahead and modify the
controls, add a little bit more ambient
| | 04:40 | light to the image. I'm going to
click on those lights. I think it needs to
| | 04:44 | come down a bit, doesn't it? It is a
little bit too intense there. Now that I
| | 04:48 | see it's too intense, I need to modify
it. Go over to the other light source,
| | 04:53 | backed out one of is well there a
touch and pull it away just a bit from that
| | 05:00 | area and I will add a little bit of a
positive light source there and then
| | 05:05 | click OK to apply that, who knows if
that's going to be good, but it looks like
| | 05:09 | a decent start. This light actually
looks pretty good. This one I didn't quite
| | 05:12 | now but no problem, we can fix that.
| | 05:14 | So let's a look at our before and after
there. Again, just redirecting our eye
| | 05:17 | to this portion of the image. Now here
is something we can do to fix this up,
| | 05:21 | so it looks perfect. I will go ahead
and click on the Add Layer Mask icon to my
| | 05:25 | merged layer. Now I will grab the
Brush tool, press the B key. Have a nice,
| | 05:29 | soft edged brush.
| | 05:31 | Now I'm going to go ahead and paint
with black along this edge, just to soften
| | 05:34 | out that light source edge. Make the
brush even bigger and I'm going to go
| | 05:38 | ahead and do that around the edge of
this, just looking to bring our limit
| | 05:44 | where that light is going and so now
we have a little bit of a directional
| | 05:47 | light here. We can try a couple of things.
| | 05:49 | Sometimes it's fun to try Soft Light.
Although, in this case, that's not going
| | 05:52 | to do too much for us, right. Just
adds to overall contrast because the
| | 05:56 | brightness is a little bit lost in
that white background but sometimes that
| | 06:00 | works. Other times, what we are
going to do is lower the opacity just to
| | 06:03 | diminish the effect a little bit.
| | 06:05 | So I will go ahead and lower the
opacity there. Here is my before and after.
| | 06:08 | Again, just bringing a little bit more
into this area and then finally, I will
| | 06:13 | zoom out so I can actually look at the
edges. I realize I want to darken those
| | 06:16 | edges. So I'm going to create a new
layer by way of shortcut. Do you remember
| | 06:20 | this one? Shift+Command+N on a Mac,
Shift+Ctrl+N on a PC. We will name this
| | 06:25 | layer burn. Our blend mode is what?
Soft Light, you got it. Click OK. Grab your
| | 06:30 | Brush tool, good old B key.
| | 06:31 | Now what I'm going to do here is
rather than paint at a 100% opacity, I will
| | 06:34 | lower my opacity. We will go down
somewhere right about 60. I'm just going to
| | 06:38 | look to darken up the edges a bit and
look through the image, darken a few
| | 06:44 | different areas of the image, smaller
brush, Left Bracket key. Go ahead and
| | 06:49 | make those changes there and let's take
a look at our before and after. Zoom in
| | 06:56 | so we can actually see that, before and after.
| | 06:58 | All right, so far so good. Let's press
F to go to Full Screen view mode, press
| | 07:02 | F7 to bring back your Layers palette.
Here is our overall before and after.
| | 07:07 | Hold down the Option key on a Mac,
Alt key on a PC, here is before and then
| | 07:11 | after. Of course, we are going for a
pretty interesting stylized effect.
| | 07:15 | Now if any of these effects are too
intense for you, you know a lot of times we
| | 07:18 | will have different preferences. You
can lower the opacity, right. You can also
| | 07:21 | go at the very end, add a little bit of
a curves adjustment. You know brighten
| | 07:24 | up the overall image. Say, you know
I don't like it. That quite high of a
| | 07:28 | contrast or for that matter,
you can flatten out contrast.
| | 07:31 | Now I will go ahead and show you how
you can do that, just make this line a
| | 07:34 | little bit less steep that we will
flatten it out and sometimes this image will
| | 07:38 | actually print better while this image,
the one with the high contrast will
| | 07:42 | probably look better if this image
is intended to be viewed on a monitor.
| | 07:46 | So let's a look at our final before
and after. Hold down the Option key on a
| | 07:49 | Mac, Alt key on a PC, click on the eye
icon in the Background layer. Here is
| | 07:52 | our before and after. All right, that
was quite a bit of fun and we definitely
| | 07:57 | increased the overall visual
interest in this photograph.
| | Collapse this transcript |
| Adding light to enhance exposure| 00:00 | So far in this chapter we have taken
a look at some really fun examples in
| | 00:03 | regards to how we can add light to our
photographs in order to enhance them.
| | 00:07 | Well, you know there are going to be some
other times when you'll be working on a
| | 00:10 | photograph and you want to make a
creative enhancement to the photograph, and
| | 00:13 | it's going to be a little bit more
like a correction, because there is a
| | 00:16 | problem with the overall
lightening or the exposure.
| | 00:18 | Well, that's what we are going to talk
about in this and the next movie.
| | 00:21 | Let's go and select the file corwig_mexico.jpg;
double-click the file to open it up,
| | 00:26 | press F to go to Full Screen View mode,
and then spacebar and then click and drag
| | 00:30 | to reposition the photo.
| | 00:31 | Now I love this photograph because
it was captured in mainland Mexico.
| | 00:35 | I was hiking along the beach and I came
upon these rocks. I thought it was really
| | 00:39 | fascinating. Yet one of the things I'm
noticing is that the exposure here is too dark, right?
| | 00:44 | The background is perfect,
but this is just too dark.
| | 00:46 | Well, how could I fix it?
| | 00:47 | Well, there are a couple of different
techniques that you can use. I want to
| | 00:51 | show the first technique. It won't
work with this image, but it does work on
| | 00:55 | some other images. Click in your
Background layer, copy it. Command+J on a Mac,
| | 00:59 | Ctrl+J on a PC,
change the blend mode to Screen.
| | 01:02 | Now this technique works really well
when you have under-exposed images.
| | 01:06 | Now it did definitely correct the exposure
here, but the background- that doesn't
| | 01:10 | look very good. Well of course, I could
mask in the correction. That might be a
| | 01:15 | good option here. Yet I don't
want to deal with masks because it's not
| | 01:18 | that important to me. So I'm going to
try the second technique. We will go
| | 01:21 | ahead and take our blend mode back to
Normal, then we are going to navigate to
| | 01:25 | Image > Adjustments and choose Shadows/
Highlights. Now when I select this, it's
| | 01:30 | going to be so amazing; it's going to
correct the image in unreal ways. I'm going to
| | 01:34 | click on Show More Options. Here we
have our Shadows, our Highlights, and then
| | 01:39 | some final adjustments. So
how does this actually work?
| | 01:42 | Well, modify one of the sliders and it
will teach you quickly that Shadows is
| | 01:45 | working to correct the shadows, and
here you can see that I'm bringing more
| | 01:49 | detail into the shadows. Tonal Width
is how far out it reaches, Radius again,
| | 01:53 | it's about our transitions there. So we
can find a spot where that looks pretty good.
| | 01:56 | Highlights, what that's
going to do is actually darken those
| | 01:59 | highlights. Now I can darken the
sky a little bit. That would be kind of
| | 02:02 | interesting, and then modify my slider,
so there is a little bit of Midtone
| | 02:05 | Contrast. Color Correction as needed.
Look at our before and then after. Wow!
| | 02:10 | Click OK to apply those adjustments.
| | 02:13 | Now that was a really quick and easy
way to correct this image. We can click on
| | 02:17 | the Eye icon to look at the before and
after. And you know the nice thing about
| | 02:21 | these types of adjustments is that we
can continually modify them. Hey, maybe
| | 02:25 | we said we went too far. Well no
big deal, we can always back it off.
| | 02:29 | Or perhaps let's say we want to mask out
a particular area; we could create a
| | 02:32 | mask and then paint the adjustment into
a specific area. Yet with this particular image,
| | 02:37 | I think it's just kind of nice.
It brought a little bit more of this
| | 02:39 | foreground out, and it still gave me
nice texture and shape and tone. I like it.
| | 02:45 | I want to pull this down just a
bit more. I don't need it to be that
| | 02:48 | bright. I just want a little bit
more light in there. All right,
| | 02:51 | I'm going to zoom in just to take a look at the
shadows. I think the shadow detail there is nice.
| | 02:55 | Now we can add some light to our
photographs in a way that makes it
| | 02:58 | a bit of a corrective enhancement.
| | Collapse this transcript |
| Correcting a backlit subject| 00:00 | In the previous movie we talked about
how we could add light to our photographs
| | 00:03 | in order to equal out the exposure a
little bit. What about in the situations
| | 00:07 | where you have a backlit subject? And
what you really need to do is to bring
| | 00:12 | more light to the foreground, to bring
more light to the subject. We are going
| | 00:15 | to take a look at how we can do
that with this photograph here.
| | 00:17 | We will go ahead and select it, its
titles corwig_travis and then double-click
| | 00:22 | it to open it up inside of Photoshop.
This is a photograph of pro athlete
| | 00:27 | Travis Brown; he is an amazing mountain
bike athlete, an extreme mountain bike
| | 00:30 | athlete. He does these unreal long
distance mountain biking races. Well, I like
| | 00:34 | the composition of this and I like that
we are able to shoot down at the coast,
| | 00:38 | I think that's kind of interesting.
I just need to bring more light into
| | 00:40 | this area, the image.
| | 00:42 | So I'm going to go ahead and copy
the Background layer by selecting and
| | 00:44 | pressing Command+J on a Mac, Ctrl+J on
a PC. I will name this new layer, light.
| | 00:49 | Now I will try the technique we
used before. Image > Adjustments and
| | 00:52 | Shadows/Highlights.
| | 00:52 | Now when I do that, I'll say okay, we
are going in a pretty good direction, I
| | 00:57 | like the way this is going. I will go
ahead and try to modify my controls here
| | 01:01 | a bit. I have Tonal Width and so
I will bring in some light, Radius control
| | 01:05 | there. I want it to be pretty high here,
and then my Highlights, I could darken
| | 01:12 | the background just a bit as needed
and add a little bit of contrast to boost
| | 01:17 | that up and click OK to apply that.
Okay, well so far so good, we can see our
| | 01:21 | before and after.
| | 01:22 | You know, I'm not quite convinced
that this is the best adjustment. I don't
| | 01:26 | quite like how it's affecting some of
the other areas of the image. So here is
| | 01:30 | what I'm going to do. I will go ahead
and add a layer mask by clicking on the
| | 01:33 | Add Layer Mask icon and then click
on the Color Range option in the Masks
| | 01:37 | panel. So I'll click on Color Range,
and what I'm looking to do here is to
| | 01:41 | sample a portion of Travis. Then I will
grab the eyedropper with the plus icon
| | 01:45 | and I'm just going to look to click and
drag across the entire image of him. I
| | 01:49 | want to make sure specifically on his
face and his glasses, I'm getting all
| | 01:53 | these nice details. So again, just
clicking and dragging to get this.
| | 01:56 | Now I want to do small little click
and drag so that I can undo anything at
| | 02:00 | anytime, like I brought in too much,
Command+Z on a Mac to undo that, Ctrl+Z on
| | 02:05 | a PC to undo that. So again, just
looking to bring in a lot of these details
| | 02:10 | here. All right, well so far so good.
| | 02:13 | Now I have some of those background
on I want to remove, so I will grab the
| | 02:15 | eyedropper with the minus sign. That
didn't work. Hit Command+Z on a Mac,
| | 02:20 | Ctrl+Z on a PC and that one didn't
work either. So it looks like I might need
| | 02:24 | to just lower my Fuzziness a bit and
then I can deal with the rest of these
| | 02:28 | later. Okay, I will click OK to apply
that one. Now I have an adjustment that's
| | 02:32 | just limited to Travis here. Little
bit of the grass, which I don't like. I
| | 02:37 | think that's looks a little artificial.
I also notice that while I brightened
| | 02:41 | Travis, it didn't affect too much to
the background. I'm liking that. I need to
| | 02:45 | bring in some contrast there.
| | 02:47 | So I will go ahead and click on my mask,
grab my Brush tool, make my brush much
| | 02:51 | smaller by pressing the left bracket
key, and then here I'm just going to go
| | 02:55 | ahead and paint with black on the grass
area here, because I don't want effect
| | 02:59 | that at all. I'm just going to mask
that away, make sure I get all of that out
| | 03:03 | of there. And I think that is looking
pretty good. Go down to this portion of
| | 03:07 | the tire, I can darken it
up a little bit there too.
| | 03:10 | Okay, well so far so good, here is our
before and after. Now let's say that I
| | 03:15 | like this, but again maybe I want to
make it brighter, or maybe I want to add a
| | 03:18 | little bit of contrast. Here is what I could do.
| | 03:21 | I could actually change this to a
blend mode of Screen. Now when I do that, I
| | 03:24 | get quite a bit of light in there and
that's looking pretty interesting, except
| | 03:29 | it's too much light, but stick with me
for a second. So I'll copy this layer,
| | 03:33 | clicking and dragging it to the New
Layer icon. My top layer is going to a
| | 03:36 | blend mode of Soft Light. That's going
to bring back my contrast to nice color.
| | 03:40 | Now my underlying layer, this one
Screen, I'm going to lower the opacity on
| | 03:44 | that, bring that down, lower the
opacity on the Soft Light, and I'm just
| | 03:48 | looking to bring a bit of booster.
Here is my before and then after.
| | 03:53 | So if I really need to brighten things
up, I can change the overall blend mode,
| | 03:56 | but just keep in mind when you add that
Screen, it will become too bright, you
| | 04:00 | will need then to add on top of it a
little bit of that contrast. That's what I
| | 04:04 | did there with that Soft Light blend
mode that equalize that brought back some
| | 04:07 | of the normal color.
| | 04:08 | Now a lot of times at this juncture
what I like to do is to click in this layer
| | 04:12 | here, and click in the topmost layer,
my two adjustments that I made. Group
| | 04:16 | those by pressing on a Mac, Command+G,
on a PC, Ctrl+G. So now I have my
| | 04:22 | adjustments in this little layer
folder here, and now I can look through the
| | 04:26 | image to see if I have made any mistakes.
When I look at this image, I say you
| | 04:30 | know, Travis looks good, but I made
some mistakes on the grass behind the
| | 04:32 | spokes. No problem.
| | 04:34 | Add a mask to the entire group, so
I will click on the Add Layer Mask icon,
| | 04:40 | make my brush a little bit smaller,
and I'm going to paint with black across
| | 04:43 | this area. And I wouldn't have seen
that had I not been able to turn those on
| | 04:48 | and off all at one time. Again, just
fix that up. Now let's look at our before
| | 04:53 | and then after, make sure we have
all of those areas nice and corrected.
| | 04:57 | Before and after.
| | 04:58 | Now in addition, I may decide you know
what? That's too bright. I don't need to
| | 05:02 | go that bright. I want detail on Travis
but not that much. So here I can lower
| | 05:06 | the opacity and find the sweet spot
where I'm just bringing a little bit of
| | 05:09 | light. I have nice balance and in an
addition, I have quite of bit control of
| | 05:13 | the intensity of that light. Okay,
while I'm going to zoom out a little bit,
| | 05:16 | just step back and look at the image,
zoom back in, and then turn this on and
| | 05:21 | off again to get a feel for it. Now
the only thing that I may want to do here
| | 05:25 | is modify the color and tone of it.
So I will click on the Adjustment Layer
| | 05:28 | icon and choose Curves, we will open up
the Curves dialog and I'm just going to
| | 05:32 | look to see what happens if I darken
or brighten the image up, the overall
| | 05:36 | image. I think I want to brighten it
there, just a touch, go into the Blue
| | 05:40 | Yellow channel and add a little bit of
warmth to that, so I will add a little
| | 05:43 | bit of yellow there. Lot of times when
you add yellow, you need to go to that
| | 05:47 | Green/Magenta channel, just to touch
Magenta, so the image doesn't become too
| | 05:51 | green, just to touch there go to
that Red/Cyan channel. Again, I will
| | 05:56 | experiment with that one, bringing
in a little bit of color to those
| | 06:00 | photographs. Okay, that's looking nice.
Now let's click on our Eye icon to see
| | 06:03 | the before and after.
| | 06:05 | You know, now that I do that, I say,
I like Travis's skin tone much more yellow
| | 06:09 | and red, looks a little bit more alive
and vibrant, too far though, lower the
| | 06:13 | opacity, no big deal. And we are
just adding a little subtle shift of Hue
| | 06:17 | there, and I have some color in the
background that I don't like. I don't like
| | 06:20 | the sky having that hue in it. No
problem, paint with black, I have black in
| | 06:24 | the foreground, brush, right bracket
key make it nice and big, mask off those
| | 06:30 | adjustments from that background there
and mask them off over here as well. And
| | 06:35 | then turn on my before and after to
kind of analyze if I'm going in a good
| | 06:38 | direction; I think that looks nice.
Add a little bit of color to that image,
| | 06:42 | all right, well, let's look at our
overall before and after so far. We can do
| | 06:46 | that by holding on the Option key on a
Mac, Alt key on a PC and clicking on the
| | 06:50 | Eye icon or Background layer,
there is our before and then after.
| | 06:55 | A subtle, yet significant improvement
that we made by a way of adding light to
| | 07:00 | this photograph.
| | Collapse this transcript |
|
|
2. Adding ShadowsSelecting an object and creating a drop shadow| 00:00 | In the next few movies we are going to
be working on this photograph here, and
| | 00:03 | we are going to be talking about how we
can add shadows and more. So one of the
| | 00:07 | first things that I want to do here is
take a look at how we can extract this
| | 00:10 | leaf from its background. So I want
to remove the background, I really like
| | 00:13 | this nice yellow leaf, I actually like
that background, but for the purpose of
| | 00:17 | this movie, I want to get rid of it.
| | 00:18 | So we are going to go ahead and grab
or select the Quick Selection tool. You
| | 00:22 | can do that by pressing the W key, or
by clicking on the tool in the tools
| | 00:26 | panel. Now that I have this tool,
I will go ahead and paint or drag across the
| | 00:30 | entirety of the leaf, all right,
I have a pretty good selection.
| | 00:34 | Now in order to modify or refine the
selection, I can do this one of two ways.
| | 00:38 | Right now, I could go ahead and
click Refine Edge. That would open up the
| | 00:41 | Refine Edge dialog. Now there are
different views here, we can view this as a
| | 00:45 | red review that overlays, so it is
already showing me I what I will be able to
| | 00:48 | mask away or remove. Yet in our case,
I think this white background works
| | 00:52 | pretty nice. So all that I'm going to
look to do is to modify these controls.
| | 00:56 | Now when I expand this, I see I have
too much of the background. So I will go
| | 00:59 | ahead and contract, I want to bring
that back, Feather, that will soften the
| | 01:02 | edge, the smoothness is how soft or
hard that edge is. I just want to try to
| | 01:06 | find the sweet spot. Contrast will also
help me boost up that edge a bit. So I
| | 01:10 | had a bit of contrast, and a little bit
more feather in there, and I think that
| | 01:14 | looks pretty good. I want to just
modify my Radius control here, just a touch
| | 01:18 | till I get it exactly where I want it.
Go ahead and click OK to apply those
| | 01:21 | modifications to your selection.
| | 01:23 | Well, another way of pretty good
selection, we are going to go ahead and click
| | 01:26 | on the Add Layer Mask icon to our
Background or original layer. Now as I
| | 01:30 | mentioned before, I can actually
continually modify this edge, and I can do
| | 01:34 | that once I have created the mask by
going to mask edge. Now here I have the
| | 01:38 | same Refine Edge controls, they are
just called Refine Mask controls, and you
| | 01:42 | can see that I can contract or expand,
etcetera, etcetera. Well, we have
| | 01:45 | already dialed the sense, so I don't
need to do anything here, and I may want
| | 01:49 | to modify that just a bit, bring that a
little bit out. Okay, that looks nice. Click OK.
| | 01:53 | All right, well so far so good, we have
now successfully removed this leaf from
| | 01:57 | its background. Yet I don't really
want to see this on a transparent
| | 02:01 | background, I want to see
it on a white background.
| | 02:04 | So what I want to do next, to show you
a view helpful shortcuts that will help
| | 02:07 | you create a new layer, and then
fill that layer with a solid color.
| | 02:10 | All right, for starters, we know that
we can click on the New Layer icon, yet
| | 02:14 | when we do that, it creates a layer
above. So I will delete that layer. That's
| | 02:18 | not what I want. I want a layer
underneath this one. Well, here is a great
| | 02:22 | shortcut. You just got to have this
one in your bag of tricks, hold down the
| | 02:24 | Command key on a Mac, Ctrl key on a PC,
then click on the New Layer icon, that
| | 02:29 | creates a new layer underneath the layer
that you are currently on. Okay, well great!
| | 02:33 | Well, the next step is going to be to
fill this layer with white. Well, now I
| | 02:37 | could of course go to Edit and then
choose Fill. And I want to do this by way
| | 02:41 | of shortcut. The shortcut that I'm
going to use is going to press Command on a
| | 02:45 | Mac, Ctrl on a PC and then Delete on
a Mac or Backspace on a PC. So when I
| | 02:50 | press Command+Delete on a Mac, I'm
able to then fill that with white. That
| | 02:53 | would be then Ctrl+Backspace on a PC.
| | 02:56 | All right, well so far so good, we
now have this leaf on a solid white
| | 03:00 | background. We are ready to now
create a shadow. There are a couple of
| | 03:03 | different techniques we can use to
create a shadow. Well, let me show you the
| | 03:06 | first technique.
| | 03:07 | We will go ahead and select or target
the original layer, and then we'll go to
| | 03:11 | our Layer Style Effect and choose Drop
Shadow. Now you may be thinking, okay
| | 03:15 | Chris, why are you using Drop Shadow,
what's a big deal here? What we are going
| | 03:18 | to do is actually create a drop shadow
and we are going to modify its edge and
| | 03:23 | its opacity, we just want to get a nice
shadow there, and we are going to click
| | 03:26 | OK. We are going to then remove that
Layer Style Effect from this layer by
| | 03:30 | navigating to Layer > Layer Style, and
then Create Layer. We can actually put
| | 03:35 | that Layer Style Effect on its own
layer, we will click OK to apply that, and
| | 03:39 | now here you can see if I turn off the
top layer, I have that drop shadow on
| | 03:42 | its own layer.
| | 03:43 | All right, well now that I have that
drop shadow, we are actually at a pretty
| | 03:46 | good breaking point. I want to show
you one more technique for creating
| | 03:49 | shadows, and then we need to start to
talk about how we can modify the shadow
| | 03:52 | in order to create a pretty interesting effect.
| | Collapse this transcript |
| Creating and modifying directional shadows| 00:00 | Now, that we have one version of the
Drop Shadow, I want to show you another
| | 00:03 | way that you can create a Drop Shadow.
So go ahead and turn off the Eye icon
| | 00:06 | for originals' Drop Shadow.
| | 00:08 | Now on the above layer, we've created
this really good mask from our selection.
| | 00:12 | So what I want to do is take advantage
of that mask. So I'll go ahead and hold
| | 00:15 | down the Command key on the Mac, Ctrl
key on the PC, and I'll click on that
| | 00:19 | Mask icon. Now when I do that,
it loads that mask as a selection.
| | 00:23 | Well, now that I have a selection of
the leaf, I'm going to create a new layer,
| | 00:27 | and I'm going to fill that new layer
with black. So I'll click on the New Layer
| | 00:31 | icon, so I have a layer above. In
order to fill this layer with black, it's
| | 00:35 | Option+Delete on a Mac, Alt+Backspace on a PC.
| | 00:38 | Well, now I have this shape, which is
a shape of a leaf on a new layer filled
| | 00:41 | with black, perfect. Now, let's deselect this,
Command+D on a Mac, Ctrl+D on a PC.
| | 00:47 | Next thing what I'm going to do is
we want to soften the edges of this
| | 00:49 | selection. So I'll navigate to Filter
> Blur and then choose Gaussian Blur;
| | 00:53 | this works really well. Now go ahead
and increase this quite a bit here, just
| | 00:57 | softening out those edges.
Okay, well so far so good.
| | 01:01 | Next thing I want to do is lower the
opacity a bit. So I'll go ahead and grab
| | 01:03 | the Opacity slider and then lower this.
Now I don't want this particular shadow
| | 01:08 | to be above the leaf, so I'll bring it
down underneath, and then I'm just going
| | 01:11 | to offset it, grab the Move tool here,
and then I'll click and drag it off to
| | 01:15 | the side. So now I have
another version of the shadow.
| | 01:19 | Now both these techniques with this
image work quite well. Now there are some
| | 01:23 | images, where a certain technique will
work better than another. So you need to
| | 01:26 | know how to do both techniques, right?
So here we have one Drop Shadow, and
| | 01:29 | then here we have another.
| | 01:31 | And again, we can control the edge of
the Drop Shadow in a number of different
| | 01:34 | ways. So as you can see now we have
these two different Drop Shadows, well, do
| | 01:38 | I need to? No. So I'm going to go
ahead and click on the Layer 2 that I have
| | 01:42 | just created, and press the Delete key
to get rid off it so that things don't
| | 01:44 | get confusing.
| | 01:46 | All right, well, now that we have
talked about our Drop Shadow, let's go ahead
| | 01:49 | and talk about how we can modify this.
Actually I have an idea for this image.
| | 01:53 | What I want to do is rotate the leaf.
So I'll turn on the Eye icon from my Drop
| | 01:56 | Shadow. I'm going to hold down the
Shift key and click in the original layer,
| | 02:00 | so I have both selected.
| | 02:01 | Next thing I'm going to do is press
Command+T on a Mac, Ctrl+T on a PC. That
| | 02:07 | allows me to free transform this
particular photograph. I'll approach one of
| | 02:11 | the four corner points, until I see my
cursor change, and then what I'm going
| | 02:14 | to do, I'll just click and drag to
Rotate. What I'm interested in doing here is
| | 02:18 | I'm interested in repositioning this
leaf, so I have a little bit of an angle,
| | 02:23 | and I think that looks pretty nice,
right about there. I'll press Enter or
| | 02:26 | Return in order to apply that rotation.
| | 02:30 | At this juncture, my leaf is looking
pretty interesting, yet my shadow just
| | 02:34 | looks like the leaf is sitting on a
flat object. I want to create a little bit
| | 02:38 | more dimension. So I'm going to click
on the original Drop Shadow layer. I'm
| | 02:41 | going to move this around, just so
I can make sure that I have that, okay,
| | 02:44 | good. So far so good.
| | 02:46 | Next I'm going to press Command+T on a
Mac, Ctrl+T on a PC. Now when I modify
| | 02:52 | this particular shadow, here is
what I'm going to do. It's a little bit
| | 02:55 | different. I'll hold down the Command
key on a Mac, Ctrl key on a PC, and then
| | 02:59 | I'm going to grab my corner points.
When I do that, you can see that what's
| | 03:02 | actually happening there is it's
giving me the ability to kind of flatten out
| | 03:05 | the shadow a little bit,
change it shape sort to speak.
| | 03:08 | So I'm going to go ahead and modify this.
I'm just looking to try to bring this
| | 03:11 | down a bit, and create a shadow, so
that this looks like it's sitting on a
| | 03:18 | little bit more of a flat background,
not a Drop Shadow; that's just a straight
| | 03:23 | Drop Shadow, but something that has a
little bit more to it. And again, I'm
| | 03:27 | just modifying this, trying to find a
nice sweet spot for this shadow. Now
| | 03:32 | let's say that looks pretty
good, and press Enter or Return.
| | 03:35 | To look at the before and after, I'll
press Command+Z on a Mac, Ctrl+Z on a PC,
| | 03:39 | there is my before, and then there is
the after. So what I can do here is I can
| | 03:43 | make this shadow almost lay down, right?
It's starting to layer a little bit
| | 03:46 | flat. I could take this even further
of course. Press Command+T on the Mac,
| | 03:50 | Ctrl+T on the PC. I could bring those
back points down, quite a bit more if I
| | 03:55 | want to enhance this effect even further.
| | 03:57 | Okay, well, so far so good. Press Enter
or Return. We now have this Drop Shadow
| | 04:01 | sitting in the background. It's a
little bit too intense for me. So I'm going
| | 04:05 | to go head and just reposition this
just a touch here. And that looks about
| | 04:10 | right. And then I'm going to lower the
Opacity, and bring that back, and then
| | 04:15 | I'm going to blur it out, Filter >
Blur > Gaussian Blur, I'm going to diffuse
| | 04:20 | this shadow a little bit more,
okay. Click OK to apply that.
| | 04:24 | One of the things that I'm noticing
is I like the way that this shadow is
| | 04:27 | traveling over here. But in my free
rotation over here on this side, it doesn't
| | 04:31 | look so good. So I need to free
transform this a little bit more. Command+T on
| | 04:35 | a Mac, Ctrl+T on a PC. I'm just going
to go ahead and hide this edge, just a
| | 04:39 | touch more, right? That way it gives
a little bit more look that this is
| | 04:43 | falling to the back to touch there,
and I like that. Press Enter or Return to
| | 04:47 | apply that, and then move this down
just a bit here, and I'm just looking to
| | 04:51 | try to find a nice shadow.
| | 04:53 | Now as I modify that again, I'm just
struck by how I like this side of the
| | 04:56 | shadow, not this side. My free
transformation, it just didn't work. And
| | 05:00 | sometimes that happens, right? No big
deal. We'll click the Add Layer mask
| | 05:03 | icon, grab our Paint Brush, paint with
black, and I'm just going to paint that
| | 05:07 | away. So that I have the shadow kind
of trailing or falling off to this side.
| | 05:11 | Okay, well so far so good. We've modified
the shadow, rotate the image, we are on our way.
| | 05:15 | Well, the next thing that I need to
look at as how I can create a bit of a
| | 05:18 | point of contact. One of the things
that I'm noticing is it looks like this is
| | 05:22 | floating a little bit too much. This
shadow should become a little bit darker
| | 05:25 | right here, and perhaps right here,
in order to make this a little bit more
| | 05:29 | realistic, because as the object
approaches another object, the shadow should
| | 05:34 | become darker. So I need to darken up
the shadow a little bit here, and we'll
| | 05:38 | do that and a few other
things in the next movie.
| | Collapse this transcript |
| Adding point-of-contact shadows and creative color| 00:00 | What I want to do here is just
darken up the edges a little bit on this
| | 00:03 | particular shadow. So here is how we
are going to do that. We'll go ahead and
| | 00:07 | Command-click the mask icon, will turn
that into a selection. Then we'll create
| | 00:11 | a new layer. We can create a new
layer by way of shortcut, right?
| | 00:14 | Shift+Command+N on a Mac, Shift+Ctrl+
N on a PC, or simply click on the New
| | 00:19 | Layer icon, okay great.
| | 00:20 | Now we want to fill that with
black. To fill that with black, it's
| | 00:24 | Option+Delete on a Mac, that's Alt+
Backspace on a PC, again Option+Delete or
| | 00:28 | Alt+Backspace.
| | 00:29 | All right, well now we have this layer
that's fill with black, let's go ahead
| | 00:33 | and deselect that, Command+D or Ctrl+D
or Select, and then choose Deselect. All
| | 00:38 | right, well now that we have
deselected this, actually I want to move this
| | 00:41 | layer underneath the leaf layer. How
can I move that underneath? Well, I could
| | 00:46 | click and drag it underneath; that will be fine.
| | 00:48 | But let's say that I want to be a
little bit more advanced, because that's what
| | 00:51 | we are trying to do, right, in this
training title is become a little bit more
| | 00:54 | advanced. Pick up some of these tricks.
It will help us be even more creative.
| | 00:58 | Well, there is a really handy
shortcut out there for moving layers.
| | 01:01 | You press the Command key on a Mac,
Ctrl key on a PC and then press the Bracket
| | 01:05 | keys, Left Bracket moves the layer down,
as you can see in my Layers palette,
| | 01:09 | Right Bracket key moves it up. So
again, I'll just go ahead and press
| | 01:12 | Command+Left Bracket on a Mac, Ctrl+
Left Bracket on a PC, to move that down.
| | 01:17 | Well, now that it is down, and I have
the Move tool, I'm going to go ahead and
| | 01:20 | use my Arrow keys, and I'm just going
to nudge this out a little bit, so that I
| | 01:23 | have this dark edge
coming out from under the leaf.
| | 01:27 | Now I don't want that dark edge
everywhere. I do want it right here, where it's
| | 01:31 | suppose to touch the background, and
over here on this corner. Okay, well so
| | 01:35 | far so good. Let's click the Add Layer
Mask icon. But before we do that, hold
| | 01:41 | down the Option key on a Mac, Alt key
on a PC, or add a layer mask filled with black.
| | 01:45 | Once again, just repeating that one,
Mac that's the Option key, PC that's the
| | 01:50 | Alt key, and then click the Add Layer
Mask icon, so that your mask is filled
| | 01:53 | with black.
| | 01:54 | All right, well next step, grab your
Brush tool, press the B key, change your
| | 01:58 | brush size, Left bracket; it's a nice
easy way to do that, and there are some
| | 02:02 | other ways you can do this as well.
| | 02:03 | What we are going to do is paint with a
pretty low Opacity, not 30%, but maybe
| | 02:08 | about 60% or so. I'm going to paint
with white to reveal. What I'm interested
| | 02:13 | in doing is just revealing again a
little bit of that point of contact there.
| | 02:17 | Now at this juncture, it's going to be
a little bit too hard, so we are going
| | 02:20 | to have a little bit too hard of an edge,
no problem, I'm going to soften that
| | 02:23 | out of course, right?
| | 02:24 | Now I want to try to create this look
as if it's starting to touch something
| | 02:29 | there. Okay, then click in the icon for
the layer, navigate to Filter > Blur >
| | 02:34 | Gaussian Blur, we are going to blur
that out just a bit here. And then of
| | 02:38 | course, we are going to lower the
Opacity, so go ahead and blur that out, click
| | 02:41 | OK. Lower the opacity a bit. But
again, we just want a little bit of that
| | 02:45 | darkening effect to make it look like
it's touching that area. So there is my
| | 02:48 | before and after.
| | 02:50 | A lot of times when you are working on
shadows, your object will look like it's
| | 02:53 | floating, unless you make those little
finishing touches like that. Okay, well
| | 02:58 | so far so good. It's pretty subtle,
yet it will help the image out.
| | 03:00 | Next thing that I want to do is just
back off the shadow a little bit here. I
| | 03:04 | want it to drift away in the background,
so I'll click on the mask icon for my
| | 03:07 | original Drop Shadow. I'll grab my
Brush tool, this case I'm going to paint
| | 03:11 | with black, and now this time I do want
to really low opacity, maybe somewhere
| | 03:15 | around 10%. Make the brush a little
big bigger by pressing Right bracket. I'm
| | 03:19 | just going to fade that shadow off a
little bit. I want it to drift off. It had
| | 03:24 | been on the edges there. And I think
that looks pretty good. So again, just
| | 03:27 | subtle adjustment, but I kind of like it,
just pulling that shadow back a bit.
| | 03:31 | All right, well, now that we have the
shadow in a pretty good place, what I
| | 03:35 | want to do is have some fun with the
color. So I'll click on my topmost layer
| | 03:38 | and then I'll click on the Adjustment
Layer icon, and choose Hue/Saturation,
| | 03:43 | and choose Colorize. This will give me
the ability to modify the color, and I'm
| | 03:46 | going to make this leaf, let's see,
how about nice bright blue. Saturation,
| | 03:50 | I'll punch that up as well.
| | 03:51 | All right, well, one of the problems
I have is that it is affecting the color
| | 03:55 | of the shadow; I don't really like that.
So I'm going to click on the icon to
| | 03:58 | add what's called the Layer Clipping Mask,
so that the blue is only affecting the leaf.
| | 04:03 | All right, great. Perhaps modify the
Lightness. I'm going to darken it up a
| | 04:07 | little bit. Again, just look for a nice
fun color here. And again, we are just
| | 04:11 | getting a little bit creative in
having fun with color, and I'm just going to
| | 04:16 | pick that. I think that looks nice.
| | 04:17 | All right, well the next thing that we
are going to do is click on the folder
| | 04:20 | here, which is called Copy, and here
I have some different text fields. Let's
| | 04:24 | focus in on those. Let's go ahead and
double-click the Adjustments Layer icon,
| | 04:27 | and then expand that folder. And here
you could see we have this Photoshop CS4
| | 04:31 | for photographers, we'll click on that layer.
Press Command+T on a Mac, Ctrl+T on a PC.
| | 04:36 | Now all I'm going to do here is just
free transform this copy so that, that is
| | 04:40 | sitting right there on the leaf,
that looks nice. Well, how can I quickly
| | 04:43 | select the creative effects layer?
There are actually a number of different
| | 04:46 | ways to do this. Let me show you one.
| | 04:48 | One way is to grab the Remove tool
by pressing the V key, and then by
| | 04:52 | Right-clicking or Ctrl-clicking over
the text there, and here you can see that
| | 04:57 | I have a folder called Copy, inside
that folder Creative Effects with chris
| | 05:00 | orwig. We'll go ahead and click that,
and then reposition this down here. Now
| | 05:04 | that's a little bit too small. So
press Command+T on a Mac, Ctrl+T on a PC,
| | 05:09 | hold down the Shift key, and click and
drag one of those corner points to make
| | 05:12 | that a little bit bigger. It's really
important you hold down Shift key down,
| | 05:15 | so that you constraint the proportions
of that free transform. Press Enter or
| | 05:20 | Return to apply that.
| | 05:21 | Now, you can get away with free
transforming copy or text, because its vector
| | 05:26 | based, it's completely scalable. Now
at this juncture I don't really like the
| | 05:29 | color of the copy here. There are
number of different ways we can change it.
| | 05:33 | One is to double-click the icon for
the text field and then to go up to our
| | 05:37 | Color Picker. In my case I'm going to
go for a nice bright vivid orange, so I
| | 05:41 | have this kind of blue orange thing going on.
Press Enter or Return to apply that.
| | 05:46 | Now at this juncture I say I like this,
I'm almost finished, except I really
| | 05:50 | wish this copy was over on this
other side of the leaf. Right-click or
| | 05:54 | Ctrl-click, over that you can see all
of your underlying layers. I'll choose
| | 05:58 | Photoshop CS4 for photographers, and
then move that down here. Right-click or
| | 06:02 | Ctrl-click the other area, so we
can then move this copy up here.
| | 06:06 | And again, all I want to do is just
illustrate how you can continually make
| | 06:10 | changes to your layers by using that
Right-click or Ctrl-click. Now if you have
| | 06:14 | the Move tool selected, you can also
use your Arrow keys to nudge things
| | 06:17 | around, to just get them on the
exact spot where you want them.
| | 06:20 | All right, well that wraps up our work
on this image. I hope you learned some
| | 06:24 | valuable tips. I hope you learned some
valuable creative and technical tips in
| | 06:28 | these last few movies.
| | Collapse this transcript |
| Removing a subject from a white background| 00:00 | In the next few movies, we'll be
working on this photograph here. We are going
| | 00:03 | to be talking about how we can create
or add a shadow to this image. Now this
| | 00:06 | particular photograph comes from
another one of my retouching titles where we
| | 00:09 | talked about retouching and in this
particular case it was a fashion retouch.
| | 00:13 | And let's say at this juncture we have
already retouched the image, and by the
| | 00:16 | way if you are interested in learning
about retouching, be sure to check out
| | 00:19 | those other titles and then go
get some good information there.
| | 00:22 | But let's say we've finished retouching
the photograph and we have the model on
| | 00:25 | this white background and we want to
add a bit of a shadow. Well the first
| | 00:28 | thing that we need to do right is to
get rid of the background. Now there are a
| | 00:32 | number of ways to do this. We are just
going to do this really quickly here by
| | 00:35 | using a Quick Select tool, so go ahead
and press the W key to select the Quick
| | 00:39 | Select tool. I'm just going
to drag it around the image.
| | 00:41 | Now this quick selection is not going
to be perfect, yet we are going to take a
| | 00:44 | look at how we can use this imperfect
selection in order to create a mask that
| | 00:49 | we can then further modify. Now we
don't need a perfect selection and here's why.
| | 00:53 | We are going to be creating a shadow
right; we are going to diffuse the edges.
| | 00:56 | So we don't needed to be exact-exact.
Keep that in mind when you are doing this
| | 00:59 | particular technique. Well, now that
we have a selection we will go ahead and
| | 01:02 | click on the Add Layer Mask icon. But
what's going to happen is we are going to
| | 01:06 | actually have the wrong stuff selected.
No problem. All that we need to do is
| | 01:10 | press Command+I on the Mac, Ctrl+I on
a PC or click on the Invert button so
| | 01:15 | that we now have the correct area.
| | 01:17 | Now this juncture, I say, you know what?
I think my image looks pretty good,
| | 01:20 | yet it's really hard to tell. So I'm
going to go ahead and navigate to this
| | 01:25 | button here and click Mask Selection
and I want to show this on Black. Oh gosh!
| | 01:28 | It shows me I have some problem areas,
right? It shows me that I indeed didn't
| | 01:33 | remove this part of the background
and I cut out part of the foot there.
| | 01:36 | Yet when I go to this, it also show
me that it modified my edges and soften
| | 01:40 | those up a little bit and I cut out
part of the facial features. So I go ahead
| | 01:43 | and expand this a little bit here and
you know what? I'm okay with having a
| | 01:47 | selection that's a larger than the image,
because keep it mind it's just going
| | 01:50 | to be a shadow, they rather have a
little bit more dimension than this.
| | 01:53 | And so I'm going to go ahead and
modify this, make the edge a touch harder so
| | 01:58 | it will give me little bit of dimension.
I'm not going to smooth that out. Now
| | 02:01 | my feathering, I will be feathering
that later. I'm looking for shape here.
| | 02:06 | Well so far so good. That's looking okay,
I will click OK, yet at this juncture
| | 02:10 | again, I've lost some of the
foot and I have this area here.
| | 02:13 | We will go ahead and click in the
Image icon, now that icon kind of small, so
| | 02:18 | right-click or Ctrl-click in the Layers
palette, you can change it in this case
| | 02:21 | Large Thumbnail, so I can show you that
yes, I'm in that image thumbnail. With
| | 02:26 | the Quick Select tool, I will just go
ahead and make a selection there and then
| | 02:29 | I want to fill that area on my mask
and I want to fill that with Black, so I
| | 02:33 | will click on the mask and to fill
with Black, one way to do that is Edit >
| | 02:37 | Fill and then I will go ahead and
choose Black, click OK, so then it will
| | 02:42 | remove that area.
| | 02:43 | Now what about this area down on the
foot? Well go ahead and click back in the
| | 02:47 | image. I need to deselect, right?
Ihave that selection so I better get rid of
| | 02:50 | that, Select>Deselect. And I want to
correct this area, this selection here.
| | 02:54 | Well I can't really see what the foot
is, but I have a pretty good guess it's
| | 02:58 | right here. So I will go ahead and
click on this area. And as I click on that
| | 03:02 | area, I'm probably sure that's a good
area of the foot, but I don't know. We
| | 03:06 | really need to turn off this
mask to find out. How can I do that?
| | 03:09 | Well, hold down the Shift key on the
Mac or a PC, then click on your mask. Now
| | 03:13 | when I do that and then zoom in a
little bit, one of the things I notice is
| | 03:16 | that; that's not a good selection,
I have too much selected. So good thing I
| | 03:20 | had that shortcut, which was Shift-
click on the mask in order to hide or
| | 03:25 | disable that mask temporarily.
| | 03:26 | All right, well now I'm targeting the
image here. I will hold down the Option
| | 03:31 | key on a Mac, Alt key on a PC. I will
just pan away the area I don't want to
| | 03:34 | selected and then go ahead and paint
that foot area back in. I'm just looking
| | 03:38 | to bring that into the image. Now Shift
-click your mask to turn that back on,
| | 03:43 | click in the mask, you know what we
want to do it, right? We want to fill this
| | 03:47 | area and I want to fill it with White.
| | 03:49 | I could go to Edit>Fill or just to
show you something different, I could grab
| | 03:52 | my Brush tool and I could paint that
with White. So go ahead and paint that
| | 03:55 | with White to bring in that area. Now
to deselect, Command+D on a Mac, Ctrl+D
| | 04:00 | on a PC. Now did I even need to make
a selection? No, I could actually just
| | 04:05 | paint that in. So I will just
go ahead and paint it in here.
| | 04:07 | If I go too far, we will press the X
key and then paint with Black and go to
| | 04:11 | the other way, so you can get the edge
to look really good. The reason I want
| | 04:15 | to show you that is because one
technique doesn't always work on all images.
| | 04:19 | Rather it's a combination of different
techniques, which many times leads to
| | 04:23 | the best results.
| | 04:24 | All right, well now that we have
extracted this image from its background, we
| | 04:27 | are ready to begin to create its shadow
and we will work on a shadow in the next movie.
| | Collapse this transcript |
| Adding a directional shadow | 00:00 | Now that we've removed the background,
we are going to talk about how we can
| | 00:02 | add the shadow. So let's go ahead and
create a new layer. We will hold down the
| | 00:06 | Command key on the Mac, Ctrl key on
the PC and click on the New Layer icon to
| | 00:09 | create a layer underneath our image
layer. We don't wan to fill that layer with
| | 00:13 | White so we will hold down the Command
key on the Mac, Ctrl key on the PC. That
| | 00:16 | will give me the ability to fill with
my background color, which in this case
| | 00:20 | is White. So now I have a white background.
| | 00:22 | All right, well so far so good. Well
I want to create a shadow. Now we've
| | 00:26 | looked a couple of different
techniques for creating shadows, one is to
| | 00:29 | Command-click a mask layer which we
have here and then what we are going to do
| | 00:33 | is create a new layer. So I will click
on the New Layer icon, I will name this
| | 00:36 | layer shadow. And then I will fill that
with Black that's Option+Delete on the
| | 00:40 | Mac, Alt+Backspace on the PC to
fill with the foreground color.
| | 00:44 | Now we need to deselect, right? So we
choose Select > Deselect or the shortcut
| | 00:48 | there. All right, well now that we have
deselected, we want to move the shadow
| | 00:52 | over. So I will press the V key to
select the Move tool and I will click and
| | 00:55 | drag this over to the side. All right,
well I have a pretty decent shadow here.
| | 01:00 | Here what I want to do is I actually
want to rotate the shadow off at an angle.
| | 01:04 | So I will press Command+T on a Mac, Ctrl
+T on a PC, then I'm going to go ahead
| | 01:08 | and move the middle point so that
I can rotate it around this foot. When I do
| | 01:12 | that, now we can see that it
rotates off to the side rotating off that
| | 01:16 | particular foot. Okay, well so far so
good, I have nice rotation there. I will
| | 01:20 | press Enter or Return to apply that,
except the shadow goes out of the frame.
| | 01:24 | One thing that you can do is navigate
to your Image pulldown menu and then
| | 01:27 | choose Reveal All. That will then
expand your canvas so that you can see the
| | 01:31 | entirety of the shadow. Now that's
kind of nice to just for expanding your
| | 01:36 | canvas in general, because sometime
what you will do is you will grab a layer,
| | 01:39 | drag it off to the side, and choose
Image and then Reveal All and now you are
| | 01:43 | actually expanding your canvas
such a pretty quick way to do that.
| | 01:46 | Okay, well let's zoom out so we can see
what we have. Command+Minus on the Mac,
| | 01:50 | Ctrl+Minus on the PC. Let's then bring
that shadow back over here. All right,
| | 01:55 | well so far so good. We are having
some fun with this. Our background layer,
| | 01:58 | Layer 1, we need to fill that with
White again. The shortcut for filling with
| | 02:02 | white. That's Command+Delete on
the Mac, Ctrl+Backspace on the PC.
| | 02:06 | All right, well now that we have done
that, we are ready to work on the shadow.
| | 02:09 | So we will click in the Shadow layer,
we want to blur this out right, so we are
| | 02:12 | going to go to Filter > Blur > Gaussian
Blur. I'm going to make that much more
| | 02:17 | diffused, just wanted to have the shape
there. Click OK. And then we are going
| | 02:21 | to lower the Opacity.
| | 02:23 | Now our shadows are looking okay. We
have this kind of interesting effect. Yet
| | 02:27 | one of the things that I'm noticing
down here on the legs if I zoom into this
| | 02:30 | area, is that remember I wasn't careful
about my outline. So I have this little
| | 02:34 | white fringe that really shows up where
there is a shadow. So I will zoom out a
| | 02:38 | little bit more, there we go.
Now you can really see it.
| | 02:41 | I want to modify that, I will click in
my mask for the Image layer, go to the
| | 02:45 | mask edge. What I'm interested in doing
here is seeing this edge on this black
| | 02:50 | overlay, so I can see the white fringe.
I'm going to go ahead and just contract
| | 02:53 | that. Now that I have contracted
I need to feather it out, smooth that a bit,
| | 02:58 | increase the Radius there, Contrast comes down.
| | 03:01 | Again I'm just looking to soften that
just a touch there, so it's not quite so
| | 03:04 | harsh, click OK to apply that. Now we
have much less of that. Let's zoom out
| | 03:09 | and see how we are doing. All right,
well now that we zoom out, you can see
| | 03:12 | that looks pretty good. I will turn
this on and off. Take a look at that. And
| | 03:16 | one of the things I notice here is
that it's showing up the white line of the
| | 03:20 | edge of this image. I need to get rid
of that. Now let's just do with this mask
| | 03:24 | and where I worked on that mask edge
because my mask edge ended right there.
| | 03:29 | So go ahead and grab my Brush tool, 100
% Opacity. I'm just going to paint on
| | 03:33 | this mask with black in order to hide
that little line there. That's kind of
| | 03:37 | interesting thing that happened right.
The reason that happened is because we
| | 03:40 | expanded our canvas after we made
that mask. That's kind of helpful to know
| | 03:45 | that because you want to watch for
that whenever you expand your canvas,
| | 03:48 | especially when you dealt with the
technique that we did there when we did
| | 03:51 | Reveal All, because we are just making
that canvas figure without really paying
| | 03:55 | attention to the overall details.
| | 03:58 | All right, well go ahead and click
back into the Mask layer and I'm going to
| | 04:00 | zoom back down into this foot area and
I'm still noticing that while the image
| | 04:04 | looks good, I have a little bit too
much of our white fringe on that. So I will
| | 04:08 | click on the mask, grab my Brush
tool, I'm just going to take this off
| | 04:11 | manually. I will go ahead and paint
with Black here and just approaching the
| | 04:15 | edge of the leg here, not getting too
far into it. All right, well that looks
| | 04:19 | pretty good.
| | 04:20 | Well the next thing that I need to do
then is to add a little bit of a point of
| | 04:23 | contact shadow. We know how to do that,
right? We will click on the New Layer
| | 04:27 | icon. What I'm going to do here is
just paint with Black, and I'm going to
| | 04:30 | paint with Black right underneath the
shoe. Now right now it's on top of the
| | 04:34 | shoe and I'm doing that so I can see it.
I will drag that underneath there, so
| | 04:39 | I now have this little point of
contact and I'm going to make this just trail
| | 04:43 | back, just a bit here.
| | 04:44 | Now, right now that shadow is pretty
intense, so let's zoom out and see how it
| | 04:47 | looks. Okay, well it definitely gives
a little bit more permanence like the
| | 04:51 | foot is sitting on something, but
I need to blur it out, lower it's Opacity, so
| | 04:55 | let's do that. We will navigate to
Filter > Blur > Gaussian Blur and that
| | 04:59 | amount was way too high. We just want
to soften this, okay that, right about
| | 05:05 | there because I'm going lower down
the opacity. And I go to my Opacity I'm
| | 05:08 | going to bring that way down, use the
Arrow key to nudge that and there we have
| | 05:13 | that little point of contact.
I'm just going to nudge that up.
| | 05:16 | I will zoom in a little bit more in
the foot, create one more of those, grab
| | 05:20 | the Brush tool, this time I'm just
going to create a little tiny line right
| | 05:24 | underneath the front of the foot.
Press the E key to raise part of that. So I
| | 05:28 | just went little bit too far on this
side over here. All right, and then lower
| | 05:36 | the opacity. Again, I just want it to
look like it's actually sitting there.
| | 05:41 | So there are two little points of
contact. Rather than floating we have just
| | 05:44 | that little bit of perspective. Now
the other thing that sometimes people do
| | 05:49 | when you have shadows like this is we
actually create a shadow that's pretty
| | 05:52 | large that covers this surface area,
just to kind of show that there is
| | 05:56 | something present there.
| | 05:57 | I am going to do that. I'm going to
click the New Layer icon and I'm going to
| | 06:00 | grab the Elliptical Marquee, I'm going
to make an ellipse right here. So I have
| | 06:04 | this nice ellipse, and I will fill
that with Black, Edit > Fill and I will
| | 06:10 | choose Black there or I can use one of
my shortcuts too. We have done a lot of
| | 06:15 | shortcuts so far. So I don't want
to do too many. Select > Deselect.
| | 06:19 | All right, well I need the flatten this.
Command+T on the Mac, Ctrl+T on the
| | 06:21 | PC, hold down the Command key or the
Ctrl key. What we want to do is just make
| | 06:27 | a nice flat shape there underneath the
model. All right, well that doesn't look
| | 06:32 | very good, it's too intense. No big
deal all right. We are going to lower its
| | 06:34 | Opacity and then we are going to go
ahead and navigate to Filter > Blur >
| | 06:39 | Gaussian Blur and sometimes you can
actually even use some radio effects, that
| | 06:43 | can have this shoot out a little bit.
But again all that I'm looking to do is
| | 06:47 | just create a little of a subtle
darkening, underneath the object or the
| | 06:51 | subject here.
| | 06:53 | Sometimes it's an object when it's a
product shoot. And just looking to add
| | 06:57 | little bit of that, let's lower the
Opacity. Again this is going to be pretty
| | 07:00 | subtle. Here's my before and after but
it's just this showing that something
| | 07:04 | kind of exist here, and now lot
of times that happens with shadows.
| | 07:07 | Now with our directional shadow, go
down there, I'm going to lower that Opacity
| | 07:11 | a little bit more. And I'm going to
give that a little more height, Command+T
| | 07:15 | on a Mac, Ctrl+T on a PC. I'm just
going to stretch this shadow out a bit.
| | 07:22 | Press Enter or Return, reposition that,
give that shadow a little bit more of a
| | 07:27 | reach there. And we could modify the
shadow in any different number of ways.
| | 07:31 | All right, well so far so good. We
have made some good progress with our
| | 07:34 | shadows. We have learned some helpful
tips and techniques. Yet there is just a
| | 07:38 | few more creative things that
I want to do here with this particular
| | 07:41 | photograph. So we will
do that in the next movie.
| | Collapse this transcript |
| Rotating a subject and shadow| 00:00 | All right, well because this is a
title on creativity and creative effects,
| | 00:04 | what I want to do here is just take
this image a little bit further. I want to
| | 00:06 | have some fun with it. All right,
well so far we can see all the different
| | 00:09 | adjustments that we have made. Here we
have our shadow all the way up to the
| | 00:12 | image and all the underlying
shadow layers are underneath the image.
| | 00:16 | Let's go ahead and group all these
layers. Click on one of the layers, hold
| | 00:18 | down the Shift key, then click on the
topmost layer and press Command+G on a
| | 00:22 | Mac, Ctrl+G on a PC. We are going to
call this v1 for version 1. What if I want
| | 00:27 | a different version? All that I need
to do is click and drag this whole layer
| | 00:31 | set to the New icon. So now I have
another version of this. I will name this v2.
| | 00:34 | Now what can I do with v2? I will turn-
off v1 for a moment, and now that I'm in
| | 00:40 | v2, I will press Command+T on a Mac,
Ctrl+T on a PC. Now I have this little
| | 00:45 | point here, and that's where the image
rotates. If I click and drag, it rotates
| | 00:49 | around that middle point. Well, what if
I put this down by the toe here? What I
| | 00:52 | could do is actually rotate the image
in a unique way so there is a little bit
| | 00:56 | more of a lean to this photograph.
And you can come up with some pretty
| | 00:59 | interesting results by doing this.
| | 01:01 | Now the only problem that I have is a
shadow underneath here, it's not level
| | 01:05 | anymore. So I'm just going to get
rid of that all together. It's not that
| | 01:07 | essential of a shadow, right?
| | 01:09 | Now the other thing that I may want to
do is because this shadow then becomes a
| | 01:13 | bit too tall for me, I will click in
that layer, I click on the Add Layer Mask
| | 01:17 | icon and I'm going to grab the Gradient
tool. Now the Gradient tool is actually
| | 01:20 | really helpful. If I go ahead and click-
and-drag across the shadow, and keep in
| | 01:25 | your mind that I'm clicking and
dragging, I'm on the mask layer, we can see
| | 01:27 | that I kind of diffuse that or pull that away.
| | 01:30 | I can also continually modify this. So
I can continually make different types
| | 01:34 | of gradients, and again all that I'm
interested in doing is just backing that
| | 01:37 | shadow off a bit, and then I'll lower
its opacity even more, just so I'll have
| | 01:41 | a little bit less of a shadow and it
trails off. So again, we are just having
| | 01:45 | fun with this and seeing what another
version would look like. So here is v2
| | 01:49 | and then here is v1. So just a little
bit of a different lean, a different image.
| | 01:54 | Now when I look at that, I realize it
might be of interesting to even rotate
| | 01:58 | this further. I want to go further with
it. So I'll click-and-drag this to the
| | 02:01 | New Layer icon, turn-off v2, name this
one v3, and then what I'm going to do is
| | 02:07 | press Command+T on a Mac, Ctrl+T on a
PC. This time I'm just going to rotate
| | 02:11 | the entirety of the image.
| | 02:13 | Now when I do that, I think it might be
fun to have this person floating a bit.
| | 02:18 | So I'm going to open up this layer set,
go into my shadow here and I want this
| | 02:22 | gradient deal that I worked on, so
I'll click in that and then right-click or
| | 02:27 | Ctrl-click and choose Delete Layer
Masks, so I have just the shadow.
| | 02:31 | Now let's Free Transform that shadow,
Command+T on a Mac, Ctrl+T on a PC. We
| | 02:35 | move this down to the toes there, so
I can rotate this back to the subject,
| | 02:39 | make it a little bit smaller, bring it
back to its normal size, press Enter or
| | 02:43 | Return, and then I'm going to go
ahead and drag this down, so I have this
| | 02:47 | little bit of a floating effect here.
| | 02:49 | All right, press Command+T on a Mac,
Ctrl+T on a PC. I'm going to try to make
| | 02:53 | this even a little bit more flat
there and then, go ahead and hold down the
| | 02:59 | Command key on a Mac, Ctrl key on a PC,
press Enter or Return to apply that.
| | 03:04 | We have that little bit of a mask problem.
We have seen that before, no big deal.
| | 03:08 | Click on the mask, grab our Brush tool,
and we will go ahead and paint that
| | 03:11 | away. That was that little edge line,
right? And now we have a different
| | 03:15 | version. So here is our v1, v2. A
little bit of a lean, and then quite a bit of
| | 03:20 | a lean and we also control how high
she is floating based on how far away she
| | 03:24 | is from that shadow.
| | 03:26 | Now a lot of times when you get to a
point like this you realize there are a
| | 03:28 | couple of things you need to change.
Like, do I need the point of contact on
| | 03:31 | the shoes? Not at all. Is this shadow
perfect? Well, perhaps not. Maybe I want
| | 03:35 | it to be a little bit taller, maybe
I want to be a little bit smaller, I don't
| | 03:39 | know. You can really begin to
experiment with things, and again we are just
| | 03:42 | looking to have a little bit of fun with
this and create some different effects.
| | 03:47 | All right, well so far so good. We've
rotated the image a few different ways.
| | 03:50 | Now these rotation ideas gives me yet
even another creative idea, we will take
| | 03:54 | a look at that next
creative idea in the next movie.
| | Collapse this transcript |
| Rotating and creating a pattern | 00:00 | All right. Well, now that we have
created the shadow and rotated the image, we
| | 00:03 | have these different versions, I think,
what would happen if we took this idea even further?
| | 00:07 | Go ahead and turn off the Visibility of
that group and go into this first layer
| | 00:11 | set. Click the original image;
duplicate that by clicking and dragging it to
| | 00:15 | the New Layer icon and then click and
drag this to the top of the hips, so it's
| | 00:18 | up top. Turn ff the Visibility
of everything else but that layer.
| | 00:22 | What I'm interested in doing here is
free transforming this and sizing this
| | 00:25 | down. So I will press Cmd+T on the Mac,
Ctrl+T on the PC, and I'm going to make
| | 00:29 | this nice and small, then
double click to apply that.
| | 00:32 | Now, double click the Zoom tool to take
this to 100%, so I can really focus in
| | 00:36 | on the image. Now, what I'm
interested in doing is taking this image and
| | 00:40 | rotating it, and perhaps
creating a pattern out of it.
| | 00:43 | So I'm going to go ahead and copy this.
Command+J on a Mac, Ctrl+J on a PC.
| | 00:48 | Then Cmd+T on a Mac, Ctrl+T on a PC.
Click and move that little Rotation
| | 00:52 | Orientation point right there, down to
the bottom of the toes. We will click
| | 00:56 | and drag and move that
over. Press Enter or Return.
| | 00:59 | Well, let's do that again. Command+J on
a Mac, Ctrl+J on a PC, Cmd+T on a Mac,
| | 01:05 | Ctrl+T on a PC, and we will then
rotate it, do the same exact thing.
| | 01:10 | All right. Well, now that I have three
versions of this, I kind of see that I
| | 01:13 | could possibly create an interesting
pattern, but this is going to take a while
| | 01:17 | if I'm going create a pattern that goes
all the way around. How can I speed it up?
| | 01:21 | Well, click on one layer, hold down the
Shift key, click on another, and check
| | 01:25 | this out. With the Move tool selected,
press the Opt key if you are on a Mac,
| | 01:29 | Alt key if you are on a PC, and then
click and drag. When I do that, I will
| | 01:33 | then have three new versions of the image.
| | 01:36 | Now in this case, they are not on the
right spot. I can move them to the right
| | 01:40 | spot a number of different ways. One
way would be to simply press Cmd+T on a
| | 01:44 | Mac, Ctrl+T on a PC, move that
Registration Point right down there at the toes,
| | 01:49 | and we will rotate this around and then
reposition it. Again, what we are going
| | 01:53 | to just look to do is to find the sweet
spot here. Bring this back up here, now
| | 02:00 | that I move them, and I will find a
sweet spot. All right, so far so good.
| | 02:07 | Press Enter or Return.
| | 02:09 | Now, one of the things that I notice
when I do that is that I have this little
| | 02:12 | white lines that are overlapping. Well,
what I can do is grab that whole set,
| | 02:17 | those three images and put them
underneath, and now they are underneath and I'm
| | 02:20 | not seeing those white lines.
| | 02:22 | Again, remember, that was that problem
we had with our mask. So a lot of times
| | 02:25 | layer order will solve problems like that.
| | 02:27 | Well, let's go ahead and click in our
bottommost layer. Go to the top one, and
| | 02:31 | then we are going to hold down the
Opt key on a Mac or Alt key on a PC, and
| | 02:34 | click and drag to reposition that. Well,
now I have this pattern here, those
| | 02:38 | are all selected. Let's just make sure
we just have those selected. Yeah, we
| | 02:42 | do. We will press Cmd+T on a Mac, Ctrl+
T on a PC, and we are just going to go
| | 02:48 | ahead and rotate this one. So we will
go ahead and rotate that around, and then
| | 02:52 | press Enter or Return, and
then click to reposition that.
| | 02:55 | Again, if what we find is that we have
a little bit of that overlap, well, that
| | 02:59 | group still selected, go ahead and just
relocate those, put them down lower in
| | 03:03 | this layer stacking order to
get rid of some of those lines.
| | 03:07 | Now we have a little bit of an overlap
here with some lines that we could fix.
| | 03:10 | Yet for the purpose of this demo I'm
going to say, you know what? I'm going in
| | 03:13 | a decent direction, I just need one more here.
| | 03:16 | So I'm going to right click or Ctrl-
click on that one. That will take me to a
| | 03:19 | particular image, which is 14 right here.
Well, let's copy that. Command+J on a
| | 03:24 | Mac, Ctrl+J on a PC, Cmd+T on a Mac,
Ctrl+T on a PC. We have one more and we
| | 03:30 | are going to go ahead and add that
one to our mix there and press Enter or Return.
| | 03:34 | All right. Well, now we have created
this interesting pattern. We do have a
| | 03:37 | little bit of cleanup work to do with
our masking. So we could go into each
| | 03:41 | image and actually work on the mask,
although be pretty tricky to find those
| | 03:46 | edges. How could we find them quickly?
Well, hold down the Opt key on a Mac or
| | 03:49 | Alt key on a PC, what you are going
to do is it's going to take you to your
| | 03:53 | mask right here.
| | 03:54 | When it takes you to your mask, what
you are going to realize is that the
| | 03:56 | problem is that this black mask isn't
blacking everything out. Well, how could
| | 04:01 | I remedy that?
| | 04:02 | Well, I will grab the Lasso tool, and
then I will make a lasso selection around
| | 04:08 | the subject there. I could then
invert that. Select and choose Inverse, and
| | 04:13 | then fill the entirety of that
background with black, edit, and then fill; we
| | 04:17 | will fill with black there, click OK,
and now we have gotten rid of any line
| | 04:21 | problems with this particular layer.
Hold down the Opt key on a Mac, Alt key on
| | 04:25 | a PC, click on that mask
icon to bring that back.
| | 04:28 | Now that being said, that's going to be
a little bit tedious. It will probably
| | 04:31 | be worth it if we like our pattern, or
for that matter, it may be easier just
| | 04:35 | to go backwards to fix the original
layer and then duplicate from there. So
| | 04:40 | again, it's going to
depend on your own workflow.
| | 04:41 | Now, the only other thing that I might
want to do with this particular setup
| | 04:45 | would be to begin to change color. So
let's go ahead and select the original
| | 04:48 | image. We will grab the Move tool. We
will right click or Ctrl-click, and there
| | 04:52 | it goes down to that original file, and
we can see that that's the one up top,
| | 04:56 | or close to the top for that matter.
| | 04:58 | Now, let's say that I then want to
go to the next image; right click or
| | 05:01 | Ctrl-click, there is the next one. On
this image now, I'm going to navigate to
| | 05:05 | Image > Adjustments, and choose
Replace Color, and I'm going to replace the
| | 05:11 | color here. I have got my Eyedropper
and I will click on the color; which is
| | 05:15 | that red, and I'm just going to make
that red a little bit more orange, a
| | 05:19 | little bit more saturated, increase
the fuzziness so I have all of it, and
| | 05:22 | click OK.
| | 05:23 | Then I will right click or Ctrl-click
to choose the next one. Go to Image >
| | 05:28 | Adjustments > Replace Color. I need to
select the color, so I will go ahead and
| | 05:31 | click on that color, and here I'm
going to modify the Hue. In this case, I'm
| | 05:36 | going to go a little bit more yellow.
| | 05:37 | You get the gist where I'm going, right?
I could begin to create a little bit
| | 05:41 | of a color wheel, right click, and then
choose the next one, navigate to Image
| | 05:45 | > Adjustments > Replace Color, and then
Eyedropper, select the color, and then
| | 05:51 | again we are going to change the color
there. We could have quite a bit of fun
| | 05:54 | with that. Click OK to apply that,
and again, create perhaps some kind of
| | 05:57 | pattern based on color,
using that Replace Color command.
| | 06:01 | So again, sometimes it's kind of
interesting to create a pattern. Now, I will
| | 06:04 | zoom out a little bit and take a look
at that pattern. Now, is this the most
| | 06:08 | amazing image ever? Well no, not
necessarily, but again, sometimes you can come
| | 06:12 | up with some pretty creative results.
| | 06:14 | Well, how else could we modify color in
some unique ways? Well, something else
| | 06:19 | that we could do would be to go to
the top of the layer stack, click on the
| | 06:22 | Adjustment Layer Icon and then
choose Hue, Saturation. Now, with Hue,
| | 06:26 | Saturation, what I'm going to
do is desaturate everything.
| | 06:29 | So now that I have lost all the color,
I'm going to then bring it back in to
| | 06:32 | just one of the images. Which image do
I want it back in on? Well, I want it in
| | 06:36 | on, let's say, this one right here, one
of these images. So I would right click
| | 06:39 | or Ctrl-click. That will take
me to this image here, Photo 3.
| | 06:43 | Well, how can I get that information?
Well, all that I need to do is I need to
| | 06:47 | click on the mask, press the Command
Key, click on that to activate that as a
| | 06:51 | selection. We are going to go up here
to the Hue, Saturation mask. We are going
| | 06:56 | to then fill that area with black. We
can do that by going to Edit and choose Fill.
| | 07:01 | Now, if we fill the inverted; in this
case, we filled the wrong area, no big
| | 07:05 | deal. Let's go ahead and navigate to
Select > Deselect. In this case, we filled
| | 07:10 | the right area, but it didn't
desaturate everything else. Well, how can I get
| | 07:14 | rid of everything else? Make a Marquee
selection over everything else, but that
| | 07:20 | image there. We could of course have
done this from the beginning, but a lot of
| | 07:25 | times it's helpful to use the mask
that you have. Then we will go to Edit >
| | 07:29 | Fill. We are going to fill this
with white, right, because we want that
| | 07:33 | desaturation to be revealed there,
and then navigate to Select > Deselect.
| | 07:38 | All right. So the interesting thing
about this is we could then limit the
| | 07:41 | color. Now, does that look amazing? Not
necessarily, but again, the idea is to
| | 07:45 | get creative and to begin to look at
some different ways, how you can modify your images.
| | 07:49 | All right. Well, let's take a look at
just one more creative thing that we can
| | 07:51 | do here. Go ahead and turn on Hue/
Saturation layer. I'm going to click on the
| | 07:55 | mask for that layer and navigate to
Edit > Fill and I'm going to fill the
| | 07:58 | entire mask with white. That's revealing t
he entirety of this Hue/Saturation adjustment.
| | 08:03 | Let's double click the icon to open up
the Adjustments panel. Now rather than
| | 08:06 | desaturating, what would happen if
I actually just modified the color here? So
| | 08:10 | I'm going to go ahead and modify
perhaps and colorize the color, so now I have
| | 08:13 | this huge color shift across all of the images.
| | 08:16 | Well, I could apply this huge color
shift across all of the images, double
| | 08:19 | click the Adjustments panel, click in
this Mask area. So I will go ahead and
| | 08:22 | select my Gradient tool, and I'm going
to modify this mask this time with this
| | 08:27 | middle type of a mask, and I'm
just going to click and drag.
| | 08:30 | What I'm going to do is click and drag,
and one of the things that you can see
| | 08:32 | is that by modifying this particular
mask, it's limiting that color shift to
| | 08:37 | particular areas of the image. I can
then bring it back in different ways. So
| | 08:42 | it's actually quite fascinating.
| | 08:43 | So if we invert that, we can see that
we can slowly start to bring in color in
| | 08:47 | unique ways, or for that matter, we
could try a regular mask and then click and
| | 08:51 | drag across one angle, double click
this adjustment, and here you are going to
| | 08:54 | see that I'm able to modify half of
this image, or portion of this image in a
| | 08:58 | unique way. So that could be
another way that we could create a pretty
| | 09:01 | interesting pattern and work with color.
| | 09:04 | All right. Well, that wraps up our
creative work on this photograph. Now, my
| | 09:07 | intent here was just to have a little
bit of fun, and also to get you to think
| | 09:11 | about how, when you are working on your
images, you can even push your concept
| | 09:14 | further and further in order to
creatively explore some different possibilities.
| | 09:17 | Now, sometimes you arrive at the end of
your image, like this one and say, you
| | 09:20 | know what? this isn't the keeper, this
isn't really going anywhere, but that
| | 09:23 | creative exercise taught me a few
things about working with my photographs.
| | 09:27 | All right. Well, that wraps up our work
here, I will see you in the next movie.
| | Collapse this transcript |
|
|
3. Adding MotionAdding radial motion blur| 00:00 | In this movie we are going to begin to
talk about how we can add some Motion
| | 00:03 | Blur. Here we have this very cute
photograph; those cheeks are just adorable,
| | 00:06 | right. So what we are going to do is go
ahead and convert this layer so we can
| | 00:10 | use this as a smart object. We'll
navigate to our Filter pulldown menu and
| | 00:14 | choose Convert for Smart Filters. Now
do you have to do this step? No, you
| | 00:17 | don't. But it does add an extra bit of
flexibility. So go ahead and Convert for
| | 00:22 | Smart Filters and click OK. Now
we can see the Smart Filter icon.
| | 00:25 | Now the next step is going to be to
go down to Filter. What we are going to
| | 00:28 | look to do is to choose Blur and then
we are going to go to Radial Blur. We are
| | 00:32 | going to a Zoom method Blur and we
will increase this a bit. We want to have
| | 00:36 | this zoom right up to the area of
the face and click OK to apply that.
| | 00:40 | Now when we do that it looks okay
except we have modified it a bit too far so
| | 00:45 | we can mask it off. So a click in the
Mask icon and then we'll go ahead and
| | 00:49 | grab our Brush tool, paint with black,
nice big brush, press the right bracket
| | 00:53 | key. It's a nice easy way to change
your brush size. So we can go through and
| | 00:56 | we can bring back in some of the detail there.
| | 00:59 | Now let's say that we don't actually
like how that effect looks, so we can
| | 01:02 | double-click Radial Blur for that
matter and crank it up even further, click
| | 01:05 | OK. Now we have much more of a blur. A
very different photograph. So nice thing
| | 01:09 | about converting this layer into
a smart object is it gives us this
| | 01:12 | flexibility. So we can continually go
back and forth and find the sweet spot
| | 01:16 | for this particular image.
| | 01:17 | We can also double-click this other
icon here in order to lower the opacity,
| | 01:21 | let's say we just want a little bit of
that blur and we can take that down as well.
| | 01:25 | In this particular image, I think it's
nice to have that up pretty high. We can
| | 01:28 | look at our overall before and then
after. Say hey, you know what? that adds a
| | 01:33 | little bit of visual
interest to this photograph.
| | 01:34 | The only way I think I want to do here
is just brighten up the eye on the side.
| | 01:38 | So I will go ahead and click on my
adjustment layer icon and choose Curves.
| | 01:41 | That will open up curves in the
Adjustments panel, and then I'm just going to
| | 01:45 | brighten this up focusing in on the
left side of the face here. I want to
| | 01:49 | invert that mask, so I'm in the mask
right now, Command+I on a Mac, Ctrl+I on a PC.
| | 01:55 | Next, I'm going to go ahead, and I'm
going to paint with white. So I press the
| | 01:58 | X key. It flips between black and white.
Now, in this case, I'm going to use
| | 02:02 | the Wacom tablet, which gives me
pressure sensitivity, and that way I can
| | 02:07 | control how intense this effect has
been built up. Even with that it's a little
| | 02:11 | bit too strong for my liking. Yet I can
at least subtly bring this in and then
| | 02:17 | lower the Opacity a bit here.
| | 02:18 | Now if you don't have a Wacom tablet,
it's not the end of the world. Although
| | 02:22 | it may be a good idea to consider
getting one because it just helps you build
| | 02:25 | up effects like that really subtly,
so you don't necessarily notice them.
| | 02:29 | Now this side of the face looks
pretty good. This side is a little bit too
| | 02:32 | bright, so let's equalize things. Click
on the icon for Curves. Choose another
| | 02:36 | Curves adjustment layer. This time we
are going to darken it, focusing it on
| | 02:40 | this side of the face. Invert the mask,
press Command+I, and then grab your
| | 02:45 | brush and we are going to paint this
time with white to reveal us, lower the
| | 02:50 | Opacity, just gives out a little bit
too high for me and it's going to darken
| | 02:54 | this up a little bit here. And just
allowing that to come through here. Just
| | 02:59 | looking to equal out the tone just a
little bit. Just click on the eye icon,
| | 03:03 | there is our before and after.
| | 03:04 | Let's take a look at the face
adjustments overall. Double-click the Adjustments
| | 03:08 | Tab, here we have our before and then
after. Again just equalizing the tones a
| | 03:12 | little bit and then here is our
before and after with that Motion Blur.
| | 03:16 | All right, well, that was kind of fun.
We add a little bit of a blur to add
| | 03:19 | some energy to this photograph and
then we worked on the overall color and
| | 03:22 | tone. Let's say that at this juncture,
we want to do one more thing and that is
| | 03:26 | work on the eye. So I will go ahead and
click on the Adjustment Layer icon, go
| | 03:29 | to Curves, I'm going to brighten this
up and in addition, I'm going to take
| | 03:33 | this to a blend mode of Screen.
| | 03:35 | Now if some of you are going to think,
that looks crazy. Stick with me. We will
| | 03:39 | invert that mask. Command+I on a Mac,
Ctrl+I on a PC, zoom in on that face;
| | 03:45 | make your brush nice and small, nice
and small. We are going to paint with
| | 03:48 | white, low opacity here and paint
with white on those eyes, bring in some
| | 03:55 | brightness there. Now do we bring in
too much brightness there? Yes, we did.
| | 04:00 | I'm not too worried about that
because I have the Opacity slider here, just
| | 04:04 | bring a little bit of snap to those eyes,
zoom out a bit, and again it's still
| | 04:08 | just a little bit strong for me. I want
to bring some vivid, nice bright light
| | 04:12 | there, but not too much, just a snap there.
| | 04:14 | Okay, well, that looks good. We had
some fun with this photograph and we are
| | 04:18 | going to continue to talk about Motion Blur
and we will do that in the next movie.
| | Collapse this transcript |
| Panning motion blur| 00:00 | In this movie we are going to continue
to talk about Motion Blur, and here we
| | 00:03 | have this photograph of my wife and
daughter Anika on a swing at Anika's
| | 00:07 | grand-parents' house here, and you
can see they are having a lot of fun.
| | 00:11 | I created this bit of blur by panning
with them with a slow shutter speed. So I
| | 00:15 | have got bit of a blur. Yet I want to
accentuate that. I want to add a little
| | 00:18 | bit more drama to this photograph.
Now I also want to fix it up.
| | 00:21 | One of the things I noticed is this
background brightness doesn't work for me.
| | 00:24 | So I'm going to go ahead and clone
that out. I'll create a new layer.
| | 00:27 | Shift+Command+N on a Mac, Shift+Ctrl+N
on a PC. We'll name this new layer
| | 00:32 | bg_fix. Click OK to apply that.
| | 00:35 | Next let's go ahead and grab the Clone
Stamp tool by pressing the S key. What
| | 00:39 | we are going to do is make a pretty
big selection here of this area of the
| | 00:42 | tree. Sample All Layers is on. Hold
down the Option key on a Mac, Alt Key on a
| | 00:46 | PC. I'm going to bring over some of
these trees. Now my Opacity is pretty low,
| | 00:51 | so I want to increase that, and then
go ahead and bring over some of those
| | 00:54 | tress, and that's looking pretty good.
| | 00:57 | I am just watching to try to bring
over again a nice range of these trees here.
| | 01:02 | Now, I'm not going to get this perfect the
first time, but that's okay. Hold down Option
| | 01:06 | key there and click on that and again
I'm just looking to try to darken this
| | 01:09 | up. Now if I go too far or I go onto
the rope or I go onto other areas of the
| | 01:14 | image that I don't want to cover,
I can always fix that later.
| | 01:18 | All right, we will hold down the Option
key here, and again just sample from a
| | 01:21 | different area. Now some of you may
be thinking, Well, Chris, okay, you're
| | 01:24 | creating all these repeating patterns,
how is this going to work for you? Well
| | 01:27 | it's going to work for me because what
I'm doing now is I'm holding down the
| | 01:31 | Option key and I'm sampling
different areas from the photograph and I'm
| | 01:35 | building up my own patterns.
| | 01:36 | In addition, what I'm going to do
eventually is I'm going to add some blur on
| | 01:40 | top of all of this color here. But I
just want to cover it up as much as I can,
| | 01:45 | and it's nice that in this case, this
particular background is blurry already,
| | 01:50 | so I'm going to be able to get away
with quite a bit, and again. So I'm just
| | 01:53 | going through sampling and then I'm
painting some areas, sampling by holding
| | 01:57 | down the Option key, painting some
different color, sampling, painting in
| | 02:01 | some different color and just make
my way through the entire of the image
| | 02:04 | again, trying to create a bit of this pattern.
| | 02:06 | Okay, well, so far so good. We have
done a pretty decent job at covering up
| | 02:10 | some of the brightness there in the
background. Yet, of course, we need to make
| | 02:13 | this look better. Right? So here is
our before and then after. Well, click on
| | 02:18 | the Add Layer Mask icon. Well, first
I'm going to select the Brush tool, then
| | 02:21 | I'm going to make my brush really
small, about the size of the rope here.
| | 02:25 | I want to paint with black, so I will
flip these two. So I have black in the
| | 02:28 | foreground. I'll click on one part of
the rope and then up at the top, I will
| | 02:32 | click again. That will give
me that nice straight line.
| | 02:35 | Now that's a little bit too far, so
I'm going to zoom in here, make my brush
| | 02:38 | even smaller, click and then hold down
the Shift key and then again to get that
| | 02:43 | nice straight line. Click and then Shift
-click again to get that nice straight
| | 02:47 | line. Again I'm just looking to
try to bring that up in spite of the
| | 02:50 | background. Press the X key and just
take off the edge there a little bit. So
| | 02:55 | we still have some rope. Keep in mind
too we are going to blur this out, so the
| | 02:59 | details aren't too important. Press
the S key to go back to Clone Stamp tool,
| | 03:03 | little bit of clean-up work that I
need to do there, clicking the layer, hard
| | 03:08 | edge up there. Okay, well,
that looks pretty good.
| | 03:11 | All right, well, so far so good, we
have now darkened the background a bit and
| | 03:15 | we have affected the overall
brightness of the image, which I'm liking.
| | 03:18 | Let's merge these two layers to the top.
We are going to do that by way of a shortcut.
| | 03:23 | I closed the Adjustments panel, so we
can see this here. Shift+Option+Command+E.
| | 03:27 | That merges all those layers to this
topmost layer. We'll go ahead and name
| | 03:30 | this one, merged.
| | 03:32 | Next, we are going to navigate to our
Filter. We are going to choose Convert
| | 03:35 | for Smart Filters, so we have
flexibility. This says to enable re-editable
| | 03:39 | smart filters; the selected layer will
be converted into a smart object. Yup,
| | 03:43 | that's what we want to do. We
can see the smart object icon.
| | 03:46 | Now we are going to go to Filter and
Blur. This time we are going to Motion
| | 03:50 | Blur. Now with Motion Blur, what we
are looking to do is just to add quite a
| | 03:54 | bit of motion here. We can control the
angle on this. I'm going to try to find a
| | 03:58 | nice angle that kind of fits with
the swing here. Click OK to apply that,
| | 04:02 | clicking the Mask, we are going to
mask this away. Grab your Brush tool.
| | 04:06 | We will paint with black. In this case,
I'm going to go ahead make my brush a
| | 04:09 | little bit bigger, and I'm in a low
opacity. I just want to start it off with
| | 04:14 | the low opacity to bring back in some
of the details and not the rope there,
| | 04:20 | just their faces, a bit more, and I'm
building this up. And again, I want to start
| | 04:24 | small so that I can bring it up to a
better place, and then I will increase my
| | 04:30 | Opacity even further so I can get some
nice detail on the face and some of the
| | 04:35 | garments here. Sweatshirt and
the PJs and that's looking cool.
| | 04:42 | All right, well, let's take a look at
how we are doing so far. Here is our
| | 04:45 | before and then after with that blur,
definitely adding a bit. Now when I do
| | 04:49 | that, one of the things I notice is
that I need to mask out some of this hair
| | 04:52 | here. So I'm going to click in my Mask,
my Brush tool, bring a little bit more
| | 04:56 | back of the hair there, up here too as
well. I want to bring back some. On this
| | 05:02 | leading edge I'm going to take out some
of that as well. Press the X key, bring
| | 05:06 | back a little bit of it. And I'm just
going through with my Mask, painting with
| | 05:12 | white or black to kind of
sweeten this up a little bit.
| | 05:15 | Let's go ahead zoom out so we can
actual kind of step back and see how we are
| | 05:18 | doing. Hold down the Option key on a
Mac, Alt key on a PC, here is our before
| | 05:22 | and then after. Very
different image, very different drama.
| | 05:25 | Now the next thing I want to do is just
darken up my edges. There are a number
| | 05:29 | of different ways we can do this.
Let's take a look at one technique we can use.
| | 05:32 | Shift+Command+N on a Mac, Shift+
Ctrl+N on a PC, take our blend mode to
| | 05:37 | Soft Light. Layer Name, corner. Next
we are going to fill this with black.
| | 05:41 | We will go to Edit and Fill and choose
from the pulldown menu Black, click OK.
| | 05:47 | Now that we have that, we are going to
then grab our Brush tool and now we are
| | 05:52 | going to paint with 100% Opacity. Once
we have created a mask, so we will click
| | 05:55 | on the add a layer mask icon, and
paint with black to limit that to certain
| | 06:02 | areas of our image. Now of course we
want to limit to the subjects here. I want
| | 06:05 | to brighten them up a bit, and the edges
over there are okay, and I'm just going to
| | 06:11 | create a little bit of a shape with
this mask. And then press the X key. Couple
| | 06:17 | of other areas, I want to darken down a
bit and press the X key again. Go with
| | 06:22 | a 50% Opacity by pressing the 5 key.
| | 06:24 | Again just controlling the way this
mask works and then look at our before and
| | 06:28 | after, again just darkening up the
edges a bit. A little bit too intense, lower
| | 06:31 | the opacity.
| | 06:32 | Now in this case, I wasn't using the
Wacom tablet, and if I'm ever not using it,
| | 06:36 | I always like to select the mask.
Navigate to Filter > Blur and Gaussian
| | 06:40 | Blur just to blur it out a little bit.
We can see the edges there; we can see
| | 06:43 | how they are a little bit hard. I can
soften them so it's a little bit more of
| | 06:47 | a smooth transition. And then we'll
zoom in on the photograph, take a look at
| | 06:52 | our overall before and after which we
can see. If I hold down the Option key on
| | 06:55 | a Mac, Alt key on a PC, clicking on
the eye icon in the background, we have
| | 06:59 | successfully added some pretty fun
blur to the background. Keep in mind we can
| | 07:04 | always change up blur. By clicking on
Motion Blur, we can add more blur, we can
| | 07:07 | change the distance of the blur and we
can have quite a bit of fun with this.
| | 07:11 | We can also remove it altogether or
perhaps just add even a little bit.
| | 07:14 | Sometimes what happens in Photoshop is
you add something and it's a little bit
| | 07:19 | too strong, you need to back it off.
So backing it off here may be a good
| | 07:23 | option, then we have our before and
then after. And one of the things I'm going
| | 07:27 | to try here before I exit this movie.
Just what happens if I mask off these
| | 07:31 | particular areas? Go ahead and take up
the Opacity here, bring back in the rope
| | 07:36 | there and then press the X key, and
then bring back some of the blur which just
| | 07:42 | looks to try to bring back a little bit
more definition to the rope up there.
| | 07:46 | I think that might help out just a
touch. It's subtle but it's kind of nice,
| | 07:49 | have a little bit more of the rope there.
| | 07:51 | All right, well, that wraps up our work
with adding Motion Blur to this photograph.
| | Collapse this transcript |
| Adding extreme motion blur| 00:00 | In this movie we are going to take a
look at how we can add a little bit more
| | 00:02 | of an extreme motion blur. Here we have
this photograph of pro triathlete Chris
| | 00:07 | Lieto in a wind tunnel in San Diego
and he is there in order of test his
| | 00:10 | aerodynamics and his speed and try to
get faster. So what I want to do is add
| | 00:14 | some pretty extreme motion blur to this
photograph in order to create a little
| | 00:18 | bit more of a speed feeling to this
photograph. So I will zoom in a little bit
| | 00:22 | and I like the different elements yet.
I want to reduce and simplify a bit.
| | 00:27 | So perhaps I'm going to need to work
on the overall color and tone. Now there
| | 00:30 | is a quite a bit we can do there. We
will do that a little bit later. So we
| | 00:33 | will keep that in mind now. Well, the
first thing we want to do is go ahead and
| | 00:37 | copy the Background layer. I'm going to
do that in order to have quite a bit of
| | 00:39 | flexibility. I'm going to name this one
blur 1 and I'm going to apply quite of
| | 00:44 | bit of blur to this image. Press Command
+J on a Mac, Ctrl+J on a PC. Name this
| | 00:48 | new layer blur 2. So we are going to
have two different blur layers here. All
| | 00:52 | right, well, let's turn off blur 2 and
then target blur 1 by clicking on that layer.
| | 00:57 | Next we are going to navigate to our
Filter pulldown menu, choose Blur and then
| | 01:00 | Motion Blur. What we are looking to do
is to increase quite a bit of blur here.
| | 01:04 | I mean a ton. In the Angle we want to
ideally have it kind of go along these
| | 01:09 | lines here, click OK to apply that.
Now that blur is much too strong. Yet we
| | 01:13 | will do with that in a minute. Let's
then click on blur 2 and turn on the
| | 01:17 | visibility of that layer. Filter > Blur
and then Motion Blur, and here we want
| | 01:22 | to bring this down, probably about
half of what we had before or perhaps
| | 01:26 | somewhere right around
there. Click OK to apply that.
| | 01:29 | Okay, well, so far so good. Let's go
to blur 1 for a moment. Click in that
| | 01:34 | layer, add a layer mask. Now that
layer mask is filled with white and as a
| | 01:38 | result we are seeing the blur everywhere.
| | 01:40 | I want to limit where the blur is. So
I will grab my Brush tool, make my Brush
| | 01:44 | pretty big initially. I'm just going
to go ahead and paint back in the detail
| | 01:48 | around the cyclist here and the helmet
up top, eyes, the hands out in front,
| | 01:54 | and again, I'm just looking to bring in
quite a bit of detail here. So what is
| | 01:58 | this layer actually doing now? Well,
here's our before and after. We can see
| | 02:02 | that essentially it's kind of
stretching or minimizing the background now.
| | 02:06 | Well, now that I'm up close, I will
press the X key. Make my brush much smaller
| | 02:10 | and just look to try to blur some of
these areas out as I can, and the leading
| | 02:16 | edge of the tire that's not going to
work for me. So I'm going to go ahead and
| | 02:18 | remove that. I'm going to try to blur
some of these other underlying areas just
| | 02:23 | a bit here to get some of the details
out. I'm not going to pull too much off
| | 02:28 | the back of the bike here. Meaning I'm
not going to add too much blur to that
| | 02:32 | portion of the image. Make sure it's
all nice and blurry down here in the
| | 02:35 | foreground. All right, well that looks
pretty good. So here is our before and after.
| | 02:39 | Well, then with this top layer, we are
going to use this to kind of connect the
| | 02:42 | two blurs. So we will click on the
Add Layer Mask icon, but instead of just
| | 02:46 | clicking on it, so that it's filled
with white, we'll hold down the Option key
| | 02:49 | on a Mac; Alt key on a PC, then click
on that icon. Now it's filled with black.
| | 02:53 | All right, well, now that we have our
Brush tool. We are going to go ahead and
| | 02:56 | paint with white. What I'm looking to
do is to just blur this trailing edge
| | 03:00 | here. I'm going to add a little bit to
that, and again lower the Opacity I'm
| | 03:05 | going to look to do a little bit of
blur to some of the other areas of the
| | 03:09 | image. That's too low. Press the 5 key
to bring it up a little bit higher. You
| | 03:14 | can just want to bring some blur
coming off of few these little areas here.
| | 03:19 | So basically I have one for the real
extreme and then perhaps for some of the
| | 03:23 | other details I have another one. This
way I can kind of get the best of both
| | 03:28 | worlds, right, because that one was
just way to intent, this one is going to
| | 03:32 | work pretty well for me. It's going to
give me the ability to bring in some of
| | 03:35 | this nice blur off the shoe, off the
legs; and I'm trying to paint a little bit
| | 03:41 | in the direction of the blur.
| | 03:42 | All right, well, that's looking pretty
good. Let's zoom out for a moment and
| | 03:45 | see how we are doing, before and after,
and then go ahead and fix that up.
| | 03:49 | Press the X key and paint it 50%
Opacity. So I'm just going to bring back a
| | 03:53 | little bit of detail along the back there
and we have that nice blur going on there.
| | 03:58 | Okay, well so far so good. I'm liking
that, except on the back wheel, want a
| | 04:03 | little bit too much here. So I'm going
to go ahead and press the x key and I'm
| | 04:08 | going to look to mask perhaps some of
that out and bring back in a little bit
| | 04:12 | on this layer. Press White there and
I'm going to bring some more of that real
| | 04:16 | intense blur there. Just looks like
I need to merge those two together just a
| | 04:20 | bit so I have the nice
streaks coming off of the back.
| | 04:23 | All right, so far so good. We had some
nice Motion Blur streaks there. Let's
| | 04:27 | take a look at our overall before and
then after. Now let's begin to modify the
| | 04:32 | overall color and tone.
Couple of ways we can do this.
| | 04:35 | One interesting technique would be
to change its color. So click on the
| | 04:38 | adjustment layer icon and choose Black
&White. Now with this we'll grab the
| | 04:42 | Target Adjustment tool and here we
are going to select the bike, we want to
| | 04:45 | brighten that up, maybe modify the skin.
That could go a little bit brighter.
| | 04:49 | Okay, well, that looks nice.
| | 04:50 | Now we want to choose another
adjustments. Let's go back to the Adjustment
| | 04:54 | icons. In this juncture we can add a
Curves adjustment. We'll go into the Red
| | 04:58 | Channel. We'll add a little bit of
Cyan there. We are going to go in the Blue
| | 05:01 | Channel, add quite a bit of Blue. Go
into the Green Magenta Channel; add a
| | 05:04 | little bit of Green to that color,
back to the Red Cyan. You can see that we
| | 05:08 | can mix this to get a really nice
looking color here. And I'm going to go with
| | 05:12 | this vivid blue.
| | 05:13 | All right, well, lot of times what
happens when you add a blue is that it's a
| | 05:16 | bit too over-powering. You need to
blend it into the image. So let's close the
| | 05:21 | Adjustments panel by double-
clicking that tab and duplicate this layer,
| | 05:24 | Command+J on a Mac, now we'll turn
off both layers just so we don't get
| | 05:29 | confused here.
| | 05:30 | I am going to turn on one of them, and
on one layer I'm going to take my blend
| | 05:33 | mode to Soft Light. That will then
contrast in and add the color on top of that
| | 05:38 | connecting to the contrast, and just
for the record this will actually look
| | 05:41 | pretty interesting if we turn off our
Black&White conversion because now we
| | 05:45 | have pretty interesting color snap to
that cooled it off, added a little bit of
| | 05:49 | a motion there. But we could also do
this with the Black&White layer on.
| | 05:53 | Now this top layer is the layer that's
going to add our color punch. We don't
| | 05:56 | want that much of it, so we need to
lower the Opacity. So again, it's a mixture
| | 06:00 | of both of these layers. This one for
color, this one for that contrast, really
| | 06:04 | brings that color to life.
| | 06:06 | Okay, well let's zoom out a little bit,
press the F key to go to Full Screen
| | 06:10 | View mode, let's zoom in a little bit.
Press the F7 key to bring back our
| | 06:13 | Layers palette and then hold down the
Option key on a Mac, Alt key on a PC,
| | 06:17 | here's our before and then after.
| | 06:20 | Now a couple of other areas we may
want to work on. Clicking our mask, I'm
| | 06:24 | going to go ahead and paint with black
to bring back in some detail on the legs
| | 06:28 | there like how much I painted out.
I can continually modify this. So I get it
| | 06:32 | to a place where I'm really excited about it.
| | 06:35 | Now another thing we can of course do
is modify the overall opacity of these
| | 06:39 | different layers, and so I'm going to
try that real quickly, I'm going to click
| | 06:42 | in my top one just lower the Opacity
just a bit there and then click in my
| | 06:46 | bottom layer, again just pulling the
Opacity back, brings back in a little bit
| | 06:50 | of detail, and again, we can figure out
how much motion blur we actually want to add.
| | 06:55 | Now this was a pretty intense motion
blur. We will see what it looks like
| | 06:58 | without that Black&White layer. That's
kind of interesting. We have the ability
| | 07:02 | to add those two color layers on top of
it, just mix it, look a little bit more
| | 07:07 | vivid, and then we take it to almost a
whole different conceptual place when we
| | 07:12 | get it at this juncture.
| | 07:13 | Now to finish this image off, I'm
going to go ahead and add little bit of a
| | 07:16 | darkening effect around the edges.
So I will create a new layer. Shift+
| | 07:19 | Command+N on Mac, Shift+Ctrl+N on a PC.
We'll name this layer, Edges. I will
| | 07:24 | grab the Marquee tool by pressing
the M key, and then I'm going to
| | 07:27 | click-and-drag, expand this across the
image. I'm just looking to have equal
| | 07:32 | space around those images.
| | 07:33 | Invert that selection, Shift+Command+I,
Fill with black. That's going to be
| | 07:38 | Option+Delete on a Mac. Alt+Backspace
on a PC. Now if you forget that one, you
| | 07:43 | can always exit Full Screen View mode
and go to Edit and then choose Fill right
| | 07:47 | here and choose your Fill Color.
| | 07:49 | All right, well now that I have that
filled in around those edges there and I
| | 07:52 | cropped in just a little bit, I'm
going to go ahead and go to select and then
| | 07:56 | de-select, Filter and Blur and Gaussian
Blur, I'm going to blur that out. Blur
| | 08:03 | that out quite a bit and then navigate
to my blending mode. We know what we are
| | 08:08 | going with this, right? We want that
Blending mode of Soft Light. Let's zoom
| | 08:11 | out so we can see that, there is my
before and after. Again, Little bit more
| | 08:15 | darkening there so I want to bring
the image forward a bit and I think that
| | 08:19 | looks pretty good. Let's take a look
at our overall before and after and Full
| | 08:23 | Screen View mode, press the F7 key to
bring back our Layers palette here as
| | 08:27 | before and after.
| | Collapse this transcript |
|
|
4. Adding Film GrainAdding grain with the Noise filter| 00:00 | What we are going to do in the next
couple of movies is take a look at how we
| | 00:02 | can add Film Grain to our photos. This
particular photo is a self-portrait, and
| | 00:07 | I took this by setting up my digital
camera on my kitchen table. I then set the
| | 00:11 | self-timer press the shadow release
button and walked in front of the camera
| | 00:14 | and I picked up my grandfather's
camera there, and I love that camera what I
| | 00:18 | want to do to finish this image off it
to add a little bit of Film Grain, and
| | 00:22 | that's just aside out, I think this
image works because I'm actually pressing
| | 00:26 | the shadow release button and then
I like the real tight crop of it.
| | 00:29 | All right, well there are number of
different techniques that we can use here.
| | 00:32 | What I'm going to do is actually copy
the background layer. I'm not going to
| | 00:35 | convert this to a Smart Filter,
although I will be applying a filter, and I'm
| | 00:39 | going to that so I have a little bit
extra flexibility typically smart filters
| | 00:43 | give you the most amount of flexibility,
yet not for what we need to do here.
| | 00:47 | So select the background layer. Press
Command+J on a Mac, Ctrl+J on a PC, and
| | 00:52 | I'm going to name this layer noise.
Next I'll navigate to my Filter pulldown
| | 00:56 | menu and I'm going to
choose Noise and then add Noise.
| | 00:59 | Now this is kind of interesting,
isn't it? What I'm going to do here is add
| | 01:01 | with some noise and we are going to add
some Gaussian Blur noise, Monochromatic
| | 01:05 | needs to be turned on. Now if
I increase this there's just going to be too much
| | 01:09 | noise, but I do want to have a
little bit higher amount of noise and I'm
| | 01:12 | comfortable with. So I would do want to
take this pretty high because I'm going
| | 01:15 | to be able to blend this and
back this off with Opacity later.
| | 01:19 | Click OK to apply that. Now let's take
a look at our before and after. Again
| | 01:23 | the nice thing about this is we can
than blend this in by lowering the Opacity,
| | 01:27 | and that looks really good,
I really like the noise.
| | 01:29 | Let's say that we want to blend it in
even further. Sometimes what's helpful is
| | 01:34 | to copy this layer and to take our
blend mode to Soft Light. Now I love using
| | 01:39 | that blend mode of Soft Light, let's
turn off the background layer for a
| | 01:41 | moment, because what it does is it
brings this noise into the tonal structure
| | 01:45 | of the image. We'll increase the
Opacity here a bit, and I really like how
| | 01:49 | that's working, it's really blending
this noise that I have set on my image. So
| | 01:53 | that the noise doesn't look like it's
sitting on top of the image but it's
| | 01:56 | connected or blended into the
image. Yet there is a problem.
| | 02:00 | The Shadow detail here is completely
lost. Well, how can I bring that back?
| | 02:03 | Well, if you double-click this layer,
it will open up your Layer Style effects.
| | 02:08 | Now we can than bring back the blacks
with this control here. I'm going to go
| | 02:11 | head and drag this up and you can see
that I'm bringing back in my detail,
| | 02:15 | there are my blacks and look at my
before and after, you can see those darker
| | 02:18 | tones are brought back.
| | 02:20 | Well, it looks a little bit unnatural
because I don't have any noise there, so
| | 02:23 | I want to bring them up to bring back
the detail, then hold down the Option key
| | 02:27 | if you are on a Mac, Alt key if you are
on a PC, split those sliders, that will
| | 02:31 | create a bit of transition there.
What you can do is just brighten up those
| | 02:35 | areas, click OK to apply that. Let's
press Command+Z there is my before, press
| | 02:40 | Command+Z again there is after. And on
a PC the shortcut for before and after,
| | 02:44 | you know that one right? Ctrl+Z and
then you can see your before and after.
| | 02:48 | So again the before then after, that
final little adjustment brought back some
| | 02:52 | of those blacks so I didn't lose them.
Now again sometimes you are going to
| | 02:56 | have a layer like this on its own,
other times you have a layer like this. In
| | 03:00 | addition with another noise layer
like we have here. In this case I need to
| | 03:05 | lower the Opacity of that a bit.
| | 03:07 | Now let's take a look at our overall
before and after. Here is the before and
| | 03:12 | then the after. We are really able to
enhance this image in some unique ways by
| | 03:17 | adding some Film Grain. And most
importantly that Film Grain connected to the
| | 03:21 | intent of the photograph you don't
want to add Film Grain just for film
| | 03:25 | screen's sake but you want to add Film
Grain in order to accomplish your vision
| | 03:30 | for the particular
photographs that you are working on.
| | Collapse this transcript |
| Adding grain with the Film Grain filter| 00:00 | In the previous movie, we took a
look at how we could add noise to our
| | 00:03 | photographs by going to Filter > Noise
> Add Noise. This time we are going to
| | 00:06 | take a look at yet another filter.
This filter will give us a little bit more
| | 00:10 | flexibility. Now one filter isn't
better than the other rather you need to know
| | 00:14 | about both because certain filters
will work well with certain images, while
| | 00:18 | another filter may work
better with the different image.
| | 00:20 | All right, well, let's go ahead and
duplicate this background layer. On a Mac,
| | 00:24 | Command+J, on a PC, Ctrl+J to
duplicate it. We'll name this new layer, noise.
| | 00:28 | Next, we are going to navigate to our
Filter pulldown menu, we are going to
| | 00:32 | choose Artistic and then, yup, we
are going to good old Film Grain there.
| | 00:35 | Now one of the problems with this
initial view is that my highlights are
| | 00:39 | completely blown out. Not a big deal,
just lower the overall intensity.
| | 00:43 | Now it could also control the
highlights or the brightness value here with my
| | 00:46 | highlight area, I will go ahead and
brighten that up a little bit, control the
| | 00:48 | size of the Grain. So you can see that
I have a little bit more flexibility in
| | 00:52 | comparison to just adding noise. Yet
that been said, keep in mind that one
| | 00:56 | filter isn't better than the other.
| | 00:58 | We will go ahead and click OK to apply
that, now we have our before and after.
| | 01:02 | Now a lot of times what I like to do at
this juncture is to copy this layer. So
| | 01:06 | I'm going to go ahead and copy that.
That's Command+J for Mac, Ctrl+J for PC,
| | 01:10 | and I will just name this N2 for noise 2.
I will turn that top layer off and go
| | 01:14 | back to my Noise layer, just lower the
Opacity. Now we have talked about how we
| | 01:18 | can limit where the noise is. One
technique that we can use is have a top layer
| | 01:23 | where we take that blend mode to Soft
Light, of course, we want to lower the
| | 01:26 | Opacity of that, then we are combining
a little bit of contrast with the noise,
| | 01:29 | with just a little bit of regular noise
across the whole image trying to get a
| | 01:33 | good mix of the two.
| | 01:35 | Another thing that we can do is go
back to this layer where we just have
| | 01:38 | straight noise right. Going to our
Channels palette we are going to hold down
| | 01:42 | the Command key if you are on a Mac,
Ctrl key on a PC and click on the Red
| | 01:45 | Channel. That will load the luminance
value of that channel. Go back to the
| | 01:49 | Layers palette and here we are going to
click on the Add Layer Mask icon. That
| | 01:54 | will essentially add a layer mask
that's based on the Red Channel.
| | 01:58 | Now sometimes what you will need to do
with this is invert your mask. You can
| | 02:02 | invert your mask one of two ways. You
can press a shortcut, which is Command+I
| | 02:05 | on Mac, Ctrl+I on PC, or go to
the Mask panel and choose Invert.
| | 02:10 | Now it's kind of tricky to know which
will work best so you want to experiment
| | 02:13 | a little bit with that. You also want
to look at your before and after with
| | 02:16 | your mask. Press the Shift key and
click o your mask, here is before. Gosh!
| | 02:20 | Noise is everywhere just sitting on
top of the image, here is after. Okay,
| | 02:24 | interesting, it protected a lot of
tones I'm seeing noise over here on the
| | 02:27 | brighter tones, and you know what my
opinion, that second version looks so much
| | 02:31 | more authentic so much realistic, I love it.
| | 02:35 | Now sometimes what works best is a
layer with a mask and then copy the layer,
| | 02:39 | and have one layer without the mask,
delete it. You can delete the mask by
| | 02:42 | clicking on it and then right-clicking
and choose Delete Layer Mask. And now
| | 02:46 | with this layer we are going to go
ahead and lower the noise. This will just
| | 02:49 | give us the ability to have a little
bit more pumped up noise, a little bit
| | 02:52 | more into some of these shadow areas,
and then this layer has this nice masked
| | 02:56 | off noise, again that connects the image
or makes the image look that much better.
| | 03:00 | Now I actually went through some pretty
technical steps here in this particular
| | 03:04 | movie and those technical steps can
help you in so many ways it's actually
| | 03:08 | quite unbelievable. It can help you
when you are working with Film Grain, with
| | 03:11 | Color, with Exposure, you name it.
| | 03:14 | So if you didn't catch any of those
steps I definitely recommend that you go
| | 03:16 | back and watch this one again so you
can pick those up because I think that the
| | 03:20 | results will speak for themselves. Now
the results may not look amazing here
| | 03:24 | because these movies become pretty small.
Yet experiment with your own images,
| | 03:28 | and I think you will soon discover that
the techniques that you have learned in
| | 03:31 | this movie will be really helpful.
| | Collapse this transcript |
| Using the Exposure 2 plug-in | 00:00 | This is something unique about Sheen was shelved
| | 00:03 | their something different about a photograph that was
captured on film versus a digital image valued every to be over
| | 00:09 | the replicate film completely yet there are some really
good plug-ins out there that can make your image is intriguing
| | 00:16 | that can add so much are photographed what to do in the next
two movies is begin to showcase a few of these plug-ins the
| | 00:22 | first one that on his showcases put
together by the guys at the aliens can
| | 00:26 | dad got a website alien skin. com and have clicked on the
product exposure to know why my showcasing a plug in one
| | 00:34 | showcase in this plug-in because I use this one all the
time it in addition, you can actually download a full 30 day
| | 00:40 | tryout. So even if you're not interested in
purchasing this plug-in you can download the trial
| | 00:45 | and a fine with us for 30 days and you have a ton of fun
with this plug-in where will let's go ahead and take a look in
| | 00:50 | how this actually works a go-
ahead navigate back to Photoshop here.
| | 00:54 | You have this photograph of my God or in a cat,
| | 00:57 | and she's sitting there in
our bedroom natural light
| | 01:00 | is sit in front of our closet and I just love this
expression and on to make this image a little bit in the stall jack
| | 01:05 | because it are using a soldier to me. It's kind of that
looking backwards when she was a little bit younger and
| | 01:11 | filtering or how to add to that a motion in the image to go
and click in the background layer them press command yet a
| | 01:17 | Mac control Jenna PC and then
they in this new layer cranes.
| | 01:21 | Next on that it's my filter pulldown menu
you're been ago to alien skin exposure demo
| | 01:26 | or to do is go to black-and-white down on and select black
and white film and this will open up the dialogue made to
| | 01:34 | zoom in a world that you what I zoom in a low that I hear
I can see my split before-and-after enough. You don't see us
| | 01:39 | put you can just go to the fall after in this case, I can
see that I have a little bit train added to the photograph ago
| | 01:46 | and navigate back the studies now I have black-and-white
films I have all different types of films if read you name it
| | 01:52 | is to go ahead and she's a few different black-
and-white films to showcase how this works to
| | 01:56 | fight the film was a lot a gray or to see the facts will be
pretty strong down the other hand week ago to a film that's
| | 02:02 | much less grain we can then go to the controls in this case
the grain controls and I can bring up the great amount that
| | 02:09 | a nice sing about these controls is that there's just so
much flexibility here we can also go in the overall color the
| | 02:16 | tone in the image we have a curves adjustment here that
we can make a modify the color and modify how the brain is
| | 02:22 | connecting to our image as click okay to
apply that just so he can see the results.
| | 02:26 | So here we have are before and then after pretty interesting
results in 01 things that I like to the sometimes the train
| | 02:33 | is change my blend mode to write the blend mode the
charges use most often this off-line. So now here's our before in
| | 02:40 | and after what that did as a kind of bleach this image out
of the cave is that really interesting grain that we can see
| | 02:46 | in the background. Now we can lower. The O pass you on
that just to bring it back. We can also salvage some of our
| | 02:52 | plaques for blacks became too black for
you to the right you double click that way.
| | 02:56 | Or that brings up your layer style blending the faxes is
advanced blending will bring back some of the Black Sea can see
| | 03:03 | some those tones are coming back although the option to get
a Mac all can a PC is split that you can brighten those up
| | 03:09 | quite a day and minimize the blinding of that and the
underlying layer and here's her before in again and then after.
| | 03:16 | So in this case, what I did as I use a filter to convert
the image to black-and-white a added film grain, but then I
| | 03:22 | change my blood now this is a really creative really unique.
In fact, you just have to try this one. It's so amazing
| | 03:28 | what can add your photographs I'll have some fun without
one have more to talk about regards to film grain and all do
| | 03:34 | that next movie
| | Collapse this transcript |
| Using the Nik Color Efex plug-in| 00:00 | In this movie, I want to continue to
talk about how we can use plug-ins in
| | 00:03 | order to enhance our photographs. What
we are going to do here is add some film
| | 00:06 | grain and then convert this image to
black and white and add a little bit of a sepia tone.
| | 00:11 | Now the filter that we are going to
be using in this particular case is a
| | 00:14 | plug-in that was created by the guys
at Nik Software. So if you navigate over
| | 00:18 | to niksoftware.com, you can find this
particular filter in their Color Efex Pro
| | 00:22 | filters. So go ahead and click on that
option and again here you can actually
| | 00:26 | download a free 30-day trial. Now
these 30-day trials are so much fun, but a
| | 00:31 | quick warning. When you do the trial
you are going to realize how amazing these
| | 00:34 | tools are and you are probably going
to want to use them more. So be ready to
| | 00:37 | use it and take advantage of those
full 30 days if you do the trial.
| | 00:40 | But again, this particular plug-in has
a number of different features. We are
| | 00:44 | going to look at one of them here. All
right, well here I have this beautiful
| | 00:48 | portrait of these family-friends of
ours down at the beach. I love the light. I
| | 00:51 | want to add a little bit of film grain.
So I'm going to go ahead and navigate
| | 00:54 | to my Background layer. I'm going to
copy that by pressing Command+J on a Mac,
| | 00:58 | Ctrl+J on a PC and name this layer grain.
| | 01:01 | Next, I'm going to navigate to my
Filter pulldown menu > Nik Software and I'm
| | 01:05 | going to select Color Efex Pro. This
will then launch the Color Efex Pro dialog
| | 01:10 | window. Now there are a number of
different filters here, just to illustrate.
| | 01:14 | Let me move over a little bit so we can
see the image here. Just to illustrate
| | 01:18 | everything from Black and White
Conversion, Bleach Bypass, pretty interesting
| | 01:23 | effect there. All the way down to some
vignettes, and neutralizing the photos.
| | 01:27 | So a wide range of effects. But what
we are going for here is Film Grain.
| | 01:30 | So with the Film Grain turned on we
can see the amount of grain. Now it's a
| | 01:34 | kind of difficult to evaluate this
because I'm at the 300%. So what I need to
| | 01:38 | do is zoom out, so I zoom out to 100%,
click on the image and when I click on
| | 01:43 | the image while holding down the
Spacebar key, I can see the before and after.
| | 01:48 | Now I have the ability to add grain
to the highlights, different types of
| | 01:51 | grain. So in this case, I can go up to
a real coarse grain, but I want to go
| | 01:55 | Ultra Fine, right.
| | 01:56 | I have my Midtone Grain, my Shadow
Grain, Grain Saturation, now that's really
| | 02:00 | important. If I zoom into an area of
the image like this where I have shadows
| | 02:05 | and increase the Grain Saturation, we
are going to see that there is quite a
| | 02:08 | bit of color artifact in there. We want
to reduce that. We want to reduce that
| | 02:12 | significantly if the image is going to
stay in color. This one is going to go
| | 02:16 | black and white. So it's a not
essential yet. I like to do that anyway.
| | 02:20 | All right, well, I will go ahead and
zoom out and I'm just going to increase my
| | 02:23 | grain amount here. Again I always air
a little bit on the high of too much
| | 02:27 | grain, and why is that? Well, I'm going
to use this layer in a unique way. You
| | 02:30 | know the deal, right? We will lower the
Opacity; change the blend mode to Soft
| | 02:34 | Light, something like that.
| | 02:35 | So I will go ahead and click OK to
apply that and now I have this particular
| | 02:39 | adjustment. Okay, well great. Well,
the next thing that I need to do is click
| | 02:42 | on the my Adjustment Layer icon and
here I want to convert to black and white
| | 02:46 | and make a Black and White Conversion.
I'm going to go ahead and click on my
| | 02:49 | Target Adjustment tool and just click
on a few areas that I want to brighten
| | 02:53 | up, the overall brightness in a few
spots. Its okay, that's looks good.
| | 02:56 | Next step is going to be to add some
color. So I will go back to my Adjustment
| | 03:00 | Layer icon and here I'm going to add
Color Balance Adjustment and bring some
| | 03:04 | reds and some yellows into this image
and the highlights as well. Click on the
| | 03:09 | Highlights there and bring in the
some reds and yellows and the Shadows as
| | 03:13 | well. Make those nice and
yellow and that looks pretty good.
| | 03:18 | All right. Well, the overall effect is
pretty intense. You know where we are
| | 03:22 | going to go after this, right? We are
going to blend this in. So we will go
| | 03:25 | ahead and go down to our Film Grain
layer. I'm going to take this to blend mode
| | 03:28 | of Soft Light. Now sometimes when you
do that your contrast becomes too heavy
| | 03:32 | and you need to fix the image. With
this image I'm really liking that contrast.
| | 03:36 | I think it's making the image snap.
It's making it more dramatic. It's
| | 03:40 | accentuating the good quality light
that's already there. So I'm going to run with that.
| | 03:44 | The next thing that I'm going to do
though is go to my Channels and I'm going
| | 03:47 | to Command-click the Red Channel to
load the luminance value of that channel.
| | 03:52 | Then I'm going to go up to my Color
Balance layer, click in the mask. I want to
| | 03:56 | fill that with Black. Edit and choose
Fill. In this case I'm going to choose
| | 04:00 | Black, click OK.
| | 04:02 | Actually we can't see. So let's go to
Select > Deselect and now what that did
| | 04:05 | for me is it limited the color to
specific areas of my image. Now this doesn't
| | 04:10 | always work, but it's almost always
worth trying. And what we can do as well is
| | 04:14 | press Command+I on a Mac, Ctrl+I on a PC
to invert that and see which one works best.
| | 04:20 | Well, a lot of times what happens is
you make that selection, you just flip the
| | 04:23 | logic a little bit, but that's no big
deal. It doesn't matter. It's not worth
| | 04:27 | getting the logic right. The first
time press Command+I or Ctrl+I on a PC and
| | 04:31 | you can flip it so that it looks
really good. Now let's lower the Opacity and
| | 04:34 | what we are looking for here is just
adding a little bit of Hue to the image.
| | 04:37 | Here is before and after. Increase that a bit.
| | 04:40 | Shift-click the mask. There is my
before and then after. Again just pull in
| | 04:44 | that back, just a touch there. Now
that I have that in a way that's blending
| | 04:48 | into the layer, I'm going to create
one more Color Balance layer on top of
| | 04:51 | that. This one is going to be the one
that will just give it the overall color
| | 04:56 | shift. I'm just looking to try to
find a mix here of this Sepia tone effect
| | 05:01 | that I like. Then lower the Opacity on that.
| | 05:04 | Again I'm looking for pretty subtle
color shift. There is my before and after
| | 05:07 | in regards to the color. I'm liking
that. Let's take a look at our overall
| | 05:11 | before and after. Here is before and
then after. You know the color image looks
| | 05:16 | really good. I like that. So with an
image like this I will probably print the
| | 05:20 | color version as well as this sepia
tone version. Of course, I would want to go
| | 05:24 | into my grain layer, modify that,
look at the exact amount of grain that I
| | 05:29 | think looks good. And then I also want
to press the F key to go to Full Screen View mode.
| | 05:33 | Minimize everything, so I can really
focus in on the image, focus in on the
| | 05:37 | effects that I have created and make
sure that the image actually looks better,
| | 05:41 | to clear my mind from all the technical
stuff of Photoshop, because at the end
| | 05:44 | of the day we are getting technical in
order to become more creative. We are
| | 05:48 | getting technical in order to
create images with more impact.
| | Collapse this transcript |
| Applying infrared and grain with Exposure 2| 00:00 | In this movie we are going to get a
little creative and have some fun. We are
| | 00:03 | going to work on this photograph of
my buddy Martin here. This was from our
| | 00:06 | surf trip in Baja. He is on this sand-
dunes, way above the ocean. I just kind
| | 00:10 | of like this image's graphic, and
I want to use this image and use this
| | 00:14 | graphicness to have a little bit of fun.
| | 00:15 | So we are going to navigate to our
Filter pulldown menu. We are going to go to
| | 00:19 | this Explore 2 Demo here, Black and
White Film. What I'm interested in doing is
| | 00:22 | finding a black and white conversion
which will do with the noise in this
| | 00:25 | photograph. So if I zoom in on it, one
of things that's going to happen is I
| | 00:28 | have a quite a bit of noise here in
the sky. So I'm going to go down, and I'm
| | 00:31 | actually going to try one
of the infrared conversions.
| | 00:34 | I am guessing that one of these is
going to work pretty well. So I will go
| | 00:37 | ahead and try couple of these different
infrared conversions. I'm just going to
| | 00:41 | look for the one where I can get that
background really black. Okay, that looks
| | 00:44 | quite nice. I will go ahead and click OK.
And I like the kind of the purity of
| | 00:48 | that. I want to take that even
further. So I will click on the Curves
| | 00:51 | adjustment layer iconm and I'm going to
go ahead and just darken up those tones
| | 00:55 | even more. Make this really graphic.
| | 00:58 | Okay, here is our before and after with
that adjustment. Great. So far so good.
| | 01:02 | Let's double-click the Adjustments tabs,
then zoom out a little bit, so we can
| | 01:05 | see the entirety of the photograph.
Now, well, I like the lean of this
| | 01:09 | photograph, and why I liked it, it is
leaning forward; I want to rotate it just
| | 01:13 | a bit. So here is what I'm going to do,
go ahead and merge these layers to the
| | 01:16 | top by pressing that weird shortcut.
Do you remember? It's a series of keys
| | 01:20 | which allows us to merge the
underlying layers to the topmost layer.
| | 01:24 | Let me tell it to you first on the Mac.
That Shift+Option+Command+E on the Mac.
| | 01:28 | It's Shift+Alt+Ctrl+E on the PC. Next
we are going to Free Transform this by
| | 01:34 | going to Edit>Free Transform. And then
I'm just going to rotate this a bit. Now
| | 01:38 | all I'm looking to do is just to
equalize this a little bit here, and then I
| | 01:43 | will press Enter or Return to apply that.
| | 01:46 | Now the problem here is that while
the beach looks okay, it doesn't look
| | 01:50 | perfect. So either I need to blend in
these lines, or I'm going to need to crop
| | 01:54 | this image. So let's turn off other
layers for a moment. Let me go ahead and
| | 01:57 | crop this file. So I'll grab the Crop
tool and click-and-drag to expand that
| | 02:00 | across the image, making that a
little bit more cinematic, a little bit
| | 02:04 | panoramic here. I will bring that in a
bit just because I don't want them in
| | 02:09 | the center too much. Press Enter or
Return to apply that, and then double-click
| | 02:13 | the Zoom tool to take this image to 100%.
| | 02:14 | So I've changed this photograph
significantly. Now was that Crop essential? No.
| | 02:19 | Now a lot of times what happens when
you crop an image is you get a different
| | 02:23 | feeling for it. Now while this image is
technically correct, the horizons are a
| | 02:27 | little bit more leveled, hue is a
little bit more leveled. I don't like it. So
| | 02:30 | I'm going to undo it. And here is
what I don't like about it. It's no as
| | 02:33 | dynamic. And you may not have realized
that it was so off, but now that you see
| | 02:37 | that lean in these lines, it's just
kind of interesting the way those are working.
| | 02:41 | All right, well, I want to then take
advantage of that. So what I'm going to do
| | 02:44 | here is grab my Polygonal Lasso tool,
and I'm going to click to create a point
| | 02:49 | there, and go out towards the edge,
and then I'm going to come down here. I'm
| | 02:54 | just going to look to try to follow the
angle that I see there in that horizon
| | 02:58 | line. I think that's relatively close.
All right, and then I will close that
| | 03:03 | off, right-click inside of there,
choose a Feather. Feather him out maybe 5, 6,
| | 03:07 | or 7, just a little bit of a softening effect.
| | 03:10 | Now let's create a new layer. I'm going
to fill this with white. And again, I'm
| | 03:13 | just having a little bit of fun here.
We will go to Edit>Fill and choose White
| | 03:18 | for our fill color, and then deselect,
Command+D on a Mac, Ctrl+D on a PC, or
| | 03:23 | Select>Deselect. All right, well now
that I have this white beam of light
| | 03:28 | coming out from his eyes, I can move
that around, I can control it, Free
| | 03:31 | Transform it, Command+T is the shortcut
to Free Transform, right? Ctrl+T for a
| | 03:36 | PC. Again I can modify it in a number
of different ways. Yet for the most part
| | 03:40 | I would say hey, this is working for me.
| | 03:42 | I am going to then next add some Type.
Grab the Type tool, and I'm going to
| | 03:46 | type out the word VISION here, and
I will change its color. Let's go with
| | 03:51 | something really vivid, like a nice
bright red, and I will go ahead and add
| | 03:55 | that there. And one thing that's kind
of interesting is if you want to modify
| | 03:59 | the Type, you press Command+T on a Mac,
Ctrl+T on a PC. When you modify, you
| | 04:03 | can't quite change the orientation of the type.
| | 04:06 | You can see that I'm beginning to flip
it around, but I don't have it quite the
| | 04:09 | flexibility I need. So undo that.
Navigate to Layer>Rasterize>Type. And now
| | 04:16 | when I press Command+T on a Mac, Ctrl+
T on a PC, and then hold down that same
| | 04:20 | key, Command or Ctrl and click-and-
drag one of the corner points, now I have
| | 04:24 | quite a bit of flexibility. What
I can actually here is start to create an
| | 04:28 | effect that perhaps follows this shape.
Now this can be kind of interesting;
| | 04:32 | other time you will find that it
doesn't work at all, and it looks a little
| | 04:36 | distracting, but I will go ahead and try this.
| | 04:37 | Press Enter or Return to apply that,
and then let's Free Transform it a bit,
| | 04:42 | Command+T again, let's make it a
little smaller. We just wanted to have a
| | 04:46 | little bit of that kind of VISION ask
look to it. Now in my opinion does this
| | 04:51 | actually look great in this light? No.
So why would I show it? Well, one of the
| | 04:55 | things I want to get you thinking about,
and realizing is that you have to know
| | 04:58 | all these different tricks and
techniques, yet you also have to know when to
| | 05:01 | use them or when to let go of them.
Just because you can do something, doesn't
| | 05:05 | necessarily mean that it's good.
| | 05:06 | All right, so I will go ahead and undo
this by pressing Command+Option+Z on a
| | 05:10 | Mac, Ctrl+Alt+Z on a PC. And then
I'm going to Free Transform this text,
| | 05:15 | Command+T on a Mac, Ctrl+T on a PC,
make this nice and small, and I will just
| | 05:19 | add this over here. So I now
have this interesting photograph.
| | 05:23 | Let's take a look at our overall before
and after. Here is before, and here is
| | 05:28 | after, very different image, and again,
just having some fun with our black and
| | 05:31 | white conversion. But in addition we
learned that how sometimes you can use
| | 05:36 | those plug-ins for purposes other
than their intention. Now while they have
| | 05:40 | names for what they are supposed to be
used for, they can always be used for
| | 05:44 | other creative purposes as well.
| | Collapse this transcript |
|
|
5. Creating Vintage EffectsCreating a distressed effect| 00:00 | In this movie we're going to talk
about how we can make this image a bit more
| | 00:03 | authentic. We want to add a little bit
of depth here. We want to make it a bit
| | 00:06 | more vintage. I like this photograph.
It's a portrait of my buddy Mike. We were
| | 00:09 | out on the Channel Islands. We went out
there to kayak, and to camp, and to surf.
| | 00:13 | Yet this image feels too new to me so
want to age this one a bit. How can I
| | 00:18 | then do that? Well, for starters
let's go ahead and click in the background
| | 00:21 | layer. You'll notice that we have this
onOne frame layer. We'll be referring to
| | 00:24 | that later, but for now background layer.
| | 00:26 | Let's copy that. Command+J on a Mac,
Ctrl+J on a PC. What we're going to do is
| | 00:30 | call this one exposure. Next we're
going to navigate to our Image pulldown menu
| | 00:34 | > Adjustments. We are actually going to
go to Shadow and Highlights to correct
| | 00:37 | the exposure. And it actually did by
default the pretty good job, bringing some
| | 00:41 | brightness into the shadow area here.
I want some of that. Modify the Radius
| | 00:46 | there a bit. Now the Highlights, I'll
bring those down as well. I'm going to be
| | 00:50 | converting this to black and white. So
I'm not too concerned about the colors that I'm seeing.
| | 00:53 | I am looking more at the tones. All
right, well so far so good. Let's go ahead
| | 00:56 | and click OK to apply that. All right,
well here's our before and then after.
| | 01:01 | Well, the image is looking a little bit
better. Now albeit, there are some
| | 01:04 | color problems, but again I'm not too
concerned about those. The next thing
| | 01:08 | that I'm going to do is convert to
black and white. Click on the Adjustment
| | 01:11 | Layer icon and choose Black and
White, and then we'll grab the Target
| | 01:14 | Adjustment tool. And again, we can modify
the brightness here in the few of the areas.
| | 01:18 | Now I'm going to go ahead and just
modify couple areas there. Now as I do that
| | 01:22 | I realized that what I really want to
do is actually darken up the sky a bit.
| | 01:25 | So I'm going to do that. It's going to
darken the sky there quite a bit, yet it
| | 01:29 | darkened up this portion of the
image too much as well. Well that's okay.
| | 01:32 | Here's why. We're going to go to the
Mask, and we're going to grab our Brush
| | 01:35 | tool by pressing the B key, paint with
black in this area. Now although this is
| | 01:40 | bringing color back in, I'm not too
worried about that, because I can mask out
| | 01:44 | that color later.
| | 01:46 | So let's look at our before and after,
again, just darkening some of the
| | 01:48 | background elements that looks nice.
Now let's click on the Adjustment Layer
| | 01:52 | icon and now choose Hue/Saturation
and Desaturate. So what that did is it
| | 01:56 | basically deleted or removed the Blue
that was coming through there. So here we
| | 02:00 | can see our overall black and white
conversion from here to here. All right,
| | 02:04 | nice, so far so good. Next thing I want
to do is click on the Adjustment Layer
| | 02:07 | icon, and choose Curves. Now with these
adjustments, I just need to bring down
| | 02:11 | my whites quite a bit. Need to bring
some detail into this area, the face in
| | 02:15 | particular right there.
| | 02:17 | So I'll go ahead and do that, and then
I'll brighten up the image a little bit,
| | 02:20 | and then perhaps bring my blacks down
just a touch there. Here's our before and
| | 02:25 | after. Again, just looking to equalize
the tone a little bit. So that we can
| | 02:29 | stylize it a bit more. All right, well,
now that we've made those adjustments,
| | 02:33 | I'm going to go in my Layers palette.
Here's where it's going to get kind of
| | 02:36 | fun. I'm going to turn this
layer for this onOne frame.
| | 02:40 | Now this is a frame that was created by
the plug-in onOne software. Now if you
| | 02:42 | don't have access to those frames, no
big deal. All that you need to do is scan
| | 02:46 | something old or shoot an old
concrete wall, or just use anything that has
| | 02:50 | texture in it. Some how by adding
texture to photograph, you can bring a whole
| | 02:54 | new life into an image. All right, now
that we have our texture, let's work on
| | 02:57 | our color. We're going to do this by
going to Color Balance. And for some
| | 03:02 | reason I like using Color Balance.
| | 03:03 | Now a lot of times people will say oh,
I never use Color Balance, because it
| | 03:07 | isn't as sophisticated as Curves. And I
say well fine, use Curves then. I think
| | 03:12 | all the tools are great. I don't think
you should become overly attached to any
| | 03:16 | tool. Rather the goal is to use lots of
tools and ultimately to create an image
| | 03:21 | that doesn't matter what tools you
use. So again, I like this one. So I'm
| | 03:24 | just going to modify these here a
little bit, my Highlights, bring in a little
| | 03:28 | bit perhaps of red there. I don't
want to do anything with the Highlights.
| | 03:31 | Let's check out the shadows, I'm just
going to experiment, yeah, there we go.
| | 03:34 | Little bit of yellow and red I think
will be nice. Gives it that a little bit
| | 03:39 | of color shift there, which I like.
Okay, we'll look at our before and after.
| | 03:42 | There is before and after with those
adjustments. Next thing I'm going to do is
| | 03:45 | create yet another Curves adjustment.
So I'll go ahead and navigate up to
| | 03:49 | Curves there. All right, now I'm going
to darken this one up a bit. I want to
| | 03:53 | make this image pretty moody here. Okay,
that's looking good. Now let's create
| | 03:58 | one more layer, Burn and Dodge layer.
We'll do that by way of shortcut
| | 04:01 | Shift+Command+N on a Mac, Shift+Ctrl+N
on a PC, and we're not going to do any
| | 04:05 | Dodging. Most likely we'll be Burning
so we'll name it Burn. This goes to Soft
| | 04:10 | Light. Click OK.
| | 04:12 | Now here's where I like to use a Wacom
tablet in the Styles pane here. In this
| | 04:16 | case I have selected the Brush tool,
painting with black, and because I have a
| | 04:19 | Wacom tab that I can paint with
different Opacities. And even if I don't have a
| | 04:24 | Wacom tablet, what I can do is I can
make some adjustments as I'm doing so
| | 04:28 | here. And then I can blur them out
with Gaussian Blur. I'm just looking to
| | 04:34 | darken up those edges a bit. And one
of things that has happened here is the
| | 04:39 | adjustments I've made right here are
just a little bit too disconnected. So I'm
| | 04:44 | going to go ahead and add some color
over the entirety of those adjustments.
| | 04:49 | And I'm going to make a small brush
here, and try to get into some of these
| | 04:52 | edges darken them up a little bit more.
Now a lot of times what's nice to do is
| | 04:56 | to create yet another adjustment layer,
and you can do that by copying this
| | 05:00 | one. Command+J on a Mac, Ctrl+J on a
PC. Now if you do that, you'll realize
| | 05:04 | that that's just too intense, I don't
like it. We'll press Command+A on a Mac,
| | 05:08 | Ctrl+A on a PC, then hit the Delete key.
That will then delete everything from
| | 05:13 | that layer, and then press Command+D
on a Mac, Ctrl+D on the PC in order to
| | 05:19 | deselect that selection.
| | 05:21 | And then go ahead and continue to paint
with black. I like to make sure that I
| | 05:24 | have two different types of layers.
I'm also trying to make relatively small
| | 05:29 | brush strokes, so that I can undo
them at any time. And I'm just adding a
| | 05:34 | little bit here and there, and then
I'm going to do, a little bit of dodging
| | 05:40 | here. Perhaps bring in little
brightness on the hat. All right, little bit on
| | 05:48 | the eyes there. The X key, okay, and
that one, you can see the lines on my
| | 05:55 | brush strokes. So I'm going to go to
Blur/Gaussian Blur. Just to blur that out
| | 05:59 | a bit. Here you can see that I'm
smoothing things out. Hey, I really like doing
| | 06:03 | that. It tends to help things come
together. All right, well, let's take a look
| | 06:06 | at before and after. We're going to do
that by scrolling all the way down to
| | 06:09 | the original layer. And here's our
before and then after. Well, quite a
| | 06:13 | difference. Let's press F to go to
Full Screen View mode, so we can really
| | 06:16 | enjoy this photograph. Then press the
F7 key. Hold down the Option key on a
| | 06:21 | Mac, Alt key on a PC click on that Eye icon.
| | 06:23 | Here's our original, here's where we
just started to correct the exposure, and
| | 06:27 | we did our black and white conversion.
And this was really nice, just because
| | 06:31 | we darkened some of those edges,
little bit of contrast, and we muted
| | 06:35 | everything. Now you'll think that it
is a good idea to mute, but it built up
| | 06:38 | the density of the photograph, which
was helpful. We have our frame here, and
| | 06:43 | then we added some color on top of that.
Some burning and dodging, and again,
| | 06:47 | just shifting the way the
light worked a little bit.
| | 06:50 | Now the one thing we might want to do
at this final juncture is try a blend
| | 06:53 | mode for our frame. Sometimes this
looks good, sometimes it doesn't. Now with
| | 06:57 | this blend mode on the frame, it pulls
up back a quite a bit. Lot of times when
| | 07:01 | you do that you also want to experiment
with inverting it. Command+I on a Mac,
| | 07:05 | Ctrl+I on a PC. That will then invert
that layer. You also want to experiment
| | 07:09 | with duplicating it. I'll press Command
+J here on a Mac, Ctrl+J on a PC. And
| | 07:14 | then perhaps inverting one,
maybe even inverting another.
| | 07:17 | Now when I do that I realize that I can
go really deep and dark and bring down
| | 07:21 | those edges, yet in this case
although that's kind of interesting, it's a
| | 07:25 | little bit too far for me. So I'll
turn off this top layer. Take this back to
| | 07:29 | just a normal blend mode, and then
invert it. So I have just this white
| | 07:33 | outline, and I like that. I'll go ahead
and copy that. Command+J. The copy I'm
| | 07:38 | going to take to a blend mode of Soft
Light and then lower the Opacity way down.
| | 07:42 | Invert that one, so in that case I'm
just looking to bring in some texture in
| | 07:47 | the middle of the frame here. See
where we got that. Turn this one off for a
| | 07:52 | second. And this one on, and then
we'll reorder these two. Okay, so far so
| | 07:59 | good. So I'm going to then click on the
Add Layer Mask icon here. I'll grab my
| | 08:03 | Brush tool, and make sure that I'm
going to paint with white here, and I'm just
| | 08:08 | going to bring in a little bit of
texture into the middle of this frame. Okay,
| | 08:12 | like in that, then I'll click on the
onOne frame up top. Click on the Add Layer
| | 08:18 | Mask icon here.
| | 08:20 | This time I'm going to paint with black,
and I'm just going to look to try to
| | 08:23 | remove a little bit of the texture.
So basically now I have a little bit of
| | 08:26 | texture that's bright, and a little
bit of texture that's dark, it's the best
| | 08:30 | of both worlds. If you didn't quite
catch that last step, basically what's
| | 08:34 | happening here, I will go ahead and
turn off all of the other layers for a
| | 08:37 | second. So you can see that there is
some small little pieces of texture here,
| | 08:41 | and they're black.
| | 08:41 | So I have one layer that's bringing
me in some black texture. Then I have
| | 08:45 | another layer that's bringing me the
edge over here, and if we turn on perhaps
| | 08:49 | one of the images, we'll be able to see
this even further. There is that white
| | 08:53 | edge, and also some white texture I
should say right in there, for example. And
| | 08:58 | here's our black layer. All right,
I'll Blend on Soft Light, no real edge
| | 09:02 | there, but I do have a
little bit of that texture.
| | 09:03 | So again, just some distressing, which
I kind of like, making the best of both
| | 09:07 | of those to kind of build this image up.
I wanted to distress it. I didn't want
| | 09:11 | to go too far. That layer goes off,
right? So here's just a little bit of that
| | 09:15 | distressing there on the background,
and there is our border which I really
| | 09:17 | like as well. All right, well, that
was pretty fun, wasn't it? We definitely
| | 09:21 | took this image to a new place. This
is one of those workflow techniques that
| | 09:25 | you just have to experiment with.
Because you can take your images to such
| | 09:28 | different places.
| | 09:30 | Now I talked pretty quickly about these
different techniques, so if you didn't
| | 09:32 | catch any of them, here's what I
recommend. Go back and re-watch this movie,
| | 09:36 | because I think that some of the
things we went over here will really be
| | 09:39 | helpful for you as you look to add depth,
or emotion, or authenticity, or even
| | 09:43 | a bit of vintage style to your own photographs.
| | Collapse this transcript |
| Creating aged style and color| 00:00 | You know one of things that I love
about Photoshop is that it's just plain fun
| | 00:03 | to do stuff like this. It is really
interesting to see how we can take these
| | 00:07 | color effects and add a little bit of
style or depth or authenticity to our
| | 00:10 | photographs. All right, well, we here
we have this photograph, and I want to
| | 00:13 | age this one a bit. I want to add a
little bit of a unique color to it. So I'm
| | 00:17 | going to go ahead and do that. What
I'm going to do is copy the background
| | 00:19 | layer couple of times. So let's go
ahead and press Command+J few times on a
| | 00:23 | Mac, Ctrl+J a few times on a PC. And
I will name this top layer i1, for image
| | 00:29 | one. The second layer i2 for image two.
We will leave this one down here as the
| | 00:33 | background layer.
| | 00:34 | All right, well, so far so good. Let's
go ahead and turn off the visibility of
| | 00:37 | i1, and navigate down to i2. Now this
photograph, what I'm interested in doing
| | 00:42 | is adding a little bit of Noise. Filter
> Noise > Add Noise. It is going to be
| | 00:46 | Gaussian, Monochromatic, and that
Amount actually looks pretty good. We'll
| | 00:50 | click OK to apply that. Then I want
to modify the color of this image. So I
| | 00:54 | will press Command+M on a Mac, Ctrl+M
on a PC, and I go under the reds, bring
| | 00:59 | those reds way up. Go into the blue,
yellows, I'm going to add quite a bit of
| | 01:02 | yellow here. Then here that I now have
all those interesting tones, I'm ready
| | 01:06 | to Blend this image into its background layer.
| | 01:09 | I am going to blend this with Soft
Light. Lot of times what happens with Soft
| | 01:12 | Light is that we lose a little bit of
detail of our blacks, and we will try to
| | 01:16 | address that in a second. But right now
let's take a look at our overall color
| | 01:20 | and tone. Okay, well, that's pretty
interesting. What would happen though if we
| | 01:23 | click on the background layer, and
create a Hue/Saturation adjustment above
| | 01:27 | that, and remove the original color? So
now we have the original color removed,
| | 01:32 | and then on top of it, we have this
really interesting kind of vivid warm
| | 01:36 | color. I think that looks pretty good.
I don't want to quite remove all that
| | 01:41 | color. So I'm going to go into my Hue/
Saturation layer, and either lower the
| | 01:43 | Opacity or double-click it and
modify the saturation amount.
| | 01:47 | Again, I'm just looking to pull some of
that out. Okay, well back to this layer
| | 01:51 | where we have our film grain, and
it's all that texture, that grain, that
| | 01:55 | depth, and also blocks up some of our
blacks. Well, all we could do here is
| | 02:00 | couple of things. We could create a
Curves adjustment layer. We could then
| | 02:04 | bring those blacks up. I'm going to
exaggerate, but here you can see I'm
| | 02:06 | bringing more detail on the blacks.
I can also work on the other aspects of the
| | 02:10 | image, so that it is just affecting the
darker tones here. You can see I'm kind
| | 02:13 | of turning those up a little bit. Well,
that might make for a little bit of a
| | 02:17 | better print, so I can try that.
| | 02:19 | I could also -- let's go ahead and
delete that one. Double-Click this
| | 02:23 | layer, and then do the Advance Blending
that we have seen before here, you can
| | 02:26 | see it's protecting, or bringing back
those blacks. Bring it up till you see
| | 02:30 | your black is looking good, and then
hold down the Option key on a Mac, Alt key
| | 02:33 | on a PC, and split those sliders, and
then modify them. Here we can kind of see
| | 02:38 | our before and after. That is going
to be kind of tricky. I'm going to zoom
| | 02:41 | into an area of the image. Press
Command+Z on a Mac, Ctrl+Z on a PC, here you
| | 02:46 | can see we are bringing in some good
detail. Here is our before and after. So
| | 02:49 | yeah, it's darker, but it's not
the end of the world back there.
| | 02:52 | All right, we want to have a little bit
of depth to that, right, some darkness,
| | 02:55 | so we will go ahead and leave that as
is. All right, now what about this top
| | 02:59 | layer? Well, this top layer is kind of
interesting. This is the original file.
| | 03:03 | What I'm interested in doing with this
layer is see if I can get anything out
| | 03:06 | of the sky, so I'll grab the Quick
select tool, and I will paint around the
| | 03:09 | sky. Then I think that is a decent
selection. I will press Refine Edge. Take a
| | 03:14 | look at what I have here. But that
actually looks pretty good. I want to have a
| | 03:18 | little bit more than the sky, smooth
that out. We'll make sure I definitely
| | 03:25 | have at least the sky, plus a little
bit more. Click OK. All right, well, now
| | 03:28 | that I have that, I will click the Add
Layer Mask icon, and then I will take
| | 03:33 | our blend mode to something like
Multiply, or Color Burn. Let's try a few
| | 03:37 | different options here.
| | 03:38 | Well Multiplies, that's not too bad,
it's not too shabby there. Darkens that up
| | 03:43 | quite a bit. That's kind of nice, so
let's try Color Burn or Linear Burn. Okay,
| | 03:47 | well, it's looking decent. I think
Multiply might work for me. Now my mask edge
| | 03:52 | doesn't quite work, so I will click on
my mask, and then I will click on the
| | 03:55 | Masks tab. Here I'm going to choose a
feathering amount. I'm going to increase
| | 03:59 | the feathering amount, again, to add a
little bit more of a transition. It is
| | 04:02 | going to look to, bring that out a bit.
Okay, that looks good. And then I want
| | 04:05 | to add some grain to this, so I will
go to Filter> Noise> Add some noise. You
| | 04:11 | would have to have that equal amounts
of noise that I have seen before, maybe
| | 04:16 | even just a little bit less. Click OK.
Because this is blending, I can try
| | 04:21 | duplicating this layer. Command
+J on to Mac. Ctrl+J on a PC.
| | 04:25 | Well, I like that, I don't like the
edge that I created. So I'm going to turn
| | 04:28 | that off, and now I have this nice blue
sky up there. I will lower the opacity
| | 04:33 | a bit. And it still gives me a little
bit of an interesting kind of muted Hue
| | 04:38 | up there. All right, well, let's take a
look at our overall before and after. I
| | 04:41 | will press the F key to go to Full
Screen View mode. Then we will pres the F7
| | 04:46 | key to bring our Layers palette up. This
one is actually pretty easy, wasn't it?
| | 04:48 | Here is original, little bit of
desaturation, bringing some color on top of
| | 04:52 | everything. So far before and after.
Then working on the sky, we also obviously
| | 04:56 | added some film grains in there. So our
before and our after. Kind of a subtle
| | 05:01 | color shift, but definitely changes
the overall mood of the image, and we are
| | 05:05 | able to take advantage of a few things,
like this little extra sky adjustment
| | 05:08 | to me, really helped help
this image to look good.
| | 05:11 | Now if I didn't like the color of that,
I could try putting that underneath the
| | 05:15 | other layer, so I get a little bit of
the blending color from this layer above.
| | 05:18 | I could also remove the color from
here altogether. Although in my opinion, I
| | 05:22 | kind of like having a little bit of
blue. So I'm going to go ahead and leave
| | 05:25 | that as is, and on that note we
finished our work with this photograph.
| | Collapse this transcript |
| Using texture and blending| 00:00 | In this movie we are going to talk
about how we can add a bit of texture to our
| | 00:03 | photographs. Now, while we will be
working with a specific texture, keep in
| | 00:06 | mind that the things that we will be
talking about here will be applicable when
| | 00:10 | you are working with a wide range
of textures. There is something so
| | 00:13 | interesting about adding texture,
making an image that much more tactile.
| | 00:17 | This is going to be just kind of a
creative fun movie. Let's see what we can
| | 00:20 | come up with. We have this background
portrait here. Really nice portrait,
| | 00:23 | nice, natural like. Then on top of it
we have this peeling paint. Now, I love
| | 00:27 | photographing peeling paint, old
concrete, textures, wood, you name it, because
| | 00:32 | you never know when you can use
these things in some pretty unique ways.
| | 00:35 | Now, a lot of times what you are
going to need to do with these different
| | 00:37 | things is try some different blend
modes. So from our Blending mode option
| | 00:41 | let's go ahead and try, for example, Lighten.
| | 00:42 | Well, that's kind of interesting or the
start of something interesting, because
| | 00:46 | we can see the face coming
through, not the rest of the image.
| | 00:49 | Well, what if we go to Darken? Okay,
well, that's the opposite. Okay, well,
| | 00:52 | that didn't hit it for us.
| | 00:53 | Well, how else can we find what we
could use in these blend modes? Well, if you
| | 00:56 | go ahead and press Shift+Plus key, you
can scroll through the different blend
| | 01:01 | modes. That's what I'm going to do here.
I'm going to go all the way down to
| | 01:03 | Hard Light, because I happen to know that,
that one will work pretty well with this one.
| | 01:07 | Here we can see I have different
levels of detail. I just kind of want to go
| | 01:11 | for that Hard Light. Really
nice, interesting blending.
| | 01:14 | You can also grab the Texture, move it
around, or stretch it or change it, and
| | 01:18 | I can do a number of different things
here. But I'm going to leave it right
| | 01:21 | about where it was. I think
that's somewhat interesting.
| | 01:23 | I then want to exaggerate or
accentuate those colors, so I will click on the
| | 01:27 | Adjustments Layer icon and choose
Curves. What I'm looking to do here is to
| | 01:31 | brighten things up a bit and darken them.
I'm going to add a bit of red. Go to
| | 01:35 | the Red Channel, brighten up those reds.
Again, I'm just going for a real vivid
| | 01:40 | look here. A little bit of yellows
there as well. That looks pretty good.
| | 01:44 | Let's look at our before and after. Now,
it's always worth trying a blend mode,
| | 01:48 | especially when we are getting creative,
like a blend mode of Soft Light, which
| | 01:51 | then takes that image to
a whole different place.
| | 01:53 | Now, of course we can lower the Opacity.
You can find the exact kind of color
| | 01:57 | mix that you are interested in.
| | 01:59 | All right. Well, at this juncture what
I would like to do is add a little bit
| | 02:02 | of noise to this photograph. Yet, how
can I add noise to the photograph when I
| | 02:05 | have these underlying layers?
| | 02:07 | Well, we need to use that shortcut
that we have talked about before, that
| | 02:09 | allows us to merge underlying layers
to the topmost layer. On a Mac, it's
| | 02:14 | Shift+Option+Cmd+E, on a PC,
Shift+Alt+Ctrl+E. That will then merge all
| | 02:21 | the layers up top.
| | 02:22 | Now here I'm going to go ahead and
navigate to Filter, and at this point I'm
| | 02:26 | going to Artistic, and then Film Grain.
You can add a little bit of Film Grain
| | 02:30 | to the photograph, and we can see some
of the grain coming in there. All right.
| | 02:34 | Well, that looks pretty good.
| | 02:35 | I am going to then open up the Texture
options down here. I'm going to go to
| | 02:38 | Texturizer. Let's see what would
happen if I added a little bit of texture as
| | 02:42 | well. I might have to come back to that.
All right. Well, let's go back to Film
| | 02:45 | Grain. Add a little bit of Film Grain
there and here we can see we just have a
| | 02:48 | little bit of that Film
Grain coming in the image.
| | 02:51 | We will lower the Opacity; again,
just making the texture that much more
| | 02:54 | tactile. Now that we have that, let's
go ahead and add some texture. Press
| | 02:59 | Shift+Option+Cmd+E on a Mac, Shift+Alt
+Ctrl+E on a PC. Filter > Texture and
| | 03:04 | then Texturizer.
| | 03:05 | What I'm going to do here is just
add a bit of texture. There are a few
| | 03:08 | different types. We can do Sandstone,
Burlap. I think that Canvas looks kind of
| | 03:13 | interesting. Make it a little bit
smaller, Relief a little bit stronger, and
| | 03:18 | then Click OK. So now here is our
before and after with that Texture.
| | 03:22 | I am going to then turn off my
underlying layer. Take this blend mode to good
| | 03:25 | old Soft Light. I will just blend
that all in and I have this really vivid
| | 03:29 | color image.
| | 03:30 | I will turn off my Curves Adjustment
there as well. I can also try turning off
| | 03:34 | the peeling paint. Sometimes you come
up with some interesting results. They
| | 03:38 | may be a bit more subdued, but
nonetheless in this case kind of interesting.
| | 03:42 | Well, if I turn back my Texture
layer, I then can of course control the
| | 03:45 | Intensity, or for that matter, I can go
up top and then lower the Intensity of
| | 03:50 | the texture as well, so
I just have a bit of a snap there.
| | 03:53 | You can see that your options are
almost limitless. More importantly, I want to
| | 03:56 | show you that you have these options,
so you can begin to come up with some
| | 03:59 | pretty interesting results.
| | 04:01 | All right. Well, I want to Brighten up
the image, so I will turn back on the
| | 04:03 | Curves layer, little bit of that Texture
on top, and that looks kind of interesting.
| | 04:08 | Well, the next thing I want to do is
work on the eyes. So I'm going to go ahead
| | 04:11 | and click on the Adjustments layer icon
and choose Color Balance. I'm going to
| | 04:15 | modify the color here. I'm going to
make a green color, green kind of blue
| | 04:20 | color. That looks good.
| | 04:22 | I will take this to a blend mode, and
there are a couple of different blend
| | 04:25 | modes we can try. One is Screen.
Doesn't look too good. Other one is Soft
| | 04:29 | Light. Again, I'm just looking at the
eyes, and another one is of course Color.
| | 04:33 | All right. Well, we can see we have
some different options there. Let's go
| | 04:36 | ahead and go back to Normal for a moment,
and click in our mask, grab the Brush
| | 04:40 | tool, zoom into the eyes for a second.
I want to have a nice small brush. I'm
| | 04:44 | going to paint with black, this case
on the eyes, and that's going to bring
| | 04:48 | back the original color.
| | 04:50 | A lot of times this happens, where you
paint one way and you actually inverted
| | 04:54 | what you wanted to do. Rather than
having that original color, I want those to
| | 04:57 | be green, everything else to be original.
| | 05:00 | I wanted to show that because when
masking, it really doesn't matter because
| | 05:03 | all you need to do is press Command+
I to get it going in the right direction.
| | 05:07 | So now we have this nice green eyes.
| | 05:09 | Let's duplicate this layer. Command+J
on the Mac, Ctrl+J on a PC. Try different
| | 05:13 | blend mode, like Screen, that looks
really good. Try a blend mode underneath of
| | 05:17 | Soft Light. Sometimes the best
combination is a little bit of Soft Light and
| | 05:21 | then a little bit of Screen. So
brighten it and then blend it.
| | 05:23 | Now, Soft Light doesn't always work.
Sometimes you are going to have to use
| | 05:27 | Normal, or perhaps you are going to
have to try a blend mode of Color, that
| | 05:31 | will work pretty well, and then lower
the Opacity to find the sweet spot. But
| | 05:34 | you want to make sure you have at
least a little bit of Contrast coming into
| | 05:37 | the mix, and also a little bit of Brightness.
| | 05:40 | So now we have an interesting eye
color. We can obviously shift that and
| | 05:42 | continually modify it. Let's take a look at
our before and after with this fun image here.
| | 05:47 | Here is before and then after.
Definitely took the image to a different place.
| | 05:51 | The peeling paint alone applies
something that's kind of interesting, modifying
| | 05:55 | the color, and then perhaps
working a little bit on the eyes.
| | 05:58 | Now, do we really need to always do
that, or maybe go that extra step of the
| | 06:02 | eyes? Not necessarily. I think this
image looks pretty good even without that,
| | 06:06 | but I just want to begin to show you
how much fun you can have when you begin
| | 06:10 | to work with textures and blend
those textures with photographs.
| | 06:13 | Finally, keep in mind, you can always
lower the opacity of the texture to have
| | 06:17 | a much more pullback or scaled back approach.
| | 06:20 | In addition, if you find that the
texture's color is detracting from the image,
| | 06:25 | well, modify the color, get rid of
the color, and sometimes by removing the
| | 06:29 | color you can actually even have more impact.
| | Collapse this transcript |
|
|
6. Creating Photographic EffectsCreating a soft-focus effect| 00:00 | In this movie, we are going to
introduce the topic of adding a soft focus, or a
| | 00:04 | little bit of diffusion in the
photograph. In addition, we are going to have a
| | 00:07 | little bit of fun with the
color and tone of this photograph.
| | 00:10 | All right. Well, you can see I'm
clicked in the Background layer. I'm going to
| | 00:13 | copy that, Command+J on a Mac, Ctrl+J
on a PC. I will expand this a little bit
| | 00:18 | so we can see the name here and I'm
going to double-click the name, and I'm
| | 00:20 | going to name this one Gaussian and
then Lighten, blend mode of lighten, right?
| | 00:25 | That's going to be our trick for this
particular soft focus effect. We go to
| | 00:28 | Filter > Blur and Gaussian Blur. We
want to bring our blur up so that we have
| | 00:34 | definitively loss of detail, and the
actual amount is going to be contingent
| | 00:38 | upon the resolution of your photo.
But again, you are looking for something
| | 00:41 | right around there where you have
some good loss of detail, click OK. Now,
| | 00:45 | that's over the top.
| | 00:46 | What we will do next is take this to a
blend mode of Lighten and then lower the
| | 00:51 | opacity and typically opacity needs to
be somewhere less than 50%. So again,
| | 00:55 | here is our before and after. Just adds
a little bit of mystery to this image.
| | 01:00 | Now, sometimes what's kind of nice is
to have a little bit of that soft focus
| | 01:04 | effect, and then to mask in some areas
or to work on the color and tone. Let's
| | 01:08 | darken up our corners a bit. Press
Shift+Command+N if you are on a Mac,
| | 01:12 | Shift+Ctrl+N if you are on a PC. We'll
name this Corners. Blend mode, yeah we
| | 01:17 | are going to good old Soft Light, click
OK, and then I have my brush. I'm going
| | 01:21 | to paint it with black.
| | 01:23 | Now, how can I change my brush size
quickly? There are three or four ways to do
| | 01:26 | this. One way is right-click or Ctrl-
click, you can then change your brush
| | 01:30 | size, view it. You just need to be sure
to click off of the image once you have
| | 01:34 | your brush size.
| | 01:35 | Now, I'm going to press Right-Bracket
key to make that brush size a little bit
| | 01:39 | bigger. I'm just going to quickly
darken the corners, lower the opacity by
| | 01:43 | pressing the 5 key. That took it to 5% opacity.
| | 01:46 | So I want to darken the background
there a little bit, little bit on the
| | 01:50 | foreground. Again, just some loose
brush strokes. Because I'm going quickly, I
| | 01:54 | always like to blur that out. Filter >
Blur > Gaussian Blur. I will just smooth
| | 01:58 | things out a bit here, so
we can see that's happening.
| | 02:02 | All right, here is my before and after;
lower the opacity on that a little bit.
| | 02:08 | Let's zoom in, so we can actually
see what's happening here. Zoom in with
| | 02:11 | Command+Plus on a Mac, Ctrl+Plus on a PC.
| | 02:14 | All right, while we are darkening
that, we have this little bit of a glow
| | 02:17 | happening, interesting. Well now, that
I'm looking at this image, I say, you
| | 02:21 | know what? these colors are really
interesting. What would happen if I change
| | 02:24 | the color of one of these poles?
| | 02:26 | Let's go ahead and do that. We will
press the Q key, and then select our Brush
| | 02:30 | tool, and when we press the Q key,
what that gives us the ability to do is to
| | 02:34 | enter into Quick Mask. Now, Quick Mask
is a real just rough and quick way to
| | 02:40 | make a selection.
| | 02:41 | My selection is in no way perfect here.
Yet, I don't really care because I'm
| | 02:46 | just trying to see if I want to change
the color, press the Q key again to exit
| | 02:51 | out of that selection.
| | 02:53 | Next, I'm going to go ahead and click
on the Adjustment Layer icon and choose
| | 02:55 | Hue/Saturation. Now, my adjustment is
actually going to be incorrect, and let
| | 02:59 | me show you why. Actually,
perhaps this will be better.
| | 03:02 | If I desaturate everything, we can see
that everything is desaturated except
| | 03:05 | for this particular pole here. Well,
I want the opposite of that. How can I
| | 03:10 | invert the mask really quickly?
Command+I on a Mac, Ctrl+I on a PC.
| | 03:14 | Now, we can see that I'm just
controlling the overall color. Let's shift that,
| | 03:18 | so we can see it the overall color
of this particular object and
| | 03:22 | nothing else is affected.
| | 03:24 | All right, well so far so good.
I need to zoom in a little bit. Clean up my
| | 03:28 | mask, so here I paint with black,
little bit smaller brush, and I just need to
| | 03:33 | clean up the edges because when I made
that Quick Mask selection, I wasn't very careful.
| | 03:38 | Now, why wasn't I very careful with
Quick Mask? Well many times, you don't want
| | 03:42 | to be careful with Quick Mask, because
you don't really know if this is going
| | 03:45 | to be a good edit.
| | 03:46 | Once that I see that I kind of like it,
then I sweeten up the edges. Then I fix
| | 03:50 | things up quite a bit. So again,
here is my before and after, and I can
| | 03:53 | continually modify this. I could of
course do a much more muted color, and
| | 03:57 | let's see if I have something that
may be just a little bit of a green snap
| | 04:01 | there to add a little bit of visual
interest, throw the pattern off a bit.
| | 04:05 | Although, that red was kind
of interesting, wasn't it?
| | 04:07 | Now, a lot of times when you have a
real strong color shift like this that we
| | 04:10 | are doing here, you want to try your
blend mode of Color. When I do that, it
| | 04:15 | helps me see through some of the
details there and of course, we can lower the
| | 04:19 | opacity this layer, and we
can continually modify this.
| | 04:22 | If we duplicate it, Command+J, we
will see a whole new color. So all of a
| | 04:26 | sudden it went from that red to now
this green and when you combine different
| | 04:29 | layers of Hue/Saturation, all of a
sudden you are doing different type of color
| | 04:33 | mixing, and you can come
up with some unique result.
| | 04:36 | Now, this particular image zooming out,
do I actually need that color in there?
| | 04:39 | No. But it was kind of fun to play with
color a little bit. You want to do that
| | 04:43 | in your photograph just to
see how things will look.
| | 04:45 | Let's press F to go to Full Screen
View mode, press F7, and then let's take a
| | 04:50 | look at our before and then after.
Pretty subtle, kind of an interesting,
| | 04:54 | little bit of mysterious, soft focus effect.
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| Simulating diffused printing with soft focus| 00:00 | In this movie, we are going to learn
yet another soft focus effect. This one is
| | 00:04 | very similar to the one that we have
learned previously, yet with a little bit
| | 00:07 | of a tweak. What we are going to try to
do here is simulate a diffused printing effect.
| | 00:11 | All right, well here you can see we
have our Background layer. Let's go ahead
| | 00:14 | and name that layer. I will name that
BG for background. I'm going to copy it.
| | 00:17 | Command+J on a Mac, Ctrl+J on a PC.
Then double-click there. We are going to
| | 00:21 | name this Gaussian,
and then Darken. Yeah.
| | 00:25 | That's what we are going to do for this one.
We will go to our Filter pulldown menu > Blur,
| | 00:28 | and then Gaussian Blur, and the
amount of the blur, last time we were up
| | 00:32 | somewhere around here. That's a
little bit too high. We need to go down a
| | 00:35 | little bit lower for this one.
That looks good. Click OK.
| | 00:38 | Next, we are going to take this to a
blend mode of Darken and then there we can
| | 00:43 | see our before and after. I will zoom
in on that, so you can kind of see how
| | 00:45 | that's working there. We need to then
lower the opacity, right? That's much too
| | 00:49 | high and here we have our before and
after, we are just losing a lot of those details.
| | 00:55 | What I want to do is bring back in some
of the detail here. So I will click on
| | 00:58 | the Add Layer Mask icon, grab my Brush
tool and then, I'm going to paint with
| | 01:02 | black up there. So I have nice detail,
so that effect is not affecting
| | 01:07 | anything up top, just the rest of the image.
| | 01:09 | Let me zoom out so I can see the
entirety of the image. And one of the things
| | 01:13 | that this effect can do is it can
make the image almost look a little bit
| | 01:16 | painterly. So it's really kind of an
interesting effect. You have to experiment
| | 01:19 | with it a little bit. One of the things
that's kind of fun with what we did is
| | 01:23 | we diffused the image but
maintained the sharpness up here.
| | 01:26 | Now, let's go ahead and exaggerate
that even further. We will click in the
| | 01:28 | Background layer. Press Command+J to
copy that on a Mac, Ctrl+J on a PC. What
| | 01:34 | we are going to do is name this layer High pass.
| | 01:36 | Now, do you have to do this with this
diffused effect? No. But I'm just going
| | 01:40 | to do this for effect, so I'm in High
pass. I'll navigate to my Filter pulldown
| | 01:44 | menu > Other and then High Pass.
| | 01:46 | What I'm looking for here is just
to bring in some detail. I'm going to
| | 01:49 | actually sharpen this portion of the
image. That looks good. Take this to a
| | 01:54 | blend mode of Soft Light or Overlay.
We will zoom in so you can see how it's
| | 01:58 | looking. Here is my before and after,
zoom in even further, go to Overlay. So
| | 02:02 | you guys can actually see what's happening.
| | 02:04 | Here is before and after. You should
see the detail that's been brought into
| | 02:08 | the top part of the image. We will
click on the Add Layer Mask icon, except
| | 02:12 | hold down the Option key while you
click on that if you are on a Mac, hold down
| | 02:15 | the Alt key if you are on a PC. That
will create a mask filled with black.
| | 02:19 | Next, press the B key to select your
Brush tool. We are going to paint with
| | 02:23 | white. So I have black in my foreground.
I press the X key to flip those two,
| | 02:27 | and now I'm going to paint with white.
I'm just going to bring even more detail
| | 02:30 | into this portion of the image, and
I'm going to do that just to have some fun
| | 02:34 | with this soft focus, mixing
soften focus and sharpness in one image.
| | 02:39 | Double-click the Zoom tool to go to 100%.
| | 02:41 | Now, it's going to be kind of small and
hard to see. But on my monitor, that's
| | 02:45 | looking really fun. Overall, here is
our before and then after. Again, some
| | 02:49 | diffusion with some sharpening,
creating a little bit more of an ethereal, part
| | 02:54 | painterly, part photographic type effect.
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| Applying soft focus and channel blur| 00:00 | In this movie, we are going to learn
yet another soft focus technique and we
| | 00:03 | will be working on this photograph of my daughter
Sophia. She is all bundled up there, so adorable.
| | 00:09 | All right. Well, let's go ahead
and close this Adjustments panel by
| | 00:11 | double-clicking on that tab, so I can
focus in on my layers for a moment. Let's
| | 00:15 | copy the layer. On a PC, Ctrl+J, on a
Mac, Command+J, and then double-click the
| | 00:19 | layer name and we'll call this layer Blur.
We're going to do this a little bit differently.
| | 00:24 | What we are going to do here is
navigate to our Channels panel. We are going to
| | 00:27 | click in the Red channel and we are
going to blur just the Red channel.
| | 00:29 | Filter > Blur, and Gaussian Blur.
| | 00:32 | Now, what channel you use will actually
depend on the image, but in this image
| | 00:35 | we have a lot of nice bright tones
there. Let me bring this up pretty high,
| | 00:39 | click OK, and then go back to the
RGB Composite view. Let me zoom in,
| | 00:43 | so we can actually see this.
| | 00:44 | So now we can see that we have offset
our channels, the color look strange. Not to fear.
| | 00:49 | We will go back to the Layers palette
and then take our blend mode to Luminosity.
| | 00:53 | All right, well now look at our
before and then here is our after. Again,
| | 00:57 | before and then after. I'm going to
zoom up even further, so you can see this
| | 01:01 | before and then after. It just gives a
little bit of a glow, little bit of a
| | 01:04 | softening effect around
different aspects of the image.
| | 01:08 | I really like the effect on the
entirety of the photo except one of the things
| | 01:11 | I'm thinking be nice to have those
eyelashes in. I really like that detail. So
| | 01:15 | I will click on the Add Layer Mask icon,
grab my Brush tool, paint with black,
| | 01:20 | click on this little icon here to flip
those two, and I'm just going to mask
| | 01:25 | off this effect on these eyelashes.
I want those to be nice and sharp.
| | 01:29 | So now I have nice smooth skin, a
little bit of a glow, soft effect everywhere,
| | 01:33 | except those eyelashes are sharp and
that's kind of fun to combine those two
| | 01:37 | techniques, right. A little bit of
sharpness, a little bit of softness, it has
| | 01:40 | a potential to make the image quite intriguing.
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| Applying creative color and diffusion| 00:00 | Now so far we have been talking about
how we can add a little bit of diffusion
| | 00:03 | in order to enhance our photographs.
Well, in this movie, we are going to take
| | 00:07 | things a little bit further. What we
are going to do here is we are going to
| | 00:10 | add some toning to the image. In
addition, we are going to add some diffusion,
| | 00:13 | in order to come up with this really
unique fact; I think you are going to like this one.
| | 00:16 | All right, well here we have this
beautiful portrait of this bride and this
| | 00:19 | groom. What we want to do first is we
want to add a little bit of toning. And
| | 00:22 | we are going to do that by way of Hue/
Saturation. So click on your Adjustment
| | 00:26 | Layer icon or open up your Adjustments
panel and choose Hue/Saturation and then
| | 00:30 | click on Colorize.
| | 00:32 | Now the trick with this is we want to
bring in a colorization that's going to
| | 00:35 | have a kind of this sepia tone look here.
So we are going to have a little bit
| | 00:39 | of a sepia tone and then we will close
this Adjustments panel. We are going to
| | 00:43 | then change the blend mode of
this layer to Soft Light or Overlay.
| | 00:47 | Now the blend mode that you choose
will depend on how intense this effect is.
| | 00:50 | So there is Soft Light and there is
Overlay. So again, it intensifies effects
| | 00:54 | one way or the other. Let's take a
look at our before and then after. Already
| | 00:59 | that color effect alone is
looking really interesting.
| | 01:02 | All right, well now that we have that
color on top of the image, we are going
| | 01:05 | to duplicate this, click and drag this
to the New layer icon and then we are
| | 01:08 | going to lower the opacity. Again,
just to bring a little bit more punch into
| | 01:12 | this one. So we can either duplicate
the layer or we can change the different
| | 01:16 | blend modes, Overlay or Soft Light, etcetera.
| | 01:19 | Now one of the things that I do notice
is that his jacket became really black.
| | 01:22 | I want to bring back some of those
details, so I will double-click the
| | 01:25 | underlying layer, Hue/Saturation. Move
this over a bit so you can see that and
| | 01:30 | here you can see that I can bring
back some of those black. So I'm going to
| | 01:33 | bring that up. Hold down the Option
key on a Mac, Alt key on a PC to split
| | 01:37 | those two sliders and just
bring back some of those details.
| | 01:40 | Now I'm going to zoom in on the
jacket here and press my before and after.
| | 01:43 | There is before and there is after.
We definitely have some detail in there
| | 01:47 | that we didn't have before. That will
help it so that I can make a good print
| | 01:50 | with this image. All right, well let's
see our before and after so far. Here is
| | 01:54 | before and after. Already I'm just
loving the image. I think this looks so much
| | 01:58 | better, really intriguing color and tone,
kind of sophisticates the image a bit, doesn't it?
| | 02:02 | All right, well the next thing that
I want to do is I want to add a little bit
| | 02:05 | of diffusion. So click in your
topmost layer. Then we are going to use that
| | 02:09 | shortcut to merge all of our
underlying layers to the top. That's
| | 02:13 | Shift+Option+Command+E if you are on a
Mac, Shift+Alt+Ctrl+E if you are on a
| | 02:19 | PC, and I accidentally changed my blend
mode there, so let's go ahead and take
| | 02:23 | that back to Normal.
| | 02:24 | Again, the shortcut to merge
everything to top, Shift+Option+Command+E on a
| | 02:28 | Mac, Shift+Alt+Ctrl+E on a PC. All right,
well now that we have merged this to
| | 02:34 | the topmost layer, what we are going
to do here is go to our Filter pulldown
| | 02:37 | menu, choose Blur and then Gaussian Blur.
| | 02:40 | Now one of the interesting things
about this is we want to add Blur that's
| | 02:43 | going to be blended into the image. We
are going to blend it with one of our
| | 02:46 | contrast blending modes, Overlay or
Soft Light. So the actual amount of the
| | 02:50 | blur you want to experiment with it a
little bit. So in this case, if I apply
| | 02:54 | this now, I'm kind of locked into it, right.
| | 02:57 | So I'm going to undo that. Command+Z on
a Mac, Ctrl+Z on a PC. In order to have
| | 03:01 | a lot of control of your blur with all
of our soft focus effects, you want to
| | 03:05 | navigate to our Filter pulldown menu >
Convert for Smart Filters first and then
| | 03:09 | go to Filter>Blur>Gaussian Blur.
I will apply some blur, too much, but here I
| | 03:15 | can continually modify simply by
double-clicking that Gaussian Blur option there.
| | 03:19 | But I'm going to leave that really
high, just to show us how we have
| | 03:22 | flexibility with the Smart Object layer.
We will double-click the option for
| | 03:26 | our Blending. We are going to take
our blend mode either to Overlay or Soft
| | 03:29 | Light and then click OK to apply that.
| | 03:32 | Now I thought that that Gaussian Blur
is going to be way too high, yet I was
| | 03:36 | wrong, right. It looks really
interesting. Let's take a look at our before and
| | 03:39 | after. Here is before and then after.
It gives us this really nice soft glow.
| | 03:43 | We did though lose some detail here
in the jacket. There are a couple of
| | 03:47 | different ways that I could bring those back.
| | 03:49 | I could go back to my Hue/Saturation
layer, I could create a Curves adjustment
| | 03:52 | layer to brighten those up or I could
mask out some of this filter into this
| | 03:56 | area of the jacket. Yet, because
I already brightened it up, it went down a
| | 04:01 | little bit and so I'm kind of okay with
it, because I knew that I was going to
| | 04:04 | build up the contrast. So keep in mind
that this technique is pretty heavy on
| | 04:07 | the contrast side of things,
yet the effects are so amazing.
| | 04:11 | So just know that you are going to be
increasing the contrast as you go. So
| | 04:14 | watch out for those deeper tones.
Also watch out for those brighter tones.
| | 04:18 | Let's go ahead and press F to go to
Full Screen View mode and then press the F7
| | 04:21 | key so that we can look at our before
and after. Here is before, kind of an
| | 04:25 | interesting photograph and here is after,
really a unique and stunning effect.
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| Creative tip 2: Taking creative risks| 00:00 | Hey! Welcome to another creative tip.
You know this whole training title is
| | 00:05 | about creating creative effects and
ultimately it's about becoming more
| | 00:09 | creative. Well, how do we become more
creative? Well in my opinion, a lot of
| | 00:13 | times what we need to do is we need to
have creative thinking which then leads
| | 00:16 | to creative actions. Creative
actions then lead to creative thinking.
| | 00:20 | So one of the exercises that I do in
one of my classes where I teach is I have
| | 00:24 | them do something that's practically,
tangibly creative and what I mean by that
| | 00:28 | is they go out and do something they
have never done before. For example, one
| | 00:31 | student wore two different shoes for
the entire day. One blue shoe and one
| | 00:35 | white shoe. She went to work, she did.
She went on her normal business and did
| | 00:39 | everything as usual. Yet her senses
were heightened and by doing that she
| | 00:43 | observed some things that
were pretty interesting.
| | 00:45 | One of the things that she told me is
she said, Chris, when I went out to do
| | 00:48 | this act of creativity, to act
differently, so I could then think differently.
| | 00:53 | When I went out to do this act, I was
really self-conscious. My senses were
| | 00:57 | heightened. I was noticing everything,
I was noticing everyone's observation on
| | 01:01 | me and then she said, you know what
I observed, no one even paid attention. No
| | 01:05 | one even noticed. It was as if that
was more important to me than it was to
| | 01:09 | them and it made me realize that
I want to take chances more, I want to do
| | 01:13 | more. It also heightened my awareness
of things that I wouldn't have otherwise
| | 01:16 | noticed and I thought
that was kind of fascinating.
| | 01:19 | Now what are you going to actually do.
Wear two different shoes. Now, I don't
| | 01:22 | know. But the one thing I do know
is this. If you want to think more
| | 01:26 | creatively, start doing things more
creatively. Now we are already doing that
| | 01:30 | in Photoshop. We are already making
all of these different changes to our
| | 01:33 | photographs that we haven't done before.
| | 01:35 | Yet perhaps what you need to do is
something that's an act of creativity and
| | 01:40 | again, take a little risk. Do
something a little bit differently that you
| | 01:43 | haven't done before and one of the
things that I found is that by doing that,
| | 01:47 | doing that act, it in turn helps my
thoughts and then it in turn helps me
| | 01:51 | become to be a more creative person.
| | 01:53 | All right, well thanks for joining me
on this creative thought or this creative
| | 01:57 | tip. I hope you enjoyed it. I look
forward to see you in the next one. Bye for now.
| | Collapse this transcript |
| Introducing infrared| 00:00 | In this movie, we are going to begin
to talk about how we can convert our
| | 00:03 | images to a digital infrared. Now
infrared captures actually a little bit more
| | 00:07 | complicated. Yet many times what we can
do is create an infrared-like effect in
| | 00:12 | postproduction.
| | 00:13 | Now keep in mind this movie is just an
introduction. We are going to dig deeper
| | 00:17 | into this topic. Yet for starters you
can see that we have opened up a document
| | 00:21 | that has two photographs in it. It has
this photograph as well as this one of
| | 00:25 | my daughter Annika.
| | 00:25 | Now for starters, what you can do is
you can actually go to one of the presets.
| | 00:30 | For example, we can go to our Channel
Mixer presets and scroll down and there
| | 00:33 | is a Black & White Infrared
adjustment. You can also access this from the
| | 00:37 | pulldown menu in that particular adjustment.
| | 00:40 | Now once you have made this
particular adjustment, you can of course, make
| | 00:43 | further modifications. So I'm going to
go ahead and make a few modifications
| | 00:47 | there. So that the leaves
look a little bit better.
| | 00:49 | Okay, well now we can see how this
particular adjustment is affecting this
| | 00:53 | image. Well what about the underlying
image. Let's go ahead and turn off the
| | 00:56 | visibility of this one, so we can see
the background and there we can see it's
| | 00:59 | a little bit less dramatic in this case
and why is that? Well, those greens are
| | 01:04 | really green in this image and they are
a little bit less green here. So it's a
| | 01:07 | little bit less glow like. It looks
almost a little bit more like a typical
| | 01:11 | black and white conversion. Okay, well,
where else can we go for these types of effects?
| | 01:16 | Another place that we can go, if we
navigate back to our Black & White
| | 01:19 | conversion, it's either to choose a
preset here in this menu. We will go ahead
| | 01:23 | and see that there or click on the
option and then from the pulldown menu,
| | 01:27 | choose Infrared.
| | 01:28 | Now in this case, with this image it's
glowing a little bit more and again we
| | 01:31 | can modify our controls here and you
can see how it can modify the skin tones
| | 01:36 | quite a bit there. Go ahead and
brighten those up so we have quite a bit of
| | 01:39 | glow. Let's see how this
looks for the other image.
| | 01:41 | So here is our other image. Now in this
case, the leaves don't have any detail
| | 01:44 | at all. Perhaps I want some detail in
there. Well, I can go back and we know
| | 01:48 | that those leaves are green and here
I could control those greens and amount of
| | 01:52 | glow there. I could also go into the
yellow. That would help out as well,
| | 01:55 | right? Because that green has
a lot of green-yellow in it.
| | 01:58 | So you can see that we can customize
the controls there. Now how else can we
| | 02:02 | customize these controls? Well, one of
the things that you may be tempted to do
| | 02:05 | is to lower the opacity of a layer.
But yeah, when you do that, you get a
| | 02:08 | little bit of color coming through.
Now that's pretty interesting color but
| | 02:13 | let's say that you want a black and white image.
| | 02:15 | Well, all that you need to do then is
create another adjustment layer. In this
| | 02:18 | case, a Hue/Saturation, desaturate
completely. Make sure that one is on top and
| | 02:24 | now this one underneath is the infrared
layer. When I click in that, I can then
| | 02:27 | control the Opacity, overall
intensity of that color mix.
| | 02:31 | Well, what you are discovering here is
that there are two places that you can
| | 02:34 | go in order to access black and white
infrared conversions. You can either go
| | 02:39 | to the Channel Mixer or the Black &
White adjustment layer. Now both have
| | 02:43 | strengths and weaknesses.
| | 02:44 | In my opinion, the Black & White
controls give you a little bit more
| | 02:48 | flexibility, so I typically like to use
that one. But also keep in mind this is
| | 02:53 | just a starting point. We can even dig
in deeper after we have applied these
| | 02:56 | initial adjustments.
| | Collapse this transcript |
| Applying infrared tone and glow| 00:00 | In this movie, what we are going to do
is go through the full infrared process.
| | 00:04 | So far all we have looked at is how we
can use a few adjustment layers, yet we
| | 00:07 | haven't achieved that glow that you
see in infrared. We haven't even worked
| | 00:11 | really with the color.
| | 00:12 | What we are going to do here is we
have this interesting image up in Tahoe,
| | 00:16 | nice pine trees and green grass and
whatnot, that stuff, we want that stuff to
| | 00:20 | glow. So we are going to go ahead and
navigate to our adjustment layer and we
| | 00:23 | are going to go top Black & White here,
then we are going to choose Infrared.
| | 00:27 | Now when we do that, we have all this
real bright vivid glow in this green and
| | 00:32 | yellow area. Well we might need to
darken that up a bit because that was pretty
| | 00:35 | intense but I do want quite a bit of
glow and again each image will be a little
| | 00:39 | bit different how far you actually
push it, really it's going to be in those
| | 00:42 | green and yellow channels and
sometimes you can do a little bit of a give and
| | 00:46 | take in order to get some detail
there but still quite a bit of glow.
| | 00:50 | All right, well so far so good. We have
our color conversion. Well how then can
| | 00:54 | we get the rest of the image to kind
of glow a little bit more, have that
| | 00:57 | diffusion that we see in those
infrared images. We click in the Background
| | 01:02 | layer and copy it. Command+J on a Mac,
Ctrl+J on a PC. We are going to then
| | 01:05 | name this layer green - gaussian. Yup,
we are going to go to the Green Channel.
| | 01:11 | We will navigate to Channels; we are
going to click into the Green channel
| | 01:15 | where we have a lot of this green information.
| | 01:17 | Now we are going to navigate to Filter.
I'm going to choose Blur and Gaussian
| | 01:21 | Blur. Now the amount of Gaussian Blur
is going to be contingent upon the image
| | 01:25 | but I'm going to bring this up pretty
high, I'm going to take up quite a high
| | 01:29 | amount of Gaussian Blur. Well stick
with me. I know it doesn't look good yet.
| | 01:32 | We will have some more flexibility later.
And now when we go over here to this
| | 01:36 | Gaussian Blur we need to take
this to a blend mode of Luminosity.
| | 01:38 | Now that blend mode of Luminosity
allows us just to use the Luminance Value and
| | 01:43 | there is where you are starting to see
that nice soft glow that we see so often
| | 01:47 | in those infrared images. All right,
well so far so good. We now have this
| | 01:52 | infrared conversion, we can
continually modify it again, dial in the
| | 01:56 | appropriate amount of brightness in
those different areas of the image. And I'm
| | 01:59 | going to click and see if I can modify
this at all, like, bring in a little bit
| | 02:03 | of brightness in there.
| | 02:04 | Okay, well then what about color? Well
something that's kind of fun to do is
| | 02:07 | click in your Background layer, press
Command+J on a Mac, Ctrl+J on a PC and
| | 02:11 | then drag this all the way up to the
top. Now this is the original image, so
| | 02:15 | here is our before and after. But what
happens if you take this original image
| | 02:19 | and you take it to a blend mode of Color.
| | 02:21 | Well, now what you have is you
have this color sitting on top of this
| | 02:25 | conversion and it starts to look
pretty interesting. Now you can do a few
| | 02:29 | things here, one is lower the Opacity
in order to get some interesting color.
| | 02:33 | Two, is you can work on the Hue/
Saturation of this layer, that's what we are
| | 02:36 | going to do. Click on the Adjustment
Layer icon, choose Hue/Saturation. I'm
| | 02:39 | going to make a real drastic Hue/
Saturation adjustment. Again, just trying to
| | 02:44 | do something a little bit off the
wall here and creates these really vivid
| | 02:48 | color changes here.
| | 02:50 | Okay and then what we want to do is
have this applied just to the underlying
| | 02:53 | layer. So we are going to go ahead and
hold down the Option key on a Mac, Alt
| | 02:57 | key on a PC and hover over those two
layers, the dividing line there between
| | 03:01 | those two layers, when we see that
icon change. We will click that so this
| | 03:05 | color adjustment is just affecting
the underlying layer. Now here we can
| | 03:09 | double-click this adjustment and we can
modify it further, we can swing it one
| | 03:13 | way or the other.
| | 03:14 | Now another thing that we can do is
actually remove the color in its entirety.
| | 03:18 | We can work on colorizing it, so we
could add an overall color shift if we are
| | 03:22 | interested in that. In my case,
I don't want to do that, I don't think that
| | 03:24 | looks very good. So I want to have a
little bit of color there. One of these
| | 03:28 | kind of surreal infrared color schemes
that you see so often and I'm trying to
| | 03:33 | see which one I like.
| | 03:34 | All right, that's kind of hard to
pick something when the colors are this
| | 03:37 | crazy, right. All right, well let's go
ahead and take a look at what we have
| | 03:40 | here so far. So there is that black and
white and there is adding a little bit
| | 03:44 | of that image on top of it. We can of
course lower the Opacity so that when we
| | 03:48 | have the color effect that we have added,
it's much more subtle and subdued and
| | 03:52 | again we will see if there is anything
that really catches my eye here. Well
| | 03:55 | not necessarily, but I hope that you
are starting to get the gist on how
| | 03:59 | you can do this.
| | 04:00 | Again, it's all about that conversion
and then after you have converted using
| | 04:03 | one of these adjustment layers
adding a little bit of color back into the
| | 04:07 | image, try to use some of the colors
that you have in your photograph. There
| | 04:10 | are other things you can try as well,
selecting the image and inverting it.
| | 04:13 | Now in this case, it's again real
over the top color but nonetheless pretty
| | 04:17 | interesting. If I take it all the way up,
you can see those vivid colors there.
| | 04:20 | So inverting the layer can do some
wonders, using Hue/Saturation can do some
| | 04:25 | really interesting things and again
you can modify the color in so many
| | 04:28 | different ways, the sky is really the
limit with these infrared techniques.
| | 04:32 | So one of the things that you have
discovered here is that infrared is really
| | 04:34 | creative, it's actually quite fun.
What you need to do is play with these
| | 04:38 | techniques a little bit until you
develop your own style and also keep in mind
| | 04:41 | that each image will react a little bit
different to these various techniques.
| | Collapse this transcript |
| Applying infrared tone, infrared glow, and creative color| 00:00 | In the previous movies, we have
talked about how we can use this infrared
| | 00:03 | conversion in order to come up with
some pretty creative results. We can also
| | 00:07 | use these infrared techniques in order
to come up with images that don't look
| | 00:11 | like they have been
processed in order to be infrared.
| | 00:14 | Here we have this particular
photograph of this fashion shoot and we have a
| | 00:17 | nice image and here is our before and
then after. The image has been retouched
| | 00:21 | again, here is the before, I will zoom
in a little bit on that, so you can see
| | 00:25 | that before and then after.
| | 00:27 | If you want to learn more about the
retouching of photographs like this, check
| | 00:30 | out my other training title on
retouching. That's not what we want to talk
| | 00:33 | about here, although it's just kind of
fun to see that. What I do want to do is
| | 00:36 | convert this image to an infrared photo.
Yet it's not going to look infrared.
| | 00:41 | So if you are not into infrared but you
are into making your images look really
| | 00:45 | interesting and cool, stick with me
because I think you will enjoy this one.
| | 00:48 | All right, well let's copy this
Background layer or the retouched layer,
| | 00:50 | Command+J. What we are going to do is
call this one green - gaussian. We are
| | 00:56 | going to go over to Channels, we are
going to click on the Green Channel here,
| | 01:00 | go to Filter > Blur > Gaussian Blur.
We want to blur that out pretty nice,
| | 01:04 | click OK. Go back to the RGB Composite
view mode, now it looks a little strange
| | 01:08 | until we go to that Luminosity blend mode.
| | 01:11 | Now all that's doing is just softening
our image. In this case, we don't even
| | 01:15 | have any green really; there isn't a
lot of green information in this image. So
| | 01:18 | this will just soften it all out, gives
it this diffused glow look. Well, then
| | 01:23 | I'm going to click on the Add Layer
Adjustment icon, I will grab the Brush
| | 01:27 | tool, press the B key, bigger brush by
pressing the Right Bracket and I'm going
| | 01:31 | to go ahead and mask off the detail
on the face. So I want the rest of the
| | 01:34 | image to be soft but I want
the face to be really sharp.
| | 01:38 | Okay, so far so good. Next we will go
to our Adjustments panel, we will go to
| | 01:41 | Black & White and we are going to
Infrared. Now here what happens is it just
| | 01:46 | gives us this real punchy black and
white conversion. Okay, well so far so
| | 01:50 | good. We haven't seen anything perhaps
amazing just yet. Well what happens if
| | 01:54 | we take this retouched layer, if we
copy it. Click and drag it to the New Layer
| | 01:57 | icon, drag it all the way up top.
We will name this new layer, color.
| | 02:02 | Now here what we are going to do is
take this to a blend mode of color. Now
| | 02:06 | here is where the magic happens. Take
a look at my before and after with this
| | 02:09 | final two layers. Here is before and
then here is after. All of a sudden we
| | 02:14 | have this bleached out kind of color
effect, right. It's really intriguing,
| | 02:18 | here is before and then after. It
actually looks quite hip, quite engaging,
| | 02:22 | quite interesting. Here is a little
bit of the diffusion down here in this
| | 02:25 | layer. We can see that before and after.
If we zoom in a little bit more, we
| | 02:28 | can see it especially on the skin.
Now this is a low-res file in order to
| | 02:32 | include it with the training. If
I had done this on the high-res file, the
| | 02:35 | diffusion would look even better.
| | 02:37 | All right, well now that I have this
really kind of cool color effect, I want
| | 02:40 | to work on this even further. So I'm
going to go ahead and click on the icon to
| | 02:44 | create a new adjustment layer, this
time Color Balance. What I'm interested in
| | 02:47 | doing here is shifting the overall
color and I'm really focused in on the eyes.
| | 02:52 | Now and this looks pretty interesting
across the rest of the image. Yet for now
| | 02:56 | I'm going to ignore that, invert this
mask, Command+I on a Mac, Ctrl+I on a PC,
| | 03:01 | zoom way in on the image
and grab your Brush tool.
| | 03:04 | Make your brush nice and small and then
we want to paint with white and what we
| | 03:08 | are doing is we are looking to bring
in some color into these eyes here. All
| | 03:12 | right, so far so good. A lot of times
when you are working with eyes it pays to
| | 03:17 | duplicate the layer, do one of those
on Screen and that's the brightness, do
| | 03:22 | another one on Soft Light that's the
contrast, that way you get this real nice
| | 03:26 | vivid bright look with a
lot of contrast in there.
| | 03:29 | So now we have these bright eyes,
little bit too bright there, so we will lower
| | 03:33 | both of those down a bit, so we can get
the color and the contrast in the mix,
| | 03:37 | here is my before and then after.
Adding a little bit of vividness to the eyes.
| | 03:41 | I will zoom in so you can see that
before and then after. All right, well
| | 03:45 | finally what I want to do is work on
the overall color, I will click on my Add
| | 03:49 | Adjustment Layer icon, choose Curves
and here I'm going to go on to my reds,
| | 03:52 | I'm going to add quite a bit in the reds.
| | 03:55 | I will go into the Blue Yellows; I'm
going to add quite a bit to the yellows
| | 03:59 | and then let's close this panel by
double-clicking the title Adjustments and
| | 04:02 | take a look at how we did there. Here
is our before and then after. Let's take
| | 04:06 | a look at the overall before and after.
Here is before and here is after, very,
| | 04:11 | very, different image and we are able
to stylize that in this real unique way.
| | 04:16 | Let's walk through the steps. The
original image, the retouched photograph, the
| | 04:19 | photograph with a little bit of diffusion.
| | 04:21 | I think I have got to zoom in, don't I?
That's a little bit too far, I think
| | 04:25 | for zooming in. so let's zoom out just
a touch here. And again this is a lower
| | 04:30 | res file but at least we will be able
to see what's happening here, diffusion,
| | 04:34 | black and white conversion then
that color layer. That is just so good.
| | 04:38 | When you put that color layer on top
with a blend mode of Color and then
| | 04:42 | finally where we start to work on the
eyes a little bit, and our final overall
| | 04:46 | color adjustment, stepping back a
moment pressing the F key to go to Full
| | 04:50 | Screen View mode and then pressing the
F7 key to open up the Layers palette,
| | 04:55 | here is our before and after and in
this movie, we have learned a pretty
| | 04:59 | interesting technique that helped us to
use some of the logic of infrared in a
| | 05:04 | completely different way.
| | 05:06 | Now with this image the only thing that
I'm noticing is I don't quite like how
| | 05:09 | bright those eyes are. I think they
are a bit too bright, drawing a bit too
| | 05:13 | much attention to them. I will pull
them back a little bit; I don't want them
| | 05:17 | so bright and then the overall color
shift, that's a little bit strong too for
| | 05:21 | my liking. And these final decisions
are completely subjective. It's completely
| | 05:26 | up to you, how you want to push your
images, in which direction you want to
| | 05:29 | take them. And so I'm continually
evaluating my photographs, looking away,
| | 05:33 | looking back, trying to determine, if
I'm bringing a photograph to a good place.
| | Collapse this transcript |
| Introducing solarization| 00:00 | In this movie we are going to talk
about how we can add a traditional
| | 00:02 | photographic technique called
Solarization to our photographs. Now this
| | 00:06 | technique is most often traced back to
Man Ray. There is a photograph of Man
| | 00:11 | Ray on the right and Salvador Dali on
the left, and there is a quote by Man
| | 00:14 | Ray, "I never knew what I was doing
until I was done." Well, how then can we
| | 00:18 | apply this traditional photographic
technique inside a Photoshop? Well, let me show you.
| | 00:22 | When you go ahead and jump back to
Photoshop and open up our image here Chris
| | 00:26 | Lieto, the professional triathlete,
amazing athlete, and what I want to do is
| | 00:30 | solarize this photograph. First thing
that we are going to do is we are going
| | 00:33 | to convert to black-and-white. So
click on the adjustment layer icon and then
| | 00:36 | choose Black & White. I want to
brighten up the skin a bit, so I'll grab the
| | 00:40 | Target Adjustment tool and I'm just
going to brighten the skin thereby clicking
| | 00:43 | on the skin and dragging to the
right. Okay, well so far so good.
| | 00:46 | Next step, click on the adjustment
layer icon and choose Curves. All right,
| | 00:50 | well now that you have the Curves
dialog open what we are going to do is make a
| | 00:54 | Curves Adjustment that you probably
never made before or actually you grab this
| | 00:58 | tool here, and this tool allow us to
draw a specific curve that will break all
| | 01:02 | the rules of typically working with
curves. We'll click in the bottom left-hand
| | 01:06 | corner, hold down the Shift key,
clicking the top middle and then hold down the
| | 01:09 | Shift key again and click on the bottom
right. All right, well now we have the
| | 01:13 | Solarization effect. Let's take a look
at our before and then after. Let's zoom
| | 01:16 | in a little bit, so we can
actually see it kind of interesting.
| | 01:19 | Next, let's go ahead and click on the
adjustment layer icon and choose Curves.
| | 01:23 | Now before you actually modify the
curves, let's change the blend mode to Soft
| | 01:27 | Light that will give us a bit of
contrast. It will also make for pretty
| | 01:30 | interesting color effect. So when we
go under the Blue Channel, and now this
| | 01:33 | time what we want to do is click the
Option to edit points in a curve rather
| | 01:37 | than draw curve, we're going to add a
little bit of color there, go to the Red
| | 01:40 | Cyan, add a bit of Cyan, all right.
That's looking kind of interesting. I'm
| | 01:45 | going to have a real interesting
color combo here, and I'm just going to go
| | 01:49 | through this continually modifying
until I get a color that I kind of like, okay.
| | 01:53 | Well, that's kind of interesting. We
have now successfully solarized this
| | 01:56 | photo. Let's zoom out for a second.
Press Command+Minus on a Mac, Ctrl+Minus on a PC.
| | 02:02 | This image needs to be cropped,
isn't it? So I'm going to ahead and
| | 02:04 | click-and-drag across the photograph,
and then I'm going to crop this in by
| | 02:08 | grabbing my corner points. So what I'm
looking to do is to just make this image
| | 02:12 | look a little bit more dynamic. I can
do that by having the cyclist be a little
| | 02:17 | bit closer to the front of the frame,
press Enter or Return to apply that. Now
| | 02:21 | if we double-click the Zoom tool, to go
to 100%, it will look a little bit more
| | 02:25 | like he is getting closer to the edge
of the frame there. I'll zoom out just a
| | 02:29 | touch here so we can see the entirety
of the image. All right, so far so good.
| | 02:34 | You know one thing that's interesting
to do in regards to solarization effect
| | 02:38 | is to combine this. So some of the
other techniques that we know how to do.
| | 02:41 | Let's say for example adding Motion
Blur. What we are going to do here is we
| | 02:45 | are going to merge all these
underlying layers to the topmost layer.
| | 02:49 | Shift+Option+Command+E on a Mac, Shift+
Alt+Ctrl+E on a PC. Next, we'll navigate
| | 02:55 | to the Filter pulldown menu. We are
going to Blur and Motion Blur. I'm going to
| | 02:59 | add some Motion Blur, not that
much Motion Blur, but I'm going to add
| | 03:03 | definitely a bit of Motion Blur here.
Okay, click OK to apply that then click
| | 03:08 | on the Add Layer Mask icon, grab your
Brush tool and you know what? We are
| | 03:13 | going with this, right? We are going to
paint with black, so make sure you have
| | 03:15 | black in your foreground there. I'm
just going to bring in more the cyclist
| | 03:21 | here, take off part of the leading
wheel there, and that looks pretty
| | 03:27 | interesting. So here we can see our
before and then after, again, just adding a
| | 03:30 | little bit of blur to this image. We
have seen how to do that before, right,
| | 03:34 | but it just takes on a whole new
mean when we have this kind of a really
| | 03:38 | surreal effect.
| | 03:39 | All right, well, why not apply another
technique. Click on the adjustment layer
| | 03:43 | icon; choose Hue/Saturation and then
Desaturate. Okay, now color is all gone.
| | 03:48 | What if I were to bring that color in?
Could bring it in by painting with
| | 03:52 | black. What I could do is bring the
color in kind of go along with the overall
| | 03:57 | mood or motion of this which is this
speed illusion, have this kind of fan out
| | 04:07 | here on each side, and then press the X
key to fix up any area where you don't
| | 04:13 | want the color, and again we are just
having some fun making kind of a surreal
| | 04:17 | effect, here's our before and after
with that little color effect, and of
| | 04:21 | course whenever you work with color
you always want to keep working until you
| | 04:24 | feel like it's looking really good.
| | 04:26 | All right, well, let's take a look at
our before and after, overall. Press the
| | 04:29 | F key, then press the F7 key.
Here's the original and then here's our
| | 04:34 | conversion, solarization, color and
contrast, little bit of motion and then
| | 04:39 | having some fun with color in
order to create the surreal effect.
| | Collapse this transcript |
| Applying solarization and color| 00:00 | In this movie we are going to
continue our conversation about adding the
| | 00:03 | solarization effect. In addition, we
are going to talk about how we can modify
| | 00:07 | color even further,
perhaps even more creatively.
| | 00:10 | Here you have a photograph of another
pro athlete and this motion blur was all
| | 00:14 | captured on camera, I'm just panning
the camera, moving with the cyclist. What
| | 00:18 | I'm going to do is I'm going to go
ahead and convert this to black and white.
| | 00:22 | So I will click on the adjustment layer
icon and choose Black & White. I'm just
| | 00:25 | going to go with the default conversion
for now, actually change it in a second
| | 00:29 | but I'm going to leave that as is.
| | 00:30 | Next, I will navigate back to the
Adjustments panel and click on the Curves
| | 00:33 | icon and here what I'm going to do is
grab a Pencil tool, go ahead and click,
| | 00:37 | hold down the Shift key, click, and
then Shift key and click again. All right,
| | 00:41 | well now that I have converted this
to this solarized image, I can go to my
| | 00:45 | Black & White adjustment layer and
actually experiment with some of the
| | 00:47 | different filters.
| | 00:49 | Sometimes what you'll see is you have
quite a different effect, so we'll go
| | 00:52 | ahead and find a filter that
looks good. I think that looks kind of
| | 00:55 | interesting. You can, of course, go
in and modify those filters in order to
| | 00:59 | change how the image looks and again
quite pretty interesting change there,
| | 01:03 | just bring in some detail in the background.
| | 01:05 | All right, well let's create a layer
above all of this. Shift+Command+N on a
| | 01:09 | Mac, Shift+Ctrl+N on a PC. This is
going to be a gradient layer. We are going
| | 01:13 | to grab this tool here, which is
called the Gradient tool, and then from the
| | 01:18 | Options bar we are going to choose a
color. In this case, we have this color
| | 01:21 | here. We are going to click and drag.
Now the further you click and drag the
| | 01:24 | more transition you have between the
different colors. I will go ahead and take
| | 01:28 | this to a blend mode of good old color.
Wow! Now we have some really vivid colors.
| | 01:33 | We could also experiment with some
other color combinations as well or color
| | 01:36 | directions for that matter and change
that. Again, if you click and drag a
| | 01:40 | small area, a small color transition,
on the other hand if you click and drag a
| | 01:44 | whiter you have this
real white color transition.
| | 01:47 | Now this is a pretty surreal effect
or pretty off-the-wall effect for that
| | 01:50 | matter and that was essentially Man
Ray's intent with creating the solarized
| | 01:55 | technique. Yet here what we are doing
is we are using the solarization and then
| | 01:58 | we are combining color to come up with
some more intriguing and off-the-wall combinations.
| | 02:03 | Now a lot of times when I'm doing
techniques like this I'm thinking okay Chris
| | 02:06 | why am I doing this? What's the point
here? Well, a lot of times I liken it
| | 02:10 | back to any kind of experimentation in
art. A lot of times in art what you do
| | 02:14 | is you experiment in order to grow,
to teach yourself certain things.
| | 02:18 | Now with this image would I ever leave
this image this way? Well, probably not,
| | 02:22 | but one of the things that I did
learned from this is that sometimes that
| | 02:24 | Gradient tool and particularly this
option in the Gradient tool can lead to
| | 02:29 | some pretty interesting effects
when you have these different color
| | 02:31 | combinations. I'm going to keep that
in the back of my mind as I work on my
| | 02:36 | photographs in order to
make them better and better.
| | Collapse this transcript |
|
|
7. Lens Blur and FocusDeconstructing the Lens Blur effect| 00:00 | I am really exited about this chapter
because in this chapter we are going to
| | 00:03 | dig into the filter Lens Blur, and we
can do so much with this filter, it's
| | 00:07 | actually quite interesting. Yet before
we actually begin to work with Lens Blur
| | 00:11 | what do we need to do, we need to de-
construct how this filter actually works.
| | 00:15 | All right well that's what we are going
to do in this movie. Well here you can
| | 00:17 | see I have a background layer. I have a
number of different shapes and lines on
| | 00:21 | it, and then a layer above it I have
called Lens Copy. Now this a layer that I
| | 00:25 | copied and I applied a lens blur to this layer.
| | 00:28 | Now one of things that's interesting
is that you will notice that this circle
| | 00:32 | is sharp and then slowly the blur
becomes more and more prominent. There is
| | 00:36 | also a shape down here in this blur
that we can see. In regards to lines, we
| | 00:40 | can see that the lines actually fan out.
| | 00:42 | Now compare Lens Blur to Gaussian Blur.
Wow! Fascinating, so Gaussian Blur is
| | 00:48 | just a blur that says hey, you know
what? Doesn't matter what the shape is,
| | 00:51 | doesn't matter where the focus is. You
know what, it just blur everything and
| | 00:55 | in comparison, the Lens Blur says
let's be a little bit more selective about this.
| | 00:59 | All right, well now that we know a
little bit about the differences between the
| | 01:02 | two, and now that we can see that Lens
Blur is better because it's closer to
| | 01:05 | the way that a camera blurs things out.
Let's go ahead and work with Lens Blur.
| | 01:09 | All right, we are going to click in
our background layer, copy that. We will
| | 01:13 | drag it to the New Layer icon. Now, we
have Lens Copy 2. Next, we are going to
| | 01:16 | go to our Channels palette and in
our Channels palette, I have an Alpha
| | 01:19 | channel, we can see that down here.
| | 01:21 | Now we can create an Alpha channel
this way. I will go ahead and trash that.
| | 01:25 | All you need to do is click on the new
layer icon, so there is my alpha. Grab
| | 01:29 | the Gradient tool, and I'm going to
go ahead and click and drag to create a gradient.
| | 01:33 | Now, I can invert that by pressing
Command+I and basically what we want is just
| | 01:37 | some kind of a gradient. The further
you drag, the further the transition, the
| | 01:42 | shorter the drag, the shorter the
transition. You can also control that from
| | 01:46 | your direction.
| | 01:47 | Now the gradient that I want to add is
just a single linear gradient, so that
| | 01:50 | we have this transition here and then
I will invert that, so I have a dark area
| | 01:54 | on the bottom.
| | 01:55 | All right, well now that we have
that Alpha channel, let's go back to our
| | 01:57 | Layers, click in the Lens Copy 2, and
navigate to Filter > Blur and then Lens
| | 02:03 | Blur. This will open up the Lens Blur dialog.
| | 02:06 | All right. Well, straight after that,
we are starting to see some really
| | 02:09 | interesting blur. One of the things
that we are noticing is that we can control
| | 02:13 | this. We have a Depth Map and I'm
controlling this based on the Alpha. If I
| | 02:16 | choose None, the Blur is going
to be a little bit more uniform.
| | 02:20 | Now that may be helpful for de-
constructing things because we can see the shape
| | 02:24 | here and how it's affecting these
different shapes. Yet, in my case, I want to
| | 02:28 | limit the Blur to a specific area, so
the Depth Map is based on this Alpha
| | 02:32 | channel. So then it's bringing in the
blur more prominently down here and less
| | 02:37 | up top and we will see that once that's
rendered out. Now, if I invert that, I
| | 02:40 | can then flip that the way that I had
it before, so that it's sharp up top blur
| | 02:44 | on the bottom.
| | 02:45 | All right. Well, then let's just
go with Iris. Well this is kind of
| | 02:48 | interesting. We can see that we have a
four-sided square. We can see the square
| | 02:51 | down below. What if I change that say
to a heptagon? Well, here we are going to
| | 02:56 | see that the shape of the blur is
actually going to change, once that's
| | 02:58 | rendered out, it's taking a bit of time there.
| | 03:00 | Now, we have a shape with many
different sides, interesting. Now go ahead and
| | 03:04 | lower the radius a bit. What the radius
is going to do is it's going to control
| | 03:07 | the maximum amount of the blur. So I'm
going to back that up, so we can see the
| | 03:11 | shape there a little bit more clearly.
| | 03:13 | Now, the Blade Curvature is kind of
interesting. What we can do is use this to
| | 03:16 | make it a little bit more round. So if
I increase the Blade Curvature, what's
| | 03:20 | going to happen is we will notice this
here on the shape down below, again it's
| | 03:23 | just taking a second to render that.
| | 03:25 | It's a much more round Blur. Now,
when I decrease that, I get much more of
| | 03:29 | those different sides of the blur. So
we can see almost a more prominent shape.
| | 03:34 | We can also go to some other shapes
like a triangle, but again that will be a
| | 03:37 | little bit more prominent because we
will see that it's definitely changing the
| | 03:40 | shape of things as the Blurs increase.
| | 03:43 | Now, the rotation has to do with the
Iris rotation meaning, how those different
| | 03:47 | angles or edges are rotated. We can use
a Specular Highlight controls in order
| | 03:52 | to work on our highlights. We can
increase the Brightness or decrease the
| | 03:55 | brightness value of those highlights,
and then Threshold controls what actual
| | 04:00 | pixels to blur, give it ability to add
a little bit of noise here. We can see
| | 04:03 | that we have noise, again that's
masked into different areas of our image.
| | 04:07 | Now why do we want that? Well, a
lot of times if you are going to blur
| | 04:10 | something out, you are going to need to
bring in a little bit of noise because
| | 04:14 | you just don't wanted to be smooth
or smush down blur. You want to have a
| | 04:18 | little bit of texture in it. A lot of
times Gaussian works well. Now, you don't
| | 04:21 | need that much noise. But again, we
are getting closer to simulating, more
| | 04:25 | realistic camera blur.
| | 04:27 | All right. Well now that we know a
little bit about Lens Blur, now that we have
| | 04:30 | de-constructed these controls, let's
go ahead and apply what we know and we
| | 04:34 | will do that in the next few movies.
| | Collapse this transcript |
| The Lens Blur effect in action| 00:00 | One of the nice things about Lens Blur
is it's the filter that you can use in
| | 00:03 | order to direct a viewer's attention to
something. You can use it to reduce and
| | 00:07 | simplify in order to direct focus to
a specific area in your photograph.
| | 00:12 | Now here I have this photograph from
London that I took a little while ago, and
| | 00:15 | I like this image. I like that it
is at night, and you can tell it's a
| | 00:19 | Christmas time and the Merrygoaround.
My favorite part about it is this
| | 00:22 | solitary figure right here looking at
the merry-go-round and I like that I have
| | 00:26 | motion blur, and there is something
about just someone been by themselves at
| | 00:30 | Christmas time, watching these kids go
around here and you don't really know
| | 00:34 | what the story is.
| | 00:35 | Now there are another couple of
interesting elements. There is a group of
| | 00:38 | people here, then there is someone
looking at me right here. Now what I would
| | 00:41 | really like to do is direct the
attention back over to this person, because I
| | 00:45 | think that's really why I took this
photograph, right? Because he was just
| | 00:49 | standing right there.
| | 00:51 | Okay, well let's go ahead and add
some lens blur in order to create that
| | 00:54 | emotion or that effect for this image.
If we go into the Channels palette,
| | 00:58 | you'll notice that I have created a
couple of different blurs. One is a Radial
| | 01:01 | Blur; another one is a Linear Blur.
| | 01:03 | And again we have seen how to do that,
right? You click on the New icon, and
| | 01:07 | then you grab your Gradient tool and
you can create a number of different types
| | 01:10 | of gradients. So here we have a little
bit of a radial. Click and drag more and
| | 01:14 | you have a bigger radial. So the
smaller the drag, the smaller the radial and a
| | 01:19 | larger than the larger.
| | 01:20 | Now we also have a Linear here. So
we'll go ahead and change that to a Linear
| | 01:24 | blur and again we can change the way
that that works and modify it. It's all
| | 01:28 | about clicking and dragging, so
you can create your transition point.
| | 01:32 | All right, well I'll go ahead and
delete those, because we have those two that
| | 01:34 | I have created already. Navigate back
to my Layers palette. I have already
| | 01:38 | copied the layer and I always like to
do that, so I can do this on a new layer.
| | 01:42 | I typically don't use Convert for
Smart Filters here, just because I like to
| | 01:46 | have this on its own layer. For some
reason it works better for me when I copy
| | 01:50 | this to a new layer.
| | 01:51 | All right, well, next I'll navigate to
my Filter pulldown menu, choose Blur and
| | 01:55 | then good old Lens Blur. Now, here
is where the fun is going to actually
| | 01:59 | happen. All right, well so far my
Depth Map Source is at Radial, and how this
| | 02:04 | is going to actually work. So I'll
leave this on Radial, compare that to None.
| | 02:07 | What's going to happen is the blur is
going to be equal across the whole image.
| | 02:10 | I don't want that. So I go to Radial,
and then I'm going to increase my Radius.
| | 02:15 | Now when I increase the radius, I'm
going to start to see how this work. So
| | 02:18 | here is the area that's been masked in,
so that I have this in focus. What if I
| | 02:23 | wanted this group in focus? Well what
I can do then is click on the group and
| | 02:27 | I'm starting to see this radial blur
here. Well, that's kind of interesting. We
| | 02:30 | can kind of begin to see the shape there.
| | 02:33 | Well let's compare that to our linear
blur. So I'll go ahead and choose Linear,
| | 02:37 | and then we are going to click in the
image. Now when I click in the image I'm
| | 02:40 | changing the area where that blur mask
is, and again I'm just bringing in that
| | 02:45 | area of the image, or if I'll click
on the guy over here, remember the main
| | 02:48 | point of the image, well that's kind
of interesting. I have a nice focus here
| | 02:51 | except that probably too much focus over here.
| | 02:54 | What about if I compare this to a Radial?
We saw how that worked initially, yet
| | 02:58 | it didn't look very good, right? What
we can do is choose Invert and sometimes
| | 03:02 | the invert will actually be a little
bit better. I'm going to click on the guy
| | 03:05 | and not maybe realize you know what?
I need to click Invert here. I'd flip the
| | 03:09 | logic in my own mind, now
that's pretty interesting, isn't it?
| | 03:13 | And I'm going to click around in the
guy just to see, if I can shift where the
| | 03:16 | focus is. I'm going to try to find
just the right sweet spot. It looks like
| | 03:20 | right about on his shoulder is just nice,
because now I have this blur in this area.
| | 03:24 | Now I can of course diminish this blur,
so it's not quite so intense. I'm going
| | 03:28 | to go ahead and do that and I will
bring in more areas of focus. So I still
| | 03:32 | have a little bit of the story and one
of the things that happens a lot of time
| | 03:36 | when you use these Lens Blur effects is
it almost makes this look like a little
| | 03:40 | TV set, right? It changes somehow
your perspective. This can be really fun
| | 03:45 | let's say, when you are photographing
in the city and you have a really urban
| | 03:48 | landscape. You can do this and all of
a sudden it will make it look like this
| | 03:51 | little miniature set and
creates this really unique effect.
| | 03:54 | All right, well so far so good. I like
the effect that I have here. I like the
| | 03:58 | way that the blur is working. I can
of course modify my rotation a bit, and
| | 04:03 | that will modify the edge or the shape
of this blur, but you know for the most
| | 04:07 | part I like that. I will go
ahead and click OK to apply it.
| | 04:10 | Now let's take a look at our before
and after. Here is before, an interesting
| | 04:13 | image, now here is after. A very
different image. A little bit more mysterious,
| | 04:17 | a little bit more stylized. So as
you can see, you can use this Lens Blur
| | 04:21 | filter to come up with some just
fascinating and phenomenal effects. You
| | 04:25 | definitely want to experiment with this
because as you can see, the results can
| | 04:29 | be quite interesting.
| | Collapse this transcript |
| Lens blur and masking| 00:00 | In this movie we are going to continue
to work with Lens Blur. What I want to
| | 00:03 | do here is simply apply the Lens Blur
to another photograph, so that we can
| | 00:07 | further understand how this filter
actually works, and in addition, so that we
| | 00:10 | can get some inspiration so that you'll begin
to use this filter on your own photographs.
| | 00:14 | All right, we here have a photograph of
the Getty Museum in Los Angeles. Now I
| | 00:17 | like this photograph, because of
the graphic shapes. I also like this
| | 00:21 | photograph, because I captured it
right about noon. And many people say never
| | 00:24 | take pictures with harsh light, never
take pictures in the middle of the day,
| | 00:28 | and I say no way, you got shoot then,
because you get so many interesting
| | 00:31 | shadows and shapes, and yeah, it's
real stark and harsh, and everything, but
| | 00:35 | nonetheless intriguing. So anyway, sometimes
you have to break those rules, don't you?
| | 00:40 | All right, we'll go ahead and click
in our Blur layer. I'll navigate to the
| | 00:43 | Channels palette, now I have created
an Alpha channel, you can see it here;
| | 00:45 | just a simple gradient. You know how
to do that, so I'll go ahead and skip
| | 00:49 | that. Go over to our Layers palette,
and make sure I'm targeting that layer;
| | 00:52 | I'll navigate to Filter > Blur,
and then choose Lens Blur.
| | 00:56 | Now another way to access this
particular blur, as you can see that up top it
| | 01:00 | remember the last blur that I used,
which was in the last movie, Lens Blur. Now
| | 01:04 | if I apply this it will apply the Lens
Blur with the exact settings that I had
| | 01:09 | used previously.
| | 01:10 | What if I just want to open up the
last filter I used? Well, here is what you
| | 01:14 | can do. You notice the shortcut was
Command+F for a Mac, or you can press
| | 01:18 | Command+Option+F on a Mac, Ctrl+Alt+
F on a PC. It will open up your last
| | 01:25 | filter; whatever it was, but it then
will give you the ability to change the
| | 01:28 | settings. That is a great shortcut.
Again, that's Command+Option+F on a Mac,
| | 01:33 | Ctrl+Alt+F on a PC.
| | 01:36 | All right, well here you can see, we
have the filter being apply to this image.
| | 01:39 | Now I have some noise in there, I'll
go ahead and lower that noise a bit; I
| | 01:42 | don't want that much noise.
I also want a Depth Map Alpha 1.
| | 01:45 | Now when I bring in the Alpha 1 Depth
Map; this is pretty interesting, I can
| | 01:49 | click in different areas of my
photograph to bring in different areas of focus.
| | 01:54 | I'll click on this table up here, and
I can bring that in to focus as well. I
| | 01:58 | can also Invert that selection, so
I have the ability to flip things around,
| | 02:02 | and then click around the image. We
can see that the focus is now in a
| | 02:05 | different area, and Invert it back
again, and then click into our photograph,
| | 02:10 | so that we have that.
| | 02:11 | Now if we decrease the Radius,
that's going to give us a little bit more
| | 02:14 | flexibility. I'm going to remove the
Noise; I don't really like that on there.
| | 02:18 | But again, you can see that all I have
done now is I just pulled out some other
| | 02:22 | focus in the background; not quite as
dramatic. I'm going to increase this
| | 02:26 | significantly, so we can
really see where the focus is.
| | 02:32 | So now here we can see the focus is in
this little tiny area, and then again if
| | 02:35 | I lower that, we are going to have a
larger area of focus, and I can continue
| | 02:41 | to click around the image till I find
the sweet spot, so I can dial-in exactly
| | 02:45 | what I want to have in focus in this
particular photograph, and then of course,
| | 02:49 | use my sliders, Blade Curvature to
smooth things out a little bit, Rotation,
| | 02:54 | Brightness; if you notice that you
need to work on your highlights, you can
| | 02:58 | boost those highlights a little bit.
| | 03:00 | But again, in this case I'm going to
keep things kind of simple, but just bring
| | 03:03 | in a little bit of focus to this area
of the image right in here, and then that
| | 03:07 | pulls out the background and just
creates a pretty interesting and unique
| | 03:11 | effect. And the nice thing about using
this filter is it didn't involve a lot
| | 03:15 | of efforts. So I can go ahead and
select my spot, click OK to apply that, and
| | 03:19 | then looked at my before and after.
| | 03:21 | Now because we have done this on its
own layer, we can then click to add a
| | 03:25 | layer mask, grab the Brush tool, I'll
paint with black, and here is what I'm
| | 03:29 | going to do, I'm just going to limit
some of the focus on this wall, and in the
| | 03:32 | foreground here, because it wasn't
quite exactly where I wanted it. So now I
| | 03:36 | have a little bit more focus in on this
area of the image. So now again, we are
| | 03:40 | just blurring out the background.
| | 03:42 | So keep in mind, that you can modify
this filter by using these different
| | 03:45 | channels in Alpha mask, in addition,
you can just add a mask to the layer, and
| | 03:50 | then paint the focus in, to the
specific areas where you actually want it.
| | Collapse this transcript |
| Applying lens blur to portraits| 00:00 | In this movie I want to briefly talk
about how we can use the Lens Blur filter
| | 00:04 | with portraits. Here we have this
nice portrait of the bride and groom.
| | 00:08 | What I'm going to do is navigate to
the Channels panel and click on the New
| | 00:11 | icon to create a new Alpha Channel.
Press the G key to select the Gradient
| | 00:16 | tool. Now I'm looking to use the
gradient, which is called the Reflected
| | 00:19 | Gradient here. I'm going to go ahead
and just click on that option. Now when
| | 00:22 | you click and drag, what you do, you
can see that you can create this option
| | 00:25 | where, if I go ahead and click here,
I have white, and then black, and then
| | 00:28 | white, and also transition area.
| | 00:30 | Well, we know how our subjects are
standing there. What I'm looking to do is to
| | 00:34 | try to just bring in a little bit of
focus to the eyes, and so I'm noticing
| | 00:38 | that they are standing in a little bit
different height, and so if we go ahead
| | 00:41 | and turn this on here, we can see that,
I'm interested in trying to with this
| | 00:45 | Alpha channel, to create a channel
that goes across their eyes. So what I did
| | 00:50 | was, I turned on the RGB view, and
then also the Alpha view. And again, just
| | 00:55 | looking to try to find the sweet spot
here, it's kind of tricky, right? But I
| | 00:59 | think that might work. We'll give that
a try. Let's click in the RGB composite,
| | 01:02 | turn off the Alpha; we don't need that visible.
| | 01:05 | Go back to the Layers palette, copy
this background layer, Command+J on a Mac,
| | 01:09 | Ctrl+J on a PC. We'll name this new
layer, lens for a Lens Blur, then navigate
| | 01:15 | to your Filter pulldown menu, choose
Blur, and good old Lens Blur. All right,
| | 01:21 | now that we have Lens Blur open,
you know what filter we want to use.
| | 01:24 | It's Alpha 1.
| | 01:26 | Now one of the things I can see here
is I have some focus except it doesn't
| | 01:29 | look right. So I'll try inverting that.
Okay, now when I invert that, that's
| | 01:33 | looking a little bit better. But this
focus is a little bit narrow, or a little
| | 01:37 | bit shallow for me. So I'm just going
to click around here, and see if I can
| | 01:41 | dial this into the right spot, bring up
my Focal Distance; trying to bring some
| | 01:49 | focus in on the eyes, and then I'll
diminish this amount a little bit as well,
| | 01:54 | and then click OK to apply that.
| | 01:57 | All right, let's zoom in on the image,
so we can see how we have done. Here is
| | 02:02 | our before, and then after. Again, we
just have this kind of cut across here
| | 02:07 | focus, and you can create effects
like this on camera, of course if you are
| | 02:11 | using a medium format camera. But in
our case, we are not, so we are trying to
| | 02:15 | do this and post production.
| | 02:16 | Now this looks really good for Hannah,
except for she is a little bit too out
| | 02:19 | of focus. So I'll click on the Add
Layer Mask icon, press the B key to grab my
| | 02:24 | Brush tool, and I'm just going to mask,
some detail back in here, as well a
| | 02:28 | little bit on him. Again, I'm just
interested in having some of them in focus,
| | 02:33 | losing a little bit of some of the
other elements here, like our background,
| | 02:38 | and some of those distracting elements,
we'll zoom in a little bit further,
| | 02:41 | make sure we have
everything before and then after.
| | 02:43 | Zoom out, something it's nice to do
sometimes, it's to lower the opacity of
| | 02:48 | your brush, when you are doing your
masking as well; just to take off a little
| | 02:52 | bit of the edge in the surroundings
areas on the shoulder there, that gave me a
| | 02:56 | little bit too much of a glow. So
I'll press the Zero key, go back to 100%;
| | 02:59 | don't want that glow effect there,
because that's close to the face. I want
| | 03:04 | that to look a really nice right in
here on the face, and then we have our
| | 03:07 | before and then our after, where
tapping into the background focus we already
| | 03:12 | have, knocking out this area out of
focus. And now we have successfully created
| | 03:17 | this unique effect using the Lens Blur filter.
| | Collapse this transcript |
|
|
8. Vanishing PointAdding graffiti to a single plane| 00:00 | In this movie we are going to have some
fun and we are going to take a look at
| | 00:02 | how we can use this filter called the
Vanishing Point filter. It's actually
| | 00:06 | quite fascinating what we can do with
this filter. All right well here we have
| | 00:10 | this photograph of this oil refinery.
I have applied a little bit of a
| | 00:13 | cross-processing effect, I kind of like
that. I also like these lines here, how
| | 00:16 | these lines in the well lead in the
frame, well we have a bit of the refinery
| | 00:20 | in the background.
| | 00:21 | And then my second layer I have this
graffiti that I photographed when I was in
| | 00:24 | London. Now I like this graffiti,
I like the tone, the texture, the colors; I'm
| | 00:28 | going to add this to the wall. Now how
could I do that? How could I add it to
| | 00:32 | the wall, so that I would have a
correct perspective and how could I blend it
| | 00:35 | into that wall? Well here is what we
are going to do. We will turn on the
| | 00:38 | visibility of that layer, press
Command+A on the Mac, Ctrl+A on a PC then,
| | 00:43 | press Command+C for Copy on the
Mac and that's Ctrl+C on a PC.
| | 00:47 | So again we selected that layer and
then we copied the information from that
| | 00:51 | layer. Well let's now deselect our
selection, Select>Deselect and then click in
| | 00:57 | the Vanish layer and turn off the
graffiti layer. Now we have copied the
| | 01:01 | graffiti yet we haven't pasted it
anywhere yet, and I emphasize yet. All right
| | 01:06 | here is what we are going to do. We are
going to go to our Filter pulldown menu
| | 01:09 | and we are going to choose good old
Vanishing Point. Notice this is actually
| | 01:13 | quite interesting what we can do here.
We will go ahead and set a point on one
| | 01:16 | of the lines of this wall that then
we will go all the way down here to the
| | 01:20 | end, set another point and I'm just
looking to follow the shape of this wall.
| | 01:25 | Now when I come over here I can't quite
get my lines straight, because I don't
| | 01:28 | have enough area to go down. Well all
you need to do is zoom out. Now when I
| | 01:32 | zoom out I have plenty of space, and
again I'm just looking to try to follow
| | 01:36 | the wall there and that looks pretty
close. So we will go ahead and click that
| | 01:41 | to apply that. We can modify this
further if we need to. We can modify these
| | 01:45 | points, if we didn't quite nail it on
the first trial. Although I would say
| | 01:48 | that; that's for the most part pretty good.
| | 01:50 | All right well here is where it gets
fun. On a Mac press Command+V, on a PC
| | 01:55 | press Ctrl+V to paste into the
Vanishing Point filter the contents from that
| | 01:59 | layer. Then click-and-drag and bring
that into this shape here that we have
| | 02:03 | created and now we can bring this
graffiti along this wall here and we can put
| | 02:07 | it in any number of positions, we can
also move the graffiti. So I'm going to
| | 02:11 | go ahead and move it up to get it to
an interesting spot. I would try to find
| | 02:15 | part of the graffiti that I like there.
I think that's kind of interesting.
| | 02:18 | Let's see how that works right there,
perhaps like-- Yeah, click OK to apply
| | 02:22 | that. All right, well now that we have
the graffiti proportionally positioned
| | 02:26 | on the wall, we need to blend it. We
will try one of our many blend modes like
| | 02:30 | Overlay or like Soft Light. Okay kind
of interesting, well I like Overlay. I'm
| | 02:35 | not too keen on the colors; I may want
to modify that. And I also notice I have
| | 02:39 | some edges that I need to work on as well.
| | 02:41 | Well we can change the edges by
clicking on the Add Layer Mask icon. Press B to
| | 02:46 | select your Brush tool and I'm going
to make the brush really big, Right
| | 02:49 | Bracket key nice and soft, Shift+Left
Bracket key. I'm going to go ahead and
| | 02:54 | just pull off the edge here and remove
that, also remove it down below, click
| | 03:00 | once hold down the Shift key, click
again, again it is just diffusing that
| | 03:05 | upper edge there, the lower edge,
trying to get this to blend in a little bit,
| | 03:09 | so we don't have harshness with that.
Well then could I change its color? It's
| | 03:14 | looking actually quite interesting.
We mask off the window here as well. We
| | 03:18 | want the graffiti in the window.
Smaller brush size Left Bracket key. It just
| | 03:23 | fixes up those windows right there, okay.
| | 03:24 | All right, well how then we could
change its color? Well what we could do is
| | 03:29 | click on the Adjustment Layer icon,
choose Hue/Saturation for example, then
| | 03:32 | shift the overall hue. Now that's
affecting the entire image. To have it just
| | 03:37 | affect the underlying image, we can
either hold down the Option key on a Mac,
| | 03:41 | Alt key on a PC and position the cursor
between the two layers when we see the
| | 03:45 | overlapping circles click, or we can
go into our Mask panel, I will actually
| | 03:49 | take that back our Adjustment panel and
here is what we can do is click on that
| | 03:53 | same icon to create what's
called the layer clipping mask.
| | 03:56 | Now from here I can continually
modify this and we can see that I have some
| | 03:59 | different color combinations, and
maybe some more vivid colors there who will
| | 04:03 | look kind of interesting with that
graffiti, I can control its overall
| | 04:06 | saturation and not quite that vivid.
Okay, well so far so good. We are able to
| | 04:12 | quickly, and almost seamlessly
connect these two photographs together in a
| | 04:16 | really unique way by
using that particular filter.
| | 04:19 | So as you can imagine, using this
filter will open up a whole new range of
| | 04:23 | possibilities in regards to combining
multiple photographs or in regards to
| | 04:27 | adding type to your photographs. So
again the options are almost limitless.
| | Collapse this transcript |
| Adding reflections to multiple planes| 00:00 | In this movie we are going to dig
deeper into how we can use the Vanishing
| | 00:04 | Point filter when we have multiple
planes. All right well here we have this
| | 00:08 | interesting photograph of these homes
in Seattle. I like the shapes, I like the
| | 00:12 | texture, I like the color and I have
some copy here, Photography by Chris Orwig
| | 00:16 | and I want to add this copy to the
building so that it's on the front of the
| | 00:19 | building and the side of the
building. Well how could I do that?
| | 00:21 | Well for starters I will go ahead and
select both of my type layers. Select one
| | 00:26 | by clicking on it, hold down the Shift
key click on another and then navigate
| | 00:29 | to the Layer pulldown menu, choose
Rasterize and Type that will turn those
| | 00:34 | vector type layers into simple graphic
layers. Now what we need to do is merge
| | 00:39 | those two together. Do you know that
shortcut to merge two layers together?
| | 00:42 | Well, you got to learn the shortcut
because it's really valuable. It's
| | 00:45 | Command+E on a Mac, Ctrl+E on a PC.
| | 00:48 | Once again Command+E, Ctrl+E merges
those two layers together. All right, well
| | 00:53 | great. Well, now that we have merged
these we need to load the selection and
| | 00:57 | copy it. So let's do that. On a Mac
hold down the Command key, on a PC the Ctrl
| | 01:01 | key and click on the layer to activate
as a selection. Next press Command+C or
| | 01:07 | Ctrl+C to copy. All right, well now
that we have copied that information, we
| | 01:11 | will turn off the visibility of the
layer and we will navigate to Select and
| | 01:14 | choose Deselect. We have
deselected what we then copied.
| | 01:18 | Well let's click in the Vanishing
Point layer and then navigate to
| | 01:21 | Filter>Vanishing Point. This will open
up the Vanishing Point dialog. Now what
| | 01:27 | we want to do here is simply click and
reposition to set another points, set
| | 01:33 | yet another point and then finish it
off setting another point right about here.
| | 01:38 | Okay, well that looks pretty good.
Yet how can I add this plane over here?
| | 01:43 | Well, you need to hold down the Command
key on a Mac, Ctrl key on a PC and then
| | 01:46 | click and drag and here you can see
I have yet another pane. Now all that I
| | 01:51 | need to do to modify that is hold
down the Command key and here you can see
| | 01:54 | that I can resize that or re-
orientate that so I have this nice plane over
| | 01:59 | there, and multiple planes, great.
| | 02:01 | Now press Command+V to add the copy.
So go ahead and add the copy on to the
| | 02:04 | building. And I like that but it's too
big. So I will click on the icon, which
| | 02:08 | gives me the controls to change the
size here. So I'm going to go ahead and
| | 02:11 | change the size of this just a touch
here. I don't want it to be overwhelming,
| | 02:16 | but I do want to have some copy there
up top. Okay well that looks pretty good,
| | 02:21 | reposition that. Well how can
I get another version of the copy?
| | 02:24 | Option-click-and-drag and then you can
bring another version over here and you
| | 02:28 | can resize that as well as needed.
| | 02:31 | Okay well that looks pretty good.
Let's go ahead and click OK to apply that.
| | 02:35 | Now we have this copy on this building,
and of course what we could do with
| | 02:39 | this is we could change the overall
Opacity. If we want to blend it into the
| | 02:42 | building, we could invert this,
Command+I. If we wanted to see what it will
| | 02:46 | look like in another effect,
I will go ahead and invert that back.
| | 02:49 | Command+I on a Mac, Ctrl+I on a PC will
invert any layer. Yeah, I will go ahead
| | 02:54 | and invert that back as I have done
here because I think that looks pretty
| | 02:57 | good. And most importantly what
I wanted to do here was to illustrate two
| | 03:01 | things. One, I want to illustrate that
you can use Vanishing Point for other
| | 03:05 | objects besides photographs like we
have done here with type. And two, I want
| | 03:09 | to illustrate how you can actually use
Vanishing Point across multiple planes.
| | Collapse this transcript |
|
|
9. Creative Layer BlendingWisdom pt. 1: Layer blending| 00:00 | Welcome to the chapter on layer
blending. I'm really excited about this
| | 00:04 | chapter, because for one I love what
I get to do for a living, two I love
| | 00:07 | working in Photoshop and working on my
images and when I start to get to layer
| | 00:10 | blending I just think man! This stuff
is so fascinating. There is something
| | 00:14 | about taking two images and merging
them or blending them together. And here is
| | 00:18 | the good news about layer blending,
it's not complicated yet you can come up
| | 00:22 | with some real vivid and intriguing and
engaging results. So anyone can do what
| | 00:27 | we are going to do here.
| | 00:28 | All right well we are going to go
through a number of different examples. This
| | 00:30 | first one I'm calling Wisdom. Let's
go ahead and take a look at our core
| | 00:34 | images. Well I have these background
images of these are lights and I just love
| | 00:38 | photographing lampposts and lights.
I don't know what it is about them, and
| | 00:42 | obviously what I try to do when
I photograph these is look for patterns, I also
| | 00:46 | try to cut away all the rest of the
image. Now with this particular shot it's
| | 00:50 | overexposed, so it's not even
necessarily a keeper, yet I like those graphic
| | 00:54 | elements. So I think okay maybe layer
blending. Now I also have this layer
| | 00:58 | here, the subway layer, this is a
photograph of a subway tunnel in London and I
| | 01:02 | love photographing subway tunnels with
wide angle lenses because you have all
| | 01:05 | those lines just going from the side
and the top and the bottom of the image
| | 01:08 | bleeding all the way in.
| | 01:10 | So what I want to do is I want to
begin to merge these two together. Now we
| | 01:14 | just have to know some of our
blending shortcuts in order to get good with
| | 01:17 | layers. So I will click on my topmost
layer, press the V key to make sure I
| | 01:21 | have the Move tool, then go ahead and
look at your keyboard. You want to press
| | 01:25 | Shift+Option on the Mac, Shift+Alt on a
PC and then press any of the different
| | 01:29 | letter keys and the letter key what we
are looking for is F for Soft Light or O
| | 01:33 | for Overlay.
| | 01:35 | So go ahead and take this to a bend
mode of Soft Light. Now when I do this one
| | 01:38 | of the things I notice is the, yeah,
okay this is kind of interesting. I can
| | 01:42 | see some of the lines, but you know
what? I just don't have a very good base.
| | 01:45 | This lights layer isn't going to work
good as my base layer. So what I'm going
| | 01:49 | to do is then duplicate the subway
layer and I'm going to duplicate this by way
| | 01:54 | of shortcut, and this is a new shortcut
at least for this training title. Hold
| | 01:57 | down the Option key on a Mac, Alt key
on a PC and then click and drag and now I
| | 02:01 | have another version of this layer.
| | 02:03 | All right well so far I have Soft Light
on my top. I'm going to then go down to
| | 02:07 | my Lights layer. I want to take that to
Soft Light as well. Make sure you have
| | 02:11 | the Move tool selected and then press
Shift+Option+F on the Mac, Shift+Alt+F on
| | 02:15 | a PC. All right well now that I'm
sandwiching these two layers on top of this,
| | 02:20 | I have the lights coming in, then
I have some contrast on top of that, I add a
| | 02:24 | little bit of definition. I'm liking that.
| | 02:26 | All right, we'll click in our topmost
layer and then click on the adjustment
| | 02:30 | layer icon and choose Hue/Saturation,
I want to get rid of all of this color.
| | 02:34 | All right. Now I'm ready to add some
colors, so I will navigate back to my
| | 02:37 | Adjustment panel, maybe use Color
Balance. Now all I'm going to do is add some
| | 02:41 | Cyan and Blue and then blend that
into this image. Well how can I blend it?
| | 02:46 | Shift+Option+F on a Mac, Shift+Alt+F
on a PC. All right well now that I have
| | 02:51 | these interesting colors, I'm thinking
what would happen if I duplicate this.
| | 02:55 | To duplicate a layer, let's focus in
on that so we can see. We can either
| | 02:59 | click-and-drag it to the New Layer icon
or even better, press Command+J on the
| | 03:03 | Mac, Ctrl+J on a PC. Man! We are
learning a lot of shortcuts, aren't we? But we
| | 03:07 | want to use these shortcuts so that we
can get to these results really quickly,
| | 03:12 | because once you have these shortcuts
you could pull this off really within 10
| | 03:16 | or 15 seconds and it will help you
explore different visual possibilities for
| | 03:20 | your photographs.
| | 03:21 | Well, one thing I would like to just
explore here is the lights perhaps are a
| | 03:25 | little bit too far down. What if I were
to change the blend mode here? Well, I
| | 03:28 | could go ahead and try some different
blend modes like Screen for that matter.
| | 03:32 | Well that's kind of interesting, but
not the effect I'm going for. Multiply.
| | 03:35 | Now that's interesting, the darkening
effect. What if I do Soft Light? Copy
| | 03:39 | this layer, Command+J on a Mac, Ctrl+J
on a PC and then take this blend layer
| | 03:44 | to Multiply, so I have a little bit
more of the lights there, right? That's
| | 03:47 | what I'm talking about.
| | 03:48 | All right, well so far so good. We
have our color layers up top. In this top
| | 03:53 | color layer I might want to pulldown
just a bit and I'm getting to a pretty
| | 03:56 | interesting place with this particular
collage and I go to my Soft Light layer
| | 04:00 | of the tunnel, I'm going to lower that
as well, just to pull that back a little
| | 04:04 | bit so that I have again just some
interesting blending of shapes and whatnot.
| | 04:08 | I will zoom out a touch so I can see
the image and then press F to go to Full
| | 04:13 | Screen View mode, zoom in a little bit.
I'm liking that. Press F7 so I can
| | 04:17 | bring back my Layers palette, make any
other modifications that I may need to
| | 04:20 | make, but in my case I think this looks
really good. I'm ready to add some type
| | 04:25 | to this layer composite. So go ahead
and keep this image open and we will add
| | 04:29 | our type in the next movie.
| | Collapse this transcript |
| Wisdom pt. 2: Working with type| 00:00 | Welcome back. In the previous movie, we
talked about how we can blend these two
| | 00:04 | layers together so that we can get
this final result, holding down the Option
| | 00:07 | key on a Mac, Alt key on a PC and clicking
on the Eye icon, we have our before and after.
| | 00:12 | Now the next thing I want to do is add
a little bit of type. Now the reason why
| | 00:15 | I wanted to do this its own movie
is because we are going to learn some
| | 00:18 | typography shortcuts here. So let's go
ahead and exit out of Full Screen View
| | 00:22 | mode by pressing the F key a few
times so that we can see all of our menus.
| | 00:26 | Now we will go ahead and press the T
key to select the Type tool. What I'm
| | 00:30 | going to do here is simply type out a
quote that I really like wisdom begins in
| | 00:35 | wonder Press Enter or Return and this
is a quote from Socrates. I will go ahead
| | 00:40 | and press Enter or Return, press the V
key to select the Move tool, then I'm
| | 00:44 | going to reposition this type and
what I want to do is I want to actually
| | 00:47 | change the way this looks. How then
can I enter back into this type field?
| | 00:51 | Well we have seen before that we can
double-click the T there, now if we
| | 00:54 | double-click that we can go into that
type and select it. Okay, well that's one
| | 00:58 | way, press Enter or Return to exit out
of that. I can also press the T key to
| | 01:02 | select the Type tool and hover over
the different font fields, in this case I
| | 01:06 | will hover the word Socrates and then
I'm going to go ahead and decrease my
| | 01:09 | font size; I want that to be much smaller.
| | 01:12 | Okay, well so far so good, let's press
Enter or Return. What about the spacing
| | 01:17 | between the words here? We will go
ahead and click into the type field and then
| | 01:21 | press Command+A to Select All and
that's Command+A on a Mac, Ctrl+A on a PC.
| | 01:26 | Next what we are going to do is hold
down the Option key on a Mac, Alt key on a
| | 01:30 | PC and then we will use our arrow
keys. So the up arrow changes the space
| | 01:34 | between these lines then if I press the
right arrow key, or the left arrow key,
| | 01:39 | I can actually change the
space between the letters.
| | 01:41 | All right, well so far so good, let's
press Enter or Return to apply that.
| | 01:45 | Next, let's just free transform the text,
right. I want the text to fit inside
| | 01:49 | of this little area here. We will
press Command+T on a Mac, Ctrl+T on a PC,
| | 01:54 | hold down the Shift key and then
reposition the font so that it fits in here.
| | 01:58 | Now the last thing that I want to do is
to make sure that my font fits in even
| | 02:02 | a little bit better. So if go ahead
and click in this text field, and press
| | 02:05 | Command+A on a Mac, Ctrl+A on a PC,
I can see that I have the ability to align
| | 02:09 | this in different ways. I want it to be
aligned to its right justified except I
| | 02:14 | want that top line to be scudded over.
So I will click in the top line and then
| | 02:18 | I will simply press the Spacebar key a
couple of times, press Enter or Return
| | 02:22 | to apply that and then reposition the
copy there so that it fits right in there
| | 02:26 | in that particular location. Again,
I'm just trying to tie into the overall
| | 02:29 | graphics here.
| | 02:31 | Now I will press the T key to select
the Type too. I will select the word
| | 02:34 | Socrates in this case I'm going to
add a different color here and I will go
| | 02:38 | ahead and click OK. The color isn't
showing up because the layer is underneath
| | 02:42 | some color adjustment, so let's bring
that up top so that we now have that
| | 02:46 | color there and we will press Enter or
Return to make sure we have existed out
| | 02:49 | of that type field.
| | 02:51 | All right, well we have
successfully completed our first layer blending
| | 02:55 | exercise. As you can tell, this layer
blending stuff is really fun. Well we
| | 02:59 | have more to cover in regards to
blending multiple images together and we will
| | 03:03 | do that in the next few movies.
| | Collapse this transcript |
| Memories: Applying shortcut keys for layer blending| 00:00 | Let's continue to talk about how we can
use creative layers in order to come up
| | 00:03 | with some pretty interesting results
in addition. In this movie, I want to
| | 00:07 | share with you some valuable shortcuts
that will help you out as you continue
| | 00:10 | to delve into the
wonderful world of creative layers.
| | 00:13 | Let's go ahead and press the F key to
go to Full Screen View mode, then press
| | 00:16 | the F7 key to bring back our Layers
palette. Now, ideally you get so get good
| | 00:21 | at Photoshop that you don't actually
need the Photoshop interface and that's
| | 00:24 | what we are going to start
to look at here, all right.
| | 00:27 | Well I have these three images,
I have this Background layer with all these
| | 00:29 | texture, I have these close-up
photograph of this leaf, there is something
| | 00:33 | about leaves that I really like, all
the little texture and everything in there
| | 00:36 | and then I have another photograph of
this tree here that I captured up in
| | 00:39 | Cyrus. Well we want to blend all these together.
| | 00:42 | So go ahead and click on Layer 3,
currently I'm targeting or I'm in Background
| | 00:47 | layer. But how can I move up to Layer
3 by a way of shortcut? Well this is a
| | 00:51 | handy shortcut. You hold down the
Option key on a Mac, Alt key on a PC and then
| | 00:55 | press your bracket key, what you can
do is you can go through your different
| | 00:59 | layers. In this case, I can only go
through my two visible layers, so you can
| | 01:02 | see I'm going up and down.
| | 01:04 | Again that's Option on a Mac, Alt on a
PC plus the bracket key. Now that I'm in
| | 01:09 | this new layer, let's change its
blend mode by a way of shortcut,
| | 01:12 | Shift+Option+F on a Mac, Shift+Alt+F on
a PC. Okay, well I like the blending of
| | 01:18 | those two layers except when you
increase the contrast like that, one of the
| | 01:22 | things I notice is my
underlying layer is a little too dark.
| | 01:25 | So I want to go down to that, press
Option+[, yeah gosh, these shortcuts are]
| | 01:30 | kind of helpful huh? And here I want
to modify the overall tonality or the
| | 01:35 | brightness of the image. I want to
access Curves. How can do that? Well the
| | 01:38 | shortcut there Command on the Mac,
Ctrl on the PC plus the M key. That will
| | 01:43 | then open up Curves and all that I'm
interested in doing here is brightening up
| | 01:46 | this layer a little bit because
I didn't quite like how much contrast was added
| | 01:50 | there and I will go ahead and
brighten up that a little bit and click OK to
| | 01:54 | apply that.
| | 01:55 | Now Command+Z on a Mac, Ctrl+Z on a PC
will toggle between my before and after.
| | 02:01 | Okay, well great! Well I was
able to brighten that up a bit.
| | 02:03 | Now I want to work on the topmost layer.
How can I do that? I press the Option
| | 02:08 | on a Mac, Alt key on a PC and I will
press the right bracket key. Well I can't
| | 02:12 | go all the way up because it's not on.
So I need to manually turn that one on
| | 02:16 | and then I can just click in
that layer as long as I'm there.
| | 02:18 | All right, now with this layer, I'm
going to take its blend mode to either Soft
| | 02:22 | Light or Overlay. We already know
the shortcut to Soft Light. It's
| | 02:26 | Shift+Option+F on a Mac, Shift+Alt+F on
a PC. Well if F is for Soft Light, O is
| | 02:33 | for Overlay. Okay, well
that's kind of interesting.
| | 02:36 | What if we try some other letters
like S that's for Screen or M, that's for
| | 02:40 | Multiply and again the point here isn't
to remember those letters but my point
| | 02:44 | is that you have begin to experiment
with some of these different blend modes.
| | 02:48 | Okay, let's go ahead and try Overlay.
That looks kind of interesting and then
| | 02:51 | let go over the keyboard.
| | 02:52 | Now one of the things I notice here is
again that the image became very dark.
| | 02:56 | What would happen if I were to
invert this layer? That might be kind of
| | 03:00 | interesting. And I can invert the layer
on a Mac, Command+I, on a PC Ctrl+I, by
| | 03:06 | pressing that shortcut.
| | 03:07 | So I will go ahead and do that. Now
when I do that, I have a completely
| | 03:10 | different image. It's pretty
interesting and let's say it's a little bit too
| | 03:13 | bright for me. Well, how then do
I access the Curves Adjustment panel? You even
| | 03:18 | remember this one right, don't you?
It's Command+M on a Mac, Ctrl+M on a PC but
| | 03:23 | here let's say I just want to darken
this up a little bit, maybe bring down my
| | 03:27 | white points. I can control the
overall color here. That looks pretty good.
| | 03:33 | Click OK to apply that.
| | 03:36 | All right, well that's a pretty vivid
adjustment and perhaps there is too much
| | 03:40 | of that adjustment there. How could
I lower the opacity of that layer? If I
| | 03:45 | have the Move tool to selected,
I press the V key, that's means I'm then just
| | 03:48 | working on the layer, I can then press
zero through nine in order to change my
| | 03:52 | Opacity, I will try five, that's 50%
Opacity, six, that's 60%, eight, that's
| | 03:57 | 80%. If I press two numbers, 8-8, now
I'm at 88%. So I can control the layer
| | 04:02 | opacity really quickly.
| | 04:03 | So again, my hope with these little
creative layer, blending movies is to begin
| | 04:08 | to get you to see the possibilities,
to excite you a little bit about how you
| | 04:11 | can blend or combine your photographs
together in order to come up with some
| | 04:15 | pretty unique and riveting results. In
addition, I want to teach you some of
| | 04:19 | these shortcuts so that you can do
this layer blending workflow a little bit
| | 04:24 | more quickly.
| | 04:25 | All right, well we have taken this
image to a completely new place and along
| | 04:28 | the way I hope you picked up some
valuable shortcuts. Well we have more to
| | 04:31 | discover in regards to layer blending
and we will do that in the next few movies.
| | Collapse this transcript |
| Daydreaming: Exploring more blend modes| 00:00 | You know as you are learning about
layer blending, you may be asking to
| | 00:02 | yourself, okay, this is really
visually quite interesting but why would I
| | 00:06 | actually want to do this? Well, one is
it's just interesting for creativity's
| | 00:09 | sake and another reason that I will do
layer blending is order to journal or to
| | 00:13 | kind of capture visually an experience
that I have had or a thought that I have
| | 00:17 | had and that's the case here.
| | 00:19 | Let go ahead and navigate to the Full
Screen View mode by pressing the F key
| | 00:22 | multiple times until we are at this
Full Screen View mode with black in the
| | 00:25 | background. Then we will press the F7
key to pull up our Layers palette. Now
| | 00:30 | here I have a few layers that I have
brought into this document; one is this
| | 00:33 | little edge here and I just want to
add a little bit of a distress nature to
| | 00:37 | this because I love this door,
I thought it was just so beautiful and this was
| | 00:41 | a door that was actually the front
door of an auto mechanic shop and this was
| | 00:45 | in Europe, you know, you don't see
many auto mechanic shops with doors that
| | 00:49 | look this cool over here you do that.
| | 00:51 | All right, well, let's change our
blend mode. Let's do it quickly.
| | 00:54 | Shift+Option+F on a Mac, Shift+Alt+F
on a PC. That goes to Soft Light. So the
| | 00:59 | key is holding on Shift+Option or
Shift+Alt and then trying some different
| | 01:03 | letters. F for Soft Light, S for Screen,
O for Overlay. Overlay and Soft Light
| | 01:08 | are pretty interesting. So I toggle
between F and O. So again, hold down
| | 01:11 | Shift+Option or hold down Shift+Alt
and then start pressing some of those
| | 01:15 | different letters.
| | 01:16 | All right, well I like that blend
mode of Overlay. I will leave that there.
| | 01:19 | Next, I want to turn on the visibility
of this layer. Now this was a quote that
| | 01:23 | I heard in a presentation by Brendan
Dawes, an amazing designer and a really,
| | 01:28 | really cool guy, I have had chance to
spend a little bit of time with him, he
| | 01:31 | is just inspiring to me. In one of his
presentations, he had this quote up on
| | 01:36 | the screen. "It was they who dream by
day are cognizant of many things which
| | 01:40 | escape those who dream only
by night- Edgar Allan Poe."
| | 01:45 | It's kind of a good case for day
dreaming saying that, you know what? Dreaming
| | 01:49 | during the day is so important, it's so
valuable. So my question to you is how
| | 01:53 | often are you dreaming during the day?
How big are your dreams because you
| | 01:57 | really do need to think big? So this
concept was just so fascinating to me so I
| | 02:00 | created this little composite here with
these layers. So I brought in the type
| | 02:04 | and then I have another layer from
that same town where I captured the garage
| | 02:08 | doors. In this case, it's the top of
the brightened pavilion, kind of a dream
| | 02:12 | like structure.
| | 02:13 | I modified the tone a little bit, it
was pretty simple and now I will change
| | 02:17 | the blend mode. Hold down Shift+Option
on a Mac, Shift+Alt on a PC, then press
| | 02:21 | the F key. Now when we go to that Soft
Light blend mode, all of a sudden, we do
| | 02:25 | definitely have something that's a
little bit more like a dreamscape.
| | 02:28 | Now let's press the Tab key and then
the Tab key again to hide all of the
| | 02:34 | interface. That's a nice little
shortcut there, right Tab and then Tab again,
| | 02:37 | get rid of everything. So why would
I create this particular composite in
| | 02:41 | Photoshop? Well, one, it's visually
kind of interesting and two this has
| | 02:45 | ingrained that idea, that I heard, that
I really liked in my mind, it was a way
| | 02:50 | for me to visually journal rather than
writing the words down in a note book
| | 02:54 | and actually create a document in
Photoshop, that kind of expressed how I felt
| | 02:58 | about that and that then in turn,
helped me integrate this concept into who I'm
| | 03:04 | and how I think.
| | Collapse this transcript |
| Infinite: Layer blending with color and texture| 00:00 | In this movie, we are going to continue
to talk about how we can blend multiple
| | 00:03 | images together. And in addition,
I want you to get you to begin to think about
| | 00:07 | what you can photograph that will
blend well together with other images.
| | 00:11 | All right, so we will work on blending
and color here. Well here I have this
| | 00:14 | background photograph of these lights
and I just love the repeating pattern of
| | 00:18 | those lights. I also enjoy these
clouds. On the top layer, I have a texture
| | 00:22 | layer there and so what I'm going to do
is go ahead and click on my Background
| | 00:25 | layer, I want to change the color of
this. So I will click on the adjustment
| | 00:28 | layer icon and I'm going to color
balance and here I'm just interested in
| | 00:31 | adding a big color shift here, nice red
-yellow color shift. That looks pretty
| | 00:35 | nice. I will then click on the texture
layer. I want to change the blend mode
| | 00:39 | to Soft Light. Either do that by
way of shortcut or if you are over the
| | 00:43 | shortcuts, do that by way of
longcut. That's fine as well.
| | 00:46 | All right, now that we have this
interesting combination, the image is starting
| | 00:49 | to come to life a little bit. One of
the things that you want to photograph and
| | 00:52 | you want to have in your photo archives
are textures like the concrete wall and
| | 00:56 | clouds. Anytime, there are big puffy
clouds, shoot, shoot, shoot away because
| | 01:03 | those clouds you can use in so many
different ways and in addition it just adds
| | 01:07 | such dimension to your photographs,
even if it's a photograph of a person and
| | 01:10 | there are those clouds in the background,
it can add so much. So really look up
| | 01:13 | to the sky when you are photographing
and of course, it works really well with blending.
| | 01:18 | All right, well now that we have
that, let's go ahead and click on the
| | 01:20 | Adjustment Layer icon and choose
Curves and here what I'm interested in doing
| | 01:23 | is just boosting the Contrast, I want
to make this a little bit more vivid, a
| | 01:26 | little bit deeper color there and
that's looks pretty interesting to me, look
| | 01:31 | at my before and after with
that final color adjustment.
| | 01:34 | Now that I have that color, something
I may want to try is to go ahead and
| | 01:38 | choose a Hue/Saturation adjustment
layer and swing the Hue one way or the
| | 01:41 | other. Now I'm guessing that I'm going
to end up where I was with this image
| | 01:45 | because the colors are so vivid. Yet
the only thing that I might want to do is
| | 01:48 | perhaps pull them back a little bit,
make them a little bit more muted or for
| | 01:52 | that matter, a little bit more saturated.
| | 01:54 | Yet in this case, I'm going to say
you know what? I don't even need that
| | 01:56 | Hue/Saturation adjustment layer, so
I will hit the Delete key to get rid of it
| | 02:00 | because I think this image is looking
good. Let's look at our before and after,
| | 02:04 | hold down the Option key on a Mac,
Alt key on a PC, here is before and then after.
| | Collapse this transcript |
| Flamenco: Creative workflow and layer blending| 00:00 | In this movie we are going to do a
little bit more of complicated layer
| | 00:03 | blending exercise. We are going to do
this in order to exercise our creative
| | 00:07 | muscles and look at how we can then
combine multiple layers together in order
| | 00:11 | to create effect. Well here I have a
few different layers, I have a layer of
| | 00:15 | background wall, than I have Flamenco
dancer there, photograph of a leaf and
| | 00:18 | than a texture, then also this top
layer with these little sprockets, the edge
| | 00:22 | of the film strip.
| | 00:23 | All right well let's go ahead and
navigate down to our Flamenco dancer there.
| | 00:28 | You can see that I have removed this
image from the background really simply I
| | 00:31 | just did quick select or I worked with
the magnetic class, so either way and I
| | 00:34 | brought it out of the edge and I took
it out of its environment. Now it wasn't
| | 00:38 | too concerned about the edges, you can
see the edges aren't very good, there
| | 00:41 | are some problems because I knew that
I was going to be blending things I was
| | 00:44 | going to get a little bit creative.
| | 00:46 | So here is what I want to do, I'm
going to copy this Flamenco dancer, I will
| | 00:50 | turn off the visibility of the top
layer and on this underlying layer I'm going
| | 00:53 | to take my blend mode to Multiply. So
I will go ahead and navigate to that
| | 00:56 | blend mode of Multiply. That will then
give me the blending through the image.
| | 01:00 | I'm going lower the Opacity, one of
the things I'm interested in doing is
| | 01:04 | trying to have multiple versions of
this. So now that I have one, I will down
| | 01:07 | the Option key, I will click and drag
so that I have another and then I will
| | 01:11 | Option-click and drag so that I have
another and Option-click and drag so that
| | 01:14 | I have another.
| | 01:15 | Now it would be kind of nice to
control the overall intensity or Opacity of
| | 01:20 | these different layers. We can do
that by clicking in the topmost layer,
| | 01:23 | holding the Shift key, clicking the
bottom layer and press Command+G on a Mac,
| | 01:27 | Ctrl+G on a PC. Now I'm just going to
call this bgflamenco. Now there is the
| | 01:33 | background Flamenco dancers I will
click to add a layer mask now here I will
| | 01:37 | grab my brush make a nice big brush and
I'm going to paint with black at a real
| | 01:42 | low Opacity. I'm just going to try to
limit what's coming through here over on
| | 01:46 | this side so that it gets a little
brighter as it moves over to the side on the right.
| | 01:51 | Okay so we can see that it's getting a
little bit brighter there. All right so
| | 01:54 | far so good, let's then turn on the
layer of our top one here and we are going
| | 01:58 | to go and take this to a blend mode of
Overlay, will give us this nice terrific
| | 02:01 | color. All right, let's move our way up
through these layers, we will go to the
| | 02:05 | leaf layer. What blend mode do we want
to try there? Well probably Overlay or
| | 02:09 | Soft Light. Shift+Option+F on a Mac,
Shift+Alt+F on a PC and then you can also
| | 02:15 | try going to Overlay but I think Soft
Light will work. We will go up to texture
| | 02:18 | layer; we will bring back a little bit
of the texture into the image or bring
| | 02:21 | in a little bit of texture.
| | 02:23 | We will try a blend mode of Soft Light
there again just bringing that on top,
| | 02:26 | looks kind of interesting. Now we will
go to our sprockets layer again we are
| | 02:30 | going to try one of those blend
modes in order to bring in some of that
| | 02:33 | texture. All right so far so good
except I want a little bit more of the wall.
| | 02:37 | So I'm going to click and drag this to
the New Layer icon and I'm going to drag
| | 02:40 | this up top here and I'm going to
choose a blend mode of Overlay or Soft Light
| | 02:44 | just to bring in a little bit more of that wall.
| | 02:47 | Okay that's looking pretty nice. Now
I'm realizing that I need more of the
| | 02:51 | Flamenco dancer right. So let's click
on that layer drag it to the new layer
| | 02:54 | icon and then drag this up to the top
of this stack and take our blend mode off
| | 02:59 | for a moment, so we just have a normal
blend mode and then move this around in
| | 03:03 | this layer stack because what we can
do is have some texture on top of that,
| | 03:07 | the Flamenco dancer, we can have some
texture on top just bringing in a little
| | 03:10 | bit more detail right.
| | 03:11 | Now that's looking a lot better
because I lost too much of the detail of the
| | 03:15 | Flamenco dancer. I will lower the
Opacity because I don't need quite that much
| | 03:19 | but that extra little adjustment there
really helps me bring that back out, I
| | 03:24 | especially like the way the face looks.
| | 03:26 | Now when I'm looking at the arms,
I like the arms with all those vivid colors
| | 03:30 | in them. So I will click the Add Layer
Mask icon, grab my Brush tool and then
| | 03:35 | I'm going to paint with black to limit
this. Press the 5 key to 50% Opacity.
| | 03:39 | I'm just going to bring in some of
that background color there under the rest
| | 03:43 | of the image. But now have nice face
detail, could probably even take my
| | 03:47 | Opacity up a little bit.
| | 03:48 | All right well I'm obviously really
quickly here and I'm going really quickly
| | 03:54 | here because I'm not actually doing
that much technically. Yeah I'm moving
| | 03:59 | quickly but all we are doing is blend
mode of Soft Light or Overlay, copying
| | 04:02 | things and reordering our layers in
order to come up with a pretty interesting
| | 04:07 | image. Let's go ahead and take a look
at this press the F to go to Full Screen
| | 04:11 | View mode and than press the F7
key to bring up our Layers palette.
| | 04:15 | Now that we do that we will hold down
the Option key on a Mac, Alt key on PC
| | 04:19 | and click on F1 copy there. This
was the original image, we removed the
| | 04:24 | background obviously so we can't see
that but when we hold down the Option key
| | 04:28 | or the Alt key and click on that again,
we can see that we have brought it to this place.
| | 04:32 | Now the only thing that I may want to
do at this juncture is modify the overall
| | 04:36 | color and tone perhaps mute it out of it.
So I go up to the top layer, click on
| | 04:40 | the my Adjustment Layer icon, choose Hue
/Saturation, I will see what happens if
| | 04:43 | I mute this out, well that could be
kind of interesting right? Have a little
| | 04:46 | bit more muted effect or perhaps maybe
just a touch there bring that down and
| | 04:51 | then I feel like I need to brighten
up the image. So I will click on the
| | 04:54 | Adjustment Layer icon, choose Curves,
I'm going to brighten this image up and
| | 04:58 | then bring my blacks down little bit as
well. Here is my before and after that
| | 05:03 | Hue/Saturation actually helped me
out a bit because when I increase the
| | 05:07 | contrast there, the Saturation, went
a little bit too far. Let's bring that
| | 05:11 | down even more double-click the Hue/
Saturation here we can bring that down a
| | 05:16 | little bit more. Here are the two
final adjustments from here to here.
| | 05:19 | All right well that was pretty fun and
you may be thinking okay Chris you went
| | 05:23 | way too fast for me there. Well, my
intent with this movie wasn't necessarily
| | 05:27 | to teach you how to do all these
different steps to come up with these effects
| | 05:31 | on this image. Rather it was to begin
to teach you about the creative workflow
| | 05:36 | process. What that workflow process is,
is it looks a little bit like this. We
| | 05:40 | have some layers, we bring them into
a document, we experiment with blend
| | 05:44 | modes, we experiment with copy and
layers, we experiment with Hue/Saturation,
| | 05:49 | with Curves and ultimately we combine
all of theses different elements together
| | 05:53 | and we come up with something that we
could have not accomplished any other way.
| | Collapse this transcript |
| Blending layers to enhance a portrait| 00:00 | In this movie we are going to talk to
about how we can use our layer blending
| | 00:03 | techniques in order to enhance or
improve a portrait. We will go through a
| | 00:07 | handful of different steps here
that's all based on the same principles of
| | 00:11 | blending. All right, well here I have
this portrait. A lot of times you want to
| | 00:14 | get these types of portraits when you
are photographing people, but you also
| | 00:18 | want to get some of the other
surrounding elements. So in this case, this is a
| | 00:21 | bottom of a search board, I cropped
into this, and we can see the texture in
| | 00:24 | the fiberglass.
| | 00:25 | So I'm thinking why not blend that into
the background image? So I'll go ahead
| | 00:29 | and do that, we will click in our
Texture layer and choose a blend mode of Soft
| | 00:32 | Light. Well, that's kind of interesting.
Why not duplicate that? Press Command
| | 00:36 | +J on a Mac, Ctrl+J on a PC, we now
have twice the intensity of that effect,
| | 00:40 | but the image is too dark. So click
on the adjustment layer icon and choose
| | 00:44 | Curves, and we will go ahead and
brighten up the image a bit here, I'm just
| | 00:50 | going to brighten it up, just a touch,
find a sweet spot for that, that looks
| | 00:53 | pretty good. Now let's go ahead and
double-click the adjustments tab to close
| | 00:57 | that, here is our before and after, so
far so good. One of the problems that
| | 01:00 | I'm noticing is I want a little bit
more contrast in color, and T-shirt just
| | 01:05 | isn't working for me, I need to fix that.
| | 01:07 | So I'm going to go down to the
Portrait layer, click and drag that to a new
| | 01:10 | layer icon to duplicate that, grab the
Quick Selection tool, and as the tool
| | 01:15 | implies, I will quickly select the T-
shirt by dragging across it. I will click
| | 01:20 | on the Mask icon to create a mask there,
and then I will change the blend mode
| | 01:24 | of this layer to Multiply. Now this
blend mode may reveal to me that I have a
| | 01:28 | little bit of a problem
with my edge, which I do.
| | 01:31 | So what I'm going to do there is I'm
going to navigate to my Masks panel and
| | 01:34 | I'm going to feather that edge out.
You can see it just softens that edge
| | 01:38 | there, made that selection that much
better. Okay, well, let's go down to this
| | 01:42 | layer. Well, now that we have darkened
up the tones, that's looking good, but I
| | 01:45 | don't like the color. I need to get rid
of that color. How can I do that? Well,
| | 01:49 | I'm going to click on the adjustment
layer icon and choose Hue/Saturation, and
| | 01:51 | this will actually pretty interesting
initially. We will take the color out,
| | 01:56 | that looks pretty intriguing, just
without all the color, just a color from the
| | 02:00 | surfboard, but that's not where we are
going with this one. So we will go back
| | 02:04 | to our Layers palette. What I want to
do here is show you a really valuable
| | 02:08 | shortcut, it's a shortcut that allows
you to copy and paste your mask. You need
| | 02:12 | to hold down the option key if you are
on a Mac, Alt key on a PC and then click
| | 02:16 | and drag your mask to a new layer.
Replace the layer mask? Yes, all right.
| | 02:21 | So now I have the ability to just
desaturate the shirt there, and what that's
| | 02:25 | doing for me is it is bringing in
the color that I'm seeing in from the
| | 02:28 | surfboard and whatnot. Now with this
mask if it's not perfect, I can go back
| | 02:32 | and modify it, by going to the Mask
panel, and I can take the feathering off,
| | 02:36 | because in this case the desaturation;
that can be a little bit more harsh,
| | 02:40 | right, so that works pretty well.
| | 02:42 | All right, well, so far so good. We
are coming up with a pretty interesting
| | 02:45 | portrait, still more to do. We will
turn on this top layer, these edges, we
| | 02:49 | will click in that layer, try our
blend modes Overlay perhaps, or maybe Soft
| | 02:53 | Light. It's too intense, go down maybe
10 % or something, just a little bit of
| | 02:57 | an edge darkening, very cool. Next
thing I want to do, click in the Background
| | 03:01 | layer, copy it, here I now have
Portrait Copy To. I want this to be on top of
| | 03:07 | my layers. How can I get that all the
way up to the top of the layers by way of
| | 03:11 | shortcut? Well, here it is. Here is
one of these great shortcuts. You got to
| | 03:15 | write this one down. Shift+Command+
Right Bracket key on a Mac. Shift+Ctrl+Right
| | 03:22 | Bracket key takes your layer all the
way up to the top of the stack. All right,
| | 03:26 | that was pretty cool.
| | 03:27 | Next we will take our blend mode to
Soft Light, and what that will do for me is
| | 03:31 | it will give me that final little
extra added bit of contrast and definition
| | 03:36 | where I see a little bit more of the
face, and it just makes that portrait that
| | 03:40 | much stronger. Now press the F key to
go to Full Screen View mode, F7 key, so
| | 03:44 | we can evaluate this photograph. Hold
down the Option key on a Mac, Alt key on
| | 03:48 | a PC, click on the eye icon in our
Background layer, here is our before, and
| | 03:54 | then our after.
| | 03:55 | A very different portrait, so again,
although I was moving kind of quickly in
| | 03:59 | this movie, I'm aware of that, the
principles are all the same. It's all about
| | 04:03 | blending, and looking at how we can
use blending in order to combine multiple
| | 04:07 | images together, in order to come
up with some pretty creative results.
| | Collapse this transcript |
| Blending a photo onto a vintage TV set| 00:00 | In this movie we are going to talk
about how we can combine these two
| | 00:02 | photographs together. So that the
photograph of my daughter Anika there, when
| | 00:06 | she met Cinderella, she was so excited
about that. So that photograph can be
| | 00:10 | blended into this TV, and so that it
can appear like it's actually part of that
| | 00:14 | TV. All right, this is definitely a fun
creative layers project, let's zoom in
| | 00:18 | a little bit, what we are going to do
is zoom in, turn off the top layer, press
| | 00:21 | P key to select the Pen tool, and
then select Option to create a Path.
| | 00:25 | Now if you don't know how to create
Path, don't worry because I have a path
| | 00:28 | included in this file, but I just
want to go through this process quickly.
| | 00:31 | Click and drag up, click and drag down,
if those two points don't look good.
| | 00:35 | You hold on the Option key on a Mac,
Alt key on a PC, and you reposition theses
| | 00:39 | handles, which are those little circles
out there. I will keep going click and
| | 00:43 | drag down, click and drag up there
little bit, click and drag up almost done,
| | 00:49 | hold down the Option key on a Mac, Alt
key on a PC, click on that anchor point,
| | 00:53 | and than hold down the Option key again,
or the Alt key again, and then click
| | 00:57 | on the other anchor point. Now that's
a pretty rough path, although it would
| | 01:00 | probably work for us.
| | 01:02 | Now if you don't know how to create
Paths, don't worry. All you need to do is
| | 01:05 | go to the Paths panel and then click on
the path called tvscreen. This one will
| | 01:09 | work for us. We want to turn this into
a selection, so I will click on the icon
| | 01:13 | at the base of the Paths panel in
order to load that as a selection. Next we
| | 01:18 | are going to the Layers palette, and
we are going to click on the layer 4,
| | 01:21 | Anika copy, and here I'm going to click
in that layer and click Add Layer Mask
| | 01:26 | icon. Now when I do that, I can see
that I have a pretty decent version of the
| | 01:30 | image inside of the TV. Also keep
in mind; I'm not too concerned with
| | 01:34 | perfection on my edge, because I'm
going to be using some blend modes and some
| | 01:38 | shadows. So the image is in the wrong
spot, so I click off the link option,
| | 01:43 | click in the Image layer, grab the Move
tool, and I reposition this image, so I
| | 01:48 | have it in a nice spot there,
okay, that looks pretty good.
| | 01:50 | Now we need to change the blend mode,
couple of different blend modes we can
| | 01:54 | try, Soft Light, or pretty well,
Overlay, will work well, sometimes Multiply,
| | 01:59 | believe it or not does some good for us.
In this case we are probably going to
| | 02:02 | go to something like Soft Light or
Overlay. Now we are going to duplicate the
| | 02:06 | layer, Command+J on Mac, Ctrl+J on a
PC, so we have got a little bit more
| | 02:10 | intensity, lower the Opacity, but that
just gives us a little bit more definition.
| | 02:14 | All right, well, so far so good. What
about the edges, we need a shadow there,
| | 02:19 | and the edges aren't quite lined up
perfectly for me. So I'm going to lock
| | 02:23 | these down, go ahead and lock both of
those, click in one layer, hold down the
| | 02:26 | Shift key, click in another layer, and
I can't quite click on there, because my
| | 02:31 | layers panel is so small, and now use
the Arrow keys to just nudge this around,
| | 02:36 | because my path was just a little bit
off there. Okay, that looks perfect, so
| | 02:41 | I'm using the Arrow keys to get
that in exact spot where I want them.
| | 02:44 | Next thing that we want to do is to
hold down the Command key on a Mac, Ctrl
| | 02:48 | key on a PC, and click on the mask,
because we want to turn that mask into a
| | 02:52 | selection. So go ahead and do that. We
now have this nice selection up there,
| | 02:56 | we are then going to create a new layer,
click on a New Layer icon, and we are
| | 03:00 | going to name this layer Shadow. Now
that we have that new layer, we will
| | 03:04 | navigate to our select pulldown menu,
and choose Inverse. So we have everything
| | 03:08 | selected, except for the middle of
the frame, let's fill that with a color,
| | 03:12 | Edit, and choose Fill, and we will fill
it with black, just so it will be easy
| | 03:17 | to see, click OK.
| | 03:18 | All right, well, now that we have that
completely filled we will navigate to
| | 03:22 | select, deselect. Now you may be
thinking, okay, Orwig, where are you going
| | 03:27 | with this one? Well, stick with me.
You will see this in a second. What I can
| | 03:30 | do here is I can add a Layer Style
Effect, so I'm going to go ahead and do that
| | 03:34 | just to illustrate, I will add a brush
stroke effect, and we will go to inside,
| | 03:39 | actually, probably outside will work,
well, either one will work, and we can
| | 03:43 | see I have a Layer Style Effect,
right around this particular shape.
| | 03:46 | Well, how can I just see this Layer
Style Effect? What I need to do is lower
| | 03:51 | the Fill, that's why that black
color didn't matter. Now this white edge
| | 03:56 | doesn't look very good. What I really
want there is a Shadow, but I created
| | 03:59 | that white edge so you could kind of
see how this process works. Okay, we don't
| | 04:03 | want the Brush Stroke, so let's double-
click Effects. Turn off Brush Stroke; we
| | 04:06 | don't need them. But what we do need
is Drop Shadow. So now that I have this
| | 04:11 | Drop Shadow you can see how that shadow
comes in top of the image, click on the
| | 04:15 | options there, we will go ahead and
take the distance almost all the way off,
| | 04:20 | increase our Spread and Size, you can
see how that shadow is traveling in, and
| | 04:25 | we just want to make it look like that
image is in indeed on he TV, click OK to
| | 04:30 | apply that. Here is our before and
then after, I will zoom in, so you can see
| | 04:34 | those edges. Here is our before and then after.
| | 04:38 | All right, really nice, well, the last
thing that I may want to do is go to one
| | 04:42 | of my layers where I have this
blending. I may want to add a little bit of
| | 04:45 | noise there. Just go to one of these,
I will go to my top layer, I'm going to
| | 04:49 | go ahead and choose Filter > Convert
for Smart Filters, OK. Next step, I'm
| | 04:54 | going to navigate to my Filter
pulldown menu > Noise, add some noise there,
| | 04:58 | just going to add a subtle amount of
noise I already have a low Opacity, and
| | 05:02 | blending, but we'll just do a little
bit there, Monochromatic is turned on,
| | 05:06 | before and after, all right,
that works pretty good.
| | 05:10 | Now let's zoom out. Double-click the
Hand tool, so this will fit the image in
| | 05:13 | view. Next, press the F key to go to
Full Screen View mode, and actually I need
| | 05:18 | to zoom in a little bit, so I'll
select a Zoom tool by pressing the Z key,
| | 05:22 | click and hold that will allow me to
zoom in attach there, press F7 for a
| | 05:26 | Layers palette. Now let's go through
our layers. Hold down the Option key if
| | 05:31 | you are on a Mac, hold down the Alt
key if your on a PC. Click on your
| | 05:34 | background layer, and then we have the TV.
| | 05:38 | We brought in the first version of the
photograph. There is one on top of it,
| | 05:41 | and than finally we have that little
shadow, and I'm just going to zoom in,
| | 05:45 | just a touch here, so we can actually
see that a little bit better. Here is our
| | 05:48 | before and than after. Really
interesting, isn't that, how we use blending in a
| | 05:53 | multiple layers in order to blend
that image right onto the TV.
| | 05:58 | Very fascinating!
| | 05:59 | All right, well if you haven't ever
experimented with this technique, here is
| | 06:02 | what I recommend. Use this TV file and
try to add one of your own photograph to
| | 06:07 | the TV, so that you have this technique,
because I think that this technique is
| | 06:10 | actually quite powerful, not just
because you going to blend your photographs
| | 06:13 | on the TVs, but you'll find that
learning how to do this will actually help you
| | 06:18 | in a number of different
areas of your Photoshop work.
| | Collapse this transcript |
| Blending with type layers| 00:00 | In this movie, we are going to take
a little bit of a different angle in
| | 00:02 | regards to working with multiple layers
and combining layers in order to create
| | 00:06 | an effect. In particular, we are going
to talk about how we can use type and
| | 00:09 | typography in order to come up
with some pretty interesting results.
| | 00:13 | All right, well here we have this bench
that I photographed in Central Park in
| | 00:16 | New York and there is something to me
about empty benches and about pigeons and
| | 00:21 | how you see these pigeons all over
the world wherever you are, that kind of
| | 00:24 | makes this image a little bit sad and
so what I want to do is I want to add to
| | 00:27 | that. I'm going to add to that with
some typography. So here is how we are
| | 00:30 | going to do that.
| | 00:31 | We are going to go ahead and select our
Magnetic Lasso tool. You can find that
| | 00:35 | in your tools panel over there
underneath your Lasso tool. We are then going to
| | 00:39 | click on part of the bench here and we
are going to go ahead and drag, as you
| | 00:43 | can see here, what this is doing is
it's setting points along the top portion
| | 00:47 | of this bench. Now the reason I'm
doing that is because I'm going to add some
| | 00:50 | type later along this line.
| | 00:53 | So I will go ahead and come down. Now
the bottom portion of the bench that's
| | 00:56 | not that important. So I'm just going
to go quickly here and then come over do
| | 00:59 | the other side and then close this off.
This now will create a selection. Now I
| | 01:04 | could have used the Pen tool in order
to create that selection. But in this
| | 01:08 | case the Magnetic Lasso worked really well.
| | 01:11 | Now we will have the selection, I will
navigate to my Paths panel. I'm going to
| | 01:14 | click on the icon which allows me to
turn this selection into a path or here I
| | 01:19 | have my path, let's go back to the
Layers palette and zoom in just a touch
| | 01:23 | here, Command+Plus on a Mac, Ctrl+Plus
on a PC. Now like I said before, I could
| | 01:28 | have gotten in and made this a little
bit more exact, but for the most part, I
| | 01:31 | think, it will work for us.
| | 01:32 | So I will press the T key to select
the Type tool. Now what we are interested
| | 01:36 | in doing is just moving the Type tool
over this path until we see the cursor
| | 01:40 | change. Now keep in mind, wherever you
start this off, that's where your type
| | 01:43 | will start. Also keep in mind that if
you have left justification or right
| | 01:47 | justification on, it will also
position or push the type one way or another.
| | 01:52 | Let me show you what I mean. I will go
ahead and click to add some type here,
| | 01:55 | and I'm just going to click away and
add some random letters. All right, well
| | 01:58 | you can see the start of there it
moved to the right. I will press the Escape
| | 02:01 | key to exit out of that. Well, if
I have right justify on and I go ahead and
| | 02:05 | click on the Type and then add letters,
well it goes the other way. So just
| | 02:08 | keep that in mind, we want to have
left justification on for this effect.
| | 02:12 | I am going to go ahead and type out
some copy here. Loneliness lingers and I
| | 02:17 | wonder why, deep poetry there, not
really. But I'm trying to tie into the image
| | 02:24 | a little bit and then I want to change
the copy. So I will highlight it. I can
| | 02:28 | click and drag to highlight that,
change its overall size. And the nice thing
| | 02:32 | about this is as I press Enter and
Return. I can continually modify this type.
| | 02:37 | So I will go ahead and click there and
I'm going to move it over by adding some spaces.
| | 02:41 | So I will position this over to the
right. Command+A to Select All, I could
| | 02:45 | increase its size again. Something
else that's kind of helpful when you are
| | 02:48 | working with techniques like this is to
add a little bit of a shadow underneath
| | 02:52 | the typography. Go back to my Paths
panel and click off of the paths, so that's
| | 02:56 | not distracting me. Back to Layers, now
on this Type layer, I'm going to click
| | 03:00 | on the Layer Style Effects and choose
Drop Shadow and then what I want to do is
| | 03:04 | have this shadow go down a little bit
and here we can see the shadow, I have
| | 03:09 | made it really harsh so
you can see how that looks.
| | 03:12 | But then I can control its overall size,
make it a little bit more diffused, a
| | 03:15 | little bit closer there to the text and
that is just going to help us show that
| | 03:20 | the text is actually touching in some
places or close and sometimes what you
| | 03:24 | will do is actually just increase the
size, so it's a little bit of a subtle
| | 03:27 | shadow, click OK to apply that, here
is our before and after. Again, just
| | 03:32 | sensing a little bit of presence there.
| | 03:34 | Another thing that's kind of nice to
do is with this Type layer to reposition
| | 03:38 | it. So now that I have this Type layer,
I can actually click and drag this up.
| | 03:42 | Now when I do that, I definitely see
there is gap between here and I see how we
| | 03:46 | zoom in, how the L and the I go over
that little bump in this path that I
| | 03:51 | created, and that looks really cool.
| | 03:52 | Now at this point, do I really need
the Layer Style effects? Well, not
| | 03:55 | necessarily. It does help the text
separate itself from the background a bit.
| | 04:00 | So perhaps I will do something like
that. I will double-click this to select
| | 04:04 | all of the text, make it a little bit
smaller here and then add similar spaces,
| | 04:08 | so I can push this over to the right.
I'm just going to have this over here on
| | 04:12 | the right side of the bench
and then press Enter or Return.
| | 04:16 | Now let's get out of that Path. So we
will go ahead and click in the Paths
| | 04:19 | panel, click-off of that and then go
back to my layer and here I'm going to
| | 04:23 | bring this down, just a touch here,
bring it a little bit closer to the bench
| | 04:26 | and then lower the Opacity. I want it
to be a little bit more like a subtle
| | 04:29 | thought, not a complete type based
photograph. That's kind of interesting, right?
| | 04:34 | That will create a new layer. Shift+
Command+N on a Mac, Shift+Ctrl+N on a PC.
| | 04:38 | Take this to a blend mode of Soft
Light. I'm going to do a little bit of a
| | 04:42 | burning. I want to add a little bit of
mood or drama to this photo, press the B
| | 04:46 | key to select the Brush tool, X key to
flip my black and white. So I'm going to
| | 04:51 | paint with black and I'm just going
to go ahead and move across this image.
| | 04:54 | Right now, I'm painting in at 100%
Opacity. I'm going to take that down later,
| | 05:01 | press the 5 key, go to 50% opacity.
This area here and then press the 3 key to
| | 05:08 | darken up the background a little bit
there. Let's take a look at our before
| | 05:11 | and after, okay because we are not
using a Wacom tablet right now, we will go
| | 05:14 | to Filter > Blur and Gaussian Blur.
I'm going to blur that out quite a bit.
| | 05:19 | I will also back it off there, click OK
and let's see how we are doing. Here is
| | 05:24 | our before an after. Lower the opacity
on that, we want to touch too far. Then
| | 05:29 | I just want to change the overall
Hue there. So I will click on the Add
| | 05:33 | adjustment layer icon and choose Curves.
I'm going to go into the blue-yellow
| | 05:37 | channel and I'm just going to add a
little touch of warmth there to this photograph.
| | 05:41 | A lot of times when you add yellow,
you need to go back to the green-magenta
| | 05:45 | channel and bring in some magentas.
Well, just a touch there so it doesn't go
| | 05:48 | green. Here is my before and after, it
went from cool to a little bit warm, I'm
| | 05:53 | zooming in so you can kind of see
that color shift a little bit better. All
| | 05:56 | right, let's press the F key. Let's
zoom out so we can see the image in its
| | 06:00 | entirety, then press the F7 key so we
can look at our overall before and after.
| | 06:06 | Yet another really interesting creative
layers project, in this case, where we
| | 06:11 | are working with typography in order
to connect the typography to different
| | 06:14 | elements in our photographs. Now if
you haven't ever experimented with this
| | 06:18 | particular technique, here is my
recommendation. Open up one of your images and
| | 06:22 | add some type in this way to one of
your own photographs. I think that you will
| | 06:25 | also discover that this can be quite fun.
| | Collapse this transcript |
| Combining vertical images into a horizontal layout| 00:00 | In this movie, we are going to take a
little bit of an excursus, a little bit
| | 00:02 | of a sojourn away from the technical.
We are going to talk a little bit
| | 00:06 | about the conceptual. This is going
to be a creative movie, not a technical
| | 00:09 | movie and I think you are going to enjoy it.
| | 00:11 | All right, well here I have this
photograph that I really enjoy. So let's press
| | 00:14 | the F key to go Full Screen View mode
and then press the F7 key to bring up our
| | 00:17 | layers and I like this photograph
because you can tell which parking spots are
| | 00:21 | the best parking spots, because the
little tabs there are all worn out. I also love
| | 00:26 | this message, NEW DAY STARTS AT 8 A.M.
How much do we just need that message?
| | 00:30 | We have a whole new day ahead of us.
| | 00:31 | So I'm thinking okay, well what if I
combine this image with another and I do
| | 00:35 | that and it doesn't quite work for me.
So I take another image that I captured
| | 00:38 | just about a half of block away. Now
that's kind of interesting, right? 'Call
| | 00:41 | Anywhere' and this door, this color
palette is kind of intriguing. So I work on
| | 00:44 | the overall color and tone and perhaps
I have something that I couldn't have
| | 00:48 | otherwise created.
| | 00:50 | So you get the gist of what we are
talking about here, right. It's how we can
| | 00:53 | use Photoshop layers in order to
combine multiple images, in order to create
| | 00:57 | perhaps something visually that's a
little bit different. Let me show another
| | 01:01 | example. In this case, I have these
stairs, and there is something about stairs
| | 01:04 | that is just compelling to me. Now a
lot of times when you photograph stairs,
| | 01:08 | it's best to not show where the stairs
lead, because then it's leading, right?
| | 01:12 | It's drawing you in.
| | 01:13 | If I take this image and then I take
an alley shot with these nice, vivid
| | 01:17 | colors here. This is a back alley,
downtown Austin, Texas, just love the
| | 01:21 | colors, like the grunge of all that.
Modify the overall color, maybe a little
| | 01:25 | bit of burning and dodging just to
redirect where the eye looks and viola!
| | 01:29 | We have this unique combination; we kind
of have the up and the out in one image.
| | 01:34 | So one of the things that you may want
to start to do with your own photographs
| | 01:36 | is look at how you can use layers in
order to combine multiple photos and all
| | 01:41 | that means is opening up two photos
and dragging them into one document. Now,
| | 01:45 | before we leave this concept, I want to
show you a few other examples of this.
| | 01:49 | I'm going to go to the web here.
I'm going to go to a site. This is
| | 01:52 | travisrathbone.com.
| | 01:54 | Travis is an amazing still life
photographer and here we have two of his images
| | 01:57 | from his portfolio and again these
two images side by side are just so
| | 02:01 | intriguing. Doesn't it just make you
want to pick up that knife and try it out?
| | 02:05 | And that kind of brings you in in a unique way.
| | 02:07 | Let's go to a different genre of
photography. This is Ralph Clevenger's site.
| | 02:11 | Here it is, ralphclevenger.com, and here
in this case we see the vertical side by
| | 02:16 | side just a real vivid color
combinations or perhaps let's go to a different
| | 02:20 | gallery. We will go up to menu and we
will go to water. We will go to the water
| | 02:23 | gallery and click through this quickly.
What I'm going to do is look for one of his verticals.
| | 02:27 | Okay, here is an interesting vertical,
right. We have this image that's leading
| | 02:30 | down and then one that's leading up
and there are so many different types of
| | 02:34 | examples like this where you can put
two images side by side and you can do
| | 02:38 | that in Photoshop. In order to come up
with perhaps connections between these
| | 02:41 | two photos. I'm going to go ahead and
look at one more photograph here; I will
| | 02:45 | go down to another gallery.
| | 02:46 | In this case the Earth gallery and
I'm going to click through these pretty
| | 02:50 | quickly because I want to try to get to
one image here and we already saw that one.
| | 02:53 | This one right here. Interesting.
This whole just curve and line and
| | 03:00 | stuff and then tying that into another
image with that. Now it's different.
| | 03:03 | But there is an interesting connection
and sometimes when your mind can make those
| | 03:07 | connections, you can have more visual impact.
| | 03:10 | One more site for you. This is
toddroeth.com/odd and Todd is an amazing
| | 03:15 | photographer, great guy. He used to
teach at the same school where I teach and
| | 03:20 | he would use these images as a way of a
photographic exercise. He would go into
| | 03:25 | a grocery store and take pictures and
then pair those images side by side.
| | 03:28 | I just love this pairing; we have all
the fishing lures and then we have all the
| | 03:32 | lures for the kids, right?
I will go ahead and click in one more.
| | 03:36 | This is a different one; you can see
the craft items. This one I really like.
| | 03:39 | The hammers and then the Christmas
ornaments. So it's almost as if the
| | 03:43 | hammers just want to break those
ornaments, right? There is this interesting
| | 03:47 | connection between those two images.
So again, he is going about this as a
| | 03:51 | little bit more kind of tongue-in-cheek way.
| | 03:53 | Ralph Clevenger perhaps a little bit
more of a beauty way. Then we saw Travis
| | 03:57 | Rathbone. He went about those in
product context and then some of my own images
| | 04:01 | where I was looking for those
connections. So again, I started this movie off
| | 04:05 | saying it wasn't going to be technical.
| | 04:07 | Now, I know sometimes that frustrates
people, because they are like, hey!
| | 04:09 | I want to learn Photoshop. You have
to keep in mind, Photoshop is about
| | 04:13 | photography and photography is about
more than simply technical things you can do.
| | 04:18 | Sometimes, it's the simple act of bringing
something side by side that can add more.
| | 04:23 | So if you never tried this, here is what
I recommend. Experiment with this and
| | 04:26 | perhaps you don't have images that go
together. Go out and try to photograph
| | 04:30 | images that go together, do a little
photo exercise. Photograph things that are
| | 04:33 | soft and that are hard, photograph
things that are breakable and that break
| | 04:37 | things and try to with these contrasts
and then bring those images together
| | 04:41 | in Photoshop and see what you can come up with.
| | Collapse this transcript |
|
|
10. Combining Multiple ImagesCombining depths of field| 00:00 | In this movie, we are going to begin
our conversation in regards to how we can
| | 00:03 | combine multiple exposures in order to
create an image that's better than one
| | 00:08 | of the single exposures.
| | 00:10 | Here I have two photographs and these
are kind of fun photographs. The top
| | 00:12 | layer we can see here is a photograph
of a magnifying glass and then I also
| | 00:17 | took another image where I focused in
on the star. Now what I want to do here
| | 00:21 | is I want to combine these two images.
I want to get the best of both worlds,
| | 00:25 | because I couldn't capture the
sharpness in both images I created to. Because
| | 00:29 | you can't shoot through your
magnifying glass and have both items sharp.
| | 00:32 | All right, well let's take a look at
what we can do in order to combine these
| | 00:36 | two images. Well, the first thing
that I'm going to do is turn off my
| | 00:38 | Background layer, I will then click in
my top layer and I'm going to go ahead
| | 00:41 | and name this magnify and then I will
press the M key and select the Elliptical
| | 00:48 | Marquee tool, you can also
get it from your tools panel.
| | 00:50 | Now this tool is kind of interesting.
If I click right here and drag, you
| | 00:54 | notice that this tool is kind of stuck
in that little spot. It's stuck anchored
| | 00:57 | to that point. Well you can un-anchor
it or remove it further by pressing the
| | 01:02 | Spacebar key and then you can drag
that selection around. So that's exactly
| | 01:07 | what I'm going to do.
| | 01:07 | Never let go your mouse button, simply
click and drag, reposition, press the
| | 01:12 | Spacebar, click and drag and then get
a decent selection around the middle
| | 01:19 | portion of this magnifying glass and
I think that's relatively close there. All
| | 01:24 | right, I'm just trying to get it a
little bit better. I'm not quite satisfied
| | 01:30 | with my selection there. Okay, well
that will work. It doesn't have to be
| | 01:33 | exact, because we will be
blending this into that layer.
| | 01:36 | All right, we will then click on the
Add Layer Mask icon. Well now I have
| | 01:39 | actually selected the exact opposite
of what I want, but no big deal, I'm on
| | 01:44 | the mask. I press Command+I on the Mac,
Ctrl+I on a PC, I can now see through
| | 01:48 | this completely. Let's turn on our
underlying layer. Well there is this star.
| | 01:52 | Let's unlock this layer, double-click it,
name it bg for background and then we
| | 01:56 | can reposition this.
| | 01:57 | What I'm going to do is just position
this so I get a little bit of the flag
| | 02:00 | there in the background. I'm going to
try to tie that in just a touch there, so
| | 02:03 | we have the red connected to that and
whatnot. Again, I'm just going to try to
| | 02:07 | find a nice, sweet spot there. Okay,
I like that, that looks really good. Here
| | 02:11 | is my before and then after. Shift-
click the mask before and then after. Well
| | 02:15 | so far so good.
| | 02:17 | Next thing we need to do is
convert this layer for Smart Filters.
| | 02:19 | Filter>Convert for Smart Filters,
click OK. Now we are going to go to
| | 02:23 | Filter>Sharpen>Smart Sharpen and
we are going to add quite a bit of a
| | 02:27 | sharpening effect here. Real high
Amount, real high Radius. It doesn't matter
| | 02:31 | because we are just focusing on this
little area. We need to build up some
| | 02:35 | sharpness there.
| | 02:36 | Let's take a look at our before and
then after, very nice. Next step, click on
| | 02:40 | the Adjustment Layer icon, choose
Curves. We also want to build up the
| | 02:44 | contrast, because contrast is
intimately connected with sharpness. That looks
| | 02:49 | nice. So far so good. Yet, the only
problem is that it doesn't necessarily look
| | 02:54 | like I'm looking through glass. I mean,
I see the bend, I see the way the focus
| | 02:57 | is being distorted and whatnot. But
I want a little bit more glass, well how
| | 03:01 | can I get that, click in the
layer that has glass, duplicate it.
| | 03:05 | Command+J on a Mac, Ctrl+J on a PC.
We will turn off the other layers for a
| | 03:09 | second. Now we can see that right now
I just have the background. Well if I
| | 03:12 | click into my mask and press Command+I,
now I just have this and I have these
| | 03:18 | reflections. Kind of interesting. So
if I go ahead and turn on the underlying
| | 03:22 | layer, and also my other layer, so it
looks kind of normal, I can see that I
| | 03:26 | have those reflections. I will
change my blend mode to Soft Light.
| | 03:30 | Now this may make my contrast a little
bit too high, but it just gives us the
| | 03:33 | nice reflection sitting on top of this
image that really helps bring the two
| | 03:38 | together in some nice ways and I like
that I enjoy that. Looks so good. I'll go
| | 03:43 | ahead and lower my contrast a little
bit, just to make that look perfect. All
| | 03:47 | right, well so far so good, we have
now combined these two exposures. Let's
| | 03:51 | take a look at our before and after,
press the F key and then press the F7 key
| | 03:56 | to open up the Layers palette.
| | 03:57 | Here is our original file and then
here is the after. You can view that by
| | 04:02 | holding down the Option key on a Mac,
Alt key on a PC, clicking on your eye
| | 04:05 | icon, little bit of Curves, little bit
of sharpening effect. That sharpening
| | 04:10 | really helped, right and then we also
have our background and then the glass on
| | 04:14 | top of it.
| | 04:15 | Now I'm almost done with this image,
yet what's my problem here, I will press
| | 04:18 | the Tab key to bring everything back
for a moment. Well, my problem is that my
| | 04:22 | edge, my mask edge is much too hard.
You see the circle inside of there. It
| | 04:27 | looks a little bit ridiculous. So what
I need to do is to click into my mask
| | 04:31 | edge, go to my Mask panel, you
increase the Feather. Now as I increase the
| | 04:35 | Feather, I'm going to be able to
diffuse that. Go down to the other mask,
| | 04:38 | increase the Feather.
| | 04:40 | Again, you are going to see it's going
to start to fade off to the edge there
| | 04:43 | and I just want to add that so that
I could have a nice soft edge, go up to the
| | 04:47 | other one as well. I want that nice
soft edge. Get my before and after and then
| | 04:53 | before and after, okay that's looking
pretty good, maybe little bit less there.
| | 04:58 | Now if that edge isn't perfect as well,
let's take a look at what else we can do.
| | 05:02 | Currently I feathered my edge. Let's
say I don't have a feather on the edge,
| | 05:05 | actually click in the right layer and
now I take the feather off the edge, very
| | 05:10 | hard, what else I can do. I can go
into Mask Edge and here I can actually
| | 05:14 | contract or expand the selection so
I will make this a little bit bigger, add
| | 05:19 | my Feather in this way, soften
it out, smooth that up, click OK.
| | 05:23 | Now I have a very different edge on
that, now it kind of helps to have all of
| | 05:27 | these layers together when you are
doing that. Although it did kind of help to
| | 05:30 | see it without them as well, because
I could see how many edges were doing.
| | 05:34 | One of the things that I'm noticing
here in my mask is that this little edge
| | 05:37 | right here isn't perfect. Well,
sometimes it just takes hand painting in your
| | 05:41 | edge, so I will go ahead and hand
paint that in there. Little bit on that one
| | 05:46 | and then on this one as well, I will
paint with white this time. I'm just going
| | 05:50 | to bring that in there. All right,
well that looks pretty good. We have
| | 05:53 | successfully combined multiple images
in order to create an image that's better
| | 05:58 | than either of the single photos.
| | Collapse this transcript |
| Adding a new sky to an image| 00:00 | In this movie, we are going to
talk about how we can combine multiple
| | 00:03 | exposures; in particular, we are going
to talk about how we can add a sky or a
| | 00:07 | couple of different sky photos to
this image. So we have this interesting
| | 00:10 | photograph, these beautiful graffiti
murals on the wall with these old decrepit
| | 00:14 | buildings, kind of an interesting
juxtaposition, but we have this white sky.
| | 00:18 | You know that happens a lot in
photography. It happens because we have those
| | 00:21 | high clouds, you just have no color up
there, no detail at all. So I need to
| | 00:25 | bring some in. Well, here's what we
are going to do. We are going to our
| | 00:28 | Background layer, click and drag that
to the New Layer icon, press Command+M on
| | 00:31 | a Mac, Ctrl+M on a PC. I'm just
looking to increase the overall contrast of
| | 00:36 | this layer. That will help me
get a really good selection.
| | 00:40 | So now that I have a deeper contrast,
I will grab the Quick Select tool and I'm
| | 00:44 | just going to go ahead and with that
Quick Select tool, I'm going to paint
| | 00:47 | across the sky with a bigger brush.
I don't want pixel brush. That was too
| | 00:50 | small, right. Now that I have a nice
big brush, I can really get in there and
| | 00:54 | my selection is going over some of
these edges of the plants and whatnot,
| | 00:58 | that's fine, no big deal.
| | 01:00 | Let's turn that layer off. The only
reason we have that was to help us create a
| | 01:03 | selection, click on the visibility of
the sky layer and then target that layer
| | 01:08 | by clicking in it and then select the
Mask icon. All right, well that for the
| | 01:12 | most part is actually looking pretty
good; let's zoom in though on a few
| | 01:15 | problem areas. I notice up here,
it's just kind of hard to see.
| | 01:18 | Up here, I notice I have a little bit
of a white from the sky there. I need to
| | 01:22 | fix that. Grab the Brush tool, make my
brush nice and small. I will do that by
| | 01:27 | pressing the B key and then pressing
Left Bracket. In this case, what I want to
| | 01:31 | do is I want to paint with white,
not at 60% opacity as I have, at 100%
| | 01:36 | opacity. I'm just going to go ahead
and click and Shift-click to make a
| | 01:40 | straight line there, bring that little
white edge off, okay, that looks good.
| | 01:44 | Down here, I notice just a subtle
little whitening edge. I want to be careful
| | 01:49 | for all the fringing. So I'm going to
try to remove all the little fringes
| | 01:52 | there as much as I can. Now with
these bushes here I have this white that's
| | 01:56 | showing through. I'm going to paint
about 60% opacity, let's try to get rid of
| | 02:00 | the white, show a little bit of blue
sky in there. Again, just to bring that
| | 02:04 | back a little bit, take it up to 70%
opacity, trying to remove the white, make
| | 02:10 | these shrubs a little bit transparent here.
| | 02:12 | Okay, that looks good. A little bit
of white edge there, move through the
| | 02:16 | image, little bit of edge on the roof
there and paint it over here. Well, some
| | 02:22 | problems there, some of that white sky
in there, press 0 to go to 100%, paint
| | 02:27 | all the way up for that one and this
over here looks pretty good, a little bit
| | 02:31 | by the chimney, I can fix that, no problem.
| | 02:34 | All right, well let's move to the
other side of the image over here. This is
| | 02:39 | looking pretty nice, just going to
take off some of the hard edges. The worst
| | 02:44 | thing that can happen is you have a
little bit of halo and that just does not
| | 02:47 | look good. I'm going to look to try to
build a little bit of transparency in
| | 02:51 | these little shrubs here.
| | 02:53 | Now the trick with all this, of course,
is to paint at different opacity and to
| | 02:57 | zoom right in as I'm doing here. This
sky is not very problematic, yet some
| | 03:02 | images that you work on it's going to
be really problematic. You will notice
| | 03:05 | you have quite a bit of fringing to
deal with. You can also do something else
| | 03:09 | which is kind of helpful. You can
select the sky color, we will go ahead and
| | 03:12 | create a new layer, we can select the
sky color with our Brush tool, check this out.
| | 03:17 | I have a big brush; hold down the
Option key on a Mac, Alt key on a PC, then
| | 03:20 | click on the sky. Now have this nice
blue color. I can then go in here and I
| | 03:25 | can actually set this blue on top of
some of those white tones there in order
| | 03:29 | to modify the color a little bit and
work on the edge. A nice thing about this
| | 03:34 | is that I have this on its own layer,
so I can then diminish this or turn this
| | 03:37 | on and off. It's not just connected to
the mask, so here is my before and after
| | 03:41 | with that adding a little bit of that color.
| | 03:44 | Okay, well let's zoom out so we can
see how we are doing, viewing the image,
| | 03:47 | that new sky is actually looking so
much better. Here is my before and then
| | 03:51 | after and those bushes really help,
the fact that I can see through them and
| | 03:55 | see through here, looks nice, except,
I notice the problem area, little bit too
| | 04:00 | much white here, so I want to paint
with white on my mask along the edge of
| | 04:06 | that, below exhaust pipe there.
| | 04:10 | The little details will give it away,
so I need to take care of those. Those
| | 04:15 | look pretty good. All right, zoom back
out. Our sky is looking nice. Next thing
| | 04:19 | I'm going to do is click on my new sky
here, which is sky2. I want to use this
| | 04:23 | sky, combine it with my other layer.
So I'm going to take this to a few
| | 04:27 | different blend modes. I will try Soft
Light. One of the things I like about
| | 04:29 | Soft Light is it just blends and adds
a little bit of texture or dimension
| | 04:33 | there and I can move this around to
have some clouds in good position.
| | 04:37 | Now I need to mask those in. They are
not affecting the foreground, believe it
| | 04:41 | or not, that much, but I still need to
create a mask there. So I will click in
| | 04:44 | the mask, hold down the Option key on a
Mac, Alt key on a PC, click and drag to
| | 04:48 | copy the mask to that layer. Now we
are talking, right now I have that nice
| | 04:53 | texture in that layer.
| | 04:54 | Now the other thing that's kind of
interesting is Multiply, this won't work
| | 04:57 | here, but sometimes I can help out just
to deepen the tones and Darken at times
| | 05:01 | as well can do a pretty good job. But
in my case, Soft Light looks pretty nice;
| | 05:05 | it just adds a little bit more texture
in the sky. So it's not quite so even
| | 05:10 | tone. In addition, sometimes what you
can do is copy this layer again; we don't
| | 05:14 | need to do that here if you want to
have a little bit more of a boost to the sky.
| | 05:18 | I am going to delete that layer.
I think just a little bit of subtle texture,
| | 05:21 | because I need to have the sky match
the overall lighting of the image, right.
| | 05:26 | I can't have a sky that's just super
clouds because I have pretty even light
| | 05:29 | across this scene, so I'm trying to
create a pretty evenly toned sky, yet that
| | 05:34 | have been set up a little
bit of texture in there.
| | 05:36 | All right, well so far so good, we
have actually combined these exposures
| | 05:40 | together; the photographs are looking
really interesting. We will take a look
| | 05:43 | at our overall before and then after,
very nice. Now right before we finished
| | 05:47 | this movie, I just want to show you
one more thing. That is that I have this
| | 05:51 | layer graffiti_Wall. This was a wall
that was like 50 feet tall. This graffiti
| | 05:55 | was absolutely amazing. What I'm going
to do just for the fun of it is to use
| | 05:59 | this as a new background.
| | 06:01 | So I will go ahead and click on my
mask layer here, Option-click-and-drag to
| | 06:04 | the graffiti_Wall. I now have this
hovering over in the background. We will
| | 06:09 | turn off our two underlying sky
layers and that way I will get rid of any
| | 06:13 | fringing, unlink those two and then
I can reposition this to right where I want it.
| | 06:19 | Now the only thing that I might want
to do here is just soften the edges of
| | 06:23 | this mask. So I will click on the mask
icon, go to my Mask panel, I will try a
| | 06:27 | little bit of a Feather, although I'm
not sure if this is going to work or not.
| | 06:31 | Now when I try the Feather, you can see
that the halo becomes too strong, so we
| | 06:35 | need to go to Mask Edge.
| | 06:38 | Now when I go to Mask Edge, what I can
see here is the actual edge of the mask.
| | 06:42 | I'm going to try to look at that at
few different ways and I'm just looking
| | 06:45 | through to see if I can have a view
that will help me identify that edge rather
| | 06:50 | than expand that mask and add a
Feather to it. What we are going to do, just
| | 06:55 | look to modify this, just a little bit,
just a little bit of feathering and
| | 07:02 | click OK. We will see if that did. You
got there, before and after, that don't
| | 07:06 | even like the way that works. So
here's how I'm going to do this one.
| | 07:09 | I will click on my mask, navigate to
Filter > Other and I'm going to choose
| | 07:12 | Maximum. Now this is kind of interesting.
When I increase this, you can see I'm
| | 07:16 | moving the mask, making a bigger, in
this case just a subtle one pixel mask,
| | 07:20 | took off all that hard edge, click OK.
| | 07:23 | Next, I'm going to go ahead and I'm
going to add just a little tiny bit of
| | 07:27 | Feather, here I will go ahead and add
just a 1 pixel Feather to soften that
| | 07:31 | back just a little bit. So those two images
are combined together much more interestingly.
| | 07:35 | All right, here's our before and then
our after. Now why did I do this last
| | 07:40 | step? Well, I did this last step, just
to illustrate that sometimes you need to
| | 07:44 | add a new sky in order to correct the
image, right, and other times you want to
| | 07:47 | add a new background just to add visual
interest to your photograph. So keep in
| | 07:51 | your mind that those techniques that
you learned here can be used for both purposes.
| | Collapse this transcript |
| Combining foreground and sky| 00:00 | Another common technique for
combining multiple exposures has to do with
| | 00:03 | actually capturing two different
exposures. We will actually talk about this a
| | 00:07 | little bit more, when we get to
combining multiple exposures for architecture,
| | 00:11 | but now here we are talking about
multiple exposures in a nature environment.
| | 00:15 | Now here what I have is a good
exposure for the foreground and on the layer
| | 00:19 | above it, I have a good exposure for
the sky and I have masked in the sky to
| | 00:23 | this area. Well, how do I create that?
Well, if you hold down the Option key on
| | 00:26 | a Mac, Alt key on a PC, you can then
click on the mask and it will show you the
| | 00:30 | sky. Here you can see that I have
paint in the details on the sky with pretty
| | 00:34 | good detail and what I'm doing there is
I'm using a Wacom tab but I'm painting
| | 00:37 | with pressure sensitivity in order
to get the mask to look just right.
| | 00:41 | All right, well now that we know what
we are actually going to do, let's go
| | 00:44 | ahead and Option-click the mask on a Mac,
Alt-click on a PC and take a look at
| | 00:47 | our before and after, that's what we
are going for. Let's delete this mask,
| | 00:51 | right-click and then choose Delete
Layer Mask, you can also Ctrl-click and
| | 00:56 | choose Delete Layer Mask.
| | 00:57 | All right, well we have this great
exposure for the sky detail up here. The
| | 01:01 | first thing that we are going to
trying to do is select this, so we are going
| | 01:04 | to go ahead and navigate to our Select
pulldown menu and we are going to choose
| | 01:08 | Color Range. Now when we go to Color
Range, we are going to click in the sky
| | 01:11 | and here you can see I'm starting to
build out my selection, we can see what I
| | 01:14 | actually have selected there.
| | 01:16 | I will then grab the eyedropper with
the + icon on it and I'm going to go ahead
| | 01:19 | and make my way through this portion
of the image in the sky. Now the trick
| | 01:23 | with this, of course, is that you are
going to want to get into these small
| | 01:26 | detail areas. So we will zoom way in.
So press Command+Plus on a Mac, Ctrl+Plus
| | 01:31 | on the PC, just get into those areas
because we are going to need to be able to
| | 01:35 | darken the areas, behind the leaves here.
| | 01:38 | Now this particular filter works so
much better than it did in the previous
| | 01:41 | version of Photoshop. It's
unbelievable and actually I'm really excited about
| | 01:47 | the new features or new adjustments
that we are able to make with this color
| | 01:51 | range. Not adjustments I should say,
the new selections which then lead to
| | 01:55 | adjustment. So again, I'm just moving
around the image and I'm sampling these
| | 01:58 | little areas, trying to
bring in as much tone as I can.
| | 02:31 | One of the things, I'm noticing is
I do have a little bit of selection down
| | 02:32 | here, no problem. Let's click OK to
apply that and then let's click the Add
| | 02:34 | Layer Mask icon. Well, now that we have
clicked on the layer mask, we are going
| | 02:35 | to go ahead and zoom out. When we
zoom out, one of the things that we will
| | 02:37 | notice is that we don't have a very
good selection, right, because it just
| | 02:38 | looks a little bit too strange.
We have too much of a selection.
| | 02:39 | So we can Shift-click this to look at
the before and after or turn this on and
| | 02:40 | off and there you can see we have some
problems. So we will zoom in a little
| | 02:42 | bit on the image, so that we can see
those problem areas. Next, we are going to
| | 02:44 | navigate to the Masks panel.
| | 02:44 | Now a couple of things that we want
to try of course, are Feather. Now what
| | 02:45 | feather can do for us is just soften
the edges there and in this case that
| | 02:47 | works really well. Now we will take a
look at our before and after with this
| | 02:48 | one, here is before and then after.
It's starting to blend in pretty nicely and
| | 02:50 | I'm just going to go ahead and look
through the image to evaluate that. All
| | 02:54 | right, so far so good,
that's a good starting point.
| | 02:56 | Next, I'm going to hold down the Option
key on a Mac, Alt key on a PC and click
| | 03:00 | on my Mask layer. Now in my Mask layer,
I have some problems I need to clean
| | 03:03 | up. So I will go ahead and make a big
brush, paint with black. I need to mask
| | 03:08 | out the tones down here, okay, Option-
click or Alt-click the mask to bring that back.
| | 03:13 | Now we need to start doing a little bit
of detail work. So I'm going to make my
| | 03:17 | brush a little bit smaller and zoom in,
so I can see some of these edges and
| | 03:24 | I'm going to go ahead and paint with
white. But because I'm painting with
| | 03:27 | pressure sensitivity, what I can do is
I can just subtly bring in some of those
| | 03:33 | color, especially along the edges here,
it's going to be pretty important for
| | 03:37 | me and I'm not get into the trees and
again I'm just going to do small little
| | 03:41 | detail work here and you already get
the gist of this right, it's all about
| | 03:45 | these little tiny details.
| | 03:45 | So you saw the mask I created before,
so I went through and I painted in all
| | 03:50 | those little details and one of the
areas that I do want to think about is this
| | 03:53 | transition area. So I'm going to need
to do a little bit more fine tune work
| | 03:57 | there. It's going to make my way
through this, zoom out a little bit, see how
| | 04:02 | I'm doing. It's looking all right. Zoom
out a little bit further, a little bit
| | 04:06 | of brightness there on the left side of
that tree, zoom back in. Now this is a
| | 04:10 | pretty low-res file as well. If it were
high res file when we zoom in, we would
| | 04:14 | see much more detail and we
could even do a better job.
| | 04:18 | Yet I need to keep the file size down,
so that we could include the files with
| | 04:22 | this training and here hopefully you
are starting to get the gist of how this
| | 04:25 | is working, here is our before and
then after. Okay, well so far so good. We
| | 04:29 | are really starting to be able to bring
in some of these tones. That's a little
| | 04:33 | too dark. I'm going to press 3 for 30%
and just darkening up this horizon line
| | 04:38 | a little bit.
| | 04:40 | To bring it in a little bit more go to
10%, just going to look to darken this
| | 04:44 | up little bit more, use a little bit
more of that dark exposure that I have,
| | 04:49 | and work on that edge there, can real
low opacity, but just looking to bring
| | 04:55 | that in, dark tones in.
| | 04:57 | All right, that's looking good. Let's
zoom out and we will see how it's coming,
| | 05:04 | before and then after. I think it's
coming pretty good. Now there is a more
| | 05:08 | detail work that we could do. Yet
sometimes we are watching some of the detail
| | 05:13 | work, isn't the most exciting thing in
the world. And here pretty quickly you
| | 05:17 | have actually created a pretty decent
exposure; here is our before, here is our
| | 05:21 | after, combining those two, basically
we were able to make that selection,
| | 05:25 | modify the selection.
| | 05:26 | Now a lot of times what I would like
to do is go to my Filter pulldown menu,
| | 05:29 | blur this out, and sometimes that just
a matter of blurring out, just a little
| | 05:33 | bit. So I'm going to go ahead and
take a look at this. I just want to add a
| | 05:37 | little touch of a blur there and I'm
going to cancel that because I think the
| | 05:41 | blur was too much.
| | 05:42 | Filter > Blur > Gaussian Blur. See if
I can get away with any amount of blur
| | 05:46 | here, okay 0.1, maybe 0.2, just a
little bit to smooth out my brush strokes
| | 05:53 | there, it will help equalize things a
bit. You can also then continue to press
| | 05:57 | Command+F on a Mac, Ctrl+F on a PC to
blur your mask out even further, to blend
| | 06:02 | things together. Okay, well so far so good.
| | 06:05 | The last thing that I'm going to do
here. So I'm going to lower my Opacity,
| | 06:08 | just a touch, I should also note that
my blend mode is Multiply, right. So it's
| | 06:12 | a Darken blend mode, so I'm darkening
the sky. Lowering the opacity just a
| | 06:16 | touch to have everything kind of
seamlessly blend together and then make a few
| | 06:20 | curves adjustments or color adjustments.
We will click on the Adjustment Layer
| | 06:24 | icon. Why don't we do color balance?
| | 06:26 | And with Color Balance, I'm going to
increase the reds and the yellows and then
| | 06:29 | mask that into the sky. Click on the
mask, grab the Gradient tool and I will go
| | 06:34 | ahead and click and drag and now I have
a little bit warmer sky up there. Here
| | 06:38 | is my before and then after. Because
I want to go for this warm cool thing, I
| | 06:43 | will duplicate this layer. Click and
drag it to the New Layer icon, click in
| | 06:48 | the mask, press Command+I.
| | 06:50 | Now I have everywhere else selected,
double-click and this time rather go warm,
| | 06:54 | I will go a little bit cool here and
then double-click the adjustment layer, so
| | 07:00 | here is our before and then after. So
we can see that we are cooling off the
| | 07:03 | foreground or brightening and warming
up the sun a little bit, that's kind of
| | 07:08 | nice and it makes for an interesting image.
| | 07:10 | Let's take a look at our overall before
and after, hold down the Option key on
| | 07:13 | a Mac, Alt key on a PC, click on the
Eye icon of your Background layer, there
| | 07:17 | is before and there is after. Some
subtle yet, I would argue some significant
| | 07:22 | improvements or enhancements to that photograph.
| | 07:25 | Now that being set, there are a few
little edges that I would like to clean up,
| | 07:28 | like I have some edges there that
touch too dark here for me. I need to blend
| | 07:32 | that out. But that would just be
about going in that mask and then painting
| | 07:35 | with black or white, going back and
forth, back and forth, way zoomed in and
| | 07:39 | cleaning all it up.
| | 07:39 | Yeah that being set, I think you get
it. I think we have arrived at a place
| | 07:43 | where you can understand that concept
and even perhaps more importantly, where
| | 07:47 | you understand that in order to get
good combination of multiple exposures, it
| | 07:52 | takes a lot of detail work in
order to make it look just perfect.
| | Collapse this transcript |
| Creative tip 3: Transcending your genre| 00:00 | Hey, welcome to another creative
thought or creative tip. You know one of my
| | 00:04 | friends and colleagues Paul Levhart
once said, a good photograph is a
| | 00:08 | metaphor that's reminiscent of
something else. And I thought that was kind of
| | 00:12 | interesting. That reminded me of one
my experiences where I went to a studio
| | 00:15 | lot in Hollywood and I was at a
particular location where they were filming,
| | 00:19 | 'Planet of the Apes' and I was walking
around the studio set and I was talking
| | 00:22 | with the few people there and it's
pretty interesting to see a real-life
| | 00:25 | Hollywood set.
| | 00:27 | And one of the things that they were
saying was in order for this movie to be good,
| | 00:29 | it had to transcend its genre
of sci-fi, right? If the movie was only
| | 00:34 | interesting to those people who like
sci-fi, it wouldn't be a blockbuster.
| | 00:38 | Wouldn't even be a good movie for that
matter. And that really got me thinking
| | 00:41 | and it reminded me of Paul Levhart's
quote, that a good photograph is a
| | 00:46 | metaphor that's reminiscent of something else.
| | 00:48 | Somehow good photography has to trigger
a memory, has to connect with you, has
| | 00:52 | to connect with something else that's
important or meaningful to you. I thought
| | 00:56 | that was kind of interesting. So as
you seek to create more impactful images
| | 01:00 | in Photoshop and on
camera, keep that in mind.
| | 01:03 | A lot of times what you want to do to
create those brilliant, I mean those
| | 01:06 | amazing hands-down portfolio,
wonderful photographs. A lot of times what you
| | 01:11 | have to do is create an effect or
photograph that's reminiscent of something else,
| | 01:16 | therefore it connects with
people, it transcends the genre.
| | 01:19 | So let's say you are taking a
portrait. Well, maybe you can create a portrait,
| | 01:22 | that's more about a portrait of the
person and it's about a portrait of
| | 01:25 | something larger, something bigger,
something more encompassing. Well, either way,
| | 01:30 | I hope that this little creative
thought and little creative tip will help you
| | 01:33 | as you begin to work more and more in
Photoshop and have more fun with creative
| | 01:36 | effects in Photoshop and in addition
as you take more and more photographs.
| | 01:41 | Thanks for joining me on
this creative tip, bye for now.
| | Collapse this transcript |
| Adding clouds and creative color| 00:00 | So far we have talked about how we can
combine multiple exposures in regards to
| | 00:04 | working with the sky in order to
create a little bit of a realistic effect.
| | 00:08 | Let's say that we want to combine
exposures and perhaps add some clouds or sky
| | 00:12 | in the background in order to create a
real creative effect. Well, that's what
| | 00:15 | we are going to talk about here.
| | 00:16 | All right, well, here we have a
photograph as captured and just was this couple
| | 00:20 | walking along the coast there, the sun
was setting in the background, I really
| | 00:23 | liked it. The sky just turned out
all white, and again, this is just as captured.
| | 00:27 | We had this other photograph from
earlier in the day of the clouds and these
| | 00:31 | clouds are just absolutely amazing. So
what I want to do is use those clouds or
| | 00:35 | bring those clouds into the other
photograph and then I want to work on the
| | 00:39 | overall color and tone. I want to go
for real kind of off the wall, deep
| | 00:42 | saturated creative look.
| | 00:44 | So I'm going to click in the
background layer, copy it, Command+J on a Mac,
| | 00:46 | Ctrl+J on a PC. Next press Command+
M on a Mac, Ctrl+M on a PC. All I'm
| | 00:52 | interested in doing here is just
darkening up this image so that I can get a
| | 00:56 | good selection of the sky. Now we have
seen this technique before. Now my sky
| | 01:00 | looks pretty good. I have a few
little problems there, but I think it will
| | 01:03 | work. I will go ahead and grab the
Quick Select tool, nice big brush. That
| | 01:06 | looks pretty good. Turn this layer off.
That layer doesn't matter anymore. Turn
| | 01:10 | the Layer 1 On, and here we are going
to add a layer mask. We're going to add a
| | 01:13 | layer mask based on our selection.
| | 01:15 | Now again looking back and forth,
this looks pretty good, let's zoom in on
| | 01:19 | this. One of the things I'm noticing
is I have this little fringe of color
| | 01:23 | around the couple here. That's really
important. I also have a fringe around
| | 01:27 | the edge of the wall. Now while I will
be removing the color that fringe will
| | 01:31 | still show up, so I need to work on that.
| | 01:33 | I will go to my Mask panel, click on
Mask Edge. What I'm going to do here is
| | 01:37 | just view this with the selection.
Now those marching ants are really
| | 01:41 | distracting. So I will press Command+H
on a Mac, Ctrl+H on a PC. It looks like
| | 01:47 | actually right where I had it was
pretty good. All I need to do is expand that
| | 01:51 | selection to remove that, modify the
Feather in here just a bit. Do you need a
| | 01:57 | little bit of Feather and the Smooth;
I don't want to do too much because I
| | 02:00 | will lose the dimension. Contrast will
just harden that edge, just a bit there
| | 02:05 | and I will click OK to apply that.
Press Command+Z to look at our before and
| | 02:10 | then after. That edge looks so
much better, it's ridiculous.
| | 02:13 | Okay, well now that we have those
clouds in the background, their edge looks
| | 02:17 | pretty good. What we are going to do is
go ahead and take the color out of this
| | 02:20 | photograph. We will go back to out
Adjustments panel, click on Black & White,
| | 02:24 | and we will convert this image to
black and white, that looks nice.
| | 02:27 | Next step, we are going to go ahead
and choose Color Balance and here we are
| | 02:31 | going to add quite a bit of red, quite
a bit of yellow. We are just going to go
| | 02:34 | for this real intense kind of dream-
like aesthetic and then we are going to
| | 02:39 | take that back in our Layers palette
and duplicate it. Command+J on a Mac,
| | 02:45 | Ctrl+J on a PC. Take the blend mode
to Soft Light. We want to add this real
| | 02:49 | deep kind of dreamscape like skyline.
| | 02:52 | Next thing I want to do is merge all
of my underlying layers. So I'm going to
| | 02:55 | zoom out, so I can see this. We are
going to merge all of our underlying layers
| | 02:59 | by way of shortcut, and that shortcut
is Shift+Option+Command+E if you are on a
| | 03:05 | Mac. So on a Mac again, Shift+Option+
Command+E; on a PC, Shift+Alt+Ctrl+E.
| | 03:09 | Then I'm going to zoom in a little bit
here just so I can look at the image,
| | 03:13 | make sure my edges are nice. Those
look good. Then I'll zoom back out.
| | 03:16 | All right, well, now what I want to do
on this particular layer is I want to
| | 03:19 | modify the overall color and tone. What
I'm going to do that is by clicking on
| | 03:23 | the Curves Adjustment Layer icon and
choose Curves. Then go ahead and brighten
| | 03:27 | up the image, now close the
Adjustments panel, and in this Curves layer let's
| | 03:32 | invert this Command+I on a Mac, Ctrl+
I on a PC. Grab your Brush tool, and then
| | 03:37 | going to make this nice and big, big
brush, paint with white and we are going
| | 03:42 | to bring some light into the center
portion of the image here, this is our
| | 03:47 | before and then after. Merge that down.
Press Command+E on a Mac, Ctrl+E on a
| | 03:52 | PC. So we now have this new layer. And
on this new layer we can experiment with
| | 03:56 | blend modes. Again, this is going to
push our contrast pretty far. Here is my
| | 04:00 | before and after, but it's just
redirecting my focus to this portion of the
| | 04:04 | image. Here's my before and after.
| | 04:07 | Now at this juncture, my color has gone
really far. I have all this crazy color
| | 04:13 | here. I may want to stick with that,
or I could back it off. I will go ahead
| | 04:17 | and choose a Hue/Saturation adjustment
layer. Desaturate, so I find a nice spot
| | 04:21 | for the color in my case. I'm just
going to back it off a bit because it got a
| | 04:25 | little out of hand there, and then
I will press F to go to Full Screen View
| | 04:29 | mode. I will press the F7 key to bring
back my Layers palette. Hold down the
| | 04:34 | Option key on a MAC, Alt key on a PC,
click on the eye icon. Here is my overall
| | 04:38 | before, and then here is where we
added the clouds, started to work on the
| | 04:43 | overall color and tone, little bit of
focus there. Now this layer is actually
| | 04:47 | kind of important because it brings
the attention back to the couple without
| | 04:51 | really needing to darken our
corners too drastically or too noticeably.
| | 04:55 | All right, well, I hope you enjoyed
this one. As I said in the beginning, this
| | 04:58 | is going to be a bit of a fun one, and
indeed it was. We added these clouds and
| | 05:02 | then we modified the colors in some
pretty unique ways in order to create this
| | 05:06 | dreamscape-like image.
| | Collapse this transcript |
| Applying Photomerge to create a panoramic photo| 00:00 | In this movie, we will be working on
the images that you can find in the
| | 00:03 | chapter 10_combine_multiple folder.
What we are going to do here is take a look
| | 00:07 | at how we can quickly create a
panoramic image from right inside of the Adobe
| | 00:11 | Bridge taking advantage of
Photomerge inside of Photoshop.
| | 00:14 | For first starters, what we want to do
is capture images that have overlap and
| | 00:19 | as I scroll through these images you
can see that I have a number of different
| | 00:21 | images that I want to bring together
in order to create one long panoramic
| | 00:25 | photo. What you need to do in the Adobe
Bridge is to select one image and then
| | 00:30 | press Command+A on a Mac, Ctrl+A on
a PC and then navigate to your Tools
| | 00:34 | pulldown menu and choose
Photoshop and then good old Photomerge.
| | 00:38 | This will then open up the Photomerge
dialog inside of Photoshop. Now there are
| | 00:42 | a couple of options here. One Layout,
typically Auto works best, so I'm going
| | 00:46 | to go ahead and select that. Next
it's going to use the files that I have
| | 00:49 | already selected, perfect. I want to
blend those images together and you will
| | 00:53 | notice that I also have the ability to
remove vignettes and then also correct
| | 00:57 | some of the geometric distortion.
| | 00:59 | Now these last two settings are
really helpful if I'm shooting with a
| | 01:02 | wide-angle lens. And Photomerge, inside
a CS4 is a ton better than CS3 because
| | 01:08 | of some of these new features. Now in
this case these particular images weren't
| | 01:11 | captured with a wide-angle lens. So
I don't want to check those options.
| | 01:15 | All right, all that I need to do is
click OK and then I kick back, while
| | 01:19 | Photoshop does its magic and blends all
of these images together. Right now you
| | 01:24 | can see it first organized the images
and next it's going to create a mask in
| | 01:28 | order to merge these all together.
Now the proof is really in the pudding.
| | 01:32 | Once you have created your
Photomerge what you want to do is go ahead and
| | 01:35 | double click your Zoom tool to take
the image to 100% and then press the
| | 01:38 | Spacebar key and pan around the image
and as you do that you want to look for
| | 01:42 | any potential problem areas and
in this case I'm not seeing any.
| | 01:46 | Okay, well let's go ahead and zoom out
a little bit. So we can see the whole
| | 01:49 | image in its entirety. Now the nice
thing about this view is I can then turn
| | 01:53 | off these layers and begin to see how
they are brought together. We could see
| | 01:57 | that the mask is pretty unique in the
sense that it's finding different areas
| | 02:00 | to disguise how these images are being
blended together. Also it's important to
| | 02:05 | note that what's happening is it's
actually changing the images a little bit in
| | 02:08 | regards to the perspective and skewing
them and making them fit together, in
| | 02:13 | this case, absolutely
perfectly and I love this pano.
| | 02:15 | Well, the last step that I need to take
here is to zoom out a little bit. Press
| | 02:19 | F to go to Full Screen View mode and
then grab the Crop tool and I will do that
| | 02:24 | and go ahead and click and drag to
crop this in and you almost always need to
| | 02:27 | crop your panos. I'm just going to find
a crop that looks interesting to me and
| | 02:32 | now I will press Enter or Return to
apply that and press Tab to get rid of the
| | 02:36 | panels and then F to go to Full Screen View
mode and then I will zoom in a little bit.
| | 02:39 | And the nice thing about panoramic
images is that you can take them in all at
| | 02:43 | once. Your eye travels from left to
right and in this case, this road leads us
| | 02:48 | in. Although we are up to this
photograph of Mount McKinley in the background.
| | 02:51 | And these particular images were
captured by one of my good friends Ralph
| | 02:54 | Clevenger. Ralph, thanks a ton for the
use of these photos and I have seen a
| | 02:58 | print of this photo in his home and
it is absolutely stunning. It makes you
| | 03:04 | just want to go to Alaska and drive
down this road and head up towards the
| | 03:07 | mountains. It's a wonderful photograph.
It's even better in the printed form.
| | 03:11 | Well, all right as you can see, to
create a panoramic image is incredibly simple.
| | 03:15 | So if you haven't experimented with
this technique, you definitely need to do so.
| | Collapse this transcript |
| Using Auto-Blend layers to extend depth of field| 00:00 | In this movie, we will be working on
the images that you can find in the dof,
| | 00:03 | for Depth of Field, folder. Now these
particular photos were captured by one of
| | 00:07 | the Producers at Lynda.com Samara.
Samara thanks for a ton for the use of the
| | 00:11 | these files and if I scroll through
these, you will notice that in this image
| | 00:15 | the focus is here, then in the next
image its right about here, then in the
| | 00:17 | next it's here and then here
and then all the way up here.
| | 00:20 | You can see that I have different
areas of focus. Now all the images were
| | 00:24 | captured with the same exposure
settings. That's essential. Now one of the
| | 00:28 | reasons why you may want to extend up
the field is just to create this unique
| | 00:31 | affect, or in other situations you may
need to shoot with a wide open aperture
| | 00:36 | which means you have a shallow depth
of the field, because you may not have
| | 00:39 | very much light. In that case you
can shoot with this low F-stop but then
| | 00:43 | extend the depth of field in postproduction.
| | 00:46 | Well, for whatever situation, you can
use this particular technique either
| | 00:49 | technically or creatively in order to
extend your depth of field. Let's go
| | 00:54 | ahead and select all the images,
click on one and press Command+A on a Mac,
| | 00:58 | Ctrl+A on a PC.
| | 01:00 | Next, navigate to your tools pulldown
menu and choose Photoshop>Load Files into
| | 01:04 | Photoshop Layers. This will then open
up all of these images into one document.
| | 01:10 | One document, here we will press F to
go Full Screen View mode and here you can
| | 01:13 | see we have these different layers and
I can click through them and we can see
| | 01:16 | the different layers there.
| | 01:18 | The next step is to click in one of
the layers, hold down the Shift key and
| | 01:21 | click in another and then navigate to
Edit and choose Auto-Align Layers. We are
| | 01:26 | going to do an Auto Projection here
and go ahead and click OK. What this will
| | 01:29 | do is it will align these layers and
this will be really important because it
| | 01:33 | may be that the camera shifted a little
bit and you can see there that it did a
| | 01:36 | pretty good job at correcting that.
| | 01:38 | Now one of things that you may notice
is that I'm going to need to crop into
| | 01:42 | this image a little bit, for example,
if I go ahead and turn off some of these
| | 01:45 | other layers, you are noticing that
this image is pretty small here and we will
| | 01:48 | go ahead and turn on these other ones
and we can see here that, what it had to
| | 01:51 | do in order to align them is it had to
scale a few of the images. Okay, well
| | 01:55 | great. Well, let's go ahead
and turn on this topmost layer.
| | 01:58 | Now with that topmost layer visible,
I'm navigate to my Image pulldown menu
| | 02:02 | and choose Trim. This will trim away
the Transparent Pixels, I will click OK
| | 02:06 | there and it creates a little bit
better of a composition there. Now, turn on
| | 02:10 | the visibility of the other layers and
make sure they are all selected. Then
| | 02:13 | navigate to Edit and this time we are
choosing Auto-Blend Layers and we want to
| | 02:17 | stack these images. Seamless Tones and
Colors definitely. Go ahead and click OK.
| | 02:23 | This will then Blend these selected
layers based on their content and what
| | 02:27 | Photoshop is doing here is analyzing
each layer and saying, okay, where is it
| | 02:31 | sharp in this layer, where is it sharp
in this layer, where is it sharp there.
| | 02:34 | It's then going to create a mask for
each particular layer and here you can see
| | 02:37 | we now have sharpness from the top to
the spine up here all the way down to the
| | 02:41 | bottom of the spine here.
| | 02:43 | Now, one of things that you are going
to want to do as you begin to experiment
| | 02:45 | with this is begin to experiment with
how you can capture these photographs.
| | 02:49 | It's not always going to work perfectly,
but you will be going to discover some
| | 02:52 | tricks. Meaning, the more photographs
you have or the more points of focus that
| | 02:57 | you have, the better, right?
| | 02:59 | Let's say you only have three points
of focus. Well, it's going to be kind of
| | 03:02 | tricky, right? Because there may be
some areas in between the points of focus
| | 03:05 | that just aren't sharp enough. So in
conclusion, if you haven't experimented
| | 03:09 | with this particular technique,
I definitely recommend you do so. I don't think
| | 03:13 | that you will be disappointed with the
new capabilities of extended depth of
| | 03:17 | field in Photoshop CS4.
| | Collapse this transcript |
|
|
11. Image Combination Project: AthleteCombining multiple frames| 00:00 | In the next couple of movies we are
going to take a look at how we can combine
| | 00:03 | multiple exposures in the order to
correct and enhance a photograph.
| | 00:07 | An this will be a little mini project
for us, all right. Well, you can see in the
| | 00:11 | Layers palette, I have two images.
I have one photograph or one layer titled
| | 00:14 | feet and I here have this photograph
of the Pro Ironman Triathlete world
| | 00:18 | champion guy, here with his feet
holding the bike. And then I have another one
| | 00:22 | where I like the posture much better.
I like the way he is holding the bike
| | 00:25 | there but! The composition wasn't
very good; I chopped off his feet.
| | 00:28 | So I want to bring those back. Well,
what can I do here? What I'm going to do
| | 00:32 | is I'm going to go ahead and click into
the feet layer and I will move this one
| | 00:35 | off to the side, and when I move this
one off to the side, I'm just looking to
| | 00:39 | begin the compare the different size
of these two images and I will lower the
| | 00:43 | Opacity perhaps. So we can see that
even better. That might be a better
| | 00:46 | illustration. And here you can see
that the image above is much closer up.
| | 00:51 | He is much taller.
| | 00:52 | So how then can we change the size of
the photos? Well, here is what we are
| | 00:55 | going do. We will crank up the Opacity
there and we are going to click in the
| | 00:58 | top most layer, hold down the Shift key
click in the bottom layer and navigate
| | 01:02 | to Edit > Auto-Align Layers. We are going
to choose Auto there and click OK. What
| | 01:07 | this will do then is it will actually
resize and reposition these images, so
| | 01:11 | that they are much closer in size. Now
let's go ahead and lower the Opacity, so
| | 01:14 | we can see through this and here you
can see that for the most part we are
| | 01:17 | actually pretty close in our size.
| | 01:19 | Now we are never going to be able to
align things up perfectly, but you can see
| | 01:22 | definitely that we are in a pretty
good place in regards to proportions.
| | 01:26 | All right, well now that our proportions
are good, I'm going to zoom in on the image.
| | 01:29 | When I zoom in on the image, I'm
going to reposition this top layer so
| | 01:34 | that I can begin to align it
with one of the bottom feet.
| | 01:38 | Now the trick with this, of course, is
going to be that it's not going to be
| | 01:40 | able to be exactly perfect. So I'm
going to need to try to find a spot where
| | 01:44 | it's going to look relatively good
and I'm going to have to also do some
| | 01:48 | masking magic to bring this
together, so it looks really good.
| | 01:52 | All right, well that looks pretty good.
I will go ahead and click on the Layer
| | 01:55 | Mask icon on the top layer. Grab the
Brush tool, left bracket key for a nice
| | 02:00 | small brush here and I'm going to
paint with black and what I'm going to do
| | 02:04 | here is just look to limit this a
little bit and try to get rid of the crease
| | 02:07 | in the jeans there. So I have now
successfully added one foot to the mix there,
| | 02:12 | right? We can see that how I blended
those two together. What about this other
| | 02:16 | foot over here? That's going to be a
bit of a problem, right? So we will click
| | 02:19 | in the bottom layer. We are going to
grab one of our Selection tools like the
| | 02:22 | Rectangular Marquee. We will make a
pretty wide selection of the foot there.
| | 02:27 | Now that I have this nice wide selection,
I'm going to copy that to a new layer.
| | 02:32 | I will do that by pressing Command+J
on a Mac, Ctrl+J on a PC. Next, I will
| | 02:37 | select the Move tool and here I'm just
going to simply reposition this over to
| | 02:41 | the right here, in order to get it
lined up. It looks pretty good. I'm going to
| | 02:46 | try to find the sweet spot there, okay.
I'm liking that and I just want to zoom
| | 02:51 | in a little bit as well. So I can evaluate it.
| | 02:54 | Now how can I then mask that off?
Well, this is going to be a little bit
| | 02:57 | tricky, but we will click on the Add
Layer Mask icon, grab our Brush tool,
| | 03:02 | we are going to paint with black and what
we need to do is to paint away the areas
| | 03:05 | where we are seeing a little bit of seam.
Now for the most part this is looking
| | 03:09 | nice and again I'm just going to modify
this back and forth, hitting the X key and
| | 03:15 | trying to get the seam to look pretty
good and there are a couple of places I
| | 03:19 | just can't get perfect. One is right here.
| | 03:22 | So I'm going to create a new layer
above everything. Click in the topmost
| | 03:25 | layer and then click on the New
Layer icon. We will name this new layer
| | 03:28 | cloning. All right, just press the S
key to grab the Clone Stamp tool. Make
| | 03:33 | sure we are cloning on All Layers and
then Option-click on a Mac, Alt-click on
| | 03:39 | a PC. We are going to go ahead and
just paint over that and then Option-click
| | 03:43 | from a different direction.
| | 03:45 | Again, we just want to Option-click
from a few different directions here and
| | 03:48 | I'm going to go around on the
concrete here as well. Just looking to try to
| | 03:52 | minimize or hide or disguise anything
that I'm noticing here. Same thing over
| | 03:57 | here, just take a little bit away
from the foot on this side. All right,
| | 04:05 | I think we are making good progress.
Clean up a little bit of these blemishes
| | 04:09 | while we are here as well, okay.
| | 04:11 | Let's take a look at our before and
after there. Here is before and then after.
| | 04:14 | All right, well let's zoom out. See
how these feet are looking. We have
| | 04:17 | combined these images in a unique way.
Here is before and then after. Again,
| | 04:23 | we are able to modify that and you can see
that we still have good alignment with the
| | 04:27 | feet. The mask looks really good.
We are able to bring that foot in. All right,
| | 04:31 | so far so good. We have got a little
bit more work to do on this image and we
| | 04:35 | will do that in the next movie.
| | Collapse this transcript |
| Modifying color and tone| 00:00 | Now that we have successfully combined
these two images, we are ready to work
| | 00:03 | on the overall color and tone. Let's
click on the adjustment layer icon and
| | 00:07 | choose Hue/Saturation. What we are
going to here is change this to Colorize, we
| | 00:11 | are going to add a little bit of this
Sepia tone effect and blend it over the
| | 00:16 | image with Soft Light.
| | 00:17 | Now the nice thing about this is it
will give us this really nice tone for
| | 00:21 | skin. We can see our before and then
after. It also boosts our contrast.
| | 00:25 | Yeah, one of the problems that
I noticed is that in the background, the
| | 00:28 | distressed look, it's really nice. The
jeans are a little bit too dark. We can
| | 00:32 | correct that. We will go ahead and go
to our Adjustment Layer icon and choose
| | 00:35 | Selective Color or we're going to go
to our Adjustments panel and choose
| | 00:39 | Selective Color here. We are going to
go from our pulldown menu to the Blues.
| | 00:43 | Now when we go to the Blues we can
control the overall darkness of those jeans.
| | 00:46 | So I'm going to go ahead and brighten
them up. You can see I'm able to brighten
| | 00:49 | them up a touch there. Okay, that looks good.
| | 00:52 | The next thing I want to do is
I want to work on the overall blacks on my
| | 00:54 | Hue/Saturation layer. Now because my
Layers palette is pretty small, I actually
| | 00:58 | can't double-click here. So you can
also go to your advanced blending by going
| | 01:02 | to Effects and then choosing Blending
options and here what we are going to do
| | 01:07 | is just bring back some of the details
and those darker tones. You can see the
| | 01:10 | jeans and part of wall affected
is also few areas of the shadow.
| | 01:14 | Now, we'll hold down the Option key on
a Mac, Alt key on a PC, split those two
| | 01:18 | sliders, and what we are looking to do
is just to brighten up a little bit of
| | 01:21 | those tones there, and so I will go
ahead and do that again. Just bringing a
| | 01:25 | little bit more detail to those areas,
and just modify my sliders, watching the
| | 01:30 | image, clicking OK for that, Command+Z
before and then after. Pretty subtle,
| | 01:35 | yet it helps out just a bit.
| | 01:37 | Next thing I want to do is click up top,
click on the Adjustment Layer icon,
| | 01:41 | choose Curves. Now I need to brighten
up this back tire here a bit, right. So
| | 01:45 | go ahead and brighten that up. Invert
the mask, Command+I. Zoom in, select your
| | 01:50 | Brush tool by pressing the B key and
then we are going to go ahead and paint
| | 01:53 | with white. I'm Just going to bring
some detail under this portion of the
| | 01:56 | image. If you make a mistake as I did
there, press the X key to paint the other
| | 02:01 | way. I want a little bit more detail on
that tire, also on this tire. Bring out
| | 02:06 | these details here. Little bit on the
handlebars, little bit on the seats. Seat
| | 02:16 | post there, cranks, go ahead, add
a little bit more to that. I'm just
| | 02:22 | brightening this up just a bit. All
right, well, let's zoom out; see how we are
| | 02:26 | doing so far. Here is our before and
then after. Again just adding a little
| | 02:29 | snap to that bike, but that's important, right.
| | 02:32 | Next thing I want to do is zoom out
and I want to add a little bit of a
| | 02:35 | darkening effect around the edges of
this photo. As I look at the edges I
| | 02:39 | notice I have a bit of a problem.
Let's go ahead and navigate down and take a
| | 02:42 | look at what our problem is. Well, one
of our problems, right, is that when we
| | 02:45 | look at this we have the new layer and
if we look at that by itself, we don't
| | 02:49 | have all of this information in the
background. It's blending into the
| | 02:53 | background. Yet there is a seam back there.
| | 02:55 | So we have a couple of different
options for dealing with our background at
| | 02:58 | this juncture, and we'll talk
about those in the next movie.
| | Collapse this transcript |
| Cropping to correct edges| 00:00 | At the end of the previous movie
I talked about how now we need to do with our
| | 00:03 | composition, because we have a
little bit of this edge problem.
| | 00:06 | What we can do? Let's take a look at
one approach. One way that we could take
| | 00:10 | care of this would be to click
on our topmost layer and press
| | 00:12 | Shift+Option+Command+E on a Mac,
Shift+Alt+Ctrl+E on a PC. Double-click the
| | 00:18 | name of the layer and
name that new layer, merged.
| | 00:20 | Next, we are going to go ahead and
navigate down to our layer where we have
| | 00:24 | good content. Command-click that layer
on a Mac, Ctrl-click on a PC, and then
| | 00:29 | click on the Add Layer Mask icon up here.
| | 00:32 | Well, now that we have done that we
can turn off the visibility of all of the
| | 00:35 | other layers because this is the one
layer where we have good content. Or from
| | 00:39 | here we could then unlink the two layers,
clicking our mask, press Command+T on
| | 00:43 | a Mac, Ctrl+T on a PC. I know that
area down there is good, and now I have a
| | 00:47 | really good background to work with.
And at this juncture what I need to do is
| | 00:50 | grab my Crop tool, click-and-drag and
make sure my crop stays with inside of
| | 00:55 | those edges so that I don't have any
edge problems. And at that juncture I
| | 00:59 | would be good to go. Let's go ahead
and apply that, press Enter or Return.
| | 01:03 | The only problem with this is that
change the overall composition, made it a
| | 01:06 | little bit tighter. There is a little
bit less negative space surrounding the
| | 01:10 | athlete. So I don't want to do that. So
undo that. Not going for a crop because
| | 01:15 | I want to use the rest of the wall.
I want to have more wall over here, more
| | 01:19 | wall up top and perhaps a
little bit more wall over here.
| | 01:22 | Well, how exactly can I do that? In
order to add more space like that, we're
| | 01:26 | going to use a feature that's brand
new to CS4 and we will talk about that in
| | 01:30 | the next movie.
| | Collapse this transcript |
| Using the amazing Content-Aware Scaling| 00:00 | All right, well, let's dig a little
bit deeper into these files that we can
| | 00:02 | make it even better. I'm going to go
ahead turn on the underlying layers and I
| | 00:06 | will turn off my topmost layer.
| | 00:08 | One of the things that I notice over
here is that on the left side of the wall
| | 00:11 | I can probably fix this actually quite
easily. Now I can do that by clicking in
| | 00:15 | the layer mask for this layer here.
Then go ahead and grab my Marquee tool, and
| | 00:20 | I'm going to make a selection over
this portion of the image. I will then
| | 00:24 | right-click or Ctrl-click and choose
Feather. I choose a Feather Radius of
| | 00:28 | about 5 pixels; I think that will work well.
| | 00:30 | Next thing I'm going to do. While
clicked in this layer mask I will fill that
| | 00:33 | with black. In my case that is Command+
Delete on a Mac because I have black in
| | 00:38 | my background color there. And next
navigate to select and then de-select.
| | 00:43 | All right well that did a pretty good
job, didn't it? Here's my before and then
| | 00:46 | after. It just connected the wall there
and because this has concrete texture I
| | 00:50 | can get away with that.
| | 00:52 | Now in order to sweeten that up I may
grab my Brush tool and if I have my Brush
| | 00:55 | tool I can then will paint with white
or black and I will go ahead and paint
| | 00:59 | with white or black and I'm just
going to try to get this to a pretty good
| | 01:02 | place. And just merge these two
together a little bit. Hiding some of the seams
| | 01:07 | there just a little bit more than
I could have done, had I used the selections
| | 01:12 | that I just made, okay. I think that's
looking pretty good, little bit smaller
| | 01:16 | brush there. Again, just trying
to disguise that edge a little bit.
| | 01:19 | All right, well that took care of that
side but what about the other aspects of
| | 01:23 | the image? I still have a problem up top;
I still have a problem over here. I'm
| | 01:27 | not going to be able to mask those
off as easily over there. What can I do?
| | 01:30 | Well, here is where we are going to
click in the top layer. Merge all those
| | 01:34 | layers to the top, Shift+Option+
Command+E. We are going to call this one,
| | 01:38 | content for content aware scaling. We
will then navigate to Edit and choose
| | 01:43 | Content Aware Scale. What we could do
here is increase the size, and notice
| | 01:47 | that as I do that it's not affecting
the athlete at all. So the athlete is
| | 01:51 | still staying there but I'm completely
scaling the ceiling. That looks really
| | 01:55 | good. I'll do this a little bit over
here to the left-hand side as well as over
| | 02:00 | here on the right as well so that it
can scale over there. And again it's
| | 02:05 | creating information for me. And on
this side I actually don't need to do that
| | 02:10 | too much, press Enter or Return.
How crazy phenomenal is that?
| | 02:15 | Now you may be wondering, okay, that
looks nice but may be you skewed this guy.
| | 02:20 | May be he is messed up, well, how do
you know? What you need to do is go to
| | 02:23 | your blend mode of difference or
exclusion and then move the layer around, and
| | 02:27 | if you can get the two layers to
become completely black you have perfect
| | 02:31 | alignment. So what that's showing me is
that yes, it scaled information in the
| | 02:36 | background but right here those two
are completely perfect. They are exactly
| | 02:40 | the same. So when I look at my before
and then after, again before and then
| | 02:45 | after, he is not changing at all. It's
just the background that is changing. So
| | 02:49 | here is my before, here is my after,
that Content Aware Scale completely saved
| | 02:54 | the day. That was so
phenomenal. I love that new feature.
| | 02:58 | All right, well now that we have that,
let's go ahead and create one more
| | 03:01 | layer. Shift+Command+N on a Mac. Shift+
Ctrl+N on a PC. We will take this to a
| | 03:06 | blend mode of Soft Light, we'll do a
little bit of burning here, zoom out, grab
| | 03:10 | our Brush tool. Nice big brush, about
30% Opacity. I'm just going to look to
| | 03:16 | darken up some of these background
areas here. Create a little bit of a shape
| | 03:21 | in this silhouette so that he is
looking a little bit more like he is glowing
| | 03:26 | there and little bit more light
focusing on him, and again just making my way
| | 03:31 | around the image. Here is my
before and after with that.
| | 03:34 | Lower the Opacity there, also blur that
out. Filter and Blur and Gaussian Blur.
| | 03:39 | Not quite that hard. But just enough
click OK. Let's zoom in so we can see that
| | 03:45 | here is our before and then after. That
looks pretty nice. Again just darkening
| | 03:49 | up those edges overall before and after.
Press the F key to go to Full Screen
| | 03:53 | View mode. Press the F7 key to bring
back our Layers palette. Here is before
| | 03:59 | and then after or in other view here
is before without the feet, and then
| | 04:04 | finally after.
| | 04:05 | All right, well I hope you learned
something of value in regards to how we can
| | 04:09 | combine multiple exposures
in these last few movies.
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|
|
12. Image Combination Project: ArchitectureCombining interior and exterior exposures| 00:00 | In this movie we are going to talk
about how we can combine multiple exposures
| | 00:04 | for an architecture shop. This
particular photograph was captured by one of my
| | 00:07 | colleagues, Russ McConnell. Russ has
some really nice architecture work, and
| | 00:11 | here we have a couple original images.
We have one that's exposed for the
| | 00:14 | outside, here we can see the nice
detail and the lake and the tress and then we
| | 00:18 | have one that's exposed for the inside.
| | 00:20 | This inside exposure is even a little
bit bright, so we might want to bring
| | 00:23 | that down a bit yet. How can we bring
back some of the detail into the windows?
| | 00:28 | What we are going to do is, go ahead
and reverse the order of these so that we
| | 00:31 | have the interior layer underneath. We
will click in the outside layer. Copy
| | 00:35 | it, Command+J on a Mac, Ctrl+J on a PC.
| | 00:37 | Now the next thing that I'm interested
in doing is I want to darken the tones
| | 00:41 | here, so I will press Command+M on a Mac,
Ctrl+M on a PC, and I'm going to open
| | 00:46 | up the Curves adjustment. I'm just
going to darken down the rest of the image.
| | 00:51 | I'm looking to try to get more focused
in on these windows, click OK to apply that.
| | 00:55 | Next thing I'm going to do is grab the
Brush tool, Press the B key to select
| | 01:00 | the Brush tool, and I'm going to paint
with black over these areas of the house
| | 01:03 | that I actually just
don't want to select at all.
| | 01:06 | So I'm being very careful to get rid
of anything that I don't want to select
| | 01:11 | and I can always do this later because
we will be creating a mask yet, just to
| | 01:15 | be on the safe side I'm going to go
ahead and paint over these areas, because
| | 01:19 | I'm going to build up a selection, and
basically what I'm looking to do is to
| | 01:23 | try to create some kind of a selection
that I can then use in order to create a
| | 01:28 | mask to try to figure it away that
I can actually select some of those brighter
| | 01:33 | tones and then use some of those
brighter tones and combine them with the
| | 01:39 | underlying image.
| | 01:40 | All right, well, I don't need to go
really too far with this, but again I'm
| | 01:43 | just looking to try to darken things up
a bit so that I can create a selection.
| | 01:50 | All right, well now that I have done
that let's go to Select and choose Color
| | 01:53 | Range. Now with Color Range what we
are interested in doing is making a
| | 01:57 | selection of the windows. You can dial-
in our Fuzziness amount here, I will go
| | 02:01 | ahead and grab my Eyedropper tool and
click on the trees in the background. Now
| | 02:05 | I have my Fuzziness amount, I will grab
the plus eyedropper, and I'm just going
| | 02:08 | to go ahead and click around this area
just to add more detail to my selection.
| | 02:13 | I am going to slowly build this up,
being careful not to select any area of the
| | 02:19 | cabin, and again I'm just clicking
through this. I can also click-and-drag or
| | 02:25 | position my cursor back and forth. Just
wanting to get some nice detail there.
| | 02:30 | Work up the selection.
I think that's pretty good actually.
| | 02:36 | All right, go ahead and click OK to
apply that. Well, now I have a pretty rough
| | 02:39 | selection of these areas, need a
little bit of work, but it's pretty decent.
| | 02:43 | Let's turn off this layer, let's go
down to the outside layer and here what we
| | 02:48 | are going to do is add a layer mask. So
go down and click on the Add Layer Mask
| | 02:52 | icon. All right, that looks really good.
Let's click on the interior layer. The
| | 02:55 | Opacity is somehow got knocked down on
that one, so I'll crank that back up.
| | 02:58 | That should be at 100% Opacity.
| | 03:01 | Okay, well, let's see how we are doing.
Here is my before and then after. Well,
| | 03:04 | not bad for a pretty rough selection.
I need to go in and fix up some of my
| | 03:08 | edges right and I will go ahead and do that.
| | 03:11 | The way that I'm going to do that is,
I'm going to click into my Mask layer,
| | 03:14 | grab my Brush tool. In this case I'm
going to paint with black and I'm going to
| | 03:18 | paint with black around some of these
edges, because it brought in some detail
| | 03:22 | that I definitely don't want to have in
the image, and also around the edge of
| | 03:27 | this window frame here. Some of this
is going to be taken care with hand
| | 03:33 | painting, other times you can use
some of your masking controls to take the
| | 03:37 | edges off. Click and then hold down
the Shift key and click, get rid of that
| | 03:40 | straight line. Go inside, invert your
colors, so you now paint with right-click
| | 03:44 | and then Shift-click and you
can bring some of that back.
| | 03:47 | So again, it's going to be give and
take where you are going to be painting
| | 03:49 | with black or white, trying to clean
up your edges. So we will look at our
| | 03:52 | overall before and then after going in
a good direction. Let's then hold down
| | 03:57 | the Option key on a Mac, Alt key on a
PC and click on the layer mask. Now when
| | 04:01 | I do that, one of the things that
I notice is that is I have selected some
| | 04:04 | areas to my image, I just don't want
to have selected. Especially up in here,
| | 04:08 | so I'll go ahead and mask all those areas off.
| | 04:10 | I want all of this, kind of gray tone
to become much more dark. I could paint
| | 04:16 | across all of that. I could of course
also make a Levels adjustment to my mask
| | 04:21 | here. Let's do that. Command+L on a
Mac, Ctrl+L on a PC and we can drag the
| | 04:26 | slider to darken up those tones, mask
off the rest of the house and then click
| | 04:31 | OK to apply that.
| | 04:32 | Now we have some areas back in the
window we need to bring in. So we will paint
| | 04:35 | with white here. We want all those
details of the trees, and again all that we
| | 04:40 | are doing was we are building up our
selection. I have created that Contrast
| | 04:45 | layer, then we use Color Range to bring
in nice selection here, we then built a
| | 04:52 | mask based on that selection, and you
are going to find that each image is
| | 04:56 | going to respond a little bit
differently to this technique.
| | 04:59 | There are some images where it will be
better to just make a selection with one
| | 05:02 | of those selection tools, other images
were perhaps this technique will work,
| | 05:06 | and again it's a bit of a give and
take as you work with different images and
| | 05:10 | techniques like this. Press the X key
there, paint with white, undo that. Zoom
| | 05:15 | in a little bit, so I have a nice
small brush. I'm just looking to try to get
| | 05:19 | some of those details I see in the
background, and a little bit more clearly.
| | 05:24 | All right, cleaning up my mask,
cleaning up my mask, I am cleaning up my mask.
| | 05:30 | Paint with white across here, I want
to have all those nice details. And of
| | 05:34 | course, at some juncture what we are
going to need to do is we are going to
| | 05:37 | need to go back to the Image layer view.
| | 05:40 | So hold down the Option key on a Mac,
Alt key on a PC, and now that we do that
| | 05:44 | we will look at our before and after
and one of the things that that shows me
| | 05:47 | is that this edge is much too dark.
So I will go ahead and paint with white
| | 05:52 | here, and I want to remove that edge,
don't need that to be as dark there, no
| | 05:58 | real relevance in that line. Let's
look down at the windows, we will see our
| | 06:02 | before and after. Okay, we are going
in a great direction. Next step is going
| | 06:06 | to be to lower the overall intensity of
the color. So we'll click on Adjustment
| | 06:10 | Layer icon, choose Curves, and I should
say not intensity of the color, but the
| | 06:14 | overall brightness of the photograph.
So it's just too bright, right, that's
| | 06:17 | too high key. So we will bring that down a bit.
| | 06:19 | Let's say I'm going to help out our
windows, so we can see that that's even
| | 06:23 | darkening those outside windows. Here
is our before, after and then a little
| | 06:27 | bit of an adjustment layer, and
I think, we have done a pretty good job in
| | 06:30 | proving that photograph overall.
Here is before and then after.
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| Aligning multiple exposures| 00:00 | So far we've talked about how we can
combine multiple exposures in the case of
| | 00:04 | having exposure for an interior and
an exterior, but what about creating a
| | 00:08 | little bit more of a dramatic effect.
Well, that's what we're going to talk about here.
| | 00:11 | Here we have a couple of photographs
that were captured by my colleague Russ
| | 00:14 | McConnell again and Russ said it was
really fun shooting this little cabin
| | 00:17 | because he would take an image and he
would then fish, and then he would wait
| | 00:21 | for the sun to go down, took another
photograph, and then waited for the clouds
| | 00:25 | to move in and he took yet another photograph.
| | 00:27 | And so we have these different images
and again the order actually was the
| | 00:31 | original and then this one and then
one more with the lights on. So we have
| | 00:35 | these different exposures, how then can
we combine those? Well, if we zoom in a
| | 00:38 | little bit, one of the things you
will notice that happened is there is
| | 00:41 | actually a little bit of a shift on
each layer. So each layer isn't quite
| | 00:45 | aligned. That's going to be a little
bit of problem but it happens even if you
| | 00:48 | have your tripod locked down because it
could shift on the dirt or that things
| | 00:52 | could just shift around just a little bit.
| | 00:54 | So before we do anything, we're going
to click in the clouds layer, hold down
| | 00:57 | the Shift key, click all the way up to
the lights layer, navigate to our Edit
| | 01:01 | pulldown menu and choose Auto-Align
Layers. This will then auto-align these. We
| | 01:05 | will click OK to apply that.
| | 01:07 | What it needed to do is skew things a
little bit. We'll zoom in so we can see
| | 01:10 | the detail here. Now, when we turn our
layers on and off, what we're going to
| | 01:13 | see is the alignment is right on the money.
| | 01:16 | All right, well now that we have a
pretty good alignment, we're ready to start
| | 01:19 | to blend these layers together and
I will do that in the next movie.
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| Increasing drama and visual interest| 00:00 | In this movie, we're going to mask
together these three exposures. So I'm going
| | 00:04 | to go ahead and take my ambience layer
up to the top. What I'm interested in
| | 00:08 | doing now is lowering the ambience.
I just want to have some detail in the roof
| | 00:12 | of the cabin. That's going to be the
most important area for me. Okay, well great.
| | 00:16 | Next, I'm going to go ahead and click
on the Add Layer Mask icon and then I'm
| | 00:20 | going to invert this mask. Press Command
+I to invert the mask. Now, I will zoom
| | 00:24 | in a little bit on the image and here
you can see we don't have any detail on
| | 00:27 | the top of the cabin so I will grab my
brush. I'm going to paint with white.
| | 00:31 | In this case I'm going to paint with
the Wacom tablet, so I can bring in a
| | 00:34 | little bit of this detail. Now I could
of course had made a selection of the
| | 00:38 | roof as well. Another thing that I can
do here as I'm working on this is I can
| | 00:42 | make a pretty broad selection and then
go back and fine-tune it a little bit later.
| | 00:46 | So I'm going to go back and forth
across this area. I can also soften out my
| | 00:51 | painting that I'm making here by
blurring this a bit and just get that roof in
| | 00:57 | there. Let's take a look at how we're
doing. Here is our before and after on that.
| | 01:00 | Okay, we'll zoom out a little bit to
see how that roof is looking. Yeah, that's
| | 01:03 | kind of coming together, right. It
gives a little bit more definition. Now,
| | 01:06 | let's blur that. Filter > Blur and
then choose Gaussian Blur. That will just
| | 01:11 | soften out all of those brush strokes
that I have made there and I want to take
| | 01:14 | that up a little bit, click OK.
| | 01:16 | All right, well, I want a little bit
more ambience here. So I'm going to go
| | 01:19 | ahead this time and paint about 20%
Opacity. I'm just going to look to bring in
| | 01:23 | a little bit of ambience, a little bit
smaller brush here and bring in some of
| | 01:27 | these tones and brightness values. Go
across the roof here a bit and the trees
| | 01:36 | in the background, go to 40
%, bring in some of the trees.
| | 01:40 | Again, I'm just trying to bring back
some of the detail, 70% I want to bring
| | 01:47 | back quite a bit of that side of the
cabin and experiment with my different
| | 01:53 | settings. And I'm changing the Opacity
amount by how hard I'm pushing with the
| | 01:57 | Wacom tablet. In addition, I can also
change the Opacity by pressing a number
| | 02:01 | on the keyboard and that will then help
me paint at different intensity. Okay,
| | 02:06 | well I'm making real rough brush
strokes. I want to blur those out. Go to
| | 02:09 | Filter > Blur > Gaussian Blur.
| | 02:12 | Now there are two approaches. I could
make really good brush strokes and then I
| | 02:16 | could not have to blur them out or by
moving a little bit more quickly I can
| | 02:21 | use these to bring this light into this
area. All right, well, now let's lower
| | 02:25 | the Opacity just a bit more. So now we
just have some nice texture, a little
| | 02:29 | bit of detail on those trees in the
background, makes the image a little bit
| | 02:33 | more dimensional.
| | 02:34 | All right, well, I'm liking that. So
far so good. Let's then click into the
| | 02:38 | lights layer and I'm going to go ahead
and add a layer mask. Press the B key to
| | 02:41 | select my Brush tool, paint with black
now. I want to take this all the way up
| | 02:45 | to 100%. What I'm going to do here is
I'm just going to bring in some nice
| | 02:49 | texture in this water here because we
have much nicer detail in the water, in
| | 02:55 | the foreground here. So I will
bring in some of that detail.
| | 02:57 | All right, that looks pretty good and
then I'm also going to mask away the sky
| | 03:03 | here i.e. mask in the better cloud. So
I have those clouds again adding little
| | 03:09 | bit more dimension, a little bit more
drama to this photograph, smaller brush
| | 03:14 | as I get close to the horizon. And
I'm moving pretty quickly typically if I
| | 03:19 | were actually doing this for real and
this were an image that I were doing a
| | 03:22 | production, I would actually take a
little bit more time with this but because
| | 03:26 | this is a demo movie, I'm
going to move pretty fast here.
| | 03:29 | And the advantage of taking time is
you can just have even more control, more
| | 03:34 | and more and more control. So let's
Shift-click that mask. There is our before
| | 03:38 | and after. Here is our before and
after with the ambience. Shift-click this
| | 03:42 | mask, again before and then after. So
what did for us is it just brought in a
| | 03:47 | little bit of that ambience and limited
it to specific areas and then of course
| | 03:51 | we have this layer that brought in some
nice detail in the foreground and whatnot.
| | 03:55 | Okay, well the last thing that I want
to do with this image is crop it and
| | 03:58 | straighten it. The lake line isn't
quite leveled. So what we're going to do
| | 04:02 | there is navigate to our Eyedropper
tool. We're going to choose the Ruler.
| | 04:06 | We'll click and drag across this line.
| | 04:08 | I am going to get a pretty straight
line there, what we think should be
| | 04:12 | straight. Then navigate to the Image
pulldown menu and choose Image > Rotation
| | 04:16 | and we're going to go to Arbitrary.
That's going to tell me how far this image
| | 04:20 | needs to be rotated so that,
that is leveled, perfect.
| | 04:23 | Next step, grab my Crop tool. I will
go ahead and click and drag across the
| | 04:27 | image because when I aligned all those
layers, it then repositioned the overall
| | 04:32 | composition. All right, that's looking
good. Let's take a look at our overall
| | 04:36 | before and after.
| | 04:37 | Press F to go to Full Screen View mode,
zoom in a little bit on this one. Press
| | 04:41 | the F7 key and here we have our
before and then some clouds and then some
| | 04:47 | lights and then also a little bit of
ambience color to finish that off, before
| | 04:52 | and after. Adding drama in visual
interest by shooting multiple exposures, and
| | 04:57 | then combining those exposures
together inside of Photoshop.
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13. Composite InspirationWebsites: Photoshop composite inspiration| 00:00 | Creating a realistic composite is a
bit of an art and a craft. What I want to
| | 00:04 | do in this movie is share with you a
few websites where you can view some other
| | 00:07 | photographer's realistic composites and
I want to do this as a way to begin to
| | 00:11 | inspire you, to begin to get you to
think about what is actually possible.
| | 00:15 | Now there are hundreds and hundreds
of websites out there. These are just a
| | 00:18 | few, just a sampling of some of the
ones that I think you will find are
| | 00:21 | interesting. Well, I started off with
this site ralphclevenger.com because
| | 00:25 | Ralph is a good friend, amazing
photographer, he inspires me all the time.
| | 00:28 | And here we have this photograph of the
iceberg. It's a very famous photograph.
| | 00:31 | It's done incredibly well by Ralph.
What I want to do is just de-construct it a bit.
| | 00:36 | Well, there is one image which is
the sky. We have the clouds. One image
| | 00:39 | for this iceberg above water.
| | 00:40 | One image for this iceberg. This
actually was above water. They just flipped it
| | 00:44 | upside down, modified its color, right?
And then they add one underwater shot.
| | 00:49 | Now one of the things that's kind of
interesting about this composite is this
| | 00:52 | is an illustration, right. It's not
a real picture. It's not trying to be
| | 00:55 | journalism. It's trying to illustrate
this idea, and it's a real strong idea,
| | 01:00 | and because he took a strong idea and
blended that with good photography,
| | 01:04 | we have the final results.
| | 01:06 | Now something to think about with
this one, which is kind of interesting,
| | 01:08 | should this iceberg be bright down here?
No. Well, the deeper you go in water,
| | 01:13 | the darker it becomes, unless you have
a source of illumination down here below
| | 01:17 | the iceberg. Well, we don't.
| | 01:19 | So on that note, this image isn't
technically correct. Yet conceptually and
| | 01:23 | emotionally it is correct, and
perhaps when you first looked at it,
| | 01:26 | you thought, wow! That's pretty amazing.
How did you capture something like that?
| | 01:29 | Again, it was based on the concept.
It wasn't tough Photoshop work; it was a
| | 01:33 | really good concept and really
strong photography. All right, well the next
| | 01:36 | site that we're going to go to is
called saddingtonbaynes.com. I actually have
| | 01:38 | it open in another window, so
I'm going to open up that window.
| | 01:42 | And here we have this beautiful
composite, this Volvo right here. One of the
| | 01:46 | nice things about this site is you
can actually go through and view the
| | 01:48 | different elements that were used and
here we can scroll through and see these
| | 01:51 | different elements, different splashes,
sky in the background, different water
| | 01:56 | that were used in order
to create this composite.
| | 01:59 | Now, it's really interesting to look
at those different case studies. So be
| | 02:02 | sure to check those out. All right,
well back to a few other sites. Here is
| | 02:05 | another one katechase.com. Kate
Chase represents a handful of different
| | 02:09 | retouchers. This would be a good place
to go and then to click on these links
| | 02:13 | to find more of their work.
| | 02:15 | Another site I want to highlight is
Fatcat Digital and again they have a few
| | 02:18 | interesting case studies. I will click
Repeat here and here you can see that
| | 02:22 | they're building out this composite
with these different Easter Island
| | 02:25 | sculptures and coming up with the final
image. Again, I think it's kind of fun
| | 02:30 | just to watch how they assemble these images.
| | 02:32 | Another site is Sugar Digital and again
I like this site because we're able to
| | 02:36 | see a before and an after. Now this
isn't necessarily a realistic composite.
| | 02:41 | Yet, you will find some real fascinating
compositing and retouching techniques
| | 02:45 | here on this site. That's sugardigital.com.
| | 02:49 | Another site is Rocket Studio and again
you can click through here and in this
| | 02:53 | case, we can see the final composite
and then also see the original images. Now
| | 02:58 | the original images aren't that
amazing but we can see how those original
| | 03:01 | images were brought together in
order to create something that was quite
| | 03:05 | interesting and compelling.
| | 03:07 | Next, we're going to go to a
photographer's website. This is fiscusphoto.com,
| | 03:12 | and here I have just clicked onto one
of his images and we can see that this is
| | 03:16 | obviously a composite. Now his work
is a little bit more edgy, a little bit
| | 03:19 | more grainy. You are going to find
a wide range of work as you look at
| | 03:22 | different people's composites.
| | 03:24 | Let's move to another site. This is
glenwexler.com. Again, here you can see we
| | 03:29 | have another different type of
photography but nonetheless really interesting
| | 03:33 | composite work, really
interesting Photoshop work.
| | 03:35 | Another photographer that I want to
highlight is Jamey Stillings.
| | 03:39 | If you go to his site jstillings.com,
you can find some of his fascinating composites.
| | 03:44 | Now this you obviously know is a
composite because these two clouds are exactly
| | 03:49 | the same. This guy wasn't standing
in the water; his shadow was added there.
| | 03:53 | So it's a real simple composite and
sometimes the best realistic composites are
| | 03:58 | made up of simple elements and rather
than focusing on the elements or focusing
| | 04:03 | on a concept and again,
really great concept there.
| | 04:06 | All right, well, we just have two
more sites to show you here. One is
| | 04:09 | pixelrefinery.com and here we can see
a particular image and again an obvious
| | 04:14 | composite where they've brought
together these different elements, really fun
| | 04:18 | to see the kid in a spacesuit there.
| | 04:20 | The final site I'm going to highlight is
| | 04:22 | johnfultonphotography.com/retouching.htm
and John is a phenomenal photographer.
| | 04:29 | He actually was one of my previous
students and now has gone on to just do
| | 04:32 | amazing things.
| | 04:33 | What I'm going to do is go ahead and
click the before here, so here is our
| | 04:36 | before then choose fade. What that will
do then is it will go through and play
| | 04:40 | a couple of these frames how he
initially made this composite.
| | 04:43 | Now this image actually ended up
being something a little bit different but
| | 04:46 | again it's kind of interesting to
see how he built that out. That one is
| | 04:49 | johnfultonphotography.com/retouching.htm.
| | 04:53 | All right, well, I hope that those
websites will be a source of realistic
| | 04:57 | composite and retouching inspiration for you.
| | Collapse this transcript |
| Inspiration pt. 1: Background| 00:00 | In the previous movie, I shared with
you a few websites that I hope will
| | 00:03 | inspire you in regards to retouching
and creating realistic composites. Well,
| | 00:07 | the few movies, we are going to
take this inspiration to a new level.
| | 00:11 | In particular, we are going to take a
look at how this particular photograph
| | 00:14 | that we are looking at right here
was created. This particular image was
| | 00:18 | captured by John Fulton. It's a
realistic composite that's absolutely stunning,
| | 00:23 | even better. It was included in one of
the photo annual issues of Communication Arts.
| | 00:27 | Now if you are not aware of
Communication Arts, it's one of the photo annuals.
| | 00:30 | For that matter, it is a
phenomenal publication, my favorite creative
| | 00:33 | publication, and the photo annual is
an incredible honor to be part of it.
| | 00:37 | Now a lot of times, when I see an
image like this, I say how did they create
| | 00:41 | that or what was the thought behind
this? Well, with this particular project,
| | 00:45 | we have the privilege of actually
taking a look at John's layers. John is
| | 00:49 | actually one of my former students and
now he has gone on to just do amazing
| | 00:53 | things. If you do a Google Search
for his name, you will find a number of
| | 00:56 | different links to his work.
| | 00:57 | And he has provided for us with his
layered file and I haven't included this
| | 01:01 | file in the Exercise Files folder
because I can't, it's too valuable, right?
| | 01:06 | But I can show you the layers to show
you how John actually created this image.
| | 01:10 | So let's go ahead and do that. I will
press the F7 key to open up the Layers
| | 01:13 | palette and then reposition the
image over here to the left, and I will
| | 01:16 | turn-off that background layer.
| | 01:18 | Well here is how it started.
Interesting, not a very good photograph, right?
| | 01:23 | It's just some people on a runway,
interesting reflections, but John had
| | 01:28 | vision, he had vision for something
more. This was a personal project.
| | 01:31 | So he started to clean things up and so
he cleaned up the background. Well, how
| | 01:34 | to do that? Well, if you Shift-click a
mask you can see that all he did is he
| | 01:38 | flipped that layer. So when you Shift-
click the Mask icon, it turn that mask
| | 01:42 | off. There is our before and after.
| | 01:43 | And then, he did a little bit more of
that, and then a little bit more of that,
| | 01:46 | and then he brought in a plane. Again,
Shift-clicking the mask, another plane
| | 01:50 | brought into this image. He's starting
to build up this particular scene and
| | 01:55 | then he works on the
brightness or the darkness of the plane.
| | 01:57 | Then he needs to do a little bit of
sky extension. Shift-clicking the mask
| | 02:00 | here, we can see it's another shot,
nice clouds. He added those clouds and
| | 02:04 | merged them together, really simple
masking work. So, so far we haven't seen
| | 02:08 | anything brilliant except the
brilliance really is that he took some ordinary
| | 02:13 | images and had vision for something
extraordinary, and now it's when it starts
| | 02:18 | to get really interesting.
| | 02:19 | He brightens up the overall image, then
brightens up the ground, and those two
| | 02:22 | layers alone, the image is looking so
much better, and then he adds a little
| | 02:26 | bit of a contrast. So there is before
and after. Already, the image is starting
| | 02:30 | to come to life.
| | 02:31 | All right, well now that he has cleaned
up the background, he is ready to bring
| | 02:34 | in the airplane. I want to give you
a little bit of a sneak peek into the
| | 02:37 | airplane, so I will go ahead
and Shift-click those masks.
| | 02:40 | So here is this photograph of this
airplane dropping water. It's a completely
| | 02:43 | different frame and what he wants to
do is include that in this image. Well,
| | 02:47 | the first thing he has to think about
is the position, right. And then, how the
| | 02:50 | heck do I blend this into the other
image, and how do I make it look good?
| | 02:54 | Well, we'll take a look at how he did
that in a little bit more in the next movie.
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| Inspiration pt. 2: Airplane| 00:00 | In this movie, we will talk about how
John added the plane to this particular
| | 00:04 | composite. Go ahead and Shift-click
the mask to turn that off. You can see
| | 00:07 | initially he just masked out a large
area of the water, then he started to work
| | 00:11 | on the plane, the overall tone.
That looks so much better there.
| | 00:14 | Curves adjustment, a little bit of contrast,
a little bit of removal of the blue, and
| | 00:18 | then did some masking to get
rid of the rest of the water.
| | 00:20 | Well, then what did he think about
next? He thought about we got to have a
| | 00:22 | little bit of water here to make this
a little bit dynamic. So he has another
| | 00:26 | shot. We will go ahead and turn that
layer on and Shift-click the layer.
| | 00:30 | We can see here this particular shot,
and then I will Shift-click the mask too.
| | 00:33 | Completely different scene, completely
different lighting, but wonderful water there.
| | 00:38 | He is going to use different aspects of
this. Let's go ahead and take a look at
| | 00:40 | what he did. Well, first he started to
bring that in, brought in a little bit more
| | 00:44 | of the water, modified that further.
That looks really nice, doesn't it?
| | 00:47 | And then he added a mask to the whole group
so that we now have this water coming in below.
| | 00:51 | Now I skipped one of these layers.
I will go ahead and turn-on this layer,
| | 00:55 | brighten up the rims of the airplane.
Now if this were me, I probably would
| | 00:58 | have stopped right there, right?
I would have said, you know that's pretty
| | 01:00 | interesting water. You know, good
for you, Chris. I pulled that off.
| | 01:04 | But not John, right? He went even further.
| | 01:06 | So I will go ahead and further dig into this.
He added more water, modified its
| | 01:11 | color and tone, more water, a little
bit of color and tone, more water,
| | 01:15 | a little bit of color and tone. And so
now we just have this real dynamic look of
| | 01:19 | the water. I will go ahead and minimize
those layers. A little bit more work on
| | 01:23 | that and then also we have a mask here,
right, where he masked some of the water away.
| | 01:27 | More isn't always better, and we will
look at our before and after with that
| | 01:31 | extra added bit of water and then,
I will also click off these layers to give
| | 01:35 | you a feel for the overall before and
after of those different layers, really
| | 01:40 | starting to make this come to life.
| | 01:41 | Now he worked on the spray a little
bit then he did some localized tone
| | 01:45 | adjustment, and if I Option-click or
Alt-click this Mask icon, you can see it's
| | 01:49 | is a bit of a figure 8, creating that
shape, or that focus, or the light in the
| | 01:53 | middle of the frame. And he made the
reds a little bit more subtle, took those
| | 01:56 | down with a Hue/Saturation adjustment,
darkened stuff up a bit. And now this
| | 02:01 | next layer is actually the combination
of a few layers where he worked on the prop.
| | 02:05 | He added some blur. Check this out.
Oh! That is so good. So difficult to get
| | 02:10 | realistic blur, but he just nailed it
there. All right, well again, if that
| | 02:14 | were me, I would stop here and just
say, you know what? This is a great
| | 02:16 | photograph, really interesting, but
not John. He wanted to add a little bit
| | 02:20 | more of a human element
here, a little more intrigue.
| | 02:23 | And we will take a look at how he
did that and how he finished off this
| | 02:26 | photograph or this photo
composite in the next movie.
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| Inspiration pt. 3: People and finishing touches| 00:00 | Now at this juncture, we are going to
take a look at how John added some people
| | 00:03 | to the photograph. Go ahead and Shift-
click the Mask icon there for this group
| | 00:07 | and I will turn on a few of these
layers. There are the reflections, we will
| | 00:11 | see how he worked with these different
reflections and then there are the people.
| | 00:14 | Now how did he create those reflections?
| | 00:16 | Well, he took the layer of the people
here. I will go ahead and copy that just
| | 00:19 | for the fun of it, so we have a
different version of it. He then copied that
| | 00:23 | again and then free transformed it,
right, and just brought it upside down. So
| | 00:26 | then that we can see there, that he
has this reflection underneath it. I will
| | 00:30 | go ahead and turn-off my layers.
But again it's not rocket science, but it is
| | 00:33 | vision and he did bring
those together really nicely.
| | 00:36 | He then worked on the brightness, right?
That has to be a little bit brighter
| | 00:39 | than the shadow down there, and he
works on the tone, brings those two guys
| | 00:43 | back a little bit, creating some
dimension or depth, and then brings in one more
| | 00:47 | character and then finally at the
end he decides to mask out a few.
| | 00:51 | Again, less is more. Let's take a look
at the people there, really fascinating work.
| | 00:55 | And the nice thing about this
as well is it's in a group, so we can
| | 00:58 | select that group and we can
reposition that into different areas and we can
| | 01:02 | find a new spot for it. I will
undo that to leave it where he had it.
| | 01:05 | Well, now that he brought the people in,
he is going to go ahead and work on
| | 01:08 | the contrast a bit, sweetening things
up, a little bit of blue out of that,
| | 01:12 | a little bit of contrast, a little
more contrast, all subtle work and then
| | 01:16 | finally here is a link to his website
that he included. And again to check
| | 01:20 | out his work, it's johnfultonphotography.com.
| | 01:23 | I will go ahead and turn that off for
a second, and just reposition this over
| | 01:27 | here to the left and minimize my
Layers palette just a bit, so we can really
| | 01:30 | focus in on this image. Let's take a
look at our before and after. Hold down
| | 01:34 | the Option key on the Mac, Alt key
on PC. Here is before and then after.
| | 01:39 | Again, he had vision and he created
such a compelling photograph and it's just
| | 01:44 | a combination of these different layers,
the way the airplane worked, the way
| | 01:47 | the water worked, the way the
different water layers came together, obviously
| | 01:51 | how he brought the people into the mix,
also that lighting right, like bringing
| | 01:54 | some light into this area. It makes
such a subtle yet significant difference.
| | 01:59 | So a lot of time, when you get to
creating your own composites, turn back to
| | 02:02 | this particular process that I have
unveiled here. We have lifted the hood so
| | 02:06 | to speak. We have seen how John
created this. And know that what it takes is
| | 02:10 | quite a bit of masking, quite a bit of
detail work, and even more, it takes a
| | 02:13 | healthy dose of vision.
| | 02:16 | And that being said, if you have that
vision and some pretty straightforward
| | 02:20 | Photoshop skills and the ability to
execute those skills, you can create some
| | 02:24 | really hands down amazing realistic composites.
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|
|
14. Creating a Realistic CompositeComposite project overview| 00:00 | In this movie, I want to provide
you with an overview of our realistic
| | 00:03 | composite project. So what we are
going to press F to go to Full-Screen View
| | 00:07 | mode in order to evaluate the image.
Really kind of a fun photograph. Press F7
| | 00:11 | to turn on the Layers palette. This is
the final version of the image, that's
| | 00:15 | where we are going. Well,
what do we start off with?
| | 00:16 | We started off with a bullet going
through an apple. You know, one of the
| | 00:20 | things that I love about
photography is that you just get to do so many
| | 00:24 | interesting things. Like for example,
at Brooks where I teach, we actually have
| | 00:27 | a space that's dedicated to this
type of photography. It's high-speed photography.
| | 00:32 | In this case, what we are doing is we
are shooting bullets through different
| | 00:34 | objects, and again it was pretty fun.
You can see in the original file.
| | 00:38 | I have an apple on a stick here. We can
see that the bullet has gone through the
| | 00:42 | apple but it's pointing up because
the bullet actually ricocheted off of the
| | 00:46 | apple a little bit. So it's kind of
tricky to do this kind of photography.
| | 00:49 | You need a real specialized high-speed
flash. So we have this first shot.
| | 00:53 | A lot of times what you have to do
when you are creating a composite is you
| | 00:56 | have to see the first shot and say
you know what? I think this shot has
| | 00:59 | potential. I think I can do something
with this even though all of the elements
| | 01:03 | aren't perfect. And that's almost
always the case with high-speed photography
| | 01:07 | because there's almost always
background elements you have to clean up.
| | 01:10 | All right, well then, while we were shooting
I thought I would be fun to pick up an apple,
| | 01:14 | so I picked up an apple and I
held it in relatively the same position
| | 01:17 | where the other apple had been. I
thought, hey wouldn't be kind of fun just for
| | 01:21 | a way of illustration to combine these
two photographs? So I have my original
| | 01:25 | bullet shot and then I have the
original hand shot. What do I want to do is
| | 01:29 | combine those two together.
| | 01:30 | Now you can see that they don't quite
line up. So it's going to get a little
| | 01:33 | bit interesting. You will also notice
that there is going to be some cleanup
| | 01:36 | work we're going to have to do as
well. Well, then I also cropped in from
| | 01:40 | another shot, this little bullet here
and here we can see that I have this. If
| | 01:43 | I bring it over the apple, we can
see I just chopped it out off another
| | 01:46 | photograph that we had because I want
to get one bullet where the orientation
| | 01:50 | was correct because
eventually I want to use that.
| | 01:53 | So I would use those elements to then
create a photograph like this; combining
| | 01:57 | multiple exposures into a composite,
that would have been completely impossible
| | 02:02 | to accomplish without
combining these three exposures.
| | 02:05 | All right, well that's our project.
We are going to have fun with this.
| | 02:08 | I will catch you in the next movie.
| | Collapse this transcript |
| Masking multiple images together| 00:00 | In this step, what we are going to do
is mask these two layers together. Now
| | 00:03 | one of the techniques that I like to
use when I'm combining two layers is to
| | 00:07 | use a blend mode like Difference or
Exclusion. Now that will help me see
| | 00:10 | through two different layers and in
addition, it will help me to see where
| | 00:13 | things are aligned or where I have overlapped.
| | 00:15 | One of the things that I'm noticing
here is that the hand layer is a little bit
| | 00:18 | too high. So while I have the Move tool
selected, I will either click and drag
| | 00:22 | down, or I will use the arrow keys.
I'm just looking to bring those fingers
| | 00:26 | down to this lower portion of the apple.
| | 00:28 | Now it's okay if there is a little
bit of overlap because I will be able to
| | 00:31 | mask this in, but again I'm just
looking to try to get the hand there so that
| | 00:36 | it looks like it's holding that apple.
That looks good. Now that we have
| | 00:39 | repositioned the layer, let's go
back to our blend mode of Normal.
| | 00:43 | Another way to do that would be to
simply lower the Opacity, but sometimes when
| | 00:47 | you lower the Opacity, you can't quite
see the alignment as well. I really like
| | 00:50 | to use those different blend modes,
Difference and Exclusion for alignment.
| | 00:54 | Okay, well, now that we have done that,
let's go ahead and create a layer mask.
| | 00:57 | We are going to click on the Add Layer
Mask icon; it is now filled with white.
| | 01:01 | We will grab our Brush tool, we want
to paint with black, so we want black as
| | 01:05 | the foreground color.
| | 01:06 | I am going to create a pretty big brush
because this is going to be rough work.
| | 01:09 | I want to make a pretty rough
adjustment to this photograph, and I want to
| | 01:13 | start off making adjustments that are
pretty bold, pretty rough because I can
| | 01:17 | always clean them up later. I need to
determine if these adjustments are going
| | 01:20 | to be worthwhile. So I'm going to
go ahead and just bring those in.
| | 01:23 | All right, well so far so good. Let's
zoom in on this; that looks really nice.
| | 01:29 | One of the things I'm noticing though
is down here; I have a little bit of a
| | 01:32 | problem, right because the apple
comes in a touch there. So I'm going to go
| | 01:35 | ahead and mask that out.
| | 01:37 | Now when I masked that out, I had a
problem with my finger. So I'm going to go
| | 01:40 | ahead and zoom in. Press the X key,
make my brush nice and small, and I'm just
| | 01:44 | going to look to bring in this detail
here. Now right there I have a little bit
| | 01:49 | of problem as well because it's going
too dark to zoom in even further, press
| | 01:54 | the X key, even smaller brush.
| | 01:56 | One of the reasons I want to do this
little fix up right here is to illustrate
| | 01:59 | a lot of times how the best masking
actually works. You do it kind of rough,
| | 02:03 | then you zoom in and you do some nice
detailed work. Over there that looks good.
| | 02:07 | Okay, well, let's zoom out and see how
we are doing. Take a look at our overall
| | 02:10 | before and after. We will do that by
Shift-clicking the mask. Here is the
| | 02:14 | before and here is the after.
All right, well so far so good.
| | 02:18 | Yet, we have some problems, right.
Some tonal problems, little bit of
| | 02:21 | background problem, the bullet, we are
going to increase the overall Exposure
| | 02:26 | and Tone. And in addition, one of
things that happened is part of the hand is
| | 02:29 | cut off, right. We lost a
little bit of the hand down there.
| | 02:32 | All right, well we obviously have more
ground to cover, and we will do that in
| | 02:36 | the next few movies.
| | Collapse this transcript |
| Extending the canvas and adding elements| 00:00 | Okay, well the next thing that I want
to do is start to reveal more of the
| | 00:03 | canvas and in addition, work on the
bullet. Well one of the things that we can
| | 00:07 | do here which is actually quite easy is
go to Image and then choose Reveal All
| | 00:11 | that will then reveal the entirety of
this photograph, so I have a little bit
| | 00:14 | more space underneath the
hand, that's very helpful.
| | 00:17 | Okay, well now that we have that, let's
go ahead and work on the bullet. So we
| | 00:19 | will click in our second layer there.
Press Shift+Command+N on the Mac,
| | 00:23 | Shift+Ctrl+N on a PC. We are going to
name this layer remove_bullet. We are
| | 00:27 | going to get rid of the bullet here
and we are going to do that simply by
| | 00:30 | grabbing our Clone Stamp tool, All
layers and then I will go ahead and hold
| | 00:34 | down the Option key on the Mac, Alt
key on a PC and just mask that out.
| | 00:38 | Okay, well now that one's gone, I'm
going to then bring in my new bullet. So I
| | 00:42 | will click on the top layer, I need to
position this somewhere over here. The
| | 00:45 | nice thing about this is I have a
pretty good background around that because it
| | 00:50 | was photographed on the same background,
although I can see a little bit of the
| | 00:53 | edge. Sometimes when you are working
on the edges, it's actually helpful to
| | 00:57 | create a layer. So go ahead and
click a New Layer underneath what you are
| | 01:00 | working on and fill that with a solid
color. I will go ahead and choose Edit >
| | 01:04 | Fill and then I could choose black
or white for that matter because I can
| | 01:08 | always invert that.
| | 01:09 | Next, I'm going to go up to the bullet
layer, I could select this a number of
| | 01:13 | different ways, I could go ahead and
choose Quick Select, let's zoom way in on
| | 01:16 | this so we have a nice selection,
small brush and I will go ahead and just
| | 01:20 | paint across the bullet. What I'm
looking to do is to try to just get the
| | 01:23 | majority of the bullet there, click on
the Add Layer Mask icon. Now I have the
| | 01:28 | bullet itself.
| | 01:29 | Well, let's go down to our Layer 1
that's black. Invert that by pressing
| | 01:32 | Command+I on a Mac, Ctrl+I on a PC.
Again I want to use a solid color because
| | 01:37 | that will help me determine if I have
any edge problems. Now I will go ahead
| | 01:41 | and invert that back, Command+I on a
Mac, Ctrl+I on a PC. Now because I know
| | 01:45 | that the gray blends into the gray
background pretty well, I can actually
| | 01:48 | modify this mask significantly. So I'm
going to my Masks panel and if I go to
| | 01:52 | Feather here, you can see that what
I'm doing is actually bringing in some of
| | 01:55 | that gray background.
| | 01:57 | So I can actually do that to build a
little bit more of a transition if need
| | 02:00 | be. I will increase that, and we will
see how it looks. Okay, well let's go
| | 02:04 | ahead and trash this black layer, we
don't need that. We do need our mask
| | 02:07 | layer. Here is our before and after.
Click in the mask, go to the Masks panel
| | 02:11 | and then modify the Feather, one of
the things that we are seeing is all it's
| | 02:14 | doing is just softening the edges a
little bit, we probably don't want that,
| | 02:18 | those edges look pretty good.
| | 02:20 | Let's zoom out for a moment and when
we zoom out, I now need to evaluate if
| | 02:25 | this bullet look like the original
bullet. So I will turn off the remove_bullet
| | 02:29 | layer and there I have the two
bullets side-by-side and say, you know what?
| | 02:33 | Yeah that sharpness, the detail there
that looks pretty good. Let's click on
| | 02:37 | the remove_bullet layer, make sure
that we are in this one and then we can
| | 02:40 | start to experiment with where we want
this, where is the trajectory of that
| | 02:44 | bullet. Now I'm going to go ahead and
determine - I think right about there,
| | 02:47 | that's kind of dramatic, we see
that's it coming out of the apple.
| | 02:51 | All right, well we have made some great
progress in this movie, let's continue
| | 02:54 | to work on this file and we
will do so in the next movie.
| | Collapse this transcript |
| Enhancing the main elements| 00:00 | At this juncture, now that we have a
rough of the composite, I want to start to
| | 00:03 | work on some of the main elements.
I of course need to do a little bit more
| | 00:07 | clean up work but I want to work on
those main elements in order to determine
| | 00:11 | if I'm going in a good direction.
| | 00:12 | Well, the apple looks pretty nice
except it's not quite inviting, I want to
| | 00:16 | warm that apple up a little bit so
I will go ahead and click on the adjustment
| | 00:19 | layer icon and choose Curves and here
what I'm going to do is brighten this
| | 00:22 | apple up then go to the blue/yellow
channel and I'm going to add quite of bit
| | 00:26 | of yellow there, I will go back to
the RGB composite, I'm going to brighten
| | 00:29 | that up even more.
| | 00:31 | Okay, now I realize that I affected
the background, the rest of the image and
| | 00:34 | that doesn't look very good. So I'm
going to invert this mask, actually let me
| | 00:38 | put that above the bullet there as
well, so we can see that it really does
| | 00:41 | affect the color, we will zoom in a
little bit and it doesn't make the bullet
| | 00:45 | look very good or the background, but
the apple is looking kind of appetizing here.
| | 00:49 | So we will click on our mask, press
Command+I on a Mac, Ctrl+I on a PC. Now we
| | 00:54 | will press the B key to select the
Brush tool. I have selected a white brush
| | 00:58 | because I'm going to paint with white,
Opacity, let's bring it down just a
| | 01:01 | touch and I'm just going to look to
start to bring in this nice warm color, a
| | 01:06 | little bit smaller brush there up top,
yeah I got to bring that part in right?
| | 01:10 | That's looking really nice and I'm
also trying to kind of travel around the
| | 01:14 | apple so that my shape isn't exactly
perfect. But I just want to add a little
| | 01:18 | bit of warmth there to that, press the
0 key to add a little bit more, bring
| | 01:23 | out some of those shadows there, all
right. Well, let's look at our before and
| | 01:28 | after. The apple is looking really nice.
| | 01:30 | Okay, well what about the bullet? We
will go down to the bullet layer; we are
| | 01:33 | going to need to copy that. So click
on it and drag it to the New Layer icon
| | 01:36 | and just to illustrate, we now have
two bullet layers and we have the bullet
| | 01:40 | underneath and then bullet copy above.
Let's bring bullet copy underneath and
| | 01:44 | we will name this layer blur. Next we
are going to click on the mask and then
| | 01:49 | right-click or Ctrl-click and choose
Delete layer mask. So that's now gone.
| | 01:53 | Well now that we have this layer
underneath, we are going to go to Filter >
| | 01:56 | Blur and we are going to choose Motion
Blur and we are going to choose a Motion
| | 02:00 | Blur so that we can get a little bit of
trailing edge off of this bullet, that
| | 02:04 | looks nice, click OK.
| | 02:06 | Now we may want to free transform that
a touch. So we will press Command+T on a
| | 02:09 | Mac, Ctrl+T on a PC. I might just want
to make this a little bit wider, I don't
| | 02:14 | know here and experiment a touch with that,
yeah just a little bit, press Enter or Return.
| | 02:19 | Okay, well we now need to mask that in.
so click in your layer, hold down the
| | 02:23 | Option key on a Mac, Alt key on a PC,
then click on the Add a Layer Mask icon,
| | 02:27 | now we will grab or Brush tool, we are
going to paint with white, not quite a
| | 02:31 | 100% opacity and we are just going to
start to bring in a little bit of that
| | 02:34 | trailing edge actually seeing that now,
it really makes me realize I do want to
| | 02:38 | bring in a little bit more of that.
| | 02:39 | So I'm going to go ahead and paint that
end, perhaps a little bit on the front
| | 02:42 | end as well. So we will just look at
our before and after, bring in a little
| | 02:46 | bit of the speed. Of course the amount
of motion blur you have there is really
| | 02:49 | going to be contingent upon your own
desire for the motion blur. I'm just going
| | 02:53 | to experiment with moving that, so I'm
using my arrow keys here. I just want to
| | 02:58 | a little bit of motion on the bullet.
| | 03:00 | Okay, well so far so good, let's
click in the topmost layer. Now I want to
| | 03:04 | sharpen the bullet up quite a bit. So
again I'm going to copy this. Command+J
| | 03:08 | on a Mac, Ctrl+J on a PC. We
will name this one bullet_sharpen.
| | 03:14 | Next we are going to navigate to our
Filter pulldown menu, we are going to
| | 03:17 | choose Sharpen and then Smart Sharpen
and we want those fine details to be
| | 03:21 | sharpened. So I'm going to put more
accurate on it. It's going to get all the
| | 03:23 | tiny pieces of that. What I'm looking
to do is just to bring some sharpening
| | 03:28 | into this bullet and I'm going to
modify my overall amounts here, pull this off
| | 03:33 | a little bit and increase that, I'm
using Lens Blur sharpening. Okay, that
| | 03:41 | looks nice. Click OK to apply that.
Now that sharpening is way too intense,
| | 03:45 | right. Yet there are some good aspects
of the sharpening. Let's zoom in on this
| | 03:49 | for a second. So here is our before and after.
| | 03:52 | One of the things that I'm noticing
is that we have a little bit of color
| | 03:55 | problem with the bullet. We want that
to be completely gray. We will do that in
| | 03:59 | a second. I also notice that the edge
is a little bit too strong. We want to
| | 04:03 | double-click the Zoom tool to evaluate
this so we can see our before and after,
| | 04:07 | it's nice definition but a bit too much.
So we will lower the Opacity there,
| | 04:12 | just a touch and then zoom back in on
that bullet and I will click in mask,
| | 04:16 | grab the Brush tool and I'm going to
paint with black and what I'm looking to
| | 04:20 | do is at about 60% Opacity, I'm going
to paint the mask away and I accidentally
| | 04:25 | painted on the bullet, press Command+Z
on a Mac, Ctrl+Z on a PC, make sure you
| | 04:29 | are on the mask, don't make the same
mistake that I did. I'm just looking to
| | 04:32 | take off a little bit of that edge
definition, right because that is just a
| | 04:36 | little bit too hard for me, there is
our before and after, again bringing some
| | 04:39 | nice detail to that bullet.
| | 04:41 | Another thing we may want to try is a
blend mode. Sometimes that Soft Light
| | 04:44 | blend mode just adds that really nice
definition, that looks really good. So
| | 04:48 | let's copy that layer. So we have one
on Soft Light and then one underneath on
| | 04:52 | Normal. So we have the nice normal
bullet there. Here is our normal. Here is a
| | 04:57 | little bit of Soft Light on top of
that. Let's take a look at the overall
| | 05:01 | before and after with the bullet here.
There is the motion after it and then
| | 05:06 | there are those two layers above it
adding a little bit of definition.
| | 05:09 | All right, well we are almost done
with the bullet, the last thing we need to
| | 05:12 | do is click on the Adjustment Layer icon,
choose Hue/Saturation and desaturate
| | 05:18 | and we then want to create a mask that
limits the saturation or desaturation to
| | 05:22 | the bullet. So we will go ahead and
grab one of the masks like this one here,
| | 05:26 | hold down the Option key on a Mac, Alt
key on a PC, click and drag that to this
| | 05:31 | particular layer, we want to replace
that layer mask and now we have the
| | 05:34 | ability to remove the color, zoom in
really closely, we can see that we are
| | 05:38 | removing the color from the bullet.
| | 05:40 | Click in the mask, paint with white so
that it extends to the edge because this
| | 05:45 | needs to be a silver bullet, right? It
doesn't need to have any hue in it. If
| | 05:49 | we want to bring back just the touch
of hue, just so it kind of matches the
| | 05:53 | overall light, we can lower
the opacity on that layer.
| | 05:56 | All right, we are almost done with this
movie. The last thing that I want to do
| | 05:59 | here is I want to go ahead and select
all of these bullet layers. I'm going to
| | 06:03 | click in my topmost layer, hold down
the Shift key, click in the bottom-most
| | 06:06 | layer, then press Command+G on a Mac,
Ctrl+G on a PC to group those and we will
| | 06:11 | name this whole group bullet. When you
are working with the layer composite,
| | 06:15 | you need to start to organize your files;
otherwise your layers just get out of control.
| | 06:18 | Well, let's double-click the Zoom tool
that will take us to 100% and here we
| | 06:22 | can see our overall before and then
after, we are going in a good direction and
| | 06:28 | of course we have more ground to cover
and we will do that in the next movie.
| | Collapse this transcript |
| Cleaning up the background| 00:00 | In this movie, we are going to talk
about how we can work on the background of
| | 00:03 | this photo. Let's go ahead and get rid
of most of the Photoshop interface by
| | 00:06 | pressing the Tab key and when I do that,
one of the things I notice is I have
| | 00:10 | some problems up top, around here,
little bit of discoloration, problem over here.
| | 00:15 | I also notice that the hand is just a
little bit too close to the bottom of the
| | 00:17 | frame. So I will press the C key which
is a Crop tool and I'm going to go ahead
| | 00:21 | and click and drag across the image
and what I can do if I actually click and
| | 00:24 | expand this beyond the frame and
then press Enter or Return, it will then
| | 00:28 | expand my canvas that
much more. Okay, well great.
| | 00:32 | Well now that I have expanded the
canvas, I need to start to clean it up. So
| | 00:35 | let's pres the F7 key to bring back our
Layers palette. Now one the things that
| | 00:38 | we need to do before we actually clean
this up is get the color to be pretty
| | 00:42 | correct, this background
should be white, it's not white.
| | 00:45 | So I'm going to click in the bullet
group, then I will click in the adjustment
| | 00:47 | layer icon for Curves. I'm going to
create curves adjustment, what I'm going to
| | 00:51 | do is double-click the eye-dropper for
the white point there; I'm going to take
| | 00:54 | my brightness value to 95%, click OK.
Now that I have done that, I will go
| | 00:59 | ahead and click on the background and
what that will do is then brighten up
| | 01:02 | that background or bring that to that
brightness amount of 95%. That's a real,
| | 01:07 | nice, pure way.
| | 01:08 | One of the reasons that I wanted to
do that was one it has cleaned up my
| | 01:10 | background but two, you will notice
that the apple is above that. I want to
| | 01:14 | have that above that so that this
adjustment didn't affect the apple.
| | 01:18 | Now of course, it did affect it
because it affected the overall intensity of
| | 01:21 | the tones there but it's not as
drastic had it been above it, so we can see
| | 01:25 | there is just a little subtle shift
there that brings out down a little bit. So
| | 01:28 | I don't want that to go overboard. If
I do notice that that's too bright,
| | 01:32 | I would need to lower my opacity. Although
in this case, I think it looks pretty good.
| | 01:35 | All right, well next thing we need to
do is really clean up the background.
| | 01:39 | Press the B key to select the Brush tool,
make our brush nice and big. Create a
| | 01:43 | new layer, Shift+Command+N on a Mac,
Shift+Ctrl+N on a PC. Name the layer bg
| | 01:48 | and with this Brush tool, I will hold
down the Option key on a Mac, Alt key on
| | 01:51 | a PC. We are going to click on this
white of the background. When we hold down
| | 01:55 | that Option key or Alt key, we sample
that color, we can then paint that it
| | 01:59 | with that. I'm going to paint it 100
% opacity so I'm pressing zero on the
| | 02:02 | keyboard. That then takes this amount to 100%.
| | 02:06 | Now you would be surprised that
at how often you have to do this in
| | 02:10 | photography. What I mean is you would
be surprised at how often you actually
| | 02:13 | have to clean up your background this
way. A lot of times when you see those
| | 02:16 | real just pure just amazing looking
photographs, all they have done is they
| | 02:20 | have shot on a white background and
then they have gone back in and cleaned it
| | 02:24 | up perhaps with this technique here or
there are few other techniques that you
| | 02:27 | can use as well.
| | 02:28 | All right, so I have pinned that
little bit much down here on the hand and I
| | 02:34 | have to fix that up, make my brush a
little bit smaller there, let's look
| | 02:39 | around the image, so far so good. We
have a little bit of discoloration. We can
| | 02:42 | deal with that. We are going in a
good direction; before and after, again a
| | 02:47 | little bit too fuzzy on the lower part
of the hand, easiest way to fix that is
| | 02:50 | to click on the Mask icon, hit the x
key so that you can paint with black and
| | 02:55 | then paint that away, we don't want to
have any extra softness there that we don't need.
| | 02:59 | Okay, well the next thing I need to do
is crop off this edge, right because the
| | 03:02 | hand ends right there. So go ahead and
grab the Crop tool, I'm going to click
| | 03:07 | and drag to expand it and then I'm
going to zoom in, if I zoom in, I will have
| | 03:12 | a quite of bit of control there. I will
just bring that into that point, maybe
| | 03:16 | even just a touch further, zoom in
there so I have even more control and that
| | 03:20 | will be pretty good and then zoom out
and expand it over to the other side of
| | 03:25 | the image, press Enter or Return to apply that.
| | 03:28 | All right, well we have cleaned that
up pretty nicely, here is our before and
| | 03:31 | then after. We are going in a good
direction, so far so good, there is our
| | 03:35 | overall color and tone adjustment that
we made there as well, again need not to
| | 03:39 | be pure white and then adding some
more white on top of that, hey, we are
| | 03:43 | making some great progress.
| | 03:45 | Let's take a look at our overall
before and after; here is before and then
| | 03:48 | after. Again, we are going in a real
good direction. We just have a few more
| | 03:52 | things to do here.
| | Collapse this transcript |
| Final adjustments and image review| 00:00 | All right. Well, there is a little
bit more to clean up in regards to the
| | 00:02 | background, so I will go ahead and
click on my topmost layer, click on the
| | 00:06 | Adjustment Layer icon and then choose Curves.
| | 00:07 | What I'm going to do here is just
brighten this area up a bit. So I will
| | 00:11 | double-click my Eyedropper and I'm
going to take my Brightness values something
| | 00:15 | pretty high about 98%. I don't want
those as my defaults, but I will click
| | 00:20 | then on this area.
| | 00:20 | Now when I do that, what it did for me
is just brighten this area up quite a
| | 00:24 | bit, that worked really well. We will
look at our before and after. I will zoom
| | 00:28 | in on the back of the apple here. Here
is our before and then after, we can see
| | 00:32 | that go over to the front,
before and then after.
| | 00:35 | All right. Well, then we need to mask
that into specific areas. So we are going
| | 00:39 | to mask that in by inverting the mask,
Command+I on a Mac, Ctrl+I on a PC, and
| | 00:43 | then we will paint with white and we
are going to paint with white at 100%
| | 00:46 | Opacity, and we are just going to try
to bring this little bit of tone out.
| | 00:53 | So I'm just going to brush back and
forth here and continually modify this with
| | 00:58 | my brush. I'm working on the mask and
over here, I'm going to go ahead and take
| | 01:02 | my Opacity down to about 20%. So
I will press 2 on the keyboard.
| | 01:05 | I am just looking to take the edge of
this color out just a little bit there, a
| | 01:09 | little bit of the gray there. Same
thing over here, go up to 30% perhaps,
| | 01:14 | brighten it up a little more, try 50%.
Again, I just want to progressively take
| | 01:18 | that out. I don't want to remove it
all together. I'm just looking to get rid
| | 01:21 | of that kind of strange Hue in the
background. Hopefully, you can see the
| | 01:25 | improvements that we made there.
Subtle, yet, those are pretty important.
| | 01:28 | All right. Well, now that we have done
that, we probably want to darken these
| | 01:32 | up a little bit. Now, how can we do
that? Well, one way would be to create a
| | 01:35 | new adjustment layer. Click on the
Adjustment Layer icon, choose Curves.
| | 01:39 | Now, here I'm going to go ahead
and darken this up. Darken this up
| | 01:42 | significantly, and I'm just looking
to try to find a nice spot there, that
| | 01:48 | looks good, and one of the things
that is interesting in regards to Curves
| | 01:52 | adjustments and adjustment layers
is you can actually adjust Adjusted
| | 01:56 | Luminance. So I'm going to go ahead
and add some color here in order to
| | 01:58 | illustrate this.
| | 02:00 | Now if I take this layer right here,
and take my blend mode to Luminosity, I'm
| | 02:04 | just going to see the luminance values
of that layer. So I'm not seeing the Red
| | 02:07 | Shift. It did affect the red tones, but
I don't see any color shift over here.
| | 02:12 | So let's go ahead and open that up. We
don't want that red in it, but I just
| | 02:15 | want to illustrate that we can use
that blend mode in order to modify our
| | 02:18 | photograph and not cause any color shift.
| | 02:21 | Now in comparison, if we take this to
Normal, what we are going to see is that
| | 02:24 | we are going to see a little bit of a
color there. Actually as I look at that
| | 02:27 | between Normal luminosity, one of the
decisions I'm making is they look pretty
| | 02:31 | equal as far as the front of the image.
| | 02:33 | Normal might look even a little bit
better, and in addition, now I saw when the
| | 02:38 | color was removed a bit, I realized
I want to add a little bit of color. So I
| | 02:41 | will go ahead and double-click the
Curves Adjustment and add a little bit of
| | 02:44 | yellow there and now that I have a
little bit of yellow, I'm going to add just
| | 02:47 | a touch of red as well.
| | 02:49 | Again, just a little bit of an
experimentation here. Bring in a little bit of
| | 02:52 | hue and brightness, invert the mask,
click on the mask, press Command+I on a
| | 02:56 | Mac, Ctrl+I on a PC. I'm going to paint
it with about 40% brightness. I'm just
| | 03:01 | going to go ahead and paint across
the front portion of this apple here.
| | 03:05 | That's going to give me a little bit
of hue. Also at the back there, a little
| | 03:09 | bit of hue, kind of feels a little bit
more like the color of the apple there,
| | 03:13 | right. Here is my before and then after,
and it's pretty subtle. I will zoom
| | 03:17 | in, so you can see what I'm
doing here, before and then after.
| | 03:20 | So sometimes as you are working on
your images, you will discover things like
| | 03:23 | this right on the fly as you are making
them. And that was definitely the case
| | 03:26 | here, I hadn't planned to make those
adjustments that way, but that worked
| | 03:30 | pretty well, and I'll lower my Opacity
just a touch there. I want a little bit
| | 03:34 | of that color and now,
that's looking pretty nice.
| | 03:36 | All right. One more thing I want to do
here is click on the New Layer icon. I
| | 03:40 | will name this new layer Shine. I'm
going to grab my Clone Stamp tool. Go ahead
| | 03:44 | and grab Clone Stamp by pressing the S
key. I'm going to zoom into the apple
| | 03:48 | here, and this shine is just a
little bit too intense for me. So I will
| | 03:51 | Option-click over to the right, maybe
try to grab a good sample area here and
| | 03:56 | go ahead and paint over that, and then
I will increase my brush size a little
| | 04:01 | bit. I'll grab the Healing Brush and
make that brush size a little bit bigger,
| | 04:06 | Option-click and then paint over that
area to do a little bit of healing on top
| | 04:11 | of the cloning, and a little bit smaller here.
| | 04:15 | Then what I'm going to do afterwards is
lower the Opacity of this so that I can
| | 04:19 | then, rather than remove this
completely, just back this off. So here is my
| | 04:23 | before and after with all the shine.
I'm going to lower this. I want a little
| | 04:26 | bit of shine there, which is not
quite such an intense shine. I'm going to
| | 04:29 | bring it down a little bit. Here
is my before and after on the apple.
| | 04:32 | We will zoom out a little bit, muting
that, and see what looks best. Taking it
| | 04:37 | out all the way, having a little bit in.
I think it's actually taking that out;
| | 04:41 | it's going to look just fine. So I'm
just going to go ahead and remove that, so
| | 04:43 | that, that shine is completely gone.
| | 04:46 | Here is my before and there is my after.
You are not quite sure if I like that
| | 04:49 | layer or not. Sometimes, what happens
is when you remove something like this,
| | 04:53 | even though that is technically a
little bit better, a little bit more correct,
| | 04:57 | I kind of go and back to the shine,
I kind of like that because it adds a
| | 05:00 | little bit of this real kind of harsh, snappy
light to the thing and that fits this image.
| | 05:05 | So you know what? I'm going to leave
that layer off, but I'm going to keep it
| | 05:08 | in the Layers palette in case I want to
turn that on later. All right. Well, we
| | 05:13 | have made great progress. Let's press
the F key to go to Full Screen View mode.
| | 05:17 | Really, fascinating composite here.
| | 05:19 | Let's press the F7 key to bring back
our Layers palette. Look at our overall
| | 05:23 | before and then after and also let's
walk through this process. Hold down the
| | 05:28 | Option key on a Mac, Alt key on a PC.
You can click on that Eye icon for one
| | 05:31 | layer. It turns off all of the other layers.
| | 05:34 | Then we will go ahead and slowly bring
in our different layers and you can see
| | 05:38 | how we progress through this and we
have now successfully created a pretty
| | 05:42 | interesting and intriguing realistic composite.
| | Collapse this transcript |
|
|
15. Applying Border and Edge EffectsBuilding custom frames with a mask| 00:00 | In this movie, we are going to talk
about how we can add a border or an edge
| | 00:03 | effect around our photographs. Now,
the simplest way to do this is with the mask.
| | 00:07 | In order to illustrate how this works,
we are going to start up by creating an
| | 00:10 | edge effect that isn't very interesting
and then we will progressively make it
| | 00:13 | more interesting.
| | 00:15 | Well, here I have this photograph.
I will zoom out on it, that I captured at a
| | 00:18 | birthday party of one of my daughter's
friends, and I just like the balloon. I
| | 00:21 | held it up on the sky. I like the colors there,
kind of simple and graphic photograph.
| | 00:25 | I want to add a little edge effect in
order to enhance this. Let's go ahead and
| | 00:29 | double-click our Background layer,
rename this layer BG. Now, we can add a
| | 00:32 | layer mask. We will click
on the Add Layer Mask icon.
| | 00:36 | Well now that I have a layer mask,
I will grab my Brush tool by pressing the B
| | 00:39 | key. Currently, I have a nice soft
edge brush. Now this won't look very
| | 00:42 | interesting of course, but it
will help us learn how this works.
| | 00:46 | So go ahead and click and drag across
the edge, click and drag. I'm painting
| | 00:49 | with black. What I'm doing is I'm limiting
this area, so there is nothing in that area.
| | 00:54 | Well, now that I have masked off
that area, I need to create a new layer
| | 00:58 | underneath this layer. So on a Mac,
press the Command key, PC, Ctrl key, and
| | 01:03 | click on the New Layer icon. That creates
a layer underneath your targeted layer.
| | 01:07 | Then next go to Edit > Fill, and then
we are going to fill with black. Well
| | 01:12 | now, that's the color of my border,
zoom in here a little bit. Let's say that
| | 01:16 | we want this to be white. Press Command+I.
Now, we have a white border around the image.
| | 01:21 | Well, for that matter, let's say we
want a different color. Click on the
| | 01:23 | Adjustment Layer icon, choose Solid
Color and now I'm going to choose Red, and
| | 01:27 | so now I have a red border, double-click that,
change the color. Now I have a Green border.
| | 01:31 | So you can see how you can continually
modify this. In addition, let's say I
| | 01:36 | don't quite like this edge. I will go
into my mask, then I'm going to fill that
| | 01:39 | with white, and I will do that by
pressing Command+Delete on a Mac, Ctrl+Delete on a PC.
| | 01:45 | What I'm interested in doing is
having a little bit more of an interesting
| | 01:48 | edge. So I will go down to my Brush
option here, and I'm going to choose Brush,
| | 01:52 | it's a little bit more interesting,
and I will go ahead and click and drag
| | 01:56 | across this, and I'm just going to go
ahead and click here, slowly building that up.
| | 02:02 | Now, I want it to be white. So I'm
going to remove that Green layer there, and
| | 02:06 | I'm just going to make my way through
this image. Here we can see I have a
| | 02:10 | little bit of an edge effect going on here.
| | 02:13 | I am trying not to go too far and just
to keep it kind of simple, but it gets
| | 02:24 | kind of hard to see when I get in
too close. So now, I have a pretty
| | 02:27 | interesting effect, right. I have
the ability to have a color there.
| | 02:30 | Basically, I'm just masking off a
portion of my image, perhaps to make this a
| | 02:33 | bit more of an illustration. We will
turn on that color, so we can see that we
| | 02:37 | have that color in the mix there.
| | 02:39 | All right. Well, that's kind of
interesting, right. We are able to modify this
| | 02:42 | mask in a pretty unique way by
clicking on the mask and then painting on it,
| | 02:46 | and that gives us ability to
control or create this edge.
| | 02:48 | Well, we could this in a number of
different ways, right. So far what we have
| | 02:52 | seen is how we can use pretty typical brushes.
| | 02:54 | Let's say that we want to use a Custom
Brush. We are going to talk about how we
| | 02:57 | can use a Custom Brush in order to
create a border or an edge in the next
| | 03:01 | movie. Before we leave this movie,
I'm going to go ahead and turn off this
| | 03:05 | Green because that doesn't look very
good. And I want to invert that Black
| | 03:08 | layer. Press Command+I on a Mac, Ctrl+I on a PC.
| | 03:12 | I want a little bit more of a solid
white border after this distressed border.
| | 03:16 | Here is how I will do that. I will grab
my Crop tool, click and drag; make sure
| | 03:20 | I have light in the background there.
I will go ahead and click and drag and
| | 03:23 | expand beyond the edge of the frame there.
| | 03:26 | Now, it goes all the way out to the
edge here. I will then go to my White
| | 03:30 | background layer, fill that with
white. That's Command+Delete on a Mac,
| | 03:34 | Ctrl+Delete on a PC, and I now I have
the ability to extend that a little bit
| | 03:38 | further, select the layer with the image.
I can reposition this based on where
| | 03:43 | I want it and now we have
successfully created an edge.
| | 03:46 | All that I wanted to do there was
just to illustrate that if you want to
| | 03:50 | actually go out beyond the edge of
your photograph, you can do that, and you
| | 03:54 | can do that pretty easily with that Crop tool.
| | 03:57 | Now, if you make an adjustment like
that and don't like it, to undo it all you
| | 04:01 | need to do is go to image and Trim,
trim away the bottom-right pixel color.
| | 04:05 | That's going to be the white, click OK.
That's going to then turn it back to
| | 04:09 | its original size.
| | Collapse this transcript |
| Using custom brushes to create edge effects | 00:00 | So far we have learned about how we
can create a border or an edge around our
| | 00:03 | photograph. Let's say we want to create
an edge that's a little bit more interesting.
| | 00:07 | Let's say we want to use a brush that
isn't included with Photoshop. What we
| | 00:10 | can do is use a Custom Brush in order
to create a really unique edge or unique
| | 00:15 | edge effect. Now, in this movie, we are
going to talk about how we can add that
| | 00:18 | unique edge effect, but first let me
show you a couple of places where you can
| | 00:21 | find some custom brushes.
| | 00:22 | The first place is designfruit.com.
Click on Photoshop Brushes and then there,
| | 00:27 | you will find a number of different
types of brushes. For example, this
| | 00:30 | Japanese Foliage Brush, really interesting.
| | 00:32 | Now, if you are curious to know how
people use those, click on Portfolio and
| | 00:36 | there you can see how he has
implemented some of the brushes that he has
| | 00:39 | created into different layouts.
| | 00:41 | Now we are not going to be talking
about layouts, but we are going to talk
| | 00:43 | about edges and you can see there is
a little bit of an edge on that layout
| | 00:46 | there. So how can we then customize that?
| | 00:48 | There is another site that you may
want to checkout. It's Brusheezy and
| | 00:53 | again, you had another place where you
can get some interesting brushes. Now,
| | 00:56 | some of the brushes you have to pay for,
some of them are free, and also if you
| | 01:00 | do a quick Google search for Photoshop
Brushes, you will find quite a bit of
| | 01:03 | different types of brushes. You can
always of course go to labs.adobe.com to
| | 01:08 | find brushes as well.
| | 01:09 | All right. Well, back in Photoshop, I
have this document. I'm going to go ahead
| | 01:12 | and double-click the background layer
and name this BG. Then grab my Brush tool,
| | 01:16 | right-click or Ctrl-click. That
will open up the Brush menu and
| | 01:20 | I'm going to choose Load Brushes.
| | 01:22 | Now select the brushes that I
downloaded from the internet and I got these for
| | 01:26 | free. So I will go ahead and click
Load. We can now see that I have those
| | 01:29 | brushes down below, and they
are actually kind of interesting.
| | 01:32 | So I will go ahead and click off this
menu for a moment and click on the Add
| | 01:35 | Layer Mask icon. Next, right-click or
Ctrl-click. I will choose one of the
| | 01:39 | brushes. I'm going to go ahead and
paint with black. What that will do is it
| | 01:43 | will give me the ability to see through
this portion of the image there and now
| | 01:46 | I have a little bit of transparency,
right-click or Ctrl-click. Let's choose
| | 01:51 | another edge.
| | 01:52 | I will go ahead and position this
near the top of the screen and also the
| | 01:55 | bottom of the screen. Now, keep in mind
that while this edge effect is kind of
| | 01:59 | a little bit grungy, a little bit
distressed, you can do all different kinds of
| | 02:03 | effects. But again, I just have to
show something here and that's the one I
| | 02:06 | have decided to go for is to show you
a little bit of a distressed effect.
| | 02:10 | Now, I'm going to then move way over
to the right here and work on this edge
| | 02:16 | and then right-click again or Ctrl-
click and then grab yet another brush.
| | 02:22 | The nice thing about this is this is all
non-destructive. Shift-click the mask and
| | 02:27 | it is gone! How cool was that?
| | 02:29 | All right. Well, now that I have this
edge, I will go ahead and click on the
| | 02:32 | Adjustment Layer icon, choose Solid
Color. I will choose a nice vivid color so
| | 02:36 | I can see it. Move this layer down
below the layer of the photograph.
| | 02:40 | Now, all that I need to do is to
double-click the Color Picker. Maybe I'll
| | 02:44 | choose a color from the image and I
will take that as my edge, and I can go
| | 02:48 | through here and again
choose a wide range of colors.
| | 02:50 | The reason I like this technique of
creating a mask here and then having a
| | 02:54 | layer underneath it is because it
gives us quite a bit of flexibility.
| | 02:58 | It's just a real nice visual punch. It
helps us see how this particular edge works
| | 03:02 | with our photograph.
| | 03:03 | Finally, the nice thing about this
is, as I said before, it's completely
| | 03:07 | non-destructive. I can go onto the Mask
and say you know what? If I paint with
| | 03:11 | white, I will go ahead and grab white,
I can then paint this away. So I'm
| | 03:14 | diminishing this down here a little bit.
| | 03:16 | I will go ahead and diminish it over
there and I'm just modifying this with
| | 03:20 | this kind of unique brush and now I
have a very different little edge there
| | 03:24 | and again, I'm going through my
photograph. So it's completely re-editable and
| | 03:28 | that extra added bit of
flexibility is really handy sometimes.
| | Collapse this transcript |
| Using sample frames| 00:00 | If you do a quick Google search on
Photoshop frames or Photoshop edges or
| | 00:04 | Photoshop borders, you will find a
number of different free Photoshop edges.
| | 00:08 | What I want to do in this movie is
talk about how you can use them in some
| | 00:11 | pretty unique ways.
| | 00:13 | So if we go ahead and close this
particular panel so we can focus in on our
| | 00:16 | Layers panel, I notice I have a photo
layer here and this is a photograph of a
| | 00:20 | bridge up in the East Bay and I just
like the way this bridge looks, I think
| | 00:24 | it's really intriguing and then you
will notice I have these different layers.
| | 00:27 | Now if I click on a Layer 1, I have
this really interesting edge effect. I'm
| | 00:31 | going to click on Background layer there too.
| | 00:32 | All right, well I have this interesting
edge effect, now how does that work? If
| | 00:36 | I take this to a blend mode of Normal,
it's just a black and white layer. With
| | 00:40 | this black and white layer turned on,
if I go to the blend mode of Screen, it
| | 00:44 | looks kind of interesting.
| | 00:45 | On the other hand, let's go back to
Normal for a second. Let's say that we find
| | 00:49 | an edge that's inverted. I will go
ahead and press Command+I and there is a
| | 00:53 | black edge and a white inner. What we
need to do then is take our blend mode to
| | 00:57 | Multiply. So the trick here to
remember is that you are going to either use
| | 01:01 | your blend mode of Multiply or your
blend mode of Screen. And by using those
| | 01:05 | two blend modes you can then combine
these different frames with your photographs.
| | 01:09 | And in addition, if you have access to
the Exercise Files, you can use these
| | 01:12 | frames that I have included here and
again, all that you are going to need to
| | 01:15 | do is turn on one of the layers, try
one of the blend modes. If Multiply
| | 01:19 | doesn't work well then go to Screen and
if you want the opposite effect, invert that layer.
| | 01:24 | Now the shortcut to invert the layer
is Command+I on the Mac, Ctrl+I on a PC.
| | 01:29 | Now if you want to speed this up, you
will go ahead and turn on one of those
| | 01:32 | layers and then you are going to go
ahead and use one of your blend modes.
| | 01:35 | Shift+Option+S or Shift+Alt+S on a PC
will give you the ability to change the
| | 01:40 | blend mode to Screen. Now here you can
see that we are able to use this frame.
| | 01:44 | So just know that with these different
types of frame, really the sky is the
| | 01:48 | limit and the trick with using these
is going to be alternating between those
| | 01:52 | two different blend modes and you can
come up with some pretty interesting results.
| | 01:55 | All right, well let's say that you
are kind of intrigued by all of these
| | 01:58 | different types of frames. Well how can
you take things to the next level or if
| | 02:02 | you really want to dig into frames and
add amazing frames to your photographs
| | 02:06 | you are going to have to use a plug-in
and we will talk about the best frame
| | 02:09 | plug-in that's out there in the next movie.
| | Collapse this transcript |
| Using the PhotoFrame plug-in | 00:00 | In this movie, we are going to talk
about how we can use a plug-in to add a
| | 00:02 | border or an edge or a frame around
our photographs. In particular, we are
| | 00:06 | going to talk about the plug-in that's
put up by the guys at onOne Software.
| | 00:09 | Now in my opinion, there is no better
plug-in in the world for creating borders
| | 00:14 | or edges around your photograph. This
plug-in works so extremely well. So if
| | 00:18 | you want to dig into it or download the
free trial, do a quick search for onOne
| | 00:22 | Software and then go ahead and
navigate to the product called Photo Frame.
| | 00:26 | All right, well let's take a look at
how this plug-in works. Keep in mind, this
| | 00:29 | plug-in doesn't come with Photoshop, it
something you have to purchase and then
| | 00:32 | download or for that matter demo, and
keep this in mind, you can do a 30-day
| | 00:36 | trial. Now that 30-day trial will be
so much fun. So you definitely want to
| | 00:39 | experiment with this one. It's a ton of fun.
| | 00:41 | All right, well here I have this
photograph of my buddy Travis. I'm in the
| | 00:45 | Background layer. I'm going to
navigate to my onOne pulldown menu and I have
| | 00:49 | that menu because I have installed
these plug-ins and choose PhotoFrame 3.1. I
| | 00:52 | will go ahead and open that up.
| | 00:55 | Now keep in mind too that by the time
you go to that site, PhotoFrame 4.0 will
| | 00:58 | actually be out and PhotoFrame 4.0 is
so much better than PhotoFrame 3.0, it is
| | 01:03 | not quite out yet. So I'm going to go
ahead and use PhotoFrame 3.0 for now.
| | 01:07 | All right, we will go ahead and turn
off the frame that I have there and I'm
| | 01:10 | going to reposition this just a little
bit because my resolution is small, it's
| | 01:13 | going to be a little tricky to
see the frame but no big deal.
| | 01:15 | Well, here you can see that I have a
wide range of frames. For example, I have
| | 01:19 | chosen Photographic and Film. Now what
I can do is I can scroll through these
| | 01:23 | different frames and choose one, let's
say this particular frame here and it
| | 01:26 | will then add that to the image.
| | 01:28 | Now in my opinion, I don't typically
like to have it show everything. So I will
| | 01:32 | go ahead and resize this and I'm going
to resize this so that I'm just seeing a
| | 01:35 | little bit of the edge of the frame.
I think that's kind of a nice effect. It
| | 01:39 | just makes the edge not quite so perfect.
| | 01:41 | Any time you can add a little bit of
imperfection in photography, in my opinion
| | 01:46 | I enjoy that. I really like being able
to do that. I will grab the Zoom tool,
| | 01:50 | I'm going to zoom out a little bit
there just so I could see how that looks and
| | 01:53 | then zoom back in. Okay that looks good.
I will go ahead and apply that to a
| | 01:57 | new layer. This will then
create a new layer with this frame.
| | 02:00 | If we zoom out a touch here so we
can see that here is my before and then
| | 02:04 | after. We will press the F key to go
to the Full Screen View mode and then we
| | 02:08 | will bring up the Layers palette by
pressing F7. So there is our before and
| | 02:12 | then after. Zoom in perhaps a little
bit more before and after. Again, just a
| | 02:15 | little subtle effect.
| | 02:17 | Let's say for example, we don't like
the type on that layer. Let's go out of
| | 02:21 | that Full Screen View mode for a second.
Press the Tab key and then F7 so you
| | 02:26 | can actually see the frame there.
Let's say we don't like the type. Well, how
| | 02:29 | can I get rid of that? Well, pretty
easy, right. Command-click this layer to
| | 02:33 | activate that as a selection and then
we will go ahead and fill with black.
| | 02:36 | Black is my background color, so that's
Command+Delete on a Mac, Ctrl+Delete on
| | 02:41 | a PC and then Command+D or Ctrl+D to
deselect or just Select > Deselect and now
| | 02:47 | we have a solid black frame.
| | 02:49 | And again, that's going to be a subtle
little adjustment but nonetheless pretty
| | 02:51 | interesting. Let's say we want to go
for effect that's maybe a little bit more
| | 02:56 | intriguing than that. We will click in
our background layer onOne; we will go
| | 02:59 | ahead and navigate to PhotoFrame there.
| | 03:01 | We are going to go up to the PhotoFrame
option and just to show you a couple of
| | 03:05 | different options here, I will go
ahead and turn on a few different options
| | 03:08 | there. It's pretty interesting one, we
already saw that Polaroid type border.
| | 03:12 | Here is one where we have a little bit
of an emulsion in it, little bit more
| | 03:16 | subtle emulsion there. You can also
combine these. You can turn two of these on
| | 03:20 | so that you are viewing two at once and
in this case; I'm just going to do this
| | 03:23 | one. Click Apply to a new layer.
| | 03:25 | One of the things that's kind of
interesting about using frames like this is we
| | 03:28 | can see that it's merging on to the
image itself. I will invert it, Command+I
| | 03:33 | on a Mac, Ctrl+I on a PC. I can also
then invert it back or take it to a blend
| | 03:38 | mode. In this case, a blend mode of
Soft Light. I can try inverting it one way
| | 03:42 | or the other.
| | 03:43 | Duplicating the layer for a little bit
more intense effect or perhaps going to
| | 03:46 | my blend mode of Overlay and again,
just some interesting effects there, as far
| | 03:51 | as modifying the edge, turn off the
layers and again, I'm just trying to show
| | 03:56 | that there is so much flexibility here.
We could also take this to a blend mode of Normal.
| | 04:00 | So we have the emulsion edge and then
we could on top of it put our black edge
| | 04:06 | there. Now that black edge is a
little bit too big, Command+T on the Mac,
| | 04:10 | Ctrl+T on a PC, I'm just going to bring
that down a little bit. Command+T here
| | 04:16 | and I'm just finding the sweet spot, so
I'm looking to try to combine these two
| | 04:21 | frames and my edge isn't quite perfect
up top but we are getting the gist of
| | 04:25 | how I could have two different types
of frames. In addition, it's making it
| | 04:29 | look a little bit more like perhaps
authentic film and emulsion and I will
| | 04:33 | lower the Opacity to just distress that
a little bit less there and now I have
| | 04:37 | the combination of both of those frames.
| | 04:39 | So as you can imagine, this
particular plug-in can help lead you to so many
| | 04:44 | different creative possibilities.
There is something about putting up edge or
| | 04:48 | border around your frames that can
really add something unique to it. Now I
| | 04:51 | have only just barely scratched the
surface with this plug-in, keep in mind
| | 04:55 | there are so many different types of
frames, meaning hundreds upon hundreds
| | 04:59 | upon hundreds.
| | 05:00 | So again, if you have never
experimented with it, I definitely recommend that
| | 05:03 | you head over to ononesoftware.com,
download the free trial and try it out for
| | 05:07 | 30 days. I think you will
have quite a bit of fun.
| | Collapse this transcript |
| Applying a prebuilt frame| 00:00 | Now so far we have taken a look at how
we can create really creative edges or
| | 00:03 | borders, let's say that you just want
to create an edge around your photo or a
| | 00:07 | border that just a solid width. There
is nothing creative about it, just really
| | 00:11 | simple and clean, how do you do that?
Well, the simplest way to do that is to
| | 00:15 | create a new layer. Shift+Command+N on
a Mac, Shift+Ctrl+N on a PC, and we will
| | 00:20 | name this layer border or edge.
| | 00:22 | Next, what we are going to do is fill
this layer with a solid color. We can
| | 00:26 | fill it by pressing Option+Delete on
a Mac, Alt+Delete on a PC. Now that's
| | 00:30 | filled with a solid color. We are
going to go to our Layers Style Effects and
| | 00:34 | we are going to choose Brush Stroke.
Now just so we can see this, I'm going to
| | 00:37 | choose a bright red brush stroke and
I'm going to go ahead and increase the
| | 00:40 | size and I will go inside. There we can
see that I have that bright red border
| | 00:44 | around my image. Click OK to apply
that. Well how then do I get rid of the
| | 00:48 | white? Well, all we need to do here
is lower the Fill amount so that we are
| | 00:52 | just left with this border.
| | 00:54 | Now that red border doesn't look very
good. So double-click the word Stroke and
| | 00:58 | then go back to your color picker and
here I'm going to make sure I'm just
| | 01:01 | choosing the nice white color there and
I can control the overall thickness of
| | 01:05 | this and again, I'm just moving it to
the left and the right to find the sweet
| | 01:08 | spot there and then
I will go ahead and click OK.
| | 01:11 | All right, we will press F to go to
Full Screen View mode, F7 to bring back our
| | 01:15 | Layers palette, here is our before and
then after. A nice way to sometimes add
| | 01:20 | a bit of an edge or border around your
photographs that has either a color in
| | 01:24 | it or is white or black.
| | 01:27 | Okay well let's exit out of Full Screen
View mode for a minute. So I will press
| | 01:30 | F. When I do that I notice that I have
two images that are open. I'm going to
| | 01:34 | go ahead and click this out of the
tab group for a moment, so that they are
| | 01:37 | just sitting on top of each other.
| | 01:38 | Well, how then could I take this border
and apply it to another image because I
| | 01:44 | have already created it. I like the
width; I like the color, in this case
| | 01:46 | white. All I need to do is click and
drag layer on to a new photograph. Now
| | 01:50 | when I click and drag it on to a
new photograph, I can do a couple of
| | 01:53 | interesting things.
| | 01:54 | If I press Command+T on a Mac, Ctrl+T
on a PC, I can actually free transform
| | 01:59 | this in order to create perhaps a
bit of a graphic. And that's kind of
| | 02:02 | interesting, right? But then it
defeats kind of the purpose of what I was
| | 02:05 | trying to do. But it was an
interesting creative side, nonetheless. But let's
| | 02:09 | say for example, this comes in and it's
not the right size. How then can I get
| | 02:13 | it the right size?
| | 02:14 | Well, here is all that you need to do.
Command+A on the Mac, Ctrl+A on a PC and
| | 02:19 | then press Option+Delete on a Mac, Alt+
Delete on a PC to fill that entire layer
| | 02:24 | with a color and now the edge is
completely around the edge of this photograph.
| | 02:29 | And so again, what I'm trying to
illustrate here is it if you are using a
| | 02:33 | border on different sized images, all
you need to do is press Command+A on Mac,
| | 02:37 | Ctrl+A PC, and then Option+Delete Mac,
Alt+Delete PC to fill it with that color
| | 02:44 | and now we have two identical frames.
We will go ahead and press F to go to
| | 02:48 | Full Screen View mode and then Ctrl+Tab
to toggle back and forth between these
| | 02:53 | two images and here we can see we have
the same exact border or frame or edge
| | 02:57 | around both photographs.
| | Collapse this transcript |
|
|
16. Working with Creative ActionsIntroduction to Photoshop actions| 00:00 | In this chapter, we are going to talk
about how we can use Actions in order to
| | 00:03 | create some pretty interesting effects.
| | 00:05 | Now, what I want to do in this movie is
simply introduce the topic of actions.
| | 00:09 | So here we can see that I have a
photograph, and it's a photograph of a couple
| | 00:11 | of my good friends.
| | 00:12 | I am going to go to my Window pulldown
menu and then choose Actions. This will
| | 00:17 | then open up the Actions panel. I'll
expand this a little bit, so I can see the
| | 00:21 | actions here in. Currently I have the
Default Actions. I'm going to go ahead
| | 00:24 | and expand that by clicking on the
triangle icon to the left to the folder.
| | 00:27 | Now that I have expanded this, we can
see that I have a wide range of actions.
| | 00:32 | Now, there are a couple of different
actions that I can apply. I'm going to go
| | 00:35 | ahead and navigate to Sepia Toning and
I'll click to expand that. And here we
| | 00:39 | can see the different steps that it
will take in order to apply a Sepia Toning
| | 00:42 | effect. Let's go ahead and do that. We
can apply that action by clicking on the
| | 00:47 | Play button.
| | 00:48 | Now when I do that and apply that
Sepia Tone. Let's go ahead and close our
| | 00:51 | panels for a moment, so we can see what
happened here. Here is my Sepia Toning,
| | 00:55 | it converted it to black and white
and then I have the tone on top of it.
| | 00:58 | If I double-click the Hue/Saturation
adjustment layer, basically just went to
| | 01:02 | Hue/Saturation and Colorize and here
I can find tune the actual color or the
| | 01:07 | intensity of that color. So what we are
discovering here, are that actions are
| | 01:12 | set of steps. Now you can record almost
anything you do in Photoshop as an action.
| | 01:18 | Now a lot of times what we'll do is
we'll create actions in order to be more
| | 01:21 | effective, in order to be a
little bit more functional.
| | 01:24 | Well, in this chapter, what we are
going to do is we are going to talk about
| | 01:26 | how we can take advantage of
Actions in order to become more creative.
| | Collapse this transcript |
| Adding texture with actions| 00:00 | In this movie, we are going to start
to talk about how we can use Actions, in
| | 00:03 | order to add some creative enhancements
to our photographs. This is going to be
| | 00:07 | a lot of fun because these actions are
actually so powerful, it's intriguing.
| | 00:10 | All right, well what we are going to do
first is double-click some of our panel
| | 00:13 | tabs to close them, so we can focus in
on the layers. Next we'll navigate to
| | 00:17 | Window and choose Actions. Then let's
click and drag out this Actions panel. We
| | 00:22 | are going to go ahead and close the
History there for a moment and then we'll
| | 00:25 | expand this so we have a
little bit more space here.
| | 00:27 | We will click on this fly-out menu
options and we are going to choose Image
| | 00:31 | Effects, that will then load a
number of different image effects, and in
| | 00:35 | addition, we are going to choose Textures.
| | 00:37 | So we are going to apply two different
types of actions here. One is going to
| | 00:41 | be a Texture, let's try Wood for
example; I'll click on Wood and click Play.
| | 00:45 | This is then going to go through these
steps. I'll just go ahead and click OK
| | 00:48 | with all the default settings.
| | 00:50 | I now have two layers. I'm going to
merge the top layer down Command+E and then
| | 00:55 | take this to a blend mode say a
Soft Light. Okay, well, that's kind of
| | 00:58 | interesting, right? I'm starting to see
something is coming together. Click on
| | 01:01 | our Background layer. Close Textures
for a moment. Let's go to Image Effects.
| | 01:05 | Now here we are going to choose Blizzard.
We'll go ahead and click Play, that's
| | 01:08 | going to then create this Blizzard
effect, okay interesting, turn that off.
| | 01:12 | Click on the Background layer, let's
do a little bit of a Light Rain as well,
| | 01:15 | click on the Play button there. Now we
have some rain. Okay, well now that we
| | 01:18 | have these. I'm going to go ahead and
minimize this window, because I don't
| | 01:22 | need to be looking at that, so much.
I really want to focus in on my layers.
| | 01:27 | Well let's take a look at our layers.
We have one that says rain going
| | 01:30 | sideways. We have one where there is a
little bit of snow. Then we have this
| | 01:33 | Wood layer. What happens if we start
to modify these? Let's say with this
| | 01:37 | particular one, we lower the opacity a
little bit. The snow layer, well I like
| | 01:41 | that, little bit too blotchy, but I'm
going to bring that back a touch as well.
| | 01:45 | And then this Wood layer, this
straight down layer. I'm using a blend mode of
| | 01:49 | Soft Light, what if I invert that? So
rather that it being yellow, it has blue.
| | 01:53 | So it's this nice kind of cool look.
Well that's kind of intriguing, right?
| | 01:57 | Pretty intense though. We can see all
these layers coming together so I'll
| | 02:00 | lower it just a touch here. And again
I'm just going to try to find some nice
| | 02:04 | blending options. Okay, well great.
Well, we have started to bring this all
| | 02:09 | together, created a pretty neat
image. Let's take this even further.
| | 02:12 | Let's now merge all of our underlying
layers to the topmost layer. We will do
| | 02:17 | that by way of shortcut. It's Shift+
Option+Command+E if you are on a Mac,
| | 02:21 | Shift+Alt+Ctrl+E if you are on a PC. We
can now turn off our different texture
| | 02:26 | and effect layers and name this new
layer merged. That took our underlying
| | 02:31 | layers, merged those all the way up
to the top. Now here is my before,
| | 02:34 | and then after.
| | 02:35 | Now what I can do here, of course is
lower my opacity, I can try different
| | 02:38 | blend modes, for example, like Soft
Light, that's kind of interesting, right?
| | 02:41 | We just see the textured lines. But
what I really want to do is go back to Normal.
| | 02:46 | Now when I mask off them, I want a
little bit more of them. So I'll click on
| | 02:49 | the Mask layer icon, press the B key to
select my Brush, paint with black. I'm
| | 02:54 | going to go down to about 50% Opacity
or so. I'm just going to start to bring
| | 02:59 | back in a little bit of
the warmth that was on them.
| | 03:01 | Now I want them to feel like they are
the part of this environment, but not
| | 03:04 | quite, so taken away by it so that
this snow is going to fall a little bit
| | 03:09 | behind them. We'll see a touch of
it coming through here, but just not
| | 03:13 | quite so intense, right?
| | 03:14 | Then I will go ahead and lower the
opacity, or change the Opacity perhaps a
| | 03:20 | little bit more, to get more out of
the jacket here, I think I want to pull a
| | 03:24 | little bit more out. So I'm going to go
up to 70%, so I'm going to press the 7
| | 03:27 | key just to get more of it out of the
jacket. So in this case, it's going to be
| | 03:31 | a little bit more like they are
standing inside and there is a lot of snow and
| | 03:36 | weather going on outside.
| | 03:38 | So now I have a little bit of this
warm cool thing going on which is kind of
| | 03:41 | interesting, right? So we'll Shift-
click the mask, there is my before and
| | 03:45 | after. And then overall before and then after.
| | 03:48 | And again this was just really quick,
but it was a unique and interesting way
| | 03:51 | to enhance our photograph. Now we have
complete control over this. We can lower
| | 03:55 | the opacity to even take this off or
back a little bit more or we can increase
| | 03:59 | it. We have so much flexibility
because we have done this layer by layer.
| | 04:04 | In an addition, we were just taking
advantage of these actions. They come with
| | 04:08 | Photoshop we don't even need to do
anything else extra and we came up with a
| | 04:12 | really interesting effect or
enhancement with this particular photograph.
| | 04:15 | Now, while I showed you one
particular type of enhancement, if you want to
| | 04:19 | experiment with those different actions.
I'll go ahead and open these up, for
| | 04:21 | example, take a look at all the
different type of effects that you can apply or
| | 04:25 | for that matter, all the different
types of textures that you can apply. So as
| | 04:29 | you can see, you can have quite a bit
of fun with these actions. If you haven't
| | 04:32 | experimented with them before,
I definitely recommend that you do so.
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| Finding and loading actions| 00:00 | Now that we've talked about, how we can
take advantage of the Actions that come
| | 00:03 | pre-installed with Photoshop. What
I want to do in this movie is briefly point
| | 00:07 | out couple of places where you can
download external actions. Now a lot of
| | 00:12 | times you can find Actions for free.
| | 00:14 | Now here I'm at adobe.com and I've
navigated to the Photoshop Exchange page to
| | 00:18 | Photoshop Actions and currently I have
clicked on Most Recent. And here I can
| | 00:23 | scroll through and view a
number of different types of Actions.
| | 00:26 | Here we can see we have a diffused
sepia tone, a unique color effect, softening
| | 00:30 | skin, black and white with green,
etcetera. There are tons and tons of
| | 00:34 | different types of actions. Let's go
ahead and navigate over to Highest Rated
| | 00:37 | and see what we can find here.
| | 00:38 | When we go to Highest Rated, we are
going to see that we have some effects so
| | 00:42 | we can convert a photograph into a
puzzle; that's kind of interesting. Put a
| | 00:45 | Filmstrip around the edge and you get
the gist. There are so many different
| | 00:49 | things that we can do with Actions.
| | 00:50 | Now all that we are need to do would
be to download one of these actions and
| | 00:54 | then load it into Photoshop. Yet,
before we go, I want to show you one more
| | 00:57 | website. So I'll pull up another tab
here. I'm going to go ahead and Google
| | 01:01 | Photoshop Actions. You can also Google
Photoshop Free Actions and I'm going to
| | 01:06 | go ahead and navigate to this link here.
And here we have a number of different free actions.
| | 01:10 | Again, an action that wraps an image
around a cube; kind of interesting, skin
| | 01:14 | softening, a curl edge and again you
can see we have a wide range of different
| | 01:19 | types of actions, everything form
postage stamps to puzzles to this stressed or
| | 01:23 | vintage photo and you get the jest.
The sky is the limit with actions.
| | 01:29 | So again, if you haven't experiment
with Actions, if you haven't downloaded any
| | 01:32 | Actions, I definitely recommend that
you do so now. Now once you have those
| | 01:37 | actions, what we are going to do is
then navigate back to Photoshop and in
| | 01:40 | Photoshop we'll go to our Actions panel.
We'll click on the icon, which opens
| | 01:45 | the fly-out menu, and then we
are going to choose Load Actions.
| | 01:48 | We go to the folder where we save
those actions. In this case, I'm going to
| | 01:52 | load the action RuleOfThirds and click Load.
That will then load that Action here.
| | 01:57 | All right, well now that I have
highlighted a few resources for finding
| | 02:00 | actions. Let's go ahead and take a
look at how we can use some of these
| | 02:03 | different types of Actions and
we'll do that, in the next few movies.
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| Using rule-of-thirds actions| 00:00 | Well, now that we have seen how we
can download and install an action,
| | 00:03 | let's go ahead and apply one of these actions.
We have this portrait of the World
| | 00:07 | Championship pro surfer Shaun Tomson,
an amazing guy. And I like this image
| | 00:11 | yet I'm feeling like there is
something wrong, but I can't identify what.
| | 00:14 | So I will go ahead and open up my
Actions panel and I go over to my
| | 00:16 | RuleOfThirds action. I'll click on
the triangle to expand this and click on
| | 00:20 | RuleOfThirds and then click Play.
This is then going to duplicate the image.
| | 00:25 | And now that I have a duplicate of the
image, it then sets this RuleOfThirds
| | 00:28 | grid over the photograph.
| | 00:30 | Let's go ahead and close our panels here,
double-click Color and Adjustments,
| | 00:33 | so we can really see what we have. So I
have this interesting red grid sitting
| | 00:37 | on top of my photograph.
| | 00:39 | Now if that red color is distracting,
try pressing Command+I on a Mac,
| | 00:42 | Ctrl+I on a PC, or press Command+U on a Mac
or Ctrl+U on a PC, you can change its
| | 00:47 | color of course, or you can
desaturate that grid, right? We'll go ahead and
| | 00:51 | click OK. I'm going to desaturate it.
| | 00:53 | Now when I start to evaluate this,
I realize that you know what? The image just
| | 00:57 | has too much space up here, right?
The image is just about two-thirds of the
| | 01:00 | photograph. I need to change that.
Let's free transform the grid. Command+T on a Mac,
| | 01:04 | Ctrl+T on a PC. What would happen
if I where to bring that in? Well that's
| | 01:08 | a little bit too tight. Okay well,
perhaps somewhere right there where I'm
| | 01:12 | bringing the face into this area of
importance. Okay, I kind of like that,
| | 01:15 | I can envision that.
| | 01:17 | Well I don't need that grid any more,
but I'll leave it on just so I can create
| | 01:20 | a crop that kind of mimics what I have
there. I'll go ahead and bring the crop
| | 01:23 | down and again I'm just using that
grid to kind of teach me about composition.
| | 01:28 | I'll press Enter or Return. Now that
photograph, I'll zoom in a little bit, is much
| | 01:32 | more creative, right? Because I don't
have as much headroom. It's much more
| | 01:35 | about him. Feels a little bit more
prominent and dominant. Before there was just
| | 01:39 | too much negative space up there.
| | 01:41 | Now that particular action taught me a
little bit about composition, it taught
| | 01:46 | me how to view things a little bit more
creatively and ultimately, it led me to
| | 01:50 | a more creative, more
intriguing, more engaging photograph.
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| Applying the Puzzle action| 00:00 | In this movie, we are going to have a
little bit of fun. We are going to use
| | 00:02 | one of those actions that I pointed
out earlier. It says puzzle action. Here,
| | 00:06 | we have this photograph of these two
sisters; you can really tell this is a
| | 00:09 | special day. Let's go ahead and open up
our Actions panel, Option+F9 on a Mac,
| | 00:13 | Alt+F9 on a PC.
| | 00:15 | We will click on the button, which
opens up our Contextual menu, we are going
| | 00:18 | to choose Load Actions, we will then
select the actions that we downloaded from
| | 00:22 | the Internet and then
click Load to load that action.
| | 00:26 | I will choose the Jigsaw puzzle piece.
It's 20 pieces. Now this particular
| | 00:30 | action is interesting. We will take a
look at it; it will allow me to stylize
| | 00:33 | the different puzzle edges. It's
also going to put a really interesting
| | 00:37 | background on this.
| | 00:38 | All right, stylize that one, sure.
I'm going to remove the bevel, just do a
| | 00:42 | nice brush stroke, make that brush
stroke white, so I can see the edges, and I
| | 00:46 | will click OK, it will then apply
all those, and then we are now done.
| | 00:51 | With this juncture, I don't want to
have this background, I think that's kind
| | 00:54 | of a core in there, so I will click in
that layer, press Command+Delete on a
| | 00:58 | Mac, Ctrl+Delete on a PC.
| | 01:00 | Next, I'm going to open up this folder
here and one of the things you are going
| | 01:03 | to notice is that I have all these
different puzzle pieces and they are linked
| | 01:07 | together. Well, if I try to move one
of them, I'm going to move all of them.
| | 01:11 | Well here is what you can do. We can go
ahead and right-click or Ctrl-click and
| | 01:15 | choose Select > Link the Layers. Now
they are all selected. Then right-click or
| | 01:19 | Ctrl-click and choose Unlink layer,
now it when it gets kind of fun, right.
| | 01:23 | What we can do now is move over the
image, right-click or Ctrl-click, and then
| | 01:27 | select a little puzzle piece here, and
here you can see that I'm just clicking
| | 01:30 | and dragging, reposition these
and just create a unique effect.
| | 01:35 | Now is this particular action the most
amazing action in the world? Well not
| | 01:38 | necessarily, but you can tell that you
can have a little bit of fun with this,
| | 01:42 | and we could use these shapes in some
unique ways, and again just having a
| | 01:45 | little bit of fun with this overall effect.
| | 01:47 | Now one of the reasons that
I highlight this particular action is because one
| | 01:50 | of the students said, photography
is cool when I actually created this
| | 01:53 | particular effect, and then he
opened up these layers in Flash. He knew a
| | 01:57 | little bit about Flash and he created a
little interactive puzzle and that was
| | 02:00 | actually quite fun.
| | 02:02 | So just want to illustrate this idea
that a lot of times what we can do is
| | 02:05 | create something like this, pretty easily and
then combine this with some other technologies.
| | 02:09 | We could of course print this or
open it up in different applications and
| | 02:13 | <
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