1. Getting Started with Photoshop CS4Welcome| 00:00 | (Music playing.)
| | 00:06 | Hi. I'm Deke McClelland. I've written more books and recorded
more videos on Adobe Photoshop than any other human being
| | 00:13 | on the planet.
| | 00:14 | It's a sickness really.
| | 00:16 | A sort of addiction.
| | 00:17 | Now I'm here to share that addiction with you.
| | 00:21 | For those of you who don't know,
| | 00:22 | Photoshop is an image editor that lets you take a still
photograph, import it from your digital camera and modify it in
| | 00:29 | just about any way you can imagine.
| | 00:31 | In this series, I show you
a few of those imaginable ways.
| | 00:35 | For example, you can adjust the brightness and contrast of
an image either using a command or by brushing with a couple
| | 00:41 | of tools.
| | 00:42 | You can retouch a portrait
| | 00:44 | and make a person look like he or she has
never had a blemish in his or her life.
| | 00:49 | You can make people thinner. Seriously!
| | 00:51 | You can straighten and crop photos, you can sharpen detail.
Yes, sharper focus. That's something Photoshop can do.
| | 00:58 | It's not real focus; it's a trick,
| | 01:00 | but it's a really awesome trick.
| | 01:03 | Photoshop is one of the most powerful, most
flexible and most revered programs on the planet.
| | 01:09 | Its fans are legion; millions of users, including me,
| | 01:13 | love Photoshop.
| | 01:15 | My job? To bring you into the fold.
| | 01:18 | In just 24 movies, two hours and change,
| | 01:21 | I hope to lead you directly into the demon's
mouth and escort you safely out the other side.
| | 01:27 | You won't be a Photoshop master; you'll need to watch
my full length, Photoshop CS4 One-on-One for that.
| | 01:34 | But you'll know enough secret handshakes
to do things you only guessed were possible.
| | 01:39 | Welcome to Photoshop CS4 Getting Started.
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| Getting photos from your camera| 00:00 | The primary purpose of Photoshop is to
edit digital images, so it all begins
| | 00:05 | with a photograph. In this exercise
I'm going to show you a special utility
| | 00:10 | called the Photo Downloader that's
included along with Photoshop that allows you
| | 00:13 | to get your images from a digital
camera and organize them on your hard
| | 00:17 | drive and you can even automatically
name the images as you copy them, convert
| | 00:22 | them to different formats and so on.
| | 00:24 | I am going to take a memory card
that contains some digital photographs and
| | 00:27 | place it inside the memory card reader
that's attached to the system and under
| | 00:31 | Windows you will see this AutoPlay
screen and one of your options will be to
| | 00:35 | download the images using Adobe Bridge CS4.
Go ahead and click on that link to
| | 00:40 | bring up the Photo Downloader.
| | 00:42 | Now, on the Mac it's unlikely that you
are going to see this Photo Downloader
| | 00:45 | automatically, in which case you will
launch the Adobe Bridge, then go to the
| | 00:49 | File menu and choose Get Photos From
Camera. And I can see that where this
| | 00:53 | particular system is concerned the
memory card is mapped to the H drive.
| | 00:57 | There's 28 photographs altogether,
all of which were shot on August 11th.
| | 01:02 | Now I need to determine where I want
to copy these files to and I'm going to
| | 01:06 | click on the Browse button and I'm
going to say that I want to copy the images
| | 01:10 | to this Exercise Files folder that I
have created on my Desktop. Then I will
| | 01:14 | click OK. Now the Photo Downloader will
automatically create a subfolder that's named
| | 01:19 | after the Shoot Date, which I think is
just perfect. So, in this case it would
| | 01:22 | be 2008/08/11.
| | 01:25 | But I am going to go ahead and rename
my images after the topic of a shot,
| | 01:29 | so I'll click this down pointing
arrowhead and I will choose Custom Name and
I'll enter Surf_pics and the Photo
Downloader will automatically number the
| | 01:38 | images starting at 1; you could change
the start number though if you like.
| | 01:42 | I will like to go ahead an open the
Bridge after the photos are downloaded.
| | 01:46 | I'd also like to convert these images
to DNG, which is the Digital Negative format.
| | 01:50 | Currently all of these images
were captured as CR2 files, which
| | 01:54 | is Canon's Raw file format, but if I
convert them to DNG-- I'll click on the
| | 01:59 | Settings button here-- you can see
that I will able to apply some lossless
| | 02:03 | compression, which is a really great
thing it will make the file smaller.
| | 02:06 | This is a publish file format. I would
highly recommend it. It's a great way to
| | 02:10 | work and you get smaller images on
your hard drive. I will go ahead and click
| | 02:14 | OK to close that dialog box. Normally
you would delete the original images of
| | 02:18 | your memory card so that you had
room to shoot more. But in my case I am
| | 02:22 | going to go ahead and turn this checkbox off.
| | 02:24 | You also have the option of backing
up your images to a separate location,
| | 02:28 | which I highly recommend. Just go ahead
and turn on that Save Copies To option
| | 02:33 | and then you can copy those backups
anywhere you like. Now, in my case again
| | 02:37 | just to save time I am going to turn
that option off. I would also like to show
| | 02:40 | you the advanced options here. I will
click on Advanced Dialog to expand the
| | 02:44 | dialog box and notice that you can see
previews of all the images on the memory card
| | 02:49 | and you also have the option of
turning on and off check boxes to select
| | 02:54 | specific images.
| | 02:55 | I'm going to UnCheck All just to save
us time once again. I am going to turn
| | 02:59 | on the first three images only here
and I am going to assign credit to this
| | 03:05 | particular photographer whose name is
Jacob Cunningham and then I will click on
| | 03:09 | the Get Photos button in order to copy
the photos from the media card to my hard drive.
| | 03:14 | Now, in our case this is just going to
take a few seconds because we only have
| | 03:17 | three images but if you are copying
over hundreds of photographs you can expect
| | 03:20 | the process to take a few minutes.
Once it's done, the Photo Downloader will go
| | 03:24 | ahead automatically launch the Adobe
Bridge and you will be able to preview
| | 03:28 | your images here as
thumbnails inside the Content panel.
| | 03:32 | Now you have a sense of how to copy
and organize photographs from a digital
| | 03:35 | camera to your hard drive using Photo Downloader,
which is included along with Photoshop CS4.
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| Using the Bridge| 00:00 | In this exercise I am going to show you
how to use the Adobe Bridge, which is a
| | 00:04 | separate program that ships along with
Photoshop CS4. The Bridge allows you to
| | 00:09 | preview and evaluate images inside
a folder. If you are working inside
| | 00:14 | Photoshop as I am, then you can get to
the Bridge by going to the File menu and
| | 00:18 | choosing Browse In Bridge. Now in my
case, the Bridge is already running so
| | 00:22 | this is going to be a quick switch. In
your case it may take a moment or two to
| | 00:25 | launch the program.
| | 00:27 | To view the contents of a folder, I
will click on the Folders tab then I'll
| | 00:32 | click on the triangle in front of Desktop
in order to expand the contents of my Desktop.
| | 00:36 | I will click in front of Exercise Files
in order to expand it as well.
| | 00:40 | Therein I will find at least one
subfolder called Sammy in chair. When I click
| | 00:44 | on that folder, the Content panel will
show me 15 thumbnails in my case, one
| | 00:49 | for each of the 15 images inside the folder.
| | 00:52 | Now the thumbnail started off pretty
darn small,. If you want to make them
| | 00:55 | bigger, you can drop down to this
slider bar, down here at the bottom of the
| | 00:58 | window. Drag the slider control to the
right to make the thumbnails bigger.
| | 01:02 | Drag it to the left to make the
thumbnails smaller. You can also go ahead and
| | 01:07 | click on one of the thumbnails in
order to see it expanded inside the Preview
| | 01:10 | panel. Now my Preview panel is pretty
small. I can make it bigger by dragging
| | 01:14 | these vertical and horizontal sliders like so.
| | 01:17 | You can also switch to one of the
different modes. For example, if I clicked on
| | 01:20 | the word Filmstrip, I will see a
series of thumbnails down here at the bottom
| | 01:24 | of the window and a big preview at
the top of the window. However, for this
| | 01:28 | exercise, I am going to stick with
Essentials, which is where I was just a
| | 01:31 | moment ago. Now notice this very first
thumbnail, it's on it side. That's a mistake.
| | 01:36 | I need to rotate it, so I will
click on the thumbnail to make it
| | 01:39 | active. Then I will go over to these
Rotate icons in the upper right corner of
| | 01:42 | the window and I will click on this one
that says, Rotate 90 degrees Clockwise,
| | 01:46 | to rotate the image upright.
| | 01:48 | Now let's say I want to see the images
in even more detail. Then I could enter
| | 01:52 | the Slideshow mode. I will go to the
View menu and I will choose Slideshow,
| | 01:56 | and I will now see a full screen
slideshow of the images in the folder.
| | 02:02 | Then you can let the slideshow play
automatically, or you can use the arrow keys to
| | 02:06 | advance from one image to another. In
my case I snapped a series of sequential
| | 02:10 | images. You can also press the Plus key
in order to zoom in on an image like so
| | 02:15 | and that will zoom it to the 100%
view size, so that you can see one image
| | 02:19 | pixel for every screen pixel.
| | 02:21 | If you want to pan the image, then
just go ahead and drag it, as I am doing
| | 02:24 | here. Press the Minus key in order to
zoom back out. When you are done viewing
| | 02:29 | images in the Slideshow, just press
the Escape key to return to the Bridge.
| | 02:33 | You can also compare two or more
images side by side. Let's say, I want to
| | 02:37 | compare these two guys right down here
and note by the way that I am scrolling
| | 02:42 | up and down the list using the scroll
wheel on my mouse. In order to select
| | 02:46 | these two images, I click on one and
then Shift-click on the other. Then I will
| | 02:51 | go up to the View menu and
I will choose Review Mode.
| | 02:56 | The Review Mode allows me to compare
two or more images side by side, and if
| | 03:01 | you get a sufficient number of images
going then you get this sort oflazy
| | 03:03 | ausan view. But it doesn't let you
zoom in, using the Plus and Minus keys the
| | 03:08 | way we saw inside the Slideshow. Instead,
you can click on part of the image to
| | 03:12 | bring up a loop, which magnifies that
area. Then just drag the loop around, in
| | 03:17 | order to center the view as you want it.
| | 03:20 | If you want to see a loop inside the
other image as well click inside that
| | 03:23 | image. Now I can see that the eye on
the left is a little bit sharper, than the
| | 03:28 | one on the right. Now let's say, I want
to give each one of these images a star
| | 03:32 | rating. Currently the image on right
is active. I can see that because its
| | 03:36 | title is highlighted down here at the
bottom of the window, it's kind of subtle
| | 03:39 | but that's how it works.
| | 03:41 | Then in order to assign it a star rating,
let's say I want to assign it three
| | 03:44 | out of five stars. I would press the
three key and notice I now have three
| | 03:48 | stars associated with this image.
Now I will switch over to this image by
| | 03:51 | pressing the left arrow key to make it
active and I will press the four key to
| | 03:55 | assign it four stars. Then I will go
ahead and press Escape in order to return to
| | 04:00 | the Bridge and you can see that both of
these images have star ratings assigned to them.
| | 04:05 | Now, let's say, that I wanted to
just see one image by itself in greater
| | 04:09 | detail. For example, I will click on
this image here, and it looks like a
| | 04:12 | pretty great shot inside of my Preview
panel. But what if I want to see it even
| | 04:16 | larger; then I go to the View menu,
and I choose Full Screen Preview, which I
| | 04:20 | can get just by tapping the spacebar as
well and just as in the Slideshow view,
| | 04:25 | I can either press the Plus key or I
can click on a location to magnify that
| | 04:30 | portion of the image and I think
this looks absolutely fantastic.
| | 04:34 | So I will press the five key in order
to assign a five star rating. Then I
| | 04:38 | could click again in order to zoom
back out, that's the same as pressing the
| | 04:41 | Minus key. Then I could press the Escape
key in order to return to the Bridge.
| | 04:46 | At this point, let's say that we only
want to see our star rated images. Then I
| | 04:50 | could move over to the Filter panel,
notice this Filter panel right here and
| | 04:54 | Ratings is expanded. If I were to
click on three, I would see just the three
| | 05:00 | star rated item. If I were to click on
four, I would add that, and if I were
| | 05:03 | click on five I would add that as well.
If I wanted to see just the ones that
| | 05:08 | have No Rating assigned to them, I
would press the Alt key or the Option key on
| | 05:12 | the Mac and click on No Rating in order
to see the 12 images I didn't rate, and
| | 05:18 | hide the three that I did.
| | 05:19 | Finally, I am going to go ahead and
click on No Rating again in order to see
| | 05:23 | all of my images here inside the
Content panel. If you want to open an image,
| | 05:27 | just go ahead and double-click on its
thumbnail and that opens the image here
| | 05:31 | inside Photoshop, so that you can
get to work correcting the colors and
| | 05:35 | otherwise modifying the photograph.
And there's your brief introduction to how
| | 05:40 | to use the Bridge along with Photoshop CS4.
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| Metadata essentials| 00:00 | In this exercise I am going to
introduce you to metadata. Now that might sound
| | 00:04 | very technical or geeky but metadata
is actually your friend where editing
| | 00:09 | images is concerned because it allows
you to discover how the file is captured
| | 00:13 | in the first place. It allows you to
assign copyright information, so you get
| | 00:16 | credit for your images and it allows
you to assign keywords so that you can do searches.
| | 00:22 | I am working inside the Bridge and I
have the Bridge trained on the Sammy in
| | 00:25 | chair subfolder inside the Exercise
Files folder. I am going to go ahead and
| | 00:29 | click on a representative image here.
Now an image file is made up of two
| | 00:33 | parts, the first and most important
part is the image itself. So most of the
| | 00:37 | file goes to describing the color
of each and every pixel inside of the
| | 00:42 | photograph. The rest of the
file is dedicated to metadata.
| | 00:46 | Now to see what that metadata is, we
want to click on the Metadata tab down
| | 00:49 | here by default in the lower right
region of the Window. You can also get to
| | 00:54 | that panel by going to the Window menu
and choosing Metadata Panel. I am going
| | 00:58 | to go ahead and scroll to the top of
the list so you can see that the most
| | 01:02 | essential metadata, things like the
file name, that's a bit of metadata.
| | 01:06 | The document type, this is a JPEG image.
We can see that the image was created
| | 01:10 | on August 13th and so on and so on. The
dimensions of the image down here, but
| | 01:14 | if you scroll down the list farther,
you will come to this category called
| | 01:18 | Camera Data (EXIF), which is all the
data that was captured at the moment that
| | 01:23 | the camera snapped the image. So the
camera told this image file that the
| | 01:28 | flash did not fire and that the focal
length in 35mm film terms was 75.00mm
| | 01:34 | and here is the aperture value and so
on and so on down the list right here.
| | 01:39 | So there is no confusion about how the
image was captured in the first place.
| | 01:43 | I can even see the camera that I used,
Nikon D80. Let's say now that I want to
| | 01:49 | take these images, and I want to
assign copyrights to them and I want to do
| | 01:53 | that for all of the images in this
folder. Well, then I would press Ctrl+A or
| | 01:58 | Command+A on the Mac in order to
select all of the images. Then I will go to
| | 02:02 | the File menu and I will choose this
command right here, File Info, which
| | 02:06 | brings up the File Info dialog box.
| | 02:10 | Now, I can change the Copyright
Status to Copyrighted, and I can enter my
| | 02:15 | copyright info. Now, to get the
copyright symbol on the Mac, you press Option+G
| | 02:21 | and that's G as in golf. I don't know
why it works that way, but it does.
| | 02:25 | On the PC it's even stranger, you press
and hold the Alt key and you dial in on
| | 02:30 | the numerical keypad -- keep that Alt
key down -- you dial in 0169 and then you
| | 02:37 | release Alt. So once again, hey,
that's really weird. You press and hold the
| | 02:41 | Alt key, type 0169 on the numeric
keypad and then release Alt and you get a
| | 02:47 | copyright symbol. Then put in
whatever copyright information you want after
| | 02:51 | that, you can type your name
for all I care at this point.
| | 02:54 | Finally, go ahead and give yourself a
Copyright Info URL. For example, in my
| | 02:59 | case I will go ahead and enter my
personal site here and that way if anybody
| | 03:04 | brings up this dialog box, or hunting
for the information associated with your
| | 03:07 | image. All they have to do is click on
Go To URL and they will actually go to
| | 03:11 | that web site right there. Now click OK
and you have added that information to
| | 03:16 | the metadata of the image.
| | 03:18 | Now, let's say that we want to add a
couple of keywords. For example, these are
| | 03:20 | all images of my youngest son Sammy.
So I will switch over to the Keywords
| | 03:25 | panel, which is right next to the
Metadata by default, and I will create a new
| | 03:29 | People keyword. So I am going to go
down here, to the People for a moment and
| | 03:33 | I am going to right-click on People. If
you don't have a right mouse button on
| | 03:36 | the Mac, you would press the Ctrl
key and click and then choose New Sub
| | 03:39 | Keyword and that's going to be a new
people here and I will call this Sammy,
| | 03:44 | like so. Then I will select the check
box in order to assign that keyword to Sammy.
| | 03:51 | I can also create other keywords that
are Events, People or Places and so for
| | 03:56 | example, these images of Sammy making
a goofy expression right there. I will
| | 04:00 | just go ahead and click on one of
these thumbnails to select it independently
| | 04:03 | of the others and then I will Shift+
click on another thumbnail. Then I will
| | 04:06 | select a range of thumbnails in
between so I have selected a total of five
| | 04:09 | images here, all which show Sammy
conveying this really goofy expression.
| | 04:14 | Now I'll go up to the File menu and I
will choose the File Info command, so this
| | 04:18 | is just another way of making keywords.
| | 04:21 | Then if I want to add a custom keyword,
I will click after Sammy here in this
| | 04:24 | Keywords list. I will add a semicolon
in order to set up a divider. Then I will
| | 04:29 | just enter the word goofy, and that
becomes a second keyword that the Bridge
| | 04:33 | will automatically track for me, and I
will click OK in order to assign that
| | 04:38 | keyword to those images. Now check
out the Keywords panel, I will make it a
| | 04:41 | little taller here and I will scroll
down to the bottom of the list. You can
| | 04:44 | see that there is Other Keyword called
the goofy, which is -- it's stored as
| | 04:48 | one of the Bridge keywords. But it's assigned
to some of the images inside of this folder.
| | 04:53 | Now I am going to go ahead and click
off of the thumbnails in order to deselect
| | 04:56 | all of them and let's say I want to run
a search for all of the images to which
| | 05:00 | I have assigned the keyword goofy. I
will click on Exercise Files in order to
| | 05:04 | select the folder that contains this
Sammy in chair subfolder. Then I will go
| | 05:09 | up to the search field in the upper
right corner of the window. Notice that I
| | 05:12 | have already entered the word goofy.
| | 05:14 | So I will go ahead and press the
Enter key or the Return key on the Mac, in
| | 05:17 | order to run a search for all the
files that contain the keyword goofy inside
| | 05:21 | the Exercise Files folder and all of
its subfolders. So I could have a 100
| | 05:26 | subfolders working inside this exercise
_files folder and the Bridge who would
| | 05:30 | go ahead and find only those images
throughout all of those folders that
| | 05:35 | contain the word goofy.
| | 05:36 | So if you plan on working with a lot of
images, it's a good idea to get in the
| | 05:40 | habit of assigning keywords. I could
now run a new search, or I could go ahead
| | 05:44 | and close the existing one which
is what I will do. That gives you an
| | 05:47 | introduction to how to use metadata,
in order to assign copyright info and
| | 05:52 | keywords to your images here inside the Bridge.
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| Getting around in the Image window| 00:00 | In this exercise I am going to show
you how to get around an image inside
| | 00:04 | Photoshop. I am working with a file
called The face of surf.jpg found inside
| | 00:09 | the Exercise Files folder and when you
first open an image Photoshop goes ahead
| | 00:14 | and zooms out from the image far
enough so that you can see the entire
| | 00:17 | photograph at once on screen. But
that's not going to give you a very good
| | 00:21 | sense of the detail that's available
to you. So you are going to want to zoom
| | 00:25 | in on the image and pan around at various
points as you edit it. How do you do that?
| | 00:30 | Well let's say you want to zoom in.
You'd gone to the View menu and choose the
| | 00:34 | Zoom In command and that will take you
one increment closer to the image. So
| | 00:39 | now we are viewing image at the 25%
view size. If we chose the image again, I
| | 00:44 | would see it at the 33% view size and
so on. If I want to zoom out from the
| | 00:49 | image, I go to the View menu and
choose the Zoom out command, but I think you
| | 00:53 | can get a sense here, if you were
relying exclusively commands, you would spend
| | 00:56 | a great deal of time inside Photoshop
choosing just those two commands over and
| | 01:00 | over again. So you are better off
memorizing a couple of easy to remember
| | 01:04 | keyboard shortcuts. To zoom in to the image,
press Ctrl+Plus; that would be Command+Plus
| | 01:09 | on the Mac. To zoom out press Ctrl+Minus;
that would be Command+Minus on the Mac.
| | 01:15 | You can also use the Zoom tool to zoom
in on a specific location. The Zoom tool
| | 01:20 | is located here at the bottom of the
Toolbox. I'll go ahead and select it.
| | 01:24 | Then I'll click on this man's eye and
notice I Zoom in on the eye. So I am
| | 01:29 | centering the location of my Zoom as
I click. I can also click and hold in
| | 01:34 | order to zoom continuously and once I
get beyond a certain level 500% then I am
| | 01:39 | going to see this pixel grid right here.
If I want to zoom out I would press
| | 01:45 | and hold the Alt key or the Option key
on the Mac and then I am going to click
| | 01:48 | and hold to zoom out continuously like so.
| | 01:54 | Now I am zoomed in pretty far on this
image I am going to switch back to my
| | 01:58 | Rectangular Marquee tool, which is the
default tool inside Photoshop, and the
| | 02:02 | great thing about having that
default tool selected is that its cursor is
| | 02:05 | pretty non-obtrusive. Now then I am
zoomed away in on my image I can only see a
| | 02:09 | little bit of it. Well I can pan
around in the image by pressing and holding
| | 02:13 | the spacebar, which gets me the Hand
tool, and then I drag the image to a
| | 02:17 | different location then I'd release
the spacebar to go back to my previous
| | 02:20 | active tool.
| | 02:21 | Then I'd press the spacebar again, drag
around, release the spacebar in order to
| | 02:26 | go back to my previously selected
tool and so on. So it's a really great
| | 02:29 | technique and in Photoshop CS4, you
can even toss the image if you want to,
| | 02:34 | just by dragging it and then releasing
like so which allows you to move more
| | 02:39 | quickly inside the image.
| | 02:40 | Alight, a couple of other little
tricks that I want to make you aware. I am
| | 02:44 | going to switch to a different image,
one called Smallobjects.jpg found inside
| | 02:48 | the Exercise Files folder and notice
that it contains a group of five very
| | 02:53 | small objects. I'd like to zoom in on
them get a sense of what they are. So I
| | 02:58 | am going to get the Zoom tool on the
fly by pressing and holding the Z key, Z
| | 03:02 | for zoom and then I'll drag around
this guy in order to zoom in on him, then
| | 03:08 | I'll release the Z key in order to
switch back to the previously active tool.
| | 03:13 | Sure enough there is our surfer, well
what were those other objects that we saw
| | 03:17 | above him, I could press the spacebar
and drag over an over again in order to
| | 03:23 | pan upward or I can advantage of a new
option available to us inside Photoshop
| | 03:27 | CS4. If I press and hold the H key
and then click and that's H for the Hand
| | 03:33 | tool and then click then I can move my
view around inside the image then I'd
| | 03:38 | release the mouse button and release
the H key in order to return to the
| | 03:41 | previously active tool. And I can
see that this a pelican, which is only
| | 03:46 | fitting because at one point Adobe was
calling this the bird's-eye view right here.
| | 03:50 | Because it does allows us to get a
bird's-eye view of the image as long as
| | 03:54 | we have that H key down, then to move
our view to a different location. And now
| | 03:58 | you have a sense of how to get
around in image inside Photoshop CS4.
| | Collapse this transcript |
| Adjusting brightness and contrast| 00:00 | In this exercise I'm going to show
you how to correct the brightness and
| | 00:03 | contrast of an image using a couple of
editable adjustment layers. I'm working
| | 00:07 | inside of a document called Amusement
park.jpg found inside the Exercise Files
| | 00:12 | folder. Now you can see in this
image here we have a classic backlighting
| | 00:15 | problem. The background is properly
exposed, but the foreground, the subjects
| | 00:20 | of my photograph lie in shadow.
| | 00:22 | Now I could have corrected this in
advance by using a fill flash, but I didn't.
| | 00:26 | But fortunately, Photoshop lets us
correct the problem as well. I'm going to
| | 00:30 | give myself a little more room to
work by clicking to the right of the word
| | 00:33 | Styles in order to collapse that
panel. I could expand it again just by
| | 00:37 | clicking in that same location and I
have also got open my Adjustments and
| | 00:41 | Layers panels. In order to see those
panels or any panels for that matter,
| | 00:45 | you go to the Window menu and choose a
command. So there's the Adjustments command
| | 00:49 | and there's the Layers command.
| | 00:51 | I'm also going to make my Layer
thumbnails a little bit bigger by right-
| | 00:55 | clicking underneath the word
Background in this empty area here. If you don't
| | 00:58 | have a right mouse button on the Mac,
you would press the Ctrl key and click
| | 01:02 | and I will choose Large Thumbnails. Now
to add an adjustment layer which is an
| | 01:07 | independent layer of color adjustment
that you can modify at any time you want,
| | 01:12 | which means you can change your mind,
it makes for a very flexible composition
| | 01:16 | and because I want to correct the
brightness and contrast of this image, I'm
| | 01:19 | going to click on this icon right there
which adds a Brightness/Contrast adjustment layer.
| | 01:24 | Now if you know anything about the
history of Photoshop you may have heard
| | 01:27 | people tell you never to use the
Brightness/Contrast command. That's no longer
| | 01:31 | the case. The command was upgraded
in Photoshop CS3. It's a much better
| | 01:35 | command. In fact I highly recommend it
and especially for this image here. I'm
| | 01:38 | going to click in the Brightness value
and I'm going to press Shift+Up Arrow in
| | 01:43 | order to raise that value in increments
of ten and I'm just eyeballing it. I'm
| | 01:47 | just keeping an eye on how my image
looks on screen and I'm going to take that
| | 01:52 | value up to say, 70 looks pretty good.
| | 01:55 | Now I'm having a problem with this guy
giving a little bit blown out, in other
| | 01:58 | words we are losing some definition in
this guy and I'm going to take care of
| | 02:01 | that problem by reducing the Contrast
value because this image has plenty of
| | 02:05 | contrast, in fact it has too much. So
I will click inside that Contrast value
| | 02:09 | and I will press Shift+Down Arrow a
few times and a value of -30 looks pretty
| | 02:14 | good. Now at this point, I can see
that I have actually taken the brightness
| | 02:17 | too high; so I will click inside that
Brightness value and press Shift+Down
| | 02:21 | Arrow to take it down to 60.
| | 02:22 | There are no magical values by the way
; you are just responding to the colors
| | 02:26 | that you see inside the image. Now
let's say, I feel like the colors are little
| | 02:30 | bit washed-out, I would like to make
them a bit more intense. Then I would add
| | 02:34 | a different adjustment layer, so I
will go ahead and click on this icon right
| | 02:38 | there which takes me back to the
Adjustment list and then I will click on this
| | 02:41 | stylized V, for Vibrance which
will bring up two options Vibrance and
| | 02:46 | Saturation. You can see that I have
added another adjustment layer down here in
| | 02:50 | the Layers palette and I'm
going to take my Vibrance option up.
| | 02:53 | The great thing about Vibrance is it
responds to the intensity of the colors
| | 02:57 | that are in the image. So it actually
adds intensity to the colors that
| | 03:01 | need it most. So I'm going to press
Shift+Up Arrow a few times in order to
| | 03:05 | raise that value and I will take it up
to say +50 looks pretty good and then I
| | 03:09 | might take the Saturation value up a
little bit as well to +10. Again just by
| | 03:14 | pressing Shift+Up Arrow, and in case
you are interested; if you want finer
| | 03:17 | control you can press in arrow key by
itself. The upper arrow key will raise
| | 03:21 | that value in increments of one. The
down arrow key will lower the value in
| | 03:25 | increments of one as well.
| | 03:27 | Now I can see that my colors are more
intense, they look pretty darn good.
| | 03:30 | The only problem is that I don't feel
like the Brightness and Contrast is
| | 03:33 | everything it should be anymore.
That's not a problem, I can just go back to
| | 03:37 | the Brightness/Contrast layer by
clicking on it and you will see the values
| | 03:41 | that I applied 60 and -30 and they
are completely editable. So I could take
| | 03:46 | this value up now, the Brightness
value up to 80, for example and I could tab
| | 03:51 | to the Contrast value, that is, I
press the Tab key to jump to the Contrast
| | 03:55 | value and I will press Shift+Down
Arrow to lower that one to -40. So what you
| | 03:59 | have is a very flexible combination of
editable color adjustment layers that
| | 04:04 | are non destructive because we
can modify them any time we like.
| | 04:08 | We haven't actually affected a single
pixel permanently inside this image and I
| | 04:13 | will show what I mean. I will go down
here to the Layers palette and I will
| | 04:16 | Alt-click on this eyeball right here,
that would be Option-clicking on the Mac,
| | 04:20 | in order to turn off my adjustments.
Now you can see this is the original
| | 04:24 | version of the image. If I Alt-
click or Option-click again, this is the
| | 04:28 | modified version of the image.
Thanks to Brightness/Contrast and Vibrance
| | 04:32 | working together in Photoshop CS4.
| | Collapse this transcript |
| Dodging and burning| 00:00 | In this exercise I am going to
show you how to selectively modify the
| | 00:03 | brightness of an image using the Dodge
and Burn tools. I am looking at an image
| | 00:08 | called Max on carousel.jpg found inside
the Exercise Files folder. You can see
| | 00:13 | that the face, while vibrant and energetic,
it's a little too dark. I would like
| | 00:17 | to bring it out a bit. Meanwhile the
background is a bit too bright and the
| | 00:21 | great thing about the Dodge and Burn
tools is they allow you to paint in
| | 00:24 | brightness and darkness respectively.
| | 00:27 | So let's start with the Dodge tool
right over here. Go ahead and click on it to
| | 00:31 | select it and right now my brush is a
little too small. You can see that circle
| | 00:37 | there indicates the size of my brush.
I want to make it larger and I could do
| | 00:40 | that by going up to this Brush option
right here and clicking on it to bring
| | 00:45 | up this pop-up panel and then I
could change the Diameter value just by
| | 00:49 | dragging the slider or another way to
work-- I will go ahead and hide that panel--
| | 00:53 | is to change the size of the Brush on
the fly using the square bracket keys,
| | 00:58 | just to the right of the P key. So if
you press the right bracket key, you are
| | 01:02 | going to make that brush incrementally
larger, if you press the left bracket
| | 01:05 | key you are going to make
it incrementally smaller.
| | 01:08 | I am going to work with a pretty big
brush and now just using that the default
| | 01:13 | tool settings here, I am going to
paint inside of my son Max's face, in order
| | 01:16 | to brighten it up and you can see that
goes a long way. This is before, I am
| | 01:20 | just pressing Ctrl+Z or Command+Z
on the Mac and then I press Ctrl+Z or
| | 01:23 | Command+Z again for after and that
makes a tremendous difference. Now if you
| | 01:28 | want to paint in more brightness you
certainly can, but you probably want to
| | 01:32 | use a lower Exposure value because
if you heap 50% Exposure on top of 50%
| | 01:36 | Exposure, you are probably going to
over brighten the image as you see me doing
| | 01:40 | here especially in this
region it's getting far too bright.
| | 01:43 | So let's go ahead and undo that
modification and you can change the Exposure
| | 01:46 | value by actually clicking on the word
Exposure and then entering a new value
| | 01:50 | or another way to work-- I will just
press the Escape key there. You can just press
| | 01:53 | the key in the keyboard. For example if
I press 3 I will change the Exposure to
| | 01:57 | 30%, 0 would change it to a 100%, that
would be way too high, 1 would change it
| | 02:02 | to 10% and so on; 30% is probably going
to work out nicely for this. So I will
| | 02:06 | press the 3 key and just
paint inside the face like so.
| | 02:10 | Alright, so that's looking pretty
good actually, now I will back off of the
| | 02:14 | image here and just zoom out from it
a little bit and I could brighten the
| | 02:17 | shirt a little bit if I wanted to. If I
wanted to grab a really big brush like
| | 02:20 | this and brighten up to shirt just by
painting over it, I want to go ahead and
| | 02:24 | paint that arm too to brighten it, may
be this arm over here as well and the
| | 02:30 | entire pole I think, we could use a
little bit of brightening. You can click
| | 02:33 | more than one time in certain areas and
drag if you want to paint. But clicking
| | 02:37 | tends to be actually a really nice
technique because you can just zoom in on
| | 02:41 | the certain detail inside the image.
| | 02:43 | Now let's take a look at burning, I am
going to go ahead and click and hold on
| | 02:47 | this Dodge icon to bring up this fly
out menu of alternate tools and I am going
| | 02:51 | to choose the Burn tool which allows
me to darken the image. Think toast.
| | 02:54 | If you burn toast you are going to darken
it. Alright, I am going to increase the
| | 02:57 | size of my brush, a fair amount
actually and I am just going to paint pretty
| | 03:01 | generally in this background here in
order to darken up some of these details
| | 03:06 | and I might darken up some of the
details over on the left side of the image
| | 03:10 | inside of the background of course and
paint in this area as well. Just so that
| | 03:15 | they are not competing too much with
Max in the foreground and then notice I
| | 03:18 | have this weird blur that's, up
here in this halo in back of Max.
| | 03:24 | The best way to deal with that is
just to click once, right there at the
| | 03:27 | location where that halo is centered,
its going to do us the most good and then
| | 03:31 | I will increase the size of my brush
a little and click again in order to
| | 03:35 | darken it up quite a bit. Then if I
feel like I went too far with this area of
| | 03:39 | the shirt, with the shoulder; then I
could switch back to the Dodge tool once
| | 03:42 | again, reduce the size of my brush by
pressing the left bracket key and paint a
| | 03:46 | little bit. I think that actually
goes too far, so I will undo that
| | 03:49 | modification.
| | 03:50 | I could reduce the Exposure or I could
change the Range instead of painting the
| | 03:54 | Midtones which are the moderately
bright colors inside the image. I could paint
| | 03:59 | the Shadows which are darkest colors
meanwhile Highlights are the lightest
| | 04:03 | colors. I will go with Shadows because
I want to brighten the shadows in the
| | 04:06 | shoulder there and then I will reduce
the size of my cursor little more and it
| | 04:10 | paints like so, looks pretty good.
| | 04:13 | Alright, then finally if you feel like
you have messed up the intensity of the
| | 04:16 | colors, you have got another tool
that's available to you, the Sponge tool,
| | 04:20 | which allows you to either add
intensity or reduce the intensity. I am going to
| | 04:25 | change the mode here from Desaturate to
Saturate and I am going to paint inside
| | 04:31 | of this hat, first I press the Escape key
so that this mode option is no longer
| | 04:35 | active here in the windows. Then I
will increase the size of my brush and I
| | 04:38 | will paint over the hat in order to
increase the intensity of those colors and
| | 04:42 | then I will reduce the Flow value by
pressing the 3 key to reduce it 30%;
| | 04:47 | pressing a number key is always going
to change the behavior of the active tool.
| | 04:50 | Then I will paint into that hat again
and then just because I am losing some
| | 04:54 | intensity right there, I will click a
few times to bring that color out. Then
| | 04:58 | finally something I would want to do
more for adults than kids; kids tend to
| | 05:02 | have pretty white sharp teeth as you
can see here. But you can make teeth look
| | 05:06 | brighter using the Sponge tool by
changing the mode from Saturate to Desaturate
| | 05:11 | and then I will reduce the size of my
brush and then I will paint over the
| | 05:15 | teeth, like this, just to make them a
little less saturated. That's going to
| | 05:18 | take that yellow out of those teeth.
| | 05:21 | Alright, let's get a sense of what we
have been able to do accomplish here, I
| | 05:24 | am going to press Shift+Tab in order
to hide the right side panels and then I
| | 05:29 | am going to go up to the File menu and
I am going to choose the Revert command
| | 05:32 | so we can see the original version of the image.
| | 05:34 | Now a typical application warns you
that you are about to get rid off of all of
| | 05:37 | your changes. Photoshop doesn't because
reverting is an undoable operation.
| | 05:42 | So if I press Ctrl+Z or Command+Z on the
Mac, I can see the after version of my
| | 05:46 | image. If I press Ctrl or Command+Z
again, I can see the before version.
| | 05:49 | So this is the original and this is the
modified version; thanks to our ability to
| | 05:53 | selectively adjust the brightness of the image
using Dodge and Burn here inside Photoshop CS4.
| | Collapse this transcript |
| Retouching blemishes| 00:00 | In this exercise, I am going to show
you how to retouch blemishes, how to get
| | 00:04 | rid of things like scars and
wrinkles and pimples and all of those facial
| | 00:08 | defects that we are so immensely proud
of; how to absolutely blast them away
| | 00:13 | using the Healing Brush and the Patch
tool. I am working inside of a document
| | 00:18 | called Bluebeard.jpg that comes from
the PhotoSpin Image Library and it's found
| | 00:23 | in the Exercise Files folder.
| | 00:24 | I am going to select this tool right
here, the Spot Healing Brush tool, and it's
| | 00:29 | a fairly miraculous tool. I am going
to press the right square bracket key to
| | 00:33 | make my brush larger as we are seeing
me do here. What it allows you to do is
| | 00:37 | just paint away areas of the image, so
for example, if I click at this location
| | 00:42 | right there, I will replace that area
with a different portion of the image. So
| | 00:47 | what Photoshop is doing is it's cloning
from one area to another area and then
| | 00:52 | mixing the two areas together in
order to create a seamless blend.
| | 00:57 | It's deciding the source area, that
is the area that it's cloning from
| | 01:01 | automatically when you are
using the Spot Healing Brush.
| | 01:04 | Alright I am going to press the left
bracket key a couple of times to make my
| | 01:07 | brush smaller and then I am going to
click on this area in order to replace it.
| | 01:11 | That worked out very nicely. I will
click here, that gets replaced but not so
| | 01:15 | nicely, notice that, if I go ahead and
zoom in, I have created a wound in this
| | 01:19 | area. So we have gone from -- if I
press Ctrl+Z or Command+Z on the Mac,
| | 01:23 | we have gone from a blemish to, if I press
Ctrl+Z or Command+Z again, this little wound.
| | 01:28 | What's happened is you can tell
that the source point isn't all that far away;
| | 01:33 | it's right there. So I went ahead
and cloned this area on to this area in
| | 01:36 | order to create this cut.
| | 01:37 | Alright, so let's go ahead and undo
that modification. If you start running
| | 01:41 | into problems with the Spot Healing
Brush as you are bound to because it's a
| | 01:45 | fairly random tool, then click and hold
on the tool to bring up a flyout menu
| | 01:50 | and choose the Healing Brush tool,
which is slightly harder to use but it also
| | 01:55 | gives you more control. Here is how it
works. You go ahead and press the Alt
| | 01:59 | key here on the PC or the Option key on
the Mac and then you click in order to
| | 02:04 | set the point from which you are
going to be cloning. Then you go ahead and
| | 02:07 | release the Alt or Option key and
notice you get a preview of your brush; this
| | 02:11 | is what you are going to be painting
with and then you paint over the area that
| | 02:14 | you want to replace and you release
and notice what a great job it does of
| | 02:19 | blending those two areas together.
| | 02:20 | Now it's not altogether perfect
necessarily but it's pretty darn good and if
| | 02:25 | you end up with details that don't
really make sense like this area right here
| | 02:28 | then go ahead and Alt-click or Option-
click in order to set a different source
| | 02:32 | point. Then I will go ahead and make my
brush a little smaller by pressing the
| | 02:36 | left bracket key and then I will paint
over this area like so and it's looking
| | 02:39 | better. It's going to look awfully
better when we start zooming out here.
| | 02:43 | All right and this is how the tool works.
You just go ahead and Alt-click or
| | 02:46 | Option-click at a location, paint in a
different area. You are generally better
| | 02:50 | off keeping your source and
destinations pretty similar to each other, so in
| | 02:54 | other words you Alt-click fairly close
to the location where you paint, on the
| | 02:58 | Mac that would be Option-click fairly
close to the location where you paint.
| | 03:02 | Alright, what about some bigger defects
like this? That's a good region to fix
| | 03:07 | with the Patch tool, so I will go
ahead and click and hold once again on the
| | 03:11 | Healing Brush and I will choose the
Patch tool from the fly out menu and then I
| | 03:14 | am going drag around this area, this
is called lassoing inside Photoshop, I
| | 03:19 | will lasso this area in order to select
it and notice that I am selecting well
| | 03:23 | outside of this thing, this mole.
Next I will drag this region like so to a
| | 03:29 | better area, to the area that I
want to clone. So in other words, I am
| | 03:34 | selecting the destination and then I am
dragging it to a better source and then
| | 03:38 | I release and I end up peeling that area away.
| | 03:41 | Now I will click off so that I get
rid of the marching ants that were
| | 03:43 | surrounding that selection. We still
have a little bit of weirdness going on
| | 03:47 | right here, so go ahead and select it
and drag that to a different location
| | 03:51 | like so and then release and so on. So
really healing is a matter of hitting
| | 03:56 | different locations inside the image
over and over again. I will show you one
| | 04:00 | other thing, a very cool thing that
you can do with the Healing Brush tool.
| | 04:03 | Let's go ahead and switch back to it
here and I will also make sure to deselect
| | 04:07 | the image. I have a little selection
going, I will go up to the Select menu and
| | 04:10 | I will choose the Deselect
command to get rid of that.
| | 04:14 | Let's say I want to take this good eye
and I want to paint it over the bad eye
| | 04:18 | over here on the left-hand side. I
would go ahead and Alt-click or Option-click
| | 04:23 | inside the good eye, then if I were
to just start painting; I will make my
| | 04:27 | brush bigger by pressing the right
bracket keys a few times. If I were to just
| | 04:30 | start painting, notice I paint a --
whatever it is, a right eye into the left
| | 04:35 | eye area. Of course I am painting his
left eye into his right eye but whatever
| | 04:39 | it is, it doesn't look right at
all so let's go ahead and undo that
| | 04:42 | modification.
| | 04:43 | I am going to go up to the Window menu
and I am going to choose Clone Source to
| | 04:48 | bring up the Clone Source panel. Now
it's fairly technical panel -- just bear
| | 04:52 | this in mind, you can flip the source
onto the destination by changing the
| | 04:58 | Width value right here to negative,
just change it to -100, just like that.
| | 05:03 | Then I am also going to slightly rotate
my source to -6 degrees like that, then
| | 05:08 | I will press the Enter key or the
Return key on the Mac and I will make my
| | 05:11 | brush way bigger so that we can see
how it's going to fit, looks like it's
| | 05:14 | going to work out pretty well.
| | 05:15 | Now I make it smaller again by
pressing the left bracket key and I will click
| | 05:20 | just to lay down the source; just to
create a relationship between the source
| | 05:23 | and the destination. Then I will go up
to the Options bar up here and I will
| | 05:27 | turn on Aligned. So I turn on that
Aligned check box and now paint that right
| | 05:32 | eye over the left like so and once
you release, notice you will get a nice
| | 05:37 | smooth match between the two and I
will now go ahead and close that Clone
| | 05:41 | Source panel and this is our
healed image looking pretty darn good.
| | 05:46 | If I were to go to the File menu and
choose the Revert command in order to load
| | 05:50 | up the original version of the image,
we will see how it used to look. So this
| | 05:54 | is the before version of the image, if
I press Ctrl+Z or Command+Z on the Mac,
| | 05:57 | we will see the after version of the
image. Thanks to the Healing Brush and
| | 06:01 | Patch tools inside Photoshop.
| | Collapse this transcript |
| Losing weight| 00:00 | In this exercise I am going to show you
how to take weight off of somebody, how
| | 00:04 | to make them lose weight in Photoshop.
The idea is that the camera adds 10 pounds.
| | 00:09 | The Liquify command allows you
to take those pounds off; in fact the
| | 00:14 | Liquify command allows you to take way
more than 10 pounds off as we're about to see.
| | 00:20 | This image is called Tummy.jpg. It
comes too us from photographer Lauren
| | 00:24 | Sawyer of iStockphoto.com and it's
found inside the Exercise Files folder.
| | 00:29 | Now one would hope this is the fairly
exaggerated example; in other words the
| | 00:33 | images that you'll be working on will
probably have more subtle weight issues
| | 00:38 | associated with them and the people
will probably have their clothes on, but if
| | 00:42 | you can fix something like this,
then you'll be able to fix anything.
| | 00:46 | I'm going to go up to the Filter menu
and choose the Liquify command, which
| | 00:50 | allows me to brush in distortions and
change physical forms. It's really great
| | 00:54 | for the weight loss and any sort of
structural stuff and notice that it brings
| | 01:00 | up what it's really for all
intensions and purposes an independent utility,
| | 01:03 | that just happens to run inside of Photoshop.
| | 01:06 | Now currently I have this tool selected
Forward Warp tool, which allows you to
| | 01:11 | push pixels around essentially and I am
going to make this brush much bigger by
| | 01:16 | pressing Shift along with the right
bracket key, this allows me to make the
| | 01:20 | Brush bigger more quickly inside Liquify.
It doesn't really happen to work that
| | 01:25 | way outside in larger world of Photoshop,
but it does here and now I can scoot
| | 01:30 | this area right here upward like so and
that's what I want to do. I want to be
| | 01:35 | able to move this guy's tummy up for
starters in order to get it more sort of
| | 01:40 | in the vicinity of where I want it to
be. I move his belly button up as well
| | 01:43 | because it's located too low at this point.
| | 01:45 | Now you need to watch it of course. If
you make too bigger of modifications to
| | 01:49 | quickly, you are going to see a bunch
of stretch marks in this area and we will
| | 01:53 | fix those at the end of the exercise.
Now I'll make my brush smaller by
| | 01:56 | pressing and holding the left
bracket key, so that I can move these areas
| | 02:01 | around a little bit. You can see things
are pretty wiggly at this point and I
| | 02:05 | can smooth them out using this wonderful
tool here that's called the Pucker tool.
| | 02:10 | So I'll go ahead and select this
tool and then I'll get a smaller brush
| | 02:14 | by pressing and holding the left
bracket key and now I am just going to drag
| | 02:17 | along this area. Notice how it smooths
off that transition, very nicely actually.
| | 02:23 | Now let's go back to the Forward Warp
tool, which you can think of just
| | 02:26 | being the Warp tool. The Forward
doesn't really have much to do it with the
| | 02:29 | concept here. We are just trying to
move these pixels around by pushing them.
| | 02:33 | Alright, so that looks pretty good to
me. Now I'll make my brush bigger by
| | 02:36 | pressing and holding the right bracket
and then I am going to tuck this area in
| | 02:40 | a little and if at any time you notice
things are getting sort of wriggly on you,
| | 02:45 | remember that you can use this
tool right here, the Pucker tool, you can
| | 02:48 | drag with it with a very small
brush and you'll be able to smooth those
| | 02:52 | wiggly areas a way.
| | 02:53 | Alright, I am going to go ahead and
tuck in the side a little bit there.
| | 02:56 | I could also make certain areas bigger,
if I wanted too. If I go here and grab
| | 03:01 | the Bloat tool, then I can make this
fellow's arms look more muscular, just by
| | 03:05 | sort of clicking on them every once in
a while and some area that need to, sort
| | 03:09 | of bulk out if he was eating an awful
lot of protein or something along those
| | 03:13 | lines and doing some heavy
lifting every once in a while.
| | 03:16 | Another think that you can do inside
the Liquify dialog box is you can save
| | 03:20 | your modifications by clicking on this
Save Mesh button. And that will save the
| | 03:25 | mesh shape, there is actually a mesh
that's been assigned to this image in
| | 03:29 | order to apply the distortion. If you
want to see that mesh you can turn on
| | 03:33 | this Show Mesh check box and that's
what you save, when you click on this
| | 03:37 | button and it's a really great idea. If
you think you have got in anywhere with
| | 03:40 | your modifications, then go ahead and
save them out. That way you can load up
| | 03:43 | in up later in case you
decide to undo and try again.
| | 03:47 | Any way I am going to turn off Show
Mesh, because it sort of gets in the way
| | 03:49 | there. Now I have taken the time to go
ahead and save some settings in advance,
| | 03:53 | I am going to load them up right now
by clicking on the Load Mesh button and
| | 03:57 | there they are right there, Tummyfixer.msh,
and I'll click open in order to apply
| | 04:02 | those settings to my image and things
are looking pretty darn good here. Now
| | 04:06 | I'll go ahead and click the OK button
in order to apply the Liquify command.
| | 04:11 | Now the only are that I think looks
kind of trashy actually is this area, where
| | 04:15 | we have stretched the pixels way too far
and I can fix that using my Healing Brush.
| | 04:21 | So I'll go ahead and select the
standard Healing Brush tool here and then I'll
| | 04:25 | Option-click in this region, which
looks pretty good or Alt-click here on the
| | 04:30 | PC in order to set the source and I
am now going to paint too close to his
| | 04:33 | pants. I'll paint up here back and
forth, because otherwise it will start
| | 04:36 | picking up the darkness of the pants
there and I don't want to do that. So I'll
| | 04:39 | just paint back and forth in this area
like so and then release and that looks
| | 04:43 | pretty good, not perfect but pretty
darn good. I might reduce the size of my
| | 04:46 | brush a little bit. Alt-click again
Option-click on the Mac, click there, maybe
| | 04:51 | click here a little bit, that kind of
thing, just to go ahead and fix that area up.
| | 04:55 | Now let's see what kind
of modification we've made.
| | 04:58 | If I go up to the File menu and
choose the Revert command, I'll load the
| | 05:02 | original version of the image, so there
it is. He has little bit of a belly and
| | 05:06 | then if I press Ctrl+Z or Command+
Z on the Mac, he is looking like
| | 05:10 | the Incredible Hulk really. And that's the
kind of miracle diet program you can pull
| | 05:14 | off using the Liquify command. Try it
with your own images and I think you will
| | 05:18 | have a fair degree of success.
| | Collapse this transcript |
| Selecting portions of an image| 00:00 | In this exercise, I am going to show
you how to select one portion of an image
| | 00:03 | independently of another portion so
that you can edit those two regions
| | 00:07 | differently than each other. For
example, we are going to select this giraffe
| | 00:11 | right here and we are going to paint
inside of the giraffe without affecting
| | 00:15 | the sky and we are going to move the
giraffe into an alternate background.
| | 00:19 | Now there is are a lot of different ways
to select images inside of Photoshop.
| | 00:23 | Consider this just one example. The two
images I have open are Giraffe.jpeg and
| | 00:29 | Bolivian background.jpeg. Both
found inside the Exercise Files folder.
| | 00:35 | Incidentally I am seeing these two
images in the Split screen view thanks to
| | 00:39 | this function right there. The Arrange
Documents icon in the Applications bar.
| | 00:43 | If you click on it, you'll bring up a
flyout menu and if you choose this icon, 2-up,
| | 00:47 | then you'll get the view that we
see here. I am going to switch back to
| | 00:51 | Consolidate All view so that I am
looking at just the giraffe by itself and
| | 00:55 | I'll go ahead and zoom in on it.
Now we want to select the giraffe
| | 00:58 | independently of the sky. But the sky
is the easier thing to select and I am
| | 01:03 | going to select the sky using one of
the oldest selection functions inside of
| | 01:07 | Photoshop. I am going to click and
hold on this icon right there. The Quick
| | 01:10 | Selection tool below the Lasso tool.
That brings up a flyout menu and I am
| | 01:15 | going to choose the Magic Wand tool
which allows me to select continuous
| | 01:19 | regions of color and to use this tool,
assuming the default settings that we see
| | 01:23 | up here in the Options bar, all I have
to do is click in the sky and it goes
| | 01:28 | ahead and samples that color that I
clicked on and then grows the selection to
| | 01:33 | include neighboring colors that fall
inside the Tolerance Range right up here.
| | 01:37 | Now that doesn't quite include all of
the colors in the sky. So I need to grow
| | 01:42 | the selection that much farther and
I'll do that by going up to Select menu and
| | 01:47 | choosing the Similar command, which
allows me to make sure that I am growing
| | 01:51 | just into adjacent similarly colored
pixels. So I'll go ahead and choose
| | 01:56 | Similar and that selects almost all of
the sky. If you look down here at the
| | 02:00 | bottom, you can see that these
marching ants here that indicate the border of
| | 02:04 | the selection outline are sort of
wiggling into the sky a little bit. So let's
| | 02:08 | try that command one more time.
| | 02:09 | I am going to go up to the Select Menu
and choose similar again and now we have
| | 02:13 | selected all of the sky. Problem is, I
really want to Select the giraffe. So I
| | 02:18 | am going to go up to the Select Menu
and I am going to choose the Inverse
| | 02:21 | command which reverses the selection.
Selects what's not selected and deselects
| | 02:26 | what is. It doesn't look very different,
but now we have selected the giraffe.
| | 02:30 | All right let's go back to that 2-up view
here. So that we can see the alternate
| | 02:34 | background. I am going to zoom out from
the giraffe just a little bit and I am
| | 02:38 | going to move the giraffe into the new
background using this tool right here,
| | 02:42 | the Move tool. So go ahead and click
on that tool to select it. Then I will
| | 02:46 | drag the giraffe down into the other
image. So this is a drag and drop. Here is
| | 02:51 | the trick though. Before you drop, press
and hold the Shift key and then release
| | 02:57 | the mouse button.
| | 02:58 | And by virtue of the fact that I
Shift-dropped this giraffe in the place,
| | 03:03 | it is now registered properly into the
background image. Now that's all very well
| | 03:07 | and good. Let's go back to
Consolidate All here so that we are seeing the
| | 03:10 | giraffe inside of its new home and
incidentally this giraffe, of course, comes
| | 03:14 | from Africa. This background comes
from Bolivia, so it does not even matter
| | 03:19 | where are these two images were shot.
You can still merge them together.
| | 03:23 | Problem is we are seeing a little bit
of blue fringe in this mane here because
| | 03:28 | we selected some of the background
pixels when we selected the giraffe.
| | 03:32 | So it's not quite the most realistic
composite on earth. So let's go ahead and
| | 03:35 | press Control+Z or Command+Z on the Mac
to undo the import of the giraffe. I'll go
| | 03:40 | back to the giraffe image and I am
going to zoom in on that mane and I am going
| | 03:46 | to go ahead and paint inside of it
using the Paintbrush tool right here. So
| | 03:51 | I'll go ahead and select the Brush tool
and I am going to make my cursor bigger
| | 03:55 | by pressing the right bracket key a few
times and I want to paint with a color
| | 04:00 | that's found inside of the giraffe. So
I'll press and hold the Alt key or the
| | 04:05 | Option key on a Mac to get the
Eyedropper tool on the fly here and then I'll
| | 04:09 | click inside of a representative color
inside that mane and it brings up orange
| | 04:14 | as my foreground color, as you
can see sort of a dark orange.
| | 04:17 | Now I'll release the Alt or Option key.
| | 04:19 | Now if I were to just paint inside of
the giraffe, notice that I am painting
| | 04:22 | inside the selection which is great.
However I am painting over the giraffe's mane.
| | 04:27 | So I'll go ahead and undo that
modification. Let's go up to the Mode menu
| | 04:33 | and change this to Hue and that way
we are just painting in the core color
| | 04:37 | that's associated with this orange
and all the other information will map
| | 04:41 | according to the existing giraffe. Now
watch what happens when I paint inside
| | 04:45 | of the area, just get rid of the blue
and I still have all that other giraffe
| | 04:49 | detail built-in. Looks great. I am
also going to paint inside of this little
| | 04:53 | tuft up here, the horn at the top of
the head, and there is some blue action
| | 04:57 | going on inside of the mouth and along
the whiskers here on the chin that I'd
| | 05:01 | like to paint away as well.
| | 05:03 | Now let's go back to that Move tool.
We'll go ahead and zoom out here so we can
| | 05:06 | take in more of the giraffe at the time.
I'll go back to that 2-up display and
| | 05:12 | now I'll drag the giraffe and before I
drop, I will press and hold the Shift key
| | 05:16 | and then release the mouse button
and of course we are too zoomed in here.
| | 05:20 | So let's go ahead and switch to the
Consolidate All icon so that we can see
| | 05:24 | this image in its new home. And let's
go ahead and zoom out a click and notice
| | 05:29 | that we have some nice edges going on
associated with this giraffe. So the mane
| | 05:34 | looks good, the chin whiskers look good,
the horn looks pretty good as well.
| | 05:38 | Against it's new background, I am
going to go ahead and press Shift+Tab in
| | 05:41 | order to hide those right side palettes.
And here we have the finish composition,
| | 05:45 | thanks to one of the oldest selection
tools, the Magic Wand, working together
| | 05:49 | with other selection
functions here inside Photoshop.
| | Collapse this transcript |
| Covering up unwanted details| 00:00 | In this exercise, I am going to show
you how to cover up unwanted details
| | 00:04 | inside of an image by
duplicating other regions in an image.
| | 00:07 | I am looking at a photograph called
Sam sits.jpg found inside the exercise
| | 00:13 | files folder. And this is a pretty
nice photograph, my youngest son sitting
| | 00:17 | here in our backyard. But I don't like
this thing that's just protruding into
| | 00:21 | the left side of the image. So it's just
not enough of it. It's just distracting.
| | 00:25 | So I would like to get rid of this
region. I would like to patch it up using
| | 00:29 | this region of grass over here. So I
will go ahead and select this area using
| | 00:35 | the Lasso tool, another one of
Photoshop's Selection tools. I'll go ahead and
| | 00:40 | grab the Lasso tool and then I am just
going to drag pretty far out from that
| | 00:45 | edge because there is some dead grass
I am going to need to cover up as well here.
| | 00:49 | Then I will just drag up and around
and release, and that completes the
| | 00:52 | selection. Now, I could try to use
something like the Patch tool to heal away
| | 00:59 | this area. So I will go ahead and
click and hold on the Healing Brush icon in
| | 01:02 | order to bring up the flyout menu and
I will choose the Patch tool. You can
| | 01:07 | use the Patch tool with any
selection regardless of how you created it.
| | 01:11 | I will drag this selection over to
this good area of lawn and I'll release.
| | 01:16 | Notice, thanks to the way Healing works
inside a Photoshop. We get this sort of
| | 01:20 | weird halo right here;
just doesn't look right at all.
| | 01:23 | So let's try a different technique. I
will go ahead and Undo that modification
| | 01:27 | by pressing Ctrl+Z or Command+Z on the
Mac. Let's switch back to the Lasso tool
| | 01:32 | here or one of the other selection
tools that won't end up healing the image.
| | 01:36 | And I am going to go on to the Select
menu, and I am going to choose Modify,
| | 01:40 | and I will choose Feather, which
allows me to soften the edges of the
| | 01:44 | selection. And I am really going to
soften these edges. I am going to take this
| | 01:47 | Feather Radius value to 40
pixels and I am going to click OK.
| | 01:51 | Now, it's not going to look all that
different. The marching ants pretty much
| | 01:55 | trace the same outline they did before.
It's a little smoother than it was.
| | 01:58 | But, what's really happening is we have
a very soft selection outline at work.
| | 02:03 | Now, I am going to drag the selection,
and notice that I am just moving the
| | 02:07 | selection outline. I am not moving any
pixels inside the selection. So I will
| | 02:11 | move the selection over to this
region right here. Maybe move it a little
| | 02:14 | closer to Sam's hand, so that we are
catching some of these pixels on the
| | 02:18 | outside here.
| | 02:19 | Then, in order to duplicate this
portion of the image, I will grab the Move
| | 02:24 | tool at the top of the Toolbox, and I
will press and hold the Alt key or the
| | 02:30 | Option key on the Mac, and notice my
cursor, notice how it changes. This is
| | 02:33 | what the cursor looks like when I
move it into the selection outline and I
| | 02:37 | don't have any key pressed.
| | 02:39 | You can see that I have this little
scissors, which is telling me if I try to
| | 02:42 | drag this to a new location, I am
going to leave a hole. that's the color of
| | 02:47 | the background color, so white in my
case. I will go ahead and Undo that
| | 02:51 | modification by pressing Ctrl or
Command+Z, and instead I will press and hold
| | 02:55 | the Alt key on the PC or the Option
key on the Mac and notice my cursor
| | 02:58 | changes to the sort of double arrowhead,
meaning that I am going to duplicate
| | 03:02 | the selection. I'll Alt-drag it or
Option-drag it on the Mac over to this region here.
| | 03:07 | Notice that I am dragging past the
edge, so I'll go ahead and cover up that
| | 03:11 | edge grass and then I will release
once I have moved that selection into
| | 03:16 | place. Now at this point, I can go
ahead and de-select the image by going up to
| | 03:20 | the Select menu and choosing Deselect,
and notice that I have a pretty darn
| | 03:26 | good edge going here.
| | 03:27 | Now, if it's not good enough, if you
feel like there is still some stragglers
| | 03:30 | right there at the edge, that things
don't really match up very well. That's
| | 03:33 | when you'd go and grab the Healing Brush,
and I would Alt-click or Option-click
| | 03:40 | over in a region of the grass towards
the top of the image. And the reason I am
| | 03:43 | using this grass towards the top,
not at the bottom, is because the amount
| | 03:47 | of grass and the focus of the grass
matches this region where it wouldn't if we
| | 03:51 | were trying to clone from down here.
| | 03:53 | So I'll Alt-click or Option-click up in
this region right there, and then I'll
| | 03:57 | just kind of drag around these areas
in order to fill in some of this detail
| | 04:01 | and heal the seams between the grass,
and oh! You know what, I am going to go
| | 04:05 | ahead and Undo that last modification.
It's going to work out better, if after
| | 04:09 | I paint inside of this region, then I
go ahead and click on Aligned, so we are
| | 04:14 | aligning from the original source
point, and then I'd go ahead and paint in
| | 04:17 | some of these regions like so.
| | 04:19 | It looks pretty good. So just to
give you a sense of what we are able to
| | 04:22 | accomplish here, I will go to the
File menu, and I will choose the Revert
| | 04:26 | command. So this is the before version
of the image with a distracting detail.
| | 04:31 | This is the after version of the image.
Thanks to duplicating a region and
| | 04:35 | moving it into a different location.
| | Collapse this transcript |
| Working with layers| 00:00 | In this exercise, I am going to show
you how to work with layers. Now, layers
| | 00:04 | are an enormous topic. I won't
expect you to have this topic mastered by
| | 00:08 | time you are done with this video.
| | 00:09 | I just want you to have a sense of
how much power and how much flexibility
| | 00:14 | layers provide. I have two images open,
Wet one.jpg and Wet two.psd, both found
| | 00:21 | inside the Exercise Files folder.
| | 00:23 | These images come to us from
photographer Kateryna Govorushchenko of
| | 00:27 | iStockphoto.com. In this little project,
I would like to take this woman and I
| | 00:32 | would like to composite her against a
perfectly white background. So I am going
| | 00:36 | to select her using a high-end
selection function inside the Photoshop and
| | 00:41 | it's called the Color Range command.
| | 00:42 | I am going to go up to the Select menu
and I am going to choose Color Range
| | 00:47 | to bring up this dialog box right here.
Now when you first see the Color Range
| | 00:50 | dialog box, it doesn't make a heck of a
lot of sense. But think out of it as a
| | 00:54 | kind of magic wand.
| | 00:56 | Notice if I move my cursor out of
the dialog box, it turns into an eyedropper.
| | 01:00 | If I click, then the region
of the background becomes white here
| | 01:04 | inside of this Selection Preview.
And that whiteness indicates selection,
| | 01:09 | indicates an area that will be
selected when we click the OK button.
| | 01:14 | Now to add more background to the
selection, I am going to Shift-drag. So I am
| | 01:19 | pressing the Shift key and dragging
along the bottom region of this image like
| | 01:23 | so. And when I press the Shift key and
drag, as I am doing once again up near
| | 01:28 | the face, still in the background of course,
I am adding all the colors that I drag over.
| | 01:33 | Finally, let's go ahead and get that
little area that's not selected behind her
| | 01:37 | head. So I'll Shift-drag behind her
head all the way to the upper right corner
| | 01:41 | like so. Then I am going to take
the Fuzziness value up to 50, and that
| | 01:46 | increases the number of colors that
gets selected at a time, so the neighboring
| | 01:51 | colors. Now I'll click OK in
order to accept that selection.
| | 01:56 | Now, I have selected the background and
not her. So I am going to go up to the
| | 02:00 | Select menu, and I am going to choose
the Inverse command. As some of you know,
| | 02:04 | there is an Invert check box inside of
the Color Range dialog box that I could
| | 02:08 | have used as well, but this is just as easy.
| | 02:10 | Now, I have got her selected and I
can move her to an independent layer by
| | 02:15 | going up to the Layer menu, choosing New,
and choosing Layer via Copy and that
| | 02:21 | will copy her to an independent layer
as we can see right there. And you will
| | 02:25 | often hear this called jumping the
image, which is why the keyboard shortcut is
| | 02:29 | Ctrl+J or Command+J on the Mac. And
that checkerboard pattern inside the
| | 02:33 | thumbnail indicates transparency.
| | 02:36 | But I tell you what, there is a better
way to work. I am going to press Ctrl+Z
| | 02:39 | or Command+Z on the Mac in order to
undo that modification. And instead, I am
| | 02:44 | just going to go ahead and convert this
background layer here inside the Layers
| | 02:47 | panel, and incidentally if you can't
see the Layers panel on screen, you can go
| | 02:51 | to the Window menu and
choose the Layers command.
| | 02:53 | I am going to convert this background
layer which indicates that we have a flat
| | 02:58 | image without any layers whatsoever by
double-clicking on it. Then, I will go
| | 03:03 | ahead and call this layer, Women One,
and I will click OK. Now she is converted
| | 03:09 | to an independent layer.
| | 03:10 | Now, I'll mask away the background by
going down to this Add Layer Mask icon,
| | 03:16 | and clicking on it. And notice that
temporarily masks away the background.
| | 03:21 | The background is still there. All I have
to do is Shift-click on this little icon
| | 03:25 | in order to bring it back. Shift-
click again to mask it away. So this is a
| | 03:29 | temporary modification.
| | 03:32 | Now, I'd like to add a white background
behind the image and I'll do that just
| | 03:36 | by clicking on this New Layer icon down
here at the bottom of the Layers panel.
| | 03:40 | That will add a new layer to the top
of the stack and now to convert that
| | 03:45 | layer to a background, which will be
an empty background, I'll go up to the
| | 03:49 | Layer menu, choose New, and choose
Background From Layer. And that turns that
| | 03:55 | into a layer that's behind the
previous layer and it's now a flat background
| | 04:00 | set to white.
| | 04:01 | So we have our original photograph
completely unharmed, completely unmodified,
| | 04:05 | that is none of the pixels have been
permanently damaged, set against a white background.
| | 04:10 | Now let's go ahead and bring up this
other image that I have open, Wet two,
| | 04:14 | and notice I have already gone ahead
and created a layer mask for this image.
| | 04:18 | So if I Shift-click on it, we can
see that she has masked away from her
| | 04:21 | background and I am going to display
both of the images at the same time by
| | 04:27 | choosing this 2-Up icon from the
Application bar. Then, I am going to get my
| | 04:32 | Move tool and I am going to drag her from
this location and drop her into the background.
| | 04:38 | Then let's go ahead and switch back to
the Consolidate All view. And with this
| | 04:43 | new layer active inside the Layers
panel, I will go ahead and drag it over
| | 04:47 | still with the Move tool and I am
pressing the Shift key just to make sure
| | 04:50 | that I am constraining the angle of my
drag to exactly horizontal so that she
| | 04:54 | is still centered vertically.
| | 04:56 | There we have a professional quality
comp that we were able to create in a
| | 05:01 | matter of minutes setting these
beautiful images against this white background.
| | 05:05 | Thanks to the power of layers inside Photoshop.
| | Collapse this transcript |
| Correcting color| 00:00 | In this exercise, I am going to show
you how to adjust the colors in a layered
| | 00:04 | composition using adjustment layers,
very powerful application of the software coming up.
| | 00:10 | I am working inside of a document
called Dripping wet.psd found inside the
| | 00:14 | Exercise Files folder. Again, these
images come to us from photographer
| | 00:18 | Kateryna Govorushchenko. I am going to
make my panels a little wider by dragging
| | 00:23 | this vertical divider between the
panels and the open image. And then I'm
| | 00:27 | going to click on the top
layer in the stack, Woman One.
| | 00:29 | We have got a fairly graphical
composition going on. I want to really emphasize
| | 00:34 | the graphic nature of this piece by
exaggerating the contrast and the color
| | 00:38 | inside the image. So we are going to start things
off by adding a Brightness/Color adjustment layer.
| | 00:42 | I will make sure my Adjustments panel
is open and if it isn't, I can go to the
| | 00:46 | Window menu and choose Adjustments.
Then I am going to click on Brightness/
| | 00:50 | Contrast in order to add a Brightness/
Contrast adjustment layer. I will start
| | 00:54 | by increasing the Contrast to let's
say, about something like 50. It looks
| | 00:59 | pretty nice, and notice that we're modifying
the colors of both layers at the same time.
| | 01:05 | So we are affecting all layers below
the adjustment layer. And then I am going
| | 01:10 | to increase the Brightness value by
clicking inside here and pressing Shift+Up
| | 01:14 | Arrow till I get about 30, it looks pretty good.
| | 01:17 | Now let's say, I want to apply different
color adjustments to each one of these images.
| | 01:21 | For example, I want to increase
the saturation, the color intensity of
| | 01:26 | the woman on the eft here. And I'm going to do
that by adding a different kind of adjustment layer.
| | 01:30 | I will click on this left pointing
arrowhead to return to the adjustments list,
| | 01:35 | and then I will click on this icon
for Hue/Saturation and that adds a
| | 01:40 | Hue/Saturation adjustment layer. Now,
it's important to bear in mind, when you
| | 01:43 | first add an adjustment layer,
it doesn't do anything to the image.
| | 01:46 | You have to modify the settings in
order to see the changes take effect.
| | 01:49 | And I'm going to select this tool right
here which is new to Photoshop CS4.
| | 01:54 | It allows me to target my color
correction by clicking and dragging inside the
| | 01:58 | image. I am going to click on this
woman's lips right here, and I am going to
| | 02:02 | drag over to the right to increase the
Saturation or I can drag to the left to
| | 02:06 | decrease the Saturation. I am going to
drag a little bit to the right, to get
| | 02:11 | these hot colors right here. Now,
notice that I am affecting both images.
| | 02:15 | I don't want that. I just want
to effect the image on the left.
| | 02:18 | If I look at the way the layers are
organized in the stack here, Woman Two is
| | 02:21 | below Woman One. So I can just drag
this new Hue/Saturation adjustment layer,
| | 02:26 | down the list to below woman one, and
that way, it will just effect woman two.
| | 02:33 | So adjustment layers only effect the
layers below them. Things get a little
| | 02:37 | trickier if you want to modify a layer
that's higher in the stack. For example,
| | 02:40 | I will go ahead and click on woman one,
and let's say that I want to mute some
| | 02:44 | of the reds inside of this layer.
| | 02:46 | I am going to add yet another
adjustment layer, this time Color Balance,
| | 02:50 | by clicking on the Color Balance icon.
And I am going to shift the colors in this
| | 02:54 | image from red over to red's color
opposite. It's color compliment which is cyan,
| | 02:59 | and I am actually going to shift
these colors pretty far over,
| | 03:02 | all the way to -30 right here.
| | 03:04 | Now, notice that I am changing, once
again I am changing both of the images. So
| | 03:09 | if I click the eyeball in front of this
Color Balance layer to turn it off, you
| | 03:13 | can see that both layers as I turn it
back on, are changing at once. So how do
| | 03:18 | I effect just woman one,
and not woman two below.
| | 03:22 | Well, I go to this icon right there.
This little Clipping icon, and I click on
| | 03:27 | it. And that clips this color
adjustment to woman one. Notice, how the color
| | 03:31 | balance layer is now indented, and it
has this little down pointing arrowhead,
| | 03:35 | that shows that it's affecting the
layer that's immediately below it
| | 03:38 | independently of the other
layers inside of the stack.
| | 03:41 | I am going to go ahead and press Shift+
Tab to hide my palettes, and then I am
| | 03:45 | going to press Ctrl+Plus to zoom in,
that would be Command+Plus on the Mac of course.
| | 03:49 | That is my final composition. Thanks
to the fact that I can modify colors
| | 03:54 | inside of a layered
composition using adjustment layers.
| | Collapse this transcript |
| Black and white| 00:00 | In this exercise, I am going to show
you how to take a full color photograph
| | 00:03 | and convert it into a custom
black and white photograph.
| | 00:06 | Now, if you used to work with film
then you're probably used to thinking
| | 00:09 | of black and white and color
photography as two totally different art forms.
| | 00:13 | You use different films, you use
different techniques and so on.
| | 00:17 | Whereas in the digital age, with very
few exceptions, even if you are bound
| | 00:21 | and determined to create a black and
white photograph from the very beginning,
| | 00:24 | you are better off capturing that
photograph in color and then bringing it into
| | 00:28 | Photoshop and mixing your own custom
black and white. Because inside Photoshop,
| | 00:33 | you have a world of opportunities
available to you and I will show you exactly
| | 00:37 | what they are in this exercise.
| | 00:39 | I am working inside of an image
called Boys on dock.jpg found inside the
| | 00:43 | Exercise Files folder. So I have got
this image of my two children that I shot
| | 00:48 | with a bit of deep focus here. And I
shot this image in the upper peninsula of
| | 00:52 | Michigan, which if you have ever been
there, is sort of a step back in time.
| | 00:55 | It just has this feeling of being locked
in the 1940s or something. It's a really,
| | 01:02 | actually, fairly wonderful part of the world.
| | 01:04 | As a result, I want to take this image
and turn it into a custom sepia tone. So
| | 01:09 | the first thing I am going to do is
make sure that I have my Adjustments panel
| | 01:12 | on screen and if I don't, I'd go to
the Window menu and choose Adjustments.
| | 01:17 | Then, notice here this mid section in
the palette has all these presets, and
| | 01:21 | the Black & White Presets are really
great. If you go ahead and click the
| | 01:25 | Triangle, next to Black & White
Presets in order to expand the options that
| | 01:29 | are saved here. Then you can just
click on one of these guys to apply it.
| | 01:33 | And you are not only going to create an
adjustment layer, but you are also going to
| | 01:38 | dial in custom adjustment settings.
And in this case, we are dimming down the
| | 01:43 | skin tones in the kids and
we are brightening the sky.
| | 01:45 | All right, if I don't like that, I just
press Ctrl+Z, Command+Z on the Mac to
| | 01:49 | undo it and I would try some other
effect like Darker. Go ahead and click on
| | 01:53 | that one and see what it looks like.
That's pretty great. Undo again. I could
| | 01:57 | come down here to Infrared to get sort
of an infrared effect. That's a little
| | 02:00 | bit over the top, but you
know it's still very interesting.
| | 02:02 | But what I'd like to do is create
my own custom black and white layer. So
| | 02:08 | once again, I'll press Ctrl+Z, Command+
Z on the Mac to Undo that modification.
| | 02:11 | I am going to move to this icon right
here in the middle, right there in the
| | 02:15 | middle of the icons inside this panel,
and click on it to add a Black &
| | 02:19 | White layer, and to shift to the
Black & White controls right here.
| | 02:23 | Then you can use these guys in order
to emphasize various colors. So for
| | 02:28 | example, if I wanted to brighten the reds,
I would drag the slider over to the right.
| | 02:32 | If I wanted to darken the reds,
I would drag it over to the left,
| | 02:37 | or I could just use this tool right here,
which allows me to apply targeted
| | 02:41 | adjustments just by dragging inside the window.
| | 02:43 | So I am going to click on that tool to
select it. Then I am going to drag on
| | 02:47 | Sammy here in order to brighten him up
and in doing so, I imagine that I would
| | 02:52 | brighten Max up as well because
their skin tones are pretty similar. Now,
| | 02:56 | notice that this tool has a little
Left Arrow and Right Arrow next to it.
| | 03:00 | So that's telling you that you drag
back and forth in order to use the tool.
| | 03:04 | If I want to darken the sky, I would
drag it over to the right like so. Now, I
| | 03:08 | don't want to go too far. Notice if
you start darkening or lightening any of
| | 03:11 | the elements in the image too far,
then you are going to bring out a lot of
| | 03:16 | noise, which are random luminance or
color differences between neighboring pixels.
| | 03:22 | So we don't want that. It ends up
making the image look pretty darn choppy.
| | 03:25 | So I suggest we go ahead and brighten this
area just by dragging over to the right
| | 03:29 | a little bit. Now, it looks pretty good
to me. I am also going to drag the skin
| | 03:33 | tones over a little bit to the
right as well to brighten them up.
| | 03:37 | Then I could just go after some other
colors if I wanted to. I can say well,
| | 03:39 | you know I want to darken Sammy's swim
suit. I have no idea what color of that
| | 03:43 | swim suit is anymore because we have
converted it to black and white, but that
| | 03:46 | looks pretty good to me. And just play
around to your heart's content. I mean,
| | 03:49 | it's really easy and it's really a lot of
fun and it gives you a great deal of control.
| | 03:54 | Now, let's say I want to heap on top of
everything, I want to add a sepia tone
| | 03:58 | tint. Then I would come over to this
little Tint check-box right there, turn it on,
| | 04:03 | and that is by default going to give
us a sepia tone. A little bit too much
| | 04:07 | though I think. So I am going to move
these guys over to the left a little bit,
| | 04:10 | so I can see what I am doing. And I am
going to click on this color swatch in
| | 04:14 | order to bring up the
large color picker dialog box.
| | 04:18 | This is a Hue value, H, which is the
rainbow color that we are going for, which
| | 04:24 | is a kind of orange. 42 is orangish.
And it all starts at 0 for red and then
| | 04:28 | goes to 60 for yellow and then goes
to 120 for green and yada, yada, but you
| | 04:33 | can also just drag the slider up and
down this rainbow right there to change the Hue.
| | 04:39 | So I am going to go with something
along these lines. The next value is
| | 04:42 | Saturation, so how intense the color is.
It's too intense in my opinion.
| | 04:46 | So I'm going to press Shift+Down Arrow to
reduce that saturation to 10%. I don't
| | 04:51 | care about brightness. It really
doesn't factor into our colorization here.
| | 04:55 | So we are done. I will click OK in
order to accept that effect, and we now have
| | 04:59 | a custom black and white sepia tone.
Thanks to our application of a Black &
| | 05:03 | White adjustment layer inside Photoshop.
| | Collapse this transcript |
| Developing raw photos| 00:00 | In this exercise, I am going to show
you how to develop raw photographs using
| | 00:04 | Adobe Camera Raw. Now, by raw photographs,
I mean images that are captured in
| | 00:09 | your digital camera's raw file format,
and high-end cameras, various high-end
| | 00:14 | cameras offer a raw file format. Low-end
cameras, cameras under 500 bucks, tend
| | 00:19 | to just shoot JPEGs and that's about it.
| | 00:21 | But if your camera does support a raw
format, such as Canon and its CRW or
| | 00:26 | CR2 formats or Nikon with its NEF
format or Olympus with its ORF format and so on.
| | 00:33 | If your camera does support a raw
file format, you are best off shooting to
| | 00:36 | that format because then you capture
what is essentially a digital negative that
| | 00:41 | you can develop with a lot more control
inside Camera Raw, as we are about to see.
| | 00:46 | You have got the most dynamic range,
the widest range of brightness values and
| | 00:50 | so on, an image with just a
ton of information inside of it.
| | 00:54 | I am working inside the Bridge
currently, and I am looking at the contents of
| | 00:58 | the 20080811 folder inside the
Exercise Files folder. I am going to go ahead
| | 01:04 | and select this image down here,
which is called surf_pics_0027, and notice
| | 01:10 | that it's a DNG file. I went ahead and
converted it from CR to Adobe's Digital
| | 01:15 | Negative Format when I imported
the image using the Photo Downloader.
| | 01:20 | If I double-click on this file, I am
going to automatically open it inside of
| | 01:24 | Camera Raw, which is an independent utility
that just happens to operate inside of Photoshop.
| | 01:30 | Now Camera Raw is fairly intense
actually. It's a fairly complicated program,
| | 01:35 | and it's got panel after panel after
panel of options. The good news is this,
| | 01:40 | this first panel is by far the most
important, and it's laid out in a pretty
| | 01:46 | linear fashion. So you work through the
options in the order you see them here.
| | 01:51 | Starting with Temperature and Tint.
Now, this image was shot on an overcast
| | 01:54 | day. Therefore, it's pretty cool,
meaning it has something of a bluish cast
| | 01:59 | associated with it. And we can
correct for that cast, by increasing this
| | 02:03 | Temperature value.
| | 02:04 | Notice, the farther I drag the Slider
Triangle over to the right, the oranger
| | 02:09 | the image becomes, thus warming it up.
And I could also emphasize either the
| | 02:14 | greens inside the image or the
magentas using this Tint Slider which
| | 02:19 | essentially represents a perpendicular color
access inside the giant color wheel.
| | 02:24 | Another way to work, if these are a
little confusing for you to take on at
| | 02:28 | first, is to take advantage of the
White Balance Tool. Up here in the
| | 02:31 | horizontal tool-bar, you will see this
White Balance Tool right there. Go ahead
| | 02:35 | and click on it, and then you want to
click inside the image on a color that
| | 02:39 | should be neutral. That is, that
shouldn't have any color associated with it
| | 02:43 | whatsoever that should be sort of a
light shade of gray, and this area above
| | 02:47 | this guy's head qualify. So I will
just go ahead and click in this area, and
| | 02:51 | that automatically balances
the colors inside the image.
| | 02:54 | You can see that Camera Raw has
modified the Temperature and Tint values,
| | 02:57 | that's all nothing else, none of the
other values got changed. I am pretty
| | 03:02 | happy with the Temperature actually,
but the Tint were sort of trending too far
| | 03:05 | toward green. I mean we have a lot
of green objects inside of this image.
| | 03:09 | So I would like to emphasize the warm
values in his face, by increasing the
| | 03:14 | Tint value to something like this.
The value of 19 works out pretty nicely.
| | 03:18 | Now, let's talk about these values
down here, the next group of six Slider
| | 03:22 | Bars. They allow you to adjust for the
Brightness and Contrast in the image, so
| | 03:27 | you can change the highlights of this
lightest colors using the Exposure value.
| | 03:31 | You can change the shadows, the darkest
colors using the Blacks value, and then
| | 03:35 | you can change the mid-tones which
are the colors in between using the
| | 03:39 | Brightness value.
| | 03:40 | So those are your most important
sliders. They are Exposure, Blacks and
| | 03:44 | Brightness. You can either choose to
modify these values manually or you can
| | 03:49 | just click on this Auto button,
and see what Camera Raw comes up with
| | 03:53 | automatically.
| | 03:54 | This to me, looks a little bit dark.
It looks better than I did before, and
| | 03:57 | it's a heck of a lot more contrasty,
but I think it's too dark as well. So I am
| | 04:02 | going to increase the Exposure value a
little bit here, in order to make the
| | 04:06 | lights lighter, and you want to watch
this Histogram up here. This represents
| | 04:10 | all of the colors inside of the image
from black over here on the left, to
| | 04:14 | white over here on the right.
| | 04:16 | What you want to avoid, is this kind of
thing where you have got a big spike on
| | 04:21 | one end or the other because you are
going to blow out in this case because the
| | 04:24 | highlights are over here in the right.
You are going to blow out highlights if
| | 04:27 | you do what I have done so far.
| | 04:28 | So I am going to back up this value a
little bit. You also have this Recovery
| | 04:32 | option right here, which helps you to
balance the highlights by darkening them up.
| | 04:38 | I am going to take this Recovery
option pretty high. I am going to take it up
| | 04:41 | to about 70. So that we are bringing
out some more of the detail inside of the
| | 04:46 | highlights. Then, in order to
compensate for what I have done to the
| | 04:49 | highlights, I will bring up
this Exposure value even farther.
| | 04:52 | Now, this helps balance the highlights
even though the image looks too bright.
| | 04:56 | We will take care of that in a moment.
| | 04:58 | Next, I want to go ahead and brighten
the shadows using this Fill Light option,
| | 05:04 | and then I am going to turn around. I
know things are looking pretty bad right
| | 05:07 | now, but then I am going to turn around,
and I am going to increase the Blacks
| | 05:10 | value tremendously.
| | 05:11 | Notice, this area of the Histogram, we
have very little on the way of shadow
| | 05:14 | detail going on right now. So let's
increase the amount of shadow detail by
| | 05:18 | taking this Blacks value up to, about
35 actually works out pretty well. So we
| | 05:22 | have some strong shadows now, and we
have some strong highlights as well.
| | 05:26 | The problem is our mid-tones have
gotten blown away. So let's go ahead and take
| | 05:31 | this Brightness value down precipitously.
I am going to take it down to -40,
| | 05:36 | and you can see how that helps balance
the brightness of the image pretty nicely.
| | 05:41 | Then let's take the Contrast value down.
I think it's way too high, something
| | 05:44 | like 25 is going to work better for this image.
| | 05:46 | Now, down to the next group of options.
Clarity allows us to enhance Contrast
| | 05:51 | around the edges of the image, and I
am just going to pump this through the roof.
| | 05:55 | I am going to take the Clarity
option up to 100. Happens to work
| | 05:59 | nicely for this image.
| | 05:59 | Again, I like to emphasize there
are no magic values where any image is
| | 06:04 | concerned. You are always responding
to what you see here in the Preview.
| | 06:07 | Then, I am going to increase the
Vibrance, and this allows you to increase the
| | 06:13 | intensity of the colors that need the
most attention. Then Saturation, I will
| | 06:18 | take that up to 10, and that's increasing the
intensity of the colors across the board.
| | 06:24 | Let's go and zoom in on this image here.
Go ahead and sort of pan him down. So
| | 06:29 | a much more pronounced effect. Thanks
to Camera Raw. I mean take a look at
| | 06:34 | this, if I turn off the Preview check
box, notice the image inside the glasses.
| | 06:39 | I will go ahead and zoom in on it.
| | 06:40 | This is the before version. You can
see the photographer right there, but not
| | 06:44 | all that well. You really can't make
up the details that well inside the
| | 06:47 | glasses. As soon as I turn Preview
back on, we have got a lot more Contrast
| | 06:51 | going on inside of this region. So
we are really bringing up the details.
| | 06:55 | Now, this is only the beginning of
what you can do with Camera Raw. There are
| | 07:00 | tons more stuff going on inside this
utility. But, if you are able to come to
| | 07:05 | terms with just these options in the
Basic panel, then you will be able to make
| | 07:10 | your images look far, far better.
| | 07:13 | Alright, I am going to go ahead and
click on the Open Image button in order to
| | 07:16 | open the image inside the Photoshop.
And this is our final corrected image,
| | 07:22 | developed image if you like.
| | 07:24 | Thanks to capturing images with our
digital camera's raw file format and
| | 07:29 | developing them inside of Adobe Camera Raw.
| | Collapse this transcript |
| Straightening an image| 00:00 | In this exercise, I am going to
show you how to straighten a crooked
| | 00:03 | photograph. Now you would think such
a simple operation would have a simple
| | 00:07 | solution. The solution though is
actually fairly elaborate and it relies on a
| | 00:11 | few secret handshakes, things that you
would never figure out on your own,
| | 00:15 | but once you learn how to
do it, it works very nicely.
| | 00:17 | I am working inside of an image
called Cruise ship.jpg found inside the
| | 00:21 | Exercise Files folder. The first step,
the way that I like to do this, is to go
| | 00:26 | ahead and duplicate your image so that
you have the original image to fall back on.
| | 00:30 | And I will show you what I mean by
that in just a few moments. For starters
| | 00:34 | let's go up to the Image menu and
choose the Duplicate command. And I will go
| | 00:39 | ahead and name this image Straightened
or something along those lines and then
| | 00:43 | I will click OK. And we will get another
version of that exact same image up on screen.
| | 00:49 | Then I want you to go over to the
Eyedropper tool, click and hold on it and
| | 00:53 | choose the Ruler tool, which allows us
to measure things inside of an image.
| | 00:59 | Now I want you to use this Ruler tool
to drag along something that ought to be
| | 01:03 | exactly horizontal or exactly vertical
and it's usually easier to measure the
| | 01:09 | horizontal because that's your horizon line.
| | 01:11 | So what I am going to do is measure
this dock, I am going to start dragging
| | 01:15 | right here and drag all the way down
the dock like so, and I am just going to
| | 01:19 | try to make sure that I am keeping
this line along the plain of the dock. You
| | 01:24 | can always change the angle if you want
to by dragging one of these end points,
| | 01:28 | you can always drag an end point and
drag it to a different location in order
| | 01:30 | to change the angle of the line once
you get it exactly the way you want it.
| | 01:34 | This is one of the twisted things.
| | 01:35 | You go up to the Image menu, and here
is the secret handshake, you choose Image
| | 01:39 | Rotation and you choose Arbitrary. In
Photoshop the Arbitrary command means
| | 01:45 | highly specific; it means exactly
the opposite of what you might think it
| | 01:49 | means. It means that we are going to
apply a specific degree of rotation, and
| | 01:53 | it already knows the degree of rotation
to apply because of your measure line.
| | 01:57 | So you don't have to do anything, you
don't have to change any of the values,
| | 01:59 | in fact you shouldn't change any of
the values. Just go ahead and click OK in
| | 02:04 | order to accept that angle of rotation.
| | 02:06 | Now comes the part where I ask you to
duplicate the image. See how we have
| | 02:11 | these white wedges all around the
image; you can see these wedges that have
| | 02:15 | shown up. And what we want to do now is
crop those edges away, clip them away,
| | 02:20 | but we don't want to remove any more
of the image that we absolutely have to.
| | 02:24 | So here is how I suggest you do this.
| | 02:26 | Go up to the Image menu and choose
Canvas Size, which allows you to change the
| | 02:31 | size of the canvas on which the images
sets, and that's you know basically the
| | 02:36 | physical size of the image itself. So I
am going to choose Canvas Size and it's
| | 02:41 | telling me that it measures whatever,
really doesn't matter. I am going to
| | 02:44 | change this to pixels so that we can
see the exact number of pixels inside this image.
| | 02:49 | Now I am going to go ahead and lift the
size of the original image by going up
| | 02:54 | to the Window menu and choosing the
Cruise Ship command and that's going to
| | 02:59 | enter the exact size-- again in inches
now. I've got to switch back to pixels,
| | 03:04 | the exact size of that original image. So
In other words where clipping away now
| | 03:09 | half of the white space, not all
of it, but half of that white space.
| | 03:14 | We need to go even farther; we need to
clip that much again into the image and
| | 03:19 | so I am going to turn on Relative.
Right now we are seeing absolute values,
| | 03:22 | exactly how wide and tall the image is.
If I turn on Relative, I will see that
| | 03:26 | we are reducing the width of the image
by 79 pixels and the height of the image
| | 03:30 | by 144 pixels. Now I would just get a
calculator, most phones have calculators
| | 03:36 | and just do the math here . Just double
each of these values. So two times 79 is
| | 03:40 | 158 and then two times 144 is 288 and
notice that I am keeping these values negative.
| | 03:47 | Now click OK. Photoshop is going to
ask me, "Hey! You are going to clip away
| | 03:52 | some of the image." That's okay, click
Proceed and now notice we don't have any
| | 03:56 | white wedges left over. Now we have
clipped only as much of the image as we had
| | 04:02 | to crop away. And that, my friends,
is how you straighten a photograph
| | 04:07 | inside Photoshop.
| | Collapse this transcript |
| Cropping an image| 00:00 | In this exercise, I am going to show
you how to crop an image using the Crop tool.
| | 00:03 | You will also see how the Crop
tool allows you to rotate an image to
| | 00:06 | straight it out and how we can preview
the angle of that rotation using the new
| | 00:12 | Rotate View tool here inside Photoshop CS4.
| | 00:15 | I am looking at an image called Max
snorkles.jpg found inside the Exercise
| | 00:20 | Files folder. Because these image is
at such an angle, I am going to start
| | 00:23 | things off by rotating my view of the
image using this tool right here up in
| | 00:28 | the Application bar, the new Rotate View tool.
| | 00:31 | I will go ahead and click in order to select it.
| | 00:33 | Now notice if you drag inside of the
image window that you are not applying a
| | 00:38 | real rotation, you are just rotating
your view of the image. The image is still
| | 00:42 | going to print upright, it will save
upright and so on. Now just to make sure
| | 00:46 | I have gotten this aligned properly, I
am going to zoom in on the image and pan
| | 00:50 | it down just a little bit and see how
my horizon still isn't quite straight.
| | 00:54 | You can align the horizon with one
of the edges of the image window.
| | 00:58 | So I will just go ahead and keep
dragging until I get that horizon exactly
| | 01:03 | where I want it to be. I will go and
drag that up a little bit. That looks
| | 01:06 | pretty nice actually to me, that's
good. Alright so I have nailed it.
| | 01:10 | Now let's switch over to this tool
right here, the Crop tool, which allows me
| | 01:15 | to crop away portions of an image. Now
you can crop free form just by dragging
| | 01:20 | with a tool to any degree you want.
Notice, by the way, that the crop boundary
| | 01:25 | is at an angle, that's because the
entire image is at an angle right now. The
| | 01:28 | crop boundary is actually straight up
and down. It's just that our view of the
| | 01:32 | image is at an angle.
| | 01:33 | However let's say that I want to go
ahead and constrain the aspect ratio that
| | 01:39 | is the ratio between the height and
width of the image. So that's the same as
| | 01:43 | it is right now. So I will go ahead and
press the Escape key or I can click on
| | 01:47 | this little Cancel button right there
in order to cancel end of the crop mode.
| | 01:51 | I am going to go ahead and load the
dimensions of this particular image by
| | 01:55 | clicking on the Front Image button up
here in the Options bar, and it tells me
| | 01:59 | that the image currently measures 9
inches wide by 16 inches tall. I am going
| | 02:03 | to get rid of the resolution value; I
will just delete it, and that way I will
| | 02:07 | maintain the 9x16 aspect ratio which
incidentally is the aspect ratio of wide
| | 02:14 | angle television.
| | 02:15 | Alright now I am going to draw a new
crop boundary like so. Notice again, it
| | 02:20 | comes in at a perceived angle. Notice
that the shield color right here, as it's
| | 02:24 | called, is covering the area that's
going to cropped away and if you don't like
| | 02:29 | that covering you can change it to
some other color and opacity value up here
| | 02:32 | in the options bar.
| | 02:33 | You can drag the crop boundary to move
it to a different location. You can also
| | 02:37 | nudge it using the arrow keys on your
keyboard as I am doing right now. You can
| | 02:42 | size the boundary by dragging a corner
handle, but because I have got it to set
| | 02:47 | to 9x16, it's going to go ahead and
keep those same proportions. Then finally
| | 02:51 | if you move your cursor outside of
the boundary, you get this little rotate
| | 02:54 | cursor and you can actually rotate
your crop boundary to where you want it to
| | 02:59 | be, so that it appears straight up
and down, and that's going to match of
| | 03:05 | course the angle of our rotation.
| | 03:06 | Then I am going to go ahead and nudge
this crop boundary down, just a little
| | 03:09 | bit, and I am going to expand it so
that I include a little bit more of the
| | 03:13 | image, just why I can see my eldest
son in the foreground and my wife and
| | 03:15 | youngest son in the background, which
is important to me anyway. Then I am
| | 03:20 | going to do just a little more
rotation here, just drag that, just a little
| | 03:24 | more to make sure that I have this
as straight as possible inside of this
| | 03:29 | rotated view. Then when I have
completed my crop I will go ahead now to click
| | 03:34 | on this checkmark in the far right
side of the Options bar or I could just
| | 03:37 | press the Enter key or
the Return key on the Mac.
| | 03:39 | Notice the image still appears rotated,
it's straightened as you can see, so
| | 03:44 | the horizon line matches the angle of
the edges right here. But the entire
| | 03:49 | image is rotated and that's of course
because we are still seeing the image in
| | 03:53 | the rotated view. To get out of the
rotated view, you simply press the Escape
| | 03:58 | key and you will go ahead and ripe
the image, and you will see the image as
| | 04:02 | it's going to print and how
it saves and so on and so on.
| | 04:05 | Now if I zoom in on the image you can
see that I have a much tighter crop and I
| | 04:10 | have a straightened image. Thanks to a
combination of the Rotate View and Crop
| | 04:15 | tools working together inside Photoshop.
| | Collapse this transcript |
| Resizing an image| 00:00 | In this exercise, I am going to show
you how to resize an image using the Image
| | 00:03 | Size command, so that you can either
print an image at a certain size or change
| | 00:08 | the number of pixels inside of the
image. For example, to email it to your
| | 00:13 | friend or to post it on a website.
I am looking at an image called
| | 00:17 | Private island.jpg that's found
inside of the Exercise Files folder.
| | 00:21 | Now this image that you see before you
is a 10 megapixel image that I shot by
| | 00:25 | Leica D-LUX 3, and if we go up to the
Image menu and choose the Image Size
| | 00:30 | command, which is your primary means
for resizing an image inside a Photoshop.
| | 00:35 | In fact this command is perhaps the
most important single command inside the
| | 00:39 | software. You can see that this image
is currently set to print at 16 inches
| | 00:44 | wide by 9 inches tall at a
resolution of 264 pixels per inch.
| | 00:49 | Now that's a really great print
resolution. Your typical print resolutions,
| | 00:53 | to keep you in the safe zone, are going to
be anywhere between 240 at the low end
| | 00:58 | and 360 at the high end and it
really just depends on the printer you are
| | 01:02 | using and the degree of detail that
you want. If you are looking for a single
| | 01:06 | print standard, the professional
gold standard is 300 pixels per inch,
| | 01:11 | but 264 is going to look just great.
| | 01:13 | But let's say we want to print this
image but we don't have a printer that's
| | 01:16 | going to accommodate a page that 16
inches long, so we are going to need to
| | 01:21 | size this image down to a smaller size.
So the first thing I would do is I go
| | 01:25 | ahead and turned off the Resample Image
checkbox, because right now let's say,
| | 01:30 | I just want to size the image for print.
I don't want to change the number of
| | 01:33 | pixels in the image, I just want to
changed its physical size on a piece of paper.
| | 01:36 | So I would turn off Resample, and the
word Resample means changed the number of
| | 01:41 | pixels. Then I would say, you know what?
I just want this image to print about
| | 01:46 | 11 inches wide, and I will take my
chances on the height. Fine, it's going to
| | 01:50 | be 6.18 inches tall, I don't really
care about that. Now I have a resolution of
| | 01:55 | 384 pixels per inch. Now it's just
telling you high end for print resolution is
| | 01:59 | 360, and that's the extreme high end.
That's for when you are going to an
| | 02:04 | inkjet printer and you are using the
highest printer resolution and the best
| | 02:08 | quality paper and you are really going for it.
| | 02:11 | In our case, let's say we are not, we
just want to print a half way decent
| | 02:13 | version of the image. So now at this
point I would go ahead and reduce the
| | 02:17 | resolution of the image, because we just
don't need this many pixels. We could...
| | 02:20 | I could just go ahead and print it
this way and things would probably look
| | 02:23 | fine, but if I want to make sure I am
going to get the biggest bang for the buck,
| | 02:26 | then I don't want to go ahead and
reduce the resolution value and
| | 02:28 | actually reduce the number of pixels
in the image. And that's the funny thing
| | 02:32 | about resizing images inside Photoshop.
| | 02:35 | Most of the time, 99% of the time, you
are going to be reducing the number of
| | 02:39 | pixels inside the image, not increasing
them, because you don't really get any
| | 02:43 | benefit from increasing the number of
pixels because Photoshop can't make up
| | 02:47 | information, whereas it can
consolidate information and make the remaining
| | 02:51 | pixels look better if you reduce them.
| | 02:53 | So I am going to turn on Resample Image
right there, and then with my width and
| | 02:59 | height values already set the way that
I want them, I am going to change its
| | 03:02 | resolution value to 267 pixels per inch,
and you can see that this is going to
| | 03:07 | reduce the number of pixels as we are
seeing up here at the top of dialog box
| | 03:11 | considerably. So previously this image
was 28.7 megabytes, which is a typical 10
| | 03:18 | megapixel image, and we are reducing it
down to 14 megabytes. So to a much smaller size.
| | 03:23 | Then I am going to click OK
in order to accept that modification.
| | 03:29 | Now notice that I have indeed reduced
the number of pixels inside the image, so
| | 03:32 | I will go ahead and zoom in on the
image and let's take in the image at the
| | 03:36 | 100% view size so that we can take in
some of these happy vacationers here. So
| | 03:41 | just to give you a sense of how
different the detail looks. This is before if I
| | 03:45 | press Ctrl+Z or Command+Z on the Mac,
this is the before view of this image. So
| | 03:50 | we can see a handful of people in these
area right here, for example, and this
| | 03:54 | is after. I have to say we really
haven't lost any information, anything.
| | 03:58 | We have smooth out the detail and we
have made the remaining pixels that much better,
| | 04:03 | so we have really consolidated
that information as I say.
| | 04:06 | Now you will hear people every once
in a while, I'll hear pundits who are
| | 04:10 | outside the digital imaging space,
recommend that because of this, because you
| | 04:14 | really don't need images that are 10
megapixels or 12 megapixels or so on,
| | 04:18 | on a regular basis you should just go
ahead and shoot at a lower resolution.
| | 04:22 | That way you can pack more pixels onto
a memory card and so on. I completely
| | 04:27 | disagree with that philosophy. You
always shoot at the highest resolution your
| | 04:31 | camera offers, because that way you
have the freedom to reduce the size of the
| | 04:36 | image and you have the freedom to edit
your images at high resolution and you
| | 04:40 | have the freedom to print your images
big and you have the freedom to crop your
| | 04:43 | images. So always shoot at the
highest resolution available.
| | 04:47 | Now if you decide to go ahead and
reduce the number of pixels in the image as I
| | 04:50 | have, then be sure to go to the File
menu and choose the Save As command.
| | 04:55 | You never want to save over your original
image. Please don't do that; please use
| | 04:59 | the Save As command to save a
different version of this image.
| | 05:03 | All right. Now let's say that I want to
email this image to somebody. Well, it's
| | 05:07 | still way too big. I don't need to be
emailing an image that can print at 11
| | 05:12 | inches wide at 267 pixels per inch,
because chances are 9 out of 10 that when
| | 05:17 | I send this image off to somebody else,
they are not going to print it.
| | 05:19 | They are just going to view it on
screen. Then they are going to go,
| | 05:21 | "Good for you, you went on a vacation.
I didn't. You are so great," whatever. You know,
| | 05:25 | they are going to filled with jealousy
of course. But that's it. Otherwise they
| | 05:29 | are just going to look at the
image and say "Wow! That's really cool."
| | 05:32 | So we want to go ahead and reduce the
size of this image considerably so it's
| | 05:35 | going to be quick send. So I am going
to go up to the Image menu again and I
| | 05:40 | am going to choose the Image Size
command. This time I am going to reduce the
| | 05:45 | size of the image considerably. I am
not any more concerned about things like
| | 05:50 | resolution and width and height
because that's all print stuff. For screen
| | 05:54 | display purpose as you really don't
care about this document size information;
| | 05:58 | you care about pixel dimension.
| | 05:59 | So I am going to go ahead and select
the width value and I am going to reduce
| | 06:02 | it to 1200 pixels wide. And then I am
going to take a look at pixel dimensions
| | 06:07 | and I am going to see well now it's
going to be a 2.3 megabyte image. That's
| | 06:11 | pretty good because once I save it as
a JPEG file then that's going to reduce
| | 06:15 | down to a megabyte or smaller and you
can email a megabyte image pretty easily.
| | 06:20 | You don't want to be emailing like 13
megabytes images because chances are
| | 06:25 | good they won't go through. That kind of
file will take a long time to send and then
| | 06:28 | the server, on the other hand, won't
receive it and so on. But a 1 megabyte file,
| | 06:32 | once you get done compressing it, is just fine.
| | 06:34 | Now if you are going to do that
precipitous of a reduction, you are really
| | 06:38 | reducing the heck out of the size of
this image. You are probably going to want
| | 06:41 | to change this setting right here from
Bicubic (best for smooth gradients) to
| | 06:44 | Bicubic (sharper best for reduction)
and should say best for super reduction if
| | 06:50 | the images are pretty low noise image
in the first place as this one is. So I
| | 06:53 | will go ahead and choose that option
and then I will click OK. Notice that we
| | 06:57 | have a much smaller image even though
it's still plenty big for screen display,
| | 07:02 | and we could email this off to somebody else.
| | 07:04 | Now for a website, if I was actually
posting this to a website it's still too
| | 07:08 | darn big, I still want to reduce it
even further. But now you get a sense
| | 07:12 | what's available to you, how you can
change the print size of an image and how
| | 07:15 | you can resample an image, in order to
make it smaller either for print or for
| | 07:20 | emailing or for the web using this
command right here, one of the most
| | 07:24 | important commands on the software,
Image Size under the Image menu.
| | Collapse this transcript |
| Reducing noise| 00:00 | In this exercise, I am going to show
you how to reduce the level of noise
| | 00:03 | inside a digital photograph. We
are looking at an image called Komodo
| | 00:07 | dragon.jpg that's found inside the
Exercise Files folder and this image
| | 00:12 | contains a fair amount of noise.
| | 00:14 | I am going to go ahead and zoom in on
the eye of the creature right here and
| | 00:19 | this gives you a sense of what noise is.
See those random variations in both
| | 00:24 | brightness values and in terms of
coloring inside of this eye. So we have a lot
| | 00:28 | of random pixel variations going on
and these in no way, shape or form
| | 00:33 | represent the actual creature's eye.
He didn't have a bunch of weird noise
| | 00:37 | particles in his eye. That's something
that the camera is making up, and it's
| | 00:41 | analogous to grain when
you are working with film.
| | 00:46 | Another common place where you will
see noise inside of an image is in the
| | 00:50 | shadow. We are looking currently-- we
are little zoomed in here. I will go and
| | 00:54 | show you where we are. We are looking
at the shadow below the creatures jaw,
| | 00:59 | and if we zoom in here we can see a lot
of color noise. You can see these sort
| | 01:03 | of purplish areas and orange areas
right here, and then there is really vivid
| | 01:07 | blue right below the lizard.
| | 01:09 | All right so how do we smooth over some
of that of noise? And it's a good idea by
| | 01:13 | the way, even though most of these
noise is going to get smooth over
| | 01:15 | automatically if you print the image
at a high resolution, you probably are
| | 01:19 | going to want to reduce the noise a
little bit inside Photoshop to prepare for
| | 01:23 | sharpening, for example,. Because
sharpening an image is going to bring out even
| | 01:27 | more noise.
| | 01:28 | So just as a precaution to downplay
the noise, to smooth over the noise
| | 01:32 | without harming the detail inside the
image, we will go to the Filter menu and
| | 01:36 | we will choose Noise and we will
choose this command right here, Reduce Noise.
| | 01:42 | And I want to get a really good look
at this creature's eye. So I am going to
| | 01:46 | zoom in to 200% by clicking at this
plus button. Then I will move my dialog box
| | 01:51 | over a little bit and I will click on that eye
in order to center it inside of the preview.
| | 01:56 | Alright now let's move to dialog box
over here. Now the Strength value allows
| | 02:01 | you to smooth over the noise, so lower
Strengths smooth over less noise, higher
| | 02:06 | Strength value smooth over more noise.
This Strength value is specifically
| | 02:10 | operating on Luminance noise, that
is to say, arbitrary differences in
| | 02:15 | brightness.
| | 02:16 | This next value allows you to try to
preserve as much detail inside the image
| | 02:21 | as possible, and detail would be
rapid transitions between darks and lights
| | 02:26 | inside the image. So it's trying to
hang on to the good information inside the
| | 02:30 | image without smoothing it over too much.
However I find when we have a lot of
| | 02:34 | noise inside the image, as in the case
of the Komodo dragon here, that you want
| | 02:38 | to take Preserve Details quite far down
and you might even take it all the way
| | 02:43 | down and then just nudge the value up
to see how much smoothing we are doing
| | 02:48 | when we have Preserve
Details set down to a low value.
| | 02:51 | We are really smoothing over the
Luminance information inside the image. But I
| | 02:55 | am going to go ahead and press the up
arrow key in order to increase that value
| | 02:59 | until we start getting the detail back
without bringing back too much noise and
| | 03:05 | a Preserved Details value of about 15%,
where this specific image is concerned,
| | 03:09 | looks pretty nice.
| | 03:11 | Now let's go ahead and check out a
different area of the image like this area
| | 03:16 | that has a lot of color noise here
inside the shadows. We could try to bring up
| | 03:21 | this Reduce Color Noise value until
we completely smooth over those color
| | 03:25 | wanderings, but if we do then we are
going to kind of smear the colors all over
| | 03:29 | the image and we are going to have
colors that are sort of leaking outside of
| | 03:33 | their boundaries, and we really don't
want that. So I am going to take this
| | 03:36 | value down to about 20%.
| | 03:40 | Next we have Sharpening Details and I
am a big proponent of not sharpening
| | 03:45 | inside of the Reduce Noise dialog box,
I almost invariably take this value down
| | 03:51 | to 0%. So these are some pretty great values.
| | 03:54 | I mean typically if I am going to come
in to reduce noise in the first place, I
| | 03:57 | am typically going to increase the
Strength value pretty high, at least to 6
| | 04:01 | and maybe as high as 10. Preserved
Details are usually take low like I did
| | 04:05 | here, Reduce Color Noise, I try to
keep between about 20 and 50, and then
| | 04:09 | Sharpening Details down to 0. Remove
JPEG Artifact, you only need to turn that
| | 04:13 | on if this is a heavily compressed
image most likely that you downloaded from
| | 04:18 | the web, but for this image since it
is a digital photograph straight from a
| | 04:22 | camera I don't need to use that.
| | 04:23 | Alright now let's take a look at that
eye once again, and you get a sense of
| | 04:28 | kind of modification we have made here.
I will go ahead and zoom in just a
| | 04:31 | little bit further. If I click and
hold we can see the before version of the
| | 04:35 | image with all of the noise inside the
eye and then if I released we will see
| | 04:39 | the after version of the image. This
Preview checkbox that's solely for the
| | 04:44 | information out here in larger image window.
| | 04:47 | Alright and that takes care of it. Now
I am going to click on the OK button in
| | 04:51 | order to apply that modification and we
should have a much smoother lizard as a
| | 04:56 | result. Let's go ahead and zoom in on
that eye once again pretty far end just
| | 05:00 | so we can see what's going on. If I
press Ctrl+Z; this is the original version
| | 05:04 | of the eye, if I press Ctrl+Z again, we
will see this smooth version, but if I
| | 05:10 | go ahead and zoom out the image still
looks nice and smooth. I will go ahead
| | 05:13 | and press Ctrl or Command+Z again,
this is the original version of the image.
| | 05:17 | Then if I press Ctrl or Command+Z, this
is the after version of the image. You
| | 05:21 | can barely tell the difference. Thanks
to the control afforded to us by Reduce
| | 05:26 | Noise here inside Photoshop.
| | Collapse this transcript |
| Sharpening details| 00:00 | In this exercise, I am going to show
you how to sharpen the detail inside of an
| | 00:04 | image and I want to make something
perfectly clear. We are not sharpening the
| | 00:08 | focus of an image; you can't do that.
Focus happens inside the lens element of
| | 00:13 | the camera. If you don't focus the
image in the first place it's going to
| | 00:17 | remain out of focus inside Photoshop.
For the simple reason that Photoshop is
| | 00:21 | not capable of making something out of
nothing. It is incapable of re-inventing
| | 00:25 | detail inside of an image. But
assuming that the image is in half way decent
| | 00:30 | focus, sometimes as you can fudge the
focus if it's just a little bit soft. But
| | 00:33 | assuming the images in reasonable
focus then you can really bring out the
| | 00:37 | detail using the Smart
Sharpen filter inside Photoshop.
| | 00:41 | I am looking at an image called
Smooth Komodo.jpg found inside the Exercise
| | 00:45 | Files folder and this guy has so
many scales. He is going to sharpen just
| | 00:50 | beautifully; we are really going to
bring out that detail. The way that
| | 00:53 | sharpening works is that it
exaggerates the differences between neighboring
| | 00:58 | pixels. So if one group of pixels is
dark and the another group of pixels that
| | 01:02 | are chased into it is light, then by
exaggerating that difference making the
| | 01:07 | darker pixels darker and the lighter
pixels even lighter, you are going to
| | 01:11 | create what looks to be a very sharp
edge. That's just the function of the way
| | 01:15 | that our eyes work.
| | 01:17 | So let's keep it a try here, I will go
ahead and scoot him over just a little
| | 01:20 | bit, so that we have room for the
dialog box, and then I am going to go up to
| | 01:23 | the Filter menu, choose Sharpen and
then bypass all of these guys and click on
| | 01:27 | Smart Sharpen to bring up
the Smart Sharpen dialog box.
| | 01:31 | Now I am going to click on the eye of
the lizard here in order to send her it
| | 01:36 | inside of my preview, and for starters
what I would like to do is to go ahead
| | 01:40 | and increase the amount value to 500%,
it's going to give you an over the top
| | 01:45 | effect but it's going to enable you to
best judge the radius value, which is
| | 01:50 | really the key to sharpening an
image. The radius value determines the
| | 01:54 | thickness of the halos that are traced
around the details or the edges, if you
| | 01:59 | prefer, inside of the image. So
thicker radius value and those bigger radius
| | 02:05 | values, so we are going to give you
really thick gooey edges. That aren't going
| | 02:08 | to look sharp at all.
| | 02:10 | So you want to keep these values pretty
small, but if you go too small with the
| | 02:14 | value, you are going to get some super
sharp effects on screen, but they are
| | 02:18 | not going to translate very well on
print. So you want to take the value a
| | 02:22 | little higher than looks good on screen
and I will show you what I mean by that
| | 02:25 | in just a minute. Now we are working
with a digital photograph so the best
| | 02:31 | Remove setting is going to be Lens
Blur. Gaussian Blur is good if we are
| | 02:35 | working with a scanned image or
something that has been scaled with the image
| | 02:39 | size command. Motion Blur is good for
trying to accommodate camera shake but
| | 02:43 | Lens Blur is best for
everyday average digital photographs.
| | 02:47 | So I will go ahead and choose Lens
blur here. More Accurate. Let me go ahead
| | 02:51 | and zoom in so we can see what More
Accurate does. More Accurate is going to do
| | 02:55 | a double sharpening effect. It's
actually going to go in and do a more granular
| | 02:59 | tracing of the information under this
image. Now that's bad if you are working
| | 03:05 | with a portrait photograph where the
person has pores, you are really going to
| | 03:09 | bring out the pores and other blemishes
inside the image, so I would definitely
| | 03:13 | recommend you do not turn
that option on for portraits.
| | 03:16 | It's also bad if you have any degree
of noise going on inside the image, the
| | 03:20 | only time you want to use More Accurate
is if you are working with still lives
| | 03:23 | or landscapes and they are just
absolute no use for you, just have a packable
| | 03:27 | detail. I am going to turn it off in
the case of this image. Now let's go ahead
| | 03:31 | and zoom at just a little bit so that
we can take in the eye at the 100% view
| | 03:36 | size. Now also going to out to
larger image, I am pressing Ctrl+Minus or
| | 03:39 | Command+Minus on the Mac in order
to zoom out from the dragon in the
| | 03:43 | background, and now I am going to space
bar, drag that dragon so that I can see
| | 03:48 | it out there at the 33% view size which
is going to be a fairly good indication
| | 03:52 | of what the dragon looks like when I print it.
| | 03:55 | So 33% somewhere between 33% to 50% is
going to be good for gazing the image at
| | 04:01 | it's printed size, and so that we can
see that it's look pretty darn and super
| | 04:06 | sharp out here. And just to give you a
sense of what kind of difference we are
| | 04:09 | making, I could click and hold on the
preview inside the dialog box. This will
| | 04:13 | give me the before view and then
release for the after view. And now watch the
| | 04:17 | Komodo dragon in the background here.
I will turn off the preview checkbox.
| | 04:20 | This is the before version of the
dragon and this is the after version of the
| | 04:25 | dragon. So just slightly a little bit sharper.
| | 04:28 | Now I might go ahead and take the
radius value up to 3 pixels just to make sure
| | 04:33 | that these edges survive the shrinking
that's going to happen when I print the
| | 04:38 | image, so anything that has a radius of
3 pixels now that is a halo of 3 pixels
| | 04:43 | is going to shrink at 300 pixels per
inch, it's going to shrink to a very tiny
| | 04:47 | little increment there, which will result
in a razor sharp edge which is really great.
| | 04:52 | Now that I have gotten the sense of
what radius value I want to use, I am going
| | 04:56 | to back off of the amount value. I
really don't want to sharpen with 500%
| | 05:00 | that's way too much. So let's go ahead
and take down this value to 250%. That's
| | 05:05 | probably still higher than I would go,
but for the second demonstration it will
| | 05:08 | work nicely here, and then I will
click OK in order to accept that
| | 05:13 | modification. Now let's go ahead and
center this guy inside the image window a
| | 05:17 | little better and to give you a sense
of what we have accomplished let's go
| | 05:20 | ahead and zoom in to the 50% view size
here. This is the original version of
| | 05:26 | the Komodo dragon; this is the after
version. Thanks to our ability to sharpen
| | 05:31 | the details inside the image, not the
focus, but the details using the Smart
| | 05:35 | Sharpen command inside Photoshop.
| | Collapse this transcript |
| Adding text| 00:00 | In this exercise I am going to show
you how to add text to an image inside
| | 00:04 | Photoshop. Now something to bear in
mind where texts are concerned. Texts are
| | 00:08 | ultimately scalable, meaning that if
you enlarge the graphic the text will
| | 00:12 | scale along with it and remain smooth,
but the text ultimately conforms to the
| | 00:17 | resolution of the image. Meaning that
you can end up creating choppy texts in
| | 00:23 | Photoshop if you are not careful, which
is why most people don't use Photoshop
| | 00:27 | as the text creation program unless
you are trying to create special effects
| | 00:31 | where it can be pretty useful or you
are trying to create text for a web
| | 00:36 | graphic, and that's what we
are trying to do in this case.
| | 00:38 | I am working inside of a document
called Lab+BC.psd, and in this case I was
| | 00:44 | creating this graphic for my website
deke.com. Now, I was talking about the Lab
| | 00:49 | Color Mode, it's a special color
mode that's available to you inside of
| | 00:52 | Photoshop, something of an advanced
topic. But when you add it to brightness
| | 00:56 | contrast, you end up getting some
fantastic results. So I need to type in the
| | 01:01 | word Lab here at the top of the screen
and then +, a little plus sign and then
| | 01:06 | we are going to have Brightness Contrast
underneath. So fairly simple little task here.
| | 01:11 | The first step is to select the Type
tool and even though there are several
| | 01:15 | Type tools available to us, if you
click and hold on the Type tool icon,
| | 01:18 | you'll see this flyout menu here.
Really for most of our purposes, for Western type,
| | 01:23 | the only thing you need is the
Horizontal Type tool. So I will just go
| | 01:26 | ahead and select that tool. You can
also get to the Type tool just by pressing
| | 01:29 | the T key which is worth noting
because it looks like a T. Alright and then I
| | 01:33 | am going to click in order to set my
blinking insertion marker as you see right there.
| | 01:38 | You can also drag with the tool. If
you want to create a paragraph of type
| | 01:42 | inside of Photoshop, you can drag
with the tool in order to create a text
| | 01:45 | block, but I just want to create just
a single word, so I can just work with
| | 01:50 | what's called Point Text, text that
emanates from the specific point. I am
| | 01:53 | going to type the text that I need
which is Lab+. That's all I am looking for.
| | 01:59 | Then to complete that type I go ahead
and press the Enter key on the keypad. So
| | 02:05 | not the standard Enter key, the one
above the Shift key but way over on the
| | 02:08 | keypad press that Enter key and you
will not only accept the type but you will
| | 02:12 | also deactivate it, so that you can
work with other tools if you like.
| | 02:17 | Alright now let's set about formatting
that type. Notice that when I have the
| | 02:20 | Type tool active, as I do right now,
there is a handful of formatting
| | 02:24 | attributes that are available to me
up here inside of the Options bar. For
| | 02:27 | example, there is the font family. I
can go ahead and click on this font in
| | 02:32 | order to activate it and then if I am
just curious what other fonts look like
| | 02:36 | in my system, I can press the down
arrow key and notice that's going to advance
| | 02:39 | from one font to the next or I could
press the up arrow key to go back the
| | 02:44 | other direction. It's a great way to
preview what a font is going to look like,
| | 02:47 | or you can just go ahead and enter the
name of the font. For example, I know
| | 02:51 | that I want to work with Courier New,
and so I just have to type in as much
| | 02:57 | texts as it takes to get Photoshop to
go ahead and select that font, and then I
| | 03:01 | will press the Tab key to advance to
the Style option and I will press the down
| | 03:05 | arrow key a coupe of times to advance
to Bold, because this is a font I want. I
| | 03:09 | want Courier New Bold.
| | 03:11 | I am going to press Tab again to get to
the Size option and I can press the up
| | 03:15 | arrow key in order to increase the size
of the type, like so, or I could press
| | 03:19 | Shift arrow to increase it by higher
increments. Notice that the Type Size is
| | 03:24 | not updating until I go ahead and
accept it. The type size I am looking for,
| | 03:29 | for this specific effect is 60 Point,
and then I am going to press the Enter
| | 03:32 | key or the Return key on the Mac
in order to apply that type size.
| | 03:37 | Alright now let's go ahead and move the
type into a better position and I will
| | 03:40 | do that by grabbing my Move tool and
dragging the type around like so. I can
| | 03:48 | also nudge the text as long as I have
the Move tool active, I could press the
| | 03:52 | arrow keys in order to nudge the texts
around. I am doing this because when you
| | 03:55 | are moving our layers inside Photoshop,
and as you may see over here in the
| | 03:59 | Layers panel, by creating some type we
have created an independent type layer.
| | 04:04 | When you are moving layers around,
they have a propensity to snap into
| | 04:07 | alignment with each other. So the
easiest way to overwrite that, there is a
| | 04:11 | command you can choose, but the
easiest way to overwrite it temporarily is to
| | 04:14 | just to press the arrow keys to
nudge the text by one pixel increments.
| | 04:19 | Alright anyway I think that looks
pretty good. Now let's say that we want to
| | 04:22 | format some of the text independently
of the other text, for example, I want
| | 04:27 | this plus sign to be smaller, it's way
too big. So I will go back to my Type
| | 04:31 | tool and I will drag over that plus
sign in order to select it and I want to
| | 04:38 | change the size of this text to say 52
Point. So I will just go ahead and enter
| | 04:44 | 52 point or here's a really handy
keyboard shortcut, let's go and change this
| | 04:48 | back to 60 here. Another way to work is
you can press Ctrl and Shift on the PC
| | 04:54 | or Command and Shift on the Mac along
with the greater than or lesser than keys.
| | 04:58 | And those are the same
as the Period and Comma key.
| | 05:01 | So, for example, if I press
Ctrl+Shift or Command Shift+>,
| | 05:07 | that's the Period key, I am going to
make the text incrementally larger. If I
| | 05:11 | press Ctrl+Shift or Command+Shift+<,
which is the Comma key. I am going
| | 05:16 | to make the text incrementally smaller
and I am going to take it down to 52 point.
| | 05:20 | I think that looks pretty good.
| | 05:21 | I might also want to go ahead and
move this plus sign down a little bit,
| | 05:25 | something that's known as Baseline
Shift incidentally, but I don't see any
| | 05:30 | Baseline Shift Option up here in the
Options bar, these are just the most
| | 05:33 | common attributes. So in order to
bring up the other formatting attributes,
| | 05:38 | I click on this icon right there which
brings up the Character and Paragraph
| | 05:41 | panels and then I will see this Option
right there. Notice that if I hover over
| | 05:45 | it, it tells me that this is the
Baseline Shift and I am going to go ahead and
| | 05:49 | click inside in there and then just
press the Down arrow key a couple of times
| | 05:52 | until I reduce that value to
-2 which looks right to me.
| | 05:55 | I think it actually looks pretty darn
good, then I will press the Enter key on
| | 05:58 | the keypad again, a couple of times
because the first time I am just accepting
| | 06:02 | this value, the second time I am
accepting my changes to this text, so that is
| | 06:07 | the Enter key on the keypad.
| | 06:09 | You can also check this out, you could
also, if you change some texts and then
| | 06:12 | you Backspace and you do some other
things to it, whatever, modify the texts.
| | 06:17 | If you don't like what you have done
at all during this entire little session
| | 06:21 | of text editing right here then you
can press the Escape key in order to
| | 06:25 | abandon all changes that
you have made to the text.
| | 06:29 | Alright so that takes care of the text
that I want to add. There are all kinds
| | 06:32 | of other attributes that you can
explore inside the Character and Paragraph
| | 06:36 | panels. I am going to go ahead and
close these panels however. The other thing
| | 06:40 | I want to do is I want to fill my
text with these colors right here.
| | 06:44 | Now you can color type in different ways.
You can actually for example, I could
| | 06:48 | select the letter A and I could change
the color of the type here inside the
| | 06:53 | Color panel, so I could make that a
bright red if I want to just by dragging
| | 06:57 | these slider triangles around, and when
I finish I will go ahead and press the
| | 07:00 | Enter key on the keypad once again. So
that's how you color type. But here's
| | 07:05 | another way to work. I am going to
go ahead and undo that modification.
| | 07:08 | I want the text to be colored according
to these little swatches I have created
| | 07:12 | in the background here. I want the L to
be filled with a Gradient and the A to
| | 07:16 | be filled with Magenta and Green and B
to be filled with Yellow and Blue and I
| | 07:21 | am going to do that by moving my colors
right here. Notice this colors layer.
| | 07:26 | I'm going to move it up to in front
of my Lab text. That ends up covering
| | 07:30 | enough, of course, and then I want to
clip these colors to the text and I am
| | 07:36 | going to do that by going up to the
Layer menu and choosing Create Clipping
| | 07:40 | Mask, and that's going to clip the
colors inside of the letters, notice that.
| | 07:44 | So they are indented and we have this
little arrow icon showing us that the
| | 07:48 | colors are only going to color this text.
Then if I want to I can get that Move
| | 07:53 | tool once again and I could drag the
colors up and down or I could press the
| | 07:57 | down arrow key if I want to in order to
just nudge those colors down slightly,
| | 08:02 | so that they fill the letters that much
better and that completes my composition.
| | 08:06 | I have gone ahead and added text to a
web graphic by taking advantage of the
| | 08:11 | Type tool here inside Photoshop.
| | Collapse this transcript |
| Saving in different file formats| 00:00 | In this exercise, I am going to show
you how you save your modified image from
| | 00:04 | Photoshop. Let's start things off by
applying a few modifications and then we
| | 00:08 | will take a look at our Save options.
| | 00:10 | I am working in an image called Best
Sammy.jpg found inside the Exercise Files
| | 00:15 | folder and I am going to crop this
image, sharpen it, apply a color adjustment
| | 00:19 | and then we'll save our changes. So for starters,
I am going to get the Crop tool right here.
| | 00:25 | And then let's say I have a specific
size in mind for my cropped image. I want
| | 00:30 | it to be 4 inches wide, Tab, 5 inches
tall, Tab and 360 pixels per inch. Now I
| | 00:37 | will have a constrained crop boundary
like so and I will go ahead and drag
| | 00:42 | around the portion of Sammy that I
want to retain here, maybe drag my crop
| | 00:46 | boundary down just a little bit and I
might even nudge it to prevent it from
| | 00:49 | snapping by pressing the arrow keys.
And this looks pretty good to me. Then I
| | 00:53 | will press the Enter key or the Return
key on the Mac to perform the crop.
| | 00:56 | Now because I specified a resolution, I
have gone ahead and re-sampled the image.
| | 01:01 | I have changed a number of pixels. So
I am going to go ahead and zoom in.
| | 01:05 | Now let's go ahead and sharpen the
image by going up to the Filter menu,
| | 01:09 | choosing Sharpen and choosing Smart
Sharpen. And these settings right here that
| | 01:14 | I have used previously, an Amount
value of 250%, a Radius of 3 pixels and
| | 01:19 | Remove set to Lens Blur, notice that
More Accurate is turned off because this
| | 01:22 | is a Portrait. These values work just
fine for this image so I will go ahead
| | 01:26 | and click OK in order to sharpen the
details and you can see that it's done a
| | 01:31 | beautiful job of sharpening
everything from the texture and the fabric back
| | 01:35 | here to the definition of the water droplets
and of course all the features in his face.
| | 01:41 | Now I want to slightly adjust the
colors and I am going to do that from the
| | 01:46 | Adjustments panel by adding a Color
Balance layer and I want to warm up the
| | 01:51 | image a little so I am going to add
red to this image. That's quite a bit of
| | 01:55 | red actually so let's balance things
out by adding a little yellow as well
| | 01:59 | which I will do by lowering this Yellow/
Blue value and we get a fairly electric
| | 02:05 | orange image at this point by I kind of
like it. If I felt like I went too far
| | 02:09 | with my modification then I can
actually reduce the Opacity of this layer here
| | 02:14 | inside the Layers panel. All right,
so this looks pretty nice to me.
| | 02:18 | Now let's say I am done. I am ready to
save my changes. I want you to get in a
| | 02:22 | habit of not choosing the Save
command and not saving over your original
| | 02:27 | photograph because it may be later
on down the line you find that your
| | 02:32 | skills are improving, and by the way
they most assuredly will improve overtime,
| | 02:37 | and if you saved over your originals
then you have more or less ruined them.
| | 02:41 | And I know this from personal
experience. I have saved over all kinds of
| | 02:44 | photographs I wish I had not in the early days.
| | 02:47 | So here's what I'd like you to do. Go up to
the File menu and choose the Save As command.
| | 02:55 | Now of course you have the option
of determining the location for
| | 02:58 | your saved image and the file name, but
most important is the file format that
| | 03:04 | you choose. So if I click on this
Format option to bring up the Format pop-up menu,
| | 03:08 | you can see that I have just
tons of different formats available to me.
| | 03:12 | Well, there is only three that you
need to know about. There is the Photoshop
| | 03:16 | format, the native PSD format. That's
for saving layered compositions like this
| | 03:21 | one right here. We do have multiple
layers inside of this image so PSD would be
| | 03:25 | our best bet.
| | 03:26 | Your other option if you are doing
commercial print work is to use TIFF because
| | 03:31 | it's the commercial print standard,
and then if you are just saving everyday
| | 03:35 | average flat images, that is images
that don't have layers associated with them,
| | 03:39 | then JPEG is a great way to go.
| | 03:41 | I will start off with the native PSD
image because after all we do have layers
| | 03:46 | and I will make sure that the Layers
check box is turned on, these two check
| | 03:50 | boxes are turned on as well, As a Copy
turned off, and then I will click the
| | 03:54 | Save button in order to save my image.
| | 03:56 | Next you will see this Maximize
Compatibility option here. If you only intend
| | 04:01 | to use the image inside of Photoshop
then you can safely turn this check box off,
| | 04:05 | in which case you will get a
smaller image. However, if you think you are
| | 04:08 | going to want to use the image with
other applications including Lightroom,
| | 04:12 | InDesign, Premiere, a few others, then
go ahead and turn the check box on.
| | 04:17 | I'll go ahead and leave it on and I'll
click the OK button in order to save the image.
| | 04:21 | Alright, now let's take a look at
saving the flat version of the file. I will
| | 04:26 | go over here to the Color Balance layer
and I will go up to the Layer menu and
| | 04:30 | I will choose Flatten Image in order
to merge all the layers into a single
| | 04:35 | background layer as we see here, then
I'd go up to the File menu and I choose
| | 04:39 | Save As once again.
| | 04:42 | This time let's take a look at TIFF,
let's imagine that we are sending this out
| | 04:45 | for commercial reproduction. Again
these check boxes are on, I will go ahead
| | 04:49 | and click on the Save button, and
here's exactly the way I want you to set up
| | 04:55 | this dialog box. Pixel Order set to
Interleaved, Image Compression set to LZW
| | 05:00 | that way you are applying loss less
universally compatible compression. Byte
| | 05:05 | Order actually really doesn't matter,
you can use IBM PC or Macintosh on either
| | 05:09 | platform, so either one is fine, and
then go ahead and click on the OK button
| | 05:13 | in order to save that image.
| | 05:15 | And then finally, let's say you are
just saving an image that you are going to
| | 05:19 | print to an inkjet printer, you just
want to archive this flat version of the
| | 05:22 | image for general purposes then JPEG
is a great way to go, because you are
| | 05:26 | going to get a smaller file and you
are still going to retain a high quality
| | 05:29 | image as long as you
follow my instructions here.
| | 05:31 | I will go to the File menu, I will
choose Save As. This time I am going to
| | 05:36 | choose JPEG, I will make sure to
rename my image so I don't save over the
| | 05:41 | original, so I'll add edit and I'll
click on the Save button and then you get
| | 05:46 | this dialog box right here.
| | 05:47 | Now you can't go as low as the Quality
setting of 10 and get away with it, you
| | 05:52 | can actually go much lower and barely
see the difference here inside the Image
| | 05:56 | window. Photoshop is actually
previewing the effects of the JPEG compression,
| | 06:00 | thanks to the fact that I have the
Preview check box on. So if you look closely
| | 06:03 | you might see some changes, however,
I am here to tell you whether you
| | 06:07 | recognize them or not they are doing
some definite damage to the image. Now the
| | 06:11 | good news is, you are going to get a
way smaller file, but it's not worth it.
| | 06:15 | It's better to go ahead and bring up
the Quality Setting, and notice now we
| | 06:19 | jumped to a file that's three times as
large as it was before, but it's a much
| | 06:23 | better file as a result.
| | 06:24 | When in doubt, just go ahead and crank
up this Quality Setting to 12, that's
| | 06:30 | the way I work anymore. I always work
with a Quality Setting of 12, Baseline
| | 06:35 | Optimized will shave a few K off, and
then go ahead and click OK in order to
| | 06:40 | save that image. So you now know
about the top three file formats:
| | 06:44 | PSD for layered files, TIFF for commercial
reproduction and JPEG for everyday archiving.
| | 06:51 | And that's how you save your images.
Remember the Save As command
| | 06:54 | when saving images from Photoshop.
| | Collapse this transcript |
| Saving for the web| 00:00 | In this exercise I am going to show you
how you to save an image that you want
| | 00:03 | to post to the web. I am working
inside of an image called Web graphic.psd
| | 00:08 | that's found inside of
the Exercise Files folder.
| | 00:11 | Notice here in the Layers palette you
can see that this is a multi-layer image
| | 00:16 | and I have saved the image as a native
PSD file. Now I can't just go posting a
| | 00:20 | multi-layered PSD file to the web.
There is no browser that supports the format
| | 00:25 | so instead what I need to do is I
need to flatten the image and I need to
| | 00:28 | reduce its size. Notice if I zoom in
here, this is a pretty darn large graphic
| | 00:33 | at 100% view size, far too big to post
to the web. So I need to reduce its size
| | 00:38 | and save it to a different format that
is supported by your typical everyday
| | 00:43 | average web browser. And you can do
that all in one operation using a single
| | 00:48 | command here, you go up to the File
menu and you choose Save for Web & Devices.
| | 00:54 | And the great thing about this command
is it will flatten all the layers so you
| | 00:58 | just have a single layer image.
| | 01:00 | It will change the size of the image
if you need it to and it will get rid of
| | 01:05 | all the excess information that you
don't need, stuff like metadata and color
| | 01:09 | profiles and thumbnails and all the
other stuff that the browser can't read but
| | 01:14 | it just makes the file bigger so that
it takes a longer time to send over the
| | 01:18 | web. So this is a streamlining
command right here. Go ahead and choose that
| | 01:23 | command to bring up another one of these
utilities that runs inside of Photoshop.
| | 01:28 | Now for our purposes I want you to
think about just two file formats, GIF and
| | 01:33 | JPEG. GIF which is spelled G-I-F
supports up to 256 colors, which isn't that
| | 01:39 | many colors as you can see here. It's
just a handful of colors and it's going
| | 01:42 | ahead and extracting the colors that it
thinks it should use for this specific
| | 01:46 | graphic. GIF is great for highly
graphical artwork that doesn't involve too
| | 01:51 | many colors and in many ways this
artwork fits the bill. The only place where
| | 01:56 | we are having a problem is with this heart.
| | 01:58 | If I zoom in on this heart and I am
going to zoom in really closely so you can
| | 02:02 | see what I am talking about. Notice
that we are having problems representing
| | 02:05 | the smooth Volumetric sort of shading
that's going on around the edge of this
| | 02:10 | heart. And what Photoshop is doing is
it's dithering the colors, it's adding
| | 02:15 | this dot pattern here in order to
simulate the effect of this shading.
| | 02:19 | I don't like that though.
| | 02:21 | Instead I want access to all 16 million
colors that are available to me when I
| | 02:27 | am working with a typical image inside
Photoshop and you can get to all those
| | 02:30 | colors if you work with JPEG. So
anytime that you have soft transitions like
| | 02:35 | this or anytime you are working with a
photograph, then you want to switch from
| | 02:40 | GIF to JPEG and I want you to watch
the difference as soon as I choose this
| | 02:44 | command, notice how all that dithering
goes away and it's replaced by a kind of
| | 02:49 | choppiness. I'll go ahead and zoom in
even further here so that you can see
| | 02:53 | these weird JPEG compression artifacts.
| | 02:56 | Now we are going to get fewer artifacts
if we go with a higher quality setting.
| | 03:00 | So if I take the Quality up from 60 to
100 then all those weird sort of edges
| | 03:06 | are going to go away. We are also going
to see a much bigger file. Notice this
| | 03:09 | file is now going to be about 117-118K
which is not all that big really except
| | 03:17 | by web standards.
| | 03:18 | That could take a couple of seconds,
3 seconds, 4 seconds to load even if a
| | 03:23 | person is using cable modem and that's
too long. We want these things to load
| | 03:27 | instantaneously if possible and that's why
you really have to take this Quality setting down.
| | 03:32 | I am going to take it down to 50 so
we can start really seeing some major
| | 03:36 | problems there, but notice that I
reduced the size of my graphic to 43K, so I
| | 03:41 | just cut it to a third of its former size.
| | 03:44 | Now it looks terrible zoomed in like
this, but let's go ahead and zoom out and
| | 03:48 | take in the graphic at the actual
size it will appear something along these
| | 03:52 | lines and you really can't tell. Once
you get farther away from the graphic,
| | 03:56 | you really can't see those compression
artifacts to the same extent and if you
| | 03:59 | don't believe me, just look at a
typical website. Everybody, even the
| | 04:03 | professional sites, have highly
compressed graphics up there. So your typical
| | 04:07 | graphic is about 30K on a
professional site or smaller as it turns out.
| | 04:13 | All right, but let's split the difference,
I'll go ahead and take this up to a
| | 04:16 | Quality setting of 60 which gives me
54K graphic. Fine. Also notice the Image
| | 04:23 | Size, which gives me 54K graphic,
that's fine. I also want you to notice the
| | 04:27 | size of this image, the width is 1118
pixels. That's way too wide. I mean, you
| | 04:32 | think about big screen monitors, 1200
pixels tall by 1600 pixels wide and you
| | 04:38 | are consuming the majority of that
space with this one graphic and you need it
| | 04:43 | to have tons of other elements on that
web page as well interacting with this
| | 04:46 | graphic so you don't need it
to just hog the entire screen.
| | 04:50 | So I am going to go ahead and take the
size of this graphic down to 50% of its
| | 04:54 | present size, so it's about 559 pixels
wide by 291 pixels tall. That's still
| | 05:00 | fairly big I should say. But this is
the size I ran the graphic on my website
| | 05:04 | because my graphics -- the maximum width
for graphics on my site are 590 pixels.
| | 05:09 | It varies from site-to-site, so you would
want to talk to your designer or talk to
| | 05:13 | yourself if it's you that's
putting the site together.
| | 05:15 | Then having sized this graphic to the
right size and compressed it as needed
| | 05:21 | and so on, and notice as soon as I tab
away from 50%, it goes ahead and scales
| | 05:26 | the image so let's go and zoom in on
and see what it looks like. It looks
| | 05:28 | pretty good, and I have taken the
graphic down to 22.5K, much better.
| | 05:34 | All right now I'll click on the Save button
in order to save that graphic, then it's
| | 05:38 | asking me where I want to put the
graphic. I will go ahead and put it inside my
| | 05:41 | Exercise Files folder and I'll call it
Web-graphic.jpg, that's just fine, and
| | 05:46 | I'll click Save in order
to save the image to disk.
| | 05:51 | And we have now successfully created a
small flexible little web graphic that's
| | 05:56 | going to look just absolutely great
online using this dedicated command right here,
| | 06:01 | Save for Web & Devices
here inside Photoshop.
| | Collapse this transcript |
| Goodbye| 00:00 | Okay, so that in a nutshell is Photoshop.
| | 00:04 | If you feel like you got everything you need
to know, then excellent. May your images blossom.
| | 00:09 | But if you're hankering for a bit more,
| | 00:11 | let me just say that wasn't a teaser; that was a taste
of the larger world that's available, of what you can do
| | 00:18 | and who you can be.
| | 00:20 | And there's so much more. The full story, everything you
need to know is here in the lynda.com Online Training Library.
| | 00:28 | One 3-part in-depth series,
| | 00:30 | Photoshop CS4 One-on-One. You and me working through
the software together. Join me not for two-hours, but for 30,
| | 00:39 | and Photoshop mastery will be yours.
| | 00:42 | Photoshop CS4 One-on-One.
| | 00:44 | I hope to see more of you.
| | Collapse this transcript |
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