1. What Photoshop Can DoWelcome to One-on-One| 00:00 | (Music playing.)
| | 00:06 | Hi, I am Deke McClelland.
| | 00:07 | Hello and welcome to Photoshop CS4 One-on-One,
| | 00:11 | my cradle-to-grave, everything-you-
need-to-know series on Adobe Photoshop.
| | 00:17 | As the name One-on-One implies, I
walk you through Photoshop as if I were
| | 00:21 | teaching it to you in a classroom
or corporate consulting environment,
| | 00:24 | except that instead of getting lost in
the crowd of students, you receive my
| | 00:28 | individualized attention.
| | 00:30 | It's just you and me one-on-one.
| | 00:33 | Photoshop is a big
application and there is a lot to know.
| | 00:36 | I have broken Photoshop CS4
One-on-One into three parts.
| | 00:41 | Coming up in part one, I will introduce
you to the essential topics, the stuff
| | 00:46 | that everyone needs to know in
the order you need to know it.
| | 00:50 | We will start with the Adobe Bridge,
which lets you open and organize images.
| | 00:55 | Then we will see how to navigate inside
Photoshop, how to correct colors, how to
| | 01:00 | crop and straighten images, how to
retouch a photograph, how to work with
| | 01:05 | layers, and finally how to
print and save for the web.
| | 01:09 | In later parts, I will lead you into the
advanced topics, the ones that are most
| | 01:13 | likely to expand your creative
range in the shortest amount of time.
| | 01:17 | By the end, you will have seen
everything Photoshop has to offer.
| | 01:21 | This is no Tips and Tricks course.
| | 01:23 | I am going to make sure you understand how
Photoshop works and how you work with it.
| | 01:28 | One-on-One is your chance to go from zero
to 60, one easy-to-digest movie at a time.
| | 01:36 | Let's start things off with a
gentle introduction, by taking a look at
| | 01:39 | what Photoshop can do.
| | 01:41 | It's a spooky little thing I call
'what Photoshop can do.' Why spooky?
| | 01:47 | You'll see.
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| Introducing Photoshop| 00:00 | Now it's very possible that many if
not most of you have never really used
| | 00:05 | Photoshop before, or you are not very
comfortable inside the program. You've
| | 00:08 | poked around, you've tried a few things
but you haven't been very satisfied by
| | 00:12 | the results. That's really of course,
the idea behind this entire series, this
| | 00:16 | Photoshop CS4 One-on-One Series is to
bring you totally up to speed and believe me
| | 00:21 | by time you are done, if you put in
the time, you are going to be extremely
| | 00:26 | well-versed in Photoshop and
very comfortable with the program.
| | 00:30 | But you may not be that way at this
point, so what I want to do is kick things
| | 00:34 | off by giving you a sense of what
a professional level image editing
| | 00:38 | application in general and more
specifically what Photoshop can do. What kinds
| | 00:42 | of image editing miracles it's capable
of pulling off, and this is a pretty
| | 00:46 | big one, as you are about to see.
| | 00:48 | So unlike every other chapter in this
series where I ask you to work along with
| | 00:52 | me if you can, if you are a premium
member or you have access to the DVD and
| | 00:56 | you have the Exercise Files then go
ahead and open them up and work along with
| | 00:59 | me. In that way you are going to gain
the best experience out of this series.
| | 01:03 | This time though, I just want you to
sit back and relax. You can open the
| | 01:06 | images, they are all found inside the
Exercise Files folder, but I would rather
| | 01:09 | you didn't do that. I'd rather you just
watch, because I am going to be working
| | 01:13 | through this project fairly quickly and
I am not going to give you the detailed
| | 01:16 | information you would need
in order to follow along.
| | 01:18 | All right, so here is the idea. We are
starting up with this image here. It's a
| | 01:23 | photograph of the Stanley Hotel, very
posh and very well known in the state of
| | 01:27 | Colorado and there is a few things
just kind of wrong with this image in
| | 01:31 | general. The composition is really not
tremendous and the lighting is terrible
| | 01:36 | and the color is drab and I am
shooting the image out of a moving car. I am
| | 01:41 | actually the passenger in a moving car
shooting this image, I believe through a
| | 01:44 | shut window because we have this
dark sort of shadow over here on the
| | 01:49 | right-hand side of the image. It's a
little bit of vignetting. A beautiful
| | 01:52 | photo, right. I mean normally it's a
kind of thing where I would just go, you
| | 01:55 | know, and throw it away or at least ignore it.
| | 01:58 | The problem is I wanted this very photo.
I like this composition for where I am
| | 02:03 | going. I am sort of evaluating what I
want to do with this image when I was
| | 02:06 | shooting it. I want to turn this
image into something very, very different
| | 02:09 | because you can see this hotel here is
not very remote. It's right next to this
| | 02:15 | commercial real estate here and also
it's not particularly scary. It should be
| | 02:20 | both remote and scary, because this
hotel, the Stanley was the inspiration for
| | 02:25 | Stephen King's famous, The Shining,
both the book and the movie and everything,
| | 02:30 | were modeled after this hotel.
| | 02:31 | Now if you think of the movie with Jack
Nicholson and Shelley Duvall, you will
| | 02:35 | recall that the hotel is actually a
character that drives jack Nicholson insane
| | 02:39 | and causes him to kill everybody
around him and Shelley Duvall in particular
| | 02:44 | had options. If this was the hotel,
this was really it and he was asked to be
| | 02:48 | caretaker of it, then Shelley Duvall
could run over here to the Safeway, which
| | 02:52 | would probably be open, but if not she
could go over to the KFC, I believe they
| | 02:55 | have longer hours and if she was
really hard pressed and needed just a break,
| | 02:59 | she could go over here to the movie
theatre, right? But just a lousy image,
| | 03:03 | it's not the least bit frightening.
| | 03:05 | What I am going to do over the course
of the next few exercises is I am going
| | 03:09 | to bring in this image right here,
these rolling hills, and I am going to place
| | 03:13 | them in front of the hotel in the
foreground. So it's going to feel remote and
| | 03:17 | we are going to apply a few other
changes as well and we are going to finally
| | 03:20 | get this dramatic composition right here,
which you can see is stunning, right.
| | 03:24 | We have great colors, we have great
lighting, the hotel is potentially scary,
| | 03:29 | even though we are seeing it not in
the winter but in the summer. And we have
| | 03:33 | got this great lettering, just a
dynamic composition in general, which is
| | 03:37 | possible thanks to the power of
Photoshop and I will be showing you exactly
| | 03:42 | how I assembled this composition,
starting in the next exercise.
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| Combining one image with another| 00:00 | All right, the first step in
transforming the plain drab Stanley Hotel into
| | 00:05 | that hotel that turns a mild mannered
winter caretaker into an axe-wielding
| | 00:11 | crazy man, is to bring in the rolling
hills. Bring those rolling hills from
| | 00:16 | that other photograph into this one
so that we can cover up all of this
| | 00:20 | foreground nonsense, the top of this
SUV and this caterpillar over there and
| | 00:25 | there is the FedEx like van or
something along those lines and we have all the
| | 00:28 | strip mall garbage going on here,
let's get rid of it. Let's cover it up.
| | 00:31 | So I am going to switch over to my
rolling hills image. I shot this photograph
| | 00:36 | in Rocky Mountain National Park,
which is only a few miles away from Estes
| | 00:41 | Park, however you can see that it's
much more tranquil and it's much more
| | 00:45 | isolated and distant from
society, so that works for us.
| | 00:48 | Now what I want to do is I want to
select the obvious foreground right here
| | 00:52 | that ends at this line of trees and I
have already done that in advance and I
| | 00:56 | save that selection out as a mask. Let
me show you what I am talking about. I
| | 01:00 | will press Shift+Tab to retrieve my
palettes over here in the right side of the
| | 01:03 | screen and I should mention just FYI,
in Photoshop CS4, Adobe now calls these
| | 01:08 | things panels. I am going to continue
to call them palettes and it's not just
| | 01:12 | because I am a crusty old man and I
can't get with the program, it's a little
| | 01:16 | more nuance than that. I think we
have to be careful with our language and
| | 01:19 | panels already has a meaning inside of
Photoshop and some of the other Adobe
| | 01:23 | programs. So it's not like the term
is just sitting there waiting for a definition.
| | 01:27 | All right, so anyway I am going to
switch over to the Channels palette and I am
| | 01:31 | going to click on this palette right
here called Mask, and when you save a
| | 01:34 | selection outline white indicates the
area that's selected and black indicates
| | 01:38 | the area that's not selected, and
believe you me, we are going to review
| | 01:41 | selection outlines and masks in a
lot more detail in this and the other
| | 01:45 | Photoshop one-on-one series.
| | 01:47 | But for now, I am going to go ahead and
load this mask as the selection outline
| | 01:51 | by pressing the Ctrl key here on the
PC or the Command key on the Mac and
| | 01:54 | clicking on this thumbnail. Now we have
a selection. Now I will go back to the
| | 01:58 | RGB composite image. I want to drag
this selected region independently of the
| | 02:03 | rest of the image into the Stanley.jpg
file, so I need to be able to see both
| | 02:08 | of the images at the same time. I will
go up to the Application bar, which is
| | 02:11 | new to Photoshop CS4 and I will click
on this Arrange Documents icon and then I
| | 02:16 | will click on 2 Up and I will be
able to see two images at the same time.
| | 02:21 | Now I will go up to the Move tool and
grab it and notice that, if I drag it
| | 02:26 | inside the selection, I can actually
move the selected area independently of
| | 02:29 | the deselected area and I am going to
drag it and drop it into the other image.
| | 02:34 | Now you will notice that the top
image is now active because its title tab
| | 02:38 | right here is lighter than the one below.
So to focus just on the top image, I
| | 02:43 | can go back to this Arrange Documents
icon, click on it and choose Consolidate All.
| | 02:48 | All right, so got a little bit of a
problem, I am going to Shift+Tab away my
| | 02:52 | palettes for a moment. The problem is
that I am covering up too much of the
| | 02:55 | image, not only am I covering up the
strip malls and all that other garbage
| | 02:58 | down there at the bottom, but I am
covering up the Stanley Hotel and the good
| | 03:01 | portion of the foothills in the background.
| | 03:04 | I want to drag these rolling hills
downward like so and I have actually gone
| | 03:08 | ahead and giving myself a guideline, I
have created this in advance. I will go
| | 03:11 | up to the View menu and I will choose
Show and I will choose Guides, so I can
| | 03:16 | see this one horizontal guideline
that I have put into place and I will go
| | 03:19 | ahead and drag the trees and rolling
hills down far there until they snap into
| | 03:23 | alignment with that
guide right there, it's good.
| | 03:26 | Now I don't need the guide anymore, so
I will go up to the View menu and I will
| | 03:29 | choose Show and I will choose Guides to
turn it off. All right, now I am going
| | 03:33 | to zoom-in on the image and I will tell
you all about navigation later but for
| | 03:37 | now I am just going to zoom-in and
notice that we have these trees and they are
| | 03:42 | pretty articulated, I have done a
good job by selecting the trees but that
| | 03:45 | doesn't mean that this composition looks right.
| | 03:46 | For example, we still have a little
bit of what turns out to be a bank
| | 03:50 | building, showing through in the
background and if I pan over to the left side
| | 03:54 | of the image, you can see other
buildings that are popping up as well,
| | 03:58 | including for example Safeway back
here and we have just these bratty
| | 04:02 | transitions around these
trees, just doesn't look right.
| | 04:05 | If I zoom out a little bit, you can see
that the color of the foreground trees
| | 04:09 | doesn't match to the color of the
background trees either, so that's another
| | 04:12 | problem and that turns out to be the
problem that we are going to address in
| | 04:16 | the next exercise when we modify the
colors inside of this foreground image,
| | 04:22 | stay tuned.
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| Adjusting brightness and contrast| 00:00 | All right gang, let's go ahead and
modify the colors of the foreground rolling
| | 00:04 | hills, so that they look more at home
with the colors in the background image.
| | 00:09 | I am going to press Shift+Tab to
bring back my palettes and I am going to
| | 00:11 | switch to the Layers palette right
here and noticed that Photoshop is gone
| | 00:15 | ahead and automatically assign the
rolling hills to its own independent layer
| | 00:19 | and I could turn that layer off in
order to expose this strip malls and all
| | 00:22 | that jazz and I can turn that
back on, in order to cover them up.
| | 00:25 | Let's go and rename this layer by
double clicking on its current name and I
| | 00:28 | will call this Rolling hills like
so. Now I want to apply some color
| | 00:34 | modifications and just because it's
handy, I am going to go to the New
| | 00:38 | Adjustments palette here in Photoshop
CS4. So I am going to click to the right
| | 00:42 | of the word Styles in order to
collapse that palette so I have a little more
| | 00:45 | room to work and then I will click to
right of Masks in order to expand that
| | 00:49 | palette and let's go ahead and
throw on this adjustment right there,
| | 00:53 | Brightness/Contrast.
| | 00:54 | Now this is a function that I would
not have applied three or four years ago.
| | 00:59 | Because Brightness/Contrast used to
be just a terrible command but in the
| | 01:02 | previous addition of the software, it
got much better and it's now actually a
| | 01:06 | fairly terrific command under certain
circumstances. It works beautifully for
| | 01:10 | this image for example.
| | 01:10 | So I will go ahead and click on that
icon in order to add what's known as an
| | 01:14 | Adjustment Layer to my Layers palette
and I am going to reduce the brightness
| | 01:19 | value to -30 by pressing Shift+Down
Arrow three times in a row and I want to
| | 01:25 | darken up that foreground image fairly
dramatically, which I have, but I have
| | 01:28 | also darkened up the
background image as you can see here.
| | 01:32 | So an Adjustment layer will affect all
layers below it and I can change that, I
| | 01:36 | can change that behavior, so we are
only affecting the rolling hills, by
| | 01:39 | clicking on this option right here. So
that goes ahead and clips my adjustment
| | 01:44 | to the rolling hills image, so that
it's only affecting the rolling hills layer
| | 01:48 | and not the background image.
| | 01:50 | Now let's go to the Contrast, I will
click inside of the contrast value and I
| | 01:52 | will press Shift+Up Arrow three
times in a row in order to increase the
| | 01:56 | contrast of the rolling hills. Once
again, the background image is not
| | 02:00 | affected. Now don't get too hung up
on what I am doing here, the Shift+Down
| | 02:04 | Arrow and Shift+Up Arrows. I am just
telling you for the sake of due diligence.
| | 02:08 | So I am just telling you what I am
doing. But again, I don't wants you to
| | 02:10 | really work with me, I just want you
to watch this unfold and then later of
| | 02:13 | course, in future chapters, you will
get every bit of information there as know
| | 02:18 | about how these options work.
| | 02:19 | All right, so there is the Brightness/
Contrast adjustment layer and perhaps
| | 02:24 | your first look at the Adjustment
palette here inside of Photoshop CS4. In the
| | 02:28 | next exercise, we are going to modify
the colors so that the foreground trees
| | 02:32 | and the background trees match.
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| Adjusting color and tone| 00:00 | All right, so here is our composition
so far. We have got these rolling hills
| | 00:04 | in the foreground covering up a bunch
of the strip mall action inside of this
| | 00:09 | background image that contains the
Stanley Hotel and so on. Now I went ahead
| | 00:13 | and modify the brightness and contrast
of the rolling hills in the foreground,
| | 00:16 | which very nearly completely corrected
the colors over here in the right hand
| | 00:20 | portion of the image but over here, in
the left hand area we still have some
| | 00:24 | problems that we need to fix and
actually all of the rolling hills are going to
| | 00:27 | benefit from our next couple of modifications.
| | 00:30 | So I will bring back up my palettes by
once again pressing Shift+Tab and I want
| | 00:34 | to create another Adjustment Layer, so
here inside the Adjustment palette, I am
| | 00:37 | going to click on this left pointing arrowhead
and that gets me back to the adjustment list.
| | 00:43 | Now here is another reason by the way
that I call palettes palettes is because
| | 00:49 | we have got multiple panels going on
inside the Adjustments palette because we
| | 00:54 | can switch back and forth like this. I
could see the Brightness/Contrast panel
| | 00:58 | or I could see the big Adjustment List
panel. So what would I call those, if I
| | 01:02 | was calling the Adjustment palette a
panel, you see where I am coming from I
| | 01:06 | think. Anyway, I am going to go down to
this item right there, Hue/Saturation,
| | 01:10 | and click on it because it allows us
to modify the hues, which is the core
| | 01:15 | color components of an image as well
as saturation, which is the intensity of
| | 01:20 | those colors.
| | 01:21 | Notice if you will that this
Adjustment layer is not indented like the one
| | 01:25 | below, so it will affect all of the
layers below it. So if I were to transform
| | 01:30 | the colors like so, I will really make
a big hue modification. I am changing
| | 01:34 | the colors throughout the image. If I
just want to affect the rolling hills
| | 01:37 | image then I need to clip it too, I
need to make it indented by going up to
| | 01:41 | this little icon right there and clicking on it.
| | 01:44 | So now we are just affecting the
foreground image, not in the way that actually
| | 01:48 | helps thus far. Let's go ahead and
bring this value back to five actually works
| | 01:52 | out pretty well. So we are just
slightly rotating those hue values and you will
| | 01:56 | learn what that means to rotate hue
values in the future chapter not too long
| | 02:00 | from now actually.
| | 02:01 | Next, I want to increase the saturation,
the intensity of these colors. So I
| | 02:05 | will just go ahead and click inside of
the Saturation value right there and I
| | 02:08 | will press Shift+Up Arrow until I get
something that looks reasonably good,
| | 02:13 | which is at about +30. This
looks pretty nice actually.
| | 02:16 | Now I am going to go ahead and apply
some selective modifications by, which I
| | 02:20 | mean, we need to somehow darken the
colors in the left hand trees while not
| | 02:25 | affecting the colors in the right hand
trees because they look pretty good, as
| | 02:28 | you can see over here on the right side
of the image. So it's really these guys
| | 02:31 | that are drifting over here to the
left that we have our problem with.
| | 02:33 | So I am going to click on the rolling
hills layer right there and actually I am
| | 02:38 | going to ahead and hide the
Adjustments palette so that we have more room to
| | 02:41 | work, just by clicking to the right
of the word Masks. So now I have the
| | 02:45 | rolling hills layer selected, grand and
I am going to go ahead and pan over to
| | 02:49 | the left side of the image. I will
press Shift+Tab in order to hide those palettes.
| | 02:53 | Now there is a tool that lets you
darken in Photoshop and it's the Burn tool. I
| | 02:57 | will go ahead and click and hold down
this tool right here, which brings up a
| | 02:59 | Fly-out menu and then I will click on
this one, the Burn tool, in order to make
| | 03:04 | it active and I am going to make my
brush bigger by changing this Master
| | 03:07 | Diameter value right here to something
really enormous like 400 actually, works
| | 03:11 | out nicely, and now I am going to go
ahead and reduce the Exposure value up
| | 03:16 | here in the Options Bar.
| | 03:17 | I am going to take it down to 35%, it
will probably work pretty nicely for us
| | 03:21 | and then I am going to paint over the
tops of these trees like so and I am
| | 03:26 | trying to take a little bit of care by
just sort of click in a few of the trees
| | 03:29 | like this in order to darken those
colors and you can see that every time I
| | 03:34 | click I am deepening the colors and
this tool, incidentally for those of you
| | 03:38 | who may have some experience with
earlier versions of Photoshop, the Burn tool
| | 03:43 | has been dramatically improved in Photoshop CS4.
| | 03:46 | All right, so that looks pretty good to
me, now if we go too far, if you start
| | 03:49 | painting all over the place like this
and you go, oh gosh, that was a mistake,
| | 03:53 | of course, you can undo the modification
by pressing Ctrl+Z or Command+Z on the Mac.
| | 03:58 | All right, so that looks pretty good.
It's not a perfect match but it's coming
| | 04:02 | along. We still need to get rid of
those buildings however, those background
| | 04:06 | buildings, they are a giveaway that we
are covering up details and we are going
| | 04:09 | to actually clone those
buildings away in the next exercise.
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| Cloning away unwanted details| 00:00 | All right, so we have made some pretty
impressive progress so far. If I were to
| | 00:04 | turn off these two layers by dragging
over their eyeballs, you can see this is
| | 00:08 | what the rolling hills looked like
before and I will drag again, watch the
| | 00:12 | screen, this is what they look like after. So
we have a much better color match. You see that?
| | 00:16 | Now it's not perfect of course and we
have some major problems I think in terms
| | 00:21 | of these buildings showing up in the
background and I want to go ahead and
| | 00:25 | cover those up better. You can see if
I turn off the rolling hills eyeball,
| | 00:29 | this right here this building is a bank
actually, you can see it's the Bank of
| | 00:34 | Colorado. I don't know if you could
make that out and if I turn on the rolling
| | 00:38 | hills much of the bank is
covered up but not nearly enough.
| | 00:41 | So what we are going to do is we are
going to clone the trees onto the bank
| | 00:46 | building. But we are not going to
change any of the colors in the background
| | 00:48 | layer. We are going to affect the
rolling hills layer right here. So I will
| | 00:52 | make sure it's active then I will press
Shift+Tab to get rid of the palette, so
| | 00:54 | we have a little more room to work.
| | 00:56 | Now I am going to go ahead and zoom
out a little bit and I am going to grab
| | 00:59 | this tool right here, the Clone Stamp
tool, which is great for cloning details
| | 01:03 | inside of an image and I am going to
increase the size of my brush to 100
| | 01:09 | pixels like so, and go ahead and hide
that drop down palette from view. Now
| | 01:13 | what this brush does, is it allows
you to clone regions of the image.
| | 01:16 | So you have to set up a source point,
which is what's you are cloning and a
| | 01:20 | destination point, which is where you
are cloning to and you do that with an
| | 01:24 | Alt-click. So if I press the Alt key or
the Option key on the Mac and click, I
| | 01:29 | establish that point right there is
being the source and then when I release
| | 01:32 | the Alt or Option key I can see a
preview of that area inside of my brush,
| | 01:37 | which is a new feature by the way of
Photoshop CS4 and a really good one too.
| | 01:41 | Now I can paint over this bank building
and it magically goes away. Of course,
| | 01:46 | that's a terrible clone right there
because it's soft and drifty and it doesn't
| | 01:51 | look realistic at all. Certainly I got
rid of the bank building but I didn't
| | 01:55 | replace it with anything credible and
honestly this is a kind of thing where
| | 02:00 | somebody who is fairly experienced with
Photoshop can completely nail you. They
| | 02:03 | will just look at this and go, well,
you just cloned some trees. That's terrible.
| | 02:08 | So I will go ahead and undo that
modification by pressing Ctrl+Z or Command+Z
| | 02:12 | on the Mac. What we need to do is to
choose a better source point and I like
| | 02:16 | this little tree right there in another
set, I will go ahead and press the Alt
| | 02:18 | key or the Option key on the Mac, keep
that key down for a moment so that you
| | 02:22 | can see this articulated tree right
there and I will go ahead and Alt-click or
| | 02:26 | Option-click right on it.
| | 02:28 | Now I have got that guy loaded as you
can see and I will move over to the bank
| | 02:32 | building and I will paint pretty high
actually. Right about there is going to
| | 02:37 | do us pretty well and you can see that
we are painting away a lot of stuff and
| | 02:42 | painting into the bank building and
then I am going to paint down, but I still
| | 02:45 | have a little bit of driftiness
right there. Do you see what I am talking
| | 02:48 | about where it's a little bit of
softness that doesn't make sense? Like this
| | 02:51 | tree looks ultra hard. That's great and
so it looks like it's a credible part of
| | 02:55 | our composition once again.
| | 02:57 | So I am going to go up to the Options
Bar right there and I am going to turn
| | 03:00 | off the Aligned check box, so that I
can keep painting with that same piece of
| | 03:05 | tree over and over and then I will go
ahead and drag down like so and that
| | 03:09 | looks pretty good. We have a nice kind
of mix of the various trees going on.
| | 03:12 | Now let's go over to the left side of
the image and a problem here is that
| | 03:17 | things are little more barren, we don't
have nearly as many trees. So if I just
| | 03:21 | start painting like so then it's
really getting me hard to control what I am
| | 03:26 | doing, anyway it's a mess.
| | 03:28 | So I am going to undo that modification
and I will show you, this really great
| | 03:31 | trick. Again, I go up to the Mode menu
right there and I don't expect you, I
| | 03:35 | need to say this, I don't expect you
to retain any of this. I am really just
| | 03:39 | trying to give you a sense of what you
can accomplish, the specific details of,
| | 03:43 | which we will explore in later chapters.
I know I keep saying that, but if you
| | 03:48 | like I need to keep saying that.
| | 03:49 | I am going to go up to this Mode menu,
click on it and I am going to choose
| | 03:53 | Behind so that we are painting new
trees behind the layer so in the region
| | 03:58 | behind the other trees. We are still
working on the active layer, that rolling
| | 04:01 | hills layer, and I can see of course a
preview of my brush right there. I am
| | 04:06 | going to keep it fairly high, so that
we were painting on top of that rear
| | 04:09 | building and notice we are putting
trees, new trees into the background.
| | 04:13 | Now I am not quite so happy with--
well, actually that looks pretty good.
| | 04:17 | I shouldn't say I am not happy with it.
I am happy with it. That looks great, but
| | 04:20 | we are not covering up enough of this
building. So I think I will go ahead and
| | 04:23 | undo that modification and I will
start higher like so and more to the left,
| | 04:28 | and I will paint again and now it looks
like we are painting away that building
| | 04:32 | pretty nicely and I will go all the way
over here to the -- now this is kind of
| | 04:36 | where things fall apart a little bit
here over on the right hand side because
| | 04:40 | we are painting pretty high. We are
actually painting a pretty tall crest of
| | 04:43 | tress and I run out. Notice that I have
got a sharp outline right there where I
| | 04:47 | ran out of tree details
because I ran into this edge.
| | 04:51 | All right, so you know what? I am
going to undo that modification once again,
| | 04:55 | sometimes this is the kind of stuff you
just have to do and I am going to paint
| | 04:59 | starting right there. So I don't run
out of tree detail over there on to right
| | 05:03 | hand side and also so that I don't end
up creating too tall of a crest of trees
| | 05:08 | and I think what I really need to
do is establish a new source point.
| | 05:12 | So I will come back to this right hand
region of the image over here and I will
| | 05:16 | go ahead and Option-click or Alt-click
right about there in order to set that
| | 05:21 | as a source of my cloning, so that I
have a lot of stuff to work with and then
| | 05:25 | I will click and drag like so in order
to paint over that region of the image
| | 05:30 | and I am going to paint
over the Safeway as well.
| | 05:32 | Then if we need to add still more
trees as we most certainly do, then I could
| | 05:37 | Alt-click or Option Click in order to
set yet another source point and I could
| | 05:41 | paint like this and now I am really
covering up those details quite nicely. I
| | 05:46 | think at every time I am painting, I am
sending more tress into the background.
| | 05:50 | So in back of our current forest of
trees, then I will paint these guys in
| | 05:55 | there as well and I would say now at
this point we have completely covered up
| | 05:59 | those background buildings.
So done a pretty good job.
| | 06:01 | I just need to make sure that we
don't have any of these kind of -- well
| | 06:04 | actually that looks pretty good. I was
going to say this kind of nonsense right
| | 06:07 | here, where the trees drift off gently
into the background but that's not what
| | 06:10 | we are seeing, those are some
background bushes and I could choose to cover
| | 06:13 | them up if I wanted to by painting in
some more trees but I am not going to, I
| | 06:17 | think that looks all right.
| | 06:18 | Now what doesn't look all right is the
transitions between the original trees
| | 06:23 | on this layer and the new background
foliage. So we have some sort of neon
| | 06:29 | edges going on and we will get rid of
those by changing the mode from Behind,
| | 06:34 | back to Normal so that we can paint
over these trees and then I will just set
| | 06:38 | about painting these trees sort of away,
you know arbitrarily here and there
| | 06:43 | inside of the image and this is a kind
of stuff when you start cloning, you --
| | 06:48 | A, got to be very careful about what
clones you design to apply and B, you got
| | 06:52 | to do an awful lot of cloning in order
to resolve the discrepancy. So that you
| | 06:58 | have some credible modification inside
of your image and I would say this looks
| | 07:03 | pretty done good.
| | 07:04 | Now the funny thing is you and I know
that those trees, a lot of those trees
| | 07:08 | are absolute forgeries, and yet I
will go ahead and switch back to my
| | 07:12 | rectangular Marquee tool just so that I
don't have a cursor. If I bring back my
| | 07:15 | Layers palette by pressing Shift+Tab
and then turn off rolling hills for a
| | 07:19 | moment, it's kind of a surprise to
see all that stuff in the foreground.
| | 07:22 | We did an awfully nice job of covering
it up with all of the stuff right here
| | 07:27 | and if I feel like, you know what, I
feel like I need to raise the rolling
| | 07:31 | hills just a little bit, so then I
have little bit of wiggle room between the
| | 07:35 | stuff that I am covering up and the new
stuff on top of this layer right here.
| | 07:39 | Then I could switch back to my Move
tool and then I could press Shift+Up Arrow,
| | 07:44 | maybe two times in a row just like that,
in order to raise those rolling hills
| | 07:48 | just a little bit higher and there we have it.
I think this looks pretty done. Nice, folks.
| | 07:53 | Now that I still need to enhance the
scariness of my scene and we are going to
| | 07:57 | do that by applying a couple of
additional adjustment layers. This time though,
| | 08:01 | we are going to affect the
entire composition. Stay tuned.
| | Collapse this transcript |
| Adding an entire composition| 00:00 | All right this far we have done a
great job, I think, of getting rid of all
| | 00:05 | those foreground details, all that strip
mall garbage, and I will show you what I
| | 00:09 | mean. If I turn off this rolling hills
layer, look at all that stuff that we
| | 00:13 | have covered up. Turn it back on the
Stanley hotel. It's now properly isolated
| | 00:18 | I think from the rest of the world.
However, it doesn't look all that scary.
| | 00:23 | I want a hotel that's so terrifying
that if I showed up there I was going to
| | 00:28 | get axe murdered. So we need to add a
couple of additional Adjustment Layers to
| | 00:32 | bring out some of the scariness, some
of the terrifying aspects of this scene
| | 00:37 | and these adjustments layers are
going to affect the entire composition,
| | 00:40 | foreground rolling hills
and background, Stanley image.
| | 00:43 | So I will press Shift+Tab to bring
back my palettes. I will click on the top
| | 00:47 | layer here inside the Layers palette
to make it active, so that we are adding
| | 00:50 | our new adjustment layers on top of the
old adjustment layers. Then I am going
| | 00:53 | to click to the right of Masks in
order to bring up the Adjustments palette.
| | 00:57 | Then I am going to click on the left
pointing arrowhead to return to the
| | 01:00 | Adjustment List and I want to start
things off by adding a Levels adjustment
| | 01:04 | layer, which is terrifying in and of itself.
| | 01:06 | Notice if I click on Levels, it brings
up this thing called a Histogram and we
| | 01:11 | will be exploring that in all kinds of
detail in a later chapter because this
| | 01:14 | is one of Photoshop's most useful color
adjustment commands. And I am going to
| | 01:18 | click in this third Input levels value
as it's known and I am going to press
| | 01:22 | Shift+Down Arrow and notice that went
ahead and brightened the screen. This is
| | 01:27 | before, if I raise the value, this is after.
| | 01:29 | So we have just ever so slightly
brightened it and I want to leach some of the
| | 01:34 | blue out of this image, I consider
this image to be too cool right now and I
| | 01:37 | want to warm it up. So I am going to go
up to this RGB item right there, click
| | 01:41 | on it and choose Blue in order to
limit my modifications to the blue channel.
| | 01:46 | And then I will click in this middle
option right here and I press Shift+Down
| | 01:51 | Arrow to take it down to 0.9.
| | 01:53 | Now look at the image, this is the
before version cool, this is the after
| | 01:57 | version warmed up. And it's still
little bit too green for my taste. So I will
| | 02:03 | switch over to the green channel right
here and then I will nudge this value,
| | 02:08 | this middle value once again down to 0.
95 and that gets rid of a little bit of
| | 02:13 | the green, leaves behind a warmer,
redder scene. And again, I say this every
| | 02:19 | single time, but I don't expect you to
remember a single thing about what you
| | 02:22 | are seeing right now. It's just too
much stuff that I am throwing at you, and
| | 02:25 | if you have never seen a Levels
command forget about it, just know I am going
| | 02:29 | to be there for you when it's really
time to learn Levels. I will show you how
| | 02:32 | it works and you will be a Levels master.
| | 02:35 | All right, next I want to add a lot of
intensity to the scene, I really want to
| | 02:39 | intensify the colors. So I am going to
click on this Left Pointing Arrow head
| | 02:42 | once again and this time we are going
to add a new function in Photoshop CS4,
| | 02:46 | which is Vibrance. So I am going to
go ahead and click on this V icon, this
| | 02:51 | purple V right there, in order to add
a Vibrance layer. And we have got two
| | 02:55 | controls, Saturation and Vibrance.
| | 02:58 | I am going to click inside the
Saturation option. Watch the image, if press
| | 03:01 | Shift+Up Arrow three times in a row, I
am going to send that saturation value
| | 03:05 | +30, but I am also going to enhance
the intensity of these colors like crazy
| | 03:09 | and then I want a little bit more fine
tuned control. Notice that I am making
| | 03:13 | the foreground colors quite intense, we
have got all kinds of yellows that are
| | 03:16 | riddled through this landscape, but
the blues of the background remain at
| | 03:20 | fairly low ebb.
| | 03:21 | So I am going to click inside this
Vibrance value and I am going to press
| | 03:24 | Shift+Up Arrow one, two, three, four
times in a row in order to increase that
| | 03:28 | value to +40 and so now we are
doing a better job of bringing out those
| | 03:32 | background hues as well. So this
what the scene looked like before at the
| | 03:37 | outset of this exercise, kind of tepid
really by comparison and this is what it
| | 03:43 | looks like now, thanks to two powerful
Adjustment Layers that are affecting the
| | 03:47 | entire composition.
| | 03:49 | In the next exercise, we are going to
create something that we are currently
| | 03:52 | lacking, a dark and stormy sky.
| | Collapse this transcript |
| Creating a dark and stormy sky| 00:00 | All right, in this exercise I am
going to show you how to create a dark and
| | 00:03 | stormy sky, and in our case we are not
really talking about a dark and stormy
| | 00:08 | night, it's more like a dark and stormy
afternoon. But still, we will have dark
| | 00:13 | and stormy, those will be our operative
words. Now just to be safe, I have gone
| | 00:17 | ahead and saved my progress so far as a
file called Enhanced colors.psd but you
| | 00:23 | don't actually care about that because
you are not working along with me. You
| | 00:26 | are just watching me show
you what Photoshop can do.
| | 00:29 | So I am going to Shift+Tab back to my
palettes and notice that I have hidden
| | 00:32 | the Adjustments palette, I am just
looking the Layers palette. And I am going
| | 00:36 | to add a new layer by clicking on this
little Page Icon down here at the bottom
| | 00:40 | of the Layers palette and I will call
this new layer Moodiness like so and I am
| | 00:45 | going to add a gradient actually to
this layer. So I will go over here to the
| | 00:49 | Gradient tool, which is sandwiched
between the Eraser and this little droplet,
| | 00:54 | which is the Blur tool.
| | 00:55 | I will go ahead and grab the Gradient
tool and by default its set to Foreground
| | 00:58 | to Background. I am going to change it
to Foreground to Transparent by clicking
| | 01:02 | on this icon and then I am going drag
from roughly here, I figure down to here,
| | 01:09 | like so and I have got the Shift key
down, just to constraint the angle of my
| | 01:12 | drag to exactly vertical
and then I will release.
| | 01:14 | Now, that doesn't look so much like a
dark and stormy sky as our real planetary
| | 01:21 | problem. But we are going to change
that by going over here to this Blend mode
| | 01:25 | option, here in the upper left corner
of the Layers palette and I will change
| | 01:28 | this Setting from Normal to Overlay
like so and now we will go ahead and drop
| | 01:33 | that gradient into the image and then
we will create an interaction between the
| | 01:37 | gradient and the background colors of
the sky. So just to give you a sense of
| | 01:41 | what we have done, here's the
composition without that Moodiness Layer, here's
| | 01:45 | the composition with the Moodiness
Layer. So it makes a nice difference I think.
| | 01:48 | Now, it's darkening the tops of the
hills. You may be able to see that and I
| | 01:52 | don't want that, I don't want this
strange top darkness going on. So I will
| | 01:56 | switch to my Eraser tool and I will go
ahead and not only increase the size of
| | 02:02 | my Eraser, I might work with something
like a 50 pixel eraser here, but also
| | 02:06 | reduce the Hardness value
from a 100% to 0% like so.
| | 02:10 | Actually that's still too small, let's
go ahead and raise that up to a 100, why
| | 02:13 | don't we. I think that will work
better for us and then I will paint away the
| | 02:17 | mount top like so. So we don't have
that darkness bearing down on the hills and
| | 02:21 | I might as well make these guy a
little lighter as well. Just trying to make
| | 02:24 | sure that we are erasing those areas out.
All right, that looks pretty good to me.
| | 02:27 | Now I want to go ahead and burn the
sky using the Burn tools, we saw few
| | 02:32 | exercises back. So I am going to
click on the Background Layer to make it
| | 02:35 | active here in the Layers palette.
And then I am going Shift+Tab away my
| | 02:39 | palette so that I can see all of my
images at once. And then I am going to grab
| | 02:42 | my Burn tool and I am going to increase
the Diameter from 400 to something like
| | 02:47 | 700, actually it's going to work
better for this. And I will change the
| | 02:50 | Exposure value to 50% and then I
am going to paint across the sky.
| | 02:55 | Look at that. That darkens it up
quite nicely I think. Adds quite a bit of
| | 02:59 | moodiness to the setting and I might as
well make the hills a little darker as
| | 03:03 | well by dragging over them and then
I am going to drag just once over the
| | 03:07 | Stanley. Not much but I just want to
darken it up too and if I feel like I want
| | 03:12 | further darkening of the sky, I really
want to make it nice and moody, then I
| | 03:15 | will turn off Protect Tones for a moment,
because I am just trying to bring out
| | 03:19 | a lot of noise inside of the sky.
| | 03:21 | And if I turn that off, I am going to
restore the previous behavior of the Burn
| | 03:25 | tool back in the old days of
Photoshop CS3 and earlier behavior, and I will
| | 03:29 | reduce that Exposure value to 20%
because once you start working in the old
| | 03:33 | school, this tool does a lot of damage
very quickly. So let's keep it fairly
| | 03:37 | subtle and I will just drag over this
region of the sky right there, just one
| | 03:40 | drag over the right hand area maybe a
little bit down here as well and that's
| | 03:45 | good, I like this quite a bit.
| | 03:47 | Now we still have a problem that I
want to address, which is all this noise
| | 03:50 | that's going on in the sky, for example,
I will zoom in on the sky here and you
| | 03:54 | can see that there is a lot of random
color variations going on. This is known
| | 03:58 | as Digital Noise and we will
address it in the very next exercise.
| | Collapse this transcript |
| Reducing the noise in the sky| 00:00 | All right gang, we have come a long
way in terms of making our image more
| | 00:03 | menacing, more malignant, which is a
good thing, of course in our case. But we
| | 00:08 | have also brought out a lot of colored
noise. So if I go ahead and zoom into
| | 00:11 | the top of the image, so that's where
you really see it. We are not seeing it
| | 00:14 | so much down below, because up here towards
the top is where we have done the most damage.
| | 00:19 | We have applied the most modifications
that is to say, and the more you modify an
| | 00:23 | image, the more you destroy its
details, this happens to be one of those
| | 00:27 | things. And then you need to go in and
repair the details sometimes, as we do
| | 00:31 | in the case of this sky. So notice, we
have got this Digital Noise, meaning we
| | 00:36 | have random variations between
neighboring pixels. Most of our random
| | 00:40 | variations are in the color department
but some of our variations happen in the
| | 00:45 | brightness department as well.
| | 00:47 | So here's what we are going to do. I am
going to press Shift+Tab to bring up my
| | 00:50 | Layers palette and I am going to make
sure the Background layer is active and I
| | 00:53 | want to apply a non-destructive
filter to this layer and the best way to do
| | 00:57 | that is to go up to the Layer menu,
choose Smart Objects and choose Convert to
| | 01:02 | Smart Object. And Smart Objects are
very powerful also quite advanced. But we
| | 01:08 | are going to take advantage of it
because it enables us to apply a filter and
| | 01:12 | then mask away the areas
that we don't want to modify.
| | 01:14 | I will go ahead and change this new
layer, which is now Smart Object, I will go
| | 01:19 | ahead and change its name to Stanley,
since that's what it is The Stanley Hotel
| | 01:23 | there. Just so that we have enough
room to work here, I am going to move my
| | 01:26 | image up and to the left, just so I
can see as much of the sky detail as
| | 01:31 | possible because the filter that we are
about to choose brings up a really big dialog box.
| | 01:35 | All right, so I am going to go the
Filter menu, choose Noise and choose Reduce
| | 01:40 | Noise right here and this is a very
powerful feature inside the software. Now
| | 01:45 | for starter's I am going to increase
the Reduce Color Noise value to a 100%.
| | 01:49 | Now we are not going to really see
what we are doing here inside of this
| | 01:53 | preview, because the original image
doesn't really appear to have any noise and
| | 01:57 | we are really not seeing that much
noise inside of this Background layer.
| | 02:01 | But when we see it in the context of
the Adjustment Layers and that Gradient
| | 02:06 | Moodiness layer and all that, that's
when we really see the color and noise
| | 02:09 | coming out. So by virtue of the fact
that I just took that Color Noise value up
| | 02:13 | to a 100%, we have got rid of a lot of
the noise in the background. So I want
| | 02:17 | you to keep your eye over here in this
left region. If I turn the Preview check
| | 02:21 | box off this is the way the noise
looked before, this is the way it looks after
| | 02:25 | and hopefully you can perceive that. I
will go ahead and zoom in a little bit
| | 02:28 | more in just a moment but before I
do I want to change a couple of other values.
| | 02:32 | First of all, I don't want to sharpen
any details inside of this dialog. So I
| | 02:36 | will take that value down to zero. I
am going to increase the Strength value,
| | 02:41 | which is the amount of brightness noise
that we are depleting, I will increase
| | 02:44 | this Brightness value up to 10, so we
are setting it to its maximum setting and
| | 02:49 | then I will take Preserve Details down
to 10 as well. So these happen to be the
| | 02:53 | best settings for this image.
Obliviously, each and every image requires a
| | 02:57 | different manipulation. I will go ahead and
click OK in order to accept that modification.
| | 03:01 | Now I will zoom in just so that we can
really see how there is very little on
| | 03:05 | the way of noise left. So this is what
that image looked like before, if I just
| | 03:08 | press Ctrl+Z or Command+Z on a Mac and
this what it looks like now. So pretty
| | 03:13 | big difference where the
Color Noise is concerned.
| | 03:15 | Now notice that we have gone ahead and
added this Smart Filter to this Stanley
| | 03:20 | layer and there it is, Reduce Noise. I
could double click on it to modify the
| | 03:24 | settings or I can click inside of this
Filter Mask right there and I definitely
| | 03:29 | want to do that because if I scroll
down to The Stanley Hotel itself and I were
| | 03:35 | to turn off this effect, notice how
much crisper the detail inside The Stanley
| | 03:40 | Hotel is before than it is after, if I
turn the effect back on. So we have a
| | 03:45 | lot of color bleeding, a lot of problems.
| | 03:48 | So this effect that we have applied is
good for the sky but bad for the hotel.
| | 03:51 | So again, I am going to go ahead and
click in the Filter Mask in order to make
| | 03:54 | it active, then I am going to zoom out
from the image so that I can see more of
| | 03:57 | it at a time. I am going to grab my
Gradient tool once again and I am drawing
| | 04:02 | not inside the image but inside this
Filter Mask and notice that my Foreground
| | 04:06 | to Background Colors are set to White
as Foreground and Black as Background.
| | 04:09 | I will change my Gradient to
Foreground to Background once again, and I am
| | 04:15 | going to drag from right about here
downward like so and I have got the Shift
| | 04:19 | key down once again so that I am
constraining the angle of my drag to exactly
| | 04:23 | vertical and then I will release and
that goes ahead and protects the building.
| | 04:27 | So this is before, let's go ahead and
zoom in on that building once again. This
| | 04:31 | is the before version where the colors
are bleeding all over the place, this is
| | 04:34 | the after version with the crisper
detail and yet we are still getting rid of
| | 04:39 | the noise up there in the sky. Thanks
to a combination of a Smart Object, a
| | 04:43 | Smart Filter, and a Filter Mask, all of
which you will learn more about much,
| | 04:47 | much later inside of part three of this series.
| | 04:51 | In the next exercise, we are going to
bring out more of the detail inside of
| | 04:56 | the image by sharpening it using a
strangely named but powerful filter called
| | 05:00 | Unsharp Mask. Stay tuned.
| | Collapse this transcript |
| Sharpening the detail| 00:00 | All right, fellow lovers of the dark
and the sinister. In this exercise we are
| | 00:04 | going to sharpen the detail inside of
this composition and we are going to do
| | 00:09 | that by creating a yet another Smart Object
and applying yet another Smart Filter to it.
| | 00:14 | Now one of the things you can do
inside a Photoshop is roll Smart Objects
| | 00:18 | inside Smart Objects and that's
exactly what we are going to do in this case.
| | 00:21 | So I have got the Stanley layer
selected here inside my Layers palette, this is
| | 00:25 | the rear layer in the stack. And I am
going to Shift-click on this layer right
| | 00:29 | there. That's the Hue/Saturation layer,
which you may recall we created several
| | 00:33 | exercises ago now.
| | 00:34 | And by Shift-clicking and then I
select this entire range of layers. This way
| | 00:38 | by rolling all these guys into a single
Smart Object I will be able to sharpen
| | 00:42 | the contents of the Stanley and the
Rolling Hills layers, while at the same
| | 00:46 | time maintaining the appearance of
those Adjustments layers that are applied to
| | 00:50 | just the Rolling Hills layer and nothing else.
| | 00:52 | So there is some fairly twisted logic
going on here and this will make more and
| | 00:56 | more sense as you work your way
through the series. All right, so with these
| | 00:59 | layers I am going to go up to the
Layer menu. I am going to choose Smart
| | 01:02 | Objects and I am going to choose
Convert to Smart Object just like before and
| | 01:06 | now we get a single Smart Object layer,
where once we had several layers inside
| | 01:11 | that stack. All right, so I will just
go ahead and name this Image comp or
| | 01:15 | something along those lines, where
comp stands for composition. Composition
| | 01:19 | being something of a coverall
name for a multi-layered image.
| | 01:23 | All right, so I am going to go ahead
and make the Layers palette more narrow,
| | 01:26 | like it was before just by dragging
that edge. Then I am going to go on to the
| | 01:30 | Filter menu, I am going to choose
Sharpen and I am going to choose Unsharp
| | 01:34 | Mask, one of the core filters
available to you inside Photoshop. And I will
| | 01:40 | increase the Amount value to 200% and I
will leave the Radius value set to 1, I
| | 01:44 | will leave Threshold set to zero as well.
And then I will click OK in order to
| | 01:48 | accept that modification and you can
see now I have got a Smart Filter and that
| | 01:52 | Smart Filter happens to be on Sharp
Mask. I have got a Filter Mask, but I am
| | 01:56 | not going to use it, so we
will ignore it that for now.
| | 01:58 | I am just going to zoom in on the
Stanley here and just give you a sense of
| | 02:02 | what we just accomplished. This is
before and this is after, so we have some
| | 02:07 | very, very tactile detail inside of
this image. It brings out some of the
| | 02:11 | roughness inside the image as well,
but that's all right. That's a good
| | 02:14 | tradeoff because after all a sharper
hotel is a more dangerous hotel. But if I
| | 02:20 | Shift+Tab away my palettes, we can see
that there is just too much of it, we
| | 02:24 | have got too much sky up above, we have
got way too much landscape down below.
| | 02:28 | I really want to hone in on the hotel
itself and we are going to do that using
| | 02:33 | cropping as I will explain in the next exercise.
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| Cropping the artwork| 00:00 | All right, so we have made a lot of
progress inside of this image composition
| | 00:04 | here, and the only problem is that
there's too much of it. We are too distant
| | 00:08 | from the main character, which is the
hotel, the scary hotel here. And so I
| | 00:13 | want to hone in on the hotel. Put it
right there in a foreground so that our
| | 00:17 | attention is absolutely monopolized
by it and we are going to do that by
| | 00:22 | cropping the image using this
tool right here the Crop tool.
| | 00:25 | So I will go ahead and select the Crop
tool and then I am going to drag across
| | 00:29 | the image in order to set a crop
boundary and the idea behind the crop boundary
| | 00:34 | is that anything that falls inside
of the boundary here, inside of this
| | 00:37 | rectangle, will remain a part of the
cropped image. Anything outside of the
| | 00:42 | crop boundary will be cropped away. So
I am going to make some modifications to
| | 00:46 | this crop boundary just by dragging
these edge handles, as you see me doing now
| | 00:51 | and you can resize the crop boundary
as much as you want before you apply it.
| | 00:55 | And then once I get the crop boundary
exactly the way I want it, I will go up
| | 00:59 | to the Option Bar and I will turn on
the Hide radio button right there to make
| | 01:03 | sure that we don't end up completely
cropping away the contents of the layers
| | 01:08 | but we are just hiding them, so that
we can retrieve them later on if we want
| | 01:11 | to. Meaning that we are
applying a non-destructive crop.
| | 01:14 | So we give ourselves as much
flexibility as possible. Then I can apply the crop
| | 01:19 | by either pressing the Enter key or
the Return key on the Mac or I could go
| | 01:22 | ahead and click on this Check box up
here in the Options bar and that's what I
| | 01:26 | am going to do, I am going to click on
the Check box and then we have cropped
| | 01:29 | away the extraneous portion of the
image. If I zoom in here by pressing
| | 01:32 | Ctrl+Plus or Command+Plus on the Mac,
you can see how we are really directing
| | 01:36 | the viewers' attention on the hotel itself.
| | 01:39 | All right, so we are nearly done. In
the next and the final exercise of this
| | 01:43 | chapter we are going to add
the scary text. Stay tuned.
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| Working with text layers| 00:00 | In this final exercise of the chapter,
I am going to add some scary text to
| | 00:04 | this composition and you will see how
Photoshop lets you do things to text
| | 00:08 | that you just can't do inside other
applications. All right, so I have got a
| | 00:12 | new version of my image open here,
it's called Dark and stormy text.psd. Once
| | 00:17 | again, found inside the 01_hello_
Photoshop folder. Just in case you feel like
| | 00:22 | inspecting it for whatever reason.
| | 00:24 | I am going to Shift+Tab my palettes
back up on screen and I am going to click
| | 00:28 | this Triangle in front of the folder
called Type Layers and this is a Layer
| | 00:34 | Group by the way. Now when you click a
Triangle, you expand the layer group.
| | 00:38 | You sometimes hear people call this
little triangle a twirly triangle because
| | 00:41 | we are twirling open the folder. And I
have got two text layers that contain
| | 00:44 | editable text. That's what's meant
by that T inside the layer thumbnail.
| | 00:48 | I am going to turn on the Shine Layer
so that we can see these big huge letters
| | 00:54 | right there and you know just to give
myself a little more room to work, I am
| | 00:56 | going to switch screen modes. So I am
going to go up to the Screen Mode icon
| | 01:00 | up here in the Application bar and I am
going to click and I am going to switch
| | 01:03 | to Full Screen with Menu Bar. So that
we have little more room to work inside
| | 01:07 | of this image.
| | 01:08 | Then I am going to click on the Shine
layer to select it and I want to give
| | 01:12 | this big huge Shine layer here, this
big huge text. I want to give it a scary
| | 01:17 | glow around the edges, and you do that
by going out to this Effects icon down
| | 01:21 | at the bottom of the Layers palette,
clicking and choosing Outer Glow.
| | 01:27 | Now we are seeing a fair number of
options that are associated with this Outer
| | 01:30 | Glow effect, but they only add up to
this tiny little glow around the letters.
| | 01:35 | Not very threatening at all, I don't
think. So let's increase the Size value
| | 01:40 | like crazy, I am going to take the Size
value up to a 100, so that we have this
| | 01:44 | bright vivid glow coming at us and I
am also going to increase the Opacity
| | 01:48 | value to a 100%. So the letters are
glowing in full strength and I am going to
| | 01:52 | click OK in order to accept that effect.
| | 01:55 | Now you might look at this and say, Gosh!
Deke, you know that's quite the glow
| | 01:59 | all right and those letters are
enormous thus covering up all this hard work
| | 02:03 | that you have done, you are just
completely obliterating the Stanley Hotel on
| | 02:07 | the background. Aha ha! Not so,
because I can go ahead and drop these letters
| | 02:11 | out using this Fill value right here. I
could have actually drop those letters
| | 02:15 | out entirely, if I took the Fill value
down to 0% while leaving the Glow a 100% intact.
| | 02:21 | But I am going to go ahead and take
that Fill value to 40%, so that we can see
| | 02:25 | a little bit of darkening inside the
letters and I also take the Opacity value,
| | 02:29 | which will affect both the letters and
the glow at the same time down to 60%.
| | 02:35 | So we have got an Opacity value of 60%,
a Fill value of 40% looking pretty good.
| | 02:39 | Now, I want these letters to sort of
emerge from these sort of mountainous
| | 02:44 | crags right here, the rocks in the
background. So that we are not affecting the
| | 02:48 | hotel at all and we can still keep the
letters nice and legible. So I am going
| | 02:53 | to add a Mask to my text and I am going
to do that by going down once again to
| | 02:57 | the bottom of the Layers palette and
clicking on this next icon over, which is
| | 03:01 | the Add a Layer Mask icon and that will
add this Mask as you can see. And then
| | 03:06 | I will go ahead and grab my Brush tool,
here from the Tool Box, and I will
| | 03:10 | increase the Diameter of this Brush to
400 pixels off we have done it big. And
| | 03:14 | I also make sure that my Foreground
color is set to Black, so that I am
| | 03:18 | painting away portions of the letters.
| | 03:20 | So I will go ahead and click on this
little double arrow icon to make the
| | 03:22 | Foreground Color Black and then I am
going to paint like so in order to expose
| | 03:27 | those rocks in the hotel and the
Foreground. And notice as I do this that I am
| | 03:31 | exposing the hotel to a certain extent
but the glow from the letters is kind of
| | 03:35 | interrupting things. So in other words,
the glow is tracing around these fuzzy
| | 03:39 | edge that I am painting in the place.
| | 03:41 | Well, there's a way to solve that
problem, I will go back over here to Layers
| | 03:44 | palette and with this Top Text layer
selected I will click on this little icon
| | 03:48 | in the upper right corner of the
Layers palette in order to bring out the
| | 03:51 | palette menu and then I will choose
Blending options, which brings up probably
| | 03:56 | the most complicated
dialog box in all of Photoshop.
| | 03:59 | Later of course, you will think
nothing of it, you will it's a pussy cat, but
| | 04:03 | now it's a little threatening and I am
going to turn on this check box right
| | 04:06 | there, Layer Mask Hides Effects and
that takes care of our problem. It allows
| | 04:09 | us to mask away both the letters and
the effect in one operation. How would you
| | 04:14 | know that this check box is even here,
let alone serves this purpose? Well you
| | 04:18 | will know that because you are going
stick with this series and you are going
| | 04:21 | to know everything about the
software once we are done with it.
| | 04:24 | All right, I will click OK in order to
accept that modification and then I will
| | 04:28 | scroll over to the right a little bit,
so that I can go ahead and paint away
| | 04:33 | this area as well. All right, this is
looking pretty good me and maybe a little
| | 04:37 | more painting inside of these regions,
let's paint up into those rocks there.
| | 04:41 | All right, grand. Now that I have got
one more layer at the bottom of this
| | 04:46 | group, I will go ahead and turn it on
and that adds this layer at the bottom of
| | 04:51 | the composition.
| | 04:52 | All right, I am going to press the Tab
key in order to hide all of my palettes
| | 04:55 | and focus in just on the composition
itself. This is the final piece of art
| | 05:00 | work right here. Just to give you a
sense of what we have achieved here,
| | 05:04 | this is the original version of the
photograph and this is our final layered
| | 05:09 | composition. Once you achieve a certain
degree of proficiency, there really is
| | 05:14 | nothing you can't do inside a
Photoshop and you will become proficient if you
| | 05:18 | stick with me over the course
of Photoshop CS4 One-on-One.
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|
|
2. Open and OrganizeThe Adobe Bridge| 00:01 | Strange as it may sound, much of our
first hands-on look at Photoshop will be
| | 00:05 | spent inside a completely different
application, which goes by the name Bridge.
| | 00:10 | Included with every copy of Photoshop,
whether you bought it alone or as part
| | 00:14 | of the Creative Suite, the Bridge is
a full-blown Digital Asset Manager.
| | 00:19 | By that, I mean you can review image
thumbnails, rotate them, delete them, move
| | 00:24 | them to different folders, assign star
ratings and keywords and group them into
| | 00:29 | stacks. Inside the revamped Bridge CS4,
you can preview an image full screen,
| | 00:35 | compare images in the Review mode and
collect images from different folders
| | 00:39 | according to search criteria.
| | 00:42 | If you have just a few dozen images
lying around, this may seem like overkill
| | 00:46 | but if you have a few hundred,
a thousand or a hundred thousand, it is an
| | 00:51 | absolute necessity. Where else can
you whip through a folder of images or
| | 00:55 | illustrations and view scalable, high
quality thumbnails or rename a group of
| | 01:00 | files in a single operation? The
Bridge even lets you preview sound and movie
| | 01:05 | files without the need to open them
in a separate program. It is a media
| | 01:09 | manager's dream and it is your primary
method for reviewing images and opening
| | 01:14 | them in Photoshop. Let us see how it works.
| | Collapse this transcript |
| Opening an image| 00:00 | In this exercise, I am going to show
you how to open an image directly inside
| | 00:04 | Photoshop. Now among the CS4 applications,
Photoshop is unusual in that it
| | 00:08 | does not greet you with a helpful,
friendly welcome screen. Instead, the first
| | 00:13 | time you launch it, it greets you with
what you are seeing right now. Just this
| | 00:17 | empty grayness and that is it.
| | 00:19 | So a couple of things that you can do.
One, you can go up to the File menu and
| | 00:22 | you can choose the New command or
press Ctr+N, Command+N on the Mac, and that
| | 00:26 | is a pretty common operation. In
other applications, it is a very unusual
| | 00:30 | operation inside of Photoshop because
you typically do not create this new
| | 00:34 | empty file and then start painting
inside of it. You can but that is not the
| | 00:39 | most typical way to work.
| | 00:41 | I mostly use the new command in order
to capture data from the Clipboard, so if
| | 00:45 | I take a screen-shot for example and
then come over to Photoshop and choose the
| | 00:49 | new command, I will see the dimensions
of my screen image, then I will click OK
| | 00:53 | and then I will Paste that image
into the new canvas but if you are just
| | 00:58 | creating a new image, just so you have
a bunch of different presets to choose
| | 01:02 | from here, so you can choose a common
paper size or you can choose a typical
| | 01:06 | web page size, something along those
lines. I do not find any of those to be
| | 01:09 | super useful but there in case you want
to take advantage of them. Then notice
| | 01:13 | that Photoshop, by default, wants to
create an image, say, 7 inches wide, 5
| | 01:17 | inches tall and a resolution of just 72
pixels per inch. We will be discussing
| | 01:21 | resolution in more detail through our
future chapters of this series but 72 is
| | 01:25 | really super low and then you can
choose your color mode, which could be for
| | 01:30 | example, RGB, if you are going to make
a color image, gray scale, if you just
| | 01:34 | want to work with the single monochrome
image. You can do CMYK for print and so
| | 01:40 | on. Again, we will be discussing
those in more detail in future chapters.
| | 01:43 | I am just going to go ahead and click
OK in order to create a default image and
| | 01:48 | this is a really dinky image. We are
seeing the image at the 100% view size, so
| | 01:53 | we are seeing the every single pixel
inside of this blank image. The fact that
| | 01:57 | it fits on my screen at this recording
resolution, which is just 1027/768, so
| | 02:03 | it is dinky. The fact that this image
fits just goes to show you, you have very
| | 02:07 | little on way of pixels to work with.
| | 02:09 | Anyway, as I said, that is not really
the common way to work. Just wanted to
| | 02:12 | show that it is an option. I am going
to close this image, either by clicking
| | 02:16 | in its Close button, here inside of
this tab title and I will be discussing the
| | 02:22 | new Tab window interface in more
detail a couple of chapters from now but you
| | 02:26 | can click this Close box to close the
image or you can go up to the File menu
| | 02:29 | and choose the Close command. You also
have keyboard shortcuts. Ctr+W here on
| | 02:33 | the PC or Command+W on the Mac.
| | 02:36 | A more common way to work is to open
an image that already exists and this
| | 02:40 | could be an image that you have scanned
using a desktop scanner or drum scanner
| | 02:43 | or what have you, or it could be an
image that you captured with a digital
| | 02:47 | camera. And to open it, you go up to
the File menu and choose the Open command
| | 02:51 | or press Ctr+O, Command+O on the Mac.
| | 02:54 | Pretty common stuff and then notice
that I have gone ahead and given you a
| | 02:59 | folder of images to Open. Let me just
show you where these are and this is for
| | 03:03 | those of you who are premium members or
have access to the DVD, then you can go
| | 03:07 | on to your Exercise Files folder, go
into the folder called O2open organize and
| | 03:11 | there is a sub-folder called Tom
Young and inside of that folder, I will go
| | 03:15 | ahead and make these thumbnails bigger
by switching the large icons here and
| | 03:18 | this works differently on the two operating
systems. I am working under Windows Vista here.
| | 03:23 | But now I can see fairly large
thumbnails of each one of these images from
| | 03:28 | photographer Tom Young of www.
iStockPhoto.com and I am going to go ahead and
| | 03:32 | open this first one alphabetically
anyway. Beautifuleyes.jpg. And then I will
| | 03:37 | click the Open button in order to open
that image inside of a new window and we
| | 03:42 | can see the title of the image up here
in this tab and we can also see the Zoom
| | 03:47 | Ratio, which is 33%, meaning that we
are zoomed out far enough to take in the
| | 03:51 | entire image on screen at a glance.
| | 03:54 | That is the basics of opening an image
inside Photoshop. In the next exercise,
| | 03:59 | I am going to show you to
open multiple images at a time.
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| Opening multiple images| 00:00 | In this exercise, I am going to show
you how to open multiple images at a time,
| | 00:04 | either inside of a tabbed window or
inside independent windows, if you
| | 00:09 | prefer. I am going to go up to the
File menu and choose the Open command or
| | 00:13 | press Ctrl+O, Command+O on the Mac, in
order to bring up the open dialog box.
| | 00:18 | I have already navigated my way into the Tom Young
folder, so named after the photographer of these images.
| | 00:25 | Now first of all, note that I am seeing
these images as thumbnails, these large
| | 00:30 | thumbnails and I can switch to
thumbnails over here on the PC by choosing large
| | 00:35 | icons. Also on the Mac, you have a trio
of icons up toward the top left corner
| | 00:41 | of the dialog box and if you click on
the first of the three, you will switch
| | 00:45 | to the thumbnail this way. Now, I am
going to click on Beautiful eyes and then
| | 00:49 | Shift-click on Young couple and if I do
that I select all four of these images.
| | 00:55 | So by Shift clicking, I select a range
of images and then you click on the Open
| | 00:59 | button in order to open all four of them.
| | 01:02 | Another way to work is to select not
adjacent images. So I will click off of
| | 01:06 | the thumbnails in order to deselect
them, then I could click on California
| | 01:10 | coastline and Ctrl click on Young
couple. If I was on the Mac, I would press
| | 01:15 | the Command key and click on Young
couple and then I will select those two
| | 01:19 | images independently of the other
two. So Ctrl or Command-click for
| | 01:23 | non-adjacent images. One other way to
work, I will click off these images. You
| | 01:27 | can also marquee just by dragging from
an empty portion of the preview area and
| | 01:32 | any of the images that fall inside of
this marquee will become selected. Then,
| | 01:37 | I am going to click on the Open button
in order to open all four of the images
| | 01:41 | inside of this folder and you can see
that all four of them are now open and
| | 01:46 | represented by separated tabs at the
top of the image window and if I wanted to
| | 01:51 | switch to any one of the images, I
will just click on it's tab like so.
| | 01:55 | Now, you may prefer not to work in
the tabbed window interface and if you
| | 02:00 | prefer to work old school as in
Photoshop CS3 in earlier in independent window,
| | 02:05 | so let me show you how to pull that
off. I am going up to the File menu and
| | 02:08 | choose Close All, or I could press
that keyboard shortcut Ctrl+Alt+W,
| | 02:12 | Command+Option+W on the Mac to close
all the open images. Then, I will go to
| | 02:17 | the Edit menu. Those of you who are
working on the Mac, you would go to the
| | 02:20 | Photoshop menu, then choose the
Preferences command, it's not this far down the
| | 02:25 | list on the Mac, it's much closer to
the top of the menu and then choose this
| | 02:29 | guy right there, Interface, from the
sub-menu and notice this option right
| | 02:34 | there, Open Documents as Tabs. If you
turn that off and then click OK, then go
| | 02:40 | back to the File menu, choose Open once
again and then once again grab all four
| | 02:45 | of these images and click on the Open
button, then you will see each one of the
| | 02:49 | images in an independent image window, like so.
| | 02:54 | Now, if at any time, you decide you
want to switch back to having all of these
| | 02:57 | images inside of the same window, so
that each image gets its own tab, then you
| | 03:03 | can go up here to the Application
bar and this Application bar is new to
| | 03:07 | Photoshop CS4. On the Mac it's located
underneath the menu bar; on a PC it's
| | 03:12 | located to the right of the menu bar.
I will go ahead and click on Arrange
| | 03:16 | Documents and then I will click on
this icon right there, Consolidate All and
| | 03:20 | all the images are restored to tabs
here inside of a single window. Now, if
| | 03:26 | that's the way you prefer to work and
that's the way I prefer to work, make
| | 03:29 | sure to go back to Preferences and turn
that check box on again and this time I
| | 03:34 | am going to do it from the keyboard. I
am going to show you how to get to that
| | 03:36 | Preferences panel from the keyboard here.
Press Ctrl+k or Command+K on the Mac
| | 03:42 | to bring up the Preferences dialog box.
Now Ctrl+K or Command+K as a keyboard
| | 03:46 | shortcut may not make a lot of sense
at first, but here is the good news. It
| | 03:50 | works across all of the Adobe applications.
| | 03:53 | So learn it inside a Photoshop, you
know it inside the other apps as well. Now
| | 03:57 | I can click on Interface, inside of
this list right there, in order to switch
| | 04:00 | to the Interface panel or I will go
back to General. I could press Ctrl+2 or
| | 04:06 | Command+2 on the Mac because you can
switch between each one of these by
| | 04:09 | pressing Ctrl or Command along with a
number. So Ctrl or Command+1 for General,
| | 04:14 | 2 for Interface, 3 for File Handing and
so on. All right, now I will turn back
| | 04:19 | on Open Documents as Tabs. I will
click OK and now in the future when I open
| | 04:24 | an image, it will appear as a tab
inside of this new tabbed window interface.
| | 04:30 | That's how you open multiple images
using the Open command here inside Photoshop.
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| Adding file information| 00:00 | In this exercise, I am going to show
you how to annotate an image by adding
| | 00:03 | File Info. Now this may seem like sort
of a tacky topic, something that we are
| | 00:08 | getting into a little too early but
it's a really great idea to do it early.
| | 00:14 | When your are shooting your photographs,
there is always the chance that they
| | 00:17 | are going to get out of there in to the
larger world, whether you push them out
| | 00:21 | there by posting them to say Flicker or
some other file sharing site or whether
| | 00:26 | you just email them to friends and you
send them off to clients in any of those
| | 00:30 | cases, they are liable to get into
other people's hands and when they do, you
| | 00:35 | want those people to know where your
image came from. So that if these are
| | 00:40 | people of good will, they can get in
touch with you to ask your permission to
| | 00:43 | use your photographs and so
on and here is how that works.
| | 00:46 | Notice that I have all four of those
images from Tom Young open on screen here,
| | 00:52 | and I have actually taken the time to
annotate these images. I am going to
| | 00:55 | switch over to Young couple.jpg here
and I am going up to the File menu and I
| | 01:01 | am going to choose this command
right there, File Info, which has a big
| | 01:04 | keyboard shortcut, Ctrl+shift+Alt+I/
Command+Shift+Option+I. So regardless of
| | 01:10 | platform you just kind of match your
fist down on the lower left corner of the
| | 01:13 | keyboard and then you press the I key
for Info and I have to admit that I am
| | 01:17 | actually responsible for this keyboard
shortcut, because I petitioned Adobe to
| | 01:22 | make a keyboard shortcut for this
command. That's a little involved, but it
| | 01:25 | makes sense I think, and it brings up
this lopping big File Info dialog box. It
| | 01:30 | has multiple panels as you can see
right here and you can find out for example
| | 01:33 | but clicking on Camera Data, you can
find out what kind of camera was used to
| | 01:37 | capture this image. It's SONY, DSC+R1,
for example and the Aperture and all
| | 01:43 | sorts of additional information, we
can find out at the Flash Fired, so there
| | 01:47 | is just tons and tons information here
that can be garnered inside of this File
| | 01:53 | Info dialog box. We want to stick
here inside of Description because that's
| | 01:57 | where we can add Copyright and Author
information. And you can see that I have
| | 02:02 | gone ahead and said that the File
Number because this file comes from the
| | 02:07 | iStockPhoto.com image library.
| | 02:09 | I have gone ahead and added the File
Number, I have gone ahead and credited the
| | 02:12 | Author, I have gone ahead and included
his original description of the image. I
| | 02:17 | have marked the images Copyrighted.
Notice that, you can click on this option
| | 02:21 | right here and choose Copyrighted from
this pop up menu. Now by default its set
| | 02:25 | to Unknown. You would want to
presumably go ahead and mark your Copyrighted.
| | 02:29 | And to enter a Copyright symbol like we
have right there, let me move back up.
| | 02:34 | In order to enter that little
Copyright symbol on the Mac, all you have to do
| | 02:38 | is press Option+G. Option+G for the
copyright symbol. Why it's option G, I
| | 02:45 | don't know, but it is. On the PC it's a
little more complicated. So you need a
| | 02:50 | keyboard that has a keypad, a
numerical keypad on the right side of the
| | 02:53 | keyboard. Then you need to press and
hold the Alt key, so press that key, keep
| | 02:58 | it down and dial in this sequence of
numbers on the keypad. So don't press all
| | 03:03 | the keys at once, dial in this
sequence. So you dial in 0169 has to be on a
| | 03:10 | keypad and then release the Alt key.
So once again, in case that was little
| | 03:15 | difficult to track. Press and hold Alt+
0169 on the keypad and then release the
| | 03:22 | Alt key. So I am going to go ahead and
delete those extra copyright symbols.
| | 03:26 | I have also gone ahead and included a
URL. That is a web address and this is
| | 03:31 | this fellow's handle, GreenPimp in
iStockPhoto.com, so that will take you to
| | 03:36 | the Tom Green's landing page. If you
go ahead and click on Go to URL, so you
| | 03:40 | really make it convenient for people
to look you up, if you include your web
| | 03:45 | address. All right, now I have one image.
I will go ahead and move this all the
| | 03:49 | way here. I have got one image,
Beautiful eyes that I haven't fully annotated.
| | 03:53 | All the other ones are completely
annotated, Beautiful eyes is not and I could
| | 03:57 | go ahead and reenter all this
information if I wanted to or I could save off a
| | 04:02 | template and that's what I am going to
do. I am going to go down to his option,
| | 04:06 | it's not super intuitive, but it allows
you to go ahead and save off all of the
| | 04:10 | File Info for a specific
photographer for example. You click on this down
| | 04:15 | pointing arrow ahead, don't click
on the word Import, click on the down
| | 04:18 | pointing arrow ahead and choose
Export and then I am going to go ahead and
| | 04:22 | Export this information and allow it
to go to where the Photoshop thinks it
| | 04:27 | should be. Inside of this Metadata
Templates folder that inside this XMP
| | 04:30 | folder, etcetera. Don't care
about that. That's up to Photoshop.
| | 04:34 | I am just going to go ahead and call
this GreenPimp and that may seem like an
| | 04:38 | odd choice but that's his choice.
That's his handle that iStockPhoto.com and as
| | 04:43 | an art director that's how I keep track
of these photographers. All right, so I
| | 04:46 | will go ahead and call it that, then
click Save and now I will click Cancel
| | 04:51 | because I didn't really do anything
inside this dialog box. Then I will switch
| | 04:54 | over to Beautiful eyes.jpg by
clicking on it's tab. Let's go back up to the
| | 04:59 | File menu, choose the File Info
command and notice that I have gone ahead and
| | 05:04 | included the Document title, because
this image has a unique file number and I
| | 05:08 | have also included the unique
description for this image but otherwise I
| | 05:12 | haven't included any annotations,
including the Copyright Status is still set
| | 05:16 | to Unknown.
| | 05:18 | All right, now I will go over here
to this option and I will click on the
| | 05:21 | down-pointing arrowhead and I could
choose and then locate a file and open it
| | 05:24 | up. Or notice that I have got
GreenPimp on my list now. All I have to do is
| | 05:29 | click on it. Now Photoshop is going
to ask me hey, I went ahead and saved
| | 05:34 | Document Title Info and Description Info,
this is Photoshop saying I did this.
| | 05:38 | What do you want to do about this? Do
you want to overwrite this information or
| | 05:41 | you want to Keep the original metadata,
but append matching properties from
| | 05:45 | template and that's what I want to go
ahead and do. So I am going to keep what
| | 05:48 | I got and then just fill in the stuff I
am missing and I will click OK and sure
| | 05:52 | enough Brunette Looking because she is
looking at us, I guess. Brunette Looking
| | 05:57 | is still retained. The unique File
Number is retained but now I also have the
| | 06:01 | Author, the Copyright Status, the
Copyright Notice and the URL and I will go
| | 06:06 | ahead and click OK in order to update
this image and that's how you assign File
| | 06:11 | Info to your images including copyright,
authorship and URL information here
| | 06:17 | inside Photoshop.
| | Collapse this transcript |
| Introducing Bridge| 00:00 | Now it's all very well and good to
open images directly from inside Photoshop
| | 00:04 | as we have done with these four
images from photographer Tom Young. However
| | 00:09 | it's just as likely and I dare to say
even more likely in fact that you will be
| | 00:13 | opening images from a separate
application that ships along with Photoshop
| | 00:17 | known as the Adobe Bridge. The Bridge
ships with all versions of Photoshop.
| | 00:21 | Whether you buy Photoshop alone or as
part of one of the created suites you
| | 00:24 | still get the Bridge is what's known
as a Digital Asset Manager or DAM, which
| | 00:31 | is of course the initials DAM, Digital
Asset Manager. And what that means at
| | 00:35 | least in the case of the Bridge is
that you can preview the contents of an
| | 00:39 | entire folder.
| | 00:40 | You can see all of the
photographs in that folder. You can see
| | 00:42 | all the illustrations, all of the
InDesign files. All your PDF files, you can
| | 00:46 | see Flash content, you can see
Dreamweaver content, you can even see and
| | 00:50 | preview movies inside of the Bridge.
And then if you double click on one of
| | 00:54 | those items you will open it up in
its respective applications. So if you
| | 00:57 | double click on an image for example
you will open it up inside Photoshop. But
| | 01:01 | you can also organize those assets,
as we will see. So the Bridge is so
| | 01:06 | important to working with Photoshop. I
mean we really haven't seen how to work
| | 01:09 | with Photoshop yet and yet I am going
to show you how to work in a Bridge for
| | 01:12 | the remainder of this chapter.
| | 01:15 | So to get to the Bridge you
go on to the File menu and you
| | 01:18 | choose this command right there
Browse and Bridge so called because back in
| | 01:23 | Photoshop seven in CS there used to be
as part of Photoshop. There used to be
| | 01:28 | this thing called the File Browser.
And it ended up spinning off into the
| | 01:32 | Bridge in Photoshop CS2 and it's
remained in an independent application ever
| | 01:37 | since. And it just keeps getting
better and better. You can also press
| | 01:40 | Ctrl+Alt+O or Command+Option+O on the
Mac. Or you have got this little icon up
| | 01:45 | here in the applications part that will
also launch the Bridge, if you prefer.
| | 01:48 | All right, so however you
decide to do it go ahead and open up
| | 01:52 | that Bridge and if the Bridge wasn't
already running it will take a moment or
| | 01:56 | two to start up. And then you will end
up seeing either the contents of your
| | 02:00 | desktop or your computer something
along these lines. So if you are not seeing
| | 02:04 | the folders, definitely go ahead and
switch over to it by clicking on this
| | 02:07 | folders tab right there. Then assuming
that you have access to My Sample Files
| | 02:11 | and that you Copy them to your desktop
you will click this triangle over here
| | 02:15 | to twirl open the desktop like so.
| | 02:18 | And that desktop represents the
files and folders that you have
| | 02:21 | placed on to the desktop of your
computer. And then somewhere you should have
| | 02:25 | those exercise files. You can go
ahead and click that triangle to twirl the
| | 02:28 | exercise files open or if you prefer to
expand that folder. And then I am going
| | 02:33 | to go ahead and click on this side
right there, O2 Open Organize, in order to
| | 02:38 | see the contents of this folder, which
is a pretty ad hoc collection, and you
| | 02:42 | will see all of these thumbnails inside
of the Content panel right here. Just a
| | 02:48 | random bunch of junk that I am sharing
with you. We have a few additional sub
| | 02:53 | folders as well and I am not implying
for a second that this is the way you
| | 02:56 | organize your files or that you
should organize your files this way.
| | 02:59 | I have just gone ahead and
assembled a collection of files in
| | 03:02 | what appears to be a fairly
random way here in the interest of best
| | 03:06 | demonstrating how the Bridge works.
| | 03:08 | All right so there's your very first
look at the Bridge. In the next exercise I
| | 03:12 | will take you on a little tour and
show you what some of these icons mean and
| | 03:16 | so on, so that you have an idea of
how the program works. Stay tuned.
| | Collapse this transcript |
| A whirlwind tour of Bridge CS4| 00:00 | In this exercise, I am going take you
on the whirlwind tour of the Bridge and
| | 00:04 | it's going to go by fairly fast. But
don't worry, we will revisit the most
| | 00:08 | important options in more detail in
future exercises. Now, I want to make it
| | 00:13 | clear the Bridge is a fully
functioning independent application. It has a lot
| | 00:17 | of stuff going on inside of it. I don't
want to pretend for a moment that I am
| | 00:20 | going to explain every single nook and
cranny of this application. I am just
| | 00:24 | going to cover the stuff that you
need to know in order to make the most
| | 00:27 | effective use of Photoshop, which
turns out to be most of the program but not
| | 00:31 | quite all of it. All right so here I
am working inside the Adobe Bridge and I
| | 00:36 | have got the O2 open organized folder
targeted here inside the exercise files
| | 00:42 | folder, which is on the desktop. And
you can see that entire path right here in
| | 00:46 | Path Bar and if you can't see the Path
Bar go to the Window menu and make sure
| | 00:50 | pat bar is turned on.
| | 00:52 | Because the Path Bar is a really
useful part of the program. For example if I
| | 00:56 | double click on Ton Young in order
to see the Contents of that folder
| | 01:01 | represented this tiny thumbnails here.
Then I can go back to open organize just
| | 01:05 | by clicking on it like so. Or I can
click on exercise files folder to go back
| | 01:09 | yet another step. And then, I could
go up to this icon right there, which
| | 01:13 | allows me to visit the most recent items.
The most recent files and folders and
| | 01:18 | you can tell what's it is going to do
because it has a tiny clock in the icon.
| | 01:22 | If I click on it then I can go ahead
and choose open and organize to revisit
| | 01:26 | that folder and I can see several
other folders that I visited as well. I can
| | 01:30 | also see any files that I have
opened up recently and in my case since we
| | 01:35 | rebuilt the systems here the only files
that I have opened are these guys right
| | 01:40 | there. These hand full of files and we
have opened them inside a Photoshop. We
| | 01:44 | just saw that in fact a couple of
exercises ago. All right so I am going to
| | 01:48 | switch back to the O2 open organize
folder and by the way if you don't want to
| | 01:53 | be plagued by your recent whereabouts
or somebody else's recent whereabouts for
| | 01:57 | that matter, you can clear the recent
files and you can also clear the list of
| | 02:01 | recent folders. So that's an option
as well. And if you choose Reveal All
| | 02:05 | Recent Files you will see all your
recent files inside of a kind of a virtual folder.
| | 02:10 | All right, these guys allow you to go
back and forward through recently visited
| | 02:16 | folders. This one right here allows you
to go to parent folder so you can see I
| | 02:20 | could go to exercise files on the
desktop as well as Favorites, we will discuss
| | 02:24 | Favorites later. And if you want to
get images from a digital camera you can
| | 02:28 | click on this icon and that will bring
up the photo downloader utility, which
| | 02:34 | allows you to copy images from say a
memory card that you have loaded into a
| | 02:40 | media reader. This icon right there
Refine allows you to choose from a few
| | 02:44 | different commands that allow you to
Review Images and Modify their File Names
| | 02:49 | and Access File Info. That same
File Info command that we saw couple of
| | 02:52 | exercises ago. You can get to here
inside of the Bridge as well. This icon
| | 02:58 | allows you to open any
image inside of Camera Raw.
| | 03:01 | So either an image captured in your
digital Camera Raw file format or a jpeg or
| | 03:05 | tiff image. And we will be discussing
Camera Raw at length. I devoted an entire
| | 03:10 | chapter to the topic in the later
Photoshop CS4 One on One series and it's one of the
| | 03:16 | best parts of Photoshop,
actually it's really great feature.
| | 03:19 | And then we have got these output
controls that allow you to output images to
| | 03:23 | the web or PDF. And we will be seeing
these functions in a later chapter as
| | 03:26 | well. These guys right here are your
Work Spaces and I will show you Work
| | 03:32 | Spaces in a later exercise. But they
allow you to change which panels are you
| | 03:35 | seeing on screen at any given time
and yes in the Bridge, I do call these
| | 03:40 | panels because they are not free
floating. They can't float freely the way they
| | 03:43 | can in Photoshop. This option allows
you to search for files inside of the
| | 03:48 | current folder and its sub folders.
This is a Compact mode icon. If you will
| | 03:53 | click on it, you will switch to a
compact version of Photoshop, which is great
| | 03:57 | for dragging images into for example
InDesign and other applications that
| | 04:02 | support drag and droppable images. And
then once you are done doing that you
| | 04:06 | can click on this icon again to switch
back to the Standard mode and this icon
| | 04:11 | has a keyboard shortcut of Ctrl+Enter
on the PC or Command+Return on the Mac.
| | 04:17 | And yes, I realized, I am reviewing
these very quickly. But as I said we will
| | 04:21 | revisit the most important stuff in later exercises.
| | 04:24 | This icon right there allows you to
change the quality of the thumbnail
| | 04:28 | previews here inside the Content
panel. Unless things are
| | 04:32 | going really, really slowly for you,
leave this set to always high quality.
| | 04:36 | This next option allows you to
filter the images that you see inside the
| | 04:40 | Content panel according to their star
ratings. Then we have the Sort controls.
| | 04:44 | You can sort the images by file name or
any of several other criteria. And this
| | 04:50 | guy will change who's on top.
| | 04:52 | So basically right now we are seeing
the images in alphabetical order. If you
| | 04:55 | want to see them in reverse alpha
order then you will change this from
| | 04:59 | Ascending Order to
Descending Order, as I have done here.
| | 05:02 | All right I am going to change it back
to the way it was. These icons allow you
| | 05:05 | to rotate images that are on their sides.
This guy here allows you yet another
| | 05:10 | means for opening recent images. So I
could go ahead and choose one of these
| | 05:14 | images to open it up inside a Photoshop.
This option allows you to create a new
| | 05:18 | sub folder inside the active folder
here. And then this icon allows you to
| | 05:23 | delete the selected item. Now I don't
have anything selected at this point. So
| | 05:26 | many of these options are deemed. If
I click on a thumbnail here inside the
| | 05:30 | Content panel then Open a Camera Raw
becomes active, the Rotate option become
| | 05:35 | active, the Trash Can icon becomes
active an so on. All right so this folder
| | 05:40 | panel right there shows you all the
sub folders that are located inside the
| | 05:43 | active folder.
| | 05:44 | I call this the folder tree because we
are seeing how the folders branch out
| | 05:49 | .You also have the filtering
collection panels down here that I will visit in
| | 05:53 | greater detail later. But Filter allows
you to determine exactly, which images
| | 05:58 | you are seeing inside a Content panel
selections allows you to create your own
| | 06:01 | custom collections that are outside
of the folder structure. If you want to
| | 06:06 | make one of the panels bigger or
smaller you can drag on these divider line. So
| | 06:11 | I am dragging the vertical divider line
over to the left in order to expand the
| | 06:15 | Content panel and smoosh these panels a
little bit. They have more than enough
| | 06:18 | room. You can also change the height
of the panel by dragging one of these
| | 06:22 | horizontal dividers. I am going to move
this one over as well so again we have
| | 06:27 | more room for the Content panel. Here
is my preview, which shows me an enlarged
| | 06:30 | preview of the active thumbnail.
Metadata shows me all the extra data beyond
| | 06:35 | the pixels inside the image.
Extremely useful as you will see. And then
| | 06:39 | Keywords you can assign Keywords to
serve as additional search criteria. And if
| | 06:45 | that wasn't a whirlwind tour I don't
know what it was. We will revisit the most
| | 06:50 | important items as I say in future
exercises. That's just gives you a sense of
| | 06:54 | what's going on here inside the Bridge.
In the next exercise, I am going to show
| | 06:58 | you how to customize the display and
how to manage your thumbnails here inside
| | 07:04 | the Content panel.
| | Collapse this transcript |
| Adjusting the interface and thumbnails| 00:00 | In this exercise, I am going to show
you how to get comfortable inside the
| | 00:03 | Bridge by customizing the interface
ever so slightly. It's not like we are
| | 00:07 | going to attack the program, we are
just kind of make a few tweaks here and
| | 00:10 | there. Starting with these thumbnails,
they are just so damn dinky, and when I
| | 00:15 | say DAM, you know I mean
Digital Asset Manager, dinky.
| | 00:19 | So I want to make them bigger and
you can make the thumbnails bigger by
| | 00:22 | dropping down to the slider bar here
and dragging this control over to the
| | 00:27 | right and notice that as you drag the
control back and forth, the thumbnails
| | 00:31 | get incrementally bigger or smaller,
and then if they get too big, for example,
| | 00:36 | three thumbnails to set a browse, then
we will drop down to two thumbnails, two
| | 00:40 | columns of thumbnails.
| | 00:42 | Compare that to, if you turn this guy on,
this lock thumbnail grid, if you turn
| | 00:47 | on that control then you jump
suddenly between various displays like we are
| | 00:51 | seeing here. So you don't get that
incremental increase in the thumbnail size.
| | 00:55 | You are just actually just dropping
down very rapidly from one size to another
| | 00:59 | and if you like that then turn it on,
if you don't then turn it off. It depends
| | 01:03 | on you how much structure you want and
I am going to go ahead and give myself
| | 01:06 | little more room for the thumbnails here
by dragging this right hand divider line over.
| | 01:11 | Another thing you can do is press Ctrl+
Plus in order to zoom in or Ctrl+Minus
| | 01:16 | to zoom out. That's Command+Plus
and Minus on the Mac and here's just a
| | 01:21 | delightful one in my opinion. You can
use your scroll wheel, the scroll wheel
| | 01:24 | on your mouse if you have one in order
to scroll down the list or in order to
| | 01:28 | scroll up the list and the Bridge is
pretty smart about this kind of stuff. If
| | 01:32 | you move your cursor over to the
Folders panel and you scroll down or you
| | 01:36 | scroll up, notice that you will scroll
the contents of the Folders panel. Then
| | 01:39 | if you move your cursor in the contents,
you can scroll down and up to scroll
| | 01:43 | it instead, so that's great.
That's just the way it ought to be.
| | 01:46 | You can also, however, use the scroll
wheel to magnify the thumbnails so if you
| | 01:50 | press the Ctrl key and scroll up then
you are going to make the thumbnails
| | 01:54 | bigger and that would be Command +
Scroll up on the Mac. If you press the Ctrl
| | 01:58 | key and scroll down then you will
make the thumbnail smaller and that's the
| | 02:02 | Command+Scroll down on the Mac. Anyway
I think thumbnails of about this size
| | 02:07 | serves my purpose pretty nicely.
| | 02:09 | Now then there is also two other
displays that are available to you where the
| | 02:13 | Content panel is concerned and they
are available down here in the bottom,
| | 02:16 | bottom right hand corner of the
Bridge window. You can view the content as
| | 02:21 | details like so, so I click this middle
icon right there, which is great if you
| | 02:26 | want to be able to see the Metadata
that's associated with your images, so you
| | 02:30 | are now going to see very many images
at a time, but you are going to see a lot
| | 02:32 | of detail associated with those
images and then we have the List View right
| | 02:36 | here, which allows you to see the
files in the standard list view like here,
| | 02:40 | you use to see in them on computer's
desktop. All right, I am going to switch
| | 02:43 | back however to the Thumbnail
View because that's the one I prefer.
| | 02:46 | Now you can modify things further. I
am going to go up to the Edit menu and I
| | 02:52 | am going to choose the Preferences
Command. On the Mac, you would go up to the
| | 02:55 | Bridge menu and choose the
Preferences Command, either way you have got a
| | 02:59 | keyboard shortcut Ctrl+K on the PC
or Command K on the Mac, brings up the
| | 03:04 | General panel of the
Preferences dialog box here.
| | 03:07 | So notice the first two options, this
is the Interface Brightness and the Image
| | 03:12 | Backdrops, so you can make the
backdrop behind the images here inside the
| | 03:16 | Content panel as well as inside the
Preview panel darker by dragging this
| | 03:21 | slider control to the left and I think
about here it works pretty nicely for me
| | 03:25 | anyway, you could also make the
interface darker and I don't like it the way it
| | 03:29 | is. I don't' like it this light because
I think it competes with the images too
| | 03:32 | much, so I like to darken it up and I
am going to take it down sufficiently
| | 03:36 | dark that the text goes ahead and
reverses out and then changes like we are
| | 03:40 | seeing it here.
| | 03:41 | I like this better, again I think it
makes for a better light box when we
| | 03:45 | trying to view our images and decide,
which ones are good, which ones aren't so
| | 03:49 | good and so on and then finally you can
change the Accent Color. Currently it's
| | 03:53 | this flat, yellow and you can change
it to something like Crystal, which is
| | 03:59 | going to make it silvery and again
this way we are not going to be competing
| | 04:04 | with the images so much because we are
going to lose that color ingredient. I
| | 04:08 | wish we could also lose the color of
the folders, but that's not an option.
| | 04:13 | One another thing I recommend you change,
I am going to actually click OK for a
| | 04:16 | moment so I can show you this one, so
I'll accept my changes there. Notice if I
| | 04:20 | move my cursor into the Preview panel,
of course, my preview is very dinky and
| | 04:25 | I have got this little magnifying glass.
So if I click, you get what's known as
| | 04:30 | the loupe, which is this tiny area of
magnification here and you can drag it to
| | 04:34 | a different location in order to see
that area magnified and the idea behind
| | 04:39 | the loupe is not that it's going to
zoom in on the entire image or anything
| | 04:42 | along this lines, but rather that it's
going to allow you to evaluate areas of
| | 04:47 | focus, inside of your image.
| | 04:49 | So you can see if the proper portion
of your image is focused in the first
| | 04:53 | place, thing is it is so small as to
be virtually useless in my opinion. Now
| | 04:59 | you may choose to disagree and if so
great, me, I agree with me. I am going to
| | 05:04 | go ahead and close this loupe by
clicking on a little close box, let's close
| | 05:08 | this tiny little close box right there,
I am covering up with my gigantic hand,
| | 05:11 | so it's right down there or you can
just click inside the loupe again to get rid
| | 05:14 | of it, but I just hate the fact that
you can accidentally loupe things, so I
| | 05:18 | prefer to be more deliberate. I am
going to press Ctrl+K or Command+K to
| | 05:23 | re-display the Preferences dialog box,
so it's same is choosing the Preferences
| | 05:26 | command from either the Edit or Photoshop menu.
| | 05:29 | Okay I am going to turn on this
checked box, Ctrl-click opens a loupe when
| | 05:33 | previewing or reviewing, on the Mac
that's going to say Command-click and that
| | 05:36 | way you still have access to the option
and you just won't find yourself doing
| | 05:39 | it accidentally. Something else I
want to do, I am going to switch over to
| | 05:42 | thumbnails here and I want to show some
additional items, currently we are just
| | 05:47 | seeing the file name below the thumbnail.
| | 05:50 | I also want to see the dimensions of
the image, you notice as soon as I turn it
| | 05:54 | on I can see those dimensions in the
background and I want to see yet another
| | 05:57 | option here right now it's Date
Created. That's what it is by default but
| | 06:01 | instead of seeing Date Created, I want
to see Author. So I will go ahead and
| | 06:04 | change it to that. Now author
sometimes is going to be blank if you haven't
| | 06:08 | assign in author inside the file and
for dialog box, then that area is going to
| | 06:12 | be blank, but for those places where I
have assigned an author I will be able
| | 06:15 | to see them.
| | 06:16 | You can also turn on Tool Tips, which
will show you a big tip, essentially a
| | 06:21 | big hint that contains all sorts of
information about that file when you hover
| | 06:25 | over the file. But I find that
really, really gets in a way so I don't
| | 06:28 | recommend it. And now I am going
to click OK in order to accept my
| | 06:32 | modifications and now if I scroll down
my list to these Johanne images here, I
| | 06:37 | can see that they were shot by this
fellow named Pascal Genest, once again of
| | 06:41 | iStockPhoto.com, and one
more thing I want to show you.
| | 06:44 | Currently we are seeing the contents
of the O2_open_organize folder that's
| | 06:49 | inside the Exercise Files folder
and then we see the Subfolders just
| | 06:53 | represented as additional folders
here, but we are not seeing into the
| | 06:57 | subfolders. If you want to see into
those subfolders, so you want to see all of
| | 07:01 | the contents of this folder and its
subfolder, go up to the View menu and
| | 07:05 | choose Show Items in Subfolders and
now you will dig all the way into the
| | 07:10 | folder structure here and all these
images that I am scrolling through here are
| | 07:14 | inside of subfolders and towards the
bottom you can see that Welcome to Vegas
| | 07:18 | has an author Tom Young and so this
Young Couple, so once again we are seeing
| | 07:22 | the author information as well.
| | 07:25 | So many different ways to work inside
of the Bridge. I am going to go ahead and
| | 07:29 | switch back to the previous view
where I was only seeing the items inside of this
| | 07:34 | folder so I will turn on Show Items
from Subfolders off and we are left with
| | 07:39 | these. Again, these are just options
that are available to you. I want you to
| | 07:44 | set up the Bridge the way
that is most comfortable for you.
| | Collapse this transcript |
| Full-screen preview and rotating| 00:00 | In this exercise, I am going to show
you how to preview your images in greater
| | 00:04 | detail and also rotate images that are
on their sides. Now I am still looking
| | 00:09 | at the contents of the 02_open_
organize folder inside of the Exercise Files
| | 00:13 | folder and in the previous exercise I
was telling you how I don't really like
| | 00:17 | that loupe function that allows you to
magnify a certain area of an image and
| | 00:22 | I went ahead and kind of turned it off.
I made it so it's a more deliberate action.
| | 00:26 | I now have to press the Ctrl key or
the Command key and click inside of the
| | 00:32 | preview panel in order to see in a
large detail, but there are some things that
| | 00:37 | are fairly nifty about the loupe. It
always magnifying the area that this little
| | 00:43 | thing points to, so if you move it to
different location you are going to get a
| | 00:47 | different area of magnification. If
you drag it over too far, it's going to
| | 00:51 | automatically rotate to
compensate like we just saw there.
| | 00:54 | You can also press the Plus key in
order to zoom in on an area or the Minus key
| | 01:00 | to zoom out or you can use your scroll
wheel to zoom in and out, if you prefer,
| | 01:04 | and you can see the amount of
magnification right down there, next to the file
| | 01:09 | name. So currently the loupe is
magnified to 200%, but I still hate the
| | 01:12 | function. That's just me, I just don't
like it and I will show you why because
| | 01:16 | there is much better ways to work.
| | 01:18 | Instead of getting that dinky little
loupe, you can go up to the View menu and
| | 01:22 | you can choose this Command, Full
Screen Preview, which is new to the Bridge in
| | 01:26 | CS4 and notice that it has a keyboard
shortcut of Space, so you just have to
| | 01:30 | tab the Spacebar and you get this
massive preview of your image. I mean that's
| | 01:36 | awesome. That's much more useful than a
loupe and if you want to see the preview
| | 01:41 | at a 100% you just click inside of it
and that will give you a 100% view of
| | 01:45 | your image, meaning that we are seeing
one image pixel for every screen pixel
| | 01:50 | and then if you want to pan to a
different location inside of the image you
| | 01:53 | just drag like so.
| | 01:55 | Now you are going to notice that the
image is little fuzzy as you drag it, as
| | 01:59 | soon as you release the Bridge goes
ahead and shows you the image in full
| | 02:02 | clarity. All of these features, these
high detail features are going to work
| | 02:07 | better if you let the Bridge go ahead
and render up the thumbnails before you
| | 02:12 | start working too much inside of a
folder and I will go ahead and escape out of
| | 02:17 | this view for a moment by
pressing the Escape key.
| | 02:20 | Down here in the lower left corner of
the window, when you first arrive inside
| | 02:24 | of a folder you will see all kinds of
activity down here. You will see this
| | 02:26 | little sort of rotating items that's
showing you that the Bridge is generating
| | 02:31 | thumbnails. In my experience, the best
thing to do when you see that happening
| | 02:35 | is wait it out, just go work inside
of a different application for a few
| | 02:39 | seconds often times. In most even if
you have you know several 100 images
| | 02:43 | inside of a folder, it's going to
take maybe a minute and then you can come
| | 02:47 | back here and work without a lot of delays.
| | 02:50 | So again if I want to display an image
in greater detail, I just go ahead and
| | 02:56 | click inside of that image like so,
actually I want to click inside this one
| | 02:59 | right here and then press the Spacebar
in order to see the full screen preview,
| | 03:04 | click inside the image in order to see
the 100% view, drag the image around in
| | 03:10 | order to see a different detail
inside of that image and you can also take
| | 03:15 | advantage of those tricks, I just
showed a moment ago with the loupe.
| | 03:17 | So you can press the Plus key to zoom
to 200%, see it tells you, press Plus
| | 03:21 | again for 400% all the way up to 800%
by the way and that's good for evaluating
| | 03:27 | noise and just general sort of bad
stuff inside of the image and you can also
| | 03:32 | zoom out by pressing the Minus key or
you can use your scroll wheel on your
| | 03:36 | mouse and you can even go all the way
out so that the image fits on screen as
| | 03:41 | it does here and when we are done
examining the image, just go ahead and press
| | 03:44 | the Escape key in order to return
to the Bridge. All right, so that's a
| | 03:48 | fantastic thing in my opinion.
| | 03:50 | Now what do we do about images that are
on their size like this guy down here.
| | 03:54 | So I will scroll down to the image
called L1030713 and in case you are
| | 03:58 | wondering where I got this image's
name from, these are all names that were
| | 04:02 | captured by the cameras themselves. So
I am using a variety of cameras here and
| | 04:06 | these images were shot over
a very long period of time.
| | 04:09 | So I have got two views of these
towers and for some reason my camera, which
| | 04:13 | happens in this case to be like a
Deluxe 3. It got it right on the rotation of
| | 04:19 | this tower, but on the next tower over
it got it wrong. By the way in addition
| | 04:23 | to clicking of thumbnails, you can
just press the arrow keys in order to
| | 04:27 | advance from one thumbnail to the
next and it works just like you think it
| | 04:30 | would, left arrow takes you left,
up arrow takes you up and so on.
| | 04:33 | All right so this one, the camera
didn't rotate automatically so we are going
| | 04:37 | to have to do it manually using
either of these icons up here in the upper
| | 04:42 | right hand corner of the window. So in
my case I want to rotate this image 90
| | 04:47 | degrees clockwise, like so. You can
also rotate an image from the keyboard by
| | 04:52 | pressing Ctrl or Command on the Mac
along with a square bracket key. Those
| | 04:57 | bracket keys just to the right of the P
as on pull key on American keyboard. So
| | 05:02 | Ctrl+Left Bracket rotates the image
counter clockwise, Ctrl+Right Bracket
| | 05:06 | rotates the image clockwise.
| | 05:09 | And just to confirm that the image has
been rotated, I am going to go over here
| | 05:13 | to the Metadata panel and if I am not
seeing it I could just click on its tab
| | 05:17 | in order to bring it up or if you are
just missing a panel, in general, you can
| | 05:20 | go up to the Window menu and
choose one of these panel commands.
| | 05:23 | All right, I am going to go ahead and
press the Escape key there. I want to be
| | 05:27 | able to see a setting here in the
Camera Data, the EXIF data as it's called,
| | 05:33 | which is the information that the
camera recorded at the moment you shot the
| | 05:37 | photo, but we are not seeing Orientation,
which is something I do want to see.
| | 05:40 | So I am going to go over here to this
little icon right there and click on it
| | 05:44 | and that brings up the panels flyout
menu and I am going to choose Preferences
| | 05:48 | and that brings up the Metadata panel
of the larger preferences dialog box and
| | 05:52 | I am going to go ahead and tour close
IPTC and IPTC Core just to make my life
| | 05:58 | easier, it doesn't actually close
any of the settings here inside of the
| | 06:01 | Metadata panel, but I just want to
make quicker progress down this list and
| | 06:05 | then I will scroll down through this
EXIF data, notice that I am looking at
| | 06:09 | Camera Data EXIF and somewhere in this
list, there it is right there, I should
| | 06:13 | see Orientation and I will go ahead
and turn it on. So it's just above EXIF
| | 06:17 | Color Space and below
Metering mode and I will click OK.
| | 06:21 | Now I can see that this image was
rotate at 90 degree so the image before it
| | 06:25 | has a rotation of normal because a
camera took care of this one, but since the
| | 06:29 | camera didn't take care of this one,
I had to rotate it and I can see it's
| | 06:33 | rotating at 90 degree. So the beautiful
thing is this rotation information has
| | 06:37 | been saved to the image so it's now
part of the image. So if I were to open
| | 06:42 | this image up in Photoshop or any other
application that can read this certain
| | 06:46 | brand of Camera Data then
it will come in upright.
| | 06:50 | All right just one more thing to
notice about rotation; I am going to scroll
| | 06:55 | down here to this little toys and
notice that I do have a couple of images on
| | 06:59 | their size here so I am going to go
ahead and click on this image right there,
| | 07:03 | which is P329073, fine and then I will
press the Spacebar in order to switch to
| | 07:09 | that full screen preview mode and
then I will press the right arrow key to
| | 07:14 | advance to the next image. That's
something you can do in this mode. So you can
| | 07:17 | switch images. This guy is on his side.
This time around, I don't have to press
| | 07:21 | Ctrl or Command. I can just press this
square bracket key by itself. So I will
| | 07:25 | press the right bracket key, like goes
a hand rotates the image. Then I will
| | 07:29 | press the right arrow key, this is guy
looks fine. Right arrow key again. Ah!
| | 07:33 | He is on his side and so I press the
right bracket key in order to rotate him
| | 07:37 | and so on and so on and so on.
| | 07:41 | That's how you preview images at full
size and of course, you can zoom into
| | 07:46 | them in order to take in more detail
and how you rotate images that are on
| | 07:50 | their sides, here inside the Bridge.
| | Collapse this transcript |
| Ratings and labels| 00:00 | In this exercise, I am going to
introduce you to Ratings and Labels inside of
| | 00:04 | the Bridge, which allow you to
separate the wheat from the chaff. In other
| | 00:08 | words, you go ahead and open up the
folder that contains a day's shoot of several
| | 00:11 | 100 photographs, let's say, and you now
need to go through all those photos and
| | 00:16 | decide, which ones demand more of your
attention and, which ones you are just
| | 00:19 | going rule out, right off of the bat.
| | 00:21 | You can do that using Ratings and to a
lesser extent Labels, so it depends how
| | 00:25 | you want to work. I still have the
Bridge directed on the contents of the
| | 00:29 | 02_open_organize folder here inside of
the Exercise Files folder. I am looking
| | 00:33 | at these little geo-tracks toy
images here. If I want it to assign a star
| | 00:38 | rating to this first one, which is
the control center for the trains, these
| | 00:41 | guys actually make the trains go, then
I could go up to the Label menu right
| | 00:45 | here and I could choose one of these
commands and notice that we have, for the
| | 00:49 | star ratings we have Control 1 for one
star, Control 2 for 2 star and so on,
| | 00:54 | you can also decrease the rating or
increase the rating if you care to take
| | 00:57 | advantage of those keyboard shortcuts,
you may. To assign No Rating is Ctrl+0
| | 01:02 | on the PC, Command+0 on the Mac.
| | 01:04 | You can also reject an image, which
means that under certain circumstances, it
| | 01:08 | will be hidden and you can control
whether you see a rejected image or not from
| | 01:11 | the View menu, but the way I like to
work when I am working with thumbnails, I
| | 01:15 | should say, the way I like to work is
to just click on one of these little dots
| | 01:20 | here. Notice these five dots; these are
basically incipient star ratings. So if
| | 01:24 | I like this image I could go ahead and
give it a one star rating, not meaning
| | 01:28 | that it's only one out of five stars,
but meaning that I am beginning to
| | 01:31 | evaluate it; at least it falls in
the star rating group as opposed to not
| | 01:35 | deserving a star at all.
| | 01:37 | Now if you want to later assign a
higher rating then you would just click on
| | 01:40 | one of these dots to do it or you can
click over here to the left of the first
| | 01:46 | star in order to get these ghost
busters icon right there and then you release
| | 01:50 | and then you have no star rating like
so and I am going to go ahead and give
| | 01:53 | this guy 3 stars. I am just being
completely arbitrary at this point. I am not
| | 01:57 | offering any advice in terms of digital
asset management. I am just showing you
| | 02:02 | how the tools work.
| | 02:03 | But let's say you want to be able to
see the star ratings here inside the
| | 02:07 | Metadata panel then you could go over
to this icon in the upper right corner of
| | 02:11 | the panel, click on it to bring up
the panels flyout menu, choose the
| | 02:14 | Preferences command, scroll to the
top of the list, and then under File
| | 02:20 | Properties, you can turn on Label and
Rating, and then click OK and you will
| | 02:25 | now see if I scroll up here, you will
now see that I have assigned a 3 star
| | 02:29 | rating to this image.
| | 02:30 | All right I am going to go ahead and
scroll down a little bit here then I could
| | 02:33 | go to this guy and say you know he
gets a one star and this guy, he gets a 4
| | 02:36 | star, what have you, even better, is
to work in that full screen preview mode
| | 02:41 | that I showed you in the previous
exercise, so I will go ahead and press the
| | 02:44 | Spacebar in order to enter the full
screen preview mode and then what I am in
| | 02:49 | this mode, let's say I press the down
arrow key to go to the next image, I
| | 02:52 | think oh! My gosh, that image looks
great. I will go ahead and give it a 5 star
| | 02:56 | rating, let's say, then I would just
have to hit the 5 key and notice that this
| | 03:00 | little rating item jumps up in the
lower left corner of the window, so that's 5
| | 03:05 | for a 5 star.
| | 03:06 | If I decide I want a 3 star, I press
the 3 key. If I decide I don't want any
| | 03:10 | stars, I press the 0 key, but I like
this image so I am going to say 5 and then
| | 03:14 | I press the down arrow key for the next
image, no I don't worry about that one,
| | 03:17 | that guy, just give that a 3 star
rating by pressing the 3 key, then I go down
| | 03:22 | to this image, 4 stars for sure, press
down arrow that one looks great to me, I
| | 03:27 | like all of them actually. Press down
arrow. Okay, that's a 5 star image if
| | 03:32 | there was one. This thing taking coal
out of a cave, awesome and so on. So I
| | 03:37 | could do this all to, oh! There is my
5 star image, gosh! I love that image.
| | 03:41 | All right and then when you are done,
you just go ahead and press the Esc key
| | 03:45 | to escape out.
| | 03:46 | Now what about Labels inside of the
Bridge? Well, labels serve different
| | 03:51 | purposes. They are designed for
basically when you are working in a group
| | 03:55 | environment and you are passing
images back and forth, and you could mark
| | 03:59 | images for a first select and for a
second and for a larger approval or for
| | 04:04 | just review by another party, for
example, and every one of these items each
| | 04:09 | of, which has a keyboard shortcut
associated with it, and by the way, these
| | 04:12 | names are new to this particular
version of the Bridge, they will also assign a
| | 04:16 | color. So if I choose the Review
command right there, I get a color of cyan
| | 04:20 | assigned to this image and then if I
switch over to this guy, let's go ahead
| | 04:24 | and select this image right here
since we haven't played with him before. I
| | 04:27 | will go over to Label and this time I
will choose Approved, which will assign a
| | 04:32 | Green Label to the item and you can
change the meaning of these colored labels
| | 04:37 | if you want to by going up to the
Edit menu and choosing the Preferences
| | 04:41 | command and then switching over to labels.
| | 04:45 | If you don't want blue to be a
Review, you want it to be something like
| | 04:48 | Published, you know, with an
exclamation point to indicate that it's completely
| | 04:52 | ready to go then go ahead and click OK.
Here's the thing though. That label was
| | 04:58 | associated with the name that was
assigned to it. So this image right here is
| | 05:03 | still associated with the Review label,
which no longer exists inside of my
| | 05:07 | specific version of the Bridge.
| | 05:09 | So if I wanted to give it a colored
label then I would need to go back to label
| | 05:14 | and choose Published like so. The only
danger there is that when you hand it
| | 05:19 | out to somebody else who isn't using
that Published label then it will appear
| | 05:23 | white for them but at least they will
know it means something and they will see
| | 05:27 | the label here inside of the File
Properties region of the Metadata panel, if
| | 05:32 | they have that setting turned on.
| | 05:34 | All right just one other thing about
Labels. Let's say I go to this one right
| | 05:38 | here, which I have set to Approved and
then I decide no, not really. Take it
| | 05:43 | off that list. You can choose the No
Label command there, but there doesn't
| | 05:47 | seem to be any keyboard shortcut for it.
Well, in fact there is. The keyboard
| | 05:51 | shortcut for approved is Ctrl+8 or
Command+8 on the Mac. If I go ahead and
| | 05:56 | press Ctrl+8 or Command+8 again then I
will disapprove that image and it will
| | 06:01 | be assigned No Label. So there you have it.
Various ways to assign Ratings and
| | 06:06 | Labels here inside the Bridge.
| | Collapse this transcript |
| Filtering thumbnails in the Contents panel| 00:00 | In this exercise, I am going to show
you how to hide and show various images
| | 00:04 | here inside the Content panel by
filtering the display, so the idea is this.
| | 00:10 | The Bridge is really designed to allow
you to organize and evaluate hundreds of
| | 00:15 | images at a time, a full-day shoot or
even a multi-day shoot if you like, but
| | 00:20 | if you are sitting here sifting
through all these images and assigning star
| | 00:23 | ratings and even assigning labels, and
just trying to get a sense of what to
| | 00:27 | keep and what to ignore, it can get
pretty darn confusing trying to evaluate
| | 00:31 | all of the images at the same time,
which is why we have these filtering
| | 00:35 | options and there are two of them.
| | 00:36 | One is the Filter panel over here by
default in the lower left region of the
| | 00:42 | screen, and the other is this little
star icon up here in the Path bar. So I am
| | 00:47 | still working inside the 02_open_
organize folder, which is inside the Exercise
| | 00:51 | files folder and I have taken a moment
off stage here in the background, to go
| | 00:55 | ahead and assign star ratings
to every single one of my toys.
| | 00:59 | So all of the toy images, these
geotrack images have ratings of 1 star or
| | 01:03 | higher and they all have labels.
Meanwhile none of the other images have star
| | 01:08 | ratings or labels and this is just the
way I have set things up for purposes of
| | 01:12 | this specific exercise. So if I want to
evaluate these toy images independently
| | 01:17 | of the other ones, I can go up here to
the Star icon, click on it and I can say
| | 01:22 | Show 1 or More Stars and it's got a
keyboard shortcut in case you want to take
| | 01:26 | advantage of it, Ctrl+Alt+1, Command+
Option+1 on the Mac, but notice this isn't
| | 01:30 | Show 1 Star Images, this is Show 1 or
More Stars, so anything that has a star
| | 01:35 | rating and I am only now going to see
the toys because I didn't assign star
| | 01:40 | ratings to any of the other images.
| | 01:41 | You also have the option of upping the
ante. I could say you know what, I just
| | 01:45 | want to see the 5 Star images and
that's it and there are my three beauty
| | 01:51 | shots. Now let's say I decide, all right,
I have labels assigned to all of the
| | 01:56 | toy images. I have not assigned labels
to anything else. Let's say I just want
| | 01:59 | to look at the other images. I will go
up to the Star icon and I would say Show
| | 02:04 | Unlabeled Items Only, expecting of
course to rule out the toy images, but I end
| | 02:09 | up ruling out everything. Now why is that?
| | 02:12 | Well, because they have two competing
interest going on here. I am saying Show
| | 02:15 | 5 Stars, which is just three images
that have labels assigned to them and Show
| | 02:20 | Unlabeled Items Only, which means I am
not going to see anything. So I need to
| | 02:23 | turn-off my star ratings, which I
could do by clicking on this option once
| | 02:28 | again and that will turn off its check-
mark. And now I can see just the images
| | 02:33 | that aren't toy images, the ones that
don't have labels assigned, and then if I
| | 02:37 | want to see everybody again, I could
either choose Show Unlabeled Items Only to
| | 02:41 | turn it off or I could just say Clear
Filter and that has a keyboard shortcut
| | 02:45 | of Ctrl+Alt+A, Command+Option+A. So
that shortcut Ctrl+Alt+A, Command+Option+A
| | 02:50 | on the Mac is going to get rid off all
filtering and then you have to see all
| | 02:53 | of the images inside of a given
folder here on the Content panel.
| | 02:57 | Now the Filter panel down here has a
lot more options associated with it and it
| | 03:01 | auto-populates, meaning that the
Filter panel will go ahead and evaluate
| | 03:06 | everything that's going on with the
images inside this specific folder and it
| | 03:10 | takes a while to populate by the way,
you have to wait it out, you have to wait
| | 03:13 | for the little progress message down
here in the lower left corner of the
| | 03:16 | window, but once it does populate, you
have all sorts of information to work with.
| | 03:20 | For example, it knows exactly which
labels you have assigned. So instead of
| | 03:25 | just saying labeled versus unlabeled,
the Filter panel knows that you have
| | 03:30 | assigned the Select label to some of
the images, these guys right here and then
| | 03:34 | if you want to see all the images again,
you just go ahead and turn Select off.
| | 03:38 | If you want to see Select and Second,
then you click on 1 and then the other
| | 03:43 | and you are not going to see No Label
and you are not going to see Approved,
| | 03:46 | but you could then say no I do want to
see No Label, but I don't want to see
| | 03:50 | Select and I don't want to see Second.
So just click on those options to turn
| | 03:54 | them on or off and if you click to
turn them all off then you disable all
| | 03:59 | filtering for that specific category.
| | 04:01 | Notice that you also have a Ratings
category. This time if I were to click on 1
| | 04:05 | Star, I am not seeing 1 Star or
higher, I am just seeing the seven 1 Star
| | 04:10 | images and that's it. If I wanted to
see something like 4 Star and higher, I
| | 04:14 | would turn-off 1 and I would turn-on 4
and 5 in order to see the 4 and 5 Star
| | 04:20 | images. All right, so just bear that in mind.
| | 04:22 | I am going to go and turn all of those
guys off as well and I am going to skip
| | 04:25 | down here, File Types is actually
really useful. All of my images that I am
| | 04:29 | providing to you are JPEG files inside
of this specific folder, however, if you
| | 04:34 | are the kind of person who shots
through RAW and JPEG, so you capture every
| | 04:37 | photograph to both RAW and JPEG at the
same time, then you will see your RAW
| | 04:42 | file format whatever it is, and the
JPEG format side by side here and if you
| | 04:46 | just click on JPEG, you can rule out
the RAWs, which is a great way to be able
| | 04:51 | to move through the images more
quickly because JPEG images require less
| | 04:54 | processing on the part of the Bridge
and then once you choose the ones you
| | 04:58 | like, then you would turn-off JPEG
and you would turn-on RAW and just focus
| | 05:02 | your attention on the RAW files and
I'll explain how that works later when we
| | 05:06 | take a look at Camera Raw.
| | 05:07 | I am going to go ahead and choose
close File Type. Another really interesting
| | 05:11 | one for purposes of this specific group
of images here is Camera model. If I go
| | 05:16 | ahead and tour open Camera model, you
can see I am looking at images shot with
| | 05:20 | four different models of cameras and if
wanted to see exactly, which ones were
| | 05:23 | the Olympus E-1 shots, I could turn-on
E-1, and there are the toy shots, I'll
| | 05:28 | go ahead and turn that off. If I just
want to see the E-300's, there are these
| | 05:31 | images from Lake Powell. I will turn
that off, the D-Lux 3's are the two tower
| | 05:35 | images, and then finally the Canon EOS
20D's are the six Johanne images from
| | 05:40 | photographer Pascal Genest. All right,
so you get the idea. You can play with
| | 05:44 | those as much as you want. Obviously
you can assign multiple filters at the
| | 05:47 | same time to get even more
granularity if you like. I will leave you to
| | 05:52 | discover that on your own.
| | 05:54 | In the next exercise, I am going to
show you how to move copy and delete images
| | 05:58 | here inside the Bridge.
| | Collapse this transcript |
| Moving, copying, and deleting files| 00:00 | In this exercise, I am going to show
you how to move and copy and delete
| | 00:04 | images, so all that stuff that you can
do at the desktop level on your computer
| | 00:08 | where you can open a folder and you can
say now I want to move these files over
| | 00:11 | to this location, I want to copy these
guys over here, I want to delete these
| | 00:15 | files and I don't need them many more,
all that stuff is possible inside of the
| | 00:19 | Bridge as well and having said that,
that's pretty much all you need to know.
| | 00:23 | You can run with that or you can
watch me show you how to do it.
| | 00:27 | For example, here I am working inside
the 02_open_organize folder inside the
| | 00:30 | Exercise files folder and let's say
that these two images of the towers here,
| | 00:35 | they don't really belong with these
other guys, they are just kind of sitting
| | 00:38 | here by themselves. Well, I could grab
these two images and it's not like they
| | 00:42 | belong anywhere else frankly, but I
could go ahead and drag them into the Sammy
| | 00:48 | jumps folder right there, which is the
first sub-folder in alphabetical order
| | 00:52 | and I could release in order to move
those two images into the Sammy jumps
| | 00:57 | folder, and then I will go to Sammy jumps
and soon enough we have got a couple of towers.
| | 01:01 | Now I can see it sort of go with
this image, these are all pictures of my
| | 01:04 | youngest son Sammy jumping up a high
cement wall that's much taller than he is.
| | 01:08 | Notice that. And of course, I am just
standing here advocating it and telling
| | 01:12 | him to jump some more so I can shoot
photographs of him, but I wouldn't tell
| | 01:15 | him to jump off these towers. So I
guess there are here stark contrast, that at
| | 01:20 | least I am a good enough father to
make sure my son doesn't jump off of a
| | 01:23 | mile-high tower, whatever that is.
| | 01:25 | All right, so let's say though now,
having moved them to this new location and
| | 01:30 | I did actually moved the files, of I
look at the folder at the desktop level of
| | 01:34 | computer, I would see that I have
moved these files to this location. I could
| | 01:38 | decide instead that I want to copy
them and you copy files by selecting a
| | 01:43 | couple of files like so and you know
what? I should tell you something. I
| | 01:46 | haven't really told you this, but you
select multiple images inside the Bridge
| | 01:50 | in exactly the same way you do inside
the Open dialog box. So in other words,
| | 01:54 | if you want to select a range of
images, you click on one and then you
| | 01:58 | Shift-click on another, and that gets
you that range or you can select non
| | 02:03 | adjacent images by clicking on one and
Ctrl-clicking on another. On the Mac,
| | 02:07 | that would be a Command-click.
| | 02:08 | All right, so having said that, I am
going to go and select both of these tower
| | 02:12 | images by clicking on one, Shift-
clicking on the other and then to copy these
| | 02:17 | images to a different folder, like
I'll go ahead and move them backup here to
| | 02:19 | the 02_open_organize folder, before
you release, you press and hold the Ctrl
| | 02:25 | key here on the PC or the Option Key
on the Mac, so totally different keys,
| | 02:30 | Ctrl on the PC, Option on the Mac, and
then you release your mouse button and
| | 02:36 | then you release the key. Now I will go
back to the 02_open_organize folder and
| | 02:41 | I will note that I have indeed copied
my towers, great, but I don't need them
| | 02:46 | in two different locations, so I am
going to go back to Sammy jumps. So I click
| | 02:50 | on one, Shift-click on the other and
then press the Delete key and notice when
| | 02:54 | I do, I will get this alert message,
which is assuming that what I want to do
| | 02:58 | is reject the images.
| | 02:59 | Let me show you what rejecting an
image looks like. I will just go ahead and
| | 03:02 | click on Reject and it will add the
words Reject to those thumbnails, and the
| | 03:08 | images don't leave, we are not actually
throwing them away, we are just saying
| | 03:11 | these images are no good whatsoever
and then if I go up to the View menu and
| | 03:16 | choose Show Reject Files to turn
that function off, then those files are
| | 03:20 | hidden, which is good because I don't
want to Sammy to see them, right and if I
| | 03:25 | ever want to see them again then I
would go back up to the View menu and choose
| | 03:28 | Show Reject Files to turn them back on.
| | 03:31 | But I don't want to just reject these
files I want to delete them. After all, I
| | 03:34 | already have duplicates in a different
location. So if I wanted to un-reject
| | 03:38 | the images, I could go up to the Edit
menu and choose Undo Rating or press
| | 03:42 | Ctrl+Z, Command+Z on the Mac, and that
will get rid of the reject rating that I
| | 03:48 | had assigned. So it's something like
the Star Rating inside the Bridge. Now I
| | 03:51 | will go and click on one of the images,
Shift-click on the other and press the
| | 03:55 | Delete key once again, I get the same
message plus a little bit of helpful advice.
| | 04:00 | You can also use Ctrl+Delete to delete
an item. Okay, that's good to know, so
| | 04:04 | I'll cancel out of here. By the way,
on the Mac, that's going to say
| | 04:07 | Command+Delete. So press Ctrl+Delete
or on the Mac, press Command+Delete and
| | 04:12 | you will get this warning. Are you
sure you want to send these 2 items to the
| | 04:15 | Recycle Bin or on the Mac to the
Trash? And if you never want to see this
| | 04:20 | warning again, you could say Don't show
again and then click OK. If you are not
| | 04:24 | so sure about that, if you do want to
have the warning then leave the check-box
| | 04:28 | off and then click OK and that's what
I am going to do in my case and then
| | 04:31 | these two images are going to disappear,
and now I will have a couple of items
| | 04:36 | sitting in my Recycle Bin here on the
PC or in my Trash Can on the Mac and that
| | 04:40 | my friends, is how you move, copy,
and delete images inside the Bridge.
| | Collapse this transcript |
| Creating and assigning keywords| 00:00 | In this exercise, I am going to show
you how to create keywords and assign them
| | 00:04 | to images from the Bridge. And I cannot
stress the utility of keywords enough.
| | 00:09 | They are your way of identifying the
subjects of your photographs, the events
| | 00:14 | that you are shooting, the locations
of your shots, and so on. All of this
| | 00:18 | information that the Bridge
has no way of sussing out.
| | 00:21 | And then later you can actually run
searches based on those keywords as I'll be
| | 00:25 | showing you in a future exercise. So
here I am in the Sammy jumps sub-folder
| | 00:29 | inside the 02_open_organize folder. So
I am going to press Ctrl+A or Command+A
| | 00:33 | on a Mac to select all of these images.
And incidentally, if you ever find
| | 00:37 | yourself wanting to de-
select all images, you can press
| | 00:39 | Ctrl+Shift+A/Cmd+Shift+A on a Mac. But
I want to select them all. And then I'll
| | 00:45 | go to the Keywords panel right here.
And I want to create a new People Keyword.
| | 00:49 | I am going to go to People here and
right-click in order to bring up this
| | 00:53 | shortcut menu.
| | 00:54 | If you don't have a right mouse button
on the Mac, you can press the Ctrl key
| | 00:57 | and click. And then I am going to
choose New Sub Keyword, and I am going to
| | 01:01 | make the keyword for Sammy, like so.
Then I am going to go ahead and select the
| | 01:05 | check box to turn that keyword on and
assign it to the selected images. And
| | 01:09 | while I am here, I might as well make a
keyword for my other son because he'll
| | 01:12 | be employing it in just a moment. And I
will right-click on People once again,
| | 01:15 | choose New Sub Keyword, and I will name
this one Max, and then press the Enter
| | 01:21 | or Return key.
| | 01:21 | This time I am not going to check it
though because this is not Max, this is
| | 01:24 | Sammy. And I want to create a new
place, so I'll right-click on Places, and
| | 01:29 | I'll choose New Sub Keyword, and I'll
enter Boston, and then I'll turn On that
| | 01:33 | check box. And now, I want to create
a keyword for the wall. But we don't
| | 01:38 | really have a category for that keyword
to go into. So I am going to drop down
| | 01:42 | to this icon right there that says,
New Keyword, and click on it. And I am
| | 01:45 | going to name this new keyword Objects,
like so. And then I'll make a new sub
| | 01:50 | keyword for Objects by clicking on
this icon, New Sub Keyword, another way to
| | 01:55 | work. And I'll name this one Wall,
and then I'll go ahead and turn it on.
| | 01:59 | So we have the Wall but we don't have
what's Sammy is doing from the wall in
| | 02:02 | this case so we need an action. So I
am going to click on New Keyword once
| | 02:06 | again, and I'll call this one Actions.
And then I'll click New Sub Keyword, and
| | 02:11 | I'll called this one Jumping, like so.
So now we have a full sentence of Sammy
| | 02:16 | is jumping off a wall in Boston, awesome.
| | 02:20 | Now, if you want to make sure that
everything is documented exactly right. Then
| | 02:23 | you'll click on this image right here,
the one that's L1030761.jpg, which also
| | 02:30 | features Max, and you would turn on
Max just to make sure that he is properly
| | 02:34 | represented. Now I am going to switch
over to The River, which features lots of
| | 02:38 | images of my kids. And I am going to go
ahead and press Ctrl+A, or Cmd+A on the
| | 02:43 | Mac to select all of these images. Now
they don't all contain either Sammy or
| | 02:47 | Max, they all were however captured
in the UP of Michigan so I am going to
| | 02:52 | right-click on Places, I am going to
choose New Sub Keyword, and I'll just say,
| | 02:57 | UP Michigan, like so. And then I will
go and press the Enter key or the Return
| | 03:02 | key on the Mac, and I
will turn on that check box.
| | 03:05 | Now if I scroll down this list, I
can see that often a lot of the images
| | 03:09 | contain Sammy not every single one of
them. But why not may I just go ahead and
| | 03:12 | turn On the Sammy check box? And then I
could decide, Gosh! You know what? This
| | 03:17 | image right here, I'll go ahead and
click on it to select it independently of
| | 03:20 | the others; this image right here
doesn't have Sammy so I'll turn that off. And
| | 03:24 | then these images that just contain Max,
I will go ahead and click on one, and
| | 03:28 | then just Ctrl-click or Cmd-click on
the others, like so. And I am going to go
| | 03:33 | ahead and select all the ones that just
contain Max and don't contain any Sammy
| | 03:37 | whatsoever. And I'll turn On the Max
check box for those ones, and turn Off the
| | 03:44 | Sammy check box because he is
not in any of those photographs.
| | 03:46 | Now I am going to find the ones and I
get all of them incidentally, I think I
| | 03:50 | did. Now I am going to find, Oops!
There is this guy right there. And I'll turn
| | 03:54 | Off Sammy and I'll turn On Max. And
then I am going to go ahead and select all
| | 03:58 | the ones that contain both of them.
And you can do this or you can just watch
| | 04:02 | me, I realize its might be a little
bit difficult to keep up with me. I'll go
| | 04:06 | ahead and Ctrl-click or Cmd-click on
all these images that contain both of the
| | 04:10 | kids and I'll turn On the Max check
box so that I have both Max and Sammy
| | 04:14 | active. And then notice that there
happens to be, right here, an image of Max
| | 04:20 | jumping. So I'll go ahead and turn On
the Jumping check box as well. And I have
| | 04:24 | now properly keyworded all of the
images inside of these two folders.
| | 04:29 | In the next exercise I am going to
show you how we can use these keywords in
| | 04:33 | order to create a smart collection. Stay tuned.
| | Collapse this transcript |
| Searches and collections| 00:00 | In this exercise, I am going to show
you how to take advantage of a couple of
| | 00:03 | new features inside of the Bridge3,
which is the one that happens to ship along
| | 00:09 | with Photoshop CS4. And those are
collections and smart collections, which
| | 00:14 | permit you to assemble images from
different folders. And these are virtual
| | 00:20 | assemblies. You are not going to copy
them to a different location; it's just
| | 00:23 | your way of tagging images from
different folders as you'll see.
| | 00:27 | So I am going to start things off by
going to the 02_open_organize folder
| | 00:30 | inside the exercise_files folder.
And as you may recall from the previous
| | 00:34 | exercise, I am sort of working through
these exercises in order. And as you may
| | 00:38 | recall I want ahead and copiously
keyworded some images of my sons, Sammy and
| | 00:43 | Max. So let's say, I want to start
things up just by searching the contents of
| | 00:48 | this folder right here and its sub-
folders for any of the images that I tagged
| | 00:53 | is having Sammy in them. So I will go
up to this Search option in the upper
| | 00:57 | right hand corner of the Application
Window. And all I enter Sammy, and then
| | 01:01 | I'll press the Enter or Return key. And
a moment or two later I will see a list
| | 01:06 | of images that match this search
criteria inside of this display.
| | 01:11 | Now none of these images happen to be
in the 02_open_organize folder. They are
| | 01:16 | all in sub-folders. But the Search
function is smart enough to look in
| | 01:20 | sub-folders by default. So notice that
we have a bunch of images of Sammy. And
| | 01:26 | if I have done my work right, we
shouldn't see any images that don't have Sammy
| | 01:29 | in them. So thanks, it look pretty good.
Plus we see this folder Sammy jumps,
| | 01:33 | now what gives there? Well, I can check
up on exactly what the Bridge has done
| | 01:37 | by clicking on this New Search
button. And what it did was it searched
| | 01:40 | filenames that contain Sammy as well
any images tagged with the keyword Sammy.
| | 01:45 | So it's looking for both, which is
why it ended up giving me this folder.
| | 01:49 | All right, so fair enough. It Included
All Subfolders, notice that you could
| | 01:52 | turn that off if you wanted to. And we
also have the option of searching for
| | 01:57 | Non-indexed Files, which are files
that have not been inspected by the
| | 02:00 | Operating System. Indexing is
something that happens automatically when your
| | 02:04 | Computer has nothing better to do.
But anyway, this option is turned off by
| | 02:08 | default. I am going to go ahead and
Cancel out of this dialog box. And I am
| | 02:11 | also going to cancel out of my search,
I am going to go ahead and click the
| | 02:14 | Close button there to return to the
standard contents of my 02_open_organize folder.
| | 02:19 | Let's say, I want to make a smart
collection no that just contains images of
| | 02:22 | Sammy but that contain images of
both my children. So I'll go over to the
| | 02:26 | Collections panel right there, and
there is this icon down here on the lower
| | 02:30 | right corner of this panel that says,
New Smart Collection. I am going to go
| | 02:33 | ahead and click on it. So I want the
Smart Collection, not the Collection, the
| | 02:37 | Smart Collection this time around.
And we are going to look inside the
| | 02:40 | 02_open_organize folder. And notice that
the Bridge is lifting the last search attributes.
| | 02:45 | I am going to go ahead and change this
first one from Filename to Keywords, and
| | 02:51 | then I am going to say, it contains
Max in this case. And I already have the
| | 02:55 | second one set to a keyword of Sammy
because I have no meaningful filenames at
| | 02:59 | this point. I want to get a Match, if
any of the criteria are met, meaning
| | 03:03 | either a keyword of Max or Sammy. If I
wanted to find only those images that
| | 03:07 | contain both Max and Sammy, I would
say If all criteria are met. But I am
| | 03:12 | looking for any, all right. And then I
am going to include all sub-folders. And
| | 03:16 | if I want to just be doubly sure, I
could say, Include Non-indexed Files, which
| | 03:21 | may be slow but in our case it not
going to be that slow. And then I'll click
| | 03:24 | on Save. And we now have this Smart
Collection that contains all of these
| | 03:28 | images of Sammy and Max; that quickly
too; notice that even though we were
| | 03:33 | looking for Non-indexed Files.
| | 03:35 | And I'll just go ahead and call this
New Smart Collection, Max & Sammy, and
| | 03:39 | that will be it. And then if I want to
run another one where I am searching for
| | 03:42 | just those photographs that contain
both of my children together, then I will
| | 03:46 | click on this icon once again, and
then I would just change this option to If
| | 03:49 | all criteria are met, and I'll click
Save. And notice that we just have those
| | 03:53 | images that contain the two boys.
All right, now I'll just call this one
| | 03:58 | Brothers, Oh! It's adorable.
| | 04:00 | Now, we also have the option of
creating collections, which aren't so smart,
| | 04:05 | which are collections in other words
that you put together. You are not putting
| | 04:08 | the Bridge in charge of creating the
collection; you are going to do it. So for
| | 04:12 | example, I will go over to the 02_open_
organize folder and I have got all of
| | 04:17 | these images that I shot in Lake
Powell right here. And let's say, I want to
| | 04:21 | put them into a collection.
| | 04:23 | Well, I will go ahead and select those
images. This is one way to work anyway.
| | 04:26 | I'll select them by clicking on the
first one and Shift-clicking on the last
| | 04:29 | one. Then I'll click on the New
Collection button, and the Bridge is going to
| | 04:33 | ask me, should it include the selected
files in the new collection? Absolutely,
| | 04:37 | I'll click Yes. And then I'll call
this collection Lake Powell and there you
| | 04:43 | have it. And I now have a regular old
collection, which looks like a standard
| | 04:47 | folder there. And then I have a couple
of smart collections, which have gears
| | 04:50 | next to them just to show how smart they are.
| | 04:53 | And you can do the standard stuff
where you delete one of these collections,
| | 04:56 | you can also by the way, if I went to
the Brothers Collection right there, I
| | 04:59 | could Edit this Smart Collections so
I can say, No, I don't want it to be
| | 05:03 | images that contain both Max and Sammy.
I want to instead find photographs of
| | 05:08 | either of my sons jumping so' I'll
go ahead and set this first Keyword to
| | 05:12 | jumping. I'll delete the second
Keyword because it's not going to do me any
| | 05:16 | good, and I'll click on Save. And now
I get a completely different collection
| | 05:20 | of images. These are the
images of the jumpers, of course.
| | 05:23 | All right, so Collections and Smart
Collections new to the CS4 edition of the Bridge.
| | Collapse this transcript |
| Batch renaming| 00:00 | In this exercise, I am going to show
you how to batch rename images, that is
| | 00:04 | how to change the names of multiple
images in a single operation. Now you may
| | 00:09 | recall at the end of the previous
exercise I went ahead and modified my Smart
| | 00:14 | Collection to search just for the
jumpers. But I forgot to rename the
| | 00:18 | collection. So because it's active I
can just click on its name to make it
| | 00:22 | editable. And then I'll go ahead and
change the name to Jumpers, and press the
| | 00:25 | Enter key or the Return key on the Mac.
| | 00:28 | Now I am going to switch to my Lake
Powell Collection here. And you may have
| | 00:32 | noticed that most of my images do not
have meaningful names; they are just the
| | 00:36 | names as they were captured by the
digital camera. And I am going to change
| | 00:41 | that for these specific images all of,
which were captured in and around The
| | 00:45 | Forgotten Canyon in Lake Powell. So I
am going to go ahead and press Ctrl+A or
| | 00:50 | Cmd+A on the Mac to select all the
images. Then I'll go up here to the Refine
| | 00:54 | icon, click on it. That's one way to
get to this function, you can also go to
| | 00:59 | the Tools menu, so there is Batch
Rename right there, and there it is with
| | 01:03 | Refine, either way its fine. And then
I'll choose Batch Rename or I can press
| | 01:08 | Ctrl+Shift+R/Cmd+Shift+R on the Mac.
| | 01:11 | By default the Batch Rename function
suggests that you assign this name of
| | 01:16 | Project, and the date, and a bunch of
digits, which I think is a terrible idea.
| | 01:22 | So I am going to go ahead and change
this first item, Text, to something like
| | 01:27 | Forgotten canyon, like that. And then
I'll go ahead and delete the second item
| | 01:32 | because I am not interested in
assigning a date to the filename. So I'll go and
| | 01:36 | take that out by clicking on the minus
(-) button. And I'll leave in this text
| | 01:40 | right here an underscore and then I
will permit a sequence number. And that
| | 01:43 | sequence number though is
going to be two digits long.
| | 01:46 | So I'll go ahead and choose Two
Digits and notice we'll get a filename of
| | 01:49 | Forgotten canyon_01 for the very
first file. So that is just previewing the
| | 01:53 | first filename in a group, 15 files
will be renamed. If you want to preserve
| | 01:58 | the current filename in the XMP file
data, you can. Meaning that you want to go
| | 02:02 | ahead and preserve the filename as
it was assigned by the digital camera.
| | 02:06 | That's really a bad thing as it turns
out. Often times, it can be very helpful
| | 02:11 | to you later. Do you want it to be
compatible with both Mac OS X and UNIX? And
| | 02:15 | I am going to say Yes to both of
those. And I am also just to be doubly
| | 02:19 | careful; I am going to replace this
space character with an underscore so that
| | 02:24 | I don't have any space characters
in my filename. That's not absolutely
| | 02:28 | necessary for Unix but it's a good idea
I think, in our case. And I am going to
| | 02:32 | go ahead and rename these items in
the same folder. I could move them to a
| | 02:35 | different folder or copy them if I
prefer, but I am just going to say Rename.
| | 02:39 | And all of those files get renamed
just like that in one fell swoop.
| | 02:44 | Now let's say, for summaries and you
decide half of these images need to have
| | 02:48 | different sequence numbers like this
last group right here from 08 down to 15.
| | 02:54 | So I will go ahead and click on
Forgotten canyon_08.jpg and Shift-click on
| | 02:56 | Forgotten canyon_15.jpg. And really, I
know I am going to want to insert some
| | 02:59 | other files at this location, or
something along those lines, or these are
| | 03:02 | figures in a book and I have got my
figures misnumbered. I run into this
| | 03:06 | problem all the time.
| | 03:07 | I want to assign a different serial
number here. So I am going to go up to that
| | 03:12 | same command once again, Batch Rename.
It's going to present me with my last
| | 03:16 | applied settings, which is great. And
I want the Sequence Number not to begin
| | 03:21 | at 16 because that's not nearly far
enough along. I want it to begin at
| | 03:24 | something like 42. You can enter any
Sequence Number as a start position you
| | 03:28 | would like. And notice 16 by the way,
took up automatically after 15 so that's
| | 03:33 | where that came from. Other options
available to you, you could do a sequence
| | 03:36 | letter, you could preserve the current
filename, there is all kind of things
| | 03:39 | you can do here, just so you know.
| | 03:41 | All right, I am going to go and stick
with the Sequence Number though and we
| | 03:45 | are going to start at 42. I'll click
Rename and sure enough, what was formerly
| | 03:49 | 8 becomes 42, then 43, 44, all the
way down to 49, and so on. So it's not
| | 03:55 | essential that you name your files when
you are working inside the Bridge. You
| | 03:59 | can go ahead and leave them set to the
original digital camera names, if you
| | 04:03 | want to. But if you want to be a
little more organized about your approach to
| | 04:07 | your images, you can go ahead and
rename images on mass using the Batch Rename
| | 04:13 | command. And I'll show you it gets even better.
| | 04:15 | I am going to go ahead and return to
that 02_open_organize folder right there.
| | 04:20 | Then inside of that folder as well
this is a real change to these files, even
| | 04:24 | though I performed the Rename inside of
the Lake Powell Collection. They still
| | 04:29 | exist, these images still exist inside
the 02_open_organize folder and they now
| | 04:33 | have new filenames. Once again thanks
to the Batch Rename command here inside the Bridge.
| | Collapse this transcript |
| Grouping images into stacks| 00:00 | In this exercise, I am going to
introduce you to stacks, which allow you to
| | 00:04 | group related images together to
eliminate clutter here inside of the Content
| | 00:09 | panel. I am currently looking at the
contents of the 02_open_organize folder
| | 00:13 | inside the exercise_files folder. I
have made a lot of changes to these images
| | 00:18 | over the span of the last few exercises.
| | 00:20 | Now I've got all these photographs from
Forgotten_canyon, which is of course is
| | 00:23 | part of the Lake Powell Collection.
And they already appear inside the Lake
| | 00:27 | Powell Collection as independent
images. I don't need them to also appear--
| | 00:31 | notice by switching to the collection I
have collapsed my folder tree. I don't
| | 00:35 | need them to also appear here inside
of 02_open_organize, which I am choosing
| | 00:39 | from my recent folders as independent
images. So I am going to go ahead and
| | 00:44 | stack them together by clicking on
the first of the images, and then
| | 00:49 | Shift-clicking on the last of them. So
I have selected all of them, the entire range.
| | 00:54 | And now I am going to up to the Stacks
menu and I am going to choose Group as
| | 00:57 | Stack in order to group all those
images into a single stack like so. Awesome!
| | 01:03 | Let's do the same thing with the toys.
I'll click on the first of the toys and
| | 01:06 | then Shift-click on the last of the
toys to select all the toys here. And then
| | 01:11 | I'll go up to Stacks and I'll choose
Group as Stack again, which also has a
| | 01:14 | keyboard shortcut. Notice Ctrl+G or
Cmd+G on the Mac, which is a fairly
| | 01:18 | standard keyboard shortcut for grouping.
| | 01:21 | Now I have got this stack of images,
which appears as a couple of slides,
| | 01:25 | notice that. And if I hover the slides,
I can tell in addition to the fact that
| | 01:29 | I have 20 images here inside the stack,
I have this little Play button. Well,
| | 01:34 | that's useful if all of your images are
frames that you have separated out of a
| | 01:38 | movie. And that way, you can then
play them in sequence. But if I play my
| | 01:42 | images because they are all still
images, we will see just them rat-a-tat-tat
| | 01:45 | by. And that actually, probably went
too fast for my frame record here so it
| | 01:50 | will probably look like a mess.
Anyways, it's of no use to me is what I am
| | 01:53 | saying. What is of use to me is to
change the Poster Thumbnail. That is the
| | 01:56 | thumbnail that represents the stack.
| | 01:58 | I want it to be the one shot that I
just love so much. So I am going to start
| | 02:03 | by expanding my stack by going up to
the Stacks menu and choosing Open Stack. I
| | 02:07 | could also press Ctrl+Right Arrow or
Cmd+Right Arrow on the Mac, which is
| | 02:11 | useful to know because then you can
turn around and collapse the stack or close
| | 02:15 | it if you prefer by pressing Ctrl+Left
Arrow or Cmd+Left Arrow on the Mac. Now
| | 02:19 | I am going to go ahead and expand my
stack. Here is all the images inside the
| | 02:23 | stack. I'll click on that one shot
that I love so much in order to select it.
| | 02:27 | Then I'll go up to the Stacks menu and
I'll choose Promote to Top of Stake. It
| | 02:31 | actually moves to the top of the stack.
And then if I will press Ctrl+Left
| | 02:36 | Arrow or Cmd+Left Arrow on a Mac in
order to collapse the stack. Then this
| | 02:40 | becomes the poster frame.
| | 02:43 | Let's say, at this point I want to
move this stack right next to the first
| | 02:48 | stack. And you can't actually move
images; you can drag-and-drop images inside
| | 02:52 | of the Content panel to change
their sort order, which is great for
| | 02:56 | prioritizing shots. For example,
let's say these two towers, which I have
| | 03:00 | messed about with so much, I want to
move them to the very tippy top of the
| | 03:03 | Content panel. I'll go ahead and drag
them all the way up the list like so. And
| | 03:07 | notice I've invoked an auto scroll,
which is nice. Now, I don't want to drop
| | 03:10 | them inside of the folder. That would
actually move them to that folder. I want
| | 03:14 | to move them all the way to the top,
the very first item until I see that
| | 03:19 | vertical line right there. Now the
thing is I am trying to move these images
| | 03:24 | before the folders. That's not going to
work. The folders always appear at the
| | 03:27 | top of the stack. I will then see
these two thumbnails as the first images
| | 03:32 | inside of the Content panel.
| | 03:34 | Notice up here in the upper right-hand
corner of the application, my Sort Order
| | 03:38 | has changed to Sort Manually
automatically. That indicate I now have a manual
| | 03:41 | sort going. Which means that I can
switch back and forth between this and the
| | 03:46 | Filename sort for example. So I'll
choose By Filename. Now the towers are
| | 03:50 | appearing near the end as per of an
alphabetical sort By Filename. And then I
| | 03:55 | can switch again to Manually, which
will load my last Manual Sort Order.
| | 04:00 | Now this can be tricky. If you switch
back to Filename for example, and you
| | 04:04 | care about your Manual Sort, you have
got to be watchful because now if I drag
| | 04:09 | anything to a different location,
I'll wipe out my previous Manual Sort and
| | 04:13 | I'll replace it with my new one. For
example, I want to grab this stack right
| | 04:17 | here and move it up the list. But I
don't want to do it by just dragging a
| | 04:21 | single thumbnail. Notice right now
that I have just one item in the stack
| | 04:26 | selected. That what's indicated by the
fact that the forward slide is active
| | 04:30 | but the rear slide is inactive. If I
were to drag now, I would move this guy
| | 04:35 | out of the stack. And I don't even
want to do that so I am not going to show
| | 04:38 | that to you. Instead I want to make
sure I grab the entire stack, which I can
| | 04:42 | do in one of two ways. Either I can
click on this little sliver, see the sliver
| | 04:47 | of a slide on the right hand side and
at the bottom; If I click anywhere in
| | 04:50 | that sliver, I'll select the entire
stack like so. Or, I can Alt-click or
| | 04:55 | Option-click on the thumbnail in
order to select the entire thing.
| | 04:59 | Now, we'll go ahead and drag it up the
list taking care not to drag it into a
| | 05:03 | folder like so or into another stack.
You can move images in the stacks that
| | 05:07 | way. I want to drag it next to that
first stack like so and drop it in place.
| | 05:11 | And now notice if I switch back to
Filename, I'll restore the alphabetical sort
| | 05:17 | of course. And then I go back to
Manually, and the two towers appear at the end
| | 05:21 | because their Manual Sort Order was forgotten.
| | 05:24 | All right, so there you have it. Ways
to manually sort images as well as how to
| | 05:29 | work with stacks here inside the Bridge.
| | Collapse this transcript |
| Comparing images in Review mode| 00:00 | In this exercise, I am going to show
you how to compare related images in the
| | 00:04 | Review mode, which is new in Bridge 3.0,
which as you may recall is the one
| | 00:08 | that ships with CS4. I've got the
Bridge trained on the contents of the
| | 00:12 | 02_open_organize folders
inside the exercise_files folder.
| | 00:15 | And let's say I want to compare
these six images shot by Pascal Genest of
| | 00:20 | iStockphoto.com. So I'll click on
Johanne-1.jpg and I'll Shift-click on
| | 00:24 | Johanne-6.jpg. And I now have these
six images selected and they are all
| | 00:29 | visible in the Preview panel, notice
that. And I can exaggerate the size of the
| | 00:33 | Preview panel if I want to by going
to this down pointing arrow-head right
| | 00:36 | here, which allows me to select from
all of the predefined workspaces and I'll
| | 00:40 | choose Preview. And that gives me this
gigantic Preview panel at the expense of
| | 00:46 | the other panels.
| | 00:47 | Now for what it's worth, it looks
better on a large screen. I am just happening
| | 00:50 | to be working on this tiny 1024X768
display. But even so while these thumbnails
| | 00:55 | are much bigger than they were before,
they are not big enough. So I am going
| | 00:59 | to switch back to my Essentials
Workspace by clicking on the word ESSENTIALS up
| | 01:03 | here at the top of the screen. And
that's better. And now I want to take a look
| | 01:07 | at the Review mode. I can get to the
Review mode in one of three ways actually.
| | 01:11 | I can go to this little Refine Icon,
click on it, and choose Review mode, I can
| | 01:15 | take advantage of the keyboard shortcut,
Ctrl+B or Cmd+B on the Mac, or I can
| | 01:20 | go to the View menu and choose Review
mode. They will all get you to the same
| | 01:24 | place, which is here.
| | 01:25 | Now if you have enough images selected
as I do, it tends to be we have five or
| | 01:29 | more images selected. Then you are
going to see the images in this Lazy-Susan
| | 01:33 | fashion right here where they kind of
spin around. And I am clicking on an
| | 01:37 | Arrow icon down here in the lower left
hand corner of the window in order to
| | 01:41 | switch from one image to another.
| | 01:43 | Notice the crazy thing about this is
I am clicking on the right pointing
| | 01:47 | Arrowhead in order to rotate the Lazy-
Susan to the left or so it seem because
| | 01:53 | we are seeing the bottom of the Lazy-
Susan as it was coming out toward us. So
| | 01:58 | even though we are moving in a
clockwise fashion, we are sending the forward
| | 02:02 | image to the left when I am clicking
the right button. And so the way to think
| | 02:06 | of this is that that Right Arrow icon
or the Right Arrow key on your keyboard
| | 02:11 | activates the image to the right. So
pressing the right arrow goes ahead and
| | 02:15 | brings this one in. Next I bring this
one in like so. Or if I press the Left
| | 02:20 | Arrow key, I would bring the image on
the left of front. So that's one way to
| | 02:24 | work is to sort of spin around
with the left and right arrow keys.
| | 02:27 | You also have the option of just
clicking on one of these. Notice you get
| | 02:31 | this Hand tool right there but you
don't really have to like drag the image in
| | 02:34 | to place. You just click and that
becomes the active image. You also have the
| | 02:40 | option of assigning star ratings just
like we could when we were looking at the
| | 02:44 | full-screen preview. So if I will press
the 1 key, I will go ahead and assign a
| | 02:48 | one star rating. If I will press the 0 key,
zero stars; 5 of course gives me five stars.
| | 02:54 | All right, so in my case I am just
going to give it zero because this is too
| | 02:58 | much of a low angle shot for me and we
are getting too much lens flair. So I am
| | 03:02 | just going to get rid of this image, I
am going to remove it from this group by
| | 03:05 | either clicking this down pointing
Arrowhead or pressing the Down Arrow key on
| | 03:09 | my keyboard. That goes ahead and
takes us down to five. All right, so this
| | 03:13 | image I like. I am going to go to the
next one, the one to the right that is by
| | 03:17 | pressing the Right Arrow key. It's a
little white for me but I'll come back to
| | 03:22 | it and I am not sure about it. This
one where we can see the light I am not a
| | 03:25 | fan of, so I'll go ahead and press
the Down Arrow key to get rid of it.
| | 03:28 | And notice once we get down to four
images that we switch out of Lazy-Susan
| | 03:32 | style and we are seeing this straight
on comparative view. And then I have to
| | 03:37 | decide, which of the images is active.
It's a little more difficult to decide
| | 03:41 | who is active now because it's not the
image that's right down here in front of
| | 03:44 | us, it's the image that has a
highlighted title. So in this case, it's
| | 03:48 | Johanne-2.jpg, which I also don't
really care for, I mean it's not my favorite,
| | 03:52 | so I'll press the Down Arrow
key to get rid of that one.
| | 03:54 | And now we can see three images side
by side in full view here. Johanne-3.jpg
| | 03:58 | is active, again I don't want it
because I am seeing the light in the lens
| | 04:02 | flair, Down Arrow key and I am left
with these two. Perfect, they are both
| | 04:06 | great shots. So I'll go ahead and
give them both three star ratings. And
| | 04:10 | Johanne-5.jpg is selected right now
so I'll press the three key. Then I'll
| | 04:13 | press the Right Arrow key to make the
image on the right active and I'll press
| | 04:16 | the three key for it as well.
| | 04:17 | Now I am going to show you a couple of
other things that you can do here inside
| | 04:20 | the Review mode. For one, you can add
loupes. You know, that Magnification
| | 04:24 | option. You can add loupes in each one
of your previewed images. And because I
| | 04:28 | change the behavior of the Loupe option
inside the Preferences dialog box, I am
| | 04:31 | going to have to press the Ctrl key or
the Cmd key on a Mac and click, let's
| | 04:35 | say in her sunglasses in order to
bring up the Loupe function right there. And
| | 04:40 | then I'll go to the other image and
I'll Ctrl-click or Cmd-click inside of it
| | 04:44 | as well. And notice now, I have louped
her face inside both of these images. If
| | 04:49 | I were to drag either one of these
loupes I had moved just that one loupe, or I
| | 04:54 | could press the Ctrl key and drag the
loupe, this would be Cmd dragging the
| | 04:59 | loupe. But if I press the Ctrl key or
the Cmd key on the Mac and drag inside of
| | 05:04 | either loupe, then I'll move both of
the loupes together as I am doing right here.
| | 05:08 | So for example, I could focus on a
totally different portion of the image such
| | 05:12 | as her knees or her feet. If I can
get them both on frame at the same time
| | 05:17 | something along those lines just to
check out the focus of the specific details
| | 05:21 | inside of the image.
| | 05:22 | So that's one of the promised things.
You can do the other thing is you can go
| | 05:25 | ahead and add all of the remaining
images, the ones you haven't ruled out, you
| | 05:30 | can add them to a collection by
clicking on this button right there. And as
| | 05:33 | soon as you do, you will close out of
the Review mode and you will go directly
| | 05:38 | to the Collections panel as I have here
and it just says Collections from Review
| | 05:42 | mode, and I'll say, Best of Pascal and
press the Enter key or the Return key on
| | 05:48 | the Mac. And I now have two images
sitting inside of a new collection, thanks
| | 05:52 | to my ability to compare and evaluate
images inside of the new Review mode.
| | Collapse this transcript |
| Playing images in a slideshow| 00:00 | Thus far we've seen three different
methods for inspecting images on a
| | 00:03 | detailed level. We saw the Loupe function,
which is only so good in my opinion.
| | 00:09 | We saw the Full Screen Preview, which
absolutely rocks, and we saw the Review
| | 00:13 | function, which pretty much rocks.
I think it's definitely a quality feature.
| | 00:17 | It's great for comparing images for example.
| | 00:19 | There is one other way to see your
images up close and personal inside the
| | 00:22 | Bridge. And that's the Slideshow
function. So I am going to switch to the River
| | 00:27 | sub-folder inside the 02_open_
organize folder. And I am going to select the
| | 00:31 | images that I want to add to my
slideshow, which would be these. I am going to
| | 00:34 | click on the first image and then go
ahead and Shift-click on the sixth image.
| | 00:38 | And that contains all these images
with Sam in the foreground and Max in the
| | 00:42 | deep background up here on this dock.
Then I am going to scroll down and
| | 00:45 | Ctrl-click or Cmd-click on each one
of these two low angle images of Sammy
| | 00:51 | sitting here in the dock.
| | 00:52 | Now let's go ahead and play through
these images in the slideshow mode by going
| | 00:55 | to the View menu and choosing Slideshow,
which you should note has a keyboard
| | 00:59 | shortcut of the second letter in
Slideshow, which is L. So Ctr+L here on the
| | 01:04 | PC, Cmd+L on a Mac. And now all I need
to do is just wait for these images to
| | 01:09 | play by here. And by default they are
going to play at five-second intervals.
| | 01:14 | You are also seeing these automatic
transitions between each one of the images.
| | 01:18 | If you want to change the interval, or
you want to change the transition, or
| | 01:22 | you want the slideshow to repeat after
it gets done playing, then you press the
| | 01:27 | L key by itself. Again, the second
letter in the word Slideshow. And in my
| | 01:32 | case, I am going to go ahead and Repeat
the Slideshow. I don't want it to play
| | 01:35 | any faster than this but I do want the
transitions to go a little more slowly.
| | 01:40 | I am going to stick with the transition
of Dissolve though you could play with
| | 01:43 | something different, if you want to.
And then I'll go ahead and click on the OK
| | 01:46 | button in order to continue
playing the slideshow like so.
| | 01:50 | There are other things you can do on
a slideshow. It's not just a matter of
| | 01:54 | sitting here and watching it. And to
find out what those things are; you can
| | 01:57 | press the H key, H for Help. And
you'll see a variety of options that are
| | 02:02 | available to you here. For example, I
can press the B key to blank out a frame
| | 02:07 | so that I am not seeing anything on
screen for whatever reason. And if I press
| | 02:12 | the B key again, then I will restore
whatever image I was seeing. I am going to
| | 02:16 | press the H key again so that we can
see our other options that are available
| | 02:20 | to us. You can see that you can set a
star rating with 1-5, you can toggle a
| | 02:24 | label with 6-9, you can rotate the
image with the square bracket keys, you can
| | 02:29 | increase the Rating with period,
decrease it with comma. And that's because
| | 02:32 | those are also the greater than and
lesser than keys. You can open an image
| | 02:36 | just by pressing the O key, or Open in
Camera Raw with R, and so on, and so on.
| | 02:41 | I am going to press the Spacebar in
order to Pause my playback. And I am also
| | 02:45 | going to show you how you can Zoom In
on the image by pressing the + key that
| | 02:48 | will take you to the 100% view at,
which point you can just go ahead and drag
| | 02:53 | the image on screen in order to look at
a different part of it. And you can go
| | 02:57 | even further in it if want to using all
those several techniques +(plus) to go
| | 03:00 | to the 200%, scroll up to go to 400%,
scroll down to go to 200%, minus to go
| | 03:06 | to 100%, you can click to go all the
way out, you can click again to come back
| | 03:10 | in. As I say, drag around, press the
Down Arrow key to advance to the next
| | 03:15 | slide if you want to like so. Or you
could press the Up Arrow key to go back to
| | 03:21 | the previous slide. I actually like
this image right here quiet a bit so I'll
| | 03:24 | press the Down Arrow key.
| | 03:26 | And then at any given time if you want
to get out of this slideshow, all you
| | 03:29 | have to do is press the Escape key and
you'll be returned to the Bridge. So yet
| | 03:34 | another method to inspect your images
inside the Bridge. An oldy, but a goody,
| | 03:38 | the Slideshow mode.
| | Collapse this transcript |
| Customizing and saving the workspace| 00:00 | In this exercise, I am going to show
you how to switch between workspaces in
| | 00:03 | the Bridge and how to create your own
custom workspace. Now a workspace is a
| | 00:08 | saved panel configuration, so where
the panels are located, how big they are,
| | 00:12 | which panels are visible, which ones
are hidden, how big the thumbnails are
| | 00:16 | inside the Content panel and so on.
| | 00:19 | The Bridge ships with a handful of
workspaces, many of which are listed at the
| | 00:23 | top of the screen here. I can change
exactly how many are listed by dragging
| | 00:27 | this little bit of scrub over here to
the left of the word Essentials. So I
| | 00:31 | will drag it to the left to expose
more workspaces, drag it to the right to
| | 00:34 | expose fewer.
| | 00:36 | To see all the workspaces you click
this down pointing arrowhead and there they
| | 00:40 | are, the first six have keyboard
shortcuts, after that they don't, just
| | 00:43 | something worth noting there. So now I
am going to switch from my Essentials
| | 00:47 | workspace, which I have modified quite
heavily, I am going to switch over to
| | 00:50 | Filmstrip, which takes you to the
traditional horizontal filmstrip view.
| | 00:54 | Now, these thumbnails are way too small,
so I will go ahead and increase their
| | 00:59 | size by dragging that slider control
right there. Now, let's say I don't want
| | 01:03 | this horizontal filmstrip with a big
landscape preview on top of it, I want a
| | 01:07 | vertical filmstrip instead.
| | 01:09 | Well, unlike in previous versions of
the Bridge, you don't have a vertical
| | 01:12 | filmstrip command; instead you just go
ahead and make one. I will do that by
| | 01:17 | giving myself some room over here on
the right hand side of the screen. I will
| | 01:20 | drag this vertical divider line over
to the left and now I have this area to play with.
| | 01:25 | Then I will grab the Content tab and I
will drag it and drop it into this new
| | 01:30 | location. Now, I have a vertical
filmstrip instead and I will go ahead and make
| | 01:34 | it narrower like so, so that we are
still leaving plenty of room for the
| | 01:38 | preview. Then I will switch from
Favorites over to Folders, so then I can see
| | 01:42 | my folder tree once again.
| | 01:44 | So these are the panels I want to be
able to see. I also would like to be able
| | 01:49 | to see Metadata. I don't see any reason
not to have that up on screen and that
| | 01:53 | appears up here. So I will drag it
down here with Filter and Collections and
| | 01:58 | then I would also like to
bring up my Keywords panel.
| | 02:00 | So I will go ahead and choose it,
again it appears over here with Content, I
| | 02:04 | will drag it over here, with Metadata
in the rest. Then I will move Collection
| | 02:08 | from the cramp quarters down left to
the more expensive quarters up left like so.
| | 02:13 | I think that makes a lot of sense.
We have Favorites and Folders and
| | 02:16 | Collections together. I will switch to
Folders to make it active. Then we have
| | 02:20 | Filter, Metadata and Keywords together,
I will switch over to Metadata in this
| | 02:24 | case and this is the configuration
I want to use, now check this out.
| | 02:28 | In order to save my settings to
Filmstrip, all I need to do is click on
| | 02:32 | Essentials to switch back to the
Essentials display, which brings up my last
| | 02:37 | modified view of the Essentials
workspace. Now when I click on Filmstrip, I see
| | 02:42 | my last modified view of
the Filmstrip workspace.
| | 02:46 | So the Bridge is constantly updating a
name to workspace, but you should bear
| | 02:49 | in mind that the Bridge is only
temporarily remembering your customized
| | 02:53 | filmstrip view, until such time as you
click this down pointing arrowhead and
| | 02:57 | choose Reset Standard Workspaces, at,
which point you are going to restore the
| | 03:01 | original settings for all of the
predefined workspaces. So that's just
| | 03:05 | something to bear in mind.
| | 03:06 | So if you want to make doubly certain
that you are saving your work, you want
| | 03:10 | to go ahead and create a new
workspace. However, I am not really then
| | 03:14 | interested in saving a workspace around
this vertical filmstrip, I am happy to
| | 03:20 | take my chances in this case. Because
what I want to do is I want to create a
| | 03:23 | new really super custom workspace
based on Essentials, so that I have some
| | 03:28 | really big thumbnails to work with.
| | 03:29 | I am not too interested in the Preview,
for example, so in fact, I am going to
| | 03:33 | go up to the Window menu and I am
going to turn the Preview panel off. Then I
| | 03:38 | am going to grab Metadata, which I
always feel like I need and I will drag it
| | 03:41 | over into the lower left region. I
will grab Keywords, move it lower left. I
| | 03:45 | will go ahead and grab Collections and
I will move it up into the upper left region.
| | 03:49 | I am also going to turn off the
Favorites panel. I just want Folders and
| | 03:53 | Collections up here; I will make
sure Folders is active. I want Filter,
| | 03:57 | Metadata active and Keywords right
there. Then I am going to double-click on
| | 04:00 | this vertical divider to hide this
right hand region of panels. Now I have just
| | 04:06 | this huge Content panel to work
with and I am going to save that off.
| | 04:09 | I will go up to the down pointing
arrowhead, I will choose New Workspace, and I
| | 04:15 | will call it Big Thumbs, which is what
I always call this, very descriptive I
| | 04:20 | think. Save Window Location as Part of
Workspace, absolutely that's fine and
| | 04:24 | that just saves a maximized view of my
screen in this case. Save Sort Order as
| | 04:28 | Part of Workspace, not so much on
that one, I am not going to save the sort order.
| | 04:32 | I will click Save in order to create
my new Big Thumbs Workspace, and notice
| | 04:36 | where it appears, first in order, so
guess what? It gets that first keyboard
| | 04:42 | shortcut, so it's going to be Ctrl+F1
for Big Thumbs, Ctrl+F2 for Essentials,
| | 04:46 | and Ctrl+F3 for Filmstrip. That's
Command+F1, Command+F2, and Command+F3 on the Mac.
| | 04:52 | This is beautiful! This is exactly what
I want; I want to be able to see these
| | 04:55 | three guys as well. Also bear in mind,
if you make some modifications to Big
| | 04:59 | Thumbs, it's going to be temporarily
saved until such event as you choose Reset
| | 05:03 | Standard Workspaces, which is going to
reset to your original definition of Big
| | 05:08 | Thumbs in this case.
| | 05:10 | One more thing I want to show you. If
you press the Tab key, you get rid of
| | 05:13 | everything but the Content panel. So
that's Tab to hide everything but the
| | 05:18 | Content panel, Tab to bring back
whatever other panels you had on screen.
| | 05:23 | That is even savable as part of the workspace,
here inside the highly customizable Bridge.
| | Collapse this transcript |
|
|
3. Setting Up 'Shop'Preferences, color settings, and shortcuts| 00:01 | In this chapter, I will
familiarize you with the basics of Photoshop:
| | 00:05 | establishing preferences, locking
down some very important color settings,
| | 00:10 | loading a few handy keyboard shortcuts,
customizing the interface, and saving your workspace.
| | 00:16 | It's all about coming to terms of
Photoshop so that you can work inside the
| | 00:20 | program at maximum efficiency and
minimum frustration. Plus you and I will be
| | 00:26 | on the same page so that future
exercises will make that much more sense.
| | 00:31 | Trust me, it's fast and it's worth it.
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| Setting general preferences| 00:00 | In this exercise, I am going to
introduce you to the General Preference
| | 00:02 | settings inside of Photoshop. Now
note that I am not going to show you how
| | 00:05 | every single one of the Preference
settings work. That would be incredibly
| | 00:10 | boring for one thing. You would have
to be quite the propellerhead to care
| | 00:13 | about every single one of the Preference
settings. Plus it will be a massive waste of time.
| | 00:18 | Most of the Preference settings are not
even the kinds of settings that we want
| | 00:21 | access to, just fine by default. But
there are a few that are set, in my
| | 00:26 | opinion, wrong by default. And by
changing those settings, it's my hope that
| | 00:30 | you are going to have a smoother
experience here inside Photoshop, and of
| | 00:33 | course you and I will be on the same page.
| | 00:35 | Now I have an image open on screen. I
have not provided this image for you.
| | 00:39 | It's just a little bit of eye candy
here. Just something to brighten up the
| | 00:42 | video as we work inside the otherwise
dull Preferences dialog box. So here is
| | 00:46 | how you get to it? Go up to Edit menu
or if you are working on a Mac, go to the
| | 00:50 | Photoshop menu, then drop down to the
Preferences command. This command is
| | 00:54 | higher in the menu on the Mac. And then
choose General or you can press Ctrl+K
| | 01:00 | or Cmd+K on the Mac. And that
keyboard shortcut is universal throughout the
| | 01:04 | Creative Suite applications. That
brings up the General panel of the massive
| | 01:08 | Preferences dialog box.
| | 01:09 | Now a note about dialog boxes inside
Photoshop CS4. They are non-modal and they
| | 01:15 | are more non-modal than ever. And what
I mean by that is that you can actually
| | 01:20 | control other things on the screen as
you are working inside the dialog box.
| | 01:24 | For example, let's say that I want to
be able to see the woman's face in the
| | 01:27 | background here. Then I would press
and hold the Spacebar and that's gets me
| | 01:30 | the Hand tool. And we'll be discussing
the Hand tool in more detail in the next
| | 01:34 | chapter when we will discuss
navigation. And then by Spacebar dragging this
| | 01:38 | woman like so, I can drag her down, so
that she is looking at the dialog box
| | 01:43 | along with us.
| | 01:44 | I can also control my palettes over
here in the right side of the screen. For
| | 01:47 | example, I can click on this Double
Arrow Icon to collapse the palette, or I
| | 01:51 | can click again to expand the palette.
So you have a fair amount of control and
| | 01:55 | if you have a couple of different
dialog boxes open at the same time, you can
| | 01:59 | move one in the background;
it's pretty amazing actually.
| | 02:02 | All right, now let's begin discussing
the actual Preference settings. Most of
| | 02:07 | these guys are fine. The first one
that's a problem is Export Clipboard and
| | 02:11 | this one is pretty technical. Here is
how it works. Every application, every
| | 02:16 | program, has it's own clipboard and by
default the applications are setup to
| | 02:21 | trade information between each other's
clipboard. For example, let's say you go
| | 02:24 | into Microsoft Word, and you copy a
paragraph, and then you switch over to
| | 02:28 | Photoshop. Word goes ahead and hand
that paragraph off to Photoshop and then
| | 02:33 | you can paste that paragraph into
Photoshop if you want to. So that's really
| | 02:37 | handy, if you are working with text.
It's not so handy, if you are working with images.
| | 02:42 | For example, this image right here if
you look down here in the lower left
| | 02:45 | corner of the screen is 36 megabytes.
If I where to copy this entire image and
| | 02:50 | then switch over to Word, Word would
choke, Word cannot handle 36 Megabyte
| | 02:55 | image. So what's going to happen is
it's going to spend a lot of time trying to
| | 02:59 | give Word the clipboard where it is
going to sit and go, ha! Ha! Ha! I can't
| | 03:03 | deal with it and finally, it's going to
get an error message. And you are going
| | 03:07 | to get involved and it's going to
ask you, hey! I couldn't convert the
| | 03:10 | clipboards. And it is not going to
even ask you anything; it's just going to
| | 03:12 | tell you, it couldn't do it.
| | 03:14 | In other words, it's going to waste
your time. And you don't want that, it just
| | 03:17 | makes for an unpleasant experience.
So long way of saying, turn this option
| | 03:21 | off. Unless you know that you want to
copy things from Photoshop then they
| | 03:25 | would have to be tiny little images
and then hand them off to Word or some
| | 03:29 | other program.
| | 03:30 | Use Shift Key for Tool Switch; I
recommend you turn that off as well. You can
| | 03:34 | access just about every tool by
pressing a key and you can cycle between tools
| | 03:38 | that occupy the same slots here by
pressing Shift along with the key. But I
| | 03:42 | think it's easier just to get Shift
out of the equation and just press the
| | 03:45 | alphabetic key instead.
| | 03:47 | All right? So I am going to turn that
check box off. Notice the Animated Zoom
| | 03:51 | and Enable Flick Planning. Hopefully
both of those options are available to you
| | 03:55 | and turned on. They should be turned on;
these are Open Geo Functions, new to
| | 04:00 | Photoshop CS4 and they are wicked cool.
We'll see more about them in the next chapter.
| | 04:05 | Zoom Resizes Windows right here is
turned off by default on a PC and on by
| | 04:09 | default on the Mac. I used to
recommend that you turn it on both platforms. I
| | 04:13 | now recommend that you turn it off on
both platforms as you see it here. And I
| | 04:18 | will be explaining why that is there
is some new behavior inside of Photoshop
| | 04:21 | CS4 and I'll be explaining that new
behavior in an exercise in the next
| | 04:26 | chapter, in Chapter 4 when
we will discuss Navigation.
| | 04:29 | Otherwise, these guys are fine. So
these are the settings that I recommend you
| | 04:32 | to use. I also recommend you leave
History Log Off. Reset All Warnings, by the
| | 04:37 | way, that is just in case you've told a
bunch of dialog boxes not to show again
| | 04:42 | if there is a little don't show again
check box on many dialog boxes, on many
| | 04:45 | alert messages. And if you have turned
a lot of alerts off and then you decide,
| | 04:50 | you know what? Some other person is
going to be working on this computer inside
| | 04:53 | Photoshop, they might want to see those
alerts. Then you can reset them all by
| | 04:56 | clicking on this button right there.
| | 04:58 | That's it for now for this exercise. In
the next exercise, we'll review all of
| | 05:02 | the other Preference settings that I
want you to change. Not that many more,
| | 05:06 | these were the main ones.
But in any event, stay tuned.
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| Setting interface preferences| 00:00 | In this exercise, I am going to
introduce you to a new panel of preference
| | 00:03 | settings here inside of Photoshop and
these are the Interface settings. Now I
| | 00:08 | happen to have any old image open on
screen. It happens to be a beautiful any
| | 00:12 | old image. This image comes to us
from photographer Alexander Alexis of
| | 00:16 | iStockPhoto.com. But you can
open up any image you like.
| | 00:20 | And notice that I am zoomed out from
this image sufficiently that I can see
| | 00:24 | this neutral light gray pasteboard in
the background. And also notice how the
| | 00:29 | image is casting a drop shadow onto
that pasteboard. You can change that along
| | 00:33 | with a lot of other Interface settings
by going up to the Edit menu. That would
| | 00:38 | be the Photoshop menu on the Mac.
Choosing the Preferences command, and then
| | 00:42 | choosing Interface. And that will
bring up these many, many options inside of
| | 00:48 | the dialog box.
| | 00:48 | Now I am going to go ahead and move it
over so that we can see the image in the
| | 00:51 | background. And normally, I was
telling you that you can Spacebar drag the
| | 00:55 | image but you can't do that when you
are this far zoomed out inside of the
| | 00:59 | Standard Screen mode. So we are going
to have to move the dialog box as well.
| | 01:02 | Then notice while working inside the
Standard Screen mode, I will just tell you
| | 01:05 | that. And you can see how you could
change the Color of the pasteboard if you
| | 01:09 | want to. For example, I could change it
to Black. And notice that we are seeing
| | 01:13 | a preview on the fly so we can gauge
whether that's what we want or not.
| | 01:16 | Or I could change it to a Custom Color,
which in my case is going to be Blue. I
| | 01:20 | don't know if that is the way it is
for you. That's very dangerous to use a
| | 01:24 | colored background, in my opinion,
because it distracts your eye from gazing
| | 01:29 | accurately the colors inside the image.
You want to keep that background nice
| | 01:32 | and neutral, that pasteboard there. So
I am going to switch it back to Gray. I
| | 01:35 | will show you a better way to change
the pasteboard in the very next exercise.
| | 01:39 | But for now, just leave it set to its default.
| | 01:43 | Then we have Border control. Now
watch the border that is the delineation
| | 01:47 | between the image and the pasteboard
here. As I change this setting from Drop
| | 01:51 | Shadow to Line, and you can see it
update on the fly. So you might prefer a
| | 01:54 | Line or you might prefer None. Because
once again, in having anything there can
| | 02:01 | detract from your ability to gauge the
image. Now when I recommend, for what
| | 02:06 | it's worth, is that you leave for
the Standard Screen mode, you leave the
| | 02:10 | Border set to Drop Shadow. And then
for Full Screen with Menus, you go ahead
| | 02:14 | and change it to None, and then leave
it set to None for Full Screen. That's
| | 02:18 | just my recommendation.
You can go any way you want.
| | 02:21 | Now you have just this infinitesimal
control over what's going on. For example,
| | 02:26 | see this blue Ps right there? That is
the Photoshop icon. Watch it as I turn On
| | 02:31 | Use Grayscale Application Icon, it goes
gray. So if you just don't want to see
| | 02:35 | any color other than image color on
screen, then you can gray out that icon as
| | 02:40 | well. I am going to go ahead and leave
the color on because that's not really
| | 02:42 | that intrusive.
| | 02:44 | Otherwise, I am going to go ahead and
drop down here. You could turn Off Tool
| | 02:48 | Tips if they are getting in your face.
For example, you will notice these Tool
| | 02:50 | Tips that keep coming up to describe
the option that I am hovering over. That's
| | 02:55 | a function of this option right there.
So if you don't like those Tool Tips you
| | 02:58 | can turn it off. However, for my
purposes, for training purposes here,
| | 03:02 | it's useful to have the Tool Tips.
So I am going to leave it turned on.
| | 03:05 | Next, we have control over all kinds of
new aspects of the interface inside of
| | 03:11 | Photoshop CS4. These control panels,
what I am calling palettes & documents,
| | 03:17 | because I call these guys, as we
move through the dialog box, I call them
| | 03:21 | panels because that's what they are
called. These guys over here are palettes.
| | 03:25 | Anyway, Photoshop calls them panels
for what it's worth. That's a new thing.
| | 03:30 | And you have the option of auto-
collapsing Iconic palettes. So the idea is when
| | 03:34 | you go ahead and collapse the palettes
to icons like this and then you click on
| | 03:39 | one of these guys in order to bring
up the palette, does it stay visible on
| | 03:44 | screen as you work inside of an image?
I say it shouldn't, I say it rather that
| | 03:49 | guy go away when I start working inside
of the image. So I am going to turn On
| | 03:52 | Auto-Collapse Iconic panels so
it does go way in the future.
| | 03:56 | And then the other options I will say
just leave them set to their defaults.
| | 04:00 | The only thing you might want to change
is those of you who are Macintosh users
| | 04:03 | and really prefer to work inside a
free floating windows, then you could go
| | 04:07 | ahead and turn Off Open Documents as
Tabs. So that every time you will open an
| | 04:11 | image it opens inside of a free-
floating window. Totally up to you but I am
| | 04:15 | going to go ahead and open my images as
tabs. And we will be discussing tabs in
| | 04:18 | more detail throughout
the entire series in fact.
| | 04:22 | Now I am going to go ahead and click OK
in order to accept those modifications.
| | 04:25 | And now notice if I click on this
option in order to bring up the palette, and
| | 04:30 | then I start working inside of the image,
the palette automatically goes away.
| | 04:33 | All right, so there you have it. Some
useful Interface Preference settings.
| | 04:37 | In the next exercise, I am going to show
you a better way to change the color of
| | 04:41 | the pasteboard. Stick with me.
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| Changing the color of the pasteboard| 00:00 | As you may recall in the previous
exercise, I was showing you how you can
| | 00:03 | change the color of the neural gray
pasteboard that appears around the image,
| | 00:08 | from the Interface panel of the
Preferences dialog box. In this exercise, I am
| | 00:12 | going to show you a better way to
change the pasteboard color and this is
| | 00:15 | something I recommend you do, because I
find, speaking personally, I find that
| | 00:20 | the pasteboard is too bright and it
competes too much with the image itself. So
| | 00:24 | I would like to darken it up a little
bit, but I don't want to send it all the
| | 00:26 | way to black.
| | 00:27 | So this is what you do, make sure
you have zoomed out far enough from the
| | 00:30 | image, so that you can take in the
pasteboard. Then right-click inside of that
| | 00:35 | pasteboard and that brings up this
Shortcut menu right there. If you are
| | 00:39 | working on a Mac and you don't have a
right mouse button, go ahead and press
| | 00:42 | the Ctrl key and Click, and then you
can choose one of these presets here,
| | 00:45 | Gray, which is very light, Black,
which obviously is extremely dark and then
| | 00:48 | Custom, which is blue for me anyway,
or you can dial in your own color by
| | 00:53 | choosing Select Custom Color and that
brings up the color picker dialog box and
| | 00:58 | here is what you want to do, you don't
need to worry about the Hue Value, you
| | 01:02 | can just leave it set to whatever it is.
| | 01:04 | You want to go ahead and change the
Saturation Value though, this is very
| | 01:07 | important, to zero. So it's S for
Saturation, it should be zero and then B for
| | 01:13 | Brightness, you want it to be whatever
brightness value it is you want to work
| | 01:16 | with. For example, let's say, I want 25%,
which is a pretty dark gray and then
| | 01:21 | Click OK, you don't need to worry
about any of the other options, just these
| | 01:25 | two, Saturation and Brightness and then
Click OK, and that switches you out to
| | 01:30 | a pretty dull dark gray. Well, now at
this point let's say you think, no it's a
| | 01:35 | little bit too dark.
Here is another way to work.
| | 01:38 | Go to this Gradient tool right here in
the Toolbox. Click and hold on it and
| | 01:42 | then choose the Paint Bucket tool. Now
the Paint Bucket tool isn't the greatest
| | 01:45 | tool on Earth when working inside of
continuous tone images, but it's great for
| | 01:49 | changing the color of the pasteboard.
Now I want you to go over to the Color
| | 01:53 | palette and I want you to Click on this
icon in the upper right hand corner of
| | 01:56 | the Color palette, which brings up a
fly out menu for this specific palette.
| | 02:00 | And I want you to switch over to HSB
sliders. You should see zeros all the way
| | 02:05 | around, if your foreground color is black.
| | 02:07 | Make sure that your Saturation Value
is set to zero and then change your
| | 02:11 | Brightness Value to whatever it is you
just want to use. Let's say, I think,
| | 02:14 | you know something about 10% brighter
than what we have. We dialed in 25% just
| | 02:18 | a moment ago, so let's go with 35%
instead. Then I will press the Enter key or
| | 02:22 | the Return key on the Mac and I will,
this is the important part here. You want
| | 02:26 | to press the Shift key and Click with a
Paint Bucket tool. So a Shift-click in
| | 02:31 | the background inside this pasteboard
will change its color and that brightens
| | 02:35 | it up a little bit, so this is 35%.
| | 02:38 | Now then, each one of the screen
modes has its own background color, so for
| | 02:43 | example, if I switch to a different
screen mode and you do that by going up to
| | 02:46 | the Application Bar to the Screen
mode icon right there and Clicking on it.
| | 02:50 | This icon by the way is going to be
located underneath the menu bar on the Mac.
| | 02:55 | Anyway when you click on it, you get
this menu here. We are working inside the
| | 02:58 | Standard Screen mode. I will show you
the Full Screen mode later, not right
| | 03:02 | now. We are not quite ready for that one.
Just go ahead and choose Full Screen
| | 03:05 | mode With Menu Bar, and that will
switch you out to this mode here. And then
| | 03:09 | note that our Drop Shadow went away
because we asked not to have a Drop Shadow
| | 03:14 | in this full screen mode
in the previous exercise.
| | 03:17 | We also have a lighter shade of gray
going in the pasteboard, I am going to go
| | 03:20 | ahead and spacebar drag the image over
there in order to center it. And then, I
| | 03:25 | will dial in, let's say a different
brightness value, something darker this
| | 03:28 | time, let's do go over to 25% for
this one, then press the Enter key or the
| | 03:32 | Return key on the Mac and Shift-
click with the Paint Bucket once again.
| | 03:35 | And now we have different values
associated with these different screen modes.
| | 03:41 | So if I go back up here and choose
Standard Screen mode then I am going to see
| | 03:46 | a slightly different background color
as well, and we have the drop shadow, so
| | 03:49 | each one of the modes is completely
customizable, it is basically where it
| | 03:53 | comes down to.
| | 03:54 | So just remember the Paint Bucket
tool right here shares the slot with the
| | 03:57 | Gradient tool and if you Shift Click
with this tool or with the Paint Bucket
| | 04:01 | tool, you will change the color of
the pasteboard here inside Photoshop.
| | Collapse this transcript |
| Other preferences| 00:00 | In this exercise, we are going to
whip through the remaining preference
| | 00:02 | settings that I recommend you to change.
I am going up to the Edit menu or the
| | 00:06 | Photoshop menu on the Mac, choose
Preferences and choose File Handling, in
| | 00:11 | order to bring up the File Handling
panel inside the Preferences dialog box,
| | 00:14 | you can also switch between panels just
by clicking on these items in the left
| | 00:18 | hand list or if you like keyboard
shortcuts, you can press Ctrl+1 for General,
| | 00:22 | Ctrl+2 for Interface, Ctrl+3 for
File Handling and so on. That would be
| | 00:27 | Command+1, Command+2, and Command+3,
and so on down the list on the Mac.
| | 00:32 | All right, here inside File Handling,
there are two things I recommend you to
| | 00:35 | change. First of all, I am going to ask
you a question; do you use Version Cue
| | 00:39 | at your office place? If your answer
is yes, I do, then leave Enable Version
| | 00:43 | Cue turned on. If your answer is "what
the heck are you talking about? I don't
| | 00:48 | know what Version Cue is, my office
place what?" then turn this off. Because if
| | 00:53 | you are not using Version Cue and the
over whelming majority of you aren't, for
| | 00:57 | a very good reason, I don't recommend
you to use it, then go ahead and turn
| | 01:00 | that off. That will save a little
processing inside the Photoshop.
| | 01:04 | Then, Maximize PSD and PSB File
Compatibility, the idea here is when you save a
| | 01:09 | layered image, an image with lots of
layers in it, we will see lots of examples
| | 01:12 | of that as we work through Photoshop.
When you save that as a native PSD
| | 01:17 | document, which is a way to go, then
Photoshop once do not only save the layers
| | 01:21 | but also save a flat version of the
file where all the layers are merged
| | 01:24 | together and that expands the size of
the file on the hard drive. And it means
| | 01:29 | you are eating through your
hard drive that much faster.
| | 01:32 | You want smaller files presumably, so
you want to set this to Never. Now Never
| | 01:36 | is a great choice if the only
application that you are going to be using to
| | 01:40 | look at layered images is Photoshop
or the Bridge, both of, which can see
| | 01:45 | layers just fine without Maximize
Compatibility, without that overhead.
| | 01:49 | However, if you are working with an
application that doesn't see layers and you
| | 01:53 | want to look at layered images, then
you are going to have to turn it on. Now,
| | 01:56 | examples are, if you do a lot of work
in Premier, which is the video editor
| | 02:01 | application from Adobe or if you work
with Lightroom. Lightroom, for those of
| | 02:07 | you who know Adobe Lightroom, cannot
see Photoshop layers. So if you want to be
| | 02:11 | able to see a layered document in
Lightroom, you have got to set it to either
| | 02:14 | Ask, in, which case you are going to be
bugged every time you save one of these
| | 02:17 | files or just set it to Always. But
there are going to be bigger files, I am
| | 02:21 | going with Never.
| | 02:22 | All right, next Performance, this
gets a little technical but it's worth
| | 02:27 | discussing here. Scratch Disks, if
you are working on a laptop, nothing to
| | 02:32 | worry about, no reason for us to even
discuss Scratch Disks. It's only an issue
| | 02:37 | if you have multiple hard drives
installed inside of your tower style computer.
| | 02:42 | The idea in that case is when
Photoshop runs out of memory, so that is RAM,
| | 02:48 | Random Access Memory, when it runs out
of that, it needs to go somewhere or it
| | 02:51 | would crash, or it would tell you it
couldn't finish you know doing something
| | 02:55 | for you, then it goes to the hard drive
in order to sort of, off load pieces of
| | 03:00 | imagery and stuff and
swap things back and forth.
| | 03:03 | The more hard drive space you can give
Photoshop the better and the speedier
| | 03:07 | that hard drive is then the faster that
the program will work and the best way
| | 03:11 | to get more and speedier hard drive
space, is to turn on this second option,
| | 03:16 | whatever it is. On the PC it's
liable to be D but it could be some other
| | 03:19 | letter. On the Mac it's going to be a
named drive but you want to go ahead and
| | 03:23 | turn it on, then Click on that drive,
this is presumably your data drive, this
| | 03:27 | is your system drive C on top. On the
Mac, whatever it is on top on the Mac,
| | 03:31 | that's going to be your system drive
and then your data drive is going to be
| | 03:34 | the second one. You want your second
one first, so click on it and then click
| | 03:38 | on this Up Arrow icon in order to
move that Scratch Disk into the first
| | 03:42 | location there. In that way your
system drive is going to get hit second,
| | 03:46 | that's going to be the speediest solution.
| | 03:48 | Next, GPU Settings right here,
Photoshop is telling you that it detects a video
| | 03:54 | card and this is the name of your
video card. Hopefully you will see this
| | 03:58 | Enable OpenGL Drawing option live and
turned on. If it's not turned on, try to
| | 04:03 | turn it on, if the option is dimmed,
meaning it's grayed out. That means there
| | 04:07 | is a problem with your video driver
and you need to download a new version of
| | 04:12 | your video driver, you would actually
figure out, what your video driver is.
| | 04:15 | You can see that this is an NVIDIA
card and this is the kind of card GeForce
| | 04:18 | 8800. Then I would go to the NVIDIA
site and I would download the newest driver
| | 04:23 | for my GeForce 8800 and install it and
then probably you have to restart your
| | 04:28 | computer and then restart Photoshop and
this option should be available to you.
| | 04:33 | There are some kinds of video cards out
there that do not support OpenGL; they
| | 04:38 | tend to be low-end cards. If you have a
very cheap computer then you may not be
| | 04:42 | able to turn on OpenGL at all. Oh! And
why does it matter? Just very briefly,
| | 04:46 | because you want to take advantage
of the new navigation functions inside
| | 04:49 | Photoshop CS4 that we are going to be
discussing in the next chapter, stay tuned.
| | 04:53 | All right, next Cursors, these next
guys are really easy, so if you are sitting
| | 04:57 | and going, please stop talking, I will
in just a moment, go to Cursors and turn
| | 05:03 | on Show Crosshair in Brush Tip. Normal
brush tip is fine, turn on this check
| | 05:07 | box, it's even finer. You will get a
little cross right there. That's great for
| | 05:11 | alignment purposes inside of your
brush cursors, which is a great thing. Then
| | 05:16 | switch down to Units & Rulers, and I
want you to change your Rulers to pixels.
| | 05:21 | It shouldn't be anything else,
shouldn't be centimeters, it shouldn't be any of
| | 05:24 | these other guys. It should be pixels
inside Photoshop. Pixels are your buddies.
| | 05:29 | And that is it, folks. Go ahead and
click on OK and we are out. We have modified
| | 05:34 | our Preference Settings.
| | 05:35 | All right, good job, take a breather,
and then join me in the next exercise
| | 05:39 | when we discuss, very important,
color settings inside Photoshop.
| | Collapse this transcript |
| Installing the CS4 color settings| 00:00 | In this exercise, I am going to show
you how to install some color settings
| | 00:03 | that I have created for you in
advance and then apply those settings inside
| | 00:06 | Photoshop and across the Creative Suite
applications, if indeed you own one of
| | 00:11 | the many versions of Creative Suite 4.
| | 00:14 | This is a very important thing to do,
because it ensures that all of your
| | 00:18 | applications are in alignment with each
other, so that they are all displaying
| | 00:21 | images in the same way, so that you
can take an image inside of Photoshop and
| | 00:26 | then place it into InDesign or Flash or
what have you and have that image show
| | 00:31 | up in exactly the same way
it showed up in Photoshop.
| | 00:34 | Color settings also ensure that your
images print properly. So here is what I
| | 00:39 | want you to do. I would like you to go
ahead and open up, if you have access to
| | 00:43 | it, the 03_set_up_shop folder. There
in you will find two files that we are
| | 00:47 | going to be working with, one is the
Best Workflow CS4.csf file, and you may or
| | 00:52 | may not see that extension, that is
the .csf, but you will see this document.
| | 00:57 | That is the actual color settings
file that I have created for you.
| | 01:00 | Then we have got this document here,
Instructions.tif, and you can open that up
| | 01:05 | inside of Photoshop. The
instructions show you where to install this Best
| | 01:09 | Workflow file. So here are the
instructions right there. Notice that it's
| | 01:13 | telling you to copy that document, that
orange file; we saw just a moment ago,
| | 01:18 | to a location on your hard drive
depending on your platform. So depending on,
| | 01:21 | which platform you are using, you are
going to copy it to a different location.
| | 01:25 | Under Windows XP, the location is this
and each of the backslashes indicates
| | 01:30 | that we are going deeper and deeper
into the folder structure here. So you go,
| | 01:34 | for example, to the C drive and then go
into the Documents and Settings folder,
| | 01:37 | then go into the User folder. That's
going to be your computer login name, by
| | 01:42 | the way. Then descend into the
Application Data folder and then into the
| | 01:46 | Adobe's folder, the Color folder and
the Settings folder, and that's where you
| | 01:51 | will copy this document.
| | 01:52 | Under Windows Vista, it's going to be
this folder path right there, and I will
| | 01:57 | actually show you that one because I am
working on Vista. Then on the Mac, you
| | 02:01 | would go to the Finder label of your
computer. That is the Desktop label and
| | 02:04 | there is a menu up in the menu bar
that's called Go and you would choose Home.
| | 02:08 | That takes you to the Home folder and
then you will dig inside the Home folder.
| | 02:12 | You will go to Library > Application
Support > Adobe > Color > Settings.
| | 02:17 | So let's see how it works inside of
Vista. I am going to go ahead and switch
| | 02:21 | over to the contents of my C drive
right here. Now I can't see everything I
| | 02:25 | need to see, so I am going to have to
turn on Hidden Files. This is something
| | 02:29 | you have to do under Vista and
Windows XP. So in order to bring up the menu
| | 02:34 | here, inside of this folder. I will
press the Alt key and that of course then
| | 02:39 | brings up the menu here. I will go
to Tools and then I will choose Folder
| | 02:42 | Options. Those of who are working on
the Mac, you really don't have to do this.
| | 02:45 | You can just sit tight for a moment.
You are just going to copy your file to
| | 02:49 | this folder right here.
| | 02:50 | So I am going to go to Folder Options
and I am going to switch to View and then
| | 02:56 | I am going to say Show hidden files and
folders. I definitely want that and if
| | 03:00 | you are not seeing extensions, the .
tif and the .csf, that kind of stuff, at
| | 03:05 | the end of your file names, then turn
off Hide extensions for known file types.
| | 03:08 | I find it to be very
useful to see those extensions.
| | 03:11 | Finally, if you want to, you can
turn off Hide protected operating system
| | 03:15 | files, so that you can see all of the
files on your computer. But notice, if
| | 03:20 | you do turn that checkbox off, Windows
is going to get mad at you. It's going
| | 03:23 | to say gosh! Do you really want to do
that? Then you would click Yes if you
| | 03:26 | really want to do it or No if you are
scared and you think you are going to go
| | 03:29 | delete files that you shouldn't be deleting.
| | 03:31 | But that's really up to you; you don't
have to do this. I am just going to say
| | 03:34 | No, but you definitely need to turn
on Show hidden files and folders. Then
| | 03:39 | click Apply to make that happen. Then
click OK in order to close the dialog box
| | 03:44 | and now you can see all of the
folders that you need to see.
| | 03:47 | Now, we just need to follow the
instructions that we are seeing in the
| | 03:50 | background here. So it's saying,
under Windows Vista, I should go into the
| | 03:54 | Users folder that I got right there,
and then to User and I would guess that's
| | 03:59 | me right there, bunch of other guys,
but let's work with me because I am logged
| | 04:03 | in as me right now.
| | 04:05 | Then I will go to AppData and then I
will go to Roaming, double-click on that,
| | 04:09 | and then I will go to Adobe, double-
click on it. Then I will double-click on
| | 04:13 | Color and I will see the Settings folder,
I will double-click on it. So we are
| | 04:17 | just burrowing our way into the
folders here. Then I won't see anything.
| | 04:22 | Once I come to the end of the line,
that is the folder into which I need to
| | 04:26 | copy the files. So let's go ahead
and bring up that folder, which is the
| | 04:30 | 03_set_up_shop folder right there. I
will just run a copy and I am going to do
| | 04:34 | that by right-dragging, so I am
pressing the right mouse button and dragging
| | 04:38 | this file into the other folder, just
to make sure that I am copying it instead
| | 04:42 | of moving it.
| | 04:44 | Then it will ask me what I want to do
as soon as I drop, and I will say Copy
| | 04:47 | Here and then we have gone ahead and
copied the file to the right location. So
| | 04:52 | we are now ready to apply these color
settings inside Photoshop and inside the
| | 04:59 | Adobe Bridge and I will show you how
that works in the very next exercise.
| | Collapse this transcript |
| Applying color settings in Photoshop and CS4| 00:00 | Now that we have installed the Color
Settings in the previous exercise, we are
| | 00:04 | going to apply them inside of Photoshop.
If you own one of the many variations
| | 00:10 | of the full Creative Suite, you can
apply them across all the applications
| | 00:15 | inside the Adobe Bridge as
well. So I will show you both.
| | 00:18 | Starting in Photoshop, I want you to
go up to the Edit menu, and this is the
| | 00:22 | Edit menu on the Mac or the PC, and
then choose the Color Settings command.
| | 00:25 | Notice it's got a keyboard shortcut,
Ctrl+Shift+K, Command+Shift+K on the Mac.
| | 00:29 | You may recall that Ctrl+K or Command+
K gets you Preferences. Ctrl+Shift+K or
| | 00:34 | Command+Shift+K gets you Color
Settings, a different kind of preference.
| | 00:38 | So I will go ahead and choose that
command and then if you go up here to the
| | 00:41 | Settings option, you should be able to
click on it. In this list, will be Best
| | 00:46 | Workflow CS4, if you've installed it
properly, it will be there. You don't have
| | 00:49 | to restart the application or anything.
You will see Best Workflow CS4, go
| | 00:53 | ahead and choose it and that will
slightly somewhat adjust your settings inside
| | 00:58 | the dialog box.
| | 00:59 | Now I do want to show you something.
If I hover over Best Workflow CS4, you
| | 01:03 | will see a description down at the
bottom of the dialog box that tells you how
| | 01:05 | this works. I actually recommend to use
these settings whether you are working
| | 01:10 | in Photoshop, Illustrator, InDesign
or any of the other programs. I include
| | 01:14 | them along with the Photoshop
Illustrator and InDesign CS4 One-On-One series.
| | 01:18 | So, that's a description for this. What
we have done is we have changed the RGB
| | 01:23 | working space from sRGB, which is a
pretty low-rent space. It's a good space if
| | 01:29 | you are a consumer, it's not a great
space if you have higher aspirations, much
| | 01:33 | better is this guy right there, Adobe RGB.
| | 01:35 | So that's what we have applied using
Best Workflow. Otherwise, we have just
| | 01:39 | made sure that we're not going to
get irritated by Photoshop on a regular
| | 01:42 | basis. If I click on More Options in
order to see more options down here at the
| | 01:46 | bottom, you can see that we have
shifted the Intent to Perceptual, which is
| | 01:50 | great for imagery. It's a best way to
convert images from one color space to
| | 01:56 | another inside of Photoshop.
| | 01:58 | Otherwise, we are good to go here, so
just go ahead and there is really nothing
| | 02:01 | you need to do, except for just change
your settings to Best Workflow CS4, but
| | 02:05 | I do want to show you this. Notice,
it's now telling me that my applications
| | 02:08 | are unsynchronized. And that's because
I changed Photoshop CS4 to Best Workflow
| | 02:13 | CS4, but I didn't change any of
the other applications in the Suite.
| | 02:17 | So, I will click OK. If you have other
applications, you need to own the full
| | 02:22 | Creative Suite or this next step will
not work. So if you bought Photoshop
| | 02:25 | alone, this next step is not
something you need to do, you can just stop
| | 02:29 | watching the movie and go to the next one.
| | 02:31 | But, if you have the full Creative
Suite, then go to File menu and choose
| | 02:35 | Browse in Bridge in order to open the
Bridge right here. I have the Bridge
| | 02:39 | trained on the 04_navigation folder,
just because the images look better than
| | 02:43 | those inside of the set_up_shop folder.
Then I am going to go to the Edit menu
| | 02:47 | and again choose Color Settings. This
time it's called Creative Suite Color
| | 02:50 | Settings. Ctrl+Shift+K or
Command+Shift+K on the Mac.
| | 02:53 | Now if you can't see this command or
you choose the Command and you get an
| | 02:56 | error message. That means that you
don't have the full Creative Suite installed
| | 03:00 | or at least your computer thinks you
don't. I will go ahead and choose this. If
| | 03:04 | you get this dialog box, you are in
good shape. That means you have a version
| | 03:08 | of the Creative Suite and you should
see right there Best Workflow CS4 in this
| | 03:12 | list. If not, if you can't find it
then turn on this checkbox show expanded
| | 03:15 | list of Color Settings files and that
will show you more settings file that are
| | 03:19 | available to you.
| | 03:20 | I am going to go ahead and click on
Best Workflow CS4 and then I will click --
| | 03:24 | notice it's saying Not Synchronized.
Then I will click Apply and that closes
| | 03:29 | the dialog box, which is a little
frustrating, because I would like to be able
| | 03:32 | to see that everything is working. To
see that everything is working go back to
| | 03:35 | the Edit menu, choose Creative Suite
Color Settings again and this time you
| | 03:39 | should see Synchronized, because you
have synchronized all of the applications
| | 03:43 | so that they are all displaying color
in the same way, very important! Now I
| | 03:47 | can just cancel out
because I have already done it.
| | 03:49 | So that's it. That's how you apply the
Color Settings that you installed in the
| | 03:53 | previous exercise. In the next
exercise, I am going to show you how to work
| | 03:58 | with custom keyboard shortcuts in Photoshop.
| | Collapse this transcript |
| Installing the dekeKeys keyboard shortcuts| 00:00 | In this exercise, I am going to show
you how to install some custom keyboard
| | 00:03 | shortcuts. Now, these keyboard
shortcuts goes by the name Deke Keys and I have
| | 00:07 | been working on them years and years,
trying to hone them down to the best
| | 00:10 | keyboard shortcuts possible, so that
we are taking full advantage of the keys
| | 00:14 | on the keyboard and gaining access to
some terrific commands inside Photoshop.
| | 00:19 | So if you have access yourself to the
03_set_up_shop folder that's inside the
| | 00:23 | exercise_files folder. You will find
a folder called dekeKeys PsCS41on1. Go
| | 00:29 | ahead and double-click on it to open
it up and you will see that we have two
| | 00:31 | files, one for the Mac and one for
Windows. The Windows file is compatible with
| | 00:36 | both Windows XP and Windows Vista and
the Mac file is compatible with any old
| | 00:41 | Macintosh platform.
| | 00:42 | Next, what you want you to do is make
sure Photoshop is running. If it is, you
| | 00:45 | can see this woman in the background
still coolly regarding our progress,
| | 00:48 | telling us that Photoshop is open, of
course. And then you would double-click
| | 00:52 | on the file that matches your platform,
in order to open it inside a Photoshop.
| | 00:58 | So, just give it a double-click. Now,
if something goes wrong, when you
| | 01:02 | double-click in a file, for example,
all of a sudden, you launch Adobe
| | 01:05 | Premiere, very common scenario. That
means that Premiere was installed later
| | 01:10 | and it's grabbing the KYS format right there.
| | 01:13 | Then in that case, you would right-
click on the file and then say Open With and
| | 01:18 | then find Photoshop. You can also just
grab the file and do a drag-and-drop, if
| | 01:23 | you would like to drag and drop it
into Photoshop and open it up there. Okay,
| | 01:27 | so one way or other, you are going to
double-click, you are going to drag and
| | 01:29 | drop, what have you and you will
find yourself inside Photoshop.
| | 01:32 | It won't look like anything is
different but something is different. And to
| | 01:36 | find that difference, go up to the
Edit menu and then choose the Keyboard
| | 01:40 | Shortcuts command, which itself has a
keyboard shortcut, and notice what that
| | 01:43 | keyboard shortcut is. Ctrl+Shift+Alt+K,
Command+Shift+Option+K on the Mac, so
| | 01:47 | yet another variation on Ctrl+
K or Command+K for Preferences.
| | 01:51 | All right, that brings up the Keyboard
Shortcuts dialog box right here and you
| | 01:55 | should see that your Set is now set
to Photoshop Defaults (modified). That
| | 02:01 | indicates that we have modified the
default keyboard shortcuts inside the
| | 02:04 | program and just to check that
everything is cool, I want you to twirl open
| | 02:08 | File. So, click on that little
triangle to expand the file item and then I am
| | 02:14 | going to advance downward a little bit
and you should see the Place command at
| | 02:18 | a point and it has a keyboard
shortcut of Ctrl+Shift+Alt+D or
| | 02:23 | Command+Shift+Option+D on the Mac. And
I am reading these keys, by the way, in
| | 02:27 | the order that you should read them,
Ctrl is the first one, Command on the Mac;
| | 02:31 | Shift is the second one, and then Alt
or Option is the third one. For some
| | 02:34 | reason, Adobe lists them in backward
order but I am not going to, just so you know.
| | 02:39 | All right, so this is the right file,
this is the file we are looking for. You
| | 02:43 | know, what I would like to do is add
your own keyboard shortcut, just so you
| | 02:46 | get a feel for how it works. Okay, so
go ahead and twirl close the File, go
| | 02:50 | back up there, and then twirl open
Image like so. And then let's advance
| | 02:55 | downward quite a bit and you can use
the scroll wheel on your mouse if you
| | 02:59 | prefer, until we come to Image Rotation.
So, it's going to be fairly far down
| | 03:03 | the list and then there is this item,
Arbitrary, which isn't arbitrary at all.
| | 03:08 | This is a very specific
rotation we would be applying.
| | 03:11 | Then I want you to press all
those modifier keys. So, that would be
| | 03:16 | Ctrl+Shift+Alt on the PC, Command+Shift
+Option on the Mac. So, mash your fist
| | 03:20 | down in the lower left corner of the
keyboard and then press R and you will
| | 03:25 | then go ahead and create a keyboard
shortcut for Arbitrary. Now, it may get a
| | 03:29 | little grumpy at you because this is
something that could happen with the Warp
| | 03:33 | command where you duplicate and
create Warp, we are not interested. Just go
| | 03:37 | ahead and click Accept in order to
overwrite that complaint and you now have
| | 03:41 | the keyboard shortcut for this command.
Awesome, which is a really great thing
| | 03:44 | to have, you will find out in
a later exercise, in a chapter.
| | 03:47 | All right, let's go back up the list,
close that guy just for the sake of
| | 03:51 | tidiness. Then I want you to click on
this little Save button, this little
| | 03:55 | floppy disk icon indicates that we
are going to save because we all save to
| | 03:59 | floppy disk these days. So click on the
little icon and then you will name your
| | 04:05 | file and I suggest you call it dekeKeys,
but if your name is Mike and you want
| | 04:11 | to call them mikeKeys or if your
name is Sally and you want to call them
| | 04:13 | sallyKeys, totally fine with me.
I don't care what you call them.
| | 04:16 | But I am going to call them dekeKeys,
because my name is Deke, CS4 and then I
| | 04:20 | will click Save. Make sure you are
saving it into a folder called Keyboard
| | 04:23 | Shortcuts, then click Save and you are
ready to go. Look! You have got your own
| | 04:27 | custom set of keyboard shortcuts,
click OK and you are now part of the Custom
| | 04:32 | Keyboard generation, my friend, and
you will be able to work right along with
| | 04:35 | me in future exercises.
| | 04:36 | All right, so in the next exercise, we
are going to move on here, we are going
| | 04:41 | to shift our attention from Preferences
to organizing the palettes, here inside
| | 04:46 | Photoshop CS4.
| | Collapse this transcript |
| Organizing the palettes| 00:00 | In this exercise, I am going to show
you how to organize palettes inside of
| | 00:03 | Photoshop, how to collapse them and
expand them and bring up new palettes.
| | 00:07 | I have still got this image from
Alexander Alexis open on screen; I did not make
| | 00:12 | this image available to you
because it's just here to serve as window
| | 00:15 | dressing for the video. But notice
that I am seeing what's called a workspace
| | 00:20 | inside the Photoshop. The default
workspace, which is the Essentials workspace
| | 00:25 | right there and it's a
good place for us to start.
| | 00:28 | So, I am seeing the Color palette
that's combined with the Swatches and Styles
| | 00:33 | palette. They are grouped together and
I have got Adjustments and Masks grouped
| | 00:36 | together and then I have Layers,
Channels and Paths. Now, I am working on this
| | 00:40 | dinky screen; 1024x768 for filming
purposes here and I want to give the Layers
| | 00:46 | palette more room. So, I am going to
collapse the Color, Swatches, and Styles
| | 00:51 | palette here by clicking right there
in this empty area, right there. Then I
| | 00:55 | will collapse the palettes vertically,
if I ever want to un-collapse the
| | 00:59 | palettes that is expand them again,
then I would click again and that will
| | 01:03 | expand them. So, that's
pretty simple thing to do.
| | 01:06 | By the way, you can also drag tabs
out of a group in order to create free
| | 01:10 | floating palettes like this one right
here, and then if you decide later, you
| | 01:13 | want to put it back, then you can
just drag it back into the group like so.
| | 01:17 | Just watch for those blue lines and in
this case, I am seeing a blue rectangle
| | 01:20 | around the entire group. That's a
good thing because if I am seeing a blue
| | 01:23 | horizontal line like so, then I am
going to drop the Color palette above
| | 01:28 | Swatches and Styles. To put it in the
group, I need to see a rectangle, blue
| | 01:33 | rectangle around the entire thing.
| | 01:34 | Then drop and that's going to make
Color the last palette, then I will go ahead
| | 01:38 | and drag it over like so to make it
the first palette again. Now, if you ever
| | 01:42 | see one of these things, you probably
won't because you are working on a bigger
| | 01:45 | screen but this plagues me on this
1024x768. It's just that the Layers and
| | 01:49 | Channels and Paths palettes got
collapsed for no good reason. They have got
| | 01:52 | room to exist down here at the bottom
of the screen. So, I will just click next
| | 01:57 | to Paths in order to
expand that palette once again.
| | 02:00 | All right, so I am going to go back
up here to Color, Swatches and Styles.
| | 02:03 | Click to the right in order to collapse
those palettes, so I have more room to
| | 02:05 | work these gargantuan guys down here.
You also have the option of collapsing
| | 02:12 | your palettes all the way to icons by
clicking on this double arrow icon right
| | 02:15 | there. So, that will collapse the
palettes, then click again to expand them.
| | 02:19 | You can also just click anywhere in
this dark bar. That will collapse, that
| | 02:23 | will expand.
| | 02:24 | In Photoshop CS4, you can also drag
that bar around to move the entire super
| | 02:29 | group of palettes into a different
location. Notice that they are now floating
| | 02:33 | as a gargantuan group here. If you
want to put them back, drag them back over
| | 02:37 | here to the right side. You can also
drag them over to the left if you want to,
| | 02:40 | they can be right next to the Tool Box
if you prefer, but wherever you decide
| | 02:44 | to drop them, look for that blue
vertical lines. So, as soon as you drop, then
| | 02:48 | they get anchored in the place and
this is called docking, by the way. We are
| | 02:51 | docking these palettes in a place. I
don't want them over here; I want them
| | 02:55 | back over here. So, I will just drag
by the dark gray bar once again and drag
| | 02:58 | them into this place here.
| | 03:00 | You can -- oops! Look at that. I
dragged that Tool Box along with because it
| | 03:04 | became part of my super group. So, in
order to get the Tool Box away from these
| | 03:09 | guys, I need to drag by this little
sort of bit of sand paper right there
| | 03:12 | that's above the Move tool. This guy
right there in the light gray area, drag
| | 03:16 | only the Tool Box by itself, drop it
over here in the left side of the screen
| | 03:19 | when I see the vertical blue bar.
| | 03:22 | All right, now things are back to the
way they need to be and by the way, you
| | 03:25 | can expand the Tool Box to make it two
columns if you like. I don't know why
| | 03:29 | you would do that but you can and then
click again to make it a single-column
| | 03:33 | Tool Box. Notice that a single-column
Tool Box fits very nicely even on a tiny
| | 03:37 | screen like mine.
| | 03:38 | Another thing you can do just so that
you know all of your options, you can
| | 03:41 | drag just a single group, if you want
to, instead of the super group, just a
| | 03:45 | single group by dragging to the right
of the word, Styles. See, I just dragged
| | 03:49 | those guys and I create this little
group that's collapsed. I would click right
| | 03:54 | there in order to expand it. Click
again to collapse it and let's just go ahead
| | 03:58 | and put it back. Up at the top, notice
I have the horizontal blue bar, which is
| | 04:02 | going to allow me just to drop these
guys into place instead of adding them to
| | 04:06 | this group here.
| | 04:07 | Now, you can also go ahead and bring up
other palettes, there are palettes that
| | 04:10 | we are not seeing on screen right
now and to get to any palette inside a
| | 04:14 | Photoshop, you go up to the Window
menu and if nothing else, you want to make
| | 04:17 | sure to bring up the History palette.
You just cannot survive in Photoshop
| | 04:20 | without the History palette. So, I
will go ahead and choose that command and
| | 04:23 | notice that it goes ahead and adds for
me; it adds these palettes over on the
| | 04:28 | right-hand side, which is not what I want.
| | 04:30 | So, I will go ahead and drag this
little guy right there, the little scrubber,
| | 04:35 | drag it over to the left, so that I
see a vertical bar, blue bar on left side
| | 04:41 | of the palettes and then drop. So, it
should be right there and if you want to
| | 04:44 | expand the palettes, you just click on
the dark bar and that would go ahead and
| | 04:48 | expand those palettes like so and then
click again in order to collapse them.
| | 04:52 | Now, you may wonder why we just see
these icons in the case of History and the
| | 04:56 | Actions palette as well, it comes up
as part of that group. But if I were to
| | 05:00 | collapse these palettes, we see icons
and names. That's a function of this.
| | 05:04 | So now you can just drag that edge and
expose the names if you want to or drag
| | 05:09 | again to collapse them. I am going to
drag this edge to collapse these guys all
| | 05:14 | the way down to icons and then I will
click up here in order to expand them. In
| | 05:17 | that way, when I click back and forth,
I get the maximum collapse-tion out of
| | 05:22 | these palettes. That's not a word,
but still, I think you know what I mean.
| | 05:25 | Now, I am going to go up to the Window
menu and I am going to choose Info to
| | 05:29 | bring up the Info palette and that's
going to appear right there. Go ahead and
| | 05:34 | click on the I for Info in order to
hide that palette from view. Now, I will go
| | 05:39 | up to the Window menu once again and I
will choose Brushes and that should add
| | 05:45 | the palette to a ridiculous location
like this. That's fine. Let's go ahead and
| | 05:48 | drag it away from there and drop it
into this location, so that we can see this
| | 05:53 | tiny little blue bar, drop. That's good.
Just a few more that I want to add; I
| | 05:59 | am going to add the Character palette
that may come in, in totally the wrong
| | 06:01 | location, it most certainly is. You
know, in fact, I will show you something
| | 06:05 | else you can do here.
| | 06:06 | Let's just keep adding the palettes
in wrong location, I will choose Layer
| | 06:10 | Comps in order to bring up this group
and then finally, I will choose Tool
| | 06:15 | Presets down here and this way, we are
seeing all of the palettes now. Choose
| | 06:19 | Tool Presets and that's going to move
this guy to the top but where I want it
| | 06:23 | to be is down at the bottom here. So, I
will drag its little scrubby and I will
| | 06:26 | drop it into this group like so.
| | 06:30 | Then we have three in a row and now we
can take these little guys right here
| | 06:34 | and drag each one of them over to this
location like so. All right, we now have
| | 06:39 | everything set up the way that I want
it to be. In the next exercise, I am
| | 06:44 | going to show you how to save this
configuration of palettes as a custom
| | 06:49 | workspace, stay tuned.
| | Collapse this transcript |
| Saving your workspace| 00:00 | In the previous exercise, I've showed
you ad nauseam how to organize palettes
| | 00:04 | inside of Photoshop. In this exercise,
I am going to show you how to save your
| | 00:08 | impeccably organized palettes as a
custom workspace, which is something you
| | 00:12 | want to do. If you are going to spend
the time doing the work, you want to save
| | 00:15 | the work, after all just to protect
yourself. So, here is how to do just that,
| | 00:19 | but first, I want to show you one
more thing that you can do with palettes,
| | 00:22 | actually two more things as we'll see.
| | 00:24 | One is how do you close the palette,
or close an entire group of palettes.
| | 00:29 | Let's say, I want to close the group
that includes Adjustments and Masks. I
| | 00:33 | would go to that palette, notice that
there is an icon in the upper right-hand
| | 00:36 | corner here that gives us access to a
flyout menu. So, click on it and then you
| | 00:40 | would choose Close to close just the
Adjustments palette and choose Close Tab
| | 00:44 | Group to close both Adjustments and Masks.
| | 00:47 | That's what I am going to choose, they
go away, you want to bring them backup,
| | 00:50 | you go to the Window menu and choose
either Adjustments or Masks. So, if they
| | 00:55 | are group together, they are going to
come up together, and there they are. So,
| | 00:58 | you are good to go.
| | 00:59 | Now, what about these guys? They are
collapsed so we don't have access to the
| | 01:03 | flyout menu. Well, for example, with
Info, I'll click on the Eye button there
| | 01:06 | in order to expand the palette, so we
can see it, there is the flyout menu
| | 01:10 | icon, click on it and then choose
Close or Close Tab Group, up to you. In my
| | 01:15 | case, I am just going to click on
the double-arrow icon to collapse the
| | 01:19 | palette, once again, because
I want to keep it on screen.
| | 01:21 | All right, we are just about ready to
save our workspace but there is one more
| | 01:25 | thing about the palettes that you can
save along with the workspace and that's
| | 01:29 | the size of the thumbnails that are
associated with the Layers, Channels and
| | 01:33 | Paths palette. By default, they are
extremely dinky, way too small in my
| | 01:38 | opinion. So, here is how you make them bigger.
| | 01:40 | You go to this empty area down here
that's below the one layer inside of this
| | 01:45 | image, just a new image that I've
opened for the sake of variety, by the way,
| | 01:49 | and I'll right-click in this empty
area, or if you don't have a right mouse
| | 01:53 | button on the Mac, you would press the
Ctrl key and click and then choose Large
| | 01:57 | Thumbnails, in order to display
the large thumbnail right there.
| | 02:01 | Then I'll go over to Channels and I
will right-click down in this area and
| | 02:05 | choose Large in this case, and now we
see large versions of the Channels and
| | 02:09 | you've learned all about what Layers
and Channels and Paths are in later
| | 02:13 | chapters, but for now, let's
just get things setup right.
| | 02:16 | Click on Paths, there's the Paths tab.
There are no paths inside of this image,
| | 02:19 | fine, just right-click in this empty
area and choose Large. One day when there
| | 02:23 | are paths, they will appear large,
which is good. Then click on Layers to make
| | 02:27 | layers active, then click on
Adjustments to make it active, just so then I have
| | 02:31 | all the right palettes up on screen,
everything is now configured the way I
| | 02:34 | want it to be.
| | 02:35 | Now, I'll go up to the Applications bar
at the top of the screen here, where I
| | 02:39 | see the word Essentials. That's what
you want. Go ahead and click on the word,
| | 02:42 | Essentials, there and then choose
Save Workspace. If you started with some
| | 02:46 | other workspace, you just click on its name.
| | 02:48 | In any event, choose Save Workspace
brings up the Save Workspace dialog box
| | 02:53 | right there, and I am going to go
ahead and name this workspace One-on-One
| | 02:57 | because after all, this is the one-on-
one workspace by golly. You can go ahead
| | 03:01 | and associate keyboard shortcuts in
menu items, but I don't recommend you do
| | 03:05 | that. Over the years, I've learned
that that's just not the way to go.
| | 03:08 | Panel Locations, which are the palette
locations that you do want to save, so
| | 03:12 | make sure that check box is on and
then click on the Save button and now, we
| | 03:16 | have One-on-One, look at that. Now
check it out, I can switch back and forth. I
| | 03:19 | can click up here and choose
Essentials and I'll now see the original
| | 03:24 | Essentials Workspace. I can click up
here and then choose something like What's
| | 03:27 | New in Photoshop CS4 and not only will
I change the palettes, but also see that
| | 03:33 | I am going to change my keyboard sets
and I might change my menus as well.
| | 03:38 | I don't want to do that. I'll wipe out
dekeKeys if I do, so I am going to say
| | 03:42 | No. You could say Yes if you want
to but then you're going to have to
| | 03:45 | reestablish dekeKeys. Well, you know
what, I'll show you Yes, I'll show what
| | 03:49 | happens if you click Yes. All right,
we'll say Yes, this is what's new in
| | 03:52 | Photoshop CS4 and I'll go over to
the Edit menu so you can see that it's
| | 03:56 | highlighting commands that are new,
such as Content-Aware Scale; totally new
| | 03:59 | command. Auto-Align Layers has been
updated; Auto-Blend Layers has been
| | 04:02 | updated. We have got some new
preferences, for example, Interface. I was
| | 04:06 | telling you that's new. We've got
some new preferences inside of General as well.
| | 04:09 | All right, but that's not what I want;
I want to switch back to my goodness
| | 04:12 | there, One-on-One. So, I'll click on it,
choose it. That takes me back to where
| | 04:17 | I want to be, but I think we might
still and we still have some menu problems
| | 04:22 | here. So, let me show you how to
work those out and to resolve those.
| | 04:24 | Let's go ahead and choose Keyboard
Shortcuts under the Edit menu and then make
| | 04:29 | sure that Set is set to dekeKeys CS4. So,
if you have any concerns about that,
| | 04:34 | which I do, so I am going to switch
back to Photoshop Defaults, then I'll click
| | 04:37 | OK. Now, I'll go back go up to the
Edit menu, choose Keyboard Shortcuts again
| | 04:42 | and I'll choose this time dekeKeys CS4,
just to make sure it's active. Good, it is.
| | 04:47 | Now, let's go over to Menus and
instead of having the menus set to What's New
| | 04:51 | in CS4, let's just set it back to
Photoshop Defaults, so that we are
| | 04:55 | reestablishing all of our menus being
visible without any special coloring or
| | 04:59 | any of that stuff that get in way and
then click OK. All right, so we've come
| | 05:03 | full spectrum, you can do whatever
you want. But this is the workspace I
| | 05:07 | recommend, the workspace that's going to
match my workspace as we work through the series.
| | 05:10 | All right, friends, that is how I
recommend you set up shop. We've now
| | 05:14 | customized the program to work at its
very best. In the next chapter, I will
| | 05:18 | show you how to navigate inside of your images,
how to get around inside of Photoshop CS4.
| | Collapse this transcript |
|
|
4. NavigationGetting around with OpenGL| 00:01 | In this chapter, I am going to show you
how to get around the image window: how
| | 00:05 | to zoom in, pan around, even rotate the
view, so that you can paint inside the
| | 00:10 | image at different angles.
| | 00:12 | If this sounds a little dull, rest
assured it's not. In fact, these are some of
| | 00:16 | the most exciting new features in
Photoshop CS4. Assuming that you have an
| | 00:21 | OpenGL-savvy graphics card, as you
most likely do, Photoshop permits you to
| | 00:26 | take advantage of smooth continuous
zooms, birds eye panning, image tossing
| | 00:32 | for fast pans and screen
accurate renderings at any zoom level.
| | 00:37 | Photoshop CS4 also supports a new
tabbed window interface, which makes
| | 00:41 | switching between open images easier
than ever before. Here is how to navigate
| | 00:46 | inside Photoshop CS4.
| | Collapse this transcript |
| The tabbed-window interface| 00:00 | In this exercise, I am going to
introduce you to the tabbed window interface,
| | 00:03 | which is new to Photoshop CS4 and just
by way of background, this is part of an
| | 00:08 | ongoing interface initiative called
OWL. O-W-L, which stands for Operating
| | 00:13 | System Widget Library for
what little of that's worth.
| | 00:16 | The idea though is Adobe is trying to
establish a consistent interface across
| | 00:20 | all the Creative Suite applications. So,
if you feel at home in Photoshop, you
| | 00:23 | will feel that much more at home inside
of Flash or InDesign, etcetera. And the
| | 00:28 | interface is pretty well established
across the various applications. There are
| | 00:31 | some differences here and there. But
almost to a program, they share these
| | 00:35 | tabbed windows.
| | 00:36 | Now, the idea is I have got several
images open on screen right now, and each
| | 00:41 | one of them gets its own tab here at
the top of the screen, just below the
| | 00:45 | Options bar. So, if I wanted to switch
to a different open image, I could just
| | 00:48 | click on its tab like so, and every
single one of these images incidentally is
| | 00:53 | available to you inside
the 04_navigation folder.
| | 00:57 | More importantly, they come to us
courtesy of photographer Alexander Alexis who
| | 01:01 | does just exceptional work for
iStockPhoto.com. So, as I say, click on a tab to
| | 01:07 | switch to that window, or you can
switch to window from the keyboard and this
| | 01:11 | is different on the Mac and the PC. So,
here on the PC, I press Ctrl+Tab to
| | 01:15 | move from one open image to another. If
I were to press Ctrl+Shift+Tab, I would
| | 01:20 | move backward through the list.
| | 01:22 | On the Mac, I press Command+Tilde, the
Tilde key is that key in the top-left
| | 01:28 | corner of an American keyboard, just to
the left of the 1 key and above the Tab
| | 01:32 | key. So Command+Tilde moves you
forward through the open images.
| | 01:36 | Command+Shift+Tilde moves you
backward through the open images.
| | 01:40 | If you have too many images open to see
all of their tabs as I do, then you can
| | 01:44 | click on this double right pointing
arrow icon and you can choose the image
| | 01:47 | that you want to look at from the list.
Now, currently all of my images, if you
| | 01:52 | take a look at them, all but the last
one are in alphabetical order, but that's
| | 01:56 | because I open them in alphabetical
order. I could change the order of my
| | 02:00 | images if I want to, I can re-
prioritize my images by grabbing a tab and
| | 02:05 | dragging it to a different location.
| | 02:07 | Now, you can't auto scroll, once you
get to the end of the visible tabs, if you
| | 02:10 | want to go farther, you have to choose
a different image from the list like so,
| | 02:13 | I'll choose Beige beauty and then I
would grab Woman with orchids and move it
| | 02:18 | to the very beginning, so that she is
the first open image. And then if I go
| | 02:22 | over to my Image menu right here,
you'll see that Woman with orchids has been
| | 02:26 | moved to the top of the list.
| | 02:27 | All right, now one final note. When I
am working under Windows, as I am here,
| | 02:33 | Photoshop goes ahead and takes over
the entire screen. Now, I can change that
| | 02:37 | if I want to, by going up to this icon
in the top-right corner of the window
| | 02:40 | and clicking on it and that way I can
actually drag the application window
| | 02:45 | around to a different location, I can
resize it and so on, but I prefer to work
| | 02:50 | in that mode where I see Photoshop and
only Photoshop. So, I'll go ahead and
| | 02:54 | click on this icon again in
order to maximize the application.
| | 02:58 | Now, you probably know, you can
switch applications on the PC by pressing
| | 03:01 | Alt+Tab. So it works really
beautifully, it's great to have every single
| | 03:05 | application taking over the entire
window, in my opinion for the most part.
| | 03:09 | Now, on the Mac though, we are
used to being able to see through one
| | 03:12 | application to another application in
the background, so you can just click on
| | 03:15 | a Window to switch to it.
| | 03:17 | So on a Mac; you can switch in and
out of being able to see multiple
| | 03:20 | applications at the same time, using
this thing called the Application Frame.
| | 03:23 | So, I am going to go and click on this
double arrow icon right there and choose
| | 03:26 | Application Frame. This is a screen
shot of Photoshop on the Mac because this
| | 03:31 | command doesn't exist on the PC.
| | 03:32 | What you do is you go to Window menu
and you choose this command right there,
| | 03:35 | Application Frame. When the Application
Frame is on, you see Photoshop and only
| | 03:40 | Photoshop in much of the same way as
you see it here on the PC. In fact, it's
| | 03:45 | virtually indistinguishable
from the PC version that way.
| | 03:48 | If however you want to be able to see
through Photoshop to other applications
| | 03:51 | and mix and match windows, then you
want to turn the Application Frame off and
| | 03:55 | you'll see each image open in its own
independent window. So, I just want you
| | 03:59 | to know that that Application Frame
command is available to you under the
| | 04:03 | Window menu on the Mac.
| | 04:05 | All right, so there you have it, the
new tabbed window display here inside of
| | 04:10 | Photoshop CS4. In the next exercise,
I am going to introduce you to the
| | 04:14 | application bar and this icon right
there, Arrange Documents. Stay tuned!
| | Collapse this transcript |
| Arranging image windows| 00:00 | In this exercise, I am going to show
you how to arrange windows inside of
| | 00:03 | Photoshop CS4, using this new option
called the Arrange Documents icon. I have
| | 00:08 | got those same six images open
from photographer Alexander Alexis of
| | 00:13 | iStockPhoto.com and of course, every
single one of these images is available to
| | 00:17 | you in the 04_navigation folder. And I
am just cycling between them by pressing
| | 00:21 | Ctrl+Tab on the PC or Command+Tilde on the Mac.
| | 00:24 | Now, let's say, I want to be able to
view four of these images at the same
| | 00:28 | time, so in four independent image
windows. Then I'll go up here to this icon,
| | 00:33 | Arrange Documents, in the applications
bar, so it would be located below the
| | 00:37 | menu bar on the Mac in this General
region over here and I am going to click on
| | 00:41 | that icon and I am going to choose
this option right there, 4 Up, and you can
| | 00:45 | see, there is a ton of different ways
to configure your windows here. You can
| | 00:50 | experiment with all those options if you like.
| | 00:52 | I am going to choose 4 Up, so I can see
four different images at the same time
| | 00:56 | and I want to be able to see
meaningful portions of my images. So, I am going
| | 01:00 | to go ahead and select this tool near
the bottom of the Tool Box, the Hand tool
| | 01:04 | and I am going to drag inside each
one of these windows here in order to
| | 01:09 | determine the portion of the image that
I am seeing inside of the Image window.
| | 01:13 | So, you can see, I have four
independent Image windows. Only one of the images
| | 01:17 | is active at any given time and you
can tell which image is active by the
| | 01:21 | highlighted tab. Notice that this tab
for Radial motion.jpg is bright, while
| | 01:27 | the tabs for the other windows are dark.
| | 01:29 | All right, now let's say, I am not
seeing the four images that I want to see. I
| | 01:33 | don't really want to see the White
towell women and I don't want to see the
| | 01:36 | Women with orchids, as beautiful as
they are. I want to see some other images,
| | 01:39 | for example, I want to be able to see
Copper profile; this one right here. So,
| | 01:43 | I am going drag this tab and drop it
into this quadrant like so and then she is
| | 01:50 | available as well as the White towell
image. It just happens to be hidden right now.
| | 01:54 | So, I can see Copper profile in this
upper right area, and then I want to take
| | 01:58 | this Night creature image right there,
and I want to bring her down into the
| | 02:02 | lower left quadrant like so. Now, I miss,
now that's an interesting thing that
| | 02:06 | happens there. Let's go ahead and do
that again. I want you to see when you
| | 02:09 | miss and when you actually target it.
It's when the Image window turns blue
| | 02:14 | that you've successfully targeted it
and you are going go ahead and put the new
| | 02:19 | image into the proper location. So, I
wanted to make sure that I've targeted
| | 02:23 | this window right here, which I
successfully did this time around.
| | 02:26 | However, if you end up missing, you
get this number where you end up with a
| | 02:30 | floating window like so and I'll go
ahead and scale it larger, so that you can
| | 02:34 | see that the window floats in front
of everything; you can even float out
| | 02:37 | screen like so, but it floats in front
of the palettes. It even floats here on
| | 02:42 | the PC, it floats above the menu bar
and what's totally amazing about this in
| | 02:45 | my opinion, I am going to go ahead
and move this over to the right a little
| | 02:48 | bit, is I could then take a group of
palettes right here, like I'll go ahead
| | 02:52 | and drag by this little top scrubby
thing and drop the palette, so that they
| | 02:57 | are floating and independent and I'll
go ahead and expand them by clicking on
| | 03:00 | that dark bar at the top of the palettes.
| | 03:03 | Notice that now I have an image window
that's floating in front of some docked
| | 03:07 | palettes and floating in front of the
Image window is a free floating palette.
| | 03:11 | So, you have this amazing degree of
control over exactly what you are seeing
| | 03:17 | inside of the Photoshop CS4 interface;
this is all new stuff. This is not how
| | 03:22 | it worked in the past. All right, I am
going to go ahead and put these palettes
| | 03:25 | back where they were and I am also
going to put this image back down here into
| | 03:31 | the lower left quadrant.
| | 03:32 | Now, I like to go ahead and keep the
images organized this way because they've
| | 03:35 | automatically scaled to fit the
interface. If I were to press the Tab key in
| | 03:40 | order to hide all the palettes on
screen, then my windows will automatically
| | 03:45 | scale in order to fill that newly
opened space. Notice that each one of these
| | 03:49 | windows is exactly the same size. So
every one of them scaled, and then if I
| | 03:53 | press Tab again to bring back the
palettes, that's the Tab key in the keyboard,
| | 03:57 | then all my windows are going to go
smaller. Again to compensate for what's on
| | 04:01 | screen, I could also press Shift+Tab in
order to open up these windows and then
| | 04:06 | press Shift+Tab again in order
to reduce the size of the windows.
| | 04:10 | So, you really do have this amazing
degree of control and you can even build
| | 04:13 | your own sort of pattern of tiled
windows here. For example, I'll go ahead and
| | 04:18 | grab that vertical White towell image
and I am going to drag it and I will drop
| | 04:23 | it right between. Notice right now that
we have this blue vertical line that's
| | 04:28 | running right down the center of all
the windows and if I drop this window into
| | 04:31 | place, I will have a fifth image at
this new location right there. And again,
| | 04:37 | it goes in and scales automatically if
I were to tab away all my palettes like
| | 04:42 | so. Just amazing for those of you who
are trying to work with multiple images
| | 04:46 | at the same time.
| | 04:47 | All right and finally, if you want to
restore that single grouped image window,
| | 04:52 | then you go back up here to the
Arrange Documents icon, click on it and then
| | 04:57 | choose the very first option,
Consolidate All, and then you will once again see
| | 05:01 | that one overarching window with a
series of tabs across the top of it and your
| | 05:08 | images may no longer be centered
inside of that area. That's perfectly fine.
| | 05:12 | You can once again drag with this
Hand tool in order to move them to a
| | 05:15 | different location.
| | 05:16 | All right, I am going to go ahead and
press the Tab key in order to bring back
| | 05:20 | up my palettes. That is how you arrange
windows inside a Photoshop CS4. In the
| | 05:26 | next exercise, I am going to show you
everything you need to know about panning
| | 05:29 | with the Hand tool.
| | Collapse this transcript |
| Scrolling (aka panning) images| 00:00 | In this exercise, I am going to show
you how to move the image inside of the
| | 00:04 | image window, which is variously known
as scrolling or panning, either one is
| | 00:09 | just fine. And you can scroll the
image if you want to, using the scroll
| | 00:13 | handles that are available to you in
the scroll bars. So, there is a scroll bar
| | 00:17 | over here in the right side of the window
and one at the bottom of the window as well.
| | 00:21 | But while the scroll bars are
sometimes useful, you are generally better off
| | 00:25 | using this tool right here, the Hand
tool, and you can select a Hand tool
| | 00:28 | either by clicking on it or by
pressing the H key and then you can just drag
| | 00:32 | the image to move it
around inside the Image window.
| | 00:35 | In Photoshop CS4, you can also toss
the image. So, notice this; if I drag it
| | 00:39 | and then release, it will move under
its own momentum for a moment or two and
| | 00:45 | you can either give the image a little
toss like so or you can give it a big
| | 00:48 | toss in order to move at a great
distance. While this may seem like just sort
| | 00:53 | of a goofy technique, just that kind of
thing that's great for showing off the
| | 00:57 | program and little else, I actually
find it to be enormously helpful, because
| | 01:01 | it means that I can get from one
portion of an image to another portion of an
| | 01:04 | image very, very quickly.
| | 01:06 | Now, something you should know about
the tossing method is that it requires
| | 01:12 | OpenGL. So, you have to have a video
card that supports OpenGL, you also need
| | 01:16 | to have a system that supports OpenGL,
which means the latest Macintosh system
| | 01:21 | or Windows Vista or something along those lines.
| | 01:24 | If you are finding that you can't
toss the image, it just means that for
| | 01:27 | whatever reason, Photoshop is not
extending the OpenGL support and that may
| | 01:32 | mean that your combination of video
card and system and Photoshop just don't
| | 01:36 | support OpenGL or it may mean that you
are out of memory, you have got too many
| | 01:40 | images open, you never know.
| | 01:42 | All right, so another way to use the
Hand tool is to select it using the
| | 01:45 | Spacebar. So, if I have some tool
other than the Hand tool selected, such as
| | 01:49 | the default tool, the Rectangular
Marquee tool here and I press and hold the
| | 01:53 | Spacebar, I will get the Hand tool on
the fly and then I can drag the image
| | 01:57 | around. I can also go ahead and toss
it so I have got the Spacebar down the
| | 02:01 | entire time I am doing the stuff.
| | 02:03 | The second I release the Spacebar, I go
back to the previously active tool and
| | 02:07 | this works regardless of, which tool is
selected as long as you don't have text
| | 02:11 | active, because if there is text
active then pressing the Spacebar enters a
| | 02:15 | space character, of course.
| | 02:15 | All right, a couple of other things I
want to show you. I am going to go up to
| | 02:18 | this Arrange Documents icon here and I
am going to switch over to the 4 Up view
| | 02:23 | so that I can see four of my images at
the same time and in this first window,
| | 02:27 | I want to see Beige beauty. So,
these are once again these images from
| | 02:31 | photographer Alexander Alexis of
iStockPhoto.com. The other image that I want
| | 02:37 | to see, let's see, where is it? It's
right there, Night creature. I want to
| | 02:40 | have it available in one of these four windows.
| | 02:43 | All right, so I now have these four
images on display but I can't really see
| | 02:49 | the correct portions of each one of
these images. This little girl, notice, her
| | 02:53 | face is in view, so that's great and I
could sort of adjust it little bit if I
| | 02:57 | wanted to by Spacebar dragging.
| | 02:59 | Now, with this image active, you can
see that Radial motion.jpg is indeed the
| | 03:04 | highlighted tab. With this image active,
I can go up to Arrange Documents once
| | 03:08 | again and I can choose this command,
Match Location, and that will go ahead and
| | 03:14 | scroll the other images into that same
relative location. Now, that may work or
| | 03:19 | it may not work. For example, it works
great for Night creature but it doesn't
| | 03:23 | work so well for Copper profile and
then Beige beauty is at a different zoom
| | 03:27 | ratio. So, she is not
working up very well either.
| | 03:29 | So, I will click in Copper profile and
then go ahead and Spacebar drag her into
| | 03:34 | view and then I will click inside the
Beige beauty and Spacebar drag her into
| | 03:38 | view like so and I might as well click
inside Night creature and adjust it as
| | 03:41 | well. But I just want you to see, you
have these Match Location and Match Zoom
| | 03:46 | available to you as well and we will
discuss zooming in a later exercise.
| | 03:50 | I have gone and clicked inside of
Copper profile, so it's now active. I want to
| | 03:53 | show you one final panning technique.
This has been around for a while but
| | 03:58 | very, very few people know about it.
If you press both the Spacebar and the
| | 04:02 | Shift keys at the same time, so Shift+
Spacebar, and drag inside of an image,
| | 04:07 | all of the visible images will pan at
the same time, which is great if you want
| | 04:15 | to be able to keep those faces in view
but drag them to different locations.
| | 04:20 | It's especially great if you are
looking at multiple versions of the same photo
| | 04:25 | shoot. You will be amazed how useful
this technique is and of course, I can
| | 04:28 | press Shift+Tab to get rid of my right
side palettes right there and I could
| | 04:32 | Shift+Spacebar-drag some more in order
to view more of my images at the same time.
| | 04:37 | All right, so there you have it.
Several different ways to zoom and/or pan
| | 04:42 | images inside of Photoshop. In the
next exercise, we are going to take a look
| | 04:47 | at zooming. Stay tuned!
| | Collapse this transcript |
| Common ways to zoom| 00:00 | In this exercise, I am going to show
you some of the most common ways to zoom
| | 00:03 | an image inside Photoshop. I happened
to be looking at the image called White
| | 00:08 | towell.jpg found inside
the 04_navigation folder.
| | 00:12 | Whenever you first open an image,
Photoshop goes ahead and zooms it out far
| | 00:16 | enough so that you can see the entire
image at a glance. To get a sense of what
| | 00:21 | zoom level you are seeing, you can
either look to the value in a lower left
| | 00:24 | corner of the screen or you can check
out the value that's listed in the tab
| | 00:29 | here and both of them are listing 25%.
That means that I am seeing one out of
| | 00:35 | every four pixels horizontally and
one out of every four pixels vertically,
| | 00:41 | meaning that I am only
seeing one out of every 16 pixels.
| | 00:44 | But Photoshop isn't dropping pixels;
it's showing you an average of the real
| | 00:49 | pixels inside the image in order to
give you the best view of the image
| | 00:53 | possible and this averaging is known
as interpolation. Now, the beauty of
| | 00:58 | Photoshop CS4 is that every zoom is
interpolated assuming OpenGL support.
| | 01:04 | So, let me show you what I mean. If
you are feeling like you are too far out
| | 01:08 | from the image, which aren't real, I
mean we are away, too far way from this
| | 01:11 | image. So, I am going to go the View
menu and I would choose the Zoom In
| | 01:15 | command in order to zoom in and I
could choose the command again to zoom in
| | 01:19 | even farther or I could choose Zoom Out
in order to zoom out. Well, now that's
| | 01:25 | a pain in the neck to have to sit
there and choose that command over and over
| | 01:28 | again all the time.
| | 01:29 | So, you should definitely memorize a
few keyboard shortcuts. Ctrl+Plus or
| | 01:33 | Command+Plus on the Mac will zoom in;
Ctrl+Minus or Command+Minus on the Mac is
| | 01:39 | going to zoom out. And I am going to
go ahead and zoom in pretty far here so
| | 01:43 | that we are seeing the image at the 100%
zoom level, which means that we are
| | 01:46 | seeing one image pixel for every
screen pixel. So it's a 1:1 ratio and of
| | 01:52 | course, we are getting a
great view at that level.
| | 01:54 | However, I will go ahead and zoom out
one click here by pressing Ctrl+Minus or
| | 01:57 | Command+Minus on the Mac. In
Photoshop CS3, 66.7% right here used to be a
| | 02:04 | terrible view. What would happen is
Photoshop would just go ahead and drop
| | 02:08 | pixels. So, it show you two out of
three pixels horizontally and two out of
| | 02:12 | three pixels vertically but that's
only four out of nine pixels. So, it's
| | 02:16 | showing you four pixels and dropping
five for every nine-pixel block and it
| | 02:20 | would just drop them away and as a
result, you would have these really jagged
| | 02:23 | transitions inside of your screen
image but not inside of your real image.
| | 02:28 | Now, assuming OpenGL support, so
assuming Photoshop combined along with your
| | 02:32 | video card and system supports OpenGL,
you are going to see smooth displays at
| | 02:37 | all zoom ratios. It's really a
wonderful thing. A few other options that are
| | 02:42 | available to you.
| | 02:43 | You can fit the image on screen by
choosing this command right here. Now, we
| | 02:48 | will go ahead and most likely zoom
you out to a point where you can see the
| | 02:51 | entire image or you can view the image
at the 100% view size by choosing Actual
| | 02:57 | Pixels and you also have keyboard
shortcuts for both of those options. It's
| | 03:01 | Ctrl+0 or Command+0 on the Mac in
order to fit the image on screen and it's
| | 03:05 | Ctrl+1 or Command+1 on the Mac in
order to zoom to a 100% and that's new, by
| | 03:11 | the way. That later keyboard
shortcut is new to Photoshop CS4.
| | 03:15 | You also have the option of double
clicking on the Hand tool in order to get to
| | 03:19 | the fit in window display or double
clicking on the Zoom tool right here in
| | 03:24 | order to get to the 100% zoom ratio. So,
a variety of options available to you
| | 03:30 | for zooming. In the next exercise, I
will show you how to zoom into a specific
| | 03:34 | location using the Zoom tool.
| | Collapse this transcript |
| The smooth, continuous Zoom tool| 00:00 | In this exercise, I am going to show
you how to zoom with more precision using
| | 00:03 | the Zoom tool. I am looking at that
Woman with orchids.jpg file that's found
| | 00:09 | inside the 04_navigation folder and let's say I want
to zoom in on this left eye, her right eye, of course.
| | 00:15 | If I were to press Ctrl+Plus or Command+
Plus to zoom in, I would zoom in on the
| | 00:20 | center of the image, which happens to
be a little bit up and left from one of
| | 00:25 | her nostrils there. And then I would
have to Spacebar+drag in order to center
| | 00:30 | the eye inside the image window. Not
the worst thing on earth but still less
| | 00:34 | efficient than it might be and definitely
less efficient than working with the Zoom tool.
| | 00:38 | So, I will go ahead and press Ctrl+0
or Command+0 on the Mac to zoom back out
| | 00:42 | to that Fit in Window view and I will
select the Zoom tool at the bottom of the
| | 00:46 | toolbox, keyboard shortcut Z and then I
will click on her eye and notice, every
| | 00:52 | time I click on her eye, I am
centering that eye inside of the Image window.
| | 00:57 | And if I want to zoom out, I would
press the Alt key and click or I were
| | 01:03 | working on the Mac, I would press
the Option key and click like so.
| | 01:06 | Now, another way to use the Zoom tool
is to drag with it. So, let's say, I want
| | 01:10 | to zoom way in on that eye, I could
draw a marquee around it like so, just by
| | 01:15 | dragging and then everything that's
inside of that marquee will zoom in to fill
| | 01:20 | the window as soon as I release, like
so. I could even zoom farther in on her
| | 01:25 | pupil, for example.
| | 01:27 | If I zoom in beyond 500%, I will get
this pixel grid. Again, this is a function
| | 01:32 | of OpenGL support inside Photoshop and
the pixel grid shows you where one pixel
| | 01:37 | ends and its neighbor begins, just so
that you can keep your pixels straight
| | 01:40 | when you are doing detailed work on an image.
| | 01:43 | All right, I am going to press Ctrl+0
or Command+0 on the Mac to zoom out to
| | 01:47 | that Fit in Window view once again. You
can also get to the Zoom tool when some
| | 01:52 | other tool is selected. So, I will
return to my Rectangular Marquee tool, which
| | 01:56 | has a keyboard shortcut of M
incidentally, and then to get the Zoom tool on the
| | 02:02 | fly, you press Ctrl+Spacebar or
at least that's the way it's been.
| | 02:06 | I will show you a new way inside CS4
in just a moment, but Ctrl and Spacebar
| | 02:11 | and then click to zoom in.
On the Mac, of course, that's
| | 02:15 | Command+Spacebar-click. And then if
you want to zoom out, you press Alt and
| | 02:20 | Spacebar at the same time and click,
or on the Mac you'd press Option and
| | 02:24 | Spacebar and click.
| | 02:26 | Now, if you are new to Adobe
applications, that's kind of a weird keyboard
| | 02:30 | shortcut. The good news is that it's
consistent across InDesign, Illustrator
| | 02:35 | and the other applications. The bad
news is its just plain weird. There is a
| | 02:39 | new way of working inside Photoshop
CS4 that only works inside Photoshop and
| | 02:44 | that's to press and hold the Z key.
| | 02:47 | So, if you just press the Z key, you
are going to select the Zoom tool and then
| | 02:52 | you would have to, for example, press
the M key to return to the Rectangular
| | 02:56 | Marquee. But if you press and hold the
Z key, you get the Zoom tool temporarily
| | 03:01 | as we are seeing here in the Tool Box
and then notice this tool up here. All
| | 03:05 | right, as soon as I release the
Z key, it becomes active again.
| | 03:09 | So, pressing and holding the Z key
just gets you to the Zoom tool temporarily
| | 03:13 | and if I press and hold Z and click, I
will zoom in and if I press Z along with
| | 03:19 | Alt, I could click to zoom out. And
that would be Z+Option-click on the Mac in
| | 03:25 | order to zoom out.
| | 03:27 | All right, here is a really cool thing.
Once again, it requires OpenGL, so
| | 03:32 | somehow Photoshop and your system need
to get together on OpenGL support and if
| | 03:36 | they do, then you can take advantage
of continuous zooms. Check this out; I
| | 03:41 | will go ahead and click and hold while
pressing the Z key and that's zooms in
| | 03:46 | on the image continuously and now I am
seeing the pixel grid as soon as I cross
| | 03:50 | 500%. Of course, you can press Z and
Alt at the same time, Z and Option on the
| | 03:58 | Mac and click and hold to zoom out continuously.
| | 04:02 | Here is my favorite thing about this
technique. If I have the Z key down and I
| | 04:06 | click and hold, you will start zooming
in but then if I add Option or Alt to
| | 04:10 | the mix, it will zoom back out and then
if I release Option or Alt, I will zoom
| | 04:14 | back in. So, you can do all the stuff
on the fly and then go ahead and release
| | 04:18 | your mouse button when you get to the
level of zoomery that you like and then
| | 04:22 | release the Z key in order to
return to your previously active tool.
| | 04:27 | Every single zoom level, by the way,
thanks to OpenGL support, is going to be
| | 04:31 | absolutely fabulously smooth. One
other thing, I am going to press Ctrl+0 or
| | 04:37 | Command+0 on the Mac to again go out
to Fit in Window view, then I will go to
| | 04:40 | the Edit menu, this would be the
Photoshop menu on the Mac. Go down to
| | 04:44 | Preferences and then choose General or
you could just press Ctrl+K, Command+K
| | 04:49 | on the Mac and notice this option
right there, which says, Zoom Clicked Point
| | 04:54 | to Center.
| | 04:56 | Now, if you turn it on, then you are
going to force Photoshop no matter what,
| | 05:00 | when you click with the Zoom tool on a
point to center the image at that view
| | 05:05 | and let me show you what that means. I
will leave it off for a moment, so you
| | 05:08 | can see if I were to press the Z key
and click on her shoulder, it's not going
| | 05:12 | to center her shoulder because it's too far
down there to the lower region of the image.
| | 05:17 | So, it's going to take me as far down
as it can without exposing any of the
| | 05:22 | pasteboard back here. So, it's doing
what it considers to be a reasonable job
| | 05:27 | of centering. Let's go ahead and press
Ctrl+0 again. Whereas if I press Ctrl+K
| | 05:34 | or Command+K on the Mac and say, you
know what, I really want this. I want to
| | 05:38 | go ahead and center it no matter what
and click OK. Then if I Z-click down in
| | 05:44 | the lower right region of the image,
I am going to go ahead and center that
| | 05:47 | location. So, I force a centering.
| | 05:49 | So, it's completely up to you how you
decide to work. I have found over time, I
| | 05:54 | prefer to have this option turned off,
which is its default setting. So, I am
| | 05:58 | going to press Ctrl+K, Command+K on
the Mac and turn off this option. Look!
| | 06:02 | There is your Flick Panning. That's
what Photoshop calls that function where
| | 06:05 | you can toss the image with the Hand tool.
| | 06:08 | All right, I will go ahead and click OK
in order to accept that default setting
| | 06:14 | and that is everything there is to know
about using the Zoom tool in Photoshop CS4.
| | Collapse this transcript |
| Zooming inside free-floating windows| 00:00 | So far I have showed you a variety of
ways in which Adobe has improved the
| | 00:04 | navigation experience here inside
Photoshop CS4. Now I am going to show you a
| | 00:08 | way in which they have gummed things
up. They have changed the behavior of
| | 00:12 | zooming inside a free-floating window
in a way that I do not condone at all. So
| | 00:17 | I will show you what the new behavior
is and then I will show you a workaround.
| | 00:20 | Now I want to make sure that we are all
in the same page here. So I am going to
| | 00:23 | press Ctrl+K or Command+K on the Mac
in order to bring up the Preferences
| | 00:27 | dialog box. Recall that in the
previous chapter, I recommended you turn off
| | 00:31 | Zoom Resizes Windows. So turn that
check box off on both the Mac and the PC.
| | 00:36 | That way things are ironically going to
work better for you. You see will what I mean.
| | 00:39 | And the thing is this option, this
check box right here, not only affects the
| | 00:44 | zoom commands, the way it has in the
past but it also affects the behavior of
| | 00:49 | the Zoom tool. That's why it's
important to have it turned off. But I am going
| | 00:52 | to turn it on for just a moment, so
I can show you how wacky things will become.
| | 00:57 | So I will go and turn that check box on,
click OK and now I am going to grab
| | 01:01 | this tab right here and I am going to
drag it. Notice that I only have Women
| | 01:06 | with orchids open. That's the only
image I have opened for this exercise just
| | 01:10 | for the sake of simplicity. And I
going to drop the tab in order to create a
| | 01:14 | free floating window right there and
now note, if I were to press Ctrl+Minus or
| | 01:18 | Command - on the Mac, I am not only
zooming out from the image but I am also
| | 01:22 | reducing the size of the window and
then if I were to press Ctrl+Plus or
| | 01:26 | Command + on the Mac, I would both
zoom in and increase the size of window to
| | 01:31 | accommodate.
| | 01:32 | Now this also affects the behavior of
the Zoom tool. So I will grab the Zoom
| | 01:36 | tool by clicking on it, just so that
we can see its option up here in the
| | 01:39 | Option Bar. And you will see that
Resize Windows To Fit is turned on just as it
| | 01:44 | is inside of the Preferences dialog box.
All right, so now if I zoom in on her,
| | 01:49 | she expands, she and the window
get bigger and then if I Alt-click or
| | 01:54 | Option-click on the Mac in order to
zoom out, the window zooms out too.
| | 01:58 | Now the commands, that is, the Ctrl+
Plus and the Ctrl+Minus in the Zoom tool,
| | 02:02 | didn't used to be in lock step with
each other. So you could zoom the window by
| | 02:06 | pressing Ctrl+Plus but then if you
wanted to keep the window the same size and
| | 02:10 | then zoom in with the Zoom tool, you
could just click with the Zoom tool. So
| | 02:13 | that you have that option, nowadays you don't.
| | 02:15 | So notice if I go up here to the
Options Bar and turn off Resize Windows To Fit
| | 02:20 | and then I press Ctrl+K or Command+K
on the Mac in order to bring up the
| | 02:24 | Preferences dialog box once again, this
check box got turned off as well. So as
| | 02:28 | I say, now they are in lock step with
each other. I can't believe they made
| | 02:32 | this decision, I just think it's
absolutely backwards but I am going to go
| | 02:35 | ahead and cancel out. So they
basically took a great function and they fixed it.
| | 02:40 | So now we now have the proper behavior
and so far as I am concerned with the
| | 02:44 | Zoom tool, so I can click to zoom in
without affecting the window size or I can
| | 02:48 | Alt-click or Option-click in order to
zoom out again without affecting the
| | 02:53 | window size. But if I press Ctrl+Minus
or Command+Minus on the Mac or Ctrl+Plus
| | 02:58 | or Command+Plus on the Mac, I am
not affecting the window size either.
| | 03:02 | So how do you get the old behavior
back, in other words you want to zoom
| | 03:06 | without affecting the window with the
Zoom tool but you want to be able to zoom
| | 03:11 | both the window and the image when you
are using your keyboard shortcuts. Well
| | 03:16 | let me show you. We now turned off the
check box, so the Zoom tool is taking
| | 03:19 | care of this. We can zoom with the
Zoom tool without resizing the window.
| | 03:22 | All right, I will go back to a
different tool now and I am going to show you
| | 03:25 | the keyboard shortcut that you
want to be aware of. Ctrl+Alt+Minus or
| | 03:29 | Command+Option+Minus on the Mac will
zoom both the image and the window. And
| | 03:35 | then Ctrl+Alt+Plus or Command+Option+
Plus on the Mac is going to zoom in and
| | 03:41 | expand the window as well. So those are
your new keyboard tricks that you want
| | 03:45 | to bear in mind anytime. Now that we
have turned off that check box, we need to
| | 03:49 | use the Option or Alt key in
order to resize that window.
| | 03:52 | So once again, just to make sure we all
understand, Ctrl+Alt+Minus to zoom out
| | 03:57 | with the window, Ctrl+Alt+Plus to zoom
in with the window. And on the Mac that's
| | 04:02 | Command+Option+Minus and Command+Option
+Plus. And there you have it. For those
| | 04:07 | of you who are working inside of the
independent windows, that's how you
| | 04:09 | control the size of the window as
you zoom inside of Photoshop CS4.
| | Collapse this transcript |
| Viewing the image at print size| 00:00 | Photoshop offers one more command
under the View menu that allows you to zoom
| | 00:04 | the image. And it is this command
right there, the Print Size command, which
| | 00:08 | ostensibly shows you the image as the
exact size it will print. All right, so
| | 00:14 | before I choose the command, I want to
figure out how big it is in the first
| | 00:17 | place, just to give you a
sense of what's going on here.
| | 00:19 | So, I am going to go up to the Image
menu and choose the Image Size command,
| | 00:24 | which is one of the core features
inside of the software. It shows you the
| | 00:28 | resolution of the image, it shows you
the physical dimensions of, which it will
| | 00:32 | output. It allows you to scale the
image if you want to. And we are going to be
| | 00:36 | discussing this command at length in
the future chapter, but for now, I am just
| | 00:40 | going to go ahead and choose it.
| | 00:42 | I see that the resolution of the image
is 300 pixels/inch, which is all very
| | 00:46 | well and good. You'll learn more about
what that means later. But here is the
| | 00:49 | important stuff where this
demonstration is concerned. The image measures 12
| | 00:53 | inches wide by 8 inches tall. All right,
so good to know, I'll cancel out this
| | 00:58 | dialog box.
| | 00:59 | Now, let's go up to the View menu
and choose the Print Size command. Now,
| | 01:05 | Photoshop, are you really telling me
that, that is 12 inches wide? I mean I
| | 01:10 | could get out of ruler and I could
prove you wrong. That is not a 12 inches
| | 01:14 | wide image that I am seeing on screen
there and if you were to actually print
| | 01:18 | the image and then hold it up to your
screen image, you would see that the two
| | 01:22 | don't match at all. In fact, the
screen image will look much smaller than the
| | 01:26 | output image. The reason is that
Photoshop is assuming quite foolishly that the
| | 01:32 | resolution of your screen is 72
pixels/inch, which hasn't been the case
| | 01:37 | forever, since the
Macintosh Classic back in the 80s.
| | 01:42 | Modern day screens can display
somewhere in the neighborhood of 100-120
| | 01:45 | pixels/inch, which means that the image
is going to look a lot bigger than this
| | 01:51 | when it actually prints. So, if you
are interested in using the Print Size
| | 01:55 | command and using it accurately, then
you have to do a little legwork; you have
| | 01:59 | to figure out exactly what your
screen resolution is and then plug that
| | 02:03 | information into Photoshop.
Here is how you do it.
| | 02:06 | I've got this image open called
Screen resolution.tif and I am going to go
| | 02:10 | ahead and switch to the full-screen
display here. I'll tell you how I did that
| | 02:13 | later before we finish off this chapter.
But for now, this is a diagram of how
| | 02:18 | you go about figuring out the
resolution of your screen. So, this information
| | 02:21 | up here just repeats stuff I've
already told you. What we are looking at here
| | 02:25 | is a diagram of a MacBook Pro, a 17-
inch MacBook Pro. So, it measures 17 inches
| | 02:31 | diagonally, which means that it
measures, and I had to figure this out by
| | 02:35 | getting out of ruler and measuring it.
And I am measuring the imageable area,
| | 02:38 | by the way, the area that actually
shows the image. Part of that screen is
| | 02:43 | black as you can see, so you don't
measure that; you measure the part that is
| | 02:47 | capable of displaying the image. And
that happens to be 14.4 inches wide for
| | 02:51 | this particular screen, and 9 inches tall.
| | 02:53 | All right, so, then you check what the
resolution of your screen is. In other
| | 02:59 | words, this is a different use of the
word Resolution, but in another words,
| | 03:03 | how many pixels it's displaying. And
you can figure that out viewing your
| | 03:07 | Display Control panel on the PC, or
your Display System perhaps on the Mac. And
| | 03:12 | the default setting for a
MacBook Pro is 1680X1050 pixels.
| | 03:17 | So, we know that the width of the
screen in inches is 14.4 and the pixels is
| | 03:21 | 1680. So, we take 1680 and divide it by
14.4, and that's 117 pixels fitting in
| | 03:29 | an inch. And then if you want to just
confirm things, you would run that same
| | 03:33 | calculation with the height. So, if I
divide 1050 by 9 inches, I'll get again
| | 03:39 | something in the neighborhood of 117
pixels/inch. I believe it's actually 116
| | 03:44 | and two-thirds or something along those
lines. So, that's our resolution, a 117
| | 03:48 | pixels/inch, imagining that I am
working on a MacBook Pro, which of course I am
| | 03:52 | not, because I am showing
you Window Vista, but still.
| | 03:54 | All right, so let's go back to our
Woman with Orchids image right there. Let's
| | 03:59 | plug in that value. I'll go to the
Edit menu; on the Mac, you would go to the
| | 04:03 | Photoshop menu. Choose the Preferences
command and then choose Units & Rulers.
| | 04:08 | And then notice this option right there,
Screen Resolution, 72 pixels/inch sure
| | 04:14 | enough. Change it to 117 or whatever
you find to be the resolution of your
| | 04:19 | screen and if you don't get it exactly
right, don't sweat it. As long as you
| | 04:22 | are in the right vicinity, as long as
you are within a couple of 3 pixels/inch
| | 04:28 | of the exact accurate number, then
you'll be just fine, and click OK.
| | 04:34 | Now, notice if I go to the View menu
and choose Print Size, I get a very
| | 04:39 | different impression of my image and
this is now accurate for that specific
| | 04:45 | screen. So, that's how you use the
Print Size command to gauge the actual
| | 04:50 | printed appearance of
your image inside Photoshop.
| | Collapse this transcript |
| Contextualized (bird's-eye) scrolling| 00:00 | In this exercise, I am going to
show you two different methods of
| | 00:04 | contextualized scrolling. That is, how
do you scroll around inside of an image
| | 00:08 | while having a sense of where in the
world you are. Allow me to demonstrate.
| | 00:13 | I am working inside of this Woman
with orchids.jpg image, found inside the
| | 00:16 | 04_navigation folder. Let's say, I
go ahead and do that Z-click and Hold
| | 00:22 | technique, where I am zooming
continuously on this women's eye. I zoom in to
| | 00:28 | 400% as it turns out, just a little
bit over, 400.22% in my case. Now, I want
| | 00:34 | to take a look at one of the flowers.
| | 00:37 | Now, I was just like seconds ago was
looking at the entire image. I couldn't
| | 00:41 | even tell you how many flowers there
are, let alone where they are inside the
| | 00:44 | image. I think there is one that's
down into the right of where of I am.
| | 00:47 | So what I'll do is Spacebar toss, and
yup! They are over here in some place, I
| | 00:51 | keep tossing it around and I finally
find the center of the flower right there
| | 00:55 | at the pistil or the stem and whatever
in the world it is. But, now let's say,
| | 01:00 | I want to move to a different flower
or I just want to figure out what I am
| | 01:03 | looking at, so I need
some contacts at this point.
| | 01:06 | Well, what we tend to do is zoom out
and then kind of scroll around a little
| | 01:11 | bit and then zoom back in to a
different location. But there are more efficient
| | 01:14 | ways to work, one of, which is Old
School, and the other of, which is new to
| | 01:19 | Photoshop CS4, and I think knock you
socks off if you haven't seen it before.
| | 01:23 | So we'll start with the Old School
technique, because I'm all about the drama.
| | 01:27 | There is this Navigator palette right
there, which you can get by clicking on
| | 01:31 | this ship's wheel right here, or you
can go up to the Window menu and you can
| | 01:36 | choose Navigator.
| | 01:38 | Notice that we are seeing this tiny
red rectangle. If I press Ctrl+Minus or
| | 01:44 | Command+Minus on the Mac a couple of
times to zoom further out, you'll see that
| | 01:48 | rectangle little larger. That little
red rectangle demonstrates the boundaries
| | 01:52 | of my image window. To get in even
better sense of what's going on inside that
| | 01:57 | tiny little preview there, I can make
it bigger. I can actually, drag this
| | 02:00 | lower left corner in order to get
a big navigator view of my image.
| | 02:06 | Now, I know exactly where I am. I can
just go ahead and drag the view to a
| | 02:11 | different location, to this flower
right here for example, and there it is on
| | 02:14 | screen. Then I would bring the
Navigator palette back up on screen and I would
| | 02:18 | drag this item to this location right
there. Then I would hide the Navigator
| | 02:22 | palette once again so I can see what I
am doing, and there is that flower. So
| | 02:26 | that's one way to work. That's
especially useful if you have a second monitor
| | 02:30 | and you can put the Navigator
palette over on that other monitor.
| | 02:34 | You also have this technique available
to you right here; with the Navigator
| | 02:39 | palette open, you can press and hold
the Ctrl key or the Command key on the
| | 02:42 | Mac, and then marquee the portion of
the image that you want to zoom in on. So
| | 02:48 | notice when I press Ctrl or Command, I
get this little Zoom tool. Then drag to
| | 02:51 | define a marquee and then you will
zoom and scroll to that location.
| | 02:56 | Navigator palette, all very wonderful,
been there forever. I am going to go
| | 02:59 | ahead and zoom further in because I
want to show you the new function. This at
| | 03:04 | one point was known as the Bird's Eye
View, and I don't know why they decided
| | 03:07 | to change it to what they are
calling it now. But I think Bird's Eye is a
| | 03:10 | fantastic name for it, because that's
what it does. It gives you a bird's eye
| | 03:13 | view of the image.
| | 03:14 | You press and hold the H key, funky
technique by the way, but it works. Press
| | 03:19 | and hold the H key, which temporally
gets you the Hand tool. But when you click
| | 03:23 | with this particular variation of the
Hand tool, you are going to zoom out from
| | 03:27 | the image like so, and you get this
like Navigator palette on the fly and then
| | 03:32 | you drag your view of the image to a
different location and release, and there you go.
| | 03:37 | If that's not where you want to be,
you press and hold the H key again, click
| | 03:40 | and then go to a different location
inside the image and release. Then, of
| | 03:45 | course, release the H key in order to
return to your previously active tool.
| | 03:50 | So there is your wacky but highly
useful Bird's Eye function new to Photoshop CS4.
| | Collapse this transcript |
| Nudging the screen image| 00:00 | All right, now for a handful of
obscure zooming and scrolling techniques that
| | 00:04 | are nonetheless useful, we will start
with how you can nudge the screen image
| | 00:08 | using the Page Up and Page Down keys.
So this is a scrolling technique. I am
| | 00:13 | taking up where I left off at the end
of the previous exercise that is zoomed
| | 00:17 | in on one of the flowers from the
Women with orchid.jpeg file from the
| | 00:21 | 04_navigation folder and I am
zoomed in to the 300% zoom level.
| | 00:26 | If I press the Page Up key, I will
jump exactly one screen image up inside of
| | 00:32 | the image. If I press Page down, I will
scroll exactly one screen downward. If
| | 00:38 | I want to go left or right, then I
press Ctrl+Page Up to go left one screen or
| | 00:44 | I press Ctrl+Page Down to go right one
screen. On the Mac this is Command+Page
| | 00:49 | Up to go left and Command+Page Down to go right.
| | 00:53 | What if you want to move in smaller
increments? Then you add the Shift Key to
| | 00:56 | the mix. So this is Shift+Page Up and
I am pressing it several times in a row
| | 01:00 | here and this is Shift+Page Down and
you can incidentally press and hold these
| | 01:05 | keys. So this is what happens if you
press and hold Shift+Page Up, this is what
| | 01:10 | happens if you press and hold Shift+Page Down.
| | 01:13 | You can also press Ctrl+Shift+Page Up
to nudge to the left or Ctrl+Shift+Page
| | 01:19 | Down to nudge to the right. This
would be Command+Shift+Page Up and
| | 01:24 | Command+Shift+Page Down on the Mac and
of course you can press and hold those
| | 01:27 | keys as well if you like.
| | 01:29 | And finally, if you want to go to the
top left corner of the image, you press
| | 01:32 | the Home key. And so we are all the
way zoomed in to the top left corner,
| | 01:37 | although it's a little hard to tell.
Let's go ahead and zoom out just a little
| | 01:40 | bit so that we can tell where in the world
we are and I will press the Home key again.
| | 01:43 | All right, so this is the top left
corner at this zoom level. If I want to go
| | 01:47 | to the bottom right corner of the
image I press the End key and so there you
| | 01:52 | have it. That's how you nudge the
screen image using your Page Up, Page Down,
| | 01:57 | Home and End keys.
| | 01:59 | In the next exercise, I am going to
show you all the stuff you can do with the
| | 02:02 | scroll wheel on your mouse, which
as it turns out is a lot. Stay tuned.
| | Collapse this transcript |
| Scroll wheel tricks| 00:00 | In this exercise, I am going to show
you how you can scroll and zoom an image
| | 00:04 | using the scroll wheel on your mouse,
assuming of course that you have a scroll
| | 00:08 | wheel on your mouse.
| | 00:09 | I am still working inside the
Woman with orchids.jpg file inside the
| | 00:14 | 04_navigation folder. I am zoomed in to
the 100% zoom ratio. And we will start
| | 00:19 | with the basics. If you will scroll up
with your mouse wheel, you will scroll
| | 00:23 | up inside the image. And if you will
scroll down, you will scroll down. So
| | 00:26 | there is not big surprises there. Now
if you are working with one of those
| | 00:30 | fancy mice that you can push the wheel
back and forth, that is to the left or
| | 00:34 | to the right, including that little
blister that's at the top of the Apple
| | 00:38 | Mighty Mouse. Then Photoshop is smart
enough to scroll lest and right. However,
| | 00:43 | if your mouse doesn't do that, then you
will press and hold the Ctrl key or the
| | 00:47 | Cmd key on the Mac, and you will
scroll up to go to the left and you will
| | 00:50 | scroll down to go to the right.
| | 00:53 | What if you want to scroll fast? Then
you will press the Shift key. So this is
| | 00:57 | going up with Shift, this is going
down with Shift. And you can add the Ctrl
| | 01:02 | key or the Cmd key to scroll wicked
fast to the left or to the right. So I have
| | 01:07 | got both Ctrl and Shift down. This
would be Cmd and Shift down on the Macintosh
| | 01:13 | side of things. All right, so I have
scrolled a little too far to the right in
| | 01:16 | this case. So I will go ahead and press
the Ctrl key or the Cmd on the Mac and
| | 01:19 | scroll upward a little bit in
order to center her eyes on screen.
| | 01:24 | Now it's telling you that you can
also zoom with the scroll wheel. That's a
| | 01:28 | function of pressing the Alt key or the
Option key on the Mac. So if I have Alt
| | 01:32 | or Option down and I will scroll up, I
will zoom in. And if I scroll down, I
| | 01:37 | will zoom out. So those are myriad
ways you can scroll and zoom using the
| | 01:41 | scroll wheel on your mouse.
| | 01:42 | If you want to reverse the behavior, by
the way, of what I just showed you, you
| | 01:46 | would like the scroll wheel to zoom by
default and then you have to press the
| | 01:49 | Alt key or the Option key in order to
scroll. Then go ahead and press Ctrl+K or
| | 01:54 | Cmd+K on the Mac because that's the
easiest way to get to the Preferences
| | 01:57 | dialog box. And then turn on this check
box right there, Zoom with Scroll Wheel
| | 02:02 | and that will become your default action.
Anyway, I am not going to do that but
| | 02:05 | I just want you to know that that's
available to those of you who would like to
| | 02:08 | work that way. And I will go ahead and
cancel out of this dialog box because I
| | 02:11 | didn't do anything. There you have it.
| | 02:14 | Your ways to scroll with the scroll
wheel. In the next exercise, I am going to
| | 02:17 | show you how to use this little zoom
value down here in the lower left hand
| | 02:21 | corner of the screen.
| | Collapse this transcript |
| Using the numerical zoom value| 00:00 | In this exercise, I am going to show
you how to take advantage of this zoom
| | 00:04 | value down here in the lower left
hand corner of the Image window.
| | 00:07 | Now I happen to be looking at the
image called Beige beauty.jpg, found inside
| | 00:11 | the 04-navigation folder. Once again,
from photographer Alexander Alexis of
| | 00:16 | iStockPhoto.com. And I happen to be
zoomed in to the 50% zoom level. And if I
| | 00:21 | know a zoom level that I want to use,
I could go down here to this value,
| | 00:26 | double click on it in order to select
the entire value because otherwise,
| | 00:30 | if you will just click, then you have
to press the Backspace key a few times
| | 00:33 | to get rid of the old value. So double
click on the value to select it and then
| | 00:36 | replace it with a value that you prefer
to use, which can be highly accurate. I
| | 00:40 | could enter 77.77% and then press the
Enter key or the Return key on a Mac. And
| | 00:46 | long behold, I have zoomed in to
exactly that level. Here the thing though.
| | 00:50 | Who in the World knows that information?
You never know that you want to zoom
| | 00:54 | in exactly to 77.77%. That's not the
way we work. So it might seem like this
| | 01:01 | particular zooming function is a little
bit too obscure. Well, I tend to use it
| | 01:05 | to find that exact zoom level that's
going to be a perfect match of showing the
| | 01:10 | image inside of the Image window. So in
other words, we are showing as much of
| | 01:15 | the image as possible without
showing any excess gray pasteboard.
| | 01:19 | So if I would have pressed Ctrl+0 or
Command+0 on the Mac in order to that fit
| | 01:23 | in window view, then Photoshop is going
to take me a little farther out than it
| | 01:28 | really needs to. It's not only going to
show me, in my case, a bunch of excess
| | 01:33 | paste board at the top and the bottom
of the image, it can't really get around
| | 01:36 | that; but it's going to show me a
little extra on the left and right hand side
| | 01:40 | as if to tell me, hey! By the way, I
have got you covered; you really can't see
| | 01:44 | your entire image. And it happens to
have zoomed out to this custom level, in
| | 01:48 | my case, of 24.17%.
| | 01:51 | So you might think well, zoom in. When
I will press Ctrl+ (+) or Command+(+) on
| | 01:55 | the Mac, well, my first zoom in here
gets me to 25%. So it's just a tiny zoom.
| | 02:02 | And then if I press Ctrl+ (+) or Command
+ (+) again, I will go too far. I mean
| | 02:06 | there is something in the middle there
that's actually going to work out for
| | 02:09 | me. So here is what you will do.
You will double click on the value for
| | 02:13 | starters because if you just click and
you just set the insertion marker, then
| | 02:16 | you are going to have to do some
backspacing. So double click in it to select
| | 02:20 | the entire value and then try a
different value if you want to like I enter 30,
| | 02:24 | and press the Enter key, and I don't
know if that works or not. And of course,
| | 02:28 | that switches me to the 30% view size
but I don't know if that's the right zoom
| | 02:32 | level or not. So I will double click
inside there again, and I will press the
| | 02:36 | Down Arrow key to nudge that value down
1% or you can press the Up Arrow key to
| | 02:41 | nudge it up a percent. You also can
press Shift+Down Arrow to nudge it down 10%
| | 02:45 | or Shift+Up Arrow to nudge it up 10% just FYI.
| | 02:49 | But notice that changing the value, I
am nudging it down here, doesn't actually
| | 02:52 | have an immediate effect on the image.
You will have to apply this percentage
| | 02:56 | by pressing the Enter key on a PC or
the Return key on a Mac. And I have gone
| | 03:00 | out too far. So here is the best way
to work. Double click inside that value
| | 03:05 | once again, I am going to nudge it up
by pressing the Up Arrow key a couple of
| | 03:08 | times. I don't know if 28% is going to
be right so I'll press Shift+Enter or
| | 03:13 | Shift+Return on the Mac to apply
that value without deactivating it.
| | 03:19 | And then if I decide Gosh! I wonder 28%
definitely works but I wonder if 20%
| | 03:24 | would still work. So I will press the
Down Arrow key to nudge it down and then
| | 03:28 | press Shift+Enter or Shift+Return. And
I see nope! That reveals some stuff at
| | 03:32 | the top there so I will stick with 28%.
And I will go ahead and nudge it up
| | 03:36 | again. And I will press the Enter key
or the Return key on a Mac to not only
| | 03:40 | apply the value but also deactivate
this option. Then I will just go ahead
| | 03:44 | Spacebar+Drag the image up a little bit
in order to nudge into the desired location.
| | 03:50 | So it's sort of nit-picky but I just
want you to know if you ever decide to use
| | 03:54 | that value, that's how you would best
apply it. Double click, use the Up and
| | 03:58 | Down Arrow keys to nudge that value and
then press Shift+Enter or Shift+Return
| | 04:03 | on the Mac to apply that
value while keeping it active.
| | Collapse this transcript |
| The new Rotate View tool| 00:00 | All right, that's it for scrolling and
zooming inside of Photoshop, but there is
| | 00:03 | one remaining navigation feature that's new to
Photoshop CS4 and that's the Rotate View tool.
| | 00:10 | I am working inside this image
called White towell.jpg found inside the
| | 00:13 | 04_navigation folder. But I still
have open all those other images from
| | 00:17 | photographer Alexander Alexis as well.
Now notice up here in the Applications
| | 00:21 | bar that we have this Hand tool,
which is exactly the same Hand tool that's
| | 00:26 | available to us inside of the Toolbox.
And then there is a Zoom tool, which is
| | 00:29 | exactly the same Zoom tool that's
available to us inside of the Toolbox. And
| | 00:33 | then there is a new Rotate View tool.
I am going to click on it in order to
| | 00:36 | select it. And that's the same as
clicking and holding on what was formerly the
| | 00:41 | Hand tool here inside the Toolbox, and
then selecting Rotate View tool from the
| | 00:46 | flyout menu. Notice is has
a keyboard shortcut of R.
| | 00:48 | Now as I rotate the image, I want you
to watch the Rotation Angle value up here
| | 00:53 | in Options bar because it updates on
the fly. And it's showing us that I have
| | 00:58 | now rotated the image to 30 degrees,
for example. I am also seeing a compass in
| | 01:03 | the center of the image, which is
telling me that I have got something
| | 01:07 | resembling a 30-degree rotation. So
there is different ways to confirm the
| | 01:11 | angle of your rotation. When you will
release, you have now rotated the image
| | 01:16 | on screen, you haven't rotated the
actual image. It's still going to print
| | 01:20 | upright, it's still going to save
upright, it's still going to export upright,
| | 01:24 | which means that everything you do at
this 30 degree angle inside of the image
| | 01:29 | is going to occur at an angle.
| | 01:31 | So, for example, if I will grab my
rectangular Marquee tool here, which draws
| | 01:36 | rectangular selections, upright
rectangles, and I drag. We are seeing an angled
| | 01:42 | rectangle because we are operating
inside of a rotated view. So that's just
| | 01:47 | something to bear in mind, your task
is going to be at an angle, everything,
| | 01:50 | everything is going to
occur at an angle at this point.
| | 01:53 | So you may find it a little confusing
at first but here is where I think this
| | 01:56 | view is just phenomenally useful. If
you are painting inside of an image, you
| | 01:59 | can get into certain areas. That's
pretty obvious. So it's just like rotating a
| | 02:03 | physical page on a physical desktop.
It also comes in handy when you are
| | 02:08 | editing an image using the likes of the
Dodge and Burn tools as we will see in
| | 02:11 | later chapters.
| | 02:13 | And then finally, if you are trying
to gauge the proper angle for a crooked
| | 02:16 | image, you can preview the rotation on
the fly using this tool. All right, so I
| | 02:21 | am going to go ahead and click outside
this selection to de-select it. A few
| | 02:26 | other things we should note about this
tool. I am going to go ahead and select
| | 02:29 | it once again. And notice that we
have got up here in the Options bar, this
| | 02:33 | Rotate All Windows checkbox. So if I
switch to a different image window, you
| | 02:37 | will see that it remains upright. This
Copper profile.jpg file, she is straight
| | 02:42 | up and down.
| | 02:42 | I will switch back White towell. If I
will turn On Rotate All Windows that end
| | 02:49 | of itself isn't going to do anything.
So I will switch back to the White
| | 02:52 | towell.jpg. It's if I now apply a
little bit of rotation, any degree of
| | 02:57 | rotation at all, and I am still working
at an angle of 30 degrees, notice that.
| | 03:01 | Now if I go over the Copper profile,
it is indeed rotated, as is my Radial
| | 03:06 | motion image. So it's harder to tell
with her because she is sort of in the
| | 03:09 | process of rotating her head anyway.
And then we have got Woman with orchids at
| | 03:13 | an obvious angle, we have seen so much of her.
| | 03:16 | All right, so back to White towell.jpg.
Your other options for rotating the
| | 03:20 | image are to modify the Rotation Angle
value, or you can drag this little guy
| | 03:25 | right there in order to change the
angle of rotation. And of course, I am
| | 03:29 | rotating all open images right now on
screen, nothing is really happening to
| | 03:35 | them. To reset the images to straight
up and down; if I want to affect all of
| | 03:39 | the images as I do, then make sure the
Rotate All Windows checkbox is On; and
| | 03:43 | then click on Reset View. And now not
only she is restored to straight up and
| | 03:47 | down but so is Copper profile, so is
Radial motion, so is Woman with orchids,
| | 03:51 | and so on.
| | 03:52 | All right back to White towell. Here is
how do all that stuff from the keyboard
| | 03:57 | so without having to switch tools like
I just did. I am going to go ahead reset
| | 04:01 | this tool to the Hand tool, for
example. And then I will click on the
| | 04:04 | rectangular Marquee tool so I have some
other tool selected. Press and hold the
| | 04:09 | R key to get the Rotate View tool on a
fly. Now as long as you have that R key
| | 04:13 | down, you can see the options up here
in the Options bar and you can see that
| | 04:16 | Rotate All Windows is turned on. If
you want to leave it that way, fine. You
| | 04:20 | can also turn it off though. But just
keep that R key down as long as you want
| | 04:24 | to work with the tool.
| | 04:24 | All right, I am going to leave this
checkbox on for just a moment because I
| | 04:27 | want you to see something. And I am
now going to drag, I still have the R key
| | 04:31 | down, I am going to drag with the tool
in order to apply a 35% rotation in this
| | 04:36 | case. Then I will release the mouse
button. And then as soon as I release the R
| | 04:40 | key, I go back to my previously
selected tool. Now I go to Copper profile, she
| | 04:45 | is rotated, Radial motion is rotated,
Woman with orchids is rotated, and so on.
| | 04:50 | Back to White towell once again.
| | 04:52 | Now at this point, how in the World do
I restore her to rightness because we
| | 04:58 | don't have a Reset View button anymore?
Well, here is all you will do. You will
| | 05:02 | just press the Esc key. Just pressing
Escape under normal circumstances, that
| | 05:07 | is there is no task to active,
nothing like that going on, we don't have a
| | 05:10 | dialog box open. In absence of
anything else to escape out of when you will
| | 05:15 | press the Esc key, you will restore the
image to straight up and down. But only
| | 05:19 | the active image. If I switch back to
Copper profile, she is still rotated. And
| | 05:23 | if I switch back to Radial motion, and
so on here, they are still rotated as
| | 05:27 | well. How do I get them
back to straight up and down?
| | 05:32 | Then what you will need to do is press
and hold the R key, and make sure that
| | 05:36 | the Rotate All Windows checkbox is on,
and then click on Reset View. And now
| | 05:41 | you can release the R key in order to
return to your previously selected tool.
| | 05:45 | And now go back and look at each one
of these images is restored to it's
| | 05:50 | straight up and down appearance. And
then if you decide in the future you don't
| | 05:54 | actually want to rotate all open images,
you will press and hold the R key and
| | 05:58 | go ahead and turn off that Rotate
All Windows checkbox, and then release
| | 06:02 | the R key once again.
| | 06:04 | So that R key is pretty powerful when
you are rotating the view of your image
| | 06:09 | here inside Photoshop CS4.
| | Collapse this transcript |
| Cycling between screen modes| 00:00 | In this final exercise, I am going
to show you the screen modes that are
| | 00:03 | available to you inside of Photoshop CS4,
and I mention CS4 because things have
| | 00:09 | changed since CS3.
| | 00:11 | Now, I have the usual suspects opened here,
those same six images that are found
| | 00:15 | inside the 04_navigation folder that
come to us from photographer Alexander
| | 00:19 | Alexis of iStockphoto.com, and I am
currently at the image called white
| | 00:23 | towell.jpeg for what that's worth.
| | 00:26 | Now first you should note, if you
have any experience with Photoshop
| | 00:29 | whatsoever, the screen modes used to
be available to us at the bottom of the
| | 00:32 | toolbox. They have moved. And they
have moved up here to the Application bar.
| | 00:38 | So it's going to be more like in
this region of the screen on the Mac.
| | 00:41 | And if I click on the Screen Mode icon
right there, notice we have the Standard
| | 00:45 | screen mode, which allows me to see the
tabs for all of my image titles as well
| | 00:50 | as the scroll bars and this little
empty area down here below this column of
| | 00:55 | palette buttons.
| | 00:57 | And then, we have the Full Screen With
Menu Bar, which goes ahead and hides all
| | 01:01 | of that stuff, so we are no longer
seeing the names of our opened images nor we
| | 01:05 | are seeing the scroll bars, and we
are allowing the image to tuck under the
| | 01:08 | palettes.
| | 01:10 | And then, we have this final Full
Screen mode, which goes ahead and wipes out
| | 01:14 | everything, except for the image itself,
and if you choose this command, you
| | 01:19 | are going to get this alert message
that tells you what's happening, which is
| | 01:24 | to say that you are entering this mode
or you are not going to see anything on
| | 01:27 | screen, and if you want to bring
things back, here is how you do it, but I am
| | 01:30 | going to tell you so.
| | 01:31 | You can go ahead and say Don't Show
Again to this message and click on Full
| | 01:35 | Screen. And now you are going to see
the image take up the entire screen, and
| | 01:39 | the interesting thing is I can still
work inside of the image if I want to, as
| | 01:44 | long as I know, for example, my
keyboard shortcuts, and all the other stuff
| | 01:47 | that you are going to learn over the
course of the series, or you can just take
| | 01:50 | in the image.
| | 01:51 | Now of course, you don't want to freak
out at this point because you are going
| | 01:54 | to always restore everything that's
gone, and there is two ways to restore
| | 01:58 | things. One is to press the Tab key,
which will bring back the palettes and the
| | 02:03 | menu bar, notice that. So everything
that we just get rid off a moment ago got
| | 02:06 | restored. And if you want to go ahead
and hide that stuff, you press the Tab
| | 02:10 | key again.
| | 02:11 | If you want to bring back just the
right side palettes, then you press
| | 02:15 | Shift+Tab, and of course, you can press
Shift+Tab again to make those go away.
| | 02:19 | To get out of this mode inside
Photoshop CS4, you press the Esc key, so that
| | 02:25 | will take you back into the tabbed
window display. Now I have tabbed away my
| | 02:30 | palettes, so I need to bring them back
as well by pressing the Tab key, and we
| | 02:34 | are now back in what is known as the
Standard screen mode here inside Photoshop CS4.
| | 02:39 | Now if you come from CS3, you might
remember that there used to be yet another
| | 02:44 | mode that allowed you to see the
images inside floating windows, and that
| | 02:49 | appears to be gone. Well, it's actually
still there, but it's available to you
| | 02:53 | from the Arrange Documents icon.
| | 02:55 | So if I click in that icon and I
choose Float All in Windows, then I am going
| | 03:00 | to see every single one of the images
in an independent floating Image window,
| | 03:05 | and I can drag it to a different
location like so. And of course, these Image
| | 03:08 | windows are going to appear on top
of the docked palettes. Only floating
| | 03:13 | palettes are going to be allowed to
appear in front of the floating windows.
| | 03:17 | If that's not what you want, and I am
telling you, I don't think you are going
| | 03:20 | to want to work this way. It's the old
school way, as might be comfortable to a
| | 03:25 | lot of you, but the new way in my
opinion is much better, and to get back to
| | 03:29 | it, you go back up to that Arranged
Documents icon, and you choose Consolidate
| | 03:33 | All to put everybody back
inside of the tabbed window.
| | 03:37 | You can do what I showed you a moment
ago. That is, switch between the various
| | 03:40 | screen modes from the keyboard just by
pressing the F key and that's F as in
| | 03:45 | Full Screen. So pressing F once
switches you to the Full Screen With Menu Bar
| | 03:50 | as it's known, and then pressing F
again switches you to the radical Full
| | 03:54 | Screen where everything else goes away.
And then press F again to advance back
| | 03:59 | to where we started. Or you can go
directly from the tabbed window display to
| | 04:04 | the dangerous Full Screen display
where you see nothing by pressing Shift+F.
| | 04:09 | And so Shift+F goes the
opposite direction in other words.
| | 04:12 | Now what's great about this is you can
show images like a mad person, right?
| | 04:17 | You can sit here and once you have
hidden all of the falderal and you
| | 04:20 | want to show up your images to somebody,
I would press Ctrl+Tab here on the PC
| | 04:25 | in order to advance from one image to
the next. Or on the Mac, I could press
| | 04:30 | Command+Tilde in order to go
from one image to the next here.
| | 04:34 | It's a great way to work, and then
just all you need to remember is that you
| | 04:37 | can bring everything back just by
pressing either Esc or the F key and that
| | 04:43 | will take you back to your save tabbed
window view, where you have excess to
| | 04:47 | all of your palettes, and all
of your menu functions as well.
| | 04:51 | There you have it in a nutshell how
to navigate inside of Photoshop. In the
| | 04:57 | next chapter, we will take a look
at a few basic color corrections.
| | Collapse this transcript |
|
|
5. Basic Color CorrectionMaking drab colors look better| 00:01 | Over the course of this series, we
will examine the many different ways to
| | 00:04 | correct a photograph in the order
these corrections are best applied.
| | 00:08 | This means that in addition to
telling you how to use Photoshop tools and
| | 00:12 | commands to their utmost ability, I
will answer a rarely addressed question,
| | 00:16 | when should you do what? Because every
change you make to an image builds on the
| | 00:21 | previous adjustments,
sequence makes the difference.
| | 00:25 | The most basic corrections you will
need to make are brightness and color
| | 00:28 | corrections. We will start with a
look at the Brightness/Contrast command.
| | 00:32 | Traditionally it's been something of
an image destroyer but now it's quite good.
| | 00:36 | Then I will demonstrate how to read
and use a Histogram. After that, we will
| | 00:41 | see ways to correct color cast using
the Color Balance and Variations commands.
| | 00:46 | Then, we will wrap things up with Hue,
Saturation, Vibrance, and the new Target
| | 00:51 | Adjustment tool, which lets you adjust
the range of colors just by clicking and dragging.
| | 00:57 | All of these adjustments are best
applied before you resize or crop a photo,
| | 01:02 | which is why I wait to discuss resizing
and cropping until the next two chapters.
| | 01:07 | Amend each attribute of your troubled
photograph in the order suggested by
| | 01:11 | these chapters and I swear to you,
the results will look as good as they
| | 01:15 | possibly can. This is how the pros do it.
| | Collapse this transcript |
| Brightness and contrast| 00:00 | In this exercise, I am going to show
you what has to be the most basic of the
| | 00:04 | basic color correction
functions inside Photoshop, which is the
| | 00:08 | Brightness/Contrast command.
| | 00:10 | It allows you to modify the Brightness
with one slider and the Contrast with
| | 00:14 | the other and bang! You are done.
Very easy command to use. Possibly, given
| | 00:18 | that this is the first sort of venture
into actually correcting an image in the software.
| | 00:23 | A typical trainer I think would just
go up there and he would say, you know,
| | 00:26 | here is this image, got it open, go
up to the Image menu, we will choose
| | 00:29 | Adjustments, we will choose
Brightness/Contrast and look at this.
| | 00:33 | Lickety split. You can just change the
Brightness with this slider, you can change
| | 00:37 | the Contrast with this slider. You
have got a beautiful looking image.
| | 00:39 | It's much better than it was before.
Here is before, here is after. Isn't that an
| | 00:44 | easy command to use?
| | 00:45 | I could do that and I just did for
all intents and purposes but I don't think
| | 00:49 | that's the best way to show you what's
going on. So, we are going to delve into
| | 00:53 | this command a little bit.
| | 00:54 | First I am going to start off by just
showing how it works in this exercise. In
| | 00:58 | the next exercise, we are going to
look under the hood a little bit. And it
| | 01:01 | gets a little scary when we do that but
I am doing it for a specific reason; I
| | 01:05 | want you to learn how to use Photoshop
correctly in the first place so that you
| | 01:09 | are not having that undo bad habits
later on down the line or regret the
| | 01:13 | decisions you made in the past because
when an image needs help like this one
| | 01:17 | right here, it's very easy to
overcompensate and give it too much help and when
| | 01:22 | you overcompensate in
Photoshop, you damage the image.
| | 01:25 | All right, so let's start over again,
I have got this image open, beautiful
| | 01:29 | image from photographer Sue McDonald
of iStockPhoto.com. It's a little washed
| | 01:34 | out though. It has a very ethereal
feel to it of course, and the name of the
| | 01:39 | image is Ethereal dove.jpeg.
| | 01:42 | So you do want to go up to the
Image menu, you do want to choose the
| | 01:45 | Adjustments command, and notice the
Adjustments command gives you access to all
| | 01:49 | of the color adjustment functions
here inside Photoshop, and then you will
| | 01:53 | choose this very first one, Brightness/Contrast.
| | 01:56 | Now I like this command so much
these days; it used to be a stinker of a
| | 01:59 | command back in the old days but
the last version of Photoshop made it
| | 02:02 | considerably better. I like it so much
that I have gone ahead and given it a
| | 02:06 | keyboard shortcut of Ctrl+Alt+B or
Command+Option+B on the Mac. And that brings
| | 02:12 | up this dialog box right here.
| | 02:14 | As I said two simple sliders, it got a
checkbox, this Preview checkbox to keep
| | 02:18 | an eye on what's going on back here
in the background so that's what your
| | 02:21 | preview is and your preview is a 100%
accurate. It's actually just applying the
| | 02:25 | command on the fly. So it's not some
kind of proxy preview. You really are
| | 02:28 | seeing what you are doing.
| | 02:29 | Now we have got this Use Legacy
checkbox, leave that off. By the way if you
| | 02:34 | turn it on, all you do is you make
Brightness/Contrast perform like it used to
| | 02:37 | in the old days back when it was a
terrible command. So better to leave it off.
| | 02:41 | So it's performing well.
| | 02:43 | And then, we have got Brightness and
Contrast sliders. In Brightness, what it's
| | 02:47 | really doing, it's elevating the
middle colors inside the image. So you have
| | 02:53 | the brightest colors, which are known
as highlights and you have the darkest
| | 02:56 | colors, which are known as shadows and
then you have the colors in between and
| | 03:01 | brightness is changing the colors in between it.
| | 03:03 | It anchors down the brightest colors,
so highlights it, anchors down the
| | 03:06 | shadows, the darkest colors, so that it
doesn't really know colors and then it
| | 03:10 | just modifies everything
in between, squeezes them.
| | 03:12 | So if you make the image brighter,
you are going to elevate those middle
| | 03:16 | colors. Well, we don't need that
inside of this image. We elevate the middle
| | 03:20 | colors and we are just losing all
kinds of definition inside this image. We
| | 03:24 | want to make those middle colors so as
mid-tones as they are known. We want to
| | 03:27 | make them darker and so I am going to
go ahead and drag the sky down and I can
| | 03:31 | actually go pretty far. I can go all
the way in fact to -150 for this image and
| | 03:37 | still it retains a lot of detail. But
if I do that, I am going to create what's
| | 03:40 | known as posterization.
| | 03:42 | I will go ahead and zoom in here and I
am doing this by pressing Ctrl+Spacebar
| | 03:46 | and clicking, or Command+Spacebar-
clicking on the Mac. I will go ahead and
| | 03:49 | actually zoom in way far. And you can
see that weird green that's showing up
| | 03:54 | right there inside of this cloud
and this weird red and so on? That's
| | 03:59 | posterization, which is incredibly
sharp transitions between neighboring
| | 04:04 | colors and it's a very bad thing and it means you've
wounded the image is basically what it comes down to.
| | 04:09 | You have taken this area of that
already had probably too much contrast
| | 04:12 | associated with it and you just made
a complete mess of it. All right, so
| | 04:16 | let's draw back here. Let's take this
back up to something like -75, which
| | 04:21 | works out pretty well for this
image. We still have a little bit of
| | 04:24 | posterization going on down here, but
that's all right. I think we can live with that.
| | 04:28 | All right, let's go ahead and zoom
back out take in a more of the more of the
| | 04:31 | bird at a time here. Now I am going
to play with the contrast. Now I could
| | 04:36 | either reduce the contrast inside of
the image and if I do reduce the contrast,
| | 04:41 | I am going to get rid of some of that
posterization down there in the clouds
| | 04:44 | but I am also going to make the image
look flatter. So more drape if you will
| | 04:48 | or I could punch that contrast upward.
But don't go too far with it, you really
| | 04:54 | want to go as high as a 100; even if
it looks pretty nice on screen, you are
| | 04:58 | probably starting to bring out noise
and other weird artifacts inside of an
| | 05:03 | image, which are random color
transitions that shouldn't be there.
| | 05:07 | So I am going to go ahead and take this
value down to 75 and this I think is a
| | 05:11 | good fix for this specific image. So -
75 for brightness, +75 for contrast,
| | 05:17 | click OK. That's a long winded way of
saying you messed with the brightness to
| | 05:21 | make the image brighter or darker and
you mess with the contrast to elevate the
| | 05:25 | contrast or decrease the contrast. I
realize that but for good reason I want
| | 05:29 | you to have a real firm
understanding of what's going on.
| | 05:32 | In the next exercise, I am going to
show you a few different ways to play with
| | 05:36 | numerical values inside of Photoshop
and then we will move on to the Histogram
| | 05:40 | and a few other things that you need
to know about right up front. Stay with me.
| | Collapse this transcript |
| Adjusting numerical values in Photoshop| 00:00 | As promised I am going to show you how
to work with numerical values inside of
| | 00:06 | Photoshop, inside of many of the dialog
boxes that are available to you inside
| | 00:09 | Photoshop. I want to know this up
front so that you can tweak your values to
| | 00:13 | your heart's content, figure out how
you would like to work and work quickly
| | 00:16 | through these dialog boxes, of course.
| | 00:18 | So I am still working in this
modified version now of the Ethereal dove.jpg
| | 00:23 | file that's found inside the 05_color_
correct folder. Just as you know what we
| | 00:28 | were able to accomplish, this is before,
and this is after. I am invoking the
| | 00:33 | before and after views just by
pressing Ctrl+Z, or Command+Z on the Mac.
| | 00:38 | So Ctrl+Z to go back to Before, Ctrl+Z
to go back to After, which might make
| | 00:43 | you think if you are new to Photoshop
is that, there is only level of undo,
| | 00:46 | because Ctrl+Z undoes and then it redoes.
But in fact, that's just the way the
| | 00:51 | keyboard shortcut works. Photoshop has
multiple levels of Undo as we will see over time.
| | 00:58 | So I am going to return to the previous
version of the dove by pressing Ctrl+Z,
| | 01:02 | Command+Z on the Mac. Let's go back to
the Brightness/Contrast command here, so
| | 01:07 | Image > Adjustments > Brightness/
Contrast. Notice that the brightness value is
| | 01:12 | highlighted right now.
| | 01:13 | If I wanted to switch to Contrast, I
could either press the Tab key in order to
| | 01:18 | move up to Contrast. You can also press
Shift+Tab to move backward, by the way,
| | 01:22 | or you can just click on the name of an
item. If I click on the word Contrast,
| | 01:27 | it will make that value active; if I
click on word Brightness, it will make
| | 01:30 | that value active.
| | 01:30 | Now, we know of course that we can
modify the slider triangles by dragging them
| | 01:36 | around and that will change the value,
or some other things you can do. You can
| | 01:40 | actually scrub, this is called Scrubbing,
drag directly on the word Brightness
| | 01:46 | in order to make the value higher in
this case or lower like so, and that works
| | 01:51 | for Contrast as well.
| | 01:53 | If you want to scrub more quickly,
you press and hold the Shift key. So a
| | 01:57 | Shift+Scrub will scrub in increments
of 10, notice that. So each pixel of the
| | 02:01 | scrub is changing the value by an
increment of 10, which is great if you want
| | 02:05 | to go quickly one way or the other. If
you want to go all the way to 150, or
| | 02:09 | all the way to -150 and you just want
to check out what it looks like, then you
| | 02:12 | can use that Shift+Scrubbing technique.
| | 02:15 | Another thing you can do is you can
click inside the value to make it active,
| | 02:20 | and you can press the Up Arrow key to
increase the value in increments of 1, or
| | 02:25 | you can press the Down Arrow key to
reduce that value in increments of 1; or if
| | 02:30 | you want to move in increments of 10,
you do the same thing we did with the
| | 02:34 | scrubber, you press the Shift key.
| | 02:36 | So Shift+Up Arrow takes this up in
increments of 10. Shift+Down Arrow takes
| | 02:40 | this down in increments of 10, and
that's it. Those are your basic options that
| | 02:46 | are available to you when you are
altering numerical details inside of Photoshop.
| | 02:50 | So, if I wanted to change this
value to -75%, the simplest way to do it
| | 02:56 | probably, if I was just sort of
working through the image, testing out
| | 02:59 | different settings. Then I press Shift+
Down Arrow until I was starting to hone
| | 03:04 | in on a value that looked good. Then if
I went to -70 and then press Shift+Down
| | 03:09 | Arrow to -80, and I feel like, well, -
70 wasn't enough but -80 is too much.
| | 03:14 | Then I could back it up just by
pressing the Up Arrow key a few times to raise
| | 03:18 | that value to -75.
| | 03:18 | Of course, I could Tab to Contrast
and just enter the value too. I can also
| | 03:24 | just change the numerical value by
entering your own, and that is it. So, same
| | 03:29 | modification invoked this time,
however, using various numerical keyboard
| | 03:33 | tricks. I will click OK in order to
apply my change and again, before and after
| | 03:40 | on the dove. Beautiful!
| | 03:42 | In the next exercise, I am going to
show you yet another way to approach
| | 03:45 | Brightness/Contrast as an Adjustment Layer.
| | Collapse this transcript |
| Introducing adjustment layers| 00:00 | In this exercise, I am going to
introduce you to another way to correct colors
| | 00:04 | inside of Photoshop and that's using
an adjustment layer. We will still be
| | 00:08 | working with the Brightness/Contrast
function but we'll be applying it as an
| | 00:12 | adjustment layer instead of a static command.
| | 00:14 | Now, so far I've gone ahead and
modified this Ethereal dove.jpg file. I went
| | 00:20 | ahead and applied the Brightness/
Contrast to it. All of these commands here
| | 00:24 | under the Image menu, under the
Adjustments submenu, all of these commands are
| | 00:28 | static color adjustments, meaning that
they permanently alter the colors of the
| | 00:32 | pixels inside the image.
| | 00:35 | Notice, here in the Layers palette, if
you have your Layers palette on screen,
| | 00:38 | down here in the lower right corner of
the screen, notice that we have just a
| | 00:42 | single layer called Background. It's
not really a layer at all; it's just a
| | 00:46 | flat image. So nothing special going on
inside this image, which means that, I
| | 00:51 | could save over my original.
| | 00:53 | This file is saved as a JPG file, and
JPG is a flat image file format. So I
| | 00:59 | could go up to the File menu and just
choose the Save command to save over the
| | 01:03 | original. Lots of places work this way,
especially at big magazines, where
| | 01:08 | they're just churning through images.
They'll open an image, apply one or more
| | 01:12 | static color adjustments
and save over the original.
| | 01:14 | However, I don't recommend you work
that way. If you are going to apply a
| | 01:18 | static color adjustment, then you want
to turn around and choose the Save As
| | 01:22 | command, so you don't save over that original.
| | 01:26 | That way if you ever need to come back
to the original, because as I say, it's
| | 01:29 | very tempting in Photoshop to
overcompensate. So if you find yourself
| | 01:32 | overcompensating in the early days and
then like a year later you've learned a
| | 01:35 | lot more, you know the program better,
you can go back to those original images
| | 01:40 | and recorrect them and make
them that much better still.
| | 01:43 | Anyway, I'll choose Save As, and
because this is a flat image, I would go ahead
| | 01:47 | and stick with the JPG file format.
That's perfectly fine and we would call it
| | 01:51 | something like Corrected dove.jpg and
then click on the Save button. Then it
| | 01:56 | will ask me what quality I want to use,
what's the quality setting? I would
| | 02:00 | maximize that.
| | 02:01 | I'll go ahead and set to its maximum
value, which is 12. Set this item right
| | 02:05 | here to Baseline Optimized. That's your
best bet. These are your best settings,
| | 02:09 | in fact, throughout. Then click OK in
order to save that image. So, that's one
| | 02:14 | way to work. That's the static color adjustment.
| | 02:16 | Another way to work is to work with an
adjustment layer. So I am going to go
| | 02:20 | ahead and open up that original version
of the dove, which I should be able to
| | 02:26 | by going to the Open Recent command,
and there is Ethereal dove.jpg right
| | 02:29 | there. So I can open up that guy.
| | 02:32 | Now, let's apply an adjustment layer to
this image instead. First of all, make
| | 02:38 | sure that you have your Adjustments
palette open on screen, and if you don't
| | 02:41 | see it here in this middle position,
then go up to the Window menu and choose
| | 02:46 | Adjustments. Of course, all of the
palettes are available to you in the Window menu.
| | 02:50 | Then you go ahead and click on one of
these icons. So you sort to have to hover
| | 02:54 | over them to figure out what the icons
mean. This very first guy right there is
| | 02:58 | Brightness/Contrast. You can see,
because we've got this tooltip that's coming
| | 03:02 | up, the yellow thing that tells us.
But also right there, in the upper left
| | 03:07 | corner of the palette, you can
see the words Brightness/Contrast.
| | 03:08 | As soon as you click, you actually make
a layer here inside the Layers palette.
| | 03:16 | That layer contains this Brightness/
Contrast adjustment. So I'll just go ahead
| | 03:20 | and enter the same values as we were
using before, +75, Tab, +75 for
| | 03:25 | Contrast. Do not turn the Use Legacy on,
and we apply our modification as an
| | 03:31 | adjustment layer.
| | 03:32 | Now, to preview on or off I could turn
off, there is this eyeball right here in
| | 03:37 | front of this layer, I could turn it
off in order to see the original and I
| | 03:41 | could turn it back on in
order to see the modification.
| | 03:44 | In the next exercise, I'll show you
some of the advantages of adjustment layers
| | 03:48 | and a few different ways to use them as well.
| | Collapse this transcript |
| Editing and saving adjustment layers| 00:00 | In this exercise, I am going to give
you a sense for the advantages that are
| | 00:04 | afforded to you by an Adjustment Layer.
I am working inside of my corrected
| | 00:09 | version of Ethereal dove.jpg, and I
just went ahead and added an Adjustment
| | 00:14 | Layer in the previous exercise. One
advantage of an Adjustment Layer is you can
| | 00:18 | just click on it to find out what's going on.
| | 00:20 | So for example, if I click on the
Background layer here inside the Layers
| | 00:23 | palette, and I am going to go ahead
and make that Layers palette wider by
| | 00:27 | dragging this left edge right there of
the Layers palette so that we can see
| | 00:31 | everything. I want to see
the full name of this layer.
| | 00:33 | You will then see up here inside the
Adjustments palette, you'll see all those
| | 00:37 | Adjustment icons, and you'll see a
series of presets that you can choose from
| | 00:41 | as well. But if I were to click on the
Brightness/Contrast 1 layer right there,
| | 00:46 | then suddenly, I am presented with the
options for this command. So, I don't
| | 00:50 | have to go digging and hunting
anywhere, it's right there inside the
| | 00:53 | Adjustments palette.
| | 00:54 | I can also change my settings if I want
to. Let's say, I want to brighten this
| | 00:58 | up a little bit, I feel like I have
gone too far in the darkening, and I want
| | 01:02 | to back up the Contrast as well. Then I
could do that. I can change my mind at
| | 01:06 | any point in time, because the
original image is still here 100% intact. It
| | 01:12 | hasn't been damaged or modified at all;
all the changes are happening on the fly.
| | 01:17 | Now, here is a couple of other things
you can do. There are some buttons down
| | 01:19 | here, these little eyeballs down at
the bottom. If you click on this eyeball,
| | 01:23 | you'll turn the layer off. Notice that
turns the eyeball for the layer off as
| | 01:26 | well. If you click again, when it's got
a red flash to it, you'll turn it back on.
| | 01:31 | Or if you just want to sort of do it
off quick Before After preview, you click
| | 01:36 | and hold on this guy right there. So
this is before, this is the previous state
| | 01:42 | for the adjustment, and this is after.
So this is the modification we've made
| | 01:47 | this time around. So this is the way
I had corrected it at the end of the
| | 01:50 | previous exercise. This is how it looks now.
| | 01:53 | You've also got a keyboard shortcut for
that little guy and it's the Backslash
| | 01:57 | key. So if I press and hold the
Backslash key, I'll see the before version.
| | 02:01 | Then as soon as I release that
Backslash key, I see the current version. Then
| | 02:05 | if you want to reset to the previous
state of the image, you would click on
| | 02:09 | this little icon and notice that
restores my values to -75 and +75.
| | 02:15 | Couple of other things you might want
to do just in terms of tiding things up
| | 02:19 | here, you might want to rename your
layer. You might not want to have it called
| | 02:22 | Brightness/Contrast 1. If you do,
just double-click on its name right there
| | 02:27 | inside the Layers palette, that will
make that name active and then enter a
| | 02:31 | different name, such as Deeper sky, let's say.
| | 02:34 | And then when you are done, press the
Enter key or the Return key on the Mac in
| | 02:37 | order to accept that modification.
This guy right there is the Layer Mask, so
| | 02:41 | it allows you to brush in your changes
if you want to. So you can brush away
| | 02:45 | certain areas and brush in other areas.
If you are not using it, we aren't using it.
| | 02:49 | You can just go ahead and click on it
in order to make it active, and then
| | 02:54 | click on the Trashcan. If you do that,
then it will ask you if you want to
| | 02:57 | delete that layer mask and you would say,
yes I want to delete it, and then it
| | 03:01 | goes away. That just allows you to do
this number where you can actually make
| | 03:05 | the Layers palette narrower and still
be able to see the name and what's going
| | 03:09 | on with it.
| | 03:11 | One more thing I've got to tell you
about Adjustment Layer is how you go about
| | 03:14 | saving them. If you want to save an
image that contains an Adjustment Layer,
| | 03:18 | you can't just go up to the File menu
and choose the Save command, or you can,
| | 03:22 | but if you do, you'll get to Save
dialog box, because Photoshop is incapable of
| | 03:27 | saving a layered image into the JPG
file format, which is where we started. You
| | 03:32 | have to use the native PSD file format,
which is the Photoshop document format,
| | 03:37 | which is great! That saves your layers
and saves everything else that you can
| | 03:40 | do inside Photoshop as well.
| | 03:41 | So I would just go ahead and save mine,
add something along lines of Corrected
| | 03:45 | dove.psd, click Save, and everything is
good to go. Then I can edit that image
| | 03:51 | to my heart's content in the future.
That is to say, I could change these
| | 03:56 | settings weeks, months, years from
now, it's that flexible. So Adjustment
| | 04:00 | layers are definitely the more flexible
way to work. It's completely up to you
| | 04:04 | how you work, however.
| | 04:06 | I'll be mostly focusing on static
adjustments, just because they are easier to
| | 04:11 | apply and we need to get a sense of how
those commands work. And not all of the
| | 04:15 | commands are available as Adjustment
layers as you'll see. There is an entire
| | 04:18 | Adjustment Layers chapter waiting
for you in part two of this series.
| | 04:23 | In the next exercise, I am going to
introduce you to one of the scarier
| | 04:27 | functions inside of Photoshop, but it's
a good one to learn early on and that's
| | 04:31 | the Histogram. Stay tuned.
| | Collapse this transcript |
| Introducing the Histogram| 00:00 | In this exercise, I am going to
introduce you to a special kind of graph that's
| | 00:04 | available to you inside of Photoshop,
and it's called a Histogram. Now, it's a
| | 00:09 | little bit technical, and it may
seem even a little bit scary at first.
| | 00:13 | But it's a great tool to have in your
arsenal when you are applying even the
| | 00:17 | most basic color adjustments.
Because it helps you gauge whether you are
| | 00:21 | applying good adjustments or bad ones,
whether you're pushing an adjustment too
| | 00:26 | far, for example, so far you are going
to hurt the image, or whether you are
| | 00:29 | doing it just right.
| | 00:31 | So, I've got two images open. One is
called Royal Gorge.jpg, which features
| | 00:35 | this photograph of a suspension bridge
that goes across an enormous deep chasm
| | 00:41 | in Southern Colorado. It's like the
highest suspension bridge in the world. If
| | 00:44 | you fell off it, you would definitely
break your leg. Then we have this image
| | 00:49 | called Histogram.psd. Do not be scared.
I know it's a scary image. This is a
| | 00:53 | diagram of a Histogram, we will come
back to it in just a moment, but it's
| | 00:57 | going to help us out enormously.
| | 00:59 | So let's go back to Royal Gorge.jpg,
and I am going to Shift+Tab back my
| | 01:04 | palette. This little icon is the
Histogram icon. If you click on it, you'll
| | 01:08 | bring up the Histogram palette, or
you could go to Window menu and choose
| | 01:12 | Histogram, if you prefer. I am going to
go ahead and take this guy and drag him
| | 01:16 | out of the group so that he is an
independent, free-floating palette, and I'll
| | 01:20 | expand it so that we can see the Histogram.
| | 01:23 | Now, I am going to press Shift+Tab.
Now, when I do that, when I press
| | 01:26 | Shift+Tab, I am going to get rid of
everything. Now I have got to go to the
| | 01:29 | back up to the Window menu and choose
Histogram to bring just it back up on
| | 01:33 | screen. All right, good! That's what
we want; we want just the Histogram
| | 01:36 | palette for now, because we don't
have a lot of width on the screen to work
| | 01:39 | with, and these are very wide images.
| | 01:41 | So there is the Histogram for this
specific image. I you have a little yellow
| | 01:45 | caution icon over there, just click on
it to update the Histogram. You will see
| | 01:50 | the distribution of brightness values
inside this image starting with shadows
| | 01:54 | over here on the left, and moving up
to highlights over here on the right.
| | 01:59 | So what am I talking about, and why
and who cares? Let's go over to the
| | 02:03 | Histogram.psd file. I just want you to
see what a little histogram looks like.
| | 02:07 | Now, let's look at a big one. Let's
collapse that Histogram palette for a
| | 02:10 | moment and move it out of the way.
| | 02:11 | So this is a big view of a histogram,
and it's a bar graph. So these little
| | 02:18 | tiny bars going upward, and you can
see that there is a ton of them. You can
| | 02:22 | see the little lines between them
now. Every single line of those bars
| | 02:27 | represents the brightness value inside
the image. So we start with Black, just
| | 02:31 | completely dead black over here on the
left. And the reason I say dead black is
| | 02:36 | because there is no luminance
whatsoever coming out of your monitor. It would
| | 02:39 | just be a pixel that's basically off.
| | 02:42 | So from Black, all the way over to
White, which would be all the way on, here
| | 02:47 | on the right hand side. The various
luminance levels, you can call them
| | 02:52 | brightness values or luminance
levels if you like in between. Photoshop
| | 02:56 | commonly refers to them as Levels.
| | 02:58 | Think of this graph is being divided
into four equal parts. So the lightest
| | 03:03 | quarter of the colors are the
Highlights right here. Then the darkest quarter
| | 03:09 | of the colors are the Shadows. Then
the middle two quarters are the Midtones.
| | 03:15 | That's basically how it works.
| | 03:16 | Now, they are kind of slop off over
into each other. They are sort of catchall
| | 03:21 | terms; they don't mean specific
color values. It is just that we have the
| | 03:25 | lightest colors, the darkest colors.
Then there is big range of middle colors
| | 03:29 | here that are the Midtones.
| | 03:31 | Now, what you are seeing in this
graph right here, the one I've drawn up is
| | 03:35 | that we have very few dark colors going
on. Notice there is no Blacks, because
| | 03:39 | if there was a Black we would be able
to see a little bit of a bar there. The
| | 03:43 | height of the bar indicates the
number of pixels. Notice this label right
| | 03:48 | there, the number of pixels at this
location, at this specific brightness value.
| | 03:52 | So, some place there is this very
bright color in this all over the image, just
| | 03:57 | probably the blue of the skies, for
example, in the Royal Gorge image, because
| | 04:01 | this more or less matches that image.
| | 04:03 | We have some darkness starting right
about there, so we have some medium
| | 04:08 | shadows inside this image but not many
shadows. Then we have a fair number of
| | 04:13 | Midtones inside of this image, because
these guys are pretty tall. Then we have
| | 04:16 | just gobs of Highlights, a very bright
image. Then dropping down here we don't
| | 04:20 | have any Whites.
| | 04:22 | Now, this is a good Histogram, because
it's fairly smooth, so that indicates
| | 04:26 | that we have some smooth color
transitions going on inside the image. Also, we
| | 04:29 | have some area between where the
colors drop off in White. We have some area
| | 04:35 | between where the colors drop off in Black.
| | 04:38 | That's great, because what you don't
want to see is this spike over here on
| | 04:41 | Black, or a big spike over here on
White. If you have too many Blacks or
| | 04:44 | Whites, it means the image is clipped.
Which means, it's ratty, it's in pretty
| | 04:48 | bad shape and you don't have a lot
of detail left inside that image.
| | 04:53 | So that's how Histogram works. I don't
expect you to all of a sudden have a PhD
| | 04:57 | in Histogram, or even particularly
get it at this point. I just want you to
| | 05:01 | just sort of have this image in front
of you, sort of etched into your brain,
| | 05:05 | for just a moment stare at it, all right.
| | 05:07 | Then in the next exercise, I'll show
you how to actually take advantage of the
| | 05:12 | Histogram palette as we apply
the Brightness/Contrast command.
| | Collapse this transcript |
| Using the Histogram palette| 00:00 | Now that we have a vague idea of what
a histogram is inside Photoshop, let's
| | 00:04 | see how we can use it to gauge the
best Brightness/Contrast settings for an
| | 00:08 | image. I am looking at that image
Royal Gorge.jpg found inside the
| | 00:12 | 05_color_correct folder. I have got my
Histogram palette on screen; I am going
| | 00:16 | to move it all the way, out of the way
of the image. So it's not overlapping
| | 00:20 | the image at all.
| | 00:21 | Notice, you can move these free-
floating palettes over the menu bar even. It's
| | 00:25 | just amazing! But I'll go ahead and
tuck it up here; this is a pretty good
| | 00:28 | place. By the way, notice that I am
seeing a single black histogram here inside
| | 00:32 | the Histogram palette. It's possible
you may be seeing something else, such as
| | 00:36 | three overlapping colored histograms.
If so, here's what I want you to do.
| | 00:40 | Go to the little palette menu icon,
click on it to bring up the flyout menu and
| | 00:44 | choose Expanded View. Then, here inside
the Expanded View, I want you to change
| | 00:50 | your channel to RGB. So it could end up
looking like this. These are the colors
| | 00:54 | I was telling you about a moment ago.
| | 00:55 | We don't want to see that, not for
this image. I'll explain exactly what's
| | 00:58 | going on with all the histograms and
the various colors. We've got the Red,
| | 01:02 | Green and Blue channels overlapping
each other here. That's to come. I will be
| | 01:06 | explaining all that in future
exercises of future chapters.
| | 01:09 | But for now, go ahead and choose RGB,
just because it's simplest. Then, go back
| | 01:14 | to the palette menu and choose Compact
View to restore your little Histogram
| | 01:18 | palette here. Then, I am going up to
the Image menu, I am going to choose
| | 01:22 | Adjustments and I am going
to choose Brightness/Contrast.
| | 01:24 | The reason I am applying Brightness/
Contrast as the static adjustment is
| | 01:27 | because it's good enough for this
image for one thing. The Layers palette is
| | 01:31 | hidden and this is such a wide image, I
want to leave it hidden. But you would
| | 01:35 | use the same settings if you were
working with an Adjustment Layer.
| | 01:38 | All right, so first I want to show you,
just keep an eye, actually I'll move
| | 01:42 | these guys closer together, because I
want you to see what's happening to the
| | 01:45 | histogram as we modify these
adjustments. So if I increase the brightness of
| | 01:50 | the image, notice that that scoots
over the Midtones, squishes the Highlights
| | 01:54 | over here and draws out the Shadows.
So it stretches the Shadows inside the
| | 01:59 | image and it brightens the
image as well, of course.
| | 02:01 | If I were to darken the image, then
I would move the Midtones over this
| | 02:06 | direction, I would stretch out the
Highlights and then I would squish the
| | 02:10 | Shadows. Also, let's just take a look,
I just want you get a sense of what you
| | 02:14 | are looking at here with the Histogram.
| | 02:16 | If I increase the Contrast, I am
going to spread that Histogram out, notice
| | 02:21 | that, so I am spreading it in these two
directions here. If there was a little
| | 02:24 | bit of an opening in the middle, then
we would create more of a value on that
| | 02:27 | Histogram. If I reduce the Contrast
value, notice that I reduce the size of the
| | 02:32 | Histogram, so it actually shrinks. So
that we have fewer Shadows and fewer
| | 02:36 | Highlights and more
Midtones inside of the image.
| | 02:39 | I want you to compare that just so
that you get a sense of what is going on
| | 02:42 | here to what used to happen in the
old days. This was in Photoshop CS2 and
| | 02:47 | earlier. I'll turn on Use Legacy so you
can see. Notice, if I were to increase
| | 02:51 | the brightness value in the old days,
it moves the entire histogram. It just
| | 02:55 | moved it over to the right, like this.
| | 02:57 | That means, we would end up clipping
colors, we would end up just shoving some
| | 03:01 | colors into white, because you can't go
beyond white. A lot of the image would
| | 03:05 | end up looking just terrible as it is
right now. If you were to go even farther
| | 03:10 | with it, look at that, we are just
moving the histogram over here. It hits the
| | 03:12 | wall and goes splat and we have
a ton of whites inside the image.
| | 03:16 | Meanwhile, if I were to reduce the
Brightness value exactly the opposite, we
| | 03:19 | move the entire histogram to the left
and splat it against black and we have
| | 03:23 | just a ton of blacks now going on
inside the image. Contrast would just kind of
| | 03:28 | spread out the colors like this. So
in other words, you really couldn't get
| | 03:31 | good results with the command back then.
Anyway, now you can, let's turn Use
| | 03:35 | Legacy off, so we can
actually get something done here.
| | 03:38 | Let's see how we go about correcting
this image. I am going to start, notice
| | 03:41 | that this is a low-contrast image,
because it doesn't have a lot of Shadows
| | 03:44 | there, and notice a lot of Shadows
are missing, and a lot of Highlights are
| | 03:47 | missing as well. So we need to
spread out this histogram, so we need to
| | 03:50 | increase the Contrast of the image.
That's where we need to start. And that's
| | 03:53 | what the histogram tells us. Start
with Contrast, because there is not enough
| | 03:57 | contrast going on right now. So I'll
go ahead and increase the Contrast to
| | 04:01 | about 80 for this image, it
actually happens to work out pretty well.
| | 04:04 | Now, I can see that if anything, I have
got some decent shadows going on here,
| | 04:09 | not great but pretty good, but I don't
have Highlights. So what I need to do is
| | 04:13 | brighten up the image. So I am
going to move this Brightness value up.
| | 04:17 | Somewhere around about 25, I think
for this image, looks pretty good.
| | 04:22 | I'll go ahead and tweak that down.
This look pretty darn good to me, and I'll
| | 04:25 | go ahead and click OK, in order to
accept that modification. So just to get a
| | 04:30 | sense of what we were able to
accomplish here, and we can watch our Histogram
| | 04:33 | tool, go ahead and update that
histogram so we can see what it looks like. This
| | 04:36 | is the after version of the image, both
histogram and image on screen. This is
| | 04:40 | before and this after. So we are
probably going to get better results out of
| | 04:44 | this after image.
| | 04:45 | Now, the one place in, which I might
think, gosh! This area right here, notice
| | 04:51 | this sort of shaded area right there,
I'll go ahead and press Ctrl+Z again. We
| | 04:54 | used to have better detail going on
inside this image; I'll zoom in on it. We
| | 04:58 | used to have better detail going on
inside this portion of the image back
| | 05:02 | before we applied the color correction,
and now, after, it gets pretty darn
| | 05:08 | dark. What do we do about that? How do
we draw out of a single detail if we go
| | 05:11 | too far in a certain area?
How do we draw it back?
| | 05:15 | I will show you the answer; we are
going to take advantage of this thing called
| | 05:17 | the History Brush in the next exercise.
| | Collapse this transcript |
| Restoring details with the History brush| 00:00 | So here we are looking at that image
that we just gone through correcting in
| | 00:04 | the previous exercise. This is the
before version of the Royal Gorge.jpg image
| | 00:09 | and this is the after version of the
image. So the Before version a little bit
| | 00:14 | dark, very low in contrast, the After
version a little bit brighter, a lot more
| | 00:19 | contrast going on.
| | 00:20 | However, thanks to the fact that we
are making the Highlights lighter and the
| | 00:24 | Shadows darker. We are losing some
information in the Shadow area. So this is
| | 00:29 | the before version of this rock
shadow right there and this is the after
| | 00:33 | version. So we are losing some detail
here. We are also losing some detail
| | 00:37 | around here as well.
| | 00:39 | How do we bring that detail back? Well,
we can take advantage of a feature
| | 00:42 | called the history brush. It's this
tool right there, it allows you to paint
| | 00:46 | with an older state of the image. So
I am going to go ahead and click on
| | 00:50 | History Brush to select it. You can
also press the Y key, which is the last
| | 00:54 | letter in History, of course.
| | 00:56 | Now the brush is a little smaller. You
can see this circle is just too small to
| | 00:59 | get much of any work done. So a couple
of different ways to change it, one is
| | 01:03 | to go up here to the Options Bar and
click on this down pointing arrowhead and
| | 01:06 | then I could change the Master
Diameter value. Or I can get that little
| | 01:10 | dropdown palette on the fly by right-
clicking anywhere inside of the image
| | 01:15 | window when the History Brush is active.
| | 01:17 | Then I can change that Master Diameter
value and then I can move my cursor out
| | 01:21 | here and see if it's big enough and if
it's not, now that the value is active,
| | 01:25 | right, I could press Shift+Up Arrow a
couple of times in order to grow that
| | 01:29 | brush on the fly. This looks pretty
good to me. So something around a 100 and
| | 01:33 | then I will just start painting in
order to paint with the older lighter
| | 01:38 | version of the shaded side of the rock
there. Then I will paint inside of this
| | 01:42 | area as well in order to bring it back.
| | 01:46 | Now, if you are having any sort of
problems, you are seeing some error message,
| | 01:49 | something along those lines, then you
can bring up the History palette. Go to
| | 01:53 | the Window menu and choose the History
command in order to bring up the History
| | 01:57 | pallet. It will show you all of the
operations that you have applied inside the image.
| | 02:01 | So History is really about multiple
Undos. You can just click on a state in
| | 02:05 | order to back up like so. This is the
original version that opened. This is the
| | 02:09 | Brightness/Contrast version of the
image. This is the first History Brush
| | 02:13 | stroke, this is the second one.
| | 02:15 | Now this little guy right there,
indicates what we are painting back to, what
| | 02:19 | the History Brush will paint to, the
source for the History Brush, is what it's
| | 02:22 | called. It's right now associated with
the snapshot and this is the snapshot
| | 02:27 | that was automatically
created when we opened the image.
| | 02:30 | If you wanted to paint back to some
other state, then you would just click in
| | 02:33 | front of it. Like if I wanted to
paint the Brightness/Contrast modification
| | 02:36 | back in, I would click in front there
and paint over this area in order to
| | 02:40 | paint it back high-contrast, like so.
I don't want that, but that's what I could do.
| | 02:45 | So, I might just decide, this area
round, I kind of went out it too much. So
| | 02:49 | maybe I will go with a smaller brush
this time around, like something in the 60
| | 02:54 | pixel range. Then I will press the
Enter key a couple of times there and I will
| | 02:58 | paint around this area just to make
sure that I am not creating a bad edit.
| | 03:03 | This looks really good to me.
I will go ahead and zoom out.
| | 03:06 | So, now we can do a big after version
of the image here. We can go over to the
| | 03:13 | History palette and I could click on
Royal Gorge.jpg right there in order to
| | 03:17 | see the original version of the image.
Now let's go ahead and close that
| | 03:20 | History palette. So that's the before
version, the very original version that
| | 03:24 | is. Then if I go up to the Edit menu, I
can undo that state change by pressing
| | 03:28 | Ctrl+Z. So that takes me back to the
fully modified version, the last state I
| | 03:32 | was working on.
| | 03:33 | So now I just press Ctrl+Z or Command+Z
on the Mac in order to switch back and
| | 03:37 | forth. You can see that everything
about the image except for these shadows
| | 03:41 | right here is changing. Thanks to my
combination of Brightness/Contrast working
| | 03:46 | in coordination with the Histogram
palette and the History Brush, here inside Photoshop.
| | Collapse this transcript |
| Using the Color Balance feature| 00:00 | In this exercise, we are going to
switch our focus from Brightness/Contrast to
| | 00:04 | correcting for color cast. You can
see the image before us here, which is
| | 00:08 | called Count Maxula.jpg, found inside
the 05_color_correct folder, has quite
| | 00:14 | the color cast.
| | 00:15 | By color cast I mean a predominant
color that's throwing off the natural order
| | 00:20 | of things inside of the image. In Max's
case here, he is far too red and orange
| | 00:26 | and yellow. So he has a very pronounced
warm color cast to him and we are going
| | 00:31 | to take care of that.
| | 00:32 | So, step number one is to put the
Histogram palette back away. So I am going to
| | 00:36 | press Shift+Tab to bring back my right
side palettes and I am going drag this
| | 00:40 | Histogram tab right here and I am going
to drop it between the little Navigator
| | 00:44 | and Info icons, like so. Now
that's where it ought to be.
| | 00:49 | You can correct for color cast using
one of two commands and here they are. I
| | 00:53 | will go up to the Image menu, choose
Adjustments. The first command is Color
| | 00:56 | Balance and the second command is
Variations. Now by default, Color Balance has
| | 01:02 | a keyboard shortcut of Ctrl+B or
Command+B on the Mac. But I went ahead to
| | 01:06 | install it. If you loaded my deke keys,
I transferred Ctrl+B or Command+B on
| | 01:11 | the Mac to Variations because I prefer
working with that command. I think it
| | 01:15 | makes a lot more sense,
it gives you more control.
| | 01:17 | However, we will start things off
with Color Balance. It has one advantage,
| | 01:21 | which is that, it's available as
an Adjustment Layer here inside the
| | 01:24 | Adjustments palette. So we are going
to apply it as an Adjustment Layer since
| | 01:28 | we can. So here is Color Balance right
there. That's the Color Balance icon.
| | 01:32 | But before you click on it, recall
few exercises ago when we added a
| | 01:36 | Brightness/Contrast Adjustment Layer.
We added not only the layer, but also a
| | 01:40 | layer mask, which sort of just
cluttered up the palette. Generally speaking,
| | 01:44 | you don't need layer mask. And when you
do, it's very easy to add one after the fact.
| | 01:48 | So here is what I would like you to do.
Go up to this little icon in the upper
| | 01:52 | right corner of the Adjustments
palette. Click on it to bring up the flyout
| | 01:55 | menu and turn off Add Mask by Default.
Now we will not have a layer mask
| | 02:00 | cluttering up our palette.
| | 02:01 | Go ahead now and click on Color Balance.
Or, if you want to name the layer as
| | 02:06 | you are creating it, press the Alt key
or the Option key on the Mac and click.
| | 02:11 | That will force to display off the
dialog box. I am going to call this anti-red
| | 02:16 | or something like that and then
click OK. Now we have an anti-red layer.
| | 02:20 | Now, it's not doing anything, because
I haven't added any settings. Let's do
| | 02:23 | that. Then notice that I am offered
three different slider bars here, each of,
| | 02:27 | which represents a different color axis.
So we start off with Cyan versus Red.
| | 02:34 | These guys are theoretical color
opposites or color complements, if you prefer.
| | 02:38 | We will be discussing what that means
in detail just a few exercises from now.
| | 02:43 | But anyway, if you have got too much red,
then you want to take the slider into
| | 02:48 | cyan territory. And in our case, we
have way too much red, so I am going to
| | 02:52 | take this guy all the way over to
-100, which is all the way cyan.
| | 02:57 | The next slider is Magenta versus Green.
Magenta being kind of a purplish pink
| | 03:02 | color and green is its theoretical
opposite. Now this image has a little bit
| | 03:09 | too much magenta. If you take a look at
Max's mouth, you can see that it's kind
| | 03:12 | of a hot pink. So let's go ahead and
drag this slider over little bit toward
| | 03:17 | green, so maybe about +30. The finally,
the image is way too yellow. So let's
| | 03:23 | add some blue to the image by taking
this value up to say, about +40. I think,
| | 03:29 | it works out pretty nicely.
| | 03:30 | Now this is not a perfect color
adjustment. We're not going to get completely,
| | 03:33 | absolutely great colors for two
reasons. One, we start off with pretty bad
| | 03:39 | image in the first place. It had a
really bad color cast. Secondly, this isn't
| | 03:43 | the best command for this purpose,
like I was saying, Variations is better.
| | 03:47 | Next though, we do have this other
option here, which is to either preserve the
| | 03:52 | luminance levels, the natural luminance
levels in the image or let them drift.
| | 03:56 | Right now we are preserving them, which
I think makes the image look lighter. I
| | 04:00 | will show you what I mean. I will go
ahead and click and hold on this little
| | 04:02 | eye icon or you could press and hold
the Backslash key if you prefer. Then
| | 04:06 | release in order to see the after version.
| | 04:08 | So, again this is before, this is
after. To me, the after version looks
| | 04:13 | lighter. So I am going to turn off
Preserve Luminosity to let the image decline
| | 04:18 | a little bit. It gets a little bit
darker when I turn off that checkbox and I
| | 04:21 | think that looks better.
| | 04:23 | So, that is our final correction.
Again, this is before and this is after.
| | 04:28 | Thanks to the addition of a Color
Balance Adjustment Layer. In the next
| | 04:32 | exercise, we will see how we can take
on this same image using the Variations command.
| | Collapse this transcript |
| Introducing the Variations command| 00:00 | In this exercise, I am going to
introduce you to the Variations command and the
| | 00:03 | many options that are available to us
inside the Variations dialog box. Notice
| | 00:08 | I have open two images, Balanced
Maxula.psd, which is the color balanced
| | 00:13 | version of the image that I created in
the previous exercise, and the original
| | 00:17 | Count Maxula.jpg that has not been
corrected. They are both found inside the
| | 00:23 | 05_color_correct folder.
| | 00:24 | We will be working in Count Maxula.jpg.
So if you had gone ahead and created an
| | 00:29 | adjustment layer in the previous
exercise, just go and throw it away or turn it
| | 00:32 | off for now and then click on the
Background layer to make sure it's active.
| | 00:35 | Then, I am going to move Max over to
the left here a little bit, so that we can
| | 00:40 | keep an eye on him as I bring up the
Variations dialog box. So I am going to
| | 00:43 | choose Image > Adjustments > Variations,
or if you loaded Deke keys, you can
| | 00:48 | press Ctrl+B or Command+B on the Mac.
| | 00:51 | You may wonder, hey! Why not use an
adjustment layer? Because we can't. The
| | 00:55 | Variations command is not a standard
color adjustment. It doesn't use the same
| | 00:59 | approach to an image. You can apply a
non-destructive way to smart objects. But
| | 01:03 | smart objects are quite complicated. We
won't be getting to them till Part 3 of
| | 01:07 | this series.
| | 01:08 | So for now, we will just apply it as
the static adjustment. Choose Variations
| | 01:12 | command, up comes the Variations dialog
box right here. A brilliant thing about
| | 01:15 | this dialog box is that it allows you
to click on these thumbnails, which show
| | 01:20 | you what the image will look like if
you click on them. So there is not quite
| | 01:24 | as much guesswork involved with this
command. Meanwhile however, it does not
| | 01:28 | preview in the background image. So
the background image remains unchanged
| | 01:32 | until you click the OK button.
| | 01:34 | So, if you want to make the image more
cyan, you would click on More Cyan. If
| | 01:38 | you make it more blue, you will click
on More Blue, and so on. If you want it
| | 01:40 | darker, you will click on Darker. You
can see that each of these thumbnails
| | 01:45 | sort of add to each other. So if I keep
clicking on More Magenta, I am going to
| | 01:48 | make this image very
magenta indeed after a while.
| | 01:51 | If I want to restore the original
version of the image, I come up to Original
| | 01:55 | and click on it. You also have this
Fine Coarse slider, so if you want very
| | 01:59 | coarse adjustments, you can move it
all the way over to the right and you can
| | 02:04 | see that we are indeed going to
create some coarse adjustments.
| | 02:07 | Now what's funny about this is they
all look ridiculous except for More Cyan.
| | 02:11 | More Cyan looks not right, but it does
look better actually than the original image.
| | 02:16 | So that just goes to show you how
much red is going on inside of that right
| | 02:20 | now. Then if you want to take things
back, if you want to rein them in a
| | 02:24 | little, you would send this slider
more towards Fine. But you can see all the
| | 02:27 | way toward Fine, you can barely tell
the difference between these thumbnails.
| | 02:31 | So it's a little bit hard to gauge.
| | 02:32 | What I typically do is start off in
the middle or approximately in the middle
| | 02:37 | on the Mac, and then make my larger
modifications and then back it off as I am
| | 02:42 | trying to fine-tune my adjustments.
But we will start in the middle there.
| | 02:46 | Now right now, we are changing just the
Midtones inside the image, so just the
| | 02:50 | middle colors. We also have the option
of balancing the colors of the Shadows
| | 02:53 | and the Highlights if we want to, so
the darkest and the lightest colors. And
| | 02:57 | we can change the Saturation, that is,
the intensity of the colors. We will see
| | 03:01 | how that works in a future exercise.
| | 03:03 | But here are a couple of things to
consider. We have got these various
| | 03:08 | thumbnails that are set up around the
image, and they are all set to different
| | 03:12 | colors. So we have got More Red, More
Yellow, More Green, More Cyan, More Blue
| | 03:16 | and More Magenta. And then over
here, we have got Lighter and Darker.
| | 03:20 | But why don't we have less of anything,
why just more of the colors? So instead
| | 03:25 | of having a Less Red, which is what we
need, we just have More Red. And then
| | 03:29 | why these specific colors? Why is it
red, yellow? Where the heck is orange?
| | 03:34 | Where is violet, the purple colors, for
example? It turns out, this is the best
| | 03:39 | way for this dialog box to be
structured, because of the way that color works
| | 03:43 | in the digital round.
| | 03:44 | I will tell you all about color
primaries and complements so that you
| | 03:48 | understand everything we are seeing
inside of this dialog box, in the next exercise.
| | Collapse this transcript |
| Color primaries and complements| 00:00 | So I posed two questions related to
the Variations dialog box here in the
| | 00:04 | previous exercise. First, why these colors,
why red, yellow, green, cyan, blue, magenta?
| | 00:10 | And then why more, more, more, more, more,
more, more? The reasons are as follows.
| | 00:16 | I am going to Alt+Tab over to the
Bridge, which I have running. On the Mac,
| | 00:20 | that would be a Command+Tab. I
am going to burrow my way into the
| | 00:24 | 05_color_correct folder, here inside
the exercise_files folder, and I am going
| | 00:28 | to click on the file called Color
Graph.psd and I am going to press the
| | 00:32 | Spacebar in order to take advantage
of that Full Screen Preview option.
| | 00:36 | Here is how colors are organized in
the digital realm. We start with Red. The
| | 00:41 | colors are actually mapped on to a
circle like we are seeing in here. So they
| | 00:44 | go all the way around. We start with
red and we wrap all the way back around to
| | 00:48 | red. So it's like we are taking a
rainbow and wrapping it around on itself.
| | 00:52 | Now this is the entire visible color
spectrum that we are seeing here. We start
| | 00:56 | things off with red at zero degrees,
for what it's worth on the circle and, of
| | 01:00 | course, the circle has 360 degrees.
When we are measuring color on the circle,
| | 01:04 | we measure it in a counterclockwise direction.
| | 01:08 | So our next big color is Yellow right
there at 60 degrees. Then 60 degrees from
| | 01:12 | that, we have Green. Another 60 degrees,
we have Cyan. Then we have blue, then
| | 01:17 | we have Magenta and then we wrap all
the way back as I say, to Red. Now midway,
| | 01:22 | 30 degrees away from Red, is Orange.
| | 01:24 | So Orange is a secondary color. So the
colors that are at the 60-degree marks
| | 01:28 | are primary colors. The colors that
are at the 30-degree marks are secondary.
| | 01:33 | So we have got Orange, we have got Lime,
Turquoise, Cobalt, Violet and Crimson.
| | 01:39 | Now these are my color names, I should
say that. The big ones, the primaries,
| | 01:43 | those are universal standards, those
names there. But I have gone ahead and
| | 01:48 | names to the secondary and tertiary
colors. The reason being that there are no
| | 01:54 | industry standards for these colors. I
came up with these names based on other
| | 01:58 | industry colors, such as crayons and
paints and other pigments that are out there.
| | 02:04 | So notice where the primaries are
concerned, that we have red at this location.
| | 02:09 | Then 120 degrees later, we have Green,
and then 120 degrees after that we have
| | 02:14 | Blue. And you may have heard of the Red,
Green, Blue, RGB color space. This is
| | 02:19 | the color space of light.
| | 02:21 | It's the color space that's used to
display colors on your computer screen or
| | 02:26 | some other projection device. It's
the colors that are used by your digital
| | 02:29 | camera in order to capture the colors
in the first place. It's also used by scanners.
| | 02:34 | Then if we take a look at the missing
colors, the colors I didn't mention, the
| | 02:37 | missing primaries, we have got Yellow,
Cyan and Magenta. You may have heard of
| | 02:42 | Cyan, Magenta, Yellow, Black, used
for printing, CMYK. That's because those
| | 02:49 | colors are used to absorb the other colors.
| | 02:51 | So in the natural world, white light is
made up of a combination of red, green
| | 02:56 | and blue. The function of cyan is to
absorb red light and bounce back blue and
| | 03:01 | green, and the function of magenta is
to absorb green light and bounce back red
| | 03:06 | and blue, and the purpose of yellow is
to absorb blue light and reflect back
| | 03:11 | red and green.
| | 03:13 | Truly, by the way, when you mix red
and green, you get yellow. Because these
| | 03:17 | are lights, the colors grow brighter
as you mix them. That's the way things
| | 03:22 | work. So that is why, if I go ahead
and switch back to Variations, that's why
| | 03:26 | we are seeing red at the zero degree
position. We are seeing yellow at 60
| | 03:30 | degrees, green at 120 degrees, cyan
at 180 degrees, blue at 240 degrees and
| | 03:36 | then magenta at 300 degrees.
| | 03:38 | Everyone who is across from somebody
else is the color complement. So red and
| | 03:43 | cyan are complements to each other, so
theoretical opposites. Yellow is across
| | 03:47 | from blue, so they are complements or
theoretical opposites. And green and
| | 03:52 | magenta across from each other, so
they too are complements/theoretical opposites.
| | 03:58 | So here's the thing. We have More Red,
where is Less Red, right here. More Cyan
| | 04:03 | is the same as Less Red, More Red is
the same as Less Cyan. More Yellow is the
| | 04:08 | same as Less Blue, More Blue is the
same as Less Yellow. More Magenta is the
| | 04:13 | same as Less Green and More Green is
the same as Less Magenta. I just want to
| | 04:18 | make sure we are
covering all of our bases there.
| | 04:20 | So what does that mean in terms of
correcting this image of Max? Stay tuned for
| | 04:25 | the next exercise and I will tell you.
| | Collapse this transcript |
| Correcting the color cast| 00:00 | In this exercise, I am going to show
you how to correct this image of Max here,
| | 00:04 | Count Maxula.jpg. This is my elder son
by the way, and we are going to correct
| | 00:08 | this image using the Variations command.
| | 00:12 | First of all, let's evaluate what
we've got. We could just sit here and click
| | 00:15 | on thumbnails until we get something
better than what we have right now. But
| | 00:18 | first, I would like to step back and say,
"What is wrong with the image?" Well,
| | 00:23 | it's got a color cast. What kind
of color cast? Let's evaluate that.
| | 00:26 | Let's look at the image. Memorize what
we are seeing here, the various hues,
| | 00:30 | that is, core colors that we are
seeing inside the image. Then I will switch
| | 00:34 | back to this Color Graph.psd file
that I am viewing inside the Full Screen
| | 00:37 | Preview mode that's
available to us in the Bridge.
| | 00:40 | Now I would say that Max's colors, his
color cast that is, the badness of his
| | 00:45 | color falls inside of this range right
here. So I would identify his color cast
| | 00:50 | as being scarlet. We don't have a
more or less scarlet button to work with.
| | 00:54 | Instead, we are going to have to work
with the buttons we have, which are red
| | 00:58 | and yellow and their complements, cyan and blue.
| | 01:01 | So if we were saying that he's got a
scarlet color cast right now, that means
| | 01:05 | that he is three parts red compared
to one part yellow, because he is three
| | 01:10 | increments away from yellow and one
increment away from red. So he is more red
| | 01:15 | than yellow, three times as much red,
in fact, as he is yellow. If he were
| | 01:19 | amber, then he would be three parts
yellow and one part red, do you understand?
| | 01:22 | So, three parts red, one part yellow.
Let's go back to Max and I did that by
| | 01:29 | pressing Alt+Tab or Command+Tab on the
Mac. Now, that means that we need to get
| | 01:35 | rid of the red three times as much as
we need to get rid of the yellow. I am
| | 01:40 | going to do that by setting my Fine
Coarse slider right there in the middle or
| | 01:43 | whatever its default setting is on the
Mac, because it's slightly off center.
| | 01:47 | Then you want to click once, twice,
three times on More Cyan. Notice, I didn't
| | 01:53 | triple-click, I didn't go click,
click, click, because if you do, the
| | 01:56 | Variations command will track you
properly and you won't really know how far it
| | 02:00 | did track you. It might take two of
them, it might just take one, you don't
| | 02:03 | know. Then you've got to start
over by clicking on Original.
| | 02:06 | Do it again, so just click slowly,
click, pause, click, pause, click, pause.
| | 02:11 | It's sort of pain in the neck, but
it's the way it works. We have given him
| | 02:15 | three cyans here, so three less reds.
And now we need to do one less yellow by
| | 02:20 | clicking on More Blue and we get this
effect right there. It's pretty darn
| | 02:25 | good. It looks promising!
| | 02:26 | Now, go up here to the Fine Coarse
slider and I am going to move this triangle
| | 02:31 | just one click toward Fine, so just
one tick mark toward Fine. Then, I will
| | 02:36 | just look at these thumbnails, just to
see what I think of them. This is pretty
| | 02:38 | much the way I work. Do what I think
is going to solve the problems with the
| | 02:42 | image. Then back off of the coarseness.
Then take a look at my thumbnails and
| | 02:46 | see if one of the thumbnails
looks better than current pick.
| | 02:49 | In my opinion, More Green looks a
little bit better. So I am going to click on
| | 02:54 | More Green, just once. Then I would
like to darken up the image a little bit.
| | 02:57 | It's looking too light to me. So I
will go to Darker here and I will click on
| | 03:01 | it once and then I will click twice,
because it looks better that way.
| | 03:05 | So, so far, we had Fine Coarse set
right in the middle. We clicked three times
| | 03:10 | on Cyan, once on Blue. Then we moved
this guy over to Fine just one increment,
| | 03:14 | clicked once on Green and twice on Darker.
| | 03:17 | Now then, what about these radio
buttons up here? They allow us to balance the
| | 03:22 | colors in the Shadows and the
Highlights. Those are available to us with a
| | 03:25 | Color Balance command as well, just
that they don't really work all that
| | 03:28 | terribly well. If I turn on Shadows,
notice right away, I am seeing all these
| | 03:32 | aberrant colors right here.
| | 03:35 | And the reason is that Photoshop is
trying to show me, if you print this image,
| | 03:39 | these colors aren't going to print
properly and they are going to clip. Hence,
| | 03:44 | we have got this Show Clipping option
turned on. It means that they are going
| | 03:46 | to map to the wrong color
values in the world of CMYK.
| | 03:50 | Well, the problem is it's only for CMYK,
only for commercial output. Secondly,
| | 03:54 | not terribly accurate. Third, doesn't
have anything to do with Inkjet printers,
| | 03:58 | it just really, doesn't do us any good.
It's very primitive, old-fashioned.
| | 04:02 | Turn it off, because it's just
getting in our face at this point.
| | 04:06 | So, let's go ahead and crank up the
coarseness, just so that we can see what
| | 04:09 | might happen and you can see how we
would be imbuing the Shadows with different
| | 04:14 | colors. So the darkest colors in the
image would be imbued with different
| | 04:16 | colors, were we to click
on one of these thumbnails.
| | 04:19 | Not really something that's going to
work out for us too terribly well, because
| | 04:23 | the colors in the Shadows actually look
pretty darn good to me. They might be a
| | 04:26 | little greenish, in, which case I could
set this down to Fine or something like
| | 04:31 | that and I could click on Magenta
in order to make it rosier inside the
| | 04:36 | Shadows. But I don't really think we
are going to get very far doing that.
| | 04:38 | Now I am going to make this Coarse
again, so we can see Highlights. Here is
| | 04:42 | Highlights and you can see we are
really imbuing the lightest colors with a
| | 04:45 | different color this way. We are
basically colorizing the image overall. You
| | 04:49 | may find that a little bit useful again.
If I go to Fine, I may be able to get
| | 04:54 | rid of the blueness inside of his eyes.
Maybe I will take this up just a little
| | 04:58 | bit higher and click.
| | 05:01 | But see, that's a problem. We're
staring to get all these weird colors inside
| | 05:05 | the flush tones too. I just don't like
it. No, not doing it. I always try to
| | 05:09 | like this function. You can hear me
trying to like it, I think. But I have
| | 05:12 | never found it to be useful to
change the colors of the Highlights.
| | 05:16 | But here is something I do find useful,
Saturation. I'm going to go ahead and
| | 05:19 | switch over to that. This allows me to
either make the colors more intense or
| | 05:23 | less intense. I am going to back
things off. Notice I have my little slider
| | 05:28 | triangle just a little bit over from
middle toward Fine and I will click on
| | 05:32 | Less Saturation. And that
looks pretty darn good to me.
| | 05:35 | Now, let's see how it works. I am
going to go ahead and click OK in order to
| | 05:39 | apply that color modification to the
image and there it is. This is before and
| | 05:44 | this is after. So certainly quite a bit better.
| | 05:48 | If we wanted to get a sense of how it
compares to the Color Balanced version of
| | 05:51 | the image, this is the Color Balanced
version, a little rosier, as it turns out.
| | 05:55 | This is the Variations version, a
little bluer. You can, of course, decide
| | 05:58 | which one you like better. It's
completely up to you at this point.
| | 06:01 | Now, in the next exercise, I am going
to show you how we can back off of our
| | 06:05 | Variations effect using the Fade
command and then we will really be able to
| | 06:09 | judge. Stay tuned.
| | Collapse this transcript |
| Fading a static adjustment| 00:00 | In this exercise, I am going to
show you how to fade the last color
| | 00:03 | modification that you have applied to
the image, the last static modification.
| | 00:07 | So here I am working inside the Count
Maxula.jpg image that's found inside the
| | 00:12 | 05_color_correct folder.
| | 00:14 | I just got done applying the Variations
command. So I should be able now to go
| | 00:18 | up to the Edit menu and choose the
Fade command. But Fade is dimmed. Now this
| | 00:22 | sometimes happens. If you click around
between different windows like I just
| | 00:25 | got done doing in the previous
exercise, it can mess things up.
| | 00:28 | So, I need to go ahead and undo that
last modification. So I am going to go up
| | 00:33 | to the Edit menu and I'm going to
choose Step Backward, or I could press
| | 00:37 | Ctrl+Alt+Z, Command+Option+Z on the Mac,
in order to make sure that I have
| | 00:43 | restored the original version of the
image prior to applying the Variations command.
| | 00:47 | Then, I will go up to the Image menu,
choose Adjustments and choose Variations,
| | 00:51 | or I could press Ctrl+B, Command+B
on the Mac, in order to bring back the
| | 00:55 | Variations dialog box. The wonderful
thing about Variations is it always keeps
| | 00:58 | track of the last modification you applied.
| | 01:01 | Now it's showing us here inside the
Saturation area, I could click on Midtones
| | 01:04 | to go back to the more familiar
controls with the hue values and the luminance
| | 01:09 | values over here on the right hand side.
In any event, this current pick item
| | 01:13 | here, that is the last modification we
applied. Let's go ahead and click OK in
| | 01:17 | order to apply it to the image.
| | 01:18 | Now, I can go up to the Edit menu and
choose Fade Variations or I could press
| | 01:24 | Ctrl+Shift+F, Command+Shift+F on the
Mac. Now what you can do is you can back
| | 01:29 | off of your opacity. You can also mix
the image using a Blend mode, but that
| | 01:33 | gets pretty darn complicated. It's not
something we are going to do right now.
| | 01:37 | But notice with opacity at 100% opacity,
I am seeing the after version of the
| | 01:41 | image. If I take the opacity value down
to 0%, I see the before version of the
| | 01:46 | image, so the original version, and
then I can mix the two together using any
| | 01:50 | other opacity value.
| | 01:51 | Now this isn't some kind of
incremental undo or something along those lines,
| | 01:56 | where it reduces the mathematical
effect of the Variations command. All it's
| | 02:00 | doing is taking the after version of
the image and mixing it with the before
| | 02:04 | version of the image. That's it.
| | 02:06 | So, if I were to change it to 50%, it
would be a 50-50 mix of the two. Or I am
| | 02:12 | going to go ahead and take this value
up, because I want to mostly keep the
| | 02:15 | results of my modification. I am
pressing Shift+Up Arrow, of course, and then I
| | 02:19 | will go ahead and nudge this value
by pressing the Up Arrow key to 85%.
| | 02:23 | So that's what I like, anyway. You
could try something else. So click OK in
| | 02:27 | order to apply that modification. Now
we can run a good comparison between
| | 02:31 | Balanced Maxula.psd, which is the
version that I corrected using the Color
| | 02:36 | Balance command.
| | 02:37 | Now, he does have some rosier skin
detail going on here, but we are not going
| | 02:41 | far enough in terms of getting the
yellow out of this image, notice that. Even
| | 02:46 | if I were to increase this blue value,
then we just start getting these pink colors.
| | 02:50 | So we are really never able to get
something that is exactly what I wanted to
| | 02:54 | be and I just, by the way, modified
the yellow blue value here inside the
| | 02:58 | Adjustments palette, because the
anti-red adjustment layer is active.
| | 03:02 | So I just don't feel like we can get
the yellow out of here to the degree that
| | 03:06 | I want to. Let's try something like 50%,
perhaps. It's like halfway decent, but
| | 03:10 | still not what I want. Whereas Count
Maxula.jpg, the colors are in a lot better
| | 03:15 | shape in my opinion. We have done a
better job of getting rid of those yellows,
| | 03:19 | the cheeks and stuff are quite so rosy,
but they are looking awfully darn good.
| | 03:24 | This I would say is a
pretty well balanced image.
| | 03:27 | Now, just one other thing, his eyes to
me are too blue. So I am going to grab
| | 03:32 | the History Brush tool. So I could get
by pressing the Y key, of course, and I
| | 03:36 | will right-click inside the image and
change the Master Diameter. I will just
| | 03:39 | bring it up a little bit to maybe about 70.
Actually, it might work out pretty nicely.
| | 03:43 | Press the Enter key a couple of times,
Return key on the Mac, and then I should
| | 03:46 | just be able to paint inside of those
eyes to get rid of that blueness and
| | 03:52 | that's way too much. Now he's got these
really evil red eyes that I don't think
| | 03:58 | they suit him. So I will go
ahead and undo that modification.
| | 04:01 | First of all, let's make sure things
are right inside the History palette. They
| | 04:04 | are. We are identifying the original
version of Max as the source for our
| | 04:10 | painting, so that's good. So I'll put
that back away. But the opacity value is
| | 04:13 | too high, I think. So let's go ahead
and reduce that opacity value to 50% and
| | 04:17 | now let's see what happens
when we paint inside of the eyes.
| | 04:20 | It's starting to look better. I will go
ahead and paint this back as well. This
| | 04:26 | looks pretty darn good. Now I have
gone too far, I have painted too much into
| | 04:29 | the edges of the eyes. Let's go and
zoom in so we can inspect these details a
| | 04:33 | little more closely.
| | 04:34 | I will go back to the History palette,
and this time I am going to identify
| | 04:38 | this item right here, Fade Variations,
which was the After version of Max. I am
| | 04:43 | going to identify that is the source
for my History Brush modifications by
| | 04:48 | clicking on at there.
| | 04:49 | Then I will put that palette away
once again. I will make my brush just a
| | 04:52 | little bigger by increasing that
Master Diameter value, let's say to about
| | 04:57 | something like a 100, I think, it will
work out nicely for us. Press the Enter
| | 05:00 | key a couple of times.
| | 05:01 | Now I am also going to reinstate the
opacity value back up to a 100% and then I
| | 05:06 | will paint right up next to the edge
of that eye and up here as well. Then do
| | 05:12 | the same thing over in this eye,
including not only the iris, but also the
| | 05:16 | underside of the eye and top area as well.
| | 05:19 | There we have it, a corrected version
of the image. It looks so good! Now I
| | 05:22 | will zoom out, so we can take in the
entire image. Oh my gosh! It looks so good!
| | 05:25 | Now the final thing I would
like to do is to do a before and after
| | 05:29 | comparison. I want to see the original
version of the image and compare it to
| | 05:32 | this version of the image.
| | 05:34 | We will do that, taking advantage of
a special technique that involves the
| | 05:38 | Revert command, in the very next exercise.
| | Collapse this transcript |
| Revert and Undo (for before and after)| 00:00 | I am looking at the final corrected
version of the Count Maxula.jpeg image and
| | 00:04 | at this point I would like to do a
before and after preview. I would like to
| | 00:07 | see how far we have come. So take a
look at the original image, compare it to
| | 00:11 | our modified version of the image.
But that's no easy feat or one would think,
| | 00:16 | because this is been a multi-step
procedure. So I can't just press Ctrl+Z or
| | 00:20 | Command+Z on the Mac, right.
| | 00:21 | Now I could bring up the History palette,
if I wanted to, either by clicking on
| | 00:26 | this icon or choosing History from the
Window menu and then I could click on
| | 00:29 | the snapshot right at the top, which
was generated when we first open the
| | 00:33 | image, and then click on History Brush
to look at the after version or after
| | 00:37 | clicking here I could press Ctrl+Z or
Command+Z on the Mac to go back and forth.
| | 00:41 | But that's a little bit cumbersome
especially compared to this wicked cool
| | 00:46 | technique that I am going to show you
right now. So let's go ahead and switch
| | 00:48 | back to the last state. Go ahead and
hide the History palette and then I am
| | 00:52 | going to go up to the File menu
and choose the Revert command.
| | 00:56 | Now, in any other software this would
be dangerous, this is like a third real
| | 01:00 | command, not one you want to touch
lightly and you get a warning message that
| | 01:04 | would say, hey! Are you sure, you want
to through away all of your edits and
| | 01:07 | reload the original image from disc?
But, Photoshop not only does it not give
| | 01:13 | you an air message as we will see in
just a moment, it gives you a keyboard
| | 01:15 | shortcut, it says hey! Go ahead and
press F12 by accident and revert your image.
| | 01:20 | All right, so it's really handy
keyboard shortcut by the way F12 remember it
| | 01:24 | and I will go ahead and choose Revert
and no air message, no alert, no nothing
| | 01:29 | just goes ahead and reloads the
original image from disc and that's because --
| | 01:34 | take a look at this. I will go up to
the History palette. That's because this
| | 01:36 | is just another operation, another
state, that's been added to the History
| | 01:41 | palette here.
| | 01:41 | So I will go ahead and hide the
History palette once again. That means it's
| | 01:44 | undoable. Go up to the Edit menu and
you can see Undo Revert, Ctrl+Z and if I
| | 01:49 | choose that command or press the
keyboard shortcut Command+Z on the Mac, of
| | 01:52 | course, then the command now becomes
Redo Revert, so I can just go back and
| | 01:55 | forth. So this is the before version.
I get to it by pressing Ctrl+Z or
| | 02:00 | Command+Z on the Mac, and
this is the after version.
| | 02:03 | So obviously we have made an
extraordinary amount of progress using variations
| | 02:08 | combined with the Fade command,
combined with the History Brush and of course,
| | 02:12 | the Revert command in order to
do a before and after preview.
| | 02:16 | That, my friends, is how you address
the color cast here inside Photoshop.
| | Collapse this transcript |
| Hue and saturation| 00:00 | In this exercise, we are going to
take on another one of the old men of
| | 00:03 | color correction inside of Photoshop
and this is the Hue/Saturation command.
| | 00:08 | Now I have opened an image called
Yellow slats.psd, found inside the
| | 00:11 | 05_color_correct folder and there is
two ways that we could approach this
| | 00:16 | image. One is to go up to the
Image menu and choose-- notice that the
| | 00:20 | Adjustments Command is dimmed. That's
because nothing is selected in the Layers
| | 00:24 | palette. Every once in a while that
happens to you, that is no layer is selected.
| | 00:28 | I will go ahead and click on Wheel,
which is what I would like you to do as
| | 00:31 | well. See? Notice if I click underneath
that deselects it. Kind of odd because
| | 00:35 | you never want nothing selected, but
anyway, I will go ahead and click on Wheel
| | 00:39 | to make it active. Then go up to
the Image menu. Now these commands are
| | 00:42 | available. I could choose Adjustments
and then choose Hue/Saturation and notice
| | 00:46 | that it has a keyboard shortcut
of Ctrl+U or Command+U on the Mac.
| | 00:51 | The idea behind Hue/Saturation is that
you can modify the hues, which are the
| | 00:55 | core color values independently from
the saturation, which is the intensity of
| | 00:59 | those colors independently of the
lightness, which is how bright the colors are
| | 01:03 | and I will show you what I mean by all
that in just a moment. But I could apply
| | 01:07 | a static color adjustment or I could
apply Hue/Saturation as in Adjustment
| | 01:11 | Layer and I am going to do the later
because I want to go ahead and affect both
| | 01:14 | of these layers at the same time.
Let me show you what I mean.
| | 01:18 | Notice first of all that we have this
underlying layer, right here. I will turn
| | 01:21 | off the Wheel layer for a moment. This
underlying layer and these are slats of
| | 01:25 | wood painted yellow, but let's say I
want to change it to some other color and
| | 01:29 | then on top of that I have this Color
Wheel right here, which is that exact
| | 01:34 | same color wheel that we saw inside
the colorgraph.psd file, which I have
| | 01:38 | opened inside the Bridge. And this is
the wheel that goes from red to yellow to
| | 01:42 | green and all the way back to red again.
| | 01:45 | And that's exactly the same wheel that
I have added to this wheel layer, just
| | 01:48 | without the text. So we still have red
at zero degrees, yellow at 60 degrees
| | 01:53 | and so on. This will afford us the
ability to see exactly what's going on as we
| | 01:57 | are changing the color of the slats.
| | 01:58 | All right go to Adjustments palette,
right here, make sure it's on screen, make
| | 02:02 | sure the wheel layer is active.
That's very important because in Adjustment
| | 02:06 | Layer will change all layers below it.
So that means both wheel and background
| | 02:11 | in our case. Then go to this icon
right there, see how we have got
| | 02:15 | Hue/Saturation in the upper left corner
of the Adjustments palette, click on it
| | 02:19 | or if you wanted to name the layer, you
could Alt-click or Option-click on it,
| | 02:22 | I am not too concerned about
the layer name this time around.
| | 02:25 | Now here are our slider bars, Hue,
Saturation and Lightness. Now of the three,
| | 02:30 | Hue and Saturation are by far the
better controls hence the name of the command
| | 02:33 | is Hue/Saturation. Lightness is so bad
as to be of almost no value whatsoever.
| | 02:39 | Let me show you what lightness does,
might I will start off with the odd guy
| | 02:42 | out. I am going to bring up the
Histogram palette and bring it over here once
| | 02:45 | again, so we can keep an eye
on it. Then hide these guys.
| | 02:48 | All right, let's update the histogram.
Watch what happens to the histogram when
| | 02:52 | I darken the light. See how it just
gets squished over there. So basically
| | 02:57 | black stays black but white moves all
the way over from where it was, to this
| | 03:01 | new position.
| | 03:02 | So it's just compressing the brightness
range, it's not doing anything good for
| | 03:06 | the image. It just making white darker
and squishing the other colors and if I
| | 03:11 | increase the Lightness value, we get
exactly the opposite effect. I make black
| | 03:15 | lighter and then squish everything in
between. Either way when we are working
| | 03:19 | with the continuous tone photographs as
we are in this case, we get bad results.
| | 03:23 | All right let's grab Mr. Histogram,
put him back over here inside of this
| | 03:27 | column, change Lightness back to zero
or I could just click on this icon right
| | 03:33 | there in order to reset my
adjustments to the defaults.
| | 03:37 | Now let's take a look at the really
great commands. I am going to zoom in on my
| | 03:40 | image, a couple of clicks here and drag
it to a different location, so that we
| | 03:45 | can see the color wheel up close as
well as the slats of yellow wood in the
| | 03:49 | background. Now, watch what happens
with Hue, if I change this hue we are going
| | 03:54 | to see the colors revolve around the
wheel. Do you see that happening? The red
| | 03:59 | is revolving in a counterclockwise
direction here as I am reducing the hue
| | 04:03 | value, as I am dragging the
slider triangle to the left.
| | 04:06 | And then I could move it clockwise, if
I increase the hue value and all of the
| | 04:13 | other colors rotate along with and you
can see that by this point when I change
| | 04:17 | the hue value to +167, we are
changing the slats of wood to blue, so that's
| | 04:22 | kind of interesting. Then the
saturation value is going to change the intensity
| | 04:25 | of the colors. I want you to watch
this center area where we have the low
| | 04:28 | intensity colors where the
colors are going to gray.
| | 04:31 | When I increase that Saturation value,
look at those hues, start to expand into
| | 04:35 | that region so that we have high
saturation values all the way to the center of
| | 04:40 | that circle and if I decrease the
Saturation value, notice that all of the
| | 04:44 | colors are declining toward gray,
over time. So a Saturation value of -100
| | 04:49 | always results in gray, that is no hue
whatsoever, and a saturation value of
| | 04:54 | +100 always results in the screaming
hue value, just these rainbow colors
| | 04:59 | throughout the image.
| | 05:00 | All right, so that's what's happening
with Hue and Saturation. In the next
| | 05:04 | exercise, I am going to show you how
to change these slats of yellow wood to
| | 05:08 | red along with our paint drips and
everything else but this time we are going
| | 05:12 | to use the Static Hue/Saturation
command, just for the sake of variety.
| | Collapse this transcript |
| Changing the color of paint| 00:00 | Here we are looking at the modified
version of the Yellow slats.psd image
| | 00:04 | that's found inside the 05_color_
correct folder. Now I went ahead and added
| | 00:08 | this absurd Hue/Saturation adjustment
layer. I say absurd because there is no
| | 00:12 | reason we would want to change the
entire image to highly saturated blue as I
| | 00:16 | have done here. So I might as well
get rid of that adjustment layer.
| | 00:19 | So if you have been working along with
me, here is the easiest way to get rid
| | 00:21 | of it. Just press the Backspace or
Delete key and on the Mac that would just be
| | 00:25 | the Delete key because there is no
Backspace key, to get rid of the layer.
| | 00:28 | If you don't get a warning or anything
here inside Photoshop CS4. If you did it
| | 00:32 | by mistake you just press Ctrl+Z or
Command+Z on the Mac in order to bring back
| | 00:36 | the layer. Anyway, I am going to press
Backspace or Delete. That guy is gone
| | 00:39 | and then I am going to turn off the
Wheel layer and click on the Background
| | 00:43 | layer to make it active.
| | 00:44 | Now in this exercise, we are going to
change these yellow slats of wood to red
| | 00:49 | using the static Hue/Saturation command.
And the only reason we are using the
| | 00:53 | static command, is I want to show you
a couple things about how the command
| | 00:56 | works. It's a little different.
| | 00:57 | All right, so we are going up to
Image menu, choosing Adjustments, choosing
| | 01:01 | Hue/Saturation. You have got a
keyboard shortcut Ctrl+U, Command U on a Mac.
| | 01:05 | Choose it; here is the dialog box right
there. Now first thing I am going to do
| | 01:09 | is just make an absurd adjustment
like so. Just goof around with the Hue,
| | 01:14 | Saturation and Lightness values.
| | 01:16 | I was showing you how inside the
Adjustments palette, we have an option that's
| | 01:21 | available right about here that
allows you to restore the previously used
| | 01:24 | settings. In the Hue/Saturation dialog
box you can also reset the values but in
| | 01:29 | a different way. You press the Alt key
or the Option key on the Mac and notice
| | 01:33 | your Cancel button turns into a Reset
button. So with Alt or Option down, click
| | 01:37 | on Reset and then you have got your old
values back. Then release Alt or Option
| | 01:41 | to restore the Cancel button.
| | 01:43 | All right, here is what we want to do.
We want to send the colors toward red
| | 01:48 | and you can see that going from yellow
to red is a negative modification. It's
| | 01:52 | a clockwise adjustment on the big
color wheel. Here I will go ahead and bring
| | 01:56 | up the color wheel for a moment, so we
can see that going from yellow to red is
| | 01:59 | a clockwise adjustment. That
means it's a negative adjustment.
| | 02:03 | So all of the counterclockwise
adjustments are positive, all of the clockwise
| | 02:09 | ones are negative. And I don't
really expect you to remember that, just
| | 02:12 | something to bear in mind if you can
remember it, if not, just play around with
| | 02:15 | the value here or just look at these
color bars down here, you will see that
| | 02:19 | they are showing you the way to go.
| | 02:21 | So to go from yellow to red is to
leftward. So let's drag this guy leftward.
| | 02:26 | That is a negative modification as
you can see. Now as I drag this slider
| | 02:29 | triangle over to the left, I have got a
negative value and you can see that the
| | 02:33 | second rainbow bar is changing.
It's transforming to represent our
| | 02:36 | modification. So it's telling me that
anything that used to be yellow is now
| | 02:39 | going to be mapped to this color, red.
Anything that used to be green is going
| | 02:43 | to go to yellow and anything cyan is
going to go to green and anything that's
| | 02:46 | like magenta is going to
blue and so on and so on.
| | 02:49 | I will go ahead and increase that
value a little bit because I want the slats
| | 02:53 | to look like this. This very vivid red.
Well, I don't really want them to be
| | 02:57 | that vivid, of course. So I am
going to have to go ahead and reduce the
| | 03:01 | saturation. So when you change the Hue
of your colors, they may end up becoming
| | 03:06 | more saturated or less saturated.
| | 03:09 | As a result in our case, these
particular slats happened to be growing more
| | 03:12 | saturated on us. So we need to reduce
the Saturation value and notice as I do,
| | 03:18 | if I would take that saturation value
way down, I am also changing this second
| | 03:21 | color ramp. It's also growing
dimmer to represent my changes.
| | 03:24 | So again, it's telling me yellow is
going to go to whatever color this is, that
| | 03:28 | murky red right there. I am going to
take this up to about -40, it actually
| | 03:33 | works out nicely and you have those
same options of scrubbing by the way and
| | 03:37 | Shift+Scrubbing and using the arrow
keys and on and on. But these are the
| | 03:41 | values I want, -50, -40. That's it.
Click OK and then when I zoom in you can
| | 03:46 | see that not only have we changed the
slats of wood here from yellow to red, we
| | 03:51 | have also changed the paint drips in kind.
| | 03:53 | So we have a very realistic modification.
So just to give you an idea, this is
| | 03:57 | before and this is after. It has also
affected this plastic just a little bit.
| | 04:01 | So it used to be a yellower plastic
as you could see here, now it's pretty reddish.
| | 04:06 | Now this stuff here, in case it
looks like noise, that is to say random
| | 04:11 | variations between neighboring pixels,
it's not. This is actually image data
| | 04:15 | that was captured by the digital camera.
These are the original grains of wood
| | 04:19 | poking through the texture, that is of
the wood, showing through the paint and
| | 04:23 | that's a good thing. So this is a very
realistic modification. Thanks to the
| | 04:27 | Hue/Saturation command.
| | Collapse this transcript |
| Adjusting hues selectively| 00:00 | So far we have seen how you can use
the Hue/Saturation command to change all
| | 00:04 | the colors inside of an image, but what
if you just want to change one group of
| | 00:08 | colors to a different group of colors.
| | 00:10 | For example, I want to take this little
girl's violet turtleneck and change it
| | 00:14 | to some other color. Well, that is
something that we can do. You can isolate
| | 00:18 | color ranges inside of Hue
/Saturation. Here is how.
| | 00:22 | Go ahead and open up the Girl in
violet.jpg image. It's found inside the
| | 00:25 | 05_color_correct folder and this
image comes to us from the PhotoSpin image
| | 00:30 | library and you can learn all about
that library by going to PhotoSpin.com.
| | 00:34 | Now I want to replay the last color
settings that I applied, and you can do
| | 00:39 | that by pressing and holding the Alt
key or the Option key on the Mac as you
| | 00:44 | choose one of the color correction commands.
| | 00:46 | For example, if while I have Alt or
Option down, I choose Hue/Saturation, or if
| | 00:51 | I press the keyboard shortcut Ctrl+Alt+
U or Command+Option+U on a Mac, I will
| | 00:56 | revisit my last settings, which were a
Hue value of -50 and a Saturation value
| | 01:01 | of -40.
| | 01:02 | The only reason, I am bringing those
back up is just to show you that I am
| | 01:05 | changing all of the colors inside of
this image in kind, using this Hue value
| | 01:12 | here. So you can see at a Hue of -99,
I am changing her flesh to this sort of
| | 01:18 | lilac color, as well as, her turtleneck
to a kind of turquoise. That's not what
| | 01:22 | I want of course, so I will press the
Alt key or the Option key on the Mac and
| | 01:25 | click on this Reset button in order to
restore my values of 0 across the board.
| | 01:30 | Notice this guy right there, Master.
If I click on this down pointing
| | 01:33 | arrowhead, I can change to some other
range of colors including one of our
| | 01:38 | primaries, Reds, Yellows, Greens,
Cyans, Blues, Magentas, all of which are
| | 01:42 | expressed as plurals because this is a
range of magentas, for example, and this
| | 01:47 | is a range of blues.
| | 01:49 | And blues, by the way, I will go ahead
and choose Blues for a moment and then
| | 01:52 | let's go back to the big color wheel
right here. Blues is going to include
| | 01:57 | everything in this area right there,
dropping off into magenta and dropping off
| | 02:02 | into cyan. So it starts at blue and
then it slowly drops off in this region here.
| | 02:09 | Whereas if I choose magenta, it would
include this range of colors and then
| | 02:12 | slowly drop off along here and here.
I really want a nail-violet, which is
| | 02:18 | right in between the two, but if
anything the little girl's turtleneck is more
| | 02:22 | in the magenta side of things than the
blue side of things. So we will go ahead
| | 02:25 | and choose Magenta for now.
| | 02:26 | So I am going to Alt+Tab or Option+
Tab my way back into Photoshop. Let's go
| | 02:31 | ahead and set this option to Magenta,
and notice that all of these options have
| | 02:36 | keyboard shortcuts. If you are interested
in learning them, you can, there they are.
| | 02:40 | All right, so I will go ahead and
select Magentas, and now I am going to change
| | 02:44 | my Hue value. We will see what happens,
and note that I am doing a fair job of
| | 02:49 | just changing the colors inside of
her blouse. I went ahead and raised that
| | 02:53 | value to +180, just so that we are
making the biggest color modification we
| | 02:57 | can, by spinning the colors 180
degrees there. But we are picking up some
| | 03:02 | colors inside of her flesh tones.
| | 03:05 | So inside this jowls for example, if a
child can have jowls, and above her lip,
| | 03:09 | and on the bridge of her nose, and I
think inside of her glasses too. I think
| | 03:13 | we are picking up some stuff there.
Yup, we sure are and that's no good. We
| | 03:16 | want to isolate it just to her
turtleneck, how in the world do we do that?
| | 03:20 | Well, I will show you in the next exercise.
| | Collapse this transcript |
| Refining your color range| 00:00 | Okay, so I am working inside the Girl
in violet.jpg image found inside the
| | 00:04 | 05_color_correct folder. I have set the
Hue/Saturation command to Magentas and
| | 00:10 | changed the Magentas to Hue of +180. So
I have rotated all of the Magentas half
| | 00:15 | way around the color circle for maximum
effect here. And I am picking up colors
| | 00:20 | all throughout the image. I just want to
isolate my changes, however, to her turtleneck.
| | 00:26 | So here is what you do. Notice, if you
move your cursor out of the dialog box,
| | 00:29 | when any of these items are selected
except for Master. So I could even go to
| | 00:34 | Yellows for all of that. I could make
Yellows active and then well actually if
| | 00:39 | I do that; however, I better go ahead
and Alt or Option+Reset. So press the Alt
| | 00:44 | or Option button and click on Reset to
get rid of the bad color modification. I
| | 00:48 | will switch to Yellows; it's just
something that's completely not what I want.
| | 00:52 | So that you will see what happens here.
| | 00:54 | And now, if I move my cursor out, when
anything but Master is selected, I go
| | 00:58 | ahead and move my cursor out, then it
changes into a little eyedropper, notice
| | 01:02 | that, and I will move over to her
shoulder and click on it. And notice that
| | 01:07 | Photoshop is smart enough to say, you
don't mean Yellows, you mean Magentas and
| | 01:11 | a very specific range of Magentas as
well. So it's gone ahead and isolated this
| | 01:16 | region of Magentas right here, which is
centered and notice that's centered on
| | 01:20 | violet. So that's very different
than the standard Magentas, which is now
| | 01:24 | called Magentas 2. See how that
shifted over? This range here is centered on
| | 01:28 | Magenta, and now this
Magenta is centered on Violet.
| | 01:32 | So now, it's not smart enough to know
that it should call them Violets; it just
| | 01:35 | knows that it's closer to be in
Magentas and Blues at this point. All right, so
| | 01:39 | let's see what kind of job it's done. I
will go ahead and change the Hue value
| | 01:43 | to +180 and look at that, first of all,
different colors. This is showing up as
| | 01:47 | green now, but also no jowls affected,
no bridge of the nose, no above the
| | 01:52 | lips, nothing inside the glasses,
brilliant, except for you can see we are
| | 01:56 | missing half of her
shirt in the background here.
| | 01:58 | So to fix this, I press and hold the
Shift key. If you look very closely at the
| | 02:02 | eyedropper, notice that has a little +
sign next to it now. That shows you that
| | 02:05 | we are going to add colors to the mix.
So press and hold the Shift key and then
| | 02:10 | click and drag across this area of
colors back here. See how that works and we
| | 02:16 | have just gone ahead and incorporated
all of these colors inside of her shirt
| | 02:20 | and we went ahead and expanded the
range of colors that's covered here.
| | 02:25 | Now this area between the straight
little guys that's dark grey, that
| | 02:30 | represents the colors that are getting
completely changed. So everything from
| | 02:33 | cyan over here to magenta is getting
absolutely changed, and then this area is
| | 02:39 | the soft drop-off, so that we don't
have any hard transitions. So this area is
| | 02:43 | getting just slightly changed over
here and this area over here is getting
| | 02:48 | slightly changed as well and we had to
go ahead and send this triangle to the
| | 02:51 | other side of the ramp
because it ran out of room.
| | 02:55 | The Cyans are basically taped together
though. You can think of this as going
| | 02:58 | around in a circle. All right, actually
this looks really, really great. Now we
| | 03:03 | have isolated the colors very nicely.
I don't think she should be wearing a
| | 03:06 | green shirt, however, so I am going to
bring this Hue value back to about 80. I
| | 03:12 | think it's going to work out pretty
nicely. What that does is that makes her
| | 03:15 | turtleneck match her glasses and her
lips, which is so important of course.
| | 03:19 | We are excesserising (or) and then I
think it's a little too saturated, so I
| | 03:23 | click in the Saturation value there,
and I will press Shift+Down Arrow twice.
| | 03:28 | So we have got a +80, -20. Here is our
range, wonderful job of isolating that
| | 03:34 | turtleneck. I will go ahead and click
OK, and now let's press Ctrl+Z for the
| | 03:38 | before view and Ctrl+Z again for
after. That's Command+Z on the Mac and
| | 03:42 | Command+Z again, and you can see that
there we are changing the highlights
| | 03:44 | inside of those glasses as well, but that
doesn't bother me at all. This looks dynamite.
| | 03:50 | In the next exercise, we are going to
take a look at something of a more real
| | 03:53 | world example, how you might actually
use everything I showed you to really
| | 03:57 | correct, not apply a special effect, but
correct an image that needs a lot of
| | 04:02 | correction, coming right up.
| | Collapse this transcript |
| Enhancing a low-saturation image| 00:00 | So here is this spooky image. It's
called The treehouse.tif and this is a tree house,
| | 00:05 | a rickety old tree house. And
as you can see this night shot came
| | 00:09 | up pretty done well but we're losing
all kinds of saturation and who knows if
| | 00:13 | the hues are accurate or
not because we can't see them.
| | 00:16 | So let's go ahead and apply the Hue/
Saturation command. It's brilliant for
| | 00:20 | these purposes and you can either
apply the command as a static adjustment,
| | 00:23 | which is what I am going to do, or
you can apply it from the Adjustments
| | 00:28 | palette right there as an Adjustment layer.
| | 00:30 | I am going to go up to the Image
menu, choose Adjustments, and choose
| | 00:34 | Hue/Saturation. And then, I am going
to crank that saturation value way up
| | 00:40 | through the roof up to +100, so we can
see what in world is going on here. And
| | 00:44 | there are saturation values inside of
this image; they were just so subtle in
| | 00:48 | the past, now we are really bringing
them out. This is too much, though this is
| | 00:53 | radioactive and we are really
increasing the differences between neighboring
| | 00:58 | pixels or bringing out all kinds of
noise and other garbage inside of the image.
| | 01:02 | So I am going to press Shift+Down arrow
for a value of +90, and that works out
| | 01:07 | brilliantly. It looks great. Then I
am going to go ahead and adjust the Hue
| | 01:12 | value as well. Notice that, the colors
inside of the wood are too red, I want
| | 01:17 | to make it more yellow, and you may
recall that yellow is located at 60 degrees
| | 01:22 | versus red at 0 degrees. So that means
we need to make a positive adjustment to
| | 01:27 | the Hue value. So I am going to press
Shift+Up arrow to get a Hue value of +10
| | 01:32 | and that looks great.
| | 01:33 | So we have made quite of the
modification. The only problem is that the sky
| | 01:39 | now, where the wood is looking really
great I think, this sky is looking too
| | 01:43 | violet and a little too saturated as
well. I think we have set it too high.
| | 01:48 | So I would like to modify the sky
independently of everything else in the
| | 01:51 | image and I am going to do that using
this tool right here, new to Photoshop
| | 01:55 | CS4 in the next exercise.
| | Collapse this transcript |
| The new Target Adjustment tool| 00:00 | So here I am looking at this
corrected version of this tree house, which is
| | 00:04 | called The treehouse.tif, and I
have applied a Hue value of +10 and a
| | 00:08 | Saturation value of +90 and
incidentally I should say, just in case you are
| | 00:13 | curious, so it's this Colorize check
box down here. Just in case you have been
| | 00:16 | seeing here, wondering why I have
been ignoring it and what it does.
| | 00:19 | If you turn it on, you are going to
colorize the whole image with a single Hue
| | 00:22 | value, notice that, it right there and
you can just change the Hue in order to
| | 00:26 | infuse whatever color you like in to
the image or you are just going to get
| | 00:29 | this monochrome image, that is black
and white plus one other color. We don't
| | 00:33 | want that so turned Colorize back off
and notice it goes ahead and restores our
| | 00:37 | original Hue and Saturation values. That's nice.
| | 00:40 | Here is what we want to do. We want to
change the sky selectively off the wood.
| | 00:44 | So right now the values that we have
applied were great for the wood coloring
| | 00:48 | throughout the image, not so good for
the sky. So we want to change that sky a
| | 00:52 | little bit, make it a lower
saturation sky, a little less violet as well.
| | 00:56 | And I could of course, go up here to
this pop up menu and choose Blues instead
| | 01:01 | and then use my eyedropper to find
exactly, which blues we are going to work
| | 01:04 | with and then modify the values, but
you can do all of that, all three of those
| | 01:08 | step using this new tool right here,
new to Photoshop CS4, so here is what we
| | 01:13 | are going to do. I want you to click
on that tool to make it active and the
| | 01:16 | name of this tool is the Target
Adjustment tool. Now you will know that from
| | 01:19 | the tip it just tells you how to use the tool.
| | 01:22 | The reason I know it's called the
Target Adjustment tool it's because that's
| | 01:24 | what it called inside of Light Room,
Adobe Light Room, which is where this tool
| | 01:29 | hales from and incidentally this
tool is also available to you if you are
| | 01:32 | working along with me
inside the Adjustments palette.
| | 01:35 | So go ahead and select the tool and
notice that it will appear selected, it's
| | 01:38 | pressed in other words. Then I want
you to move your cursor below the wood,
| | 01:43 | down in this area below the treehouse.
That is, into this open area of sky and
| | 01:46 | I want you to click and hold and then
go ahead and drag. Notice that we've got
| | 01:51 | this little finger cursor with
arrows going to the left and the right and
| | 01:54 | that's because that's where you drag.
You drag either to the left or to the
| | 01:57 | right to change the Saturation value.
| | 02:00 | So if I drag to the right, I am going
to increase the saturation, if I drag to
| | 02:04 | the left I am going to decrease the
saturation and I am just kind of eyeballing
| | 02:08 | it here to above let's say -40, looks
pretty nicely and you can see the value
| | 02:13 | up there inside the dialog box. Notice
that the Saturation value now set to -40
| | 02:17 | and that top-left pop menu here is set
to Blues. But it's a special group of
| | 02:22 | blues and we did that all in
one operation. That's so awesome.
| | 02:25 | Now, let's say, I also want to spin
the Hue values. I could change the Hue
| | 02:29 | value, of course if I wanted to or I
could press the Ctrl key or the Command
| | 02:34 | key on the Mac and drag again with
this eyedropper in the same location. So I
| | 02:38 | have got the Ctrl key down on the PC,
the Command key down on the Mac, then
| | 02:41 | drag to the left to rotate the Hues in
the clockwise direction or drag in the
| | 02:45 | right to rotate the Hues in
the counterclockwise direction.
| | 02:49 | What that means in our case is that
we want to drag or Ctrl+Drag actually,
| | 02:53 | Ctrl+Drag or Command+Drag slightly to
the left, until the Hue value up there
| | 02:57 | inside the Hue/Saturation dialog box
says -10 and that's going to go ahead and
| | 03:02 | rotate our Hues ever so slightly away
from purple into blue and now we are
| | 03:08 | done. That is the modification. I will
go ahead and click OK in order to accept
| | 03:11 | that change and now just to give you
sense of how much we have accomplished in
| | 03:15 | this image, this is before and this is after.
| | 03:19 | It's amazing that this image, here the
before version of the image actually has
| | 03:23 | that color in it. It looks almost
like a black and white image, but it does
| | 03:26 | it's got all the stuff that we are
able to draw forth, which still needs a
| | 03:30 | little bit of adjustment. I still
feel like the Saturation is too low,
| | 03:34 | the Color Intensity is still less than I
would like to see and we are going to bring
| | 03:37 | out that Color Intensity using a new
command inside of Photoshop CS4 called
| | 03:42 | Vibrance, in the next exercise.
| | Collapse this transcript |
| Boosting colors with Vibrance| 00:00 | In this final exercise, I am going to
show you a new color adjustment command
| | 00:04 | inside Photoshop CS4, which goes by the
name of Vibrance, and you can apply it
| | 00:08 | in one of two ways.
| | 00:09 | Now I am working in a modified version
of The treehouse.tif file. We have done
| | 00:12 | a terrific job of converting the
image from this almost to black and white
| | 00:16 | image to this a color accurate version
of the scene that I actually saw when I
| | 00:22 | was snapping the photo, using just the
Hue/Saturation command. But we already
| | 00:25 | have those saturation values pumped
up to +90. We couldn't go any farther
| | 00:29 | without ripping the image apart. We
still need more saturation, let's say.
| | 00:33 | So I can achieve that effect using
the Vibrance command and you can apply
| | 00:38 | Vibrance in one or two ways. One
is to go this option here inside the
| | 00:42 | Adjustments palette, this sort of sort
of upside down purple cone right here,
| | 00:46 | which allows you to apply a Vibrance
Adjustment Layer or you go up to the Image
| | 00:50 | menu, you choose Adjustments and you
choose Vibrance right there. And that's
| | 00:53 | what I am going to do, just because I
have already approach this image on a
| | 00:56 | static basis so far.
| | 00:57 | So I will choose Vibrance, and I have
got two sliders, one is the Vibrance
| | 01:02 | slider. Now Vibrance is very much like
a saturation adjustment. It's a color
| | 01:07 | intensity adjustment except that it
affects low saturation colors more than
| | 01:11 | high saturation colors. So it's
basically an equal opportunity saturation
| | 01:16 | lender. It's going to favor those
colors that need saturation the most.
| | 01:20 | Then we also have the Saturation slider.
Now the saturation value inside the
| | 01:24 | Hue/Saturation dialog box can end up
affecting luminance. So the brightness of
| | 01:29 | the colors where saturation is
designed not to change luminance at all. But
| | 01:34 | they both can be heaped on to the
changes we have already applied.
| | 01:38 | So I am going to take the Saturation
value way up all the way to +100 and
| | 01:43 | notice we are not having problems with
the colors getting ripped apart, we are
| | 01:46 | not having problems with noise inside
of the image or any of that. It does a
| | 01:50 | beautiful job just bringing out the rich
olors that are in here, that's inside this image.
| | 01:54 | Now I think I am bringing out too much.
So let's go ahead and press Shift+Down
| | 01:58 | Arrow a couple of times to take that
Vibrance value down to -80 and then just
| | 02:03 | because we can, I am going to raise the
saturation value as well. I am going to
| | 02:07 | take it up by pressing Shift+Up Arrow.
I am going to take it up to +30 and now
| | 02:11 | it looks like we are shining a yellow
light up into this tree house here. So
| | 02:16 | that it's under lit, which I think is
really cool, make it spooky or I think.
| | 02:20 | So that's what I am applying. You can
go your own way, of course, but I have
| | 02:23 | got +80, +30, click OK. Now let's see
how far we have come, this is how far we
| | 02:28 | have come adjust that command. This
was before I applied the command just a
| | 02:31 | moment ago, this is after and just to
see the original, original image, I will
| | 02:37 | press the F12 key, which you may
recall reverts the image. So F12 followed by
| | 02:42 | Ctrl+Z or Command+Z on the
Mac, is that not outstanding.
| | 02:46 | You know it's so outstanding. Then I am
going to switch to the Full Screen mode
| | 02:51 | and then I am going to scroll the image
down a little bit. So again here is the
| | 02:54 | original version of the image almost
gray scale and this is the final version
| | 02:59 | of the image with this rich array
of beautiful hues. Thanks to the
| | 03:02 | Hue/Saturation command working along
with the Target Adjustment tool and the
| | 03:06 | Vibrance command, the latter two
of which are new to Photoshop CS4.
| | Collapse this transcript |
|
|
6. Image Size and ResolutionImaging fundamentals| 00:01 | This chapter deals with one of the most
fundamental topics in all of Photoshop,
| | 00:05 | changing and managing the number of
pixels inside an image, and to fully
| | 00:09 | understand this topic, you need to
come to terms with the concept of image
| | 00:13 | size. Image size refers to the
dimensions of an image, how many pixels wide by
| | 00:18 | how many tall. As we will see, image
size also includes print size, how many
| | 00:23 | inches or if you prefer millimeters
wide by tall. Print size ultimately
| | 00:28 | informs the resolution, which is
how many pixels print inside an inch.
| | 00:33 | Scaling an image often involves
changing the number of pixels. This means
| | 00:37 | throwing away pixels or making up new
ones, otherwise known as resampling.
| | 00:43 | Resampling is best performed after you
get the colors in line, for two reasons.
| | 00:47 | First, you will get the best results
when color correcting full resolution
| | 00:51 | photos and second, resampling can
help smooth out the rough transitions
| | 00:56 | sometimes produced by commands like
Brightness/Contrast and Hue/Saturation.
| | 01:01 | Here is how it works.
| | Collapse this transcript |
| What is image size?| 00:00 | In this exercise, I am going to
introduce you to the concept of image size,
| | 00:04 | which is a very simple fundamental topic.
Basically Image Size is the physical
| | 00:10 | dimensions of the image, how many
pixels wide by how many pixels tall. That's
| | 00:15 | all there is to it and in case you are
not quite clear on what a pixel is,
| | 00:18 | you will see in just a moment. But that
very simple concept goes to the core of
| | 00:25 | Photoshop, it goes to the very heart
of how you work with digital images and
| | 00:29 | it introduces a lot of questions.
| | 00:30 | For example, how many pixels do you
need? How many pixels should you be
| | 00:34 | capturing with your digital camera?
How many pixels should you be capturing
| | 00:37 | with your scanner? What resolution
should you be using? How many pixels does it
| | 00:41 | take to print an image successfully?
What if you don't have enough pixels? Can
| | 00:45 | you add pixels to an image? Should you
ever subtract pixels from an image or
| | 00:48 | should you just be changing the
resolution and leaving the pixels alone?
| | 00:52 | What is resolution in the first place?
Every one of those questions I will answer
| | 00:57 | over the course of this chapter.
| | 01:00 | So here is what I want you to do for
starters. I would like you to open this
| | 01:03 | image. It's called Picture puzzle-lo.
jpg and it's a piece of grayscale artwork
| | 01:08 | that I scanned at a very low resolution,
as we will learn in a moment, and this
| | 01:12 | is a scan of a cartoon that I drew
years and years ago, back when I used to do
| | 01:17 | this kind of work on a regular basis.
Back when I was a stripling and I would
| | 01:21 | draw cartoons for clients as
commercial work and this happens to be a fairly
| | 01:25 | elaborate picture puzzle that ends up
spelling out a quote by Samuel Butler.
| | 01:31 | That's what this end part is, and in
case you are trying to do this, this is a
| | 01:34 | cab, just so you know and this is a
cat going purr and these are cities. This
| | 01:40 | area, these three guys, they are mob,
and this I think is the hardest one to
| | 01:44 | identify, it's a mission, not a church,
but a mission, but otherwise I think it
| | 01:48 | is fairly straightforward. In any event
it's not really about the puzzle; it's
| | 01:52 | about the pixels inside that puzzle.
| | 01:54 | So notice that we are seeing the image
at 100% view size, which means that we
| | 01:59 | are seeing one image pixel for very
screen pixel. So there is a one to one
| | 02:02 | ratio, which means we are seeing the
image, at the most accurate size possible,
| | 02:07 | but let's say that we wanted to zoom in
on the image, I will press and hold the
| | 02:10 | Z key, in order to get the zoom tool
on the fly and click and hold inside the
| | 02:15 | queen and notice as we zoom in, we
don't gain more clarity, we just get bigger
| | 02:21 | and bigger pixels, because we were
already maxed out at the 100% view size,
| | 02:25 | there were no more pixels to see by
zooming in, so the pixels just get bigger
| | 02:29 | and bigger and there they are.
| | 02:30 | You can actually see these pixels
distinguish from each other by this pixel
| | 02:35 | grid right here. So that's a single
pixel right there, so that's what's going
| | 02:39 | on with Photoshop in general and with
digital imagery in general, is that you
| | 02:43 | have these colored pixels and they
just appear to blend together like this
| | 02:48 | massively complex mosaic essentially
and all these pixels when we zoom out from
| | 02:53 | them, before into thinking that
we are seeing continuous detail.
| | 02:57 | Now in our case because we are working
with a grayscale image and this is an
| | 03:01 | eight bit per channel image as we can
see by the 8 after the slash inside the
| | 03:07 | title tab right there that tells us
that we have two to eighth power of
| | 03:12 | different shades of color going on,
which means that we have 256. Two to eighth
| | 03:17 | power is 256. So we have black and
we have white and then we have got 254
| | 03:23 | different shades of grey inside of this image.
| | 03:25 | So that's a lot of color actually to
work with, a fair amount of color. We just
| | 03:29 | don't have many pixels and to see
exactly how many pixels we have, I am going
| | 03:33 | to bring up the Info palette, which I
could do by clicking on this little info
| | 03:37 | button right there or I could go to the
Window menu and choose the Info command
| | 03:41 | or I could press F8 that's a keyboard
shortcut that Photoshop gives you and
| | 03:46 | notice that brings up the Info palette
right there and I can see that the size
| | 03:50 | of my image is 325.6k in RAM, which is
not very big. That's a very small image.
| | 03:58 | So Photoshop can handle this image,
very, very easily. It doesn't take much
| | 04:02 | time to process anything.
| | 04:03 | Now you want to make sure that you
are working with pixels, it's very
| | 04:06 | important. So you could click on this
Plus sign right there and just make sure
| | 04:08 | it's set to pixels, like so. It is, so
that's good. I want to be able to see,
| | 04:13 | however, the pixel dimensions of my
image inside the Info palette. Also I don't
| | 04:16 | really care about seeing this little
tool tip. You may find it helpful that
| | 04:21 | every time you select a different tool,
you can see some tricks for using the
| | 04:24 | tool over here at the bottom of the
Info palette, but I am going to get rid of that.
| | 04:28 | So here's what I want you to do. Go
ahead and click on this menu icon right
| | 04:32 | there, to bring up the fly out menu,
and I will choose panel Options and then I
| | 04:37 | am going to turn on Document Profile
and Document Dimensions, I would like you
| | 04:40 | to do that as well. Document Profile
will show you the color profile that's
| | 04:43 | associated with an image, which can be
helpful, especially if you are images
| | 04:47 | are coming from different sources and
then Document Dimensions will show you
| | 04:51 | the image size.
| | 04:52 | I am going to turn off Tool Hints,
like I said I don't find them to be very
| | 04:55 | useful, you can turn them off or not,
it's up to you, I will click OK, now. Now
| | 05:00 | I can see that this image measures 702
pixels wide, by 475 pixels tall and if
| | 05:06 | you do the math, if you multiply 704 by
475, you will see that you will have a
| | 05:10 | total of 333,450 pixels inside this
image. Now that may seem like a lot,
| | 05:16 | 333,450 pixels, where we are talking
about anything else like, packs of gum or
| | 05:22 | cigarettes or dollar bills, 333,450
would be a lot. It lasts you quite a while,
| | 05:27 | but when we are talking
about pixels, it's nothing.
| | 05:30 | I mean think about it. That's not even
one mega pixel. That's like a third of a
| | 05:35 | mega pixel. That's it. Also our resolution
value is 100 PPI. That's pixels per inch.
| | 05:41 | That's what PPI stands for
and that's pixels per linear inch
| | 05:45 | incidentally, which means that were we
to print this image inside of any inch,
| | 05:49 | we would have 100 pixels wide and a 100
pixels tall, so a total of 100 times of
| | 05:54 | 100, which is 10,000 pixels inside of
that inch. Again, that sounds like a lot.
| | 05:59 | That's nothing, that's not nearly not
we want. We want many more pixels than
| | 06:03 | that. So how do we go about doing that?
How do we go about gaining more pixels
| | 06:07 | in an image? How do we go about gaining
more clarity? That's a question that I
| | 06:12 | am going to begin to answer for
you starting in the next exercise.
| | Collapse this transcript |
| The Image Size command| 00:00 | In this exercise I am going to
introduce you to the Image Size command, which
| | 00:05 | may be Photoshop's most essential
command, bar none. So I am still inside this
| | 00:11 | Picture puzzle-lo.jpg image. I am going
to Ctrl+1 or Command+1 on the Mac to go
| | 00:16 | ahead and zoom back out to the 100%
zoom ratio, so that we are seeing one image
| | 00:21 | pixel per each screen pixel and this also
gives you a sense of how dinky this image is.
| | 00:26 | I mean, I am working at a 1024X768
pixel screen, which is a postage stamp of a
| | 00:31 | monitor frankly, and yet I can still see
this entire image and then some. Plenty
| | 00:36 | of pasteboard around the edges. So
let's say that we want to add pixels to
| | 00:41 | the image. We would go up to the Image
menu and choose the Image Size command
| | 00:45 | or you can press this keyboard shortcut,
Ctrl+Alt+I, Command+Option+I on the
| | 00:49 | Mac and here is the Image Size dialog box now.
| | 00:53 | So you can see that stuff that we saw
in the previous exercise in the Info
| | 00:57 | palette, you can see that the image
takes up 325.6k in RAM and the reason I
| | 01:02 | mention that is because on disk when
you actually save the image, it's going
| | 01:06 | to be smaller than that, thanks to
compression. Regardless of what file format
| | 01:10 | you use, its going to be smaller.
| | 01:12 | So we have got a width of 702 pixels,
we knew that, a height of 475 pixels as
| | 01:17 | well. Here is the Document Size,
which is the size at which the image will
| | 01:21 | print. All of this stuff is exclusively
related to the print dimensions. It has
| | 01:25 | nothing to do with the dimensions of
the image, if you were to view it on
| | 01:29 | screen, or if you were to email to
somebody or if you were to post it on a
| | 01:32 | website, that's all accommodated
by the Pixel dimensions up here.
| | 01:36 | The Document Size is only about print,
so we can see that the image when
| | 01:41 | printed will have a resolution of a
100 pixels per inch and I was telling you
| | 01:44 | that's not much. That's 10,000 pixels
per square inch, but that's still not
| | 01:48 | very much at all and then that means
that the image is going to measure 7.02
| | 01:53 | inches wide by 4.75 inches tall,
which isn't much of a surprise actually
| | 01:58 | because 702 divided by 100 is 7.02 and
475 divided by 100 is 4.75, so this all
| | 02:05 | makes a lot of sense.
| | 02:06 | Now let's say that I want to make this
image print at a higher resolution. I am
| | 02:13 | okay with the fact that it measures 7
.02 inches wide by 4.75 inches tall.
| | 02:17 | That's fine by me, but this
resolution value is just no good. Now what
| | 02:21 | resolution do we need? There is a lot
of conjecture about that and frankly,
| | 02:26 | some experience goes a long way in
that department. As you start to print out
| | 02:29 | your images, you will find out what
kinds of resolutions work out well for you,
| | 02:33 | but here's some basic information.
| | 02:36 | You will hear people bandy about the
resolution of 267 pixels per inch. That's
| | 02:42 | actually something of a commercial
standard and the reason is because 267 is
| | 02:46 | twice 133.3, which is a standard half
tone frequency, the frequency of little
| | 02:53 | half tone dots inside of an image. So
if you are printing to glossy paper, for
| | 02:58 | example, on a magazine or something
along those lines, your half tones
| | 03:01 | frequency is either going to be 133.3,
in which case you want a resolution,
| | 03:05 | 267, so twice that. Which will mean a
total four pixels for every half tone dot
| | 03:11 | and if you are going with a half tone
frequency of a 150 lpi or lines per inch,
| | 03:17 | which is pretty much the maximum you
will see out there, then you would go with
| | 03:22 | a resolution value of 300. And if you
are printing to an inkjet printer, you
| | 03:27 | are looking at resolution value of
about 360 pixels per inch at the high end.
| | 03:31 | You don't have to go that high, you
can get away with resolutions as low as
| | 03:36 | 220, often times.
| | 03:38 | Now that's all for photographic
imagery. What we are looking at here is the
| | 03:41 | piece of line art, so we would actually
like to take the resolution higher than
| | 03:45 | that. For the sake of demonstration here,
I am going to take the resolution to
| | 03:49 | 600 pixels per inch. So that is going
to be a very high-resolution value and
| | 03:54 | notice that I have Resample Image
turned on. That's very important.
| | 03:59 | If you have Resample Image turned on,
you will change the number of pixels
| | 04:03 | inside the image and that's what we
want to do and by adding pixels, we are up
| | 04:07 | sampling. If we were to reduce a
number of pixels, we would be down sampling.
| | 04:12 | Anyway so make sure that checkbox is on,
make sure Constraint Proportions is
| | 04:15 | turned on as well and Scale Styles just
refers to layer styles, which we don't
| | 04:19 | have inside of this image. We will be
discussing those in the later chapter. At
| | 04:23 | any rate you might as well have all
the three checkboxes on now and this will
| | 04:27 | increase the size of the image dramatically.
| | 04:29 | The image is now going to measure 4212
pixels wide by 2850 pixels tall. That's
| | 04:36 | the total. If you do the math once
again, 4212 times 2850, you will see that
| | 04:41 | there is now going to be 12 million
pixels inside the image, it will be a 12
| | 04:45 | mega pixel image, which is more like it and
the image will grow to be 11.4 megabytes in memory.
| | 04:53 | So the only things we haven't discussed
about this dialog box now at this point
| | 04:56 | is these options right here, which
determines how Photoshop decides to go ahead
| | 05:01 | and generate the new pixels inside
the image. So for every one pixel that we
| | 05:05 | have right now, it's going to
generate 36 pixels. Six times as many pixels
| | 05:09 | wide, six times as many pixels tall.
So how does Photoshop determine how to
| | 05:14 | convert one pixel into 36 pixels? And I am
going to answer that question in the next exercise.
| | Collapse this transcript |
| Selecting an interpolation option| 00:00 | In the previous exercise, we went
ahead and chose the Image Size command from
| | 00:04 | the Image menu and we turned on all
these checkboxes down here and changed the
| | 00:08 | resolution value to 600 pixels per
inch, which means that we are making the
| | 00:12 | image 600% as wide as it previously was
and 600% as tall as it previously was.
| | 00:19 | So six times six equals to 36 times as
big as it previously was, one pixel has
| | 00:25 | to grow to become 36
pixels. How does that happen?
| | 00:29 | Well, that's determined by the so-
called Interpolation Options down here and I
| | 00:34 | will explain each one of them, just so
that you have a sense of how they work.
| | 00:37 | Now the most primitive of the
interpolation options is Nearest Neighbor, which
| | 00:41 | just takes one pixel and blows it up
into 36 pixels. So it doesn't do any
| | 00:45 | averaging, it doesn't try to figure
out how to smooth out the differences
| | 00:50 | between the pixels, it just
blows up those pixels. That's it.
| | 00:52 | Now that can be really useful when you
are blowing up screenshots, for example
| | 00:57 | and I will do this thing where I will
take a screenshot of a dialog box or a
| | 01:00 | window let's say and then I will blow
it up to 200%, so every pixel becomes
| | 01:05 | four pixels, so two times as wide, two
times as tall and then I will put a high
| | 01:09 | resolution inside of that. That's how I
will craft my screenshots for my book.
| | 01:13 | So that the images look really great
and the screens look nice and sharp, but
| | 01:17 | for typical day-to-day image work, you
are not going to use Nearest Neighbor at
| | 01:20 | all. The next line is absolutely
useless in my opinion. It's a next step up,
| | 01:25 | but it's just kind of right there in
the middle where it serves no function
| | 01:29 | whatsoever. It will go ahead and
average out the pixels, it just doesn't do
| | 01:33 | particularly a good job.
| | 01:35 | It's quicker than the next step up,
Bicubic; however, it's not that much
| | 01:40 | quicker. If we were doing a massive
scaling that was going to take a full
| | 01:45 | minute for Photoshop to pull off then
we might shave off a couple of seconds
| | 01:49 | with Bilinear. In this case, we are not
going to shave up, maybe a microsecond
| | 01:53 | we are not going to be able to measure it.
| | 01:54 | So bilinear is for the birds, Bicubic
though, this next one is quite useful.
| | 01:59 | Now, Bicubic is a better averaging
algorithm. It looks at more pixels at a time
| | 02:04 | as it's trying to generate the new
pixels inside the image. Now it's saying
| | 02:09 | that it's best for smooth gradients.
What I want you to do is to ignore the
| | 02:12 | parenthetical information, for Bicubic,
Bicubic Smoother and Bicubic Sharper
| | 02:15 | because they are just not accurate and
I will tell you what's really going on here.
| | 02:19 | Basically Bicubic as I say, looks at a
lot of pixels when generating its new
| | 02:23 | pixels, so it looks at the total of
nine pixels at a time whereas Bicubic
| | 02:27 | Smoother and Sharper, they do the same
thing and then afterwards, after that
| | 02:31 | operation is done, they go ahead and
apply a softening function or a sharpening
| | 02:35 | function, just very subtle in both
cases and basically where they come in handy
| | 02:40 | is if you have a lot of digital
noise or film grain or other weird little
| | 02:44 | artifacts inside of an image.
| | 02:45 | If you do have a lot of noise, random
variations between neighboring pixels
| | 02:49 | then you want to go ahead and choose
Bicubic Smoother, regardless of whether
| | 02:52 | you are enlarging the image or reducing
it. If you don't have much noise, then
| | 02:57 | you want to go ahead and choose
Bicubic Sharper, because that will make those
| | 03:01 | edges that much crisper and in our case,
we don't have any noise in this image.
| | 03:05 | This is a scanned piece of line art. I
have already gone ahead and made sure we
| | 03:09 | don't have any noise in the image and
any of the garbage that was in the image
| | 03:13 | in the first place by getting rid of it,
using like of the brightness contrast command.
| | 03:17 | So we have a very clean image to
start with, so let's go ahead and try the
| | 03:21 | Bicubic Sharper, even though we are
increasing the size of the image and by the
| | 03:25 | way for just day-to-day resampling,
you are best off using Bicubic. When in
| | 03:30 | doubt, just stick with the Bicubic
Option. All right but I am going with this
| | 03:33 | just for the sake of demonstration
here and then we are going to go ahead and
| | 03:37 | increase the size of that image and we
are going to do that in the very next exercise.
| | Collapse this transcript |
| Upsampling vs. "real" pixels| 00:00 | All right gang, we are now poised to
upsample the image, to add pixels to this
| | 00:05 | piece of scanned artwork right here.
I have requested that we send the
| | 00:08 | resolution value from 100 pixels per
inch to 600 pixels per inch. I have the
| | 00:12 | Resample Image checkbox turned on,
which means we are going to add pixels to
| | 00:16 | the image. We are going to make the
image six times as wide and six times as
| | 00:20 | tall. Because Constraint Proportions is
turned on, both values are changing in a
| | 00:25 | kind. That means we are going to have
six times six equals 36 times as many
| | 00:30 | pixels in this image.
| | 00:31 | So for every one pixel we are going to
add 35 and we are going to add those 35
| | 00:36 | pixels using this interpolation
method right there, Bicubic Sharper, which
| | 00:40 | employs Photoshop's best interpolation
algorithm, which is Bicubic and then
| | 00:44 | adds a little bit of sharpening on top
of it. All right so here go. I am going
| | 00:49 | to click on the OK button in
order to apply that modification.
| | 00:53 | Now we have actually grown the size of
the image as you can see here, we are
| | 00:56 | still looking at the image at the 100%
zoom ratio, but we are looking in kind
| | 01:00 | of an odd detail here. So I am going to
press and hold the H key and click and
| | 01:04 | hold to take advantage of that bird's
eye function and I am going to scoot over
| | 01:08 | to the queen right there and then
release in order to pan over to that detail
| | 01:14 | and you can see that we do have some
smoother information going on here.
| | 01:19 | It's smoother. That is than where we
did simply zoom in on the image, to take
| | 01:24 | her in at 600%, so we don't have six
by six pixels on screen, but nor do we
| | 01:30 | have very much in a way of detail. I
am going to go ahead and zoom in just a
| | 01:33 | little farther here to the 200% zoom
ratio and you can see that what we have
| | 01:37 | really done is, I guess, you could call
this smoothing; I would call it gumming
| | 01:41 | up the details.
| | 01:43 | So notice that we have these goopy
edges going on here and we are not really
| | 01:47 | able to clearly distinguish what's
happening in terms of the way that the image
| | 01:52 | was drawn. For example what are these
things underneath her jaw, right there?
| | 01:58 | Well, we don't really know, do we,
because Photoshop is not capable of
| | 02:02 | generating detail. It is capable of
taking the existing detail inside of an
| | 02:06 | image and smoothing it over and gumming
it up, but it is not capable of giving
| | 02:11 | us more information, because it doesn't
know. It doesn't know what was there in
| | 02:14 | first place; it only knows what you give it.
| | 02:16 | So how do we go about getting a better-
looking image, something that has more
| | 02:20 | clarity? Well, we scan it in a
higher resolution in the first place. For
| | 02:25 | example, I have got this other image
up in Picture puzzle-hi.jpg. I go ahead
| | 02:29 | and click on its tab in order to view
it and then I am going to press Ctrl+1 or
| | 02:34 | Command+1 on a Mac to zoom in to the
100% zoom ratio, and we are at that same
| | 02:38 | part of the image we were at before
inside of the other scan. So I am going to
| | 02:42 | press and hold the H key once again in
order to get that bird's eye view and
| | 02:46 | then I will scoot the view over here
to the queen's face and now we can see
| | 02:50 | exactly what's going on underneath
her jaw. We have four lines that I drew
| | 02:54 | using a pen and so we have a much better
depiction of what this line art looks like.
| | 03:00 | So this is what we got by just blowing
up that low-resolution image. It looks
| | 03:05 | like crud and this is what we would
get by scanning the image at a decent
| | 03:09 | resolution in the first place. So to
answer that question that I posed at the
| | 03:12 | outside of the chapter, how many pixels
do you need? You need as many pixels as
| | 03:17 | you can get, so when you are
photographing an image with a digital camera,
| | 03:21 | forget that stuff about shooting at
a lower resolution. That way you can
| | 03:26 | squeeze more images on media card,
what have you, never ever do that. Always
| | 03:31 | photograph at the highest resolution
your camera supports, because that way you
| | 03:35 | have a more flexible image that you can
crop if you want to, you can zoom in on
| | 03:39 | it. You can do anything you want. You can
turn it into poster art if you so desire.
| | 03:43 | What about scanning? How big should
you scan your images, whether they are
| | 03:47 | photographic or line art like this? I
recommend that you scan at the highest
| | 03:51 | optical resolution afforded by your
scanners. So go to your documentation, in
| | 03:55 | the tech information you will find
what the maximum optical resolution is
| | 03:59 | that's the resolution that you should use.
| | 04:01 | It means that you are going to get
whoppingly big images, but it also means
| | 04:05 | that you are going to have extremely
flexible images and you are going to have
| | 04:09 | all the detail you need in order to
make that image print its absolute best.
| | 04:14 | All right, in the next exercise I am
going to show you how to change the print
| | 04:17 | resolution of the image without adding
or subtracting pixels, so stay tuned.
| | Collapse this transcript |
| Changing the print resolution| 00:00 | In this exercise, we are going to
change the print resolution of the image,
| | 00:03 | which affects how big the image is, the
actual dimensions of the image when we
| | 00:08 | output it. I am looking at this image
called Picture puzzle-hi found inside the
| | 00:12 | 06_image_size folder. So this is one
that I went ahead and scanned at a
| | 00:16 | reasonable resolution in the first place.
| | 00:18 | Now to get a sense of how big an image
is going to print, you can actually go
| | 00:22 | to the File menu and choose the Print
command. We won't follow through with
| | 00:25 | printing here, we are just going to
see the preview here inside the Print
| | 00:29 | dialog box and I discussed the many
options inside this dialog box in a later
| | 00:33 | chapter, but for now, notice this
wonderful preview that we have right there.
| | 00:37 | We are seeing how the image, in this
case, fits on a vertically formatted
| | 00:41 | letter size page and it fits beautifully.
But what if we want the image to be bigger?
| | 00:45 | What if we want it to fit,
let's say on a horizontally formatted page?
| | 00:49 | In which case we have lots more paper
to work with here. Or let's say we are
| | 00:53 | sending the image out for commercial
output, in which case paper size really
| | 00:57 | doesn't matter. We can make that image
as big or small as we wanted to be. So,
| | 01:00 | let's just cancel out of here.
| | 01:03 | Let's say I know that I want the image
to be eight inches tall and however many
| | 01:07 | inches wide. We will see what the
resolution turns out to be as well, but we
| | 01:11 | are really mostly concerned about
eight inches tall for whatever reason. All
| | 01:14 | right so we would go to the Image
command and choose the Image Size command, so
| | 01:17 | whether you are trying to change the
number of pixels inside of an image, or
| | 01:20 | the printed size of an image to print
resolution, you would go to the Image
| | 01:23 | Size command and notice now, I just
want you to see how big this image is. It
| | 01:28 | measures 8422 pixels wide by 5700 pixels tall.
| | 01:33 | If you do the math, 8422 by 5700, you
will see that the image contains a total
| | 01:38 | of 48 million pixels. That's a 48 mega
pixel image. That's like 10 times as big
| | 01:46 | as an image shot by a top of the line
digital camera. So scanners can give you
| | 01:52 | extremely high resolution images,
which is a great thing, and by the way
| | 01:57 | because this is a grayscale image,
every pixel takes up one byte of data. You
| | 02:01 | don't have to know this; this is just
an FYI. It takes up one byte of data, so
| | 02:05 | that would be 48 million bytes.
| | 02:08 | So why is it 46 megabytes here? Well,
because there is 1024 bytes in a kilobyte
| | 02:14 | and a 1024 kilobytes in a megabyte and
so and so on. When the math works itself out,
| | 02:18 | we drop down to 46 megabytes
right there, but still a whopping image.
| | 02:22 | That's a huge image to be working with.
Now let's say that I think all right I
| | 02:26 | want the image to be eight inches tall,
so I will change the Height value to
| | 02:30 | eight and notice that the Resolution
value in our case is staying the same, so
| | 02:35 | we are still having this 1200 pixel
per inch image. Oh my Gosh! It's a huge
| | 02:40 | resolution. That's the resolution at
which I scanned the image because that's
| | 02:42 | the top optical resolution afforded
by this specific scanner, wouldn't
| | 02:47 | necessarily I will have to print the
image to that resolution, it's a little
| | 02:49 | bit of overkill.
| | 02:50 | You will typically hear people say that
you don't need any more than 300 or 360
| | 02:53 | pixel per inch when printing images
anything more, it's wasted and that tends
| | 02:59 | to be true when you are printing
continuous tone photographic images, but this
| | 03:03 | is line art, so we have these very
harsh contrasts, these rapid contrasts
| | 03:07 | inside of this image. So higher
resolutions tend to work better, something like
| | 03:12 | in the neighborhood of 300 to 600
pixels per inch might work out very nicely
| | 03:15 | for you, 1200 is genuinely overkill, but still.
| | 03:19 | All right so I have gone ahead and
changed the Height value to eight inches and
| | 03:22 | that just drove up the pixel dimensions
of my image. Notice that it's now going
| | 03:26 | to be 14000 pixels wide and we are
taking the size of the image in memory from
| | 03:31 | 46 megabytes up to 130 megabyte. So
we are upsampling the image once again.
| | 03:35 | There is no sense in doing that. We
don't need to upsample the image. So what
| | 03:39 | we want to do is we want to turn off
Resample Image so that we are not doing
| | 03:43 | any resampling at all.
| | 03:44 | So just turn off that checkbox. Now
that resets the values, notice that and it
| | 03:49 | also prevents you from accessing the
pixel dimensions anymore, because you
| | 03:53 | can't change the number of pixels when
resample is turned off. Instead you can
| | 03:57 | just change these Document Size
options. So I will go ahead and change the
| | 04:00 | Height value to eight inches once
again and notice that both Width and
| | 04:04 | Resolution change in kind. So the Width
expands to 11.82 just as it did before
| | 04:09 | because Constraint Proportions is
turned on. It's basically locked on when you
| | 04:13 | are not resampling because you have to
have square pixels, so the proportions
| | 04:17 | have to stay the same and the
Resolution value is now going to go up and down,
| | 04:21 | depending on how many pixels are
fitting into the new Document Size, and notice
| | 04:26 | that all three of these options are
locked into agreement with each other.
| | 04:29 | That's what this little chain
icon pointing to all three means.
| | 04:32 | So change anyone and the other two
are going to change as well. So now I am
| | 04:36 | noting that this is going to be eight
inches tall, 11.82 inches wide, so almost
| | 04:40 | 12 inches wide with the Resolution of
712.5 pixels per inch. I might not care
| | 04:46 | about that. I might say, gosh, all
right, let the resolution do what the
| | 04:49 | resolution is going to do because that
way I am not going to change the number
| | 04:53 | of pixels in the image. That way I
am not losing anything. That way I am
| | 04:56 | leaving it up to Photoshop to figure
out how it's going to print. All of these
| | 04:59 | pixels inside of an inch and then I
would just go ahead and click on OK in
| | 05:04 | order to accept that modification now
what do you notice? You notice nothing, right?
| | 05:08 | Nothing happens inside of the image, it
just zipped. It didn't even choose the
| | 05:11 | Image Size command in the first place.
Well, that's because we didn't change
| | 05:15 | the number of pixels inside the image,
but we did change the size at, which the
| | 05:18 | image is going to print. If I go to the
File menu and choose the Print command
| | 05:21 | again, just to preview things here,
then notice how big that image is on the
| | 05:26 | page. In fact, it's going to get
cropped if we send it out to a letter size
| | 05:29 | page, but I am going to send it out for
a commercial output, so I am not going
| | 05:32 | to have that problem.
| | 05:33 | So we have in fact changed the image,
you can see that the Height is 7.999,
| | 05:39 | don't worry about that, 11.82 wide
and there is our print resolution at 712
| | 05:44 | pixels per inch. Go ahead and Cancel
out of there. So we have now successfully
| | 05:48 | changed the print resolution. So
anytime you want to change resolution without
| | 05:51 | affecting the number of pixels inside
the image without resampling, make sure
| | 05:55 | to turn that Resampling checkbox off.
| | 05:58 | In the next exercise, we will turn
that Resample checkbox back on and we will
| | 06:02 | downsample the image and we will learn
why in the world you would ever want to
| | 06:06 | do such a thing.
| | Collapse this transcript |
| Downsampling your artwork| 00:00 | All right gang, in this exercise we
are going to downsample this image to a
| | 00:06 | more reasonable resolution. When we
last left off, we had set the resolution to
| | 00:10 | 712 pixels per inch, which is sky high.
We don't really need that many pixels
| | 00:16 | and it's just going to make Photoshop
work harder and that's really Photoshop's
| | 00:19 | business, but we don't want to slow
down the process and we want to be able to
| | 00:22 | work through the image fairly efficiently.
| | 00:24 | So let's go ahead and downsample.
I'm going to go up to the Image menu and
| | 00:28 | choose the Image Size command. And by
downsample, I mean reduce the number of
| | 00:32 | pixels inside of an image, which is
great by the way. Let's say not only if you
| | 00:37 | wanted to print the image effectively
here, but also you want to email the
| | 00:41 | image to somebody or you want to post
the image on a website or something along
| | 00:44 | those lines.
| | 00:45 | This image is way too massive for any
of that stuff, because it's still 46
| | 00:49 | megabytes in RAM, so it will probably
get down to a much smaller size on disk
| | 00:54 | because these big areas of white and
these big areas of black are going to
| | 00:56 | compress very nicely. But still you're
probably not going to want to email a two
| | 01:00 | or three megabyte file to somebody
because it just won't look right when they
| | 01:03 | open it up in some other piece of
software and they don't know what they are
| | 01:05 | doing and the details will get all
choppy because the pixels are getting
| | 01:08 | squished and all that stuff.
| | 01:10 | So let's downsample and here is what I
am going to do. I am going to turn on
| | 01:14 | the Resample Image checkbox right there.
In the previous exercise we set it to
| | 01:18 | a Width of 11.82 inches and a Height
of eight inches, turn on Resample Image.
| | 01:23 | Go ahead and turn on Constraint
Proportions, when in doubt turn on Scale
| | 01:26 | Styles, in our case it doesn't matter
because this is a flat image that does
| | 01:29 | not have any layer files associated
with it, but it is good habit to get into
| | 01:33 | it and just go and turn that on and
then let's change the Resolution value.
| | 01:37 | Now let's say I am going to print this
to my inkjet printer and I want it to
| | 01:43 | look its very best and the top side of
the inkjet printing where resolution is
| | 01:47 | concerned is 360. So I will change the
Resolution to 360 pixels per inch. Then
| | 01:52 | the question becomes, which form of
interpolation, do we want to apply. I told
| | 01:56 | you never Bilinear, so just don't even
worry about that one. Nearest Neighbor
| | 01:59 | is great for increasing the size of
the screenshots. You almost never want to
| | 02:03 | use it for decreasing the size of an
image, for downsampling, because it can
| | 02:07 | lead to very jagged results.
| | 02:08 | Bicubic is your good when in doubt
choice and that is the default choice and
| | 02:13 | it's a great one to work with and if
you had nothing else, but Bicubic inside
| | 02:16 | of Photoshop that would actually be a
really good thing. Bicubic Smoother is
| | 02:19 | good if you are trying to get rid of
noise inside the image as you downsample
| | 02:24 | it. We are not. We don't have noise
inside this image to speak off. Bicubic
| | 02:28 | Sharper would be good if we want to
really sharpen the details as we make the
| | 02:33 | image smaller, which can be good for
web graphics, especially web imagery.
| | 02:37 | But the thing is it can also create
little tiny halos around your artwork and
| | 02:42 | we want to avoid that. So for this
image here, we just want plain old Bicubic
| | 02:46 | for downsampling. We are downsampling
this line art as concerned. So here
| | 02:51 | are our settings, notice that it's
going to drop from 46 megabytes down to 12
| | 02:56 | megabytes, which is considerably
smaller and I will click OK in order to apply
| | 03:00 | that modification.
| | 03:01 | Now, we have kind of lost track of the
image, so let's go over here and press
| | 03:03 | the H key in order to get that bird's
eye function. Drag this over and there is
| | 03:08 | our downsampled queen. She still looks
really great. Let's compare her to that
| | 03:14 | upsampled version of that low-
resolution artwork that we started off with at
| | 03:19 | the beginning of this chapter.
| | 03:20 | So there is the modified version of
Picture puzzle-lo.jpg and here is the
| | 03:25 | downsampled version of Picture puzzle-
hi, so again, here is the moral, right?
| | 03:32 | Starting with a low-resolution image
and upsampling gives you crud. Starting
| | 03:37 | with a high-resolution image and
downsampling gives you great results. So
| | 03:41 | contrary to what you might think, you
are better off reducing the number of
| | 03:45 | pixels inside Photoshop as opposed
to adding pixels inside of Photoshop.
| | 03:50 | Another great thing about downsampling,
like what we have done right here, is
| | 03:53 | it clarifies that remaining detail.
So it takes too much information and
| | 03:58 | distills it into just the right amount
of information, which is what we have
| | 04:02 | here. Now, should you now go to the
File menu and choose the Save command?
| | 04:06 | Absolutely not. Do not do that because
you will save over your high resolution original.
| | 04:11 | Instead go to Save As and call this
something different. You can still use the
| | 04:16 | JPEG file format in this case, but
definitely use the highest quality setting,
| | 04:20 | use a different name, save it in a
different location or whatever, just don't
| | 04:23 | save over the original.
| | 04:25 | In the next exercise we are going to
address that issue. So how do you take a
| | 04:29 | small image and make it big? Coming right up.
| | Collapse this transcript |
| The mythology of upsampling| 00:00 | All right, it's usually this stage of
the training that I get this question,
| | 00:04 | which is something to the effect of,
Okay, yes Deke, I totally get it. It's
| | 00:09 | better to start with a high
resolution image and then downsample it if
| | 00:13 | necessary than to start with a
squalid little low resolution image and
| | 00:17 | up-sample it and expect to get good
results, but what if I don't have a choice?
| | 00:22 | What if all I have is a squalid little
low resolution image and I need to make
| | 00:26 | it look halfway decent or I am
starting with a normal resolution image,
| | 00:30 | something like a 12 megapixel, 14
megapixel image and I need to blow it up to
| | 00:34 | fit on the side of a bus. What do I do?
| | 00:36 | Well, I am going to answer that
question in two parts. First of all I am going
| | 00:39 | to show you what not to do. I am going
to try to dispel some of the mythology
| | 00:44 | that surrounds up-sampling and then
in next exercise, I'll show you what I
| | 00:47 | recommend you actually do and I am
going to do that with the help of these two
| | 00:51 | images. One is called Snow on Branch.jpg,
the other is called Test case-1.jpg.
| | 00:56 | They are both copies of the same
image, just with different resolutions.
| | 01:00 | Snow on branch.jpg is the actual 12-
megapixel image that I shot several years
| | 01:05 | ago, and Test case-1.jpg is that same
image downsampled. So it's only a 10th as
| | 01:10 | wide, and a 10th as tall, so just a
100th of the size over all. So we just have
| | 01:14 | a dramatic comparison that is waiting
for us here. So let's go back to Snow on
| | 01:19 | Branch.jpg. Right now we are seeing
it's at the 20% zoom ratio. I am going to
| | 01:24 | go ahead and zoom it into a 100% by
pressing Ctrl+1 or Command+1 on the Mac and
| | 01:29 | then I'll do that, press the H key
technique, that bird's eye thing. So I'll
| | 01:33 | press the H key, drag this over and
then release in order to see this pine
| | 01:38 | cone, which is obviously a pine cone
and it's surrounded by these pine needles
| | 01:42 | and there's a little bit of
ice on this one needle here.
| | 01:44 | All right, now let's zoom in on this
image to the same level, which means by
| | 01:49 | the way, zooming into a 1000%. I am
just going to enter a 1000% into the Zoom
| | 01:54 | option down here in the lower left
corner of the Image window and then press
| | 01:58 | the Enter or the Return key on the Mac
and I am going to take advantage of that
| | 02:01 | H key technique. So I am pressing it,
holding the H key, dragging this view to
| | 02:04 | this location and
releasing and there's my pinecone.
| | 02:08 | Now it's hard to tell what's going on
with this Pixel Grid in the way. So I am
| | 02:12 | going to turn the Pixel Grid off,
and you do that by pressing Ctrl+H or
| | 02:15 | Command+H on the Mac. So that same
time-tested technique, that keyboard
| | 02:19 | shortcut that allows you to hide the
extras, like selection outlines and so on.
| | 02:23 | We'll see more of it if you are not
familiar with it, but that's Ctrl+H,
| | 02:26 | Command+H on the Mac and now I'll
switch back to this image, so we can compare
| | 02:30 | them nose to nose here. So this is
the good version of the pinecone. We can
| | 02:35 | tell it to a pinecone for example and
here's the low-resolution version. We
| | 02:38 | can't tell what in the world it is.
| | 02:40 | So no surprise that it looks like
garbage because we have a low-resolution
| | 02:45 | image in the first place. Well, let's
take this image and up-sample it and see
| | 02:49 | if it looks any better. So I am going
to go to the Image menu and I am going to
| | 02:52 | choose the Duplicate command and I am
going to call this duplicate version of
| | 02:57 | the image Test case-2 and click OK,
and there it is and now let's go and
| | 03:02 | up-sample it by going to the Image menu,
choosing the Image Size command, make
| | 03:06 | sure that resample image is turned on,
I might make sure that these other
| | 03:10 | options are turned on as well. Really
all that matters is that Resample Image
| | 03:13 | is turned on and you want to set to
Bicubic. You could try to sharpen it up a
| | 03:17 | little bit by Bicubic Sharpener, but
that's not going to help you and you could
| | 03:22 | smooth out, gum up the edges a little
bit if you are worried about noise, but
| | 03:26 | that's a least of our concerns with this kind
of enlargement, let's just stick with Bicubic.
| | 03:29 | What I am really telling you is it
doesn't matter which one you choose. And
| | 03:33 | then, this is an interesting
technique. You go to the Window menu and you
| | 03:36 | choose Snow on Branch in order to match
its size, so that we are upsampling to
| | 03:41 | exactly match the size with Snow on
Branch. Now what you are going to see here
| | 03:45 | is the Constrain Proportions checkbox
turned off and that's because Photoshop
| | 03:49 | is inserting values for both width and
height and it doesn't even know. It's
| | 03:54 | not aware of whether they are
proportional or not. They are proportional, but
| | 03:57 | Photoshop doesn't know so it turns that
checkbox off. You don't care. Just make
| | 04:01 | sure Resample Image is turned on, then
click OK and don't try to turn it back
| | 04:04 | on because that will ruin your values.
| | 04:06 | All right, click OK and that will apply
the resampling. Let's press the H key,
| | 04:11 | in order to find our pinecone there and
there it is. All right, so there's the
| | 04:15 | original, obviously better. There's
the high pixel one and there's the smooth
| | 04:21 | resampled one. I don't know. You can
tell me that that's way better than that,
| | 04:26 | if you want to, and say yup, I am
convinced. Up-sampling is a good thing. If
| | 04:30 | you look at that and you say, yup, Up-
sampling is a good thing, then more the
| | 04:34 | power to you. Up-sample your images.
I look at that and I say, that's just
| | 04:38 | fuzzy. That isn't any better and it's
not going to look any better in print
| | 04:41 | than this is. This is a little more jagged,
but otherwise there's no clarity here.
| | 04:46 | All right, now this is other technique.
I am going to zoom out from this image.
| | 04:50 | Actually, I'll press Ctrl+1 or Command+
1 to go out all the way. This is very
| | 04:54 | mythological technique. The technique
says that you are going to get better
| | 04:58 | results if you up-sample in small
increments. So in increments of a 110%, so
| | 05:02 | you just up-sample a little bit, a
little bit, a little bit and to demonstrate
| | 05:07 | how that works, I have gone
ahead and created an action.
| | 05:09 | Here's my Actions palette by the way.
You go to the Windows menu and you'll
| | 05:12 | choose Actions and I'll save this
action up for you, it's in the 06_imagesize
| | 05:17 | folder. So all you need to do is choose
Load Actions and you can load it on up.
| | 05:22 | I have already got it in here, and so I
am going to click, so you want to twirl
| | 05:25 | open the myth and then click on a
110%X10. So they are 10 instances of
| | 05:32 | up-sampling this image to a 110% and
that's how that's supposed to work, it
| | 05:36 | doesn't, but it's supposed to. So I am
going to click on 110%X10 and I am going
| | 05:41 | to go ahead and play that action and
it's going to go ahead and up-sample that
| | 05:47 | many times, a 110%X10,
so it's 10 times in a row.
| | 05:50 | Now that doesn't happen to match Test
case-2, which is up-sampled farther than
| | 05:53 | that. So let's go ahead and press Ctrl+
Alt+Z or Command+Option+Z on the Mac, in
| | 05:57 | order to back step and then I'll go to
the Image menu, choose the Image Size
| | 06:00 | command, and I am going to change the
size of this image. Turn Resample on,
| | 06:07 | turn Constrain Proportions on, all
checkboxes on in fact and I'll change the
| | 06:11 | percent to 259% because if you take a
110X10 times, 10 times, run it 10 times
| | 06:17 | in a row, then you get the same thing
as a 259% increase in the image and I'll
| | 06:22 | click OK.
| | 06:24 | So here are the two images. Let's
just go ahead and zoom in a little bit on
| | 06:27 | this pinecone, so that we can see it
in detail here and these are the two
| | 06:32 | versions. So this is the one that we
ran the operations 10 times on, the one
| | 06:35 | that's supposed to be so much better,
and here's the one that we just did it
| | 06:38 | once and in truth this Test case-1 guy
right here is a little bit smoother, but
| | 06:44 | once again, smooth isn't our problem.
We are going to get softness and
| | 06:49 | goopyness no matter what we do. What we'd
like to get is some nice detail in this image.
| | 06:54 | So this super softening stuff that we
are doing here just isn't serving any
| | 06:57 | purpose and if you want super softening,
then just go ahead and undo that one
| | 07:01 | operation. Go back to the Image menu,
choose the Image Size command. So this is
| | 07:05 | the one that we just resampled in the
single path of the Image Size command.
| | 07:09 | I'll go ahead and change it to 259% and
if you want it to be smoother, then you
| | 07:14 | change this from Bicubic to Bicubic
smoother. And click OK and you are going
| | 07:18 | to get a smoother result without having
to run the operation 10 times in a row.
| | 07:22 | They are nearly identical to each other.
They are slightly different, but they
| | 07:26 | are not different in any
meaningful, helpful way.
| | 07:29 | So what in the world do you do?
Having proved that this really isn't a good
| | 07:33 | approach, what is the better approach?
I will show you two better approaches in
| | 07:38 | the next exercise.
| | Collapse this transcript |
| Better ways to make an image big| 00:00 | All right, so what do you do if you
are trying to print an image bigger, if
| | 00:05 | you want to take a low resolution image
or less than ideal resolution image and
| | 00:10 | make it a decent size or really truly
big? Let's start off with that second
| | 00:16 | option, where you want to take a normal
size image and print it on the side of
| | 00:19 | a bus, or print it really, really large.
| | 00:21 | So for example, I have got this Snow
on Branch.jpg image, which as you may
| | 00:26 | recall is the 12 megapixel version of
this image. If I go up to the Image menu
| | 00:31 | and choose the Image Size command,
it's going to show me that this image at a
| | 00:35 | resolution of 300 pixels per inch
is going to measure 13 inches wide,
| | 00:39 | 13 and change and 10 inches tall and let's
say, I wanted to be 40 inches wide and
| | 00:45 | 30 inches tall. That's going to take
this image up to 12,000 pixels wide, at 300
| | 00:51 | pixels per inch. So we are going to
have 309 megabytes. This image is just
| | 00:56 | going to be enormous and we are not
going to worry about the Interpolation
| | 00:59 | setting because it's not going to help
us regardless. So click OK in order to
| | 01:04 | accept that modification.
| | 01:05 | Now let's go ahead press the H key,
and find our way over here to this pine
| | 01:09 | cone so that we can look at the
detail inside the pine cone. Is it all that
| | 01:13 | great, did we gain anything? I mean
this is a really whopping huge image. This
| | 01:17 | is going to be a chore to print. It's
going to be hard to do anything with it
| | 01:20 | because we are going to be waiting
forever for the commands to complete, and we
| | 01:24 | really don't have anything to show for
it. So if I press Ctrl+Z, or Command+Z
| | 01:27 | on the Mac, to undo that modification
and then press the H key in order to find
| | 01:31 | that detail and zoom in on it. This
is now about the same size as it was
| | 01:35 | before, now that we are zoomed in to 200%,
300% something in that range and yet
| | 01:40 | it doesn't look any better or worse,
it just looks, all right, we just don't
| | 01:45 | have enough detail going on and this is
a much easier image to work with. It's
| | 01:49 | just 36 megs instead of
being that whopping 309 megs.
| | 01:52 | So here's what I would do where this
image is concerned. If I wanted to print
| | 01:55 | it that big, I would go up to the
Image menu. I would choose Image Size
| | 01:59 | command. I would turn off Resample
image and I would change the width to 40
| | 02:04 | inches and then I would let it change
to 30 inches high, and then I wouldn't
| | 02:08 | worry about the resolution values. It's
going to drop down to a 102 pixels per
| | 02:11 | inch. If that bothers you then don't
look at that value, ignore it and click OK.
| | 02:16 | The image is going to look the same as
it did before, but it's going to output
| | 02:18 | 40 inches wide now and 30 inches tall
and the thing is you are not going to be
| | 02:23 | putting your nose about one inch from
this image in order to check out it's
| | 02:26 | resolution. You are going to have to
backup to take in the entire thing and as
| | 02:30 | a result, the pixels are going to blend
together and it's going to look like a
| | 02:33 | smooth image. I do this all the time.
I have a large format Epson printer and
| | 02:38 | I'll print out these gargantuan
prints with it, and we'll mount them onto
| | 02:41 | walls, sort of high up on the walls.
No body gets close enough to them to see
| | 02:45 | the actual resolution of the images and
they look absolutely great, and I have
| | 02:48 | all sorts of other stories.
| | 02:49 | I mean this is the way it actually
works. When you print an image on the side
| | 02:52 | of a bus or on a Billboard or that
kind of thing, they are not up-sampling;
| | 02:56 | they are just changing the physical
dimensions of the image and letting the
| | 02:59 | resolution ride. Sometimes very low,
sometimes we are talking about 30 pixels
| | 03:03 | per inch and stuff like that. All
right, but what about the other scenario
| | 03:06 | where you are taking a tiny little
image and you want to make it look normal.
| | 03:09 | All right, so I have got a bunch of
test cases now. It is now flooded my screen.
| | 03:13 | Here's Test case-1, which was that
little version of the image, the itty-bitty
| | 03:17 | version that we up-sample 10 times
in a row, at a 110% each time. So it's
| | 03:22 | ostensibly better than Test case-2. We
just saw this in a previous exercise,
| | 03:26 | it's ostensibly better according to
the myth than Test case-2, which we just
| | 03:31 | up-sampled in one fell of swoop to 259%,
and actually I don't think there's any
| | 03:36 | qualitative difference between these
two images at all. The first image is a
| | 03:39 | little bit sharper, it's got a little
bit what's called clarity because there's
| | 03:44 | a little bit more edge contrast, but
we can apply that after the fact using a
| | 03:48 | number of different techniques if we wanted to,
but I don't think it makes a difference.
| | 03:51 | Here's what makes a difference. I'll
go to Test case-3. This is the original
| | 03:54 | version of the image. I just duplicated
it once again. If you are interested in
| | 03:58 | this thing but you are going to have
to buy a different piece of software.
| | 04:00 | Here's the website. It's a product
called Genuine Fractals and it's available
| | 04:04 | from this group called onOne Software.
You can go to ononesoftware.com or you
| | 04:09 | can just Google Genuine Fractals and
you'll find that information about it, but
| | 04:13 | let me just show it to you. I am not
going to show you how to use Genuine
| | 04:15 | Fractals. I'll just demo it, so
you get a sense what it can do.
| | 04:19 | With this image here I am going to go
to the File menu. This is the original
| | 04:22 | low-resolution image, so I have zoomed
to 200%. I am going to go to the File
| | 04:25 | menu, choose Automate, and then choose
the Pro Version of Genuine Fractals and
| | 04:31 | then I am going to change the pixel
dimensions as a percent. I want to make
| | 04:35 | sure it's set to percent, and I am
going to change it to 259% and then press
| | 04:39 | the Tab key to make sure we are
changing both values and kind and then I'll
| | 04:42 | click on the Apply button and it will
go ahead and resize this image to 259%
| | 04:47 | and now let's go ahead and scroll it
over so that we are looking at the image
| | 04:52 | at about the same location.
| | 04:53 | So this is the 110%X10 modification.
This is scaled to 259% inside Photoshop in
| | 05:01 | one fell of swoop as I said before
and this is Genuine Fractals. Now what I
| | 05:06 | want you to look for is the smooth
contouring that's going on here, especially
| | 05:10 | around this ice. Notice those very
smooth contoured edges, compared with either
| | 05:15 | these examples. Very gummy in the
first case, very gummy in the second case,
| | 05:21 | just sort of gooey, gummy indistinct
edges, compared with Genuine Fractals,
| | 05:25 | which actually goes in there and tries
to rebuild edges where to confine them,
| | 05:30 | so it's fairly amazing for this kind of stuff.
| | 05:33 | So again if you do a lot of it because
it's fairly expensive software, Genuine
| | 05:36 | Fractals is worth looking into, just
again to give you a sense around the same
| | 05:40 | task with the puzzle image. So this is
a 110%X10 technique. This is the 259%X1
| | 05:49 | technique. These two are virtually
indistinguishable from each other. Again,
| | 05:53 | there's no qualitative difference
and then this is the Genuine Fractals
| | 05:56 | version, which does produce a
qualitative difference. It's a much better
| | 05:59 | looking image and it's actually
going through there and trying to make up
| | 06:03 | detail, which is pretty amazing.
Sometimes it gets it right, sometimes it
| | 06:06 | doesn't, but always it's
delivering these smooth contoured edges.
| | 06:11 | So there you go. Either if you are
going way, way big just go ahead and turn
| | 06:15 | off resample image and let the
resolution do its thing or if you are just
| | 06:19 | trying to take a little image and
make it reasonable then go with Genuine
| | 06:22 | Fractals. And that my friends, is my
discussion of image size inside Photoshop.
| | Collapse this transcript |
|
|
7. Cropping and StraighteningFrame wide, crop tight| 00:01 | Long before computers were widely
available, eons before Photoshop hit the
| | 00:06 | market, it was common practice for the
professional photographer to frame a
| | 00:10 | shot and then back up a step or two to
permit room for cropping. By cropping, I
| | 00:15 | mean taking in the boundaries of a
photograph to make for a tighter shot.
| | 00:19 | In other words, even back in the old days,
the photographer shot the image with
| | 00:24 | editing in mind because doing so
ensured a wider range of post photography
| | 00:29 | options or as we say now, the
photographer knew in advance that he or she could
| | 00:34 | fix the image in post.
| | 00:36 | Cropping an image means adding or
subtracting pixels around the perimeter of
| | 00:40 | the image, a measurement that Photoshop
refers to as Canvas Size. Straightening
| | 00:45 | a crooked photo requires re-mapping
pixels, which involves resampling. So again
| | 00:51 | it's best to perform these
operations after correcting the colors. Pretty
| | 00:55 | simple topics. What's amazing is how
many options Photoshop gives you and the
| | 01:00 | degree of automation the program provides.
| | Collapse this transcript |
| Using the Crop tool| 00:00 | In this exercise, I am going to provide
you with a demonstration of how you use
| | 00:04 | the Crop tool here inside Photoshop
and not only does the Crop tool allow you
| | 00:09 | to hone in on just that portion of the
photo that you want to keep, but it also
| | 00:13 | allows you to straighten a crooked
image like this one here. The name of this
| | 00:16 | image is Crooked slide.jpg and this
is a scan of a 35-millimeter slide that
| | 00:21 | features both my sister here and I back
in the day. So there's a lot of garbage
| | 00:27 | sort of inside of this slide but it's
of course of immense nostalgic value. So
| | 00:32 | I would like to go ahead and crop in on
this image, while keeping, by the way,
| | 00:36 | while keeping a little bit of
this black edge because I like it.
| | 00:39 | So I am going to go ahead and Shift+
Tab away my palettes so I have a little
| | 00:42 | more room to work and then I am going
to grab my Crop tool and notice that the
| | 00:47 | Crop tool has a keyboard shortcut as
many of the tools do. In this case you
| | 00:50 | press the C key to get to Crop tool.
You don't have to press anything else. You
| | 00:54 | don't have to press Ctrl or
Command or Shift or any of that stuff.
| | 00:58 | Then just go ahead and drag with the
tool like so, in order to encircle or
| | 01:04 | enrectangle the portion of the image
that you want to keep. And if you like as
| | 01:10 | you are drawing the crop boundary, you
can press the Spacebar in order to move
| | 01:14 | it on the fly and that's a little trick
that we'll see over and over again with
| | 01:18 | some of these basic sort of geometric tools.
| | 01:21 | Anyway now I have released the Spacebar
and I am just scaling the crop boundary
| | 01:24 | again. As soon as I release, you don't
have to get away the first time, because
| | 01:28 | as soon as you release you still
have the option of modifying this crop
| | 01:31 | boundary. Now I am in what's called
the Crop mode, and here's what I can do.
| | 01:36 | There's a lot of stuff I can't do
now, inside of the software, a lot of
| | 01:39 | features that I can't access, but I
can modify the crop boundary by dragging
| | 01:44 | inside of it to move it.
| | 01:46 | I can drag anyone of these handles,
either the corner handles or one of the
| | 01:50 | side handles or the top or bottom
handles in order to change the size of this
| | 01:55 | crop boundary or if I move my cursor
outside of the crop boundary, you will see
| | 02:00 | that I have this bidirectional arrow
cursor right there, and that allows me to
| | 02:06 | rotate the boundaries. So just drag
outside the boundary to rotate it, like so
| | 02:11 | and you want to rotate the boundaries
so it matches the angle of the image itself.
| | 02:15 | All right, now if you want to get a
sense of what that angle is, you have to
| | 02:20 | bring up the Info palette and so I go
to the Window menu and choose Info and
| | 02:25 | then I can see right there that I am
looking at an angle of -23.1 degrees. I
| | 02:29 | can't modify that angle, I can't enter
a different numerical angle, but I can
| | 02:33 | see what the angle is just in case I
am curious. I can also see the width and
| | 02:37 | the height of my crop boundary. This
is not a particularly high-resolution
| | 02:41 | image that we are looking at here.
| | 02:42 | All right, I am going to go ahead
and hide the info palette for now, and
| | 02:46 | continue to drag. Now, it's a little
difficult to see what in the world I am
| | 02:49 | doing at this point because I am
covering up my cropped area, which is mostly
| | 02:56 | black out there, with a Shield.
That's what it's called, with a shield of
| | 03:01 | black. And you can see up here in the
Options bar, there's Shield, you can turn
| | 03:04 | it off if you don't want it, so that
you can just see the crop boundary without
| | 03:08 | anything outside of it, or you can turn
it back on and change it's color and in
| | 03:12 | my case I am going to change the color to white.
| | 03:15 | So I click on that black swatch, up
comes the color picker. I go ahead and drag
| | 03:20 | inside of this big field until I get
to white, which is going to be in the
| | 03:23 | upper left hand corner, assuming that
H is selected here, that the H radio
| | 03:27 | button is active. Or you can just go
ahead and enter a Saturation value of
| | 03:31 | zero, and a Brightness there of a 100%,
those two will conspire to create
| | 03:36 | white, so well RGB is set to 255, lots
of different ways to enter in White here.
| | 03:41 | I'll go and click OK, and of course
it's not essential that I get it exactly
| | 03:45 | white. This is just for screen display
purposes here. Then I am going to change
| | 03:50 | my Opacity from 75% to a 100%, so I am
absolutely covering up the stuff in the
| | 03:53 | background. In that way I can get a
really good sense of what this image is
| | 03:58 | going to look like when it's printed
on white paper. So I can see that I need
| | 04:02 | to still rotate it a little bit, I
am going to drag this down. Actually I
| | 04:05 | didn't rotate it, did I? I just went ahead
and scaled it a little bit. I don't want that.
| | 04:09 | So I'll drag outside in order to rotate.
I am going to try and see if I can get
| | 04:15 | this at the right angle and I just want
this to screw at the top. It looks like
| | 04:17 | it needs to be rotated just a little
bit more, it's hard to finesse this tool
| | 04:22 | sometimes, and drag this guy in along
the edge there, move this out a little
| | 04:27 | bit. I just want it to be equidistant
from all these edges and I don't know if
| | 04:32 | you can tell I am -- if you can tell
by the sense of my voice, I have got my
| | 04:35 | head tilted as I am looking at the monitor
to try to make sure that I am doing this right.
| | 04:40 | I'll show you a better way to work in
the future exercise, a way to preview the
| | 04:45 | angle of your image so that you don't
have to do this twist your head thing,
| | 04:50 | but for now we are just getting a sense
of how the tools works. This is looking
| | 04:53 | pretty good to me and so I have gone
with, it doesn't it look good, let's see,
| | 04:59 | this is a struggle obviously. Let's
go to here. Let's see if this works out
| | 05:03 | just a little better. I want to make
sure we are getting it exactly right. No
| | 05:07 | it's pretty good I guess.
| | 05:08 | All right I'll drag this up and now
let's go ahead and bring up the Info
| | 05:12 | palette again, so I can see I have
got an angle of about -24.1 degrees. All
| | 05:17 | right, fair enough, and I go ahead
and move that a little more and I think
| | 05:21 | that's good. All right, so I can of
course zoom out if I want to, or zoom in
| | 05:26 | using Ctrl+Minus or Ctrl+Plus that
would Command+Minus Command+Plus on Mac, so
| | 05:31 | you can do all that stuff.
| | 05:32 | Now at this point once you have decided
you have gotten this where it wants to
| | 05:36 | be, that you have it cropped properly,
and of course I haven't decided that
| | 05:41 | because here I am modifying it some
more, but once you are done, good lord,
| | 05:44 | finish up there. Once you are done
then go ahead and click on this check mark
| | 05:48 | if you want to. That's one way or you
just press the Enter key or the Return
| | 05:52 | key on the Mac in order to apply your
crop and that looks good to me. So that's
| | 05:57 | the basics of using the Crop
tool here inside of Photoshop.
| | 06:01 | In the next exercise, I am going to
show you how to work with Crop tool presets.
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| Crop tool presets| 00:00 | In this exercise I am going to show
you how to work with Crop tool presets,
| | 00:03 | which are predefined combinations of
width and height and resolution values
| | 00:07 | that you can assign to an image as you
crop it and presets are available to a
| | 00:11 | lot of different tools inside of
Photoshop. So this is just one of many
| | 00:15 | examples of how you can select and
save your own presets. I am working inside
| | 00:20 | of this image called Jedi cub.jpg.
It's called Jedi cub because my son Sammy
| | 00:25 | here is a Cub Scout and an authentic
Jedi knight as well, as you can see by the
| | 00:29 | fact he's wielding that $15 toy
that we bought at a restaurant.
| | 00:34 | So I am going to go ahead and grab my
Crop tool because I do want to crop down
| | 00:38 | on just of the area around his face
here. I don't want to see all this extra
| | 00:42 | stuff. This plastic right here gives
away that it's not really a light saber
| | 00:47 | and the top of the light saber is running out of juice.
So... you can't laugh at this thing. I am going to go
| | 00:54 | grab my Crop tool and notice when I
have the Crop tool selected, I can go up to
| | 00:59 | this little down pointing arrowhead at
the outside of the Options bar and I can
| | 01:02 | click on it, and then I can
choose from several different presets.
| | 01:06 | For example, let's say that I want
to go ahead and crop this image to a
| | 01:09 | 4x6x300ppi. So I'll go ahead and select
that one and after that all you need to
| | 01:16 | do is go ahead and drag with the
tool like so in order to draw the crop
| | 01:21 | boundary. Now, notice that it's
constrained, so I can't make it any wider than
| | 01:25 | it is right now. If I wanted to include
a little more width for example inside
| | 01:29 | of this image, I wouldn't be able to
do that because I can't violate the
| | 01:33 | constrains that I have applied of 4X6,
I have to go ahead and stick with those
| | 01:37 | values there and then I could drag
this to a different location and so on.
| | 01:42 | If I don't like that, I can't change it
after the fact. Notice I am now in this
| | 01:46 | Crop mode, which precludes me from
changing the proportions. I would have to
| | 01:50 | click on this little Ghost Busters
icon there, or I would have to press the
| | 01:54 | Escape key to abandon the Crop
operation and to modify my values right here. So
| | 02:00 | notice one of the things I can do is
swap the Width and Height values, like so,
| | 02:04 | just by click on this icon, so I am
making an image set 6 inches wide, and 4
| | 02:08 | inches tall which is also not what I
want. So I'll go ahead and escape out of
| | 02:12 | there. Go ahead and click on that
again in order to swap them back.
| | 02:15 | Let's say I want 5X6 inches, and I also
happen to know that I am working with a
| | 02:21 | printer, this little die sublimation
printer that I have that has a very
| | 02:25 | specific resolution of 316 pixels per
inch, and I want to exactly match that
| | 02:29 | resolution. So I am not doing any
resampling during the printing process. So
| | 02:33 | I'll go ahead and enter that value like
so. Then press the Enter or Return key,
| | 02:37 | in order to accept it and now I'll
draw a new crop boundary and see this one
| | 02:42 | ends up looking and this one looks
pretty darn good to me, and if I want to I
| | 02:47 | can change my shield color
and all that jazz right here.
| | 02:50 | I think just because image is so dark,
it might be lighter shield color. So
| | 02:54 | I'll go again and switch that back to
white once again, and I'll leave the
| | 02:58 | Opacity at 75%, so I can see it through
to the background, and then I press the
| | 03:01 | Enter key or the Return key on the Mac
in order to accept that modification and
| | 03:06 | then you can see that it went from
larger, this is Undo, I just press Ctrl+Z or
| | 03:11 | Command+Z on the Mac to smaller if I
press Ctrl+Z or Command+Z again, so I know
| | 03:15 | that I have down sampled the image
which is a good thing, right? We want to
| | 03:19 | avoid up sampling the image if we can.
| | 03:21 | All right, and that looks pretty darn
great and then of course I could go up to
| | 03:25 | the Image menu, if I wanted to confirm
that the image is so sized and I think
| | 03:28 | it is. I can go up to Image menu,
choose the Image Size command or press
| | 03:32 | Ctrl+Alt+I, Command+Option+I on the
Mac, and I can see that yes indeed, the
| | 03:36 | Width of the image is 5 inches, the
Height is 6 inches and the resolution is
| | 03:39 | 316 pixels per inch. Awesome, and that
is how you go about employing a preset
| | 03:45 | along with the Crop tool. But now
that we have created this preset, I would
| | 03:48 | like to go ahead and save it.
| | 03:49 | And I am going to do that by going to
the Window menu and choosing the Tool
| | 03:53 | Presets command in order to bring up
the Tool Presets palette right here. And
| | 03:57 | notice that I also have this little
icon I could have clicked on. I will go
| | 04:01 | ahead and click on this New icon,
this little page icon which allows me to
| | 04:05 | create a new item, in this case a new
tool preset. And notice that it's smart
| | 04:10 | enough to go ahead and call this Crop
tool. I don't know what it has to insert
| | 04:13 | tool when none of these guys have it.
So, crop 5 inches by 6 inches. That's good.
| | 04:18 | And just to make sure that everything
correlates to the other presets, I'll go
| | 04:23 | ahead and use the same language that
they are using down here and then I'll say
| | 04:27 | 316ppi, and I'll click OK and there
is my new preset in alphabetic order as
| | 04:34 | well, which is nice. Then I'll go ahead
and hide that palette and it's going to
| | 04:38 | show up here as well.
| | 04:39 | So if I click this down-pointing
arrowhead, notice there it is and so I have
| | 04:43 | not only used the preset, I have gone
ahead and modified the preset and saved
| | 04:47 | it out for future use as
well here inside Photoshop.
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| Previewing the crop angle| 00:00 | All right now let's say on further
reflection, I decided I don't really like
| | 00:03 | this cropped version of the image
and I don't care whether it's constrained
| | 00:08 | to 5 inches wide by 6 inches tall with
a resolution of 316 pixels per inch.
| | 00:12 | I just want to clear all that stuff out.
Well, a few things we can do. One, you
| | 00:16 | can press Ctrl+Z, or Command+Z on the
Mac in order to undo the crop that I
| | 00:21 | applied to this Jedi Cub.jpg image. So
I have now restored the original version
| | 00:26 | of the image, as it appears
inside the 07_Crop straighten folder.
| | 00:31 | Notice however that I still have my
preset, so I didn't undo the addition of
| | 00:36 | the preset there, just the application
of the preset to the image. Then notice
| | 00:41 | we have got a couple of different
buttons here. One is front image and what
| | 00:44 | that does is if you have a lot of
images that you are trying to crop to the
| | 00:48 | exact same specifications and you have
one image that's serving as an example,
| | 00:53 | then you would have that example image
open and click Front Image in order to
| | 00:56 | load it's settings into the Options
bar and then crop the other images accordingly.
| | 01:01 | You also have this Clear button that
allows you to clear out the settings or
| | 01:05 | another way to work, you can also
clear the settings and restore the factory
| | 01:09 | default settings for any given tool by
going over to the tool icon on the far
| | 01:13 | left side of the Options bar, right-
clicking on it or if you don't have a right
| | 01:17 | mouse button on the Mac, you would
press the Ctrl key and click, and then
| | 01:20 | choose the Reset tool command. You can
reset all the tools as well if you want
| | 01:24 | to by choosing Reset All Tools and
that will not only reset the Crop tool in
| | 01:28 | our case, but all the other tools here
inside of the tool box. Then I'll click
| | 01:31 | OK, sure I want to go ahead and do that.
So Photoshop thankfully warns you in
| | 01:36 | advance for that one because
it's a pretty big operation.
| | 01:39 | All right, now let's say, I notice not
only do I want to crop Sammy of course
| | 01:44 | but I also want to rotate him a little
bit. He's at a little bit of an angle,
| | 01:47 | but it's hard to judge what that angle
is. Do I want to rotate them for |
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