IntroductionWelcome| 00:04 | Hello! I'm Michael Ninness. Welcome
to Photoshop CS5 Essential Training.
| | 00:08 | Over the past several years, Photoshop has
evolved into three distinct software applications
| | 00:12 | that together make up a complete solution
for modifying and managing your digital images.
| | 00:16 | These three applications are Adobe Bridge,
Adobe Camera Raw, and, of course, Photoshop itself.
| | 00:22 | So, while this course is named Photoshop
CS5 Essential Training, I will in fact,
| | 00:26 | introduce you to all three of these components, and
you'll see firsthand when and why to use each of them.
| | 00:32 | I developed this course around a mantra,
Camera Raw for Global, Photoshop for Local.
| | 00:36 | Now, this means I recommend almost always starting with
Camera Raw to make overall adjustments to your images,
| | 00:42 | and then jumping to Photoshop when you
need to make adjustments to specific areas.
| | 00:46 | This is why the first six chapters of the course begin with
Bridge and Camera Raw instead of jumping straight into Photoshop.
| | 00:52 | With Camera Raw, you never have to worry
about making a mistake or ruining your images,
| | 00:55 | as it provides a nondestructive, streamlined and
structured workflow with a very user-friendly interface.
| | 01:02 | Simple, fun-to-use sliders make it
easy to adjust exposure, recover highlight
| | 01:06 | and shadow details and
achieve optimal color and tone.
| | 01:09 | Camera Raw also provides nondestructive
Crop and Straighten tools, allowing you
| | 01:13 | to freely experiment
with different compositions.
| | 01:16 | The best part about Camera Raw is
that you'll start making your images look
| | 01:19 | awesome right away without having to
learn dozens of Photoshop features first.
| | 01:23 | After watching the first six chapters,
you'll be ready to move on to Photoshop
| | 01:27 | to accomplish things at the local pixel level,
like masking and combining multiple images,
| | 01:32 | retouching and removing unwanted
details, as well as using layer effects,
| | 01:35 | filters and blending modes for creative effects.
| | 01:38 | My goal is for you to be able to achieve
professional results as quickly as possible.
| | 01:43 | So let's get started with
Photoshop CS5 Essential Training.
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| What is Photoshop?| 00:00 | At its core, Adobe Photoshop CS5 is a
software application that is used for
| | 00:04 | editing digital images, manipulating them,
enhancing them or even creating images from scratch.
| | 00:09 | Over the years, Photoshop has actually
evolved into three distinct components
| | 00:12 | that together make up a complete solution
for modifying and managing your digital images.
| | 00:17 | These three parts are called Adobe Bridge,
Adobe Camera Raw, and, of course, Photoshop itself.
| | 00:22 | Photoshop as a whole is an
extremely versatile program.
| | 00:25 | As such, it is used by a wide variety
of people in many different professions,
| | 00:29 | everything from photographers to print,
web and interaction designers, as well as
| | 00:33 | video and 3D artists, and even beyond the
obvious creative usage to medical imaging,
| | 00:38 | forensic investigation,
scientific research and many more.
| | 00:40 | It has become such a mainstream
product that even its name is often used as
| | 00:45 | a verb in just general conversation.
| | 00:48 | Adobe Bridge helps you stay organized
by providing tools and features to manage
| | 00:51 | and organize your ever
growing stack of digital images.
| | 00:54 | With it, you can quickly rate and
rank your images to isolate your keepers,
| | 00:58 | so that you don't waste time working on
images that you don't actually care about.
| | 01:01 | Bridge also makes it easy to share
your images with others by automating the
| | 01:04 | creation of contact sheets as well
as print and web photo galleries.
| | 01:09 | With Camera Raw, you never have to worry
about making a mistake or ruining your images,
| | 01:13 | as it provides a nondestructive, streamlined and
structured workflow with a very user-friendly interface.
| | 01:19 | Simple, fun to use sliders
make it easy to adjust exposure,
| | 01:22 | recover highlight and shadow details, boost
contrast, sharpness, and achieve optimal color and tone.
| | 01:28 | Camera Raw also provides nondestructive Crop and Straighten
tools, allowing you to experiment with different compositions.
| | 01:34 | Correcting annoying lens artifacts,
eliminating distracting digital noise,
| | 01:40 | and complete control over black-and-
white conversion is a snap as well.
| | 01:42 | Photoshop provides powerful tools for
masking, compositing, and retouching photos
| | 01:46 | to remove blemishes, scratches,
and other flaws or unwanted details.
| | 01:51 | Photoshop enables you to create images that
would be difficult or impossible to create otherwise.
| | 01:55 | With the Photomerge feature, for example, you can
stitch multiple photographs into dramatic panoramas,
| | 02:00 | or even combine multiple frames of an
action sequence into a single compelling image.
| | 02:05 | While Photoshop is hugely popular among photographers,
it's not just about photography; not by a long shot.
| | 02:10 | Designers use Photoshop for all kinds
of creative effects, leveraging features
| | 02:14 | such as layers, layer masks,
layer effects, warps and much more.
| | 02:18 | You might also import illustrations and
other artwork created in Adobe Illustrator CS5.
| | 02:23 | Photoshop lets you experiment and enhance images by
choosing from a huge array of modifications called Filters.
| | 02:29 | Some Filters perform basic tasks, such as improving the
sharpness of an image, or reducing digital camera noise.
| | 02:35 | Other Filters perform dramatic alterations, such as
making a photo look like a rough charcoal drawing.
| | 02:40 | So that's Photoshop CS5, a versatile program
that's popular across a wide array of disciplines,
| | 02:45 | from photography to design to video and more.
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| Using the exercise files| 00:00 | If you're a premium member of the
Lynda.com Online Training Library,
| | 00:03 | or if you're watching this course from a DVD-ROM, you have
access to the exercise files used throughout this training title.
| | 00:10 | Now the Exercise Files are laid out
in a parent directory, a parent folder.
| | 00:14 | If you've copied that to your hard drive from
the disc or downloaded it from the online web site,
| | 00:19 |
when you open up that particular folder, you'll see all
the folders per chapter laid out for you in this one folder.
| | 00:26 | With the exception of the first eight chapters,
every Chapter has its own folder of images.
| | 00:31 | Chapters 1-6 are about
Adobe Bridge and Camera Raw.
| | 00:35 | So we have thematically put all those
files in one parent folder, chapters 1-6.
| | 00:40 | If you double-click on any particular folder,
you'll see the images used for that particular chapter.
| | 00:45 | The name of the file being used for a particular video
will be shown on screen as you actually play that video.
| | 00:52 | I actually encourage you, for this particular
course, if you're going to be using the Exercise Files,
| | 00:57 | to view them from within Adobe Bridge. So
I'm going to switch over to Adobe Bridge.
| | 01:02 | You can see here is that Exercise
Files folder being displayed in Bridge.
| | 01:05 | When you double-click on a particular
folder inside Bridge, you'll see nice thumbnails
| | 01:10 | and see if there are any subsequent subfolders for you to
navigate through to get to the file that you're looking for.
| | 01:15 | I'm going to go back up to the Exercise Files parent
directory here. Let's just choose chapter 12, let's say.
| | 01:22 | You can see thumbnails of all the images
being used for that particular chapter.
| | 01:26 | Now if you don't have access to
the Exercise Files, you can certainly
| | 01:29 | follow along from
scratch or use your own assets.
| | 01:32 | Let's go ahead and get started.
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|
|
1. It Begins in BridgeWhat is Adobe Bridge?| 00:00 | Photoshop CS5 includes an incredibly useful
companion application called Adobe Bridge.
| | 00:05 | This additional application was automatically
installed for you when you installed Photoshop,
| | 00:09 | so there's nothing extra
you have to do to get it.
| | 00:11 | But what the heck is Adobe
Bridge and why should you care?
| | 00:14 | Well in the simplest terms, Bridge is
an easy-to-use visual media manager.
| | 00:18 | It allows you to organize, browse, locate and
view your photographs and other media files.
| | 00:23 | Bridge in itself is not a central database, but rather provides a
visual view of how you've organized your files on your hard drive.
| | 00:30 | Because Bridge is a separate application,
Photoshop itself does not need to be running,
| | 00:34 | but as you'll see throughout this course, it is often
pretty handy to have both applications open at the same time.
| | 00:39 | What you're seeing right now is the
default interface of Adobe Bridge.
| | 00:43 | I'm viewing a specific folder of images
on my hard drive and you can see the path
| | 00:46 | to that folder up here at the top of the
window: this little strip here, this path bar.
| | 00:51 | If you want to jump to any location in this path,
you can simply click that part to be taken there.
| | 00:57 | Bridge displays the contents of the
current location as easy-to-see thumbnails.
| | 01:01 | If you want to open an image in Photoshop, you just
simply double-click on the thumbnail that you want to open.
| | 01:05 | So let's go ahead and do that
by double-clicking that image.
| | 01:07 | Now that we're in Photoshop, to get back to Bridge, there's a
couple different ways to access Bridge from within Photoshop.
| | 01:15 | You can do it simply by going to the
File menu and choosing Browse in Bridge.
| | 01:18 | It's kind of a cousin to the Open command. You can see
both commands have their own unique keyboard shortcuts here.
| | 01:24 | So there's the Browse in Bridge command.
| | 01:26 | If you don't want to bother with the menu, there's also just
a one-click button here that makes it pretty quick as well.
| | 01:30 | You can click the Launch
Bridge icon to jump back to Bridge.
| | 01:35 | Once you're back in Bridge here, and if
you want to go back and forth to Photoshop,
| | 01:38 | you can either just double-click on the
thumbnail again to go back to that particular image,
| | 01:43 | double-click on any other
thumbnail to open that image as well,
| | 01:46 | or you can click the Boomerang icon up here in the upper
left corner of the Bridge window to be taken back to Photoshop.
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| Getting photos from a camera| 00:00 | Adobe Bridge can help you get
organized from the very start by using it to
| | 00:03 | download your photographs off your
camera or from a card reader, let's say.
| | 00:07 | Let's take a look at how that works.
| | 00:08 | When you're in Adobe Bridge, you go to the
File menu and you choose Get Photos from Camera.
| | 00:12 | Now the first time you run this command, Bridge asks
you, Hey! Do you want to use this separate utility,
[00:00:18.7 2]
it's called Photo Downloader, to
automatically launch whenever a
camera or card reader is connected?
| | 00:23 | I'm going to say No here.
| | 00:25 | But you can opt to turn that on and have that now be the
default behavior for when you connect a camera to your computer.
| | 00:31 | Let's go ahead and say No for now.
| | 00:33 | What happens is Bridge throws up this dialog box. You're
now running Photo Downloader as this separate little utility.
| | 00:39 | It's going to ask you a bunch of questions.
| | 00:41 | It automatically detected my camera, told me
how many files are currently on the camera,
| | 00:46 | and their file size and also their
date ranges of when the photos were taken.
| | 00:50 | You can choose a location. This default location
will depend on the operating system you're using.
| | 00:56 | If you're using the Mac, it
might say the Pictures folder.
| | 00:59 | On Windows it might say something
similar to the Pictures folder there.
| | 01:02 | You can of course, choose your own
location by clicking the Choose button.
| | 01:06 | I'm going to go ahead and choose that and just save
these to my Desktop and go ahead and click Choose.
| | 01:10 | You can also determine how you want these
files to be organized on your hard drive.
| | 01:14 | Do you want Photo Downloader to create
subfolders for you automatically based on
| | 01:18 | the date ranges it sees in the file's metadata?
| | 01:21 | I'm going to go ahead and say no subfolders.
I just want them to all be in one particular folder.
| | 01:27 | You also have the option to
rename your files on import.
| | 01:31 | This is really cool, because sometimes the filenames that come
off the camera are pretty obscure, they don't really help you.
| | 01:36 | They don't give you any information
about the particular photographs themselves.
| | 01:40 | So here's a good example, the current file naming off the
Canon is IMG and then a number and then the file extension.
| | 01:47 | So if you want, you actually have quite a few
presets here about how you want your filenames
| | 01:52 | to come in straight off the
camera and onto your hard drive.
| | 01:55 | You can either do a Custom Name or just put the Shot
Date plus a Custom Name or, you have a lot of options here.
| | 02:01 | If you want to get specific, you can
actually go to the Advanced Rename option
| | 02:04 | and actually customize
this to your heart's content.
| | 02:07 | Just to keep it simple for this particular
video, I'm going to go ahead and hit Cancel.
| | 02:10 | Let's just go ahead and
give these the Shot Date.
| | 02:14 | It gives you a little preview of
what that filename will look like.
| | 02:17 | Then you can also tell it to have a
starting number of wherever you want.
| | 02:21 | So currently, its start number is number
1, and you can see that reflected here.
| | 02:26 | If you want, you can tell
it to open Adobe Bridge.
| | 02:28 | Since, we started this from Bridge the
first time, I already have Bridge open.
| | 02:32 | So, I'm going to turn this off.
| | 02:33 | But again, just to clarify, we're
using the Photo Downloader utility here,
| | 02:37 | which is separate from Bridge, even though we
invoked it from the Bridge menu command there.
| | 02:42 | You also can tell Photo Downloader to delete the files off
the card or off the camera. That's kind of a nice option.
| | 02:48 | I'm going to go ahead and keep that turned off
for now, but most of the time I would turn that on.
| | 02:52 | Alright, if you actually want to see a
subset of photographs and just decide which images
| | 02:57 | specifically you want to bring on, because
maybe you don't want to bring all of them,
| | 03:00 | there is an advanced version of this dialog,
I'll go ahead and click on that button.
| | 03:04 | That expands the dialog to also show you thumbnails, where
you can check or uncheck the items that you want to bring in.
| | 03:10 | There is a bunch of other options over on the
right here, that I'll skip for this particular video.
| | 03:16 | Alright, we're ready to
suck these photographs in.
| | 03:18 | We're just going to go ahead and
bring all of them in at the same time.
| | 03:21 | We'll go ahead and click the Get Photos button.
| | 03:23 | It very quickly sucks those off the camera and
deposits them in the particular folder that you asked it to.
| | 03:29 | Then you can see Bridge has now
built the thumbnails for those images
| | 03:34 | at the particular location and gives
you the filename that it renamed them to.
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| A tour of the different workspaces in Adobe Bridge| 00:00 | The interface in Adobe Bridge is very
flexible and can be customized quite a bit.
| | 00:04 | But to save you some time, they've actually created some
default workspaces that you can quickly switch back and forth between
| | 00:11 | instead of having to manually drag different
parts of the interface around to customize it.
| | 00:15 | What we're taking a look at right now is the
default workspace. It's called the Essentials workspace.
| | 00:20 | You can see your thumbnails are displayed
in the middle in a Content pane or panel.
| | 00:24 | There's a Preview panel as well.
| | 00:26 | If I click on a particular thumbnail, you'll get a
slightly larger version of that image over in the Preview area.
| | 00:32 | Then there's another panel for viewing the
metadata or the information about the files themselves
| | 00:37 | in the Metadata panel. You can
scroll and see more information.
| | 00:41 | So, rather than resizing these splitters, so
there's a vertical splitter to move that left and right.
| | 00:46 | There's a horizontal splitter between
these panels here to make that larger.
| | 00:50 | Also, rather than moving these parts
around manually, so, anytime you see a tab,
| | 00:56 | you can actually rearrange these
particular sections of the interface.
| | 01:00 | So, if I wanted, I can
move Preview above Content.
| | 01:03 | You can see the blue guides kind of indicating
where it's going to be inserted when you let go.
| | 01:06 | So, I've just clicked-and-dragged on the tab itself,
and then look for the blue feedback and let go.
| | 01:11 | You can see I've rearranged
the Preview above Content.
| | 01:14 | Now I have a horizontal splitter between the two. Then
I can resize that down to make the Preview area a lot larger.
| | 01:21 | By default there, that
also resizes the Content pane.
| | 01:25 | So, yes, that's all great
and dandy. You can do that.
| | 01:28 | But it's much easier actually if you just use some of
the Preset workspaces included with the installation here.
| | 01:35 | So, let's begin by going to this little Workspace
Switcher. It's got a little pop-up menu here at the top.
| | 01:39 | I'm going to tell it to reset the
workspace back to where we started.
| | 01:43 | You can see the Preview panel goes
back in the upper right-hand corner.
| | 01:47 | This Workspace Switcher
can actually be expanded.
| | 01:49 | If I use the pop-down menu, by clicking, you can see there's a bunch of
Preset workspaces here that you can simply choose from in the pop-up menu.
| | 01:56 | But you can also stretch out the Workspace
Switcher to reveal more names of these workspaces.
| | 02:02 | So, if I drag this to the left by
clicking-and-dragging and stretch this out,
| | 02:07 | not only are these just the actual names of the
workspaces, these are actual clickable buttons now as well.
| | 02:13 | So, for instance, if I click on the word Filmstrip, that
completely changes the workspace to these preset states here.
| | 02:19 | So, this is kind of exactly similar to what I just did earlier
by manually dragging the Preview panel around and resizing it.
| | 02:26 | Rather than doing that work constantly
and then getting disoriented, you can just
| | 02:29 | quickly switch back and forth
between these prebuilt workspaces.
| | 02:33 | So if I click on Metadata, this is a
view to seeing more about the information
| | 02:38 | of the image rather than
the thumbnails themselves.
| | 02:40 | The Output module here, the Output
workspace, this is if you want to create
| | 02:44 | something like a contact
sheet or a web photo gallery.
| | 02:47 | This is a workspace for
doing that particular task.
| | 02:50 | If keywords are important, I want to
create and apply keywords to my images,
| | 02:54 | there is a workspace built for that.
| | 02:56 | Then there's the Preview workspace as well.
It's very similar to the Filmstrip workspace,
| | 03:00 | but instead of the thumbnail row being at the
bottom, it's a vertical stack on the left here.
| | 03:06 | Then one of my favorite
workspaces is something called Light Table.
| | 03:09 | If I click on that, that just lets
us focus only on the content itself.
| | 03:14 | It gets rid of all the other panels and just
temporarily hides them and puts them off to the side.
| | 03:18 | Then you can just view your
thumbnails and focus on that.
| | 03:21 | Again, to get back and forth between these workspaces,
you just simply click on the name of the workspace.
| | 03:27 | Even the order that the
workspaces are listed in is customizable.
| | 03:30 | So, if you want your favorite workspaces to be listed from left
to right, you can actually click on these names and rearrange them.
| | 03:37 | So, if I want Preview to be right after
Essentials, I'm just going to click on
| | 03:41 | the word Preview and drag it
to the left, so it's there.
| | 03:43 | Then I can drag Light Table and click
that right after the Preview workspace.
| | 03:49 | So now with just some simple clicks, I can go
back and forth between my three favorite workspaces.
| | 03:54 | If I don't care about these other
workspaces, I'm never going to use them let's say,
| | 03:57 | I can collapse this workspace widget
down to only view the three I care about.
| | 04:02 | Now, I've got a very quick easy way to go back and
forth between the views that are important to me.
| | 04:07 | Now, I'm going to give you a
little extra bonus tip here.
| | 04:10 | I don't actually need the Light
Table as a separate workspace.
| | 04:13 | So, I'm going to squish this down to
just show me Essentials and Preview.
| | 04:17 | Let's go back to Essentials here.
| | 04:19 | Let's collapse this down to
just show me those two, like so.
| | 04:22 | Maybe there's a little bit of
that leftover there, that's okay.
| | 04:25 | Because when I'm in the Essentials workspace,
if I want a Light Table view of this workspace,
| | 04:30 | I can just press the Tab key on my keyboard, and that
automatically collapses those panels off to the left and the right
| | 04:39 | and just expands the Content area of the
workspace to take over basically the entire area.
| | 04:44 | Tab will bring those panels right back.
| | 04:46 | So, that's even easier than taking your
mouse and clicking on a different word.
| | 04:50 | So there you have it, very easy ways to go
back and forth between different workspaces.
| | 04:55 | You can customize it to what matters to you.
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| Customizing how thumbnails are displayed| 00:00 | One of the more important things in
Adobe Bridge is the thumbnail display.
| | 00:04 | Alright, that's how you interact
with the files that you're working with.
| | 00:07 | So it stands to reason you might want to
customize the way the thumbnails are represented.
| | 00:11 | The first thing you're going to want to be able
to probably change is the size of the thumbnails.
| | 00:15 | If you've got a ton of images, you
may want to see more of them in the
particular content view,
the current size of that.
| | 00:21 | Or you may want to see a higher level of detail
; so you may want the thumbnails to be larger.
| | 00:25 | The easy the way to do that is at the bottom of the
window, there is this slider, the Thumbnail slider,
| | 00:30 | and that will just increase the size or decrease it
depending on which direction you go, right or left.
| | 00:35 | You can also click on either end of the slider, these
buttons here, so the bigger button or the smaller button.
| | 00:40 | I find using the keyboard is sometimes quicker.
| | 00:43 | This actually happens to have an intuitive
keyboard shortcut, Command+Plus and Command+Minus,
| | 00:47 | or Ctrl+Plus and Ctrl+Minus in
Windows, similar to zooming in and out.
| | 00:50 | In this case, it's going to zoom
in on the thumbnail, so to speak.
| | 00:53 | So Command+Plus to go up, and Command+Minus to go down; a
very quick easy way to change the size of your thumbnails.
| | 01:01 | The other thing that you can change is the amount of
information that's displayed underneath each thumbnail.
| | 01:07 | By default, only the filename is displayed.
| | 01:09 | But you have the option to actually list up to four rows
of information; so things like file size, for instance.
| | 01:15 | To change the information that's displayed under
each thumbnail, that would be in your Preferences.
| | 01:21 | So, on the Mac that would be
under the Adobe Bridge CS5 menu.
| | 01:23 | On the Windows machine, that would be
under the Edit menu in those Preferences.
| | 01:28 | Either way, it's Command+K or Ctrl+K,
if you're a keyboard shortcut junkie.
| | 01:31 | In the Preferences dialog,
there is a section for Thumbnails.
| | 01:35 | This is where you can turn on
the additional bits of information.
| | 01:38 | So, for instance, if I want to see the
file size, I can just turn that checkbox on.
| | 01:42 | You can actually see you get a
little preview behind the scenes.
| | 01:44 | Even though there is a dialog open, you can
see the additional information being turned on.
| | 01:48 | If I want to turn on the Dimensions, I can do that, pixel
dimensions and the resolution, date created, things like that.
| | 01:54 | On any one of these
checkboxes, there is a pop-up menu.
| | 01:56 | You can see these are all the different
types of information that you can turn on.
| | 02:01 | So I'm going to go ahead and keep on the
Dimensions and the Size for now and go ahead and click OK.
| | 02:06 | Now some people don't like to have
that information displayed at all times.
| | 02:10 | So there's a way to
toggle that on and off as well.
| | 02:13 | The keyboard shortcut for that is Command+T or Ctrl+T,
think of thumbnails right, Command+T, Ctrl+T on Windows.
| | 02:19 | That just temporarily turns off the display of that
additional metadata information underneath each thumbnail.
| | 02:25 | To bring it back, you simply press the
keyboard shortcut again. So, it's a toggle.
| | 02:28 | Command+T or Ctrl+T again and it comes back.
| | 02:32 | Now, if you'd still like to see that
information or have it readily available,
| | 02:37 | but not actually displayed underneath each
thumbnail, I'm going to go ahead and turn this off again.
| | 02:41 | Command+T, Ctrl+T. I'm
going to go back to Preferences.
| | 02:46 | You may have noticed that there was
a checkbox here called Show Tooltips.
| | 02:49 | Now tooltips annoy some people, so that's why
it's a preference; you can turn it on or off.
| | 02:53 | Let's go ahead and turn that on for now,
so you can see what it is. We'll click OK.
| | 02:57 | Now, when you mouse over a thumbnail, if
you just hesitate for a second and pause,
| | 03:01 | all that information would be
displayed in a tooltip manner.
| | 03:05 | So this is a way you can maximize the screen
real estate and see as many thumbnails as you want.
| | 03:09 | If you need that file information, just
hover over the thumbnail you care about.
| | 03:14 | That information will show up in a tooltip.
| | 03:16 | Alright, let's turn that thumbnail
information back on, Command+T, Ctrl+T.
| | 03:21 | I'm going to go back to my Preferences under the Bridge menu,
or again, the Edit menu on Windows, go back to Preferences.
| | 03:28 | I'm going to go ahead and just turn these options back off
to get us back to where we were at the default, and click OK.
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| Changing obscure camera file names with the Batch Rename command| 00:00 | As you're probably well aware, when you
bring images off a camera on to your computer,
| | 00:04 | they come in usually with the filenames that the
camera used to write them to its little memory card.
| | 00:10 | Now if you're using the Photo
Downloader utility that is part of Adobe Bridge,
| | 00:13 | or you use the File > Get Photos
from Camera command, you can actually
| | 00:19 | change the file naming of the files that
you bring in as you dump them off the camera.
| | 00:23 | In this case, we haven't done that. So there's a way to
actually change the names of all your files in a batch process.
| | 00:30 | You can do it all in one step instead of
actually clicking and changing the filename one by one.
| | 00:34 | The trick here is to select the images in
the Content view that you want to change.
| | 00:38 | I'm just going to go and do Select
All, so Command+A or Ctrl+A to select
| | 00:42 | everything in the Current
view in the Content panel here.
| | 00:44 | Under your Tools menu in
Bridge is the Batch Rename command.
| | 00:49 | I'm going to go ahead and choose that.
| | 00:50 | That brings up this very large dialog box where you have a
lot of control over how you want your files to be renamed.
| | 00:56 | One of the things you can do is decide if you
want to just rename them in the same folder,
| | 01:00 | just change the existing files or rename them and move
them to another folder, or even copy them to another folder.
| | 01:07 | We're going to go ahead and just
rename them in the same folder.
| | 01:10 | At this point here, you can then decide
what kind of naming scheme you want to use.
| | 01:14 | By default, the first option is just
simple text, meaning whatever you type in here.
| | 01:17 | So let's say I want to have the base
of my filenames here be the word Sisters
| | 01:22 | followed by an underscore, so that there's a
space between that word and then what comes next.
| | 01:27 | From the pop-up menu, you can choose a
sequence number or a letter, the date and time,
| | 01:32 | some other existing piece of information, like the
metadata that you can choose from a particular value.
| | 01:38 | Let's just go back to a
Sequential Number and keep it easy.
| | 01:42 | You can decide how many digits you want your sequential
number, I'm going to go ahead and just do Two Digits for now.
| | 01:47 | You can also decide what does
your starting number need to be?
| | 01:51 | Keeping track of all my images sequentially,
I want them all to have unique sequential numbers.
| | 01:55 | I can just type in the start number from
the previous series that I've done, let's say.
| | 01:59 | If I make this 56, you can see down below
here, I get the preview and my first image
| | 02:03 | in my selection will start with the number 56.
| | 02:05 | Alright, pretty easy to understand.
Let's go ahead and just make it number 1.
| | 02:09 | If you want additional pieces of
information in your naming scheme, you can just
| | 02:13 | click the Plus button to add another row of
information. Let's go ahead and subtract that.
| | 02:18 | Once you have everything set up the way you want,
if this is something you're going to use often,
| | 02:22 | you can actually save a preset and
give that a name and then you can
| | 02:25 | just pop the preset open the next
time you use the Rename command.
| | 02:28 | But let's just go ahead and click Rename, and
you'll see those selected images are instantly renamed.
| | 02:34 | Pretty cool, huh?
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| Adding basic metadata to every image with metadata templates| 00:00 | One of the things that you might want
to consider adding early in your workflow
| | 00:03 | is the notion of metadata, adding
information about the particular file and
| | 00:09 | embedding that information inside the
file itself, so it travels with the file.
| | 00:14 | There's lots of different metadata
that you can add to a particular image.
| | 00:16 | In fact, almost every image comes
with at least some little bit of metadata
| | 00:20 | embedded inside of it that was put there
when you took the picture on the camera.
| | 00:24 | So if I click on any thumbnail here and take a look
at the Metadata panel inside the Essentials workspace,
| | 00:29 | you'll see there's a bunch of information, like file size
and resolution, and the color profile, when it was taken.
| | 00:36 | All that information is stored inside that file.
| | 00:39 | Now, if I take the scrollbar here, you can see
there's a lot more information you could add,
| | 00:43 | and each one of these is a field that
could contain additional information here.
| | 00:47 | It may be that there's a certain base set of
information that you want in all of your images;
| | 00:52 | perhaps your name and your web
address or your email address.
| | 00:56 | You can even create different types of templates, or
metadata templates, based on project type or client type.
| | 01:01 | So this isn't something you have to
do manually, image by image by image.
| | 01:05 | If there's a base set of information that you
want to add and apply to every single image,
| | 01:09 | right at the get-go, you can actually create what's
called a Metadata Template, then just batch-process that.
| | 01:15 | So to do so, under the Tools menu is a command called
Create Metadata Template. We'll go ahead and choose that.
| | 01:22 | This brings up a dialog box where it has all
the fields that you could add information to.
| | 01:28 | Now this isn't going to add any information to a
particular file, because I don't have anything selected now,
| | 01:32 | this is just creating the
template that I can apply later.
| | 01:36 | So in this particular series of images, these were done by just
an unbelievably talented photographer; his name is Nick Onken.
| | 01:42 | So I'm going to go ahead and add his name to this
template and we'll go ahead and call this template Nick Onken.
| | 01:52 | His title, of course, is Photographer.
| | 01:54 | We're going to add his web site address in here.
| | 01:58 | If you haven't heard of Nick before, go to his web
site and check out his work. It's very inspirational.
| | 02:02 | It might give you some
creative inspiration there.
| | 02:05 | It's just NickOnken.com. Great!
| | 02:08 | So we've added these base fields of
information that we want in our template. Hit Save.
| | 02:14 | Now, if we want to apply that metadata
to all our images, we just go ahead and
| | 02:18 | select the images that we
want to apply that template to.
| | 02:20 | In this case, we'll do everything,
so Select All, Command+A or Ctrl+A.
| | 02:25 | Under the Tools menu again, you
tell it to append or replace metadata.
| | 02:29 | Now if this set of images already had
a bunch of metadata and you just wanted
| | 02:33 | to add what's different to the existing
metadata set, you would use the Append command.
| | 02:39 | If you just want to replace all the
metadata that's in there with this new set,
| | 02:43 | then that's what you would
use the Replace command for.
| | 02:45 | I'm going to go ahead and use the Append Metadata
command and there's the name of template we just saved.
| | 02:50 | So you can have as many of these
templates as you want, and you just simply
| | 02:53 | choose the template that you
want to apply to the selected image.
| | 02:55 | It just goes ahead and
does what you asked it to do.
| | 02:59 | It does it in the background, you can see
down here in the bottom left of the window.
| | 03:03 | It was so fast it went by really quickly.
| | 03:06 | But you can continue to do work.
You can go back to Photoshop.
| | 03:08 | You can deselect and click on any other image.
| | 03:10 | It's going to process that
information in the background until it's done.
| | 03:13 | So now you can see here, when
I click in any one of these thumbnails,
| | 03:16 | you can see in the Metadata panel it now says
Creator Nick Onken and the Photographer is his Job Title.
| | 03:22 | If I scroll down a little bit more,
you'll see there's his web site right there.
| | 03:26 | So there you have it, a very quick
way to create metadata templates,
| | 03:29 | and then apply those to your images automatically, very
quickly, by using the Metadata Template functionality.
| | Collapse this transcript |
| Creating and applying keywords to images| 00:00 | Keywords are another type of
metadata that come in really handy,
| | 00:03 | especially when you're trying to find
subsets of the images that you work with commonly.
| | 00:08 | So in Bridge, there's an actual
separate panel just for keywords,
| | 00:13 | and not to get confused, keywords,
again, are saved as metadata in the file.
| | 00:18 | It's just that you might have
multiple keywords assigned to the same image.
| | 00:21 | So Bridge has provided you an expanded set of user
interface for managing and creating and applying keywords.
| | 00:28 | Any keyword you assign to a particular image would show up
for the selected image or images in the Metadata panel as well.
| | 00:35 | So you can see that I can choose any
image in this particular folder here.
| | 00:38 | If I go to the Keywords panel,
you can see nothing is checked.
| | 00:41 | Therefore, if we go to the Metadata panel and actually scroll down
until we see the Keywords field, you can see there's nothing there.
| | 00:48 | Later on when we add keywords to
these particular images, you'll see that
| | 00:51 | those keywords would indeed show up in this
Keywords field of the Metadata panel as well.
| | 00:57 | So, let's learn how to create new
keywords and then apply them to selected images.
| | 01:02 | To do that, we'll go to the Keywords panel.
| | 01:04 | These are just the default keywords that Adobe put into
Adobe Bridge, just to kind of give you an idea of how these work.
| | 01:10 | You can certainly delete these if they
don't apply to you and create your own.
| | 01:14 | Whenever you see this gray bar with a
twisty triangle, or disclosure triangle,
| | 01:17 | that's a category of keywords, and then these are the
actual keywords that you can assign to individual images.
| | 01:23 | So you can create new
categories or new sub-keywords.
| | 01:26 | The big plus sign here in the bottom right
creates this new high-level keyword category,
| | 01:31 | and then this button here with a little
indention arrow creates a new keyword.
| | 01:35 | So if I wanted to add a new People keyword,
like Maija or Sofija, the names of these sisters,
| | 01:41 | I would click on the word People, the category there
and click the Create New Sub Keyword option button here.
| | 01:47 | Let's go ahead and click on that. I'm just
going to go ahead and type in the actual name.
| | 01:50 | So I'll do Sofija, hit Return.
| | 01:53 | I'm going to create another sub keyword, but
I want to again do that at the People category level.
| | 01:58 | So I'll click on People first, click on the New
Sub Keyword button, and we'll type in the word Maija.
| | 02:04 | Okay, so now I'm going to go ahead and make my
selection of images that I want to apply the keywords to.
| | 02:12 | So I'm going to select all of the Sofija images.
| | 02:15 | To select discontinuously, meaning images that
are not necessarily next to each other or adjacent,
| | 02:21 | on the Mac, you would hold down the Command key,
| | 02:23 | on Windows, you would hold down the Ctrl key.
| | 02:26 | So I'm just going to hold down that key and click, then
hold down the Command key or Ctrl key and click again.
| | 02:30 | I'm going to click on just the images
of Sofija. I'm going to skip the ones
| | 02:33 | where the sisters are both in the frame
and just tag the ones that only have Sofija.
| | 02:39 | So again, I'm just holding down the Command key.
| | 02:41 | Again, on Windows, that would be Ctrl and just
clicking on those images that just feature Sofija there.
| | 02:47 | Go ahead and click on the
Sofija checkbox in the Keywords panel
| | 02:52 | and Bridge will start embedding that keyword into these files
and it does it in the background, so you can continue working.
| | 02:59 | Alright, so I've done that. Let's
go ahead and deselect by clicking
in a blank spot and then I'll hold down
| | 03:04 | the Command key or Ctrl key again and just select the Maija
images, the images that only have the other sister in the frame.
| | 03:13 | I think I got all of them, yeah.
Oh! One more there. Great!
| | 03:17 | Let's go back to the Keywords panel and we'll
click on the checkbox for Maija now. Excellent!
| | 03:23 | So now that's all been done.
| | 03:24 | Again, it's writing and saving that
keyword metadata into the files themselves.
| | 03:29 | If we click on any one of these images that we
just tagged, so let's click on this image here,
| | 03:33 | you can see the checkmark has
been applied in the Keywords panel.
| | 03:35 | You get a little summary at the top of the panel
showing you all the keywords that have been assigned,
| | 03:39 | because you can assign as many
keywords to any given image that you want.
| | 03:43 | Then if I go to the Metadata penal
and scroll down, you can see in keywords
| | 03:47 | that word has indeed been added
to the metadata of that image.
| | 03:51 | So there you have it. A very easy way to
create and assign keywords to your files.
| | 03:56 | If you want to embed the same keyword
to a range of images, you could also
| | 04:00 | create a template and do it that way, apply a template
to a range of images and just automate it even further.
| | Collapse this transcript |
| Viewing images in Full Screen Preview mode| 00:00 | There's a lot to like about Adobe Bridge, but I'm excited
to show you what I think is my favorite feature in Bridge.
| | 00:07 | That's the ability to see full scale, full size previews,
without actually having to open the file in Photoshop first.
| | 00:14 | Let's see how this works. So you can click in any thumbnail,
of course, and you get the size of the thumbnail there,
| | 00:19 | and you can make the
thumbnails bigger, using the slider.
| | 00:22 | You have a Preview panel, where you
can see a slightly larger preview.
| | 00:26 | Of course, you can switch
to the Preview workspace.
| | 00:29 | Let's just go ahead and do that for
review. That gives you a larger preview here.
| | 00:34 | But it's not actual size. It's not 100%. It's
just as big as the Preview area can maintain here.
| | 00:41 | I'm going to go back to the Essentials
workspace and just show you a much simpler way of
| | 00:46 | getting a full scale or full screen preview
without actually having to switch workspaces or
| | 00:50 | resize the Preview panel at all. It's
real simple. You just press the Spacebar.
| | 00:54 | So here I have a thumbnail selected.
I press the Spacebar on my keyboard.
| | 00:59 | By default, the preview as is
large as can fit within the screen.
| | 01:04 | So it's kind of a fit-to-window, so to speak.
| | 01:06 | Now I want to zoom in to 100%, again
normally most people think, well I've got to
| | 01:10 | open that in Photoshop and change the zoom there, but I don't
even want to have Photoshop open necessarily to be able to do this.
| | 01:17 | So, just click anywhere in the image within the Full-Screen
mode here, again just by pressing the Spacebar to get here.
| | 01:23 | When you click, it zooms up to 100%
and zooms up based on where you clicked.
| | 01:28 | If I click-and-drag, when I'm in the
100% view, I can pan the image around,
| | 01:33 | so you can see this image is quite large in terms
of pixel dimensions and there's a lot of data here.
| | 01:37 | It makes it really easy just to zoom in and kind of see the
full resolution of that image without actually having to open it.
| | 01:44 | Now when you click-and-drag, you do see
kind of a low-resolution preview until
| | 01:48 | you let go the mouse or until Bridge can
keep up with you, and that's intentional.
| | 01:52 | If you click again, you go
back to the Fit-To-Window view.
| | 01:55 | Now you can also use your Plus
and Minus keys on your keyboard.
| | 02:00 | If I hit the Plus button, the first
time I press that, it goes up to 100%,
| | 02:03 | but you can actually keep going to
200%, to 400% and even 800% previews.
| | 02:08 | So really zooming in on the pixel detail to see
real up close, whatever it is that you want to preview.
| | 02:14 | You can just click again to go back to the Fit-To-
Window or you can press the Minus key to go back in steps.
| | 02:21 | Last, if you want to get back to the
previous or next image while you're in
| | 02:28 | this Full-Screen Preview mode, you
can just simply hit your arrow keys.
| | 02:31 | So if I use the right arrow, it goes to
the next image in the list and so forth.
| | 02:34 | So I can very quickly preview full-scale preview images here,
without having to jump into Photoshop to be able to do that.
| | 02:43 | I'm going to press the Escape key on my keyboard, and for most
people, that's in the upper left-hand corner of your keyboard;
| | 02:48 | just the Esc or Escape key.
| | 02:51 | Some people have asked how do you limit
that Full Screen preview to just a few images?
| | 02:57 | You saw when I hit the arrow keys it just goes to
the next image currently in my Content panel here.
| | 03:02 | If you want to limit the full scale or full
screen previews to just a select set of images,
| | 03:07 | then just go ahead and
select a range of images first.
| | 03:10 | So if I click on one thumbnail, hold the
Shift key down and maybe click on this thumbnail,
| | 03:14 | I've selected five images here. When I press the Spacebar
again on my keyboard, again I see the first image in my selection.
| | 03:21 | As I arrow through, you'll see after the fifth image,
it's just going to loop back around to the first image again.
| | 03:27 | So you can actually control or limit
the number of images that are actually
| | 03:31 | getting previewed here, just
by making the selection first.
| | 03:34 | Again to exit the Full Screen
Preview mode, just press the Escape key.
| | 03:39 | For those of you who just like menu
commands instead of remembering which key to press,
| | 03:42 | for review, you would press the Spacebar,
but it's also available under the View menu.
| | 03:47 | I don't have an image selected right now, so that's
why the Full Screen Preview command has grayed out.
| | 03:52 | But if I went and selected an image here and chose View, there it
is, and it even tells you the Spacebar is that keyboard shortcut.
| | 03:59 | Alright, press Escape, and there you have it,
the best preview feature in Adobe Bridge.
| | Collapse this transcript |
|
|
2. Whittling Down to "Keepers"Using Review mode to filter out rejects| 00:00 | So what I want to teach you here in
this video is the most efficient way to
| | 00:04 | filter out the images that you would
want to keep. We call those your keepers.
| | 00:08 | Now, in this particular photo shoot,
I happen to know there were over 500 shots
| | 00:12 | in a couple hours that the
photographer shot the subject matter here.
| | 00:16 | And whittling that down to the ten or so
images that you're going to keep to represent
| | 00:20 | the best shots of that day, it
can be a pretty laborious process.
| | 00:25 | Lots of different ways people
have approached this using Bridge.
| | 00:28 | I'm going to give you what I think
is the most efficient way to do it.
| | 00:31 | So obviously, in this particular example,
we've already narrowed down the subset
| | 00:36 | to a more manageable number
for the teaching of this concept.
| | 00:39 | So imagine that there are 500
images that you need to wade through.
| | 00:42 | Here we've only got it down to about 44.
| | 00:44 | So the trick here is to use a very specific mode
that's built into Bridge to help you with this very problem.
| | 00:51 | Under the View menu is a mode called Review
mode, and there's a keyboard shortcut for it:
| | 00:55 | Command+B or Ctrl+B. I'm just
going to choose Review mode here.
| | 00:59 | And you didn't have to have anything selected.
| | 01:01 | What it does is it puts all the images
that are currently being shown in that
| | 01:06 | Content panel into this carousel-like mode.
| | 01:10 | I know some people who first saw this feature thought it
was kind of gimmicky, but it actually has a lot of value.
| | 01:15 | What this lets you do is that at any
given time, you can see the next image and
| | 01:20 | the previous image or at
least a little bit of that.
| | 01:22 | So you have context of where you are
at any given time in your photo shoot.
| | 01:27 | And as you might expect, you just use
your arrow keys to go forward and backwards.
| | 01:32 | So the Right Arrow to go the next image,
the Left Arrow to go to the previous image.
| | 01:36 | You can see the name of the image there.
| | 01:38 | If you want to go ahead and rate them
you can by clicking these little dots.
| | 01:42 | Or you can just press a number.
| | 01:44 | So for instance if I type the number
5, that makes it a five-star image.
| | 01:48 | So as you're viewing these images in
the carousel mode here, the Review mode,
| | 01:53 | you can go ahead and mark them and rate them.
| | 01:55 | I'm actually going to not do that.
You'll see why in just a minute.
| | 01:58 | I'm going to press a 0 to
take away that star rating here.
| | 02:02 | Now if you want, you can use
the on-screen navigation control.
| | 02:05 | So right, left to go to the next, previous.
| | 02:07 | The Down Arrow is a way to drop an image from
the carousel. I consider it the reject move.
| | 02:13 | Now you can also use the
Down Arrow on the keyboard.
| | 02:16 | It just makes it a lot easier to keep your
hands on the keyboard to do this process here.
| | 02:20 | So as I go through here, an image I don't care
about, I'm just going to drop it from the carousel.
| | 02:25 | So I just press the Down
Arrow. There's the next image.
| | 02:27 | Okay, do I want to keep that one?
| | 02:29 | If so, just press the Right Arrow and move on.
| | 02:31 | Okay, I don't want that
one so I'm going to drop it.
| | 02:33 | I'm going to drop this one.
| | 02:35 | And rather than keep saying that over
and over again, I'm just going to very
| | 02:37 | quickly go through these and
decide to keep or reject them.
| | 02:41 | So I'm going to reject
that one. I'd like that one.
| | 02:45 | So well, let's see here, do
I like this one or do I like this one?
| | 02:48 | Well, I think this one is better.
| | 02:50 | So let's go back to this one, just
using the Left Arrow and we'll drop it.
| | 02:54 | Okay, I like this one.
| | 02:56 | I kind of like that one too.
| | 02:57 | Let's drop this one.
| | 02:59 | Oh, but what if I change my mind?
| | 03:01 | So I accidentally dropped the
previous image. I want to bring it back.
| | 03:04 | What do you think the
keyboard shortcut is for that?
| | 03:06 | Down to drop, right?
| | 03:07 | So the Up Arrow to change your mind
and bring it back. Pretty handy there.
| | 03:11 | So I don't have any access to menu
commands here because they're all hidden.
| | 03:14 | So the Up and Down Arrows. Down to drop,
Up to bring back the last one you dropped.
| | 03:20 | So you can't keep hitting the Up
Arrow to bring back previous drops.
| | 03:23 | You can only undo, if you will,
the last image that you've dropped.
| | 03:28 | Alright, let's continue our review and
decide which ones we're going to drop and keep.
| | 03:33 | And I'm just going to keep pressing
the Down Arrow on the ones I don't like.
| | 03:35 | On the ones I do like, I'm just going to
use the Right Arrow to go to the next image.
| | 03:39 | Okay, I'm going to keep those three. Drop.
| | 03:41 | I'm going to drop that.
| | 03:44 | I'm going to keep that.
| | 03:45 | Drop, drop, keep, drop.
| | 03:47 | So you can see I'm doing
this very, very quickly.
| | 03:53 | And just cull these down to the ones
that you want to keep pretty quickly.
| | 03:57 | I'm going to keep that one,
move on, drop, drop, drop, drop.
| | 04:02 | This is a tough one.
| | 04:04 | This one or that one?
| | 04:05 | I'll drop that one.
| | 04:06 | Keep that one, drop, drop.
| | 04:08 | Okay, so I whittled it down.
| | 04:09 | I have gone through all of them. And now you
can actually see the set of keepers that you like.
| | 04:14 | I think I've got it down to
about 10 or so. And that's it.
| | 04:18 | When I escape out of the Review mode,
I'll just press the Escape key on my
| | 04:22 | keyboard or I can click the little X in
the right-hand corner on the screen itself,
| | 04:27 | and watch what happens when I do this.
| | 04:28 | When I press Escape or press that X with
the mouse, I come back to the Content panel
| | 04:32 | inside Bridge and you can see
all your keepers are selected.
| | 04:37 | So you didn't have to worry about
trying to rate them during the Review mode,
| | 04:40 | because when you get out of the Review mode, all the ones that
you said you liked are right there waiting for you to act on.
| | 04:46 | So it stands to reason we should probably mark
these in some way to preserve our selections.
| | 04:51 | So a couple of different ways to do that.
| | 04:52 | Let's use the easy method
of using the Label menu.
| | 04:56 | And under the Label menu I can apply a
star rating or a label down here as well.
| | 05:01 | I'm going to ahead and just
make these five-star ratings.
| | 05:05 | Now I've protected these all the ones
that I care about, have the five-star label,
| | 05:09 | and I can always go back and easily
identify those later on tomorrow or
| | 05:13 | next week when I come back and want to work on these
pictures if I'm not going to act on them right now.
| | 05:16 | So that's a very quick way to filter out
through this massive set of images just
| | 05:22 | down to the ones that you really want to
care about and keep. We call those our selects.
| | Collapse this transcript |
| Protecting the keepers by saving them in collections| 00:00 | Okay, now that you know about the basics of
Review mode, I want to teach you an extra bonus tip,
| | 00:04 | or something that comes in really handy
when you are ready to exit the Review mode.
| | 00:09 | So what I've done here is I've simulated
the end result of a Review mode session.
| | 00:14 | These are the images that were my
keepers when I exited the Review mode.
| | 00:18 | And the problem with this is
that it's a very fragile state here.
| | 00:22 | If I just click anywhere else in this Content
panel, I'm going to lose my selection, right?
| | 00:26 | I'm going to lose all of those decisions that I've
made about these being the keepers of this photo shoot.
| | 00:33 | So let's jump back into the Review mode and
teach you a better way to exit the Review mode.
| | 00:37 | I go to the View menu, pull-down to Review mode, and now
we're back to where we would've been after we'd done our review.
| | 00:45 | So rather than hitting the Escape key or clicking the
little X, here's a safer, better way to exit the Review mode.
| | 00:52 | There's this little button here and
it basically says Create a Collection.
| | 00:56 | Now, a collection is a virtual grouping of any random
sort of images, but something that you can get back to.
| | 01:03 | And I'll show you where you can do that as
soon as we actually create the collection.
| | 01:07 | So let's click on this button.
| | 01:09 | And it says okay, I'll create a collection
for you. What do you want me to call this?
| | 01:12 | And I'm going to call this Sisters Keepers.
| | 01:16 | You can give it any name you want.
| | 01:18 | Go ahead and hit the Save button.
| | 01:20 | And that exits you out of the Review
mode and puts you in this special view.
| | 01:25 | In the Content Pane now, you
only are seeing these keepers.
| | 01:28 | If you look at the Path bar up here, you can
actually see that there's that named collection there.
| | 01:34 | Now it turns out there is a
Collections panel over here on the left.
| | 01:37 | If we go ahead and click on the Collections panel, you can see
there is my named collection with the number of images in it.
| | 01:43 | Now, if you want to get back to the previous view where
you saw all of your images from that particular folder,
| | 01:50 | I can just click the Back button, kind of like an
Internet browser here, to go back to my previous view.
| | 01:55 | But the problem is when I go back to the
Content panel now, I haven't rated them.
| | 01:59 | So I don't know what my keepers
are anymore. But that's okay.
| | 02:02 | You've protected your work when you saved a
collection, when you exited the Review mode.
| | 02:06 | So anytime I want to get back to those keepers,
I just click on the Sisters Keepers collection here,
| | 02:12 | and it automatically filters my
view back to the ones I care about.
| | 02:16 | Now, it's still a good idea to
go ahead and give these a rating.
| | 02:19 | But what if you're doing multiple ratings.
| | 02:22 | You might have some images that you absolutely
know you're going to keep. You rate those five stars.
| | 02:27 | There's another set of images in the photo
shoot that you're kind of on the fence about.
| | 02:30 | So maybe you give them a
three or a four-star rating.
| | 02:33 | So sometimes the rating isn't enough to
separate the keepers from the rejects.
| | 02:38 | You might have some in between steps there.
| | 02:40 | That's one of the reasons why a collection is
such a cool thing, is it protects your work there;
| | 02:44 | you can always get back to that state.
| | 02:46 | The cool thing about a collection as well is that it
doesn't matter where these images are on the hard drive.
| | 02:52 | They can be from different locations.
The collection here is a virtual grouping.
| | 02:57 | So even if I move these things around
in the hard drive, this Collection View
| | 03:02 | will always keep them together
regardless of where they are in the hard drive.
| | 03:05 | Very fun, neat way of
preserving your work. Okay, that's it.
| | 03:10 | The bonus tip there of exiting a Review mode by
creating a collection instead of just doing a plain old exit.
| | Collapse this transcript |
| Rating images| 00:00 | So you may have noticed that when
you're using Adobe Bridge, there's actually
| | 00:03 | two different ways to assign star ratings to
images depending on the mode that you're in.
| | 00:08 | So you may have noticed that when
you're in one of the full screen modes.
| | 00:11 | So let's actually go there. Let's say I'm in the
Full Screen Preview mode by pressing the Spacebar.
| | 00:16 | I can use my arrow keys to go
through and see image to image.
| | 00:20 | If I want to assign a rating to one
of these images, when I'm in this mode,
| | 00:24 | you simply can just press a
number on the keyboard, 1-5.
| | 00:28 | So if I press 5, I get a five-
star rating, four, three, two, one.
| | 00:32 | And then, if I press 0,
that's how I take away a rating.
| | 00:35 | So I don't have to type
anything extra. Just the number.
| | 00:38 | Let's press the Escape key.
| | 00:40 | If I go to the View menu and pull
it down to Review mode, same thing.
| | 00:43 | I can just press a number. So if I want to
give this a rating, I just press the number 5,
| | 00:47 | 4, 3, 2, 1 and then 0 again to cancel that.
| | 00:52 | But when I'm in this mode, the just
regular View mode and viewing the content and
| | 00:57 | looking at the thumbnails, I can't
just type a number to assign a rating.
| | 01:01 | Yes, I can use my Label menu, if I can select an image,
and go to my Label menu, but that's really a pain.
| | 01:07 | But here is the clue when you do look at the Label
menu, you can see what the keyboard shortcuts are.
| | 01:12 | And you can see on a Mac its Command+1 or 2, 3.
| | 01:15 | And then in Windows, of course, that
would be the Ctrl key. So Ctrl+1, 2, 3, 4, 5.
| | 01:20 | Well, what if you just want to
type a number in this mode too?
| | 01:24 | So by default, when you type numbers or
letters or whatever in this particular mode,
| | 01:29 | that actually acts as a selection shortcut.
| | 01:32 | So if I have a number of items here
that all start with different letters,
| | 01:37 | I can just type the first few
characters to jump to that particular item.
| | 01:41 | Now, since these all start with the letter S,
that's not really going to do much for me.
| | 01:46 | But Bridge is actually smart. You will
see that all the names start with Sisters_.
| | 01:49 | But then after that they
are all unique: 01, 02, 03.
| | 01:53 | So if I were to type numbers, that's a way to
navigate through this particular view of these thumbnails.
| | 01:59 | So for instance, if I type the number 5, you'll see its
smart enough to jump to the fifth item, the item number five.
| | 02:06 | If I type two numbers quickly, it
will jump to that particular item.
| | 02:09 | So if I type 15, it selects number 15.
| | 02:12 | So it's up to you whether or not
you'd like this behavior more than
| | 02:15 | the ability to assign
ratings just by typing a number.
| | 02:19 | If I want to give that image a five star
rating, by default, in this particular mode,
| | 02:24 | I have to hold down a modifier. So
I would do Command+5 instead of just 5.
| | 02:28 | And there I get that rating.
Command+0 to take it away.
| | 02:32 | If you want to alter default behavior of how just typing
numbers work, that is a preference that you can change.
| | 02:39 | Under the Bridge menu on the Mac or under the
Edit menu in Windows are the Bridge Preferences.
| | 02:44 | And in the Preferences dialog,
there is a Labels category.
| | 02:48 | And right there, that checkmark is
turned on by default, Require the Command Key,
| | 02:52 | on Windows it would say Require the
Control Key, to Apply Labels and Ratings.
| | 02:56 | If I turn that off and click OK, now when
I click on the thumbnail and just type a number,
| | 03:02 | like the number 5, it applies that
five star rating. So you have it.
| | 03:06 | You have -- either way it's up to you.
| | 03:08 | If you've ever wondered why
there's a difference? Well, now you know.
| | 03:11 | It's a default and you can change
that default in your Preferences.
| | Collapse this transcript |
| Using the Filter panel to view different subsets| 00:00 | One of the great things about working with
digital images is that they contain a lot of data.
| | 00:04 | Now, we often refer to that data as metadata.
| | 00:08 | Bridge is a wonderful view of that metadata.
| | 00:12 | It lets you access and act on that
metadata in some pretty interesting ways.
| | 00:16 | So let's take a look at
the images that we have here.
| | 00:18 | We are looking at 44 images, but imagine this was
500 images or even a thousand images or 20,000 images.
| | 00:25 | Let's say that you were trying to find all the
images that were vertical in those 500 or thousand images.
| | 00:32 | Can you imagine literally holding
down the Command key or the Ctrl key and
| | 00:36 | manually clicking on every vertical image in
your list here, filtering out the horizontal ones.
| | 00:43 | That seems to be something that a computer and maybe a
piece of software could just do for you automatically.
| | 00:47 | And that's the whole point of this movie.
| | 00:49 | It's the Filter panel
over in the left-hand corner.
| | 00:52 | When you're working in the Essentials
Workspace, that's where the Filter panel is located.
| | 00:56 | And you can see there's a bunch of
interesting marks on these particular thumbnails here.
| | 01:00 | Some of them have five star
ratings. Some of them have no ratings.
| | 01:04 | Some of them have three star ratings here.
| | 01:06 | It turns out that some of these
images have keywords and there's a lot of
| | 01:10 | different information here that you may want to reduce the
number of images currently being viewed to just a subset.
| | 01:16 | So if you take a look at the Filter
panel over here in the left-hand corner,
| | 01:20 | this Filter panel automatically
populates itself with information that it senses
| | 01:25 | or picks up in the actual
images in the current view.
| | 01:28 | Now every panel in Bridge has what we call a
fly-out menu in the right-hand corner of it.
| | 01:34 | In the Filter menu fly-out menu, you can actually turn
on and off certain categories that you don't care about.
| | 01:40 | So by default, they're all turned on, and
we'll go ahead and leave them on for now.
| | 01:43 | But if there is any particular category that you don't care to
be built or shown in the Filter panel, you can turn off here.
| | 01:50 | I'm going to go ahead and
click to get out of there.
| | 01:52 | Clicking on a category will turn it down.
Clicking on it again will turn it back up.
| | 01:56 | So you can see on the
current viewed set of images here,
| | 02:00 | we have picked up that there is ratings, keywords,
creation date, orientations, and so on down the list.
| | 02:06 | Let's say that I just want to quickly
view all the five-star rated images.
| | 02:10 | We'll click on the Ratings category, and it
will show that there are 30 that have no ratings.
| | 02:16 | There are 10 keepers and there are
four images that we're on the fence about.
| | 02:19 | I'm just looking at the
number columns here on the right.
| | 02:21 | If I click on the five-star rating
number here or the category there,
| | 02:25 | it filters the list of images here in my Content
panel to only show me the five-star rating images.
| | 02:31 | Now what if I wanted to see the five-star
ratings of just one of the particular girls here.
| | 02:36 | Well, it turns out these images have
keywords, so you can actually stack up or
| | 02:41 | build up the filters and have
multiple filters at play at any given time.
| | 02:44 | So if I click on the word Keywords, you can see there are
three different keywords present in the selection of images.
| | 02:50 | There's Maija, Sisters and Sofija.
| | 02:51 | If I just want to see the five star rated images of Maija, I can
click on the word Maija and I've filtered the set even further.
| | 03:00 | I can tell a filter is in play
when there's a check mark next to it.
| | 03:04 | Now by default when you click on another filter in
the same category, it adds that to the current view.
| | 03:11 | So if I click on Sofija as well, I'm now seeing
the five star rated images of both Maija and Sofija.
| | 03:17 | So if again I just want to filter it down to one of the girls,
I can turn off the previous category by clicking on its name.
| | 03:24 | As a little bonus tip here, if you want
to switch and only see the Maija images
| | 03:30 | and turn off Sofija at the same time, hold down
the Option key on the Mac, or the Alt key on Windows,
| | 03:36 | as you click on a filter and that, instead of
adding it to the current view, will toggle that.
| | 03:43 | So if I Option+Click, or Alt+Click on
Sofija, it turns Maija off and turns Sofija on.
| | 03:48 | Whereas, again, if I don't hold the
modifier key down, it's just an additive gesture.
| | 03:53 | So you have a lot of control here, and again, just turning
off the filter brings those subset of images back into view.
| | 04:00 | I can turn off the five-star rating
and I'm kind of back to where I started.
| | 04:04 | Earlier, I'd mentioned about the
Orientation: Landscape versus Portrait.
| | 04:08 | Well, there is a filter for that as well.
| | 04:10 | If I click Orientation, click on the word
Landscape, there's all my landscape images.
| | 04:15 | And here I'm mixing all the ratings,
because I haven't turned on that filter.
| | 04:19 | So again, if I want to see the three-
star rated images in Landscape Orientation,
| | 04:24 | just have Landscape turned on, click on the three-star and
it turns out there's only one that matched that category.
| | 04:30 | Pretty fun stuff here!
| | 04:31 | I know it's kind of geeky but this data is
here, you should be able to use it to find and
| | 04:35 | orient yourself and filter your images down to just the
particular criteria you care about at this particular moment.
| | Collapse this transcript |
| Viewing final choices in a slideshow| 00:00 | Once you've taken the time to narrow down your
range of images to just your keepers, or your selects,
| | 00:06 | you may want to actually sit back and actually have a
little presentation of those keepers, a slideshow if you will.
| | 00:11 | You may want to either show it to
yourself or maybe you're doing a web meeting
| | 00:14 | and you're sharing your screen and
you want to playback your selects
| | 00:18 | in an interactive little slideshow for your
client or your friend or your family or whatever.
| | 00:22 | So how do you go about doing
that? Well, it's pretty simple.
| | 00:25 | Let's use our Filter panel to filter our current set of
images here down just to our keepers: the five-star rated images.
| | 00:31 | So we'll go to our Ratings section in the Filter panel
and we'll click on the five-star rating category there,
| | 00:38 | and there are our keepers. So let's
view this in a full screen slideshow.
| | 00:42 | Under the View menu, there
is the Slideshow command.
| | 00:46 | That's also Command+L, Ctrl+L on Windows,
if you don't want to use the View menu.
| | 00:49 | This puts you on a Full Screen mode.
| | 00:51 | And the first thing we're going to do is we're
going to press our Spacebar just to pause the slideshow.
| | 00:56 | If we press the Spacebar again, it'll
automatically advance after a certain period of time.
| | 01:00 | It'll do a little fade into the
next image and just kind of run itself.
| | 01:04 | If you want to pause it, again
like I said, hold down the Spacebar.
| | 01:07 | There are a lot of other things you
can actually do during the slideshow.
| | 01:11 | And if you ever forget what they are, there's
kind of this built-in on-screen help system.
| | 01:17 | Just press the letter H for help. That's really the only
keyboard shortcut you need to remember in the Slideshow mode,
| | 01:22 | because if you press the letter H,
everything else is explained to you about
| | 01:26 | what you can do and what the letters are, or what
the keyboard shortcuts are, to take that action.
| | 01:31 | So you can see Pause, Play,
is referenced there for Space.
| | 01:34 | You can even zoom in and out while the
slideshow is running by using plus and minus.
| | 01:39 | You can exit by hitting the
Escape key and so on and so on.
| | 01:42 | So we won't run through all of them, but
you can there are quite a few options there.
| | 01:46 | To make this help go away, just press
any key that it's telling you, you can do.
| | 01:50 | So if I hit the Spacebar to resume the slideshow that on-
screen help will go away and the slideshow will continue to play.
| | 01:57 | There you see it fading to the next image.
| | 01:58 | If you ever want to exit the slideshow, at
any time, again just press the Escape key,
| | 02:03 | and that will end the slideshow and
take you back to your current view,
| | 02:07 | with the last item in the
slideshow selected in the Content panel.
| | Collapse this transcript |
| Organizing groups of images into stacks| 00:00 | There's an additional organizational
feature in Bridge that comes in handy quite often,
| | 00:04 | especially when you're dealing
with large volumes of images.
| | 00:07 | You may want to group them into stacks
of images that are related in some way.
| | 00:13 | So using the combination of the
Stacks command with the Filter panel can
| | 00:18 | clean up or reduce the amount of space any
particular set of images takes in the Content panel.
| | 00:23 | Let's see this at work. So let's go to our
Keywords section here in the Filter panel,
| | 00:28 | and this particular set of images has
some keywords embedded in the metadata.
| | 00:32 | So let's click on the word Maija, and it filters the
current view to only show you the pictures of Maija.
| | 00:38 | So I'm going to go ahead and select these
six images by clicking on the first one,
| | 00:42 | then holding down the Shift key and clicking on
the last one. That selects everything in between.
| | 00:45 | And then I want to use the Stack command. Now, of
course there's a keyboard shortcut, before I teach you that,
| | 00:51 | under the Stacks menu is Group as Stack, and if you're
used to other Adobe products, like Illustrator or InDesign or
| | 00:58 | something like that, you know the
Group command is just Command or Ctrl+G.
| | 01:02 | So I can do that or just use the menu command.
| | 01:05 | What happens is it shrinks all those
selected images up into a single icon
| | 01:10 | and gives you a number letting you know
how many images are in that particular stack.
| | 01:15 | Now, if I turn off the Maija filter
inside the Filter panel, you'll see it
| | 01:21 | takes us back to the Content panel and it's
maintaining that stack as an organizational concept here.
| | 01:27 | When you click on the stack, if
you take a look at the Preview panel,
| | 01:30 | it actually does show you all the
thumbnails that are in that stack.
| | 01:34 | It just fills that space
available in Preview panel.
| | 01:37 | So if the Preview panel was a little bit
larger, those thumbnails would be larger.
| | 01:40 | Or if you had say 30 images, you'd get a
lot tinier thumbnails in that Preview panel.
| | 01:46 | If you put your mouse over the
number, it gives you a little finger.
| | 01:49 | If you click on the number, it will expand the
group and show you all the images in the group.
| | 01:53 | If you click on the number
again, it will collapse the stack.
| | 01:58 | There's also a menu command and a
keyboard shortcut for doing this.
| | 02:02 | For those of you who just really like menu
commands though, there it is: Stacks > Open Stack.
| | 02:07 | Then of course the keyboard shortcut is Ctrl+
Right Arrow or Command+Right Arrow to open the stack,
| | 02:12 | Command+Left Arrow, Ctrl+
Left Arrow to close the stack.
| | 02:15 | Again, I still think it's easier just to
click on the number to open or close the stack.
| | 02:20 | If we change our mind and we don't want
that stack anymore, we can un-stack it.
| | 02:24 | Before we do that though, let's go ahead
and create a couple of different stacks.
| | 02:27 | Let's go back to our Filter
panel and click on the word Sofija.
| | 02:31 | That shows us just those images.
We'll go ahead and do a Select All,
| | 02:34 | Command or Ctrl+A, and we'll turn
this set of images into a stack as well.
| | 02:40 | Command+G, Ctrl+G, and now it tells
me I've got 16 images in that stack.
| | 02:45 | Let's go back to turning off the
Sofija filter in the Filter panel.
| | 02:49 | And now you can see the same
set of images, 44 images now,
| | 02:53 | have been organized a little bit tighter
to group all the images that are similar.
| | 02:57 | So the remaining category, in this particular set of example
images, are all the images of the sisters together in the frame.
| | 03:05 | So again let's click on the word Sisters
in the Filter panel to select all of those.
| | 03:09 | We'll do a Command+A or Ctrl+A to
select the images in the Content panel,
| | 03:13 | and Command or Ctrl+G, or again Stacks >
Group as Stack, and there we have 22 images there.
| | 03:20 | Let's turn off the Sisters filter in the Filter panel, and
now instead of seeing 44 images in 44 separate thumbnails,
| | 03:27 | we see three different categories
of images grouped into those stacks.
| | 03:31 | A little bit more of an impact organizationally-wise if you've
got hundreds or thousands of images that you're managing this way.
| | 03:39 | But hopefully you get the point
with this little small subset example.
| | 03:42 | If you want to get back everything to being
unstacked, it's pretty easy to do that as well.
| | 03:48 | Go the Stacks menu and say either Expand all Stacks
and that gets them back to where they were started.
| | 03:54 | We can go back to the Stacks
menu and say Collapse all Stacks.
| | 03:57 | If I do a Select All again, Command+A.
If I actually want to eliminate the
| | 04:01 | notion of this stack I can go back and say Ungroup
from Stack and we're right back where we started.
| | Collapse this transcript |
|
|
3. Camera Raw EssentialsRaw vs. JPEG files| 00:01 | If you're watching this video, perhaps you've
heard other people talking about shooting Raw
| | 00:04 | and had little or no idea
what they were talking about.
| | 00:07 | In simplest terms, a raw file is a digital
negative. Like film negatives that came before them,
| | 00:13 | you can develop multiple prints or versions from this digital
negative, and each version can actually be dramatically different.
| | 00:20 | Before we had the option to capture digital images in
raw format, we typically captured our photographs as JPEGs.
| | 00:25 | Now when you shoot in JPEG format, your camera is
actually making a significant number of choices for you.
| | 00:31 | Things like exposure and
saturation, sharpness, etcetera.
| | 00:35 | While you can certainly edit some of these choices in
Photoshop, the amount of change you can make is going to be limited.
| | 00:40 | Let's take a look at these two images
to actually see what I'm talking about.
| | 00:43 | You can see I've got both files are
of the exact same image, but one was
| | 00:47 | captured as a JPEG, and the
other was captured as a Raw file.
| | 00:51 | Now, if I were to double-click on this
JPEG file, Bridge would automatically
| | 00:54 | pass that JPEG over to Photoshop, where
you would then be able to edit it there.
| | 00:59 | I actually want to edit this
in something called Camera Raw.
| | 01:02 | So a slight different distinction there.
| | 01:05 | A Raw file is kind of a generic file format and
there are lots of different versions of raw files.
| | 01:10 | Each camera manufacturer kind of
saves out their own version of a raw file.
| | 01:14 | So if you're shooting with a Canon, you
might see the file extension at the end
| | 01:17 | of your filenames end in .cr2, or if you are
shooting with an Nikon it might be .nef and so on.
| | 01:24 | DNG is another common file format for raw
files. So here you see .dng that's a raw file.
| | 01:31 | So rather than open up this JPEG in Photoshop, I'm going
to click on it and then use the Open in Camera Raw button.
| | 01:38 | That will open up this file in the Camera
Raw editor that's included inside Adobe Bridge.
| | 01:44 | Now, this image is obviously overexposed and
it doesn't have low of detail in the highlights.
| | 01:48 | In fact what the camera settings used to capture this image,
the camera did not capture any detail in the hair of the dog.
| | 01:54 | So let's go ahead and zoom up
here and you can see what I mean.
| | 01:57 | There's just basically solid white.
| | 01:59 | There are no details in that
particular area of the image.
| | 02:03 | Now I can try to use the Recovery slider in
Camera Raw to reveal the detail in the highlights,
| | 02:08 | but because this file was captured as JPEG, no additional
detail was captured and included in the file for us to access.
| | 02:14 | So you can see here, even though I moved that Recovery slider all the
way over to the right, basically the camera just saw a big area of white.
| | 02:19 | It didn't put any extra detail
in the file for us to reveal.
| | 02:22 | That's the simplest explanation there. It just doesn't
include very much information in the JPEG file format.
| | 02:28 | I'm going to go ahead and hit Cancel, and
instead, let's double-click on the raw file.
| | 02:33 | Now because it's a raw file, when you double-click on it
in Bridge, it doesn't get opened in Photoshop directly,
| | 02:38 | because Photoshop doesn't
actually know what to do with a raw file.
| | 02:41 | Instead, it automatically gets
intercepted by the Camera Raw Editor.
| | 02:44 | So let's go ahead and double-click.
| | 02:46 | You'll see it opens Camera Raw automatically.
| | 02:48 | So you can see on the right we still have those same
sliders that we had when we were working with the JPEG file.
| | 02:54 | And it may feel like you're editing this Raw file, but it
turns out you're never actually editing the Raw files directly.
| | 03:01 | Raw files are locked digital negatives.
| | 03:03 | Instead you're going to be making a series of
choices of how you want this Raw file to be processed
| | 03:07 | before you then go on to open it in
Photoshop, and eventually save it out as
| | 03:11 | a JPEG or a Photoshop file or any
other file format you might need to use.
| | 03:15 | Let's take a look at the
significant difference though.
| | 03:17 | If I take that Recovery slider all the
way over to the right, you'll see magically,
| | 03:22 | hidden detail that wasn't there before
is now appearing in that hair of the dog.
| | 03:26 | And if I even take the Exposure slider
down and drag it to the left, you can see
| | 03:31 | that file actually did contain a ton of extra
information, you just didn't see it at first.
| | 03:37 | So you've just learned the secret of a raw file.
| | 03:40 | A raw file is not getting processed by the
camera. It's not throwing away extra information.
| | 03:45 | It's keeping all the
information that the camera actually sees.
| | 03:48 | Your initial view on that information though
is whatever the settings you used in the camera.
| | 03:54 | So obviously, I didn't use the right exposure for
capturing the dog. That's why it looked white initially.
| | 03:59 | But the power of the Camera Raw editor here
lets me have access to that hidden information.
| | 04:04 | Let's go ahead and hit Cancel.
| | 04:07 | You'll learn a lot more about working with
JPEGs and Raw files in the Camera Raw editor
| | 04:11 | and see the power of that processing software, but in a
nutshell, that's the big differences between JPEGs and Raw.
| | 04:17 | Whenever you have the option, you
typically want to shoot Raw, so you have the
| | 04:21 | flexibility and the power to be able to make choices after
the fact and take advantage of that extra rich information.
| | 04:28 | If you have a low-end consumer camera
that you just carry around in your pocket,
| | 04:31 | you may only have the option to shoot JPEG, and then the more
expensive cameras you buy have usually the option to shoot Raw as well.
| | 04:39 | And when in a pinch, if you want to have the
flexibility of not having to process every Raw file
| | 04:44 | and have JPEGs as well, a lot of cameras actually have
the option to shoot both JPEG and Raw at the same time,
| | 04:49 | which is what we used here to get these two different
versions captured at the same moment in time but one was
| | 04:54 | saved out as a JPEG for quick
editing, and one was saved out as a Raw.
| | 04:57 | So I'll just close with saying one
disadvantage of Raw is because it is a digital negative,
| | 05:03 | it has to be processed in
order for you to be able to use it.
| | 05:07 | So while you get more power and more flexibility,
it actually does end up creating more work for you.
| | Collapse this transcript |
| Why you should start in Camera Raw instead of Photoshop| 00:01 | So I want to take a few minutes and talk
about the benefits of the Camera Raw Editor.
| | 00:05 | I have already talked about the benefits of the raw
file format. This is a little bit different topic.
| | 00:09 | This is the benefit of the software that is
included in Adobe Bridge used to process raw files.
| | 00:16 | Now, it can also be used to process other
file formats, and I'll get to that in a moment.
| | 00:20 | The first myth I want to dispel is that Camera Raw
is geeky. It's only for professional photographers.
| | 00:25 | It's not for anyone who wants to make their
images look better, and that's just false.
| | 00:30 | In fact, one of the reasons why I'm
starting with the Camera Raw Editor in the
| | 00:34 | Photoshop CS5 Essential Training title
is because it is so powerful and so quick,
| | 00:38 | it's actually a better
idea to start in Camera Raw.
| | 00:41 | Kind of the little phrase I use for
new students or people new to Photoshop
| | 00:46 | is to explain that you should be using Camera Raw
for global changes and Photoshop for local changes.
| | 00:51 | Now, what do I mean by global? By global, I'm
talking about changes you're making to the overall image.
| | 00:56 | So the things like tonal correction
and color correction and sharpening.
| | 01:00 | If there are specific areas in an image that you
want to adjust separately from rest of the image,
| | 01:05 | that's what I mean by local adjustments and
Photoshop is obviously the best tool for that.
| | 01:10 | For global changes though, the reasons
why I like Raw is that it's a lot faster
| | 01:14 | and easier to use than Photoshop in general, and
I'll explain some of the benefits here in a moment.
| | 01:18 | There are basically five reasons to start in Camera Raw
before you open up the file in Photoshop for further editing.
| | 01:25 | The first game changer here is
that it's a nondestructive edit.
| | 01:29 | Anything you do in Camera Raw is not
actually affecting the file itself.
| | 01:33 | What you're doing you is
making a series of choices.
| | 01:35 | Those choices are being saved out as a little text file,
and not to too geeky, but it's called a Sidecar file.
| | 01:41 | And then when you open up that image again
in the Camera Raw editor, it's simply loading
| | 01:46 | those settings from that Sidecar file into
the dialog and presenting those updates to you.
| | 01:51 | So you can make as many changes as you want.
| | 01:53 | You never have to worry about destroying the file
or doing something that you can't go back and undo,
| | 01:59 | because you're never actually editing the
actual file. So that's benefit number one.
| | 02:03 | Benefit number two is that it has a built-
in workflow. Now what do I mean by that?
| | 02:07 | So the great thing about Photoshop
is that it's anything to everybody.
| | 02:11 | I mean lots of different people use the product.
| | 02:14 | Doctors and creative professionals and designers and
architects, even the FBI and law enforcement officials.
| | 02:20 | Everyone kind of has a
different way of using the product.
| | 02:22 | And if you ask 10 different Photoshop experts
how to do any particular thing in Photoshop,
| | 02:27 | like how you do a color correction, you'll probably
get 10 different answers, because it's that robust.
| | 02:32 | What I love about Camera Raw is that the
controls are laid out in the actual order
| | 02:37 | that you're supposed to use them,
at least until you learn the rules.
| | 02:40 | Then of course, you can go
out of order anytime you want.
| | 02:42 | But when you're just starting out, it's so much
more approachable because it has a structured workflow.
| | 02:47 | Now, if you go on to watch some of
the other videos in this chapter,
| | 02:51 | you'll actually see what I'm talking about
instead of just listening to me babble about it.
| | 02:54 | But hold that thought for now. There's a built-in workflow that takes the
guesswork out of what you're supposed to do to get a good looking image.
| | 03:01 | The other thing, the number
three is that it works on JPEG's too.
| | 03:04 | So even though it's called Camera Raw,
I actually wish Adobe would change the name of this thing,
| | 03:09 | because it's such a phenomenal little workflow, a phenomenal
little piece of software for editing JPEGs, Raw files and TIFFs
| | 03:17 | and again all nondestructively.
It's not just for raw files.
| | 03:21 | Number four is that it can be
automated without recording Photoshop actions.
| | 03:25 | For any of you who have actually
tried to record actions before,
| | 03:28 | you may have discovered that
that's a potentially fragile workflow.
| | 03:31 | Actions can get pretty complex pretty quickly especially
when you play them back on files after they've been recorded.
| | 03:38 | Or if you've inherited actions from someone else, and
for some reason you can't get them to work on your images.
| | 03:42 | What I like about Camera Raw is that
it's very easy to batch process dozens, even
| | 03:47 | hundreds or thousands of images
without a lot of effort or understanding.
| | 03:51 | And then lastly, it's simply a better or a
quicker learning curve if you're just starting out.
| | 03:57 | Now if you have years of experience in
Photoshop and you're just watching this title
| | 04:01 | to kind of brush up on your skills or see what's new in the
new version, you might have a different perspective on this.
| | 04:07 | But I've been teaching people Photoshop for years and
even experts, when they see kind of this new workflow,
| | 04:13 | they're like wow, that is so much faster and so
much easier. But what do I mean by this specifically?
| | 04:17 | To get started in Photoshop, there are a lot of building blocks
that you kind of have to roll up your sleeves and learn right away.
| | 04:23 | You have to learn things like layers, and how to make
regional selections of a particular image, or masks.
| | 04:29 | You have to learn the things like adjustment layers, and things
like Curves ,and Levels, and blend modes, and it goes on, on, on.
| | 04:36 | There are lots of little
different building blocks.
| | 04:38 | Now, all those building blocks add up to the
world's most powerful image editor on the planet.
| | 04:44 | But when you're just starting out, you may just want to have
a simpler learning curve, and Camera Raw represents just that.
| | 04:51 | So that's a very quick overview.
| | 04:52 | You're going to learn a lot more about the specifics and the
power of these five points in the Part I section of this title.
| | 04:59 | But this is just kind of a way to get
you thinking about why you might want to
| | 05:03 | start in Camera Raw as opposed to just jumping in
Photoshop and hunting and pecking around in the menus there.
| | Collapse this transcript |
| A tour of the Camera Raw user interface| 00:01 | Okay, here we are in the Camera Raw
Interface, the Camera Raw editor dialog.
| | 00:05 | And let's take a brief tour of the elements
that make up this editing piece of software.
| | 00:10 | Again, you get to it by double-
clicking on a raw file from Adobe Bridge or
| | 00:13 | by clicking on a JPEG file and doing Command
or Ctrl+R to edit that in Raw or Camera Raw.
| | 00:19 | So pretty basic at the top. You've got your toolbar.
Instead of a vertical toolbar like you see in say, Photoshop,
| | 00:24 | these are arranged along
horizontally, and some pretty common tools.
| | 00:28 | They all have keyboard
shortcuts assigned to them as well.
| | 00:31 | So if I want the Hand tool, I can just press the
letter H. If I want the Eye Dropper tool, I can press I.
| | 00:36 | If I want the Zoom tool, I can
press Z. C for the Crop tool, etcetera.
| | 00:40 | If you don't know what a particular tool is,
you can just again hover over the tool.
| | 00:43 | It will tell the name of it, and also tells you the
shortcut that you can press to switch to that tool.
| | 00:49 | One of the first things I do when I open up Camera Raw
for the first time is I switch it into Full Screen mode,
| | 00:55 | because I find it confusing, especially for new users.
This menu that you see at the top of your screen here,
| | 00:59 | that's not the Camera Raw menu;
that's the menu for Adobe Bridge.
| | 01:04 | Camera Raw itself doesn't
actually have any file menus.
| | 01:07 | So I like to hide that by putting
Camera Raw in the Full Screen mode.
| | 01:11 | Now there's a button here, in the
upper strip here, Toggle Full Screen Mode,
| | 01:15 | and just like in Photoshop, to go to Full Screen mode,
you can press the letter F as well. F for Full Screen.
| | 01:20 | And I just find that that
maximizes the screen real estate for you.
| | 01:23 | Now, I'm recording another
particularly low resolution here.
| | 01:26 | So if you had a 30-inch Cinema Display
let's say, hitting that full screen would
| | 01:30 | make the Camera Raw dialog
take up the entire monitor.
| | 01:33 | So again you've got lot of flexibility there to work at it in a small
dialog and resize it manually, or switch it over to Full Screen mode.
| | 01:40 | This is your editing area. It's also
your preview area, one and the same.
| | 01:43 | You have got a Zoom switcher down
here in the bottom left-hand corner.
| | 01:46 | Over on the right, all your
controls are laid out in panels.
| | 01:51 | The default panel is the Basic panel.
| | 01:53 | And what I love about the Basic panel is
that the controls are laid out into a workflow.
| | 01:59 | Basically, what I mean by that is they're laid
out in the order that you're supposed to use them.
| | 02:03 | Now, you can certainly go out of
order and use them in any order you want.
| | 02:07 | But when you're just starting out,
it's actually comforting to know that
| | 02:10 | the very first thing that you should do is set the
White Balance right. So that's why that's listed first.
| | 02:15 | After you set the White Balance, then
you want to get your exposure right.
| | 02:18 | Is it too dark or too light
overall? So you can dial that in.
| | 02:21 | From there, you want to recover your highlight
details. So if there are no details in the highlight.
| | 02:25 | So here's a good example. The olive here has a little bit of a
hotspot. There's probably more detail there that we can take advantage of.
| | 02:32 | So let's begin by just lowering the Exposure slightly
to bring back the overall brightness down of the image.
| | 02:38 | Then we'll take the Recovery slider, and drag it to the right, and
you'll start seeing some details coming in those highlight areas,
| | 02:43 | which is kind of nice. If I want to open up the shadows a
little bit, that's the next slider down there, Fill Light.
| | 02:51 | The Blacks slider next is where you
establish the darkest point in your image.
| | 02:57 | The Brightness slider is where you
adjust the brightest part of your image.
| | 03:00 | And again, they are just kind of laid out
in the order you are supposed to do them.
| | 03:03 | If you want to do an overall contrast
adjustment, you have a Contrast slider there.
| | 03:08 | Clarity is a slider for doing the mid-tone
tonal adjustments. So you can do mid-tone contrast.
| | 03:13 | What's nice about Clarity is that it doesn't
change the darkest or lightest part of the image.
| | 03:17 | It's only focusing on the mid-tones.
| | 03:19 | Vibrance is a way to boost saturation or decrease
saturation of colors that are already saturated.
| | 03:25 | So if I go down, it's only
affecting the most saturated colors.
| | 03:29 | If I go to the right, it's only
increasing colors that need additional saturation.
| | 03:34 | And then, the last slider here is an
overall Saturation slider for increasing
| | 03:39 | global saturation or actually making
a really quick grayscale conversion.
| | 03:43 | A nice little technique there as well.
| | 03:45 | One little tip here, if you double-click on any
slider, it will reset back to its default value.
| | 03:51 | So it's just a bit quicker than
actually manually dragging that over.
| | 03:54 | Down along the bottom are what
we call the Workflow Options.
| | 03:57 | So when I'm done editing this, I have
some options here to either change my mind
| | 04:02 | and cancel, hit Done, be taken back
to Bridge and update the thumbnail,
| | 04:05 | pass that image on to Photoshop by
clicking the Open Image button, or even saving
| | 04:10 | this out as a separate file,
skipping a trip to Photoshop altogether.
| | 04:13 | In addition to the basic set of controls in the
Basic panel, we've also got a Tone Curve panel,
| | 04:19 | and I can use this to do fine-tune
adjustments to highlights, lights, darks, and shadows.
| | 04:24 | We have a Detail panel to the right of
that. I'll go ahead and click on Detail.
| | 04:28 | And this is where we can do things
like sharpening and noise reduction.
| | 04:31 | The next panel over is Hue/Saturation where
I can adjust the hue/saturation and luminosity detail
| | 04:38 | of each color individually in the image, which
is kind of nice. It gives you lot of control.
| | 04:42 | You can also do custom grayscale conversions in
this panel, by clicking the Convert to Grayscale button
| | 04:47 | and then controlling each color independently
on how it gets translated to black and white.
| | 04:52 | The next panel over is called Split Toning. This is what you
would use in conjunction with that Convert to Grayscale option
| | 04:57 | in the previous panel and do things like
create sepia tones or platinum tones and so forth.
| | 05:03 | The next panel over is called Lens Corrections.
And you can use this to fix vignetting effects.
| | 05:08 | So if you have dark corners,
you can eliminate those.
| | 05:10 | Or if you have got some fringing along
edges you see like a cyan halo or a red halo,
| | 05:14 | you can use this panel to
quickly fix those issues.
| | 05:18 | One more over to the right is the
Effects panel. Go ahead and click on that.
| | 05:22 | This is where you can add things
like digital film grain and do something
| | 05:26 | vignetting so you can add a black effect on
the corners or a light effect on the corners
| | 05:30 | to really frame the image a
little bit. That's kind of cool.
| | 05:33 | The next panel over is the
Camera Calibration panel.
| | 05:36 | Now this is something that's a little bit more
advanced. We may not cover it in the Essentials Title.
| | 05:41 | But I encourage you to check out
Chris Orwig's Camera Raw title when
| | 05:44 | you're ready to go really deep on Camera Raw,
especially for a professional photographer.
| | 05:48 | What this lets you do is
build a profile for your camera.
| | 05:52 | So you find yourself doing the same
adjustment over and over and over again,
| | 05:55 | what you can do is you can teach the Camera
Raw plug-in to have a profile for your camera
| | 06:01 | so that when you first bring your images in, it's more
appropriate for the specific camera that you're using.
| | 06:06 | And then lastly, there are two other panels for
getting Camera Raw to be faster as a workflow for you.
| | 06:12 | There's a Presets panel.
Right now, it's currently empty.
| | 06:14 | But you can actually save all these choices that you might make
as individual presets that you can then apply to other images.
| | 06:20 | And then lastly, on the right
is something called Snapshots.
| | 06:24 | Snapshots are really cool. Again
it'll be blank here to begin with.
| | 06:27 | But what snapshots let you do is create
multiple versions of a Raw file within the file itself,
| | 06:33 | and then you can quickly go back
and forth between them to view them.
| | 06:36 | So lots of different options
here. There is your quick tour.
| | 06:39 | Of course, when you're done, you just click the Done
button and that takes you back to Bridge and there you go.
| | Collapse this transcript |
| Previewing before and after adjustments| 00:01 | One of my favorite things about the Camera Raw
editor and addition it to being nondestructive
| | 00:05 | is that it's very easy to quickly see before and
after of the adjustments that I might be making.
| | 00:10 | I've got a Preview checkbox here, but
there is a little bit of a trick that
| | 00:13 | I want to make sure you know of right
away, because it might catch you later on.
| | 00:17 | You might be scratching your
head going, what's going on here?
| | 00:19 | So Preview is turned on by default.
| | 00:21 | So whenever you make some choices in the panels over
here, you're seeing the immediate effect of those choices.
| | 00:26 | Let's go ahead and make some adjustments
here just to kind of see what I'm talking about.
| | 00:29 | I'm going to bring the Exposure down a
little bit, just to darken the image overall.
| | 00:33 | I'll go ahead and do a Recovery to
bring out some of the highlight details.
| | 00:37 | I'll open up the shadows
with Fill Light a little bit.
| | 00:39 | We'll set a dark point using the Black slider, and maybe
increase the overall Brightness, and increase the Contrast.
| | 00:46 | Again, I'm just kind of eyeballing it as I move these sliders
around, maybe do a Clarity, to do a mid-tone contrast adjustment.
| | 00:53 | Okay, so I've made quite a few changes here,
and now I want to see before and after.
| | 00:57 | I can either take my mouse and click on
the Preview checkbox to turn that on or off,
| | 01:01 | but it's much easier just to
press the letter P on my keyboard.
| | 01:05 | So there is before, and there is after.
| | 01:07 | Now if I want to preview the before
and after of an individual slider,
| | 01:12 | instead of everything that's been done in
this panel, I just want to see before and
| | 01:15 | after of one particular slider, then I wouldn't use
the Preview option, I would use the Undo technique.
| | 01:20 | So let's say I want to see the difference between a really high amount
of Clarity, so take that over to 93, or a really low amount of Clarity.
| | 01:29 | So I'll take it down to a negative direction.
| | 01:31 | So now, if I do Command or Ctrl+Z, it will
toggle back and forth between those two values.
| | 01:36 | So you can preview individual slider amounts
as well or the overall effect of everything
| | 01:42 | in that panel by using the
Preview or the P key as well.
| | 01:45 | Now the Preview functionality is per panel.
| | 01:49 | So if I go over to Hue Saturation let's say,
and I click on the Convert to Grayscale button,
| | 01:55 | now when I press the letter P, it is only
previewing the before and after of the Convert to Grayscale.
| | 02:02 | You can see I'm still seeing all the
choices I made in that previous basic panel.
| | 02:06 | So Preview is isolated in local only
to the current panel that you're in.
| | 02:11 | If you want to see the overall Preview of everything that
you've done to this particular image in this editing session,
| | 02:17 | compared to the way it started when you first opened,
then you need to go to one of the panels on the end.
| | 02:23 | That would be the Presets panel. We'll
go ahead and click on the Presets panel.
| | 02:27 | Now when I press the letter P,
I get an entire before preview.
| | 02:31 | What this looked like before
I even entered in the dialog here.
| | 02:33 | Then I press P again. It's
now showing me the final result.
| | 02:37 | So there is kind of a nuance there.
| | 02:38 | Now there is kind of a keyboard
shortcut that you can use to jump back and
| | 02:42 | forth between a panel that gives you the
full Preview, and any of the other panels.
| | 02:46 | So Command+Option, Ctrl+Alt on Windows. If
I press 1, that takes me back to the Basic panel.
| | 02:53 | Command+Option or Ctrl+Alt+9,
takes me to the Presets panel.
| | 02:59 | As you might have guessed,
these are actually numbered.
| | 03:01 | So Basic starts out with number 1.
| | 03:03 | Then Tone Curve is number 2, Detail is number 3.
| | 03:05 | So I can do Command+Option or Ctrl+Alt 1, 2, 3, 4, 5, 6,
7, 8, 9, to go back and forth between those panels.
| | 03:11 | Not anything you have to worry about
right now, the one I want you to memorize is
| | 03:15 | Command+Option or Ctrl+Alt+1 and 9, because that's where you
would want to jump back and forth to be able do your global preview.
| | 03:23 | So again, I did Command+Option or
Ctrl+Alt+9 to get to the Presets panel.
| | 03:27 | I pressed the letter P. There's my global
before and after of everything I've done
| | 03:31 | in this particular session, just
typing P to toggle back and forth.
| | 03:34 | Then if I want to get back to the
Basic panel, Command+Option or Ctrl+Alt+1.
| | 03:39 | There you have it. Just a couple of
different tips on how to access and leverage all
| | 03:45 | the non-destructive editing
control that Camera Raw gives you,
| | 03:49 | and you're able to Preview either
everything that you've done in a particular panel,
| | 03:52 | preview before and after of individual
sliders, or preview before and after of everything
| | 03:57 | everything you've done by jumping over to that
Presets panel, and then toggling your Preview on and off.
| | Collapse this transcript |
| Toggling onscreen Shadow/Highlight clipping warnings| 00:01 | So, in addition being able to preview
your before and after of any particular thing
| | 00:05 | that you're doing in a panel, there is one
additional type of preview, called a clipping preview.
| | 00:10 | What do I mean by that?
| | 00:11 | So when you're adjusting things like
Exposure or Recovery or Fill Light, using
| | 00:16 | the sliders over here in the right,
you often want to pay attention to when
| | 00:19 | you're going to be losing detail,
either in the highlights or in the shadows.
| | 00:23 | So let's take a look at this.
| | 00:24 | If I turn on the Highlight clipping preview,
I'll do that by over here in the Histogram.
| | 00:29 | This is a graph of the tonal
values in your particular image.
| | 00:32 | There are two little widgets here in the upper
right-hand corner and in the upper left-hand corner.
| | 00:37 | If I click on that little white icon there and
hover over, it tells me Highlight clipping warning.
| | 00:42 | I can see there is actually a
keyboard shortcut for that, a letter O.
| | 00:45 | If I mouse over the black icon, it'll give me a
tool tip telling me that's the Shadow clipping warning.
| | 00:50 | I can see that the tool tip there shows me
that the letter U is the shortcut for that.
| | 00:54 | So I'm going to press the letter O, and
you'll see the scary looking red overlay
| | 00:59 | happening on your image, and you're like
what the heck is that? Why is that a feature?
| | 01:02 | What that's showing you is the areas in your
image that are blowing out to completely white,
| | 01:07 | where there is no detail in the
image. This is a nice visual aid here.
| | 01:12 | It lets you figure out how far you're
supposed to slide one of these sliders,
| | 01:16 | to get things back to being fixed. Or the
opposite direction, if you start dragging it in the
| | 01:21 | direction, you start seeing red up here, you know that
you should probably back off that particular adjustment.
| | 01:26 | So let's see this in action.
| | 01:27 | If I take the Recovery slider and start dragging it
to the right, you can see that all that red overlay,
| | 01:32 | that warning blowout preview, is now gone because I don't have
just solid white pixels in my image anymore, which is kind of cool.
| | 01:39 | Let's turn on the Shadow preview.
I'll press the letter U to turn that on.
| | 01:45 | Again, I can turn that on by clicking on
the black icon there in the Histogram as well.
| | 01:49 | You can see I just have a little trace
of shadow detail that's going solid black.
| | 01:53 | You can see a little blue near her pants here.
| | 01:56 | Let's really make this a little bit worse, so
you can see the blue showing up in detail here.
| | 02:01 | If I move the Exposure slider a little bit, or if I move
the Blacks slider, that's probably a better way to do it.
| | 02:06 | If I make more of the image black, you'll see where in the image
it's going to solid black, and I'm losing detail in the shadows.
| | 02:13 | So again, this is called the
clipping previews or the clipping warnings.
| | 02:18 | Red for blown out highlights,
blue for too dark shadows.
| | 02:22 | You can toggle them on and off by pressing the
letter O, and then pressing the letter U respectively.
| | 02:27 | So if you have to open up an image, then you forgot
about it, and you see it's just the sea of red on your image,
| | 02:31 | it's because that clipping preview is still on. You can
just toggle it back off by pressing one of those keys.
| | Collapse this transcript |
| Choosing output settings| 00:01 | One of the things you want to pay
attention to when you're opening up a Raw file
| | 00:04 | and making some choices on it, is this
little hyperlink down here at the bottom.
| | 00:08 | These are your output options, what your image
will go out as when you either save the image
| | 00:12 | or pass it over to
Photoshop for further editing.
| | 00:15 | If we go ahead and click on this hyperlink, it
actually opens up the Workflow Options dialog,
| | 00:20 | where you can actually make
several very important choices.
| | 00:23 | First is which color profile
you want to attach to this image.
| | 00:26 | Now by default, the profile that came in off
the camera embedded in the image will be chosen,
| | 00:31 | but you can also choose a different color
space depending on what your workflow needs are.
| | 00:35 | I'm going to keep this at Adobe RGB for now.
| | 00:38 | The bit depth, that's whether it's 8 Bit or 16 Bit,
keep in mind that if you're going to be going to JPEG,
| | 00:44 | JPEGs don't support 16 bit file formats.
| | 00:47 | So you'll need to down sample that down
or down bit it, if you will, to 8 bit.
| | 00:52 | You can always make that choice in Photoshop
later, if you need to, you can do it there.
| | 00:55 | It doesn't have to be done as part of the
Camera Raw process, but you have that option here.
| | 01:00 | This is the more important choice.
Right now, this is the re-sampling option.
| | 01:04 | If I click on this pop-menu,
you'll see that there is a middle value.
| | 01:07 | Then there are some minus
values and some plus values.
| | 01:10 | So the middle value is the
value that came in off the camera.
| | 01:13 | What the resolution, the native
resolution this file was captured at.
| | 01:17 | So the camera captured
essentially a 10-megapixel image.
| | 01:20 | You can use Camera Raw to
either down sample or up sample.
| | 01:24 | I highly recommend that you do that here, if you
are going to make your image larger or smaller,
| | 01:29 | rather than passing it off to
Photoshop and down sampling it there.
| | 01:33 | Basically, because when you pass it over to Photoshop,
you are already making a derivative of the Digital negative.
| | 01:39 | Alright, you're processing that
file and passing it over to Photoshop.
| | 01:42 | If you then up or down sample it in
Photoshop, you're creating a second derivative.
| | 01:47 | So it's always best to do that down sampling or up sampling from
the native raw information that you have in the particular file.
| | 01:54 | So you can set that option.
| | 01:55 | You can also set the Resolution setting for
what you want your file to be generated at.
| | 01:59 | 240 is kind of an industry standard for
inkjet printers. But of course, if you're going to
| | 02:04 | create some images for the web, let's say
you might put in 72 or 96, and so forth.
| | 02:09 | You have some options to pre-sharpen
the image, like if you're just going to be
| | 02:13 | creating files that you will then print
to your Inkjet printer, you can do some
| | 02:16 | global sharpening as part of the
Workflow Options, which is kind of nice.
| | 02:20 | When I go ahead and click OK, those settings
are now remembered until you change them again.
| | 02:25 | So every image I process with a Camera Raw file
is going to be using these settings from then on.
| | 02:30 | I can always go back and change it after the fact,
or the next set of images that I might be working on.
| | 02:35 | So don't forget about this
important blue hyperlink.
| | 02:38 | You may need to change it from time to time depending on what your
Workflow Options or needs are, and just want to point that out up front.
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| Saving a copy without going to Photoshop| 00:01 | Okay, so the main value proposition
of raw files is that you have a bunch
| | 00:04 | of extra information that you can
manipulate and make your images look really great.
| | 00:08 | And then the other benefit of course is
it's always a nondestructive workflow, right.
| | 00:12 | You're never actually changing
the Digital Negative file on disk.
| | 00:15 | Which means, you actually have to save out a
variation or a copy of the file that you're processing.
| | 00:22 | Now most people think that you have to click
the Open Image button in the Camera Raw dialog,
| | 00:27 | that will then process this file based on the
choices you've made over on the right in the panels,
| | 00:31 | and then it will take that processed
file and open up in Photoshop, where
| | 00:35 | then you may do some further editing and then save it as a JPEG,
or TIFF, or a PSD, or whatever file format that you might need.
| | 00:43 | Now here's the thing, if you're done
with the file, and you have no intention
| | 00:46 | of actually doing any further editing in Photoshop, you don't
actually need to take the file in Photoshop to save out a copy.
| | 00:53 | You can actually do that right from within Camera
Raw, without having to go over to Photoshop to do it.
| | 00:58 | What you need to do is not look
over here in the right-hand corner.
| | 01:01 | You need to go over here and look in the left-hand
corner, at the bottom where you have this Save Image button.
| | 01:06 | Before we get to there
though, let's do a quick review.
| | 01:08 | If you just changed your mind and didn't mean to
do any of these edits, you were just experimenting,
| | 01:11 | of course, you can hit the Cancel button, and it
just cancels all your edits as the name implies.
| | 01:17 | If all you wanted to do was just update the
settings for the files, you can click Done.
| | 01:21 | That will take you back to Bridge and will
modify the thumbnail to update your edits.
| | 01:25 | Again as discussed, if you hit the Open Image button, it'll
pass the file over to Photoshop and create a copy of it for you.
| | 01:31 | A little bonus tip, if I hold down the
Option key or the Alt key on Windows,
| | 01:35 | that actually changes what these buttons do.
| | 01:37 | The Cancel button becomes Reset.
| | 01:39 | That's a way to just cancel but not leave Camera Raw, because you
just want to start over without having to reopen it from Bridge.
| | 01:45 | And then let's talk about actually
saving the image without going to Photoshop.
| | 01:49 | Before you click the Save Image button, you want to make
sure that your workflow options are set up the way you want.
| | 01:54 | So, for instance if I wanted to create a
low resolution JPEG version of this file,
| | 01:58 | I'd click on the Adobe RGB button.
| | 02:01 | I'd choose 8 Bits per Channel, maybe down sample this
to a web resolution, to the smallest file size here.
| | 02:07 | And I can type in a different resolution like 72 dpi,
and go ahead and Sharpen For the Screen, as in the monitor.
| | 02:15 | Go ahead and click OK. That
doesn't actually save the file.
| | 02:19 | It just determines the settings that will
be used when you click the Save Image button.
| | 02:23 | Which I'll go ahead and do
now. I'll click Save Image.
| | 02:26 | This brings up the Save Options dialog, where you
can determine where you want these files to be saved.
| | 02:32 | I just have it set to my Desktop, if you want a
different location you can go ahead and Select Folder.
| | 02:36 | You also have the ability just to save it in the same
location as the raw file or file that you were editing to begin with.
| | 02:42 | I typically will create a separate folder though and call it
Processed or come up with some naming scheme that makes sense.
| | 02:47 | For now we're just going
to save it to the Desktop.
| | 02:49 | You've actually got some
built-in naming options as well.
| | 02:51 | So if you want to come up with a naming
sequence for your files, you can certainly do that.
| | 02:55 | You can type in the base name right in
this field, or you can just keep with the
| | 02:58 | current document name where it's at, and then
I can choose something like a 2 Digit Serial Number,
| | 03:05 | if I've got a series of these images that I'm saving out. I can
basically create a custom naming scheme to apply to the entire series.
| | 03:13 | Formats, I can actually choose a JPEG, TIFF or
Photoshop, right from the Camera Raw dialog here.
| | 03:19 | I'm going to go ahead and choose JPEG.
| | 03:21 | Digital Negative is kind of an archival format.
| | 03:23 | It will convert any raw file into this
industry standard, now Digital Negative format.
| | 03:29 | But I won't get into the details there, but
it's a way to guarantee that a raw file will
| | 03:33 | always be readable by the Camera RAW plug-in,
regardless of what raw file format it was originally.
| | 03:39 | For now I'm just going to
go ahead and choose JPEG.
| | 03:41 | You can of course choose your Quality
setting. I'm going to choose Maximum.
| | 03:44 | I'm going to go ahead and hit Save. And
that's it. It's actually doing it in the background.
| | 03:48 | You'll see real briefly there was a
one remaining little notice there.
| | 03:51 | If you had several images selected, it
could save all of them in the background.
| | 03:55 | You can keep working while
it's actually cranking those out.
| | 03:59 | I can go ahead and hit Cancel now, and if
I switch over to my Desktop and hide everything,
| | 04:05 | you'll see there's the Tour.jpg that we just saved out from
Camera Raw, without actually having to take a side trip to Photoshop.
| | 04:13 | Not necessary if you don't
intend to do any further editing.
| | 04:16 | You can just stop right there and
save it right out of Camera Raw directly.
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|
|
4. Fixing Common Problems Quickly with Camera RawEliminating red-eye with the Red Eye Removal tool| 00:00 | We have an image here with red eye.
| | 00:01 | Let's go ahead and use Camera Raw to fix that.
| | 00:04 | Command+R, Ctrl+R to open
up this JPEG in Camera Raw.
| | 00:08 | There you can see the red eye issue pretty easy.
| | 00:10 | Let's go ahead and switch to the Red Eye tool.
| | 00:12 | There's an actual tool icon up at the top.
| | 00:14 | You can hover over that and you can see
a little Red Eye as you move over it or
| | 00:17 | you can simply press the letter E,
to switch to the Red Eye tool.
| | 00:21 | You simply click-and-drag an area around the
pupil, you don't have to be real exact here,
| | 00:25 | just grab enough of the area
for Camera Raw to find the pupil.
| | 00:29 | Then go ahead and Auto Detect
and correct the red eye there.
| | 00:33 | Now what I do like about the version of the Red Eye
tool in Camera Raw is that you can edit it after the fact.
| | 00:38 | So if the pupil isn't as dark as you
want it to be, you can use the Darken
| | 00:42 | slider or even increase
the Pupil Size afterwards.
| | 00:45 | So I can just grab that slider and go ahead
and increase the darkness just a little bit.
| | 00:48 | I can go back and click on the previous left
eye adjustment there and make that match as well.
| | 00:54 | So I'll make that up to 60.
| | 00:56 | That's it, you're done. I will go
ahead and click the Done button.
| | 00:59 | That will update the thumbnail inside Bridge, to
let you know that this has actually been modified.
| | 01:04 | Again you can see the little badges
up here, when you've touched a JPEG, or
| | 01:08 | any file using Camera Raw, it gives you a little
icon there to let you know that you've done an edit.
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| Improving composition with the non-destructive Crop tool| 00:00 | Cropping is one of those things that I just really
love about Camera Raw because it's nondestructive.
| | 00:06 | You can go ahead and choose your crop
and change it at anytime after the fact.
| | 00:10 | Whereas in Photoshop if you do a crop you
typically are deleting those pixels from the image,
| | 00:14 | and then when you do a
save they're gone forever.
| | 00:17 | With Camera Raw that just doesn't happen.
| | 00:18 | So let's learn how to use the
Crop tool inside Camera Raw.
| | 00:21 | I'm going to go ahead and
select this image here, Crop.jpg.
| | 00:23 | We'll click the Open in Camera Raw button at the top
of the Bridge Window to go ahead and pop that open.
| | 00:29 | You can just press the letter
C to switch to the Crop tool.
| | 00:32 | We will go ahead and do that.
| | 00:33 | You can also click on the
tool of course, on a tool icon.
| | 00:36 | There is a little tiny down arrow that means
there is a drop-down menu on the tool itself,
| | 00:39 | and if you click-and-hold, you'll get
some options for that particular tool.
| | 00:44 | Now the Default is Normal, I believe.
You could go ahead and click Normal.
| | 00:47 | This lets you create any
proportional rectangle basically.
| | 00:51 | It's kind of a free-form Crop tool.
| | 00:54 | If you want to constrain this to a
particular Aspect Ratio or proportion,
| | 00:57 | then you can go ahead and choose one of
those options from the drop-down menu as well.
| | 01:00 | So go ahead and click on that.
| | 01:02 | If you want a square, choose 1 to 1.
| | 01:04 | To reposition the crop, go ahead and just
click-and-drag and position it where you want it.
| | 01:08 | Once you've assigned a specific ratio, when you
go ahead and click-and-drag on a corner handle,
| | 01:12 | it will always maintain that ratio, no
matter how big you make the rectangle.
| | 01:16 | So that's kind of nice.
| | 01:17 | I'm going to go ahead and make this a 2 to 3
ratio, because I want a 4x6 print, let's say.
| | 01:22 | Go ahead and choose that, and that will change the
existing crop boundary if you already have one drawn,
| | 01:27 | and of course if you hadn't had
one drawn and you chose that ratio,
| | 01:30 | then it would constrain the crop
boundary as you drag it out for the first time.
| | 01:33 | Now you can see here I have got a vertical crop.
| | 01:36 | So if I go ahead and click on a corner handle
and just start dragging far enough to the right,
| | 01:41 | it'll snap to a horizontal crop.
So go ahead and drag that out.
| | 01:45 | So let's go ahead and reposition this.
| | 01:47 | One common tip there that you may have
heard of before is this rule of thirds.
| | 01:51 | When you're thinking about improving your
composition, one theory here is to imagine
| | 01:55 | your rectangle broken up into
thirds both horizontal and vertically.
| | 01:59 | So you have kind of a grid here and
then you line up the interesting subject
| | 02:04 | matter with one of those lines as
close to the rule of third as possible.
| | 02:09 | Again it's not an exact science.
| | 02:10 | It's not always going to improve your
composition, but oftentimes it actually does.
| | 02:14 | So if I'd imagine there's a
vertical line here, there's one third, and
| | 02:17 | then there's a second third, you can see
where I am tying to line up that composition.
| | 02:20 | I actually think it makes a stronger image
for this particular photo here. Alright.
| | 02:25 | Once I get the crop the way I want it,
I simply press the Return key, and
| | 02:29 | it activates that crop and
there you see your resulting image.
| | 02:32 | Let's go ahead and click the Done
button, and that takes us back to Bridge,
| | 02:36 | and you can see that that crop has
now been updated in the thumbnail.
| | 02:39 | You will also notice that when you've
done a crop with Camera Raw, it actually
| | 02:44 | puts this little Crop icon on the
thumbnail to let you know that that's not the
| | 02:48 | original proportion or frame
of the image as it was shot.
| | 02:52 | Now, again the best part is that
these crops are nondestructive.
| | 02:55 | You can always get back to
the previous crop and edit it.
| | 02:59 | So you can see here on this Red Eye
image, it's got a Crop icon as well,
| | 03:03 | Command+R, Ctrl+R to open
up this JPEG in Camera Raw.
| | 03:06 | All I need to do to get back to the
original image, and adjust the crop is press
| | 03:11 | the letter C again to get to the Crop tool,
and you can see Camera Raw zooms back out,
| | 03:15 | shows you the full image, and then shows you the
rectangle that you had used previously to crop that.
| | 03:20 | So I can reposition it, I can go ahead
and change the size or whatever, and then
| | 03:25 | when I hit the Done button it
will update that thumbnail again.
| | 03:27 | So again, nondestructive cropping; really,
really awesome part about Camera Raw.
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| Correcting a rotated horizon line with the Straighten tool| 00:00 | Correcting a crooked horizon line is
another common problem and Camera Raw makes
| | 00:04 | it easy to make that kind of fix as well.
| | 00:07 | So here I have my image. You can see there
is a horizon line here that's not horizontal.
| | 00:11 | It's actually crooked.
| | 00:12 | So let's open up this image in Camera Raw.
| | 00:13 | We'll click the Open in
Camera Raw button to do so.
| | 00:16 | Once this is in Raw, we actually have
two different ways to correct this problem.
| | 00:21 | One method is more of a free-form
method and the other method is more precise.
| | 00:25 | So I'm going to teach you the free-form
method first and that involves using the Crop tool.
| | 00:29 | I'm going to press the letter C to
switch to the Crop tool, and I'm going to
| | 00:33 | go ahead and drag out a Crop Box here, a
vertical one by dragging down in a downward direction.
| | 00:38 | Now in this particular crop, I actually want to include
the sand and the horizon line as part of the composition.
| | 00:44 | So that actually makes it
kind of easy to do this.
| | 00:47 | If I put my mouse outside of the Crop
bounding box, you'll see that cursor
| | 00:51 | changes to a Rotate icon, and I can just
simply click-and-drag and rotate the box
| | 00:56 | to kind of match visually the horizon line there, just
kind of make these two edges perpendicular with each other.
| | 01:03 | Then when I press Return or Enter, you'll see it does
the crop and rotate in one fluid step there. So not bad.
| | 01:11 | It's not necessarily guaranteed
to be straight, but pretty close.
| | 01:15 | Now I want to undo this to get back to the
original image so I can show you the more precise method.
| | 01:20 | Now Photoshop and Camera Raw are very
similar in their undo mentality here.
| | 01:24 | If I do Command+Z or Ctrl+Z it
only undoes the last thing you did.
| | 01:28 | So it's a toggle, Command+Z, Command+Z, Ctrl+Z, Ctrl+Z, to
go back and forth between the previous and last step there.
| | 01:36 | So how do I get back to
multiple undos basically?
| | 01:39 | Camera Raw does support multiple undo.
| | 01:41 | It's Command+Option+Z on the Mac, or
Ctrl+Alt+Z on Windows, and this is one of
| | 01:46 | those things where you actually have to memorize the
keyboard shortcuts because there's no menu commands for Camera Raw.
| | 01:51 | It's all self-enclosed in this dialog box here.
So Command+Option+Z undoes more than one time.
| | 01:58 | So instead of using the Crop tool,
let's use the Straighten tool.
| | 02:01 | There's a dedicated tool for this task.
It's to the right of the Crop tool.
| | 02:05 | It's called the Straighten tool.
| | 02:06 | I can press the letter A to
switch to that tool as well.
| | 02:09 | Here instead of dragging out a Crop
Bounding box first, what you're going to do
| | 02:12 | is you're going to drag a line across something in
the image that you know you want to be straightened.
| | 02:18 | Now the tool cursor isn't all that helpful because
you're not really sure what to line that up with.
| | 02:22 | So here's a little bonus tip for you, if
you hit the Caps Lock key on your keyboard.
| | 02:27 | It's a little dedicated button on your
keyboard called the Caps Lock button.
| | 02:30 | That changes your tool icon into a
precise cursor; this little crosshair.
| | 02:34 | That just makes it easy to line up
where you want to start dragging.
| | 02:37 | So I'm going to click and drag through
the horizon line to the other side, and
| | 02:42 | then when I let go, Camera Raw creates a
bounding box with the correct rotation already.
| | 02:49 | What it does by default is it's making
the bounding box as large as possible,
| | 02:53 | to contain as much of the image as
possible when you do the Crop and Rotate.
| | 02:58 | So I'll go ahead and hit the
Return key, and there you have it.
| | 03:01 | You get a straightened and
cropped image all in one step.
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| Fixing color casts with the White Balance tool| 00:00 | Getting rid of a color cast on an image is another
common problem and Camera Raw makes that easy as well.
| | 00:06 | You can see this image here has
kind of an orange or yellow cast.
| | 00:08 | You might have a blue cast or a red
cast or a green cast, depending on the
| | 00:11 | lighting conditions and whether or not you were paying
attention to the White Balance setting on your camera.
| | 00:15 | Let's go ahead and fix this problem.
It's very easy to do inside Camera Raw.
| | 00:19 | Let's click the Open in Camera Raw
button and this opens up the Camera Raw Editor
| | 00:23 | and there's a couple of
different ways to go about this.
| | 00:25 | I typically lean towards one way but
in the interest of teaching you the
| | 00:28 | complete picture here so to speak,
let me show you all three of them.
| | 00:32 | So if I look over in the Basic tab, you
can see that the very first thing that
| | 00:35 | you should do other than doing a
crop is setting the White Balance.
| | 00:38 | You can see it came in As Shot.
| | 00:40 | Now I can choose Auto and Camera Raw
will do its best to actually correct that
| | 00:45 | color cast for me and you can see it
actually does a fantastic job here.
| | 00:48 | So oftentimes that's all you
have to do and you're done.
| | 00:51 | Now all it's really doing is looking at the file and
figuring out what the Temperature and Tint slider should be.
| | 00:57 | Now I could go ahead and manually adjust these.
| | 00:59 | So if I'm not quite happy with the
Auto adjustment and I want to make it
| | 01:03 | a little bit cooler or warmer, I can just
go ahead and click on the Temperature slider
| | 01:06 | and drag it left or right to customize
this White Balance setting. It's up to you.
| | 01:12 | Now the other method, the one I use
even more than Auto sometimes is using the
| | 01:17 | White Balance tool and clicking on
something in the image that I know I want to be
| | 01:20 | neutral gray or not have a color cast on it.
| | 01:23 | So to get back to where I was, I'm going to
go back to White Balance and choose As Shot.
| | 01:27 | That get us back to where we were
when we first opened up this image.
| | 01:30 | I'm going to press the I key for the Eyedropper.
| | 01:32 | It's also officially called the
White Balance tool but since it has an
| | 01:36 | Eyedropper icon, the
shortcut there is the letter I.
| | 01:39 | Now I can use the Eyedropper and click where
I want to in the image to set the white balance.
| | 01:44 | So let's say that she's got this gray
shirt, I can click on the gray in her shirt
| | 01:48 | to set the white balance there, or maybe
the gray of the sidewalk to neutralize that,
| | 01:52 | or anything else in the
image that I want to be neutral.
| | 01:55 | So you've got a lot of flexibility here. Either way,
try Auto if you've got the result you like, you're done.
| | 02:00 | If you want to control it a little bit more, kind of
put it in the manual stick shift mode, if you will.
| | 02:05 | Use the White Balance tool
itself by pressing the letter I and
| | 02:08 | and clicking specifically where you want to
set the White Balance in the image itself.
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| Fixing blown-out highlights with Recovery| 00:00 | I find just about every image I work on in Camera
Raw could stand to have a little bit more detail in
| | 00:05 | in the highlights, no matter how good a
shot was taken in the lighting and all that.
| | 00:09 | So here's a good example of this.
There's a Recovery image here.
| | 00:12 | It's a Camera Raw file. So I'm going
to go ahead and just double-click on it.
| | 00:15 | Now the recovery feature inside
Camera Raw works great for JPEGs as well.
| | 00:20 | You are going to get better results
if you have a raw file to work from,
| | 00:23 | just because you have a
lot more data to work with.
| | 00:26 | You actually have more details in the highlights that
you have available if you're still working with a raw file.
| | 00:31 | Here, I see that I've got some
slightly blown out highlights.
| | 00:34 | If I look at her foot on the left here,
you can see it's a little bit hot and
| | 00:37 | then just the sand itself, there's actually a
lot more detail there that I think we can drag out.
| | 00:42 | Camera Raw makes this simple. It's just one
single slider here called the Recovery slider.
| | 00:46 | I'm going to go ahead and
click-and-drag that to the right.
| | 00:49 | In this particular image, I am going to
drag it all the way to right, so you can
| | 00:51 | see the extreme detail
that it can bring out here.
| | 00:54 | I'm going to turn the Preview on and
off. Here's before, and there's after.
| | 00:58 | Again as a reminder you can just press
the letter P to go back-and-forth for
| | 01:02 | that toggle checkbox instead of having to actually
take your mouse all the way to the top of the screen.
| | 01:06 | So just P as after, P again as before
and you can see it did a fairly good job of
| | 01:11 | bringing out some additional detail and just really
taking down how hot those highlights were to begin with.
| | 01:18 | So I'm going to go ahead and hit Cancel and go
back to this other image here called Recovery_Extreme.
| | 01:24 | This is just an example.
This isn't normal everyday life.
| | 01:27 | This is probably not an image that I would
have kept, but just to show you the power
| | 01:29 | and how cool the Recovery slider actually is, I'm
going to go ahead and open up this in Camera Raw.
| | 01:35 | Normally this would be a shot that you
would just throw away, especially if you
| | 01:39 | had other images in the same series
here, where there was a better shot.
| | 01:43 | But let's just say that for whatever
reason this is the only shot you have and
| | 01:46 | you're hoping to rescue it
and make it look a lot better.
| | 01:49 | Let's just see if the Recovery
slider can come to the rescue.
| | 01:52 | I'm going to go ahead and drag that
Recovery slider to the right, and I'm going
| | 01:55 | to go again all the way over to the
right just to make it really extreme.
| | 02:00 | And I'll turn the Preview on and
off again, so P before, P again after.
| | 02:04 | You can see it makes a huge difference.
| | 02:07 | Now in this particular one the
exposure isn't correct either.
| | 02:09 | So I'm going to bring the Exposure down,
and you'll see that the combination of
| | 02:13 | Exposure and Recovery makes this from an
image that you would have thought to throw away,
| | 02:18 | to an image that might actually be
acceptable depending on what your end goal is there.
| | 02:22 | So there you have it, the Recovery slider is
really powerful. Combine that with the Exposure slider,
| | 02:27 | and you can really rescue a lot of image detail that you didn't
even know was there, especially true if you're using a raw file.
| | Collapse this transcript |
| Revealing hidden shadow detail with Fill Light| 00:00 | Sometimes you'll end up with images
that have not enough detail in the shadows,
| | 00:04 | and here's a good example of that.
| | 00:05 | Let's open up this raw file inside Camera
Raw. Again since it is a raw file we can
| | 00:09 | can just double-click and that will
invoke the Camera Raw dialog here.
| | 00:13 | I to open up those shadows
to reveal the hidden detail.
| | 00:16 | You can see the grass is really dark here.
I don't see any detail in their jeans at all.
| | 00:20 | I'm going to go ahead and
grab the Fill Light slider.
| | 00:23 | So Recovery is for getting highlight detail back. Fill
Light is for opening up the shadows and revealing shadow detail.
| | 00:29 | Now again this is a sample image where I'm
really going to use the extreme range of Fill Light.
| | 00:35 | On a typical image you wouldn't
be dragging Fill Light over to 100%
| | 00:39 | but again I just want to show you
kind of the power of Fill Light.
| | 00:42 | Now depending on how bad the shadow
detail is or how dark your image is,
| | 00:45 | you might also combine Fill Light with
the Exposure slider, just like you might
| | 00:49 | combine Exposure with Recovery,
depending on what the problem with image is.
| | 00:53 | So since this image is too dark, I'm
going to take the Exposure slider and drag
| | 00:56 | it to the right to make the
overall image pop a little bit.
| | 00:59 | And you can see now I've
recovered fantastic detail in the shadows.
| | 01:03 | Now one thing to mention, I'm not going to
address it in this particular video here,
| | 01:08 | but one thing that can actually
happen when you open up the shadows either
| | 01:12 | through a combination of the Fill Light
slider or with the Exposure slider as well,
| | 01:16 | is that you can reveal the Color Noise
that was present inside the file as well,
| | 01:20 | because the image was originally so dark in these areas
though you probably didn't notice the color, noise pixels.
| | 01:25 | There is a way to actually reduce
or even eliminate the color noise.
| | 01:29 | We'll switch to that in a different video.
| | 01:31 | There's a Detail tab here where you
can actually reduce the color noise.
| | 01:34 | But for now just know that it's something to look
out for. If you take the Fill Light slider too far,
| | 01:41 | you might end up revealing too much noise, even too much
for Camera Raw to deal with depending on the extremes there.
| | 01:47 |
| | Collapse this transcript |
| Reducing distracting color noise with Noise Reduction| 00:00 | I think the question I get asked the most
often from people working with digital images
| | 00:03 | is how to reduce noise in their images?
| | 00:06 | They find the noise distracting and they
want to eliminate it or at least reduce it.
| | 00:10 | So let's open up an image that's kind of
representative of some of these issues.
| | 00:12 | I've got this JPEG here.
| | 00:14 | I'm going to go ahead and open that up in
Camera Raw using the Open in Camera Raw button.
| | 00:17 | We'll go ahead and start by opening up the shadow detail
of this image to kind of reveal more detail in the shadows.
| | 00:23 | But also show that when you use the Fill
Light slider, one of the common side effects
| | 00:27 | there is that Camera Raw is doing such
a good job of revealing shadow detail,
| | 00:31 | but it's also revealing the color
noise that's present in the file
| | 00:36 | that you may not have noticed since the
image in certain areas was so black or so dark.
| | 00:39 | So you can see here it's plain easy to
see the color noise issue, and that's
| | 00:44 | these random red, green, and blue
colorization of the pixels if you will,
| | 00:49 | and most of the time that's
just ugly and distracting.
| | 00:51 | It's very typical to see in low light
situations such as this, you typically see it
| | 00:55 | on camera cell phones or cheap consumer cameras
that you might carry in your pocket or your purse.
| | 01:00 | More expensive cameras do a much better job.
| | 01:02 | They have better sensors in low-light situations, but you can
even get digital noise on the most expensive camera as well.
| | 01:09 | Now, the other type of noise
is the graininess that you see.
| | 01:12 | That is a separate issue.
That's called luminance noise.
| | 01:15 | We'll talk about how to reduce or eliminate both
types of noise here using Camera Raw in just a moment.
| | 01:21 | First, let's go ahead and zoom-in on a
particular area, and just we'll zoom up
| | 01:24 | right here towards her nose maybe to 50%.
| | 01:26 | So we can see a better
representation of the color noise.
| | 01:30 | To get rid of both types of noise,
you're going to switch out of the Basic tab,
| | 01:33 | which of course is the default tab of controls.
| | 01:36 | So I'll switch over to the third tab
from the left called the Detail tab.
| | 01:39 | It's this one here with the two triangles.
| | 01:41 | Let's go ahead and click on that tab.
| | 01:42 | You'll see we have controls for
Sharpening and Noise Reduction.
| | 01:46 | Two different types of Noise Reduction, you can see
there is a Luminance slider and there is a Color slider.
| | 01:50 | The first thing I want to point out though is
this little message down here at the bottom.
| | 01:53 | It says for a more accurate preview, zoom the preview size
to 100% or larger when adjusting the controls in this panel.
| | 02:00 | What this really should say is if you're not at 100% or higher,
you're not going to really see any effect of these sliders at all.
| | 02:07 | So I'll show you what I mean.
| | 02:08 | I'm going to go ahead and take this
Color slider and drag it to the right,
| | 02:11 | all the way to the right and it doesn't
appear to be doing anything, which kind of
| | 02:15 | at first glance would suck, but
it actually is doing something.
| | 02:18 | It's just not showing you the
preview until you get to that 100% view.
| | 02:22 | So let's go ahead and just click on her nose, click
on her nose one more time till we get to the 100% view.
| | 02:26 | All of a sudden that
color noise has disappeared.
| | 02:30 | Now the graininess is still there.
Remember that's the Luminance Noise.
| | 02:33 | But those random red, green, and blue
pixels have seemingly changed their color
| | 02:37 | back to match the actual color of the image.
| | 02:39 | Now, to show you the before and after, I'm going to
press the letter P to turn off the Preview, there is before.
| | 02:44 | Turn the Preview back on by
pressing P again, and there is after.
| | 02:48 | You should see and notice the
difference there coming across in the video.
| | 02:51 | You can see in the before especially in this area
here that I'm kind of hovering over with the cursor here,
| | 02:56 | see this really big pink splotch,
I'll turn the Preview back on.
| | 02:59 | You'll see that's been eliminated.
| | 03:01 | Now one thing to point out is, sometimes you'll
get some blurring effect, some softening of detail,
| | 03:07 | where the color noise is being reduced.
So take a look at her nostril here.
| | 03:10 | You can see it's not quite
as crisp as it used to be.
| | 03:14 | There has been a little bit of
blurring or softening along those edges.
| | 03:17 | I'll turn the Preview back off.
| | 03:18 | You can see it was a little
crisper there and more well refined.
| | 03:22 | Let's turn the Preview back on.
| | 03:26 | There is a slider here in the Noise
Reduction panel here called Color Detail.
| | 03:30 | That's where you can try to eliminate or
reduce the softening and blurring of the details,
| | 03:35 | where color noise is being reduced.
| | 03:37 | So you can see that I've taken the
Color Detail slider all the way over to 100,
| | 03:41 | and that nostril looks
much more well-defined now.
| | 03:44 | If I double-click on any slider inside Camera
Raw, that takes it back to its default value.
| | 03:50 | You can see now that it's a little bit softer and
blurry again. The default value being 50 for Color Detail.
| | 03:55 | Let's take that all the way back up to 100.
| | 03:57 | You can see the color detail is being a little
bit better preserved with that additional slider.
| | 04:02 | In terms of the Luminance noise, the graininess here,
you can also work to reduce or eliminate that as well.
| | 04:09 | Again, you should be aware though that you are
going to be softening the image in the process.
| | 04:13 | You're kind of blurring out this grain.
| | 04:15 | So if you take it too far, you may not be happy with
the results, but Camera Raw does a pretty good job here.
| | 04:20 | Let's take the Luminance slider and
start dragging that to the right and you'll
| | 04:24 | see that the overall grain
is kind of just being blurred.
| | 04:28 | Again, if you take it too far, you might make the image way
too blurry and just only be left with extreme edge detail.
| | 04:34 | So let's back off of that a little bit, and take it
more down to say 35 is good for this particular image.
| | 04:39 | It just depends on how aggressive you
want to be about eliminating that graininess.
| | 04:43 | People expect in low light situations to
have a sort of grittiness or graininess to
| | 04:46 | the overall aesthetic of the image, so don't be
afraid to leave some of it in there. There you have it.
| | 04:52 | Just as a reminder, I'm just taking this down just a
little bit more to maybe 25 to leave some of it still there.
| | 04:57 | If I go back to view the whole image
again, so if I go back to the View pop-up
| | 05:02 | menu here and choose Fit in View, it's going to look
again like that color noise has not been addressed.
| | 05:08 | If I turn the Preview on and off,
you're not really seeing a change right now.
| | 05:11 | Again, to see the effect of the Noise Reduction
controls, you do have to be in at at least 100% or larger.
| | 05:17 | So I'm just clicking-and-
dragging to get pass the 100% view.
| | 05:21 | Now when I press the P key, you
can see the before and the after.
| | 05:24 | Very powerful technique and controls for reducing and
eliminating both Color and Luminance Noise, all built into Camera Raw.
| | 05:31 | Just be sure to remember that you're at that 100%
view or larger to actually see the results of the change.
| | Collapse this transcript |
| Removing color fringes with Chromatic Aberration| 00:00 | Another common issue or problem that can
reveal itself or appear in digital images
| | 00:04 | is this notion of fringing or Color Fringing.
| | 00:07 | Some people call it by the
geeky term Chromatic Aberrations.
| | 00:11 | Basically it's where you see these red or yellow
or blue or cyan fringing along edges of detail.
| | 00:18 | Let's go ahead and take a look at this image
and give you an idea of what I'm talking about.
| | 00:21 | I'm going to click the Open in Raw button.
| | 00:24 | Let's zoom in on a particular portion of
the image here that really reveals this issue.
| | 00:28 | You can see, ooo! There 's this greenish or
cyanish halo or edge along the highlights.
| | 00:34 | This can happen especially on this particular situation
where the image is not quite dead on and sharp. They were moving.
| | 00:39 | So there's a slight motion blur along the
edges there, especially in the highlight edges.
| | 00:44 | That's when things like this can happen,
where you get this fringing happening.
| | 00:47 | So I'll zoom up one more time, a couple of times
so you can actually see it in real close detail.
| | 00:51 | It's not very attractive whatsoever.
| | 00:54 | It turns out that Camera Raw makes
easy work of fixing issues like this.
| | 00:57 | What we're going to do is we're going to switch
from the Basic tab to the Lens Correction tab.
| | 01:01 | So let's click on the Lens Correction tab.
| | 01:05 | You'll see we've got a bunch of sliders here that will take
care of the Chromatic Aberration for us, the fringing for us.
| | 01:10 | You've got a Red/Cyan Fringe
and a Blue/Yellow Fringe slider.
| | 01:14 | You just need to choose which one is appropriate,
based on the color of the fringing that you're seeing.
| | 01:18 | This one's closer to the cyan color.
So I am going to drag it toward the red.
| | 01:22 | So if I go left, it's pushing it towards red.
| | 01:24 | If I drag to the right, it's
pushing it more towards cyan.
| | 01:27 | So since this is already cyan,
I want to drag it the opposite direction.
| | 01:30 | I'm going to take this to about -40 let's
say to get rid of that yucky cyan halo there.
| | 01:37 | Again, let's see the before and after.
We'll press the letter P, there is before.
| | 01:41 | Press P again, there is
after. It does a great job.
| | 01:43 | But you'll see there's still some of this
fringing happening on other edges of the image.
| | 01:49 | It's not just on the outline
of her arm and shoulder here.
| | 01:52 | I can actually see it on the edges
of the stripes of the sweater as well.
| | 01:56 | So what I'm going to do is I'm going to take it up a
notch and use the Defringe option, which is off by default.
| | 02:01 | I'm going to change that and say hey! Do the same sort
of color shifting of the fringe to all edges that you see.
| | 02:08 | You can there is a much better result there.
| | 02:10 | It's actually finding all that
fringing within the image, not just along the
| | 02:14 | main edges of dark against
light. It does a much better job.
| | 02:17 | Here is before, P for before, P
again to turn the preview on and off, and
| | 02:21 | you can see Camera Raw was able to
make quick work of this and actually give
| | 02:25 | you much better looking image. Again,
that's in the Lens Correction tab.
| | 02:28 | It's the geeky term Chromatic Aberration.
| | 02:30 | If you're seeing these little weird halos along
edges, that's where you go to resolve that problem.
| | Collapse this transcript |
| Sharpening the details| 00:00 | Just about every image you are going to work
on can benefit from some level of sharpening
| | 00:04 | to enhance the details and make
your images really pop and stand out.
| | 00:08 | So let's take a look at how Camera
Raw makes sharpening images pretty easy.
| | 00:12 | Let's go ahead and double-click on this
raw file here that we're going to sharpen.
| | 00:16 | The first thing you've got to remember right off the bat,
is to make sure you're viewing your image at the 100% view.
| | 00:21 | Any other view is only kind of an
approximation of what that image would look
| | 00:25 | like when you print it or output
it in some other various format.
| | 00:29 | So getting to the 100% view is what
you want to do before you go sharpen.
| | 00:32 | To do that, a really easy way is just to double-
click on the Zoom tool in the top of the toolbar here.
| | 00:37 | That takes your image to the 100% view.
| | 00:39 | You could also use the view switcher button down here,
but I find the double-click is pretty quick and easy there.
| | 00:43 | So we've got the 100% view.
| | 00:46 | Now we want to go to the Detail tab, which
is where the sharpening controls are located.
| | 00:50 | We'll go ahead and click on that
button here, the third from the left.
| | 00:54 | You'll see here in the Detail panel there are
four different sliders to control sharpening.
| | 00:58 | Now before we get into the details
of sharpening, let's make sure that we
| | 01:02 | kind of understand what's
happening when you're doing sharpening.
| | 01:06 | So what's going on here is you're
increasing the contrast of edges.
| | 01:09 | Now, an edge in Photoshop or Camera Raw's
definition is simply a light pixel next to a dark pixel.
| | 01:16 | It doesn't necessarily, from an
editorial perspective, know what an edge is.
| | 01:19 | It's purely based on lights next to dark.
| | 01:22 | So we'd look at the shirt and see there's a natural edge between
foreground and background, but what we might consider a dust spot,
| | 01:29 | let's say you had a spec of dust in the
lens and that was showing up in the background.
| | 01:32 | We wouldn't necessarily want
that to be sharpened per se.
| | 01:35 | So from an editorial perspective, you have to
make some choices about where the sharpening's
| | 01:39 | going to occur, and that's what these four sliders
over on the right are going to give you some control over.
| | 01:43 | Okay, so the first slider is the Amount slider.
| | 01:47 | This is like just a general volume knob.
| | 01:49 | It determines how much brighter or how much
darker each half of that edge is going to get.
| | 01:54 | So it actually helps to think
about sharpening being split in half;
| | 01:57 | the light half of the edge,
and the dark half of the edge.
| | 02:00 | When you increase that amount, the lighter half is going
to get lighter, the darker half is going to get darker.
| | 02:04 | Kind of make sense now that you
understand what the edge is all about.
| | 02:08 | So notice that the default amount is 25%.
That's because we have a raw file open right now.
| | 02:14 | If I had opened up a JPEG file in Camera
Raw, the default amount would actually be 0.
| | 02:19 | Camera Raw is smart enough to detect if
it's a JPEG or a RAW file, and assumes
| | 02:23 | that a raw file has had no sharpening
applied to it because it's a raw capture.
| | 02:27 | And a JPEG file has already had some sharpening
applied to it in the camera during capture time.
| | 02:33 | So that's why you might see different
values for your start value depending on
| | 02:36 | what file format you actually have
opened up in the Camera Raw Editor.
| | 02:39 | So let's go ahead and crank
up the amount quite a bit.
| | 02:43 | Your range is going to vary depending on
the image type and to your liking as well.
| | 02:47 | There is really no right number here.
| | 02:49 | You will have to fiddle around somewhat
to get it to look exactly the way you want.
| | 02:54 | Here, I've taken it up to 80.
| | 02:56 | You can see the image is overall looking a lot sharper,
for better or for worse depending on your perspective here.
| | 03:01 | One way to kind of again see the before and
after, we'll just press the P key on our keyboard.
| | 03:06 | So there it is before
we've increased the sharpening.
| | 03:09 | If I press the P again, it goes
back to showing you the 80% value.
| | 03:13 | Now, when you're playing with that
Amount slider the one thing you want to be
| | 03:15 | looking out for are Halos;
little blips or pockets of white.
| | 03:20 | So take a look at let's say
the side of her cheek here.
| | 03:23 | I'm going to really crank
up the amount significantly.
| | 03:26 | Now, you can see it not just
on the cheek but elsewhere.
| | 03:28 | You are seeing this light half of the edge
getting overemphasized or over-sharpened.
| | 03:33 | The contrast is getting too severe and so
you're ending up with these Halo Effects.
| | 03:36 | I am going to take the Amount back down to
about 80, let's say, where we were before.
| | 03:42 | What the Radius slider lets you do, it lets you
determine how wide the edge is in Camera Raw's mind.
| | 03:49 | How wide is that range of
Halo enhancement going to be?
| | 03:53 | Now, one of these tricks in Photoshop
and Camera Raw that really come in handy
| | 03:57 | is the ability to preview the
slider as kind of an isolation.
| | 04:01 | So I'm going to hold down the
Option key, or the Alt key in Windows,
| | 04:04 | and as I click-and-drag that slider, this actually
helps you visualize what the radius is all about.
| | 04:10 | I take it all the way
down to the smallest setting.
| | 04:13 | You can see that the width of the sharpening effect,
that white and black halo edge there is at its minimum.
| | 04:18 | When I really crank it up, you
can see the Radius, what it's doing.
| | 04:22 | It's actually increasing the range
of what an edge is considered to be.
| | 04:26 | So obviously a high Radius is going to give you a lot of
posterization and a lot of intense sharpening around those edges.
| | 04:33 | A lower Radius is just going
to be an overall softer effect.
| | 04:36 | What kind of radius you need will
depend on the type of image you're using.
| | 04:41 | So if you're using an image with a lot of
high level detail, like grass is a good example,
| | 04:46 | or architecture with a lot of detail in the
building, you might actually end up using a lower radius,
| | 04:52 | because there's such a lot of
detail that's not a lot of pixels wide.
| | 04:55 | A softer image, like a portrait, can
stand to use a higher radius, because there's
| | 05:00 | not as many edges or the edges are a
lot wider in terms of overall width.
| | 05:05 | So again hold down the Option key or the
Alt key, that lets you drag and preview
| | 05:09 | the effect of that slider in
isolation of the grayscale image.
| | 05:13 | You can also do that for the Amount and
actually for all four of these sliders.
| | 05:16 | So if I take the Amount slider, it's
sometimes easier to see the overall
| | 05:20 | sharpening when you just view the image
as a grayscale image instead of the color.
| | 05:23 | So again I'm holding down
Option or Alt as I drag this.
| | 05:26 | It's just a nice little helpful
technique there to kind of really get a good
| | 05:29 | understanding of what's happening as
you're using these Sharpening sliders.
| | 05:33 | So Amount is overall sharpening, Radius
is how wide that range of haloing will be.
| | 05:38 | Then the other two sliders are for
dampening or controlling or lessening the
| | 05:43 | amount of overall sharpening being applied either to
the entire image or specific areas within the image.
| | 05:49 | So that brings us to the Detail slider.
| | 05:51 | So while Radius determines the width
of the halos, the Detail slider allows
| | 05:55 | you to dampen or lower the
intensity of those halos.
| | 05:57 | So the lower the value, the softer the halos are
going to be and the less detail enhancement you'll see.
| | 06:04 | So we've got a starting point of 25 here.
| | 06:05 | I'm going to crank this up again all the way over to the right,
just to overemphasize and you can see you'd never used this.
| | 06:11 | But what you're revealing here is that a lot
more details are being considered to be edges
| | 06:16 | and therefore they're getting
sharpened by the Amount and Radius adjustments.
| | 06:20 | Again, it helps to hold down that Option or
Alt key, and drag that slider left or right
| | 06:24 | to actually see what is going
to be considered detail or not.
| | 06:28 | So if I really lower that Detail
slider, you can see the skin texture
| | 06:33 | is not being included and all the little
pores are not getting that enhancement which
| | 06:38 | in some cases is exactly what you want.
| | 06:40 | You don't want to overemphasize areas
that you don't want your viewer to notice.
| | 06:43 | If I drag that slider to the right,
you can see more details are being
| | 06:47 | considered edges, and you can start
seeing the hair get a lot of contrast there.
| | 06:51 | So that's going to get some sharpening.
| | 06:53 | So again there's no magic number, there's no
right setting here. You just had to do it for taste.
| | 06:57 | I'm going to take it back
to about a detail of 20.
| | 06:59 | That seems to be a nice balance
between hair detail and facial detail.
| | 07:04 | Now the Mask slider, this is really powerful.
| | 07:06 | It allows you to apply an edge
mask to the sharpening effect.
| | 07:10 | Basically actually deciding where the overall
sharpening is going to be allowed to appear.
| | 07:14 | It's kind of like when you're using layer
masks in Photoshop if you've done that before.
| | 07:18 | Let's go ahead and hold down the
Option key and drag the Mask slider.
| | 07:22 | It starts out with just completely
white, so nothing's being masked.
| | 07:25 | Like I said in talking about layer masks
in Photoshop, white reveals and black hides.
| | 07:30 | So if everything is white, every available
pixel is a candidate to get sharpening here.
| | 07:36 | If I start dragging this to the right, you'll
start seeing areas of black are starting to appear.
| | 07:40 | So Camera Raw is building a mask
for you, anywhere you see black,
| | 07:45 | and if I keep going to the
right, more black will appear,
| | 07:48 | anywhere it's black or really dark
gray, the sharpening will either not be
| | 07:52 | allowed at all or only be allowed a
little bit depending on how gray it is.
| | 07:56 | If I take it all the way to the right,
you can see I can really limit this,
| | 07:59 | it's like the Find Edges command or the Find
Edges Filter, built-in here as a slider and
| | 08:04 | being applied as a mask on
the overall sharpening effect.
| | 08:08 | So where you put this again it's up to you,
where do you want to emphasize the detail.
| | 08:12 | I am going to take it to about 65 here.
| | 08:14 | You can see I'm getting some nice
sharpening on the eyes and the hair, but
| | 08:18 | I'm not over-sharpening the skin
texture and making the pores pop out here.
| | 08:23 | Here's before, we'll click in the
Preview checkbox and there's after.
| | 08:27 | You can see I've really limited the
sharpening exactly where I want it.
| | 08:30 | So the trick here is to learn the
relationship of each of these four sliders
| | 08:34 | so that you can make good decisions
based on the image type that you have.
| | 08:37 | As a review, Amount is the overall, Amount or Sharpening,
how much lighter and darker the edges are going to get,
| | 08:42 | the Radius is how wide of a range should that
edge be considered, how wide will those halos be?
| | 08:47 | The Detail lets you determine how much
detail will be considered to be sharpened or not,
| | 08:52 | and then the masking lets you basically
hide where that sharpening comes into play.
| | Collapse this transcript |
| End to end: Taking a so-so photo and making it great| 00:00 | If you've been following along in this
chapter there's been several videos that
| | 00:04 | kind of talk about little
pieces of Camera Raw and isolation.
| | 00:07 | Well, it turns out that you very rarely actually use
just one single slider here and one single slider there.
| | 00:12 | You'll probably end up using
several of them for every single image.
| | 00:15 | So what I'd like to do in this video
is actually give you an example of kind
| | 00:18 | of an end-to-end how to take a decent
looking photograph and use Camera Raw
| | 00:23 | in all its glory to really end up with
something that you're really a lot happier with.
| | 00:27 | So let's go ahead do that.
| | 00:28 | Here's our file straight off the
camera. It's called End to End here.
| | 00:30 | Again this is a pretty decent image to start out with
but there are some issues that I think can be improved.
| | 00:36 | So for instance the highlights are very hot.
| | 00:37 | There's not a lot of detail in the highlights.
| | 00:39 | There's some extra information on
the sides that are kind distracting,
| | 00:43 | like the dirty windows and we can
probably downplay those a little bit.
| | 00:45 | Through the mid-tones it's a bit flat,
and then of course as we zoom in and look
| | 00:49 | at the details later, you'll see that it's
a little soft and can use some sharpening.
| | 00:52 | So let's begin by kind of
doing an end-to-end workflow.
| | 00:54 | So the first thing we would do is
actually make sure we get the crop right.
| | 00:57 | So I'm going to press the letter C
for the Crop tool, and I want 4x6 ratio,
| | 01:02 | so I'm going to choose the
closest thing, which is 2 to 3.
| | 01:04 | Now we'll go ahead and crop in a little
bit tighter on this lovely couple here,
| | 01:10 | and just kind of downplay
the doors on either side there.
| | 01:13 | I'm just going to put the focus a
little bit more on the two of them.
| | 01:16 | Hit Return to activate that crop, and this is kind of
the final composition that we're going to work with.
| | 01:22 | Next, we want to make sure the
White Balance is set to our liking.
| | 01:25 | I'm going to try using the Auto Setting.
| | 01:28 | I'll go to White Balance to Auto and
it's pretty subtle but I'll show you the
| | 01:32 | before and after by pressing the letter P.
There is before, press the letter P again.
| | 01:37 | It's just a little bit more neutral.
| | 01:38 | You can see it might not show up in the video too well,
but the skin tones are a little bit more neutral now.
| | 01:43 | They're not pink or red.
| | 01:44 | Okay so I'm pretty happy
with the White Balance now.
| | 01:46 | I'm still seeing a little bit of
detail in the highlights that is missing.
| | 01:50 | So I'm going to take the Exposure
down just slightly just to make it so
| | 01:53 | it's not so hot, and then I am
going to use that Recovery slider,
| | 01:57 | and on this particular image
we're going to crank it all the way.
| | 02:00 | It's a good idea to actually
preview before and after every adjustment.
| | 02:04 | That's why learning and using
that P shortcut is so handy.
| | 02:07 | So here I just did a recovery change. I'm
going to press the letter P; there is before.
| | 02:11 | I can press P again; there is after.
| | 02:13 | You can see that I'm really
starting to bring back some detail.
| | 02:16 | Take a look at the Mason jar lemonade glasses
here. I'm going to turn the Preview back off.
| | 02:21 | There it is before, turn the Preview back on and
I'm seeing a lot more detail coming in the glass.
| | 02:26 | The arms here are not as hot,
toggle that on and off again.
| | 02:30 | You can see the detail
there is a little bit blown out.
| | 02:32 | By bringing that Recovery slider all the way to the
right, now really brought in some of that detail back.
| | 02:37 | Okay, next. Again the controls are kind of laid out
in the order that you should use them, so Fill Light.
| | 02:42 | Let's drag that up and open
up some of the shadow detail.
| | 02:44 | Again what we're looking for is making sure we're not
introducing or revealing too much color noise in the shadows.
| | 02:50 | When we do that, this image actually looks okay.
| | 02:53 | So we can go onto the next thing and
again if I ever want to kind of see an in
| | 02:56 | between stage preview,
just press the letter P again.
| | 02:58 | This is where we started.
| | 03:00 | This is where we're now ending
up. It's looking pretty good.
| | 03:03 | But it's a little bit too on the flat side
and I think we could improve the Contrast a bit
| | 03:08 | You've actually got two different sliders.
Contrast here is overall, Contrast for the whole image.
| | 03:14 | Clarity is a relatively new
slider that I really, really love.
| | 03:17 | It's used to increase contrast in the mid-tones.
| | 03:20 | So overall Contrast here is pushing the
darks even darker and the lights even lighter.
| | 03:24 | Clarity leaves the absolute dark and absolute lights
alone and just does a mid-tone contrast adjustment.
| | 03:30 | I'm going to go ahead and play with the
Clarity slider and drag that up quite a bit,
| | 03:34 | and I'll toggle the Preview on and off again.
| | 03:36 | I'm going to take it all the way up to 51,
and press the letter P; there is before.
| | 03:41 | Press the P again; there is after.
| | 03:43 | You can really start to see the
difference here in the shadows,
| | 03:45 | the mid-tone shadows here or
this building in the background.
| | 03:48 | Actually, take a look at the Mason jar again.
| | 03:51 | I'm going to turn the Preview back off,
turn the Preview back on and you can see
| | 03:54 | Clarity just actually
adds a little bit of volume.
| | 03:58 | So it's really a way to increase
the overall snap or a pop of an image.
| | 04:03 | It tends to take surfaces that have
a little bit of flatness to them, and
| | 04:07 | make them really pop off the image there.
| | 04:09 | Okay, so that's Clarity and then the last thing
I think I might do is just lower the Brightness
| | 04:12 | just a touch, just to make it so
it's not so hot, maybe down to 40.
| | 04:18 | Then a lot of digital images these days
have this really rich saturated color.
| | 04:22 | So you've got two sliders here to
adjust the intensity and saturation of color,
| | 04:27 | and more often than not now, I actually
don't use the Saturation slider very often,
| | 04:31 | I like to play with Vibrance instead.
| | 04:33 | The reason why is Vibrance actually only
increases the saturation of colors that need it,
| | 04:38 | so colors that are already saturated.
| | 04:39 | Let's take a look at that red umbrella that's standing in
the middle of the image here, and take Vibrance back to 0.
| | 04:45 | As a reminder you can double-click on any
slider to take it back to its default value.
| | 04:49 | If I take the Saturation slider and
drag it all the way to the right, you can
| | 04:53 | see that the skin is really getting toxic
and that umbrella is getting way too red.
| | 04:58 | So it's saturating everything globally.
| | 05:00 | Let's take that back to 0 by
double-clicking on the slider there.
| | 05:03 | But now if I use Vibrance, and I'm
going to take Vibrance up to say 40,
| | 05:07 | you'll see only the colors in the image
that are kind of muted are getting enhanced.
| | 05:12 | That umbrella in the center is not getting overly red
because it's already pretty saturated, so it's kind of cool.
| | 05:17 | Again, just toggle the Preview on
and off just to kind of see where
| | 05:19 | we started from and where
we're at now. P there is before.
| | 05:23 | P there is after, and you can see
it's a much richer photograph already.
| | 05:27 | A couple of different things we can
add to make it even better though.
| | 05:31 | Let's zoom in into 100%. I'll
double-click on the Zoom tool to do so.
| | 05:35 | It takes us to 100% to her face, so we
can actually start seeing whether or not
| | 05:39 | this image could use some
sharpening, and of course it does.
| | 05:41 | So to do that, we're going to
skip on over to the Detail tab.
| | 05:45 | Let's go ahead and click on the Detail tab.
| | 05:48 | Let's quickly add some sharpening to this image.
| | 05:50 | I'm going to take the Amount up to about 80,
and if you happen to know the number you want,
| | 05:53 | sometimes it's just quicker to type
into that field, and type the number.
| | 05:57 | The Radius, we'll leave at 1. The Detail,
I think the skin texture is getting overly
| | 06:00 | sharpened here, so I'm going to
take the Detail down to about 20.
| | 06:03 | I'm going to increase the masking.
| | 06:06 | Now, before I increase the masking take
a look at the background foliage here.
| | 06:10 | You can see there's kind of a grain pattern and
the sharpening is actually enhancing that grain.
| | 06:15 | So I'm going to press the P key to turn
that off. There is before, unsharpened.
| | 06:20 | There's after. You can see I'm getting
nice sharpening in the hair and the face
| | 06:23 | but I'm also enhancing that
grain, and I don't want that.
| | 06:26 | So I'm going to do two things to adjust
that. One I'm going to increase the masking,
| | 06:31 | and if you remember, if you hold down the
Option key or the Alt key and slide that mask over,
| | 06:35 | you can actually get a little preview
of where the sharpening is being blocked.
| | 06:40 | So everywhere it's black,
there's no sharpening happening.
| | 06:42 | So that's looking good.
| | 06:43 | It's protecting her skin and it's protecting
the grain of the foliage in the background,
| | 06:48 | and that's looking a lot
better than where we were.
| | 06:50 | Now if I want to undo the last thing I just
did, so that masking value went from 0 to 60,
| | 06:55 | I have my Undo. So I can do Command+Z
or Ctrl+Z. Preview right now would be
| | 06:59 | turning on and off the
entire effect of sharpening.
| | 07:02 | I just want to preview before and
after of just that masking value.
| | 07:05 | So Command+Z or Ctrl+Z,
there is before I did the mask.
| | 07:10 | Command+Z or Ctrl+Z again,
there's after the mask.
| | 07:13 | So it's a way to actually just preview the last thing
you did, that last slider adjustment which kind of nice.
| | 07:18 | Then lastly, I'm going to go ahead and
increase the Luminance Reduction as well,
| | 07:22 | just to takeaway a little bit of the grain off
the skin and from that foliage in the background.
| | 07:27 | Just a modest adjustment, I'm going to
make it match the color noise reduction.
| | 07:30 | So I'll take this up to 25, looking good, and
let's turn on the Preview, before and after again.
| | 07:36 | There's before, just by pressing the letter P.
| | 07:38 | There's after. You can see you're getting a lot
of nice sharp detail along the edges that matter,
| | 07:43 | and not over-enhancing areas that don't.
Last, let's take this back to Fit to Window.
| | 07:48 | Again, the easy way to do that is
to double-click on the Hand tool.
| | 07:51 | I'm going to zoom back out to see the
whole image again, and then I'm going to add
| | 07:54 | one more effect just to draw a little bit
more focus just on the center of the two of them,
| | 07:59 | and just kind of block out
the corners a little bit.
| | 08:02 | To do that, we're going
to use the Effects panel.
| | 08:04 | We're going to go ahead and
click on the little Effects icon.
| | 08:06 | We're going to come down to here
where it says Post Crop Vignetting because
| | 08:10 | I've done a crop that's
why I'm going to the Effects.
| | 08:12 | There is a separate vignette control
elsewhere on one of these panels but
| | 08:16 | because we've done a crop, we're
going to use the Post Crop Vignetting.
| | 08:19 | I'm going to take the Amount
towards the left to darken the corners.
| | 08:23 | If I take it to the right,
it'll lighten the corners of course.
| | 08:25 | So I'm going to take the Amount down to say -60 or so,
really just kind of framing this image in a little bit.
| | 08:32 | It's a little bit too dark. It's
creeping in too much towards the center.
| | 08:35 | So I'm going to take that Midpoint slider.
| | 08:37 | I'm going to drag it to the right,
just to open it up from the middle and
| | 08:41 | just really kind of focus on the
corners there. So that's looking wonderful.
| | 08:46 | Let's preview the before and
after of the Post Crop Vignetting.
| | 08:49 | Again I press the letter P.
There's without the vignette.
| | 08:52 | Press P again. There is with the vignette.
| | 08:54 | So it really draws the
viewer in to the two of them.
| | 08:58 | Then last we want to see an overall preview of
the before and after of everything we've done.
| | 09:03 | By default when you're doing
the preview, toggling it with P,
| | 09:06 | you're only previewing
the current panel effects.
| | 09:09 | So in this case it's the Effects panel.
| | 09:11 | If I want to see a preview of
everything I've done compared to the original,
| | 09:15 | then I want to go over to the Preset panel.
| | 09:18 | That's this one here, the second to the
end here on the right. Click on Presets.
| | 09:23 | Now that I'm on the Preset panel, if I
press the letter P now, that does an entire
| | 09:28 | before and after of all the things that have
accumulated up, that came before the Presets panel.
| | 09:33 | So there's the original image without any of the
basic adjustments where we lowered the highlights,
| | 09:37 | and made them not so hot and brought detail
out, and opened up the shadows and so forth.
| | 09:41 | Press the letter P again, and now it
gives you a true before and after preview.
| | 09:46 | Now that I'm done, I can click the
Done button and I've got a much better
| | 09:49 | looking image and it's now been updated in Bridge
to reflect that that's been resolved and edited.
| | Collapse this transcript |
|
|
5. Retouching and Using Creative Techniques with Camera RawFixing blown-out skies with the Graduated Filter tool| 00:00 | When you are shooting photographs on a
hazy day or looking at a landscape like
| | 00:03 | this or the sky is a bit hazy off in
the distance, photographers often use kind
| | 00:07 | of a cool little device called a
Graduated Neutral Density filter and it's
| | 00:11 | literally a piece of glass that you
screw on at the end of your lens where it's
| | 00:15 | darkened on the top and graduates
out to being a clear piece of glass.
| | 00:19 | And what that does is it gives you more
contrasts and cuts through the haze of
| | 00:22 | the sky, well the cool part about
Camera Raw is that you actually have digital
| | 00:26 | graduated filters and they're very
flexible, you can do a lots with them.
| | 00:30 | Let's take a look at that.
| | 00:31 | Up in the toolbar you'll see there is
this little Graduated Filter tool, you can
| | 00:35 | press the letter G for that.
| | 00:36 | I am going to go ahead and click on
that and what that does is switches the
| | 00:39 | panels over on the right to a set
of attributes that you can apply in a
| | 00:44 | graduated way, so like a
gradient mask if you will.
| | 00:47 | So you can set things like Exposure,
Brightness, Contrast, Saturation and so
| | 00:51 | forth and decide exactly where you
want that adjustment to occur by actually
| | 00:56 | dragging out a gradient.
| | 00:57 | So I want the sky to have a Contrast
look a little bluer, not so washed out.
| | 01:01 | So I am going to start up
here towards the top of the sky.
| | 01:04 | I am going to click and start dragging,
I am going to hold the Shift key down as
| | 01:07 | I drag to make sure that I get a straight line.
| | 01:09 | Now you can rotate this and let go the Shift
key, you can make this be any angle you want.
| | 01:14 | I'll hold down the Shift key and
continue to drag that straight down, and I am
| | 01:18 | going to drag the red line right to
about the wall here, right where the
| | 01:23 | horizon line of that wall in the
background is, and what this has done is
| | 01:27 | created a green to red.
| | 01:29 | So at the beginning of the
effect and the end of effect.
| | 01:32 | Right now, the only thing that's
changing is the Brightness value.
| | 01:35 | So I am actually going to double-click on the
Brightness and take that down to back to zero.
| | 01:40 | The Graduated Filter panels
remember the last settings you use.
| | 01:43 | So I am going to take Clarity back to
its default and what I want to do is
| | 01:46 | lower the Exposure to darken that sky
and you can see as I move that slider to
| | 01:51 | the left only the sky is getting dark
and not the rest of the image, because
| | 01:55 | it's only occurring where this gradient has
been drawn and it's going from 100% to 0%.
| | 02:03 | So if you want to tighten up the effect
you can just redraw or readjust the gradient.
| | 02:07 | If I click on the red dot and drag up,
again holding down the Shift key to
| | 02:10 | constrain it you can see that
gradient is being applied to a smaller area.
| | 02:16 | I can go ahead and drag that back down and
make it even come into the car if I want.
| | 02:20 | So it's really up to you.
| | 02:21 | It's very flexible, instead of just a
rigid piece of glass that you have in the
| | 02:25 | end of your camera you actually have
this as a very valuable tool and very
| | 02:28 | customizable tool and put it wherever you want.
| | 02:30 | Then you can actually create
multiple gradient filters on the same image.
| | 02:34 | If I am happy with this effect I can
go ahead and lower the Brightness down a
| | 02:37 | little bit as well, maybe increase the
Saturation and it's really up to you what
| | 02:42 | you want to do with this.
| | 02:43 | I am going to drag out a second
gradient and if you just click anywhere other
| | 02:47 | than the inside of this gradient or
if you want to be sure you can always
| | 02:50 | click the New button over here, but
since I am not clicking within an existing
| | 02:53 | gradient range I'll just go ahead and start
clicking and dragging to drag out a second one.
| | 02:58 | Since I am dragging from the bottom to
the top, the green is on the bottom and
| | 03:02 | the Red is on the top now.
| | 03:03 | So it's just going in the opposite
direction and you can see it's doing the
| | 03:06 | exact same adjustment but to a
different region of the image now.
| | 03:11 | So it's using the same settings.
| | 03:12 | The great thing about these Graduated
Filters is that they are of course, non
| | 03:16 | destructive and they can be edited at any time.
| | 03:18 | So if you want to go back and adjust it
further you can just select each gradient.
| | 03:22 | If I click on one of the dots, it targets
that gradient and I can further adjust it.
| | 03:27 | If I want the Exposure to be just not
so dark there and just lighten it up a
| | 03:31 | little bit and maybe on the bottom
one, I want that to be even darker.
| | 03:34 | And again, you have lot of flexibility on
how you want to use these Graduated Filters.
| | 03:39 | Play around them, they are
very interesting and fun tools.
| | 03:42 | They actually are used for very
practical purposes, but you can also do a lot of
| | 03:45 | creative effects with them as well, by
combining a bunch of these sliders to
| | 03:50 | create an overall interesting effect.
| | 03:52 | As you're using the Graduated Filters
and if specially if you start using more
| | 03:55 | than one, the icons and lines
themselves can be a little bit distracting.
| | 03:59 | So you have a way to turn
those on and off as well.
| | 04:01 | There is a little checkbox here called
Show Overlay and you can either turn off
| | 04:05 | the checkbox or you can press the
letter V to turn those on and off.
| | 04:09 | So V to toggle them off and V to toggle them on.
| | 04:12 | It's helpful to see them if you want
to edit them, but when you just want to
| | 04:15 | view your image without that extra chrome,
overlaying your image, just press the
| | 04:18 | letter V on your keyboard to make them go away.
| | 04:21 | Then of course, if I want to see the
before and after I'll press the letter P,
| | 04:24 | there is where we started.
| | 04:25 | Press the letter P again
and there is where we ended.
| | 04:27 | And you can see I have a much richer
looking sky that's not so hazing blown out
| | 04:32 | and has a little bit more depth and color to it.
| | Collapse this transcript |
| Retouching blemishes with the Spot Removal tool| 00:00 | Now we take a look at this Image, you
can see the boy has some acne on his
| | 00:03 | face, and we probably want to either remove
that or downplay it, so it's not so noticeable.
| | 00:08 | So then you have to ask, where
should I do this type of retouching?
| | 00:11 | Should I do it in Camera Raw, can I
even do in Camera Raw, or should I
| | 00:14 | switch over to Photoshop?
| | 00:15 | And kind of the general rule of thumb
we've been saying is you use Camera Raw
| | 00:19 | for global edits and use
Photoshop for local edits.
| | 00:22 | When it comes to retouching simple
things like this, you actually can do a very
| | 00:26 | quick easy job of retouching,
using the built-in tools in Camera Raw.
| | 00:30 | You just kind of have to learn and
get a gut feel for when you should
| | 00:33 | switch over to Photoshop.
| | 00:35 | My general rule of thumb is if the
areas are pretty isolated, like if you
| | 00:38 | look at the acne here there's not a
lot of complex thinking that I have to
| | 00:41 | worry about, I'm not trying to remove this
pimple through hair and retain the hair detail.
| | 00:46 | These spots are pretty much isolated.
| | 00:49 | That's a perfect job for using
the Spot Removal tool in Camera Raw.
| | 00:53 | If you're having to deal with
complex blending and tones are changing,
| | 00:57 | significantly the texture is
changing, significantly in the areas that
| | 00:59 | you're trying to fix.
| | 01:01 | That's probably a job that's
better suited for Photoshop.
| | 01:03 | So you would do your global
corrections here, get the tone and texture and
| | 01:07 | exposure correct in the picture overall,
and then switch over to Photoshop to do
| | 01:11 | the retouching there.
| | 01:13 | Let's go ahead and learn how to use the
Spot Removal tool in Camera Raw though,
| | 01:16 | because like I said this is a fairly
easy job to do right here directly.
| | 01:19 | Let's begin by zooming at 100%.
| | 01:21 | I'll just double-click
on the Zoom tool to do so.
| | 01:24 | Okay, so we're going to switch to a
tool called the Spot Removal tool, you can
| | 01:28 | also press the letter B to switch to that.
| | 01:31 | If you're familiar with Photoshop's tools,
it's very similar to the Healing Brush.
| | 01:34 | It's not called the exact same
thing, but it's similar in nature.
| | 01:38 | And you can see over here when I
switch to that tool over in the panels, it
| | 01:41 | actually defaults to a healing type of
Spot Removal Brush, so kind of a nod to
| | 01:46 | the Healing Brush over in Photoshop.
| | 01:47 | The first thing we want to do is learn how to
adjust the Size of the brush with our keyboard.
| | 01:52 | You can use the Radius slider over here
on the right to do it manually, but you
| | 01:57 | can also use your keyboard to change
the size of the brush, the radius of the
| | 02:01 | brush, by using your
Left and Right Bracket keys.
| | 02:03 | And those are the Square keys in your keyboards.
| | 02:05 | If we take a look at your keyboard and
look for the Square Brackets, the Left
| | 02:09 | Bracket makes the brush smaller and you
can see the Radius changing over there
| | 02:13 | in the panel over here. It's now seven.
| | 02:15 | I think it gets a little bit smaller
there and I can just keep using that
| | 02:18 | Bracket key to change the size of the brush.
| | 02:20 | What you are looking for is a brush
that's slightly larger than the area
| | 02:24 | that you're trying to fix, and once you get
the Brush dialed in, you just go ahead and click.
| | 02:29 | What Camera Raw does is it
automatically looks for an area close by the area
| | 02:33 | that you're trying to adjust to
match texture and tone and color.
| | 02:37 | So you get a seamless blend of
the area that you are trying to fix.
| | 02:41 | The Red Area is the original pixels and
the Green area is the area that got sampled.
| | 02:46 | Now for some reason you don't like where
Camera Raw chose to sample from, what's
| | 02:51 | nice about this is you can edit it
after the fact and it's a nondestructive
| | 02:54 | workflow of course in Camera Raw,
everything is nondestructive.
| | 02:57 | But it's really flexible because you can
actually change this Source location to
| | 03:01 | somewhere else more appropriate if
you think that Camera guessed wrong.
| | 03:05 | So I'm going to very quickly
just click in other regions.
| | 03:08 | Like here, I don't think it's a good
idea to click in the center of the eye
| | 03:11 | there where the little cavity there is.
| | 03:13 | So I'm going to remove that to a
different location for a smoother blend and
| | 03:17 | let's go ahead and click through.
| | 03:19 | Most of time Camera Raw gets it right
but it's nice to know that you have the
| | 03:22 | flexibility to change its mind if you will.
| | 03:25 | So you can see what I mean by quick work,
I don't have to think about this too much.
| | 03:28 | It's just click, click, click.
| | 03:30 | I don't have to worry about isolating
areas and I'm just going to hold down the
| | 03:33 | Spacebar to switch to my Hand tool
temporarily, and reveal some other areas
| | 03:38 | that can be adjusted, and I'm just making really
quick work of this, to do some nice Spot Removal.
| | 03:43 | And this is great for removing dust spots
or pimples or acne and things like this.
| | 03:48 | Here's an example where I want to
move that to a different location.
| | 03:50 | And I just hold down the Spacebar again
to move to some certain areas and keep
| | 03:55 | working until I am happy with my results.
| | 03:58 | Again, if you need to resize the sample,
you can actually go to the edge of the
| | 04:02 | Green line there and just drag up or
down to change the size, and again, if you
| | 04:07 | don't like the sample you can just click
in the middle of the circle and move it
| | 04:10 | to a different location.
| | 04:11 | Again, holding down the Spacebar to
click and drag to a different location and
| | 04:15 | I'm just doing some very quick Spot Removal.
| | 04:17 | So now you can see why it's kind
of called the Spot Removal tool.
| | 04:20 | It's trying to guide you into when
and where you would use the tool.
| | 04:23 | So very quick edits or
what it's really made for.
| | 04:28 | Let's move that to somewhere, I'm not
repeating that horizontal line. Great!
| | 04:32 | Okay, I'm going to move back to the Fit
to Window View by double-clicking on the
| | 04:35 | Hand tool, and you can see
it did a really great job.
| | 04:38 | I'm going to press the letter P for Preview.
| | 04:41 | So there is before and there's after.
| | 04:43 | Now you'll notice it's not
previewing the effect of that retouch.
| | 04:47 | It's not toggling it on and off,
because I'm no longer in that tool.
| | 04:49 | So I'm going to go back to the Spot
Removal tool, now I see those little circle
| | 04:54 | overlays and if I want to turn those
off, I can press the letter V, so that's
| | 04:59 | the Show Overlay checkbox down here.
| | 05:01 | I can turn that on and off, to turn off
the little circles and then pressing the
| | 05:04 | letter P will toggle the before
and after of the actual retouching.
| | 05:08 | So you have to have that tool selected,
to actually be able to preview the
| | 05:12 | before and after of the effects of that tool.
| | 05:13 | And that makes sense.
| | 05:14 | That's very consistent with having the
panel chosen like the Basic panel or the
| | 05:18 | Detail panel and so forth, to be able to
toggle the Preview and before and after
| | 05:22 | of the effects of edits you made in the panel.
| | 05:25 | So there we have it.
| | 05:26 | The Spot Removal tool, it's very
flexible, very easy to use, and it's perfect
| | 05:30 | for edits like this.
| | 05:31 | Let's go back to the After Preview
by pressing the letter P. It's a very
| | 05:35 | quick way to do quick portrait
retouching or any sort of Spot Removal in your
| | 05:39 | particular images.
| | Collapse this transcript |
| Making local adjustments with the Adjustments Brush| 00:00 | Camera Raw has two tools that allow you
to isolate corrections to a given area.
| | 00:04 | The first one is the Gradient
Filter and that just lets you drag out a
| | 00:09 | rectangular region to apply a
particular set of adjustments to.
| | 00:12 | If you want to apply some adjustments
just to a particular area, more that
| | 00:16 | follow the contours of a specific shape
or something like that, then there is a
| | 00:20 | specific tool just for that as well.
| | 00:21 | It's called the Adjustment Brush.
| | 00:23 | So I'll choose the Adjustment Brush,
and you have the same exact set of Options
| | 00:27 | that you can adjust, just like
you can with Gradient Filter.
| | 00:29 | So Exposure, Brightness, Contrast,
Saturation, Clarity, Sharpness and Color, but
| | 00:33 | then of course, you have the ability to
change the Size of the brush and decide
| | 00:37 | where you're going to
paint in the specific effects.
| | 00:39 | So what I want to do is first reset
these settings here, so I'm going to
| | 00:43 | double-click on the slider for
Exposure, double-click on the slider for
| | 00:46 | Brightness and double-click on the
slider for Saturation, just to kind of blank
| | 00:50 | everything out, back to
their default values of zero.
| | 00:53 | What I want to do on this particular
image is just lighten their faces, pretty
| | 00:57 | shadowy there and we want to bring
out some of the Highlight detail there.
| | 01:00 | I'm going to go ahead and use the Size
slider over here on the right to change
| | 01:03 | the size of the brush and there
-- so I can also use my keyboard.
| | 01:07 | The Left Bracket key
will make the brush smaller;
| | 01:09 | the Right Bracket key will make it bigger.
| | 01:11 | There are two lines on this brush.
| | 01:14 | The inner line is the size of the brush.
| | 01:16 | That outer line, the dashed line
there, is the size of the Feather or the
| | 01:19 | range of the Feather.
| | 01:21 | So it depend on how much falloff you want.
| | 01:23 | You can adjust the size of the Feather
as well to make that larger or smaller.
| | 01:27 | You can also use the keyboard to do that
as well, you can do Shift+Right Bracket
| | 01:30 | or Shift+Left Bracket to increase
or decrease the size of the Feather.
| | 01:34 | Okay, so what I want to do is maybe
increase the Brightness associated with this brush.
| | 01:39 | I'll take it up to say 20 and then I'll
just go and simply paint over their faces.
| | 01:44 | Now what I'm seeing at first
isn't exactly what I was hoping for.
| | 01:47 | It looks like I'm blowing those all
out to white, but actually now what's
| | 01:50 | happening, you are seeing a mask.
| | 01:52 | The checkbox is turned on here.
| | 01:54 | I'm going to turn off the mask and now
as I paint over with the Adjustment Brush
| | 01:59 | I'm only seeing the overall
effect of that Adjustment Brush.
| | 02:03 | If I want to see the preview I can
turn the Preview on and off, so there's
| | 02:06 | before and there's after.
| | 02:08 | It's just a very subtle adjustment.
| | 02:09 | Right now, we have made the
Brightness increased by 20%.
| | 02:13 | If I want to maybe overall do change
the Exposure as well, here's what's kind
| | 02:17 | of cool about this tool is that it's actually
affecting every stroke associated with this Pin.
| | 02:23 | This little Green icon here.
| | 02:24 | When I hover over it, it actually shows
me that mask temporarily and shows you
| | 02:29 | the regions that are being
adjusted by this Adjustment Brush.
| | 02:32 | Now I can continue to just keep
painting elsewhere and that will add to
| | 02:36 | the current adjustment.
| | 02:37 | So I'm just clicking and dragging around
this area as well and again, if I hover
| | 02:41 | over that Green pin, it'll show
me that area is now been added.
| | 02:45 | If I want to subtract from a
particular area, that's already been painted, I
| | 02:49 | can hold down the Option key or the Alt key
and that will change that to the Erase Brush.
| | 02:55 | Notice over here the Erase
radio button is now chosen.
| | 02:58 | I'm still holding down that Option or Alt key.
| | 03:00 | When I let go, it goes back to the Add Option.
| | 03:03 | So again, if I've gone too far and
spelled out and create a kind of a glow,
| | 03:06 | although that's going to be a neat
special effect, if that's what you wanted.
| | 03:09 | I can come in here and fine-tune and
either Add or Erase from this little mask
| | 03:14 | that we're building.
| | 03:15 | Okay, when I let go the Option or
Alt key and I can continue painting and
| | 03:19 | lightening just the areas that I want to
lighten with this special Adjustment Brush.
| | 03:24 | If you want to create a new
adjustment and perhaps do a different set of
| | 03:28 | adjustments to a particular different
area in the image, then I can click the
| | 03:31 | New button or simply press the
letter N and that will drop-down, start
| | 03:35 | creating a second pin.
| | 03:36 | I'll go ahead and just click here,
just for demonstration purposes.
| | 03:39 | You'll see I have two pins now.
| | 03:41 | If I want to edit that first pin, I just go
over and hover over the pin and click on it.
| | 03:46 | That will now target that pin and I
can start editing and working on that
| | 03:49 | particular Adjustment
Brush and those effects there.
| | 03:52 | If I want to get rid of the pin, just
click on it to select it, and then just
| | 03:56 | hit the Delete key on your
keyboard and that pin goes away.
| | 03:58 | So if I want to turn off the Pin, and
not see the little icon, if you have
| | 04:03 | several of these pins in your Image in
making multiple adjustments, you may want
| | 04:06 | to turn those pins off, because they are
distracting, press the letter V on your
| | 04:09 | keyboard or click the Show Pins
checkbox to turn that on and off and then if I
| | 04:14 | want to see the effects of that
adjustment again, press the letter P or click
| | 04:18 | the Preview checkbox on
and off. So you have it.
| | 04:21 | You actually have a way to do some very
simple local edits within a particular
| | 04:25 | area using that Adjustment Brush.
| | Collapse this transcript |
| Quick portrait retouching technique using Clarity| 00:00 | Okay I am super excited, I get to show
you one of my favorite techniques for
| | 00:03 | doing a quick portrait retouch in
Camera Raw and it involves using something
| | 00:08 | called the Adjustment Brush.
| | 00:09 | Now typically when you're doing a
Portrait retouch, you want to add some
| | 00:12 | contrast and focus on the eyes and draw
people into that most important part of
| | 00:16 | the subject matter there, and then you
often want to smooth out or lessen the
| | 00:20 | contrast of the skin texture.
| | 00:22 | So I'm going to teach you a
technique that lets you do that using the
| | 00:25 | Adjustment Brush tool.
| | 00:27 | I'm going to click on the
Adjustment Brush tool. It's up here.
| | 00:30 | Looks like a little Brush Icon,
I can press the letter K as well.
| | 00:32 | And what I want to do is use the Clarity slider.
| | 00:35 | And before I began, I want to make sure
all my particular attributes are zeroed out.
| | 00:39 | If they're not you can double-click
on the slider to take it back to zero.
| | 00:43 | So if I slide this over and double
-click, it takes it back to zero.
| | 00:46 | The only attribute that I'm going to
use here is Clarity, and Clarity is a
| | 00:50 | mid-tone Contrast adjustment.
| | 00:52 | It's going to leave the extreme black
alone and the extreme white alone and just
| | 00:56 | increase the contrast in the mid-tone areas.
| | 00:58 | A positive Clarity is going to
give me an increased contrast.
| | 01:02 | So I'm going to take it up to 50, to
start out with, and the good news here is
| | 01:06 | it doesn't actually matter.
| | 01:07 | You just need to have a number to start with,
because you can always change it after the fact.
| | 01:11 | All right, so I've set my Clarity at 50.
| | 01:12 | I'm going to go ahead and start just
painting over clicking and dragging over
| | 01:16 | the eye to kind of paint
in some Contrast adjustment.
| | 01:19 | Now I'll do it over the second eye as
well and maybe I'll come over the eyebrows
| | 01:23 | a little bit to Increase the contrast of those.
| | 01:25 | It may not look like much has changed but
let's actually toggle the Preview on and off.
| | 01:30 | I'll press the letter P and you see
there's before, press the letter P again,
| | 01:34 | and there is after, and you can see
I'm really making some nice contrast
| | 01:37 | there along the eyes.
| | 01:39 | Now what I want to do is the opposite of that.
| | 01:41 | I want to decrease the contrast of the skin
texture and do an overall smoothing of that.
| | 01:46 | Well it turns out that if you use a
negative Clarity value, you get the opposite
| | 01:51 | of a Sharpening effect.
| | 01:52 | You actually get a Smoothing effect.
| | 01:53 | It's a very clever little technique here.
| | 01:55 | So I'm going to create a new brush.
| | 01:57 | I don't want to modify the existing brush.
| | 01:59 | That's just for the eyes.
| | 02:00 | If I hover over the Pin it actually
shows me the highlighted area, shows me
| | 02:04 | where the effect has been applied to.
| | 02:05 | I'm going to click the New button
over here in the Adjustment Brush and
| | 02:09 | this time I'm going to use a negative
Clarity, I'm going to drag that down to say -50.
| | 02:13 | Again, is a starting point.
| | 02:15 | Maybe I'll increase the Brush Size, I
can either use my Right or Left Bracket
| | 02:19 | keys to change the Size of the brush or I can
use the sliders here on the right. It's up to you.
| | 02:23 | Maybe start with a much larger brush
and I really take that Feather down
| | 02:26 | now, just so that I don't do a lot of spell
into the areas that I've already modified.
| | 02:30 | I'll take the size down just a
little bit more, maybe size 10, great.
| | 02:36 | So now I'm going to start painting
with this negative Clarity over the Skin
| | 02:40 | detail and again, it's a very subtle effect.
| | 02:43 | You want to go ahead and start out small.
| | 02:45 | You can always modify it later.
| | 02:46 | If I'm going to be painting in this
region, I might lower the size of the brush
| | 02:50 | temporarily, so I'll use my Left
Bracket key to make the brush smaller, kind of
| | 02:53 | come in here and avoid the edges there
of the nose, just really kind of come in
| | 02:58 | and decide where I want
the smoothing to take place.
| | 03:00 | Kind of come over here as well on
this right side of the cheek here and of
| | 03:06 | course, do the forehead as well
and maybe at the chin a little bit.
| | 03:10 | You know you just need to decide where
you want the smoothing to occur, this
| | 03:13 | side of the nose, just touch. Great.
| | 03:15 | Don't want to over do it, we
don't want to make her look like she's
| | 03:18 | porcelain and I will go ahead and modify that
a little bit, after the fact once we're done.
| | 03:22 | And let's do the forehead a little
bit, we'll make the brush little bit
| | 03:25 | larger using my right bracket key,
then I'll come in here and smooth out the
| | 03:29 | forehead just a touch.
| | 03:30 | All right now, let's see the before and after.
| | 03:34 | Okay, let's turn the preview off.
| | 03:36 | There is before, there is after.
| | 03:39 | If those Pins are getting in the way,
let's turn off the Show Pins and I can
| | 03:42 | press the letter V for that.
| | 03:44 | So without the distracting Pins,
here is before, and there is after.
| | 03:48 | And you can see I've gotten a nice
smoothing around the skin, but a nice
| | 03:51 | Contrast enhancement around the eyes.
| | 03:53 | Now if we feel that we've actually made
the skin too smooth, fake and porcelain
| | 03:57 | like, well here's the great part.
| | 03:59 | Let's turn those Pins back on.
| | 04:00 | Let's make sure that the skin
Pin is selected, which it is.
| | 04:04 | I hover that, I can see where it's
being painted and I can just take that
| | 04:08 | Clarity value and slide it back
towards more positive numbers.
| | 04:11 | So if I take that up to 30, you can see
I'm bringing some of that skin texture back.
| | 04:16 | So you've total flexibility here.
| | 04:18 | Again, if the retouch needs to get
more complex than this, then that's when
| | 04:21 | you want to probably take over to
Photoshop, but if you just trying to work
| | 04:24 | out quickly, maybe just show some
quick comps to a client here and prove on
| | 04:28 | the image just slightly, this is the
great technique to get the job done
| | 04:31 | really fast.
| | Collapse this transcript |
| Converting to black and white| 00:00 | Converting a color image into black and
white is a pretty common request, common
| | 00:03 | thing to do, and Camera Raw gives you a
lot of flexibility and power to do so,
| | 00:07 | and very quickly I might as well.
| | 00:09 | So there is kind of two
different ways to go about it.
| | 00:11 | There is just the quick -- get rid of
all the color, and you can just do that
| | 00:13 | with the Saturation slider.
| | 00:15 | Then I'll show you the second
technique where you can actually control
| | 00:18 | individual colors and how they
get converted into black and white.
| | 00:21 | So the poor man's job, just real quick,
is take the Saturation slider all the
| | 00:24 | way down, and all that does is it just
strips out all the color information, and
| | 00:28 | you have kind of a generic
black and white image here.
| | 00:31 | While I'm here in the Basic panel
though, here is kind of a nice little
| | 00:34 | bonus tip here for you.
| | 00:35 | You maybe remember when you had your
high school senior portrait taken a soft
| | 00:38 | focus kind of effect was kind of all the rage.
| | 00:41 | And kind of a top photographer's trick.
| | 00:43 | It would smooth out skin tone
and its texture and so forth.
| | 00:46 | They would actually put something in
front of the lens either like a piece of
| | 00:49 | frosted glass or Vaseline on a
filter or something like that.
| | 00:52 | Of course, it's pretty easy to do
post in digital imaging software, and in
| | 00:56 | Camera Raw, you can actually do
something with the Clarity slider.
| | 00:59 | If I take the Clarity slider down and
make it negative, what that does is it
| | 01:03 | does a negative contrast.
| | 01:05 | So it's a softening effect if you will.
| | 01:07 | You many not want to go as far as -100,
but if we want to just take it down,
| | 01:10 | just a touch, you can see that his
skin tone is a lot softer now by using
| | 01:15 | some negative Clarity.
| | 01:16 | So it's just kind of bonus tip there.
| | 01:17 | I'll go ahead and reset that back to
zero and to get it back to where we started.
| | 01:21 | All right, the second technique is to
not use the Saturation slider at all.
| | 01:23 | Let's go ahead and double-click and
take Saturation back to where we started.
| | 01:27 | So instead of using the Saturation
slider, we'll go ahead and use the
| | 01:30 | HSL/Grayscale tab or panel.
| | 01:33 | When you click over to this panel,
you'll see the first option here is
| | 01:36 | Convert to Grayscale.
| | 01:37 | We'll go ahead and turn that on.
| | 01:39 | This gives you something very
similar to what you had with the Saturation
| | 01:42 | slider in the Basic panel, but you'll
see I now have by default kind of this S
| | 01:47 | curve shape through all these color
sliders, to create a nice balanced
| | 01:52 | conversion from black to white.
| | 01:53 | What this lets you do though is
actually adjust each color individually and how
| | 01:57 | it gets translated to grayscale.
| | 01:59 | So let's start with the Reds slider.
| | 02:01 | If I click on that slider and start
dragging it left or right, you'll see there
| | 02:04 | is a lot of red in the skin tone.
| | 02:06 | So I can actually adjust that
specific range of colors and how it's being
| | 02:10 | converted to grayscale
independently of all the other colors.
| | 02:13 | So only the Reds are changing in this image.
| | 02:15 | If I grab the Oranges, I can see
where there is some orange in the skin
| | 02:18 | tone there as well.
| | 02:20 | Again, what you typically want to do,
of course you can always break the rules
| | 02:23 | to get something more extreme.
| | 02:24 | But you can always kind of want to
end up with a nice soft S-shape to avoid
| | 02:28 | posterization and having
different regions of the image pop and see
| | 02:31 | different edges there.
| | 02:33 | Let's go ahead and take the Yellows slider.
| | 02:34 | Again, we can move that back and
forth, and you can see there is a lot of
| | 02:37 | yellow in the background.
| | 02:38 | This is where you just get
a lot of creative control.
| | 02:41 | Here, I'm actually going to break
those rules about creating that S curve
| | 02:45 | effect here, because there really
isn't any yellow all that much in the face,
| | 02:48 | and so I can really isolate where
the yellow in the background is being
| | 02:52 | converted to grayscale.
| | 02:53 | Same thing with the Greens, I can either
darken the background to make him stand
| | 02:56 | out against the background little bit
more, or I'll even kill contrast there
| | 03:00 | between foreground and background.
| | 03:01 | I kind of like the darkening effect,
so I'm going to take that back.
| | 03:04 | Again, there is no really
right or wrong with grayscale.
| | 03:06 | It's really up to you and how you want
to translate the color information to
| | 03:11 | grayscale information.
| | 03:13 | Lots of different controls there.
| | 03:15 | So two different techniques, the
quick one is just to use the Saturation
| | 03:17 | slider in the Basic tab.
| | 03:19 | You've got the bonus tip for making a
soft focus effect by giving in a negative
| | 03:23 | Clarity, and then when you really
want to fine-tuning control, the color to
| | 03:27 | grayscale conversion, switch over to
the HSL/Grayscale panel, and then you can
| | 03:32 | fine tune and adjust each
color in the image independently.
| | Collapse this transcript |
| Editing images directly with the Targeted Adjustments tool| 00:00 | All right, this next tool, we're
going to talk about in Camera Raw, the
| | 00:03 | Targeted Adjustment tool is actually
one of the more fun tools because it lets
| | 00:06 | you interact with your image directly
and make some creative edits, just by
| | 00:11 | interacting and dragging within the image
instead of playing with a bunch of sliders.
| | 00:15 | So let's go switch to that tool, the
Targeted Adjustment tool is this guy right
| | 00:19 | here with the little target on it, and
there is actually quite a few different
| | 00:22 | target adjustments available.
| | 00:24 | If I click down on the tool icon itself,
I get a little pop-up menu, where I can
| | 00:28 | choose something called
Parametric Curve, kind of a geeky term.
| | 00:31 | This is just basically tonal corrections,
so lights and darks and shifting them
| | 00:35 | to either darker or lighter.
| | 00:37 | Some color adjustments, so shifting
hues and saturation and intensity and
| | 00:41 | luminance and then also a
custom grayscale converter as well.
| | 00:45 | Let's start with the Parametric Curve option.
| | 00:48 | For those of you who do dream in
keyboard shortcuts, there is actually
| | 00:50 | keyboard shortcuts to toggle back and forth
between each mode of the Targeted Adjustment tool.
| | 00:55 | For now, we'll just use the pop-up menu.
| | 00:57 | Now, instead of going over here and
figuring out what slider you're going to
| | 01:01 | use, you can just click into a
particular part of the image and start dragging
| | 01:06 | to make some changes.
| | 01:07 | So for instance, if I want her shirt to
be lighter, I'm not really sure is that
| | 01:12 | in the Highlights area, the Lights
area, the Darks area or the Shadow area.
| | 01:15 | Well, I'm referring to these
four sliders here over in the right.
| | 01:18 | Instead I can just start
clicking and dragging up or down.
| | 01:21 | If I drag up, I'm making
that particular portion lighter.
| | 01:25 | You can see the curve
changing on the graph there.
| | 01:28 | You can actually see the slider
apparently that shirt was in the dark area.
| | 01:32 | You can see the Darks slider moving left
and right as I drag my mouse up and down.
| | 01:37 | You can see the tool cursor gives you a
clue of which direction to drag, right,
| | 01:41 | because it's a double
arrow pointing up and down.
| | 01:43 | That's the direction I should be dragging.
| | 01:44 | If I drag right and left, you'll
see nothing happens on the image.
| | 01:48 | So if I wanted the shirt to be a little
bit lighter, like I said I drag that up.
| | 01:51 | Now if I want his shirt to be a
little bit darker let's say, or lighter
| | 01:54 | depending -- I can click and drag on
that part of the image and just start
| | 01:58 | dragging up or down to adjust that part
of the curve that represents that shirt.
| | 02:02 | So very quick, easy adjustments just by
deciding, where you want the adjustments
| | 02:08 | to occur by clicking and
dragging in the image directly.
| | 02:10 | Let's take a look at some of
the others. Let's go to Hue.
| | 02:13 | Let's say that I want to shift the
color of blue on the pants to be a little
| | 02:18 | more cyan or more towards purple.
| | 02:20 | Again, just start
clicking and dragging up or down.
| | 02:23 | If I drag down, you can see it will
automatically know what color I'm clicking on.
| | 02:27 | So it targets the Purples
and Blues slider appropriately.
| | 02:30 | If I drag up, it's going more towards
the purple range, and if I drag down, it's
| | 02:35 | going more towards the cyan, light blue range.
| | 02:38 | So again, kind of a cool little
technique there to adjust color within an image
| | 02:43 | without having to figure out which
slider you're supposed to be using.
| | 02:46 | Now let's take it back towards
more kind of purplish indigo.
| | 02:51 | Then let's use one more.
| | 02:52 | Let's take it from Grayscale Mix.
| | 02:54 | Once I do this, it automatically checks
the Convert to Grayscale checkbox, but
| | 02:59 | it then allows me to decide which
specific colors I want to go to grayscale and
| | 03:05 | how light or dark they're going to be.
| | 03:07 | So if I want to click on this
background color here, I can decide, I want that
| | 03:10 | to be a little bit darker, a little
bit lighter, and it's automatically
| | 03:13 | correcting and adjusting the sliders
appropriate to that region of the image.
| | 03:17 | So again, click and drag just
to darken that area as well.
| | 03:21 | Let's go back to the Saturation
slider, and this one is kind of fun.
| | 03:25 | Let's say I want to make everything
grayscale, both the blue or the purplish
| | 03:28 | blue of their clothes.
| | 03:30 | So I'm going to click in the
Greens, and start dragging up or down.
| | 03:34 | If I drag up, it's more saturated.
| | 03:36 | If I drag down, it's going
to desaturate the greens.
| | 03:38 | Okay, that was kind of the yellowish green.
| | 03:40 | So there is some dark green here.
| | 03:41 | Let's click and drag down
to make that desaturated.
| | 03:44 | There is some little color there.
| | 03:46 | We will make that desaturated.
| | 03:48 | And in the pink of the faces we will
desaturate that as well, and maybe the reds
| | 03:53 | in their faces as well.
| | 03:54 | So with just a couple of clicks, I was
able to desaturate everything except the
| | 03:58 | area that I cared about.
| | 03:59 | Then if I want to boost the saturation
of the purples of the clothes, I'll click
| | 04:02 | and drag up to boost their saturation.
| | 04:05 | So like I said, the Targeted Adjustment
tool is more for kind of creative editing.
| | 04:09 | It lets you think about the image and
the content of the image, and interact
| | 04:13 | with it directly rather than figure
out which sliders you're supposed to be
| | 04:15 | using to make the
adjustment that you're trying to do.
| | Collapse this transcript |
| Easy sepia and split tone effects| 00:00 | So another effect that people like to
apply to their images is the sepia tone
| | 00:04 | effect and that's a common
question I get, how do you do that?
| | 00:07 | Camera Raw makes that
really, really simple to do.
| | 00:10 | Here I've got a color image that I
have already converted to grayscale.
| | 00:12 | I am in the HSL/Grayscale panel.
| | 00:15 | It's the fourth one over from the left
and that checkbox is already been turned
| | 00:18 | on, and I have already got
some custom conversions here.
| | 00:20 | If I turn that checkbox off you can
see there's the color version underneath.
| | 00:23 | I'll turn that checkbox back on
and get that grayscale Version.
| | 00:27 | What we want to do now is add color
back to the image but only in either shadow
| | 00:31 | areas or the highlight areas or you
can do a combination of both depending on
| | 00:34 | what your end goal is.
| | 00:35 | So to do that, we are going to switch
over to fifth tab or the fifth panel and
| | 00:39 | that's called the Split Toning panel.
| | 00:41 | Once here, we can see that we have got
separate sliders for the Highlights in
| | 00:45 | the image and the Shadows of the image.
| | 00:47 | What I really like about Camera Raw
is that it's smart and knows that sepia
| | 00:51 | tones and platinum tones and these
old style effects that used to achieve
| | 00:55 | through different processing techniques
when you are using a film-based imaging,
| | 00:59 | was that the sepia tone would not
put the tones in the Highlights.
| | 01:03 | It'll have clean pure highlights and
when you see a typical consumer software,
| | 01:07 | you have just a one
click button for sepia tones.
| | 01:09 | They tend to dirty the whites as well.
| | 01:11 | So I like that you actually have
separate control in Camera Raw.
| | 01:14 | So the first thing we are going to do
is we are going to choose the Shadows
| | 01:16 | slider, and we're going to do start
increasing the Saturation of the Shadows only.
| | 01:20 | You can see the Highlights are not
getting colorized, they are staying clean
| | 01:24 | and pure and white.
| | 01:25 | Once I increase the Saturation I
typically don't go much beyond 25 and even most
| | 01:30 | of the time keep it at about 20.
| | 01:32 | Once I set the Saturation I want, I can
then use the Hue slider and dial in the
| | 01:35 | particular effect I am looking for.
| | 01:37 | So if I want nice sepia tone I have
found that's Hue 50 is kind of the
| | 01:42 | classical look there.
| | 01:43 | But of course, you're not limited to this.
| | 01:44 | You can do a green tone, a purple
tone, a blue tone, a platinum tone.
| | 01:48 | It's really up to you.
| | 01:49 | But if you're chasing that sepia tone,
50 is a good starting point there.
| | 01:53 | Now split toning means you can actually
apply color to both the shadows and the
| | 01:58 | highlights and that's why
you're given separate controls here.
| | 02:00 | So in the interest of showing you
everything here if I want to create a split
| | 02:04 | tone, I can increase the Saturation of
the Highlights as well, and then you can
| | 02:08 | get some pretty interesting effects by
actually choosing a different hue for the
| | 02:12 | highlights and a different hue for
the shadows and create some really
| | 02:16 | interesting color effects.
| | 02:17 | So completely up to you, how
you want to use these sliders.
| | 02:20 | If you just want to accomplish the
classic sepia tone then leave the Saturation
| | 02:24 | of the Highlights alone and target
the 50 Hue as a good starting point.
| | 02:28 | Play around with the Saturation level,
and it's just a couple sliders away, and
| | 02:32 | you have got a decent looking Sepia Tone Effect.
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| Adding digital film grain texture effects| 00:00 | One of my favorite visual effects
especially when working with black and white
| | 00:03 | images is to add a little bit of
grain or film grain back into the image.
| | 00:07 | Typically in Photoshop you would use
something called the Add Noise filter on a
| | 00:10 | separate layer and then play
with blending modes and so forth.
| | 00:13 | Camera Raw especially in the new
version of Photoshop has made this much
| | 00:17 | easier to accomplish.
| | 00:18 | There's actually an Effects
panel over here on the right.
| | 00:20 | We'll go ahead and click on the fx icon.
| | 00:22 | You'll see they've added this new Grain effect.
| | 00:25 | Now to see this in best results, we're
going to go ahead and zoom up to 100%.
| | 00:28 | I'll just do Command++ or Ctrl++
a couple of times, or 50% is fine.
| | 00:32 | Just enough to be able to see the grain
pattern at a particular nice zoom level.
| | 00:36 | Now what's nice about the grain effect
too, you can see here we haven't done any
| | 00:40 | retouching for skin, and if we add some
grain back in, it can actually lower the
| | 00:44 | contrast of the acne
issues that we're seeing here.
| | 00:47 | So I'm going to take that Amount slider
and just really crank it up, quite a bit.
| | 00:50 | I'm going to start with an Amount of
50 and you can see it's like using old
| | 00:54 | standard film, each brand
of film in the old days.
| | 00:57 | The film had a signature grain pattern
and so with these three sliders you can
| | 01:01 | actually recreate a lot of those
different film patterns or grain patterns that
| | 01:06 | you may have been used to,
if you used to shoot film.
| | 01:08 | Of course, it certainly has a lot
of creative effect and power as well.
| | 01:12 | So I can adjust the Size of the Grain and
of course the Roughness of the Grain as well.
| | 01:16 | So you really have a lot
of creative control here.
| | 01:19 | It's really no right or wrong setting.
| | 01:20 | It just depends on what
effect you are trying to achieve.
| | 01:22 | So I kind of like using a lower size
and roughen it up a little bit and then
| | 01:27 | making the Amount as pretty high.
| | 01:28 | Now if I zoom up a little bit more,
let's go ahead and click the Plus button
| | 01:32 | here, to 100%, you can see getting a
nice really cool, noisy gritty look and
| | 01:39 | I kind of like that.
| | 01:39 | Again, this is all nondestructive, you
can go back and change the values at any
| | 01:43 | time and then I'll give you kind of a bonus tip.
| | 01:46 | I actually like combining this with
a Graduated Filter Effect to give it
| | 01:50 | something, what some people call a
high key glow effect where the highlights
| | 01:53 | are kind of glowy but you still have this
grittiness in the mid tones and the shadows.
| | 01:57 | So let's do that.
| | 01:58 | Let's go back to Fit in Window by
double-clicking on the Hand tool.
| | 02:01 | I'm going to switch to the Graduated
Filter tool and I'm going to take the
| | 02:05 | Clarity all the way down to -100.
| | 02:06 | I'm just going to go ahead and drag
down from the top, holding down the Shift
| | 02:11 | key and dragging out the Gradient
all the way to the length of the image.
| | 02:15 | You can see what that did is it really
soften the highlights and smooth them out
| | 02:20 | and gave it kind of a nice glow effect.
| | 02:21 | Well it really looks like the light is
being diffused, coming in here from the
| | 02:24 | upper left hand corner.
| | 02:25 | I'll turn the Overlay off so we could
able to see the little gradient, drawing
| | 02:29 | of the chrome there.
| | 02:30 | We'll turn the Preview checkbox off.
| | 02:31 | Here's before and there's after.
| | 02:34 | So again, just a nice way to add a
nice subtle highlight key glow effect and
| | 02:38 | combined with the grain, the new
feature in the Effects panel there, it gets
| | 02:42 | some really interesting creative
effects very quickly without a lot of work.
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| Adding vignettes and border effects| 00:00 | Camera Raw makes it super easy to
actually add vignette and border effects to
| | 00:04 | your images as well.
| | 00:05 | We're going to do that in the Effects panel.
| | 00:07 | Over here on the right,
we'll click on the fx button.
| | 00:09 | You can see that this image has a lot
grain in it, I had added that grain in a
| | 00:12 | previous example here,
and just added some grain.
| | 00:15 | So this is already baked into the image.
| | 00:16 | It's been saved as a JPEG.
| | 00:18 | Now we're going to add a vignette Effect
and a border effect and we do that with
| | 00:23 | the Post Crop Vignetting controls.
| | 00:25 | The first slider that you have available
is the Amount slider and you can either
| | 00:28 | go to black or to white.
| | 00:30 | So you have a range here.
| | 00:32 | If I go obviously to the left, it's
going to darken the corners of that image
| | 00:36 | and kind of frame her in there and if I
drag it to the right, well, then I get
| | 00:39 | the opposite effect.
| | 00:41 | I get the light corners or white corners.
| | 00:43 | A lot of flexibility here, a lot
simpler than creating an elliptical selection
| | 00:47 | in Photoshop and choosing the Feather
command and then deleting to a white
| | 00:50 | background layer and so forth.
| | 00:51 | Here it's just a simple slider and
you have a lot of creative control.
| | 00:54 | Let's take it back to the white here
and just keep it at a pretty high Amount.
| | 00:59 | You also have a control
of where that Midpoint is.
| | 01:01 | By default that's right in the middle
but of course, I can expand that or narrow
| | 01:06 | it to really focus in where it's
getting focused and then in addition to the
| | 01:10 | Midpoint I actually can control
how round or sharp the corners are.
| | 01:13 | I can change the Roundness to really
extreme to make it more of a circular
| | 01:18 | shape instead of oval or I can take it
all the way back down to the left and
| | 01:22 | you can see I actually can start
creating these interesting border effects
| | 01:25 | instead of vignette effects.
| | 01:27 | If I take the Midpoint and bring it
back in just a little bit, you can see now
| | 01:31 | if I combine that with the Feather
slider and actually harden the Feather, I can
| | 01:35 | actually get really crisp borders and
rounded corner effects there as well.
| | 01:39 | So it's beyond just typical vignette.
| | 01:42 | You actually have a lot of creative
freedom here to create some pretty
| | 01:44 | interesting effects.
| | 01:46 | If I want all these same settings, but
now I want a black border, let's just
| | 01:49 | take the Amount back to the other
direction and you can see I've got an
| | 01:52 | instant border there.
| | 01:53 | It was black as well.
| | 01:54 | Maybe soften the Feather just
a little bit, bring that in.
| | 01:58 | Change the Midpoint again, you'll
actually have a hard time stopping because
| | 02:01 | this is just kind of fun to play with
and you have a lot of creative freedom to
| | 02:05 | actually change this at any point to
get just that border or vignette effect
| | 02:09 | that you're looking for to frame
your subject matter appropriately.
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| Saving variations within a single file with Snapshots| 00:00 | So if you've been following along and
watching some of the other videos in this
| | 00:03 | course, you've probably heard me say
multiple times now that one of the reasons
| | 00:06 | why I love Camera Raw is
that it's nondestructive.
| | 00:10 | This next feature is called
snapshots and it really just brings home how
| | 00:14 | powerful this concept is
of nondestructive workflows.
| | 00:17 | It lets you create different versions
of a file and keep all those versions
| | 00:22 | within a single file instead of having
to copy these larger Raw files or JPEG
| | 00:26 | files all over your hard drive.
| | 00:28 | Here's the image here and I'm going to
go ahead and open up the Snapshots file,
| | 00:31 | Command+R, Ctrl+R to open
up this JPEG in Camera Raw.
| | 00:34 | Now this is an interesting shot.
| | 00:35 | It's kind of nice but I can't decide,
do I want this to be a horizontal crop
| | 00:39 | or a vertical crop.
| | 00:40 | It was shot vertically but it actually
might be a stronger composition if we
| | 00:43 | make it a horizontal crop.
| | 00:45 | Either way I want to be able to have the
flexibility of experiment and play with both.
| | 00:48 | So I'm going to press the C
key to switch to the Crop tool.
| | 00:51 | I'm going to make sure my Crop Aspect Ratio
is set to 2-3 because I want a 4x6 print here.
| | 00:56 | And let's begin with a vertical crop.
| | 00:58 | So I'll start in the lower right
corner here and we'll drag out a crop.
| | 01:01 | That's that proportion and
that's pretty decent. That's fine.
| | 01:05 | Maybe I want to bring it up a
little bit and position it little bit.
| | 01:09 | So, let me cut out just so it's
little bit more like that, more of a little
| | 01:13 | angle composition there from corner to corner.
| | 01:15 | Okay, that looks great.
| | 01:16 | I'm going to go ahead and hit the
Enter key and now I want to play with a
| | 01:20 | horizontal crop and compare the two
and play back and forth and kind of
| | 01:23 | preview before and after.
| | 01:24 | So to do that, there's actually a feature
specifically built-in to Camera Raw to do just that.
| | 01:29 | It's called the Snapshots panel.
| | 01:30 | I'll click over all away on the right
Snapshots and I'm going to create a new snapshot.
| | 01:35 | Now when you click on the New Snapshot
button, it basically captures everything
| | 01:39 | you've done at this particular point in
time to this particular image and then
| | 01:44 | lets you give it a name.
| | 01:45 | So I'm going to call this
Vertical, great, and click OK.
| | 01:48 | I'm going to press the C key again to go
back to the Crop tool and this time I'm
| | 01:53 | going to go ahead and modify this to be
a horizontal crop, and I just drag that
| | 01:57 | down far enough so that
snaps to being horizontal.
| | 01:59 | All right, so now I'm going to kind of
figure out where I want this crop to be,
| | 02:03 | like so and right about there.
| | 02:07 | That's looking kind of interesting.
| | 02:08 | Again, I'm just kind of experimenting here.
| | 02:10 | Maybe I don't want that white
spot to appear in that corner.
| | 02:14 | So that's right about there
as where I'm going to put it.
| | 02:16 | And then I hit Return and now I've
got a horizontal version of this image.
| | 02:20 | I'm going to go ahead and click the New
Snapshot button in the Snapshots panel
| | 02:24 | and we'll call this Horizontal.
| | 02:27 | Now there's no limit to the number of
snapshots you can include in a given file.
| | 02:31 | You can create as many variations as you want.
| | 02:33 | So let's say that I like this
horizontal version and I want to create a
| | 02:37 | horizontal black and white version as well.
| | 02:40 | So I'm going to go back over to the Hue
/Saturation panel and I'll turn on the
| | 02:45 | Convert to Grayscale checkbox.
| | 02:47 | And now I have a very quick black and white.
| | 02:50 | I'm not going to bother
adjusting this a little bit.
| | 02:51 | I'll just leave it and go with
this for now just to prove the point.
| | 02:54 | Let's go back over to the Snapshots
panel, click on that again and now we'll
| | 02:58 | create yet another new snapshot.
| | 03:00 | Click on the New button and I'll call it
Horizontal B&W and go ahead and click OK.
| | 03:07 | The current snapshot is what's being
shown in the Preview area but I can click
| | 03:11 | back and forth between them.
| | 03:12 | So now I can go from Horizontal to
Horizontal B&W to Vertical and go back and
| | 03:17 | forth and really compare.
| | 03:19 | So you can create special effects and
say that there's a snapshot at the border,
| | 03:23 | at the vignette, at film grain.
| | 03:25 | Each one of these can be
different creative variations.
| | 03:27 | Again, it makes it easy to go back and
just choose the one you want and save out
| | 03:31 | a separate file, so you can
show to your client or whatever.
| | 03:34 | I'm going to go ahead and click the Done
button and that takes me back to Bridge
| | 03:37 | and you can see that thumbnail updates itself.
| | 03:40 | If I go back and reopen this JPEG,
because it's already got setting applied to
| | 03:44 | it now, I can just double-click directly.
| | 03:46 | And if I now want to get back to the
Vertical version, I can just go back to the
| | 03:50 | Snapshots panel and click
on that Snapshot Vertical.
| | 03:53 | It's saved with the file.
| | 03:54 | So it's nondestructive on a whole other level.
| | 03:58 | There's my Vertical version.
| | 03:59 | I click Done and now the thumbnail in
Bridge is showing me that version of the file.
| | 04:04 | So I really encourage you to take
advantage of this feature, especially when
| | 04:07 | you're exploring different options.
| | 04:09 | Maybe reviewing them with a family
member or client, depending on who you're
| | 04:12 | engaging with, with your particular
photographs, and it just lets you kind of
| | 04:16 | experiment and not lose all those
different experimentations along the way.
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|
|
6. Automating Camera RawCopying settings from one file and pasting across another in Adobe Bridge| 00:00 | Once you understand the basics of
mechanics of Camera Raw, well then the next
| | 00:03 | step in your education process here
is to learn how to automate as much as
| | 00:07 | possible, so you're not
doing one file at a time.
| | 00:10 | So this is the first video where I'm
going to start getting into this topic of
| | 00:14 | automating Camera Raw.
| | 00:15 | There's two ways to go about
processing multiple files in Camera Raw and I'm
| | 00:20 | going to show you the first way here
is taking the settings used in one image
| | 00:24 | and applying them to others inside Adobe Bridge.
| | 00:27 | Let's begin by clicking on a
particular image that we want to use to
| | 00:30 | represent the series.
| | 00:31 | Here these are all from the same day,
so we're going to go ahead and modify one
| | 00:34 | in Camera Raw to fine-tune it.
| | 00:37 | Go ahead and double-click on this Raw file,
and we'll just do some basic adjustments.
| | 00:40 | Maybe bring the Exposure down just a little bit.
| | 00:42 | Bring that Recovery slider up to
bring back some highlight detail.
| | 00:45 | Maybe open up the shadows just a touch,
improve the overall Contrast and Clarity.
| | 00:51 | It's not really important what
settings I'm using at this point.
| | 00:53 | Just pretend that we're making the
world's greatest adjustments here.
| | 00:56 | I've got my adjustments. They're great.
| | 00:57 | They're exactly the way I want them.
| | 00:58 | I'm going to go ahead and click Done.
| | 01:00 | You'll see that thumbnail now updates to
reflect that it's been edited and shows
| | 01:04 | you the little settings icon as well.
| | 01:06 | What we want to do now is use the
settings that we created and applied to this
| | 01:10 | image across all the other
images in the current view here.
| | 01:14 | So I'm going to go ahead and
select that thumbnail and under the Edit
| | 01:17 | menu, you'll see I have a Develop
Settings submenu and I've got Copy
| | 01:21 | Camera Raw Settings.
| | 01:23 | There's also a keyboard shortcut for that.
| | 01:25 | Command+Option+C on the Mac, Ctrl+Alt+C
on Windows and you'll see that I've got
| | 01:30 | a corresponding command for pasting
Camera Raw settings, Command+Option+V or
| | 01:34 | Ctrl+Alt+V. We'll use that in just a second.
| | 01:36 | So for now I use the menu command,
Copy Camera Raw Settings, and then when I
| | 01:40 | click on any other thumbnail or any
other range of thumbnail, so I'm going to
| | 01:43 | hold down the Shift key, and select on the
last thumbnail to select all of them in between.
| | 01:48 | I'll go back up to the Edit menu
and choose Develop Settings again.
| | 01:52 | If I know the keyboard shortcut I
could just use it, Command+Option+V,
| | 01:54 | Ctrl+Alt+V, or I'll choose the menu
command here, Paste Camera Raw Settings.
| | 01:58 | Then it says well, which
settings do you want to copy and paste?
| | 02:01 | You actually can have any
number of them that you've chosen.
| | 02:04 | If I go ahead and just choose everything,
that's going to turn on every single checkbox.
| | 02:09 | But if I only want to copy let's say
the Grayscale Conversion settings or the
| | 02:12 | Sharpening settings, we have a lot
of flexibility here about exactly what
| | 02:15 | subset of adjustments that you created do you
want to apply to this other range of images?
| | 02:21 | I'll just go with everything for now, click OK.
| | 02:23 | You'll see that Bridge will start
updating all those thumbnails and it has
| | 02:27 | applied those same settings that we
used on this first file to all the other
| | 02:32 | files in the range of selection there.
| | 02:34 | So there you have it, a very quick
way to copy and paste settings from one
| | 02:38 | raw file or any file edited with Camera Raw
and use them across another range of images.
| | 02:43 | Okay, so to reset all these files back
to where we started from, I'm going to go
| | 02:46 | ahead and do select all, Command+A or
Ctrl+A and I can go ahead back up to the
| | 02:50 | Edit menu, under Develop Settings, and
say Clear Settings, and this will get rid
| | 02:55 | of any edits that we've done to these
Raw files, and take them back to the way
| | 02:59 | they were right when they got off the camera.
| | 03:01 | You'll see once those thumbnails are
updated, those setting icons go away as well.
| | 03:04 | I'll just click somewhere else to deselect.
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| Processing multiple files in Camera Raw| 00:01 | So continuing on with the concept of
automating Camera Raw, the first technique
| | 00:04 | of processing multiple files is to
create and edit the settings of one file and
| | 00:09 | then copy and paste those settings to other
images that you have selected inside Bridge.
| | 00:13 | The other method is to actually work with
more than one image in Camera Raw to begin with.
| | 00:17 | So I'm going to go ahead and
select our range of images here.
| | 00:19 | We'll just hold down the
Shift key to select multiple.
| | 00:22 | If I want to select images that are not
adjacent to each other, I can hold down
| | 00:25 | the Command key on the Mac,
or Ctrl key on Windows.
| | 00:27 | So I'm just going to select this
subset of images here, these four.
| | 00:31 | And I'll double-click in any
one of them to open up Camera Raw.
| | 00:34 | Now, because I had more than one
image selected, you'll see that I get
| | 00:37 | this vertical filmstrip along the left
showing you how many images I have in my selection.
| | 00:43 | The thumbnail that has the dark blue
line around is the one that's currently
| | 00:46 | being edited of course.
| | 00:47 | If I want to select any other image,
just click on its thumbnail and that
| | 00:50 | becomes the active image.
| | 00:52 | I'm going to go ahead and click on
the first thumbnail again, and let's
| | 00:55 | start doing an edit. All right.
| | 00:56 | Let's go ahead and do something
similar that we did previous to these images.
| | 01:00 | We'll lower the Exposure just a bit.
| | 01:01 | We'll bump up the Recovery slider.
| | 01:03 | Maybe open up the Fill Light.
| | 01:05 | And again, this is just to
demonstrate how you do it across multiple files.
| | 01:08 | So what settings we use
don't really matter here.
| | 01:10 | Maybe increase the Clarity.
| | 01:12 | The idea here is that I've got this
image that's now been modified, and I want
| | 01:16 | all the other three thumbnails
to use the exact same settings.
| | 01:20 | So you'll notice here in the upper-
left hand corner, there is a Select All
| | 01:23 | button, go ahead and click that.
| | 01:24 | Now what that does is that selects
the thumbnails below the target image,
| | 01:28 | the reference image.
| | 01:29 | And then there is this button
right here that says Synchronize.
| | 01:32 | I'm going to go ahead and
click the Synchronize button.
| | 01:33 | And it says well, what settings do
you want me to synchronize across this
| | 01:37 | range of selected items?
| | 01:38 | I'm just going to go with everything.
| | 01:40 | I'm going to click OK, and that will
update all those thumbnails for me.
| | 01:44 | They are all now using the exact same settings.
| | 01:46 | At this point, I can either click the
Done button and that will update the
| | 01:49 | thumbnails and save those
settings in the Metadata.
| | 01:52 | I can click the Open Images button.
| | 01:54 | And of course, that will open all four of
these images and pass them on over to Photoshop.
| | 01:58 | Or if I want, I can actually save out these
images with skipping another trip to Photoshop.
| | 02:03 | I can save out JPEGs, choose a
particular folder where I want these to go, get
| | 02:07 | them a base filename.
| | 02:08 | Choose JPEG and set its
Quality settings and so forth.
| | 02:10 | So a very easy quick way to work with
multiple files in the Camera Raw Editor,
| | 02:15 | just select multiple files in Bridge
before you double-click on one of them.
| | 02:20 | Once you do that, you'll have access
to all the thumbnails and then you can
| | 02:23 | edit one and synchronize those
settings across the entire range of selected
| | 02:27 | thumbnails.
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| Saving and using a library of Camera Raw presets| 00:00 | So as you get more comfortable using
Camera Raw, you might find yourself doing
| | 00:03 | the same sort of edits
over and over and over again.
| | 00:06 | For example, you might find that you
really like a particular vignette style and
| | 00:09 | you tend to apply that to your images often.
| | 00:12 | Or you might have a custom grayscale
conversion setting that you like to use
| | 00:15 | over and over again.
| | 00:17 | Or you add digital film grain,
whatever it is that you do repetitively.
| | 00:20 | Rather than doing that every single
time manually and try to remember what
| | 00:24 | settings you're supposed to use.
| | 00:26 | Camera Raw actually allows you
to create what's called Presets.
| | 00:29 | So let's take a look at how that works.
| | 00:31 | We're just going to open
up any representative image.
| | 00:33 | I'll just double-click on
this raw file here to open it up.
| | 00:35 | And then I'm going to go ahead and
edit this just like I'd normally edit it.
| | 00:39 | So I'll start in the Basic panel, and
make sure I get that general tone and
| | 00:43 | color and exposure correct.
| | 00:44 | So I'm going to go ahead and lower
the Exposure just a little bit, maybe
| | 00:47 | increase the Recovery, Fill Light, Blacks.
| | 00:50 | Maybe bring the Brightness down.
| | 00:52 | Oh, Blacks is too much, bring
that back down a little bit.
| | 00:54 | Bring the Brightness down a little bit.
| | 00:56 | Increase the Contrast and maybe
bump up the Clarity. And great!
| | 01:00 | That's looking awesome.
| | 01:02 | Then I might go over to the HSL/Grayscale tab.
| | 01:05 | And then I'll convert this to
grayscale by clicking that checkbox, and have a
| | 01:08 | nice custom grayscale conversion there.
| | 01:11 | Then I think I might want to
add a Sepia Tone Effect as well.
| | 01:13 | So I'm going to go to the Split Tone
tab, and I'll increase the Saturation of
| | 01:17 | the shadows to about 25 let's say.
| | 01:19 | Looks enough there. Good!
| | 01:21 | And then I'll change the Hue to
more of a sepia tone around Hue of 50.
| | 01:24 | It's a good looking effect there. Great!
| | 01:27 | And last but not least, I
want to add a custom vignette.
| | 01:30 | So I'll click on the FX panel, and
I'm going to go to the Amount slider,
| | 01:33 | drag that to the left to create a nice
darkening frame effect to burn in those corners.
| | 01:38 | Okay.
| | 01:39 | So I have done four distinct things here.
| | 01:40 | I have done a basic color and tone
correction, went over and converted it
| | 01:44 | to grayscale, turned it into a sepia tone and
then added this black framing vignette effect.
| | 01:49 | To save these settings as presets,
let's go to the Preset panel.
| | 01:53 | It's this one here, second from the right.
| | 01:56 | Go ahead and click the Presets button.
| | 01:57 | Now, we're going to create some named presets.
| | 02:00 | I'm going to click the
New button. It says great!
| | 02:02 | What do you want to capture as a preset?
| | 02:04 | I'm going to go ahead and choose Basic.
| | 02:05 | And then from the Subset menu, I'm
going to choose just the basic settings.
| | 02:09 | That turns off all the checkboxes for all
the other options outside of the Basic panel.
| | 02:14 | I'm going to go ahead and click OK.
| | 02:15 | I'm going to create another new preset.
| | 02:18 | You might be wondering why I didn't just
create one preset that captures all four things.
| | 02:23 | I want the flexibility to use the
grayscale conversion independent from the
| | 02:27 | sepia tone, or the color conversion and
correction separate from that vignette
| | 02:31 | effect, because then I can mix and
match these preset values and add them up
| | 02:36 | over time on a different set
of images later on. All right!
| | 02:40 | So from the subset, I'm going to choose
let's say the Grayscale Conversion and
| | 02:43 | we'll make this name grayscale.
| | 02:45 | Then we'll add that as a second preset.
| | 02:48 | We'll do another one.
| | 02:49 | We'll click the New button.
| | 02:50 | And this time I'm going to choose the
Split Toning, and this is what I used to
| | 02:54 | create the sepia effect.
| | 02:55 | So I'm going to call it Sepia.
| | 02:56 | And we'll create one last more,
Vignetting, Post Crop Vignetting.
| | 03:01 | We'll call it Vignette.
| | 03:04 | And every time I choose a subset, it turns
off all the other checkboxes that don't apply.
| | 03:08 | We'll click OK.
| | 03:08 | Okay, I can go ahead and click Done,
and this takes me back to Bridge.
| | 03:14 | And I can apply those presets to any
other image inside of Camera Raw or I
| | 03:18 | can do it from Bridge.
| | 03:19 | Let me show you both methods.
| | 03:21 | Let's click on this particular image here.
| | 03:23 | Double-click to open it up inside Camera Raw.
| | 03:25 | And I'm going to switch
over to the Presets panel.
| | 03:27 | These presets are now saved in Camera Raw.
| | 03:30 | They are not attached to any particular file.
| | 03:32 | They are actually saved as presets
that Camera Raw can use on any file now.
| | 03:36 | So if I just want the basic correction,
I just click on the word Basic, and I
| | 03:40 | instantly get that preset applied to the image.
| | 03:44 | If I want to skip the grayscale and
sepia and just go for the vignette, well, I
| | 03:48 | can click on Vignette.
| | 03:49 | And now I have got a color version of
that file that just has the Vignette effect.
| | 03:53 | If I want to then decide that I do
want to go with grayscale, I can click on
| | 03:56 | Grayscale to add that effect, and
then I can click on Sepia as well.
| | 03:59 | So each one of these is separate and
I can mix and match them to my taste.
| | 04:04 | I'm going to go ahead and hit Cancel.
| | 04:06 | Now that I'm in Bridge,
I can do it here as well.
| | 04:08 | I'm going to go ahead and click on the
first thumbnail that I want selected,
| | 04:11 | hold-down the Shift key and select the others.
| | 04:14 | And then the quickest way to apply those
presets or choose from those presets is
| | 04:18 | to either right-click and get the
Contextual menu, there is Develop Settings.
| | 04:22 | And you can see any preset that you
saved in Camera Raw will be listed at the
| | 04:26 | very bottom of the
Develop Settings submenu here.
| | 04:28 | So there's Basic, Grayscale, Sepia and Vignette.
| | 04:30 | They are also available
under the Edit menu themselves.
| | 04:34 | Edit > Develop Settings
and there are those presets.
| | 04:37 | So I'm going to go ahead and choose
the Basic Preset and all those thumbnails
| | 04:42 | will ripple through and get updated.
| | 04:44 | And then, I'm going to go back
and add the vignette as well.
| | 04:47 | I'll go back to Edit > Develop
Settings, choose Vignette and it's going to
| | 04:51 | update all those thumbnails
and add that Vignette effect.
| | 04:54 | So hopefully, by now, after watching
this video, you can start to see how
| | 04:57 | powerful and how much time this
Presets feature can really save you.
| | 05:02 | You can build up dozens of presets all
named appropriately and targeting the
| | 05:06 | specific effects that you're trying to save.
| | 05:08 | And then it makes it really easy to go back
and apply those to multiple images later on.
| | 05:12 | Okay, now they get back to where we all
started, I'm going to go ahead and do a
| | 05:15 | Select All, Command+A or Ctrl+A and I'll
just right-click on one of the selected
| | 05:18 | thumbnails from the Develop Settings menu.
| | 05:21 | I'll choose Clear Settings and this
will get us back to where we started.
| | 05:24 | Again, just reinforcing that none of
this is destructive, especially Presets.
| | 05:28 | It's just a powerful nondestructive
way of editing your images very quickly.
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| Using Image Processor to batch process multiple files| 00:00 | When you're ready to really automate
the batch processing of multiple files
| | 00:03 | with Camera Raw in Bridge, then your secret
weapon is a feature called Image Processor.
| | 00:09 | We're going to combine this feature with
the power of preset, which we discussed
| | 00:13 | in the previous video to really
streamline the production and creation of
| | 00:17 | multiple files in a variety of
file formats. So let's review.
| | 00:21 | We want to take advantage of the
presets and if you've already created the
| | 00:24 | presets, you'll see them in the Contextual menu.
| | 00:27 | If you right-click on the thumbnail and
go down to Develop Settings, you'll see
| | 00:30 | all the presets that you've already
created at the bottom of the menu.
| | 00:33 | If you haven't already done that yet
then you won't see any presets here.
| | 00:37 | So there's my Basic, Grayscale, Sepia
and Vignette that I've created before.
| | 00:40 | What I want to do now is
process let's say these three images.
| | 00:43 | I'm going to hold down the Command
key or the Ctrl key on Windows and just
| | 00:46 | select these three horizontal images here.
| | 00:48 | And I want to create low-resolution
JPEG versions of these that I'm going to
| | 00:52 | put up on say a Web Photo Gallery, and
high-resolution versions saved out as
| | 00:56 | either TIFF or a PSD file that I'm
going to use to print the files, say on
| | 01:00 | photographic paper or whatever.
| | 01:02 | Okay, so how do we go about this?
| | 01:04 | I've got my images selected.
| | 01:05 | I'm going to go to the Tools menu, pull-
down to Photoshop and choose Image Processor.
| | 01:11 | Now, when you choose this,
it pops you over to Photoshop.
| | 01:14 | So if Photoshop wasn't already opened,
it would've launched and it gives you
| | 01:17 | this very simple but powerful
dialog box presented to you.
| | 01:20 | The first thing that you'll see is,
which images do you want to run this on?
| | 01:23 | And since you've started from Bridge,
it guesses you probably want to use the
| | 01:27 | three images that you had selected
just to verify it gives you the number of
| | 01:30 | images that you had in your selection.
| | 01:32 | Here's the very important checkbox here,
Open first image to apply settings.
| | 01:36 | Now, what that does if it's turned on,
it actually brings up Camera Raw and
| | 01:41 | shows you the first image
that you had in your selection.
| | 01:43 | And then you can make any setting
choices you want within Camera Raw.
| | 01:47 | Since we've already got this presets
that we're going to leverage, I can just go
| | 01:49 | to the Presets panel,
choose the presets that I want.
| | 01:52 | When I clicked on or open an image in a
few moments here, what it's going to do
| | 01:55 | is use all those setting choices I
made on the first image and use those same
| | 01:59 | settings on all the
other images in my selection.
| | 02:01 | So step two is to actually choose the
location where you want these images to be saved to.
| | 02:06 | I'm going to go ahead and
just save that to my Desktop.
| | 02:08 | Here's where you choose how
many different File Types you want.
| | 02:10 | You can choose from JPEG, PSD or
TIFF, or all three at the same time.
| | 02:15 | So you can see I've got
JPEG chosen and PSD chosen.
| | 02:19 | I'm going to create both of them.
| | 02:21 | If you choose Resize to Fit, you get to
choose a pixel rectangle to fit your images into.
| | 02:26 | So if you have a mixture of
vertical and horizontal images in your
| | 02:30 | selection, they'll just fit within
that rectangle and be scaled or resized
| | 02:35 | to fit appropriately.
| | 02:36 | You can set a Quality setting since
these are just going to be low-resolution.
| | 02:40 | For quick approval or whatever, I'm
just going to choose Quality of 5 and embed
| | 02:43 | the sRGB color space, which is pretty
much the Web space into these files so
| | 02:48 | they look good in a Web browser.
| | 02:50 | And then I just turn on Save as PSD.
| | 02:52 | I don't want any scaling to happen
when I save out the Photoshop version.
| | 02:55 | So I'm not turning on
the Resize to Fit checkbox.
| | 02:59 | Okay, let's click the Run button
and take a look at what happens here.
| | 03:01 | It pops open Camera Raw as
described. It says great!
| | 03:04 | What settings do you want me to use in all
these images that you have in your selection?
| | 03:07 | I could manually go and use these
sliders and all the various panels available
| | 03:12 | in Camera Raw, or I can leverage the
existing presets by clicking on the Presets
| | 03:16 | panel, and choosing from my list
of presets that I want to apply.
| | 03:20 | So I'm going to do the Basic Color
Correction, converted to grayscale, make it a
| | 03:24 | Sepia Tone, and add this nice Vignette Effect.
| | 03:27 | When I'm done choosing the settings or
applying my presets, I'm going to click
| | 03:31 | the Open Image button and this image
processor will continue about its task here
| | 03:37 | of opening up each image in the Camera
Raw, applying those settings and saving
| | 03:41 | out both the JPEG and a Photoshop version.
| | 03:44 | And as soon as that's done, let's
go and take a look at the results.
| | 03:46 | There is the last file.
| | 03:48 | You can see its pretty fast.
| | 03:49 | We'll switch over to our Desktop and
we'll hide the Windows there and if you're
| | 03:53 | following along on the Mac, that's
Command+Option+H to hide everything but your
| | 03:57 | current view here in Finder.
| | 03:59 | You can see that it created a JPEG
and Photoshop file folder for all those
| | 04:04 | versions of the files that we saved out.
| | 04:05 | So if I double-click on JPEG,
there are the images that we saved and
| | 04:10 | their low-resolution versions, and
then in the Photoshop folder, there
| | 04:13 | are the versions here.
| | 04:14 | Now, I've already saved out version of
this, so I'm getting duplicates here, but
| | 04:18 | you guys get the idea.
| | 04:18 | It automatically created
separate folders for each File Type.
| | 04:22 | You didn't have to worry about that.
| | 04:23 | And I have low-resolution versions of
the JPEGs and the high-resolution versions
| | 04:27 | of the Photoshop files.
| | 04:29 | So there you can see combining the
power of Camera Raw presets with the Image
| | 04:33 | Processor is a really phenomenal way to
automate your workflow without having to
| | 04:38 | write Photoshop actions.
| | Collapse this transcript |
|
|
7. Photoshop Interface EssentialsOpening files from Adobe Bridge| 00:00 | So the standard way of opening a
file in Photoshop is to use just the
| | 00:03 | regular old "File > Open" menu
command and that just brings up your regular
| | 00:08 | operating system Open dialog.
| | 00:09 | And of course you'd navigate to in the
directory or folder that you are trying
| | 00:12 | to find your images in.
| | 00:13 | That's fine, it works. It's great.
| | 00:14 | There is actually I think a much more
visual way to open the images or find the
| | 00:18 | images that you want to open.
| | 00:19 | That's of course to use Adobe Bridge.
| | 00:21 | So rather than File > Open, you'll see
there is a "File > Browser in Bridge" command.
| | 00:26 | If you're a keyboard shortcut junkie you
can see Command+O or Ctrl+O on Windows.
| | 00:30 | This is for standard Open keyboard shortcut.
| | 00:32 | And then there is a variant of that Command+
Option+O or Ctrl+Alt+O to Browse in Bridge.
| | 00:37 | If I go ahead and choose that menu
command instead, that will switch you to a
| | 00:41 | different application called Adobe Bridge.
| | 00:43 | So there's one disadvantage there that
it is a separate App, but it's an App
| | 00:47 | meant for viewing and browsing and
finding images very easily, and then of
| | 00:51 | course you can see your visual thumbnails there.
| | 00:53 | I've a particular folder that I'm
working from here and if I want to open up a
| | 00:56 | file, you just simply double-click on
the thumbnail and that will pop that
| | 00:59 | back open in Photoshop.
| | 01:00 | I'm going to go ahead and close this
file by clicking the little Close box
| | 01:03 | in the document tab.
| | 01:05 | Instead of using the File menu you
also have a handy little button here in
| | 01:08 | what's called the Application Bar, and
it has little Bridge icon when you hover
| | 01:12 | over it tells Launch in Bridge.
| | 01:14 | So if you click on that you don't want
to memorize the keyboard shortcut, that's
| | 01:17 | a way to switch back over to Bridge.
| | 01:20 | And of course if Bridge wasn't already
open, this would have caused Bridge to
| | 01:23 | launch the first time there.
| | 01:24 | There is a boomerang button so if you
all you want to do is return back to
| | 01:27 | Photoshop and not open any additional
files here, you can click the boomerang
| | 01:31 | icon, and that's just a way to switch
back and forth by clicking buttons to go
| | 01:35 | back and forth between Bridge in Photoshop.
| | 01:37 | One little variant bonus tip here.
| | 01:39 | Let's go back to Bridge for a second.
| | 01:40 | Here I was just double-clicking on a JPEG.
| | 01:42 | If I double-clicking on this JPEG of
course it's going to open Photoshop.
| | 01:45 | This file here is a raw file.
| | 01:47 | It's got the file extension .dng.
| | 01:50 | Again if you're shooting on Canon that
might be CR2 or a Nikon it might be NEF,
| | 01:54 | but when you double-click on a raw
file, we got to see the file extension.
| | 01:58 | If it's a raw file, Bridge
intercepts that raw file and opens it up in
| | 02:01 | the Camera Raw dialog.
| | 02:03 | I'll go ahead and double-click on that and
some of you've probably already seen this before.
| | 02:06 | I'm going to go ahead and hit
Cancel to take this back to Bridge.
| | 02:10 | If I clicked at the Open Image button,
then it would pass this on over and open
| | 02:14 | it up inside Photoshop.
| | 02:15 | Here is the bonus tip, whenever you
see a file in Bridge that has this little
| | 02:19 | icon here in the upper-right corner of
the thumbnail, that's your Settings icon.
| | 02:25 | It lets you know that this file has had
settings applied to it in the Camera Raw dialog.
| | 02:29 | And of course this is relevant
for both JPEGs and Raw files.
| | 02:32 | And if you see that you may have already
chosen the setting as you want for this
| | 02:35 | particular image, and you don't really
want to have to open it up back in Camera
| | 02:39 | Raw before it goes into Photoshop.
| | 02:41 | So if that's what you're wanting, just
hold-down the Shift key and double-click,
| | 02:45 | and that will skip the Camera Raw
dialog and open that up in Photoshop and use
| | 02:50 | the settings that were saved for that file.
| | 02:52 | So there we have it, a couple of
different ways to open files, standard File >
| | 02:55 | Open command or the more visual
approach by using Adobe Bridge.
| | Collapse this transcript |
| Opening files from Mini Bridge| 00:00 | So it turns out there is actually
three different ways to open files in to
| | 00:03 | Photoshop, the first one
is that File Open Command.
| | 00:05 | File Open, there is Browse in Bridge which
takes you out of Photoshop to Adobe Bridge.
| | 00:11 | And then there's a new way to do this
in Photoshop CS5 called Mini Bridge.
| | 00:15 | So if we take a look in the
Application Bar up here in the top.
| | 00:18 | There is the Big Bridge button, and if you
click that, it switches you over to Adobe Bridge.
| | 00:21 | And to the right of that is the new Mini
Bridge icon, and if I click that button
| | 00:25 | that launches Mini Bridge as a panel.
| | 00:28 | Now Mini Bridge is basically just the
file browsing capabilities of the Big
| | 00:32 | Bridge, and a panel that can be floated
and resized and repositioned and put any
| | 00:36 | where you want on your screen.
| | 00:38 | Or even move to a second monitor if you want.
| | 00:40 | And it allows you to do file
browsing without actually having to switch
| | 00:43 | outside of Photoshop.
| | 00:45 | This is what it looks like
the first time you open it.
| | 00:47 | It's got a Browse Files button.
| | 00:49 | I'll go ahead and click
on the word Browse Files.
| | 00:51 | And this takes you to the last location
that you were browsing within Photoshop here.
| | 00:56 | I'm going to actually go
back to my Desktop here.
| | 00:58 | And you can see on the Desktop
I have an Exercise Files folder.
| | 01:01 | I am going to go ahead and double-
click on that to open that folder.
| | 01:03 | And then I'll get into the chapter that
I am particularly working on right now.
| | 01:06 | And here are the images that
are in that particular folder.
| | 01:09 | So you have nice happy little icons.
| | 01:11 | If you want to open a file you just
simply double click on the thumbnail and
| | 01:14 | it opens that file.
| | 01:16 | Now it doesn't collapse the Mini
Bridge panel as part of that process.
| | 01:19 | So to collapse it after the fact just go
ahead and click on the word Mini Bridge
| | 01:23 | in the title of the panel here
and it will close it back up.
| | 01:27 | Okay so let's go ahead and
close this particular file.
| | 01:29 | And we will just use the little close
box in the document tab up here and click
| | 01:32 | that to make it go away.
| | 01:34 | Again as a reminder, I'd like to
point out the Mini Bridge icon in the
| | 01:37 | Application Bar, because if you're in a
different workspace or you have actually
| | 01:41 | pulled it out of the
dock and actually closed it.
| | 01:43 | Typically where you go to
reopen panels is the Window menu.
| | 01:46 | If I go to the Window menu up here at
the top and you start looking for Mini
| | 01:49 | Bridge, you'll see it starts with an M.
But it's not listed in the Ms in the
| | 01:53 | list, because Mini Bridge is under the
submenu of Extensions and so a lot of
| | 01:58 | people are going to miss that fact.
| | 01:59 | So you don't need to really
remember where it is in the menu system.
| | 02:03 | Just know that this icon will always
be there as long as you have got the
| | 02:06 | Application Bar turned on.
| | 02:07 | That's on by default so leave it on.
| | 02:09 | And no matter where your panel
has been located previously, if you
| | 02:12 | accidentally closed it.
| | 02:13 | You can always get it right back with
that single click on the Mini Bridge icon.
| | 02:17 | Now in addition to double-clicking on a
thumbnail, you also can drag and drop.
| | 02:21 | So I am going to drag that thumbnail
into the Photoshop, main Window space there
| | 02:24 | and you can see that opens the file as well.
| | 02:27 | If I drag and drop another file,
so we will take this thumbnail here.
| | 02:30 | Drag that into an existing window.
| | 02:33 | You'll see we are actually going to add
that file as a layer in the existing document.
| | 02:38 | So now you can see that word Fence,
that's the name of the file, is coming in as
| | 02:42 | a second layer in this Fall file.
| | 02:45 | So we won't get into some of the
specifics her, but it's actually turning it
| | 02:48 | into what we call a smart object.
| | 02:50 | We will cover that later.
| | 02:51 | But if I hit the return key or the
Enter key, that will apply the addition of
| | 02:56 | that file as a layer.
| | 02:58 | Turning it into a smart
object in the Layers panel.
| | 03:00 | Now, what if you didn't really want to drag
and drop one file into another file as a layer.
| | 03:05 | You just want to drag and drop
to open it as a separate window.
| | 03:08 | Well to do that let's grab this file
here and drag and drop it, and instead of
| | 03:12 | dragging it into the current document window.
| | 03:15 | Just drag it to this dark gray of the
document tab strip, up here on the top.
| | 03:20 | And if I let go, then it will open that up
as a separate window in its own document tab.
| | 03:25 | And there you can see that it accomplished that.
| | Collapse this transcript |
| Customizing the Mini Bridge panel| 00:00 | When you first open up the Mini
Bridge panel, let's so ahead and do that by
| | 00:03 | clicking on the Mini Bridge icon in
this panel dock over here on the right.
| | 00:07 | And again if you are not seeing that
you need to be in the Essentials Workspace
| | 00:10 | by clicking on the word Essentials at
the top, or just simply clicking on the
| | 00:13 | Mini Bridge icon in the Application Bar as well.
| | 00:16 | You will see when it first opens up.
| | 00:17 | It's been arranged as kind of a vertical panel.
| | 00:20 | You have got some navigation
options up here on the top.
| | 00:23 | And then your Content area is
displayed here on the bottom.
| | 00:26 | I don't find this initial view all
that useful because it's just a single
| | 00:29 | column of thumbnails.
| | 00:30 | I want to see a lot more thumbnails there.
| | 00:32 | So the first thing you can do is to take
your mouse to the left edge of the Mini
| | 00:35 | Bridge panel, we are just
going to click and drag that.
| | 00:37 | And make it more of a horizontal panel.
| | 00:39 | And I can also resize it from the
bottom and just change the Layout here.
| | 00:43 | So once you snap it to a particular
proportion here or shape, the navigation
| | 00:47 | ends up on the left.
| | 00:48 | And I find the little bit more convenient.
| | 00:50 | You can also collapse that area down or
you can even turn that away because you
| | 00:53 | have the Path Bar up here at the top as well.
| | 00:56 | Point being is that you can rearrange
the size of panel, so you can see more or
| | 01:00 | fewer thumbnails depending on your taste.
| | 01:02 | You can also of course change the size
of the thumbnails and make them a lot
| | 01:05 | smaller and you have a lot of flexibility there.
| | 01:08 | And then other ways you can
customize your current view.
| | 01:10 | You have some Filtering options up
over here on the upper right-hand corner.
| | 01:14 | And then you have some Display
options here in the bottom right corner.
| | 01:17 | I'm currently viewing the images as Thumbnails,
if you want you can change them to Details.
| | 01:21 | So you will actually see a large
thumbnail on the left and then a bunch of file
| | 01:24 | information about that on the right.
| | 01:26 | Let's scale the thumbnails down, so I can see
more information to the right of the thumbnail.
| | 01:30 | And if you want to change that back to
thumbnails I could just click on that
| | 01:32 | View option again, the bottom right
corner and choose As Thumbnails again.
| | 01:36 | So couple of different things to do there.
| | 01:38 | By default these thumbnails
are arranged alphabetically.
| | 01:41 | That's the way they are being sorted.
| | 01:43 | So if you take a look up
here you have got a Sort menu.
| | 01:46 | And I can pull down and say I want
them By File Size, By Rating, by any of
| | 01:50 | these categories here.
| | 01:51 | I typically just leave it By Filename.
| | 01:53 | Once you've clicked on a thumbnail in
particular folder that you have navigated to.
| | 01:57 | You have now put, what we call UI
Focus in that particular panel, which means
| | 02:02 | you can start typing the first few
letters of the file that you want to jump to.
| | 02:05 | So for instance if I want to open up
the Weeds file, if I type the letter W. It
| | 02:09 | will jump and select that particular thumbnail.
| | 02:13 | If you haven't clicked in the
panel before you start typing.
| | 02:16 | What you are going to end up
doing is actually switching tools.
| | 02:18 | Because every tool in
Photoshop has a letter assigned to it.
| | 02:21 | You can simply type to switch from tool to tool.
| | 02:23 | So the trick here is you make sure you
click in the panel first and then that's
| | 02:27 | putting the UI focus.
| | 02:28 | You can see there is a blue highlight in
the Content area, letting you know that
| | 02:31 | you have got to focus there.
| | 02:32 | And if I type W, it goes
to the first W on the list.
| | 02:34 | In this case its Weeds, if I
type wi, it takes me to Winter.
| | 02:38 | Once I have that file then selected
after typing the first few characters.
| | 02:41 | I can either double-click on it or I
can press the Enter or Return key to open
| | 02:45 | that file in Photoshop.
| | 02:47 | Again the Mini Bridge panel stays open
after you've opened a particular file.
| | 02:51 | So if you want to collapse that you
just click on the word Mini Bridge again to
| | 02:54 | dismiss it, have it go away.
| | Collapse this transcript |
| Changing Mini Bridge so it auto-collapses| 00:00 | So we have watched some of the
other videos about using Mini Bridge.
| | 00:03 | There was one particular issue that I want
to review and then show you how to resolve it.
| | 00:07 | Let's open up the Mini Bridge panel, we
can do this over here in the panel Dock
| | 00:11 | or up here in the App Bar, by
clicking the Mini Bridge icon.
| | 00:14 | If I double-click on a file to open it
inside Photoshop, you will see that that
| | 00:18 | Mini Bridge panel stays open.
| | 00:20 | And I can't just simply click somewhere
outside of the panel to get it to close.
| | 00:23 | I either need to click on this little
double Chevron up here in upper right hand
| | 00:26 | corner or click on the actual title of
the panel, the Mini Bridge word here to
| | 00:30 | get that to collapse.
| | 00:31 | So that's the default behavior.
| | 00:33 | It turns out you can actually
change the default behavior.
| | 00:35 | And let's go ahead and do that.
| | 00:37 | We can right-click on the darker gray
strip above the panel dock, so either
| | 00:41 | one of these is fine.
| | 00:42 | We will go to right click
here using the two button mouse.
| | 00:44 | And choose Auto-Collapse iconic panels.
| | 00:47 | Let's turn that on, make sure the
checkmark is there, let's go back and take a
| | 00:50 | look at it again, right-click.
| | 00:51 | You can see it's turned now.
| | 00:52 | So let's go open up a different file we will
go ahead and close Fence.jpg this file here.
| | 00:57 | Open up a different file.
| | 00:59 | Just double-click on any one.
| | 00:59 | It doesn't really matter.
| | 01:01 | And now I can click anywhere
outside the panel to make it go away.
| | 01:04 | So if you think you are going to be
using Mini Bridge panel often, I tend to
| | 01:08 | use it quite a bit.
| | 01:09 | This is a nice little behavior to change.
| | 01:10 | Against just right-click in the dark
area and make sure Auto-Collapse iconic
| | 01:14 | panels is turned on.
| | 01:15 | It will make your Mini Bridge
browsing experience just a little bit better.
| | Collapse this transcript |
| The Application frame| 00:00 | When it comes to Mac versus Windows
versions of Photoshop, they are almost identical.
| | 00:04 | There is one initial difference when you
first launch the application on the Mac
| | 00:08 | that you would not see if
you're running on Windows.
| | 00:11 | So right now I've got Photoshop
open here and you can see this blue
| | 00:14 | background behind Photoshop.
| | 00:16 | That's the Desktop when running on the Mac.
| | 00:18 | And this is a traditional thing that people
have been using Mac for years are used to.
| | 00:23 | It's this notion of being able to see
through the application behind to either
| | 00:27 | other applications or in this case the Desktop.
| | 00:29 | So if I were to click any where in this
blue area here, I would be taken out of
| | 00:32 | Photoshop and back to my Desktop.
| | 00:34 | I am going to go back to
Photoshop here by using Command Tab.
| | 00:37 | There is a different setting that
changed the behavior of how Photoshop behaves
| | 00:42 | as an overall application.
| | 00:43 | And under the Window menu at the
very bottom here there is something
| | 00:46 | called Application Frame.
| | 00:47 | Now if you are using a Windows version
of Photoshop, this isn't an option you
| | 00:51 | can turn on and off.
| | 00:52 | Because this is how Windows
applications typically have always worked.
| | 00:56 | Instead of being able to see through
your application and click outside of it,
| | 01:01 | by clicking on any part that you can see.
| | 01:02 | It puts the entire
application in one single window.
| | 01:06 | And Photoshop is now calling
this the Application Frame.
| | 01:09 | Now there are some pros and cons.
| | 01:11 | If you are Mac user, it
might take some getting use to.
| | 01:12 | You may choose to turn this option
off after you play with it for a while.
| | 01:16 | Again it's off by default, I went
to the Window menu and turned it on.
| | 01:20 | And Windows users, it's always this way.
| | 01:22 | What this does give you though is the ability
to move the entire application as a single unit.
| | 01:26 | I can even move it to a second window.
| | 01:28 | Or I can even resize the Application
Frame by going to the bottom right-hand
| | 01:31 | corner, and stretching it
across more than one monitor.
| | 01:35 | If I actually have two monitors setup,
or I can make it any size I want.
| | 01:38 | The nice thing about this is that the
panels and documents that are open in
| | 01:42 | Photoshop, at any given time here, will
automatically be contained within this
| | 01:46 | Application Frame as well.
| | 01:47 | So everything is self-contained.
| | 01:49 | And of course if you want you can
maximize the window by clicking the plus sign
| | 01:53 | or the green orb here on the
Mac in the left-hand corner.
| | 01:56 | On Windows there would be an Expand
button in the upper right-hand corner.
| | 01:59 | So for the rest of this course, I am
going to have the Application Frame turned on.
| | 02:02 | I have actually gotten kind
of used to it, and I like it.
| | 02:04 | Again some people have some strong
feelings about whether or not a Mac App
| | 02:07 | should behave this way or not.
| | 02:08 | So that's why it's off by default on the Mac.
| | 02:11 | You can always turn it on or off to
your liking, but I've gotten used to it and
| | 02:14 | I am going to keep it on.
| | Collapse this transcript |
| The Application bar| 00:00 | Another piece of interface chrome to
talk about and point out right away is
| | 00:03 | something called the Application Bar.
| | 00:05 | That's this horizontal strip
at the very top of the window.
| | 00:08 | It's just an icon bar basically for
housing some pretty common things.
| | 00:11 | You might want access to often.
| | 00:13 | That's also where you have
your workspace switchers.
| | 00:16 | We'll talk about that later.
| | 00:17 | Right now, we are at the Essentials workspace.
| | 00:19 | Over here, on the left, are the
browsing Bridge button, the Mini Bridge button.
| | 00:23 | Some options for changing the current
Rulers and Grids and Guides, instead of
| | 00:27 | having to remember what menu those are
under, they just put a convenient button
| | 00:30 | here in the App bar.
| | 00:31 | So, if I want to show my Rulers, I
don't need another keyboard for that.
| | 00:34 | I can just go up to that little icon
there and it's a pop-down menu there.
| | 00:37 | Some common view percentages, if I want to
jump to 100%, I have a quick way to do that.
| | 00:41 | If I want to jump to 200% or
get back to 50% and so forth.
| | 00:45 | When you are working with multiple
documents open, we only have one open, right now.
| | 00:48 | But when you have multiple documents
open, you have a way to arrange the
| | 00:51 | documents on the screens.
| | 00:52 | So, you can tile them
horizontally, vertically and so forth.
| | 00:55 | Then you have got some Screen
mode options as well, the default is
| | 00:58 | Standard Screen mode.
| | 00:59 | If I put this to Full Screen Mode With
Menu Bar, that puts the image behind the
| | 01:03 | panels and maximizes your
screen real estate there.
| | 01:06 | Then you just pan around with the Hand
tool instead of using your scroll bars if
| | 01:09 | there is parts of the image that you can't see.
| | 01:11 | We'll take that back to the Standard
Screen mode to get it back to the default.
| | Collapse this transcript |
| Switching and saving workspaces| 00:00 | One of the great things about
Photoshop is that it's a very deep product.
| | 00:04 | It has a ton of functionality and lot of
tools, lot of features that help you do
| | 00:07 | just about anything you want
to do with your digital images.
| | 00:09 | The flip side of that is that there's a
lot to absorb, a lot of panels, a lot of
| | 00:12 | tools and lot of menu commands.
| | 00:14 | What this Workspace feature inside
Photoshop allows you to do is kind of
| | 00:18 | filter down the number of features and panels
that you might want to be using at any given time.
| | 00:22 | So, if we take a look here, we are
looking at the opening experience.
| | 00:25 | When you first open Photoshop,
it's in the Essentials workspace.
| | 00:29 | All that really means is that there are
certain panels that have been chosen to
| | 00:31 | be open by default and docked and
located in certain locations on the screen.
| | 00:36 | So, you can see we have Color
and Styles group of panels up here.
| | 00:38 | We have Adjustments and Masks.
| | 00:40 | Then down here we have
Layers, Channels and Paths.
| | 00:42 | Now, of course these panels can be
rearranged and reordered and closed and opened.
| | 00:46 | What the workspaces to do is just
allow you to save these configurations.
| | 00:50 | So, that you can get
back to them with one click.
| | 00:53 | You can see there are several
workspaces that ship with the product.
| | 00:56 | That you can just click back and
forth, just kind of learn what the
| | 00:59 | workspaces are all about.
| | 01:00 | So, if I click on the word
Design up here in the App bar.
| | 01:03 | This is called the workspace switcher.
| | 01:05 | If I click on the word Design, you will
see the panels that are currently being
| | 01:09 | viewed in the Essentials workspace,
now switched to show you the panels that
| | 01:12 | were saved as part of the Design workspace.
| | 01:14 | So, things like Character and Paragraph
panels for formatting text, the Swatches
| | 01:18 | panel comes to the front.
| | 01:19 | The Adjustment panel goes away
because we are not necessarily doing image
| | 01:23 | editing or correction at that point in time.
| | 01:25 | If I switch to the Painting workspace,
I get my Brush Presets panel up here.
| | 01:29 | I have some other panels relevant to
painting up here in this Collapsed icon dock.
| | 01:34 | This workspace switcher
actually can be expanded.
| | 01:37 | There is a little gripper or
Drag resizer up to the left of this.
| | 01:41 | If I drag to the left, you can see
there's actually quite a few workspaces that
| | 01:45 | shipped built-in with the product.
| | 01:46 | These are called the default workspaces.
| | 01:48 | You can see there's a Photography
one now, a 3D one, if you've got
| | 01:51 | Photoshop Extended installed.
| | 01:53 | The Motion for doing
animations, working with video.
| | 01:56 | You can see the workspaces are popping
and changing things around on my screen.
| | 02:00 | One workspace that's kind of
interesting is the New In CS5 Workspace.
| | 02:04 | So, if you have been using Photoshop for while
and just wondering what the new features are.
| | 02:07 | If yourself are a new learner and you
are trying to figure out what's new.
| | 02:10 | If you click the What's New is CS5 Workspace.
| | 02:13 | What it does is it brings the new panels
that have either been added or modified.
| | 02:18 | Makes them in an iconic
view, but iconic with labels.
| | 02:21 | So, you can be sure to read to
read what the actual panels are.
| | 02:24 | But it takes a one step further, if
you go to the Window menu or the any of
| | 02:28 | the menus up here at the top, you will
see any menu command that's either been
| | 02:31 | modified or is brand new to this
particular version is highlighted in a blue color.
| | 02:37 | So, it just helps you spot what has
changed version over version and help you
| | 02:41 | find what might be of interest to you.
| | 02:42 | So, it turns out there is a new
HDR Toning adjustment command here.
| | 02:45 | So, by it being blue, it helps you find that.
| | 02:47 | Okay, I am going to switch
back to the Essentials workspace.
| | 02:50 | You will see it just gets it with one
click right back to where we were out
| | 02:54 | of the box experience.
| | 02:55 | Now, of course if you want to
rearrange these panels and customize their
| | 02:58 | configuration, you can certainly do that.
| | 03:00 | If you want to, you can then save
that configuration and give it a name.
| | 03:05 | I would just choose New Workspace and
give it a name, one we will call Michael.
| | 03:10 | Then it let's you choose whether
or not you want your custom Keyboard
| | 03:12 | Shortcuts or any customization you've done
with the menus to be included in that workspace.
| | 03:17 | We haven't really talked about that yet,
so I am going to leave those blank.
| | 03:18 | I'll go ahead and click Save.
| | 03:21 | Now, I am in the Michael workspace.
| | 03:22 | Now, because I haven't changed
anything around, it doesn't look any different
| | 03:25 | than Essentials, but you get the idea.
| | 03:27 | Okay, let's go back to the Essentials workspace.
| | 03:30 | If there is a workspace now that you want
to get rid of and delete, we can do that.
| | 03:33 | You can't delete any of the default
workspaces but we can delete the Custom
| | 03:37 | workspace that we just saved there, Michael.
| | 03:38 | To do that, we'll go to the
Popup menu choose Delete Workspace.
| | 03:42 | We'll choose the Michael
Workspace and delete it.
| | 03:44 | Yes, I really want to do that
blah, blah, blah, all right great.
| | 03:47 | Now, what I love about the workspace
switcher here is that, I can see all the
| | 03:51 | workspaces that I have as option.
| | 03:52 | It's just a one button click to
go back and forth between these
| | 03:55 | different configurations.
| | 03:57 | If I don't want to see all of them.
| | 03:58 | I can just drag that to the right
and only reveal the workspaces that
| | 04:02 | are important to me.
| | 04:03 | If I want don't want to take up any
screen real estate at all except for just
| | 04:06 | one just work space at a time, I can
Collapse it all the all way down and then
| | 04:09 | it just becomes just a menu.
| | 04:10 | Lot of flexibility here.
| | 04:11 | Let's take this back to Design, Painting.
| | 04:14 | There you have it, how
workspace works and what the default
| | 04:17 | workspaces, Essentials.
| | 04:18 | You can just click back and
forth to change your configurations.
| | Collapse this transcript |
| Panel management| 00:00 | One the most frequent interface pieces
that you'll be working with in Photoshop
| | 00:04 | of course are the panels.
| | 00:05 | That's where a lot other
functionality is stored.
| | 00:07 | If you take a look at the Window menu
you'll see there is the list of all the
| | 00:10 | available panels you have at your disposal.
| | 00:12 | You'll see some of them are already open.
| | 00:13 | The ones that are open
have checkmarks next to them.
| | 00:17 | There are some additional panels
under the Extensions sub-menu here, so the
| | 00:20 | things like Mini Bridge.
| | 00:21 | But for the most part, most of the
panels are listed here in alphabetical order.
| | 00:25 | If there is a panel that you want to
open that you don't see on your screen
| | 00:28 | already, go to the Window
menu and see and look for it.
| | 00:31 | Let's say I want the Character panel to open.
| | 00:33 | I'll go ahead and choose that panel.
| | 00:35 | That now popped-up on my screen.
| | 00:37 | You'll see that panels actually have different
states that they can be in at any given time.
| | 00:41 | So here on the right, I have some
some panels that are expanded completely.
| | 00:46 | I have some panels that are
in Icon mode or iconic mode.
| | 00:49 | The Character panel is opened as a drawer.
| | 00:51 | If I click on the word Character or
the icon of the Character panel, it
| | 00:54 | collapses that panel back into its icon.
| | 00:56 | So, these open and close as drawers.
| | 00:58 | If on a panel dock, that's a group of
panels that are docked together here in
| | 01:02 | a series of icons or over here in
expanded mode as well, I can resize the
| | 01:06 | panel dock by putting my mouse on
an edge of the dock and if I start
| | 01:11 | clicking-and-dragging to the left, you'll see
I actually revealed the names of the panels.
| | 01:15 | So, this is an Icon plus Label mode.
| | 01:17 | These still work as drawers.
| | 01:18 | So, if I click on the word Mini Bridge, you'll
see it pops open as a drawer. Click on History.
| | 01:22 | It pops open as a drawer, and so forth.
| | 01:24 | Over time, if you don't need to see
the names of the panels when they are
| | 01:28 | collapsed down like this, that's why
you have the ability to drag this back
| | 01:31 | to the right until they snap down all
the way just to Iconic mode, just to
| | 01:35 | save screen real estate.
| | 01:37 | If you want to expand a complete dock
to all the open panels, there is a little
| | 01:41 | Double Chevron at the top of the dock
and that will open that panel dock up as a
| | 01:45 | series of expanded panels just like
the one you see here on the right.
| | 01:48 | I'll go ahead and collapse that back
down by clicking the Double Chevron again.
| | 01:52 | That takes us back down
to the Collapsed Icon mode.
| | 01:55 | You'll see panels are also
on what we call panel groups.
| | 01:57 | So, you see these two panels.
| | 01:59 | Character and Paragraph are in a group,
there is a little dotted line here at
| | 02:03 | the top of the group, where you can
use to drag that group around, you can
| | 02:06 | either change the stacking order of
that and move groups around within a panel
| | 02:10 | dock or you can actually grab that
gripper and move it completely out of a dock
| | 02:14 | so that it's now a floating panel group.
| | 02:16 | If I want to expand that, click the
Double Chevron and it's now just a regular
| | 02:20 | floating panel like you might expect.
| | 02:21 | We can go ahead and close the panel by
clicking this little Close box in the
| | 02:24 | upper left-hand corner.
| | 02:25 | If I just want to close one panel
within a group, you'll see there is no close
| | 02:29 | box for that, there is no little X,
so you would need to right-click.
| | 02:33 | So, if I want to close Character,
right-click on the tab and choose Close
| | 02:37 | from the pop-up menu.
| | 02:38 | And now we are just left with that one panel.
| | 02:40 | Now, what I want to reopen Character and
group it back with the Paragraph panels.
| | 02:45 | So, if I go back to Window and choose
Character, You will see it remembers the
| | 02:48 | last time it was opened that it
was grouped with the Paragraph panel.
| | 02:52 | So, it remembers to go back
and regroup itself with that.
| | 02:54 | Okay, we'll go ahead and close that
panel group by clicking its Close box.
| | 02:58 | One other level of adjustment here,
you can actually rearrange the panels
| | 03:02 | within a group as well.
| | 03:03 | So, right now Adjustments in this
panel group is the first panel on the
| | 03:07 | left followed by Masks.
| | 03:09 | If I wanted Masks to be on the left,
just click on the tab and drag it.
| | 03:12 | You'll see you can rearrange the order of
the panels within a particular panel group.
| | 03:17 | So, that's kind of cool.
| | 03:19 | One other adjustment that I kind of
like to do is to hide my panels, not close
| | 03:23 | them from being usable, but
actually just to hide them from view.
| | 03:27 | This is an Adobe standard keyboard shortcut.
| | 03:29 | It works in all the Adobe apps.
| | 03:30 | If I hit the Tab key, that just
collapses the panels off to the side.
| | 03:34 | Now, they are not technically closed.
| | 03:36 | They are just hidden.
| | 03:37 | They've been kind of put into this Drawer mode.
| | 03:39 | So, if I mouse over to the left of the
screen on one of these little panel groups.
| | 03:43 | That little thick board that you saw
on the left screen, the Tools panel will
| | 03:46 | pop back open temporarily.
| | 03:49 | Then I can go and mouse
through and get the tool that I want.
| | 03:51 | And then, when I mouse out of that
panel dock, it recollapses itself.
| | 03:55 | So, if go back over to the right and
mouse over to the right edge, you'll see
| | 03:59 | that that panel group will pop open.
| | 04:01 | I can do whatever I want within this
particular panel group in panel dock.
| | 04:05 | As, I move out of that panel dock,
it again will collapse itself.
| | 04:08 | So, if want to reopen all the panels
back, so that they are in their expanded
| | 04:12 | state, hit the Tab key again, hit the toggle.
| | 04:14 | Now, they will stay open and
won't do this auto-collapse behavior.
| | 04:17 | If I ever want to turn that back on
again, you just simply press the Tab key.
| | 04:20 | You've got the best of both worlds.
| | 04:22 | So, lots of different ways to
manage and customize and rearrange and
| | 04:26 | interact with your panels. One last thing.
| | 04:28 | If you want to collapse a panel just
to its tab so it's still open and one
| | 04:32 | click away, but you don't want to have
it open on your screen taking up all the
| | 04:35 | screen real estate, Adjustments is a
good example of this, just double-click on
| | 04:38 | the word Adjustments and you'll see that
collapses it down just to the name of the tab here.
| | 04:42 | So, you have it.
| | 04:43 | Lots of flexibility.
| | 04:45 | You'll ultimately customize
the workspace to fit your needs.
| | 04:47 | Everyone kind of has their own style
of setting up the shop, so to speak.
| | 04:51 | Once you figure it out, you can then of
course save that as a workspace and give it a name.
| | 04:54 | So, you have a one click way to get
back to your particular configuration, if
| | 04:58 | you end up messing it up or so forth.
| | 05:00 | So for instance, if I click on the
word Design, this takes me back to the
| | 05:04 | pre-configured Design workspace.
| | 05:05 | If I click back on the word Essentials,
Photoshop actually remembers all the
| | 05:09 | adjustments I've done to
this specific workspace.
| | 05:13 | If I wanted to save this off and have
it separate from the original default
| | 05:17 | definition of the Essentials workspace.
| | 05:19 | Then I could simply choose from the
workspace menu, a New Workspace and give it a name.
| | 05:23 | I am simply going to choose Reset
Essentials to get it back to the default
| | 05:27 | version of that Essentials workspace.
| | Collapse this transcript |
| Switching tools using the keyboard| 00:01 | In addition to using and accessing
panels over here on the right-hand side of
| | 00:04 | the screen, you'll often be switching
from tool to tool to do certain things
| | 00:08 | in Photoshop, like painting and retouching
and making selections or cropping and whatnot.
| | 00:12 | As you might expect, every tool
has a shortcut assigned to it.
| | 00:16 | You can just simply press a single letter
on your keyboard to switch from tool to tool.
| | 00:20 | If you don't know what these
shortcuts are yet. That's okay.
| | 00:23 | You just simply hover over any
particular tool icon and if you pause just for
| | 00:28 | a second, it will tell you the name of the
tool and it's letter shortcut in parentheses.
| | 00:31 | So, here you can see it's the
Rectangular Marquee tool and the letter shortcut
| | 00:35 | is the letter M. There is the
Lasso and of course that one is L.
| | 00:38 | Here is the Quick Selection tool and
it's shortcut is W. So, some of these
| | 00:43 | make sense and some of them they run out of
keys or they are already taken by other tools.
| | 00:47 | So, C for Crop, I for the Eye
Dropper tool and so on down the list.
| | 00:52 | Most of these I can make sense.
| | 00:53 | If you want the Type tool, you press T.
If you want the Pen tool, you press P.
| | 00:57 | If you want the Healing Brush, you press
J. That's one that's like why they call
| | 01:02 | it J and that's kind of how you remember it.
| | 01:04 | The Healing Brush has
actually several different options.
| | 01:07 | So, the first one is the Spot Healing
Brush and that brings me to my next point.
| | 01:10 | If you actually look at some of these
tools, what are called tool slots, you'll
| | 01:14 | see that each have these little
triangles in the bottom right-hand corner.
| | 01:19 | That's your visual clue that there are
more than one tool in that given tool slot.
| | 01:23 | You can see almost all the tools have
additional tools buried underneath them
| | 01:28 | except for the Move tool.
| | 01:29 | If a tool has more the one option, if
you just click-and-hold on that tool icon,
| | 01:34 | you'll get a little pop-up menu
showing you the other tools in the slot.
| | 01:37 | You'll see they all have the same
shortcut J. But yet when I press J multiple
| | 01:42 | times it's not cycling between those tools.
| | 01:45 | So, to do that, you need to
add the Shift key to that.
| | 01:47 | So, if I hold down Shift+J I can
cycle through the various options of the
| | 01:53 | Healing Brush tool set.
| | 01:55 | So, there's the Spot Healing Brush,
there is the Regular Healing Brush, there is
| | 01:58 | the Patch tool and then
there is the Red Eye tool.
| | 02:00 | So, they all have the same letter
shortcut but to cycle through them, you hold
| | 02:04 | down the Shift key to go back and forth
between the tools within any given slot.
| | 02:08 | So, same thing for Marquee tool.
| | 02:09 | If I press the letter M that takes
you to the Rectangular Marquee tool.
| | 02:13 | If I press Shift+M, that switches you
to the Elliptical Marquee tool, Shift+M
| | 02:18 | takes you back to the Rectangular, so
you are going to cycle through the various
| | 02:21 | tools in any given tool slot.
| | 02:24 | Now, I particularly like the way the
tools are organized by default, there in a
| | 02:28 | single column on the left-hand side.
| | 02:30 | If for some reason, you want to expand
that to a double column, there is this
| | 02:34 | little Double Chevron in upper left-hand
corner of the Tools panel that lets you do that.
| | 02:39 | I think, this a waste of screen real estate.
| | 02:41 | So, I like to make it back down to the
standard to single column now. There you have it.
| | 02:45 | You don't need to worry about
memorizing all the shortcuts, right now.
| | 02:49 | Over time, your brain will just
start remembering these things.
| | 02:52 | You won't even think about anymore.
| | 02:53 | As a matter of fact, often times you
won't even go to the Tools panel anymore
| | 02:57 | and look for the tool icon to click on.
| | 02:59 | You'll think I want the Brush tool.
| | 03:00 | You'll just press the
letter B right where you are.
| | 03:04 | It's amazing how fast that happens for you.
| | 03:06 | So, over time learn a few new ones here
and there, add them to your vocabulary,
| | 03:10 | so to speak and pretty soon,
you will be a Photoshop master.
| | 03:14 | Fingers fly on all of the keyboard
to get to the tools that you want.
| | Collapse this transcript |
| Customizing the keyboard shortcuts| 00:01 | So I realize when you're first starting
out learning a new product, you're not
| | 00:03 | necessarily focused on learning keyboard
shortcuts to open up menus and commands
| | 00:08 | and switch toggles and so forth.
| | 00:09 | But as you become more familiar with
the interface, you'll find that you
| | 00:13 | start picking up these keyboard
shortcuts and you'll the start seeking them
| | 00:16 | out and wondering how you can get
faster, and not have to remember what menu
| | 00:19 | something is under.
| | 00:20 | So for instance, a shortcut that I
use often is the Image Size dialog box.
| | 00:25 | That just happens to be Command+Option+I
or Ctrl+Alt+I on Windows and that opens
| | 00:29 | up the Image Size dialog box, where
you could change the Resolution and
| | 00:33 | Dimensions of your particular file and so forth.
| | 00:35 | I'm going to hit Cancel here.
| | 00:36 | Under the Image menu is where that command is.
| | 00:39 | Image > Image Size and you can see
that if a menu command has a keyboard
| | 00:43 | shortcut assigned to it,
it's listed in the menu.
| | 00:45 | It has these little symbols that
represent different keys in the keyboard.
| | 00:49 | So that little highway intersection
symbol, what some people call it, the
| | 00:52 | Command key is what that symbol means.
| | 00:54 | This little symbol means the Option key.
| | 00:57 | The Shift key is typically an up arrow
and on PC, your little icons are a little
| | 01:01 | different because you have
a Ctrl key or an Alt key.
| | 01:04 | My point is certain menu commands have
keyboard shortcuts and certain ones don't
| | 01:08 | and over time, you may decide that a
menu command that has the keyboard shortcut
| | 01:13 | isn't the one you wanted to be.
| | 01:15 | You may want it to be a different
shortcut that makes sense to you, or you may
| | 01:19 | want to add a keyboard shortcut to menu
command that doesn't currently have one.
| | 01:23 | So, without getting into a lot of
detail, I just want you to know that
| | 01:25 | pretty much all the Adobe products
have the ability to customize the
| | 01:29 | keyboard shortcuts.
| | 01:30 | There is a few exceptions, but
Photoshop is certainly one that let's you do it.
| | 01:33 | It's under the Edit menu.
| | 01:35 | It's up towards the bottom of the list.
| | 01:36 | You can see this is a really long
menu, Edit > Keyboard Shortcuts, and as
| | 01:41 | a little joke there, what's the keyboard
shortcut for the Keyboard Shortcut Editor.
| | 01:44 | When in doubt, hold down the
entire left-hand side of your keyword,
| | 01:46 | Command+Option+Shift+K, Ctrl+Alt+
Shift+K, and that will open up your
| | 01:49 | Keyboard Shortcut Editor.
| | 01:52 | So let's say that you wanted to add a
menu Command for something under the Image
| | 01:57 | menu that doesn't currently have one.
| | 01:58 | Let's say you wanted just a very
quick keystroke for changing an image to
| | 02:01 | grayscale, just as a silly example.
| | 02:04 | So under the Image menu, there is the Mode
sub-menu and there is the Grayscale command.
| | 02:09 | You just click on the command that you
want to add a keyboard shortcut to and
| | 02:12 | you type a keyboard shortcut.
| | 02:14 | So, let's see if we can come up
with something that's not already used.
| | 02:16 | So I'll do a Command+Option+Shift+G,
hold all three down and there it is.
| | 02:20 | I've now got a keyboard
shortcut for the Grayscale command.
| | 02:23 | Now, this particular key
combination was not already in use elsewhere.
| | 02:28 | If it had been in use on another menu
Command, I would've gotten a warning here,
| | 02:31 | letting me know, hey!
| | 02:32 | Are you aware that this is already in use?
| | 02:34 | And then you can either choose a
different keyboard shortcut or go ahead and
| | 02:36 | accept that change, and take it
away from that other menu Command.
| | 02:39 | So I'm going to go ahead and hit the
Accept button, click OK and now you can see
| | 02:43 | Command+Option+Shift+G will bring up the
Convert to Grayscale color information.
| | 02:48 | Gives you a warning that, do
you really want to do that?
| | 02:50 | Yes, I'm going to do that and I get that effect.
| | 02:52 | So, that was kind of a silly example,
but the point I'm trying to get across
| | 02:55 | is as you become more familiar with
Photoshop, there will come a time where
| | 02:59 | you want additional menu keyboard
shortcuts or to change the ones that already exist.
| | 03:04 | It's under the Edit menu, Edit >
Keyboard Shortcuts is your ticket to do
| | 03:07 | just that.
| | Collapse this transcript |
|
|
8. Documents and NavigationTabbed documents| 00:00 | By default, when you open up
documents in Photoshop, they are opened up in
| | 00:03 | what's called document tabs or tabbed windows.
| | 00:06 | So, let's go ahead and do that.
| | 00:07 | Let's go to Mini Bridge here.
| | 00:08 | And we'll go ahead and just
select one of these images.
| | 00:11 | When it opens up, here
is what I'm talking about.
| | 00:12 | It opens up as a document tab
instead of a floating window.
| | 00:17 | Now let's go ahead and open up a
couple of other documents here.
| | 00:19 | Let's go ahead and select this
image here, and maybe that image there.
| | 00:23 | We'll open up these two as well.
| | 00:24 | We'll do the Fence as well. Okay.
| | 00:25 | So now I have three documents.
| | 00:29 | They're all in their
individual tabs in one content area.
| | 00:33 | Now if I want to switch from
document to document, that's real simple.
| | 00:36 | You just click on the tab of course.
| | 00:38 | If the arrangement of the tabs is
meaningful to you, if you want them to be in a
| | 00:42 | certain order, you can certainly drag
the tabs from left to right to rearrange
| | 00:46 | their order, just like you can with
just regular panels over on the right here.
| | 00:51 | If for some reason you want to
float a particular window, you can just
| | 00:54 | click-and-drag the tab and drag it
out of the tab row there and let go.
| | 01:00 | Now that will be a floating window,
which means you can move that to a second
| | 01:03 | monitor or position it freely
where you want on the screen.
| | 01:06 | You can of course float as many of
these windows as you wish and move them
| | 01:10 | around individually, stack them
on top of each other and so forth.
| | 01:13 | If you want to group floating windows
and tab them together so to speak, then
| | 01:18 | just drag the title bar of a
particular window to one of the other windows.
| | 01:23 | And you'll see a blue highlight up here,
letting you know that's kind of a drop zone.
| | 01:26 | So when I let go, that floating
window now becomes tabbed with these two
| | 01:30 | documents inside it.
| | 01:32 | And then if I want to redock this
entire floating window back to the main
| | 01:37 | document window, I can go ahead and drag and
drop it into that tabbed area there as well.
| | 01:42 | So, lots of different ways to arrange
documents on your screen and treat them
| | 01:47 | as tabs, kind of like in a web browser, if
you're familiar with that experience there.
| | 01:51 | Of course, to close a particular
document, you just click its close box in the
| | 01:55 | left-hand corner of the document tab
if you're using the tabbed document
| | 01:59 | feature there.
| | Collapse this transcript |
| The Arrange Documents widget| 00:00 | You can see here I have three open
documents that are all arranged in tabs.
| | 00:04 | I can click back and forth between
them to switch between each open document.
| | 00:07 | There comes a time though when you
might want to compare the multiple
| | 00:09 | images side by side.
| | 00:10 | So you may want to split up the
available screen area to divvy it up among
| | 00:15 | the open documents.
| | 00:16 | So to do that, you use the Arrange
Documents widget and that's up here in the App bar.
| | 00:21 | It looks like this little grid of images here.
| | 00:23 | If I click on the button, I get a drop-down
menu and you can see I've got some options.
| | 00:28 | Now some of the options are available and
some of them aren't. This is context sensitive.
| | 00:32 | So it knows how many images you have open.
| | 00:35 | So since I only have three, any of the
thumbnails here that represent four or
| | 00:39 | more layouts of these document
windows are grayed out, because they're not
| | 00:43 | relevant, because I only have three open.
| | 00:45 | So, if I want to split up the
available area into three equal amounts of
| | 00:49 | vertical space, I'd just choose the 3 Up button.
| | 00:51 | You can see it divvies those up quite nicely.
| | 00:54 | If I want to change that to horizontal,
because maybe they're horizontally
| | 00:57 | arranged images or whatever, I'll
choose the 3 Up horizontal and I've got
| | 01:00 | that particular layout.
| | 01:02 | If I ever want to recombine them into a
single window again, just click on the
| | 01:06 | document that you want
to be the active document.
| | 01:08 | So I want them all to be rearranged
and have Flowers be the active document.
| | 01:11 | I'm going to go back to the
Arranged Documents widget and choose the
| | 01:15 | Consolidate All button.
| | 01:16 | That's that first button in the upper-
left-hand corner and choose that and they
| | 01:19 | all become one mannish window
again, with Flowers being active.
| | 01:23 | So, very quick ways just to divvy up
the available screen real estate for the
| | 01:27 | images that you have open.
| | 01:29 | So you can do nice before and afters
or compares of multiple images that
| | 01:32 | are similar or just so you can see
as many images as you want in the
| | 01:35 | available screen real estate.
| | Collapse this transcript |
| How to stop Photoshop from tabbing documents| 00:00 | So as you've probably already
experienced when you open up a document inside
| | 00:03 | Photoshop, it opens up in
this tabbed document manner.
| | 00:07 | So, let's go ahead and double-click on an image.
| | 00:09 | From Mini Bridge, it will
open up as a tabbed window.
| | 00:12 | Some people don't like this feature.
| | 00:14 | They like to go back to the old way or the
standard way of just having floating windows.
| | 00:19 | So go ahead and click-and-drag a
tab out and float it. That's fine.
| | 00:22 | That changes that one window.
| | 00:24 | But the next time you open up another
image, let's go back to Mine Bridge and
| | 00:27 | choose a different image, you'll see
that will open up tabbed in the floating
| | 00:31 | window, whatever the active window is.
| | 00:33 | So you're like, ah!
| | 00:34 | I didn't want that.
| | 00:35 | So you drag that tab and now it's floating.
| | 00:37 | But it's just going to
continue to repeat that behavior.
| | 00:39 | Well, it turns out, you
can do something about it.
| | 00:41 | If you don't like this tabbed document
feature and you just want to work with
| | 00:45 | floating windows, just because you
like being able to move them around
| | 00:48 | wherever you want in more of a free-
form manner, then there is actually a
| | 00:51 | Preference for you to change that.
| | 00:53 | The Preferences can be found on the
Macintosh under the Photoshop menu and on
| | 00:57 | the Windows, it would be under the Edit menu.
| | 00:59 | I do like to know the keyboard
shortcut for this one because I go to
| | 01:02 | Preference frequently.
| | 01:03 | So it's Command+K or Ctrl+K to
open up the Preferences dialog.
| | 01:08 | In the Interface section of your
Preferences there is this right here, Open
| | 01:12 | Documents as Tabs, and if you turn that
off and then click OK, let's go open up
| | 01:17 | a third image by going to Mini Bridge.
| | 01:19 | We'll just choose this
image here, double-clicking.
| | 01:23 | You'll see that it will now open as a
floating window instead of getting tabbed
| | 01:27 | either in the application frame or
in whatever the active window was.
| | 01:31 | Okay, that's great!
| | 01:32 | But there is one
additional thing to be aware of.
| | 01:35 | You might be dragging this window around.
| | 01:38 | Even though we didn't open this tab,
you'll see that if you're not paying
| | 01:41 | attention, you can accidentally still
get it tabbed with another window or in
| | 01:46 | this example, I'll pull this back out.
| | 01:48 | Get it tabbed back into the
Application Frame as well.
| | 01:51 | You're like well, why is that happening?
| | 01:53 | Where is my other open documents?
| | 01:54 | Well, this has now come to the front.
| | 01:56 | Those floating windows were behind,
because you can still have the ability to
| | 02:00 | tab it into the View area.
| | 02:02 | So, now I need to go to the Window
menu, bring that window to the front.
| | 02:06 | Window menu again, bring that
window to the front and so forth.
| | 02:09 | So how do you kill the
tabbing document feature altogether?
| | 02:13 | That one preference, we just only turn off
the behavior when a document gets opened.
| | 02:18 | It doesn't disable tabbing altogether.
| | 02:20 | To do that, there is one
more option in Preferences.
| | 02:23 | So again, I'm going to do Command or Ctrl
+K to bring up Preferences or under the
| | 02:26 | Photoshop menu, choose Preferences.
| | 02:28 | The advantage of using the menu is
that you can actually skip to the specific
| | 02:32 | category of preferences that
you want, at least on the Mac.
| | 02:35 | Windows again, you would
just go to Edit > Preferences.
| | 02:38 | Back to Interface, the
category of Preferences there.
| | 02:40 | Here is the uber switch that you
want to turn off, Enable Floating
| | 02:43 | document window Docking.
| | 02:45 | It's kind of a mouthful.
| | 02:46 | But if you turn that off, the
combination of these two Preferences turned off
| | 02:49 | together permanently disables
the ability to tab these documents.
| | 02:55 |
| | 02:55 | So you see now as I drag these around,
I can't drag it into that Doc tab there.
| | 02:59 | I can't drag it into
another window to combine them.
| | 03:02 | So again, this may not matter to you.
| | 03:04 | You may like the tabbed document feature.
| | 03:06 | I've gotten quite used to and kind of like it.
| | 03:07 | That's a way to always have my windows managed.
| | 03:10 | So I don't get into the situation
where one window can get completely
| | 03:13 | behind another window.
| | 03:14 | For instance, here if I resize this
window with its corner and drag that,
| | 03:19 | this just get still be cumbersome if
I'm working with multiple documents and
| | 03:22 | I'm having to drag this out of the way and
then click in that to bring it to the front.
| | 03:25 | So the advantage of having that tabbed
document feature is that it manages your
| | 03:29 | windows a little bit better for you.
| | 03:31 | But it's up to you. It's your choice.
| | 03:32 | So you decide what you like.
| | Collapse this transcript |
| Pan and zoom| 00:00 | There are a lot of ways that you can pan
and zoom around inside an image in Photoshop.
| | 00:05 | And I think it's because it is just
something that you're going to be doing all the time.
| | 00:08 | You're going to be zooming in.
| | 00:08 | You're going to be zooming out.
| | 00:09 | You're going to be moving
the image around the screen.
| | 00:11 | So, a lot of different
ways to do the same thing.
| | 00:14 | It's nice to have options.
| | 00:16 | So I'm going to run you through a
couple of different ways to do it and then
| | 00:18 | you kind of decide which one makes sense
to you and you can just stick with that one.
| | 00:22 | So, the most basic way of course is
to use the Zoom tool and the Hand tool.
| | 00:25 | For the Zoom tool you can press the
letter Z to switch to the magnifying glass
| | 00:29 | or the Zoom tool or I can
click on the actual icon itself.
| | 00:32 | And then the Hand tool is
this little guy there of course.
| | 00:35 | You can press the letter H.
So H for Hand, Z for Zoom.
| | 00:39 | Let's try with zooming.
| | 00:40 | It starts out by giving a
Plus sign in the magnifying.
| | 00:43 | So if I click, it's going to zoom up.
| | 00:45 | First thing to just kind of point out
there, when you open an image, by default
| | 00:48 | it's going to be in the Fit Screen view.
| | 00:51 | Now, what particular zoom percentage
you are at is going to be dictated by the
| | 00:54 | size of your document,
how many pixels are in it.
| | 00:56 | So, this one happens to be 19%.
| | 00:58 | You might open an image and it says 50%.
| | 01:00 | So, it just depends on how
many pixels are on that file.
| | 01:04 | Point being all of the view of
that image can be fit into the screen.
| | 01:07 | There's no scroll bars per se.
| | 01:09 | If I start zooming I can click-and-hold
and you'll see that the image starts
| | 01:14 | zooming in, in this nice smooth
kind of way that's kind of cool.
| | 01:17 | If I zoom in far enough, I actually
start to see a Pixel Grid and you can see
| | 01:21 | pixels are a grid of squares.
| | 01:23 | If I want to zoom out, the easiest way
to that is to hold down the Option or Alt
| | 01:27 | key and you'll see the Plus sign
turns into a Minus sign and again I just
| | 01:30 | click-and-hold, I'll start to zoom
out and it animates gracefully there.
| | 01:35 | When I'm done getting to
where I want to be, I just let go.
| | 01:39 | Now if you click-and-drag
with the Zoom tool, instead of
| | 01:42 | clicking-and-holding you can
actually zoom in a lot faster and I can
| | 01:46 | actually just click-and-drag back and forth.
| | 01:48 | And what's nice there is I don't have
to hold any modifier key down, right?
| | 01:51 | You'll see as I move the mouse down on
my Desktop here, I'm zooming in and when
| | 01:55 | I drag up with the mouse I'm zooming back out.
| | 01:59 | So, this is actually probably the most
fun and easy way just to zoom in and out,
| | 02:03 | just by using this gesture.
| | 02:04 | This is happening because this
option up here in the Options bar called
| | 02:09 | Scrubby Zoom is turned on.
| | 02:11 | If that's turned off, you get the
traditional Marquee style of zooming.
| | 02:15 | So if I click-and-drag, I'm dragging out an
area, that when I let go will fill the screen.
| | 02:20 | So that's the difference between a Drag
Marquee with a Zoom tool versus the Scrubby Zoom.
| | 02:25 | We'll go and turn that back on and
this time we'll just click-and-drag up to
| | 02:29 | start zooming out or to
drag down to start zooming in.
| | 02:33 | That's the difference between
Scrubby Zoom being on or off.
| | 02:37 | Once I've zoomed in, let's go ahead and
click-and-hold to zoom in, I now want to
| | 02:41 | move those pixels around on my screen.
| | 02:42 | You can see I have scroll bars.
| | 02:44 | That's letting me know that there's more to
this image that I can currently see in my view.
| | 02:47 | I'm going to switch to the Hand tool,
press the letter H to do so and that's just
| | 02:51 | as simple as clicking-and-dragging
the image around.
| | 02:53 | Now there is kind of a cool fun way to
do this, if you click-and-throw the image.
| | 02:58 | This is called Flick Panning.
| | 03:00 | You can click and just kind of move
and let go the mouse at the same time.
| | 03:04 | And the harder you flick it
the faster it will scroll.
| | 03:07 | If I click-and-drag really hard,
I can just click to stop the pan.
| | 03:11 | So you've got some really nice fluid
ways to zoom in and out and move the image
| | 03:16 | around on your screen.
| | 03:17 | If you don't want to have to actually
switch to tools to go back and forth for
| | 03:21 | zooming and panning of course there
are keyboard shortcuts for that as well.
| | 03:23 | These are just standard
ones that you should learn.
| | 03:25 | For instance, I have the Move tool selected.
| | 03:28 | If I hold down the Spacebar it temporarily
turns my current tool into the Hand tool.
| | 03:34 | So I can pan around, let go the Space bar
and I'm back to whatever tool I was using.
| | 03:39 | Same thing to get to the Zoom tool.
| | 03:41 | If I hold down Command+Space or
Ctrl+Space, if you're on the Macintosh you
| | 03:45 | might see the Spotlight Search coming up in the
upper-right-hand corner, but just ignore that.
| | 03:50 | And I'm just holding down Command+Space
or Ctrl+Space to temporarily get to Zoom
| | 03:55 | tool to move in and out.
| | 03:56 | And then when I let go over the keys,
I'm back to whatever tool I was using.
| | 04:01 | Then the final way to zoom in and
out that I'll show you here is to use
| | 04:04 | Command++ and Command+- or
Ctrl++ Ctrl+- on your keyboard.
| | 04:08 | This is just a more controlled way to do it.
| | 04:10 | It goes down and larger increments, so
Command+-, Command+-, Command+- rather
| | 04:14 | than seeing it zoom in and out smoothly,
this just goes down or up in chunks.
| | 04:18 | So Command++ or Ctrl++, Command+- or Ctrl+-.
| | 04:22 | The two most common views that you are
going to be working with in Photoshop is
| | 04:27 | the Fit to Screen view and the 100% view.
| | 04:29 | So there are a couple of
ways to do that as well.
| | 04:32 | Easy way first is to double-click on
the Zoom tool or double-click on the Hand
| | 04:37 | tool, so not double-clicking with the Hand
tool, but double-clicking on the Hand tool.
| | 04:41 | So if I double-click on the Hand that
takes you back to the Fit to Screen view.
| | 04:46 | If you double-click on the Zoom
tool that takes you to the 100% view.
| | 04:49 | So, nice easy gestures to get
back to those two most common views.
| | 04:53 | And for those you who dream in keyboard
shortcuts, of course there are keyboard
| | 04:55 | shortcut ways to do that.
| | 04:57 | The Fit to Screen keyboard
short is Command+0 or Ctrl+0.
| | 05:01 | And the 100% view is Command+1 or Ctrl+1.
So there you have it, lots of different
| | 05:06 | ways to zoom in and out and
to pan around within an image.
| | 05:10 | Stuff that you're just going to be
doing all the times so start learning the
| | 05:12 | way that feels most natural to you
and then stick with it and over time you
| | 05:16 | might pick up a couple of other methods
depending on the context of what you're
| | 05:19 | trying to accomplish.
| | Collapse this transcript |
| Cycling through the different screen modes| 00:00 | When you open up an image in
Photoshop it's a set into what's called the
| | 00:03 | Standard Screen mode, which means
your document window fills the area
| | 00:08 | between the panels.
| | 00:10 | So, we have a panel dock over her on
the right, we have our tool panel on the
| | 00:13 | left and that leaves the rest
of the image area in between.
| | 00:16 | And you'll notice that the image
will never go behind the Interface.
| | 00:21 | So right now this is Fit to Screen view.
| | 00:23 | So if I zoom in, I'll just do
Command++ a couple of times.
| | 00:26 | You'll see that image zooms within that region.
| | 00:29 | It doesn't go behind the
interface and I start seeing scroll bars.
| | 00:33 | There are two other screen modes, so
three total in Photoshop and I'm going to
| | 00:37 | press the letter F for Full Screen
to switch to the different modes.
| | 00:42 | If I press letter F one time, I'm now
on what's called the Full Screen mode and
| | 00:47 | you'll see the image now is
actually going behind the interface home.
| | 00:50 | It's going behind the panels and I
don't see any scrollbars in this view.
| | 00:55 | And I've zoomed up far enough where
I don't have any extra window chrome.
| | 00:59 | I still see my menus at the top of my screen.
| | 01:02 | So, the third and final Full Screen mode
is I've pressed the letter F one more time.
| | 01:06 | This puts the image in
absolute Full Screen mode.
| | 01:09 | I don't see any interface chrome
whatsoever, not even the menus at the top.
| | 01:14 | Now, if I want to get my panels back
in this particular screen mode, I can
| | 01:19 | toggle them on and off by pressing
the Tab key and they'll pop open.
| | 01:23 | And if I want to get them out in my
view again, I can just press the Tab key
| | 01:26 | again to get them to go away.
| | 01:28 | If I press the letter F one more time,
I'm back into the Standard Screen mode
| | 01:33 | because I had pressed the Tab key
previously and my panels are currently
| | 01:36 | collapsed, I'll press Tab one
more time to bring them back.
| | 01:39 | So you have a lot of flexibility on
how to view the image, my favorite is to
| | 01:42 | actually work in that Full Screen mode,
because it just maximizes the screen
| | 01:46 | real state to see as many pixels as
possible and then when I'm doing some
| | 01:49 | intense work, where I don't need to
go back and forth between panels for a
| | 01:52 | while, I'll just press Tab
to get them out of the way.
| | 01:54 | One other little tweak to change about
the Interface that I like to particularly
| | 01:58 | make, I'm going to fit my
image back to the screen.
| | 02:01 | So, Command+0, Ctrl+0 to do so.
| | 02:04 | And I'll zoom down one more
time, Command+- or Ctrl+-.
| | 02:07 | You'll see when I'm zoomed out far
enough, I'm back in the Standard Screen mode
| | 02:10 | here, there's a drop shadow along
the outside edge of the image frame.
| | 02:15 | Personally I don't really
like that, I like a cleaner look.
| | 02:17 | The interface has become so flat and
kind of invisible as much as possible that
| | 02:23 | I find the drop shadow between the edge
of the image in this background color to
| | 02:27 | be a little bit distracting.
| | 02:28 | It's not part of the image so I don't
want any extra chrome there basically.
| | 02:31 | So, I'm going to change that.
| | 02:32 | I'm going to go to Preferences.
| | 02:33 | I can either do that under the Photoshop
menu on the Mac or under the Edit menu on PC.
| | 02:37 | Again, I'm just going to use the
keyboard shortcut, Command+K or Ctrl+K to open
| | 02:41 | up the Preferences dialog.
| | 02:43 | And in the Interface section, over here
on the left, I click on the word Interface.
| | 02:47 | You'll see the default is to show a
border in the Standard Screen mode and in
| | 02:51 | the Full Screen with menus and then
in the Full Screen mode without the
| | 02:54 | menus, it's set to None.
| | 02:56 | I'd like to change that to None for both.
| | 02:58 | So, I'm going to change the Border to None.
| | 03:00 | I'm going to go ahead and click OK,
and you'll see I just have a much cleaner
| | 03:03 | look now where that shadow.
| | 03:05 | It's not part of the image.
| | 03:06 | I don't want to see any
extra visual craft there.
| | 03:10 | So again just review, to cycle
through the Screen mode, simply press the
| | 03:12 | letter F. It's actually the very first
thing I do immediately after opening up
| | 03:16 | an image, I just open it and then I
press the letter F to go to Full Screen
| | 03:19 | mode and if I want to get rid of all the
chrome whatsoever, press the letter F one more time.
| | 03:23 | Some people actually call this the
Presentation mode as well, because it
| | 03:26 | just hides the fact that you're in Photoshop
and puts it on a nice, dramatic black background.
| | 03:31 | And of course to bring everything back
just press the letter F one last time and
| | 03:35 | you're back to that
Default Standard Screen mode.
| | Collapse this transcript |
|
|
9. Digital Image EssentialsFile formats| 00:01 | Let's spend a few minutes in this video
talking about the various different file
| | 00:03 | formats you can might run into when
you're working inside Photoshop and need to
| | 00:07 | save a file so you can send it to
something else, some other application to use
| | 00:11 | there or something like a page layout
application, or you're going to email it
| | 00:15 | to someone or put it up on a
website or something like that.
| | 00:18 | So whenever you work inside Photoshop,
whenever you open a file, regardless of
| | 00:21 | what file format it is, it's actually
getting opened up and converted into a
| | 00:25 | Photoshop document while you're working on it.
| | 00:27 | So I'm going to run you through a
variety of different file formats that you
| | 00:31 | might run into and kind of
explain what they are used for.
| | 00:33 | And now as I said, when you open up
the file, maybe whether it's a JPEG off
| | 00:36 | your camera, or a Camera Raw file, at
some point when you finally get it into
| | 00:40 | Photoshop, it's getting converted into
that PSD, that Photoshop document file format.
| | 00:45 | Now, if you don't do anything to the
file and just close it or save it again,
| | 00:50 | it's still going to be the file
format that you opened it up as.
| | 00:54 | But if you've done things to the file
like added a layer or added some text or
| | 00:57 | things like that, then we call that
the working file that's going to be saved
| | 01:01 | as a PSD by default.
| | 01:02 | And that working file is what
preserves all the layers, all the channels, all
| | 01:06 | the masks or selections or paths that
you've added to that particular file.
| | 01:11 | It's important to always keep this
working file separate from whatever file
| | 01:15 | format that you're going to end up
saving it as, because if you ever want to go
| | 01:18 | back and make changes, change the type
or move things around, of course, you're
| | 01:21 | going to need access to that layered file.
| | 01:23 | That's your original.
| | 01:24 | So you really only throw that away or
flatten it down, discard it, if you're
| | 01:29 | absolutely sure that you never
want to change your mind again.
| | 01:31 | Any other file format you're going to
choose from, or at least most of them,
| | 01:34 | you're going to end up creating
what we call a flattened version of it.
| | 01:37 | And a flattened file is where all the
layers get compressed or collapse into
| | 01:40 | a single layer and then you save that
flattened version as a different file format.
| | 01:45 | So for instance, if I were to actually go
save this file, you can see it's a layered file.
| | 01:48 | There is a bunch of layers.
| | 01:49 | I have just turned them off
right now to reveal them as I talk.
| | 01:52 | But this is a layered working file.
| | 01:53 | It's a Photoshop file.
| | 01:54 | If I were to go to File > Save As and
save this as a different file format,
| | 01:58 | let's go ahead and choose from
Format, let's choose say JPEG.
| | 02:02 | What's going to happen is it's
going to say oh, well because you're not
| | 02:05 | choosing the PSD format, this file must be
saved as a copy with that Format option chosen.
| | 02:10 | And in order to do that, I'm going
to not be able to save out the layers.
| | 02:14 | So that's why you get a little
warning symbol next to the Layers checkbox.
| | 02:17 | And it's grayed out because it's
not available in that file format.
| | 02:20 | So one little working rule here is you
don't necessarily need to do a Flatten command.
| | 02:25 | There's an actual command in the
Layers panel that you'll learn about later
| | 02:27 | where you can choose
Flatten and then save your file.
| | 02:30 | The file can be flattened as
part of the saving-as process.
| | 02:34 | So I actually tend to recommend
people not to do the Flatten command.
| | 02:38 | Because then they accidentally do a
Save instead of a Save As and they have
| | 02:41 | lost all their layers.
| | 02:42 | So basically choosing the file format
as part of the Save As command, doing the
| | 02:46 | automatic flattening in order to
create that file is the better way to go.
| | 02:49 | It's a way to protect the original
layered file from ever being saved over.
| | 02:53 | Well, let's go and cancel this.
| | 02:54 | Let's talk about some of these other
file formats then that you might derive
| | 02:58 | from this layered Photoshop file.
| | 03:00 | Of course the first one, the one you
probably are already familiar with somewhat is JPEG.
| | 03:05 | Now, JPEG is a compressed file format.
| | 03:08 | It's what's called a
lossy compressed file format.
| | 03:11 | In order to save space to make the
file smaller, it actually does throw away
| | 03:15 | original information from the file
that may not be all that important.
| | 03:19 | How much information gets thrown away
depends on the Quality setting that you choose.
| | 03:24 | So at the very high end, the highest
Quality setting, your eye may not actually
| | 03:27 | be able to notice anything that's thrown away.
| | 03:29 | Whereas if you go lowering the Quality
then you actually start seeing things
| | 03:32 | like artifacts and
compression artifacts and so forth.
| | 03:34 | JPEG is probably one of
the most common file formats.
| | 03:37 | It's typically what
people use to email each other.
| | 03:39 | It's what a lot of the
online photo services accept.
| | 03:43 | If you use your Shutterfly or Flickr
even Facebook or whatever, you're typically
| | 03:47 | throwing up JPEG file
formats to those online services.
| | 03:50 | A key thing to remember about the JPEG
file format, just keep in mind, is that
| | 03:54 | because it is a lossy file format, you
typically only want to save something as
| | 03:58 | a JPEG one time, which is why it's important
to keep that layered Photoshop file around.
| | 04:03 | Let me explain.
| | 04:04 | If you open up a file that's already
been compressed as a JPEG, and then re-save
| | 04:09 | it as JPEG again, you're
compressing it a second time.
| | 04:13 | So every time you open, do
something and re-save, that lossiness gets
| | 04:17 | accumulative and you're actually
deriving a lower quality each time you do that.
| | 04:21 | So that's why if you need to make a
change or want to do some more retouching
| | 04:25 | or move things around or whatever, you
want to go back to the original layered
| | 04:28 | Photoshop file, make those changes
there, and then save out a JPEG from that
| | 04:33 | original Photoshop file so that lossiness of
the compression is only happening one time.
| | 04:38 | If you're shooting JPEG off your camera,
of course, you want to make sure that
| | 04:41 | you're shooting what the highest quality
JPEG possible, so that at capture time,
| | 04:45 | you're not losing too much
information just from the very beginning. Okay.
| | 04:49 | So when it comes time to save this
file, let's say as a JPEG, these are
| | 04:52 | layered Photoshop file and we're
going to do a Save As, just like I was
| | 04:54 | showing you earlier.
| | 04:55 | So File > Save As, and from our
File Format list, we'll choose JPEG.
| | 05:00 | And typically, every file format you
choose here, when you choose the file
| | 05:04 | format, when you click Save, you're
typically presented with a secondary dialog
| | 05:08 | box for options for that specific file format.
| | 05:11 | So the options of interest on a JPEG,
of course, are the Quality setting.
| | 05:15 | The default is 5 or Medium.
| | 05:17 | These word presets are just
presets for a particular number.
| | 05:20 | So if you typed in 10, it would
automatically switch over to Maximum.
| | 05:24 | If you take the slider all they way
over to the right, the Maximum value
| | 05:27 | is actually 12 not 10.
| | 05:29 | And Maximum is typically the setting you
would use if you wanted to archive your
| | 05:34 | final corrected files, let's say as JPEG,
so they take up less disk space, but
| | 05:39 | they don't actually introduce
noticeable defects when they do the compression.
| | 05:42 | Of course, when you're just trying to
do a quick comp or do an email photo or
| | 05:46 | whatever, throw it up on a Web Photo
Gallery where you don't care about absolute
| | 05:49 | highest quality, 5 is a good starting point.
| | 05:51 | You can see as you lower the Quality
setting, the file size is updating to let
| | 05:55 | you know what that's going to look like.
| | 05:57 | Just to kind of take it down a notch, if
we take it all away to 0, I can see the
| | 06:01 | Preview checkbox is turned on.
| | 06:02 | And it may be tough to see our video,
but you'll see if I look at the edges of
| | 06:06 | the text here, it's getting all mangled
and artifacty or pixelated, because JPEG
| | 06:10 | is really compressing a lot of that
information and throwing it away. Okay.
| | 06:14 | So again for archival purposes, you would
take it all way to Maximum, and that's fine.
| | 06:19 | Hopefully again you're keeping the
layered version around if you think you need
| | 06:22 | to do further editing and if you need
to save out another JPEG, you would do it
| | 06:26 | from that layered Photoshop file.
| | 06:27 | Okay, so I'm going to hit Cancel.
| | 06:28 | Don't be surprised if you choose a file
format from your original Save As dialog
| | 06:31 | box and yet another dialog box comes up.
| | 06:33 | It's typically because there are
additional options that you may want to choose from.
| | 06:37 | The next file format that's really
common for a web graphic at least is the GIF
| | 06:41 | file format or a GIF depends on what
side of the country you're from I guess.
| | 06:45 | And this is also a lossy file format,
but from a different perspective.
| | 06:49 | The loss happens before you
actually save the file out.
| | 06:52 | In order to save a GIF, it has to be
converted into what's called an 8-bit graphic.
| | 06:57 | All that really means is the graphic
that can only have up to 256 colors or less.
| | 07:03 | It's typically not ideal
or used for photographs.
| | 07:06 | It's more used for graphics, web graphics.
| | 07:08 | Areas of solid color, things like
buttons, or logos, or labels or things that
| | 07:13 | you might identify as areas of solid
color or high-contrast edges on a website.
| | 07:19 | So banners and backgrounds and things like that.
| | 07:20 | So typically what happens when you
actually want to save a file as a GIF, you
| | 07:23 | convert it to an 8-bit graphic first.
| | 07:25 | I'm not going to get into that in
this video here, we'll cover that later.
| | 07:28 | But typically you're reducing the
thousands of colors that might be available on
| | 07:32 | a particular image and telling it to
only use a certain set of colors to
| | 07:36 | represent the overall image.
| | 07:37 | So the file size is typically very
small, because there's just not a lot of
| | 07:41 | color information in it.
| | 07:42 | So those are two file formats
most used for the web: JPEG and GIF.
| | 07:45 | There is a third file format that is
used for web graphics, but also just
| | 07:50 | interactive content and
that's the PNG file format or PNG.
| | 07:55 | It's great for working with Flash.
| | 07:56 | It's also a file format that you might
use when you're doing presentations like
| | 08:00 | working with Keynote on Apple,
Macintosh's or PowerPoint.
| | 08:04 | And the reason why is that PNG is one
of the few file formats that actually
| | 08:08 | supports real nice quality transparency.
| | 08:11 | So, GIFs can be transparent, but only
one level of transparency, meaning a color
| | 08:16 | can be chosen to be turned invisible
or transparent, but it's only one color.
| | 08:21 | So you get a very hard edge, a pixelated edge.
| | 08:23 | PNG supports true Alpha Channels
or masks with 256 levels of opacity
| | 08:30 | between 100% and 0 opacity.
| | 08:33 | So a nice soft drop shadow that you can
actually see through the soft edges, right?
| | 08:36 | The PNG file format is something that
supports that or if you mask an image out
| | 08:40 | to a transparent background.
| | 08:42 | If you save a file like that, as a JPEG,
then all those transparent areas will
| | 08:47 | get converted to solid
white, opaque white pixels.
| | 08:49 | And that's typically not what you're
going to want if you're trying to overlay
| | 08:52 | these files on top of each other
and see through around their edges.
| | 08:56 | So the PNG file format is great for
again PowerPoint, Keynote and working with
| | 09:00 | Flash and creative interactive content.
| | 09:02 | A couple of file formats to talk
about for printing that are common that
| | 09:05 | you might run into.
| | 09:06 | Now, the first one is an EPS format,
an Encapsulated PostScript file.
| | 09:11 | This is kind of an old-school format.
| | 09:12 | It's kind of being phased out.
| | 09:13 | I mean some people still use it, but it's
largely been replaced with other file formats.
| | 09:17 | It's something that you typically would
see in a print workflow either using a
| | 09:20 | product like InDesign, or Quark or Illustrator.
| | 09:22 | And basically, what's happening when
you save a file in EPS, your pre-rendering
| | 09:27 | or pre-printing the file to disk,
and then attaching a preview file that
| | 09:32 | travels along with it.
| | 09:33 | Now that can either be a JPEG preview
or even a TIFF preview depending on which
| | 09:37 | platform you're saving the file from.
| | 09:39 | The key point about an EPS file
is that it cannot be modified.
| | 09:43 | I mean you can't get to the pixels
inside an EPS file anymore without
| | 09:47 | reopening that in Photoshop.
| | 09:49 | So you can assign a color to an EPS
file, let's say, once you place it into a
| | 09:53 | product like InDesign or Quark or Illustrator.
| | 09:55 | A lot of production artists like this
file format because they are protected.
| | 09:59 | A designer can accidentally
assign a spot color to it for instance.
| | 10:03 | That color information needs to be baked
into the EPS as you actually save it out.
| | 10:07 | So when you place an EPS in these
other products, again you're actually just
| | 10:10 | making a reference to the EPS
file that's sitting on disk.
| | 10:13 | What you're actually seeing in that
application that you place it into is that
| | 10:17 | preview image just so it can be
represented during design time.
| | 10:21 | When you actually print the file, the
preview file is not actually used as
| | 10:25 | the printed version.
| | 10:26 | It's actually taking the EPS file and
sending to the printer and outcomes the
| | 10:30 | high quality version of that behind it.
| | 10:32 | Another file format that is
common in printing workflows is TIFF.
| | 10:36 | This is a little bit more flexible
than EPS files, because you can actually
| | 10:41 | assign spot colors to them.
| | 10:43 | So for instance, if you have a
grayscale TIFF file, you can apply a color to
| | 10:47 | that and tint it in products like
InDesign, Quark or Illustrator, because the
| | 10:51 | color values of those can be adjusted.
| | 10:53 | So just something to keep in mind.
| | 10:55 | There are some different
reasons to have EPS and TIFF.
| | 10:57 | A lot of time, at least in an Adobe
workflow, if you're going from InDesign or
| | 11:01 | from Photoshop to InDesign or from
Photoshop to Illustrator, you can just simply
| | 11:04 | just place your layered Photoshop file.
| | 11:06 | There is actually no need to flatten
it or save it out as an EPS or a TIFF.
| | 11:11 | The advantage of that is that you
still maintain access to the native
| | 11:14 | original layered file.
| | 11:16 | In fact, there is a
feature called Edit Original.
| | 11:19 | So if I place the Photoshop file in
say InDesign, it gets rendered and
| | 11:23 | represented as if I had flattened the
version in Photoshop before I save it out,
| | 11:27 | but it's still the layered
version behind the scenes.
| | 11:29 | So if I need to make a change, I
can just Option+Double-click or
| | 11:32 | Alt+Double-click on that
Photoshop file that's been placed in your
| | 11:35 | Illustrator or InDesign.
| | 11:36 | And it simply opens that
original layered file back in Photoshop.
| | 11:40 | You make your change, do whatever you
want to do to the file, change the text,
| | 11:43 | move it to layers around, whatever it
is you're going to do, when you save that
| | 11:46 | Photoshop file, when you go back to
Illustrator or InDesign, the updates are
| | 11:50 | automatically applied.
| | 11:51 | So a lot of flexibility and it kind
of makes EPS and TIFF seem a little
| | 11:56 | old school and dated.
| | 11:57 | You'll still run into them if
you're a designer and working with others
| | 12:00 | that really haven't quite adopted
a PSD workflow between Photoshop,
| | 12:04 | InDesign and Illustrator.
| | 12:05 | But if you haven't actually started
playing with that kind of workflow, I
| | 12:09 | encourage you to check it out.
| | 12:10 | Okay, the bottom-line, lots of little
acronyms and three and four letter words
| | 12:14 | I'm throwing at you.
| | 12:15 | At the end of the day, the most
important file format you really care about is
| | 12:18 | keeping that layered Photoshop file
around as long as possible, because it's
| | 12:22 | what's going to give you the
flexibility to change your mind.
| | 12:24 | And then when you do have a need to
save out a file as a different format for
| | 12:28 | your other purpose, it's as
simple as doing File > Save As.
| | 12:31 | Don't bother doing the Flatten command.
| | 12:33 | So you don't need to go to the Layers
menu or the fly-out menu of Layers and say
| | 12:36 | Flatten image first.
| | 12:37 | Just skip that step.
| | 12:39 | Instead do File > Save As, choose the
file format that you're interested or
| | 12:43 | need, whether it be PNG or JPEG or whatever.
| | 12:45 | Let's do PNG for this.
| | 12:47 | As part of that Save As process, it's
automatically going to save out a copy.
| | 12:51 | It's not going to save
over the original PSD file.
| | 12:53 | You can see it's picking up the PNG file format.
| | 12:55 | It's giving you the warning sign to
let you know that this layer will be
| | 12:58 | flattened as part of the process which
is not a big deal because you're keeping
| | 13:01 | that layered Photoshop file around.
| | 13:02 | Okay, so there you have it.
| | 13:04 | PSD is your friend.
| | Collapse this transcript |
| What resolution does your image need to be?| 00:00 | Here is a question I get
asked actually quite a bit.
| | 00:02 | It's what resolution do I need my images to be?
| | 00:06 | To be able to answer that question, you
first have to figure out where are you
| | 00:09 | sending these images?
| | 00:10 | What's your output path for these?
| | 00:12 | Are they going to be printed?
| | 00:13 | If so, are they going to be printed on
a printing press or are they going to be
| | 00:16 | printed to your inkjet printer on your Desktop?
| | 00:18 | Or are they going to be displayed on
a screen of some sort whether it be a
| | 00:22 | monitor or a cell phone or a tablet
device or netbook or you name it, anything
| | 00:27 | with a digital display?
| | 00:28 | So three different categories of
output, there is halftone output, there is
| | 00:32 | continuous tone output,
and there is display output.
| | 00:35 | Let's talk about each one of
those because each one of them has
| | 00:38 | different resolution needs.
| | 00:40 | So let's talk about halftone output first.
| | 00:42 | Halftone output is the word that's used when
you are reproducing images on a printing press.
| | 00:50 | There really is no notion of
continuous tone on a printing press.
| | 00:53 | You are creating the illusion of
continuous tone by using different series of
| | 00:58 | dots of ink on paper.
| | 01:01 | Typically, in full-color printing,
there is CMYK color printing, there's Cyan
| | 01:05 | ink, Magenta ink, Yellow ink, and Black ink.
| | 01:07 | There are four different dot patterns,
each of a color ink that when they're
| | 01:12 | all laid and printed on top of each other,
make up the illusion of a continuous tone print.
| | 01:16 | A halftone then is a continuous tone
image that used to be a photographic
| | 01:22 | negative or print that was converted
into an image that was made up of dots.
| | 01:26 | So if you take a magnifying glass or
what's called a Loupe to anything printed
| | 01:31 | like a newspaper or magazine or
whatever, you actually look at that through
| | 01:34 | the magnifying glass.
| | 01:35 | You will see a distinct dot pattern.
| | 01:37 | That dot pattern is called a halftone.
| | 01:39 | So let's create a new file and just
kind of run through some of the things in
| | 01:43 | that New Document dialog box that
are relevant to this conversation.
| | 01:46 | What resolution do I need for
printed output, halftone output?
| | 01:51 | Well, in order to get a continuous tone
image converted into a halftone image,
| | 01:55 | it uses something called a line screen.
| | 01:57 | Without getting too technically deep,
it's this element that does the conversion
| | 02:01 | from continuous tone to halftone.
| | 02:02 | It generates a dot pattern.
| | 02:04 | The line screen is what is used in that process.
| | 02:07 | What line screen gets used is
dependent on the paper quality and the printing
| | 02:12 | press that you are going to
be using for your project.
| | 02:15 | So you may not know what your line screen is.
| | 02:18 | There is actually some standard
defaults and industry defaults here.
| | 02:21 | So for instance, if you are going to
newsprint the type of paper that is used
| | 02:25 | for your daily newspaper,
typically your line screen is very low.
| | 02:29 | It's 85 lines per inch, because the paper
quality isn't that great. It's very porous.
| | 02:35 | So when ink hits paper, it typically spreads.
| | 02:38 | The term for that is called dot game.
| | 02:41 | So the more poorest the paper, the harder it
is to hold the shape of a very specific dot.
| | 02:47 | So if you had a very higher line screen,
higher line screens generate smaller
| | 02:51 | dots, lower line screens generate larger dots.
| | 02:54 | So if you had a really high line screen
and you try to print that on newsprint,
| | 02:58 | what ends up happening is these very
tiny dots just bleed into each other and
| | 03:00 | becomes one big puddle of ink, instead
of holding the individual dot shapes.
| | 03:06 | So point being, you may not know what
line screen are you supposed to be using,
| | 03:10 | but you kind of might hopefully have
an idea of what kind of paper you want.
| | 03:13 | Do you want to use a Recycled Stock
or a Matte Stock or a Smooth Stock or a
| | 03:18 | Glossy Stock of paper?
| | 03:20 | Each paper choice you choose will have
a recommended range of line screens for
| | 03:25 | the images that will be printed on them.
| | 03:27 | If you have a good relationship with
the printer, they'll be able to tell you
| | 03:30 | what line screen you should be using for the
particular paper you've chosen for your project.
| | 03:34 | Once you know what that line screen is, great!
| | 03:37 | You double it and that's the
resolution you need your images to be.
| | 03:41 | So let's say that I am going to be
printing a 7x5 or a 5x7 photograph here, and
| | 03:46 | let's say I started out with a
resolution of 600 dpi or pixels/inch.
| | 03:49 | So I am going to go ahead and
type in 600 resolution field here.
| | 03:52 | You can see that's a
pretty big file. It's 36 MB.
| | 03:55 | Now, if my printer tells me well, you
are using a line screen, we recommend you
| | 03:59 | using a line screen of 100 Lines Per
Inch for this halftone project that you're
| | 04:04 | working on because you are
printing on this particular paper. Great!
| | 04:07 | What you do to that number, you double it.
| | 04:08 | So the resolution I need
is actually 200, not 600.
| | 04:12 | So if I change this to 200,
look what happens to the file size?
| | 04:16 | What used to be a 36 MB file now is only 4 MB.
| | 04:20 | So the point being as you may work
with really high-resolution files during
| | 04:25 | design time in Photoshop.
| | 04:27 | But when you get ready then to create
the derivative file that you are going to
| | 04:30 | be placing in say InDesign or Quark or
Illustrator or wherever you are going to
| | 04:33 | take this file and place it and then
print it from, it turns out you don't need
| | 04:38 | to send all of that extra information, if
all I am going to do is print a 7x5 at 200.
| | 04:44 | I don't need 600 dots per inch of information.
| | 04:47 | So what it does is it keeps
your file size down a lot.
| | 04:49 | It takes up less disc space.
| | 04:51 | It actually prints faster, because you
are sending in a lot less information to
| | 04:54 | the printer, and you just have to let
go this notion that high-resolution means
| | 04:58 | you are always going to
get a better looking image.
| | 05:01 | For offset printing, that's actually not true.
| | 05:03 | Sending a 200 dot per inch resolution
file versus a 600 dot per inch resolution
| | 05:08 | file for a project that's only going to
be using 100 line per inch screen, the
| | 05:12 | images will look identical when you get
them off the printing press, if you're
| | 05:15 | printing them side-by-side.
| | 05:16 | There will be no improvement in
quality but you'll be able to perceive by
| | 05:20 | sending the high-resolution file.
| | 05:22 | So keep that in mind.
| | 05:23 | Okay, so that second
category is continuous tone output.
| | 05:27 | Typically we think of that as inkjet
printing or it used to be an Iris printer
| | 05:31 | and those have kind of gone by the
wayside these days, but the inkjet is what
| | 05:34 | most people think of as a
continuous tone printing device today.
| | 05:38 | You might have a Canon or an HP or whatever.
| | 05:40 | The target resolution you need for inkjet
printing is never really more than 300 dpi.
| | 05:45 | In fact, most inkjet printers
assume a default of 240 dpi.
| | 05:50 | So for example, if you are shooting
with a Canon digital camera, Canon also
| | 05:55 | sells digital inkjet printers.
| | 05:57 | The default resolution on the camera
when you capture images digitally with
| | 06:01 | your camera, it sets the resolution
of those files to 240 dots per inch, so
| | 06:06 | that when you open it up in
Photoshop, they've already got the target
| | 06:09 | resolution dialed in.
| | 06:11 | So if you were to print that to a Canon
printer, it just already is at that resolution.
| | 06:16 | So the reason you don't need to bother
about a line screen is that you're not
| | 06:20 | converting your continuous tone
image into a series of halftone dots.
| | 06:24 | You are printing it as if you were simulating,
creating a photographic print in the darkroom.
| | 06:29 | It is the illusion of continues tone.
| | 06:31 | If you take a magnifying glass to an
inkjet print, it will feel more like a
| | 06:34 | photograph than it will something
that you printed on a printing press.
| | 06:38 | You won't see a distinct dot pattern.
| | 06:39 | At least if you have a high-quality inkjet
printer, you shouldn't see a dot pattern.
| | 06:42 | You should just see continuous tone.
| | 06:45 | So again, I never need more than 300 dpi
provided that I am printing at actual size.
| | 06:51 | So I want this to be a 7x5 photograph,
I size it to be those dimensions, I type
| | 06:56 | in the resolution I need it to be, 300.
| | 06:59 | That's as much information as I need.
| | 07:01 | You can probably get away with much
less that's why the default is typically
| | 07:04 | 240 for some of these inkjet printers,
but again, 300 is just a nice, clean,
| | 07:08 | easy number to remember.
| | 07:09 | Okay, so the third category is
outputting to a screen of any size whether it
| | 07:15 | would be on iPhone, on an iPad or a
Blackberry or more of a tablet computer or a
| | 07:20 | monitor, maybe you are
hooking up to a projector.
| | 07:24 | In that scenario when you're just
targeting a device monitor display, you don't
| | 07:29 | actually care about resolution in the
typical way we have been talking about it.
| | 07:33 | It doesn't matter what dots per inch the
file is set to the resolution of that file.
| | 07:38 | What matters are the
pixel dimensions of the file.
| | 07:42 | Typically, you want to target the pixel
dimensions of the device or the display
| | 07:46 | that you're going to be representing
this image on or displaying this image on.
| | 07:50 | So let's say that I was creating a
keynote or a PowerPoint presentation, and
| | 07:55 | I know that I'm targeting at my projector, my
projector displays at 1024x768 pixels, great!
| | 08:02 | What you need to do then is change your
measurement system in Photoshop, not at
| | 08:06 | inches but change it to pixels.
| | 08:09 | Then make the width and height of the
image, the pixel dimensions of the display
| | 08:13 | or the projector that you're
going to be hooking it up to.
| | 08:16 | So in this case I'd make it 1024 for
the Width and I'll hit my Tab key to jump
| | 08:21 | to the Height field and type in 768.
| | 08:24 | Let's say I am targeting that
projector as the image size that I'm going to
| | 08:27 | be displaying here.
| | 08:28 | If it was an iPhone, of course it
would be a much smaller screen size.
| | 08:31 | But you just need to know what the pixel
dimensions are of the device that you are targeting.
| | 08:34 | You can see the file size went down to 2.25 MB.
| | 08:38 | Here is what's interesting.
| | 08:39 | Now that your measurement system has
been changed to pixels, and I have dialed
| | 08:43 | in some specific pixel dimensions, it
doesn't actually matter what number is in
| | 08:46 | the Resolution field, because
resolution only matters when you print.
| | 08:51 | What dots per inch will the printer use to
represent the file when it ends up on paper?
| | 08:56 | If I change this resolution to 1 pixel
per inch, I think all of you would agree
| | 09:00 | that is a low-resolution file.
| | 09:02 | The file size did not change.
| | 09:04 | It's still a 2.25 MB file, because
Photoshop doesn't actually care what the
| | 09:08 | resolution of the file is while you
are working on the file in Photoshop.
| | 09:13 | Resolution again only
matters when you print the file.
| | 09:15 | You are telling the printer what dots per inch
to represent the image as, as it gets printed.
| | 09:21 | So if I change this to 1000 pixels/inch,
again now you would see that that's a
| | 09:25 | high-resolution file.
| | 09:26 | But again, the file size did not change.
| | 09:30 | Review, halftone output, continuous
tone output or display output, again
| | 09:34 | your target resolution if you are creating
halftone projects is two times the line screen.
| | 09:39 | What determines your line screen, the
type of paper you are using, and the type
| | 09:42 | of printing press it's being printed on.
| | 09:44 | Who is going to know that information?
| | 09:46 | The printer you're working with,
they'll tell you what line screen is
| | 09:49 | recommended, you double that number
and that is your target resolution for
| | 09:52 | your final file size.
| | 09:54 | If you're printing to an inkjet
printer, it's continuous tone.
| | 09:56 | Your target resolution is never more
than 300, and of course if you're doing a
| | 10:00 | display graphic, a graphic that's
going to be represented on a digital
| | 10:02 | display, resolutions are relevant,
all you care about are pixel dimensions,
| | 10:06 | what are the pixel dimensions of
the device that you are going to be
| | 10:09 | presenting this image on.
| | 10:10 | Hopefully, that clears up what
resolution your images need to be.
| | Collapse this transcript |
| Resize vs. Resample| 00:00 | Okay. So you've got an image off your Digital Camera.
| | 00:03 | You've got a real nice, fancy DSLR and
shoots 18 megapixels, and you bring it
| | 00:08 | into Photoshop and you're like, I just
need to create a 4x6 print of this and
| | 00:11 | print it out on inkjet
printer. How do I do that?
| | 00:13 | How do I change the size of my image?
| | 00:15 | Typically what you do is you go to
the Image Size dialog box that's located
| | 00:18 | under the Image menu, so Image, Image Size.
| | 00:21 | And let's talk about this dialog box
because it's potentially confusing for a
| | 00:26 | lot of people actually, even talking to
people who've been using Photoshop for
| | 00:29 | years and they still are kind of
confused by what this dialog box is all about.
| | 00:33 | So let's make it simple.
| | 00:35 | I'd break it into two parts.
| | 00:36 | There's the Upstairs and the
Downstairs, Upstairs easy, Downstairs hard.
| | 00:41 | Now, why is the Downstairs harder than Upstairs?
| | 00:44 | Because Downstairs has one more thing that
you have to think about and that's Resolution.
| | 00:49 | We'll talk about that in just a second.
| | 00:51 | The other potentially confusing thing about
this dialog box, that actually has two modes.
| | 00:55 | It can be used to resize an image or
it can be used to resample an image, and
| | 01:01 | there's a difference
between resize and resample.
| | 01:03 | The default is to have
this turned on to Resample.
| | 01:06 | I'm going to turn that off.
| | 01:09 | Note that when I do that, the
Upstairs becomes unavailable.
| | 01:13 | I can't actually change the number of
pixels in the file when Resample is turned off.
| | 01:19 | Which means all I'm really doing is
changing how this image will be printed,
| | 01:24 | what size it will be printed at
when you hit the Print command?
| | 01:28 | You're not actually changing the
amount of information of the file at all,
| | 01:31 | only how it gets output.
| | 01:33 | So I said I wanted a 4x6.
| | 01:35 | So right now the width of the camera.
| | 01:37 | This is a very large dimensionally file.
| | 01:39 | It's 32 roughly inches by 48 inches,
but has a very low resolution at 72
| | 01:45 | pixels per inch here.
| | 01:46 | If I change the Width to 4, so 4 inches,
Because I'm not changing the number of
| | 01:52 | pixels in the file, I'm just changing
the Dimensions, in this case I'm making
| | 01:55 | the dimensions go down, resolution has to go
up, because it's the same number of pixels.
| | 02:01 | Because just to fit into a smaller
rectangle the pixels have to get smaller.
| | 02:05 | So the smaller the pixel,
the higher the resolution.
| | 02:08 | That's kind of how this works.
| | 02:10 | Now, okay, you might understand that, great!
| | 02:13 | I've turned off Resample, which
means it's a non-destructive action.
| | 02:16 | I'm not changing the
number of pixels in the file.
| | 02:18 | I'm only changing how it's going to print.
| | 02:20 | You click OK, and this is where people
sometimes get confused, because it didn't
| | 02:25 | appear that anything happened.
| | 02:27 | The file doesn't look different on
screen and that's exactly what's supposed to
| | 02:31 | happen because you did a Resize, not a Resample.
| | 02:35 | If I had gone to 100%, let's go ahead
and double-click on the Zoom tool, and I'm
| | 02:39 | viewing the Image at 100%
view, the Actual Pixels view.
| | 02:43 | Here you're seeing every single pixel in
the image represented by 1 pixel on the
| | 02:47 | screen of the display.
| | 02:49 | You can see there's a lot of
pixels here. It's a big file.
| | 02:52 | If I go back to Image, Image Size, and you
can see it's a 4x6 at 584 pixels per inch.
| | 02:58 | Let's take this back to a
20 inch file, so a 20x30.
| | 03:02 | The Resolution went down in this case,
because I made the dimensions larger,
| | 03:07 | again because Resample is turned off,
the number of pixels in the file is not
| | 03:11 | changing, so the pixels have to get
larger to fill the larger dimensions that
| | 03:17 | we're changing here.
| | 03:18 | I go ahead and click OK.
| | 03:20 | Again, you're might be scratching your
head on, but nothing happened on screen.
| | 03:23 | So the summary there is when the
Resample is turned off, you're not actually
| | 03:27 | changing anything about the file
within Photoshop except how the file will be
| | 03:31 | printed when you use the Print command.
| | 03:34 | Let's go back to Image Size again, and
let's take this Resolution back to where
| | 03:40 | we started, 72 which
forces the dimensions to go up.
| | 03:44 | Let's turn Resample on this time.
| | 03:47 | Now when Resample is turned on,
suddenly the Upstairs is available to use again
| | 03:51 | because this is potentially a lossy operation.
| | 03:56 | You're actually going to be
changing the number of pixels in the file.
| | 04:00 | Well either be removing pixels, in
which case the geeky term for that is
| | 04:04 | down-sampling, or you'll be adding
pixels that don't even exist, and
| | 04:08 | that's called up-sampling.
| | 04:11 | If I change the Width here to 4, the
Height retains its proportion by default.
| | 04:16 | So it goes to 6 inches.
| | 04:17 | But note that the resolution did not
change anymore, because they're not
| | 04:21 | connected anymore when
the Resample is turned on.
| | 04:24 | You can change these independently or
as when Resample was turned off, changing
| | 04:28 | the width or heights change the
resolution correspondingly and vice-versa, by
| | 04:31 | changing the resolution,
the width and height changes.
| | 04:33 | Now if you take a look at the Upstairs,
it's actually giving you a clue of
| | 04:36 | what's going on here.
| | 04:37 | The original file was 23 MB, but
because we made the dimension smaller and we
| | 04:42 | did not change the resolution, we are
throwing away a gigantic amount of those
| | 04:47 | pixels and ending up with a 364 K File.
| | 04:51 | Now if I click OK, you're like oh!
| | 04:54 | Something happened.
| | 04:55 | It got smaller on screen.
| | 04:56 | Yes, it got smaller on screen because we
actually threw away a large number of pixels.
| | 05:01 | We're still viewing it at the 100% view,
and because there is fewer pixels in
| | 05:05 | the file it takes up less screen
real estate to represent the image.
| | 05:09 | I am going to undo that, Command+Z, Ctrl+Z
on Windows, and go back to Image, Image Size.
| | 05:15 | Now when you have Resample turned on,
which again is the default, you're not
| | 05:19 | just changing how this file will be
printed when you hit the Print command,
| | 05:23 | you're also changing the physical size of the
file, the number of pixels in that document.
| | 05:28 | And like I said if you change the
dimension smaller and keep the resolution
| | 05:32 | low, you're getting rid of pixels that were
present, so that you don't feel you need anymore.
| | 05:37 | If you make the dimensions larger and/or
the resolution larger than what you
| | 05:41 | started with, that's called upsampling.
| | 05:43 | You're asking Photoshop to
invent pixels that don't exist.
| | 05:46 | So usually a question I get
is okay, I've got this file.
| | 05:49 | It's as big as it can be as it is, but
I need to make it a little bit bigger.
| | 05:53 | Maybe I'm starting with an 8x10 image,
300 dpi, and I want to print it as
| | 05:57 | an 11x14 let's say.
| | 05:59 | So how big can you make it in Photoshop?
| | 06:01 | Well typically, what most people say
is if you're going up about say 25% from
| | 06:07 | your original dimensions, you're probably
not going to be able to spot that too badly.
| | 06:12 | You probably get a good enough job there,
especially it's because the larger the
| | 06:15 | print, the farther away you're intended
to be from, when you're looking at it.
| | 06:19 | If you are looking at a billboard let's
say, you're not standing right next to a
| | 06:23 | billboard, you're looking at a billboard
from hundreds of feet away potentially.
| | 06:26 | So you don't need a lot of resolution
in that regard because you're going to be
| | 06:30 | looking at it from quite a distance.
| | 06:31 | So anyway, what all I'm trying to say
is if you're going to up-sample an image
| | 06:34 | in Photoshop, going anywhere from 10-20
% larger than what you're starting with,
| | 06:39 | it's probably not the end of the
world and you probably won't even notice.
| | 06:42 | If you need to go much larger than that,
then there actually are third-party
| | 06:45 | products that do a much better job of
upsampling beyond the capabilities of what
| | 06:50 | Photoshop may do on its own.
| | 06:52 | If that's something you need, I check out
one of the products from onOne Software.
| | 06:56 | That's just onone.com or
ononesoftware.com and they have a product called
| | 07:00 | Genuine Fractals that you can take a
look at that does a really good job of
| | 07:04 | up-sampling beyond that 20% threshold
that I'm recommending you stay within.
| | 07:09 | Last point to make is that, if you are
resampling an image whether you're making
| | 07:12 | it have fewer pixels or have more pixels,
you actually have a choice of how the
| | 07:18 | resampling gets done.
| | 07:19 | There's another geeky term called an Algorithm.
| | 07:21 | What math should Photoshop use to
get you the result you're looking for?
| | 07:26 | The default is Bicubic,
again another geeky name.
| | 07:29 | And at least now, they actually give
you a description of what that means.
| | 07:32 | It's best for smooth gradients.
| | 07:34 | There are two other options that you
might want to take a look at, one is
| | 07:38 | Bicubic Smoother, so if you're
making that image larger than the number
| | 07:42 | of pixels you have, you would want
to change the algorithm for resampling
| | 07:46 | to Bicubic Smoother.
| | 07:47 | It's going to give you much better results.
| | 07:50 | Bicubic Sharper is typically what
you want to do if you're taking a file
| | 07:54 | smaller, which most of time and
especially with today's digital cameras that are
| | 07:58 | capturing so many pixels, you
typically are down-sampling your images,
| | 08:02 | especially if you post it into a
webpage or doing a photo gallery or just
| | 08:06 | showing up on a mobile device or
something, you're certainly not going to send
| | 08:09 | these huge amount of pixels
to those particular outputs.
| | 08:12 | So I actually change my default
Resampling Algorithm to Bicubic Sharper and I'll
| | 08:17 | show you how to do that in just a moment.
| | 08:18 | But typically we're going to get a lot
better results by choosing Bicubic Sharper.
| | 08:22 | What that does is make the file smaller,
and does a sharpening pass behind the
| | 08:26 | scenes to retain edge detail.
| | 08:28 | Okay, so if I was doing this as a 4x6
to my inkjet printer, in the previous
| | 08:33 | video we talked about what type of
resolution you need based on output, it
| | 08:36 | turns out that inkjet printing, a good number
is somewhere between 240 and 300 dots per inch.
| | 08:41 | We said we wanted this to be a 4x6, and
so I'm down-sampling this image down to
| | 08:46 | about 4 MB, the Dimensions are 4x6, the
Resolution is 240, I've chosen Bicubic
| | 08:51 | Sharper to give me the best results, go
ahead and click OK, and there is my file
| | 08:56 | and I'm ready to go ahead and print it.
| | 08:58 | If you were following the Algorithm
discussion there about Bicubic versus
| | 09:01 | Bicubic Smoother and Bicubic Sharper,
then you'll find that most of the time
| | 09:05 | you're going to be starting for a large
file and making it smaller, then you'll
| | 09:08 | want to change your Preference.
| | 09:09 | Go to Photoshop, Preferences on the
Mac, and we can just go to General on
| | 09:13 | PC, we're going to the Edit menu, or
Command or Ctrl+K will just pop-open the dialog.
| | 09:18 | Right there in the General category,
the Image Interpolation default, it's
| | 09:23 | right now set to Bicubic.
| | 09:24 | That's the out-of-the-box default.
| | 09:25 | If you're finding you're constantly
making your images smaller, then change it
| | 09:29 | to Bicubic Sharper as the default, so
that the next time you go to Image Size,
| | 09:32 | that dialog, it will already be set to
the interpolation choice that's going to
| | 09:37 | give you the better looking result.
| | Collapse this transcript |
| How big a print can you make with your image?| 00:00 | Okay, let's get real pragmatic.
| | 00:02 | The question I get asked the most
is yeah, yeah, I don't want electron
| | 00:05 | resolution, just tell me do I have enough
information to make the print size that I want.
| | 00:09 | There is an easy way to figure
that out without a lot of mumbo-jumbo.
| | 00:13 | Go to Image > Image Size.
| | 00:15 | Image menu, choose Image Size.
| | 00:17 | This is the file that you have opened
and you just want to know, do I have
| | 00:19 | enough information to get a decent looking
say 8x10 print or a 20x30 print on the printer?
| | 00:26 | Here is how you figure it out.
| | 00:27 | First, turn off the Resample checkbox.
| | 00:30 | Just make that go away, because
whatever you do in this dialog box now is going
| | 00:33 | to be non-destructive.
| | 00:34 | You can change the width.
| | 00:35 | You can change the height.
| | 00:36 | It's not actually going to change the
amount of information in the file, so you
| | 00:39 | have protected yourself here.
| | 00:40 | What you are going to do is in the
Resolution field you are going to click on
| | 00:43 | the word Resolution that will highlight
that field for you, and just type-in the
| | 00:46 | target resolution for the
output that you are going to.
| | 00:50 | Try to make that even simpler.
| | 00:51 | For an inkjet printer, type in 240.
| | 00:53 | You can even go maybe to 300, but 240 is a
great number for inkjet printing. All right!
| | 00:58 | So I am going to type-in
240 and look what happened?
| | 01:01 | It made the width and height scale down
or change to the largest print you can
| | 01:07 | make without resampling the image,
because Resample is turned off, notice that
| | 01:11 | we don't have that turned on right now.
| | 01:12 | So no resampling is going to occur.
| | 01:14 | Type in the target resolution that we
have done here, 240, and the result of
| | 01:17 | width and height is now how big a
print you can make without actually having
| | 01:22 | Photoshop invent pixels that don't exist?
| | 01:24 | So if you knew you wanted an 8x10, you
have enough information, matter of fact
| | 01:28 | you can even downsample the
file and you're good to go.
| | 01:31 | If you want a 20x30, well you are about
half of where you want to be, because if
| | 01:37 | you take a look at the height, that's 14.
| | 01:39 | That's about half of
almost 15, you want it to be 30.
| | 01:42 | You don't have enough information to do a 20x30.
| | 01:44 | Now you can make a choice to have a lower
resolution 20x30 print. It's worth trying.
| | 01:51 | Go ahead and change it
to 20x30 and print it out.
| | 01:53 | Your resolution probably the
half of what it is right now.
| | 01:55 | It'd be more like 120 instead of 240.
| | 01:57 | Put it up on a wall, step back 5 or 6
feet, and if it looks good enough, then
| | 02:01 | you have enough resolution.
| | 02:03 | What I'm talking right now though is
just how big a print can you make with the
| | 02:07 | resolution you currently have present
in the file without asking Photoshop to
| | 02:11 | up-sample or add pixels to the
file in order to accomplish your goal?
| | 02:15 | So if you knew you wanted an 8x10 back
as a next example, and you are going to
| | 02:18 | inkjet printer, you typed-in a resolution of
240, you are like okay, well that's bigger.
| | 02:22 | The resulting dimensions are bigger than 8x10.
| | 02:24 | How do I resize this to back down to an 8x10?
| | 02:28 | So now you turn on Resample and go
change the width to 8 if you wanted an 8x10,
| | 02:33 | 8 wide, since the vertical image.
| | 02:35 | Note that when Resample is now turned on,
it doesn't change the resolution that
| | 02:39 | you have already set.
| | 02:40 | It's going to stay at 240.
| | 02:42 | What part two of this exercise has
shown you is that this image isn't the same
| | 02:46 | proportion as an 8x10.
| | 02:48 | It's an 8x12 proportion.
| | 02:50 | So I think that would be a 4x3
whereas an 8x10 is a 4x5 proportion.
| | 02:55 | So all this tells you is oh, okay, I
will need to crop this image after I
| | 02:59 | click the OK button.
| | 03:01 | I will need to take off 2 inches either
from the top or the bottom, and create
| | 03:04 | an 8x10 crop before I
actually send this to the printer.
| | 03:07 | So there you have it, easy way to
figure out, just how big a print can I make?
| | 03:11 | You go to Image, Image Size and you
turn off Resample Image first, you type-in
| | 03:15 | the resolution you want.
| | 03:17 | Let's say I want a 300 dpi file.
| | 03:20 | The biggest print I can make at
that native resolution is 6.4x9.6.
| | 03:24 | If I wanted a 5x7 in this case, I am good.
| | 03:26 | If I wanted an 8x10 I'm probably close enough.
| | 03:29 | I won't notice any
difference in quality there probably.
| | 03:32 | But if I wanted a 20x30, at that
resolution, I am probably not going to get the
| | 03:36 | result I am looking for. All right!
| | 03:37 | Well now to dial-in the Dimensions again,
turn in Resample, turn that on, change
| | 03:41 | the width to what you want it.
| | 03:43 | So in this case we want it to be 5.
| | 03:44 | That gives you a 5x7.5 proportion.
| | 03:46 | So in this case you would just have to crop out
half-an-inch off the height. There you have it.
| | 03:51 | Hopefully, you've now got a really
easy way to figure out just how the bigger
| | 03:55 | print you can make with the file
you've got right off your camera.
| | Collapse this transcript |
|
|
10. Cropping and TransformationsCrop options| 00:01 | To crop an image in Photoshop, of
course, you need to use the Crop tool.
| | 00:03 | Press the letter C on your
keyboard to switch to the Crop tool.
| | 00:06 | I've already got that chosen, or you can
click on the happy, little Crop icon there.
| | 00:10 | Now, by default, it's just a freeform crop.
| | 00:13 | Sp just click-and-drag with the mouse
and just drag out a rectangle and drag
| | 00:17 | that to whatever shape you
want to crop the image into.
| | 00:21 | There is a nice overlay.
| | 00:23 | This is called the Rule of Thirds overlay.
| | 00:26 | The idea here is that you line up
interesting things in the image in the
| | 00:29 | composition on one of these
intersection points. I want to do that.
| | 00:32 | It's just kind of a helpful guide.
| | 00:35 | So if I line up her eye with that
intersection there, in theory, you're going to
| | 00:38 | get better composition, and
most of time that's actually true.
| | 00:41 | Now, if you don't like that, you can
actually change it to a Grid, more equal
| | 00:44 | parts to bring up the area of the
rectangle into equal parts, or if you don't
| | 00:48 | like either of it, you can change it to None.
| | 00:50 | I like the default Rule of
Thirds and keep it on there.
| | 00:53 | So, it's a nice aid as you're
trying to figure out what composition you
| | 00:56 | want your crop to be. Now, that's fine.
| | 00:58 | You'll notice that if I click inside
the crop boundary, I can reposition the
| | 01:02 | crop to wherever I want it within the
image and of course, to resize it from
| | 01:06 | either the width or the height or
from both at the same time, you just grab
| | 01:10 | the appropriate handle.
| | 01:11 | So if I do this, middle handle on
the right-hand side here, I'm just
| | 01:14 | changing the width.
| | 01:15 | But to the top middle handle here,
I'm just changing the height.
| | 01:18 | Of course, if I do the corner handle,
I'm changing both at the same time.
| | 01:22 | If you want to cancel the crop and
start over, you just simply press the
| | 01:27 | Escape key or up here in the Options bar,
there is this little Cancel icon there as well.
| | 01:31 | I can click that to cancel
and start over. All right!
| | 01:33 | I'm going to go ahead and click-and-
drag again, to drag out our crop, and drag
| | 01:39 | it from the inside of the crop
boundary to wherever you want it and then to
| | 01:41 | apply that crop you press
the Return or Enter key.
| | 01:44 | That applies that crop and deletes those
pixels that were outside the crop rectangle.
| | 01:49 | Let's go ahead and undo this.
| | 01:50 | Command+Z or Ctrl+Z or
Edit > Undo Crop. Awesome!
| | 01:54 | Now, most of the time though, you're
not necessarily doing freeform cropping,
| | 01:59 | you're cropping to a
particular size that you know you want.
| | 02:02 | So let's say I want to make a 4x6 print or
a 5x7 print or a square of 3x3, whatever.
| | 02:08 | If you have a specific size in mind,
then you'll notice that in the Options bar
| | 02:12 | at the top here, for the Crop tool,
you have specific options you can set.
| | 02:16 | You can do the width, the
height and the resolution.
| | 02:19 | Now rather than actually manually
typing numbers into these fields, you
| | 02:23 | might check out to see if there is a
tool preset available that's already
| | 02:26 | done the work for you.
| | 02:28 | Every tool has tool presets that are
available in the upper left-hand corner
| | 02:32 | of the Options bar and we can see the Crop
tool icon there with a little drop-down menu.
| | 02:35 | Let's turn that on.
| | 02:37 | Click on it to expose the menu here.
| | 02:39 | By default, it's listing all
the presets for every tool.
| | 02:43 | I only need to see the presets for the
current tool, I mean, just the Crop tool preset.
| | 02:47 | So, I'm going to turn that checkbox on.
| | 02:50 | You'll say, look, handy-dandy,
there are presets for common print sizes
| | 02:54 | already created for me.
| | 02:55 | So if I want a 4x6, that's 300 DPI,
because I'm bringing this to an inkjet printer.
| | 02:59 | Awesome!
| | 02:59 | I'm going to click on that.
| | 03:01 | It just populates these
fields with those values.
| | 03:05 | Press the Enter key to make the pop-up
menu go away and my tool has now been set
| | 03:10 | up with those settings.
| | 03:11 | Now you'll notice though, this is a
horizontal image and the width is currently
| | 03:16 | 4 inches, the height is 6 inches, so
that's vertical dimensions there or a
| | 03:20 | vertical orientation of a crop.
| | 03:21 | If that's what you want, great, but if
not, if you actually want a horizontal
| | 03:25 | crop, then there's this little double arrow.
| | 03:27 | You don't actually have to go in here and
type 6 and then type a 4 in the Height field.
| | 03:31 | You can just swap those values by
clicking that double arrow between the
| | 03:34 | Width and Height fields.
| | 03:35 | That makes a little bit quicker to do that.
| | 03:37 | Okay, I've dialed in my
options by using the tool Preset.
| | 03:40 | I swapped it with the little double
arrow trick and now I can just freeform it
| | 03:45 | and note that the rectangle
stays at a 4x6 proportion.
| | 03:49 | Doesn't matter how big I make it.
| | 03:51 | I just can't make any random rectangle anymore.
| | 03:53 | Whatever size I drag it out to, it's
going to maintain that aspect ratio and
| | 03:57 | make sure it's a 4x6 crop.
| | 03:59 | So I position it where I want it.
| | 04:01 | When I'm happy with the position, I
press the Enter key. There I have it.
| | 04:04 | I have my 4x6 cropped image. It's 300 DPI.
| | 04:07 | I can go on to print that to my
inkjet printer, and it's all good.
| | Collapse this transcript |
| Hide vs. Delete for the Crop tool| 00:01 | This video is kind of a bonus tip.
| | 00:03 | It's the difference between Hide
versus Delete in the Crop tool.
| | 00:07 | Now, most people don't realize that in
Photoshop, you don't actually have to
| | 00:10 | delete the pixels that you crop.
| | 00:13 | You can choose to hide them instead,
but there is a little bit of nuance to how
| | 00:17 | you get that set up.
| | 00:17 | So, first of all, why would you want to do that?
| | 00:20 | Well, I drag out a crop boundary here.
| | 00:22 | I've got a preset set of values here in
my Width and Height fields and Resolution.
| | 00:25 | So I'm going to hit the
Clear button to empty those out.
| | 00:28 | Let's just say I want a long,
narrow crop boundary here.
| | 00:32 | I'm not quite sure -- I don't want to commit
to actually that this is the final composition.
| | 00:38 | I may want to move this image around
within this new rectangle that I'm creating.
| | 00:42 | By default, since Crop is set to
delete the pixels that are outside the crop
| | 00:47 | boundary, I'm going to lose that flexibility.
| | 00:49 | If I hit Return or Enter,
those pixels are now gone.
| | 00:52 | They're out of the file.
| | 00:53 | If I do a Save, and I'm going to
save over the original version, which,
| | 00:57 | hopefully, you don't do,
those pixels are gone forever.
| | 00:59 | If I do a Save As and keep the original,
I'd had to go back to the original file
| | 01:04 | to get those pixels back.
| | 01:05 | So, there is actually an option of the
Crop tool that makes it a lot more flexible.
| | 01:08 | So I'm going to undo this.
| | 01:09 | I can just go to File > Revert to get back
to where I was when we first opened this file.
| | 01:15 | The trick though is in order to be able
to hide the pixels that are outside the
| | 01:20 | crop boundary as opposed to delete
them you have to be using a layer that
| | 01:24 | supports transparency.
| | 01:26 | If you take a look at the Layers panel, there
is only one layer currently in the Layers panel.
| | 01:30 | It's named Background.
| | 01:32 | Background is a very special type of layer.
| | 01:34 | You can't delete it.
| | 01:35 | You can't delete partial
pixels on that layer or have it be
| | 01:39 | partially transparent.
| | 01:40 | So we need to convert this layer, the
Background layer, to a layer that does
| | 01:44 | support transparency.
| | 01:45 | Now the quickest way to do that is just
simply double-click on the name of the layer.
| | 01:49 | You can choose to give
it a new name if you want.
| | 01:51 | I'm just going to click OK.
| | 01:52 | It's now called Layer 0.
| | 01:55 | This now converts it from the special
type of core Background layer into a layer
| | 01:59 | that can support transparency.
| | 02:02 | So I'm going to get the Crop tool again.
| | 02:03 | Press the letter C if I
haven't done that already.
| | 02:05 | So I've got my Crop tool.
| | 02:07 | I'm going to go ahead and
drag out a crop boundary.
| | 02:09 | Again, just kind of
freeform shape any way I want it.
| | 02:12 | But before I hit Return or Enter to
actually apply that crop, now that my layer
| | 02:16 | is not a Background layer,
it's called Layer 0 over there.
| | 02:20 | If you look in the Crop tool Options
bar, you'll see there is a new choice
| | 02:23 | available to me called Hide.
| | 02:25 | I'm going to go ahead and turn on Hide.
| | 02:27 | Press the Return or Enter key.
| | 02:29 | Then at first, it looks like I did the
exact same thing as using the default Delete.
| | 02:34 | But now if I switch to my Move tool,
I'm going to press the letter V on my
| | 02:38 | keyboard to switch to the Move tool and
start clicking-and-dragging, you'll see
| | 02:41 | I'm able to reposition, reposition
that image within the canvas rectangles.
| | 02:47 |
| | 02:47 | So those pixels are still there.
| | 02:49 | I didn't delete them. I just hid them.
| | 02:52 | They're hiding outside that
canvas rectangle. So, pretty cool!
| | 02:55 | All right, so if you want to
reposition your image within the crop, it's just
| | 03:00 | simple as clicking-and-dragging.
| | 03:01 | As long as you don't go too far and
reveal the transparency check board,
| | 03:05 | there are no pixels here anymore,
you have a lot of freedom to reposition
| | 03:10 | this image and change the overall
composition while maintaining the aspect
| | 03:13 | ratio that you wanted.
| | 03:15 | Okay, to summarize, you actually
have the option to hide or delete when
| | 03:19 | you're doing your crop.
| | 03:21 | The trick is to make sure you convert
that layer from a Background layer to a
| | 03:25 | layer that supports transparency.
| | 03:26 | That's as simple as double-clicking
on the layer name and clicking OK.
| | Collapse this transcript |
| Bringing back hidden pixels with Reveal All| 00:01 | So, you may know that in the Crop tool,
there is a great option to instead of
| | 00:04 | delete the pixels to hide the pixels.
| | 00:06 | So let's do that real quick.
| | 00:08 | To get the Crop tool, I press the
letter C. I'm going to go ahead and -- before
| | 00:11 | I drag out a crop boundary though, the
layer needs to be converted to a layer
| | 00:16 | that supports transparency.
| | 00:17 | So I'm going to double-click on the word
Background in the Layers panel and just click OK.
| | 00:21 | The Background layer is special.
| | 00:22 | It can't be deleted.
| | 00:24 | We've converted it to a
non-Background layer now.
| | 00:26 | I'll press C for the Crop tool, drag
out my crop boundary and position it the
| | 00:32 | way I want it to by clicking inside the
boundary and reposition it where I want it.
| | 00:36 | Then making sure the Cropped Area option is
set to Hide instead of the default, Delete.
| | 00:40 | So that's what it is.
| | 00:41 | Now I've clicked on Hide.
| | 00:42 | I'm going to hit the Return key or Enter key.
| | 00:45 | That gives me that flexibility.
| | 00:46 | I'm going to get my Move tool.
| | 00:47 | Press V for Move tool.
| | 00:49 | I can reposition that image within the frame.
| | 00:52 | Okay, but what if I'll actually
want to get back all my pixels.
| | 00:55 | I need to make the canvas bigger.
| | 00:57 | I have no idea what the canvas size was
in the beginning, but maybe I've opened
| | 01:01 | up this file from someone else.
| | 01:02 | So I just want a real quick
way to get all my pixels back.
| | 01:06 | To do that, just simply go to the
Image menu and choose Reveal All.
| | 01:11 | That will automatically make your canvas
the document size, large enough to show
| | 01:16 | you all your pixels again.
| | 01:17 | You're back to your original proportion.
| | 01:19 | So when in doubt, when you're really
not sure what your final crop is going to
| | 01:23 | be and you want it to be
non-destructive, just make sure you choose the Hide
| | 01:26 | option instead of the Delete
option for the Crop options.
| | 01:29 | Then you can always get back to
where you started from by using Image >
| | 01:32 | Reveal All.
| | Collapse this transcript |
| Making the canvas bigger with the Crop tool| 00:01 | So let's say you wanted to print this
image on a gray background or a white
| | 00:05 | background or a black background and
you wanted the canvas behind this image to
| | 00:09 | be larger than the image, so you see
this extra solid color in the background.
| | 00:13 | Well, how would you go about doing that?
| | 00:15 | Well, it turns out that there is kind of
a hidden secret trick about the Crop tool.
| | 00:18 | We typically think about using the
Crop tool to make an image smaller.
| | 00:22 | It turns out you can actually use the
Crop tool in Photoshop to add to an image,
| | 00:27 | to add canvas to an image.
| | 00:29 | So I'm going to press the
letter C to get to the Crop tool.
| | 00:30 | Then I'm going to go ahead and
just leave the Width, Height and
| | 00:33 | Resolution fields blank.
| | 00:35 | The trick is to go ahead and start by
creating a crop boundary the size of the document.
| | 00:39 | So just drag all the way
from one corner to the other.
| | 00:42 | Then let go to set the initial crop.
| | 00:45 | I'm going to use my Zoom
keyboard shortcut to zoom out one notch.
| | 00:48 | I'm going to go Command+Minus or Ctrl+
Minus on the keyword, just so I can see
| | 00:52 | more of the outside area.
| | 00:54 | Then all you have to do is grab a handle,
and make the crop area larger than the image.
| | 00:59 | Let me escape this to
cancel, hit the Escape key.
| | 01:03 | By default, when you first drag out a boundary,
you can't go beyond the image size itself.
| | 01:08 | It stops and won't let you drag further.
| | 01:11 | So the trick is just to let go,
grab a handle and drag again.
| | 01:14 | Now, by default, if I drag a corner, it's
dragging the width and height at the same time.
| | 01:19 | It stays anchored at the opposite corner.
| | 01:21 | All right, so I'm
dragging the right bottom corner.
| | 01:23 | It's staying anchored from the upper left.
| | 01:24 | What I want to do is actually add canvas
extra area equally on all four sides as I drag.
| | 01:30 | So to do that, you hold down what I
call the make-better key in Photoshop.
| | 01:34 | It just makes Photoshop better.
| | 01:35 | You should just tape the key down.
| | 01:36 | It's the Option key on the
Mac or the Alt key on Windows.
| | 01:39 | I'm going to hold that key down.
| | 01:41 | As I drag, you'll see it's adding it
from all four sides in an equal amount.
| | 01:45 | So, that looks about right, I want that
much border or canvas to be added to the
| | 01:50 | outside of the image.
| | 01:51 | Then I want the bottom say to be just
a little bit taller to make it a little
| | 01:55 | bit asymmetric so that the
Rule of Thirds composition.
| | 01:58 | You can see that horizontal line is
lining up right on her eye there to make it
| | 02:01 | a little bit better composition of
where this image is going to be placed on
| | 02:05 | "the card" or the background
that we're placing this on.
| | 02:07 | All right, so I've got it positioned correctly.
| | 02:09 | I'm going to hit the
Return key or the Enter key.
| | 02:12 | You'll see that, by default, it adds
the background color to the image, because
| | 02:18 | we're working with a Background layer.
| | 02:20 | So whatever the background color
happened to be, the default was white, so
| | 02:23 | the new pixels that got added to
that image were filled with that white
| | 02:27 | color, the background color.
| | 02:28 | I'm going to go ahead and undo that.
| | 02:31 | Let's say that you want to control the color
that's going to be used for this background.
| | 02:37 | If that's the case, you may actually want to
end up with the Background being a separate layer.
| | 02:42 | So the solid color is a separate layer.
| | 02:45 | The image is on a different layer.
| | 02:46 | So you can edit them
independently in a more free-form way.
| | 02:49 | So to do that, what you need to do is
convert this Background layer to be a
| | 02:55 | non-Background layer, a layer that
supports transparency, before you actually do
| | 03:00 | the Add Canvas trick that I just showed you.
| | 03:02 | So the way to do that is just double-
click on the name Background in the
| | 03:05 | Layers panel and click OK.
| | 03:06 | To get my Crop tool again, press the
letter C. Drag from one corner to the other.
| | 03:11 | You can't drag farther at first. You let go.
| | 03:15 | You grab a handle again and start
dragging again by pressing and dragging.
| | 03:19 | Hold down the Option or Alt key
to drag out equally all four sides.
| | 03:24 | Then I'm going to drag out the bottom
handle after letting go off the Option key
| | 03:27 | to right about there.
| | 03:29 | This time, when I press Enter or
Return, instead of the new pixels that got
| | 03:34 | added to the file being filled with
the background color, they are said to be
| | 03:37 | transparent, because I'm not
on a Background layer anymore.
| | 03:41 | I'm just on a regular layer.
| | 03:43 | What we want to do now is add an
additional layer behind this image layer, so
| | 03:47 | that I can fill that with whatever
canvas color I want, whatever color I want
| | 03:51 | the Background to be.
| | 03:52 | Now I could click the New Layer icon.
| | 03:54 | I'll go ahead and do that.
| | 03:55 | Then you'll see the new layer got
created above my current layer, which
| | 04:00 | isn't what I wanted.
| | 04:00 | I want that layer to be behind,
below the image layer, which is fine.
| | 04:05 | I can drag Layer 1 and drag it below
Layer 0, okay, or I'm going to go ahead and
| | 04:10 | delete that layer, while I'm here,
I'm going to go ahead and hit Yes.
| | 04:13 | I'm going to show you a trick.
| | 04:14 | Instead of clicking the New Layer icon,
the default behavior puts the new layer
| | 04:18 | above the active layer.
| | 04:19 | Just hold down that Command key on
the Mac or the Ctrl key on Windows.
| | 04:24 | Now when you click that New button, it
adds the new layer below the current layer.
| | 04:29 | So it just saves you the step of having
to drag the new layer that got created
| | 04:32 | below the layer, to get it
where you wanted it. Okay.
| | 04:35 | So here we have this new empty layer.
| | 04:37 | We want to fill it with a specific color.
| | 04:39 | We're going to go to Edit and choose Fill.
| | 04:42 | Then the default is the
Foreground Color, which is black.
| | 04:45 | That's fine, if that's what you want.
| | 04:47 | You can choose Background Color, which
is currently white, or I can choose, in
| | 04:50 | this case, 50% Gray.
| | 04:52 | I'm going to go ahead and click OK.
| | 04:53 | There, I've done it.
| | 04:54 | I've added a background to this image
where this image can now kind of float
| | 04:59 | above it and print that out
as my photo card if you will.
| | 05:03 | I've got a much different
way to present the image.
| | 05:06 | For adding kicks, I might add a little
white border to the outside of the image.
| | 05:09 | So I'm going to select the image layer.
| | 05:11 | Right now, it's called Layer 0.
| | 05:12 | At the bottom of the Layers
panel, there is a little fx icon.
| | 05:16 | I'm going to click on that and choose
Stroke as my effect to add to this layer.
| | 05:22 | The default color is black.
| | 05:24 | I'm going to make the size quite a bit bigger.
| | 05:26 | You see as I drag that Size slider,
you see that Stroke being added to the
| | 05:30 | composition there in the background.
| | 05:31 | You'll note that it's rounded corners,
by default, because the Position has
| | 05:35 | been set to Outside.
| | 05:37 | I'm going to change it to Inside.
| | 05:39 | That's how I get nice, sharp corners instead.
| | 05:42 | I want the color to be white, so
I'm going to click on the Color chip.
| | 05:45 | That brings up the color picker.
| | 05:46 | I'll click in the white area
of that dialog there. Click OK.
| | 05:50 | You can see I've got a white Stroke
added to that to finish off the effect.
| | 05:54 | I'll go ahead and click OK.
| | 05:56 | There is my final result, things
you didn't know you could do with the
| | 05:59 | Crop tool.
| | Collapse this transcript |
| Making the canvas bigger by a specific amount with Relative Canvas Size| 00:00 | So, what I want to do to this image is
I want to add canvas to the outside edge
| | 00:04 | of all four sides, but by a specific amount.
| | 00:07 | Not just kind of free-form it by eyeballing it.
| | 00:09 | I want let's say an exact inch added
above, below, and to the left and right, on
| | 00:15 | all four sides of that image.
| | 00:17 | How would I go about doing that?
| | 00:18 | I'd go to the Image menu, choose down to
Canvas Size and use this dialog to do so.
| | 00:23 | Now, the default is to have this
option called Relative not turned on.
| | 00:28 | What that's showing you is
the current size of the image.
| | 00:32 | The Canvas is 12.133x808.
| | 00:33 | Then I have to sit there and do some math.
| | 00:36 | Okay, if I want three quarters of an
inch to be added to all four sides, I have
| | 00:41 | to do three quarters.
| | 00:42 | So 0.75 times two is 1.5.
| | 00:45 | Then I've got to do 12.133 plus 1.5. Oh!
| | 00:49 | That's too much math!
| | 00:51 | So if I know that I want a specific
amount equally on all four sides, I'm going
| | 00:54 | to turn on the Relative checkbox.
| | 00:56 | What this lets me do is just
type in the number I want added.
| | 00:59 | Now it's going to be added equally on each side.
| | 01:02 | So if I type in 1 inch here, half of
that's going to go to the left and half of
| | 01:05 | that's going to go to the right.
| | 01:07 | So if I want an exact inch on either
side, I actually need to type in 2 inches
| | 01:12 | to add to the width.
| | 01:13 | If I want to add the height as
well, I would type 2 inches there.
| | 01:17 | Before I click OK, you can actually
choose which color the Canvas that's going
| | 01:21 | to be added to the image should be.
| | 01:22 | You can choose White, Black or Gray or
you can go Other to bring up color picker
| | 01:26 | and choose a specific color.
| | 01:27 | I'm just going to go with
Gray, go ahead and click OK.
| | 01:30 | You get exactly what you want.
| | 01:32 | The Canvas has been added to on all four sides.
| | 01:35 | The amount that got added to
each side is exactly 1 inch.
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| Correcting perspective with the Crop tool| 00:00 | There's a great little option on the
Crop tool that allows you to correct
| | 00:03 | an image like this.
| | 00:04 | So, this is a shot of a painting, of
course, but at an angle, so that the flash
| | 00:09 | that went off wouldn't bounce
directly off the glass, hits in front of the
| | 00:12 | painting and cause a reflection or a
blowout to happen in the image there.
| | 00:16 | So what we want to do is, of course,
straighten the image so that looks like we
| | 00:19 | took the picture from dead-on.
| | 00:21 | Very useful technique if let's say
you'd want to take a picture of the building
| | 00:24 | from the storefront or from the street.
| | 00:26 | Let's say right where you want to take
the shot from the angle you're at, there
| | 00:31 | is a light pole in the way
or there is a car in the way.
| | 00:33 | But if you can frame the image just a
little bit different by stepping off a
| | 00:36 | couple of steps to one side, where
that particular obstacle or the thing that
| | 00:41 | you don't want in the image doesn't
fit within the frame, then that's an easy
| | 00:44 | thing for you to fix here after the
fact by using the Perceptive Crop option.
| | 00:49 | So I'm going to press the C key on my
keyboard to switch to the Crop tool.
| | 00:52 | By default, when you drag out a
crop boundary, it doesn't really know
| | 00:55 | anything about Perspective.
| | 00:56 | It's just a rectangular shape.
| | 00:59 | When you hit Return, that's
what's going to be cropped.
| | 01:01 | But it turns out that once you have a
crop boundary drawn out and it's active,
| | 01:06 | in the Options bar, there is a
little checkbox here for Perspective.
| | 01:10 | Before you turn that on, if you go and
you click on the corner handle again and
| | 01:13 | again, it's just resizing the width and
height in a rectangular fashion there.
| | 01:17 | If I turn the checkbox on now, now
each corner can be moved independently.
| | 01:23 | You can create kind of a
Perspective shape or a trapezoid.
| | 01:27 | So the trick here is to line out each
corner of the crop boundary with a corner
| | 01:33 | of what you know was supposed
to be true straight corner there.
| | 01:36 | So I'm just kind of roughly lining
those in, I'm going to zoom up a couple of
| | 01:39 | times, Command+Plus, Command+
Plus, Ctrl+Plus on Windows.
| | 01:42 | I'm going to hold down my Spacebar to
get my Hand tool temporarily and I'm just
| | 01:45 | going to pan around, until I can see
the handles in the corners and I'm just
| | 01:50 | going to fine-tune their positions.
| | 01:52 | So in the space again to pan and
repositioning those corner handles just to make
| | 01:57 | sure they're dead-on with the
corner of the mat here on the painting.
| | 02:01 | Okay, once I've got it looking
pretty good, I'm going to zoom out, Fit to
| | 02:05 | Window, Comman+0 or Ctrl+0.Then I'm
just going to press the Enter key or the
| | 02:09 | Return key to actually apply this crop.
| | 02:11 | You can see it straightens the image
as it crops it out. Pretty cool, ha!
| | 02:15 | All right, to fix this last effect, we're
going to make the white mat look white again.
| | 02:20 | So I'm going to get my Marquee tool.
| | 02:21 | I'm going to press the letter M.
I'm going to go ahead and drag out a
| | 02:25 | rectangular marquee shape
here, around the painting.
| | 02:28 | Sometimes it's actually easier to
select what you don't want to adjust and then
| | 02:33 | get the opposite of that selection.
| | 02:35 | So, there's a reverse selection command
that's called Inverse under the Select menu.
| | 02:39 | It's Inverse and there is a
keyboard shortcut for that as well,
| | 02:41 | Command+Shift+I or inversed.
| | 02:43 | That gives you the opposite of your
current selection and then I'm just going to
| | 02:46 | fill that selection with white.
| | 02:48 | I'm going to go to the
Edit menu and choose Fill.
| | 02:50 | Instead of 50% Gray,
we'll say use White, click OK.
| | 02:54 | Then we'll just deselect, Command+D
or Ctrl+D. There is my finished,
| | 02:58 | straightened, cropped and
Perspective-adjusted with a white matte
| | 03:03 | completed picture there.
| | Collapse this transcript |
| Straightening a crooked image| 00:00 | Photoshop makes it very quick and
easy to straighten an image as well.
| | 00:03 | So you can see in this image here,
the horizon line is at an angle.
| | 00:07 | We just want to quickly do a Crop
and Straighten in one fluid step here.
| | 00:11 | So the trick here is to use
a tool called the Ruler tool.
| | 00:14 | It's buried underneath the Eyedropper tool.
| | 00:17 | So if I click on the Eyedropper and
press I'll see the Ruler tool that can
| | 00:20 | be chosen from there.
| | 00:21 | So I'll go ahead and choose that.
| | 00:22 | The idea is to start the Ruler, put a
position at where the horizon line is, or
| | 00:28 | the area that you want to know
that's supposed to be straight.
| | 00:30 | Click-and-drag a line through to the
other side, and that's going to add a
| | 00:35 | measurement line there.
| | 00:36 | Then once you let go of the mouse,
you'll notice that in the Options bar now for
| | 00:39 | the Ruler, there is just a
single button that says Straighten.
| | 00:42 | Go ahead and click that. Voila!
| | 00:44 | It straightens and rotates and
crops the image for you all in one step.
| | 00:49 | Pretty cool, huh?
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| Scaling, skewing, and rotating with Free Transform| 00:00 | So when you crop an image, you're
actually acting on the entire canvas of the file.
| | 00:05 | The whole size, the whole
dimensions of the overall file are changing.
| | 00:09 | Same thing when you're using image size, that
dialog box to change the size of the document.
| | 00:13 | Other times, you just want to scale
a certain piece of the document, or
| | 00:17 | transform a certain piece of the document.
| | 00:20 | Most of the time, that's an example like
this where you've got content on a layer.
| | 00:23 | So here I have this Jump layer, I can
turn that on and off by clicking the Eye.
| | 00:26 | You can see that background as a separate layer.
| | 00:29 | I might want to change the Scale or
Rotation of this particular item on this
| | 00:34 | particular layer, so this Jump layer here.
| | 00:36 | The way you do that in Photoshop
is use the Free Transform mode.
| | 00:40 | Now it's not a tool.
| | 00:41 | If you go over at the toolbar and looking for a
Scale tool or a Rotate tool, it doesn't exist.
| | 00:45 | It's a mode.
| | 00:46 | Two ways to get there.
| | 00:47 | The menu way is under the Edit menu,
the Free Transform menu command.
| | 00:52 | That puts a bounding box.
| | 00:53 | You're now in a Transform mode inside Photoshop.
| | 00:57 | I'm going to hit the Escape key to
cancel out of that Transform mode.
| | 01:00 | The way that I recommend is
use the keyboard shortcut.
| | 01:03 | So that's Command+T or Ctrl+T for Transform.
| | 01:06 | Once you're in the Free Transform mode,
there is now a bounding box around your content.
| | 01:11 | If you want to scale it, you just
grab a corner handle and start dragging.
| | 01:14 | If you're doing the corner handle, you're
scaling both the Width and Height at the same time.
| | 01:18 | Free Transform implies that
you can just do it freely, right.
| | 01:21 | There's no constraining going on.
| | 01:22 | I'm going to undo that.
| | 01:24 | You can undo the last thing you did
in Free Transform before you are either
| | 01:27 | canceling or committing to these changes.
| | 01:29 | So Command+Z or Ctrl+Z will
just undo that last thing you did.
| | 01:33 | In this case, it was just as free scale.
| | 01:34 | If I want to scale proportionally, then just
hold down the Shift key as you are dragging.
| | 01:38 | And that will make sure that the end result
is the same proportion as where you started.
| | 01:43 | If you put your mouse outside of the
Free Transform bounding box, you see your
| | 01:47 | cursor changes to Rotate.
| | 01:49 | So if it's inside, it's a little Move icon
where you can move it around your screen.
| | 01:54 | You put your mouse outside it turns to
Rotate, which lets you rotate it freely.
| | 01:58 | Now, by default, it's rotating
from the center of the image.
| | 02:01 | That might be a little tough to see,
but there is this little cross hair thing
| | 02:04 | in the middle of the bounding box there.
| | 02:05 | You can actually move that to somewhere else.
| | 02:07 | So if you want to rotate from say the
upper left-hand corner, you can just
| | 02:11 | click-and-drag on that
little target and move it there.
| | 02:13 | So now when you move your mouse outside,
it's going to be rotating from that new
| | 02:17 | target, that new anchor point.
| | 02:18 | It's kind of like swinging on a rope
or something, which is kind of cool.
| | 02:21 | You can go back and move
that back to the center.
| | 02:23 | As you get near the center, it
will snap back to the center point.
| | 02:26 | Now there are other different types of
transformations you can make besides just
| | 02:30 | scaling and rotating.
| | 02:31 | If you hold down some modifier keys,
like if I hold down the Command key on the
| | 02:35 | Mac or Ctrl on Windows, you can do
what's called the Perspective Transform.
| | 02:39 | And you can kind of make this be on a plane
that you're stretching in space, so to speak.
| | 02:44 | So some interesting things there,
if grab up middle handle, I can do a
| | 02:47 | Perspective Transform and
do it from that way as well.
| | 02:50 | There are other modifiers as well, but
if you don't want to memorize keyboard
| | 02:53 | shortcuts, if you right-click in the
middle of the Transform box, you'll see all
| | 02:57 | the different modes of Free Transform.
| | 02:59 | So it can be used to Scale, Rotate,
Skew, Distort, Perspective or Warp.
| | 03:03 | Then you also have very simple commands.
| | 03:04 | If I just want to flip this
horizontally without having to figure out how to do
| | 03:08 | that, I can just use the right
-click menu command to do so.
| | 03:11 | If you want to scale or rotate
numerically, like a certain amount or to a
| | 03:16 | certain angle, then if you take a look
at the Option bar at the top here, you
| | 03:20 | have Edit fields where you can
actually change those values as well.
| | 03:23 | So if want to scale, let's say exactly 50%,
I'm going to click on the W in the Options bar.
| | 03:28 | That highlights that field
and I can just type in 50.
| | 03:31 | By default, this icon between Width and
Height is not locked, so it's stretching
| | 03:35 | it only in one dimension, the Width.
| | 03:36 | I'm going to go ahead and click that Lock icon
and that forces the H field to also go to 50%.
| | 03:43 | If I want, I can go back
and flip that vertically.
| | 03:45 | So I can add multiple transformations
up during the middle of this transform.
| | 03:50 | When I'm happy with all these results, I
just press the Enter key and it applies
| | 03:54 | all those transformations to
that particular image here.
| | 03:57 | If I want to undo it, Command+Z or
Ctrl+Z and I'm back to where I started.
| | 04:01 | So again, it's not a tool. It's a mode.
| | 04:03 | Quickest way to get there is Command+T
or Ctrl+T. Puts the bounding box around
| | 04:06 | your layer and then you can just freely
transform your content to whatever it is
| | 04:10 | that you want to accomplish.
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| Nondestructive transformations with Smart Objects| 00:00 | So as you start using Photoshop for
more creative work instead of just fixing
| | 00:04 | rectangular shaped images, you start
doing things like layering and compositing.
| | 00:08 | You are often going to be scaling
and resizing and rotating content.
| | 00:11 | One of the things you have to kind of
just wrap your head around, especially
| | 00:14 | if you're coming from other
applications, like say Illustrator or InDesign,
| | 00:17 | those products are vector-based and you can
just scale things freely without losing quality.
| | 00:21 | But of course, with Photoshop, images
being made up of pixels primarily, Free
| | 00:25 | Transform operations tend to be destructive.
| | 00:28 | So let's just kind of do a review here.
| | 00:29 | I've got my Regular layer
selected in Layers panel.
| | 00:31 | I'm going to bring up the Free
Transform mode, which is Command+T or Ctrl+T.
| | 00:36 | That puts a bounding box
around the pixels on that layer.
| | 00:38 | I'm going to go up to a corner handle,
I'm going to hold the Shift key down and
| | 00:41 | I'm going to drag this dude here,
really, really, really tiny.
| | 00:45 | I'll press Enter or Return
to apply that transformation.
| | 00:49 | So I've scaled him pretty small.
| | 00:50 | Well, now, I've changed my mind, I've
decided that I'll open up this file tomorrow.
| | 00:54 | I need him to be a little bit bigger or,
in fact, I need him to be a lot bigger
| | 00:58 | all the way back to where he originally was.
| | 01:01 | Let's just pretend for a minute that I
don't have this additional backup layer
| | 01:04 | visible for me to actually go back to.
| | 01:06 | So again, I want to go back to Free
Transform, Command+T or Ctrl+T. That puts
| | 01:09 | the bounding box around
the tiny version of this.
| | 01:11 | I'll hold down the Shift key again
to scale it back up proportionally.
| | 01:14 | You can kind of guess what's going
to happen, I'm going to get a very
| | 01:17 | pixilated looking image.
| | 01:18 | It will look different
than this once I apply it.
| | 01:20 | I'll go ahead and press
Enter or Return to do so.
| | 01:22 | But you can see the image quality
went way down, because those pixels were
| | 01:27 | thrown away when we did the scale down.
| | 01:29 | They don't magically reappear just
because you scaled the image back up.
| | 01:33 | Once you do a Free Transform on
just regular pixels, that is a
| | 01:36 | destructive action.
| | 01:38 | Now the good news, there is a different way
go about this that makes it nondestructive.
| | 01:42 | It's very cool!
| | 01:44 | So let's select this Smart Object layer.
| | 01:47 | In order to have transformations being
nondestructive, we need to turn a Regular
| | 01:51 | layer and turn it into what's
called a Smart Object layer.
| | 01:55 | Easiest way to do that is to right-click on
the name of the layer that you want to convert.
| | 01:59 | We'll go ahead and do that,
right-click on Smart Object.
| | 02:01 | We're going to choose the Convert to
Smart Object command from the contextual menu.
| | 02:05 | Now what happens is Photoshop wraps
this content that was on this layer, into a
| | 02:11 | container base behind the scenes.
| | 02:12 | It's basically embedding the
original version of this layer inside the
| | 02:16 | Photoshop file directly.
| | 02:18 | It puts it in this little special icon
in the Layer panel there to let you know
| | 02:22 | that that's a different
layer than a Regular layer.
| | 02:24 | It's a Smart Object layer.
| | 02:25 | Now on the surface, nothing looks any
different except that icon treatment
| | 02:29 | in the Layers panel.
| | 02:30 | But let's see what happens now.
| | 02:32 | When we do the Free Transform on this
Smart Object layer, Command +T, Ctrl+T,
| | 02:36 | same bounding box, I'm going to hold
down the Shift key, one little thing to
| | 02:39 | notice, you see the handles, they are solid.
| | 02:42 | On a Regular layer, the handles are clear,
they are transparent or they are hollow.
| | 02:47 | On a Smart Object layer, that's another
visual clue here to let you know this is
| | 02:51 | just slightly different nuance here.
| | 02:53 | Anyway, I'm going to go grab the
handle, hold down the Shift key to scale
| | 02:56 | up proportionally, make it just as tiny as
we did the first time on the Regular layer.
| | 02:59 | I'll hit Enter or Return to apply that.
| | 03:01 | But now I decide I want to change my
mind, I want to bring him back big.
| | 03:05 | So again, I'll bring up the Free
Transform, Command+T or Ctrl+T. I'm going to
| | 03:09 | get the bounding box around that.
| | 03:10 | I'm going to hold down the Shift
key as I drag to make it big again.
| | 03:14 | You can see right away there is a big
difference, and I'll take it almost as
| | 03:16 | close to where it was before.
| | 03:18 | I'm going to go ahead and hit Return or
Apply and you see that I get my original
| | 03:23 | high-resolution version back.
| | 03:25 | Because when I did the original Scale
on the Free Transform on the Smart Object
| | 03:29 | layer, I was not throwing away those pixels.
| | 03:32 | So again, a Smart Object embeds a copy
of the layer that you converted into a
| | 03:36 | Smart Object and keeps it
around behind the scenes.
| | 03:39 | So then when do in a scale or a Free
Transform, it's always going back to that
| | 03:44 | high-resolution version, downsampling
or upsampling from that and then updating
| | 03:48 | the result in your layer document here.
| | 03:50 | That gives you the ability to
always go back and change your mind.
| | 03:53 | So, Smart Object is a very, very
important building block, especially when
| | 03:57 | you're doing more creative artwork
and compositing inside Photoshop.
| | Collapse this transcript |
| Warping images| 00:00 | So, in addition to the standard
transformations that you can do to a layer in
| | 00:04 | Photoshop, so Scale, Rotate, Flip,
Perspective, Distort and so forth, there
| | 00:09 | is another category of distortions or
transformations you can do that are very powerful.
| | 00:13 | It's just a little bit buried,
and that's the Warp transformation.
| | 00:17 | Some people call them envelope distortions.
| | 00:19 | Some people call them warp distortions.
| | 00:21 | Here is how you get to them.
| | 00:22 | So, let's say that I want to make this
snapshot of this postcard look like it's
| | 00:26 | a curling page, kind of floating
above this gray background here.
| | 00:30 | Let's figure out how to do that.
| | 00:31 | So let's first select that
layer, Warp that layer selected.
| | 00:34 | We'll do Command+T or Ctrl+T to
bring up the Free Transform mode.
| | 00:38 | Then there's this little, tiny button
off to the right in the Options bar.
| | 00:41 | It's this little guy right here.
| | 00:43 | It only appears when you're in the
middle of the Free Transform mode.
| | 00:47 | So if you're looking for a menu
command or a keyboard shortcut or a tool to
| | 00:52 | get you here, you're not going to be
able to find it, you have to be in the
| | 00:54 | Free Transform mode.
| | 00:55 | Once you have the Free Transform
bounding box, you can either click the
| | 00:58 | Warp button here or you can right-click and
in the contextual menu you can choose Warp.
| | 01:04 | That switches you into the
Warp mode of free transform.
| | 01:08 | At first, it puts a distortion
grid along your selected layer there.
| | 01:14 | You can just freely transform
and distort and Warp this content.
| | 01:18 | You'll see it update there.
| | 01:20 | But there's also some presets
that you can choose from as well.
| | 01:22 | So, some of them are kind of sillier
than others, like the Fish, very popular.
| | 01:28 | I like the one that's called Flag.
| | 01:31 | The default distortion there is pretty
severe, so I don't want to use it that much.
| | 01:35 | So you just have got to find the handle
on the envelope here on the distortion
| | 01:39 | grid that can be adjusted.
| | 01:41 | I'm just going to click-and-drag this up,
so it's just a more modest adjustment,
| | 01:44 | just a slight, little bend here, to
create this kind of flaggy distortion.
| | 01:50 | Once you like the effect that you've got,
you just hit the Enter or Return key
| | 01:54 | to lock that in, and then to kind of
make it look like it's more floating, up
| | 01:58 | against this background, and have it
more three-dimensional page like effect
| | 02:02 | with the page edges curling there,
I'm going to rotate this layer.
| | 02:05 | So Command+T again, Ctrl+T to bring up
Free Transform and I'll just put my mouse
| | 02:09 | outside the boundary to go ahead
and start rotating this a little bit.
| | 02:12 | I'm going to go ahead and scale it at
the same time and I'm going to click on
| | 02:15 | the corner handle and hold down the
Shift key to do it proportionally.
| | 02:18 | Then I can move it freely where I
want it, just decide on the rotate angle,
| | 02:23 | and get it just right.
| | 02:24 | I'll go ahead and hit the
Enter key when I'm happy with that.
| | 02:28 | Then to finish this up, maybe we'll add
a Drop Shadow to make it look like it's
| | 02:31 | more three-dimensional and
floating above this gray background.
| | 02:33 | So to do that, we'll go down to the
bottom of the Layers panel and there's the
| | 02:36 | little fx pop-up menu
for Drop Shadow, let's say.
| | 02:40 | Once I bring up this Layer Style
dialog box, I can actually click inside the
| | 02:44 | image and grab the shadow and
position it freely, which is kind of nice.
| | 02:48 | Get it so like that.
| | 02:50 | Then I can maybe adjust the size to
make it softer and I'll bring back the
| | 02:53 | Opacity, make it a lot lighter there.
| | 02:57 | If I need to, I can actually move the
dialog a little bit off screen just to
| | 03:00 | make sure that I can position that
shadow exactly where I want it to get the
| | 03:03 | effect I'm looking for.
| | 03:05 | Dragging the shadow directly is a lot
easier than playing around with the Angle
| | 03:08 | and Distance controls.
| | 03:10 | Distance, I'll move it away from the
object and then the Angle changes the
| | 03:15 | light source there.
| | 03:17 | What I like about using the mouse inside
the image is that you can just position
| | 03:21 | it freely and it updates the
Angle and Distance accordingly.
| | 03:23 | It's a lot easier way to go about it. Click OK.
| | 03:26 | There you have it, using a
combination of Free Transform, Warp mode of Free
| | 03:32 | Transform and a layer Style for Drop
Shadow, to create a very static looking
| | 03:36 | flat piece of artwork into
kind of something interesting.
| | Collapse this transcript |
| Preserving the important elements with Content-Aware Scaling| 00:00 | So every once in a while, you're going
to run into a composition where you want
| | 00:03 | to make a certain edit or correction
where your standard tools aren't going to
| | 00:06 | really do the job for you.
| | 00:07 | So, things like free transform for
scaling and rotating and perspective
| | 00:12 | transformations and whatnot aren't
really going to be appropriate to fix the
| | 00:15 | problem that you're trying to address.
| | 00:16 | So, in this particular example, I don't
like the fact that there's this big gap
| | 00:20 | between this group of
people and this person here.
| | 00:22 | This girl is actually a part of
this group, but she looks too far away
| | 00:25 | and isolated there.
| | 00:26 | So we want to try to address that if we can.
| | 00:29 | In this other example over here, in
this layer, I'm going to go ahead and turn
| | 00:31 | the second layer on and turn the first
layer off by clicking on the Eye there.
| | 00:35 | In this particular example, what I
want is a 4x4 inch crop of this image.
| | 00:40 | Now, I've created some guides in this
file already, so I'm going to turn them on
| | 00:42 | under the View menu.
| | 00:43 | I'm going to go ahead and say Show > Guides.
| | 00:47 | You can see that if I were to try to
crop this 4-inch rectangle between these
| | 00:51 | two blue guys, I'm going to be
chopping him off on the right hand side there.
| | 00:55 | So that's not going to work.
| | 00:56 | So I need to address that.
| | 00:57 | So, we'll come back to
that image in just a minute.
| | 00:59 | Let's go ahead and turn the Guides
back off, View > Show > Guides, and then
| | 01:03 | let's turn the second layer off and the
first layer back on and we're going to
| | 01:06 | target that first layer by
clicking on the word Without Help.
| | 01:10 | It's the name of that layer there.
| | 01:12 | Okay, so before this feature Content-
Aware Scale that I'm going to show you, in
| | 01:16 | the old days, what would you do to try
to fix this problem, well, if I make my
| | 01:20 | selection by switching to the Marquee
tool by pressing the letter M and just
| | 01:24 | simply select this side of the image
here by pressing and dragging and then
| | 01:27 | switching to the Move tool by pressing
the letter V on my keyword and then just
| | 01:31 | start clicking-and-dragging to move
these pixels over, I'm holding the Shift key
| | 01:35 | down so that it doesn't shift
vertically as I move it horizontally.
| | 01:39 | So there, I'm going to just move that over
and let's see what kind of a job that did.
| | 01:42 | We'll go ahead and deselect by pressing
Command+D or Ctrl+D. You can say yeah,
| | 01:46 | that's not so good, because we now
have this visible vertical seam and we're
| | 01:51 | going to have to go do a lot of
retouching to get rid of that seam.
| | 01:52 | So obviously, that's not what we wanted.
| | 01:54 | I'm going to go back over here to
my History panel by clicking on the
| | 01:57 | History panel icon.
| | 01:59 | That will open it up.
| | 02:00 | This is a visual way to do multiple undo.
| | 02:02 | I'm going to click on the word Open just
to take us back to where we started from.
| | 02:05 | Okay, so just a simple moving the
pixels over wasn't going to cut it.
| | 02:10 | Obviously, a scale is
probably not going to do it either.
| | 02:12 | Just run that through real
quick, we'll make a selection.
| | 02:14 | Press M for Marquee Selection tool.
| | 02:16 | We'll go ahead and drag out a selection.
| | 02:19 | If I do Command+T or Ctrl+T to bring up
the Free Transform mode, you see I get a
| | 02:24 | bounding box around my selection.
| | 02:26 | As I scale that, you can see that
just causes another problem, where it's
| | 02:30 | actually transforming and distorting
those pixels and making her just slimmer.
| | 02:33 | So, now what we're trying to address there.
| | 02:35 | Let's go ahead and undo that by hitting
the Escape key to cancel that Free Transform.
| | 02:41 | I'll go ahead and deselect,
Command+D. So, what to do?
| | 02:44 | Well, that's where
Content-Aware Scale comes in handy.
| | 02:47 | So we're going to go to the Edit
menu and choose Content-Aware Scale.
| | 02:51 | Now, at first glance, it looks exactly
like Free Transform in terms of putting a
| | 02:55 | bounding box around the pixels on
this layer, but watch what happens when I
| | 02:59 | start dragging the middle
handle here towards the left.
| | 03:03 | You can see that it is shifting
pixels over and attempting to preserve
| | 03:08 | the important content.
| | 03:09 | Now you need to pay attention as you do,
as it does a phenomenal job just out of
| | 03:12 | the gate, but you need to
look for things going haywire.
| | 03:15 | Pay attention to her hand
right here on the left hand side.
| | 03:18 | You can see if I take the resize handle
too far to the left, her hand starts to
| | 03:24 | get dismembered there a little bit.
| | 03:25 | So I want to back off there a little bit.
| | 03:29 | It's okay to use
Content-Aware Scale in multiple passes.
| | 03:32 | Do it once, fix it a little bit, apply it,
and then maybe work it from the other
| | 03:36 | side to see if you can get some better result.
| | 03:38 | So, that's what I'm going to do here.
| | 03:39 | I'm going to stop right about
there and hit Enter to apply that.
| | 03:43 | Then I'm going to go to Edit >
Content-Aware Scale again and this time do it
| | 03:46 | from the left-hand side and bring
her closer to the group that way.
| | 03:51 | Again, you just want to make
sure you're not chopping off hand.
| | 03:54 | So, one thing you might take a look
for is to see if there are some tools to
| | 03:58 | help you out here, and
this is what I'm going to do.
| | 04:00 | I'm going to hit Escape.
| | 04:02 | It's okay to give
Content-Aware Scale a little guidance.
| | 04:06 | If I don't have a selection started
before I actually use Content-Aware Scale,
| | 04:10 | then it's working on the whole layer.
| | 04:11 | But if I make a selection and just say Hey!
| | 04:14 | I want you to focus on this region
here as I'm using Content-Aware Scale.
| | 04:19 | That's perfectly legal to do.
| | 04:21 | So I'm going to make my selection.
| | 04:22 | I'm going to go back to
Edit > Content-Aware Scale.
| | 04:25 | These marching ants might get in the way.
| | 04:27 | They're kind of distracting, so you can
hide them under the View menu, you can
| | 04:31 | say Show > Selection Edges and turn that off.
| | 04:34 | It's currently checked, so
I'm going to turn that off.
| | 04:36 | It's still selected, but we just don't
get the distraction of those marching ants.
| | 04:39 | That's a Command+H keyboard
shortcut as well, Command+H, Command+H to
| | 04:44 | toggle that on and off.
| | 04:46 | In that case, it actually hid the
Free Transform bounding box or the
| | 04:49 | Content-Aware Scale
bounding box as well. All right!
| | 04:51 | So before I do this, there's a
little button up here in the top that says
| | 04:56 | Protect skin tones, and this is
just some smart logic to help tell
| | 04:59 | Photoshop that Hey!
| | 05:00 | When you see what looks like a person
identified by skin tones, try to do a
| | 05:04 | better job of preserving
that person's integrity there.
| | 05:08 | So watch the hand here.
| | 05:09 | I'm going to turn that option on and I'm
going to drag that to the right now and
| | 05:12 | you can see her hand isn't getting
twisted off from her wrist there.
| | 05:16 | So, here, it's doing a much better job
by giving it a little bit of guidance
| | 05:19 | just by clicking a single button.
| | 05:21 | When I'm done, I'm going to press Enter.
| | 05:24 | You can see I've done a much better
job of fixing the composition of this
| | 05:28 | portrait, of these people walking down
the beach, so they look like they're all
| | 05:31 | part of the same group now.
| | 05:33 | Just to kind of compare the before
and after, we'll go back to our History
| | 05:35 | panel, here's what it looked like
before by clicking on the word Open.
| | 05:38 | There is where we started and here is by
using two passes of Content-Aware Scale
| | 05:43 | and taking advantage of
that Protect skin tones button.
| | 05:46 | So you get some pretty decent result with
just a few clicks and drags. All right!
| | 05:50 | Let's move on to the second scenario.
| | 05:52 | So let's turn off that top layer.
| | 05:53 | We'll turn on the second layer, the With
Help there and click on that to select it.
| | 05:57 | I said we had some Guides here, so
let's go turn those Guides back on,
| | 06:00 | Command+Semicolon will turn those on, or
you can go back to View > Show > Guides
| | 06:04 | in the menu command there.
| | 06:05 | So, let's go use Content-Aware Scale and
see if that will fix the problem for us.
| | 06:10 | Under Edit > Content Aware Scale, I'm
going to go ahead and click on that right
| | 06:14 | hand handle and start dragging it to left.
| | 06:15 | You can see right away it is not doing
what we were hoping it was going to do.
| | 06:19 | It's making them look
very strange and cartoonish.
| | 06:22 | So, I'm going to hit the Escape
key on my keyboard to cancel that.
| | 06:24 | It turns out that sometimes
Content-Aware Scale just needs a little bit more
| | 06:28 | guidance, a little bit more help
on what is important in the image.
| | 06:32 | It does a pretty good job a lot of
time of guessing, but every once in while,
| | 06:36 | you need to give it a little nudge.
| | 06:37 | To do that, we're going to make a
selection of the areas that we think
| | 06:40 | are really important.
| | 06:41 | There is a great selection tool
that does a quick work of that.
| | 06:44 | It's called the Quick Selection tool, good name.
| | 06:47 | I'm going to press the letter W on
my keyboard to switch to that tool.
| | 06:49 | It's the fourth one from the top here.
| | 06:51 | I'm just going to very quickly drag
through the areas of the image that I
| | 06:55 | think are important.
| | 06:56 | I don't have to be all that precise,
just a very Quick Selection tool and you
| | 07:00 | get some extra area that you don't care about.
| | 07:02 | I'm going to hold down the Option key
or the Alt key and just drag out those
| | 07:05 | outside areas there.
| | 07:06 | To subtract them from that selection, I'm
going to go let go the modifier key now.
| | 07:10 | Let's click through her face and her shirt here.
| | 07:13 | It does a good job there.
| | 07:13 | We'll add her hair.
| | 07:15 | I don't have to hold any modifier
keys down as I drag into a new area.
| | 07:19 | It automatically is going to
add to my current selection.
| | 07:22 | So very quick tool here, if I accidentally
dragged too far, no worries, I can fix that.
| | 07:26 | Now hold down the Option key to
subtract the area between those two. Great!
| | 07:32 | We'll subtract a little bit
off to the left of his head here.
| | 07:35 | Okay, that's a good enough selection
for what we're trying to accomplish.
| | 07:38 | The trick here is we need to save this
selection so that we can call upon it
| | 07:43 | during the Content-Aware Scale operation.
| | 07:45 | So to do that, we'll go to the
Select menu, pull down to Save Selection.
| | 07:50 | We'll give it a name.
| | 07:51 | I want to call it Scale for
the lack of a better name here.
| | 07:55 | All right, we'll go ahead and click OK
and we're going to use that selection
| | 07:58 | elsewhere, so I'm going to go ahead
and deselect it here and invoke the
| | 08:02 | Content-Aware Scale command again on that layer.
| | 08:06 | Now before we start dragging the handle,
as we saw before, it wasn't going to
| | 08:09 | give us what we wanted, so I'm going to
take advantage of this Protect feature.
| | 08:13 | I'm going to go ahead and make sure
this skin tones button is turned off,
| | 08:18 | because we don't need it for this particular
image, because we've already saved the people.
| | 08:22 | So under the Protect menu where it says None,
I'm going to hold down and choose Scale.
| | 08:26 | That's that selection that we saved earlier.
| | 08:29 | Now when I drag the handle and start
dragging it to the left, you'll see it
| | 08:32 | does a much better job of preserving that
content and just squeezing the space in between.
| | 08:38 | So that's looking pretty good.
| | 08:39 | He is within the guide on the right-hand side.
| | 08:43 | It's still kind of a Free Transform of
sort, so I can just click in the middle
| | 08:46 | to reposition it within those guides.
| | 08:48 | If I want to squeeze him a little bit
over from the left hand side, I'll go
| | 08:51 | ahead and drag that handle until
I get the result I'm looking for.
| | 08:56 | So, that's pretty good.
| | 08:57 | I might have some retouching cleanup
to do on some edges here, but that's a
| | 09:01 | quick, easy job with something like the
Healing Brush or the Clone Stamp tool.
| | 09:04 | All in all though, this was a pretty quick job.
| | 09:07 | I'm going to go ahead and hit the
Enter key and we'll see the final results.
| | 09:10 | I'll press the C key for the Crop
tool and drag out our crop between those
| | 09:17 | guides that I had created
earlier, the 4x4 crop, hit Enter.
| | 09:21 | And you can see there is my final
composition without a lot of fuss or muss and
| | 09:25 | it just was pretty cool.
| | 09:27 | Content-Aware Scale, it's your friend,
just remember, sometimes, you might need
| | 09:30 | to give it a little guidance.
| | Collapse this transcript |
|
|
11. Working with LayersThe Background layer| 00:00 | When you start working with layers
inside Photoshop there is one particular
| | 00:03 | layer you have to understand right upfront,
and that's the background layer. It's different.
| | 00:07 | It's special.
| | 00:08 | It's different than any of the other kind
of layers you are going to be working with.
| | 00:11 | So, if you take a look at the Layers panel
over here on the right, you'll see I have
| | 00:13 | got quite a few layers here,
lots of different types of layers.
| | 00:16 | And you'll see there's a layer at the
very bottom with the word background, or
| | 00:20 | the name background.
| | 00:21 | It's got a little lock icon there.
| | 00:23 | Now this is obviously a document I've created.
| | 00:25 | It's got a bunch of layers in it.
| | 00:27 | If I just click on this particular
document, this is just an image with a single
| | 00:31 | layer in it with the Background layer.
| | 00:32 | So, every image you open off from your
camera is more than likely going to have a
| | 00:36 | Background layer as well.
| | 00:38 | And when you create a new document, so
if I do File > New, and just go with the
| | 00:42 | default settings here, the
background contents are set to white.
| | 00:45 | That's the default.
| | 00:46 | When I click OK, you'll see this new
document also starts with a background layer.
| | 00:51 | So, what is that background layer?
| | 00:52 | Let's go ahead and close these
documents and come back here.
| | 00:55 | Here I've selected the background layer,
and the thing that's special about the
| | 00:58 | background layer is that it cannot
be deleted or moved unless it's been
| | 01:02 | converted to be a non-background layer.
| | 01:05 | So, you see there is a lot of lock
icon there to the right that's telling you
| | 01:07 | that you can't delete it.
| | 01:09 | If I try to change the stacking order
by clicking and dragging it and moving it
| | 01:11 | somewhere up and down the layer stack,
you'll see I get a not valid icon or
| | 01:16 | cursor telling me that's not possible.
| | 01:17 | So, if I have the Background layer
selected, let's click on the name of it to
| | 01:20 | select it, and then I get
the blue highlighting there.
| | 01:23 | If I make a selection, go ahead and get
my Marquee tool by pressing the letter
| | 01:26 | M, and just make a selection of pixels here.
| | 01:30 | On any other layer other than the
background layer, if I were to hit the Delete
| | 01:33 | or Backspace key, I would be deleting
those pixels and I would end up with
| | 01:37 | transparent areas, areas with nothing on them.
| | 01:40 | If I hit the Delete or Backspace key
here though, because I am on a background
| | 01:44 | layer I get the Fill command coming forward.
| | 01:47 | So, that's only going to happen when
you're on a background layer. Normally we
| | 01:50 | just delete, and you would see no
pixels there, but because you are on the
| | 01:53 | Background layer the Fill dialog
comes up, and then you can choose what you
| | 01:57 | want to fill this selected area with.
| | 01:59 | Now the default is white here, but you
can pick a different color or pattern or
| | 02:02 | whatever, so I am going
to go ahead and click OK.
| | 02:03 | And you'll see that instead of seeing
transparent pixels or a transparent area
| | 02:08 | represented by a checkerboard, I've
actually filled and replaced those selected
| | 02:12 | pixels with white pixels, and
that's not really what I wanted here.
| | 02:16 | So, I am going to go ahead and undo that.
| | 02:17 | What I wanted was to delete some of
these pixels to a transparent background,
| | 02:22 | maybe create a vignette effect.
| | 02:23 | Well let's go about that
a little bit differently.
| | 02:25 | I am going to go ahead and deselect,
and I can do Command+D or Ctrl+D to
| | 02:28 | deselect that current selection.
| | 02:30 | I want to go ahead and just drag out a
rough rectangular selection here again on
| | 02:34 | the Background layer and let's go
ahead and feather that selection.
| | 02:38 | Now I like a different technique than feather.
| | 02:40 | So, I am actually going to Quick
Mask mode. Type a Q for Quick Mask mode.
| | 02:44 | That views your selection as this green overlay.
| | 02:46 | It might be red on your machine.
| | 02:48 | That's the default color.
| | 02:49 | I have changed mine to green, and I am
going to go to Filter > blur > Gaussian
| | 02:53 | Blur. I am going to click on the corner
of that mask there, so I can see the edge
| | 02:56 | quality there, and I'm actually
feathering or softening that edge.
| | 02:59 | Instead of a hard edge, it just
give it a nice soft vignette effect.
| | 03:02 | A Radius of 15 is okay.
| | 03:03 | I am going to ahead and click OK.
| | 03:05 | I am going to press the Q
key to go back to normal mode.
| | 03:08 | And again, if I were to hit the
Delete key here, I would bring up that Fill
| | 03:12 | dialog box because I am
on the background layer.
| | 03:14 | What I want to do is delete
those pixels to transparency instead.
| | 03:17 | So, to do that, we just need to simply
convert the background layer, and the
| | 03:20 | simplest way to do that is just double-
click on the name of it. That brings up
| | 03:24 | the Name dialog for new layer, and you
can just name it layer zero, that's the
| | 03:27 | default, or give it a descriptive name.
| | 03:29 | For now, I am just going to click OK.
| | 03:30 | And now if I were to hit the Delete button--
I'll go to the Backspace key on my keyboard.
| | 03:34 | I'm actually deleting
those pixels to be transparent.
| | 03:38 | And that's what that
checkerboard pattern represents.
| | 03:40 | Now I wanted the opposite of that, so I
am going to undo it, Command+Z, Ctrl+Z,
| | 03:44 | and I am going to go to the Select menu
and choose Inverse to get the opposite
| | 03:47 | of my original selection.
| | 03:49 | So, now the inner area is not selected.
| | 03:52 | It's the outer area that's selected
and if I hit the Delete or Backspace key
| | 03:55 | again, now I've deleted that back
to a transparent vignette effect.
| | 04:00 | And I was able to do that because I was
not working on the background layer anymore.
| | 04:04 | I'll go ahead and deselect.
| | 04:05 | You don't need a background layer in a
layered document that has more than one layer on it.
| | 04:10 | It's totally up to you.
| | 04:11 | Some people like to have this notion of
a base layer that nothing can go below.
| | 04:14 | If you want to convert any layer into
a background layer, and you can only
| | 04:18 | have one background layer in any given file.
| | 04:20 | You can just select that layer and
go to the layer menu and say, New >
| | 04:25 | Background From Layer, and that
will convert that layer into another
| | 04:29 | background layer again.
| | 04:30 | Unfortunately, when that happens
you'll lose your transparency because a
| | 04:33 | background layer cannot have
any transparent pixels in it.
| | 04:36 | So, all the transparent areas that
were there to start with, they became
| | 04:39 | the background color.
| | 04:41 | Now in this case, it happens to be black.
| | 04:43 | If you take a look over on the toolbar
over here on the left, you'll see there
| | 04:45 | is a foreground color chip of white
and a background color chip of black.
| | 04:49 | If this had been pink, that black chip
had been pink, then these transparent
| | 04:52 | areas would have ended up
being pink instead of black.
| | 04:55 | So, there you have it, kind of the
ins and outs of the Background layer.
| | 04:58 | When you want to get creative and start
manipulating the background layer, you
| | 05:01 | just need to convert itand again, the way
to do that is simply double-click on its name.
| | 05:04 | I'll give you little bonus tip.
| | 05:06 | If you Option or Alt double-click on the
background layer, that just converts it
| | 05:10 | without bringing up that naming dialog
box where you'd give it a different name.
| | Collapse this transcript |
| Using a layer mask instead of deleting pixels| 00:00 | When you want to work with just a
certain area of pixels here in a particular
| | 00:03 | image, it's often better to use a
mask instead of start deleting pixels.
| | 00:08 | Because once those pixels are
gone, you can't get them back.
| | 00:10 | So, let's say we want to create a
vignette effect for this particular image.
| | 00:13 | We want to basically end up
cropping the image in the end.
| | 00:16 | But we're not quite sure we want
to commit to a specific crop yet.
| | 00:19 | So, I just drag my Marquee tool.
| | 00:20 | I pressed M for the Marquee tool,
and dragged out a rectangular marquee.
| | 00:24 | I can kind of position it by clicking
it in the middle here and dragging it around
| | 00:26 | to a different location.
| | 00:27 | And this is where I thing I want the
majority of my image to be shown, and I want
| | 00:32 | to create a nice soft edged
falloff effect or a vignette effect.
| | 00:35 | So, to do that, you typically would either
use the Feather command or use my technique.
| | 00:39 | I'm going to Quick Mask mode.
| | 00:40 | I'm going to press Q to go to Quick Mask.
| | 00:42 | I'm going to go to Filter menu,
down to Blur, over to Gaussian Blur.
| | 00:46 | And if I click there in the corner in
the image with that little square cursor,
| | 00:50 | that puts that preview up here
in the Gaussian Blur dialog box.
| | 00:53 | Okay, a radius of 15 looks good.
| | 00:55 | I'm going to go ahead and click OK, and
if I press the letter Q, that takes me
| | 00:58 | back to the Normal mode.
| | 01:01 | Now if I were to hit the Delete key
or the Backspace key, since I'm on a
| | 01:05 | background layer, that's
going to bring up the Fill dialog.
| | 01:07 | I'm going to go ahead and do that.
| | 01:08 | That's not what I want.
| | 01:09 | I don't want to fill the
selected area with white.
| | 01:11 | I want to mask this off to transparency instead.
| | 01:14 | So, anytime I want transparency, I
can't work on a background layer.
| | 01:17 | I need to convert this background layer.
| | 01:18 | I'm going to Option+Double-click or
Alt+Double-click on the name of background.
| | 01:21 | That converts it to a layer that
supports transparency, which is any layer but
| | 01:26 | the background layer.
| | 01:27 | Now instead of hitting
Delete here or Backspace, right--
| | 01:29 | I don't want to delete those pixels--
| | 01:31 | so, I'm going to undo it, Command+Z
or Ctrl+Z. I'm going to go down to the
| | 01:35 | Layers panel at the very bottom,
and there is a Convert Selection to Layer Mask
| | 01:40 | button, or Add Layer Mask.
| | 01:42 | I'm going to go ahead and click that
button, and that's exactly what's happens.
| | 01:44 | The end result appears to be the
same as deleting everything but the
| | 01:49 | selected area of pixels.
| | 01:50 | And that transparent area is
represented by that checkerboard, but you can see
| | 01:53 | in my Layers panel now,
I've added an additional icon.
| | 01:56 | This is the Layer Mask icon.
| | 01:57 | Everything that's black is protected,
and everything that's white is selected,
| | 02:02 | or black hides and white reveals.
| | 02:05 | Now the advantage of using the layer
mask instead of actually deleting those
| | 02:08 | pixels is that the original
information is still around, which means I can
| | 02:12 | change the position of the image
within this feathered edge here.
| | 02:16 | If I press the V key on my
keyboard to switch to the Move tool,
| | 02:19 | you'll notice that in the Layers panel,
between the thumbnail and the layer mask thumbnail--
| | 02:24 | so the layer thumbnail and layer mask
thumbnail--there's a lot of link icon,
| | 02:27 | which means they will both move
together if I have any one of them selected.
| | 02:30 | So, right now, the layer mask it has
the dashed line around its thumbnail.
| | 02:34 | If I click and drag anywhere in the
image in the image window here, you'll see
| | 02:37 | both the mask and the image will move together.
| | 02:39 | If I want to move just the image
around within the mask, to kind of
| | 02:43 | reposition it, I'm going to go ahead and click
the Layer Mask icon, the link between the two.
| | 02:47 | Now I can select the image layer and
move that freely around within the mask.
| | 02:51 | So, I can really get that position perfect.
| | 02:53 | Now I want to have this trail off
into a white background instead of a
| | 02:57 | transparent background, then
I'm going to add a new layer.
| | 03:00 | I'm going to click the New Layer
icon at the bottom of the Layers panel.
| | 03:03 | That adds a new layer at to the top of
your selected layer, or the active layer.
| | 03:07 | I'm going to go ahead and click on
that thumbnail and drag it below the other
| | 03:10 | layer there, Layer 0, and so there it is.
| | 03:12 | It's repositioned. And I
want to fill that with white.
| | 03:15 | I can bring up the Edit > Fill command to do that.
| | 03:17 | Edit > Fill, and then choose white and click
OK, and now I've got that completed look.
| | 03:22 | When I'm fine and happy with where it's
positioned within the mask, I then may
| | 03:26 | want to crop this down to just see the pixel
area here and get rid of the extra white stuff.
| | 03:31 | A couple tricks for that.
| | 03:32 | I'm going to go ahead and hold down the
Command key, or the Ctrl key on Windows,
| | 03:35 | and click on the layer mask thumbnail,
and what that does is that loads that
| | 03:39 | layer mask as a selection, which then
I can then use to crop the image down.
| | 03:44 | So, if I go over to the Image menu and
choose Crop, I'll end up with my final result.
| | 03:48 | Go ahead and deselect, Command+D,
Ctrl+D, and there I have it.
| | 03:51 | So, I have the flexibility of not
committing to an actual crop until I was
| | 03:56 | really satisfied with where that image
was within that vignette area, by using
| | 03:59 | the benefit of a layer mask,
instead of simply deleting pixels.
| | 04:03 | And the tieback to the background layer
here is that you are going to start out
| | 04:05 | with the background layer.
| | 04:06 | You need to convert that to a layer
that supports transparency, and that's as
| | 04:09 | simple as just double-
clicking on the layer name.
| | Collapse this transcript |
| Loading multiple images into a single Photoshop document as layers| 00:00 | I'm starting this movie out in Adobe
Bridge, because there's a really cool
| | 00:03 | command there, or a little piece of
functionality that will help you when you
| | 00:06 | want to make a composite of
multiple files into a single document.
| | 00:10 | We're going to create like a postcard
for a florist shop called Hansel & Petal.
| | 00:13 | And there's a bunch of images that we
want to combine and rearrange and layout
| | 00:18 | within a Photoshop file.
| | 00:19 | So, I'm going to go ahead and select
the images that I want to work with.
| | 00:21 | So it's these four thumbnails.
| | 00:23 | I've just clicked on the first one.
| | 00:24 | I'm going to hold down the Shift
key and click on the last file I want.
| | 00:27 | So, I've got these four thumbnails,
this logo and then two background options.
| | 00:31 | I've selected all these images and
I want Bridge here to combine all of
| | 00:35 | them into a single file.
| | 00:36 | It's a lot easier than opening up all
eight or seven of these files and
| | 00:39 | dragging them into one particular document.
| | 00:42 | Bridge can take care of
that for us automatically.
| | 00:44 | I'm going to go to the Tools menu, down
to the bottom where it says Photoshop,
| | 00:47 | and it says Load Files into Photoshop Layers.
| | 00:50 | Then I just kind of kick back
and watch Photoshop do its thing.
| | 00:53 | It's opening up every single of these
files and placing them, starting in the
| | 00:56 | upper left-hand corner.
| | 00:57 | So, they may not be where you want them
positioned in the final composition, but
| | 01:02 | this just saved you probably about two
or three minutes of work, from having to
| | 01:05 | manually drag these into a single file.
| | 01:08 | So, there you have it.
| | 01:08 | You see in the Layers panel,
| | 01:10 | it's opened up and placed all these
layers into this one document and it picked
| | 01:14 | up the file name as their layer names.
| | 01:17 | Now you may want to change those names later,
and we'll learn how to do that in another movie.
| | 01:20 | But just real quickly, this is
probably the easiest way to combine multiple
| | 01:24 | files into a single Photoshop document.
| | 01:26 | So, you can get busy and
working on your final piece.
| | Collapse this transcript |
| Naming, hiding, creating, and deleting layers| 00:00 | All right. If we take a look at the Layers
panel in this particular document, you see
| | 00:03 | I've got a bunch of layers already
created, and they have these file names that
| | 00:06 | I'm not really happy with.
Lily.jpg, Mixed.jpg and so forth.
| | 00:09 | I want to change the name of the layer,
and to do that you simply double-click
| | 00:12 | on its name in the Layers panel.
| | 00:14 | That turns that into an edit field, and
I'm going to go ahead and just type over
| | 00:17 | that selected text, or I can just use
my arrow key on my keyboard to go to the
| | 00:21 | end of the layer name.
| | 00:22 | You can see the cursor is there now and I can
just delete the .jpg part of that layer name.
| | 00:28 | To finalize or lock in that layer name,
just press Enter key on your keyboard,
| | 00:32 | and that will be final.
| | 00:33 | You can go ahead and double-click
on all of these layer names and just
| | 00:36 | edit them very quickly.
| | 00:37 | And again, double-click.
| | 00:38 | Change it to an edit field.
| | 00:39 | Then I'm going to go ahead and
delete those characters and quickly
| | 00:42 | re-change those names.
| | 00:45 | There's the Dahlia layer.
Same thing with the layer here.
| | 00:48 | Now this is a special layer.
| | 00:49 | This is a layer group.
| | 00:51 | So, that's the name of the group of layers.
| | 00:53 | So, if I turn down the disclosure
triangle, or technically known as the twisty.
| | 00:56 | If I turn down the twisty, you'll see
there's a bunch of layers there as well.
| | 00:58 | I'm going to go ahead and close that
again by clicking on the disclosure
| | 01:01 | triangle,and if I want to change
its name, again you just double-click.
| | 01:04 | We'll go ahead and highlight the
characters we don't want and hit Delete.
| | 01:07 | And then same thing with these last two layers.
| | 01:08 | We'll go ahead and get rid of
their names by double-clicking.
| | 01:12 | And if you're curious as to why these
layer names all have the file extensions
| | 01:16 | on them, because I used that Combine
Files to Layers command from Bridge and
| | 01:20 | it brought all these individual files
in and made one new document and it
| | 01:24 | picks up the file name as the layer name.
| | 01:25 | So, I have them all named the way I want now.
| | 01:27 | Now I also have a layer
here that I don't want visible.
| | 01:30 | I have two options for the
background, Option01 and Option02.
| | 01:33 | And I want to hide the Option02 layer,
and that's what the eye column is for
| | 01:36 | in the Layers panel.
| | 01:37 | If you just click where there is an
eye slot that will turn on and off any
| | 01:41 | particular layer or group of
layers as the case might be.
| | 01:44 | Now you can't see the group of layers,
because it's behind some of these other
| | 01:48 | layers, and we'll cover
that in a little bit.
| | 01:49 | If I want to create a new layer,
you just need to decide where you want
| | 01:53 | the new layer created.
| | 01:54 | It's always going to be added, by
default above the layer that you have
| | 01:57 | selected in your Layers panel.
| | 01:59 | So, if I want a new layer at the very
top, I'm going to click on the Lily layer
| | 02:02 | to select it, and then if I click on
the New Layer icon at the bottom of the
| | 02:06 | Layers panel, I get new Layer 1.
| | 02:08 | Now layer names are actually very
important, especially if you're handing off
| | 02:12 | files to other people who are going to
work on your particular project there and
| | 02:15 | take it to the next level,
or do something with it.
| | 02:18 | Names like layer 1, layer 2, layer 3,
copy of layer 1, copy 2 of layer 3,
| | 02:22 | those layers name aren't very helpful.
| | 02:24 | I'm going to undo this. Command+Z, Ctrl+Z
to undo the creation of that new layer.
| | 02:29 | And as a bonus tip here, if you Option+
Click or Alt+Click, so you're using that
| | 02:33 | make better key.
It just makes Photoshop better.
| | 02:35 | Hold down Option or Alt as you
click on things and see what happens.
| | 02:38 | If I Option or Alt+Click on the New
Layer icon in the Layers panel, this gives
| | 02:42 | me a chance to name the layer as I create it.
| | 02:45 | So, you typical want to give
your layers contextual names.
| | 02:48 | I don't actually know what I'm going to
be doing with this layer here, so I'll
| | 02:51 | just call it Random, but you get the idea.
| | 02:53 | Name your layers, so that when you
open up your file a month from now or two
| | 02:57 | years from now, this Navigation panel
over here, the Layers panel, acts as a way to
| | 03:02 | navigate and understand what you've
done with this particular document.
| | 03:05 | So, layer names become very helpful.
| | 03:07 | Again, by default, if you just click
on a New Layer icon at the bottom of the
| | 03:10 | Layers panel, you just get blank
layer 1, layer 2, layer 3, and so forth.
| | 03:14 | Option or Alt+Click on the New Layer icon
can give your layers names as you create them.
| | 03:18 | Now when it comes to deleting layers,
you can simply select the name of the
| | 03:22 | layer in the Layers panel
and hit your Delete key.
| | 03:25 | I'll go ahead and hit the Delete
key for layer 2 or your Backspace key.
| | 03:28 | And if you want to delete more than
one layer, you can do that as well.
| | 03:31 | I'm just going to hold down the
Shift key to select more than one layer.
| | 03:34 | If I want to select a layer that's not
continuous here, like if I want to select
| | 03:39 | Mixed as well, if I hold down the
Shift key, what that's going to do is it's
| | 03:41 | going to select everything between
the last selected layer and the layer I
| | 03:44 | clicked on with the Shift key down.
| | 03:46 | So, I don't want to do that.
| | 03:47 | I want a Command or Ctrl+click to do
what's called Discontinuous Selection.
| | 03:52 | So, here I can select any layers that I
want, regardless if they're touching or not,
| | 03:56 | or next to each other in the list here.
| | 03:58 | And if it's already selected, Command or
Ctrl+click will deselect them. All right.
| | 04:02 | So, I have my two layers
that I want to get rid of.
| | 04:04 | I can delete multiple layers.
| | 04:05 | It just deletes what's
selected in the Layers panel.
| | 04:07 | Again, I'll hit the Delete or Backspace key,
and I've deleted those layers from the list.
| | 04:12 | So, pretty basic stuff, but stuff you
got to kind of understand and know right
| | 04:15 | upfront to start working
with layers successfully.
| | Collapse this transcript |
| Changing the stacking order of layers| 00:00 | As you think about layers in a
Photoshop file, you really want to think of them
| | 00:03 | as kind of layers of transparency or acetate.
| | 00:06 | If you think back in the old
days-- this will age some of you.
| | 00:09 | If you think of the old overhead
projectors where you could write on sheets of
| | 00:11 | plastic, and then layer those pieces
of plastic on top of each other to
| | 00:14 | create a final composite.
| | 00:16 | That's kind of how layers work
inside the Photoshop document.
| | 00:19 | So, you can see I've got a bunch layers
here in my Layers panel and many of the
| | 00:23 | layers don't actually take
up the whole Canvas area.
| | 00:26 | In the the Background layers heree,
Option01 and Option02,
| | 00:28 | they fill up the whole visible area,
but you can see there are some layers
| | 00:31 | that have transparency around them
represented by the checkerboard in the thumbnail here.
| | 00:36 | What I want to do is learn how to change
the stacking order, and it's pretty intuitive.
| | 00:39 | You just click and drag to change the
stacking order within the Layers panel.
| | 00:42 | So, if I click in the word Lily or
the thumbnail of Lily and drag that down
| | 00:45 | somewhere else in the layer stack,
you'll see there's a dark thick line when I
| | 00:49 | go between two layers.
| | 00:50 | I can just decide where I want to
insert or change the stacking order of
| | 00:53 | that particular layer.
| | 00:54 | So, I've moved Lily below Tulips and
you can see I've got the Mixed layer there.
| | 00:58 | Now if I clicked on the word Mixed to
target that layer to select it, since I
| | 01:02 | have my Move tool selected, and I can
use that to move the layers around and
| | 01:06 | reposition them within the Canvas area
here, then I can even position them so
| | 01:10 | that they're clipped by the Canvas window.
| | 01:12 | They're not deleting those pixels.
| | 01:13 | I'm just hiding them through the
visible area there and I can always bring
| | 01:16 | those back by clicking and dragging and
bringing those pixels back. All right.
| | 01:19 | So, there's the Tulips layer that I can now see.
| | 01:20 | If I want to rearrange Tulips to be
behind or on top of Mixed, I can go
| | 01:25 | ahead and click on the word Tulips and drag
it above, just to change that stacking order.
| | 01:29 | And now when I move the tulips layer by
clicking and dragging on it, you'll see
| | 01:32 | that it's above the Mixed layer.
| | 01:34 | So, very easy. Just click and drag to
move it up and down the layer stack.
| | 01:39 | If there's a particular group of layers
here, so I have a logo group here, if I
| | 01:43 | turn that down, there's a stacking
order within group as well and you can
| | 01:46 | certainly add layers or move
layers around from group to group.
| | 01:49 | So, if I click on the word Dahlia or the
thumbnail for the Dahlia layer and move
| | 01:52 | it into the group, you'll see that
I can change the stacking order and just
| | 01:57 | move things in and out of the group.
| | 01:58 | I'm going to go ahead and undo that,
Command+Z, Ctrl+Z, and there you have it.
| | 02:01 | It's pretty straightforward. Just
click and drag within the Layers panel and
| | 02:04 | decide where you want you layer to fall.
| | 02:07 | When you're looking at a layer
composition here, now when it comes time to
| | 02:10 | actually understanding what's going on
in any particular document when you're
| | 02:13 | working with layers, you need to be sure
you don't get fooled by what you see in
| | 02:16 | the image window here.
| | 02:17 | The Layers panel is what's
always going to tell you the truth.
| | 02:20 | That's what shows you what's your true
stacking order is, and as you start doing
| | 02:23 | a bunch of stuff to change the visual
effects of your particular layer document here,
| | 02:27 | it gets harder and harder to
actually see what's going on by just looking
| | 02:30 | at the image window.
| | 02:31 | So, that's why the Layers
panel really is your friend.
| | 02:34 | It's your navigation center to really
understand the structure of your document.
| | 02:38 | Think of it as a way to really know the
truth of what's going on in your document.
| | 02:42 | It's more than just a list of layers
that you can click and drag around to
| | 02:45 | change the stacking order.
| | 02:46 | It really is going to help you keep
organized for your particular document.
| | Collapse this transcript |
| Selecting layers without using the Layers panel| 00:00 | For some new users to Photoshop,
selecting layers can be sometimes a little
| | 00:04 | confusing or frustrating.
| | 00:06 | So, I'm going to give you a couple
of tips on how to make it much easier.
| | 00:09 | Now the default method is to go to the
Layers panel and click on the name or the
| | 00:13 | thumbnail of the layer that you want to
select. Pretty straightforward, right?
| | 00:16 | It's a visual thing and you can see the
thumbnail, so you can just click on it, right?
| | 00:20 | Okay. That's fine up until you
have certain number of layers that you end up
| | 00:24 | having to scroll the Layers panel, right?
| | 00:26 | Let's say that you have a hundred layers,
which is really not all that uncommon
| | 00:29 | depending on the type of
project you are working on.
| | 00:30 | You might even have more than that.
| | 00:32 | Having to find the layer and know its
name and recognize its thumbnail on the
| | 00:36 | Layers panel can be problematic when
you have to sit there and start scrolling
| | 00:39 | just to find the layer that you want to target.
| | 00:41 | So, I want to teach you a
couple of different ways.
| | 00:43 | Now the tool that you'll use to select,
and then move or transform layers is
| | 00:47 | always going to be that Move tool.
| | 00:49 | If you're not in the Move tool you just
press the V key to go to the Move tool,
| | 00:53 | and then there's a couple of different
ways to target layers without even having
| | 00:56 | to use the Layers panel at all.
| | 00:58 | Here's the trick though.
| | 00:59 | You want to make sure you name your
layers something that makes sense.
| | 01:02 | Things like layer 1, layer 2, layer 3,
aren't going to be all that helpful for
| | 01:06 | this technique I'm going to show you.
| | 01:07 | So, the first technique, kind of a bonus
technique of not using Layers panel, is
| | 01:11 | with the Move tool selected simply right-click.
| | 01:13 | So, if you have a two-button mouse, just
right-click the right-mouse button and click.
| | 01:18 | And wherever your cursor is, a little
pop-up menu of all the layers that have
| | 01:23 | pixels directly into my
cursor will be displayed for me.
| | 01:25 | So, I can actually just choose the
name of the layer that I want to move or
| | 01:28 | select. So if I choose the Tulips
layer, that layer is now selected.
| | 01:32 | And if you take a look over the Layers
panel, you'll see the Tulips layer is
| | 01:35 | highlighted and the name
of the Tulips layer is bold.
| | 01:38 | Now if I click and drag, you'll see
that the layer I'm moving is the Tulips
| | 01:42 | layer, even though it's not quote the top layer.
| | 01:45 | So, by default, you can click
anywhere in the document window and only the
| | 01:49 | selected layer will move.
| | 01:51 | Whether you can see it initially or not,
it was hidden behind the Lily layer,
| | 01:55 | and now I can click and drag
and move it around anywhere.
| | 01:57 | I don't actually have to click
right where the tulip pixels are.
| | 02:00 | I can click anywhere on
that image window to do so.
| | 02:02 | If I right-click again on anywhere
in the document window, again, I get a
| | 02:06 | list of all the layers that have at
least some pixels directly underneath the
| | 02:10 | cursor where I clicked.
| | 02:11 | So, you can see here Tulips is not on
the list because no part of the Tulips
| | 02:15 | layer has pixels directly into my cursor.
| | 02:17 | So, if I choose the Dahlia layer,
let's say, again I can click and drag.
| | 02:21 | You can see that pink layer
moving in the background here.
| | 02:23 | It's because it's behind all
the layers in the list here.
| | 02:26 | So, if I move it to the top, I just
click on the word Dahlia and drag it up to
| | 02:29 | the top of the stack.
| | 02:30 | So, again, that quick technique is
just to right-click with our two-button
| | 02:33 | mouse, choose the name of the layer
that you want to go for, select it from the
| | 02:37 | list, and then now you can move it around
just by clicking anywhere in the image window.
| | 02:42 | A different technique is to use
something called the Auto-Select command.
| | 02:46 | This only works if you see the
layer that you want to target.
| | 02:49 | If it's behind in the layer and you
can't see any part of it to click on,
| | 02:52 | it's not going to work, but
it's still a good technique.
| | 02:55 | If you look up here in the Options bar
for the Move tool, you see there's an
| | 02:58 | Auto-Select check box.
| | 02:59 | I'm going to go and turn that on.
| | 03:00 | It's off by default, and
I'm going to choose from Group.
| | 03:03 | I'm going to change it to layer.
| | 03:04 | And what this lets me do is just click
on any portion of the layer that I see
| | 03:08 | that I want to move.
| | 03:09 | So, I just clicked on the Purple Lily
layer and it selected it and moved it.
| | 03:13 | Now the difference between this
technique is that I can't just click anywhere in
| | 03:17 | the image window to move the selected
layer, because if I do that it's going to
| | 03:20 | end up selecting a different layer.
| | 03:22 | As long as I click anywhere on the
Lily layer, the selected layer here, I can
| | 03:25 | move it around just fine.
| | 03:27 | But if I clicked on the pink layer here,
this Dahlia layer, I've now selected that.
| | 03:31 | Even though it was overlapping the
Lilly layer, because Auto-Select has been
| | 03:35 | turned on, that selects the topmost
layer directly under my cursor, and lets you
| | 03:41 | target and just start
clicking and dragging to move it.
| | 03:43 | And if I want the Mixed layer, I can
click anywhere I see that Mixed layer
| | 03:47 | and start dragging to move it.
| | 03:48 | Now if you're familiar with something
like Illustrator or InDesign, this might
| | 03:51 | feel more intuitive.
| | 03:52 | If you've been working with Photoshop
for years, this is a behavior that might
| | 03:56 | actually take getting used to, because
if you're used to just clicking anywhere in
| | 03:59 | the image window to move the selected layer,
| | 04:00 | this is now actually selecting that
particular layer directly under your cursor
| | 04:04 | just like an object in
some of these other program.
| | 04:07 | So, a couple of different ways.
If you can't see the layer that you want to grab,
| | 04:10 | you can right-click, get the
list of layer names, choose the layer you want,
| | 04:13 | and then start moving it.
| | 04:15 | But with Auto-Select turned on, again,
remember, that's actually going to
| | 04:18 | select whatever layer you actually click on.
The topmost layer directly under your cursor.
| | 04:23 | So, it's more of a visual
thing by using the document window.
| | 04:26 | If you want to be sure, you can always
try to find the name of the layer that
| | 04:28 | you're looking for in the Layers panel,
or use the right-button technique to get
| | 04:32 | the list of layers directly into your cursor.
| | 04:34 | If you like the idea of Auto-
Select but you don't want to leave it on
| | 04:38 | permanently, I'm going to
give you one more bonus tip here.
| | 04:40 | I'm going to turn off Auto-Select.
| | 04:41 | I love that feature, but I
sometimes forget that it's turned on.
| | 04:45 | I end up accidentally moving and
selecting the wrong layer all the time,
| | 04:48 | because that check box is
turned on and I kind of forget it.
| | 04:51 | So, here's a different way to get Auto-
Select behavior, but only when you want it.
| | 04:55 | So, right now, I have Auto-Select turned off.
| | 04:57 | It's not on in the Options bar here.
| | 04:59 | The Dahlia layer is selected, which
means anywhere I click in the image window
| | 05:03 | I'm moving just that layer.
| | 05:05 | Now if I want to get to the Lily layer
here, if I hold on the Command key on
| | 05:09 | the Mac or the Ctrl key on Windows
and click, it's going to act as if
| | 05:14 | Auto-Select Layer is turned on.
| | 05:16 | Okay, so I didn't turn on the
check box in the Options bar.
| | 05:18 | I just Command or Ctrl+Click,
Command on the Mac, Ctrl on Windows,
| | 05:21 | click on the layer that I see, the pixels
that I see-- In this case, it was the
| | 05:24 | Purple Lily layer here,
| | 05:26 | Let go the Command or Ctrl key, and
then I can click anywhere in the image
| | 05:29 | window to move that layer around.
| | 05:31 | The trick here is you just need to be able
to see the layer that you want to target.
| | 05:35 | I want to get the Tulips layer here.
| | 05:36 | I Command or Ctrl+Click.
| | 05:37 | That targets that layer, because
I was able to see it to click on it.
| | 05:40 | Once I let go of the keys, I can
freely move that wherever I want.
| | 05:44 | So, you can kind of guess I'm ending
this video on my favorite technique.
| | 05:48 | It takes a little bit of advanced skill.
| | 05:49 | You've got to remember to
hold down a modifier key down.
| | 05:52 | But over time, you'll gravitate towards this
technique because it really is the most flexible.
| | 05:56 | It gives you that freedom of being
able to click anywhere in the image window
| | 05:59 | to move a given layer.
| | 06:00 | So, I can actually come over here to
move the Tulips, right. It doesn't really
| | 06:03 | matter where your cursor is and it
also gives you that flexibility to target
| | 06:07 | the particular layer that you can see
very quickly without having to turn on
| | 06:11 | some option permanently.
| | 06:12 | Just Command or Ctrl+click on the layer
that you want to target, and then you're
| | 06:15 | free to move it around.
| | 06:16 | So, there's some tips and tricks and
just some basics of how to select and
| | 06:20 | target layers either using the Layers
panel, the right-click contextual menu,
| | 06:24 | or those two different ways to
use the Auto-Select Layer feature.
| | Collapse this transcript |
| Transforming layers| 00:00 | So, continuing on with our postcard
project here, I want to make these four
| | 00:04 | images here, the Lily,
Mixed, Tulips and Dahlia layers,
| | 00:07 | I want to make them a lot smaller
and create little thumbnails of them.
| | 00:10 | Now I'm not quite sure, or I'm
pretending I'm not quite sure how big these
| | 00:13 | images are going to end up finally.
| | 00:14 | I might end up scaling them down, but
then need to change my mind and make
| | 00:18 | them a little bit larger, right.
| | 00:19 | So, when you're transforming
pixels inside Photoshop, that's a
| | 00:23 | destructive action.
| | 00:24 | If I make these layers smaller,
I'm throwing away those pixels.
| | 00:27 | And then if I want to go back and make
them a little bit larger, I'm not going
| | 00:30 | back from the original source data.
| | 00:32 | I'm basically making a small image
bigger again, which is typically going to
| | 00:35 | make your image not look so good.
| | 00:36 | Well, fortunately, you can convert
any layer into something called a Smart
| | 00:40 | Object, and what does is that
captures all the original information of that
| | 00:44 | particular layer and embeds a copy of
that in the Photoshop document itself.
| | 00:48 | So, then you're free to transform and
scale that image layer as much as you want,
| | 00:53 | because you're always going back
to the original image and re-sampling it
| | 00:56 | from the original source data.
| | 00:58 | Now, you can't make t much bigger than
the original, but you can certainly go
| | 01:01 | down and then back up to its original
size with complete freedom and not having
| | 01:05 | to worry about losing any pixels.
| | 01:07 | Now the easiest way to convert any
particular layer into a Smart Object is
| | 01:11 | to right-click on the layer name in the
Layers panel and say Convert to Smart Objects.
| | 01:15 | I'm going to go ahead and
do that to all four of these.
| | 01:16 | I had to do it one at a time, right-
click and Convert to Smart Object on each
| | 01:20 | of these layer names.
| | 01:21 | The reason you've got to do one at a time
is if you'd selected all four of those
| | 01:24 | layers together and then right-click on
the selected layers together, you would
| | 01:29 | have turned all four of those layers
into a single Smart Object and I'd be able
| | 01:33 | to scale each one of those independently.
| | 01:35 | Okay, so I've got the Lily layer selected.
| | 01:37 | Now in this particular file I've
actually got some guides that I've already
| | 01:39 | drawn, so I know where I
want these things to end up.
| | 01:42 | I'm going to go ahead and turn my guides.
| | 01:44 | There's a keyboard shortcut, but
I'll go ahead and use the View menu.
| | 01:47 | And under Show, I will say Show Guides.
| | 01:49 | Okay, so there's the grid I've already created.
| | 01:51 | To create a guide, it's just as
simple as turning on your rulers.
| | 01:54 | So, lets go turn that on.
| | 01:55 | We'll turn View > Rulers.
| | 01:56 | And as you might imagine, you keyboard
shortcut people, it's Command or Ctrl+R and you
| | 02:00 | just drag from a ruler.
| | 02:01 | So, either a vertical ruler or a
horizontal ruler. You click in the ruler itself
| | 02:06 | and start dragging out, then
position that guide wherever you wanted.
| | 02:09 | When you let go, you've got a new guide.
| | 02:10 | I want to go ahead an undo that, Command+Z,
Ctrl+Z, and I'll turn my rulers back off.
| | 02:14 | Command or Ctrl+R. And I'm back to where
I was, just having my guides visible here.
| | 02:19 | All right. So, we're going to scale or
transform the Lily layer into one of these squares
| | 02:24 | we've created with my guides here.
| | 02:25 | And to open up the Free Transform
mode or switch you into that mode,
| | 02:29 | it's Command or Ctrl+T. That puts a
bounding box around all the pixels
| | 02:32 | on that particular layer.
| | 02:34 | In this case, just around the Purple Lily layer.
| | 02:37 | In Free Transform, I can go ahead and
reposition that to where I want the upper
| | 02:41 | left-hand corner to be the
intersection that guide there, just by clicking in
| | 02:44 | the middle and dragging anywhere.
| | 02:45 | And then to scale this proportionally,
I'm going to go to the opposite corner.
| | 02:48 | I'm going to hold down the Shift
key and then click and drag that to
| | 02:51 | the opposite corner there and just kind of
line it up with the guides that I created.
| | 02:55 | And then I'll press Return or Enter
to lock that in and I've scaled or
| | 02:58 | transformed that particular layer.
| | 03:00 | Okay, when I move on to the next layer.
This is the Mixed layer here, and I want
| | 03:03 | to just select that layer very quickly.
| | 03:05 | I'm going to hold down the Command or Ctrl
key and click right on that layer to select it.
| | 03:10 | You'll see in the Layers panel
the mixed layer is now selected.
| | 03:12 | I can now move that around
freely wherever I want it.
| | 03:14 | Kind of line that up there
in the upper left-hand corner.
| | 03:17 | Again, we go into Free Transform mode.
| | 03:18 | It's Command+T or Ctrl+T. Again, to
scale proportionally, we'll hold down
| | 03:22 | the Shift key and we'll just drag up till
we snap to one of those other guides there.
| | 03:26 | And then I'll press Enter
or Return to lock that in.
| | 03:28 | Next, I am going to do the Tulips layer,
so I am going to Command or Ctrl+Click
| | 03:31 | right where I see the Tulips.
| | 03:32 | That selects that layer for me.
| | 03:34 | Go to Free Transform mode there as well.
| | 03:36 | I'll hold down the Shift key again,
drag in one corner up to the other end, and
| | 03:40 | I might want to reposition that so I
can line it up with a guide, and then hold
| | 03:43 | down the Shift key again to continue
scaling that to one of those squares that
| | 03:48 | I've created with my guides.
| | 03:49 | When I've got it locked in, I hit
Enter or Return and then we will do one
| | 03:51 | more, the Dahlia layer here.
| | 03:53 | Again, I'm going to Command or Ctrl+
Click right on the pink part of that layer
| | 03:56 | that I can see. That targets
that layer and selects it for me.
| | 03:59 | And I'm going to go ahead and let's
position it down here because I want to
| | 04:02 | show you something else.
| | 04:03 | Now you'll see that part of
this layer is off the image window.
| | 04:07 | If I do Command or Ctrl+T, you'll see
I can't seen the bottom corner handle
| | 04:11 | anymore because it'soff the screen.
| | 04:12 | So, I'm going to use the Fit to
Screen command or Fit to Window command.
| | 04:16 | It's Command+Zero or Ctrl+Zero on Windows.
| | 04:19 | And what does is that it shrinks the
view down just small enough so you can see
| | 04:23 | the entire bounding box of the Free
Transform mode. Very handy if you're
| | 04:27 | scaling a very large image.
| | 04:28 | And the bounding box is way off screen.
Just do a Command or Ctrl+Zero to make
| | 04:32 | sure everything will fit within your
current view, so you can get to the handles
| | 04:36 | that you want to transform.
| | 04:37 | All right. So, I can see it.
| | 04:38 | I'm going to hold down the Shift key,
grab that corner handle, then we'll resize
| | 04:41 | it there as well until it looks
about right and press Enter or Return.
| | 04:45 | And I'm going to go ahead and turn the
guides off. I can do that under the View
| | 04:47 | menu, View > Show, turn off Guides.
| | 04:51 | And again, it's where you want to learn
keyboard shortcuts. So Command+Semicolon
| | 04:54 | or Command+Colon will toggle those on and off.
| | 04:57 | When you're first starting out,
hunting and pecking with the menus is fine.
| | 04:59 | Over time, you'll start feeling
like that's cumbersome, so you'll pick up
| | 05:03 | the keyboard shortcuts as you go.
| | 05:05 | And then you can just go ahead and
rearrange these freely. Because the Dahlia
| | 05:08 | layer is the selected layer I can
click and drag and move that anywhere
| | 05:11 | inside the image window.
| | 05:13 | Once you've got these smaller
layers that are clearly defined and not
| | 05:17 | overlapping each other, that's when
turning on the Auto-Select Layer command or
| | 05:20 | option may actually be something
you turn on or leave on for a while.
| | 05:23 | Because then you can just click
exactly where you want to grab something and
| | 05:27 | just start dragging around freely.
| | 05:28 | I don't have to use the Layers panel.
| | 05:30 | I don't have to hold down any
modifier keys and so forth, so
| | 05:33 | I'm just going to arrange these wherever I want.
| | 05:35 | And again, as a reminder, if you don't
want to have this on permanently, then
| | 05:38 | just Command of Ctrl+Click on the item
that you want to move and then start
| | 05:41 | dragging it once it's been targeted.
| | 05:43 | Okay, so there they are.
| | 05:44 | They're all kind of lined up where I want
them and that's how you transform layers.
| | 05:48 | You just target the layer you want to
transform. Command or Ctrl+T to go into
| | 05:50 | Free-Transform mode.
| | 05:52 | Now there's one other bonus trick here.
| | 05:53 | You can transform
multiple layers at the same time.
| | 05:56 | So, if I select Lily by clicking on
it in the Layers panel and I hold down the
| | 06:00 | Shift key and click on the Dahlia layer,
| | 06:02 | all four of those are going to get selected.
| | 06:04 | I'm going to go ahead and deselect by
clicking where there is nothing in the
| | 06:07 | Layers panel to deselect those selected layers.
| | 06:10 | Because as you might expect, there's
actually a trick to select multiple layers
| | 06:13 | in the image window itself as well.
So I'm going to hold down the Command key or
| | 06:16 | Ctrl key and click on the Lily that I see here.
| | 06:19 | If I add Shift to that so Command+
Shift or Ctrl+Shift and start clicking on
| | 06:23 | other layers, you will
add that to your selection.
| | 06:26 | Again, very common just like when
you're using Illustrator or InDesign,
| | 06:29 | you typically when you Shift+Click you
start adding to your selection so that's
| | 06:33 | what's going on here.
| | 06:34 | I'm just Command+Shift or Ctrl+Shift
clicking on the layers that I see in the image
| | 06:38 | window, just select all
four of them in this case.
| | 06:40 | And you can see in the Layers panel
that all four are indeed selected.
| | 06:43 | When you go into Free Transform
mode it will put the bounding box around
| | 06:47 | your total selection. So if I do
Command+T now, you'll see you're getting a
| | 06:50 | bounding box around all four of these.
| | 06:52 | So, the point here is that you don't
have to transform one layer at a time.
| | 06:56 | You can transform
multiple selected layers as well.
| | 06:58 | If I want to scale all four of these,
just hold down the Shift key and do
| | 07:00 | it proportionately.
| | 07:01 | And I can stretch them if I want, but
I want to maintain their proportions,
| | 07:04 | and you can see all four layers are
scaling at the same time because they were
| | 07:08 | all selected first.
| | 07:09 | Okay, I am going to go ahead and Escape.
| | 07:11 | by pressing the Esc key on
the keyboard, to just cancel that Free Transform mode.
| | Collapse this transcript |
| Aligning and distributing layers| 00:00 | Depending on the project you're
working on in Photoshop you may want to start
| | 00:03 | aligning and distributing layers so
they are lined up at their tops or
| | 00:07 | distributing their vertical centers or
horizontal centers or things that you're
| | 00:10 | probably familiar with if you've used
a product like Illustrator or InDesign.
| | 00:13 | You have that
functionality in Photoshop as well.
| | 00:15 | And the trick is to start selecting
multiple layers before these options
| | 00:19 | become available to you.
| | 00:21 | So, I'm going to select these four
thumbnail layers, the ones I got in my Layers
| | 00:25 | panel, so the Dahlia, the
Tulip, the Lily and the Mixed.
| | 00:27 | While I just hold down the Shift key,
select the Dahlia layer, and then click on
| | 00:30 | the Mixed layer to select all four.
| | 00:32 | And once I have two or more layers
selected, you'll see in the Options bar
| | 00:35 | because I have the Move tool targeted here--
| | 00:37 | That's my active tool.
| | 00:38 | I now have my Align options and my
Distribute options available to me.
| | 00:42 | If I want to align all four of these
images to the top of the top-most selected
| | 00:46 | image, in this case, that would be the Lily,
| | 00:48 | I'm going to go ahead and click the
Align Tops button and they all snap up and
| | 00:52 | align themselves to the top of the Lily.
| | 00:54 | Now if I want to equally distribute
their space between the left and right-most
| | 00:58 | selected layer then I have the
Distribute Horizontal Centers button as well.
| | 01:02 | So, I'm going to go ahead and click on that.
| | 01:03 | You'll see they are now equally spaced
across that selected range of layers.
| | 01:08 | Now another common thing is you might
want to distribute or align these images
| | 01:13 | to the canvas, the visible
area of the entire document.
| | 01:17 | And the trick to do that is just make
sure you include a layer that spans or has
| | 01:21 | pixels around the entire canvas area.
| | 01:24 | So, in this case that'd be one of the
Options layer, so Option01 or Option02.
| | 01:28 | I'm going to add that layer to my selection.
| | 01:30 | I'm going to hold down the Command key
on the Mac or the Ctrl on Windows and
| | 01:33 | click on the Option01 layer
to add that to my selection.
| | 01:36 | And now if I want to align these four
thumbnails to the top of the document
| | 01:40 | because I have a layer that is
including pixels in the entire canvas area here,
| | 01:45 | when I click the Align button you'll see,
the Align Top button, all four of those
| | 01:49 | images align to the top of the document.
| | 01:51 | If I use the Bottom button,
you'll see they all align to the bottom.
| | 01:55 | All right and same thing if I want to
horizontally or vertically align their centers,
| | 01:59 | I have a different way to do that as well.
| | 02:00 | So, just need to make sure you kind
of have an idea of where you want these
| | 02:03 | things to be aligned and distributed.
| | 02:05 | If just relative to each other,
then just select the four thumbnails.
| | 02:09 | If relative to the actual document,
then just make sure you include a layer in
| | 02:12 | your selection that has pixels on
the entire area of the document.
| | 02:17 | Okay, to finish this off I'm going to
go actually move these into specific
| | 02:20 | locations. To do that I'm going to go
ahead and deselect by clicking anywhere
| | 02:23 | in the Layers panel where there is nothing,
so there is a blank spot, to deselect those.
| | 02:27 | I'm going to turn on some guides that
I've already created in this particular
| | 02:29 | document, so I'm going to go to my
View menu and go to Show > Guides.
| | 02:34 | And now I am going to arrange these
little thumbnails on the grid guidelines
| | 02:38 | that I've created earlier.
| | 02:39 | To do that, I'm going to first Command+
Click or Ctrl+Click on the Dahlia layer
| | 02:42 | to target it. I'm going to go ahead and
move that into position and make it snap
| | 02:45 | to those guides there, looks
like it's a little bit off.
| | 02:48 | It's not exactly the size I need it to be.
| | 02:49 | But because this had been converted
to a Smart Object, you can see the
| | 02:52 | thumbnail icon in the Layers panel has
a little special badge, letting me know
| | 02:56 | that that's a Smart Object.
| | 02:57 | I am just going to go Command+T or
Ctrl+T to open up Free Transform
| | 03:01 | again, and I'm just going to very quickly
make sure that scaled to those guides correctly.
| | 03:05 | Great! Press Return, and I haven't lost any
image quality there because it's going back
| | 03:09 | to the original file that's
embedded inside that Smart Object layer and
| | 03:13 | re-sampling it for me.
| | 03:14 | Okay, let's get Tulips. Command+Click
or Ctrl+Click on the Tulips layer in the
| | 03:18 | document window and move that into
position, and then we'll move Lily.
| | 03:21 | Command or Ctrl+Click to
select it, move it in the place.
| | 03:24 | And last, we'll go ahead and move this
last thumbnail. Command or Ctrl+Click to
| | 03:27 | select it and move it into its final position.
| | 03:31 | So, there I have my basic
postcard, looking pretty good.
| | 03:34 | I'm going to turn off my Guides,
Command or Ctrl+Colon or Semicolon to turn
| | 03:39 | those off or under the View > Show
menu you can toggle that off with the
| | 03:41 | menu command as well.
| | 03:42 | And there you have it, how to
transform and reposition and move and align and
| | 03:46 | distribute your layers to get your final
composition to look in the way you want it to look.
| | Collapse this transcript |
| Changing the opacity of layers| 00:00 | One of the most fun parts about working
with layers inside Photoshop is the fact
| | 00:04 | that you can play with each layer's opacity.
| | 00:06 | So, you can blend layers into other
layers just by manipulating and playing
| | 00:10 | around with their opacity values.
| | 00:11 | So, let's take a look at how easy
that can be and how much fun it can be.
| | 00:14 | So, I am going to go ahead
and turn on the Option02 layer.
| | 00:16 | Right now, it's turned off.
| | 00:17 | I'll click on its eye or where the
eye should be to bring it visible again.
| | 00:21 | And you can see that this layer now
completely covers up the daisy layer underneath it.
| | 00:25 | That's the Option01 layer.
| | 00:26 | And we want to play around with the blend
of seeing these two layers at the same time.
| | 00:30 | So, if we take a look at the Layers
panel in the upper right-hand corner, you'll
| | 00:33 | see there is an Opacity field and yes,
it's a pop-up slider so you can click
| | 00:37 | on that to bring a slider to
change the opacity of any given layer.
| | 00:40 | This is the textbook method
of changing layer opacity.
| | 00:44 | I'm actually going to go ahead and hit
the Escape key to cancel out of that.
| | 00:47 | Because I am going to teach you a much
more intuitive or fluid way to change
| | 00:51 | opacity, and that's going
to be with your keyboard.
| | 00:53 | Yes, keyboard shortcuts.
| | 00:54 | With the Move tool selected, all you
have to do is press a number to go to 10%
| | 01:00 | increments of opacity.
| | 01:01 | So, I have the Move tool selected.
| | 01:03 | If you don't, just press v for the
Move tool. Whatever layer that you have
| | 01:06 | selected now, just type-in a number
just a number by itself, no modifier keys,
| | 01:10 | just a number, will change the layer's
opacity to that particular percentage.
| | 01:14 | So, if I type 5, that layer
now is 50% opacity. All right.
| | 01:19 | So, I can see a blend between the pink
flower and the white flower underneath it.
| | 01:23 | If I press a 1, it's 10%, so I can
just barely see the petals of that flower
| | 01:27 | blending into the daisy
below it. Type 4, it's 40%.
| | 01:30 | 8, it's 80%.
| | 01:31 | If you want to get back to 100% opaque,
you just press 0,. So if you look at
| | 01:36 | your keyboard it kind of makes sense.
From 1 to 0 goes in 10% increments, 10%,
| | 01:40 | 20%, 30% and so forth.
| | 01:42 | So, if I press 5 again,
that gets me back to 50%.
| | 01:45 | If I wanted to do more controlled
increments, single-digit increments, just press
| | 01:50 | two numbers quickly.
So if I type 55, it's now 55%.
| | 01:55 | If I type 33, it's now 33%. You get the idea.
| | 01:59 | If I type 66, just don't type 666 because that
will reformat your hard drive. Just kidding!
| | 02:03 | All right. To get back to 0 or back to 100%,
just press the 0 key and that takes that
| | 02:07 | layer back to the 100%
Opacity value. All right.
| | 02:10 | I am going to turn that layer back off
by clicking where its eye is in the Layers
| | 02:14 | panel and as an added bonus you can
actually change the opacity of more than
| | 02:18 | one layer at a time.
| | 02:19 | Just simply select those layers first.
| | 02:21 | So, if I select the Dahlia layer, hold down
the Shift key and click on the Mixed layer,
| | 02:25 | because all four layers are selected,
again, I have the Move tool as the active tool.
| | 02:29 | Again just typing n number will
change the opacity of all the selected
| | 02:33 | layers at the same time.
| | 02:34 | So, if I type a 5, you'll see all four of
those layers have now been set to opacity of 50%.
| | 02:38 | If I type a 1, they are all 10% and get
them back to 100%, you just press 0 and
| | 02:43 | they are back to 100%.
| | 02:44 | So, there we have it, very quick easy
way just to play around with layer opacity.
| | 02:47 | I find i |
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