IntroductionWelcome to Photoshop CS5 One-on-One| 00:04 | Hi! I am Deke McClelland.
| | 00:05 | Welcome to Photoshop CS5 One-on-One.
| | 00:09 | My cradle-to-grave everything you
need to know series on Adobe Photoshop.
| | 00:14 | As the name One-on-One implies I
walk you through Photoshop as if I were
| | 00:18 | teaching it to you in a classroom
or corporate consulting environment.
| | 00:21 | Except that instead of getting lost in
a crowd of students, you receive my
| | 00:25 | individualized attention.
| | 00:27 | It's just you and me, one-on-one.
| | 00:30 | Photoshop is a great big
application and there's a lot to know.
| | 00:34 | Fortunately, I've been using the program
since its inception more than 20 years ago.
| | 00:39 | So don't feel overwhelmed.
| | 00:40 | It's all infinitely knowable stuff, as
long as you learn it in the right order
| | 00:45 | and at the right pace, which is why
I've broken the series into three parts.
| | 00:49 | In this one, I'll introduce you to
the essential topics, the stuff that
| | 00:53 | everyone needs to know.
| | 00:55 | We'll start with the Adobe Bridge, which
lets you open and organize your images.
| | 00:59 | You can even wow your clients
and friends with the slideshow.
| | 01:03 | Then we'll see how to navigate inside
Photoshop using a host of zoom and scroll functions.
| | 01:08 | I'll show you how to address resolution,
as well as crop and straighten images.
| | 01:13 | I have a big chapter on
correcting brightness, contrast, and color.
| | 01:17 | We'll retouch photographs with the
Dodge and Burn tools, as well as the
| | 01:21 | amazing healing brush.
| | 01:23 | Then we'll wrap things up with a look at
layers, printing and saving images for the Web.
| | 01:28 | In later parts, I'll lead you into the
advanced topics, the ones that are the
| | 01:32 | most likely to expand your creative
range in the shortest amount of time.
| | 01:37 | By the end, you will have seen
everything Photoshop has to offer.
| | 01:41 | This is no tips and tricks course.
| | 01:43 | I'm going to make sure you understand
how Photoshop works and how you work
| | 01:47 | with it.
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| Making Photoshop your default image editor| 00:00 | Okay gang the first thing that we
have to do is establish Photoshop as the
| | 00:04 | default application for opening JPEG
files, TIFF files, and PSD files, because
| | 00:09 | those are the kinds of files that I'll
be providing to you over the course of
| | 00:12 | this series and these are the kinds of
files you'll run into on a regular basis.
| | 00:17 | Now this turns out to be our biggest
tech support question where Photoshop is
| | 00:21 | concerned at lynda.com is how do I
open my files in the first place, because
| | 00:27 | what people want to do is they want to
find the files that I am giving you and
| | 00:30 | just double-click on a file at the
desktop level, and that means it could open
| | 00:34 | with whatever is the default
application for that file type.
| | 00:38 | Not something I can control on my side,
it's something you have to change on your side.
| | 00:42 | And you can see here I've just opened
the JPEG file, and it opens up inside
| | 00:46 | Windows Photo Viewer.
| | 00:48 | That's not going to do me any good for
learning Photoshop as it is concerned, so
| | 00:52 | I need to close out of that.
| | 00:53 | This tends to be a bigger issue on the
PC than it is on a Mac, but I'll tell you
| | 00:57 | how to change it on both platforms,
so that you and I are on the same page.
| | 01:02 | Now if you're a premium member, or
you have access to the DVD then you've
| | 01:06 | presumably copied over my exercise files
folder to your desktop or some other location.
| | 01:11 | And I want you to go into another
folder that's inside that folder.
| | 01:15 | It's called 00_setup, and you'll
see three files called Welcome.
| | 01:19 | Now they happen to be welcome.jpg
welcome.psd and welcome.tiff, problem is I
| | 01:25 | have my extensions turned off
as by default on both platforms.
| | 01:30 | So here's how you turn it on the PC
at least under Windows 7 you go up to
| | 01:33 | the Organize menu and you choose this
command right there, Folder and search options.
| | 01:38 | However, if you're working on an older
version of Windows, and you can't find
| | 01:41 | that command, then just press the Alt key.
| | 01:44 | It's going to force the
display of the menu right there.
| | 01:48 | So press Alt, go to the tools menu and
choose Folder Options, and then you'll
| | 01:54 | switchover to the View tab.
| | 01:56 | You'll drop down to this check box right
there Hide extensions for known file types.
| | 02:00 | Turn it off and click OK.
| | 02:03 | And now you see we've got welcome.jpg,
welcome.psd, and welcome.tiff. All right.
| | 02:09 | On the Mac, it's a little different.
| | 02:10 | Let me show you how it works.
| | 02:11 | I'll go ahead and switchover to Photoshop.
| | 02:14 | You go to your finder level, which is
the desktop level of your Mac, at the top
| | 02:18 | of the screen, the second
menu over from the left.
| | 02:20 | right next to the Apple is the Finder menu.
| | 02:22 | You go to the Finder menu and
you choose the Preferences command.
| | 02:25 | You can also press Command+Comma if you like.
| | 02:28 | And then I want you to
click on this gear right here.
| | 02:32 | It takes you to the Advanced tab, so
that's the fourth tab inside of this dialog box.
| | 02:36 | And then turn on this check box- Show all file
name extension, and then you'll be good to go.
| | 02:42 | All right.
| | 02:42 | Now let's go ahead and minimize
Photoshop, so that we can see the contents of
| | 02:47 | the folder once again.
| | 02:48 | Now for each one of these files, the
JPEG file, the PSD file, and the TIFF file,
| | 02:52 | you're going to need to
perform the following operations.
| | 02:55 | So three times in a row, I'll explain it
on the PC, and I'll explain it on the Mac.
| | 03:00 | On the PC, you right-click on the
file, so I right-clicked on the JPEG file.
| | 03:04 | That's what you do on the Mac as well.
| | 03:05 | You right-click on that file
in order to bring up a menu.
| | 03:09 | On a PC you are going to choose the
Open With command, on the Mac you are going
| | 03:13 | to choose the Get Info command,
and I'll explain that in a moment.
| | 03:16 | So you choose the Open With command,
then you come down here and Choose default
| | 03:20 | program, so go ahead and click on that command.
| | 03:23 | And then you should see Photoshop
in a list of Recommended Programs.
| | 03:27 | That's ideal, then you click on it and
you make sure that Always use selected
| | 03:31 | program to open this kind of file
is turned on, and then you click OK.
| | 03:36 | If you can't find Photoshop in the list
of Recommended Programs, see this little
| | 03:40 | down pointing arrow head to the right
of the word Other Programs? Go ahead and
| | 03:44 | click on it in order to
see those other programs.
| | 03:46 | By default, they're hidden, which is
insanity in my opinion, but there it is.
| | 03:51 | You have to click that little guy to see
him, and then you should see Photoshop here.
| | 03:55 | If you still don't see Photoshop, you're
going to have the click on the Browse button
| | 03:59 | and actually find it
manually on your hard drive.
| | 04:01 | Hopefully, you don't have the resort to
that, because that's just a pain in the neck.
| | 04:05 | But anyway, there is Adobe Photoshop CS5,
excellent, click OK, and now it'll go
| | 04:11 | ahead and open up in Photoshop.
| | 04:13 | I'll go ahead press Ctrl+Plus or Command
+Plus to zoom in on it, and this is the
| | 04:17 | welcome screen for this series.
| | 04:18 | I want you to see here that the
series is divided into three parts.
| | 04:22 | Part one, Fundamentals, part two is
Advanced, and part three is Mastery, so
| | 04:27 | there are three levels
of courses in this series.
| | 04:30 | I use these little ski icons, you know,
the green slope and the blue slope and
| | 04:33 | the black diamond slope.
| | 04:35 | That may or may not help
you. I'm told by non-skiers
| | 04:38 | it doesn't help at all, but I like to ski.
| | 04:40 | Anyway, whether you ski or not, if
you're working on the Mac you right-click on
| | 04:44 | that JPEG file, you choose the Get Info
command, you can also click on the file
| | 04:49 | and press Command+I if you want, and
that's going to take you to the Get Info
| | 04:54 | dialog box right there, this
narrow strip that's going to come up.
| | 04:58 | And you want to drop down to this area,
Open With, and you want to go ahead and
| | 05:02 | set it to Adobe Photoshop CS5.
| | 05:04 | You should see that in your menu list,
otherwise you might have go hunting
| | 05:08 | around in your applications folder for it.
| | 05:10 | Once you select it, then you click on
the Change All button, and that'll change
| | 05:14 | all of that specific variety of file types.
| | 05:17 | In this case I am looking at the
welcome.tiff file, but you want to do it to
| | 05:21 | welcome.jpg and welcome.psd as well.
| | 05:24 | And if you don't have my files
incidentally, you can do it to your own files.
| | 05:27 | You can find any old JPEG file, any old
TIFF file, an any old PSD file, and go
| | 05:32 | through these same steps. All right,
| | 05:33 | I'm going to go ahead and
minimize Photoshop once again.
| | 05:37 | Let's go ahead and perform those
same steps on the welcome.tiff file.
| | 05:41 | So I'll go ahead and right-click on
it, choose Open With > Choose default
| | 05:45 | program right there.
| | 05:46 | That's going to bring up my recommended
programs, which include Photoshop CS5, excellent.
| | 05:51 | If I can't find I click on this down
pointing arrowhead to the right of other programs.
| | 05:54 | Once I'm done, I make sure the check
box is on, and I click OK, and it's going
| | 05:59 | to once again, open up inside of Photoshop.
| | 06:02 | Now here's the one that's a little confusing.
| | 06:04 | I'll go ahead and minimize the
application, go to the PSD file, right-click
| | 06:09 | on it, choose Open With right there,
and Choose default program, in order to
| | 06:14 | open up this dialog box.
| | 06:15 | Once again, you, Macintosh people, would
right-click in the file, choose Get Info.
| | 06:19 | Go that route.
| | 06:20 | I'd find Photoshop CS5, I seem to
have a couple of versions to choose from
| | 06:25 | here, either it'll do me just fine, or
I'd have to click on this little down
| | 06:29 | pointing arrow head to find the application,
make sure the check box is turned on, click OK.
| | 06:33 | Here's the confusing part is you're
going to get a get an error message.
| | 06:36 | You are definitely going to get this
error message unless you just happen to
| | 06:39 | have the same fonts I do, and
what it's telling you is that some text
| | 06:43 | layers contain fonts that are missing.
| | 06:45 | The great thing about Photoshop is, it
doesn't matter. Unless you're going to
| | 06:49 | edit that text, you don't care.
| | 06:51 | For purposes of viewing it, Photoshop can
view fonts you don't even have. It's amazing.
| | 06:56 | So you click OK.
| | 06:57 | You go ahead and zoom in, and notice
here in the layers menu I see all these
| | 07:01 | little Ts, those are the live text
layers that have these little cautionary
| | 07:05 | icons next to them, little yield signs.
| | 07:07 | That's telling me that Photoshop
can't find the font for that layer.
| | 07:12 | And yet, look at the text inside the
image, it looks perfect, and that's because
| | 07:15 | Photoshop doesn't need the font in order
to preview the text onscreen unless you
| | 07:20 | go in there and edit the number of
pixels in the image, or edit the type.
| | 07:24 | And it's like the only program
that's capable of doing that.
| | 07:27 | It's just remarkable.
| | 07:28 | Anyway, now you have Photoshop set up
as your default image editing application
| | 07:33 | for JPEGs, TIFFs and PSDs, and we
should able to run through the process of at
| | 07:39 | least opening files without any problems.
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| Installing the DekeKeys keyboard shortcuts| 00:00 | In this exercise, I'm going to have
you load up some custom keyboard shortcuts
| | 00:04 | that I've created for you.
| | 00:05 | And these shortcuts are known as dekeKeys.
| | 00:08 | I've been providing them for years
and years now, only I changed them.
| | 00:12 | I modified them quite a bit
for CS5 and my rationale is this.
| | 00:16 | First of all, I want you
and I to be in the same page.
| | 00:19 | So we should have the same keyboard
shortcuts as we work through this series.
| | 00:22 | But also, as you become more
experienced inside of Photoshop, I want you to be
| | 00:27 | able to move through the program very
fluidly without having to hunt for a lot
| | 00:31 | of different commands.
| | 00:32 | In that way, you can expand your
creative energies on the task at hand.
| | 00:37 | Now the reason I modified the keyboard
shortcuts this time around, I used to be
| | 00:42 | pretty careful about not stepping on
any keyboard shortcuts that Adobe had
| | 00:46 | already assigned inside of Photoshop.
| | 00:48 | This time I decided to pick a few
keyboard shortcuts that I don't think are very
| | 00:53 | useful that Adobe has pre-
assigned and assigned them elsewhere.
| | 00:56 | So I've actually done some
juggling of the keyboard shortcuts.
| | 01:00 | And to great effect I think,
as I'll explain to you.
| | 01:03 | You can always send them back though if you
disagree with me later, so it's very easy to do.
| | 01:08 | So here's what I want you to do.
| | 01:09 | If you're looking at your exercise_
files folder, go into the 00_setup folder,
| | 01:14 | therein you'll find a subfolder
called dekekeysPsCS51on1, go ahead and
| | 01:19 | double-click on it, and you'll see
three files, two HTML files, we'll come back
| | 01:22 | to those, and this .kys file.
| | 01:25 | This is the one that we are
going to open up inside of Photoshop.
| | 01:27 | It's called dekekeysPsCS51on1.kys.
| | 01:31 | It is the keyboard shortcuts file.
| | 01:33 | Now if you can see Photoshop in the
background with that gray application frame
| | 01:37 | covering up everything, then you can
just do a drag and drop, but it only works
| | 01:41 | this way on the Mac if you have the
application frame turned on under the Window menu.
| | 01:46 | But anyway, here's what you do you grab
the keyboard shortcuts and you just drop
| | 01:50 | them in there, so just do a drag and
drop and that will copy the keyboard over.
| | 01:54 | Another way to work is to just double-
click on the file, but if you double-click
| | 01:58 | on the file it could open in Premiere,
if you have that application installed.
| | 02:03 | So it's probably not a good idea to
just double-click, better, just to make
| | 02:07 | sure it opens up inside of Photoshop,
is to right-click on the file and then
| | 02:11 | choose the Open with command.
| | 02:13 | And you may see a list of
applications and you could just choose Photoshop,
| | 02:16 | or if it brings up a dialog box,
try to find Photoshop in here, it's very
| | 02:20 | easy for me to find.
| | 02:21 | It's my one and only recommended program.
| | 02:24 | You might have to click this down
pointing arrow head to see other programs,
| | 02:26 | whatever, and then you would just go
ahead and click OK, after you specify that
| | 02:31 | Photoshop gets to open the file.
| | 02:33 | Now you might get a warning at this
point that says, hey, do you want to save
| | 02:36 | the changes to your previous keyboard
shortcuts, and then you would say yes, and
| | 02:41 | update your changes, so that you don't
lose anything while you open up mine.
| | 02:45 | However, if you've never changed a
keyboard shortcut before you won't see
| | 02:48 | anything, it's as if
Photoshop just totally ignored you.
| | 02:51 | But you can confirm that something
happened by going over to the File menu and
| | 02:55 | check out this Place commanded.
| | 02:56 | It's dimmed, but you should see a
keyboard shortcut of Control+Shift+Alt+D.
| | 03:01 | And I read the shortcuts in the
opposite order that they appear in your menus,
| | 03:04 | forgive me for that, but Adobe's wrong,
| | 03:07 | is basically what it comes down to.
| | 03:08 | Everybody out there says Control or
Command first, Shift second, and Alt or
| | 03:12 | Option third, but anyway,
that's the standard convention.
| | 03:16 | But they appear backwards here. That's okay.
| | 03:18 | So it's Ctrl+Shift+Alt+D or Command+
Shift+Option+D on the Mac, as long as you
| | 03:22 | see that keyboard shortcut,
you've loaded dekeKeys.
| | 03:25 | Now we need to go ahead and
name the keyboard shortcuts.
| | 03:28 | So go up to the Edit menu and choose
the Keyboard Shortcuts Command, which
| | 03:32 | has its own shortcut.
| | 03:33 | This is assigned by Adobe, Ctrl+Shift+Alt
+K or Command+Shift+Option+K on the Mac.
| | 03:39 | And by the way, when you're pressing
keyboard shortcuts, you press all those
| | 03:42 | keys at the same time, but you go
ahead and press the modifier keys typically
| | 03:45 | first, so you'd mash your fist down
there on Ctrl+Shift+Alt, and then hit K to
| | 03:51 | bring up keyboard shortcuts or
Command+Shift+Option, then K on the Mac.
| | 03:55 | But you basically want to have
all keys down simultaneously.
| | 03:57 | Then notice up here inside the keyboard
shortcuts dialog box that we have set,
| | 04:01 | set to Photoshop defaults modified,
or it may say your keyboard shortcuts
| | 04:06 | modified, whatever it says, you want to
click on this little floppy disk icon,
| | 04:11 | the small one, which does the Save As,
and that's going to bring up this
| | 04:16 | dialog box right here.
| | 04:17 | By default, Photoshop is going to put
you inside of a Keyboard Shortcuts folder
| | 04:21 | that's nested several folders deep
inside of your system. That's great.
| | 04:26 | That's where you want it.
| | 04:27 | Now let's go ahead and name this guy,
and I'm going to rename this file
| | 04:31 | dekeKeys, but you can do as you want,
| | 04:33 | you can call them anything you want.
PsCS51on1, and there it is, and we're good to go.
| | 04:40 | Click Save, and now you can see that
that's the name of your set, and you can
| | 04:44 | take a look at your keyboard shortcuts.
| | 04:45 | You can riff on them.
| | 04:46 | You can change them.
| | 04:47 | You can do whatever you like.
| | 04:49 | You can even come over here and click
on the Summarize button, which will go
| | 04:53 | ahead and save out an HTML file that
lists all your keyboard shortcuts if you
| | 04:58 | like, but you don't have to, because I
have already gone and done it for you.
| | 05:01 | And I've done something a little better
incidentally, so I'll click OK in order
| | 05:04 | to accept those changes.
| | 05:06 | And now if we switch back to that folder,
you'll see those two HTML documents.
| | 05:10 | One ends in Mac, and the other ends in Windows.
| | 05:13 | So we've got the Macintosh keyboard
shortcuts in one file, and the Window
| | 05:17 | shortcuts in another file.
| | 05:19 | I've already open those up inside of
my Web browser right here, and that
| | 05:24 | brings up in my case, Firefox, and
I'm looking at the contents of both of
| | 05:27 | these HTML document.
| | 05:28 | So right now what I have open in front
of me is the Macintosh keystrokes, and
| | 05:33 | the other file right there
is the Windows keystrokes.
| | 05:35 | So when you first open the file,
you'll see it that it says dekeKeys for
| | 05:38 | Photoshop CS5 All keyboard
shortcuts are listed in the document.
| | 05:42 | My revised keyboard shortcuts are in red,
and if you scroll down you'll see that
| | 05:46 | the first revised keyboard
shortcut is indeed Control+Shift+Alt+D or
| | 05:50 | Command+Shift+Option+D for the Place command.
| | 05:53 | Now something I want you to see,
those of you who are a little bit familiar
| | 05:56 | with Photoshop know a thing or two
about the program, that one of the things I'm
| | 06:00 | really proud of here is that I've given
the main Adjustment layers keyboard shortcuts.
| | 06:05 | So not only can you press Ctrl+L or
Command+L on the Mac to bring up the static
| | 06:10 | levels command or Ctrl or Command+M
for Curves or Ctrl or Command+U for
| | 06:14 | Hue/Saturation, longtime old
-school keyboard shortcuts,
| | 06:18 | but if you just throw Shift into the mix now,
you'll create an Adjustment layer as well.
| | 06:24 | Now that does mean I stole the keyboard
shortcut from another command, so if we
| | 06:29 | were to go back to Photoshop, and I
went to the Image menu, you'd see that Auto
| | 06:33 | Tone no longer has a keyboard shortcut of
Ctrl+Shift+L or Command+Shift+L on the Mac.
| | 06:39 | Now I don't think it
deserves a keyboard shortcut.
| | 06:41 | I don't know when the last time
I actually used that command was.
| | 06:44 | I teach it a lot, but I
don't use it on a regular basis.
| | 06:48 | And I doubt you will either.
| | 06:50 | It's an interesting
learning tool that's about it.
| | 06:52 | Now if you disagree, if you use that
command all the time and you miss that
| | 06:56 | keyboard shortcut, you can always
reassign it by going to the Edit menu, choosing
| | 07:00 | the Keyboard Shortcuts command, then you
would just have to twirl open the Image
| | 07:04 | menu by clicking on the triangle,
just to the left of the word Image.
| | 07:08 | And you're going to have to
go down the list quite a bit.
| | 07:10 | You have to get beyond the Color
Adjustments, and you'll see Auto Tone right
| | 07:13 | there, click in its shortcut, and
you could re-establish Ctrl+Shift+L or
| | 07:18 | Command+Shift+L on the Mac.
| | 07:19 | Now it's going to tell you that that's
already in use for New Adjustment Layer > Levels.
| | 07:24 | However, if you just go ahead and
accept this modification by clicking on the
| | 07:28 | Accept button, then you'll
override my keyboard shortcut.
| | 07:31 | Totally up to you.
| | 07:32 | The other thing you can do is you can go
back to Photoshop Defaults if you like.
| | 07:37 | You can just switch back to the way
Photoshop was when it was first installed.
| | 07:40 | This is telling me, hey, did you want to
save your changes, because I just made a
| | 07:44 | change there, to the Auto Tone command?
| | 07:46 | And I am going to say, No, but you
could say Yes or anything you want to at
| | 07:50 | that point, and that's going to reestablish
all of your keyboard shortcuts once again.
| | 07:54 | I'm going to Cancel out,
because I am happy with dekeKeys.
| | 07:57 | I find them to be very helpful.
| | 08:00 | In the next exercise, just for
Macintosh people, I'm going to show you Mac
| | 08:04 | folks how to change some system level
keyboard shortcuts, so that they don't
| | 08:08 | conflict with Photoshop.
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| Remapping Mac OS shortcuts| 00:00 | This exercise is
exclusively for Macintosh people.
| | 00:03 | So if you're a Windows user you can just
go ahead and skip to the next exercise,
| | 00:07 | and we'll begin work on the
color settings inside of Photoshop.
| | 00:10 | Here is the deal though
for you Macintosh people.
| | 00:13 | Over time Apple has sort of usurped
some keyboard shortcuts that have long
| | 00:19 | belonged to the Adobe family.
| | 00:21 | And you really can't work inside the
Creative Suite without these conflicting
| | 00:24 | keyboard shortcuts getting in your way.
| | 00:26 | So I'm going to tell you how to
change those keyboard shortcuts so you don't
| | 00:29 | lose anything, you'll still have keyboard
shortcuts if you need them, they'll just be different.
| | 00:33 | We are going to just be looking at some
screenshots here inside of Photoshop as
| | 00:36 | we walk our way through these options.
| | 00:38 | What you're going to do is you're going
to go to your Apple menu. Doesn't matter
| | 00:42 | which application is in front, go to
the Apple menu and choose the System
| | 00:45 | Preferences command.
| | 00:47 | That'll bring up a dialog box with
a bunch of different icons in it.
| | 00:50 | You'll want to click on the one
that says Keyboard, or it might say
| | 00:53 | Keyboard and Mouse.
| | 00:54 | So it depends on which version of
OS X you have, but either Keyboard
| | 00:58 | or Keyboard and mouse.
| | 01:00 | And then you should see this
keyboard tab come up first.
| | 01:04 | And if you drop down you'll see this
first check box. It's named the strangest
| | 01:08 | thing on earth, but it says
use all F1, F2 etcetera keys,
| | 01:13 | it means the function keys,
as standard function keys.
| | 01:16 | As opposed to having them change the volume
and the brightness and that kind of stuff.
| | 01:21 | When this option is selected you press
the function key now to use the special
| | 01:25 | features printed on each key.
| | 01:27 | I would recommend you turn this check box on.
| | 01:29 | It is off, by default.
| | 01:30 | Turn it on, but that does mean if you
want you change the volume on your machine
| | 01:34 | or the brightness on your
screen or any of that stuff.
| | 01:36 | You'll have to press the function key
along with the F key- that is F1, F2, F3 et
| | 01:42 | cetera- in order to make the
function work. All right.
| | 01:46 | But you'll be able to display palettes
inside of Photoshop just by pressing an F key.
| | 01:51 | Which is actually a really great thing
and which I'm assuming as we work our
| | 01:54 | way through the course.
| | 01:55 | The next thing you want to do is you
want to remap a few keyboard shortcuts and
| | 02:00 | to do that you are going to have the
click on the keyboard shortcuts tab here
| | 02:04 | near the top of the dialog box.
| | 02:06 | It looks different in Leopard, and
earlier, than it does in Snow Leopard and later.
| | 02:12 | So basically Leopard was OS 10.5
and then Snow Leopard is OS 10.6.
| | 02:18 | So if you have the most recent
operating system then things are going to look a
| | 02:22 | little different than this.
| | 02:23 | But let's assume just for a
moment that you have an older operating
| | 02:26 | system, Leopard or earlier.
| | 02:28 | Then you'd have to scroll down your
list until you get to this item right there.
| | 02:32 | Dock, Expos?, and Dashboard, and you'll
go ahead and twirl it open by clicking on
| | 02:37 | the triangle to twirl it down so that
you can expose this list of items that
| | 02:41 | have to do with the Dock, Expos?, and the Dashboard.
| | 02:44 | And then you would go to the keyboard
shortcut, which is this guy right there
| | 02:48 | and you double-click on it, so by
default, I believe it's something like
| | 02:52 | Command+Option+D, and everything shows
up this little symbol so there is the
| | 02:55 | command key symbol,
There's the option key symbol.
| | 02:57 | Incidentally, this caret means Ctrl.
| | 03:00 | You don't have to type in the symbols
in order to change a keyboard shortcut.
| | 03:03 | You just press the
keyboard combo on your keyboard.
| | 03:07 | So you should be able to now press, after
double-clicking or whatever this was
| | 03:10 | before, Ctrl+D at the same time.
| | 03:13 | And then you'll get this keyboard shortcut.
| | 03:15 | If that doesn't work- sometimes things
are conflicting and things get in the way-
| | 03:19 | you may find it helpful to close out of
System Preferences, bring it back up, go
| | 03:23 | back to this panel and try it again.
| | 03:25 | Sometimes that works. But in rare cases
where you can't get a keyboard shortcut to work
| | 03:30 | it's because your Mac
thinks it's doing something else.
| | 03:33 | It's already occupied elsewhere. All right.
| | 03:35 | Then drop down here to All windows,
double-click on it and change it from F9,
| | 03:39 | which it is, by default, to Ctrl+
F9, so you press Ctrl and the F9 key at the
| | 03:43 | same time and so on. Ctrl+F10,
Ctrl+F11, Ctrl+F12. I made Spaces
| | 03:49 | Ctrl+F8 but I don't use it.
| | 03:51 | Spotlight, this thing really gets in
the way of navigating inside of Photoshop.
| | 03:57 | So it's basically Command+Spacebar,
by default, and that is an old and
| | 04:02 | wonderfully useful zooming technique
across all of the Adobe applications.
| | 04:07 | Even though the Spotlight thing does
look like a magnifying glass, which is what
| | 04:10 | the tool looks like inside of Photoshop,
| | 04:12 | Apple is the one who
stole this keyboard shortcut.
| | 04:14 | So I say give it back to Adobe. And
what that means is in my case I'm
| | 04:19 | recommending you press Command+Ctrl+
F1 for the Spotlight search field, and to
| | 04:25 | show the spotlight window you'd add Option.
| | 04:28 | So Command+Ctrl+Option+F1. Up to you
what you reassign, but that's what I suggest.
| | 04:33 | Now it works differently under Snow
Leopard as I was saying. Not all that
| | 04:37 | different, but here's what the
Keyboard Shortcuts panel looks like.
| | 04:40 | It's divided into a bunch of groups, like so.
| | 04:43 | So you first start by going to Dashboard
and Dock and you set the dock hiding to
| | 04:48 | Ctrl+D, and it's the same thing.
| | 04:50 | You double-click on this item right
there on the keyboard shortcut, incidentally,
| | 04:55 | not over here on the words, on the
keyboard shortcut, and type in a new one and
| | 04:59 | for Dashboard I go with Ctrl+F12.
| | 05:02 | The next group is Expos? and Spaces, so
you click here, you'd go and twirl open
| | 05:06 | Expos? if necessary and you change
your keyboard shortcuts: Ctrl+F9,
| | 05:10 | Ctrl+F10 and Ctrl+F11.
| | 05:12 | The next group is Spotlight.
| | 05:15 | You drop down to Spotlight here-
the other ones don't matter for our
| | 05:18 | purposes, it's up to you.
| | 05:19 | I turn on Front Row.
| | 05:20 | I really like that function, but it has
nothing to do with Photoshop. Drop down
| | 05:23 | to Spotlight and then change the
Spotlight keyboard shortcuts the same way I
| | 05:27 | just directed a moment ago.
| | 05:28 | So you double-click it's Command+
Ctrl+F1 to show the search field, its
| | 05:33 | Command+Ctrl+Option+F1 to show the window.
| | 05:37 | And then our next guy is Universal Access.
| | 05:40 | If it's turned- on you may have
Universal Access working, you may not- if you do,
| | 05:45 | you want to make sure that Zoom in and
Zoom out are not set to anything that
| | 05:50 | overlap what's happening in Photoshop.
| | 05:52 | So what I recommend is for Zoom out,
this would be Command+Ctrl+Option+Minus,
| | 05:58 | and for zooming in that would be
Command+Ctrl+Option+Plus, the Equals key
| | 06:02 | being the same as the Plus key on the keyboard.
| | 06:05 | And then finally, what I recommend,
totally up to you on this one, as you
| | 06:09 | switch down to Application Shortcuts and
you go ahead and give yourself- this has
| | 06:14 | nothing to do with Photoshop once
again- but you give yourself a keyboard
| | 06:16 | shortcut as long as you're
here for System Preferences.
| | 06:20 | So that you can open up System
Preferences from the keyboard because it's a
| | 06:24 | very useful thing to do. And bear in mind
System Preferences is where we are right now.
| | 06:28 | And what you do is you click on
this little Plus sign right there, and
| | 06:31 | that'll bring up this dialog box
and then you have to manually type in
| | 06:35 | System Preferences.
| | 06:37 | Make sure you type it exactly right.
| | 06:39 | You have to type every letter correctly,
and then either type "?" so three periods
| | 06:44 | in a row, that's got to be there, or
you can use an ellipses instead and that's
| | 06:49 | Option+Semicolon will get
you the ellipses symbol.
| | 06:53 | And so that's three dots in a row
that's just one character. Either one is
| | 06:56 | going to work for you.
| | 06:57 | And then I made the
keyboard shortcut Ctrl+F1.
| | 07:00 | Now I should say, I had problems
making this work at first. I couldn't get
| | 07:04 | Ctrl+F1 to take. And so I had to
close out and try it again, so sometimes
| | 07:08 | that stuff happens.
| | 07:09 | I didn't have to restart
the machine or anything.
| | 07:11 | I just had to re-launch System Preferences.
| | 07:13 | Also, for some reason, I couldn't
get it to work inside of Photoshop. So if
| | 07:17 | Photoshop was open, I couldn't get
Ctrl+F1 to work, but if any other
| | 07:21 | application was in the foreground,
then the keyboard shortcut works fine.
| | 07:25 | So, these things are a little weird, but
the good news is by remapping them you
| | 07:30 | won't have any conflicts with Photoshop,
and you'll be able to work away inside
| | 07:34 | Photoshop to great effect.
| | Collapse this transcript |
| Installing the Best Workflow color settings| 00:00 | In this exercise, I am going to show
you how to establish what I believe to
| | 00:03 | be the best color settings inside of
Photoshop and the other Creative Suite applications.
| | 00:08 | Now color settings is Photoshop and
Adobe's word, really, for color management
| | 00:13 | policies inside the various programs.
| | 00:16 | They help ensure that you achieve
consistent prints so that what you see
| | 00:21 | onscreen is more or less
what you get from your printer.
| | 00:24 | But even more important they help
establish consistent color onscreen between
| | 00:29 | the different
applications and on the Web as well.
| | 00:33 | Now by default, these color settings
are set up for consumers. Basically Adobe
| | 00:39 | is using the consumer color
space out there, which is sRGB.
| | 00:43 | And I believe we can do better than that.
| | 00:45 | We ought to set Photoshop up for working
professionals and that's what we're going to do here.
| | 00:50 | Now I have this file that I've
provided for you called Best Workflow CS5.csf,
| | 00:56 | and it's available as usual inside
of that 00_setup folder right there.
| | 01:02 | There it is, and you may see a prettier
icon associated with it, but whatever.
| | 01:06 | What we need to do is copy it to a
specific location on your hard drive.
| | 01:13 | Now, these are the locations under
Windows XP right here. This is the location.
| | 01:19 | You go to your C drive; Documents and
Settings; your username, which is your login
| | 01:22 | name; Application Data, not AppData but
Application Data; Adobe\Color\Settings.
| | 01:28 | Each one of these is a separate folder
separated by a backslash. Under Windows 7
| | 01:32 | and Vista, it's this path right there.
| | 01:35 | It's AppData this time, not
Application Data, roaming blah, blah, blah, blah
| | 01:40 | however, here's the good news.
| | 01:42 | Under the PC this is a big pain in the neck.
| | 01:45 | I know that doesn't sound like good
news, and you have to turn on hidden
| | 01:48 | files, and you have to have the folder options
get angry at you and all this other weird stuff.
| | 01:53 | Well, I've found a quicker way for you PC
users than having to dig around your hard drive.
| | 01:58 | You Macintosh users, on the other hand, you're going to have to dig around your hard drive.
| | 02:01 | The good news is that it's not
as hard on the Mac to dig around.
| | 02:05 | And I'll come back to you PC
people in a moment so just sit tight.
| | 02:08 | So on the Mac, you go to the Finder
level, the Desktop level of your computer.
| | 02:12 | You choose Go > Home, and then that takes
you to your user folder, which is either
| | 02:18 | your name or the login name, what have you.
| | 02:20 | And you copy those color
settings that we just saw a moment ago.
| | 02:23 | You copy that file to this folder right here.
| | 02:25 | So you have to go to the Library
folder, and the Macintosh convention is to
| | 02:30 | divide folder names with
forward slashes, by the way.
| | 02:32 | So you open up your Library folder.
| | 02:34 | You open the Application Support folder.
| | 02:36 | You open the Adobe folder, you open the Color
folder, therein you will find a Settings folder.
| | 02:42 | So each one of these is a different folder.
| | 02:44 | This will probably be empty. There will
probably be nothing there. And then though,
| | 02:48 | you go ahead and take this
file and copy it to that folder.
| | 02:52 | And then you join me for
the rest of this exercise.
| | 02:55 | If you're working on a PC, I want you
to just go to that file, right-click on
| | 02:59 | Best WorkflowCS5.csf and
choose the Copy command.
| | 03:03 | So we'll copy it and then we'll
paste it into the right location.
| | 03:07 | All right, now go to Photoshop. Everybody,
whether you're working on a Mac or a PC,
| | 03:11 | go to Photoshop go up to the Edit menu
and choose the Color Settings command, or
| | 03:16 | you've got a keyboard shortcut, Ctrl+Shift
+K, Command+Shift+K on the Mac, and that
| | 03:20 | brings up this dialog box right here.
| | 03:22 | Now by default, here in the States our
settings are North American General Purpose 2.
| | 03:27 | If you're in another country, you may see
something different, but here's what I want you to do.
| | 03:31 | I want to click on the Load button.
With any luck, if you're on the Mac, it'll
| | 03:36 | take you to this Settings folder, and
you'll see Best WorkflowCS5.csf just
| | 03:42 | sitting there, click on it, and then
click on the Load button. That's all you
| | 03:46 | should have to do on a Mac.
| | 03:47 | On the PC, check this out. Inside this
folder, which is currently empty, you'll
| | 03:51 | right-click, and you'll choose Paste.
| | 03:53 | So you're just going to put the file
in there, then once it's in there like
| | 03:56 | so, you click on it. So Best Workflow CS5.csf, then you click Load, and Bob's your
| | 04:02 | uncle, you're ready to go.
| | 04:04 | You've got this darn thing loaded,
and you can employ it here inside of
| | 04:08 | Photoshop as well as inside
the other Adobe applications.
| | 04:13 | Now, in the next exercise, I'm
going to go ahead and walk you through
| | 04:16 | the options we changed.
| | 04:18 | So those of you who are still having
problems can just set things up manually
| | 04:21 | and save out your own settings, and
those of you who aren't having problems
| | 04:25 | know what in the world we did. I'll go
ahead and click OK, and wait for you to
| | 04:29 | join me then.
| | Collapse this transcript |
| The color settings explained| 00:00 | In this exercise, I'm going to explain
the color settings that we modified in
| | 00:04 | the previous exercise.
| | 00:06 | It will also be of use to anyone who
may have had problems installing Best
| | 00:10 | Workflow so that you can
establish your color settings manually.
| | 00:14 | There's not that many options that
you need to change, quite frankly.
| | 00:17 | But I want you to know what you've done.
| | 00:19 | So, I'm going to go up to the Edit
menu, and I'm going to choose the Color
| | 00:22 | Settings command once again here
inside of Photoshop. Ctrl+Shift+K,
| | 00:27 | Command+Shift+K on the Mac.
| | 00:28 | And let's go ahead and switch back to
North American General Purpose 2, which
| | 00:33 | are the default settings here in
the States - not sure what they are
| | 00:36 | elsewhere in the world.
| | 00:37 | Now as I was saying, by default,
Photoshop is set up for consumers.
| | 00:42 | That's why they've got
the RGB space set to sRGB.
| | 00:45 | And the great thing about sRGB
is it's a consistent standard.
| | 00:50 | And so a lot of different companies,
| | 00:52 | HP and Microsoft and Adobe and all
these other companies, got involved in
| | 00:56 | creating the standard and basically
sticking to the standard as well, so that if
| | 01:02 | you open an RGB image, like your
digital photographs, inside of any old
| | 01:06 | application, it's assumed
that's its an sRGB image.
| | 01:10 | And then when you print it to your
inkjet device, for example, then the printer
| | 01:13 | driver does the work automatically
and decides how to convert that sRGB
| | 01:17 | information into the inks that
that particular printer uses.
| | 01:22 | Problem is, from an image-editing
perspective, it's a very small space.
| | 01:25 | It's based on a rinky-dink PC monitor,
just like the little CRT tube essentially,
| | 01:31 | and so it's a limited color space,
and that means you're not able to take
| | 01:35 | advantage of the rich array of
colors that Photoshop can show you.
| | 01:39 | So the first thing we do is we
switch from RGB to Adobe RGB (1998).
| | 01:44 | That means suddenly we
have a wider dynamic range.
| | 01:47 | We have a much bigger RGB
playground, essentially, in which to work.
| | 01:52 | And that it doesn't hurt a darn thing
because it's still a characterized space.
| | 01:56 | So it's a profiled space, so now your
printer would just convert from Adobe RGB
| | 02:02 | over to its particular group of inks.
| | 02:05 | And when you export an image for the Web,
Photoshop will automatically convert
| | 02:09 | it to sRGB, and I'll tell you
how that works in another chapter.
| | 02:13 | So it's definitely the way to
go where Photoshop is concerned.
| | 02:17 | CMYK, I didn't change that
in my best workflow settings.
| | 02:20 | You should know that.
| | 02:21 | But if you're working with the
commercial printer, then you would want to change
| | 02:25 | it, but you'd want to get a profile from them.
| | 02:27 | So you ask your commercial printer from
a profile, if they give you one then you
| | 02:31 | choose this command right there, Load
CMYK, you'll load it on up, and then you're
| | 02:35 | good to go, presumably, as long
as the profile works accurately.
| | 02:39 | Next, Color Management Policies - notice
everything is set to Preserve Embedded Profiles.
| | 02:44 | I'm skipping Gray and Spot, by the
way, you don't need worry about those.
| | 02:47 | But for the Color Management Policies,
you want everybody to be Preserve
| | 02:51 | Embedded Profiles because that
way, you can have an sRGB image open,
| | 02:55 | And an Adobe RGB image, and all kinds
of different stuff. And in fact, we're
| | 02:59 | switching over to Adobe RGB (1998),
this welcome.tiff image was originally
| | 03:05 | created as an sRGB image, and
it will not change onscreen.
| | 03:08 | So Photoshop can respect multiple
profiles at the very same time, which is
| | 03:12 | excellent, just ideal.
| | 03:14 | Profile Mismatches, you don't want those
on because Photoshop will be bugging you
| | 03:18 | all the time, and it's not the
information that you need to know, so just turn
| | 03:21 | off those check boxes. Then click on
More Options, drop down here to Conversion
| | 03:26 | Options. Notice the Engine is the Adobe
color engine. That's great, because that's
| | 03:30 | cross-platform. Otherwise you got to
choose a platform-specific option.
| | 03:34 | You don't want that. But, I believe the
Intent is better- instead of working with
| | 03:40 | Relative Colorimetric, which is
perfectly reasonable for most purposes and if
| | 03:45 | you're primarily doing InDesign work,
or you are primarily doing vector work
| | 03:49 | inside of Illustrator then Relative
Colorimetric is probably your best bet-
| | 03:53 | but my assumption is that you're doing
most of your work inside of continuous
| | 03:58 | tone photographic images, in which case
Perceptual is the best bet, because you
| | 04:03 | are going to getting less color banding,
your gradients are going to look better
| | 04:06 | anything where there is
continuous colors is going to look better.
| | 04:09 | And, some colors are going to change on
you. Photoshop is just going to have to
| | 04:13 | change colors sometimes in order to
make those perceived color transitions work
| | 04:18 | out, but it's typically the best way to go.
| | 04:20 | So anyway, I switch over to Perceptual.
And then, lately I've gotten in a habit of
| | 04:24 | turning off this check box, Use
Dither on 8-bit/channel images.
| | 04:29 | The idea is if you're converting an
image, say, from Adobe RGB to sRGB and you're
| | 04:34 | having to rewrite all the colors
inside of the image, do you try to represent
| | 04:38 | colors that are outside the gamut using
a dither- that is, by jumbling a bunch of
| | 04:44 | other colors together- or do you just
represent it with the flat, take one flat
| | 04:48 | color and represent it with a
different, nearest equivalent flat color.
| | 04:52 | And what I've found is it's better to go
with flat colors for my work, because
| | 04:57 | anytime you have anything resembling a
vector object, or a type, or anything along
| | 05:02 | those lines, its ends up getting
dithered if you turn this check box on.
| | 05:06 | So I would rather have it off. I
haven't run into any problems doing that.
| | 05:09 | That's way I like to work. And
that's it. Then you would go up here, you
| | 05:13 | would click on Save, and you would go ahead
and save out your settings as Best Workflow CS5.
| | 05:18 | Now after that point, by the way, let's
say I go ahead and save over my file and
| | 05:24 | I'll click Save, and it says do you
want to save over, sure I'll click OK.
| | 05:27 | Then I'm asked for some comments. Now
I've gone ahead and created for you this
| | 05:33 | item right here. Inside the 00_setup
folder, I've created this thing called Best
| | 05:38 | Workflow description.txt, and
it's a just a text-only document.
| | 05:43 | And then if I go ahead and open that up,
say in notepad here on the PC, then it
| | 05:48 | appears as one long continuous line, so
you have to go to Format and choose Word
| | 05:52 | Wrap- as if you wouldn't want that,
why would not want it to wrap?
| | 05:55 | Anyway, then you'll go ahead and
select your text like so and copy it by
| | 06:01 | choosing the Copy command right there
or pressing Ctrl+C, Command+C on the Mac
| | 06:06 | switch back to Photoshop.
| | 06:08 | I'll go here, select this text and
press Ctrl+V or Command+V on the Mac for
| | 06:12 | Paste, because you don't really have a
command at this point to work from, and
| | 06:16 | basically what this text says, is
these are settings that I recommend in my
| | 06:20 | Photoshop, Illustrator and InDesign
CS5 one-on-one series for Deke Press,
| | 06:24 | O'Reilly media and lynda.com, so
there's books and videos to ensure consistent
| | 06:28 | color and printing across all
three applications and more actually.
| | 06:33 | So I'll click OK in order to re-create
that file and then I'll click OK in order
| | 06:38 | to accept my color settings.
| | 06:39 | And that's what's going on, just in case
you wanted to know, just so that you know
| | 06:43 | exactly what's happening every
step of the way inside this series.
| | 06:47 | In the next exercise, we're going to
establish consistent settings across all of
| | 06:50 | the Creative Suite
applications in the Adobe Bridge.
| | Collapse this transcript |
| Loading the CS5 color settings in Bridge| 00:00 | Now that you've loaded my Best Workflow
CS5 color settings or created your own,
| | 00:05 | those of you who all one of the
many versions of the Creative Suite
| | 00:09 | can go ahead and load these color settings
across all the Creative Suite applications.
| | 00:13 | However, you have to own the Creative Suite for
this exercise to work. If you own Photoshop by itself,
| | 00:20 | then this exercise is not applicable. You can
go ahead and skip it and begin work on Chapter 1.
| | 00:26 | And let me briefly explain what I mean.
| | 00:28 | I'm going to go and switch to this browser, and I'm
looking at the Adobe web site and we can see that there's quite a
| | 00:34 | few different variations of Creative Suite 5. There's
Design Standard and Design Premium. There is Web Standard and Web
| | 00:41 | Premium, there's the Production
versions and there's the Master collection.
| | 00:46 | So you have to all one of those
many versions of the Creative Suite
| | 00:51 | for this movie to work.
| | 00:52 | Again if you own Photoshop by itself then you're going to end
up getting an error message, in which case this exercise is not
| | 00:58 | necessary for you.
| | 00:59 | All right, I'm going to switch back to Photoshop here and then
I'll go up to the upper left corner the interface and you'll see
| | 01:06 | this orange Bridge icon. I want you to go ahead and click
on Launch Bridge in order to switch to the Bridge. Now, if it
| | 01:14 | wasn't already running, as it was for me,
it might take a few moments to launch.
| | 01:18 | Then once you see the Bridge application, which allows
you to preview images and other assets, I happen to have the
| | 01:25 | Bridge trained on the contents of the 00_setup folder,
but that doesn't matter for purposes of this exercise.
| | 01:31 | Next, what you'll do is to go to the Edit menu and choose
the Creative Suite Color Settings command. Now, no matter what
| | 01:38 | you'll be able the see this
command. That's what's so misleading
| | 01:41 | about this feature. However, there's a chance to the
command won't work. So if you choose Creative Suite Color Settings
| | 01:48 | and you get an error message, that means either you only
own Photoshop, so you purchased Photoshop independently,
| | 01:55 | or for some reason the Bridge thinks you only own Photoshop.
It doesn't think you own the entire Creative Suite, which
| | 02:01 | may require that you reinstall the software, and I hate
to the bearer of bad news, but that's the way it works.
| | 02:07 | The good news is most of you should have no problems. So if you own
one of those versions of the creative suite, you should be able to
| | 02:14 | choose this command
| | 02:15 | and them bring up the Suite Color Settings dialog box.
Now by default, you'll see North American General Purpose 2
| | 02:22 | selected. At least that's
what you see here in the States.
| | 02:25 | Hopefully you'll see my new Best Workflow CS5 option
available to you. Go ahead and click on it in order to
| | 02:32 | select it. If you don't see that option then turn on this
check box called Show Expanded List of Color Settings File.
| | 02:39 | Go ahead and turn that on and you'll see an
expanded list of options available to you.
| | 02:44 | Somewhere in that list you should see Best Workflow CS5.
Once you see it, click on it to make it active and then
| | 02:52 | click on the Apply button.
| | 02:53 | And that's all there is to it. Now you synchronize your
color settings across Photoshop, Illustrator and all the other
| | 02:59 | Creative Suite applications.
| | 03:01 | Alright, that's all there is to it. Now you and I are
on the same page and you can begin work on Chapter 1.
| | Collapse this transcript |
|
|
1. What Photoshop Can Do, Part 1: The AvatarThere is nothing you can't do| 00:00 | As I mentioned, last time we
spoke, Photoshop is a huge program.
| | 00:05 | Imagine a swimming pool that begins,
I don't know, about a foot deep and
| | 00:09 | stretches out and downward as far as the
eye can see. Except it's not a swimming
| | 00:14 | pool, it's the Pacific Ocean.
| | 00:16 | Photoshop really is, figuratively, that big.
| | 00:20 | So we'll be waiting for a while and
splashing about before we take the ultimate plunge.
| | 00:25 | I don't want you to drown, after all.
| | 00:27 | I want you to have a fun time and
remain inspired from one pixel-based
| | 00:31 | novelty to the next.
| | 00:32 | Here's a parrotfish. There is an eel.
| | 00:35 | Watch out, great white shark. It's the Ocean.
| | 00:38 | So at times, our progress is going
to seem? not slow, but incremental.
| | 00:43 | Reasonably cautious.
| | 00:45 | We need to get your mask on, put on
your wetsuit, get you in the shark-proof
| | 00:49 | cage. Which is why I want to
cheer you on, early and often,
| | 00:53 | starting with a mesmerizing project
that I hope gets and keeps your creative
| | 00:57 | juices flowing, which is
what chapter 1 is all about.
| | 01:01 | Before your very eyes, I will use
Photoshop to transform a photograph of an
| | 01:06 | actual person into an absolutely
amazing, fantastical, otherworldly creature.
| | 01:12 | And the results are impeccable.
| | 01:14 | This is one of those things that you hope
Photoshop can do that it absolutely can do.
| | 01:19 | I mean, it can do anything. And this is proof.
| | 01:22 | I've set this project up, so
you can follow along with me.
| | 01:25 | Even if you've never used Photoshop
before, assuming you have access to the
| | 01:29 | sample files, you can do everything I'm doing.
| | 01:33 | Or just sit back and watch me work.
| | 01:35 | Believe me, that's going to be enough.
| | 01:37 | My hope is that by the time you finish
this series, what you see me doing now is
| | 01:41 | what you'll be able to do later without my help.
| | 01:45 | Note that this is part one of a three-
part project that culminates in a mastery
| | 01:49 | portion of this series.
| | 01:51 | So join me, won't you?
| | 01:52 | As we descend deep, deep, deep
into the vast undersea world of what
| | 01:58 | Photoshop can do.
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| The power of Photoshop| 00:01 | All right friends, I think I have
a real treat in store for you here.
| | 00:03 | You're going to get a sense of really
what Photoshop can do, just how powerful
| | 00:09 | this amazing program is.
| | 00:11 | Yes, you can correct photographs.
| | 00:13 | You can make them more colorful.
| | 00:14 | You can correct their colors,
| | 00:16 | so they look more like the
real life you thought you shot.
| | 00:19 | You can make images less colorful.
| | 00:21 | You can bleed the color out
and make black-and-white images.
| | 00:24 | You can sharpen the detail.
| | 00:25 | You can paint from scratch, if you want to.
| | 00:28 | You can add painted
elements to a photographic image.
| | 00:31 | You can add special effects, or you can
completely transform an image, which is
| | 00:36 | what we're going to be
doing inside of this chapter.
| | 00:39 | The thing about Photoshop is it is
nothing if not fantastically capable.
| | 00:46 | Yes, it's hard to use.
| | 00:47 | And it can be quite intimidating at times.
| | 00:50 | But once that light bulbs starts going
off, this program opens wide up for you.
| | 00:55 | And there just is nothing you can't do
where editing a 2D photographic image is concern.
| | 01:02 | Now I've got some files ready for
you here, if you have access to the
| | 01:05 | Exercise Files folder.
| | 01:07 | And you will find this image
called Base build file.psd.
| | 01:11 | It features an image from Jason
Stitt of the Fotolia Image Library.
| | 01:16 | And these guys have been so generous to
us, and provided us with so many images.
| | 01:20 | I have to tell you just a
very short thing about them.
| | 01:22 | Fotolia is a stock image vendor.
| | 01:25 | And anybody can upload
images to the Fotolia Web site.
| | 01:28 | It's a juried site, so they
pick and choose which ones to keep.
| | 01:31 | And then anyone can
download from that image library.
| | 01:35 | And you pay a very modest fee for the privilege.
| | 01:38 | And if you want to learn more about
them, you could go to fotolia.com/deke.
| | 01:42 | Anyway, we're going to
take this girl right here.
| | 01:44 | And we're going to transform her into
this file right here, Final Na'vi girl.psd.
| | 01:51 | And this is essentially a Na'vi, like
those from the movie Avatar, which you
| | 01:55 | may be familiar with.
| | 01:56 | It was somewhat popular you might recall.
| | 01:59 | And I want to show you how
this image was assembled.
| | 02:03 | But the first thing I'm going to say is
over the course of this chapter, you can
| | 02:07 | watch me work, if you want to.
| | 02:09 | You could just sit back and relax and
watch, or you can try to work along with me.
| | 02:13 | I have set the sample files up so that
you can work along with me, if you want to.
| | 02:18 | If you're feeling ambitious, or you
want to challenge, or that's just how you
| | 02:22 | learn, you feel like you learn better
if you're doing while you're watching.
| | 02:26 | Now the thing there is I'm not
going to have time to explain every
| | 02:29 | single feature to you.
| | 02:30 | That's what the rest of the series is for.
| | 02:32 | I'm going to be covering a ton
of territory in this one chapter.
| | 02:36 | However, I've given you everything
you need in order to get the job done.
| | 02:40 | Let me walk you through this file here.
| | 02:42 | I'm looking at the layers panel.
| | 02:44 | And notice there's this
Background layer right there, which is the
| | 02:47 | original Jason Stitt image.
| | 02:48 | I want you to Alt+Click or Option+
Click, if you're working along with me, on
| | 02:52 | the eyeball in front of that background layer,
so that we turn all the other layers off.
| | 02:56 | By the virtue of the facts, we
have the Alt or Option key down,
| | 02:59 | we didn't turn off this layer,
| | 03:01 | we turned off all the other layers.
| | 03:03 | And I want you to see
everything is founded on this image.
| | 03:06 | It isn't like I just went and painted a
Na'vi from scratch or something like that.
| | 03:11 | It's actually a transformed
version of this photograph.
| | 03:14 | And then what I did was I liquified her eyes.
| | 03:17 | There's this filter inside Photoshop
called Liquify that allows you to
| | 03:20 | paint in distortions.
| | 03:21 | And that's what I did here.
| | 03:22 | And then these Na'vi people, they
have big brows and very wide noses.
| | 03:27 | And that bridge of the nose
actually needs to cover up part of this
| | 03:30 | right-hand eye, her left eye.
| | 03:32 | So I added this layer right here brow & nose.
| | 03:36 | And then, I went ahead and painted
everything blue. So her skin, that is, is blue.
| | 03:40 | Her hair remains brown.
| | 03:42 | And now at this point she's looking great.
| | 03:44 | The skin looks awesome.
| | 03:45 | But her eyes look totally wrong.
| | 03:47 | So I've got these eyes layer.
| | 03:49 | I'll go ahead and turn them on.
| | 03:50 | And you can see, now we
have these glowing irises.
| | 03:53 | We've got these pupils.
| | 03:54 | I'm retaining the
highlights from the original image.
| | 03:57 | So I actually lifted these
highlights from the original irises.
| | 04:01 | And then I went ahead and added some war
paint, which is a whole reason I wanted
| | 04:05 | to do this in the first place.
| | 04:07 | I'm just really crazy about war paint right now.
| | 04:09 | And then, I figured
| | 04:10 | I'd like to integrate her better
with her background, so I added these
| | 04:14 | blurry leaves up front.
| | 04:15 | And that way, she appears to be
in a kind of jungle environment.
| | 04:19 | And then finally, I added
this glowing dragonfly layer.
| | 04:22 | That's over here on the
right-hand side of the image.
| | 04:24 | And that's it folks.
| | 04:26 | Those are the layers that work, because we
have some of the layers grouped together.
| | 04:30 | In all, we've got more than 20 layers.
| | 04:32 | I'm going to show you how
they were all put together.
| | 04:34 | You can sit back and watch me.
| | 04:36 | You can try to work with me.
| | 04:37 | It's totally up to you.
| | 04:39 | However you decide to do it, let's get started.
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| Duplicating a layer| 00:00 | Now the first step in our ambitious
undertaking here is to distort this girl's face.
| | 00:06 | So for one thing, we need
to make her eyes much bigger.
| | 00:09 | And, if you saw the movie, you may recall
that their eyes are very wide set, as well.
| | 00:14 | And we need to increase the size of
her brow, because the Na'vi in Avatar
| | 00:19 | had very big brows.
| | 00:20 | At the same time, they have these flat noses.
| | 00:24 | So we're going to have to reduce the
size of her nose, tuck the tip of the
| | 00:27 | nose in a little bit.
| | 00:28 | And she is sort of smiling here.
| | 00:31 | Our final Na'vi is not smiling.
| | 00:34 | He's got a grim, just frank expression,
because he's got war-paint on, or she
| | 00:39 | does, or whomever, but they're ready for battle.
| | 00:42 | So you may also notice that I've gone
ahead and raise the cheekbone a little, a
| | 00:45 | few other structural modifications here,
without affecting the hair anymore than
| | 00:52 | we have to, because this girl here
has the best Na'vi hair on the planet.
| | 00:57 | It's absolutely good to go.
| | 00:58 | So we want to keep it intact.
| | 01:00 | And we want to do the most
realistic, credible job possible.
| | 01:05 | So we're going to brush in our
distortions using a command under the Filter
| | 01:08 | menu called Liquify.
| | 01:09 | Liquify is quite complicated, I'll be
honest with you, but it's also extremely fun.
| | 01:16 | And I find when I show this command
to students that they leap right in and
| | 01:20 | start using it, and it helps
to break the ice with Photoshop.
| | 01:23 | So it's a good place to start. All right.
| | 01:25 | But before we do that, we need to make a layer.
| | 01:28 | You can see that we have a handful of layers
ready to go here inside the layers palette.
| | 01:32 | They're all turned off,
except for the Background layer.
| | 01:35 | So that's the only one with
an eyeball in front of it.
| | 01:37 | Now this group of layers here, this little
folder, it has an eyeball in front of it as well.
| | 01:42 | But if you twirl it open, by clicking
on this little triangle, you'll see that
| | 01:45 | none of the layers inside of the
folder have their eyeballs turned on.
| | 01:49 | So that's why everything but the base layer,
the Background layer here, is invisible.
| | 01:54 | Now this layer is made of pixels,
like a standard image layer inside of
| | 01:59 | Photoshop or some other program.
| | 02:00 | And that means that I could go to the
Filter menu, choose Liquify, and just
| | 02:04 | start painting away.
| | 02:06 | However, that's not the best idea,
because if something goes wrong and you
| | 02:10 | discover it later on down the line,
which is the way it always happens.
| | 02:13 | The way things tend to work inside of
Photoshop is that you'll apply a big edit,
| | 02:18 | you'll think everything looks great,
and then you'll take a break, come back a
| | 02:22 | couple of hours later and
start noticing the problems.
| | 02:26 | Once you start noticing those problems,
you want to be able to make your way
| | 02:29 | back to the original
image and fix those problems.
| | 02:33 | If you don't have a layer to work with,
then you have to back step like crazy,
| | 02:37 | or you have to revert to the original file.
| | 02:39 | So I might as well protect that original
image by duplicating it to a new layer.
| | 02:45 | Here's how you duplicate a layer in the program.
| | 02:48 | You go to the layer menu, you choose New,
and you choose this command right there:
| | 02:53 | Layer via Copy, which is somewhat crazy,
because it's a terrible name for a command.
| | 02:59 | And it's also hard to get to, because
you have to go this New submenu here, and
| | 03:02 | it doesn't particularly make any sense.
| | 03:04 | However, what people tend to do, once
you're experienced with the program, you
| | 03:09 | just press the keyboard
shortcut Ctrl+J, and that's J for jump.
| | 03:13 | So if you just think about
jumping the layer, you're in good shape.
| | 03:16 | That's Command+J on the Mac.
| | 03:18 | Let me show you how that works.
| | 03:20 | I'm going to escape out of the menu.
| | 03:22 | I've got my Background layer selected.
| | 03:23 | Make sure it is clicked and selected.
| | 03:25 | It is possible not to have any layer
selected inside of Photoshop, which will
| | 03:29 | really throw you at times.
| | 03:30 | You want to click on it, make sure it's
blue or some other highlight color, and
| | 03:34 | then press Ctrl+J or Command+J
on the Mac, and look at that.
| | 03:39 | You've got a Background copy.
| | 03:40 | You're ready to go.
| | 03:41 | Now you don't want it to
be called Background copy.
| | 03:44 | I definitely advise you to get in the
habit of naming your layers as you go,
| | 03:49 | makes it much easier to sift through
a complex file and even a simple one.
| | 03:54 | And especially if somebody else is going
to follow in your footsteps, it's great
| | 03:58 | to have layer names to work with.
| | 04:00 | So all you've got to do to rename a
layer is double-click on its existing name,
| | 04:03 | and then I'm going to call
this liquify eyes, like so.
| | 04:09 | Then I press the Enter key or the
Return key on the Mac in order to accept
| | 04:11 | that new layer name.
| | 04:13 | That's all there is to that.
| | 04:14 | Now, I want you to go up to the
Filter menu, and I want you to choose this
| | 04:19 | command right there, Liquify, or you
can press Ctrl+Shift+X or Command+Shift+X
| | 04:24 | on the Mac, and it brings up this
completely different program that's now
| | 04:28 | running inside of Photoshop.
| | 04:30 | Notice we have this collection of
tools over here on the left-hand side.
| | 04:34 | We have all these Options
over here on the right-hand side.
| | 04:37 | And then we have the image
ready to paint in the center.
| | 04:40 | And we are going to begin to
liquify this image in the next exercise.
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| Liquifying an image| 00:00 | Here I am inside the Liquify
filter ready to get to work.
| | 00:04 | And by default, you should see this tool
selected right here, the Forward Warp tool.
| | 00:07 | If not, go ahead and select it.
| | 00:09 | It's really just the Warp tool.
| | 00:11 | There is no backward Warp tool.
| | 00:12 | And it allows you to move pixels around.
| | 00:15 | It's a very powerful tool, but you
want your brush to be bigger than this.
| | 00:19 | Currently, my Brush is set to 100 pixels.
| | 00:21 | I'm going to take it up to, let's
say 400 pixels, something much larger.
| | 00:26 | And notice how big it is onscreen now.
| | 00:28 | And now I can move things around.
| | 00:30 | For example, I can drag
portions of her eye out to the right.
| | 00:36 | And then I can drag this area over to the left
here in order to increase the size of that brow.
| | 00:40 | It can move for eye over a little bit as well.
| | 00:43 | Now she is going to start looking
pretty weird, pretty fast here, but that's
| | 00:47 | okay, because we're just trying
to roughen some modifications.
| | 00:51 | Now if you want to change the size of
your brush on the fly from the keyboard,
| | 00:56 | Photoshop is just rife with keyboard
tricks, which is great, but of course,
| | 01:00 | you have to learn them.
| | 01:01 | There are two keys to the right of the P
as in Paul key on an American keyboard.
| | 01:07 | They are square bracket keys.
| | 01:09 | So if you press and hold the Right
Bracket, you're going to make that brush
| | 01:14 | bigger as you could see.
| | 01:15 | If you press and hold the Left Bracket,
you're going to make the brush smaller.
| | 01:19 | You can see that value changed
right here in the Brush Size field.
| | 01:23 | You can also see the size of the
cursor change onscreen. All right.
| | 01:28 | With the smaller brush now, I'm
going to begin work on her nose.
| | 01:31 | Take her nose down a little, make the
nostrils smaller like so, move things in.
| | 01:36 | Now it's a good idea when you're working
with the Liquify tool, generally speaking, to
| | 01:40 | make small modifications at a time,
because that way you're less likely to
| | 01:44 | smear the pixels inside the image.
| | 01:46 | But as I was saying, I'm just trying
to roughen some modifications here.
| | 01:49 | I'm pressing the Right Bracket key,
pressing and holding to make the cursor
| | 01:52 | bigger, and then I'm lifting
up her cheek just a little bit.
| | 01:56 | And then I'm going to take her mouth down, like so.
| | 01:59 | And I might take her mouth down on the other side.
| | 02:02 | And if things start to look a little
weird, you just have to be patient with
| | 02:05 | yourself and be able to switch back and
forth between a small brush and a large
| | 02:10 | brush to try to get that work done.
| | 02:12 | Now, this does look pretty
odd at this point. That's okay.
| | 02:15 | We're going to take care of that in a moment.
| | 02:17 | But I'm going to switch over here to
this Bloat tool, and that's going to allow
| | 02:21 | me to make her eyes much bigger.
| | 02:24 | So I'll switch to a larger brush once again,
having selected the Bloat tool, by the way.
| | 02:28 | I'm going to enlarge the size of the brush.
| | 02:31 | And then I'm going to click inside of her eye.
| | 02:32 | Now don't click and hold too long,
because you'll make the eye way too big, just
| | 02:36 | click a little bit at a time here and there.
| | 02:39 | And then I'm going to switch
back to my Forward Warp tool.
| | 02:42 | This is kind of the way you work inside Liquify.
| | 02:45 | You switch to one of the other tools for
a moment, make some small modifications
| | 02:49 | or at least some short modifications,
| | 02:51 | and then you come back to the
Warp tool for refinement.
| | 02:54 | And I'm going to make my brush smaller, once
again, by pressing the Left Bracket key.
| | 02:58 | I'm going to drag down from her eye
in order to keep some of the roundness
| | 03:02 | going, because I don't want it to get too flat,
| | 03:05 | and I'm going to move that brow out some
more of course, and I'm going to move this
| | 03:08 | brow down and over a little
bit more, and so on and so on.
| | 03:12 | I probably spent about 15-20
minutes inside of this window, making the
| | 03:18 | modifications I was looking for, which
is why I've gone ahead and saved out my
| | 03:23 | changes so that you can
load them up, if you so desire.
| | 03:26 | All you have to do is click on the
Load Mesh button right here, and look for
| | 03:31 | the 01_Ps_demo folder.
| | 03:33 | That's inside your Exercise_Files folder.
| | 03:35 | And notice there's two mesh settings.
| | 03:37 | One is Avatar girl eyes, and
the other is Avatar girl nose.
| | 03:40 | We want eyes for starters, and
then click on the Open button.
| | 03:45 | That goes ahead and gives us this
effect here, which looks a heck of a lot
| | 03:49 | better than what I was coming up
with just now. So that's nice.
| | 03:52 | Now everything is a mesh
inside the Liquify filter.
| | 03:56 | If I turn on Show Mesh, this little
check box right there, you can see the
| | 04:00 | actual distortions that have
taken place inside of this image.
| | 04:04 | And that's why you can save off your
settings and use them once again.
| | 04:08 | Now these settings don't tend to be useful
| | 04:10 | with totally different images,
you'll get very strange effects.
| | 04:13 | However, if you're trying to keep
track of what you did inside of a specific
| | 04:18 | image, they're very useful.
| | 04:19 | They don't take up much room onscreen,
| | 04:21 | and then you can come back to your
changes later, if you so desire. All right.
| | 04:25 | I'm going to turn off Show Mesh.
| | 04:27 | And then I'm just going to click the OK
button in order to accept that modification.
| | 04:31 | So now you can see, this is what the girl
looked like before we entered the dialog box.
| | 04:36 | This is what she looks like now.
| | 04:38 | Thanks to the power of the
Liquify filter inside Photoshop.
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| Adding a layer mask| 00:00 | One of our conventions here at
lynda.com is that we go ahead and save out
| | 00:03 | progress files as we move through a project.
| | 00:07 | That way, if you run into a stumbling
block, you can just close one file and
| | 00:12 | open another, which is why I've saved
my progress as First liquification.psd.
| | 00:17 | However, if you're working
successfully inside of your own file,
| | 00:20 | absolutely stick with it.
| | 00:22 | Now you may recall, so far we've
jumped the image to a new layer, applied
| | 00:26 | the Liquify filter.
| | 00:27 | We're going to do that exact same thing
again, that is to say I'm going to click
| | 00:31 | on the Background layer.
| | 00:32 | I'm going to jump into a new layer in
order to make yet another duplicate.
| | 00:35 | And I'm going to apply a different
incarnation of the Liquify filter with the
| | 00:39 | intention of moving this portion of
her brow over her eye, because that's
| | 00:45 | something I can't do.
| | 00:46 | I can't make one portion of her
face cover another portion inside the
| | 00:50 | Liquefy filter by itself.
| | 00:52 | So I need two layers to pull that off.
| | 00:54 | And if we switch to the completed
version of the image, you can see what I mean.
| | 00:57 | Notice that her brow right there at
the bridge of her nose is covering this
| | 01:03 | portion of her eye, the very
beginning of her eye. All right.
| | 01:06 | So here's what we're going to do.
| | 01:07 | I'm going to click on the
Background layer to make it active.
| | 01:10 | And this time instead of pressing Ctrl+
J or Command+J on the Mac, I'm going to
| | 01:14 | press Ctrl+Alt+J or Command+Option+J on the Mac.
| | 01:17 | Now if it seems like I'm throwing a
bunch of keyboard shortcuts at you, I am.
| | 01:22 | And of course, we are going to
explore them in much more detail in later
| | 01:26 | exercises, but here's what happens.
| | 01:28 | If you add Alt or Option to the
mix, so I'll press Ctrl+Alt+J or
| | 01:33 | Command+Option+J on the Mac, I not
only jump the layer, but I'm giving the
| | 01:36 | opportunity to name it here
inside the New Layer dialog box.
| | 01:40 | So Alt or Option frequently forces
the display of a dialog box or forces a
| | 01:45 | dialog box that normally comes
up onscreen to remain hidden.
| | 01:49 | So I'm going to go ahead and name this layer
brow & nose and then I'm going to click OK.
| | 01:55 | So now I've created it and named it in one step.
| | 01:58 | Next, I need to move brow & nose above liquify
eyes, because that brow has to cover that eye.
| | 02:04 | And I'm going to do that just by
dragging the layer above liquify eyes to the
| | 02:08 | point that I can see a thick line right
there, a thick horizontal line, between
| | 02:13 | liquify eyes and face shadow.
| | 02:14 | So just like this there,
then I drop it into place.
| | 02:18 | And now the original image is in front.
| | 02:20 | Now I'm going to go up to the Filter menu.
| | 02:22 | I'm going to choose the Liquify
command to bring up the Liquify window.
| | 02:26 | Notice I don't see my previous
modification this time around.
| | 02:29 | I just see the image laid
before me in its original condition.
| | 02:33 | That's because Liquify does not
remember your changes from one session to
| | 02:37 | another, which is why it's such a good
idea to save your mesh before you click OK.
| | 02:42 | Anyway, I'll stress that when we take
a look at Liquify in a future chapter.
| | 02:46 | But right now, I'm going to click on
Load Mesh to load one that I've saved in
| | 02:50 | advance, which is Avatar girl nose.msh.
| | 02:53 | Once again, click Open.
| | 02:56 | And this is a distortion that was
based on the previous distortion.
| | 02:59 | So I just started where I left off,
and made some more modifications.
| | 03:02 | Mostly, move this bridge of the nose over here.
| | 03:06 | You can see I just squish in this eye,
but once we get done erasing this layer
| | 03:12 | will erase down to the
unsquished eye in the Background.
| | 03:15 | It'll work out great.
| | 03:16 | So I'll click OK in order
to accept this modification.
| | 03:19 | Now you can see, here's the brow
& nose layer that I just created.
| | 03:22 | Now I'll turn it off, so you can
see the liquify eyes layer below.
| | 03:26 | So that's what I need to do is erase
through brow & nose to that liquified
| | 03:31 | eye in the background.
| | 03:32 | I'm going to do that by
erasing this area right here.
| | 03:35 | And I could use the Eraser tool, which
is a great tool, insofar as it goes, it
| | 03:39 | allows you to erase pixels, you can
apply a soft brush, you can apply a hard
| | 03:44 | brush whatever, it is you want to do.
| | 03:47 | However, you do permanently erase those pixels.
| | 03:51 | Now you can always undo your modifications.
| | 03:53 | If you want to, you could back step up to
20 steps inside of Photoshop, by default.
| | 03:57 | However, what if you erase your way
through a layer, and then you close the
| | 04:02 | image and save your changes, and then
later, you open the image back up, and you
| | 04:06 | look at the image, and you wish you could
retrieve those erased pixels? Well, you can't.
| | 04:11 | And that's what's known as
a destructive modification.
| | 04:14 | So the Eraser tool basically destroys
portions of the image, whereas if you take
| | 04:20 | advantage of what's called a layer mask,
then you can temporarily burrow a hole
| | 04:25 | through one layer down to another.
| | 04:28 | And what we're going to do is we're
going to create the layer mask, and then
| | 04:31 | we're going to modify it.
| | 04:33 | And here's how it works.
| | 04:34 | Make sure that brow & nose layer
that you just created is selected, then
| | 04:38 | drop down to the bottom of the
Layers palette, and see that icon right
| | 04:42 | there, Add layer mask.
| | 04:44 | Now if I click on it, I'm
going to create a white layer mask.
| | 04:48 | That doesn't do anything
to the image whatsoever.
| | 04:50 | Notice the image looks just
the same as it did a moment ago.
| | 04:53 | White inside of a layer mask represents
opacity, black represents transparency.
| | 05:00 | That means you can paint an image away
using black, and then you can paint it
| | 05:04 | back in using white, which means that
the original pixels, which are right
| | 05:09 | there, never go away.
| | 05:10 | But what I want to do is I want to fill
this mask with black, so we're starting
| | 05:15 | with the layer transparent, and
then we'll paint it in with white.
| | 05:20 | And I'm going to do that by pressing
Ctrl+Z, or Command+Z on the Mac, to undo
| | 05:24 | the creation of that layer mask.
| | 05:27 | Then I'm going to drop down to this
icon right there, Add layer mask, and I'm
| | 05:30 | going to press the Alt key, or the Option
key on the Mac, and I'm going to click on it.
| | 05:35 | And by virtue of the fact you Alt- or
Option-clicked, you fill this layer mask
| | 05:39 | with black that represents transparency.
| | 05:42 | And so we've wiped out
the contents of the layer.
| | 05:45 | Now of course, the layer is still there.
| | 05:46 | All we need to do is paint it in using white.
| | 05:50 | And that's something that we're
going to do in the very next exercise.
| | Collapse this transcript |
| Loading an alpha channel| 00:00 | This time I've saved my progress as
Second liquification.psd, so called of
| | 00:05 | course, because we have two layers
of liquified imagery available to us.
| | 00:11 | Now, the second layer has a black layer mask
assigned to it, and that layer mask is active.
| | 00:17 | I've clicked on it to highlight
this thumbnail right there, which is very
| | 00:21 | important because now we're
going to paint inside of it.
| | 00:23 | The fact that it's black means that
everything on this layer is transparent.
| | 00:28 | If we were to paint with white,
we would paint the layer in.
| | 00:32 | And I'm going to do that using
the Brush tool right here.
| | 00:35 | And you can get to the Brush tool as you
can get to all tools inside of Photoshop,
| | 00:40 | by pressing an alphabetic key.
| | 00:41 | And in this case, it's B for Brush.
| | 00:43 | You don't have to press Ctrl+B or Shift+B
or anything like that, just the B key by
| | 00:48 | itself, gets you the Brush tool, like so.
| | 00:51 | I've gone ahead and
established a large, fairly hard brush.
| | 00:58 | So let me show you how to do that.
| | 00:59 | You go up to the Options bar- and by the
way, in case for some reason you didn't
| | 01:04 | get the Brush, I should just tell you this.
| | 01:05 | You got the Pencil tool or the Color
Replacement tool or the Mixer Brush tool.
| | 01:10 | Then you click and hold on this second
icon in this second group here, and then
| | 01:14 | you go ahead and choose the Brush
tool from the flyout menu. All right.
| | 01:18 | Now I'm going to go up to the Options bar.
| | 01:19 | Notice this little down pointing
arrowhead right there, pretty close to the
| | 01:23 | outset of the Options bar, click on it.
| | 01:25 | And then increase your Size value, if
you're following along with me, to 150 pixels
| | 01:31 | and your Hardness to 80% as I have it
here, which will give us a fairly hard
| | 01:37 | edged brush, is the idea as
opposed to a Blurry Brush.
| | 01:41 | And then press the Enter key, maybe a couple of
times in order to hide that dropdown panel.
| | 01:46 | Now drop down to the bottom of the
toolbox, and you'll see your foreground and
| | 01:50 | background colors respectively.
| | 01:52 | Foreground in front, background at
back, these would be these fairly large
| | 01:56 | swatches right here.
| | 01:57 | Mine are set to black and white by
default, but in case yours aren't, here's
| | 02:01 | what I want you to do.
| | 02:02 | Just click on this tiny little icon.
| | 02:04 | That's the Default Foreground and
Background Colors icon, give it a click or
| | 02:08 | press the keyboard shortcut,
which is D for default.
| | 02:11 | And then you'll be ready to paint
with white inside Photoshop.
| | 02:15 | Now I'm going to go ahead and zoom in,
and I want to paint this area into place.
| | 02:21 | So as I was saying, painting with white
will paint in opacity inside of a layer
| | 02:26 | mask, but you got to make sure
that layer mask is active right there.
| | 02:29 | Don't have the image active.
| | 02:31 | If you do, you'll just paint
white all over the image. All right.
| | 02:34 | Now I'm going to paint down across the
bridge of her nose just like this, and
| | 02:38 | notice I painted some of her
nose into place by doing that.
| | 02:43 | And if I feel like I went too far with my
modification as I did, because I reveal
| | 02:48 | too much of the eye in the background,
then I would swap my foreground and
| | 02:51 | background colors and paint with black instead.
| | 02:53 | So notice, there's this
little Switch icon right there.
| | 02:56 | I want you to click on it to switch to
Foreground and Background colors, or you
| | 02:59 | can press the X key, and that
will make the foreground color black.
| | 03:03 | And then you can do this number in
order to paint the eye back into place.
| | 03:08 | Now you'll gain all kinds of experience with
masking and layer masking inside of this series.
| | 03:14 | Just to make sure you and I get
exactly the same results, I want you to load a
| | 03:19 | mask that I've created in advance.
| | 03:21 | So I'm going to zoom out from this
image a couple of clicks, by pressing
| | 03:25 | Ctrl+Minus, by the way, or
Command+Minus on the Mac.
| | 03:28 | And I'm going to switch away from the
Brush tool, just so that I don't harm the
| | 03:32 | image in any way by accidentally painting on it.
| | 03:34 | I'm going to switch back to the
Rectangular Marquee tool right here, which is
| | 03:38 | a great default tool.
| | 03:39 | You get to it by pressing the M key for Marquee.
| | 03:43 | Notice that it displays a little
cross cursor, very unobtrusive.
| | 03:47 | It's easy to see the image
in the background. All right.
| | 03:49 | Now I want you to move over
to the layer mask right there.
| | 03:52 | and I want you to right-click
on that layer mask thumbnail.
| | 03:55 | And if you don't have a right mouse button,
on the Mac you press the Control key
| | 03:58 | and click, but I would hope you have some
sort of right button mechanism at your disposal.
| | 04:04 | And then choose Delete layer Mask.
| | 04:05 | So whenever you right-click on an
image, or a thumbnail, or something along
| | 04:09 | those lines inside Photoshop, you get this
shortcut menu of popular options, essentially.
| | 04:15 | And then in this case, we'll choose
Delete Layer Mask, so it goes away.
| | 04:18 | We're going to add a new layer Mask.
| | 04:20 | I've already created for you in advance.
| | 04:21 | I've created it inside the Channels panel.
| | 04:24 | So click on Channels to switch to it.
| | 04:27 | Now Channels are fairly complicated.
| | 04:29 | The idea is that you have a
channel for Red, Green, and Blue
| | 04:32 | luminance information.
| | 04:34 | They're all blending together to
create the full color RGB image.
| | 04:37 | We're not concerned with that right now.
| | 04:39 | We'll visit that topic in a later chapter.
| | 04:41 | But for now, I want you to notice
that we have a bunch of items down here
| | 04:46 | that are not selected.
| | 04:47 | Starting with brow & nose, and then we've got
deep mask, and hair, cyan paint, and white paint.
| | 04:53 | These are all alpha channels that
house masks that I've created in
| | 04:58 | advance inside Photoshop.
| | 04:59 | Now alpha channels are a pretty advanced topic.
| | 05:03 | However, they're not hard to use if
you just stumble across a bunch as in
| | 05:08 | the case of this image.
| | 05:09 | I'm going to click on brow & nose.
| | 05:11 | Notice that we have this white sort of
blurry X set against a black background.
| | 05:16 | And wherever we're seeing white, that
would be the nose that we keep.
| | 05:20 | That would be the opaque area of the layer.
| | 05:22 | And wherever we see black,
that's the stuff we're tossing away.
| | 05:25 | That would be the
transparent portion of the layer.
| | 05:28 | And we're going to load that on up very
easily by going back to the RGB image, click
| | 05:33 | on Layers once again, to
switch to the Layers panel.
| | 05:35 | Make sure brow & nose is
selected, very important.
| | 05:39 | And then go up to the Select menu and
choose the Load Selection command.
| | 05:44 | Now I want to make sure that my
Document is set to Second liquification, which
| | 05:48 | is the name of this particular image.
| | 05:50 | And then I would switch my Channel from brow
& nose Transparency to just brow & nose.
| | 05:56 | So brow & nose Transparency indicates
the transparency that's at work for
| | 06:01 | the brow & nose layer.
| | 06:03 | That entire layer is opaque, so that wouldn't do us any good.
| | 06:05 | Then we drop down to the actual alpha
channels, one of which coincidentally
| | 06:10 | happens to have the same
name as our layer, brow & nose.
| | 06:13 | So go ahead and click on it to select it.
| | 06:16 | And then make sure the Invert
check box is off and click OK.
| | 06:21 | And notice you'll see the
selection outline on your screen
| | 06:24 | that is tracing the white
area inside of the alpha channel.
| | 06:29 | And it's conveying all of that
information in this marching ants style
| | 06:33 | selection outlines.
| | 06:34 | So we call these marching ants, because they
will look like little marching ants onscreen.
| | 06:38 | All right.
| | 06:39 | Now with brow & nose selected, I'm
going to drop down to the bottom of the
| | 06:43 | Layers palette, and I'm
going to click on Add layer mask.
| | 06:46 | Not Option-click not Alt-click, just click on it.
| | 06:48 | And that goes ahead and loads up that
selection outline as a layer mask.
| | 06:53 | So we just took the contents of the
alpha channel and transported them into this
| | 06:58 | layer mask right there.
| | 07:00 | And you can see now that we've done a great
job of merging this brow with the eyes.
| | 07:05 | So this is what things look like.
| | 07:07 | Let's go and zoom in by pressing Ctrl+Plus
a couple of times, Command+Plus on the Mac.
| | 07:12 | If I press the Shift key and click on
this layer Mask thumbnail, I go ahead and
| | 07:16 | turn it off for the moment.
| | 07:17 | So this is what the image
looked like without that mask.
| | 07:20 | You can see an X through it right here.
| | 07:22 | If I Shift+Click again, this is what
the effect looks like with the mask.
| | 07:27 | So that we're cutting through the brow &
nose layer to see the liquify eyes layer below,
| | 07:32 | and we're getting the best of what
these two layers have to offer.
| | 07:36 | In the next exercise, we're going to
select this girl's skin, so that we
| | 07:40 | can paint it blue.
| | Collapse this transcript |
| Selecting with Color Range| 00:00 | If you saw the movie Avatar you may
recall that the Na'vi people have blue skin
| | 00:06 | and yet their hair remains brown.
| | 00:08 | So it's basically human colored
hair set against this alien skin.
| | 00:14 | And this is a little bit of a
challenge from an image editing perspective
| | 00:17 | because it means that we need to
color the skin independently of the hair.
| | 00:21 | So we need to leave the hair absolutely
alone and just change the skin, which means
| | 00:26 | that we need a selection of some type,
either a mask or a selection. Really for
| | 00:31 | all intents and purposes they're
the same thing inside Photoshop.
| | 00:35 | Still working inside this image called
second liquification.psd, and I've got
| | 00:40 | the brow & nose layer selected.
| | 00:42 | I'm going to switch to the liquify eyes
layer right there, go ahead and click on
| | 00:47 | it because this layer doesn't have a
layer mask and the command that we're about
| | 00:51 | to employ has a tendency to override or
mess up or get confused by layer masks.
| | 00:58 | So click on liquify eyes, and then
we'll go up to the Select menu and choose
| | 01:02 | Color Range. Now this command is awesome,
| | 01:06 | I have to say, which is why, if you
loaded ekeKeys, you can see that I went ahead
| | 01:10 | and gave you a keyboard shortcut of
Ctrl+Shift+Alt+O or
| | 01:13 | Command+Shift+Option+O on the Mac.
| | 01:15 | If you're familiar with the Magic Wand
tool, which allows you to select ranges of
| | 01:19 | color inside Photoshop but
delivers very ratty edges,
| | 01:23 | this is the command that allows you to
select ranges of color inside Photoshop
| | 01:28 | but delivers really awesome edges.
| | 01:30 | So I'm going to go ahead and choose
Color Range, and then what you do inside of
| | 01:34 | this command is you click to set a base color.
| | 01:37 | So you kind of ignore the dialog box at first.
| | 01:40 | You click to set a base color out here
in the image window, and then you'll see
| | 01:45 | that you're starting to create
a mask inside of the dialog box.
| | 01:48 | So wherever you see white inside this
tiny little Preview, that's going to be a
| | 01:53 | pixel that's selected and wherever
you see black that's going to be a pixel
| | 01:58 | that's not selected. And if you want to
add more to the selection, which we most
| | 02:03 | certainly do, we want to select all of
her skin, none of her hair is basically
| | 02:06 | the idea, or as little hair as possible.
| | 02:09 | We're going to end up selecting quite
a bit of hair, but we won't select the
| | 02:12 | background, and then we'll
take care of the hair later.
| | 02:14 | Then to add more base colors to the
selection, you press and hold the Shift key,
| | 02:19 | and that will give you little Plus
sign next to your Eyedropper, and then you
| | 02:22 | click again and then continue to Shift-click throughout the image in order to
| | 02:25 | lift more key colors, more base colors
for the selection and basically the idea
| | 02:30 | is every color that you Shift-click
on will be absolutely selected, and then
| | 02:36 | other colors will be selected based on
how close they are to those click colors,
| | 02:40 | to those key colors, based
on this fuzziness value.
| | 02:43 | So if you reduce the fuzziness value,
you're only going to select the key
| | 02:47 | colors and nothing more.
| | 02:49 | If you increase the fuzziness value,
you're going to select more related colors.
| | 02:53 | We want to leave that fuzziness
value at 40 for now and just keep Shift-clicking
| | 02:57 | inside the image, or you can
Shift-drag across certain areas to
| | 03:02 | select a bunch of colors at once.
| | 03:05 | Now as usual, I've gone ahead and saved
my settings so that you can load them up
| | 03:09 | and achieve the exact same results as me.
And you do that by clicking on the Load
| | 03:13 | button. And then go into your 01_Ps_demo
folder, click on Face colors.axt, which
| | 03:19 | represents the settings file for this
particular operation, and click on the Load
| | 03:23 | button, and you'll end up with a
selection that looks like this. Fairly scary,
| | 03:27 | actually, and if you want to see it in
more detail, you would change the
| | 03:30 | Selection Preview from None to
Grayscale, and then you'll see the mask out here in
| | 03:34 | the larger image window.
| | 03:36 | All right so now we're ready to go.
| | 03:37 | We'll take care of the eyes and the mouth
and the hair later as you'll see, but
| | 03:40 | for now this is going to work out beautifully.
| | 03:42 | Click OK in order to generate
a selection outline like this.
| | 03:47 | So basically she is selected, anything
that looked white just a moment ago is
| | 03:51 | now selected. Anything that looked
black is deselected. All those grey values
| | 03:55 | in between represent the drop-off of the
selection so we don't have hard, jagged edges.
| | 04:01 | All right.
| | 04:02 | Now that we've selected the area that we
want to color blue, we're going to apply
| | 04:06 | that color using an
Adjustment layer in the next exercise.
| | Collapse this transcript |
| Making a Hue/Saturation layer| 00:00 | Now that we've gone ahead and
selected the skin and some of the hair, we're
| | 00:04 | going to colorize this region blue,
using a Hue Saturation Adjustment layer.
| | 00:10 | Now I'm still working inside that same
sample file, second liquification.psd. I'm
| | 00:15 | going to click on the brow and nose
layer because Adjustment layers affect all
| | 00:20 | the layers below them, and we want to
affect all the layers that contain the
| | 00:24 | girl's skin in kind because we
want to colorize all that skin blue.
| | 00:28 | Next I'm going to bring up the
Adjustments panel by clicking on this little
| | 00:32 | Adjustments icon, or I could go to the
Window menu and choose the Adjustments
| | 00:36 | command, or if you loaded
dekeKeys you can press the F10 key.
| | 00:40 | Now you create a new Adjustment layer
by clicking on one of these 15 icons at
| | 00:44 | the top of the panel.
| | 00:45 | And I'm going to drop down to the
second icon in the second row, which is
| | 00:49 | Hue/Saturation, and you can see
that by the tool Tip, also you can see
| | 00:53 | Hue/Saturation in the upper left-hand
corner there, in the Adjustments panel, and
| | 00:58 | I'm going to click on this icon.
| | 01:00 | Now a few things happen.
| | 01:01 | First of all, I create a new layer
that affects all the layers below it.
| | 01:06 | Secondly, I go ahead and convert, or
rather, Photoshop automatically converts the
| | 01:10 | selection outline into a layer mask,
and I display the Hue/Saturation controls
| | 01:15 | here inside the Adjustments panel.
| | 01:17 | Because I'm a stickler for making sure
that each layer has a meaningful name,
| | 01:21 | I'm going to double-click on Hue/
Saturation 1 right there and rename this layer
| | 01:25 | blueness because it is going to paint everything
inside of the layer mask blue in the background.
| | 01:32 | And now the change turns out
to be pretty easy to invoke.
| | 01:35 | You just grab this Hue value, which
represents the core colors inside the
| | 01:39 | image, and you can move it around in order to
rotate the colors to different color values.
| | 01:46 | So, for example, if I drag the slider
triangle to the right, I'm going to green
| | 01:50 | up her skin as we're seeing here.
| | 01:52 | If I drag it to the left, then I'm
going to make the skin redder and
| | 01:57 | eventually, I'll make her skin blue
like so. And I'm going to take this Hue
| | 02:02 | value down to -170.
| | 02:04 | I can also change the Saturation, which
is going to make the colors either very
| | 02:08 | intense or very drab, but in my case
I want to leave that Saturation value
| | 02:14 | alone, and then I could also make the
image brighter if I wanted to or darker.
| | 02:19 | But notice when you do that, you make
the image kind of cloudy. Either you end up
| | 02:23 | creating a white cloudiness or a dark
cloudiness like this, and we don't want
| | 02:27 | either of those effects. Not a good
lightening control here inside Hue/ Saturation
| | 02:32 | but a great Hue control as you can see.
So, -170, 0 and 0 for the other two
| | 02:38 | values, and then you can hide the
Adjustments panel if you like, and we have now
| | 02:43 | colorized her face blue.
| | 02:45 | The next step is going to be to make
the shadows darker, and we're going to do
| | 02:48 | that using yet another
Adjustments layer in the next exercise.
| | Collapse this transcript |
| Luminance blending| 00:00 | I've saved my progress this far as
Violet Beauregarde.psd. Now we have done
| | 00:05 | a great job of making this girl's skin
blue just by rotating the skin tones around.
| | 00:12 | But we've got blue hair as well, and
the bigger problem at this point is that
| | 00:17 | the image is so very washed out.
| | 00:19 | So we need to burn the shadows in, in
order to create richer, more volumetric forms.
| | 00:26 | So here's how we're going to do that.
| | 00:27 | We're going to use another
Adjustment layer incidentally.
| | 00:30 | So make sure the blueness layer is
active, then go up to the Adjustments panel.
| | 00:35 | And in order to see all the color
adjustments that are available to us, you've
| | 00:39 | got to click on this left pointing
arrow head, and that will return to the
| | 00:42 | adjustment list like so, and then I want
you to create a new Brightness/Contrast
| | 00:47 | layer, and that happens to be the
very first icon in the upper-left corner.
| | 00:52 | Now if you want to name the layer as
you make it, which I suggest, then you
| | 00:56 | press and hold the Alt or Option key.
| | 00:58 | Once again, it forces a dialog box
if one otherwise doesn't come up.
| | 01:03 | So Alt or Option-click on that icon to
display the New Layer dialog box, and
| | 01:08 | let's go ahead and call this new layer deepen.
| | 01:11 | And I want you to turn on
this check box right there.
| | 01:14 | Use Previous Layer to Create Clipping Mask.
| | 01:16 | That way we're only deepening the skin
tones. That is, the area that's selected
| | 01:22 | by this layer mask right here.
| | 01:23 | We're not going to affect
the grass in the background.
| | 01:26 | And then click OK, and you can see that
now this deepen layer is indented with
| | 01:32 | this tiny little arrow icon telling you
that you'll only see the effects of this
| | 01:36 | layer inside of this layer below it.
| | 01:39 | And we'll be coming back to clipping masks
a few times over the course of this chapter.
| | 01:44 | Now I'm going to reduce the Brightness
value here inside the Adjustments panel to
| | 01:48 | -70, then I'm going to press the Tab
key to advance to the Contrast value and
| | 01:53 | take this up to a hundred.
| | 01:55 | Do not turn on Use Legacy. That makes
Brightness/Contrast behave like it used to
| | 02:00 | back in the Photoshop CS2 in
earlier days, which is to say abysmally.
| | 02:05 | It did not behave itself worth
beans back then. It used to clip colors.
| | 02:09 | Now it does actually a great job. Now
we've gone too far, but we're going to
| | 02:13 | back off the effect, so -70 and a hundred.
| | 02:17 | Go ahead and close the Adjustments panel.
| | 02:19 | Then what I want to do is I want you
to notice that we have some weird colors
| | 02:24 | inside the eyes, and we've got to clean
up those areas, and we're going to do
| | 02:28 | that by zooming in on the image.
| | 02:30 | So I press Ctrl+Plus or Cmd+Plus, a few times.
| | 02:33 | Look at that bad scrappy
area on her brow as well.
| | 02:36 | And then I'm going to press the
Spacebar and drag the image over little so I
| | 02:40 | can see those eyes, and I need to
modify this layer mask right there, and I'm
| | 02:44 | going to do that in order to see the layer
mask independently of everything else around it.
| | 02:49 | Once again, you Alt-click, or you Option-click.
| | 02:52 | So Alt-click or Option-click on
that layer mask thumbnail. And you will see
| | 02:57 | the layer mask onscreen, and now
you'll notice how certain areas like that
| | 03:02 | scrape are colored black inside of the
layer mask, meaning that they're making
| | 03:07 | those areas of this blue layer
transparent and allowing the orangish skin tones
| | 03:12 | to show from below.
| | 03:13 | So now what I want you to
do is grab the Lasso tool.
| | 03:17 | You can also get by pressing the L
key if you like, and I just want you to
| | 03:21 | drag around this area.
| | 03:22 | You don't have to be too careful,
drag around this right eye, her left, of
| | 03:26 | course, and then take a look at
your foreground and background colors.
| | 03:30 | In my case, the background color is white.
| | 03:32 | So you just press the Backspace key
or the Delete key to fill that area with
| | 03:37 | white, just to delete it and get rid of it.
| | 03:39 | Then I'm going to press the Spacebar
and drag the image down a little bit, so
| | 03:43 | that I can see this left-hand
eye, her right, of course.
| | 03:47 | And I'll drag around this region in
order to select it and press Backspace or
| | 03:51 | Delete again, and if white isn't your
background color, remember you can reverse
| | 03:55 | the two by clicking on the
Switch icon or pressing the X Key.
| | 03:59 | Now I'm going to click off the
selection, deselect it, and I'm going to zoom
| | 04:03 | out by pressing Ctrl+Minus or Cmd+Minus
a couple of times, and let's see if
| | 04:08 | there are a few other areas that need work. Like,
for example, there's a little bit of nose,
| | 04:11 | there's some neck area,
| | 04:13 | there's this mouth right here, all
of which need to go completely white.
| | 04:18 | So I'll select them and press the Backspace
key once again, or the Delete key on the Mac.
| | 04:23 | Now we can return back to the image
and you do that by Alt-clicking or Option-
| | 04:28 | clicking on that layer Mask thumbnail
there inside the layers palette again,
| | 04:32 | and that will take you back to the
image at hand, and you can see now that
| | 04:36 | these eyes no longer have the weird
colors inside of them, at least not the
| | 04:40 | jagged color transitions.
| | 04:41 | We still have this interesting
gold and violet and blue, of course.
| | 04:46 | But we don't have the jagged
transitions between one color and another.
| | 04:51 | Now let's go back to the deepen layer.
| | 04:53 | I don't want to darken her quite this much.
| | 04:55 | I want to just sync the shadows in,
that is make the shadows darker, which are
| | 04:59 | the darkest colors, by the way, the shadows are.
| | 05:02 | And then I want the highlights, which
are the lightest colors to basically be
| | 05:05 | left alone. And I can get that effect
using this thing called Luminance Blending
| | 05:11 | inside of Photoshop, and to get to the
Luminance Blending options you make sure
| | 05:15 | that the deepen layer is active.
| | 05:16 | Go up to the layer panel menu icon
right there and click on it, in order to
| | 05:21 | bring up this menu, and then choose
Blending Options, or if you loaded dekeKeys, you
| | 05:26 | can press Ctrl+Shift+O or Cmd+Shift+O
on the Mac, and that'll
| | 05:31 | bring up this big Layer Style dialog box.
| | 05:34 | Then drop down to this Underlying Layer
slider right there, which allows you to
| | 05:40 | force colors through from the
underlying image based on their luminance levels.
| | 05:44 | That is, how dark or light they are.
| | 05:46 | So, for example, if you want to force
through the darkest colors so that we are
| | 05:51 | seeing those colors instead
of the adjusted modification.
| | 05:55 | Then you would drag this black
slider triangle over to the right.
| | 05:58 | Now obviously we don't want
to do that, that looks terrible.
| | 06:01 | So I'm going to move that black slider
triangle back to the left, and instead,
| | 06:06 | I'm going to reveal the light areas by
dragging this white slider triangle to
| | 06:11 | the left, and now anything with the
luminance level of 150, which is pretty
| | 06:16 | bright, or lighter, will
force through the adjustment.
| | 06:20 | However, we're getting some jagged
transitions as you can see right here,
| | 06:24 | and so notice if you look very carefully at
this triangle it has a cleft in the middle of it.
| | 06:29 | That tells you that there's actually
two triangles glued together right there.
| | 06:33 | And if you want to separate
them, guess what key you press?
| | 06:37 | You press the Alt key or
the Option key on the Mac.
| | 06:40 | You're always pressing that key in this program.
| | 06:42 | So Alt or Option-drag the right side of
that white triangle all the way back to
| | 06:48 | the beginning so that that top value says 255.
| | 06:52 | So your values should read 0,
150/255 for Underlying Layer.
| | 06:57 | Leave this layer alone, and then click on the
OK button in order to accept your modification.
| | 07:02 | And now I'll zoom out so that we can take
in the effect, and it looks pretty great.
| | 07:07 | This is before.
| | 07:07 | This is how the image looked at the
outset of this exercise, very washed out and
| | 07:12 | here are the richer, more volumetric shadows.
| | 07:16 | Thanks to a Brightness/Contrast
Adjustment layer with a little bit of
| | 07:20 | Luminance Blending.
| | Collapse this transcript |
| Mask density| 00:00 | Now if you take a look at the final
version of the Na'vi, you can see that
| | 00:04 | behind the hair we have areas of scalp
that are showing through, right here, for
| | 00:10 | example, then down here and
then these two little slivers.
| | 00:13 | And I've made them a little bit
brighter than they would normally be so that we
| | 00:17 | can see that they're blue.
| | 00:19 | So we're just seeing that the hair
is showing up as brown against a blue
| | 00:24 | background for the sake of contrast
and detail, whereas in the image that
| | 00:28 | we're working on so far, and I've
gone ahead and saved my progress as
| | 00:31 | Darker shadows.psd.
| | 00:33 | You can see that that region
of scalp is extremely dark.
| | 00:37 | So I want to go ahead and
lighten it up using a layer mask.
| | 00:40 | I've got the deepen layer selected.
| | 00:43 | I've already created a very simple
Alpha Channel in advance for this, and you
| | 00:47 | can see it by going to the Channels
panel and clicking on this deep mask
| | 00:52 | channel, and that's all it is, just
this area right here got painted black.
| | 00:56 | So you could easily paint
that mask if you wanted to.
| | 00:59 | But I've already done it in advance, so we
might as well just go ahead and load it up.
| | 01:03 | So click on the RGB image, switch back
to the Layers panel, and then I want you to
| | 01:08 | go up to the Select menu, choose Load
Selection, and we're going to load the
| | 01:14 | channel deep mask right there, and that's it.
| | 01:17 | Make sure Invert is turned off.
| | 01:18 | You're making a New Selection, click OK.
| | 01:20 | It goes ahead and
selects this region right here.
| | 01:23 | The area that's surrounded by the
marching ants is actually the deselected region.
| | 01:29 | So then drop down to the Add layer mask
icon at the bottom of the Layers panel
| | 01:33 | and click on it, and that's all there is to it.
| | 01:35 | Now you've revealed this area of scalp,
but these slivers are standing out a
| | 01:40 | little bit too much.
| | 01:41 | They are too bright.
| | 01:42 | They should be somewhat shaded, I would think.
| | 01:45 | And so what I want to do is reduce the
density of this layer mask, and I'm going
| | 01:50 | to do that by bringing up the Masks
panel, and you can also go to the Window
| | 01:53 | menu and choose Masks or if you have
loaded dekeKeys you can press Alt+F10 or
| | 01:58 | Option+F10 on the Mac, and
there's that Density option.
| | 02:01 | And what Density does is it lightens the
mask so you change what was formerly black
| | 02:08 | in this case to 50% gray and by
lightening the mask you're reducing the effect
| | 02:14 | of the mask a little, so that we're
re-darkening some of these scalp details.
| | 02:19 | And that saves you from having to make any
permanent modifications to that layer mask.
| | 02:23 | You're just temporarily
backing off the masking effect.
| | 02:26 | And that's all we're going to do here.
| | 02:28 | Just set Density to 50%, you're done.
| | 02:31 | Go ahead and hide the Masks panel.
| | 02:33 | Now I also want to add a little more
shadow detail, and I want to take down the
| | 02:39 | Saturation of these colors.
| | 02:41 | They're too intense.
| | 02:42 | The face should not be this
blueberry blue color. And so that's going to
| | 02:46 | require a couple of layers.
| | 02:47 | First of all, I've got this face shadows layer.
| | 02:50 | Go ahead and turn it on like so and
then click on it to make it active.
| | 02:54 | So you click the eyeball to turn it on,
then click on the layer to make it active.
| | 02:59 | Notice that what I've done here is
I've painted just using the Brush tool, a
| | 03:03 | bunch of brown brush strokes
that are somewhat translucent.
| | 03:07 | We can see through them.
| | 03:08 | But I'm going to use these to serve as
shadows by burning them into place, and
| | 03:14 | that means I'm going to apply a
blend mode, which is a special form of
| | 03:18 | interaction between the
active layer and the layers below.
| | 03:22 | By going up here to the top
left corner of the Layers panel.
| | 03:25 | Click on it, notice it says Normal by
default and change it in this case to Multiply.
| | 03:31 | Multiply is the best blend mode for
burning in shadows in all of Photoshop.
| | 03:36 | So go ahead and choose that command,
and you'll see how those brown brush
| | 03:40 | strokes now become shadows.
| | 03:42 | And to get a sense of what kind of
difference you've made here, turn the layer
| | 03:45 | off and then turn the layer back on.
| | 03:47 | So it's done a great job of
darkening up those shadows.
| | 03:50 | We have more volumetric detail than ever.
| | 03:53 | I'm now going to take the
Opacity of that layer down to 70%.
| | 03:58 | That means we're creating a blend of 70%
of this layer and 30% of everything
| | 04:02 | below it, subject to the Multiply blend mode.
| | 04:05 | So we're just increasing the
translucency a little bit. All right.
| | 04:09 | Now I'll press the Enter key, the
Return key on the Mac, and we're going to add
| | 04:11 | one more adjustment layer.
| | 04:13 | Go to the Adjustments panel like so,
notice this violate V right there, the
| | 04:19 | first icon in the second row. Go ahead
an Alt-Click on it, or Option-Click on the
| | 04:23 | Mac, and I'll call this guy vib down,
because I'm going to reduce the Vibrance and
| | 04:28 | Saturation of the blue skin tones.
| | 04:31 | Click OK, and now I just want you to
take both of these values down to -20.
| | 04:36 | So -20 for Vibrance, which is going
to reduce the intensity of the colors
| | 04:40 | selectively, and then go ahead and take
the Saturation value down to -20 as well,
| | 04:46 | which is going to reduce the saturation of
the colors across the board. And that is it.
| | 04:51 | We are now done with those blue skin tones.
| | 04:55 | You can see that at least where the
skin tones are concerned we're getting
| | 04:58 | pretty darn close to our final result.
| | 05:00 | The big problem at this point is that
we're still colorizing and darkening
| | 05:04 | up the hair, and we're going to take
care of that problem in the very next
| | 05:07 | exercise.
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| Making a knockout layer| 00:00 | I've gone ahead and saved my
progress as Real Na'vi blue.psd.
| | 00:05 | Certainly there aren't really any real
Na'vi, but if there were, this would be
| | 00:09 | the real blue color of their skin.
| | 00:12 | However, the hair is not rendered
properly at all. And what we need to do is cut
| | 00:16 | through all this blue down to the layers below.
| | 00:19 | If I click and drag across these
eyeballs, like so, to turn off all those blue
| | 00:23 | layers, then you could see the hair
looks great without the blue, but with the
| | 00:28 | blue if I go ahead and turn them
back on, the hair is a big mess.
| | 00:32 | It's not the right color, and it's way too dark.
| | 00:34 | That's why we need to cut through
these layers down to the layers below using
| | 00:40 | what's called a Knockout layer, and
I've already created the knockout.
| | 00:43 | It's this layer that is called
haircutter and if you turn it on, you will see
| | 00:47 | this layer of redness here, and I've
just set it to red so we can easily see it
| | 00:52 | against the blue skin, and I've both
masked away the background and meticulously
| | 00:57 | painted away some of these hair details.
| | 01:00 | So I couldn't altogether come up with an
automated means of masking the hair, so
| | 01:04 | I did have to do some handwork
with the Brush tool, incidentally.
| | 01:09 | And that probably took something like a
20 minutes to half an hour of my time.
| | 01:14 | So it was a little bit time consuming,
but it was well worth the effort, as
| | 01:17 | you're about to see.
| | 01:18 | So what I'm going to do is I'm going
to click on haircutter, and then I'm
| | 01:21 | going to drop down here and Shift-click
on blueness, and that will select this
| | 01:26 | entire range of layers.
| | 01:28 | Then I'm going to go up to layers panel
menu, click on that little icon, and I'm
| | 01:32 | going to choose this command right there,
New Group from layers, and I'm going
| | 01:35 | to name this new group, which is going
to be a folder that contains these layers
| | 01:40 | just like this little
folder called eye layers there.
| | 01:42 | I'm going to call it, the blue,
like so, because it represents the
| | 01:46 | blueness inside the image. And then I'll
click OK in order to create that group of layers.
| | 01:53 | Now to see the layers inside you
click that little twirly triangle in order
| | 01:57 | to expand the group.
| | 01:58 | Now I'm going to drop back down to
haircutter, and we're going to turn it into a
| | 02:02 | knockout layer that bores all the way
to the bottom of the group, so that we're
| | 02:06 | going to expose everything that's
outside the group behind it. And you do that
| | 02:11 | by bringing up that
Blending Options function again.
| | 02:14 | So go to the layers panel menu icon and
choose Blending Options, or if you loaded
| | 02:19 | dekeKeys you can press Ctrl+Shift+O or
Command+Shift+O on the Mac, and you want
| | 02:23 | to set this Knockout
function right there to Shallow.
| | 02:26 | If you set it to Deep you're going to
bore all the way down to the background
| | 02:30 | layer, so you're going to cut
through those liquified layers.
| | 02:33 | Liquify eyes and brow &
nose, you may recall those.
| | 02:37 | So you don't want to bore that deep.
| | 02:39 | You just want to go down to the
bottom of the group. So choose Shallow.
| | 02:43 | Now initially that doesn't do anything.
| | 02:44 | We're still seeing all the red there.
| | 02:46 | We need to turn everything that's opaque
on this layer, kind of weird logic, but
| | 02:50 | we're going to take everything that's
opaque on this layer, all the red, and turn
| | 02:54 | it into a hole cutting force.
| | 02:56 | Anything that's transparent on this
layer, which is the stuff that's not
| | 02:59 | red, won't do anything.
| | 03:01 | And you do that using this Fill
Opacity value. Not Opacity, but rather Fill
| | 03:06 | Opacity, and notice as I take it down,
we lose the red, and we start regaining
| | 03:11 | the hair in the background and pretty
soon when I take this value all the way
| | 03:15 | down to 0%, we're cutting all the
way through the blue to the hair.
| | 03:18 | And so I'll go ahead and use this Preview
check box right here to show you the difference.
| | 03:23 | This is before the application of
the knockout, and this is after.
| | 03:27 | Now let's get a sense of what kind of
contribution that knockout layer is making.
| | 03:30 | I'll go ahead and click on OK, and
this is what the image looked like before
| | 03:34 | we added the knockout layer, very dark
bluish hair, and this is what it looks
| | 03:39 | like now, thanks to the
application of a fairly complicated but very
| | 03:44 | successful knockout layer.
| | 03:46 | Now having done that, I'm going to go
ahead and twirl that blue group closed
| | 03:50 | again, so that we're just seeing the
effect of the layers inside that group as
| | 03:54 | well as brow & nose,
liquify eyes, and Background.
| | 03:58 | We've made a lot of progress, folks.
| | 04:00 | We've gotten her skin down.
| | 04:01 | We've got her hair detail down.
| | 04:04 | We still need to work on the eyes, the
warpaint and the background, just as we
| | 04:09 | will in future exercises.
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|
|
2. Setting Up 'ShopThe best way to work| 00:01 | Okay, so now you know what Photoshop
can do. Back to my ocean analogy, now have
| | 00:05 | to strap on the tanks and play
with the gauges, and all that junk.
| | 00:09 | But the good news is you don't have to
run through a cumbersome checklist every
| | 00:13 | time you go out for a dive,
just this once. That's it.
| | 00:17 | In this chapter, I'll walk you through
the Preferences, and we'll get things set
| | 00:21 | up for maximum impact and performance.
| | 00:24 | And I think you'll think it's kind of fun.
| | 00:25 | There's some good stuff here.
| | 00:27 | Best part, we'll do it together, one-on-one.
| | 00:30 | I don't mean to oversell the concept,
but this is our chance to mind-meld.
| | 00:34 | From this point on, there won't be
a thing I tell you that you won't
| | 00:38 | think, yeah, I get it.
| | Collapse this transcript |
| Setting General preferences| 00:00 | Now let's turn our attention to a few
Preference settings inside Photoshop.
| | 00:04 | So, if you're still working inside the
Bridge, go ahead and click that boomerang
| | 00:07 | to return to Photoshop here.
| | 00:09 | I'm not going to explain all the
Preference settings in Photoshop.
| | 00:12 | There are an alarming number of Preference
settings, most of which are best left alone.
| | 00:18 | However, I will explain the ones
that I think you're better off changing.
| | 00:22 | And there are few that are actually,
fairly important to change as you'll see.
| | 00:25 | So here I am working in Photoshop.
| | 00:27 | I'm going to go up to the Edit menu
here on the PC and drop down to the
| | 00:30 | Preferences command.
| | 00:32 | On the Mac, you go to the Photoshop
menu, which is right next door to
| | 00:35 | the Apple icon menu.
| | 00:37 | And then you choose Preferences.
| | 00:38 | It's not nearly so far down the list.
| | 00:40 | It's quite high, actually.
| | 00:41 | A then you go to the General command in that
Preferences submenu, both on the Mac and the PC.
| | 00:47 | You've also got a keyboard shortcut,
Ctrl+K on the PC and Cmd+K on the Mac.
| | 00:52 | And that's a universal keyboard shortcut
across most of the Adobe applications.
| | 00:57 | These other commands you don't
have to worry about too much.
| | 00:59 | They just take you to other panels
that you can already get to inside of the
| | 01:03 | larger Preferences dialog box.
| | 01:05 | So Ctrl+K is really all you need to
know, Cmd+K on the Mac, brings up
| | 01:09 | the Preferences here.
| | 01:11 | Now, most of these options are just fine as is.
| | 01:14 | Here's the one I really recommend
you turn off inside of this panel.
| | 01:18 | That's Export Clipboard,
really ought to be off, by default.
| | 01:22 | So the idea is if you copy a really
big image inside of Photoshop, which
| | 01:28 | sometimes happens, and then you
switch applications, if Export Clipboard is
| | 01:32 | turned on, then Photoshop is
required to pass along the contents of its
| | 01:37 | clipboard that you copied,
over to the operating system.
| | 01:40 | And the operating system is
sometimes ill-suited to ginormous images.
| | 01:45 | It can grind things to a halt.
| | 01:47 | You can get an error message.
| | 01:48 | It can make you wait.
| | 01:50 | It can even crash your
system in the worse of situations.
| | 01:53 | So, when in doubt, leave Export Clipboard off.
| | 01:56 | The only reason you want it on is
you're sitting there copying little images
| | 02:00 | that you're then going to paste into
Microsoft Word, or maybe you're making
| | 02:04 | album covers to paste into
iTunes or something along those lines.
| | 02:08 | But it's probably going to be
some little personal activity.
| | 02:11 | In that case, then you want to turn Export
Clipboard on, because you're actually
| | 02:15 | copying from Photoshop and
pasting into another program.
| | 02:18 | But unless you intend to do
that, leave it turned off.
| | 02:21 | The other ones are simpler to understand.
| | 02:23 | Use Shift Key for Tool Switch.
| | 02:25 | I recommend you turn this off.
| | 02:26 | And the idea here is that you can
select tools from the clipboard.
| | 02:30 | For example, if you press the O
key, you'll select the Dodge tool.
| | 02:34 | And if you press Shift+O, you would switch to the
next tool on the list, which is the Burn tool.
| | 02:39 | The next tool on the list
for that slot, that is to say.
| | 02:41 | However, if you turned Use Shift Key
for Tool Switch off, then you can just
| | 02:45 | press the O key to switch back and forth.
| | 02:48 | And that's what I recommend doing.
| | 02:49 | That's the assumption I'm going to make
when we're working through this series.
| | 02:52 | So I'll just be telling you to press
the O key to switch back and forth.
| | 02:56 | And if you've got this turned on, then
you'll have to press the Shift key as well.
| | 03:00 | If you prefer to work that way, just
make a mental note, so you're prepared for
| | 03:03 | what happens in the future here.
| | 03:05 | Zoom Resizes Windows is turned on,
by default, on the Mac, and off, by
| | 03:10 | default, on Windows.
| | 03:12 | I want you to turn it off in any case.
| | 03:15 | And, the thing there, once upon a time, I
recommended you turn it on in any case,
| | 03:20 | because it used to be a really great
feature until they messed it up in CS4.
| | 03:24 | And now zooming from the keyboard by
pressing Ctrl+Plus and Ctrl+Minus or
| | 03:28 | Cmd+Plus and Cmd+Minus on the
Mac is linked to the behavior of the Zoom
| | 03:31 | tool as well, which you really don't
want to have resizing your windows.
| | 03:35 | So it's better to have this option off.
| | 03:37 | There is still a way to do it
from the keyboard successfully.
| | 03:39 | And I'll tell you what that
is when we discuss navigation.
| | 03:42 | Zoom with Scroll Wheel is a cool feature,
but there's no reason to turn it on,
| | 03:45 | because you can already zoom with the
Scroll Wheel by pressing the Alt or Option key.
| | 03:50 | And the rest of the stuff is just fine as is.
| | 03:52 | Now, let's switch down to Interface.
| | 03:55 | And incidentally, you can switch between
these panels if you want to from the
| | 03:59 | keyboard by pressing, for example, Ctrl
+2 or Cmd+2 for that second panel,
| | 04:04 | and Ctrl+3 or Cmd+3 for that third panel.
| | 04:08 | Of course, Ctrl+1 or Cmd+1 is
going to take you back to General.
| | 04:12 | Anyway, so I'm going to move to
Interface, however you want to do it.
| | 04:16 | And these two options here are worth
noting, especially if you're coming
| | 04:20 | from Photoshop CS3.
| | 04:22 | So basically, what happened with CS4
is we got these tabbed windows, in which
| | 04:26 | all the images appear.
| | 04:28 | And by default, Photoshop
wants to open things in tabs.
| | 04:31 | Now, you Macintosh people
may not cotton to this.
| | 04:34 | You may not like that.
| | 04:35 | And you may prefer to go ahead and open
each image in an independent window, in
| | 04:39 | which case you want to turn this check box off.
| | 04:41 | For all that, you PC people
might want to work that way as well.
| | 04:44 | But if you want independent windows,
for all of your images, then turn this
| | 04:48 | check box off so that they don't
open inside the tabs, by default.
| | 04:52 | You might also want to turn this off,
if you really hate the whole tab thing.
| | 04:56 | If you find yourself really disliking
it, then you may want to turn off this
| | 05:00 | check box too to prevent windows,
when you're moving an image window, from
| | 05:04 | dropping into another, which happens
on a pretty regular basis when you're
| | 05:08 | working with floating windows.
| | 05:10 | Now me, I'm going to leave
both these check boxes turned on.
| | 05:12 | I just want you to know about them.
| | 05:15 | Otherwise, the other thing that we're
going to do here is we are going to turn
| | 05:18 | around, and we're going to change the
color of the pasteboard, which is the
| | 05:22 | area that's outside the image, so inside the
window but outside the image, that light gray area.
| | 05:28 | I'm going to show you a couple of
different ways to do it in the next exercise.
| | Collapse this transcript |
| Changing the pasteboard color| 00:01 | In this exercise, we're going to change
the color of this light gray area that
| | 00:05 | falls outside of the image.
| | 00:07 | So basically, we're looking at an image
that's too small, at least the way it's
| | 00:11 | zoomed out right now, to
fill up the entire image window.
| | 00:15 | So we have this excess area out
here that I call the pasteboard.
| | 00:19 | Technically, it's not a pasteboard,
because you can't put stuff on it.
| | 00:22 | But you can actually have pieces
of layers out there if you want.
| | 00:26 | You're just not going to see them
the way you would on the pasteboard in
| | 00:29 | something like InDesign.
| | 00:31 | But now, when I prefer to do,
notice there is a Drop Shadow around it.
| | 00:34 | I don't necessarily approve of that Drop Shadow.
| | 00:37 | And the color is just too darn light in my opinion.
| | 00:40 | This gray is too light in order to
really see the image effectively onscreen.
| | 00:44 | So I like to darken things up and
potentially get rid of the Drop Shadows.
| | 00:48 | So here's how you work.
| | 00:49 | First of all, I clicked OK out of the
Preferences dialog box in order to accept my changes.
| | 00:54 | You should know that.
| | 00:55 | And ow I'll press Ctrl+K or Cmd+K on the
Mac to revisit the Preferences dialog box.
| | 01:00 | I'm going to click on Interface
in order to move one panel forward.
| | 01:05 | Notice that gray is my
Standard Screen mode color.
| | 01:08 | You can switch between screen modes by
pressing the F key, and I'll show you how
| | 01:12 | that works in just a moment.
| | 01:13 | So it's set to this light gray, and then for
the Full Screen mode it's set to a light gray.
| | 01:17 | And then for the really super Full
Screen mode, it's set to Black.
| | 01:21 | And there's no Drop Shadow on that last mode.
| | 01:23 | Well, tell you what. Here, what I'm going
to do, is I'm going to turn off the Drop
| | 01:28 | Shadow for the Full Screen with menus,
so that we can tell the difference
| | 01:33 | between the two modes.
| | 01:34 | So we'll know we're in the Standard mode,
because they have the same color background.
| | 01:37 | We'll know that we're in the
Standard mode when we see a Drop Shadow.
| | 01:40 | We'll know we're in the Full
Screen mode when we have no Drop Shadow.
| | 01:43 | And that way, you can just change
your mind back and forth between, yeah,
| | 01:46 | I'd like to see the Drop Shadow, no,
I would not like to see the Drop
| | 01:49 | Shadow, by pressing the F key.
| | 01:51 | Now I could also change the colors
here, but there's a better way to darken
| | 01:54 | up that pasteboard. So I'll click OK.
| | 01:56 | Now let me just show you what I
meant by the screen modes here.
| | 01:59 | If I press the F key, so right
now we're seeing the Standard Screen
| | 02:02 | mode, incidentally.
| | 02:04 | If I press the F key, then notice that
we're in this Full Screen mode, where we
| | 02:08 | just got rid of the scrollbars.
| | 02:10 | They just totally disappeared.
| | 02:12 | We also have more flexibility in terms
of where we can pan the image onscreen.
| | 02:18 | And we're not seeing the Drop Shadow anymore,
because I just requested it go away.
| | 02:22 | Now, if you just want to get rid of
everything and just see black in the
| | 02:25 | background, you press the F key again.
| | 02:27 | Now, you're in the super deluxe Full Screen
mode, where there is nothing else going on.
| | 02:32 | Now, it may cause you a little bit of
panic, the first time you do this, because
| | 02:36 | then it's like, Oh my gosh!
| | 02:36 | How do I get the rest of Photoshop active?
| | 02:38 | I have to restart the program?
| | 02:40 | You can just press the F key again, or
- and this is something just to know
| | 02:44 | about Photoshop, in general.
| | 02:45 | If you get into a place, and you're not sure
how to get out, try pressing the Escape key.
| | 02:50 | That works in this case, and it takes us right
back to the Standard Screen mode. All right.
| | 02:54 | But what I want to do is I want to
change the color of this pasteboard out
| | 02:57 | there, as I was saying.
| | 02:58 | Couple of different ways to work, one is you
right-click out there in that big open area.
| | 03:04 | And then you can choose from Gray,
which is what we're seeing, very light gray,
| | 03:07 | Black, which is the Full Screen color or Custom.
| | 03:11 | Custom, you never know
what it's going to come up as.
| | 03:14 | For some reason, it comes up as blue.
| | 03:16 | I don't understand the reasoning there.
| | 03:17 | You do not want a color
associated with your pasteboard.
| | 03:20 | In other words, you just want a shade.
| | 03:22 | You want it to be dark or light,
but you want it to be neutral gray.
| | 03:26 | Anyway, you can choose a color.
| | 03:28 | You can decide what that custom color
is going to be by right-clicking and
| | 03:31 | choosing Select Custom Color, like so.
| | 03:34 | Then you would dial in a color, or -
and this is just a really cool technique
| | 03:38 | that I'm about to show you.
| | 03:39 | It's a nifty trick.
| | 03:40 | Show it off at dinner parties.
| | 03:42 | What you do is you go ahead and grab
yourself the Paint Bucket tool, which you can
| | 03:47 | get from the Gradient tool slot there.
| | 03:49 | I also gave you a keyboard shortcut if
you loaded dekeKeys of K for Paint Bucket.
| | 03:54 | That used to be the old
keyboard shortcut for it years ago.
| | 03:57 | Anyway, this tool isn't all that
useful on a day-to-day basis, but it's great
| | 04:02 | for changing the background color.
| | 04:03 | What you do is you dial in a
color that you want to use.
| | 04:06 | I suggest you go to the Color panel.
| | 04:09 | If you don't see the Color panel, then go to
the Window menu and choose the Color command.
| | 04:12 | F6 is your keyboard shortcut.
| | 04:15 | Then I recommend you click on this
little menu icon, see that little guy right
| | 04:18 | there in the upper-right corner of the panel.
| | 04:20 | Click on it, brings up a menu.
| | 04:22 | Choose HSB sliders.
| | 04:24 | That way you can just
dial in a brightness value.
| | 04:26 | B stands for brightness.
| | 04:28 | And you're not going to introduce
any color using the H and S values.
| | 04:32 | So I assume you're looking at
black as your foreground color.
| | 04:35 | If not, press the D key.
| | 04:37 | D is for Default colors.
| | 04:40 | That'll switch the foreground color
to Black and background color to White.
| | 04:43 | And then I'm, going to the dial up this B value to
my favorite, 35%, works out beautifully.
| | 04:51 | It's going to be kind of a dark gray.
| | 04:52 | Then you move your little Paint Bucket
cursor into the pasteboard, and you press
| | 04:57 | the Shift key and you click.
| | 05:00 | So you've got to Shift-click in that
pasteboard area, in order to fill the
| | 05:05 | pasteboard with the foreground
color using the Paint Bucket.
| | 05:08 | We have one more opportunity to try
this out, because if I press the F key,
| | 05:12 | notice I switch to the Full Screen mode,
the first of the two Full Screen modes.
| | 05:16 | And it has its own color,
which is this light gray.
| | 05:19 | Let's so ahead and press the Shift key
and click again in order to switch it to
| | 05:23 | a dark gray, like so.
| | 05:25 | Press the F key to go into
the big old Full Screen mode.
| | 05:27 | Leave that one black,
| | 05:28 | is what I recommend,
| | 05:30 | And then press the F key again in
order to return to the Standard mode.
| | 05:34 | And that's all there is to it.
| | 05:35 | And we have now managed to change the
pasteboard color here inside Photoshop.
| | Collapse this transcript |
| File handling, performance, and units| 00:00 | All right, let's burn through the rest
of the Preference settings here.
| | 00:03 | I've gone ahead and zoomed in on my image.
| | 00:05 | That's why we can't see so much pasteboard.
| | 00:06 | I'm going to press Ctrl+K, or
Cmd+K on the Mac, to bring back the
| | 00:10 | Preferences dialog box.
| | 00:12 | By the way, if you're familiar with
previous versions of Photoshop, and you're
| | 00:15 | looking at this going,
what's the HUD Color Picker?
| | 00:18 | When we discuss brushes, I will show you
how the heads-up display Color Picker works.
| | 00:23 | It's basically this Color Picker
that's always where your cursor is.
| | 00:26 | So it's sort of like those heads-up
displays that pilots have, where they're
| | 00:30 | looking at the window, and they can
look at the Control panel at the same time
| | 00:33 | as they're looking outside.
| | 00:35 | But not nearly that cool,
but anyway, that's what it is.
| | 00:38 | We'll see it later.
| | 00:39 | I'm going to jump down here to File Handling.
| | 00:42 | I want you to note this option.
| | 00:44 | This is a new option in CS5,
this Save As to Original Folder.
| | 00:48 | I recommend you leave it turned on.
| | 00:50 | The idea is that every time you open
an image and then you want to save the
| | 00:55 | changes, and you do a Save As, for
example, it's going to take you to that same
| | 00:59 | folder that contained the original image.
| | 01:01 | However, what if you're opening,
like, one image after another image,
| | 01:06 | making changes to them, and then
you're trying to save all the results to
| | 01:11 | a very specific folder.
| | 01:12 | Then if you turn this check box off,
Photoshop will remember that folder, the
| | 01:17 | Save As folder, and will keep
coming back to it over and over again.
| | 01:21 | So, that's good when you're doing
those kinds of batch jobs, where you have
| | 01:24 | to manually work your way through it, and you
want to put everything in a single location.
| | 01:28 | That would mean, turn it off.
| | 01:30 | But it's the kind of thing we're going
to have to come in to Preferences, turn
| | 01:33 | it on for a while, come in to Preferences,
turn it off for a while, that kind of thing.
| | 01:36 | Anyway, I'm going to leave it on.
| | 01:38 | Down here, Ask Before Saving
Layered TIFF Files, leave that turned on.
| | 01:42 | That way if you do save layers with
your TIFF files, you'll see that there are
| | 01:47 | layers inside of the image.
| | 01:49 | Maximize PSD and PSB File
Compatibility, I hate this function.
| | 01:53 | Basically, what it does is it takes a
layered Photoshop file, and along with
| | 01:58 | that layered Photoshop file, it throws
in a flat version of the file as well.
| | 02:02 | Well, if you want that, you can
save a TIFF file, because TIFF does
| | 02:04 | that automatically.
| | 02:05 | But when you're saving PSDs, layered PSD
files, you typically do not want a flat
| | 02:10 | version of the file cluttering up that image,
because it just makes it bigger on disk.
| | 02:13 | It makes it a third to half bigger
again, unless you're working directly with
| | 02:18 | Lightroom, Premiere also requires it, but
otherwise, Illustrator doesn't. InDesign doesn't.
| | 02:24 | I suggest that you set this to Never.
| | 02:27 | And that's how I've saved all the PSD files
that are included with this series. All right.
| | 02:32 | Now I'm going to move down to Performance here.
| | 02:34 | We get into some kind of tough territory.
| | 02:37 | Basically, this is all about, if
Photoshop starts running sluggishly on you,
| | 02:41 | then how do you solve the
problems here inside this dialog box?
| | 02:44 | First of all, you should see that you
have a detected video card that is capable
| | 02:51 | of OpenGL, that supports OpenGL,
and you should have OpenGL enabled.
| | 02:55 | The only reason this stuff would be
turned off is because Photoshop can't
| | 02:58 | figure out that you have an OpenGL card,
which might mean you don't. Some very
| | 03:02 | inexpensive computers don't have OpenGL, but
you really want it where Photoshop is concerned.
| | 03:07 | Most computers have it.
| | 03:09 | Because, it gives you much better,
smoother, more fluid navigation, so you can
| | 03:13 | zoom in and pan around really nicely.
| | 03:16 | Scratch Disks is all about what
happens when Photoshop hits the ceiling
| | 03:20 | inside of your RAM.
| | 03:21 | So RAM is your memory that Photoshop uses
continually in order to process the images.
| | 03:26 | Then it has to go to the hard drive,
which is your storage, only, hopefully, on
| | 03:30 | rare occasions, when it
runs out of room in memory.
| | 03:32 | So, it's always creating Scratch Disk
files, but it hopefully doesn't have to
| | 03:36 | make that much use of them.
| | 03:37 | However, if you're working with really
super ginormous files, you may find that
| | 03:42 | you have to adjust your Scratch Disks.
| | 03:44 | Then you may want to turn on
your other internal drives.
| | 03:47 | So if you have a couple of drives on
your Mac, for example, you might want
| | 03:50 | to turn them both on.
| | 03:51 | You can even change the order of the
drives if you want to, so it hits D before C.
| | 03:55 | The problem with doing
this on the PC is permissions.
| | 04:00 | Windows is just onerous about its
permissions, especially under Vista.
| | 04:05 | So under Vista, if you go turn it on
the D-drive, what can happen is the next
| | 04:09 | time you start up Photoshop, it can't
initialize that Scratch Disk file, and
| | 04:13 | you can't get the program to launch, in
which case, you have to reset your Preferences.
| | 04:17 | I'll show you that later.
| | 04:19 | But it's a big pain in the neck
obviously and it sometimes - unless you've got
| | 04:23 | an IT guy handy, if you're working with
Vista, I don't recommend you turn D on.
| | 04:28 | I find it to be a little dangerous
under Windows 7 as well. All right.
| | 04:32 | Anyway, History & Cache, over here,
now, these options affect the number of
| | 04:37 | history states, the cache levels, the
cache tile size, not going to go into too
| | 04:40 | much detail about what those mean.
| | 04:42 | But basically, what Photoshop does when
it's redrawing an image, it redraws it
| | 04:45 | in big chunks, which are the tiles.
| | 04:48 | History States is just how many
history states, that is, how many Undos you have
| | 04:52 | in each open image.
| | 04:53 | I recommend you leave that set to 20.
| | 04:55 | Now, these buttons up here just affect
levels and tile size, and they come up
| | 05:00 | with, basically, predefined values.
| | 05:03 | The idea is if everything is
going okay, leave it alone.
| | 05:06 | That would be your default settings.
| | 05:07 | That's how it's set, by default.
| | 05:09 | But if you're having problems and
things are really getting slowed down, and
| | 05:13 | you fall into one of two camps, Tall
and Thin, or Big and Flat, and I don't mean
| | 05:17 | your personal body type.
| | 05:18 | I mean the style of image - by that,
tall and thin means not very big images,
| | 05:23 | so you're working with Web images, essentially.
| | 05:25 | But you've got gobs of layers, like
hundreds of layers on a regular basis.
| | 05:29 | Then you click Tall and Thin, and
theoretically, your performance will get
| | 05:33 | better inside of Photoshop.
| | 05:34 | However, if you work with big huge files,
and notice, if I hover over here, it's
| | 05:39 | saying, Best for larger
documents (hundreds of megapixels).
| | 05:42 | That's larger, all right.
| | 05:44 | So, if you've got hundreds of
megapixels, you're doing just ginormous poster
| | 05:48 | work, or billboard work, something
along those lines, but you don't use that
| | 05:53 | many layers, like less than ten layers in a
typical image, then click on Big and Flat.
| | 05:59 | That's going to adjust the Cache Levels
and Tile Size accordingly, according to
| | 06:04 | what Adobe thinks is best.
| | 06:06 | You might want to give it a try
and see if it helps. All right.
| | 06:08 | But that's just if things
are staring to seize up on you.
| | 06:11 | You can also restart the program if
that happens, and that will clear out the
| | 06:14 | RAM, and it'll make it
behave much better typically.
| | 06:17 | I'm going to switch over to Cursors.
| | 06:19 | What I like is this guy,
Show Crosshair in Brush Tip.
| | 06:22 | I'm going to turn it on.
| | 06:22 | I recommend you do as well.
| | 06:24 | We don't need to go with Precise,
because you get precise cursors at any time
| | 06:28 | just by pressing the Caps Lock key.
| | 06:30 | That's all I do here.
| | 06:32 | Then I'll move down to Units & Rulers.
| | 06:34 | This is very important.
| | 06:36 | Go up to Rulers right there and
change it from inches to pixels.
| | 06:41 | That will give us better
control over our images.
| | 06:44 | We'll be able to see exactly
how many pixels are at work.
| | 06:47 | If we want to expand the Canvas Size,
we can work in pixels and so on.
| | 06:51 | Inches is just for output,
pixels is for everything.
| | 06:55 | So anyway, I'll go ahead and choose pixels.
| | 06:57 | Pixels is also better
than centimeters, by the way.
| | 06:59 | It's better than anything that's
inherently a print unit. Now, that's it.
| | 07:02 | We don't care about the Guides.
| | 07:03 | We don't care about Plug-Ins.
| | 07:04 | We don't care about Type.
| | 07:06 | You can investigate that stuff on
your own, if you think you might care.
| | 07:09 | 3D only appears inside the extended
version of the software, which is what I'm using.
| | 07:14 | You're not going to see
it in the standard version.
| | 07:16 | I'm going to click OK in order to
accept my changes, and we are done with the
| | 07:21 | Preferences command here inside Photoshop CS5.
| | Collapse this transcript |
| Touring the Photoshop interface| 00:00 | Let's take a look at the interface.
| | 00:02 | I want to tour you around the
Photoshop interface so you have a sense of what
| | 00:06 | all the buttons and the knobs do,
because there is a heck of a lot of stuff
| | 00:10 | going on inside the program.
| | 00:12 | Now, right here at the top on the PC is
this thing called the Application bar.
| | 00:17 | It's located underneath the menu bar in the Mac.
| | 00:20 | But it looks roughly the same.
| | 00:22 | And what we're seeing here is a group of
options that provide access to other functions.
| | 00:26 | For example, if you click on this Br
icon there, you'll go to the Bridge, which
| | 00:31 | allows you to browse your images.
| | 00:33 | We'll see it in a future chapter in detail.
| | 00:35 | Then we've got the Mini Bridge,
which is new to Photoshop CS5.
| | 00:39 | So it's a little panel that runs
inside Photoshop that allows you to preview
| | 00:43 | your images, open images from disk and so on.
| | 00:46 | This guy allows you to show
things like guides, grids and rulers.
| | 00:51 | When I say show things like I mean exactly that.
| | 00:54 | Those are the things you can show.
| | 00:55 | From that icon, there are other
ways to get to them from the View menu.
| | 00:58 | You can change your zoom level
from this icon if you want to.
| | 01:01 | To zoom in, for example, to the 100% view
size or to zoom back out to 50% in my case.
| | 01:07 | And there is a million ways
to zoom inside of Photoshop.
| | 01:10 | Lots more ways available to you.
| | 01:12 | Up here is this option that
allows you to arrange your windows.
| | 01:17 | So you have multiple image windows open
let's say, you can choose how to
| | 01:21 | arrange them so that you can see
multiple images at the same time or ultimately
| | 01:25 | consolidate them all into a single
image window that has multiple tabs that you
| | 01:30 | switch back and forth between.
| | 01:32 | And then, this guy right there
provides access to the Screen modes.
| | 01:35 | Remember, I was showing you, in a
previous exercise, how you can press the F key
| | 01:39 | to switch from one screen mode to another.
| | 01:41 | You can also choose these
options right here, if you prefer.
| | 01:45 | And that's the Applications Bar.
| | 01:47 | The menu Bar, the next one down on the
PC, the one above on the Mac, provides
| | 01:51 | access to the commands inside of
Photoshop, but that's pretty standard
| | 01:56 | convention across different applications.
| | 01:58 | But I want you to see there are
basically three kinds of commands.
| | 02:01 | This is also a standard convention, but I
want you to be familiar with it anyway.
| | 02:05 | For example, if I go to this Select menu,
here is the first kind of a command.
| | 02:09 | It's what I call the Single Shot command.
| | 02:11 | It just does whatever it's going to do.
| | 02:13 | It doesn't have any ... next to it.
| | 02:15 | It doesn't have any check mark next to it.
| | 02:17 | So if I choose Select All, Bang!
| | 02:20 | I select the entire image. That happens.
| | 02:23 | The end.
| | 02:24 | Then if I go up to Select menu and choose
Deselect, then I deselect the entire image.
| | 02:29 | All right.
| | 02:29 | So that's one style of command, the Single Shot.
| | 02:33 | Another style of command, this guy
right here, something that has a ...
| | 02:37 | after it, an ellipses, that tells you that you
are invoking a conversation with Photoshop.
| | 02:42 | This is not the end.
| | 02:44 | And what's going to happen is you are
going to bring up a dialog box, like this,
| | 02:48 | and then you are going to interact with
the dialog box once you figure out how
| | 02:50 | it works, and then you are
going to click Ok to do your thing.
| | 02:54 | So, basically, you're initiating
a dialog box when you see the ....
| | 02:59 | And then we have commands that have check
marks in front of them like Snap down there.
| | 03:04 | Right now, it's turned on.
| | 03:05 | If you choose Snap, you'll turn it off.
| | 03:08 | Doesn't seem like anything has
happened inside of the program.
| | 03:10 | You just turned off snapping. That's it.
| | 03:13 | So it's just a setting, essentially.
| | 03:16 | And if you want to turn it back on,
you go back to the menu and choose the
| | 03:19 | command again, and now, in the
future, it will be turned on.
| | 03:23 | So those are your basic
three styles of commands.
| | 03:26 | If there was a fourth style, it
would be here under the Window menu.
| | 03:29 | These guys should really have ... after
them because they bring up panels over
| | 03:34 | on the right side of the screen.
| | 03:36 | And you'd have a conversation
with Photoshop inside that panel.
| | 03:40 | But they don't have the
ellipses, but that's what they do.
| | 03:42 | They hide and show panels and basically every
single panel is represented here on this list.
| | 03:48 | The other thing I want you to know.
| | 03:49 | I'm working inside Photoshop Extended,
which is the massive, big, every single
| | 03:57 | feature, more expensive version of the program.
| | 04:00 | And so, it has things like 3D.
| | 04:02 | It also has this menu right there, the 3D menu.
| | 04:04 | It's got the Analysis menu, and it's
got these two tools down here in the
| | 04:09 | toolbox, which are the Object
Rotate tool and this guy right there, the
| | 04:13 | Camera Rotate tool.
| | 04:14 | If you're working in the more
moderately priced, I would not say inexpensive,
| | 04:18 | Standard version of Photoshop,
then you will not see those items.
| | 04:22 | You will not see the 3D tools, you will
not see the Analysis or 3D menu, and you
| | 04:26 | will not see the 3D panel, just so you know.
| | 04:29 | Now, we are not going to be
discussing any of those things in this series,
| | 04:32 | because this series is ultimately about the
standard edition of the software. All right.
| | 04:36 | Next, we have the Options Bar.
| | 04:39 | You will sometimes hear it called the
Control panel because that's what it's
| | 04:41 | called inside other Adobe applications.
| | 04:45 | However, Photoshop still
seems to call it Options.
| | 04:47 | Under the Window menu, you see the
Options command right there, which hides
| | 04:50 | and shows the panel.
| | 04:52 | And what it does is it provides
options that allow you to modify the settings
| | 04:58 | of the active tool.
| | 04:59 | So it's context-sensitive.
| | 05:01 | It changes around depending on
which tool you have selected.
| | 05:04 | Then there's the toolbox over
here on the left-hand side.
| | 05:07 | You can move it if you want to, but
by default, it's over here on the left.
| | 05:10 | And it provides access
mostly, mostly all of these icons.
| | 05:14 | A few of them are little
settings icons down here at the bottom.
| | 05:16 | But most of these other icons are tools,
meaning you select the tool, and then
| | 05:20 | you do something with it inside the
image window, for example, this guy right
| | 05:23 | there, the Dodge tool.
| | 05:25 | If you click it and then paint on a
pixel layer, you will lighten the pixels.
| | 05:30 | Most of the tools work that way, where
you select the tool, and then you drag
| | 05:33 | inside the image window to do something.
| | 05:36 | Then over here on the right-hand
side of the screen, we have the panels,
| | 05:40 | formerly called palettes, and forgive me.
| | 05:42 | I am still trying to transition from
palettes to panels in my head, so if you
| | 05:46 | ever hear me say the word palettes, and
the editor doesn't catch it and replace
| | 05:50 | it with one of the hundreds of
thousands of times I hope to say panels, then
| | 05:55 | just know I am talking
about these things over here.
| | 05:58 | We have a lot of panels
available to us inside the Photoshop.
| | 06:01 | We're going to tweak those
panels in a future exercise.
| | 06:04 | We're going to modify our interface.
| | 06:05 | So don't worry if you're not seeing all
the panels I'm seeing or all the icons.
| | 06:09 | We'll address that shortly.
| | 06:11 | Inside the panels we have
all kinds of different options.
| | 06:13 | Every single one of the panels does
something different than the other panels.
| | 06:17 | So they're all unique in their own way.
| | 06:20 | But many of them, over on the right-hand
side, in the upper-right corner, that
| | 06:23 | is, many of them include this little menu icon.
| | 06:26 | And if you click on it, you will bring
up a menu that's specific to that panel.
| | 06:30 | Sometimes, many of these commands are
repeated some place in the standard menu
| | 06:34 | bar, but they're available here too, just
to make them handy is the idea. All right.
| | 06:40 | I am going to go ahead and click
off that in order to hide that menu.
| | 06:43 | Finally, right here in the
center, we have the Image Window.
| | 06:46 | And currently, my image window is
taking up basically the entire central
| | 06:51 | portion of the application.
| | 06:54 | You may not see it that way on the Mac.
| | 06:56 | This is the way it always is on the
PC. That is to say, Photoshop is a big
| | 07:00 | rectangle that covers up everything behind it.
| | 07:03 | On the Mac, we have control over
this thing called the Application Frame.
| | 07:06 | So you go up to the Window menu, and you'll
see down here with Options and Tools,
| | 07:10 | you'll probably see a command called
Application Bar that allows you to turn
| | 07:13 | the bar on and off if you want
to, the Application Bar up here.
| | 07:16 | But you'll also see this other
command called Application Frame.
| | 07:20 | And if you choose that, then you turn
Photoshop into a big monolithic rectangle
| | 07:24 | like what you're seeing on my screen.
| | 07:26 | If you don't want it to work that way,
if you want to be able to see behind a
| | 07:29 | window to other applications so you
can click on those applications to switch
| | 07:33 | easily back and forth, then you
turn the Application Frame off.
| | 07:36 | And Macintosh users, as a rule- I'm
not telling you your business,
| | 07:39 | you can do whatever you want-
| | 07:41 | But Macintosh users, as a rule,
prefer not to have the application frame so
| | 07:45 | that they can click back and forth,
whereas on a PC, Windows users are used to
| | 07:49 | an Application Frame.
| | 07:51 | So it's really up to you how you work.
| | 07:53 | I just want you to know here on the PC, I've
got the monolithic Photoshop going.
| | 07:58 | Down here in the bottom, left-hand
corner, we have a zoom control, and we
| | 08:02 | have this little option here that allows us to
see different attributes about the open image.
| | 08:07 | And then up here at the top is my Title
tab, in this case you might also see a
| | 08:11 | Title bar if you have a free-floating window.
| | 08:13 | And here's what is going on with this.
| | 08:15 | I want to document what's
happening inside the title bar so you know.
| | 08:19 | There's the title of the image, so that
is the file name, if you've saved it.
| | 08:24 | If it's not saved, it will say Untitled.
| | 08:26 | And then we'll see @ 50%.
| | 08:27 | That's the zoom level.
| | 08:29 | So that will change as they zoom in and out.
| | 08:31 | Deke McClelland, happens to be my name, but
that's the name of this layer that's selected.
| | 08:35 | So it's telling me the
name of the selected layer.
| | 08:38 | And if I clicked on a different
layer, for example, if I click in the
| | 08:41 | background, it will show me that
the background layer is now selected.
| | 08:44 | RGB is the Color mode.
| | 08:46 | And then /8, that's the bit depth,
which means we are working inside of an
| | 08:51 | 8-bit per channel image.
| | 08:53 | And we'll come to that
later when we discuss bit depth.
| | 08:55 | But for now just note,
that's what's going on there.
| | 08:58 | And then there's this asterisk, and I
want you to see something crazy about this.
| | 09:02 | I'm going to go ahead and add a new
layer to this image just by clicking on the
| | 09:05 | little Page icon down here at
the bottom of the layers palette.
| | 09:09 | And now, I've made a change to my image,
and now I have two asterisks, notice that.
| | 09:14 | Now, I'm not sure this is documented
any where in the Photoshop documentation,
| | 09:18 | and many times, there's a lot of
programs out there that are trying to be warm
| | 09:22 | and cuddly and friendly.
| | 09:24 | But with Photoshop, it's almost as if
it's trying to defy your understanding.
| | 09:29 | And so in this case, we're just seeing these
little asterisks that don't tell you anything.
| | 09:33 | You hover over it.
| | 09:34 | It's just going to tell
you the name of the image.
| | 09:36 | So that doesn't help you out at all.
| | 09:38 | What's going on is the asterisks
inside of the parenthesis tells you that
| | 09:43 | you are using a color space other than the
one you set up inside of your color settings.
| | 09:47 | So if you've been following along with me,
you've set your color settings to Adobe RGB.
| | 09:52 | But this image is actually set to sRGB.
| | 09:55 | And I know that because I could
drop down here to this Arrow icon right
| | 09:58 | there, click on it, and choose Document
Profile, which I have already done in advance here.
| | 10:02 | And you can see that this is an
sRGB image, which is perfectly fine.
| | 10:06 | So Photoshop allows you to have a
different profile associated with every open
| | 10:10 | image if you so desire.
| | 10:12 | This asterisk is just a tiny little
alert to let you know that's happening.
| | 10:15 | And it means some other color profile is
being employed for this specific image.
| | 10:19 | Now, if you see a hash, or a pound sign,
or a number sign, or whatever you want to
| | 10:24 | call it, in that location, it means
that there is no color profile associated
| | 10:30 | with the current image.
| | 10:32 | The asterisk outside of the parenthesis is
telling you that you have unsaved changes.
| | 10:38 | So you could update the image by going
up to the File menu and choosing the Save
| | 10:41 | command, or you could toss away your
changes and load up the saved version of
| | 10:46 | the image by choosing the Revert command.
| | 10:49 | And that's basically it, folks.
| | 10:50 | That's the big tour of the Photoshop Interface.
| | 10:53 | By the time you're done with this
series, you'll be more familiar with it
| | 10:56 | than you can possibly imagine.
| | 10:58 | In the next exercise, I'm going to
show you how to modify the interface and
| | 11:01 | save your modifications as a workspace.
| | Collapse this transcript |
| Creating and saving a workspace| 00:00 | In this exercise, I'm going to show you
how to customize your workspace, which
| | 00:03 | is basically a matter of bringing up
panels and changing their locations so that
| | 00:09 | you have access to
Photoshop's most essential features.
| | 00:12 | Then we'll save out that workspace,
so that you and I are on the same page
| | 00:16 | throughout this One-on-One series.
| | 00:18 | So for starters, I'd like you to make
sure that the word Essentials is active in
| | 00:22 | the upper-right corner of the interface.
| | 00:24 | Essentials, Design, Painting, and the
others all represent predefined workspaces
| | 00:29 | that ship along with Photoshop, and
each one of them brings up a different
| | 00:33 | collection of panels.
| | 00:34 | So go ahead and click on Essentials.
| | 00:36 | And then, just so that you're seeing
the same Essentials I am because
| | 00:41 | these various workspaces have a
tendency to update on the fly,
| | 00:45 | I want you to click this double-
right-pointing arrowhead there.
| | 00:48 | And you'll see, in addition to a
handful of other workspaces that are available
| | 00:52 | to you, some of which, like 3D, only
ship with the extended version of the
| | 00:56 | program and not the standard version.
| | 00:58 | You'll see this command
right there, Reset Essentials.
| | 01:01 | I'd like you to go ahead and chose that
command in order to reset the panels to
| | 01:04 | the way they appeared when
you first launched the program.
| | 01:07 | Now, notice that I'm seeing a
group of panels right at the top: Color,
| | 01:10 | Swatches, and Styles.
| | 01:11 | That's all very well and good.
| | 01:13 | I'm also seeing
Adjustments and Masks listed next.
| | 01:16 | And the Adjustments panel is so very
larger and my screen size is very small
| | 01:22 | that the Layers panel is getting
crushed down here at the bottom.
| | 01:25 | So what'd I'd like to do is collapse the
Adjustments panel and expand the Layers panel.
| | 01:29 | And you can collapse and expand
panels inside of Photoshop CS5 by
| | 01:34 | double-clicking in this empty gray
area to the right of the final panel tab.
| | 01:39 | So this used to be a
single click in CS4 and earlier;
| | 01:42 | now, it's a double-click.
| | 01:44 | Anyway, I'll go ahead and double-
click in this location to collapse the
| | 01:47 | Adjustments panel, and then I'll
double-click here to the right of the word
| | 01:50 | Paths to expand the Layers panel.
| | 01:52 | All right, so in addition to this
far-right column of panels, we have a
| | 01:58 | neighboring column right next door that
includes a couple of icons by default.
| | 02:02 | First, we're seeing this Mini Bridge icon.
| | 02:05 | And the Mini Bridge is a miniature
version of the Bridge that allows you to
| | 02:08 | browse through your photographs and
other digital assets on your hard drive.
| | 02:13 | And the Mini Bridge is also included
not only in Photoshop CS5, but inside
| | 02:17 | InDesign CS5 as well.
| | 02:18 | Next, we've got the History panel that
allows you to access the most recently
| | 02:23 | performed operations inside
Photoshop, and you can undo or redo those
| | 02:27 | operations as you so desire.
| | 02:29 | However, there's a bunch of
other panels I'd like to get to.
| | 02:32 | Every single one of them is
listed under the Window menu.
| | 02:36 | And so here's what I'd like you to do.
| | 02:37 | I'd like you to chose the Actions
command in order to bring up the Actions panel.
| | 02:41 | And then, in order to close that panel,
just go ahead and click on the same icon
| | 02:45 | you used to show it.
| | 02:46 | So click on an icon to show a panel,
click on an icon to hide a panel as well.
| | 02:51 | Then I'll go back to the Window
menu, and I'll choose the Info command.
| | 02:54 | Notice it has a keyboard shortcut of F8.
| | 02:56 | And the reason I mention this is if
you care to memorize these keyboard
| | 03:00 | shortcuts--some of which are default
Photoshop shortcuts, some of which I added
| | 03:05 | with my dekeKeys shortcuts--
| | 03:07 | all of them, however, are toggles.
| | 03:09 | So F8 is one of Photoshop's defaults,
and it works inside some of the other
| | 03:13 | Creative Suite applications as well.
| | 03:15 | If I click on this I, the Info panel,
and all the others that are grouped with
| | 03:19 | it--including the histogram and
navigator--they'll all go away.
| | 03:22 | If I want to bring the Info panel back,
I just have to press the F8 key again,
| | 03:26 | if I decide to memorize that keyboard shortcut.
| | 03:29 | Then to make it go away again, I press F8 again.
| | 03:32 | So again, each one of those
keyboard shortcuts is a toggle for showing
| | 03:36 | and hiding that panel.
| | 03:37 | I'll now return to the Window
menu, and I'll choose Brush.
| | 03:40 | And not only does that bring up the big Brush
panel, but also Brush Presets and Clone Source.
| | 03:45 | Then I'll return to Window, and I'll
chose the Character panel, which allows me
| | 03:49 | to format type inside the program.
| | 03:51 | That brings up both Character
and Paragraph, as you can see.
| | 03:54 | I'll go up to the Window menu and
choose Layer Comps, which allow me to say
| | 03:58 | which layers are visible
and which layers aren't,
| | 04:00 | in addition to other composition attributes.
| | 04:03 | And we're going to see all of these
panels--at least the ones that actually will
| | 04:06 | make a difference to you--
| | 04:08 | over the course of the many
chapters that lay in wait for you.
| | 04:11 | And that brings up Notes
as well, as you can see.
| | 04:13 | And finally, I'll go the Window
menu and I'll choose Tool Presets.
| | 04:17 | That not only brings up the Tool
Presets panel, but also the 3D panel, which is
| | 04:21 | available exclusively in the
Extended version of the program.
| | 04:24 | Throughout Fundamentals, Advanced,
and Mastery, we're focusing on functions
| | 04:28 | that are available in both the
Standard and Extended versions of the program.
| | 04:32 | So I'm going to go ahead and drag the
3D tab out into the image window, drop it
| | 04:36 | into place there, and then close that panel.
| | 04:39 | Now, I'll drag the Tool Presets Icon,
and I'll drop it between Layer Comps
| | 04:44 | and Nodes, right there.
| | 04:45 | Now, as I was saying, we've got two
columns of panels, one of which is revealed
| | 04:50 | and the other of which have
been collapsed to these icons.
| | 04:53 | You can go ahead and expand that column
of icons by clicking on the double-arrow
| | 04:57 | icon, and that displays the
Mini Bridge, as you can see here.
| | 05:01 | Actions is revealed for me, and then I
don't have any more room for the other panels.
| | 05:06 | If I want to hide these panels again, I'd
double-click on that double arrow icon again.
| | 05:10 | Next, I also have the option of
collapsing these far-right-side panels by
| | 05:15 | clicking on that double-arrow icon.
| | 05:17 | Notice this time though, I not only
see the icons, but I see the names of
| | 05:21 | the panels as well.
| | 05:22 | It doesn't have to be that way.
| | 05:23 | You can collapse these panels to just
the icons by dragging this vertical line
| | 05:28 | to the left of the icons, like so.
| | 05:30 | And you can also expand these icons to
reveal their panel names--if you've got
| | 05:35 | enough room on-screen--by
dragging this vertical line to the left.
| | 05:38 | Alright, I'm going to go ahead and
leave my icons as icons only, because as I've
| | 05:43 | been saying, I don't have
much screen real estate here.
| | 05:46 | And I'm going to reveal these
far-right-side panels because they're the ones
| | 05:50 | that we'll be using on a regular basis.
| | 05:52 | This represents at least the
beginning of a workspace that I'll be using
| | 05:56 | throughout this series, so I want to save it
off in case I want to come back to it later.
| | 06:00 | So I'll click on this double-right-
pointing arrowhead in the upper-right corner
| | 06:03 | of the interface, and I'll choose New Workspace.
| | 06:06 | I'd like you to do this as well, if
you've been working along with me.
| | 06:09 | And then go ahead and name your new
workspace "One-on-One," and that way you
| | 06:12 | can come back to it anytime you like over the
course of working through the One-on-One series.
| | 06:17 | Also, if you loaded my dekeKeys
keyboard shortcuts, then I recommend that you
| | 06:21 | turn on the Keyboard Shortcuts check box,
so that you're associating my shortcuts
| | 06:25 | with this workspace.
| | 06:26 | You can also save off
customized menus if you want to.
| | 06:29 | I don't recommend that options,
so I'd leave this check box off.
| | 06:32 | And then click the Save button
in order to save off your new
| | 06:35 | One-on-One workspace.
| | 06:36 | It will appear at the beginning of
the list, as we're seeing right there.
| | 06:40 | I'm going to go ahead and expand my
list of workspaces a little bit by dragging
| | 06:44 | this double-vertical bar
over slightly to the left.
| | 06:47 | You can move the workspace to a
different location if you want, however, I'm
| | 06:51 | going to leave it right up front.
| | 06:53 | And at any point in time in the future, you
can now come back to that workspace.
| | 06:57 | If it ends up looking different than
the way it's looking now, for example, you
| | 07:01 | can always reset the One-on-One
workspace by clicking on this double-arrow
| | 07:05 | icon and choosing Reset One-on-One, and that
will return the workspace to the way you saved it.
| | 07:10 | In the next exercise, I'm going to
show you to further modify your workspace
| | 07:14 | and update your changes.
| | Collapse this transcript |
| Changing settings and updating the workspace| 00:00 | Let's make a few more modifications to the
interface, and then we'll update our workspaces.
| | 00:06 | But first thing I want to do is I want
to change my Layer thumbnail, so that
| | 00:09 | they are nice and big, and the
advantage here is that you can see them
| | 00:12 | easily inside the video.
| | 00:14 | You may want to leave yours small, it's
totally up to you, or you could change
| | 00:17 | them out to medium, but I like them big.
| | 00:20 | So, I'm going to go over to the layers
panel here, and I'm going to click on
| | 00:23 | this menu icon and choose panel Options.
| | 00:25 | You long-time users will notice that
the Merlins have gone, the little Merlins
| | 00:29 | that used to be around the Paint
palette up here at the top of the dialog box,
| | 00:33 | instead we have flowers.
| | 00:34 | I am going to select the biggest flower.
| | 00:36 | Then I'm going to drop down to this
check box and turn off Use Default Masks on
| | 00:40 | Fill layers so that we don't
automatically get masks on Solid Fill layers, and
| | 00:44 | Gradient layers and Pattern layers,
which are fairly rare layers inside of
| | 00:48 | Photoshop, but still getting a
Default Mask if you don't have a selection
| | 00:51 | outline isn't particularly helpful,
and does junk up the layers palette.
| | 00:56 | And speaking of junking up the layers
palette check out this new option inside
| | 00:59 | Photoshop CS5, this is one of Adobe's
"Just Do It" features, which means that
| | 01:04 | they were responding to user
requests, actually, on this one.
| | 01:08 | And you know how if you create a new
layer it's called Layer 1, and if you don't
| | 01:12 | know how, that's how it works.
| | 01:13 | It just comes up as Layer 1.
| | 01:15 | And then if you copy it,
it comes up as Layer 1 copy.
| | 01:18 | And then you can have double copies and
basically then you got Layer 2 and Layer
| | 01:22 | 2 copy and all this other stuff going on.
| | 01:26 | So, somebody decide it would be a good
idea if copy doesn't come up, so you're
| | 01:31 | not trashing out your layers
palette to the same extent.
| | 01:34 | My experience is, it doesn't really
help very much instead you just end up with
| | 01:38 | Layer 1 and a copy of Layer 1 is also
called Layer 1, and it doesn't really
| | 01:41 | force you to rename your layers,
which is a good habit to get into.
| | 01:44 | So totally up to you, but it's there
if you want to turn that check box off.
| | 01:48 | I'm going to leave it on. Click OK.
| | 01:50 | Now I have big thumbnails
inside the layers panel.
| | 01:52 | I am going to do the same thing
inside the Channels and Paths panel.
| | 01:55 | So, I'll move over to Channels, and
I'll just right-click in this area, this
| | 01:59 | empty area below the
layers, and I'll choose Large.
| | 02:02 | Then I'll move over to Paths.
| | 02:04 | You can, if you want to, you could
go to the panel Options instead.
| | 02:08 | So, that works too, and
then you just select the big.
| | 02:11 | This time these are a little Merlins
against the Paint panel still, this big
| | 02:15 | thumbnail right there.
| | 02:16 | Anyway I redid it so I'll move over
to Paths, and then I'll right-click
| | 02:20 | anywhere inside the Paths panel
because after all there's nothing here, and
| | 02:23 | I'll choose Large here as well.
| | 02:25 | So once I do make a path, it'll
appear large inside the panel.
| | 02:29 | One other thing I want to show you,
speaking of those Merlins, this is completely
| | 02:33 | beside the point, but if you press and
hold the Alt key, or the Option key on the
| | 02:38 | Mac, click on this panel menu
icon and choose panel Options.
| | 02:41 | With Alt or Option down,
we still get the old Easter egg.
| | 02:44 | You have Merlin, the flower with the
eyeball in it and Begone, just good to know
| | 02:49 | some things stand the test of time. All right.
| | 02:52 | So, I'm going to make some
other modifications here.
| | 02:54 | I'm going to go over to the Adjustments
panel, and you know what, these guys are
| | 02:58 | just not going to fit here.
| | 02:59 | Every time I open this darn panel,
notice if I double-click, it collapses the
| | 03:03 | Layers panel, and we're not going to
be able to get any work done that way.
| | 03:06 | It's probably not that way on your
screen so you're probably okay, but my screen,
| | 03:09 | I got to make a change.
| | 03:10 | So, I'm going to drag these guys out and
over into the single column strip here,
| | 03:15 | and I'm going to do that by dragging
this empty area, so that I get both panels
| | 03:18 | together, then I'm going to drag them
right up there between Mb and the History
| | 03:24 | panel right below it.
| | 03:25 | So, right on that horizontal line it'll drop,
and it will become its own new panel group.
| | 03:31 | And then I'll double-click to the
right of Paths in order to expand the
| | 03:35 | Layers panel again.
| | 03:36 | And that means that I've
got too many panels opened now.
| | 03:39 | They're stretching off
the bottom of the screen.
| | 03:40 | So, I'm going to get rid of a couple.
| | 03:42 | I'm going to go ahead and get rid of
Navigator and drag it off because we don't
| | 03:46 | really need the Navigator
panel, and I'll close it.
| | 03:49 | And then I'm also going to get rid of
this guy down here, Notes, because I'm not
| | 03:53 | going to be using it in this entire
series, and really in my entire life, and I'm
| | 03:57 | going to go ahead and close it out as well.
| | 03:59 | And now we have a
manageable series of panels here.
| | 04:02 | I'm going to bring open Adjustments panel.
| | 04:05 | Now even though it is gargantuan, and
does take up way too much room onscreen, at
| | 04:10 | any given time, it is a very important panel.
| | 04:12 | So, I'm going to go up to its menu icon
right there, click on it, and I'm going
| | 04:17 | to turn on - make sure Auto-Select
Parameter is turned on.
| | 04:20 | This is a great new
feature inside of Photoshop CS5.
| | 04:23 | It means any time you create a new
adjustment layer, the very first numeric
| | 04:28 | option inside of that panel
is active and ready to go.
| | 04:32 | So you don't have to click
around the way you did in the past.
| | 04:34 | So go ahead and choose that command.
| | 04:35 | Then click on the menu icon again, and
this time I want you to drop down to Add
| | 04:39 | Mask by Default and turn it off.
| | 04:42 | So it should look like this when you're done.
| | 04:44 | You should see that Auto-Select
Parameter is on, right below of my cursor, and
| | 04:49 | then down here Add Mask by
Default is off. All right.
| | 04:52 | So we're good to go there, and the
one final thing you want to do in this
| | 04:55 | panel is expand it,
| | 04:56 | so it's even more massive.
| | 04:58 | So go ahead and click on that
Expand icon to increase its size.
| | 05:01 | We have to do this though, because
otherwise we don't have enough room inside the
| | 05:05 | Levels panel or the Curves panel.
| | 05:07 | So it's better to have a big massive
panel where Adjustments is concerned.
| | 05:11 | Although you can switch back and forth
between the expanded and standard view
| | 05:15 | sizes if you so desire.
| | 05:17 | Now, I'm going to collapse that panel,
and I'm going to update my workspace by
| | 05:21 | going up to the double-arrow icon,
clicking, and notice there is no command for
| | 05:26 | managing your workspaces. You can
delete a workspace if you want to, as long as
| | 05:29 | it's not the active workspace.
| | 05:31 | But otherwise, there's nothing for
updating a workspace, or managing workspaces,
| | 05:35 | or anything like that.
| | 05:36 | Instead, you choose New Workspace.
| | 05:39 | You give it the same darn name.
| | 05:40 | Call it One-on-One again.
| | 05:43 | You turn on Keyboard Shortcuts. You click Save.
| | 05:45 | It asks you if you want to save
over the original One-on-One workspace.
| | 05:50 | You say Yes, and you've done the deed.
| | 05:52 | Now you have updated the One-on-One
workspace by virtue of the fact you
| | 05:55 | just saved over it.
| | 05:56 | That's how it works.
| | 05:57 | In the next exercise I'm going to
show you how to reset Photoshop in case
| | 06:02 | something goes dreadfully wrong.
| | Collapse this transcript |
| Resetting the preferences| 00:00 | Now I'm going to show you
how to reset the program.
| | 00:03 | And the idea here is if Photoshop
starts wildly misbehaving, like you lose a
| | 00:08 | command, or you are not able to follow
along with what I'm doing because the
| | 00:11 | tool isn't working the same, or you
can't find the same option, or the program
| | 00:15 | just seems to be misbehaving.
| | 00:18 | You can reset the Preferences, because
what sometimes happens is the Preference
| | 00:22 | Settings get corrupted.
| | 00:23 | And there're preferences all over the program.
| | 00:25 | It's not just in the Preferences dialog-box.
| | 00:27 | They're all over the place.
| | 00:28 | Changing the size of the thumbnails
in the Layers panel, for example, is
| | 00:32 | a preference setting.
| | 00:33 | And so if you've been using the program
for months and months, and you've been
| | 00:37 | changing preference settings back and
forth, sometimes they become corrupted.
| | 00:41 | And that can really affect Photoshop's behavior.
| | 00:44 | So the thing is when you reset the
Preferences, the program ostensibly is
| | 00:48 | going to run better.
| | 00:49 | However, you're going to have to
reestablish all those preference settings, with
| | 00:53 | the exception, the things that are
going to be saved for you are your Keyboard
| | 00:56 | Shortcuts, which you can come back to
really easily, your Color Settings, which
| | 01:01 | you can come back to really easily as
well, and your workspace, One-on-One here,
| | 01:05 | which you can come back too.
| | 01:06 | But those Preference Settings inside
the Preferences dialog box and the size of
| | 01:10 | the Layers thumbnails and all those
things, you'll have to reestablish.
| | 01:13 | And we'll do that in this exercise.
| | 01:15 | We'll run through the whole thing.
| | 01:16 | So I just want you to know that this is an
option that's available to you if need be.
| | 01:20 | It doesn't really hurt anything.
| | 01:22 | All it means is that you're going to
have to spend some time reestablishing
| | 01:26 | preference settings as I say. All right.
| | 01:28 | So step number one is to quit out of Photoshop.
| | 01:30 | And you do that by going up to the File menu,
and choosing the Exit command here on the PC.
| | 01:35 | On the Mac, you go to the
Photoshop menu and choose the Quit command.
| | 01:38 | That's Ctrl+Q on the PC
and Cmd+Q on the Mac.
| | 01:43 | So that quits out Photoshop.
| | 01:44 | You might be asked to save some changes.
| | 01:46 | If you want to, go for it.
| | 01:48 | In my case, I would've said no or don't save.
| | 01:51 | Anyway, here I am back at the Desktop now.
| | 01:54 | And you want to relaunch the
program and mash a bunch of keys.
| | 01:58 | And you can relaunch the program
in any way, shape, or form you want.
| | 02:01 | You can go down to the
Start menu here on the PC.
| | 02:03 | You can go down to your Dock on the Mac.
| | 02:05 | You can locate the program in the
Applications folder, or you can just go ahead
| | 02:10 | and double-click on a file that you
know will launch Photoshop, such as this
| | 02:14 | guy right here, Welcome.psd inside the 00_setup
folder, inside the exercise files folder.
| | 02:19 | So if I double-click on it,
I will open Photoshop.
| | 02:22 | But you have to be right
ready to go with some keys.
| | 02:24 | And the keys are these:
| | 02:26 | Ctrl+Shift+Alt on the PC,
Cmd+Shift+Option on the Mac.
| | 02:31 | So in other words,
basically all of your modifier keys.
| | 02:34 | You're going to mash them down with your fist.
| | 02:35 | But first you're going to
double-click on this file.
| | 02:38 | So double-click and then mash the keys.
| | 02:41 | Now you may see this
alert message, or you may not.
| | 02:45 | The times I've tried it before it was
covered up by this window like this.
| | 02:48 | It ended up coming to the back.
| | 02:50 | And it will only appear, by the way, if
you successfully press those keys right
| | 02:54 | after restarting the program,
so Ctrl+Shift+Alt once again,
| | 02:57 | Cmd+Shift+Option on the Mac.
| | 02:59 | I'm going to minimize
this window so there it is.
| | 03:01 | I can see my alert message.
| | 03:03 | Photoshop is asking me asking should it delete
the preference settings file. The answer is Yes.
| | 03:07 | And then Photoshop will launch.
| | 03:08 | And it might take a
little longer on your system.
| | 03:11 | But it's pretty speedy, and then in
my case, I'm going to see this font
| | 03:15 | warning, which is fine.
| | 03:16 | I'll just click OK to say yes I
understand that I don't have all the fonts.
| | 03:20 | And notice that everything's changed back.
| | 03:22 | So we're back to the Essentials workspace.
| | 03:24 | We don't have any of our Keyboard Shortcuts.
| | 03:27 | If you go to the File menu, you'll see
that the Place command, for example, does
| | 03:31 | not have a keyboard shortcut.
| | 03:32 | And you should see, however, if you
go up to the Edit menu and choose Color
| | 03:37 | Settings or press Ctrl+Shift+K, Cmd+Shift+K
on the Mac, you should see that
| | 03:42 | you're still working with Best Workflow CS5.
| | 03:44 | That should stay in place. All right.
| | 03:45 | So we'll Cancel out there.
| | 03:46 | If not, go ahead and choose it.
| | 03:48 | But I'll go ahead and Cancel out.
| | 03:49 | But we've lost the paste
board color and all that stuff.
| | 03:52 | So let's reestablish everything.
| | 03:55 | It actually goes pretty quickly.
| | 03:56 | Press Ctrl+K or Cmd+K on the Mac
to bring up the Preferences dialog box.
| | 04:00 | Turn off Export Clipboard,
turnoff Use Shift Key for Tool Switch.
| | 04:04 | If you're a Mac person,
turn off Zoom Resizes Windows.
| | 04:08 | And if you're a PC person, make
sure it's off. We want that off.
| | 04:11 | Interface, we want to go ahead and
turn off the Drop Shadow for the Full
| | 04:16 | Screen with menus mode.
| | 04:17 | And then we can adjust the Color as well.
| | 04:19 | Now you may recall last time, we Shift-clicked
with the Paint Bucket tool.
| | 04:22 | This time we'll just do it
here inside this dialog box.
| | 04:25 | I'll just say Select Custom Color.
| | 04:27 | And I'll dial in these values here inside
the Color Picker, 0 for Hue, 0 for Saturation.
| | 04:32 | And I'm pressing the Tab key
to advance to the next value.
| | 04:35 | And then I'll change the
Brightness value to 35%, like so, click OK.
| | 04:40 | Now go to the next option down
this Gray, choose Select Custom Color.
| | 04:44 | It should well, I was hoping it'd be
set to the same thing, but it's not.
| | 04:47 | 0, 0, 35 once again. And then click OK.
| | 04:52 | We don't need to worry about the other values.
| | 04:53 | They'll change automatically.
| | 04:54 | So just Hue, Saturation and
Brightness, HSB. Click OK.
| | 04:58 | We're done there.
| | 05:00 | Now we'll go ahead and move on to File Handling.
| | 05:02 | Change Maximize Compatibility here to Never.
| | 05:05 | And then Performance, you can change your
Performance settings, if you've changed
| | 05:09 | them in the past, if you wanted to turn on
more Scratch Disks or something like that.
| | 05:12 | Cursors, I like the Crosshair. It's up to you.
| | 05:16 | Then move down Units & Rulers and change
Rulers to pixels, very important in my opinion.
| | 05:21 | And we're done.
| | 05:22 | Click OK in order to accept your
changes to the Preference settings.
| | 05:26 | And we are now good where
the background is concerned.
| | 05:29 | If I press the F key, I should see
that drop shadow just appear, I do.
| | 05:32 | Then press F to go to the Full Screen mode.
| | 05:34 | Press F again to cycle around
to the Standard Screen mode.
| | 05:38 | I'll press Ctrl+Plus to zoom on it there.
| | 05:40 | Now I'll go up to your workspaces.
| | 05:42 | You should see One-On-One still sitting there.
| | 05:44 | Click on it, and that should not
only bring back all your panels the way
| | 05:49 | that you had them, but also including my
moved adjustments and masks panels right here.
| | 05:55 | But also it should change
your keyboard shortcuts.
| | 05:58 | So if you go to the File menu, you
should see that place has a keyboard shortcut
| | 06:02 | of Ctrl+Shift+Alt+D or
Cmd+Shift+Option+D on the Mac.
| | 06:05 | Now we can confirm that we have
custom Keyboard Shortcuts by going to the
| | 06:09 | Keyboard Shortcuts command.
| | 06:10 | However, it's going to look
a little strange potentially.
| | 06:13 | I'm not sure if this is the
way it's really going to be.
| | 06:14 | But it's showing up for me
as One-On-One (modified).
| | 06:17 | I might just go ahead and switch that
back to dekeKeys just to make sure I have
| | 06:20 | really got dekeKeys there.
| | 06:22 | And if it asks you save changes just say No,
because there's no reason to save changes.
| | 06:27 | It's kind of a ghost file.
| | 06:28 | It goes away, notice that.
| | 06:30 | Now I'll click OK.
| | 06:31 | And we've reinstated our keyboard shortcuts.
| | 06:33 | Now I'll go the layers panel.
| | 06:35 | Click on its menu icon, choose panel Options.
| | 06:38 | And we'll select the largest
thumbnail, if that's what you want.
| | 06:41 | That's what I want.
| | 06:42 | Use Default Masks on Fill
Layers, turned off. Click OK.
| | 06:46 | Go to Channels. Right-click. Large.
| | 06:49 | Go to Paths. Right-click. Large, like so.
| | 06:54 | Back to Layers, just to
establish Layers is our default panel.
| | 06:57 | Then bring up the Adjustments
panel by clicking on the little icon.
| | 07:01 | It is already expanded. So that's great.
| | 07:04 | Then I'll go up to the panel menu here.
| | 07:06 | And I'll turn on Auto Select Parameter.
| | 07:09 | And then I'll turn off Add Mask by Default.
| | 07:13 | And I am back exactly where I left off
with a clean, non-corrupted preference
| | 07:19 | settings file that should serve me well for
months and months into the future. All right.
| | 07:23 | That's it folks.
| | 07:24 | We have now successfully set up
Photoshop, you and I, in exactly the same way.
| | 07:29 | And we're ready to visit the
exercises inside the series.
| | Collapse this transcript |
|
|
3. Opening and OrganizingThe amazing Adobe Bridge| 00:00 | Strange as it may sound.
| | 00:02 | Much of our first hands-on look at
Photoshop will be spent inside another
| | 00:06 | application, which goes by the name Bridge.
| | 00:09 | Included with every copy of Photoshop
whether you buy it alone or as part of the
| | 00:13 | Creative Suite, the Bridge is a full-
blown Digital Asset Manager, or DAM.
| | 00:19 | You can review image thumbnails,
rotate them, move them to different folders,
| | 00:23 | assign star rating and keywords, group
them in the stacks, rename whole groups of
| | 00:28 | files at once, and otherwise
manage your image library.
| | 00:32 | You might think of the Bridge as a bridge
between the various CS5 applications, or
| | 00:36 | as a central command post like the
bridge of the Starship Enterprise.
| | 00:41 | Both analogies work.
| | 00:42 | This is one extraordinary and
ultimately approachable program.
| | 00:46 | Really, you're going to fall
in love with the DAM thing.
| | 00:50 | If you're familiar with previous
versions of the Bridge, here's the new stuff:
| | 00:54 | batch exporting Camera Raw images as
JPEG files, string substitution and regular
| | 00:59 | expressions, and the MiniBridge inside Photoshop.
| | 01:02 | Now that part was just for the
experienced users. Don't worry.
| | 01:06 | They didn't understand what I was
talking about either, although they will.
| | 01:09 | The rest of you, heck, all
of you, hold onto your hats.
| | 01:13 | The Bridge is nothing
short of an imaging adventure.
| | Collapse this transcript |
| Making a new image| 00:00 | In this exercise, I'm going to show
you how to open an image inside of
| | 00:04 | Photoshop, the seemingly easy thing to do.
| | 00:06 | But I'll provide some tips
and tricks along the way here.
| | 00:09 | Now when you first launch Photoshop,
you're going to see this gray application
| | 00:14 | frame here on the PC.
| | 00:16 | If you want to see the application frame
on the Mac, you go up to the Window menu.
| | 00:19 | And you choose the Application Frame
command, which will be down here someplace.
| | 00:24 | Or, if you don't have the Application
Frame turned on, meaning that you're
| | 00:27 | covering up the background applications
instead, you will reveal your background
| | 00:32 | applications on the Mac.
| | 00:33 | But what you won't see in any
case is any form of welcome screen.
| | 00:39 | Notice that Photoshop just launches
and says good luck, which is actually
| | 00:44 | probably a good thing because it
would be a disingenuous gesture on
| | 00:48 | Photoshop's part if it did welcome
you, because really nothing about the
| | 00:51 | software is all that welcoming.
| | 00:53 | This is Photoshop's way of telling you
right up front, you are on your own,
| | 00:57 | with my help of course.
| | 00:59 | So to get an image started,
you go up to the File menu.
| | 01:02 | And you can choose either the New command, or
as we'll see in a moment, the Open command.
| | 01:07 | Now while the New command is very
popular inside of other software, you use New
| | 01:12 | a lot in order, of course,
to start a new document.
| | 01:14 | You don't tend to work that
way in Photoshop all that often.
| | 01:18 | You may create a new image.
| | 01:20 | And then start painting in it or that
kind of thing or importing other images in
| | 01:24 | order to build up a layered composition,
but more often than not you're opening
| | 01:28 | the image to serve as at least a
background for your other layers.
| | 01:32 | Anyway, let's start with New
though just so you can see it.
| | 01:34 | Ctrl+N, Cmd+N on the Mac
brings up the New dialog box.
| | 01:38 | And these are the default settings
right here Width and Height, which is fine,
| | 01:42 | seems like a fairly large image to work with.
| | 01:45 | However, the Resolution is only 72
pixels/inch, which is extremely low.
| | 01:50 | Now we'll be discussing Resolution
in all kinds of detail in Chapter 5.
| | 01:53 | But for now, just note this is
an extremely low-resolution value.
| | 01:58 | Now you're going to see different
numerical settings, if you have copied
| | 02:02 | something to the clipboard.
| | 02:03 | So if you've copied a portion of an
image, or you've taken a screenshot- very
| | 02:07 | common way to work- then you're going to
see the dimensions of that copied image
| | 02:11 | or a screenshot here inside the New dialog box.
| | 02:14 | You would then click OK and paste away.
| | 02:16 | Now one little note for those of
you who are shooting screenshots:
| | 02:20 | If you want accurate color out of
Photoshop, then you want to do this.
| | 02:25 | You want to click on this double down
pointing arrowhead here in order to
| | 02:28 | reveal the Advanced options, and you
want to change your Color Profile for this
| | 02:33 | image to whatever profile that
you're using for your monitor.
| | 02:36 | Now you probably don't
know what that profile is.
| | 02:39 | So here's how you check it out.
| | 02:41 | I'm going to Cancel for a moment.
| | 02:43 | And I'm going to go up to Edit menu.
| | 02:45 | And I'll choose the Color Settings
command, Ctrl+Shift+K, Cmd+Shift+K. We
| | 02:48 | saw it back in the introduction to the series.
| | 02:51 | And if you go to RGB right there,
click the down pointing arrowhead, you will
| | 02:55 | see Monitor RGB is something.
| | 02:58 | And in my case and this
is very typical on the PC.
| | 03:01 | It's sRGB IEC61966-2.1, which may seem
like the kind of thing you're never going
| | 03:08 | to remember in a million years, except
for the fact that there is only one sRGB
| | 03:11 | profile inside of Photoshop,
so you'll just need to use it.
| | 03:16 | Anyway, so now we know
what our Monitor Profile is.
| | 03:18 | On the Mac, it's probably going to be
something else, because Macintosh monitors
| | 03:22 | ship with specific profiles,
some PC systems too as well.
| | 03:26 | Anyway just write down, whatever your
Monitor RGB value is, then Cancel out.
| | 03:31 | You don't want to change that.
| | 03:32 | Then go back to the File menu, choose the
New command, Ctrl+N, Cmd+N on the Mac.
| | 03:37 | Here inside the Advanced section, change
your Color Profile to whatever that was.
| | 03:42 | In my case, it's sRGB. And then click OK.
| | 03:45 | And then paste the contents of your screenshot.
| | 03:48 | So you may recall this was all about
getting a color accurate screenshot because
| | 03:53 | otherwise you will see the colors
change, when you paste your image.
| | 03:57 | Anyway, I'm just going to go ahead and
click OK in order to create this new image here.
| | 04:01 | And you can see, it's not very big.
| | 04:02 | I'm seeing the image at the 100% zoom
ratio, which means I'm seeing one screen
| | 04:06 | pixel devoted to each and every image pixel.
| | 04:09 | And yet even in this very
dinky screen that I'm filming here.
| | 04:13 | I can see each and every pixel inside
this image, which means that this is like
| | 04:17 | a postage stamp of an
image, not much to work with.
| | 04:20 | Then I presumably would start
painting around inside of it what have you.
| | 04:24 | Anyway I'm done with this guy.
| | 04:25 | I'm going to close out, and you can
close an image either by clicking in the
| | 04:29 | close box up here in the
tab, if you're seeing a tab.
| | 04:32 | If you're seeing an independent
floating image window as you will, by default,
| | 04:36 | on the Mac, and I can get to that here
in the PC, by the way, by clicking on
| | 04:39 | this Arrange Documents icon right
there, and choosing Float all Windows.
| | 04:44 | Now, we'll go ahead and float my window,
then I'll see a close box over here in
| | 04:48 | the upper-right corner on the PC.
| | 04:50 | On the Mac, it's in the upper
left-hand corner. Close out.
| | 04:52 | You're not going to be asked to save changes
in this case, because we didn't do anything.
| | 04:57 | You would be asked to save changes if you
had done anything to the image. All right.
| | 05:01 | So that's how you create a
new image inside of Photoshop.
| | 05:05 | In next exercise, I'm going to
show you how to use this guy right here,
| | 05:09 | the Open command.
| | Collapse this transcript |
| Opening an image| 00:00 | In this exercise, I am going to show you
how to use the Open command inside Photoshop.
| | 00:04 | Now, some of you might be thinking, oh,
for crying out loud, I do not need your
| | 00:08 | help to use the Open command.
| | 00:10 | I think I can handle that all by my big old
self, which is true, absolutely, of course.
| | 00:15 | However, what I am going to be doing is
showing you a few things you might not
| | 00:17 | know about the command.
| | 00:18 | A few things that might hang you
up, as well some tricks, of course.
| | 00:22 | So you might want to stay tuned.
| | 00:24 | Now, here I am confronted by the ultra
unfriendly Application Frame inside of Photoshop.
| | 00:29 | I'll go up to the File menu, and I'll
choose the Open command or press Ctrl+O,
| | 00:33 | Cmd+O on the Mac.
| | 00:35 | However, there is another way to work.
| | 00:38 | Very few people know about this one.
| | 00:39 | It's a really cool technique.
| | 00:40 | If you're seeing the Application Frame
as I am here on the PC, if you're not
| | 00:44 | seeing it on a Mac, you can go the
Window menu and choose the Application Frame
| | 00:48 | command, which exist between tools
Presets and Options somewhere.
| | 00:53 | Then you'll see the gray Application
Frame, double-click on it and bang!
| | 00:57 | Up comes the Open dialog box.
| | 00:59 | Now, I've navigated my way to the
Felix Mizioznikov folder, which is found
| | 01:03 | inside the 03_open_org folder inside
the exercise_files folder, which is
| | 01:07 | available to those of you who are
Premium members or have access to the DVD
| | 01:11 | version of the series.
| | 01:12 | Felix is a photographer with the
Fotolia Image Library- about which you can
| | 01:17 | learn more and get a special deal
if you so desire at fotolia.com/deke.
| | 01:23 | Now, notice that I have five JPEG images
inside this folder, or so it would seem.
| | 01:28 | This guy isn't actually a JPEG image.
| | 01:30 | We'll come to that in a future exercise.
| | 01:33 | But just know if you try to double-click
on it right now, it won't open properly.
| | 01:37 | However, you may or may
not see them all on the PC.
| | 01:40 | Now, on the Mac, you'll definitely see him.
| | 01:41 | On a PC, it's possible to have hidden
files inside the Open dialog box because
| | 01:47 | of the Files of type options.
| | 01:49 | So if it's set to anything other than
All Formats, for example, let's say I set
| | 01:53 | it to the native Photoshop format.
| | 01:55 | I'd have to scroll up this list using
the scroll wheel on my mouse, click on
| | 01:59 | Photoshop (*.PSD.*.PDD).
| | 02:03 | As soon as I choose that option,
I don't see any images anymore.
| | 02:06 | That's because Files of
type, only on a PC, acts as a filter.
| | 02:11 | So I'm only seeing the PSD files
inside of this folder, which, between you and
| | 02:16 | me, I think is the dopiest feature on earth.
| | 02:18 | It's totally a Microsoft thing.
| | 02:20 | And, while it can be occasionally useful, it's
more likely to just absolutely throw you.
| | 02:25 | So here's how you solve the problem.
| | 02:27 | If you go to a folder and you know it's
just chockfull of images but you can't see
| | 02:30 | any of them, drop down to Files of
type, click on it, and then you need to
| | 02:34 | change it back to All Formats, which
can be a little confusing because at first
| | 02:38 | you are not going to
necessarily see All Formats.
| | 02:41 | What you are going to see is an awful lot
of file formats, a confusing array, in fact.
| | 02:47 | But it's actually really great news.
| | 02:48 | What this means is that Photoshop is
capable of opening all kinds of file
| | 02:55 | formats, anything, virtually,
that contains pixels, it can open.
| | 02:59 | And even file formats that are not
pixel-based formats, it can open as well.
| | 03:03 | And you don't have to import the way you do
inside of other programs or place necessarily.
| | 03:08 | You can just open the file, which is awesome.
| | 03:12 | However, if you're unfamiliar with this
huge array of formats including, look at
| | 03:17 | all these Raw format here.
| | 03:19 | This list is so long that it goes
off the right-hand side of the screen.
| | 03:23 | If you're not familiar with all these
formats and all you want to do is get to
| | 03:26 | the All Formats option,
| | 03:28 | it can be a little queasy-making
because actually that particular option is
| | 03:32 | dropped off the bottom of my menu.
| | 03:33 | So I have to use my scroll wheel to go
down the list and then choose All Formats.
| | 03:38 | And once again, I will see
my JPEG images. All right.
| | 03:41 | Now I am going to go ahead and click on
Stylish young couple.jpg in order to select it.
| | 03:45 | And then I could click on the Open
button to open it on up, or I could just
| | 03:49 | double-click on it, like so.
| | 03:52 | That will open the image inside of Photoshop.
| | 03:53 | Now, I am going to press Ctrl+Plus, or
Cmd+Plus on the Mac, to zoom in on the
| | 03:57 | image, and we will discuss more of the
navigation options that are available to
| | 04:02 | you in the next chapter.
| | 04:03 | Tons of ways to zoom and
pan inside of Photoshop.
| | 04:07 | But for now, let's say I want to
take this incredibly sexy image.
| | 04:11 | I just love this photograph.
| | 04:12 | This guy has the best expression on his
face any guy has ever had. I love that.
| | 04:18 | And they're both beautiful and so on.
| | 04:20 | But let's say I want to make
some modifications to the image.
| | 04:22 | I'm going to go ahead and select this
area using my Rectangular Marquee tool.
| | 04:27 | And then I'm going to press the
Backspace key or the Delete key on a Mac.
| | 04:31 | That brings up the Fill dialog box here
inside of CS5, when you're working on a
| | 04:34 | Background layer like this.
| | 04:36 | And I am going to leave Use set to
this new Content-Aware feature that I just
| | 04:40 | love, because it's capable of analyzing
the image and figuring out what ought to
| | 04:46 | go inside of this area in order to heal
away blemishes and that kind of thing.
| | 04:50 | But also, it just makes the
most interesting decisions.
| | 04:55 | It's quite the tool
actually for happy accidents.
| | 04:58 | And I'll click OK in order to accept
whatever it is that Photoshop decides to do.
| | 05:03 | And it just gets surreal on me.
| | 05:05 | Notice that that is just gorgeous.
| | 05:07 | Just some bunch of hair, in space. Beautiful!
| | 05:11 | Excellently done there, Photoshop. All right.
| | 05:14 | And now let's say I want to close the image,
because I am done working on it. My goodness!
| | 05:18 | That was, phew, a big day.
| | 05:20 | So I can either close the image by
clicking on this little X here in the titlebar.
| | 05:25 | Or if you're seeing the image float in
an independent window, and I could make
| | 05:29 | that happen by going up to the Arrange
Documents icon up here in the Application
| | 05:33 | Bar and choosing Float All Windows.
| | 05:36 | Now, I have a floating window, and I
would click the big red X up here in the
| | 05:41 | upper right-hand corner on Windows or
on the Mac, you have a much more subtle
| | 05:46 | sort of little circle over
in the upper left-hand corner.
| | 05:49 | Or you could go to the File menu and
choose the Close command or press Ctrl+W,
| | 05:54 | Cmd+W on the Mac.
| | 05:56 | Any of those options is going to work for you.
| | 05:58 | However, you are going to be alerted,
hey, you've made some changes, some just
| | 06:02 | fantastic changes to Stylish young couple.jpg.
| | 06:05 | Would you like to save
those changes? Yes or No.
| | 06:08 | Here are on the PC it's going to Save or
Don't save, on the Mac followed by Cancel.
| | 06:13 | So if you want to cancel,
in other words, oh wait!
| | 06:16 | I didn't mean close.
| | 06:17 | I just want to go back to the image.
| | 06:19 | Then you click on the Cancel
button, or you press the Escape key.
| | 06:21 | If you do want to save your changes,
you can just press the Return or Enter key
| | 06:26 | because this is the default button right here.
| | 06:28 | But if that's not working for you,
you would press Y for Yes on the PC or S
| | 06:32 | for Save on the Mac.
| | 06:35 | If you don't want to save your changes,
you just want to close the image and
| | 06:38 | abandon these wonderful surreal curly cues
right here, which is exactly what I want to do,
| | 06:43 | I don't want to save my changes.
| | 06:44 | Then you can either click on No or
Don't Save, or you can press the N key here
| | 06:49 | on a PC, N for No, or D
for don't Save on the Mac.
| | 06:53 | And that's what I'm going to do,
and I've now close my image.
| | 06:55 | I've gone full circle from opening
an image, making a change, closing it,
| | 06:59 | not saving my changes.
| | 07:00 | In the next exercise, I'll show you
how to use the Open command to open
| | 07:05 | multiple images at a time.
| | Collapse this transcript |
| Opening and closing multiple images| 00:00 | So we've seen how you use the
Open command to open a single image.
| | 00:03 | Now, let's open multiple images.
| | 00:05 | I am going to go up to the File menu
and choose the Open command once again.
| | 00:08 | Ctrl+O, Cmd+O on the Mac or, of
course, just double-click inside of the
| | 00:13 | empty Application Frame.
| | 00:15 | And now, I am going to go
ahead and grab many images at once.
| | 00:19 | Let's say I want to select
a select a range of images.
| | 00:21 | I could click on Peek-a-boo.jpg
here inside the Felix Mizioznikov
| | 00:24 | folder, which is inside the 03_
open_org folder incidentally.
| | 00:29 | And then I could Shift-click on Sunglasses at dusk.
| | 00:32 | What that does, by virtue of the fact
I pressed Shift and clicked, I went ahead
| | 00:35 | and selected all the images
in between those two as well.
| | 00:39 | Another way to work is you can
do a little marquee, like so.
| | 00:43 | So you have to make sure that you are
marqueeing in an empty area inside the
| | 00:47 | Open dialog box in order to select all
the images that fall under that marquee,
| | 00:51 | or you can select multiple non-adjacent images.
| | 00:53 | For example, if I click off the
thumbnails to deselect them, and then I click
| | 00:57 | let's say on Sunglasses at dusk.jpg
and Ctrl-click on Radical low angle.jpg.
| | 01:03 | That would be a Cmd-click on the Mac.
| | 01:06 | Then I select just those two images.
| | 01:08 | I don't select the range of images in between.
| | 01:11 | But what I want is all four of these guys.
| | 01:12 | Don't get Two young women.jpg yet.
| | 01:15 | There's a problem with that image.
| | 01:17 | I'll show you how to work
around it in the very next exercise.
| | 01:20 | But for now just grab these
four and click on the Open button.
| | 01:23 | And that's going to open all four of
the images inside of this tabbed window
| | 01:27 | interface here on a PC.
| | 01:29 | Now, on a Mac, you may see
multiple floating windows instead.
| | 01:33 | And if you want to switch to multiple
floating windows, here on a PC or in the
| | 01:38 | Mac, I could go up to the Arrange
Documents icon in the Application frame, click
| | 01:42 | on it and choose Float All in Windows.
| | 01:45 | Now, I have a bunch of floating image
windows, like so, that I can move to
| | 01:49 | any location I want.
| | 01:50 | Notice that they are perfectly happy to
move on top of elements of the interface.
| | 01:56 | So you can completely clutter up your
interface if you want to, as I've done right here.
| | 02:02 | If you decide later, gosh,
| | 02:03 | this is kind of a mess,
| | 02:04 | I would like to consolidate everybody
inside of the tabbed window interface once again.
| | 02:09 | Then go back up here to Arrange
Documents, click on it and choose this very
| | 02:13 | first option, Consolidate All or if you
have loaded dekeKeys, you have a keyboard
| | 02:17 | of Ctrl+Shift+A on the PC or Cmd+Shift+A
on the Mac, and that's going to
| | 02:23 | tidy up your display as you see it here.
| | 02:25 | We'll be discussing the tabbed window
interface in more detail in a later chapter.
| | 02:30 | But for now, I want to show you one more thing.
| | 02:32 | Let's say you don't want all of
your images to be tabbed, by default.
| | 02:37 | You want them to open in independent windows.
| | 02:40 | You would press Ctrl+K or Cmd+K
on the Mac in order to bring up the
| | 02:43 | Preferences dialog box.
| | 02:45 | Then you would drop down to Interface.
| | 02:47 | Notice this option Open Documents as Tabs.
| | 02:50 | Turn it off, click OK.
| | 02:52 | Let's go ahead and close all of these images.
| | 02:55 | I'll go to the File menu and
choose the Close All command.
| | 02:57 | Ctrl+Alt+W or Cmd+Option+W on a Mac.
| | 03:01 | That closes everybody.
| | 03:02 | Then I'll double-click in the
Application Frame once again.
| | 03:05 | Select all of these guys, so click on
one, Shift-click on the other, like so,
| | 03:09 | inside the Felix Mizioznikov folder.
| | 03:12 | Click Open and everybody opens inside
of an independent floating image window.
| | 03:17 | Now, I need to show you one more thing.
| | 03:19 | This is a really cool feature.
| | 03:21 | This is one of the just-do-it
features inside of Photoshop CS5.
| | 03:24 | I am going to press Shift+Tab for a
moment, that's not a new feature, in order
| | 03:29 | to hide the right side panels.
| | 03:31 | And I am going to move these guys over a
little bit so I can see all of them at once.
| | 03:36 | There's ways to automate this,
but I'm just playing around here.
| | 03:39 | What I'm going to do, just so that
I've made a change inside of everyone of
| | 03:43 | these images, I am going to go ahead
and make little selections and press
| | 03:46 | the Backspace or the Delete key
on the Mac in order to do some more
| | 03:50 | Content-Aware filling like that.
| | 03:51 | That didn't make much of a
difference inside of this image.
| | 03:54 | Let's try it right there and see
if get something cool, click OK.
| | 03:58 | Once again, even though it doesn't look like
much of anything happened, we did make a change.
| | 04:03 | I'll drop down.
| | 04:04 | This is going to make a very
big change if I select his face.
| | 04:07 | I'll press the Backspace
key, Delete key on the Mac.
| | 04:09 | Click OK, and let's see what it
replace his face with. Oh, perfect!
| | 04:14 | Now, over to this image here and
select it, and then, press the Backspace
| | 04:20 | key or the Delete key on the Mac. Click OK.
| | 04:22 | Now, the only reason I'm doing this
is so there's some change made to each
| | 04:26 | one of these images.
| | 04:27 | In case you think I am just goofing around,
which admittedly I am. Wow! That looks good.
| | 04:32 | All right.
| | 04:32 | Now, I'll go up to the File menu, and
I will choose Close All, Ctrl+Alt+W,
| | 04:37 | Cmd+Option+W on the Mac.
| | 04:38 | Here's the new feature.
| | 04:40 | Instead of having to respond to
Photoshop as to whether you want to save your
| | 04:45 | changes or not on an image by image basis.
| | 04:49 | You can say Apply to All.
| | 04:50 | So if you do want to update all of
images, select Apply to All and then click
| | 04:55 | Yes, or Save on the Mac.
| | 04:58 | If you don't want to save any of your
changes, as I don't, then select Apply To
| | 05:02 | All and click No on the PC,
or Don't Save on the Mac.
| | 05:06 | And then everybody just goes away.
| | 05:08 | Such a timesaver for those of you who are
used to opening multiple images at the same time.
| | 05:14 | Really, great new feature.
| | 05:15 | In the next exercise, I'm going to
show you how to open an image that just
| | 05:20 | doesn't want to open inside Photoshop.
| | Collapse this transcript |
| Opening a problem image| 00:00 | In this exercise, I'm going to
show you how to open a problem image.
| | 00:03 | That is, an image that doesn't
want to open inside of Photoshop.
| | 00:07 | So I'll go to the File menu, choose the
Open command, Ctrl+O, Cmd+O on the Mac.
| | 00:11 | Navigate my way to the Felix
Mizioznikov folder, found inside the
| | 00:15 | 03_open_org folder.
| | 00:17 | Notice this image right there, Two
young women.jpg. I'll click on it.
| | 00:21 | It looks great.
| | 00:22 | It's got a beautiful thumbnail.
| | 00:23 | I could see a larger version of the
thumbnail down here at the bottom of the dialog box.
| | 00:28 | If I hover over it, it
tells me it's a JPEG file.
| | 00:31 | I can even get a larger version of the
thumbnail here on the PC by going up to
| | 00:36 | the View menu and choosing Extra large icons.
| | 00:39 | And then I could scroll my way down,
and the image is looking great. Awesome!
| | 00:43 | I want to open that image.
| | 00:45 | I've got All Formats selected here on a PC.
| | 00:47 | So I can get to the JPEG image.
| | 00:49 | Everything is going great.
| | 00:50 | I click on the Open button, and I get
this error message, which says Could not
| | 00:54 | complete your request because an
unknown or invalid JPEG marker type is found.
| | 00:58 | What the heck does that even mean?
| | 01:00 | I have no idea what a JPEG marker type
is, valid or invalid, known or unknown.
| | 01:05 | It doesn't darn any sense to me.
| | 01:06 | And the only thing I can do
is click on the OK button.
| | 01:09 | So this is an absolute exercise in
frustration. What is wrong with this file?
| | 01:13 | Well, there's one of two problems.
| | 01:15 | One, it's corrupted.
| | 01:17 | And if you have got a corrupt file,
you have to get a new copy of it.
| | 01:21 | So corrupt files are not common, but
they do happen every once in a while,
| | 01:25 | when you are downloading an image from
an FTP, or when you're getting an image
| | 01:30 | via e-mail, or from a Web site, or
something along those lines where the file
| | 01:35 | didn't upload all the way.
| | 01:37 | Just maybe a byte of data didn't go
with the file, and that can ruin the entire
| | 01:41 | image, quite frankly.
| | 01:43 | The solution is to get a new copy of
the image from whoever sent it to you
| | 01:46 | in the first place.
| | 01:47 | But what if it's your image?
| | 01:49 | What if you created it inside of
Photoshop some other time, saved it off,
| | 01:53 | everything was A-okay, now
you're tying to open it again?
| | 01:56 | Well, what might have happened, this
is the second thing that can go wrong, is
| | 02:00 | you gave it the wrong extension.
| | 02:01 | It's actually a TIFF file or a PSD
image and somehow, it got a JPG extension.
| | 02:07 | So Photoshop thinks it's a
JPEG image. You click OK.
| | 02:10 | If that's the problem and, of course, you don't
know, you're just going to have to speculate.
| | 02:14 | You click OK, go up to the File menu,
and if you are working on the Mac, go
| | 02:19 | to the Open command.
| | 02:20 | If you're working on the PC,
you drop down here to Open As.
| | 02:23 | So I'll show you the PC way, because
it's a little harder to figure out.
| | 02:27 | Go to the Open As command
here and then select your file.
| | 02:31 | So go ahead and scroll your way
down, click on Two young women.jpg.
| | 02:34 | And then, change Open As to the file
format you think you might have used.
| | 02:39 | Now, there is no way that's you are going to
get any help from Photoshop in this department.
| | 02:44 | It's telling you it's a JPEG image.
| | 02:45 | That's what it thinks.
| | 02:47 | That's why it thinks it has an unknown or
invalid JPEG marker type, the whole number.
| | 02:52 | It doesn't know what it is either.
| | 02:54 | You are just going to have to make some guesses.
| | 02:58 | You can do that by clicking
on the Open As option here.
| | 03:02 | This is the way you'd work on a Mac too.
| | 03:03 | You're inside the Open dialog box.
| | 03:05 | You Mac people, you would choose the format here.
| | 03:09 | You would just try something.
| | 03:10 | For example, you could try .PSD and see if it works.
| | 03:13 | You'll get another error message,
because that not the right format.
| | 03:16 | The right format in this case is TIFF.
| | 03:18 | So go ahead and choose the TIFF format.
| | 03:21 | Even though it's a JPEG image or so it says.
| | 03:23 | It thinks it's a JPEG image.
| | 03:25 | The file has a kind of identity problem.
| | 03:27 | It's actually a TIFF image. So click Open.
| | 03:30 | Now, lo and behold, it opens just fine.
| | 03:32 | Now, what you would do, of course, is
you would go the File menu, you would
| | 03:36 | choose Save As, and you would make sure
to give it a TIFF extension, .tif, which
| | 03:43 | will happen by default, incidentally.
| | 03:45 | And then you click Save, save off
the image, and you're good to go.
| | 03:47 | Anyway, I am going to cancel out.
| | 03:49 | This is supposed to be a problem
file for purposes of our exercise.
| | 03:53 | Notice, however, that it opens in an
independent floating image window. I don't want that.
| | 03:58 | I need to go back to Preferences, press
Ctrl+K, Cmd+K on the Mac, switch to
| | 04:03 | Interface, and then turn on Open
Documents as Tabs so that I open my images
| | 04:08 | inside of the tabbed window
interface in the future. Click OK.
| | 04:10 | All right.
| | 04:11 | I'm done with this image.
| | 04:12 | So I'll click the Close box in
order to close it, not save my changes.
| | 04:17 | And that is how you open improperly
identified images here inside Photoshop.
| | Collapse this transcript |
| Adding file information| 00:00 | In this exercise, I want to show you
how to add File Info to an image, so
| | 00:04 | you can annotate your Image with Author
information, copyright information and so forth.
| | 00:10 | So people know where your image came
from, and I really want you to get in a
| | 00:14 | habit of doing this.
| | 00:15 | If you are a Photographer, you should
be entering your information into every
| | 00:19 | photograph you put out there.
| | 00:20 | If you're an Art Director, you
should be using this to keep track of your
| | 00:24 | assets, and your artists,
and your authors, and so on.
| | 00:26 | If you're an Artist, you should
obviously annotate your image as well, because
| | 00:30 | those images are going to get out into
the larger world, people of good faith,
| | 00:34 | believe me, are going to be looking
at those images, and if they like them,
| | 00:38 | they're going to want to get a hold of
you. And if they don't have your Contact
| | 00:41 | Info in there, then there's no way
they're going to find you, and that's
| | 00:45 | generally a bad thing. All right.
| | 00:46 | So go up to the File menu, choose the
Open command, Ctrl+O, Cmd+O on the
| | 00:50 | Mac, and we're going to open one
of these Felix Mizioznikov images.
| | 00:54 | Let's go with a Radical low angle,
which is actually a really cool shot, and
| | 00:58 | click on the Open button in order to
open up that image, and I'm going zoom in
| | 01:02 | to the image by pressing Ctrl+Plus or
Cmd+Plus on the Mac, and I'm just using my
| | 01:07 | scroll wheel to scroll on up there.
| | 01:09 | Now then, in order to annotate the image,
and this is what's known as metadata. That
| | 01:13 | is, extra data that's included with
the image, and the reason it's extra is
| | 01:17 | because it's not a pixel.
| | 01:18 | It's not describing the color of a
pixel inside of a layer, which is the main
| | 01:22 | mission of data inside of Photoshop.
| | 01:25 | But this extra metadata is ancillary
data that can be used to identify the image.
| | 01:31 | So go to the File menu, and choose
this command right there File Info.
| | 01:35 | Notice it has quite the keyboard shortcut.
| | 01:37 | You have to mash your fist on the
Modifier keys here, Ctrl+Shift+Alt+I or
| | 01:41 | Cmd+Shift+Option+I on the Mac.
| | 01:43 | And I must admit, I'm actually
responsible for this keyboard shortcut, because I
| | 01:47 | asked Adobe to move some things
around, so you can blame me for.
| | 01:50 | But anyway, it brings up the File Info
dialog box, and you're going to start
| | 01:55 | things off by seeing the
Description Field right here.
| | 01:57 | And notice I've gone ahead and
included a lot of information along with this
| | 02:01 | image, like the specific File Number of
that image at the Fotolia Image Library,
| | 02:06 | the name of our Photographer as well.
And the Description, and I should say that
| | 02:11 | some of this was done by
the Photographer himself.
| | 02:13 | So Felix did a pretty good job of
putting some of his information in there.
| | 02:17 | He didn't fill out the Author Field, but
he did fill out a Copyright Notice down
| | 02:20 | here at the bottom, so that helped me out.
| | 02:22 | And he did include these Keywords, and
notice that each one of the Keywords is
| | 02:26 | separated by a semicolon.
| | 02:28 | I'll show you more about Keywords
when we take a look at the Keyword panel
| | 02:31 | inside the Bridge, but this
is another way to enter them.
| | 02:33 | You can just enter a semicolon and
then type in cool or something along those
| | 02:37 | lines, if you want that to be a Keyword.
| | 02:39 | It's not the greatest Keyword on
Earth, but still it's very true.
| | 02:42 | Now drop down to Copyright Status and
if this is a copyrighted image, in other
| | 02:46 | words you want it to be copyrighted as
opposed to you've actually applied for a copyright.
| | 02:51 | That's up to you.
| | 02:52 | But if you want to mark it as
Copyrighted you can, and you do that by changing
| | 02:56 | this option to Copyrighted, you can
also mark it as Public Domain if you would
| | 02:59 | prefer, so that everybody knows
they can use it as much as they want.
| | 03:03 | When you mark it as Copyrighted, you
will see a little copyright symbol up here
| | 03:08 | in the Title Bar of the Image Window.
| | 03:11 | So that's actually a really helpful thing.
| | 03:13 | Now drop down here and actually enter a
Copyright Notice so people know who the
| | 03:18 | copyright holder is, and I did a
wonderful job of entering a Copyright Notice.
| | 03:22 | Notice this image is copyrighted.
| | 03:24 | I'm very hopeful about the World,
the year 20101, yes the human race will
| | 03:31 | survive, and we'll still have
copyrights. That's awesome.
| | 03:34 | And there will be people named Felix,
this is a wonderful world. Or I could do
| | 03:38 | something more reasonable like take this
down to the year 2010, which is fine as well.
| | 03:42 | But what I really want to show you is how to
make that copyright symbol, so let's do that.
| | 03:47 | I'll do ahead and knock this text
down a little bit and went ahead and
| | 03:49 | added that one back in.
| | 03:51 | Now I'm going to click there.
| | 03:52 | In order to enter copyright symbol on a Mac.
| | 03:55 | Very easy, you press Option+G as in gee whiz.
| | 03:59 | I don't know why G stands for the
copyright symbol, but it does, Option+G. On a
| | 04:04 | PC it's a little more work.
| | 04:05 | What you have to do is dial in the
code for this character, and the code is
| | 04:11 | 0169, not necessarily the kind of thing
you're going to remember, so you might
| | 04:15 | want to write it down.
| | 04:17 | But in order to dial in a code, you
have to press and hold the Alt key and then
| | 04:21 | dial the code in, on the numerical keypad.
| | 04:24 | So here's what you do.
| | 04:25 | You press and hold Alt, so have that
key down, then dial sequentially 0169 on
| | 04:32 | your numerical keypad, has to be
that way, and then release the Alt key.
| | 04:36 | And as soon as you release Alt,
you should see a copyright symbol.
| | 04:39 | So once again, that's Alt down, 0169
on the numerical keypad, release Alt.
| | 04:46 | You've got yourself a copyright symbol.
| | 04:48 | I don't need that of course, because
I already have one, but I did want to
| | 04:51 | show you how to make it.
| | 04:52 | Next, enter a URL. Very important. So
that is a Web address, and I've gone
| | 04:58 | ahead and created one for this image,
and you can test it if you want to by
| | 05:01 | clicking on Go to URL.
| | 05:03 | Notice you don't have to enter http://.
| | 05:07 | If you need www., then go ahead and
enter that, for most addresses, however,
| | 05:13 | that's not necessary.
| | 05:14 | So I'll take the guy out, click Go to URL in
order to test the link, and you're good to go.
| | 05:19 | Now after this point, what I recommend
you do is you go ahead and save off a
| | 05:23 | metadata template, and you can do
that by clicking on this down pointing
| | 05:27 | arrowhead, and you see I have a few
metadata templates that I've created along
| | 05:31 | the way here, and I'll
choose the Export command.
| | 05:34 | That's what you would do too, and it
doesn't make any sense for saving something
| | 05:38 | you have to the choose Export,
but this is the way it works.
| | 05:40 | So choose Export, and then let's go
ahead and call this something like Felix
| | 05:44 | 2010, since I got the date wrong, and
I'll click on the Save button, in order to
| | 05:49 | save out that template, and then I'll
click on OK in order to update my image,
| | 05:54 | and now notice I see a little Asterisk
up here in the title bar, which tells me
| | 05:59 | that I have unsaved changes, because I
did make some changes to my metadata.
| | 06:03 | Go up to the File menu and choose the Save
command in order to update the image if you like.
| | 06:07 | However, what I'm going to do is go
to the File menu and choose the Open
| | 06:10 | command, Ctrl+O or Cmd+O on the
Mac, and I'm going to open this guy,
| | 06:13 | Sunglasses at dusk, click on the
Open button, and then zoom in by pressing
| | 06:18 | Ctrl+Plus, Cmd+Plus on the Mac and
scroll on up with my scroll wheel.
| | 06:22 | Go to the File menu, choose the
File Info command, Ctrl+Shift+Alt+I,
| | 06:27 | Cmd+Shift+Option+I on the Mac to
bring up the File Info dialog box, and then
| | 06:31 | we'll switch from Export here to Felix 2010.
| | 06:36 | And notice now that Felix 2010 becomes a kind
of button that I can click on in the future.
| | 06:42 | Now at this point, what Photoshop is
going to do is ask you, Do you want to
| | 06:47 | clear out the existing properties
and replace with template properties?
| | 06:49 | In other words, I'm going to replace
all these fields with those I saved in the
| | 06:53 | template, which normally is a great way to go.
| | 06:56 | However, I've already metadata-ed this image
so it's probably not the wisest approach.
| | 07:00 | But if you're just working with an
image, and you've never bothered to
| | 07:03 | metadata it before, this is a great
option, because that way you wipe out
| | 07:08 | Camera models, sometimes cameras go
ahead and include the Camera model here in
| | 07:11 | the Description Field in all caps.
| | 07:13 | I find that to be very irritating, and
you probably want to wipe it out and put
| | 07:17 | something else in there.
| | 07:18 | Or you can keep the original metadata,
but replace matching properties from
| | 07:21 | template, or you can keep the
original metadata, but append matching
| | 07:26 | properties from the template.
| | 07:27 | Well my case, none of that's
going to be the right thing to do.
| | 07:29 | Because, even if I say Keep original
data, but replace matching properties,
| | 07:33 | click OK, then I'm going to see
something like low angle woman on a bench, which
| | 07:38 | is not the right
description for this particular image.
| | 07:41 | So I'm going to Cancel out, and I'll
revisit the dialog box by going to the File
| | 07:46 | menu, choosing the File Info command,
Ctrl+Shift+Alt+I, Cmd+Shift+Option+I
| | 07:50 | on a Mac, let's get rid of this
Copyright Notice Field, and this time I'll click
| | 07:55 | on Felix 2010, and I'll say Keep
original metadata, but append matching
| | 08:00 | properties from template. Click OK.
| | 08:02 | And that will just throw in that
information into that blank field and leave
| | 08:06 | everything else alone.
| | 08:07 | You can see Description, now it
says, Man squatting on the street.
| | 08:10 | That's what we want.
| | 08:11 | Obviously, the Keywords are
right, because it's man, male,
| | 08:13 | guy, squat,
| | 08:14 | squatting, street,
| | 08:15 | sidewalks, blah, blah, sunglasses,
which the woman wasn't wearing, and I'd
| | 08:20 | click OK, in order to modify this image.
| | 08:23 | So that is how you assign metadata and
copyright information to an image and
| | 08:28 | replicate that
information inside of other images.
| | 08:32 | In the next exercise, I will
introduce you to the Adobe Bridge.
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| Introducing Adobe Bridge| 00:00 | So, it's all very well and good to
open an image using the Open command.
| | 00:04 | And back in the introduction to this series,
we set things up so that you can open
| | 00:07 | an image inside Photoshop just by
double-clicking on it at the desktop level.
| | 00:11 | However, I'd like you to get in the habit
of opening images in a different way, and
| | 00:17 | that is using the Adobe Bridge.
| | 00:19 | Now, the Bridge is an entirely separate
application that ships with every single
| | 00:23 | copy of Photoshop out there.
| | 00:25 | So whether you buy Photoshop alone or as
part of one of the many versions of the
| | 00:29 | Creative Suite, you get the Bridge.
| | 00:32 | The Bridge allows you to
open and organize image files.
| | 00:35 | You can also open and organize
illustrations for Adobe Illustrator, InDesign
| | 00:39 | files, Flash files, Dreamweaver
files, movies even, if you want to.
| | 00:44 | In fact, you can open and organize PDF documents
or Microsoft Word documents. It doesn't matter.
| | 00:50 | Anything that you can open at the desktop
level, you can open in the Bridge as well.
| | 00:53 | However, the big advantage of the
bridge is that it allows you to preview your
| | 00:58 | images in amazing detail, as we'll see.
| | 01:02 | You can also do things like apply
labels and star ratings and rotate your
| | 01:06 | images and otherwise organize them in ways
that you just cannot do at the desktop level.
| | 01:11 | So it's a really great program.
| | 01:13 | It's also known as the Digital Asset
Manager, just so as you know, or DAM for
| | 01:18 | short, because of the initials,
Digital Asset Manager. All right.
| | 01:21 | Here's how you get to it.
| | 01:23 | You can either go to the File menu and
choose this command right there, Browse
| | 01:26 | in Bridge, or you can press Ctrl+Alt
+O or Cmd+Option+O on the Mac.
| | 01:30 | And I will mention one aside here.
| | 01:32 | We now have this thing called the
Mini Bridge that exists directly inside
| | 01:36 | of Photoshop, but before we learn
about it, let's touch on the big
| | 01:40 | independent Bridge here.
| | 01:42 | So, that's one way to get there,
the other way is to go up here to the
| | 01:45 | Applications bar, and you can
click on the Launch Bridge icon.
| | 01:49 | So, however you want to get there is fine by me.
| | 01:52 | Bring up the Bridge.
| | 01:53 | If this is your first time in the
application, you will see this alert
| | 01:56 | message right here:
| | 01:57 | Do you want the Bridge to start at login,
meaning when you first start up your
| | 02:01 | computer, so that it's
instantly available when needed.
| | 02:04 | You can always change this
setting if you want to in the future.
| | 02:07 | Now, this might sound like a really great
idea and go for it, if you want to, absolutely.
| | 02:11 | I don't care to work this way because I
would rather control which applications
| | 02:15 | are running and which aren't.
| | 02:17 | I'm not a big fan of automatically
starting up programs when I start up my
| | 02:20 | machine, because every
single program takes up RAM.
| | 02:23 | So, I just want to run them when I need them.
| | 02:25 | I'll click on No, but it's entirely
up to you what you decide to do there.
| | 02:29 | It is an exceedingly useful
application, and you will be spending a lot of
| | 02:33 | time inside the Bridge.
| | 02:35 | Now let's go ahead and navigate our way
to the exercise_files folder, those of
| | 02:38 | you who are working with me.
| | 02:40 | Currently, we're seeing the
Favorites panel right here.
| | 02:42 | I'm going to switch over to Folders,
like so, and assuming that your
| | 02:46 | exercise_files folder is on the desktop,
you would twirl-open the desktop by
| | 02:51 | clicking on this little triangle.
| | 02:53 | You can see how it does twirl downward
and reveal the contents of the desktop,
| | 02:57 | hence the term twirl.
| | 02:59 | I'll also twirl-open exercise_files
right there, and then finally, I'll just
| | 03:02 | click on 03_open_org to reveal this huge
array of thumbnails, one for each image
| | 03:09 | file inside of this folder.
| | 03:11 | Now, this is a real ad hoc bunch, I've
got to admit, and it is in no way, shape
| | 03:16 | or form intended to serve as a
representation of how I want you to organize your files.
| | 03:21 | That's entirely up to you.
| | 03:23 | Rather, what I'm doing here is just
assembling a bunch of files that will give
| | 03:27 | us a feel for the kinds of things
that you can do inside the Bridge.
| | 03:30 | Now notice if I twirl-open the 03_open_org
folder, I've got a couple of
| | 03:35 | subfolders here, including that Felix
Mizioznikov folder that we've been looking at.
| | 03:39 | So I'll click on it just to
make it active for a moment.
| | 03:42 | Then I want you to notice just how
great the Bridge is at taking you back and
| | 03:47 | forth between folders.
| | 03:49 | The Mac does a pretty good job of this
of keeping track of the history of your
| | 03:53 | maneuvers, so that if you want to save
something in a folder that you visited
| | 03:57 | quite recently, you can
choose that folder from a list.
| | 04:00 | However, Windows just does an abysmal
job in this department, and you're always
| | 04:04 | just digging around
trying to find where you're at.
| | 04:07 | Whereas, if you work inside the Bridge,
doesn't matter if you're on a Mac or the PC.
| | 04:11 | You've got this little Clock
icon right there, see that?
| | 04:14 | Click on it, and you will see
where you've been in the past.
| | 04:17 | So I could very easily switch back to
the desktop, which is where I started or
| | 04:21 | to the 03_open_org folder, like so,
or switch my way back to the Felix
| | 04:26 | Mizioznikov folder, and so on.
| | 04:28 | So, it's keeping track of the last
ten or so folders that you visited.
| | 04:32 | You'll also see, by the way, the last
files you've opened inside of Photoshop.
| | 04:37 | So I'm seeing all of those files that
we opened in the first few exercises of
| | 04:41 | this chapter. Just amazing!
| | 04:43 | If you want to, you can clear those files.
| | 04:46 | If you don't want to be keeping track
of every place that you've been, you can
| | 04:48 | also clear the recent folders.
| | 04:50 | If you're a mystery man, totally up to you.
| | 04:53 | I'm going to go ahead and dismiss that menu.
| | 04:55 | Also, notice that we have
this path represented right here.
| | 04:59 | This is a function of this thing, if you
go to the Window menu, called the Path Bar.
| | 05:03 | It's located right there,
make sure it's turned on.
| | 05:06 | That way you will see the
path to the active folder.
| | 05:09 | And if you want to go backward, all you
have to do is click on one of these items
| | 05:13 | here in order to back up,
which is really a great thing.
| | 05:16 | So it's very easy to
navigate here inside the Bridge.
| | 05:20 | Now, let's say you want to go
back to Photoshop at some point.
| | 05:23 | I'll go back into my 03_open_org folder.
| | 05:26 | Let's just go ahead and grab an
image right here, like this one,
| | 05:31 | the B0000339.jpg file.
| | 05:35 | These are obviously the auto-naming that was
assigned by the digital camera that I used.
| | 05:40 | If I want to open that file
inside of Photoshop, all I have to do
| | 05:43 | is double-click on it.
| | 05:44 | That will go ahead and open
the file up inside of Photoshop.
| | 05:47 | Now, if for some reason that didn't work,
let's go back to the Bridge, let's say
| | 05:51 | some weird thing happened, and this
image file opened inside of some totally
| | 05:56 | different application.
| | 05:57 | I would go back to the Bridge here, like so.
| | 06:01 | Then I would go to the Edit menu
and choose the Preferences command.
| | 06:04 | On the Mac, this is going to be a
Preferences command under the Bridge menu, or
| | 06:08 | you can press Ctrl+K, that is Cmd+K
on the Mac, of course, the keyboard
| | 06:12 | shortcut for Preferences inside
all of the Adobe applications.
| | 06:15 | Then you would drop down here to File
Type Associations, and you would scroll
| | 06:21 | your way down this incredibly huge list,
because these are all the various file
| | 06:27 | formats that all of the Adobe
applications support, so this is a very long list
| | 06:32 | of formats, my friends.
| | 06:33 | Go ahead and locate JPEG, which
is going to be .JPG, .JPEG or .JPE.
| | 06:38 | I've never in my life seen a JPEG file that
ends in .JPE, though I guess it's an option.
| | 06:43 | Then you would click this down-
pointing arrowhead, and you would choose
| | 06:45 | Adobe Photoshop CS5.
| | 06:48 | Worst-case scenario, you
would have to browse for it.
| | 06:50 | However, that should be
taken care of, by default.
| | 06:52 | I just want you to see these options,
in case you have problems in the future.
| | 06:56 | I'm going to cancel out.
| | 06:57 | The other way to switch over to
Photoshop, besides actually opening an image
| | 07:01 | file, is to go to this little
boomerang icon. Check that out.
| | 07:06 | That's new to this version
of the Bridge, to Bridge CS5.
| | 07:09 | That will return you to the last
application you used before switching to the Bridge.
| | 07:13 | So, in other words, in our case, we
switch from Photoshop to the Bridge, the
| | 07:16 | boomerang sends us back to Photoshop.
| | 07:18 | Had I been working in Illustrator and
switched over to the Bridge, the boomerang
| | 07:22 | would have sent us to
Illustrator. You get the idea.
| | 07:24 | It's a boomerang after all. All right!
| | 07:26 | So, such charming little boys, right there.
| | 07:29 | I'll leave you with that.
| | 07:30 | In the next exercise, I am going to
take you on a whirlwind tour of the
| | 07:35 | Adobe Bridge.
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| A whirlwind tour of Bridge| 00:00 | As promised, it's time for
that whirlwind tour of the Bridge.
| | 00:03 | I'm going to try to cover every single one
of these doodads that litters the interface.
| | 00:08 | I have no misconception that you're
going to remember everything that I tell
| | 00:11 | you, because we're going
to be moving pretty quickly.
| | 00:13 | But it will help to ground you
inside of this new environment, and we'll
| | 00:17 | be visiting what I believe to be
the most important features in more
| | 00:20 | detail in later exercises.
| | 00:22 | So, it starts off with the menu bar,
which offers access to menus that contain a
| | 00:26 | bunch of commands, many of which are
repeated elsewhere inside the interface.
| | 00:30 | Anytime you see one of these down-
pointing arrowheads, that means there is a
| | 00:33 | pop-up menu with one or more
commands that are probably repeated from the
| | 00:37 | larger menu structure.
| | 00:38 | The icons begin with these guys right
there, the Go back and Go forward buttons.
| | 00:42 | They work just like they
do inside of a Web browser.
| | 00:45 | So you can go back to the previous
folder you were looking at, which in my
| | 00:49 | case was Libraries.
| | 00:50 | I accidentally clicked on this folder
before I began recording this movie.
| | 00:53 | And then I could go forward, once again,
by clicking on the Go forward button to
| | 00:57 | return to the 03_open_org folder.
| | 00:59 | You also have a keyboard shortcut,
incidentally, and these involves the Left
| | 01:03 | and Right Arrow keys.
| | 01:04 | So you've got Ctrl+Left Arrow on the PC to go back.
| | 01:07 | That's Cmd+Left-Arrow on a
Mac, and Ctrl+Right Arrow on a PC,
| | 01:11 | Cmd+Right Arrow on a
Mac, in order to go forward.
| | 01:14 | Next, you've got these
parent options right there.
| | 01:17 | So, in other words, you can visit the
parent of the current folder, which is
| | 01:20 | exercise_files, and its parent
desktop, as well as these Favorites.
| | 01:24 | I'll be discussing Favorites later.
| | 01:26 | But I don't really find that to be all
that super useful, since you can just
| | 01:31 | click here inside the Path Bar.
| | 01:33 | Notice something awesome about the Path Bar:
| | 01:35 | you can go forward as well as backward.
| | 01:39 | So see this little right-pointing item there.
| | 01:41 | If you click on it, you will see the
subfolders that are found inside of 03_open_org.
| | 01:45 | So you can move forward down the path
to destinations you haven't gotten to so
| | 01:50 | far, which is totally awesome.
| | 01:52 | Also, if I click over here, at least on
the PC, I will see my path, and I could
| | 01:57 | edit it, with each folder, of
course, separated by a backslash.
| | 02:00 | Anyway, I'm going to press
the Escape key to get out there.
| | 02:02 | We already saw the little Clock icon.
| | 02:05 | It allows you to access
recent folders and recent files.
| | 02:08 | We've got the Boomerang to go back to Photoshop.
| | 02:10 | If you are importing images from a
digital camera, you take the media card out
| | 02:14 | of the camera, you put it in the card
reader that's attached to your system.
| | 02:18 | Then you click on this item right
there to get the photos from the camera.
| | 02:23 | That brings up what's called the Photo
Downloader, which is a separate kind of
| | 02:26 | micro-utility that ships along with Photoshop.
| | 02:29 | It will automatically
organize your images into folders.
| | 02:32 | So it does much of the work for you,
very tidy little application there.
| | 02:35 | Click Cancel to return to the Bridge.
| | 02:37 | We've got this guy, which is the Refine
function, which actually is kind of a grab bag.
| | 02:42 | It offers access to three commands, the
Review mode, which is this really cool
| | 02:46 | way of looking at your images.
| | 02:47 | We'll see that later.
| | 02:48 | You've got Batch Rename, which allows
you to rename multiple images at once and
| | 02:52 | has been enhanced inside
of CS5. Totally awesome!
| | 02:55 | You've got File Info.
| | 02:57 | Notice that File Info has a
different keyboard shortcut.
| | 03:00 | Rather than Mash or Fist+I we've got
Ctrl+I here on the PC, Cmd+I on the
| | 03:05 | Mac, so a little simpler to use.
| | 03:07 | I'm going to click on this JPEG file,
once again, that we were looking at
| | 03:11 | earlier, so that I can make this icon available.
| | 03:13 | What it allows you to do is open the image,
force it to open inside of Camera Raw.
| | 03:18 | So, whether it's a Raw image or not,
that was captured by a digital camera.
| | 03:22 | It could be a JPEG image.
| | 03:23 | It could be a TIFF.
| | 03:24 | You can still open it inside of Camera Raw.
| | 03:26 | Now, I'm not going to cover
Camera Raw inside of this chapter.
| | 03:28 | It's way too early.
| | 03:29 | I will be discussing Camera Raw in
great detail over the course of an entire
| | 03:34 | chapter in the advanced
portion of this series. All right.
| | 03:37 | Next, what we've got is this Output option.
| | 03:39 | I'll tell you how it works inside
of Chapter 11. Isn't that great?
| | 03:42 | There are the workspaces right there.
| | 03:45 | These are the predefined
workspaces that ship along with Bridge.
| | 03:47 | You can create your own
workspace as well, as we will see shortly.
| | 03:50 | You can run searches for images both
by file names and metadata criteria.
| | 03:56 | You've got this little Compact Mode.
| | 03:58 | If you click on the Compact Mode icon,
you'll switch to a smaller version of the Bridge.
| | 04:03 | This is not the Mini
Bridge that I alluded to before.
| | 04:05 | This is a smaller
representation of the big Bridge.
| | 04:08 | Now you could grab a bunch of files and
drag them all into say InDesign in order
| | 04:13 | to place them, or, you can now, inside
of Photoshop CS5, you can place multiple images
| | 04:18 | into a Photoshop file, and they will all
come in as independent layers. It is so cool!
| | 04:25 | Anyway, once you want to return to the
big Bridge, you click on this icon again
| | 04:29 | to switch to the Full mode, you also
have a keyboard shortcut for that option of
| | 04:32 | Ctrl+Enter on the PC or
Cmd+Return on the Mac.
| | 04:36 | Down here, we've got this weird option that
allows you to toggle the display of the thumbnails.
| | 04:43 | Now unless your thumbnails are
displaying extremely slowly, then I suggest you
| | 04:47 | do not change this setting.
| | 04:48 | Just leave it set to Always
High Quality, which is the default.
| | 04:52 | Next, we can filter images
according to the Star rating.
| | 04:56 | So we could just see the images that
have one or more stars or just those that
| | 05:00 | have two or more stars, that kind of thing.
| | 05:02 | I do have some star-rated files in there.
| | 05:04 | So if I chose Show 1 or More Stars, we
would just see the images that have one
| | 05:09 | star or more, which happen
to be these guys right there.
| | 05:11 | Then if we want to see everybody once
again, we would clear the filter, like so.
| | 05:16 | You can sort by different criteria.
| | 05:18 | Right now, we're sorting by Filename,
but you could sort by Date Modified,
| | 05:21 | which is great for keeping track of the images
that you've changed, and need to be backed up.
| | 05:26 | Notice that you can also switch
whether you're looking at the images in
| | 05:28 | ascending order or descending order.
| | 05:30 | So, in my case, I'm seeing the
images in alphabetical order.
| | 05:34 | If I want reverse alpha order, I
would click on this icon. All right.
| | 05:37 | I'm going to switch it back.
| | 05:39 | You can rotate an image if you want to.
| | 05:41 | We've got the option to view recent
files, yet another way to get to recent
| | 05:45 | files here inside the Bridge.
| | 05:47 | You can create a new folder.
| | 05:48 | This has a keyboard shortcut of Ctrl+
Shift+N, Cmd+Shift+N on the Mac.
| | 05:53 | If you select one or more images, then
you can choose to delete them by clicking
| | 05:56 | on this Trashcan icon.
| | 05:58 | That's got a keyboard shortcut of Ctrl+Delete,
Cmd+Delete on the Mac.
| | 06:02 | We've got all these panels that
are available to us right here.
| | 06:05 | They're all scalable as well, so I
could drag this barrier to make this
| | 06:10 | panel taller, so that I can see
all of the subfolders inside the
| | 06:13 | exercise_files folder.
| | 06:15 | Actually, I'm going to drag this
down a little bit, so things start off
| | 06:18 | with exercise_files.
| | 06:19 | Drag this up a little bit. How tidy is that?
| | 06:22 | We have a variety of panels that we
can move elsewhere if we want to, by
| | 06:25 | dragging their tabs, of course.
| | 06:27 | You can scale the preview,
so that it's nice and big.
| | 06:29 | So, notice that it grows to fill its space.
| | 06:31 | If you want more room allotted to the
contents, you can temporarily hide the
| | 06:36 | panels on both sides.
| | 06:37 | This is something that
works inside of Photoshop too.
| | 06:40 | We'll see that in the next chapter.
| | 06:41 | But you press the Tab key in order to
hide all those panels, the right side and
| | 06:46 | the left side panels.
| | 06:47 | Don't panic that they're gone, all
you need to do to bring them back is
| | 06:51 | press the Tab key again.
| | 06:53 | So remember, Tab goes ahead
and hides and shows those panels.
| | 06:57 | You have direct access to metadata, so
you don't have to bring up the File Info
| | 07:00 | command if you don't want to.
| | 07:01 | You also have keywords that you can
assign, in order to create more search
| | 07:06 | criteria, by the way, you can
search images according to keywords.
| | 07:09 | So, there's all kinds of things that
you can do to your images, and I have just
| | 07:13 | touched the surface.
| | 07:14 | We haven't even seen the
best stuff about the Bridge.
| | 07:16 | In the next exercise, I'm going to show
you how to customize the Interface, so
| | 07:19 | you feel more at home.
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| Adjusting the interface and thumbnails| 00:00 | All right here I am still
working inside the Bridge.
| | 00:02 | The Bridge is pointed at the
contents of the 03_open_org folder.
| | 00:06 | And what I am going to have you do at
this point is enlarge the thumbnails.
| | 00:10 | But first let's make the preview a little
smaller, because it's taking up too much space.
| | 00:14 | And I am going to switch
back to the metadata panel.
| | 00:16 | By default, you are seeing some very dinky
thumbnails that are quite useless, in my opinion.
| | 00:24 | I suggest you make them bigger, and
you can do that, by the way, by dragging
| | 00:27 | this little slider control here at the
bottom of the Bridge interface, and that
| | 00:32 | will make the thumbnails either
bigger or smaller, totally up to you.
| | 00:36 | You can make them ultra-big if you like.
| | 00:39 | You can even, incidentally, click on
these icons in order to reduce the thumbnail
| | 00:44 | size, or in other word to
increase the thumbnail size.
| | 00:48 | Notice by the way, when I drag
back and forth that I am scaling these
| | 00:53 | thumbnails incrementally.
| | 00:54 | If you want more structure than
that then you can turn on this guy,
| | 00:57 | the thumbnail grid.
| | 01:00 | Now notice that if I increase the size
of the thumbnails or decrease the size of
| | 01:05 | the thumbnails that they go ahead
and change in pretty big increments.
| | 01:09 | And that's totally up to
you, personal preference.
| | 01:12 | I am going to turn it off.
| | 01:13 | Notice also you can change
how you're viewing the content.
| | 01:16 | Right now, we are seeing is thumbnails.
| | 01:17 | You can switch to details like
so where you see a big thumbnail.
| | 01:21 | And you also see some details from the
metadata including this description that
| | 01:25 | was automatically assigned by the
camera, or if you want to see more images at a
| | 01:29 | time you can switch to the List View.
| | 01:30 | I am going to switch back to
Thumbnails of course, because I want to show you
| | 01:34 | something about working with the
scroll wheel, here inside the Bridge.
| | 01:38 | Notice if I scroll up using my scroll
wheel, or down, then I will scroll the
| | 01:43 | thumbnails, no big surprise there.
| | 01:45 | But the Bridge is smart enough
to notice where the cursor is.
| | 01:48 | So if you hover over the folders area
and scroll down or scroll up then you'll
| | 01:52 | scroll your folders, which is totally great.
| | 01:55 | That's the way it ought to be after all.
| | 01:57 | You also have the option of scaling
your thumbnails using the scroll wheel.
| | 02:01 | So if you press the Ctrl key and
scroll up, then you will increase the size of
| | 02:05 | the thumbnails like so and if you
press the Ctrl key and scroll down you will
| | 02:10 | decrease the size of the thumbnails.
| | 02:12 | That is a Cmd scroll up to increase
the size of the thumbnails on a Mac and
| | 02:16 | a Cmd scroll down to
decrease the size of the thumbnails.
| | 02:19 | Then finally, assuming one of the
thumbnails is active here, so that the Bridge
| | 02:23 | knows that you're working
inside the Content panel.
| | 02:25 | You can press Ctrl+Plus, or Cmd+Plus
on the Mac, in order to zoom in or press
| | 02:30 | Ctrl+Minus or Cmd+Minus
on the Mac to zoom out.
| | 02:34 | All right so I want something more
along the lines of these kinds of
| | 02:37 | thumbnails right there.
| | 02:38 | Now the next thing I want to do is
change the brightness of this interface.
| | 02:42 | By default, I think it's much too bright.
| | 02:45 | I want an Interface that's not
competing with the images nearly this much,
| | 02:48 | something that more
resembles a traditional light box.
| | 02:52 | Because after all, think about it, are
you the kind of person that likes to watch
| | 02:55 | TV in a really brightly lit room.
| | 02:58 | Or would you prefer to watch TV in a dark room
so that you can really focus on the television?
| | 03:02 | The same holds true when you're
looking at images in a light box.
| | 03:06 | They look better, and you can focus on them
better when they are set against a dark background.
| | 03:10 | Again, you know it's a
personal preference, up to you.
| | 03:13 | I'm going to go to the Edit menu
and choose the Preferences command.
| | 03:16 | If you're working on a Mac, you go up to
the Bridge menu and choose Preferences.
| | 03:20 | You've got a keyboard shortcut just as
you do in Photoshop of Ctrl+K here on the
| | 03:24 | PC or Cmd+K on the Mac, and I am
going to switch back over here to General.
| | 03:28 | And I'm going to move this dialog box over a
little bit so I can see what I am doing.
| | 03:31 | Notice that you have independent
controls over the Interface Brightness and
| | 03:34 | the Image Backdrop.
| | 03:36 | So if I reduce the brightness of the
Backdrop, that's just going to affect
| | 03:40 | the backdrop here inside the Content panel
and, incidentally, inside the Preview panel.
| | 03:46 | And then I would also turn around
because that's not enough, right?
| | 03:49 | I would also turn around and reduce
the Brightness of the overall Interface.
| | 03:53 | To something like this here, and this
is a totally subjective modification.
| | 03:57 | There are no numerical controls.
| | 03:59 | But the great thing is you can preview
what you're doing as you do it, which
| | 04:03 | I think is fantastic.
| | 04:04 | Now the Accent Color is
currently this gold color right there.
| | 04:07 | If you don't like that, you can switch
to something like Crystal, which is going
| | 04:11 | to give you a grey accent.
| | 04:13 | Again, it's not going to compete
as much with the overall images.
| | 04:17 | Then there's this check box
that I recommend you turn on.
| | 04:20 | But first let me show you
how things are set by default.
| | 04:23 | I'll go ahead and click on the
OK in order to accept my changes.
| | 04:27 | Now notice I'll move my cursor
into the Preview panel, and I get a
| | 04:31 | little magnifying glass.
| | 04:32 | If I click, let's say in Max's face
right there, then I can see up his nose,
| | 04:36 | which is very nice, inside of this loop.
| | 04:40 | So I'll position a loop so that
it's pointing at one of his eyes.
| | 04:43 | And then I see that I
magnified inside of this loop.
| | 04:48 | And the idea is that you're checking for
little problem details inside the image.
| | 04:53 | But I'm really not that big a
fan of the loop, I have to say.
| | 04:56 | And by default, it comes
up when you least expect it.
| | 05:00 | You know, you end up clicking inside
the Preview accidentally, and then you
| | 05:03 | get this loop, and then it's hard to
close, because there's this dinky little
| | 05:06 | close box right there that I'm
hovering over with my ginormous hand.
[00:05:11.]
Then you can click on that tiny little
x to hide the loop, or you can click
| | 05:14 | inside the loop as well.
| | 05:16 | But is a little confusing, a little
non-intuitive in my opinion, and I don't
| | 05:20 | think it really looks that good, kind of the
weird square-ish thing with some jagged edges.
| | 05:25 | Anywho, let's say you don't want it
coming up all the time, just as I don't.
| | 05:29 | Then you press Ctrl+K, Cmd+K on
a Mac, to bring up the Preferences
| | 05:33 | dialog box Once again and click on
this check box to turn it on so that you
| | 05:38 | have to Ctrl+click, or on the Mac Cmd+click,
to open a loop when previewing or reviewing.
| | 05:43 | So again, that's just for loop haters like me.
| | 05:46 | And then I'll go ahead and click OK
in order to accept that modification, or,
| | 05:51 | actually there's a couple of other things I want to do.
| | 05:52 | I'm going to switch over to Thumbnails
here, because I would like to see more
| | 05:56 | than just the file name, which
is all we're seeing right here.
| | 05:59 | For example, I could say that I want to
see the Date Created, which is fairly useful.
| | 06:05 | And you'll see both date and time.
| | 06:07 | Or you might prefer to see the Date Modified.
| | 06:09 | I am going to go ahead and switch this
to Author, which is only going to show
| | 06:12 | me the Author if I've added an Author to the
file information to the metadata, which I have.
| | 06:19 | Oh my gosh I get to see my name
over and over again. Isn't that nice?
| | 06:22 | And I also want to see the
Dimensions of this image.
| | 06:26 | So that I can see the pixel dimensions
how wide and how tall the image is and
| | 06:30 | what the resolution is set to.
| | 06:32 | And that's it, then I'll go
ahead and click OK in order to accept
| | 06:35 | those modifications.
| | 06:37 | Then I can see that it didn't add an
author name to all of my images so I still
| | 06:40 | have some work to do.
| | 06:42 | Here's something that I think you
got to see that's really wildly cool.
| | 06:46 | If you go to the View menu, you can
choose this option right there Show
| | 06:50 | Items from Subfolders.
| | 06:51 | So you're not only seeing the
contents of this folder, but you're seeing all
| | 06:55 | the folders inside of it too.
| | 06:57 | So go ahead and turn that
Command on for a moment.
| | 07:00 | Now notice we are going to see a bunch
more images including those files that we
| | 07:05 | saw at the outside of this chapter
from Felix Mizioznikov, who is listed as an
| | 07:10 | author as you can see.
| | 07:12 | And if you want to see all of the exercise
files for this entire series, you could
| | 07:16 | just click on Exercise Files now, and
not only will you see the folders, but
| | 07:20 | you'll also see all the images, that is, if
you go ahead and choose that command again.
| | 07:25 | Because the Bridge remembers the setting
of this command on a folder by folder basis.
| | 07:29 | So I'll go ahead and choose Show
Items from Subfolders, and now it's
| | 07:32 | still working on it,
| | 07:34 | by the way, that's why it's not
really responding to me at this point.
| | 07:37 | And notice that it's doing its best to try
to show us thumbnails of all of these images.
| | 07:44 | So they take a little while to display.
| | 07:46 | But we can also see the author
information for these guys that are coming up.
| | 07:50 | And you can get a sense of what
will be happening in future exercises.
| | 07:54 | How exciting is that?
| | 07:56 | I'm going to switch back to the 03_open_org
folder, and I misspoke by the way,
| | 07:59 | under the View menu this
command is currently turned off.
| | 08:02 | So it goes in and turns itself off every
time you switch to a different folder.
| | 08:05 | Probably a logical way to work, actually.
| | 08:08 | Anyway, there's how you modify the
Interface, create larger thumbnails and so on.
| | 08:12 | In the exercise, I'm going to show you
how to invoke a Full Screen Preview, as
| | 08:15 | well as rotate images that are on their sides.
| | Collapse this transcript |
| Using the full-screen preview| 00:00 | In this exercise, I'm going to show you
how to zoom in on an image here inside
| | 00:04 | the Bridge, so that you can view it
in all of its glorious detail without
| | 00:07 | having to open the image inside of Photoshop.
| | 00:10 | That does two things.
| | 00:11 | First of all, it gives you a sense of
whether the image is any good, so that you
| | 00:15 | can compare shots to each other,
check focus, that kind of thing.
| | 00:18 | Also, it gives you a sense early on of
what kind of changes you'll need to make
| | 00:22 | inside of Photoshop.
| | 00:23 | I have the Bridge framed on the
03_open_org folder inside the exercise _files
| | 00:27 | folder, and what I want to do is see
the images that are at the end of the list,
| | 00:32 | alphabetically speaking.
| | 00:34 | So I need to reverse the sort order, by
clicking on this Ascending Order icon.
| | 00:37 | But if I do that right now, because I
have a thumbnail selected, I will travel
| | 00:41 | with that thumbnail.
| | 00:42 | In other words, the Bridge will
automatically scroll me to what will be the
| | 00:46 | bottom of the list, and that's
not what I want to have happen.
| | 00:49 | I want to stay where I am.
| | 00:50 | So I'll go up to the Edit menu and
choose Deselect All, Ctrl+?Shift+A,
| | 00:54 | Cmd+Shift+A on the Mac.
| | 00:55 | Now then, if I click this icon,
notice that the images come to me.
| | 01:00 | So these last images in alphabetical
order jumped to the top of the list.
| | 01:05 | Now I want to check out this image right here.
| | 01:06 | It's called B0000530.
| | 01:10 | That was the name
assigned by the digital camera.
| | 01:14 | Incidentally, I can check this
out here inside the metadata.
| | 01:18 | It happens to be an Olympus E-30,
which is a great SLR in my opinion.
| | 01:22 | I really love that camera.
| | 01:25 | What I want to do is I want to
confirm what's going on in this image.
| | 01:28 | From here, it looks as though the
head of my youngest son Sammy is getting
| | 01:33 | crushed by the leg of my older son Max.
| | 01:36 | I just want to check it out and see
if this shot is every bit is great as
| | 01:39 | I think it might be.
| | 01:40 | However, I have an awfully dinky preview
as you can see, so much bigger than the
| | 01:44 | thumbnail, and I can make that preview
bigger by scaling this Preview panel by
| | 01:48 | dragging this horizontal divider bar there.
| | 01:50 | But it's still an awfully
diminutive view of my shot.
| | 01:54 | So I can also bring up the loop, and
based on the change I made in the previous
| | 01:57 | exercise, I'd have to press the Ctrl
key, or the Cmd key on the Mac and
| | 02:01 | click in order to bring up the loop,
and it starts off all pixelated as you can
| | 02:05 | see, and then it gets better.
| | 02:06 | That's because the Bridge
is updating its previews.
| | 02:10 | It's actually loading
information from the image.
| | 02:13 | Let me show you what that
looks like for just a moment.
| | 02:15 | I am going to take a break here,
and go up to the tools menu.
| | 02:18 | What I want you to do is keep an eye down
here in the lower left corner of the screen.
| | 02:22 | I'll go up to the tools menu, and I'll
choose Cache, and I'll choose Purge Cache
| | 02:27 | For Folder '03_open_org'.
| | 02:29 | Now before I do that though,
I'll tell you what this means.
| | 02:31 | The Cache is the way that the Bridge
keeps track of all these thumbnails.
| | 02:35 | It has to load up these thumbnails, and
so it doesn't have to incessantly load
| | 02:39 | them over and over again, extract
them from the images themselves.
| | 02:43 | It saves off those thumbnails to
what's called the Cache, top-secret area of
| | 02:47 | your hard-drive essentially, and it
does take up a bunch of space, by the way.
| | 02:51 | The more you use the Bridge, the more space
the Bridge will take up with these cache files.
| | 02:56 | But it does keep the Bridge
performing at optimal speed.
| | 02:59 | Anyway, if I choose Purge Cache to get
rid of these thumbnails, and you can see
| | 03:04 | that all these thumbnails here
inside the content panel are updating.
| | 03:07 | You'll also notice this progress message down
here in the lower-left corner of the screen.
| | 03:11 | That's telling me that I have 92 items
altogether inside this folder, and that it
| | 03:16 | is extracting the last 40 or so
previews at this point, and the spinning ball
| | 03:21 | tells you that it's working away.
| | 03:23 | Now, what I recommend, especially
when you're working inside a folder that
| | 03:27 | contains lots and lots of big images,
I recommend that you wait for this
| | 03:32 | progress message to complete before
you start doing a lot of work inside the
| | 03:35 | Bridge, the reason is the Bridge
performs a lot better if it is able to
| | 03:39 | concentrate on what it is you wanted to
do at any given moment and time instead
| | 03:43 | of also trying to update all those thumbnails.
| | 03:46 | So just a word to the wise, what you
can do is just click on a folder for your
| | 03:50 | day shoot that kind of thing, walk
away for a moment, grab a cup of coffee,
| | 03:54 | something like that, come back.
| | 03:55 | It's going to be done.
| | 03:55 | It only takes about a minute even with a
very large folder full of files. All right.
| | 03:59 | Well I'm going to click in here.
| | 04:01 | The reason I mention this is because
there's lots of different cached previews
| | 04:06 | that the Bridge has to create.
| | 04:08 | It has to create this little one.
| | 04:09 | It has to create bigger ones.
| | 04:11 | It has to create full screen
ones, all kinds of different ones.
| | 04:14 | So, when I Ctrl+Click or Cmd+Click
inside the image to bring up the loop,
| | 04:18 | it's going to start off jagged,
and then it's going to smooth out.
| | 04:22 | And sometimes when you move the loop
around, it's going to have to re-draw
| | 04:26 | that preview once again.
| | 04:27 | I have to tell you though, I
just do not like this loop function.
| | 04:31 | It's hard to figure out what in
the world should be in the loop?
| | 04:33 | It's this little sort of upper-left
corner sort of pointy thing that's jabbing
| | 04:38 | into Sammy's eye that's
telling me that it is the eye.
| | 04:41 | That's going to get looped here.
| | 04:42 | But it's such a small little
region, I mean give me a break.
| | 04:46 | You can drag it around.
| | 04:47 | It does cool things like flip
like we just saw it do there.
| | 04:50 | But you ask me, it's just a silly feature.
| | 04:52 | I'm going to close it,
especially when you have this instead.
| | 04:56 | You can go up to the View menu, and you
can choose Full Screen Preview, or you
| | 05:01 | can just tap the Spacebar.
| | 05:03 | Just like that, you end up getting a
full screen preview like we're seeing here.
| | 05:06 | Now, it displayed fairly quickly
because the Bridge had already loaded that
| | 05:10 | preview from the image because
we called up the loop function.
| | 05:14 | But if this was the first time we were
looking at it, then we'd see a pixelated
| | 05:17 | image that would ultimately
resolve into a good-looking image.
| | 05:21 | Now, then let's say that I want to zoom
in on the image to take it in at 100%,
| | 05:25 | right now we're zoomed out, so that
we're seeing the entire image onscreen.
| | 05:28 | All you have to do is click, and
you will zoom in to that location, and we can
| | 05:32 | see yes indeed, Sammy's in a very
precarious position, getting his head
| | 05:36 | smashed by Max's knee, and even better,
Max has dirt all over his knee that's
| | 05:40 | getting in his face.
| | 05:41 | Luckily, they're little kids, and
they don't care. But notice this.
| | 05:46 | I can press the Plus key
to zoom in even farther.
| | 05:49 | Notice this is 200%.
| | 05:50 | You can see that at the top of the
screen, this is 400%, and this is 800%.
| | 05:55 | Drag the image around onscreen in
order to pan it to a different location,
| | 06:00 | press the Minus key to zoom out incrementally.
Or, by the way, here's something else you can do.
| | 06:06 | You can use your scroll wheel to
zoom in like so if you scroll up, or
| | 06:10 | scroll down to zoom out.
| | 06:12 | Then finally, if you scroll out one
more increment, you're going to go all the
| | 06:15 | way out to the Fit in Window view.
| | 06:17 | And by the way, you can press the arrow keys
to switch to a different image in the list.
| | 06:22 | So if I press the Right Arrow key,
I'll go to the next image, if I press the
| | 06:26 | Left Arrow key, I'll go to the previous image.
| | 06:28 | If I want to get out of this Full
Screen Preview mode, all I have to do is tap
| | 06:32 | the Escape key, and then I'm out.
| | 06:34 | A really great example of a preview
that's going to take a moment to load is the
| | 06:37 | one for Grand Tetons.psd because this
is a huge image 9,000 x 3,024 pixels, so
| | 06:44 | it's just gargantuan.
| | 06:45 | It's actually a handful of images,
about 11 images as I recall, that are
| | 06:50 | stitched together using Photoshop's
Photo Merge function, which we will see in
| | 06:53 | a far distant chapter. It's really great.
| | 06:55 | I'll press the Spacebar in order to
take in a full screen preview and this far
| | 07:00 | away from the image it looks absolutely
impeccable, looks really good, a little
| | 07:03 | bit soft perhaps, but that's
just the Bridge averaging pixels.
| | 07:06 | There's actually a lot more clarity
going on here, and to see what that
| | 07:10 | clarity looks like, I'll go ahead and
click in a location to zoom in, and you
| | 07:14 | can see that we have all kinds of jagged
transitions for a moment and then things reconcile.
| | 07:19 | So be sure to give it a second to
update that view before you decide, oh
| | 07:23 | my gosh, this image is in terrible shape.
| | 07:26 | Now at this point, I can see that there
must be a spot on the lens at this location.
| | 07:30 | We have a fair amount of noise,
which are random pixel variations that
| | 07:34 | don't represent what the scene really look
like, and you can see those going on up here.
| | 07:38 | And we also have a few sort of
striations going on in some regions of the sky
| | 07:44 | like around this area, you can see
these strange kind of rainbowish patterns.
| | 07:48 | So these are things that I might want
to work on inside of Photoshop, and it's
| | 07:51 | great to know that these
problems exist ahead of time.
| | 07:54 | Then I'll press the Escape
key to once again zoom out.
| | 07:57 | And that is how you zoom in on images,
the good way, as opposed to the loop way,
| | 08:03 | here inside the Bridge.
| | Collapse this transcript |
| Rotating images on their sides| 00:00 | In this exercise, I'm going to show you
how to rotate an image that comes in on
| | 00:03 | its side, and this is a less
common occurrence than it used to be.
| | 00:06 | But it still happens with
inexpensive point-and-shoot cameras.
| | 00:10 | The idea is that your everyday,
average, rinky-dink camera treats every image
| | 00:15 | as if it's horizontal.
| | 00:16 | So if you turn the camera and take a
vertical portrait shot, it comes in on its
| | 00:21 | side as we're about to see.
| | 00:22 | It does happen, however,
sometimes with more expensive SLRs, too.
| | 00:26 | They can get confused,
depending on the angle of your shot.
| | 00:29 | So I'm still looking at the contents
of the 03_open_org folder as I will
| | 00:33 | throughout this chapter.
| | 00:35 | And, what I want you to do if you're
working along with me, is press the A key, and
| | 00:39 | what that's going to do is it's going
to take you down to the first file that
| | 00:44 | starts with the letter A, which
happens to be this group of images when we're
| | 00:48 | looking at them in reverse alpha order, this
group of images that shows Sammy as a goalie.
| | 00:54 | And there's this image right there of Max
with a face mask on that is on its side.
| | 00:59 | So I'm going to click on this
first image that's upright here,
| | 01:03 | that's shot properly.
| | 01:05 | We'll see that this image, if I bring
up my Metadata panel here, which should
| | 01:09 | be onscreen by default, what I
recommend you do is twirl c lose File Properties,
| | 01:13 | make sure that IPTC Core is twirled closed as
well, and drop down here to your Camera Data.
| | 01:19 | And towards the bottom of the Camera Data,
we can see that this was shot with an
| | 01:22 | Olympus S410, which is an
older model point-and-shoot camera.
| | 01:27 | So no surprise that it thinks that
every image ought to be horizontal.
| | 01:30 | However, what we can't see at this
point is the orientation, and that's one of
| | 01:36 | the bits of information that
is captured along with Exif.
| | 01:39 | Now, Exif incidentally is a group of
metadata that is captured by your digital camera.
| | 01:45 | So the moment you press the shutter
release, all kinds of information is captured.
| | 01:50 | This includes the aperture value, the
focal link, whether the flash fired or not,
| | 01:55 | all kinds of good stuff.
| | 01:56 | But we're not seeing
orientation for some reason.
| | 01:59 | So I'll go up here for the Metadata
flyout menu icon, click on it, and I will
| | 02:03 | choose the Preferences command.
| | 02:05 | And that will bring up the Metadata panel
of the Preferences dialog box, and I'm
| | 02:08 | going to twirl close File Properties and
twirl close IPTC Legacy, and then twirl
| | 02:13 | close IPTC Core, and IPTC Extension
until I get down to Camera Data Exif.
| | 02:19 | Otherwise, I'm going to have to
scroll down this list like crazy.
| | 02:22 | And I still have to scroll down, and I am
doing this using the scroll wheel on my mouse.
| | 02:26 | Notice right below Metering Mode and
right above Exif Color Space is this option
| | 02:30 | right there called Orientation.
| | 02:32 | Go ahead and click on it to turn it on
and then click OK, and you'll now see a
| | 02:36 | new Orientation option right below
Metering Mode inside of this list.
| | 02:40 | And we can see that both of these images
have an orientation of normal. Interesting.
| | 02:44 | This guy though is obviously not right,
and we need to rotate it, and you can do
| | 02:49 | that by using one of these two Rotate
icons in the upper-right corner of the
| | 02:53 | screen, either rotate 90 degrees
counterclockwise, which would be a left
| | 02:58 | rotation, or 90 degrees clockwise,
which would be a right rotation, or at least
| | 03:03 | what we think of this being left and
right, which is why you have keyboard
| | 03:06 | shortcuts, incidentally.
| | 03:07 | You can press the Ctrl key here on the
PC or the Cmd key on the Mac along
| | 03:11 | with one of the Square Bracket keys,
those being the keys just to the right of
| | 03:15 | the P as in Paul key on an American keyboard.
| | 03:18 | So if I press Ctrl+Right Bracket or
Cmd+Right Bracket on the Mac, I'm going
| | 03:22 | to go the wrong direction, and we
can see that the Orientation is now 90
| | 03:27 | degrees, rotated 90 degrees.
| | 03:28 | If I press Ctrl+Left Bracket or Cmd+Left Bracket
on the Mac, I'll restore
| | 03:32 | the normal Orientation.
| | 03:34 | What I really want is another press of
Ctrl+Left Bracket or Cmd+Left Bracket
| | 03:37 | on the Mac so that we have an up right
Max that's rotated negative 90 degrees.
| | 03:44 | And that is merely a change to the metadata.
| | 03:46 | We have not changed the file at all.
| | 03:48 | So we did not have to rewrite this JPEG file.
| | 03:50 | It's the same file it ever was.
| | 03:52 | It just has a little bit of extra
metadata inside of it now, which will tell
| | 03:56 | Photoshop to rotate the image when it opens up.
| | 03:59 | It'll also tell other applications
that recognize this kind of metadata to
| | 04:03 | rotate the image as well.
| | 04:05 | Some applications are not that smart,
particularly if you're viewing the image
| | 04:09 | at the operating system level.
| | 04:11 | You may not see it rotated.
| | 04:12 | It may still be on its side.
| | 04:14 | Don't fret about it. It doesn't matter.
| | 04:15 | Photoshop will be aware, and
that's what counts. All right.
| | 04:18 | I'm going to go back to the top of
my list because I want to show you
| | 04:20 | another way to work.
| | 04:21 | And another problem that might occur. Now
notice these two towers that I shot in Seattle.
| | 04:26 | They're the exact same tower of course, and the
orientation for both of them is normal,
| | 04:30 | notice that, Normal and Normal.
| | 04:33 | And I shot this image with Leica D-LUX 3,
which is capable of rotating the
| | 04:38 | image automatically.
| | 04:39 | It just got confused in the case of this tower.
| | 04:41 | So I need to go ahead and fix it.
| | 04:43 | Well, here's another way to work.
| | 04:44 | If you're working inside of the Full-
Screen Preview mode, which I'm getting
| | 04:48 | by pressing the spacebar as you might recall,
this guy is in great shape, so no problems there.
| | 04:53 | I will press the Left Arrow key in order
to go back to this tower. It's at an angle.
| | 04:58 | This is why keyboard shortcuts
are so important in the Bridge.
| | 05:01 | I can re-orient this image using that
same keyboard shortcut I showed you a
| | 05:05 | moment ago, except without the modifier key.
| | 05:07 | So you don't need to press Ctrl or Cmd.
| | 05:09 | You just press the Right Bracket key
to rotate the image clockwise or the
| | 05:14 | Left Bracket key to rotate it counterclockwise.
| | 05:17 | I want clockwise, so I'll press the
Right Bracket key. I'll Escape out.
| | 05:21 | And it looks beautiful now, and you can see
that the Orientation is rotated 90 degrees.
| | 05:25 | Again, that's just a little tag that's
added to the file, that Bridge do not
| | 05:29 | have to re-write any of
the pixels inside the image.
| | 05:32 | And that's how you re-orient photographs
that come in on their side here inside
| | 05:36 | the Bridge.
| | Collapse this transcript |
| Assigning star ratings and labels| 00:00 | All right, a brief note about digital
photography that has to do with the topic
| | 00:04 | of this exercise as you'll see.
| | 00:06 | Regardless of your profession, whether
you're a photographer by trade or you're
| | 00:09 | an amateur or you shoot images to use
in your graphic artwork or your design
| | 00:14 | work or you're the member of some other
profession, doesn't matter, when you're
| | 00:18 | shooting a subject, you should shoot
lots and lots of photographs, so that you
| | 00:23 | have a wealth of photographs to cull through.
| | 00:26 | For example, if I scroll down in my
list here, inside the 03_open_org folder,
| | 00:31 | you'll find a collection of I think
about 10 photographs of Sammy with this
| | 00:35 | butterfly walking across his face.
| | 00:37 | And I just sat there and snapped
pictures as long as that butterfly was there
| | 00:41 | because I knew eventually it would
leave and I also knew that sometimes I would
| | 00:45 | lock on the focus, sometimes I
wouldn't, sometimes Sammy would look goofy,
| | 00:49 | sometimes he'd look great and so on.
| | 00:51 | And so I wanted to make sure I had those shots.
| | 00:54 | Then what you're going to do is
photo edit inside of the Bridge.
| | 00:59 | Now compare that to image editing
which is changing the pixels inside of
| | 01:02 | Photoshop, Photo Editing is the term
for culling through your day shoot or your
| | 01:07 | week shoot or what have you, and
deciding which stuff for the money shots, and
| | 01:12 | which stuff you should just leave alone.
| | 01:13 | And I do say leave alone.
| | 01:15 | Don't throw them away.
| | 01:17 | There is no reason to throw digital images away.
| | 01:19 | They are actually relatively small.
| | 01:21 | You can always buy more hard drives if
you need to, but you can't buy a time
| | 01:25 | machine to go back in time
and re-shoot a photograph.
| | 01:28 | So I recommend keep all of your
photos, but do photo edit them.
| | 01:32 | Do make careful decisions about
which ones you want to use and don't use.
| | 01:36 | And the photo editing tools of
choice here inside the Bridge are located
| | 01:40 | under the Label menu.
| | 01:41 | They are the star ratings, one star
through five-star right there, and then we
| | 01:44 | also have these Labels such as Select,
Second, Approved and so on and I'll
| | 01:48 | show you how those work.
| | 01:50 | So I'm going to scroll back up my list,
even though really I'm at the bottom of
| | 01:53 | the list because I'm looking at
them in reverse alphabetical order.
| | 01:56 | And I'll click on this guy, this image
of Sammy with his shirt off and a bunch
| | 01:59 | of dirt on him, and I'll make my only my
Preview bigger, so that I can see him a
| | 02:03 | little bigger on screen.
| | 02:04 | And that looks like a really great shot.
| | 02:06 | Now I want to assign a star rating, if
you are so new to this kind of stuff,
| | 02:10 | you might think that you would try to exactly
evaluate -- gosh, that is a four star image.
| | 02:16 | So I'll go up to the Label menu and
choose four stars or press Ctrl+4,
| | 02:20 | Command+4 on the Mac.
| | 02:21 | So notice Ctrl or Command along with the
number is going to give you star rating
| | 02:26 | one through five, right there.
| | 02:27 | If you want to get rid of the star rating,
you'll press Ctrl+0 or Command+0 on the Mac.
| | 02:32 | So let's say, Gosh, what a great shot.
| | 02:34 | Let's give it four stars.
| | 02:35 | That's not typically the way you work,
because if you're trying to assign stars
| | 02:39 | like this to one image at a time,
you're really working in a vacuum.
| | 02:42 | You haven't seen all the other shots,
presumably there would be more than just this.
| | 02:46 | This is the only one I copied over.
| | 02:48 | But there would be a bunch of shots
of Sammy with his shirt off with dirt
| | 02:51 | all over him of course.
| | 02:52 | And I wouldn't know really at this
point which was the best one and which was
| | 02:57 | just pretty darn good.
| | 02:58 | So what you do first time through, you just
go ahead and give everybody one star ratings.
| | 03:04 | And one star doesn't mean bad.
| | 03:05 | One star means it ranks among the
best shots that you took that day.
| | 03:10 | So I could press Ctrl+1 or Command+1 on
the Mac or choose that command or notice
| | 03:14 | these stars down here below the image, I
just have to click on the first one and
| | 03:18 | make it a one star image.
| | 03:19 | Click on the last one and make it a five-
star image for example, or click before
| | 03:24 | the first star like so that gives you a
little Ghostbusters icon right there in
| | 03:29 | order to get rid of the star rating.
| | 03:30 | And that's true for any image.
| | 03:32 | Like this one right here.
| | 03:33 | I can click on the first little pimple
right there to turn that into a star,
| | 03:38 | because every one of these little dots
is an incipient star, don't you know?
| | 03:42 | I typically don't work this way either though.
| | 03:46 | And the reason is because I can't
really see the image and all that much
| | 03:49 | detail at this point.
| | 03:50 | I would prefer to work with the full-
screen preview, and I can do that by
| | 03:53 | pressing the Spacebar of course.
| | 03:55 | And then I would say, all
right this is a good image.
| | 03:57 | It deserves one star.
| | 03:58 | I think I already star rated it though.
| | 04:00 | But if I wanted to give it let's
say two stars, I press the 2 key.
| | 04:04 | This time I don't need a modifier key.
| | 04:06 | I don't need Ctrl or Command.
| | 04:08 | So 2 will give it two stars, as you
can see down here in the lower left
| | 04:11 | corner of the window.
| | 04:12 | 1 will give it one star, 5
will give it five stars and so on.
| | 04:16 | If I want to get rid of
the star rating, that is 0.
| | 04:19 | Anyway, I want to leave it set to one
star, and then I'll go back to this image,
| | 04:22 | definitely one star for this guy.
| | 04:24 | Let's go back to that one.
| | 04:26 | I hardly need to star rate it but what
that let's give it five stars because
| | 04:29 | I've already spent a ton of time on it.
| | 04:30 | And it better be darn good at this point.
| | 04:32 | And then this guy, no it
just a tower. It's dull.
| | 04:35 | This guy, another tower
who cares, and so on. Oh!
| | 04:38 | That's pretty cool.
| | 04:39 | I'll give that one star and so on and so on.
| | 04:42 | All right, I'm going to escape out of here.
| | 04:44 | Now what about Labels?
| | 04:46 | Well, let's drop-down to this
image of Max holding this butterfly.
| | 04:50 | Your Labels, which are also available
from the Label menu, are Select through To
| | 04:54 | Do and they have colors associated with them.
| | 04:56 | So if I choose the Select command.
| | 04:58 | That's going to turn the image red, and
it's going to give it a label of Select.
| | 05:02 | Although, you don't see that label initially.
| | 05:05 | In other words, you're
not seeing the label name.
| | 05:07 | You can set things up though, so
you will by scrolling to the top of
| | 05:11 | the Metadata panel.
| | 05:12 | And I'll twirl open File Properties,
and in the here we should see both the
| | 05:17 | Label and the Star Rating,
however they're turned off by default.
| | 05:20 | The Bridge has an odd habit of turning
the best stuff off by default, I swear.
| | 05:25 | So I'll go up to the Metadata flyout
menu icon and click on it, and choose the
| | 05:29 | Preferences command.
| | 05:30 | And then here inside the Preferences
panel, I'll twirl open File Properties and
| | 05:35 | I'll drop-down here to Label
and Rating. Turn them both on.
| | 05:39 | Click OK, and now we can see that the
Rating is 0, but the Label is Select.
| | 05:44 | So you'll see the name of that Label.
| | 05:46 | You also have keyboard shortcuts.
| | 05:48 | So if you press Ctrl+6 or Command+6,
that gives you that Red Label Select.
| | 05:53 | If you press Ctrl+7 or Command+7,
you'll switch to Second, the Label Second as
| | 05:58 | you can see down there, which is Yellow.
| | 06:00 | Ctrl+8 or Command+8 will switch
you to Green which is Approved.
| | 06:04 | This is the only one I actually memorized.
| | 06:06 | Even though, I am not going through
this entire list for memory right now, I
| | 06:09 | will jettison that memory very quickly
and get rid of all but that one keyboard
| | 06:13 | shortcut, Ctrl+8 or Command+8 for
Approved, because that's the one I use a lot.
| | 06:18 | After all the image is green lighted to
my way of thinking, and then Ctrl+9 or
| | 06:21 | Command+9, which will switch you
to the cyan Review Label right here.
| | 06:26 | And that final label doesn't have a
keyboard shortcut, the To Do Label.
| | 06:29 | But it looks like this. It's purple.
| | 06:31 | What's weird about these guys is that
there doesn't seem to be a way to take
| | 06:36 | them off from the keyboard, right?
| | 06:37 | You have the No Label command but
it doesn't have a keyboard shortcut.
| | 06:40 | Well, in fact you do have a keyboard
shortcut for removing the label and I'll
| | 06:44 | show you how that works.
| | 06:45 | If I press Ctrl+8 or Command+8 on the
Mac to switch back to that green lighted
| | 06:49 | Approval label, and then I once again
press Ctrl+8 or Command+8 on the Mac that
| | 06:54 | will get rid of the label.
| | 06:56 | So the same keyboard shortcut that
assigns the label gets rid of it as well.
| | 06:59 | And this works in the Full Screen mode.
| | 07:01 | So if I'm seeing Max with this
butterfly in Full Screen, and then I decide you
| | 07:05 | know this is definitely green lighted.
| | 07:07 | I don't have to press Ctrl or Command
key, when I'm in the Full-Screen preview.
| | 07:11 | All I have to do is press 8 in order
to assign that Label and then press 8
| | 07:15 | again to remove it.
| | 07:17 | I'm going to go ahead and assign that
label to this image and escape back out.
| | 07:21 | I want to show you one more thing.
| | 07:22 | You can change the meaning of
these Labels if you want to.
| | 07:26 | So for example, let's say I select this
squirrel right here and I press Ctrl+6
| | 07:30 | or Command+6 to apply that Select label.
| | 07:33 | Now I'll press Ctrl+K or Command+K on the
Mac to bring up the Preferences dialog box.
| | 07:37 | And I'll switch over to Labels here.
| | 07:39 | And let's say I don't want red to
mean Select, I want it to mean On Fire!
| | 07:43 | Whatever you want it to be, just go ahead
and enter it in there, and then click OK.
| | 07:48 | A curious thing happens.
| | 07:50 | The squirrel changes to white at this point.
| | 07:53 | And notice the Label is still Select,
but Select no longer corresponds to a
| | 07:57 | color at this point.
| | 07:59 | So now if you want to update the
squirrel so that it is On Fire!
| | 08:01 | according to your new label.
| | 08:03 | Go up to the Label menu and choose On Fire!
| | 08:05 | or once again press Ctrl+6, Command+6
on the Mac and now he is indeed On Fire!
| | 08:10 | And we see the On Fire!
| | 08:11 | label down here as well.
| | 08:13 | Now something to bear in mind,
if I then hand this On Fire!
| | 08:17 | squirrel over to another person who's using
the Bridge, and they don't have an On Fire!
| | 08:21 | label because they won't then they
will see a white label below the squirrel
| | 08:25 | because their red Label will be Select.
| | 08:28 | However, that will still show then that
some thing is up with this squirrel, and
| | 08:32 | they will think it's might be fine.
| | 08:33 | In the next exercise, I'm going to
show you how to go about filtering your
| | 08:37 | thumbnails inside the Content panel.
| | Collapse this transcript |
| Filtering thumbnails in the Contents panel| 00:00 | In this exercise, I am going to show you
how to filter thumbnails in the Content panel.
| | 00:04 | And by filter, I don't mean assign
Photoshop style filters let's say or any
| | 00:09 | form of special effects.
| | 00:11 | Rather, we are going to show and hide
images inside the Content panel based
| | 00:16 | on specific criteria.
| | 00:17 | So the filter is if the images meet a specific
criterion then we'll see them. If not, we won't.
| | 00:23 | So for example, one way to filter
images is to go up to the Star option here in a
| | 00:28 | Path bar, click on it.
| | 00:29 | Then you'll see this menu of options.
| | 00:31 | For example, let's say I just want to
see those images to which I have assigned
| | 00:35 | 1 or More Stars, notice that.
| | 00:38 | So this will include the 1 and
2 and 3 and 4 and 5 star images.
| | 00:42 | You can also press Ctrl+Alt+1,
Command+Option+1 on the Mac.
| | 00:45 | An then, I will see all of
my star rated thumbnails.
| | 00:48 | From here, I could decide you know
what, this hippo is not a star man.
| | 00:52 | He is a two star hippo.
| | 00:54 | And notice, by the way to change a star
rating the thumbnail has to be active.
| | 00:57 | So you may have to click on it once for
example in order to make the thumbnail
| | 01:01 | active and then, click
again to change the star rating.
| | 01:04 | I might also think gosh!
| | 01:05 | You know what, Sammy with his head
being smashed that's at least a three star
| | 01:09 | image there and so on.
| | 01:11 | This also, this butterfly image totally rocks.
| | 01:13 | I will make it two stars.
| | 01:15 | Then you could refine your search further.
| | 01:17 | You could say, you know what, I want
to check out just the 2 or More Star
| | 01:21 | images and you'll see this bunch right
here and so on, because we've dropped
| | 01:25 | out the one star image.
| | 01:27 | Now let's say I am a little confused.
| | 01:28 | I'll go back here to show 1 or More Stars.
| | 01:32 | I want you to notice by the way when
there is a Star Filter going on either a
| | 01:36 | Star or Label Filter, you'll see
the Star active up here in the Path bar.
| | 01:41 | I am looking at all these one star and
higher images and I am thinking where is
| | 01:44 | that one of Max holding the butterfly.
| | 01:47 | That was a great image.
| | 01:48 | Then I guess I didn't star rated,
I guess I just assigned a label.
| | 01:51 | So I'll go up here again to this icon,
click on it and I'll say I want to just
| | 01:56 | see the Labeled Items please.
| | 01:58 | If I do that, then I'm not seeing
anything which is a little bit of a surprise.
| | 02:02 | No items to display with the current
filter, 92 items fully all of them are
| | 02:07 | hidden at this point and I am
sitting there scratching my head.
| | 02:09 | The problem is that I have assigned
multiple filter criteria that don't
| | 02:13 | overlap each other.
| | 02:14 | So I'll bring up the Star menu again.
| | 02:16 | Notice, I'm seeing only those images
that have one or more stars and are labeled.
| | 02:20 | Well, there is no such image
inside of this folder right now.
| | 02:24 | So I'm going to have to turn off Show
1 or More Stars and then, I can see my
| | 02:28 | two labeled images.
| | 02:30 | You can also by the way just clear out the
filter, if you want to see all of the images.
| | 02:33 | Once again, choose this command or press
Ctrl+Alt+A, Command+Option+A on the Mac.
| | 02:39 | All right, so I am going to go ahead
and give Max a star rating and I might as
| | 02:43 | well do the same thing with the squirrel.
| | 02:45 | Incidentally, I'll go ahead and give
Max no star rating for just a moment.
| | 02:49 | So you can see you can assign star
rating to multiple images at the same time.
| | 02:53 | This also works with Labels.
| | 02:54 | So I'll click on Max,
Shift+Click on the Squirrel.
| | 02:57 | Click this star inside the Squirrel
and they both get stars as you can see.
| | 03:02 | Now, if I go back of the Star and say
all right now show me 1 or More Stars.
| | 03:08 | I'm not going to see any more images.
| | 03:09 | The same problem, I have
multiple search criteria.
| | 03:12 | I'll go back up here once again and I
had to turn off Show Labeled Items Only
| | 03:17 | because I want to see the
unlabeled items as well.
| | 03:20 | Now, I can see all of these one star images.
| | 03:23 | Now, let's say at this point.
| | 03:24 | We are looking at the star rated images
and I decide, one of the images doesn't
| | 03:28 | deserve a star rating.
| | 03:29 | I want to get rid of it.
| | 03:30 | I'll click on this image of Sammy with
a strange expression and I will click
| | 03:34 | before the star to turn it off.
| | 03:36 | And as soon as I do and release, it
disappears, because it no longer matches
| | 03:40 | that filtering criterion, and we can
see that the filter is still turned on.
| | 03:44 | So just something to bear in mind.
| | 03:46 | You'll have to keep track of that.
| | 03:47 | All right now I am going to go ahead and
green light a few of these images here.
| | 03:50 | I'll scroll down to the
bottom. I like the hippo.
| | 03:53 | I'll click on him.
| | 03:54 | I'll Ctrl+Click on this butterfly up
here the one that's called B0000450.
| | 04:00 | Maybe the monkey, you
have got to love the monkey.
| | 04:02 | And then, I'll scroll up the list
and maybe grab this butterfly as well.
| | 04:06 | I'm doing this by the way by Ctrl+Clicking
or Command+Clicking on the thumbnails
| | 04:10 | because when you Ctrl+Click on a PC
or Command+Click on the Mac on the
| | 04:13 | thumbnail, you select
nonadjacent thumbnails inside the list.
| | 04:17 | And now, I will go ahead and press
Ctrl+8 or Command+8 on a Mac in order to
| | 04:22 | assign that green approved label
just so that I have a handful of images
| | 04:26 | that meet that criteria.
| | 04:28 | Now, let's go ahead and clear out
the filter by choosing the Clear Filter
| | 04:31 | command or pressing Ctrl+Alt+A,
Command+Option+A on the Mac.
| | 04:34 | I want you to notice the other place
to filter inside of the Bridge and it is
| | 04:39 | even more powerful than that Star menu.
| | 04:41 | And that's this Filter panel right here.
| | 04:43 | Go ahead and click on its tab to switch to it.
| | 04:44 | I am going to make it taller so that
we have a little more room to work.
| | 04:48 | Notice that it auto populates.
| | 04:51 | So in other words, it's showing you
every criteria that it thinks matters where
| | 04:56 | these images are concerned.
| | 04:58 | Notice here inside of my Ratings, which
you can twirl open if you need to, there
| | 05:01 | is no four-star rating.
| | 05:03 | I have not assigned four stars to anything.
| | 05:05 | So I do not see four stars in the list.
| | 05:07 | I just see that there are
15 one star images in my case.
| | 05:11 | Your results may vary.
| | 05:12 | I have 3 two star images, 1
three star and 1 five star as well.
| | 05:16 | If I click on one of these star ratings,
for example two star, I will just see
| | 05:20 | those three images to
which I assigned two stars.
| | 05:23 | I am not going to see two stars and the
higher, the way I will with the Star menu.
| | 05:27 | I will just see that rating and nothing more.
| | 05:30 | If I then decide to click on
something else such as On Fire!
| | 05:34 | Then I am not going to see any
thing because I don't have any two star
| | 05:37 | images that are on fire.
| | 05:39 | I'll need to clear out my
filtering criteria in one of two ways.
| | 05:42 | Either, I can turn on fire back
off by clicking on it once again.
| | 05:46 | Then I'll also turn off
two stars by clicking on it.
| | 05:48 | That's one way to work.
| | 05:50 | Let's go ahead and turn those guys back on.
| | 05:52 | Another way to work is to just once
again choose the Clear Filter command or
| | 05:55 | press Ctrl+Alt+A, Command+Option+A on the Mac.
| | 05:58 | Now the amazing thing about this Filter
panel is that you can filter much, much
| | 06:03 | more than Labels and Ratings.
| | 06:05 | I'll go ahead and twirl
those guys close for a moment.
| | 06:08 | Notice, I can see all the different
file types that are available to me.
| | 06:11 | So I've 30 DNG images there they are.
| | 06:14 | DNG being Adobes' Digital Negative format.
| | 06:17 | It's a format for preserving RAW
images captured by high-end digital cameras.
| | 06:22 | I have two folders if I want to check them out.
| | 06:24 | But what I love about the Folder option
there is you can turn it off so that you
| | 06:29 | are not constantly seeing the subfolders.
| | 06:31 | This way, if I just heard on DNG,
JPEG, Photoshop document and TIFF, I am
| | 06:36 | seeing all the images but I'm not seeing
either of those folder icons, which is fine by me.
| | 06:42 | And then, of course I can turn
these guys off if I want to as well.
| | 06:46 | So I've got two layered
Photoshop documents. What are they?
| | 06:48 | Well, they are these guys right here:
| | 06:50 | Lone Peak.psd and Grand Tetons.psd.
| | 06:53 | Very interesting, I could check them
out inside of Photoshop if I want to.
| | 06:56 | If you turn off the last checkmark
standing then you will see all of your images
| | 07:01 | again because you're
essentially turning the filter off.
| | 07:04 | Another really great way to filter images
in my opinion is by either Date Created.
| | 07:09 | So you can see all the creation dates.
| | 07:12 | You'll see that these images go back
over about five or six-year span of time.
| | 07:17 | We'll also Date Modified,
which can be very useful.
| | 07:20 | We have Orientation.
| | 07:21 | If I click on Portrait, notice this, I
will see the rotated images as well, the
| | 07:27 | once that got rotated into portrait position.
| | 07:30 | So the Bridge is correctly reading
these images based on their Metadata.
| | 07:34 | I'll go ahead and turn that guy back off.
| | 07:36 | And if I scroll down the list here,
I can search by Camera model, which
| | 07:41 | is totally awesome.
| | 07:42 | So I can see that two of them don't
have any camera models associated with
| | 07:46 | them because goodness! They are folders.
| | 07:48 | You are right.
| | 07:48 | I did not photograph these
folders Bridge that's a good call.
| | 07:52 | Go ahead and turn that off.
| | 07:53 | But I can see that I shot two of them
with a D-LUX 3 which was Leica camera
| | 07:58 | and the rest are shot with various
Olympus Cameras the most popular for each
| | 08:02 | of the E-30 pictures.
| | 08:03 | I have 60 of those in all.
| | 08:05 | I'll go ahead and turn that off
once again. Twirl close model.
| | 08:08 | Twirl open Copyright Notice.
| | 08:10 | So, I can see, all right, I've gone
ahead and marked some of these images as
| | 08:14 | copyrighted, kind of a bizarre
collection, rather random actually.
| | 08:19 | If I go ahead and turn on all three of
these Copyright Notices, those are the
| | 08:22 | ones I chose the copyright and that's it.
| | 08:24 | What about the others?
| | 08:25 | Let's go ahead and turn
those guys off for a moment.
| | 08:28 | And then, turn on No Copyright Notice.
| | 08:30 | Well, I have a lot of really
great images to which I need to assign
| | 08:34 | copyright statements.
| | 08:36 | Obviously, by the way, if you go to the
View menu and you choose Show Items and
| | 08:40 | Subfolders so that we'll see into the
Felix Mizioznikov folder and the Sammy
| | 08:45 | jumps folder as well, then we have
more images at our disposal including down
| | 08:50 | here under Copyright Notice, we have
five images that are copyrighted to Felix.
| | 08:55 | So the Filter panel constantly updating.
| | 08:57 | Just remember, if you ever need to
clear the filters so you can see all the
| | 09:01 | images inside one or more given
folders then, press Ctrl+Alt+A and that's
| | 09:05 | Command+Option+A on the Mac.
| | 09:07 | In the next exercise, I am going to show
you how to move, copy and delete files.
| | Collapse this transcript |
| Moving, copying, and deleting files| 00:00 | In this exercise, I am going to show
you how to move, copy and delete files
| | 00:03 | here inside the Bridge.
| | 00:05 | And it works pretty much the same way
it does at your desktop level with the
| | 00:08 | very same results incidentally.
| | 00:09 | So if you move a thumbnail, you're
actually moving the file to a different folder.
| | 00:14 | If you copy the thumbnail, you are
copying that file to a different folder or
| | 00:18 | hard drive or volume or what have you.
| | 00:20 | And if you delete a thumbnail then
you're sending that file to the Recycle Bin
| | 00:24 | on the PC or the Trash on the Mac.
| | 00:26 | So bare all that in mind.
| | 00:27 | These are real changes that
we are making to the files.
| | 00:31 | The cool thing is that you do have one
level of undo here inside the Bridge.
| | 00:35 | And you can use it to unmove
or uncopy or undelete a file.
| | 00:38 | All right so I am still looking at
the contents of the 03_open_org folder.
| | 00:42 | I'll go up to the View menu and
turn off Show Items in Subfolders.
| | 00:45 | So I am just seeing this
single folder of images at a time.
| | 00:48 | And I'm going to leave the Sort set to
Filename, but I am going to switch back
| | 00:53 | to standard alphabetical order like so.
| | 00:55 | And let's add a folder at this point.
| | 00:57 | I'll create a new folder and
I'll call it Lake Powell, lets say.
| | 01:02 | Because I shot all these
first images here at Lake Powell.
| | 01:05 | I will go ahead and press the Enter key or
the Return key to accept that new folder.
| | 01:08 | And you can see it here inside the
twirled open list in the Folders panel as well.
| | 01:13 | And now I'm going to click on this
first image in order to select it.
| | 01:16 | I'll scroll down the list till I
get to the last water photo here.
| | 01:20 | And I'll press the Shift key and click.
| | 01:22 | And when you Shift+Click on a
thumbnail, you select an entire range of
| | 01:25 | thumbnails as we are seeing here.
| | 01:27 | Now I'll grab it and then I'll drag these
images onto the Lake Powell folder and release.
| | 01:32 | And I could do that either here inside
the Content panel or over here inside the
| | 01:36 | Folders panel, either one is going to work.
| | 01:38 | And now I've gone ahead and moved
these images off to Lake Powell.
| | 01:43 | Go ahead and click on Lake
Powell folder to see its contents.
| | 01:45 | Everything looks great.
| | 01:47 | If you decide later you didn't want to do that.
| | 01:49 | For example let's say, I
decide to make just a silly move.
| | 01:52 | I'll go back to the open_org folder.
| | 01:54 | I'll switch back to reverse alphabetical
order, and I'll grab these images right here.
| | 01:59 | Click, Shift+Click like so, in
order to select this entire range.
| | 02:02 | And I think gosh, these don't really
go here, such a hotchpotch of images.
| | 02:07 | I think I'll move them into the
Sammy jumps folder, because that's where
| | 02:10 | Sammy is jumping around.
| | 02:12 | Let's go ahead and click inside that folder now.
| | 02:14 | These are a bunch of images of
Sammy jumping off of a very high wall.
| | 02:18 | But now I look at this and I'd
originally thought, well, gosh these images of
| | 02:21 | this guy snowmobiling and the
snowmobile tracks and this big lone peak that I
| | 02:26 | busted up my knee cap on,
and all this other stuff.
| | 02:29 | These are some great thrill seeking pictures.
| | 02:31 | But now I look at it and
it's like that's terrible.
| | 02:34 | These guys don't go together.
| | 02:36 | Why then you go out to the
Edit menu, and you say Undo Move.
| | 02:39 | Ctrl+Z, Command+Z will put those
images back where they were, fantastic.
| | 02:44 | All right I'll go back to the open_org folder.
| | 02:46 | Let's go ahead and copy
an image this time around.
| | 02:48 | In fact let's copy this image of Sammy
into the Sammy jumps folder, even though
| | 02:53 | he is not jumping, and in fact in this
image, if I Crtl+Click or Command+Click
| | 02:57 | on it to add it to the selection.
| | 02:59 | And again Ctrl+Clicking or Command+Clicking
adds nonadjacent images to the
| | 03:04 | selection, which wasn't technically
necessary here because they are adjacent,
| | 03:08 | but it still worked.
| | 03:09 | And this is some thrill seeking Sammy stuff
going on here because he getting his head smashed.
| | 03:14 | So maybe this belongs, but I'm not really sure.
| | 03:17 | Not sure where I want these images to go,
so I think I'll copy them, let's say.
| | 03:21 | Now if you are moving between
different hard drives or different networked
| | 03:25 | volumes then you are
going to copy automatically.
| | 03:29 | However, if you are moving images on the
same hard drive and you want to copy them.
| | 03:33 | You do like so.
| | 03:34 | You go ahead and drag the thumbnails
to the new location such as Sammy jumps.
| | 03:38 | And then press and hold the Ctrl key
here on the PC or the Option key on the Mac.
| | 03:44 | So these keys don't match each other.
| | 03:46 | It's Ctrl on the PC, Option on the Mac.
| | 03:48 | You'll get a Plus sign here
in the PC next to your cursor.
| | 03:51 | You'll also get a Plus sign but
it's in a cool green sphere on the Mac.
| | 03:55 | It looks much better.
| | 03:56 | Anyway, I'll go ahead and copy these guys.
| | 03:58 | Notice they still exist right here,
but they're also found inside the
| | 04:01 | Sammy jumps folder.
| | 04:02 | And again by the way, you have
the option to undo that operation.
| | 04:05 | You can choose the Undo Copy command
or press Ctrl+Z or Command+Z on the Mac.
| | 04:10 | Finally, let's go ahead and say, nah,
I want to delete these images, I
| | 04:13 | don't want them here.
| | 04:14 | So you could of course undo the copy at
this point, but let's say it's later on
| | 04:17 | down the line and you've
decided delete is the thing to do.
| | 04:21 | Then click on one, Shift+Click or
Command+Click or Ctrl+Click or what have you
| | 04:25 | to get the other one selected.
| | 04:27 | They are both selected now.
| | 04:28 | And you could press the
Delete key in order to delete them.
| | 04:31 | But if you do that, you'll
get this message right here.
| | 04:34 | And the Bridge is going to assume that
you don't want to delete the images but
| | 04:37 | you want to reject them, which is
why the Reject button is highlighted.
| | 04:40 | Let me show you how that works.
| | 04:41 | When you reject an image, you just go
ahead and mark it as rejected, like so.
| | 04:47 | And you get rid of the star rating that it
had before and you replace it with Reject.
| | 04:51 | And that means that you can choose
to hide those images if you want to.
| | 04:56 | So in other words, they are still there.
| | 04:57 | We have just said, I don't want to
have anything to do with those images.
| | 05:00 | They're not making it into
this project for example.
| | 05:04 | And you can actually go to the View
menu and say that you don't want to see the
| | 05:07 | Rejected Files like so.
| | 05:09 | Or if you do want to see the
Rejected Files then you can turn it back on.
| | 05:13 | And so that's one way to work.
| | 05:14 | If you're not sure that you want to get rid of
the images which most of the time you're not.
| | 05:18 | The only time, I actually delete images
is because I've backed them up elsewhere.
| | 05:23 | So I don't spend a lot of
time just throwing stuff away.
| | 05:26 | So I'll click on these two though,
they are backed up elsewhere.
| | 05:29 | We want to go ahead and delete them.
| | 05:31 | I'll press the Delete key again and
you'll see, by the way that we have a
| | 05:35 | little bit of advice down here, ending with
you can also use Ctrl+Delete to delete an item.
| | 05:40 | That would be Command+Delete on the Mac.
| | 05:42 | In other words Ctrl+Delete or
Command+Delete will go ahead and skip this message.
| | 05:46 | So I am going to cancel out and I'm
going to press Ctrl+Delete or Command+delete.
| | 05:51 | I will still see an alert message
but this is the one that follows.
| | 05:54 | And this one says are you sure you want
to move these two items to the Recycle
| | 05:58 | Bin here in the PC, the Trash on the Mac.
| | 06:01 | And if you don't want to see these
warning every single time you are trying to
| | 06:03 | delete files then you can turn
on the, Don't show again checkbox.
| | 06:06 | However I think it's prudent to leave
that checkbox off, because I do like to
| | 06:11 | go ahead and just you know take a second look
to make sure that I want to get rid of the files.
| | 06:15 | And then I click OK in order to delete them.
| | 06:18 | Again, if you don't like that you go up
to the Edit menu and you say Unto Delete
| | 06:23 | in order to bring those files
back, Ctrl+Z, Command+Z on the Mac.
| | 06:26 | But I'm comfortable with deleting them.
| | 06:28 | That is how you move, copy and
delete files inside the Bridge.
| | Collapse this transcript |
| Creating and assigning keywords| 00:00 | In this exercise, I am going to show
you how to create and assign Keywords
| | 00:03 | inside of the Bridge.
| | 00:05 | And it's a little bit of a pain in
the neck, because it's a manual process.
| | 00:09 | But you may find it fairly enjoyable.
| | 00:11 | It's kind of Zen light.
| | 00:13 | I cannot stress the importance
of doing it on a regular basis.
| | 00:16 | You will be so happy in the future,
because the Bridge cannot look at an image
| | 00:21 | and say hey, yeah there
is a guy in a snowmobile.
| | 00:23 | Or there is a mountaintop, or there is
a tower, or there is a child or anything
| | 00:27 | like that, whereas you can.
| | 00:30 | So if you take some time to add
Keywords for people, places and friends that
| | 00:34 | kind of thing, then you can
search for those terms in the future.
| | 00:37 | And make your images discoverable,
years down the line which is a really,
| | 00:42 | really terrific thing.
| | 00:44 | All right so let's get started.
| | 00:46 | I am working inside the 03_open_org folder.
| | 00:49 | I am going to switch over to Sammy
jumps, because these images already have
| | 00:53 | Keywords inside of them.
| | 00:54 | I'll click on one press Ctrl+A or
Command+A to select all of them.
| | 00:58 | And then I'll press Ctrl+I or Command+I on
the Mac to bring up the File Info dialog box.
| | 01:03 | And notice that we have some
Keywords separated by semicolons.
| | 01:06 | So this is one way to add
Keywords to an image, Boston; jumping;
| | 01:10 | Sammy; wall.
| | 01:11 | So we essentially have a sentence, which
is Sammy is jumping off a wall in Boston.
| | 01:15 | Awesome!
| | 01:16 | That's exactly what we want out of this.
| | 01:18 | In the future I could
search for that. All right!
| | 01:21 | So I am going to cancel out of there.
| | 01:22 | Let's go ahead and add these
terms to our Keywords panel.
| | 01:25 | I'll switch over to Keywords,
which by default is located down in the
| | 01:29 | lower right corner.
| | 01:30 | I'll make my Keywords panel quite
a bit taller by dragging up word on
| | 01:34 | that horizontal bar.
| | 01:35 | And notice that Sammy and
Boston are in the right locations.
| | 01:39 | They are found inside the right category
that is Sammy is a People and Boston is a Place.
| | 01:44 | And jumping and wall are just
sitting there as Other Keywords.
| | 01:48 | Now I want these guys to be persistent,
so that I can use them in the future.
| | 01:52 | So I am going to right-click on
Sammy and chose Make Persistent.
| | 01:55 | And then I'll right-click on
Boston and do the same thing.
| | 01:58 | Now then I'm going to add
some Keyword categories.
| | 02:01 | And the Bridge calls
Keyword category's Keywords.
| | 02:04 | And then it calls Keywords Sub Keywords.
| | 02:06 | I don't really know why it does that.
| | 02:07 | There might be some
convention like that out there.
| | 02:09 | Don't know, I find it to be confusing.
| | 02:12 | But anyway, you click on the Plus
button to create a new category here.
| | 02:16 | And I'm going to call this one Actions.
| | 02:19 | And then I'll drag jumping into the
Actions category, twirl it up and now
| | 02:23 | jumping is persistent just like that.
| | 02:26 | Let's add another category for Objects like so.
| | 02:29 | And then I'll drag wall into Objects,
there it is and it becomes persistent as well.
| | 02:35 | Now let's switch over to 03_open_org
which contains some of the other images.
| | 02:38 | And you know what while I am here I
might as well add another Keyword for Max of
| | 02:43 | course, my eldest son.
| | 02:44 | So I'll right-click on
People and choose New Sub Keyword.
| | 02:48 | That's what you choose there.
| | 02:49 | And then enter the name Max, like so.
| | 02:51 | All right so now let's
begin keywording these guys.
| | 02:54 | I am going to grab these
images of Sam right there.
| | 02:58 | These two actually I will start
with and label them Sammy, like so.
| | 03:01 | And then I'll drop down here to this group.
| | 03:04 | Since there is a bunch of images in
row I'll click on one, Shift click on the
| | 03:07 | last one there, and label them with Sammy.
| | 03:10 | Even though Max is highlighted here I am
not using him for these specific images.
| | 03:14 | It's the checkmark that actually counts.
| | 03:16 | Let's continue to scroll down the
list until we get to these images.
| | 03:19 | There is Sam along with Max of
course, all the way down to here.
| | 03:24 | And so I clicked on one, Shift
clicked on the other, turned on Sammy.
| | 03:28 | Now I am going to go back to Max.
| | 03:29 | This guy is Max right there when
he was very young. Turn on Max.
| | 03:33 | And these two of course are Max.
| | 03:35 | I'll go ahead and label them.
| | 03:36 | So I am moving through this fairly quickly.
| | 03:38 | You may be working along with me, maybe
you're not, maybe you're just watching
| | 03:41 | me, which is perfectly fine.
| | 03:43 | I will go ahead and click on this one.
| | 03:44 | Ctrl+Click or Command+Click on this
guy and Ctrl+Click or Command+Click on
| | 03:48 | this one too, because you may recall
that is my son Max's knee smashing into
| | 03:53 | my son Sammy's head.
| | 03:54 | And now I'll go ahead and turn that one on.
| | 03:56 | So we've labeled the People I
think throughout all of these images.
| | 03:59 | And at this point let's say
that I want to label the animals.
| | 04:03 | Now you may be groaning, thinking oh
now we are not going to do all these
| | 04:07 | animals Deke, forget about it.
| | 04:09 | That would take us a while, and I
don't want to sit here watching you create
| | 04:12 | all these Keywords.
| | 04:13 | Actually I created them in advance.
| | 04:15 | So I am going to go up here to my Keyword
flyout menu icon, click on it and choose Import.
| | 04:21 | And then I will navigate my way
into the Exercise Files folder.
| | 04:25 | This file sitting loose inside the
Exercise Files folder because I didn't
| | 04:28 | want to trash out this open_org folder,
because we are working in it so much
| | 04:32 | here inside the Bridge.
| | 04:33 | It's called Animal keywords.txt.
| | 04:35 | And it's just a simple text file that you
can export from Keywords if you want to.
| | 04:39 | So there is an Export Command as well.
| | 04:40 | It'll make a text file for you.
| | 04:42 | Or you could take a look at how these text
file is organized and create one of your own.
| | 04:45 | Very easy to work with you'll see.
| | 04:47 | Click on open and bang,
there's a bunch of animals.
| | 04:50 | Now I am no zoologist, so my Animal categories
are anywhere from very general to very specific.
| | 04:58 | But that guy's a Primate
and so are all these guys.
| | 05:02 | So I'll label them as Primates, excellent.
| | 05:04 | And then these guys right here
are obviously hippopotamuses.
| | 05:09 | I didn't make Hippos. My gosh!
| | 05:11 | I better go ahead and right-click on
Animals and choose New Sub Keyword and say Hippo.
| | 05:15 | That's very important that we label Hippos.
| | 05:18 | And then Shift+Click on
this guy and turn on Hippo.
| | 05:22 | And he is a Rhinoceros.
| | 05:24 | So he is a, he is a miscellaneous animal.
| | 05:27 | And these guys are some unknown brand of pigs.
| | 05:29 | So I will go ahead and make
them Miscellaneous Mammals too.
| | 05:32 | And then there are just two Hyenas.
| | 05:34 | I didn't figure out I was
going to make a Hyena category.
| | 05:36 | And I don't know what that
guy is, some horned creature.
| | 05:38 | Go ahead and turn on Miscellaneous Mammal.
| | 05:40 | All right well then there is an entire
classification of birds, which includes
| | 05:44 | these guys right there.
| | 05:45 | There might be more but they
definitely suffice as birds, oh Red Pandas.
| | 05:49 | Because he is so cute and
cuddly he gets his own, Red Panda.
| | 05:52 | And then Butterfly, let's go ahead and
click on one, Shift+Click on the other.
| | 05:56 | I think we've got, oh look of
all those with Sammy right there.
| | 05:59 | So I can Shift click all the way up to here.
| | 06:01 | So that was an entire day at
the Butterfly Pavilion there.
| | 06:05 | Go ahead and turn on Butterfly.
| | 06:07 | And I think I've done some very
nice keywording at this point.
| | 06:10 | So you could go nuts, add
more, do whatever you want.
| | 06:13 | But that's basically what it's about.
| | 06:16 | Just spend a few minutes after
every photo shoot adding the Keywords.
| | 06:19 | You will be glad you did.
| | 06:20 | You'll remember people that
you will forget a year from now.
| | 06:24 | They will be identified inside of your library.
| | 06:26 | So you can call them up very easily,
which is convenient for friends and family
| | 06:30 | members and essential for clients, believe me.
| | 06:33 | And in the next exercise I am going
to show you how to run searches and
| | 06:36 | assemble collections.
| | Collapse this transcript |
| Searches and collections| 00:00 | In this exercise, I'm going to show
you how to run searches and assemble
| | 00:03 | collections on the fly.
| | 00:05 | Now you can search like crazy inside the Bridge.
| | 00:08 | You can search according to creation
date, color profile, the star rating, the
| | 00:13 | camera model as well as a bunch of
EXIF data like Exposure and ISO, and Focal
| | 00:19 | Length, and whether the flash fired or not.
| | 00:21 | It's absolutely crazy!
| | 00:22 | But when you're running a standard
search, you're searching according to two
| | 00:25 | criteria and those are Filename and
Keywords, which is why it's so great that we
| | 00:31 | assign keywords in the previous exercise.
| | 00:33 | So, make sure your Bridge is trained
on the contents of the 03_open_org folder
| | 00:37 | just as mine is, and then go up to the
Search field, and notice by the way if
| | 00:41 | you click this down pointing arrowhead,
you're running a search inside the
| | 00:44 | Bridge inside the current
folder and any of its subfolders.
| | 00:48 | So we'll also be searching inside
these subfolders here. All right!
| | 00:52 | So, I'm going to search by Sammy and
the thing I like to do is once I click in
| | 00:57 | this field, press the Backspace key a
few times, just to make sure you don't
| | 01:00 | have any weird characters in there,
because that will throw off your search.
| | 01:03 | And then I'll enter sam, and the actual
keyword is Sammy but sam is good enough
| | 01:09 | because it's found inside the word Sammy.
| | 01:11 | And notice, we find throughout the
03_open_org folder and all of its
| | 01:14 | subfolders, all of these images right
there and altogether I found 32 items
| | 01:19 | that I had tagged with Sammy.
| | 01:20 | Now to get a sense of what that
tagging looks like, click on that New Search
| | 01:24 | button right there, and you'll see that
what the Bridge went ahead and did was
| | 01:28 | it searched the file name for sam
and had search keywords for sam.
| | 01:33 | And it went ahead and show me
every file where any criteria are met.
| | 01:37 | In other words, either the Filename
contain sam or the Keywords contain sam,
| | 01:42 | which is very important here, because if
I were to say, if all criteria are met,
| | 01:46 | meaning that I'd need both the Filename
and the Keyword to include the word sam,
| | 01:50 | and I ran another Find operation, then
I'm not going to find anything because I
| | 01:54 | haven't taken the time to
assign filenames to my images yet.
| | 01:58 | We will in the future exercise but
right now they're just a bunch of
| | 02:01 | garbage file names.
| | 02:02 | So, I'd want to go backup here to New
Search and say no, I want any criteria.
| | 02:08 | Also by the way, you can choose whether
or not to search subfolders, which are
| | 02:11 | folders inside of folders of course,
and then you can search Non-indexed Files,
| | 02:16 | and Non-indexed Files are most
likely to be system level files.
| | 02:20 | But the idea is your operating
system is on a regular basis indexing the
| | 02:25 | contents of your hard drives, and it
does that theoretically when your computer
| | 02:30 | is idle, and it doesn't
have anything better to do.
| | 02:33 | And that way searches in general run
much more quickly, but typically the
| | 02:37 | system files are omitted, or there may be a
case where new files haven't gotten indexed yet.
| | 02:43 | So, if you're just searching a folder
like this one it's not going to slow
| | 02:46 | things down to search for Non-indexed Files,
and you may end up finding some other files.
| | 02:51 | So probably not, but what the heck?
| | 02:53 | And then click on Find and you can
see that happened lightning-fast because
| | 02:57 | probably all the files were indexed for
one thing, but even if they weren't we
| | 03:01 | are only searching inside 100 or so files.
| | 03:04 | All right, so anyway I
have got my same 32 items.
| | 03:06 | Now let's say that I decide I want to go
ahead and add these to some kind of collection.
| | 03:12 | And notice right there, I've got this
little icon that says Save as Smart Collection.
| | 03:16 | I'll click on it and I'll say these are
my Sammy images and then I'll click Save.
| | 03:22 | And now if I go over to the Collections
panel which by default is located in the
| | 03:26 | lower-left region of the screen, then
I'll see my Sammy images collection and
| | 03:30 | these images don't have
to be in the same folder.
| | 03:33 | They don't even have to be in a
single group of folders and subfolders.
| | 03:37 | They can be all over your
hard drive if they want to.
| | 03:40 | So, collections are not like folders.
| | 03:42 | In other words, folders actually
contain image files, collections just point to
| | 03:47 | those image files someplace on your
hard drive and it can be ultimately a hard
| | 03:51 | drive that goes on and off-line.
| | 03:53 | In other words a portable hard drive
that you can plug-in and unplug. All right!
| | 03:57 | Now let's say that I want to
run a different kind of search.
| | 03:59 | I'm going to go back to the 03_open_org
folder and this time around, I'm going
| | 04:04 | to run a custom search by going up
to the Edit menu and choosing the Find
| | 04:08 | command or I press Control+F,
Command+F on the Mac.
| | 04:11 | And I'm going to say forget the
Filename, we're not concerned about that,
| | 04:15 | because none of the filenames are any good.
| | 04:17 | Let's switch over to Keywords.
| | 04:18 | And I'll say that I want the
Keyword to contain max and sam.
| | 04:23 | So, I'm just looking for
images of both of my boys together.
| | 04:27 | So, I'll go ahead and
select If all criteria are met.
| | 04:29 | And by the way, you can add and
subtract criteria using these Plus and Minus
| | 04:34 | buttons right here, if you
need to add more stuff on there.
| | 04:37 | For example, I could say you know what?
| | 04:39 | I want to add another criteria and
this time I want the keywords to contain
| | 04:44 | butterfly let's say.
| | 04:45 | So, I just want to find pictures of
max and sam together with butterflies.
| | 04:49 | Well, there aren't any, so I'm
not really going to run that search.
| | 04:52 | However, that is something I could do.
| | 04:53 | Now having recalled that there are no
pictures like that, I'll go ahead and
| | 04:57 | click on the Minus button and then
I'll run my Find, and there they are, they
| | 05:01 | are just the handful of them, one of
which is involving my youngest son's
| | 05:05 | head getting crushed. So that's great.
| | 05:07 | It's perfect.
| | 05:07 | That's something I want
to remember forever more.
| | 05:09 | I'll go ahead and add that as another
Smart Collection and I'll call this one
| | 05:13 | Brothers, so sweet, and then press
the Enter or Return key in order to
| | 05:18 | collect those together.
| | 05:19 | Then let's say gosh! You know what?
| | 05:21 | I want to go ahead and collect all the
images of the animals together inside of
| | 05:26 | a single collection.
| | 05:27 | So, I'll switch to Filter
and notice my keywords now.
| | 05:30 | I've got an automatically populating
keyword list and I could click on Bird and
| | 05:35 | Butterfly and Hippo and
Miscellaneous mammal and Primate and Red panda.
| | 05:40 | So, I'll leave out max and sam at this point.
| | 05:43 | And I'll go ahead and select all those
guys, press Control+A, Command+A on the
| | 05:47 | Mac to select all of them.
| | 05:48 | And these are by the way just going to
be the images that are in this single
| | 05:51 | folder, the 03_open_org folder.
| | 05:53 | If I want more, I can go up to the
View menu and choose Show Items from
| | 05:56 | Subfolders, but not really
concerned about digging deeper here.
| | 06:00 | This is good enough.
| | 06:01 | And now I'll switch over to
Collections and incidentally in case you're
| | 06:04 | wondering why things like Boston and Wall and
Jumping aren't listed here in the Keywords list?
| | 06:09 | It's because I'm not seeing into the subfolder.
| | 06:12 | Those images are inside the Sammy jumps folder.
| | 06:15 | Anyway, this is good enough.
| | 06:16 | Now, I'm going to add them as a collection.
| | 06:18 | By going to the Collections panel and I'm
going to drop-down here to New Collection.
| | 06:21 | This guy by the way runs the Smart
Collection from your search criteria.
| | 06:25 | In my case I just want a New Collection
based on the currently selected images.
| | 06:29 | Should I include the selected files
in the New Collection? Absolutely.
| | 06:33 | You bet. Sure.
| | 06:34 | Click on the Yes button, and I'll just
go ahead and call this one Animal shots.
| | 06:39 | And there we have it.
| | 06:39 | It contains 53 items and I can add more
images to these collections anytime I want.
| | 06:44 | Again online media, off-line media, it
doesn't matter if the images are in the
| | 06:49 | same folders or not, they can
be all over your hard drive.
| | 06:51 | In the next exercise I'm going to show
you the very next panel over, Export, new
| | 06:57 | to Bridge CS5, it allows you to
convert a bunch of images to JPEG.
| | 07:01 | Stay tuned!
| | Collapse this transcript |
| Batch-exporting JPEG files| 00:00 | In this exercising, I'm going to
introduce you to a new panel inside Bridge CS5
| | 00:04 | and it's this guy right there Export.
| | 00:06 | And it's kind of weird
the way it set up frankly.
| | 00:09 | I don't really think much as the
interface but it does a really great thing.
| | 00:12 | It allows you to take a bunch of
images and convert them to JPEG files.
| | 00:17 | The reason that so incredibly
useful is let's say you have a bunch of
| | 00:22 | photographs that you captured to your
digital camera's raw file format, and you
| | 00:25 | want to hand off some of them to a
client or a friend or a family member, well
| | 00:29 | you don't want to get them a bunch of
raw files, because they won't know what to
| | 00:32 | do with them and they might mess them up,
better to give them JPEG files which
| | 00:36 | are universally usable.
| | 00:37 | There are all kinds of applications
that support JPEG and they're compressed
| | 00:41 | and smaller and you can shove a bunch of
them on a CD and hand it off, that kind of thing.
| | 00:46 | And also those of you who are creating
intense layered Photoshop files, you want
| | 00:51 | to show those to a client for
approval better to give them a JPEG image.
| | 00:55 | So that they're not overwhelmed,
or they don't mess something up.
| | 00:58 | So, here is how this works.
| | 01:00 | I'm going to go ahead and switch over to my
03_open_org folder here inside the Bridge.
| | 01:04 | I'm going to bring out my Metadata panel.
| | 01:06 | It is brought up for me right now.
| | 01:08 | And I'll click on the flyout menu icon
and I'll choose Create Metadata Template,
| | 01:12 | and the reason I'm doing this is because
you can assign the Metadata Template to
| | 01:16 | your images as you convert them.
| | 01:18 | So, I'm going to go up here to my
right-pointing arrowhead and I'm going to
| | 01:22 | choose Append Metadata and I'm going
to choose Winter adventure which is a
| | 01:25 | Metadata Template that I've created in advance.
| | 01:28 | You're not going to be able to do this,
because the files contained in the
| | 01:30 | system level of my hard drive, but
you'll be able to follow along just the same.
| | 01:34 | I just want you to see that you can do this.
| | 01:37 | Then here inside IPTC Core, notice
the Creator is already set to me.
| | 01:40 | I'm going to go ahead
and get rid of Description.
| | 01:42 | We don't need that because the single
description isn't going to be applicable
| | 01:45 | to all of these files.
| | 01:47 | I'm going to get rid of Date Created because
that certainly isn't going to be applicable.
| | 01:50 | Let's take this Copyright Notice here
and update it to 2010 Type & Graphics
| | 01:56 | Boulder, Colorado 80303.
| | 01:58 | Copyright Status is Copyrighted.
| | 02:00 | It could be Public Domain or
Unknown as well. All right!
| | 02:03 | Just one other thing I want to confirm,
I'm going to go up all the way to IPTC
| | 02:07 | legacy here and twirl it open and I see
the Author and the Copyright, I want to
| | 02:12 | make sure this Copyright Info URL is in there.
| | 02:14 | So, it's just deke.com, although you know what?
| | 02:16 | I'm going to change it to lynda.com/
deke in honor of the fact that we're inside
| | 02:20 | the lynda.com Online Training Library.
| | 02:22 | And I'll go ahead and name this Template
Generic Deke, because it would work for
| | 02:26 | a lot of different files,
and then I'll click on Save.
| | 02:28 | So, I have now saved out a Metadata
Template that I can use for my images.
| | 02:32 | Now, I'll switch over to the Filter
panel and notice these File Types here, this
| | 02:38 | auto populated group of File Types.
| | 02:40 | I'm going to click on DNG, and DNG is
Adobe's open source Digital Negative format.
| | 02:46 | That's useful for all varieties of raw
images captured by digital cameras from
| | 02:52 | Olympus, and Nikon, and
Canon, and so on and so on.
| | 02:56 | But I want you to understand even
though this is a great format that the Bridge
| | 02:59 | supports all varieties of raw images
out there, and you can apply what you're
| | 03:05 | about to learn here to any kind
of raw image as well. All right!
| | 03:08 | So, now I'm going to press Control+A
or Command+A on the Mac to select all of
| | 03:13 | these Digital Negatives.
| | 03:14 | Now, these guys would open in Camera Raw and
they would require a fair amount of finesse.
| | 03:19 | So, I don't want to hand them off to
an unsuspecting person, I want to give
| | 03:23 | them JPEGs instead.
| | 03:25 | So, we'll go over to Export and I'll go
ahead and drag one of these thumbnails
| | 03:30 | on to save for hard drive, which is
weird in my opinion, because they are
| | 03:35 | already saved to the hard drive.
| | 03:36 | Why would I want to save
them to the hard drive again?
| | 03:38 | That doesn't make any sense,
but that's what you do.
| | 03:40 | That's where you start anyway.
| | 03:42 | Then assuming you're good to go, click
on this arrowhead right there, and that
| | 03:46 | will bring up this dialog box.
| | 03:48 | Now it's a two-panel dialog box.
| | 03:50 | It's a very important.
| | 03:51 | So, I'm going to switch over to Image
Options that's where you want to start.
| | 03:54 | And it doesn't tell you that you're
going to be saving JPEG images, but that's
| | 03:57 | what you're going to be doing.
| | 03:59 | Now, I recommend that you go
ahead and save the images out to the
| | 04:02 | highest quality format.
| | 04:04 | Unless you're going to the web or
something like that you're trying to post some
| | 04:06 | web graphics, there is no point
in using a lower image quality.
| | 04:10 | So, let's go ahead and raise that to 12.
| | 04:12 | And when I say there's no point, my
point is that you might as well give your
| | 04:16 | people the highest quality image
as possible, and that quality is 12.
| | 04:20 | Don't just select it Maximize, because
that will give you a quality of 10, 12
| | 04:24 | is your best setting.
| | 04:25 | Now, you can go ahead and down sample
your images if you want to, for example,
| | 04:29 | if I choose Manual Size and Constrain to
Fit then 1024 is going to be my maximum
| | 04:35 | dimension in pixels.
| | 04:36 | So, it's either going to be 1024 pixels wide or
1024 pixels tall, obviously I can adjust that.
| | 04:43 | If I'm thinking people are going to
be viewing these images on screen, then
| | 04:46 | Bicubic Sharper is the way to go.
| | 04:48 | If they're going to be printing the
images, you can go with Bicubic (best for
| | 04:52 | smooth gradients) instead.
| | 04:53 | And I explain my rationale there in Chapter 05.
| | 04:57 | I'll tell you everything there is to
know about down sampling and interpolation
| | 05:01 | and all of this Bicubic
stuff as well. All right!
| | 05:04 | However, I do not want to resize my images.
| | 05:07 | I'm going to say Don't Resize, turn that off.
| | 05:09 | And we're going to drop-down here.
| | 05:10 | I definitely want to include my
Original Metadata and all my metadata as well,
| | 05:14 | although you can select to just do the
copyright or something along those lines.
| | 05:19 | I want to apply a Metadata Template,
so I'll go ahead and turn on that
| | 05:22 | checkbox and I'll select this guy
right there, Generic Deke, which I just
| | 05:25 | saved a moment ago.
| | 05:27 | And I will append that metadata to the
existing metadata inside the image, and
| | 05:31 | then I could add additional keywords if
I wanted to, don't need to and now, I'll
| | 05:36 | go back to Destination.
| | 05:37 | So, I just like to visit Image Options
first and then come back to Destination.
| | 05:41 | And I think we should publish this to a
Specific Folder as opposed to cluttering
| | 05:45 | up the original location here.
| | 05:47 | So, I'll click on Browse and I'm
going to create this folder inside the
| | 05:52 | exercise_files folder, inside open_org
and I'll go ahead and create a new folder
| | 05:58 | like so, and we'll call this
one JPEG files and that's it.
| | 06:02 | Go ahead and select it, click OK and
that becomes the location to which my
| | 06:06 | images will be saved.
| | 06:08 | And this final option here is asking
what to do if the Bridge encounters files
| | 06:13 | with the exact same filenames.
| | 06:15 | So, do you want to create a new file name?
| | 06:17 | In other words, you're going to keep
both files and the new file just have like
| | 06:21 | a - 1 after it, or do you want
to overwrite the existing files?
| | 06:24 | Certainly, you want to copy
over them, or do you want to skip?
| | 06:27 | In other words you'll not create the new
file, you'll preserve the old file instead.
| | 06:32 | In our case, it doesn't matter
because we don't have any files.
| | 06:34 | We just created that folder.
| | 06:35 | I will go ahead and call this My JPEG
settings so that I can use this preset
| | 06:41 | over and over again.
| | 06:43 | And now I'll click on Save.
| | 06:45 | So there are My JPEG settings
preserve for evermore, and I'll now click on
| | 06:49 | Export as well in order to begin
exporting my list of JPEG images.
| | 06:55 | Notice it's going to start a little
slow and then it's going to take off.
| | 06:57 | Now the great thing is in the old days
there was this command prior to CS5 here
| | 07:02 | that allowed you to convert a bunch
of images over to JPEG, but it was
| | 07:07 | basically a script, and it had to open every
single image inside of Photoshop inside Camera Raw.
| | 07:12 | So, you would see Camera Raw flash up
on screen, and then file would get saved.
| | 07:16 | And then Camera Raw will come up and
screen again and then file would get saved.
| | 07:20 | And it would happen over and over
again and it wasn't especially fast.
| | 07:23 | And even though this doesn't look like
it's going all that fast, it's churning
| | 07:27 | through these images much faster than
the old image processor. All right!
| | 07:30 | So, I'm going to twirl open this
little hard drive here and we'll see the
| | 07:34 | progress, and so you can see that many
of the files, actually most of the files
| | 07:39 | are done and it's just working
on these last files right here.
| | 07:42 | So, quite interesting.
| | 07:44 | Now, you can walk away from your
computer if you like, and get a beverage, and
| | 07:48 | then come back, do whatever you
want, watch a commercial on TV.
| | 07:51 | It should be done when you come back.
| | 07:53 | Also notice down here inside the
Export panel this blurry sort of the murky
| | 07:58 | thing that we've got going, and in
the background very blurrily, we see
| | 08:02 | Exporting to Hard Drive, 96%.
| | 08:04 | So that's encouraging.
| | 08:05 | It's 96% done and now it is done. Awesome!
| | 08:08 | Now all I have to do is close out,
because I'm done with that operation.
| | 08:13 | And I will click OK, because the updater was
asking me if he could find updates whatever.
| | 08:19 | Anyway I'm going to switch over to JPEG
files and here are my JPEG images, JPEG
| | 08:25 | versions of every single one of those DNG files.
| | 08:27 | These will open directly inside of
Photoshop or your clients' favorite image handler.
| | 08:32 | And notice that the Metadata is
preserved, so the star ratings are still there,
| | 08:36 | the labels are still there, this
keywords are still going to be there so I
| | 08:39 | click on this butterfly and go over to the
Keywords panel, sure enough it's still a Butterfly.
| | 08:44 | So that's totally awesome.
| | 08:45 | So anyway, that's how you use the
Export panel to convert a bunch of images
| | 08:49 | over to JPEG files, the original
images are still retained incidentally here
| | 08:54 | inside Bridge CS5.
| | Collapse this transcript |
| Batch-renaming| 00:00 | All right gang, in this exercise we're
going to start renaming a few of our files.
| | 00:04 | And as you may recall, most of our
images have arbitrary filenames that were
| | 00:08 | assigned by the various digital cameras.
| | 00:11 | I have the Bridge pointed, once
again at the 03_open_org folder.
| | 00:16 | Couple of different ways you can rename files.
| | 00:17 | One is you can just click
on an existing filename.
| | 00:20 | That will highlight all but the extension,
and then you can go ahead and replace
| | 00:25 | that filename with something else.
| | 00:27 | For example I could call this Snowmobile
trails because that's what we're seeing
| | 00:31 | there, and then I could press the Tab
key to advance to the next file, and the
| | 00:36 | reason these guys switch with each
other is because we're looking at the images
| | 00:40 | in reverse order according to filename.
| | 00:43 | So T comes after S and as
a result they got resorted.
| | 00:46 | Anyway I'm going to call this
Snowmobile guide, because he was our leader,
| | 00:51 | jumping all over the place there.
| | 00:53 | All right, so that's something you can do.
| | 00:55 | You can also by the way
override the extension if you want to.
| | 00:59 | I'm going to switch this Felix
Mizioznikov subfolder, and you may recall the Two
| | 01:04 | young women.jpg is actually a TIFF file.
| | 01:07 | So I could go ahead and select JPEG
manually after making the filename
| | 01:11 | active then drag over JPEG and
replace it with TIFF, then hit the Enter key
| | 01:15 | or the Return key on the Mac and the
Bridge is going to say, hey, that's
| | 01:20 | really dangerous that you're trying to do this
because you might render this image unusable.
| | 01:24 | Au contraire Bridge it was already
unusable, I'm rendering it usable so I want
| | 01:28 | to go ahead and click OK in
order to except that modification.
| | 01:32 | So you can do that as well.
| | 01:34 | What I'm going to tell you is renaming
your images one-by-one is a way to work
| | 01:38 | but it's not the most common way to work.
| | 01:40 | You probably are going to be batch
renaming, renaming lots of images at once.
| | 01:45 | While we go ahead and switch to our
JPEG files assuming you created that folder
| | 01:49 | along with me and let's switch our
filenames so that we're seeing them in
| | 01:53 | standard old everyday alphabetical order.
| | 01:55 | So we're seeing the images in the order
they were shot because that's the order
| | 01:59 | in which they were named by the camera.
| | 02:01 | And I'm going to click on this first
butterfly and then I'm going to scroll down
| | 02:05 | to this butterfly right before Sammy.
| | 02:07 | So I want to rename these guys and
I'll go up to either the tools menu and
| | 02:12 | choose Batch Rename, that's one way to
work, or you can go to this little icon
| | 02:15 | right there, the Refine icon and
click on it and choose Batch Rename.
| | 02:20 | In any case it's Ctrl+Shift+R
or Command+Shift+R on the Mac.
| | 02:24 | And notice that you have to have
files selected, you can have as few as one
| | 02:27 | file selected if you want, but something
needs to be selected there inside the Bridge.
| | 02:32 | Now then, notice that we can create
Presets inside of this dialog box.
| | 02:36 | That's new to CS5, and in fact there is
a fair amount of new stuff going on here
| | 02:39 | inside of Bridge CS5.
| | 02:42 | Now by default the Bridge wants to
go ahead and rename all of your files'
| | 02:46 | project with the date created and this
really long sequence number, which is for
| | 02:51 | the birds in my opinion,
what a dumb thing to do.
| | 02:54 | I am going to go ahead and give my
images a meaningful name like Butterfly
| | 02:59 | pavilion because that's
where I shot these images.
| | 03:02 | And I'm going to get rid
of that Date Created thing.
| | 03:04 | We can find that out in a different way.
| | 03:05 | So we don't have to clutter
the filename with the date.
| | 03:08 | And I'll get rid of this bit of Text too,
and I'll add a little hyphen, like so,
| | 03:12 | after Butterfly pavilion.
| | 03:14 | And let's make the Sequence Number
just two digits long, four digits why?
| | 03:20 | So I'll go ahead and replace the
Current filenames with Butterfly pavilion-01
| | 03:24 | and so on and if you want to check out
how your images are going to be renamed
| | 03:28 | and this becomes exceedingly important.
| | 03:30 | When we start replacing strings
inside of our filename you can click on
| | 03:34 | Preview and you'll see that what's now
B000418.jpg will become Butterfly pavilion-01.jpg.
| | 03:43 | Excellent! Click OK.
| | 03:45 | You can also by the way export this
list to a CSV file, which is a spreadsheet,
| | 03:49 | which you can open up in Excel or the like.
| | 03:52 | Anyway, I'm going to say OK and
I'm going to go ahead and rename.
| | 03:55 | And just like that I've
renamed all of these images.
| | 03:58 | Now they've jumped to the bottom
because they are now at the end of the
| | 04:01 | alphabetical order, and notice they go
to 12, very important because we missed a
| | 04:05 | couple, these two guys were hiding
from us and I need to rename them too.
| | 04:10 | So I'll go ahead and select them and
once again choose the Batch Rename command,
| | 04:14 | and I want to run this same operation so
it comes up once again and it remembers
| | 04:18 | that I left off at Sequence Number 13,
which is totally great, now you can
| | 04:22 | change that number to anything you like.
| | 04:24 | I could change it to 103 which is not
two digits long so I'd have to change
| | 04:29 | the number of digits or change that number
right there, but 13 is exactly what I want.
| | 04:33 | So one would think if I click on
Preview that I'll see one image turn to 13 and
| | 04:38 | the other to 14, sure enough, click
OK, click Rename. I'm in good shape.
| | 04:42 | I went ahead and got those two guys.
| | 04:44 | Now if you want to do the same
thing back inside of your DNG files.
| | 04:49 | So we're just taking care of these JPEG
files for the moment, I'll go back over
| | 04:53 | to open_org, which is the list of
original files here and I'll scroll down until
| | 04:59 | I find this group of butterflies.
| | 05:01 | Let's go ahead and select all of them,
click on one, Shift+Click on the other
| | 05:04 | and then I'm going to Ctrl+Click on
each of these two to add them to the
| | 05:08 | selection, that's a Command+Click on
the Mac, and I'll go back up to tools,
| | 05:12 | choose Batch Rename once again, and
let's go ahead and rename all of these guys
| | 05:15 | except, let's start at 01, or you can
just enter 1, by the way you don't have to
| | 05:20 | enter the 0 and click on Preview and
you'll see that it goes from 1 to 14,
| | 05:25 | excellent, click OK, click Rename,
there we go, everything is taken care of.
| | 05:30 | Now there is one pet peeve that I have
with some of the filenames in this list here.
| | 05:35 | Notice that most of the filenames end in
lowercase extensions, which I like, but
| | 05:40 | some of them end in uppercase extensions,
which I just personally hate. It just bugs me.
| | 05:45 | So let's say you're the same way.
| | 05:47 | You have these same issues that I do,
and you want to go ahead and rename all of
| | 05:50 | your images with lowercase filenames.
| | 05:52 | Check this out, go ahead and press
Ctrl+A, Command+A on the Mac to just
| | 05:56 | select all of the images.
| | 05:58 | Then let's go back up to tools choose
Batch Rename, and here's what we're going
| | 06:02 | to do, we're going to switch out this
first guy for preserved filename, like
| | 06:07 | so, and we're going to say Name, so
that's the name of the file and we're going
| | 06:10 | to say Original Case.
| | 06:11 | So we're not going to
change the filenames at all.
| | 06:14 | And then we're going to change this
guy to Preserved Filename and he will be
| | 06:18 | just the extension and he
will be lowercase, like so.
| | 06:22 | So that will replace out all the
uppercase extensions with lowercase ones, click
| | 06:26 | on Preview, and you should see just ten
of these files change because only ten
| | 06:31 | of them had uppercase
extensions in the first place.
| | 06:34 | Now they'll go to lowercase extensions.
| | 06:35 | That is, if you are
working along with me of course.
| | 06:37 | If you're doing your own thing you may
see any number of files change, click OK.
| | 06:41 | And now I would save this off as a
Preset and I'll go ahead and click on the
| | 06:45 | Save button and I'm going to call it
Extension fixer because this is the kind
| | 06:49 | of thing I do on a regular basis,
click OK, and now you'll just be able to
| | 06:53 | choose that preset in the future in order to
replace uppercase extensions with lowercase ones.
| | 06:58 | All right, now I'll click
Rename and the deed, she is done.
| | 07:02 | And the Bridge is even smart enough to
select just those ten images that are renamed.
| | 07:06 | That's pretty amazing.
| | 07:08 | In the next exercise I'm going to show
you how to do String Substitutions, which
| | 07:11 | is a feature that's new to CS5.
| | Collapse this transcript |
| String substitution and regular expressions| 00:00 | All right kids, now I'm going to show you a
new feature inside the Batch Rename dialog box.
| | 00:04 | It's called String Substitution, and
what it means is that you can replace one
| | 00:09 | group of characters with another group
of characters, so it's kind of a search
| | 00:12 | and replace by filename, very, very useful.
| | 00:16 | It's a little bit techie though.
| | 00:17 | And we are even going to get into this
thing called Regular Expressions, which
| | 00:22 | is absolutely for geeks, I
have to tell you that upfront.
| | 00:26 | But if you have a mind for it,
it can be extremely useful.
| | 00:29 | So here's what we're going to do, I'm
still working inside the 03_open_org
| | 00:33 | folder, I'm going to go ahead and
press Ctrl+A or Command+A on the Mac to
| | 00:37 | select all the images, and notice
these images of Sammy in a goalie mask, all
| | 00:42 | of them start with A000033 and then a
number, all right so we could just go
| | 00:49 | ahead and search and replace that
string of characters right there without
| | 00:53 | hurting anything else.
| | 00:54 | So I'm going to go up here to the
tools menu and I'm going to choose Batch
| | 00:58 | Rename, Ctrl+Shift+R, Command+Shift+R
on the Mac and I'm going to switch over
| | 01:03 | from Extension fixer
here to String Substitution.
| | 01:07 | And the simplest application of String
Substitution is that you're finding one
| | 01:10 | string and you're replacing it with another.
| | 01:12 | So as I recall, it was A 1, 2, 3, 4
zeros followed by two 3s, and I'm going to
| | 01:19 | replace that with Sam as goalie-,
let's say, and a hyphen afterwards.
| | 01:26 | And now, let's check out what I've done.
| | 01:27 | I'll click on Preview and I'll
see that only those five images.
| | 01:32 | That's it, even though I have 79
images selected, only those five images are
| | 01:37 | going to be replaced with Sam as
goale 1, 2, 3, 4, 5. So that's perfect.
| | 01:41 | I don't have to throw a sequence number
on after that because they were already
| | 01:44 | automatically sequenced.
| | 01:46 | So that works out just fine.
| | 01:48 | Now you can do more
complicated searches in this.
| | 01:52 | You can run double searches, so you
would first search from the original
| | 01:55 | filename, replace it with something new,
and then you would run a search for an
| | 01:58 | intermediate filename.
| | 01:59 | Let me show you what that looks like.
| | 02:01 | I'll go ahead and add another criteria
here and then I'll say, all right, I want
| | 02:05 | to do String Substitution again, and
this time I'm going to search from the
| | 02:09 | intermediate filename and this time a
want to replace the term goalie with
| | 02:14 | hockey player let's say.
| | 02:16 | Now this isn't a particularly useful
search in my case, but still I can do it.
| | 02:21 | I'll click on Preview and now notice
that these filenames are becoming Sam as
| | 02:24 | hockey player, like so.
| | 02:26 | So lot of options available to me, you
can ignore the case if you want to so
| | 02:30 | you're not running a case-sensitive
search so that you can either search for
| | 02:33 | lowercase or uppercase characters.
| | 02:35 | Replace all if there is a letter, a
single letter for example that you're
| | 02:39 | searching for, then it's going to
replace every single occurrence of that letter
| | 02:43 | with something else.
| | 02:44 | If you just want to replace the first
occurrence of that letter you would turn
| | 02:47 | this off, and then use regular expression.
| | 02:49 | I'll show you how that works.
| | 02:51 | That's a lot of fun.
| | 02:53 | Anyway let's go ahead and click on
Rename, in order to rename some of these
| | 02:57 | images and there they are, Sam as
hockey player 1 through 5. That's beautiful!
| | 03:02 | All right, now then, here is something
more complicated, and really, it is such
| | 03:08 | a propeller-head feature, and I'm not
going to provide a full-blown tutorial on
| | 03:12 | how you work with regular expressions.
| | 03:14 | You can actually run a search for a
regular expression on the web, just Google
| | 03:18 | it, and you'll get all kinds of stuff
and you can learn as much as you want to,
| | 03:21 | there is quite a few good sites out there.
| | 03:23 | But what regular expressions are?
| | 03:25 | Is ways to search for a lot of different
sorts of character strings at the same time.
| | 03:30 | So for example let's scroll up the list
here, and notice these images of Sammy
| | 03:35 | with a butterfly on his face.
| | 03:37 | They all start out B0000, so for four
zeros, 4 and then either a 6 or a 7, and
| | 03:46 | then that's it, nobody else sends with a 6
or a 7 that begins with a 4 and four zeros.
| | 03:51 | So of course if I didn't want to be a
total geek, I could just go ahead and
| | 03:55 | click on one of the Sammy's and Shift+
Click on the other and just replace those
| | 03:59 | files with new names.
| | 04:00 | That's a way to work.
| | 04:01 | But let's say I'm just
feeling totally geeked out man!
| | 04:05 | So I'll press Ctrl+A, Command+A on the
Mac to select all the thumbnails, I'll go
| | 04:09 | up to the tools menu and I'll choose
Batch Rename, and I'll say, you know what?
| | 04:14 | Let's go ahead and get rid of
this second substitution right there.
| | 04:18 | We're just going to
substitute from the original filename.
| | 04:20 | And I know that I'm looking for the Bs,
B00004, and then either a 6 or a 7, like so.
| | 04:31 | So when you are searching for one character
or the other, you put them in parenthesis.
| | 04:34 | You put a vertical bar between them
and inside there is going to be 6 or 7 as
| | 04:39 | that point and we'll replace this
with Sam & butterfly, let's say.
| | 04:44 | And then I'll go ahead and add a hyphen.
| | 04:46 | That's a good idea and then I'll click
on Preview and nothing is happening so
| | 04:50 | here I am being such a smarty
pants and yet it didn't work, why not?
| | 04:53 | I'll click on the Close Box because
I didn't say that I wanted to use a
| | 04:56 | regular expression.
| | 04:57 | That right there is a regular expression.
| | 05:00 | If I don't turn on this checkbox it
will get interpreted as standard text.
| | 05:03 | In other words, I'd actually have to
find an open parenth, a 6, a vertical bar,
| | 05:09 | a 7, and a close parenth.
| | 05:10 | Now if I click Preview, notice that I
replaced these guys, 6 through 7 with Sam
| | 05:16 | & butterfly with the hyphens and
because there were exactly ten images that had
| | 05:21 | different digits associated
with them, different last digits.
| | 05:24 | Everything works out beautifully and
I can click OK in order to acknowledge
| | 05:27 | that that's going to work and
then click Rename and I go ahead and
| | 05:31 | automatically rename these guys.
| | 05:32 | And the beauty of working this way is
that now I can switch over to my JPEG
| | 05:37 | files because I have that exact same
naming convention going on, just press
| | 05:40 | Ctrl+A, Command+A on the Mac in order
to select all of the thumbnails, go up to
| | 05:44 | tools, choose Batch Rename, and then re-run
that exact same search. Click on Preview.
| | 05:49 | Just make sure it's going to work.
| | 05:50 | It is, and so let's go ahead and
rename again and we did it, see!
| | 05:55 | So there are advantages to
working in the geeked out way.
| | 05:58 | So again if you want to learn more
about regular expressions, there are all
| | 06:02 | kinds of expressions that are out there,
there's something like 11 different
| | 06:04 | characters that you can use in specific
ways like parenthesis and vertical bars
| | 06:08 | and brackets and braces and
periods and all this other stuff.
| | 06:11 | Anyway, I'm going to go back to open_
org because I want to show you another
| | 06:15 | thing that you could do.
| | 06:16 | Let's go ahead and scroll
all the way to the very end.
| | 06:19 | Actually where are these images I'm looking for?
| | 06:21 | There are the towers.
| | 06:23 | Notice that they begin L1030713,
here's another way you can work.
| | 06:29 | If you just want another random
example of regular expressions, I'll press
| | 06:32 | Ctrl+A, Command+A on the Mac to select
all the thumbnails, go back up to the
| | 06:36 | tools menu, choose Batch Rename, and I
think you're going to enjoy this one a lot.
| | 06:40 | I'm going to say L+, open square bracket,
and let's say 0-9 which means a group
| | 06:47 | of numbers and then I'll say, close
square bracket and then I'll do a brace
| | 06:52 | which is Shift+right brace, of
course 2, 8 and close brace, L+(0-9){2,8}.
| | 06:57 | Now what in the world am I saying there?
| | 06:58 | Well I'm saying, look for the character
L of course, it's very important, and I
| | 07:03 | went ahead and made it in uppercase
cell so we want Ignore Case turned off
| | 07:07 | because we are working case-sensitive here.
| | 07:09 | And then we've got a group of
numbers here and I'm saying, go ahead and
| | 07:13 | replace that group of numbers and that
string of numbers can be anywhere from
| | 07:17 | 2 to 8 digits long.
| | 07:20 | And so that should cover it pretty
well and I'm going to go ahead and call
| | 07:23 | this guy Seattle tower because it was
some kind of tower in Seattle, I don't
| | 07:28 | really remember what.
| | 07:29 | Click Preview and notice it just
goes ahead and replaces those two but it
| | 07:34 | replaces them with the exact same name,
Seattle tower, which is not a good idea.
| | 07:38 | All right, so I need to add some
sort of sequence number to this group.
| | 07:42 | What I can't do is just click
Plus and say yeah, you know what?
| | 07:45 | I want a sequence number right there,
and it should just be like one digit and
| | 07:51 | that's all I need because now if I
preview I'm replacing a whole bunch of stuff.
| | 07:54 | We're adding sequence
numbers to every single filename.
| | 07:58 | And notice that they are appearing
after the extension, that's nice.
| | 08:03 | All right, so click Close
in order to get rid of that.
| | 08:06 | Go ahead and click Minus, and what I
need to do is preserve the last number in
| | 08:11 | that filename, whatever it was,
either two or three as you can see, and so
| | 08:16 | altogether what do we have?
| | 08:17 | We've got 1, 2, 3, 4, 5, 6, so let's
take that string value down to 6 so we're
| | 08:23 | just replacing a string of number 2 to
6 characters long, and let's click on
| | 08:27 | Preview and we will keep
2 and 3 afterwards, good.
| | 08:30 | And I might as well add a hyphen so
that we have a little bit of a divider and
| | 08:34 | I'll click Rename and sure
enough I just renamed those two files.
| | 08:38 | So again, you can get as
geeked out as you want to people.
| | 08:41 | Those are a few examples of how to do
String Substitution including how to use
| | 08:46 | regular expressions here inside Bridge CS5.
| | Collapse this transcript |
| Grouping images into stacks| 00:00 | All right, now that we've all had a
refreshing geek moment, let's go ahead and
| | 00:04 | return to the real world or
something very closely resembling in.
| | 00:07 | And I'm going to show you how to group
images in the stacks here inside the Bridge.
| | 00:13 | And stacks are groups of related images
that are packed together, so that they
| | 00:18 | are consuming less room
inside the Content panel.
| | 00:20 | So for example, let's go ahead
and group all the butterflies.
| | 00:23 | I'll click on the last one and then
I'll Shift+click on the first one to
| | 00:27 | select that entire range.
| | 00:28 | Then I'll go up to the Stacks menu.
| | 00:30 | And I'll choose Group as Stack, or you
can press Ctrl+G, Command+G on the Mac,
| | 00:34 | very standard keyboard
shortcut for creating groups.
| | 00:37 | And I might do the same thing with
Sammy right here, Sammy and the butterfly.
| | 00:40 | Go ahead and click on one, Shift+click
on the other, press Ctrl+G, Command+G on
| | 00:44 | the Mac in order to group
them into a single stack.
| | 00:47 | Let's do that with these
hockey pictures as well.
| | 00:50 | Click on one Shift+click on the other, Ctrl+G,
Command+G on Mac in order to group them.
| | 00:54 | And you're probably beginning to get a
sense that things are going to be very
| | 00:58 | tidy, once we're done, especially given
the fact that we've started with such an
| | 01:02 | adhoc collection of images in the first place.
| | 01:05 | I'll click on the final red panda,
which is the last of the zoo images.
| | 01:08 | And then Shift+click on that
hyena, which is the first of them.
| | 01:11 | And press Ctrl+G or Command+G on
Mac in order to group those together.
| | 01:15 | Now let's say, I now want to
move these to the top of the stack.
| | 01:20 | And you can assign a manual
sort order inside of the Bridge.
| | 01:24 | Right now we're looking
at the images by filename.
| | 01:27 | But I could just go ahead and drag
this guy, just grab him and drag him to
| | 01:31 | in front of the first Max picture and drop him
into place in order to move that entire stack.
| | 01:36 | Now you have to be watchful.
| | 01:38 | If you're moving a stack and not just
one image inside the stack, you want to
| | 01:42 | make sure that not only is that first
slide, see how the stack looks like, two
| | 01:46 | slides one on top of the other.
| | 01:47 | Make sure that the first slide is
active but so is the rear slide.
| | 01:51 | Both of them need to be active
in order to move them around.
| | 01:54 | And let me show you what I mean by that.
| | 01:56 | I'll go ahead and click
on the butterfly thumbnail.
| | 01:58 | And Notice I just select the
first slide. That's still good.
| | 02:01 | If I now drag the butterfly like so, I
just drag that one butterflyout of the
| | 02:06 | stack and my stack is now down to
13 images instead of 14. All right.
| | 02:10 | Let's put them back in there, like so.
| | 02:13 | And notice that my poster frame changed.
| | 02:16 | So I'm seeing a different butterfly.
| | 02:17 | I'll show you how to fix that in just a second.
| | 02:19 | Anyway, in order to select the
entire stack, two things you can do.
| | 02:23 | Either, you can Alt+click or Option+click
on the Mac on that stack and that
| | 02:28 | selects the whole thing, both the
forward slide and the rear slide.
| | 02:31 | Now I'll click on a
different image for a second here.
| | 02:33 | And now the thing you can do is click
on this sliver, either on the right-hand
| | 02:38 | side or at the bottom of this
little stack icon right there.
| | 02:42 | So click on this background sliver.
| | 02:44 | And that will select the entire thing as well.
| | 02:46 | Now let's drag up the list.
| | 02:49 | And notice that I can pull it, by
stack inside of a folder, if I want to.
| | 02:53 | But I can't move it in between a
couple of folders because the folders always
| | 02:57 | appear at the top here on the PC.
| | 02:59 | I believe they appear at the bottom on the Mac.
| | 03:01 | But anyway they're
wherever they are, is the idea.
| | 03:04 | So we've got the butterflies and
we've got the animals. Let's see.
| | 03:07 | Let's also grab Sammy.
| | 03:09 | And I'll Alt+click on him, Option+click
on the Mac and Shift+Option+click or
| | 03:13 | Shift+Alt+click on the
other stack in order to grab it.
| | 03:16 | And now let's go ahead and drag
both of these guys. There we go.
| | 03:19 | And I'll drag them up to this
location and drop them into place.
| | 03:22 | You got to be careful.
| | 03:23 | You can also drop a stack into another stack.
| | 03:26 | And if you do that, you'll
combine the two stacks together.
| | 03:29 | All right, so now that we've done this,
how do we change the poster frame, so
| | 03:34 | that we're seeing a different image on top?
| | 03:36 | Well, I want you to see that you've got
this little Play button so you can play
| | 03:39 | through all the images in the stack.
| | 03:41 | But that plays very quickly because
it's designed to work with multiple
| | 03:45 | frames inside of a movie.
| | 03:47 | So, if you have a bunch of movie
stills, you can play them sequentially by
| | 03:50 | clicking on that Play button, but it
doesn't work for non-sequential images like these.
| | 03:54 | All right, so instead, I
want to expand this stack.
| | 03:58 | And I'm going to do that by going up to
the Stacks menu and choosing Open Stack
| | 04:01 | or you can press Ctrl+Right Arrow,
Command+Right Arrow on the Mac and that goes
| | 04:05 | ahead and expands the stack like so.
| | 04:07 | Then I want to grab my favorite Butterfly
which is going to be this one, I think right there.
| | 04:13 | And I'll drag it to the top of the
Stack like so at to the very front of the
| | 04:17 | stack, not out of the stack like
this and then to another folder for that
| | 04:21 | matter, but rather to the
very beginning of stack.
| | 04:24 | And now that will become our poster frame.
| | 04:26 | I'll go to the Stacks menu.
| | 04:27 | And I'll choose Close Stack, Ctrl+Left
Arrow, Command+Left Arrow on the Mac in
| | 04:32 | order to make this guy now,
my poster frame. All right.
| | 04:36 | Let's do the same for the zoo animals
Ctrl+Right Arrow, Command+Right Arrow on
| | 04:39 | the Mac in order to expand.
| | 04:41 | Let's go ahead and grab this
awesome hippopotamus there.
| | 04:45 | Move him to the top of the stack,
right to the very beginning like so.
| | 04:48 | And then press Ctrl+Left Arrow or
Command+Left Arrow in order to collapse that stack.
| | 04:53 | Now at this point, you might say guys, you
don't want that squirrel. He is so lonely.
| | 04:58 | I think he wants to join the hippopotamus.
| | 05:00 | So you can go ahead and move other
images other thumbnails into stacks like so.
| | 05:05 | And he doesn't become the poster frame, so
we can't really see that he's been added.
| | 05:09 | But we do see that the number of
images is advanced from 27 to 28 now.
| | 05:14 | And then after this point, you
can add any other images you want.
| | 05:18 | I could go ahead and get this shot
of Max with the butterfly in his hand.
| | 05:22 | And then the wider shot of
Max and butterfly together.
| | 05:26 | And I could move them into the stack
with Sam & butterfly and notice my number
| | 05:30 | is advanced from 10 to 12.
| | 05:32 | So those images are in place.
| | 05:34 | And it's really up to me.
| | 05:35 | You can stack as many more images as
you want, any old place you want as well.
| | 05:39 | I want you to see one more thing.
| | 05:41 | Because we moved our images around our
thumbnails, we have switched to a manual sort order.
| | 05:47 | And at any given time you can
have one life manual sort order.
| | 05:51 | So for example, I could switch back to Filename.
| | 05:54 | So I'm seeing the images in the
order according to their filenames.
| | 05:58 | And then I could switch back to my
last manual sort order if I wanted to.
| | 06:03 | You need to watch it though because if
you end up going back to Filename for
| | 06:08 | example and then messing with some
images, moving them to different locations,
| | 06:12 | your last manual sort will be lost
and your new manual sort will take over.
| | 06:17 | So there's just one
manual sort going on at a time.
| | 06:20 | That's recorded by the Bridge anyway.
| | 06:22 | I'll go ahead and switch back to Manually.
| | 06:24 | We're really coming up with the tidy
collection of images at this point.
| | 06:27 | But you know what I'm going to
get, a little tidier on here.
| | 06:29 | I'm going to go ahead and select this
image right there, the A0000304 and then
| | 06:35 | I'm going to Shift+click on this image of Sammy.
| | 06:37 | And I'll group those guys together.
| | 06:39 | And I swear to you, I don't know
about you but this image of Max is really
| | 06:42 | starting to creep me out.
| | 06:44 | So I'm going to replace that poster
frame by pressing Ctrl+Right Arrow,
| | 06:48 | Command+Right Arrow on the Mac.
| | 06:49 | And I'll grab this happy brother's image
right there and make it the poster frame.
| | 06:53 | Now Ctrl+Left Arrow, Command+Left
Arrow in order to collapse the stack, and
| | 06:57 | let's just go ahead and throw
these winter images together too.
| | 07:00 | My goodness so much spring cleaning, Ctrl+G,
Command+G on the Mac in order to combine those.
| | 07:05 | And then finally the two Seattle
towers, Ctrl+G in order to group those
| | 07:09 | together as well and now we'd have
nothing but stacks inside of the main
| | 07:13 | 03_open_org folder.
| | 07:14 | In the next exercise, I'm going to
show you how to compare images inside
| | 07:19 | the Review mode.
| | Collapse this transcript |
| Comparing images in Review mode| 00:00 | In this exercise, I'm going to show
you how to use the Review mode to compare
| | 00:04 | and contrast images.
| | 00:06 | It's great for picking that
best image in a group of shots.
| | 00:10 | So for example, I've got this bunch of
butterflies that are grouped into a stack.
| | 00:15 | If I just click on a thumbnail, you'll
see a preview of just the one Butterfly,
| | 00:20 | just the poster Butterfly and that's it.
| | 00:23 | However, if I Option+Click or Alt+Click
on this thumbnail, then I select the
| | 00:26 | entire group of 14 butterflies.
| | 00:29 | The Bridge is doing its best to show
me all 14 inside of this Preview panel.
| | 00:34 | But they're actually smaller ironically
than they would be inside the Content panel.
| | 00:39 | Now you do have another
workspace that you can choose from, a
| | 00:42 | predefined workspace that is.
| | 00:44 | If you click this down pointing
arrowhead, you can switch to Preview.
| | 00:47 | Then you get this gigantic Preview panel.
| | 00:50 | That shows you nine images in my case.
| | 00:52 | But that's still not big enough.
| | 00:54 | And I need more detail.
| | 00:55 | So I'm going to switch back
to the Essentials workspace.
| | 00:58 | With this entire stack selected, all 14
butterflies, I'm going to go up to this
| | 01:03 | Refine icon once again, click on it.
| | 01:05 | And choose Review mode.
| | 01:06 | Or you can press Control+
B, Command+B on the Mac.
| | 01:09 | I don't know where B actually comes
from, but it is the first letter in
| | 01:13 | Butterflies so that works for me.
| | 01:15 | Now notice that you can see these
images in a kind of lazy susan fashion.
| | 01:19 | Now I find this to be a little bit
confusing when you click the right arrowhead.
| | 01:23 | Notice you've got a
right arrow and a left arrow.
| | 01:25 | When you click the right-arrow, you
don't swing the lazy susan to the right, the
| | 01:30 | way I would think, you would,
instead you swing it to the left.
| | 01:33 | So you move to the next image to the right.
| | 01:36 | If you click on the left, you swing the
lazy susan to the right because you're
| | 01:40 | going to the image on the
left, so, just so as you know.
| | 01:43 | Anyway, what you want to do here is
you want to check out each one of these
| | 01:47 | images and then decide if you're
going to rule it in or rule it out.
| | 01:51 | So for the mean time, I might look at
this image and say yeah, it looks okay.
| | 01:54 | And by the way, you don't need to
click on these left and right arrow icons.
| | 01:58 | You can just press the Left and
Right Arrow keys on your keyboard.
| | 02:01 | So I'll go and switch to this guy.
| | 02:02 | He's looking good at with the
wrong direction actually. All right.
| | 02:05 | That's fine.
| | 02:06 | I'll just keep go in to the right.
| | 02:07 | So I'm pressing the Right Arrow key.
| | 02:08 | That looks actually pretty
great. Not so good here.
| | 02:12 | The Butterfly's got a problem.
| | 02:13 | Its wing gets shoot off a little bit.
| | 02:14 | So I'm going to jettison
this image from the Review mode.
| | 02:17 | And you do that by clicking on this
down pointing arrowhead or if you want to
| | 02:21 | you can just press the Down Arrow key.
| | 02:24 | Now we'll take an image out of Review mode.
| | 02:26 | It doesn't throw it away or anything like that.
| | 02:28 | You just don't see it on the lazy susan anymore.
| | 02:31 | This guy isn't framed properly.
| | 02:33 | Notice that, the wing gets cut off
on the right hand side. So he's out.
| | 02:36 | That's a better framing, but then when I
switch to this guy that's a better focus.
| | 02:40 | So I'll go back.
| | 02:42 | Press the Left Arrow key to go
back to Butterfly pavilion-06.
| | 02:45 | And I'm going to throw it out.
| | 02:47 | Then I'll press the Right Arrow
key to advance to the next one.
| | 02:49 | Actually he's the best of these butterflies.
| | 02:51 | So I'll go ahead and switch back to him.
| | 02:53 | Press the Down Arrow key to send him away.
| | 02:55 | This guy looks stellar.
| | 02:57 | I'm definitely keeping him.
| | 02:58 | He's got a got a little bit of chew
to going on there. But that's okay.
| | 03:01 | He is too dark.
| | 03:02 | So I'm sending him away.
| | 03:03 | Let's check out the next guy.
| | 03:05 | Looks pretty good I suppose.
| | 03:06 | But you know what, I'm going to throw that
out because this butterfly looks even better.
| | 03:11 | It's not this version of the butterfly either.
| | 03:14 | Go ahead and get rid of it.
| | 03:15 | It's this next guy.
| | 03:16 | So it's number 13 that I like quite a bit.
| | 03:19 | So the images, I'm keeping I believe are
number 13, number 2 and of course these
| | 03:23 | are the renamed versions of the butterflies.
| | 03:26 | These aren't the original
filenames that I gave you.
| | 03:29 | But anyway number 2 looks good to me.
| | 03:31 | Number 8 looks awfully darn good.
| | 03:33 | Number 9 looks good as well.
| | 03:34 | 11, I think, I'm going to
go ahead and get rid of it.
| | 03:36 | And 1, I think, I'll get
rid of that one as well.
| | 03:39 | Notice as soon as I go down to four
images in the case of these butterflies, I
| | 03:44 | switch away from the lazy susan.
| | 03:46 | And I'm seeing all four
images on screen at one time.
| | 03:49 | Now I want to show you
this really cool loop trick.
| | 03:52 | Even though, I was telling you,
I'm not a big fan of the loop.
| | 03:56 | This next feature is really great.
| | 03:57 | When you're using it inside the Review
mode, it can be quite helpful, especially
| | 04:01 | when you're trying to look
at tiny little insect heads.
| | 04:04 | So because I changed how I get to the
loop, I have to press the Ctrl key or the
| | 04:08 | Command key on the Mac and click in
order to zoom-in on that Butterfly's face.
| | 04:13 | Just check that out. Is that not cool?
| | 04:15 | Then I'll do the same thing inside of this
guy and move it onto the head a little bit.
| | 04:19 | Ctrl+Click or Command+Click on this
guy's head as well, and then Ctrl+Click or
| | 04:25 | Command+Click on this
butterfly. Now check it out.
| | 04:29 | If I drag any one of these loops around, then
I'd move it independently of the other loops.
| | 04:34 | However, if I press and hold the Ctrl
key or the Command key on the Mac and drag
| | 04:39 | any one of the loops, they all move
together, which is I would say a fairly
| | 04:45 | breathtaking fantastic feature.
| | 04:47 | It really gives me a sense of
who's in focus and who's not.
| | 04:50 | For example, even though this
guy looks good from far away.
| | 04:54 | His head's not really in focus.
| | 04:56 | What we should be able to see is the
light dancing of those compound eyes.
| | 04:59 | That would be fantastic.
| | 05:01 | But I didn't really lock on the focus
properly on this specific butterfly.
| | 05:04 | This guy looks awfully darn good.
| | 05:06 | This guy looks pretty good.
| | 05:08 | And this guy, my goodness!
| | 05:10 | You are a dream butterfly my friend.
| | 05:12 | All right, so the final thing I want to
do is I want to go ahead and save these
| | 05:17 | four images to a collection.
| | 05:18 | I'm going to drop-down to this little icon
in the bottom right corner of the window.
| | 05:23 | I'll click on it.
| | 05:24 | That brings up this New Collection dialog box.
| | 05:27 | I'll go ahead and call this guy Four
stellar butterflies or something like that.
| | 05:31 | Then I'll click the Save
button in order to save it out.
| | 05:35 | I'm returned to the Bridge as you can see here.
| | 05:37 | I am now looking at these four
butterflies inside the collection.
| | 05:41 | I'll go over to the Collections panel
and there it is Four stellar butterflies.
| | 05:44 | I can subtract some butterflies from it.
| | 05:47 | I could add some more.
| | 05:47 | I can do whatever I want just as I can
with other collections here inside the Bridge.
| | 05:52 | In next exercise, I'm going to
show you how to parade your images in
| | 05:56 | a slideshow.
| | Collapse this transcript |
| Playing images in a slideshow| 00:00 | So we've seen a variety of different
ways to magnify the image, so you can see
| | 00:04 | it in meticulous detail.
| | 00:06 | We've seen the Loop function, which is
the least of the bunch in my opinion.
| | 00:10 | We've seen the awesome Full-Screen
Preview and we have seen the obviously,
| | 00:15 | quite useful Review mode.
| | 00:16 | Now, we're going to see what I
consider to be the best of the bunch.
| | 00:19 | It's also the oldest of the features.
| | 00:21 | It's the Slideshow function.
| | 00:23 | It is absolutely V feature that you
want to spring on a client when want to
| | 00:28 | knock their socks off with your
artwork or awesome photography.
| | 00:32 | So, here's how it works.
| | 00:33 | I am looking at the contents of my
Four stellar butterflies collection here.
| | 00:38 | I do indeed have four images of
butterflies that are ready to play.
| | 00:42 | Now, none of them are selected currently.
| | 00:44 | That means, when I invoke the
Slideshow function, I will play the entire
| | 00:48 | collection full of images, all four of them.
| | 00:51 | So, I'll go up to the View menu and
I'll choose Slideshow or I can press
| | 00:54 | Ctrl+L, Command+L on a Mac.
| | 00:56 | You'll see each one of these images
stay on screen for five seconds, then,
| | 01:01 | rather quickly, transition
into the next image, like so.
| | 01:04 | Now, the Bridge is not
going to repeat these images.
| | 01:08 | It's just going to play
them one after the other.
| | 01:10 | It's going to stop the
slideshow and that'll be it.
| | 01:13 | You'll probably want to customize the
Slideshow function in order to show off
| | 01:17 | your images a little better.
| | 01:19 | Let me show you what I mean.
| | 01:20 | I'll click off the image again, so
that we're going to play all the images.
| | 01:24 | I'll go up to the View menu and
I'll choose Slideshow or press Ctrl+L,
| | 01:28 | Command+L. That's L, the
second letter in slideshow.
| | 01:31 | This becomes important in just a moment.
| | 01:34 | While the slideshow is playing, you can
press the L key in order to bring up the
| | 01:38 | Slideshow Options dialog box, which
I've moved off-screen just slightly.
| | 01:42 | I'm going to scale these images
to fill up the screen like so.
| | 01:46 | That means a little bit of each
image is going to get cropped.
| | 01:49 | I'll repeat the slideshow so that I
have time to make a difference here.
| | 01:52 | I'm also going to slow down the Dissolve,
so that one image fades into the other
| | 01:58 | a little more slowly.
| | 01:59 | You can change the
Caption setting, if you want to.
| | 02:01 | I think it's just fine for my purposes.
| | 02:03 | You also have the option of zooming
these images back and forth, so you get a
| | 02:07 | little bit of a Ken Burns
Effect. Don't you know?
| | 02:09 | All right!
| | 02:10 | Now click OK, so that we
can see what's happening.
| | 02:13 | Actually, this is looking pretty darn good.
| | 02:15 | You can see how some of these
butterflies are better focused than others, now
| | 02:20 | that we're taking in each butterfly
in a Full Screen Preview mode here.
| | 02:25 | If you want to zoom the images as
you're working, you can, just by
| | 02:29 | clicking inside the image. That will zoom it.
| | 02:32 | Then we can see the strange-like red
resin that's on this butterfly, kind of
| | 02:37 | looks a little bit like
blood or something like that.
| | 02:39 | But I don't think it is.
| | 02:40 | I don't think butterflies
have that kind of blood.
| | 02:43 | Then once you've zoomed in like this,
you can press the Arrow Keys to switch
| | 02:46 | from one image to another.
| | 02:47 | So I press the Right Arrow key
to move to the next butterfly.
| | 02:50 | You can see how this guy
doesn't have nearly as much focus.
| | 02:54 | He is quite soft actually by
comparison to the previous one.
| | 02:57 | Then we've got this butterfly right there.
| | 03:00 | What I love about this is
those tiny hairs. This is amazing!
| | 03:03 | I have to say, I was just using a standard lens.
| | 03:05 | I'm not using a special macro lens here.
| | 03:08 | I shot every one of these with an Olympus E-30.
| | 03:10 | They just came out absolutely great.
| | 03:12 | Now, the butterflies are centered differently.
| | 03:14 | So, we're seeing different pieces of
different butterflies as we move between them.
| | 03:19 | Then if I feel like I've got my fill of
the close-up view, I could click again
| | 03:24 | in order to send the butterfly farther away.
| | 03:26 | Now, if you want to get a sense of
the various keyboard options that are
| | 03:29 | available to you as you're in the
Slideshow mode, then press the H key.
| | 03:34 | That goes ahead and either hides or
shows the various keys that you can use to
| | 03:40 | control your slideshow on screen.
| | 03:42 | Now, notice you can pause and
play by pressing the Spacebar.
| | 03:45 | I've obviously somehow paused my slideshow.
| | 03:49 | So, I'll press the
Spacebar to start it up again.
| | 03:51 | Now, I'll press H, so we
can see these various options.
| | 03:55 | I can rotate my images
with the Square Bracket keys.
| | 03:58 | I can change the star rating
with 1-5, or the Label with 6-9.
| | 04:03 | I can reject an image, all this
other stuff that I can do here.
| | 04:06 | You can see that I can decrease the
rating with the Comma key or increase the
| | 04:10 | rating with a Period.
| | 04:11 | That's as same as the Lesser
Than and Greater Than keys.
| | 04:14 | So that's where that rationale comes from.
| | 04:16 | You can open an image inside Photoshop
by pressing the O key or in Camera Raw by
| | 04:20 | pressing R, just all sorts of
options that are available to you.
| | 04:25 | You can even insert a blank slide
at a point by pressing the B key.
| | 04:29 | Then see the butterflies again
by pressing B as well. All right!
| | 04:34 | That is your Slideshow mode.
| | 04:35 | Just imagine this with your own images,
your own artwork, a client sitting in
| | 04:40 | front of them in rapt awe.
| | 04:43 | You have a sense of just how
great the Bridge is at organizing and
| | 04:47 | presenting your images.
| | Collapse this transcript |
| Customizing and saving the workspace| 00:00 | In this exercise, I'm going to show
you how to customize the workspace.
| | 00:03 | The workspace controls which panels are
up on screen, which are hidden, how big
| | 00:07 | are those panels, where
are they located and so on.
| | 00:10 | So, it's another way to modify the
interface here inside the Bridge.
| | 00:14 | Now there is a handful of predefined workspaces.
| | 00:17 | You'll see a few of them
at the top of the screen.
| | 00:19 | You can also, by the way, grab
this little scrubby guy there.
| | 00:23 | Drag it over to the left in order to see
more of those predefined workspaces, or
| | 00:29 | if you like, you can see fewer of them as well.
| | 00:32 | All of the workspaces are
made available by clicking this
| | 00:35 | down-pointing arrowhead.
| | 00:36 | You'll see that they go from
Essentials to Filmstrip and so on all the way
| | 00:39 | down to the Folders.
| | 00:41 | The first six get keyboard shortcuts;
| | 00:43 | after that, they don't.
| | 00:44 | You can add your own as well, as you'll see.
| | 00:47 | If you want to try out any one of the
workspaces, just go ahead and select it.
| | 00:51 | You'll be able to come back to Essentials
anytime you want just by selecting it as well.
| | 00:54 | All right!
| | 00:55 | But what I want to do is I
want to modify Filmstrip.
| | 00:58 | So, I'm going to click on
Filmstrip and it's a nice idea.
| | 01:01 | But at first, I think it's awful.
| | 01:03 | It shows you these dinky little
thumbnails and then it will show you an expanded
| | 01:08 | view of the active thumbnail
up here inside the Preview.
| | 01:11 | But I think we'll be able to see it
better if we switch to a different folder.
| | 01:14 | So, I'm going to click on the
Folders tab and I'm going to switch to Lake
| | 01:18 | Powell, that subfolder we created
inside of the 03_open_org folder.
| | 01:23 | I'll click on one of these
images here, like this one.
| | 01:25 | Then I'll go ahead and expand the size
of my thumbnails down here at the bottom
| | 01:30 | of the screen, so that I can see more of them.
| | 01:32 | Now, the way I prefer to work,
especially when I'm working on a really wide
| | 01:36 | screen like this one, this is
practically an anamorphic display here.
| | 01:41 | I'd rather have my filmstrip over
here on the right-hand side in a
| | 01:44 | vertical formation.
| | 01:46 | Back in older versions of the Bridge,
you used to have this little toggle that
| | 01:49 | you could just switch between a
horizontal filmstrip and a vertical filmstrip,
| | 01:53 | which was very convenient.
| | 01:55 | Now, it takes a little bit more work.
| | 01:56 | So, here's what I'm going to do.
| | 01:57 | I'm going to drag over this right-hand
vertical bar, so that I have a little bit
| | 02:01 | of room over here on the
right-hand side of the screen.
| | 02:04 | I'm going to grab the Content tab and
I'm going to move it over to this location
| | 02:08 | like so and drop it into place.
| | 02:10 | Then I'll make it narrower, so that we're
only seeing a single column of thumbnails.
| | 02:15 | I think that's quite a bit better, actually.
| | 02:17 | Now, I'd don't see my Metadata or Keywords
panel at this point, which just is not acceptable.
| | 02:23 | So, we're going to have to move things around.
| | 02:25 | I'll go up to the Window
menu and choose Metadata.
| | 02:27 | It comes up over here in this tiny,
little strip, which is completely
| | 02:32 | illogical, but there it is.
| | 02:34 | Then I'll go ahead and choose
Keywords, and we get that as well.
| | 02:36 | All right, so I'm going to go grab
Metadata, just by that little sliver there
| | 02:40 | and move it over here into the Filter group.
| | 02:43 | Then I'll do the same thing with
Keywords, move it over as well.
| | 02:48 | Then I'll move Collections up to the top,
like so, not to that location though.
| | 02:53 | I goofed up a little bit there.
| | 02:54 | Let's go and move it down into Folders.
| | 02:57 | I'll go ahead and move Export up into
that location as well, because I want to
| | 03:01 | keep track of Export at any given time.
| | 03:03 | Now, Favorites isn't a
panel that I use very often.
| | 03:06 | What you can do, by the way --
here's how the Favorites panel works.
| | 03:09 | You can go into a folder and you can right
-click on it and choose Add to Favorites.
| | 03:14 | Then it will be made part of your Favorites.
| | 03:17 | There it is, 03_open_org.
| | 03:19 | You can do the same thing with the Collection.
| | 03:21 | I could go to the Four
stellar butterflies right there.
| | 03:23 | Right-click on it and add it
as a favorite, if I so desired.
| | 03:27 | Well, as I say, I don't tend to work that way.
| | 03:29 | You might, and if so, by all
means, keep Favorites up on screen.
| | 03:33 | But I'm going to get rid of it by going
up to the Window menu and choosing the
| | 03:36 | Favorites panel command to hide it.
| | 03:38 | Now, I just have Folders,
Collections and Export up here at the top.
| | 03:42 | I have Filter, Metadata and
Keyword down here at bottom.
| | 03:45 | I'll switch over to the Metadata panel.
| | 03:47 | I'll switch back to Lake Powell, so that
we have something pleasant to look at here.
| | 03:52 | There we go!
| | 03:53 | Now, let's say that I want to go
ahead and save off what I've done as a new
| | 03:58 | version of Filmstrip.
| | 03:59 | Well, it's kind of already done for me.
| | 04:01 | Notice, if I switch to Essentials, and
then I switch back to Filmstrip, I see
| | 04:07 | the last version of that
Filmstrip workspace that I created.
| | 04:11 | So the Bridge is constantly, temporarily
updating the appearance of any given workspace.
| | 04:16 | That's the same for Essentials too.
| | 04:17 | I see the last version of the
Essentials workspace that I've modified.
| | 04:22 | Now, that's not the way it is permanently.
| | 04:24 | That's just temporary.
| | 04:25 | When I say temporary, I mean, until
you click on this down-pointing arrowhead
| | 04:29 | and choose Reset Standard Workspaces.
| | 04:31 | This command will go ahead and reset the
standard version of every single one of
| | 04:35 | these workspaces, which would wipe
out the work that you've just done.
| | 04:38 | So if you want to, you could go ahead
and choose New Workspace in order to save
| | 04:43 | off the newest version of that filmstrip.
| | 04:45 | However, of course, I would have to
first click on Filmstrip to bring it back up.
| | 04:50 | Then I would go to the down-pointing
arrowhead and choose New Workspace.
| | 04:53 | However, what I'd like to do instead is
create a much different version of the
| | 04:57 | workspace that I'm going to save off
in order to demonstrate this command.
| | 05:01 | So, we'll just leave the
Filmstrip the way it is right now.
| | 05:03 | I'm going to switch back to Essentials.
| | 05:06 | I'm going to build me a custom workspace here
that just has big thumbnails and nothing else.
| | 05:12 | I don't need this preview.
| | 05:13 | You know what I'm saying?
| | 05:14 | Because, the preview is semi-interesting
over here in the upper-right corner
| | 05:18 | of the screen, however, there's all
kinds of different ways to preview an
| | 05:22 | image inside the Bridge including the
Full-Screen Preview, which is the best of the bunch.
| | 05:27 | So, get rid of the Preview panel.
| | 05:29 | It's just taking up space.
| | 05:30 | I'm going to move Collections up here,
of course and I'm also going to move
| | 05:34 | Export up to this location.
| | 05:36 | I'm going to go over to Favorites and
I'm going over to make sure it's not
| | 05:39 | visible anymore by choosing the
Favorites panel command from the Window menu.
| | 05:43 | Then I'm going to move the Metadata
panel down here with Filter, because that's
| | 05:48 | where I like to see it.
| | 05:48 | I'm going to move Keywords down here as well.
| | 05:51 | I'm going to switchover to Metadata,
because at any given time, that's what I
| | 05:55 | prefer to see on screen.
| | 05:57 | I'll go ahead and make this little taller,
so that I can see more Metadata at once.
| | 06:01 | Now, I've got this empty panel over here.
| | 06:04 | I certainly don't need it open.
| | 06:06 | So, I'll double-click on this
vertical bar and it will go away.
| | 06:10 | Now, I'm going to increase the size of
my thumbnails to something really big
| | 06:16 | and meaty like this.
| | 06:18 | This is what I call, the Big Thumbs view.
| | 06:20 | So, let's go ahead and save it off.
| | 06:22 | Click the down-pointing arrowhead.
| | 06:23 | Choose New Workspace.
| | 06:25 | I'm going to name this guy
Big Thumbs as l always do.
| | 06:29 | I love to have a Big Thumbs workspace.
| | 06:31 | I'm being honest with you. All right!
| | 06:32 | Here is my checkboxes.
| | 06:34 | Do I want to save the window
location as part of the workspace?
| | 06:37 | Right now, it's maximized, my Bridge window, and
I definitely want to save that. So, absolutely!
| | 06:41 | Do I want to save the sort order?
| | 06:43 | No, it's not really important to
me that I always sort by filename.
| | 06:46 | So, I'll go ahead and turn this checkbox
off and then I'll click on the Save button.
| | 06:50 | Notice that becomes my first workspace.
| | 06:53 | It gets the first keyboard shortcut
of Ctrl+F1, Command+F1 on the Mac.
| | 06:57 | So, everybody shifted down.
| | 06:59 | The Preview workspace lost the keyboard
shortcut, but I am unconcerned. All right!
| | 07:04 | I'll escape out of that menu and I'm
going to make this a little bit wider, so I
| | 07:08 | can see all the way over
to the Metadata workspace.
| | 07:11 | That is how you adjust your workspace
and save a new workspace here inside
| | 07:15 | the Bridge.
| | Collapse this transcript |
| Using Mini Bridge in Photoshop CS5| 00:00 | In this final exercise of the chapter,
I'm going to introduce you to the Mini
| | 00:03 | Bridge, which lives inside Photoshop.
| | 00:05 | Now, just so that you have a little bit
of context here, I'm going to take you
| | 00:09 | on a walk down memory lane.
| | 00:11 | Photoshop CS5 is the same as
Photoshop 12, by the way, same diff.
| | 00:18 | The first version that switched over
to a CS application was Photoshop 8.
| | 00:23 | So, Photoshop 8 became Photoshop CS.
| | 00:25 | Before that, there was a
thing called Photoshop 7.
| | 00:28 | Many of you old-timers may remember it.
| | 00:30 | It had this thing called the File
Browser, which allowed you to inspect the
| | 00:34 | contents of a folder and see the
images as a bunch of thumbnails.
| | 00:40 | Then basically, the File Browser grew
up and moved out of the house and it
| | 00:43 | became the Adobe Bridge.
| | 00:45 | Well, the prodigal son has returned home in
the form of the Mini Bridge inside Photoshop.
| | 00:51 | It's an AIR app, meaning that it's this
little Flash/HTML application that runs
| | 00:57 | inside of some of the CS5
apps. It's interesting!
| | 01:01 | It's a little bit clunky.
| | 01:02 | It's a first version.
| | 01:04 | But I think some of you may
find it to be terribly helpful.
| | 01:07 | So, let's go back to Photoshop.
| | 01:09 | I'll either click on the Boomerang
icon or I can use that same keyboard
| | 01:12 | shortcut I used to get here in the first place,
Ctrl+Alt+O or Command+Option+O on the Mac.
| | 01:18 | I have opened this image Stylish young
couple.jpg that's found inside the Felix
| | 01:23 | Mizioznikov folder
inside the 03_open_org folder.
| | 01:27 | To get to the Mini Bridge, you can
either click on this little Mini Bridge icon
| | 01:31 | over here in the right-side panels, or
you can go up to the Mini Bridge icon up
| | 01:36 | here in the Applications bar, or you
can drop down to the File menu and choose
| | 01:40 | Browse in Mini Bridge.
| | 01:42 | Any of those options are going to work
and bring up the Mini Bridge, like so.
| | 01:46 | Now, with any luck, you'll browse to
the exact same folder that you're seeing
| | 01:50 | inside of the Bridge.
| | 01:52 | That may or may not happen.
| | 01:53 | You may, by the way, need to wait a
few moments for the Mini Bridge to
| | 01:56 | initialize, here inside Photoshop.
| | 01:59 | So, expect to wait a moment or two, or the
Mini Bridge may take you to the Home Page view.
| | 02:03 | Let's go there, just so that
we're all on the same page.
| | 02:06 | I want you to change your settings
by clicking on the Settings icon here.
| | 02:10 | I'll just show you this one, Bridge
Launching, just so you have a sense
| | 02:14 | of what's going on.
| | 02:15 | When you're working with the Mini
Bridge, it likes to have the Bridge open in
| | 02:19 | order to browse files.
| | 02:21 | So, that's essential, the two are
trying to work hand in hand with each other.
| | 02:25 | So, what it needs to know if the
Bridge is not running, should it display the
| | 02:30 | Home Page and do not start the
Bridge until Browse Files is clicked, and
| | 02:33 | we'll see that in just a moment, or, should
it automatically start the Bridge in any case.
| | 02:38 | You may want to always just start up that
Bridge every time you bring up the Mini Bridge.
| | 02:43 | It's totally up to you.
| | 02:44 | When Mini Bridge opens the Bridge,
should it use the existing window?
| | 02:48 | That's what I'd say, or should
it use a separate Bridge window?
| | 02:51 | By the way, you can choose a New
Window command inside the Bridge in order to
| | 02:56 | browse to a different location, so
you can have basically multiple bridges
| | 02:59 | running at the same time.
| | 03:01 | Anyway, I would say, just
use the existing window.
| | 03:03 | It requires less RAM.
| | 03:05 | Anyway, I'm going to switch back to Settings
here and then I'm going to click on Appearance.
| | 03:09 | I'm going to go ahead and reduce the
brightness of the Image Backdrop a little bit.
| | 03:13 | You can also take your User Interface
Brightness down, which I am a fan of, but,
| | 03:17 | notice that if you take it way
down, your text remains black.
| | 03:22 | So, you're not getting that reverse
type effect that you have in Bridge.
| | 03:24 | So, you might as well
brighten it up a little bit.
| | 03:27 | You definitely want to Color Manage the panel.
| | 03:29 | Leave that checkbox turned on.
| | 03:30 | Go back to Settings.
| | 03:32 | In fact, at this point, I would suggest
that we browse the files by clicking on
| | 03:36 | this tiny, little Browse Files icon
and we will go back to the Browse view.
| | 03:40 | Now, as I say with any luck, you're going
to be somewhere inside your open_org folder.
| | 03:45 | But that's not a guarantee.
| | 03:47 | Navigating inside the Mini
Bridge is not my favorite experience.
| | 03:51 | You can visit recent folders incidentally
by clicking on this Recent Folders button.
| | 03:55 | It should show you all the folders
that you've visited recently inside the
| | 03:59 | Bridge, which is good.
| | 04:00 | That's very helpful.
| | 04:01 | Then we have this Clock icon, which
should allow you to select from recently
| | 04:05 | visited folders as well.
| | 04:07 | Anyway, I'm going to switch over to the
Felix Mizioznikov folder, so that I can
| | 04:12 | see this collection of images.
| | 04:14 | Then I'm going to reduce
the size of my Navigation Pod.
| | 04:17 | That's what it's called, by the way.
| | 04:18 | If you click this down-pointing arrowhead,
you'll see that you have a Navigation
| | 04:21 | Pod and a Preview Pod.
| | 04:24 | How in the world do you get to
the Preview Pod, you might ask?
| | 04:26 | Well, first of all, I'm going to show
that you can go ahead and increase or
| | 04:31 | decrease the size of your
thumbnails using this slider.
| | 04:34 | You also have the option of filtering your view.
| | 04:37 | Notice this little funnel.
| | 04:38 | It's the same as that Star icon in the Bridge.
| | 04:42 | It allows you to filter according to
star ratings and labeled items and so on.
| | 04:46 | You can also clear out
the filter if you want to.
| | 04:49 | One of the interesting things is
it'd be nice to have all those keyboard
| | 04:52 | shortcuts that you have inside the Bridge.
| | 04:54 | But that's a focus issue, because, this
Mini Bridge is running inside of Photoshop.
| | 05:00 | Ctrl+Alt+A, for example, which
clears the Filter inside the Bridge.
| | 05:03 | That's Command+Option+A on a Mac.
| | 05:05 | That's already assigned to a
command under the Select menu.
| | 05:08 | Notice that it allows you to
select all layers inside of your image.
| | 05:12 | So, Photoshop gets the big keyboard shortcut.
| | 05:14 | It's what it comes down to.
| | 05:15 | But there are some keyboard
shortcuts that the Mini Bridge has.
| | 05:18 | You just have to watch your focus.
| | 05:20 | Anyway, next door, this guy right
there allows you to change your sort order
| | 05:24 | from Filename let's say to Date Modified,
something along those lines, you also
| | 05:27 | can turn on and off,
Ascending Order, if you so desire.
| | 05:32 | All right, but let's say that you
want to preview one of these images.
| | 05:36 | Well, click on the thumbnail.
| | 05:38 | It's very important, by the
way, that you click on it.
| | 05:41 | That not only selects the thumbnail
that you want to preview, but it also makes
| | 05:44 | sure that the Mini Bridge has focus
as opposed to Photoshop having focus.
| | 05:49 | Then you press Shift+Spacebar in
order to enter the Preview Pod right here.
| | 05:55 | If you want to, you can make the panel
larger, so that it takes up more room on screen.
| | 05:58 | Of course, the preview will enlarge as well.
| | 06:01 | I'm going to close out of that.
| | 06:02 | The other thing you can do is take
advantage of the Full-Screen Preview.
| | 06:06 | So, click on the
thumbnail again to make it active.
| | 06:08 | I'm clicking on Peek-a-boo.jpg.
| | 06:11 | Then I'll press the Spacebar in
order to enter that Full-Screen Preview.
| | 06:15 | Now, I can cycle between the various
images inside this folder by pressing
| | 06:20 | one of the arrow keys.
| | 06:21 | So, I'm pressing the Right Arrow key to go
to the next image, then the next one. Gosh!
| | 06:24 | I love that image!
| | 06:26 | Then this one right here, and then,
finally, this one, which is now a readable
| | 06:30 | file, because I changed its
extension from JPEG to TIFF. Awesome!
| | 06:34 | Then once I'm done, I can
cycle back around, of course.
| | 06:36 | But once I'm done, I'll press the Escape
key in order to return back to Photoshop.
| | 06:41 | Now, it's very important for either
Shift+Spacebar or Spacebar to work that the
| | 06:45 | Mini Bridge has focus.
| | 06:47 | If you click out here in the larger
image window, why then Photoshop suddenly
| | 06:51 | has focus, and if you press say the
Spacebar, you're going to get the Hand tool,
| | 06:56 | as I'll explain in the next chapter.
| | 06:58 | So, just so that you have a little
troubleshooting advice, make sure the Mini
| | 07:02 | Bridge is active, if you want to
apply keyboard shortcuts to it, including,
| | 07:07 | incidentally, if I click on Peek-a-boo,
and then press the Enter key, that will
| | 07:11 | go ahead and open the image
inside of Photoshop as you can see.
| | 07:15 | I'll press Ctrl+Plus or
Command+Plus on the Mac to zoom in.
| | 07:18 | You can also do this number and we'll be
seeing more of this kind of stuff in the future.
| | 07:23 | But I could go ahead and grab
Sunglasses at dusk.jpg and also grab Radical low
| | 07:28 | angle.jpg by Ctrl+Clicking on it or
Command+Clicking on that image on the Mac.
| | 07:33 | I'll drag these images into Peek-a-
boo.jpg and drop them into place.
| | 07:39 | Notice what happens here.
| | 07:40 | I'll go ahead and collapse the Mini Bridge
for a moment, so we can see what's going on.
| | 07:44 | At first, I'm presented with the
placement of the first image I selected.
| | 07:49 | I can scale it if I want to.
| | 07:51 | We're going to see more of that in the future.
| | 07:52 | Let's say, I like its size and placement.
| | 07:54 | I'll press the Enter key or
the Return key on the Mac.
| | 07:57 | Then I'll be invited to place the second
file, so you can actually drag-and-drop
| | 08:01 | multiple images into each other,
thanks to the Mini Bridge in CS5.
| | 08:05 | I'll press the Enter key or the Return
key on the Mac to accept the placement
| | 08:08 | of that image as well.
| | 08:10 | They both arrive on separate layers.
| | 08:12 | They happen to be these things
called Smart Objects, which are containers
| | 08:16 | that protect layers.
| | 08:18 | I'll explain how Smart Objects work
in great detail in a later chapter.
| | 08:23 | That gives you a sense, I hope, of
what's going on with the Mini Bridge.
| | 08:26 | In the next chapter, I'll demonstrate
the myriad ways to zoom and pan images,
| | 08:31 | the fundamentals of
navigation here inside Photoshop.
| | Collapse this transcript |
|
|
4. NavigationLearning to swim inside an image| 00:00 | In this chapter, I am going to show
you how to get around the Image Window.
| | 00:04 | How to zoom in, pan around, even
rotate the view so you can paint inside the
| | 00:08 | image at different angles.
| | 00:10 | Remember my ocean analogy.
| | 00:12 | I know, you're already sick of it.
| | 00:14 | But here is where I show you how
to use the flippers and the snorkel.
| | 00:17 | By the time we are done, you'll be
swimming inside Photoshop's waters as easily
| | 00:20 | you walk from one room to the next.
| | 00:24 | Only you can do back flips and walk
through walls and leap from one place to
| | 00:28 | another as if there is no such thing as
gravity just like in the ocean, except
| | 00:33 | for that bit about the walls.
| | 00:34 | Here, let me show you.
| | Collapse this transcript |
| The tabbed-window interface| 00:00 | Let's start things off with a Tabbed
Window Interface which was introduced in
| | 00:04 | Photoshop CS4 and continues to abide in CS5.
| | 00:08 | It's a default setting here on the PC.
| | 00:10 | And you may take a real shine to it, in
which case I am going to show you how to
| | 00:13 | maximize your Tabbed
Window Interface experience.
| | 00:17 | Or you may decide after
serious consideration you hate it.
| | 00:20 | So I'll show you how to turn it off as well.
| | 00:23 | I've got a total of four images open.
| | 00:25 | They all come to us from the Fotolia
Image Library about which you can learn
| | 00:29 | more at fotolia.com/deke.
| | 00:32 | And the four images are these.
| | 00:34 | The first one is called Everlasting.jpg.
| | 00:36 | It's from artist Ilsur Gareev.
| | 00:38 | And then we have Water drops.jpg from Pefkos.
| | 00:42 | We've got Dark portrait.jpg from
Coka and White feathers.jpg from Tiaga.
| | 00:48 | Now, you may wonder how in the
world I am switching between images.
| | 00:51 | One way is to just click on one of these tabs.
| | 00:53 | If I click on Water drops.jpg, I go to
Water drops.jpg not the least but surprising.
| | 00:59 | You can also cycle through from the
keyboard using standard Windows and
| | 01:03 | Macintosh keyboard shortcuts.
| | 01:05 | So these are operating system level shortcuts.
| | 01:07 | Ctrl+Tab here on the PC will cycle you
forward an image, and that's Command+~ on the Mac.
| | 01:14 | The Tilde key being the one that's just
above the Tab key and to the left of the
| | 01:18 | 1 key on an American keyboard.
| | 01:20 | If you get to the end of your
open images and you press Ctrl+Tab or
| | 01:23 | Command+Tilde, you'll cycle back around.
| | 01:25 | If you want to move backwards,
then you add Shift to the mix.
| | 01:29 | So it's Ctrl+Shift+Tab or
Command+Shift+Tilde on the Mac.
| | 01:34 | Now, let's say after playing around
with the tabs, you want to go back to
| | 01:38 | floating image windows. What do you do?
| | 01:40 | Well, couple of things.
| | 01:41 | First of all, you want your
change your preference setting.
| | 01:43 | Press Ctrl+K or Command+K on the Mac
to bring up the Preferences dialog box,
| | 01:48 | and then click on Interface and then notice
this checkbox right there Open Documents as Tabs.
| | 01:53 | If you turn that off, from now on,
your images will open as floating windows.
| | 01:57 | It's not going to change the images
that are currently open, just future ones,
| | 02:01 | but we'll take care of that in a moment.
| | 02:03 | You might also want to turn off Enable
Floating Document Window Docking, which
| | 02:07 | ensures that you can drag image
windows around without them fusing together,
| | 02:12 | which if you've never had that happen
on you, unexpectedly, then you don't
| | 02:16 | realize the big frustration that it is.
| | 02:18 | But anyway, if you are going to work
with floating image windows, you might as
| | 02:21 | well turn off both of these checkboxes.
| | 02:23 | Now, while I prefer floating image
windows on the Mac, I actually prefer when
| | 02:27 | I'm training to work inside
the Tabbed Window Interface.
| | 02:30 | So I am going to leave both of these
checkboxes turned on, and I am just going
| | 02:33 | to cancel that actually.
| | 02:34 | I don't have to turn those back on, because
I am just going to stick with tabbed windows.
| | 02:37 | All right.
| | 02:38 | Let's say you've turned off the Tabbed
Window Interface for future images, how
| | 02:43 | do you get these guys to
appear in independent windows?
| | 02:46 | You go up to the Arrange Documents
icon here in the Application Bar and you
| | 02:50 | click on it, and then you choose this
command right there Float All in Windows.
| | 02:54 | And all of a sudden, everybody
appears in an independent image window just
| | 02:58 | like in the old days.
| | 02:59 | You can drag the image windows around so that
you can see multiple images at the same time.
| | 03:04 | If you didn't turn off that one
checkbox, you have to watch yourself.
| | 03:07 | That checkbox about enabling the docking.
| | 03:09 | If you left it on, then you can
accidentally do this number where you drop one
| | 03:14 | image into another and then you've got
tabs inside of a single image window,
| | 03:19 | which is just I think weird.
| | 03:21 | And it's frustrating when
it happens unexpectedly.
| | 03:23 | That compared with the overall Tabbed
Window Interface, which I actually find
| | 03:27 | quite useful here on a PC.
| | 03:29 | But anyway, let's say you want to go back now.
| | 03:31 | You want to consolidate all the
images into single a tabbed window.
| | 03:34 | Then you go back to Arrange Documents
here, click on it, and choose this very
| | 03:38 | first icon Consolidate All.
| | 03:40 | Or if you've loaded dekeKeys, then you
can press Ctrl+Shift+A or Command+Shift+A
| | 03:45 | on the Mac, and just like that
everybody is fused back together.
| | 03:49 | Now, notice they are not in
the same order they were before.
| | 03:52 | Before they appeared in the order in
which I opened them, which was Everlasting
| | 03:56 | and then Water drops and then Dark
portrait and then White feathers.
| | 03:59 | But now they're totally in the opposite order.
| | 04:00 | There's really no predicting.
| | 04:02 | They tend to sort of flit around.
| | 04:04 | But Ctrl+Tab by the way is always
going to cycle through them in the order
| | 04:07 | that they were open.
| | 04:08 | So if I press Ctrl+Tab or Command+~,
when I'm looking at White feathers, I'll
| | 04:12 | jump back to Everlasting.
| | 04:14 | And then, I'll go to Water drops.
| | 04:16 | And so it's as if I'm moving
backwards through the image order, but I am
| | 04:20 | really moving forward.
| | 04:21 | It's just that they're in the wrong order now.
| | 04:23 | What if you want to change the order?
| | 04:25 | You can actually drag these tabs around.
| | 04:27 | So I could grab
Everlasting and drag it over here.
| | 04:30 | Now watch that you don't
drag the Image Window out.
| | 04:33 | That can sometimes be a problem.
| | 04:35 | If this happens, you need to drag it back
up so that you see a blue bar basically.
| | 04:40 | Notice this blue bar at the top of the Image
Window so that you can drop it back into place.
| | 04:45 | What we are hoping to do is just move
the tab like so, so it's easy to get off
| | 04:49 | a pixel if you dipped down too far, then
Photoshop thinks you want to move the entire image.
| | 04:54 | And I'll go ahead and grab White
feathers and move it all the way to the end.
| | 04:56 | And if I have this problem, where it
comes out, I'll just drop it so I see some
| | 05:01 | portion of this Image Window
blue and it should go to the end.
| | 05:05 | It did, which is nice.
| | 05:06 | And then, I'll put water drops back in
place of Dark portrait and now everybody
| | 05:10 | is back to the same image order.
| | 05:12 | So that's the Tabbed Window Interface.
| | 05:14 | I am going to show you how to
arrange images inside this interface in the
| | 05:17 | next exercise.
| | Collapse this transcript |
| Arranging image windows| 00:00 | In this exercise, I am going to show
you how to arrange your image windows,
| | 00:04 | because even if you're working inside
the Tabbed Window Interface, it doesn't
| | 00:07 | mean that you have to suffer with all of
your images consolidated together, that
| | 00:12 | is seeing just one image at a time.
| | 00:14 | You can see two or three or as many
images as you want at a time depending of
| | 00:19 | course on the size of your monitor.
| | 00:21 | So I still have those same four
images open from the 04 navigation folder.
| | 00:25 | And let's say I want to see at
least two images at the same time here.
| | 00:29 | I'll go up to the Arrange Documents
icon in the Applications Bar, and I'll
| | 00:34 | choose one of my two 2 Up displays.
| | 00:36 | So you have got 2 Up vertically.
| | 00:37 | You have got 2 Up horizontally.
| | 00:39 | Notice, I can go all the way to 4 Up.
| | 00:42 | I can't go to 5 Up, because I
only have four images open.
| | 00:45 | That's the only reason
these other icons are dimmed.
| | 00:49 | But I am going to start with 2 Up, and
what's going to happen is Photoshop is
| | 00:52 | going to divide the screen exactly in
half, like so, and it's going to keep
| | 00:57 | three of the images open inside one of
the windows, and it's going to throw an
| | 01:01 | arbitrary fourth image
off into the second window.
| | 01:04 | And I say arbitrary because I'm
never sure which one is going over there.
| | 01:08 | It's not necessarily going to
be the last image open like this.
| | 01:10 | It's going to be any old image.
| | 01:12 | But then, it's incumbent upon
you to move your images around.
| | 01:16 | So let's say you want to be able to see
Dark portrait in one of the windows, and
| | 01:20 | then you want to see Water
drops in the other window.
| | 01:23 | Why then grab the Water drops tab
and drag it and drop it into the White
| | 01:30 | feathers.jpg image, but not
where I'm dropping it right now.
| | 01:33 | If I'm going to consolidate windows in
any way, shape or form, I need to be able
| | 01:37 | to see a blue line or a blue
outline, something needs to be blue.
| | 01:42 | Right now, I'm not seeing anything
that's blue except this girl's eyes of course.
| | 01:47 | But otherwise, I'm not seeing anything
blue under my cursor, which means if I
| | 01:50 | drop this window, it's going to float.
| | 01:53 | So if you don't see a connection onscreen,
then you are going to drop and create
| | 01:57 | a floater, and you can do this.
| | 01:59 | You can have three of the
images tabbed and one free-floating.
| | 02:02 | Photoshop is very flexible in this regard.
| | 02:04 | So it simultaneously supports floating
in tabs at the same time. All right.
| | 02:09 | Let's say you change your mind though,
and you want to grab Water drops.jpg, and
| | 02:12 | you want to move it into this window,
then you want to drag it up into the tab
| | 02:18 | area like so, and you'll see a blue
outline around that tab area, then drop and
| | 02:23 | then you've consolidated these two
images into this right-hand window.
| | 02:28 | You can also create a new window if you want to.
| | 02:32 | So I am going to go ahead and drag
Water drops out of here for example, and I'm
| | 02:35 | going to move it over this vertical line.
| | 02:37 | And notice the vertical line turns blue,
and as soon as I drop, then I've got
| | 02:42 | three side-by-side image windows now.
| | 02:45 | Perhaps that's not enough.
| | 02:46 | Maybe I want to see all
four images at the same time.
| | 02:49 | And I want for example Dark portrait
to be down here under Water drops.jpg.
| | 02:54 | Then I'll grab the Dark portrait.jpg
tab, and notice I can move it above that
| | 02:58 | Water drops.jpg tab.
| | 03:00 | You have to be careful about doing this.
| | 03:02 | And note that you'll see a horizontal blue line.
| | 03:05 | Not the big blue thing like this.
| | 03:07 | It's not going to trace all the
way around the top of the image tab.
| | 03:10 | It's just going to appear across the
very top of the image tab like that.
| | 03:14 | It'll just be a line instead of
a incomplete rectangle I guess.
| | 03:18 | Or I could move it down to the bottom like so,
and I'll see a horizontal blue line there.
| | 03:23 | And then I drop it into place, and now I
have four image windows open all at once.
| | 03:28 | So your options are fairly boundless,
and they'll go ahead and scale along with
| | 03:33 | the other interface elements.
| | 03:35 | So for example, if I decide to
collapse my right side panels by clicking this
| | 03:38 | Double Arrow icon, why then all of the
image windows scale to fill that space.
| | 03:43 | And then if I decide to expand those
panels again, all the windows shrink in kind.
| | 03:48 | So it's very smart actually.
| | 03:50 | It's very intelligent design here.
| | 03:51 | If you decide now after all of this,
then you really want all the images
| | 03:55 | consolidated into a single image window,
go up to Arrange Documents and choose
| | 03:59 | that Consolidate All command or if
you've loaded dekeKeys, I am going to go
| | 04:03 | ahead and take advantage of the
keyboard shortcut Ctrl+Shift+A or
| | 04:06 | Command+Shift+A on the Mac.
| | 04:08 | And notice, that once again they've
arrived in a completely arbitrary order, but
| | 04:13 | I can take care of that just by grabbing
Dark portrait.jpg, and moving it over a
| | 04:17 | couple of tabs, and now
everybody is back where they were.
| | 04:20 | In the next exercise, I am going to
show you how to zoom your image inside
| | 04:24 | the Image Window.
| | Collapse this transcript |
| Common ways to zoom| 00:00 | In this exercise, I am going to show
you few common ways to zoom inside of
| | 00:04 | Photoshop, both from the
keyboard and using the Zoom tool.
| | 00:08 | Now when you first open an image,
such as Dark portrait.jpg, Photoshop goes
| | 00:12 | ahead and zooms you out so that you
can take in the entire image at a time.
| | 00:16 | And it zooms you out to one of its
predefined increments, which means you're
| | 00:19 | very likely to see an awful lot of drab
gray pasteboard around the image, which
| | 00:24 | of course is unconscionable
waste of precious screen real estate.
| | 00:28 | So pretty much the first thing you do after
opening an image is zoom in on it to magnify it.
| | 00:32 | Now notice that Photoshop
tells us the zoom ratio in the tab.
| | 00:37 | So we can see it's 16.7%.
| | 00:38 | We also see it's slightly more
accurately represented down here in the lower
| | 00:43 | left corner of the Image Window, plus,
you see it up in the Applications Bar.
| | 00:47 | So Photoshop is very keen
to tell you the zoom ratio.
| | 00:50 | What it doesn't tell you is what that means.
| | 00:53 | So 16.7% is one-sixth, which means
that we are seeing one out of every six
| | 00:58 | pixels horizontally and one out of
every six pixels vertically, which is only
| | 01:02 | one out of every 36 pixels inside the image.
| | 01:05 | So not only are we super far away from
the image, and it's very small, but we're
| | 01:10 | not seeing anything in the way
of detail. So let's zoom in.
| | 01:14 | Couple of different ways to approach it.
| | 01:15 | One, if you have way too much time on
your hands, and you love to wiggle your
| | 01:20 | cursor around, you can go up to the
View menu and choose the Zoom In command.
| | 01:24 | And that will zoom you in
one increment to the image.
| | 01:28 | In this case, to 25%.
| | 01:30 | But there's a much easier quicker way
to work, which is to press Ctrl++ or
| | 01:35 | Command++ on the Mac.
| | 01:37 | And notice I keep zooming in
incrementally until I come to, let's say 100%.
| | 01:42 | I don't have to stop there.
| | 01:44 | But I am going to pause for a moment,
because the 100% ratio is the most
| | 01:50 | accurate zoom ratio in Photoshop,
because Photoshop is devoting one screen pixel
| | 01:55 | to every image pixel.
| | 01:56 | Now granted, you can't see all of the
image on screen at once, which is why you
| | 02:00 | also need to know how to pan inside
the image, as I will show you in a
| | 02:04 | subsequent exercise.
| | 02:06 | Now, you don't have to stop here.
| | 02:07 | I could press Ctrl++ or Command++ to
go to 200%, and then 300 and than 400
| | 02:12 | and in 500 and at 600, I will see the pixel
grid, these white lines between the pixels.
| | 02:19 | The assumption being, as you grow the
pixels more and more, it becomes difficult
| | 02:24 | to see where one pixel
ends and another pixel begins.
| | 02:27 | So you have that pixel grid to let you know.
| | 02:29 | If you don't want to see the pixel
grid, you go up to the View menu and you
| | 02:33 | choose Extras to turn it off.
| | 02:35 | Or you can press Ctrl+H or Command+H for Hide.
| | 02:39 | And that will hide the pixel grid momentarily.
| | 02:41 | But it'll come back in a moment's notice.
| | 02:43 | For example, I've got my Rectangular
Marquee tool selected and if I drag inside
| | 02:47 | the image to draw a rectangular
selection like that, then suddenly the pixel
| | 02:51 | grid comes back, because that Extras
Command controls a bunch of different
| | 02:55 | screen elements, including Selection Outlines.
| | 02:58 | Anyway, you can also get rid of the
pixel grid of course by zooming out.
| | 03:02 | And it'll ultimately disappear at 500%.
| | 03:05 | You may wonder how in
the world am I zooming out.
| | 03:08 | Well of course, if Ctrl++ or Command++
zooms me in, then Ctrl+- or Command+- is
| | 03:14 | going to zoom me out, once again incrementally.
| | 03:18 | Now at some point, you may tire of the
fact that you're always centering the
| | 03:22 | zoom, which is what happens when
you use those keyboard shortcuts.
| | 03:27 | And you may want to zoom in on a
specific detail inside the image, in which case
| | 03:31 | you want to take up this tool, the Zoom tool.
| | 03:34 | But you don't have to select
it manually from the toolbox.
| | 03:37 | You can get it from the keyboard.
| | 03:38 | Now, there is a couple a
different keyboard shortcuts.
| | 03:40 | One's old school and it has the
advantage of being consistent across the
| | 03:45 | other Adobe applications.
| | 03:46 | And one is easier to remember
and just works inside of Photoshop.
| | 03:51 | So we'll start with the old-school one.
| | 03:52 | You press and hold Ctrl and Spacebar at
the same time or Command and Spacebar on
| | 03:58 | the Mac, and then you click to
zoom in with those two keys down.
| | 04:02 | As I said, that keyboard shortcut
works in Illustrator, InDesign, the
| | 04:05 | other Adobe Applications.
| | 04:07 | If you want to zoom out, you press
and hold Alt+Spacebar or Option+Spacebar
| | 04:11 | on the Mac and click.
| | 04:14 | Now, the thing to watch out for, with
any of those Alt key tricks, is Windows
| | 04:18 | will sometimes misinterpret pressing the
Alt key as your desire to go after the
| | 04:23 | menus from the keyboard.
| | 04:25 | So if your computer beeps at you or gives
you a hard time, you can do one of two things.
| | 04:29 | You can press Spacebar and then
Alt, like so, or you can press
| | 04:34 | Ctrl+Alt+Spacebar, and both of those
techniques will get you the Zoom Out tool.
| | 04:38 | Now, that's only a Windows thing.
| | 04:40 | Macintosh users don't have to worry about it.
| | 04:42 | Better perhaps though to take
advantage of the new and improved keyboard
| | 04:46 | shortcut that came along with Photoshop CS4.
| | 04:49 | And that is just pressing and holding the Z key.
| | 04:52 | So press and hold Z and click to zoom in.
| | 04:55 | And keep on clicking to zoom
in on this mark right here.
| | 04:58 | I am not sure if it's a
beauty mark or if it's a blemish.
| | 05:02 | Need to zoom to figure that out.
| | 05:03 | If you want to zoom out as opposed to in,
go ahead and press that Z key again,
| | 05:07 | and add Alt here on the PC or
Option on the Mac and click to zoom out.
| | 05:12 | And then when you release the Z key,
you'll return to your previously selected tool.
| | 05:17 | All right, so those are the common
ways to zoom inside of Photoshop.
| | 05:22 | In the next exercise I'm going to
share with you a new and decidedly uncommon
| | 05:27 | way to zoom inside Photoshop CS5.
| | Collapse this transcript |
| New zoom tricks in Photoshop CS5| 00:00 | In this exercise I am going to
introduce you to some new and unusual behavior
| | 00:04 | associated with the Zoom tool
inside of Photoshop CS 5. I like it.
| | 00:09 | I think the tool works
better than it did before.
| | 00:11 | However, it takes some getting used.
| | 00:13 | If you have been using Photoshop for
any period of time, this is not the way
| | 00:16 | the tool used to work.
| | 00:18 | So here I am looking at Dark
portrait.jpg, found inside the
| | 00:21 | 04_navigation folder.
| | 00:22 | And let's say I really want to zoom
in on that detail on the woman's face.
| | 00:26 | Figure out if it's a beauty mark, and I
want to leave it alone, or whether it's
| | 00:30 | a blemish that I want to get rid of.
| | 00:32 | So I could grab my Zoom tool and click
and click and click and click, over and
| | 00:36 | over again to zoom into at least 100%.
| | 00:39 | Or I could take advantage of
to continuous zoom options.
| | 00:42 | One is the slow drifty zoom that was
introduced in Photoshop CS 4, and the other
| | 00:49 | is a rapid fire back-and-
forth zoom that we have in CS5.
| | 00:53 | So I'm going to press and hold the Z key,
because they both work with the Zoom tool.
| | 00:57 | And I'm going to click and hold to zoom in.
| | 01:00 | And notice I'd just start
zooming in continuously on screen.
| | 01:05 | And then if it goes too far, I can
press hold the Alt key or the Option key on
| | 01:09 | the Mac to zoom back out.
| | 01:11 | And then I could release
Alt or Option to zoom back in.
| | 01:13 | And press Alt or Option to zoom back out again.
| | 01:16 | The whole time I've got
the Z key down by the way.
| | 01:19 | And I am going to let it
go out pretty far there.
| | 01:22 | And then you release your mouse button.
| | 01:23 | And then you release the Z key to go
back to your originally selected tool.
| | 01:28 | If you end up releasing the mouse
button before you release the Z key, then the
| | 01:33 | Zoom tool will remain selected.
| | 01:35 | And you'll have to press the M key to
return to the Rectangular Marquee tool,
| | 01:39 | which just so happens to be a great default.
| | 01:42 | Okay, so that's one way to work, the Z click
and hold technique, then there is the Z scrub.
| | 01:48 | Now see in the old days what we
would do is we would press the Z key or
| | 01:52 | Ctrl+Spacebar, what have you,
and drag around an area.
| | 01:55 | I'm not doing that.
| | 01:56 | But you drag around an area to create a
Marquee and then you'd zoom into that area.
| | 02:01 | Great, doesn't work at all anymore.
| | 02:03 | This is what happens now.
| | 02:05 | If you press the Z key and drag
immediately to the right, you'll zoom in.
| | 02:10 | If you drag to the left, you'll zoom out.
| | 02:12 | And look how fast it happens. It is so rapid.
| | 02:16 | I just love this technique.
| | 02:17 | Again, you got to get used to it,
and you got to get out of the habit of
| | 02:21 | marqueing an area to zoom it in.
| | 02:23 | But once you get used to
it its absolute fantastic.
| | 02:27 | So again, you just press the Z key,
drag to the right to zoom in, drag to
| | 02:31 | the left to zoom out.
| | 02:33 | And we see that this is a blemish, I believe.
| | 02:35 | It's just not consistent enough to be a mole.
| | 02:38 | So you know what I am going to do, I am
going to fix it in front of you, using
| | 02:41 | another Photoshop CS5 technique, that I
think will just slightly blow you away.
| | 02:47 | I am going to switch for the
Rectangular Marquee tool to the Elliptical Marquee
| | 02:50 | tool, which I can do by selecting this tool
from the flyout menu or pressing the M key.
| | 02:55 | And then I'm going to draw a little selection
around this thing, whatever it is. And watch this.
| | 03:02 | I am just going to press the
Backspace key or the Delete key on the Mac.
| | 03:06 | And up comes the Fill dialog box.
| | 03:08 | Now the Fill dialog box is coming up
because we are working on a Background layer.
| | 03:12 | If we were working on some other
layer, we would just delete the pixels.
| | 03:16 | But when you press Backspace
on a PC or Delete on the Mac.
| | 03:19 | Or in case you're curious, when you
press Shift+Backspace or Shift+Delete, when
| | 03:24 | you're working on any layer but
Background, you bring up the Fill dialog box.
| | 03:28 | Here is the interesting thing.
| | 03:30 | By default, Use is set to Content-Aware.
| | 03:33 | Make sure Blend mode is set to Normal
and make sure Opacity is set to 100%.
| | 03:37 | Change Use to Content-Aware if it's
not already selected. And then click OK.
| | 03:42 | And you are thinking what's Content-Aware?
| | 03:43 | Content-Aware is smart enough to
heal that selected region of the image.
| | 03:51 | So it's basically an
on-the-fly Spot Healing tool.
| | 03:54 | All right, so I am going to now go to
select menu and choose Deselect or press
| | 03:58 | Ctrl+D, Command+D on the Mac. Is it perfect?
| | 04:02 | No, it's not perfect.
| | 04:03 | I can actually see the edges there.
| | 04:05 | But it's amazing that it's an option.
| | 04:07 | And once we start zooming out from
the image, this time I am doing it by
| | 04:11 | pressing Ctrl+Minus or Command+Minus on the Mac.
| | 04:14 | It looks like a really good fit.
| | 04:15 | Probably look great in print, for all of that.
| | 04:19 | So there you have it, new ways
to zoom and heal a blemish.
| | Collapse this transcript |
| Hidden old-school zoom tricks| 00:00 | In this exercise I'm going to show
you a couple of old school zooming
| | 00:05 | techniques that seem to be missing
inside of Photoshop CS5, that are still
| | 00:09 | there, they are just hidden.
| | 00:11 | I've gone ahead and closed all
the images except Water drops.jpg.
| | 00:14 | I will be opening them right back
up in the next exercise by the way.
| | 00:17 | But I just wanted to
reduce some screen clutter here.
| | 00:19 | It's found inside the 04_navigation folder.
| | 00:22 | And I am going to go ahead and grab the
tab and drag it down slightly so that I
| | 00:25 | have an independent floating Image Window.
| | 00:28 | And notice, the Image Window
is fairly arbitrarily sized.
| | 00:31 | It's not big enough to fit the image.
| | 00:32 | All right, fair enough.
| | 00:34 | So back in the old days, I could
make it fit the image just by pressing
| | 00:37 | Ctrl+Plus, or Command+Plus on the Mac.
| | 00:40 | Or even Ctrl+Minus or Command+Minus on
the Mac, because every time you zoom from
| | 00:44 | the Keyboard you would zoom the
Image Window along with the image.
| | 00:47 | Well ever since the Tabbed Window Interface
came along, that feature got kind of busted.
| | 00:52 | But there is an alternative and it works great.
| | 00:54 | Let me show you what I mean.
| | 00:55 | I'm going to press Ctrl+K,
Command+K on the Mac to bring up the
| | 00:58 | Preferences dialog box.
| | 00:59 | And you may recall that back when we
were discussing Preferences, I told you to
| | 01:03 | turn off this checkbox, Zoom Resizes Windows.
| | 01:06 | And that's the culprit.
| | 01:07 | Photoshop isn't resizing the Image
Window because we told it not to.
| | 01:10 | That's what I prefer and I'll show you why.
| | 01:13 | But first let's go ahead and turn this
checkbox on, so you can see how it behaves.
| | 01:17 | Click OK.
| | 01:18 | Now if you press Ctrl+Plus or Command+
Plus on the Mac, you not only zoom image.
| | 01:23 | You expand the Image Window.
| | 01:25 | And if you press Ctrl+Minus, a couple of
times here, maybe even a third time, or
| | 01:30 | Command+Minus on the Mac.
| | 01:31 | You are not only going to zoom out.
| | 01:33 | You're going to shrink the Image Window to fit.
| | 01:35 | Now you might say, well,
what's so bad about that?
| | 01:37 | Well, why did you have us all
turn it off? I'll show you.
| | 01:41 | Let's switch manually to the Zoom
tool for a moment, so we can see its
| | 01:44 | options in the Options Bar.
| | 01:46 | And notice this checkbox right there, Resize
Windows to Fit, that was turned off a moment ago.
| | 01:50 | This checkbox is linked to the
differently named checkbox inside the
| | 01:54 | Preferences dialog box.
| | 01:56 | It didn't used to be in Photoshop CS3.
| | 01:58 | It suddenly became linked in CS4, which
means if I click with the Zoom tool, I
| | 02:03 | will not only zoom in, I
will expand the Image Window.
| | 02:05 | And if I Alt+Click or Option+Click on the Mac
to zoom out, I'll also shrink the Image Window.
| | 02:10 | I don't happen to like that.
| | 02:11 | And the reason is as simple as this.
| | 02:14 | I like the fact that there is a
difference between the behavior of pressing
| | 02:18 | Ctrl+Plus or Ctrl+Minus, Command+
Plus or Command+Minus on the Mac, and
| | 02:23 | zooming with the Zoom tool.
| | 02:24 | And so there are times where I want to
expand or shrink the Image Window, so
| | 02:27 | I'll use the Keyboard shortcuts.
| | 02:29 | And there are times when I
don't, so I'll use the Zoom tool.
| | 02:32 | But that degree of
specificity is now lost to us.
| | 02:35 | Well, actually it's not.
| | 02:36 | We just have to take a different approach.
| | 02:38 | What I suggest is you go up to the Options
Bar here and turn, Resize Windows to Fit off.
| | 02:43 | And that will also turn the option
off inside the Preferences dialog box.
| | 02:46 | So now notice, if I click to
zoom in, I just zoom image.
| | 02:50 | If I Alt+Click or Option+Click to
zoom out, I just zoom the image.
| | 02:55 | Same is for pressing Ctrl++ or Command + on
the Mac, and Ctrl+- or Command+- on the Mac.
| | 03:00 | Now, if want to zoom from the
Keyboard, you press Ctrl+Alt+Plus or
| | 03:05 | Command+Option+Plus on the Mac.
| | 03:08 | And that not only zooms the image,
but it expands the Image Window.
| | 03:11 | And if you want to zoom out from the
Keyboard and shrink the Image Window, you
| | 03:15 | press Ctrl+Alt+Minus or
Command+Option+Minus on the Mac.
| | 03:19 | So that Alt or Option key becomes an override.
| | 03:22 | All right, one other thing I thought I'd
show you is this Scrubby Zoom checkbox.
| | 03:27 | As long as we have the Zoom tool
selected, might as well take a look at it.
| | 03:30 | And I'm going to go ahead and press
Ctrl+Shift+A. By the way that Keyboard
| | 03:34 | shortcut of mine Command+Shift+A on the
Mac that consolidates the image inside
| | 03:38 | of a tab, so that we are
maximizing our view of the image on screen.
| | 03:42 | And remember that I told you, if you
drag to the right you are going to zoom in,
| | 03:47 | and if you drag to the left
you are going to zoom out.
| | 03:50 | That is this Scrubby Zoom right there.
| | 03:52 | Now I happen to love this
feature, I think it's great.
| | 03:55 | Like I said, it throws you at
first if you are an old time user.
| | 03:58 | But if you don't like it you can turn it off.
| | 04:01 | Turnoff that checkbox and now when
you drag with the Zoom tool like so.
| | 04:06 | Then you will marquee the
area that you want to zoom.
| | 04:10 | And that's basically the only advantage
of turning the feature off is is now you
| | 04:14 | can do the old marquee thing.
| | 04:16 | But I just wanted to show
you that it's its there.
| | 04:18 | I am of course going to go
back and turn on Scrubby Zoom.
| | 04:22 | And now I can drag to the left in
order to zoom the image out a little bit.
| | 04:26 | And there we have it.
| | 04:27 | Old school zoom techniques that are
still available here in Photoshop CS5.
| | Collapse this transcript |
| Scrolling and panning images| 00:00 | If you're sufficiently zoomed into an
image then you can't take any entire image
| | 00:05 | at once, meaning that you need to
able around by scrolling or if you prefer
| | 00:09 | panning the image inside Photoshop.
| | 00:11 | So here I am looking at Everlasting.jpg
that insanely cool illustration from the
| | 00:16 | Photolia Image library, and I'm going to
go ahead and zoom this image to 100% by
| | 00:20 | going out to the View menu and
choosing actual pixels, or I can press Ctrl+1,
| | 00:25 | Command+1 on the Mac.
| | 00:27 | Now a note about that keyboard shortcut.
| | 00:29 | It assumes that you're not
using the old channel shortcuts.
| | 00:33 | If I go to the Edit menu and choose
a keyboard shortcuts command or press
| | 00:36 | Ctrl+Shift+Alt+K, Command+Shift+Option
+K on the Mac, brings up the keyboard
| | 00:41 | Shortcut's dialog box and
there is this checkbox right here.
| | 00:43 | It's turned off by default.
| | 00:45 | But if you turn it on, you will reinstate the
old shortcuts from Photoshop CS3 and earlier.
| | 00:51 | That dictated that Ctrl+1 or Command+1
on the Mac took you to the Red channel.
| | 00:55 | So you don't want it to work that way.
| | 00:57 | You want to make sure
this checkbox is turned off.
| | 00:59 | Much better I think Ctrl+1 or
Command+1 to zoom the image.
| | 01:03 | All right, so here we are zoom pretty far in.
| | 01:06 | Let's say that I want to scroll to a
different portion of the image, like
| | 01:09 | scroll at the right.
| | 01:11 | Why I could drag this scroll thing here?
| | 01:14 | But that's the sucker's route,
much better to use the Hand tool.
| | 01:17 | And you don't have to select
the Hand tool from the toolbox.
| | 01:20 | You can get it from the keyboard by
pressing and holding the biggest key
| | 01:23 | there is, which is the Spacebar,
and then just dragging the image to a
| | 01:27 | different location.
| | 01:28 | So that's one way to scroll that's
actually a really great way and a very common
| | 01:33 | way to scroll inside of Photoshop.
| | 01:35 | Another way to scroll is to toss the
image, something that Adobe calls flicking,
| | 01:40 | that only works if your video card
supports OpenGL and actually you know what?
| | 01:44 | That goes for the previous exercise too.
| | 01:46 | You need OpenGL support for those zoom
tricks and you might want to confirm that
| | 01:51 | your video card supports OpenGL.
| | 01:53 | You press Ctrl+K or Command+K on the Mac
to bring up the Preferences dialog box,
| | 01:57 | and notice by default,
Enabled Flick Panning is turned on.
| | 02:02 | Now if it's dimmed for
you, you've got a problem.
| | 02:05 | You need to switch over to Performance and
check that Enable OpenGL Drawing is turned on.
| | 02:11 | If that's also dimmed, Photoshop does not
believe that your video card supports OpenGL.
| | 02:17 | It could be right.
| | 02:18 | It could be wrong, what you need to
do is figure out what video cards you
| | 02:21 | have, check your vendor's Website, find out
if it supports OpenGL, if it doesn't, oh well.
| | 02:27 | You're going to miss out
on a few navigation tricks.
| | 02:30 | If it does, download the most recent
version of the driver software from your
| | 02:34 | vendor's Website, go ahead and install
it and then restart Photoshop and see if
| | 02:39 | that doesn't solve your problem.
| | 02:41 | Anyway, I'm going to cancel out, so now
let's say that I want to scroll quickly
| | 02:47 | to the other side of the image, i.e.
instead of doing this number over and over
| | 02:51 | again, I just want to be able to do this.
| | 02:54 | So you can just toss the image if you
want to, so I can toss at this direction
| | 02:59 | and you could really give
it a big toss, notice that.
| | 03:01 | That's going to take you potentially
too far, but it actually took me exactly
| | 03:06 | where I wanted to go.
| | 03:07 | I wanted to check out this
little spaceship right there.
| | 03:09 | Anyway, that's how image tossing works.
| | 03:11 | I promised to share with you one more
trick and this is a little known trick
| | 03:15 | inside of Photoshop that's been around
for a while, doesn't depend on OpenGL.
| | 03:19 | I'm going to switchover to my Dark
portrait.jpg image here, and I'm going to
| | 03:24 | grab the White Feathers tab, and I'm
going to move it off into a separate
| | 03:28 | image window like this.
| | 03:29 | Notice that I'm just dragging it over
until I see a blue vertical bar then I
| | 03:33 | drop it in the place.
| | 03:35 | And let's say I'm not happy with the way
that I'm zoomed into either of these images.
| | 03:39 | Why, I could go ahead and press the
Spacebar and drag one of them in order to
| | 03:43 | scroll just a single image, or if I
press Shift+Spacebar and drag inside the
| | 03:49 | active window, I will scroll
all images inside of Photoshop.
| | 03:54 | All open images, and you can see both of
these are moving at the exact same time.
| | 03:58 | So that's a Shift+Spacebar drag.
| | 04:02 | In the next exercise I'm going to
show you how to Preview the image at the
| | 04:05 | size it will print.
| | Collapse this transcript |
| Viewing the image at print size| 00:00 | In this exercise I'm going to show you
how to preview the size of which your
| | 00:03 | image will print, which is useful for
gauging things like Sharpness and Detail
| | 00:09 | and whether you're going to lose
something in the image, because it's going to
| | 00:13 | get too tiny or whether it's a defect
that's going to be glaringly obvious.
| | 00:17 | Now it does take a little bit of
effort in order to preview the print size,
| | 00:22 | which may seem strange, because if you
go up to the View menu, there is a Print
| | 00:25 | Size command and I think so highly of
it that I gave it a keyboard shortcut of
| | 00:29 | Ctrl+Alt+0 or Command+Option+0 on the Mac.
| | 00:33 | So that gives, well, the problem is
that when you choose the command you don't
| | 00:37 | get the right results,
it basically malfunctions.
| | 00:40 | If you were to print the image, you
would see that it's nowhere near the size.
| | 00:43 | Basically the image on screen is
smaller than the image you'll print.
| | 00:47 | Well, how can I be so sure?
| | 00:49 | Go up o the Image menu and choose the
Image Size command or press Ctrl+Alt+I,
| | 00:54 | Command+Option+I on the Mac, we'll be
discussing this dialog box in all kinds of
| | 00:59 | detail in a later chapter, but for
now I just notice the document size, the
| | 01:02 | Resolution is 300 pixels per inch, fine,
more important for our purposes is that
| | 01:07 | the Height of the image is almost 10 inches.
| | 01:10 | Well, we can't really see the
entire height, so who knows?
| | 01:12 | The Width is 6.5 inches.
| | 01:14 | That is not 6.5 inches right
there, nor is it on your screen.
| | 01:18 | So what's the problem?
| | 01:20 | I mean why didn't Photoshop get it right?
| | 01:21 | Well, the problem is that Photoshop
doesn't know your screen resolution.
| | 01:25 | It has to know that in order
to size the image properly.
| | 01:29 | Photoshop thinks by default that the
screen resolution is 72 pixels per inch, to
| | 01:34 | which you might respond, well, isn't it?
| | 01:36 | I've always heard that if you want to
make screen images, for example, you
| | 01:40 | should set them to 72 pixels per inch.
| | 01:42 | Well, it hasn't been that way for about
25 years and you've never needed to set
| | 01:48 | your resolution to anything for screen
purposes quite frankly, but the days of
| | 01:53 | 72 pixels per inch monitors are long dead.
| | 01:56 | Our current screens have much higher resolution.
| | 01:59 | So here's what we're going to do,
we're going to switch over to the Screen
| | 02:01 | resolution.tif file, the idea is this.
| | 02:04 | You're going to have to measure the
resolution of your monitor, and then you're
| | 02:07 | going to have to enter that information
as a Preference setting in Photoshop to
| | 02:11 | get the Print Size command to behave itself.
| | 02:15 | The good news is you should have to
do that once and only once for each and
| | 02:19 | every monitor that you work on.
| | 02:21 | All right, so here it is,
Screen Resolution=1/4 to 1/2 Print
| | 02:25 | Resolution typically speaking.
| | 02:27 | So in other words, we were looking at
a 300 pixel per inch image, well, the
| | 02:31 | most we're going to get out of our
screen is 150 pixels per inch, probably not
| | 02:36 | that high actually.
| | 02:37 | Assuming default settings, modern
monitors have resolutions of approximately 96
| | 02:42 | to 120 ppi, and in order to see this
image in its entirety, I'm going to go out
| | 02:48 | to the Screen mode icon up here in the
Application bar, and I'm going to switch
| | 02:52 | to the Full Screen mode.
| | 02:53 | Now if this is the first time you've
ever done this, you'll get a warning,
| | 02:57 | telling you you're about to go to full
screen and telling you how to get out
| | 03:00 | so you don't panic.
| | 03:01 | So just say, Don't show
again and click Full Screen.
| | 03:05 | All right, so here's a mockup of a 17
inch MacBook Pro screen, and when you hear
| | 03:10 | folks talk about screen size, it's
always a diagonal measurement, because after
| | 03:15 | all that's the biggest measurement.
| | 03:17 | So they can make the screen sound
that much bigger that way, and that goes
| | 03:21 | for TV sets as well.
| | 03:22 | So you don't want to do a diagonal
measurement that's not going to help you,
| | 03:25 | what you want to measure is the Width
and the Height of the imageable area, and
| | 03:31 | by that I mean you don't want to
count any of the black around the edge.
| | 03:35 | If there is an edge that doesn't show you
anything around the monitor, don't count that.
| | 03:40 | Just count the bright stuff.
| | 03:42 | So measure how wide the image on screen
is essentially, the entire desktop all
| | 03:48 | of Photoshop everything.
| | 03:49 | How wide it is and measure how tall it is.
| | 03:52 | Now you really only need
one of those measurements.
| | 03:54 | You don't need both, but it's good
to have a second check essentially.
| | 03:59 | So then what you do is you find out what your
resolution in cold fingers is for your screen?
| | 04:06 | In other words, how many
pixels wide by how many pixels tall?
| | 04:09 | And you could check that out by right-
clicking on a desktop and choosing the
| | 04:13 | Properties command on the PC, you can
typically on the Mac, you can find that
| | 04:17 | information listed under that monitor
that little Monitor icon on the right side
| | 04:22 | of the menu bar, and if you click on
that little monitor, it'll show you the
| | 04:27 | width and height of the
imageable area in pixels.
| | 04:31 | So the default screen resolution for a
17-inch MacBook Pro is 1680x1050 pixels,
| | 04:38 | so 1680 is obviously the width
and 1050 is obviously the height.
| | 04:44 | So you take the number of pixels,
because we're doing pixels per inch.
| | 04:49 | You start with the pixels per is divide,
and I is inch, of course, so the number
| | 04:55 | of pixels divided by the number of inches.
| | 04:58 | That would be 1680 divided by 14.4.
| | 05:01 | I don't expect you to do that in your head, I
expect you to get a calculator and do that one.
| | 05:06 | And then you'll get a value, in
my case of 117 pixels per inch.
| | 05:10 | Just to make certain that you got it
right, take 1050 in our case and divide it
| | 05:16 | by 9, and you will once again get
approximately 117 pixels per inch.
| | 05:23 | So we're doing okay, 117
seems like the right thing.
| | 05:26 | All right, so I'm going to press the
Escape key to escape out of that Full
| | 05:29 | Screen mode, and I'm going to go ahead
and press Ctrl+K or Command+K on the Mac
| | 05:35 | to bring up the Preferences dialog
box and I'm going to switch to Units &
| | 05:39 | Rulers, this guy right there.
| | 05:41 | And notice Screen Resolution 72 pixels/inch.
| |
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