1. Photoshop CS5 Top FiveCommon-sense enhancements| 00:00 | Hi! I'm Deke McClelland.
| | 00:01 | I'm here to introduce you to the best
new features in Adobe Photoshop CS5.
| | 00:07 | Rather than merely show you how each
new feature works, I'll put it through its
| | 00:10 | paces, so you can see if it's any good.
| | 00:13 | Plus, you'll have a sense for how to
use the feature to augment your own
| | 00:16 | artwork and photographs.
| | 00:17 | I'm going to start things off with a
collection of what I'm calling common
| | 00:21 | sense enhancements.
| | 00:22 | For example, there is now a Straighten
button that makes an image upright and
| | 00:27 | crops it in one click.
| | 00:29 | For those of you who've been using
Photoshop for any amount of time, these are
| | 00:33 | the small tweaks and fixes that are most
likely to leave you gasping and saying 'finally!'
| | 00:38 | It's all in response to direct customer
feedback and every enhancement is more
| | 00:43 | welcome than I can say.
| | 00:45 | So these are the little things.
| | 00:46 | In later videos, we'll see the big ones.
| | 00:50 | Sometimes a lot of little features
adds up to a great big one, and that is
| | 00:53 | certainly the case inside of
Photoshop CS5, particularly if you are an
| | 00:57 | experienced user. You're going to
fall in love with these little features.
| | 01:02 | Currently, I'm looking at an image
from the Fotolia image library about which
| | 01:06 | you can learn more at fotolia.com/Deke.
| | 01:09 | This image needs a little bit of straightening.
| | 01:11 | So you may be familiar with the
technique where you click and hold on the
| | 01:14 | Eyedropper tool, you choose the
Ruler tool from the flyout menu, you drag
| | 01:18 | along the horizon line using the Ruler,
and then you go ahead and choose this
| | 01:23 | command called Arbitrary.
| | 01:25 | Well, it takes a little while to
fish around for that Arbitrary command.
| | 01:29 | It's so much easier that now inside of
Photoshop CS5, you have a Straighten button.
| | 01:33 | And all you do is click on that
button up there in the Options bar.
| | 01:37 | Photoshop not only straightens the image;
| | 01:39 | it also automatically crops it.
| | 01:41 | If you don't like the crop, you want to
perform your own, then you press Ctrl+Z
| | 01:45 | or Command+Z on the Mac to undo just
the crop and leave the image straightened.
| | 01:50 | You can also merely straighten an
image by Alt+Clicking or Option+Clicking on
| | 01:55 | that Straighten button.
| | 01:56 | I'm now going to go ahead and define
the crop boundary using the Crop tool.
| | 02:00 | I'll drag around this area, like so.
| | 02:03 | Notice after I get done drawing a crop
boundary, I automatically see the rule of thirds.
| | 02:08 | So I can see how my image is divided up, very
useful for compositing and framing purposes.
| | 02:14 | I'll go ahead and drag
this edge down a little bit.
| | 02:16 | That's going to leave a wedge of
white over here on the right-hand side
| | 02:19 | when I get done applying the crop
boundary. Fortunately, Photoshop CS5 ships
| | 02:24 | with the saying called Content Aware-Fill.
| | 02:27 | I'm going to go ahead and grab my
Lasso tool, and drag around this wedge over
| | 02:31 | here on the right-hand side.
| | 02:33 | Notice I'm not trying to be
careful about my selection.
| | 02:36 | Now I'll press the Backspace key or the
Delete key on the Mac, and because I'm
| | 02:39 | working on the Background layer, that
automatically brings up the Fill dialog
| | 02:43 | box, set, by default, to Content-Aware,
which means Photoshop will look at the
| | 02:48 | area outside the selection and
integrate it into the selection.
| | 02:51 | I'll go ahead and click the OK button,
and Photoshop goes ahead and fills that
| | 02:55 | selection automatically.
| | 02:56 | I'll press Ctrl+D, Command+D on the Mac.
| | 02:59 | You can see that it's a seamless fill.
| | 03:01 | It's very similar to the kinds of
effect you would achieve using the Healing
| | 03:04 | Brush, but much easier to apply.
| | 03:07 | Here is a creative
example of Content-Aware Fill.
| | 03:09 | I've got ahead and selected the
area outside of this butterfly.
| | 03:13 | As soon as I apply Content-Aware Fill, I
end up getting this effect right there.
| | 03:17 | So in other words, Photoshop has taken
the information inside the butterfly and
| | 03:22 | used it to fill the area outside the butterfly.
| | 03:25 | I think you're going to have an
absolute blast using this feature.
| | 03:28 | Let's look at a few other changes.
| | 03:30 | I'm going to switch to this layered
composition here, and say at this point,
| | 03:34 | that I want to take these three layers
of martini glasses, and I want to reduce
| | 03:38 | the Opacity of each one of those layers to 50%.
| | 03:42 | In the old days, I would have to
apply the Opacity value to each
| | 03:45 | layer independently.
| | 03:46 | Now, I can go ahead and click on one layer,
Shift+Click on another to select all three,
| | 03:52 | then change that Opacity value either
manually, or since I have a Selection
| | 03:56 | tool active right now, I can just press
the 5 key to reduce the Opacity of all
| | 04:01 | three layers to 50%.
| | 04:03 | If you spend a lot of time working
with Layer Effects, you're are going to
| | 04:06 | appreciate the fact that you can adjust
the default setting for each and every
| | 04:11 | one of the 10 main layer Effects.
| | 04:13 | Let me show you how that works.
| | 04:14 | Say that I want to go ahead and create
a stroke around this text right there.
| | 04:19 | Then I might grab the Rectangle tool,
and draw a rectangle around that text.
| | 04:24 | It doesn't matter what the fill
color is, although I do need to pop it to
| | 04:27 | the top of the stack.
| | 04:28 | So I'll go ahead and move it up here.
| | 04:30 | I'll rename this stroke, because I
want to use this rectangle in order to
| | 04:34 | house a stroke effect.
| | 04:36 | Then I'll reduce the Fill Opacity to
0%, pretty standard way of working so
| | 04:41 | that you're seeing through the layer,
but you'll keep the layer effect as
| | 04:44 | you'll see in just a moment.
| | 04:45 | I'm going to go ahead and turn off the
Vector mask, and then I will switch down
| | 04:49 | here to the FX icon and
choose the Stroke option.
| | 04:53 | Now by default, you apply 3 point black
stroke when you're first using the software.
| | 04:58 | I'm presently creating a Web graphic,
and I'm creating the graphic at four times
| | 05:02 | the size it will ultimately appear.
| | 05:04 | So I want to use a 4-pixel stroke.
| | 05:07 | I want the color of that stroke not
to be black, but rather to be white.
| | 05:10 | This is the kind of stroke that I
create on a regular basis. So you know what?
| | 05:14 | Rather than having to enter these
settings over and over again every time I
| | 05:18 | enter this dialog box, I'm going to
click on Make Default, and those will now be
| | 05:23 | my default settings for the
Stroke Effect from now on. All right.
| | 05:27 | Now I'll go ahead and click
OK to accept that new stroke.
| | 05:31 | Photoshop also offers the option of
pasting in place, by which I mean this.
| | 05:36 | I'll go ahead and switch over to
this alternate view of these martini
| | 05:39 | glasses, and say that I want to copy
and paste the magenta glass into the
| | 05:44 | previous composition.
| | 05:46 | Well, then I'll Ctrl+Click or Command+
Click on that glass 2 layer right there to
| | 05:50 | define a selection outline.
| | 05:52 | Then I'll go up to the Edit menu, and
I'll choose the Copy command or press
| | 05:56 | Ctrl+C, Command+C on the Mac.
| | 05:58 | Now I'll switch back to my previous composition.
| | 06:01 | I want to go ahead and paste
that glass right into place.
| | 06:04 | But if I go up to the Edit menu and
choose the Paste command or press Ctrl+V,
| | 06:08 | Command+V on the Mac, it comes in at
absolutely the wrong location. All right.
| | 06:13 | So I'll go ahead and undo that
Paste, and move down to stack,
| | 06:16 | click on glass 2, because that's the layer in
front of which I want to paste the magenta glass.
| | 06:22 | Then I'll go up to the Edit
menu, and choose a new command.
| | 06:25 | Under Paste Special, we have Paste In
Place, which also has a keyboard shortcut.
| | 06:29 | It's Ctrl+Shift+V or Command+Shift+V on
the Mac, and that goes ahead and nails
| | 06:34 | that glass right into
place as you can see, here.
| | 06:36 | I can change the Blend mode to Screen.
| | 06:38 | Then turn off the previous glass 2
layer, in order to integrate that magenta
| | 06:42 | glass into my composition.
| | 06:44 | Those of you who spend a lot of time
using Adjustments layers will really
| | 06:47 | appreciate this next one.
| | 06:48 | I'm going to switch over to this image.
| | 06:51 | Notice that it has a Levels adjustment
layer applied to it, but I still need to
| | 06:55 | make some more modifications.
| | 06:57 | So I'll go ahead and double-click
on this Adjustment layer to bring up
| | 07:00 | the Adjustments panel.
| | 07:01 | Here is something new.
| | 07:03 | By default, you can set up the Adjustments
panel so that you Auto-Select a Parameter.
| | 07:09 | What that means, by the way, is you're
going to automatically select the first
| | 07:12 | numerical value every time you bring up
this Adjustments panel, which is great.
| | 07:17 | Because then it means you can go ahead
and modify that first value, tab to the
| | 07:22 | next value, modify it as well and burn
your way through your adjustments rather
| | 07:26 | than spending a ton of time
clicking around inside of this panel.
| | 07:31 | This is basically a fix for something
that kind of went wrong inside of CS4 that
| | 07:35 | used to work better inside of CS3.
| | 07:38 | And by the way, I'll go ahead and
press the Enter key in order to accept
| | 07:42 | that value right there,
| | 07:43 | if at any time, you want to, once
again, select the first numerical option
| | 07:48 | inside the Adjustments panel, however,
you're not switching focus to it, so
| | 07:51 | Photoshop doesn't have any
reason to automatically do it for you,
| | 07:54 | you can press the very simple keyboard shortcut;
| | 07:57 | Shift+Enter or Shift+Return on the Mac
will go ahead and select that first value.
| | 08:02 | Then of course, pressing the Enter or
Return key will send you back out of that
| | 08:06 | value, and return focus to
other settings inside Photoshop.
| | 08:09 | A couple of other features
that I think you'll really love.
| | 08:12 | We have this new MINI Bridge, which
runs directly inside of Photoshop and
| | 08:17 | allows you to browse your files on
disk without having to switch to the big
| | 08:21 | Bridge application.
| | 08:22 | Plus, you can take advantage of things
like clicking on an image and pressing
| | 08:26 | the Spacebar in order to preview that image
at full screen, just like you do in the Bridge.
| | 08:31 | When you escape out, however,
you'll return right back to Photoshop.
| | 08:35 | Here is something else worth noting.
| | 08:36 | Whether you're working inside the MINI
Bridge right here, which I'm going to
| | 08:40 | close for just a moment, or whether you're
working with a folder at the Desktop level,
| | 08:44 | I'll go ahead and switch to a folder of
images right here. That's that same folder
| | 08:48 | of images from Felix Mizioznikov
that we saw inside the MINI Bridge.
| | 08:52 | Notice that you can go ahead and drag
and drop files from either the Desktop or
| | 08:58 | the MINI Bridge into Photoshop in
order to create a multi-layer composition.
| | 09:03 | So in this case, because I'm dragging
and dropping five different images, I will
| | 09:07 | have the opportunity to go ahead and
accept the introduction of five images into
| | 09:13 | my layered composition. There they are.
| | 09:16 | They all look a little overly saturated,
because I have this Vibrance adjustment
| | 09:19 | layer sitting on top of them,
but talk about convenience.
| | 09:22 | Look at all these new layers placed
sequentially into Photoshop and each and
| | 09:26 | every one of them, by default,
comes in as a Smart Object.
| | 09:30 | Now, for what might be the
biggest timesaver of them all.
| | 09:34 | If you spend a lot of time working in
multiple windows inside of Photoshop, and
| | 09:37 | at the end of a project, you want to
close all the windows, get it over with,
| | 09:41 | for years, we've been able to go to
the File menu and choose the Close All
| | 09:45 | command or press Ctrl+Alt+W,
Command+Option+W on the Mac.
| | 09:48 | However, you had to confirm whether you
wanted to save your changes or not for
| | 09:52 | every single one of your open images.
| | 09:55 | Now notice this, Apply to All.
| | 09:58 | Then if you want to save
your changes, you click Yes.
| | 10:00 | If you don't want to save
your changes, you click No.
| | 10:03 | In either case, you click the
button once, and you're done.
| | 10:07 | Those are what I call the small but
considerable common sense features new
| | 10:13 | to Photoshop CS5.
| | Collapse this transcript |
| HDR Pro| 00:00 | Now let's take a look at what I
consider to be the best new feature in all of
| | 00:04 | Photoshop CS5, HDR Pro.
| | 00:08 | HDR stands for High Dynamic Range,
which lets you extract every last variation
| | 00:13 | and luminance level from
your digital photographs.
| | 00:17 | CS5 offers two varieties of HDR.
| | 00:19 | The first, HDR toning, lets you develop a fake
HDR image from a single 8-bit per channel photo.
| | 00:26 | It's an interesting command,
but nothing to get excited about.
| | 00:29 | The second, HDR Pro, takes two or
more bracketed photos of the same scene
| | 00:34 | preferably shot with the tripod and
different exposure settings, and combines
| | 00:38 | them into a work of imaging perfection that
absolutely resonates with depth and detail.
| | 00:44 | Earlier versions of Photoshop let you
do this too, but they didn't do it well.
| | 00:48 | CS5 assembles the kinds of HDR images
that professionals have been wanting from
| | 00:53 | Photoshop for years.
| | 00:55 | If I had to point to the one
Photoshop CS5 feature of most significance to
| | 01:00 | professional photographers, it would be HDR Pro.
| | 01:04 | Now HDR stands for High Dynamic Range.
| | 01:06 | It's a way of extracting every single
luminance level from your image, so that
| | 01:11 | your photographs just reek with detail.
| | 01:14 | Now strictly speaking, HDR is not new to CS5.
| | 01:17 | It's been with us for several versions now.
| | 01:19 | It's just that its implementation in the
past left something very big to be desired.
| | 01:24 | It was a complex feature to
use, and it underdelivered.
| | 01:27 | These days we've got HDR Pro, which has
been totally rewritten from the ground up.
| | 01:32 | It's still a complex feature, but it
gives us halfway intelligible controls, and
| | 01:37 | it delivers impeccable results.
| | 01:39 | So I'm going to show you two
different variations on this feature.
| | 01:41 | There's HDR Toning, which is a way of
faking HDR effects inside of CS5, and then
| | 01:47 | we'll see the real thing when we
merge multiple exposures together.
| | 01:52 | So I'm going to start with this image here.
| | 01:53 | It's a standard, everyday, average JPEG image.
| | 01:56 | It comes to us from photographer Felix
Mizioznikov of the Fotolia image library
| | 02:01 | about what you can learn
more at www.fotolia.com/deke.
| | 02:04 | And I'll go on to the Image menu, choose
Adjustments, and then chose HDR Toning.
| | 02:08 | Now a few caveats about this command.
| | 02:11 | It'll convert the image from its current
8-bits per channel space to 32-bits per
| | 02:15 | channel, do its thing, and then take
the image back to 8-bits per channel.
| | 02:19 | That means you cannot apply this
function as an Adjustment layer.
| | 02:22 | You cannot apply it to a smart object.
| | 02:25 | You cannot even apply it to an
independent layer inside the image so you can
| | 02:30 | merge it with the underlying original.
| | 02:32 | None of those options are available.
| | 02:34 | You can only apply this
command to flat images in Photoshop.
| | 02:38 | Now I'm going to show you
workaround once we're done.
| | 02:41 | For now, I'll go ahead and choose the Command.
| | 02:43 | It brings up the HDR Toning dialog box,
which would better go by the name HDR Fakery.
| | 02:48 | And you can see that initially it
doesn't necessarily provide great results.
| | 02:53 | I'm going to go ahead and switch over
to some preset options that I've saved in
| | 02:56 | advance, and you can save a group of
settings as a Preset just by going to this
| | 03:00 | flyout menu and choosing
the Save Preset command.
| | 03:03 | My Presets are available to me
here in the Preset pop-up menu.
| | 03:07 | I'll go ahead and choose High-key
portrait, which creates a kind of High-key
| | 03:11 | portrait effect as you can see, here.
| | 03:13 | It does blow out some of the highlights.
| | 03:14 | It also clips shadow detail.
| | 03:16 | That's okay, because ultimately we'll
be able to blend this image with the
| | 03:20 | original in order to
achieve a much better effect.
| | 03:23 | I'll go ahead and click OK
in order to apply the effect.
| | 03:26 | But I want you to see first, we are now
officially in a 32-bit per channel space,
| | 03:30 | as you can see, here in the Title tab.
| | 03:33 | I'll go ahead and click OK in
order to accept the results.
| | 03:36 | Photoshop will show me a progress bar in
which it's converting the image to HDR.
| | 03:40 | And then it converts the image
back to 8 bits of data per channel.
| | 03:44 | Now normally, were you working on a
flat image inside of Photoshop, you could
| | 03:48 | fade your modified image with the
original by going up to the Edit menu and
| | 03:52 | choosing the Fade command.
| | 03:53 | But in our case, it's dimmed.
| | 03:55 | So pretty much every avenue for mixing
the effect with the original image is cut
| | 03:59 | off from us, save for one.
| | 04:01 | I'll go ahead and escape out of here.
| | 04:02 | I'll go ahead and bring up the History panel.
| | 04:05 | And you can see that we have two states:
| | 04:07 | Open and HDR Toning.
| | 04:09 | I'm going to save off HDR Toning so
that we can set it aside, come back to it
| | 04:13 | later as a snapshot.
| | 04:15 | So I'll drop down to this camera icon and
Alt+Click on it or Option+Click on the Mac.
| | 04:20 | And then I'll name this guy HDR fakery
because that's what it is. And I'll click OK.
| | 04:26 | The next step is to go back to the Open
state so we get back to our original image.
| | 04:30 | I'll press Ctrl+Shift+N or Command+
Shift+N on the Mac to make a new layer.
| | 04:34 | And I'll call this guy HDR
fakery as well and click OK.
| | 04:39 | Now in order to take the HDR Fakery
snapshot and place it inside the HDR fakery
| | 04:44 | layer, I need to make that snapshot a
source by clicking to the left of it.
| | 04:49 | And then I'll press a little known
keyboard shortcut, Ctrl+Alt+Backspace or
| | 04:53 | Command+Option+Delete, and that transfers
the source state to the selection or layer.
| | 04:59 | Now I'll go ahead and hide the History
panel, and now all I need to do to blend
| | 05:03 | this HDR fakery layer with the
underlying original is to press the 5 key in
| | 05:08 | order to reduce the Opacity value to 50%,
and I get this blended image here. All right.
| | 05:13 | So that's one way to work.
| | 05:15 | If you're just starting off with the
flat image, you want to apply a faux HDR
| | 05:19 | effect, the HDR Toning command is the way to go.
| | 05:22 | However, let's say you
want to do the real thing.
| | 05:24 | You want to combine a bunch of
different exposures into a high luminance image.
| | 05:29 | Why then, let's go ahead and switch over to
the Bridge by clicking on the Bridge icon here.
| | 05:34 | And notice here inside the Bridge that
I have a variety of images that I shot
| | 05:39 | using an Olympus E30 Digital SLR.
| | 05:42 | And I shot all of the images using the same
aperture and ISO values using a tripod as well.
| | 05:48 | And I started with this 20
second Exposure shot right there.
| | 05:51 | So this was a very dark barn that I
captured in Steamboat Springs in my
| | 05:56 | home state of Colorado.
| | 05:58 | And it was a bright, sunny, snowy day,
| | 06:00 | so we have a ton of light coming in
through the cracks between these slats of wood.
| | 06:05 | Now in order to mitigate things, I
shot a variety of different exposures.
| | 06:09 | You can see this 20 second Exposure
followed by a 10 second Exposure and so
| | 06:13 | on, all the way down to this 0.5 second
Exposure and ultimately an eighth second Exposure.
| | 06:19 | And this is the darkest of the images,
the shortest exposure right here in which
| | 06:24 | I don't have any details inside the
barn because it's too darn and dark.
| | 06:27 | But I do have some detail
outside to work with now. All right.
| | 06:31 | So I'll go ahead and escape out.
| | 06:32 | Now I'll go ahead and select all eight
of these exposures by clicking on one,
| | 06:37 | Shift+clicking on the other, and then
going up to the Tools menu, choosing
| | 06:41 | Photoshop and choosing Merge to HDR Pro.
| | 06:44 | This command is also available inside
the Mini Bridge incidentally, which runs
| | 06:48 | inside Photoshop CS5.
| | 06:49 | As soon as I choose the command,
Photoshop will go ahead and attempt to combine
| | 06:54 | all of these images and
align them with each other.
| | 06:56 | This takes a while to occur. I should tell you.
| | 06:59 | So the more images you're
trying to merge, the longer it takes.
| | 07:03 | However, this operation is
lightning fast in CS5 when compared to its
| | 07:07 | behavior in CS4 and earlier.
| | 07:10 | And in the fullness of time, you'll see this
Merge to HDR Pro dialog box come up onscreen.
| | 07:16 | Now I've gone ahead and saved off
a preset for this image as well.
| | 07:18 | So you can see these options are
organized in the same way they were inside the
| | 07:23 | HDR Toning dialog box.
| | 07:25 | I'll go up here to the Preset menu,
and I'll choose For dark interiors.
| | 07:29 | And that's gone ahead and raised the
Radius value so that we have more diffused
| | 07:32 | edges inside of our image.
| | 07:34 | If you want tightly focused edges, you
want to work with a low Radius value, in
| | 07:38 | my case, as I say, I'm defusing the edges.
| | 07:41 | That's analogous, by the way, to the
Radius value inside of Unsharp Mask and
| | 07:45 | some of the other filters.
| | 07:46 | If you're looking for something along
the lines of an amount value associated
| | 07:50 | with Unsharp Mask, then
you drop down here to Detail.
| | 07:53 | And notice that I have
the Detail cranked up 150%.
| | 07:55 | I've taken the Exposure down.
| | 07:57 | I've knocked down the Gamma a little bit.
| | 07:59 | I've increased the Strength value so we have
some very definite edges inside of this image.
| | 08:04 | I've also increased the Vibrance
value in order to strengthen some of
| | 08:08 | the Saturation levels.
| | 08:09 | And I'll go over to Curve here.
| | 08:11 | I've applied a tonal curve in order to knock
down some of these highlights in the background.
| | 08:17 | Now, one more thing that we need to do.
| | 08:18 | I'm going to zoom in on this image beyond 100%.
| | 08:22 | And notice, by the way, that when you
see these zoom levels right here, that's
| | 08:26 | HDR Pro telling you how big the preview is.
| | 08:29 | This is not the final size of the image.
| | 08:31 | The image is actually much larger than this.
| | 08:33 | So this merely your preview into the
image, but you can see how these highlights
| | 08:36 | are breaking down right there.
| | 08:38 | And this is what's known as ghosting.
| | 08:40 | The idea is something inside the
image moved from one exposure to the next.
| | 08:46 | Now as I said, I was working with a
tripod, and there was not a living organism
| | 08:50 | inside of this barn.
| | 08:51 | This light movement here is a
function of the earth spinning on its axis.
| | 08:56 | So as a result, the sunlight moved, and HDR
Pro isn't quite sure what to do with it.
| | 09:00 | So if you run into something like this,
you want to go ahead and turn on the
| | 09:03 | Remove ghost check box.
| | 09:05 | And what that forces HDR Pro to do is
consult the original images and decide
| | 09:10 | which image contains the best version of
those highlights, and you may have seen
| | 09:14 | those highlights switch
slightly on those slats of wood.
| | 09:18 | Notice also you get this green
border around one of your images.
| | 09:21 | That is the image that's being
used as a source for this information.
| | 09:25 | I'm going to go ahead and
switch to the fourth image here.
| | 09:28 | And this is just a matter of trial and error.
| | 09:29 | You'll have to experiment to see what works.
| | 09:32 | But notice that that goes ahead and
shifts those highlights once again, and they
| | 09:35 | look much better this time around.
| | 09:38 | Now I'm down inside of Merge to HDR Pro.
| | 09:40 | So I'll go ahead and click on the OK
button, which is hidden on my screen, but
| | 09:44 | it's located in the lower
right corner of the dialog box.
| | 09:47 | And then you'll see a parade of
progress bars as HDR calculates how to combine
| | 09:51 | the images and then hands off
the merged composite to Photoshop.
| | 09:55 | Now by default, you'll see the
image in the 16-bit per channel space.
| | 09:59 | Very likely, you'll want to apply a
view more adjustments inside of Photoshop.
| | 10:04 | I certainly am going to do that.
| | 10:05 | I'm going to zoom in, and then
I'll add Levels Adjustment layer.
| | 10:09 | And I'm going to go ahead and take
this Black point value up to 5, so that we
| | 10:13 | clip some of the shadows in the image,
and then I'm going to take up the
| | 10:16 | Gamma value as well.
| | 10:18 | And then finally, believe it or not,
even though we have some very saturated
| | 10:22 | colors inside of this wood, I'm going
to increase the Vibrance even further by
| | 10:26 | raising this Vibrance value up to 60.
| | 10:29 | And having done that, the final step is to go
ahead and sharpen the detail inside the image.
| | 10:34 | I'll go up to the Filter menu, I'll
choose the Sharpen Command, and then I'll
| | 10:38 | choose Smart Sharpen.
| | 10:39 | And I've already
established some settings in advance,
| | 10:42 | so an Amount value of 200%
and a Radius of 3 pixels.
| | 10:45 | I've also set Remove to Lens Blur.
| | 10:47 | But notice the detail inside of this image.
| | 10:51 | Check out that rich detail inside of the wood.
| | 10:55 | It's a little bit noisy.
| | 10:56 | There is a lot of grain going on.
| | 10:57 | That's to be expected when working
with such long exposures, but it looks
| | 11:00 | absolutely great, very gritty I think.
| | 11:03 | I'll go ahead and click OK in
order to accept that effect.
| | 11:06 | And now let's go ahead and compare
this shot to a flat version of the photo.
| | 11:10 | If I switch to my Full Screen mode so
that we can take in the entire image, just
| | 11:14 | for the sake of comparison.
| | 11:15 | This is that fourth exposure that I
used for purposes of determining the
| | 11:19 | solution to the ghosting,
| | 11:21 | a fairly flat photograph, and
a little bit drab as well.
| | 11:24 | And this is the HDR composite,
| | 11:27 | thanks to the power and flexibility
of HDR Pro inside of Photoshop CS5.
| | Collapse this transcript |
| Refining masks| 00:00 | One of the most common questions I
hear from Photoshop users is how do I
| | 00:04 | extract a person from one background and set
them against another, with all of their hair intact?
| | 00:10 | Having written a book and recorded
more than 50 hours of video on that very
| | 00:14 | topic, I can assure you,
there are lots of ways to do it.
| | 00:17 | And it all starts with
creating an accurate mask.
| | 00:20 | Photoshop offers lots of masking
options, but they're not what Adobe likes
| | 00:24 | to call discoverable.
| | 00:26 | In other words, there is no way in
heck you'd figure out how to mask hair
| | 00:30 | unless a guy like me showed you how to do it.
| | 00:32 | Enter Photoshop CS5's revamped Refine
Edge command, variously known as Refine Mask,
| | 00:39 | that can grow a selection or layer mask
into tendrils of hair, and even get rid
| | 00:43 | of the fringes of color around the
edges, so the hair looks right against a
| | 00:47 | different background.
| | 00:48 | I'm not sure the new feature is any
more discoverable than a dozen or so
| | 00:52 | other masking options.
| | 00:53 | Who among us equates hair with Refine Edge?
| | 00:56 | But whatever you think of the name,
the new and improved Refine Edge command
| | 01:01 | lets you perfect your masks with a
significantly higher degree of control than
| | 01:05 | you've had in the past.
| | 01:07 | In this video, I'm going to
demonstrate the dramatically enhanced Refine Edge
| | 01:11 | function inside of Photoshop CS5.
| | 01:13 | The idea is that it allows you to
refine the edges of your selection outline or
| | 01:19 | your mask, in order to
achieve the absolute best results.
| | 01:23 | For example, let's say what I want to
do here is want to take this portrait
| | 01:26 | shot from Jason Stitt of the Fotolia
Image Library, about which you can learn
| | 01:31 | more at fotolia.com/deke.
| | 01:34 | I want to remove the blue backdrop as well
as the blue filtering into the model's hair.
| | 01:39 | I want to composite her against this
sky and sea background, and I want to
| | 01:43 | achieve absolutely credible effects.
| | 01:45 | Well, the approach to take here inside
of CS5 is to generate some sort of base
| | 01:50 | selection and then apply the Refine
Edge command, in order to make that
| | 01:55 | Selection Outline, or layer mask best,
suit the needs and contours of the image.
| | 02:00 | So I'm going to start things off by
going up to the Select menu and choosing the
| | 02:04 | Color Range command.
| | 02:05 | Now, this command has been
with us for years and years now.
| | 02:08 | However, if you're not familiar with it,
it's basically the Magic Wand tool on steroids.
| | 02:12 | It's not much more difficult to use,
although, as you'll see, it's a little
| | 02:16 | different, but it delivers much better results.
| | 02:19 | So I'll go ahead and choose this command.
| | 02:21 | Up comes the Color Range dialog box.
| | 02:23 | I'll move my Eyedropper into the image
window, and I'll click in the blue area
| | 02:28 | in order to select it.
| | 02:29 | I can tell that it's selected because of this
Selection Preview here inside of the dialog box.
| | 02:34 | Wherever we see white, that
represents the selected portion of the image;
| | 02:37 | wherever you see black,
that's a deselected portion.
| | 02:41 | So notice that I have a few straight gray
areas up in the upper-right region of the image.
| | 02:45 | I'll go ahead and press the Shift key,
which allows you to add to a selection
| | 02:48 | inside of Photoshop.
| | 02:49 | I'll drag over that area in
order to select all of those colors.
| | 02:53 | Now notice that I have exactly
the opposite effect of what I want.
| | 02:58 | The background is selected.
| | 02:59 | The foreground is deselected.
| | 03:01 | That means if I were to convert this
selection into a layer mask that the model
| | 03:05 | would become transparent and her
background would remain visible.
| | 03:09 | In order swap that, I'll
turn on the Invert check box.
| | 03:12 | Now the background is black,
and now the foreground is white.
| | 03:15 | That's exactly what I want.
| | 03:16 | I'll go ahead and click on the OK button
in order to create that selection outline.
| | 03:20 | To see what it looks like, I'll drop down
to the bottom of Layers panel, and I'll
| | 03:24 | click on the Add layer mask icon.
| | 03:26 | We've now added a layer mask.
| | 03:28 | So that means any selected
portions of the image are now opaque;
| | 03:32 | any deselected portions are now transparent.
| | 03:35 | Now, it looks like we have a pretty
good composition at this point, but if we
| | 03:38 | zoom in, we can begin to
see some of the problems.
| | 03:41 | Notice that we have some ratty edges
associated with her shoulder, also along
| | 03:46 | the knuckles right here.
| | 03:47 | We've got a lot of blue filtering into the hair.
| | 03:50 | This becomes even more obvious if we
preview the image against a white background.
| | 03:54 | That's why I've set up this layer of white.
| | 03:56 | So what we need to do now is refine those edges.
| | 04:00 | Here's how we're going to do it.
| | 04:01 | I'm going to turn off that white layer,
so that we can see the image against
| | 04:04 | its new background.
| | 04:06 | I'll scroll her down just a little bit.
| | 04:08 | Then I'll go up the Select menu, and
I'll choose this command right there.
| | 04:12 | If I were working on a Selection
Outline, it would say Refine Edge.
| | 04:16 | Because I'm working on a
layer mask, it says Refine Mask.
| | 04:19 | However, it's the exact same command, and it
brings up the exact same dialog box of options.
| | 04:25 | The two commands also happen to have
the same shortcut, which is Ctrl+Alt+R on
| | 04:29 | the PC or Command+Option+R on the Mac.
| | 04:33 | As soon as I choose that command, I
bring up the Refine Mask dialog box.
| | 04:36 | Again, it would be called Refined Edge, if
I was working with the Selection Outline.
| | 04:40 | Now then, if you've worked with this
command in previous versions of the program
| | 04:44 | inside of CS3 or CS4, you'll recognize
some of the options, like those down here
| | 04:49 | in the Adjust Edge area, and
others will seem completely foreign.
| | 04:53 | This is a very different command these days.
| | 04:56 | First thing I want to do is determine how I'm
going to preview the effects of my modifications.
| | 05:01 | So as things stand now, I'm seeing the
selected image against a white background.
| | 05:06 | I could preview it against a
black background, if I preferred.
| | 05:09 | Either way I'm going to be able
to easily make out those bad edges.
| | 05:13 | You can also choose to see the
effect of all layers blended together.
| | 05:16 | I'm going to go ahead and stick with
On White, which is the default setting.
| | 05:21 | I'm also going to modify
a few of my Edge settings.
| | 05:23 | For example, I'm going to
take the Smooth value up to 20.
| | 05:27 | And that's going to go ahead and round off any
of the jagged corners inside of my layer mask.
| | 05:31 | I could go ahead and raise the Feather
value, if I wanted to make my mask blurry.
| | 05:36 | However, I regard the Feather
Option as something of a crutch.
| | 05:40 | It's a great way to take a bad
selection outline and make it look less bad, but
| | 05:44 | less bad is not the same as good.
| | 05:47 | So generally speaking, I urge
you to leave that value set to 0.
| | 05:50 | Next, we have the Contrast option.
| | 05:52 | Notice we have some pretty soft
edges going, thanks to Smooth.
| | 05:55 | If we want to firm them up, we would
increase that Contrast value, like so.
| | 05:59 | At 100%, we have some very firm edges indeed.
| | 06:02 | I'm going to leave that value set to 0% for now.
| | 06:05 | You finally have the option of
shifting the edges outward in order to
| | 06:09 | incorporate more of the old background,
or shift those edges inward in order to
| | 06:14 | choke the edges closer to the hair detail.
| | 06:18 | Again, I'm going to leave
that value set to 0 for now.
| | 06:20 | I would now like to direct your
attention to the real magic of this command,
| | 06:24 | which resides up here in
this Edge Detection area.
| | 06:28 | The first thing you want to do is
you want to raise your Radius value.
| | 06:31 | And I'm going to take
the Radius up to 70 pixels.
| | 06:33 | And this is analogous to a Blur value, but it
works much differently than Feather.
| | 06:38 | Rather than blurring the edges, you
instead establish an area in which the
| | 06:42 | Refine Edge command can evaluate the mask.
| | 06:45 | So for example, when I set the Radius
value to 70 pixels, I'm saying, anywhere
| | 06:49 | 70 pixels outside the previous edge of
the mask, or inside that previous edge is
| | 06:55 | up for grabs where this command is concerned.
| | 06:57 | In other words, the command can
go ahead and redress those pixels.
| | 07:01 | Anywhere outside of that
area should be left alone.
| | 07:04 | In order to see what that looks like,
go ahead and switch your View from On
| | 07:08 | White to Reveal layer.
| | 07:11 | Then turn on the Show Radius check box.
| | 07:14 | Anywhere that appears black is outside
the range of the Refine Edge command.
| | 07:18 | Anywhere where you see
imagery is inside the range.
| | 07:21 | So in other words, it's inside of this Radius.
| | 07:24 | Notice the difference.
| | 07:25 | If I was to crank the Radius value down
to 0 pixels, we would not see anything.
| | 07:29 | So no automatic refinement is happening.
As soon as you increase that Radius value,
| | 07:34 | that's the area of automation right there.
| | 07:37 | But notice that the area is equally
thick around the hair detail, as well
| | 07:41 | as around the smooth details, such
as the knuckles, and even the sweater
| | 07:45 | detail along the shoulder.
| | 07:46 | What you'd really, ideally want is a
thick radius around the hair, so that you
| | 07:50 | can incorporate all those little
filigree details, and then a very fine Radius
| | 07:55 | value around the smooth stuff.
| | 07:57 | You can ask the Refine Edge command to
do that automatically for you by turning
| | 08:01 | on the Smart Radius check box.
| | 08:03 | Notice that that's going to go ahead
and reduce the Radius value around the
| | 08:07 | Smooth details and keep it thick
around the hair, so that the Refine Mask
| | 08:12 | command has room to do its work. All right!
| | 08:14 | Let's go ahead and turn off
Show Radius this time around.
| | 08:17 | I'm going to go ahead and switch back to On
White, so that we can see our mask in progress.
| | 08:22 | Now, what do we do about the
areas that aren't working out so well?
| | 08:25 | For example, we have some blue
inside of the fingers, both in this region
| | 08:29 | and this region there.
| | 08:31 | In order to evaluate what approach
to take, you want to turn on the Show
| | 08:35 | Original check box right there.
| | 08:37 | That's the opposite of a Preview check box.
| | 08:39 | So most dialog boxes inside of
Photoshop have a Preview check box, and when you
| | 08:43 | turn it on, you're previewing.
| | 08:45 | When you turn it off, you're not previewing.
| | 08:47 | In this case, when you turn Show
Original on, you're not previewing.
| | 08:51 | You're seeing the original
version of the masked image.
| | 08:53 | When you turn it off, you are previewing the
effects of the options inside the dialog box.
| | 08:58 | Anyway, you can turn the option on and
off by pressing the P key, if you like.
| | 09:02 | I'm going to go ahead and turn it on
for a moment, so that we can see the
| | 09:05 | original details below the finger were
actually in better shape than they are
| | 09:09 | now, same in this region right there.
| | 09:12 | So what I'd like to do is
paint some of that radius away.
| | 09:15 | I'm going to do that
using the Refine Radius tool.
| | 09:18 | So for starters, we'll turn off Show Original.
| | 09:20 | There are two ways to use this tool.
| | 09:21 | If you want to add to the radius, then
you would paint over an area, like so.
| | 09:26 | Then if you want to subtract from the
radius, which is what we want to do,
| | 09:30 | remember that the original version was
in better shape, so we need to get the
| | 09:34 | radius out of there,
| | 09:35 | turn that off again,
| | 09:36 | you press and hold the Alt key or the
Option key on the Mac, and you paint
| | 09:41 | inside of an area, like so.
| | 09:42 | That paints away the radius of that location.
| | 09:44 | So in other words, you're painting in
and out custom radius areas inside of
| | 09:50 | which the Refine Edge command can do its thing.
| | 09:53 | So don't think of it as being a
matter of adding to the selection when you
| | 09:57 | paint, and deleting from the
selection when you Alt+Drag or Option+Drag.
| | 10:01 | That's not how it works.
| | 10:02 | You're just affecting the radius. All right!
| | 10:05 | In my case, having removed the radius
from this location, it's great for the
| | 10:08 | fingers, but it's not so great for the hair.
| | 10:10 | So I'll paint back in the radius over the hair.
| | 10:12 | You're not going to see
anything happen when you first paint.
| | 10:15 | You're going to have to
wait for the changes to update.
| | 10:18 | Then down here, I'm going to Alt+
Drag as well, Option+Drag on the Mac to
| | 10:21 | paint that area away.
| | 10:23 | I also have a little bit of a glow,
leaking into the fingers around
| | 10:26 | this location here.
| | 10:27 | So I need to paint in that
area with a smaller cursor.
| | 10:30 | I can change the size of my cursor on
the fly using the Square Bracket keys,
| | 10:34 | which are located to the
right of the P as in Paul key.
| | 10:37 | So I'll press the Left Bracket key a few
times in order to reduce the size of my cursor.
| | 10:41 | And then I'll Alt+Drag or Option+Drag
over this area, like so, in order to
| | 10:45 | remove it from the equation.
| | 10:47 | I'll also Spacebar+Drag in order to
move the image over to the left-hand side,
| | 10:51 | so that I can check out what's going on here.
| | 10:53 | I've got a little bit of haloing along
the edge of the neck, so I will Alt+Drag
| | 10:57 | or Option+Drag along that neck as well.
| | 11:00 | I'm not dragging into it, just along it.
| | 11:03 | That goes ahead and firms up
those details quite nicely.
| | 11:06 | Now, I wouldn't go so far as to
say everything looks exactly right.
| | 11:09 | In fact, I still have some
blue leaking into the hair.
| | 11:13 | That's the reason for this
Decontaminate Colors check box.
| | 11:16 | If you turn it on, then you are going
to remove the aberrant colors around the
| | 11:21 | edge of the mask or selection outline.
| | 11:23 | However, what that means is that
Photoshop is going to go in and recolor the
| | 11:28 | pixels inside of the image, which
is why, notice this Output To option.
| | 11:33 | Right now, we're just going to output to
the layer mask, meaning we are going to
| | 11:36 | modify the layer mask and nothing more.
| | 11:38 | But if you turn on Decontaminate Colors,
then it changes to New layer with layer
| | 11:42 | Mask, because it's trying to
protect the contents of your old layer.
| | 11:45 | So that's just something to bear in
mind, that pixels will be recolored.
| | 11:49 | You can see it happening
here inside the image window.
| | 11:51 | So when I turn off Decontaminate
Colors, the hair looks pretty blue.
| | 11:55 | When I turn the check box back on,
the hair becomes a little more brown.
| | 11:59 | However, it's not exactly what I want,
and I don't want to generate a new layer.
| | 12:03 | I don't want to change the
colors inside of my image layer.
| | 12:06 | So I'm going to turn that check box off.
| | 12:08 | I'm going to switch Output To
back to layer mask, like so.
| | 12:11 | Then I'm going to make one
more slight modification here.
| | 12:14 | I'm going to shift the
edges inward, toward the hair.
| | 12:17 | So I'm going to change that
Shift Edge value to -40%, like so.
| | 12:22 | And then, I'll click on the OK
button in order to accept my changes.
| | 12:25 | Things are looking pretty darn good,
but in order to get a real sense of what's
| | 12:29 | going on, I'll turn on
the white layer, once again.
| | 12:32 | Notice that we still have some blue
details inside the outer edges of the hair,
| | 12:37 | down toward the bottom, on the right-
hand side of the image as well, as down
| | 12:41 | here in the left-hand side of the image.
| | 12:44 | We can get rid of those, if you so desire,
with another application of Refine Edge.
| | 12:49 | So you can apply that command
multiple times to a layer mask if you like.
| | 12:54 | I'll show you how you can achieve
some very nice results that way.
| | 12:57 | With the layer mask still selected,
I'll go back up to the Select menu, choose
| | 13:00 | the Refine Mask command, Ctrl+Alt
+R, Command+Option+R on the Mac.
| | 13:04 | This time, I'm not going to
change any of the numerical settings.
| | 13:07 | Instead, I'm just going to
paint with the Refine Radius tool.
| | 13:10 | I'll press the Right Bracket key a few
times in order to make my cursor larger
| | 13:14 | onscreen, and then I'll
paint inside of this blue region.
| | 13:18 | Notice that the blue begins to get leached away.
| | 13:21 | Then I'll paint again to add more to
that Radius value, and sure enough, I get
| | 13:25 | rid of more and more of that blue.
| | 13:28 | I'll go ahead and zoom out, scroll
up, paint over this area up here.
| | 13:31 | Notice I'm doing a pretty sloppy job.
| | 13:34 | At this point, when you're making a
second pass at a mask like this, you don't
| | 13:37 | need to be nearly as careful,
| | 13:38 | at least that's my experience.
| | 13:40 | Then I'll go ahead and scroll over to
the left-hand side and paint down in
| | 13:44 | this region as well.
| | 13:45 | Everything is looking
pretty darn good. All right!
| | 13:47 | So now, I'll click OK in order
to accept those modifications.
| | 13:51 | Just a few more things that I need to do.
| | 13:53 | By the way, at this point, you can
bring your old school masking techniques to
| | 13:59 | bear, if you so desire.
| | 14:00 | For example, we've got some
rounded corners underneath this finger.
| | 14:03 | I'm going to fix those
corners using the Smudge tool.
| | 14:06 | So with the layer mask still selected,
I'll go ahead and zoom in on that detail,
| | 14:11 | and I'll paint upward to paint some of
the mask, just to smudge that mask into
| | 14:16 | those corners, like so.
| | 14:18 | It may take a couple of passes.
| | 14:20 | I'm trying to be very careful as I work.
| | 14:21 | I'll go ahead and paint down into this
corner as well, and paint up into this one.
| | 14:26 | Notice that I have this strange,
little point on that figure there.
| | 14:29 | So I think, I'll go ahead and paint up into it.
| | 14:33 | Then we need to firm up a few details.
| | 14:35 | Let's go ahead and turn off the white
layer, so that I bring back my background.
| | 14:40 | I've got this strange translucency,
this ghosting, over the shoulder.
| | 14:45 | So I'll switch to my Brush tool.
| | 14:47 | Make sure that the mode up here in the
Options bar is set to Overlay, as it is.
| | 14:51 | With my foreground color set to white,
I'll go ahead and paint over the shoulder
| | 14:54 | to firm it up, like so.
| | 14:56 | It may take a couple of passes in
order to make it look the way it needs to.
| | 15:00 | I might also paint over these
knuckles in order to firm up those details.
| | 15:04 | If I need to shift this edge slightly
over, as I do, then I'll grab my Smudge
| | 15:09 | tool, once again, and paint into this edge.
| | 15:11 | There are a lot of different ways to
work with masks inside of Photoshop.
| | 15:15 | But I just want you to get a sense that
you don't need to rely entirely on the
| | 15:19 | Refine Edge command, in order to refine
the edges of those masks. You can work
| | 15:24 | any way that you like.
| | 15:25 | This is the final version of my
masked image, set against a new background,
| | 15:29 | thanks largely to the power of the
enhanced Refine Edge function here inside
| | 15:34 | of Photoshop CS5.
| | Collapse this transcript |
| Puppet Warp| 00:00 | Photoshop is famous, if not downright
notorious, for its ability to distort
| | 00:05 | reality, which is ironic, given that
most of us whose job it is to distort
| | 00:09 | reality are frustrated by
Photoshop's dearth of reality-distortion tools.
| | 00:14 | I mean, there's Liquify.
| | 00:16 | There's Content-Aware Scale. There's Liquify.
| | 00:20 | I ask you, where are all the distortion tools?
| | 00:22 | Well, in CS5, the hand wringers
finally have something that wring their hands
| | 00:26 | about, and it goes by the name Puppet Warp.
| | 00:30 | Take the subject of an image, jump it
to a new layer, choose the Puppet Warp
| | 00:34 | command, add a few pins, and
drag those pins anywhere you like.
| | 00:39 | Photoshop stretches and twists and
bends an image any way you want it to go,
| | 00:44 | even behind itself, which is weird.
| | 00:46 | But hey, Puppet Warp is fun to use.
| | 00:49 | It's funny to watch, and
it's extremely powerful.
| | 00:52 | If you thought you couldn't believe
your eyes before, just wait until you
| | 00:56 | see the Puppet Warp.
| | 00:58 | Easily the most amusing new feature
inside the Photoshop CS5 and a powerful
| | 01:03 | feature to boot is located under the Edit menu.
| | 01:05 | It's this guy right there, Puppet Warp.
| | 01:07 | And it's yet another transformation/
distortion feature inside the software.
| | 01:12 | What it is going to let you do is
assign points, known as Pins, inside of an
| | 01:17 | image, and then stretch the distance
between those pins in order to create
| | 01:20 | relative distortions that are quite well-
suited to appendages, such as arms and legs.
| | 01:25 | We'll also see how you can
distort individual characters of type.
| | 01:30 | So the first thing I'm going to do is
select this guy and pop him to a layer so
| | 01:34 | I can modify him
independently of the rest of the image.
| | 01:37 | I'll switch over to my Channels panel
where I have an Alpha Channel called mask,
| | 01:42 | and you can see that he is white, and
the background is black, meaning he'll be
| | 01:46 | selected. The background will not be selected.
| | 01:48 | I'll press the Ctrl key or the Command
key on the Mac and click on that channel
| | 01:52 | in order to convert it to a selection outline.
| | 01:54 | Then I'll switch to the RGB image.
| | 01:56 | I'll switch back to the Layers panel.
| | 01:58 | And in order to jump him to a new layer,
pardon the pun, I'll press Ctrl+Alt+J
| | 02:04 | or Command+Option+J for Jump, and then
I'll name this new layer jumper, and click OK.
| | 02:10 | Now, the problem is, at this point, that
we've got two copies of this fellow.
| | 02:14 | If I move him to a different location, you
can see his doppelganger in the background.
| | 02:19 | We need to get rid of him because
that will rather ruin the effect.
| | 02:22 | So I'll press Ctrl+Z or Command+
Z on a Mac to undo that movement.
| | 02:26 | I'll turn off the jumper,
switch to this guy in grass layer.
| | 02:29 | I need to, once again, load that selection.
| | 02:31 | So I'll switch back to the Channels
panel, Ctrl+Click or Command+Click on the
| | 02:35 | mask channel to load it as a
selection, switch back to layers.
| | 02:39 | I need a little extra wiggle room
around this selection to make sure I've
| | 02:42 | selected each and every
pixel associate with this dude.
| | 02:46 | So I'll go up to the Select menu,
choose Modify, and choose the Expand command.
| | 02:51 | And expansion of about 20
pixels should work. I'll click OK.
| | 02:55 | That moves the selection outline outward.
| | 02:57 | If I were working on a background layer,
I could press the Backspace key here on
| | 03:01 | the PC, or the Delete key on a Mac in
order to bring up the Fill dialog box.
| | 03:04 | But if I do that when working on a
floating layer like this one, I'll just go
| | 03:07 | ahead and remove the
pixels inside of the selection.
| | 03:11 | I don't want to do that so I'll undo
that modification, and then I'll go out to
| | 03:14 | the Edit menu and choose the Fill
command, or you have a keyboard shortcut of
| | 03:19 | Shift+Backspace or Shift+Delete on the Mac.
| | 03:22 | Once I have brought up the Fill dialog box,
I'll make sure that Use is set to Content-Aware.
| | 03:27 | That's exactly what I want for the
Content-Aware Fill feature. I'll click OK.
| | 03:31 | And Photoshop will go ahead and look
outside the selection, grab those pixels
| | 03:35 | from the sky and map them into
the selection as you see there.
| | 03:39 | Now, I'll press Ctrl+D or Command+
D on the Mac to deselect the image.
| | 03:43 | Now, you might see a few halos in a
background or a slight shadow associated
| | 03:48 | with the Content-Aware Fill feature.
| | 03:50 | If that bothers you, I urge you to
go ahead and heal those details using
| | 03:54 | something like the standard Healing Brush tool.
| | 03:57 | Now, you can use the Spot Healing
Brush tool, by the way, which has been made more
| | 04:01 | intelligent by the addition of this
Content-Aware feature here in the Options bar.
| | 04:06 | It still doesn't work quite
up to snuff in my opinion.
| | 04:09 | So I'm going to switch over
to the standard Healing Brush.
| | 04:12 | I'm going to press the Alt or Option
key and click to set a source point, and
| | 04:17 | then I'm going to paint inside of
the sky in order to heal that location.
| | 04:21 | I might have to do that several times.
| | 04:22 | I'll Alt+Click or Option+Click, paint again.
| | 04:26 | Alt+Click or Option+Click at this
location, paint along what used to be a leg
| | 04:30 | and so on until I
achieve the effect that I want.
| | 04:33 | Now, bear in mind that you've got this
guy floating in front of this area of the
| | 04:37 | image so you don't have to get it exactly right.
| | 04:41 | He's going to be pretty
distracting by time we're done with him.
| | 04:44 | So now I'm going to switch back to my
jumper layer, click on it in order to select it.
| | 04:49 | If were I to go up to the Edit menu
at this point in time and choose the
| | 04:53 | Puppet Warp command then I would be
permanently modifying the pixels inside of this layer.
| | 04:58 | In order to protect those pixels,
I'm first going to convert this jumper
| | 05:01 | layer to a Smart Object.
| | 05:03 | So I'll go up to the Layers panel menu.
| | 05:05 | I'll choose Convert to Smart Object, like so.
| | 05:08 | That goes ahead and places this layer
inside of a protective container so that
| | 05:13 | the original pixels cannot be harmed.
| | 05:15 | Now, I'll go up to the Edit menu
and choose the Puppet Warp command.
| | 05:19 | Now, there is another advantage to
working with the Smart Object, and that is
| | 05:23 | you'll be able to edit your Puppet
Warp settings well into the future.
| | 05:27 | Now that I've entered the Puppet Warp mode,
you can see that my cursor changes to a
| | 05:31 | little pin icon which allows me
to set pins inside of my image.
| | 05:35 | So for example, I could set a pin at the
shoulder and set another pin at the elbow.
| | 05:40 | And now if I were to drag one pin or
the other, I would stretch the distance
| | 05:44 | between the two as well as move the
items that are out beyond that pin, and
| | 05:48 | rotate them to different locations.
| | 05:51 | I don't really want that effect, so I'll
press Ctrl+Z, Command+Z on the Mac to undo it.
| | 05:55 | I'm going to lay down a few more points,
for example, one here in this shoulder,
| | 05:59 | one on the inside of this elbow.
| | 06:01 | I'll click in his head to make sure that
that's locked down, because each pin not
| | 06:05 | only serves as a point of stretching, like so,
| | 06:09 | I'll go ahead and undo that, but it also
serves to lock down that portion of the
| | 06:13 | image when you stretch a different pin.
| | 06:16 | Again, I'll undo that modification
because right now I'm just interested in
| | 06:19 | setting pins inside of this image.
| | 06:21 | I'll go ahead and set pins on either
side of the guys abdomen, one up here
| | 06:25 | at the top of his thigh, on his knee as
well at the top of this thigh and this knee.
| | 06:30 | And then I could move these
pins to different locations.
| | 06:33 | I might drag this leg outward a little bit.
| | 06:35 | I might drag this leg to this location like so.
| | 06:39 | If you want to move two pins at the
same time then you can click in one and
| | 06:42 | Shift+Click in the other, and then you
could drag down or up in order to move
| | 06:47 | both of those pins at the same time.
| | 06:50 | Another thing that you
might find quite helpful here:
| | 06:52 | I'll go ahead and click on one pin to
make it active, drag it out just a little
| | 06:56 | bit so that he is not too
distorted there in his upper arm.
| | 07:00 | Notice if you press and hold the Alt
key or the Option key on the Mac and
| | 07:04 | hover over one of the pins, you get a
scissors icon that allows you to delete that pins.
| | 07:08 | So you Alt+Click or Option+
Click on a pin to delete it.
| | 07:11 | However, if you move your cursor
outward while the Alt or Option key is down,
| | 07:15 | you'll see this rotation interface.
| | 07:17 | Go ahead and drag the pivot, the
four-arm in this case around that pin.
| | 07:22 | Now, you have to be careful not
to go too far with your effects.
| | 07:24 | Bear in mind that the Puppet tool was
originally introduced inside of the Motion
| | 07:29 | Graphics equivalent to Photoshop,
which is Adobe After Effects.
| | 07:33 | And there the Puppet tool has sort of a
humorous connotation, because you can do
| | 07:38 | all kinds of wacky stuff to it, and make
people move in ways they wouldn't normally
| | 07:42 | move and create sort of
cartoon animation effects.
| | 07:45 | When you're working inside of Photoshop,
cartoony effects may not be your final goal.
| | 07:49 | So just be sure to take it easy
as you're working with the tool.
| | 07:53 | I'm going to go ahead and Alt+drag
or Option+drag his arm back out here.
| | 07:57 | I'll also show you here is
something else you can do.
| | 07:59 | If I Alt+drag or Option+drag his arm
down like so, and then I drag this point
| | 08:04 | down like that so that his arm is
back of his thigh, another fairly
| | 08:09 | ridiculous effect so far, but notice
that you can move the point up and down
| | 08:15 | in terms of stacking order.
| | 08:16 | So let's say you want the arm
to be in front of the thigh.
| | 08:18 | You go up here to the Options bar,
notice this Pin Depth option.
| | 08:23 | The first one tells you you can set
the pin forward, the second one, you can
| | 08:26 | set the pin backward.
| | 08:27 | We want to move it forward so I'd
click on this icon in order to move the arm
| | 08:32 | in front of the thigh. All right.
| | 08:34 | Well, that's hardly the effect I'm looking for.
| | 08:36 | So I think I'll go ahead and put this guy back.
| | 08:38 | And it's sort of dangling down
there in a disturbing fashion.
| | 08:41 | So I'll Alt+drag or Option+
drag to rotate the point upward.
| | 08:44 | And let's say this is as
far as I want to go for now.
| | 08:47 | I'll go to the Options bar,
and I'll click on the checkmark.
| | 08:50 | I could also press the Enter key on the
PC or the Return key on the Mac in order
| | 08:54 | to apply that Puppet Warp effect.
| | 08:57 | And notice, if you look here in the
Layers panel, you'll see a Puppet Warp effect
| | 09:01 | that's applied non-
destructively to the jumper layer.
| | 09:05 | Now, we have got our filter mask.
| | 09:06 | You can add a mask if you want to add
a paint away some of the Warp effect.
| | 09:10 | I'm going to go ahead and get rid of
this mask by right-clicking on that
| | 09:13 | thumbnail and choosing the
Delete Filter Mask command.
| | 09:16 | That just goes ahead and tidies up my panel a
little bit, but here's the really cool thing.
| | 09:21 | Now, if you want to preview the before
and after version of your effect, you can
| | 09:24 | just turn off Puppet Warp, and
that shows you the original image.
| | 09:28 | Turn it back on to see the
after version of the image.
| | 09:32 | To edit the warped version of the
image, just double-click on Puppet Warp, and
| | 09:35 | that takes you right back
into the Puppet Warp mode.
| | 09:39 | And you can continue to modify
the image to your hearts content.
| | 09:42 | Notice also you have the option of
looking at the mesh if you want to so that
| | 09:46 | you can see just how
computationally intensive these effects are.
| | 09:51 | I'm going to go ahead and turn that back off.
| | 09:53 | Also, notice if you try to set one
pin very close to another, it's very
| | 09:57 | possible that CS5 is going to invite you to
choose the More Points command from the Density menu.
| | 10:02 | While there is no Density menu up here
in the menu bar What you do,
| | 10:06 | I'll go ahead and click OK, is you go
up to this Density option here in the
| | 10:10 | Options bar and switch it
from Normal to More Points.
| | 10:13 | So More Points is great if
you need densely packed pins.
| | 10:17 | If you want to do more with fewer pins
then you choose a Fewer Points Command.
| | 10:20 | I'm going to leave it set to Normal. All right.
| | 10:21 | Now, I'm going to click in the hand
and drag that hand outward, like so.
| | 10:25 | I'll also drag the elbow a
little farther out there.
| | 10:29 | I am getting a fair amount of
stretching going on so I could move the
| | 10:33 | shoulder out just slightly.
| | 10:35 | However, I'm looking for something of
a cartoony effect, as you'll see once
| | 10:39 | we're done with this composition.
| | 10:40 | Still, let's go ahead and drag
these guys back just a little bit.
| | 10:43 | I'll drag this shoulder out a little,
click in the hand in order to set a point
| | 10:47 | there, move it outward, move
this elbow out there as well.
| | 10:51 | I want you to notice that when you drag
something like the knee, you're moving
| | 10:54 | the calf and the foot together.
| | 10:56 | So if you're not concerned about the
relative positioning of that foot and calf,
| | 11:00 | that's a great way to go.
| | 11:01 | However, if you want to go ahead and
stretch that, just as I'm stretching the
| | 11:05 | thigh, then you need to set a point
at that location and move it outward.
| | 11:09 | And I want to do the same thing here as well.
| | 11:11 | So I want this heavily
exaggerated jumping effect.
| | 11:14 | I also want the guy to look pretty
skinny so I'll go ahead and drag his abs in
| | 11:18 | just a little bit like so.
| | 11:20 | And then once I'm done, I'll go ahead
and press the Enter key or the Return key
| | 11:23 | on the Mac, once again, in
order to apply that effect.
| | 11:26 | It's still modifiable.
| | 11:28 | You can still double-click on Puppet
Warp anytime because you're working
| | 11:31 | with the Smart Object.
| | 11:33 | Now, let's say you want to edit the type.
| | 11:35 | And the great thing about modifying type
thing about modifying type using Puppet
| | 11:38 | Warp is that you can get some
uniquely hand-drawn effects.
| | 11:42 | However, if I select the type layer,
and I go up to the Edit menu and choose
| | 11:46 | Puppet Warp, Photoshop will tell me
I have to rasterize that layer before
| | 11:50 | proceeding, that is, I need
to convert the type to pixels.
| | 11:53 | I don't want to do that so I'll cancel out.
| | 11:55 | And I'll go over to the
Layers panel, once again.
| | 11:58 | Click in the flyout menu and
choose Convert to Smart Object.
| | 12:01 | So I've gone ahead and place the
type in a protective container.
| | 12:04 | Now I'll go up to the Edit
menu and choose Puppet Warp.
| | 12:07 | This time Photoshop doesn't complain,
and I'll click in the top of this P here
| | 12:11 | and at the bottom of the P and notice that
stretches that P independently of the others.
| | 12:17 | So now, because they are not connected to
each other, each and every letter is independent.
| | 12:21 | And this would be true too if I had
multiple people on this jumper layer that
| | 12:27 | were disconnected from each other. All right.
| | 12:28 | So I'll click on the top of this P, the
bottom here as well. Drag it up like so.
| | 12:34 | Click at the top of the E. Click at the bottom.
| | 12:37 | You may see this kind of an effect when
you drag one pin away from the other.
| | 12:40 | You may see other
portions of the image collapsing.
| | 12:43 | I don't want that so I'll
press Ctrl+Z, Command+Z on the Mac.
| | 12:46 | I'll click to lock down that bottom
of the E then drag up to top like so.
| | 12:51 | Now, I'll click on the top of the T and
the bottom of the T, drag it up just a
| | 12:55 | little bit to create a little bit of bend there.
| | 12:57 | Might as well drag the top of the E up a
little bit farther, the top of the P as well.
| | 13:03 | Now, I'll click four points around
this U in order to set points, like so.
| | 13:08 | Shift+Click on the tops of each of
the stems of U and drag them upward.
| | 13:12 | And I may actually take this point a
little farther up, click at the top of the
| | 13:17 | P, at the bottom of the P. For
some reason, the P does beautifully.
| | 13:21 | It always bends exactly the way I want it to.
| | 13:23 | Click at the top of this P and the
bottom of this one, drag it up as well so
| | 13:27 | it's pretty much the same thing over and
over again, where the Ps are concerned.
| | 13:30 | On the M, I'm going to set four pins like so.
| | 13:33 | And I'll go ahead and click and Shift+
Click on those two pins and move them up.
| | 13:37 | Apparently I need pin at this
location on the M so that I can drag it back
| | 13:43 | down into position.
| | 13:44 | And you get a sense of just
how fun this feature is to use.
| | 13:49 | Now, things can go a little wrong there,
and in this case, what I think I'm going
| | 13:52 | to do is set a point right at that
location, Alt+Click or Option+Click on the
| | 13:56 | top point to get rid of it.
| | 13:58 | And then go ahead and move that up a little bit.
| | 14:00 | So you have all kinds of
flexibility when you're using this feature.
| | 14:04 | Notice, by the way, I got that error
message telling me I need more points. No I don't.
| | 14:08 | I just clicked in the wrong location.
| | 14:10 | So I'll go ahead and click around the
U some more, like so, drag this point
| | 14:13 | upward, drag this point upward as well.
| | 14:16 | Click on the top of the J, the bottom of
the J and drag that J upward. You know what?
| | 14:21 | I think it would be a great idea to move
that comma to a different location.
| | 14:24 | So I'm going to click in it and then just
drag it independently of everything else.
| | 14:29 | So if you only have one click point in an
object then you move the entire object like so.
| | 14:33 | Now, I'll go ahead and click at the
bottom of the comma in order to lock it
| | 14:37 | down and move the top of the comma up
just a little bit, because I want to
| | 14:40 | stretch it like so. And we're done.
| | 14:43 | I'll press the Enter key, or the
Return key on the Mac, to accept
| | 14:46 | those modifications.
| | 14:48 | You can achieve these distortion
effects and many, many more using the new
| | 14:52 | Puppet Warp command inside Photoshop CS5.
| | Collapse this transcript |
| Painting a photograph| 00:00 | In my final video, I am going
to show you Photoshop CS5's most
| | 00:04 | ambitious innovation:
| | 00:05 | the new Painting tools.
| | 00:07 | We have the Bristle Brushes, which
simulate real-world traditional art brushes,
| | 00:11 | down to the quantity and stiffness of the hairs.
| | 00:15 | We have the Mixer Brush, which lets you
mix your paint with a base photograph as
| | 00:19 | if the photo were rendered in wet oils.
| | 00:22 | Now, a lot of you are going to look
at this and think 'I am a photographer.
| | 00:25 | I don't do painting.'
| | 00:26 | Of course, I urge you not to think that way.
| | 00:29 | It just limits your creative freedom.
| | 00:31 | But there is some truth to it.
| | 00:32 | The painting tools respond very
positively to a pressure sensitive input device,
| | 00:37 | such as this Wacom Intuos4
and a little bit of raw talent.
| | 00:42 | Still, you've got to dig the results.
| | 00:44 | In a next few minutes, I am going
to transform a photograph into a
| | 00:48 | hand-painted piece of art, complete with
brush strokes that look like you could
| | 00:52 | reach out and touch them.
| | 00:54 | For you artists, here is the key.
| | 00:56 | Each and every brush stroke draws
its color from the image itself,
| | 01:00 | so there is no need to mix
a pigment or dip a brush.
| | 01:03 | It's absolutely amazing.
| | 01:07 | Photoshop CS5 introduces
two big new painting features:
| | 01:10 | We've got the Bristle Brushes, which
simulate traditional paintbrushes, and we
| | 01:14 | also have the Mixing Brush, which allows
you to mix colors inside of an existing image.
| | 01:19 | Now, while I can imagine most graphic
artists are listening to this thinking, 'Great!
| | 01:24 | This sounds like outstanding news,'
| | 01:25 | Many of you photographers may be
groaning, thinking, 'There goes Photoshop again,
| | 01:30 | focusing on the graphic artists instead
of us,' which is actually not the case.
| | 01:34 | I was a little concerned about that as well.
| | 01:36 | When I first saw Adobe demonstrate
CS5, I saw these brushing functions and
| | 01:40 | thought that they might be of limited interest.
| | 01:43 | But having now used them myself, I am
convinced that anyone who spends any time
| | 01:48 | brushing inside of Photoshop, whether
you use, for example, the Brush tool
| | 01:52 | inside of your layer masks, or you use
the Clone Stamp tool in order to retouch
| | 01:57 | your images, or you use the History
Brush to go back in time all the way down to
| | 02:01 | the Dodge, Burn and Sponge tools,
| | 02:04 | those of you who use those tools,
even on a semiregular basis, are going to
| | 02:07 | find the Bristle Brushes to be extremely
useful, especially if you have a drawing tablet.
| | 02:13 | The Mixing Brush is just flat-out on real.
| | 02:16 | What I am going to do here to
demonstrate these features, I am going to take
| | 02:20 | this photograph of a friend of mine
that I shot in Amsterdam, and I am going
| | 02:23 | to convert her into a full-fledged
painting, which I am going to create using
| | 02:27 | the Mixing Brush combined with the Bristle
Brushes and a few special layer effects as well.
| | 02:32 | So I can add a little bit of
depth to these brush strokes.
| | 02:35 | Nothing that you see here is the
result of one of those artistic filters.
| | 02:40 | So I didn't apply any special Artsy
Filtering Effects with the exception of
| | 02:45 | Emboss, which I used to create a few
highlights and shadows around the brush strokes.
| | 02:49 | All right.
| | 02:49 | So I'll go ahead and switch
back to the original image here.
| | 02:51 | Why don't I tour you around the tool, so
you just have a sense of what's going on.
| | 02:55 | I am going to select the Brush tool, which I
can get by pressing the B key. You know what?
| | 02:59 | I should show you this.
| | 03:00 | There is a Brush tool there and then,
down here at the bottom of the flyout
| | 03:03 | menu, there is the Mixer Brush tool.
| | 03:05 | In between, we have the Pencil
tool and the Color Replacement tool.
| | 03:08 | Well, I tell you what, I never use
that Color Replacement tool and rarely
| | 03:11 | used the Pencil tool.
| | 03:12 | So I am going to take those
two tools out of the loop.
| | 03:14 | So I can use the B key just to switch back
and forth between the Brush and the Mixer Brush.
| | 03:19 | I am going to do that by going
up to the Edit menu and choosing
| | 03:22 | Keyboard Shortcuts.
| | 03:23 | Then I'll switch Shortcuts For to tools.
| | 03:26 | I'll scroll down the list
until I see this group of B's.
| | 03:29 | I'll go ahead and select the Pencil
tool and delete that B and the B for the
| | 03:33 | Color Replacement tool and
delete it as well. That's it.
| | 03:36 | Click out to just make sure
everything's been accepted.
| | 03:39 | Then click on OK in order
to apply that modification.
| | 03:42 | Now, notice if I bring up the flyout menu,
B takes me back and forth between the
| | 03:46 | Brush tool and the Mixer Brush. Perfect!
| | 03:48 | All right. So I have the Brush tool selected.
| | 03:51 | I am going to go up to the Options bar
and click on this little folder right
| | 03:53 | there to bring up the Brush panel.
| | 03:56 | Notice this group of Brush Tips right there.
| | 03:59 | Those are the ten basic
varieties of Bristle Brushes.
| | 04:03 | I'll go ahead and select
this second Bristle Brush in.
| | 04:05 | Notice you can select from
ten different shapes altogether.
| | 04:09 | You also have a lot of other different
options that are available to you here.
| | 04:12 | You can change how many bristles are
packed into your brush, if you like.
| | 04:18 | So if you pay attention to the brush
preview down here at the bottom of the
| | 04:21 | Brush panel, you'll see what a brush
stroke looks like as I increase the
| | 04:25 | number of bristles.
| | 04:26 | You can also check out this preview
that, by default, is located in the upper
| | 04:30 | left-hand corner of the Image window.
| | 04:33 | It's a floating preview, by the way.
| | 04:35 | Notice as I add bristles, you can see
the thickness of the bristles increase
| | 04:40 | inside of that brush. All right.
| | 04:41 | I am going to take it back down.
| | 04:43 | That's the way they all work, by the way.
| | 04:45 | That is to say you can preview the
effect of every single one of these settings.
| | 04:50 | So I definitely encourage
you to play around with those.
| | 04:52 | For now, I am going to just close out
of the Brush panel, so that I could focus
| | 04:56 | my attention on this guy
here, the new brush preview.
| | 05:00 | I should say I am working with a
pressure-sensitive input device.
| | 05:02 | This happens to be a Wacom Intuos4.
| | 05:06 | Notice when I move my cursor nearer to my tablet,
| | 05:09 | I can actually see the angle of my pen
represented by that brush up there in the
| | 05:15 | upper left-hand corner.
| | 05:16 | So as I move the stylus around,
the brush moves around as well.
| | 05:20 | So this way right there, I've got the
style straight up and down, and now, I am
| | 05:25 | going to move it over onto its side.
| | 05:27 | You can see it happened right
there inside of the preview.
| | 05:30 | You can also see the effect on the cursor,
| | 05:33 | if you take a look at that cursor, which is
next to this model's ear right now. All right.
| | 05:36 | A couple of other things
to know about this preview:
| | 05:39 | If you move over it, you can drag it to a
different location by dragging this little bar.
| | 05:44 | You can also click on the
double arrow to make it smaller.
| | 05:46 | You can click again to make it bigger.
| | 05:48 | You can close the preview if it's
getting in your face, and if you want to bring
| | 05:52 | it back at any point of time, bring up
the Brush panel once again, which, by the
| | 05:56 | way, has a keyboard shortcut of F5, and
then drop down to this little eye icon,
| | 06:02 | the eye next to the Brush, and click on it to
bring that Bristle Brush preview. All right.
| | 06:07 | I am going to move it back to the upper-left
corner there, so that we can keep tabs on it.
| | 06:11 | So that's the basics of
working with the Bristle Brush.
| | 06:13 | Let's now take a look at the new
painting tool, which is this guy right
| | 06:16 | there, the Mixer Brush.
| | 06:18 | I am going to go ahead and select that tool.
| | 06:21 | Notice, by the way, I've got a Standard
Brush selected, as opposed to a Bristle Brush.
| | 06:25 | So to correct that problem, I could
right-click in order to bring up a pop-up
| | 06:29 | version of that Brush panel, and I'll
switch to the second one, Round Blunt
| | 06:32 | Medium Stiff, which happens to
work pretty well for this image.
| | 06:36 | I am also going to reduce the size
of my brush to something very small.
| | 06:41 | I am going to set it to 3 pixels for now.
| | 06:43 | Because this is a portrait shot, I need an
awful lot of detail inside of this image.
| | 06:47 | All right. So I'll go ahead and press
the Enter key or the Return key on the Mac in
| | 06:51 | order to hide that panel.
| | 06:52 | The next thing I want to
do is I want to add a layer.
| | 06:55 | Obviously, you don't want to paint
directly on an image layer, if you can avoid
| | 06:58 | it, because that's a destructive modification.
| | 07:01 | So I'll press Ctrl+Shift+N or Command+
Shift+N on the Mac, and I'll call this new
| | 07:05 | layer paint and click OK.
| | 07:08 | The next thing I definitely need to do
if I want to get any work done with this
| | 07:11 | Mixer Brush is I need to turn on Sample
All layers, so that the Mixer Brush can
| | 07:15 | see the results of all layers at a time.
| | 07:18 | That will allow it to paint the
background layer onto the paint layer, which is
| | 07:23 | very important, of course.
| | 07:24 | Now the way that this tool works:
| | 07:25 | If I just start painting in, notice
like this, and I have some very small
| | 07:30 | brush strokes going,
| | 07:31 | it's going to try to mix black, which
is my current painting color with the
| | 07:37 | colors inside of the image, and as a
result, I am going to create this kind
| | 07:40 | of scraping effect.
| | 07:42 | That's not what I'm looking for at all.
| | 07:43 | I just want to paint with the
colors that I find inside the image.
| | 07:46 | So I want to make sure, by the way,
that I clean the brush after every stroke.
| | 07:50 | So that option is turned on, by default.
| | 07:52 | Now, I also want turn off this first option.
| | 07:54 | Notice that it says, Load
the brush after each stroke.
| | 07:57 | That's going to reload the brush
with either the foreground color or the
| | 08:00 | last painted color.
| | 08:02 | I don't want to do that.
| | 08:03 | I want to mix the color as I go.
| | 08:04 | So I'll go ahead and turn that option off.
| | 08:07 | Notice that goes ahead and sets the color
to transparent over here in the Options bar.
| | 08:11 | I am also going to max out all the other values.
| | 08:13 | So I am going to set Wet to 100,
Load to 100, Mix to 100 as well.
| | 08:18 | In case you are wondering how I am doing that,
| | 08:19 | I am scrubbing each one of these values
to the right in order to increase them
| | 08:24 | to their maximum, and we are now ready to paint.
| | 08:26 | So I am going to zoom in, and I am
going to pick up my Wacom Stylus, and
| | 08:31 | I'll begin to paint.
| | 08:32 | I am painting very fine lines, at this
point, around the exterior of the nose here.
| | 08:40 | I think, actually I might benefit from a
slightly larger brush. So you know what?
| | 08:44 | All I need to do in order to increase
the size of this brush is just press
| | 08:48 | the Right Bracket key a few times here
on the keyboard, so I can increase the
| | 08:52 | size of our Bristle Brush just as
easily as I can increase the size of any
| | 08:56 | brush inside Photoshop.
| | 08:58 | Now, we are going to go ahead and
speed up the video as you can see, here.
| | 09:02 | It took me about 20 minutes to paint
this image, and we are going to condense it
| | 09:07 | into just a little bit over a minute,
because I want to see the painting unfold.
| | 09:12 | On the other hand, I don't want you
to have to experience it real-time.
| | 09:16 | Now, notice what I am doing is
pretty rote technique over and over again.
| | 09:21 | I am painting very carefully along
the outlines of specific details.
| | 09:25 | Then when I get into general
areas, I paint a kind of scribble
| | 09:29 | crosshatch patterns.
| | 09:30 | So if you are familiar with
crosshatching where you go either against or with
| | 09:34 | the grain of your subject,
| | 09:36 | that's what I am doing here.
| | 09:38 | You can see now that I am painting
inside the volumetric contours of the ears,
| | 09:43 | and I'm also painting fairly,
roughly in the background.
| | 09:47 | You can see I am painting very
roughly inside of that sweater detail.
| | 09:50 | Sometime, I'll scribble over an area
that I've already painted in order to add a
| | 09:54 | little bit more of a crosshatch contour.
| | 09:57 | When I get to the earing here, I am
painting extremely carefully along the
| | 10:01 | outlines and then carefully along the chin.
| | 10:04 | You just saw that, and the scribbling
inside the general contours of the skin.
| | 10:09 | Now, I am scribbling over a few
details that I've visited before.
| | 10:12 | In the case of the sweater, once again,
painting carefully along the chin outline.
| | 10:17 | Then scribbling inside the large general areas.
| | 10:19 | Sometimes, revisiting areas in order
to accentuate the volumetric forms.
| | 10:24 | Then here in a background I
am going at it pretty rough.
| | 10:26 | There is not a lot of
detail to work with back there.
| | 10:29 | Then I revisit some of the general
areas of the cheeks and the face in order to
| | 10:33 | smooth out the surface of the skin.
| | 10:35 | Now, that I've finished
with the base paint layer,
| | 10:37 | I am going to add a few additional
layers in order to enhance the effect.
| | 10:40 | For example, if you take a look at the left
side of the image, you'll see these hairs.
| | 10:46 | I think the overall image would
benefit from a more realistic treatment that
| | 10:50 | sees a few individual hairs hanging
down as in the original photograph.
| | 10:55 | So here is what I am going to do.
| | 10:57 | I am going to switch over to the
Standard Brush tool, and now, I am going to
| | 11:00 | select the color that's indigenous to the image.
| | 11:03 | Now, there is a couple of different
ways to go about selecting colors using
| | 11:07 | Heads Up displays inside of
Photoshop CS5. One is, on the Mac,
| | 11:12 | you can press Command+Option+Control
and then click and hold in the image.
| | 11:17 | On the PC, you press a
totally different keyboard shortcut.
| | 11:20 | You press Shift+Alt and you
right-click inside the image.
| | 11:25 | Then you choose a base Hue from this
rainbow slider over here in right-hand
| | 11:29 | side, and you switch back into the
field in order to determine the level of
| | 11:33 | Saturation side to side and
the Brightness up and down.
| | 11:38 | So that's one way to work.
| | 11:39 | The other thing you can do, and when
you are trying to lift colors from an
| | 11:42 | image, this is a better way to work,
| | 11:44 | you press and hold the Alt key or
the Option key on the Mac to get the
| | 11:47 | key Eyedropper tool.
| | 11:48 | This is an old-school technique,
but it has a new interface.
| | 11:51 | If you click and hold inside of the
image, you'll see a Heads Up display
| | 11:55 | showing the old foreground color down
at the bottom of the circle and the new
| | 11:59 | foreground color at the top.
| | 12:00 | You can drag around inside the image in
order to switch that foreground color on-the-fly.
| | 12:06 | I am going to go ahead and lift a very
dark sort of purplish color from the hair.
| | 12:11 | Now, I'll reduce the size of my cursor.
| | 12:14 | I'll do that by pressing the Left
Bracket key several times in a row.
| | 12:18 | I am going to take that cursor size
all the way down to 1 pixel and then I am
| | 12:22 | going to paint in a few hairs.
| | 12:23 | But in order to paint them in fairly,
realistically, I need to be able to see
| | 12:27 | those hairs in the background image.
| | 12:29 | So I'll turn off the paint layer,
and I'll add a new layer by pressing
| | 12:32 | Ctrl+Shift+N or Command+Shift+N on the Mac.
| | 12:35 | I'll call it hair, like so. Click OK.
| | 12:38 | Now, I can start painting
directly inside of this layer.
| | 12:42 | I'll paint a long hair, like so and then
another hair that goes all the way over the ears.
| | 12:48 | It doesn't really matter how many hairs I paint.
| | 12:50 | I just want to get a
realistic feel to this image, like so.
| | 12:54 | So now you might look at these hairs and say
well, this doesn't my idea of realistic Deke.
| | 12:58 | These are awfully thick gooey hairs.
| | 13:00 | They look like lines of
paints more than anything else.
| | 13:03 | Well, I am going to solve that in
just a moment with the use of a Filter.
| | 13:08 | So having added a few base hairs with
which to work, like so, I'll go up to
| | 13:14 | the Filter menu, and I'll choose the
Other command, and I'll choose this guy
| | 13:18 | right there, Maximum.
| | 13:19 | What that does is it squeezes a
transparency mask into the hair.
| | 13:24 | Notice that it does a heck of job.
| | 13:26 | It leaves us with some very fragile
hairs indeed at a radius value of one pixel,
| | 13:30 | which a lowest you can go.
| | 13:32 | Now, I'll click OK in
order do except those hairs.
| | 13:35 | I'll turn on the paint layer once again, so
that I can see both of the layers together.
| | 13:40 | Now, what we are going to do is we are
going to emboss the paint, so that it has
| | 13:44 | a little bit of dimension associated with it.
| | 13:46 | So I'll merge all the layers I have
created so far onto a new layer by mashing
| | 13:51 | my fist down and pressing the E key.
| | 13:53 | You know this keyboard shortcut.
| | 13:54 | It's Ctrl+Shift+Alt+E on a PC or
Command+Shift+Option+E on the Mac.
| | 14:00 | I'll call this new layer
merged because that's what it is.
| | 14:04 | Then I am going to convert this layer
to a Smart Object by going up to the
| | 14:07 | Layers panel flyout menu and
choosing Convert to Smart Object.
| | 14:11 | That goes ahead and places the image
inside of a protective container, so that I
| | 14:16 | can apply a Smart Filter in the
form of, up here under the Filter menu,
| | 14:20 | I'll chose Stylize, and I'll choose Emboss.
| | 14:23 | These settings are going to work
out very nicely for this image.
| | 14:26 | I'll go ahead and click OK
in order to apply the Filter.
| | 14:29 | Then I'll right-click inside of this
Filter mask and choose Delete Filter
| | 14:33 | Mask to get rid of it. All right.
| | 14:35 | Now I have a nondestructive
application of Emboss on this merged layer.
| | 14:39 | The problem is that Emboss goes
ahead and add some color to the image.
| | 14:43 | You notice it flattens out most of the
color, but it does leave some aberrant
| | 14:47 | colors in its wake. To get
rid of those bad colors,
| | 14:50 | I'll press the Alt key or the Option
key on the Mac, and I'll click and hold
| | 14:53 | on this black-white icon at the bottom of
Layers panel, and I'll choose Hue/Saturation.
| | 14:57 | That'll bring up the New Layer dialog box.
| | 14:59 | I am going to go ahead and call this new
layer desaturate and turn on this check
| | 15:03 | box in order to only affect the
merged layer and nothing more.
| | 15:08 | I'll click OK, and I'll take the
Saturation value down, here inside the
| | 15:12 | Adjustments panel, to -100. All right.
| | 15:16 | The next step is to switch back to the
merged layer, make it active and change
| | 15:20 | the Blend mode for that
layer from Normal to Overlay.
| | 15:24 | That goes ahead and drops out the grays,
but it preserves the dark and light
| | 15:27 | luminance levels, which turned into
highlights and shadows along the edges of my painting.
| | 15:34 | I'll go ahead and scroll over here a
little bit, so that you can see the face
| | 15:37 | inside of the image.
| | 15:38 | I'll also switch to a different tool, so
then I hide that Bristle Brush preview.
| | 15:44 | Now, just so that you have a sense
of the contribution of this layer.
| | 15:47 | I'll go ahead and turn merged off.
| | 15:49 | So that's the painting
without the Emboss effect.
| | 15:51 | This is the painting with the Emboss effect.
| | 15:54 | So it makes a pretty big
difference in the overall composition.
| | 15:58 | Now, I want to increase the
overall Vibrance of the colors.
| | 16:00 | I am going to do that using
Brightness/Contrast, of all things.
| | 16:04 | It just happens to work out
really well for this image.
| | 16:07 | So I'll click on desaturate to make it active.
| | 16:10 | Then I'll drop down to
this black-white icon again.
| | 16:12 | I'll press and hold the Alt key or
the Option key, click on that icon, and
| | 16:16 | choose Brightness/Contrast.
| | 16:17 | I'll go ahead and name this layer B/C,
and I will check that Use Previous Layer
| | 16:23 | to Create Clipping Mask is turned off.
| | 16:25 | Because this time, I want to
affect the entire composition at once.
| | 16:29 | I'll go ahead and change the Brightness
value to 20 and the Contrast value to 40.
| | 16:34 | The reason I'm using this command
instead of say Levels is because it does
| | 16:38 | a better job in the case of this image,
or Curves because it's a heck of a
| | 16:41 | lot simpler to use.
| | 16:43 | It does just as good of a job, as
long as Use Legacy is turned off.
| | 16:48 | So I'll go ahead and hide
the Adjustment panel now.
| | 16:51 | Now, let's take a look at the
appearance of our final composition.
| | 16:54 | I'll go ahead and press Shift+F in
order to switch to the full screen mode.
| | 16:58 | Now, so that we can compare this image
to the original, I'll press the F12 key
| | 17:03 | in order to revert the image
to its original appearance.
| | 17:06 | So this is the original
photograph that I shot in Amsterdam.
| | 17:09 | This is that paining that I just
created before you and this, just for the sake
| | 17:14 | of comparison, is the paining that I
showed you at the outset of this video.
| | 17:18 | So every single time you paint inside Photoshop,
| | 17:21 | you are going to achieve a different effect.
| | 17:23 | These, my friends, are a couple of
examples of the kinds of effects that you can
| | 17:28 | achieve using the new Bristle
Brushes and the Mixer Brush here inside
| | 17:33 | Photoshop CS5.
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