Introduction| Welcome | Using the exercise files| 00:00 |
If you're a Premium member of the
lynda.com Online Training Library, or if
| | 00:05 |
you've purchased a DVD of this course,
you have access to the Exercise Files
| | 00:09 |
that I'll be using throughout the course.
| | 00:11 |
If you do have the Exercise Files,
I suggest that you put the entire Exercise
| | 00:16 |
Files folder on your desktop, as I've done here.
| | 00:19 |
If you look inside the Exercise Files
folder, and I'll do that by clicking on
| | 00:23 |
the Exercise Files folder here in this
open window, you'll see that the Exercise
| | 00:27 |
Files are organized by chapter folders.
| | 00:30 |
And inside the chapter folders are subfolders
that correspond to each movie in that chapter.
| | 00:36 |
Inside each subfolder, you'll find the
files that I used to work through that movie.
| | 00:42 |
In this course we usually won't be
opening the Exercise Files directly from
| | 00:45 |
these Windows folders.
| | 00:47 |
Instead I recommend that you open the
individual exercise files from inside of
| | 00:52 |
Elements, from the Elements
workspace called the Organizer.
| | 00:55 |
The Organizer is a special area for
viewing and managing photos in Elements and
| | 01:00 |
I'll be covering the Organizer
in great detail in this course.
| | 01:04 |
In the first two movies in the chapter
titled Bringing in Photos, I'm going to
| | 01:08 |
show you how to create a separate
catalog in the Organizer for the exercise files,
| | 01:12 |
and I'll show you had to bring
the exercise files into the Organizer so
| | 01:17 |
you're ready to use them throughout the course.
| | 01:20 |
If you're a monthly or annual non-
premium subscriber to the Online Training Library,
| | 01:24 |
unfortunately you don't have
access to these particular exercise files,
| | 01:29 |
but you're welcome to use your own
photos instead or just listen and follow
| | 01:33 |
along with me that way.
| | 01:35 |
| | Collapse this transcript |
| Launching the Welcome screen| 00:00 | If you haven't already launched
Photoshop Elements, go ahead and do so now.
| | 00:04 | You can launch Elements from the
Windows Start menu at the bottom of your screen,
| | 00:07 | or if you happen to have a
shortcut to Elements on your desktop, you can
| | 00:12 | click that to launch the program.
| | 00:14 | The first screen you'll see when
you launch Elements is this one.
| | 00:17 | It's called the Welcome Screen and this
is how it will look the very first time
| | 00:20 | that you launch the program.
| | 00:22 | Subsequent times the area on the right
may be slightly different, offering some
| | 00:26 | information about what you can do in Elements.
| | 00:29 | Right now here on the right side,
Adobe is suggesting that you create a
| | 00:33 | username and a password, an Adobe ID,
that will allow you not only to register
| | 00:38 | the software, but it will also enable
backup and online sharing services at
| | 00:43 | Adobe's online service Photoshop.com,
which I'll be explaining in more detail
| | 00:47 | later in the course.
| | 00:48 | So if you don't have an Adobe ID and
you want to extend the capabilities of
| | 00:52 | Elements by using Adobe's online
services, you can click Create Adobe ID from here,
| | 00:58 | but you don't have to do that yet.
| | 00:59 | If you prefer to wait, you can create
your ID from within the program, as I'll
| | 01:03 | show you how to do later in the course.
| | 01:05 | If you already have an Adobe ID, you can
sign in with that ID right down here to
| | 01:10 | access the online services.
| | 01:12 | The most important part of the
Welcome Screen is over here, these two buttons,
| | 01:15 | Organize and Edit.
| | 01:17 | These will take you to the two major
workspaces in Elements, the Organizer in
| | 01:22 | which you can organize and manage your
photos, and the Editor, where you can
| | 01:26 | edit and enhance your photos.
| | 01:27 | Often I'll start in the Organizer, where I
can find just the files that I'm looking for.
| | 01:32 | So if I click the Organize button,
that launches Elements Organizer workspace,
| | 01:37 | which you see here and which I'll be
showing you in great detail in the movies to come.
| | 01:41 | From here you can organize your
photos so they are easier to find later.
| | 01:44 | You can do some simple photo edits on
them and you can create photo projects
| | 01:48 | like slideshows or books, and finally
you can share your photos with family and
| | 01:52 | friends from right here in the Organizer.
| | 01:55 | If you want to go back to the Welcome
Screen from the Organizer, you can do so
| | 01:59 | by clicking this little house
icon and I'm going to do that now.
| | 02:03 | Back here in the Welcome Screen, I
can also access the Editor workspace by
| | 02:06 | clicking the Edit button.
| | 02:08 | This is the Editor
workspace set to its Full Edit Mode.
| | 02:12 | Here in the Editor you can edit and
enhance your images, you can make photo
| | 02:15 | creations, and you can share
them with family and friends.
| | 02:19 | If you want to go back to the
Organizer you can click this button, or if you
| | 02:23 | want to go back to the Welcome Screen
you can click this little house icon at
| | 02:26 | the top right of the Editor as I'm doing now.
| | 02:30 | The last thing I'll show you about the
Welcome Screen is that there's a little
| | 02:33 | icon right here that looks like a menu
and if you click there you can choose
| | 02:37 | which screens will appear
when you launch Elements.
| | 02:40 | By default, you'll see just the Welcome
Screen as I did at the beginning of this movie.
| | 02:44 | But if you want you can choose to
always launch the Organizer behind the
| | 02:48 | Welcome Screen and that's not a bad
idea, because then the Organizer is
| | 02:51 | immediately available to you, or you
can choose to always launch the Editor
| | 02:55 | behind the Welcome Screen.
| | 02:56 | I am going to leave this
at its default and click OK.
| | 03:00 | And finally I'll show you how to close
the Welcome Screen which is from this X
| | 03:03 | right here, and remember I can always
reopen the Welcome Screen at anytime from
| | 03:08 | the house icon, in either
the Editor or the Organizer.
| | Collapse this transcript |
| Touring Elements| 00:00 |
Elements is packed with features to help
amateur photographers at every stage of
| | 00:04 |
digital photo processing, from
photo organizing to editing to output.
| | 00:09 |
If you're someone who loves to take
snapshots of family, friends, scenery or
| | 00:15 |
if photography is your hobby but you
don't make your living from it, then
| | 00:18 |
Elements is made for you.
| | 00:20 |
In this movie I'll give you a quick
tour of Elements, suggesting some of the
| | 00:23 |
things that you can do in the
program and where to go to do them.
| | 00:26 |
If you haven't launched Elements go
ahead and do so, and as you learned in the
| | 00:29 |
last movie, the first screen
you'll see is this Welcome Screen.
| | 00:33 |
I'm going to click on the Organize
button, which will take me to the Organizer,
| | 00:38 |
which is often the first place to
go in a photographer's workflow.
| | 00:41 |
On the left side of the Organizer is a
list of the folders or directories on
| | 00:45 |
your computer that you can use to
navigate to particular photos and files.
| | 00:50 |
Here in the center of the Organizer
you see thumbnail versions of photos that
| | 00:54 |
you've brought into the Organizer, and
over on the right is this column called
| | 00:57 |
the Task Pane, which has four tabs at the top.
| | 01:01 |
The Organize tab is where you'll often start.
| | 01:04 |
It's the place to organize your photos,
so that they're easier to find later.
| | 01:08 |
The Fix tab gives you access to some
automatic photo fixes right here in the
| | 01:13 |
Organizer and if you click the arrow
to the right of the Fix tab, you have
| | 01:16 |
access to three different editing
workspaces in the other major part of
| | 01:20 |
Elements called the Editor.
| | 01:22 |
There is the Full Edit workspace, the
Quick Photo Edit workspace, and the Guided
| | 01:27 |
Photo Edit workspace, all of which
I'll be covering in detail in this course.
| | 01:32 |
The next tab is where you'll go after
you've fixed your photos and you're ready
| | 01:36 |
to use them in a photo creation, like a
Photo Book that you can print on your own
| | 01:40 |
computer or which you can have
professionally printed, Photo Calendar,
| | 01:44 |
Greeting Card, Photo Prints, Collages,
Slide Show and there are even more options here,
| | 01:51 |
for making stamps and
CDs and DVD jackets and more.
| | 01:57 |
The Share tab in the Organizer is where
you'll go to share your photos and the
| | 02:01 |
photo projects that you created, either
online, by e-mail, on a CD or DVD, as a
| | 02:07 |
PDF slideshow, or online on
these various third-party galleries.
| | 02:13 |
Now let's take a quick tour of the
other major part of Elements, the Editor.
| | 02:17 |
To get there I'm going to click the
arrow to the right of the Fix tab and
| | 02:20 |
I'm going to select the Full Photo
Edit to open the Full Edit workspace.
| | 02:24 |
This workspace gives you complete control
over all aspects of editing your photos.
| | 02:28 |
It's very similar to the full-fledged
Adobe Photoshop and that brings up a
| | 02:32 |
question I often hear.
| | 02:34 |
Should I be using Photoshop
or should I be using Elements?
| | 02:37 |
My short answer is that if you are
a professional photographer, or
| | 02:40 |
a professional designer, or perhaps a
fine artist who needs to make high-end
| | 02:44 |
prints, then yes, you should be using Photoshop.
| | 02:47 |
Otherwise I think you are really going
to like Photoshop Elements and you'll be
| | 02:51 |
amazed at how similar the
feature sets of the two programs are.
| | 02:55 |
Now that's not to say they're exactly the same.
| | 02:57 |
There are a number of features in
Photoshop for more advanced users that you
| | 03:01 |
won't find in Elements, and those
include things like advanced color
| | 03:05 |
management, the Channels panel, the
Pen tool, the Paths panel, CMYK and LAB color,
| | 03:12 |
direct layer masking, layer
comps, vanishing point, text on paths,
| | 03:19 |
webpage slicing, and more.
| | 03:22 |
But most nonprofessional features are
right here in Elements, particularly here
| | 03:27 |
in the Full Edit workspace.
| | 03:29 |
Elements is much less expensive than
Photoshop and Elements is designed to be
| | 03:33 |
simpler to learn and to use.
| | 03:35 |
For example there are two other editing
workspaces that are made to be simpler
| | 03:40 |
and those are accessed from this
arrow here next to the Edit Full tab.
| | 03:44 |
I am going to select Edit Quick,
where there are a number of easy-to-use
| | 03:49 |
controls for editing your photos, and
there is also the Guided Edit workspace,
| | 03:53 |
where you'll find explicit
instructions about how to perform particular
| | 03:58 |
techniques like cropping.
| | 04:00 |
Now from here in the Editor, I can
either go back to the Welcome Screen here or
| | 04:05 |
if I need to go back to the Organizer
to find other photos to work on, I'll click
| | 04:08 |
the Organizer button and that takes
me right back to Elements Organizer.
| | 04:13 |
So that's a quick tour of the
Organizer and the Editor, both of which I'll be
| | 04:17 |
covering in much more detail in other movies.
| | 04:20 |
| | Collapse this transcript |
|
|
1. Bringing In PhotosWorking with catalogs| 00:00 | The Organizer keeps track of
information about your photos in order to help you
| | 00:04 | organize your photo
collection and find specific photos.
| | 00:08 | That information is contained
in databases called catalogs.
| | 00:13 | You can have more than one
catalog in your Organizer.
| | 00:16 | In this movie I'll show you how to
create a new catalog and suggest when you
| | 00:20 | might want to do that.
| | 00:21 | This movie is particularly important
for you if you're using the Exercise Files
| | 00:25 | that come with this course, because I'm
going to walk you through creating a new
| | 00:29 | catalog to keep track of just the
course exercise files, so that they don't get
| | 00:34 | mixed in with your personal photos.
| | 00:36 | I'm working here in the Organizer,
which I opened from the Welcome Screen.
| | 00:40 | If you look at the bottom left of the
screen, you'll see that it says My Catalog.
| | 00:45 | That's the name of the default catalog
that Elements creates automatically for you.
| | 00:50 | I recommend that normally you store
all of your photographs in this single
| | 00:54 | catalog and not bother making other catalogs.
| | 00:58 | The reason for that is that when you
ask Elements to find a particular photo or
| | 01:02 | to run its People Recognition functions,
which I'll teach you about later in
| | 01:05 | this course, it can do those
things only in one catalog at a time.
| | 01:10 | So it makes sense to store all of
your photographs in a single catalog.
| | 01:13 | Having said that, there are a
couple of exceptions to that rule.
| | 01:17 | For example let's say that you're a
wedding photographer and you're shooting
| | 01:20 | for different clients.
| | 01:22 | That's one situation in which you might want
to have a new separate catalog for each client.
| | 01:27 | Another time when you might want to
make a new catalog is when you're working
| | 01:31 | with special files like the
exercise files for this course.
| | 01:35 | So I'm going to show you how to make
a new separate catalog to store these
| | 01:39 | exercise files, so they don't get
mixed up with your own personal files in
| | 01:43 | the default My Catalog.
| | 01:45 | Just to illustrate that point, I have a
few of my personal files here in my catalog.
| | 01:50 | You don't have these in the exercise files.
| | 01:52 | They are just here so that I
could make that point to you.
| | 01:55 | Now I'm going to make a new
catalog for the exercise files.
| | 01:59 | To do that I'm going to go up to the
File menu at the very top of the screen,
| | 02:03 | and from there I'm gong to choose Catalog.
| | 02:05 | That opens the Catalog Manager.
| | 02:08 | In the Catalog Manager you can remove,
rename and do other things to your catalogs.
| | 02:14 | What I want to do is create a new catalog.
| | 02:16 | So I'm going to click the New button
right here on the right of the Catalog
| | 02:19 | Manager, and that opens this box, where
I can enter a name for my new catalog.
| | 02:24 | I'm going to call this PSE8 Ex Files for
our Photoshop Elements 8 Exercise Files.
| | 02:32 | I'm going to leave the Import free
music into this catalog command checked, so
| | 02:37 | that Elements imports into this
particular catalog some music files that come
| | 02:42 | with the program, so that later if I
were making a slideshow using photographs
| | 02:46 | in this catalog, I could use
that music in the slideshow.
| | 02:50 | I am going to click OK and that closes the
Catalog Manager and creates a brand new catalog.
| | 02:56 | The new catalog is labeled down here at
the bottom left. This is the new PSE 8
| | 03:01 | Ex Files catalog and notice that is
yet there aren't any photos in this
| | 03:05 | catalog, but don't worry, because in
the very next movies I'm going to show you
| | 03:10 | how you can bring files into this
catalog from the Exercise Files folder.
| | Collapse this transcript |
| Getting photos from your hard drive| 00:00 |
The first step in using the Organizer
is to bring your photos and other media
| | 00:04 |
files into an Organizer catalog.
| | 00:06 |
In this movie, I'll show you how to do
that when you're working with files that
| | 00:10 |
are on your hard drive, or
even on an external hard drive.
| | 00:13 |
Specifically, we'll be bringing in the
exercise files for this course into the
| | 00:17 |
new catalog that I showed you how to
create in the last movie, the catalog
| | 00:21 |
called PSE8 Ex Files, as you can see
down here at the bottom-left of my screen.
| | 00:27 |
If that isn't the catalog that you see
there, then open the Catalog Manager as I
| | 00:31 |
showed you how to do earlier, and
select the PSE8 Ex Files catalog.
| | 00:36 |
Another thing to do before we get
started importing the exercise files is to
| | 00:40 |
make sure that your
exercise files are on your Desktop.
| | 00:43 |
If they're not, move them there or
copy then them there from a DVD if
| | 00:47 |
you're using a DVD.
| | 00:48 |
I'm going to go to the top of the
Organizer, up to the File menu to Get
| | 00:53 |
Photos and Videos, and then over to From
Files and Folders, and then I'll release my mouse.
| | 00:59 |
That opens this dialog box where I'm
going to navigate to my desktop and then
| | 01:04 |
I'm going to select the exercise files folder.
| | 01:06 |
I'm going to leave all of
the settings at their defaults.
| | 01:09 |
In other words, all of this as unchecked,
except for Get Photos from Subfolders,
| | 01:14 |
which I'll leave checked in order to
bring in all the files from the subfolders
| | 01:18 |
in the exercise files folder.
| | 01:19 |
And then, I'm going to click Get Media.
| | 01:22 |
I can see Elements bringing in all
the files from my exercise files folder.
| | 01:26 |
When it's done, it shows me this
message that says that the only items I'm
| | 01:30 |
currently looking at in the
Organizer are those that I've just imported.
| | 01:34 |
What that means is that if there were
other files that I had imported earlier
| | 01:38 |
into this catalog, they wouldn't be visible now.
| | 01:41 |
But there aren't any such files,
so I'm just going to click OK here.
| | 01:45 |
Now, I can see small thumbnails of each
file in my exercise files folder here
| | 01:50 |
in the Organizer's Photo Browser.
| | 01:53 |
If I go to the scrollbar on the
right and drag, I can see that there are
| | 01:56 |
many more files here.
| | 01:58 |
I'll scroll back up to the top.
| | 01:59 |
Now one thing I want to stress is
that it's important to understand that
| | 02:03 |
Elements did not just move files
from one location to another. Instead it
| | 02:08 |
left the files where they were, but it did
take note of where all these files are located.
| | 02:14 |
It made a small thumbnail copy of
each image, which you see here, and
| | 02:18 |
importantly, it kept track of other
information or metadata about the files.
| | 02:22 |
We'll be using these
files throughout this course.
| | 02:25 |
In the next movie, I'm going to show you
another way to arrange them here in the
| | 02:28 |
Photo Browser for use in the course.
| | 02:30 |
So please do listen to that movie.
| | 02:33 |
Keep in mind that the method of
importing that I've shown you in this movie is
| | 02:37 |
useful not just for the exercise files
for this course, but for any photos and
| | 02:41 |
other recognized media files that you
have on your hard drive and that you want
| | 02:45 |
to get into a catalog in Elements Organizer.
| | 02:48 |
| | Collapse this transcript |
| Changing thumbnail display options| 00:00 | When you bring photos or other
media files into an Organizer catalog,
| | 00:04 | Elements makes thumbnail-sized low-
resolution previews of each file, and
| | 00:09 | it displays those previews here in this area of
the Organizer, which is called the Photo Browser.
| | 00:14 | By default, those previews are
displayed as you see them here, with the
| | 00:18 | thumbnail size preview and beneath
it the date on which it was created.
| | 00:22 | The thumbnails are organized from left
to right, from the most recent to files
| | 00:27 | that were created earlier, as you
move to the right and as you scroll down.
| | 00:31 | To see more files in this catalog,
I can go to the scrollbar on the right side
| | 00:35 | of the Photo Browser and I can drag down.
| | 00:38 | As I do, I'm accessing the thumbnails
for images that were created earlier.
| | 00:42 | This Thumbnail View is great when
you're looking through your personal files,
| | 00:46 | but if you're trying to access
particular images for use in the exercises in
| | 00:51 | this course, you can imagine that
scrolling up and down to find each individual
| | 00:55 | exercise file could get to be a real pain.
| | 00:57 | So I suggest that you change the way
that the thumbnails are displayed in the
| | 01:01 | Photo Browser at least
for purposes of this course.
| | 01:04 | The place I'm going to go to make that
change is up at the top of the screen,
| | 01:08 | here where it says Display.
| | 01:10 | I'm going to click the Display menu
and the first three choices there are
| | 01:14 | different ways that I can display
the thumbnails in the Photo Browser.
| | 01:17 | By default, there is a checkmark next
to the first one, the Thumbnail View, and
| | 01:21 | that's the view that we're looking at now.
| | 01:23 | The Import Batch View would rearrange
the thumbnails, so that the most recently
| | 01:27 | imported were at the top of the Photo Browser.
| | 01:29 | But that's not really going to help for
purposes of finding exercise files for this course.
| | 01:34 | The view that will be most useful here
is the Folder Location View and so I'm
| | 01:39 | going to move to Folder
Location and click on that choice.
| | 01:42 | That changes the way that the thumbnails
are displayed over here in the Photo Browser.
| | 01:47 | First of all the Photo Browser
is now divided into sections.
| | 01:50 | Each section represents the files that
are intended to be used in a particular
| | 01:55 | movie in this course.
| | 01:57 | Above each section is a label that
identifies the path to the particular files.
| | 02:03 | So let's say that I'm interested in finding
the files for the third movie in Chapter 2.
| | 02:08 | Those are located here in this section and
you can see the path to that section here.
| | 02:13 | The files are located in a subfolder
called 02_03, which means Chapter 2, Movie 3.
| | 02:20 | That subfolder is inside of another
folder called chapter02 and the chapter02
| | 02:24 | folder is inside the Exercise Files folder.
| | 02:27 | I've placed my Exercise Files folder,
as I suggest you do, on my Desktop,
| | 02:31 | which you see here.
| | 02:32 | So how do you move from section to
section in the Photo Browser, when you're
| | 02:36 | looking for the files for a particular exercise?
| | 02:39 | You could go to the scrollbar on the
right of the Photo Browser and drag down.
| | 02:44 | But there is a more direct way and
that is to use this hierarchical list of
| | 02:48 | files in the column on the left
side of the Folder Location View.
| | 02:52 | This works just like Windows Explorer.
| | 02:55 | So my username on this computer is tdm.
| | 02:58 | I'm going to look inside the tdm user
directory or user folder by clicking the
| | 03:03 | Plus symbol to the left of the tdm folder icon.
| | 03:06 | Now I can see the hierarchy of
folders in the tdm user folder.
| | 03:10 | Of course, your user folder
will have a different name.
| | 03:13 | I'm looking for files on my desktop, so
I'll move down to the Desktop folder or
| | 03:17 | directory and click the Plus
symbol to the left of that icon.
| | 03:21 | Then I'll see my Exercise Files folder
on the desktop, I'll click the Plus icon
| | 03:25 | to the left of Exercise Files, and I
can see a separate folder for each chapter
| | 03:29 | inside the Exercise Files folder.
| | 03:32 | Let's say that I'm looking for the
exercise files for the first movie in Chapter 7.
| | 03:36 | I'll go down to the chapter07
folder and click the Plus symbol there.
| | 03:40 | And then I see three subfolders,
one for each movie in Chapter 7.
| | 03:45 | If one of those subfolders has an icon
like this that has a little frame of the
| | 03:48 | flower inside it, that means there are
exercise files inside of that subfolder.
| | 03:53 | To see them, all I have to do is
click on the icon for that subfolder.
| | 03:58 | That takes the Photo Browser in
this area directly to the section for
| | 04:01 | that particular movie.
| | 04:03 | So that's how I suggest that you
access the exercise files as you work
| | 04:06 | through this course.
| | 04:08 | For most of the course, keep the
Photo Browser in the Folder Location View,
| | 04:12 | which you access from the Display
menu up here at the top of the Organizer.
| | 04:16 | Now I'm not suggesting that you use
Folder Location View all the time.
| | 04:21 | When you're working with your own
personal photos, there's no reason not to set
| | 04:25 | it back to Thumbnail View, but for
purposes of this course, I think it will be
| | 04:29 | easier for you to find and open the files that
you need if you're working in the Folder Location View.
| | Collapse this transcript |
| Getting photos from a camera or card| 00:00 | You can use Photoshop Elements rather
than your camera manufacturer's software
| | 00:05 | to get your digital photos out of
your camera and into your computer.
| | 00:09 | If you use Elements to do that, at the
same time Elements will index or keep
| | 00:13 | track of your photos in an Organizer catalog.
| | 00:16 | There are two ways to
import photos from a camera.
| | 00:19 | You can do it directly from the camera
into the computer, or you could use an
| | 00:23 | inexpensive USB photo memory card reader.
| | 00:27 | I preferred using the memory
card reader and here's why.
| | 00:30 | If you download directly from the camera,
there is always a slight chance that
| | 00:34 | you might damage the photo originals,
should your camera battery happen to die
| | 00:38 | in the middle of transferring
from the camera to the computer.
| | 00:41 | If you do want to import from a camera
to your computer in Elements Organizer go
| | 00:46 | to the File menu, choose Get Photos And
Videos, and then choose From Camera Or
| | 00:51 | Card Reader, and then you can
pickup along with this lesson.
| | 00:55 | But I'm not going to do it that way.
| | 00:57 | I'm going to move out of this menu and
instead I have taken the photo memory
| | 01:02 | card out of my camera and
put it into a USB card reader.
| | 01:06 | Now I'm going to plug that USB card
reader into a USB Port on my computer.
| | 01:11 | When Windows recognizes my USB card reader.
| | 01:14 | It opens this Windows dialog box, the
Autoplay dialog box, asking me to choose
| | 01:19 | what to do with these pictures.
| | 01:21 | By the way if I didn't have Windows
Autoplay Setup on my computer, this dialog
| | 01:25 | box wouldn't pop up.
| | 01:27 | In that case I could go to the file
menu at the top of the Elements Organizer
| | 01:31 | and choose Get Photos and Videos from
Camera or Card Reader, but since the
| | 01:36 | Autoplay dialog did pop-up, as it
probably will on your computer, I'm going to
| | 01:40 | choose Organize and Edit >
Using Adobe Elements Organizer 8.0.
| | 01:44 | I'll click that choice.
| | 01:47 | That opens the Photo Downloader
that's part of Elements Organizer.
| | 01:51 | The Photo Downloader comes in two flavors.
| | 01:53 | This is the basic dialog box.
| | 01:56 | There's also a more advanced dialog, which
you can access from this button down here.
| | 02:00 | I'll show you that in a moment, but
first let's walk through the fields here in
| | 02:05 | the basic Photo Downloader.
| | 02:06 | The Get Photos from the field right
here identifies the source of the photos.
| | 02:11 | The Photo Downloader recognizes that
I have a card reader plugged in, so it
| | 02:15 | automatically names the drive and
my card reader as the source of the
| | 02:20 | photos that I'm importing.
| | 02:22 | In the Location field here, I can
choose where I want the Downloader to put the
| | 02:26 | photos that it's taking off my card reader.
| | 02:29 | I'm going to leave that set to its
default, which are a couple of subfolders
| | 02:32 | inside my Windows Pictures folder.
| | 02:34 | But I could create my own destination
subfolders wherever I want them on the
| | 02:39 | computer by clicking the Browse button and
navigating to a different part of the computer.
| | 02:44 | I could also name my own destination
subfolders in the Create Subfolders field.
| | 02:49 | I could leave that set to the default,
which is the date that the pictures were shot,
| | 02:53 | labeled by year, and
then month, and then day.
| | 02:56 | That information comes from the
metadata that most digital cameras
| | 03:00 | automatically add to photo files.
| | 03:03 | Alternatively, I could click the Arrow
to the right of this menu and I could
| | 03:07 | choose to name the subfolders where the
pictures are stored with today's date,
| | 03:12 | or with a different variation on
the shot date, or I could give those
| | 03:16 | subfolders custom names.
| | 03:18 | I'm going to choose Custom Name here,
and then I'm going to enter a subject
| | 03:21 | matter name since these
photos are pictures of an old car.
| | 03:26 | I'll just type Car here.
| | 03:28 | In the next field, I can choose whether or not
to rename the photo files, as I bring them in.
| | 03:33 | I prefer not to rename my files when I
import them from a camera or from a card reader.
| | 03:38 | The reason is that if I did rename the
files as I brought them in and then I
| | 03:42 | forgot that I had already imported them
from that particular card, and I try to
| | 03:47 | import them again, I would run the risk of
getting two copies of the files on my computer.
| | 03:52 | But if I leave the names of the
photos that I'm importing as they are on my
| | 03:56 | photo memory card then Elements won't
mistakenly download a second copy of my files.
| | 04:01 | Now, if you decide to change the file
names when you import some photos,
| | 04:05 | I suggest that you also keep this box
checked, Preserve Current File Name in XMP.
| | 04:12 | That will cause Elements to remember
under-the-hood the original filenames of
| | 04:16 | your photos, as they were when they
came out of your camera or card reader.
| | 04:20 | So, in this example if I did rename my
files, Elements would still remember that
| | 04:25 | the name of this
particular photo is DSC0129.jpg.
| | 04:30 | The next field asks whether I want to
delete the original photos from the photo
| | 04:35 | memory card or the camera after
they are copied into my computer.
| | 04:39 | I always leave this set to its
default, which is what you see here.
| | 04:44 | After copying, do not delete originals.
| | 04:46 | It would be really ashamed to delete the
originals before I was absolutely sure
| | 04:50 | that all the photos were
safely inside my computer.
| | 04:54 | I prefer to get the import done and
then put the card back into my camera and
| | 04:59 | use the camera's menus to delete the
photos from the memory card, after I'm sure
| | 05:04 | that I have the photos safely in my computer.
| | 05:06 | I also never check
Automatic Download right here.
| | 05:10 | That would start the Elements Photo
Downloader bringing in photos automatically
| | 05:15 | without asking me to fill out
all the fields I just showed you.
| | 05:18 | And I like to do things manually, just
in case I want to make a different choice.
| | 05:22 | Now at this point, I normally would
click the Get Photos button, but don't do
| | 05:26 | that yet, because I want to show you
what's available here in the Advanced
| | 05:29 | dialog box, in case you
choose to use that option.
| | 05:33 | So, I'll click the Advanced dialog box.
| | 05:35 | You can see that there are a lot more
options here in the advanced version of
| | 05:39 | the Photo Downloader.
| | 05:41 | I don't use most of these options, but
there's one in particular that I really like,
| | 05:44 | and that may cause you to want to
use the advanced version of this dialog box,
| | 05:49 | rather than the basic version,
once you get used to the Photo Downloader.
| | 05:53 | That feature is that the Advanced dialog
box displays a thumbnail of each of the
| | 05:58 | photos on the card, so that I can
decide whether I want to import that
| | 06:02 | particular photo or not.
| | 06:04 | I'll start by going to the bottom of
the dialog box and clicking Uncheck All,
| | 06:08 | because each of the photos currently
has a little checkmark on it, meaning that
| | 06:13 | it will be imported by default.
| | 06:15 | So I'm going to uncheck all of the
photos and then I'll come in and put a
| | 06:19 | checkmark on just the
photos that I want to import.
| | 06:22 | So, let's say I want this one and
this one, and this one, and this one, and
| | 06:28 | then I can scroll down and I'll put a
checkmark next to some others as well.
| | 06:34 | What this allows me to do is leave
any duds behind, but I want to be really
| | 06:41 | careful if I do that, because any
photos that I don't import will not be
| | 06:45 | included in Elements Organizer, and
if I erase or reformat the card in my
| | 06:50 | camera, as I'm going to tell you to do
at the end of this process, I'll lose
| | 06:53 | those unchecked photos forever.
| | 06:55 | So, I'm going to scroll back up to the
top so that you can see can see that I do
| | 06:59 | have some photos that are unchecked.
| | 07:01 | Another useful feature in the Advanced
version of the Photo Downloader that you
| | 07:05 | don't get in the basic version is
this feature over here, Apply Metadata.
| | 07:10 | Metadata means information about the
photos, like the date on which the photos
| | 07:14 | were taken, and the Camera Settings used.
| | 07:17 | In this area of the Advanced dialog of
the Photo Downloader, I can add metadata
| | 07:22 | so that in addition to the basic
metadata, I could add copyright information.
| | 07:26 | So, I could come down into this
Copyright field, click there and I might type my name,
| | 07:31 | and the year in which I took these photos.
| | 07:34 | This Copyright information won't be
visible on the face of the photos after they
| | 07:38 | are imported, but it will be carried
along with the photo files, as I move them
| | 07:43 | from my card reader to my computer.
| | 07:45 | So, that's all I'm going
to do to set up his import.
| | 07:48 | Now I'm going to click to Get Photos
button here at the bottom of the dialog box.
| | 07:53 | Here in the progress bar, I can
watch as Elements imports the photos into
| | 07:57 | the Organizer catalog.
| | 07:59 | When it's done, I get this message
telling me that although the photos have
| | 08:03 | been copied from my card reader into my
computer, they haven't yet been indexed
| | 08:08 | in Elements Organizer catalog.
| | 08:10 | So, it's important at
this point that I click Yes.
| | 08:15 | That caused Elements to index or keep
track of information about the photos
| | 08:20 | in this Organizer catalog and when
it's done doing that, I get a message
| | 08:24 | telling me that right now the only
files that I can see here are those that
| | 08:28 | I've just imported.
| | 08:30 | All that means is that I can't see
any other photos that I have already
| | 08:33 | brought into Elements.
| | 08:35 | In this case the other files
in the Exercise Files folder.
| | 08:38 | I will get the same message every time that
I bring files into Elements from any source.
| | 08:43 | I don't mind seeing this as a reminder,
so I'm going to let it come up every time,
| | 08:47 | but if you are used to using
Elements and this message is starting to
| | 08:51 | bug you, you can always click Don't Show
Again to avoid getting this message in the future.
| | 08:56 | I'm going to just click OK.
| | 08:58 | Now I can see here in the Organizer a
Thumbnail Preview of each of the photos
| | 09:03 | that I just imported from my card reader.
Not only has Elements helped me bring
| | 09:07 | those files into my computer, but
it also has indexed or kept track of
| | 09:11 | information about each
photo in this Elements catalog.
| | 09:15 | Now, if I wanted to see the rest of the
photos that are in this catalog, I could
| | 09:19 | go to the Show All button here at the
top of the screen, and click and after a
| | 09:24 | moment Elements shows me all of the
other files that I have in this catalog.
| | 09:28 | Now that I know, my imported photos
are safely in my computer, I can put the
| | 09:33 | photo memory card back in my camera
and use the camera's controls to erase or
| | 09:38 | reformat the card, so it's all
ready for me to take more photos.
| | Collapse this transcript |
| Getting photos from a CD/DVD or an external drive| 00:00 | As your collection of digital photos,
videos and audio grows, you'll find that
| | 00:04 | you just can't keep all those files on
your computer, because you are going to
| | 00:07 | run out of room on your hard drive.
| | 00:09 | The solution might be to store or
archive your photos and other media files on
| | 00:14 | DVDs or external hard drives, so
that you can free up some space on your
| | 00:18 | computer, but then the difficulty is
finding a particular photo or other file
| | 00:23 | among a tall pile of DVDs or a
growing collection of external hard drives.
| | 00:27 | Elements Organizer can solve that
problem for you by keeping track of your
| | 00:32 | offline media as well as
files that are on your computer.
| | 00:36 | I've inserted a DVD of
photos to show you how that works.
| | 00:40 | Inserting that DVD causes
Windows Autoplay dialog box to pop-up.
| | 00:45 | Windows recognizes that I have Elements
Organizer open, because here among the
| | 00:50 | options for what to do with the photos
on this DVD, Windows offers that I can
| | 00:55 | organize and edit the photos
using Adobe Elements Organizer 8.0.
| | 00:59 | So that would be one way to go.
I could click this option, but I'm not going to,
| | 01:03 | because I want to show you an
alternative that you can use to work with
| | 01:07 | offline media in Elements, whether those
files are on a DVD or on an external hard drive.
| | 01:13 | So I'm going to close the Autoplay
dialog box by clicking this red X and
| | 01:18 | instead I'm going to go over to the
File menu at the top of Elements Organizer,
| | 01:23 | and I'm going to choose from there Get
Photos And Videos from files and folders.
| | 01:29 | In this Get Photos And Videos from
Files And Folders window, I'm going to
| | 01:33 | navigate to my computer and then I'm
going to double-click on my DVD drive,
| | 01:38 | so that I can see the contents of that drive.
| | 01:41 | I have five photos on this DVD.
| | 01:43 | From here, I can select those
that I'd like to index in Elements.
| | 01:47 | I'll choose a few of those, I'll click
on one, and then I'll hold down the Ctrl key,
| | 01:51 | and click on a couple
of others to select all three.
| | 01:55 | Notice that there are a couple that I
haven't selected. Those are just photos
| | 01:58 | that I don't really care for, and so I
don't want to index those in Elements.
| | 02:02 | Next I'm going to go down to
the command, Copy Files on Import.
| | 02:05 | I want to uncheck that command, because
the whole point is that I want to leave
| | 02:10 | the full resolution photos on the DVD
rather than have this on my computer,
| | 02:14 | so that I'm freeing up space on my computer.
| | 02:16 | But I do want to leave Generate
Previews checked, because that will cause
| | 02:20 | Elements Organizer to display a low-
resolution thumbnail or preview of each of
| | 02:26 | the selected photos that
are on the external DVD.
| | 02:29 | I am going to leave everything else at
its defaults, and go over to Get Media
| | 02:33 | button, and click to index the
selected files in my Organizer catalog.
| | 02:38 | When Elements has finished doing that,
I see this message that the only items in
| | 02:42 | the main window, meaning this window
here, are those that I just imported,
| | 02:46 | rather than all of the photos that are in my catalog.
| | 02:49 | I'm going to click OK, and I can see
thumbnails of those three images right here
| | 02:55 | in Elements Organizer.
| | 02:56 | Remember these aren't the photos themselves;
| | 02:58 | they are just small previews of
the photos that are on the DVD.
| | 03:02 | Now, I'm going to eject the DVD, and
notice that when the DVD is not in the
| | 03:07 | computer, there is a little symbol
at the top-left of each one of these
| | 03:11 | thumbnail previews, indicating that
this is a preview of an offline file.
| | 03:17 | Now, let's say that a little bit of
time passes and I decide that I'd like to
| | 03:20 | open one of these files into Elements Editor,
so that I can work on it here on my computer.
| | 03:26 | One way to open a file from the preview
in the Organizer into the Editor is to
| | 03:31 | right-click the file and
choose Edit With Photoshop Elements.
| | 03:35 | When I do that, I immediately see this
message telling me that this particular
| | 03:40 | file is located on a removable volume,
by that means the DVD that's not in the
| | 03:45 | computer, but the really great part is
that Elements remembers the name of that
| | 03:50 | DVD, and it shows it here
in the Volume List column.
| | 03:54 | I had named that DVD JFK photos,
when I burned and created the DVD.
| | 03:59 | So if I've labeled my DVDs properly in
my physical collection of DVDs, I'll be
| | 04:04 | to go find that DVD and put it into my computer.
| | 04:07 | And I'm going to do that now.
| | 04:09 | That invokes the Autoplay dialog box
again and I'm going to close the dialog box
| | 04:13 | by clicking the red X. Then I'm
going to click OK here in this dialog and
| | 04:19 | Elements loads or launches the
Editor part of the program with the full
| | 04:23 | resolution version of the
image that's on the DVD.
| | 04:27 | I can edit it here and then I can
save it with my edits to my hard drive.
| | 04:31 | So, the thing to remember is that
Elements can remember your files, whether
| | 04:35 | they live on your hard drive or whether they're
on external media like a DVD or an external drive.
| | 04:41 | What a convenient way to keep track of
and quickly find your offline photos!
| | Collapse this transcript |
| Getting photos from a scanner| 00:00 | Even if you're now shooting with a
digital camera, you probably have lots of
| | 00:04 | print photos from your pre-digital days.
| | 00:06 | You can preserve those photos digitally
by scanning them into your computer via
| | 00:11 | Elements, and having Elements index them.
| | 00:13 | To do that, you have to attach your
scanner to your computer and then of course
| | 00:17 | turn it on, and you'll have to
download and install from the scanner
| | 00:21 | manufacturer's website
the latest scanner driver.
| | 00:25 | Once that's done, go to the File menu in the
Organizer, choose Get Photos And Videos from Scanner.
| | 00:32 | In the Get Photos from Scanner dialog
box that opens, go to the Scanner field,
| | 00:36 | and click that menu to see a list of
all of the drivers that you can use with
| | 00:40 | your particular scanner.
| | 00:42 | If you have a choice that says TWAIN
like this, that's the better choice,
| | 00:47 | because a TWAIN driver usually offers more
options that will help you to get a good scan.
| | 00:52 | Here you can browse to the location
where you want to save the scan, or you can
| | 00:56 | just accept the default
location as I'm going to do.
| | 00:59 | Here you can choose the File
Format in which you're going to save
| | 01:03 | the scanned photograph.
| | 01:04 | A common format for photographs is JPEG.
| | 01:07 | So, I'm going to leave Save As set to
JPEG, then I'll move to the Quality slider.
| | 01:12 | The higher the quality, the better
that your JPEG is going to look, but
| | 01:15 | the bigger it's file size will be.
| | 01:17 | So, I usually compromise, and put it
somewhere in the neighborhood of the quality of 10.
| | 01:21 | I am going to skip the Automatically
Fix Red Eyes command, because I prefer to
| | 01:26 | do tasks like this in Elements where I
can control it, rather than allow the
| | 01:30 | scanner software to fix redeye or
make other corrections to my photo.
| | 01:34 | I'll click OK and that will open
the manufacturer's scanner interface.
| | 01:39 | And this will look different
depending what kind of scanner you have.
| | 01:43 | My EPSON TWAIN interface automatically
did a preview scan of the photo that I
| | 01:48 | have on the scanner bed.
| | 01:49 | If that doesn't happen in your
scanner software then look for a button that
| | 01:52 | allows you to do a preview scan.
| | 01:54 | Next, I'm going to tell the scanner which
portion of the scanner bed I want it to scan.
| | 01:59 | In this software there is a Preview
button right here and all I have to do
| | 02:04 | is check that and the scanner attempts to
see where that photo is on the scanner bed.
| | 02:08 | If it doesn't get it right, as it
didn't here, I can move my mouse over one of
| | 02:13 | the corners of this dotted outline and
drag to manually indicate just the area
| | 02:20 | that I want to scan around this photo.
| | 02:22 | There are lots of settings here on the
left and your settings may be slightly
| | 02:26 | different in your scanner software, but
in most scanner software, you can adjust
| | 02:30 | the size and the resolution of the scan.
| | 02:32 | Those are the most important fields.
| | 02:34 | In this software, the size of the
source photo is displayed here in inches and
| | 02:39 | the size of the target photo, the one
that you are scanning, is displayed here.
| | 02:43 | I suggest that you scan to at least
the original size as I'm doing here and
| | 02:47 | I also suggest that you set the resolution,
so that your file has more than enough
| | 02:52 | pixels for whatever output you plan.
| | 02:54 | If you're planning to print your file,
then I would set the resolution here to
| | 02:58 | somewhere between 360 and 240 pixels.
| | 03:02 | I'll leave it at its default of 300 pixels.
| | 03:05 | If you're scanning for output to the
screen or the web then it's somewhere
| | 03:09 | between 72 and 96 pixels would do here.
| | 03:12 | I'm going to uncheck Unsharp Mask,
because as I said, I like to do all the
| | 03:17 | photo corrections myself in Elements rather
than have the scanner software try to do them.
| | 03:22 | I'm also going to check what the image
type is to make sure that I'm scanning a
| | 03:26 | color photo and when I'm all done, I'm
just going to click the Scan button here,
| | 03:31 | and the scan begins.
| | 03:33 | When the scanning is done, I'm
going to click the Close button to close
| | 03:37 | the scanning software.
| | 03:39 | Now back in Elements Organizer, I get
this message that the only item that I
| | 03:43 | can see in the main window right here
is the element that I just imported,
| | 03:48 | the photo that I scanned.
| | 03:49 | I'll click OK and here's my scanned
photograph, which has been brought into my
| | 03:54 | computer through Elements and being
indexed by the Elements Organizer catalog.
| | 03:59 | One thing to notice about this scan is
that it has today's date underneath it.
| | 04:03 | That's one problem with scans, that
the date is always the date on which the
| | 04:07 | photo went through your scanner,
rather than the date on which the photograph
| | 04:11 | was actually taken in your camera.
| | 04:13 | That's okay because in a later movie,
I'll show you a way that you can change
| | 04:17 | the dates of photos inside of Elements
Organizer. As usual I can now go back to
| | 04:22 | see all of the photos that are in my
catalog by clicking the Show All button
| | 04:26 | here at the top of the Organizer.
| | 04:29 | So that's how easy it is to use
Elements to scan all your old print photos
| | 04:34 | and make them digital.
| | Collapse this transcript |
|
|
2. Getting Started in the OrganizerTouring the Organizer interface| 00:00 | Before you start working in Elements
Organizer I think it will help you to have
| | 00:04 | a sense of how the Organizer is laid out.
| | 00:06 | So, I would like to show you where
the major features are located in the
| | 00:09 | Organizer, and then I'll get back to the
detail of each feature in later movies.
| | 00:14 | As you've heard the Organizer is one
of the two major workspaces in Photoshop
| | 00:18 | Elements 8. The other is the
Editor, which we'll get to later.
| | 00:21 | The Organizer is the place to go to
view a visual index of photos and other
| | 00:26 | digital media files that you
brought into the current catalog.
| | 00:30 | It's also the place to go to organize
those files and to find specific photos
| | 00:35 | and other files in this catalog.
| | 00:37 | You can access the Organizer from the Welcome
Screen or from the Editor, as you saw earlier.
| | 00:42 | You've also seen that the left side
of the Organizer is called the Photo
| | 00:46 | Browser, and it displays low-resolution
previews of the original high-res photos
| | 00:51 | that might be located in folders on
your computer or perhaps on offline media
| | 00:56 | like DVDs or external hard drives.
| | 00:59 | As you've heard the Organizer can keep
track of photos and other media files
| | 01:03 | even if the originals are
stored outside of this computer.
| | 01:07 | By the way I have my Photo Browser
set to Folder Location view, which is a
| | 01:11 | view that I suggest you use as you work through
this course, as I explained in the last movie.
| | 01:16 | Now over on the right side of the
Organizer is the task pane and the task
| | 01:20 | pane looks different depending on which tab
that you've clicked on at the top of the task pane.
| | 01:26 | The Organize tab, the Fix tab,
the Create tab, or the Share tab.
| | 01:31 | Right now I have the Organize tab
selected and the Organize tab offers me some
| | 01:36 | panels in which I can create subject
matter albums in which to organize my
| | 01:40 | photos, as well as this Keyword Tag
panel, where I can add subject matter
| | 01:45 | keywords to photos, which I can
use to find particular photos later.
| | 01:49 | I'll be covering albums and keyword
tagging in lots of detail in later movies.
| | 01:53 | Let me show you what's here, if I
click the Fix tab in the task pane.
| | 01:58 | The Fix tab offers some Automatic Photo
Fix options that you can use to quickly
| | 02:03 | correct color, contrast and other
photo characteristics right here in the
| | 02:07 | Organizer, without having to access any
of the editing workspaces in the Editor.
| | 02:12 | I'll be covering the Photo Fix
options also in more detail in later movies.
| | 02:17 | Things get really interesting when I
click the Create tab. From here I can
| | 02:21 | access features for creating photo
books, photo prints, slideshows and more.
| | 02:28 | I'll be showing how to do
that in later movies too.
| | 02:30 | If I click the shared tab in the task
pane, I see Options for publishing photos
| | 02:35 | Online, for sending photos as E-mail
Attachments, and for burning photos to DVDs
| | 02:40 | and CDs from right here in the
Elements, all covered later in this course.
| | 02:44 | I am going to click back on the
Organize tab, because I want to show you one
| | 02:49 | more panel that isn't showing by default,
that I think is really important, and
| | 02:53 | that's the Properties panel.
| | 02:54 | If I move over into the photo browser
area and I right-click on any of the
| | 02:59 | image thumbnails and in a contextual
menu that appears, go down and choose Show
| | 03:04 | Properties, I get this Properties panel.
| | 03:07 | The Properties panel has
four icons across the top.
| | 03:10 | The first icon displays
information that you see here.
| | 03:13 | Any caption that's on the photo, the
name of the photo, and general information
| | 03:18 | about the photo like it's size, and
when it was taken, and where it's stored.
| | 03:22 | If I click on the second icon, I can
see what's called metadata, which is
| | 03:27 | information about a file, and that
includes things like the Document Type,
| | 03:31 | the Date the file was created and modified,
as well is information about the camera
| | 03:36 | with which this photo was taken, and
the camera settings, everything from the
| | 03:40 | ISO Speed Ratings, to the Shutter Speed,
and if I scroll down the F-Stop,
| | 03:45 | the Focal Length, and even whether a flash was used.
| | 03:49 | So, that's really useful information
to have as you are evaluating the photo
| | 03:53 | quality of an image.
| | 03:54 | I'll click on the next tab. There's
nothing here, but if I had added some subject
| | 03:58 | matter keyword tags to this image,
those would appear here in this area of the
| | 04:03 | Properties panel and finally, if I
click on that last icon, I see information
| | 04:08 | about actions that I've taken on this file.
| | 04:10 | For example, here I can see that I
imported this file into the Elements
| | 04:14 | Organizer from the hard drive of his
computer and the date on which I imported it.
| | 04:19 | The Properties panel comes in so handy
that I'd like to add it permanently to
| | 04:22 | the Organize task pane.
| | 04:24 | So as long as I have the Organize tab
highlighted up here, I can do that by
| | 04:28 | clicking this double-pointed arrow
that will dock the Properties panel to the
| | 04:32 | Organizer task pane.
| | 04:33 | So I click there and the Properties panel
is now docked in this column on the right.
| | 04:38 | I can allocate more space to the
Properties panel, by moving the mouse over the
| | 04:42 | border between the Properties panel
and Keyword Tags panel, and dragging up.
| | 04:48 | Another area of the Organizer with
which you should be familiar are the menu
| | 04:51 | bars at the top of the screen.
| | 04:53 | At the very top you'll find menu bars
like you'll find with almost any program.
| | 04:58 | A File menu and Edit menu and so on,
each of which contains drop-down menus from
| | 05:03 | which you can choose.
| | 05:04 | And this is where you'll find the help
files, if you get stuck on anything as
| | 05:08 | you are using Elements and you
need a little bit of assistance.
| | 05:11 | The next menu bar down contains icons
for commonly used functions, like rotating
| | 05:16 | a photo that may be on it's side, or
zooming in or zooming out on the photo
| | 05:21 | thumbnails in the photo browser.
| | 05:23 | This menu bar also contains a Details
checkbox, with which you can control
| | 05:27 | the information that appears underneath
each photo thumbnail, as well as a Search box.
| | 05:32 | We'll be talking more about
those features in later movies too.
| | 05:35 | So, that's a quick overview
of the layout of the Organizer.
| | 05:38 | There are lots of features here and
we'll be revisiting many of these features
| | 05:42 | in the movies to come.
| | Collapse this transcript |
| Viewing photos | 00:00 |
One function of the Organizer is to
allow you to view previews of your
| | 00:03 |
photos and media files.
| | 00:05 |
There are a number of features in the
Organizer that facilitate file viewing.
| | 00:09 |
In an earlier movie, I suggested that
you set your Photo Browser to the Folder
| | 00:13 |
Location View to make it
easier to access the course files.
| | 00:17 |
For this movie about file viewing
features, I'm going to switch the Photo
| | 00:20 |
Browser back to its default Thumbnail View.
| | 00:23 |
To do that, I'll go up to the Display
menu at the top of the screen and I'm
| | 00:27 |
going to choose Thumbnail View.
| | 00:29 |
Now in Thumbnail View, which is the
default view, the task pane over on the
| | 00:33 |
right here is taking up
quite a bit of the screen.
| | 00:36 |
If I don't need any of the functions
here, I can collapse the task pane by
| | 00:40 |
moving my mouse over the border between the
task pane and the Photo Browser and clicking.
| | 00:45 |
Now the entire Organizer is
devoted to showing thumbnails.
| | 00:49 |
The thumbnails are pretty smaller right
now, so it's difficult to evaluate the
| | 00:53 |
photo quality of any single thumbnail.
| | 00:55 |
If I want to do that, I can click on
the thumbnail, I'll click on this one, for
| | 01:00 |
example, and then I can use the
Zoom slider at the top of the screen.
| | 01:04 |
If I drag the Zoom slider to the
right, it zooms in making the selected
| | 01:09 |
thumbnail and those around
it look bigger on screen.
| | 01:12 |
If I want to make the selected
thumbnail full size, I'll go back to that Zoom
| | 01:17 |
slider and click this icon, the Single
Photo View icon to see just the selected
| | 01:22 |
thumbnail at full magnification.
| | 01:25 |
When I'm zoomed in all the way like
this, I can move from photo to photo by
| | 01:29 |
going to the scrollbar on the far right
of the Organizer, and clicking the arrow
| | 01:33 |
at the bottom of the scrollbar.
| | 01:34 |
So I'll click once and that
takes me to the next photo.
| | 01:37 |
If I want to go back the other way, I can
click the arrow at the top of the scrollbar.
| | 01:42 |
Keep in mind that zooming in on a
thumbnail magnifies your view of the thumbnail
| | 01:46 |
making it appear bigger, but it
doesn't really change the image size.
| | 01:50 |
However, these previews are
low resolution by default.
| | 01:54 |
Sometimes I'm trying to judge the
photo quality of an image from one of the
| | 01:57 |
previews, and I just need to increase
the resolution of the preview, so I can
| | 02:02 |
get a better idea of the
quality of the real image.
| | 02:05 |
To increase the resolution of the
thumbnail previews, I can go up to the Edit
| | 02:09 |
menu at the top of the
screen, and down to Preferences.
| | 02:13 |
These are the preferences
for Elements' Organizer.
| | 02:16 |
The Editor has its own preferences.
| | 02:18 |
From the Preferences menu, I'll choose
the Files category and there I can see
| | 02:23 |
Preview File Size and I can change the
photo size for the preview files here to
| | 02:28 |
as large as 1280x960 pixels.
| | 02:31 |
But I'm actually going to leave the
resolution at 640x480 pixels, which is what
| | 02:36 |
I normally do in order to
speed up the previewing functions.
| | 02:39 |
So I'll just click OK here.
| | 02:41 |
So now I'm zoomed in on a single photo.
| | 02:44 |
If I want to zoom out, I can go back
up to the Zoom slider and I can drag to
| | 02:48 |
the left, and all the photo thumbnails
get smaller and if I want to see them as
| | 02:52 |
small as they go, I can click the small
thumbnail size icon on the left of the
| | 02:56 |
Zoom slider and now I can see the maximum
number of thumbnail previews in the photo browser.
| | 03:01 |
Let's take a look at another viewing feature.
| | 03:03 |
In this menu bar, there is a
Details box that's checked by default.
| | 03:08 |
If I uncheck that box, keep your eye on
the thumbnails and you'll see that the
| | 03:12 |
date that was under each thumbnail is now gone.
| | 03:14 |
So this is a way to view the thumbnails
without any information about the files
| | 03:19 |
appearing in the photo browser and if I
check this box, then I see the date on
| | 03:24 |
which each photo was created.
| | 03:26 |
Sometimes it's helpful to be able to see
the file names under each thumbnail as well.
| | 03:30 |
To do that, I'm going to go back to the
Zoom slider and I'm going to drag it to
| | 03:34 |
the right so there is a little more
room under each one of the thumbnails.
| | 03:38 |
As soon as I do that, the name or the
title of each photo appears underneath the
| | 03:42 |
date information, but that's as
long as I have the Details box checked.
| | 03:47 |
If you try this and you don't see the
file names, then go up to the View menu at
| | 03:50 |
the top of the screen and make sure that
Show File Names has a checkmark next to
| | 03:55 |
it, which is the default behavior.
| | 03:57 |
The Photo Browser isn't just
for viewing previews of photos.
| | 04:02 |
The Photo Browser can also display
previews of small video clips, audio clips,
| | 04:06 |
PDF files, and projects that you
make in Elements like photo books.
| | 04:11 |
To make sure that all of those media
files are visible in the Photo Browser, go
| | 04:16 |
up to the View menu to Media Types and
make sure that there is a check next to
| | 04:20 |
every kind of media type that you
want to see in the Photo Browser.
| | 04:24 |
So if you want audio files to appear
here, for example, you want to go down to
| | 04:27 |
Audio and release your mouse there.
| | 04:29 |
Now I'm going to click on the scrollbar,
and I'm going to scroll up and now I
| | 04:38 |
can see the previews of the
audio files that are in this catalog.
| | 04:42 |
Another thing I can do from
the View menu is to setup a grid.
| | 04:47 |
So if I go to View and I choose Show
Gridlines, Elements draws this grid around
| | 04:52 |
each one of the file previews and this
can sometimes make it easier to see and
| | 04:56 |
distinguish one preview from another.
| | 04:59 |
So those are some ways that you can use
the zooming and other viewing features
| | 05:03 |
in the Organizer to facilitate viewing
thumbnail previews of your photos and
| | 05:07 |
other media files in the Elements' Organizer.
| | 05:11 |
| | Collapse this transcript |
| Selecting photos| 00:00 | In the Organizer you have to select
a photo thumbnail before you can do
| | 00:04 | anything to that image.
| | 00:06 | I would like to show you a couple of tricks
for how to select thumbnails in the Organizer.
| | 00:10 | I've gone back to the Folder Location
view from the Display menu and I opened
| | 00:15 | the task pane again by clicking on
the border between the task pane and the
| | 00:20 | Photo Browser, and in the View menu I've
turned off Media Types Audio and Show Gridlines.
| | 00:29 | Now let's say that I want to
delete a photo from the current catalog.
| | 00:32 | I have to select the
thumbnail of that photo first.
| | 00:35 | And the way to do that is to go to the
Photo Browser and to click once on the
| | 00:40 | thumbnail of the photo that I want to select.
| | 00:42 | The blue border around the thumbnail
indicates that file has been selected.
| | 00:47 | Now to delete that photo from this
catalog, I would go to the Edit menu at the
| | 00:51 | top of the screen and
choose Delete from Catalog.
| | 00:54 | In this dialog box, I'm warned that
this item will be deleted from the catalog,
| | 00:59 | but if I were just click OK at this
point I wouldn't be deleting the actual
| | 01:03 | photo from my hard drive, if I did
have that photo here in my computer.
| | 01:07 | If I want to do that too, then I would also
check Delete selected items from the hard disk.
| | 01:13 | And when I had decided to delete the
item either from the catalog or for the
| | 01:17 | catalog and hard disk, I would click OK.
| | 01:20 | But I'm going to click Cancel, because I
want to leave this photo in the catalog
| | 01:24 | so that I can show you something
else about selecting thumbnails.
| | 01:28 | And that is, what if I wanted to
select all of the thumbnails in this section
| | 01:32 | of the Photo Browser.
| | 01:33 | How would I do that?
| | 01:34 | Well, first I'm going to click off of
this thumbnail in a blank area of the
| | 01:38 | Photo Browser to deselect all of the thumbnails.
| | 01:41 | A quick way to select consecutive
thumbnails, those that are next to one another
| | 01:45 | in the Photo Browser, is to click once
on the first of the thumbnails and then
| | 01:50 | here's the trick, hold down the
Shift key and click on the last of the
| | 01:54 | thumbnails, and that will select
those two and all thumbnails in between.
| | 01:58 | Now I might do something like use all
three of these thumbnails in a photo book
| | 02:03 | as you will learn to do in later movies.
| | 02:05 | I'm going to deselect again, by
clicking off of those three thumbnails into a
| | 02:09 | blank area of the photo browser to show
you how I might go about selecting more
| | 02:14 | than one photo thumbnail, if
it's not next to one another.
| | 02:17 | So let's say I want to select this
thumbnail, which I'll click on, and this one,
| | 02:22 | but not the one in the middle.
| | 02:23 | In that case, I'll hold down the Ctrl
key on my Windows keyboard as I click
| | 02:28 | on that first image.
| | 02:30 | So that's how you can select
nonconsecutive thumbnails in the Photo Browser, and
| | 02:35 | at this point I could act on these two files.
| | 02:37 | Again, I'm going to click off of all
the thumbnails to deselect them all.
| | 02:41 | So you can use the technique I have
just shown you, to select as many photos as
| | 02:45 | you want in a Photo Browser so that you
can perform all kinds of tasks on them.
| | 02:49 | Like those located here in the Share tab,
or the Create tab, or the Fix tab of
| | 02:56 | the task pane in the Organizer.
| | Collapse this transcript |
| Rotating photos| 00:00 | Sometimes you'll have a photograph
that you'd like to turn on its side.
| | 00:04 | For example, here I have a photo that I
think might look better, if it were in
| | 00:08 | vertical orientation rather than horizontal.
| | 00:10 | Sometimes this is just an aesthetic
decision and sometimes, there is actual
| | 00:15 | problem which is that your camera
doesn't offer enough information to
| | 00:19 | Elements to have Elements rotate the
photo the right way, when it's importing
| | 00:23 | a photo into the Organizer.
| | 00:24 | But that's okay, because Elements comes
with a rotate feature, which I'm going
| | 00:29 | to show you in this movie.
| | 00:30 | Before you try to rotate an image
you do have to select its thumbnail.
| | 00:33 | So I'm going to click once on this
photo and then I'm going to go up to the top
| | 00:38 | of the Organizer where
there are two rotate buttons.
| | 00:40 | This one will rotate image 90 degrees to
the right and this one 90 degrees to the left.
| | 00:46 | I'm going to click on Rotate
Right button, and that brings up this
| | 00:50 | interesting message.
| | 00:51 | It's little bit hard to understand this.
| | 00:53 | So let me explain it to you.
| | 00:54 | Basically what the message is saying
is that this particular file is a JPEG
| | 00:59 | file, which is a compressed file
format that uses what's called a lossy
| | 01:04 | algorithm to make the file smaller.
| | 01:06 | In other words, pixels are actually
thrown away in order to make this file
| | 01:10 | smaller for storage and transfer.
| | 01:13 | When I rotate this file, it's the
equivalent of opening the file, making some
| | 01:17 | kind of editing change to it,
and then re-saving the file.
| | 01:21 | And every time that you open, edit,
and resave a JPEG, you lose a few more
| | 01:25 | pixels, because of the lossy
algorithm that's used to compress a JPEG.
| | 01:30 | So that's what this message is saying.
| | 01:32 | It also says that to avoid losing pixels
in this JPEG file, Elements is going to
| | 01:38 | make a copy of the file and rotate
that copy leaving the original untouched.
| | 01:43 | So that's the solution to the problem
that Elements does for you automatically.
| | 01:47 | You can tell it to always take this
action, or if you don't check that box,
| | 01:50 | you'll get this choice
every time you try to do this.
| | 01:53 | I'll leave the box unchecked
and I'm going to click Yes.
| | 01:57 | That rotated the photo thumbnail in the
Organizer, and notice that there's now a
| | 02:02 | light gray rectangle around the thumbnail.
| | 02:04 | There is also a blue icon
here at the top of the thumbnail.
| | 02:07 | These are both indications that there
is now another copy of this file here.
| | 02:12 | To see a copy I'm going to click on
the arrow that's on the right side of
| | 02:16 | the gray rectangle.
| | 02:17 | The rectangle expands and now I can see
the original image here, turned on its
| | 02:23 | side along with the
rotated edited copy right here.
| | 02:27 | So even if your digital camera doesn't
cooperate in terms of giving you photos
| | 02:31 | with the correct orientation, in
Elements you can always correct that using the
| | 02:36 | Rotate buttons at the top of the Organizer.
| | Collapse this transcript |
| Renaming photos| 00:00 | Giving your photographs meaningful
names can be another way to help you find a
| | 00:04 | particular photograph later.
| | 00:06 | Earlier in this course, I told you that
I don't recommend renaming your photos
| | 00:10 | at the very time that you import them,
because sometimes that can cause you to
| | 00:14 | import duplicates by mistake.
| | 00:16 | Once the photo is in Elements
Organizer though, it's fine to change its name.
| | 00:20 | You can change the name of a single
photograph or you can select a whole series
| | 00:24 | of photographs, give them all the same
base name, and rename them as the series.
| | 00:29 | Let me show you how.
| | 00:31 | In the Photo Browser, I'm going to click
on the first of these photos to select it.
| | 00:35 | Notice that the photo does have a title,
but it's one that doesn't give you much
| | 00:39 | information about the content of the photo.
| | 00:42 | It's just one of the image
numbers from my digital camera.
| | 00:45 | By the way, if you don't see file names
under the photo previews in your Photo
| | 00:49 | Browser, go up to the View menu at the
top of the screen and make sure that Show
| | 00:54 | Filenames is checked.
| | 00:56 | Then go to the Zoom slider and drag to
the right slightly until you see titles
| | 01:01 | under each of the photo previews.
| | 01:03 | To rename this single selected photo,
I'll go to the File menu at the top of the
| | 01:07 | screen and I'll choose Rename.
| | 01:10 | In the Rename dialog box,
I'll type a name for this photo.
| | 01:13 | I'm just going to type
Crucifix, and I'm going to click OK.
| | 01:18 | And that gives the photo a title followed by
the file format of the photo, which is JPEG.
| | 01:24 | Now let's say that I want to rename
the other three photos in this section.
| | 01:27 | To select all three at once as I've
already taught you, I'll click on the first
| | 01:32 | and then I'll hold down the Shift key,
and I'll click on the last of the
| | 01:35 | thumbnail previews, and that
selects the one in between as well.
| | 01:39 | Again, I'll go up to the File menu,
I'll choose Rename, and I'll give a common
| | 01:44 | base name to all three photos.
| | 01:47 | I'll type Chapel, and I'll click OK.
| | 01:50 | And that names each of the photos
Chapel and adds a serial number.
| | 01:54 | So first I have Chapel1.jpg.
| | 01:57 | Chapel2.jpg and Chapel3.jpg.
| | 02:00 | So as you can see, it's pretty quick
and easy to rename multiple files all at
| | 02:05 | once in the Elements Organizer.
| | Collapse this transcript |
| Fixing photo dates| 00:00 | In the Organizers Photo Browser, a
date appears under each thumbnail preview.
| | 00:04 | If the preview is of a photograph,
that date is usually the date on which
| | 00:09 | you took the picture.
| | 00:10 | But if you brought the picture in from a
scanner, that date may not be accurate.
| | 00:14 | That's okay. Elements gives you a way to adjust
the date and time of any photo in the Organizer.
| | 00:20 | Let's see how to do that.
| | 00:22 | Here I have this photograph of a bed,
and underneath the thumbnail preview for
| | 00:26 | that photo is the date July 4, 2008 at 1:22 p.m.
| | 00:32 | Now I know what I took that photo
earlier in the year, and so I want to adjust
| | 00:36 | the date to reflect the actual
date that the photo was shot.
| | 00:40 | To do that I'll first select the photo
by clicking on its thumbnail, and then I
| | 00:44 | go up to the Edit menu and
I'll choose Adjust Date and Time.
| | 00:49 | In the Adjust Date and Time
dialog box, I have a few choices.
| | 00:53 | Usually, the best choice is the first one,
to change to a specified date and time.
| | 00:57 | So I'm going to do that by clicking OK.
| | 01:00 | In the next dialog box, I can
change the year, the month, and a day.
| | 01:04 | I'll type a year in the Year field by
highlighting the number 8 and typing 7
| | 01:10 | instead, and then I'll go to the
Month field, and I'll choose the month in
| | 01:14 | which I really took this photo, which I
think was January, and I can even choose the day.
| | 01:20 | Now if I'm not sure of the day,
I can choose this Question Mark.
| | 01:23 | If I'm sure of the day, I can
choose the date from this list.
| | 01:27 | I believe that took this on
January 1, so I'll choose that.
| | 01:31 | Then I'll come to the Time area.
| | 01:33 | If I know the time I can use the
arrows to change the time here.
| | 01:37 | If I'm not sure of the time, which is
often the case, I'll just click Unknown,
| | 01:41 | and then I'll click OK and
you can see the results here.
| | 01:44 | The date is listed under the thumbnail
preview, but there is no time listed there.
| | 01:49 | So if you're someone who likes to keep
track of your photos by date, be sure to
| | 01:53 | take a look at the date that's under
each photo thumbnail and change it
| | 01:57 | if necessary, as I have shown you in this movie.
| | Collapse this transcript |
| Hiding and deleting photos| 00:00 |
Not every photograph that you take
will be a winner, but don't be so fast
| | 00:04 |
to delete the duds, because you could change
your mind later and want to get the photo back.
| | 00:09 |
But if you've deleted the photo from
the Organizer, it's a little bit difficult
| | 00:12 |
to find, but not impossible.
| | 00:14 |
Worse, if you delete the photo from
your hard drive, not just from the
| | 00:17 |
Organizer, it may be gone
completely unless you have a backup.
| | 00:21 |
So, instead I suggest that you use to
Hide photos feature in the Organizer to
| | 00:26 |
hide unwanted photos from view temporarily.
| | 00:28 |
Let me show you how to do.
| | 00:30 |
Notice that I'm working in the 02_07 folder,
which contains these three photos of guitars.
| | 00:37 |
I'm going to zoom in a little bit to
make those three photos bigger to fill
| | 00:41 |
my Photo Browser here.
| | 00:42 |
Now, let's say that I want to hide
a couple of these photos from view.
| | 00:46 |
Maybe I want to see the vertical guitar
here, but I'm not interested in seeing
| | 00:50 |
the horizontal guitars.
| | 00:52 |
To do that, I first have to select
the thumbnails of the horizontal photos.
| | 00:56 |
So I'll click on one of the thumbnails,
and then I'll hold down the Ctrl key,
| | 00:59 |
and click on the other to select them both.
| | 01:01 |
Then I'm going to go up to the Edit
menu at the top of the screen, and I'll go
| | 01:05 |
down to the Visibility menu and I'm
going to choose Mark as Hidden, to mark
| | 01:10 |
those two horizontal photos as hidden.
| | 01:12 |
Now my Photo Browser has moved down.
| | 01:15 |
So I'm going to scroll back up
till I see the 02_07 section here.
| | 01:21 |
And you'll notice that it's displaying
only the vertical photo of the guitars,
| | 01:25 |
not those horizontal photos that I hit.
| | 01:28 |
Those two photos are temporarily
invisible, but and this is the important part
| | 01:32 |
they're still on my computer, and
Elements Organizer catalog is still keeping
| | 01:37 |
track of them, because of that I can
change my mind at any time, about whether
| | 01:41 |
those two really are duds, and I could
mark them as visible again to have them
| | 01:45 |
appear back here in the Organizer.
| | 01:48 |
To do that I would first have to get
them back into you to get them back in view.
| | 01:50 |
To get them back in view, I'm going to
go back up to the Edit menu and down to
| | 01:55 |
Visibility again, and this time
I'm going to choose Show All Files.
| | 02:00 |
Now all three of the guitar
photos are back in this section.
| | 02:04 |
I need to scroll up a little
bit, so you can see them all.
| | 02:07 |
And there they are.
| | 02:08 |
The only thing that's new is that the
two horizontal photos have this cute
| | 02:11 |
little sleeping eye icon, which
indicates that I mark them as hidden.
| | 02:16 |
Let's say that I want to
get rid of that eye icon.
| | 02:18 |
I no longer want them marked as hidden.
| | 02:20 |
To do that I'll select those two
files clicking on one, and then control
| | 02:25 |
clicking on the other and then I'll go
back to the Edit menu and, I'll go down
| | 02:29 |
to Visibility, and I'll
mark these two as Visible.
| | 02:32 |
And then I click off, of the files,
in a blank area of the Photo Browser.
| | 02:36 |
So that's how to use the Hide
Visibility features in the Organizer.
| | 02:40 |
Now let's talk about
deleting a photo from the Organizer.
| | 02:43 |
You remember that at the beginning of
this movie, I suggested that using the
| | 02:46 |
hiding feature is often better than
deleting a photo from the Organizer or from
| | 02:50 |
the hard drive, but there may be
times when you do want to delete.
| | 02:54 |
So, let me show you how to do that,
but I do want you to think twice before
| | 02:58 |
using the Delete feature.
| | 02:59 |
So let's say that I decide I want to
delete this vertical photo of the guitars
| | 03:04 |
from my Organizer catalog.
| | 03:06 |
I'll select the photo by clicking on it,
and then I'll go back to the Edit menu
| | 03:10 |
and I'm going to choose Delete from catalog.
| | 03:13 |
You've seen this dialog box before, and
you know that if you check Also delete
| | 03:18 |
selected item(s) from the hard disk
Elements will not only delete this item
| | 03:22 |
from the Organizer catalog, but it will also
completely delete the photo from your computer.
| | 03:27 |
So you've got to be sure that that's
what you want before you check this box.
| | 03:31 |
In this case, I'm going to leave that
box unchecked, and I'm just going to click
| | 03:35 |
OK to delete from the catalog,
but not from the hard drive.
| | 03:40 |
I'll scroll up a bit so you can see the
contents of the 02_07 section again, and
| | 03:45 |
as you can see the
vertical photo is no longer here.
| | 03:48 |
I just have the two horizontal photos.
| | 03:50 |
That's because Elements is no longer
keeping track of the vertical photo.
| | 03:54 |
But that doesn't mean that that photo
is gone forever, because if you remember,
| | 03:58 |
I chose not to delete it for my hard disk.
| | 04:01 |
So, it would be possible to bring that
photo back into this Organizer catalog.
| | 04:05 |
Let me show you how to do that.
| | 04:07 |
To bring back into the catalog, a file
that I have deleted from the catalog,
| | 04:12 |
I'll go up to the File menu at the top
of the screen, I'll go to Get Photos And
| | 04:16 |
Videos, and I'll choose From Files and Folders.
| | 04:19 |
In this dialog box I'll navigate to
the chapter02 folder, which is inside the
| | 04:24 |
Exercise Files folder on my Desktop.
| | 04:26 |
I'm already right here in the
chapter02 folder, and I'm looking for a file
| | 04:31 |
that's in the 02_07 subfolder.
| | 04:33 |
So, I'll double-click that subfolder,
and there is my vertical guitar image,
| | 04:37 |
guiatar3, I'll click once on that
thumbnail to select that image, and then I'm
| | 04:42 |
going to click Get Media.
| | 04:44 |
In just a moment, I see the prompt
that I see every time I import photos into
| | 04:48 |
Elements, telling me that the only items
that I can see here are the ones or the
| | 04:52 |
one that I just imported. So, I'll click OK.
| | 04:55 |
And there is my vertical guitar photo.
| | 04:58 |
Now, if I want to see the other
photos, I'll click the, Show All button
| | 05:01 |
here, and I have all three of my guitar
photos back in this section of the Photo Browser.
| | 05:07 |
But again please remember that rather
than deleting files from the Organizer,
| | 05:11 |
and trying to bring them back manually,
as I just did it's often easier to just
| | 05:15 |
use the hide photos feature, to
temporarily hide photos from View in the Photo
| | 05:20 |
Browser, if your browser is getting
too cluttered with unwanted photos.
| | 05:24 |
| | Collapse this transcript |
| Stacking photos| 00:00 | When you are shooting photos, you'll
often take more than one shot of a scene to
| | 00:04 | make sure that you have gotten a keeper.
| | 00:06 | Rather than clutter your Organizer's
photo browser with multiple similar photos,
| | 00:10 | why not stack them one on top of
the other in the Photo Browser?
| | 00:14 | That will help you to make space in the
photo browser and it will still allow
| | 00:17 | you easy access to all
the similar photos anytime.
| | 00:21 | Let's take a look at the
stacking features in the Organizer.
| | 00:24 | I working any 02_08 subfolder and I
want to make sure that I can see the file
| | 00:30 | names of all my files.
| | 00:31 | So I've gone up to the menu bar and I
made sure that Details is checked and I
| | 00:35 | also went to the View menu and made
sure that Show File Names is checked.
| | 00:40 | Notice that in this section of the photo
browser, I have some photos that I took
| | 00:44 | at an outdoor market, including these
four photos of guitars here, and then
| | 00:49 | here, here, and here.
| | 00:50 | The guitar photos are so similar,
there's really no reason to have them all
| | 00:54 | showing, but I don't want to delete
them from my Organizer because I still
| | 00:58 | might want to work with some of them.
| | 00:59 | So I'm going to stack them together.
| | 01:01 | To do that, I'll click on the first
of the four guitar photos, and then I'm
| | 01:06 | going to hold down the Shift key and
click on the last of the four guitar
| | 01:09 | photos, and that selects all four of them.
| | 01:11 | Then I'm going to go up to the Edit
menu at the top of the Organizer and I'm
| | 01:15 | going to go down to the Stack menu.
| | 01:17 | There I'm going to choose Stack Selected Photos.
| | 01:21 | Now, instead of all four guitar photos, I see
only one in this section of the Photo Browser.
| | 01:27 | Notice that there's now a gray
rectangle around his photo and there's a symbol
| | 01:31 | here on the photo that indicates that
it's been stacked with other photos.
| | 01:35 | There's also a little arrow to the
right of the guitar on the gray rectangle,
| | 01:40 | and I can use that arrow to expand
this stack if I want to see all the photos
| | 01:44 | that are in the stack.
| | 01:46 | So, I'm going to click on that arrow,
and I have temporally expanded the stack.
| | 01:50 | The gray rectangle that surround all four
photos,defines which photos are in the stack.
| | 01:55 | Once I have expanded the stack, I can
choose to have a different photo on the
| | 01:59 | top of the stack and that will be
the photo that shows up in the Photo
| | 02:02 | Browser, when the stack is collapsed. To do that,
I'll select a different photo from these four.
| | 02:08 | I'll select this vertical photo of the
guitars, and then I'm going to go back to
| | 02:12 | the Edit menu and down to Stack,
and I'll choose Set as Top Photo.
| | 02:18 | Now, I'm going to collapse the stack
and the way that I'll do that is to go and
| | 02:22 | find the arrow on the right side of the
gray rectangle, which is right here now,
| | 02:25 | and I'll click that arrow and
the stack collapses as again.
| | 02:29 | And you can see that the photo on top of
the stack is now the vertical guitar photo.
| | 02:33 | So you might think of stacking your
photos just like stacking a deck of cards.
| | 02:38 | All the photos are there.
| | 02:39 | It's just that you can only
see the one that's on top.
| | 02:42 | This is actually a good way to keep
track of similar photos and just to have
| | 02:46 | the best photo in the series
showing in the Photo Browser.
| | 02:49 | Now, what if you want to remove a
photo from a stack, but you don't want to delete
| | 02:53 | that photo from your Organizer catalog?
| | 02:55 | To do that, I'm going to expand the
stack again by clicking the arrow on
| | 02:59 | the gray rectangle.
| | 03:00 | Let's say that I don't want this
last guitar photo, the one called
| | 03:04 | guitar7.jpg, to be in the stack.
| | 03:07 | I'll click on that photo to select it
and then I'll go back to the Edit menu
| | 03:12 | and down to Stack again.
| | 03:14 | And this time I'm going to
choose Remove Photo from Stack.
| | 03:18 | Now, you can see that the gray
rectangle that's around the stacked photos
| | 03:23 | doesn't include guitar7.jpg.
| | 03:26 | It's been removed from the stack and now
if I collapse the stack by clicking the
| | 03:30 | arrow on the gray rectangle, here's
the stack of photos and here is guitar7,
| | 03:35 | not in the stack but still in the Photo Browser.
| | 03:38 | Now, let's say that I want to
add a photo into an existing stack.
| | 03:42 | So, say I want to put this
guitar7 photo back into the stack.
| | 03:46 | To do that I'll select that photo by
clicking on it and then I'll hold down the
| | 03:50 | Ctrl key as I click on the stack itself.
| | 03:53 | So, now I have got the
stack selected and guitar7.jpg.
| | 03:58 | Now, I'll go up to the Edit menu again
and I'll go down to Stack and I'll
| | 04:02 | choose Stack Selected Photos.
| | 04:04 | I'll click OK at the prompt and now all
four of the guitar photos are back in the stack.
| | 04:10 | To prove that I'll expand the stack by
clicking the arrow on the gray rectangle,
| | 04:14 | and you can see that the rectangle
includes the guitar7 photo as well as the
| | 04:18 | other three guitar photos.
| | 04:20 | Now, expanding a stack is only
temporary, but what if you really want unstack
| | 04:24 | the photos, so that
there's no longer any stack here?
| | 04:27 | In order to do that I'm going to
collapse the stack again by clicking the arrow
| | 04:31 | in the gray rectangle, then I'll
select the stack by clicking on it and then
| | 04:36 | I'll go back to the Edit menu, down to
Stack, and this time I want to be sure
| | 04:41 | not to choose Flatten Stack,
but rather Unstack Photos.
| | 04:45 | If I were to choose Flatten Stack,
that would delete from the Organizer all of
| | 04:49 | the photos in the stack,
except for the one on top.
| | 04:52 | So, that's not something I use very often.
| | 04:54 | Instead I'll choose
Unstack Photos from this menu.
| | 04:58 | Now, I have all four of my guitar photos
back in the Organizer, but there are no stacks.
| | 05:03 | There's also an Auto Stacking feature
in the Organizer and you can try using
| | 05:07 | that to automatically create stacks
based on the visual similarity of photos and
| | 05:13 | based on the time they were taken.
| | 05:14 | The Auto Stacking feature appears in
the Organizer and also in the Adobe
| | 05:19 | Photo Downloader, that I showed you
how to use to bring in photos from a
| | 05:22 | camera or card reader.
| | 05:24 | Let's take a look at the Auto Stacking
feature in the Organizer, although I want
| | 05:28 | to tell you that I don't use this
feature very often, because it doesn't always
| | 05:32 | get things just right.
| | 05:33 | So I prefer stacking manually
as I just showed you how to do.
| | 05:37 | But let's give Auto Stacking a
try, so you can see how it works.
| | 05:40 | I'm going to select all of the photos
in this section of my Photo Browser.
| | 05:45 | One way to do that is to click on the first
and Shift-click on the last of the photos.
| | 05:49 | Another way is to click on the section
label right here and that selects all
| | 05:54 | the photos in the section.
| | 05:56 | Then I'm going to go up to the Edit
menu and down to Stack and I'll choose
| | 06:00 | Automatically Suggest Photo Stacks.
| | 06:03 | So, what Elements is now done is
suggested groups of photos that it thinks go
| | 06:08 | together from among those I had selected.
| | 06:10 | If I scroll down in this window of
suggested stacks you can see the way that
| | 06:15 | Elements suggest grouping these photos,
and it really hasn't done a very good job.
| | 06:20 | In fact it hasn't grouped any
of them together into a stack.
| | 06:24 | Instead it's identified
each one as an ungrouped photo.
| | 06:27 | So Elements wasn't able to understand
that the four guitar photos were similar,
| | 06:31 | and that I would want to
have those in one stack.
| | 06:33 | So that's why I don't really love this feature.
| | 06:36 | I find it doesn't always work
as intuitively as I would like.
| | 06:39 | So, instead I suggest you use the manual
stacking features that I just showed you.
| | 06:44 | I'm going to cancel out of this window
by clicking the Cancel button here and
| | 06:47 | that will take me back to the Photo Browser.
| | 06:50 | Earlier in this movie I showed you how
to use the Stack features that you could
| | 06:54 | access from the Edit menu
at the top of the screen.
| | 06:56 | But there's actually another way
to access these Stack features.
| | 07:00 | As you get more used to using
Elements you may like to use shortcuts,
| | 07:04 | like contextual menus.
| | 07:05 | All the Stack commands are
available from the contextual menu.
| | 07:09 | So let's say that you have multiple
photos selected, as I already do. I can go
| | 07:14 | to any one of those selected photos
and right click on it to bring up a
| | 07:18 | contextual menu of commands.
| | 07:20 | I'll choose Stack from that menu and
then over on the right, I have the same
| | 07:24 | Stack commands that I could access from
the Edit menu from at top of the screen.
| | 07:28 | This is just a little more convenient.
| | 07:30 | So, for example, I might choose to
stack the selected photos and that creates
| | 07:35 | this photo stacks here, which I'll
expand by clicking the gray arrow.
| | 07:39 | The stacking features are really
powerful and they are features that I
| | 07:43 | hope you'll use often.
| | 07:44 | Stacking means that you can take
advantage of your digital camera to take
| | 07:48 | lots and lots of shots of the same
subject, maybe changing exposures, or
| | 07:52 | maybe shooting from a different
angle to make sure that you get the best shot,
| | 07:56 | and then you can stack the
similar photos in the Organizer with your
| | 08:00 | best shot on the top.
| | 08:02 | That will give you room to work in
the Photo Browser and you'll get a
| | 08:05 | good view of just the best
shot among your similars.
| | Collapse this transcript |
| Moving files| 00:00 |
If you want to physically move a file
from one location on your computer to
| | 00:03 |
another, or from your main hard drive
to an external drive, please remember to
| | 00:08 |
do that from inside the Organizer,
rather than directly out of Windows.
| | 00:13 |
Otherwise, the Organizer can't
necessarily keep track of the file and the file
| | 00:17 |
may go missing from your catalog.
| | 00:19 |
But don't worry. If a file does go
missing, Elements will do its best to help
| | 00:23 |
reconnect the file to the catalog system.
| | 00:26 |
Let's see how all this works.
| | 00:28 |
I'm working in the 02_09 subfolder,
and I'm going to select this photo
| | 00:32 |
there, Guitar_8.jpg.
| | 00:35 |
Then I'm going to go up to the File
menu at the top of the screen and I'm
| | 00:39 |
going to choose Move.
| | 00:41 |
This gives me a dialog box from which
I can move this particular file from
| | 00:45 |
inside the Organizer to some
other place on my computer.
| | 00:48 |
So, let's say I want to
move this file to my Desktop.
| | 00:51 |
In the Move Selected Items
dialog box, I'll click Browse.
| | 00:54 |
I'll click on my Desktop
and then I'll just click OK.
| | 00:58 |
If at this point I decide that I want
to add some other files to the collection
| | 01:02 |
of files that I'm going to move, I
can click on the Add symbol here.
| | 01:07 |
In this dialog box, I could click on a
particular photo to move it or I could
| | 01:12 |
choose to move the entire catalog, or I
could move an album or I could move all
| | 01:17 |
of the images to which I've
attached a particular keyword tag.
| | 01:20 |
In this case, I'm not going to add any
more files to the collection that I'm moving.
| | 01:24 |
I'm just going to move that single file.
| | 01:26 |
So I'm going to uncheck this
thumbnail, and I'll click Cancel.
| | 01:30 |
Back in the Move Selected Items
dialog box, I'm going to click OK.
| | 01:35 |
Now in the Photo Browser, take a look
at the path designation, here above the
| | 01:39 |
Guitar_8.jpg photo thumbnail.
| | 01:42 |
Notice that it's telling me that the
file now lives on the desktop of my
| | 01:46 |
computer rather than inside the 02_09
Exercise Files folder, where it used to be.
| | 01:52 |
Elements has automatically reconnected
the Organizer to this file, so that the
| | 01:56 |
Organizer is keeping track of the
file and could perform all of the normal
| | 02:00 |
functions on that file that it
could when the file was inside the 02_09
| | 02:05 |
Exercise Files folder.
| | 02:07 |
So now let's do a comparison and see
what happens if I try to move a file the
| | 02:11 |
wrong way out in Windows Explorer.
| | 02:14 |
To do that, I'm going to minimize the
Organizer by going to the top-right of the
| | 02:18 |
Organizer screen and clicking
the Minimize button right here.
| | 02:22 |
Now I'm looking at my Desktop in Windows Vista.
| | 02:26 |
Here is the Guitar_08 file
that I moved out to the desktop.
| | 02:29 |
I'll try to manually move it from the
desktop back into the Exercise Files folder.
| | 02:35 |
My Exercise Files folder is here on my desktop.
| | 02:38 |
I'm going to double-click it to
open it, and then I'll double-click the
| | 02:41 |
chapter02 folder, and I'll
double-click the 02_09 folder.
| | 02:46 |
Then I'll click-and-drag on the
Guitar_08 file into the 02_09 folder.
| | 02:53 |
Then I'll close this window by clicking
the red X, and I'm going to maximize the
| | 02:57 |
Elements Organizer again, by
clicking on it down here in the taskbar.
| | 03:02 |
Now take a look at the path
designation above the Guitar_08 image.
| | 03:06 |
Elements still thinks that
that image is on the desktop.
| | 03:10 |
It doesn't know that I moved it
from the desktop into the 02_09 folder,
| | 03:14 |
outside of Elements.
| | 03:16 |
It's important that Elements know
where the photo really lives, so that it
| | 03:20 |
can keep track of it.
| | 03:21 |
So what I need to do is make sure that
Elements reconnects this photo to the Organizer.
| | 03:26 |
There are two ways to
reconnect a photo like this.
| | 03:29 |
One is automatic and one is manual.
| | 03:31 |
The automatic way would happen if I
was trying to do something to this photo,
| | 03:35 |
like adjust its date.
| | 03:37 |
If I use the Adjust Date feature,
Elements would automatically go out and try to
| | 03:41 |
find the photo in its new
location, and reconnect it.
| | 03:44 |
And sometimes that happens so
fast that you don't even realize it.
| | 03:48 |
But if I don't plan to do anything to
this photo, but I still want to make sure
| | 03:52 |
that it's reconnected, I can
reconnect it manually like this.
| | 03:55 |
I'll make sure the file is selected,
and then I'll go up to the File menu.
| | 03:59 |
I'll choose Reconnect, and
I'll go over to Missing File.
| | 04:04 |
As soon as I did that, Elements
went out and very quickly found the new
| | 04:08 |
location of this photo.
| | 04:09 |
Now, if you look at the path above the
selected photo, you can see that Elements
| | 04:14 |
realizes that the physical file is
actually inside the Exercise Files folder in
| | 04:20 |
Chapter 2, in subfolder 02_09.
| | 04:23 |
So the main point to take from this
movie is to remember that if you want to
| | 04:28 |
move some files around, try to do that
from inside the Organizer catalog, using
| | 04:32 |
the File > Move feature, rather than
doing it physically out in Windows.
| | 04:37 |
But if you do it outside the Organizer,
Elements will help you to find and
| | 04:41 |
reconnect the missing file.
| | 04:43 |
| | Collapse this transcript |
| Backing up catalogs| 00:00 | It is so important to back up not only
your photos and other media files that
| | 00:04 | you've brought in through Elements, but
also the Organizer catalog with all the
| | 00:09 | information that it
contains about your media files.
| | 00:12 | Elements makes backing up both the
files and the catalog so easy that there's
| | 00:17 | really no excuse not to do it regularly.
| | 00:20 | You don't have to rely on external
backup schemes or third-party software,
| | 00:24 | because Elements offers its own backup
features and they're really easy to use.
| | 00:29 | There are two different
ways to back up from Elements.
| | 00:32 | In this movie, I'll cover how to back
up to physical media like CDs, DVDs, or
| | 00:37 | external hard drives.
| | 00:39 | Later in the course when I'm covering
online services, I'll show you how you can
| | 00:43 | use Elements to back up
to an online account too.
| | 00:46 | I suggest that you do both,
but at least do one or the other.
| | 00:50 | To start your first backup to an
external drive, to CDs, or to DVDs, go up
| | 00:55 | to the File menu in the Organizer, and
choose Backup Catalog to CD, DVD or Hard Drive.
| | 01:03 | That opens the backup wizard that walks you
through just a couple of easy steps to back up.
| | 01:08 | You do have to make one choice here, and
that is whether you want a full backup,
| | 01:13 | which is the best choice the first time
that you back up a catalog, or whether
| | 01:17 | you want an incremental backup, which
is the best choice from then on, because
| | 01:22 | incremental backup backs up only files
that you've changed, or that you've added
| | 01:26 | to your catalog since the last backup.
| | 01:29 | Since this is my first backup of this
catalog, I'll make sure that Full Backup
| | 01:33 | is selected here and then I'll click Next.
| | 01:37 | Here in Step 2, I'll select the
drive to which I want to back up.
| | 01:41 | I have a small hard
drive attached to my E drive.
| | 01:45 | So I'm going to click on the E drive,
and if I had a particular part of that E
| | 01:50 | drive to which I wanted to back up,
I could click this Browse button, and
| | 01:54 | navigate to the area of the E
drive to which I wanted to back up.
| | 01:58 | But I'm just going to back up to the
top level of my E drive, and so I'm
| | 02:02 | going to click Done.
| | 02:04 | By the way, the drive to which you will
back up won't always be called the E drive.
| | 02:08 | That depends on the setup of your computer.
| | 02:12 | Then Elements goes ahead
and makes the backup for me.
| | 02:18 | When the backup is finished,
Elements tells me that the backup has been
| | 02:21 | successful, and I'll click OK.
| | 02:24 | That's all there is to it.
| | 02:26 | Now that I've made that backup, I have
insurance in case my computer crashes or
| | 02:31 | is lost or stolen, I can restore this
entire catalog and the contents of this
| | 02:36 | catalog that are on my computer or
were on my computer, by just attaching the
| | 02:40 | external drive or disk to which I
backed up, making sure it's turned on, and
| | 02:45 | then going up to the File menu at the
top of the screen, and choosing Restore
| | 02:49 | Catalog from CD, DVD or Hard Drive.
| | 02:52 | But I'm not going to do that
right now, I'll move off of that menu.
| | 02:56 | Now sometimes you may have just one or
two files in Elements that you want to be
| | 03:01 | sure that you have some backup for.
| | 03:03 | In that case, you can copy just those
files to a removable disk like a hard
| | 03:08 | drive, or a CD, or DVD.
| | 03:10 | To do that, just select one or more
photo thumbnails in the Photo Browser and
| | 03:15 | then go up to the File menu and
choose Copy/Move to Removable Disk.
| | 03:21 | In this dialog box, don't check Move
Files or the actual high-resolution photos
| | 03:26 | will be deleted from your hard drive.
| | 03:29 | Instead, I'm just going to click Next and
in Step 2, select the destination drive.
| | 03:35 | You can browse to a particular path on
that drive or you can just click Done.
| | 03:41 | After the selected files are copied,
you'll see a message like this and you can
| | 03:45 | click OK, and OK again.
| | 03:48 | At the beginning of this movie, I
mentioned that there is another backup
| | 03:51 | feature in Elements 8, and that's the online
backup system that's involved with Photoshop.com.
| | 03:58 | The online backup system gives you the
capability to back up and synchronize
| | 04:02 | your files between your computer and
an online space and between computers.
| | 04:08 | I'll be covering all that later on in
this course, but I do want to emphasize
| | 04:12 | that even if you do back up online, I
also recommend that you use the backup
| | 04:16 | method to physical media
that I've shown you here.
| | Collapse this transcript |
|
|
3. Organizing and Finding PhotosApplying keyword tags| 00:00 | Keyword Tags are one of the most
powerful ways to organize and find photos in
| | 00:04 | an Organizer catalog.
| | 00:06 | A keyword tag is a subject matter label that
you apply to thumbnails in the Photo Browser.
| | 00:12 | The beauty of tagging is that you can
apply multiple tags to a single photo, so
| | 00:17 | that you have more than one way
to find the same photograph later.
| | 00:20 | In this movie, I'll cover how to create,
organize, and apply keyword tags manually.
| | 00:26 | Tagging is done from the Keyword Tags panel.
| | 00:29 | If you've clicked on the Organize
tab at the top of the Task pane in your
| | 00:32 | Organizer, you'll see the
Keyword Tags panel down here.
| | 00:36 | In the Keyword Tags panel, you'll see
some suggested categories in which you can
| | 00:40 | organize the keyword tags
that you're going to make.
| | 00:43 | There is a People category, and if I
click the arrow to the left of that, you'll
| | 00:46 | see some pre-built
subcategories for Family and Friends.
| | 00:51 | There's also a Places category,
Events category, and Other category.
| | 00:55 | But you can create your own categories
in which to organize keyword tags, as
| | 00:59 | I'll show you in a moment.
| | 01:00 | Now how do you create a keyword tag?
| | 01:03 | Well, there is a new way
to do that in Elements 8.
| | 01:05 | I think it's pretty efficient,
because it allows you to create and apply a
| | 01:09 | keyword tag, all at the same time.
| | 01:11 | So let's say that I want to add a
keyword tag to the photos of the old car that
| | 01:16 | reminds me where I took these photos.
| | 01:18 | I'm going to select all photos of the
old car here by clicking on the first one
| | 01:23 | holding the Shift key and clicking on
the last one, the photo of the headlight.
| | 01:28 | That selects all the car photos in between.
| | 01:30 | Now, I'm going to create a keyword
for the state in which I took these
| | 01:34 | photos, which is Colorado.
| | 01:36 | I'll move to the text field at the top of
the Keyword Tags panel, and I'll click there.
| | 01:41 | You can ignore the menu that
appears for now, as I type the new keyword
| | 01:45 | Colorado in this textbox.
| | 01:47 | As I type that keyword, Elements realizes that
it's a new tag and it tells me so right here.
| | 01:53 | Now at the very same time, I can apply
that new tag to these selected photos in
| | 01:58 | the Photo Browser by clicking the
Apply button, here on the right side of the
| | 02:02 | Keyword Tags panel, like this.
| | 02:04 | Now each one of the car
photos has an orange tag on it.
| | 02:09 | If you can't see that orange tag in
your Photo Browser, then go up to the Zoom
| | 02:13 | slider at the top of the Organizer and
drag slightly to the right to make the
| | 02:17 | photo thumbnails a little bit bigger.
| | 02:19 | So, that's how you can create a
brand-new keyword tag and apply it to
| | 02:22 | photos, all in one step.
| | 02:25 | Next, I'd like to show you how to
apply an existing keyword tag to photos.
| | 02:29 | So let's say that I want to apply that
Colorado tag to these four photos too.
| | 02:34 | First, I'm going to click in a blank
area of the Photo Browser to deselect, and
| | 02:38 | then I'm going to select these four
photos of old objects, by clicking on the
| | 02:42 | first, holding the Shift key,
and then clicking on the last.
| | 02:46 | To apply that existing Colorado tag to
these photos, I'll move over to that text
| | 02:51 | field in the Keyword Tags
panel again, and click there.
| | 02:54 | When I do, I get this menu of
all the existing keyword tags.
| | 02:58 | I could come up to the menu and click
on the Colorado tag, or if I didn't see
| | 03:03 | it there because it was down in the list,
then I could just start typing the word Colorado.
| | 03:08 | As soon as I type just a few letters,
Elements tries to complete that word for
| | 03:13 | me and it shows me the
Colorado choice here in the menu.
| | 03:17 | So now I'll click on Colorado and
then I'll click the Apply button.
| | 03:21 | That applies the existing
keyword to these four photos as well.
| | 03:25 | Then I'll click in a blank area
of the Photo Browser to deselect.
| | 03:28 | Now let's talk about how to organize
keyword tags in the Keyword Tags panel.
| | 03:33 | Imagine that you have lots of keyword tags here.
| | 03:36 | It might help to organize them
into categories and subcategories.
| | 03:39 | Notice that the Colorado tag that I
created by default landed inside of
| | 03:44 | the Other category.
| | 03:45 | But it's really a place name, so here's how
I can get this tag into the Places category.
| | 03:52 | All I have to do is click on the
Colorado tag in the Keyword Tags panel and drag
| | 03:56 | up to the Places category and release my mouse.
| | 03:59 | That not only moves the tag here in the
Keyword Tags panel, but it also changes
| | 04:04 | the color of the tag on each of the
photos to which that tag was applied, so
| | 04:09 | that the color matches the Places category.
| | 04:12 | Now let's say that I want to get more
specific about my tagging, and I want to
| | 04:16 | tag some of these photos with
the city in which I took the photo.
| | 04:19 | I took the car photos in Boulder, Colorado.
| | 04:23 | So the first thing I'm going to do
here is to change the Colorado tag to a
| | 04:27 | subcategory of the Places category, and
then I'll make a Boulder tag and put it
| | 04:31 | in the Colorado subcategory.
| | 04:33 | So here's how that works.
| | 04:35 | I'm going to right-click on the
Colorado keyword tag in the Keyword Tags
| | 04:39 | panel, and from the menu that appears,
I'll choose, Change Colorado keyword
| | 04:44 | tag to a sub-category.
| | 04:46 | It's still a keyword tag.
| | 04:47 | If I move my mouse over any of these
photos, it still tells me that the Colorado
| | 04:51 | keyword tag is attached, but it's a
subcategory for purposes of organization
| | 04:56 | here in the Keyword Tags panel.
| | 04:58 | Now, I'm going to select those car
photos again by clicking on the first,
| | 05:02 | holding the Shift key, and
clicking on the last of the car photos.
| | 05:06 | And then I'll make a new keyword tag in
the Keyword Tags panel, by clicking in
| | 05:11 | that text field, and typing Boulder.
| | 05:14 | Then I'll click Apply.
| | 05:16 | Then I'm going to take that new Boulder
tag out of the Other category and drag
| | 05:20 | it up on top of the Colorado
subcategory and release my mouse.
| | 05:25 | So now I've got a category Places with a
subcategory Colorado and a keyword tag Boulder.
| | 05:32 | If I move my mouse over the Tag icon on
any of these photos, it tells me that I
| | 05:37 | have both a Colorado and a
Boulder tag attached to each photo.
| | 05:41 | So I could search for either one of
those keyword tags and it would bring up all
| | 05:46 | of these car photos.
| | 05:47 | Earlier I mentioned that you aren't
limited to using the keyword tag categories
| | 05:52 | that you see here in the Keyword Tags panel.
| | 05:54 | So how do you create a
new Keyword Tags category?
| | 05:58 | To do that, I'll go over to the Keyword
Tags panel, and I'm going to click this
| | 06:01 | white arrow that's to the
right of this green symbol.
| | 06:05 | That opens a menu where I
can choose a new category.
| | 06:08 | In the Create Category dialog box,
I'm going to name this category.
| | 06:13 | I'm going to make a category for
keeping track of various parts of cars in all
| | 06:17 | of my photos of antique cars.
| | 06:19 | So I'll call this category, Car Parts,
and I'm going to choose a color for the
| | 06:25 | Car Parts tag by clicking
the Choose Color button.
| | 06:29 | I'll choose a purple and I'll click OK.
| | 06:31 | Then I'll select a category icon.
| | 06:34 | I can click-and-drag here to see the
various icons that come with the program.
| | 06:38 | I'm going to take this
purple icon and I'll click OK.
| | 06:41 | That creates a brand-new category at the
bottom of the Keyword Tags panel for Car Parts.
| | 06:48 | Now I'm going to make a couple of
keyword tags to put in his category.
| | 06:52 | I'll click in the text field at the top
of the Keyword Tags panel, and I'm going
| | 06:57 | to type, headlights.
| | 07:00 | Then I'm going to move into the Photo
Browser, and I'm going to select all of
| | 07:05 | the images that have headlights in them.
| | 07:07 | So I'll click on this first image of
the old car, and then I'll hold the Ctrl
| | 07:11 | key, and click on this one, and
this one, and this one, and this one.
| | 07:17 | And if you remember holding the Ctrl key
allows me to select thumbnails that are
| | 07:21 | not right next to each
other in the Photo Browser.
| | 07:24 | And finally, I'll go back to the
Keyword Tags panel and I'll click Apply.
| | 07:28 | You can see that headlights
keyword tag in the Other category here in
| | 07:32 | the Keyword Tags panel.
| | 07:34 | To get that keyword tag into the Car
Parts category, I'll just click on it, and
| | 07:39 | drag it down to Car Parts, and release.
| | 07:42 | Then I'm going to click in a blank area of
the Photo Browser to deselect those images.
| | 07:46 | I'm going to do that one more time,
clicking in the text field at the top of the
| | 07:50 | Keyword Tags panel, and this time I'm
going to create a keyword tag for tires.
| | 07:55 | In the Photo Browser, I'll click
on this image that contains a tire.
| | 07:59 | I'll hold down the Ctrl key and click
on this image, and then I'll click the
| | 08:03 | Apply button in the Keyword Tags panel.
| | 08:06 | Finally, I'll drag the new tires
keyword tag from the Other category into
| | 08:11 | the Car Parts category.
| | 08:13 | So that's how you can create and apply
keyword tags and organize your keyword
| | 08:18 | tags into categories and subcategories.
| | 08:21 | Now remember, the whole purpose of
creating keyword tags and applying them to
| | 08:25 | photos is to make it easier to
find particular photos later.
| | 08:29 | And that's what I'll show you how to do
in an upcoming movie in this chapter.
| | Collapse this transcript |
| Finding photos by keyword tags| 00:00 | The reason to apply keyword tags to
photos and other media files in the
| | 00:04 | Organizer is so that you can use those
keyword tags to search for your files by
| | 00:10 | subject matter later, and that's what
going to show you how to do in this movie.
| | 00:13 | In the last movie, I applied some
keyword tags to the photos that you see here.
| | 00:18 | To search by some of those tags I'm
going to move over to the Keyword Tags
| | 00:22 | panel, and I'm going to start out by
searching for all of the photos that have
| | 00:27 | the keyword tag headlights attached to them.
| | 00:29 | I attach this tag to all the photos
of the cars that display headlights.
| | 00:35 | To perform that search all I have to do
is click in this Search box to the left
| | 00:40 | of the headlights Keyword Tag.
| | 00:42 | In the Photo Browser I now see
only those photos with this tag.
| | 00:46 | I'll move my mouse over the purple tag
on a couple of these, so that you can
| | 00:50 | see the pop-up which confirms that these
photos have the Keyword Tag headlights attached.
| | 00:56 | That's not the only Keyword Tag
that's attaches some of these photos, for
| | 01:00 | example this photo also has the
Keyword Tag tires and it has the keyword tags
| | 01:05 | Colorado and Boulder, and that means
that I could find the same photo by
| | 01:10 | searching for a number
of different Keyword Tags.
| | 01:13 | So now I'm going to go back, and do
a search not for the photos with the
| | 01:17 | headlights Keyword T, but for
photos with the tires Keyword Tag.
| | 01:21 | So first I have to undo the headlight
search by clicking in the box to the left
| | 01:26 | of the headlights Keyword Tag.
| | 01:27 | And then I'll click to the left of the
tires Keyword Tag, and that shows me just
| | 01:32 | the two photos that have the
tires tag attached to them.
| | 01:35 | I'm going to undo that search,
because I want to show you what happens if I
| | 01:40 | click in this box to the
left of the Car Parts category.
| | 01:44 | I've put both the headlights tag and
the tires tag inside of this one category.
| | 01:49 | So when I click there, I see all of the
photos that have either the headlights tag
| | 01:55 | or the tires tag or both the
headlights and the tires tags.
| | 02:02 | What if I wanted to see only photos that
have both the headlights and the tires tag?
| | 02:08 | To do that I'll undo the Car Parts search.
| | 02:10 | I'll search for those photos that have
headlights, and then I won't undo that
| | 02:14 | search, instead I'll add to it by
clicking in the search field to the left of
| | 02:19 | the tires Keyword Tag, and that limits
the results to just this single photo
| | 02:23 | that has both the headlights and the tires tag.
| | 02:26 | There are some more search
options up here under the Options menu.
| | 02:30 | One of the things I can do from this menu is to
view results that don't match my current search.
| | 02:36 | So if I choose that option, Elements
shows me all of these thumbnails with a
| | 02:40 | little red icon in the top left corner,
meaning that they're not responsive
| | 02:44 | to my current search.
| | 02:46 | These thumbnails don't have both
the headlights and the tires Keyword
| | 02:49 | Tags attached to them.
| | 02:51 | I'm going to undo this search, and
then I'm going to do it again, clicking to
| | 02:55 | the left of the headlights
and the tires Keyword Tags.
| | 02:59 | This time I'll go back to the
Options menu to show you another choice.
| | 03:02 | Show Close Match Results.
| | 03:05 | If I choose that, Elements adds to that
single file that was directly responsive
| | 03:10 | to this search with some other photos,
which are a close match, and these photos
| | 03:15 | have a blue check mark in the top left corner.
| | 03:18 | You can see that the photos it's
returned have either the headlights or the
| | 03:22 | tires or both tags attached to them.
| | 03:25 | So those are some ways that you
can search for photos by Keyword Tag.
| | 03:29 | There is one more way to find photos
by Keyword Tags and that's using the
| | 03:33 | Keyword Tag cloud that's brand-new
in Photoshop Elements 8. I'll show you
| | 03:39 | that in the next movie.
| | Collapse this transcript |
| Finding photos with the Keyword Tag Cloud| 00:00 |
As you continue to work with a catalog
outside of this course, eventually
| | 00:04 |
your list of Keyword Tags is going to get
longer and longer, and at some point
| | 00:08 |
it may be so long that it's really not
very useful anymore, no matter how you try
| | 00:13 |
to organize it into
categories and subcategories.
| | 00:16 |
For that reason Adobe has given us
another way to view and search on keyword
| | 00:21 |
tags and that's using the new Keyword Tag
Cloud View, here in the Keyword Tags panel.
| | 00:27 |
To activate that view I'm going to go
to these icons at the top of the Keyword
| | 00:30 |
Tags panel, and I'll click on
the View Keyword Tag Cloud icon.
| | 00:35 |
Now in the Keyword Tags panel I can see
the same Keyword Tags that I saw under
| | 00:40 |
the Hierarchical List View, except that
those clouds are arranged in a different pattern.
| | 00:45 |
You can see that they are alphabetical,
and that some of the tags are displayed
| | 00:49 |
with a larger font than others.
| | 00:51 |
The size of the font on a particular
tag means that I've applied that tag to
| | 00:56 |
more photos than others.
| | 00:58 |
So in this view I can see
which tags I'm using the most.
| | 01:01 |
The other thing to note here is that
this cloud is displaying not only tags that
| | 01:05 |
I've applied to photos in my catalog
but all the tags that are in my Keyword
| | 01:10 |
Tags panel, even those that I haven't used.
| | 01:13 |
From the Keyword Tag Cloud View I
can search for those photos that
| | 01:17 |
contain particular tags.
| | 01:19 |
So let's say that I want to see only
those photos that have the headlights tag.
| | 01:24 |
Here in this cloud I'll just click once
on the headlights tag, and in the Photo
| | 01:29 |
Browser I can now see only those
photos that contain that particular tag.
| | 01:35 |
If I want to go back to see all my
photos I'll click on that tag again.
| | 01:39 |
So I think that the Keyword Tag Cloud
View is going to come in very handy, but
| | 01:44 |
if you prefer the traditional
hierarchical view of the keyword tags you can
| | 01:49 |
always go back to that view by clicking
this icon here at the top of the Keywords Tags panel.
| | 01:56 |
| | Collapse this transcript |
| Applying Smart Tags| 00:00 | Photoshop Elements 8 has a new
feature called Smart Tags that originated in
| | 00:05 | Premiere Elements, the video editing application.
| | 00:08 | Elements is now able to analyze the
content of images and other media files for
| | 00:14 | characteristics like image quality,
focus, motion and even content.
| | 00:19 | If it finds one or more of those
characteristics, it'll add one or more Smart Tags
| | 00:24 | to the image thumbnail in the Organizer,
| | 00:27 | labeling that file with that
characteristic, and then you can search on
| | 00:31 | Smart Tags just like you can search on any
Keyword Tags, to find all of the files that
| | 00:36 | have that characteristic.
| | 00:38 | So for example you might use this
feature to find all of the images in your
| | 00:42 | catalog that are in focus.
| | 00:44 | Let's take a look at the Smart
tags that come with Photoshop.
| | 00:47 | I'm going to go to the Keyword Tags
panel and there's the Smart Tags category.
| | 00:52 | I'm going to click the arrow to the left
of Smart Tags and I'm going to scroll down.
| | 00:56 | Here you can see there are tags for
Levels Of Quality, there are Audio tags,
| | 01:01 | there's a tag for Blurriness, levels
of Contrast, In Focus, Motion and more.
| | 01:08 | If I click the white arrow to the left
of any one of the categories here you can
| | 01:12 | see more Smart Tags.
| | 01:14 | In the Faces category
there is a tag for Closeups.
| | 01:17 | Another for Long Shots.
| | 01:19 | There is a tag for One Face, based
on the content of an image or file.
| | 01:24 | A tag for Two Faces
and Small or Large Groups.
| | 01:28 | So how are these Smart Tags applied to
files in a catalog? Well that happens
| | 01:32 | automatically if you run the Content
Analysis Engine on your photos and that's
| | 01:37 | what I'm going to do now.
| | 01:39 | First I'm going to select the photos
on which I'd like Elements to run the
| | 01:42 | Content Analysis Engine.
| | 01:44 | I'm going to select all four of the
photos in the 03_04 folder by clicking the
| | 01:49 | path at the top of that area of the
Photo Browser, and then I'm going to go up
| | 01:54 | to the Edit menu and
choose Run Auto Analyzer.
| | 01:59 | Elements is now analyzing the
content of these four images.
| | 02:03 | Looking for any of the characteristics
in the Smart Tags. When it's done I see
| | 02:08 | this prompt and I'll click
OK to dismiss the message.
| | 02:11 | Notice that each one of these images
now has a purple icon that indicates that
| | 02:16 | Elements has automatically put one
or more Smart Tags on that image.
| | 02:20 | Let's take a look at these one by one.
| | 02:22 | The first image is obviously blurry.
| | 02:25 | To see whether Elements was able to
detect that, I'll move my mouse over
| | 02:28 | that purple tag, and indeed one of the Smart
Tags attached to this image is the Blurred tag.
| | 02:34 | Let's look at the Smart
tag icon on the next image.
| | 02:37 | Elements thinks that this one is a
Long Shot and that it has one face in it.
| | 02:42 | Well you might consider this a long
shot, it's certainly not a close-up, but
| | 02:46 | there are no faces in this images.
| | 02:48 | So something in this image confused
Elements' Content Analysis Engine, and
| | 02:53 | I show you got to make the point that
that content analysis isn't perfect.
| | 02:57 | Let's see how Elements
did on the next image here.
| | 03:01 | Here it found a Long Shot,
and it found One Face.
| | 03:06 | Well at first you might be confused,
because there aren't any people in this photo,
| | 03:09 | but there is a painting,
and in that painting there is a face.
| | 03:13 | So I would give Elements good marks on that one.
| | 03:16 | Now here's an image that I think is too light.
| | 03:19 | Let's see what Elements thought.
I'll move my mouse over the purple icon and
| | 03:24 | I do not see a Too Bright tag on this image.
| | 03:27 | So I wouldn't say that
Elements got that one exactly right.
| | 03:30 | So what's the purpose of tagging images
with Smart Tags? Just like Keyword Tags,
| | 03:35 | Smart Tags are searchable so you can
use them to find all of the images that
| | 03:40 | have one of these characteristics.
| | 03:42 | So let's say for example that I want
to see which images are in focus among
| | 03:47 | those that Elements analyzed for me.
| | 03:50 | To search on a Smart Tag I'll just move
over to the Keyword Tags panel and I'm
| | 03:55 | going to search on the In Focus Smart
Tag by clicking inside the box to the
| | 03:59 | left of that Smart Tag.
| | 04:01 | Now in the Photo Browser I can see the
three images that Elements automatically
| | 04:06 | tagged with this In Focus Smart Tag.
| | 04:09 | So particularly if you're including
video in your Elements Organizer, you might
| | 04:14 | give the Smart Tags feature a try.
| | 04:16 | If you don't think this is a useful
feature for you, you don't have to worry
| | 04:19 | about it, because Elements won't add
Smart Tags your files unless you explicitly
| | 04:25 | come in and run the Auto Analyzer.
| | Collapse this transcript |
| Automatically tagging people in photos| 00:00 | An exciting new feature in Elements 8
is Elements' ability to automatically
| | 00:04 | detect faces in your photographs and
then to add tags to those photographs
| | 00:09 | identifying the faces in them.
| | 00:11 | You give Elements some information
about the people that you often photograph
| | 00:14 | and it does the bulk of the
work tagging those photos.
| | 00:18 | Rather than have Elements tag the
entire catalog, I'm going to select some
| | 00:21 | photos in which to run the
People Recognition feature.
| | 00:24 | I'll click on the first of those photos,
I'll hold the Shift key and I'll click
| | 00:28 | on the last of those to select all in between.
| | 00:30 | Then I'm going over to the Keyword Tags
panel and I'm going to click the start
| | 00:35 | people recognition icon here.
| | 00:37 | Elements goes ahead and
analyzes the selected photos.
| | 00:40 | This can take several minutes.
| | 00:42 | Longer if you've got RAW
files rather than JPEG's.
| | 00:45 | When the analysis is done, Elements
opens these People Recognition window,
| | 00:49 | showing one of the selected
photographs with a white rectangular bounding box
| | 00:54 | around the face in the
photograph and the question 'Who is this?'
| | 00:57 | I will tell Elements the answer by
clicking on the 'Who is this' prompt to open
| | 01:01 | his text editing field, where I'll type Andrew.
| | 01:04 | I'll press enter on my keyboard and
that tags this photo with Andrew's name and
| | 01:10 | in the Keyword Tags panel, it
creates a brand new Keyword Tag for Andrew.
| | 01:14 | That Keyword Tag by default is in the
People category, but I could move it to
| | 01:18 | another category by clicking-and-
dragging if I wished or I could create a whole
| | 01:21 | new category for my People
Recognition Keyword Tags.
| | 01:25 | But I'm going to leave the tag where it
is and I'm going to move on to the next
| | 01:29 | photo by clicking the arrow on the
right side of the People Recognition window.
| | 01:32 | Now this is also Andrew and Elements
recognizes him based on the information
| | 01:38 | that I have it about what
Andrew looks like in the last photo.
| | 01:41 | So it asks "Is this Andrew?" and
because it is I'll click the green checkmark.
| | 01:45 | If it was not Andrew, I would click the
red x but I'll click the green checkmark
| | 01:50 | and that tags this photo
of Andrew with his name.
| | 01:52 | Now I'll go on to the next image by
clicking the arrow on the right of the
| | 01:56 | People Recognition window.
| | 01:58 | This is a photo of my son Coby.
| | 02:00 | Notice that there is no white bounding
box around this photo at all and that's
| | 02:05 | because Elements doesn't
even think that this is a face.
| | 02:07 | It doesn't recognize it as a face at all,
because it's such an extreme close-up.
| | 02:11 | When that happens you can tell
Elements that yes, this is a face, by going
| | 02:16 | down to Add Missing Person button and
clicking there and that adds this white bounding box.
| | 02:21 | I can click in the middle of the
bounding box and move it into place over the face
| | 02:25 | and then I can use any of the anchor
points to drag out the white bounding box,
| | 02:30 | so it covers the face.
| | 02:32 | And now I'll click on that 'Who is this'
prompt and I'll tell Elements that this
| | 02:36 | is my son Coby, and I'll
press Enter on the keyboard.
| | 02:40 | Now, I'm going to go to the next photo
by clicking the arrow on the right and
| | 02:44 | before I tag this photo, notice that
there is now a new Coby Keyword Tag in the
| | 02:48 | People category in the Keyword Tags panel.
| | 02:50 | Now this is somebody else.
This is my daughter Kate.
| | 02:53 | So, I'll click on 'Who is this' and
I'll type her name, Kate, and press Enter.
| | 02:58 | And there is now a new tag for Kate as well.
| | 03:00 | I happened to know that I have more
photos of Kate among the selected photos.
| | 03:04 | So, rather than go through the photos
one by one, I'm going to double-click
| | 03:08 | inside of this bounding box around
Kate's face after I've tagged this particular photo.
| | 03:13 | And that opens this window
with two tabs Unconfirmed and Confirmed.
| | 03:19 | In the Unconfirmed tab, Elements
is saying, which of these are Kate?
| | 03:23 | If it thinks that a photo is Kate, that
thumbnail is clear, as you see these two here.
| | 03:28 | And these do happen to be Kate,
so I'm going to leave them alone.
| | 03:30 | The next photo also happens to be Kate,
although Elements thinks it might not be.
| | 03:34 | So, I'm going to move my mouse over
that thumbnail and that changes the red x
| | 03:38 | to a green checkmark and I'm going to
click that, confirming that this is also Kate.
| | 03:44 | None of the other photos here are Kate.
| | 03:46 | These are Coby and these
three are my friend Roddy.
| | 03:49 | So, I'm going to leave the red x on top of
those photos, meaning those are not Kate.
| | 03:53 | Then I'm going to check the Confirmed
tab here and in this tab Elements is
| | 03:58 | asking me a variation on that
question, Are any of these not Kate?
| | 04:02 | Well, if this was not Kate, I would
move my mouse over it and then click the red x,
| | 04:06 | but it is Kate.
So, I'll leave it alone.
| | 04:09 | Now that I'm done in this Confirming
Kate window, I'll click Save to save all
| | 04:14 | of that information into Elements
People Recognition system and that takes me
| | 04:18 | back to the People Recognition window
where I'll go on to the next photo by
| | 04:22 | clicking the arrow here.
| | 04:24 | Now Elements recognizes this as Kate,
so I'll click the green checkmark.
| | 04:28 | Then I'll go to the next photo.
| | 04:30 | It also recognizes this as Kate,
even though these photos were all taken
| | 04:33 | several years apart from one another
and on to the next photo this is my son
| | 04:38 | Coby, so I'll click here.
| | 04:40 | Elements suggest that it
might be Andrew but it's not.
| | 04:43 | I'll click Coby and press Enter
and I'll go to the next photo.
| | 04:48 | Now this is interesting.
| | 04:49 | Here is a photo with two faces and the
beauty of the tagging system is that I
| | 04:53 | can identify both faces in this photo,
so that later if I search for all photos
| | 04:57 | of Kate, it would bring this photo up,
even though Coby is in the photo also and
| | 05:01 | if I search for all the photos of Coby,
it would bring the same photo up as
| | 05:04 | a result of that search.
| | 05:06 | So first, I have my mouse over the
bounding box on the right, which is
| | 05:09 | around Coby's face.
| | 05:10 | It asks, "Who is this?"
| | 05:12 | I'm going to click on 'Who is this'
and I get a suggestion, Kate or Coby.
| | 05:16 | It's Coby, so I'll click Coby.
| | 05:18 | Now on the left-hand bounding
box Elements knows who this is.
| | 05:21 | I have given it enough information
about Kate that it recognizes her.
| | 05:25 | It asks is this Kate?
| | 05:27 | I'll click the green checkmark to say
yes, and now I've got both of the faces
| | 05:31 | in this photo tagged.
| | 05:32 | I am going to click the right-hand arrow.
| | 05:35 | Now here I have some photos of my friend Roddy.
| | 05:38 | So, I'll identify this is Roddy.
| | 05:40 | No, it's not Andrew.
| | 05:41 | It's Roddy and I'll press Enter and
that creates a Keyword Tag for Roddy.
| | 05:45 | I'll go on to the next photo of Roddy.
| | 05:48 | Elements recognizes Roddy, so I'll click
green checkmark and I'll go to the next photo.
| | 05:53 | This is also Roddy. For some
reason it didn't recognize this one
| | 05:56 | but it suggests his name, so I'll
select it and I'll go to the next one.
| | 06:01 | And here is a photo that
Elements does not recognize as a face.
| | 06:05 | That's often the case when you have a
photo in which both eyes are not showing,
| | 06:09 | a side view or a view looking down like
this or a view in which the subject is
| | 06:14 | relatively far away.
| | 06:15 | This is a face and it's Roddy,
so I'll click Add Missing Person.
| | 06:19 | I'll click-and-drag in the bounding box,
so it's around Roddy's face and I'll
| | 06:24 | use the anchor points just around his face.
| | 06:26 | Then I'll click 'Who is this' and
I'll tell Elements that this is Roddy.
| | 06:32 | Now notice as soon as I started typing
Roddy's name, because Elements knows his name,
| | 06:35 | it completed the name for me.
| | 06:37 | I don't even have to finish typing it.
| | 06:39 | I'll just press Enter on the keyboard.
| | 06:41 | I'll click the arrow one more time.
| | 06:43 | Elements sees this as a face, but it
doesn't know it's Roddy, so I'll type Roddy
| | 06:48 | and I'll press Enter.
| | 06:50 | And I'll click one more time and now
it recognizes this is Roddy, so I'll
| | 06:54 | click the checkmark.
| | 06:55 | Now, I'll click one more time but I'm at
the end of the photos that I had selected.
| | 07:00 | So, I'm done.
| | 07:01 | I'll click the Done button.
| | 07:02 | Now sometimes at this point if
Elements still has a question about a photo or two,
| | 07:07 | it'll show me some further prompts.
| | 07:09 | But this time around Elements was able
to tag all of these images for me and so
| | 07:13 | it takes me back to the Organizer, where
I can see that each of the thumbnails I
| | 07:17 | selected now has the appropriate People tag.
| | 07:20 | There is Roddy, there is
Kate, there is Coby and so on.
| | 07:25 | So if you're someone who shoots
lots of photographs of people,
| | 07:28 | this People Recognition feature can
save you time and effort when you're
| | 07:31 | tagging your photos.
| | 07:32 | If you have just a few people photos,
it may be easier for you to create and
| | 07:36 | apply tags manually, as I
showed you how to do earlier.
| | 07:39 | But in the long run, if you persevere
using the People Recognition photos in
| | 07:43 | a catalog, you will find that the
system finds more faces of the people that
| | 07:47 | you commonly shoot as its
recognition mechanism gets more information and
| | 07:52 | becomes more accurate.
| | Collapse this transcript |
| Applying star ratings| 00:00 | The star rating system in Elements
Organizer offers another way to organize and
| | 00:05 | then to search for particular photos.
| | 00:07 | I would like to use the star ratings to
isolate my very best photos and my very
| | 00:12 | worst photos, my picks and my rejects.
| | 00:14 | Here's how I do it.
| | 00:16 | Here in the Organizer I'll take a look
at some of the thumbnails and right away
| | 00:19 | I can see that some of
those are better than others.
| | 00:22 | I would like to add five
stars to my best photos.
| | 00:25 | So for example, I really like
this photo of the wheel down here.
| | 00:29 | To give this photo a five-star rating,
I'll just move my cursor over the
| | 00:32 | fifth star and when I'm ready, I'll
click there to set five stars as the
| | 00:37 | rating for that photo.
| | 00:38 | I also like this next photo, so I'll
click on the fifth star for that one and
| | 00:43 | the same is true of this photo.
| | 00:44 | I'll give that one 5 stars the same way.
| | 00:46 | Now here is a photo that I don't care
for very much and that I might want to
| | 00:51 | take off my hard drive eventually.
| | 00:53 | But for now, I'm just going to indicate
it as a reject by giving it only one star.
| | 00:58 | To do that, I'll move my mouse over the
first star on the left and I'll click to
| | 01:02 | set that as the rating.
| | 01:04 | I'm going to do the same for
this photo and for this one here.
| | 01:08 | So, now I have all my rejects labeled
with one star and my picks labeled with
| | 01:13 | five stars and I tend not to use the
stars in between, because if there are too
| | 01:18 | many stars in the rating system,
they kind of become meaningless.
| | 01:21 | Now, I can change the number of
stars that I apply to any photo.
| | 01:24 | So, let's say that I'm really not sure
if I want to completely reject this photo.
| | 01:30 | So, I'm going to take away the one
star that I gave it and to do that,
| | 01:34 | I'll just click on that one star and now there
are no stars applied to that particular photo.
| | 01:39 | When I'm satisfied with the way that
I've applied the stars my photos, I can
| | 01:43 | search on those stars.
| | 01:44 | So anywhere down the road, if I want to
see only my very best photos, I'll go up
| | 01:49 | to this menu at the top of the Organizer.
| | 01:51 | I'm going to click there
to show you the three choices.
| | 01:54 | I'm going to leave this set 'and higher'
and then I'm going to move to the stars,
| | 01:58 | to the left of that menu and I'm
going to click on the fifth star.
| | 02:02 | That causes Elements to show me
only those photos that I've rated with
| | 02:05 | five stars and higher.
| | 02:07 | And now let's say I want to see the
rejects, all of those that I'm considering
| | 02:11 | removing from my hard drive permanently.
| | 02:14 | To do that, I'm going to go back up
to this menu and I'm going to change it
| | 02:17 | from 'and higher' to 'only.'
| | 02:20 | And then, I'm going to change the
number of stars to just one, by clicking on
| | 02:25 | that first star and that causes
Elements to show me those two photos to which I
| | 02:30 | applied just one star and at this point
I might decide to hide them or to delete
| | 02:35 | them from my catalog as I have
shown you how to do in an earlier movie.
| | 02:38 | So, that's how easy it is to use
the star rating system in Elements.
| | 02:42 | Applying stars to your photo
thumbnails and then searching for
| | 02:46 | particular numbers of stars.
| | Collapse this transcript |
| Organizing photos in albums| 00:00 | Another way of organizing your photos in
the Organizer is to gather them into albums.
| | 00:05 | You can use albums in addition to
applying Keyword Tags, Star Ratings, Smart
| | 00:10 | Tags or any other way that
you are going to organize here.
| | 00:13 | When you add photos to an album, the
photos aren't actually moved on your drive.
| | 00:17 | The album just keeps track of where
they are and makes a virtual collection of
| | 00:22 | the photos in the album so that you
can easily access them altogether.
| | 00:26 | You can use albums to collect photos
into subject matter groups, like places you
| | 00:30 | visited on vacation, members
of your family or holidays.
| | 00:34 | You might also use albums to collect
photos that you're going to use in a
| | 00:37 | project like a slideshow or a photo book.
| | 00:40 | To make an album, I'll go to the Albums panel,
here in the Organize tab of the Task pane.
| | 00:45 | To create a new album, I'll go to the
arrow to the right of the green plus sign
| | 00:50 | and click there and choose New Album.
| | 00:52 | Here in the Album Details panel,
I'll give the album a name.
| | 00:55 | I'll type Kayaking in the Album Name field.
| | 00:58 | I'm going to leave the Album
Category at None because I haven't set up
| | 01:02 | any categories in which to put
similar albums and I'm going to uncheck
| | 01:07 | Backup Synchronize.
| | 01:08 | That tells Elements not to try to back
up this particular album online, or to
| | 01:13 | try to synchronize it online as part of
the photoshop.com online services that
| | 01:18 | I'm going to cover later in this course.
| | 01:20 | The next step is to drag some photo
thumbnails into the Content tab of this
| | 01:25 | Album Details panel.
| | 01:26 | I'm going to go into my photo browser
where I'm looking at the folder 0307 and I
| | 01:31 | have a number of kayaking photos here.
| | 01:33 | I'll select a couple of those by
clicking on one and then holding the Control
| | 01:37 | key and clicking on another and then another.
| | 01:41 | And then I'll click-and-hold-and-drag
on any one of those selected thumbnails
| | 01:46 | over into the Content tab
of the Album Details panel.
| | 01:50 | And then I released my mouse and I
clicked off those three photo thumbnails
| | 01:54 | in the Content panel.
| | 01:55 | So that's now the content of this album.
| | 01:58 | At this point maybe I'll decide that I want yet
another photo in this album, so I can add one.
| | 02:03 | I will just go back over to the photo
browser click on another photo thumbnail
| | 02:07 | and drag it into the Content tab.
| | 02:09 | If I want to delete one of these photos,
I can select it and then I can click
| | 02:14 | this minus sign down here to remove
that selected photo but I actually think,
| | 02:18 | I'm going to leave all four photos here
and now that I'm finished creating the
| | 02:22 | album, I'll click Done.
| | 02:24 | Notice that now in the albums panel,
there is a new Kayaking album and in the
| | 02:29 | photo browser, each one of the photos
that I included in that album has this
| | 02:33 | green icon on it indicating
that it's part of an album.
| | 02:37 | So, what can I do with this album,
what's the reason to have this album?
| | 02:40 | Well, one thing this album does for me
is to take me right to these particular
| | 02:44 | pictures, no matter where I'm in the Organizer.
| | 02:47 | So, I'm going to click-off of these
thumbnails and I'm going to go to the scroll
| | 02:51 | bar on the right side of the photo
browser and I'm going to scroll up.
| | 02:56 | So, let's say that some day in the
future, I'm looking at some other photos
| | 03:00 | elsewhere in the Organizer like this
and I decide that I'd like to see the
| | 03:04 | photos that I've put into the kayaking album.
| | 03:06 | All I have to do is click once on the
kayaking album in the albums panel and
| | 03:12 | that takes me immediately to the
portion of the photo browser that contains
| | 03:15 | those particular photos.
| | 03:17 | It also closed the column on the left,
showing me these particular photo
| | 03:21 | thumbnails in Thumbnail view.
| | 03:23 | So an album offers a quick way to
find photos that are important to you.
| | 03:27 | Another nice thing about an album is
that inside the album, I can rearrange the
| | 03:31 | order of the photographs and this
really is the only place in the photo browser
| | 03:35 | that that can be done.
| | 03:36 | So, for example, let's say that I want
this vertical photo to be the first one
| | 03:40 | in the album, all I have to do is
click on that thumbnail and drag it over
| | 03:44 | before the first photo at the album
and release my mouse and that changes the
| | 03:49 | order of the photos.
| | 03:50 | Now let's say that I want to see
all of the photos in my Organizer's
| | 03:54 | photo browser again.
| | 03:56 | To do that I'll go up to the Show All
button right here and I'll click and that
| | 04:00 | brings back the Organizer
in Folder Location view.
| | 04:03 | So, that's how you can use albums to
create a virtual collection of particular
| | 04:08 | photos in your Organizer.
| | Collapse this transcript |
| Organizing photos in Smart Albums| 00:00 |
Earlier I showed you how to make a
regular album in the Organizer, this kayaking
| | 00:04 |
album, into which I manually
dragged photos from the Photo Browser.
| | 00:08 |
There is another kind of album that you
can make in Elements and that's called
| | 00:11 |
a Smart Album. A Smart Album is one
that automatically fills itself based on
| | 00:17 |
rules that you set up.
| | 00:19 |
You might think of a Smart Album as a
kind of a saved search that automatically
| | 00:24 |
updates itself as you add new
photos that meet the rules you set up.
| | 00:28 |
In this movie, I'll show you how to
make a Smart Album that automatically
| | 00:31 |
updates to include all photos that bear a
particular Keyword Tag and have a high star rating.
| | 00:38 |
In other words, this Smart Album is
going to contain photos on a particular
| | 00:42 |
subject that I think are my
best photos from that group.
| | 00:45 |
I'm going to start by creating a new
Keyword Tag just as I have shown you how to
| | 00:49 |
do it in earlier movies.
| | 00:50 |
I would go to the Keyword Tags panel
and I'll click in his text field and I'm
| | 00:54 |
going to type Ventura and then I'm going
to come into the Photo Browser and here
| | 00:59 |
in folder 0308, I'm going to select
the photos that I took in Ventura.
| | 01:04 |
I will click on the first of those and
I'll hold down the Shift key and I'll
| | 01:08 |
click on the last of those.
| | 01:10 |
And then back in the Keyword Tags panel,
I'm going to click apply to apply that
| | 01:14 |
new Ventura Tag to each one of the four
photos as you can see here and then I'll
| | 01:19 |
go over to the Keyword Tags panel
where my Ventura tag has been created by
| | 01:24 |
default in the Other category.
| | 01:26 |
Because Ventura is a place, I'm going to
click on that tag and drag it up to the
| | 01:30 |
places category and release my mouse.
| | 01:34 |
I'm also going to give star ratings to a
couple of the photos that also have the
| | 01:38 |
Ventura Keyword Tag.
| | 01:40 |
I'll click off of all of these photo
thumbnails to deselect them and then I'm
| | 01:44 |
going to come up to this first photo
and I'm going to give it five stars by
| | 01:47 |
clicking on the fifth star here
underneath the photo thumbnail.
| | 01:51 |
I'll do the same with this photo over
here, as I've already showed you how to
| | 01:55 |
do in another movie.
| | 01:56 |
The Smart Album that I'm going to
make is going to contain all of the
| | 01:59 |
photos that have the Keyword Tag
Ventura and to which I've given five
| | 02:04 |
stars, my favorites.
| | 02:06 |
I'll go to the Albums panel to create
that Smart Album and I'll move up to the
| | 02:10 |
Plus sign and click the arrow next to
the Plus sign and choose New Smart Album.
| | 02:15 |
Here in the New Smart Album dialog box I'll
give this album a name by typing in the Name field.
| | 02:21 |
I'm going to call this Ventura Favorites.
| | 02:26 |
Then I'll move down to the Search Criteria
where I set up the rules for the Smart Album.
| | 02:31 |
Notice that that there are three menus here.
| | 02:33 |
I'm going to click on the first
menu and from that menu I'm going to
| | 02:36 |
choose Keyword Tags.
| | 02:38 |
I'll leave the conjunction and Include
and then I'll click on the last menu,
| | 02:42 |
which shows all of the Keyword Tags
that I have in my Keyword Tags panel.
| | 02:47 |
From there I'm going to choose the
Ventura Keyword Tag in the Places category.
| | 02:51 |
So, if you read this rule as a
sentence from left to right, it would say put
| | 02:56 |
in this Smart Album all photos that are tagged
with Keyword Tags that include the word Ventura.
| | 03:04 |
Now I'm going to add a second part to
this rule by clicking the Plus sign here
| | 03:08 |
on the right side of this dialog box.
| | 03:11 |
For the second part of the rule, I'll go
to the menu on the left and I'll change
| | 03:15 |
that from File Name to Rating.
| | 03:17 |
I'll leave the conjunction at Is and I'll
change this last menu from zero to five.
| | 03:25 |
So, reading this part of the rule it
says make sure that all the photos in this
| | 03:30 |
Smart Album have a rating that is five stars.
| | 03:33 |
I also want to come up to this area,
where I'm going to specify that both parts
| | 03:38 |
of this rule have to be met, so I
want to change this from or to and by
| | 03:42 |
clicking right here.
| | 03:43 |
Now that I'm all done setting up the
rules that will govern the Smart Album, I'm
| | 03:48 |
going to click OK and that causes
Elements to go out and find all the photos
| | 03:52 |
that have the Keyword Tag Ventura
and that have a rating of five stars.
| | 03:57 |
And you can see the results, these two
items right here in the photo browser.
| | 04:02 |
In a sense the Smart Album
is acting as a saved search.
| | 04:05 |
It's going to stay put over here in
the Albums panel right here, unless
| | 04:10 |
and until I delete it.
| | 04:11 |
And if I add any more Ventura photos
with five stars to my catalog, those will
| | 04:18 |
automatically show up in this Smart Album.
| | 04:20 |
Let me show you how that works.
| | 04:22 |
In the Photo Browser, I'm going to
click Show All and that brings back all of
| | 04:26 |
the photo thumbnails.
| | 04:27 |
I have a couple more Ventura pictures
here in the 0308 folder and I'm going to
| | 04:33 |
give one of those five stars by going
down to the stars underneath the photo
| | 04:37 |
thumbnail and clicking on the fifth star.
| | 04:40 |
Now when I go over to the Albums panel
and I click on my Ventura Favorites Smart
| | 04:45 |
Album, the Organizer shows me all of
the photos that are now in the Ventura
| | 04:50 |
Favorite Smart Album and that includes
this new third photo that's tagged with
| | 04:56 |
the Ventura Keyword Tag and
that also now has five stars.
| | 05:00 |
I use Smart Albums a lot in Elements.
| | 05:02 |
One of the things I use them for is to
find all photos with a keyword for each
| | 05:07 |
one of my children's names, so that
each one has his or her own Smart Album and
| | 05:12 |
as I import additional pictures of
each child and add Keyword Tags to those
| | 05:16 |
pictures, the pictures automatically
show up in the appropriate Smart Album.
| | 05:21 |
I also use Smart Albums to keep track of
which camera I've taken my photos with.
| | 05:25 |
Let me show you how I do that.
| | 05:27 |
I'm going to go back to the Albums
panel in the Task pane and at the top of the
| | 05:33 |
albums panel, I'll click the arrow to
the right of the green plus sign and I'll
| | 05:37 |
choose New Smart Album.
| | 05:39 |
In the New Smart Album dialog box,
I'll give this Smart Album a name.
| | 05:43 |
I'll call this one Canon camera and I'm
going to set just one rule here in the
| | 05:49 |
Search Criteria area.
| | 05:50 |
I am going to go to the first menu
and I'm going to choose Camera Make.
| | 05:55 |
I'll leave the conjunction at Contains
and then I'll go to this empty field here
| | 06:00 |
and I'm going to type Canon.
| | 06:03 |
Now this Smart Album is set up to show
me all the photos in the current catalog
| | 06:08 |
that I took with the camera of the Make Canon.
| | 06:11 |
I'll click OK, and in just a moment
Elements has made a New Smart Album here in
| | 06:16 |
the Albums panel, the Canon camera
album and in the Photo Browser, I can scroll
| | 06:22 |
down to see all of the photos
I've taken up with my Canon camera.
| | 06:26 |
I happen to have more than one camera.
| | 06:27 |
I have a point-and-shoot, I have another
SLR that's a Nikon and I have my iPhone.
| | 06:33 |
I could make a separate Smart Album
for each one of those in order to quickly
| | 06:36 |
access thumbnails for the photos
taken with the different kinds of cameras,
| | 06:41 |
right here in Elements Organizer.
| | 06:44 |
| | Collapse this transcript |
| Finding photos with Text Search | 00:00 | There's a lot of information in the
form of text that's associated with files
| | 00:05 | that are in your Organizer's photo browser.
| | 00:07 | Everything from file names
to keyword tags to dates.
| | 00:11 | The Text Search feature in Elements
8 lets you take advantage of all this
| | 00:15 | textual information to help you
find photos that you're after.
| | 00:19 | All of this takes place here in the Text
Search box at the top left corner of the Organizer.
| | 00:24 | Let's see how this works by clicking in that
box and I'm just going to type a word guitar.
| | 00:30 | Elements goes out and finds all of the
photos in the current catalog with the
| | 00:34 | word guitar in the titles, or in any
of the text associated with the files.
| | 00:39 | It looks like in this case guitar
was in the title of all the files
| | 00:43 | that Elements found.
| | 00:45 | And you'll notice Elements found
everything that has the word guitar in it, even
| | 00:50 | if the full word is guitars like
this or guitar1 or guitar2 or guitar3.
| | 00:56 | So this really a smart search feature.
| | 00:59 | Another thing that you can do with the
text search is to quickly search by date.
| | 01:05 | So if I know that I took some photos on
a particular day, say July 19, 2009,
| | 01:12 | I can come up to this Text field, I'll
select the text in the field there, and
| | 01:17 | I'll just type over it, 7/19/2009, and
there in the Photo Browser are all the
| | 01:25 | photos I took on that date.
| | 01:27 | There is new feature in the Text
Search field in Elements 8 and that is the
| | 01:32 | ability to limit the text that's
searched to just a keyword tag.
| | 01:37 | So for example, I'm going to
highlight 7/19/2009 so I can type over it.
| | 01:43 | And I'm going to type boulder.
| | 01:45 | That brings up all of the photos that
you see here including this photo right at
| | 01:51 | the bottom whose title is boulder.jpg.
| | 01:54 | The other thumbnails that you see
here don't include were boulder in their
| | 01:57 | titles, but rather they are tagged
with a keyword tag like this one with the
| | 02:02 | word boulder in the keyword.
| | 02:04 | So let's say that I don't
want this file to be in the mix.
| | 02:08 | I just want the files with the keyword boulder.
| | 02:11 | What I can do is start typing the word
boulder, and as soon as I do the Text
| | 02:16 | Search box suggests keywords that
start with the letter I typed including the
| | 02:21 | boulder keyword that I
created in an earlier movie.
| | 02:24 | So I'm going to click on that boulder
keyword and now I see only the files
| | 02:29 | that contain the keyword boulder and not
that one file that had boulder in its file name.
| | 02:34 | Another thing you can do in the Text
Search field is do conjunctive searches.
| | 02:38 | So I can search for everything that has tag
'boulder' and then I can continue to type here.
| | 02:43 | I'll type space and the word 'and' and
another space and I'll type the year 2007.
| | 02:50 | Now what I see here is all of the
photos with the keyword tag boulder that
| | 02:55 | were taken in 2007.
| | 02:57 | Another nice feature of the Text Search is
that you can save your search as a Smart Album.
| | 03:02 | You may remember in the movie on
Smart Albums that I mentioned that a Smart
| | 03:06 | Album is just like a saved search.
| | 03:08 | Well it goes the other way too.
| | 03:10 | So here I've typed my search
criteria into the Text Search field.
| | 03:15 | To save that search as a Smart album,
an album that automatically updates itself,
| | 03:19 | I can go to the Options menu
right here at the top of the Organizer and
| | 03:24 | choose Save Search Criteria As Smart Album.
| | 03:27 | Here in the Create Smart Album dialog box,
I can see the criteria that are going
| | 03:31 | to define the Smart Album.
| | 03:33 | I'll give the Smart Album a name,
I'll call it boulder 2007, and I'll click OK.
| | 03:40 | So there's my Smart Album
over here in the Albums panel.
| | 03:43 | Now let's say that I was
looking at some other files.
| | 03:46 | Maybe I'm looking at the content of the
kayaking album and then I decide that I
| | 03:51 | need to access all the files that are tagged
with the keyword tag boulder that I took in 2007.
| | 03:57 | I can just go up and click on this Smart
Album, which I created by saving my Text Search.
| | 04:03 | And here in the Photo Browser,
I now can see just those files.
| | 04:06 | So as you can see the text search is
a powerful feature and probably the
| | 04:11 | fastest way to find photos inside of the
Organizer if you structure your query correctly.
| | 04:16 | You don't have to bother going to the
Keyword Tags panel to search by tag for example.
| | 04:20 | You don't have to bother going to the
Date Search features to search by date.
| | 04:25 | You simply have to type your criteria into
the Text Search box and quickly get your results.
| | Collapse this transcript |
| Finding photos from the Find menu| 00:00 | There are lots of ways to
find photos in the Organizer.
| | 00:03 | In addition to the Text Search field
here, which I covered in an earlier movie,
| | 00:08 | there is a Find menu at the top of the
Organizer that offers lots of options for
| | 00:12 | finding particular photos and
media files in your Organizer catalog.
| | 00:16 | You can find files by date, by text in the
caption, by text in the filename and more.
| | 00:23 | Let's take a look at a couple of these options.
| | 00:25 | If I go to Find menu and choose Set
Date Range, I first get this notice that I
| | 00:30 | can't be in the Folder
location view of the photo browser.
| | 00:34 | So I'm going to click Yes and that will
switch me from folder location view to
| | 00:39 | the default thumbnail view.
| | 00:41 | That also brings up this dialog box
where I can set a date range from a search.
| | 00:45 | Let's say I'm looking for photos taken between
the first and the last days of the year 2005.
| | 00:52 | So there is a start date of January 1,
2005, and I'll set the end date for
| | 00:58 | December 31st 2005 and I'll click OK.
| | 01:02 | Now in the Photo Browser, Elements is
displaying just the photos in this catalog
| | 01:07 | that are within that particular date range.
| | 01:09 | To reset the date range to its default,
I'll go back to the Find menu and I'll
| | 01:14 | choose Clear Date Range.
| | 01:16 | Back in the Find menu, I see
that I can also search by filename.
| | 01:20 | Let's say I want to find all photos
with the word group in the filename.
| | 01:25 | I'll type group in this field in the
Find by Filename dialog box and click OK.
| | 01:31 | Now in the Photo Browser I see just these four
files each of which has group in its filename.
| | 01:36 | I'm going to click Show All at the top
of the Photo Browser to bring back the
| | 01:41 | thumbnails of all of the images in this catalog.
| | 01:43 | And I'll go back to Find
menu to see what else is there.
| | 01:46 | Here is an interesting one.
| | 01:47 | I can search by history or by
actions taken on particular files.
| | 01:52 | So I could search for files imported on
a certain date, or e-mail it to somebody
| | 01:57 | or print it on a date or export it on a date.
| | 02:01 | I can also search by Media Type.
| | 02:03 | You remember that I've explained in
earlier movies that Elements Organizer can
| | 02:07 | keep track not only a photographs, but
also of small video clips, of audio, of
| | 02:12 | projects that you create in Elements
like photo books, PDFs as well as items
| | 02:18 | that have audio captions.
| | 02:20 | So for example if I choose Audio here,
and I click OK in this warning, I can see
| | 02:25 | just the audio files that are in my catalog.
| | 02:29 | Again I'll go back to Show All to bring
back all of the thumbnails in this catalog.
| | 02:33 | You may have heard the term
metadata in conjunction with photography.
| | 02:38 | Photographic metadata is information
that comes along with a photograph from
| | 02:42 | your digital camera.
| | 02:43 | And that information gets
appended to your photos here in Elements.
| | 02:47 | From the Find menu I can search by different
kinds of metadata from this option by details.
| | 02:54 | I'm going to click that option, and
that opens the Find by Details dialog box,
| | 02:58 | which looks a lot like the dialog box
for creating Smart Albums that I covered
| | 03:03 | in an earlier movie.
| | 03:04 | Here I'll setup criteria for searching the
metadata of my photographs and other media files.
| | 03:10 | If I click this first menu I see all
kinds of criteria by which I can search.
| | 03:15 | Everything from Camera Make, and Camera
Model, to Pixel Width and Height, File
| | 03:24 | Size, the F-Stop that I use when I
took a picture, the ISO Speed, the Focal
| | 03:31 | Length of the lens, and even the
Orientation of the photo, whether it's
| | 03:35 | horizontal or vertical.
| | 03:37 | So being able to search through my
files by this metadata details is very
| | 03:42 | important and very useful.
| | 03:44 | Let's do a quick metadata search.
| | 03:46 | I would like to look for all of
the photos that have a portrait or
| | 03:49 | vertical orientation.
| | 03:51 | So I'll choose Orientation is and then
I'll leave this third menu at Portrait.
| | 03:57 | I can save this search as a Smart album, a
subject that I covered in an earlier movie.
| | 04:03 | Basically a Smart Album is just a saved
search that's self generating and that
| | 04:07 | it keeps updating itself automatically,
as I add new files to my Photo Browser
| | 04:12 | that meet the criterion of this search.
| | 04:14 | In other words if I add anymore
vertical photos to the photo browser they
| | 04:18 | will be automatically added to the Smart
Album that I'm going to create from this search.
| | 04:23 | So I'll check Save This Search
Criteria as Smart Album, and in the Name field
| | 04:28 | I'll type a name for this smart album.
| | 04:29 | I'll call it vertical photos,
and then I'll click Search.
| | 04:34 | The search results are displayed here
in the Photo Browser, and as you can see
| | 04:38 | Elements is now displaying
only photos that are vertical.
| | 04:42 | If you look over in the Albums panel
in the Organize tab of the Task Pane,
| | 04:47 | you'll see that there is now
a vertical photos Smart Album.
| | 04:50 | So no matter what I'm doing in the
Organizer, I can always bring back this
| | 04:54 | display of all the vertical photos by
clicking on this vertical photos Smart
| | 04:58 | Album that I just made.
| | 04:59 | So you can see that there is really is
a lot available here in the Find menu.
| | 05:04 | When you a little time, I suggest you
come back to this menu and explore some of
| | 05:08 | the other options offered here.
| | Collapse this transcript |
| Finding photos in the Timeline| 00:00 | If you're anything like me, you may
think that your photos by the dates on
| | 00:04 | which they were taken.
| | 00:05 | If you're looking for a photo by date
in the Organizer's Photo Browser,
| | 00:09 | the Timeline View can help you.
| | 00:11 | To show you the Timeline I'm first
going to go to the Display menu on the right
| | 00:15 | side of the Organizer, and I'm going
to switch from the folder location view
| | 00:19 | that we've been using to thumbnail view,
the default view of the Photo Browser.
| | 00:23 | Then I'm going to go over to the Window
menu and I'm going to enable the Timeline.
| | 00:29 | The Timeline is what it sounds like.
| | 00:31 | It's a Timeline of dates that ranges
from the oldest photographs in the current
| | 00:36 | catalog to the newest.
| | 00:38 | The light gray vertical bars all
along the Timeline represent months in
| | 00:43 | which you took photographs or created any
media files that are in your Organizer catalog.
| | 00:48 | This Timeline comes in really handy
when you have a general idea of the date on
| | 00:52 | which you took a photo but you are
not exactly sure what that date was.
| | 00:56 | So for example I know generally that I
was in Santa Fe in the winter of 2005.
| | 01:02 | So if I were looking for photos from
that trip, I would come way over here in
| | 01:06 | the Timeline to maybe March of 2005,
click on that light vertical bar, and
| | 01:13 | see what photos there are here in
the Photo Browser from that date.
| | 01:17 | The Photo Browser took me directly to
the very first photo that I took in the
| | 01:21 | year 2005, which is right here, and
it is a photo that I took in Santa Fe,
| | 01:26 | as are these other photos from March of 2005.
| | 01:30 | Now if you want to limit your search to
a particular period of time you can use
| | 01:34 | the sliders on either side of the Timeline.
| | 01:37 | So for example if I want to see only
photos taken in the year 2005, I'll leave
| | 01:42 | the arrows on the left where they are,
but I'll come over to these arrows here
| | 01:46 | on the right and I'll move them to
set the end of that date range, and I'll
| | 01:51 | move them all the way down here.
| | 01:53 | So now in the Photo Browser I see only
photo thumbnails of photos that I took in 2005.
| | 01:59 | So the Timeline can come in handy when
you have a general idea of when you've
| | 02:03 | taken some photos and you just
want to get right to that time period.
| | Collapse this transcript |
|
|
4. Viewing PhotosWorking with photos in Full Screen view| 00:00 | So far in this course, the Organizer
has been set to display files as thumbnail
| | 00:04 | previews in the Photo Browser, either
in Folder Location View as you see here,
| | 00:09 | or in Thumbnail View.
| | 00:10 | There is another useful way to view
your photos in the Organizer and that is
| | 00:13 | Full Screen View in which a single photo
fills your monitor for the largest view available.
| | 00:19 | Full Screen View is a great way to
review your photos just after you import
| | 00:23 | them to the Organizer.
| | 00:24 | It's also useful for showing off your
photos at your computer in the form of a
| | 00:28 | simple slideshow that I'll show
you how to make in the next movie.
| | 00:31 | Now let's say that I've just brought into my
Organizer these 6 files in the 04_01 folder.
| | 00:39 | I want to run through them, pick
out the winners in the duds, do some
| | 00:43 | basic organization, and do some
simple editing as well as mark my
| | 00:47 | favorites for printing.
| | 00:48 | All of that can be done from
the Organizer's Full Screen View.
| | 00:52 | That may be all that I'll ever do
to some of these photos, maybe the
| | 00:55 | less important images.
| | 00:57 | In other cases I might go on to apply
more complex editing and organization
| | 01:01 | techniques to some of the images.
| | 01:03 | But it's really amazing that I can
accomplish everything that I just mentioned
| | 01:07 | from Full Screen View.
| | 01:09 | In Photoshop Elements 8, Adobe has made
Full Screen View even better by adding
| | 01:15 | a quick edit and a quick organize
panel, and by relocating and making the
| | 01:19 | Control Bar easier to see.
| | 01:21 | Before I take you into Full Screen View,
I'm going to make a new empty album in
| | 01:25 | the Album panel that I'll be
applying in Full Screen View.
| | 01:28 | I have already showed you
how to make a new album.
| | 01:31 | I'm going to go to the Albums panel,
I'll click the arrow to the right of the
| | 01:34 | screen plus, I'll choose New
Album and I'll give the album a name.
| | 01:39 | I'm going to call this one Leadville,
which is the name of the town in these photos.
| | 01:42 | And then I'm going to
uncheck Backup Synchronize.
| | 01:46 | I'm not going to put any
photos in this album now.
| | 01:49 | I'll leave it empty and I'll click Done.
| | 01:52 | There's my new album
waiting in the Albums panel.
| | 01:54 | I can bring one or multiple
images into Full Screen View.
| | 01:59 | In this case, I want to bring all
six of the images in the 04_01 folder.
| | 02:03 | So I'm going to select them all by
clicking on the first one and holding down
| | 02:07 | the Shift key as I click
on the last one of the six.
| | 02:10 | Then I'm going to go up to the top of
the Organizer, and I'm going to click this
| | 02:14 | icon that looks like a monitor.
| | 02:16 | There is another way to get to the same
place from the Display menu here at the
| | 02:20 | top of the Organizer.
| | 02:21 | Here I can choose View, Edit or
Organize in Full Screen, either way it works
| | 02:25 | fine, and that opens the first
of the images in Full Screen View.
| | 02:29 | You may have noticed that there were a
couple of panels opened just a moment ago.
| | 02:33 | Those are the new quick
edit and quick organize panels.
| | 02:37 | When they're not being used, they
collapse over to the side, as they are now.
| | 02:40 | To expand either panel, I'll move my
mouse over that panel, and it pops out.
| | 02:46 | When I'm not using the panel, and I
move my mouse off of it, if I wait just a
| | 02:50 | moment, the panel collapses again.
| | 02:53 | The Quick Organize panel does the
same thing, pops out, and collapses back
| | 02:58 | when I'm not using it.
| | 03:00 | You may also notice that the control
bar at the bottom of the screen keeps
| | 03:04 | popping up and going away.
| | 03:05 | That's because whenever I move my mouse,
the Control Bar reappears, but when I
| | 03:10 | leave my mouse still, the
Control Bar collapses again.
| | 03:13 | I move my mouse over that Quick Edit
panel, and I would like it to stay open for
| | 03:17 | a moment, so I can show you its features.
| | 03:19 | So I'm going to click this
little thumbnail icon to pan it open.
| | 03:23 | This new Quick Edit panel offers so
many more automatic editing commands than
| | 03:27 | were available in Full Screen
View in the last version of Elements.
| | 03:31 | The commands in this panel are almost
the same as those in the Fix tab of the
| | 03:35 | Organizer's taskbar, which
I'll show you in another movie.
| | 03:39 | Because these are all auto commands,
all you have to do is choose the one you
| | 03:42 | want, and click on it to affect the image.
| | 03:45 | Auto Smart Fix is a general attempt to
correct the color and tone in the image.
| | 03:49 | If an image has an unwanted colorcast,
sometimes I'll try the Auto Color command.
| | 03:55 | Auto Levels and Auto Contrast are two
commands that will try to improve the
| | 03:59 | tonal range or contrast in an image.
| | 04:02 | Auto Contrast does that without affecting color.
| | 04:05 | Auto Levels can sometimes
have an affect on color.
| | 04:08 | So I think that this image could use
a boost in the tonal range making the
| | 04:12 | whites whiter and the darks darker.
| | 04:13 | And I also think it could
use a bit of color shift.
| | 04:16 | So I'm going to try Auto Levels, as just
an example of the corrections available
| | 04:20 | in the Quick Edit panel.
| | 04:22 | I'll just click once on that icon and
right away the image looks a lot better,
| | 04:27 | with the brights brighter, the darks
darker, and what I think is a slight
| | 04:31 | pleasing Shift in color.
| | 04:33 | There are some other commands here too.
| | 04:35 | The Auto Sharpen command will make
the details in any image looks sharper.
| | 04:39 | I'll click there, so you can
see the effect on this image.
| | 04:42 | If you're working with an image in
which a person's eyes look red as a result
| | 04:47 | of camera flash, you can choose Auto
Redeye Fix to have Elements fix that
| | 04:52 | problem automatically.
| | 04:53 | This is very much like the Redeye
tools that you find elsewhere in Elements.
| | 04:58 | Next, there's a link to Elements full editor.
| | 05:00 | So if you wanted to do more editing to
this image, you can click this link to
| | 05:04 | open this image in the Editor.
| | 05:07 | And then there's a link to Premiere
Elements the video editing program.
| | 05:11 | Here there's an Undo button.
| | 05:13 | So if you apply one of the commands,
and you don't like it, you can click this
| | 05:17 | Undo button right after you apply it,
to basically move back one step in time.
| | 05:22 | Then there is a Redo button to go
one step ahead in the other direction.
| | 05:26 | If you want to throw the image away,
you can click this Delete icon, but I'd be
| | 05:29 | careful of that one.
| | 05:31 | Here's an icon to mark the file for
printing, if it's a file that you really like.
| | 05:36 | I'll go ahead and click that
just so you can see what it does.
| | 05:38 | If you look over on the filmstrip on
the right, notice that there is a small
| | 05:43 | Print icon on the thumbnail of this photo.
| | 05:46 | While I'm here in the filmstrip, I'll
mention that you can use the filmstrip to
| | 05:50 | navigate from open image to
open image in Full Screen View.
| | 05:54 | So if I wanted to see this image for
example, I could click on its thumbnail
| | 05:57 | here and it appears Full Screen.
| | 06:00 | There are a couple of other
features in the Quick Edit panel.
| | 06:03 | If you need to rotate your image 90
degrees to the right or the left to change
| | 06:07 | its orientation, you can do that from
these icons just like the ones that I
| | 06:11 | showed you at the top of
the Organizer's Photo Browser.
| | 06:14 | Then up here is another place from
which you can apply the Organizer's
| | 06:18 | Star Rating system.
| | 06:19 | So if I really like an image, I'll
click on the fifth star here to give it five
| | 06:24 | stars, and then I might go over to the
filmstrip, and click on another image,
| | 06:29 | and maybe I don't like this one.
| | 06:31 | So I'll go to the Star Rating field here,
and I'll click on the far left star to
| | 06:36 | give this image one star.
| | 06:37 | I'll be able to search on these stars
back in the Photo Browser, as I showed you
| | 06:41 | how to do in an earlier movie.
| | 06:43 | I'm done using the Quick Fix panel now
so I'm going to unpin it by clicking the
| | 06:48 | Auto hide icon right here, and now if I
move my mouse off that panel, in just a
| | 06:52 | moment it will collapse back
over to the side of the screen.
| | 06:55 | I am going to move my mouse back over
the Quick Edit panel to show you one
| | 06:59 | more feature and that is the X here at the top
right, which will close the panel completely.
| | 07:04 | So watch what happens when I do that.
| | 07:06 | The Quick Edit panel disappears completely.
| | 07:08 | Now, if I wanted to reopen it, I could
come down to the Control Bar, and move my
| | 07:14 | mouse over this icon to toggle
open the Quick Edit panel like this.
| | 07:19 | Now it will just collapse to the
side of the screen in a moment.
| | 07:24 | Now let's take a look at
the Quick Organize panel here.
| | 07:26 | It collapses and expands and opens
and closes just like the Quick Edit
| | 07:30 | panel, and there is a separate button in the
Control Bar for toggling this panel as well.
| | 07:35 | So I'll move my mouse
over the panel to expand it.
| | 07:38 | From here, I can do some simple editing tasks.
| | 07:41 | First of all, I can include the open
image in any existing album that I've
| | 07:46 | already created back in the Photo Browser View.
| | 07:49 | So here, I can see the Leadville album
that I made at the beginning of this movie.
| | 07:53 | If I want to include this particular
image in that album, all I have to do is
| | 07:58 | click on the Leadville album.
| | 08:00 | I can also apply keyword tags from the
keyword cloud that appears here in the
| | 08:05 | Quick Organize panel.
| | 08:06 | So I might apply the Colorado tag by
just clicking on that tag here in the cloud.
| | 08:12 | Now, if you take a look over at the
filmstrip, and you have good eyes, you'll
| | 08:15 | see that there is a keyword tag
on the thumbnail for this image.
| | 08:20 | I will move back over the Quick
Organize panel to open it again, and say I want
| | 08:25 | to make a new keyword tag.
| | 08:27 | I can do that from this panel too, and I can
apply the new keyword tag to the opened image.
| | 08:32 | So I'll click here where it says Tag
Media, and I'll type the West, and then
| | 08:39 | I'll click the plus sign there to apply
that new tag to this particular image,
| | 08:44 | and to include that new tag
here in the Keyword Tag Cloud.
| | 08:48 | Then I'll move my mouse off of the
Quick Organize panel to close it.
| | 08:52 | Before I exit out of Full Screen Mode,
I want to show you a little bit more
| | 08:56 | about the Control Bar.
| | 08:57 | Here there is a left arrow and a
right arrow, and I can use those arrows to
| | 09:02 | scroll between the opened images as
an alternative to using the filmstrip.
| | 09:06 | This is actually a little faster
| | 09:08 | Here are the toggles for the Quick
Organize panel and the Quick Edit panel, and
| | 09:13 | here is a toggle for the filmstrip.
| | 09:15 | So if I click this, the filmstrip goes
away and I have more room to display an image.
| | 09:20 | Now if I move to a landscape image, it's
not obscured by that filmstrip on the side.
| | 09:25 | There are some other controls here.
| | 09:27 | These relate to a slide show that you
can make here in Full Screen Mode, as I'll
| | 09:30 | show you in the next movie.
| | 09:32 | And if I click this arrow, I find a
couple of other controls for moving between
| | 09:36 | Full Screen View and comparative views
of the image, which I'll talk about in
| | 09:41 | another movie in this chapter.
| | 09:43 | When I'm ready to exit Full Screen View,
I'll do that from the Control Bar by
| | 09:47 | pressing this X right here.
| | 09:50 | That takes me back to the Photo
Browser View of the Organizer.
| | 09:53 | Here is a message about the Photo that I
marked for printing in Full Screen view.
| | 09:57 | I could choose to order prints of that
photo, or to print the photo on my own
| | 10:01 | desktop printer from here.
| | 10:02 | But I'm just going to cancel for now.
| | 10:04 | You can also see that the Saloon image
has a few icons representing the album in
| | 10:09 | to which I added this image from Full
Screen view, and the two tags that I
| | 10:13 | applied to this image in Full Screen view.
| | 10:15 | And then you'll also see the stars with which
I rated these images in the Full Screen View.
| | 10:21 | So as you have seen Full Screen
View offers lots of useful features for
| | 10:25 | reviewing and doing simple
editing and organizing of your photos.
| | 10:29 | It's much more user friendly in this
version of Elements with the new Quick Edit
| | 10:33 | and Quick Organize panels,
and the new Control Bar.
| | 10:37 | Try using Full Screen View right after
you import a batch of photos to perform
| | 10:41 | the basic tasks on your newly imported photos.
| | 10:44 | One caveat. If you are working on a
photo that is not physically on your
| | 10:48 | hard-drive, but rather is on external
media like a CD, a DVD, or an external drive,
| | 10:54 | if you try to open that file in Full
Screen view, you'll get a message that you
| | 10:57 | can't do so unless you attach
your external drive to your computer.
| | 11:01 | That's because the only version of that
image that's on your computer is a low
| | 11:05 | resolution thumbnail that's too small a file
to open successfully in Full Screen view.
| | Collapse this transcript |
| Viewing slideshows in Full Screen view| 00:00 |
In the last movie I introduced you to
Full Screen View, showing you how you
| | 00:03 |
can use the new Quick Fix panel and
the Quick Organize panels in that Full
| | 00:08 |
Screen View to do some quick edits and so
organization to your photos as you review them.
| | 00:14 |
There is another feature in Full Screen
View that I want to show you and that
| | 00:17 |
is a temporary slideshow that you can
create in Full Screen View and use to show
| | 00:22 |
off your photos on your computer or to
sit back and review those photos without
| | 00:27 |
having to click from one to the other.
| | 00:29 |
Here in the Organizer I'm going to
select the photos that I want to include in
| | 00:33 |
that temporary slideshow by clicking
on the first, holding the Shift key, and
| | 00:37 |
clicking on the last.
| | 00:38 |
And then I'm going to go up to be
Full Screen View icon here and click.
| | 00:42 |
That opens the first of the
photos in Full Screen View.
| | 00:46 |
The Quick Edit and Quick Organize
panels collapse to the side and as soon as I
| | 00:51 |
move my mouse, I see the control bar
appear at the bottom of the screen.
| | 00:55 |
I introduced you to
control bar in the last movie.
| | 00:58 |
If you remember, one way to go through
your photos is to use the arrows on the
| | 01:01 |
control bar, either the forward arrow
or the backward arrow, to cycle through
| | 01:05 |
the photos and then apply Quick Organize
and Quick Edit settings to the selected photo.
| | 01:11 |
But another way to review the photos
or to show other people who are standing
| | 01:15 |
near your computer what your photos
look like is to run a temporary slideshow.
| | 01:19 |
Now this is different from a full-blown
slideshow, which you could post on the
| | 01:23 |
web or save to a DVD, which I'm
going to show you later in the class.
| | 01:28 |
This is just a temporary
slideshow here in Full Screen View.
| | 01:31 |
To set that up I'm going to click this
icon that looks like wrench and that
| | 01:36 |
opens the Full Screen View Options.
| | 01:38 |
From the Background Music menu, I can
choose one of the preset music clips
| | 01:43 |
that come with Elements.
| | 01:44 |
I'm going to choose Lightjazz.mp3.
| | 01:48 |
If you have another music clip that
you rather use as a custom clip, you can
| | 01:52 |
click Browse and got out to your
hard drive and locate that clip.
| | 01:55 |
If I had audio captions that I had
recorded for particular photos, I could play
| | 02:00 |
those during the slideshow.
| | 02:01 |
I'm going to set the
duration of each slide here.
| | 02:05 |
If I were actually reviewing the photos for
the first time, I might set that to 10 seconds
| | 02:09 |
so I would have more time with each
photo, but I'm going to set that to 2 so
| | 02:13 |
that the slideshow goes
fast for you to view here.
| | 02:16 |
I can choose to include captions on the
photos in the slideshow, to resize the
| | 02:20 |
photos to fit the screen if
necessary, and I can choose to turn off the
| | 02:25 |
filmstrip on the right
or to show that filmstrip.
| | 02:27 |
I'll uncheck that so there
is more for the slideshow.
| | 02:30 |
I usually leave Start Playing
Automatically unchecked, because I like to decide
| | 02:34 |
when the slideshow is going to
start by clicking the Play button.
| | 02:38 |
And I don't want to slideshow to
repeat after it's played through once.
| | 02:42 |
So I'll leave that unchecked as well, and
then I'll click OK to accept all those settings.
| | 02:47 |
There is one more place I want to go
before I play the slideshow and that's to
| | 02:51 |
this icon of the curved arrow.
| | 02:53 |
Clicking that brings up this menu of
possible transitions that I can have
| | 02:58 |
between slides in the slideshow.
| | 03:00 |
If I move my mouse over one of these
thumbnails, I get a preview of what that
| | 03:05 |
transition will look like.
| | 03:06 |
So Classic just flips between sides,
Fade In/Out fades nicely between the sides,
| | 03:14 |
Pan and Zoom allows this panning and
zooming effect between sides, and there is
| | 03:19 |
also a new 3D Pixelate transition,
which offers a really interesting
| | 03:22 |
three-dimensional effect.
| | 03:24 |
I'm going to choose Fade In/Out and
I'm going to click OK, and now it's time
| | 03:29 |
to play the slideshow.
| | 03:31 |
To do that a click the Play
button here in the controller.
| | 03:33 |
(Music playing.)
| | 03:51 |
So that's a really pleasant way to
review your photos or to just show
| | 03:55 |
somebody else the photos that you've
recently taken, and as you have seen
| | 03:58 |
it's really simple to setup.
| | 04:00 |
When done viewing the slideshow,
I'll just move my mouse and that brings
| | 04:03 |
back the control bar, and here I can
click the X and that will take me back
| | 04:08 |
out to the Organizer.
| | 04:10 |
| | Collapse this transcript |
| Comparing photos| 00:00 | Another view in which you can compare
and review your photos is to switch from
| | 00:04 | Photo Browser View to a side-by-side
comparison view, where you can compare
| | 00:09 | photos in detail next to one another.
| | 00:11 | Side by Side view is particularly
useful when you're sorting through photos
| | 00:15 | trying to decide which of several
similar shots is the best one.
| | 00:19 | I'm working any 04_03 folder where I
have three photos that I want to compare.
| | 00:24 | I'm going to select all three by
clicking on the path to this folder in the
| | 00:28 | Photo Browser right here, and then I'm
going to go up to the Display menu and
| | 00:32 | from there I'm going to
choose Compare Photos Side By Side.
| | 00:36 | This is a variation on Full Screen View.
| | 00:39 | On the right you can see thumbnails of
the three selected photos in this filmstrip.
| | 00:43 | I can click on the border on the left
of the filmstrip to collapse it like
| | 00:47 | this to give me more room to see the photos,
or I can click again to open at filmstrip.
| | 00:53 | The two photos which are being
compared on screen right now are the two blue
| | 00:57 | borders around the thumbnails.
| | 00:59 | Thumbnail number 1 is over here on the left,
and thumbnail number 2 is here on the right.
| | 01:04 | One of the things that I can do as I compare
these two photos is to give them star ratings.
| | 01:09 | To do that I'm going to open the
Quick Edit panel, which I explained in the
| | 01:13 | movie on Full Screen Mode.
| | 01:15 | To expand that panel, I move my mouse
over the Quick Edit panel on the left,
| | 01:19 | and at the top of the Quick Edit panel,
I'm going to click on a number of stars
| | 01:23 | that I want to assign to the currently
selected image, which is image number 1,
| | 01:28 | the one on the left.
| | 01:30 | I know that that's the selected image
because it's the one with the blue border
| | 01:33 | around it on the main part of the screen.
| | 01:35 | I'll give this image one star, because
it's not my favorite and then I'll move
| | 01:39 | off the Quick Edit panel and I'm going
to click on the image on the right to
| | 01:44 | make that the selected image.
| | 01:46 | Notice that the blue border is
now around the image on the right.
| | 01:49 | Again, I'll move my mouse over the
Quick Edit panel, and I'll go up to the
| | 01:53 | rating stars and this time I'm going
to click on five stars, and then I'll
| | 01:58 | move my mouse away.
| | 01:59 | I can't see the stars here in compare
view, but when I move out of this view
| | 02:03 | back to the Photo Browser, I should
be able to see the stars that I've
| | 02:06 | assigned each image.
| | 02:08 | So I've decided that I like the image on
the right better than the one on the left.
| | 02:12 | So now I'm going to bring
the third image into the mix.
| | 02:15 | I'm going to click back on the image on
the left, the one that I'm not so fond
| | 02:18 | of, and then in the filmstrip I'll move my
mouse over the third image and click there.
| | 02:24 | That brings up that third
image in this position on the left.
| | 02:29 | Now I can compare the third image on
the left to the second image on the right.
| | 02:33 | Let's say that I like the image
on the left the best of all three.
| | 02:37 | I could give this image stars, but I
could also add a keyword to this image
| | 02:41 | indicating that it's my favorite.
| | 02:43 | To do that I'm going to move my mouse
over the Quick Organize panel on the left.
| | 02:48 | I'm going to go down to the Apply
Keyword Tags area, I'll click in the field
| | 02:52 | Label Tag Media, and I'm going to
type Favorite as the new keyword.
| | 02:57 | And with that image on the left
selected, I'll click the plus sign here, to
| | 03:01 | apply that keyword to this particular image.
| | 03:05 | If I look at the image over here in the
filmstrip, I can see that it now has a
| | 03:09 | little icon for a keyword tag.
| | 03:11 | Just to cover my bases, I'll also give
that image on the left star rating of five.
| | 03:18 | Here in Side by Side View, I can use any
of the other features of the Quick Edit
| | 03:23 | or Quick Organize panels.
| | 03:25 | So I could apply some auto
fixes if I wanted from this area.
| | 03:29 | I could mark the selected image for
printing, and I can do everything else that
| | 03:32 | I showed you how to do in
the movie on Full Screen View.
| | 03:36 | But for now I'm done editing and
organizing these images in Side by Side View.
| | 03:41 | I do want to show you some controls
that are useful in this scenario, down in
| | 03:45 | the control bar, and when I move
my mouse, the control bar pops up.
| | 03:49 | If I can't see the entire control bar,
in other words if it looks like this,
| | 03:53 | I'll click of this arrow right here,
and that expands the control bar.
| | 03:57 | Notice that there is a Link icon here.
| | 04:00 | If I activate that link, then if I zoom
in or zoom out or pan around in one of
| | 04:05 | these images, the other one will go with it.
| | 04:08 | So for example, with the image on the
left selected I'm going to zoom out to
| | 04:12 | 100% view by holding the Ctrl key as
I press the minus key on my keyboard.
| | 04:17 | When I do that, the image on the right
zooms out the same zoom magnification.
| | 04:22 | There is one more thing to
take note of in the control bar.
| | 04:25 | That is that there are two icons here.
| | 04:28 | One invokes the Side by Side View;
| | 04:30 | the other would take me back to Full
Screen View of just the selected image.
| | 04:36 | If I go to this arrow, I see that
there's not only a Side By Side comparative
| | 04:40 | view, but alternatively an Above and
Below view, which comes in handy for
| | 04:45 | comparing horizontal images.
| | 04:47 | I'll show you what it looks like,
although it really doesn't fit the orientation
| | 04:51 | of these two images.
| | 04:52 | When I'm all done comparing my images
in these views, I'll return to the Photo
| | 04:56 | Browser view by clicking
this X on the control bar.
| | 05:00 | Now back here in Photo Browser View,
I can see the stars that I added to each
| | 05:04 | one of these images as I compared them
and I also see the tag that I added to
| | 05:09 | this photo to indicate that it's my favorite.
| | 05:12 | So that's how to use the Side by Side
view or the Above and Below view when
| | 05:17 | you're comparing similar photos
trying to decide which of several shots is
| | 05:21 | your best one.
| | Collapse this transcript |
| Using Date View| 00:00 | The Organizer offers one other view of
your photos in your Organizer catalog
| | 00:04 | and that's Date View.
| | 00:06 | Date View helps you to find photos by date.
| | 00:09 | I'm going to switch to Date View by
going up to the Display menu at the top of
| | 00:13 | the Organizer and from
that menu choosing Date View.
| | 00:17 | Date View offers a monthly,
yearly, and daily calendar.
| | 00:21 | Right now it's displaying the Monthly View.
| | 00:23 | For every day that there are photos
that I took in this month July 2008 that
| | 00:28 | are anywhere in the current catalog,
there is a photo thumbnail on that date
| | 00:33 | here, and here for example.
| | 00:36 | I can see the photos that I took on a
particular day, by selecting that day
| | 00:40 | here in the calendar. Then I can go over to the
column on the right and I can cycle through all the
| | 00:46 | photos that I took on that day.
| | 00:47 | In this case there are eight photos.
| | 00:50 | I can do that by clicking the Forward
and Backward arrows, or I could do it by
| | 00:57 | clicking this Play button to start a mini
slideshow of the photos that I took on that day.
| | 01:04 | And I can click here to stop that slideshow.
| | 01:07 | In this area of the column on the right, I
can add notes to any day on the calendar.
| | 01:12 | The daily notes are useful for making notes
about shooting conditions on a particular day.
| | 01:17 | So, here I might click and type 'Sunny
contrasty lighting' and if there was a
| | 01:24 | particular event on that day that I
want to remember, I can click this icon
| | 01:28 | right here and in the Create New Event
dialog box, I can name event this was a Regatta.
| | 01:36 | This is the date it occurred, and
this isn't a Repeating Event, so I'll
| | 01:39 | leave that unchecked, and I'll click OK, and
that enters that event here on the calendar.
| | 01:44 | If I want to do some minor editing or
organizing of a particular photo that's
| | 01:49 | showing in the column on the right.
| | 01:51 | I can right-click on that photo, and that
brings up this menu that's full of choices.
| | 01:56 | For example, from here I could apply
Auto Smart Fix, to try to fix the color and
| | 02:01 | lighting in the photo or if a subject
in the photo had redeye from a camera
| | 02:06 | flash, I could choose Auto Redeye Fix.
| | 02:09 | I am just going to click off this
menu to dismiss it in this case.
| | 02:12 | If I want to view other months to see
what photos I took in those months, I can
| | 02:16 | do that by going to the top of the
calendar and clicking the forward arrow here
| | 02:21 | to move forward in time, or the
backward arrow here to move back in time.
| | 02:26 | Or I could click on the name of the
month right here, and that shows me a
| | 02:30 | list of all months.
| | 02:32 | If I took photos during a month in
this year, there is a little symbol to
| | 02:36 | the left of that month.
| | 02:38 | I can click on February in this case to
see the photos I took during that month.
| | 02:42 | I can do the same thing
with the yearly date here.
| | 02:45 | I'll click on 2008, and here I can see
that I took photos in February of 2005,
| | 02:50 | 2006, 2007 and so forth, and I can move right
to the month of February in one of those years.
| | 02:58 | At the bottom of the calendar I can
switch from a monthly view to a yearly view.
| | 03:03 | And here, every date on which I took
photos that are included in this catalog is
| | 03:07 | highlighted in color, and I also have a
Date View, which I can access from here.
| | 03:11 | I'm going to go back to the Month
View to show you one more feature.
| | 03:15 | Let's say that I wanted to find
this particular photo in the Organizer.
| | 03:19 | To do that, in this column on the right,
I'm going to click the binoculars right
| | 03:22 | here, and Elements takes me right
back to the Photo Browser View of the
| | 03:26 | Organizer, with that particular photo
highlighted for me, and you can see it
| | 03:31 | here in the Organizer.
| | 03:33 | So, consider using Date View when
you're trying to find particular photos by date
| | 03:37 | or when you just want to
review your shooting history.
| | Collapse this transcript |
| Mapping photos| 00:00 | Another way to organize view and share photos
is by location, using a map in the Organizer.
| | 00:06 | To access the map, I'm going to go to
the top of the Organizer to the Window menu
| | 00:10 | and I'll choose Show Map.
| | 00:12 | And by the way, the Show Map command
has moved from where it was in previous
| | 00:16 | versions of Elements in the Display
menu over here to the Window menu.
| | 00:21 | To allocate more room to this map, I'm
going to close the task pane on the right.
| | 00:26 | By moving my mouse over the border
between the task pane and the Photo Browser
| | 00:30 | and clicking and then I'll move to the
border between the map and this list of
| | 00:34 | files, and I'll click on that
border and drag to the right.
| | 00:39 | I can view this map in standard Map
View like this or I can come down to this button
| | 00:44 | and I can change it to Satellite
to see a Satellite View or Hybrid to see
| | 00:51 | the Satellite View with
the map superimposed on it.
| | 00:53 | I'm going to zoom in on New Mexico,
which is where I took the photos that you
| | 00:57 | see on the right in the Photo Browser.
| | 01:00 | I will get the Zoom In tool right here and
then I'll click on New Mexico several times.
| | 01:09 | A quick way to add photos to the map
is to drag-and-drop them from the Photo
| | 01:13 | Browser on the right onto the map.
| | 01:15 | So, I'll go to the Photo Browser and I'm
going to click on a couple of the files
| | 01:19 | in the 04_05 folder.
| | 01:21 | I will click on this first one and then
I'll hold the Ctrl key and click on these two.
| | 01:27 | And from any one of those selected
files I can click-and-drag onto the map and
| | 01:32 | I'll drop these on top of Albuquerque.
| | 01:35 | That adds a pin that
represents these three photos.
| | 01:38 | I'm going to go back to the Photo Browser,
and click in a blank area to deselect those.
| | 01:43 | And I want to place this
photo on the map over Santa Fe.
| | 01:47 | So, I need to pan the map
to that area of New Mexico.
| | 01:50 | To do that I'll go to the bottom of the
map and select the Hand tool and then
| | 01:55 | I'll click-and-drag in the map,
until I see Santa Fe right here.
| | 01:59 | Now I'll go back to the Photo
Browser and this time, instead of
| | 02:03 | dragging-and-dropping, I'll show you
another way to place photos on the map.
| | 02:06 | I'm going to right-click on this photo
and from the contextual menu, I'm going
| | 02:11 | to choose Place on Map.
| | 02:13 | In this window I'll type an address.
| | 02:15 | I don't have the exact address, but I
know the street on which I took this photo,
| | 02:19 | which was St. Francis Drive in Santa Fe.
| | 02:24 | And I'll click Find.
| | 02:26 | And then Elements suggests several
different addresses and I can choose the
| | 02:30 | one I think is right.
| | 02:31 | So, I'll choose this one and I'll
click OK, and sets a pin right there on
| | 02:37 | St. Francis Drive in Santa Fe.
| | 02:39 | And it also zooms in so I
can see that location better.
| | 02:42 | Once I've set pins on the map, I can
view the photos at each location by moving
| | 02:48 | my mouse over a pin and clicking.
| | 02:51 | So, here I see a thumbnail of the photo
that I pinned to St. Francis Drive in Santa Fe.
| | 02:57 | I can close this thumbnail by clicking
this X. I'm going to zoom out a bit, so
| | 03:01 | that I can see the Albuquerque pin, by
selecting the Zoom Out tool and clicking
| | 03:06 | a couple of times, and there is
the pin that I set at Santa Fe.
| | 03:13 | I'm going to click-off of the Zoom tool.
I'll select Hand tool instead and then
| | 03:17 | I'm going to come over that pin and
I'm going to click and in this box, I see
| | 03:22 | three thumbnails representing the three
photos that I pinned to this location.
| | 03:27 | And I can click on these small
thumbnails to cycle through them in a
| | 03:30 | larger thumbnail here.
| | 03:32 | And then I'll close that thumbnail box
to show you something else about this map.
| | 03:37 | Let's say I was working in the Photo
Browser over here and I had scrolled up
| | 03:41 | and I was working with some other photos.
| | 03:43 | If I want to see the photos that I
pinned to the map here in the Photo Browser,
| | 03:48 | I can go to the bottom of the map
and check Limit Search to Map Area.
| | 03:53 | And that causes Elements to find
those photos in the Photo Browser that are
| | 03:58 | located in the currently
displayed area of the map.
| | 04:01 | Now let's say that I was looking
at a different area of the map.
| | 04:04 | So, I'm going to take the Hand tool
and I'm just going to click-and-drag
| | 04:08 | to move the map down a little bit and I'm
going to uncheck Limit Search to Map Area.
| | 04:14 | If I want to see the area of the map
where a particular photo is located, I can
| | 04:19 | go to that photo and I can right-click
on the photo and from the contextual menu
| | 04:24 | I'll choose Show on Map.
| | 04:26 | And that moved the map to
Santa Fe, where I took this photo.
| | 04:29 | And then I could look at the photo, as I showed
you before, by clicking on that Santa Fe pin.
| | 04:35 | I can also share this map with all of
the photos that I've pinned to it by going
| | 04:39 | down to the Share button,
and choosing a Share option.
| | 04:43 | So, using Map View to locate your
photos is a really fun way to see where
| | 04:47 | you've been and what you shot there
and it's also a nice way to share your
| | 04:50 | experience with your friends.
| | Collapse this transcript |
|
|
5. Fixing Photos AutomaticallyApplying Photo Fix options in the Organizer| 00:00 | Elements offers four different
areas in which you can edit your photos.
| | 00:04 | The main difference between these four
editing areas is the level of automation
| | 00:08 | that each one offers.
| | 00:09 | The simplest and most automatic of all is
the Fix panel right here in the Organizer.
| | 00:15 | To access this panel, click on
the Fix tab in the task pane.
| | 00:19 | And by the way, if you click the arrow
to the right of the Fix tab you can see
| | 00:22 | the three other areas for photo editing,
all of which are part of the Editor.
| | 00:27 | Full Photo Edit, Quick Photo
Edit and Guided Photo Edit.
| | 00:31 | But Photo Fix Options are not part of the
Editor, but rather part of the Organizer.
| | 00:36 | The fact that the Fix panel is in the
Organizer and is so automatic, make it
| | 00:41 | the perfect place to go if you're new to editing
photos in Elements or when you're dealing with
| | 00:46 | snapshots or you are just in a hurry
and you want to quickly improve the look
| | 00:50 | of a photo, without having to get
into the Editor and use manual controls.
| | 00:54 | I am working here in the 05_01 folder,
and I'm going to click on the single
| | 00:59 | photo in that folder to select it.
| | 01:01 | Then I'll go over to the Fix tab in
the task panel, and I'm going to click on
| | 01:06 | the first of the Photo
Fix Options, Auto Smart Fix.
| | 01:11 | In just the blink of an eye Auto Smart
Fix has analyzed the color and tones in
| | 01:15 | this photo and has adjusted the photo
in terms of Brightness, Contrast, and
| | 01:19 | Color all in one step.
| | 01:21 | And by the way, when I talk about
contrast, I mean the degree of difference
| | 01:25 | between the lightest tones in
an image and the darkest tones.
| | 01:28 | Now if you like these results you
don't even have to worry about saving the
| | 01:32 | image with these changes, because
the Fix feature automatically saves the
| | 01:37 | edited version of a photo.
| | 01:39 | Notice that this photo has a blue
icon up in the top-right corner.
| | 01:43 | This indicates that an edited copy of
the photo is now part of a set with the original
| | 01:48 | and that set is called a version set.
| | 01:50 | Notice that there's also a
gray box around the entire photo.
| | 01:54 | Another indicator that the copy we're
looking at is part of a version set,
| | 01:59 | and finally, if you look down here
at the bottom-left corner, you can see
| | 02:02 | from the name of the file, Orchid_
edited1, that this is an edited copy of the
| | 02:08 | original orchid image.
| | 02:09 | I'd like to expand the version set so
that you can see the original and compare
| | 02:14 | it to this edited copy.
| | 02:16 | To do that, I'm going to click this
arrow right here on the right side of the
| | 02:19 | gray box around the photo.
| | 02:21 | I'm also going to go up to the Zoom
slider and drag to the left, until I can
| | 02:26 | see both copies of this image, the
original on the right and the edited version
| | 02:31 | with the Auto Smart Fix correction on the left.
| | 02:34 | This edited version has been
automatically saved into the version set.
| | 02:37 | So I don't have to bother saving it manually.
| | 02:40 | Let's say that you don't like the result
of applying Auto Smart Fix. What can you do?
| | 02:44 | In that case you can use the Undo command.
| | 02:47 | To access that I'm going to go up to
the Edit menu at the top of the Organizer
| | 02:51 | and I'm going to choose Undo and it
tells me exactly what the step is that I'm
| | 02:56 | going to be undoing.
| | 02:57 | Undo Auto Smart Fix.
| | 02:59 | Notice that there is a keyboard
shortcut for Undo, Ctrl+Z. This is a very
| | 03:04 | common shortcut, so it's one that I suggest
you remember, because you'll be using it a lot.
| | 03:08 | So I'll select Undo Auto Smart Fix,
and you see this progress bar indicating
| | 03:13 | that Elements is undoing that command.
| | 03:16 | That eliminated the edited version of
the file, so now the only one that shows
| | 03:20 | in the Photo Browser is the original.
| | 03:22 | I would like to try another one of
the Photo Fix Options on this photo.
| | 03:26 | Let's see what Auto Color does.
| | 03:29 | Normally Auto Color is used to try to
neutralize any unwanted colorcast in the photo.
| | 03:34 | This particular photo doesn't have much
of a colorcast, so I don't think we're
| | 03:37 | going to see much of a change
when I apply this Auto Fix.
| | 03:40 | Typically a colorcast is something
like a greenish cast that comes from
| | 03:45 | fluorescent lights in a room, or maybe
a bluish cast on something like white
| | 03:49 | snow under a bright sky.
| | 03:51 | But here there really isn't a
colorcast problem, so clicking Auto Color like
| | 03:56 | this doesn't do much to this image.
| | 03:58 | So, I'm going to undo that attempt
by pressing Ctrl+Z on my keyboard
| | 04:03 | the shortcut for Undo.
| | 04:05 | Now I'm going to go on and try the Auto
Levels command in the Photo Fix Options.
| | 04:09 | I'll click Auto Levels and you
can immediately see a change.
| | 04:14 | And I think it's a change for the better.
| | 04:16 | If I want to compare the original with
this edited version of the image, again
| | 04:20 | I'll click the arrow on the right side
of the gray rectangle around the image.
| | 04:24 | Here on the right is the original.
| | 04:26 | It's dark and it doesn't have
any bright whites or black blacks.
| | 04:30 | And here on the left is the
version with Auto Levels applied.
| | 04:34 | What Auto Levels has done is
adjust the contrast in the photo.
| | 04:37 | Expanding the range of tones by making
the whites whiter, the darks darker, and
| | 04:42 | spreading out the mid-tones in between.
| | 04:44 | Levels sometimes has an affect on color too.
| | 04:47 | So, sometimes it may be preferable to
use Auto Contrast, which is right here in
| | 04:51 | the Photo Fix Options rather than Auto Levels.
| | 04:54 | I'm going to skip over Auto Sharpen
right now, because sharpening is generally
| | 04:58 | the last thing that I do in my photo
workflow, because the results of sharpening
| | 05:03 | vary depending on what other
edits I've already apply to photo.
| | 05:07 | I'm also going to skip Auto Redeye Fix,
because there aren't any eyes in this
| | 05:10 | photo and what this control is for is
fixing the red glow that you sometimes
| | 05:15 | see in people's eyes when you
take a photo with the flash.
| | 05:18 | I will be covering Redeye Fix in another movie.
| | 05:21 | There's a Crop tool here
that I'd like to take a look at.
| | 05:23 | I would like to a crop away part of
the adjusted version of this photo.
| | 05:27 | So, I'm going to make sure that the
adjusted version is selected here and then
| | 05:31 | I'm going to click Crop.
| | 05:33 | In the Crop Photo dialog box, you see a
bounding box that defines the area will
| | 05:39 | be the cropped photo.
| | 05:40 | I can click-and-drag on any one of
these anchor points to change the shape and
| | 05:45 | size of this bounding box.
| | 05:47 | I'm going to do that right now.
| | 05:51 | Alternatively, I could go over to the
Aspect Ratio field here in the column on
| | 05:56 | the right of this dialog box and
click to choose a specific Aspect Ratio.
| | 06:01 | I would like this bounding
box to be, say, four 4x6 units.
| | 06:05 | And I say units because it's not
necessarily inches or pixels. It's just a ratio.
| | 06:10 | So, I'll select that and that
immediately adjusts the bounding box.
| | 06:14 | I could move the bounding box around,
but I kind of like it where it is.
| | 06:17 | So, I'm going to leave it there.
| | 06:18 | And I'll click the green checkmark to
crop the photo to that bounding box.
| | 06:23 | In the CropPhoto column there is a feature
that I really like and that's the View menu.
| | 06:28 | From this menu, I can choose whether
to view the Before photo, which is the
| | 06:32 | original, or the After photo,
which is the cropped photo, or both.
| | 06:37 | I'm going to choose Before and After.
| | 06:39 | And here I can compare the
original photo on the left before the crop to
| | 06:44 | the cropped version on the right.
| | 06:46 | I liked this change, so I'm going to
accept the crop by clicking OK here at the
| | 06:50 | bottom-right of this dialog box.
| | 06:52 | Back in the Photo Browser, the edited
version on the left has not only the Auto
| | 06:57 | Levels feature applied to it, but also the crop.
| | 07:00 | The last thing I would do to the
edited version of the file is to sharpen it.
| | 07:04 | Notice that I still have the
edited version selected here.
| | 07:07 | I know that because it
has a blue border around it.
| | 07:10 | I'll go over to the Auto Sharpen command
here in the Photo Fix Options and I'll click.
| | 07:15 | That causes Elements to sharpen the detail in
the edited version of the photo on the left.
| | 07:20 | There is one last feature that I want to show
you and that's at the bottom of the Fix panel.
| | 07:26 | Here there is a link to the
Editor workspace in Photoshop Elements.
| | 07:30 | So if I wanted to apply more manual or
sophisticated edits to this file, I could
| | 07:35 | open it from here into
the Full Editor workspace.
| | 07:38 | And finally there's a link
here that says More Options.
| | 07:41 | If I click that, I get the option to
edit this photo with an external editor and
| | 07:46 | if I click that command the Preferences
dialog box opens to the area where I can
| | 07:52 | specify a supplementary editing application.
| | 07:55 | So that means that if I have a
program like Adobe Photoshop or maybe Adobe
| | 07:59 | Illustrator or Adobe Fireworks or some
other digital imaging program, I could
| | 08:03 | specify it as the external editor,
and open files directly into that editor
| | 08:08 | using these commands.
| | 08:10 | I am going to cancel out of this dialog
box and that completes this tour of the
| | 08:15 | first of the four editing workspaces in
Elements, the Photo Fix Options in the
| | 08:19 | Fix panel in the Organizer.
| | Collapse this transcript |
| Touring the Quick Fix workspace in the Editor| 00:00 | In the preceding movie, I showed you
the Fix panel in the Organizer, which
| | 00:04 | offers some automatic controls
for correcting photo problems.
| | 00:08 | If you'd like a little more control over
those corrections, you may prefer Quick Fix,
| | 00:12 | which is one of the three levels
of editing that's available not in the
| | 00:15 | Organizer, but rather in
Elements Editor workspace.
| | 00:19 | Quick Fix has some semi-automatic
features, but it also gives you some
| | 00:23 | control over the results.
| | 00:25 | On the other hand, it's not as complex
as the Full Edit workspace in the Editor,
| | 00:29 | which I'll be covering in later movies.
| | 00:31 | Quick Fix offers simple tools for
correcting common photo problems.
| | 00:35 | To show you how it works, I'm going to
start here in the Organizer because this
| | 00:39 | is where you'll select one or
more images to open in Quick Fix.
| | 00:43 | I'm going to select this image by
clicking on it and then I'll go over to the
| | 00:47 | Task panel and I'm going to click the
arrow on the Fix tab to bring up this
| | 00:51 | menu from which I'm going
to choose Quick Photo Edit.
| | 00:55 | That will launch Elements Editor if
that's not already opened and it will
| | 01:00 | open the selected image or images in
the Quick Fix workspace, in this tab
| | 01:04 | labeled Edit Quick.
| | 01:06 | Down in the Project Bin at the bottom of
this workspace, you see a thumbnail for
| | 01:10 | every image that's opened in the Editor.
| | 01:13 | Right now, I only happen to
have one image open there.
| | 01:15 | If you do have more than one image here,
you can switch between them here in
| | 01:20 | the document window by double clicking the
appropriate image thumbnail in the Project Bin.
| | 01:25 | I often work with the Project Bin
collapsed if I don't need to switch between images.
| | 01:30 | To do that, I'm going to double click
the tab, Project Bin, and that gives me
| | 01:35 | more room to work up in the document window.
| | 01:37 | Down at the bottom of the
interface, there are a few more controls.
| | 01:41 | There are a couple of rotate buttons
that allow you to rotate the orientation of
| | 01:45 | the image either 90 degrees
counterclockwise or 90 degrees clockwise.
| | 01:51 | You might use these buttons if your
image comes in from your camera rotated and
| | 01:55 | you haven't changed that in the Organizer.
| | 01:57 | There is also a View menu, which
by default is set to After Only.
| | 02:01 | In After Only view, if I make a change
over here in one of these panels, for
| | 02:06 | example, I'm just going to click-and-
drag the slider in the Smart Fix panel,
| | 02:12 | I'll see those results
immediately in the document window.
| | 02:15 | So I usually work in this After Only view.
| | 02:18 | Then when I'm done with my editing,
I'll change the View to one of the choices
| | 02:23 | labeled Before & After.
| | 02:25 | And that will show me my original
image, as compared to the image with the
| | 02:29 | changes that I've made.
| | 02:30 | I'm going to go back to After view for now.
| | 02:34 | If I make a change to the image that I
don't want to retain, like the change
| | 02:38 | that I just made in the Smart Fix panel,
I can undo that action by going up here
| | 02:43 | to the Undo menu at the top of
the screen and pressing Undo.
| | 02:47 | And now I'm back where I started.
| | 02:48 | There is also a Redo button here.
| | 02:50 | Over here on the left is a toolbar
that contains some tools you'll use to
| | 02:55 | navigate in the image,
and to touch up the image.
| | 02:57 | I'll talk about the
Touchup tools in a later movie.
| | 03:00 | But I do want to make sure you know
how to use the Navigation tools here.
| | 03:04 | I have the Zoom tool selected, and
when I select that tool, I get options
| | 03:09 | specific to that tool up
here in the Options bar.
| | 03:12 | The first option is a Plus symbol.
| | 03:14 | With that symbol selected, if I
move into the image and click, I get a
| | 03:18 | closer view of the image.
| | 03:19 | This changes the magnification of the image,
but it doesn't actually change the image size.
| | 03:24 | If I want to zoom out to see more of
the image, I'll go up to the Options bar
| | 03:28 | for the Zoom tool, and I select the
Minus button, and then if I click in the
| | 03:33 | image, I'll zoom out.
| | 03:34 | And I can do that several times, each
time zooming out to a set percentage.
| | 03:39 | That percentage is reported
right here in this zoom menu.
| | 03:43 | There are some other options here
that I often use. One is Fit Screen.
| | 03:47 | If I click the Fit Screen option for the
Zoom tool, I'm able to see the image as
| | 03:52 | large as it can go, and
still fit in the document window.
| | 03:56 | Another useful option is one-to-one.
| | 03:58 | If I click this button, I see the image
at 100% view, and that means that every
| | 04:03 | pixel in the image is mapped
to a single pixel on my screen.
| | 04:07 | Now, let's say that I zoom in on this
image by clicking the Plus button and then
| | 04:11 | clicking in the image with the Zoom tool.
| | 04:14 | And then I decide that I want to
see a different portion of the image.
| | 04:17 | I can move the image around in this
document window, by using the Hand tool right here.
| | 04:23 | With the Hand tool selected, I can
click-and-drag in the document window in
| | 04:27 | order to see a different
portion of this zoomed-in image.
| | 04:31 | Selecting the Hand tool changed the
options that are available in the Tool
| | 04:35 | Options bar up here.
| | 04:37 | The Hand tool also has a Fit Screen
button, which I can click to see the entire
| | 04:41 | image in the document window.
| | 04:43 | It also has an Actual Pixels button, which is
like the one-to-one button in the Zoom tool.
| | 04:49 | It shows me the image at 100% view.
| | 04:51 | I've saved the best for last.
| | 04:53 | The heart of Quick Fix is here in the
column on the right, these panels with
| | 04:58 | which you can adjust photo problems
like Lighting, Color, Balance, and more.
| | 05:04 | I'll be showing you how to use
those sliders in the next movie.
| | 05:07 | But before I do, I want to show you
two more buttons here in the Quick Fix
| | 05:11 | interface, and those are the
Reset button and the Close button.
| | 05:15 | So I'm going to make a quick
adjustment to this image, by clicking the Auto
| | 05:19 | button here on the Smart Fix panel,
something I actually don't do very often,
| | 05:23 | but I just want to make a
quick change to the image.
| | 05:26 | After I've made a change or multiple
changes, I can always reset the image
| | 05:30 | back to its original by clicking this
Reset button right here, and there's
| | 05:36 | also a Close button here.
| | 05:37 | So when I'm all done editing and saving
my image, I can close the image, so that
| | 05:42 | it's not open in the Editor
workspace by clicking this Close button.
| | 05:47 | This warning is asking if I want to
save any changes I've made to this image.
| | 05:51 | In this case I'm just going to click No.
| | 05:53 | Now I've closed the image, so when I
go back to the Organizer I don't get a
| | 05:57 | warning that the image is in use in the Editor.
| | 06:01 | So that's an overview of the
Quick Fix editing workspace.
| | 06:04 | In the next movie, I'll show you how
to use the controls in the Quick Fix
| | 06:08 | workspace to improve the
photo quality of your images.
| | Collapse this transcript |
| Applying Quick Fix controls| 00:00 | The panels on the right side of the
Quick Fix workspace offer controls that you
| | 00:05 | can use to fix common photo problems
like lighting issues, or color issues, or
| | 00:09 | even to sharpen your image.
| | 00:11 | I have opened this image from the 05_03
folder as I showed you how to do in the
| | 00:15 | last movie, starting in the Organizer,
selecting the image and then opening it
| | 00:20 | here in the Quick Fix
portion of the Editor workspace.
| | 00:23 | The first panel in Quick
Fix is the SmartFix panel.
| | 00:27 | This is a kind of one-stop shopping
that attempts to correct brightness,
| | 00:31 | contrast, and color in an image.
| | 00:34 | There are several ways to apply SmartFix.
| | 00:36 | One is simply by clicking the Auto
SmartFix button, and sometimes this is all
| | 00:41 | you need to do the image.
| | 00:42 | Let's see what it does in this case.
| | 00:44 | I'm going to click the Auto button,
and immediately I see the results here in
| | 00:48 | the document window.
| | 00:50 | These results are really
too intense for my taste.
| | 00:52 | So I'm going to undo Auto SmartFix by
going up to the top of the interface and
| | 00:57 | clicking the Undo button.
| | 00:58 | By the way, if you've made more than
one change, you could always get back
| | 01:03 | to the initial state of the image by coming
down to the Reset button here, and clicking.
| | 01:08 | And as the tool tip says, this will
revert the photo to the way it was before
| | 01:12 | any Quick Fix changes.
| | 01:14 | Another way to apply SmartFix is
to use these sliders here manually.
| | 01:18 | So if I don't like the Auto result,
I'll see how this looks if I click the
| | 01:22 | slider and just drag it slightly.
| | 01:23 | Well that's a little bit better,
but I still don't like this result.
| | 01:28 | So I'm going to come up to the two icons
at the top of the SmartFix panel, there
| | 01:32 | is a checkmark and a cross.
| | 01:34 | If I don't want to make this
change, I'll click the cross.
| | 01:37 | If I do want to make the
change, I'll click the checkmark.
| | 01:40 | Even after I click the checkmark though,
I can still step back one step using
| | 01:44 | this Undo button, or multiple
steps pressing this Reset button.
| | 01:48 | But at this point, I'm just going to
click the X on SmartFix to reject that change.
| | 01:54 | Before I leave the SmartFix panel, I want to
show you that it has a little grid icon here.
| | 01:59 | This is something new in Elements 8,
and you'll notice that each one of these
| | 02:02 | sliders has a grid icon to the left.
| | 02:05 | I am going to explain what this
grid does, when I get down here to the
| | 02:08 | Saturation controls, but I did want to
mention that you have the option to use
| | 02:12 | the grid with all of these
controls including SmartFix.
| | 02:15 | Well let's move on to the Lighting controls now.
| | 02:18 | There are three separate Lighting controls.
| | 02:20 | The first of those is Levels, and with
Levels, you get only one choice, an Auto button.
| | 02:25 | I'll give it a try and see
what it does to this image.
| | 02:29 | In this particular case, Levels is
introducing a really strong colorcast, and I
| | 02:33 | don't like that result.
| | 02:34 | What Levels does is looks for the
brightest tones in the image, and tries to
| | 02:38 | brighten those, and looks for the
darkest tones and tries to darken those, and
| | 02:42 | expands the range of midtones in between.
| | 02:46 | But Levels can also
introduce a colorcast like this.
| | 02:49 | So sometimes this is not the best choice.
| | 02:52 | I'll undo this Levels adjustment by
going up to the Undo button and clicking.
| | 02:56 | Instead I'm going to try the next
control, which is Contrast, which also has
| | 03:01 | only an Auto button.
| | 03:03 | I'll click Auto Contrast, and I think
in this case that does a fairly good job,
| | 03:08 | certainly better than Auto Levels.
| | 03:10 | So I might just go with this and move
on to the Color section, but I do want to
| | 03:14 | show you what the next three
sliders do in the Lighting panel.
| | 03:17 | So I'm going to undo this Auto
Contrast change, by going up to the Undo
| | 03:21 | button and clicking.
| | 03:23 | Using these three sliders, I can
adjust the darkest areas, the shadow areas
| | 03:28 | separately from the
brightest areas, the highlight areas.
| | 03:32 | I can adjust the midtones in
between separately as well.
| | 03:35 | So I'll start with the Light and
Shadow slider dragging it to the right to
| | 03:40 | brighten up the darkest areas of this image.
| | 03:42 | And that alone has a pretty
dramatic effect on this particular photo.
| | 03:46 | Let's see what happens if I try
to darken the highlights as well.
| | 03:50 | Now in this particular photo, that
doesn't have a lot of effect, but it does
| | 03:53 | bring out some of the cloud detail in the sky.
| | 03:57 | Now I could increase or
decrease the midtones in the image.
| | 04:00 | I'm going to try increasing them by
dragging the Midtone slider slightly to
| | 04:04 | the right, and if I'm now satisfied
with the results of dragging all three of
| | 04:09 | these sliders, I'll go up to the top of the
Lighting panel, and I'll click the checkmark.
| | 04:14 | Now the image still doesn't
look the way that I'd like it too.
| | 04:16 | I have done something about the
tones in the image, but I haven't yet
| | 04:21 | addressed the color.
| | 04:22 | One of the problems with the color here
is that I think it's not intense enough.
| | 04:26 | So I'm going to go to the Color panel
and here, I could try to automatically
| | 04:30 | correct the color by
clicking this Auto Color button.
| | 04:33 | But in this case Auto Color doesn't work.
| | 04:36 | It's creating these really
unnatural looking colors in this image.
| | 04:39 | So I'm going to undo by clicking the
Undo button at the top of the screen, and
| | 04:43 | instead, I could try to move the
Saturation slider by hand, in order to increase
| | 04:49 | the intensity of color in this image.
| | 04:51 | But this is a case where I think that
the grid of thumbnail previews is really
| | 04:55 | going to come in handy, because I really
don't have a good sense of what's going
| | 04:59 | to happen when I move the Saturation slider.
| | 05:01 | So it's hard to choose how far to move it.
| | 05:03 | I am going to click on this grid to the
left of the Saturation slider, and here,
| | 05:08 | I can see nine thumbnails, each
representing a different level of saturation.
| | 05:13 | I'm not going to click.
| | 05:14 | I'm just going to move my mouse over
the first of those thumbnails and notice
| | 05:17 | that moved to the saturation slider to -100,
and the image has no color in it at all.
| | 05:23 | I don't recommend this is a way to
convert color to black and white, but it's a
| | 05:28 | good example of what
decreasing saturation will do.
| | 05:31 | Well, I obviously want more color than
this so I'll move to the next thumbnail,
| | 05:35 | and then the next, and again, I'm not clicking.
| | 05:38 | I'm just moving my mouse over these
various thumbnails to try out or get a sense
| | 05:43 | of what these various preset levels of
saturation are going to do the image.
| | 05:47 | And notice as I move from thumbnail
to thumbnail, that saturation slider is
| | 05:51 | moving to various presets.
| | 05:53 | So here it's at level 25, and here the
slider is at level 50, level 75, and so on.
| | 06:00 | Well, this is obviously too much saturation.
| | 06:03 | I think this is just about right level 25.
| | 06:06 | So I'm going to click on that
thumbnail, and that sets the saturation.
| | 06:10 | Now if I want to fine tune that, maybe
bringing it down to about 23 or so, but I
| | 06:15 | don't want to go so far as zero, which
is what's offered by this next thumbnail,
| | 06:20 | I could try to click on the 25 level
thumbnail and drag to fine tune somewhere
| | 06:27 | in between those two levels.
| | 06:28 | But to be honest, I find that
really hard to control as you can see.
| | 06:32 | So instead of doing that, I'm just going
to click on the 25 level thumbnail, and
| | 06:37 | then come up to the slider, and I'm
going to drag to the left manually,
| | 06:41 | decreasing the saturation just
slightly from that preset represented by that
| | 06:46 | particular thumbnail.
| | 06:47 | So that's what the thumbnail grid does,
and you do have a thumbnail grid not
| | 06:52 | only on saturation, but on these other
controls as well, and sometimes that will
| | 06:56 | come in handy for you.
| | 06:57 | I'm going to scroll down a bit to
show you that there are a couple of more
| | 07:01 | color related sliders.
| | 07:03 | Here is a Hue slider, which will
change the overall hue of the image.
| | 07:07 | I'll click its grid to
show you some of the choices.
| | 07:10 | These are all pretty psychedelic, so
I'm not going to go there with this image.
| | 07:13 | I'll just leave it at its
default, and close that grid.
| | 07:17 | Now I'll accept my color changes by
clicking this checkmark, and I'll move down
| | 07:21 | to the Balance area.
| | 07:23 | There are two sliders here that affect
the overall color balance of the image.
| | 07:28 | The first, Temperature, ranges from a
cool blue, to a warm orange, with these
| | 07:34 | thumbnails representing other
temperature levels in between.
| | 07:38 | I actually like the default here, so I'm
going to leave that thumbnail selected.
| | 07:42 | The thumbnail with the orange arrow on
it is the default thumbnail, so that if
| | 07:47 | I happened to select another thumbnail,
and then I want to get back to the
| | 07:50 | default or the original state of
temperature, I'll just click on this
| | 07:55 | thumbnail, the one with the arrow.
| | 07:56 | I am going to close that grid and give
you a look at the Tint grid so you can
| | 08:01 | see that it ranges from green to magenta.
| | 08:06 | The Tint control comes in handy most
often when I'm correcting skin tone,
| | 08:10 | because often, skin tone needs
just a little bit more magenta.
| | 08:14 | But in this case, I'm going to leave it at
its default, and click the grid to close it.
| | 08:18 | After all the adjustments are made, it's
time to sharpen the image, and that can
| | 08:22 | be done from the Detail area of Quick Fix.
| | 08:25 | There is an Auto Sharpen button here,
I can give that a try, but I really
| | 08:30 | don't like that result.
| | 08:31 | I can see too much of the noise in the sky.
| | 08:34 | So I'm going to go up to the Undo
button and click it, and instead, I can open
| | 08:39 | the grid, I'll scroll down, so you can
see the choices there and then I could
| | 08:43 | move my mouse over the various
choices and click on the one that I liked.
| | 08:48 | I'm going to go to the second thumbnail.
| | 08:50 | I'll select that one.
| | 08:51 | I could fine tune with the slider but
I think things are fine as they are.
| | 08:55 | So I'm going to click the checkmark.
| | 08:57 | At this point, I would come down to
the View menu and change View from After
| | 09:02 | Only to Before & After.
| | 09:05 | In order to see the entire image, I'd
go to the Zoom tool, select the Zoom Out
| | 09:11 | button and click in either of these
two previews, and both changed together.
| | 09:16 | So now I have a really visual
representation of how the image looked without the
| | 09:21 | changes I just made, and how it looks
with the changes that I made here in the
| | 09:25 | Quick Fix workspace, quite a
dramatic difference in this case.
| | 09:29 | Now at this point, there is
something else that I need to do.
| | 09:32 | I need to save the image with these changes.
| | 09:35 | If I were working in the Fix panel of
the Organizer, I wouldn't have to save,
| | 09:39 | because changes made
there are saved automatically.
| | 09:42 | But in Quick Fix, I do have to save my changes.
| | 09:45 | So I'll go up to the File menu, I'm
going to choose Save As and I'm not going
| | 09:50 | to show you all the detail in the Save As
dialog box, yet I'll do that in a later movie.
| | 09:55 | So I'll just leave everything at its
defaults and I'll click Save and then I'll click OK.
| | 10:00 | And that doesn't save over the original;
| | 10:02 | it just saves another copy of the image
with all the changes that I made here.
| | 10:06 | And finally, when I'm done,
there is a close button here.
| | 10:10 | Before I click Close, let me show you
what the image would look like in the
| | 10:13 | Organizer if I didn't
close it here in the Editor.
| | 10:17 | I'm going to go to the top of the Editor
and click the Organizer button and here
| | 10:21 | you can see in the Organizer, my open
image with this red locked belt across it,
| | 10:26 | telling me that this image
is in progress in an Editor.
| | 10:29 | So now I'll go back to the Editor, by
going up to the Fix tab in the Organizer
| | 10:34 | and choosing Quick Photo Edit.
| | 10:35 | I'll cancel out of that message and I'm
back in the Quick Fix workspace of the Editor.
| | 10:42 | So here, I'm going to click Close to
close the image, and if I go back to the
| | 10:47 | Organizer by clicking the Organizer
button at the top of the Editor, I no longer
| | 10:52 | have that warning that an edit is in progress.
| | 10:54 | So that's a look at the controls in
the Quick Fix workspace of the Editor.
| | 10:58 | As you can see, Quick Fix
gives you the best of both worlds.
| | 11:02 | It offers access to powerful editing
controls but it also presents them in a
| | 11:06 | simple way that's
relatively easy to learn and to use.
| | Collapse this transcript |
| Using Quick Fix tools| 00:00 | There are some tools in the Quick Fix
workspace toolbar that will help you to
| | 00:04 | correct some common photo problems.
| | 00:06 | And that's what I'm going
to show you in this lesson.
| | 00:09 | I am going to open four
images from the 05_04 folder.
| | 00:12 | I'll do that from here in the
Organizer by selecting the first, holding the
| | 00:17 | Shift key and selecting the last of
the images, and then going to the Fix tab
| | 00:22 | and choosing Quick Photo Edit in
order to open all four images into the
| | 00:27 | Quick Fix workspace.
| | 00:28 | You'll see the four images in
Thumbnail View down here in the Project bin.
| | 00:33 | I would like to start with this image
right here, the one called redeye.jpg.
| | 00:38 | So I'm going to double-click it in the
Project bin, to open it in the document window.
| | 00:43 | And then I'm going to zoom in,
selecting Zoom tool, and the plus symbol in the
| | 00:47 | Options bar for the Zoom tool, and
then clicking on the girl's face several
| | 00:52 | times, so that it's close
enough to see the red in her eyes.
| | 00:55 | This is caused by the flash on a camera
reflecting off of the redness in her eyes.
| | 01:00 | This can be fixed in Quick Fix using the
Redeye Removal tool right here in the toolbar.
| | 01:05 | There is a similar tool in the Full
Edit workspace, but I'm going to work
| | 01:10 | right here in Quick Fix.
| | 01:12 | So I'll select this tool and then I'll
move over to the girl's eye, and I'll
| | 01:16 | click on one of her eyes, and in just a
moment the red has been replaced by a dark gray.
| | 01:21 | If you think that this color isn't dark
enough or is too dark, you could undo,
| | 01:28 | and then go to the Darken Amount field
in the Options bar, click there and make
| | 01:34 | the replacement color darker or lighter.
| | 01:36 | I'll put it right here, and then once
again I'll click on the eye to replace the
| | 01:42 | red with a darker gray.
| | 01:44 | Similarly I could adjust the pupil size
if the gray were too big or too small to
| | 01:50 | just cover the red in that eye.
| | 01:52 | And now I'll click on the girl's other
eye, and that's how quick and easy it is
| | 01:57 | to use the Redeye Removal
tool in the Quick Fix workspace.
| | 02:00 | I am going to close this image.
| | 02:02 | Normally I would click Yes
indicating that I did want to say it, but for
| | 02:07 | purposes of time I'm just going to click No
here, and I'm going to open another image.
| | 02:12 | This image of the cloak from the Project Bin.
| | 02:15 | I'll double-click the cloak thumbnail,
and it shows up here in a document window.
| | 02:19 | I'll get to Zoom tool and I'm going to
choose the Fit Screen option, so that I
| | 02:24 | can see the entire image in the document window.
| | 02:27 | First I would like to show you this
tool, the Quick Selection tool, which is
| | 02:31 | used to select part of an image so
that whatever changes you make using the
| | 02:35 | Quick fix controls affect only
the selected area of the image.
| | 02:39 | So let's say that I want to change
the color of the hat on this mannequin.
| | 02:44 | With the Quick Fix tool I can come in.
| | 02:47 | Maybe I'll make my brush a
little bigger than it is.
| | 02:49 | It's quite small and fast way to do that is to
press the Right Bracket key on your keyboard.
| | 02:54 | The Right Bracket key is near the P key.
| | 02:57 | With the brush a little bigger I'll
just click-and-drag over the hat and all
| | 03:01 | similar tone and color that
is consecutive is selected.
| | 03:05 | Now with this tool, if I were to click again, I
would automatically be adding to the selection.
| | 03:12 | So in this case I did click and I got
more than I bargained for, I did not mean
| | 03:16 | to select all of this green wall.
| | 03:18 | That's okay because I can just go to
the Options bar for the Quick Selection
| | 03:22 | tool and choose Subtract from Selection
and then brush over the area that I do
| | 03:28 | not want included in my selection.
| | 03:31 | And if I need to add some back in, I'll
got up to the Options Bar and click the
| | 03:35 | Add To Selection button.
| | 03:37 | To add to the selection I'm going to
make my brush a little smaller and then
| | 03:40 | I'll carefully brush over just
that bit that I want to add in.
| | 03:44 | Now with that selection made, I
could come over say to the Color section
| | 03:50 | and move the Hue slider, and that would
change the hue of just the area that's selected.
| | 03:56 | When I'm done with that change, I'll
accept it by clicking this checkmark at the
| | 03:59 | top of the Color section, and once
I've done that, I'm free to deselect by
| | 04:05 | pressing Ctrl+D on my keyboard.
| | 04:08 | And the animated marching ants that
identify the selection are removed.
| | 04:12 | Now there's a similar principle at work
with the three tools that you see here
| | 04:17 | in the toolbar, the Touchup tools.
| | 04:19 | One of those, Black and White High
Contrast, will both select an area like
| | 04:24 | the Quick Selection tool does and convert it
from color to high contrast black and white.
| | 04:30 | To see how that works I'll select that tool.
| | 04:33 | I'll come into this image, and I'm
going to make my brush a little bigger by
| | 04:37 | pressing the Right Bracket key, and
then I'm going to click-and-drag over this
| | 04:41 | poster converting it to
high contrast black and white.
| | 04:44 | Now if I go too far just like with the
Quick Selection tool, I can eliminate the
| | 04:50 | extra bit that I didn't intend to select
and convert, by going up to the Options
| | 04:54 | bar for this tool, and pressing the
minus icon, coming into the image and
| | 04:59 | dragging over the area that I don't
want to convert to black-and-white.
| | 05:03 | And when I'm done, I'll press Ctrl+D
to eliminate the marching ant selection.
| | 05:09 | Now for those of you who are already
familiar with the Full Editor in Photoshop
| | 05:13 | Elements, I would like to show you
what's happened here behind the scenes.
| | 05:17 | I'm going to up to the Quick Edit tab,
click there, and choose Edit Full, and
| | 05:22 | that takes the image with the changes
that I've made from the Quick Fix workspace
| | 05:26 | to the Full Edit workspace where
I can see the layers in the file.
| | 05:30 | And you'll notice that there is
a high contrast red filter layer.
| | 05:34 | This is what was created by the
tool that I just used in Quick Fix.
| | 05:39 | But the thing that you need to know
about this particular adjustment layer is
| | 05:42 | that you cannot edit it
even here in Full Edit Mode.
| | 05:45 | If I try to double-click the icon here
to edit this I'm told that this is an
| | 05:50 | adjustment layer that was created in the
full version of Photoshop and therefore
| | 05:54 | cannot be edited in Photoshop Elements.
| | 05:57 | So you just have to accept this layer the
way it is, even in the Full Edit workspace.
| | 06:02 | I'm going to go back into the Quick Edit
workspace by moving up to the Edit Full
| | 06:06 | tab here in the Full Edit
workspace clicking and choosing Edit Quick.
| | 06:11 | Now I'm going to close this image.
| | 06:14 | I would normally save it but I'll just
click No here in the interest of time.
| | 06:18 | And I'd like to show you another tool
here in the toolbox, the Whiten Teeth tool.
| | 06:24 | If you don't have this image open,
you can open it from the Project Bin by
| | 06:28 | double-clicking its thumbnail.
| | 06:29 | I'm going to get my Zoom tool and with
the Zoom tool set to zoom in, I'll click
| | 06:35 | in the vicinity of the girl's face so
that I can zoom in close enough to see
| | 06:40 | both the girl and the boy's teeth.
| | 06:42 | Then I'll click on the Whiten
Teeth tool in the Quick Fix toolbar.
| | 06:46 | This tool will automatically select just
like the Quick Selection tool, and will
| | 06:50 | brighten the selected area.
| | 06:53 | So I come over the face of the boy,
I'm going to make my brush smaller by
| | 06:57 | pressing the Left Bracket key on the
keyboard that's right next to the P key.
| | 07:01 | And then I'm going to click
and drag over the boy's teeth.
| | 07:04 | Now if I go too far and get part of
his lips, I'll go to the Tool Options for
| | 07:09 | the Whiten Teeth tool, I'll choose the
Subtract icon, and I'll drag over the
| | 07:14 | areas that I don't want
to be whitened, his lips.
| | 07:20 | And that's caused the area inside of the
selection boundary to become a bit whiter.
| | 07:24 | I'd also like to whiten the
girl's teeth at the same time.
| | 07:27 | So I go to the Options bar for the
Whiten Teeth tool and I'll choose Add to
| | 07:32 | Selection, and then I'll come in and
move my mouse over the girl's teeth.
| | 07:35 | If I go too far, I'll get the minus
icon in the Options bar and drag over the
| | 07:44 | area that I don't want to whitened, her lips.
| | 07:47 | And now I'm going to eliminate the
marching ants by pressing Ctrl+D on the keyboard.
| | 07:52 | I've managed to whiten the teeth of both
the girl and the boy, and to show you a
| | 07:57 | comparison I'll change the view from
After Only to Before & After Horizontal.
| | 08:03 | So now you can compare the original of the
boy's teeth to the boy's teeth with that change.
| | 08:08 | I'll get my Hand tool and I'll drag to
the left so that you can see that the
| | 08:14 | girl's teeth over here are also whiter.
| | 08:16 | Although I have a little bit
of touchup work to do here.
| | 08:19 | So basically what the Whiten Teeth
tool is doing is just what the Quick
| | 08:23 | Selection tool does except that with
the Whiten Teeth tool you don't have to
| | 08:27 | bother setting any controls
over in the Quick Fix panel.
| | 08:30 | Now to show you what's happening behind
the scenes, I'm going to take this image
| | 08:36 | into Full Edit Mode by going to be
Edit Quick tab and choosing Edit Full.
| | 08:42 | And then I'll double-click on the
Layers tab to open the Layers panel.
| | 08:45 | So you can see that above the photo
later, there is a layer called Pearly
| | 08:50 | Whites, I didn't name that.
| | 08:51 | That's what the tool names at and
this is actually a fill layer, which was
| | 08:55 | automatically applied by that tool and
was set to a special blending mode, to
| | 09:00 | blend the whitening with the rest of the image.
| | 09:02 | You will learn more about related
layers, like adjustment layers when I
| | 09:06 | cover Full Edit Mode.
| | 09:08 | But I wanted those of you who already
know about this to understand what that
| | 09:11 | Whiten Teeth tool was doing and to
know that you can edit the results of the
| | 09:15 | Whiten Teeth tool here in Full Edit Mode.
| | 09:18 | Now I'm going to go back to the Edit
Full tab, and choose Edit Quick to go back
| | 09:22 | to Quick Fix Mode and I'm
going to close this image.
| | 09:26 | I won't bother saving for now, and I'm
going to change the view to After Only.
| | 09:31 | To show you yet one more tool here in
the Quick Fix toolbar and that's the Blue
| | 09:36 | Skies tool right here.
| | 09:38 | What this tool does is take a
dull sky and make it more blue.
| | 09:43 | So I'll select the tool, I'll move into
this image and I'll start dragging and
| | 09:47 | that creates a selection.
| | 09:49 | Very similar to the selection you
might get with the Quick Selection tool but
| | 09:53 | including a change in color.
| | 09:55 | Now I went too far and I
included the man's hands in the camera.
| | 09:59 | So I'll go up to the Options bar for
this tool and I'll choose Subtract from
| | 10:03 | Selection and I'll run my mouse over
the areas where I don't want the color to
| | 10:08 | change, and then I do want
the color to change in here.
| | 10:14 | So I'll get the plus option in the
Options bar and I'll drag inside the
| | 10:19 | area between his arms.
| | 10:21 | Now I'll press Ctrl+D to deselect and I've
managed to intensify the color in the sky.
| | 10:28 | This also has created an editable fill
layer, which you could see and work on
| | 10:32 | further if you switched this
image over to Full Edit Mode.
| | 10:35 | But I'm going to leave things as is for now.
| | 10:38 | So of all the tools I have shown you
here, I would say that the Quick Selection
| | 10:41 | tool is the one you'll use most.
| | 10:43 | Selecting areas to which you want to
limit the changes that you make here in
| | 10:48 | the Quick Fix panels, but you also have the
option to use these specialty tools where relevant:
| | 10:54 | the Redeye Removal tool, the Whiten
Teeth tool, the Convert to High Contrast
| | 10:58 | Black and White tool and the Blue Skies tool.
| | Collapse this transcript |
| Working in Guided Edit in the Editor| 00:00 | Of the three editing workspaces in
Elements Editor, Guided Edit is the most basic.
| | 00:05 | It consists of instructions that walk
you through performing some basic photo
| | 00:10 | correction techniques, like
cropping photos, or removing a colorcast.
| | 00:15 | And it also shows you how to use some
of the more clever Elements features
| | 00:18 | like the Group Shot feature, and the Scene
Cleaner feature that I'll show you in later movies.
| | 00:24 | The thing to remember about Guided Edit
is that it doesn't address every single
| | 00:28 | editing problem. Just a handful of them,
but for those it's a great way to work.
| | 00:33 | Let's see how to use Guided Edit.
| | 00:35 | I'm starting here in the Organizer, and
I'm going to select the image that you
| | 00:39 | see from folder 05_05, and I'm going to
open that into Guided Edit by going to
| | 00:45 | the Fix tab, clicking and
choosing Guided Photo Edit.
| | 00:49 | That launches the editor, if it's not
already open, and opens the selected image
| | 00:54 | in the Guided Edit workspace.
| | 00:56 | This is a pretty simple workspace
over on the left there is an abbreviated
| | 01:00 | toolbar that contains a Zoom tool for
zooming in and out on the image, and a
| | 01:05 | Hand tool for moving an image
around in the document window.
| | 01:09 | There's a tool Options bar for each of
those two tools, and at the bottom of the
| | 01:13 | screen is a Project bin that
shows the thumbnail of all open files.
| | 01:18 | All of that is very similar to the Quick Fix
workspace that I covered earlier in this chapter.
| | 01:23 | Now take a look at the Guided Edit
column over here, it asks very clearly what
| | 01:28 | would you like to do?
| | 01:29 | And then offer some options.
| | 01:31 | You can do Basic Photo Edits like
cropping a photo, recomposing a photo,
| | 01:36 | rotating or straightening a photo.
| | 01:38 | You can make some adjustments to
Lighting and Exposure, some adjustments to
| | 01:42 | Color Correction, do some photo editing,
and then there are some specialty items
| | 01:47 | like combining group shots, and at the
very bottom running automated actions,
| | 01:54 | and creating special photographic effects.
| | 01:56 | Let me show you a typical Guided Edit technique.
| | 01:59 | I'm going to go up to Brightness and
Contrast in the Lighting and Exposure
| | 02:03 | category, and select that.
| | 02:05 | Here you'll see Instructions about how
to work this control and this is typical
| | 02:10 | of all of the Guided Edit commands.
| | 02:12 | They generally include pretty clear
instructions, like those you see here.
| | 02:16 | So here it tells you that if you want to
apply a general fix to an image that is
| | 02:21 | either under or over exposed, in
other words too dark or too light.
| | 02:25 | You can just click the Auto
button. Giving that a try.
| | 02:27 | It doesn't have too much affect on this image.
| | 02:29 | And then there are a couple of sliders.
| | 02:31 | Guided Edit says that this slider
will make the image lighter or darker.
| | 02:35 | So I'll try dragging this to the
right, and sure enough it does make it
| | 02:38 | lighter, and I'll just use my judgment based
upon the image preview here in the document window.
| | 02:44 | And then there's a Contrast slider
that will either increase or decrease the
| | 02:48 | difference between light and dark.
| | 02:49 | Dragging this slider to the right
increases the contrast, or the difference
| | 02:53 | between light and dark.
| | 02:55 | Dragging this slider to the left
makes the image a little flatter.
| | 02:58 | I like the increased contrast,
so that's what I'll choose here.
| | 03:01 | Now, if I don't like the results, I
could click Reset to go back to the original
| | 03:06 | image without any of these changes.
| | 03:08 | And finally I see that at the bottom
there is an arrow labeled After Only, which
| | 03:13 | controls the view that is displayed
here in the document window, in this case
| | 03:18 | the After view, the view with all the changes.
| | 03:21 | If I click that arrow, I can
cycle through some other views.
| | 03:25 | Here's a Before & After-Horizontal view
comparing the original, which is kind of
| | 03:30 | dark and flat to the view with the
changes I just applied which increase the
| | 03:34 | Contrast and Brightness.
| | 03:36 | And if I click that arrow again I can
go through some other choices or views.
| | 03:41 | Finally, when I'm all done,
I'll just click the Done button.
| | 03:43 | And that's how straightforward it is
to walk through the instructions that
| | 03:48 | you'll find in the various
Guided Edit techniques in this list.
| | 03:52 | When you're done applying a Guided
Edit, you do have to save your image.
| | 03:57 | So if I come here to the image and I
click Close I get this message reminding me
| | 04:01 | that I need to save the
document with these changes.
| | 04:04 | So, I'll click Yes, I'll leave all of
these settings at their defaults for now,
| | 04:09 | and I'll click Save, and that will
make a copy of the image with the changes
| | 04:13 | that I have added saved in
the same folder as the original.
| | 04:17 | I'm just going to and click OK,
here to accept the defaults.
| | 04:20 | And that takes me back to the Organizer,
where I have both this edited version
| | 04:23 | of the image, and if I make the
thumbnail smaller, and then click on this arrow
| | 04:29 | in the gray rectangle, you'll
see the original image as well.
| | 04:33 | Guided Edit is simple to use
particularly when you're new to Elements and
| | 04:37 | it can really be a good learning tool,
because it sets out instructions for all of
| | 04:42 | the techniques that you
see in the Guided Edit list.
| | Collapse this transcript |
| Fixing group shots in Guided Edit | 00:00 | Think about the last time that you
photographed a group of friends or family.
| | 00:03 | It's inevitable that at least one person in
the group didn't look his best in the photo.
| | 00:08 | Someone is always looking the wrong way,
or making a face or closing his eyes.
| | 00:13 | Even if you take multiple shots of
the same group, it's difficult to get one photo
| | 00:17 | in which everyone
in the group looks great.
| | 00:20 | Photoshop Elements offers a
possible solution to this problem.
| | 00:23 | It's the Group Shot feature in
Guided Edit, which helps you to blend
| | 00:27 | together multiple photos of the same group,
to display the best parts of each group photo.
| | 00:34 | To show you the Group Shot Feature,
I'll start here in the Organizer where I'm
| | 00:38 | going to select two versions of a group shot.
| | 00:41 | This photo of Kirk, Nick and Jacob and
this second shot of Kirk, Nick and Jacob.
| | 00:47 | I'm going to click on the first photo
to select it and then I'll hold the Ctrl
| | 00:51 | key as I click on the second
photo to select that one too.
| | 00:55 | Now, I want to bring these photos
into the Guided Edit workspace, where the
| | 00:58 | Group Shot feature is located.
| | 01:00 | So I'll go up to the Fix tab in the
Task panel in the Organizer, I'll click the
| | 01:05 | arrow there and I'll choose Guided Photo Edit.
| | 01:08 | That launches the Elements Editor
workspace, and opens the two selected files
| | 01:14 | down here in the project bin, in the Guided Edit
workspace, which I went over in the last movie.
| | 01:20 | The two open images appear as
thumbnails in the project bin here at the bottom
| | 01:25 | of the Guided Edit workspace.
| | 01:27 | If your project bin isn't open, you
can open it by double-clicking the
| | 01:31 | Project bin tab right here.
| | 01:33 | I'm going to select both thumbnails in
the project bin, clicking on the first
| | 01:37 | thumbnail and then holding the Ctrl key,
and clicking on the second thumbnail.
| | 01:41 | With those two selected I'll go over to
the list of tasks that you can perform
| | 01:46 | in Guided Edit and from the Photo Merge
category here I'm going to choose Group Shot.
| | 01:51 | If your Photo Merge category is
collapsed like this you can open it by clicking
| | 01:56 | arrow to the left of that
category, and then click on Group Shot.
| | 02:00 | That opens the Photo Merge group shot
interface, with instructions here in
| | 02:05 | Guided Edit as to how
exactly to use this feature.
| | 02:09 | You're welcome to read through
these instructions on your own time, but
| | 02:12 | basically it tells you to do the following.
| | 02:14 | I need to choose, which of the two
photos I want to use as the final photo and
| | 02:18 | which as the source photo.
| | 02:20 | The one that Elements is going
to merge into the final photo.
| | 02:23 | The final photo should be the
best of the photos I'm working with.
| | 02:26 | So to choose the final photo
I need to see both of them.
| | 02:29 | Right now the first photo is
showing here on the left-hand side of this
| | 02:34 | interface in the window labeled Source,
so I'll take a look at that and then
| | 02:38 | I'll go down to the Project bin, and I'll
click on the other thumbnail to switch those out.
| | 02:43 | So now I'm looking at the
second photo in the Source window.
| | 02:47 | I think the first photo is a better
composition over all and so I'm going to go
| | 02:51 | back down to the project bin, click on
that first photo and hold my mouse down
| | 02:56 | and I'm going to drag from the project
bin up into the final window on the right
| | 03:01 | side of the workspace.
| | 03:03 | So that's a drag-and-drop of the
photo that I want to be the final to this
| | 03:06 | window on the right.
| | 03:08 | So I've got photo number one on the
right as the final image, and photo number
| | 03:12 | two on the left as the Source image,
in the final blended photo I would like
| | 03:17 | Kirk to remain the way he looks here in
the Final photo, and I think Nick looks
| | 03:21 | fine in the final photo to, but
Jacob is looking out of the picture.
| | 03:26 | So would like to replace the image of
Jacob that's currently in the Final photo,
| | 03:30 | with the straight ahead shot of
Jacob that's here in the source photo.
| | 03:34 | To do that I'll go over to the Photo
Merge instructions on the right, and I'll
| | 03:38 | make sure that the Pencil tool is selected.
| | 03:41 | I'll also leave Show Strokes checked,
so that I can see where I'm drawing
| | 03:44 | with the Pencil tool.
| | 03:46 | And then I'll move over to the source
image, where the good photo of Jacob is
| | 03:50 | located, and I'm just going to move my mouse
down the entire length of Jacob in this photo.
| | 03:58 | And then I'll wait for just a second,
while the program automatically takes the
| | 04:02 | image of Jacob from the source photo
that I just drew on with the Pencil tool
| | 04:06 | and uses that to replace the image of
Jacob over here on the right in the final.
| | 04:12 | So this final image is now a blend
of some content from photo 1 and other
| | 04:16 | content from photo 2.
| | 04:18 | It's almost like magic.
| | 04:19 | But I have to admit that this doesn't
always work as perfectly with other images
| | 04:23 | as it did in this particular example.
| | 04:26 | Particularly if the content of the
photos is difficult for Elements to align.
| | 04:30 | If you have difficulty with your own
photos, in the Group Shot Feature, you can
| | 04:34 | go over to the Guided Edit
instructions on the right, and go down to the
| | 04:38 | Advanced Options section click the
arrow there, and then scroll down.
| | 04:43 | And you'll find some instructions
about how to use Alignment Tool Markers to
| | 04:47 | better align the photos you are using, so that
they're easier for Elements to blend together.
| | 04:52 | But in this case I really like
the result that I got as my final.
| | 04:56 | So, at this point I'm going to click Done at
the bottom of the Guided Edit Instructions.
| | 05:02 | And I can see the final blended photo here in
the After View of the Guided Edit workspace.
| | 05:08 | In order to save this image, I need to go
up to the File menu and I'll choose Save As.
| | 05:15 | I'm just going to leave everything at
it's defaults here in the Save As dialog
| | 05:18 | box, and I'm going to click Save, and
then I can close the image by clicking the
| | 05:24 | Close button here in Guided Edit.
| | 05:25 | I also need to close the original two images.
| | 05:29 | So I'm going to close
that one and close that one.
| | 05:32 | And that automatically takes me out of
Guided Edit and back into the Organizer.
| | 05:36 | So, I think the Group Shots Feature is
really clever, and it can be quite useful
| | 05:41 | when you have to take a shot of a group.
What you have to do in advance though
| | 05:44 | is remembered to take more than one
photo so you have the opportunity to take
| | 05:49 | the best out of each photo when you are
processing your images in the Group Shot
| | 05:53 | feature in the Guided Edit
workspace inside Elements editor.
| | Collapse this transcript |
| Applying the Scene Cleaner in Guided Edit| 00:00 | Imagine that you're standing in front
of a famous statue and you want a picture
| | 00:04 | of the statue and the scenery around it
without all the tourists and people who
| | 00:08 | are constantly walking by.
| | 00:10 | Don't worry if you can't get a clean
shot of just the statue without the people.
| | 00:15 | The Scene Cleaner feature in the
Guided Edit workspace of Elements Editor can
| | 00:19 | help you get the uncluttered shot that
you want of the statue and surrounding
| | 00:24 | scenery, minus the crowd.
| | 00:26 | All you have to do is remember to snap
a series of shots from just about the
| | 00:31 | same vantage point as
people move through the scene.
| | 00:34 | And then back home, you can use
Elements' Scene Cleaner to blend parts of those
| | 00:39 | images together in a way that removes
the people from the scene. Sound amazing?
| | 00:45 | Let's give it a try.
| | 00:46 | In the Organizer I'm starting with
these four photos of the lobby of one of the
| | 00:50 | lynda.com office buildings.
| | 00:52 | There is at least one person walking
through each of these photos, and what I'd
| | 00:56 | like is to have a clean shot of
the lobby without anybody in it.
| | 01:00 | So I'll start by selecting all four
photos here in the Organizer, clicking on
| | 01:04 | the first one, and then holding the
Shift key and clicking on the last thumbnail
| | 01:08 | to select those two and the two in between.
| | 01:11 | Then I'll open those in Guided Edit by
going up to the Fix tab at the top of
| | 01:16 | the Task pane in the Organizer, clicking the
arrow there and choosing Guided Photo Edit.
| | 01:23 | As I explained in other movies in
his chapter that opens the Guided Edit
| | 01:27 | workspace in Elements Editor with the
open images represented by thumbnails down
| | 01:31 | here in the Project Bin at the
bottom of the Guided Edit workspace.
| | 01:36 | If your Project Bin isn't open
then double-click the Project Bin tab.
| | 01:40 | The next step is to select all
four images in the Project Bin.
| | 01:44 | So I'll click on the first image and
I'll hold the Shift key, and I'll click on
| | 01:48 | the last to select those and the two in between.
| | 01:52 | Then I'll go over to the list of Guided
Edit features on the right, and in the
| | 01:56 | Photo Merge section I'll choose Scene Cleaner.
| | 02:00 | I'll select that and that opens all
four images into the Scene Cleaner.
| | 02:05 | On the right you see instructions
for how to use the Scene Cleaner.
| | 02:09 | You can read those on your own later.
| | 02:10 | For now you can just follow along with me.
| | 02:13 | The first thing I'm going to is to
designate one of the four images in the
| | 02:16 | Project Bin as the base image.
| | 02:19 | The one to which I'm going to
blend parts of all the other images.
| | 02:22 | To choose the one that I want, I'm
going to look through all four of these by
| | 02:26 | going down to the Project Bin
and clicking on them one by one.
| | 02:30 | So right now the first image, the one
with the blue border is being displayed
| | 02:34 | here in this area, which
is called the Source area.
| | 02:38 | If I want to see another one of
these four images there, I'll click on it
| | 02:41 | down in the Project Bin.
| | 02:43 | So here's the yellow image, the
green image, and the red image.
| | 02:49 | And when I mention these colors, I'm
referring to the border around each one of
| | 02:53 | the thumbnails in the Project Bin, and
the corresponding border in the Source
| | 02:57 | area when I click on one of those thumbnails.
| | 02:59 | Now remember I'm looking not for a
source image, but rather for the base image
| | 03:04 | into which I'm going to
blend parts of the other images.
| | 03:06 | And I want that base image to
appear here in this area labeled Final.
| | 03:11 | I think I'm going to use the second
image, the one with the yellow border.
| | 03:14 | So I'm going to click-and-hold on that
yellow thumbnail in the Project Bin, and
| | 03:19 | then I'll drag from they're into this
Final area and I'll release my mouse.
| | 03:24 | So right now I have the same
image as the Final, and as the Source.
| | 03:28 | I'm going to leave it as the Final
and I'm going to change the Source by
| | 03:32 | clicking back on that first thumbnail.
| | 03:34 | So notice to fill the Final
window I click, hold, and drag.
| | 03:38 | To fill the Source window, I just click.
| | 03:41 | What I'd like to do in the Final image
is to remove this fellow, his name is
| | 03:45 | Jacob, from the image.
| | 03:47 | To do that I'll move over to the Scene
Cleaner instructions in Guided Edit and
| | 03:51 | I'll make sure that the Pencil tool is selected.
| | 03:53 | I'll also leave a checkmark next to
Show Strokes, and then I'm going to come
| | 03:58 | into the Final image and I'm going
to click at the top of Jacobs head and
| | 04:02 | drag down to his toe, drawing a blue stroke
on top of him, and then I'll release my mouse.
| | 04:09 | In just a moment Jacob has
disappeared from the final scene.
| | 04:12 | It kind of looks like
digital voodoo, but it's not.
| | 04:15 | What's happened is that Elements has
taken pixels from underneath the blue
| | 04:19 | stroke that now is showing
up there on the Source image.
| | 04:22 | And it's used those pixels to replace
Jacob here in the corresponding area
| | 04:27 | in the Final image.
| | 04:29 | If I move my mouse out of the Final
image the blue stroke I just drew disappears
| | 04:34 | and you can see that the couch is
clean where just a moment ago Jacob was
| | 04:38 | standing, pretty amazing.
| | 04:40 | Now I notice that there's
somebody else in the Final image.
| | 04:43 | Right here, there's a fellow
walking out of the image, and that's Nick.
| | 04:47 | I'd like to eliminate Nick from the scene too.
| | 04:50 | So I'm going to try to do the same thing.
| | 04:52 | With the Pencil tool, I'll click-and-
drag over Nick here on the very right
| | 04:57 | side of the Final image.
| | 05:00 | Now I'll move mouse out of
the scene and great, it worked.
| | 05:03 | Nick is no longer there.
| | 05:05 | Because Elements has taken the
corresponding pixels from this area of the Source
| | 05:10 | image where there's no one and blended
those into the Final image eliminating
| | 05:14 | Nick from the scene.
| | 05:16 | But that's not all that has happened.
| | 05:18 | At the same time that I eliminated Nick
from the scene, I brought in somebody new.
| | 05:22 | Somebody that wasn't in
the Final image a moment ago.
| | 05:25 | And that is Dave, who you
can see here in the red shirt.
| | 05:29 | An exact replica of Dave
here in the Source image.
| | 05:32 | The problem is that in the Source image,
the blue line that corresponds to where
| | 05:37 | Nick was is too close to where Dave is,
and so Elements thinks that what I'm
| | 05:41 | trying to do is bring Dave from the
Source image into the Final image, and not
| | 05:47 | just remove Nick from the Final image.
| | 05:49 | But that's okay, because there's
another tool available in the Scene Cleaner
| | 05:53 | instructions over here,
and that's the Eraser tool.
| | 05:56 | So I'm going to select the Eraser tool,
and then I'll come into the Final image,
| | 06:01 | and I'm going to click-and-drag down
that blue line that I had drawn on top of
| | 06:05 | Nick, to remove him from the scene.
| | 06:10 | So now Dave has gone but Nick is back.
| | 06:13 | At this point I would be stuck if I
only had these two images to work with,
| | 06:17 | but fortunately as I urge you to do, I took
more than one shot from the same location.
| | 06:23 | So I have more than one potential
Source image to work with, and those other
| | 06:26 | potential images are down here in the
Project Bin, where there's a thumbnail
| | 06:30 | with a green border, and
another with a red border.
| | 06:33 | I'm going to try clicking on the
green thumbnail to set that as the Source
| | 06:37 | image, then I'm going to move back
over to the Scene Cleaner instructions,
| | 06:42 | and I'm going to select the Pencil tool and
I'll do the same thing that I did a moment ago.
| | 06:46 | I'll click-and-drag a stroke down Nick,
hoping that will eliminate him from the
| | 06:53 | scene, and not bring in anyone else.
| | 06:56 | And sure enough, that's what happens.
| | 06:58 | The pixels near the green line in the
corresponding area of the Source image
| | 07:02 | have been blended with the
corresponding area of the Final image effectively
| | 07:06 | removing Nick from the scene.
| | 07:08 | And there was nobody else close enough
to that green stroke in the Source image
| | 07:12 | to fool Elements into bringing in
yet another person into my Final image.
| | 07:17 | So I've been successful at what I set out to do.
| | 07:19 | That's great, but I could
take it even one step further.
| | 07:23 | Let's say that now that I have this
empty lobby, I want to add somebody else
| | 07:27 | back into the Final scene.
| | 07:29 | And that somebody else is Kelly, who I
can see here in this photograph, whose
| | 07:34 | thumbnail is surrounded with a red border.
| | 07:37 | So I'm going to click on that thumbnail
in the Project Bin and that places the
| | 07:41 | photo with Kelly in it here in the Source area.
| | 07:44 | So how am I going to bring Kelly
into the clean lobby in the Final scene?
| | 07:49 | Well, I'll just click-and-drag from her
head on down here in the Source image,
| | 07:55 | and in just a second the Scene Cleaner
takes the pixels from this area of the
| | 07:59 | Source image and brings them into and
blends them in with the Final image.
| | 08:05 | So Kelly now appears in that Final
image walking out of that doorway.
| | 08:08 | If I move my mouse over the Final
image I can see all three strokes each one
| | 08:13 | corresponding to a Source
photo with the same color border.
| | 08:17 | If I don't want to see those strokes
when I have my mouse over the Final image,
| | 08:21 | I can go to the Scene Cleaner
instruction area and uncheck Show Strokes.
| | 08:25 | And now I can move my mouse in and
out without bringing up those strokes
| | 08:29 | that obscure the view.
| | 08:30 | When I'm all done I'm going to go to
the bottom of the Scene Cleaner, and I'm
| | 08:34 | going to click Done.
| | 08:36 | That opens the final blended image here in
the After View of the Guided Edit workspace.
| | 08:42 | At this point I would save and then
close this image as I have shown you how to
| | 08:46 | do in a number of other movies in this chapter.
| | 08:48 | So I won't bother you with that again.
| | 08:51 | But I'll remind you to give this
feature a try the next time that you are
| | 08:54 | shooting in a crowded place.
| | 08:56 | It works not only with people
but with moving objects as well.
| | 09:00 | For example, you might try cleaning a
street of cars, or removing boats from a lake.
| | 09:05 | Just remember you have to shoot more
than one image to use with the Scene Cleaner,
| | 09:09 | and you need to stay in
approximately at the same place when
| | 09:12 | you make all your shots to make it easier
for Elements to align and blend your multiple photos.
| | Collapse this transcript |
|
|
6. Full Edit BasicsTouring the Full Edit interface| 00:00 |
The Full Edit workspace in Elements
Editor gives you full control over editing
| | 00:04 |
and manipulating your photos.
| | 00:06 |
I'm going to be covering the Full Edit
workspace in detail in this chapter and
| | 00:10 |
in the chapters to come.
| | 00:11 |
In this movie I'd like to take you
on a tour of the interface here in the
| | 00:15 |
Full Edit workspace so that you know
where everything is and have a general
| | 00:19 |
idea of what it does.
| | 00:20 |
And then I'll go into more detail on
some of these features in later movies.
| | 00:24 |
This interface, like that of many
programs, has a menu bar at the top.
| | 00:28 |
And if I click on any of the menu
items I get a drop-down menu with commands.
| | 00:32 |
One thing to notice in these menus is
that to the right of a command, there's
| | 00:36 |
often a keyboard shortcut listed.
| | 00:39 |
So for example, here the Edit > Undo
command has the keyboard shortcut Ctrl+Z.
| | 00:44 |
And as you get more familiar with
Elements, I suggest you start trying to
| | 00:48 |
remember the keyboard shortcuts for
things that you do most often, like undoing,
| | 00:52 |
or saving files, copying,
pasting, and other common activities.
| | 00:56 |
I am going to click in a blank area of
the menu bar to close that menu and show
| | 01:00 |
you the next interface element, which
is the toolbar over here on the left.
| | 01:04 |
I'll be covering the toolbar in more
detail in another movie, but I did want
| | 01:08 |
to mention that the toolbar is related to this
other bar right up here, the Tool Options bar.
| | 01:14 |
So that every time I select a
different tool here in the toolbar, the options
| | 01:19 |
available in the Tool Options bar change
too displaying just the options related
| | 01:24 |
to whatever tool is selected
at the moment in the toolbar.
| | 01:27 |
The next interface element is over on the
right side of the screen, and that's the panels.
| | 01:32 |
There are many more panels
than those that you see here.
| | 01:35 |
If you'd like to open another panel, go
up to the Window menu at the top of the
| | 01:38 |
screen, and there you'll see all
the panels listed alphabetically.
| | 01:41 |
So let's say I wanted to view the
Histogram panel, which I often use when
| | 01:45 |
I'm editing a photo.
| | 01:46 |
I'll click Histogram, and the
Histogram panel appears here in this column of
| | 01:50 |
panels over on the right side of the screen.
| | 01:53 |
Since all of the panels don't fit in
this column, when you get too many over
| | 01:57 |
here some will collapse, like this
Adjustments panel down here so that you can
| | 02:01 |
just see it by it's tab.
| | 02:02 |
And then if you want to see the entire
panel, just double-click its tab like
| | 02:06 |
this and the panel comes into
view and other panels will collapse.
| | 02:11 |
By default the panels are docked into
this column on the right, but sometimes
| | 02:15 |
you might want to dis-
attach a panel from this column.
| | 02:17 |
For example, I sometimes like to take
my Layers panel and drag it out of the
| | 02:21 |
column, and drop it right next to
the image that I'm editing like this.
| | 02:25 |
And then I'll double-click the Layers
tab there to open the entire panel to view.
| | 02:29 |
I can click on the title bar of this panel,
and just drag it wherever I want on the screen.
| | 02:34 |
Now that it's a free-floating panel, I
can bring other panels out and join them
| | 02:38 |
with his free-floating panel.
| | 02:40 |
So I might get the Histogram panel and
drag it out of the Dock and I'll move it
| | 02:44 |
right underneath the Layers panel.
| | 02:46 |
When I see that blue line, I'll release
my mouse and then I'll double-click the
| | 02:50 |
Histogram tab, and now I've got those
two panels linked together so that when I
| | 02:55 |
click-and-drag on the title
bar they move around together.
| | 02:58 |
To change that relationship, I can
just click on either of the panel tabs
| | 03:01 |
and drag it out of that new column,
or I can drag a panel back into the
| | 03:07 |
column on the right.
| | 03:09 |
When I see a blue line
there, I'll release my mouse.
| | 03:11 |
I can also join panels together
into a group to save some room.
| | 03:15 |
So I might take the Layers panel by
its tab and drag it into the same area as
| | 03:20 |
the Histogram panel.
| | 03:21 |
Now instead of a single blue line, I
see a blue border around the Histogram
| | 03:25 |
panel and that means that those two
panels, the Layers panel and Histogram
| | 03:29 |
panel, are grouped
together into one panel group.
| | 03:32 |
And to bring either one to the
forefront of that group, I just click its tab
| | 03:36 |
like this or like this.
| | 03:38 |
I suggest that you customize your panel
arrangements so that the panels that use
| | 03:42 |
most often for a particular task
are the ones that you have on screen.
| | 03:46 |
So that means that you may
have to close some panels.
| | 03:49 |
To close a panel, you will go to the
small icon that's on the right side of
| | 03:53 |
every panel or panel group
called the panel menu icon.
| | 03:57 |
It's really hard to see;
| | 03:58 |
it's basically a small icon with
some horizontal lines and an arrow.
| | 04:03 |
I'm going to click the panel menu here
on the Effects panel, and that shows me a
| | 04:06 |
list of commands relevant to that panel.
| | 04:09 |
If I want to close this panel, I'll just
choose Close from the bottom of that list.
| | 04:14 |
If I want to close an entire panel
group, say in this case, the Layers and
| | 04:18 |
Histogram panel group.
| | 04:20 |
I'll go to its panel menu icon, and I'll
choose Close Tab Group, and that will just close.
| | 04:26 |
Now what if I want to open panels.
| | 04:28 |
I go up to the Window menu and I choose
the panel that I want, say the Layers panel.
| | 04:34 |
And that opens not only with the Layers
panel, but also with the other panel I
| | 04:37 |
had grouped with it, the Histogram panel.
| | 04:39 |
If you have customize your panels, and
you want to go to the original default
| | 04:43 |
panel arrangement, you can do that at
any time by going to the top of the Editor
| | 04:48 |
and clicking Reset Panels.
| | 04:50 |
If you've been using the last version
of Photoshop Elements, you'll notice that
| | 04:54 |
some of the features that I just
showed you are new and that's because the
| | 04:57 |
Editor in Elements 8 is based upon
Photoshop CS4 bringing some new features to
| | 05:02 |
the Elements 8 Editing interface.
| | 05:05 |
| | Collapse this transcript |
| Opening files in Full Edit| 00:00 |
There are a couple of different
ways to open files into the Full Edit
| | 00:03 |
workspace of Elements Editor.
| | 00:05 |
I recommend that when you can, you open
files from the Organizer into the Editor.
| | 00:10 |
The reason for that is that allows
you to make use of the powerful search
| | 00:13 |
features in the Organizer, which I
covered in earlier movies to find just the
| | 00:17 |
files that you want.
| | 00:18 |
And the Organizer gives you large
thumbnail views so that you can visually
| | 00:22 |
choose just the image that you want.
| | 00:24 |
I am going to open a file from the
Organizer in to Full Edit Mode by moving to
| | 00:28 |
the file I want, which is this greenhat.
| | 00:31 |
Selecting it, and if I want to I could
also select the redhat by holding down
| | 00:35 |
the Ctrl key on the keyboard and clicking on it.
| | 00:37 |
But I'm just going to with one file for now.
| | 00:39 |
Then I have two choices, I can either
right-click on that file and choose Edit
| | 00:45 |
with Photoshop Elements.
| | 00:46 |
Or, and I think this way is more
intuitive, I can go up to the Fix menu in the
| | 00:51 |
Task pane, click the arrow there and
choose Full Photo Edit as I'm going to do.
| | 00:56 |
That launches Elements
Editor in to the Full Edit Mode.
| | 01:00 |
I can see that it's in Full Edit
because this tab says Edit Full.
| | 01:05 |
And it opens the selected file or files
into Full Edit Mode ready for me to work on.
| | 01:10 |
Now sometimes you may be working in the
Editor and you just want to quickly open a file.
| | 01:15 |
If you know its name and its
location, you can open it from here.
| | 01:19 |
By going to the File menu at the top
of the Editor, choosing Open, and then
| | 01:23 |
navigating to the file in the Open window.
| | 01:26 |
So I happen to know that this file that
I want is located is on the Desktop and
| | 01:31 |
inside the Exercise Files folder, so I'll
double-click the Exercise Files folder to open it.
| | 01:36 |
And then I'll double-click the sub
folder for chapter06 to open it, and then
| | 01:41 |
I'll double-click the 06_01 folder and
there is the redhat image that I'm after.
| | 01:46 |
So I'll click on it once to
select it, and then I'll click Open.
| | 01:50 |
And that file opens directly in to the
Full Edit workspace where I'm working.
| | 01:53 |
I'll show you one more way to open a file
from the Editor that sometimes comes in handy.
| | 01:58 |
I'm going to go up to the File menu
and I'm going to move my mouse over
| | 02:02 |
Open Recently Edited File.
| | 02:04 |
And here I see a list of all of the
files that I've worked on recently.
| | 02:07 |
So if I need one of those files,
I can select it here and open it into the Editor.
| | 02:13 |
| | Collapse this transcript |
| Working with tabbed documents| 00:00 | When you open new documents into the
Full Edit workspace by default each one
| | 00:04 | opens into a free-floating window.
| | 00:06 | Some people like this because you can
grab a free-floating document window by
| | 00:11 | its title bar like this and drag
it anywhere you want on the screen.
| | 00:16 | I can do the same with this one, and this one.
| | 00:20 | The problem with free-floating windows
like these is that if you have lots of
| | 00:24 | documents open, they tend to
get hidden one behind the other.
| | 00:27 | Another problem with floating document
windows is that if you click the maximize
| | 00:31 | icon like this, the document
takes over your entire window.
| | 00:35 | I'll click that icon again to go back.
| | 00:38 | In Photoshop Elements 8, you can solve
the floating document problems by using a
| | 00:43 | new tabbed arrangement to display
multiple documents that are open at once.
| | 00:47 | To convert all of these three floating
windows into tabs inside of one window,
| | 00:52 | I'm going to go up to the menu bar at
the top of the screen and I'm going to
| | 00:55 | click the arrow to the
right of the Arrange menu.
| | 00:57 | Then I'm going to choose this first
icon here, which consolidates all the
| | 01:01 | open documents into one document window
with a tab representing each separate document.
| | 01:08 | If I want to bring any one of the
three open documents to the forefront,
| | 01:12 | I'll click its tab.
| | 01:13 | So if I click the bluehat tab, I can
see that image and the greenhat tab, this
| | 01:18 | one, and the redhat tab.
| | 01:20 | Or I can cycle through the tabbed
documents by pressing the keyboard
| | 01:24 | shortcut Ctrl+Tab like this.
| | 01:29 | I can also rearrange the tabs up here.
| | 01:32 | So I could take the blue tab and drag it
before the green tab like that and release.
| | 01:38 | Notice that if I cycle through the
tabs now by pressing Ctrl+Tab, and then
| | 01:42 | Ctrl+Tab, and then Ctrl+Tab, that the
program is not cycling through the tabs in
| | 01:48 | the order in which they appear up here.
| | 01:50 | It's cycling through the tabs in the order in
which I happen to have opened the documents.
| | 01:54 | So don't be confused by that.
| | 01:55 | Now what if I want to remove one of
these documents from this tabbed arrangement
| | 02:00 | so that it's floating again?
| | 02:01 | I'm going to remove the greenhat by
clicking on its tab and then dragging out of
| | 02:06 | the tabs and then releasing.
| | 02:08 | Now that particular document is floating.
| | 02:10 | So I can move it over here for example,
and I might do this if I was making a
| | 02:14 | collage of the green and red hats, and
I wanted to be able to easily click on
| | 02:20 | the greenhat image and drag from
there into the redhat image like that.
| | 02:26 | I am going to undo that by
pressing Ctrl+Z, a couple of times.
| | 02:31 | What if I want to have all of
the documents released from this
| | 02:34 | tabbed arrangement?
| | 02:35 | Then I'll go up to Arrange menu
and I'll choose Float All in Windows.
| | 02:41 | Now all three of the documents are in
separate free-floating windows rather than in tabs.
| | 02:46 | Now there is another way to bring a
floating document into a tabbed document
| | 02:51 | arrangement, and that is to drag it up
toward the top of the editing area or
| | 02:55 | toward the top of another document.
| | 02:57 | So I'm going to take this redhat image,
I'll drag it over here, and then I'm
| | 03:02 | going to drag it up toward the top of
the editing area, and then I'll release.
| | 03:06 | I've just snapped that redhat into a tab.
| | 03:09 | It's a little hard to see unless I
move these other two over as I'll do now.
| | 03:14 | So there's the redhat tab.
| | 03:16 | Now if I click on the bluehat title
bar and I move up toward the top of the
| | 03:20 | editing area, I get this thin blue
border around the top and sides of the title
| | 03:25 | bar and now if I release my mouse, the
bluehat document is also snapped into
| | 03:29 | the tabbed arrangement.
| | 03:31 | I could do the same with the greenhat document.
| | 03:33 | I do want to show you though-
you don't want to go too far up.
| | 03:36 | You just want to move until you see
the light blue thin line all around
| | 03:40 | the title bar there.
| | 03:41 | If I go up a little bit further where
there is a thick blue bar, then if I
| | 03:45 | release mouse, I'll get a tiled result.
| | 03:48 | So I don't want that I'm going to
go right there, and then release.
| | 03:51 | Now all three documents are
in the tabbed arrangement.
| | 03:54 | This snapping to tabs behavior that I
just showed you can sometimes give you a
| | 03:58 | result that you were expecting.
| | 04:00 | So let's say I do have the greenhat
floating free and I'm just moving it, and
| | 04:04 | if I just happen to get too close and release,
it snaps right into the tabbed arrangement.
| | 04:09 | Sometimes, I don't want that.
| | 04:10 | So here's the solution.
| | 04:12 | I'm going to pull the greenhat out yet
one more time, and let's say I want to
| | 04:16 | move the document, but I don't
want to snap it into the tabs.
| | 04:19 | I'll hold down the Ctrl key on my
keyboard and then I can move it up here and
| | 04:22 | there's no problem, I
can set it wherever I want.
| | 04:25 | I'll release it and I'll release the Ctrl key.
| | 04:27 | Now if you like the tab document
arrangement so much that you never want
| | 04:31 | floating documents, you can disable the
Floating Document behavior by going to
| | 04:35 | the Edit menu and down to Preferences
and over to General preferences, and
| | 04:41 | here you can uncheck Allow Floating
Documents in Full Edit Mode, which is
| | 04:46 | checked by default.
| | 04:47 | I'm going to leave it checked so
that I have an option to use either
| | 04:50 | floating documents or tabs.
| | 04:52 | So I'll cancel out of here.
| | 04:54 | Then I'm going to take that greenhat
document and drag it down, so it's snapped
| | 04:58 | into the tabs with the other two
documents, because I want to show you another
| | 05:01 | feature that you can
access from the Arrange menu.
| | 05:04 | What if I have all these documents and
tabs, but I want to view more than one
| | 05:08 | document at a time maybe, because
I want to compare different shots?
| | 05:12 | I can go up to the Arrange menu and I
can choose from one of the layouts that
| | 05:17 | are represented by these various icons.
| | 05:20 | So if I click Tile All in Grid, I'll
see each image in a separate window, and
| | 05:26 | those windows are tiled on the screen.
| | 05:28 | Now it's a little bit hard to see
these images, because they're too big for
| | 05:31 | these windows and rather than zoom
out, I'm going to go up and choose a
| | 05:35 | different arrangement.
| | 05:36 | These all happen to be vertical images.
| | 05:38 | So I'm going to try this one which is a
vertical three-up arrangement, and that
| | 05:43 | is better in this particular case.
| | 05:45 | It allows me to see more of each image.
| | 05:47 | If I want to change the zoom
magnification of one image, I can change the zoom
| | 05:51 | of all of them together.
| | 05:52 | So I might come to this first image
the redhat, and click on it and then I'll
| | 05:57 | get the Zoom tool, I'll press the minus
button and I'm going to zoom out, so I
| | 06:01 | can see the entire image.
| | 06:03 | Then I'll go up to the Arrange menu
and I'm going to choose Match Zoom.
| | 06:08 | And those other two documents in this
layout go to the same zoom percentage.
| | 06:13 | Now how do you close tab documents?
| | 06:15 | Well, you can just click on the X on
the right side of any one of the tabs.
| | 06:20 | If you've made a change,
you can decide to save or not.
| | 06:22 | I'm going to say No, I don't want to save
any changes, and that closes that document.
| | 06:27 | If you want to close all the tabbed
documents, you can go up to the File menu
| | 06:31 | and choose Close All.
| | 06:32 | I am a real fan of this new tabbed
document feature, which actually is a feature
| | 06:38 | that comes from Photoshop CS4.
| | 06:41 | I think it's a great way to keep
your desktop organized and have all the
| | 06:44 | documents at your fingertips.
| | 06:46 | So give it a try and see what you think.
| | 06:48 | If you don't like it, remember
that you have the choice of working in
| | 06:51 | floating document windows as long
as you leave the Floating Document
| | 06:54 | Preference that I showed you checked.
| | Collapse this transcript |
| Using tools| 00:00 | Elements packs lots of tools into its toolbox.
| | 00:03 | I'm not going to explain
to you what every tool is.
| | 00:05 | I think the best way to learn about
tools is to use them in context, as you do
| | 00:09 | throughout this course.
| | 00:10 | But there are some things you can know
about the tools that will help you use
| | 00:13 | them more efficiently.
| | 00:14 | The first thing is that not all the tools
are visible in the toolbox at any one time.
| | 00:19 | There are just too many tools.
| | 00:21 | So some of them are tucked
away behind related tools.
| | 00:24 | Whenever you see a tool that has a
small black triangle in the bottom-right
| | 00:28 | corner of the tool slot,
| | 00:30 | that means that that tool has
some other tools hiding behind.
| | 00:34 | So, for example here's a black triangle
on the Eraser tool, if I click and hold
| | 00:39 | the Eraser tool for a second, and then
I can release my mouse, a flyout menu
| | 00:43 | appears with the Eraser tool, and
some other tools hidden behind it, the
| | 00:47 | Background Eraser and the Magic Eraser tool.
| | 00:50 | If I click on one of those then,
that tool becomes the active tool.
| | 00:54 | Another thing to know about the tools
is that you don't have to memorize all
| | 00:57 | their names and locations.
| | 00:59 | Instead, you can take
advantage of tool tips to find a tool.
| | 01:03 | So, if I see a tool icon and I don't
remember exactly what it is, like this
| | 01:06 | band-aid here, I can just move my
mouse over it, and in a second, a tool tip
| | 01:11 | pops up telling me that this
is the Spot Healing Brush tool.
| | 01:14 | One way to access a tool is to
click on it here in the Toolbox.
| | 01:19 | But a quicker way to access a tool
is by using its keyboard shortcut.
| | 01:23 | To find out the keyboard shortcut for any
tool, I'll move my mouse over that tool.
| | 01:28 | So, if I come up to the Move tool,
and keep my mouse there for a second, I
| | 01:31 | learned that V is the
shortcut for the Move tool.
| | 01:35 | So, now no matter what tool I'm working
with at the moment, if I need to move a
| | 01:38 | layer, I can just press the V key on
my keyboard, and that automatically
| | 01:43 | selects the Move tool.
| | 01:44 | In a earlier movie, I explained
that the Tool Options bar up here is
| | 01:48 | context-sensitive, which means that
as I select different tools the options
| | 01:53 | in the Tool Options bar changed to display only
options that are relevant to the selected tool.
| | 02:00 | If you change some of the settings for
tools in the Options Bar, your settings
| | 02:05 | may stick with the tool.
| | 02:06 | So, that the next time you use
it you have the same settings.
| | 02:09 | So, I suggest that every time you start
a new project in Photoshop or if you sit
| | 02:14 | down at a strange computer, say a
computer in a lab, that you reset the tools.
| | 02:19 | And the way that you do that is to go
to the arrow that's on the left-side
| | 02:22 | of the Tool Options bar click there,
and you can choose to reset only the
| | 02:27 | active tool, or all tools.
| | 02:29 | So I'll choose Reset All
Tools, and then I'll click OK.
| | 02:33 | And now the options for the selected
tool as well as all the other tools have
| | 02:37 | been put back to their defaults.
| | 02:39 | One more thing to know about the
toolbox is that at the bottom of the toolbox
| | 02:43 | are the foreground and
background color boxes right here.
| | 02:46 | Whatever color is showing in the
Foreground Color Box at any time is the color
| | 02:51 | that will be used by any of the tools, and
features in Elements Editor that make use of color.
| | 02:56 | For example, here is the Brush tool
that paints with Foreground Color, under
| | 03:01 | Brush tool, there is a Pencil tool,
and that also uses the Foreground Color.
| | 03:06 | Here is the Gradient tool and this
tool is one of the few that uses both
| | 03:11 | whatever color is in the Foreground
Color Box, and whatever color is in the
| | 03:15 | Background Color Box here.
| | 03:17 | The Type tool is default to
using the Foreground Color as well.
| | 03:20 | So I'd like to show you a couple
of ways to change the color in the
| | 03:23 | Foreground Color Box.
| | 03:25 | The easiest way is to select the
Eyedropper tool here in the toolbox, and then
| | 03:30 | if an image is open to click in the
image on the color that you want to use.
| | 03:34 | So, I'm going to click on this red here
in this image, and that samples that red
| | 03:38 | color and sets it as the foreground color.
| | 03:41 | Now, if I were to select a tool like the
Brush tool from here behind the Pencil tool,
| | 03:45 | and paint here in the image, I'm
painting with foreground color.
| | 03:53 | Another way to change the foreground
color is to click on the Foreground Color
| | 03:57 | Box, and that opens the Color Picker.
| | 04:00 | Here in a Color Picker, I can move
the slider to get into another hue, for
| | 04:04 | example, blue and then in his large
field on the left, I'll click on the Blue
| | 04:10 | Shade to select just the blue that I want.
| | 04:13 | The selected color appears here
in this square as the new color.
| | 04:16 | I'll click OK in the Color Picker to
close it, and notice that the Foreground
| | 04:21 | Color Box is now that particular shade of blue.
| | 04:23 | I'm going to move my cursor over the
image, and notice the icon that represents
| | 04:28 | the Brush Tip of the Paintbrush.
| | 04:31 | Many of the tools in the
toolbox have Brush Tips like this.
| | 04:34 | Everything from the Eraser tool to the
Clone Stamp tool, which is used to hide
| | 04:38 | content in the photo to the Smart
Brush tool, to the Healing and Spot Healing
| | 04:42 | Brush tools, all of which we'll
explore in later movies have a Brush Tip.
| | 04:46 | So I'd like to show you how you can change
the size of the Brush Tip in an efficient way.
| | 04:51 | To do that, I'm going to select another tool.
| | 04:53 | I'll select the Spot Healing Brush,
which is a tool that photographers often
| | 04:57 | used, when they are retouching a photo.
| | 04:58 | What the Spot Healing Brush does is
cover up unwanted elements in a photo by
| | 05:03 | copying and pasting pixels from nearby,
and blending those pixels into the area
| | 05:08 | you're trying to cover up.
| | 05:10 | So, let's say that I want to cover up
some of the black paint on this sign.
| | 05:14 | I want to make my Brush Tip big
enough to cover the black paint.
| | 05:18 | So, I'm going to press the Right Bracket
key on my keyboard a couple of times to
| | 05:22 | make that Brush Tip a little bit bigger.
| | 05:24 | I think that's a much better way to
change the size of a brush than what most
| | 05:28 | people do, which is to go up to the
Options Bar for the selected tool and then
| | 05:32 | find a Size menu like this and drag the
slider, because if you do it this way,
| | 05:37 | you have no idea how big to make the brush.
| | 05:39 | I am going to click here in a blank area
of the Options bar to close that slider
| | 05:43 | and then I'm going to go back in with
this tool, and I'll click on some of this
| | 05:47 | black paint to cover it up.
| | 05:51 | The same way if I wanted to make my
Brush Tip smaller, I would click the Left
| | 05:55 | Bracket key on the keyboard a couple of times.
| | 05:58 | So, those are some productivity
enhancing tips for using tools in Photoshop Elements.
| | 06:03 | Knowing how to make the tools
work efficiently will save you time and
| | 06:07 | effort, as you work on your photos
in the Full Edit Mode of the Editor.
| | Collapse this transcript |
| Setting editing preferences| 00:00 |
Elements 8.0 offers lots of ways to
customize the Editor and the Organizer.
| | 00:05 |
Right now, I'm in the Organizer. If I
go up to the Edit menu at the top of that
| | 00:08 |
screen, and I choose Preferences, I'll bring
up Preferences that affect just the Editor.
| | 00:13 |
You can see that there are
subcategories of Preferences listed in this menu.
| | 00:17 |
I can start with General or
choose a specific category.
| | 00:20 |
I'll go to General here, and that
opens the Editor Preferences dialog box.
| | 00:24 |
Those same categories are accessible
from the left side of this dialog box,
| | 00:29 |
and as I click on a category the
Preferences available on the right side of
| | 00:33 |
the dialog box change.
| | 00:34 |
There are lots of Preferences here, and
my general rule is that if I don't know
| | 00:38 |
what a preference does, I don't change it.
| | 00:41 |
But I do want to tell you about a couple
of Preferences that you may want to change.
| | 00:45 |
One of those is here under the
Display and Cursors category, and that is to
| | 00:50 |
change the way that the
Painting Cursors are displayed.
| | 00:52 |
The Painting Cursors are a brush tips
like the Brush Tip for the Brush tool, and
| | 00:57 |
I think it's useful to set the Brush
Tips to show the full-size of the brush by
| | 01:02 |
going down to these Radio buttons,
and clicking Full Size Brush Tip.
| | 01:07 |
Because when Brush Tip is set to just
normal brush tip, you won't see the actual
| | 01:11 |
boundary of the brush if
you're using a soft brush.
| | 01:15 |
I also like to check this
checkbox, Show Crosshair in Brush Tip.
| | 01:19 |
So, I know where the center of the Brush Tip is.
| | 01:21 |
Now the icon up here shows a preview of
the way that I've set Brush Tips to display.
| | 01:27 |
Another item that you might want to
change is in the Units and Rulers category.
| | 01:31 |
So, I'll select that category.
| | 01:33 |
Notice that Rulers here
are set to Inches by default.
| | 01:36 |
This Ruler setting controls all of the
units of measurement in Elements Editor.
| | 01:40 |
So, anything that uses measurement in
the Editor is going to default, 2 Inches.
| | 01:46 |
If I'm creating something that I'm
going to display on the screen like an
| | 01:49 |
image for the web, then I would want
to come into this Setting, and change it
| | 01:53 |
from Inches to Pixels.
| | 01:56 |
So that the Rulers and other items
that rely on measurement in the Editor
| | 02:00 |
display Pixels as the
default unit of measurement.
| | 02:03 |
I'm going to switch that back to
Inches right now for the rest of the course.
| | 02:06 |
I'm going to go back to the General
category of Preferences, because I want to
| | 02:10 |
show you a couple things
there you might want to change.
| | 02:13 |
One of those is the User Interface Brightness.
| | 02:16 |
If you find the background of the Editor to
be too dark, you can change this to light.
| | 02:22 |
And then you have a light
version of the Editor to work in.
| | 02:24 |
I actually prefer dark, because I think
it's easier to see the tools and other
| | 02:28 |
features against the dark background.
| | 02:30 |
Also, as you become more experienced
in using Elements, you may find that you
| | 02:35 |
have no more need for tool tips, and that
the tool tips are actually getting in your way.
| | 02:40 |
If and when that's the case, you can
come to this General category of Editor
| | 02:44 |
Preferences and uncheck Show Tool Tips,
as I'm going to do now, and then I'm
| | 02:49 |
going to click OK to accept all those changes.
| | 02:52 |
So, those are some Preferences that you
might want to change in the Editor Interface.
| | 02:57 |
Now, let's take a look at
the Organizer Preferences.
| | 02:59 |
I'll switch back to the Organizer by
clicking the Organizer button here at the
| | 03:03 |
top of the Editor and then in the
Organizer, I'm going to go to Edit and down to
| | 03:07 |
Preferences and here there are
categories for Organizer Preferences.
| | 03:12 |
I'll start with the General category,
and that opens this Preferences dialog box
| | 03:17 |
that pertains just to the Organizer.
| | 03:19 |
You can see that there are some User
Interface Brightness Preferences for
| | 03:23 |
just the Organizer.
| | 03:24 |
So, if you prefer the interface to be light,
you can click this Light button right here.
| | 03:29 |
I'm going to put that back to Dark, and
then I'm going to move the Preferences
| | 03:33 |
dialog box over by clicking on it's
title bar, and dragging, so that I can show
| | 03:37 |
you that there's another Brightness
Preference for just the area behind the
| | 03:41 |
Photo Browser here in the Organizer.
| | 03:43 |
And if I click Light there, then that
area of the Organizer becomes Light.
| | 03:49 |
So, if you have mainly dark photos then
you might prefer to have the background
| | 03:53 |
of the Photo Browser, Light like this.
| | 03:55 |
I am going to go ahead and switch it
back to Dark and then, I'll move my
| | 03:59 |
Preferences dialog box over by
clicking and dragging on its title bar again.
| | 04:03 |
So, that's just a taste of the
Preferences available here in the Organizer
| | 04:07 |
Preferences dialog box.
| | 04:09 |
I'm going to click OK to close that
dialog box and remind you that you have the
| | 04:14 |
option to customize the way that
Elements Editor and Elements Organizer looks
| | 04:18 |
and works, using these
two Preference dialog boxes.
| | 04:22 |
| | Collapse this transcript |
| Adjusting color settings| 00:00 |
You may have had the experience of
working with a photograph on your
| | 00:03 |
computer, either in Elements or another
digital imaging program, and the colors look great.
| | 00:08 |
But then when you print the photo or
when you upload it to a website,
| | 00:12 |
the colors in a photo don't look exactly
the same as they did when you were working
| | 00:16 |
on it on your computer.
| | 00:18 |
The reason is that colors are really
just numerical values, which have to be
| | 00:22 |
interpreted to become
colors that you and I can see.
| | 00:25 |
Every digital device that you use,
be it your camera, your monitor and computer,
| | 00:30 |
your printer or your scanner
has a unique way of translating color
| | 00:34 |
values into visible colors.
| | 00:36 |
So often you don't get a match
between the colors that you see on your
| | 00:40 |
computer screen when you're working on
an image, and colors that you see when
| | 00:44 |
you output the image.
| | 00:45 |
Elements tries to make it as easy as
possible to achieve consistency of color,
| | 00:50 |
and it does so by allowing you to add
tiny pieces of information about color to
| | 00:56 |
every photograph that you work on in Elements.
| | 00:58 |
Those pieces of information are called
Color Profiles, and they describe the way
| | 01:03 |
that you want colors to be
interpreted by other devices in your digital
| | 01:06 |
workflow, like your printer.
| | 01:08 |
The first stop in handling color
management in Elements is the Color Settings
| | 01:12 |
dialog box in the Full
Edit workspace in the Editor.
| | 01:16 |
I'm going to open that by going to the
Edit menu and going down to Color Settings.
| | 01:20 |
When you get some time, I suggest
that you read through this narrative to
| | 01:24 |
understand the different
choices that Elements is offering you.
| | 01:27 |
But here is my short answer, the first
choice here No Color Management is not
| | 01:32 |
the one that I recommend.
| | 01:33 |
If you choose No Color Management
then you're allowing Elements to display
| | 01:37 |
colors in a file using the
idiosyncratic way that your particular monitor
| | 01:41 |
displays color, and that isn't
necessarily the way that colors are going to be
| | 01:45 |
displayed anywhere else, on
someone else's monitor, or in a print.
| | 01:49 |
When you choose No Color Management, there
are no color profiles attached to your photos.
| | 01:54 |
And so the next device down the line
say your printer won't know how you expect
| | 01:58 |
the colors in the photo to be interpreted.
| | 02:01 |
The next choice, the default Always
Optimize Colors for Computer Screens is
| | 02:06 |
a good one if most of the photos that you
work on, you share with other people online.
| | 02:11 |
Either on a website or blog or Facebook
or if you're making presentations that
| | 02:16 |
you are going to show on a computer screen.
| | 02:19 |
This choice keeps the colors in the
image within a range of colors known as the
| | 02:23 |
sRGB color space as it says here, which
is optimal for images that are going be
| | 02:29 |
shown on screen or are being shared as e
-mail attachments, or that you're going
| | 02:33 |
to put on a website.
| | 02:34 |
However if you're someone who usually
prints your photos on an inkjet printer
| | 02:38 |
then the best choice for you is the
next one Always Optimize for Printing.
| | 02:43 |
This will display your photos based
on the colors in the Adobe RGB color
| | 02:48 |
space, as it says here.
| | 02:50 |
The Adobe RGB color space offers the
broadest range of colors among these
| | 02:54 |
choices so it works quite
well for printed images.
| | 02:58 |
The last choice Allow Me to Choose
might sound good, but actually it's going to
| | 03:02 |
give you a headache, because every time
you open a file that doesn't contain a
| | 03:06 |
color profile, Elements will ask you
what you want to do, and that means you
| | 03:10 |
have to make color
management decisions over and over.
| | 03:13 |
So I suggest that you don't go with
Allow Me to Choose, but rather use either
| | 03:18 |
Optimize Color for Computer Screens if
you normally make images to be viewed
| | 03:22 |
online or on the computer, or Always
Optimize for Printing if you normally are
| | 03:28 |
creating images that you print.
| | 03:29 |
I'm going to click OK to close the
dialog box, and I'll just mention that there
| | 03:33 |
are two other pieces to
color management in Elements.
| | 03:36 |
Those come into play when you save an
image, and when you print an image and
| | 03:41 |
I'll cover those parts of color
management later in the course in lessons on
| | 03:44 |
printing and saving.
| | 03:46 |
One last thing if you really want your
color settings to do their job, you've to
| | 03:50 |
calibrate your monitor.
| | 03:52 |
This means that you need to set it to
standard settings and generate a profile
| | 03:57 |
for your monitor that describes how
your particular monitor interprets color.
| | 04:01 |
The way to do that is to purchase and
use a hardware calibrator, which you can
| | 04:06 |
buy from a number of
different third-party manufacturers.
| | 04:09 |
I urge you to do that but even if you
don't calibrate your monitor, please
| | 04:13 |
at least choose the correct color
settings for your favorite kind of output.
| | 04:18 |
| | Collapse this transcript |
| Using Undo History| 00:00 | Not everything that you try to do
on a photo in Elements is going to be
| | 00:04 | something that you want to keep.
| | 00:06 | Editing photographs
involves lots of trial and error.
| | 00:08 | So knowing how to undo things that you've
tried is a really important skill in Elements.
| | 00:14 | So let's say that I want to try to
eliminate this black dog from the snow.
| | 00:18 | I might try to use one of the Healing
Brushes for that, like the Spot Healing
| | 00:22 | Brush, which is here in the toolbox.
| | 00:24 | Now I can tell you in advance I
already know that this isn't going to work,
| | 00:27 | but that's the point.
| | 00:29 | I want to show you how to
undo something that doesn't work.
| | 00:32 | So I'm going to come in with the Spot
Healing Brush, and I'll make the brush a
| | 00:35 | little bigger by pressing the Right Bracket key.
| | 00:37 | So it's bigger than the dog's leg and
then I'm going to start clicking a few
| | 00:41 | times over the dog's leg, trying to
get the brush to cover the leg with snow
| | 00:48 | that it copies from elsewhere in the image.
| | 00:50 | After I've made just a few clicks, I can
see that it's really not working and so
| | 00:54 | I want to undo this.
| | 00:55 | My first reaction might be well gee!
| | 00:57 | I better try to erase what I've done,
but that's not the right reaction.
| | 01:01 | Let me show you what the Eraser tool
does when you're working on a single layer
| | 01:05 | in a photograph which is usually
a special layer called Background.
| | 01:09 | You can see that here in the Layers
panel, and I'll explain more about that in
| | 01:13 | the chapter on layers.
| | 01:14 | But for now, if I were to set my
background color by clicking on the Background
| | 01:19 | Color in the toolbox, and choosing a
color in the Color Picker that opens, and
| | 01:24 | then clicking OK, and then I went and
got the Eraser tool, and I came into the
| | 01:31 | image and try to erase what I've done,
what happens is that the Eraser tool just
| | 01:36 | paints with the background color.
| | 01:38 | So using the Eraser tool is
not the answer to undoing.
| | 01:42 | There are several ways to actually undo
and one of those is to go up to the Edit
| | 01:46 | menu at the top of the screen and
choose Undo, and the Undo command there will
| | 01:50 | actually say what the last
step that you performed was.
| | 01:53 | So if I click Undo Eraser that
gets rid of that red eraser mark.
| | 01:58 | Now if I want to undo those Spot
Healing Brush marks that I made, I can go back
| | 02:03 | to Edit and now it says Undo Spot
Healing Brush and I'll just keep going back
| | 02:08 | there, Undo Spot Healing Brush a few
more times, and each time I do, one more of
| | 02:13 | my Spot Healing Brush marks goes
away, but that's not very efficient,
| | 02:18 | particularly, if I had
made lots and lots of marks.
| | 02:20 | To make that undo go faster, I could use
the shortcut for undo, which as you can
| | 02:25 | see here on the Edit menu is Ctrl+Z. So
I'm going to press Ctrl+Z on my keyboard
| | 02:32 | a few more times in order
to bring back my dog's leg.
| | 02:36 | So that's not a bad way to work if you
just have a few brush strokes or Spot
| | 02:40 | Healing Marks to undo.
| | 02:42 | But what if I had made 20, 30 or 40 such marks?
| | 02:45 | Then it could be really tedious to try
to undo them with either the Undo command
| | 02:50 | or using the shortcut Ctrl+Z. A better
way to work is to use the Undo History
| | 02:55 | panel to fix mistakes.
| | 02:58 | The Undo History panel is accessible from
the Window menu at the top of the screen.
| | 03:02 | So I'm going to go there
and choose Undo History.
| | 03:05 | Notice that the Undo History panel is
now here in this column of panels, and
| | 03:10 | it's really hard to see there.
| | 03:11 | So I'm going to take it by its tab and
drag it out, as I showed you how to do
| | 03:16 | earlier in the course.
| | 03:17 | And then I'm going to go to the bottom
right-hand corner of this panel and drag
| | 03:21 | down to extend it vertically, so that
you can see everything that's in here now.
| | 03:26 | In the Undo History panel there is
now one bar for each of the actions that
| | 03:31 | I took on this image.
| | 03:33 | Starting furthest back in time at the
top when I open the image and then I made
| | 03:37 | all the Spot Healing Brush
marks, and then I use the Eraser.
| | 03:41 | I'm going to make some more marks so
that you can see how the Undo History
| | 03:44 | panel works from scratch.
| | 03:45 | I'll come in again with the Spot
Healing Brush, which I'll select in the
| | 03:49 | toolbar, and this time I'll start
clicking on the front leg of my dog.
| | 03:54 | Trying to cover him up, but
not doing a very good job.
| | 03:58 | Now I've made a real mess of the dog,
but over in the Undo History panel there
| | 04:02 | is an easy way to fix that mess.
| | 04:04 | I could just start clicking up these
bars each of which represents one of
| | 04:09 | the marks I made with the Spot Healing Brush,
and as I do parts of the dog are coming back.
| | 04:16 | Alternatively, I could take this
slider on the left-side of the Undo History
| | 04:20 | panel, and click-and-hold and drag it
up to earlier states, like this, and when
| | 04:25 | I release my mouse, the image will
appear as it did back when I made that second
| | 04:30 | mark with the Spot Healing Brush or I
could just go to the very top of this list
| | 04:35 | where it says Open, which is the first
act that I performed on this image and
| | 04:39 | click there to bring the image back
to the way it looked after I opened it.
| | 04:43 | The really nice thing about the Undo
History panel is that I can go back down in
| | 04:47 | the other direction.
| | 04:48 | So if I want to bring back all of those
Spot Healing Brush marks that I made, I
| | 04:52 | can come down and click on any one of
these states, I'll just click on the last
| | 04:56 | state to get back to where I
was at that point of my editing.
| | 05:00 | In other words, I can go up this list of
states or down this list of states, and
| | 05:04 | all of the states remain there.
| | 05:05 | But watch what happens if I click
somewhere in the middle of this list of states
| | 05:09 | and then I do something else to the image.
| | 05:11 | For example, if I get the Eraser tool
again and I start trying to erase here,
| | 05:15 | then all of the states after that disappear.
| | 05:18 | So that's one circumstance in which I'm
not going to be able to rely on the Undo
| | 05:22 | History panel to go backward and
forward through my editing states.
| | 05:26 | However, I can always go back to my
original image, no matter what I do by going
| | 05:31 | back to the top of the Undo History
panel and clicking on the name of the image
| | 05:35 | there, and that brings
back the original photograph.
| | 05:38 | The last thing to keep in mind about
the Undo History panel is that whatever it
| | 05:41 | offers while you're working on the
image, will disappear once you close and
| | 05:45 | reopen the image, then you'll get a
fresh Undo History panel with no states in
| | 05:50 | it and you won't be able to return to
any of the versions of the image from the
| | 05:54 | last time you were working on it.
| | Collapse this transcript |
| Zooming and navigating| 00:00 | When you're working on a photo in the
Full Edit workspace of the Editor,
| | 00:03 | you'll do a lot of zooming in and out, and a lot
of moving around or panning around the image.
| | 00:08 | So it's useful to know how to
zoom and pan most efficiently.
| | 00:11 | When you first open a photo into the
Full Edit workspace by default it comes in
| | 00:16 | a floating document window like this,
as I explained in an earlier movie, and
| | 00:21 | it will open in that window at the
largest magnification that will fit in your
| | 00:26 | editing space and you can see that
number here at the top of the document window.
| | 00:30 | In this case it's an odd percentage.
| | 00:33 | If I want to see the contents of this
image in a larger view, I can zoom in on
| | 00:38 | them, and if I want to see more of the image
but with the content smaller I can zoom out.
| | 00:43 | Keep in mind that zooming in and out
doesn't change the actual size of the photo
| | 00:47 | just the magnification at
which I'm viewing the photo.
| | 00:50 | There are lots of ways to zoom.
| | 00:52 | Some are more efficient than others.
| | 00:54 | The most basic way to zoom is to
select the Zoom tool here in the toolbar and
| | 00:58 | then to go up to the Options bar and
click the plus symbol here to zoom in or
| | 01:02 | the minus symbol to zoom out.
| | 01:04 | I'll get the plus symbol and then I'll
click in the image and that zooms me in
| | 01:08 | to a set percentage, in this case 50
% as reported here in the title bar.
| | 01:14 | In order to ensure that a particular
part of the image, say this red part of
| | 01:17 | the boat is visible as I zoom in, I want to
put my cursor on top of that boat as I click.
| | 01:25 | Now, if I want to zoom out, I'll click
the minus symbol in the Options bar, and
| | 01:30 | I'll click several times in the
image to zoom out by set percentages.
| | 01:34 | When I'm working with a document in a
free-floating document window like this, I
| | 01:38 | like to resize the actual
window as I zoom in and out.
| | 01:42 | So in the Options bar for the Zoom tool,
I'll generally click Resize Windows To Fit.
| | 01:48 | Now, I'm going to click the plus
symbol and I'm going to click in the image,
| | 01:52 | and you can see that the document
window has expanded as I zoom in on this
| | 01:57 | image, and if I click the minus
symbol and I zoom out, the document window
| | 02:02 | resizes to fit the image.
| | 02:05 | As you get more used to working with
Elements, you'll realize that you don't
| | 02:08 | have to use the Zoom tool per
se in order to zoom in and out.
| | 02:12 | So let's say that I'm working with
another tool, say the Brush tool and I'm
| | 02:16 | painting in my image and then
I've realized that I want to zoom in.
| | 02:20 | Instead of selecting the Zoom tool,
I'm going to press the Ctrl key on my
| | 02:24 | keyboard and then press the Plus key a
couple of times, and each time I do, I'll
| | 02:29 | zoom in on the image.
| | 02:31 | If I want to zoom out, I'll hold the
Ctrl key down again as I click on the
| | 02:35 | Minus key on my keyboard.
| | 02:37 | There are lots of times when it makes
sense to view an image at 100% of its
| | 02:42 | actual size and that means that every
pixel in the image will be assigned to one
| | 02:46 | pixel on your screen.
| | 02:48 | That's important to do when you're at
the step of sharpening an image for print,
| | 02:52 | and you want a sense of how it's
really going to look when it prints.
| | 02:55 | One way to view your image at 100% is
to go back and select the Zoom tool, and
| | 03:00 | then to go up to the Options bar for
the Zoom tool, and click this button 1:1.
| | 03:05 | As you can see in the title bar of this
document window, that took the image to 100%.
| | 03:10 | But I can't see the entire image here in
the document window, and that's because
| | 03:14 | the image itself is bigger than the
window that I have here on my screen.
| | 03:18 | So in this case, I'd like to see the
entire image and to do that, I'm going to
| | 03:23 | use another button in the Zoom Tool
Options bar, Fit Screen, and that will set
| | 03:28 | the zoom percentage to the largest
number at which the entire image can be seen
| | 03:32 | in the space that I have available here.
| | 03:34 | There is also a Fill Screen button,
which zooms to a percentage at which the
| | 03:39 | image fills the entire width
and height of the available space.
| | 03:43 | In this case it's more than 100%, and
there is also a Print Size button, but
| | 03:47 | that's one that I never use.
| | 03:48 | It's really not very helpful.
| | 03:49 | Now you don't have to bother going up to
the Zoom Tool Options bar to either set
| | 03:54 | the image to 100% view or to Fit Screen.
| | 03:57 | Instead, you can use shortcuts for that purpose.
| | 04:00 | So say I'm working with another tool,
maybe the Type tool here, and I decide
| | 04:04 | that I want to look at the image at 100%.
| | 04:08 | I'm just going to go to the Zoom
tool in the toolbar, and I'm going to
| | 04:11 | double-click the Zoom tool, and that is
the same as clicking on the 1:1 button
| | 04:16 | up here in the Zoom Tool Options bar.
| | 04:18 | If I want to view the image to fit the
screen, I'll go to the Hand tool, and
| | 04:22 | I'll double-click that tool.
| | 04:24 | That's the same as clicking the Fit
Screen option in either at the Zoom Tool
| | 04:28 | Options bar or the Hand Tool Options bar.
| | 04:31 | I am going to go back to 100% view
by double-clicking the Zoom tool.
| | 04:35 | Now, I can't see the entire image in
the document window, because it's just
| | 04:38 | too big to fit there.
| | 04:40 | So in order to see a different part of
this image, I'm going to use the Hand
| | 04:43 | tool, which I'll select here in the toolbar.
| | 04:46 | Then I'm going to come in, and I'm
going to Click+Hold and Drag to reveal a
| | 04:52 | different part of this zoomed-in image in
the document window and this is called Panning.
| | 04:57 | Often I'll be using a different tool,
say the Spot Healing Brush tool, and I
| | 05:03 | need to pan to another part of
my image to use the tool there.
| | 05:06 | Well, there is a shortcut for accessing
the Hand tool, so that I don't have to
| | 05:10 | bother selecting the Hand
tool manually in the toolbar.
| | 05:13 | Instead, as I'm working in the image
with any tool, I can press down on the
| | 05:17 | Spacebar on my keyboard, and then with
the Spacebar down, I can click-and-drag
| | 05:23 | to pan in the image.
| | 05:24 | I'm going to release my Spacebar and
show you another way to pan in an image,
| | 05:29 | and that is to open the Navigator panel
from the Window menu at the top of the screen.
| | 05:34 | I am going to bring the Navigator panel
out by clicking on its tab to make it a
| | 05:39 | free-floating panel.
| | 05:40 | I'll go to the bottom-right corner of
the Navigator panel and I'll drag down to
| | 05:45 | make the panel bigger.
| | 05:46 | Notice the red bounding box in the Navigator.
| | 05:49 | That indicates the part of the image
that's currently showing in the document window.
| | 05:53 | To move to another part of the image,
I can click inside of that red bounding
| | 05:57 | box and move to another part of the
image, and then that part of the image is
| | 06:01 | viewable in the document window over here.
| | 06:03 | There is also a Zoom
slider inside the Navigator.
| | 06:06 | So I can click-and-drag that Zoom
slider, and it will zoom me in on just the
| | 06:11 | part of the image that you
see inside the red bounding box.
| | 06:14 | I'm going to close this panel by going to
the panel menu and choosing Close Tab Group.
| | 06:19 | So when you want to get closer to part
of an image or when you want to back off,
| | 06:23 | so that you can see more of an image,
try using some of the zooming and panning
| | 06:27 | techniques that I've shown you here.
| | Collapse this transcript |
| Creating a blank file| 00:00 | If the main thing that you do in
Elements is to work with the photographs then
| | 00:03 | most of the time you'll be using
existing files, JPEGs or other photographic
| | 00:08 | files into the Editor, but once in a while
you may need to start a new file from scratch.
| | 00:14 | You'll need a new blank file if
you're creating buttons for a webpage, for
| | 00:17 | example, or if you're making a logo
from graphics and text or maybe you're
| | 00:22 | making a scrapbook page.
| | 00:24 | Here's how to create a new blank file
from scratch in Full Edit Mode of the Editor.
| | 00:28 | That's done by going to the File menu,
choosing New and choosing Blank File or
| | 00:33 | using the keyboard shortcut Ctrl+N
. That opens the New dialog box.
| | 00:40 | In the Name field the default name
Untitled is highlighted, so I'm just going to
| | 00:44 | type over that with the more meaningful name.
| | 00:46 | I'll call this mynewfile.
| | 00:47 | I don't have to bother typing a file
extension because later, after I create and
| | 00:54 | maybe work in the file I'll save it in
a particular format like JPEG or PSD and
| | 00:59 | the file format extension will be
added automatically at that time.
| | 01:03 | Next I'll set the dimensions of the file.
| | 01:05 | One way to do that is to go to
the Width and Height fields here.
| | 01:09 | The fields to the right of Width and
Height, control the unit of measurement.
| | 01:13 | If I'm creating something for print, I'll
leave these set to the default of Inches.
| | 01:17 | But if I were making something for the
web or to be displayed on the screen, I
| | 01:21 | would change that unit of measurement to pixels.
| | 01:24 | By clicking on either one of these unit
of measurement fields and choosing Pixels.
| | 01:30 | And that sets the other field to pixels as well.
| | 01:32 | I am going to go back and set that to
Inches for now and then I'll go over to
| | 01:37 | the Width field, and I'll type
in the dimension that I want.
| | 01:41 | I'm going to choose 8 inches in Width
and then I'll type in 10 inches for Height.
| | 01:47 | Another quicker way to set image
size is to use one of the presets that
| | 01:51 | comes with Elements.
| | 01:52 | To see those I'll click here on the Preset menu.
| | 01:55 | Here I can choose the kind
of document that I'm making.
| | 01:58 | So if I'm making a printed page for a
scrapbook, I'll choose Scrapbooking.
| | 02:03 | That automatically sets the Dimensions
to 12 inches x 12 inches and it sets the
| | 02:09 | Resolution, which I'll explain in a
moment, to 300, meaning 300 pixels per inch
| | 02:14 | which is compatible with most inkjet printers.
| | 02:17 | What if I were making an image for the
web rather than for print, I'll go back
| | 02:21 | to the Preset menu and I'll choose Web
and then I'll come to the Size menu which
| | 02:27 | offer several different common sizes
for webpage layouts here and for graphics
| | 02:32 | that you might put on a website down here.
| | 02:34 | Let's say I'm making a webpage layout
and I wanted to fill a viewer screen that
| | 02:39 | set to 1024x768 pixels.
| | 02:42 | I'll choose 1024x768 from this Preset
menu and that fills in the Width and
| | 02:48 | Height fields here and sets the
units of measurement to Pixels.
| | 02:52 | It also sets the Resolution
field to 72 pixels per inch.
| | 02:56 | I'm going to go back to the Preset
menu and I'm going to choose the Default
| | 03:01 | Photoshop Elements Size.
| | 03:03 | The default is 6 inches wide by 4
inches high at 300 pixels per inch, which is
| | 03:10 | one typical size for a photographic print.
| | 03:13 | Now you may be wondering, what
Resolution means here in this field?
| | 03:17 | In this dialog box, Resolution means the
number of pixels that would be assigned
| | 03:22 | to every inch of a file if
and when the file was printed.
| | 03:25 | Every file as you see it on your
screen is composed of pixels, which are tiny
| | 03:29 | squares of color information.
| | 03:32 | When you go to print a document, you
have to translate that number of pixels in
| | 03:35 | to inches, so that the printer
knows how big to make the document.
| | 03:39 | Most often you'll be printing to an
inkjet printer on your desktop and as a
| | 03:43 | generalization inkjet printers need
somewhere around 300 pixels per inch to
| | 03:48 | produce a print that looks good.
| | 03:49 | So this default here of 300 pixels
per inch is a safe number to put in the
| | 03:54 | Resolution field, when you're
creating an image for print.
| | 03:58 | When you're creating an image for the
web or on screen, you're safe with 72 as
| | 04:02 | the Resolution, but it really doesn't
matter because if you set the size of an
| | 04:05 | image in pixels, resolution really
isn't an issue because it refers to the
| | 04:11 | number of pixels per printed inch.
| | 04:13 | There are a couple of more file
characteristics to choose when I'm creating a new document.
| | 04:17 | One is Color Mode.
| | 04:19 | Color Mode is a description of the color
model that the file will use, and there
| | 04:23 | are just three choices in this menu:
| | 04:25 | Bitmap, which you're likely never
to use, Grayscale and RGB Color.
| | 04:30 | I recommend that in almost all cases
you leave Color Mode set to its default of
| | 04:35 | RGB Color, even if I'm creating a
document that ultimately is going to look like
| | 04:39 | it's grayscaled or black-and-white.
| | 04:42 | I'll use RGB Color Mode because RGB
Color will give me more tonal information to
| | 04:47 | work within the image than Grayscale will.
| | 04:50 | Notice that there is no choice for CMYK
Color Mode, which is the color mode used
| | 04:55 | most often in commercial
printing and graphic design.
| | 04:58 | That's just not an option in
Photoshop Elements, probably because this
| | 05:02 | application is designed for consumers
rather than for professional graphic designers.
| | 05:07 | So I'm going to choose RGB
Color, the default Color Mode.
| | 05:10 | The last field here is the Background
Contents and that means what color the
| | 05:15 | single background layer of the
new blank file is going to be.
| | 05:18 | It could be White, it could be
Background Color, which means whatever color
| | 05:23 | happens to be in the Background Color
box in the toolbar at the moment, or it
| | 05:28 | could be Transparent.
| | 05:29 | When I'm preparing a document for print,
I'll almost always want the background
| | 05:33 | contents to be either White or Background Color.
| | 05:37 | If I'm making a graphic for the web or
for screen, and I want that graphic to
| | 05:41 | have a see-through area surrounding
the graphic, I can choose Transparent.
| | 05:45 | I'm going to leave
Background set to White for now.
| | 05:48 | Now I'm all done, setting up my new
blank document so I'll click OK, and there
| | 05:53 | it is, a brand new blank file
ready for me to start creating content.
| | Collapse this transcript |
| Photo resizing and resolution| 00:00 |
After you've corrected, enhanced or
built-in image in the Editor, you can
| | 00:04 |
output that image in many different sizes.
| | 00:06 |
You could make a large version to
print and also a very small version of the
| | 00:10 |
same image to attach to an e-mail say.
| | 00:13 |
Understanding how to resize your images
correctly will make sure that you don't
| | 00:17 |
compromise the quality of the
image when you change its size.
| | 00:20 |
I am working with this
photograph that I'd like to resize.
| | 00:24 |
The first step is to get a handle
on the current size of the photo.
| | 00:27 |
To do that I'll go down to the
Information field here at the bottom of
| | 00:32 |
the document window.
| | 00:33 |
By default this Information field
displays the total file size of the photo,
| | 00:38 |
which is the amount of space that
it will take up on my hard drive.
| | 00:41 |
That isn't exactly the information that I want.
| | 00:44 |
So I'm going to click the arrow just to
the right of that Information field and
| | 00:48 |
that offers this menu of
other kinds of information.
| | 00:51 |
I'm going to choose Document Dimensions.
| | 00:54 |
Now in the Information field, I can
see that the size of this image is a
| | 00:58 |
whopping 25 inches by 16 plus inches,
when viewed at the current resolution
| | 01:04 |
which happens to be 72 pixels per inch,
and I'll talk about resolution in more
| | 01:09 |
detail in just a minute.
| | 01:10 |
But first I'd like to show you another
way to view the current dimensions of the
| | 01:14 |
file and that's by using the Rulers.
| | 01:16 |
To display the Rulers, I'll go out to
the View menu at the top of the screen,
| | 01:21 |
and I'll choose Rulers.
| | 01:23 |
I can't see the entire photograph in
the document window because right now
| | 01:27 |
there is not enough room.
| | 01:29 |
So I'm going to zoom out a bit by
selecting the Zoom tool and the minus sign in
| | 01:33 |
the Options bar and then I'll
click in the image just once.
| | 01:37 |
So that now I can see the borders of
the photograph and now the Rulers are
| | 01:42 |
telling me that if I were to print this
photograph at its current size, it would
| | 01:46 |
print at 25 inches in width, as I can
see on the horizontal ruler, and 16 plus
| | 01:53 |
inches in height, as I can
see on the vertical ruler.
| | 01:56 |
If I wanted to change the units of
measurement of the rulers, for example,
| | 02:00 |
if I were not preparing the image for
print but rather for the web, then I would
| | 02:05 |
right-click inside either one of these
two rulers to bring up this menu and then
| | 02:09 |
I can choose to change the
Rulers to measure in Pixels like this.
| | 02:13 |
But since I'm preparing this image for
print rather than for the screen,
| | 02:17 |
I'm going to right-click in the
Ruler again and choose Inches.
| | 02:21 |
Now the current width and height of
this photograph are bigger than the print
| | 02:25 |
that I want to make.
| | 02:26 |
So I need to resize the
image to make it smaller.
| | 02:29 |
To do that I'm going to go up to the
Image menu at the top of the screen and
| | 02:33 |
I'll choose Resize and
then go over to Image Size.
| | 02:38 |
That opens the Image Size dialog box.
| | 02:40 |
There is a lot of important information here.
| | 02:43 |
The Document Size area of this
dialog box down here reports the current
| | 02:48 |
Width and Height of this file in
inches 25 inches x 16.667 inches at a
| | 02:55 |
Resolution of 72 pixels per inch.
| | 02:59 |
The Resolution field is important
when I'm preparing an image for print,
| | 03:03 |
because my computer measures and
displays an image in pixels, which are small
| | 03:07 |
pieces of digitized color information, but a
print is measured not in Pixels but in Inches.
| | 03:14 |
So when I'm preparing an image for
print, I have to take the total number of
| | 03:18 |
pixels in the file and allocate it among
the inches in the prospective print and
| | 03:23 |
the Resolution setting here in the
Image Size dialog box determines how many
| | 03:28 |
pixels will be allocated to
every inch that is to be printed.
| | 03:32 |
So if I leave this Resolution set to 72
pixels per inch and I try to print on an
| | 03:37 |
inkjet printer, the print
probably won't look very good.
| | 03:41 |
It may be blurry or even pixelated
and that's because typically an inkjet
| | 03:45 |
printer needs more than 72 pixels
per inch to make a good quality print.
| | 03:50 |
Each brand and model of printer is
somewhat different in exactly how many pixels
| | 03:54 |
per inch it expects.
| | 03:56 |
But if you are looking for a nice easy
to remember round number, you can think
| | 04:00 |
of 300 pixels per inch as a good number
to put in this Resolution field when you
| | 04:05 |
are preparing an image for print.
| | 04:06 |
72 pixels is okay if you're
planning to show a photo on screen.
| | 04:11 |
Say in a slideshow or attach to an
email or on the web, but it's not a high
| | 04:16 |
enough resolution for print.
| | 04:18 |
Before I type the number 300 into the
Resolution field, I need to go down to the
| | 04:23 |
bottom of the Image Size dialog box,
and it's really important that I un-check
| | 04:27 |
this command, Resample Image, to disable it.
| | 04:31 |
Doing this tells Elements to leave the
total number of pixels the file the same,
| | 04:35 |
or in computer speak, not to
resample the pixels in the file.
| | 04:39 |
The number of pixels currently in
the file is reported up here in the
| | 04:43 |
Pixel Dimensions field.
| | 04:44 |
Currently there are 1800 pixels across
and 1200 pixels down in this digital file.
| | 04:49 |
I just want to take those numbers of
pixels and reallocate them among the inches
| | 04:54 |
of the file if and when it's printed.
| | 04:56 |
So I've unchecked Resample Image and now
I'm going to type 300 in the Resolution field.
| | 05:02 |
Keep your eye up here on the total
number of pixels in the image, as I type 300
| | 05:07 |
in the Resolution field.
| | 05:09 |
And notice that the total
number of pixels didn't change.
| | 05:12 |
But what did change is the Width and
the Height measured in inches, which is
| | 05:17 |
reported here in the Document
Size area of this dialog box.
| | 05:22 |
The dimensions have been reduced
because I've substituted a higher number down
| | 05:26 |
here in the resolution part of the
formula that converts pixels to inches.
| | 05:31 |
To explain the math I've told
Elements to take the total width of 1800 and
| | 05:36 |
divide it by 300 to get the total
number of inches across that will print,
| | 05:40 |
which is 6, because 1800 divided by
300 equals 6, and just the same way
| | 05:46 |
Elements will take the total height of
1200 pixels, divide that by 300 and
| | 05:52 |
the result is 4 inches.
| | 05:54 |
The key to keeping the total number of
pixels in the file the same, but just
| | 05:57 |
reallocating it among inches
is to un-check Resample Image.
| | 06:01 |
When I'm done changing the
resolution, I can click OK.
| | 06:06 |
Back in the image, the ruler show
that the image will now print at 6 inches wide,
| | 06:11 |
as you can see in the horizontal ruler, and
4 inches in height here in the vertical ruler.
| | 06:16 |
So when might you do what
I just showed you how to do?
| | 06:19 |
Well, just remember that if you plan
to print a photo, you want to keep an
| | 06:22 |
eye on the Information field down here and
check the resolution reported in that field.
| | 06:28 |
If you notice that the image is a
fairly low resolution like 72 pixels/inch,
| | 06:32 |
you're going to want to open the Image
Size dialog box and change the Resolution
| | 06:37 |
with Resample unchecked, as
I just showed you how to do.
| | 06:40 |
Now imagine a different scenario.
What if I do have the correct resolution
| | 06:45 |
in the file, but I want a copy of
the photo that smaller, one that has
| | 06:49 |
smaller dimensions?
| | 06:50 |
Let's say that I want a wallet-sized
photo at about 3 inches by 2 inches, but
| | 06:55 |
I know that I have to leave the
Resolution at around 300 pixels per inch so that
| | 07:00 |
there is enough
resolution for my inkjet printer.
| | 07:02 |
So I'm going to go back into the Image
Size dialog box, go up to the Image menu,
| | 07:07 |
down to Resize and over to Image Size.
| | 07:10 |
This time in this dialog box, I'll go
down to Resample Image and I'm going to
| | 07:15 |
click in this box to add a check
-mark enabling Resample Image.
| | 07:19 |
I'm instructing Elements to go ahead
and resample or change the total number
| | 07:24 |
of pixels in the image, which as I've said
several times is currently 1800 x 1200 pixels.
| | 07:30 |
To make that happen I'm going to come
down to the Width field here and
| | 07:33 |
I'm going to type in the number of inches at which
I want this smaller copy of the image to print.
| | 07:39 |
I'm going to type in 3 here, and that
automatically changes the height to be
| | 07:43 |
proportional so it's been changed to 2 inches.
| | 07:47 |
So now I have a print that is 3
inches by 2 inches with 300 pixels of
| | 07:51 |
resolution in every inch.
| | 07:53 |
And importantly, look up here in the
Pixel Dimensions area and you'll see that
| | 07:58 |
the Width has changed from 1800 pixels
to only 900 pixels and the Height from
| | 08:03 |
1200 pixels to only 600 pixels, and the
total file size or the amount of space
| | 08:09 |
that the file will take up on my hard
drive has been reduced substantially from
| | 08:13 |
just over 6 megabytes to
one-and-a-half megabytes.
| | 08:16 |
So basically what I'm doing is
throwing away some pixels in order to make a
| | 08:20 |
smaller copy of this file and that's
okay as long as I'm working on a copy and
| | 08:25 |
keeping a master at the larger size.
| | 08:27 |
One more thing when I resize an
image like this to make it smaller,
| | 08:31 |
the best thing to do is to come to the field
down here that's marked Bicubic best for
| | 08:36 |
smooth gradients and click on it and
that shows a menu of different formulas
| | 08:40 |
that could be used to
change the size of the image.
| | 08:44 |
When I'm making an image smaller,
I choose Bicubic Sharper, which is best for
| | 08:48 |
reduction, because it tries to
retain the sharpness of the image.
| | 08:52 |
If I were making an image bigger,
I would choose Bicubic Smoother, which is best
| | 08:57 |
for enlargement, but having said that
I don't recommend that you make your
| | 09:00 |
images bigger because Elements has to
manufacture image information, when you
| | 09:05 |
increase the size of an image.
| | 09:07 |
So it's better to capture a photo or a
scan larger than you think you will ever
| | 09:11 |
need it so you never have to resize up,
but if you do have to resize up,
| | 09:16 |
be conservative about it and don't
increase the file size drastically.
| | 09:19 |
So I'll choose Bicubic Sharper since
I'm reducing the file size and finally
| | 09:24 |
I'll click OK to close this dialog box
and to make this copy of the image
| | 09:28 |
smaller, and you can see in the Rulers
that it's now 3 inches by 2 inche and
| | 09:33 |
down here you can see that the
Resolution is still set to 300 pixels per inch,
| | 09:38 |
which is a good resolution for print.
| | 09:40 |
So Elements does give you the
opportunity to resize your images.
| | 09:44 |
When you do, please remember to work on
a copy to avoid making your images too
| | 09:48 |
much bigger if you're resizing up and
to follow these steps that I've outlined
| | 09:52 |
for you here, when you're trying to
change either the image dimensions or the
| | 09:56 |
resolution of an image.
| | 09:59 |
| | Collapse this transcript |
| Using the Recompose tool| 00:00 | There is a new tool in Photoshop
Elements 8, the Recompose tool, that allows you
| | 00:05 | to crop away areas inside a photo.
| | 00:08 | This comes in handy if you want to
eliminate some empty space in between two
| | 00:12 | subjects in a photo or on a more
practical level, if you want to take a photo
| | 00:16 | that is horizontal, like this one,
and change it into a vertical.
| | 00:20 | That's what I'm going to do with this photo.
| | 00:23 | But first, I'm going to drag out the
document window so there is a little bit
| | 00:26 | of space around the photo
so we can see it better.
| | 00:28 | Then I'm going to select the new Recompose
tool from behind the Crop tool in the toolbar.
| | 00:35 | Elements offers these instructions
about how to use the tool. If you have read
| | 00:39 | them once and you don't want to see the
instructions every time you select the tool,
| | 00:42 | then check Don't show again and click OK.
| | 00:46 | Before I use the tool, I'm going to go
up to the Options bar and I'm going to
| | 00:50 | click on this first icon that
looks like a green paintbrush.
| | 00:53 | With this tool, I'm going to come
into the image and I'm going to scribble
| | 00:57 | over the content that I want to protect as I
change this landscape image into a vertical image.
| | 01:04 | I don't have to be too careful.
I can just go like that and I'll scribble
| | 01:07 | over this cow and I'm also going to
take another tool and indicate the area
| | 01:13 | that is okay to eliminate.
| | 01:15 | So that's this tool, the red brush.
| | 01:18 | I might make my brush tip bigger for this
purpose since there is a lot to eliminate here.
| | 01:22 | I'll just press the Right Bracket key
a few times, and I'll scribble over the
| | 01:26 | area that can be eliminated.
| | 01:28 | Now, notice that I went too far and
I scribbled over part of the flag.
| | 01:33 | So, I'm going to get this tool, which
will erase some of the area that I marked
| | 01:37 | for removal, and then I'll
come in and erase that here.
| | 01:40 | If I want to add more area to remove,
I can get the red brush again and add
| | 01:46 | a little bit in here.
| | 01:47 | And notice also that there is another
icon here for protecting people if you
| | 01:51 | have an image of a person in a photo.
| | 01:54 | From the Preset menu, I can choose the
dimensions to which I want to resize the
| | 01:58 | photo as I make it vertical or I can
just choose Use Photo Ratio to make the
| | 02:03 | image in a common ratio for photographs.
| | 02:06 | And then, I'm finally ready to use the tool.
| | 02:09 | All I have to do is move my
mouse over one of the anchor points
| | 02:11 | and click-and-drag.
| | 02:12 | I'm going to stop just about there,
and in a moment Elements has changed my
| | 02:19 | landscape image into a portrait image.
| | 02:22 | If I like the result, I'll click
this green checkmark to accept it.
| | 02:26 | Finally, I'm going to crop
away this empty area of the image.
| | 02:30 | I'll go back and I'll get the Crop
tool from behind the Recompose tool,
| | 02:34 | I'll come into the image and I'll just
drag from the top-left corner to the
| | 02:38 | bottom-right corner of my new
vertical image and I'll click the check mark.
| | 02:43 | It's a little hard to see the
boundaries of this particular gray image
| | 02:46 | against the canvas here.
| | 02:48 | So, I'm going to get the Zoom tool and
with Resize Windows To Fit checked,
| | 02:53 | I'm going to click in the image once, so
that you can see how it looks without that
| | 02:57 | gray canvas around it.
| | 02:58 | And I think I've done a really
successful job of changing that horizontal image
| | 03:03 | into a vertical one, using the new
Recompose tool in Photoshop Elements 8.
| | Collapse this transcript |
| Enlarging the canvas| 00:00 | You might think of a photo that's open in
the Editor as sitting on a virtual canvas.
| | 00:04 | You can change the size of the canvas
without changing the size of the photo itself.
| | 00:09 | Why would you want to do that?
| | 00:10 | Well, you might want add a little extra
space at the bottom of the photo to add
| | 00:14 | a caption or maybe you want a little
extra space around the entire photo, so
| | 00:19 | there is room to add a graphic frame
or maybe you want a lot of blank space
| | 00:23 | around a photo, so that you can create
a scrapbooking page with other graphic
| | 00:27 | and photographic elements on it.
| | 00:29 | Let me show you how to increase
the canvas size of this photo without
| | 00:33 | changing the photo size.
| | 00:34 | I have enabled the rulers by going up to
the View menu and choosing Rulers from there.
| | 00:40 | The rulers tell me that without any
additional canvas, this image is about
| | 00:44 | 1.5/1 inches and I can see that same
information down here in the document information field.
| | 00:51 | If you don't see the document
dimensions in your document information field,
| | 00:55 | click the arrow to the right of that
field and choose Document Dimensions.
| | 00:58 | Now I'm going to add some
canvas on all sides of this photo.
| | 01:03 | To do that, I'll go up to the Image menu
and I'll choose Resize and I'm going to
| | 01:07 | choose not Image Size, but rather Canvas Size.
| | 01:12 | In the Canvas Size dialog box, I'll first
make sure that this field Relative is checked.
| | 01:18 | This tells Elements to add whatever I
put in this Width and Height fields to the
| | 01:22 | current size of the image.
| | 01:24 | If Relative is not checked, then the
Width and Height that I put here would end
| | 01:28 | up being the total size of the
image with the canvas around it.
| | 01:31 | I'm going to type 0.25 or a quarter inch
in each of the Width and Height fields.
| | 01:39 | Then I'm going to come to this Anchor
diagram down here where I'll tell Elements
| | 01:43 | where I want that
additional canvas to be located.
| | 01:46 | By default the box in the center is
highlighted and that means that there will
| | 01:50 | be an extra quarter inch around all
four sides of the photo, but if I were to
| | 01:55 | click somewhere else, that would change.
| | 01:57 | So, for example, if I click the center
arrow in the top row here, then I would
| | 02:02 | get an extra quarter inch of canvas
on the bottom of the image and on the
| | 02:06 | right and left sides.
| | 02:08 | If I want to go back and have the
canvas all around the image, I'll click this
| | 02:12 | bottom arrow to bring all
of the other arrows back.
| | 02:15 | I have one more field to look at and
that's the Canvas extension color right here.
| | 02:20 | If you are working on your own image
and this field isn't available, that's
| | 02:23 | because the Canvas extension color is
enabled only if the image has a special
| | 02:28 | background layer and that layer is
selected, which is the case here as you can
| | 02:32 | see in the Layers panel.
| | 02:34 | I will cover this subject of
background layers in more detail in the Layers
| | 02:37 | chapter, but for now know that
photographs often do come into your computer with
| | 02:42 | a special background layer like this.
| | 02:44 | So I can choose Canvas extension
color in the Canvas Size dialog box.
| | 02:49 | I'll click that menu and I'll see
that I can choose either the color that's
| | 02:53 | currently in the foreground color box
or the background color box over here in
| | 02:58 | the toolbar or I could choose White,
Black, or Gray or if I wanted another
| | 03:03 | color I could click Other, and the color picker
would open and I could choose a color from there.
| | 03:07 | I am just going to choose Black and now I'm
done setting up my Canvas Size. So I'll click OK.
| | 03:14 | Now here in the document window, I
have an extra quarter inch of black
| | 03:19 | all around the photo.
| | 03:21 | The photo hasn't changed in size.
| | 03:23 | It's still about 1 inch tall and 1.5
inches wide, but because there is an extra
| | 03:28 | quarter inch all around, the total
dimensions of the file are now 1.75 inches in
| | 03:34 | width and 1.25 inches in height.
| | 03:37 | So that's how you can increase canvas
size without changing the size of a photo.
| | 03:41 | This comes in handy for making frames
like this, for adding room for a caption,
| | 03:46 | and for making collages and scrapbooking.
| | Collapse this transcript |
| Saving files| 00:00 | Knowing how to save a file is a
fundamental skill of working in the Editor.
| | 00:04 | I'm going to make a slight change to this file.
| | 00:07 | I'll select the Pencil tool here, and
then I'm going to click the default color
| | 00:11 | icon down here, and then click the
double pointed arrow, so that white is my
| | 00:16 | foreground color and I'm going to come
in and just make a tiny mark that you
| | 00:20 | can't even see here on the white.
| | 00:22 | I did that so that I could show you
that when you make a change to a file and
| | 00:25 | you haven't yet saved it, it gets this
tiny asterisk up here in the title bar,
| | 00:30 | and that means that I need to save
it or I might lose this change, if my
| | 00:34 | computer were to crash before I'd saved it.
| | 00:36 | So I'm going to go up to the File menu
and I can choose either Save or Save As.
| | 00:42 | I generally choose Save As as extra
insurance against saving over a file.
| | 00:47 | But either command will open this
Save As dialog box, when there is an
| | 00:51 | asterisk in the title bar.
| | 00:54 | The Save As dialog box opens to the folder
where the original file flower.jpg is located.
| | 01:00 | The first thing to do here is
decide where I want to save the file.
| | 01:03 | So I'm going to save it back to
that same folder with the original.
| | 01:07 | Next, I'll go down to the File name field.
| | 01:10 | If this box is checked, Save In
Version Set with Original, then Elements
| | 01:15 | suggests a different name for the file I'm
about to save, than the name of the original file.
| | 01:20 | The original is called Flower.
| | 01:21 | The suggested name of this
edited version is flower_edited-1.
| | 01:26 | This check-box means that Elements is
going to save a copy of the original file
| | 01:32 | with a different name, so that the
original file remains pristine and doesn't
| | 01:35 | get saved over, and the two files will
be combined together into a Version Set,
| | 01:41 | which is basically just a
grouping of the two related files.
| | 01:44 | I am also going to leave Include
in the Elements Organizer checked.
| | 01:48 | The original is already in the Organizer.
| | 01:50 | When I save this edited copy with this
box checked, the Organizer will also keep
| | 01:55 | track of the edited copy of the file.
| | 01:57 | There is no real reason to check As a
Copy because I'm already saving a version
| | 02:02 | of the photo with the new name
flower_edited-1 in a Version Set.
| | 02:06 | So I'll leave As a Copy unchecked.
| | 02:09 | Down here in the Color area, I have a
choice of whether to include an ICC Profile.
| | 02:14 | The ICC Profile is part of the color
management system that's designed to help
| | 02:18 | make the image that I see on my screen
when I'm editing in Elements, match the
| | 02:23 | colors in the image that
I print or output online.
| | 02:26 | It's particularly important to include
the color profile when I'm preparing a
| | 02:29 | file for a printer, because the color
profile is a little bit of information
| | 02:34 | about the color environment in which I
edited the file and it tells the printer,
| | 02:38 | how I intended the colors to look.
| | 02:40 | More and more web browsers
can now read color profiles too.
| | 02:43 | So although my advice used to be to
uncheck this check box when preparing a file
| | 02:47 | for the Web, I'll now often leave
it checked for that purpose too.
| | 02:51 | I covered more about Color Management in
an earlier movie, and you might want to
| | 02:55 | take another look at that movie to
learn more about Color Management.
| | 02:58 | Let's take a look at the Format field here.
| | 03:00 | This file originally came out of my
camera as a JPEG, which is a typical format
| | 03:04 | for digital photo capture.
| | 03:06 | It's the best format for a photograph
that's going to be attached to an email or
| | 03:10 | presented online or on a screen.
| | 03:13 | It's the way to save the photo for the Web.
| | 03:15 | Although that's usually done from
another save command, File > Save for Web,
| | 03:20 | which is used to create the
smallest best-looking JPEG for the Web.
| | 03:24 | Now, JPEG is a lossy file format, which
means that it actually throws image data
| | 03:28 | away to make the file smaller.
| | 03:30 | So I'm always careful about saving as
JPEG more than one time, because each time
| | 03:35 | I save over a file in JPEG format, I
throw away a little more file information.
| | 03:40 | But as long as Save in Version Set
with Original is checked here, this will
| | 03:44 | be the first copy of this JPEG that I'm
saving, and so it's fine to save it as JPEG.
| | 03:49 | I am going to click here to show you
some other file formats that are available.
| | 03:54 | Elements native file format is
the Photoshop or .PSD file format.
| | 03:59 | I'll often save a master copy of an
image I'm working on in this Photoshop
| | 04:03 | format, because this format will
preserve layers, special effects, adjustment
| | 04:08 | layers, and all of the other proprietary
Elements features that I may have added to the file.
| | 04:13 | There are lots of other possible
formats here, but most of those don't come
| | 04:16 | into play very often.
| | 04:18 | Just to run through the most common of
these, CompuServe GIF as well as PNG are
| | 04:24 | used for saving graphic type files for the web.
| | 04:27 | So if I'm making something like a
button for a website or a logo for a website,
| | 04:31 | I might save it in the PNG or GIF formats.
| | 04:34 | But in that case, I'd probably save
from the file save for Web command, so I
| | 04:38 | rarely use GIF or PNG from
this menu in this dialog box.
| | 04:43 | TIFF is a format that's often
used in the professional print world.
| | 04:46 | So if I'm making something that might
get printed at a professional printer like
| | 04:49 | a brochure, I might save that as a TIFF.
| | 04:51 | But because this is a photograph, I'm
going to save it in the JPEG format.
| | 04:56 | I'm going to click the Save button here,
and that brings up this message that
| | 05:01 | explains what a version set is.
| | 05:03 | If you want to, you can
read that on your own time.
| | 05:06 | So I'm just going to click OK here,
because this is a JPEG, there are some
| | 05:10 | options that I need to choose, the most
important of which is the Quality of the JPEG.
| | 05:15 | The higher the quality, the better the file
might look, but also the larger it will be.
| | 05:20 | So in most cases, I'll compromise and
set the Quality somewhere between 8 and 10.
| | 05:25 | I can do that by moving this
slider or typing into the Quality box.
| | 05:29 | I'm going to leave these other options
at their defaults, and I'll click OK, and
| | 05:33 | that has saved the image with
the new name flower_edited-1.jpg.
| | 05:37 | I'm going to close the image now by
clicking the X on the document window and
| | 05:42 | then I'm going to go back to the
Organizer, by going to the top-right of the
| | 05:45 | Editor and clicking the Organizer button.
| | 05:48 | Back in the Organizer there is now a
version set that contains both the original
| | 05:52 | image flower.jpg and the edited version
that I just saved, flower_edited-1.jpg.
| | 05:59 | I know there is a version set because
the thumbnail that I see here, has this
| | 06:03 | blue icon on it which is the Version
Set icon and it has a gray box around it
| | 06:08 | with an arrow right here.
| | 06:10 | If I click that arrow, I open the Version Set.
| | 06:13 | I'm going to adjust the size of the
thumbnails down a little, so you can see
| | 06:17 | both images here in the expanded version set.
| | 06:20 | The edited one on the left and
the original one on the right.
| | 06:23 | If I click the arrow again, I'll
collapse the version set, and only one of the
| | 06:28 | two images shows as the
thumbnail on the top of the version set.
| | 06:31 | In this case, it happens
to be the edited version.
| | 06:34 | There are some commands available for
working with version sets that I can
| | 06:37 | access by right-clicking on the
Version Set thumbnail, and from the menu that
| | 06:42 | pops up, going to Version Set.
| | 06:45 | Expand items in Version Set does
exactly what I just did a few seconds ago by
| | 06:50 | clicking the arrow on the
right side of the gray box.
| | 06:52 | It expands the version set, so I can
see all of the images inside of it.
| | 06:57 | Convert Version Set to Individual
items will take both files out of the
| | 07:00 | Version Set and put them in the
Organizer as regular files, and they won't be
| | 07:04 | a version set any longer.
| | 07:06 | The other two commands that are
currently available here, Revert to Original and
| | 07:10 | Flatten Version Set are ones to be careful of.
| | 07:13 | What Revert to Original will do is get
rid of the edited version of the file,
| | 07:17 | and simply keep the
original version in the Organizer.
| | 07:21 | What Flatten Version Set will do is
delete from the Organizer all but the top
| | 07:25 | image that's showing in the
version set, deleting the other image.
| | 07:29 | So I usually don't use either
of those latter two commands.
| | 07:32 | I'm going to click
outside this menu to close it.
| | 07:35 | And I want to give you one
final word of advice about saving.
| | 07:38 | Remember to save your images often as
you work on them, and take advantage of
| | 07:42 | the built-in version set features
to keep your original image safe.
| | Collapse this transcript |
|
|
7. Working with Layers Understanding layers| 00:00 | Layers are a very important feature in
the Editors Full Edit workspace because
| | 00:05 | they give you the freedom to treat
individual pieces of artwork separately.
| | 00:08 | You might think of layers as if they
were panes of glass, each of which can
| | 00:12 | contain different pieces of artwork.
| | 00:14 | And those panes of glass are
stacked one on top of the other.
| | 00:17 | So that where a layer has no artwork,
it is transparent and you can see through
| | 00:22 | it to the layer below.
| | 00:24 | To show you how that works in a real file,
let's take a look at the Layers panel
| | 00:27 | over here on the right.
| | 00:29 | This particular image has three layers
and I can de-construct those layers to
| | 00:33 | see what's on each like this.
| | 00:35 | Each layer is represented by a
bar here in the Layers panel.
| | 00:39 | I'm going to start with this top
bar or top layer, the sign layer.
| | 00:43 | To see just what's on that layer, I'm
going to hold down the Alt key on my
| | 00:46 | keyboard and click on this eye
icon to the left of the sign layer.
| | 00:50 | That makes the other two layers
temporarily invisible, and you can see that
| | 00:53 | their eye icons have disappeared.
| | 00:55 | And in the document window you can
see the content of just the sign layer.
| | 01:00 | It contains this photograph of rocks
and this sign as well as this flag.
| | 01:05 | This gray and white checkerboard
represents the transparent area of the sign layer.
| | 01:10 | The area where there is no content
and in this area, I can see down to the
| | 01:14 | content of the layers below
when the other layers are visible.
| | 01:17 | Now, I'm going to go back to the
Layers panel, I'm going to hold down the Alt key
| | 01:21 | and I'm going to click in the
Visibility field to the left of the palm tree
| | 01:25 | layer to show you what's on that layer.
| | 01:28 | You can see in the document window that
the palm tree layer contains part of a
| | 01:32 | photograph of a palm tree
surrounded by transparent pixels.
| | 01:35 | I'll go back to the Layers panel again,
and I'll hold down the Alt key as I
| | 01:39 | click in the Visibility field to
the left of the Background layer.
| | 01:43 | And you can see in the document window that
this layer is completely filled with a photograph.
| | 01:48 | To turn all of the layers back on,
I'll go to that last layer, the Background layer,
| | 01:53 | and one more time I'll hold the
Alt key and click on the eye icon to the
| | 01:57 | left of the Background layer.
| | 01:59 | And now all of the layers have their eye
icons and all are visible, one on top of
| | 02:03 | the other in the document window.
| | 02:06 | So what's the reason to use
layers in your compositions?
| | 02:09 | Well, layers give you the flexibility
to make changes to individual pieces of
| | 02:13 | artwork without affecting
the rest of the composition.
| | 02:16 | So for example, one thing you can do
with a layer is to move its content without
| | 02:21 | affecting the rest of the image.
| | 02:23 | Let's say that I'd like to move that
palm tree. Because the palm tree is on a
| | 02:28 | separate layer I can do that without
moving anything else in this image.
| | 02:32 | The first step is to select the
palm tree layer in the Layers panel.
| | 02:36 | To do that, I'm going to click on a
blank area of the palm tree layer and that
| | 02:40 | layer is highlighted in black.
| | 02:42 | Then I'm going to get the tool from the
toolbar with which I'm going to move the
| | 02:47 | content of the palm tree layer and
that's this tool here, the Move tool.
| | 02:51 | When I click on that tool, I see a
bounding box showing me where the content is
| | 02:56 | on the palm tree layer.
| | 02:58 | With the Move tool I'll click inside
that bounding box and I'm going to drag to
| | 03:02 | the right and down a little bit to move
the palm tree over to the right and
| | 03:07 | I haven't affected anything else in this image.
| | 03:10 | So that's one of many things that you
can do to a layer without disturbing the
| | 03:13 | rest of a composition.
| | 03:15 | You can imagine how useful this can
be when you're creating complex photo
| | 03:19 | compositions with different
pieces of artwork on different layers.
| | 03:23 | Layers really give you the freedom to be
a true digital artist in Photoshop Elements.
| | Collapse this transcript |
| Working in the Layers panel| 00:00 | The Layers panel contains important
features for managing the layers in your file.
| | 00:05 | First, let's talk about
selecting a layer in the Layers panel.
| | 00:08 | I think the number one thing that
slips people up when they're editing is
| | 00:11 | that they try to do something to the content
of a layer without selecting the right layer.
| | 00:16 | If I want to move a layer or paint on a
layer or add some graphics to a layer,
| | 00:20 | I have to first click on that layer
here in the Layers panel to select it.
| | 00:25 | And I want to be sure to click on the
blank area of the layer, not on the name
| | 00:29 | of the layer or the
thumbnail of the layer, like this.
| | 00:32 | There is one other way to select layers
in the Layers panel and that's when I'm
| | 00:37 | using the Move tool in the toolbox.
| | 00:39 | If I select the Move tool by clicking
on it here in the toolbox and then I
| | 00:44 | click on some content in
the image, say this flag.
| | 00:48 | Now keep your eye on the Layers panel,
as I click. You'll notice that the focus
| | 00:53 | in the Layers panel went from the palm
tree layer right up to the sign layer,
| | 00:57 | which is the layer on which the
flag on which I clicked is located.
| | 01:01 | That's because there is an option
that's turned on by default with the Move
| | 01:05 | tool, and that option is up
here in the Move Tool Options bar.
| | 01:08 | It's the Auto Select Layer option.
| | 01:11 | The Move tool is the only tool that has
this sort of Auto Layer Selection feature.
| | 01:16 | Another thing to know about layers is
that the stacking order of layers in the
| | 01:20 | Layers panel is important.
| | 01:22 | If I change the order in which the
layers are stacked in the Layers panel, the
| | 01:26 | content of the image will change.
| | 01:28 | So for example, if I click on the palm
tree layer and then I click-and-hold on
| | 01:32 | that layer and drag it above the sign
layer, notice that the palm tree is now
| | 01:38 | showing in front of these rocks down here.
| | 01:40 | The rocks around the sign layer, the
trunk of the palm tree is on the palm tree
| | 01:44 | layer, and because the palm tree layer
is now above the sign layer you can see
| | 01:48 | the entire trunk of the palm tree.
| | 01:50 | But if I go back over to the Layers
panel and click-and-hold-and-drag the palm
| | 01:55 | tree layer down beneath the sign layer,
and I'll release when I see the border
| | 01:58 | beneath the palm tree layer get dark.
| | 02:01 | The bottom of the trunk of the palm tree is
now hidden by the rocks on the sign layer.
| | 02:06 | Another thing to keep in mind about
layers is that if you have a lot of
| | 02:10 | layers it can be hard to distinguish
one from the other unless you've given
| | 02:13 | them meaningful names.
| | 02:15 | So I'm a real stickler for naming
layers, so they're easier to find later.
| | 02:19 | In order to name or rename a layer,
I'll double click on the name of the layer
| | 02:23 | like the name sign on this
layer, and I can change its name.
| | 02:27 | Maybe I'll type flag.
| | 02:29 | And then I'll press the Enter or Return key
on my keyboard to close that Editing window.
| | 02:34 | How do you make a new layer?
| | 02:35 | Well, the first thing you do is go to
the Layers panel and think about where you
| | 02:39 | want the new layer to be in the stacking order.
| | 02:42 | I'm going to make a new layer and I'm
going to draw an arrow on it and I want
| | 02:46 | that arrow to appear here in
the image on top of the sign.
| | 02:50 | I know this sign is on the flag layer,
so I'm going to make my new layer come
| | 02:54 | into the Layers panel above the flag layer.
| | 02:57 | To do that, I want to make sure to
have the flag layer selected in the Layers
| | 03:00 | panel and then I'll go to the bottom
of the Layers panel and I'll click on
| | 03:05 | this Create New Layer icon, the first one on
the left side at the bottom of the Layers panel.
| | 03:11 | That creates a brand new layer, Layer 1.
| | 03:13 | I'll name this layer by double-
clicking its default name, I'll call this one
| | 03:18 | arrow, and I'll press
Return or Enter on the keyboard.
| | 03:20 | Now I want to make sure that the
arrow layer is selected as I create some
| | 03:24 | content that will be located on just that layer.
| | 03:28 | To do that, I'm going to go over to
the toolbox and I'm going to select the
| | 03:31 | Brush tool, right here.
| | 03:32 | Then I'm going to set the
foreground color in the toolbox here to red.
| | 03:36 | To do that, I'm going to click on the
Eyedropper tool here in the toolbar and
| | 03:40 | I'll come into the image and I'm going
to click on the red that's already on the
| | 03:44 | sign to sample the same color.
| | 03:46 | And that color now appears
here in the foreground color box.
| | 03:49 | I'll go back to the Brush tool and now
I'll come into the image and I'm going
| | 03:53 | to make my brush tip smaller by pressing the
Left Bracket key several times on the keyboard.
| | 03:59 | That looks about right.
| | 04:00 | Now, I'm just going to draw a freehand arrow
here on this side of the Surf and Sail sign.
| | 04:06 | That arrow is located on the arrow
layer because I had the arrow layer selected
| | 04:10 | when I made that drawing.
| | 04:11 | To show you that, I'll hold down the
Alt key on my keyboard and I'll click on
| | 04:15 | the eye icon to the left of the arrow layer.
| | 04:17 | And you can see that the layer
has nothing on it but that red arrow
| | 04:21 | surrounded by transparency.
| | 04:23 | I'll hold the Alt key down again and
click on that same eye icon to make the
| | 04:27 | other layers visible.
| | 04:28 | Now, that's not the only
way to make a new layer.
| | 04:31 | For example, if you select the Type tool
here and you start typing in the image,
| | 04:35 | then a new layer will be automatically
made for you so you don't have to create
| | 04:39 | a new layer from scratch.
| | 04:40 | And I'll cover that more in the chapter on type.
| | 04:43 | Another way to make a new layer is to
drag in an image from another document.
| | 04:47 | And I'm going to show you how to
do that in the very next movie.
| | Collapse this transcript |
| Combining images with layer masks| 00:00 | One thing lots of people like to do
in Elements is to join photographs and
| | 00:04 | graphics together in order
to make new compositions.
| | 00:07 | The first step in doing that is to open
multiple files and I've done that here
| | 00:11 | in these floating document windows.
| | 00:13 | When I go to drag one image into
another I think it's a lot easier if
| | 00:17 | they're in floating document
windows, than if they're in a new tabbed
| | 00:20 | document arrangement.
| | 00:21 | I have also zoomed out on both document
windows, so that I can see all of both
| | 00:26 | photographs here in my Full Editor workspace.
| | 00:29 | The first step is to select the Move tool.
| | 00:31 | I'm going to go to the toolbox and I'll
click on the Move tool there. I'd like
| | 00:35 | to drag this plant image into the lizard image.
| | 00:39 | So I'll click on the title bar of the
plant image to make sure that's the active
| | 00:42 | image and then I'll take a
look at the Layers panel.
| | 00:45 | You can drag one or more
layers from one image to another.
| | 00:48 | The plant image just happens to have
only a single layer and that single layer
| | 00:52 | is automatically selected in the Layers panel.
| | 00:54 | If I had multiple layers here that I
wanted to drag in I would click on one of
| | 00:58 | those layers and then hold the Ctrl key and
click on the other layers to select them all.
| | 01:03 | Then with Move tool, I'm going to click-and-
drag from the plant image into the lizard image.
| | 01:10 | When I see the border around the
lizard image highlighted, I can release my mouse
| | 01:14 | and that drops the plant image into
the lizard image wherever I release my mouse.
| | 01:19 | I actually would like to have those two
images centered one on top of the other.
| | 01:24 | So I'm going to undo that and show
you how you can center images when you
| | 01:28 | drag one into the other.
| | 01:30 | I'll go up to the Undo button at the
top of the screen and click there.
| | 01:33 | So this time with the Move tool I'll
click on the plant image and I'll drag,
| | 01:38 | and when I get over into the lizard
image I'm going to keep my mouse held down
| | 01:42 | and going to press the Shift key on my
keyboard and then I'll release my mouse,
| | 01:47 | and then I'll release the Shift key.
| | 01:49 | And now the two images are
perfectly aligned in the lizard file.
| | 01:53 | Now I'm going to close the plant image-
| | 01:55 | I don't need that any more- by clicking
the X on its title bar and I'm going to
| | 02:00 | make the lizard image bigger by
selecting the Zoom tool. I'll make sure that
| | 02:04 | Resize Windows to Fit is checked and
then I'm going to click one-to-one to set
| | 02:08 | that image to 100% and expand the
document window along with the image.
| | 02:13 | I'm going over to the Layers panel
and I see that I now have two layers.
| | 02:18 | The plant image is on the top layer.
| | 02:20 | That layer, Layer 1, was made automatically when
I dragged the plant image into the lizard image.
| | 02:26 | I am going to name that layer by
double-clicking the default layer name and
| | 02:30 | typing plant, and then I'll
press Return or Enter on my keyboard.
| | 02:34 | Notice that the bottom layer, the one
that contains the image of the lizard,
| | 02:38 | is named Background and
that layer is locked.
| | 02:42 | If you have a layer like this in a file,
you'll find that you cannot change the
| | 02:46 | stacking order of the layer.
| | 02:48 | You can't erase that layer to transparency.
| | 02:51 | You can't move that layer and some other things.
| | 02:53 | So you may want to change that layer
into a regular layer by double-clicking
| | 02:57 | its name Background and you can give it a
new name or you can just leave it as Layer 0.
| | 03:02 | I'll type lizard and I'll click OK.
| | 03:05 | Now the plant layer is above the lizard layer.
| | 03:09 | So it's completely obscuring
the content of the lizard layer.
| | 03:12 | What I'd like to do is to hide part
of the plant layer, so I can see down
| | 03:16 | through part of the plant layer to the
content of part of the lizard layer below.
| | 03:20 | I'd like to use a layer mask to do that,
but there's no direct way to add a layer mask
| | 03:25 | in Photoshop Elements as there
is in the full-fledged Adobe Photoshop.
| | 03:29 | But there is an easy workaround and
that's what I'm going to show you now.
| | 03:32 | First of all I'll make sure that the
lizard layer, the layer on the bottom, is
| | 03:36 | selected in the Layers panel then
I'll go down to the bottom of the Layers panel,
| | 03:40 | and I'm going to click this black and
white circle icon, which brings up
| | 03:43 | a menu of adjustment layers.
| | 03:45 | I'll be talking more about the
individual adjustment layers in another chapter,
| | 03:49 | but for now I'm going to choose the
Levels adjustment layer, although I could do
| | 03:53 | this with any of the
adjustment layers right here.
| | 03:56 | I'm going to ignore the Adjustments
panel for now. Instead I want you take a
| | 04:01 | look at the Layers panel.
| | 04:02 | There is now a new layer above the
lizard layer that is a Levels adjustment layer,
| | 04:07 | but right now I haven't
made any change to the Levels.
| | 04:10 | So it's really not
affecting the content of the image.
| | 04:13 | The reason I put it here is because I want to
make use of the layer mask on this Levels layer.
| | 04:18 | A layer mask like this comes
with all the adjustment layers.
| | 04:21 | I'm going to use the layer mask on his
adjustment layer to blend part of the
| | 04:24 | plant layer in with part of the lizard layer.
| | 04:27 | The next step is to clip this new
Levels adjustment layer to the layer above it,
| | 04:31 | the plant layer.
| | 04:33 | To do that I'm going to hold down the
Alt key on my keyboard and move my mouse
| | 04:37 | over the border between the plant
layer and the Levels layer, and notice that
| | 04:41 | there is now a new icon a double circle icon.
| | 04:44 | When I see that icon appear I'll click
right on the border between the plant and
| | 04:49 | the Levels layer, and then
I'll release the Alt key.
| | 04:51 | I have now clipped the plant layer to
the Levels layer and you can see that the
| | 04:56 | plant layer has been indented a little,
and there is a little icon to the left
| | 04:59 | of the plant layer thumbnail
| | 05:01 | that indicates that the plant layer
is now clipped to the Levels layer.
| | 05:06 | Now I'm going to make sure that I still
have the Levels layer selected, so that
| | 05:09 | I'm working on the layer mask
associated with the Levels layer.
| | 05:13 | I know that I am, because that layer
mask has a double border around it.
| | 05:17 | I'm going to go over to the toolbox,
and I'm going to select the Brush tool.
| | 05:21 | I want to make sure I have black as my
Foreground Color. If I don't I can just
| | 05:27 | click the double arrow here to switch
from white to black, because the only
| | 05:31 | colors that will be available to paint
with our black, white, or shades of gray,
| | 05:35 | since I'm working on a layer mask.
| | 05:37 | Just to show you how the layer mask
works before I actually do my final blend,
| | 05:42 | I'm going to paint with black on the layer mask.
| | 05:45 | I'll come into the image, I'll make
brush tip bigger by pressing the Right
| | 05:49 | Bracket key, and then I'm going to paint.
| | 05:53 | Notice that wherever I'm painting on the
Levels layer mask, I'm able to see down
| | 06:00 | through to the lizard on the layer below.
| | 06:03 | What's happening is that the black
paint on the Levels layer mask here is
| | 06:08 | hiding the corresponding part of the plant layer
that's clipped to this Levels adjustment layer.
| | 06:15 | So painting on his adjustment layer
mask is one way that I can hide parts of
| | 06:20 | the plant layer, but it doesn't make
for a very blended or appealing image here,
| | 06:24 | so I'm going to undo that by
going up to the Undo button at the top of
| | 06:27 | the screen and clicking.
| | 06:29 | Instead of using the Brush tool, I'm
going to use the Gradient tool to add a
| | 06:33 | black to white gradient on the layer
mask on the Levels layer and that will
| | 06:37 | make a nicer blend than
just painting on that mask.
| | 06:40 | So I still have the Levels adjustment
layer selected, I'm working on the layer
| | 06:44 | mask, and I'm going to go over to the
toolbar and I'll select the Gradient tool.
| | 06:48 | By default I get a Gradient
that is the foreground color black to the
| | 06:54 | background color white, and I can see
that Gradient up here in this first field
| | 06:58 | in the Gradient bar.
| | 06:59 | I'd like to make a Linear Gradient, one that
goes from one side of the image to the other.
| | 07:04 | So I'm going to these icons right here
that determine the shape of the Gradient
| | 07:09 | and make sure that the first one is highlighted.
| | 07:11 | Now I'm going to come into the image
with the Gradient tool. I'm going to click
| | 07:14 | on the left side of the image and I'm
going to click-and-drag a Gradient line
| | 07:18 | over toward the right.
| | 07:20 | I'll stop in about the middle of the image.
| | 07:22 | The length of the line that I'm drawing
as well as its direction will determine
| | 07:26 | what the Gradient looks like on the layer mask.
| | 07:29 | I can do this as many times as I want, so I
release my mouse and see if I like the result.
| | 07:34 | If I want to try again, I'll just click
over on the left and I'll try drawing a
| | 07:38 | little bit longer line this time.
| | 07:40 | Notice that the lizard that's on the
bottom layer is now starting to show
| | 07:44 | through and is blending gradually into
the content of the plant on the top layer.
| | 07:49 | The reason for that is that the layer
mask is black on this side, hiding the
| | 07:54 | content of the plant layer.
| | 07:55 | It's white on this side, revealing the
content of the plant layer, and the shades
| | 08:00 | of gray in between gradually
blending this area of the composite.
| | 08:04 | I can show you what that mask looks
like by going over to the Layers panel,
| | 08:08 | holding down the Alt key and clicking
right on the layer mask, and you can see
| | 08:12 | it now here in the document window.
| | 08:14 | Black that's hiding the plant layer,
white that's revealing the plant layer, and
| | 08:18 | gray that's partially revealing the
plant layer causing that nice blend.
| | 08:22 | I'm going to hold the Alt key and click
again on the layer mask thumbnail on the
| | 08:26 | Levels layer in the Layers
panel to bring back the image.
| | 08:29 | Well let's say I want a little bit
more of the lizard show. Then I can get my
| | 08:33 | Brush tool and with black paint, I can
come into the image, where I'll reduce my
| | 08:38 | Brush Size by pressing the Left Bracket
key, and then I'll paint over the lizard
| | 08:44 | hiding more of the plant layer in the
area where I'm painting, but I'm still
| | 08:48 | keeping that nice blend to the right
of the lizard. And now if I show you the
| | 08:53 | layer mask by holding the Alt key and
clicking on it, you can see where I have
| | 08:57 | painted with black hiding more of the
plant layer, allowing the lizard to show
| | 09:01 | through in that area.
| | 09:03 | Then I'll hold the Alt key and
click again on that layer mask.
| | 09:06 | So that's how to bring one or more
layers from one image into another and then
| | 09:11 | to use a full layer mask to make
professional looking blended compositions
| | 09:15 | like this one.
| | Collapse this transcript |
|
|
8. Making SelectionsUnderstanding selections| 00:00 | There are many times when you want
to act on just part of a photograph.
| | 00:03 | If you don't have layers in the image,
it's difficult to act upon just part of a photo,
| | 00:07 | and that's where selections come in.
| | 00:10 | Selections allow you to isolate part
of an image and work on just that part.
| | 00:15 | Here for example I'd like to change
the color of this pink balloon, but leave
| | 00:19 | everything else in the image the same.
| | 00:21 | In order to fill just the pink balloon
with a different color without affecting
| | 00:25 | the entire image, I need
to select the pink balloon.
| | 00:28 | There are lots of different selection tools,
which I'll cover in the movies to come.
| | 00:32 | For now I'm going to use one of my
favorites and that's this tool,
| | 00:35 | the Quick Selection tool.
| | 00:37 | I'll select it from the toolbar, and
then I'll come into the image and I'm
| | 00:40 | going to make my brush smaller, because this
tool seems to work better with a small brush.
| | 00:44 | So I'll press the Left Bracket
key on the keyboard a few times.
| | 00:48 | Then I'm just going to click-and-drag
over that pink balloon and in just a second,
| | 00:52 | the Quick Selection tool selects
that balloon based on its color and its tone.
| | 00:57 | Now, when I take some kind of action on the
image, it will affect only the selected area.
| | 01:02 | For example, to change the color of that
balloon I'll go up to the Edit menu and
| | 01:06 | I'll choose Fill Selection.
| | 01:09 | That opens the Fill Layer dialog box.
| | 01:11 | I'll move that over by clicking
in its title bar and dragging.
| | 01:14 | Here I can choose what color
to fill the selection with.
| | 01:17 | I'll click that menu and I could choose
whatever color is in the foreground or
| | 01:22 | background color boxes, Black, Gray,
or White, a pattern or if I click color
| | 01:28 | like this, that opens the Color Picker
where I can select a color and click OK.
| | 01:33 | I'm also going to change the blending
mode, which will affect the way that the
| | 01:37 | color with which I'm going to fill will
blend with the tones in the image below.
| | 01:42 | If I left this at Normal, the fill
would be all one solid color and I want to
| | 01:46 | keep the highlights and the dark
areas of the balloons so that it still
| | 01:49 | looks like a photograph.
| | 01:51 | So I'll click the Blending Mode menu and
I'm going to try the Multiply blend mode.
| | 01:56 | Then I'll click OK.
| | 01:58 | That fills just the selected area with color.
| | 02:00 | Now, I want to eliminate the animated
dashes that represent the selection.
| | 02:04 | They are called the marching ants by the way.
| | 02:06 | To deselect, I'll go up to the
Select menu at the top of the screen and
| | 02:10 | I'll choose Deselect and take note of
the keyboard shortcut for deselecting
| | 02:14 | a selection, because you'll use it over
and over, and that's Ctrl+D on the keyboard.
| | 02:20 | So the beauty of selections is that
they allow you to work on just part of an
| | 02:24 | image without affecting the rest of the image.
| | Collapse this transcript |
| Manual selection tools| 00:00 | There are a number of different tools
for selecting an area in a photograph in
| | 00:04 | the Full Edit workspace.
| | 00:05 | The selection tools fall into two
categories, those that are manual and
| | 00:09 | those that are automatic.
| | 00:11 | I'll start with the manual tools in this movie.
| | 00:13 | In the toolbox the Selection
tools are located in this second area.
| | 00:17 | I'm going to click on the Rectangular
Marquee tool here and then with that tool
| | 00:23 | I'll move into the image and I'm
going to click-and-drag a rectangular
| | 00:26 | selection, and it's defined
by the animated marching ants.
| | 00:30 | After I make a selection, if I want
to adjust where it is, with any of the
| | 00:34 | Selection tools selected in the
toolbar, I can live inside of the selection
| | 00:38 | boundary and drag and change the
location of that selection boundary.
| | 00:43 | If I need to change the shape of this
selection after I make it I can go up to
| | 00:47 | the Select menu at the top of the
screen and choose Transform Selection, and
| | 00:52 | that gives me this bounding box
around the selection border.
| | 00:55 | I can click-and-drag on any of the anchor
points to change the shape of the selection.
| | 01:06 | I can rotate the selection if I want
to by moving my mouse over the small
| | 01:10 | circle at the bottom of the
bounding box and dragging like that.
| | 01:15 | When I'm done transforming the selection,
I'll click the green checkmark at the
| | 01:19 | bottom of this bounding box or if I want
to cancel the transformation, then I'll
| | 01:24 | click this red cancel sign.
| | 01:26 | I'll go ahead and click the red cancel sign.
| | 01:29 | Now let's say I want to make another selection.
| | 01:31 | If I click in the image with a
Selection tool activated in the toolbar,
| | 01:35 | notice that the original selection goes away,
and then I can drag out another selection.
| | 01:40 | The reason for that is that by default
this first icon up here in the Options bar,
| | 01:44 | which stands for make a
new selection, is highlighted.
| | 01:48 | I'll cover these other options here
in a later movie in this chapter, but
| | 01:51 | I didn't want you to be surprised by
the fact that when you click with the
| | 01:54 | Selection tool, your
first selection is eliminated.
| | 01:58 | A more direct way to eliminate a
selection is with the selection active like
| | 02:02 | this one, to go up to the Select menu
and choose Deselect or press Ctrl+D on
| | 02:07 | the keyboard like that.
| | 02:08 | Now what if I want to make a square
selection rather than a rectangular
| | 02:12 | selection with the Rectangular Marquee tool?
| | 02:15 | To do that I'm going to hold down the
Shift key on my keyboard and then I'll
| | 02:19 | click on one corner of the square and
drag and that constrains the shape of the
| | 02:25 | selection boundary to a square.
| | 02:26 | I'm going to deselect by pressing Ctrl
+D. Another manual Selection tool that
| | 02:32 | draws geometric shapes is behind a
Lasso tool here in the toolbar and that's
| | 02:37 | the Polygonal Lasso tool.
| | 02:38 | I'm going to select that one, and then
I'm going to come into the image and say
| | 02:43 | I want to draw a diamond right here.
| | 02:45 | I'll click at the top of the diamond
and then I'm not pressing my mouse down,
| | 02:49 | I'm just moving my hand on the cursor to
another point on the diamond where I'll click
| | 02:54 | and then I'll move down to
another point on the diamond, and click,
| | 02:59 | do that one more time and click.
| | 03:01 | When I come up toward the top of the
diamond, notice that there is a tiny circle
| | 03:05 | next to be Polygonal Lasso tool icon.
| | 03:07 | That means I'm back at the beginning.
| | 03:09 | So I can click and that
closes at straight edge selection.
| | 03:13 | I can use the Polygonal Lasso tool to
make a triangular selection, a diamond
| | 03:18 | shaped selection, a pentagon, or
any selection that has straight edges.
| | 03:23 | I am going to go back to the toolbar and
click on the Polygonal Lasso tool to show
| | 03:28 | you that there are a couple
of other Lasso tools here.
| | 03:30 | The regular Lasso tool is
a free-form drawing tool.
| | 03:34 | So I can come in to the image with this
one and draw any shape selection like that.
| | 03:38 | I don't use the Regular Lasso tool
very often, because it's a little bit
| | 03:41 | difficult to draw precisely with my
mouse or with a track pad, but sometimes
| | 03:46 | this tool comes in handy to modify a
selection that I've made with another tool,
| | 03:49 | as I'll show you how to do it in later movie.
| | 03:51 | I am going to switch to another image
that I have open down in the project bin
| | 03:55 | by double-clicking its thumbnail.
| | 03:58 | Here I want to show you another of the
Lasso tools, the Magnetic Lasso tool.
| | 04:03 | I'll click on the Lasso tool and go
down to Magnetic Lasso tool and then I'll
| | 04:08 | move into the image and I'm going to
just click one time around the edge of
| | 04:12 | this porthole in this image of a ship,
then I'm going to release my mouse.
| | 04:16 | I'm not pressing down on the cursor; I'm just
moving my mouse around the edge of that porthole.
| | 04:23 | Elements recognizes that there is a
change in contrast there and it lays down
| | 04:28 | these anchor points
defining the edge of a selection.
| | 04:30 | Now sometimes it will make a little
mistake like it did here, in which case I'll
| | 04:35 | press the Delete key on the keyboard
and just move that thread back and then
| | 04:39 | I'll move forward again.
| | 04:40 | If I want to, I can help the tool
along by clicking to set an anchor point.
| | 04:45 | When I'm back to beginning, I see the
little circle that reminds me that I am there
| | 04:49 | and I'll click to
close that circular selection.
| | 04:53 | Another way to make a circular or oval
selection is with the Elliptical Marquee tool.
| | 04:57 | I'm going to deselect by pressing Ctrl+D
on the keyboard and then I'll go back
| | 05:02 | to the toolbar, I'll click on the
Rectangular Marquee tool and I'll choose the
| | 05:06 | Elliptical Marquee tool.
| | 05:07 | With this tool I'll come into the image
and I'm going to click just on the side
| | 05:11 | of that porthole and then I'm going
to press down the Shift key to constrain
| | 05:15 | the oval selection to a circular
selection and then with my mouse still held down,
| | 05:19 | I'm going to draw
out of circular selection.
| | 05:21 | I still have my mouse held down, and my
Shift key held down, and what I want to
| | 05:26 | do now is to push that selection up into
the left, so that it fits the porthole.
| | 05:32 | So with the mouse held down and the
Shift key held down, I'm also going to hold
| | 05:35 | down the Spacebar using my thumb,
and then I'm just going to push that
| | 05:39 | selection into place.
| | 05:40 | Then I'll release by mouse and I'll
release the Spacebar and the Shift key.
| | 05:46 | I can transform this selection, if it
doesn't fit exactly using the Select >
| | 05:50 | Transform Selection command that I
showed you earlier in this movie or I can
| | 05:55 | move the selection around by clicking
inside of it with any of the move tools
| | 05:59 | and dragging like that.
| | 06:00 | There is one more manual tool that
I'd like to show you and that is the
| | 06:05 | Selection Brush tool, which is
located here behind the Quick Selection tool.
| | 06:10 | The Selection Brush tool is useful
for drawing in little extra bits of
| | 06:14 | selections when you've tried to
select with another tool and you haven't
| | 06:17 | exactly gotten it right.
| | 06:19 | I'm going to zoom in by pressing Ctrl+
Plus on my keyboard and then I'll hold
| | 06:27 | the Spacebar or select the Hand tool to pan
around in the image by clicking and dragging.
| | 06:32 | So I see that I haven't gotten the
edges of the porthole here when I selected
| | 06:36 | with the Elliptical Marquee tool.
| | 06:39 | So I'm going to make my Selection
Brush tool smaller and then I can fill in
| | 06:44 | these areas by just
clicking and dragging over them.
| | 06:47 | So it's just like
painting in a selection manually.
| | 06:51 | So that's how to use the manual
selection tools, the Rectangular Marquee tool,
| | 06:56 | the Elliptical Marquee tool, the
Lasso tool, the Polygonal Lasso tool,
| | 07:00 | the Magnetic Lasso tool, and the
Selection Brush tool to make selections.
| | Collapse this transcript |
| Automatic selection tools| 00:00 | There are a number of selection tools
in Elements that select automatically on
| | 00:04 | the basis of color and tone in an image.
| | 00:06 | One of those is Magic Wand tool, which
is located right here in the toolbar.
| | 00:11 | I'm going to select that tool and
then I'm going to try to select the sky in
| | 00:15 | this image by clicking with the Magic
Wand tool in his darker area of the sky.
| | 00:19 | The Magic Wand tool looks at the color
and tone of the pixel upon which I've
| | 00:23 | clicked and then selects a
range of similar colors and tones.
| | 00:27 | It didn't do a terrific job with that click.
| | 00:30 | The problem with a Magic Wand is that
it's really hard to predict exactly what
| | 00:33 | it's going to select, as in this case.
| | 00:35 | There are a couple of things that
can try in an attempt to get a better
| | 00:39 | selection with the Magic Wand.
| | 00:40 | So I'm going to deselect by pressing
Ctrl+D on my keyboard, and I'm going to
| | 00:45 | go up to the Options bar for the Magic Wand
and I'm going to uncheck the box for Contiguous.
| | 00:51 | With Contiguous checked, the Magic
Wand will select only pixels that are
| | 00:55 | adjacent to one another.
| | 00:57 | With Contiguous unchecked, I'll have a
better chance of selecting various areas
| | 01:01 | of the sky even if they're
not touching one another.
| | 01:04 | To show you what I mean I'm going to
try clicking again in approximately the
| | 01:08 | same area and Elements does select
similar colors and tones in other
| | 01:12 | non-contiguous parts of the sky.
| | 01:15 | But that isn't what I wanted either.
| | 01:16 | I wanted the whole sky to be selected.
| | 01:19 | So I'm going to deselect again by
pressing Ctrl+D. And this time I'll expand the
| | 01:24 | range of colors and tones that the
Magic Wand tool is going to select by going
| | 01:29 | up to the Options bar for the tool
clicking in the Tolerance field and
| | 01:33 | highlighting the default tolerance of
32 levels on either side of the color and
| | 01:38 | tone of the pixel on which I've clicked.
| | 01:40 | I'll try setting the Tolerance to a
larger number, maybe 50, but it's always a
| | 01:44 | guess because there's no preview
of what that number will do for me.
| | 01:48 | I'll come back into the image again
and I'll click and this time I've almost
| | 01:52 | gotten a whole sky selected.
| | 01:54 | There are just a few pixels over in
this area that did not get selected.
| | 01:58 | I could try to add to the selection by
clicking this Add to Selection icon and
| | 02:03 | clicking several more times with the Magic Wand.
| | 02:06 | But I want to make the point that
you'll often use more than one tool together.
| | 02:10 | So I think it would be quicker and
easier in this case to select the Lasso tool
| | 02:15 | from this slot, set it to Add to the
Selection by clicking the second icon,
| | 02:20 | the Add to Selection icon in the
Options bar for the Lasso tool.
| | 02:24 | Then coming into the image and just
clicking and dragging a lasso that
| | 02:29 | encompasses all of those stray pixels
that I didn't get with the Magic Wand.
| | 02:34 | Now I have the entire sky selected.
| | 02:36 | So as you can see there is a lot of trial
and error involved in using the Magic Wand.
| | 02:41 | Let me show you another tool that
often does a better job and that's
| | 02:44 | the Quick Selection tool.
| | 02:45 | I'm going to minimize this image by
pressing the minus sign on the top right of
| | 02:50 | the document window, and then I'm
going to double-click in the project bin
| | 02:53 | another image that I have open.
| | 02:55 | Say that I want to select the sky in this image.
| | 02:58 | I'm going to try the Quick Selection
tool, which is located here along with the
| | 03:02 | Selection Brush tool that I
showed you in the last movie.
| | 03:06 | I'll move into the image and
I'll start dragging and as I do,
| | 03:09 | the Quick Selection Brush selects pixels of
similar color and tone to those underneath my
| | 03:14 | brush tip, and it's smart enough to know
where the edges of the sky are located.
| | 03:19 | If I want to add to that selection,
the Quick Selection Brush automatically
| | 03:23 | switches to the Add to Selection icon up
here in the Options bar after I've used it once.
| | 03:28 | So I can click and drag in these
other areas to add to that selection.
| | 03:32 | Now I see that I included some of
this green tree in the selection.
| | 03:35 | If I don't want to include the green tree,
I'll go up to the Minus option in the
| | 03:40 | Quick Selection Tool Options bar and
then I'll come into the image and I'll drag
| | 03:45 | over the green tree and then if I
wanted to, I could switch back to the Plus
| | 03:50 | sign and try to get some
of that blue back like that.
| | 03:54 | I'm going to fill in this selected area
of the image with color by going up to
| | 03:59 | the Edit menu, choosing Fill Selection,
check that my blending mode is set to
| | 04:04 | Normal and I'll come to the Use menu and
I'm going to choose to Fill with White,
| | 04:09 | and then I'll click OK.
| | 04:09 | Then I'm going to deselect by
pressing Ctrl+D on the keyboard.
| | 04:14 | Notice that the edge of the white fill
is pretty rough along the balloon here.
| | 04:19 | One way to fix that is to use the
Refined Edge commands that are accessible from
| | 04:23 | the Options bar of any of the selection tools.
| | 04:26 | So I'm going to undo that fill by
pressing Ctrl+Z on my keyboard twice and
| | 04:32 | that leaves me with the selection active.
| | 04:35 | If you don't have a selection you can
go up to Select menu and choose Reselect,
| | 04:40 | if it's not grayed out.
| | 04:42 | Now I'm going to click the Refined
Edge button here in the Options bar for a
| | 04:46 | Quick Selection tool or
any of the selection tools.
| | 04:50 | That opens the Refined Edge dialog box.
| | 04:52 | I'll click on its title bar and move it
over, so you can see more of the image.
| | 04:56 | I'm going to click the default button
to set it back to its default settings,
| | 05:00 | and then I'm going to select one of
the two Preview options down here.
| | 05:04 | The first option currently selected is just a
regular view of the marching ants selection.
| | 05:09 | The second view shows the non-selected
areas covered with a red overlay or mask.
| | 05:15 | I'll use this view as I go to the
Feather slider and drag it to the right.
| | 05:21 | Notice that blurred the edge of the
selected area and you can see a little bit
| | 05:25 | of that blur, so that may be a little far.
| | 05:27 | Maybe I'll go back to about two pixels,
and I generally don't feather too much
| | 05:32 | or I'll get an edge on my
selection that's too blurry.
| | 05:35 | I can also try to smooth out the
selection by dragging the Smooth slider to the right
| | 05:39 | and I can contract the area covered
by the selection by dragging to the left
| | 05:44 | or expand the area covered by
the selection by dragging to the right.
| | 05:49 | I'll leave things at that and I'll click OK.
| | 05:51 | Now I'm going to try to fill that area
again by once again going to the Edit
| | 05:55 | menu and choosing Fill
Selection and clicking OK.
| | 05:59 | Then I'll deselect by pressing Ctrl+D.
Now I have a smoother softer edge to the
| | 06:05 | area that I'd selected
and then filled with white.
| | 06:07 | I think you'll find that the
Automatic Selection tools, the Magic Wand and
| | 06:11 | particularly the Quick Selection tool,
come in really handy when you're selecting
| | 06:15 | complex areas, making it a lot easier
than it would be with manual tools, and
| | 06:20 | the ability to refine your selection in
the Refined Edge dialog box can help you
| | 06:24 | make selections more quickly and efficiently.
| | Collapse this transcript |
| Modifying and saving selections| 00:00 | There are often times when an initial
simple selection won't be sufficient to
| | 00:05 | get you the kind of selection that you're after.
| | 00:07 | So, I would like to show you
some ways to modify selections.
| | 00:10 | I'll start by explaining these
icons up here that you get with any of
| | 00:14 | the Selection tools.
| | 00:16 | These icons allow you to create a new
selection, add to a selection, subtract
| | 00:20 | from the selection, or select only an
intersecting part of multiple selections.
| | 00:25 | Let's see how they work.
| | 00:26 | I am going to start by selecting the
Rectangular Marquee tool in the toolbar,
| | 00:31 | and then I'll move into the image and
I'm going to click-and-drag around this
| | 00:34 | blue tile to select it.
| | 00:36 | Now if I were to try to add to that
selection by selecting another area,
| | 00:41 | the initial selection would disappear,
and that's because by default this first
| | 00:45 | option in the Options bar for all of
the Selection tools is highlighted, and
| | 00:49 | that is the Create New Selection icon.
| | 00:52 | So that each time I come in with a
Selection tool and click-and-drag,
| | 00:55 | a new selection is created while
the old selection is deleted.
| | 01:00 | So, if I really want to add to this
selection, then I would click this second icon,
| | 01:04 | the Add to Selection icon.
| | 01:06 | Now, I can come in with the
Rectangular Marquee tool or any of marquee tools,
| | 01:10 | and add to the selection, right next to
the existing selection or I could go to
| | 01:16 | another area of the image and click-and-
drag and add that area to the selection.
| | 01:21 | Now let's say that I want to
delete something from the selection.
| | 01:24 | I'll click on the Next icon in the
Options bar, which is the Subtract from
| | 01:28 | Selection, and then I can come in
and click-and-drag over any part of the
| | 01:33 | existing selection and it
will disappear like that.
| | 01:36 | And if I select the intersection icon
right here and I draw a selection, then
| | 01:41 | the only area that will be selected
is the area that is included in both of
| | 01:46 | these selections, which is
just that small area right there.
| | 01:49 | To deselect, I'm going to
press Ctrl+D on my keyboard.
| | 01:52 | Now I want to show you a couple of
commands up here in the Select menu,
| | 01:56 | the Grow and Similar commands.
| | 01:58 | I'm going to start by selecting an area
with the Rectangular Marquee tool, which
| | 02:03 | is part of this blue tile right here.
| | 02:06 | Now let's say that I want more
of that blue tile to be selected.
| | 02:10 | I can come up to the Select menu and
I can choose Grow and that expands
| | 02:14 | my selection to include all of the
adjacent pixels of a similar color and tone.
| | 02:19 | So, that's a quick way
to select that whole tile.
| | 02:22 | Now let's say I wanted to expand this
selection to include all the blue tiles,
| | 02:26 | even those that aren't adjacent to
this selection. In other words that are
| | 02:30 | separated from it by other colors.
| | 02:32 | I could go up to the select menu and
this time I'll choose Similar and now
| | 02:37 | I have selected all of the image that
contains pixels within a range of a
| | 02:42 | similar color and tone.
| | 02:43 | Now let's say that I like this
selection, but I don't want to spend
| | 02:46 | time reselecting it.
| | 02:48 | I can save this selection and then I
can bring it back later, even after I've
| | 02:52 | saved and closed the
image and reopened it again.
| | 02:55 | To save this selection, I'll go up to
the Select menu at the top of the screen
| | 02:59 | and I'll choose Save Selection.
| | 03:02 | In the Save Selection dialog box, I'll type
a name for this selection in the name field.
| | 03:06 | I call it Blue Tiles. I'll make sure
that the operation is to make a new
| | 03:11 | selection, although there are some
other choices here that you might want to
| | 03:14 | explore on your own, and then I'll click OK.
| | 03:17 | Now, I'm going to deselect by pressing
Ctrl+D. If I want to get that selection
| | 03:21 | back at anytime, I can go up to the
Select menu and choose Load Selection and
| | 03:27 | then from the Selection menu, I'll
choose the name of the selection, Blue Tiles,
| | 03:32 | and there may be more than one
selection saved, in which case there would be
| | 03:35 | more than one name here.
| | 03:36 | Then I'll click OK and that
brings back my selection like magic.
| | 03:41 | So, when you are making more complex
selections on photographs, check out these
| | 03:45 | Selection Modification Features that
let you add to selections, subtract from
| | 03:49 | selections, grow your selections and
save and reload your selections later.
| | Collapse this transcript |
|
|
9. Correcting PhotosCropping and straightening| 00:00 | When you're photographing or when
you're scanning a printed photograph,
| | 00:03 | you'll sometimes end up with a
crooked image like this one.
| | 00:06 | Fortunately, Elements has tools in the
Editor that will fix your crooked images.
| | 00:11 | My favorite way to try to straighten a
crooked photo is to use the Straighten tool,
| | 00:15 | which is located here in the toolbar.
| | 00:17 | I'm going to select the Straighten
Photo tool and then I'm going to go up to
| | 00:21 | the Canvas Options in the Options bar
for that tool and change it from its
| | 00:25 | default to Crop to Remove Background.
| | 00:29 | That will cause Elements to
automatically crop away any pixels that are
| | 00:33 | created around the edges of the image
that are caused by straightening the
| | 00:37 | image in the document window.
| | 00:38 | Then I'll move my cursor into the
image and I'll look for an element in the
| | 00:42 | photograph that's a
straight line like this horizon.
| | 00:45 | I'll click and hold anywhere on that
horizon and drag out a line, and it
| | 00:50 | doesn't really matter how long the line is but I
want to release my mouse along the horizon line.
| | 00:56 | And that automatically rotates the
image in the document window so that the
| | 01:00 | horizon line is now a straight horizontal line.
| | 01:03 | And at the same time, because I set
the Canvas Options to Crop to Remove
| | 01:07 | Background, Elements cropped the
image so that it fits horizontally in
| | 01:11 | the document window.
| | 01:12 | Now I have to admit this doesn't work
for all images, particularly images that
| | 01:16 | don't have a clear photographic
element that's a straight line.
| | 01:20 | So I'd like to show you another way that
you can straighten a crooked image and
| | 01:24 | that's using the Crop tool.
| | 01:25 | And this will also be an
introduction to using the Crop tool in general.
| | 01:29 | So I'm going to undo the straightening
that I just did by going up to the Undo
| | 01:34 | button at the top right
of the screen and clicking.
| | 01:37 | And now I have my original
crooked image back again.
| | 01:39 | This time I'm going to use the same
Straightening tool but I'm going to go
| | 01:43 | to Canvas Options and change it to Grow or
Shrink Canvas to Fit, which is the default.
| | 01:49 | Then I'll come into the image, and as
I did before I'll click on the horizon line,
| | 01:53 | and I'll drag.
| | 01:57 | And this time the image is straight in
the document window, but I have all of
| | 02:01 | this extra white canvas around the edges.
| | 02:04 | The canvas is white, because the
background color in the toolbox happens to be white.
| | 02:09 | So the second step is to use the
Crop tool to trim away all of the white
| | 02:13 | pixels around the image.
| | 02:15 | I'll select the Crop tool from here in
the toolbar, and then I'm going to come
| | 02:19 | into the image and just click-and-drag.
| | 02:20 | And that creates a marching ants
boundary indicating where the edges of the
| | 02:28 | cropped image will be, and everything
that's going to be cropped away is in
| | 02:31 | light gray around that bounding box.
| | 02:34 | Well I don't want to keep the
white pixels that are right here.
| | 02:36 | So I'm going to adjust this bounding box
by clicking in the center and dragging down.
| | 02:41 | I also want to keep as
much of the photo as I can.
| | 02:44 | So I'm going to click in this left
bounding box and drag to the left,
| | 02:48 | but I want to be careful that I don't get
any stray pixels down here at the bottom
| | 02:52 | inside the bounding box.
| | 02:54 | I'll do the same over on the right side,
dragging out and watching my corners,
| | 02:58 | and when I'm satisfied that I have as
much of the image as I can get without
| | 03:02 | any of that white trim, then I'll go
down to the green checkmark and click
| | 03:06 | there to crop the image.
| | 03:08 | Even if I start with a straight image,
the Crop tool sometimes comes in handy in
| | 03:13 | order to improve the composition.
| | 03:15 | So for example, in this case I'd like not to
have this little boat over here on the side.
| | 03:21 | So I'm going to get the Crop tool, and
I'm going to come into my image and I'm
| | 03:25 | going to click-and-drag a bounding box, making
sure that boat is outside of the bounding box.
| | 03:31 | And I can adjust the bounding box as
I need to by clicking and dragging any
| | 03:34 | of the anchor points.
| | 03:36 | And when I'm done, I'll click the
check mark and this time I've used the Crop tool
| | 03:40 | to change the composition slightly.
| | 03:42 | So those are some ways to use the
Straighten tool and the Crop tool to fix
| | 03:46 | imperfections in your own photos.
| | Collapse this transcript |
| Applying a Shadows/Highlights adjustment| 00:00 | Sometimes you may have a photograph that
has areas that need two different kinds
| | 00:04 | of lighting corrections.
| | 00:06 | If you shoot on a bright day, you're
likely to get a result like this with a
| | 00:10 | foreground that's a little bit too dark
and a sky that's a little bit too light.
| | 00:14 | This is a typical backlit image.
| | 00:17 | Fortunately, Elements has the perfect
tool to fix this kind of problem and
| | 00:21 | that's the Shadows/Highlights
adjustment. Before I apply a
| | 00:24 | Shadows/Highlights adjustment I
usually make a copy of the layer to which
| | 00:27 | I'm applying the adjustment.
| | 00:29 | And that's because this is one of
the adjustments that I can't apply as
| | 00:32 | an adjustment layer.
| | 00:33 | I have to apply it directly to the
photo and I want to have one copy of the
| | 00:37 | photo that is preserved in its original state.
| | 00:40 | So I'm going to go to the Layers panel,
and I'm going to right-click on that
| | 00:45 | Background layer, the layer that
contains the photo, and choose Duplicate Layer.
| | 00:49 | And then I'll just click OK in
the Duplicate Layer dialog box.
| | 00:53 | I have the Background copy layer
selected and so that's the one that will get
| | 00:57 | the Shadows/Highlights treatment.
| | 00:59 | Next, I'm going to go up to the
Enhance menu and I'm going to go down to the
| | 01:03 | Adjust Lighting category of direct
adjustments, and over to Shadows/Highlights.
| | 01:08 | Here in the Shadows/Highlights dialog
box there are three simple sliders.
| | 01:12 | I'll set them all to their defaults to
display the image in the document window
| | 01:16 | as it was before I opened this dialog box.
| | 01:19 | Now if I take that Lighten Shadows
slider and I drag it over to the right,
| | 01:24 | notice that as I do the darkest parts of
the photo got lighter, this area in here.
| | 01:30 | But the sky really wasn't affected much.
| | 01:32 | I'm going to turn the Preview
checkbox off for a moment so that you can see
| | 01:36 | how the image was before lightening the
shadows, and how it is after lighting the shadows.
| | 01:42 | Now I'm going to darken
the highlights in the image.
| | 01:44 | Most of the highlights are here in the
sky, so that ought to darken that sky
| | 01:48 | down and make it a little more dramatic.
| | 01:49 | I'll drag the Darken Highlights slider
to the right, and as I do I'm getting a
| | 01:54 | lot more detail in those clouds as a
result of darkening the highlights.
| | 01:58 | There is also a Midtone Contrast
slider here and that's used to adjust the
| | 02:03 | midtones in between the
brightest and the darkest tones.
| | 02:06 | I'll try dragging that to the right
and that does increase the contrast a bit
| | 02:12 | here in the midtones in the grass.
| | 02:14 | Now I'll compare our before and after
again by turning off the Preview checkbox,
| | 02:19 | and that's where I started and then
I'll turn on that Preview checkbox.
| | 02:23 | And now my eye goes right to that
bicycle, which is no longer too dark, and
| | 02:27 | the bike is set off by the contrast
in the grass and the dramatic sky.
| | 02:31 | I'll click OK to apply the Shadows/
Highlights adjustment to that Background copy layer.
| | 02:36 | A backlit photo like this isn't the
only photo that will benefit from a
| | 02:40 | Shadows/Highlights adjustment.
| | 02:41 | It also comes in handy if you shoot with
flash and you have a foreground element
| | 02:46 | that's over-flashed or too
bright and a background that's dark.
| | 02:50 | Give it a try on your own
backlit and flash photos.
| | Collapse this transcript |
| Applying adjustment layers| 00:00 |
The most flexible way to make
adjustments to the exposure, contrast or color of
| | 00:04 |
a photo is by applying an adjustment layer.
| | 00:08 |
A corrective layer that
floats above the image layers.
| | 00:11 |
In this example, I have
an image that's too dark.
| | 00:14 |
So, I'm going to apply a Brightness/
Contrast adjustment layer, which is a new
| | 00:17 |
flavor of adjustment layer in Elements 8.
| | 00:20 |
Before I apply a Brightness/Contrast
adjustment layer, let me show you another
| | 00:24 |
way that you could apply an
adjustment directly to the photo layer.
| | 00:29 |
This isn't the way that I recommend
though, and that is with the layer that
| | 00:33 |
contains the photo selected in the
Layers panel, to go up to the Enhance menu,
| | 00:38 |
to go down to the Adjust Lighting
category, where there is a direct
| | 00:42 |
Brightness/Contrast adjustment as well
as other direct adjustments to the image
| | 00:46 |
lighting, and then in Adjust Color,
there are some other direct adjustments.
| | 00:51 |
I am not going to choose any of
these, because I like to avoid direct
| | 00:53 |
adjustments when I can, because
direct adjustments change the pixels in the
| | 00:58 |
photo permanently, and I can't go back in and
tweak a direct adjustment later if necessary.
| | 01:04 |
So, I'm going to apply a Brightness/
Contrast adjustment another way as
| | 01:08 |
an adjustment layer.
| | 01:09 |
To do that, I'll move over to the
panels on the right side of the screen.
| | 01:13 |
I'm going to close this Effects panel,
so there is more room to show you the
| | 01:16 |
Adjustments and Layers panels, by
clicking the panel menu icon here and
| | 01:22 |
choosing Close Tab Group.
| | 01:24 |
To create an adjustment layer, I'll
make sure that the layer that contains
| | 01:27 |
the photo is selected.
| | 01:28 |
In this case there is only one layer
so it's automatically selected, and then
| | 01:32 |
I'll go down to the bottom of the
Layers panel and click this black and white
| | 01:36 |
circular icon to reveal this menu.
| | 01:39 |
The choices in the second, third, and
fourth groups are all adjustment layers.
| | 01:44 |
The choices up here are fill
layers, which I don't use very often.
| | 01:48 |
I'm going to select the Brightness/
Contrast menu item here and that does
| | 01:52 |
a couple of things.
| | 01:53 |
First of all, it adds a new layer in
the Layers panel that looks different than
| | 01:57 |
a regular layer like this one.
| | 01:59 |
This new layer is an adjustment layer.
| | 02:01 |
It has an adjustment symbol on the
left and then it has a layer mask on the right,
| | 02:06 |
because every adjustment layer
comes with its own layer mask, which I'll
| | 02:09 |
show you how to use in a moment.
| | 02:11 |
Now take a look at the Adjustments panel.
| | 02:14 |
The Adjustments panel is displaying the
controls for this particular adjustment.
| | 02:18 |
Because this image is too dark, I'm
going to take the Brightness control and
| | 02:22 |
drag the slider over to the right, and
as I do, I'm increasing the brightness of
| | 02:26 |
the image, as you can
see in the document window.
| | 02:29 |
I'll put it at about 100, which is a
subjective decision based on the look of
| | 02:33 |
the image in the document window,
and that will change with each image.
| | 02:37 |
At the bottom of the Adjustments
panel are some icons that you'll find
| | 02:40 |
regardless of which kind of
adjustment layer you apply.
| | 02:43 |
The first of these isn't relevant right now.
| | 02:45 |
It's used to clip an adjustment to
just one of multiple layers, so that the
| | 02:50 |
adjustment affects only that layer.
| | 02:52 |
Otherwise by default, an adjustment
layer affects all of the layers below it
| | 02:56 |
in the Layers panel.
| | 02:57 |
The next icon, the eye icon, I
can use for a before and after view.
| | 03:02 |
If I click this eye icon like this, keep
your eye on the document and you'll see
| | 03:06 |
the document go back to its
original state, before I had applied a
| | 03:10 |
Brightness/Contrast adjustment layer.
| | 03:13 |
And if you look in the Layers panel,
you'll see that the eye icon has
| | 03:16 |
automatically been turned off to the
left of that Brightness/Contrast adjustment
| | 03:20 |
layer, meaning that that
adjustment is temporarily invisible.
| | 03:23 |
So, I'll go back and click the eye icon
again to enable the adjustment again.
| | 03:27 |
If I'm satisfied with that adjustment, I
might go on and make some changes to my image.
| | 03:32 |
So, I'm going to click on that
Background layer in the Layers panel that
| | 03:35 |
contains the photo, and imagine that
I've made some changes there and then I
| | 03:39 |
look at the image and I say you know,
I like the brightness of the image, but
| | 03:43 |
I think it needs a little tweak to the
contrast, which is the difference between
| | 03:47 |
the bright tones and the
dark tones in the image.
| | 03:49 |
So, at any time, even after I have saved
and closed the file, as long as I saved
| | 03:54 |
it in a format like Photoshop document
or .psd format, which retains adjustment
| | 03:59 |
layers, I can go back and reopen
this adjustment layer and change it.
| | 04:04 |
To do that, I'll click once on the
thumbnail on the left side of the
| | 04:07 |
Brightness/Contrast adjustment layer
in the Layers panel and that brings back
| | 04:11 |
the Brightness/Contrast
controls in the Adjustments panel.
| | 04:15 |
This time, I'm going to take the
Contrast slider and drag it to the right.
| | 04:20 |
I think that gives a
little more punch to the image.
| | 04:22 |
If I want to see how the image looks
without this contrast change, but with
| | 04:27 |
the brightness change that I made last
time, I'll come down to the bottom of
| | 04:30 |
the Adjustments panel and I'll click and
hold on this Eye icon with the curved arrow.
| | 04:35 |
So I'm clicking and holding down my
mouse and that's how the image looks with
| | 04:39 |
contrast at its default of
zero but brightness set to 102.
| | 04:42 |
And here when I release my mouse is how
the image looks with both the brightness
| | 04:47 |
and contrast adjustments that I have made.
| | 04:49 |
If I decide that I like the way that
the image looks better without this
| | 04:53 |
contrast tweak, but with the first
change that I made to brightness, then I can
| | 04:57 |
go to the next icon, which is this
curved arrow, and click and now Contrast goes
| | 05:03 |
back to zero, but I've
retained my Brightness adjustment.
| | 05:06 |
And if I want to see the image with no
Brightness/Contrast adjustment at all,
| | 05:10 |
as I mentioned before, I'll
click the Preview icon here.
| | 05:13 |
And here's the image that
I originally started with.
| | 05:15 |
I'll turn that back on by clicking the
eye icon again and finally, if I decide
| | 05:21 |
that I don't want any Brightness/
Contrast adjustment at all, I can delete the
| | 05:25 |
entire adjustment by clicking on the
Brightness/Contrast adjustment layer and
| | 05:30 |
dragging it down to the Trash icon at
the bottom-right of the Layers panel.
| | 05:34 |
However I don't want you to do that
right now. Instead I'm going to drag that
| | 05:38 |
back up and release my mouse, because
I want to show you another advantage of
| | 05:42 |
making adjustments using adjustment
layers, rather than direct adjustments.
| | 05:46 |
And that is that adjustment
layers come with their own layer mask.
| | 05:49 |
By default that layer mask is white,
so it's having no impact on the
| | 05:53 |
adjustment right now.
| | 05:55 |
But if I add black paint to this
layer mask, I can hide the effect of the
| | 05:59 |
adjustment in part of the image.
| | 06:01 |
So, let's say that I decide that I
like the brightening of most of the image
| | 06:05 |
except for right up here where it's
pretty much blowing out that area and
| | 06:09 |
drawing viewers' attention to that
rather insignificant part of the photo.
| | 06:13 |
So, to fix that that I'm going to go to the
toolbar and I'm going to select the Brush tool.
| | 06:18 |
I'm going to switch the toolbar to a
double-column, so that I can reach the
| | 06:23 |
Foreground Color box down here.
| | 06:26 |
I want to make sure that is set to black.
| | 06:28 |
If it isn't, I'll press X on my keyboard
and that will switch from white to black.
| | 06:32 |
Then I'll come into this image and I'll
just paint over that area, and what I've
| | 06:37 |
done is to hide the brightness
adjustment from that part of the photo.
| | 06:41 |
I'm going to show you the
layer mask now by going over to the
| | 06:44 |
Brightness/Contrast adjustment layer,
holding down the Alt key on my keyboard,
| | 06:48 |
and clicking on that layer mask thumbnail.
| | 06:51 |
And there you can see where the black
part of the layer mask is hiding the
| | 06:55 |
Brightness/Contrast adjustment, so that the
original photo shows through in that area.
| | 07:00 |
I used a Soft Brush, so there are also
some various levels of gray pixels at the
| | 07:05 |
edge of that black paint, and those are
acting to partially hide the adjustment,
| | 07:09 |
blending in the black part of
the layer mask with the white part.
| | 07:13 |
I'm going to Alt-click again on
the layer mask thumbnail on the
| | 07:16 |
Brightness/Contrast adjustment layer.
| | 07:18 |
By the way, you can apply more than
one adjustment layer to an image.
| | 07:22 |
If I wanted to add another adjustment layer,
I would simply choose that adjustment
| | 07:26 |
layer from this menu.
| | 07:28 |
I could choose another flavor of
adjustment layer or I can add a second
| | 07:31 |
Brightness/Contrast adjustment layer,
and limit it to another area of the image
| | 07:35 |
by painting on the layer mask.
| | 07:39 |
So, when you're applying a Brightness/
Contrast adjustment, a Levels adjustment,
| | 07:43 |
a Hue/Saturation adjustment, or a
handful of other kinds of adjustments, try to
| | 07:48 |
apply them as adjustment layers rather
than as direct adjustments to a photo.
| | 07:53 |
| | Collapse this transcript |
| Adding a Levels adjustment layer| 00:00 | When you're shooting a photo on an
overcast day, you sometimes end up with
| | 00:04 | the result like this.
| | 00:05 | This photograph is flat; in other words it
doesn't have a wide range of tones in it.
| | 00:10 | There are no bright whites and no dark darks.
| | 00:13 | Most of the tones in the
image are closer to middle gray.
| | 00:16 | One feature you can use to adjust
lighting and contrast in an image like this is
| | 00:21 | a Levels adjustment layer.
| | 00:23 | There are two ways to apply a Levels adjustment.
| | 00:26 | It can be applied as a direct
adjustment or as an adjustment layer.
| | 00:29 | In the last movie I showed you that
the direct adjustments are located under
| | 00:33 | the Enhanced menu and here in the Adjust
Lighting category there is a Levels adjustment.
| | 00:38 | But I'm not going to choose that
because I prefer to use an adjustment layer,
| | 00:42 | which is more flexible than a direct
adjustment and is nondestructive to the
| | 00:46 | photo itself, as I
explain in the preceding movie.
| | 00:49 | So I'm going to go to the bottom of the
Layers panel and I'm going to click the
| | 00:52 | black and white circle icon, and from
the menu that appears I'm going to choose
| | 00:57 | Levels to create a Levels adjustment
layer right here in the Layers panel above
| | 01:02 | the Background layer that contains the photo.
| | 01:04 | Creating that adjustment layer has
set the Adjustments panel to display the
| | 01:08 | controls for Levels, including this
diagram here in the center of the panel.
| | 01:12 | The diagram is called a Histogram.
| | 01:15 | It represents all the possible
tones in this image from the brightest
| | 01:19 | possible whites to the darkest possible blacks,
and all the possible tones of gray in between.
| | 01:25 | This black hill in the middle represents
the actual tones in this particular photograph.
| | 01:30 | It tells me that all the tones in this
photo are clustered around the middle tones.
| | 01:35 | There are no bright whites over here
and no black blacks over here, but that's
| | 01:39 | something that I can fix here with Levels.
| | 01:42 | To do that I'll start with this white
slider and I'm going to drag it to the
| | 01:46 | left until it's just underneath some of the
hill of black in the center of the diagram.
| | 01:52 | And as you can see in the image,
that has lightened the brightest tones.
| | 01:55 | Now I'm going to take the black slider
and drag it to the right until it's just
| | 01:59 | below the cluster of black bars that
represent the tones in the image and that
| | 02:04 | sets the darkest parts of the image to black.
| | 02:07 | So now there are brighter whites,
there are darker darks, and the range of
| | 02:11 | midtones in between has expanded across
the tonal range. Unfortunately you can't
| | 02:16 | see that in this particular histogram,
but if I go up to the Window menu at the
| | 02:20 | top of the screen and choose
Histogram to open a Histogram panel,
| | 02:24 | you can see that there are now some
bars across the entire tonal range.
| | 02:28 | The bars are all just clustered in the
middle. By default the Histogram shows
| | 02:32 | the bars that represent the tones in
the image in color, but if I want to I can
| | 02:37 | change that from the Channel menu to
RGB and then I'll see a black-and-white view
| | 02:42 | that's for similar to
the Histogram in Levels.
| | 02:45 | So here you can see more clearly that
there are individual bars representing
| | 02:48 | individual tones and that they are
now spread out across the tonal range.
| | 02:52 | I'm going to double-click the
Adjustments tab to bring back the Levels controls.
| | 02:56 | If I want to compare the image now to how
it looked before I made this adjustment,
| | 03:01 | I'll go down to the bottom of the
Adjustments panel and click the eye icon,
| | 03:05 | which makes the Levels adjustment
temporarily invisible, and then I'll click
| | 03:09 | again to enable the Levels adjustment again.
| | 03:12 | There is quite a dramatic difference.
| | 03:14 | Just this simple adjustment has
pretty much saved an image that I otherwise
| | 03:18 | would have thrown out.
| | 03:20 | As I explained in the last movie about
adjustment layers, the benefit of having
| | 03:23 | applied levels as an adjustment layer,
rather than a direct adjustment is that
| | 03:27 | I could now come back in and tweak
the Levels adjustment at any time and
| | 03:32 | whatever changes I make to Levels are not
having a direct impact on the Background layer.
| | 03:37 | So if I threw away this Levels
adjustment layer I would still have my original
| | 03:41 | photo on the Background layer untouched.
| | 03:43 | And the Levels adjustment layer like
all adjustment layers comes with it's own
| | 03:48 | layer mask that I could paint on to
protect part of the photo from this
| | 03:52 | adjustment, if I wanted to.
| | 03:54 | All as I showed in the preceding movie.
| | 03:56 | So if you do have contrast and exposure
problems with your photographs, be sure
| | 04:00 | to give Levels a try.
| | 04:01 | It's a really powerful adjustment that
can fix a range of lighting problems and
| | 04:05 | when you apply a Levels adjustment try
to do it as an adjustment layer rather
| | 04:09 | than as a direct adjustment.
| | Collapse this transcript |
| Merging multiple exposures| 00:00 | When you are photographing there are
often times when your camera can't capture
| | 00:03 | the entire range of light in a scene.
| | 00:06 | The solution in that case is to take
more than one shot with your subject in
| | 00:10 | approximately the same location and if
you have a tripod, by putting your camera
| | 00:14 | on a tripod, although
that's not entirely necessary.
| | 00:17 | Then you can take two or more
exposures of the same scene and bring them into
| | 00:22 | the new Photomerge Exposure technique
in Guided Edit in Photoshop Elements and
| | 00:27 | have Elements blend those multiple
exposures together into one shot in which
| | 00:31 | everything is well lit.
| | 00:33 | To show you that, I have two shots here.
| | 00:35 | These were taken at night, although
you can use this technique with photos
| | 00:38 | taken during the day.
| | 00:40 | This shot here on the right in the
Organizer was taken without flash and so
| | 00:44 | although the foreground subject is
not lit, you can see the lights and the
| | 00:49 | silhouettes in the background.
| | 00:50 | Right after that the photographer
took the same shot with flash and in this
| | 00:54 | image the foreground subject is
lit but the background is black.
| | 00:58 | I am going to bring these two images
into the Photomerge Exposure feature in
| | 01:02 | Guided Edit to blend them together.
| | 01:04 | I'll select them both here in the
Organizer by clicking on one and then
| | 01:07 | holding the Ctrl key and clicking on
the other, and then I'll go to the Fix
| | 01:11 | tab in the task pane.
| | 01:13 | Click the arrow there and I'll choose
Guided Photo Edit and that opens both
| | 01:17 | photos here in Guided Edit Mode.
| | 01:20 | The first step here is to select all of the
photos that I want to blend in the Project Bin.
| | 01:25 | So I'll click on one, hold the
Ctrl key and click on the other.
| | 01:29 | Then I'll go over to the list of
Guided Edit techniques on the right.
| | 01:32 | I'll go to the Photomerge category and I'll
choose Exposure, a new technique in Elements 8.
| | 01:39 | It may take a moment as Elements
analyzes both images and then it opens them
| | 01:43 | here into Photomerge Exposure.
| | 01:46 | Here on the right is an explanation of
how to use Photomerge Exposure along with
| | 01:50 | controls for this technique.
| | 01:52 | There are actually two different workflows here.
| | 01:54 | By default the Manual workflow is selected.
| | 01:56 | So I'll show you that one first.
| | 01:57 | I like the Manual workflow because it
gives you the most control over blending
| | 02:01 | your images together.
| | 02:02 | You can see on the left that the photo
taken with flash has been placed into
| | 02:07 | the foreground area.
| | 02:08 | I need to bring another
photo into the background area.
| | 02:11 | I have only one other photo here,
the one taken without flash.
| | 02:15 | So I'm going to click and hold on the
thumbnail of that photo in the Project
| | 02:19 | Bin, the one with the yellow border
around it, and then with my mouse held down
| | 02:22 | I'll drag into this background area and release.
| | 02:25 | The next step is to identify which parts
of the foreground image I want to blend
| | 02:29 | into the background image.
| | 02:31 | To do that, I'll make sure that this
Selection tool is highlighted on the right
| | 02:35 | and then I'll come into the foreground
image and I'm going to just draw over the
| | 02:39 | parts of the foreground image that I
want to blend into the background image,
| | 02:43 | and in just a second Elements
automatically brings those portions over here into
| | 02:47 | the background image.
| | 02:49 | I'm going to enable Show Regions, so I
can get this Overlay view of which parts
| | 02:54 | have been brought in.
| | 02:55 | It's the parts here that don't
have the yellow overlay on them.
| | 02:58 | Now I made my brush strokes so wide here that
I brought in parts that I really don't want.
| | 03:03 | But that's okay. I can fix
that using the Eraser tool.
| | 03:06 | I am going to select the Eraser tool
and then I'll come over to the Foreground
| | 03:10 | image on the left and I'm going to
erase those parts that I don't want to
| | 03:15 | include and this happens interactively,
so I can see the results over there on
| | 03:20 | the Background image as I do it.
| | 03:22 | If I go too far, I can get the
Selection tool and come back and bring part
| | 03:25 | of that back in and then the Eraser tool
again, down here to try to erase that extra bit.
| | 03:32 | Now I'm not going to take the time to do
this perfectly. I'll just go with that for now.
| | 03:38 | Then I'm going to go back and uncheck
Show Regions and I can fine-tune further
| | 03:42 | by using the Transparency slider here,
which determines how much of each photo
| | 03:47 | is blended into the final.
| | 03:48 | I am going to try dragging that to the
right and you can see that the subject
| | 03:53 | is getting just a little bit darker as I allow
some of the background image to show through.
| | 03:58 | Checking Edge Blending can also smooth the
edges of the blend between the two photos.
| | 04:04 | And I see I have a little bit extra
black here, so once again, I'm going to get
| | 04:08 | my Eraser tool, turn on Show Regions
and I'm going to try to eliminate that by
| | 04:13 | clicking and dragging over the
corresponding area in the Foreground image.
| | 04:17 | That looks pretty good to me, so
I'm going to uncheck Show Regions.
| | 04:20 | I'll uncheck Show Strokes, so I
don't have to look at the blue strokes on
| | 04:23 | the Foreground image.
| | 04:25 | And then I'm going to scroll down,
because I want to show you that there are
| | 04:27 | some more controls here.
| | 04:29 | If you find that your two images aren't
well aligned in the final that showing
| | 04:33 | here in the Background image, you
can click the Advanced Options and here
| | 04:37 | you'll find instructions about placing
markers on each of the two photos to try
| | 04:42 | to align them better.
| | 04:43 | In this case, I don't think I need to do that.
| | 04:45 | I'm pretty happy with the result
that I have, so I could click Done.
| | 04:49 | But I'm not going to do that because I
want to go all the way back up to the top
| | 04:53 | by clicking and dragging on the
scrollbar and show you the other workflow for
| | 04:56 | Photomerge Exposure and that
is using its Automatic features.
| | 05:00 | So I'll click on Automatic.
| | 05:02 | When I click on the Automatic tab,
Elements is automatically blending the images
| | 05:06 | together and giving me a final result here.
| | 05:09 | And I actually think in this case it's not
bad, but I do have options to fine-tune this.
| | 05:14 | Notice that the Smart Blending radio
button is enabled by default and that means
| | 05:19 | that I have these three sliders.
| | 05:21 | Here I can tweak the
Highlights or I can tweak the Shadows.
| | 05:25 | So for example, if I drag Shadows
to the left, I've darkened the shadow
| | 05:29 | areas, maybe I want a little too far there,
so that the model doesn't look over flashed.
| | 05:35 | I can also adjust the
Saturation of the final photo.
| | 05:38 | The Saturation is the purity of
color or the intensity of color.
| | 05:42 | So if I drag that to the right, we get
a little more color in the final image.
| | 05:46 | And then if I like that result I
could click Done, but I want to show you
| | 05:50 | one last option here.
| | 05:51 | If I don't want to take the time to
even do the Smart Blending, I can have
| | 05:55 | Elements do everything for me
automatically by clicking the Automatic tab and
| | 06:00 | then just choosing Simple Blending.
| | 06:01 | Now in this case, I don't really like
the result of Simple Blending. I much
| | 06:05 | prefer the results that I got from the
Automatic Smart Blending and even better,
| | 06:10 | the results that I got from the Manual tab.
| | 06:12 | But I'm going to choose Smart Blending
for now and I'm going to go with that by
| | 06:16 | clicking Done, at which point Elements
creates a final image for me which you
| | 06:21 | see here in the After window of
Guided Edit and also here as an additional
| | 06:26 | image in the Project Bin.
| | 06:28 | At this point, I would save the image
and close it by clicking the Close button.
| | Collapse this transcript |
| Adding a Hue/Saturation adjustment layer| 00:00 | The most common photo
problems fall into two categories.
| | 00:03 | Problems with lighting and problems with color.
| | 00:06 | I covered corrections to lighting in
preceding movies in this chapter.
| | 00:10 | Now let's talk about color.
| | 00:12 | If you find that your photographs
like this one need a little more pop,
| | 00:16 | try applying a Hue/Saturation adjustment
and doing that as an adjustment layer
| | 00:20 | rather than a direct adjustment.
| | 00:22 | To apply a Hue/Saturation adjustment
layer to this image, I'm going to go over
| | 00:26 | to the panels, and first I'm going to
close the Effects panel here by going its
| | 00:31 | panel menu icon and choosing Close
| | 00:33 | so there's more room for the Layers panel and
the Adjustments panel that I'm about to open.
| | 00:37 | I am going to go to the bottom of the
Layers panel and click the New Fill and
| | 00:42 | Adjustment Layer icon, this black and
white circle, and from the pop-up menu
| | 00:46 | I'll choose Hue/Saturation.
| | 00:48 | That adds a Hue/Saturation adjustment
layer with the built-in layer mask and
| | 00:54 | it opens the Adjustments panel to the
controls for the Hue/Saturation adjustment.
| | 00:59 | Here are three sliders.
| | 01:00 | The first, the Hue slider,
will change the overall color.
| | 01:03 | I don't often use this because it gives
pretty unrealistic results, but just to show you,
| | 01:07 | if I drag this in this direction,
I can get magentas or this direction,
| | 01:13 | some greens and blues.
| | 01:14 | I'm going to put that back to
0 by typing 0 in the Hue field.
| | 01:19 | There is also a Lightness slider that
I don't use very often, because if I
| | 01:22 | do want to adjust lightness, I'll go
into the Shadow/Highlight adjustment or
| | 01:26 | the Curves adjustment.
| | 01:27 | But if I'm adjusting saturation
sometimes I do want to tweak the lightness
| | 01:31 | just a bit and I can make the image
brighter by moving to the right or darker
| | 01:35 | by moving to the left.
| | 01:37 | I'm going to put that back to 0 by
typing zero in the Lightness box as well.
| | 01:42 | The real star of the Hue/Saturation
adjustment is the Saturation slider here.
| | 01:46 | In an image like this which needs a
little boost to color, dragging the
| | 01:50 | Saturation slider to the right
will make the colors more intense.
| | 01:54 | To compare a before and after view,
I'll go down to the eye icon at the bottom
| | 01:58 | of the Adjustments panel and click.
| | 02:00 | So that's where I started and that's
where I'm by increasing the Saturation.
| | 02:05 | If I go the other way with the
Saturation slider dragging it to the left, I can
| | 02:08 | actually pull of the color out of the
image, but I don't recommend this as the
| | 02:13 | best way to make a black and white image.
| | 02:15 | I'll talk about converting to black and
white in a later movie, but I did want
| | 02:18 | you see what saturation is all about.
| | 02:21 | It's about the intensity
of the color in the image.
| | 02:23 | I am going to put Saturation back to
zero to show you that you don't have to
| | 02:28 | change the saturation of
all the colors in an image.
| | 02:31 | Let's say for example that I just
wanted to pop the red colors in this image
| | 02:35 | without touching the rest of the colors.
| | 02:37 | So perhaps I want to leave the green as it is.
| | 02:39 | I'm going to the Master menu here at
the top of the Hue/Saturation adjustments,
| | 02:44 | click there and I'll choose Reds and
now when I drag the Saturation slider to
| | 02:49 | the right, I do get a change in
saturation in the red colors in the image,
| | 02:54 | but it's not affecting the other hues.
| | 02:56 | If I want to get even more specific
about the particular reds that I'm
| | 03:00 | adjusting, I'll select this Eyedropper
tool here in the Hue/Saturation panel,
| | 03:05 | and then I'll go into the image and
click with that Eyedropper on just the red
| | 03:09 | that I want to affect.
| | 03:11 | And as you notice that when I did that,
the reds in the Church became more intense.
| | 03:15 | The nice thing about adjusting
Saturation from a Hue/Saturation adjustment layer
| | 03:20 | is that, as with every adjustment layer,
I can go back into this adjustment,
| | 03:24 | reopen the Hue/Saturation controls into
the Adjustments panel and make changes
| | 03:29 | at any time, even after saving and
closing the image as long as I've saved in a
| | 03:34 | format that retains layers, like
Photoshop document, .PSD, and as with all
| | 03:39 | adjustment layers I have the option to
limit my adjustment to just part of the
| | 03:43 | image using the layer mask that
comes with this adjustment layer.
| | 03:47 | So do give the Hue/Saturation
adjustments layer a try, when you want to make the
| | 03:51 | colors in your photos more intense.
| | Collapse this transcript |
| Adjusting with Color Curves| 00:00 |
The Adjust Color Curves command allows
you to individually adjust color and tone
| | 00:05 |
in the highlights, the midtones and the
shadow areas of a photo to your liking.
| | 00:10 |
This is the command to use when you
want more control and fine-tuning than you
| | 00:15 |
can get with maybe Levels or
Shadow/Highlights adjustment.
| | 00:18 |
As you know some photo adjustments
like Levels are available as adjustment layers,
| | 00:23 |
but unfortunately the
Color Curves adjustment is not.
| | 00:26 |
So before I apply it to this image,
I'm going to make a duplicate of my photo
| | 00:30 |
layer, the Background layer, to
preserve it in its original state.
| | 00:34 |
I am going to right-click on the
Background layer and choose Duplicate Layer and
| | 00:38 |
then I'll click OK, and I'll work on
that Background copy layer with that
| | 00:42 |
highlighted here in the Layers panel.
| | 00:44 |
To apply the Adjust Color Curves
command, I'll go up to the Enhance menu and
| | 00:49 |
down to Adjust Color and
over to Adjust Color Curves.
| | 00:53 |
That opens this big
Adjust Color Curves dialog box.
| | 00:57 |
I am going to click on its title bar and
drag it over to the right, so that more
| | 01:01 |
of the image is showing back here.
| | 01:02 |
I'll be able to preview the changes
that I make in this dialog box immediately
| | 01:06 |
in the image here, but I'll also be able
to see a preview of what I'm doing here
| | 01:11 |
in the After Area inside the
Adjust Color Curves dialog box.
| | 01:15 |
The controls for applying a color curve
are down here in the Select a Style menu.
| | 01:21 |
Often, I'll just come through and try
all the different options here until I see
| | 01:25 |
one that I like, previewing
the results in that After window.
| | 01:29 |
There's Backlight, Darken Highlights,
the Default, Increase Contrast, Increase
| | 01:35 |
Midtones, Lighten Shadows, and Solarize.
| | 01:40 |
I am going to start with Increase
Contrast, because I do want to expand the
| | 01:44 |
range of tones in this image making the
brights brighter and the darks a little darker,
| | 01:48 |
but I think that this
preset goes a little bit too far.
| | 01:52 |
So that's where the Adjust sliders come in.
| | 01:54 |
They allow me to fine-tune this result.
| | 01:57 |
I think that the shadows, the dark
areas here are a little too dark right now.
| | 02:02 |
So I'll come down to the Adjust Shadows
slider and I'm going to drag it slightly
| | 02:06 |
to the right to try to open up those shadows.
| | 02:09 |
Notice that as I move this slider
the curve in this diagram is changing.
| | 02:13 |
This point here represents the
shadows that I have just tweaked.
| | 02:17 |
So if I drag that Adjust Shadows
slider to the left, notice that this
| | 02:21 |
point moves down, and as I drag the
Adjust Shadows slider to the right
| | 02:25 |
that point moves up.
| | 02:26 |
I'm going to put it just about there.
| | 02:29 |
I would also like to brighten up
the midtones and so I'm going to
| | 02:32 |
click-and-drag on the Midtone Brightness
slider dragging it to the right and as
| | 02:37 |
I do, notice that the curve
in the diagram is changing.
| | 02:40 |
I can also play with the
Midtone Contrast slider.
| | 02:43 |
I'll try dragging that slightly to the
right to increase contrast just a bit.
| | 02:47 |
Now I could have made all those
changes by clicking on these points in the
| | 02:50 |
diagram, but I think it's a lot
easier to use the sliders to get just the
| | 02:55 |
result that I want.
| | 02:56 |
When I'm satisfied with the results,
I'll go up here and I'll click OK.
| | 03:00 |
Before I do, notice that I could also
cancel what I've done or reset all of the
| | 03:04 |
sliders to their original states.
| | 03:06 |
I am going to click OK and now back
in the Layers panel, I'll click the
| | 03:11 |
Eye icon to the left of the Adjusted
Background copy layer to compare the
| | 03:15 |
way it looks with the Color Curves adjustment
with the way the image looked when I started.
| | 03:21 |
With the adjustment it's slightly more
contrasty, making the image pop a little more.
| | 03:25 |
If you've got a photo that needs
different tonal adjustments in the ahadows,
| | 03:29 |
the highlights, and the midtones,
you'll find that the Adjust Color Curves
| | 03:32 |
command gives you the control you
need to manually adjust each one of those
| | 03:36 |
tonal areas separately.
| | 03:39 |
| | Collapse this transcript |
| Removing a color cast| 00:00 |
Depending on the light under which you
shoot a photo, the photo can sometimes
| | 00:04 |
have an unwanted
predominant color called a colorcast.
| | 00:08 |
For example, if you shoot in snow or in
fog as you see in this photo, the result
| | 00:13 |
may have a bluish cast, or if you shoot
under fluorescent lights, your photo may
| | 00:17 |
have a greenish cast.
| | 00:18 |
The Remove Color Cast command is the
most direct way to correct a colorcast in
| | 00:23 |
the Full Edit workspace.
| | 00:25 |
Before I apply that command to this
photo, I'm going to open another panel,
| | 00:29 |
the Info panel, which will help
me to diagnose the colorcast.
| | 00:33 |
From the Window menu I'll choose Info,
and that opens the Info panel over here.
| | 00:39 |
Notice that it has four quadrants.
| | 00:41 |
Because this photo is an RGB color
mode photo, I'm interested in this first
| | 00:46 |
quadrant right here.
| | 00:47 |
If I move my mouse over part of the
image, notice the numbers that come up in
| | 00:51 |
that first quadrant.
| | 00:53 |
They tell me the relative amount of
red, green and blue in that part of the image,
| | 00:58 |
and as I move the location of my
cursor I'll see different numbers there.
| | 01:02 |
So right now with the cursor
over the snow, I see that there is a
| | 01:06 |
predominance of blue over green and
red, because the number to the right of
| | 01:10 |
the B is higher than the numbers to
the right of the R and the G in that
| | 01:14 |
first quadrant of the Info panel.
| | 01:16 |
So I know that I have a blue colo cast
here and it's not one that I want to keep.
| | 01:21 |
So now to try to get rid of it, I'll go
up to the Enhance menu at the top of the
| | 01:25 |
screen, and I'll choose Adjust
Color and from there Remove Color Cast.
| | 01:30 |
That opens the Remove Color Cast dialog box.
| | 01:33 |
Here it tells you exactly what to do,
which is just to move your mouse over
| | 01:37 |
part of the image that you think should be
either gray, white, or black and click there.
| | 01:42 |
And Elements will try to remove
the colorcast from the entire image.
| | 01:46 |
And as it says here the results will be
different depending on where you click.
| | 01:50 |
So in this image, I might try clicking
here on the stonework under the bench,
| | 01:55 |
but that doesn't give me a result
that I like. Everything is aqua colored.
| | 01:59 |
So maybe I'll try these bushes here.
| | 02:02 |
And that gives me a magenta
result that I don't really like.
| | 02:05 |
Let me try clicking in the snow, and
now I finally have the neutralized result
| | 02:10 |
that I was looking for.
| | 02:11 |
To preview the image before I applied
this command, I'll go to the Remove Color
| | 02:15 |
Cast dialog box and uncheck Preview.
| | 02:18 |
So that's where I started with a blue
colorcast, and that's where I ended.
| | 02:22 |
Now this isn't the only adjustment I
would make to this image. I would probably
| | 02:26 |
also add a Hue/Saturation adjustment
layer to try to intensify the colors that
| | 02:31 |
are currently there.
| | 02:32 |
But at least I've minimized that
blue colorcast that I started with.
| | 02:35 |
So I'm going to click OK.
| | 02:37 |
As you have seen the Remove Color Cast
command can be pretty valuable, except
| | 02:42 |
that there is a little bit of trial
and error. I just had to click around in
| | 02:46 |
areas that I thought should be neutral
until I got the result that I wanted.
| | 02:50 |
If you shot a photo under less than
ideal lighting conditions as I did here,
| | 02:54 |
then use the Info panel to check for a
colorcast, but keep in mind that there's
| | 02:59 |
nothing inherently wrong with a colorcast.
| | 03:01 |
If you have a colorcast that's
appealing to you, then keep it that way.
| | 03:05 |
For example, if you have a sunset photo,
there might be a nice golden cast that
| | 03:10 |
enhances the end of day mood in the
photo and you might want to keep that.
| | 03:14 |
But if there's a colorcast that you
find unappealing then do try to reduce it
| | 03:18 |
using the Remove Color Cast command.
| | 03:21 |
| | Collapse this transcript |
| Correcting skin tone| 00:00 | It's sometimes difficult to reproduce
skin tones accurately in a photograph.
| | 00:04 | For example, although it's a good
idea to shoot a portrait in the shade so
| | 00:08 | that you get a full range of tones, you might
end up with bluish skin tones as in this photo.
| | 00:13 | When you are working in Elements Full
Edit workspace, the most direct way to
| | 00:17 | correct a problem like this is with
the Adjust Color for Skin Tone command.
| | 00:21 | This command is not an adjustment layer,
so before I apply it I'm going to make
| | 00:26 | a duplicate of the background layer that
contains the photo by right-clicking on
| | 00:30 | the Background layer in the Layers
panel and choosing Duplicate Layer.
| | 00:34 | I'll click OK and I'll make sure the
Background copy layer is highlighted.
| | 00:38 | Now I'm going to go up to the Enhance
menu at the top of the screen and down to
| | 00:42 | Adjust Color, and I'm going to
choose Adjust Color for Skin Tone.
| | 00:47 | I'm going to move the Adjust Color for
Skin Tone dialog box over to get a better
| | 00:52 | view of the image in the document window.
| | 00:54 | This dialog box is an example of why I
love working in Elements because it tells
| | 00:58 | me exactly what I need to do.
| | 01:00 | It says that to adjust color for
skin tones, click on any person's skin.
| | 01:04 | Well that's easy enough.
| | 01:06 | I'll move into the image and I'll try
clicking on the boy's skin and right away
| | 01:10 | the over all skin tone color has shifted
from too blue to a warmer golden color.
| | 01:16 | Notice the sliders here at
the bottom of the dialog box.
| | 01:19 | They let me tweak this result.
| | 01:21 | So if I think that there is a little too
much yellow in the skin tones now, I can
| | 01:25 | take that Tan slider and
move it off to the left a bit.
| | 01:29 | And if I'd like to get a little bit of a
rosier glow in the skin, I can take the
| | 01:33 | Blush slider and move it over to the right.
| | 01:35 | These changes are subtle, but they help
me to get just the skin tone that I want.
| | 01:40 | Then there's the Ambient Light slider.
| | 01:42 | This is used to change the overall color
temperature of the photo from cool,
| | 01:46 | if I drag far over to the left, to
warm if I drag far over to the right.
| | 01:51 | So I can set this slider just where I
wanted to change the overall look of the photo.
| | 01:56 | If I want to compare the result I have
now to where I started, I'll go to the
| | 02:00 | Preview checkbox and uncheck that.
| | 02:03 | So there is it with the original bluish
skin tones and here it is adjusted for
| | 02:08 | more gold skin tones.
| | 02:10 | There are couple other
buttons here to take note of.
| | 02:12 | If I click Cancel, that will set the image
back to the original with the blue tones.
| | 02:16 | If I want to reset all these sliders
to their defaults I can click Reset,
| | 02:21 | but I'm happy with these results, so I'm
just going to click OK to adjust the skin
| | 02:25 | tones in the Background copy layer.
| | 02:28 | If you shoot lots of portraits, give
this command a try to fix the skin tones
| | 02:32 | in your own photos.
| | Collapse this transcript |
| Reducing digital noise| 00:00 |
When you shoot with a digital camera,
it's inevitable that you'll get some
| | 00:03 |
digital noise in your photographs.
| | 00:05 |
This is most likely to happen when
you're shooting with a high ISO or when
| | 00:09 |
there are a lot of dark or
shadow areas in your photographs.
| | 00:12 |
I am going to zoom into this image by
selecting the Zoom tool in the toolbar
| | 00:16 |
and then clicking several times in the
image so that you can see some of the
| | 00:20 |
digital noise here.
| | 00:22 |
These colored pixels represent color
digital noise and then there can also be
| | 00:26 |
some black-and-white digital noise.
| | 00:28 |
I'm going to hold the Spacebar down to
switch to the Hand tool temporarily and
| | 00:32 |
click-and-drag in the image to this
area down here where you can see JPEG
| | 00:38 |
artifacts, squares of pixels, which are caused
by compressing image as a JPEG in the camera.
| | 00:43 |
The Reduce Noise filter can
help with all of these problems.
| | 00:47 |
Color digital noise, black-and-
white digital noise, and JPEG artifacts.
| | 00:51 |
I am going to go back to 100% view by
double-clicking the Zoom tool in the
| | 00:55 |
toolbar, and then I'll apply the
Reduce Noise filter, going up to the Filter menu,
| | 01:01 |
down to the Noise
category and over to Reduce Noise.
| | 01:05 |
I'm going to move this dialog box
over by clicking in its title bar and
| | 01:09 |
dragging to the right.
| | 01:10 |
And now I'll be able to see a preview
of the image at 100% over here, as I
| | 01:14 |
choose settings here in
the Reduce Noise dialog box.
| | 01:17 |
I'll also be able see a preview here
in this nice large preview area inside
| | 01:22 |
the dialog box itself.
| | 01:23 |
I'm going to zoom in on this image by
clicking the plus sign underneath the
| | 01:28 |
preview and then I'll click in the
image and drag until I see the seal.
| | 01:36 |
The way that the preview works is that
when I have my mouse held down like this,
| | 01:40 |
I can see the noise and the artifacts
in the image, but when I release my mouse
| | 01:44 |
Elements applies whatever settings are
over here in the sliders, and by default
| | 01:49 |
those are already reducing
some of the noise in the image.
| | 01:52 |
But I'd like to make my own
choices over here in the settings.
| | 01:55 |
So I'm going to start by dragging all
these sliders back over to the left, to
| | 01:59 |
the defaults, and making sure
Remove JPEG Artifact is unchecked.
| | 02:03 |
So now this is how the image
looks without any noise reduction.
| | 02:07 |
Since there is a lot of color noise
here, I'm going to start by dragging the
| | 02:10 |
Reduce Color Noise slider over to the right.
| | 02:13 |
And as I do, that color noise
disappears out of the image.
| | 02:17 |
There is still noise here in the form of
these gray and black pixels, but that I
| | 02:22 |
can reduce by going to the Strength
slider and dragging it to the right.
| | 02:27 |
If I want an even softer image with
less noise, I can get the Preserve
| | 02:31 |
Details slider, which automatically
moved over when I increase the Strength,
| | 02:35 |
and drag that to the left.
| | 02:37 |
I want to be careful not to make the
image too soft or blurry by doing that,
| | 02:41 |
but I keep my eye not only on the zoomed in
view here, but also on the 100% view over here.
| | 02:46 |
I think that looks pretty good right now.
| | 02:49 |
Finally I want to reduce these
squares of JPEG artifacts here.
| | 02:53 |
So I'm going to check Remove JPEG Artifact.
| | 02:56 |
It didn't do a great job but
it did reduce them slightly.
| | 02:59 |
Now I'm going to take this preview
back to 100% by clicking on the minus
| | 03:03 |
symbol here and to get a before and
after view I'll move into the image,
| | 03:08 |
I'll click and hold and that's how things
were and then I'll release my mouse and
| | 03:12 |
that's how they are now.
| | 03:14 |
It's a subtle difference, but I think
it's one that makes the image look better.
| | 03:17 |
So then I'll click OK to accept those
changes in the image here in the document window.
| | 03:22 |
If I want even more noise reduction at
this point I can go back up to the Filter menu
| | 03:27 |
and notice that the first
choice here is now the Reduce Noise Filter.
| | 03:31 |
That's because the last filter that I used
only shows up at the top of this list of filters.
| | 03:36 |
So I could choose Reduce Noise here
and that would double the noise reduction
| | 03:40 |
effect in the image.
| | 03:41 |
I think that's a little bit much.
| | 03:43 |
It's making image too soft and I'm
losing detail in the seals' faces.
| | 03:47 |
So I'm going to go up to the Undo
button and click Undo, so I just have one
| | 03:51 |
level of noise reduction.
| | 03:53 |
So if you're shooting photos with a
high ISO in your camera or in a dark
| | 03:58 |
environment when you're most likely
to pick up digital noise, then give the
| | 04:02 |
Noise Reduction filter a try.
| | 04:04 |
| | Collapse this transcript |
| Sharpening photos| 00:00 |
The last step in a digital editing
workflow is to sharpen the photo.
| | 00:04 |
Almost every photograph needs
sharpening even if it looks sharp to you already,
| | 00:08 |
because just capturing and working
on a digital image will soften it.
| | 00:12 |
Before I sharpen, I try to make
all my major edits to the photo, and
| | 00:16 |
importantly if I'm going to resize a
copy of the photo, I'll do that first,
| | 00:20 |
because the size of a photo does
affect how much sharpening it needs.
| | 00:24 |
Normally I'll leave the magnification or
the zoom level of the photo set to 100%
| | 00:28 |
before I start sharpening, so that I
can see a preview of what the image is
| | 00:32 |
going to really look like at
100% view as I'm sharpening.
| | 00:36 |
Having said that, just for teaching
purposes I'm going to zoom in now for a moment.
| | 00:40 |
I'll do that by selecting the Zoom
tool and then I'm going to zoom in by
| | 00:45 |
clicking a few times in the image and
I'll hold the Spacebar to change my tool
| | 00:50 |
into a Hand tool and drag over to the
left so that the eye is closer to the left
| | 00:55 |
side of the document window.
| | 00:57 |
Then I'm going sharpen this
image using the Unsharp Mask Filter.
| | 01:01 |
Up in the Enhance menu at the top of
the screen there are two sharpening features,
| | 01:05 |
Unsharp Mask and Adjust Sharpness.
| | 01:08 |
First I'll show you Unsharp Mask.
| | 01:11 |
The Unsharp Mask dialog box that opens
when I selected the Unsharp Mask command.
| | 01:15 |
It has three sliders in it:
Amount, Radius and Threshold.
| | 01:20 |
To understand how to use these sliders
it's useful to first have a good sense of
| | 01:24 |
what sharpening is and how it works,
so that you can see that on this image.
| | 01:28 |
I'm going to exaggerate the Amount and
Radius sliders more than I normally would.
| | 01:32 |
I'm going to drag the Amount slider
pretty far over and I'll drag the
| | 01:38 |
Radius slider over too.
| | 01:42 |
In the dialog box, you have a view of
the image at 100% with these settings and
| | 01:47 |
here in the document window you
can see this at a larger percent.
| | 01:51 |
I'm going to scroll up a bit in the
document window so you can see the girl's
| | 01:54 |
eyebrow there, because it's a good
example of what happens when you sharpen.
| | 01:58 |
Sharpening looks for an edge in the
photo, which is anyplace where dark pixels
| | 02:02 |
meet light pixels, like along the girl's eyebrow.
| | 02:05 |
At that edge, Elements lightens the
lightest pixels and darkens the darkest pixels.
| | 02:11 |
Those lightened and darkened edge
pixels are called the sharpening halo.
| | 02:14 |
And you can see the light pixels here
along the eyebrow and then the eyebrow
| | 02:18 |
itself is pretty dark, and there is some more
light pixels on the other side of the eyebrow.
| | 02:22 |
Now when you look back at this image
at 100%, that optical illusion makes the
| | 02:28 |
eyebrow look sharper.
| | 02:29 |
So what exactly do the Amount and Radius
sliders do in the Unsharp Mask dialog box?
| | 02:35 |
Well the Radius slider as I move it
to the right, expands the width of that
| | 02:39 |
sharpening halo, like that.
| | 02:42 |
So now there are more pixels on
either side of the eyebrow that are white.
| | 02:47 |
And the Amount slider changes the
intensity of the light pixels and
| | 02:50 |
the intensity of the dark pixels.
| | 02:52 |
So I'll drag that to the right and
the light pixels become lighter and the
| | 02:56 |
dark pixels become darker, making the
image look even more sharp, in fact way
| | 03:00 |
over sharp in this case.
| | 03:02 |
So now that you understand what
sharpening is, it's this optical illusion that I
| | 03:06 |
just showed you, I'm going to cancel
out of the Unsharp Mask dialog box by
| | 03:10 |
clicking the Cancel button there,
and I'm going to go back to 100% in the
| | 03:14 |
Document View by moving to the Zoom
tool and double-clicking the Zoom tool.
| | 03:18 |
Now I'm going to go back into the
Unsharp Mask dialog box and sharpen
| | 03:22 |
this image for real.
| | 03:23 |
So I'll go to the Enhance menu and I'll
choose Unsharp Mask again and then I'll
| | 03:28 |
go down to the three sliders.
| | 03:30 |
The way that I approach these is that I
usually start with the Amount slider and
| | 03:34 |
I drag it pretty far over to the right.
| | 03:36 |
I'm going to put this one at about 100,
and then I'll move the Radius slider,
| | 03:41 |
and I usually don't go beyond about two
pixels and as I do this, I'm keeping my
| | 03:46 |
eye on either of these previews. They
are both set to 100%, so they are giving
| | 03:49 |
me an accurate readout.
| | 03:51 |
Now there are some parts of the image
that became sharp that I really don't want
| | 03:55 |
to emphasize, like some of the texture
on the girl's skin here, and in forehead,
| | 03:59 |
and that's where the third
slider comes in, the Threshold slider.
| | 04:02 |
When the Threshold slider is set to 0,
everything in the image gets sharpened.
| | 04:07 |
But if I drag the Threshold slider
to the right, and again not too far,
| | 04:11 |
only the true edges in the photo are sharpened
and the other parts of the photo, like the
| | 04:16 |
blemishes on the skin, are not sharpened.
| | 04:18 |
I think that's a bit too far, everything
got blurry, so I'm going to go back and
| | 04:23 |
in this case I might leave Threshold at about 8.
| | 04:26 |
I like the way it sharpens the
important parts of the image like the eyes,
| | 04:30 |
and the mouth, and the hair, but
protects other areas like some of the skin
| | 04:34 |
from over-sharpening.
| | 04:35 |
Normally at this point I would click
on OK to accept these settings, but
| | 04:40 |
I'm going to cancel out of this
dialog box rather than except these
| | 04:43 |
sharpening settings, so that I can
show you the other sharpening option
| | 04:47 |
called Adjust Sharpness.
| | 04:49 |
So I'll go back to Enhance and down
to Adjust Sharpness and that opens a
| | 04:54 |
different dialog box.
| | 04:55 |
I am going to this one over to the
right and this is an alternative way to
| | 04:59 |
sharpen to the Unsharp Mask command.
| | 05:02 |
You can use either Adjust
Sharpness or Unsharp Mask.
| | 05:05 |
They are pretty similar.
| | 05:06 |
You can see that here there is an
Amount slider and a Radius slider.
| | 05:10 |
I'll leave them set as they are for now,
and there is an additional field that
| | 05:13 |
you don't find in Unsharp
Mask and that's this Remove menu.
| | 05:18 |
Although sharpening isn't designed to
fix really blurry images-- it really is
| | 05:22 |
just designed to sharpen up
digital softness in an image.
| | 05:25 |
This menu contains some features that do
make an attempt to fix certain kinds of blur.
| | 05:29 |
The first kind of blur, Gaussian Blur,
is not very different than what you
| | 05:33 |
find in Unsharp Mask.
| | 05:35 |
But Lens Blur is designed to make a
blurry image look better by concentrating on
| | 05:41 |
sharpening the details in the image,
and then Motion Blur is designed to reduce
| | 05:45 |
blur that's caused by either a
camera moving or the subject moving.
| | 05:50 |
Again it's not going to fix a very blurry photo.
| | 05:53 |
Let's try it here and see how it does.
| | 05:55 |
It does sharpen up the image a little bit.
There's also a More Refined checkbox here,
| | 05:59 |
which I can check if I want to get
more accurate blur removal, and finally
| | 06:04 |
there is no Threshold command in this
dialog box as there is in Unsharp Mask.
| | 06:09 |
So those are the main differences
between Unsharp Mask and Adjust Sharpness.
| | 06:13 |
I usually use Unsharp Mask, because it's
simpler, but you're welcome to use either.
| | 06:17 |
I'm going to click OK to apply these
settings and I want to mention a couple of
| | 06:21 |
other sharpness features
that are here in the Editor.
| | 06:24 |
If I go up to the Enhance menu,
there is a choice here for Auto Sharpen.
| | 06:29 |
Personally I don't like to use any of
the auto commands, because I think that
| | 06:33 |
the beauty of working in the Full Edit
workspace is that I have some control
| | 06:37 |
over all of my adjustments.
| | 06:38 |
So I prefer to use the adjustments that
I've shown you in this chapter including
| | 06:42 |
Unsharp Mask or Adjust Sharpness, as
opposed to the auto corrections like Auto Sharpen,
| | 06:48 |
but you're welcome to try
Auto Sharpen if you're in a hurry.
| | 06:51 |
I'm going to exit out of this menu and
show you another sharpen feature here in
| | 06:55 |
the toolbar and that's behind the Blur tool.
| | 06:58 |
I'm talking about the Sharpen tool.
| | 07:00 |
The Sharpen tool can come in handy if
you just want to sharpen a very small
| | 07:04 |
portion of your image.
| | 07:05 |
So let's say that I want to add a
little more sharpening to the subject's eyes
| | 07:09 |
to draw attention there.
| | 07:11 |
With the Sharpen tool, I'll move over
the subject's eyes and I'm just going
| | 07:14 |
to click a few times and as I do, I get
just the tiniest bit of additional sharpening.
| | 07:20 |
So a couple of things to remember
about sharpening your own images.
| | 07:23 |
If you've got a really blurry image due
to camera shake or the subject moving,
| | 07:27 |
unfortunately the sharpening features
aren't going to help you remove extreme blur,
| | 07:31 |
but sharpening will make a
normal image look crisper and better
| | 07:35 |
particularly if you're going to be printing it.
| | 07:37 |
Please do get in the habit of
sharpening all your images at the end of
| | 07:40 |
your digital workflow.
| | 07:42 |
| | Collapse this transcript |
| Working with raw photos| 00:00 |
When you shoot JPEGs with a digital camera,
a lot of the photo processing goes on
| | 00:04 |
inside the camera before
you ever get to see the photo.
| | 00:07 |
By contrast, when you shoot RAW,
you're the one who does the processing.
| | 00:11 |
What you get from your camera is raw
data that's unprocessed, the conceptual
| | 00:16 |
equivalent of an original
negative in film photography.
| | 00:19 |
The big advantage of shooting RAW is
that you get to control the processing
| | 00:22 |
yourself in the Adobe Camera RAW
Editor that comes with Elements.
| | 00:27 |
Another advantage of RAW files is
that they have a higher bit depth,
| | 00:30 |
in other words more color information
in them, than do 8 bit JPEGs so there is
| | 00:35 |
more latitude to edit RAW files.
| | 00:37 |
Keep in mind that not all cameras will
shoot RAW although more and more do offer
| | 00:41 |
a RAW option these days.
| | 00:43 |
So if you are interested in shooting
RAW, check your camera manual and see if
| | 00:47 |
your camera will shoot RAW.
| | 00:48 |
When you bring RAW files from your
camera into the Organizer, you'll see a
| | 00:52 |
special extension on the file name
that represents the flavor of RAW photo to
| | 00:56 |
your particular camera takes.
| | 00:58 |
This file is pots.CRW and it was
taken with a Canon camera, so it has
| | 01:03 |
the extension .CRW.
| | 01:05 |
But if for example I had taken this with a
Nikon, it would have the extension .NEF.
| | 01:11 |
To open a RAW file from here in the
Organizer, I'll work the same way that I
| | 01:15 |
would with the JPEG.
| | 01:16 |
Here I'm going to select these two RAW
files by clicking on the first, and then
| | 01:20 |
holding the Ctrl key and clicking on
the second and then I'm going to go up to
| | 01:24 |
the Fix menu, click the arrow
there, and choose Full Photo Edit.
| | 01:29 |
But notice that the files haven't
open in the Full Edit workspace that
| | 01:32 |
you're used to seeing.
| | 01:33 |
Instead both files are open here
in the special Camera RAW editor.
| | 01:38 |
I happened to be using Camera RAW 5.4,
but from time to time newer versions of
| | 01:43 |
Camera RAW are made available by Adobe
online and those can be downloaded and
| | 01:48 |
installed and used here in Elements.
| | 01:50 |
In the Camera RAW Editor on the left
there is a column that shows a thumbnail
| | 01:54 |
of each open image and the one with the border
is currently showing here in the editing area.
| | 01:59 |
Over on the right are column of
settings that you can use to control the way
| | 02:04 |
that this photo will be processed.
| | 02:06 |
There are several different groups of
settings organized under these three tabs.
| | 02:09 |
Currently I'm in the first tab, the Basic tab.
| | 02:12 |
At the top of this column is a histogram.
| | 02:15 |
This is similar to the histogram that
I showed you earlier in the Histogram
| | 02:18 |
panel and in the Levels Adjustments panel.
| | 02:21 |
A histogram is a diagram of possible
tones that could be in the image from
| | 02:25 |
bright whites on the right
to dark shadows on the left.
| | 02:29 |
And a mound of colors out of white here
is actually a compressed group of bars
| | 02:34 |
that represents the actual tones in this image.
| | 02:37 |
It's useful to keep your eye on this
histogram as you manipulate the controls
| | 02:40 |
down here in this column to get a
visual representation of what you're doing to
| | 02:44 |
the tones in the image.
| | 02:45 |
The first control here is White Balance.
| | 02:48 |
White Balance controls the overall color
temperature of the photo from warm to cool.
| | 02:53 |
Regardless of what White Balance your
camera may have used when you shot the photo,
| | 02:56 |
you can change the White Balance
here in the Adobe Camera RAW Editor and
| | 03:01 |
by doing that you can set the mood for
the picture by changing the lighting.
| | 03:04 |
The way that I approach White Balance
is usually to start with this menu of
| | 03:08 |
White Balance Presets.
| | 03:09 |
I open the menu and I just go through
the entries here, keeping my eye on the
| | 03:14 |
photo to see which one I like best.
| | 03:16 |
In this case I'm going to go with Daylight.
| | 03:19 |
Once I've chosen a preset to start with,
I'll come to Temperature and the Tint
| | 03:23 |
sliders and tweak those to get
just the White Balance that I want.
| | 03:27 |
So in this case I might move the
Temperature slider a little bit to the left to
| | 03:31 |
make the image a little bluer and I
might move the Tint slider a little bit to
| | 03:35 |
the right to add a little magenta.
| | 03:37 |
And this is completely a subjective decision.
| | 03:40 |
Beneath this line there is a button marked Auto.
| | 03:43 |
I could click the Auto button and
that would have Elements set all of the
| | 03:46 |
controls for me, using its best guess
for each setting, but the whole point of
| | 03:50 |
working with RAW photos is that
I can do the processing myself.
| | 03:54 |
So I prefer and I suggest you
to adjust the controls manually.
| | 03:58 |
I'll start here with the Exposure slider,
which sets the white point of the photo.
| | 04:02 |
Dragging it to the right makes the light
part of the photo lighter, and dragging
| | 04:07 |
it to the left makes those areas darker.
| | 04:10 |
I'm going to put it somewhere just
about there. Then I'll go down to the
| | 04:15 |
Blacks slider down here.
| | 04:17 |
If I drag to the right, I'm
pushing more tones to black.
| | 04:20 |
That was a little bit too far and
you'll notice when you look at the image that
| | 04:25 |
it pops a little more than it did a moment ago.
| | 04:27 |
I'll go up to the Preview and I'll uncheck.
| | 04:29 |
So that's where I started,
and that's where I am now.
| | 04:32 |
What I've done is by varying the
Exposure and the Blacks sliders I've
| | 04:36 |
increase the contrast in the image expanding
the range of tones across the tonal range here.
| | 04:42 |
And then there's a Brightness
slider here, which affects the overall
| | 04:45 |
brightness of the image.
| | 04:46 |
Primarily the midtones.
| | 04:48 |
So if I want to darken it,
I'll drag that slider to the left.
| | 04:51 |
If I want to brighten the entire
image I'll drag it to the right.
| | 04:55 |
I usually don't use the Contrast slider.
| | 04:57 |
Instead I rely on the Exposure and
Blacks slider to affect contrast, because
| | 05:02 |
those sliders give me
more control over the result.
| | 05:05 |
The Clarity slider comes in really
handy for restoring any sharpness or loss
| | 05:09 |
of detail that might have occurred as a result
of the other tonal adjustments that I have made.
| | 05:13 |
I'm going to drag Clarity to the right,
and as I do, you'll see the detail in
| | 05:17 |
the image get more crisp and defined.
| | 05:20 |
If I want to make the colors in the
image look more vibrant, I have two choices.
| | 05:24 |
I can use the Saturation slider.
| | 05:26 |
If I drag that to the right, it often over
saturates some of the colors in the image.
| | 05:31 |
So I'm not going to use it this time.
| | 05:33 |
I'll put that back to 0 by
typing 0 in the Saturation field.
| | 05:36 |
Instead I'm going to use the Vibrance slider.
| | 05:40 |
The Vibrance slider does a more subtle
job of increasing saturation, as I have
| | 05:44 |
done here, or decreasing saturation.
| | 05:46 |
It affects only the intensity of
the unsaturated colors in the image.
| | 05:50 |
So if I do increase Vibrance as I did here,
I end up saturating just the duller colors.
| | 05:55 |
So that's it for the controls in this column.
| | 05:58 |
Now there are a couple of other
tabs here at the top of the column.
| | 06:01 |
I'm going to click the Detail tab where I
have some controls for sharpening the image.
| | 06:06 |
If I plan to open this image into
Photoshop and do some editing there, then
| | 06:10 |
I'll usually won't do any
sharpening here in Camera RAW.
| | 06:14 |
I'll drag these sliders over to left
all the way and then after I've edited the
| | 06:18 |
image in Elements, I'll do my
sharpening there using either the Unsharp Mask or
| | 06:22 |
the Adjust Sharpness adjustments
as I showed you in the last movie.
| | 06:26 |
But I'll just leave those
at their defaults for now.
| | 06:28 |
And down here are two sliders for
reducing digital noise in a photo.
| | 06:32 |
The Luminance slider for reducing
grayscale noise, and the Color slider for
| | 06:36 |
reducing digital noise.
| | 06:37 |
I don't see much noise in this image,
so I'm just going to leave those at
| | 06:40 |
their defaults as well.
| | 06:42 |
Later when I'm in Photoshop, if I find
that there is some noise, I can reduce it
| | 06:46 |
there using the Reduce Noise control
that I showed you in an earlier movie.
| | 06:50 |
Down here at the bottom of Adobe
Camera RAW, there is a Depth menu.
| | 06:54 |
From here I can choose whether to
bring the image into Photoshop either with
| | 06:58 |
all 16 bits that it currently contains or
whether to bring it in as a smaller 8 bit image.
| | 07:05 |
I'm going to leave that set to 16 bit
so that I have as much color information
| | 07:09 |
to work with as possible when
I open the file in Photoshop.
| | 07:12 |
But if I knew I was just going to do
something with the file like attach it to
| | 07:15 |
an e-mail then I might reduce the depth to
eight bits, so the file is smaller in Photoshop.
| | 07:21 |
When I'm done editing the image in Adobe
Camera RAW, I have a couple of choices.
| | 07:26 |
One thing I can do is save the image
with a small text file called an XMP
| | 07:31 |
file that contains instructions to
process the image with the settings that
| | 07:35 |
I have chosen here, and then when I reopen it
in Camera RAW those settings will come back.
| | 07:40 |
So I'm going to do that with this image
by clicking the Save Image button down here,
| | 07:44 |
and I'll just click Save to save
it in the default location and with all
| | 07:49 |
the default settings.
| | 07:50 |
Now I'm going to select the other
image that's open here by clicking on it in
| | 07:54 |
the left-hand column.
| | 07:56 |
Now just assume that I've made some
changes to the controls over here.
| | 07:59 |
For example I might change
the White Balance to Daylight.
| | 08:03 |
I'll leave everything else at its defaults
including the bit depth of 16 bits per channel.
| | 08:08 |
And rather than just Save this image
with these settings, I'm going to open it
| | 08:11 |
into Elements Full Edit workspace for
further editing by clicking the Open Image
| | 08:16 |
button here, and that opens the photo
here in the Editor processed with the
| | 08:21 |
settings that I've chosen in Adobe Camera RAW.
| | 08:23 |
Why would I bring it into Elements?
| | 08:25 |
Because here I can do things to the
image that I can't do in the Adobe
| | 08:29 |
Camera RAW interface, like add layers, add
type, add graphics with one of the Shape tools.
| | 08:35 |
Do some retouching, make a collage
with another image, add filters, and more.
| | 08:40 |
One thing to keep in mind is that
because I brought the image in at 16-bit depth
| | 08:45 |
instead of 8-bit depth, there are some
features that won't be available to use
| | 08:49 |
here in Elements Editor.
| | 08:50 |
For example if I go to the Filter menu,
notice that some of the filters are grayed out.
| | 08:56 |
In addition, if I try to save this as a
JPEG from here by going to File and then
| | 09:01 |
Save As, the JPEG format is not
available in this menu in the Save As dialog box,
| | 09:06 |
because you can't
save a 16 bit file as a JPEG.
| | 09:10 |
JPEGs are only 8 bit.
| | 09:12 |
So I'm going to cancel out of the Save
As dialog box and show you that if I do
| | 09:16 |
want to save as JPEG or if I want to
use some of the unavailable commands here
| | 09:20 |
in Elements Editor, I can convert the
image to 8-bit, by going to the Image menu,
| | 09:26 |
going down to Mode, and
choosing 8-bits per channel.
| | 09:30 |
Now that it's an 8-bit image, I can go
to the File menu > Save As and the JPEG
| | 09:36 |
format is available to me.
| | 09:39 |
If you have opportunity to shoot RAW
with your camera, I suggest you do it,
| | 09:43 |
so that you have the flexibility to
process the image yourself in Adobe Camera RAW
| | 09:48 |
taking advantage of all
the exciting features there.
| | 09:52 |
| | Collapse this transcript |
|
|
10. Touching Up PhotosUsing the Smart Brush tool| 00:00 | The Smart Brush tool is the most
direct way to apply an adjustment to just a
| | 00:04 | selected area of an image.
| | 00:06 | This tool both selects an area and applies an
adjustment to that selection all in one step.
| | 00:12 | Elements 8 comes with a collection of
adjustments that work with this tool
| | 00:15 | and they cover the gamut from practical
photo adjustments to fun graphic adjustments.
| | 00:20 | Before I show you this, I'd like to
close my Effects panel over here so there
| | 00:24 | is more room for the panels that I want to use.
| | 00:26 | So I'm going to click the panel menu icon at
the right of the Effects panel and choose Close.
| | 00:31 | And now I have just my Layers panel open.
| | 00:34 | I'll select the Smart Brush tool from
the toolbar by clicking on it right here.
| | 00:39 | And I want to be sure to get the Smart
Brush tool, not the Detail Smart Brush
| | 00:42 | tool for this particular lesson.
| | 00:45 | When I select that tool, the Options
bar changes to show me the options for
| | 00:49 | the Smart Brush tool.
| | 00:50 | One of those options is this menu
that has a small thumbnail on it.
| | 00:54 | I'm going to click the arrow on the
right of that menu and here I see some of
| | 00:58 | the adjustments that are
available in Elements 8.
| | 01:00 | I'm going to click this menu
currently labeled All Purpose to see a list of
| | 01:05 | categories of adjustments that are
available, everything from Black and
| | 01:08 | White conversions to Color adjustments,
Lighting adjustments, some Special Effects, and more.
| | 01:14 | I'm going to choose Color adjustments,
and then in this drop-down menu with
| | 01:18 | thumbnails I can see all of the
Color adjustments that are available.
| | 01:21 | What these adjustments do is to change
the color of a selected area, but to keep
| | 01:27 | its photographic quality by
allowing the tonality to show through.
| | 01:31 | So for example, let's say that I want
to change the color of this cloak to green.
| | 01:35 | I'll choose Going Green here and
then I'll click in a blank area of the
| | 01:40 | Options bar to close that menu.
| | 01:41 | Now I'll come into this image and
I'll just click-and-drag and as I do,
| | 01:47 | the Smart Brush tool selects the cloak on
the basis of its color and tone and what
| | 01:52 | the tool detects is edges.
| | 01:54 | And it colors it using the Green
adjustment retaining the photographic quality.
| | 01:59 | So it doesn't look just
like a solid color graphic.
| | 02:02 | Notice that by mistake I selected a
little more than the cloak. I've also
| | 02:05 | selected these cards over here and
they been turned to green as well.
| | 02:09 | I can fix that by using an option in
the Smart Brush Tool Options bar up here.
| | 02:14 | I'm going to click on the minus icon
and then I'm going to come back down into
| | 02:19 | the image and I'm going to click-and-
drag over the area that I don't want to
| | 02:22 | include in the adjustment and that
subtracts that area from the selection and
| | 02:26 | from the green adjustment.
| | 02:28 | Now take a look at the Layers panel.
Notice that the Smart Brush tool has
| | 02:32 | created a new layer.
| | 02:34 | This layer is a fill layer very similar to
an adjustment layer, which I covered earlier.
| | 02:38 | It has two thumbnails. The one on the left
representing the adjustment, the green tint.
| | 02:43 | And the one on the right, a layer
mask that automatically comes with this
| | 02:46 | adjustment that defines the area to
which the adjustment is being applied.
| | 02:50 | The black in this layer mask is hiding
the adjustment and the white is revealing
| | 02:54 | the adjustment just in the area of the cloak.
| | 02:57 | One of the nice things about making an
adjustment with this Smart Brush tool is
| | 03:01 | that I can come back later and
change my mind and change that adjustment.
| | 03:05 | So for example, let's say that I was
working here on the Background layer and I
| | 03:09 | decided that green wasn't really
the color that I want for the cloak.
| | 03:13 | It's too similar to the background.
| | 03:15 | All I have to do is click again on
that Going Green 1 layer, and that brings
| | 03:19 | back the selection that
the Smart Brush tool made.
| | 03:22 | And with the Smart Brush tool selected
in the toolbar I can go up to the Options bar,
| | 03:27 | click on the arrow
to the right of this menu,
| | 03:30 | and I could choose a different option,
either a different adjustment or from the
| | 03:34 | Color menu I could just go
down and choose a different color.
| | 03:38 | I'll choose this pink.
| | 03:41 | And then I'll click in a blank area
of the Options bar to close that menu.
| | 03:44 | And as you can see that automatically changed
the adjustment to the pink color adjustment.
| | 03:49 | Another thing that I can do with the
Smart Brush tool is to control the edge of
| | 03:53 | the selection that it makes,
either making that edge softer or maybe
| | 03:57 | contracting it or expanding it.
| | 03:59 | I can do all of that by making sure I
still have the Smart Brush tool selected,
| | 04:03 | and then going to its Options bar
and clicking the Refine Edge button.
| | 04:07 | That opens the Refine Mask dialog box here.
| | 04:10 | The first thing I'll do here is decide how
I want to preview the settings that I make.
| | 04:14 | Right now I have the regular marching
ants preview selected, but if I click the
| | 04:18 | red icon I can see the selection without the
marching ants and instead with this red overlay.
| | 04:23 | Then I can use the sliders
here to smooth the edge a little.
| | 04:27 | Maybe to blur it slightly so that
it's a little softer, and I can contract
| | 04:32 | and expand that edge.
| | 04:35 | I'll take this way over so that
you can see where the red overlay is
| | 04:40 | infringing on the pink cloak.
| | 04:42 | I'm going to actually reset these in
this case by holding down the Alt key
| | 04:46 | on the keyboard, which changes the
Cancel button to a Reset button, and
| | 04:49 | clicking that button.
| | 04:51 | And then I'll click OK and I'll click
back in the Options bar to close that menu.
| | 04:55 | I can have more than one
adjustment on the same image.
| | 04:58 | To do that I first have to go to the
Layers panel and click on the layer other
| | 05:02 | than the layer that
contains the current adjustment.
| | 05:05 | So I'll click on this Background layer,
and then with the Smart Brush tool still
| | 05:09 | selected, I'll come back up to the
Options bar, I'll click the arrow to the
| | 05:13 | right of that menu and I'm
going to choose a different color.
| | 05:17 | Or I could choose a completely
different kind of adjustment.
| | 05:20 | But I'm just going to choose the
Chocoholic color and then click in the Options
| | 05:23 | bar to close the menu.
| | 05:25 | I'll use this adjustment flavor to
change the color of this hat, coming in and
| | 05:29 | dragging over the hat, and
it immediately changes from blue to brown.
| | 05:33 | And in the Layers panel you can see
that there is now another adjustment style layer,
| | 05:37 | the Chocoholic 1 layer.
| | 05:39 | It comes with its own layer
mask and its own adjustment icon.
| | 05:43 | One of the nice things about Smart
Brush adjustments is that many of them, but
| | 05:46 | not all, remain editable so that I
can modify the adjustment at any time.
| | 05:51 | For example, let's say that I decide I
want to change the color of the hat, but
| | 05:55 | I didn't see the color that I
want in the Color menu up here.
| | 05:59 | I can just go over to the Chocoholic
layer and double-click the left-hand icon
| | 06:04 | on that layer, the one that
represents the adjustment.
| | 06:06 | That opens the Adjustments panel
with controls for that adjustment.
| | 06:10 | This happens to be a Gradient Map
adjustment, which I can customize.
| | 06:15 | To customize this Gradient Map I'll
click in this Gradient bar and that opens
| | 06:19 | the Gradient Editor.
| | 06:20 | And here, there are some
Presets for different color gradients.
| | 06:24 | I'll choose a different Preset, this
purple to orange preset, and I'll click OK.
| | 06:28 | And that immediately changes the color
of the hat so the shadow areas are purple
| | 06:33 | and the lighter areas are orange.
| | 06:35 | And then I'll click in the
Options bar again to close that menu.
| | 06:38 | Now not all adjustments are editable.
| | 06:41 | So for example, I'm going
to apply another adjustment.
| | 06:43 | I'm going to click down on the
Background layer and then with the Smart
| | 06:47 | Brush tool still selected, I'll come
up to this menu and click the arrow to
| | 06:51 | the right of it again.
| | 06:52 | And then I'm going to click the
Category menu that currently says Color and
| | 06:56 | I'm going to choose from
the Black and White category.
| | 06:59 | I'll select that very first adjustment,
the Blue Filter adjustment, which will
| | 07:03 | convert the selected area
from color to black and white.
| | 07:06 | I'll close this menu and then I'll
come into the image and I'm going to
| | 07:09 | click-and-drag over the cloak,
converting it to black and white.
| | 07:14 | I got a little bit extra but I'll just
leave that for now, because what I want
| | 07:17 | to show you is that this
particular adjustment is not editable.
| | 07:21 | Notice that there is now a Blue Filter
layer in the Layers panel, and when that
| | 07:26 | layer is selected down here in the
Adjustments panel, there's a message that
| | 07:30 | explains that this particular
adjustment layer can't be edited.
| | 07:34 | Your message may have a little different
wording than mine but the issue is the same.
| | 07:38 | Some but not all of these
adjustments can be changed.
| | 07:41 | So that's a look at the Smart Brush
tool, which is a flexible way for you to
| | 07:45 | paint in all kinds of different adjustments.
| | 07:47 | It makes applying an adjustment
a one step efficient operation.
| | Collapse this transcript |
| Using the Detail Smart Brush tool| 00:00 | The Detail Smart Brush too,l which is
which is located here in the toolbar behind
| | 00:04 | the Smart brush tool, comes in
handy for painting in adjustments.
| | 00:08 | Particularly in tight areas and it
also comes in handy for cleaning up or
| | 00:13 | refining adjustments made with the Smart
Brush tool, which I covered in the last movie.
| | 00:18 | I am going to select the Detail Smart
Brush tool, then I'll go up to the Options bar
| | 00:22 | for the Detail Smart Brush tool
and I'm going to click the arrow to the
| | 00:25 | right of that thumbnail to see a menu
that lists the available adjustments that
| | 00:30 | I can make with this tool.
| | 00:32 | They are similar to the adjustments
that I can make with the Smart Brush tool
| | 00:35 | and as with that tool there is a list
of categories of adjustments right here.
| | 00:39 | From this menu I'm going to choose
Lighting adjustments and then I can scroll
| | 00:44 | down to choose just the Lighting
adjustment that I want, which is the
| | 00:47 | Spotlight adjustment.
| | 00:49 | And then I'll close this menu either by
clicking in a blank area of the Options bar,
| | 00:53 | or just clicking the X on the menu.
| | 00:55 | Now I'm going to come into the image,
and with a relatively small brush
| | 00:59 | I'm going to apply the Spotlight
adjustment to this headlight on the car.
| | 01:03 | And notice that as I click-and-drag
there is no selection being made as with
| | 01:07 | the Smart Brush tool.
| | 01:08 | I'm just painting in the area
where I want the adjustment.
| | 01:13 | Let's say I go too far and
drag out here by mistake.
| | 01:16 | No problem. I can come up to the Options
bar for the Detail Smart Brush tool and
| | 01:20 | click on the icon with the minus symbol
right here and then I can move into the
| | 01:25 | image and paint that error away.
| | 01:29 | So basically, I've painted in a
lighting adjustment on the headlight and if
| | 01:33 | you'd look at the Layers panel you'll
see that using that tool has created an
| | 01:36 | adjustment type layer here.
| | 01:38 | With that layer selected, I can see in
the Adjustments panel that it actually is
| | 01:43 | a Brightness/Contrast adjustment
layer, just like a Brightness/Contrast
| | 01:47 | adjustment layer that I showed you how
to apply manually earlier in the course.
| | 01:51 | Because this is an adjustment layer,
when I have the Spotlight 1 layer selected
| | 01:56 | in the Layers panel, I can tweak the
Brightness or the Contrast at any time by
| | 02:00 | going down to the Adjustments
panel and moving the sliders.
| | 02:03 | So that's one use of the Detail
Smart Brush tool, to paint in adjustments
| | 02:08 | particularly when there are tight areas
that it's difficult to get in and select.
| | 02:12 | I'll also use the Detail Smart Brush
tool often when I've already made an
| | 02:16 | adjustment with its cousin, the Smart Brush tool,
and I want to just refine that adjustment.
| | 02:21 | So I'm going to go to the toolbar and
I'll click on the Detail Smart Brush tool
| | 02:25 | and I'll choose the Smart
Brush tool from the flyout menu.
| | 02:28 | The Smart Brush tool offers many of the same
adjustments as the Detail Smart Brush tool.
| | 02:33 | Before I choose one I'm going to close
this menu by clicking in a blank area
| | 02:37 | of the Options bar and I'm going to
click off of the Spotlight layer onto
| | 02:41 | another layer so that Elements
knows that I want to create a different
| | 02:45 | adjustment this time.
| | 02:46 | Then I'll go up to the Options
bar for the Smart Brush tool.
| | 02:49 | I'll click the arrow to the right of
the thumbnail in the Options bar and
| | 02:53 | I'm going to choose a different
category of adjustments this time.
| | 02:56 | I'll go Special Effects, and then
I'm going to choose the Color Inversion
| | 03:00 | Special Effect, and click in the
Options bar to close that menu.
| | 03:03 | Now I'm going to you click-and-drag
over the car and as you can see the Smart
| | 03:11 | Brush tool is selecting an area and
applying the adjustment to the selected area
| | 03:15 | all at once, as I explained in an earlier movie.
| | 03:18 | If I want to add to that selection,
I'll make my brush a little smaller by
| | 03:21 | pressing the left bracket key, and I can
come and try to select this area in here.
| | 03:26 | But it's really pretty hard to get
in there with the Smart Brush tool.
| | 03:30 | So that's where the Detail Smart
Brush tool is going to come in handy.
| | 03:34 | Notice that the Smart Brush tool made
a Color Inversion adjustment layer here
| | 03:38 | in the Layers panel.
| | 03:39 | With that layer selected in the Layers
panel, I'll switch from the Smart Brush tool
| | 03:43 | in the toolbar to
the Detail Smart Brush tool.
| | 03:47 | Then I'll go up to the Options
bar for the Detail Smart Brush tool.
| | 03:51 | It's currently set to the minus icon, which
means I can paint away some of this adjustment.
| | 03:56 | So I'll come into the image and I'll
paint away this area and because I'm
| | 04:00 | painting and not creating a selection, I have
a little more control over these tight areas.
| | 04:06 | I might also want to paint away the blue
adjustment from this headlight, bringing
| | 04:10 | back the original color, red.
| | 04:11 | So that's where the Detail Smart
Brush tool comes in really handy.
| | 04:17 | Give it a try to paint in your
adjustments in tight spots and to refine the
| | 04:22 | adjustments that you make with
the related Smart Brush tool.
| | Collapse this transcript |
| Dodging and burning| 00:00 |
Sometimes you want to correct the lighting
or the color in a photo in very small areas.
| | 00:06 |
When that's the case you might want
to try this trio of tools that lives
| | 00:10 |
down here at the bottom of the toolbar:
the Sponge tool for saturating and
| | 00:14 |
de-saturating color, the Dodge tool for
lightning, and the Burn tool for darkening.
| | 00:18 |
I am going to start with the Burn tool,
selecting it here, and then I'll go
| | 00:22 |
up to the Options bar.
| | 00:24 |
I usually like to use a hard-
edged brush with this tool.
| | 00:27 |
So I'm going to click the arrow on
the first icon in the Options bar.
| | 00:30 |
And I'm going to choose one of hard-
edged icons and then I'll click the X on
| | 00:35 |
that menu to close it.
| | 00:36 |
I'll move my cursor into the image and
I'd like my Brush Size to be a little
| | 00:39 |
bigger, so it will cover this sign.
| | 00:41 |
So I'm going to the right bracket
key on the keyboard a few times.
| | 00:44 |
I'm going to leave all the other options
at their defaults up here, including the
| | 00:49 |
Range option, which determines whether
that tool will be working on the Shadows,
| | 00:52 |
the Midtones, or the Highlights.
| | 00:55 |
I'll start with the Exposure or the
strength of the effect set to 50%.
| | 01:00 |
If I need it to be higher, I can
always come back and change that.
| | 01:03 |
And then I'll come into the image and
I'm just going to click-and-drag over
| | 01:06 |
the center of this sign making it a
little darker, so it becomes more of a
| | 01:10 |
focus of the image.
| | 01:11 |
The Dodge tool does the opposite.
| | 01:13 |
You can use it to make a
small area of an image lighter.
| | 01:16 |
So for that I'll come back to the
toolbar, and I'll select the Dodge tool.
| | 01:21 |
I'm going to leave all their
options at the defaults for now.
| | 01:23 |
I'll move into the image and I'll
press the left bracket key to make the tool
| | 01:27 |
just big enough to cover one of these
balloons, and I'll click to make the
| | 01:32 |
balloons a little bit lighter.
| | 01:34 |
Now this is a subtle effect, but
that's what this tool is for, making subtle
| | 01:38 |
localized changes to the lighting in your image.
| | 01:41 |
And now I'll show you the Sponge tool.
| | 01:43 |
I'll select that in the toolbar and
let's say that I want to make the colors in
| | 01:48 |
the flag more intense.
| | 01:50 |
First I want to be sure to go up to the
Options bar for this tool and go to the
| | 01:53 |
Mode menu where I can choose to
either Saturate or Desaturate.
| | 01:58 |
In this case, I want to Saturate.
| | 02:00 |
So then I'll move into the image,
I'll press my left bracket key and I'll
| | 02:04 |
click-and-drag over the flag to make
it just a little more intense in color.
| | 02:10 |
So that's the trio of tools that you can
use to make subtle, localized changes to
| | 02:14 |
your images to make them look
just that little bit better.
| | 02:18 |
| | Collapse this transcript |
| Healing wrinkles and blemishes| 00:00 | You can make the people in your photos
look a little bit better by using the
| | 00:03 | retouching tools in Elements toolbar.
| | 00:06 | Those are located right here.
| | 00:08 | The Spot Healing Brush tool and the
Healing Brush tool. These tools will help
| | 00:12 | you eliminate blemishes, wrinkles,
freckles, bags under the eyes, and other
| | 00:17 | imperfections from your subject's faces.
| | 00:18 | I am going to start with
the Spot Healing Brush tool.
| | 00:22 | Before I use the tool, I'll go over to the
Layers panel where I'm going to make a new layer.
| | 00:26 | I'll go down to the bottom of the
Layers panel and I'll click the Create New
| | 00:30 | Layer icon, the first one on the left here.
| | 00:32 | And that makes a new blank layer.
| | 00:34 | I'm going to name this layer blemishes.
| | 00:37 | So I'll double-click the default layer
name and I'll type blemishes and then
| | 00:40 | I'll press Enter on my keyboard.
| | 00:42 | Then I'm going to go up to the Options
bar for the Spot Healing Brush tool and
| | 00:47 | put a checkmark next to Sample All Layers.
| | 00:50 | Checking that option and making sure
that I have my new blank blemishes layer
| | 00:54 | selected ensures that the retouching
that I'm going to do will be located on a
| | 00:59 | separate layer from the photograph itself.
| | 01:02 | That will give me the flexibility to
eliminate those changes by deleting that
| | 01:05 | layer if I need to, or to make the
changes less strong by lowering the Opacity
| | 01:10 | of this layer later.
| | 01:12 | Now I'm going to come into the boy's
face with the Spot Healing Brush tool and
| | 01:15 | find a blemish that I want to eliminate.
| | 01:18 | I'm going to start with this
tiny freckle between his eyebrows.
| | 01:20 | I'll move my mouse over that freckle
and I'm going to make the mouse smaller.
| | 01:24 | I want the mouse just big
enough to cover the freckle.
| | 01:27 | I can click the left bracket key on my
keyboard several times to do that, or
| | 01:31 | I can come up to the Size menu
and just reduce the size that way.
| | 01:36 | And then I'm going to move over the
freckle and click and when I move my mouse away,
| | 01:40 | like magic that freckle is gone.
| | 01:42 | I'll do the same thing to cover
up this scar on the boy's cheek.
| | 01:46 | I'll move my mouse over the scar.
| | 01:47 | I'm going to make the brush just a
little bit bigger by pressing the right
| | 01:51 | bracket key on my keyboard and then I'll click.
| | 01:54 | And when I move my mouse
away, that scar is gone.
| | 01:57 | If I go over to the blemishes layer in
the Layers panel and click the eye icon
| | 02:01 | to the left of that layer,
| | 02:02 | keep your eye in the document window
and you'll see both spots reappear, when I
| | 02:07 | click as I'm going to do now to make
the blemishes layer temporarily invisible.
| | 02:11 | What the Spot Healing Brush tool has
done is to sample good pixels that are
| | 02:16 | nearby these two spots.
| | 02:18 | Put the sample pixels on top of the
blemishes and then blend it all in so
| | 02:22 | that it look seamless.
| | 02:23 | I'll turn that blemishes layer on again by
clicking in the Visibility field to the left of it.
| | 02:27 | Now I'd like to show you
another tool, the Healing Brush tool.
| | 02:31 | The Spot Healing Brush tool that I just
used does really well on tiny spots like
| | 02:35 | I showed you, but one downside of the
Spot Healing Brush is that it selects the
| | 02:39 | good pixels on its own.
| | 02:41 | I don't get to decide where
it takes the good pixels from.
| | 02:44 | So sometimes when I use it,
I don't get a perfect result.
| | 02:47 | For example, with the Spot Healing Brush tool
still selected, the same tool that I just used,
| | 02:52 | I'm going to come into the area of the boy's
eyebrow and say I want to cover up these hairs.
| | 02:57 | If I click here, actually what the tool
is doing is sampling from areas nearby
| | 03:03 | where there are already some hairs,
and it's just placing those hairs down on
| | 03:07 | top of the other hairs.
| | 03:08 | Well, that isn't giving
me the result that I want.
| | 03:10 | So I'm going to undo a couple of times
by going to the Undo button at the top of
| | 03:14 | the screen and clicking until I
get the original hairs back there.
| | 03:18 | And now I'm going to use the other tool,
the Healing Brush tool, the one that
| | 03:22 | allows me to decide where
the good pixels come from.
| | 03:25 | Before I use that tool I'll make
another new layer in the Layers panel, going
| | 03:29 | down to the bottom of the Layers panel
and clicking the Create New Layer icon.
| | 03:33 | I'll double-click the default layer name,
and I'll call this one eyebrows and
| | 03:39 | press Enter on the keyboard.
| | 03:41 | With the eyebrows layer selected in
the Layers panel, I'll go over to the
| | 03:44 | toolbar, I'll click and I'll
choose the Healing Brush tool.
| | 03:49 | Then I'll go up to the Options bar for
the Healing Brush tool and as I did with
| | 03:53 | the Spot Healing Brush tool, I'll
check Sample All Layers so that the healing
| | 03:57 | pixels are sampled from all the layers
in the image, but are placed down on the
| | 04:02 | selected eyebrows layer.
| | 04:03 | And I'm also going to also going to
check Aligned and I'll show you how that
| | 04:06 | works in just a moment.
| | 04:07 | Then I'm going to move into the image.
| | 04:09 | I'm going to hold down the Alt key and
that changes my cursor to a target symbol.
| | 04:14 | I'll make sure I'm over a nice
clean area of skin that doesn't have
| | 04:17 | blemishes and I'll click.
| | 04:19 | And that is sampling the
pixels from that location.
| | 04:22 | Next, I'm going to come over to he
hairs that I want to eliminate and
| | 04:25 | I'll start clicking on them.
| | 04:27 | Now notice that every time I click
there is a little cross up above the
| | 04:31 | area where I'm clicking.
| | 04:33 | The cross is the area from which
the good pixels are being sampled.
| | 04:36 | The brush tip cursor is the place where
the good pixels are being laid down and
| | 04:41 | because I have Aligned checked in the
Options bar, the target area is moving
| | 04:46 | with me as I move to
different places on the boy's eyebrow.
| | 04:50 | And so it's sampling from different
spots, so I don't get a lot of repetition.
| | 04:54 | So that's how quick it is
to remove those stray hairs.
| | 04:57 | And as you can see I get more control
with the Healing Brush tool than I do with
| | 05:01 | the Spot Healing Brush tool, but the
Spot Healing Brush tool is faster if I have
| | 05:05 | just a few small blemishes to eliminate.
| | 05:07 | So if you like to take pictures of
people, experiment with the Spot Healing
| | 05:11 | Brush tool and the Healing Brush tool.
| | 05:13 | That will make of your
portraits look a little better.
| | Collapse this transcript |
| Removing content with the Clone Stamp tool| 00:00 | Have you ever had an image that's
really a great photo and one you can't take
| | 00:04 | again, but there's something in it that
you want to remove? Maybe a light post
| | 00:08 | that appears to be growing out of
someone's head, or maybe an old boyfriend or
| | 00:12 | maybe someone that just wandered into
your photo, like this dog that ran across
| | 00:16 | this photo of a beach that I took.
| | 00:18 | There are a couple of tools that
you can try when you want to remove
| | 00:21 | content from a photo.
| | 00:22 | You might try the Healing Brush or the
Spot Healing Brush tools that I covered
| | 00:26 | in an earlier movie.
| | 00:27 | But sometimes those don't do a great
job of completely removing content,
| | 00:31 | because they try to blend the texture and the
tones of the healing pixels with the image below.
| | 00:37 | So, sometimes you need something stronger
and that something is the Clone Stamp tool.
| | 00:42 | I'm going to use the Clone Stamp
tool in this image to remove this dog.
| | 00:46 | First I'm going to go to the Layers
panel and I'm going to make a new layer.
| | 00:49 | I'll click the Create New Layer button
at the bottom of the Layers panel and
| | 00:54 | then I'll rename that new layer by
double-clicking the default name and
| | 00:58 | I'm going to call this cover dog,
and then I'll press Enter.
| | 01:02 | I'll make sure that cover dog
layer is selected in the Layers panel.
| | 01:06 | And then I'm going to go to the
toolbar and I'm going to select this tool,
| | 01:09 | the Clone Stamp tool.
| | 01:11 | I'm going to up to the Options bar for
the Clone Stamp tool, and I'll make sure
| | 01:15 | that Sample All Layers is checked.
| | 01:18 | This is just like to Sample All Layers
command that I showed you for the Healing
| | 01:22 | Brush tool and the Spot Healing Brush
tool. Working this way make sure that the
| | 01:26 | pixels with which I'm going to cover up
the dog are located on a separate layer
| | 01:30 | from the background, but are
sampled from that background layer.
| | 01:34 | And that will give me the freedom to
throw away that cover up or maybe to lower
| | 01:38 | the opacity of the cover-up
layer to make it less intense.
| | 01:41 | Then I'm going to go up to the Mode menu
at the top of the screen and I'm going
| | 01:45 | to make one more change.
| | 01:46 | The Mode menu contains a list of
formulas that I can use to blend the pixels
| | 01:52 | with which I'm going to be covering up
the dog, with the pixels on the layer below,
| | 01:56 | the background layer.
| | 01:57 | In this case the dog is
darker than the area around him.
| | 02:00 | So, I want the pixels to lighten the dog area.
| | 02:03 | So, I'm going to choose the Lighten formula.
| | 02:06 | Now, I'm going to move into the image,
and I'm going to put my cursor right next
| | 02:09 | to the dog, but not on top of the dog.
| | 02:11 | Now, I can see that this brush is a
soft brush tip, because the edge of the
| | 02:15 | cursor is kind of fuzzy.
| | 02:17 | I'm going to make the brush tip harder
and to do that I'm going to hold down the
| | 02:21 | Shift key on the keyboard and
press the right bracket key.
| | 02:24 | And as I do you can see the edge of
that brush tip circle change a bit.
| | 02:28 | And now I'm going to make the brush tip
bigger by pressing the right bracket key
| | 02:32 | without the Shift key held down.
| | 02:33 | I am going to move the brush over the
dog to do that because I want the brush
| | 02:37 | just big enough to cover the dog, because I
think I can get rid of him in just one click.
| | 02:42 | Then I'll move my mouse just to the
right of the dog, I'll hold down the Alt key
| | 02:46 | to change the cursor to a target,
| | 02:48 | and I'm going to click once to sample
the good pixels from under the brush tip.
| | 02:52 | I'm actually sampling the waves and the
ocean, and then I'm going to carefully
| | 02:57 | move to the left because I'm going to
want to have the edge of the waves lined up
| | 03:01 | and then I'm going to click
on top of the dog, and he's gone.
| | 03:05 | Now, if I go over to Layers panel and
I click on the eye icon to the left of
| | 03:09 | the covered dog layer, you'll see the dog come
back, and if I click again he will disappear.
| | 03:14 | I'm going to hold down the Alt key on
the keyboard as I click on the eye icon to
| | 03:18 | the left of the cover dog layer.
| | 03:20 | Now, if you look closely you can see the
pixels with which I covered up the dog right there.
| | 03:25 | I'll Alt-click again on the cover dog
layer to bring back the background layer.
| | 03:29 | So, as you can see the Clone Stamp tool
can be a really useful way to change the
| | 03:34 | content of your image, eliminating a dog,
a light post, a person or whatever you
| | 03:39 | don't want in your photo.
| | Collapse this transcript |
| Removing red-eye| 00:00 |
Earlier in the course, I showed you how
you can fix glowing red eyes that result
| | 00:04 |
from the reflection of the flash on the camera
| | 00:07 |
when you're working in the Quick Fix workspace.
| | 00:10 |
Well, if you happen to be working on
an image in the Full Edit workspace,
| | 00:13 |
you don't have to go over to Quick
Fix to fix the problem of redeye.
| | 00:18 |
Here in the Full Edit workspace there is a
tool that you can use to do the very same thing.
| | 00:22 |
I'm going to zoom in on this girl by
selecting Zoom tool and clicking a couple
| | 00:26 |
of times in her face.
| | 00:28 |
Then I'm going to over to the toolbar and
I'm going to select this tool the Redeye tool.
| | 00:32 |
I am going to leave the options at
their defaults and see how the tool does.
| | 00:37 |
If I need to adjust those I can always
undo and come back here and change the size
| | 00:42 |
of the area that's fixed and the
darkness of the pixels that are going to
| | 00:46 |
replace the red pixels
that are currently in her eye.
| | 00:49 |
So, with the Redeye tool I'll just click
on one of her eyes and in a moment
| | 00:54 |
the red pixels are replaced with the dark pixels.
| | 00:57 |
And I'll do the same on the other
eye, and that's all I have to do.
| | 01:01 |
Now, I'm going to zoom out to 100% by
double-clicking the Zoom tool and
| | 01:05 |
she looks a lot more natural.
| | 01:07 |
So, that's how to use the Redeye tool to
eliminate those glowing red eyes caused
| | 01:11 |
by the flash on your camera when
you're working in the Full Edit workspace.
| | 01:16 |
| | Collapse this transcript |
|
|
11. Adding Special EffectsApplying filters| 00:00 | Filters offer lots of
options for enhancing your photos.
| | 00:03 | There are decorative filters that are
fun to play with and there are also some
| | 00:07 | filters that are useful for
photographic techniques, like removing dust and
| | 00:11 | scratches or sharpening.
| | 00:13 | There are several different places from
which you can apply filters to an image.
| | 00:16 | One is from the Filter menu up here at
the top of the screen, where you'll find
| | 00:20 | a list of categories of filters.
| | 00:22 | When I'm applying a photographic filter,
say if I'm trying to reduce the level
| | 00:28 | of noise, I usually just come to this
Noise category and choose Reduce Noise and
| | 00:33 | that will open a dialog box where I can work.
| | 00:35 | I'm actually going to
cancel out of that right now.
| | 00:38 | If I'm applying a decorative filter
then going to this Filter menu isn't my
| | 00:42 | first choice, because there's really
no icon or preview here in this menu to
| | 00:46 | give me a sense of what
each filter is going to offer.
| | 00:49 | So, in that case, I'll do one of two things.
| | 00:52 | I'm going to close out of that menu for now and
go over to the Effects panel to show you that.
| | 00:56 | I'll click on the first icon there and
that reveals these thumbnails that give
| | 01:00 | me some idea of what
various filters are likely to do.
| | 01:03 | So, right now I'm looking at the
filters in the Artistic category.
| | 01:07 | There are other categories. I can
choose the Pixelate category for example and
| | 01:12 | if I wanted to use one of the filters
I would select it here and then click
| | 01:15 | Apply and I can click OK and I have
applied a halftone filter to that image.
| | 01:22 | That isn't exactly what I had in mind,
so I'm going to go to the Undo button at
| | 01:26 | the top of the screen and undo that.
| | 01:28 | My favorite way to apply decorative
filters is using the Filter Gallery,
| | 01:32 | because there I get the best interactive
preview of all three methods of applying filters.
| | 01:38 | To access the Filter Gallery I'll go to the
Filter menu and I'll choose Filter Gallery.
| | 01:43 | That opens this large dialog box. Over
here is a preview and this preview will
| | 01:48 | show me how the image will
look with various filters.
| | 01:51 | Here in the middle are
categories of decorative filters.
| | 01:54 | I'm going to click the arrow to the
left of the Artistic category to reveal
| | 01:58 | thumbnails of each of the
filters in that category.
| | 02:01 | And these thumbnails are similar to the ones
that I just showed you in the Effects panel.
| | 02:05 | To preview any one of these filters on
this image, say the Poster Edges filter for example,
| | 02:10 | I just click it's thumbnail here in
the Artistic category and then I can see
| | 02:15 | this preview over on the left.
| | 02:17 | This particular image is
bigger than the Preview window.
| | 02:19 | So if I want to see more of the image
I can come down to the Zoom menu down
| | 02:23 | here, and I can choose Fit in View,
and now I can see the whole image there.
| | 02:28 | Over on the right are options for
whichever filter effect I've chosen here
| | 02:33 | in the center column, and these
options will change depending on which
| | 02:36 | filter I have selected.
| | 02:38 | Changing any one of these controls will
change the way that the filter looks on the image.
| | 02:42 | I can preview more than one filter
on an image in the Filter Gallery.
| | 02:46 | I'm going to choose a second
filter from another category.
| | 02:49 | I'm going to go down to the arrow to
the left of the Texture category and
| | 02:52 | click that and then I'll click-and-
drag the scrollbar to scroll down to see
| | 02:57 | some of the options there.
| | 02:58 | I would like to see how the image looks
with a Texturizer filter on top of the
| | 03:03 | Poster Edges filter. So before I click
the Texturizer filter, I'm going to over
| | 03:07 | to this list on the right of the
filters that are currently applied.
| | 03:11 | I'll click the Create New Filter icon
here at the bottom of that list and that
| | 03:17 | makes a copy of the Poster Edges filter.
| | 03:19 | Now I'm going to click on the
Texturizer filter and that changes that topmost
| | 03:24 | filter to the Texturizer filter.
| | 03:26 | I can adjust the way this texture looks
by moving the sliders in the options for
| | 03:30 | the Texturizer filter over here.
| | 03:32 | I have a few more options
here in this list of filters.
| | 03:38 | I can change the order in which they
are applied by clicking on one of the
| | 03:41 | filters and dragging it beneath the other.
| | 03:44 | I actually like it the other way.
| | 03:45 | So, I'm going to click on that Poster
Edges filter and drag it beneath the
| | 03:49 | Texturizer filter in this list.
| | 03:51 | I can make any of the filters I have
applied temporarily invisible, so I can
| | 03:55 | look at the effect of the other one,
so if I click on the eye icon to the
| | 03:59 | left of the Poster Edges filter, I'll see
how the image looks with just the Texturizer.
| | 04:04 | And then I'll click back on that eye
icon space to bring back the preview of
| | 04:08 | both filters together.
| | 04:10 | And finally if I don't like one of the
filters, with it selected in this list
| | 04:14 | I could click the trashcan down
here at the bottom of the list.
| | 04:17 | But I actually like this combination.
| | 04:20 | So to apply this particular combination
of filters, I'm going to click OK at the
| | 04:24 | top of the Filter Gallery dialog box.
| | 04:27 | Once the filters are applied, I can't
change them and the only way that I could
| | 04:30 | undo them is to step back in the Undo
history panel or to use the Undo commands.
| | 04:36 | But once I have saved and closed
this image, I won't have a chance to
| | 04:39 | re-edit the filters.
| | 04:40 | So, that's one of the reasons that I
like using the Filter Gallery, because
| | 04:44 | there I have a really good opportunity
to preview how more than one filter will
| | 04:49 | look on the image, before I apply the filters.
| | 04:52 | I have shown you just a fraction of the many
options that the filters offer in Elements.
| | 04:56 | You can use them to make extensive
changes to an image or you can use them with
| | 05:00 | a light touch to give your photos
just that little extra something without
| | 05:04 | making them look over filtered or clich?.
| | Collapse this transcript |
| Adding effects| 00:00 | Effects offer a lot of different
looks that you can apply to your photos.
| | 00:03 | Effects are similar to
filters, but they're more complex.
| | 00:07 | A single effect can automatically add
layer styles and layers and special
| | 00:12 | effects all with one click.
| | 00:14 | Before I apply an effect to an image,
I'll check my Layers panel and see if I
| | 00:18 | have more than one layer there.
| | 00:19 | If I do, I'll select the topmost layer,
if I want the effect to apply to the
| | 00:24 | visible areas of all the layers beneath.
| | 00:27 | To apply an effect, I'll go
to the Effects panel here.
| | 00:30 | If your Effects panel isn't open,
you can open it from the Window menu at
| | 00:33 | the top of the screen.
| | 00:34 | I am going to click on the third icon
from the left at the top of the Effects
| | 00:39 | panel, and that shows me the available
effects in just one of several categories
| | 00:44 | of effects, the Faded Photo effect.
| | 00:46 | I'm going to click that Faded Photo
menu to display other categories of the
| | 00:50 | effect and I'm going to choose a
different category to see what other
| | 00:53 | effects are available.
| | 00:55 | I'll try Vintage Photo.
| | 00:57 | This category has a single effect.
| | 00:59 | If I'd like to apply this effect,
I'll just click on the thumbnail that
| | 01:03 | represents the Effect, and then I'll go
down to the bottom of the Effects panel
| | 01:07 | and I'll click Apply.
| | 01:09 | And I'll see the results
immediately in the document window.
| | 01:12 | This particular Vintage Photo
converted the photo to black and white.
| | 01:17 | It added a bit of sepia toning and it made the
photo look like it's printed on antique paper.
| | 01:22 | And in the Layers panel, it made a new layer.
| | 01:24 | Each effect will do something different
to the photo and some effects will look
| | 01:28 | good on one photo, but not on another.
| | 01:31 | So, really the only thing you
can do is practice trial and error.
| | 01:34 | Apply an effect, as I just did and if
you don't like it, delete it by going
| | 01:39 | up to the Undo menu at the top of the
screen and clicking Undo or using the
| | 01:43 | Undo History panel.
| | 01:44 | I'm going to try another
effect from a different category.
| | 01:47 | I'll go to the Category menu in the
Effects panel and this time I'm going to
| | 01:51 | choose Miscellaneous Effects.
| | 01:52 | Now here, there are lots of different
icons and I really don't know which is which.
| | 01:57 | So, one thing I can do is go to the
panel menu at top-right of the Effects panel,
| | 02:02 | click there and choose Show
Names and then at least I have a name under
| | 02:07 | each icon suggesting what it's supposed to do.
| | 02:10 | I'd like to try an Oil
Pastel look with this photo.
| | 02:13 | So I'll select the thumbnail for the Oil
Pastel effect and then I'll click the Apply button.
| | 02:19 | The results appear here in the document window.
| | 02:21 | I can have more than one effect applied to
an image and those effects are cumulative.
| | 02:25 | So, I'm going to leave the Oil Pastel
Effect on this image and I'm going to
| | 02:30 | go back over to the Effects panel and
I'm going to go to another category,
| | 02:34 | the Frame Category.
| | 02:35 | Here I can choose from some
frames to apply to this image.
| | 02:39 | I'll try to the first one, the Drop
Shadow Frame, selecting it's thumbnail and
| | 02:43 | then clicking the Apply button.
| | 02:45 | The effect has taken the color that
happen to be in the Background Color box in
| | 02:49 | the toolbar, which in my case is white,
and made a frame and then it added a
| | 02:55 | drop shadow underneath the photograph.
| | 02:58 | I think that looks pretty nice.
| | 02:59 | Effects can create some really
beautiful looks like this for your photos, but
| | 03:03 | like any special effect feature, I
suggest that you apply effects judiciously
| | 03:08 | rather than piling them
on one top of the other.
| | 03:10 | That can make your photos look more
interesting and sophisticated without
| | 03:14 | being overdone.
| | Collapse this transcript |
| Running automated actions| 00:00 | Another place from which you can
apply special effects and other
| | 00:03 | multi-step techniques in Elements Editor is in
the Guided Edit Mode using the Action Player.
| | 00:09 | To get there from the Organizer, I'm
going to select this image and then I'll go
| | 00:12 | up to the arrow to the right of the
Fix menu and I'm going to choose Guided
| | 00:16 | Photo Edit to open that image into Guided Edit.
| | 00:20 | In Guided Edit, I'll go down to the
bottom of the column on the right and I'm
| | 00:25 | going to click on Action Player to
bring up instructions and controls for
| | 00:28 | playing in action in this column on the right.
| | 00:31 | It tells you exactly what to do.
| | 00:33 | First, I'll select the
action that I want to use.
| | 00:36 | From this menu, I'm going to choose
Special Effects and then from the next menu,
| | 00:41 | I'll choose the effect that I want to use.
| | 00:43 | I'm going to choose Faded Ink with
Vignette and finally, I'll click Play Action.
| | 00:49 | In just a second, Elements has applied
this pretty complex effect to the photo.
| | 00:54 | If I don't like this action, I can come
down to this button and click Reset, but
| | 00:58 | I'm not going to do that right now.
| | 00:59 | As this tip suggests the actions that
are available here in the Action Player
| | 01:04 | aren't the only ones that you can
play from the Action Player, but
| | 01:07 | unfortunately, you can't record or
create actions here in Photoshop Elements.
| | 01:12 | If you or someone you know has a copy
of the full-fledged Adobe Photoshop, then
| | 01:16 | you can go there to create Actions.
| | 01:18 | Bring them into Elements and play
them from the Guided Edit Action Player.
| | 01:22 | To finish you, I'm going to go down to
the Done button at the bottom of Guided
| | 01:25 | Edit to apply this effect, and then I
would save the edited copy of the image
| | 01:30 | with this effect, and click the Close button.
| | 01:33 | So, why are actions important? Because
they save you time. Rather than have to
| | 01:38 | repeat all the steps of creating this
particular complex action on different photos,
| | 01:43 | all I have to do is come to the
Action Player and use these few simple
| | 01:47 | commands to get a result like
this one on other photographs.
| | Collapse this transcript |
| Using layer styles| 00:00 |
Layer styles are special effects like
Drop Shadows or Bevel and Embosses or
| | 00:05 |
Inner Shadows that are applied to one
layer at a time and that affect the edge
| | 00:10 |
between the content and
transparent pixels on that layer.
| | 00:14 |
Many of the layer styles that come with
Elements add some dimension to an image.
| | 00:18 |
Getting part of the image up off the page.
| | 00:21 |
In this case, I'd like to use a layer style
to create a framed look around this photo.
| | 00:26 |
So, the first step is to add some
transparent pixels to the single layer in this photo.
| | 00:31 |
In the Layers panel, you can see that
the single layer is a special background
| | 00:35 |
layer that comes with a lock on it.
| | 00:37 |
I'm going to change this to a
regular layer by double-clicking the
| | 00:40 |
Background layer name here.
| | 00:42 |
I'll give the layer a name.
| | 00:43 |
I'll call it car, and I'll click OK,
and now it's a regular layer, and so
| | 00:48 |
one thing I can do to this layer
is to expand the canvas around it,
| | 00:52 |
adding some transparent pixels.
| | 00:54 |
I could do that using the Image >
Resize Canvas Size command that I covered in
| | 00:59 |
an earlier chapter.
| | 01:00 |
But there's an alternative way to do
that that's even faster and that's to use
| | 01:04 |
the Crop tool to add
some Canvas around an image.
| | 01:07 |
Before I do that, I'm going
to expand the document window.
| | 01:10 |
So that I can see the entire photo.
| | 01:12 |
I'll click in the bottom-right corner
of the document window, and I'll drag.
| | 01:15 |
Now this gray area that you see out
here is just part of the document window.
| | 01:20 |
It's not part of the image.
| | 01:21 |
I'm going to select the
Crop tool in the toolbox.
| | 01:23 |
I'll go up to the Options bar, and make
sure that all the settings are null;
| | 01:28 |
in other words that there's no restriction
on Aspect Ratio and there's nothing in
| | 01:32 |
the Width, Height and Resolution fields.
| | 01:35 |
Then I'm going to come into the
image and I'll click-and-drag outside the
| | 01:39 |
top-left corner, and drag diagonally
outside the bottom-right corner, and then
| | 01:43 |
I'll release my mouse.
| | 01:45 |
And that creates the Crop bounding
box around the entire photograph.
| | 01:49 |
Now what I want to do is make that
bounding box bigger than the photograph,
| | 01:52 |
because I want to add to
the size of the photograph.
| | 01:55 |
So I am going to move my mouse over
one of these corner anchor points.
| | 01:58 |
I'm going to hold down two Modifier keys,
the Shift key to constrain and the Alt
| | 02:04 |
key to grow this bounding box from
the center-outward, then I'm going to
| | 02:07 |
click-and-drag diagonally.
| | 02:10 |
And that expands the bounding
box on all sides of the image.
| | 02:13 |
And I'll release my mouse
and those modifier keys.
| | 02:16 |
Now, I can tweak this bounding box by
clicking on any of the anchor points and
| | 02:20 |
dragging, so I can make the bottom a little
longer if I wanted to, maybe the top as well.
| | 02:26 |
And when I'm done I'll click the
green check mark here to apply the crop.
| | 02:31 |
As you can see, that has added
transparent pixels around the photograph and
| | 02:35 |
those transparent pixels
are now part of the image.
| | 02:38 |
They're located on the Car layer.
| | 02:40 |
I'm going to add another layer
underneath the car layer, just from some
| | 02:43 |
background color down there.
| | 02:45 |
So I'll go to the Layers panel.
| | 02:47 |
I could create a new layer above the
selected car layer by just clicking the
| | 02:51 |
Create New Layer icon at the bottom of
the Layers panel, and then I could drag
| | 02:54 |
that new layer beneath the car layer.
| | 02:57 |
But I can do that all in one step by
holding down the Ctrl key as I click on the
| | 03:02 |
Create New Layer icon, and that's a
shortcut that tells Elements to make a new
| | 03:06 |
layer beneath the selected layer.
| | 03:08 |
I'm going to rename the new layer by
double-clicking its default layer name.
| | 03:12 |
I'll call this one bg for background,
and I'll press Enter on the keyboard.
| | 03:16 |
And now I want to fill that layer with paint.
| | 03:19 |
I have the layer selected in the
Layers panel and I'm going up to the Edit menu,
| | 03:23 |
I'll go to Fill Layer, and I'm
going to fill using White. I'll click OK.
| | 03:29 |
So, now that entire background layer
is filled with white, and it looks like
| | 03:33 |
a frame here, because the photo on the car
layer is covering part of the background layer.
| | 03:38 |
But just to remind you of that, I'm going
to turn the eye icon off on the bg layer.
| | 03:43 |
You can see that the car layer
above has just the car and the transparent pixels.
| | 03:47 |
So, I'm going to be able to put a layer style
on the edge of the car photo on the car layer.
| | 03:52 |
I'll turn the bg layer back on and I'm
going to select the car layer and then
| | 03:56 |
finally, I'm going to add a layer style.
| | 03:58 |
I'll up to the Effects panel.
| | 04:00 |
If yours isn't open, you can open it from
the Window menu at the top of the screen.
| | 04:04 |
I'm going to click this second icon
and that reveals a number of thumbnail
| | 04:08 |
images, each of which represents a
different flavor of a Bevel layer style.
| | 04:13 |
I'm going to click on the first Bevel
layer style and then I'm going to click
| | 04:17 |
the Apply button at the
bottom of Effects panel.
| | 04:20 |
And you can see the |
|
|
