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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
In this movie I'll show you how to use Camera Raw to apply noise and vignetting for effect. So here we are looking at this image of these dinosaurs, and you can see here in the Basic panel that I've applied a bunch of different modifications. I've also used the Adjustment Brush in order to brush in a couple of adjustments exclusively inside the dinosaurs. And we have some graduated filters as well and so forth. And what that means is that we've stressed the image to the nines. Because if I go over here to the flyout menu and choose Camera Raw Defaults, this is what the image looked like originally, so I've really done a number on it. And even though that's really great, if I press Ctrl+Z or Cmd+Z on the Mac, that I was able to pull off these sorts of modifications, it comes at a price.
If I zoom in on the tyrannosaur's teeth, for example, you can see, because we modified the blue of the sky and the orange inside of the monster independently of each other, we've got some very brittle edges indeed, which is why I decided to turn this into an effect image. If you press the C key to switch to the Crop tool, you'll see that I've applied radical cropping. And I haven't done so with the intention of straightening the image, in fact, I'vemade it more crooked than ever. So I'll go ahead and press the Z key in order to switch back to the Zoom tool, so we can see the results of the crop.
I don't want people to look at this image and think, wow, where did you see those cool metallic dinosaur sculptures? I want them to look at this image and think, how did you survive being attacked by these terrifying monsters? And so I am going to switch over here to the Effects panel by clicking on the fx icon. And we've got these Grain options that allow you to add big chunky noise. And then we have these Post Crop Vignetting options that allow you to add a vignette within your crop boundaries. So I am going to start things off by taking the Amount value up to 75%, so that we have a fair amount of noise going on. And I want to increase the size of that noise, because if you take a look here, the noise is pretty small, it's not single pixel noise the way you get with the Add Noise command inside of Photoshop, but it isn't large enough to necessarily translate to print.
I want to chunk it up. So I am going to take that Size value up to 80, which really makes me wish we had this kind of control when working with Add Noise in Photoshop. Now I am going to take the Roughness value up to a 100 and that will give us this kind of effect right there. All right, I'll press Ctrl+0 or Cm d+0 on the Mac to zoom out, and then I'll go ahead and adjust my Vignetting Amount. Now, I'm not a big fan of vignetting effects, per se. They get way overused; there is sort of the drop shadow of wedding photography. But in a case like this, where we're trying to convey an element of danger and we want it to look like I barely got this snapshot alive, I think it's appropriate.
So if you increase the Amount value, you're going to create a bright vignette, like so; and if you reduce the Amount value, you'll end up producing a very dark vignette. I am going to take mine down to -75. And then I'm also going to reduce the Midpoint. And what that does is it forces the vignette inward, so it's encroaching on the image; and ultimately I took that Midpoint down to 15. Now that may look very wrong, because now can't really see the dinosaurs very well. That's partially the point, but we can better reveal them by adjusting a few more values.
For example, if I reduce the Roundness value, then we're going to create some corners where the vignette is concerned. And I want to take that Roundness value down to -60. And next, I'm going to increase the Feather value slightly so that we have more softness associated with the effect; take it up to 70 in fact. And then finally, you have the option of bringing back the Highlights inside of the vignette like so, and then helps to reveal portions of the sky, while giving the top of the tyrannosaur's head a kind of burnt look. And we can see inside the braying mouth of the triceratops, which makes him look a little more like an evil henchman.
Now, we have three Styles to choose from as well. We have Highlight Priority, which is going to allow us to force the Highlights through the vignetting effect. You can also go with Color Priority, which is going to force through areas of colors. And notice the back of the tyrannosaur's head is now more visible, as is his back, and we can better see the top of his head as well, so it doesn't look as burnt as it did before. And then finally, we have Paint Overlay. I am not sure you'll ever want to use this one, because it creates a very tepid effect indeed, especially when compared to the other options.
I think we get the most bang for our buck where this image is concerned with Highlight Priority. All right. Now, at this point if I go ahead and zoom in on the mouth here, you can see that those weird edges around the teeth aren't nearly so obvious as they were before. So if I press the P key to turn all this stuff off, those are the original teeth; turn the P key to turn all of this junk back on and here are the murkier teeth details. That said, you may want to bring back some detail inside this image. So I am just going to zoom out a couple of clicks here, so I can take in the tyrannosaurus' head. And I am going to switch back over to the Detail values and I am going to experiment with these Sharpening values.
Notice now if I press the Alt key or the Option key on the Mac and drag the slider triangle, all of those effects are going to disappear and I just see the grayscale version of the dinosaur by itself. So this helps me gauge the pre-effect sharpening, and then if I go ahead and release, I can see the post effect sharpening. Now, you're not going to make a terrific amount of difference because we have so much Grain. However, these values will help the detail show through. All right, now I am going to Alt+Drag or Opt+ Drag the Radius value so we can see those halos independently of the effects. And I'll Alt+Drag or Opt+Drag the Detail slider down to 0, so we can see the effects of this option independently as well.
And by the way, you can do the same with the Noise Reduction settings, at least where the three Luminance sliders are concerned. So if I press the Alt key or the Option key on the Mac and drag this Luminance slider triangle, I will see the details smoothing on the fly, again, independently of the effects. And then I'll Alt+Drag or Opt+Drag the Luminance Detail slider triangle all the way to the left in order to apply as much smoothing as humanly possible. Now, because you need to see a color version of the image to gauge the results of the Color setting, Alt or Option dragging doesn't produce any effect. So I'll just set the value to its maximum, which is a 100, and then reduce Color Detail to its minimum, which is 0, and that gives me my final image.
I'll go ahead and click on the Open Image button in order to open that file inside Photoshop, and a moment later we'll see the image on screen. All right, I am going to zoom in obviously, and press Shift+F in order to fill the screen with the image, and that is the final version of my absolutely terrifying ordeal with the dinosaurs. Thanks to our ability to add noise and vignetting, with an amazing degree of control inside Camera Raw.
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