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Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
Now one of the just extraordinary things about Camera is that all of the correction features are prioritized. So this very first panel here, the basic panel, these are your most essential correction functions in the entire plug-in. The very top settings, the White Balance settings right here, those are the most important of the most important settings. These are the ones, when in doubt you need to make some sort of modifications to White Balance. You need to nail that white balance first and foremost. Then you move on to your Exposure controls and so on, as you'll see. Compare that to Photoshop which is just a big free for all, where color corrections are concerned and many of the color adjustments step on each others toes and so on and so on. So things are very nicely done here inside of Camera Raw.
Make sure that you have opened Heart art_01 through 04.dng here inside of the Camera Raw Interface. And then I want you to go ahead and Click Select All to select all four of the thumbnails, so that we can edit all of these images at the same time. By the way there is a keyboard shortcut for that, Ctrl+A, Command+A on the Mac. All right, now let's move over to White Balance. Now White Balance is essentially the color of white, meaning what's the brightest color you can achieve inside of this image and that would be dependent upon the original light source. So if you Click to bring up this pop-up menu here, you can choose from a variety of different light sources.
For example, you might have shot under day light or you might have shot it on a cloudy day, something along those lines. Notice if I choose Cloudy, which is going to be a cool light source, that's going to warm up the image. It's going to make it less cool, meaning less blue and it's going to make it more warm meaning more yellowish-orange, traditionally. The reason for that is we aren't casting clouds on to the image. We're compensating for the fact it had a cool light source by warming it up. Similarly, if I choose Tungsten, which is a very warm light source, Camera Raw is going to go ahead and cool down the image in order to compensate. The same thing is going on with this Temperature slider.
Now if you know anything about White Balance how color Temperature is measured, then you know that lower values are associated with warmer light sources and higher values like this are associated with very cool light sources in the case of 32,000 degrees Kelvin right here. And so what gives with warming up the image with high values and cooling down the image with low values, well it's that same darn thing. It's compensation. So you're compensating for the warm light by cooling down the image, you're compensating for the cool light by warming up the image. Now we don't want to compensate quite this much, it's a little bit over the top. So why don't we start with something like 5,500 degrees right there, which I believe is Camera's definition of daylight. I'll go ahead and choose Daylight and see if that's right. Yes indeed it is.
Let's raise the value from there, because we want to warm up the image. It's a little too cool right now. I'd like to warm up her flesh tones in particular. That's what it's all about, right? So I could press the Up arrow key to raise this value in increments of 50 or I could press Shift+Up arrow to raise that value in increments of 500. This is the value -- it just so happens and I want 6,150 degrees Kelvin. Super! And that I think does a nice job performing up the flesh tones. Now that's not all you need to do. You also need to adjust the Tint. Now the Tint is an opposing color axis. Imagine this circle right here is the big old color wheel that we saw back in the fundamentals portion of this series and now we've rotated that big old color wheel so that blue through yellow is going right through the center of the wheel. So blue is over here on the left let's say and yellow is over here on the right on the horizontal axis.
Well, if you were to draw vertical axis, the other direction, it would be green through magenta. Now that's what people call this. Green through magenta. It's not absolute magenta. It's not like magenta ink which is why I prefer to just think of this as green though pink, because pink is a more generalized color term. What have you? You can obviously with lower values and by dragging this guy over here to the left, you can green up the image, give it more green and by dragging it over to the right and raising the value you can give the image more magenta. Now you're rarely going to think that way. You're rarely going to go, Gosh! This image needs more green, unless you're trying to correct grass or something like that and you'd really want to green it up. Well, you're probably more likely to say, Gosh! This image is little too pink.
I think, I'll compensate by dragging the slider over in the green direction, or this image is way too green. I think I'll compensate by dragging it over toward magenta and I ended up coming with these values here, 6150 for Temperature, -10 for Tint. You may come up with other values. That's not what I came up with. I can up with -5 for Tint. Gosh! I was sitting there looking at the image going, wow! It's kind of green now. I have written down on this piece of paper, right in front of me -5 for Tint and I continue to agree with my previous self. This is a good setting.
In the next exercise, we're going to see how our adjustments fair inside of the specific images that we have selected and then we're going to save off our changes as metadata.
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