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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
In this Exercise we are going to modify the Camera Raw settings associated with our two Smart Object layers. Now a couple of things you have to bear in mind about model-1 and model-2. First of all, they are based on different images. So we don't have that true clone scenario where we can edit one of the images and the other will automatically update in kind. Secondly, right now both images because they were shot under identical circumstances, both images are affected by the exact same Camera Raw settings. So if we modify one we really need to turn around modify the other one by the exact same amount unless we want the two to look different.
Now back in Chapter 24 in the Advance Series, I was showing you how you can replicate settings in the bridge between different images. You can't do that inside Photoshop, Photoshop doesn't have a method for say right-clicking on one of the Smart Objects and copying its settings and then right-clicking on the other one and then pasting the settings, we have to be a little more clever than that as you will see. So let's go and start off with one image or the other, it doesn't really matter. I am going to start off with model-2, so I will double-click on that Smart Object thumbnail in order to bring up the Camera Raw dialog box and now I am going to modify a few my settings, First of all, I would like to enhance the Tint value a little bit so that she has some warmer red colors going on inside of both the flesh tones and inside of her hair and I am going to raise the Exposure value as well although not too much, so I will Alt+Drag or Option+Drag this slider triangle in order to see exactly which portions of the image are getting clipped.
Right now, I am seeing that some of the highlights in her cheek and her nose are getting clipped but only in the red channel so that's good news at 0.15, that's positive 0.15 for the Exposure value. Now I will go ahead and release both the Alt key and my mouse button and I am going to tab down to the Fill Light value and I am going to take that guy up to 25, like so in order to brighten some of the shadow details, so that we can see more of the hair and that makes the image too bright quite frankly, so I am going to take the Brightness value down to -55 so that we are sinking some of the mid-tones and then I might increase the Vibrance value just here, just so that we can see some fairly significant changes going on.
I will go ahead and take the Vibrance value up to +20, not sure I would normally do that, but it will work okay for the sake of demonstration here and then I will click the OK button in order to apply my changes back to the larger composition and that modifies the forward image as you can see. So this is the before version if I press Ctrl+Z or Command+Z on Mac, this is the before version and then press Ctrl+Z or Command+Z again, this is the after version. Now what we do to make the left-hand image match the right-hand image. Well, as I said you can't copy the ACR settings from one Smart Object and then apply them to another Smart Object inside Photoshop and the Camera Raw settings now live inside of this Photoshop composition.
So we can't access them back in the bridge either, instead here's what we do assuming your last settings are the ones you want to replicate, this is very important so we are not working on this composition a year later or something along those lines, we are working immediately after we applied the Camera Raw settings to model-2. We go to model-1, double-click on it's Smart Object thumbnail and then rather than reapplying those same settings which would mean we had to write them down, that kind of thing. Instead you go over to the Basic panel flyout menu and you choose Previous Conversion and that's just going to go ahead and repeat the last Conversion you applied and that is going to load the settings you saw just a moment ago.
Now click OK and that goes ahead and applies those settings to the other model layer. All right one more thing I want to do here, I want to change this gradient, this shadow that I applied to the background shoulder. I am still not entirely happy with it and I am noticing when I look at the shadow that's underneath her jaw line that it's actually brighter and more saturated. So I am going to click on that Gradient layer to make it active and then I am going to press Ctrl+U or Command+U on the Mac to bring up the static version of the Hue Saturation command, no sense doing this with an Adjustment layer and I will click inside the saturation value like so and I will just press Shift+Up arrow until I think that I am getting some more saturated colors back here in the shadow.
I think I will take that guy up to + 65 like so, that's it we don't need to change the Hue or the Lightness. Click OK in order to apply that modification so this is the before version, I will go ahead and press Ctrl+Z, Command+ Z on a Mac, this is the before version which just does not look saturated enough to me and this is the after version with a lot more red inside of it which matches the jaw line and so on. The other thing I would like to do is go ahead and mask this shadow just a little bit so I will add a layer mask by clicking under Add layer mask icon down here at the bottom of the LAYERS panel and then I will press the "b" key in order to switch to the Brush tool.
I have a big soft brush incidentally, size 250 pixels, hardness 0% and black is my foreground color, it's not by default so you may see your background color come up as white, if so press the "x" key to make it black and then I am just going to paint along the shoulder, like so. I may have just painted a way too much of the shadow, in which case I press the "x" key to switch back to white again and paint some of the shadow back in like so and that's too much. So press the "x" key and paint it out again.
I think that's looking pretty good actually, but I don't know, maybe one more time I will paint with white there in order to bring in some more shadows. That's too harsh now, this is a problem. All right so I will press the "x" key once again, I don't know if you are even tracking what I am doing but I am just going back and forth and pressing the "x" key to switch to white, pressing the "x" key to switch to black, add infinitum and then painting in to see if I can get the shadow effect that I will like, that's I think going to be good enough for this effect and then just to get a sense of what we brought here, I will go ahead and press Shift+F to switch to the Full Screen mode and zoom in a little bit, scroll down as well and this is our final double Exposure effect.
The kind of double exposure effect that would have been impossible in the film days but is more than possible, thanks to a combination of Camera Raw Smart Objects applied to JPEG files bear that in mind as well as some blending and some masking here inside Photoshop.
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