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Enhancing Digital Photography with Photoshop CS2 is a video-based tutorial designed for professional photographers and enthusiasts who want to get professional results. Chris Orwig, a professional photographer and instructor at the world-renowned Brooks Institute of Photography, shares the secrets and techniques that he uses to enhance his own photography in Photoshop. The training follows a photographer's digital workflow, starting with essential color management decisions and organizing images with Adobe Bridge. Chris moves on to cover processing Camera Raw files, enhancing tone and color, and correcting imperfections. He then demonstrates how to prepare the images for output and client reviews. Chris shares examples of his work as exercise files that accompany the training videos, allowing you to follow along and learn at your own pace.
>> Male Speaker: One of the things I love most about Camera Raw is the ability to convert images to black and white, to do so in a non-destructive way, i.e., you're not committed to that conversion, you're simply changing the way the pixels are interpreted, you're not actually changing pixels, and then also the way that you're able to dial in specific controls. Let's take a look at how we can convert images to black and white and talk a little bit about the why as well. For starters, I'm just going to have to show you a few images. I just love photography. I think it's because I love life. It's a little self portrait of Annika and I. The hand shot I think you saw. That was when we were going for a walk and you can see she fell asleep there.
This is when she's just a day old or is actually the morning after she was born and someone picked up my camera and took this photo, which I absolutely love because I don't have a ton of photos of she and I because I'm always the one taking the pictures. Well, there's something interesting we can do when we look at this picture. I'm going to take the Saturation off here for a second. We notice that the color is kind of messed up, right? There's a lot of red in the image in my face and in Annika's face and also we notice that it's not as interesting when it's in that color mode.
I'm going to take the Vignetting off as well and all of a sudden we see so many details. There's so much variation, the brightness values that pull our eyes different ways. So we need to work on the image a bit. If we were going to stay in color we could use our eyedropper, right? And we know that probably this is gray back here, we could click on that to neutralize things. We could try clicking on the shirt as well that's probably a neutral gray. It's going to pull out some of the color. We still have some problems with all of the red in the face. One of the things you can do is click on the Calibrate tab and then drag the slider to a real extreme to see which part of the image you're working on.
I know that looks really horrible but it's showing me, Ok, if I move the slider those are the pixels I'm going to modify, likewise if I were to do that with the Green Hue slider it's showing me that also there's some magenta in there, green magenta down there so green saturation might do something as well, probably just red saturation. I'm going to go ahead and pull out the Red Saturation and then I'm pulling that down, it looks a little bit lifeless so I need to go back to the Adjust tab and then take the Temperature not cool, not this way, but I'm going to warm it up a little bit.
So now the skin looks a lot better. It's really just a visual adjustment. I'm not going by any numbers or anything. Once we get in to Photoshop we're going to look at color correcting skin by the numbers but I just wanted to highlight that here especially because the camera wasn't color balanced, etc., etc. Well then let's go to the black-and-white conversion. We take the Saturation all the way down. We're going to dial in our Shadows detail looking at which shadows are being clicked off. We don't want to lose too many of those details, Brightness down. Go to the Lens tab and this is where I'm going to add some Vignetting.
There have been a number of photographers who have really inspired me and one of the photographers always says, "Reduce and simplify, reduce and simplify." So that's what I'm looking to do here. I don't want to lose too many of those shadows, a little bit in the hair, that's not going to be the end of the world, take my Brightness values down there and I just want to dial this one in here, increase the Contrast a little bit and bring up the exposure a bit there.
Simply reducing and simplifying, i.e., we did that with tone and then also the black-and-white conversion. Go ahead and click Cancel. A couple other images I want to look at, this is just friends of friends, some snapshots at a wedding. One of the things I want to point out here is the whole concept of reduce and simplify and looking for the moment. This isn't the shot, right? That didn't capture it. They're not quite relaxed. And there you say, yep, they got it. They're very relaxed. We'll go ahead and open up the image. If we wanted to color balance this we'd use the eyedropper tool and we'd probably click on the shirt there and it looks like that's pretty neutral already.
Then we'll go to desaturate and we'll dial in the Brightness, the Shadows. We're going to look at what detail we have there. Another way to find that detail is to hold down the Option Alt key and drag the slider. It's a little bit more difficult, right? Because I can't really tell where I'm losing information but it is a good technique. You can do that with Exposure as well, Option Alt key. When you see something white it's going to tell you that you lost detail on your highlights then. The new addition to CS2 having these sliders is much better, I'm sorry, recommend you use those but just wanted to point out those techniques.
Let's get this image beach_camping_004 (unclear) and based on how it's set up right now the Shadows preview shows me I don't have any detail. Here's a good shortcut I should talk about as I just made that mistake, but it's a good mistake. I had accidentally zoomed in. You can zoom in, Command++ (plus sign) or zoom out, Command+- (minus sign). But if you want to jump to Fit and View mode it's going to be Command+0 (zero) or Control+0 (zero), and it will just take it to that Fit and View mode, which is really cool. I want to save all that detail so I'm going to pull those Shadows back and then I'm going to then lower my Contrast a little bit here so I don't have any detail that's being lost and then take those Shadows off and then maybe brighten it up a little bit.
So the way that I'm dialing it in is I'm working with those sliders. You'll notice I'm barely losing any detail at all in my shadows, and my highlights have a few areas that I'm losing some information. I'll try to dial that in. I might need to do multiple exposures, but it looks like, there we go we got it reeled in. One of the advantages of having your Preferences set to the gamma of 2.2 in Photoshop, remember I talked about that? Our tones are going to be a little bit denser, i.e., our blacks are going to be a little bit blacker so although the image isn't going to look as punchy as we want it. Say I want it to look like this, real punchy, real high contrast; it's probably going to look like that when we print it.
Although I've said there are times when it's worthwhile working around having information, your shadows and highlights, are also an incredibly good guide and a lot of it takes just dialing in the amount of shadows, brightness, and contrast and working with those three sliders to get the correct tonal mix. All right. Well, there are a couple more things I want to cover in black- and-white conversion and we'll do that in the next movie.
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