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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 combine multiple Blur Gallery filters together in order to achieve still more sophisticated effects. So let's say in my case I want the upper-right corner of my image to be blurrier or still, and yet I want to make sure that this line right here remains in focus. I might add a little bit of blur to this tree as well, and I'll do so by adding a Field Blur. So assuming you just got done applying the Tilt Shift filter, here is what you do. I'll switch back to that traffic layer, press Ctrl+A or Command+A on a Mac, and then press Ctrl+Alt+J or Command+Option+J on the Mac in order to create a pixel-based copy of that layer. And I'll call it "more blur" and then I'll press the Enter key or the Return key on the Mac and drag it above the Tilt Blur layer.
Now I'll press Ctrl+Alt+F or Command+Option+F on the Mac to reinstate my last-applied filter gallery settings, which is that Tilt Blur, and I'll go head and tilt open the Field Blur in the Blur Tools panel, and that will automatically turn it on as well and give me a single pin right there in the center. I'm going to move that pin to the upper-right region of the image, and I'm going to increase the radius by 20 by dragging clockwise on that ring. Now that wipes out the focus of the entire image, so I need to reinstate some focus with a couple more pins.
I'll click right there in the face of the bus to set a pin, and I'll reduce its Blur value to 0. And I might go ahead and drag that pin over to the left-hand side of the face of the bus. Then I'll click inside this little cab to add another pin, and I'll reduce its Blur Radius to 0 pixels as well. Now I want to blur the tree, so I'll go ahead and click right about there in the tree. I don't want it to be that blurry, so I'll reduce the Blur value to 5 pixels, and we end up with this final version of the effect. Now, if you what you get says what that mask looks like after all these modifications, you can tap the M key, and then you'll see the mask, and you will note that we have this hot area of white in the upper right-hand corner. That represents the maximum blur value we've assigned--0 pixels--and everywhere that we see the light gray, that represents a decline in the blur.
So in this region for examples we've had a blur, of one would think, about 15 pixels. Here is that tree. So it's dark gray at 5 pixels, and then this line right here represents the area that remains in focus. I'm going to set one more pin at this location and reduce its Blur value to 0 as well, so that we have an uninterrupted line of high focus. Now I'll tap the M key again in order to hide the mask. Because it's such a nuanced mask, I'm going to go head and turn on the Save Masks to Channels checkbox, because that's as close as you come to being able to save your settings from the Blur Gallery.
Hopefully, one day we will be able to save more than this, but that's all we got for now. I'm going to turnoff Bokeh checkbox just to make sure I'm not getting any Bokeh whatsoever, and then I'll click OK in order to accept that final modification. Now, let's take a look at what we've been able to come up with here. I'm going to press the F key couple times to fill the screen with the image, and then I'll go ahead and zoom in as well. Just for the sake of comparison, here's the original unmodified version of that photograph, and here's the image rendered as a fake miniature, with little metal cars and plastic people, thanks to Tilt Shift and Field Blur working together here inside Photoshop.
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