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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.
There was one more thing I wanted to share with you and that's that you can if you want to edit JPEGs and TIFFs inside of Camera Raw. And there are times where that's like the best way to work possible. Edit inside of Camera Raw instead of applying color modifications inside Photoshop. It's again parametric, the metadata information is going to be saved along with the JPEG or TIFF file and no pixels will be harmed in the process. So for example let's take Fish photo.jpg. And I shot it with this really great camera, Stylus 1030 SW, but it's just a Point and Shoot Camera. And it's pretty blue because we are so far underwater that we are losing the reds, so you use your longer wavelengths, and we are beginning to lose yellows so we have a few of them. And we've got tons of blues and greens.
Let's see what we could do with this inside of Camera Raw. How do you open a new Camera Raw? Well, you go to File menu and you choose Open in Camera Raw or you just press Ctrl+R, Command+R in the Mac. And all of a sudden that JPEG image comes up inside of Camera Raw. Now the thing you need to know is that all these values are now set to 0. Instead of being some sort of absolute values they are all relative values now because you have no rich data to work from. You just have this flat JPEG. I'll go back to that analogy with the film developing. We are not developing a film negative in this case; instead we are just working from a paper positive.
So the developing is already been done; now we are just applying some color adjustments. So here's what I'm going to do. I'm going to crank this Temperature value over to the right, and I'm also have going to see if we can bring lots of Magenta into the picture like so. So something along these lines works pretty well. Actually you know what I'm going to take each one of these up by 5. So I've got a Temperature value +30. So we are no longer going to these enormous values. It's just +100 or -100. It's all you've got to work with here.
So I'm suggesting we go with +30 where this fish is concerned and +65 for the Tint value. And then we want to go ahead and just Click Auto. See what Camera Raw comes up with. And these aren't necessarily my favorite settings but let's see what we can do. If I Alt+Drag this Exposure value to darken things a little bit, that looks a little better I think. And then I'm going to reduce my Brightness value pretty precipitously to let's say something like -40, but if I take it that far down maybe I should increase my Exposure just a little bit there.
And then I'm going to go ahead and crank on my Vibrance value, I'm going to take it up to +40 and that looks pretty darn good. And then I think what I'll do is I'll go ahead and crop the image. My goodness, this fish doesn't want to be at this angle, and I want to get right in on it, I want to make it look like it was a good photograph in the first place. So let's go head and drop pretty tight crop boundary around it. Go ahead and rotate the crop boundary as well. So I'm like it is no similar to this right here before you, and then Click on the Zoom tool in order to see the rotated version of that guy. Looks pretty darn good. All right, let's go over to the HSL controls. Because you know what I want, I want some real warmth. I want to pretend I had some regrets inside of this image. So why don't we grab that Yellow slider right there because there are yellows. And let's go ahead and move it over to Orange, like so, so that we have some nice oranges inside the image. Now it's pretty darn good.
And then if we did have any oranges I could move them over to Red, but there is nothing in that department. We don't have anything resembling an orange inside of this image. I don't think anyway. Oh yeah, we do some down here. We've got a little red out of that, that's kind of nice. All right, so let's try -- what is that? -90 again, that's getting pretty nice down there. It's a rich warm coral, cool! And I'm going to go over to the Saturation value. Let's go ahead and increase the Saturation of the Yellows, which are now Oranges, and if you want we can just go ahead and increase the Saturation of the Oranges, which are now Reds, as well. So you are always working from the original colors here, not the colors that you mapped to. And that doesn't look half bad. I'll go back to my Basic panel now and I'll turn off the Preview checkbox, this is what the image looked like originally. This is what it looks like now. Oh my goodness, and all I'll do here I'm just going to Click on the Done button man, in order to return here to the Bridge.
Look at that fish, it looks so much better than it did before, and I'll press the Spacebar so that we can see him up close in personal here. And that is how you go about modifying a JPEG or TIFF image inside of Camera Raw an amazingly and powerfully utility that ships for free people along with Photoshop.
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