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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, 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 CS5 One-on-One: Fundamentals.
All right, we are going to take another stab at Shadows/Highlights Gaussian Blur, and the High Pass command, very different application of the High Pass command as you'll see, with the intention of fixing a fairly similar photograph. This one is called Priestess.jpg. It comes to us from Scott Griessel of the Fotolia image library once again, and this image is set against a white background this time. However, we do have a fairly high key effect going on, meaning that we have some very bright highlights; we have some decent shadow information as well.
We don't have a lot of midtones in between and it would be nice to add a little bit of additional volumetric information, some contouring, some interplay between shadows and highlights; chiaroscuro, if you will, using something like Shadow/Highlights along with the other commands. Also notice that we have some strange coloring that work inside of this image too. Now this may be natural to the image, indigenous to that original digital photograph or it may have been the kind of thing that grew out of editing the image, using Curves and Shadows/Highlights, in particular, those two commands can bring out these kinds of problems inside Photoshop.
What I'm talking about is most obvious in the hair, so notice, I am going to switch to my Lasso tool here by pressing the L key. Notice that we have these bright blonde colors, declining into some midtones when we get into the shadows. That's just fine until we get to this region right there where we have a bunch of weird greenish colors going on. And these greens even appear up here in the forehead as you can see. So that's a real problem, that's something I'd like to address inside of this image along the way as I'm building up these volumetric forms and the contours and everything else.
All right, so we are going to start with Shadows/Highlights just as we did before. I am going to go ahead and zoom out from this image until we center it. Let's press Ctrl+D, Command+D on the Mac, in order to deselect the image. All right, Step 1, create a duplicate of the image by pressing Ctrl+Alt+J, Command+Option+J on the Mac, call it S/H like usual. Click OK in order to jump that duplicate layer. Now, let's go up to the Image menu and choose Adjustments and choose Shadows/Highlights, and you know what, I don't know why, I didn't give you a keyboard shortcut for this one. This is a great command, I use it a lot, it should have a keyboard shortcut, and there is an obvious shortcut for it too which is Ctrl+Alt+S or Command+Option+S on the Mac.
I'll just take a brief sojourn for a second here so we can make this shortcut. If you're not interested, just skip to the next exercise, and we'll actually apply the command. But for those of you who want to make a shortcut along with me here, and let me explain what that shortcut is already doing so that you're comfortable with replacing it. I'll go ahead and escape out of the menu there. Notice under the File menu, we've got Save, which is Ctrl or Command+S; Save As which is Ctrl+Shift or Command+Shift+S; and then Save for web & Devices which is mash or fist so all the modifier keys in this. Well, Ctrl+Alt or Command+Option is missing from the list, and in fact, it's a variation on the Save As command.
So when you choose Save As, we've got a layer composition here. It was originally a JPEG file. So Photoshop instead of suggesting JPEG, which cannot reasonably accommodate our two layers; in fact, it can't accommodate two layers at all, it's a single-layer format. Photoshop goes ahead and suggests the PSD file format and it suggests that we save layers as well as everything else. So we are going to save all the information along with the file if I click the Save button. All right, I am going to cancel out so I can show you, if I press Ctrl+Alt+S or Command+Option+S on the Mac, I get a variation on the Save As dialog box at this time instead of wanting to save a layer version of the file, is going to suggest we stick with the same format, JPEG, and we'll not save the layers so that we save a copy of the image.
So in other words, we're still going to be working in an image that hasn't been saved yet, but will have gone ahead and backed up a flat version of the file that we can share with somebody who can only open JPEG images, for example, an art director or a client, or friend, family member that kind of thing without having to flatten the image and so on. So that's what Ctrl+Alt+S does; Command+Option+S on the Mac, it goes ahead and saves a copy of the image. If you want to do that, great, if you don't, in other words, if you don't work that way, if that's not part of your workflow and you don't feel like you need that keyboard shortcut and you like Shadows/Highlights as well you should, then let's go up to the Edit menu and choose keyboard shortcuts, Ctrl+Shift+Alt+K, Command+Shift+Option+K on the Mac, and let's go ahead and twirl-open the Image menu right there.
Notice I've already modified my set because way, way back in the fundamentals portion of the series when we were discussing navigation, I created a keyboard shortcut for the Navigator panel, so I could bring it up easily. So that's the difference between my One-on-One shortcuts which I made for myself versus the dekeKey shortcuts that I share with you, but we are about to apply yet another modification here. I am going to stick with One-on-One. I'm going to scroll down my list until I come to the Adjustments and we'll eventually -- if you keep scrolling down, we'll eventually come to Shadows/Highlights, I'll click inside there, press Ctrl+Alt+S, you Macintosh people will press Command+Option+S. You'll see this warning that tells you that this shortcut is already new, so it won't be removed from File > File > Save As.
Well, that's not really what it's being removed from, it's being removed from that special save a copy behavior of the Save As command, but anyway, that's fine with me. I'll click Accept, and then notice, my Set now says One-on-One (modified), I am going to go ahead and update it by clicking on this little floppy icon. Click on it and that just goes ahead and updates One-on-One. We now have a keyboard shortcut for Shadows/Highlights. So if you go under the Images menu, check out Adjustments and check out the Shadows/Highlights command, there is our new keyboard shortcut. All right, so that's good for now; just want to make sure that I'm giving keyboard shortcuts to those of you who want them.
In the next exercise, we'll actually apply that command to this image.
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