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Photoshop CS6 One-on-One: Advanced
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Creating depth-of-field effects in post


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Creating depth-of-field effects in post

In this movie I'll show you how to use Field Blur. Now, if you're working along with me and you open this image, brandnewgloves.jpg, which is found in the 30 Blur Gallery folder, it's going to initially open inside Camera Raw, because it has Camera Raw settings assigned to it. In which case, just go ahead and click the Open Image button in Camera Raw to open the photo in Photoshop. Do not Shift+Click on the button to open it as a Smart Object, because Field Blur, and the rest of the Blur Gallery, does not work with Smart Objects. Now, you may recall that this image has a pretty ratty sky, and I'll go ahead and zoom in on it to check it out.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Creating depth-of-field effects in post

In this movie I'll show you how to use Field Blur. Now, if you're working along with me and you open this image, brandnewgloves.jpg, which is found in the 30 Blur Gallery folder, it's going to initially open inside Camera Raw, because it has Camera Raw settings assigned to it. In which case, just go ahead and click the Open Image button in Camera Raw to open the photo in Photoshop. Do not Shift+Click on the button to open it as a Smart Object, because Field Blur, and the rest of the Blur Gallery, does not work with Smart Objects. Now, you may recall that this image has a pretty ratty sky, and I'll go ahead and zoom in on it to check it out.

We have got all this posterization. So what I decided to do in order to fix this problem, because I really like the snapshot, is create a kind of depth-of-field effect, and Field Blur is perfect for that. So I'll go up to the Filter Menu, choose Blur, and then choose Field Blur. In fact, you can choose any of these first three commands to bring up the Blur Gallery. But because I know Field Blur is what I want, I'll just go a head and select it. And I want to center my view by pressing Ctrl+0 or Command+0 on a Mac, and then I'll zoom in.

Now, by default, you to get one Blur control, and that's it-- I am going to go ahead move it over to this location--which might seem silly. Why bother to move it when it's blurring the entire image uniformly? Well, the truth is that you can set more than one of these pins in order to vary the blur across the image. So, I'll start with this one set to its default Blur value of 15 pixels, as you can see in the upper right-hand corner. And then I'll go ahead and reestablish the focus in Colleen's face by clicking somewhere on her nose right there. And I'll either reduce the Blur value up here in the Blur Tools Panel to 0 pixels or you can also drag inside of this ring.

So if you drag in a clockwise fashion, you'll increase the Blur at that location; if you drag in a counter-clockwise fashion, you'll reduce the blur. So reduce the blur to 0, just drag right next to the top, so you should be that exactly at noon, because that going to expand the Blur value. Instead, you want to move to about 12:15 on the dial there, and you'll get a Blur of 0, and then go ahead and release in order to see the effect. All right, now what we've done is we've created a blur that's basically traveling horizontally across the image.

So as things stand now, the right side of the image is in focus and the left side of the image is blurred. We need more control that that, so we need to lay down more pins, and you can even lay down as many pins as you like. I am going to click to set one right about there. And for the sake of expediency, I'm just accepting that default Blur value of 15 pixels. I'll go ahead and set one right about there as well, in order to blur inward into Colleen's face, because the last thing that we want is some sharp details surrounding her, because that wouldn't make any sense, that portions of this railing, for example, are out of focus and then also other portions are in focus.

Now, I'll go ahead and set a pin at this location. If you find that you're encroaching too much on the subject of your photograph, as I am in this case--notice that I'm blurring into the top-left region of my friend's head--then you just want to back it off. Now, as you drag the pin, you're not necessarily going to get the best feedback. You have the release in order to see the blur resolve. And at this point I can see that I'm still encroaching in her hair too much, so I'll go ahead and drag up to maybe about here and see what that looks like, and that ends up resolving pretty nicely.

All right, now I'm going to set another pin at this location. And now notice that we've some blurry details inside of Colleen's body, specifically on her hand. We don't want that, because she's showing off this new pair of gloves I brought her, so I want to make sure they are in focus. So I'll go ahead and click to set a pin right there on the glove and dial it down to Blur value of 0. And I'll create another pin right there on the collar, dial it down to 0 as well, and I'll set one on the shoulder right about there, looks pretty good to me, and I'll dial it down to 0.

Obviously, I'm pretty familiar with this image, and I have worked through it. What you'll find when you're approaching a new photo is that you have to click to set pins and move them around, especially when things get as elaborate as this. Now, notice that the water is coming back into focus right there. That doesn't make any darn sense at all, so I'll set a pin here and I won't change its focus, so I'll leave it set to a Blur of 15. And I'll set another one right about there I think. That should work out pretty nicely. Just a couple of more points are bugging me here. This area of water should be more out of focus, so I'll click right about there in order to set another Blur point.

Finally, I want this stretch right in between these two points to blur incrementally, so I'm going to set a pin right about there, above the collar. I want to dial it down to a Radius of 10, and then I'll release. All right, now let's say you like what you're seeing and you want to check it out in Photoshop. Then go ahead and click the OK button. But here's the caveat: you're permanently assigning your changes, and the only way to revisit your pins again in the future is to press Ctrl+Alt+F or Command+Option+F on a Mac. So you'll want to make sure, after clicking OK-- and of course, wait for the progress bar there--and checking out everything inside Photoshop, that you don't go and choose a different filter, such as Smart Sharpen for example, because then that will be the last filter applied.

You want instead take some time to evaluate the image and make sure you like it. That way if you don't like what you see, you can make modifications, and I'll show you how that works in the next movie.

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