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Photoshop CS6 One-on-One: Advanced
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Creating a radial blur with Iris Blur


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Creating a radial blur with Iris Blur

In this movie, I am going to show you how to use the next filter in the Blur Gallery, which is Iris Blur, and along the way, we are going to turn this version of the Wall Street Bull into this final composition. So if you're working along with me, make sure to press Ctrl+D or Command+D on a Mac so that the entire image is deselected. Switch back to Wall Street Bull layer, press Ctrl+A or Command+A on the Mac to select the entire thing, and then press Ctrl+Alt+J or Command+Option+J to jump in to a new layer. And I'm going to name this layer "bull" and then press the Enter key or the Return key on the Mac and drag the bull layer above the backdrop layer.
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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 a radial blur with Iris Blur

In this movie, I am going to show you how to use the next filter in the Blur Gallery, which is Iris Blur, and along the way, we are going to turn this version of the Wall Street Bull into this final composition. So if you're working along with me, make sure to press Ctrl+D or Command+D on a Mac so that the entire image is deselected. Switch back to Wall Street Bull layer, press Ctrl+A or Command+A on the Mac to select the entire thing, and then press Ctrl+Alt+J or Command+Option+J to jump in to a new layer. And I'm going to name this layer "bull" and then press the Enter key or the Return key on the Mac and drag the bull layer above the backdrop layer.

All right, now let's load that selection again, by switching to the Channels panel and pressing the Ctrl key or the Command key on a Mac and clicking on that refine edge channel. Notice, by the way, that this channel has a keyboard shortcut of Ctrl+7 or Command+7 on the Mac. Another way to load the selection outline would be to add the Alt or Option key, so you could press Ctrl+Alt+7 or Command+Option+7 on the Mac. Now switch back to the Layers panel and then go up to the Filter menu, choose Blur, and choose Iris Blur to bring up the Blur Gallery.

Now, the idea behind the Iris Blur is that you have the central portion of focus right there. So the pin this time represents the area of the image that is in focus. I am going to move it to the center of the bull's face. I'm also going to drop the Blur value down to 10 pixels, and that determines how blurry everything outside of this elliptical perimeter becomes. These points right there--notice them, these white dots--they represent the area that is in focus. So this entire area right here remains in focus, and then the focus declines between the dots and the perimeter of the ellipse.

I am going to make the ellipse bigger all the way around, by dragging directly on that ellipse, and then if you want to change the shape of the ellipse, you drag on one of these square points. So I am going to drag on this one here in order to make the ellipse wider, like so. And I am also going to drag up on the one at the bottom to make the ellipse a little bit shorter. If you want to change the angle of the ellipse, move your cursor slightly beyond that point. In my case, I have got my cursor just to the right of the ellipse, and I will drag upward, like so. You can also change the roundness of the ellipse by dragging on this diamond right here in the upper-right region. And so I am going to drag it out so that I have more of a rounded- corner rectangle, as opposed to, strictly speaking, an ellipse.

Now if you want to change the size of the area that's in focus, you drag one of these white circles. And I'm going to drag it inward like so, to about this location, so that the lowest circle is below the animal's chin. You can also move each one of the dots independently by Alt or Option dragging it. So I will go ahead and Alt+Drag or Option+Drag this one to the animal's rib cage right there. I'll Alt+Drag or Option+Drag the left circle over to the bull's shoulder, and then I will Alt+Drag or Option+Drag the top circle to just above his head.

So this area now, this entire region there that I am tracing, becomes the area that's in focus, and then the other stuff gradually declines in focus, all the way to that rounded corner perimeter. All right, now I am going to change the selection bleed. It's not going to make a huge difference, but I am going to go ahead and raise it to its maximum setting of 100% so the area outside of the bull is bleeding into the hooves and into the horn. All right, so that should do it. Now I don't want any kind of bokeh, so I am going to turn that checkbox off and then I will click OK in order to apply my change.

Now, I want to mask my bull, so I'll drop down to the Add Layer Mask icon and I will click on it, and that will convert the selection outline into a layer mask. Now I want to add a little bit of a glow, so I will drop down to that original Smart Object once again. I will press Ctrl+A or Command+A on the Mac, and I will press Ctrl+Alt+J or Command+Option+J on the Mac and call this new layer glow, and then I will drag it to above the bull layer. This time we don't need a selection, so I will just press Ctrl+Alt+F or Command+Option+F on the Mac to bring back up my last settings. And the only change I want to make is to add some bokeh.

So I am going to turn on the Bokeh checkbox, and I am going to change the Light Bokeh setting to 25%, and I'll take the Bokeh Color value up to 100%. And finally, I will reduce that first light range value to 30, and I will take the last Light Range value down to 215, in order to create this effect here. Now, in the case of this layer, I want everything to be slightly blurred, so right now the area beyond the rounded-rectangle perimeter has a Blur Radius of 10 pixels. I am going to go up to this Focus value right there and reduce it to 50% so that we have the equivalent of 10 divided by two, that is, five pixels' worth of blur right there in the center. And now I will click OK in order to accept a modification.

Now we need to convert this layer into a glow, and I'll do that by going to the Blend Mode pop-up menu here in the upper-left corner of the Layers panel, and I will change the mode from Normal to Soft Light, and we will end up achieving this effect here. Now, we're getting too much contrast out of the effect, so we need to reduce the contrast of all the layers below the glow layer by clicking on the bull layer. And then you want to press the Alt key or the Option key on the Mac, click the black/white icon, and choose Levels--or if you loaded DekeKeys, you could just press Ctrl+Shift+L or Command+Shift+L on the Mac.

I will go ahead and call this new layer "low contrast" and then press the Enter key or the Return key on the Mac. And I am going to select that first Output levels value and press Shift+Up Arrow three times in a row to change the value to 30. Then I will tab to the second value and press Shift+Down Arrow four times in a row to reduce it to 215. And then finally, I'll Shift+Tab my way back to the Gamma value and I will press Shift+Up Arrow in order to change it to 1.1, and now I will go ahead and hide the Properties panel. All right, now I have gone ahead and created a couple of adjustment layers in advance.

The first is this layer called B&W, which is a Channel Mixer layer. And if I double-click on the layers thumbnail, you can see the values that I have entered. So I have gone ahead and turned on the Monochrome checkbox of course, because I want a black-and-white image. The I set Red to 42, Green to 50, Blue to 20, and it's a total of 112, which I have to work out where the histogram is concerned, and then just make sure I add some nice rich blacks, I took the Constant value down to -2. Next, we have got this Gradient Map layer. I will go ahead and turn it on and select the layer. And this gradient, by the way, is a variation of one of those gradients I created for you a few chapters back, specifically the gradient called Plate finish.

All right, I will go ahead and hide the Properties panel and that is the final version of the effect, folks. And just to see how far we've come, I will go ahead and scroll down my Layers panel and Alt+Click or Option+Click on the eyeball in front of the Wall Street Bull layer. So this is the original version of the image and if I Alt+Click or Option+Click again, this is the final composition, thanks to a combination of Field Blur and Iris Blur working together here inside Photoshop.

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