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Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.
In this movie, I'll show you how to manually adjust these black and white settings, in order to achieve the best results. Now it's a little bit tricky to try to make decisions about reds, yellows, greens and so forth, when you're seeing the black and white version of the image. Because you really don't know where they are. One way to test their location is to just play with the slider. For example, keep an eye on this foreground group of trees right there. If I set the yellows value to its maximum of 300, then those trees brighten up.
If I reduce that value to its minimum of negative 200, the trees get darker. So that's one way to work. And then of course you can set the yellows value to whatever you think it should be. Based on what you see. The other way to work is to grab this target adjustment tool and notice that the little icon shows arrows moving left and right and that's how you want to use the tool. That is by scrubbing to the left and to the right inside the image. So I'll go ahead and select that tool and I'll drag to the right inside the sky in order to brighten up that sky.
And you can see then in this case, Photoshop is attacking the Cyans value, so it's going to modify one value at a time. Now I'll try dragging in a different section of the sky, like here inside the clouds, and I'll drag to the left, and you can see that goes ahead and darkens up that value. So apparently the sky is made up of blues and cyans In so far as Photoshop is concerned. Now I'll go and zoom in here on this guy, and you can see that we are bringing out a ton of noise now. Some of the problem is as I was saying in the previous movie, I shot these images using a consumer-grade camera.
So the detail is not as good as I might have gotten with an SLR. However, the other issue is that I've moved the cyans and blues in totally different directions. So I'm going to go ahead and take that blues value up, let's say to negative 50. And then I'm going to take the cyans value which is obviously closely related here, down to something similar. Not exactly the same but let's say ten for the sake of this image. Now I'm still left with some noise in the sky however, it's not nearly as dramatic as it was before.
Alright, now I'll go ahead and zoom out so I can see a few more details inside my image. And I'm going to scroll down as well. And because this image is so wide, I'm going to go ahead and collapse my right side panels. So I have a little more room to work with. And notice a couple of details here. We have these fence slats in the bottom right corner of the image. We also have these ties over here near the ski lift on the far left side. And if I were to drag on those, notice I'll go ahead and drag on that little guy, and drag to the right.
I'm brightening up both of those details, because I'm affecting the reds. And if I were to drag to the left, I would darken those details. And we can see, if I move the yellow slider, that both of those details are affected by yellow as well. So what I'm going to do is take the yellows value up to 110 here. And then I'll shift tag back to the reds and I'll take that value down to ten so we don't end up over-brightening these things that are ultimately set against light backgrounds.
That is to say, snow. Finally, I'm going to take my magenta's value up just a little bit to 100. And then if you move the greens triangle back and forth you're going to see almost no difference in this image despite the number of trees that populate this scene, those trees do not seem to be green in so far as Photoshop is concerned. So what I'm going to do is split the difference between the yellows and cyans value, so I'll go ahead and set that value to 60. And if I were to give you any advice about adjusting these values, besides just go for it be subjective, it would be that you're going to end up with less noise and less posterization If you keep neighboring values pretty close to each other; that is to say, within a hundred.
Now at this point, if you feel like these are the kinds of settings that you'll be using frequently throughout your images, Then you can go up here to the flyout menu, in the upper right corner of the properties panel, and you can choose save black and white preset. And then I'll go ahead and give my preset a name, such as Big Sky, and I'll click the save button. And you'll see your preset right there at the top of the panel. And if nothing else you may find your presets useful when you are trying to modify images that were shot under similar circumstances. All right now go ahead, and press the F key a couple of times, in order to fill the screen with the image.
And just for the sake of comparison, here's the original full color version of the panorama, and here is the much more dramatic black, and white version. Thanks to our ability to customize the settings associated with a black and white adjustment layer here inside Photoshop.
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