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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Customizing the Black & White settings


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Customizing the Black & White settings

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.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

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.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Customizing the Black & White settings

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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