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Dodging with the Adjustment brush

From: Photoshop CS4 One-on-One: Advanced

Video: Dodging with the Adjustment brush

I'm still working inside the image called 30 minutes later.dng. You may recall in the previous exercise we went ahead and corrected Megan's blouse independently of Megan's head, using the Graduated Filter tool right their. Incidentally, I've got a Show Overlay turned off. If I turn it back on, then you may get this effect too where you see instead of a red circle and a green circle connected by a dotted line, you have two white circles. What that's telling you is that this item is no longer selected. So if you were to drag with the Graduated Filter tool again, you'll create a new application of that tool, which is totally fine. You can heap on as many applications of the Graduated Filter tool and the Adjustment Brush as you want.

Dodging with the Adjustment brush

I'm still working inside the image called 30 minutes later.dng. You may recall in the previous exercise we went ahead and corrected Megan's blouse independently of Megan's head, using the Graduated Filter tool right their. Incidentally, I've got a Show Overlay turned off. If I turn it back on, then you may get this effect too where you see instead of a red circle and a green circle connected by a dotted line, you have two white circles. What that's telling you is that this item is no longer selected. So if you were to drag with the Graduated Filter tool again, you'll create a new application of that tool, which is totally fine. You can heap on as many applications of the Graduated Filter tool and the Adjustment Brush as you want.

But if you want to change the settings associated with an existing application of the tool then you Click on one of these items to select it and then it becomes active and there are your settings right there and it's even set to Edit as you can see. You change you mind, Click on New and you can start the new one. All right, anyway let's go over to the Adjustment Brush and you can get that by pressing the K key and I'm also going to zoom in on Megan right here, because we're going to be dodging essentially her eyes, brightening them up and brightening up the shadows inside of her hair as well.

Notice our settings, these are the settings right here that affect the Size of your brush, so there is the Brush size which is pretty easy to understand and then there is a Feather value which is by the way the opposite of the hardness values. So high Feather values result in blurrier brushes and the blurriness is represented by the difference between the solid line and the dotted line in those circles that we're seeing right there. Then lower Feather values result in a harder brush like this. All right, so I'm going to leave that set to 50 and then Flow is how many dollops the paint get laid down that overlap each other in order to create what appears to be a continuous paint stroke. You can adjust those if you want, but I'm going to leave them the way they are. You also have the option incidentally of pressing the Bracket keys to increase the size of the Brush, so Right Bracket makes the Brush bigger, Left Bracket makes the Brush smaller. If you press Shift+Right Bracket, you make the Brush softer. So this is exactly the opposite of the way it is in larger world of Photoshop, because we're making the Feather value bigger, which is the opposite of hardness. And then Shift+Left Bracket makes the Brush harder because we're making the Feather value go down.

Another way to work, and this is also different in the way it works that inside a Photoshop, is you can Right- Drag+Click with this Brush, just Right-Click+Drag, less and more in order to make it bigger or smaller. And if you don't have a right mouse button on the Mac then you can Ctrl+Drag to get the same effect. And if you want to change the Feathering on the fly, you add Shift. So this is what it looks like to Right-drag with the Shift key down and on the Mac, if you don't have right mouse button, you would Ctrl+Shift+Drag. So yet another way to work and yet again different from the way it is inside a Photoshop where we have that bizarre keyboard shortcut that doesn't really translate across the platforms.

Anyway, let's go ahead and paint into Megan's eyes like so and this is all part of one brush stroke right there. Notice if you hover over this pin, then you're going to see the brush stroke represented right there. You're going to see how big it is. And this makes me think, well, I really don't like this brush stroke at all. It's way too big. So, I'm going to undo the application in that brush stroke in the first place. Let's make my Brush smaller here and I'm going to turn on Show Mask, so I can see what I'm doing for a moment. By the way, the Show Mask checkbox you can get to by pressing the Y key in order to toggle that on and off. So this is without seeing the mask, this is seeing the mask.

It appears white by default, because that's the mask overlay color, but you can change it to some other color if you like. If you wanted to Click on it and make it red, for example then you've got a red mask and the mask is actually the area or painting. It's not traditionally used for the word mask. In Photoshop the mask is an area that's being protected inside Camera Raw the masked area is the area that's being affected. So, anyway, go ahead and paint over her other eye as well like so. Now let's go ahead and turn off that mask, now that I know I've painted some reasonable areas here. I'll turn that mask off and everything is part of this one brush stroke, notice that, because we're just adding to the brush stroke here. Thanks to that Add radial button.

Now my Exposure settings are terrible. So let's go ahead and take care of that. It should be bright exposure, not dark and I'm going to leave the Brightness value alone actually and the Contrast could go up, but I don't think it should go up that much. Let's take it down to like +15 or something along those lines and I don't think we want to apply White Balance modification so I'm going to go ahead and Click on this Color swatch and I'm going to set it to White in order to get rid of any setting. Notice that goes ahead and replaces the Color Swatch with an X. now these Minus and Plus controls are very misleading in my opinion, they are permitting you to create new adjustments with specific presets, by the way. So if you Click either - or +, what's going to happen, watch this. If I Click -, thinking I'm getting rid of my color, because they would make sense as opposed to what it really does. If I Click -, I start a new adjustment, right there it's already for me to paint in a new adjustment that has this color that I just minused as a preset, and then it clears out all the other values. It makes like no sense whatsoever, but that's the way it works.

Anyway, I'm going to go ahead and make sure that this pin is active and I'll do that by Clicking on it like so and that created a new pin. That's weird. I'll go ahead and press Ctrl+Z or Command+Z on the Mac to undo the new pin. Now this pin is active, I can tell, because it's in color. It has a little color associated with it and a little black ball in the center. And we're back in Add mode, which is a groovy thing. So now let's say that I want to take advantage of the Auto Mask feature and the Auto Mask feature is really great and you can toggle it on and off by pressing the M key for mask of course. But we want to see the mask in order to see how great it is. So watch this. Now I'm adding to the mask and as I do, watch how the Mask tool is automatically going into areas that share similar luminance levels.

So it's a lot like, remember back with that Refine Edge command that we saw oh-so-long-ago back in the Fundamentals portion of this series? There was that Radius control that goes ahead and it expands into certain regions intelligently inside of your image and that's what this Auto Mask feature is doing as well. So I'm going to paint over some of the hair details right there. Notice it's avoiding getting her face, which is so smart of this tool. It's actually really cool. We can Click and drag inside of this shadow region as well, maybe inside of her ear. I don't know why we'd want to brighten her ear, but we could and so forth.

Then you can also by the way erase. You don't switch tools, you can erase either by selecting the Erase option right here or guess what, pressing and holding the Alt key or the Option key on the Mac will also affect in Erase. Now if you want to change the Size of that darn brush, as you may will, then you need to switch to the Erase option right there. Then you could reduce these options or something a little more reasonable like so. I'm going to take the size of that Eraser down quite a bit actually. I don't want it to be nearly that big. Something like 10 is going to work nice I think.

Then we'd go back to the Add mode and then you'd press and hold the Alt key or Option key on the Mac in order to do a little erasing, if you want to and then I'd paint again into this area to fill it in and of course you could erase into the eyes. Now I don't really recommend you erase with Auto Mask turned on or paint with Auto Mask turned on around the eyes, just based on experience with this image, it seems to sort of accentuate some of the skin texturing, and that doesn't look it quite right. It doesn't do quite the job you're looking for it to do.

So I'm going to press the M key to turn off this checkbox and then the Y key to turn off this checkbox and now let's just make sure we're getting the effect that we want. I might take the exposure value up, like really pretty darn high. I want to really get a sense of how my edges are working out. So now I can see exactly where the bright areas are. That works out for me. So I'll go ahead and take this value back down again, maybe, something like +0.5 would work out pretty well and then you can use a Preview checkbox. This is the before version of the eyes and the hair and this is the after version and I'd say the after version is much better. I like it a lot; I think this tool's has done a very nice job for me.

And that's it my friends. You can also by the way, the pin, if you get to sick of seeing this pin going into her eye then you can turn off the Show Pins checkbox. It's one again the V key. In order to turn off the interface folder all right there and then V to turn it back on. That's it. I'm done. I'm going to Click on the Done button in order to celebrate my doneness and return to the Bridge, and you can see how that's done, just a terrific job of dodging the shadows in Megan's face. Thanks to those new tools, Graduated Filter and the Adjustment Brush, here inside of Camera Raw 5.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23865 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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