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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
In this exercise, we are going to take a look at Camera RAW Smart Objects. Now I have already showed you how to open a RAW image as a Smart Object inside of Photoshop back in Chapter 24 of the advanced portion of this series. Now we are going to take a look at the topic in more detail and I am going to switch things up a little. So back in Chapter 24, when we were discussing Camera RAW on the first place, I showed you exclusively how to use Camera RAW along with images that are captured in your digital camera's RAW file format. I told you along the way you can also use Camera RAW with JPEG and TIF files, however it's one thing to tell you, you can do that, it's another thing to show you.
So in the next few exercises, we are going to be working with JPEG images, inside of Camera RAW. Partly just for the sake of variety, partly so you can see it actually happening here. The great thing about applying Camera RAW to JPEGs, you don't have the high bit-depth that you do with RAW images, but what you do get is the opportunity to go ahead and associate your color settings, your color modifications applied with Camera RAW to the JPEG files themselves, and everything is non-destructive as it always is inside of Camera RAW, and then you don't have to resort to Levels and Curves and Hue/Saturation adjustment layers and that kind of thing.
So it's yet another way to work inside the program. I have got a couple of images that I am looking at inside the Adobe Bridge and these images come to us from Valua Vitaly of the Fotolia Image Library. They are both photographs of the same model, as you can see here, and we are going to combine them into a kind of double exposure shot. If you take a look at these JPEG thumbnails here inside the Content panel, you'll see that they each have little settings icons in their upper right-hand corner. That tells us that we've already associated these JPEG files with Camera RAW, and in fact over here in the Metadata panel I've got Camera RAW twirled open, and we can see what those settings are.
So as soon as you assign color settings from Camera RAW why then from that point on, the JPEG file is going to go ahead and automatically open inside Camera RAW. So here is how you get it to open in Camera RAW on a first place. You would just go ahead and click on the JPEG file, whatever it is, and then either right-click on that thumbnail there in the Content panel and choose Open in Camera Raw or you can just press the keyboard shortcut, Ctrl+R here on the PC or Command+R on the Mac, and that will bring up the Camera RAW interface, and then you can make any modifications you want.
As long as you make a single modification, here in the basic panel or elsewhere inside the program and then click the Done button, from that point on, this image is a Camera RAW image in so far as CS5 is concerned. Anyway, so I will go ahead and click Done. Now let's say, you've done that, you've got your little settings icon here in your JPEG file. What do you do if you want to disassociate the file from Camera RAW? Why then you would right-click on it once again, they are in the Content panel and then you would choose Develop Settings, and you would choose Clear Settings, and from that point on, then the JPEG file would open as normal inside Photoshop as a flat image.
I don't want to do that however, because I spent a little bit of time assigning these settings. So I am going to escape out, and I am going to click on Brunette model-1.jpg, Shift+Click on Brunette model-2.jpg and then I could either press Ctrl or Command+R to open these images inside of Camera RAW here in the Bridge, or I could just press Ctrl+O or Command+O on the Mac to switch over to Photoshop, and then open the images inside Camera RAW. All right, I could make some modifications, if I want to, to my settings. Right now I am not going to, I am happy with the settings I have assigned so far.
So I am just going to press Ctrl+A or Command+A on the Mac to select all of my images. I could of course click on the Select All button instead if I want it to, then I will drop down to this button right here that says, Open Images, and I will press the Shift key, so it says, Open Objects and click on it, and you'll open two separate files as you see here, both of which contain smart objects in the Layers panel. If I double-click on one of these Smart Object thumbnails, then sure enough, up comes Camera RAW, I can make my modifications, then click OK this time instead of Open because the Smart Object is already open after all.
And as soon as you click OK, you go ahead and update your Smart Object here inside of Photoshop. All right, so let's go ahead and combine these images into a single composition; the Brunette model-1 image is actually smaller than Brunette model-2, so we will use it as the backbone for the composition. Just so that we don't have to enlarge this image to fit the other one. We can reduce model-2 to fit model-1, makes a lot more sense. So I am going to go ahead and zoom in a little bit here, so that we can take in the image at 50% on the screen, then I will switch over to the other image by pressing Ctrl tab here on the PC, Command+Tilde on the Mac, and I will press and hold the Ctrl key or the Command key on the Mac in order to get my Move tool and I will drag her up into the title tab for Brunette model-1, then bring my cursor back into the Image window and drop her into place.
Now let's go ahead and zoom back out, so that we can take in more of this image at a time. I just need to make sure that Brunette model-2 is properly layered on top of model-1, and you know what, just because we are going to run out of room inside the Layers panel, I am going to modify these layer names really quickly. So we have model-2 on top, model-1 on bottom. What we really going to want to do is take model-2 and set her to the Screen mode right here, so that we are creating a classic double exposure shot, because after all she is light and her hair is very dark. If she were darker than a background, for example, if she were shot against the white background, then we would choose the opposite of screen, which would be Multiply, but in this case Screen is the proper choice.
So I will go ahead and choose Screen, and we end up getting this absolutely unfortunate effect right here, which is caused because after all in both images she is over on the left-hand side of the image. And model-2 is so much bigger than model-1. Basically what we've got to do is transform model-2 in order to fit the scene, we have got to do a little bit of scaling, some flipping as well, all nondestructive. Thanks to the fact that we are using a Smart Object and I'll show you how that works, in the next exercise.
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