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Exposure warnings

From: Photoshop CS4 One-on-One: Advanced

Video: Exposure warnings

In this exercise I'm going to show you how to work with Camera Raw's Clipping Controls, so you have a sense of where, if anywhere, your shadows and highlights are clipping inside the image, we have made some modifications to this image, but not enough. I think it could be brighter. So open it up inside of Camera Raw, and notice here above the Histogram, we have this sort of upside down gem shapes, these little triangles. And the one on the left is the Shadow clipping warning, and the one on the right is the Highlight clipping warning, and Camera Raw goes ahead and changes the color of those triangles, depending on what kind of clipping is occurring. So if a triangle is black, that means no clipping at all. If the triangle is white, that means clipping in all three channels, and if the triangle is of some other color, that means those colors are getting clipped.

Exposure warnings

In this exercise I'm going to show you how to work with Camera Raw's Clipping Controls, so you have a sense of where, if anywhere, your shadows and highlights are clipping inside the image, we have made some modifications to this image, but not enough. I think it could be brighter. So open it up inside of Camera Raw, and notice here above the Histogram, we have this sort of upside down gem shapes, these little triangles. And the one on the left is the Shadow clipping warning, and the one on the right is the Highlight clipping warning, and Camera Raw goes ahead and changes the color of those triangles, depending on what kind of clipping is occurring. So if a triangle is black, that means no clipping at all. If the triangle is white, that means clipping in all three channels, and if the triangle is of some other color, that means those colors are getting clipped.

So let me show you what I mean, keep an eye on that right hand triangle there, and I'm going to go ahead and increase the Exposure value, and pretty soon I'm going to get to a point where I get a Red warning. So I have clipping in the Red channel, but not Green or Blue. And if I take this up even farther, I'll eventually get a Yellow warning, which means I'm clipping about the Red and the Green channels, because Red plus Green equals to Yellow. And then ultimately I'll get to White. And that's just based on the colors that are going on inside of this image. I could end up getting Cyan, which is a combination of Green and Blue, or I could get Magenta, which is a combination of Red and Blue as well.

So you know once you see White though, that's something to worry about, because that means you have clipping across the board. And the same thing could happen to the Black triangle right here. If I were to raise the Black's value, so I'll go ahead and lower the Blacks value for a moment. At this point with Blacks set to zero, we have no clipping at all going on in the shadows. However, if I take this up with the Black value of 1, we are going to see Blue clipping, and then we see Cyan which is a combination of Blue and green clipping, and then ultimately if I raise this value high enough, we will start to see White, which means all three channels are clipping so, big warning! Now question becomes where inside this image is the clipping occurring? Well, if you want to see that you Click on one of these guys, the little buttons in fact. So if you Click on this icon, or you press the U key for under-exposure, then you are going to see Blue. Now the Blue is showing us areas in which the clipping is occurring in all three channels.

Whereas it works differently for highlight. It's Red for one thing as you can see here inside the Image Preview. And by the way, you can turn on the Highlight clipping Warning. Turn it on and off by pressing O for over-exposure. And the Red indicates clipping in any of the three channels. It's not all three channels; it's any of the three channels. So they have a different thing going on for shadows and highlights and I really don't know why? Which is why this isn't my favorite option. I'm going to turn both these guys off. I'm going to press U key to get rid of under- exposure, and the O key to get rid of over-exposure.

The better way to work so far as I'm concerned is to press the Alt key or the Option key on the Mac, and then drag on this Exposure slider. Notice now you'll see exact colors coded with the clipping. So where you see Red, it's clipping just in the Red channel. Where you see Yellow, it's clipping in both Red and Green, and where you see White, that's the most dangerous area, that's where it's clipping in all three channels. So you might want to take it down a little bit until the White disappears. But even though if we've gotten the white to disappear at this point, turning on this Clipping warning right there would still show us anywhere where anything is getting clipped in any channel. So interesting, but not really what I want.

Now that I can get the same effect here by Alt or Option, dragging this Black slider triangle, oh, and I just released the Alt option key, I have to keep it down. There we go, and so we are seeing Black that's clipping in all three channels. We are seeing White, no clipping is occurring. We are seeing Yellow that means it's clipping in the Blue channel, because we see the opposite, we are seeing the color compliment. Where we see Red, which is a color compliment to Cyan, that's where we are getting clipping in both the Blue and the Green channels, just so as you know, in case you want to keep track of that. So I'm going to take the Blacks value down to maybe lower than this, actually something like 3, might work out pretty nicely. And I think an Exposure value of 0.75 is working out pretty well, we just have a little bit of clipping in the Red channel mostly, over here in the sleeve.

By the way you can also track clipping with this Recovery slider right there. So let me go ahead and raise the Exposure Value a little bit. Well, I have the Alt option key down, and that's bringing us more clipping inside the image. And then I'll Alt+ drag or Option drag Recovery, and that's going ahead and taking some of the clipping out of there as I increase this value. And I'll go ahead and release when I feel comfortable with the results, I suppose. Now what's interesting is, if you don't have anything, when you Alt+drag Fill Light, not sure why that is, you don't get any kind of feedback out of that Ctrl there. So that's just to bear in mind. And then I'm going to go ahead and take my Brightness value down, I think a little bit, to something like 15, looks pretty great. Might as well adjust the contrast up to a nice round number, so we're all getting the same results.

And so on and so on, I'm tempted to take this down even farther, and I'm going to. I took Brightness down to +5, which I think is a little low, let's try +10, and now I'm done. So remember, you got U for under-expose, you've got O for over-exposed, you've got U showing you clipping in all three channels, you got O showing you clipping in any of the three channels. And you've got better feedback if you press the Alt+Option key when dragging the Exposure, Recovery or Black slider triangles. And that is all she wrote. I'm going to go ahead and Click Done to return to the Bridge.

In the next exercise, we are going to discuss the Clarity, Vibrance and Saturation sliders.

Show transcript

This video is part of

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

218 video lessons · 23902 viewers

Deke McClelland
Author

 
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  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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