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Photoshop CS6 One-on-One: Advanced
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Introducing the Gradient Map adjustment


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Introducing the Gradient Map adjustment

In this movie I'll introduce you to Gradient Map, which allows you to infuse your black and white image with as many colors as you like. Now I'm looking at a variation on that black and white effect that uses a black and white adjustment layer as opposed to a channel mixer layer. And the reason is, I want you to see the difference between just going with something like Tint and creating a full on duotone. So, I'll turn on the Tint checkbox and in order to get the same effect as we were seeing a moment ago, or something similar anyway, I'll click on that Color Swatch to bring up the Color Picker dialog box and I'll change the Hue value to 30, I'll take the Saturation value down to 15 and I'll set the Brightness to 30% and I'll click OK.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Introducing the Gradient Map adjustment

In this movie I'll introduce you to Gradient Map, which allows you to infuse your black and white image with as many colors as you like. Now I'm looking at a variation on that black and white effect that uses a black and white adjustment layer as opposed to a channel mixer layer. And the reason is, I want you to see the difference between just going with something like Tint and creating a full on duotone. So, I'll turn on the Tint checkbox and in order to get the same effect as we were seeing a moment ago, or something similar anyway, I'll click on that Color Swatch to bring up the Color Picker dialog box and I'll change the Hue value to 30, I'll take the Saturation value down to 15 and I'll set the Brightness to 30% and I'll click OK.

Certainly that's an easy way to work and we now have a tinted photograph. However, if you go ahead and compare that to the true sepia tone that we saw in the previous movie, you'll notice that it is a pretty different effect. We have more neutral highlights going on inside the sepia tone, the colors are full on burned into the shadows whereas where the tinted image is concerned we're just taking a low saturation color, basically colorizing the entire image with it, it's the same as doing this for example. I'm going to double-click on the Black & White layers thumbnail in order to bring up the Properties panel, and I'm going to turn-off the Tint checkbox for a moment, and then I'll hide the panel, and press the Alt key or the Option key on the Mac, click the Black & White icon at the bottom of the panel, choose Solid Color, we'll go ahead and call this guy sepia once again and I'll go ahead and dial-in those same color values 30, 15, and 30, and then we'll set the Blend mode from Normal to Color, and I'm just doing this by way of demonstration here.

We are now seeing the same effect as we achieved using that Tint checkbox associated with the Black & White layer, so if I double-click on the thumbnail for the Black & White layer once again and turn this checkbox on, we don't see any difference on screen and then turn this layer off, it's the exact same thing, so you're just infusing the entire image with a color. We can do better than that using either that sepia tone technique that I showed you in a previous movie which is quite straightforward or, with little more work, we can apply Gradient Map.

So, I'm going to go ahead and turn that Tint checkbox off, we don't need it, and it'll just get in our way and then I'll click on the contrast layer at the top of the stack here and I'll press the Alt key or the Option key on the Mac, click the Black & White icon once again at the bottom of the Layers panel and choose the second command up, Gradient Map. And I'll go ahead and name this guy colorize, because that's what we're going to do, even though instead of colorizing using a single color will infuse the image with multiple colors then I'll click OK. Now what we're seeing here is a Gradient strip inside the Properties panel, going from black to white, and what Gradient Map does is it goes ahead and replaces the luminance levels inside the image with that gradient.

So it starts with black on the left-hand side and ends with white under right-hand side, so in another words we're replacing the black and white image with the colors found in the black to white gradient. So that means we're not going to see much difference at this point. I'll go ahead and turn the layer off for a second and then turn it back on, it's just increasing the contrast of the image, and that's because of the Gaussian distribution of the colors inside that gradient. So the colors ramp slowly in the dark areas I think quickly in the middle and then slowly again and the highlights, which squeezes the luminance range inside the image again thereby increasing the contrast.

You can switch to a different gradient. Now there aren't a lot of gradients that are included along with Photoshop by default, you do have some other gradients that ship with the program and you can get to them by clicking on that little gear icon and then choosing any one of these gradient libraries and then experimenting with them, but none of them are really truly designed to serve as duotones for a photograph. Probably the closest one would be something like copper and when I first select Copper you'll think I'm insane, it goes ahead and replaces the blacks with this light brown, so starting on the left that's where black is, and then we get into the dark gray region and we get some very light browns and then we go back into the highlights here and we get some very dark browns and then we end with some light browns for white, but we can change how the colors are mapping, and you know, I'm a go ahead and decrease the height of this Properties panel, so we can see the model's eye.

We can merge this gradient better into the image if we go ahead and change the Blend mode. So I'm going to click on Normal in the upper left corner of the Layers panel and change that Blend mode from Normal to Color, and then it'll go ahead and infuse the image with that color, and then if I want, I could reduce the opacity of the layer as will. For example I'll press 2 to reduce the Opacity to 20% and we end up with a halfway decent duotone, let's go ahead and compare that to the sepia tone that we created in the previous movie here it is, so it's pretty different, it's yellower effect than what we're using right now, and then when I switch back you can see that we have something of an orange or reddish effect.

But the truth of the matter is that we're blending very subtle color variations throughout the shadows, midtones, and highlights inside this image. If you want to see a more radical color variation double-click on the thumbnail for that Gradient Map layer once again the one that's called colorize, and I'll switch it to something like Violet, Orange, for example, and then I'll hide the Properties panel again and I'll press the 3 key to bring the Opacity up to 30%. And now you can see that we've managed to infuse the shadows with violet, we've got oranges and the midtones and the highlights and so forth.

So that's how you use a Gradient Map adjustment to infuse a black and white image with a rich array of colors. However, we can do better by loading some custom gradients that I've created for you and I'll show you how that works in the next movie.

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