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This course explores the newest version of Photoshop from a photographer's perspective—helping users of previous versions of Photoshop make upgrade decisions and get up to speed with CS6. Author Chris Orwig covers the improvements to Camera Raw, including the improved exposure controls, Adjustment Brush tool, and Lens Correction filter. He then addresses the enhancements in Photoshop, such as the new Layer panel behavior, which makes renaming and organizing layers almost effortless, and image-editing features like content-aware retouching, photorealistic blur effects, and redefined nondestructive cropping; plus the brand-new ability to edit video in Photoshop. The final chapter addresses the new Creative Cloud subscription option, detailing features of interest to photographers: the enhanced Blur Gallery and Liquify filters, conditional actions, and improvements to the Crop tool.
Because the basic adjustment controls are so significant, I don't think it will suffice to simply show you how they work. What I want to do here is really teach you how you can use them. I am going to be working with two files, the first one is basic_adjustments.tif. And click on that, then press the spacebar key to open this up in a larger view. This is a screen grab of the basic panel. And here I just want to reiterate that these controls start zeroed out. And the way that they work is when you drag to the right, things become brighter.
Drag to the left, things become darker. Okay, we will press spacebar again to exit out of that view. Let's go to this demo file, grayscale.jpg. If we make some changes to this file, it can help us understand these controls in an interesting way. Here let's go ahead and open this up in Camera RAW. To do so, press Command+R on a Mac, or Ctrl+R on Windows. Now we are going to really focus in on these controls here. Okay, well, what about Exposure? Well, if we click and drag this to the right, we can see that we can really make dramatic adjustments to our photograph.
I mean, that's its intense. Drag to the left, the same thing. So the Exposure control, well, it's really powerful. It's going to do a lot. In other words, as you work with this, you may not swing this very far in order to be able to make the changes that you need. It's a powerful tool. To reset it, double-click the Tab and it will go back to zero. Contrast we already know about--drag to the right increases the contrast. Drag to the left and it decreases. What becomes more interesting are Highlights, Shadows, Whites, and Blacks.
In order to really focus in on how these work, what I want to do is turn on the Clipping indicators. You can do so by clicking on these icons at the top of the histogram. Currently that's showing me where I have clipping or loss of detail in this grayscale on this file. Well, what is Highlight going to do for me? Well, if we drag this to the right, what's going to happen is we are going to have more clipping in the image. Drag it all the way over, you can see that primarily it's targeting the brighter tones.
If you look at this grayscale, well, it goes to about here. Well, let's then reset that and compare that, say, to whites. I will go ahead and do the same adjustment. This time I will go all the way up to 100. You can see that this one is getting lower in this grayscale. In other words, it's going further into a different tonal region. So again, typically you can think of this Highlights control is one that allows you to recover or to work with the brightest tones. If you have tones which are too bright, drag it to the left.
It will then recover those. Notice there isn't any clipping in this area. The same thing is true with our shadows. We can either brighten those shadows up or we can darken them down. Notice how it affects the rest of the histogram but it really targets those deeper or darker tones. Let's reset these sliders here and then look at whites. Well, whites--we saw how we can either brighten those up or of course we can darken those down. Next we have blacks. Blacks allow us to work on this area of our image.
Again, it's a little bit higher than the other one. It reaches a little bit further. So in a sense, you can think of these controls this way. Highlights and Shadows: they are subtle; they are on the extremes. Whites and Blacks: they are just in a little bit further in regards to the reach--or regards to the area that they are modifying. All right. Well, now that we know a little bit about these controls, let's take a look at how we can apply this to a photograph. And let's do that in the next movie.
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