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Enhancing Digital Photography with Photoshop CS2 is a video-based tutorial designed for professional photographers and enthusiasts who want to get professional results. Chris Orwig, a professional photographer and instructor at the world-renowned Brooks Institute of Photography, shares the secrets and techniques that he uses to enhance his own photography in Photoshop. The training follows a photographer's digital workflow, starting with essential color management decisions and organizing images with Adobe Bridge. Chris moves on to cover processing Camera Raw files, enhancing tone and color, and correcting imperfections. He then demonstrates how to prepare the images for output and client reviews. Chris shares examples of his work as exercise files that accompany the training videos, allowing you to follow along and learn at your own pace.
>> Male speaker: In this movie, we'll be working on the file disney_concert_hall.psd. If you haven't seen this building it is phenomenal. It's in downtown Los Angeles, the structure is completely and utterly stunning. All right we're going to look at how to use the Wand tool. Grab the Wand tool by pressing W on your keyboard or clicking on it in the Toolbox. The way that the Tolerance setting works is, if you have a real low Tolerance you're just going to accept a few little pixels. You're saying "hey these guys are part of my gang." You know just a couple of them. But if you have an extremely high Tolerance, you're going to say, "hey you know what? Everyone's part of the party," so increasing the Tolerance increases how much area is selected.
To select off of a selection you can navigate to Select > Deselect, or press Command+D or Control+D. Or you know what else you can do? Just click in the selection; it'll disappear and then click again. One technique that's really helpful with this is to have a low Tolerance and then to build up your selection. So go ahead and add to the selection by holding the Shift key and slowly building out your selection until you have all the pixels that you want. Sometimes it works a little bit better that way. If you take Contiguous off what you'll notice is you'll actually get pixels that aren't touching each other.
So if I am to select over here I get pixels, I'm selecting pixels everywhere. So typically you want to have Contiguous on, although, it depends what you're trying to select. Alright so I'm just going to hold down the Shift key, add to my selections until I get a good selection of the background. As a quick side note, note that there is a folder above the image and those are the selections that we'll be making if you need to refer to those later as a way of reference. Okay what I would like to do here is add some density to the sky. And I want to do that with a gradient. So for starters I need to pick a couple blues in my color picker so my background coloring, I'm going to do a nice deep dark blue.
And then go to the blue and do one that's quite a bit lighter. I'll try one of those. And that's a little bit too purplely, isn't it? So do one of those. Okay, now that I have those two colors picked I'm going to go ahead and go to the Adjustment Layer icon, and choose Gradient Map. And by default it's going to create a gradient based on the colors I have in my color picker. If I choose Reverse we'll notice that it's going to flip the orientation of that gradient, which is what I want to do. I want to have it darker up top.
I'll go ahead and click OK and then I'll look at my before and after. When I see that it's darkening up the sky, and it's especially darkening up the top part of the sky. I'll lower the opacity because that's much too intense for what I want to do. I simply want to keep the viewer's eyes in the image; I don't want them to trail off the top of the image. And I was able to do that by creating that gradient to darken up that area. Once I have a good selection like this I can Command+click the selection and then create another adjustment layer based on it. This time I'm going to invert the selection, Shift+Command+I or Shift+Control+I.
You know that shortcut. Go to Hue/Saturation, and now when we modify the image, we'll notice that we're modifying that particular part of the image. Of course we can invert the selection which would then modify the other portion of the image. There are times when we need to continue to modify our mask. Let's take a look at this. It looks a little bit jagged here. One of the things that you can do is apply a filter to a mask, as I mentioned before. I'm going to apply a Gaussian Blur filter to that mask and I'm going to take it just down to maybe a couple points.
And notice what it's doing is it's creating a feathered edge on that. Go back to 100 percent and it's creating a smoother transition that's a lot less choppy. I can apply even a stronger filter if find that I need to do that. Another way to modify that would be to have a selection and before you make an adjustment layer choose one of your selection tools, hover over the selection, right-click and choose Feather. What feather does is it creates transition. I'm going to choose a huge feather and what you're going to notice is that this particular selection has a large area of transition because the feather was incredibly high.
So if you want a smoother transition that's much smaller you just would enter a much smaller number, perhaps a feathered edge of one to two pixels would work on this particular image.
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