Photoshop CS6 One-on-One: Advanced
Illustration by Richard Downs

Painting edits with the Adjustment Brush


Photoshop CS6 One-on-One: Advanced

with Deke McClelland

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Video: Painting edits with the Adjustment Brush

In this movie, I'll show you how to work with the Adjustment Brush which allows you to brush in White Balance as well as Luminance modifications here inside Camera Raw. Now in this case, I am looking at an image called Spanishtown dinosaurs and I've taken a swing at adjusting the Exposure settings as well as the White Balance. So if you switch over to Snapshots, you'll see right at the top Default settings, that's how the image started terribly backlit, everything is black in the foreground, but there is a ton of detail going on that we can draw out using that Adjustment Brush.
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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 59s
    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 51s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Watch the Online Video Course 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
Photoshop Camera Raw
Deke McClelland

Painting edits with the Adjustment Brush

In this movie, I'll show you how to work with the Adjustment Brush which allows you to brush in White Balance as well as Luminance modifications here inside Camera Raw. Now in this case, I am looking at an image called Spanishtown dinosaurs and I've taken a swing at adjusting the Exposure settings as well as the White Balance. So if you switch over to Snapshots, you'll see right at the top Default settings, that's how the image started terribly backlit, everything is black in the foreground, but there is a ton of detail going on that we can draw out using that Adjustment Brush.

So I'll switch back to the ACR7 conversion, switch over to the Basic panel here, and I'll grab my Adjustment Brush. Now we've got a ton of settings associated with the brush here and I should go ahead and reinstate Size and Feather to the defaults just so you can see how they work. Thing is, all of these settings from Color up are dynamic, in other words you can modify them after brushing in an effect. But everything from Size down is static and only affects the brush stroke that you're about to draw.

You can change your brush stroke on-the-fly by the way by pressing the Bracket keys. So I am going to press the Right Bracket key key a few times in order to increase the Size to 18 and you can also change the Feather using the Bracket keys, but it works just the opposite as it does in Photoshop. So if you press Shift+] you make the brush softer because you're raising the Feather value. If you press Shift+[ you're making the brush harder because you're reducing that value. I am going to set that Feather value to 50. Now Flow controls how the dollops of paint interact with each other, you will probably want to leave that set to 50, and Density amounts to opacity, I recommend you leave that set to 100% because it seems to me, at least in my experience, I always want an opaque brush and then if I want to dial down the settings to make things more subtle, I will. All right.

So I've already got a setting here, Temperature of 50, I am going to go ahead and get rid of it and then I'll paint inside of the image and I did that so I could show you this error message. Notice if you've zeroed out all the way then you can't paint a brushstroke just as you can't create a graduated filter. So I'll go ahead and dial-in an Exposure setting, and it happens to be 0.8 by the way. And then I'll scroll down and turn on these two checkboxes, Auto Mask, which will go ahead and automatically paint just inside the darkest regions as you will see.

So it masks the brushstroke on-the-fly, it's a really great feature. I wish like crazy it existed outside in the larger world of Photoshop and then we've got Show Mask which will allow us to see our mask as we paint it. All right. So notice now as I paint inside the dinosaur, that it's automatically masking the brushstroke inside the dinosaur. Wouldn't it be great if something like the Quick Selection tool worked as well. And now I'll paint down the legs of the tyrannosaurus like so and into his little hands as well, and then I'll paint a little bit inside the triceratops, like so, and I might reduce the size of my brush a little bit and paint in his face. All right.

That's the region that you want to paint, and this guy right there by the way, this little pin that represents the entirebrushstroke because we have been adding to it the entire time as you can see indicated by this Add radio button. All right. Now I'll turn off Show Mask so I can see what I am doing, and I am going to modify a few settings here. I am going to take the Shadows value up to 30 in order to further brighten the dinosaurs, and I'll take the Clarity value up to 20 because I want to emphasize their metallic skin, and then notice we've got all these blue regions inside of the tyrannosaurus in particular because the sky is reflecting off him, I want those to go away.

So I am going to take my Temperature value up to 50 and that ends up giving us a nice sort of bronzish dinosaur, which is exactly what I'm looking for. All right. Now I want to darken the sky. So I am going to switch back over here to the Graduated Filter tool and just to avoid some confusion I am going to turn the Show Overlay checkbox back on, so I can see the gradient as I draw it, then I'll go ahead and drag from up-left to downright like so and maybe at a little more of an angle, and I am applying those last settings that I applied using the Adjustment Brush.

So we'll go ahead and modify them here. I'll set the Temperature to 0, and then I am going to take the Exposure down by pressing Shift+Down Arrow a couple of times and then Down Arrow a couple of times more. So the Exposure value I am looking for is -0.3. And then I'll take the Contrast value up actually to +50, tab my way down to Shadows, change that to 0, and Clarity wants to be +30, I think in order to pull off this effect properly, and now I'll create another gradient from this angle and I'll go ahead and modify the settings a little bit.

I am going to take the Exposure value down to -0.7. I'll take the Contrast value up to 100 and otherwise this is fine. All right. Now I have managed to darken the tyrannosaurus's face some more, so I am going to follow it up by painting another adjustment using the Adjustment Brush. So I'll go ahead and grab it and I want to make sure that I am creating a new adjustment, so I'll turn on the New checkbox. We want to be working with those same Size and Feather values, Auto Mask should be turned on, I'll turn on Show Mask as well and then I'll paint over the animal's face like this and down into his mouth a little bit and across his back.

And by the way, if you end up going too far like down in this region or something like that, you can erase and you can do so by turning on the Erase radio button or more easily you just press and hold the Alt key or the Option key on the Mac. The problem is, notice these Size and Feather values, as soon as I move my cursor out into the image, you can see that those values change to those that are specified for the eraser, which I don't want. So there is an override. You can go up to the flyout menu icon here and choose Separate Eraser Size to turn that option off and now when you press the Alt key or the Option key on the Mac, you keep those same Size and Feather values as I am doing right here. All right.

Once you have painted in something you like, go ahead and turn Show Mask off and let's dial-in some better settings here. This time around I want an Exposure that's much higher than this. So I am going to press Shift+Up Arrow four times in a row to change the value to +0.8 and then I'll tab down to the Contrast value, change that to 0 and we want Highlights to be 0, we want Shadows to be +30 I think, and then I'm going to take the Clarity value down to 0 like so. And now it seems to me that I might be going a little bit too far with that.

So let's try taking the Exposure value down just a little bit and that to me at +0.45 ends up looking better. All right. Let's get a sense of what we've accomplished here. You can turn-off the Preview checkbox, but that will just turn-off the Adjustment Brushes, it won't turn-off the graduated filters, and then I'll turn them back on. Those Adjustment Brushes by themselves made a big difference. I'll switch back to the Zoom tool which I could have done by pressing the Z key, switch back over here to Snapshots, let's go ahead and click on the Page icon and I'll call this ACR7 local adjustments let's say, and then click OK, and finally, I'll click on Default Settings just so we can see what a train wreck this image was in the first place.

And I'll click on local adjustments and we can see how great it is now. Thanks to the power of the Adjustment Brush working together with the Graduated Filter tool here inside Camera Raw.

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