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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.
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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