Adobe PhotoshopWhat is Photoshop?| 00:01 |
Adobe Photoshop is used by photographers,
graphic and web designers, videographers,
| | 00:05 |
and 3D artists, to enhance and manipulate
photos, and create original digital artwork.
| | 00:10 |
Photographers use Photoshop for
correcting exposure or modifying color,
| | 00:15 |
cropping, aligning, and rotating photos
to achieve better compositions, restoring
| | 00:19 |
and retouching images, combining multiple
images into composites, and simulating a
| | 00:24 |
variety of photographic lens effects.
Designers use Photoshop for creating
| | 00:31 |
textures for web backgrounds and photo
realism, manipulating type by using 3D
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extrusions and layer styles, creating
comps of website and mobile application
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designs, and applying special effects
like blurs and lighting effects.
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Videographers use Photoshop for
assembling image sequences into timeline
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animations, removing unwanted objects
from various frames of their video,
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repairing videos using cloning and
healing tools, and creating
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frame-by-frame animation for cartoons and
special effects.
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3D artists use Photoshop for creating
three-dimensional shapes for use in other
| | 01:06 |
applications, creating 3D objects using
extrusion tools for use in title
| | 01:10 |
sequences, and painting 3D environments
for film and TV backdrops.
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There are dozens of other types of people
using Photoshop in their daily work,
| | 01:19 |
creating amazing projects and original
artwork like these.
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Photoshop also integrates with other
Adobe applications, like InDesign for
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print production and digital magazines,
or After Effects in Premiere for video compositing.
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Whether you're a designer, photographer,
or video production artist, Adobe
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Photoshop gives you the tools to help you
achieve your creative vision.
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IntroductionWelcome| 00:00 |
(music playing)
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Hi and welcome to Photoshop Essential Training.
| | 00:06 |
My name is Julieanne Kost and together,
we're going to discover the most
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efficient way to use Photoshop to manage
our images, enhance our photographs,
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composite multiple images together and
automate our work flow.
| | 00:18 |
As Photoshop has evolved it's developed
into three distinct applications.
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Adobe bridge, Adobe Camera Raw and Adobe
photoshop.
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We'll begin in Bridge where you'll learn
how to download images from your camera.
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Organize and select the best photograps
from a shoot.
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Add meta deta.
Rate the images and quickly make collections.
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Once we've organized our images with
Bridge, we'll take them into Camera Raw
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to start enhancing them.
Next we'll master all of the fundamentals
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of working with Photoshop, including
layers and masking, selections and
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adjustment layers, retouching essentials,
compositing.
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blend modes, filters layer effects, and
much, much more.
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My goal is to have you creating
professional results as soon as possible.
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So let's get started.
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| Using the exercise files| 00:00 |
If you're a premium member of the
lynda.com library, you have access to the
| | 00:03 |
exercise files used throughout this
course.
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You can download the files from the
exercise files tab on the main page for
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the course.
Most of the movies in the course have
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images that you can use so you can follow
along with the same projects that I'm
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working on.
If you don't have access to the exercise
| | 00:20 |
files, you can follow along using your
own images.
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All right, let's get started.
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| Installing Adobe Bridge| 00:00 |
You may have noticed that Adobe Bridge is
no longer installed by default with
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Adobe's new Creative Cloud platform.
In this movie I'll guide you through the
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steps to install Adobe Bridge on your
machine.
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First of all you want to launch something
called the Adobe Application Manager,
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which ships with the Creative Cloud and
allows you to download and install
| | 00:15 |
individual applications based on your
subscription.
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You then need to scroll inside of the
Adobe application manager and find Adobe Bridge.
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To the right hand side there will be a
link labeled Install.
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Go ahead and click that to begin the
installation process.
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Now it's just a matter of playing the
waiting game as Bridge downloads and
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installs on your computer.
Once Bridge has been downloaded and
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installed, you can click the next link
that says Launch App, and you can begin
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using the Adobe Bridge.
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1. It Begins in BridgeWhat is Adobe Bridge?| 00:00 |
As we take more and more photographs or
work with more and more images, we're
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going to need a way to quickly see them
all as well as organize them before
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deciding which ones to open in Photoshop.
I feel that it's far too tedious to
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actually use the file open dialog in
Photoshop because I have to navigate and
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look at each image individually.
I can't see more than one image at a
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time, and although I can scroll over and
use one of these other ways to describe
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the images.
You don't really see the necessary
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information that I like to see about each
image.
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Fortunately Photoshop comes with an
incredibly powerful companion application
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called Adobe Bridge.
And it's far easier to use Bridge to
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navigate the folders on your hard drive
and open images.
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If you haven't already installed Bridge
please see the introductory lessons of
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this course on how to install it.
In order to quickly move to Bridge, I can
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use the File menu, and then Browse in
Bridge, or use the keyboard shortcut
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Cmd-Opt-O on the Macintosh, Ctrl-Alt-O on
Windows.
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This takes me immediately to Bridge.
If Bridge hadn't already been running, it
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would also launch Bridge, and this is the
default view.
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Now Bridge is a visual media manager and
it's going to help us to work with our images.
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You can see here with a path across the
top that I'm in the desktop area.
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I also know that because right here in
the Favorites area it's highlighted.
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If I want to see an additional folder
structure I can click on the Folders tab...
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And then use the disclosure triangles in
order to see the contents of different folders.
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When I click on the folder we can see the
contents of that folder here in the
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content area, and if I select an image I
get a larger preview over here in the
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preview area.
If I select more than one image, we can
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see both of those images being previewed.
If I want to open an image, I simply
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click on the single image, double click
on it, and it opens it up in Photoshop.
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Let's go ahead and close this image by
choosing File and then Close, or on Mac,
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I can use Cmd + W, on Windows, Ctrl + W.
And then, to quickly return to Bridge,
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we'll use that keyboard shortcut, Option
+ Cmnd + O.
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If I'm in Bridge and I want to move back
to Photoshop the easiest way is to simply
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click the icon of the boomerang.
That takes me directly back to Photoshop.
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Let's go back to Bridge for one moment
because I just want to show you that you
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can also select an image or in fact I can
hold down the Command key and select more
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than one image...
And then I can click and drag these to
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any other folder.
If i were to let go of the mouse rigth
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now Bridge would actually move the images
on my operating system.
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Now I don't want to do that so I'll go
ahead an bring them into the context area
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and release the mouse.
But you should just now that bridge isn't
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just for looking at images.
You can also organize your assets and
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move not only your files, but also your
folders.
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So, as you can see, Bridge is going to be
much easier, and a much more efficient
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way, to navigate to different folders and
view different images, and open them up
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in Photoshop.
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| Getting photos from a camera| 00:00 |
Let's start by learning to download your
images from a digital camera.
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Of course, you can do this through the
operating system, but by using Adobe
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Camera Downloader, we can add important
information to the files as we download them.
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So, to launch the downloader, I'm going
to click on this little icon here, with
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the camera and the downward-pointing
arrow, and Bridge is going to ask me If
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every time I insert a card into a card
reader and plug that into my machine if
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bridge should automatically load or
launch this photo downloader.
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I don't want it to do it every time so
I'm going to click No.
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Now, here at the top, Photo Downloader
has automatically detected that card in
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the card reader, so we can see that card
listed right here.
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If you don't have a card plugged in, then
i'tll just say, None Detected here.
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I can tell the Downloader where I want to
save these files by clicking on Choose.
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In this case, I'll select the Desktop and
then click Open.
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And then I can either choose from one of
these different presets as far as
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creating subfolders or I can create my
own.
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One of the ones that's really nice to use
might be the shot date.
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Here, you can see that it's listed year,
month and day.
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The reason I say this is useful is
because if you set up your folder
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structure by day, and if you have
multiple images on your card that were
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photgraphed over multiple days.
This enables photo downloader to
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automatically generate all of the
different folders for all of the
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different dates and put the cooresponding
images into those folders.
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If you prefer though to just lump all of
your images into a single folder.
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Then go ahead and click custom name, and
then just enter the custom name here.
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So in this case we could call this
Beijing, and that would be the name of
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the folder and we could see that
previewed right up here at the top.
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Then we could choose whether or not we
want to rename our files.
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Again, we have a number of presets that
we can choose from, some of them have the
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date included, or we can create our own
custom sequence.
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In order to do that, I'll click custom
name.
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And then we'll enter in the custom name.
Now, this could be the same name as the
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folder or it could be something
different.
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In this case, let's go ahead and just
name 'em the same as the folder.
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And you can see down here at the example
that the downloader is automatically
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adding a sequence to them.
And in fact, it's starting on the
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sequence number here.
So if we wanted to change that we could.
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I can also click on the Advanced dialogue
button here in order to see thumbnails of
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all of the images that are on that card.
Now, if, for example, you were under some
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time constraints, and you quickly needed
o just download a subset of images, we
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could click Uncheck all, and then just
check on the images that you want to download.
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But, I think it's much more typical that
we want to download all of the images
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from the card, so I'll go ahead and click
check all.
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The other option that appeared when we
clicked advance, was this ability to
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apply metadata.
So, I'm going to start with a basic
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metadata, which just contains the creator
and the copyright.
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We can go ahead and enter in our name
here.
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For the creator and then for copyright
I'm goign to use the option key plus the
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G key on the mac to get the copyrigth
symbol.
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On windows you could use the character
map and just copy that copyright symbol
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and then paste it in here.
And then I'll put the year and I'll go
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ahead and put my name again.
In a later lesson, we'll learn how to
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actually create a metadata template that
has a lot more information in it,
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including things like our website and
maybe our contact information.
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Two last options that I want to mention,
now they're under the advanced options,
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but they actually were available in the
standard dialogue.
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And that's the option to Delete your
original files.
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Although it might be tempting to Check
this On, I personally don't have the
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Downloader delete my original files.
Instead, I take care of deleting the
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files on the card the next time I put the
card in my camera, I'll just Reformat
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that card.
You can also Save the copies to a
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secondary location when you download.
Which might be convenient.
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So, you could download them, say to your,
internal drive that you're working with
| | 04:28 |
and then also to a secondary, external
drive, just so that you know that you
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have backup, of all of those images.
I'll go ahead and turn it off for now,
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and then click Get Media.
When I choose Get Media, the downloader
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will go ahead and download those images
from the card to the location that I told
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it to.
And you can see that Bridge has
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automatically redirected where it's
looking to the Desktop, to this new
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Beijing Folder and we can see all of our
images here.
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We can also see that each one of the
images has been renamed.
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And if I click on the Image over here in
the Metadata area underneath the IPTC
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Core area.
We can scroll down and actually see that
| | 05:19 |
our copyright has been inserted here.
So, although you can download your files
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in the operating system.
I think you can see the advantage of
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using the camera downloader to not only
rename your files when you're downloading
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them, but also maybe copy them to a
secondary location and add important
| | 05:36 |
metadata information.
But also add your copyright to the images.
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So I think you can see the advantage of
using the Camera Downloader to download
| | 05:44 |
your files, not only is it going to give
you the option to do things like rename
| | 05:50 |
your files and create a folder structure
as well as substructure if you want to,
| | 05:54 |
but it also allows you to apply important
copyright information to your files.
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| A tour of workspaces in Bridge| 00:00 |
One of the best parts about Adobe Bridge
is that its interface is completely
| | 00:04 |
customizable to meet our specific needs.
Now in order to get a feel for how you
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might want to customize it, Bridge ships
with several different workspaces that we
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can see across the top here.
Now, we're going to take a closer look at
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these in just a moment.
But right now, I want us to all be sure
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that we're looking at the same workspace.
So go ahead and click where it says
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Essentials, and then use the triangle
here to select Reset workspace.
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That way I know that we're all looking at
the same thing.
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Now as I mentioned before, Bridge has
nested some of its panels together.
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So for example, the Favorites and the
Folders are nested together.
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And you just click on the name of the tab
there for that panel in order to bring it
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to the foreground.
We saw how clicking on an image would
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then show a preview of that image on the
right hand side.
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And selecting more than one image shows
us both of those images.
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Now if we select a lot of images.
So say for example, I click on the first
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image, and then hold down the Shift key,
and click on the last image in that row.
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Well, I have ten items selected but you
should just know that the maximum number
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that Bridge will display in the preview
area is nine items.
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So it will tell you if you have more than
that selected.
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Alright, below that we have our Metadata
panel, where you can see things like the
| | 01:28 |
file properties, or information about the
files.
| | 01:31 |
We can look at the IPTC information,
that's metadata that we can add.
| | 01:37 |
So, things like our contact information
and copy right information plus a lot of
| | 01:41 |
other information that we'll go into a
little bit more in-depth in other lessons.
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We also have a Key Word panel.
So this is a panel dedicated to adding
| | 01:50 |
key words to enable us to find our images
later on.
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So that's going to be a really handy
panel that we'll use.
| | 01:58 |
Moving back over to the left hand side,
we have some filters.
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So, once we're shooting lots of images,
we'll want to be able to filter down to
| | 02:06 |
maybe just the images that have 2 star
rating on them or filter by keywords.
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So, this becomes a very important panel.
And then we have our Collections panel
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which we can use to create, kind of
virtual collection.
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So, if we went on 4 different trips to 4
different locations, we could just select
| | 02:26 |
our top images from each of those shoots
and without rearranging them on the hard
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drive, we could put them in a virtual
collection.
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So, again, we'll be talking more in-depth
about these topics in later lessons.
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But there might be times when you don't
need access to all of these panels, or
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maybe you want to make some of the other
panels a little bit larger or smaller.
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Well, you can do this by positioning your
cursor between any of the panels.
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You'll get the double headed arrow and
then you can just click and drag those
| | 02:58 |
splitters to re-arrange and make one
panel larger and the other panels smaller.
| | 03:03 |
So those are the vertical splitters.
But of course you can also change the
| | 03:07 |
horizontal splitters as well, making one
area larger and another one smaller.
| | 03:11 |
If I wanted to nest the panels together
differently, then I could click on the
| | 03:17 |
tab for the panel that I want to move.
And you'll notice if I drag it up here it
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will give me a blue highlight.
And when I let go, it will actually nest
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the keywords with that preview panel.
If instead I don't want to nest the
| | 03:32 |
keywords with preview, but I want it to
have its own space in the panel, then
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I'll drag down below or between these two
panels where there's just a single solid
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blue line.
Let go of my cursor, and now you can see
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that preview and keywords and the
Metadata panel all have their own place
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to be on that right-hand side.
So obviously we can customize this.
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But let's take a look at some of the
different workspaces that Adobe has
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created for us to try to kind of make
their best guess for different layouts
| | 04:06 |
for different workflows.
If I want to see the filmstrip, I can
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either use the command key plus F2 or
just click where it says filmstrip.
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You can see that some of the panels are
hidden in this workspace.
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So you don't always have to have all of
the panels showing.
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For all of the different tasks that you
do.
| | 04:23 |
Now if I just select a single image we
can see in the preview area.
| | 04:27 |
It's much larger so I get a much bigger
view of my image.
| | 04:32 |
So this is really nice when you're just
quickly moving through a lot of images.
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The Metadata workspace tells me a lot of
information about each image here in the
| | 04:42 |
content area and it hides that Preview
area, and instead I can see the Metadata
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as well as the Filter Panel over here.
If we click on Keywords, again I get a
| | 04:54 |
larger visual here of my content with a
lot of information about each file and I
| | 05:00 |
also get the Keywords panel to the left.
If we click on the Drop Down Arrow,
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you'll notice I also have a Preview
workspace.
| | 05:08 |
This is probably the largest preview that
I would get of my images.
| | 05:12 |
Or we have the Light table, which just
gives me the Content panel and hides all
| | 05:18 |
of my other panels.
And finally, we have our Folders.
| | 05:21 |
So, this should give you a good idea of
how maybe you can hide and show the
| | 05:27 |
different panels in order to meet your
needs.
| | 05:31 |
So, let's say, for example, that we go
back to the Preview panel here but I also
| | 05:36 |
want another panel showing that's been
hidden.
| | 05:39 |
Then I'll go under the Window menu and
you can see all the panels that are
| | 05:42 |
showing have the checkmark next to them.
If I want to see panels that aren't
| | 05:47 |
showing, I can use the Window menu here
and then I can select any of the
| | 05:52 |
unchecked panels.
So the ones with the checks on them,
| | 05:56 |
obviously we're seeing.
But if I want to see the Metadata panel,
| | 05:59 |
I simply select it and it will appear.
Now in this case it was grouped with Preview.
| | 06:04 |
But, like we did a moment ago, I can go
ahead and nest that in any other grouping
| | 06:09 |
or create my own.
So once you've decided what panels you
| | 06:14 |
want to see and how large you want to see
each one of them, you can create your own
| | 06:19 |
custom work space by clicking on the
Arrow and then choosing New workspace.
| | 06:24 |
And I'll just call this jkost.
And I'm going to Save the window location
| | 06:29 |
as well as the Sort Order.
That's something we haven't talked about,
| | 06:33 |
but the Sort Order right here determines
the order that I see my images in the
| | 06:37 |
content area.
So I can choose whether or not I want to
| | 06:41 |
Save those by just checking it on or off.
Go ahead and click Save and now you'll
| | 06:46 |
notice up here at the top the first
option is my workspace.
| | 06:51 |
If I wanted to change the order of these
workspaces say for example, I didn't like
| | 06:56 |
the Filmstrip workspace and I wanted to
demote it I can just click and drag that
| | 07:01 |
over to the right.
I can also use this little grabber bar
| | 07:05 |
right here.
To stretch this out so that I see more workspaces.
| | 07:09 |
That way if I liked, for example, the
light table, I could go ahead and move
| | 07:13 |
this to the third position.
If I didn't like the workspace I just set
| | 07:17 |
up, I could scoot this down to maybe the
fifth position.
| | 07:20 |
Then we'll go ahead and tidy that up by
just making it a little bit smaller.
| | 07:26 |
And now I want to reset the workspace to
the Essentials.
| | 07:30 |
So, I'll click on Essentials, but that's
not actually the default because
| | 07:35 |
remember, we made changes by grabbing
these splitter handles, and we also
| | 07:39 |
rearranged the panels.
So if I really want to get back to the
| | 07:42 |
Essentials, not only do I need to select
it but I also need to choose to Reset the workspace.
| | 07:49 |
And now we're all back at the default
Essentials workspace.
| | 07:53 |
One quick shortcut, if I just want to see
this content area larger and I want to
| | 07:58 |
hide all of the panels on the left and
the right.
| | 08:01 |
I can tap the Tab key to temporarily hide
those panels and then I can tap the Tab
| | 08:07 |
key again whenever I need to see them
again.
| | 08:10 |
It's kind of a quick way to go from the
Essentials to the Light Table view,
| | 08:15 |
without having to actually change my
workspaces.
| | 08:18 |
So as you can see the interface in Bridge
is completely customizable in order for
| | 08:23 |
you to get the tools you need for your
specific workflow and the tasks that
| | 08:27 |
you're trying to accomplish.
| | 08:29 |
| | Collapse this transcript |
| Customizing how thumbnails are displayed| 00:00 |
As you view your images in the content
panel, it's essential that you're
| | 00:03 |
comfortable with not only the number of
images that you're looking at, but also
| | 00:07 |
the size of each one of the thumbnails.
In addition, there might be times when
| | 00:12 |
you want to see more metadata underneath
each image than just the name of it.
| | 00:17 |
So let's see how we can change those
aspects.
| | 00:20 |
First of all, if I want to change the
size of my thumbnail, there's a slider
| | 00:24 |
down here at the bottom of Bridge and
moving it to the right will increase the
| | 00:29 |
thumbnail size.
Moving it to the left will decrease it.
| | 00:32 |
There's also icons on the left side and
the right side.
| | 00:36 |
Clicking those will either decrease, or
increase the thumbnail size.
| | 00:40 |
Or you can use a keyboard shortcut.
On a Mac the Cmd + Plus key, will zoom in.
| | 00:47 |
On Windows that will be Ctrl + Plus key,
and if I want to zoom out again it's the
| | 00:53 |
Cmd key +Minus key on the Mac and on
Windows it would be the Ctrl + Minus key.
| | 01:00 |
Now in order to determine what
information is displayed underneath each
| | 01:04 |
thumbnail I'll use the Preferences.
On the Mac we'll select from the Bridge
| | 01:09 |
menu Preferences, on Windows you'd go to
the edit menu and choose Preferences.
| | 01:15 |
Then click on the thumbnail area and you
can see that I can add additional lines
| | 01:20 |
of thumbnail metadata.
So, for example, if I wanted to show the
| | 01:24 |
date created, I would check that on and
now you can see we've got the date
| | 01:29 |
created underneath each image.
But I can also select from this list of
| | 01:34 |
other items.
So for example if I wanted to see the
| | 01:37 |
size of my image and if I want to show
more than one thing.
| | 01:41 |
I can just check on another option.
So this one shows the dimensions and pixels.
| | 01:46 |
We could also go in and we could take a
look at things like the color mode, or
| | 01:50 |
the color profile, or the dimensions in
inches as opposed to pixels.
| | 01:54 |
So, you can choose to toggle on, as many
or as few of these as you want.
| | 01:59 |
You can also choose to show your tool
tips.
| | 02:03 |
This can be handy, if you have everything
here hidden and you still want
| | 02:07 |
information about your file.
Let me show you what I mean.
| | 02:10 |
We'll check that on, and click okay.
Now the keyboard shortcut to toggle on
| | 02:16 |
and off all of this extra information, is
Cmd + T on the Mac or Ctrl + T on
| | 02:21 |
windows, but you can see that as I hover
on top of any information, the tool tip
| | 02:27 |
will pop up.
To give me, additional information about
| | 02:30 |
my file.
So you can chose, how much information
| | 02:33 |
you want to show, and what information by
using the preferences, and then using
| | 02:37 |
Cmd+T or Ctrl+T, or using that preference
to show your tool tip.
| | 02:43 |
Alright, lets go back into the
preferences.
| | 02:46 |
Back into the thumbnails.
And I'm actually going to turn off the
| | 02:51 |
tool tips, and turn off the additional
lines of metadata, for now.
| | 02:55 |
And I want to mention, that if you are
working with really large files like,
| | 02:59 |
let's say you have multi-layered
Photoshop documents.
| | 03:03 |
Or you're stitching together huge
panoramas.
| | 03:06 |
It can take Bridge a little while to
create the necessary thumbnail for you to view.
| | 03:11 |
And you can actually tell it, at a
certain size, to just stop making those thumbnails.
| | 03:16 |
So that's what this option's for right
here.
| | 03:18 |
For now, we'll just leave it at its
default, and click Ok.
| | 03:21 |
You can also move your thumbnails around
within this content area, to tell your
| | 03:27 |
story in a different order.
And you do so by just clicking, and then
| | 03:31 |
dragging the image into a different
position.
| | 03:34 |
You'll notice when you start creating
your own custom sort order that option
| | 03:39 |
for sorting here changes from whatever it
was to sort manually.
| | 03:45 |
If you want to change this back, say for
example, to sort by file name or to sort
| | 03:51 |
by date created, don't worry about losing
your custom sort order.
| | 03:56 |
Because you can always choose manually
from the list and Bridge will go ahead
| | 04:01 |
and remember how you manually sorted them
and display them that way.
| | 04:05 |
Finally, if you want to reverse the
order, esspecially handy if you're
| | 04:10 |
looking by say date created, you can use
this little caret icon right here to
| | 04:15 |
change between ascending and descending
order.
| | 04:20 |
For now, we'll go ahead and set this back
to sort by file name.
| | 04:24 |
So, as you work on different projects
with varying numbers of images in them.
| | 04:28 |
I think you can see how convenient it is
to change not only the size of the image
| | 04:32 |
thumbnails, but also the amount of
content that appears underneath each of
| | 04:37 |
the thumbnails.
And the order in which the thumbnails are sorted.
| | 04:41 |
| | Collapse this transcript |
| Changing file names and batch renaming| 00:00 |
As you've probably already noticed, the
naming conventions that most cameras use
| | 00:04 |
isn't always the most descriptive, so
Bridge makes it really easy to rename
| | 00:08 |
your photos.
Now, we saw that you could rename your
| | 00:11 |
photos when using the Adobe Downloader
utility to get photos from your camera,
| | 00:15 |
but if you're not using the utility or if
you just want to rename later on in the
| | 00:19 |
workflow, all you need to do is either
select the single image that you want to rename.
| | 00:25 |
So if I wanted to rename this statue, I
could do that.
| | 00:29 |
And then if I tap the tab key, I would
actually move to the next image.
| | 00:34 |
Now, you might not have noticed what just
happened, but when I tap the tab key It
| | 00:38 |
renamed it, and you can see now that
statue is actually at the end of the
| | 00:41 |
thumbnails here, and that's because I
have this sorted by file name.
| | 00:47 |
If we change it to something like sort by
date created, then the statue will stay
| | 00:52 |
first here, because it was created first.
Again, to click on the second image, I
| | 00:57 |
would just click in the name area and
then, rename it.
| | 01:01 |
So, in this case, I'll call this close
up.
| | 01:03 |
Tapping the tab key will move you to the
next image, and automatically highlight
| | 01:07 |
the name.
But, I don't really want to go through
| | 01:10 |
all of these images one by one only to
rename them.
| | 01:14 |
So, instead I'm going to select the first
image and then hold down the shift key.
| | 01:19 |
and select the last image in order to
select all of the images in this folder.
| | 01:23 |
Then under the tools menu, I'll select
batch rename.
| | 01:27 |
I have my option to rename in the same
folder which is what we're going to do,
| | 01:32 |
but you should notice that I can also
move these at the same time that I'm
| | 01:36 |
renaming them to another folder or I
could make a copy and move them to
| | 01:41 |
another folder.
I have a lot of different options for my
| | 01:44 |
new file names.
You can see that we have 4 options now,
| | 01:48 |
but I can always add more by clicking on
the plus icon.
| | 01:52 |
Or I can subtract options by clicking on
the minus icon.
| | 01:55 |
I'm going to make and use a very simple
file naming convention that simply has
| | 02:01 |
the option for some text and then puts a
sequence number.
| | 02:05 |
But you should know that you can go ahead
and choose from any of these other options.
| | 02:10 |
So I could preserve my original file name
and then add a sequence I could start
| | 02:16 |
with the sequence number if I wanted to.
I can go ahead and use a letter instead
| | 02:21 |
or any of these other options, but again
I am going to use just my text option
| | 02:25 |
because that's going to allow me to enter
in the text, so in this case I might
| | 02:30 |
enter in China.
And then, on my second option I want a
| | 02:34 |
sequence number.
And I can select how many digits I want.
| | 02:39 |
So, depending on if I have 200 images or
2000 images, I'm going to need to choose
| | 02:44 |
between 3 digits and 4 digits.
In this case, I'll be safe with just 2 digits.
| | 02:50 |
And I can see a preview of what this is
going to look like down here in the
| | 02:54 |
preview area.
It also has a nice hint here that says
| | 02:58 |
that 33 files will be processed.
Because sometimes I just select the first
| | 03:02 |
image and choose batch rename and this
warns me that I'd only be renaming that
| | 03:06 |
one image and I need to select more.
Now before we rename these I'll just
| | 03:11 |
mention that if you are going to use this
naming convention over and over again,
| | 03:16 |
you'll want to click on the Save icon and
then save this out.
| | 03:20 |
So we'll call this JKF NC, for File
Naming Convention, and click OK.
| | 03:28 |
You can see now that the preset up here
is changed.
| | 03:31 |
I can always go back to the default, or
last used, but I'll chose my preset, and
| | 03:37 |
then click Rename.
We can see how quickly, bridge renames,
| | 03:42 |
all of those images.
And of course, if we make a mistake, all
| | 03:46 |
we need to do is return back to Tools, to
Batch Rename.
| | 03:50 |
And make the change that we want.
You can see why setting this up as a
| | 03:54 |
preset with just simple text in the
sequence number can come in quite handy
| | 03:59 |
because each time I bring in a new set of
images from a different location, all I
| | 04:04 |
would need to do is change this custom
text.
| | 04:08 |
Can also see that if I had another card
full of images that I downloaded and
| | 04:13 |
wanted to rename tomorrow, if those had
been taken in the same location, you can
| | 04:18 |
see that Bridge is remembering.
The last number of the sequence that I
| | 04:23 |
batched rename so that I could start
renaming my next folder of images on the
| | 04:27 |
correct number.
So I don't want to rename these again.
| | 04:31 |
I'll just click cancel.
I think you can see how easy it is to
| | 04:35 |
rename all of your images using Bridge.
| | 04:38 |
| | Collapse this transcript |
| Adding basic metadata with metadata templates| 00:00 |
As our collection of images grows, it can
be to our advantage to embed information
| | 00:04 |
about the image within the file itself.
Now, this information is generally
| | 00:09 |
referred to as metadata.
And some metadata is added automatically.
| | 00:13 |
For example, when we use our digital
cameras to capture an image, the camera
| | 00:17 |
manufacturer can include information,
such as the lens that was used and the
| | 00:21 |
F-stop or the shutter speed settings.
But we can also add our own information
| | 00:25 |
and embed it into the file, so that it
will travel with the image.
| | 00:28 |
In Bridge, the easiest way to see this
information is by using the metadata panel.
| | 00:34 |
So let's double-click on the header that
says Preview here, and that will just
| | 00:39 |
collapse that so that we can see a lot
more metadata about each file.
| | 00:44 |
Right below that, the first thing that
you'll see in the metadata area is this
| | 00:48 |
little placard that would tell you
information like the F-stop and the
| | 00:52 |
aperture about the image, as well as
things like the file size and what color
| | 00:57 |
space it's in.
Below that, we have additional file
| | 01:00 |
properties that will tell us information
like the date created and the date modified.
| | 01:04 |
But lets go ahead and close those and
take a look at the IPTC core.
| | 01:09 |
This information is little bit different
because as you can see each one of these
| | 01:14 |
options has the little pencil icon to the
right.
| | 01:17 |
So, for example, if I scroll down and I
wanted to enter in something like a
| | 01:22 |
copyright notice.
I can go ahead and click to the right of
| | 01:25 |
the word and then I could manually enter
this.
| | 01:28 |
But since I want to add the same
information to all of these images, it's
| | 01:33 |
going to be much easier if I simply
create a metadata template.
| | 01:38 |
So, under Tools > Create Metadata
Template.
| | 01:42 |
Now we can decide what we want to name
the template, and then fill in all of the
| | 01:47 |
information that we want to have applied
to each image.
| | 01:51 |
So in this case, I'll go ahead and type
option G which will give me the copyright.
| | 01:55 |
And then I'll type my name.
If you're on windows, you'll want to use
| | 01:59 |
the keyboard shortcut alt and then type
in 0169 with the extended keyboard.
| | 02:06 |
Or you can use the windows character map
utility in order to copy the copyright
| | 02:10 |
symbol and then past it into here.
I'll go ahead and select this and then
| | 02:15 |
use Command+C on Mac or Control+C on
Windows to copy this to the clipboard,
| | 02:21 |
because as we scroll down, you can see
that I want to enter that same
| | 02:25 |
information down here under copyright
notice.
| | 02:27 |
So I'll use Command+V or Control+V to
paste that.
| | 02:31 |
I'll also mark the Copyright Status as
being Copyrighted.
| | 02:35 |
Then I'll scroll up.
And here at the top, we can add in our
| | 02:38 |
contact information, so I'll just type in
San Jose and California and 95110 for the
| | 02:47 |
postal code.
I can also enter in my website, so www.jkost.com.
| | 02:54 |
And this information is going to be
stored in the photograph.
| | 02:57 |
So immediately anyone who is looking at
the photograph and wants to look for this
| | 03:01 |
information will know how to contact me.
As soon as I've filled in all of the
| | 03:06 |
information here that I want to have
applied to each image, I'll click the
| | 03:10 |
Save button.
But that just created the metadata template.
| | 03:13 |
Now I need to apply it.
So I have the first image selected.
| | 03:17 |
And then I'll hold down the Shift key and
select the last image.
| | 03:21 |
And then, from the Metadata panel, I can
use the flyout here in order to either
| | 03:26 |
append or replace the metadata.
If I had already added some metadata and
| | 03:33 |
I simply wanted to add this additional
metadata to it I would use append.
| | 03:38 |
If there was metadata in the file that I
didn't want, and I wanted to use this
| | 03:41 |
instead, then I would select replace.
I'm going to go ahead and append the
| | 03:46 |
metadata, and I'll select the template
that we just created.
| | 03:50 |
As that's being applied, you can see in
the lower left there for just a moment,
| | 03:54 |
there was a little icon that twirled
around that told me that metadata was
| | 03:58 |
being applied to all of those files.
So now if I simply click a simple image,
| | 04:04 |
you can see, right here in the metadata
panel in the IPTC Core area, that Bridge
| | 04:10 |
has added my creator, the city, state,
and province, as well as the link to my website.
| | 04:16 |
And if we scroll down further, we can see
my copyright notice as well as the status
| | 04:21 |
has been changed to Copyright.
Now we use the flyout menu on the
| | 04:25 |
metadata panel, in order to append that
metadata.
| | 04:28 |
But I do just want to point out that you
can also return to the Tools menu, and
| | 04:33 |
then use append metadata or replace
metadata, right here.
| | 04:36 |
So it's up to you, whichever you prefer.
And that's how simple it is to embed your
| | 04:40 |
contact and copyright metadata into your
file using Bridge's metadata templates.
| | 04:46 |
| | Collapse this transcript |
| Creating and applying keywords to images| 00:00 |
Keywords are another type of metadata
that can help you find the images that
| | 00:04 |
you want to work with.
Depending on the types of projects you
| | 00:06 |
work on, you may decide to add several
keywords per image or you might only need
| | 00:11 |
one or two.
For example, a photographer who's
| | 00:14 |
shooting stock will want to add a lot of
keywords to their images, so that other
| | 00:18 |
people can search on those keywords to
find the images.
| | 00:21 |
Whereas a portrait photographer might
only add the client name and the type of
| | 00:25 |
session such as an engagement session to
their keywords.
| | 00:28 |
In order to make sure that we're all
viewing the same work space, let's click
| | 00:32 |
where it says Essentials at the top and
then use the drop down menu to reset the
| | 00:37 |
work space.
Now, I don't need to see the preview, so
| | 00:40 |
I'll double click on the Preview tab in
order to collapse it.
| | 00:44 |
And I don't need to see file properties,
so I'll click on the triangle to collapse
| | 00:48 |
that as well.
In the IPTC Core area, you can see that I
| | 00:53 |
can add a keyword by just clicking to the
right of the keyword, but before I add a
| | 00:57 |
keyword let's go ahead and select all of
my images.
| | 01:00 |
So with the first one selected I'll hold
down the Shift key and select all of the images.
| | 01:05 |
Now I'll add my keyword.
In this case I'm just going to add the
| | 01:11 |
word Beijing and then I'll click on the
check mark in order to add that.
| | 01:15 |
If I want to add keywords to a limited
set of images, then all you need to do is
| | 01:21 |
select that set and then click again in
the keyword area.
| | 01:25 |
I'll type a comma in order to separate
the keywords and this time I'll type in
| | 01:30 |
Forbidden City.
(SOUND) Again, I'll click on the check in
| | 01:35 |
order to apply that.
Then, I'll select the rest of the images
| | 01:40 |
here, and we'll add another keyword.
In this case, Lama Temple.
| | 01:48 |
Again, I'll click the check mark, but
this time when I click the check mark to
| | 01:51 |
apply it, if you look in the lower left
hand corner you'll notice that Bridge
| | 01:56 |
presents an icon to tell me that the
information is being embedded in the images.
| | 02:02 |
So this is one way that you can apply
keywords using the metadata panel.
| | 02:07 |
But there's also a keywords panel, so
let's deselect all of our images and then
| | 02:12 |
click on the keywords panel.
Because we don't have any of our images
| | 02:16 |
selected, it doesn't look like we've
added any keywords.
| | 02:21 |
But if I do select all of my images, you
can see that we've added three other keywords.
| | 02:27 |
If I want to promote these keywords so
that they show up like the other default
| | 02:32 |
keywords all I need to do is drag them
out of the other keywords area.
| | 02:37 |
If I click and drag down and then release
my mouse you can see that it's become a
| | 02:43 |
keyword that's going to be permanent.
Now I can also decide if I want these
| | 02:48 |
three keywords to be at the same level or
if I want to create a hierarchy.
| | 02:53 |
And there is an advantage to creating a
hierarchy.
| | 02:57 |
A hierarchy will allow me to apply more
than one keyword at a time.
| | 03:01 |
So let's go ahead and drag the Forbidden
City keyword into the Beijing keyword,
| | 03:07 |
and I'll do the same for the Lama Temple.
Now, it looks like they've disappeared,
| | 03:11 |
but if I use the disclosure triangle, we
can see that those keywords are now
| | 03:15 |
permanent and they're both sub-keywords
of the parent keyword, Beijing.
| | 03:21 |
If I want to add aditional keywords in
the keyword panel, probably the easiest
| | 03:25 |
thing to do is to be certain that I don't
have any images selected.
| | 03:29 |
So I'll deselect the images in the
content window and then I'll click on the
| | 03:33 |
plus icon.
Because I have the Bejing keyword
| | 03:36 |
selected, when I click the plus icon, it
will put it at the same level as Bejing.
| | 03:42 |
So, for example, if I type in China.
And then, hit the Return key.
| | 03:46 |
You can see that, even though it's below
Beijing, it's at the same level.
| | 03:50 |
It's just below it because it's
alphabetical.
| | 03:52 |
If I want to make Beijing a sub-keyword
of China, all I need to do is drag it on
| | 03:57 |
top of the word China, and it will become
a sub-keyword.
| | 04:02 |
Now if I wanted to add a keyword, for
example, inside the Forbidden City, if I
| | 04:08 |
select Forbidden City, instead of
clicking on the New Keyword icon, I can
| | 04:12 |
click on the New Sub-Keyword icon and you
can see that it automatically creates the
| | 04:17 |
hierarchy for me.
So, in this case, I might want to type in Building.
| | 04:22 |
Tap Return and it will go ahead and
create that.
| | 04:25 |
Now if I wanted to apply the keyword
Building to different images, I could
| | 04:30 |
select them and then click to the left in
the empty box in order to apply them.
| | 04:36 |
Let's do the same for the Lama Temple.
I'm going to deselect all of my images in
| | 04:40 |
the content area by just clicking in this
gray area.
| | 04:44 |
Selecting the Lama Temple keyword and
then clicking to add a new sub-keyword,
| | 04:49 |
in this case I'll add Bridge.
Then I'll select my three images and
| | 04:55 |
apply the Bridge keyword.
And if I decide now that I want to add
| | 05:00 |
the China keyword to all of these images,
I simply need to select one, hold down
| | 05:05 |
the Shift key, select the rest of them.
And then click to the left to add the
| | 05:09 |
China key word.
The thing to be careful of is you need to
| | 05:13 |
make sure you have the right images
selected before you start adding your keywords.
| | 05:19 |
So it's really up to you whether you want
to create a hierarchical keyword list and
| | 05:25 |
then apply those keywords to your images
or if you simply want to use the metadata
| | 05:30 |
panel in order to apply keywords.
One of the benefits of using the keyword
| | 05:35 |
panel is that these keywords will then
remain easily accessible when you move
| | 05:40 |
from folder to folder.
Because we've made them permanent,
| | 05:43 |
because they're no longer just under this
other keywords area.
| | 05:47 |
And if you don't want these keywords that
ship by default all you need to do is
| | 05:52 |
select the keyword and then choose Delete
in order to remove those.
| | 05:59 |
So let's go ahead and delete all of
these.
| | 06:06 |
One last shortcut to just mention, even
though all of these images already have
| | 06:11 |
the China keyword and Beijing keyword
assigned to them.
| | 06:14 |
If I did want to add for example another
keyword and apply the entire keyword
| | 06:21 |
hierarchy at once, let's say for example
that I want to add Bridge as a keyword.
| | 06:27 |
If the Lama Temple and Beijing and China
weren't already selected, in fact I can
| | 06:32 |
just turn those off for a moment.
I just want to show you that if you hold
| | 06:36 |
down the Shift key and you click on the
keyword Bridge, the shift key enables
| | 06:42 |
Bridge the application to assign not only
Bridge the keyword but also up the
| | 06:47 |
hierarchy to Lama Temple, Beijing, as
well as China.
| | 06:51 |
So you can see how easy it is to make
keyword categories and keywords, which
| | 06:55 |
will make it a lot easier in the future
for me to find these images that have
| | 06:59 |
these keywords applied.
| | 07:00 |
| | Collapse this transcript |
| Viewing images in Full Screen Preview mode| 00:00 |
The ability to preview images both full
screen as well as 100% in Bridge, without
| | 00:05 |
opening them in Photoshop, is one of the
lesser known, yet most useful features in Bridge.
| | 00:11 |
Now, certainly we can view images larger
by using the slider here in order to make
| | 00:17 |
the thumbnails bigger.
But I'd like to see my images in full screen.
| | 00:22 |
In order to do this, we can either go
into the view menu and select full screen
| | 00:27 |
preview or we can simply tap the
Spacebar.
| | 00:30 |
The preview will fit the image into the
window, meaning we'll see the whole thing
| | 00:35 |
and it will scale it to whatever zoom
percentage it needs to.
| | 00:40 |
If you want to zoom in, you can click in
your image area to zoom.
| | 00:45 |
And then you can click to zoom out.
Once you click to zoom in you can then
| | 00:50 |
click and drag in order to pan to see a
different area of the image.
| | 00:54 |
Click again to zoom out.
You can also use the plus and minus keys
| | 01:00 |
without any other keyboard modifier in
order to zoom in.
| | 01:04 |
And here we can zoom into up to 800%.
Then I'll use the minus key in order to
| | 01:11 |
zoom back out.
If I use my right arrow key, I'll move
| | 01:16 |
from one image to the next.
If we want to go back, then I'll use the
| | 01:21 |
left arrow key.
Let's tap the escape key for a minute to
| | 01:25 |
see what exactly we were previewing.
When I first selected the option to view
| | 01:31 |
full screen, I had the first image
selected.
| | 01:34 |
If you only have one image selected,
Bridge assumes that you want to be able
| | 01:38 |
to move through all of the images.
If I select a range of images, by holding
| | 01:43 |
down the shift key and clicking on this
image.
| | 01:46 |
Now if I tap down the space bar in order
to go into full screen mode, you'll
| | 01:51 |
notice that I don't go through all of my
images.
| | 01:54 |
But instead I'll only go through those
images that were selected and when I
| | 01:59 |
reach the end of my selection, It'll
bring me back to my first image.
| | 02:03 |
Alright.
I'll tap the Escape key again.
| | 02:05 |
So now you know to preview your images
quickly without having to open them in
| | 02:10 |
Photoshop, simply select the images you
want to see and tap the Spacebar to go
| | 02:14 |
into full screen preview mode.
| | 02:16 |
| | Collapse this transcript |
|
|
2. Whittling Down to KeepersUsing Review mode to filter out rejected images| 00:00 |
I can tell you that today, I'm taking a
lot more photographs with my digital
| | 00:03 |
camera than I ever did with film.
And, as a result, I've had to figure out
| | 00:07 |
a quick way to edit down a shoot so that
I can identify my selects or my hero
| | 00:13 |
images, the best ones of the shoot,
without spending a ton of time.
| | 00:18 |
Now, although the fullscreen preview is
great for reviewing images, I actually
| | 00:24 |
prefer the review mode when I'm trying to
narrow down my entire shoot to just my favorites.
| | 00:30 |
So here, we'll select all of the images
in Bridge, and then, underneath the View
| | 00:34 |
menu, I'll choose Review Mode.
Or we can use the keyboard shortcut Cmd+B
| | 00:39 |
on Mac or Ctrl+B on Windows.
So even though all of my images aren't as
| | 00:46 |
large in this mode, what I really like is
I like the ability to see the images that
| | 00:53 |
are to either side.
So either the images that are coming or
| | 00:56 |
the images that I have just passed
through.
| | 00:59 |
It's just helpful for me to kind of see
the relationship between the images.
| | 01:03 |
Just like in full screen mode, we can use
the arrow keys in order to move back and
| | 01:08 |
forth through our images.
So the right arrow key goes to the right,
| | 01:12 |
left arrow key goes to the left.
But you can also drop images from your
| | 01:17 |
selection in review mode.
And you can do this either by using the
| | 01:21 |
down arrow, or you can use this icon
right here.
| | 01:25 |
So I'm going to scoot through this, and
any image that I don't particularly like,
| | 01:29 |
I'll use the down arrow.
Now this isn't deleting the images or
| | 01:33 |
anything, all it's doing is it's removing
them from my selection, so as I move
| | 01:39 |
through here I'm just removing from my
selection the images that I don't like as much.
| | 01:45 |
Just move through here and sometimes if
you have to go back just use that back
| | 01:50 |
arrow key and then drop that image.
See how here, where I've got the three images?
| | 01:55 |
It's really nice, in the fullscreen
preview, I wouldn't be able to see the
| | 01:59 |
image that just came before or the image
that's coming next in order to compare them.
| | 02:04 |
So now this makes it easier for me to go
back up one and then remove that from the
| | 02:09 |
selection and then move to the next one,
and remove that.
| | 02:13 |
If I make a mistake and I accidentally
take down an image or remove the image
| | 02:18 |
from a selection and I want to bring that
back, I can use the up arrow key but that
| | 02:23 |
only will work with the last image that
you've removed.
| | 02:27 |
So you have to kind of realize that you
removed it in order to fix that quickly
| | 02:31 |
by tapping the up arrow.
And if I need to say, check focus on an
| | 02:35 |
image, you'll notice when I position my
cursor on top of it, I can click to zoom
| | 02:40 |
in with this loupe, and then I can move
this loupe around in order to make sure
| | 02:45 |
that the image is in focus.
To close the loupe, you can either click
| | 02:49 |
inside of it, or if it's open, you can
click on the check mark.
| | 02:53 |
Instead of clicking in the image area,
you can also use the icon in the lower
| | 02:56 |
right in order to show you the loupe.
And then just click again in order to
| | 03:00 |
hide that.
Now we can rate our images here, but what
| | 03:05 |
I prefer to do is just go through the
whole shoot.
| | 03:09 |
And then the images that I'm left with,
well those images are probably all going
| | 03:13 |
to get the same rating.
So when I'm finished, and I'm just left
| | 03:17 |
with the images that I want.
I can tap the Escape key in order to
| | 03:22 |
return to Bridge, and you can see that
the images that I liked are still
| | 03:26 |
selected, whereas the images that I
removed in review mode are now deselected.
| | 03:32 |
So this is a little bit of a fragile
state.
| | 03:34 |
At this point, I would definitely want to
give all of the images that I liked a label.
| | 03:40 |
So, in this case I can either choose from
a star rating or I could choose a color label.
| | 03:45 |
I think we'll stick with the star ratings
right now and I can either give it one
| | 03:50 |
star by selecting it from the list or you
can see there's a keyboard shortcut here
| | 03:54 |
which is Cmd+1 on the Mac or Ctrl+1 on
Windows.
| | 03:59 |
And now we can see that all of the images
that were selected have one star.
| | 04:04 |
I do want to show you a preference.
So, under the Bridge menu, I'll choose Preferences.
| | 04:10 |
On Windows, you go under the Edit menu
and choose Preferences.
| | 04:14 |
And then I'll select the Labels area.
You can see that by default Bridge,
| | 04:18 |
requires the Cmd key on the mac or the
Ctrl key on Windows to apply your labels
| | 04:22 |
and ratings.
If you want to remove this so that all
| | 04:25 |
you have to do is tap one through five to
get one through five stars, or six
| | 04:30 |
through nine to get your color labels,
just uncheck that option.
| | 04:36 |
Then I'll click OK.
And now if I accidentally missed an
| | 04:39 |
image, and I want to rate it with one
star.
| | 04:42 |
If I click on it in Bridge and tap the
one key, it gets a one star rating.
| | 04:48 |
One last thing to mention, when you are
going through review mode, and I'll use
| | 04:53 |
Cmd+B to go to review mode, Ctrl+B on
Windows, and if I were to remove one of
| | 04:58 |
these five images from my selection.
You can see that if you have four or
| | 05:04 |
fewer images, Bridge will simply show
those four images up in review mode.
| | 05:09 |
So I just didn't want this to catch you
by surprise that four or fewer images,
| | 05:14 |
you'll see them all in review mode.
And to get out of review mode, just tap
| | 05:18 |
the Escape key.
So now that you know how it works, give
| | 05:21 |
review mode a try next time you've got an
edit to shoot.
| | 05:25 |
I think you'll find it'll be a much
faster way to cull or edit down a large
| | 05:29 |
number of images to just your favorites.
| | 05:32 |
| | Collapse this transcript |
| Saving images in collections| 00:00 |
Review mode offers another advantage over
full screen preview, and that is by
| | 00:04 |
enabling you to create a collection of
your images when you exit the review mode.
| | 00:09 |
A collection is another way that you can
save your selects in order to quickly
| | 00:12 |
access them at a later time.
So let's select all of the images here in
| | 00:17 |
the folder and then tap Cmd+B or Ctrl+B.
Now I'm going to remove all of the images
| | 00:23 |
that I don't think would make good
backgrounds or textures.
| | 00:28 |
And the reason that I'm looking for
textures is a lot times I will want to
| | 00:32 |
make a composite and I'll either want to
texture something on top or I'll want to
| | 00:37 |
use a different background.
So I'm just trying to move through these quickly.
| | 00:41 |
that would make a good texture.
I'll drop that one.
| | 00:44 |
There's a good texture.
And then I'm just using the down arrow in
| | 00:48 |
order to remove the images that I don't
think would make good textures.
| | 00:53 |
Alright, I'm almost through the whole
shoot here.
| | 00:57 |
And it looks like I'm left with these
five images.
| | 01:00 |
Now before I tap the Escape key, because
remember that would just take me back to
| | 01:05 |
Bridge with these images selected,
instead what I'll do is I'll click on the
| | 01:11 |
collection icon here.
This will exit me from the review mode.
| | 01:15 |
It takes me back to Bridge and it enables
me to name the collection.
| | 01:19 |
So we'll name this Texture and then tap
Enter.
| | 01:22 |
Now let's take a look at what this
collection is.
| | 01:26 |
By the way, if your collection's panel
isn't showing, it's probably nested with
| | 01:31 |
the Filter menu, so be sure to click
where it says Collections.
| | 01:35 |
So this texture folder isn't really a
folder at all.
| | 01:39 |
It is a virtual folder in Bridge and what
we've done is we've basically told Bridge
| | 01:46 |
to save out this collection but it's not
moving your files.
| | 01:50 |
It's not duplicating your files or
anything, it's just a virtual pointer to
| | 01:55 |
the images that you told it you wanted it
to pay attention to.
| | 01:58 |
And in fact we can see that we are no
longer in the 01 02 Bridge folder.
| | 02:04 |
And if we look at the path here, you can
see that we're not in that folder either.
| | 02:09 |
We're in the texture collection.
If I do want to return back to my folder
| | 02:13 |
I can click on it here in the folders
area.
| | 02:16 |
And if I wanted to add something else,
maybe I've decided that this image would
| | 02:21 |
make a good texture, I can simply click
and drag it into the texture collection.
| | 02:26 |
So you can see the file still resides
here in the Bridge folder, this texture
| | 02:32 |
collection is just a virtual pointer to
it.
| | 02:34 |
Of course the nice thing about this is
that the collection can be made up of
| | 02:39 |
images that are in different folders as
well.
| | 02:42 |
So if I navigated to a different folder
and I thought that one of these images
| | 02:46 |
would make a good collection, I could
drag it into the texture collection.
| | 02:51 |
I'm not going to do that now but you
should know that that is possible.
| | 02:55 |
Let's click on the texture collection
again.
| | 02:58 |
If I decide that I don't want one of
these images to be in the collection, to
| | 03:02 |
remove it, all I need to do is click the
Remove from Collection button.
| | 03:07 |
And even if you move your images around
on the hard drive, meaning that you went
| | 03:12 |
back to the folder structure and moved
these files around, the collection is
| | 03:16 |
going to know where those files are as
long as you move the files through Bridge.
| | 03:21 |
And this is just the tip of the iceberg
when it comes to collections.
| | 03:25 |
You can also add a collection at any time
without going into review mode, by
| | 03:29 |
clicking on the collection icon.
Then you just name it, and drag in images
| | 03:34 |
that you want from any folders, to make a
virtual portfolio of all your best
| | 03:38 |
images, for example.
Remember, collections are virtual, so
| | 03:41 |
make as many as you want, drag your files
into them.
| | 03:44 |
It doesn't duplicate the files on your
drive, so it doesn't take up any hard
| | 03:47 |
drive space.
And you can quickly see if images are
| | 03:49 |
going to work together to tell your
story.
| | 03:51 |
| | Collapse this transcript |
| Rating and labeling images| 00:00 |
One of the great features in Bridge is
that you're able to rate or label your
| | 00:04 |
images, not only in the content panel but
also in the full screen preview as well
| | 00:09 |
as the review mode.
When we did this in previous lessons, and
| | 00:13 |
that's what gave some of these images 1
star.
| | 00:16 |
We learned that there was a preference
that controls how we can use our keyboard
| | 00:21 |
shortcuts in order to assign our labels
and stars.
| | 00:25 |
So I want to return back to that to make
sure we're all in the same place, I'll
| | 00:29 |
choose the Bridge menu and then
Preferences.
| | 00:32 |
If you're on Windows, you want to select
the Edit menu and then Preferences.
| | 00:37 |
You'll notice that I've unchecked this
requirement to use the command key to
| | 00:41 |
apply my labels and ratings.
If I check this on, on the Mac, I'll need
| | 00:46 |
to use my Cmd key.
On Windows, I would need to use the Ctrl
| | 00:50 |
key plus 1 through 5 to star rate my
images, or the Cmd plus 6 through 9 in
| | 00:56 |
order to label them.
And, of course, these labels can be
| | 01:00 |
changed to anything you want.
If I wanted red to stand for something
| | 01:04 |
like, To Be Printed, I could go ahead and
enter that in.
| | 01:09 |
So, you can enter in whatever you want
that label to be as a reminder.
| | 01:14 |
I'm going to uncheck this and then I'm
going to click OK.
| | 01:18 |
And what that enables me to do is just
tap 1 through 5 here in the content window.
| | 01:24 |
It's still the same when you go to review
mode or fullscreen mode.
| | 01:28 |
You would just tap in the numeric keys,
you never use the modifier.
| | 01:31 |
But it's really quite nice here in the
content view to not need that modifier.
| | 01:37 |
So you don't always have to go into one
of the review modes when you are rating
| | 01:42 |
your images.
Here, what I've done is I've just made my
| | 01:45 |
thumbnail size a little bit larger and
then I can just scroll through and if I
| | 01:50 |
want to promote any of the images that
are 1 starred to 2-star, I can now just
| | 01:55 |
tap the 2 key.
So we'll just select the ones that we like.
| | 02:00 |
And we'll promote these to 2-stars.
So basically, I found some images that I
| | 02:06 |
like a little bit, some images that I
like a lot, and I'm giving the 2-star
| | 02:11 |
rating to the images that I like the
most.
| | 02:14 |
Now, some of you might be giving 5-star
ratings to the images you like the most.
| | 02:19 |
That's fine.
I typically just have a very kind of
| | 02:22 |
small ratings scale the no rating means
that I don't really like the image,
| | 02:28 |
1-star means there are very good images,
and then 2-stars are my top images
| | 02:33 |
otherwise for me it gets too confusing.
You know, what's the difference between a
| | 02:36 |
2 star and a 3 star?
And a 3 star and a 4 star?
| | 02:40 |
Of course, if I wanted to change one of
these ratings, I can do so as well.
| | 02:45 |
Select the image.
If I want to demote this, I can just tap
| | 02:47 |
the 0 key.
The 0 key removes the star, and I can
| | 02:52 |
also simply click next to a star icon, in
order to increase the star rating.
| | 02:58 |
Or I can click to the left of the stars
in order to remove a star rating.
| | 03:03 |
If I wanted to add a label I would just
tap like the six key, now I get my red label.
| | 03:08 |
If I tap the 7 key I get yellow, 8 is
green and 9 is blue.
| | 03:14 |
If you don't take the keyboard modifier
off and you try to just tap say for
| | 03:20 |
example the 1 key, what bridge will do is
that it will actually try to do a search
| | 03:26 |
in all of your file names, because it's
trying to find an image that has the
| | 03:30 |
number 1 in its name.
So just be sure that you go in that
| | 03:34 |
preference and turn it off.
Finally, if you scroll through and you
| | 03:38 |
really find an image that you don't like,
if you select that image you'll notice
| | 03:43 |
under the label menu.
There is a reject label.
| | 03:47 |
Now, you might have found this
previously, if you had just tried to tap
| | 03:51 |
the delete key in order to delete an
image from Bridge.
| | 03:55 |
Bridge asks you if you want to reject the
file or delete it.
| | 03:59 |
And then you can choose to reject it in
which case it just gets a label that says
| | 04:03 |
reject versus deleting it, which will
delete it from your hard drive.
| | 04:07 |
So if I click Reject, we can see that
reject label is applied.
| | 04:11 |
Excellent.
Well, changing that preference that
| | 04:14 |
removes the modifier key, the Cmd key or
the Ctrl key, should make Bridge's
| | 04:18 |
behavior much more consistent and easier
to remember.
| | 04:21 |
Just tap 1 through 5 for your star
ratings, and 6 through 9 for your labels,
| | 04:26 |
regardless if you're in review mode,
fullscreen, or the content panel.
| | 04:30 |
| | Collapse this transcript |
| Using the Filter panel to view different subsets| 00:00 |
One of the best things about computers is
that they can a lot of things much faster
| | 00:04 |
than I can do them manually.
For example, what if I have 500 images
| | 00:08 |
and I want Bridge to only show those
images that I've given one star or have a
| | 00:13 |
specific Keyword associated with them.
Well that's when the filter panel comes
| | 00:17 |
into play.
So here left side I'll click in order to
| | 00:21 |
show all of my different filter
capabilities.
| | 00:25 |
Now depending on what files you're
looking at, we'll have different options
| | 00:29 |
listed here.
If I use the fly out menu right here, you
| | 00:33 |
can see these are all of the different
categories that I can tell Bridge to display.
| | 00:38 |
But if the files don't have information
in a specific category then they'll go
| | 00:43 |
ahead and hide it.
If we look at a different folder of
| | 00:47 |
images for a moment, if I move down to
the ACR essentials.
| | 00:51 |
You can see that because some of these
files are Raw files, there's a lot more
| | 00:56 |
categories that I can choose to filter
on, because there's a lot more
| | 00:59 |
information in the files.
But we're going to stick to the Bridge
| | 01:02 |
folder for now.
An I'm going to make my thumbnails much
| | 01:06 |
smaller, so that we can see all of the
images at one time.
| | 01:10 |
Now, if I wanted to only view my 1-star
images, I could click next to the 1 star
| | 01:17 |
under the ratings category.
If I wanted to only see my 2-stars, I
| | 01:21 |
could uncheck the 1- star, and then check
on the 2-stars.
| | 01:25 |
And if I want to see both the 1 and the 2
stars, then I can simply click next to
| | 01:29 |
both of those options.
Let's go back to only looking at the 2
| | 01:33 |
stars for a minute, because I want to
show you that you can combine the
| | 01:36 |
different categories.
So say, for example, I want to see all of
| | 01:40 |
my 2 star images that also have the
keyword, Forbidden City.
| | 01:45 |
See on our 2-star images, that only have
the keyword Lama Temple.
| | 01:49 |
So, as we can see it's very easy to
refine, or narrow down my search using
| | 01:54 |
the filter categories.
We can go to orientation as well.
| | 01:58 |
And I can add that in.
So, lets see how many of my files, not
| | 02:02 |
only in landscape but also have the
keyword Lama Temple, and have 2 stars.
| | 02:06 |
If I don't want landscape, we can always
check portrait.
| | 02:10 |
If I want to turn off all my filters at
once we can click on the icon in the
| | 02:15 |
lower right, in order to remove all of
those filters and see all of our images.
| | 02:20 |
If I was looking at a folder full of
images and say I wanted to only see the
| | 02:25 |
2-stars, the pen in the lower left,
clicking that icon will allow me to keep
| | 02:31 |
this filter as I moved to a different
folder.
| | 02:34 |
So you might want to be careful if you
move to a another folder.
| | 02:37 |
And it's not showing you any images.
It might be because you've clicked that
| | 02:41 |
pen in order to keep that filter on.
I'll go ahead and click the no filter
| | 02:45 |
icon in order to remove the filter and
then move back to the bridge folder.
| | 02:50 |
Obviously you can get really detailed
with filtering, and since this is the
| | 02:54 |
type of thing that computers do really
well.
| | 02:56 |
Be sure that you take advantage of it.
And don't waste a lot of time trying to
| | 02:59 |
manually select the images that you want,
if you can use the computer and the
| | 03:04 |
metadata in the files to do it for you.
| | 03:06 |
| | Collapse this transcript |
| Using smart collections| 00:00 |
There's another way to take advantage of
the metadata in a file, and that's to
| | 00:03 |
create a smart collection.
Now, similar to filtering, Bridge is
| | 00:07 |
going to look in the metadata of the
files to select the images that match the
| | 00:12 |
criteria of the smart collection.
But smart collections are a bit easier to
| | 00:16 |
revisit because they're saved in the
Collections panel until you remove them.
| | 00:20 |
So let's start by clicking on the
Collections panel and in the lower
| | 00:25 |
portion, I want to click on the icon that
has the little gear on it to create a
| | 00:30 |
smart collection.
You need to tell bridge where to look.
| | 00:33 |
So in this case I'm going to have it look
into this folder.
| | 00:37 |
And then we can set our criteria.
And you can see there is a ton of
| | 00:41 |
different criteria.
So for example I could search on
| | 00:45 |
something like keywords or in labels.
Or in this case, we're going to select rating.
| | 00:50 |
And I'm going to say the rating equals 1
star.
| | 00:54 |
So if the rating equals 1 star and the
image is in this folder, basically if any
| | 00:59 |
of the criteria are met I want Bridge to
go ahead and take that image and put it
| | 01:03 |
into this virtual collection, so when I
say take the image...
| | 01:09 |
Bridge is really just going to create a
pointer to the file.
| | 01:13 |
Its not going to move any other files on
your hard drive, nor its going to
| | 01:16 |
duplicate any of the images, it's just
going to make a virtual collection of
| | 01:19 |
images based on the search criteria.
So, I'll click save and we can see here
| | 01:25 |
is the result of that search criteria.
And I'm going to put in here, the best of
| | 01:32 |
China, as my name of my collection, but
the one thing that I'm noticing, is that
| | 01:37 |
it's only giving me the 1-star images.
I actually wanted the 1-star and 2-star images.
| | 01:46 |
So, in order to make a change to my smart
collection.
| | 01:50 |
I can either click on the icon in the
upper right, the content panel, or the
| | 01:55 |
lower left of the collections panel.
This will enable me to edit my smart collection.
| | 02:00 |
So, in this case, I'm going to change the
criteria so my rating is greater than or
| | 02:06 |
equal to 1-star.
Now when I click save you'll notice that
| | 02:11 |
I get not only the 1-star images, but
also the 2-star images.
| | 02:16 |
Now let's return back to our bridge
folder, and let's say that I'm working
| | 02:22 |
along and I decide that these 2 images
here should not have 1 star.
| | 02:27 |
So, I'm going to remove that by tapping
the 0 key.
| | 02:32 |
And of course I only have to tap the 0
key.
| | 02:34 |
I don't have to use the keyboard shortcut
Cmd 0 or Ctrl 0 in Windows because I set
| | 02:38 |
that up in my preferences, but now that
these 2 images no longer have a star
| | 02:44 |
rating, when I return back to the best of
China smart collection, you'll notice
| | 02:49 |
that Bridge has automatically removed
those images.
| | 02:53 |
Likewise, if I select these 2 images and
I demote them by tapping the 0 key, well
| | 03:00 |
they no longer have any stars.
But it doesn't seem like Bridge is
| | 03:04 |
removing them.
That's because every time you click on a collection.
| | 03:09 |
That's when Bridge goes out and does its
filtering, so all I need to do is click
| | 03:15 |
on the Best Of China collection in order
to have it re-filter and create the new results.
| | 03:22 |
Most of the time I prefer using the smart
collections over the filter panel because
| | 03:27 |
they're saved in a collections panel and
I can return to them at any time...
| | 03:31 |
Plus I can make changes to either the
images or the smart collection, and
| | 03:36 |
they'll be updated automatically.
| | 03:38 |
| | Collapse this transcript |
| Viewing final selects in a slideshow| 00:00 |
When you're finished editing your shoot,
you might want to present your images as
| | 00:04 |
a slideshow.
Now, in order to select the images that
| | 00:07 |
we want to present, we could use our
filters to maybe just select our one star
| | 00:12 |
and two star images.
Or we could use the smart collection that
| | 00:16 |
we created in order to create a
collection, and then just play these images.
| | 00:22 |
Or we can return to our images and we can
simply move through and select the images
| | 00:27 |
that we want to show in our slideshow.
Regardless of the way you select your
| | 00:32 |
images, when you're ready, all you need
to do is select View and then Slideshow.
| | 00:37 |
Or use the keyboard shortcut Cmd+l on Mac
or Ctrl+l on Windows.
| | 00:42 |
Bridge automatically shows your image
full screen.
| | 00:46 |
And then moves from one image to the
next.
| | 00:49 |
If you tap the space bar Bridge will
pause the slide show.
| | 00:53 |
Which is really convenient if, say, for
example, you're trying to present the
| | 00:58 |
images and you need to control the timing
because you're telling a story.
| | 01:02 |
While it's paused to move to the next
image, you can use the right arrow key,
| | 01:07 |
or to move to the previous image, you can
use the left arrow key.
| | 01:12 |
To start the slideshow playing again,
you'd simply tap the space bar again.
| | 01:16 |
You can also tap the h key.
The h key will let you see additional shortcuts.
| | 01:23 |
For example, you can see how you zoom in
or zoom out.
| | 01:27 |
If we tap the Escape key and we go back
to Bridge, and choose the View menu, and
| | 01:32 |
then Slideshow Options.
Here we can set a number of additional
| | 01:37 |
options, and these will become our
default.
| | 01:41 |
So, for example, if I wanted to change
the duration down to two seconds.
| | 01:44 |
Or up to ten seconds, I can do so.
I can also choose the Scale to Fit options.
| | 01:51 |
Which means you're going to see the
entire image.
| | 01:54 |
Or I can choose scale to fill in which
case, some of your image might be
| | 01:59 |
cropped, but it's going to fill the
entire screen.
| | 02:03 |
I prefer the Scaled to Fit.
We also have different transition
| | 02:06 |
options, so for example, if you don't
like the default dissolve, you can choose
| | 02:11 |
from any of these different transitions.
I'm pretty simple, so I just want my
| | 02:16 |
image to dissolve into the next one.
And we can choose how fast or slow we
| | 02:20 |
want the transition.
I think the default settings are pretty
| | 02:24 |
good, so I'll leave this alone as well.
Finally, we can choose to repeat the
| | 02:28 |
slideshow so that when it's done, it'll
simply start over again.
| | 02:33 |
If I click Play, then Bridge will start
playing my slideshow.
| | 02:37 |
If I click Done, then these become my
default settings for the next time I
| | 02:42 |
create a slideshow.
So it's as easy as that to set up a
| | 02:45 |
custom slide show based on the images
that you want to show in Bridge.
| | 02:49 |
| | Collapse this transcript |
| Organizing groups of images into stacks| 00:00 |
An additional organizational feature
found in Bridge is the ability to group
| | 00:04 |
photos or stack images.
This can be tremendously helpful when
| | 00:07 |
trying to organize large volumes of
images, or when you have a lot of images
| | 00:12 |
that are very similar but you don't need
to see them all in the content area.
| | 00:15 |
And instead you only want to see one
thumbnail which would represent all of
| | 00:20 |
the images within that group.
So let's take a look at these three
| | 00:24 |
images that are very similar.
I'll go ahead and select all three of them.
| | 00:28 |
And then, in order to stack them, I'll
chose Stack, and then Group as Stacks, or
| | 00:34 |
I can use the keyboard shortcut Cmd+G on
Mac, or Ctrl+G on Windows.
| | 00:39 |
Now, all of the images in the stack are
represented by this little, stacking kind
| | 00:44 |
of icon, as well as the number which
represents how many images are within the stack.
| | 00:50 |
If I click on the three, it will expand
that stack.
| | 00:54 |
And if my Preview Panel is showing, which
I can do by simply double-clicking on it,
| | 00:59 |
we can see the contents of the stack over
in the Preview Panel as well.
| | 01:04 |
If I want to collapse the stack, I can
simply click the three again.
| | 01:08 |
Let's go ahead and create a secondary
stack.
| | 01:11 |
In this case, I'll select these images
and use Cmd+G on Mac, or Ctrl+G on Windows.
| | 01:17 |
If I want to see the contents of this
stack because I think that this image
| | 01:21 |
here is a better image and will better
represent all of the images within the
| | 01:26 |
stack, I can select it, and then under
the Stack Menu choose to promote it to
| | 01:32 |
the top of the stack.
Now when I close this stack you can see
| | 01:37 |
that that's the top most image.
If I want to expand the stacks using the
| | 01:42 |
keyboard shortcut I can use Cmd > Opt and
then right arrow on Mac, it'd be Ctrl +
| | 01:48 |
right arrow on Windows.
And if I want to collapse them it's the
| | 01:52 |
same modifiers Cmd > Opt on Mac, Ctrl on
Windows, and then the left arrow key.
| | 01:57 |
If I want to kind of play through all of
the images that are in a stack, I can
| | 02:04 |
make my thumbnails a little bit larger
and then you'll notice that to the right
| | 02:09 |
of the number of the images that is in
the stack there's a little play icon, and
| | 02:14 |
if I click on that Bridge will
automatically play through all of the
| | 02:18 |
images in the stack.
So, it's a nice way to see the contents
| | 02:21 |
of the stack without opening and closing
the stack.
| | 02:24 |
And if you are photographing something
like time lapse photography, if you put
| | 02:29 |
all of your images in a stack, this is a
great way to preview each one of those
| | 02:33 |
frames right from within Bridge without
ever having to go to Photoshop to see a
| | 02:39 |
little animation of those images.
And of course, you can use a combination
| | 02:44 |
of either collections or filters in order
to quickly narrow down the images that
| | 02:49 |
you're looking at and create stacks based
on those filters or collections.
| | 02:55 |
If I want to remove an image from a
stack, I'll expand the stack, and then
| | 03:01 |
select the image that I want to remove,
and either choose Stacks > Ungroup from
| | 03:07 |
Stack, or, if I select another image, you
can see that I can use my
| | 03:11 |
contact-sensitive menus as well, to
choose Stack, and then Ungroup from Stack.
| | 03:18 |
So on Windows, it's a right mouse click
to get your context-sensitive menus, on
| | 03:22 |
the Mac, it's Ctrl > click, and then
select to ungroup that image from the stack.
| | 03:28 |
And because it's so easy to stack a large
number of images I find that after
| | 03:34 |
stacking another added bonus is because
there are fewer images in the content
| | 03:39 |
area, I can actually make the thumbnails
for that content area larger.
| | 03:44 |
Yet I'm still able to have a good
overview of all of the photographs that
| | 03:49 |
are contained in that folder.
| | 03:51 |
| | Collapse this transcript |
|
|
3. Camera Raw EssentialsComparing raw and JPEG files| 00:00 |
There are two primary formats that
digital cameras capture today, RAW and JPEG.
| | 00:05 |
But what can be confusing is that there
are a lot of different flavors of raw.
| | 00:08 |
It's sort of a generic term that people
use to describe the unprocessed data that
| | 00:13 |
the camera captures.
For example Nikon's raw format is .mef
| | 00:19 |
and Canon's raw format is .crw.
These file formats are all very similar
| | 00:24 |
and that they contain much of the same
information such as meta data about the
| | 00:28 |
camera settings and image information.
But there's just no standard way of
| | 00:32 |
writing a RAW file, so each one has its
own unique order to the data.
| | 00:38 |
There s one RAW format that's not
proprietary, and that's the DNG format.
| | 00:43 |
Many people convert their files into DNG
because of the fact that it's an
| | 00:47 |
openly-documented file format in hopes
that their files will be able to opened
| | 00:53 |
farther into the future and if they're
kept in a proprietary format.
| | 00:57 |
Adobe's the creator of the DNG format and
more information can be found on their website.
| | 01:02 |
It's important to know that if you
compare the quality of a RAW format
| | 01:06 |
versus a JPEG, there's more information
in a RAW file.
| | 01:10 |
For example capturing in RAW creates
images with greater dynamic range, larger
| | 01:15 |
color spaces and, therefore, allows more
flexibility in post processing.
| | 01:20 |
Basically you can make larger adjustments
to your RAW files without losing image quality.
| | 01:25 |
Capturing in the JPEG format while
rendering a smaller file that's faster to
| | 01:29 |
download forces the camera software to
process the file using lossy compression,
| | 01:35 |
which throws away thousands of colors and
tonal values.
| | 01:38 |
The end result is that you can't make as
dramatic changes without losing quality.
| | 01:43 |
Basically, capturing RAW gives you a
bigger box of crayons to work with, so
| | 01:48 |
let's take a look at this example.
I'm going to select these two images that
| | 01:53 |
are of the same scene, but one is a DNG
or a RAW file, and the other is a JPEG file.
| | 01:59 |
Now in order to open these both in the
camera raw, instead of using file open or
| | 02:04 |
double-clicking on them, I'm going to
click on the open in camera raw icon.
| | 02:09 |
Then in order to see this full screen,
I'll click on the full screen preview We
| | 02:16 |
can see that I have my 2 files open.
The jpg file and the dmg file.
| | 02:21 |
And that I can move back and forth
between them by just clicking on their icons.
| | 02:26 |
What I'm going to do is, we'll perform a
simple autoadjustment on the dmg file.
| | 02:30 |
And you can see that it's recovered a lot
of information in the highlight area.
| | 02:36 |
Because this image was overexposed to
begin with.
| | 02:40 |
I'll go ahead and move the highlight
slider to the left even more to recover a
| | 02:44 |
little bit more information.
Then we'll do the same thing to the JPEG.
| | 02:49 |
I'll select it and click Auto.
And then move my Highlight slider down.
| | 02:54 |
Now, let's zoom in to this area here.
I'll click once, one more time so that
| | 03:00 |
we're viewing at 100%, and I'll use the
space bar in order to temporarily access
| | 03:07 |
the hand tool, or you can click on the
hand tool.
| | 03:09 |
And then just scoot this over.
I want to make sure that I'm viewing the
| | 03:13 |
upper left hand corner, so here's the
result of the processing on the JPEG and
| | 03:19 |
if I move to the DNG file and we zoom in
either by clicking with a zoom tool or by
| | 03:25 |
selecting 100% and using the hand tool in
order to scroll to the top of the image
| | 03:30 |
and we can see that there's a lot more
information...
| | 03:33 |
Being held in those highlight areas with
the DNG file.
| | 03:37 |
So again, here's the JPG file you can see
that we don't have a lot of detail in
| | 03:42 |
those highlights.
And here it is compared to the DNG.
| | 03:45 |
Now even though we're pulling back in the
detail in the highlights, this isn't to
| | 03:50 |
say that you shouldn't do your best to
make the correct exposure in camera It's
| | 03:55 |
just to point out that if you need to
make changes to your Photograph, you'll
| | 03:59 |
have more information to work with if you
capture in Raw.
| | 04:02 |
Of course, if you really over expose your
image, then even capturing in raw might
| | 04:07 |
not save you.
If there's no information in the
| | 04:09 |
highlights, nothing can bring back
information that's not there.
| | 04:13 |
Of course, there are times when capturing
in jpg has it's advantages.
| | 04:16 |
1st, all the files are going to be much
smaller.
| | 04:19 |
And therefore faster to download.
Therefore, some experienced photographers
| | 04:24 |
like maybe and event photographer that's
photographing each participant with the
| | 04:29 |
same background and a controlled lighting
condition.
| | 04:31 |
Or who's confident that their images will
not need corrections might capture in JPEG.
| | 04:37 |
But for most of us, I would recommend
that, if given the option, capture in
| | 04:41 |
RAW, so that you have the ability to make
corrections in post without compromising
| | 04:45 |
any image quality.
In order to back out of the Camera RAW
| | 04:49 |
dialogue box without making any changes
to this image, I'm going to select Cancel
| | 04:55 |
And then I'll choose yes.
So there we can see the advantage of Raw
| | 04:59 |
over Jpeg in the ability to pull out
information after capture.
| | 05:04 |
| | Collapse this transcript |
| Starting in Camera Raw instead of Photoshop| 00:00 |
So why should you use Adobe Camera Raw to
process your files?
| | 00:03 |
Why not go directly into Photoshop and
start editing there.
| | 00:06 |
Well, let's take a few minutes to talk
about the 5 reasons to start in Camera Raw.
| | 00:11 |
First of all, everything you do in Adobe
Camera Raw is non destructive.
| | 00:15 |
You can change as many sliders as you
want and always return to the original
| | 00:20 |
starting point.
Not to be too technical, but when you
| | 00:22 |
move a slider in Camera Raw, it's only
assigning a set of instructions that
| | 00:27 |
tells Camera Raw how to display the
image.
| | 00:30 |
So if you move the exposure slider up 1
stop, all Camera Raw does is say, hey,
| | 00:34 |
let's save a set of instructions that
will preview this image with a 1-stop exposure.
| | 00:40 |
Now you might have heard this referred to
as parametric editing as opposed to pixel
| | 00:45 |
based editing, which is what Photoshop is
so good at.
| | 00:48 |
In order to save each one of the changes
to the slider, Camera Raw writes these
| | 00:53 |
changes to a side car file.
Well it writes it to a side car file in
| | 00:57 |
the case of a camera manufacturer's
proprietary raw file format.
| | 01:01 |
Such as the NEF or CRW, and that's
because camera raw doesn't want to write
| | 01:07 |
changes into those proprietary formats
because its afraid it might break those
| | 01:12 |
file formats by writing the information
in the wrong place.
| | 01:16 |
So you might have seen these little side
car files next to your original raw files
| | 01:20 |
in the operating system.
They're going to be named the same as
| | 01:23 |
your original document, but they'll be
dot xmp files.
| | 01:28 |
Now, in the case of a DNG file or in the
case of a JPEG file, those changes that
| | 01:33 |
you make in Camera Raw can be stored
directly into the file itself, because
| | 01:38 |
those are standard file formats, so
Camera Raw knows exactly where to put the information.
| | 01:44 |
Either way if you are working with your
proprietary raw files or the standard d
| | 01:49 |
and g format or jpeg.
Those changes can be updated or deleted
| | 01:54 |
at any time.
Its not until you open a file in
| | 01:57 |
Photoshop that these changes that you are
making Camera Raw, the ones that are
| | 02:01 |
being stored as either side car files or
are been pushed into the d and g or jpeg files.
| | 02:07 |
It's not until you open those in
Photoshop that the sets of instructions
| | 02:12 |
get applied to the raw data and are
opened as a corrected, pixel based file
| | 02:17 |
in Photoshop.
The second advantage is that Camera Raw
| | 02:21 |
has a built in workflow.
The features in the sliders and the
| | 02:23 |
panels are all structured and you can
follow them taking the guess work out of
| | 02:28 |
what you're suppose to do.
Sometimes it's really difficult for a
| | 02:30 |
beginner when you open a file into
Photoshop to know if they're suppose to
| | 02:34 |
use a menu or a tool or work with the
panels.
| | 02:37 |
In Camera Raw, it's really quite simple
because all you need to do is start in
| | 02:41 |
the basic panel and then click through
the other panel tabs for additional options.
| | 02:46 |
Another advantage is that Camera Raw
works not only with raw files but also
| | 02:51 |
with JPF files as well as TIF files.
So even though it's called Camera Raw,
| | 02:57 |
you can work with all these different
file formats.
| | 03:00 |
So once you learn the settings and how to
apply them, you can then use them to
| | 03:04 |
correct or enhance all of your
photographs.
| | 03:07 |
The fourth advantage is that Camera Raw
can be automated.
| | 03:10 |
It's really easy to apply changes to
hundreds of photos at a time.
| | 03:15 |
You can make changes to 1 image and then
synchronize them.
| | 03:18 |
You can copy paste changes from 1 image
to another and you can even save presets
| | 03:24 |
to apply to different photos.
Now, obviously Photoshop can also be
| | 03:28 |
automated but learning how to create and
record actions is much more difficult
| | 03:33 |
than simply creating a preset in camera
raw.
| | 03:36 |
Finally, camera raw has a really simple
learning curve.
| | 03:39 |
Of course, Photoshop has layers and it
has masking and selections and type and
| | 03:44 |
adjustment layers.
And all of those building blocks are what
| | 03:47 |
make Photoshop the most powerful image
editing tool on Earth.
| | 03:51 |
But, it's a lot to learn.
Camera raw is so much easier.
| | 03:55 |
So now that we know the advantages of
using camera raw, it's time to see the
| | 03:59 |
work flow in action.
| | 04:01 |
| | Collapse this transcript |
| Touring the Camera Raw user interface| 00:00 |
The first thing that we need to do is
familiarize ourselves with the Camera Raw interface.
| | 00:05 |
I'll select the iceberg image, and
instead of double clicking on it, I'm
| | 00:09 |
going to click on the Open in Camera Raw
icon.
| | 00:12 |
Or you can use the keyboard shortcut
Cmd+R on the Mac or Ctrl+R on Windows.
| | 00:18 |
If you're not in full screen mode, be
sure to click on the preview icon, up
| | 00:22 |
here to toggle.
Here we are out of full screen mode, and
| | 00:26 |
here we are in full screen mode.
You'll notice that the tools are along
| | 00:30 |
the top and as I hover my cursor on top
of each one, it shows me not only the
| | 00:34 |
name of the tool, but also the keyboard
shortcut associated with that tool.
| | 00:39 |
So for example if I wanted to select the
Crop tool all I need to do is tap the C key.
| | 00:44 |
If I want to move back to the Zoom tool
all I need to do is tap the Z key.
| | 00:49 |
In the center area is the preview and in
the lower left I can choose to either
| | 00:55 |
zoom in by clicking on the icons.
To zoom in, zoom out, or we can select a
| | 01:01 |
variety of different zoom levels from the
list, or I can use my keyboard shortcut
| | 01:06 |
Cmd+plus in order to zoom in, or
Cmd+minus to zoom out.
| | 01:12 |
On Windows, that'd be the Ctrl key.
I can also use the shortcut, Cmd+0, to
| | 01:16 |
zoom in to fit on screen or Ctrl+0 on
Windows.
| | 01:21 |
All of the different panels are here on
the right.
| | 01:24 |
The basic panel is the default panel, and
here's where we'll make all of our
| | 01:28 |
default adjustments to exposure and
contrast, shadow and highlights, set our
| | 01:33 |
black and white points, as well as
increase clarity, vibrance and saturation.
| | 01:39 |
We can also change the color temperature,
and we have an option to have Camera Raw
| | 01:44 |
automatically adjust the image for us.
The next panel over is the tone curve,
| | 01:50 |
where we have both the parametric tone
curve editor, as well as a point curve.
| | 01:55 |
Then we have a detail panel, which allows
us to modify our sharpening as well as
| | 02:00 |
noise reduction.
In the HSL and grey scale panel, we can
| | 02:05 |
choose to modify just a hue, saturation
or luminosity value in our image.
| | 02:11 |
And we can also choose to convert our
image to grey scale.
| | 02:15 |
In the next panel is split toning where
we can add a color cast to our shadows or
| | 02:20 |
to our highlights and we can do this
either to a color image or a black and white.
| | 02:25 |
The next panel is for making lens
corrections.
| | 02:28 |
We can go in and apply profile
corrections to remove distortions caused
| | 02:33 |
by the lens.
We can remove chromatic aberration and we
| | 02:36 |
can do both automatic as well as manual
perspective corrections.
| | 02:44 |
In the effects panel we can add grain as
well as a post crop vignette.
| | 02:49 |
We also have the ability to select
different camera profiles in the camera
| | 02:54 |
calibration panel.
We can create and save presets and we can
| | 02:59 |
save out snapshots.
In the lower left, we have options to
| | 03:03 |
save out images as different file
formats.
| | 03:07 |
We have our work flow settings in the
center, and on the lower right, we can
| | 03:12 |
choose whether we want to open the image
in Photoshop, if we prefer to cancel out,
| | 03:17 |
or click done in order to save those
settings with the image.
| | 03:22 |
When I click done you'll notice that I
was returned back to Bridge, and we can
| | 03:27 |
see the settings icon, which tells me
that this image has settings applied to
| | 03:32 |
it through Camera Raw.
Now one small detail that I want to point
| | 03:37 |
out just to avoid any confusion, is the
reason that I had you select the image,
| | 03:43 |
and then click the Camera Raw icon in
order to open it.
| | 03:47 |
Because I wanted to show you that this is
going to enable you to make changes in
| | 03:52 |
Camera Raw in Bridge.
And what I mean by that is when you make
| | 03:57 |
your changes to your image, and then you
click done, you're actually returned
| | 04:02 |
directly back to Bridge.
If you were to open the file by
| | 04:06 |
double-clicking on it.
Then you can see Photoshop in the
| | 04:10 |
background there for a minute and if I
made another change to my image, when I
| | 04:15 |
click done, it doesn't return me back to
Bridge, instead it takes me to Photoshop.
| | 04:21 |
So, if I wanted to get back to bridge, I
could either use the File menu and choose
| | 04:26 |
Browse in Bridge.
Or use the keyboard shortcut Cmd+Option+O
| | 04:30 |
or Ctrl+Alt+O on Windows.
So I just wanted to make sure that if
| | 04:35 |
you're following along with your own
files whether or not your working with
| | 04:38 |
raw or JPEG, if you select the option to
Open in Camera Raw then you'll be sure
| | 04:45 |
that when you're finished and you click
Done, you'll return back to Bridge.
| | 04:48 |
Whereas otherwise if you double-click a
file to get to Camera Raw, then it would
| | 04:53 |
take you to Photoshop when you click
Done.
| | 04:55 |
And that's actually a feature, because if
I have a limited system maybe that's not
| | 05:00 |
running very quickly, what I could do is
I could select my raw files in Bridge and
| | 05:05 |
use the Camera Raw icon in order to open
them in Bridge without having to run Photoshop.
| | 05:11 |
If you double-click on them, then you'll
have Bridge running as well as Photoshop running.
| | 05:16 |
So, I know it's a small detail.
And, for most people it won't make a difference.
| | 05:21 |
But, I didn't want you to be puzzled by
the different behavior if you were using
| | 05:26 |
your own files in order to follow along.
| | 05:28 |
| | Collapse this transcript |
| Previewing before and after adjustments| 00:00 |
When making changes in Camera Raw, it can
be really helpful to see the before and
| | 00:04 |
after versions of the image that you are
working on.
| | 00:07 |
In Bridge, let's go ahead and select the
iceberg image again and then click the
| | 00:11 |
Camera Raw icon.
Now in the last lesson, we clicked on the
| | 00:16 |
Auto button in order to make changes, but
we made another change after that.
| | 00:19 |
So, I'll just click Auto to make sure
that we're all in the same place.
| | 00:23 |
If I want to preview a before and after,
I can tap the P key and that toggles on
| | 00:29 |
the check mark up here, next to the
Preview button.
| | 00:32 |
So just tapping the P key will toggle on
and off the Preview.
| | 00:37 |
Now if we scoot over to a different
panel, say, for example, the Effects
| | 00:41 |
panel and we add a post-crop vignette by
moving the Amount slider over to the
| | 00:47 |
left, now when I tap the P key, the P key
is only going to preview the changes that
| | 00:53 |
I've made in this specific panel.
If I want to preview all of the changes
| | 00:59 |
that I've made to this image, then I need
to select the Presets panel.
| | 01:05 |
Now, when I tap the P key, then you'll
notice that not only am I previewing the
| | 01:09 |
auto-adjustment, but I'm also previewing,
or toggling on and off, the post-crop
| | 01:15 |
vignette adjustments.
So there are keyboard shortcuts that will
| | 01:19 |
help us navigate through all of these
different panels.
| | 01:22 |
If I want to quickly return back to the
basic panel, I'll hold down Option+Cmd+1.
| | 01:30 |
On Windows, that would be Alt+Ctrl+1.
As we increase the number, for example,
| | 01:35 |
Cmd+Option or Ctrl+Alt 2, we'll go to the
Tone Curve, 3 takes us to Detail, 4 goes
| | 01:42 |
to HSL/Grayscale, 5 is Split Toning, 6 is
lens Correction, 7 is Effects, and then 8
| | 01:50 |
is Camera Calibration, and 9 is Preset.
So, it's very easy to go from the Basic
| | 01:57 |
panel and then switch quickly over using
Option + Cmd or Ctrl + Alt + 9 to get to
| | 02:03 |
your presets.
And then just tapping the P key to toggle
| | 02:06 |
on and off the changes that you've made.
Now, there is another keyboard shortcut
| | 02:12 |
which is, again, the Option+Command or
Alt+Ctrl, and this time, I'll tap the 0 key.
| | 02:18 |
You'll notice that that takes me to 100%
view.
| | 02:21 |
If let go of the Option key and just use
the Command key and tap the 0, or on
| | 02:26 |
Windows, it would be just the Ctrl key
and tap the 0, then you can see that we
| | 02:31 |
return back to Fit in Window.
I always find it helpful to toggle the
| | 02:35 |
Preview for an image on and off just to
make sure that I'm not overdoing my corrections.
| | 02:41 |
Of course, if I change my mind, I can
always return back to Camera Raw and
| | 02:45 |
refine my adjustments, since everything
is non-destructive.
| | 02:47 |
In fact, one last shortcut before we
finish.
| | 02:51 |
If you hold down that Option key on the
Mac, or the Alt key on Windows, you'll
| | 02:55 |
notice that the Cancel button changes to
Reset.
| | 02:59 |
So if I ever just wanted to reset all of
the changes to get back to the starting
| | 03:03 |
point, I'll hold down that Option or Alt
key, and just click on Reset.
| | 03:08 |
So there's a quick way to preview the
changes that you've made either in a
| | 03:11 |
single panel or in all of your panels
together.
| | 03:15 |
I'll go ahead and click Done and return
back to bridge.
| | 03:17 |
| | Collapse this transcript |
| Toggling onscreen Shadow/Highlight clipping warnings| 00:00 |
When you're making changes to your images
in Camera Raw, it's important to keep
| | 00:04 |
your eye on both the image as well as the
histogram in order to avoid clipping
| | 00:08 |
areas in your image to pure black or pure
white.
| | 00:11 |
Let's go ahead and select the glacier
image and then use Cmd+R or Ctrl+R in
| | 00:17 |
Windows in order to open it in Camera
Raw.
| | 00:20 |
As you can see this image is a little bit
overexposed, and it's hard to see any
| | 00:25 |
detail at the top of the glacier.
I'd like to see the areas of my image
| | 00:30 |
that are clipped either to pure black or
pure white, and in order to do this I'll
| | 00:34 |
turn on my clipping warnings.
In order to turn on the clipping warning
| | 00:38 |
for my shadows I can either click right
here on this triangle or I can tap the U key.
| | 00:45 |
In order to preview any of the values
that are clipped in my highlight area
| | 00:49 |
I'll either click on this icon or tap the
O key.
| | 00:52 |
We can remember that by just thinking U
for underexposed and O for overexposed.
| | 00:56 |
As soon as I toggled on the clipping
warnings for my highlights we can see
| | 01:02 |
this red overlay telling me that these
values in my image are going to be
| | 01:07 |
clipped to pure white, with no detail.
And in fact, if I use my white slider,
| | 01:12 |
and I move it over to the right, you can
see that I would actually be pushing more
| | 01:16 |
information to pure white.
And we can see that this value is
| | 01:20 |
growing, right up here on the right-hand
side of the histogram.
| | 01:24 |
What I need to do is actually move my
whites in the other direction, until I
| | 01:28 |
can no longer see any of the little
overlay of red in my image.
| | 01:33 |
And that's going to tell me that I'm no
longer clipping my highlights.
| | 01:37 |
And if you watch the histogram, you can
watch it move from clipping all the way
| | 01:42 |
off to the right of the histogram, and
then as I move the whites down, it's
| | 01:46 |
slowly being brought back into a
printable range.
| | 01:50 |
Now in this case, I don't have any
clipping warning for my blacks, because
| | 01:54 |
there actually aren't any pure blacks in
my image.
| | 01:57 |
And I know this by looking at the
histogram because there's no pixels in my
| | 02:01 |
historgram beyond this point.
So in this case I actually want to move
| | 02:06 |
my black slider to the left in order to
increase the dynamic range of the image,
| | 02:11 |
so that I have values in my photograph
that go all the way from pure black to
| | 02:16 |
pure white.
Of course if I take the slider too far,
| | 02:19 |
then you'll start to see the blue overlay
that's warning me that I'm clipping those
| | 02:25 |
values to pure black.
So let's just back off a little bit on my
| | 02:29 |
black slider until I no longer see those
blue areas.
| | 02:32 |
Now, when you're adjusting your whites,
the lightest value in your image, you
| | 02:38 |
want to be sure that you're actually not
clipping because our eye is very
| | 02:43 |
sensitive to whether or not there's
detail in an area.
| | 02:47 |
Especially if you're going to be printing
these images, because if you're printing
| | 02:51 |
an image and say, for example, we're
printing this, if there is no dot being
| | 02:56 |
printed in the highlight area, well,
because our eye is very sensitive to
| | 03:01 |
textures and patterns, our eyes will
immediately notice that there's no dot
| | 03:06 |
and our eyes will go right to that area
of the image.
| | 03:10 |
On the other end to the spectrum in your
blacks there are plenty of times when you
| | 03:15 |
might want to make a creative or
aesthetic adjustment and push those
| | 03:19 |
values to pure black.
But the clipping warnings are a great way
| | 03:23 |
to at least let you know what areas in
your image will be pushed to either pure
| | 03:28 |
white or pure black so you can make
adjustments based on that knowledge.
| | 03:33 |
Now, in this particular instance I also
think that the overall exposure is just a
| | 03:38 |
little overexposed.
So I'm going to bring down my Exposure
| | 03:42 |
slider until I like the mid-tones in the
image.
| | 03:46 |
Now as I decrease the exposure, we might
need to go in and make small refinements
| | 03:51 |
to the black and white point.
Again, if we don't want those values to clip.
| | 03:56 |
So I'll move my blacks up a little bit.
I'm obviously not clipping in my whites
| | 04:00 |
any longer.
If I did want to bring back a little bit
| | 04:03 |
more detail in this highlight area up
here in this portion of my histogram,
| | 04:08 |
which is referencing these bright values
here at the top of the glacier, as well
| | 04:12 |
as any areas here.
Then, I could bring down the highlight
| | 04:16 |
slider, as well.
To just bring back a little bit more detail.
| | 04:20 |
So, again we'll tap the P key.
The P key is going to preview the before
| | 04:25 |
and after.
So, with just a few quick adjustments, in
| | 04:29 |
the basic panel, you can see how we can
take an image that might've started off a
| | 04:33 |
little too light and almost overexposed,
and really tone it down a bit.
| | 04:38 |
In order to get a much better dynamic
range represented in the photograph.
| | 04:43 |
| | Collapse this transcript |
| Choosing output settings| 00:00 |
When you're finished making all of your
changes, and you're ready to open your
| | 00:03 |
image into Photoshop, or if you're going
to save it even without going through
| | 00:08 |
Photoshop, you're going to want to make
sure that you pay attention to your
| | 00:11 |
workflow settings.
This little hyperlink, right down here,
| | 00:15 |
when you click on this, it will show you
all of your workflow options.
| | 00:20 |
For color space, I'm going to recommend
that we use the Adobe RGB Color Space for
| | 00:25 |
this training series.
But there are additional options.
| | 00:29 |
For example, if I knew that I was going
to bypass Photoshop and instead, I just
| | 00:34 |
needed to save, you know, 100 images that
I wanted to place online, then I might
| | 00:40 |
change this to SRGB because SRGB is the
most common color space that you would
| | 00:46 |
find on the web.
If you wanted to make use of a color
| | 00:50 |
space that's even larger than Adobe RGB,
then we can go ahead and choose ProPhoto.
| | 00:57 |
ProPhoto's going to give you even more
colors and many would argue that I'm
| | 01:02 |
actually limiting the colors that I work
with unnecessarily by choosing to work in
| | 01:07 |
Adobe RGB.
However, there can be a slight mismatch
| | 01:11 |
where ProPhoto can contain more colors
than the typical monitor can display.
| | 01:17 |
So as a nice compromise, I'm going to
suggest that you choose Adobe RGB for the
| | 01:22 |
work that you take into Photoshop for
this training series.
| | 01:25 |
If you're going to the web, then we
definitely want to change it to SRGB.
| | 01:29 |
As far as bit depth though, I would
encourage you to work in 16 bit per channel.
| | 01:36 |
There's more information in a 16 bit per
channel image, than there is in an eight bit.
| | 01:42 |
Now the files will be a little bit
larger, but I think file size is a small
| | 01:47 |
price to pay for better image quality.
As for the size, if you know that you're
| | 01:52 |
going to enlarge your image, you'll want
to do that here in Camera Raw as early in
| | 01:58 |
your workflow as you can, as opposed to
taking it to Photoshop and resampling
| | 02:04 |
your image there.
If you're working with a Raw file, you
| | 02:08 |
will probably see more options than what
we're seeing here by default.
| | 02:12 |
The reason that we're only seeing the two
is that I've actually saved this file as
| | 02:16 |
a compressed DNG at a smaller file size.
So we're a little bit limited in our options.
| | 02:22 |
But you can see that any option that has
a plus icon next to it means that Camera
| | 02:27 |
Raw will have to sample up the image in
order to get that pixel count.
| | 02:32 |
The option without one tells me that,
that is the native size of this file.
| | 02:36 |
You might also see an option for a minus,
which means that Camera Raw would
| | 02:41 |
resample down your image, in order to
give you that size of a file.
| | 02:46 |
In the Resolution area here, all you're
doing is you're setting a print resolution.
| | 02:51 |
So if I change this to 300 pixels per
inch, you'll notice that the total pixel
| | 02:55 |
count didn't change.
I'm just telling Camera Raw how many
| | 02:59 |
pixels I want it to put per inch.
As for your Sharpening options, this is
| | 03:04 |
going to depend on whether you're going
to take this image into Photoshop, or if
| | 03:09 |
you're going to just save a number of
images using the Save Image option down
| | 03:15 |
here on the lower left.
If I'm going to take the image into
| | 03:18 |
Photoshop, then I don't really want to
sharpen it now, I want to sharpen it at
| | 03:22 |
the end of my workflow when I'm ready to
take my image, whether it's to print on
| | 03:27 |
glossy paper, or on matte paper, or I
would sharpen it for the screen as the
| | 03:33 |
last step.
But like I said, if I'm not going to
| | 03:36 |
Photoshop and I just need to maybe export
100 images to post in a web photo
| | 03:41 |
gallery, then I would want to go ahead
and add my sharpening now.
| | 03:44 |
And in fact, I would choose Screen if I
was going to the web.
| | 03:48 |
As far as the amount goes, you then have
three options: low, standard, or high.
| | 03:53 |
I would go ahead and choose Standard by
default, but know if your image comes out
| | 03:58 |
looking to sharp, a little bit too crispy
and pixelated, you might want to drop
| | 04:02 |
this down to low.
Likewise, if it comes up looking a little
| | 04:06 |
too soft, you might want to scoot it up
to high.
| | 04:08 |
And in later tutorials, we're going to be
talking about how you can open your
| | 04:13 |
images into Photoshop as a smart object,
which has a really, really flexible and
| | 04:18 |
nondestructive workflow.
But for now, we'll go ahead and leave
| | 04:22 |
that unchecked.
Alright we'll click OK, and I think that
| | 04:26 |
you can see that those options are quite
important, yet they're very easy to
| | 04:31 |
overlook because of this small little
hyperlink.
| | 04:34 |
So to create the correct file for your
workflow, be sure that you check those
| | 04:38 |
workflow settings before using the Save
option in the lower left, or before
| | 04:44 |
opening your files into Photoshop using
the options on the right.
| | 04:48 |
| | Collapse this transcript |
| Saving a copy without going to Photoshop| 00:00 |
When you're satisfied with the changes
that you've made to your files in Camera
| | 00:03 |
Raw, and you decide that you don't have
any further editing in Photoshop, then
| | 00:08 |
there's two things that you need to do.
You need to check your workflow settings,
| | 00:12 |
and then you need to save your images.
So let's take a look at the workflow
| | 00:16 |
setting and will run through two
scenarios.
| | 00:18 |
The first scenario is we're going to
prepare this image, either for the web or
| | 00:24 |
to email to someone.
So that tells me that the color space
| | 00:27 |
should probably be dropped down to SRGB.
And, I'm probably going to save this as a jpg.
| | 00:34 |
So, we can change this to 8 bits.
Although, when I choose to save to a jpg
| | 00:39 |
file, the jpg file doesn't actually
support 16 bit, so it would go ahead and
| | 00:43 |
limit the bit depth anyway.
Then, I can choose my file size.
| | 00:48 |
In this case, I'll go with a smaller file
size, here.
| | 00:51 |
And I can also re-size when I save the
file, we'll take a look at that in just a minute.
| | 00:56 |
As for resolution I can go ahead and put
in 72 pixels, it really doesn't matter
| | 01:01 |
the resolution because the total pixel
count is what matters, because that's
| | 01:06 |
what's going to be viewed on screen.
Now, If I want to sharpen it, I'll go
| | 01:10 |
ahead and choose for Screen and the
amount is standard.
| | 01:13 |
Click OK, and then we'll go to the Save
Image options.
| | 01:18 |
Here I can choose where I want to save my
file.
| | 01:20 |
I'm going to save it in the same
location, although we could save to a new
| | 01:24 |
location, in which case we could navigate
and select our destination folder.
| | 01:29 |
For now, we'll just save it in the same
location.
| | 01:32 |
I could rename this, but because I'm
going to save it as a different file
| | 01:36 |
format, as a .JPG for JPEG, I'm not going
to rename it.
| | 01:41 |
Because I like the names to stay
consistent, so that if somebody asks me
| | 01:45 |
about a certain file that they saw on the
web, I could then look at my high
| | 01:49 |
resolution file that would have the same
name.
| | 01:52 |
Now, for format, let's change this down
to JPEG.
| | 01:56 |
And we can choose what metadata we want
at output.
| | 02:00 |
In this case, we might only want to
output our copyright information and our
| | 02:03 |
contact information.
And then we can set our quality.
| | 02:07 |
Now, quality and file size are always
going to be a trade off here.
| | 02:11 |
If I decide to set the maximum quality to
12, I can do that, no problem, and the
| | 02:17 |
image will look great, but the image will
also be larger.
| | 02:21 |
If I know, for example, that the person
that's going to be viewing this is on a
| | 02:25 |
slower machine, and it will take longer
to download.
| | 02:28 |
Then I might want to compress it a little
bit more, maybe just choosing high as
| | 02:32 |
opposed to maximum.
And I just realized that you cannot
| | 02:36 |
actually re-size your image here in the
Save options, so in a later tutorial when
| | 02:43 |
I talk about cropping, I'm going to show
you exactly how to use the Crop tool in
| | 02:48 |
Camera Raw, to set up a specific size in
pixels that you can then crop your image.
| | 02:54 |
That way when you come into the Save
options, you'll get the exact pixel count
| | 02:58 |
that you want.
For now, let's go ahead and just save
| | 03:01 |
this into the same location and then
we'll take a look at the second scenario.
| | 03:06 |
So the second scenario, we need to go
back into our workflow options.
| | 03:11 |
Let's say that I want to save this off as
a really high quality file, so I'm not
| | 03:17 |
going to save it as a JPEG.
Instead, I'm going to save it as a PSD or
| | 03:20 |
a TIFF file.
I'll change the space here to Adobe RGB.
| | 03:26 |
Of course, if you wanted to, if you
wanted to use a larger color space, you
| | 03:29 |
could use Pro Photo.
But for now, I'll use Adobe RGB.
| | 03:33 |
I'm going to increase the bit depth to 16
bit.
| | 03:36 |
There's going to be more information in
the file, but it will be larger and
| | 03:40 |
that's okay.
And I'll increase my file size, because
| | 03:43 |
maybe I need this to be a larger file.
This would be the place to sample it up.
| | 03:48 |
And because this is more than likely
going to go to print, I'll go ahead and
| | 03:52 |
increase this to 300 pixels per inch.
But again, I'm not increasing the file
| | 03:56 |
size here.
My total pixel count stays the same, I'm
| | 04:00 |
just telling it how close together I want
those pixels to be.
| | 04:03 |
And if I were going to take this into,
say Photoshop, to do more editing on it,
| | 04:09 |
then I would click None here for
sharpening.
| | 04:11 |
But because this image is finished, I'll
go ahead and select sharpening for either
| | 04:16 |
glossy or matte paper, depending on what
it is I'm going to print to.
| | 04:20 |
And then I can choose my amount.
Click OK, and this time when I choose
| | 04:25 |
Save Image, instead of saving as a JPEG
I'll switch this over to either Tiff or Photoshop.
| | 04:32 |
Choose how much metadata I want to retain
in the image, and I'll save it in the
| | 04:38 |
same location with the same name.
And click Save.
| | 04:41 |
Now, I can click Done to get out of the
Camera Raw dialogue box.
| | 04:46 |
And you can see when we return back to
Bridge, I have my JPEG file that I've
| | 04:50 |
saved out, my PSD file that I've saved
out, and I still have my original DNG file.
| | 04:58 |
As you can see, that's an excellent way
to quickly process and save your image
| | 05:02 |
directly from Camera Raw when no
additional edits are needed in Photoshop.
| | 05:08 |
| | Collapse this transcript |
|
|
4. Fixing Common Problems Quickly with Camera RawUsing the nondestructive Crop tool| 00:00 |
One of the huge advantages of cropping in
Camera Raw is that it's completely nondestructive.
| | 00:04 |
So you can go back at any point in time
and change your mind about what you want
| | 00:08 |
to include in an image and what you want
to hide.
| | 00:10 |
In order to open this file, because it's
a JPG we either need to use the keyboard
| | 00:15 |
shortcut, Cmd+R to open in Camera Raw,
which would be Ctrl+R on Windows, or we
| | 00:20 |
can simply click on the Open in Camera
Raw icon.
| | 00:23 |
Now, before we start cropping this image,
one thing you might notice are all of
| | 00:27 |
these red highlights.
That's telling me or warning me that I'm
| | 00:31 |
clipping those pixels in my image to pure
white.
| | 00:35 |
And they're being displayed because in a
previous video we turned on our shadow
| | 00:40 |
clipping warning as well as our highlight
clipping warning, so I'm going to toggle
| | 00:44 |
those off for now.
Now to select the Crop tool, we can
| | 00:48 |
either click on it here in the toolbar,
or we can simply tap the C key.
| | 00:52 |
Then to draw or crop, we can start
anywhere in the image, and when we mouse
| | 00:56 |
down we just simply drag out to create
our crop.
| | 01:00 |
If we want to re-size the crop at any
time, we can either choose one of the
| | 01:04 |
anchor points in the corner or one in the
center.
| | 01:08 |
In order to reposition the crop, simply
move your cursor anywhere inside the crop
| | 01:13 |
and drag.
In order to apply the crop, we'll tap the
| | 01:16 |
Enter or Return key.
But you'll notice, if I select the Crop
| | 01:19 |
tool again, that the crop that I made was
not permanent.
| | 01:23 |
Camera Raw is holding on to all of the
information outside of the crop.
| | 01:28 |
It's never going to touch your original
file.
| | 01:30 |
You're only telling Camera Raw which area
of the image you want to see and which
| | 01:36 |
area you would want to either open in
Photoshop or save out as an image.
| | 01:40 |
If I need to crop to a specific aspect
ratio, then I can click and hold on the
| | 01:45 |
Crop tool.
You'll notice there's a small arrow in
| | 01:48 |
the lower-right of the icon.
That tells me that if I click and hold,
| | 01:51 |
I'll get a drop-down menu.
So let's constrain the aspect ratio of
| | 01:55 |
this crop to four by five.
You'll notice that the Crop Marquee was
| | 02:00 |
automatically changed to that aspect
ratio.
| | 02:02 |
Now I can reposition it, and drag out the
crop.
| | 02:06 |
But, you'll notice that there are no
longer any handles in the center.
| | 02:09 |
And that's because we're in this
constrained state, where I have to
| | 02:13 |
constrain it to this aspect ratio.
Another feature of the Crop tool is the
| | 02:17 |
ability to show a Crop Overlay.
As soon as I select this, you'll notice
| | 02:22 |
that the image is divided into thirds,
and that's to help us improve our
| | 02:27 |
composition by putting the subject matter
in the middle of one of these
| | 02:30 |
intersecting lines.
So instead of having your subject right
| | 02:33 |
in the center, you might want to offset
it to one of these intersections in order
| | 02:37 |
to improve your composition by adhering
to the rule of thirds.
| | 02:41 |
We're finished cropping.
When we click Done and when we return to
| | 02:45 |
Bridge, you'll notice that Bridge has not
only updated the preview but it's also
| | 02:49 |
showing a small crop icon so that we'll
know immediately that we've applied a
| | 02:53 |
crop to this image.
Let's go back in and change the crop one
| | 02:57 |
more time.
I'll use the keyboard shortcut Cmd+R on
| | 02:59 |
Mac or Ctrl+R on Windows, because there's
another very important feature of the
| | 03:04 |
Crop tool.
So far we have only been cropping to a
| | 03:07 |
specific aspect ratio, but not to a
specific size.
| | 03:11 |
You can see that if I select the Crop
tool by tapping the C key, and then I
| | 03:15 |
re-size the Crop Marquee, the numbers
here, the total pixel count, is actually
| | 03:21 |
changing every time I drag and
re-position the crop.
| | 03:25 |
In order to crop to a specific size like
four by five inches, at a specific
| | 03:30 |
resolution, I need to go in and select
Custom from the crop tool.
| | 03:36 |
Then I would change the crop from ratio
to inches.
| | 03:40 |
When I click OK, we'll see down in the
workflow area that I've now defined a
| | 03:44 |
specific size, five by four inches, at
240 pixels per inch.
| | 03:49 |
Of course, if I wanted to change that
resolution, all I need to do is click on
| | 03:53 |
the hyperlink.
And then change it here, in the work flow options.
| | 03:58 |
When I click OK, now we can see that if I
were to click the Save image option, or
| | 04:03 |
if I were to click Open image to open in
Photoshop, I would be opening a document,
| | 04:08 |
that's exactly five by four inches at 300
pixels per inch.
| | 04:12 |
They'll be additional videos about file
size and printing.
| | 04:16 |
But for now just know that it's very easy
to set either an aspect ratio if you
| | 04:21 |
don't know the final size that your files
going to be needed or a specific image
| | 04:25 |
size for your image within Camera Raw.
When we click Done, Bridge will update
| | 04:30 |
the icon again, and we can see how easy
it is to crop the image using Camera Raw
| | 04:35 |
completely non-destructively.
| | 04:38 |
| | Collapse this transcript |
| Correcting a tilted horizon line with the Straighten tool| 00:00 |
Another common problem that you might
need to fix is a crooked horizon.
| | 00:04 |
Again, camera RAW makes this easy.
In order to open this document, I'll
| | 00:08 |
select it and then use Cmd R on the Mac,
or Ctrl R on Windows, in order to open it
| | 00:13 |
in Camera RAW.
There are really 3 ways that you can fix
| | 00:16 |
a crooked horizon.
The first is going to be using the crop tool.
| | 00:20 |
So I'll click and hold on the crop tool
and I'll make sure that it's set to normal.
| | 00:24 |
I don't want to be constraining to a
certain size or an aspect ratio.
| | 00:28 |
Then I'll click and drag out my crop mark
key.
| | 00:32 |
Now in order to fix this horizon, I need
to rotate the cropmark key so you can see
| | 00:37 |
when I position my cursor outside of the
cropmark key, I get the double-headed arrow.
| | 00:43 |
This allows me to click and actually drag
in order to rotate the cropmark key so
| | 00:49 |
I'll I need to do is align it with the
grid that automatically shows up as I
| | 00:54 |
start dragging.
In order to rotate.
| | 00:58 |
When I release the crop and then tap the
Enter or Return key, you can see that I
| | 01:02 |
have straightened this horizon.
Now, let's undo that.
| | 01:05 |
Then you notice that if I use the
keyboard shortcut Cmd + Z on mac or Ctrl
| | 01:09 |
+ Z on windows, all it undoes is the
straightening.
| | 01:13 |
It didn't actually undo the whole crop
and that's because Camera Raw actually
| | 01:18 |
treats those as 2 separate steps.
So, if I want to go back further in time,
| | 01:23 |
I can use command + option + z on the Mac
or control + alt + z on Windows, or I can
| | 01:29 |
simply select and hold down on the crop
tool and choose set to original crop.
| | 01:35 |
The second way to quickly straighten a
horizon is by using the straighten tool.
| | 01:39 |
We can either click on it here in the
tool pallet or just tap the a key.
| | 01:43 |
Then we'll notice that the cursor's
rather large.
| | 01:46 |
I'm not exactly sure where the hot spot
is.
| | 01:48 |
So I'll tap by Caps Lock Key in order to
turn that on.
| | 01:51 |
Now I know exactly where to click and
then drag across the horizon, and when I
| | 01:57 |
release the cursor, Camera Raw will
automatically straighten that.
| | 02:02 |
Now you want to remember to turn off your
Cap Locks key at this point.
| | 02:05 |
So tap it again and then we can tap Enter
or Return in order to straighten that horizon.
| | 02:11 |
Alright.
Let's use Cmd+Z or Ctrl+Z on Windows in
| | 02:14 |
order to undo that.
We'll take a look at the third way.
| | 02:18 |
Now, the third way is definitely the
easiest in my opinion.
| | 02:21 |
I'm going to move over to the Lens
Correction panel.
| | 02:24 |
And then I'm going to make sure that the
manual panel is selected and under the
| | 02:29 |
upright area I'm going to click on this
middle icon that will allow me to level
| | 02:34 |
my image automatically.
I said it was the easiest way but it's
| | 02:38 |
not always the most accurate way.
You can see in this image it got confused
| | 02:44 |
as to what should be level.
It's probably not sure if this is the
| | 02:48 |
strong horizon line.
Or if this is a strong horizon line, an
| | 02:52 |
the building actually has a tilted roof.
So, most of the time this is a great
| | 02:57 |
option because, Camera Raw will
automatically analyze the image an
| | 03:01 |
straighten it for you.
But I wanted to show you that it's not
| | 03:05 |
always going to work.
In which case, all we need to do is come
| | 03:08 |
down to the rotate slider right here.
And then, I can click and simply rotate
| | 03:14 |
in order to straighten the horizon.
And you'll notice that there's a little
| | 03:18 |
option down here to show the grid, so
that now, as I use the Rotate slider, I
| | 03:22 |
can easily align, for example, the
horizon here to that grid, so now we can
| | 03:28 |
turn off the grid.
But you should notice that there's a
| | 03:31 |
little bit of transparent area in the
upper left and the lower right.
| | 03:36 |
So I will need to go ahead and crop this.
I will tell camera raw that I want it to
| | 03:41 |
constrain to the image, so I don't want
there to be any transparency.
| | 03:45 |
And then I will just click.
And drag out my crop marquee.
| | 03:50 |
When I get it where I want it, I'll tap
Enter or Return, and we've straightened
| | 03:54 |
the horizon.
When I click Done, and we return to
| | 03:57 |
Bridge, you can see that the preview's
been updated and we see the Crop marquee
| | 04:02 |
icon here letting me know that I've
cropped my image.
| | 04:05 |
So there you have it.
3 easy methods for straightening images
| | 04:09 |
non destructively in Camera Raw.
| | 04:11 |
| | Collapse this transcript |
| Fixing color casts with the White Balance tool| 00:00 |
Getting rid of a color cast is another
common problem that can be easily fixed
| | 00:04 |
in Camera Raw.
Let's take a look at this steel door image.
| | 00:07 |
I'll open it by using command R or
control R on Windows.
| | 00:11 |
You can get a color cast in an image for
a variety of different reasons.
| | 00:15 |
Maybe you've got the settings on your
camera set incorrectly.
| | 00:18 |
Or maybe you're photographing indoors
under artificial light, or maybe outdoors
| | 00:23 |
in early morning, when the light is a lot
warmer than during the day.
| | 00:27 |
Now there are several different ways that
we can correct a color cast.
| | 00:31 |
We're actually going to look at 3
different ways.
| | 00:33 |
The first way is over in the basic panel,
under White Balance, you'll notice that I
| | 00:37 |
can change this menu from As Shot to
Auto, in order for Camera Raw to do an
| | 00:43 |
automatic adjustment, and reduce any
color cast.
| | 00:47 |
One thing to notice is that if you're
working along using your own raw files,
| | 00:50 |
you're probably going to see a much
longer list than if you're working with a
| | 00:54 |
Jpeg file like we are.
Here we only have the auto and the custom
| | 00:58 |
option here to choose from.
If you have a raw file, you're going to
| | 01:01 |
see a list of presets for common color
temperature lighting scenarios, and that
| | 01:07 |
list will depend on your camera, but most
of them include options like daylight,
| | 01:11 |
and cloudy, or shade and tungsten, and
you can choose any of those when you're
| | 01:15 |
working with your raw files and change
the white balance of your image in a non
| | 01:19 |
destructive manner.
Now, the second way that we can remove a
| | 01:23 |
color cast is by dragging the temperature
and tint sliders.
| | 01:26 |
If I drag the temperature slider over to
the right, you can see that the image
| | 01:31 |
warms up, or it gets more yellow.
If I drag it down to the left, you can
| | 01:35 |
see that I'm cooling the image, or moving
it more towards blue.
| | 01:39 |
With the Tint Sliders, as I move it more
to the left, you can see that it's going
| | 01:43 |
to become more green.
And as I move it to the right, more magenta.
| | 01:47 |
Alright lets go ahead and reset those to
Auto, and then I'll choose to move up the
| | 01:52 |
temperature slider just a little bit, to
show you that not only can you fix or
| | 01:57 |
neutralize the color cast in the image.
But you can also add a creative effect by
| | 02:01 |
actually warming or cooling your image to
convey a specific mood.
| | 02:05 |
Another difference that I just want to
point out when you're working with JPEG
| | 02:09 |
files versus Raw files.
When you work with JPEGS, you actually
| | 02:13 |
get a numeric scale here in the
Temperature and Tints sliders.
| | 02:17 |
And they go from -100 to +100.
If you're working with a Raw file, what
| | 02:24 |
you'll see here instead are actual color
temperature values.
| | 02:27 |
Alright, let's choose As Shot one more
time here and take a look at the third
| | 02:32 |
way that we can neutralize a color cast.
And that's with the eyedropper tool.
| | 02:37 |
We can either select here from the
Toolbar, or just tab the I key in order
| | 02:42 |
to select the eyedropper.
Now all I need to do is click in a
| | 02:46 |
neutral area in my image.
If I think that the steel doors should be
| | 02:50 |
neutral, I'll click in there.
If I think that this gray ramp should be
| | 02:54 |
neutral, I'll click here.
And if I think that the cobblestones
| | 02:58 |
should be neutral, I'll click in the
cobblestones.
| | 03:00 |
And you can see that each place that I
selected actually gave me quite a
| | 03:04 |
different result.
So when you're using this tool and
| | 03:07 |
there's nothing in your scene that's a
known neutral value, you're sort of
| | 03:12 |
guessing, but at least you can make an
educated guess.
| | 03:15 |
And of course you can click multiple
times in order to experiment.
| | 03:18 |
So I prefer the color balance here when I
click on the door, I just think that it's
| | 03:23 |
a little bit too magenta.
So I'm going to scoot the tint slider
| | 03:26 |
over to the left just a small bit.
Excellent.
| | 03:29 |
So now you have 3 simple ways to remove a
color cast form an image, either by
| | 03:34 |
selecting a white balance from the list,
from manually changing the temperature
| | 03:38 |
and tint sliders, or from using the white
balance eyedropper and clicking anywhere
| | 03:43 |
in your image that you think should be a
neutral value.
| | 03:47 |
Well click done and you can see that
Bridge has automatically updated that
| | 03:50 |
thumbnail for us.
| | 03:51 |
| | Collapse this transcript |
| Fixing blown-out highlights| 00:00 |
Another common problem, that we often
want to correct or fix, are any blown out
| | 00:05 |
highlights, or really bright areas in
your photograph.
| | 00:08 |
The problem is that as we walk around the
world and we look at different things,
| | 00:11 |
our eyes can adjust to areas that are
lighter or darker.
| | 00:15 |
So, say for example, when we walk into a
dark room, our eyes adjust so that we can
| | 00:19 |
see into the darker areas.
Likewise when we walk outdoors on a sunny
| | 00:23 |
day our eyes adjust quickly for the
brighter light.
| | 00:26 |
Now, the difference between the brightest
values and the darkest values in an
| | 00:31 |
image, we're going to call that the
dynamic range, and in fact we also call
| | 00:36 |
that the dynamic range of the scene when
we're visually looking at anything.
| | 00:39 |
And while our eyes are really good at
adapting to different scenes, the camera
| | 00:43 |
isn't as good at adapting on the fly.
Now the camera of course can adapt in one
| | 00:49 |
way when you're photographing in low
light, like at night.
| | 00:51 |
You can change the ISO of your camera.
You can make it higher so that the sensor
| | 00:56 |
is more sensitive.
If you photograph in the day, you need to
| | 00:59 |
change that ISO down so that it's not as
sensitive.
| | 01:02 |
But the problem occurs when there's a lot
of contrast in the scene like we're
| | 01:08 |
seeing with this image of the church.
So let's go ahead and open this using
| | 01:12 |
Cmd+R or Ctrl+R to open it in Camera Raw.
Essentially on some days when it's
| | 01:18 |
brightly lit, there's going to become a
point where there's too great of a
| | 01:23 |
dynamic range for the camera to capture.
So it won't be able to capture all of the
| | 01:28 |
shadow area in an image and also all of
the highlights at the same time.
| | 01:33 |
Now this image is probably more extreme
than the ones that you will deal with.
| | 01:39 |
It's obviously quite overexposed.
I would say probably by at least two stops.
| | 01:44 |
So we're going to want to fix that.
And we're going to need to bring back the
| | 01:49 |
information in the highlight area.
Now in order to see what we're doing, I'm
| | 01:53 |
going to toggle on the clipping warning
for our highlights by clicking on the
| | 01:59 |
triangle here in the upper right of the
histogram.
| | 02:01 |
Or we can do this by tapping the O key.
I remember that because it's overexposed.
| | 02:06 |
Likewise, we could toggle on the clipping
warnings for the shadow areas.
| | 02:10 |
We do that by tapping the U key for
underexposed, but I'm actually going to
| | 02:14 |
leave those off for right now.
We're going to focus on the highlights.
| | 02:18 |
So the easiest way to correct this is
actually to click the Auto button.
| | 02:23 |
As soon as I select Auto, you can see
that I no longer am clipping values.
| | 02:28 |
All of the red highlight has disappeared,
and Camera Raw has made changes to a
| | 02:33 |
variety of different sliders in order to
correct this.
| | 02:37 |
So you can see that, in fact, it has
decreased the exposure a little over two stops.
| | 02:42 |
It's also decreased the contrast a little
bit in the scene.
| | 02:44 |
It's taken my highlight sliders, and
remember the highlight sliders are
| | 02:49 |
affecting this area of the histogram.
It's taken them down to minus 50.
| | 02:53 |
It's actually take the shadows up to plus
50.
| | 02:56 |
So, that's this area of the histogram
that it's affecting.
| | 02:59 |
And it's also increased the white vales,
which might be a little bit
| | 03:03 |
counter-intuitive, but when we walk
through this, I'll show you why it did that.
| | 03:07 |
And then, we've got the black slider here
also at a negative to redefine my black
| | 03:12 |
point, here, in the lower left of the
histogram.
| | 03:15 |
All right, so let's go back to the
default and see what is happening.
| | 03:18 |
The exposure slider, when we move that
down, you can see that we're just trying
| | 03:22 |
to bring the whole image back into kind
of a more proper exposure area.
| | 03:27 |
And that is looking pretty good to me.
But, we still have our clipped highlights.
| | 03:32 |
So, I'm going to skip down here to the
white slider because that's what you
| | 03:36 |
might initially go to.
Especially if we're looking at the
| | 03:39 |
histogram and we see that there are
values that are clipped.
| | 03:41 |
But even if I move the white slider all
the way down to negative 100, I'm not
| | 03:46 |
removing those clipping warnings.
They're still too bright here.
| | 03:49 |
So let's double click on that slider to
reset it and instead I'm just going to
| | 03:53 |
move the highlight slider down a little
bit.
| | 03:56 |
Remember that's going to effect this area
here in the histogram.
| | 04:00 |
So as I move it down you can see that we
can pull those highlights right into range.
| | 04:04 |
Now if I continue to move it, you can see
now on the histogram that there's no
| | 04:08 |
values in the very brightest areas.
So I've actually truncated the dynamic
| | 04:13 |
range here by moving the highlights too
far.
| | 04:15 |
So I don't want to move them that far.
I'll bring them back a little bit.
| | 04:18 |
But now what I'd like to do is I'd like
to try to stretch out this little area
| | 04:22 |
right here.
You see that little peak?
| | 04:24 |
That little peak tells me that there are
a lot of values that are very similar in tonality.
| | 04:29 |
So I'm going to try to use a combination
of decreasing the highlights.
| | 04:33 |
And then actually increasing the whites,
to just stretch out that little area, to
| | 04:37 |
see if I can bring back or introduce a
little bit of detail, by increasing the
| | 04:42 |
area here on the histogram, that this
little area falls over.
| | 04:46 |
I'm actually just trying to stretch that
out a bit.
| | 04:48 |
So you can see that sometimes it's not
just as easy as using your whites slider
| | 04:53 |
here to decrease the white point in your
image.
| | 04:56 |
You might need to use that in a
combination with your highlight slider
| | 04:59 |
especially if we're talking about an
image here that is so off in exposure
| | 05:03 |
that we actually have to decrease the
overall exposure by over two stops.
| | 05:08 |
The other thing that the auto-balance did
is it went ahead and it moved my black
| | 05:12 |
point down a little bit.
But it also moved my shadows up.
| | 05:16 |
I think it went a little bit too far.
I think that the front of the church here
| | 05:19 |
is looking a little bit too bright with
the auto adjustment, so I'll just bring
| | 05:23 |
that down a little bit.
And then if we want to we can tap the U key.
| | 05:27 |
Remember the U key is going to toggle on
our shadow warning here.
| | 05:30 |
And as I move my black slider to the
left, we can see that I'm making these
| | 05:35 |
values of my image pure black and I don't
want to do that.
| | 05:37 |
So I'm going to move it over to the right
until I no longer see that blue overlay.
| | 05:42 |
So, I would suggest that as you come into
an image like this, if you're not sure
| | 05:46 |
what to do, go ahead and click on the
Auto option and then refine these sliders
| | 05:51 |
now that you know what they do in order
to make the image look like you want it
| | 05:55 |
to in the preview area.
In order to toggle off those clipping
| | 05:59 |
values, we'll go ahead and tap the U key
and then the O key in order to hide those.
| | 06:05 |
And then we'll tap the P key to see a
preview of before and after.
| | 06:09 |
Again, that's before and after.
Then we'll go ahead and click Done.
| | 06:14 |
Of course you can only fix those blown
out highlights to a certain extent.
| | 06:18 |
I think that the image that we looked at
was rather extreme.
| | 06:21 |
If the scene just has so much contrast in
it that it's not possible to actually
| | 06:27 |
capture any information in the highlights
and the shadows at the same time.
| | 06:31 |
Basically if no detail is captured in
those highlights, then the sliders won't
| | 06:35 |
be able to recover what isn't there.
| | 06:37 |
| | Collapse this transcript |
| Revealing hidden shadow detail| 00:00 |
This boat image here is a great example
of an image that has really high dynamic range.
| | 00:06 |
Let's go ahead and open it by using Cmd+R
on the Mac or Ctrl+R on Windows in order
| | 00:11 |
to open it into Camera Raw.
Now this image was exposed for the
| | 00:15 |
highlights in order to retain detail in
the highlights.
| | 00:18 |
But in doing so some of the shadow areas
are just too dark.
| | 00:23 |
Especially this area here where the boat
is in the water.
| | 00:27 |
In order to correct this were going to
use a combination of the shadow slider as
| | 00:31 |
well as the black slider.
Now to make sure that were looking at the
| | 00:35 |
same thing, let's go ahead and toggle on
our shadow clippings warnings, and we can
| | 00:39 |
do that by tapping the U key.
If we move the black slider over to the
| | 00:44 |
left now, you should see the clipping
warning up here in your image in blue.
| | 00:48 |
Let's reset the black slider by
double-clicking on it.
| | 00:51 |
Since I don't see very much blue except
for in the very deepest dark shadows here
| | 00:56 |
I'm just going to move my black slider
over to the right a teeny bit, maybe to
| | 01:01 |
plus 14, and then I'm gong to bring up
information from my shadow area kind of
| | 01:07 |
more towards the mid tone area by
increasing the Shadow slider over to the right...
| | 01:12 |
And as I do this we can watch the
histogram move from this position right
| | 01:17 |
here where we have a lot of information
in the very dark shadow areas.
| | 01:22 |
And then as we move it over here we're
moving that area of really dark shadow
| | 01:26 |
area more towards a mid-tone area.
And lets go ahead and zoom in while we do this.
| | 01:32 |
I can use Command Option Zero in order to
zoom in to 100%.
| | 01:36 |
And then by pressing the Spacebar, I'll
automatically get the Hand Tool.
| | 01:41 |
You've gotta keep this Spacebar pressed
down, but then you can Pan across your image.
| | 01:46 |
And I just want to see the effect of
using the Shadow Slider in this dark area
| | 01:50 |
of the boat.
So let's reset it again by double
| | 01:53 |
clicking on it, so this is before, and
then as I move that shadow slider over,
| | 01:58 |
you can see that not only the blue
clipping warning is disappearing, but
| | 02:02 |
we're also able to see into the shadow
area.
| | 02:05 |
Now, one of the problems that happens
when you move the shadow area of your
| | 02:10 |
histogram into the brighter values and
more towards the midtones is that you're
| | 02:15 |
liable to come across a lot of noise,
because we know that cameras aren't as
| | 02:19 |
sensitive in dark areas.
They have a harder time telling the
| | 02:23 |
difference between not only color values
in dark areas but also tonal values so as
| | 02:29 |
we increase the values in our dark areas.
We're going to be seeing more noise so
| | 02:35 |
one of the things you might want to do is
when you move the shadow slider over to
| | 02:39 |
the right as far as we did, you might
want to also go to the detail slider and
| | 02:44 |
then under the noise reduction, move the
luminate slider over to the right.
| | 02:49 |
You can see if we move it all the way
over, these areas of the boat that were
| | 02:53 |
in shadow become completely smooth.
In fact, I think they're a little bit too smooth.
| | 02:58 |
So lets back off on that so that we can
just remove some of the noise in that area.
| | 03:03 |
Of course if we want to see a preview we
can tap the p key, that will toggle on
| | 03:07 |
and off the changes that we have made
just in the detail panel.
| | 03:11 |
If we want to toggle on and off the
preview or the adjustments that we've
| | 03:15 |
made in all of the panels, then we need
to click on the second last icon, the
| | 03:20 |
preset icon and tap the p key.
So there's after and there's before.
| | 03:25 |
Again, there's after and remember this is
the preview of not only what's in the
| | 03:29 |
detail panel, but also what's in the
basic panel.
| | 03:32 |
So before we click Done, let's just make
sure by zooming out that we haven't
| | 03:37 |
adversely effected any other areas of the
image.
| | 03:40 |
So I'll use Cmd+0 in order to fit on
screen or fit the whole image in that
| | 03:45 |
preview area.
And I'm just looking for any other areas
| | 03:49 |
maybe that a blue overlay to see if I'm
clipping in any other areas.
| | 03:54 |
And it doesn't look like I am but,
honestly the image just looks a little
| | 03:57 |
bit false right now.
I think I've gone too high with the
| | 04:00 |
shadow slider.
I'm just going to back off on that a
| | 04:03 |
little bit.
So that this area here isn't quite as bright.
| | 04:07 |
We'll click done when we return to bridge
you can see that those adjustments have
| | 04:11 |
been made and the thumbnail's been
updated.
| | 04:14 |
So I can think you can see the ability of
the black slider to set the darkest
| | 04:17 |
values and the image in combination with
the shadow slider to reveal that under
| | 04:21 |
exposed information.
When you use that in combination with the
| | 04:25 |
noise reduction slider to remove any
excessive digital noise from those areas,
| | 04:29 |
is an incredibly effective way to reveal
detail in the shadows of what would
| | 04:33 |
otherwise be too dark of an image.
| | 04:35 |
| | Collapse this transcript |
| Reducing distracting color noise with Noise Reduction| 00:00 |
Another common problem is the appearance
of distracting digital noise in images.
| | 00:04 |
Although digital camera technology has
improved significantly in the past
| | 00:08 |
decade, digital noise is still very
common with the less expensive
| | 00:12 |
point-and-shoot cameras, and even with
the highest quality camera when it's used
| | 00:16 |
in very low light situations, such as
photographing at night or in a dark room.
| | 00:21 |
So, let's take a look at this interior.
We're going to open it in Camera RAW
| | 00:24 |
using Cmd R on the Mac or Ctrl R on
Windows.
| | 00:28 |
And I want to adjust a few things here.
We're actually going to sneak over to The
| | 00:34 |
Lens Correction panel, but I just want to
straighten the horizontals and verticals
| | 00:41 |
in this image.
So, I'm going to first select the Profile
| | 00:45 |
tab, and enable the Lens Profile
Corrections.
| | 00:48 |
That's just going to remove any
distortion from the lens.
| | 00:51 |
Then I'm going to scoot over to the color
tab and remove chromatic aberration,
| | 00:55 |
which again we'll talk about in another
video.
| | 00:58 |
And finally, I'm going to go to the
Manual tab, and in the upright area we're
| | 01:02 |
going to click on this last icon, in
order to correct not only the vertical
| | 01:07 |
lines, but also the horizontal lines.
Alright, so with that taken care of,
| | 01:11 |
let's move back to the Basic panel.
And let's go ahead and start by clicking
| | 01:16 |
Auto, and seeing what kind of an
adjustment Camera Raw comes up with.
| | 01:20 |
Well, we can see all those red pixels.
That's because I have my clipping
| | 01:25 |
warnings turned on.
And if I don't want to see those, I could
| | 01:28 |
just tap the O key, but I'd actually
rather see them so that I can fix them.
| | 01:33 |
So I'll tap the O key again to display
them, and then I'm going to use my white
| | 01:37 |
slider, and I'm going to move it to the
left, so that those pixels or those
| | 01:41 |
values are no longer clipped.
Alright, now I'll leave the rest of the
| | 01:45 |
settings here alone, and we're going to
need to scoot over to the Detail panel,
| | 01:50 |
because I'm seeing a lot of noise in this
image and we want to reduce it.
| | 01:55 |
You can start reducing the noise here,
but it's really better if you zoom into 100%.
| | 02:01 |
So we can either use the option in the
lower right hand corner to quickly move
| | 02:06 |
to 100%, or we can use the keyboard
shortcut Cmd + Opt + 0 or Ctrl + Alt + 0
| | 02:12 |
on Windows.
Then I'll hold down the space bar, in
| | 02:15 |
order to pan down to the foreground of
this image.
| | 02:19 |
So, I know that you're going to be
viewing this on a video that's been
| | 02:23 |
compressed, so I'm go ahead and make my
changes a little bit more extreme just to
| | 02:28 |
make sure that you can see them.
In the noise reduction area I'm going to
| | 02:33 |
use the color slider, and move it over to
the right in order to get rid of all that
| | 02:38 |
color noise.
And if I tap the P key, we can toggle on
| | 02:42 |
before or without the adjustment, and
then after.
| | 02:45 |
So you can really see how the color
slider can help remove all of that kind
| | 02:50 |
of random color noise in there.
Now you can use the color slider rather
| | 02:56 |
liberally, because it's only reducing the
amount of color noise.
| | 03:00 |
It's not actually going to effect the
detail in your image.
| | 03:04 |
So although I could move it way over to
77 or higher, there's no real reason to
| | 03:09 |
do that.
So I'm just going to scoot it back, so
| | 03:11 |
that I'm applying the minimum amount, yet
I still want to make sure that I get rid
| | 03:16 |
of all the color noise.
Then we'll start working with the
| | 03:19 |
Luminance slider.
This slider is a little bit more
| | 03:21 |
delicate, because as we increase the
noise reduction in the luminosity areas,
| | 03:27 |
you can see that I'm losing a lot of
detail.
| | 03:29 |
The whole foreground area just looks
really smooth right now.
| | 03:33 |
So let's back off on that, course it's
always going to be a tradeoff right, when
| | 03:37 |
you're removing noise, you're also going
to be removing a little bit of detail.
| | 03:41 |
So you just have to find the balance.
So let's go ahead and start with our
| | 03:44 |
luminance slider, right around maybe 63,
and then we can use the luminance detail
| | 03:50 |
and the luminance contrast sliders, in
order to help us again balance this
| | 03:54 |
removal of noise verses detail.
So as I move the detail slider over to
| | 03:59 |
the left I'm basically telling camera ROB
that I don't care as much about the
| | 04:05 |
detail areas.
When I move over the right you can see
| | 04:08 |
that's it's trying to maintain all of the
detail in the image.
| | 04:12 |
So again, it's kind of a balancing act
here, you need to move the slider in
| | 04:16 |
order to maintain as much detail as you
need in those darker areas or your photograph.
| | 04:21 |
The luminance contrast can come in really
handy when you do have large flat areas
| | 04:27 |
like maybe a wall, or maybe the fabric on
this sofa.
| | 04:30 |
Because as I move the luminance contrast
over to the right you can see that it's,
| | 04:34 |
kind of, introducing the splotchy area.
So obviously you don't want to use this
| | 04:38 |
if you're retouching faces.
But if you have large areas of kind of
| | 04:42 |
solid color, moving the luminance
contrast over to the right can help it
| | 04:47 |
look not as smooth, and perhaps a little
bit more natural.
| | 04:51 |
Now that's probably too much.
I can just back off a little, and then
| | 04:54 |
we'll tap the P key, again to preview.
There's before and there's after.
| | 04:59 |
Now this is only previewing the luminance
and the color.
| | 05:02 |
Noise reduction if I want to preview
everything that I've done to the image,
| | 05:06 |
then we need to scoot over to our
Presets.
| | 05:08 |
We'll tap the P key here and we can see a
before, where we've got the dark image
| | 05:12 |
that is a little bit crooked, and we tap
the P key again.
| | 05:16 |
Here we have got the straightened image
that's a lot lighter, and has a lot of
| | 05:20 |
the noise reduced.
I think that's actually a little bit too
| | 05:24 |
strong for my personal taste, but I
want to make sure that you can really see
| | 05:27 |
the difference while you are watching the
video.
| | 05:30 |
I think a good rule of thumb is that
visually as long as the noise is not
| | 05:35 |
distractive, then your eye isn't really
going to mind.
| | 05:38 |
So I tend err a little bit on the
conservative part.
| | 05:42 |
I'm okay with seeing a little bit of
noise in my image, again as long as it's
| | 05:47 |
not distracting to the eye.
Alright when we click done, return to
| | 05:51 |
bridge, you can see that the preview's
been updated.
| | 05:55 |
| | Collapse this transcript |
| Correcting lens distortion| 00:00 |
Depending on the quality of the lens that
you're using as well as the focal length,
| | 00:04 |
you might see some distortion in your
images.
| | 00:07 |
Typically, lens distortion is much more
noticeable with the wider angled lenses
| | 00:12 |
and it gets worse with the less expensive
lenses.
| | 00:15 |
Let's go ahead and take a look at this
image by using Cmd+R on the Mac or Ctrl+R
| | 00:20 |
in order to open it into Camera Raw.
We can see that it almost looks like the
| | 00:24 |
boards on the house are bent, like
they're bowing out.
| | 00:29 |
In order to have camera fix this
automatically, we need to scoot over to
| | 00:33 |
the lens correction panel.
You can see that I have my grid on, but
| | 00:37 |
we can toggle that off if we don't want
to see it.
| | 00:40 |
I tend to like it on though while I'm
correcting distortions over in the
| | 00:44 |
Profile area, we can enable a Lens
Profile Correction.
| | 00:48 |
And what this does is it tells Camera to
go out and look for a profile in order to
| | 00:55 |
remove the distortions caused by the lens
for this specific make and model.
| | 01:01 |
And of course it knows that information
because that information is being saved
| | 01:06 |
as part of the Exif information in the
file.
| | 01:09 |
So, this is nothing that you have to do.
Camera raw is going to automatically
| | 01:13 |
select the correct profile for you.
And you can see, by toggling this off and
| | 01:17 |
on, that it's trying to remove the
distortion in the lens.
| | 01:21 |
Now, this is very different from a
perspective correction, which we'll talk
| | 01:26 |
about in another video.
This is only removing the distortion
| | 01:30 |
that's caused by the lens.
You can also use the correction amount
| | 01:35 |
sliders if you want to manually go in and
change the amount of distortion that's
| | 01:39 |
being corrected.
So you can see here, as I move it to the
| | 01:42 |
left, we're getting the kind of barrel
look to the image.
| | 01:45 |
As I move it to the right, we've got more
of a pin cushion move.
| | 01:49 |
So again, we can come in here and we can
manually override the profile if we want to.
| | 01:55 |
The same goes with the vignetting.
If I move the vignetting over to the
| | 01:58 |
left, it's going to darken down the
vignette.
| | 02:01 |
If I move it over to the right, it's
going to amplify the correction.
| | 02:05 |
So if I double click and set this at 100
percent, that's correcting 100 percent of
| | 02:10 |
the vignetting that's caused by the lens,
and it's doing that via the profile.
| | 02:14 |
So anything that you change here is to
going to amplify what the profile does.
| | 02:19 |
So I'll double click on the distortion
slider and set that back as well because
| | 02:23 |
I think the profile's actually doing a
very good job of removing any of the lens distortion.
| | 02:28 |
It just so happens that this house is
also a little bit crooked so the rotation
| | 02:33 |
is off a bit.
Of course I can fix that over here in the
| | 02:36 |
manual panel by just using the rotation
slider to just straighten that slightly.
| | 02:42 |
Returning back to the Profile tab here, I
just want to point out that if you're
| | 02:47 |
using maybe a point and shoot camera, or
if you're using your camera phone, and
| | 02:52 |
you come in here to the Profile area
Camera Raw might not be able to find a
| | 02:58 |
profile for that make and model camera,
or certainly not that make and model phone.
| | 03:04 |
In which case it would come up with no
results here, in which case it wouldn't
| | 03:08 |
be able to make the automatic correction.
If that's the case and I'll just emulate
| | 03:13 |
that my unchecking the Enable Profile
Correction, you can always scoot over to
| | 03:18 |
the manual area, and you can use the
distortion slider here in order to make a correction.
| | 03:23 |
You can also scroll down, and use the
lens vignetting slider here to correct
| | 03:29 |
any lens vignetting manually that was
created by the lens.
| | 03:34 |
What I would suggest is that you do
remove any lens vignetting at this point
| | 03:40 |
in time.
If you want to add a creative lens
| | 03:43 |
vignette to your image later, you can
always do that using the effects panel.
| | 03:47 |
But if you go in and you crop your image,
you might crop the image off center a
| | 03:52 |
bit, in which case the vignetting that's
caused by the lens is not going to look
| | 03:57 |
right, it's going to look off balance.
And in fact if you add a creative post
| | 04:01 |
crop vignette, you would be amplifying
the vignette in one area and not in another.
| | 04:07 |
All right, let's go ahead and reset this
transformation and reset this lens
| | 04:11 |
vignetting, because I could simply go
over to the Profile panel and enable the
| | 04:15 |
lens profile correction for this image,
and it would go ahead and fix that.
| | 04:20 |
Now, let's turn off the grid for a
moment.
| | 04:22 |
And then use the p key to preview the
before and after, before and after.
| | 04:29 |
As you get more advanced, you can
actually make your own profiles for your
| | 04:33 |
specific lens and camera combination
using the free Adobe Lens Profile Creator
| | 04:39 |
found on the lab site which is
labs.adobe.com.
| | 04:43 |
And if you're feeling adventurous, you
can use the Adobe Lens Profile Downloader
| | 04:48 |
if you wanted to look for custom
profiles, or maybe share those that
| | 04:52 |
you've created, because there are a lot
of people in the community that are using
| | 04:56 |
odd combinations of cameras and lenses,
and they have created their own lens
| | 05:02 |
profiles, and they're sharing them on
that site.
| | 05:05 |
But, again, that's as you're getting more
and more advanced.
| | 05:08 |
For now, using the profiles for the more
common lens and camera combinations is an
| | 05:13 |
excellent and easy option for removing
lens distortion.
| | 05:16 |
| | Collapse this transcript |
| Making perspective corrections to images| 00:00 |
Sometimes it's just not possible to
photograph the scene at the angle that
| | 00:04 |
you want, or sometimes you might just be
off by a little bit when you take the
| | 00:08 |
photo and you want to correct the
perspective.
| | 00:11 |
In order to fix this, we can use the
Manual tab in the Lens Correction panel.
| | 00:15 |
So let's select all three of these images
here.
| | 00:18 |
I'll just hold down the Command key or
the Control key on Windows to select them
| | 00:22 |
all, and then I'll click on the Open in
Camera Raw icon.
| | 00:26 |
You can see that because I had three
images selected, thumbnails for those
| | 00:30 |
images appear over here on the left.
I want to go ahead and select all of my
| | 00:34 |
images to start with, so I'll click
Select All.
| | 00:37 |
And then we'll move over to the Lens
Correction panel, and I'll actually start
| | 00:42 |
with a profile panel.
The reason I selected all of the images
| | 00:45 |
is because you'll get better results with
a perspective correction if you've
| | 00:50 |
enabled the Lens Profile Correction here
and if you move to the Color panel and
| | 00:55 |
choose to Remove Chromatic Aberration.
Now, we'll over to the Manual panel, but
| | 01:00 |
before I start making adjustments, now's
the time when I only want the first image selected.
| | 01:06 |
So I'll click on the first image, and
then let's take a look at the different
| | 01:09 |
options under Upright.
The first option does an auto-correction.
| | 01:13 |
You can see that the perspective has been
straightened on the building and it looks
| | 01:19 |
much better.
Now, optically it's not exactly straight.
| | 01:24 |
But it's a more natural correction to the
image.
| | 01:27 |
We'll notice the difference as we move
through the other options.
| | 01:30 |
The next option here only corrects the
level.
| | 01:34 |
So it's only trying to straighten the
horizon of the image.
| | 01:37 |
It doesn't actually do any vertical or
horizontal corrections.
| | 01:42 |
Then the next option will do just
vertical corrections.
| | 01:45 |
So now you can see that these vertical
lines are straight.
| | 01:49 |
In fact if I show the grid on top of it,
we can go ahead and compare them to that grid.
| | 01:54 |
So optically they are correct here.
But it's up to you if you prefer this
| | 01:59 |
vertical option versus the
auto-perspective correction.
| | 02:03 |
If you need them exactly straight, go
ahead and select that fourth option in
| | 02:06 |
order to straighten those vertical lines.
The last option here straightens not only
| | 02:10 |
the vertical lines but also the
horizontal lines.
| | 02:14 |
Again, we can show the grid here and now,
you can see, for example, that these
| | 02:18 |
horizontal lines are all straighter than
they were with just the previous option
| | 02:23 |
checked on.
So again, it's a matter of preference.
| | 02:26 |
Whichever one of these options you prefer
is the one that you should go with.
| | 02:30 |
Let's go ahead and move to the next image
here and let's look at the different
| | 02:34 |
results that we get.
Here's the option with Auto.
| | 02:37 |
It looks like it's straightening it and
doing a really nice job.
| | 02:40 |
Of course, if we go to Level, it would
only level it, so we're not going to get
| | 02:43 |
the perspective correction.
The third one gives me only the vertical
| | 02:47 |
perspective and I wanted to use this file
as an example just because it's so
| | 02:51 |
obvious that it hasn't straightened the
horizontal lines.
| | 02:54 |
It's only straightening the vertical
lines.
| | 02:56 |
Finally, the full correction, the last
icon there, is going to straighten both
| | 03:00 |
the vertical and the horizontals.
And we can just look at the difference
| | 03:04 |
here between the auto and the vertical.
So it's very similar, it's only a little
| | 03:09 |
bit difference, again it's a personal
preference.
| | 03:12 |
Finally when we move down to the ivory
building and we walk through the options.
| | 03:16 |
Here is the Auto option, so it's leveled
it and it's also starting to straighten it.
| | 03:21 |
Level of course would only level.
The third option here is going to really
| | 03:26 |
straighten those verticals, you can
always check that by showing the grid.
| | 03:30 |
And finally this last option, the full
option, is going to almost make it appear
| | 03:35 |
that we're moving around, or the house is
moving so that we've got a straight on
| | 03:39 |
view of it.
And of course you can use any of these
| | 03:42 |
presets and then also go down here in the
Transform area and modify them.
| | 03:48 |
So let's go ahead and add just a slight
rotation here, and I just want to point
| | 03:52 |
out that if you use any of the manual
overrides here.
| | 03:56 |
If you do go back and click one of the
upright icons, it will actually reset any
| | 04:02 |
of the manual settings that you've made
here.
| | 04:05 |
I also want to show you that if the
distortion on your image is really great,
| | 04:10 |
you will also see this transparent
checkerboard here that just tells you
| | 04:14 |
that to make that kind of distortion, you
don't have enough information in your
| | 04:18 |
original image.
So in order to distort that, you're going
| | 04:22 |
to need to do one of two things.
You'll either need to crop the file, or
| | 04:26 |
you'll need to make up this information
maybe by taking this photograph into
| | 04:31 |
Photoshop and using maybe one of the
Content-Aware Fill tools or the Clone tool.
| | 04:36 |
Regardless of how you do it, you would
need to make up that information.
| | 04:39 |
There is an option with the Crop tool.
You can see that it's set to constrain to
| | 04:43 |
image, which means that even if I drag
out a crop into the transparent area,
| | 04:48 |
when I release the mouse it will
constrain it so that it's not cropping
| | 04:52 |
into any of the transparent areas, it's
constraining it to the image area.
| | 04:56 |
Of course we can always re-position and
re-size that crop if we wanted to include
| | 05:03 |
a different area of our image.
All right, let's double-click where it
| | 05:06 |
says Vertical to turn that off.
I just wanted to make you aware of that
| | 05:09 |
because I obviously forced it to do it
using the manual overrides down here.
| | 05:14 |
But sometimes when you click on one of
the upright options, it will actually
| | 05:19 |
show you that checkerboard as well.
This time when we click Done, you'll
| | 05:23 |
notice that all three of the icons here
in Bridge were updated.
| | 05:27 |
So as you can see, it's very easy to now
correct perspective in Camera Raw.
| | 05:31 |
One helpful tip to keep in mind.
You might want to think about shooting
| | 05:35 |
the scene a bit wider than necessary if
you know that you're going to change the perspective.
| | 05:40 |
Because you might need to crop the image.
And you want to make sure that you have
| | 05:45 |
enough information to start with so that
when you crop you're not cropping off any
| | 05:49 |
important elements.
| | 05:50 |
| | Collapse this transcript |
| Removing chromatic aberration| 00:00 |
You might have noticed some red-green or
blue-yellow color fringes, especially
| | 00:04 |
towards the outer edges of your images
and in areas of higher contrast.
| | 00:09 |
Now this is typically a result from
what's known as lateral chromatic
| | 00:13 |
aberration, and it's a relatively easy
type of problem for Camera Raw to fix.
| | 00:18 |
So let's select the window image and then
use command R or control R in order to
| | 00:23 |
view it in Camera Raw.
You might see some little red highlight
| | 00:27 |
here, over the specular highlights,
that's because you have your clipping
| | 00:30 |
warnings on, so if they are on and you
see that you can just click on the icon
| | 00:34 |
in the upper right in the upper right of
the histogram panel in order to toggle
| | 00:38 |
that on and off.
Now, to make sure we're really able to
| | 00:41 |
see the chromatic aberration in this
image and to see it being removed, I'm
| | 00:45 |
going to, kind of artificially add a
bunch of saturation here.
| | 00:50 |
I just wanted to make sure as we remove
it, you're able to see it be removed.
| | 00:54 |
Now let's zoom in to a 100% and then were
going to hold down the space bar and just
| | 01:00 |
move over to the side of our image.
And in fact I'm going to move all the way
| | 01:04 |
to the left side and all the way to the
top of the image.
| | 01:07 |
This is the color fringing that I'm
referring to You can see that it's green
| | 01:11 |
on one side of this high contrast area
and then over here we can see the
| | 01:16 |
fringing of the magenta color.
Likewise, down a little further we see
| | 01:20 |
the magenta here and the green here.
And again, those pixels are just not
| | 01:24 |
quite in alignment and we can see
obviously that they're more out of
| | 01:28 |
alignment the closer to the edge of the
image we get.
| | 01:32 |
So in order to correct this, we just need
to scoot over to the lens correction panel.
| | 01:36 |
We'll make sure that we've enabled the
lens profile correction to get rid of any
| | 01:40 |
distortion in the image, and then click
the color tab and choose to remove the
| | 01:45 |
chromatic aberration.
We can see now that those misaligned
| | 01:49 |
pixels have now been corrected and we
don't see that color fringing anymore.
| | 01:53 |
Now if it doesn't completely remove the
color fringing, you can come down to the
| | 01:57 |
defringe area.
Although I will say the primary reason
| | 02:01 |
for this defringe area is to fix a
different kind of chromatic aberration
| | 02:06 |
and you'll know if you see this other
kind of chromatic aberration because it
| | 02:10 |
will show itself as a purple green
fringe.
| | 02:14 |
And these fringes result from something
totally different that's an axial
| | 02:18 |
chromatic aberration, and they're kind of
beyond the scope of the fundamentals.
| | 02:23 |
Just know that if you see this purple and
green shift in your images, especially
| | 02:28 |
around areas of high contrast, and not
necessarily just on the edge of your images.
| | 02:33 |
This other kind of chromatic aberration
can also occur in the centre of your images.
| | 02:38 |
But you would use these sliders here in
order to remove it.
| | 02:42 |
So for example as you increase the purple
amount, that's how much defringing you're removing.
| | 02:46 |
And you can kind of redefine what purple
is.
| | 02:50 |
Because it will vary a little bit from
image to image.
| | 02:53 |
And you would redefine that by just
sliding over the purple hue.
| | 02:56 |
And it would become very obvious as you
move this purple hue over, in your image,
| | 03:01 |
it would be correcting that purple to
green fringe.
| | 03:05 |
Alright, for now we'll just turn that off
because simply clicking on the checkmark
| | 03:10 |
here, remove the Chromatic Aberration in
this image, in fact we can tap the P key
| | 03:14 |
to turn on and off the preview.
So that's before, and that's after.
| | 03:18 |
Go ahead and click Done.
We can see that it's been updated here in Bridge.
| | 03:22 |
And here you have it, a fast and easy
method to remove color artifacts along
| | 03:26 |
the edges of your images with manual over
rides for those who need more control.
| | 03:31 |
| | Collapse this transcript |
| Sharpening details| 00:00 |
Almost every digital capture can benefit
from some amount of sharpening in Camera Raw.
| | 00:04 |
Just to make up from any loss of
sharpness in the capture process.
| | 00:08 |
So let's take a look at this image here
of the cannon and we'll use Cmd+R or
| | 00:13 |
Ctrl+R in order to open that into Camera
RAW.
| | 00:16 |
Now depending on whether or not you have
your shadow and highlight clipping
| | 00:20 |
warnings on, you might see some little
red overlays or some blue overlays.
| | 00:25 |
So let's go ahead and turn both those off
by clicking on them in the histogram.
| | 00:30 |
Now we're going to move over to the
detail panel and take a look at the sharpening.
| | 00:35 |
What Camera Raw is automatically adding,
and what we can see here for the amount
| | 00:39 |
being 25, that is what we're going to
call input or capture sharpening, as
| | 00:44 |
opposed to output sharpening.
And the goal here in Camera Raw is to add
| | 00:49 |
as much sharpening as needed, to simply
make the image look good on the screen here.
| | 00:54 |
This is not where you would add
sharpening for a specific output device,
| | 00:58 |
that's handled later in the workflow when
you actually save a file from Camera Raw
| | 01:02 |
or by using something like the un-sharp
or smart sharpen filters in Photoshop
| | 01:07 |
before you print.
So when your looking at how much
| | 01:11 |
sharpening to add you want to make sure
that your viewing your image at 100% so
| | 01:16 |
I'll use the keyboard shortcut command
option zero or control alt zero to
| | 01:20 |
automatically zoom to 100%.
I just want to mention that if you're
| | 01:24 |
following along with your own images and
they happen to be JPEG images.
| | 01:28 |
You'll notice that the amount is actually
set to zero.
| | 01:31 |
And that's because Camera Raw assumes
that if you're capturing with JPEG,
| | 01:37 |
there's been some kind of default amount
of sharpening that's already been added
| | 01:42 |
to that image, so Camera Raw won't
automatically add additional sharpening.
| | 01:47 |
And this amount, this 25 that you see in
the camera RAW settings, that's actually
| | 01:53 |
a different number under the hood for
each camera.
| | 01:56 |
So, even though you might bring up 10
different images from 10 different cameras.
| | 02:00 |
And the slider is always set to 25 as a
default for each of those files, you
| | 02:05 |
should just know that camera raw is
actually changing the amount of
| | 02:08 |
sharpening that's applied to each image
because the quality of the camera and the
| | 02:13 |
sensors change from one model to another.
Now let's talk about the four sliders.
| | 02:18 |
The Amount slider is the amount of
contrast that you're going to be adding
| | 02:23 |
to your image.
As we move it over to the right, you can
| | 02:26 |
see that there's been a lot of contrast
added to the image.
| | 02:29 |
So the amount is simply the amount of
contrast, because when Camera Raw finds
| | 02:34 |
an edge, and it adds this amount to the
edge, it's trying to fool your eye into
| | 02:39 |
thinking that the image is sharper.
By adding that added contrast.
| | 02:44 |
The radius slider determines how many
pixels the amount is added to when camera
| | 02:50 |
raw finds an edge.
So as you move the radius slider to the
| | 02:54 |
right you'll notice that you'll get kind
of thicker and thicker edges to your sharpening.
| | 02:59 |
Now, obviously this is too much, so let's
back off on the radius.
| | 03:03 |
Usually you want to keep that between
about one and two, and I'm going to also
| | 03:07 |
back off on the amount of sharpening.
I think it's really handy to keep one
| | 03:12 |
hand on the P key, because that will
toggle on and off the preview here, so
| | 03:16 |
you can see the before and after when
you're adding your sharpening.
| | 03:20 |
It might be a little bit difficult for
you to see once the video is compressed,
| | 03:24 |
but if you move these values yourself I'm
sure you'll be able to see the added
| | 03:29 |
contrast that's being added with the
amount slider.
| | 03:32 |
So again toggling with a P, that's before
and after.
| | 03:35 |
You just want to make sure that you don't
start seeing any halos.
| | 03:38 |
So lemme hold down the space bar and move
over to this area right here.
| | 03:42 |
What I'm looking at is the bottom of the
cannon here.
| | 03:46 |
If I increase the amount slider and we
increase the radius.
| | 03:49 |
Can you see that light halo on this side
of the cannon.
| | 03:52 |
And then the darker halo that is being
formed at the very base area there and
| | 03:56 |
the darker areas.
That halo is caused by two great an
| | 04:00 |
amount as well as too great of a radius.
So again I'm going to bring that radius
| | 04:05 |
down, as well as the amount, I wanted to
point that out because it's important
| | 04:09 |
that you look at your entire image when
you're adding sharpening because there
| | 04:12 |
might be some areas that the sharpening
is more noticeable than other areas.
| | 04:16 |
Alright, let's increase the sharpening
and the radius again, all the way because
| | 04:20 |
I want to show you what the detail and
masking sliders do.
| | 04:23 |
If we move the detail slider all the way
over to the right, to 100.
| | 04:28 |
That says to put the emphasize on
sharpening all of the little details, and
| | 04:32 |
you can see now how everything in the
image is being sharpened.
| | 04:36 |
As I move the Detail slider over to the
left, now the areas that had less
| | 04:40 |
contrast, like for example kind of the
flatter areas here in the spokes or the
| | 04:45 |
sky area back here, you'll notice that
the sharpening is being suppressed in
| | 04:50 |
those areas of lower contrast and it's
only being applied in the areas of higher
| | 04:55 |
contrast, or where there's more of an
edge.
| | 04:57 |
Again, we'll turn that up to a 100% and
everything's being sharpened.
| | 05:01 |
As we move it down toward 0, we're saying
don't sharpen all those areas of lower contrast.
| | 05:07 |
All right.
I'll move it all the way up again so we
| | 05:09 |
can take a look at the masking slider.
As I move the masking slider, it works
| | 05:13 |
kind of in the other direction.
As I move the masking slider over to a
| | 05:17 |
hundred percent, it has been suppressing
the values in the image that have less contrast.
| | 05:22 |
So, you might be wondering what's the
difference between these two sliders.
| | 05:26 |
The difference is in the way they are
suppressing it.
| | 05:29 |
If I hold down my option key, and I start
dragging the detail slider, you can see
| | 05:34 |
the mask that Camera RAW is creating in
order to apply the amount and radius to.
| | 05:40 |
And as I move it over to the left, you
can see that those areas like the sky and
| | 05:44 |
the spokes Aren't being sharpened.
When I move it over to the right you can
| | 05:48 |
see that everything in the image is being
sharpened.
| | 05:51 |
Now if I let go of that but hold down the
Option or the Alt key again when I drag
| | 05:55 |
the masking slider we can see that the
mask that it creates is a much more
| | 05:59 |
organic mask, and again we can see those
areas where the sharpening is being
| | 06:04 |
applied and where it's not.
So wherever the mask is black here, the
| | 06:07 |
sharpening is not being applied.
Wherever it's white, the sharpening is
| | 06:11 |
being applied.
So this masking slider is actually the
| | 06:14 |
preferred slider for me when I'm
sharpening something that is more
| | 06:19 |
organic, something like a person's face.
If I'm going to be sharpening a landscape
| | 06:24 |
like this, that has lots of leaves or
trees or small details, then I prefer to
| | 06:29 |
use the Detail slider in order to
suppress the amount of sharpening.
| | 06:34 |
Alright.
So let's go ahead and back off on the
| | 06:36 |
Amount here, get it a little bit more
realistic.
| | 06:38 |
Same with the radius, I usually try to
keep my radius down between one and two
| | 06:42 |
and then just increase the amount until I
think the image looks good.
| | 06:47 |
Again, we can tap the p key to preview.
And that's before, and after.
| | 06:52 |
So, you can see that I'm not over
sharpening.
| | 06:54 |
I really don't have any halos showing in
the image.
| | 06:56 |
And, at the same time, I've got the
correct amount of suppression, so we're
| | 07:00 |
not seeing that sharpening occur in the
sky or in these areas that are rather
| | 07:04 |
flat, like these spokes at the wheel,
here.
| | 07:07 |
As we can see, adding the correct amount
of sharpening is really quite easy once
| | 07:12 |
you know what each of these sliders does.
Go ahead and click Done, return back to
| | 07:17 |
the Bridge, and since it was sharpening
that we changed, we probably won't see
| | 07:20 |
that preview updated, but it actually has
been.
| | 07:22 |
| | Collapse this transcript |
| Making an average photo great| 00:00 |
If you've been following along in this
chapter, you'll notice that we've made
| | 00:03 |
specific improvements to a number of
images using the controls to simply fix a
| | 00:08 |
specific problem.
More often than not, though, when we're
| | 00:11 |
making an image look better, it's a
combination of many of these sliders that
| | 00:14 |
will improve the image dramatically.
So let's select the bike image and go to
| | 00:19 |
Camera Raw, using Cmd+R on Mac, or Ctrl+R
on Windows.
| | 00:23 |
Now the first thing that I want to do is
I want to correct any lens distortion by
| | 00:28 |
using the Lens Correction panel and
enabling the Lens Profile Correction.
| | 00:32 |
I'll also toggle on the Remove Chromatic
Aberration.
| | 00:37 |
And if we'd photographed a building or
something that we needed to straighten
| | 00:40 |
the perspective of, we could do that in
the Manual area.
| | 00:43 |
For now, I'm going to go ahead and skip
that, but I do need to crop the image.
| | 00:47 |
So I'll tap C to access my Crop tool, and
if I need to crop to a specific aspect
| | 00:53 |
ratio, I'll click and hold on the Crop
tool and then select that aspect ratio.
| | 00:57 |
That way when I click and drag out my
crop it's going to constrain it to that
| | 01:01 |
aspect ratio.
Now I want to make sure that the whole
| | 01:04 |
bike is in the image so I'll reposition
the crop, and then I'll tap Enter or
| | 01:08 |
Return in order to apply that crop.
If needed I would want to set the white
| | 01:12 |
balance of the image, so we'll return to
the Basic panel.
| | 01:16 |
Or I could just tap the I key in order to
access the eye dropper and then click
| | 01:20 |
somewhere in my image that I know to be
neutral.
| | 01:23 |
I think that this area right here is
probably a neutral gray and I like the
| | 01:27 |
result, it made the color temperature a
lot warmer.
| | 01:30 |
And got rid of the kind of cold blue
feel.
| | 01:33 |
Then, in order to lighten the image a
bit, I'll click the Auto option here and
| | 01:39 |
see how Camera Raw lightens it.
Obviously I can refine it from here, so
| | 01:43 |
if I think the exposure change was too
great or too little, we can go ahead and
| | 01:48 |
make our changes.
I can also add a little bit of contrast
| | 01:51 |
if I want to, and if I toggle on both my
shadow clipping and my highlight clipping
| | 01:56 |
by tapping the U key and then the O key,
we can actually see that some of these
| | 02:02 |
highlights along the handle bar, these
specular highlights, are being clipped.
| | 02:05 |
So I want to pull back on my white slider
til I no longer see that clipping warning.
| | 02:11 |
If the clipping warning's still there
when the whites go all the way to
| | 02:14 |
negative 100, then I might also want to
bring down my highlight slider.
| | 02:18 |
Now once they disappear with the
highlight slider I can try edging them
| | 02:22 |
back up a little bit with the whites but
as soon as I see that red I'm going to
| | 02:25 |
back off.
When I move the black slider, I can see
| | 02:29 |
that I'm starting to clip values here
like under the seat and we see the
| | 02:33 |
preview of the warning in blue.
So I'll just back off a little bit on that.
| | 02:37 |
And then I'm going to increase my
shadows, just to see if we can look into
| | 02:41 |
the shadow areas a little bit.
You can see the difference there,
| | 02:44 |
especially underneath the bike seat.
If this is set to zero, it's really dark there.
| | 02:49 |
If I go ahead and move the slider all the
way to maybe plus 90, we start to see
| | 02:54 |
some detail in that shadow area.
Now before I turn off the clipping
| | 02:58 |
warnings, I also want to add a little bit
of clarity.
| | 03:01 |
And the reason that I'm adding clarity is
just to make my image pop a little bit.
| | 03:06 |
Adding clarity is kind of like adding a
little bit of sharpening in that Camera
| | 03:11 |
Raw is going to look for edges in your
image, but it's only going to look for
| | 03:15 |
edges in the midtones of your images and
then it's going to make one side of the
| | 03:20 |
edge darker and the other side of the
edge lighter.
| | 03:21 |
That's going to fool your eye into
thinking that it's sharper.
| | 03:25 |
So the nice thing about clarity is it's
very specific.
| | 03:27 |
It does this only in the midtone regions.
And it really can make your image feel
| | 03:32 |
like it's kind of popping.
It's got more contrast and more dynamic
| | 03:36 |
to it.
Now you have to be careful, and the
| | 03:38 |
reason that I said, that I didn't want to
turn off my clipping warnings is if I
| | 03:42 |
move the clarity slider over too far, you
can see that I'm now clipping my blacks again.
| | 03:47 |
I'll back off a little bit on clarity and
then I'll just raise my black slider a
| | 03:51 |
little bit.
And we're not clipping in the highlights
| | 03:53 |
so I can go ahead and toggle those both
off right now by tapping the U and the O
| | 03:58 |
to turn off the clipping warnings in my
shadows and my highlights.
| | 04:03 |
Now in order to add just a little bit of
color to my image I'm going to use the
| | 04:07 |
vibrance slider.
You'll notice that the vibrance slider,
| | 04:10 |
when I move it all the way to the right
makes the image quite saturated but it's
| | 04:15 |
still a relative slider so it's still
keeping some distinction between those
| | 04:20 |
highly saturated values.
If I move it all the way to the left you
| | 04:25 |
can see that I'm de-saturating it, I'm
losing the vibrance, but because it's
| | 04:30 |
relative it doesn't go all the way to
black and white like the saturation
| | 04:33 |
slider would.
I'm going to add just a little bit of
| | 04:36 |
vibrance here.
And then we need to check to make sure
| | 04:39 |
that we've got the proper amount of
sharpening for this image, so I'll move
| | 04:42 |
over to the Detail panel.
And we need to zoom into 100%, so we'll
| | 04:46 |
use Cmd+Option+0 or Ctrl+Alt+0 on
Windows.
| | 04:49 |
I'll hold down the space bar and maybe
we'll move up to the handlebar area here,
| | 04:54 |
and then I can increase my amount of
sharpening.
| | 04:57 |
Remember you don't want to go too far.
As soon as you see it looking too crunchy
| | 05:01 |
or you see too much detail in areas that
should be smooth, you know that you've
| | 05:05 |
added too much of your amount.
So let's back off on that.
| | 05:09 |
We can increase the radius a little bit.
Remember, when you have a high amount and
| | 05:13 |
you increase the radius, you're going to
start getting that kind of haloing look
| | 05:17 |
around the edges of your image.
And we don't want that.
| | 05:19 |
So I'd keep that radius down between one
and two.
| | 05:23 |
Back off on the sharpening here.
And just decrease the amount of detail here.
| | 05:28 |
So again, I think that's a little bit too
much.
| | 05:30 |
I like to tap the P key to preview just
the sharpening to make sure that I'm not
| | 05:34 |
overdoing it.
And then we'll go ahead and navigate to
| | 05:37 |
the Presets panel.
And this time when I tap the P key, we
| | 05:41 |
can preview all of the changes that I've
made in all of the different panels.
| | 05:45 |
So I'll use Cmd+0 this time or Ctrl+0 to
fit in window and then tap the P key
| | 05:52 |
again to toggle the before or without the
preview and then toggle on the preview again.
| | 05:57 |
And there you have it, within minutes,
you can apply a simple, non-destructive
| | 06:01 |
adjustment in Camera Raw to help your
images stand out.
| | 06:04 |
| | Collapse this transcript |
|
|
5. Retouching and Using Creative Techniques with Camera RawUsing the Graduated Filter tool| 00:00 |
In an ideal world, when we see a
landscape that we want to photograph, the
| | 00:03 |
light would be just perfect.
But in reality, many times when I'm
| | 00:06 |
traveling between locations, I don't have
time to wait for the light to change.
| | 00:10 |
So, we make due with what we have.
Luckily, Camera Raw has a very quick
| | 00:14 |
solution to fix an image like this.
I'm going to select the BlackSand image,
| | 00:18 |
and then open it in Camera Raw using
command + R or control + R.
| | 00:22 |
I want to darken down this sky and also
lighten up the foreground area here where
| | 00:27 |
the rocks are.
And in order to make a selective
| | 00:30 |
adjustment like this, I'm going to tap
the G key.
| | 00:33 |
The G key will automatically select my
gradient filter tool.
| | 00:37 |
Now the first thing you'll notice is,
over here on the right hand side, there
| | 00:41 |
are a lot of different attributes that
you can load this gradient filter with.
| | 00:45 |
And by load, I mean you can tell it to
change things like exposure, either
| | 00:50 |
increasing it or decreasing it.
You can change the contrast or the highlights.
| | 00:55 |
You can change shadows, clarity,
saturation.
| | 00:57 |
You can even change sharpness and reduce
noise.
| | 01:00 |
You can get rid of a moire, you can also
change the amount of defringing
| | 01:03 |
selectively, and you can even add a color
overlay.
| | 01:08 |
So now that I've made a bunch of changes
to these sliders you might be wonderng
| | 01:11 |
why nothings happening in the image.i
It's because I'm just telling Camera Raw
| | 01:15 |
what I want it to preload the brush with.
Now if I want to reset these all back to
| | 01:21 |
their starting positions.
Instead of double clicking on each
| | 01:24 |
slider, I can pick a single slider and
then either click on the minus or the
| | 01:29 |
plus icon.
As soon as I click on this icon, it will
| | 01:32 |
reset all of the other sliders to zero,
except for the one where I clicked, in
| | 01:37 |
which case it would increase the
exposure.
| | 01:40 |
Well I actually want to do the opposite.
So let's decrease the exposure.
| | 01:43 |
Again, nothing's happening in the image
area.
| | 01:45 |
I'm just pre-loading the brush with what
I want to paint.
| | 01:49 |
Now in order to drag this graduated
filter, I'll start near the top of my
| | 01:53 |
image, and click and drag down.
You'll notice that I'm dragging at
| | 01:57 |
different angles but if I want to
constrain this I can hold down the Shift
| | 02:01 |
key, now it's constrained to a vertical
motion.
| | 02:04 |
When I let go, I can then reposition the
graduated filter by either clicking on
| | 02:09 |
the bar in the center and dragging it up
or down.
| | 02:12 |
Or I can change the fade range,
basically, where it starts in this green
| | 02:18 |
dot and that green dotted line.
That's where the effect that I've loaded
| | 02:23 |
over here on the right will be applied in
100% and in that effect, we'll gradually
| | 02:28 |
fade or drop off until we get to the red
dot where there will be no more effect.
| | 02:33 |
So if I want to, I can go ahead and
shorten that.
| | 02:36 |
Or we can lengthen that or we can adjust
that at any point in time.
| | 02:40 |
Not only that, I can rotate it.
Now it's helpful if you actually move
| | 02:45 |
your cursor further away from those dots.
If your cursor's really close to the dots
| | 02:49 |
and you try to rotate then a very small
move on screen will give you a large rotation.
| | 02:55 |
So it's a little harder to control.
If you move your cursor away from that
| | 02:59 |
red dot, now I can click and drag.
And you can see, I have much more
| | 03:02 |
control, because it takes me a longer
drag, and that longer drag will actually
| | 03:06 |
create a shorter rotation.
All right, now all of these options of
| | 03:11 |
course, are re-editable.
As long as I've got the graduated filter
| | 03:14 |
selected, I can come back in here at any
time, and change the amount of the
| | 03:19 |
exposure for example.
I can even add another parameter.
| | 03:22 |
So if I wanted to also decrease the
highlights, I could.
| | 03:25 |
Or if we scroll down, if I decided that I
wanted to add a little bit of a tint to
| | 03:29 |
the clouds.
I could click in the Color Swatch and
| | 03:32 |
then add maybe like a yellow tint, or we
could add a very cold tint by moving over
| | 03:36 |
towards the blues.
I like that, we'll click Okay.
| | 03:40 |
Now we can toggle this on and off with a
preview by tapping the P key.
| | 03:43 |
So there's before and there's after.
I can also hide the interface by tapping
| | 03:48 |
the V key.
So now when I tap P, there is before, and
| | 03:52 |
there's after.
Then to bring back the interface, I'll
| | 03:54 |
tap the V key again.
Now I want to create a secondary
| | 03:58 |
graduated filter down at the bottom.
In order to do this, I'll click on the
| | 04:02 |
New button, and then I'll preload this
with a positive exposure.
| | 04:06 |
0.5 might not be enough so I'm going to
increase that a little bit.
| | 04:10 |
And then I'll click near the rock area
and drag up towards the mountains at a
| | 04:15 |
little bit of a angle.
Again if I need to reposition it I can
| | 04:19 |
click on the black and white dotted line
here.
| | 04:21 |
If I want to change the angle or rotate
it a little bit, I'll click and drag on
| | 04:26 |
either of these lines.
Now I like the fact that I've added kind
| | 04:29 |
of a streak of light across the image
here but I don't like that the foreground
| | 04:33 |
area was also lightened.
So I'm going to add one more graduated
| | 04:37 |
filter I'm going to click new and this
time I'm going to load it with exactly
| | 04:41 |
the opposite exposure.
That way when I click and drag down from
| | 04:45 |
the bottom you can see that I'm adding a
little bit more of a burn down there, so
| | 04:50 |
I'm basically removing the effect of the
second graduated filter.
| | 04:55 |
But I'm removing it only down here at the
bottom, so again if I tap on the V key in
| | 05:00 |
order to hide the interface and then tap
the P, we can see the preview of before
| | 05:04 |
and after.
Now let's tap the V key again to bring
| | 05:08 |
back the interface, and I just want to
mention that of course I can go back at
| | 05:11 |
any point in time and click on any of
these other pins and make additional
| | 05:16 |
changes to exposure.
Or if we click on the adjustment up here,
| | 05:20 |
we could even go back in.
If we decide we don't like the color
| | 05:23 |
overlay, we can remove that.
So there you go.
| | 05:26 |
With just a few carefully placed
graduated filters we can greatly enhance
| | 05:30 |
our images by adding light to the areas
that we want in order to focus the
| | 05:35 |
viewers attention to those areas that are
more important.
| | 05:38 |
| | Collapse this transcript |
| Adding a radial gradient| 00:00 |
In order to selectively apply any of the
local adjustments in a circular mass,
| | 00:05 |
you'll want to use the radial filter in
Camera Raw.
| | 00:08 |
So with these two images selected, I'll
use Cmd+R on Mac or Ctrl+R on Windows in
| | 00:13 |
order to open them into Camera Raw.
Let's go ahead and select the radial filter.
| | 00:18 |
We can do this by either tapping the J
key, or by selecting it up here in the
| | 00:22 |
tool palette.
And you'll notice that just like the
| | 00:24 |
graduated filter, we have all these
different attributes that we can load up
| | 00:28 |
our radial filter with, in order to
create a selective adjustment.
| | 00:33 |
In order to make this really obvious,
let's go ahead and click on the minus
| | 00:37 |
next to exposure.
What that does is it'll reset all of my
| | 00:40 |
other sliders making sure that I'm just
working with exposure.
| | 00:44 |
And we'll make it really dramatic, by
just dragging down to the left.
| | 00:48 |
Now I want to make sure that I position
the cursor in the center of where I want
| | 00:52 |
the radial filter to have its effect,
because as I click and drag, you'll
| | 00:57 |
notice that its actually dragging the
radial filter from that center.
| | 01:02 |
Now it might not always be obvious, so I
just want to mention that we're actually
| | 01:05 |
adding the effect to the outside of the
filter by default.
| | 01:09 |
Not the inside, but sometimes when you
start dragging the cursor it almost looks
| | 01:14 |
like your lightening the inside as
opposed to darkening out the outside.
| | 01:19 |
But if i tap the p key we can turn the
preview on and off, and we can see that
| | 01:23 |
the actual area inside the radial filter
has stayed constant, and we're actually
| | 01:28 |
decreasing the exposure which is, what we
loaded in the area outside of the radial filter.
| | 01:35 |
Now, if we've added too great of a
change, we can always come back and
| | 01:39 |
modify our change, so in this case, I'm
going to back off a little bit on the
| | 01:43 |
decrease in exposure.
We can also add additional effects We
| | 01:47 |
don't have to limit them to just one.
If I wanted to de-saturate whatever's
| | 01:52 |
outside of this area to put focus on this
one area inside the radial filter, I can.
| | 01:57 |
I think that's a little too much so I'll
go ahead and set that back to zero.
| | 02:01 |
And I just wanted to point out that you
can load up more than one attribute.
| | 02:04 |
If we scroll down, you'll also notice
that there's an option here to change the
| | 02:08 |
feathering of the mask.
So if we did want this to be a hard edge
| | 02:11 |
mask, I would simply drag the feather
down to zero.
| | 02:15 |
Right now, I want it to be a nice soft
edged mask, so we'll leave it set up at 100.
| | 02:19 |
Alright let's go ahead and delete this
for a moment.
| | 02:22 |
Now since the feather slider is
highlighted here, I want to tap the Enter
| | 02:26 |
key just to enter in my feather value,
and then I'll tap the delete key in order
| | 02:31 |
to remove that graduated filter.
I want to show you that if you hold down
| | 02:35 |
the Command key on the Mac or the Control
key on Windows, and you double click
| | 02:40 |
anywhere in your image area, then Camera
Raw will automatically set your radial
| | 02:45 |
filter to the bounding box of the image
bounds.
| | 02:49 |
Lets tap the Delete key to get rid of
that one.
| | 02:51 |
This time as I start to drag, I'm
going to hold down the Shift key.
| | 02:54 |
You can see that holding down the Shift
key is going to constrain my radial
| | 02:59 |
filter to a circle.
Now, if I have a radial filter already
| | 03:03 |
drawn, like this, and I decide that I
want to expand it to fill the bounding
| | 03:08 |
box of the image, again I can either hold
down the Command key on Mac, or the
| | 03:12 |
Control key on Windows, and I can double
click anywhere inside the existing radial filter.
| | 03:17 |
And it will automatically expand to fill
that visible image area.
| | 03:22 |
As we saw with a graduated filter the V
key will toggle on and off the interface,
| | 03:27 |
so it will hide it or show it.
And I should also mention you can
| | 03:30 |
actually drag this radial filter way
beyond the image.
| | 03:35 |
So if I use Command Minus to zoom out.
You'll notice that I can then drag this
| | 03:41 |
filter way beyond the image area.
So don't think that you're constrained to
| | 03:46 |
be within that image.
Alright I'll tap the Delete key one more
| | 03:49 |
time, and then use Command Zero in order
to fit in window.
| | 03:54 |
On Windows that would be Control Zero.
Alright, so in this case let's make sure
| | 03:58 |
that we have a negative exposure set up,
and I'll click and drag in the inner area
| | 04:03 |
of this first metal house.
I want to make this really extreme, so
| | 04:07 |
I'll pull down the exposure even more.
Of course, the radial gradient isn't just
| | 04:12 |
for vignetting, you can also add
different effects, so let's go ahead and
| | 04:16 |
move to this light bulb image.
Now here, I'll add a darker vignette to
| | 04:21 |
begin with, so we'll leave the exposure
set down, and I'll click and drag out my
| | 04:26 |
radial vignette around the light bulb.
So now if we toggle the preview using the
| | 04:31 |
P key, you can see that I have darkened
down that background area.
| | 04:35 |
But I'm also going to decrease the
clarity a little bit, in order to just
| | 04:39 |
kind of soften the background, and I'll
also decrease the sharpness just to blur
| | 04:44 |
the background a little bit.
Now I'm lookign here and that looks a
| | 04:46 |
little bit too fast of a fall off, so
I'll go ahead and just increase a littel
| | 04:51 |
bit of the sharpness, maybe to right
about here.
| | 04:54 |
Now, what I want to do is, I want to
create a duplicate of this radio filter
| | 04:59 |
that actually makes a change to the
lightbulb itself.
| | 05:02 |
So I'm going to hold down the Command key
and the Option key on the Mac, or the
| | 05:05 |
Control key and the Alt key on Windows,
and you can see that I now have two
| | 05:09 |
arrows as my cursor.
If I click and drag on the center pin
| | 05:13 |
there, you can see that I now have
created a duplicate.
| | 05:16 |
So this was my first pin and this was my
second pin.
| | 05:19 |
Now, I'll put them a little bit closer
together, but not directly on top of each
| | 05:24 |
other, just because I want to be able to
show you the difference between the two,
| | 05:27 |
and then I'll take this second panel and
instead of decreasing exposure, I'll
| | 05:31 |
reset that.
And instead of decreasing clarity,
| | 05:35 |
because I'll reset that, I'm actually
going to increase the sharpness.
| | 05:38 |
So I'm just increasing the sharpness
inside the second radial filter.
| | 05:43 |
I'll also go in and just add a little bit
of contrast.
| | 05:46 |
And maybe bring up my highlights a little
bit.
| | 05:48 |
The only problem is is when I preview
this on and off, you can see that it's
| | 05:52 |
actually affecting the area outside of
the radial filter.
| | 05:55 |
In order to invert the mask, all I need
to do is scroll down and tell Camera RAW
| | 06:00 |
that the effect should not be outside,
but instead, it should be inside the mask.
| | 06:05 |
Now, when we preview this, we can see
that our first radial gradient is
| | 06:08 |
darkening down, and decreasing the
clarity and sharpness outside of the
| | 06:13 |
light bulb.
And at the same time, the secondary
| | 06:16 |
radial filter is increasing the contrast,
it's increasing the highlights, and also
| | 06:21 |
sharpening the inner area of the filter.
So you can see that the radial filter is
| | 06:25 |
an excellent tool to use, not only when
you need to make a correction, but also
| | 06:29 |
when you want to help lead the viewer's
eye to a certain location in your image.
| | 06:34 |
| | Collapse this transcript |
| Making local adjustments with the Adjustment Brush| 00:00 |
When you need more control than the
Graduated filter and the Radial filter,
| | 00:04 |
it's time to master the Adjustment Brush
in Camera Raw.
| | 00:07 |
Now the Adjustment Brush is one of my
favorite tools because it let's you
| | 00:10 |
quickly make changes that can make a huge
impact to your image.
| | 00:13 |
So let's start with the horse image and
open it up in Camera Raw using Cmd + R or
| | 00:18 |
Ctrl + R on Windows.
And I just want to make sure that you
| | 00:22 |
know that you definitely want to spend
the time going through all of these
| | 00:26 |
panels here, making the overall
corrections before you decide to go in
| | 00:30 |
and make your local corrections.
So I'll go ahead and click auto and then
| | 00:34 |
I'm just going to bring down the
highlights a little bit in this image.
| | 00:38 |
And with that let's say that we've made
all of the global adjustments that we
| | 00:42 |
want to.
We're now going to switch over to the
| | 00:45 |
local adjustments.
So whether you're using the radio filter,
| | 00:49 |
the graduated filter or the adjustment
brush, these are all considered local adjustments.
| | 00:54 |
So I'll select the adjustment brush.
We could've also tapped the K key in
| | 00:58 |
order to select that tool.
You'll notice that we have the exact same
| | 01:02 |
options as the graduated filter as well
as the radial filter.
| | 01:07 |
But if we scroll down we have some
additional options for size, feather,
| | 01:12 |
flow, and density, which all affect the
brush itself.
| | 01:15 |
As you can see, when I position my cursor
anywhere in the preview area, the brush
| | 01:19 |
actually has two circles here.
We've got this inner circle, which is
| | 01:23 |
solid, and we have that outer circle,
which is the dashed line.
| | 01:26 |
So, any area that I paint on within that
solid inner circle was going to be
| | 01:31 |
affected at 100%.
Then, between the solid circle and the
| | 01:35 |
dotted circle, the brush effects are
going to fade out.
| | 01:38 |
And when you reach that dotted line on
the outside, you'll notice that there are
| | 01:42 |
no effects being applied beyond that area
of the brush.
| | 01:46 |
In order to quickly resize the brush, of
course, you can use the size option here,
| | 01:52 |
but we can also use a keyboard shortcut.
And that is you can use the right bracket
| | 01:56 |
in order to enlarge the brush, and you
can use the left bracket to get a smaller brush.
| | 02:01 |
If you hold down the Shift key and you
use the left bracket you'll notice that
| | 02:04 |
I'm changing the Feather slider.
So this would be a more hard edge brush.
| | 02:08 |
It doesn't have the same distance so the
fade range is much quicker.
| | 02:13 |
So you're going to be able to see the
difference between the area that was
| | 02:16 |
painted and the area that wasn't painted
much more easily.
| | 02:20 |
So I'm going to go ahead an hold down the
Shift key again and use the right bracket
| | 02:24 |
in order to increase the feather amount.
We also have a flow amount.
| | 02:29 |
I'm going to push the flow amount up to a
100%.
| | 02:32 |
And I'm going to load this brush for a
moment with a significant decrease in
| | 02:38 |
exposure, just because I want to show you
the difference between the flow amount
| | 02:42 |
when I've got it set at a 100.
You can see when I start painting, it
| | 02:46 |
paints very quickly and it builds up to a
100%.
| | 02:50 |
If I put the flow amount down, now when I
paint, you can see that it's only making
| | 02:54 |
a small change.
I'd have to paint again, and again, and
| | 02:58 |
again in order to build up a change.
And that's really a good thing.
| | 03:03 |
When you lower the flow of the brush.
It enables you to kind of paint in your
| | 03:07 |
dodging and burning very accurately.
And because I'm using a big soft brush,
| | 03:12 |
it's not going to be very noticeable
where I've made those changes.
| | 03:15 |
You might have also noticed that all of
these strokes everything that I've done
| | 03:19 |
so far, are all controlled by this one
pin.
| | 03:22 |
And when I hover my cursor on top of the
pin, it will actually show me the mask
| | 03:27 |
that I have painted.
Alright, we'll take another look at that
| | 03:29 |
in a minute.
For now I'm going to tap the Delete key
| | 03:32 |
and that will delete the pen as well as
the changes that I've made.
| | 03:36 |
Now in order to zooming to 100% I'm going
to hold down the Command option and tap
| | 03:41 |
the 0 key, and I happen to zoom in right
to the horse's eye, but if you didn't you
| | 03:45 |
can hold down the Spacebar, which will
temporarily give you the Hand tool, and
| | 03:50 |
then you can pan around until you see the
horse's eye.
| | 03:54 |
Now, I'm going to need a smaller brush,
so I'll use the left Bracket key to
| | 03:58 |
decrease the size of the brush.
And I want to change the attributes that
| | 04:03 |
I've given the brush.
In this case, I actually want to lighten
| | 04:05 |
the eye, so I'll move the exposure over
to the right.
| | 04:08 |
Again, I'm just taking a guess at what
the exposure will be.
| | 04:11 |
Of course, we can always modify that
later.
| | 04:14 |
So now I will click and drag around the
horses eye.
| | 04:18 |
And if we scroll back down here, you can
see that because my flow, was very low it
| | 04:24 |
just made a small effect.
If I'd increased the flow then it would
| | 04:28 |
have made a much bolder change.
Let me show you the difference.
| | 04:31 |
I'll go ahead and increase the flow to
100%.
| | 04:34 |
I'll go ahead and paint that again.
You can see, I'm painting over the
| | 04:37 |
original mask now at 100%.
So, now we're really seeing a difference.
| | 04:41 |
If I want to see the before and after I
can tap the P key.
| | 04:44 |
So, there's before and there's after.
Now, I think this is too large of a difference.
| | 04:49 |
So, we'll scroll right up and with the
pin still selected, I'm just going to
| | 04:53 |
decrease the exposure amount.
I'm also going to increase the amount of
| | 04:57 |
contrast there.
I might increase the highlights a little bit.
| | 05:02 |
And, if I want to just warm up the eye a
little bit, it'll actually give a little
| | 05:06 |
bit more life to the horse, it'll make
the horse look a little bit healthier.
| | 05:09 |
I can go ahead and click on my color
swatch.
| | 05:12 |
Move the Color Picker out of the way and
then just load up a little bit of kind of
| | 05:16 |
a brownish tint here in my brush.
Alright.
| | 05:20 |
So again, I'll tap the P key for before
and after.
| | 05:24 |
Now let's zoom out using Cmd+0.
And let's just go ahead and toggle that
| | 05:28 |
again, the P key, before and after.
Now at this view, I think that we've
| | 05:32 |
actually increased the brightness of the
eye a little bit too much.
| | 05:36 |
And again we can always come back and
change that.
| | 05:38 |
I'll take down the exposure a little,
maybe take down the contrast a bit.
| | 05:42 |
Take down the highlights.
Tap the P key again.
| | 05:45 |
On and off.
All right.
| | 05:47 |
So, we're happy with that change.
Now, I also want to darken down this
| | 05:51 |
area, right here.
And in order to do that, I'm not only
| | 05:54 |
going to use a little bit of a decrease
in exposure, I'm also going to increase
| | 05:58 |
the clarity setting.
But, I don't want to paint right now.
| | 06:01 |
Because, if I paint right now, I would
just be adding to the pin that's all
| | 06:04 |
ready selected.
So instead, I'll click on the New option
| | 06:08 |
and then will preload this brush.
A little bit of a decrease in exposure,
| | 06:13 |
we'll reset the contrast by
double-clicking on it, reset the
| | 06:16 |
highlights, and then increase the Clarity
slider.
| | 06:19 |
Now if I just paint a single stroke right
now, it's going to be too heavy, and not
| | 06:24 |
only that I'm going to be able to see
where I've painted beyond the horse's hair.
| | 06:28 |
So let me undo that using Command+Z, and
then, we'll scroll down and this is a
| | 06:32 |
great time to reduce the flow, so that I
have to paint multiple times in order to
| | 06:37 |
build up this effect.
Then I'll use Cmd + Plus in order to zoom
| | 06:41 |
in to the horse hair area here.
Hold the Spacebar in order to access the
| | 06:45 |
Hand tool and reposition it, and I'll use
the right bracket key just to get a
| | 06:49 |
little bit bigger of a brush.
And then I can just start painting in
| | 06:53 |
this area right here in order to not only
darken down the hair, but because I have
| | 06:58 |
added clarity, it's also adding a little
bit of contrast.
| | 07:01 |
So I'm just painting with small strokes
multiple times in order to build up this effect.
| | 07:06 |
Now I can kind of see that I've gone a
little bit too far in the sky area here.
| | 07:10 |
So there are two ways to erase.
I can either select the Erase option here
| | 07:15 |
in the Adjustment Brush or I can just
hold down the Option key or the Alt key
| | 07:19 |
that toggles to the Eraser.
And then, I can erase out of my image
| | 07:24 |
area but you want to make sure that you
notice when you toggle back and forth
| | 07:28 |
from your paintbrush to your eraser by
holding down the Option key or the Alt
| | 07:32 |
key on Windows, your brush attributes
might change.
| | 07:36 |
Because these Brush attributes are
independent.
| | 07:38 |
So if I want to erase, in which case I'm
holding on the Option or the Alt key, we
| | 07:43 |
can see the erase is highlighted here.
I actually want a soft-edge brush, so I'm
| | 07:48 |
going to increase the Feather, and I want
to be able to slowly erase away the
| | 07:52 |
information, so I'll decrease the Flow.
And now I'm just going to paint here a
| | 07:56 |
couple of times in order to make sure
that we don't have a change in the sky
| | 08:01 |
area just because I changed the horse's
hair.
| | 08:04 |
All right, so now I'll tap the P key.
The P key shows before and after in the Preview.
| | 08:09 |
One thing to mention, I'm not sure if I
made it clear, the whole time that I was
| | 08:13 |
painting those multiple strokes because I
didn't actually physically toggle over
| | 08:18 |
and grab the Eraser tool by clicking on
this button, I actually had to hold down
| | 08:23 |
the Option or the Alt key the entire time
I was making all of those keystrokes.
| | 08:26 |
Just want you to know that in case you
let go, then obviously it switched back
| | 08:29 |
to the Painting tool and you would be
painting in more of the effect.
| | 08:33 |
At any point in time, of course, if I
decide that I need to go back to a
| | 08:37 |
different pin, I can always just target
that pin by clicking on it here in the
| | 08:41 |
image area.
Again, because I have my cursor on top of
| | 08:44 |
the pin, we're actually viewing the mask
right there.
| | 08:47 |
If I move my cursor away from the pin,
then that mask will hide.
| | 08:51 |
If I wanted to see the mask all the time,
like as I was painting, you can choose to
| | 08:55 |
show the mask by turning it on here and
to the right there's a color swatch.
| | 09:00 |
So if I wanted to change this to a
different color, I could select a color
| | 09:04 |
from the color picker.
Now I don't want to change my overlay, so
| | 09:07 |
I'm going to click on cancel here, but
you should just know that, that is possible.
| | 09:11 |
Alright, one final change that I'm going
to make after I turn off this show mask.
| | 09:17 |
I'm going to navigate down to the horse's
mouth area, and I'm going to make sure
| | 09:22 |
that I set all of my settings back to
their default.
| | 09:26 |
I just want to make sure that I increase
my shadow area so I'll click on the plus
| | 09:31 |
icon that reset all of my other pins.
It also reset my color swatch down here.
| | 09:36 |
I'm not sure if that'll be enough, so
let's increase the shadows even more.
| | 09:40 |
And because I'm going to increase the
shadows and also increase the clarity
| | 09:45 |
right here in this area I want to make
sure that I'm also doing a little noise
| | 09:49 |
reduction, but we'll take a look at that
in a second.
| | 09:52 |
First, I want to come down and make sure
that I have a nice, soft feather edge.
| | 09:56 |
My flow is set down, and then I'll just
start painting here in the horses mouth
| | 10:00 |
area, in the muzzle, come up here in kind
of these darker areas.
| | 10:04 |
And what I'm trying to do is I'm trying
to lighten the shadow areas but also add
| | 10:07 |
a little bit of contrast.
So again, tap the P key before and after.
| | 10:11 |
Now because I made such a drastic change
there, you might also want to go in and
| | 10:16 |
change my noise reduction.
So, let's use Cmd + Option + 0 to zoom in
| | 10:21 |
to 100% so we can see this.
You see all that color noise in there.
| | 10:25 |
I'll use the slider right here.
You can see that as I move it to the
| | 10:29 |
right, we're actually going to be
removing some of the noise here.
| | 10:32 |
So it's called the Noise Reduction Slider
and you're increasing the amount of noise
| | 10:36 |
reduction as you move it over to the
right.
| | 10:39 |
I don't want it to get that soft, so
let's just pull back a little bit on that.
| | 10:43 |
Tap the p key to preview before and
after.
| | 10:46 |
And then use command 0 in order to zoom
out 100%.
| | 10:50 |
We can tap the v key to hide the
interface.
| | 10:53 |
And then again the p key before and after
to show us all the changes that we've
| | 10:57 |
made with the adjustment brush If I put
the brush back by tapping the K key again
| | 11:02 |
then again I can scoot over to my Presets
panel and this time when I tap P, you'll
| | 11:06 |
notice that I'm previewing not only the
selective adjustments, but also the
| | 11:10 |
global adjustments.
And just like that, I've made this image
| | 11:13 |
more interesting by making some simple
local edits using the adjustment brush.
| | 11:18 |
| | Collapse this transcript |
| Retouching blemishes with the Spot Removal tool| 00:00 |
Although the Spot Removal tool was
initially designed to remove spots that
| | 00:03 |
appear on your image as a result of
having dust on your sensor.
| | 00:06 |
It can also be used to make basic
corrections, such as removing a blemish
| | 00:10 |
or other distracting items in your image.
So, let's select this portrait image and
| | 00:15 |
then use the keyboard shortcut Cmd+R on
Mac or Ctrl+R on Windows in order to open
| | 00:21 |
that in Camera Raw.
As long as the spots that we're going to
| | 00:24 |
look at are small, they'll be easy to
remove in Camera Raw.
| | 00:28 |
In order to select the Spot Removal
brush, we can either select it from the
| | 00:32 |
tools, or we can tap the B key.
You'll notice that there are two types of
| | 00:36 |
spot removal.
You can either use the Heel or the Clone.
| | 00:40 |
When you choose Clone, Camera Raw will
make an exact duplicate of one area and
| | 00:44 |
put it in another area.
If you select Heal, then instead of
| | 00:48 |
making an exact duplicate, Camera Raw
will try to blend in the edges of the image.
| | 00:53 |
So that it's not noticeable that you've
actually made changes to the image.
| | 00:58 |
We're going to leave it on Heal for right
now, and you'll notice that when I
| | 01:01 |
position my cursor inside the image area,
I have a very large brush right now.
| | 01:06 |
But before I start decreasing the size of
the brush, watch what happens when I zoom in.
| | 01:11 |
As I zoom in, do you notice that the
brush stays the same?
| | 01:16 |
Which is a great feature.
Because that way, if I use my space bar
| | 01:20 |
and I scoot over, you can see that the
brush is much smaller now relative to the
| | 01:25 |
zoom percentage.
So, if I had made a really small brush
| | 01:28 |
before I zoomed in, it would probably end
up being too small.
| | 01:32 |
This is still a little too big though, so
I will use the left bracket in order to
| | 01:35 |
decrease the brush size.
Now, I'll position my brush right on top
| | 01:40 |
of the blemish that I want to get rid of.
And then, I'll simply click and Camera
| | 01:45 |
Raw will automatically set a sample point
to grab information from.
| | 01:50 |
And then, it will heal over the area that
I originally clicked on.
| | 01:54 |
So, if I want to heal this area right
here again, I'll get a little bit smaller
| | 01:57 |
of a brush using the left bracket, and
just click.
| | 02:00 |
Now I'll click again here, and here, and
so far Camera Raw has done a very good
| | 02:05 |
job selecting the area from which to
heal, or clone.
| | 02:10 |
Sometimes Camera Raw won't always know
exactly where to grab the source
| | 02:15 |
information from.
So, you should know that if you position
| | 02:17 |
your cursor inside the green circle and
then click and drag, you can tell Camera
| | 02:23 |
Raw where to pick the information from.
You can also resize the spot after the
| | 02:29 |
fact by clicking and dragging on the edge
of the spot to make it larger, or make it smaller.
| | 02:34 |
And, we can always go and click on any of
the other spots that we've already drawn
| | 02:39 |
if we need to make a change to that area.
Alright, let's hold down the space bar
| | 02:44 |
and scoot over to the other side.
We'll go ahead and remove this blemish as well.
| | 02:49 |
Again, here might be a good opportunity
for me to select a source that's a little
| | 02:53 |
bit closer.
We'll go ahead and remove that, then we
| | 02:55 |
can remove this blemish and this blemish.
Now, not all of these spots are actually blemishes.
| | 03:01 |
Some of them are moles, so you'll also
notice that we have the ability to change
| | 03:05 |
the opacity.
For example, if I want to just lessen
| | 03:09 |
this, if I wanted to make this a little
bit less of a distracting element but
| | 03:13 |
keep it there, I'll go ahead and click.
You'll notice that Camera Raw will get
| | 03:17 |
rid of it 100% by default.
But then, I can change the opacity down
| | 03:22 |
and you can start to see that little
molar freckle showing through.
| | 03:25 |
So depending on the image and depending
on the work that you're doing, that might
| | 03:29 |
be a good option.
Alright, let's go ahead and use the space
| | 03:32 |
bar and scroll up a little bit.
She has just the slightest of a little
| | 03:36 |
line right here.
I also want to show you that you can
| | 03:39 |
click and drag with the Spot Healing
brush.
| | 03:41 |
So, your brush doesn't always have to be
a circular spot.
| | 03:44 |
You can go ahead and drag over an area
and just like with the spot you can go
| | 03:49 |
ahead move the source area reposition it
to a different area if you need to.
| | 03:54 |
But, I can tell that the spot here is
still visible and that's because my
| | 03:58 |
opacity is set down.
Let's go ahead and move that up, tap the
| | 04:02 |
V key in order to hide the interface, use
the space bar just to move up a little
| | 04:07 |
bit more.
And then, we can tap the P key to show a
| | 04:10 |
before and after using the preview.
We can tap the V key again to bring back
| | 04:15 |
the interface.
So, the next time you have some dust on
| | 04:18 |
your sensor that is creating some spots.
Or you have simple blemishes that you
| | 04:22 |
want to get rid of or distracting
elements in your image, give the spot
| | 04:25 |
removal tool a try.
I think you'll find that you can avoid
| | 04:28 |
spending the time fixing small problems
like this in Photoshop and just fix them
| | 04:33 |
right there in Camera Raw.
| | 04:35 |
| | Collapse this transcript |
| A quick portrait retouching technique using Clarity| 00:00 |
Let's take a look at another technique
that can save you time by quickly
| | 00:03 |
softening skin and sharpening eyes and
lips.
| | 00:06 |
We're going to use the Adjustment Brush
in Camera Raw because we want to control
| | 00:09 |
exactly where the effect is applied.
We'll select both the waterfall and the
| | 00:14 |
Icelandic girl image, and then use Cmd+R
or Ctrl+R in order to open those files in
| | 00:19 |
Camera Raw.
Now, if you weren't following along with
| | 00:22 |
the last video, and the girl still has
some little freckles and moles, if you
| | 00:27 |
want the image to look the same as what
we're looking at, then scoot over to the
| | 00:31 |
Snapshot panel and simply click where it
says Spots Removed.
| | 00:36 |
Then, we'll return back to the Basic
panel.
| | 00:38 |
Then, will select the Adjustment Brush by
tapping the K key on the keyboard.
| | 00:43 |
Were going to reset all of the other
sliders to neutral, by clicking the plus
| | 00:48 |
or minus button next to clarity.
In this case, we'll click minus, you can
| | 00:52 |
see all of the rest of the sliders are
reset to zero.
| | 00:55 |
And then, I'm going to increase the
negative clarity amount to maybe
| | 01:00 |
somewhere around 60.
Now, we need to check our brush for a moment.
| | 01:03 |
So, let's scroll down and make sure that
our brush has a large feather on it.
| | 01:08 |
And I want to change the flow, I want to
lower it down, so that it takes multiple
| | 01:12 |
paint strokes in order to build up the
skin softening effect.
| | 01:17 |
You might also want to show the mask
while you're painting.
| | 01:20 |
That's up to you it will just show an
overlay.
| | 01:22 |
In this case, I have it set to the
default color which is white.
| | 01:26 |
I'm also going to zoom in once by using
the Cmd+Plus icon or Ctrl+Plus icon on
| | 01:32 |
Windows, and then I'll use the space bar
in order to center the girl more closer
| | 01:36 |
towards the center of the frame.
Now, I've got a large brush and every
| | 01:40 |
time I paint with the brush, you can see
what's happening.
| | 01:43 |
I'm slowly building up this adjustment
and everywhere that we see that white
| | 01:49 |
that's the mask that's showing.
So again, I'm going to slowly build up
| | 01:53 |
the adjustment.
Of course, I can get a smaller brush here.
| | 01:56 |
And I can go into different areas.
And I'm not really worried about whether
| | 02:01 |
or not I paint over the eyes and lips
because I can always remove that in a moment.
| | 02:06 |
So, let's say I've got that painted up
the way I want.
| | 02:09 |
Now, in order to erase the effect from
the eyes, all I need to do is old down
| | 02:14 |
the Option key.
Now, when I hold down the Option key, my
| | 02:17 |
paintbrush is too large, so I'll use the
left bracket in order to decrease the
| | 02:22 |
size of the brush.
And I also need to decrease the feather amount.
| | 02:26 |
So, let's go ahead and drag that feather
down to, maybe just nine or ten here.
| | 02:32 |
This is going to give me a much harder
edged brush.
| | 02:34 |
So again, I'll get a little bit smaller
brush.
| | 02:36 |
And you'll notice that when your brush
gets really small, when it's smaller than
| | 02:40 |
those cross-hairs, the round circle part
of the brush actually disappears.
| | 02:44 |
If we wanted to, we could zoom in.
We could use Cmd+Plus.
| | 02:48 |
In which case, now the brush would appear
bigger.
| | 02:50 |
But remember, if you let go of the Option
key or the Alt key, you're back to
| | 02:54 |
painting with the adjustment brush, not
erasing.
| | 02:57 |
So, don't forget to hold down that Option
or Alt key.
| | 02:59 |
And in this case, my brush is even still
too small.
| | 03:02 |
But watch what happens when I start
painting over the eye area here.
| | 03:06 |
You can see that, it's basically cutting
a hole in this mask that I've created.
| | 03:11 |
And of course, if you make a mistake,
just use Cmd+Z or Ctrl+Z to undo that.
| | 03:16 |
And then, remember to hold down the
Option or the Alt key.
| | 03:20 |
Or if you don't want to do that, just
click over here, where it says Erase.
| | 03:24 |
And then, we can paint with the eraser.
Basically again, we're just punching a
| | 03:27 |
hole in the mask.
And I'm going to paint several times
| | 03:30 |
right around the eye area here, maybe
also in the eyebrow area to make sure
| | 03:35 |
that those eyebrows, all those little
hairs stay sharp.
| | 03:38 |
Then, we can move to the right hand side.
Again, I'm just cutting a hole in the
| | 03:42 |
mask, because remember when I started
painting here, I was painting with a
| | 03:45 |
negative clarity, and that's going to
help soften the skin, but I don't want to
| | 03:50 |
soften her eyes.
We can also come down here to the lip area.
| | 03:54 |
I probably don't want the lip softened
either.
| | 03:57 |
And we'll just paint.
I have kind of a hard-edged brush.
| | 04:00 |
I'm just going to continue painting.
If I wanted to get a softer-edged brush,
| | 04:04 |
all I need to do is increase the feather
a little bit, and then paint.
| | 04:08 |
If I've made a mistake here, we just need
to change from the eraser to the Add
| | 04:12 |
option, and we can come in and just add
this.
| | 04:15 |
And then, a little more delicately right
there.
| | 04:17 |
You can swap back and forth as many times
as you want, of course.
| | 04:20 |
Now, let's go ahead and hide the mask for
a minute, by unchecking it.
| | 04:24 |
And I'm going to zoom in one more time
using Cmd+Plus or Ctrl+Plus to make sure
| | 04:28 |
that we can see the difference here.
I hold down the space bar in order to
| | 04:31 |
move the girls face into the center of
the screen.
| | 04:35 |
And now, we can tap the P key in order to
toggle on and off the preview.
| | 04:40 |
So, the great thing about using the
negative clarity is that it works without
| | 04:44 |
removing any detail.
It's not smudging any pixels or covering
| | 04:49 |
up any pixels, it's just decreasing the
contrast in those areas.
| | 04:53 |
So, you can see where there was kind of
deeper shadows under the eyes and around
| | 04:57 |
the mouth here.
When I tap the P key, those are hidden.
| | 05:01 |
It's almost like someone's holding a
little reflector right in front of her
| | 05:04 |
and bouncing up a little bit of light
into her face, making that light a little
| | 05:08 |
bit softer.
Of course, we can also do the opposite
| | 05:11 |
effect if you happen to have a picture of
a very weathered looking fisherman or
| | 05:17 |
you're looking for that kind of gritty
athletic look.
| | 05:20 |
Instead of decreasing the clarity, we can
go up here and increase the clarity.
| | 05:24 |
And that of course increases the shadow.
Not at all the look that I want for this
| | 05:29 |
girl, so I'll leave it back down to a
negative 60 or 70 clarity.
| | 05:34 |
Of course, I can amplify that effect even
more by creating an new adjustment and
| | 05:40 |
loading it with a positive clarity.
Now, here, I wouldn't want to paint in
| | 05:44 |
her skin, but what I could do is, making
sure that my flow is set down, I could
| | 05:49 |
simply paint over her eye area, and maybe
over her eyebrows.
| | 05:53 |
And you can see that it's helping it to
look a little bit sharper.
| | 05:56 |
Maybe down here in the lip area as well.
It also made it a little bit darker, though.
| | 06:00 |
So, I'm just going to scroll up a little
bit.
| | 06:03 |
And then, maybe increase my shadow slider
a little bit.
| | 06:06 |
To just lighten those eyes.
So again, we'll tap the P key to preview
| | 06:10 |
that before and after.
We think it's too much of an effect, we
| | 06:14 |
can decrease the positive clarity,
decrease the shadows a little bit, and
| | 06:17 |
then again use the P key before and
after.
| | 06:20 |
I should also mention that if you've take
the time to set up a variety of different
| | 06:25 |
adjustments here.
And you think that you're going to use
| | 06:28 |
these adjustments over and over again,
you can use the Flyout menu here next to
| | 06:32 |
the Adjustment brush.
And you can save this as a new local
| | 06:36 |
correction setting.
It's almost like you're saving a preset
| | 06:40 |
for the brush.
So, in this case, I might want to save
| | 06:44 |
this as Add Clarity and Increase
Highlights, and when I click OK, you'll
| | 06:48 |
notice that the next time that I select
that list you can see that preset.
| | 06:55 |
So, this way I don't have to go in every
single time and adjust all of my options
| | 06:59 |
if I use the same options over and over
again I would simply save a preset.
| | 07:04 |
Before we wrap up, I'll just move over to
the waterfall image for a minute.
| | 07:09 |
I just want to point out that you can
also apply a positive or negative clarity
| | 07:14 |
slider to an entire image.
So, I'll put back the brush by tapping
| | 07:18 |
the K key.
Now, I'm back to the Basic panel here.
| | 07:22 |
And I can use my Clarity Slider to either
increase the clarity in order to add
| | 07:26 |
contrast in that mid-tone area.
Or I can use it to decrease clarity and
| | 07:31 |
of softening the whole image and giving
it kind of a dreamier look.
| | 07:35 |
But since I typically like more control
over the areas that have this decreased
| | 07:40 |
contrast applied to it, I'll typically
use the Adjustment Brush in a selective
| | 07:44 |
adjustment as opposed to the clarity
slider, here, as a global adjustment.
| | 07:48 |
| | Collapse this transcript |
| Converting to black and white| 00:00 |
One of my favorite techniques is Camera
RAW's ability to completely customize the
| | 00:04 |
way that an image is converted to black
and white, because it allows you complete
| | 00:08 |
control over how each color range gets
converted to grayscale.
| | 00:12 |
Let's open up this ThreeHouses JPEG file
in Camera RAW by using Cmd + r or Ctrl +
| | 00:17 |
r on Windows.
Unfortunately, if you start in the basic
| | 00:21 |
panel then your first instinct might be
to use either the vibrance or saturation
| | 00:26 |
slider in order to convert this image to
grey scale but Camera Raw has much more
| | 00:31 |
powerful tools.
So I'll double click on the saturation
| | 00:34 |
slider to reset it and then we're going
to click on the HSL grey scale panel.
| | 00:39 |
If you're looking for a very simple, one
button solution, then I would choose the
| | 00:44 |
option to convert to grayscale.
You'll notice that the conversion
| | 00:49 |
actually isn't just a straight
conversion.
| | 00:51 |
But, camera raw is analyzing each image
individually.
| | 00:55 |
And it's going to create an auto
conversion, based on all of the values in
| | 01:00 |
the colors.
In the image.
| | 01:02 |
Now if you don't like this or you want to
compare it to just a default convesion,
| | 01:06 |
you can do so by just clicking on the
default button.
| | 01:09 |
Personally, I like the auto button, so I
would go ahead and click on that.
| | 01:13 |
Of course, I can always manually override
how this images is converted to gray
| | 01:18 |
scale by using any of the different
sliders.
| | 01:21 |
So for example, if I move the red slider
to the left you can see that everything
| | 01:25 |
that was originally red in the color
image.
| | 01:28 |
Becomes much darker.
If I move it all the way to the right, we
| | 01:31 |
can see that it lightens the area.
So if I toggle the preview on and off
| | 01:35 |
using the p key, we can see all of the
areas here that are red that it's affecting.
| | 01:40 |
We'll toggle it back on, and then we can
go ahead and move the slider to refine it.
| | 01:45 |
Let's go ahead and make the conversion of
the reds a little bit lighter.
| | 01:48 |
As well as the oranges.
And then we'll scoot down to the greens,
| | 01:52 |
and I'll go ahead and darken the
foreground.
| | 01:54 |
You can see what a much different
conversion this is than the default.
| | 01:58 |
Likewise, I can go the other way, I could
make the foreground greens a lot
| | 02:02 |
brighter, and we could take the oranges
and the reds and make them a lot darker.
| | 02:06 |
One thing to keep in mind is, you don't
really want one single slider to be
| | 02:11 |
moving to the extreme and have a lot of
space between the next slider.
| | 02:16 |
So I would just back off a little bit
here and maybe also see if there weren't
| | 02:20 |
any aquas in my image.
That might need to go more closer to
| | 02:23 |
greens, because what you don't want to do
is you don't want to be able to see the
| | 02:26 |
difference between how the greens were
converted and the aquas were converted
| | 02:30 |
because there might be different areas,
in the grass for example, that contain
| | 02:35 |
both those colors.
Same with the yellow, I might want to be
| | 02:38 |
careful with that and just kind of move
it up a little bit more towards the greens.
| | 02:42 |
You can see that in the foreground and in
this background area here, there's a lot
| | 02:46 |
of yellow that is also making up that
area and I don't want a harsh jump from
| | 02:51 |
one color range to another.
So I want to make sure this kind of stays
| | 02:54 |
in some kind of like an S curve here.
Well it doesn't have to be an S, it just
| | 02:58 |
needs to be a little bit balanced, you
don't want any huge extremes.
| | 03:02 |
So to review, I just try to stay away
from simply de-saturating your image in
| | 03:06 |
the basic panel.
And instead, convert it to grayscale
| | 03:09 |
using this HSL grayscale panel.
And then use the sliders to refine the
| | 03:14 |
conversion to your preference.
| | 03:15 |
| | Collapse this transcript |
| Editing images directly with the Targeted Adjustment tool| 00:00 |
One of the most powerful tools that you
can use in the Hughes Saturation
| | 00:04 |
Luminosity and Grayscale panel is the
Targeted Adjustment tool.
| | 00:08 |
Instead of guessing which slider to
adjust, you can simply click and drag to
| | 00:12 |
the left or right, or even up and down in
the image area to make your changes.
| | 00:16 |
Let's see how this works.
I'll select the colorful buildings and
| | 00:19 |
then Cmd+R or Ctrl+R in order to open
that file in Camera Raw.
| | 00:24 |
The Targeted Adjustment tool is up on the
Tool panel, and you'll notice that it
| | 00:28 |
also has a dropdown menu.
So if I click and hold, you can see that
| | 00:32 |
I have a Targeted Adjustment tool that
will adjust my Tone Curve, my Hue,
| | 00:37 |
Saturation, Luminosity or Grayscale Mix.
I'll go ahead and start with the
| | 00:41 |
Grayscale Mix.
Because I selected the Grayscale Mix, we
| | 00:45 |
can see that Camera Raw automatically
moved me from the Basic panel over to HSL.
| | 00:51 |
And this is where we converted our images
to grayscale in the previous lesson.
| | 00:56 |
Previously, we were using the sliders,
and just moving them back and forth in
| | 01:00 |
order to adjust how a certain color range
got converted into a grayscale tone.
| | 01:06 |
With the Targeted Adjustment tool, I can
simply click and drag in my image area,
| | 01:10 |
and Camera Raw will select the color.
And then, based on the direction that I
| | 01:14 |
drag, it will make adjustments.
But the best thing about using the
| | 01:19 |
Targeted Adjustment tool, is that if I
click on a color that's made up of more
| | 01:23 |
than one color, so maybe it's red and
orange, or it's orange and yellow, then
| | 01:28 |
Camera Raw will go ahead and move
multiple sliders at once, in order for me
| | 01:33 |
to make that adjustment.
So let's give it a try.
| | 01:36 |
We'll start in this building here in the
center.
| | 01:39 |
And if I click and drag up, you can see
that the blue slider moves to the right,
| | 01:43 |
and the blues in my image gets lighter.
If I click and drag down, you can see
| | 01:48 |
that the blue slider moves to the left.
The aqua slider is also moving just a
| | 01:53 |
little bit.
But, there's not a lot of aqua in this
| | 01:56 |
blue that I've initially clicked on.
If we move over to the next house, and I
| | 02:01 |
click and drag up, you see now that both
the red and orange sliders are moving.
| | 02:06 |
If I click and drag down, then they will
get darker.
| | 02:09 |
Now you have the choice.
You can either click and move up and
| | 02:13 |
down, or you can click and move left to
right.
| | 02:15 |
When I click and right to the left, you
can also see that it's also darkening
| | 02:19 |
down that color range.
When I click and drag to the right, it
| | 02:21 |
would lighten that color range.
If I decide that I want to work with a
| | 02:25 |
different Targeted Adjustment tool.
For example, maybe I want to switch to Saturation.
| | 02:29 |
Then, you'll notice that Camera Raw took
me out of the conversion to grayscale,
| | 02:34 |
and is displaying my image in color.
But the tool still works the same way.
| | 02:38 |
If I click in this blue area and drag up,
you can see that I am changing the
| | 02:42 |
Saturation Slider now, I'm making the
blues more saturated, if I click and drag
| | 02:48 |
down, we can de-saturate a single tonal
range.
| | 02:52 |
If I click in the red house and drag to
the left, you can see that the red and
| | 02:55 |
the orange sliders are moving to the left
as I de-saturate.
| | 02:59 |
And if I click and drag to the right,
it's going to increase their saturation.
| | 03:03 |
Now if I want to control either the hue
or luminosity, I can either click on the
| | 03:07 |
tab here in the panel, and then when I
click and drag down you'll notice that
| | 03:12 |
the reds are getting darker, or if I
click and drag up, the reds and oranges
| | 03:16 |
are getting lighter.
Or I can select a different Targeted
| | 03:20 |
Adjustment tool.
If I change this now to hue, you'll
| | 03:22 |
notice that it automatically selected the
Hue tab on the HSL Grayscale panel.
| | 03:26 |
So now if I click and drag down, my aquas
are going to move more towards green.
| | 03:33 |
If I click and drag up, they'll move more
towards blue.
| | 03:37 |
So the next time you're using the HSL or
Grayscale panel, instead of just moving
| | 03:42 |
the sliders left or right, try using the
Targeted Adjustment tool.
| | 03:46 |
I think that you'll find that it can be
used in very creative ways, in order to
| | 03:50 |
make selective changes to different color
ranges in your image.
| | 03:55 |
| | Collapse this transcript |
| Selective coloring effects with the Adjustment Brush| 00:00 |
Another interesting use of Camera Raw's
Adjustment Brush is to achieve a
| | 00:03 |
selective color effect.
Typically the majority of the image
| | 00:06 |
appears as grayscale, and only the
primary subject remains in color.
| | 00:10 |
This is another way to really focus the
viewer's attention on the subject.
| | 00:15 |
So let's open up this plant image in
Camera Raw using Cmd+R or Ctrl+R.
| | 00:20 |
There are two primary ways that you can
achieve this effect.
| | 00:24 |
The first way would be to select the
Adjustment Brush or tap the K key on the keyboard.
| | 00:29 |
Then we're going to fill this brush with
a negative saturation.
| | 00:34 |
If you've got other settings here in the
brush, go ahead and click on the minus
| | 00:38 |
next to saturation that will reset all of
the other sliders, and then move the
| | 00:43 |
saturation slider down to negative 100.
Let's take a look at our brush options as well.
| | 00:48 |
The brush size is fine, the feather's
good and the flow's good.
| | 00:52 |
I do want to turn on the option for Auto
Mask.
| | 00:55 |
What that will do is it will tell Camera
Raw that the center point of this brush
| | 01:01 |
is the hot spot and anywhere that I paint
with that center point Camera Raw is
| | 01:07 |
going to identify the color and tone
under that hot spot.
| | 01:10 |
And it's going to automatically create a
mask so that only the values under that
| | 01:16 |
hot spot are affected by the brush.
Let me show you what I mean.
| | 01:19 |
If I click and paint over here, you can
see that I'm taking the image to grayscale.
| | 01:24 |
Now, when I get closer to the leaves,
instead of having to be really precise
| | 01:29 |
around the leaves, as long as I don't
cross that hot spot on top of the green
| | 01:33 |
leaves, then those leaves will not be
affected.
| | 01:36 |
So you can see how I can quickly come in
between the leaves and Camera Raw is
| | 01:42 |
automatically making the mask for me.
So, anywhere that I position that hot
| | 01:47 |
spot, the values underneath there will be
converted to grayscale.
| | 01:51 |
Anywhere that I don't will remain in
color.
| | 01:53 |
So, let me just show you if I make a
mistake and I click in the leaf area, you
| | 01:57 |
can see that now the leaf is being
converted to grayscale.
| | 02:00 |
I'll use Cmd or Ctrl+Z in order to undo
that, and then I'll just finish painting
| | 02:05 |
around the image.
Now you might want to toggle on and off
| | 02:09 |
the mask, that overlay, while you're
painting just to make sure that you don't
| | 02:13 |
miss any areas.
And you can do that either by clicking
| | 02:17 |
the Show Mask option here or you can
toggle it on and off with the Y key.
| | 02:22 |
So the Y key is going to show the mask.
Now you'll notice that I can click right
| | 02:25 |
here in this area, in order to convert
that area to grayscale.
| | 02:32 |
Again, here.
Maybe here.
| | 02:33 |
Anywhere where the plants aren't.
And you'll see that it's actually
| | 02:36 |
selecting the values that I click on.
And then, it's going to use that whole
| | 02:41 |
brush size, in order to remove the color
from those areas.
| | 02:45 |
Now I might want to turn off Auto Mask
and then decrease the size of my brush.
| | 02:50 |
And paint over here in these areas, where
I might have missed a little area.
| | 02:55 |
That's kind of a quick way to go in and
just touch up all around the main subject.
| | 02:59 |
Then I'll tap the Y key again and that
will turn off the mask.
| | 03:03 |
And then we can tap the P key, that'll
toggle on and off the preview.
| | 03:07 |
You can see how we've turned all the area
outside of the plant to grayscale.
| | 03:13 |
Of course I can do additional effects as
well.
| | 03:15 |
If I wanted to darken down that same
area, we can scroll up and then just
| | 03:20 |
decrease the exposure.
Right?
| | 03:22 |
And it's affecting that whole area
because I still have that pin selected.
| | 03:27 |
Now, of course, we can add additional
effects if we wanted to.
| | 03:30 |
For example, I could click on the color
swatch here and we could add a color tint
| | 03:35 |
to that background area if we wanted to.
I'll go ahead and click Cancel for now,
| | 03:39 |
but just remember that you can combine
any of these different sliders in order
| | 03:43 |
to create an effect.
Alright so that's the first way to create
| | 03:47 |
the selective adjustment effect.
Let's go ahead and revert the file by
| | 03:51 |
holding down the Option key or the Alt
key on Windows and clicking where it says reset.
| | 03:57 |
For the second method I'm going to put
back the Adjustment Brush for a moment so
| | 04:00 |
I'll tap the K key and then I'm going to
move over to my hue, saturation and
| | 04:05 |
luminosity panel.
In the saturation area, I'm going to
| | 04:08 |
decrease the saturation for all of my
sliders.
| | 04:13 |
Now, you might think that it would be
easier to simply convert to grayscale,
| | 04:17 |
but if I convert to grayscale, then I
can't use the Adjustment Brush to
| | 04:21 |
selectively paint back in a color.
If I simply desaturate all of my color
| | 04:26 |
ranges, then Camera Raw thinks that this
file is still in color and I can add back
| | 04:31 |
in color.
So, let's tap the K key to access the
| | 04:35 |
Adjustment Brush, and next to the
saturation slider, I'm going to click the
| | 04:39 |
plus icon to reset all of the other
options.
| | 04:43 |
And then I'm going to increase my
saturation to 100%.
| | 04:47 |
We'll also scroll down, and just make
sure that the Auto Mask is turned off for now.
| | 04:52 |
Now you can see that wherever I paint in
the image, I'm adding back in the
| | 04:57 |
original color.
And of course I can be as loose or as
| | 05:01 |
tight with this painting as I want to be.
So I can just limit this area to a few
| | 05:06 |
different leaves, or I can paint over the
majority of leaves.
| | 05:10 |
It's really up to you.
But the key to this technique Is that you
| | 05:14 |
don't convert the image to grayscale.
Instead you just decrease the saturation
| | 05:19 |
in all of the different color ranges.
Which then enables you when you're using
| | 05:23 |
the Adjustment Brush, to paint back in a
color selectively.
| | 05:27 |
And of course, we can modify this after
the fact as well.
| | 05:30 |
If we don't want to bring back 100% of
the color, we can decrease the amount of
| | 05:35 |
saturation in that pin and make this a
much more subtle effect.
| | 05:40 |
So, both techniques allow you to adjust
the colors in your image.
| | 05:43 |
Of course, all the changes that we've
made here were rather obvious.
| | 05:47 |
But if you try using this technique with
more subtle changes, you can really use
| | 05:52 |
it to your advantage and draw attention
to your subject.
| | 05:55 |
| | Collapse this transcript |
| Easy sepia and split-tone effects| 00:00 |
Traditionally photographers could use
special printing techniques in the dark
| | 00:04 |
room in order to tint a print.
And we could emulate many of those
| | 00:08 |
techniques in Camera today.
So let's select the BasaltColumns and
| | 00:12 |
then use Cmd+R on the Mac or Ctrl+R on
Windows in order to open this in Camera Raw.
| | 00:17 |
Now in order to get a good visual of what
I'm doing I'm going to convert this image
| | 00:22 |
to gray scale irst.
And to do so I'll select the hue
| | 00:25 |
saturation grayscale panel and then check
convert to grayscale.
| | 00:30 |
You can add tints to color images I just
would prefer to show this on a black and
| | 00:34 |
white image because its going to be more
dramatic.
| | 00:37 |
Now we'll move over to the split toning
panel, and if I wanted to mimic, maybe, a
| | 00:42 |
traditional sepia tone print, then I want
to add my color or my hue in the shadow area.
| | 00:49 |
There's two ways that we can do this.
We can either move the saturation slider
| | 00:53 |
up and then pick our hue, or we can start
with the hue, but you'll notice that I
| | 00:59 |
can't see the hue unless I hold down the
Option or the Alt key.
| | 01:02 |
Now camera raw is going to preview the
hue at 100%.
| | 01:06 |
It just makes it a lot easier, I think,
to pick the right color.
| | 01:10 |
So, once Ive got a color that I like I
will let go of the option, or the ALT
| | 01:14 |
key, release my mouse and then we'll dial
in the amount of saturation.
| | 01:19 |
Now by default the balance slider is set
right to the center but I can change this
| | 01:24 |
and what this'll change is the amount of
color that we see either in my shadows or
| | 01:29 |
my higlights.
So right now we're seeing this saturation
| | 01:33 |
amount this color basically in the
shadows and the mid tones.
| | 01:37 |
If I move this over to the right, you can
see that I'm isolating the color to only
| | 01:43 |
affect the darker values in my image.
If I move the balance slider over to the
| | 01:47 |
left, now I'm getting color not only in
the shadows, but also up into the mid tones.
| | 01:52 |
So, if we want to restrict this we'll
just move it over to the right.
| | 01:56 |
All right, let's reset this by decreasing
the amount of saturation, and double
| | 02:00 |
clicking on the balance slider.
Now what I want to do is emulate kind of
| | 02:04 |
an antique look, and in order to do that
I would be adding color into my highlight areas.
| | 02:10 |
So we're going to use the two sliders on
top.
| | 02:12 |
I'll hold down the Option or the Alt key
and drag the hue to pick the kind of
| | 02:16 |
antique yellow that I want.
And remember, this is kind of the antique
| | 02:20 |
color of the paper.
Right?
| | 02:21 |
Because as the paper ages, it's turning
yellow.
| | 02:24 |
I'm going to increase my saturation,
although probably not as high as I
| | 02:29 |
would've with my sepia tone.
And then we can use the Balance slider to
| | 02:32 |
either restrict that to just the very
high light areas of my image, or we can
| | 02:37 |
bring it down into the mid-tone range.
At this point, it's really an aesthetic
| | 02:41 |
or a creative decision that you will
make.
| | 02:44 |
And we can also use both of these
sliders, together.
| | 02:47 |
So, let's reset the highlights and reset
the balance and let's kind of create a
| | 02:52 |
more, chocolate tone in our image.
In order to do this, we'll start with the
| | 02:56 |
shadow area here and I'm going to move my
hues, somewhere around maybe 30.
| | 03:01 |
And then I'll just dial in the amount of
saturations somewhere.
| | 03:06 |
Maybe around 25.
So it's just going to give me kind of a
| | 03:09 |
warm tone in my shadow areas.
And then we'll move to highlights, and
| | 03:14 |
I'm going to move by hue to right around
60 where it is now.
| | 03:17 |
And then my saturation up to about 20.
I just want to make sure that the
| | 03:21 |
saturation in my high lights is less than
the saturation in my shaddows.
| | 03:26 |
But I don't really like the look right
here.
| | 03:28 |
So what I'm going to do is I'm going to
change the balance.
| | 03:31 |
And I'm actually going to bring it down
to a negative number, pretty
| | 03:34 |
dramatically, maybe down into the 60s or
so.
| | 03:37 |
And you can see that it really kind of
warms up this image.
| | 03:41 |
With almost a chocolate tone, it's a
little bit more red-brown, but we could
| | 03:45 |
make a change to that if we want to by
moving the hue a little bit closer
| | 03:49 |
towards orange and then decreasing the
saturation and doing the same here in the
| | 03:54 |
highlights, just decreasing that
saturation for a little bit more subtle effect.
| | 03:59 |
Of course, these digital effects aren't
exactly like the results that you would
| | 04:02 |
be able to achieve in the traditional
dark room.
| | 04:04 |
But I suppose there are benefits to not
having to work with some of those
| | 04:08 |
chemicals that we've had to use in the
past.
| | 04:10 |
| | Collapse this transcript |
| Adding digital film grain texture effects| 00:00 |
Another way to emulate traditional film
is by adding grain to an image.
| | 00:05 |
Now this grain is not the same as the
digital noise that most of us want to
| | 00:09 |
remove from our image.
Digital noise tends to be harsher and
| | 00:12 |
more structured.
Whereas the traditional grain that was
| | 00:15 |
created by more sensitive or higher ISO
films in the past was softer and more organic.
| | 00:22 |
So let's start with the LongRoad image
and use Cmd+R or Ctrl+R in order to open
| | 00:27 |
that into Camera Raw.
Now, in order to add film grain, we'll
| | 00:31 |
want to move over to the Effects panel
and see at the top we have a Grain option
| | 00:36 |
and there's three different sliders.
But before I start adding the grain, I
| | 00:39 |
want to make sure that I Zoom In to 100%.
So I hold down Cmd+Option or Ctrl+Alt on
| | 00:45 |
Windows and then tap the 0 key in order
to Zoom In.
| | 00:49 |
In order to see more of the bottom
portion of my image, I'm going to hold
| | 00:52 |
down the space bar, that temporarily
gives me the Hand tool and I can pan down
| | 00:56 |
to see the road.
Now, the amount of grain is the amount of
| | 01:01 |
contrast that we're going to be adding to
the image.
| | 01:04 |
You can see as I move it over to the
right, we're adding just a lot of contrast.
| | 01:09 |
Let's go ahead and back off a little bit
on that.
| | 01:11 |
And then let's use the size slider.
You can see if I move it over to the
| | 01:15 |
left, we have very, very small grain.
And if I move it over to the right, the
| | 01:19 |
grain gets much larger and if also seems
to get a lot softer.
| | 01:23 |
Then we'll also use the roughness slider.
If I move it down to the left you can see
| | 01:29 |
that the film almost looks like it's been
reticulated.
| | 01:32 |
Which was a process that you would do
traditionally in the dark room by
| | 01:35 |
changing the temperature of the developer
and basically it would distort the
| | 01:41 |
emulsion and it would cause it to clump
together.
| | 01:44 |
If we move the roughness slider over to
the right, you can see that we're
| | 01:48 |
going to have very, very different look
and feel to the image.
| | 01:52 |
So let's go ahead and just take the
amount down a little bit.
| | 01:55 |
I'm going to re-do the size and make it a
little bit smaller, and I'm also going to
| | 01:59 |
take the roughness down a little bit.
Of course, this is all an aesthetic choice.
| | 02:03 |
There's really no right or wrong amounts
of grain that you can add.
| | 02:08 |
So, depending on how you're going to
display your images that you've added
| | 02:13 |
grain to, I would suggest that you try
adding a little bit of a variation of
| | 02:18 |
either the amount or the size of the
roughness.
| | 02:20 |
Because sometimes the look and feel of an
image can change based on the size that
| | 02:25 |
it's displayed.
| | 02:26 |
| | Collapse this transcript |
| Adding vignettes and border effects| 00:00 |
In order to keep the viewer's eye within
the image, it can be helpful to darken
| | 00:04 |
down the edges of a photograph.
Let's select the MountainLight image, and
| | 00:08 |
then use Cmd+R or Ctrl+R on Windows, in
order to open it in Camera Raw.
| | 00:13 |
In order to add a postcrop vignette,
we'll scoot go over to the effects panel
| | 00:17 |
and then you'll notice there are three
different styles of vignetting.
| | 00:21 |
There is Highlight Priority, Color
Priority and Paint Priority.
| | 00:24 |
I think the most common option is the
Color Priority.
| | 00:27 |
But let's take a look at Highlight
Priority first.
| | 00:30 |
When I drag my Amount Slider over to the
left, we are going to be darkening down
| | 00:34 |
the edges of my image.
The highlight priority enables highlight
| | 00:38 |
recovery in bright areas like specular
highlights.
| | 00:42 |
But, it can lead to certain shifts in the
darkened areas of the image.
| | 00:48 |
And for that reason I typically choose
the color priority instead.
| | 00:52 |
Now the color priority can't recover your
highlights, but I don't tend to get as
| | 00:56 |
many color shifts with this.
It's also usually a little bit more
| | 01:00 |
subtle than the Highlight Priority.
There's also the Paint Overlay option
| | 01:05 |
and, although this might look good on
screen, I have noticed that when you
| | 01:09 |
print with this option, your print tends
to get a little bit muddy because Camera
| | 01:14 |
Raw is basically adding black paint on
top of your image.
| | 01:18 |
When you use paint overlay, or if we move
the amount slider to the other direction,
| | 01:22 |
it's using white paint.
The point being is that it's very
| | 01:26 |
different from what the color priority
and highlight priority options do.
| | 01:29 |
They're actually behaving much more like
a traditional dodge and burn in the dark room.
| | 01:36 |
So let's take a look at the rest of the
sliders.
| | 01:38 |
We know amount goes from dark to the left
to light on the right.
| | 01:42 |
Let's take off the feather for a moment
so we can see what the other sliders do.
| | 01:46 |
The midpoint shifts the midpoint in if we
move it to the left or out if we move it
| | 01:51 |
to the right.
The Roundness slider will go from a
| | 01:54 |
rectangle on the left over to a circle or
an oval on the right.
| | 01:59 |
The Feather amount is going to soften the
edge so that it's harder to tell where
| | 02:03 |
you've applied the vignette and where you
haven't.
| | 02:06 |
The Highlight slider can help you to
retain highlights even in the vignetted area.
| | 02:11 |
So if we look at this area for one moment
without the Highlight slider.
| | 02:16 |
You can see that those bright highlights
tend to get a little bit muddy.
| | 02:19 |
When I move the highlights to the right.
It's like we're telling the vignette to
| | 02:23 |
leave those highlights alone.
Alright, well obviously this is way too
| | 02:27 |
much of an amount, so let's go ahead and
bring the amount slider down and bring
| | 02:31 |
the midpoint down.
Of course if we wanted to preview this we
| | 02:33 |
could tap the P key to see a before and
after.
| | 02:36 |
And I want to mention that this called
the Post Crop Vignetting for a reason.
| | 02:41 |
If I tap the C key to get in my crop tool
and I drag out a crop let's say from the
| | 02:46 |
upper left right about to here.
And then I apply that crop, you'll notice
| | 02:51 |
that the Post Crop Vignette was redrawn,
so it's now being drawn around this
| | 02:56 |
cropped portion of the image.
So one of the things that you might
| | 03:00 |
want to keep in mind is if you're
shooting with a wider angle lens and
| | 03:04 |
you're getting some vignetting on your
images because of the lens that you're
| | 03:08 |
photographing with.
You want to be sure to move to the Lens
| | 03:12 |
Correction panel and Enable the Lens
Profile Correction because that will
| | 03:17 |
remove the vignetting that was caused
from the lens.
| | 03:20 |
Because that vignetting would be showing
up here on the left side, but because
| | 03:24 |
I've cropped the file, we wouldn't see
the same vignetting on the right side.
| | 03:28 |
So it would appear lopsided because of
the lens, not because of the post-crop
| | 03:33 |
vignette, so use the lens correction to
remove any vignetting caused by the lens.
| | 03:38 |
And that way, when you use the post crop
vignetting, it's much more likely the
| | 03:43 |
vignette will be even because you've
removed the lens distortion.
| | 03:47 |
Finally, one thing that I would
recommend, is that you use the keyboard
| | 03:51 |
shortcut Cmd - minus or Cmd + on the Mac,
or Ctrl minus or Ctrl plus on Windows in
| | 03:57 |
order to zoom out To just view your image
at different sizes because vinyets can
| | 04:04 |
have a different effect at a different
size.
| | 04:06 |
In this case I think i've added way too
much of an amount so I'll go ahead and
| | 04:10 |
back off on that and then tap the P key
again to see the preview before and after.
| | 04:16 |
So there you have it, an easy way to add
an vingette to image in order to keep the
| | 04:20 |
viewers eye in the center of the
photograph.
| | 04:23 |
| | Collapse this transcript |
| Saving variations within a single file with the Snapshot command| 00:00 |
We've already talked about Camera Raw
being non-destructive.
| | 00:03 |
And the next feature really emphasizes
this point.
| | 00:06 |
Were going to talk about snapshots.
So let's select the three horses and use
| | 00:10 |
Cmd + R or Ctrl + R in order to open the
file in Camera Raw.
| | 00:14 |
What I would like to do is I would like
to have three different versions of this image.
| | 00:18 |
But I want them to all be contained
within a single document.
| | 00:22 |
So I don't want to actually duplicate the
file three times on my hard drive,
| | 00:26 |
because that's going to take up a lot of
space.
| | 00:28 |
Well, with Camera Raw I can make those
adjustments and save them within Camera
| | 00:32 |
Raw as snapshots.
So let's go ahead and do that.
| | 00:35 |
The first thing I'm going to do is I'm
going to add some contrast.
| | 00:39 |
Add a little bit of clarity and then add
a little bit of vibrance.
| | 00:43 |
So let's say this is the first version or
the first way that I've processed the
| | 00:46 |
image that I like.
Moving over to the snapshots icon.
| | 00:50 |
I'll click the add new snapshot at the
bottom.
| | 00:53 |
And we'll call this my color version.
I'll click OK and you can see that, that
| | 00:57 |
snapshot is now added.
So now, let's go to the HSL and grayscale
| | 01:01 |
panel, and we'll convert it to grayscale.
I'm not really sure I like the
| | 01:05 |
conversion, so I'll select my targeted
adjustment tool for the grayscale mix,
| | 01:10 |
and I'll click and drag to the right at
this bottom horse.
| | 01:14 |
No, let's drag to the left and make it a
little bit darker.
| | 01:17 |
Maybe we can click and drag on the next
one, just make it a little bit lighter.
| | 01:21 |
Then I'll return to the basic panel, and
I'm going to take off some of this
| | 01:25 |
contrast and I might decrease the clarity
a little bit as well.
| | 01:29 |
Now, let's say I want to save this as my
second version.
| | 01:32 |
We'll return back to snapshots, click on
the new icon, and we'll call this the
| | 01:36 |
black and white snapshot.
Then the last version that I want is
| | 01:40 |
going to be a sepia tone.
So I'll move over to split toning.
| | 01:44 |
I'll hold down the Option or the Alt key
in order to move the hue and select the
| | 01:48 |
color that I want.
I'll release the Option or the Alt key
| | 01:51 |
and just dial in the amount of
saturation.
| | 01:54 |
Then I'll use the balance slider to limit
that color to just the very darkest areas
| | 02:00 |
of my image.
Finally, I'll return back to the
| | 02:03 |
snapshots panel, click the plus icon, and
we'll call this sepia.
| | 02:07 |
Now, you can see that it's very easy for
me to simply click on a different
| | 02:11 |
snapshot here and change the way that my
image is processed.
| | 02:16 |
So these are just little sets of
instructions inside of Camera Raw that's
| | 02:20 |
telling Camera Raw how to display the
image.
| | 02:24 |
When I click done, you'll notice that in
Bridge, Bridge is going to show me that
| | 02:29 |
currently selected snapshot, but if I
wanted to change this all I need to do
| | 02:35 |
was use Cmd or Ctr + R to return back to
Camera Raw, move to the snapshot panel
| | 02:41 |
and select maybe black and white.
I'll click Done and now you can see that
| | 02:46 |
Bridge has updated that thumbnail to show
me the current snapshot.
| | 02:50 |
Of course, we could duplicate my image
multiple times and then apply different
| | 02:54 |
settings to each version, but that takes
up two or three times as much space on my
| | 02:59 |
hard drive depending on how many versions
I have.
| | 03:02 |
And although I have to admit, sometimes I
will make multiple copies, if I think
| | 03:07 |
that I will forget that I have processed
the file in more than one way and am
| | 03:11 |
keeping those snapshots in a single
document.
| | 03:14 |
But for the most part, I'd rather keep
one original on my hard drive, which
| | 03:17 |
takes up much less room, and then have
Camera Raw manage the different sets of
| | 03:21 |
processing instructions for the different
multiple versions of that image.
| | 03:26 |
| | Collapse this transcript |
|
|
6. Automating Camera RawCopying and pasting settings across files| 00:00 |
Once you understand the power of Camera
Raw, then you're going to want to speed
| | 00:04 |
up your workflow by learning how to
process multiple files at one time.
| | 00:08 |
Let's go ahead and make a change to this
first image here.
| | 00:11 |
I'll open it in Camera Raw using Cmd+R or
Ctrl+R and we'll add a simple vignette.
| | 00:16 |
I'll move over to the Effects panel.
I will actually add a white edge here,
| | 00:20 |
and I'm going to make it very obvious by
not adding a feather to it.
| | 00:24 |
We'll go ahead and make it more
rectangular and then we'll bring in the midpoint.
| | 00:29 |
I just want to make sure that this is a
super obvious change.
| | 00:32 |
Then I'll click Done and we can see that
change in Bridge.
| | 00:36 |
Now if I want to apply that change to
another image, the easiest way to do this
| | 00:41 |
would be to use the Edit menu, and then
choose Develop Settings and copy Camera
| | 00:46 |
RAWm settings or use Cmd+Option+C or
Ctrl+Alt+C on Windows.
| | 00:52 |
Now those settings are copied to the
clipboard, I can select the next image.
| | 00:57 |
Use Edit, Develop Settings, an then paste
those Camera Raw settings, which is
| | 01:01 |
Cmd+Option+V or Ctrl+Alt+V.
Camera Raw is going to ask me which
| | 01:06 |
setting I want to paste.
In this case I could paste everything,
| | 01:11 |
but I'm going to choose to just paste my
post crop vignetting.
| | 01:15 |
When I click OK we can see that the
vignette from the first image has now
| | 01:20 |
been copied and pasted to the second.
I also want to show you that you can
| | 01:24 |
access these menu items by simply right
mouse clicking on the image, and then
| | 01:28 |
choosing Develop Settings and copying and
pasting your settings here.
| | 01:33 |
And if we want to remove any setting from
images, we can select multiple images,
| | 01:39 |
right mouse click, and then choose
Develop Settings, and then clear those settings.
| | 01:44 |
You'll notice that as soon as I select
Clear Settings, the vignette goes away as
| | 01:48 |
does the icon that represents the Camera
RAW settings.
| | 01:51 |
| | Collapse this transcript |
| Processing multiple files in Camera Raw| 00:00 |
Another way that you can speed up your
workflow is to work with multiple images
| | 00:04 |
in Camera Raw at one time.
So with the two images that the tile
| | 00:08 |
selected lets use command R or control R
in order to see them and work with them
| | 00:13 |
in Camera Raw.
Now you'll notice over here on the left
| | 00:16 |
side we can see the thumb nails for both
of the images.
| | 00:19 |
The one that's selected, obviously is the
one with the blue line and it's the one
| | 00:23 |
that we can see in the preview area.
If I want to select the other image, all
| | 00:26 |
I need to do is click on it to select it.
Now depending on what it is that you are
| | 00:31 |
going to do to an image, you can either
work with one image at a time and then
| | 00:36 |
synchronize your changes to the second
image.
| | 00:39 |
Or you can select both images at one time
by just clicking on both of the
| | 00:43 |
thumbnails while holding the Cmd key on
the Mac, the Ctrl key on Windows and then
| | 00:48 |
making your changes.
So you'll notice, for example, that now,
| | 00:51 |
if I change my temperature slider up to
the right, both of the previews here
| | 00:56 |
change, so not only am I affecting the
most selected image, the one I'm seeing
| | 01:00 |
here, but I'm also affecting the other
one.
| | 01:03 |
So let's go ahead and use Cmd-Z, or
Ctrl-Z on Windows, in order to undo that.
| | 01:08 |
Now when I move any of the sliders, the
sliders are an absolute value.
| | 01:12 |
So if I were to change the exposure for
one image, I'm going to get the exact
| | 01:16 |
same exposure change in the other.
But if I wanted to have Camera Raw give
| | 01:22 |
me kind of an auto correction, that I can
go ahead and do by simply clicking on the
| | 01:27 |
auto button.
And you'll notice that the adjustments
| | 01:30 |
that Camera Raw made to this first image
are very different from the adjustments
| | 01:35 |
that it made to the second image.
So again, if you move a specific slider
| | 01:39 |
with both images selected you'll move the
slider the same absolute amount.
| | 01:44 |
But if you use something like and auto
control, then Camera Raw will calculate
| | 01:48 |
that differently for each image.
Alright, if I want to just make a change
| | 01:53 |
to this image, because I think the auto
command was a little too harsh and made
| | 01:56 |
us a little too bright, I'll just back
off on auto for a moment.
| | 02:01 |
Now, if I decide again that I want to
make a change to, both images, but say I
| | 02:06 |
forget to select the other image.
Well lets make the change.
| | 02:10 |
Lets go to my post crop vignetting and
lets go ahead and add a vignette here,
| | 02:14 |
we'll add a feather and now I realize
that I want to apply this vignette to my
| | 02:20 |
second image as well.
Then I'll hold down the Cmd key or the
| | 02:24 |
Ctrl Key and I'll select that second
image and then I'll click the Synchronize option.
| | 02:29 |
I can tell Camera Raw what it is that I
want to sycnhronize, either by selecting
| | 02:34 |
from these presets here or by just
clicking on and off the check next to the
| | 02:38 |
option that I want it to synchronize.
We'll click OK and you can see that the
| | 02:43 |
top image has now also had that same
vignette applied.
| | 02:47 |
When I click, Done, you'll notice that
the updates are made and the preview
| | 02:51 |
changes in Bridge.
Now, let's just return back to camera raw
| | 02:55 |
for one moment.
I'll use Cmd + R or Ctrl + R to bring
| | 02:59 |
both of these images in at one time.
Because I just want to show you, that if
| | 03:03 |
you do make some corrections to an image,
let's say for example.
| | 03:07 |
I increase the temperature here and then
we scoot over to the effects and I decide
| | 03:12 |
that I want to add a little bit of grain
and maybe make a lighter venue instead of
| | 03:17 |
a darker vingnette.
Well, if I've been working along, and I
| | 03:20 |
decide that, I really want to just reset
this file now, but I don't want to reset
| | 03:25 |
it to the very beginning.
I don't want to use the flyout menu here
| | 03:28 |
and go to my Camera Raw defaults.
Instead, I just want to reset it to the
| | 03:33 |
point where it was when I came in from
Bridge to Camera Raw, for the second time.
| | 03:40 |
If that's the case, I can hold down the
Option key or the Alt key, and you'll
| | 03:44 |
notice that the Cancel button changes to
Reset, so now I can click the Reset
| | 03:49 |
button, but it's only going to reset it
back to the point in time where I entered
| | 03:54 |
the Camera Raw dialogue box for the
second time.
| | 03:58 |
Of course I could have just clicked
cancel, but that would have taken me back
| | 04:01 |
to Bridge.
If I wanted to reset and continue
| | 04:04 |
working, the best way to do it is to hold
down that Option key in order to change
| | 04:09 |
cancel to reset.
Now in this case we are actually
| | 04:12 |
finished, so I'll go ahead and click
Done.
| | 04:14 |
But now that you know how to work with
multiple images at once in Camera Raw,
| | 04:18 |
your on your way to being much more
productive.
| | 04:21 |
| | Collapse this transcript |
| Saving and using a library of Camera Raw presets| 00:00 |
As you get more advanced in Camera Raw
you'll notice that there are certain
| | 00:03 |
effects or looks that you like to apply
to images over and over again.
| | 00:07 |
So let's see how we can speed up that
process.
| | 00:10 |
I'll selecting this GladdingMB image and
then uses Cmd+R or Ctrl+R in order to
| | 00:15 |
open it into Camera Raw.
Now, the first thing that I want to do is
| | 00:18 |
I want to convert ths image to grayscale,
so I'll select the HSL grayscale panel
| | 00:23 |
and then convert to grayscale.
And I also want to add a sepia tone to
| | 00:27 |
this image, so we'll scoot over to the
split toning, and I'll change y hue
| | 00:32 |
lsider to right about 30 and then
increase the saturation.
| | 00:37 |
I want to change the balance a little bit
to just add the sepia tone in the very
| | 00:42 |
dark areas, in those shadow areas of my
image.
| | 00:45 |
Now I also want to add a vignette, so
I'll move over to the effects panel and
| | 00:49 |
I'll use a negative amount to get a
darker vignette.
| | 00:52 |
I'll switch to the color priority.
I'll increase my feather amount and I'll
| | 00:57 |
also increase the highlight slider in
case there are any highlights being
| | 01:02 |
darkened down, like especially specular
highlights because I don't want them to
| | 01:05 |
look muddy.
Now that I've made all of these changes I
| | 01:09 |
can save out these changes as presets in
order to apply to different images.
| | 01:14 |
But there's two schools of thought behind
presets.
| | 01:18 |
You can either save individual
attributes, like the post-crop vignette,
| | 01:23 |
the conversion to grayscale, and the
split tone as individual presets or you
| | 01:29 |
can save them all as one preset.
So let's take a look at why each of these
| | 01:34 |
different methods would be useful.
In order to save out our presets, I'm
| | 01:39 |
going to click on the presets panel, and
then I'll click on the New preset icon at
| | 01:44 |
the bottom of the panel.
Now, we should pay attention to the way
| | 01:47 |
that we name these presets, because
they're going to be listed alphabetical.
| | 01:52 |
So I'm going to call the first one
vignette.
| | 01:55 |
And then, I'm going to call it my black
vignette.
| | 01:58 |
And all I want to keep track of, in this
case, is just the post-crop vignetting.
| | 02:04 |
So this is how you would save out a
preset for a single attribute.
| | 02:09 |
I'll click okay and we can see that I now
have a preset for vignette black.
| | 02:13 |
I'm going to create another preset.
In this case, I'm going to call it the
| | 02:17 |
sepia tone, that split tone, but in order
for all of my toning presets to be
| | 02:22 |
clumped together in the presets panel,
I'm going to start off with ST for split
| | 02:28 |
tone and then I'll call it sepia.
Then, instead of selecting all my
| | 02:32 |
settings, all I want to choose are my
split toning setting.
| | 02:36 |
And finally, I'll create one more.
In this case, I just want to save the
| | 02:41 |
greyscale conversion.
So, I'll select that.
| | 02:44 |
And we'll call this black and white.
So now I have three different presets
| | 02:49 |
that I can choose from.
I'm also going to save a preset that
| | 02:53 |
saves all three of these attributes.
So at the bottom of the presets panel,
| | 02:58 |
we'll click New and I'll call this my
default sepia.
| | 03:02 |
Now instead of unchecking these manually,
I'll just select the grey scale
| | 03:06 |
conversion, but then I'll need to go in
and check split toning as well as the
| | 03:11 |
post-crop vignette.
So now let's return back to my Split
| | 03:15 |
Toning panel.
And instead of making a sepia tone.
| | 03:18 |
I'm going to scoot this over so that we
create a cyanotype.
| | 03:21 |
And I'm really going to limit, where
those blues appear.
| | 03:24 |
Then I'll return back to my presets.
I'll click the new preset icon.
| | 03:28 |
And this is another split tone.
So I'll tap S and then T, and then a
| | 03:33 |
Space and Cyan.
For my subset, I'll choose my split
| | 03:37 |
toning and click okay.
I also want to return back to the effects
| | 03:42 |
and change my post-crop vignette.
In this case, I'm going to make a
| | 03:45 |
negative amount to make a lighter
vignette or a white vignette, and then
| | 03:49 |
return back to my presets, create a new
preset, I'll call it vignette.
| | 03:53 |
And then white, and for my subset, I'll
select post crop vignetting.
| | 03:58 |
Now, we can see that it's very easy to
move back and forth and you'll notice
| | 04:03 |
that I can really mix and match.
I can mix the cyan split toning with
| | 04:08 |
either a black vignette or a white
vignette, and likewise I can mix my sepia
| | 04:13 |
toning with a black vignette or a white
vignette.
| | 04:16 |
But if I happen to know that I'm always
using the sepia tone with the black
| | 04:22 |
vignette and the grayscale conversion,
that's why I created the default sepia.
| | 04:26 |
So now with a single click, I can click
on that to apply all three of those
| | 04:30 |
attributes at once.
So really it depends on how much
| | 04:33 |
flexibility you want as far as if you're
going to save single attributes or a
| | 04:37 |
bunch of attributes as one single preset.
All right, let's go ahead and Click Done
| | 04:42 |
to return back to Bridge and let's see
how easy it is to apply these Presets to
| | 04:47 |
another image.
So I'll Select this next image, use
| | 04:50 |
Command or Ctrl+R, in order to Open it in
Camera Raw.
| | 04:54 |
Move over to the presets panel and if I
just want to add my default sepia, I can
| | 04:59 |
do so with a single click or if I want to
change this to cyan with a white vignette
| | 05:05 |
all I need to do is click on those
individual presets then we'll click done.
| | 05:09 |
Now, I don't have to return to Camera RAW
if I want to apply presets to these
| | 05:15 |
following two images.
I'll ahead and select them both in
| | 05:18 |
Bridge, and then I can right mouse-click
or if you're on the Mac, that's a control
| | 05:22 |
click, choose Develop settings.
You'll notice that all of the presets
| | 05:26 |
that we created are now available to
select.
| | 05:30 |
We can do it all in one step.
So even now we're only selecting two
| | 05:34 |
images to apply the preset to.
But you can select 10, or 20, or even
| | 05:39 |
hundreds of images, an apply a preset to
them all at once, which can save you a
| | 05:44 |
ton of time while editing.
| | 05:46 |
| | Collapse this transcript |
| Saving multiple files in Camera Raw| 00:00 |
When we take multiple images into Camera
Raw and make edits to them, we then have
| | 00:04 |
the ability to save out all of the files
at once, which can really help boost our productivity.
| | 00:10 |
So let's select these three images that
all have the sepia tone preset applied to
| | 00:14 |
them and then use Cmd or Ctrl+R in order
to open them in Camera Raw.
| | 00:19 |
Now I do want to make a specific
adjustment to each one of these images.
| | 00:24 |
What I want to do is I want to make sure
that I'm saving out a file that's exactly
| | 00:28 |
4 by 6 at 300 pixels per inch.
If I select the Crop tool, and merely
| | 00:35 |
choose 4 by 6 or in this case 2 by 3
which is the same aspect ratio, when I
| | 00:40 |
drag out the Crop tool, you'll notice
that it doesn't say that it's 4 by 6
| | 00:45 |
inches down here.
Every time I move the crop it does give
| | 00:49 |
me a different number of pixels that are
included in that crop but it's not
| | 00:53 |
defining it as a specific size.
So in order to do that I'm going to
| | 00:58 |
select the Custom option from the Crop
tool and I'm going to change the crop
| | 01:03 |
from a ratio to inches and then I'm going
to type in 4 by 6 and click OK.
| | 01:10 |
Now you can see that I'm cropping down to
a specific size, 4 by 6 inches at 300
| | 01:15 |
pixels per inch.
Even if I change the crop marquee when I
| | 01:20 |
save this file out, Camera Raw is being
told to save it at an exact, specific size.
| | 01:26 |
If it needs to resample down and throw
away pixels to get to that size, it will.
| | 01:30 |
And if it needs to interpolate up and add
pixels to this file, it will.
| | 01:35 |
I've defined the exact size that I want.
So let's move to the next image and I
| | 01:40 |
will also crop this image.
You'll notice that it was sticky, so it's
| | 01:44 |
going to crop this image at 4 by 6 inches
as well.
| | 01:47 |
I don't want to select that right now,
otherwise it will uncheck it.
| | 01:50 |
So I'm just going to move my cursor
outside of the drop-down menu before I
| | 01:54 |
release it.
Then I will click and drag to drag out my crop.
| | 01:58 |
Tap the Enter key, to apply that crop.
And move to the last image, tapping the C
| | 02:04 |
key again to make sure I have my crop
tool, and dragging out that crop.
| | 02:08 |
So now all three of these images have
been modified.
| | 02:11 |
They've all got the same crop, 4 by 6
inches, at 300 pixels per inch, the 300
| | 02:16 |
pixels per inch is actually defined in my
workflow settings.
| | 02:19 |
If I needed to change that, I could click
on the hyperlink, and then change the
| | 02:23 |
resolution right here, but for now, 300
pixels per inch is perfect.
| | 02:27 |
I'll click OK.
And then I'll select all of my images.
| | 02:31 |
And then choose Save Images.
Here I can choose to save them in the
| | 02:35 |
same location or I can select a folder if
I want to save them somewhere else.
| | 02:39 |
For now we'll save them in the same
location.
| | 02:42 |
I'll rename them, I just want to add an
extension, in this case underscore and
| | 02:47 |
then I'm going to enter in 4 by 6, so
that I'll know that these are my 4 by 6
| | 02:52 |
inch images.
And I'll export these as Photoshop files
| | 02:56 |
with just the copyright and contact
information.
| | 02:59 |
I don't want to preserve the cropped
pixels.
| | 03:02 |
I actually want Camera Raw to throw away
any of the pixels that were outside of
| | 03:06 |
that crop marquee, and then I'll choose
Save.
| | 03:10 |
You can see there for a brief moment that
Camera Raw was processing those files.
| | 03:14 |
Now, if we had 100 or 200 images
processing, we could still go in and
| | 03:20 |
click Save Images again if we wanted to
save these as a different file format.
| | 03:25 |
So, let's say for example, I also need
these to be JPEG files.
| | 03:29 |
I'll save the JPEG files in the same
location with the quality of 8.
| | 03:34 |
Click Save, and again you can see it,
there's three, two and one remaining.
| | 03:39 |
Excellent, now I would be finished so I
can click Done and when we return back to
| | 03:43 |
Bridge you can see that I have my
original JPEG files.
| | 03:47 |
Those are the ones that are highlighted,
and then I have the PSD files.
| | 03:50 |
Those Photoshop documents that I just
saved off, and I also have the four by
| | 03:55 |
six JPEGs here as well.
So saving directly from within Camera Raw
| | 04:00 |
can be a really fast and easy way to save
out multiple copies of our files in
| | 04:06 |
different formats for different uses.
| | 04:08 |
| | Collapse this transcript |
| Using Image Processor to batch process multiple files| 00:00 |
Another way to process several images and
save them out as different file formats
| | 00:04 |
without having to go through camera raw
is by using image processor.
| | 00:09 |
Now typically, I will use Image Processor
after making all of my necessary
| | 00:13 |
adjustments to all of my files.
So we'll start in Bridge with the first
| | 00:17 |
four images selected here and then I'll
choose the Tools menu and then Photoshop
| | 00:22 |
and Image Processor.
Now Photoshop isn't running.
| | 00:26 |
It will automatically be launched and
then you will see the Image Processors
| | 00:30 |
script appear in Photoshop.
So sine I had already selected the images
| | 00:34 |
to process in Bridge, image processor
knows that and it's showing me that it's
| | 00:38 |
got the four images that it's going to
process.
| | 00:42 |
I can then tell Image Processor where to
save the files.
| | 00:46 |
If I want to save them in the same
location or if I want to save them to a
| | 00:48 |
different folder.
In this case we'll just save them to the
| | 00:52 |
same location and I'm going to save as a
JPEG file as well as a PSD file.
| | 00:57 |
So as soon as I select either of these
file types, we have different options
| | 01:01 |
such as Quality Settings.
If I want this to be high quality, I'll
| | 01:05 |
go ahead and enter in something maybe
like nine or ten.
| | 01:09 |
Of course, that's always a trade-off,
this means that the file is going to be
| | 01:12 |
larger, because I'm not compressing it as
much, but it will be of higher quality.
| | 01:18 |
If I was going to post these to the web,
I would want to convert the profile to
| | 01:22 |
SRGB and I might also want to resize
them.
| | 01:25 |
Let's say, for example, I was going to
post the images no larger than 600
| | 01:30 |
pixels, whether that's 600 wide or 600
high.
| | 01:35 |
So, don't be concerned here.
Photoshop and Bridge, they're not going
| | 01:38 |
to squish your image to fit into a box,
we're just defining the longest dimension
| | 01:44 |
of either the width or the height.
I also want to save these as Photoshop files.
| | 01:49 |
If I want to resize them, I can as well
here.
| | 01:52 |
Now, for my Photoshop files, I'm going to
think in my mind probably those are ones
| | 01:56 |
that I'm going to print.
So I'd have to do a little bit of math here.
| | 02:00 |
Let's say I wanted it to resize the files
to four by six at 300 pixels per inch.
| | 02:06 |
Well, then I would take the longest
dimension which would be six inches, and
| | 02:10 |
I would need to multiply that by 300
pixels per inch.
| | 02:13 |
So, then I could enter in 1800 by 1800
pixels.
| | 02:18 |
And I do want to turn on the maximum
compatibility option because that's going
| | 02:22 |
to help if I happen to have a layered
Photoshop document and was running image
| | 02:27 |
processor on it.
It would keep it as layers but it would
| | 02:30 |
save not only a layered version but also
a flattened version within the same document.
| | 02:36 |
And that just helps applications like
Lightroom be able to work with my PSD or
| | 02:41 |
my Photoshop files.
Of course, I can also save this out as a
| | 02:44 |
TIFF but I don't need to right now.
Instead, I'll just click run, and we'll
| | 02:49 |
run the Image Processor script.
So in the background, what's happening is
| | 02:53 |
Bridge is handing off each one of these
four individual files to Photoshop.
| | 02:58 |
Photoshop is resizing them as necessary,
and if we return to Bridge, either using
| | 03:02 |
the file menu and choosing Browse in
Bridge or we could use Cmd + Opt + O or
| | 03:06 |
Ctrl + Alt + O, we can then see that
Bridge has created two separate folders.
| | 03:13 |
And if we double click to look inside
that folder, there are my four JPEG files
| | 03:17 |
and if we switch over to the PSD files,
there are the four Photoshop documents.
| | 03:24 |
As you can imagine, it can be very
convenient to have the ability to save in
| | 03:28 |
multiple file formats at one time,
especially when you're working with high
| | 03:32 |
volumes of images.
Like hundreds or thousands of images at a
| | 03:35 |
time and you need to quickly process
them.
| | 03:38 |
| | Collapse this transcript |
|
|
7. Photoshop Interface EssentialsOpening files from Bridge| 00:00 |
When people start using Photoshop to open
their files, they typically use the File
| | 00:05 |
menu and then select Open.
Doing this brings up the operating
| | 00:09 |
systems open dialog box, where you can
see thumbnails of our images or if we
| | 00:15 |
want to see more information we can
select from any of the other options here.
| | 00:19 |
And I can navigate to different folders,
but if I want to see larger thumbnails,
| | 00:24 |
or if I want to actually change
information, like add metadata, keywords,
| | 00:28 |
or copyright information, I can't do that
in the Open dialog box.
| | 00:32 |
I'll go ahead and cancel out of here, and
instead, I'm going to use the File menu,
| | 00:37 |
and then select Browse in Bridge.
Now Bridge is separate application that
| | 00:42 |
comes for free with Photoshop, or your
creative cloud membership, but it does
| | 00:46 |
have a separate installer so you will
need to install it.
| | 00:50 |
If you haven't already installed Bridge,
please watch the video on installing
| | 00:54 |
Bridge in the introduction section.
Here you can see that in bridge I can see
| | 00:58 |
a number of images at one time.
I can increase the thumbnail size for
| | 01:03 |
each image, or I can decrease it.
I can also quickly navigate to other
| | 01:08 |
folders, and see the contents of those
folders.
| | 01:12 |
When I select an image, I can see a
preview on the right hand side.
| | 01:15 |
We can see information about image.
And if I scroll in the Meta Data panel,
| | 01:21 |
we could even enter in information like
copy right information.
| | 01:25 |
If I move over to the Keywords panel I
can also add keywords, I'll switch back
| | 01:30 |
to the Meta Data panel.
And then, we'll notice that on the left
| | 01:33 |
we can see that I have a filter panel,
which is dedicated to helping me find the
| | 01:38 |
images that I'm looking for based on
different search criteria.
| | 01:41 |
I also have the option to create virtual
collections, of different images, without
| | 01:45 |
moving them around on my hard drive.
If I want to open an image, all I need to
| | 01:50 |
do is double-click on the image in the
content area in Bridge, and it will open
| | 01:55 |
it up in Photoshop.
If I don't want to do anything to this
| | 01:58 |
image, I'll go ahead and close it using
the keyboard shortcut Cmd+w on the Mac,
| | 02:02 |
or Ctrl+w on Windows.
If I want to return to Bridge, I can
| | 02:07 |
either choose the File menu and then
Browse and Bridge, or I can use the
| | 02:10 |
keyboard shortcut, Cmd + Option + o, or
Ctrl + Alt + O on Windows.
| | 02:15 |
If I decide that I don't want to open a
file from Bridge, and I simply want to
| | 02:19 |
return back to Photoshop, I can click on
the boomerang icon up here in the upper left.
| | 02:25 |
Again to navigate back, I'll use
Cmd+Option O or Ctrl+Alt 0.
| | 02:30 |
And here's a little shortcut.
You'll notice that the second image has
| | 02:34 |
an icon right here that tells me that it
has been in the Camera Raw dialogue box,
| | 02:39 |
and some changes have been made to it.
If I've already made those changes, and I
| | 02:43 |
simply want to open this image in
Photoshop, and I don't need to see the
| | 02:47 |
Camera Raw dialogue box again, all I need
to do is hold down the Shift key and
| | 02:52 |
double click in the image area.
Instead of bringing up Camera Raw, I'll
| | 02:56 |
jump directly to Photoshop and the file
will open.
| | 03:00 |
As you can see, it's much easier to work
with Bridge as oppose to the operating
| | 03:05 |
system's open dialogue box to find and
open your photographs.
| | 03:08 |
| | Collapse this transcript |
| Opening files from Mini Bridge| 00:00 |
Another popular way to open files in
Photoshop is through a panel called mini Bridge.
| | 00:05 |
Mini Bridge is a separate panel that
comes free with Photoshop or your
| | 00:09 |
creative cloud membership.
But, it gets installed when you install
| | 00:12 |
Bridge, not Photoshop.
So, if you haven't installed Bridge,
| | 00:16 |
please watch the video on installing it
in the introduction section.
| | 00:20 |
Now, you might have noticed the mini line
under the filename, to browse in mini Bridge.
| | 00:25 |
Or you might have noticed the mini Bridge
panel down in the lower left corner.
| | 00:30 |
If you can't see the mini Bridge panel,
you can show it by doing one of two
| | 00:34 |
things, either selecting the essentials
workspace and if you've got the
| | 00:38 |
essentials workspace selected and you
still don't see it, you can choose to
| | 00:42 |
reset the essentials.
Or you can go under the window menu, and
| | 00:46 |
then choose extensions, and then choose
Mini Bridge.
| | 00:50 |
In order to expand Mini Bridge, I'll
click on it once, and you can see now I
| | 00:54 |
see the content of Mini Bridge.
Bridge does have to be running in order
| | 00:59 |
to use Mini Bridge, but if you choose to
use Mini Bridge, Bridge will
| | 01:03 |
automatically launch behind the scenes.
Now we can use the path bar across the
| | 01:08 |
top or we can use this area right here in
order to navigate to a different folder.
| | 01:14 |
In this case, I'll double-click on
desktop and then Demo files and then I'll
| | 01:18 |
single-click on interface in order to see
the contents of that folder as a film
| | 01:23 |
strip to the right.
Now, there are a lot of other options
| | 01:26 |
across the top here.
I have a back button, which I can
| | 01:30 |
navigate, and a forward button, and I
also have the option to reveal this
| | 01:35 |
folder in Bridge.
I have a lot of different options for
| | 01:39 |
selecting, and I can go into a slideshow
mode or review mode.
| | 01:43 |
I can also decide what criteria i want to
use in order to display my images.
| | 01:50 |
Over on the right-hand side, I can choose
criteria to filter my images as well, so
| | 01:55 |
if I had a large number of images that
I'd already gone through and rated some
| | 01:59 |
with one star or two star, this would
make it very easy to hide all of the
| | 02:03 |
images I didn't like, for example.
All the ones that didn't have two stars
| | 02:07 |
and I can either show two stars or more
stars.
| | 02:11 |
There's also an area here where I can
search.
| | 02:13 |
So there's a lot of power here.
You don't actually have to jump to bridge
| | 02:17 |
every time you need to open a file.
Now in order to open an image in the
| | 02:22 |
Photoshop from mini Bridge, all I need to
do is double click on the thumbnail.
| | 02:27 |
If I don't want to work with that image,
I simply close it by clicking on the
| | 02:30 |
check icon and the tab, or I can choose
File and then Close.
| | 02:35 |
If I want to open a file that either is a
RAW file or has camera RAW file settings
| | 02:41 |
associated with it, then when I
double-click on it, it will launch the
| | 02:45 |
camera RAW interface, so that I can make
changes to it and then open the image in Photoshop.
| | 02:52 |
If I want to open a second file, all I
need to do is double click on it from
| | 02:56 |
Mini Bridge.
We can see now that there are two files
| | 02:59 |
that are open: the one that we are
currently viewing as well as the one
| | 03:03 |
that's tucked behind it, or nested with
it, by the tab.
| | 03:07 |
If I were to select an image, and drag
and drop it into the Preview area, then
| | 03:12 |
Photoshop assumes that I want to add the
second document to this first document.
| | 03:18 |
And when I release, you can see that it's
placed the document in here.
| | 03:22 |
And when I click on the check mark, we
can look in the Layers panel, and we'll
| | 03:26 |
notice that this document now has two
layers.
| | 03:29 |
So, it didn't open it as a separate
document, it opened it as a separate
| | 03:34 |
layer within a single document.
There's one final way that I can open up
| | 03:39 |
an image, and that is by clicking and
dragging that image up to this tabbed
| | 03:44 |
area right here.
If I release my cursor now, Photoshop
| | 03:48 |
knows that I don't want to add it to any
other open document but instead I want it
| | 03:52 |
to open as its own document.
You can see it's a single-layer document,
| | 03:56 |
and I can still click through to my other
files that are all open.
| | 04:00 |
Alright, let's go ahead and close these
images.
| | 04:03 |
I'm going to select File and then Close
All.
| | 04:06 |
Photoshop is going to ask me if I want to
save the changes.
| | 04:09 |
I'm going to say don't save the changes,
and before I click that I'm going to
| | 04:14 |
include that response to all of my
images.
| | 04:17 |
So instead of having Photoshop ask me
every time do you want to save, do you
| | 04:21 |
want to save.
I'm going to apply my response to all
| | 04:25 |
open documents and select don't save.
So now that you know about Mini Bridge, I
| | 04:30 |
think that you'll find it to be a very
useful way to navigate to different
| | 04:34 |
folders and open up files without every
having to leave the Photoshop interface.
| | 04:38 |
| | Collapse this transcript |
| Customizing the Mini Bridge panel| 00:00 |
By default, in Photoshop, in the
Essentials workspace, Mini Bridge is
| | 00:05 |
collapsed in the lower left-hand corner.
Now, if you can't see the Mini Bridge
| | 00:09 |
panel, you can either choose Essentials
and then select Reset Essentials, or you
| | 00:15 |
can use the Window menu and then choose
Extensions and then Mini Bridge.
| | 00:20 |
To expand Mini Bridge, simply click on
the tab.
| | 00:23 |
You can then expand it further by
positioning your cursor at the top of the
| | 00:28 |
window and dragging up or we can collapse
it and make it a little bit smaller by
| | 00:33 |
dragging down.
If you prefer Mini Bridge to appear in
| | 00:36 |
another location and not be nested with
the timeline panel, you can click on the
| | 00:41 |
tab that says Mini Bridge, and then just
drag it out away from that nesting of panels.
| | 00:48 |
When you let go, you'll notice that Mini
Bridge will float on top of any other panels.
| | 00:53 |
If we click in this gray area here, when
I position it over on the right hand side
| | 00:58 |
you can see it'll actually float on top
of those panels.
| | 01:01 |
In fact, if I wanted to resize this and
make it larger, I can actually display
| | 01:07 |
Mini Bridge on a secondary monitor if I
have a two-monitor setup.
| | 01:12 |
I'll go ahead and collapse the timeline
panel by double-clicking on it.
| | 01:16 |
If I want to dock Mini Bridge with my
other panels over here on the right, I
| | 01:21 |
click on the Mini Bridge tab, and then
position my cursor right on top of the
| | 01:26 |
other panels.
You can see when I have that one solid
| | 01:30 |
blue line, that tells me that I'm going
to dock Mini Bridge as an icon with those
| | 01:35 |
other two iconic panels.
So I'll release my cursor and we can see
| | 01:40 |
Mini Bridge has become docked.
If I want Mini Bridge to be revealed,
| | 01:45 |
I'll click where it says Mini Bridge, and
it will fly out to the left.
| | 01:49 |
Here, I can navigate to my desktop,
double-click, and then double-click on
| | 01:54 |
Demo Files, and then double-click on
Interface in order to see the contents of
| | 01:59 |
that folder.
Now my thumbnails are really large right now.
| | 02:02 |
And although I can scroll through them.
I think I'll make the panel a little bit
| | 02:06 |
smaller by positioning my cursor right at
the left hand edge of the panel.
| | 02:11 |
And then dragging over towards the right.
Now we can see that my thumbnails are
| | 02:16 |
smaller and it's much quicker to scroll
through them.
| | 02:19 |
By default, when I double-click to open
an image, you can see that the image
| | 02:24 |
opens in Photoshop, but the Mini Bridge
panel stays expanded.
| | 02:29 |
If I wanted Mini Bridge to automatically
collapse after I open a document, I could
| | 02:36 |
control click on Mac or right mouse click
on Windows and choose the option to Auto
| | 02:42 |
Collapse Iconic Panels.
Now when I click away from the panel,
| | 02:46 |
Mini Bridge will act kind of like a
drawer and just put itself back into this
| | 02:51 |
row of iconic panels.
So now if I click to open Mini Bridge, we
| | 02:56 |
navigate down, I'm going to skip this
second image, but I'm going to
| | 03:00 |
double-click on the third thumbnail here
and open it.
| | 03:03 |
When I double-click, sure enough it's
opened in Photoshop.
| | 03:06 |
And when I click away, Mini Bridge will
auto collapse.
| | 03:10 |
If I want to turn that off, all I need to
do is click again on Mini Bridge and then
| | 03:14 |
either control click on the Mac or right
mouse click on Windows and toggle off the
| | 03:20 |
Auto Collapse Iconic Panels.
Now even if I click somewhere else in my
| | 03:24 |
image you can see that Mini Bridge
doesn't auto collapse.
| | 03:28 |
If I want to put Mini Bridge back, I need
to click on the double headed arrows
| | 03:32 |
right here to collapse it and then click
again on Mini Bridge to expand it.
| | 03:37 |
There's a quick shortcut that you should
know about when you're working with Mini Bridge.
| | 03:41 |
I'm going to navigate to a different
folder I'll go up one level to the demo files.
| | 03:46 |
And then I'll click on the 0102 Bridge
folder.
| | 03:51 |
Then, I'll select File and Browse in
Bridge.
| | 03:55 |
When Bridge is displayed, you'll notice
that those two folders are not in sync
| | 04:00 |
and that's a feature.
However, by default, if I have a folder
| | 04:05 |
targeted in Bridge and then I return to
Photoshop, Mini Bridge gets redirected to
| | 04:12 |
that folder.
If I wanted to navigate to a different
| | 04:17 |
folder here in Mini Bridge again, for
example I'll go up one level to the
| | 04:21 |
desktop and back to 0102.
If I want to tell Bridge to mimic or to
| | 04:27 |
navigate to the same folder, then I can
right mouse click and say Reveal in
| | 04:32 |
Bridge and Bridge will automatically get
redirected to be viewing that same folder.
| | 04:39 |
Now in Bridge, I'll navigate back to the
07 interface folder.
| | 04:43 |
And then click on the boomerang.
When I return back to Mini Bridge, it's
| | 04:47 |
going to redirect that folder for me.
Now, before we wrap up, I want to reset
| | 04:52 |
my Essentials workspace, so I'll select
it and then choose Reset Essentials so
| | 04:56 |
that we're all looking at the same
interface.
| | 04:59 |
You can see that between Bridge and Mini
Bridge, there are many different ways to
| | 05:03 |
find the files that you want to work
with.
| | 05:06 |
And now that you know the different
options, I'm sure that you'll find the
| | 05:08 |
workflow that's right for you.
| | 05:10 |
| | Collapse this transcript |
| Customizing the interface in Photoshop| 00:00 |
When you first open Photoshop, one of the
things that might throw you if you're on
| | 00:04 |
a Mac is that you can't see behind the
application into the desktop.
| | 00:09 |
On launch, Photoshop takes up the whole
screen.
| | 00:11 |
Now, while this is normal behavior on
Windows, it is a very different behavior
| | 00:16 |
on the Macintosh.
If you are under the Window menu, you can
| | 00:20 |
toggle off the Application Frame if you
do want to see the applications behind Photoshop.
| | 00:26 |
But when I select that, now I'm seeing
Bridge behind Photoshop.
| | 00:31 |
And it's very confusing.
So while I'm in Photoshop, I prefer to
| | 00:35 |
leave the Application Frame on by
choosing Window, and then Application Frame.
| | 00:40 |
The other advantage that the application
frame has is that it allows me to scale
| | 00:45 |
or resize Photoshop as a unit.
You can see here that if I opened a file,
| | 00:51 |
the file would be contained within this
area right here.
| | 00:55 |
So if I had a really large display I
could actually run Photoshop on the left
| | 01:00 |
hand side and maybe Bridge on the right
hand side to make the most use of my
| | 01:05 |
monitors, or if I wanted to expand
Photoshop to extend over more than one
| | 01:11 |
monitor, I can actually stretch this
beyond a single monitor and spread out
| | 01:16 |
Photoshop over two monitors.
Another way that we can customize
| | 01:20 |
Photoshop is to change the interface by
changing the color theme.
| | 01:24 |
So under the Photoshop menu, I'll select
preferences and then interface.
| | 01:29 |
If you're on Windows, you would select
the edit menu and then preferences and
| | 01:33 |
then interface.
Here we can see that I can select from
| | 01:36 |
one of four different color themes: a
really dark interface, a medium dark A
| | 01:41 |
lighter interface and a really bright
interface.
| | 01:45 |
I prefer to stick with one of the two
darker interfaces, just because I find
| | 01:49 |
that if I am on the computer all day, the
darker interface is really a lot easier
| | 01:54 |
on my eyes.
We can also change the interface options
| | 01:58 |
for bridge, or click okay and then choose
file, browse and bridge.
| | 02:03 |
And once I am in Bridge, I'll use the
Bridge menu on the Mac or you would use
| | 02:06 |
the edit menu on Windows and select
preferences.
| | 02:10 |
Here in the general preferences, I can
change that same color theme using a
| | 02:14 |
really dark interface ranging to a bright
interface.
| | 02:18 |
Again, I am going to pick one that is
quite dark, it's just going to be easier
| | 02:21 |
on my eyes.
In addition, we can use the image
| | 02:24 |
backdrop slider in order to change the
background that is behind the content
| | 02:30 |
area and the preview area.
I'll just move this out of the way for a
| | 02:34 |
minute and we can see the difference
between a very dark interface behind our photographs.
| | 02:39 |
And a very light interface.
I'm going to leave this set down fairly
| | 02:43 |
dark, in addition I can change the
background for the user interface using
| | 02:48 |
this slider, going from light to dark.
So those are two independent sliders.
| | 02:53 |
If I want to revert back to a specific
color scheme, all I need to do is click
| | 02:57 |
on that option.
Alright, I'll go ahead and cancel out of here.
| | 03:01 |
And then we're going to open up an image
into Photoshop by double-clicking on it
| | 03:06 |
in Bridge, because I want to show you
that if you hold down the Control key on
| | 03:10 |
the Mac, and click in this area here that
surrounds an open document, you can
| | 03:15 |
select a different color for that
background as well.
| | 03:19 |
So if I wanted to see a light gray behind
there, or a medium gray, we can select
| | 03:24 |
those from the list.
In fact, we can even select a custom color.
| | 03:27 |
Course, if you're on Windows that would
just be a right mouse click, an then you
| | 03:31 |
can choose the background that you want.
I'll go ahead an set it back to the
| | 03:34 |
default for now.
Of course you can choose whatever
| | 03:37 |
interface options you want, but I really
would recommend the darker interface
| | 03:42 |
because it is easier on the eyes.
And if you work long hours I think that
| | 03:45 |
you'll actually find that you like the
dark interface better.
| | 03:48 |
| | Collapse this transcript |
| Managing panels| 00:00 |
Because Photoshop is so many things to so
many different customers, it has a
| | 00:04 |
tremendous number of options.
When you're just starting out, this can
| | 00:07 |
seem overwhelming.
For example, look at the number of panels
| | 00:10 |
that are showing by default.
And this isn't even all of them.
| | 00:13 |
To see an entire list, we can look
underneath the Window menu.
| | 00:17 |
The panels with the check marks are the
ones that are visible, or the ones that
| | 00:21 |
are on top of any nested or stacked
panels.
| | 00:24 |
So we can see that the Adjustments panel
has a check mark next to it.
| | 00:28 |
And over on the right, the Adjustments
panel is stacked on top of the Styles panel.
| | 00:33 |
If I wanted to bring this Styles panel to
the foreground, I could simply select it
| | 00:37 |
under the Window Menu.
If I wanted to reveal a panel that wasn't
| | 00:41 |
showing I could also select that.
For example, if I select the Info panel,
| | 00:46 |
the Info panel will become nested with
these other iconic panels here.
| | 00:51 |
In order to collapse a panel, you'll
click on the two triangles.
| | 00:55 |
Panels can be in a variety of different
states.
| | 00:57 |
Here we see them in their iconic state.
If I position my cursor on the left hand
| | 01:01 |
side and drag to the left we can actually
drag them out to another state where I
| | 01:06 |
have the icon plus a label.
We also have the expanded state which you
| | 01:10 |
can see over here on the right.
Or we could view these in the expanded
| | 01:15 |
state by clicking on the two arrows.
When I collapse these panels, they'll go
| | 01:19 |
back to their iconic plus their label
state.
| | 01:22 |
Of course, I don't have to use the Window
menu in order to bring another panel to
| | 01:27 |
the foreground if it's already visible.
Here if I want to bring the swatches to
| | 01:31 |
the foreground.
I simply click on the tab.
| | 01:33 |
If I want to do reorder panels when
they're nested together, just click and
| | 01:38 |
drag to reorder them.
When you're in the iconic plus label
| | 01:42 |
state, you'll notice that each of the
panels has its own grabber handle, so I
| | 01:46 |
can reorder them that way.
If I want to nest a panel with a
| | 01:51 |
different set of panels, I'll click on
the tab and drag it down on top of the
| | 01:55 |
other set of panels.
You can see here that I have a solid blue
| | 01:58 |
line around all of the other panels, so
when I release the cursor, it will nest
| | 02:03 |
with that group.
If I wanted to elevate a panel and put it
| | 02:08 |
in its own group, then I click on the tab
and drag between two groups of panels.
| | 02:14 |
When I do this, you'll see that solid
blue line.
| | 02:17 |
It tells me the adjustment panel is going
to have its own space.
| | 02:20 |
You can even spread out your panels
further.
| | 02:22 |
If I grab the swatches panel and I drag
it to the left of this row of iconic panels.
| | 02:28 |
Then you'll notice the solid blue line
vertically.
| | 02:31 |
If I release my cursor now, you can see
that I've nested another column of panels.
| | 02:36 |
If I want to close a panel, I can right
mouse click on the name of the panel, on
| | 02:42 |
the Mac that'd be a Control+click, and
then close the panel.
| | 02:46 |
If multiple panels are nested together
and I want to close all of the panels, I
| | 02:50 |
can right mouse click and then close the
entire tab group.
| | 02:55 |
You'll notice that the History panel is
still there, because the History panel
| | 02:58 |
wasn't grouped or nested with the other
two panels.
| | 03:02 |
I can also click on the History tab in
order to undock this panel, and float it.
| | 03:08 |
Then, I can resize it and reposition it
by dragging on the solid gray area across
| | 03:13 |
the top.
When a panel is floating, all you need to
| | 03:16 |
do is click on the X in order to close
it.
| | 03:19 |
If I want to hide the panels all at once
I can tap the Tab key.
| | 03:24 |
But right now they're only hidden.
If I were to position my cursor on the
| | 03:28 |
right hand side of the screen you'll
notice that they'll automatically pop
| | 03:31 |
back out and be visible.
Likewise, if I position my cursor on the
| | 03:35 |
left side of the screen, the tools become
visible.
| | 03:38 |
If I want to make them permanently
visible again, I'll just tap the Tab key.
| | 03:42 |
If I want to hide the panels but show my
tools, then I can use the Shift key plus
| | 03:48 |
the Tab key.
Now, only the panels are hidden.
| | 03:50 |
And to bring them back continue holding
the Shift key and tap the Tab key.
| | 03:55 |
If I simply want to minimize a panel,
like for example, if I don't need to see
| | 03:59 |
all of the options for the Color panel,
but I do still want it in this panel
| | 04:03 |
grouping, all I need to do is
double-click on it.
| | 04:06 |
That will collapse the panel.
If I single-click, it will expand the panel.
| | 04:11 |
Almost all of the panels also have
additional options that you can access
| | 04:15 |
using the flyout menu.
For example, if I click on this downward
| | 04:19 |
pointing arrow in the layers panel, I can
select from many options, and I can even
| | 04:24 |
go into the panel options.
So these panel options are specific to
| | 04:29 |
the layers panel, and I can do things
like change the thumbnail size.
| | 04:33 |
For now I'll leave them at their default,
and click OK.
| | 04:35 |
The easiest way to reset all of your
panels, is by resetting the workspace.
| | 04:40 |
Even though Photoshop tells me that I'm
still in the Essentials workspace, I've
| | 04:44 |
actually made a lot of changes to it.
So if I want to return to the default, I
| | 04:48 |
simply choose reset essentials.
As you continue to work in Photoshop,
| | 04:53 |
you'll realize which panels are more
important to you and which panels you
| | 04:56 |
want to display.
And now you know how you can customize
| | 04:59 |
those to meet your needs.
| | 05:00 |
| | Collapse this transcript |
| Switching and saving workspaces| 00:00 |
As you become more experienced in
Photoshop, you'll find that you want to
| | 00:04 |
use different groups of panels for
performing different tasks.
| | 00:07 |
It will be helpful to customize these
panel locations and be able to save them.
| | 00:12 |
Now, be default, we are in the essentials
workspace, but you can see that Photoshop
| | 00:17 |
ships with additional workspaces.
For example, there's a 3D, an emotion.
| | 00:21 |
A painting workspace, a photography
workspace and a typography workspace and
| | 00:27 |
we can create our own workspaces and then
save them out as new workspaces.
| | 00:31 |
So let's do that.
I'm just going to arrange my panels in
| | 00:34 |
the way that I prefer to work with them
when I am doing my compositing.
| | 00:38 |
Since I use the color picker I don't need
my color and swatches panels to take up
| | 00:43 |
space, so I'll use the context instead of
menus and close this tab group.
| | 00:47 |
On the Mac I would hold the Ctrl key and
click on the tab.
| | 00:50 |
On Windows it's a right mouse click.
I also don't need my adjustments or my
| | 00:54 |
styles showing because I can access all
my Adjustment Layers at the bottom of the
| | 00:59 |
Layers panel.
So again, I'll use that context sensitive
| | 01:02 |
menu and close the entire tab group.
Now I want to remove my Layers panel from
| | 01:08 |
the channels and pads grouping.
So I'll click and drag on the panel title
| | 01:12 |
and then just drag it to the bottom and
when I see that solid blue line, I'll
| | 01:17 |
release the mouse and that will put the
Layers panel in its own grouping.
| | 01:21 |
Now I typically like the paths to show up
before channels.
| | 01:24 |
So I'll just click and drag over to the
left.
| | 01:27 |
And I like to nest my History panel with
my Layers panel so I'll bring that down.
| | 01:32 |
Now, I won't release when there's that
line between them.
| | 01:35 |
But, instead I'll position my cursor on
top of the Layers panel and then release
| | 01:39 |
in order to nest the History and the
Layers panel together.
| | 01:43 |
We also have the Properties panel.
This is a very important panel when I'm
| | 01:47 |
working with Adjustment Layers so I also
want to make sure that this is visible,
| | 01:51 |
but I want it in its own grouping.
So I'll click and drag all the way down
| | 01:55 |
below the Layers panel, I see that solid
cyan line, and then release.
| | 02:00 |
And there's a reason that I put the
Properties panel below the Layers panel.
| | 02:03 |
When I add an Adjustment Layer, usually
I'll add it from the bottom of the Layers panel.
| | 02:08 |
And after I add the Adjustment Layer, my
cursor is already down here in the
| | 02:13 |
Properties area where I can then make
changes to the Adjustment Layer that I added.
| | 02:17 |
So, it's just a convenient location and
that's where I like it.
| | 02:21 |
Now, the paths and channels.
I don't need them taking up all this
| | 02:24 |
space by default.
So, I'll double click on the Paths tab
| | 02:28 |
and that will just collapse it.
Of course, if I wanted any additional
| | 02:31 |
panels, I could select them from the
Window menu.
| | 02:34 |
And then, I could reposition them as
needed.
| | 02:36 |
For now, this is all I'm going to work
with.
| | 02:38 |
So, I'll choose to save a new workspace.
And I'll just call this jk demo.
| | 02:44 |
And I have the option to also save any
keyboard shortcuts that I've made and any
| | 02:49 |
changes that I've made to the menus.
In this case, I'll save the keyboard
| | 02:53 |
shortcuts and then click Save.
Now, when I return back to the Essentials
| | 02:57 |
workspace, you can see that nothing
actually changed with my panels because
| | 03:02 |
Photoshop is taking me back to the last
arrangement in Essentials but if I wanted
| | 03:07 |
to reset Essentials I could click and
just choose Reset Essentials.
| | 03:12 |
And if you've ever created a workspace
that you no longer need or want, just
| | 03:17 |
make sure that it's not the active
workspace so it doesn't have the check
| | 03:21 |
mark next to it.
And then choose Delete Workspace and as
| | 03:25 |
long as it wasn't the active workspace
you will see it in the list here.
| | 03:28 |
So I'll chose jk demo, tap Delete,
confirm that I do want it deleted and now
| | 03:34 |
we can see that my workspace is no longer
an option.
| | 03:38 |
So there you go, a very quick way to
create your own custom workspace that you
| | 03:42 |
can use for different tasks that you do
| | 03:44 |
| | Collapse this transcript |
| Switching tools using the keyboard| 00:00 |
In addition to moving panels, you'll also
spend a lot of time in Photoshop
| | 00:04 |
switching tools.
Now, every tool has a keyboard shortcut.
| | 00:08 |
For example, if I tap the V key, I'll
access the Move tool.
| | 00:13 |
If you don't know the shortcut for the
tool, you can hover your cursor on top of
| | 00:17 |
it and the tool tip will display the
shortcut.
| | 00:20 |
Most of the tools, the ones with the
little triangle in the lower right, have
| | 00:24 |
nested tools underneath them.
And if you click and hold on that tool,
| | 00:28 |
those tools will fly out.
And you can see that all of the tools
| | 00:32 |
that are nested together have the same
keyboard shortcut.
| | 00:35 |
So how would I access the other tools if
the Lasso tool is on top and I want to
| | 00:40 |
access one of the nested tools?
Well if I tap the L key again that simply
| | 00:45 |
stays on the Lasso.
If I hold down the Shift key and tap the
| | 00:48 |
L then I cycle through all of the nested
tools that are underneath that primary tool.
| | 00:55 |
If you want to change this you can go
into the Photoshop menu and then choose
| | 00:59 |
Preference and then General.
The default is to use the Shift key for
| | 01:04 |
the tool switch but if you simply want to
be able to tap a key multiple times to
| | 01:09 |
cycle through the nested tools you can
uncheck this.
| | 01:13 |
Now when I tap the L key without the
Shift key you can see that I'm cycling
| | 01:18 |
through the tools, so it's up to you
whether or not you want that preference.
| | 01:21 |
I'll go ahead and select Photoshop >
Preferences > General again, of course on
| | 01:25 |
Windows this would be under the Edit menu
and then Preferences, and I"m going to
| | 01:29 |
require using that Shift key for my tool
switch.
| | 01:33 |
The tools by default are in a single
column but, if I click these two arrows
| | 01:37 |
then they're presented in a double
column.
| | 01:40 |
I'll go ahead and switch that back to a
single column because it takes up a lot
| | 01:43 |
less space.
I can also float my tools anywhere by
| | 01:46 |
clicking on this little grabber bar and
then dragging the tools.
| | 01:50 |
Now that they're no longer docked, I can
actually reposition them anywhere,
| | 01:54 |
including on a secondary screen.
I can also nest them with the panels on
| | 01:59 |
the right-hand side.
If I want to move them back, all I need
| | 02:02 |
to do is grab the grabber handle, and
then move them to the left until I see
| | 02:06 |
that solid vertical blue line and release
the mouse.
| | 02:09 |
There's another behavior called spring
loaded cursors.
| | 02:12 |
For instance, if I tap the M key to get
the Marquee tool and then I want to
| | 02:17 |
temporarily swap to another tool such as
the Lasso tool.
| | 02:22 |
Instead of tapping the L key, I can hold
down the L key, which would give me the
| | 02:27 |
Lasso tool.
But when I release the L key I will be
| | 02:31 |
sprung right back to the original tool
that I had selected.
| | 02:35 |
So you should know that there's a
difference, if you just tap the key then
| | 02:39 |
you'll be moved to that tool permanently.
If you hold down a key you'll be moved to
| | 02:43 |
the tool temporarily and when you release
the key, you'll be taken back to the
| | 02:47 |
previous tool.
And you'll note when you do change tools,
| | 02:50 |
the options for those tools appear in the
options bar.
| | 02:54 |
So if I tap the V key for the Move tool,
we get all of the options for that tool.
| | 02:58 |
When I tap M for Marquee, we'll get the
Marquee options.
| | 03:02 |
This is really convenient, because it's a
great way for Photoshop to save space,
| | 03:07 |
because you will only see the options for
the tool that you have selected.
| | 03:11 |
But don't worry about learning all of the
shortcuts to all of the tools right away.
| | 03:15 |
Over time you'll learn the ones that you
need, and soon enough it will be second
| | 03:18 |
nature to just use the keyboard shortcut.
| | 03:20 |
| | Collapse this transcript |
| Customizing the keyboard shortcuts| 00:00 |
Shortcuts are a great way to increase
your productivity and as you become more
| | 00:04 |
comfortable with Photoshop, you'll learn
the ones that you need.
| | 00:07 |
You can also make changes to shortcuts if
there's no shortcut for the menu item or
| | 00:12 |
for the tool, or for the command that you
want.
| | 00:15 |
We can see as we move through the menu
that many of the commands already have
| | 00:19 |
keyboard shortcuts.
And just to decipher them for you on the
| | 00:23 |
Mac, this icon is the Command key, on
Windows it would be the Control key.
| | 00:28 |
This icon right here is the Option key or
the Alt key on Windows, and the arrow
| | 00:33 |
that points up, that's going to be the
Shift key.
| | 00:35 |
Let's take a look for a moment at the
Layers menu.
| | 00:38 |
This is one of the longest menu.
But if we scroll down to the bottom,
| | 00:42 |
you'll notice that there is no keyboard
shortcut for the Flatten Image command.
| | 00:46 |
So, let's go ahead and customize that and
make one.
| | 00:50 |
In order to do this, I'll select Edit.
And then we'll scroll down and at the
| | 00:54 |
bottom there will be keyboard shortcuts.
You'll see that we can add keyboard
| | 00:58 |
shortcuts for not only the application
menus, which are the menus across the
| | 01:02 |
top, but also the Panel Menus.
Those were the flyout menus here on each
| | 01:06 |
of the panels, as well as the tools.
So let's start with the application menus.
| | 01:11 |
And I want to add a keyboard shortcut to
flatten my layers.
| | 01:14 |
So I'll use the disclosure triangle next
to the Layer menu here.
| | 01:18 |
And then we just need to scroll down to
the very bottom almost, until we see
| | 01:24 |
where it says flatten image.
Then, I'll click over here in the blank area.
| | 01:29 |
And as soon as I do, I can then type in
the keyboard shortcut that I want to use.
| | 01:34 |
So let's say for example, I type in
Command+F on Mac or Control+F on Windows.
| | 01:40 |
Well, Photoshop's going to alert me
because that keyboard shortcut is already
| | 01:44 |
in use, and will be removed from the
Filter menu > Last Filter if I accept it.
| | 01:50 |
So this is up to you.
I use this keyboard shortcut quite often,
| | 01:53 |
so I want to select a different keyboard
shortcut.
| | 01:57 |
I'll try typing in Cmd+Option+F.
Again, that's already in use but it's
| | 02:01 |
going to be removed from the Filter >
Last Filter with dialog box.
| | 02:06 |
So here I have a choice, I am going to go
ahead and accept that by clicking on the
| | 02:10 |
Accept button down here on the lower left
or we can click accept in the upper right.
| | 02:16 |
That's going to remove the keyboard
shortcut from its default, and place it
| | 02:20 |
here on flattened image.
Let's also change one of the shortcuts
| | 02:23 |
for the tools.
The tools are a little bit unique, and
| | 02:27 |
that you can see that they can only use a
single key as their shortcut, so you
| | 02:31 |
can't use a modifier like the Command or
the Option or the Shift key.
| | 02:36 |
On Windows, that'd be the Control, Alt,
Shift key, instead we just need to find a
| | 02:41 |
letter that not be used.
Well, let's scroll down here, because
| | 02:45 |
there are two tools that I often go
between.
| | 02:48 |
That's the Brush tool and the Mixer Brush
tool.
| | 02:51 |
And instead of continuously tapping the B
key, or adding the Shift key and adding
| | 02:56 |
the B key to cycle through these tools.
I'm simply going to select the Mixer
| | 03:01 |
Brush shortcut by clicking on it and then
I'm going to tap in the K key.
| | 03:06 |
You can see that Photoshop is not warning
me anything because the K key isn't being
| | 03:10 |
used, nor is the end key.
So I'm going to scroll almost all the way
| | 03:15 |
down to the bottom.
You'll notice that I have options here
| | 03:19 |
not only for these tools but, also to
bring up the foreground or background
| | 03:23 |
color picker.
So, instead of having to click on one of
| | 03:26 |
these icons, I can simply use a keyboard
shortcut.
| | 03:29 |
So, I'll select the foreground color
picker and then, tap the N key.
| | 03:33 |
I'll go ahead and click accept again or
you could just click anywhere outside of
| | 03:37 |
here for Photoshop to accept this,
because the N key wasn't used anywhere else.
| | 03:43 |
Now you can see that where it says set,
it says, Photoshop defaults and then modified.
| | 03:48 |
What I'd like to do is save this out, as
its own set of keyboard shortcuts, so
| | 03:54 |
that I could transfer it to another
machine, or, maybe give it to a friend so
| | 03:58 |
that they could use the same keyboard
shortcuts.
| | 04:00 |
In order to do that, I'll click on this
middle icon here.
| | 04:03 |
And then I'll save the keyboard shortcuts
in the keyboard shortcuts folder.
| | 04:07 |
So Photoshop is automatically is going to
save it to the correct folder, and I'll
| | 04:12 |
just rename this jkost.
And I'll go ahead and click Save and we
| | 04:16 |
can see that we are now using the jkost
set.
| | 04:19 |
If I wanted to return to Photoshop
defaults, I could do so at any time by
| | 04:23 |
just selecting the Photoshop defaults.
You can see that the N key went away and
| | 04:26 |
then I can change back to my own set and
we see my custom keyboard shortcut.
| | 04:32 |
One thing that you might want to keep
track of is actually where we saved those
| | 04:36 |
files just in case you do want to copy
them to another machine.
| | 04:40 |
So let's click on the Save icon again.
Just so I can show you where exactly this
| | 04:46 |
folder is.
So if I click on this downward pointing
| | 04:48 |
triangle here, in order to show the full
dialog box then we can go ahead and take
| | 04:53 |
a look at the path.
So on my computer, in My User, the
| | 04:57 |
shortcuts are saved under the Library
folder, under Application Support, Adobe,
| | 05:02 |
Adobe Photoshop CC, Presets, and then
Keyboard Shortcuts.
| | 05:07 |
So if you ever forget, where we save
them, you can go ahead and use this pass
| | 05:10 |
in order to kind of, help you cheat, to
find where they are.
| | 05:14 |
Now, I don't want to save another copy,
so I'm going to select Cancel.
| | 05:18 |
So let's go ahead and just make sure that
these work.
| | 05:20 |
I'll click OK, and then I'll tap the K
key and you'll notice that I was taken
| | 05:26 |
not to the regular default Brush tool but
to the Mixer Brush tool.
| | 05:30 |
And if I tap the N key, we can see that
it automatically brings up my Color Picker.
| | 05:36 |
Now in order to test the Flatten Image,
I'll go ahead and choose the File and
| | 05:40 |
then New, and just accept the default,
and the I'll create the new layer by
| | 05:45 |
selecting Layer, New Layer.
I'll say okay, and we can see how my
| | 05:49 |
layers panel I have two layers and then I
can use the keyboard shortcut
| | 05:52 |
Command+Option+F or Control+Alt+F, and we
can see that this image has been flattened.
| | 05:57 |
Excellent, so we'll close this.
We know that our keyboard shortcuts are working.
| | 06:02 |
We now know how to create them but I am
going to return back to Edit > Keyboard Shortcuts.
| | 06:08 |
And I'm going to change the set back from
the custom one we just created to the
| | 06:13 |
Photoshop defaults to make sure we're all
in the same place.
| | 06:15 |
I'll click OK.
So there you have it, creating custom
| | 06:19 |
keyboard shortcuts might seem like sort
of a minor thing when you're first
| | 06:23 |
starting to learn Photoshop.
But as you become more advanced, you're
| | 06:26 |
really going to want to access your tools
and menu items more quickly.
| | 06:29 |
And customizing your shortcuts is one of
the most productive ways to do that.
| | 06:33 |
| | Collapse this transcript |
|
|
8. Documents and NavigationWorking with tabbed documents| 00:00 |
Let's begin in Bridge.
And I want to select the first 2 images.
| | 00:03 |
So I'll select the first one, and then
hold down the Command key on the Mac, or
| | 00:06 |
the Control key on Windows, and select
the second one.
| | 00:09 |
In order to open them, I'll continue to
hold down the Command key, or the Control
| | 00:13 |
key on Windows, and tap the O key.
Now, both of these images have been
| | 00:17 |
opened in Photoshop.
We can only see one image at this time,
| | 00:21 |
but I know that the other images are
open, because I can see its tab.
| | 00:25 |
If I click on the other tab, that will
bring that image to the foreground.
| | 00:29 |
If I want to reorder the tabs for any
reason, I can click and just drag over to
| | 00:34 |
the right in order to reorder.
If I want to float one of my images, I
| | 00:39 |
can click on the tab and just drag it out
of the tabbed area.
| | 00:43 |
Now we can see that this image is
floating on top.
| | 00:46 |
In fact, if I scoot it over we can see
that it floats on top of my panels and I
| | 00:50 |
could even move this to a secondary
monitor if I was working with a duel
| | 00:54 |
monitor set up.
The only problem with floating your
| | 00:57 |
documents is that if I were to want to
click on my other open document and I do
| | 01:02 |
by clicking on the tab, you can see that
the floating document is hidden.
| | 01:06 |
If I want to access that floating
document, I can use the Window menu and
| | 01:11 |
then select it at the bottom of the list.
Or at any point in time, I can hold down
| | 01:15 |
the Control key.
And that's the same key on Mac and Windows.
| | 01:18 |
And then tap the Tab key.
Every time I tap the Tab key, I will
| | 01:22 |
cycle through all my open documents.
Let's go ahead and float my other image
| | 01:27 |
as well.
So, I'll select it and then just drag the
| | 01:30 |
tab out of that area in order to float
it.
| | 01:33 |
Again here, I can't see the second
document, so I'll choose Window and then
| | 01:37 |
select 01_Valley of Fire.
Now that both of these images are
| | 01:41 |
floating, if I wanted to nest them as
tabs, I could click in the title area and
| | 01:46 |
drag it on top of the other one, until I
see the blue highlight around the document.
| | 01:51 |
When I release my cursor, those two
images have now been tabbed together.
| | 01:56 |
Now, I didn't drag and drop them into the
same document.
| | 01:59 |
They're both in individual documents.
You can see that regardless of which one
| | 02:03 |
I have selected, I've only got one layer
in my layers panel.
| | 02:07 |
I've just put them together in this
tabbed interface, but that in of itself
| | 02:11 |
is floating.
If I wanted to return them back to being
| | 02:15 |
tabbed with the application frame, then I
click on the title area and drag up until
| | 02:20 |
we see the solid blue rectangle again.
When I release the cursor, they're now
| | 02:24 |
tabbed back at the top.
If I want to close all of my documents, I
| | 02:28 |
can either select File > Close or Close
All.
| | 02:32 |
If I choose Close All because we really
haven't modified either of these
| | 02:35 |
documents, Photoshop will simply close
them both.
| | 02:38 |
I really appreciate tabbed panels because
I always know exactly where my open
| | 02:43 |
documents are.
And I know that there is no open document
| | 02:46 |
that is accidentally being hidden behind
another document.
| | 02:50 |
| | Collapse this transcript |
| Arranging documents| 00:00 |
As you work on different projects it can
be helpful to see more than one image at
| | 00:03 |
a time in Photoshop.
So let's select all four of these images.
| | 00:07 |
I'll click on the first one, hold down
the Shift key, and then click on the last one.
| | 00:11 |
And then hold down the Cmd key on Mac or
Ctrl key on Windows, and tap the O key in
| | 00:15 |
order to open all four documents.
Now I know that all four documents are
| | 00:18 |
open, because I can see them across the
top here.
| | 00:21 |
Each one has its own tab, and I can cycle
through them quickly using Ctrl+Tab, and
| | 00:26 |
that keyboard shortcut's the same on Mac
and Windows.
| | 00:29 |
But if I want to see them all at one
time, then I need to go into the Window
| | 00:33 |
menu and choose Arrange.
You can see that Photoshop has a variety
| | 00:36 |
of different ways to arrange these
images, or I can simply choose Tile.
| | 00:41 |
Now we can see all four of the images at
once.
| | 00:44 |
If I click on a different image to select
it, And then go back to the Window menu
| | 00:48 |
to Arrange.
And then I choose Consolidate All to Tabs.
| | 00:53 |
The image that I just clicked on, that
active image, will become the front image.
| | 00:59 |
So I'm now working with this document.
Now if this is something that you do all
| | 01:02 |
the time, and in fact it is something
that I do all the time when I'm working
| | 01:06 |
with composite images, I typically
want to go back and forth between working
| | 01:10 |
with the image that has all of my
composited elements and then going out
| | 01:14 |
and looking to see what else I have open.
So if you return back to the window menu,
| | 01:19 |
and choose workspace, you'll notice that
we can access our keyboard shortcuts and
| | 01:23 |
menus from the window menu as well as the
edit menu.
| | 01:28 |
When I select this, we're going to make
sure that we're changing the shortcuts
| | 01:32 |
for the application menu, and then I'll
scroll down and we'll use the disclosure
| | 01:36 |
triangle in order to see the menus that
are under the window menu.
| | 01:41 |
Scroll down a little bit more, and here
we can see the Consolidate All to Tabs
| | 01:45 |
and the Tile options.
So in order to assign keyboard shortcuts
| | 01:49 |
to these I'll click on the blank area to
the right and the we can create our own shortcut.
| | 01:55 |
I think that T for tile makes sense so
let's try Cmd+T.
| | 01:59 |
Well when I select Command T or Control T
on Windows, Photoshop's telling me that
| | 02:03 |
it's already in use, and in fact it's
being used for something that I use all
| | 02:07 |
the time, which is free transform.
So that's not a very good shortcut, so
| | 02:11 |
let's try another one.
If I try Cmd+Shift or Ctrl+Shift+T, now
| | 02:16 |
Photoshop tells me that it's going to be
removed from edit transform again.
| | 02:20 |
Sent I rarely use this keyboard shortcut,
I'll go ahead and click Accept, taking it
| | 02:25 |
away free transform again and putting it
here, next to Tile.
| | 02:30 |
Now I'll do the same thing for
Consolidate all to tabs.
| | 02:33 |
Since I usually go back and forth rather
quickly, I think it would be nice to
| | 02:37 |
select a keyboard shortcut that's very
similar.
| | 02:40 |
So I'll use Cmd+Shift again or Ctrl+Shift
on Windows, and I'll pick a key that's
| | 02:45 |
right next to the T key, in this case the
R key.
| | 02:49 |
This keyboard shortcut is already in use
as well, but I don't use the lens
| | 02:52 |
correction filter as much as I
consolidate all to tabs, so I'll click
| | 02:56 |
except again and then okay.
So now when we returned to the window
| | 03:01 |
menu to arrange, we can see that our
custom keyboard circuit have been assigned.
| | 03:06 |
So if I want to go back and forth between
tiling the images and then returning to a
| | 03:10 |
single document, I can use
Command+Shift+R in order to return to a
| | 03:14 |
single document, and Command+Shift+T in
order to tile.
| | 03:18 |
Now in order to close all of these
documents, because we really didn't
| | 03:21 |
change any of them, I'll select File and
then Close all.
| | 03:25 |
So there you have it, a very quick and
efficient way to look at all of your open
| | 03:29 |
documents at one time.
Click on the one that you want to work on.
| | 03:33 |
And then return to just seeing that
single document.
| | 03:36 |
| | Collapse this transcript |
| Stopping Photoshop from tabbing documents| 00:00 |
Now, I'm a huge fan of opening my
documents as tabbed documents across the
| | 00:05 |
top, but if you want to turn them off,
let me show you how.
| | 00:08 |
I'm going to show you the first two
images in Bridge, and I'll select the
| | 00:11 |
first one, hold down the Cmd key on Mac
or Ctrl key on Windows, and then click on
| | 00:15 |
the second one to select it.
And then I'll use that same keyboard
| | 00:18 |
shortcut, Command on Mac or Control on
Windows, and tap the O key in order to
| | 00:23 |
open these.
You can see that they've opened up as tab documents.
| | 00:27 |
I can use the Control key, and that's the
same keyboard shortcut on both platforms,
| | 00:31 |
and the Tab key in order to move through
them.
| | 00:34 |
I can also use the window menu, then move
to arrange, and come down to float all in
| | 00:39 |
windows to float these.
If this is the preferred way that you
| | 00:43 |
want to view your images, you can change
your preference so that they'll always
| | 00:47 |
appear this way.
In order to do this, we'll use the
| | 00:50 |
Photoshop menu on the Mac, or Edit menu
on Windows.
| | 00:53 |
Select preferences, and then come down to
interface.
| | 00:57 |
In order to open your documents as
floating or cascading, we'll want to
| | 01:01 |
uncheck this option here.
We'll click OK, and then we can return
| | 01:06 |
back to Bridge and double-click on the
third image in order to open it.
| | 01:11 |
You'll notice that this third image came
in cascading or floating.
| | 01:14 |
It's not tabbed to the top.
I can, however, still dock or tab more
| | 01:21 |
than one image together.
If I click in the title bar and then
| | 01:25 |
position my cursor on top of another
image, you'll notice that there's that
| | 01:29 |
solid turquoise rectangle.
If I release my mouse right now, you can
| | 01:33 |
see that these two documents are tabbed
together.
| | 01:37 |
So I'm basically tabbing documents in a
floating window.
| | 01:42 |
If I don't want that to happen, I can
return on the Mac to the Photoshop window.
| | 01:46 |
On Windows, go to the Edit menu and then
Preferences and Interface.
| | 01:51 |
If I uncheck the Enable Floating Document
Window Docking, then when I click OK,
| | 01:58 |
you'll notice that if I remove this by
dragging the tab out, I can no longer
| | 02:03 |
dock these together.
And in fact, if I return to bridge and we
| | 02:09 |
double click on this fourth image, You'll
notice that it comes up floating.
| | 02:14 |
It does not come in tabbed.
Alright, let's go ahead and close all of
| | 02:18 |
these documents, by selecting File and
then Close All.
| | 02:22 |
Since I prefer to have my panels all
tabbed, I'm going to select the Photoshop
| | 02:28 |
menu one more time, with the Edit menu on
Windows.
| | 02:30 |
Come down to preferences, and then select
interface, and I will enable both of
| | 02:35 |
these options by checking them both on.
Because I find that if I leave them off
| | 02:39 |
and my images are cascading, one on top
of another, sometimes it's difficult for
| | 02:44 |
me to find the images that are behind the
other floating windows.
| | 02:48 |
| | Collapse this transcript |
| Panning, zooming, and using the Rotate View tool| 00:00 |
Since zooming in on an image and panning
around is one of the most common things
| | 00:04 |
you'll do in Photoshop, there are a
variety of different ways that we can
| | 00:07 |
accomplish the task.
Let's go ahead and take a look at some of
| | 00:11 |
these different methods.
From Bridge, I'll double click on the
| | 00:14 |
first image here in order to open it in
Photoshop.
| | 00:16 |
When you open a document by default,
Photoshop zooms the image to fit in window.
| | 00:23 |
Meaning that it zooms in or zooms out as
much as it needs to in order to fill the
| | 00:28 |
window area with the image as large as it
can without actually cropping it.
| | 00:34 |
So, we can see down here in the lower
left that right now we're viewing this at 50%.
| | 00:38 |
But depending on the monitor that you're
viewing at that might actually differ.
| | 00:42 |
And when you open up different documents,
of course, this number is going to be
| | 00:45 |
different as well if those documents are
different sizes.
| | 00:48 |
Now, in order to zoom in, we can tap the
Z key or we can select the Zoom tool from
| | 00:54 |
the Toolbar.
Every time that you click with the Zoom
| | 00:57 |
tool, you'll zoom in one level.
So here, I can continuously click in
| | 01:02 |
order to zoom in.
And if I wanted to zoom out, I could
| | 01:05 |
either select the zoom out option in the
Options bar, or I can hold down the
| | 01:10 |
Option key or the Alt key on Windows and
click.
| | 01:13 |
And every time I click, I'll zoom out.
I can also zoom in a much more dynamic
| | 01:18 |
way, and that's by simply clicking and
holding down the mouse.
| | 01:22 |
You'll notice that Photoshop continues to
zoom in to a specific point.
| | 01:26 |
In fact, if we zoom in far enough, you'll
see this pixel grid overlay.
| | 01:31 |
If I hold down the Option or the Alt key,
and click and hold down my mouse, you can
| | 01:35 |
see that Photoshop will do the opposite,
it will zoom out.
| | 01:38 |
You can also click and drag with the Zoom
tool.
| | 01:42 |
If I click and drag to the left, you can
see that I am zooming out.
| | 01:46 |
If I click and drag to the right, you can
see that I'm zooming in.
| | 01:50 |
This is considered Scrubby Zoom, and you
can see that I have the option for it
| | 01:55 |
toggled on in my Options bar.
If you didn't want that behavior for some
| | 02:00 |
reason, you could un-check this.
Let's go to the View menu, and reset our
| | 02:05 |
zoom percentage by selecting Fit on
Screen.
| | 02:09 |
Now with the Scrubby Zoom turned off, if
I wanted to zoom around a specific area,
| | 02:14 |
I can click and drag with the mouse to
zoom over the area that I've drawn in
| | 02:19 |
this marquee.
When I release the mouse, we'll zoom in
| | 02:22 |
directly to there.
If I click and drag again to zoom in even
| | 02:26 |
more, I can just show you, the only
problem with turning off Scrubby Zoom is
| | 02:30 |
now zooming out.
Remember, with Scrubby Zoom turned on, if
| | 02:33 |
I drag to the right, we zoom in.
If I drag to the left, we zoom out.
| | 02:37 |
But without that option, in order to zoom
out, I need to hold down the Option or
| | 02:41 |
the Alt key, and then click multiple
times.
| | 02:44 |
Or, click and hold in order to zoom out.
So, it's up to you whether or not you
| | 02:49 |
want to turn on or off the Scrubby Zoom.
Let's go ahead and turn it back on for now.
| | 02:54 |
There are also some keyboard shortcuts
that you can use to zoom in and out.
| | 02:57 |
If you hold down the Cmd key on the Mac
or Ctrl key on Windows and tap the plus icon.
| | 03:02 |
Each time you tap the plus icon is the
same as if you were clicking with the mouse.
| | 03:07 |
So, we can zoom in or we can zoom out
using that same Cmd key or Ctrl key on
| | 03:13 |
Windows and tapping the minus key.
We can also use two unique keyboard
| | 03:17 |
shortcuts, and you can see these under
the View menu.
| | 03:21 |
The first one is to Fit on Screen, which
is Cmd+0 or Ctrl+0 on Windows, and the
| | 03:26 |
second is to view at 100%, which is Cmd
or Ctrl+1.
| | 03:31 |
So if I select this, you can see that I'm
now viewing at 100%.
| | 03:36 |
And down in the lower left, the
percentage says 100.
| | 03:39 |
If I use the keyboard shortcut Cmd+0, I'm
now fitting in screen and I'm down to 58.39%.
| | 03:47 |
Again, this might vary depending on the
resolution of your screen.
| | 03:51 |
Let's go ahead and zoom back in using the
keyboard shortcut Cmd or Ctrl+1 so that
| | 03:57 |
we're at 100%.
You'll notice that when we're zoomed in,
| | 04:00 |
we have scroll bars at the bottom, as
well as at the right side of the image.
| | 04:06 |
We can either use the scroll bars to pan
around, or we can tap the H key.
| | 04:11 |
The H key will automatically select the
Hand tool and I can then click and drag
| | 04:16 |
in order to scroll.
And you'll notice that I can scroll both
| | 04:19 |
up and down and left and right at once.
There's also an option in Photoshop
| | 04:24 |
called Flick Panning.
If I hold the mouse down, and sort of
| | 04:28 |
drag and then release, you can see that
Photoshop doesn't stop the pan right away.
| | 04:34 |
Instead, it kind of almost flicks the
image across the screen.
| | 04:38 |
Again, if I start in the upper right and
kind of hold my mouse down and drag
| | 04:42 |
rather quickly and then let go, you can
see that I've flicked that image down.
| | 04:46 |
Now, if you start the image kind of doing
this flick pan and you want to stop it,
| | 04:51 |
you can just click the mouse.
So again, I will click and drag and let
| | 04:55 |
go and then to stop it, I just click the
mouse down again.
| | 04:59 |
Now, flick panning is not for everyone.
When this feature first appeared in
| | 05:03 |
Photoshop, a lot of people wanted to turn
it off.
| | 05:06 |
I've actually gotten used to it, and I
really like it now, but you should know
| | 05:09 |
there's a preference for it.
So, under the Photoshop menu on the Mac
| | 05:13 |
or on the Edit menu on Windows, if we
come down to Preferences and then
| | 05:18 |
General, right down here there's an
option to enable flick panning.
| | 05:22 |
If you don't like this, you can go ahead
and disable it by unchecking it.
| | 05:26 |
For now, I'll leave it on and then click
OK.
| | 05:29 |
Let's go ahead and open a secondary image
by selecting file and then browse in Bridge.
| | 05:34 |
I'll double-click on the second image and
it'll open it up in its own tab.
| | 05:39 |
Then, we can either use the keyboard
shortcut we made in a previous video or
| | 05:42 |
we can choose Window > Arrange > Tile to
see both of the images at one time.
| | 05:48 |
I'll return back to the Zoom tool by
tapping the Z key, and then I'll zoom out
| | 05:54 |
on the image on my left hand side.
By default, I have the plus to zoom in so
| | 05:59 |
I'll have to hold down the Option or the
Alt key and then zoom out.
| | 06:02 |
Now if I wanted to zoom in or zoom out on
both of these at one time, I could chose
| | 06:09 |
to Zoom All Windows.
Now each time I click, you'll notice that
| | 06:14 |
both of the windows change, they're both
zooming in.
| | 06:16 |
And again, if I hold down the Option or
Alt key on Windows and click, they'll
| | 06:20 |
both zoom out.
I also have the option under the Window
| | 06:25 |
menu under arrange to actually match the
zoom for both documents.
| | 06:31 |
When I select Match, we can see they're
now both at 33.33%.
| | 06:36 |
So now when I zoom in, though both zoom
in at the same percentages, but I can't
| | 06:41 |
see the same location in both images.
So, I'm going to tap the H key, which
| | 06:46 |
will give me the Hand tool and I'll move
this image around, let's say to the upper left.
| | 06:52 |
Now if I wanted to match both of the zoom
percentages as well as the location that
| | 06:58 |
I am viewing, I can go under the Window
menu and then arrange.
| | 07:02 |
And I can say Match Location.
This can be really handy when you're
| | 07:07 |
trying to compare two images.
Especially if you're trying to maybe
| | 07:11 |
check for focus and you're trying to
compare your two open documents.
| | 07:15 |
You'll also notice that the Hand tool has
an option to scroll all windows.
| | 07:19 |
So if I check that on and then I select
either of my documents and I start moving
| | 07:24 |
around, you'll notice that they both move
around together.
| | 07:27 |
I can uncheck the Scroll All Windows and
just temporarily turn it on by holding
| | 07:32 |
down the Shift key when I use the Hand
tool in order to pan.
| | 07:37 |
Likewise, if we return back to the Zoom
tool by tapping the Z key, I can disable
| | 07:42 |
the Zoom All Windows.
But if I want to zoom into a document, I
| | 07:47 |
can simply hold down the Shift key when I
click to zoom in.
| | 07:51 |
Or, I can hold down the Shift key and the
Option key, and click, to zoom out, all
| | 07:57 |
of my open documents at one time.
Alright, lets use the Window menu, or you
| | 08:01 |
can use your keyboard shortcut in order
to consolidate all to tabs.
| | 08:06 |
And I'll use the keyboard shortcut Cmd+0
in order to fit in view.
| | 08:11 |
I just want to show one last tool, and
that's the Rotate View tool.
| | 08:16 |
The Rotate View tool is actually nested
with the Hand tool, but it has its own
| | 08:21 |
keyboard shortcut, which is R.
Now, I don't want to confuse you.
| | 08:25 |
The Rotate View is not going to rotate
any of the pixels in your image.
| | 08:30 |
This is not like transforming the actual
data in your file.
| | 08:34 |
It's only the way that you're viewing the
image on the screen.
| | 08:38 |
As soon as I click and start dragging
with my cursor, you'll notice that I get
| | 08:42 |
a little compass.
So, what I'm doing is I'm actually
| | 08:46 |
rotating just the view of the image.
And you might be thinking why would you
| | 08:50 |
want to do this.
Well, sometimes when you're using the
| | 08:53 |
Masking tools or the Paint brush, or
you're drawing with the Pen tool,
| | 08:58 |
sometimes it's just easier to draw at a
certain angle.
| | 09:01 |
I'm sure that if you've ever been drawing
something on a flat surface, sometimes
| | 09:06 |
it's easier to rotate the paper and
continue drawing.
| | 09:09 |
That's the theory here with the Rotate
View tool.
| | 09:12 |
So, I'm not changing any of the pixels.
I'm just kind of rotating my picture so
| | 09:17 |
that I get a better angle to draw on it
or paint on it.
| | 09:21 |
If I want to reset the View All, I need
to do is click Reset View.
| | 09:26 |
Or again, let's go ahead and rotate it.
If I tap the Esc key, that will also
| | 09:31 |
reset the view.
If I have more than one document open, I
| | 09:35 |
can also choose to rotate all of the
windows at one time by just checking that
| | 09:40 |
on in the Options bar.
So as you can see, there are a variety of
| | 09:44 |
different ways not only to view your
image using the Zoom tool and the Hand
| | 09:48 |
tool, but also the Rotate View tool.
| | 09:50 |
| | Collapse this transcript |
| Cycling through the different screen modes| 00:00 |
Another way to customize your image area
is by changing screen modes.
| | 00:05 |
Now, by default you're in the standard
screen view and one thing I want you to
| | 00:09 |
notice is that if we zoom up.
Let's tap the z key to get the Zoom tool,
| | 00:13 |
and then click maybe once or twice on our
image.
| | 00:16 |
When we zoom up in the standard screen
mode you can see that you get these
| | 00:19 |
scroll bars at the bottom and on the
right hand side of your image.
| | 00:23 |
When we enter into the other two screen
modes, we're going to actually lose those scrollbars.
| | 00:29 |
So you can enter the other two screen
modes, either by selecting them from the
| | 00:33 |
list, you can see we have the full-screen
mode with menu bar, or the full-screen
| | 00:37 |
mode, and you can toggle through all
three of the screen modes by simply
| | 00:40 |
tapping the F key.
When we go to the full screen mode with
| | 00:44 |
Menu bar, you'll notice that we still
have the Menu bar across the top but
| | 00:48 |
we've lost our panels to scroll with.
But that's okay, because we know that if
| | 00:53 |
we hold down the space bar, we'll
temporarily access the hand tool and then
| | 00:57 |
we can go ahead and pan around our image.
If we want to move to the full screen
| | 01:02 |
mode we can either tap the F key, or we
can select it from the list, and we get a
| | 01:06 |
warning dialogue box.
This is warning us that our panels are
| | 01:10 |
going to be hidden.
But you can access them by either
| | 01:13 |
positioning your cursor to the far right
side of the screen, or the far left side
| | 01:17 |
of the screen for the tools, in which
case they'll pop up.
| | 01:20 |
Or you can tap the Tab key.
Let's go ahead and go into full-screen
| | 01:25 |
mode, and then try both of those
shortcuts.
| | 01:28 |
So tapping the tab key reveals your tools
as well as your panels.
| | 01:32 |
Tapping the tab key again will hide them,
and if I position my cursor over the
| | 01:37 |
right-hand side of my screen, you'll
notice that the panels will all pop up
| | 01:41 |
when I move my cursor away from the panel
area, they'll be hidden again.
| | 01:45 |
And if I move my cursor over to the left
side I can temporarily access my tools,
| | 01:50 |
and then again when I move away that will
again hide itself.
| | 01:54 |
The other way to get out of full screen
mode is by tapping the Escape key.
| | 01:59 |
But if I do want to bring back my panels
I'll need to tap the Tab key.
| | 02:03 |
Or probably even easier is to just use
the F key in order to cycle through the
| | 02:08 |
three screen modes.
If you do have multiple images open and
| | 02:13 |
you quickly just want to show them to
someone I think that the last screen mode.
| | 02:17 |
This full screen mode without the menu
bar, that's probably the best way to just
| | 02:22 |
simply present your images.
Full screen for someone else to see.
| | 02:26 |
Let's go ahead and zoom out.
I'm going to use the Cmd and the Minus
| | 02:30 |
key just to make sure that I can see a
little bit of this gray background area.
| | 02:35 |
Now by default when I'm zoomed out you'll
notice that there's a slight drop shadow
| | 02:39 |
around my image.
If you don't want that you can select the
| | 02:43 |
Photoshop menu if you are on the Mac, or
select the Edit menu on Windows.
| | 02:47 |
Choose Preferences and then Interface.
And we can see that for each one of these
| | 02:52 |
screen modes, we have an option not only
to change the color of the background,
| | 02:57 |
but also the border.
So if I didn't want to see that drop
| | 03:01 |
shadow, I could either select a line, or
just change these to none.
| | 03:05 |
Now when I click OK, you'll notice that
there's no longer a drop shadow around my image.
| | 03:11 |
If we wanted to return to the preferences
in order to change the background color
| | 03:16 |
we could, but you should also know that
you can simply control click on the Mac,
| | 03:20 |
or right mouse click on Windows, and
choose from a different setting for the
| | 03:24 |
background around the image.
If you don't remember what it was set to before.
| | 03:29 |
Again hold the Ctrl key or the Cmd key
and just select Default.
| | 03:34 |
So there you have it, two additional ways
you can customize and change the
| | 03:38 |
interface of Photoshop.
| | 03:40 |
| | Collapse this transcript |
|
|
9. Digital Image EssentialsUnderstanding file formats| 00:00 |
There are a variety of different file
formats that you're going to run across
| | 00:05 |
when you're working in Photoshop.
So we're going to take a minute and take
| | 00:09 |
a look at when you might save in one file
format over another.
| | 00:12 |
The first file format that we should look
at is the psd or the Photoshop file format.
| | 00:18 |
As soon as you open your documents into
Photoshop, and you start adding layers.
| | 00:22 |
Whether they're adjustment layers or
alpha channels or type layers or
| | 00:27 |
additional photographs.
When you save that file, you have the
| | 00:31 |
option to save that file in a few
different file formats.
| | 00:35 |
But for me, I've always saved these files
as .PSD files, because I know that as a
| | 00:41 |
Photoshop document, all of my features in
Photoshop, regardless of whether or not
| | 00:46 |
they're smart objects, regardless of
whether they have transparency in them.
| | 00:51 |
I know that the PSD file format can save
all of those different options.
| | 00:57 |
Saving this file as a PSD file also tells
me that that is my master file, meaning
| | 01:04 |
that it's the one that's flexible, it's
the one that has all the layers in it.
| | 01:08 |
And if I need to save off derivatives
from it, maybe to post online or to be
| | 01:14 |
printed, I know that I can always go back
to that Master PSD file, which will be my
| | 01:19 |
high resolution file, and the flexible
file that contains all of the different
| | 01:24 |
layers in it.
Now, if you are saving as a PSD file,
| | 01:27 |
Photoshop will ask you if you want to
save with maximum compatibility.
| | 01:33 |
And I would suggest that you do this,
especially if you're working with a
| | 01:36 |
product such as LightRoom or really any
other product that doesn't support layers.
| | 01:42 |
Because in order to display a PSD file in
one of these other products like
| | 01:48 |
LightRoom or like After Effects, you'll
want to make sure that you save this
| | 01:53 |
flattened version.
That's what the maximize compatability
| | 01:56 |
does, it saves Both the layered document
as well as the flattened document in a
| | 02:01 |
single PSD file.
The PSD file format also allows other
| | 02:07 |
Adobe products like InDesign to show
different layers and actually manipulate
| | 02:13 |
those layers, turning them on and off In
the design program, so that you don't
| | 02:18 |
have to return back to Photoshop to make
just quick changes.
| | 02:23 |
Now, if you prefer the TIFF file format
is also an excellent format to save layer documents.
| | 02:29 |
And in fact, the TIFF file format can
save all of those same Photoshop features
| | 02:34 |
like your layers and alpha channels and
the TIFF file format also plays really
| | 02:40 |
well with applications that can't read
layers.
| | 02:44 |
If you're saving really large files,
Photoshop will automatically default to
| | 02:49 |
the large document format.
This large document format, it supports
| | 02:53 |
documents up to 300,000 pixels in either
dimension, either height or width, and
| | 02:59 |
all of the Photoshop features are
supported.
| | 03:02 |
So if the file is larger than two gigs
and you try to save it as a PSD file,
| | 03:06 |
then photoshop will automatically change
the default format to PSB.
| | 03:12 |
If you're trying to save a two gigabyte
file as a TIFF file, that's not a problem.
| | 03:17 |
You can actually save a TIFF file up to 4
gigs, but beyond 4 gigs, then Photoshop
| | 03:23 |
will automatically default to this PSB.
Now, when we are two and 4 gigs per
| | 03:28 |
document, that's a really large file, and
only a relatively few number of
| | 03:33 |
photographers or designers will ever need
it.
| | 03:36 |
But if you're doing huge panoramas or
heavily layered large files, you just
| | 03:41 |
might need the PSB file format.
Let's talk a little about JPEG.
| | 03:45 |
JPEG is a flattened format, meaning that
it doesn't support layers.
| | 03:49 |
It's also compressed, and it uses a lossy
compression.
| | 03:53 |
So, in order for a JPEG file to save
space, it throws away information by
| | 03:59 |
selectively discarding data and it
selectively discards this information
| | 04:05 |
based on the quality settings that you
choose when you're saving the file.
| | 04:09 |
So you can save a JPEG with the highest
quality, and that highest quality is
| | 04:16 |
almost undetectable to the eye, as long
as you don't do more manipulations to it.
| | 04:22 |
As soon as you start to make a big change
to a JPEG file, That file starts breaking
| | 04:27 |
down, and you'll start getting banding in
it, and you'll see compression artifacting.
| | 04:31 |
However, JPEG's one of the most commonly
used files and it's especially useful
| | 04:36 |
when you're trying to send smaller files
online.
| | 04:39 |
Whether you're trying to send them to a,
a lab to get printed or if you're trying
| | 04:44 |
to send them to a client via email or
even if you're posting them online.
| | 04:49 |
You really only want to save a JPEG file
once.
| | 04:52 |
You don't want to save over the original
JPEG because every time you do you are
| | 04:56 |
re-compressing the file.
And JPEG, you should know, cannot have transparency.
| | 05:02 |
The next format, the GIF file format or
the JIF file format, is also a flattened format.
| | 05:08 |
And it's also lossy, but in a different
way, you actually have to convert your
| | 05:13 |
image down to only having 256 colors in
it.
| | 05:18 |
So you've got to adctually change it from
an RGB file that has 8 bits per channel
| | 05:23 |
into an index color file before you save
it.
| | 05:27 |
Now, this most commonly used for a
graphic like a logo.
| | 05:31 |
And the benefit is that it does support
transparency, but it only supports one
| | 05:36 |
level of transparency.
So, the pixels will either be on or off
| | 05:41 |
which means that if you have a nice
rounded circle in your logo your probably
| | 05:45 |
going to get a little bit of pixelization
or jagged edges.
| | 05:50 |
Around that circle, because again, the
transparency only has one level, on or off.
| | 05:56 |
PNG is probably a better file format for
working with other apps that require a
| | 06:01 |
flattened image, and you need to support
multiple layers of transparency, because
| | 06:05 |
PNG supports a full alpha channel mask,
so it's got 256 levels of transparency.
| | 06:12 |
And a good example of this would be if
you want to place your logo maybe in
| | 06:17 |
Lightroom as a watermark or as an
identity plate the PNG is the file format
| | 06:22 |
to use for that.
There's also a file format called
| | 06:25 |
Photoshop PDF and there are many reasons
that you might want to use the PDF format.
| | 06:31 |
If for example you need to hand off your
document to another person and that
| | 06:34 |
person doesn't have Photoshop.
You could use the Photoshop PDF format
| | 06:39 |
and they could open it if they download
the free Acrobat Reader.
| | 06:44 |
And, you might be thinking, well, you
could just send them a JPEG as well, and
| | 06:49 |
that's completely true, but one of the
advantages to the Photoshop PDF is that
| | 06:54 |
you can actually password protect the
document.
| | 06:57 |
So they would have to know the password
to open the document or you could choose
| | 07:01 |
not to password protect the opening of
the document, but you can password
| | 07:05 |
protect, whether or not that person can
print the document.
| | 07:08 |
So these security setting can really help
you, if you need to send something to a
| | 07:12 |
client that might be a prototype, an you
really can't have anyone else view the document.
| | 07:18 |
Then we have the DNG format, the digital
negative format.
| | 07:21 |
This is a RAW file format, and it's an
openly-documented, openly-licensed
| | 07:27 |
archival format for your RAW captures.
So you can convert your images from maybe
| | 07:33 |
a proprietary camera manufacturer's
format, like a .NEF or .CRW into a DNG format.
| | 07:42 |
And the benefit there is that hopefully
in the future, those files will be
| | 07:47 |
supported, you know, 100 years from now,
because it's this openly-documented format.
| | 07:53 |
Now, I don't want anyone to be confused.
When you're in Photoshop, and you go to
| | 07:57 |
save a file, there is a format called
Photoshop Raw.
| | 08:01 |
But this is not the same as the DNG file
format.
| | 08:06 |
You do not want to save your layered
files in Photoshop in the Photoshop raw format.
| | 08:11 |
Just save them out as .psd files, and
ignore that Photoshop raw.
| | 08:16 |
So that wraps up this overview of the
most important file formats that you'll
| | 08:19 |
run across while you're working in
Photoshop and why you would chose to save
| | 08:23 |
in one format over another.
| | 08:25 |
| | Collapse this transcript |
| Choosing the resolution you need| 00:00 |
In Photoshop it's always good to know
where your image is going and what it's
| | 00:04 |
going to be used for, because if you know
this then you know how large of a file
| | 00:09 |
you need to work on.
In this video we're going to be talking
| | 00:12 |
about the three most common ways to
present or share your images, which are
| | 00:17 |
halftone, continuous tone and screen,
because each one of these has different needs.
| | 00:24 |
When we talk about halftone we're talking
about printing on the printing press.
| | 00:28 |
Now halftone is not continuous tone
although it might start out as a
| | 00:32 |
continuous tone image, such as a
photograph.
| | 00:35 |
But along the way it's converted to a
halftone pattern for the printing press.
| | 00:40 |
And this halftone pattern is made up of a
pattern of dots.
| | 00:43 |
Some of these dots are large and some of
them are small, and you have a pattern of
| | 00:48 |
dots that's unique for each one of the
cyan, magenta, yellow and black inks that
| | 00:54 |
are used on press.
When these dots are printed one on top of
| | 00:58 |
another, they create the illusion of
continuous tone.
| | 01:02 |
But it's not, in fact, a continuous tone
image.
| | 01:05 |
If you look at anything that's been
printed, like a book or, a box of cereal,
| | 01:10 |
especially if you look at it under a
loupe or a magnifying glass, you will see
| | 01:14 |
the individual dots.
So what resolution do you need in order
| | 01:18 |
to take your continuous tone image in
Photoshop and convert it for the printing press?
| | 01:23 |
Well, unfortunately that depends, and
what it depends on is the line screen
| | 01:28 |
that you're going to be printing to.
As a general rule of thumb, you need two
| | 01:32 |
times the line screen or LPI.
And the line screen is going to be
| | 01:36 |
dependent on the paper that you're going
to print to.
| | 01:39 |
Typically the better quality of the
paper, the more expensive the print job.
| | 01:44 |
This is due in part to what's called dot
gain.
| | 01:47 |
When you print on a lower quality paper,
The ink tends to spread when it hits the
| | 01:52 |
paper and the dots tend to bleed into one
another.
| | 01:56 |
As you can imagine, it's harder to hold
the details on this lower quality
| | 02:01 |
absorbing paper.
For example, if you're going to print to
| | 02:04 |
a newspaper, which is relatively
inexpensive, because of the coarseness of
| | 02:09 |
the paper, you can't print with a very
high line screen.
| | 02:12 |
So you might be limited to a line screen
of 85, whereas if you're printing to a
| | 02:17 |
really high-end magazine or a book, you
might go as high as 300 line screen.
| | 02:22 |
So it's really important to work with
your printer and decide on the quality
| | 02:26 |
that you can afford, and then together
you and the printer can decide on the
| | 02:30 |
paper, and therefore the line screen.
Then you'll simply double the line screen
| | 02:34 |
to determine the pixels per inch in
Photoshop.
| | 02:38 |
Now the second category is continuous
tone.
| | 02:41 |
The most common example of that would be
an inkjet printer.
| | 02:44 |
And an inkjet printer needs a resolution
between 240 and 360 pixels per inch.
| | 02:51 |
This is really dependent on the quality
that you want.
| | 02:55 |
What I would recommend is that you print
the same image at 240 pixels per inch and
| | 03:00 |
then 300 pixels per inch.
And then 360 pixels per inch.
| | 03:05 |
I think you'll find that most people can
see the difference between 240 and 300
| | 03:10 |
pixels per inch, whereas between 300
pixels per inch and 360 a lot fewer
| | 03:17 |
people can tell the difference.
Now technically with an inkjet printer,
| | 03:22 |
there are of course printed dots but the
printing technology is different from the
| | 03:28 |
printing press.
So although you might still see dots when
| | 03:31 |
you're viewing in inkjet print under a
loupe, you're not going to see the same
| | 03:34 |
halftone pattern that you will in an
image that is printed using the printing press.
| | 03:39 |
So another example of continuous tone
would be printing to photographic paper.
| | 03:44 |
For example, if you're a photographer you
might be sending images to a lab to have
| | 03:49 |
them printed.
In this case you simply need to ask the
| | 03:52 |
lab what resolution they want the file to
be, because they're going to know the
| | 03:57 |
optimal resolution for their printer.
It's been my experience that they
| | 04:01 |
typically want 300 pixels per inch, but I
would definitely work with them to see
| | 04:07 |
what they recommend.
Finally, let's discuss if you're going to
| | 04:10 |
display your images on a screen such as a
monitor or a tablet or a projector.
| | 04:15 |
In this case the resolution of the file
really doesn't matter.
| | 04:18 |
You can have a resolution of 72 or 150 or
300, but it's irrelevant.
| | 04:24 |
What matters is the total pixel count.
Because each one of these devices can
| | 04:29 |
display a specific number of pixels.
So you need to make sure that your image
| | 04:35 |
is at the correct size in height and
width with the exact pixel count to
| | 04:40 |
display properly on that device.
Then the resolution can be set to
| | 04:45 |
anything because it doesn't matter how
close or far away those pixels are set to
| | 04:51 |
each other.
Because the device is actually going to
| | 04:54 |
plot those pixels at a one to one
relationship between the pixel in the
| | 04:59 |
file, and the resolution that it can
display.
| | 05:02 |
So in the next video we'll actually see
examples of how to re-size and re-sample
| | 05:07 |
your image to change the resolution and
image dimensions.
| | 05:10 |
So that you can prepare the file for any
type of output device.
| | 05:14 |
| | Collapse this transcript |
| Understanding Resize vs. Resample| 00:00 |
So we need to learn the difference
between resizing our images and
| | 00:03 |
resampling our images.
To do this, we're going to look at the
| | 00:07 |
Image Size dialog box.
So under Image > Image Size.
| | 00:11 |
At the top of the Image Size dialog box
is the size of the image in megapixels.
| | 00:18 |
And right underneath that are the
Dimensions.
| | 00:21 |
You can see that right here I've got it
set to pixels, but of course we can use
| | 00:25 |
the drop-down menu here and change this
to other values if we want to.
| | 00:30 |
Right now, we'll just go ahead and leave
it at the pixel values.
| | 00:34 |
Underneath that, we have a width, height,
and resolution area, so we can see that I
| | 00:39 |
can print this image at 14.05 inches by
9.367 at 300 pixels per inch.
| | 00:47 |
Now as we start preparing our image for
the desired output device, we're going to
| | 00:52 |
be changing the width, height, and
resolution.
| | 00:55 |
We're also going to choose whether or not
we're going to resample the image.
| | 00:59 |
By default, the resample option is
checked on, which means that if I want to
| | 01:05 |
make this image.
Larger or smaller, Photoshop is actually
| | 01:09 |
going to either make up or discard
information in order to create the file
| | 01:16 |
size that I tell it to, so let's take a
look at our three different scenarios.
| | 01:20 |
For the first one, let's imagine that I
want to print this.
| | 01:24 |
At four by six to the printing press.
Now I need to know my line screen for the
| | 01:29 |
printing press so lets say its 175.
Then I would go ahead and change my width
| | 01:35 |
to six inches and you'll notice that the
height automatically changed to four.
| | 01:41 |
And that's because of this little icon
right here.
| | 01:43 |
This is locking the aspect ratio so
whenever I change the width, the height
| | 01:49 |
will change accordingly.
Then I need to double the line screen so
| | 01:53 |
we said 175 so we multiply that by 2.
And we need a resolution of 350 pixels
| | 02:00 |
per inch.
We can see at the top here that the image
| | 02:03 |
size is actually been decreased so what
was initially a 33 meg file has now been
| | 02:10 |
or will be sampled down to an 8.41 meg
file.
| | 02:14 |
And we can also look and see that the
actual pixel count.
| | 02:19 |
Has been lowered as well.
Now, if I change my dimensions from
| | 02:23 |
pixels to percent, we can see that we're
almost cutting the file size or the
| | 02:29 |
number of pixels in the width and height
in half.
| | 02:33 |
So, when we're lowering the file size,
Photoshop is going to discard almost half
| | 02:39 |
of the pixels in the original file.
And as long as I'm making the image
| | 02:43 |
smaller or resampling down the image I
really don't have to worry about losing
| | 02:49 |
image quality.
As long as I have the resample checked on
| | 02:53 |
and I have it set to automatic Photoshop
will automatically select the best
| | 02:58 |
resampling algorithm or the best math in
order to create the highest quality image so.
| | 03:06 |
Just so that you know, it's going to
automatically select, by cubic a sharper
| | 03:11 |
when I'm reducing my file size.
But I'll go ahead and leave it automatic
| | 03:16 |
so that I really don't have to worry
about that.
| | 03:19 |
Now I'm going to hold down the option key
on the Mac or the alt key on Windows And
| | 03:23 |
you'll see that the cancel button turns
to reset.
| | 03:27 |
I'm actually just going to reset the
dialog box.
| | 03:30 |
This time I'm going to uncheck the
resample option because I want to show
| | 03:35 |
you what would happen if we told
photoshop that it couldn't.
| | 03:40 |
Increase or decrease, basically it can't
add any pixels or remove any pixels from
| | 03:45 |
the file.
Well now, when I change the width to six
| | 03:49 |
inches, you can see that the image size
remains the same, and the dimensions
| | 03:54 |
remain the same.
So, if I'm telling Photoshop that.
| | 03:57 |
It can only print six inches wide but it
still has the same number of pixels to
| | 04:02 |
use well then its gotta use more pixels
per inch and sure enough we see that
| | 04:07 |
under resolution.
It's no longer 300 but its been boosted
| | 04:11 |
up to 702.5.
But sending this high of a resolution to
| | 04:17 |
the printing press.
Isn't going to magically give us any
| | 04:21 |
better quality.
It's really just sending unneeded
| | 04:25 |
information to print at that line screen.
And it's really only going to make the
| | 04:30 |
file larger.
So I am better off checking the resample
| | 04:34 |
option and then changing my resolution
back down to 350 pixels per inch.
| | 04:42 |
You will also notice that on the
left-hand side here, we are getting a
| | 04:45 |
preview of what this will look like when
it's resized.
| | 04:49 |
And when I hover my cursor over the area
here, we can either zoom out or we can
| | 04:54 |
zoom in.
And you will notice when I position
| | 04:58 |
cursor over my image, I can actually
click anywhere in my image file, and that
| | 05:03 |
area where the square is, where my cursor
is, where I clicked, that is going to be
| | 05:07 |
the area that is represented here in the
preview.
| | 05:10 |
Alright.
So at this point, I would go ahead and
| | 05:13 |
click okay, and you can see that my file
actually got smaller, so Photoshop has
| | 05:19 |
discarded the information that it doesn't
need.
| | 05:22 |
Let's undo that.
We can either use command Z on the Mac or
| | 05:25 |
control Z on Windows, or we can select
Edit > Undo Image Size.
| | 05:30 |
All right, let's take a look at the next
scenario.
| | 05:34 |
I'm going to imagine that I want to send
this image to my lab, or print it to my
| | 05:39 |
inkjet printer.
So, I'm going to want to be looking at
| | 05:42 |
300 pixels per inch.
I'll choose image, and then we'll choose
| | 05:46 |
image size.
But this time I want to print this much larger.
| | 05:51 |
I'm actually going to print it 24 by 16.
So now we can see at the top, what was a
| | 05:56 |
33.9 meg file is going to have to be
resized up or interoplated up in order to
| | 06:03 |
create this almost 100 meg file.
And we can see the actual pixel
| | 06:08 |
dimensions have also increased.
And if we change this to percent, we can
| | 06:12 |
see that we are actually going to
resample up a 170% which is actually
| | 06:18 |
quite a significant amount.
But that's okay, because I've got my
| | 06:22 |
Resample option set to automatic.
And, just in case, you want to know the
| | 06:26 |
details, Photoshop is actually going to
use this reserve details in order to
| | 06:32 |
enlarge this image.
So you might be wondering what the
| | 06:36 |
benefit would be to actually resize the
image in Photoshop before you print it
| | 06:41 |
because I know that some people would
just prefer to send the image to the
| | 06:47 |
printer at the size that it is and have
the printer actually resize the image.
| | 06:53 |
But, if you're really looking for the
highest quality image, I would suggest
| | 06:57 |
that you go into image size, and you
resize the image, whether it's larger or smaller.
| | 07:03 |
And then click OK so that Photoshop can
calculate that.
| | 07:06 |
Because now, when you're retouching your
image, and you're working with your
| | 07:10 |
image, you're actually seeing the
complete file.
| | 07:14 |
And right before you go to print, you'll
probably want to sharpen this image.
| | 07:19 |
And I really do want to sharpen the
image.
| | 07:21 |
At the size that I'm going to send down
to the printer, as opposed to just,
| | 07:26 |
maybe, guessing and sending the print at
its native resolution.
| | 07:31 |
And having the printer interpolate up the
file.
| | 07:34 |
Without adding any sharpening.
Alright, let's go ahead and undo that.
| | 07:38 |
We'll select Edit > Undo Image Size, and
finally we need to take a look at this
| | 07:43 |
third scenario, which is to prepare this
image for the screen.
| | 07:47 |
So again I'll select Image and then Image
Size.
| | 07:51 |
And in this case, I'm going to change the
width and height to a specific pixel dimension.
| | 07:57 |
So under the width, I'm going to change
my units of measurement to pixels.
| | 08:02 |
And let's say I'm going to display this
on a projector that displays at 1024 by
| | 08:08 |
768, so I'll go ahead and put this in
here.
| | 08:11 |
1024 and you can see that the height is
actually less than 768.
| | 08:18 |
So the aspect ratio here isn't exactly
the same aspect ratio of the projector
| | 08:25 |
that I'm going to project it on but as
long as that height is less than the 768
| | 08:29 |
then I'm still okay.
If I had changed the height to 768, then
| | 08:37 |
you'll notice that the width is higher
than the 1024 of that projector so it
| | 08:42 |
would probably resample the file which I
might not want, so I just need to make
| | 08:46 |
sure that I set this.
The width to 1024 and then the height
| | 08:50 |
will just be a little bit short, because
again the original file is not at that
| | 08:54 |
same aspect ratio.
I can also change the resolution if I
| | 08:59 |
wanted to, but you'll notice this time
when I change it from 300 down to 72,
| | 09:05 |
nothing changed as far as the width and
height because I had them set to pixels.
| | 09:11 |
And of course, when you're displaying
images on the screen, the total pixel
| | 09:15 |
count is really what matters.
So when I click okay we can see that
| | 09:19 |
Photoshop has discarded a bunch of
information.
| | 09:23 |
It has made the image smaller and in fact
its made the image the exact pixel
| | 09:28 |
dimensions that we entered in the image
size.
| | 09:31 |
And there you have it.
Now you know how resampling and resizing
| | 09:34 |
affects your images in Photoshop when
you're preparing them for multiple output devices.
| | 09:39 |
| | Collapse this transcript |
| How big a print can you make with your image?| 00:00 |
So the question that I get most often is,
how large can I print my image?
| | 00:05 |
Well the easiest way to figure this out
is to have your image open, and go to
| | 00:09 |
Image, and then Image Size.
In the Image Size dialog box we can see
| | 00:14 |
this is almost a 40 meg file.
And I'm going to change my dimensions to
| | 00:18 |
pixels so that we can see exactly how
many pixels are in the image.
| | 00:22 |
And then I'm going to make sure that my
width and height are set to inches.
| | 00:26 |
So if we wanted to print this image nine
by six, let's uncheck the Resample option
| | 00:33 |
and then, for width, we'll enter in nine
and sure enough, we can see that if we
| | 00:37 |
change the width to nine and the height
to six, our resolution is still up around
| | 00:41 |
470 which is plenty of information if
we're printing to our inkjet printer.
| | 00:47 |
And probably more than enough information
if you're printing to a medium to even
| | 00:52 |
high line screen for the printing press.
But what if I wanted to print my image a
| | 00:58 |
little bit larger?
Let's go ahead and set this to 18 inches
| | 01:02 |
by 12 inches.
Well now we can see that the resolution
| | 01:06 |
has dropped down quite significantly.
We're down to about 234 pixels per inch.
| | 01:11 |
Now this might be enough resolution for a
decent print.
| | 01:16 |
But what I would do is definitely check
on the Resample option at this point and
| | 01:20 |
then I would resize this to 300 pixels
per inch.
| | 01:24 |
Then if we change our dimensions to
percent we can get a good look at exactly
| | 01:31 |
the percentage that we're having to
upsample the image.
| | 01:35 |
So 128% I wouldn't actually be too
worried about that.
| | 01:39 |
I think we could print this no problem 18
by 12, especially because of the preserve
| | 01:45 |
detail algorithm that Photoshop has in
it.
| | 01:48 |
It's really going to try to keep our
image edges looking sharp, so we don't
| | 01:52 |
lose a lot of information, so the print
doesn't look soft.
| | 01:56 |
So I'd be perfectly okay with re-sizing
to this size.
| | 02:00 |
Now, if we're going to have to print a
poster size image.
| | 02:04 |
Say for example, I'll take this to 30 by
20 inches at 300 pixels per inch, then
| | 02:10 |
we're talking about an increase in
percentage of 213%.
| | 02:15 |
And that's quite a bit of information to
have Photoshop make up.
| | 02:20 |
Of course at this point, you've already
taken the photograph and you're working
| | 02:26 |
with all of the information that you
have, so really the only solution you
| | 02:30 |
have is to resample the image.
That's why it's such a good idea to know
| | 02:36 |
what the final destination will be for
your image before you start creating it.
| | 02:41 |
That way you can capture as much
information as you need.
| | 02:44 |
But of course we know that this isn't
always possible.
| | 02:47 |
And, that's why we have Photoshop and the
Image Size dialog box.
| | 02:50 |
So, when needed, you can actually
upsample or resize your image larger.
| | 02:57 |
| | Collapse this transcript |
|
|
10. Cropping and TransformationsUsing Undo and the History panel| 00:00 |
I honestly believe that one of the most
important features in Photoshop is the
| | 00:04 |
ability to undo whatever you just did.
Because just knowing that nothing that
| | 00:09 |
you do in Photoshop is permanent, allows
you to experiment and really play with
| | 00:14 |
your images.
For example, if I go to Image > Image
| | 00:19 |
Rotation > Flip This Canvas Horizontally,
it's really easy to simply Undo that last command.
| | 00:26 |
I can choose Edit > Undo Flip Canvas
Horizontally or we could use the keyboard
| | 00:32 |
shortcut Cmd+Z on the Mac or Ctrl+Z on
Windows.
| | 00:36 |
Now as we work along and we do more and
more things to our image, Photoshop is
| | 00:42 |
actually keeping track of all of the
things we do in a History panel.
| | 00:47 |
If you're in the essentials workspace,
you'll notice that your History panel is
| | 00:51 |
set to iconic mode.
If we click on that it will go ahead
| | 00:55 |
display it for us.
If we are in a different work space or
| | 00:58 |
your History panel isn't showing, you can
select Window > History.
| | 01:03 |
My History panel is rather large and
that's because I've used the grabber icon
| | 01:08 |
at the bottom in order to drag it down.
This way as I build up history we'll be
| | 01:13 |
able to see those states.
To quickly build up history in this image
| | 01:18 |
I'm just going to use the paint brush
tool and paint in the image.
| | 01:22 |
So I tap the B key and that gave me my
paintbrush.
| | 01:25 |
It's going to paint with black because
that's my foreground color and, as I drag
| | 01:30 |
a stroke across the sky, we can see that
that gesture has now been recorded in my
| | 01:36 |
History panel.
If I want to step backwards in time, I
| | 01:39 |
can simply click on the Open state.
Or I can move forward to the Brush tool.
| | 01:45 |
Let's go ahead and make a few more
strokes with a Paintbrush tool, and we
| | 01:49 |
can watch the history build in the
history panel.
| | 01:52 |
But now if I decide to go back in time,
and I skip back to when I first laid down
| | 01:58 |
the first brushstroke, you can see that
the rest of the history states are grayed out.
| | 02:03 |
If I make another brush stroke right now,
these history states will actually disappear.
| | 02:08 |
In fact, we can do that.
I'll make a second brush stroke.
| | 02:11 |
And we can see that I've lost all of
those other states to go back to.
| | 02:16 |
I can still go back to the original state
and toggle to this state, but they're the
| | 02:20 |
only two that I have left.
If you want Photoshop to keep track of
| | 02:24 |
nonlinear history.
Meaning that if you want to make a bunch
| | 02:28 |
of paint strokes, and then be able to go
back in time, but still have all of these available.
| | 02:35 |
Then you'll want to use the flyout menu
on the history panel, and choose history options.
| | 02:42 |
The option that you want to check is the
allow nonlinear history.
| | 02:45 |
As soon as I select that, and click OK,
you'll notice that these states are no
| | 02:50 |
longer grayed out.
And if I start creating another paint
| | 02:54 |
stroke here, they don't disappear.
Instead, this paint stroke just got added
| | 03:00 |
at the bottom of my history.
So I can still move back through all of
| | 03:04 |
those different states.
If I want to use a keyboard shortcut to
| | 03:08 |
move back and forward, through the
different history states, I can use the
| | 03:12 |
step backward and step forward keyboard
shortcuts.
| | 03:16 |
So in this case, if I want to step
backwards, I'll use Command+Option+Z.
| | 03:22 |
If I want to step forward, I'll use
Command+Shift+Z.
| | 03:26 |
Course the Ctrl key is the Cmd key on
Windows.
| | 03:30 |
If I make enough paint strokes, you'll
notice that the top most state here, the
| | 03:37 |
open state, eventually will roll off the
top.
| | 03:41 |
Because by default Photoshop is not going
to keep track of an infinite number of states.
| | 03:46 |
In fact, it just rolled off the top
because I must have hit 20 different states.
| | 03:51 |
If you want to increase the number of
states that Photoshop keeps track of,
| | 03:56 |
then on the Mac, you'd choose the
Photoshop menu.
| | 03:59 |
On Windows, you'd choose Edit >
Preferences > Performance.
| | 04:04 |
It's right here that you would tell
Photoshop how many History States that
| | 04:08 |
you'd want to keep track of.
Now, it might be your first instinct to
| | 04:11 |
think that you want to put this as high
as possible.
| | 04:14 |
But don't forget every time you make a
change to your image, if Photoshop has to
| | 04:19 |
keep track of that state and the state
before and before, if it's gotta keep
| | 04:24 |
track of 100 of those states, those
states have to be kept somewhere in memory.
| | 04:30 |
And if you're working on large files,
eventually you'll run out of RAM.
| | 04:35 |
And Photoshop will have to write all of
its temporary files to the hard drive so
| | 04:40 |
you might notice a performance hit.
Now, Photoshop is smart enough.
| | 04:44 |
It doesn't have to write the entire file
every time you make a change.
| | 04:47 |
It's breaking up the document into little
sections or tiles and it's only
| | 04:52 |
remembering the changes that you made to
that section.
| | 04:55 |
Of course, if you run a filter over your
entire image, then it will have to keep
| | 04:59 |
track of all of that information but what
we were doing just making the small brush
| | 05:04 |
strokes it only has to keep track of a
little bit of information.
| | 05:07 |
So you just need to decide a good
balancing point.
| | 05:10 |
I think that the default history state
set to 20 should be a good amount.
| | 05:15 |
So I'll just click OK.
Now, if you get so far along in your
| | 05:19 |
image where you can't get back to the
point that you want to.
| | 05:24 |
You have really three different options.
We could close the file without saving it.
| | 05:28 |
We could go to File > Revert or you can
click on the Snapshot at the top of the
| | 05:36 |
History panel.
And this snapshot was created because of
| | 05:39 |
an option that's on by default under
history options.
| | 05:43 |
Its this option right here the
automatically create first snap shot.
| | 05:47 |
And I like to leave that on because
there's actually an advantage to have
| | 05:51 |
that snapshot.
And that is when you choose to close the
| | 05:55 |
file without saving, or when you choose
revert, both of those instances cause
| | 06:00 |
Photoshop to reread your file from the
hard drive.
| | 06:03 |
If you simply click on this first
snapshot, if that snapshot is sitting in
| | 06:09 |
RAM Then Photoshop can just grab it out
of RAM which is much faster than reading
| | 06:13 |
that file on your hard drive.
All right, so I'll leave that turned on,
| | 06:17 |
but I am going to turn off the Allow
Non-Linear History for now and click OK.
| | 06:23 |
And then we'll click on that initial
snapshot.
| | 06:26 |
So you can see that the ability to go
back in time using multiple undo and the
| | 06:31 |
history panel is a huge advantage as it
enables you to work in a much more
| | 06:35 |
flexible environment.
Where you shouldn't hesitate to try
| | 06:38 |
something new.
| | 06:39 |
| | Collapse this transcript |
| Using crop options| 00:00 |
There are a variety of reasons that you
might want to crop your image.
| | 00:04 |
Your image might not be at the correct
aspect ratio, or there might be elements
| | 00:07 |
or areas of your image that you don't
want to include.
| | 00:10 |
In this image for example, I had to put
so many neutral Density Filters on top of
| | 00:16 |
my lens, in order to slow down my
exposure, so that I could get this effect
| | 00:21 |
with the waterfall.
That you can actually see those neutral
| | 00:24 |
density filters.
So we need to remove those.
| | 00:27 |
In order to select the Crop Tool, we can
either tap the C key or we could select
| | 00:32 |
the Crop Tool from our toolbar.
When you select the Crop Tool, you
| | 00:36 |
automatically get a crop mark key around
the entire image.
| | 00:40 |
But you can also position your cursor
anywhere inside the image, and Click and
| | 00:46 |
Drag out a marquee.
Let's go ahead and tap the Escape key, to
| | 00:50 |
escape for a moment.
Because I want to show you, that if you
| | 00:53 |
do start changing the size of the marquee
as opposed to drawing your own first,
| | 00:59 |
then, of course, you can no longer do
that.
| | 01:02 |
I can't just come anywhere in my image,
and start the marquee.
| | 01:05 |
But of course, I can change the marquee
by Clicking and Dragging on any of the
| | 01:09 |
handles, either on the corner points, or
on the center.
| | 01:13 |
And then, I can reposition my image
within the marquee, by Clicking and Dragging.
| | 01:19 |
If I want to select a specific aspect
ratio, I could do that at any time, by
| | 01:24 |
Clicking and selecting that Aspect Ratio
from the menu.
| | 01:28 |
Or I can choose a specific width, height,
and resolution, and there are a number of
| | 01:32 |
presets here, but I could also enter my
own, and then create a new crop preset.
| | 01:39 |
For now I'll just select 4 by 5.
Now because the aspect ratio is 4 by 5
| | 01:44 |
and not 5 by 4, Photoshop automatically
drew a vertical crop.
| | 01:49 |
But I can quickly change that by either
tapping the X key, or by Clicking on
| | 01:54 |
these double arrows right here.
Then in order to Resize, I'll just select
| | 01:59 |
the Handles and Drag them out.
There are a number of different overlays,
| | 02:04 |
the rules of third, et cetera, which can
aid me for cropping my composition.
| | 02:09 |
You'll notice that the O key will cycle
me through these overlays.
| | 02:14 |
So, if I simply release my mouse there,
and then tap the O key, we'll go ahead
| | 02:19 |
and cycle through these.
Now you'll also notice that there's an
| | 02:24 |
option to Auto Show the Overlay, or
Always Show the Overlay, or never show it.
| | 02:29 |
I prefer the Auto Show Overlay, otherwise
the overlay is always there.
| | 02:34 |
If I choose Auto Show, you'll notice the
overlay was hidden.
| | 02:39 |
But if I start to Resize the crop
marquee, the overlay is then displayed.
| | 02:44 |
As soon as I let go, then Photoshop
automatically hides that overlay.
| | 02:49 |
If I want to hide the area, that I'm
going to crop, this area here outside of
| | 02:55 |
the Crop Marquee, I can tap the H key to
hide it, and then tap the H key again to
| | 03:01 |
toggle it back on.
If I wanted to cancel out of my Crop, I
| | 03:05 |
could click on the Cancel button or tap
the Escape key.
| | 03:09 |
If I want to apply the crop, I can click
on the Checkmark, or tap the Return or
| | 03:14 |
Enter key.
You'll notice that after applying the
| | 03:17 |
crop, the crop marquee is hidden by
default.
| | 03:20 |
If I want to crop, I will need to Click
and Drag out another crop marquee, or I
| | 03:27 |
could just switch tools.
Had I swapped to say the Marquee Tool and
| | 03:31 |
then come back to the Crop Tool, then I
would automatically get that crop marquee
| | 03:36 |
around the entire image.
If I want to clear the aspect ratio here,
| | 03:41 |
I could go ahead and Click on the Clear
Button.
| | 03:44 |
Then, let's go ahead and load them up
again.
| | 03:47 |
In this case, I'll just choose one to
one, because I want to show you that if I
| | 03:50 |
Click on this icon right here, It will
clear out not only the Aspect Ratio, but
| | 03:56 |
it will also put the crop back so that it
surrounds the entire image.
| | 04:01 |
So if you want to just kind of reset it,
you want to clear out all the settings
| | 04:04 |
and reset the crop without exiting out of
the crop, that's the icon that you want
| | 04:09 |
to click.
So there you have it.
| | 04:11 |
The Crop Tool makes it easier than ever
to crop down to the image that you want
| | 04:16 |
to keep, and throw away any distracting
elements.
| | 04:19 |
| | Collapse this transcript |
| Understanding Hide vs. Delete for the Crop tool| 00:00 |
The default setting for the Crop tool in
Photoshop actually allows for the tool to
| | 00:04 |
delete the unwanted pixels after you crop
the image.
| | 00:08 |
Let's take a look at what that means.
I'm going to tap the C key which will
| | 00:12 |
give me the Crop tool.
And I can see that I have some values
| | 00:17 |
here for an aspect ratio.
I want to go ahead and clear those out,
| | 00:20 |
so I will click on the Clear button.
Now this is the default setting for the
| | 00:25 |
delete cropped pixels.
You can see that it's checked on.
| | 00:29 |
So let's go ahead and just rearrange the
crop a little bit.
| | 00:33 |
I'm going to go ahead and move it out a
bit.
| | 00:35 |
And I want to take a look for a moment
over at the layers panel.
| | 00:39 |
This is a single layer document, and it's
a flattened document so there's a
| | 00:43 |
background layer.
Once you select the Crop tool, you
| | 00:47 |
actually get this crop preview.
But if you have the delete crop pixel
| | 00:51 |
selected, when you apply this crop,
you'll notice that the crop preview
| | 00:57 |
disappears in the layer panel and you end
up with this flattened background layer.
| | 01:02 |
That means that those pixels that were
outside the crop marquee are actually gone.
| | 01:07 |
And if I were to save this document right
now and then close it, later on I could
| | 01:12 |
not get those pixels back.
So, lets go ahead and undo that, either
| | 01:17 |
using Cmd or Ctrl+Z, or we can use the
menu item, to undo our crop.
| | 01:23 |
This time when we drag out our crop, I'm
going to uncheck the Delete Cropped Pixels.
| | 01:28 |
You can see that I'm still starting with
a background layer, so a flattened
| | 01:32 |
Photoshop document, but now when I click
and drag out my crop marquee, you can see
| | 01:38 |
that it turns into a crop preview and
there's no longer a background entry here
| | 01:45 |
in my layers panel.
Now one of the reasons we may not want to
| | 01:49 |
delete the cropped pixels Is obviously
for flexibility and one of the instances
| | 01:55 |
that I come across quiet often, is, if
someone has been asked to crop, maybe to
| | 02:00 |
a specific aspect ratio, such as 4 by 5.
But they're really not sure, how they
| | 02:07 |
want to center that image.
So if I wasn't sure how I wanted to
| | 02:12 |
center it, but I did know that it had to
be a certain aspect ratio, I might want
| | 02:17 |
to uncheck this Delete Cropped Pixels.
Now, let's go ahead and apply the crop by
| | 02:22 |
clicking on the check mark, or tapping
the Return or Enter key.
| | 02:26 |
You can see that Photoshop has converted
the background into a layer.
| | 02:30 |
This layer allows Photoshop to hang on to
all of that extra information.
| | 02:36 |
All of those pixels that were outside of
the crop marque.
| | 02:40 |
So now if I were to select my move tool.
You can see that I can actually
| | 02:45 |
reposition this, and all of the
information is still there.
| | 02:49 |
So, it's a much more flexible way to crop
your image.
| | 02:54 |
If you ever wanted to show all of the
information that is, beyond this image area.
| | 02:59 |
So, in other words, all of the other
extra data that was cropped off.
| | 03:04 |
You can choose Image and then Reveal All,
and Photoshop will build out the canvas
| | 03:11 |
size here so that you can see all of that
extra information.
| | 03:15 |
Just remember, Photoshop has to create a
layered file in order to hang on to all
| | 03:21 |
of those pixels that were outside of the
Cropmer key.
| | 03:25 |
If you've cropped it and told Photoshop
to not delete the pixels, but then you
| | 03:31 |
save it as a JPEG or any other format
that doesn't support layers, you will
| | 03:36 |
lose those pixels.
So just remember if you want a non
| | 03:40 |
destructive crop and you want Photoshop
to keep the pixels outside of the crop
| | 03:45 |
marquee, be sure to save either a
Photoshop document or a TIFF file with layers.
| | 03:51 |
| | Collapse this transcript |
| Cropping to the perfect print size| 00:00 |
One of the assumptions that is made when
we use the Image Size dialog box to
| | 00:04 |
resize our images is that the file has
already been cropped to the correct
| | 00:08 |
aspect ratio and that you want to use all
of the information within that image.
| | 00:14 |
But that's not always true.
Sometimes you might have an image that is
| | 00:18 |
at a different aspect ratio.
Let me show you what I mean.
| | 00:22 |
If I go into the Image menu, and then
choose Image Size, if I wanted to print
| | 00:28 |
this say at four by five inches, at 300
pixels per inch, when I enter in five
| | 00:34 |
inches, you'll notice that the height
changes to three, because it's not the
| | 00:38 |
correct aspect ratio.
Again, if I change the height here and
| | 00:42 |
try to enter in four, well, then I don't
get five inches for my width.
| | 00:47 |
So, when you use the Image Size dialog
box to resize an image, you need to make
| | 00:51 |
sure that it's at the correct aspect
ratio before you enter in the image size.
| | 00:55 |
I'll cancel out of here and we're
going to do this a different way, and
| | 00:59 |
that's by using the Crop tool.
So I'll tap the C key to get the Crop tool.
| | 01:04 |
And let's go ahead and clear out any
values that might be here.
| | 01:08 |
Your Crop tool might be set to a ratio,
so you might only see two options.
| | 01:13 |
Again, we'll go ahead and clear those.
What I want to do is I want to switch it
| | 01:18 |
from the ratio to the width, height and
resolution because now I can enter in the
| | 01:24 |
exact aspect ratio as well as the final
size that I want the image.
| | 01:29 |
There are some presets right down here
but we're going to go ahead and create
| | 01:34 |
our own.
So we'll choose width, height, and resolution.
| | 01:37 |
And then I'm going to enter in five by
four, at 300 pixels per inch.
| | 01:45 |
Now not only am I cropping at the correct
aspect ratio, meaning that obviously, I'm
| | 01:50 |
going to be throwing out these pixels
outside of the crop marquee.
| | 01:54 |
But, it will also resize it to the final
size that I want.
| | 01:58 |
And, I don't have to include the entire
image.
| | 02:01 |
If I need to crop this a little bit
tighter, I can go ahead and click and
| | 02:05 |
drag to readjust the crop.
Then when I tap Return or Enter or click
| | 02:11 |
on the check mark, not only does
Photoshop crop that image, it also
| | 02:15 |
resized it for me and we can double check
that by going to Image and then Image Size.
| | 02:20 |
You can see that it's exactly five by
four at 300 pixels per inch.
| | 02:26 |
I'll go ahead and click Cancel.
And then, I want to show you how to save
| | 02:29 |
this as a preset.
Since we've already typed in all the
| | 02:32 |
values, I just select this dropdown menu
and choose New Crop Preset.
| | 02:37 |
Photoshop will automatically name it for
me.
| | 02:40 |
I can rename it if I want.
But, I'll just leave it exactly as it is,
| | 02:44 |
and click OK.
Now, I can always access this preset from
| | 02:49 |
the larger list.
You might be wondering why I've cropped
| | 02:54 |
this image, and yet I can still see the
areas that were outside of the crop marquee.
| | 02:59 |
Well, that's because I had the option to
not delete cropped pixels.
| | 03:05 |
If I don't want to see the area outside
of the crop marquee, all I need to do is
| | 03:10 |
tap the H key to hide it.
And toggle it on again by tapping the H key.
| | 03:15 |
I'll go ahead and click the check mark in
order to apply that crop.
| | 03:19 |
The benefit to this method, of course, is
that we were able to crop to the correct
| | 03:24 |
aspect ratio and resize the file.
And actually resize the crop down so that
| | 03:30 |
we weren't including the entire image.
The only drawback is that we weren't able
| | 03:34 |
to see how much information was in the
original file and if Photoshop had to
| | 03:40 |
resample up or resample down the image.
Still as you become more advanced, this
| | 03:45 |
can be an excellent way to save time when
you're preparing your images for output.
| | 03:50 |
| | Collapse this transcript |
| Making the canvas bigger with the Crop tool| 00:00 |
One of the lesser known features when
using the Crop Tool, is it's ability to
| | 00:04 |
add additional canvas area around your
image.
| | 00:07 |
I think most of the time we typically
think of dragging the crop handles into
| | 00:12 |
the image in order to remove unwanted
information.
| | 00:15 |
Lets go ahead and take a look at this
feature, by tapping the C key to access
| | 00:20 |
the Crop Tool.
Now I'm not sure what values you might
| | 00:24 |
have in the options for the Crop Tool.
So in order to reset it, just right mouse
| | 00:29 |
click on the icon for the crop up here in
the options bar.
| | 00:33 |
And then we'll select reset tool.
Now the tools been reset, you can see but
| | 00:39 |
it's set back to ratio, there's no values
entered here and we've got the delete
| | 00:45 |
crop pixels turned on.
Now before we start cropping we actually
| | 00:50 |
want to zoom out a little bit.
So I'm going to use the Cmd key on the
| | 00:53 |
Mac, Ctrl key on Windows, and then tap
the minus key.
| | 00:58 |
Now we have a little bit more room in
order to work with our image.
| | 01:02 |
If I were to crop outside of the image
area now, because this is a flattened
| | 01:08 |
image with just a background.
Photoshop would add my background color,
| | 01:12 |
which happens to be white, in the area
that I add.
| | 01:16 |
I don't want it to do that, instead I
want it to add transparency, so I'm going
| | 01:21 |
to un-check the delete crop pixels.
You'll notice that I can start clicking
| | 01:27 |
and dragging outside in order to add
canvas.
| | 01:31 |
And in fact, I get the checkerboard which
designates trasparency in Photoshop.
| | 01:37 |
But now I would have to drag out the
other side and sort of guess at the
| | 01:41 |
spacing around the image.
So what I'm going to do instead, is I'm
| | 01:45 |
going to click on the reset icon here
which will reset the crop boundaries to
| | 01:50 |
the edges of my image.
And this time before I drag, I'm going to
| | 01:53 |
hold down the option key on the Mac, and
that's going to allow me to drag from the
| | 01:58 |
center of my image out, and if I wanted
to constrain the aspect ratio, I could
| | 02:05 |
also add the shift key.
So now we can drag out and when we
| | 02:10 |
release the mouse, we can that Photoshop
has added the same amount of spacing in
| | 02:16 |
proportion around the image.
Now, if this image was square, that would
| | 02:20 |
be perfect.
But, in this case, I actually want to
| | 02:24 |
drag a little bit more space along the
bottom.
| | 02:27 |
And maybe a little bit more along the top
so that the spacing here and here is even
| | 02:34 |
that there is a little more spacing on
the bottom.
| | 02:37 |
When I click on the checkmark or tap
enter or return, you can see that
| | 02:41 |
Photoshop has converted the background
into a layer in order to have this transparency.
| | 02:47 |
If I wanted to this background area with
a color, I could add a new layer on my
| | 02:52 |
layers panel by selecting Layer.
And then New Layer.
| | 02:56 |
We'll go ahead and call this Color Fill.
Click Okay.
| | 03:00 |
You can see that PhotoShop added that new
layer on top of layer zero.
| | 03:06 |
So on the layers panel, I'll click on the
Color Fill layer and drag it down til I
| | 03:11 |
see that solid gray line.
When I release the cursor, I now change
| | 03:15 |
the stacking order, so that this layer,
the one I want to fill is underneath the
| | 03:20 |
photograph of the Iceberg.
Then I can select Edit and Fill.
| | 03:25 |
I can use either my foreground color or
we can select a background color or any
| | 03:31 |
color that we want.
I also have the option to quickly choose
| | 03:35 |
from black, 50% gray or white.
Let's go ahead and select white.
| | 03:40 |
And then click OK.
So now we can see that the background is
| | 03:44 |
filled with white if I want to add a
little bit of separation between the
| | 03:49 |
image and the background, I can click on
the layer that has the photograph on it
| | 03:54 |
in my layers panel, and then I can add a
stroke by using the effects icon at the
| | 04:00 |
bottom of the layers panel.
I'll choose stroke from the list.
| | 04:05 |
I'll move it out of the way so that I can
see the stroke that it's adding around
| | 04:09 |
the outside of my image.
And if I want to, I can increase the size
| | 04:15 |
of the stroke, but you'll notice when I
do that, it actually rounds the corner of
| | 04:19 |
the stroke.
So, I'm going to change the position from outside.
| | 04:23 |
To inside, so I get a nice pointed corner
and then I'll click Okay in order to add
| | 04:30 |
that stroke.
Now the benefit of adding the canvas and
| | 04:34 |
making that canvas transparent is that at
any point in time now, I can move the
| | 04:40 |
photograph without moving the background.
So if I selected the Move tool and I want
| | 04:45 |
to reposition the image within my canvas.
I can simply drag in order to do so.
| | 04:53 |
So adding canvas size to a photo using
the crop tool might not be the most
| | 04:57 |
intuitive feature in Photoshop, but it
certainly is a great one.
| | 05:01 |
| | Collapse this transcript |
| Making the canvas bigger using the Canvas Size command| 00:00 |
Although you can certainly add canvas
size to your image using the crop tool,
| | 00:04 |
for more accuracy you might want to use
the canvas size command instead.
| | 00:09 |
Now, for added flexibility, I'm going to
convert the background of this image into
| | 00:14 |
a layer.
And I can do that using the menu, if I
| | 00:17 |
choose Layer > New, and then Layer from
Background.
| | 00:21 |
And, I'll go ahead and name this layer
photo and click Okay.
| | 00:26 |
Now when I add the canvas size I'll be
able to add a transparent area so that I
| | 00:30 |
can reposition the photograph on the
canvas.
| | 00:34 |
In order to add the canvas size, I'll
choose Image and then Canvas Size.
| | 00:39 |
I want to add an inch to the left and the
right in the top but I want to add two
| | 00:44 |
inches at the bottom.
So, I'll change the width to 8 and the
| | 00:48 |
height to 7.
I'll also point out that there is a
| | 00:52 |
Relative option here.
If I choose the Relative option, you
| | 00:56 |
should know that to add 1 inch around the
whole image, you would need to actually
| | 01:02 |
add 2 inches here, because it's going to
add 1 inch on either side.
| | 01:06 |
You can also change the units of
measurement, that might be really handy
| | 01:11 |
as you're trying to add canvas size.
You might want to add a certain percent,
| | 01:14 |
for example.
But right now, I'll leave this set to
| | 01:17 |
inches, uncheck the Relative option, and
then, just make sure that we have this
| | 01:22 |
set 8 inches for the width, and 7 inches
for the height.
| | 01:26 |
I can also tell Photoshop where to
position the image.
| | 01:31 |
If I wanted image in the upper left to
anchor it there.
| | 01:34 |
If I want it in the lower right, we click
to anchor down here.
| | 01:37 |
I actually want it right in the center so
I'll just leave it as it's default.
| | 01:42 |
I'll click OK and you'll see that
Photoshop has added some canvas size.
| | 01:45 |
Although we can see all the canvas, so
I'm going to hold down the Cmd key on
| | 01:50 |
Mac, Ctrl key on Windows, and then tap
the minus sign.
| | 01:53 |
I'll tap it again to make sure that we
can see all of the canvas.
| | 01:57 |
Because this photo is on its own layer,
I've got the transparent checkerboard
| | 02:01 |
behind it.
If I select my move tool, I can then
| | 02:05 |
reposition the photo.
This time when I start dragging up, I'm
| | 02:08 |
going to hold down the shift key.
That will constrain the motion so that
| | 02:13 |
it's just a vertical change.
And I'm also going to use the heads up
| | 02:17 |
display in order to guage how much I'm
moving the image.
| | 02:22 |
So I want to go ahead and move it up,
right there to 0.5 inches.
| | 02:26 |
That means that I've moved it a half an
inch up and I haven't moved it at all
| | 02:30 |
left or right, so then I'll go ahead and
release the cursor, and now that it's in
| | 02:35 |
position, let's go ahead and add another
layer and fill that layer with a color.
| | 02:40 |
Now, last time we added a new layer, we
used the Layer menu.
| | 02:44 |
And chose new layer.
But we can also add a new layer using the
| | 02:48 |
layers panel.
However when I click on the new layer
| | 02:51 |
icon, you can see that the new layer gets
added above the photo layer.
| | 02:56 |
So I'm going to choose to undo that and
this time I'm going to hold down a
| | 03:00 |
keyboard shortcut.
I'm going to hold down Cmd key on Mac or
| | 03:03 |
the Ctrl key on Windows while I click on
the New Layer icon, and that will tell
| | 03:09 |
Photoshop to add the new layer below the
photo layer, so that I don't have to
| | 03:13 |
change the stacking order of these two
layers.
| | 03:16 |
Now in order to fill this with a color,
I'll choose Edit, and then Fill, and this
| | 03:21 |
time I'll choose 50% grey for my
contents.
| | 03:25 |
I'll click Okay, and we've now filled
that background with gray.
| | 03:28 |
I also want to add a small drop shadow to
increase the separation between the image
| | 03:35 |
and that background, so on the layers
panel, I'll select the photo layer, and
| | 03:40 |
then at the bottom of the layers panel,
I'll click on the effects icon, and then
| | 03:44 |
choose drop shadow.
Now you can reposition the drop shadow by
| | 03:49 |
changing the angle as well as changing
the distance, but it's much easier if you
| | 03:55 |
simply click in your image area and then
drag in order to reposition the drop shadow.
| | 04:01 |
Now the drop shadow is a little bit too
hard-edged, so I'll go ahead and increase
| | 04:06 |
the size.
And I might want to decrease the opacity
| | 04:09 |
a little bit, to just make it a little
bit more subtle.
| | 04:12 |
When I click Okay, we can see that that
drop shadow has been added.
| | 04:16 |
If you want to modify the drop shadow,
for example, we might want to scoot it
| | 04:20 |
over to the left a little bit more, all
you need to do is double-click on the
| | 04:24 |
word drop shadow in the layers panel.
That brings up the layer styles dialogs again.
| | 04:30 |
I move it a little bit further out of the
way, and then I can reposition the drop
| | 04:34 |
shadow in my image area by just clicking
and dragging it a little bit to the left.
| | 04:39 |
I'll go ahead and click Okay, and we can
see the resulting refinement.
| | 04:43 |
So although adding canvas size to a photo
using the Crop tool is very convenient,
| | 04:49 |
when you need to be more precise, you
might want to use the Canvas Size option
| | 04:53 |
to extend the canvas around the image.
| | 04:55 |
| | Collapse this transcript |
| Straightening a crooked image| 00:00 |
There are several ways that you can
straighten an image in Photoshop, and the
| | 00:04 |
first way is with the Crop tool.
So if your Crop tool isn't selected, go
| | 00:08 |
ahead and tap the C key.
And then if you're on the Mac, hold down
| | 00:12 |
the Control key and click on the crop
marquee in the options bar and select
| | 00:17 |
Reset Tools.
If you're on Windows, just right mouse
| | 00:20 |
click on the crop marquee and then choose
Reset Tool.
| | 00:24 |
I just want to make sure that we don't
have any values set here in the ratio,
| | 00:28 |
and that we're all looking at the same
interface.
| | 00:30 |
You'll notice that when I position my
cursor outside of the crop boundary I get
| | 00:36 |
the double-headed arrow, and this is
going to allow me to rotate my image.
| | 00:40 |
And, of course, if I rotate it, I can
straighten it.
| | 00:43 |
So I'll just click, and then drag
clockwise with the mouse, in order to
| | 00:47 |
straighten this image.
And, I really like the way that the Crop
| | 00:52 |
tool instead of expanding the crop
boundary to include areas beyond the
| | 00:57 |
original photograph, it actually
constrains it to within the original photograph.
| | 01:02 |
Now, I'm going to go ahead and tap Cmd+Z
or Ctrl+Z on Windows, to undo that,
| | 01:08 |
because I also want to show you another
way with the Crop tool.
| | 01:11 |
If you simply hold down the Command key
on Mac or the Control key on Window,
| | 01:15 |
you'll notice that your icon changes.
And it's changed from the arrow, to the
| | 01:20 |
Straighten tool.
Now, the Straighten tool has a little
| | 01:23 |
cross-hair right there.
That is the hotspot, so I want to set
| | 01:27 |
that on one side of the image at the
horizon.
| | 01:31 |
And then we'll drag that across to the
other side and when I release the cursor,
| | 01:35 |
you can see that Photoshop has
automatically straightened it.
| | 01:39 |
So really, two different ways that you
can straighten an image with the Crop tool.
| | 01:44 |
Alright, let's go ahead and click on the
Cancel button here in order to cancel out
| | 01:48 |
of there.
And then I'll tap the V key in order to
| | 01:51 |
access the Move tool so we can hide those
crop handles.
| | 01:54 |
The second way that I want to show you to
straighten an image is with the Ruler tool.
| | 02:00 |
And the Ruler tool is nested underneath
the Eyedropper tool.
| | 02:04 |
So I'll select that from the flyout menu.
And then there are two ways that we can
| | 02:09 |
use this tool.
Well first of all, we should know that
| | 02:12 |
the arrow is the hotspot.
So I want to position the arrow right on
| | 02:16 |
top of the horizon.
And then click and drag over to the other side.
| | 02:20 |
But you'll notice that nothing happens
automatically when you use the Ruler tool.
| | 02:25 |
Really, all we did is we took a
measurement.
| | 02:28 |
And we can see the measurement of that
angle right up here in the Options bar.
| | 02:33 |
Now I can do one of two things.
I can either select the Image menu and
| | 02:38 |
then Image Rotation, and choose
Arbitrary.
| | 02:41 |
When I select this, Photoshop will
automatically enter in that angle right
| | 02:47 |
here in the option, and I can click OK,
and you can see that the entire image was rotated.
| | 02:54 |
You can also see that while Photoshop
rotated the image it had to add extra
| | 02:58 |
white canvas area around the outside.
Let's go ahead and undo that, we'll take
| | 03:05 |
another measurement, again I'll click on
the left hand side and then drag over to
| | 03:09 |
the right.
And this time, I'll simply click on the
| | 03:12 |
Straighten Layer option.
Now you might be wondering why I didn't
| | 03:16 |
do that in the first place.
Well, there's an important difference
| | 03:20 |
between the two options.
When I selected the Rotate menu here
| | 03:26 |
under the Image Size and selected Rotate
Arbitrary, Photoshop rotated the entire canvas.
| | 03:33 |
In Photoshop if you're working with
multiple layers, the easiest way to
| | 03:38 |
straighten just a single layer or if you
notice an easy way to convert the
| | 03:44 |
background into a layer when you
straighten it is to take your
| | 03:48 |
measurement, and then click Straighten
Layer.
| | 03:50 |
So that's the big difference between
using like the Crop tool, or the
| | 03:54 |
Straighten tool with the Crop tool, or
using the measurement and then choosing Arbitrary.
| | 03:58 |
All of those commands work on the entire
document.
| | 04:02 |
So if you had a multi-layer document, all
of your layers would be rotated.
| | 04:06 |
The way that you would want to rotate a
single layer within a document is by
| | 04:10 |
using this Ruler tool and then clicking
on Straighten Layer.
| | 04:15 |
And there you have it.
Two different ways that you can quickly
| | 04:17 |
straighten a tilted image in Photoshop.
| | 04:21 |
| | Collapse this transcript |
| Removing keystoning from buildings| 00:00 |
One of the fastest ways to correct a
leaning building on Photoshop, is to use
| | 00:05 |
the Camera Raw filter.
Now, it's important to note, that it's
| | 00:09 |
always better to correct this type of
distortion as early as you can in your workflow.
| | 00:14 |
So if you're working with Raw files or
JPEG files, it's better to use the Lens
| | 00:18 |
Correction and Upright Settings in the
Camera Raw plug in, before you open the
| | 00:22 |
file in Photoshop.
However, I know that we can't always
| | 00:27 |
start with our Raw files, and some of us
might want to go back into our Legacy
| | 00:31 |
files, and make corrections to
multi-layered documents, and just
| | 00:35 |
straighten a single layer within that
document.
| | 00:40 |
So in order to access Camera Raw, it's
underneath the Filter menu.
| | 00:45 |
I'll choose the Camera Raw filter.
That will bring up this image in the
| | 00:49 |
Camera Raw filter, which is a little bit
different from the Camera Raw plug-in.
| | 00:54 |
And I think you'll notice, that we don't
have quite as many tools here, nor all
| | 00:57 |
the panels that we have in the actual
Camera Raw plug in.
| | 01:02 |
But we're going to to select the Lens
Correction panel, and we want to make
| | 01:05 |
sure that we click on the Manual tab, and
now we can use the Upright option, in
| | 01:10 |
fact we'll click the Auto option, in
order to straighten this building.
| | 01:16 |
Now, the Upright option applies a kind of
more natural, a more balanced correction,
| | 01:21 |
but the lines aren't necessarily
completely straight.
| | 01:26 |
In fact if I turned on the Grid option
here, we can see that the vertical lines
| | 01:31 |
are almost straight, but not quite.
If I want to fine tune that, I can use
| | 01:36 |
the Vertical option here, or the fourth
icon, and you can see that those lines
| | 01:40 |
are now a little bit straighter.
Or, I can use the fourth option, which is
| | 01:45 |
the Full option, which will go ahead and
straighten only the vertical lines, but
| | 01:49 |
also the horizontal lines.
We'll go ahead and uncheck the Grid, and
| | 01:54 |
we can tap the P key to show a Preview of
before and after.
| | 01:59 |
Go ahead and click OK, and now we can see
that our image has been straightened
| | 02:04 |
right here in Photoshop.
| | 02:06 |
| | Collapse this transcript |
| Using the Perspective Crop tool| 00:00 |
Another way to manually crop and correct
the perspective of an image is by using
| | 00:05 |
the Perspective Crop tool.
Now the Perspective Crop tool is nested
| | 00:10 |
underneath the Regular Crop tool.
So we'll go ahead and select that.
| | 00:14 |
And then we'll click and drag out our
Crop Marquee.
| | 00:18 |
Now the goal here is to find something in
your image that you know the perspective of.
| | 00:23 |
So in this case I'm going to use the
window here and I'm going to move each
| | 00:28 |
one of the anchor points in order to
surround that window.
| | 00:33 |
Now don't worry.
I can actually include more than just the
| | 00:36 |
window in this image.
I'm only using the window to define the perspective.
| | 00:41 |
Now I need to Zoom In, so I'll use Cmd+
in order to Zoom In twice so that I'm
| | 00:46 |
viewing my image at 100%.
And then we can hold down the space bar
| | 00:50 |
in order to navigate to each of these
corners.
| | 00:54 |
Because I do want to be as accurate as
possible when I'm defining the Crop Marquee.
| | 01:00 |
Course sometimes this gets a little bit
difficult, especially if you think, for
| | 01:05 |
example, that the window should be
straight and in fact it's not.
| | 01:10 |
So let's just define the perspective
right there.
| | 01:14 |
And then I'll Zoom Out using Cmd- or
Ctrl- on Windows.
| | 01:19 |
And then I'll use the middle anchor
points here in order to include more of
| | 01:25 |
my original photograph in the Perspective
Crop.
| | 01:30 |
Once I've got these repositioned, I can
go ahead and click the check icon and we
| | 01:34 |
can see that it's very easy to manually
correct the perspective.
| | 01:39 |
So we'll just do a little Cmd+Z on Mac or
Ctrl+Z on Windows.
| | 01:43 |
There's before and there's after.
And the other great reason to use the
| | 01:48 |
Perspective Crop is not to correct a
perspective but maybe to add in a
| | 01:54 |
distortion to your image.
So, that's how easy it is to either add a
| | 01:59 |
correction or maybe make a distortion in
Photoshop.
| | 02:04 |
| | Collapse this transcript |
| Scaling, skewing, and rotating with Free Transform| 00:00 |
Typically, when you use the Crop tool or
the Image Size or Canvas Size command,
| | 00:04 |
you're working on the whole image.
But what if you want to work on a single
| | 00:08 |
layer or only part of a layer then we're
going to use the Free Transform.
| | 00:14 |
Now, if I want to transform this image
and I select the Edit menu, you can see
| | 00:19 |
that Transform is grayed out.
And that's because I'm working on a
| | 00:22 |
background layer.
I would either need to use a tool like
| | 00:26 |
the Marquee tool, and select part of my
image to work on it or turn the
| | 00:31 |
background into a layer.
However, in this example, what I want to
| | 00:35 |
do is I want to create a copy of the
photo and distort it, so that I have kind
| | 00:39 |
of a Picture-in-Picture effect.
So to do this, I'm going to duplicate the
| | 00:43 |
background layer.
There are a variety of different ways I
| | 00:46 |
can do this.
I can use Layer > New > Layer From
| | 00:50 |
Background or I can use the keyboard
shortcut Command+J on MAC or Control+J on
| | 00:57 |
Windows, in order to make a new layer via
copy.
| | 01:01 |
You can see that I now have two layers in
my Layers panel, they're exact duplicates
| | 01:05 |
of each other sitting right on top of
each other.
| | 01:08 |
Now I'm working on a layer though, I can
choose Edit > Free Transform.
| | 01:13 |
I can also select a very specific
transformation if I only wanted to do
| | 01:19 |
something like scale or rotate or skew my
image.
| | 01:23 |
I'll go ahead and choose free transform
for now and I'll grab the corner handle
| | 01:28 |
in the lower left.
If I don't hold down a keyboard modifier,
| | 01:32 |
you'll notice that I can freely transform
this.
| | 01:35 |
But if I want to constrain the aspect
ratio, then I need to hold down the Shift key.
| | 01:41 |
Now we can see that as I free transform
it, I'm not changing the aspect ratio or
| | 01:46 |
the proportions of the image.
If I also hold down the Option key on the
| | 01:50 |
Mac or the Alt key on Windows, you'll
notice that I can transform from the
| | 01:54 |
center of the image.
I'm just going to make my image say about
| | 01:58 |
that large.
Now, if I wanted to perform at their
| | 02:02 |
transformations, like going to the Edit >
Transform.
| | 02:07 |
And let's say I wanted to rotate this.
Now when I position my cursor outside of
| | 02:12 |
the transformation handles, I get that
double-handed arrow, and I can click and drag.
| | 02:19 |
When I let go, you have one level of
Undo, so I'll use Command+Z on the Mac or
| | 02:25 |
Control+Z on Windows to undo that last
transformation.
| | 02:29 |
I can also change the point around which
the transformation is rotated, and I can
| | 02:35 |
do that by clicking on the center point
here and then moving it.
| | 02:39 |
Let's go ahead and move it to the upper
left.
| | 02:41 |
Now I can position my cursor outside the
transformation boundaries again, and when
| | 02:46 |
I click and drag, you can see that I'm
rotating from that upper left.
| | 02:51 |
I'll go ahead and use Command+Z or
Control+Z to Undo.
| | 02:53 |
And to set back the point of origin from
which I transform around, I'll use the
| | 02:59 |
option bar and I'll click in the center
point here.
| | 03:03 |
And that will put the anchor point back
into the center.
| | 03:06 |
Now when I click and drag, you can see
that it's rotating from that center.
| | 03:10 |
Again, I'll use Command+Z or Control+Z to
Undo that.
| | 03:14 |
If I don't want to go all the way to the
Edit menu and then select a different
| | 03:18 |
transformation option, I can always use
my context-sensitive menus.
| | 03:23 |
So on the Mac you'd hold down the Control
key and then click.
| | 03:26 |
Or, on Windows we can right mouse click
and then we have access to all of the
| | 03:31 |
different options.
If I select Skew, now I can skew the
| | 03:36 |
image by dragging left or right on the
center handle here.
| | 03:40 |
Again, I'll undo that.
And then I'll use the context-sensitive
| | 03:44 |
menu again in order to select Distort.
Now, I can freely choose one of the
| | 03:50 |
anchor points and distort my image.
Again I'll undo that and then I'll use
| | 03:55 |
the context-sensitive menu to choose
perspective.
| | 03:58 |
And here, I'll drag on the top corner in
order to change the perspective of the image.
| | 04:04 |
Now, as I change perspective, I might
also want to scale this.
| | 04:10 |
So, I'll choose the Scale option and
then, we'll make this a little bit smaller.
| | 04:14 |
At any point in time, I can reposition or
move whatever's inside the transformation
| | 04:21 |
boundaries by just clicking and dragging.
Now to apply this transformation, I can
| | 04:26 |
either tap the Enter or the Return key,
or I can click on the check mark.
| | 04:31 |
But this image now just looks a little
bit confusing to me because it's hard to
| | 04:34 |
tell the difference between the image
that I've transformed and the background.
| | 04:38 |
I want to screen back the background.
But you'll notice in the Layers panel
| | 04:43 |
when I select the background I can't
change the Opacity for it.
| | 04:47 |
In order to change the Opacity, I need to
convert the background into a layer by
| | 04:51 |
selecting Layer > New > Layer From
Background.
| | 04:55 |
If I want to use a keyboard shortcut, I
can hold down the Option key and
| | 04:58 |
double-click on the background and that
will convert it to a layer for me.
| | 05:02 |
Now I can decrease the Opacity using the
Opacity slider in the Layers panel.
| | 05:08 |
But what I'm seeing is the transparent
checker board.
| | 05:11 |
I'd like to see how this would preview if
its going to print based on printing on a
| | 05:16 |
white paper.
In order to do that, I'll go to the
| | 05:19 |
Photoshop menu in Mac, or go to the Edit
menu on Windows, and then select
| | 05:24 |
Preferences > Transparency & Gamut.
In order to turn off the checker board
| | 05:29 |
for grid size I'll select None.
Now when I click OK, Photoshop is
| | 05:35 |
previewing the image as if its been
flattened against a white background.
| | 05:40 |
If I think that I've decreased the
Opacity too much or too little, I can
| | 05:44 |
return back to Layer zero and the Opacity
slider, and either make it less
| | 05:49 |
transparent or more transparent just by
using the slider.
| | 05:53 |
In order to create a little bit more
separation between the front image Layer
| | 05:59 |
1 and this background Layer 0 that's
screened back, I'll add a small drop shadow.
| | 06:04 |
I need to make sure that I've got the
correct layer selected.
| | 06:07 |
So I'll click on Layer 1.
And then, I'll use the effects icon at
| | 06:11 |
the bottom of the Layers panel, and I'll
select drop shadow.
| | 06:14 |
I'm going to reposition the Layer Style
dialog to the upper left.
| | 06:19 |
And I'm actually going to move it a
little bit off screen because I only need
| | 06:22 |
to work with these options here.
In order to reposition the drop shadow, I
| | 06:28 |
can click and drag in my image area.
And you can see that it's changing, not
| | 06:32 |
only the angle, but also the distance.
Then, in order to make this a little bit
| | 06:37 |
softer edge, I'll increase the size.
I think its a little bit too far away, so
| | 06:44 |
let's move it back a little closer.
And if I wanted to either increase the
| | 06:49 |
effect or decrease the effect I could use
the Opacity slider.
| | 06:54 |
Think I'll go ahead and leave that set to
about 75 and maybe just decrease the size
| | 06:59 |
of my drop shadow a little bit.
And then click OK.
| | 07:04 |
If I wanted to give it even more
separation I could add a stroke around
| | 07:08 |
the top image.
If I need to return to the Effects
| | 07:11 |
dialog, I can double click where it says
effects under Layer 1.
| | 07:15 |
Then I can add the stroke by clicking on
the check mark next to the stroke.
| | 07:20 |
But if I want to see the options for the
stroke effect, I need to actually click
| | 07:24 |
on the word Stroke.
You can see that I'm adding a small
| | 07:28 |
stroke with a size of three and I want to
put that position on the inside, so I get
| | 07:34 |
a sharp corner and the I'll click OK.
Two additional options that I'll just mention.
| | 07:40 |
If I were to go into Free Transform
again, I just want to show you that
| | 07:45 |
across the Options bar, we have a number
of ways that we can actually add numeric
| | 07:51 |
values to our transformation if we need
to be precise.
| | 07:56 |
And, I'll go ahead and cancel out of this
free transform by tapping the Escape key
| | 08:02 |
or we could click the Cancel icon here.
I just want to point that under Edit >
| | 08:07 |
Transform, there is an option to
transform again, if you wanted to apply
| | 08:13 |
the same transformation.
So this might be one of the more basic
| | 08:17 |
examples of using Free Transform.
But you can imagine how powerful this
| | 08:21 |
tool could be if you're trying to
composite two images together and their
| | 08:25 |
proportions are off between the subject
and the background.
| | 08:28 |
| | Collapse this transcript |
| Nondestructive transformations with Smart Objects| 00:00 |
If you're doing any design work or any
compositing and you've got multiple
| | 00:04 |
images, and you're making those images
larger or smaller.
| | 00:07 |
You'll soon find out that the free
Transform command is a destructive command.
| | 00:12 |
So in this tutorial, I want to show you
how to use smart objects, so that when
| | 00:17 |
you transform your images you're not
losing any image quality.
| | 00:21 |
We'll start over here with this left
waterfall.
| | 00:24 |
You can see that I have it selected in my
Layers panel, and if I just select Edit,
| | 00:30 |
and then Transform and Scale.
And if we hold down the Shift key, and
| | 00:36 |
the Option key in order to constrain the
proportions and scale from the center.
| | 00:41 |
If I make this image really small, and
then I apply that transformation, if I
| | 00:47 |
change my mind later, and I want to go to
Edit > Transform, and make this image
| | 00:54 |
large again by scaling it up, when I
scale it up it's going to look terrible.
| | 01:01 |
So now I'll click the check mark.
You can see how much information I've
| | 01:05 |
lost, because when I scaled the
information down using Free Transform,
| | 01:10 |
Photoshop threw away all of the
extraneous information, and then when I
| | 01:14 |
scaled it back up, Photoshop had to make
up that information.
| | 01:18 |
So I'm going to use the keyboard shortcut
Cmd+ z to undo that transformation, and
| | 01:24 |
then Cmd + Opt + z to undo the
transformation before that.
| | 01:30 |
I was just stepping back in history.
On Windows, of course, that would be Ctrl
| | 01:34 |
+ z to undo the last thing you've done,
and then Ctrl + Alt + z in order to step
| | 01:41 |
backwards again.
So this time before I transform my layer
| | 01:46 |
I'm going to convert my layer into what's
called a smart object.
| | 01:50 |
In order to do this I'll select the Layer
menu and then Smart Objects and convert
| | 01:55 |
to smart object.
Now the only way that I know that this is
| | 01:59 |
a smart object, is by looking at the
layers panel, and we can see this small
| | 02:04 |
additional icon on the thumbnail next to
the layer.
| | 02:07 |
That is my smart object thumbnail.
Now with this layer selected, if I choose
| | 02:13 |
Edit, Transform and then Scale, and I
hold down the Option and the Shift key,
| | 02:19 |
and we make this image really small.
And then I tap the Return key or the
| | 02:23 |
Enter key to apply that transformation.
If I change my mind, and this time
| | 02:29 |
instead of using the menu item, I'm
going to use the keyboard shortcut, which
| | 02:33 |
is Command on the Mac, Control on
Windows, plus the t key.
| | 02:37 |
That takes me right to free transform.
We can see I've got the transformation
| | 02:42 |
handles here, so I'll hold down Option
and Shift.
| | 02:45 |
We'll scale this right back up to like
100%.
| | 02:49 |
And you'll notice that when I release the
cursor, and tap the Enter key, or the
| | 02:54 |
Return key in order to apply that
transformation, I still have all of the
| | 02:59 |
original information.
So what's going on?
| | 03:02 |
Well, as soon as your convert your layer
into a smart object, Photoshop starts
| | 03:08 |
keeping track of all of that information
under the hood.
| | 03:12 |
So, that when you scale your image down,
Photoshop still has all of the high
| | 03:17 |
resolution information, it's just showing
you a lower resolution preview.
| | 03:22 |
That way you can change your mind, and
you can scale your images, or skew them,
| | 03:27 |
or distort them as many times as you'll
want to, without losing any quality.
| | 03:33 |
So for added flexibility when you're
working with different layouts,
| | 03:36 |
especially when you're working with
images that you know you're going to transform.
| | 03:41 |
If you convert them into a Smart Object
before applying any scaling or rotation,
| | 03:47 |
you won't lose any image quality.
It might make your file a little bit
| | 03:51 |
larger, but to me the added flexibility
is well worth it.
| | 03:55 |
| | Collapse this transcript |
| Warping images| 00:00 |
One of the features that we haven't
talked about is the ability for Free
| | 00:03 |
Transform to warp an image.
Because we're going to be using Free
| | 00:07 |
Transform, if I don't want this to be a
destructive edit, meaning that I might
| | 00:12 |
want to go in and change my mind.
Without losing any image quality, then, I
| | 00:16 |
should turn my layer into a smart object,
before transforming it.
| | 00:20 |
Just like we did in the last video.
But in order to add something new, lets
| | 00:24 |
actually select two layers on the layers
panel, and then warp them together.
| | 00:29 |
On the layers panel, the right waterfall
is selected.
| | 00:31 |
I'm going to hold down my Cmd key or my
Ctrl key.
| | 00:34 |
And also click to select the left
waterfall.
| | 00:38 |
Now, in order to convert them both to a
smart object, I'm going to select Layer
| | 00:43 |
and then Smart Objects > Convert to Smart
Object.
| | 00:47 |
You can see that Photoshop has nested
both of those layers into a single smart object.
| | 00:53 |
This is going to allow me to apply a warp
to both of the images at the same time.
| | 00:58 |
An important note is that I haven't
actually merged those two layers onto the
| | 01:03 |
same layer.
They're both independent, so if I wanted
| | 01:07 |
to edit the contents of that layer at any
time, I could always go into the Layer
| | 01:11 |
menu, choose Smart Objects, and then edit
the contents.
| | 01:15 |
When I select-edit the content, Photoshop
opens that smart object into its own window.
| | 01:23 |
So I'll click OK.
We can see now I have two window open.
| | 01:27 |
Here I have the contents of the smart
objects, and we can see that both of
| | 01:31 |
those layers are still independent.
I'll go ahead and close that for now.
| | 01:35 |
I don't want to actually do anything to
these layers.
| | 01:38 |
I just wanted to show you that you could
still access them.
| | 01:41 |
Independently.
Now we're looking at obviously the
| | 01:44 |
composite image with our smart object.
So in order to add our warp, I'll choose
| | 01:49 |
edit and then transform and then warp.
In the upper left we have a number of
| | 01:56 |
presets that you can choose from.
For example we have the arc preset or we
| | 02:02 |
have an arch We also have a flag that you
can select from, or maybe a wave or even
| | 02:10 |
a fish.
But the thing is, most of these warp
| | 02:13 |
quite dramatically, in fact, way too
dramatically by default.
| | 02:17 |
I'll go ahead and select the flag again,
but I want to change the amount of bend.
| | 02:21 |
You'll notice that when I position my
cursor on top of the word bend, I
| | 02:26 |
actually get an icon that has a hand With
arrows pointing in both directions.
| | 02:30 |
These are my scrubby sliders.
So, I can click the word "Bend", and then
| | 02:35 |
drag to the left in order to decrease the
amount of bend, or the amount of warp
| | 02:40 |
effect that I'm achieving.
If I click and drag to the right You can
| | 02:44 |
see that I can increase it.
I can also just go in and enter in a
| | 02:48 |
numeric value here.
Maybe a five, in order to just add a very
| | 02:53 |
slight warp.
If I also wanted to scale this image, I
| | 02:57 |
could toggle back and forth Between the
warping and free transformations, by just
| | 03:03 |
selecting the transformation in here.
So, again, if I wanted to scale this, I
| | 03:07 |
could select it.
If I want to constrain proportions, I'll
| | 03:11 |
hold down the shift key.
And if I wanted to scale it from the
| | 03:15 |
center, I'd also hold down the option
key, or the alt key on Windows.
| | 03:20 |
If I want to quickly return back to
warping, I can either use my contact
| | 03:25 |
sensitive menus.
Which is a right mouse click on Windows,
| | 03:28 |
or a Control click on Mac.
And choose Warp.
| | 03:32 |
Or you'll notice that there's an icon
right up here.
| | 03:35 |
It will toggle me back into warp.
I can also just click to move the image
| | 03:41 |
around, or if we choose custom from the
top of the menu, now I can go in and
| | 03:47 |
actually free form and warp this.
Luckily for me Command z or Control Z
| | 03:54 |
will undo the last warp and we can get
back to something that looks a little bit better.
| | 03:59 |
When I'm ready to apply this
transformation all I need to do is tap
| | 04:03 |
the Enter or Return key, or I can click
on the checkmark...
| | 04:08 |
And of course the benefit of applying
this warp to the smart object is that if
| | 04:13 |
I decide at any point in time that I want
to remove that, all I need to do is
| | 04:18 |
select edit, and then transform, warp,
and I can just change my preset to none,
| | 04:25 |
and it would remove that warp.
I'll tap the Enter or Return key or click
| | 04:30 |
the checkmark and I'll remove that warp
with absoultely no loss of quality.
| | 04:37 |
For me smart objects are such an
excellent way to give myself permission
| | 04:41 |
to experiment with my images without
worrying about any loss of quality while compositing.
| | 04:48 |
| | Collapse this transcript |
| Preserving important elements with Content-Aware Scale| 00:00 |
Sometimes when you initially take a
photograph, you're not sure what the
| | 00:03 |
intent of the photograph will be down the
road.
| | 00:07 |
Maybe you thought it was going to work
for one project but you ended up using it
| | 00:10 |
for another.
And quite often I find that the aspect
| | 00:14 |
ratio of the original image just isn't
going to work, with the aspect ratio that
| | 00:20 |
the client requires.
Let's take for example this image here,
| | 00:24 |
and I want to crop this down to a four by
five aspect ratio.
| | 00:29 |
So I'll use my Crop tool, I'll just tap
the C key and I'll choose four by five
| | 00:36 |
for the aspect ratio.
Now that is a vertical aspect ratio, I
| | 00:40 |
actually want horizontal, so let's tap
the X key.
| | 00:44 |
Well, you can see that if I crop this
down to a four by five, we're not going
| | 00:49 |
to have any space around the buildings on
the left or the right hand side.
| | 00:53 |
That's just too tight of a crop.
So what I'm going to do is, I'm going to
| | 00:58 |
kind of make a note of where this crop
would need to be.
| | 01:02 |
And I'll do that by viewing my rulers,
and then once I view my rulers, I can
| | 01:08 |
drag out some guides.
So if I position my cursor inside the
| | 01:11 |
ruler area, and then drag the first guide
out here, I'll return back, click in the
| | 01:17 |
ruler area, and drag out my second guide
to the end of the crop.
| | 01:22 |
Now, I don't actually want to crop right
now, so I will tap the Escape key, or we
| | 01:27 |
can click on the Cancel Crop icon.
And then I'm going to scoot over to the
| | 01:32 |
Move tool for a moment so that we don't
have that crop marquee.
| | 01:35 |
So now I know where I need to crop this
image.
| | 01:39 |
But I don't really want to free transform
it and just squish it.
| | 01:43 |
In fact, let's take a look at what that
would look like.
| | 01:46 |
Unfortunately, I'm on a background layer
so if I did choose Edit you'll notice
| | 01:50 |
that I can't free transform, so let's
convert that background into a layer.
| | 01:54 |
I'm going to hold down the Option or the
Alt key and just double-click on the word background.
| | 02:00 |
That converts it into a layer.
And now I can choose Edit and then Free Transform.
| | 02:06 |
But when I start transforming this, if I
want to bring in both of these edges, you
| | 02:12 |
can see that all of the sudden, I'm
really squishing it and the buildings are
| | 02:16 |
looking out of proportion.
So let's go ahead and tap the Escape key
| | 02:20 |
or the Cancel icon right here in order to
cancel out of that.
| | 02:24 |
What I'm going to use instead is
Photoshop's ability to analyze the
| | 02:30 |
content of the image and then scale based
on that content.
| | 02:34 |
So I'll choose Edit and then
Content-Aware Scale and now when I bring
| | 02:38 |
in the left side and I bring in the right
side, you'll notice that I'm not getting
| | 02:44 |
nearly the distortion that I was seeing
before.
| | 02:48 |
And that's because Photoshop is basically
looking at the image and it's analyzing
| | 02:53 |
the content, and it's trying to remove
information that's not as important.
| | 02:59 |
So it kind of goes down through the image
as we're trying to make it narrower and
| | 03:04 |
it's throwing away information that is of
a lower frequency.
| | 03:09 |
So by lower frequency it doesn't have as
much change, right?
| | 03:13 |
So all of this area right here is
going to be a much higher frequency than
| | 03:18 |
this grass area right here.
And if we want to compare this to what
| | 03:22 |
this would like if I had just used Free
Transform, I can use the amount slider
| | 03:27 |
here, so this is using the content aware
scaling.
| | 03:31 |
If I take off the amount, this is what
this would look like with free transform.
| | 03:36 |
So again, here's the content aware.
You can see how the buildings keep their proportions.
| | 03:41 |
Without that, that is the free transform.
And if we wanted to take this to a little
| | 03:46 |
bit more of an extreme, I'll just go
ahead and bring this over quite a ways,
| | 03:51 |
and you can actually watch how Photoshop
tries to remove all of the green grass
| | 03:56 |
areas between the buildings, basically
before it starts squishing the buildings.
| | 04:02 |
So again, let's take a look here.
This is the content aware scaling.
| | 04:05 |
If I move the amount all the way over,
you can see how distorted the image gets
| | 04:10 |
when you just use Free Transform versus
using the Content Aware scaling.
| | 04:15 |
I'll go ahead and bring that back to the
four by five aspect ratio.
| | 04:21 |
And then we'll tap the checkmark in order
to apply that, then I could go ahead and
| | 04:25 |
tap the C key to get my Crop tool and
we'll just reposition the image within
| | 04:31 |
that crop and then tap the checkmark to
apply it.
| | 04:35 |
So the next time you need to change an
image in order to make it fit inside a
| | 04:41 |
specific aspect ratio, try using the
Content Aware Scaling option in Photoshop
| | 04:46 |
instead of Free Transform.
| | 04:48 |
| | Collapse this transcript |
|
|
11. Working with LayersExploring layer basics| 00:00 |
Photoshop's ability to work with layers
is definitely one of my favorite
| | 00:03 |
features, so let's take a look at how we
can master the layers panel in order to
| | 00:07 |
create a composite.
We're going to start in Bridge and select
| | 00:10 |
these first three files to open.
I'll select the first one, hold down the
| | 00:14 |
Shift key, and then select the third one.
Then I'll hold down the Cmd key on the
| | 00:17 |
Mac, or the Ctrl key on Windows, and tap
the O key in order to open all three images.
| | 00:23 |
Now we can see the tabs for all three
open documents, and we can click on the
| | 00:27 |
tabs in order to see each one
individually.
| | 00:31 |
But I want to put all 3 of these separate
documents into the same document so that
| | 00:35 |
I can work with multiple layers.
There are a variety of different ways
| | 00:39 |
that we can do this.
One of the probably easiest ways to do it
| | 00:43 |
would be to select the Move tool in the
toolbar and then position it in the image
| | 00:48 |
area of the first document, pull down the
mouse, and drag it over the tab of
| | 00:53 |
another document.
When you position a cursor over the other
| | 00:56 |
tab, that document will pop to the
foreground.
| | 01:00 |
Now, I need to position my cursor
anywhere in this document window.
| | 01:04 |
But if I were to release the cursor now,
you can see that Photoshop just sets down
| | 01:10 |
the image exactly what I told it to, or
what I really wanted it to do was I
| | 01:14 |
wanted it to center it.
So, I am going to use the keyboard Cmd+Z
| | 01:18 |
or Ctrl+Z on Windows to undo that, and
then I will return back to 03, the three
| | 01:24 |
branches image.
I've got the Move tool selected.
| | 01:27 |
I'll click and hold down the mouse, drag
it on top of the first documents tab.
| | 01:32 |
And this time when I bring my cursor back
into the image area, I'm going to hold
| | 01:37 |
down the Shift key, and that tells
Photoshop to drop this other document
| | 01:41 |
directly in the center of the first one.
Excellent, so another way that we could
| | 01:46 |
do this that might be easier would be to
see all our images at one time.
| | 01:51 |
So I'm going to select window and then
arrange and you can see that I have some
| | 01:56 |
keyboard shortcuts next to the command
for tile.
| | 01:59 |
We created this shortcut in an earlier
video.
| | 02:02 |
So you can either use the shortcut or
just select tile.
| | 02:05 |
And now we can see all of our images.
The one that's active, or the currently
| | 02:10 |
selected document, is a little bit
lighter as far as the title goes.
| | 02:15 |
So we know that we've already dragged
this document into the dark trees into
| | 02:20 |
the composite, so I can go ahead and
close this and I'll do that just by
| | 02:24 |
clicking on the X icon in the tab.
You can see that Photoshop automatically
| | 02:29 |
re-tiled my images.
This one on top is still selected and I
| | 02:32 |
can see the layers, in the layers panel.
So, I'll move down and click on the O 2
| | 02:37 |
tree trucks image down here.
Now, I can simply use the move tool and
| | 02:42 |
click it, anywhere in the image area.
Hold down my mouse and drag it on top of
| | 02:46 |
the other image.
Again if I hold down the Shift key, then
| | 02:49 |
Photoshop will drop that right into the
center.
| | 02:53 |
Again, I'm going to undo that just to
show you another way that you can drag
| | 02:57 |
and drop layers.
So I'll use Cmd+Z on the Mac or Ctrl+Z on Windows.
| | 03:02 |
Now this top document is still selected,
so I need to actually click down below in
| | 03:07 |
the 02 tree trunks file in order to make
it the currently selected document.
| | 03:12 |
And then instead of dragging and dropping
from the image area.
| | 03:15 |
You should know that you can also drag
and drop from the layers panel.
| | 03:18 |
So I'll click where it says background,
hold down my mouse, and then just drag
| | 03:23 |
this up to the top document.
Again, if I want it centered, I need to
| | 03:27 |
hold down the Shift key.
Excellent.
| | 03:29 |
We no longer need the 02 tree trunks file
open, so let's close that.
| | 03:33 |
And now we can see in our 01 dark trees
file, I have all three layers here.
| | 03:39 |
If I want to toggle on and off the
visibility of my layers, I can click on
| | 03:42 |
the eye icon next to any layer.
I can even toggle off the background layer.
| | 03:47 |
Now I'm looking at Transparency right now
but you can see that my screen is all
| | 03:54 |
white, and that's because in a past video
I selected the Photoshop menu on the Mac
| | 03:59 |
or the edit menu on Windows, and then I
chose Preferences.
| | 04:03 |
Then I came down to Transparency and
gamut.
| | 04:06 |
I turn the grid size to none but by
default this will actually be set to medium.
| | 04:12 |
So, let's go ahead and chose that, and
click Okay.
| | 04:15 |
Now you can see that when I hide the
visibility of all three layers, Photoshop
| | 04:19 |
is showing me transparency with this
checkerboard.
| | 04:23 |
Now we need to take a look at the
background layer, because it is rather
| | 04:27 |
unique when you first open a document.
Photoshop might open that document as a
| | 04:32 |
background depending on the format that
you're opening.
| | 04:35 |
You should know that just because you can
see the layer, that doesn't necessarily
| | 04:40 |
mean that the layer is active.
Right now Layer 2 is selected, so if I do
| | 04:44 |
something to my image, I would be doing
it to Layer 2.
| | 04:47 |
I want to make sure that I come down and
click on the background layer in the
| | 04:50 |
Layers panel in order to select it.
Now, there are 3 things that you cannot
| | 04:56 |
do with the background layer.
The first thing that you can't do is you
| | 04:59 |
can't move it or re position it.
Even if I have Move tool selected, if I
| | 05:04 |
click and drag in the background layer,
when I release my cursor, Photoshop
| | 05:09 |
brings up the error message that I can't
use the move tool because the layer is
| | 05:13 |
locked, and that's true.
You can see here, there is a lock icon on
| | 05:17 |
the background there, and in fact you
cannot remove that lock icon unless you
| | 05:22 |
turn the background into a regular layer.
Before we do that I want to show you two
| | 05:26 |
other things that limit what you can do
in the background.
| | 05:30 |
If I wanted to reposition the background,
if I wanted to change the stacking order,
| | 05:35 |
meaning that I wanted to not reposition
it in the image area but I actually
| | 05:39 |
wanted to move it on top of Layer 1.
If I click and try to drag in the layers
| | 05:45 |
panel, you can see that Photoshop gives
me, that international symbol for you
| | 05:49 |
can't do this and when I release my
cursor, sure enough, the background is
| | 05:54 |
still at the bottom.
Again, we would need to turn the
| | 05:57 |
background into a layer, in order to
reposition it in the layers panel and
| | 06:01 |
change the stacking order.
And the third thing that you cannot do
| | 06:05 |
with the background layer, is you cannot
erase the transparency.
| | 06:09 |
So if I tap the E key on the keyboard, or
if I select my Eraser tool and I start
| | 06:15 |
erasing on the background, I'm not seeing
the checkerboard here.
| | 06:20 |
Instead, I'm seeing white which happens
to be my background color.
| | 06:24 |
So let me Undo that, and we're going to
turn the background into a layer.
| | 06:28 |
Now there's many ways we can do this.
We can go into the Layer menu and choose
| | 06:33 |
New and Layer from Background, or we can
simply double-click on the word
| | 06:38 |
Background in the Layers panel.
When you double click on the word
| | 06:42 |
background, it enables us to name the
layer.
| | 06:45 |
So in this case I'm going to name it
Texture, because I'm going to use this as
| | 06:50 |
kind of a screened back texture in my
composite.
| | 06:53 |
When I click OK you can see that we no
longer have a background and the layers
| | 06:57 |
been unlocked.
Now, I can reposition the layer and the
| | 07:02 |
stacking order if I wanted to by dragging
it up and then releasing the mouse.
| | 07:06 |
I don't actually want to do that, so I'll
use Cmd+Z on a Mac or Ctrl+Z on Windows
| | 07:11 |
to undo that.
I can also reposition the layer by
| | 07:14 |
selecting the Move tool and then dragging
it over to the right.
| | 07:19 |
Again, I'll use Cmd+ or Ctrl+Z to undo
that.
| | 07:22 |
And finally, if I tap the E key again to
select the Eraser, this time when I start
| | 07:27 |
dragging with the Eraser, you can see
that it's revealing that checkerboard
| | 07:31 |
underneath, so I'm actually erasing two
transparencies.
| | 07:34 |
Excellent, let's undo that as well, using
Cmd+Z on the Mac or Ctrl+Z on Windows.
| | 07:40 |
Now I'm going to tap the V key in order
to give me the Move tool, and let's go
| | 07:45 |
ahead and rename the other layers.
I'll select Layer 1, and I'll also click
| | 07:50 |
to the left of the thumbnail right here
in the empty square in order to make it visible.
| | 07:55 |
Then to rename, I'll double click on
Layer 1 and we'll call this branches.
| | 08:01 |
Then I'll move up to layer two.
We can make it visible and then double
| | 08:06 |
click on Layer 2 on the name, and we'll
call this trunks.
| | 08:11 |
I'll tap Return or Enter in order to
apply that.
| | 08:14 |
Now, if I want to change the stacking
order or reposition how these appear, all
| | 08:19 |
I need to do is select the layer that I
want to reposition and then drag it up or
| | 08:24 |
drag it down until I see that solid gray
line.
| | 08:28 |
Then I can release the mouse and I've
changed the stacking order on my layers panel.
| | 08:33 |
Now I brought in both the branches layer
as well as the trunks layer in order to
| | 08:38 |
determine which one I liked better.
If we toggle on and off the visibility of
| | 08:42 |
the branches layer, I think I'm going to
like the trunks layer better.
| | 08:46 |
So I'll make the branches layer visible,
and then I want to delete it.
| | 08:51 |
The easiest way to delete a layer in
Photoshop is to simply tap the Delete
| | 08:55 |
key, but you could also drag it down to
the trash icon in order to delete it.
| | 09:01 |
Now, I know that I'm going to want this
trunks layer to be a little bit smaller,
| | 09:05 |
but I'm not quite sure how much I want to
resize it.
| | 09:09 |
So to make sure that I keep the document
flexible, I'm going to turn that layer
| | 09:14 |
into a smart object first by selecting
Convert to Smart Object.
| | 09:19 |
Now, when I select Edit and then Free
Transform, I can scale this down, knowing
| | 09:25 |
that I can always rescale it back up
without losing any quality.
| | 09:29 |
I'm going to hold down the Option key on
the Mac, or the Alt key on Windows, as
| | 09:33 |
well as the Shift key, and then just drag
to make it a little bit smaller.
| | 09:38 |
When I like the size, I'll go ahead and
tap the Enter, or Return key.
| | 09:42 |
Now I want to change the opacity of the
texture layer.
| | 09:45 |
So I'll select it on the Layers panel,
and then, I can either use the opacity
| | 09:51 |
slider here.
In fact, I can click on the word Opacity,
| | 09:54 |
and drag left, or right, in order to
change the opacity.
| | 09:58 |
I can use the drop down arrow here and
then use the slider, or I can enter in a value.
| | 10:05 |
So let's go ahead and enter in 50 and
then tap the Return or Enter key.
| | 10:09 |
I also want to show you one additional
way, and this is actually my favorite way.
| | 10:15 |
As long as you have one of these top
tools selected, like the Move tool or the
| | 10:20 |
Marquee tool, you'll notice that none of
these tools have an option for opacity or
| | 10:27 |
blend mode here in the Options bar.
So I can select any of these tools, and
| | 10:32 |
then I can use my numeric keys in order
to change the opacity on the layers panel.
| | 10:38 |
So if I tap 8 right now, you can see that
my opacity went to 80%.
| | 10:44 |
If I type quickly and I know the exact
percentage I want to go to, I could type
| | 10:50 |
in 56 and I would go to 56%.
Now if you wanted to go back to 100% you
| | 10:57 |
would tap the 0 key, and if you wanted to
go down to nothing, to 0% then you tap 00 twice.
| | 11:05 |
But I'm not getting a very realistic view
of that background because the
| | 11:10 |
checkerboard is getting in the way, so
I'm going to return back to the Photoshop menu.
| | 11:15 |
On Windows, you'd go to the Edit menu,
and then Preferences, Transparency and
| | 11:19 |
Gamut, and I'll change the grid size to
none.
| | 11:23 |
We'll click Okay.
Now we'll use that keyboard shortcut,
| | 11:27 |
maybe the 6 key to give us 60% of the
texture layer.
| | 11:32 |
Just in case you're wondering why you
have to have these tools selected, let's
| | 11:36 |
select the brush tool for a moment.
You can see that the brush tool has an
| | 11:40 |
opacity slider.
So if I were to tap the five key right
| | 11:44 |
now, it would change the opacity for the
brush.
| | 11:47 |
I don't want that, so I'm going to tap
the zero key in order to bring that back
| | 11:51 |
to a hundred percent.
So just keep in mind that if you are
| | 11:55 |
going to use the numeric keys to change
the opacity on the layers panel, you've
| | 12:00 |
got to select one of these tools first.
So I might tap the V key first and then I
| | 12:06 |
probably would tap like four to get 40%
or seven to get 70%.
| | 12:11 |
Now at this point, we've done enough work
on this image that I would probably want
| | 12:16 |
to save it.
Because there are multiple layers, we
| | 12:19 |
don't actually have to worry about saving
over the original file.
| | 12:23 |
But if it makes you more comfortable, you
can still select File and then Save As.
| | 12:29 |
You can see that for the format,
Photoshop is going to default to the
| | 12:33 |
Photoshop format because this has
multiple layers.
| | 12:37 |
I'll go ahead and save it into the
original folder, this 11 layers, but I am
| | 12:42 |
going to change the name.
We'll call it 'Composite.psd', and then
| | 12:48 |
click Save.
I do want to leave on this maximum compatibility.
| | 12:53 |
Because that's going to enable me to take
this layered Photoshop document into
| | 12:58 |
another application that might not
support layers.
| | 13:01 |
Maybe Lightroom for example we'll go
ahead and click okay.
| | 13:04 |
And then we'll close the file for now.
I'm going to use Cmd+W or Ctrl+W on
| | 13:09 |
Windows (no period) Or you can use the
file menu and select close.
| | 13:15 |
If we return to browse and bridge now,
you can see that our composite file has
| | 13:20 |
been saved along with all of our original
source images.
| | 13:24 |
| | Collapse this transcript |
| Loading, selecting, and transforming layers| 00:00 |
As you get more comfortable working with
layers there are a few short cuts that
| | 00:03 |
will help you to be more efficient.
Let's go ahead and start by double
| | 00:07 |
clicking on our composite PSD file in
order to open it in Photoshop.
| | 00:12 |
Then I'm going to return to bridge using
the Cmd key and the Option key, or the
| | 00:16 |
Ctrl key and the Alt key on Windows, and
tapping the O key.
| | 00:19 |
Now, I want to load all four of these
layers into that document, although I
| | 00:26 |
can't automatically load it into the
composite document that's open.
| | 00:30 |
I can at least open all four of these
images into the same document, and I
| | 00:34 |
would do that by selecting tools and then
Photoshop, and then load files into
| | 00:40 |
Photoshop layers.
Bridge is going to hand off all 4 of
| | 00:44 |
these images.
And it's going to put each one of these
| | 00:47 |
individual documents into a single
multilayer document.
| | 00:52 |
We can see here, on the layers panel,
that I have all 4 of these layers.
| | 00:57 |
Let's go ahead and zoom out once.
I'm going to use Cmd+Minus so that we can
| | 01:01 |
see the full document, and then I'll
toggle the visibility of these layers by
| | 01:06 |
just clicking off the eye icon.
So we can see that there indeed all four layers.
| | 01:12 |
Alright, we'll go ahead and make them all
visible again, and I want to add all of
| | 01:17 |
these layers to my composite document.
I'll go ahead and use the Window menu and
| | 01:23 |
Arrange, and then choose Tile in order to
see both of my open documents.
| | 01:29 |
On my Layers panel, if I want to select
all four layers I can select the top one,
| | 01:34 |
hold down the shift key and then click on
the bottom layer.
| | 01:38 |
We can see that they're all now
highlighted and selected.
| | 01:42 |
But before I drag and drop them into my
composite image, let's click on the
| | 01:47 |
composite image and see what layer's
selected.
| | 01:51 |
I can see that the texture layer is
selected.
| | 01:54 |
I just want to keep this in mind because
when we drag and drop from one document
| | 01:58 |
to another, the layers will drop right on
top of whatever layer is selected.
| | 02:04 |
So when I return back to this layered
document.
| | 02:07 |
By clicking on it anywhere in the image
area, and then click in my layers panel,
| | 02:12 |
and drag all four of those layers into
the composite.
| | 02:17 |
We can see in fact that they did appear
right above the texture layer.
| | 02:22 |
All right, we no longer need the untitled
document, so I'll click on it, and then
| | 02:26 |
click on the X in order to close it.
I don't want to save it, so I'll click
| | 02:31 |
Don't Save.
Now if I want to reposition all of these
| | 02:34 |
layers, well they're already all
selected, so, I'll just click and drag
| | 02:39 |
them above the trunks layer.
I can also reposition them in the image
| | 02:44 |
area by selecting my Move tool.
If its not selected just tap the V key.
| | 02:49 |
And then because they're all selected in
my layers panel, I can go ahead and move
| | 02:54 |
them all at once.
I'm going to change the stacking order of
| | 02:58 |
the logo layer so I'll select it in my
layers panel and then click and drag it
| | 03:03 |
to the very top.
I'm also going to hide it for now by
| | 03:06 |
clicking on the eye icon in order to
toggle off its visibility.
| | 03:10 |
Now if I want to re-size the brown,
white, and blue trees layers, and you'll
| | 03:16 |
notice that they all came in already
named.
| | 03:20 |
And in fact if we move back to Bridge,
using Cmd+Option+O, or Ctrl+Alt+O.
| | 03:26 |
You can see that Photoshop actually took
the name of the file, and that's what it
| | 03:31 |
named the layer, and it did that because
we went to the Tools menu to Photoshop,
| | 03:36 |
and we loaded those files as layers.
So that's a really nice feature that you
| | 03:40 |
automatically get when you choose that
command.
| | 03:43 |
I'll click the boomerang in order to go
back to Photoshop.
| | 03:47 |
Now, I want to resize all three of these
layers, but, I want to do this in a
| | 03:52 |
flexible way.
So I'm going to want to convert all three
| | 03:56 |
of these to smart objects.
I can use the Layer menu, and then choose
| | 04:00 |
Smart Objects, and Convert to smart
Object, but it would be easier if I
| | 04:05 |
select the next layer and then use the
context-sensitive menus.
| | 04:10 |
So that's a right mouse click on Windows,
or the Ctrl key and click on Mac.
| | 04:15 |
So I'll select convert to smart object
from the menu.
| | 04:18 |
Move to the next layer, and then right
mouse click, and then again chose convert
| | 04:24 |
to smart object.
Now there are a variety of ways that we
| | 04:28 |
can select different layers.
So far I've been using the layers panel
| | 04:33 |
in order to select the layer.
But if I position my cursor in the image
| | 04:38 |
area, I can actually use the context
sensitive menus in order to quickly
| | 04:42 |
select layers without having to travel
all the way over to the layers panel.
| | 04:46 |
So if on Mac you hold down the command
key.
| | 04:49 |
And then click you'll notice that
wherever you click you can see all of the
| | 04:55 |
layers beneath where you clicked so in
this case I'm seeing 5 different layers.
| | 04:59 |
If I instead hold down the Ctrl key and
click over here on the Mac, or do a right
| | 05:05 |
mouse click on Windows, now I can only
see these two layers.
| | 05:09 |
If I click way over here on the left, now
I only get the texture layer.
| | 05:14 |
You can see that if I were to click, say,
over on the brown tree with my
| | 05:18 |
context-sensitive menus, I can then
quickly select the white trees.
| | 05:23 |
Even though I can't see them because they
are directly under the brown trees.
| | 05:28 |
Again, that's just your context sensitive
menu, and selecting the layer that you want.
| | 05:33 |
If I have the Move tool selected, and I
want to auto-select a layer, there's an
| | 05:38 |
option in the Options bar to auto-select.
Now by default it set to group, and we
| | 05:43 |
haven't talked about groups yet, so let's
change that to layer.
| | 05:47 |
Now wherever I click, if I click in the
background area here, this texture area,
| | 05:52 |
you can see that the texture layer was
automatically selected.
| | 05:56 |
If I click here, the trunks layer is
selected and if I click on top of the
| | 06:00 |
brown trees, we'll select that.
It's a little more difficult though If
| | 06:04 |
the layer is not showing.
So using this method I can't actually
| | 06:08 |
select the white trees or the blue trees.
Alright lets turn that off for a moment.
| | 06:13 |
If you don't want the auto select on all
the time and you just want to temporarily
| | 06:18 |
enable it as long as you have the move
tool selected you can hold down the Cmd
| | 06:23 |
key on Mac or the Ctrl key on Windows and
then automatically select a layer by
| | 06:28 |
clicking on it, so that might be an
efficient way as well.
| | 06:31 |
Alright, I'm going to select the 04, the
brown trees layer here, and I'm going to
| | 06:35 |
transform it.
So I'll use command t on the Mac or
| | 06:41 |
control t on Windows.
That's the same as choosing Edit, and
| | 06:44 |
then Free Transform.
If I want to transform this from the
| | 06:47 |
center and keep the aspect ratio, I need
to hold down the Option and the Shift key.
| | 06:53 |
But did you notice that only the layer
that I have selected is transforming?
| | 06:57 |
And I actually want to transform all
three of the layers at once.
| | 07:02 |
So let's tap the Escape key to get out of
there, and then I'll select all three
| | 07:07 |
layers, and let's go ahead and do that on
the layers panel.
| | 07:10 |
So the brown tree is selected I'll hold
down the Shift key and click on blue trees.
| | 07:16 |
Now when I use Cmd+T or Ctrl+T on
Windows, and I hold down the Option and
| | 07:21 |
the Shift key, or the Alt and the Shift
key on Windows, and I transform this, all
| | 07:26 |
three layers are going to transform
together.
| | 07:29 |
i can also reposition them while I'm in
free transform.
| | 07:32 |
We'll make them a little bit larger than
that and then tap Return or Enter to
| | 07:38 |
apply that transformation to each
individual layer.
| | 07:42 |
Now, I would like to spread out these
layers, right.
| | 07:45 |
I don't want them all stacked right on
top of each other.
| | 07:48 |
And there are some easy ways to align and
distribute your images.
| | 07:53 |
If you want to do this in a little bit
more free-form manner, then you can go
| | 07:57 |
under the View menu and under Show, you
can show your smart guides.
| | 08:03 |
Let's select the white trees layer, and
as I move it around when I move it to the
| | 08:08 |
left you can see the smart guides that
the two layers are in alignment.
| | 08:13 |
If I start dragging down, I lose the
smart guides.
| | 08:16 |
When I drag up and it snaps into
alignment, I'll see those smart guides.
| | 08:21 |
And of course I can also position it at
the bottom, and then I would only see one
| | 08:26 |
Smart Guide.
If I position it right at the corner we
| | 08:29 |
see two.
If I come down here and position them in
| | 08:31 |
the center, you can see how the Smart
guides are helping me to figure out
| | 08:36 |
what's in alignment.
Alright, let's go ahead and undo that.
| | 08:41 |
Now the other way that I can do this is I
could select the blue trees for example.
| | 08:45 |
And then using the Move Tool, I'll just
click and start dragging down.
| | 08:51 |
Now I would like for PhotoShop to
automatically distribute these with an
| | 08:56 |
even space between them.
So I'll hold down the Shift key, and then
| | 09:00 |
select the brown trees, so that all three
of these layers are selected.
| | 09:04 |
And then with the Move tool selected, you
can see that I have a number of options
| | 09:09 |
for alignment as well as distribution.
So I want to distribute these evenly.
| | 09:15 |
So I'll go ahead and select this icon and
now you can see that Photoshop has gone
| | 09:20 |
ahead and put an even amount of spacing
between those three layers.
| | 09:24 |
If I wanted to change that, all I would
need to do.
| | 09:28 |
Maybe select the white trees, and move
them up a little bit.
| | 09:32 |
Then, select all three layers again, on
my layers panel, and then click to
| | 09:37 |
distribute again.
While all of my layers are selected, I
| | 09:41 |
can also reposition them and I can use
the arrow keys to nudge them to the left
| | 09:47 |
or to the right.
And if I hold down the shift key and I
| | 09:50 |
tap an arrow key then you can see that it
nudges in larger increments.
| | 09:55 |
At this point if you wanted to turn off
those Smart Guides, you would select View
| | 10:01 |
and then Show, and then select Smart
Guides again to toggle it off.
| | 10:05 |
Alright, at this point we've done a
number of things to our image.
| | 10:09 |
So let's go ahead and do a file.
And I'm going to do another Save As, and
| | 10:15 |
I'm going to rename this Composite01,
because I like to name my file
| | 10:22 |
sequentially when I'm working on them so
then I know which one is the most current.
| | 10:27 |
I'll save it as a Photoshop file with my
layers, and click Save.
| | 10:31 |
We'll turn on the maximum compatibility,
and I'll click Okay.
| | 10:36 |
And then I'll select File, but this time,
instead of selecting just Close, I'll
| | 10:41 |
choose Close and go to Bridge.
That will close my document and take me
| | 10:45 |
right to Bridge, where we can see the
Composite01 file.
| | 10:49 |
| | Collapse this transcript |
| Organizing layers into layer groups| 00:00 |
As you work with more and more layers one
of the things that happens is that your
| | 00:04 |
Layers panel get a bit out of control.
In order to organize your layers you can
| | 00:08 |
use layer groups.
Now not only do layer groups help you
| | 00:12 |
organize your layers, you can actually
move all of your layers at one time if
| | 00:16 |
they're in a group.
You can transform them.
| | 00:18 |
You can change opacity, and blend mode,
and you can even mask all of your layers.
| | 00:22 |
And add layer effects.
So let's go ahead and begin by opening up
| | 00:27 |
the composite01.psd file.
If we wanted to select multiple layers,
| | 00:34 |
in this case I'll select the blue tree,
hold down the Shift key and select the
| | 00:38 |
brown trees, so I've got all three of
these small images selected.
| | 00:43 |
If I simply click on the folder icon here
to add a group, it just adds a group but
| | 00:49 |
it doesn't put those layers inside of it.
So let's undo that by using Cmd + Z or
| | 00:54 |
Ctrl + Z.
And instead I'll either use the keyboard
| | 00:58 |
shortcut to add a group which is Cmd + G
on the Mac or Ctrl + G on Windows.
| | 01:04 |
Or we can drag these three layers on top
of the folder icon, and that will place
| | 01:10 |
all three of those layers in the group.
Now, we can't see the contents of the
| | 01:15 |
group by default, but if we click on the
disclosure triangle.
| | 01:19 |
Sure enough, there are my three layers.
And I know that they're inside the group
| | 01:23 |
because they're indented.
Now, if I want to rename my group, I can
| | 01:27 |
simply double click on the word group and
then we'll rename this small images.
| | 01:33 |
Tap Enter return in order to apply that
name.
| | 01:37 |
Now because I have the group selected,
you'll notice that if i wanted to
| | 01:43 |
reposition these layers, I could simply
click and drag.
| | 01:47 |
And because the group it selected it
assumes that I want to move everything in
| | 01:51 |
the group at one time.
Likewise, if i were to choose Edit and
| | 01:55 |
then Free Transform, you can see that the
transformation handles are all the way
| | 02:00 |
around all of the contents in the group.
So, if I wanted to hold down the Shift
| | 02:04 |
key, and transform these a little bit
smaller, when I tap Return or Enter, each
| | 02:10 |
one of the individual layers has been
transformed.
| | 02:13 |
If I want to nudge them down I'll just
hold down the Shift key, and use the down
| | 02:17 |
arrow, and then I'll use the right arrow
in order to move them to the right a
| | 02:22 |
little bit.
Let's go ahead and show our logo layer.
| | 02:26 |
I'll select it and then toggle on its
visibility by clicking on the Eye icon.
| | 02:30 |
And I want to put the logo, and the
trunks layer inside a group.
| | 02:35 |
So I'll select them both.
This time I'm going to hold down the
| | 02:37 |
Command key on the Mac, or the Control
key on Windows in order to select two
| | 02:42 |
discontinuous layers.
And then I'll use the keyboard shortcut
| | 02:46 |
Cmd + G or Ctrl + G.
But watch what happens.
| | 02:50 |
Because these two layers are not next to
each other In the Layers panel.
| | 02:54 |
When I put them in a group, Photoshop's
got to decide, does it put it at the top
| | 02:59 |
or does it put it where the bottom layer
was and we can see that it added it to
| | 03:03 |
the top.
Now, if we wanted to reposition this
| | 03:06 |
group, which obviously we do because now,
this layer here that's called Trunks is
| | 03:12 |
above all of my small images.
We can click on the group itself, and
| | 03:17 |
start dragging it down.
If I were to let go of the group, in the
| | 03:21 |
middle of another group, it would
actually nest this group.
| | 03:25 |
Now that's not what I want, so I'm
going to move it all the way down here
| | 03:27 |
until it's right above the texture group.
We see that line going across.
| | 03:32 |
That gray line.
And I'll release my cursor.
| | 03:35 |
So now you can see the group, and the
small images are on the same level.
| | 03:38 |
If I had released it inside another
group, you can see that it would go ahead
| | 03:43 |
and nest that group.
And of course we know that these are in
| | 03:46 |
the small images group, because they're
at this level.
| | 03:49 |
And then these two layers are in group
one.
| | 03:51 |
But I don't actually want to do that, so
I'll use Cmd+Z, or Ctrl+Z.
| | 03:55 |
I want both of my groups, at the same
level.
| | 03:57 |
And I can go ahead and double-click on
group one, and we can call this large
| | 04:03 |
image, and also logo.
And then we'll go ahead and just tap
| | 04:09 |
Return or Enter in order to apply that.
So if I wanted to reposition the logo,
| | 04:15 |
instead of having the group selected, I
need to go down to the Logo layer and
| | 04:19 |
then move that into position.
Now I think that the Trunks layer is a
| | 04:23 |
little bit too small, so this is a good
example of why it's really nice to
| | 04:28 |
convert your layers in the smart objects.
Because, if I haven't when I wanted to
| | 04:33 |
re-size this up, I would be losing image
quality, but because I converted to a
| | 04:37 |
smart object before I re-sized it down.
That means that I can go ahead and use
| | 04:43 |
Cmd+t, or Ctrl+t on Windows, in order to
re-size this up, using Free Transform.
| | 04:49 |
And as long as I don't go over 100% in my
width and height, we know that Photoshop
| | 04:55 |
is going to use.
That original data and I will have a very
| | 04:58 |
high quality layer.
To apply that, I'll tap Enter or Return.
| | 05:02 |
I also think that this texture layer in
the background is a little bit too subtle.
| | 05:08 |
So I'll select it in the Layers panel,
and I'll tap the 8 key.
| | 05:12 |
Remember I can tap the 8 key because I
have the move tool selected.
| | 05:15 |
So tapping 8 will change my opacity to
80%.
| | 05:19 |
What I would like to get a little bit
more separation between my three small
| | 05:23 |
images and the background.
So I want to add a small thin stroke
| | 05:29 |
around each one.
Now in previous videos, we actually
| | 05:32 |
selected the individual layers in order
to add a stroke around it.
| | 05:36 |
But because all three of these small
images are in the same group, I can use
| | 05:41 |
the effects icon and select Stroke, and
we can add a stroke to all of the images
| | 05:49 |
within that group at one time.
So let's make the size a little bit
| | 05:53 |
smaller, I'm going to select two.
And I want the position to be inside, and
| | 05:58 |
I'm going to change the color a little
bit as well.
| | 06:00 |
So instead of just having a black stroke,
I'll click in the color swatch, and then
| | 06:05 |
I could select a color here using the
color picker, but what I would prefer to
| | 06:10 |
do is position my cursor over my image
area, and click with the eyedropper in
| | 06:15 |
order to sample kind of a darkish brown
color.
| | 06:19 |
Of course I could go in here and refine
that now.
| | 06:21 |
But at least that got me to the right
color.
| | 06:24 |
And then if I want to make it a little
bit lighter or darker, I can.
| | 06:27 |
I'll click OK and then OK again.
And you can see that I have that nice
| | 06:31 |
brown stroke around all three of those
images.
| | 06:34 |
When I resize that background layer, it
kind of put these three images a little
| | 06:38 |
bit out of proportion.
So because I have the small images group
| | 06:42 |
selected, it's really easy for me just to
use Cmd+t or Ctrl+t in order to re-size
| | 06:47 |
that group larger and scoot it over.
And one of the nice things is, is that
| | 06:52 |
even though I re-sized the contents of
the group, the stroke didn't change.
| | 06:57 |
So if I double-click where it says stroke
in my layers panel, that will return me
| | 07:02 |
back to my layer style, and you can see
that it's still set at two pixels.
| | 07:06 |
So it didn't change the stroke, it just
transformed the photographs or the
| | 07:10 |
content within those layers.
Alright, I also need to move the
| | 07:15 |
passenger seat logo.
I'm going to right mouse click, or you
| | 07:19 |
can hold down the Command key on the Mac,
and select the layer that you want.
| | 07:24 |
In this case, the logo.
That way I didn't have to return all the
| | 07:27 |
way over to the layers panel.
And then, I'll just drag that and
| | 07:30 |
reposition it up a little bit higher.
So you can see as you want to start
| | 07:34 |
working a little bit more quickly with
Photoshop and select layers and contact
| | 07:39 |
sensitive menus can really, really help.
And let's just look at the Layers panel
| | 07:43 |
for one moment.
You'll notice how nicely all of the
| | 07:47 |
layers in the groups are labeled, and I
know it might seem a little bit.
| | 07:51 |
Like overkill and it, it might take a
little more time to actually make sure
| | 07:55 |
that all the layers are named, and the
groups are all named, but if you are
| | 07:58 |
working in a collaborative environment,
and you're going to be handing off your
| | 08:02 |
files to another artist or production
team, or even if it's just you that has
| | 08:06 |
to revisit the files later to make
changes, it's really to your advantage to
| | 08:10 |
keep track of all of your layers.
At this time, I will select File, and
| | 08:15 |
then we'll choose Save As.
I'm going to save this as Composite02 as
| | 08:20 |
a Photoshop document, my layers are
going to be saved.
| | 08:24 |
I'll go ahead and click save with the
maximum compatibility turned on.
| | 08:28 |
And I think at this point, we can go
ahead and just check this don't show
| | 08:33 |
again, so that we don't get this dialogue
box every time.
| | 08:36 |
Instead it will just automatically
default to maximize in the compatibility.
| | 08:40 |
Click OK, and then we'll choose File, and
then close and go to Bridge.
| | 08:46 |
| | Collapse this transcript |
| Merging, rasterizing, and flattening layers| 00:00 |
As your documents contain more and more
layers, sometimes those file sizes will
| | 00:04 |
grow quite large.
So people are always asking me when I
| | 00:08 |
would want to flatten my image or when I
might want to merge layers together in
| | 00:13 |
order to save on file size.
Honestly, I think that the flexibility
| | 00:17 |
that you gain by keeping all of your
layers separate far outweighs any
| | 00:21 |
decrease in file size that you gain by
merging the layers together or flattening
| | 00:25 |
the images.
But with that in mind, there are a few
| | 00:28 |
ways that we can decrease the file size.
Let's go ahead and open Composite02,
| | 00:33 |
double-click on it, it opens in Bridge,
and let's take a look at our Layers panel.
| | 00:39 |
Well, we can see that in the small images
group, I have three layers, and all three
| | 00:45 |
layers are smart objects.
Now, if I'm absolutely positive that
| | 00:51 |
these are at the size that they're going
to remain, meaning that I'm never going
| | 00:55 |
to want to change my mind in the future
and scale them up or scale them down then.
| | 00:59 |
It might be to my advantage to resterize
the images at the size that they are,
| | 01:05 |
because if I have one of these layers
selected.
| | 01:09 |
And we choose Edit and then Free
Transform, we can see that we're scaling
| | 01:14 |
these down to 34%, so Photoshop is still
keeping track of the file at 100%.
| | 01:21 |
We're not even using half of the original
information, let's escape out of there by
| | 01:26 |
tapping the Escape key.
And in order to rastaurize it I'll select
| | 01:31 |
the layer and then rasturize and smart
object so now you can see that I no
| | 01:37 |
longer have that smart object icon, and
if I use free transform.
| | 01:42 |
And we make this larger, you can see I'm
going to be losing image quality so I
| | 01:47 |
don't want to do that.
I want to use Cmd+z or Ctrl+Z to undo.
| | 01:51 |
So once you do this, that's the size that
your image is going to be.
| | 01:55 |
But let's go ahead and do that to the
next layer.
| | 01:58 |
We could go to layer rasterize smart
object.
| | 02:02 |
And in the last one I'll just write mouse
lcick and I can also choose to rasterize
| | 02:08 |
my layer.
So now I might also want to merge some
| | 02:11 |
layers together and in fact all three of
these small images because they're not overlapping.
| | 02:17 |
I could, technically, merge them without
losing any quality, but, I do lose some
| | 02:23 |
flexibility, right?
Because right now, if I wanted to change
| | 02:27 |
the order.
Like, I wanted to move the blue trees, I
| | 02:29 |
could use my move tool and just start
dragging those up.
| | 02:33 |
And then, if I wanted to select the white
trees, we could use that context
| | 02:37 |
sensitive menu, or we could use the
Control key on the Mac.
| | 02:41 |
And then click and select the white
trees.
| | 02:45 |
Now I could select those and move them
down.
| | 02:48 |
So its very easy for me to reposition the
individual layers right now.
| | 02:52 |
If I were to select all three of these
layers on my layers panel and then choose
| | 02:58 |
from the flyout menu to merge layers or I
could also choose from the layer menu.
| | 03:03 |
ll the way down here at the bottom to
Merge Layers.
| | 03:07 |
Well now I've put them all on a single
layer and I've kind of reduced the ease
| | 03:12 |
at which I could reposition them and when
you do that, because none of them were
| | 03:17 |
overlapping, I'm actually not saving that
much space anyway.
| | 03:21 |
So that's probably not something I would
do so we'll just do a little Cmd+Z or Ctrl+Z.
| | 03:27 |
And of course if I merged 2 layers that
are overlapping, for example if I come
| | 03:31 |
down to the logo layer and I wanted to
merge that with maybe the trunks layer.
| | 03:36 |
Well, let's see what happens.
If I select them both, and I choose
| | 03:40 |
Layer, we come down to Merge Layers.
Not only did it merge them together, but
| | 03:46 |
it also converted that Trunks layer.
It converted it from being a Smart Object
| | 03:51 |
to just a rasterized layer.
And now this black logo is embedded in here.
| | 03:57 |
There's no way that I can separate that
black line, that black line's taken over
| | 04:03 |
the photograph underneath it.
This is kind of like doing an oil
| | 04:06 |
painting, right, where you just paint
right on top of the paint underneath.
| | 04:10 |
There's really no way to separate the
paint once it's been mixed.
| | 04:14 |
So I'm going to use command Z or control
Z.
| | 04:17 |
To undo that.
So if you want to maintain your level of
| | 04:21 |
flexibility, then I would suggest that
you really try to keep all of your layers
| | 04:26 |
intact and keep those smart objects as
smart objects.
| | 04:30 |
Now, let's talk about flattening the
image because you might want to send this
| | 04:34 |
to someone as a JPEG or post it online.
Well, I know that its tempting to go
| | 04:39 |
ahead and choose layer and then flatten
image but the problem with doing this is
| | 04:45 |
that if I forget I've done this and I hit
Cmd+S to save this file right now.
| | 04:50 |
Photoshop's actually going to save this
flattened version over my layered version
| | 04:56 |
so that's something that I don't want to
do and I don't really want to put myself
| | 05:00 |
in this situation where I might
accidentally do this.
| | 05:03 |
So let's do a quick undo, we can undo
that flatten image.
| | 05:08 |
And instead if I need to save this as a
JPEG all I need to do is choose file and
| | 05:13 |
then save as.
Now, you might be thinking, but JPEGs
| | 05:17 |
can't be layered.
And you're absolutely right, when I
| | 05:20 |
select JPEG as my format here, from the
list, you can see that Photoshop is
| | 05:25 |
going to warn me that it can't save
layers.
| | 05:28 |
But that's okay.
We'll go ahead and call this composite
| | 05:32 |
and let's go ahead and call it flat, so I
know.
| | 05:35 |
And actually, I'm going to keep that O2
on there.
| | 05:38 |
Because that just tells me that this is a
flattened version of that specific
| | 05:43 |
version of the composite.
So now when I click Save, and I pick my
| | 05:48 |
options here in the JPEG dialogue.
I'll go ahead and leave the quality set
| | 05:53 |
to ten, because let's take a look at the
file size here.
| | 05:57 |
When I move it all the way to 12, I've
got a one meg file, but if I move my
| | 06:02 |
quality down to 10, you can see that my
file size was cut in half, and in fact,
| | 06:09 |
if I move it down to 8, it's cut down
even further.
| | 06:13 |
Now, I have to be a little careful,
because PhotoShop is showing me a
| | 06:17 |
preview, but it's previewing my image at
50%.
| | 06:21 |
So if I want to see this at 100%, I can
use the Cmd key and the Plus key or the
| | 06:26 |
Ctrl key and the Plus key on Windows to
zoom in to 100%.
| | 06:31 |
So that I can actually see what this
file's going to look at after it's been save.
| | 06:35 |
If I move all the way down to the small
file, I'm not sure if you can see this on
| | 06:39 |
the video or not.
But I'm giving this audio effect in this,
| | 06:42 |
big blocks are starting to shock.
In fact, you can really see in the
| | 06:45 |
colored area of the small brown image.
So I know that I don't want to be that
| | 06:51 |
small of an image because it's having a
compressive way too much.
| | 06:54 |
So, I just use the slider and skid it
over and I think of we get around eight
| | 06:58 |
with an image like this because you mean
all of these images have motion blower on
| | 07:03 |
them any way I think I can get away with
a quality of 8.
| | 07:06 |
If I had an image that had a portrait,
I'd want to make sure that I'm looking at
| | 07:11 |
the person's eyes and make sure that I
don't bring the quality down so that I'm
| | 07:15 |
losing the sharpness of the eye.
So, I'll go ahead and choose 10 and click OK.
| | 07:20 |
But, look at my layers panel.
Photoshop is leaving the layered document
| | 07:26 |
up, so that I can still work with this
layered document.
| | 07:30 |
It saved off a copy of the JPEG, so let's
get over to bridge.
| | 07:35 |
I'll use Cmd+Opt+O or Ctrl+Alt+0 on
Windows, and we can see we still have my
| | 07:40 |
composite o two, that's my layered PSD
file.
| | 07:43 |
But Photoshop has saved off a version,
this composite 02 flat.jpeg.
| | 07:50 |
So when we return back to Photoshop we
can still continue to work with our Layer
| | 07:56 |
document, so I prefer saving off my JPEG
files that way...
| | 08:00 |
It just gives me the opportunity to make
a mistake when I flattened it, to
| | 08:04 |
accidentally save that flattened version
over my composite file.
| | 08:08 |
Two things that I just want to quickly
mention.
| | 08:11 |
These are P, and they're underneath the
Photoshop menu on the Mac or under the
| | 08:16 |
Edit menu on Windows.
If we come down to Preferences, and then
| | 08:20 |
we come down to File Handling.
You'll notice that there are two options
| | 08:24 |
here that are checked on.
I really like both of these options, The
| | 08:28 |
top one, the Save in Background, this
just means that if I have a really large file.
| | 08:33 |
Like maybe I have, you know, a 500 MEG
file, and I go to save that file.
| | 08:37 |
Instead of having a little progress bar
come up across the screen, where it tells
| | 08:42 |
me how much time it's going to take to
save, and, really, preventing me from
| | 08:46 |
doing anything else.
This allows Photoshop to simply save in
| | 08:50 |
the background, so that I can tell
Photoshop to save and then I can continue
| | 08:53 |
working on my file without that progress
bar stopping kind of the flow of my creativity.
| | 08:59 |
So that's a great feature and I would
leave that checked on and also this
| | 09:02 |
Automatically Save Recovery Information.
You can change how often Photoshop
| | 09:07 |
auto-saves in the background but really
this is just in case you crash like if
| | 09:11 |
there's a power outage or something and
your machine just, you know, has to get
| | 09:16 |
shut down.
Before you have time to save, if you
| | 09:18 |
hadn't saved for maybe an hour which I
would recommend I would really recommend
| | 09:23 |
that you save, save often save every 5 or
10 minutes, but you know, sometimes when
| | 09:27 |
you really get into Photoshop, it's hard
to remember to save.
| | 09:31 |
But Photoshop is actually saving every
certain increment of time, in that way if
| | 09:35 |
you do crash the next time you open that
document, Photoshop will open two
| | 09:40 |
versions of the document.
It will open this temporary file that is
| | 09:43 |
saving and it will also open the version
that you double clicked on and then you
| | 09:47 |
can decide which one you want to save.
Excellent, so let's click OK there.
| | 09:53 |
If you want to maintain the most flexible
work flow, I think you should leave your
| | 09:56 |
layers independent for as long as
possible.
| | 09:59 |
I would prefer not to rasterize them, and
I don't usually like to merge them down.
| | 10:05 |
Otherwise, I feel like I'm limiting my
ability to make these nondestructive
| | 10:09 |
changes to my images at a later time when
I might change my mind.
| | 10:13 |
| | Collapse this transcript |
|
|
12. Selections and Layer MasksUsing the Marquee and Lasso tools| 00:00 |
Frequently in Photoshop you're going to
want to make changes to just an isolated
| | 00:04 |
portion of your image and selections in
masking can help us do this.S Probably
| | 00:09 |
the most common selection tools are the
marque tools and the lasso tool, so let's
| | 00:13 |
look at those first.
Now in order to draw a selection we're
| | 00:16 |
going to open up a new file, and this new
file is going to be maybe seven by five
| | 00:22 |
inches at, say, 150 pixels per inch.
Click OK, you can see we have a new
| | 00:27 |
blank, white document.
I'll zoom in once using Cmd + n the Mac
| | 00:32 |
or Ctrl + on Windows, just so that it
fills our screen.
| | 00:34 |
Now, if I tap the m key, I get the
marquee tool.
| | 00:37 |
if I tap the l key, I get the lasso tool,
but both of these tools have additional
| | 00:42 |
marquee and lasso tools Nested underneath
them.
| | 00:45 |
So if you click and hold on one of them,
you can see the fly out menu, and I've
| | 00:49 |
got my rectangular marquee tool and also
my elliptical marquee tool.
| | 00:52 |
There's actually two additional tools,
the single row and the single column
| | 00:56 |
marquee tools.
They don't have the M key assigned to them.
| | 00:59 |
You can do this under the custom keyboard
shortcuts, but because these tools are
| | 01:03 |
used just for kind of very specific
reasons, and it's not that common, they
| | 01:08 |
don't have the keyboard shortcut.
If we click and hold on the lasso tool,
| | 01:11 |
you can see that we have not only the
regular lasso, which will help us draw
| | 01:15 |
just free form lines, but also the
polygonal lasso tool, and the magnetic
| | 01:19 |
lasso tool.
All right, so we're going to begin with
| | 01:21 |
the marquee tool.
So I'll tap the M key.
| | 01:24 |
And, if I click and drag you'll notice
that by default it drags out from the
| | 01:28 |
corner, and as I'm dragging you can see
that there's a little heads up display if
| | 01:32 |
I wanted to check the size.
When I release the cursor, then the heads
| | 01:37 |
up display disappears and if I position
my cursor inside of these marching ends,
| | 01:42 |
when I click and drag, you'll notice that
I'm not moving any pixels.
| | 01:47 |
I'm actually only dragging the actual
selection marquee and not anything
| | 01:51 |
underneath it.
If I want to deselect this, I can just
| | 01:55 |
click anywhere, either outside or inside
that marquee.
| | 01:59 |
Let's go ahead and drag another marquee,
this time I'm going to hold down the
| | 02:03 |
Shift key.
You can see, when I hold down the Shift
| | 02:05 |
key, that I'm constraining the aspect
ratio.
| | 02:07 |
In this case, I'm creating a perfect
square.
| | 02:10 |
I'll go ahead and deselect that.
And this time, I'll drag from the center
| | 02:14 |
of my image and I'll hold down the option
key.
| | 02:16 |
You can see when I hold down the Option
key on the Mac, or the Alt key on
| | 02:20 |
Windows, that I'm dragging the marquee
from the center.
| | 02:24 |
As opposed to the upper left.
If I release the option or the alt key,
| | 02:27 |
then you can see that it's dragging from
the upper left.
| | 02:30 |
Remember, I started this one in the
center.
| | 02:33 |
Alright, let's go ahead and deselect
that.
| | 02:34 |
And I'm going to click and drag out a
rather large rectangle here.
| | 02:39 |
And now, I want to add to this selection.
So, there are keyboard shortcuts to add
| | 02:44 |
to a selection, track to a selection,
even intersect a selection.
| | 02:48 |
Or you can select the icons at the top of
the option bar to do the same thing.
| | 02:52 |
So here we've got the add to, subtract
from, and intersect.
| | 02:57 |
So we'll click on the add to, and I'm
just going to add.
| | 03:01 |
A small rectangle right over here.
Now you can see that I didn't quite start
| | 03:05 |
the rectangle and alignment.
So as long as I still have my mouse down.
| | 03:09 |
I can hold down the Space bar and I can
actually reposition this.
| | 03:13 |
Then when I let go of the space bar, I
can go ahead and continue drawing it
| | 03:17 |
larger or smaller.
So I'm just going to add another little
| | 03:20 |
rectangle right there.
You can see instead of having two selections.
| | 03:24 |
Those have become one single selection.
Now if I want to subtract an area then
| | 03:29 |
I'll select this third icon.
And I just want to subtract a little
| | 03:34 |
square maybe right aorund here.
And now I want to actually add something back.
| | 03:40 |
So I'll move back to the Add To
selection.
| | 03:44 |
You can see I can just drag out my cursor
like this, in order to add this area.
| | 03:49 |
Because remember, what looks like those
little windows right now.
| | 03:52 |
I've subtracted that.
So they're not selected.
| | 03:55 |
So I'm just adding back in some little
window panes here in my illustration.
| | 04:01 |
Alright, now I want to subtract one more
thing this time instead of changing tools
| | 04:05 |
I'm just going to hold down the Option
key, you can see my cursor change when
| | 04:09 |
its got the plus that means I'm going to
add.
| | 04:12 |
I hold down the Option key, I get the
minus.
| | 04:14 |
And I'll just start right about here, and
just subtract this out away.
| | 04:18 |
I don't have to be exact here at the
bottom.
| | 04:20 |
Because remember, we're subtracting out,
so I can actually subtract more, or
| | 04:25 |
subtract further below the original
selection.
| | 04:28 |
Because it's not part of the selection,
anyway.
| | 04:30 |
Then again if I wanted to change where
this started, if I didn't quite get it in
| | 04:34 |
alignment with the top of those other
squares.
| | 04:36 |
I can go ahead and hold down the
Spacebar.
| | 04:38 |
That allows me to change my point of
origin.
| | 04:40 |
Let go of the Spacebar and then I can
continue dragging.
| | 04:44 |
So, what we're doing is we're creating a
basic mask.
| | 04:48 |
Anything inside the selection would be
affected by whatever we do, and anything
| | 04:53 |
outside would not be affected.
So, let's go ahead and give this a try.
| | 04:58 |
I'm going to go to the Edit menu, and I'm
going to select Fill, and for the
| | 05:02 |
contents, I'm going to use a Color.
And we'll just select maybe a yellow
| | 05:07 |
color here.
And we'll make it pretty pale.
| | 05:10 |
Click OK.
OK again, and now we've filled that
| | 05:14 |
region that we had selected.
If I do have one of these icons selected
| | 05:18 |
like the Add To or the Subtract From,
you'll notice that just clicking outside
| | 05:22 |
of the selected area doesn't deselect.
So you might want to learn a keyboard
| | 05:27 |
shortcut and that's Cmd+D or Ctrl+D on
Windows to quickly deselect anything
| | 05:33 |
that's selected in your image.
Now, let's scoot over to the Elliptical
| | 05:37 |
Marquee Tool.
If we just click and drag, the Elliptical
| | 05:41 |
Marquee Tool might take a little getting
used to.
| | 05:44 |
Let's deselect that for a moment and I'm
actually going to show my rulers under
| | 05:48 |
the View menu.
So that we can drag out some guides.
| | 05:52 |
So I'm just clicking and dragging in the
ruler area.
| | 05:54 |
I want to drag one out from the left
side, and one out from the top so I have
| | 05:58 |
a horizontal and vertical guide that just
connect.
| | 06:01 |
And the reason I'm drawing this is just
to show you that if I place my cursor
| | 06:05 |
with the elliptical marquee in the
crosshairs there of where those two
| | 06:10 |
overlap, when I click and drag.
Do you see where I'm drawing the marquee from?
| | 06:16 |
So, the cirtcle is going to start in the
upper left and I'm going to drag out just
| | 06:20 |
like I was dragging out the rectangle by
default.
| | 06:23 |
Now, if I wanted this to behave in a
different manner, Let's go ahead and use
| | 06:27 |
Cmd + D or Ctrl + D in order to deselect
that.
| | 06:30 |
And this time, I'll put my crosshairs in
the intersection of those two guides.
| | 06:34 |
Then I'm going to hold down the Option
key, and now watch as I drag out.
| | 06:38 |
You can see that I drag this elliptical
marquee from the center.
| | 06:42 |
And of course if I hold down the Shift
key, I get a perfect circle.
| | 06:45 |
So we'll go ahead and draw a circle right
about there, and now I really don't need
| | 06:50 |
those guides showing anymore, so we'll
select view, and then show, and I can
| | 06:54 |
just hide my guides by selecting them
here from the list.
| | 06:57 |
Those guides are actually still in my
file, if I ever wanted to show them again.
| | 07:01 |
All I need to do is choose View, and then
Show, and Guides again.
| | 07:06 |
If I actually wanted to delete the
guides, I'd go into the View menu, and I
| | 07:10 |
would select Clear Guides.
Now, I'm not hiding them.
| | 07:13 |
I've actually deleted them from the file.
Now this looks like a nice little sun up
| | 07:17 |
here that I could be putting in the sky,
but let's go ahead and change it to a moon.
| | 07:21 |
So I'm going to select either this third
icon here, or I can simply hold down the
| | 07:26 |
Option or the Alt key, and that's going
to allow me to subtract from the selection.
| | 07:31 |
So I'll stary roughly here, and click and
start dragging.
| | 07:34 |
Now, I didn't quite get it where I wanted
so with that Option or Alt key still held
| | 07:39 |
down, I'll add to it the space bar,
remember that helps me to reposition the
| | 07:43 |
point of origin.
We'll just reposition that maybe here.
| | 07:46 |
Release the spacebar and then release my
cursor.
| | 07:50 |
So now I have the moon and we can go to
the edit menu again, and choose fill.
| | 07:55 |
This time I'll fill with 50% gray and
click okay.
| | 07:58 |
I'll also add just a little doorknob down
here, I'll just click and drag.
| | 08:03 |
Now, instead of using the edit menu to
select a fill, I'll use the Shift key and
| | 08:08 |
tap the Delete key.
And that will bring up the Fill dialogue box.
| | 08:12 |
Let's go ahead and choose a different
color for the doorknob.
| | 08:15 |
I'll click on Color.
And this time if I wanted to sample a
| | 08:18 |
color from my image, you'll notice that
while the Color Picker's up, I can
| | 08:22 |
reposition my cursor over the top of my
image and click with the eye dropper to
| | 08:26 |
sample that color.
Will just make it a little bit darker,
| | 08:29 |
click okay, okay again and it will fill
that.
| | 08:32 |
All right will deselect using Cmd or Ctrl
+ D..
| | 08:36 |
Now let's move over to the lasso tools.
Select the first one, just the regular
| | 08:41 |
lasso tool and I'm going to zoom out
using command minus or control minus.
| | 08:45 |
The lasso tool has a hot spot, that's the
point where you'r going to be dragging
| | 08:49 |
and drawing from, and that is at the tip
of the little arrow.
| | 08:53 |
If you prefer you can turn on the cap
locks key in which case you get your
| | 08:57 |
cross-hairs and then the hot spot is
right there in the center.
| | 09:01 |
So I'm going to actually start right here
and just start dragging out, and then I'm
| | 09:06 |
going to drag beyond the image size, come
all the way down, all the way around, and
| | 09:11 |
then start dragging again.
Now, that whole time, I had my mouse down.
| | 09:17 |
So most people don't know that you can
drag beyond the canvas size, but
| | 09:21 |
certainly you can, and I don't even have
to try to drag a straight line between
| | 09:26 |
where I am now and where I started this.
If I just release the cursor, Photoshop
| | 09:31 |
will automatically close my selection and
draw that line for me.
| | 09:35 |
So now we can fill this with another
color.
| | 09:37 |
I'll use Shift Delete.
We'll choose a color here and then select
| | 09:42 |
maybe a green, click Ok, Ok again.
So the lasso tool is great when you just
| | 09:48 |
need to draw some freeform lines.
Excellent, I'll use Cmd-Ctrl-D to
| | 09:52 |
deselect that, and now we'll switch over
to our polygonal lasso tool.
| | 09:58 |
This tool is great for drawing straight
lines, you can see if I just click
| | 10:02 |
Wherever I move my cursor, Photoshops
going to draw a straight line between
| | 10:06 |
where I clicked the first time, and where
I clicked the second time.
| | 10:08 |
So I can go ahead and click, and click,
and click and draw my own polygons.
| | 10:13 |
Now if I want to close the selection, I
can either double click in which case
| | 10:19 |
Photoshop will close the selection for me
automatically, or if I return to my start point.
| | 10:23 |
You can see that the cursor changes, and
I get the little zero.
| | 10:27 |
That tells me that Photoshop's going to
close that selection.
| | 10:30 |
Now, I don't want that, so I'll use Cmd
or Ctrl + D.
| | 10:33 |
And then I'll just make a little roofline
here, starting maybe in the center of the door.
| | 10:38 |
We'll come down over to the right.
Remember, I'm just clicking once and then
| | 10:42 |
letting go of my mouse.
If I want to make this a straight line, I
| | 10:45 |
can hold down the shift key.
Come over to this side, maybe right about
| | 10:48 |
there, equidistance, click again, and
then I can either position my cursor over
| | 10:53 |
the starting point.
Or if I want to, I can just double click
| | 10:56 |
and Photoshop will close that selection.
If you've accidentally deselected, you
| | 11:02 |
can always use this select menu.
And if you've just deselected, you should
| | 11:07 |
be able to reselect.
All right, I'll fill this with the color
| | 11:10 |
using Shift Delete.
And then selecting the color again.
| | 11:14 |
You do have to click on it in order for
that color picker to come up.
| | 11:18 |
Move down here and maybe get a dark brown
roof.
| | 11:21 |
Click Okay, and Okay again.
And then Cmd or Ctrl to deselect.
| | 11:26 |
So as you can see the marquee tools are
great for selecting your geometric shapes.
| | 11:32 |
And the lasso tools are great for your
more kind of free form shapes, and, of
| | 11:35 |
course, you can use any of these tools in
combination with one another to make more
| | 11:39 |
complex shapes.
| | 11:40 |
| | Collapse this transcript |
| Combining selections| 00:00 |
In this image I want to select not only
the window frame but also the little arch
| | 00:04 |
above it, so that I can darken it down a
little bit.
| | 00:07 |
And that way it'll appear as if the
window and those bricks there in the
| | 00:11 |
archway are receding a little bit.
And it'll provide a little bit more
| | 00:15 |
contrast in that area.
Now, to do this, I'm going to use a
| | 00:17 |
combination of both the Rectangle and the
Elliptical Marquee tool, but first I'm
| | 00:22 |
going to hide my rulers because I was
showing them from the last video.
| | 00:26 |
So to hide your rulers, we'll select View
and then Rulers, and we'll just select
| | 00:30 |
this and that will toggle it off.
I'm going to start with the Elliptical
| | 00:34 |
Marquee tool, so I'll select that from
the tool bar.
| | 00:37 |
And then I want to make sure that I have
this initial option selected.
| | 00:41 |
This will just allow me to make a
selection as opposed to add to a
| | 00:44 |
selection, or subtract from a selection,
or intersect a selection.
| | 00:48 |
And, we learned in the last video that,
if I kind of drag out rectangular lines
| | 00:53 |
from the top here and then down the side,
that's where I would want to start my
| | 00:58 |
Elliptical Marquee.
Kind of at that intersection that I'm imagining.
| | 01:01 |
Because just like the Rectangular
Marquee, the Elliptical Marquee is going
| | 01:05 |
to drag from the upper left.
And now I can go ahead and just drag that
| | 01:09 |
out to position it over the arch.
Now if you don't start in the right
| | 01:12 |
location, it's not a problem.
You can hold down the space bar as long
| | 01:16 |
as your mouse is still down, as long as
you're still drawing the marquee, you
| | 01:19 |
hold down the space bar and then you can
change the point of origin from which
| | 01:24 |
you're dragging.
So you just hold down the space bar and
| | 01:26 |
maybe I'll move it over to the left a
little.
| | 01:28 |
And then I"ll let go of the space bar and
then I can continue dragging out my
| | 01:32 |
Elliptical Marquee.
And if you don't get it exactly right,
| | 01:36 |
and you've already let go of your mouse,
don't worry.
| | 01:39 |
Because you can go underneath the Select
menu.
| | 01:43 |
Now, not the Edit menu.
Because if I went under Edit and I used
| | 01:45 |
Free Transform, I would be transforming
the pixels underneath the marquee.
| | 01:50 |
That's not what I want.
If you use the Select menu, you can then
| | 01:54 |
choose to Transform your selection.
And if I transform the selection now all
| | 01:59 |
I'm doing is transforming the marching
ants.
| | 02:01 |
I'm not actually transforming the pixels
underneath them.
| | 02:05 |
So if you need to transform the
selection, you can do so.
| | 02:07 |
You can select any of the midpoints, or
you can come over and select the corner points.
| | 02:13 |
If you need to distort the selection a
little bit, you can hold down the Cmd key
| | 02:17 |
on Mac or the Ctrl key on Windows.
And you can see how my marquee is
| | 02:22 |
switching to this white arrow, and now I
can pull on any of the anchor points in
| | 02:27 |
order to distort my selection.
In addition, if I needed to rotate the
| | 02:32 |
selection, if you position your cursor
outside of the selection handles, you can
| | 02:36 |
go ahead and click and drag in order to
rotate those.
| | 02:40 |
And you always have one level of undo
while you're transforming a selection,
| | 02:44 |
just like you do when you're in the Edit
Free Transform.
| | 02:47 |
So I can use Cmd or Ctrl+Z to undo that.
If you want to back out completely, then
| | 02:53 |
you can click on the Cancel icon, but I
actually like that transformation so
| | 02:57 |
we'll go ahead and we'll just select this
icon.
| | 03:00 |
Course you can also use your Arrow keys.
We use the Arrow keys in previous videos
| | 03:05 |
to move a layer but because we have a
selection I'm going to move the selection marquee.
| | 03:11 |
Now all of this would change if I went
over and selected the Move tool.
| | 03:14 |
I have the Move tool selected and I use
my Arrow keys I'm actually going to be
| | 03:18 |
moving pixels, so if you just want to
move the selection you need to stay on
| | 03:21 |
the Selection tool.
And the we can use our Arrow keys like
| | 03:24 |
the up Arrow key, the down Arrow key, we
can use the right and left Arrow keys.
| | 03:28 |
And of course, if you add the Shift key
to those then you'll move them or nudge
| | 03:32 |
them in larger increments.
Alright.
| | 03:34 |
Now I need to select the area down here,
the rest of the window.
| | 03:38 |
So I'll switch to the Rectangular Marquee
tool.
| | 03:41 |
I need to add to the selection, so I'll
want to make sure I have the 2nd icon selected.
| | 03:46 |
And I'm going to start right over here on
the left hand side, position my cursor on
| | 03:50 |
top of the other marching ants and then
click and drag out, in order to add that
| | 03:56 |
to my selection.
But I don't want to change the brightness
| | 04:01 |
of the window, so I need to subtract
those out.
| | 04:05 |
So I'm going to switch over to the minus
or subtract from and then we'll just
| | 04:10 |
click and drag in order to remove all of
these window panes from my selection.
| | 04:17 |
So I'm going to have to sit here and drag
a few times now.
| | 04:19 |
I'm off a little bit there so I'll hold
down that space bar in order to
| | 04:22 |
reposition and then we'll subtract that
out.
| | 04:25 |
Or another way I could do this, is I
could click and subtract out all of these
| | 04:30 |
windows at once, and then use the plus to
add back in the little window separators here.
| | 04:38 |
We can go ahead and do this either way.
It just kind of depends on how your brain works.
| | 04:43 |
So I think this is a little quicker,
because I don't have to make quite as
| | 04:46 |
many selections.
But really you can do it either way.
| | 04:49 |
Alright, now that we have the selection
the way that we want it.
| | 04:52 |
We need to do something to that
selection.
| | 04:54 |
And I realize that we haven't talked very
much about Adjustment Layers.
| | 04:57 |
But in your Adjustment's panel and if
your Adjustment panel isn't showing go
| | 05:02 |
under the Window Menu and Show Your
Adjustments.
| | 05:05 |
I'm going to select the icon in the upper
left.
| | 05:08 |
That's my brightness and contrast icon.
Now, the second I clicked on that,
| | 05:12 |
Photoshop converted my selection into a
mask.
| | 05:16 |
So we can see on my layers panel that
I've got an adjustment layer.
| | 05:20 |
This is the icon for the adjustment.
This is the icon for the mask.
| | 05:23 |
Where the mask is black, we're not going
to see an adjustment.
| | 05:27 |
But where the mask is white, that was the
area that we'd selected.
| | 05:31 |
We are going to see an adjustment.
So if I start moving the brightness
| | 05:34 |
slider to the left, you can see that
we're decreasing the brightness in just
| | 05:39 |
this brick area and the window frame.
We're not adjusting the brightness of the
| | 05:44 |
actual window panes themselves.
I wanted to make it brighter; obviously
| | 05:47 |
we could go the other way.
Now let's go ahead and make it
| | 05:50 |
significantly darker.
And maybe even add a little bit of contrast.
| | 05:55 |
Then I'll close the Properties panel by
clicking on the two Arrows here.
| | 05:59 |
And we can toggle on and off a before and
after by clicking on the eye icon next to
| | 06:04 |
the adjustment layer.
So there was before, and there's after.
| | 06:08 |
You can see how by darkening down that
area, the window frame, as well as the
| | 06:12 |
arch, it kind of makes it look like it's
in shadow so it gives the illusion that
| | 06:17 |
it's actually pushed back further than
that front wall.
| | 06:21 |
So, as you can see, it helps to look at
the entire area that you want to select
| | 06:26 |
and break it down into its basic shapes.
That way you can use a combination of the
| | 06:31 |
selection tools like the Rectangular and
Elliptical Marquee tools to make what
| | 06:34 |
initially looks like a complex selection
but is really just made up of a few
| | 06:39 |
simple shapes.
| | 06:39 |
| | Collapse this transcript |
| Converting a selection into a layer mask| 00:00 |
We need to take a minute to talk about
the fundamentals of masking and using
| | 00:04 |
layer masks in Photoshop.
So, let's start by creating a soft edged
| | 00:08 |
vigneitte around this image.
I'm going to double-click to open the 02IvySavedSelection.
| | 00:14 |
So, if you're following along, you want
to make sure you grab this image and not
| | 00:18 |
the 01 Ivy, because they actually are
different.
| | 00:20 |
So I'll double click on that and it will
open it up in Photoshop.
| | 00:24 |
I'll select my Marquee tool and you'll
notice that I'm on my regular Marquee
| | 00:28 |
tool, this will just create a selection
as opposed to maybe subtracting or
| | 00:32 |
intersecting the selection.
So I'll select the first one and click
| | 00:36 |
and just drag out in my image the size
that I want the vignette to be.
| | 00:41 |
Now, I've created my selection, but if I
use the Layer menu, you'll notice that I
| | 00:47 |
cannot add a layer mask.
And that's because I'm on a background layer.
| | 00:51 |
But, there's a little shortcut.
Instead of using the menu item to add a
| | 00:55 |
layer mask, if I click at the bottom of
the Layers panel, on the Add Layer Mask icon.
| | 01:01 |
Photoshop will do two things, it's going
to convert my background into a layer and
| | 01:06 |
add the mask at the same time.
So I'll click on that.
| | 01:09 |
We can see that it's now a layer.
We've got the thumbnail for the image,
| | 01:12 |
and the thumbnail for the mask.
So let's take a look at the mask for a moment.
| | 01:17 |
If I want to see the black and white
mask, I can hold down the Option key on
| | 01:21 |
the Mac or the Alt key on Windows, and
click on the layer mask thumbnail.
| | 01:26 |
Now we can see wherever the mask is white
I'm able to see the data on the file.
| | 01:32 |
And the reason that I say the data on the
file, I mean here obviously it's a
| | 01:35 |
photograph, but masking always works the
same way in Photoshop.
| | 01:39 |
So it doesn't matter if I'm on a type
layer, if I'm on an adjustment layer.
| | 01:43 |
Wherever the mask is white, I can see
what's on that layer, so I'd be able to
| | 01:48 |
see the photograph or I'd see the type or
I would see the adjustment.
| | 01:51 |
Wherever the mask is black, it's going to
be hiding the contents of that layer.
| | 01:56 |
So in order to see the photograph again,
let's click on the eye icon in the Layers
| | 01:59 |
panel, and that will display it.
Now just because I clicked on the eye
| | 02:04 |
icon, doesn't mean that I'm actually
targeting the photograph.
| | 02:07 |
So if I were to do something like paint
right now, I would actually be painting
| | 02:11 |
on the mask, not the image.
So the way that I can tell is because of
| | 02:14 |
this double line around the thumbnail.
Right now it's around the mask, if I
| | 02:19 |
click on the image, I get the double line
around the image telling me that that's selected.
| | 02:24 |
Let's go ahead and click on the
thumbnail.
| | 02:26 |
Now what you might be seeing in front of
you might be a little bit different.
| | 02:30 |
Instead of this checkerboard you might
actually be seeing a white background and
| | 02:34 |
that just depends on a preference.
So I'm going to turn off the checkerboard
| | 02:38 |
so that I can visualize what this would
look like as if it was flattened or
| | 02:42 |
printed onto a piece of paper.
And I'll do that by choosing the
| | 02:45 |
Photoshop menu on the Mac, you chose the
Edit menu on Windows, then come down to
| | 02:49 |
Preferences, and then Transparency and
Gamut.
| | 02:52 |
And we'll just change the grid size to
none.
| | 02:55 |
Click OK and this area now is still
transparent, it's just that Photoshop is
| | 03:00 |
showing it to me as if it was printed on
a white piece of paper.
| | 03:04 |
But the vignette that I added is very
hard edged and I would like to make that
| | 03:08 |
a soft edge.
What a lot of people do is they make
| | 03:11 |
their initial selection, and then they'll
add what's called a feather.
| | 03:14 |
And a feather will soften the edge, but
it's always hard for me to guess what the
| | 03:19 |
size of the feather should be.
Should it be two pixels or five pixels or
| | 03:23 |
ten pixels, and the reason that it's hard
to guess is because it's going to depend
| | 03:27 |
not only on the resolution of the file.
So if I had a really high-res file, a two
| | 03:31 |
pixel feather would be nothing compared
to a low-res file.
| | 03:34 |
But it also depends on how soft of an
edge I want.
| | 03:37 |
Do I want it semi-soft or really soft?
So instead of adding a feather before I
| | 03:42 |
create my mask, I use this
non-destructive way of softening the edge
| | 03:47 |
of my mask.
So on my Layers panel, making sure that
| | 03:50 |
the mask is targeted.
I can choose my Properties panel and if
| | 03:54 |
your Properties panel isn't showing you
can go under the Window menu and then
| | 03:57 |
Show Properties.
But mine's right here, so I'll just
| | 04:00 |
expand it by clicking on the iconic
panel.
| | 04:02 |
And then you can see that I've got the
mask targeted and down here I have a
| | 04:07 |
dynamic feather.
So as I move it over to the right, you
| | 04:10 |
can watch the edge of the mask getting
softer and softer.
| | 04:14 |
Now I don't want to go too far so I'll
bring it back maybe around, maybe 25
| | 04:19 |
pixels or so, but the best thing about
this is that it's completely non-destructive.
| | 04:23 |
I can go back in here even after I've
saved the file, as long as I've saved it
| | 04:28 |
as a layered document, I can change this
next week or next month.
| | 04:32 |
So let's see what's happened to the
actual mask.
| | 04:35 |
I'm going to collapse this panel by
clicking on the two arrows here, and then
| | 04:39 |
we'll hold down the Option key and click
on the layer mask thumbnail.
| | 04:43 |
You can see that I have really blurred or
feathered the edge of this mask, and
| | 04:48 |
that's what's giving me the soft edge.
Wherever the mask is black, that layer's
| | 04:53 |
totally hidden.
Wherever it's white, it's showing, and
| | 04:56 |
then, in the varying levels of gray,
we've got varying levels of transparency
| | 05:01 |
to show the content or the photograph on
this layer.
| | 05:05 |
In fact, if we want to watch this
dynamically change, we can actually
| | 05:09 |
expand the Properties panel again, and
you can see, as I move the feather, that
| | 05:13 |
the mask is dynamically updating.
Alright, I'll collapse that and then
| | 05:17 |
we'll click on the eye icon in order to
see our image again.
| | 05:22 |
And now I'm going to load up the
selection.
| | 05:26 |
This is a selection that was saved from
the previous lesson.
| | 05:29 |
Just so that we don't have to make the
selection again.
| | 05:32 |
I'll go underneath the Select menu and
then choose Load Selection.
| | 05:36 |
Now because I'm on a layer that has a
mask, Photoshop's automatically going to
| | 05:42 |
load that mask right here, and that's not
actually what we want.
| | 05:46 |
What we want to select, is we want to
select the save selection, the one that I
| | 05:49 |
save, so we wouldn't have to re-select
right now and waste our time doing that again.
| | 05:53 |
So we'll choose Window and then click OK,
and you can see the marching ants around
| | 05:57 |
that selection.
Now what we're going to do is we're
| | 06:00 |
going to add our brightness and contrast
adjustment layer again, and when I do
| | 06:05 |
that, Photoshop of course converts those
marching ants in that selection into a
| | 06:09 |
mask for me.
We can see the mask here on the Layers panel.
| | 06:12 |
And in the Properties area, you can see
that I've actually got the options for
| | 06:16 |
the adjustment layer.
So sure enough, we can take the
| | 06:19 |
brightness down here and maybe increase
the contrast again.
| | 06:22 |
And now, if I want to quickly switch from
controlling the properties versus the
| | 06:27 |
mask, I can click right here on the
Properties panel, and now I'm adjusting
| | 06:32 |
the mask.
So it's really easy for me to come down
| | 06:34 |
and just add a slight feather.
Because let's look at the mask for a moment.
| | 06:39 |
I'll hold down the Option or the Alt key
and click on the mask.
| | 06:42 |
Here's the mask with a slightly feathered
edge.
| | 06:45 |
Here it is with a sharp edge.
And if I use Cmd+plus, or Ctrl+plus on
| | 06:49 |
Windows to zoom in to 100%.
Use my space bar to make sure we can see
| | 06:53 |
that edge.
You can see the difference here, when I
| | 06:56 |
add the feather, it gets nice and soft,
as opposed to no feather.
| | 07:00 |
And if we look and view the image itself,
by clicking on the eye icon.
| | 07:05 |
See that hard edge right there?
It looks like it's been cut and pasted.
| | 07:09 |
But, If I add just a little bit of a
feather, that sharp line goes away and it
| | 07:13 |
becomes really difficult to tell what
area of my image has been adjusted and
| | 07:17 |
what area hasn't creating a much more
realistic and believable adjustment.
| | 07:22 |
With that we'll close the Properties
panel, use the Cmd+minus key in order to
| | 07:27 |
zoom out and there you have it.
The fundamentals of masking works the
| | 07:31 |
same no matter what kind of layer you're
on.
| | 07:34 |
Where your mask is white you can see the
information on that layer and where the
| | 07:37 |
mask is black, it hides it.
| | 07:39 |
| | Collapse this transcript |
| Using the Quick Selection tool and Refine Edge| 00:00 |
Another excellent way to make selections
is with the Quick Select tool, especially
| | 00:04 |
in a case like this, where we're looking
at a rather organic shape where the
| | 00:08 |
Elliptical or the Rectangular Marquee
tools wont really work very well.
| | 00:12 |
Now, we could use a Lasso tool but the
Quick Select is going to be even easier
| | 00:16 |
because the Quick Select tool is actually
smart.
| | 00:19 |
So we can either tap the W key on the
keyboard or we can select the Quick
| | 00:23 |
Select tool.
You'll notice that just like the Marquee
| | 00:26 |
and the Lasso, we have different options
for it in the Options bar.
| | 00:29 |
To begin with, we'll just click on the
first icon.
| | 00:32 |
That's going to allow us to click and
drag in the boot area.
| | 00:36 |
And you can see, as I'm dragging down the
boot the Quick Select tool is trying to
| | 00:42 |
guess really based on the colors that I'm
clicking on, what the best selection
| | 00:47 |
would be.
So when I release my cursor, this is the
| | 00:50 |
initial selection that I get.
But if I continue using the Quick Select
| | 00:55 |
tool, and you can see that in the center
of the Quick Select tool there's
| | 00:58 |
automatically a plus.
In fact if we look up here in the Options
| | 01:01 |
bar, once I let go, Photoshop knew that I
probably would want to add to my
| | 01:05 |
selection, so it automatically selected
this second option.
| | 01:09 |
So, every time that you click and drag
with this tool, with those cross hairs,
| | 01:14 |
Photoshop's actually creating a color
lookup table.
| | 01:17 |
So, every color that you pass that cross
hair over, Photoshop goes, oh, you must
| | 01:21 |
want this color to be part of your
selection.
| | 01:24 |
Now it selected a little bit too much in
this case so what I'd want to do is
| | 01:28 |
actually hold down the Option key on the
Mac or the Alt key on Windows.
| | 01:31 |
You can see that, that plus changes to a
minus and you can see up here in the
| | 01:36 |
Options bar that the Option key is going
to change to the minus option.
| | 01:40 |
So now I'm going to click and drag
through this area in order to remove it
| | 01:44 |
from the selection.
And I'll click and drag here.
| | 01:47 |
And I'll click and drag right down here
but Photoshop may or may not be able to
| | 01:52 |
make a great selection there.
Let's go ahead and zoom in, I'll use
| | 01:55 |
Cmd+plus or Ctrl+plus on Windows, hold
down the space bar and just scoot up my image.
| | 02:00 |
And it seems to be doing a fairly decent
job.
| | 02:03 |
Oh, now I accidentally clicked with a
plus icon.
| | 02:06 |
I wanted to subtract that area.
So just like many of the tools in
| | 02:09 |
Photoshop, if I use Cmd+Z, I can undo
what I've just done with that tool.
| | 02:15 |
So this time I'll hold down the Option or
the Alt key.
| | 02:17 |
We'll try to subtract this out.
Now it's having a little bit of a hard
| | 02:21 |
time right down here in the bottom,
because this tan color, it's not quite
| | 02:25 |
sure if it should select it or not.
So instead of struggling with one tool,
| | 02:29 |
this is when I start to think, well, is
there another tool that might be easier
| | 02:33 |
just to fix this little area?
And for me that would be the Lasso tool,
| | 02:36 |
so I will tap the L key and that will
switch me to the Lasso tool.
| | 02:40 |
Now in this case what I might want to do
is tap the cap locks key on, so that I
| | 02:45 |
get this nice cross hair so I know
exactly where I'm dragging.
| | 02:48 |
And I want to add this area to my
selection.
| | 02:51 |
So you don't have to start exactly in
this little area right here, in fact let
| | 02:55 |
me zoom in, maybe even one more time.
You don't have to start like right here
| | 03:01 |
where those marching ants are.
Because I'm adding into my selection and
| | 03:04 |
all of this is already selected, if I
click on the Add icon or hold down the
| | 03:08 |
Shift key, I can click anywhere in here
and it doesn't affect anything, because
| | 03:12 |
this area's already selected.
So a lot of times it's smoother to maybe,
| | 03:16 |
you know, start your stroke somewhere
else and then come down and intersect and
| | 03:21 |
then add this area to your selection,
right?
| | 03:24 |
And if you go out of this selection its
not that big of a deal because then what
| | 03:28 |
you can do is just switch to the subtract
from.
| | 03:30 |
And again don't start like right there
like, start wherever's comfortable, if
| | 03:34 |
it's comfortable to start out here.
Because remember out here, now, is
| | 03:38 |
already unselected.
So, doing this isn't going to do anything.
| | 03:40 |
So, you can start out here and then start
your stroke.
| | 03:43 |
And then, just come and grab that and
remove it from the selection.
| | 03:48 |
Right, again, I can hold down the Shift
key.
| | 03:50 |
And, I'll start up here, and then we'll
just add this area to the selection.
| | 03:54 |
And if I need to add anything else I can
go ahead and do that.
| | 03:57 |
I'll hold down the space bar and just
scoot around.
| | 03:59 |
Looks like I need to subtract this a
little bit.
| | 04:01 |
So, again I can start way out here, just
go up a little bit to get that subtracted.
| | 04:07 |
Oop, and we've got a mistake over here,
so again I can start anywhere out here, right?
| | 04:11 |
because this is already subtracted from
this selection.
| | 04:14 |
And just come down, and sometimes it'll
be more comfortable to drag in the other way.
| | 04:18 |
That just depends on your preference.
So we can subtract that out as well.
| | 04:22 |
Alright, let's go ahead and zoom back
out.
| | 04:24 |
I'm going to use Cmd+0 in order to zoom
all the way to fit in window.
| | 04:29 |
So now that I have a good selection, I
might want to still refine it just a
| | 04:34 |
little bit.
And I can do that by using the Refine
| | 04:37 |
Edge tool.
The Refine Edge tool works for both soft
| | 04:40 |
edged objects as well as hard edged
objects.
| | 04:43 |
And in another video we're going to use
it on a soft edged object.
| | 04:46 |
But here, I'm going to actually skip over
the top two sections.
| | 04:50 |
And I'm just going to use the adjust edge
options because, this is a very, hard
| | 04:56 |
edged object, and the edge is really the
same all the way around the boot.
| | 05:00 |
So, if I want to smooth the edge a little
bit because it's looking a little rough
| | 05:05 |
down there where I made that selection
with the Lasso tool, I can use the smooth option.
| | 05:09 |
And you can see how it's just making
that, a little bit more smooth.
| | 05:12 |
Look at that, the difference between when
it's at 100 versus when it's at zero.
| | 05:17 |
So, I'm going to move that up quite a
bit.
| | 05:19 |
And I might also want to add a little bit
of a feather.
| | 05:21 |
I'm actually going to add a big feather
for a minute to show you what it does, so
| | 05:25 |
there we can see now we've got this soft
edge feather.
| | 05:28 |
Because when you add a feather, you then
get to shift the edge based on that feather.
| | 05:33 |
So you can see as I shift the edge way in
here, if I go to negative 100, it can
| | 05:38 |
play with that entire distance of the
feather that I created, that soft edge.
| | 05:42 |
If I shift the edge the other way, you
can see how it goes back out into that
| | 05:46 |
original background.
So as I limit the feather amount I'm
| | 05:50 |
actually limiting the edge that I can
shift in and sometimes it just really
| | 05:55 |
helps to be able to take your entire
selection and just kind of pull it in a
| | 06:00 |
little bit or choke that selection.
Otherwise sometimes you get a white halo
| | 06:04 |
around your object that you're trying to
select.
| | 06:07 |
So I think that this feather of one pixel
is too big and I'm sure that if I zoomed
| | 06:11 |
in to 100% it would be.
I need something down around like 0.2 in
| | 06:16 |
this case, so that when I do shift the
edge, it's just barely moving the edge
| | 06:20 |
over, and I'm not going to go to negative
100, but something just like maybe minus
| | 06:25 |
35 or 36.
Alright, once I've refined my edge, we'll
| | 06:28 |
click OK.
And then all I need to do is actually
| | 06:32 |
convert the selection into a mask.
And I can do that by clicking on the mask
| | 06:36 |
icon down at the bottom of the layers
panel.
| | 06:39 |
So you might be wondering why I didn't
use the feather slider on the properties
| | 06:43 |
panel, and I didn't use it because I
wanted to not only add a little bit of a
| | 06:48 |
feather, but also be able to shift the
edge as well as smooth the selection.
| | 06:52 |
So if I want to do all of those things,
then I need to use Refine Edge.
| | 06:57 |
So as easy as that, I can remove the
background from this boot.
| | 07:02 |
And then I could take this boot and
transfer it, maybe use it in a different
| | 07:05 |
image, or it might be set the way it is
if I wanted to say print this in a
| | 07:10 |
product catalog.
| | 07:11 |
| | Collapse this transcript |
| Selecting soft-edged objects using Refine Edge| 00:00 |
In order to select the soft-edged object
like this dog, we are going to use the
| | 00:04 |
Quick Select tool to start the selection,
but then we are going to need to go in
| | 00:07 |
and modify that edge using the Refine
Edge command.
| | 00:11 |
In this case, I want to desaturate the
background color so that the dog stands
| | 00:15 |
out a bit more as the main subject.
So in order to select the Quick Select
| | 00:19 |
tool I can tap the W key, or we can
select it here from the tool pallette.
| | 00:23 |
Now I want to click and drag over the
dog, and what I really want to do is I
| | 00:29 |
want to select areas that are 100% dog.
And I don't want to select areas
| | 00:35 |
necessarily that are transition of dog
and background.
| | 00:39 |
So I want to make sure I get his paw and.
His ear but I don't want this area here.
| | 00:43 |
So I can either switch to the Subtract
From tool, or we can just hold down the
| | 00:48 |
Option key on the Mac or the Alt key on
Windows, and I'm just going to go in here
| | 00:52 |
and drag through that area and right in
here.
| | 00:56 |
Oh.
And then if it goes to far then I just
| | 00:59 |
release the Option or the Alt key and we
can add those colors back in.
| | 01:03 |
And I think I want to just zoom in once
using Command or Control plus, and then
| | 01:08 |
just subtract this little area right here
in the front of his paw.
| | 01:11 |
Alright, so if I zoom in again using
Cmd+plus, what I mean by selecting the
| | 01:15 |
dog is all the areas within the marching
ants are almost 100% dog.
| | 01:20 |
There's a few areas like here where
there's transitional areas, but I don't
| | 01:23 |
want to try to select every single piece
of fur here.
| | 01:27 |
I can go ahead and do that using the
Refine Edge.
| | 01:29 |
I just want to make sure that if there's
something that really isn't part of the
| | 01:33 |
dog that I subtract it.
So here, for example, I might want to
| | 01:36 |
just subtract right down here.
Again, I might need to go back in and
| | 01:39 |
just kind of play back and forth between
what I'm subtracting out of and what I'm
| | 01:44 |
adding back into.
And, of course, we can always touch up
| | 01:46 |
this mess when we come out of the Refine
Edge.
| | 01:49 |
I'm really using the Refine Edge for the
areas like this of the hair.
| | 01:53 |
Alright so once we've got that selected
we'll click Refine Edge.
| | 01:57 |
And there are several different ways that
we can view Refine Edge.
| | 02:00 |
You'll notice that there's a drop down
menu so if I just want to see the
| | 02:03 |
marching ants I can or an overlay.
I can view it on black or on white we can
| | 02:07 |
look at the black and white mask.
Or on layers or we can even reveal the layer.
| | 02:11 |
And you can see that each one of these
options has its own keyboard shortcut.
| | 02:15 |
So let's go ahead and do this against
white for now.
| | 02:17 |
And what we need to do is we need to use
a combination of the radius, and the
| | 02:22 |
smart radius to detect the edge.
So let me just show you what the radius
| | 02:27 |
looks like.
I'm going to check on the option up here.
| | 02:29 |
And then let's increase the radius.
So the radius is the area that I'm
| | 02:34 |
telling Photoshop to look in.
It's the transitional area.
| | 02:38 |
It's the area that I say, okay we're
transitioning from my subject, in this
| | 02:42 |
case from dog to background.
So those are the areas that I want refine
| | 02:47 |
edge to go in and create a soft edge
mask.
| |
|
|
