1. Opening an ImageWelcome to One-on-One| 00:00 |
(MUSIC).
| | 00:04 |
Hello. This is Deke McClelland.
Welcome to PhotoShop One-on-One:
| | 00:08 |
Fundamentals, Part 1 in a series of four
video courses devoted to your ultimate
| | 00:13 |
mastery of the world's most powerful image
editing software.
| | 00:19 |
The One-on-One brand is a promise.
First you'll have me, a seasoned
| | 00:23 |
professional with more than 25 years of
experience in the digital arts and more
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than 50 courses in the Lynda.com Online
Training Library.
| | 00:33 |
I'll mentor you through every facet of the
software you need to know, in the order
| | 00:37 |
you need to know it.
No crowded classroom and no scheduling conflicts.
| | 00:43 |
It's just you and me, one-on-one, anytime
that it's convenient for you to learn.
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Second, One-on-One is project-based
learning.
| | 00:53 |
You'll experience the power of image size
and resolution first hand in a way that
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leaves nothing in question.
You'll build a layer composition from the
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ground up.
You'll take a murky photograph and make it
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blossom with luminescence, as well as,
correct the color balance of an image.
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You'll select portions of images and
combine them into a fully realized piece
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of artwork.
And you'll take a portrait photo and turn
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it into a work of perfection.
The result is contextualized learning.
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Photoshop's features will make sense
because you apply them, sometimes
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independently, other times in concert to a
clearly defined task.
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And you'll leave each chapter with a sense
of accomplishment.
| | 01:40 |
I really hope there are moments when you
feel, I rule.
| | 01:44 |
Not me, you saying, I rule, I can do this,
and I can do more.
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| Opening from the Windows desktop| 00:00 |
In this movie, I'll show you how to set
things up under Windows so that you can
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double-click on an image file at the
desktop level and have it open inside Photoshop.
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I'll show you how to do the very next
thing on the Mac in the next movie.
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If you have access to my exercise files
folder, you'll find a subfolder inside it
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called 01openimage that contains a total
of four image files, all of which appear
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to be called welcome.
They're really called welcome.jpg,
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welcome.png, welcome.psd, and welcome.tif.
Together, jpeg, png, the native Photoshop
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document format, and tif, represent the
four most essential imaging formats.
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I'll explain why later, but for now I want
you to be able to see those extensions,
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because you'll have a lot easier time
working inside Photoshop if you know what
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kind of file you're working with.
And to do that, you tap the Alt key in
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order to bring up the old style menu bar,
and then you click on Tools, and you
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choose Folder Options.
Inside the Folder Options dialogue box, go
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ahead and click on the View tab, and then
notice this check box down here, Hide
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extensions for known file types.
Go ahead and turn that check box off, and
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then click OK in order to bring up those
extensions like so.
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Now obviously you open an image file just
like any other file on Windows by
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double-clicking on it.
But that does not necessarily ensure that
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the file will open inside Photoshop.
And it really depends on your system level
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settings, so in my case if I double-click
on welcome.tif it opens in Photoshop just
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fine as you can see here, and I know I'm
in Photoshop because I can see a bunch of
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panels over here on the right hand of the
screen.
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I've got a toolbox over here on the left
side of the screen, and the image is
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surrounded by a dark gray interface, but
that's not necessarily going to be the case.
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I'll go ahead and minimize Photoshop so
that I can return to the folder of images.
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And I'll double click on welcome.jpeg
which on this system happens to open the
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image inside the Windows photo viewer,
which obviously isn't going to do me any
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good, because if I don't have the file
open inside Photoshop I can't use
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Photoshop to edit the image.
To solve this problem, go ahead and close
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the program that you don't want to use.
Right click on the image file, go down to
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Open With and select this very last
command, Choose Default Program.
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Then inside the open with dialogue box
you'll want to go ahead and select Photoshop.
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Now, you should see it in this top list
here, but if you don't then you can click
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on Other Programs to view a list of still
more programs that can open this jpeg
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file, and if you still can't find
Photoshop you'll have to click on a Browse
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button and locate the Photoshop
application on your hard drive.
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Once you've selected Photoshop make sure
this checkbox, Always Use the Selected
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Program to Open this Kind of File is
turned on and then click Okay, and the
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file will once again open inside
Photoshop.
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Here's another way to work.
I'll go ahead and minimize Photoshop again.
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Notice if I click on welcome.png I don't
even have to double-click on the file in
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order to see what program it's going to
open in.
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I can just take a look at this little icon
there that's showing me, by default, that
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it's going to open inside Fireworks.
I would prefer to work inside Photoshop,
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so I'm going to right-click on that image
file, choose Open With, and once again
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select as final command, and then I'll go
ahead and select Photoshop from the list,
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and click OK in order to open the file.
And from now on, .png files will open
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inside Photoshop.
Just one more file that we need to test,
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and that's the native PSD document.
I'll go ahead and minimize Photoshop, and
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double-click on that file.
Chances are very good that it's going to
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open inside Photoshop, but chances are
equally good that you'll get this warning.
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That some of the text layers contain fonts
that are missing.
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These layers will need to have the missing
fonts replaced before they can be used for
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vector-based output.
Now, inside most programs, this is a big
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problem, because it means that all the
text is going to change to some other font.
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That's not how it works inside Photoshop.
You can just go ahead and click okay in
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order to open up the file.
And notice if I go over here to the layers
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panel and I scroll up the list I can see
all kinds of text layers indicated by
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these little Ts with yellow caution icons
next to them, which tells me that I'm
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missing the font for that particular text
layer.
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I'll go ahead and select the Photoshop
text layer, and then I'll switch over to
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my type tool about midway down inside the
tool box.
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And, notice up here in the options bar, I
used a font called Birka, in order to set
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this text, and Birka is not installed on
this machine, and yet, the word Photoshop
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looks great.
Not only at the current view size, but
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even if I press Ctrl+Plus to zoom in to
the 100% view size, which I can see is at
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work up here in the title tab.
The text looks fantastic, and that's
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because Photoshop goes ahead and saves a
pixel version of the text along with every file.
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The only downside is I can't edit this
text unless I switch it to a different
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font or install Birka on my system.
I can still go ahead and print it, and it
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will look as good as it does on-screen.
And that friends is how you set things up
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so you can open a JPEG file PNG PSD or TIF
file directly inside Photoshop just by
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double-clicking on it at the Windows
desktop.
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| Opening from the Macintosh Finder| 00:00 |
In this movie, I'll show you how to set
things up so that you can open an image
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file inside Photoshop just by
double-clicking on it here in the
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Macintosh finder.
If you're working on the PC under Windows
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then go ahead and skip to the next movie.
Now if you have access to my exercise
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files folder then open it up and you'll
find a sub-folder inside called 01_open _image.
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I'm viewing all the files inside this
folder, in the icon view which you can get
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by clicking on these icons up here in the
toolbar.
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So I'll go ahead and click on the first
one, in order to view the images as icons.
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And you can also go ahead and scale the
thumbnails to whatever size you like by
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dragging this little slider in the lower
right corner of the window.
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Now, notice that we have 4 image files
which are called Welcome with different extensions.
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If, for some, reason you're not seeing the
extensions, you probably will, but if not,
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go up to the Finder > Preferences.
Then, switch to the Advanced tab right here.
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And notice this checkbox show all file
name extensions.
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In my opinion, it's always a good idea to
have that one on.
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Just so that you can keep the various file
format straight because they serve various
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different purposes.
Now, notice that we have four different
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formats going on.
Jpg, png, psd, which is a native Photoshop
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document format, and tif.
And that's because these are the four
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major file formats you'll be working with.
I'll explain why that is in a future
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chapter, but for now what we want to do is
double-click on a file and see if it opens
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in Photoshop.
Hopefully it will.
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I'll go ahead and double-click on
welcome.tif.
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And I end up lucking out it opens up
inside Photoshop as you can see here and I
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know I'm working in Photoshop because I
can see the word Photoshop up here in the
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menu bar.
But also, I can see a list of panels over
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on the right hand side of the screen.
We've got a toolbox over here on the left
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hand side and the image is surrounded by
this dark grey interface.
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But let's say, that's not the case.
Let's say the file opens inside, some
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other program.
Well, to see that, I'll go up to the
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Photoshop menu and I'll choose this
command.
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Hide Photoshop which will take me back to
my open folder inside the finder.
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This time I'll double click on
welcome.jpeg and it happens for me to open
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inside Preview which is a great little
program for previewing image files.
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It's not going to do me any good, however,
because if I don't open the image inside Photoshop.
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Then I can't edit the image, in Photoshop.
So, if this happens to you, just go ahead
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and quit the program, by going up to the
preview menu and choosing "Quit Preview"
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and we've got to make a change here.
Now, I also happen to know, that my
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welcome dot ping file, doesn't open inside
the right program.
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So, I'll shift click on it, in order to
select it and then, you'll want to right
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click on either of the files and choose,
"Get Info".
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In order to bring up these get info panels
here and I can see that open with, for the
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JPEG images set to preview.
And for the PNG image, it's set to an
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older version of Fireworks, and by the
way, if you can't see these options, it's
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because you need to click on the little
triangle next to Open With, in order to
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expand it.
And then, what you want to do, is click on
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this pop up menu here And choose the most
recent version of Photoshop from the list.
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You can see in my case, I have several
versions installed on this machine.
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And then, click on the Change All button.
And you can see that you get this alert
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message, in which the finder is asking
you, if you really want to to apply this
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change to all documents that end with the
extension JPG, and the answer is yes so go
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ahead and click on the Continue button.
And then go ahead and run that same change
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on the PNG file as well, in my case
anyway.
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So, I'll go ahead and choose the newest
version of Photoshop from this list and
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then I'll click on change all and I'll
click on continue.
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And now everything should be straight.
So I can just go ahead and close each one
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of these panels here.
And then I'll double-click on the JPEG
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file, and sure enough, it opens in
Photoshop.
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And I'll go ahead and hide Photoshop again
by choosing the Hide Photoshop command
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from the Photoshop menu.
Then I'll double-click on welcome.png, and
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I really want you to do this as well if
you can.
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Just to make sure that every file format
that we'll be working with, opens just by
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double clicking inside Photoshop.
And then finally one more to go.
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I go up to the Photoshop > Hide Photoshop,
and double-click and welcome.psd.
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This one should, by all rights, open up
Photoshop, no problem because it's a
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Photoshop document.
However, Photoshop documents may contain
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layers, and some of those layers can be
text layers.
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And if I'm using fonts that you don't have
installed on your machine, which is very,
| | 05:10 |
very likely.
Then you'll end up getting this alert
| | 05:14 |
message telling you that some text layers
contain fonts that are missing.
| | 05:18 |
These layers will need to have the missing
fonts replaced before they can be used for
| | 05:22 |
vector based output.
Well that sounds like a big problem.
| | 05:27 |
But in our case, it's not.
Just go ahead and click OK.
| | 05:30 |
And the reason it's not a problem is
because well, everything looks great on screen.
| | 05:35 |
Even though if you scroll up the Layers
panel here, which is located in the
| | 05:37 |
lower-right corner of the screen by
default, you'll notice all these Ts here,
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these text layers with little yellow
warning icons next to them.
| | 05:42 |
That means you don't have that font loaded
on your system.
| | 05:53 |
I'll go ahead and scroll to the one called
Photoshop which is this big Photoshop item onscreen.
| | 05:58 |
And I'll also select the type tool midway
down the toolbox here.
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And that'll show me the font that's been
applied up here in the options bar.
| | 06:07 |
And it's a font called Birka.
It's a linotype font, really great font,
| | 06:11 |
but it's unlikely that's installed on your
machine.
| | 06:14 |
And yet, if I go ahead and zoom in on this
document, which I'm doing by pressing Command+Plus.
| | 06:21 |
And then, I scroll up using the scroll
wheel on my mouse.
| | 06:25 |
You can see that we have the super smooth
text and it is Birka.
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This is actual Birka text, so it looks
exactly the way it should.
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And that's because Photoshop goes ahead
and automatically saves a pixel-based
| | 06:38 |
preview of your text for every single text
layer in a native PSD document.
| | 06:45 |
Which is a really wonderful thing that
other programs don't do.
| | 06:50 |
Which means you can go ahead and print
this file if you want to.
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The one thing that you can't do is edit
any of the text because if you try to do
| | 06:56 |
that, then, Photoshop is going to make you
switch to a font that's loaded on your system.
| | 07:03 |
And that, friends, is how you set things
up so you can just double-click on an
| | 07:07 |
image file at the McIntosh finder and have
it open inside Photoshop.
| | 07:14 |
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| Opening from Photoshop or Bridge| 00:00 |
In this movie, I'll show you how to open
an image, both inside Photoshop and using
| | 00:04 |
Adobes companion program Adobe Bridge.
The first method is pretty obvious.
| | 00:11 |
Inside Photoshop, you go up to the File
menu and you choose the Open command.
| | 00:15 |
That'll bring up the Open dialog box.
Then if you're working along with me, you
| | 00:20 |
want to navigate the 01_open_image folder
inside the Exercise Files folder.
| | 00:26 |
And then, go ahead and select the file
that you want to open.
| | 00:30 |
And click the Open button, or you can just
double-click on that thumbnail.
| | 00:34 |
Now if for some reason you don't see the
image you want to open, it's probably
| | 00:39 |
because this Formats option right here is
set to a specific format.
| | 00:44 |
So for example, if I set it to JPEG, then
I would only see the JPEG files inside of
| | 00:49 |
this folder.
And I'll tell you, by the way, that this
| | 00:54 |
problem is more common on the PC, and
almost never happens on the Mac.
| | 00:59 |
Anyway, if you want to be able to see all
the files, you'll need to switch back to
| | 01:02 |
all formats, down here at the very bottom
of the list.
| | 01:06 |
And then, as I say, I'm going to select
the welcome.tif file, and click open, in
| | 01:10 |
order to open it inside of Photoshop, and
I'll press Ctrl+Plus or Cmd+Plus on a Mac,
| | 01:15 |
to go ahead and zoom in.
That's one way to work.
| | 01:21 |
But, another way is to use Bridge, which
allows you to see thumbnail previews of
| | 01:25 |
your image before you open them inside
Photoshop.
| | 01:30 |
Now, Bridge is included along with all
versions of Photoshop, but it doesn't get
| | 01:34 |
automatically installed.
So, just as you downloaded and installed
| | 01:38 |
Photoshop, you'll need to download and
install Bridge as well.
| | 01:43 |
Once you do, go up to the file menu and
choose this command, Browse in Bridge.
| | 01:48 |
It also has a keyboard shortcut of
Ctrl+Alt+O or Cmd+Opt+O on the Mac.
| | 01:55 |
And that will go ahead and switch you to
Bridge, as you see here.
| | 01:58 |
Then presumably, you want to navigate to a
specific folder, and you do that by
| | 02:02 |
switching to the folders tab, over here in
the upper left section of the screen, at
| | 02:06 |
least by default.
And then you can either twirl open your
| | 02:12 |
desktop, as I've done here and when I saw
twirl, as you're clicking on this little
| | 02:16 |
twirly triangle or you can collapse or
expand your computer as well.
| | 02:22 |
Which will show you the local hard drives,
media drives, and network drives
| | 02:26 |
associated with your system.
In my case, I want to go to the desktop,
| | 02:31 |
then I've got this exercise file folder.
I'll go ahead and click the triangle to
| | 02:36 |
twirl it open.
And then right there at the top, I've got
| | 02:40 |
my L1 image subfolder.
Now you'll see by default some very small thumbnails.
| | 02:45 |
You can make them bigger by dragging on
the slider down here at the very bottom of
| | 02:49 |
the screen so you can make these
thumbnails very large indeed.
| | 02:55 |
Or another way to work is with a keyboard
shortcut, and you do this by clicking on a
| | 02:59 |
file to select it, just so that this
content area is active.
| | 03:04 |
And then you can press Ctrl+Minus or
Cmd+Minus on the Mac, to zoom out, or
| | 03:09 |
Ctrl+Plus or Cmd+Plus on the Mac to zoom
in.
| | 03:13 |
Then to open an image file in Photoshop,
you just go ahead and double-click on it
| | 03:17 |
and that will open the file as you see
here.
| | 03:20 |
Now as you've seen, you get to the Bridge
by going to the File menu and choosing the
| | 03:24 |
Browse in Bridge command anytime you
want to get back to Photoshop without
| | 03:28 |
having to open a file.
You just go to this little boomerang icon
| | 03:33 |
up here at the top of the screen which
returns you to the last creative cloud
| | 03:37 |
program you used.
In my of course, Photoshop.
| | 03:43 |
And that's how you open files directly
inside Photoshop, as well as using
| | 03:47 |
Photoshop's companion program, Adobe
Bridge.
| | 03:51 |
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| Opening an image from Mini Bridge| 00:00 |
In this movie, I'll show you how to open
one or more images using a file browser
| | 00:03 |
that resides inside Photoshop, known as
Mini Bridge.
| | 00:07 |
Now, as I mentioned in the previous movie,
you have to download and install Bridge
| | 00:12 |
independently of Photoshop.
Once you do, Bridge installs Mini Bridge
| | 00:18 |
into Photoshop.
And to get to it, go up to the file menu
| | 00:22 |
and choose Browse in Mini Bridge to open
this small panel down here at the bottom
| | 00:26 |
of the screen.
Then you want to go ahead and navigate to
| | 00:31 |
that 01 open images folder.
The easiest way to do so is to first of
| | 00:35 |
all switch to Favorites by choosing it
from this pop up menu.
| | 00:40 |
And then once you've done that you can
click on desk top in order to switch to it.
| | 00:46 |
But you're not going to see the contents
of the desktop folder until you for
| | 00:50 |
example click on the word desktop right
there at the top of the panel.
| | 00:55 |
And notice now I can find my exercise
files folder.
| | 00:59 |
Again Photoshop doesn't show me the
contents of that folder unless I click on
| | 01:02 |
the word exercise files up here.
Couple of other ways to work, just so you know.
| | 01:07 |
One is to click on this right pointing
arrow head to the right of Exercise files
| | 01:11 |
and choose Open Image from this list of
sub folder, or perhaps more simply, you
| | 01:16 |
can just double click on Exercise files in
this left hand list.
| | 01:22 |
Then I click on the 01 image subfolder,
and now I can see thumbnails of my images.
| | 01:28 |
You make these thumbnails larger and
smaller in a different way.
| | 01:31 |
If you want to make them smaller, you drag
down on the top edge of the panel and that
| | 01:36 |
gives the panel less room and therefore
scrunches those thumbnails down.
| | 01:42 |
If you want to make them bigger you just
go ahead and drag up on the top of the
| | 01:45 |
Mini Bridge panel.
Then, just go ahead and double click on a
| | 01:50 |
file that you want to open, in order to
open it up inside Photoshop like so.
| | 01:56 |
Now presumably after you've opened the
images you want to work with, you want to
| | 01:59 |
hide the Mini Bridge panel, because
afterall It's taking up way too much room.
| | 02:05 |
And you do that quite simply by double
clicking on the Mini Bridge tab.
| | 02:10 |
So, a simple double-click will hide the
panel so that it appears merely as a tab
| | 02:14 |
down here at the bottom of the screen.
Then you can press Ctrl+0 or Cmd+0 on a
| | 02:19 |
Mac in order to center your zoom, and if
you want to zoom in you press Ctrl+Plus or
| | 02:24 |
Cmd+Plus on the Mac in order to view the
image at a more comfortable size.
| | 02:31 |
And that's how you navigate as well as
open images using the Mini Bridge inside Photoshop.
| | 02:39 |
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| Opening through Camera Raw| 00:00 |
In this movie, I'll show you how to open
an image inside a utility that's
| | 00:03 |
automatically installed alongside
Photoshop known as Camera Raw.
| | 00:09 |
And the advantage of this approach is that
Camera Raw includes a huge number of
| | 00:13 |
development functions that allow you to
correct photographic images.
| | 00:19 |
Now I'll be discussing Camera Raw in all
kinds of details in a future course, but
| | 00:23 |
for now, I just want you to know it's
here.
| | 00:27 |
I'm looking at my images inside Bridge,
and you should know that there are three
| | 00:31 |
kinds of files that you can open inside
Camera Raw.
| | 00:36 |
The first are photographs that you
captured with your digital SLR in its RAW
| | 00:40 |
file format, which varies from one camera
manufacturer to another.
| | 00:46 |
You can also open JPEG files, as well as
flat TIFF files, that is TIFF files that
| | 00:51 |
don't contain any layers.
You cannot open the native PSD format
| | 00:56 |
because it contains layers, and you cannot
open PNG files either.
| | 01:02 |
Let's say I decide I want to open this
flat TIFF file inside Camera Raw, then
| | 01:06 |
here in Bridge I would right click on the
image thumbnail, and I would choose this
| | 01:10 |
command, open and Camera Raw, which also
has a keyboard shortcut, incidentally, of
| | 01:15 |
Ctrl+R here on the PC, or Cmd+R on a Mac.
If you want Camera Raw to take up the
| | 01:23 |
entire screen, which is generally a good
idea, then you can click on this little
| | 01:27 |
icon here, or you can press the F key in
order to toggle it to the full screen mode.
| | 01:34 |
Now, just for the sake of demonstration,
let's say, I want to make this image, look
| | 01:38 |
like an old time sepia tone.
Then I would go ahead and click on this
| | 01:42 |
icon, which switches me to the HL
Grayscale panel.
| | 01:46 |
And then you would turn on Convert to
Grayscale in order to convert the image to
| | 01:50 |
black and white.
Now I'm going to switch to the next icon
| | 01:54 |
over, Split Toning, which moves me over to
the Split Toning panel.
| | 01:59 |
And I'm going to increase the saturation
value for the highlights to 50% and then
| | 02:03 |
I'll change the hue value, 250, which is
going to give me yellow inside the
| | 02:07 |
highlights, which are the brightest colors
inside the image.
| | 02:13 |
Now for the shadows, I'm going to change
the saturation value to 25.
| | 02:19 |
And then I'll increase the hue value to
35, which is a kind of brown, and we end
| | 02:23 |
up with this effect.
Now, no old photo effect would be complete
| | 02:28 |
without a little bit of vignetting and
noise.
| | 02:31 |
So I'll go ahead and switch over to this
FX icon, which brings up the Effects
| | 02:35 |
panel, and now I'll drop down to Post-Crop
Vignetting, and I'm going to change the
| | 02:40 |
Amount value to negative 50.
And then I'll increase the Highlights
| | 02:46 |
value all the way to 100, and you'll see,
up here in this little Creative Cloud
| | 02:49 |
logo, you'll see the highlights show
through the vignette as we see here.
| | 02:55 |
And then I also want to increase my grain
value.
| | 02:59 |
I'll take that up to 50, and I'll take the
size value up to 100 so we have big, thick noise.
| | 03:06 |
And I'll take the roughness value down to
25, in order to create this effect here.
| | 03:11 |
Now, at this point, there's two different
ways you can work.
| | 03:15 |
You can click on this Open Image button,
down here in the lower right portion of
| | 03:18 |
the screen, which will open the image
inside PhotoShop.
| | 03:22 |
Or, or you can just go ahead and click on
the Done button, which will take you back
| | 03:26 |
to Bridge, and that's what I'm going to
do.
| | 03:29 |
I'll click on Done, and you can see that
updates the thumbnail inside Bridge.
| | 03:34 |
And we also have this little icon here,
which shows me that I've assigned some
| | 03:38 |
Camera Raw development settings.
And from now on, whenever I double click
| | 03:43 |
this welcome.tif file, instead of opening
inside Photoshop, it opens in Camera Raw
| | 03:48 |
instead, which means I can make more
modifications if I like.
| | 03:54 |
And all my modifications are dynamic, so
notice if I switch back over to HSL
| | 03:58 |
Grayscale, there's my Convert to Grayscale
check box, and I can just turn it off if I
| | 04:02 |
want to restore the full color version of
the image, the blue version, that is.
| | 04:08 |
And, I can also modify my grain and
vignette settings if I so desired.
| | 04:14 |
However, I like what I had, so I'll just
go ahead and click on this Cancel button
| | 04:17 |
in order to return to Photoshop in this
case because Photoshop was hosting Camera Raw.
| | 04:24 |
To get back to Bridge I'll just go ahead
and choose Browse in Bridge from the File menu.
| | 04:29 |
Your other option, because all of these
settings are dynamic, that is they're
| | 04:33 |
temporary and you can change them any time
you want.
| | 04:37 |
You can also clear the settings if you
like by right-clicking on that image
| | 04:40 |
thumbnail, choosing Develop Settings, and
then choosing the Clear Settings command,
| | 04:45 |
which goes ahead and gets rid of all those
changes.
| | 04:50 |
So nothing you do in Camera Raw is
permanent, and now notice, we lost that
| | 04:54 |
little develop icon, which means if I
double-click on Welcome.tif, I'll open it
| | 04:59 |
directly inside PhotoShop.
And that's how you open a JPEG or TIFF
| | 05:05 |
image, as well as make changes to that
image inside Camera Raw.
| | 05:10 |
| | Collapse this transcript |
| Closing one image and closing all| 00:00 |
Presumably after you modify a graphic,
you're going to want to close it, which is
| | 00:04 |
why I'm going to end this chapter by
showing you how closing and quitting work.
| | 00:11 |
I'm once again looking at my files inside
Bridge.
| | 00:14 |
I've already got the TIF and JPEG files
open inside Photoshop.
| | 00:18 |
I'm going to open the PSD document as well
by double-clicking on it, and I'm going to
| | 00:21 |
get that alert message telling me I'm
missing the fonts.
| | 00:25 |
Doesn't matter, unless you want to edit
that text, so I'll just go ahead and click
| | 00:30 |
okay and zoom on in.
And now I'm going to go back to bridge and
| | 00:34 |
ground that Ping file by going up to the
File Menu and choosing browse and bridge.
| | 00:40 |
And the reason I'm doing this is if you
install fireworks, then bridge is set up
| | 00:44 |
to go ahead and open the Ping file in
fireworks by default.
| | 00:49 |
And here's how you change that.
You can either just right click inside the
| | 00:53 |
image, choose Open with, and choose
Photoshop.
| | 00:56 |
Or if you want these PNG files to open in
Photoshop by default, then you go up to
| | 01:00 |
the Edit menu here on the PC, and you
choose the Preferences command.
| | 01:05 |
On a Mac you go to the Bridge menu and
choose Preferences.
| | 01:09 |
Either way you've got a keyboard shortcut
of Ctrl+K on the PC or Cmd+K on the Mac.
| | 01:14 |
Then over here in the left hand list
switch to this option, Files type associations.
| | 01:20 |
And your going to have to scroll all the
way down to the p's, at which point,
| | 01:24 |
you'll see the portable network graphics
format.
| | 01:28 |
And you want to change that from Fireworks
to Photoshop, and then go ahead and click
| | 01:33 |
the Okay button.
And now if you double click on welcome.png
| | 01:37 |
then it opens automatically inside
Photoshop.
| | 01:41 |
Now let's say we decide to make some
changes here.
| | 01:44 |
I'll switch back to the welcome.tif file
and I'll go up to the Image menu, choose
| | 01:49 |
Adjustments and choose one of the more fun
commands, Hue Saturation, which allows you
| | 01:54 |
to rotate the colors inside the image as
you're seeing here.
| | 02:01 |
I'm going to go ahead and send the colors
to purple by taking this hue value to plus
| | 02:05 |
90, and then I'll click Okay.
Now, let's say, at this point, I want to
| | 02:09 |
close the image.
Obviously, I can click on the little close
| | 02:14 |
box up here in the Title tab, or in the
title bar, or I can go up to the File menu
| | 02:18 |
and choose the Close command, which as a
shortcut of Ctrl + W or Cmd + W on the Mac.
| | 02:26 |
At which point I'll get an alert message
because after all I have some unsaved
| | 02:29 |
changes, and any time you have unsaved
changes inside Photoshop you'll see a
| | 02:33 |
little asterisk after the file name, all
the way after, outside the little
| | 02:37 |
parenthesis here.
And that indicates that you've done
| | 02:42 |
something that has not been saved to that
file and that indicates that you've done
| | 02:46 |
something to the file that is not been
saved.
| | 02:50 |
Now if you want to save the changes, you
click on the Yes button here on the PC or
| | 02:54 |
the Save button on the Mac.
If you don't want to save your changes
| | 02:58 |
then you click on the No button on the PC
or the Don't Save button on the Mac.
| | 03:03 |
And then if you wanted to cancel the save
operation you would just go ahead and
| | 03:07 |
click on the Cancel button, or press the
Escape key, and that's what I'm going to
| | 03:11 |
do in this case because for now I want to
keep the file open.
| | 03:16 |
Now I'm going to switch over to the
welcome.JPEG file here.
| | 03:20 |
And notice underneath the close command
here in the file menu, you've got this
| | 03:24 |
guy, close and go to bridge which is not
only going to close the image, in this
| | 03:27 |
case there are no unsaved changes but it's
going to switch me back over to bridge as well.
| | 03:35 |
To return to Photoshop you just go ahead
and click on the Boomerang icon which
| | 03:39 |
takes you back to the last used Creative
Cloud application.
| | 03:43 |
All right, let's make changes to the other
open files.
| | 03:45 |
I'll switch over to welcome.PSD here and
I'm just going to turn off a layer and
| | 03:51 |
then turn it back on by clicking on the
eyeball icon here.
| | 03:58 |
And that's considered a saveable change in
Photoshop which is why we now have an
| | 04:02 |
asterisk after the file name.
And now go over to the PNG graphic and
| | 04:07 |
this time we'll go up to the image menu,
and choose the Invert command, just for
| | 04:11 |
the sake of variety here.
And we end up with this effect here.
| | 04:16 |
Now let's say I want to close every single
one of these files.
| | 04:21 |
Then I'd go up to the file menu and choose
the close all command, at which point I'm
| | 04:24 |
going to get this alert message asking me
if I want to save the changes to the front
| | 04:28 |
file here, and let's say I don't want to
save any of the changes.
| | 04:34 |
I want to click No, but I don't want to
have to click No three times in a row.
| | 04:37 |
In that case you just go ahead and turn on
the Apply to All check box, and then click
| | 04:41 |
whatever button you want.
In my case I'm going to click the No
| | 04:45 |
button here on the PC, that will be the
Don't Save button on the Mac.
| | 04:50 |
And that goes ahead and closes all the
files without saving them in a single operation.
| | 04:55 |
Now if you want to quit photoshop then you
go up to the File menu and you choose the
| | 04:59 |
exit command.
On the Mac, you go to the Photoshop menu
| | 05:03 |
and choose the Quick Command.
In both cases, you have a keyboard
| | 05:08 |
shortcut, Ctrl+Q for quit here on the PC,
and Cmd+Q on the Mac.
| | 05:13 |
And now we'll go ahead and quit Photoshop
and return you to the last used
| | 05:17 |
application, which in my case is Bridge.
And we'll see that none of the files has
| | 05:24 |
been modified, and that's how you close
one or more files, with and without saving
| | 05:29 |
the changes, as well, as exit Photoshop.
| | 05:34 |
| | Collapse this transcript |
|
|
2. Getting AroundNavigating your image| 00:00 |
This chapter is all about
getting around in Photoshop.
| | 00:04 |
Magnifying the image, panning to
another location and managing your workspace.
| | 00:10 |
I spent 11 movies on this topic,
which is a lot, for the simple reason that
| | 00:15 |
there's a lot to know.
| | 00:17 |
I want you to be able to move around
inside Photoshop without even thinking,
| | 00:22 |
because that's how everything else
about the program is going to make sense.
| | 00:26 |
Better still, you'll be able to focus
less on the mechanics of the program and
| | 00:31 |
more on the task of
creating great artwork and imagery.
| | 00:36 |
Allow me to help you feel at home in Photoshop.
| | 00:40 |
| | Collapse this transcript |
| The dark vs. the light interface| 00:00 |
For those of you who have worked in
photoshop in the past, the most obvious
| | 00:03 |
change will be the stark interface with
the text and icons set in white.
| | 00:08 |
Now, I happen to like the dark interface,
I feel like it allows me to focus in on my
| | 00:11 |
image without being distracted by the
interface.
| | 00:15 |
However, you don't have to accept it if
you don't want, so, in this movie I'll
| | 00:18 |
show you how to set the interface to
another shade of grey.
| | 00:22 |
If you're working on the PC, you go to the
Edit menu.
| | 00:25 |
On the Mac, you go to the Photoshop menu
in the upper left hand corner, and then
| | 00:28 |
you drop down to the Preferences command.
This command isn't that far down the menu
| | 00:33 |
on the Mac, and then choose Interface from
the sub menu.
| | 00:37 |
And that will bring up the Preferences
dialog box, which allows you to select
| | 00:40 |
from four different color schemes.
So, I can go ahead and select the next
| | 00:44 |
scheme lighter In order to mimic the
brightness of the old interface, and now
| | 00:46 |
I'll click Okay.
Notice now, the text and icons are set in black.
| | 00:52 |
You also have a keyboard shortcut, by the
way, to either brighten or darken the interface.
| | 00:56 |
If you press Shift+F2, you'll advance to
the next brighter interface.
| | 01:00 |
If you press Shift+F1, you'll go back to a
darker interface, and you can actually go
| | 01:04 |
two shades darker than this.
This is the darkest interface there is,
| | 01:08 |
and again the text and icons are reversed
out in white.
| | 01:12 |
Alright I'm going to press Shift F2 in
order to restore the default interface.
| | 01:16 |
You also have control over this pasteboard
color this area of gray outside of the
| | 01:20 |
image when you're zoomed out from it.
So, if you're not seeing, just go ahead
| | 01:25 |
and press Ctrl+Minus, or Cmd+Minus on the
Mac to back out a little bit.
| | 01:29 |
To change that pace board, just right
click inside of it and then choose your
| | 01:32 |
preferred shade of grey.
For example, I could go with light grey,
| | 01:36 |
or I could right click inside the image
window and I could choose select custom color.
| | 01:41 |
Now, I like to work with the hue,
saturation and brightness values.
| | 01:45 |
You definitely want hue and saturation set
to 0 percent, unless you want to end up
| | 01:49 |
with a distracting, colorful pasteboard.
Presuming that you want to stick with
| | 01:53 |
gray, however, you would just modify this
brightness value.
| | 01:56 |
20 percent is the default setting, which
is pretty darn dark, so I might go ahead
| | 02:00 |
and take it up to 35 percent for example,
and then click Okay.
| | 02:04 |
And I'd end up with the pasteboard that
more or less matches the brightness of the
| | 02:07 |
interface itself.
One other little trick that you may want
| | 02:11 |
to know about here.
I'm going to go to my color panel, which I
| | 02:13 |
can get to by going to the window menu and
choosing the color command.
| | 02:17 |
But in my case, it's already up on screen,
so I don't need to choose the command.
| | 02:21 |
And I'm going to click on the Panel
Fly-out menu icon, in the upper right-hand
| | 02:25 |
corner, and I'm going to switch to HSB
sliders, which gives me control over hue,
| | 02:28 |
saturation, and brightness, and we'll talk
about how those work in more detail in
| | 02:32 |
future chapters.
But for now, I'm just going to change the
| | 02:37 |
brightness value, let's say, to 25%, just
so we get a different effect.
| | 02:42 |
And now I'm going to drop down to the
Gradient tool, click and hold on it, and
| | 02:45 |
choose the Paint Bucket tool.
Then, you press the Shift key and click in
| | 02:50 |
the background in order to assign the
foreground color to that pace board.
| | 02:55 |
So, again, it's there if you want to take
advantage of it, don't worry about it if not.
| | 02:59 |
Now, I'm going to reset things to the
default by right clicking inside that pace
| | 03:02 |
board and choosing dark gray.
And that's how you modify the brightness
| | 03:08 |
of the otherwise dark interface here in
Photoshop.
| | 03:12 |
| | Collapse this transcript |
| Navigating tabs and windows| 00:00 |
In this movie, I'll show you how to work
with and navigate between multiple open images.
| | 00:06 |
I currently have four images open,
each of which is represented by a tab at
| | 00:11 |
the top of the screen.
| | 00:12 |
To switch to a different image
you just click on its tab like so.
| | 00:16 |
Now this has been the way things have
worked for a while on the PC, but it's new
| | 00:20 |
default behavior on the Mac.
| | 00:23 |
If you'd rather switch to the old
Macintosh behavior, in which each image
| | 00:26 |
appears inside of its own floating
window, then go up to the Window menu,
| | 00:31 |
choose Arrange and choose Float All in
Windows, and then each and every image
| | 00:36 |
is independent like so.
| | 00:38 |
Now a lot of Macintosh folks like
to be able to see other applications
| | 00:42 |
running in the background.
| | 00:43 |
If you're one of them, then you could
open up that gray background between the
| | 00:47 |
toolbox in the right-hand panels by
going up to the Window menu and choosing a
| | 00:51 |
command that doesn't even exist on the PC.
| | 00:54 |
It's located directly above the Options
command and it's called Application Frame.
| | 00:59 |
Choose the command, you turn the
Application Frame off and you could see through
| | 01:03 |
Photoshop to the applications
that are running behind it.
| | 01:06 |
The one thing to bear in mind however,
is that future images will go ahead and
| | 01:10 |
open in tabs, much like this.
| | 01:12 |
If I were to take this image and drag
it and drop it into the other one, then
| | 01:17 |
the two images are now combined
into a single window with two tabs.
| | 01:22 |
That's not the behavior you're looking for.
| | 01:24 |
Go up to the Edit menu, this would be
the Photoshop menu on the Mac, drop down
| | 01:28 |
to Preferences and then
choose the Interface command.
| | 01:32 |
Notice these two check boxes right here,
Open Documents as Tabs, that one goes
| | 01:37 |
ahead and opens all new images
as tabs inside existing windows,
| | 01:41 |
and then Enable Floating Document
Window Docking; that's what I just showed you
| | 01:45 |
a moment ago where you can
drag one image into another.
| | 01:48 |
If you don't want those, turn them off.
| | 01:51 |
Now I happened to like them so I'm going to
go ahead and cancel out of this dialog box.
| | 01:55 |
What I want to do is restore all images to tabs.
| | 01:59 |
So I'll go up to the Window menu, choose
Arrange and then choose Consolidate All
| | 02:03 |
to Tabs in order to tidy things up.
| | 02:06 |
Now notice that this file, Grayscale
image.jpg, is now the first tab in the list.
| | 02:11 |
Well you can change the order of
tabs anyway you like just by dragging
| | 02:15 |
them along the top here.
| | 02:17 |
I can even go so far as to restore
that image to its final placement.
| | 02:22 |
Another way to switch between
open images is from the keyboard.
| | 02:25 |
On the PC, you can press Ctr+Tab to
advance from one image to the next.
| | 02:31 |
On the Mac, you press Command+~.
| | 02:33 |
The tilde key is that key in the
upper left corner of an American keyboard
| | 02:37 |
just above the Tab key.
| | 02:40 |
To move backward between the images,
press Ctrl+Shift+Tab here on a PC or
| | 02:44 |
Command+Shift+~ on a Mac.
| | 02:46 |
Now Photoshop only allows you
to modify one image at a time.
| | 02:51 |
However, you can view
multiple images at once, if you like.
| | 02:55 |
And you do so by going up to the
Window menu and then choosing one of
| | 02:58 |
these display options.
| | 03:00 |
I'm going to select 2-up Vertical so
that I'm seeing one of the images over on
| | 03:04 |
the right-hand side.
| | 03:05 |
So we have a single tab
going in this right-hand window.
| | 03:08 |
And over here in the left-hand window,
we have three tabs.
| | 03:12 |
One of them I can't see very well, but
I can get to all of my tabs any all time
| | 03:17 |
by clicking in this double-arrow
icon and choosing an item from the list.
| | 03:21 |
I'm going to go ahead and
choose the second image.
| | 03:23 |
And let's say I want it to
appear over on the right-hand side.
| | 03:26 |
I drag its tab and then drop
it inside the right-hand window.
| | 03:30 |
So I'm looking for that blue rectangle.
| | 03:32 |
If I don't see the rectangle and I drop
the image anyway, then it will appear in
| | 03:37 |
the floating window like so.
| | 03:38 |
And notice that the floaters can even cover
up the interface elements. I don't want that.
| | 03:43 |
But that's not a permanent problem.
| | 03:45 |
I can go ahead and drag this Title bar
and drop it into the right-hand window
| | 03:49 |
once I see the blue rectangle, and
I end up getting this result here.
| | 03:53 |
Now bear in mind, even though I'm seeing two
images at once, only one of them is active.
| | 03:58 |
And you can tell which
image is active by its title.
| | 04:01 |
So a bright title shows an active image.
| | 04:04 |
The dim title show inactive images.
| | 04:06 |
So currently, the image on the right is active.
| | 04:09 |
If I click over here in the left-hand
image, then it brightens up like so.
| | 04:13 |
If at any time you want to abandon the
2-up display and just see one image at a
| | 04:17 |
time, then return to the Window menu,
choose Arrange, and choose Consolidate All
| | 04:22 |
to Tabs once again, and you
will end up with this effect here.
| | 04:25 |
And that's how you work with and
navigate between multiple open images
| | 04:30 |
inside Photoshop.
| | 04:32 |
| | Collapse this transcript |
| Panels and workspaces| 00:00 |
In this movie, I'll show you how to
organize your panels over here on the
| | 00:03 |
right-hand side of the screen, so that you
can easily access Photoshop's most
| | 00:07 |
important options.
I'll also show you how to save off this
| | 00:11 |
particular organization as a workspace.
And, incidentally, I recommend that you go
| | 00:16 |
ahead and trust me on this one.
Because if you and I set up our workspace
| | 00:19 |
in the same way, then, it will be easier
for you to follow along with movies in
| | 00:23 |
this and future courses.
Plus you can always restore Photoshop's
| | 00:28 |
factory default settings as I'll
demonstrate before this movie is out.
| | 00:33 |
Now for starters, notice that you can
switch between these various panels by
| | 00:37 |
clicking on a tab.
So if I click on the Styles tab, I'll
| | 00:41 |
switch to the Styles panel.
Now, I don't want either of these panels
| | 00:45 |
to be dislocation.
So, I'm going to start things off by
| | 00:48 |
dragging the Styles tab up into the group
that includes the color and swatches
| | 00:52 |
panel, in the top right corner of the
screen.
| | 00:56 |
And then, I'll go ahead and drop that
panel into place, like so, and now I'll
| | 01:00 |
switch back to the color panel by clicking
on its tab.
| | 01:04 |
So we now have three panels.
Colors, swatches, and styles, grouped together.
| | 01:08 |
Because I'm working on such a tiny screen,
I want to be able to devote more space to
| | 01:12 |
my layers panel, which is by far, the most
important panel in Photoshop.
| | 01:17 |
So, I'm going to grab the Adjustments
panel.
| | 01:20 |
And notice this column of icons just to
the left of the panels.
| | 01:24 |
These represent other panels that are
available to us inside Photoshop.
| | 01:28 |
So I'll go ahead and drag the Adjustments
tab and then I'll drop it on top of this
| | 01:32 |
second icon at the top of the icon like
so.
| | 01:37 |
So notice that the area around the icon is
turning blue.
| | 01:40 |
And as soon as I drop the Adjustments
panel into place, it becomes an icon that
| | 01:43 |
appears as adjustments when I hover over
it.
| | 01:47 |
And below we're seeing the Properties
icon.
| | 01:49 |
So the idea is this.
Among other things, the Properties panel,
| | 01:53 |
which I can get to by clicking on its
icon, will display options associated with
| | 01:57 |
adjustment layers, which I can create from
the Adjustments panel.
| | 02:02 |
So in other words, these two panels that
are now grouped together are related to
| | 02:05 |
each other.
To hide the panel, just go ahead and click
| | 02:08 |
on its icon once again.
Now, what we're seeing here where this
| | 02:12 |
column is concerned.
Is another column of panels that just
| | 02:15 |
happens to be reduced to icon form.
If you want to see the names of the
| | 02:20 |
panels, then just drag on this vertical
bar on the left side of the column and
| | 02:24 |
you'll eventually see those names like so.
You can also expand the panels by clicking
| | 02:29 |
on this little double arrow icon And then
you'll actually see the contents of those panels.
| | 02:35 |
To collapse them just go ahead and click
on the double arrow icon again and I'm
| | 02:39 |
also going to drag this vertical bar on
the left side of the column to the right
| | 02:42 |
in order to reduce the column so we only
see the icons.
| | 02:47 |
Now, at this point, I want access to more
panels, and there are lots more panels
| | 02:51 |
available to us, all of which you can get
to from the Window menu.
| | 02:55 |
So, click on the Window > Actions, to
bring up the Actions panel, like so.
| | 03:01 |
And notice that it appears as an icon
below the history icon, which is exactly
| | 03:05 |
what we want.
So I'll just go ahead and click on this
| | 03:08 |
arrow icon to hide the Actions panel.
Next, return to the Window > Navigator.
| | 03:13 |
And that'll display both the Navigator and
Histogram panels.
| | 03:17 |
Now, let's go back to the Window > Info.
And that will add the info panel to the
| | 03:22 |
group that includes the Adjustments
Properties panel.
| | 03:26 |
So go ahead and drag the Info icon upward
to the bottom of this second group right
| | 03:29 |
here, that includes the Navigator and the
Histogram panels.
| | 03:34 |
And drop it into place like so.
Now we still need a few more panels.
| | 03:38 |
So go back to the Window > Brush.
Which brings up both the Brush and the
| | 03:42 |
Brush presets panels.
Then, go back to the Window > Clone Source.
| | 03:49 |
And we want Clone Source to be part of
this last group here.
| | 03:52 |
So go ahead and drag the little Clone
Source icon up to the bottom of that brush
| | 03:56 |
group, and drop it into place.
Now we still have a few more panels to go.
| | 04:01 |
So go up to the Window > Character, to
bring up the Character and Paragraph
| | 04:05 |
panels, both of which allow you to format
type.
| | 04:09 |
Then return to the Window > Paragraph
Styles.
| | 04:12 |
Which brings up the Paragraph and
Character Styles panels.
| | 04:16 |
Then, go back to the Window > Layer Comps
command.
| | 04:19 |
And this may seem like a lot of overkill
that we're bringing up this many panels,
| | 04:23 |
but believe me, they're all extremely
useful as we'll see over the course of
| | 04:27 |
many movies to come.
And then, for the last time go to the
| | 04:32 |
Window > Tool Presets, in order to bring
up this panel right there.
| | 04:37 |
And then, drag its icon up to between the
last two icons and drop it into place.
| | 04:42 |
So these last three icons should read
Layer Comps, and then Tool Presets, and
| | 04:47 |
then finally, Notes.
And now, I want my panels to be a little
| | 04:51 |
wider, so that none of my layer names in
the future movies are truncated.
| | 04:55 |
So I'll go ahead and drag this bar right
here, that's on the right side of the icon column.
| | 05:01 |
Over to, about here should work nicely, so
that we have just a little bit more room
| | 05:05 |
to work.
Now we want to save off all the work we've done.
| | 05:09 |
By clicking on the word Essentials in the
upper right corner of the screen and
| | 05:13 |
choose New Workspace.
And I'm going to name my workspace
| | 05:17 |
One-on-One, after the various courses in
this series.
| | 05:21 |
And then, I'll click the Save button in
order to create that new workspace, as you
| | 05:24 |
can see, in the upper right corner of the
screen.
| | 05:28 |
Now, let's say you want to restore the
factory default panels.
| | 05:32 |
Then just click on One-on-One and choose
Essentials, which is Photoshop's default workspace.
| | 05:37 |
Now, initially that won't change anything,
and that's because as we are making
| | 05:41 |
modifications to the panels, Photoshop was
updating the Essential workspace.
| | 05:46 |
To reset that work space, click on
Essentials again and choose Reset Essentials.
| | 05:51 |
And that will go ahead and restore it to
the factory default.
| | 05:55 |
Now notice that you have some other
workspaces to choose from.
| | 05:57 |
For example, you have what's new, if you
want to take a look at the new features
| | 06:01 |
inside the program.
We also have Photography, Topography and
| | 06:05 |
so forth.
But the one that I'm looking for is the
| | 06:08 |
one I just created which is One-on-One.
And that, friends, is how you organize
| | 06:14 |
your panels and save off a custom work
space here inside Photoshop.
| | 06:20 |
| | Collapse this transcript |
| Zooming incrementally| 00:00 |
In this movie I'll show you how to
incrementally zoom in and out from the
| | 00:04 |
image using a variety of commands and
essential keyboard shortcuts.
| | 00:10 |
Now currently we're seeing the image at
the 25% zoom ratio, and I know that
| | 00:14 |
because I can see 25% listed up here in
the Title tab.
| | 00:19 |
And I also see 25% listed in this little
field, which you can modify by the way
| | 00:23 |
down here in the lower left corner of the
screen.
| | 00:28 |
That allows me to take in a great deal of
the image at a time.
| | 00:32 |
However, it means that I'm not seeing much
detail because after all I'm seeing just
| | 00:36 |
one out of every four pixels horizontally.
As well as just 1 out of every 4 pixels
| | 00:43 |
vertically, meaning 1 out of every 16
pixels in all.
| | 00:47 |
And so, Photoshop scales the image on the
fly by averaging it in 16-pixel blocks.
| | 00:55 |
If I want to see more detail, then I need
to zoom in.
| | 00:58 |
And I can do that by going up to the view
menu and choosing the Zoom In command.
| | 01:02 |
The problem with choosing the command is
that you're going to be zooming in and out
| | 01:06 |
from your image all the time, which is why
Photoshop gives you some very
| | 01:10 |
straightforward keyboard shortcuts.
If you want to zoom in, you press
| | 01:16 |
Ctrl+Plus or Cmd+Plus on a Mac, and notice
that zooms incrementally from 25% to 33%.
| | 01:25 |
Meaning that I'm seeing just one out of
every three pixels horizontally and
| | 01:28 |
vertically or one out of every nine pixels
in all.
| | 01:32 |
If I press Ctrl+Plus or Cmd+Plus again,
then I zoom to 50% and then to 67% and
| | 01:39 |
finally to 100%.
And at the 100% zoom ratio, you're seeing
| | 01:45 |
one image pixel for every screen pixel,
making it the most accurate zoom level
| | 01:50 |
that there is.
And you can even zoom in farther, by the
| | 01:54 |
way, by continuing to press Ctrl+Plus or
Cmd+Plus on the Mac.
| | 01:58 |
And, once you get to the 600% zoom ratio,
you're going to see this light pixel grid,
| | 02:03 |
which is hard to see against that light
background.
| | 02:08 |
So I'll go ahead and scroll down to the
lips so we can take a better look at it.
| | 02:13 |
Now, any zoom ratio beyond a hundred
percent is just blowing up individual
| | 02:16 |
pixels, by the way.
If you want to zoom out, you just press
| | 02:20 |
Ctrl+Minus or Cmd+Minus on the Mac and you
can press Ctrl or Cmd+Minus as many times
| | 02:26 |
as you want.
Now, we were just zooming in on the center
| | 02:30 |
of the image, which means we were taking
in the lips.
| | 02:34 |
Presumably, that's not really what you'd
like to do.
| | 02:37 |
You want to zoom in on a specific portion
of an image.
| | 02:40 |
In which case, we have the Zoom tool down
here at the bottom of the toolbox., and
| | 02:43 |
notice it has a keyboard shortcut of Z.
Now again you use zoom tool so often that
| | 02:49 |
you don't want to have to switch to it
manually and then switch back to another tool.
| | 02:54 |
So here's a trick you can take advantage
of.
| | 02:57 |
You can press and hold the Z key, which
gets you the zoom tool on the fly and then
| | 03:01 |
you can click on a specific area that you
want to zoom in on.
| | 03:06 |
For example, I'm clicking on the eye, and
then when you're done zooming, you can
| | 03:10 |
release the Z key.
If you want to zoom out, you press and
| | 03:14 |
hold the Z key again and then you add the
Alt key or the Option key on the Mac and click.
| | 03:20 |
And as long as you've got the Z and Alt
keys down or Z and Option on a Mac, you
| | 03:24 |
can click as many times as you want to
zoom out, again, in those same increments.
| | 03:30 |
That is 25, 33, 50, 67 and 100%.
Now if you're having problems making that
| | 03:37 |
keyboard shortcut work then you can take
advantage of another shortcut.
| | 03:41 |
And I'm just telling you so that you know
it's there.
| | 03:44 |
I know I'm throwing a lot at you here, but
it's Ctrl+Spacebar in order to get the
| | 03:49 |
Zoom tool here on the PC.
On the Mac it's Cmd+Space bar, and then
| | 03:55 |
you click.
Problem is on the Mac you may find that
| | 03:58 |
pressing Ctrl+Spacebar brings up Spotlight
instead.
| | 04:03 |
If you want to get around that problem,
you can go to your system preferences, and
| | 04:07 |
you can go to the Keyboard icon, and then
switch Spotlight to some other shortcut,
| | 04:11 |
or you can press the Spacebar first and
then press the Cmd key.
| | 04:18 |
And that will get you the zoom tool as
well, and then if you want to zoom out
| | 04:21 |
then you just add the Alt key here on a
PC, so this is Ctrl+Alt+Spacebar.
| | 04:27 |
It would be Cmd+Opt+Spacebar, clicking on
the Mac.
| | 04:31 |
Notice a couple of other commands up here
in the View menu.
| | 04:35 |
We've got Fit on Screen, which is going to
zoom the image out to a custom zoom ratio
| | 04:39 |
that happens to work for the active image,
and that's also going to go ahead and
| | 04:43 |
center the image on screen like so.
And the keyboard shortcut for that command
| | 04:51 |
is Ctrl+0 or Cmd+0 on the Mac.
If you want to zoom into 100% so that
| | 04:56 |
you're seeing one image pixel for every
screen pixel, then you choose 100%, or you
| | 05:01 |
can press control 1, or command 1 on the
Mac, and that's just going to zoom you in
| | 05:05 |
on the central portion of the image there,
in our case, the lips once again.
| | 05:14 |
Something to notice is that each one of
the incremental zoom levels, such as 100%
| | 05:19 |
as well as 67%, 50%, 33, 25, and so forth.
You can continue going out to 17%, 12%,
| | 05:26 |
and so on.
Every one of these is going to display the
| | 05:30 |
image very smoothly.
So you are going to get a sharp display.
| | 05:34 |
Of that image.
However, at anything in between, for
| | 05:38 |
example if I press Ctrl+0 or Cmd+0 on a
Mac to zoom in this case to 20.33% then
| | 05:43 |
you're going to end up with a softer
display.
| | 05:49 |
That is not very representative of the
detail inside the image.
| | 05:54 |
So that's just something to be a little
cautious of, and at first you might not
| | 05:57 |
notice the difference.
Certainly in the video you're not going to
| | 06:01 |
see that big of a difference, but as you
gain more experience inside Photoshop,
| | 06:05 |
you'll start to notice the difference on
an image by image basis.
| | 06:10 |
In any case, that's how you zoom in and
out from an image incrementally using a
| | 06:15 |
combination of commands, tools, and
shortcuts here inside Photoshop.
| | 06:22 |
| | Collapse this transcript |
| Zooming continuously| 00:00 |
In this movie, I'll show you a few methods
for zooming continuously in and out from
| | 00:03 |
an image.
Just in case you want more control over
| | 00:07 |
your zoom ratios so you're not limited to
25, 33, 50, and so forth.
| | 00:12 |
And I'm looking at this grayscale image at
the 25% zoom ratio, and I'm seeing some
| | 00:16 |
moireing inside of his shirt.
In other words, we're seeing some
| | 00:20 |
patterning that doesn't really exist.
But I want to do so, as I say, with a
| | 00:23 |
little bit more deliberate control.
I'm going to move my cursor over the
| | 00:27 |
portion of the shirt that I want to zoom
in on, then I'll press the Alt key, or the
| | 00:30 |
Option key on a Mac, and I'll scroll up on
my mouse.
| | 00:35 |
So I'm moving the scroll wheel on my PC
mouse upward as I have the alt key down.
| | 00:40 |
On a Mac, you would presumably just move
your finger upward as you press the option key.
| | 00:44 |
In either case, if you're working with a
track pad, you could just press Alt or
| | 00:47 |
Option as you scroll upward as well.
Notice that two things are happening.
| | 00:52 |
First of all, we're zooming in much
smaller increments, which is really great.
| | 00:56 |
And we're zooming in on the cursor
location, which gives us a lot more
| | 00:59 |
control as well.
So that's one way to work.
| | 01:02 |
If you want to zoom out, press the Alt key
or the Option key on a Mac, and you scroll
| | 01:05 |
downward on your mouse.
Alright, I'm going to press Ctrl+0, or
| | 01:09 |
Cmd+0 on a Mac to zoom all the way out.
You can also zoom continuously using the
| | 01:13 |
zoom tool, so if I press and hold the z
key to get that zoom tool on the fly, and
| | 01:17 |
I click and hold on his eye, notice that
he starts zooming toward me.
| | 01:24 |
And after I zoom in past 600%, I start to
see the pixel grid that is the line
| | 01:27 |
between the pixels.
To zoom out, I would just keep the z key
| | 01:31 |
and my mouse button down and I press and
hold the Alt key or the Option key on a Mac.
| | 01:37 |
And so as long as you're pressing z and
clicking and holding, you're going to zoom
| | 01:41 |
one direction or the other continuously.
Here's another option you can take
| | 01:46 |
advantage of.
I'll zoom out again by pressing Ctrl+0 or
| | 01:49 |
Cmd+0 on the Mac and I'll press and hold
the C key.
| | 01:52 |
If I drag to the right, I'm going to zoom
very, very quickly in.
| | 01:56 |
If I drag to the left, I'm going to zoom
very quickly out.
| | 02:01 |
For some folks who have been using the
software for a very long time that's
| | 02:04 |
pretty confusing, because that's not the
way it used to work.
| | 02:08 |
Let me show you how you can revert the
behavior if you like.
| | 02:11 |
Go and manually switch to the zoom tool,
either by clicking on it or tapping the Z key.
| | 02:16 |
Notice that check box, Scrubby Zoom, if
you turn it off, you get the old behavior.
| | 02:21 |
By which I mean, instead of dragging with
the tool to suddenly zoom in or out, you
| | 02:24 |
drag to marquee the portion of the image,
that you want to zoom in on and then, as
| | 02:27 |
soon as you release, Photoshop zooms and
centers that portion of the image, on screen.
| | 02:33 |
So you can pick your poison and work any
way you like, but in any event you have a
| | 02:37 |
lot of options for continuously zooming in
or out from the image here inside Photoshop.
| | 02:43 |
| | Collapse this transcript |
| Entering a custom zoom value| 00:00 |
In this movie, I'll show you your final
zoom option which is to dial in a custom
| | 00:04 |
zoom value, which is great for
establishing a wide, centered view.
| | 00:09 |
When I first opened this image in this
particular screen, it comes in at 16.7%,
| | 00:14 |
which is just too far away.
| | 00:16 |
If I press Ctrl+0 or Command+0 on the
Mac to fit the image to the screen, you
| | 00:21 |
can see that Photoshop is conservative,
leaving a fair amount of pasteboard
| | 00:25 |
around the edge which can be useful
when you are trying to edit the image all
| | 00:29 |
the way to its perimeter.
| | 00:30 |
But in my case, I don't want
to see any of the pasteboard.
| | 00:33 |
If I press Ctrl++ or Command++ on the
Mac, I go the next increment, 25% which
| | 00:40 |
ends up cutting off the
side of the model's face.
| | 00:42 |
So I need to find something in between.
| | 00:44 |
I'll go ahead and press Ctrl+0 or
Command+0 on the Mac to zoom back out.
| | 00:49 |
Notice you have this custom zoom value
down here in the lower-left corner of the
| | 00:53 |
Image window, so you can
dial with your own value.
| | 00:56 |
For example, I'll enter 20% and then
press the Enter key or the Return key on
| | 01:00 |
the Mac, in order to zoom just slightly in.
| | 01:03 |
But that's not quite far enough and you
can see how this would get to be little
| | 01:06 |
but laborious after a while.
| | 01:07 |
So here is the most precise way to work.
| | 01:09 |
I'll click inside this value and then
I press the Up arrow key a couple of
| | 01:13 |
times, let's say, to take that value to 22%.
| | 01:17 |
I don't know if that's going to work because
Photoshop is not previewing the zoom on the fly.
| | 01:21 |
However, if I press Shift+Enter or
Shift+Return on the Mac, then I can apply
| | 01:26 |
that value while keeping inactive, and I
can see that 22% still leaves a little
| | 01:31 |
bit of edge over here on the left.
| | 01:33 |
So I'll press the Up arrow key one
more time to take that value to 23% and
| | 01:38 |
then I'll press Shift+Enter or Shift+
Return again and I can see that 23% is
| | 01:42 |
exactly what I want.
| | 01:43 |
Here's another way to work with the option.
| | 01:46 |
If you want to be able to preview the
zooms on the fly, you press and hold the
| | 01:49 |
Ctrl key or the Command key on the Mac,
and notice that your cursor changes to
| | 01:54 |
the scrub cursor meaning that
you can now scrub the value.
| | 01:57 |
So if I scrub to the right, I'm going
to zoom in on the fly, and if I scrub to
| | 02:02 |
left, I'm going to zoom out on the fly.
| | 02:05 |
I can do so with a great deal of
precision because basically, every pixel that I
| | 02:09 |
scrub translates to a single percentage of zoom.
| | 02:12 |
When you figure out the zoom ratio that
works for you, just press the Enter key
| | 02:16 |
or the Return key on the Mac
in order to exit that value.
| | 02:20 |
And that's how you zoom with the
ultimate in precision control here
| | 02:23 |
inside Photoshop.
| | 02:25 |
| | Collapse this transcript |
| Scrolling and panning images| 00:00 |
In this movie, I'll show you how to
scroll, or if you prefer, pan your image
| | 00:04 |
because after all, you want to be
able to move inside your image fluidly.
| | 00:09 |
For example, I'm currently seeing a
wide view of this portrait shot, but if I
| | 00:12 |
press Ctrl+1 or Command+1 on a Mac to switch
to the 100% view, I'm seeing some great detail;
| | 00:18 |
but I'm not really seeing the
portion of the image I want to look at.
| | 00:21 |
I can use the scroll wheel on my mouse.
| | 00:24 |
So if I scroll up, I'll scroll upward,
if I scroll down, I'll scroll downward.
| | 00:29 |
You also have the option of pressing and
holding the Ctrl key or the Command key
| | 00:32 |
on the Mac, and scrolling upward to
scroll to the left or scrolling downward to
| | 00:36 |
scroll to the right.
| | 00:38 |
On the Mac, you can drag with two
fingers down in order to scroll the image as well.
| | 00:43 |
So that's one way to work but the more
popular cross-platform technique is to
| | 00:47 |
take advantage of the Hand tool.
| | 00:49 |
Now you can select the Hand tool
manually down here at the bottom of the
| | 00:52 |
toolbox or you can gain access to it
by pressing and holding the spacebar
| | 00:56 |
either on the Mac or the PC.
| | 00:59 |
And with the spacebar down, you can
drag the image in order to pan it to the
| | 01:03 |
exact location you like.
| | 01:04 |
Now assuming that your video card
supports OpenGL, which most do, you can also
| | 01:09 |
take advantage of flick-panning
and let me show you how that works.
| | 01:13 |
You press and hold the spacebar and then
you basically toss the image like so in
| | 01:18 |
order to flick it to a different
location, and you can either do small flicks or
| | 01:22 |
big ones to move very
rapidly through your image.
| | 01:25 |
Here is another technique
that's known as the Bird's Eye View.
| | 01:28 |
If you press and hold the H key, which
is another way to get to the Hand tool,
| | 01:33 |
and then click and hold, you'll see this
little rectangle inside of a wide view of the image,
| | 01:38 |
then go ahead and move the rectangle
to the desired location and release in
| | 01:42 |
order to re-center your view.
| | 01:44 |
Let me show you one more trick that allows
you to pan multiple images at the same time.
| | 01:49 |
I'm going to zoom out a little bit
so we take in more this guy's face.
| | 01:52 |
Press the spacebar and drag him in the view.
| | 01:54 |
All right, now I'll go up to the
Window menu, choose Arrange and choose 2-Up
| | 01:59 |
Vertical so that I can see
two images at the same time.
| | 02:02 |
Now let's say I want to be
able to pan these images together.
| | 02:05 |
Now I could click inside this right-hand
window and I can press the spacebar and
| | 02:09 |
drag in order to pan just
one of the images like so.
| | 02:13 |
However, if I press the spacebar and the
Shift key together, and then drag one of
| | 02:17 |
the images, both of the images move in
kind as you can see here, which allows me
| | 02:22 |
to pan both of the images in kind.
| | 02:25 |
And those are some standard and
very helpful methods for panning images
| | 02:28 |
here inside Photoshop.
| | 02:31 |
| | Collapse this transcript |
| Rotating and resetting the view| 00:00 |
Another option that's available to you
is to rotate your view of the image, which
| | 00:04 |
is great when you're painting in edits,
because you can gain access to the exact
| | 00:08 |
angle you're looking for, very much as
if you are rotating a piece of paper as
| | 00:12 |
you were drawing on it.
| | 00:13 |
I'm going to drop down to the Hand tool
and click and hold on it, and you'll see
| | 00:17 |
that we get a flyout menu with both
the Hand tool and the Rotate View tool.
| | 00:21 |
If you select the Rotate View tool,
then you can drag the image in order to
| | 00:25 |
rotate it to a different angle.
| | 00:27 |
Now I stress, we're just
rotating our view of the image;
| | 00:31 |
we're not rotating the image itself.
| | 00:33 |
That goes ahead and rotates my view
of this image and only this image.
| | 00:37 |
My other open images remain just as they were.
| | 00:40 |
Well let's say instead, you want to
rotate your view of all the open images and
| | 00:44 |
you'd go ahead and turn on this
check box, Rotate All Windows up here in
| | 00:48 |
Options bar, and then you can
rotate your image to the desired angle.
| | 00:52 |
I'll go ahead and rotate her a little
farther, like so, and now when I cycle between
| | 00:57 |
my other open images, you can see
that they're all rotated as well.
| | 01:01 |
Now let's say at any point,
you want to reset your view;
| | 01:04 |
all you do is go up to the Options bar
and click on the Reset View button and
| | 01:08 |
because Rotate All Windows is checked,
I'll go ahead and reset every single one
| | 01:12 |
of the images as you can see here.
| | 01:15 |
So now every one of my
images is back to being upright.
| | 01:18 |
Now I'm going to switch to that
first portrait, and let me show you a
| | 01:22 |
quicker way to work.
| | 01:23 |
I'm going to turn off Rotate All Views
up here in the Options bar and then I'm
| | 01:27 |
going to switch back to my default tool
which is the Rectangular Marquee tool.
| | 01:31 |
You can get that tool incidentally
by pressing the M key for marquee.
| | 01:34 |
Now let's say I want to rotate this view
again, but I don't want to switch tools.
| | 01:38 |
I can press and hold the R key for
Rotate View and then I can drag, like so, in
| | 01:44 |
order to rotate the image.
| | 01:46 |
Then once I'm done rotating, I'd
Release the R key in order to return to my
| | 01:50 |
Rectangular Marquee.
| | 01:51 |
The problem, of course,
is how do I reset the view?
| | 01:54 |
Because the Rotate View tool isn't
selected, I'm not seeing the Reset button up
| | 01:58 |
here in the Options bar.
| | 02:00 |
However, you can get to it anytime just
by pressing the Escape key, and that will go
| | 02:04 |
ahead and return the image to exactly upright.
| | 02:07 |
And that's how you rotate your view
of the image here inside Photoshop.
| | 02:11 |
| | Collapse this transcript |
| Cycling between screen modes| 00:00 |
Another option for controlling your
display are the screen modes, which allow you
| | 00:04 |
to hide the interface and hone in on
the image, which as you might imagine, is
| | 00:08 |
very useful for showing off your
artwork to co-workers and clients.
| | 00:12 |
To get to the screen modes, you go
down to the very bottom of the toolbox and
| | 00:17 |
you'll see this Change Screen mode icon.
| | 00:19 |
Go ahead and click and hold on it, and
currently, we're in the Standard Screen
| | 00:23 |
Mode which means we're seeing all of the
interface including the title tabs and scroll bars.
| | 00:28 |
However, you can switch forward to
Full Screen Mode With Menu Bar, which hides
| | 00:32 |
all the elements of the image window,
which means we can still get work done but
| | 00:36 |
we have more real estate for the image itself.
| | 00:39 |
If you want to hide everything, but the
image, then drop down to that icon once
| | 00:43 |
again, click and hold on it
and choose Full Screen Mode.
| | 00:47 |
If this is the first time you're
choosing the option, then you'll get an alert
| | 00:50 |
message telling you how
to work inside this mode.
| | 00:53 |
But I'll tell you what's going on there.
| | 00:54 |
So, I'll just go ahead and
click on the Full Screen button.
| | 00:56 |
Now you can do any work you want at this point.
| | 00:59 |
You can zoom in, for example, by
pressing Ctrl++ or Command++ on the Mac.
| | 01:04 |
You can pan your display, as I'm doing
slightly here by Spacebar+Dragging, and
| | 01:08 |
you can work on the image as well.
| | 01:10 |
Then when you want to return to the
Standard Display, all you have to do is
| | 01:13 |
press the Escape key and everything comes back.
| | 01:16 |
You can also cycle through the
modes by pressing F for Full Screen.
| | 01:20 |
So when you press the F key the
first time, you switch to the full screen
| | 01:24 |
with Menu Bar Mode.
| | 01:25 |
You Press the F key again, you switch
to the strict Full Screen Mode which
| | 01:29 |
hides the interface, and then to
return to the Standard Mode, you press the F
| | 01:33 |
key for a third time.
| | 01:35 |
You also have a couple of Tab key
tricks for controlling the interface display.
| | 01:39 |
If you press the Tab key, you're going
to hide everything about the interface
| | 01:43 |
except for the Image window here
inside the Standard Screen Mode, as well as
| | 01:47 |
the menu bar up top.
| | 01:49 |
If you want everything back, then you
press the Tab key again, and notice that
| | 01:53 |
the Tab key hid the toolbox, the Options bar
at the top, and all of these right side panels.
| | 01:58 |
If you only want to hide the right
side panels then you press Shift+Tab.
| | 02:03 |
That keeps the Options bar on screen
and it keeps the toolbox up as well.
| | 02:07 |
To bring those panels back,
you press Shift+Tab again.
| | 02:10 |
Now this can be really helpful when
you're in the Full Screen Mode.
| | 02:13 |
So let's say I press the F key a couple
of times in order to switch to full screen.
| | 02:18 |
Now I can tap the Tab key in order to
bring back the entire interface and then
| | 02:22 |
press Tab again to hide it, or I can
press Shift+Tab to bring back just the right
| | 02:27 |
side panels and then press
Shift+Tab to hide them again.
| | 02:31 |
Now even when the interface is hidden,
you can hover over the left-hand side of
| | 02:35 |
the screen in order to bring back the toolbox.
| | 02:37 |
Then switch to a different tool, for
example, I might want to crop the image and
| | 02:42 |
then move your cursor back to the
right to see the toolbox disappear.
| | 02:45 |
This also works with the right side panels.
| | 02:47 |
You can just hover over the right-hand
screen to gain temporary access to them
| | 02:51 |
and then move your cursor away if
you want the panels to disappear.
| | 02:55 |
All right, I'm going to go ahead
and press the M key to return to the
| | 02:59 |
Rectangular Marquee tool and that
will hide the crop boundary so I can just
| | 03:02 |
focus in on the image.
| | 03:04 |
And that's how you take advantage of
the various screen modes including Full
| | 03:08 |
Screen here inside Photoshop.
| | 03:10 |
| | Collapse this transcript |
| Using the Navigator panel| 00:00 |
You often want precise control over the
display of your image, which is tough,
| | 00:04 |
because when you switch to a Full
Screen Mode, you lose the image window along
| | 00:09 |
with this custom zoom value down
here in the lower left-hand corner.
| | 00:12 |
Notice the first mode goes ahead and
hides the value, and of course, the second
| | 00:16 |
mode ends up hiding everything,
| | 00:18 |
and we reveal this large area of
pasteboard along the left and right-hand
| | 00:22 |
sides of the image.
| | 00:23 |
That's where the Navigator panel comes in.
| | 00:25 |
I'll start by introducing you to the
panel and then I'll show you how to use it
| | 00:30 |
in the Full Screen Mode.
| | 00:31 |
So I'm going to press the F key in order
to switch back to the Standard Screen Mode.
| | 00:36 |
And then I'll go up to the Window menu
and choose the Navigator command to bring
| | 00:40 |
up the Navigator panel.
| | 00:42 |
As you may recall, I've docked the
panel in this column of icons over to the
| | 00:46 |
right of the image, and it's important
that you do so as well if you want to use
| | 00:50 |
the panel on the Full Screen Mode.
| | 00:51 |
Now as you can see the, Navigator
features a very small preview of the
| | 00:56 |
image, but you can make it larger
just by dragging a corner of the panel in
| | 01:00 |
order to expand it.
| | 01:02 |
This red rectangle
represents your view into the image.
| | 01:06 |
So if I press Ctrl++ or Command++ on
the Mac, the rectangle grows progressively
| | 01:11 |
smaller because after all, I can
see less of the image at a time.
| | 01:16 |
You can change which part of the image
you're viewing by dragging the rectangle,
| | 01:20 |
and as you can see, that goes
ahead and pans the image on the fly.
| | 01:24 |
Another option is to press the Ctrl
key or the Command key on the Mac, which
| | 01:28 |
gets you the Zoom tool and then you
drag inside the image in order to define
| | 01:32 |
the area of your zoom.
| | 01:34 |
Down here at the bottom of the panel,
you have a zoom slider which allows you to
| | 01:38 |
zoom in and out incrementally.
| | 01:40 |
You can also click on the big mountain to
zoom in or the little mountain to zoom out.
| | 01:45 |
Problem is, neither the little mountain icons
nor that slider give you all that much control.
| | 01:51 |
The control comes in the zoom value
that appears in the lower-left corner of
| | 01:55 |
the panel just as it does on the
lower left corner of the image window.
| | 01:59 |
And it works just like that value as well.
| | 02:02 |
So if I press Ctrl+0 or Command+0 on
the Mac to zoom all the way out, and then I
| | 02:07 |
go ahead and hide the Navigator panel.
| | 02:09 |
I'll press the F key a couple of times in
order to switch to the Full Screen Mode.
| | 02:13 |
And then if I press Ctrl+0 or Command+0
on the Mac, I have more screen real
| | 02:18 |
estate to work with.
| | 02:19 |
So I zoom a little farther in,
however, I still have all this pasteboard.
| | 02:23 |
If I want to zoom into that exact ratio
that's going to hide the pasteboard but
| | 02:27 |
show me as much as possible of the image.
| | 02:29 |
When I hover against the right-hand
side of the screen to bring up those
| | 02:33 |
right-hand panels, I click on the
Navigator icon to bring up the Navigator
| | 02:37 |
panel, and then I use it just as I do that
value in the lower-left corner of the image window.
| | 02:42 |
Now you have to take care, by the way,
to keep your cursor inside the panel or
| | 02:47 |
everything is going to
disappear like so. All right,
| | 02:50 |
I'll go ahead and bring things
back up and I'll select that value.
| | 02:53 |
And let's say I dial in a value
like 40% and press the Enter key or the
| | 02:58 |
Return key on the Mac.
| | 02:59 |
I can see that's too far away.
| | 03:01 |
So I have a couple of options available to me.
| | 03:03 |
One is to highlight the value and
then press the Down arrow key a few times
| | 03:07 |
and press Shift+Enter or Shift+Return on the Mac
in order to zoom out and keep the value active.
| | 03:13 |
I can also press the Ctrl key or
the Command key on the Mac, and then go
| | 03:18 |
ahead and scrub the value in order to zoom
to that exact percentage that's going to work.
| | 03:23 |
And for me, it happens to be 32%.
| | 03:26 |
Once you find a value that works for you
then go ahead and move your cursor away
| | 03:29 |
from the panels and all you'll see on
your screen is image, and that's how you
| | 03:34 |
work with the simple but
remarkably powerful Navigator panel.
| | 03:38 |
| | Collapse this transcript |
| Using Retina and HiDPI displays| 00:00 |
Photoshop now provides support for high
DPI screens.
| | 00:04 |
Most famously, there's the Retina display
from Apple, but there's also high DPI
| | 00:09 |
screens coming out from PC vendors as
well.
| | 00:12 |
And even if you're not using one yet, you
will be.
| | 00:16 |
I'm guessing these things are going to
take over.
| | 00:19 |
The way LCD screens replaced CRT tubes.
And just to give you a sense for the difference.
| | 00:25 |
I'm working on a pretty small screen.
It's actually physically large, it's a
| | 00:30 |
23-inch screen.
But I'm working at a low resolution of
| | 00:33 |
1280 by 720 because we need to keep these
movies small so that they fit on your screen.
| | 00:39 |
But anyway just to give you a sense here,
I'm going to switch over to this other
| | 00:44 |
image, and I have a copy of this screen
captured inside of this layered file.
| | 00:50 |
And so, I'm going to press Ctrl+0 or Cmd+0
on the Mac to go ahead and zoom out.
| | 00:56 |
Just to give you a sense for the
difference between this screen.
| | 00:59 |
And the retina display that's included
with my 15 inch Macbook.
| | 01:03 |
I'll go ahead and turn on this layer
called Retina and you can see that it's
| | 01:07 |
quite a bit larger.
In fact it at least four screens that I'm
| | 01:12 |
currently working on would fit inside of
this dispaly.
| | 01:17 |
Now, because I'm working at a resolution
of 1280 by 720, and I'm going to go ahead
| | 01:21 |
and zoom in here a little bit, so that I
have a crisper display.
| | 01:26 |
Because remember I was telling you that
the non-incremental zoom levels are a
| | 01:29 |
little softer.
And here we're looking at an image at 30.8
| | 01:33 |
percent for what that's worth.
If I zoom in to 33%, that text gets much
| | 01:38 |
sharper as you can see.
Anyway, 1280 by 720 equals a total of
| | 01:43 |
nearly 922,000 pixels or a measly 64
pixels per inch.
| | 01:48 |
Now you're screen is going to be closer to
100 pixels per inch maybe a little more.
| | 01:56 |
But the retina display by comparison, I'll
go ahead and turn on this text layer and
| | 02:00 |
click and drag across these eyeballs to
turn off the other layers there.
| | 02:04 |
The retina display on the 15-inch MacBook,
just for the sake of, you know,
| | 02:10 |
comparison, is 2,880 by 1,800 pixels for a
total of 5,184,000 pixels.
| | 02:18 |
So more than five times as many pixels or
a whopping 221 pixels per inch.
| | 02:24 |
And the resolutions actually get higher
than that.
| | 02:28 |
And so, what that means is not only can I
see the model's face at the 100% zoom ratio.
| | 02:35 |
Ntice that.
But also if I zoom into 100% on this
| | 02:38 |
screen, we've got some incredibly sharp
text, we've got these great tool displays
| | 02:43 |
as well.
And again, for the sake of comparison,
| | 02:48 |
I've got this comparison layer right here.
I"m going to turn off the text layer for a
| | 02:53 |
moment and turn on comparison, and that's
what the tools look like on a standard display.
| | 02:59 |
So it's not just a function of my screen
only has 64 pixels per inch yours if
| | 03:04 |
you're using a conventional screen, has
more like a 100 to, maybe close to 120
| | 03:08 |
pixels per inch, but you're still getting
these kinds of tools.
| | 03:16 |
Very jagged by comparison to the super
smooth tools.
| | 03:20 |
And the super smooth text, which is even
more obvious over here on the right-hand side.
| | 03:28 |
If I were to grab my move tool from the
top of the tool box, and click on this
| | 03:31 |
comparison layer to make it active, and
then drag this thing over, So we can see
| | 03:35 |
both of these layer panels side by side.
You can see that there is a striking
| | 03:42 |
difference between not only the
resolution, but the legibility of the text
| | 03:46 |
as well.
So again a retina or other high DPI
| | 03:51 |
display may not be in your immediate
future, but this is the kind of thing
| | 03:55 |
that's coming your way and is already
available right now inside Photoshop.
| | 04:03 |
| | Collapse this transcript |
| Adjusting a few screen preferences| 00:00 |
In this movie I'll show you how to adjust
a few display preferences that aren't
| | 00:04 |
technically part of the workspace but its
my guess that they'll provide you with an
| | 00:08 |
improved experience here inside Photoshop.
Now first of all, notice that the
| | 00:14 |
thumbnails inside the layers panel are
extremely small by default, so small that
| | 00:18 |
you can barely make out what's going on.
If you want to make them larger, then you
| | 00:24 |
can right-click in this empty area below
the last layer In which case you'll get
| | 00:28 |
this shortcut menu, and you can choose
either medium thumbnails to make the
| | 00:32 |
thumbnails a little bit larger.
Or, you can right-click and choose large
| | 00:39 |
thumbnails in order to make them a large
as possible.
| | 00:43 |
Now it may be that if you have enough
layers inside of a document, there will be
| | 00:47 |
no empty area at the bottom here.
For example If I switch over to this file
| | 00:52 |
here and I've gone ahead and rasterize the
text, by the way, converted the text to
| | 00:56 |
pixels, so you won't get a font warning.
But notice that we have just gobs and gobs
| | 01:02 |
of layers.
So there's no emptiness down here at the bottom.
| | 01:07 |
In that case, you click on the little
fly-out menu icon In the upper right
| | 01:10 |
corner of the layers panel.
And you choose this command way down here
| | 01:15 |
at the bottom panel options.
And then you'll see the sunflowers here
| | 01:19 |
that allow you to set the size of the
thumbnail.
| | 01:23 |
Now you do have the option of nine.
You don't have to have any thumbnails at all.
| | 01:27 |
If I click OK now you'll see that we don't
have any previews of our layers.
| | 01:33 |
We just see paintbrushes if they're
pixel-based layers, and we see these
| | 01:37 |
little squares for vector layers, and so
forth.
| | 01:41 |
All of which we'll explore in more detail
in future chapters and courses.
| | 01:45 |
But I really don't like working this way.
Some folks do and you might as well.
| | 01:50 |
But what I prefer to do is click on the
fly-out menu icon once again, choose panel
| | 01:54 |
option, and go ahead and select The
biggest sunflower so we get the big thumbnails.
| | 02:01 |
Also notice these checkboxes down here at
the bottom.
| | 02:04 |
I reccomend you turn two of them off.
First of all turn off add copy the word
| | 02:09 |
copy to copied layers in groups.
Because that's really not very helpful,
| | 02:14 |
just to add the word copy.
You know it's a copy cause you just made it.
| | 02:18 |
And all that does is force you to rename
the layer something different.
| | 02:22 |
So this way the copied layer, will be
named exactly the same as the original.
| | 02:27 |
I also recommend you turn off this check
box, it's not a biggy but, what it does is
| | 02:31 |
it ensures that fill layers, including
solid colors, gradients and patterns.
| | 02:37 |
We'll see more of these guys in the
future.
| | 02:39 |
That they don't automatically have layer
mass, which is not necessary and it just
| | 02:43 |
clutters up the panel.
Alright, now I click okay and you can see
| | 02:48 |
that we got our great big thumb nails now.
Alright, I'm going to switch to a more
| | 02:54 |
colorful image, this one here and I'm also
going to switch to the channels panel,
| | 02:58 |
which you can get just by clicking on its
tab.
| | 03:02 |
You can also ends with all panels.
You can go to the Window menu and choose
| | 03:06 |
its name.
Now, notice that the channels panel shows
| | 03:09 |
the various color channels required to
create a full color composite image.
| | 03:14 |
So, we've got RGB at the top, which stands
for red, green, and blue.
| | 03:19 |
And then we have each of the independent
channels that are required to make up and
| | 03:23 |
RGB image.
So, there's the red channel, there's the
| | 03:26 |
green channel.
And there's the blue channel.
| | 03:29 |
Again, we'll visit this topic in more
detail in a future course, but notice that
| | 03:33 |
we do have the very small thumbnails.
If you want to make them bigger just right
| | 03:38 |
click in the empty area below.
And I'm going to choose large.
| | 03:42 |
You can choose some other size if you
like.
| | 03:45 |
And then I'll click on RGB to switch back
to the composite color image.
| | 03:50 |
Next, click on Paths or choose Paths from
the Window menu.
| | 03:53 |
We don't happen to have any paths in this
document, but if we did they would be very small.
| | 03:59 |
At least, they would appear small inside
this panel.
| | 04:02 |
To make sure they appear larger in the
future, just right-click anywhere here and
| | 04:06 |
choose Large.
And, in the future Any passage you draw
| | 04:10 |
will now be large regardless of the image
you are working in.
| | 04:15 |
All right, two more changes here inside
the color panel.
| | 04:18 |
Notice that you were seeing the RGB
sliders.
| | 04:21 |
I find those very difficult to work with
in terms of dialing in colors and a lot of
| | 04:25 |
other folks do as well because For
example, in order to get yellow, you crank
| | 04:29 |
red and green up to their maximums.
So you have to mix red and green to get
| | 04:35 |
yellow which to a lot of people doesn't
make much sense and besides even if you
| | 04:39 |
know what you're doing you just kind of
have to track these colors.
| | 04:44 |
That are constantly updating inside the
sliders to figure out where you're going.
| | 04:48 |
Whereas a much easier to work is to step
away from RGB or even CMYK and instead
| | 04:53 |
click on this fly-out menu icon and choose
HSB sliders, which stand for Hue,
| | 04:58 |
Saturation and Brightness.
Hue by the way, we'll see more of this in
| | 05:07 |
the future.
But hue is the core color, measured almost
| | 05:12 |
as if we were working on a rainbow.
And it's measure from zero to 360 degrees.
| | 05:18 |
And saturation is the intensity of the
color from gray, or white, or black
| | 05:23 |
depending on the brightness value, all the
way to the most intense version of the
| | 05:28 |
color possible.
And then, brightness is what you would
| | 05:34 |
think it is.
It goes all the way down to black, and
| | 05:37 |
then all the way up, to the brightest
version of whatever color we're working on.
| | 05:42 |
And to me, that's a lot easier way to
create colors because even if you don't
| | 05:46 |
understand hue, which is the hardest of
the sliders to predict, that is to say,
| | 05:50 |
you might not know right off the bat that
90 degrees is green, but you can actually
| | 05:54 |
see the colors right there in that slider
bar.
| | 06:01 |
And then finally, I want you to go up to
the Window > Adjustments to bring up the
| | 06:06 |
Adjustments panel.
Then, click on its fly-out menu icon and
| | 06:11 |
choose Add Mask by Default to turn it off.
And that way you're adjustment layers
| | 06:17 |
won't automatically receive layer masks.
And that will help to reduce clutter
| | 06:22 |
inside the layers panel once again.
You can always add layer masks later if
| | 06:26 |
you want to.
It's very to do and I'll show you how that
| | 06:30 |
works later.
In any case, that's all of our changes.
| | 06:34 |
Now, none of these changes are saved as
part of the workspace.
| | 06:38 |
They are rather saved as global
preferences.
| | 06:41 |
And the only way to save preferences in
Photoshop is to quit the application.
| | 06:47 |
So I'm going to re-set my colors here by
clicking on this little icon, Default
| | 06:51 |
Foreground and Background Colors, which
you can also get by pressing the D key
| | 06:55 |
down here at the bottom of the toolbox
because that's a global preference setting
| | 06:59 |
as well.
And then, I'll go up to File > Exit.
| | 07:07 |
On a Mac, you would go up to the Photoshop
menu and choose the Quit command, you also
| | 07:11 |
have the keyboard shortcut of Control+Q
here on a PC.
| | 07:15 |
Or Command+Q on the Mac.
And not only did that quit Photoshop, but
| | 07:19 |
that also went ahead and saved every one
of those changes that we just made.
| | 07:25 |
And that's how you adjust your display
preferences, as well as some layer mask
| | 07:30 |
settings to achieve what I consider to be
the best working experience inside Photoshop.
| | 07:38 |
| | Collapse this transcript |
|
|
3. Image Size and ResolutionDigital imaging fundamentals| 00:00 |
To understand digital imagery, you
have to understand its most basic
| | 00:04 |
building block, the pixel.
| | 00:07 |
Short for picture element, a pixel
is a single dot or line of color.
| | 00:12 |
In still photographs and on the screen
of computers and other devices, the pixel
| | 00:17 |
is a perfect square.
| | 00:19 |
Each pixel aligns to the one next to it in
regular rows and columns with no gaps in between.
| | 00:27 |
As the pixels grow smaller and more
numerous, they dissolve into what's known as
| | 00:31 |
a continuous tone image, in which
groups of similarly colored pixels merge to
| | 00:37 |
represent details that look anything
but square, which is why it's often
| | 00:42 |
characterized that the more pixels you
have the better the final image will be.
| | 00:48 |
But pixels are more analogous to organic cells.
| | 00:52 |
Quantity is important.
| | 00:53 |
For example, it takes several trillion
cells to make a human being, but quality
| | 00:58 |
is just as important.
| | 01:00 |
It takes healthy cells to
make a successful organism.
| | 01:04 |
In much the same way, a badly
rendered image may contain a hundred million
| | 01:09 |
pixels, and a well-rendered one may
contain just a few hundred thousand.
| | 01:15 |
It all depends on the quality of the
original digital photo or scan and the
| | 01:20 |
purpose of the final image.
| | 01:22 |
In this chapter, we'll explore two
image attributes that depend on pixels:
| | 01:27 |
image size and resolution.
| | 01:30 |
You'll learn how many pixels you need.
| | 01:32 |
You'll learn how best to resize an
image when you need fewer or more.
| | 01:37 |
And in the end, you'll understand the
mechanics of what makes a successful image
| | 01:42 |
both in print and on your screen.
| | 01:45 |
| | Collapse this transcript |
| Image size and resolution| 00:00 |
In this movie, I'll introduce you to a
couple of very important topics that are
| | 00:04 |
critical to your understanding of
Photoshop, specifically in the larger
| | 00:08 |
realm of digital imaging in general.
Now, I'm looking at this kind of
| | 00:13 |
psychedelic weave.
And this far out, it looks to be extremely
| | 00:17 |
smooth, with these dark and light lines
fading in and out vertically.
| | 00:23 |
And the colors fading back and forth
horizontally.
| | 00:26 |
But like any digital image, this one is
made up of pixels, and if you ever want to
| | 00:30 |
see those pixels, all you have to do is
zoom in.
| | 00:34 |
I'm going to press and hold the Z key and
drag to the right in order to zoom.
| | 00:40 |
And even before I get to the pixel grid,
it's obvious this image contains pixels.
| | 00:45 |
Once I go beyond 500% and I can see the
pixel grid it becomes more obvious still.
| | 00:51 |
Now by the way, if at any time you want to
hide the pixel grid, all you have to do is
| | 00:56 |
go up to the View > Show > Pixel Grid, to
turn the command off.
| | 01:03 |
And sure enough, we've got a bunch of
pixels.
| | 01:06 |
In fact, this close in the image looks
comically simple, almost like something
| | 01:10 |
out of the game Minecraft.
The number of pixels that work inside of
| | 01:14 |
an image is known as the image size.
So I'm going to go ahead and switch over
| | 01:18 |
to this graphic image right here.
Which contains a couple of drawings I did
| | 01:22 |
with my kids a few years back.
And these graphics are going to help us
| | 01:26 |
understand some key topics up front.
We'll see how image size and resolution
| | 01:31 |
affects photographic images later in this
cahpter.
| | 01:35 |
Now notice I'm viewing the image at the
100% view size which means that it's a
| | 01:40 |
very tiny image indeed.
Often times you'll hear folks call this
| | 01:45 |
short of image, low resolution or low res
for short.
| | 01:49 |
But really, the more accurate way to
describe it is small because it just
| | 01:53 |
doesn't contain many pixels.
Now, I'm going to tour you through this
| | 01:57 |
image using what's known as Layer Comps.
And I'll explain what's going on with
| | 02:01 |
Layer Comps in a future course.
But, for now, if you want to see them, you
| | 02:05 |
can go to the Window > Layer Comps, to
bring up the Layer Comps panel.
| | 02:10 |
And I'm just going to be advancing through
each of these guys.
| | 02:13 |
The Layer Comp, in its most simple form,
saves which layers are turned on and off.
| | 02:19 |
Now I'm not going to need the panel,
because I've set up a custom keyboard
| | 02:23 |
shortcut that allows me to advance from
one comp to the next.
| | 02:27 |
Now this image, happens to measure 918
pixels wide by 632 pixels tall.
| | 02:35 |
Which means that we've got a total of 918
times 632, which equals more than 580,000 pixels.
| | 02:45 |
Now, at first glance, that might seem like
a lot.
| | 02:48 |
And it would be if we were talking about
dollars, for example.
| | 02:52 |
But in the world of digital photography,
that's nothing.
| | 02:55 |
Consider that a low end digital camera
starts off at 12 megapixels and the high
| | 03:00 |
ends are somewhere in the 20's.
Which means that we're talking about 12 to
| | 03:06 |
20 million pixels, inside a photograph.
Now the definition of image size, by the
| | 03:12 |
way, is that it describes the pixel
dimensions and the total pixel count.
| | 03:18 |
In this case, what we were just
discussing, 918 by 632 Equals 580,000 pixels.
| | 03:26 |
Every single image you ever open or work
with inside Photoshop has an image size
| | 03:32 |
associated with it.
Meanwhile, there's Resolution, which is
| | 03:37 |
really like pixel population density.
It's the number of pixels packed into a
| | 03:42 |
linear inch or millimeter.
So in this case, for example, the
| | 03:46 |
resolution of the image, and I'll show you
how to set that in a future movie, the
| | 03:51 |
resolution is set to 100 pixels per inch,
also known as 100 ppi.
| | 03:57 |
Which means that we have 100 per
horizontal inch by 100 pixels per vertical
| | 04:02 |
inch, and therefore we have 100 times 100
which is 10,000 pixels in a square inch.
| | 04:10 |
That mean seem very high, but actually
it's a very low resolution.
| | 04:16 |
And, something to know about resolution,
it applies to print only It is meaningless
| | 04:21 |
for screen graphics, so if you're talking
about a web graphic for example, you don't
| | 04:26 |
need to worry about resolution.
Now you might say well Deke back in the
| | 04:32 |
previous chapter you were talking about
screen resolution when you were discussion
| | 04:36 |
retina display, and high DPI monitors.
And that is true.
| | 04:41 |
So I'll go ahead and switch over to this
graphic here, and just because it contains
| | 04:45 |
a Photoshop interface of its own, I'm
going to press Shift + F in order to hide
| | 04:49 |
Photoshop's real interact here.
So here's the retina display image.
| | 04:57 |
And the screen has a resolution of 2880 by
1800.
| | 05:01 |
That is a total of more than 5 million
pixels, and it works out to a resolution
| | 05:06 |
of 221 pixels per inch.
That's the screen's resolution.
| | 05:12 |
It has nothing to do with the image
resolution.
| | 05:15 |
The resolution of this image, happens to
have been set to 300 pixels per inch.
| | 05:21 |
And that is entirely independent of the
screen.
| | 05:24 |
Now, imagine if we had a hypothetical
screen whose resolution was, essentially,
| | 05:29 |
half what we just saw, 1440 by 900, which
is one of the possible settings with the
| | 05:34 |
monitor I'm using here.
Which would be a total of about 1.3
| | 05:41 |
million pixels or a 111 pixels per inch.
In that case, the photograph would look
| | 05:48 |
like this instead.
Still shown at the 100% view size by the
| | 05:52 |
way, so both of these images are appearing
in at a 100%.
| | 05:57 |
It's just because the screen display fewer
pixels.
| | 06:00 |
Those pixels are going to be much larger
and we're going to see less of the image
| | 06:04 |
at a time.
So, the moral of the story is, image size
| | 06:08 |
is applicable to every single image you
create because it describes the physical
| | 06:13 |
pixel count inside the image, whereas,
resolution is only applicable to images
| | 06:19 |
that you intend to print.
And those are the basics of image size and
| | 06:26 |
resolution throughout the world of digital
imaging, as well as right here at home
| | 06:31 |
inside Photoshop.
| | 06:34 |
| | Collapse this transcript |
| The Image Size command| 00:00 |
In this movie, I'll introduce you to the
Image Size command, which allows you to
| | 00:04 |
change the image size and resolution of an
entire image.
| | 00:09 |
To get to the command, you go up to the
Image menu, and choose Image Size or you
| | 00:13 |
press the keyboard shortcut control Alt+I
or Cmd+Option+I on a Mac.
| | 00:19 |
And that brings up this dialog box that
now contains a preview, so you can
| | 00:23 |
anticipate the effects of your changes on
the image.
| | 00:27 |
And you can either drag that preview to a
different location, or you can center it
| | 00:31 |
at a specific point by moving your cursor
out into the image window and clicking.
| | 00:37 |
And in this case, I've centered the
tyrannosaur's head Inside that preview.
| | 00:43 |
Notice up here at the top, the word
Dimensions, which shows the image size in pixels.
| | 00:49 |
So it's 918 pixels wide by 632 pixels
tall.
| | 00:53 |
You can click this down pointing arrow
head and switch to some other unit of measure.
| | 00:58 |
However, I don't recommend you do that,
because pixels are always going to give
| | 01:02 |
you the best sense of what's happening
inside your file.
| | 01:07 |
We also have the size of the image in RAM,
that is in memory.
| | 01:11 |
So anytime you open an image in Photoshop,
the program loads the image completely
| | 01:17 |
uncompressed in RAM and an uncompressed
RGB image takes up 3 bytes for every pixel.
| | 01:25 |
One byte for the red information, a second
byte for the green, and a third for the blue.
| | 01:30 |
And, as a result, if you ever wanted to
compute how big an image is in RAM, all
| | 01:35 |
you have to do is measure its width, 918
by its height 632 by 3.
| | 01:41 |
Next, notice these width and height
values.
| | 01:44 |
They represent how big the image is when
you go to print it or when you place the
| | 01:48 |
image into a vector-based program, such as
Illustrator or InDesign.
| | 01:54 |
They are not indicative of the size of the
image on screen.
| | 01:58 |
Now, by default, these two values are
linked to each other, so that you're going
| | 02:01 |
to scale the image proportionally.
If you'd rather stretch the image
| | 02:06 |
non-proportionally, then just click on
this little chain icon in order to break
| | 02:10 |
the link.
But I want to go ahead and keep it on,
| | 02:13 |
because for this image, I would rather
resize it proportionally.
| | 02:17 |
Notice this Resample checkbox down here.
This means that any modifications you make
| | 02:22 |
to these values will change the number of
pixels inside the image.
| | 02:27 |
The word Resample merely means that
Photoshop has to rewrite the pixels by
| | 02:32 |
averaging the existing ones.
So let's say I want to increase the
| | 02:37 |
resolution value.
Because Resample is turned on the
| | 02:40 |
resolution value is not linked to the
width and height values.
| | 02:45 |
So I can change that value independently
to 300 pixels per inch for example and
| | 02:50 |
that's going to increase the size of my
dinosaur.
| | 02:54 |
Now, whenever you're upsampling, it helps
to be able to see a larger preview.
| | 02:59 |
And you can, by expanding the size of the
dialog box.
| | 03:03 |
You can drag one of the edges like so or
I'm going to go ahead and fill up the
| | 03:07 |
entire screen here by dragging the Image
Size dialog box up to the top left corner
| | 03:12 |
and then you can drag down on the bottom
right corner in order to make this
| | 03:15 |
dialogue box as big as you want it to be.
Now, I'm going to go ahead and click and
| | 03:23 |
hold inside the image.
And notice when I do, Photoshop shows me
| | 03:27 |
some jagged transitions.
So in order word, it's just blowing up the pixels.
| | 03:31 |
When I release, it shows me what the image
is really going to look like.
| | 03:36 |
When it smooths out those transitions,
that smoothing process, which is
| | 03:41 |
ultimately a function of averaging the
pre-existing pixels, is known as interpolation.
| | 03:48 |
Now, I don't expect you to remember all
these terms right now.
| | 03:51 |
So I am going to explore them in more
detail in future movies.
| | 03:55 |
Now, because we increased the resolution,
we're adding pixels to the image and
| | 03:59 |
that's known as upsampling.
If we were reducing the number of pixels,
| | 04:04 |
that would be called downsampling.
Notice also that my dimensions up here
| | 04:09 |
have changed.
So the actual image size has grown now to
| | 04:14 |
2754 pixels wide by 1896 pixels tall.
And, the image has also grown in RAM, now
| | 04:22 |
to nearly 15 megabytes, so this is a
whopping change.
| | 04:27 |
We're increasing not only the width of the
file by 300%, but the height of the file
| | 04:31 |
as well, and as a result, we're inventing
9 pixels for every 1 that we used to have.
| | 04:39 |
But let's say you don't want to modify the
number of pixels inside the image, you
| | 04:43 |
just want to change the resolution value
and let the image shrink in print.
| | 04:48 |
So right now it measures 9 inches wide by
6 inches tall on the printed page.
| | 04:53 |
If I turn off the Resample checkbox,
notice all the values are now linked together.
| | 04:59 |
And because I increase the resolution
value, I'm squishing more pixels into a
| | 05:03 |
linear inch.
That decreases the physical size of the
| | 05:08 |
image when I print it.
We'll now print at about 3 inches wide and
| | 05:12 |
2 inches tall.
If I wanted it to print larger, then I
| | 05:16 |
would just go ahead and dial in a lower
resolution value, such as say 72 pixels
| | 05:20 |
per inch.
And now, the image will print at nearly 13
| | 05:25 |
inches wide and nearly 9 inches tall.
And of course, you can modify these values
| | 05:30 |
as much as you want.
If you know for example that you want to
| | 05:34 |
print the image 12 inches tall, then the
other values will change to accordingly.
| | 05:39 |
And in my case, the resolution drops
precipitously.
| | 05:42 |
And then finally, you have this Fit To
pop-up menu that contains a bunch of
| | 05:47 |
predetermine sizes here, all of which are
going to in one way or other resample the
| | 05:52 |
image, that is change the number of pixels
that are at work inside this file.
| | 06:00 |
And that, folks, is your introduction to
the Image Size command.
| | 06:05 |
In the next movie, we'll take a look at a
practical application.
| | 06:08 |
| | Collapse this transcript |
| Common resolution standards| 00:00 |
In this movie I'll introduce you to the
print resolution standards so you have a
| | 00:04 |
sense of where they come from and what
purpose they serve.
| | 00:08 |
After all everybody bandies about that you
should print an image at 300 pixels per inch.
| | 00:15 |
And that's true in many cases, but it's
not true in all cases.
| | 00:20 |
So with this image open, I'll go up to the
Image menu and choose the Image Size command.
| | 00:24 |
And because I canceled out last time, it's
coming up small.
| | 00:28 |
So I'll go ahead and increase the size of
the dialog box by dragging the lower right corner.
| | 00:33 |
Now I want to keep the width and height
values the same as they are, so what I
| | 00:37 |
want to do is up sample the image which
means I need to turn on the resample checkbox.
| | 00:44 |
Now notice the Fit To option here.
Go ahead and click on it and choose Auto
| | 00:49 |
Resolution, and that's going to bring up
this little dialogue box that lists what's
| | 00:53 |
known as a screen frequency.
Screen frequency measures halftone dots so
| | 00:59 |
when you commercially reproduce a
document, or when you send it to a laser
| | 01:03 |
printer, the printer lays down a ton of
these little circular halftone dots.
| | 01:10 |
And the number of halftone dots in an inch
is known as the screen frequency.
| | 01:16 |
Now 133 is a really common standard.
If you select Draft as your quality and
| | 01:21 |
then click Okay, then what Photoshop is
going to do is match the resolution to the
| | 01:26 |
screen frequency so we now have a
resolution value of 133 pixels per inch.
| | 01:35 |
If you go ahead and choose that command
again and you set it to Good, then
| | 01:39 |
Photoshop is going to set the resolution
to 1 1/2 times the screen frequency.
| | 01:45 |
In our case, 200 pixels per inch and we're
going to end up with this effect right there.
| | 01:51 |
And then finally If you go ahead and
choose the command again, and you set the
| | 01:55 |
quality to best, then Photoshop's going to
set the resolution to twice the screen
| | 02:00 |
frequency, which is 266 pixels per inch.
The plain fact of the matter is, it's
| | 02:08 |
actually 267, because that standard screen
frequency is 133 and a third, which is why
| | 02:14 |
the real universal standard, just so you
know, is 267 pixels per inch.
| | 02:23 |
But it doesn't really matter if you change
it to something else.
| | 02:25 |
If you took that up to 289 pixels per inch
you're not going to notice the difference,
| | 02:30 |
it's not going to look any different in
print, in other words, then it did at 267.
| | 02:36 |
So, you're just adding pixels to the file.
Another print standard, by the way,
| | 02:40 |
another print standard by the way is this
one here.
| | 02:44 |
I'll go ahead and choose auto Resolution,
and I'll increase the screen frequency to
| | 02:49 |
150 lines per inch.
And that way if I have the quality set to
| | 02:53 |
best and I click Okay, we get twice 150,
which is 300 pixels per inch, which is
| | 02:58 |
where the well known print standard comes
from.
| | 03:03 |
The other value that's worth knowing is
360 pixels per inch, which is an ideal
| | 03:07 |
resolution for high end inkjet printing.
About the lowest you want to go is 220
| | 03:14 |
pixels per inch because any lower than
that and you really start to see some
| | 03:19 |
jagged pixel transitions.
So those are the numbers you need to know.
| | 03:26 |
In other words, at the very low end, 220
pixels per inch, for high end commercial
| | 03:31 |
output, 267 or 300 pixels per inch,
depending on your screen frequency.
| | 03:39 |
And you can always find that out from your
commercial printer.
| | 03:42 |
And then, 360 pixels per inch for high end
inkjet output.
| | 03:47 |
But all of this matters, by the way, only
if you're printing the image, or importing
| | 03:52 |
it into Illustrator or InDesign.
If the image is ultimately bound for the
| | 03:57 |
web you don't need to worry about
resolution at all.
| | 04:01 |
In the next movie I'll demonstrate the
best way to upsample an image.
| | 04:07 |
| | Collapse this transcript |
| Upsampling vs. real pixels| 00:00 |
In this movie, I'll show you how
upsampling has improved recently in Photoshop.
| | 00:05 |
And I'll also show you how it compares to
capturing high resolution data with your
| | 00:10 |
scanner or digital camera in the first
place.
| | 00:14 |
Notice that I've got this image right here
called Duplicate image.tif, and I created
| | 00:18 |
it just by going to the previous image,
clicking on the Image menu and then
| | 00:23 |
choosing this command right there,
Duplicate.
| | 00:25 |
Which creates an independent copy.
Of the image.
| | 00:28 |
And I'm doing this, of course, for
comparative purposes.
| | 00:32 |
So now, I'll sample it by returning to the
image menu and choosing the image size command.
| | 00:37 |
And I've still got my wapping big image
size dialogue box.
| | 00:42 |
And I'm first going to make sure my
resample image checkbox is turned on and
| | 00:46 |
then I'm going to increase the resolution
value to 1000 pixels per inch which is way
| | 00:51 |
more than we need for print.
However it provides us with a useful demonstration.
| | 00:56 |
Now thanks to the fact that I can't see
the image in the background.
| | 01:00 |
I'm just going to have to manually drag
inside the image window.
| | 01:03 |
In order to see the tyrannosaurus rex
here.
| | 01:06 |
And notice those are the pixels, if we
were to just magnify them.
| | 01:11 |
And this is the interpolation, that is the
method by which the preexisting pixels
| | 01:15 |
were averaged in order to create the new
ones.
| | 01:21 |
Now, this is different than it used to be,
by the way.
| | 01:25 |
I'll go ahead and move things over a
little bit there.
| | 01:27 |
Notice, next to the word re-sample, is an
interpolation method.
| | 01:32 |
By default it is set to automatic.
But you can choose between a lot of other
| | 01:38 |
ones as well.
Automatic when you upsample is the same as
| | 01:42 |
choosing Preserve Details.
It used to be, however, the same as
| | 01:47 |
choosing Bi-cubic Smoother.
And I just want you to appreciate what a
| | 01:50 |
big difference this makes.
So in previous versions of the program You
| | 01:54 |
would have gotten this.
That is very soft detail.
| | 01:58 |
Possibly you might argue it's better than
a bunch of jagged blown up pixels.
| | 02:03 |
But there's no denying that it's something
of a blurry mess.
| | 02:07 |
Whereas now we have preserve details and
you can see that, that makes a terrific difference.
| | 02:13 |
We get some nice hard lines and some
smooth lines as well.
| | 02:17 |
And it does a very good job of drawing in
circular areas, much better than in the past.
| | 02:23 |
And you can see, that's the same as
choosing automatic.
| | 02:26 |
When up sampling once again, there is one
advantage, however, to selecting preserved
| | 02:33 |
details manually, and that is you also get
this reduced noise lighter.
| | 02:37 |
I'll go ahead and scoot this image over
even a little more.
| | 02:40 |
And notice as you crank that up you start
getting rid of the transitional pixels
| | 02:46 |
right there so you're smoothing over the
rough transitions an dyou can take this
| | 02:51 |
value all the way up to 100% in order to
get the smoothest results possible.
| | 02:56 |
In my case, that noise, is actually paper
texture, so I don't want to lose it, which
| | 03:01 |
is why I'll go ahead and scoot the reduce
noise value down to zero percent, and I
| | 03:05 |
might as well just stick with automatic as
well.
| | 03:08 |
Alright, now I'll click okay in order
toscale the image, and, it's going to grow dramatically.
| | 03:15 |
As we're about to see here.
And you can expect this to take a few
| | 03:18 |
moments, because Photoshop is generating
10 pixels wide and 10 pixels tall.
| | 03:22 |
So 100 pixels for every one pixel we had
before.
| | 03:26 |
Alright, now I need to find out where the
heck I am in this document.
| | 03:31 |
So I'll press and hold the h key, and
click and hold like so in order to take
| | 03:36 |
advantage of that birds eye scrolling.
And I'll go ahead and hone in on the eyes
| | 03:42 |
like so, of the tyrannosaur, and then
release.
| | 03:46 |
And now let's compare that to what would
happen if we just zoomed in on the image,
| | 03:51 |
which is analogous to just printing the
image at a low resolution.
| | 03:55 |
So I'll switch back to this guy right
here.
| | 03:57 |
And then I'll go ahead and change the zoom
value, down in the lower left corner of
| | 04:02 |
the screen, to 1,000% and press the Enter
key, or the Return key on a Mac in order
| | 04:07 |
to zoom on in.
And I'll press and hold the H key.
| | 04:10 |
And then we'll scroll over to this
location right there.
| | 04:14 |
Alright so obviously we've got some big
jagged pixels going I'll press control tab
| | 04:21 |
or command tilda on a mac in order to
switch over to the up sample version much
| | 04:25 |
smoother lines as you can see here but
notice this little region of green right
| | 04:30 |
there we've got some green details that
are popping up and some pretty highly
| | 04:34 |
saturated green as well.
Down here and up in this region too, and
| | 04:39 |
I'm not seeing that shade of green at work
in the original image.
| | 04:43 |
This is a greenish gray, just a little bit
of green, but it's very low saturation,
| | 04:48 |
whereas we've got some major green action
showing up here.
| | 04:52 |
All right, so, arguably, things look
better, this is better than just printing
| | 04:56 |
it at low resolution.
But it's no substitute for capturing a
| | 05:00 |
high resolution image in the first place.
I'll go and switch over to such a high-res scan.
| | 05:06 |
So I scanned this image at a 1,000 pixels
per inch which is why it's currently
| | 05:11 |
zoomed to just 10% as you can see here.
And it looks a little soft at this ratio
| | 05:18 |
because it's not one of the standards.
But if I press Control 1 or Command 1 on a
| | 05:22 |
Mac to zoom in, you can already see we've
got a ton of detail inside this image.
| | 05:27 |
I'll go ahead and press and hold the h key
once again.
| | 05:30 |
Click and drag to about this location.
Again, I'm just trying to get everybody
| | 05:34 |
registered into place.
And look at that detail.
| | 05:38 |
Look at those edges associated with the
watercolors.
| | 05:41 |
Look at this texture associated with the
pencil lines and so forth.
| | 05:46 |
So again for the sake of comparison here,
this is the blown-up version of the image
| | 05:52 |
with the jagged pixel transitions.
This is the smooth up sample version of
| | 05:57 |
the image.
Thanks to the preserved details option.
| | 06:00 |
And then finally, this is the real thing
right here.
| | 06:03 |
So in other words, there is no substitute
on earth for real scanned or photographed pixels.
| | 06:10 |
Which is why you should always scan at the
highest optical resolution provided by
| | 06:15 |
your scanner.
And you should always photograph At the
| | 06:18 |
highest resolution provided by your
digital camera.
| | 06:22 |
One more thing I want you to note, see
this value down here in the bottom left
| | 06:27 |
corner of the screen, Dock and then it
tells the size of file and RAM, 1.66 MB.
| | 06:49 |
And you choose document sizes.
Anyway, notice it's 1.66 megs, so it's dinky.
| | 06:55 |
Photoshop is going to have no problems
doing anything to this file ever, whereas
| | 07:01 |
the high resolution version of the image
here is 100 times that size.
| | 07:07 |
It's 165.9 megs, so it's a monster file.
And after about 100 megs, depending on
| | 07:14 |
your system, that's when a very big file
can start slowing Photoshop down, just a
| | 07:19 |
rule of thumb.
And the up sampled version of the file?
| | 07:23 |
Also a look at that.
166 megabytes, so it's just slightly
| | 07:27 |
larger and yet it obviously doesn't
provide the same degree of detail.
| | 07:32 |
So that's why I was saying in the
introduction to this chapter That it's not
| | 07:37 |
only important to have a lot of pixels
inside of a image.
| | 07:41 |
But it's important that those pixels are
in great shape as well.
| | 07:46 |
And that friend is the difference between
inventing pixels by up sampling, and
| | 07:52 |
getting the real thing by scanning or
photographing at a higher resolution in
| | 07:57 |
the first place.
| | 07:58 |
| | Collapse this transcript |
| Changing the print size| 00:00 |
In this movie I'll show you have to change
the size at which an image prints without
| | 00:04 |
harming a single pixel inside the file.
There's a couple of ways to change the
| | 00:09 |
print size of an image.
One is to go up to the File > Print
| | 00:13 |
command or you can press Control+P or
Command+P on the Mac.
| | 00:18 |
And if you end up getting this warning,
that the printer information saved along
| | 00:21 |
with the file is not compatible with this
version of Photoshop, don't worry about it.
| | 00:27 |
Just go ahead and click OK and up comes
the Print dialog box.
| | 00:31 |
Now the Print command is specifically
designed for local printing, by which I
| | 00:35 |
mean you're either printing to a device
that's connected to your computer or
| | 00:39 |
you're printing to a device on a network
inside your home or office.
| | 00:45 |
It does not affect how the document will
commercially reproduce or the size at
| | 00:50 |
which it will import into Illustrator or
InDesign.
| | 00:54 |
Now, the first thing I want to do is
switch to a wide layout here, which will
| | 00:57 |
better match the proportions of my image.
And then, notice here, you've got this
| | 01:02 |
checkbox to scale to fit the media.
We might as well, that's going to expand,
| | 01:06 |
of course, the size of the image because
we've got so many pixels to work with in
| | 01:09 |
the first place.
Now anytime you scale the image inside the
| | 01:13 |
print command you do not resample the
image.
| | 01:16 |
So you're not changing the number of
pixels, which means that if I scale up to
| | 01:20 |
fit the media, my resolution is going to
drop.
| | 01:24 |
In this case, to 860 pixels per inch and
the Scale value goes up to 116%.
| | 01:30 |
But let's say that's not big enough.
I want to go ahead and scale this area
| | 01:34 |
vertically as well.
So, I'll turn off Scale to Fit Media, such
| | 01:39 |
as a width of 12 inches.
And that goes ahead and scales the image
| | 01:45 |
to 131% and it reduces the print
resolution to 764 PPI.
| | 01:51 |
Now, at this point, you can either print
the image by clicking on the Print button
| | 01:54 |
or you can save your changes here inside
the Print dialog box by clicking Done.
| | 01:59 |
And I'm going to go ahead and just click
Done.
| | 02:01 |
Now I want to confirm that we did save
that information.
| | 02:05 |
So, I'll go back to the file menu, choose
the print command again and sure enough
| | 02:09 |
you can see resolution is 764 PPI, it's
got a width of 12 inches alright so,
| | 02:12 |
everything is here I can go ahead and
click the done button again.
| | 02:19 |
But as it turns out there's a disconnect
between the image size command and the
| | 02:23 |
print command.
Well the print command scrupulously pays
| | 02:27 |
attention to everything you do with image
size.
| | 02:29 |
The image size command ignores everything
you do with print.
| | 02:34 |
And it may seem like a bad thing, but it's
actually really great because it means you
| | 02:38 |
can decide how big your image will
commercially reproduce as well as how it
| | 02:41 |
will place into Illustrator and InDesign
using image size.
| | 02:46 |
And you can decide how to print the
document locally using the Print command.
| | 02:51 |
So I'll go up the the Image > Image Size
command.
| | 02:55 |
And you can see sure enough the width is
still 9.18 inches, and the resolution is
| | 02:59 |
1,000 pixels per inch.
Let's say I want the image to be 12 inches wide.
| | 03:05 |
Well just go ahead and dial in a width of
12 inches as you can see here.
| | 03:10 |
But because I have the Resample check box
turned on, we're going to end up adding
| | 03:14 |
pixels to the image.
And notice that the Image Size Dimensions
| | 03:18 |
right here have grown.
So the image is now going to be 12,000
| | 03:23 |
pixels wide and the size of the image in
RAM is growing from 166 megabytes to
| | 03:28 |
almost 284 megabytes.
Well, let's say I'm not paying much
| | 03:34 |
attention, and I just go ahead and click
on the OK button in order to accept that change.
| | 03:39 |
This is a realy computationally intense
process for Photoshop.
| | 03:44 |
And you can see, that it's going to take a
long time because the program hasn't even
| | 03:48 |
gotten around to displaying the pogress
bar yet.
| | 03:51 |
And once it does show the progress bar It
ends up hanging right there at that location.
| | 03:57 |
Well, we don't want to prolong the pain
for you, we're going to make the process
| | 04:00 |
happen faster.
After the progress bar goes away, it's
| | 04:04 |
going to look like Photoshop is scrolled
us to a new location in the image.
| | 04:08 |
In fact, we are on the top of the volcano
and the reason we're not looking at the
| | 04:12 |
Tyrannosaurus' head is because, since the
image's grown, his head has moved out of view.
| | 04:19 |
So I've got to press and hold the H key in
order to get my hand tool here, and I'll
| | 04:22 |
go ahead and drag this rectangle over the
tyrannosaurus' eyes, and I'll release, and
| | 04:27 |
you can see that the image has grown.
And just to give you a sense that that
| | 04:33 |
indeed has occurred.
I'll go ahead and press Control+Z or
| | 04:37 |
Command+Z on a Mac to undo.
And you can see sure enough the eyes are
| | 04:40 |
smaller in the original version of the
image.
| | 04:43 |
So, if I press Control+Z or Command+Z
again, you see the eyes grow, which tells
| | 04:48 |
us that Photoshop is up-sampled the image,
it's added pixels.
| | 04:54 |
And, this is a problem for a few reasons.
First of all, we already had a ton of
| | 04:58 |
pixels inside this image.
We used to have, before we messed it up,
| | 05:03 |
we used to have 58 million pixels inside
this image which is more pixels than you
| | 05:07 |
can capture with any digital camera on the
market.
| | 05:12 |
Now the image has grown to 99 pixels which
is just ridiculous.
| | 05:17 |
It's way more pixels than we need.
And we've got this whopping big file size
| | 05:22 |
as we can see down right here.
And even though that added to the
| | 05:26 |
technical resolution of the file, it is
not added to what's known as spacial
| | 05:30 |
resolution, which is whether the image
appears to have any more detail to your eyes.
| | 05:37 |
And spacial resolution by the way, is
really all that counts.
| | 05:43 |
And finally, because we've rewritten every
pixels inside this file.
| | 05:47 |
We've applied what's known as a
destructive modification.
| | 05:51 |
That is not to say that we've destroyed
the image.
| | 05:54 |
However, we have undercut its integrity
and we have made a permanent modification
| | 05:58 |
to the file, if we were to move on.
So, what I'm going to do, is press
| | 06:03 |
Control+Z or Command+Z on a Mac, to
restore the original good version of the
| | 06:08 |
file, with its optically captured 58
million pixels And its intense spatial resolution.
| | 06:16 |
And then I'm going to go back to the image
size command, and I'm going to turn off
| | 06:20 |
the re-sample checkbox.
And notice, by the way, the image size,
| | 06:25 |
166 megs, essentially.
If I change the width value now to 12
| | 06:30 |
inches the resolution value is 765 pixels
per inch as opposed to 764 in the Print
| | 06:35 |
dialog box.
But nothing up here changes one iota and
| | 06:41 |
you know what.
Given that we have so many pixels, I could
| | 06:45 |
set the file to print even wider.
I could turn it into a poster by changing
| | 06:49 |
the width value to 34 inches, for example.
That takes the resolution down to 270
| | 06:55 |
pixels per inch, which is plenty for
commercial reproduction.
| | 07:00 |
And did you notice throughout, because
we've got this wonderful preview right here.
| | 07:04 |
As I made my modifications, nothing
changed whatsoever.
| | 07:08 |
And that's because we're not harming or
changing a single pixel, and that's the
| | 07:12 |
way it is when you turn off the re-sample
checkbox.
| | 07:16 |
All right.
I'll go ahead and click OK in order to
| | 07:18 |
accept that change.
And now, just to see what's happened in
| | 07:21 |
the Print dialog box, I'll go up to the
File > Print command again.
| | 07:26 |
And you'll see that the Print command has
paid attention to the changes we made
| | 07:30 |
inside the Image Size dialog box.
We've got now a print resolution of 270
| | 07:35 |
pixels per inch the width is 34 inches and
so forth.
| | 07:39 |
And so we could either print to a
different device that allows us to print
| | 07:43 |
such a large image.
Or I could just print a detail by turning
| | 07:47 |
off the center checkbox under position
here and that allows me to just go ahead
| | 07:51 |
and drag the image inside the page.
So that I could print just the
| | 07:57 |
Tyrannosaurus' head.
And you can do that by clicking on the
| | 08:01 |
Print button or you could just save your
work by clicking on Done.
| | 08:05 |
And that's how you change the size at
which an image will print without
| | 08:09 |
rewriting a single pixel here inside
Photoshop.
| | 08:15 |
| | Collapse this transcript |
| Downsampling for print| 00:00 |
In this movie, I'll show you how to down
sample that is to reduce the number of
| | 00:04 |
pixels inside of an image for print.
Now at first this may seem like a daft idea.
| | 00:10 |
If up sampling an image is a destructive
modification, then down sampling an image
| | 00:15 |
Must be doubly so.
But the truth of the matter is while you
| | 00:20 |
rarely upsample an image inside Photoshop,
you commonly downsample.
| | 00:25 |
And the reason is this.
Imagine that we're working in a production
| | 00:29 |
environment and you want to print this
image at 12 inches wide.
| | 00:33 |
Well you don't want to hand off this
gargantuan file to a designer who's
| | 00:36 |
going to lay it out into a print document
or to a commercial printer because its
| | 00:40 |
going to take forever to upload and its
just going to waste everybody's time.
| | 00:46 |
Instead what you want to do is scale the
image according to its destination.
| | 00:52 |
Now, that is not to say that you want to
permanently harm the file, so here's what
| | 00:55 |
I recommend you do.
Start things off by going up to the Image
| | 00:59 |
menu and choosing the Duplicate command,
and that way, you don't run the risk of
| | 01:03 |
harming your original.
And you can call it anything you want.
| | 01:08 |
I'll call mine My downsample file.
We can always change this name when you
| | 01:12 |
save the image, then click Okay.
The next step, if your image contains
| | 01:16 |
layers, would be to go up to the Layer
menu and choose Flatten Image.
| | 01:22 |
For me this command is dimmed, because the
image is already flat, and then, finally,
| | 01:26 |
you would go ahead and down sample a file,
and we'll do that by going to the Image
| | 01:31 |
menu and choosing the Image Size command.
This time you want to turn the Resample
| | 01:38 |
Image checkbox on, and let's just go ahead
and dial in those values.
| | 01:43 |
I'll take the width value down to 12
inches and I'll enter a resolution value
| | 01:48 |
of 360 pixels per inch.
And the reasoning there is we have so many
| | 01:53 |
pixels to work with in the first place.
I could take it down to 267 if I know I'm
| | 01:58 |
working with a 133 line screen frequency.
But, let's say I'm not really sure how
| | 02:04 |
this is going to print.
The most conservative thing to do is take
| | 02:08 |
it down to 360 because that's going to
work great with high end inkjet printing
| | 02:12 |
as well.
And you'll see here inside the preview.
| | 02:17 |
Now we are reducing the size of the image
because here's the Tyrannosaurus's head at
| | 02:22 |
100%, before we couldn't even take in both
of his eyes.
| | 02:27 |
Notice also that the physical dimensions
of the image shrink And the size of the
| | 02:32 |
file in memory goes down from about 166
megabytes too somewhere between 36 and 37
| | 02:37 |
megabytes, so it's a big saving as well.
And now you want to going to go ahead and
| | 02:45 |
click the Okay button in order to accept
that change, and if I press Ctrl+1 or
| | 02:49 |
Cmd+1 on the Mac to zoom in to the 100%
view size.
| | 02:54 |
We still have some great detail inside
this file as you can see.
| | 02:57 |
And then, I'll just go ahead and press and
hold the h key, and drag up to this
| | 03:01 |
portion of the image in order to see this
detail that we have been checking out in
| | 03:05 |
the past.
And, everything's holding up great.
| | 03:10 |
We've got really some nice sharp detail
that's leftover here, and we have a very
| | 03:15 |
small file.
Just for the sake of comparison, let's say
| | 03:20 |
that I wanted to up sample that original
very small version of the file which is
| | 03:24 |
580 thousand pixels to match the size of
the one that we just down sampled.
| | 03:31 |
Then I would return to the Image menu,
choose Image Size, make sure that Resample
| | 03:35 |
is still turned on and set to Automatic.
An then, I'll take the width value up to
| | 03:41 |
12 inches, and I'll tab down to the
resolution and take it up to 360 pixels
| | 03:46 |
per inch.
And if I scroll over to, the Tyrannosaurus
| | 03:50 |
here, you can see while I'm clicking an
holding that had we, just blown up the
| | 03:54 |
pixels that would look pretty cruddy.
But even with the new preserve details
| | 04:00 |
option, the results of the upsampling look
pretty darn gummy, anyway.
| | 04:05 |
I'll go ahead and click Okay in order to
accept that modification, and then I'll
| | 04:10 |
press and hold the H key in order to
scroll over to this part of the
| | 04:13 |
Tyrannosaurus's head right here.
And now just for the sake of comparison,
| | 04:19 |
here is the up sample version of that
small file.
| | 04:23 |
And here's the down sample version of the
high resolution file.
| | 04:28 |
They both have exactly the same number of
pixels, and yet obviously the one that we
| | 04:33 |
scanned at a high resolution and then down
sampled has the better spatial resolution
| | 04:38 |
its always going to look better.
Alright, and now that you've created this
| | 04:44 |
downsample version of the file, you go up
to the File menu, choose the Save command
| | 04:48 |
and go ahead and save that image to disc,
knowing full well that there's no chance
| | 04:51 |
that you're going to ruin the original
image which is still alive and well right here.
| | 04:58 |
So that's how you down sample an image for
print, which is a very common operation in Photoshop.
| | 05:05 |
In the next movie, I'll who you an equally
common operation, how to downsample an
| | 05:10 |
image for email or social media.
| | 05:13 |
| | Collapse this transcript |
| Downsampling for email| 00:00 |
In this movie, I'll show you how to
downsample an image with the intention of
| | 00:04 |
emailing it or posting it to a photo
sharing or social media site, something
| | 00:08 |
along the lines of Google Plus or
Facebook, Twitter, Flickr, there's a bunch
| | 00:11 |
of them out there.
And mostly, the idea is to reduce the size
| | 00:18 |
of the file on disk to 5 megabytes or less
is usually a good goal.
| | 00:24 |
And you also don't want the image to be so
big that it can't be viewed on the largest
| | 00:27 |
monitor out there.
Now, currently, I'm seeing this image,
| | 00:32 |
which is a panorama of Moab, Utah from the
Fotolia image library, and I'm looking at
| | 00:36 |
this image at the 17% view size.
It happens to be 7,000 pixels wide, and
| | 00:43 |
it's about 20 megapixels in all.
Plus, it takes up 12.8 megabytes on disk
| | 00:50 |
as a compressed JPEG file.
So we definitely want to trim things down,
| | 00:54 |
by first going up to the Image menu and
choosing the Duplicate command, just so we
| | 00:58 |
don't ruin the original.
And I should have mentioned this before,
| | 01:03 |
if your image contains layers, you can
just turn on this checkbox, Duplicate
| | 01:06 |
Merged Layers Only, and that'll give you a
flat file.
| | 01:10 |
In my case, I already have a flat file,
however.
| | 01:13 |
So I'm just going to call this guy
Downsampled Moab, like so.
| | 01:17 |
And then I'll click OK.
And I've now got a copy of the image.
| | 01:22 |
The next step, of course, is to go up to
the Image menu and choose the Image Size command.
| | 01:28 |
And notice the dimensions here, 7000
pixels by 2800.
| | 01:32 |
And we've also got an uncompressed file
size of 56 and a half megabytes in RAM.
| | 01:39 |
This is a ginormous image.
Now, when I'm downsampling images just for
| | 01:44 |
whatever web purpose I might have and I'm
not sure exactly what size I want the
| | 01:49 |
final file to be.
Because, sometimes, you know exactly the
| | 01:54 |
pixel dimensions you want, but generally
you don't, and so, I'll usually switch
| | 01:59 |
here from Inches to Percent.
And just figure that I'll take the file
| | 02:04 |
size down to some percentage, maybe start
at 50% and see what you end up with.
| | 02:09 |
And that's going to give me an image size
of 14 megabytes in RAM, which is pretty
| | 02:14 |
darn big.
Now, you can figure that when you save the
| | 02:18 |
JPEG file, it's not going to be much more
than a third of that.
| | 02:23 |
But, it's going to vary depending on a
detail inside the file and you also
| | 02:26 |
want to pay attention to the dimensions.
Notice that the final is still 3500 pixels
| | 02:32 |
wide and nobody out there owns a screen
that's that big.
| | 02:37 |
In fact, very few people own screens that
are more than 2000 pixels wide.
| | 02:42 |
So we need to take the file size down
farther.
| | 02:45 |
I'm going to try 33% and see what we get.
Now, that's going to give me 2300 hundred
| | 02:49 |
pixels wide, a little bit of change there.
And we're coming up on a 1000 pixels tall,
| | 02:54 |
which seems about as big as I want this to
be.
| | 02:57 |
Now, I want to show you something, you may
not be able to see this in the video, but
| | 03:01 |
when I drag the image it looks a little
bit jagged, and when I release it gets all smooth.
| | 03:07 |
Check this out, when you're downsampling
images things behave differently than when
| | 03:11 |
you're upsampling, here inside the
Preview.
| | 03:14 |
I'm going to go ahead and zoom in by
clicking this Plus button to 300%.
| | 03:19 |
And notice we're getting big pixels,
because after all, we're zooming in beyond 100%.
| | 03:25 |
But if I click and hold, the image looks
better.
| | 03:27 |
So in other words, it looked better before
I downsampled it than it looks after.
| | 03:33 |
So, Photoshop is going to show you the
original version of the image.
| | 03:38 |
Perhaps a little bit jagged, however, in
my case, it's not jagged in the least when
| | 03:42 |
I click and hold.
It gets jagged only after I release and
| | 03:47 |
that's because 33% here, times three ends
up giving us a 100%.
| | 03:53 |
So in other words, this is our 100% view
of the original image when I click and hold.
| | 04:00 |
All right, so, that pretty much takes care
of it.
| | 04:03 |
We've gotten the image size and RAM down
to 6 megabytes, which is definitely in the clear.
| | 04:08 |
Again, the JPEG file probably going to be
about a third that size.
| | 04:12 |
So now, what you want to do is go ahead
and click OK in order to downsample that image.
| | 04:17 |
And you can see, it's much smaller on
screen.
| | 04:19 |
But if I press Ctrl+1 or Cmd+1 on a Mac in
order to zoom in 100%, it's still plenty
| | 04:24 |
gargantuan on this screen.
All right, now, what you want to do is
| | 04:29 |
save off the file as a JPEG image.
And you do that by going up to the File
| | 04:34 |
menu, and choosing either the Save or Save
As command, doesn't matter, because this
| | 04:38 |
file has not been saved yet.
I'll just go ahead and choose Save or you
| | 04:43 |
can press Ctrl+S or Cmd+S on the Mac, and
you can see, I've already provided you
| | 04:47 |
with a file called Downsampled Moab.jpeg.
I'm going to go ahead and replace it right
| | 04:52 |
now, and I'll click on the Save button,
and click Yes to replace the image.
| | 04:57 |
And then, you'll see the JPEG Options
dialog box.
| | 05:00 |
What I recommend you do is always, always,
always save at the maximum quality setting.
| | 05:06 |
Don't take it down to, I believe 8 is the
default and that's just going to mess up
| | 05:10 |
the image.
That's going to apply too much compression
| | 05:13 |
and it's just not worth it, so many people
make that mistake with their web images,
| | 05:17 |
they overcompress and it just destroys the
experience in my opinion.
| | 05:23 |
Go ahead and crank it all the way up at a
quality setting of 12, which is the
| | 05:26 |
highest inside this dialog box, you end up
getting JPEG compression that you cannot
| | 05:29 |
even see, you're not going to notice a
difference.
| | 05:34 |
And you get this little preview that tells
you that your file's going to be 1.9 megabytes.
| | 05:38 |
Now, that's an approximation.
It may be a little off, but it's going to
| | 05:42 |
be somewhere around there, and then you
also want to turn on baseline optimize,
| | 05:46 |
because that's going to apply lossless
compression as well.
| | 05:52 |
It may not make a difference in terms of
the file size, but sometimes, it does and
| | 05:55 |
it's worth it.
And then you want to go ahead and click OK
| | 05:59 |
in order to save off that file.
And now, it's ready to email.
| | 06:03 |
You can typically email images 10
megabytes or smaller.
| | 06:07 |
And you could certainly post this on any
of the sites out there.
| | 06:12 |
So that's how you downsample an image for
email, as well as any variety of online
| | 06:17 |
photo sharing here inside Photoshop.
| | 06:22 |
| | Collapse this transcript |
| The interpolation settings| 00:00 |
This next topic is pretty technical, but I
think it's important to understand if you
| | 00:04 |
really want to come to terms with the
Image Size command here inside Photoshop.
| | 00:10 |
It's all about methods of interpolation,
which is how Photoshop takes the existing
| | 00:16 |
pixels inside of an image and decides to
rewrite them when either upsampling or downsampling.
| | 00:24 |
And to give you an idea of what I'm
talking about, I'll go up to the Image
| | 00:26 |
menu and choose the Image Size command.
Whenever the Resample check box is turned
| | 00:32 |
on, you have access to this pop-up menu,
and these are the interpolation options,
| | 00:36 |
right here.
By default, it's set to automatic, but you
| | 00:41 |
can overwrite that default setting by
applying any of these other 6 options.
| | 00:48 |
And let me show you how those work.
I'll go ahead and press the escape key in
| | 00:51 |
order to exit the dialogue box, and I'll
switch over to this image, here.
| | 00:56 |
So, I took these gray checkers, which
we're viewing at the 200% view size.
| | 01:02 |
And then I downsampled them to 72% using
each one of the interpolation settings,
| | 01:07 |
and I came up with this diagram here.
And then after I downsampled them, by the
| | 01:13 |
way, I went ahead and magnified them to
800% so we can really see what's going on.
| | 01:19 |
Alright, so I'll go ahead and zoom into
this first guy right here, nearest
| | 01:23 |
neighbor, and nearest neighbor applies no
interpolation whatsoever.
| | 01:28 |
So it does't average the pixels in any
way.
| | 01:32 |
It's just one color ends up winning or
losing and that's all there is to it.
| | 01:36 |
So as a result, we have some rows and
columns that are very thick like so, and
| | 01:41 |
others that are thinner, like this one
here.
| | 01:46 |
So there's a certain unevenness going on.
I never use nearest neighbor for down
| | 01:50 |
sampling, by the way, but it can be useful
for upsampling.
| | 01:54 |
For example, that's how I up sampled each
one of these interpolative results so I
| | 01:58 |
didn't introduce any transitional pixels.
And as long as you interpolate by even
| | 02:04 |
numbers, that is multiples of 100, then
you'll increase the size of the pixels uniformly.
| | 02:10 |
The next option here is bilinear, and it
is the simplest of the actual
| | 02:14 |
interpolation methods, because it really
just runs a straight average of the pixels.
| | 02:21 |
So in this case, this area became sort of
a middling grey because Photoshop was
| | 02:26 |
trying to average between the dark gray
and the light gray.
| | 02:32 |
Next, we've got the various Bicubics and
what Bicubic tries to do is increase the
| | 02:36 |
sharpness, uses a series of derivatives
that you don't need to know about.
| | 02:42 |
It's much more complicated, but it's
trying to create sharp detail, and it does
| | 02:46 |
so by creating halos, as you can see here.
So we have this little dark tracing around
| | 02:52 |
the dark checker, and we've got this light
tracing around the light checker.
| | 02:57 |
If you want to downplay the halos then you
can switch to bicubic smoother, which is a
| | 03:01 |
kind of compromise between bicubic and the
bilinear that we saw before, and we end up
| | 03:05 |
with less pronounced halos.
If you want bigger, badder, halos then you
| | 03:12 |
switch to bicubic sharper.
And you can see that we have some very
| | 03:17 |
dark halos indeed around the dark
checkers, and some pronounced light halos
| | 03:21 |
around the light checkers.
And that's going to result in what appears
| | 03:26 |
to be sharper details still, which is why
it's the auto setting, so if you leave re
| | 03:30 |
sample set to auto, then Photoshop applies
bicubic sharper.
| | 03:36 |
When you down sample an image.
Now I'll go ahead and switch over to the
| | 03:40 |
newest option, Preserve Details, and you
can see that it results in these
| | 03:44 |
pronounced halos as well.
And in fact it creates a very nearly
| | 03:49 |
identical effect to bicubic sharper, where
these checkers are concerned.
| | 03:54 |
And in my test the only difference that
I've found is it tries to run some shape
| | 03:59 |
analysis as well, which is why I've
managed to achieve some pretty interesting results.
| | 04:06 |
By downsampling using preserve details so
you might want to keep that in mind.
| | 04:12 |
Alright now for the upsampling, I'm
going to switch over to gray checkers
| | 04:15 |
small.tif and its a small reversion of the
checkers we're still seeing it at the 200%
| | 04:19 |
view size.
And I took this one and I upsampled it
| | 04:24 |
using all of the interpolation settings to
576% just so that we have a fixed amount.
| | 04:32 |
And so I'll go ahead and switch over to
that version of the file, and I will zoom
| | 04:35 |
in as well.
Now when you run nearest neighbor again,
| | 04:39 |
either a color wins or a color loses
that's all that happens there's no
| | 04:42 |
averaging going on.
Because we're upsampling even though its
| | 04:46 |
not a multiple of 100% everything looks
pretty darn uniform although there are
| | 04:51 |
some differences in the size of the
checkers.
| | 04:55 |
Bilinear just goes ahead and runs sets
straight averaging as you can see, and as
| | 05:00 |
a result, we get some very soft gradient
transitions right here.
| | 05:05 |
And as a result, it can be very useful, by
the way, if, during a down sample or an up
| | 05:09 |
sample, you end up getting too sharp of a
result.
| | 05:14 |
Bicubic doing the same thing, as we saw
before.
| | 05:18 |
It's drawing halos around each one of the
checkers, and we also have some blur in
| | 05:22 |
between the checkers just as we do with
bilinear.
| | 05:26 |
If you want to downplay those halos, then
you can switch to Bicubic Smoother.
| | 05:31 |
If you want to emphasize the halos, then
you swicth to Bicubic Sharper.
| | 05:36 |
And then finally, we have these ultra
halos right here.
| | 05:41 |
That are created by Preserve Details, and
again, Preserve Details is also doing some
| | 05:46 |
shape analysis, so it does a good job of
upsampling things like circles and
| | 05:50 |
diagonal lines, that are not naturally
expressed by square pixels, which is why
| | 05:55 |
it's the automatic setting.
So, if you leave Resample set to Auto,
| | 06:01 |
when upsampling, then Photoshop applies
the Preserve Details option.
| | 06:07 |
Now what's interesting about this, take a
look at this.
| | 06:09 |
Previous versions of Photoshop
automatically applied by Cubic Smoother.
| | 06:14 |
Which provides us with some very soft
transitions.
| | 06:17 |
Now it applies preserved details, which
provides us with some very sharp transitions.
| | 06:23 |
So we've gone from one of the softer
settings, to one of the sharper settings.
| | 06:27 |
Just something that I want you to be aware
of.
| | 06:29 |
So that's how the various interpolation
methods work.
| | 06:33 |
In the next movie, I'll show you how to
apply them when downsampling a
| | 06:37 |
photographic image.
| | 06:38 |
| | Collapse this transcript |
| Downsampling advice| 00:00 |
In this movie, I'll provide you with some
insights for which Interpolation settings
| | 00:05 |
to apply when when downsampling an image
inside Photoshop.
| | 00:10 |
So what I've done is I've created a
diagram in which I went up to the Image
| | 00:13 |
menu and chose the Image Size command.
And then, with the Resample checkbox
| | 00:19 |
turned on, I reduced the width value to
25%.
| | 00:24 |
And as long as I'm here, I want to provide
you with little trick.
| | 00:27 |
Normally, notice this, if I switch from
something like Percent to Pixels, then
| | 00:31 |
(LAUGH) I'm going to reduce the image
quite a bit here.
| | 00:36 |
Because I've changed its width to 25
pixels, but that also ends up changing the height.
| | 00:42 |
I'll go ahead and set that back to
Percent, so we get the results I'm looking for.
| | 00:46 |
And if you want to change the unit
associated with width or height
| | 00:50 |
independently, then you want to press the
Shift key and click on this option.
| | 00:56 |
And then, I'll choose Pixels for height
here, and we can see now that the height
| | 01:01 |
of the image is going to be 706 pixels.
Anyway, the larger point is that I
| | 01:07 |
downsampled the image to 25%, and then I
applied each one of these various
| | 01:11 |
interpolation setting.
I got that already in a second file.
| | 01:17 |
So go ahead and switch over to it here.
And I'll zoom in as well, and I've got
| | 01:21 |
some Layer comps set up in advance so that
I can just toggle through the Layers
| | 01:25 |
through the keyboard.
This is the result of downsampling the
| | 01:29 |
image using nearest neighbor.
So all that does is it just throws away
| | 01:34 |
pixels, and as a result, we get some very
jagged transitions.
| | 01:38 |
Can't really think of any reasons why'd
you want to use nearest neighbor for
| | 01:42 |
downsampling, but there it is and this
here is Bilinear.
| | 01:47 |
So we end up getting the smoothest
transitions between the various pixels.
| | 01:51 |
This next one is Bicubic.
And, let me go ahead and zoom in a little
| | 01:57 |
farther here, because the difference
between these interpolations is a little
| | 02:01 |
bit subtle.
So again, this was Bilinear.
| | 02:05 |
And now, this is Bicubic.
We have a little more definition
| | 02:09 |
associated with the details this time
around.
| | 02:12 |
If you feel like you are getting too much
sharpness then you can back it off with
| | 02:16 |
Bicubic smoother, which actually does a
good job of defeating noise inside of an image.
| | 02:22 |
So if you have random variation between
neighboring pixels, that are not really
| | 02:26 |
representative of the scene analogous to
film grain, then you can help defeat those
| | 02:30 |
with that setting.
And then if you want more sharpness then
| | 02:35 |
you go with Bicubic Sharper, and in that
case, we saw pretty big increase in the
| | 02:39 |
sharpness of the detail there.
And then finally, preserve details, which
| | 02:46 |
I have to admit, this is it.
And if you didn't notice any difference
| | 02:49 |
there, it isn't because you're not looking
hard enough, it's because there is no difference.
| | 02:54 |
Pixel for pixel, this effect is absolutely
identical.
| | 02:59 |
So, what's the upshot?
Well, I'll go ahead and zoom out here, by
| | 03:03 |
pressing Ctrl+0, Cmd+0 on a Mac.
Here's my advice, my rules for downsampling.
| | 03:09 |
For starters here, when in doubt, stick
with Automatic, because that's going to go
| | 03:13 |
ahead and apply Bicubic Sharper.
However, if you plan on later sharpening
| | 03:18 |
the image after you downsample, and I do
this a lot.
| | 03:23 |
And I'll be devoting an entire chapter to
sharpening by the way in the intermediate course.
| | 03:29 |
At which point, we'll discuss these two
commands right here Unsharp Mask and Smart
| | 03:33 |
Sharpen, both of which give you lots of
control.
| | 03:37 |
And so, if you plan on going that route,
then you don't want to sharpen on top of
| | 03:41 |
an already Sharp effect, because you'll be
adding halos to halos.
| | 03:46 |
So instead, in that case, you want to use
the standard Bicubic setting, which is
| | 03:50 |
called inside the Image Size dialog bo.
It's called Bicubic, and in parentheses,
| | 03:57 |
smooth gradients.
This is also a good idea if you think
| | 04:00 |
there's any chance that you're going to
downsample an image more than once.
| | 04:06 |
Next, if the image is noisy, as I say,
random variations between neighboring
| | 04:10 |
pixels, then, go ahead and try Bicubic
Smoother and see if that doesn't give you
| | 04:14 |
better results.
And then finally, if the results end up
| | 04:20 |
looking jagged, I've had this happen on a
few graphics that I've created for the web
| | 04:24 |
recently, where a very fragile detail ends
up looking quite jagged, then you want to
| | 04:29 |
use Bilinear instead, because, it's just a
straight averaging computation.
| | 04:37 |
And it's going to give you the smoothest
results possible, but of course, my
| | 04:41 |
biggest word of advice is that you never
downsample and save over your original file.
| | 04:48 |
Always duplicate the image first, before
you downsample so that the original file
| | 04:53 |
is safe.
So there's my advice for downsampling,
| | 04:57 |
hopefully, it will help you achieve the
best results possible when you're working
| | 05:01 |
inside your own images.
| | 05:03 |
| | Collapse this transcript |
| Upsampling advice| 00:00 |
In this movie, we'll take one last look at
upsampling.
| | 00:03 |
In here my advice is a lot simpler.
Use preserve details.
| | 00:07 |
It's just the best option there is for
this purpose.
| | 00:10 |
Now normally I don't recommend upsampling.
I'm not a big fan of the process.
| | 00:16 |
But what do you do with an image like
this, of Buzz Aldrin as captured by Neil Armstrong?
| | 00:22 |
It's not the kind of image that you're
going to shoot anytime soon, and neither
| | 00:26 |
is anybody else.
So this is what we got.
| | 00:30 |
And it's a fairly low resolution image and
it's a pretty grainy film capture as well.
| | 00:35 |
So let's say I want to make it bigger.
I'd go up to the Image > Image Size.
| | 00:42 |
And currently it's set to print at a size
of 14 inches approximately square.
| | 00:48 |
But the resolution is a scant 100 pixels
per inch.
| | 00:51 |
What I want to do is take that guy up to
300 pixels per inch, like so.
| | 00:57 |
And we end up seeing this pretty blobby
result.
| | 01:00 |
Now, the thing that it may not look that
good at first, but try comparing to some
| | 01:05 |
other settings that are available to us.
If you were to go with nearest neighbor,
| | 01:11 |
of course, you get the same thing that you
get whenyou click and hold inside the
| | 01:14 |
preview, that is, you're just increasing
the size of the pixels.
| | 01:20 |
If you were to try, by cubic smoother, as
was the old automatic setting.
| | 01:26 |
You end up just really softening the
results, so it's as if you upsampled the
| | 01:30 |
image and then blurred it.
And while it does get rid of the stair
| | 01:34 |
stepping of the big pixels, it doesn't
give us anything in the way of decent detail.
| | 01:40 |
Even if you switch from Bicubic Smoother
to Bicubic Sharper, it doesn't really
| | 01:45 |
change things very much as you can see.
There is a slight change going on, but not much.
| | 01:51 |
Whereas, if you stick with Bicubic
Automatic, you get a much better looking result.
| | 01:57 |
Notice how smooth and sharp actually that
circular detail is around the helmet.
| | 02:04 |
And that's something we've just never had
inside Photoshop before.
| | 02:09 |
Now this is, as I was saying, a very
grainy image.
| | 02:12 |
That means it's pretty noisy.
We got some noise detail going on.
| | 02:16 |
And if you want to get rid of that, then
you need to manually switch to preserve
| | 02:19 |
details, which implies the same
interpolation.
| | 02:22 |
That's why we don't see anything shift on
screen.
| | 02:25 |
And then, you want to crank up Reduce
Noise and in our case, we want to take it
| | 02:29 |
all the way from 0 up to 100%, and you'll
see a ton of noise drop away from the sleeve.
| | 02:37 |
And I want you to see this, look at this
region inside of the helmet.
| | 02:41 |
This is what it looks like with reduce
noise set to zero and this is how it looks
| | 02:45 |
with reduce noise set to 100, so we are
smoothing out that detail there.
| | 02:51 |
Now, for those of you that know a thing or
two about noise, this option gets rid of
| | 02:55 |
luminance noise, which is random
variations in the brightness of
| | 02:58 |
neighboring pixels.
It does not get rid of color noise, which
| | 03:03 |
is random variation in the colors.
Between neighboring pixels.
| | 03:08 |
But it still does a heck of a good job.
Now it's not going to generate detail.
| | 03:13 |
I want you to know that.
What it is going to do is preserve things
| | 03:16 |
like circles and diagonal lines and other
things that I was telling you don't really
| | 03:20 |
fit the mold of square pixels.
But we've got the reflection of Neil
| | 03:25 |
Armstrong right there in the middle of the
helmet.
| | 03:28 |
And whehter or not we were to apply
Nearest Neighbor or preserve details.
| | 03:32 |
He still looks like this kind of nebulous
blob.
| | 03:35 |
Anyway, what you want to do if you just
want to prove to yourself how great this
| | 03:38 |
is is click OK and then go ahead and print
this image.
| | 03:42 |
Now it looks like I ruined it and it
turned black but that's because we're
| | 03:46 |
zoomed into the upper left hand corner.
So I'll press Ctrl+0 or Command+0 on a Mac.
| | 03:53 |
I'm now looking at Buzz Aldrin at the 50%
zoom ratio.
| | 03:57 |
Try printing out this image, and you just
won't believe how absolutely great it looks.
| | 04:04 |
So, when push comes to shove and you just
have no other option but to upsample an
| | 04:08 |
image, preserve details along with a
little bit of noise reduction is the way
| | 04:12 |
to go.
| | 04:14 |
| | Collapse this transcript |
|
|
4. Using LayersThe layered composition| 00:00 |
In this chapter we'll take our first look
at one of Photoshop's most powerful image
| | 00:04 |
creation tools, layers.
Layers do not occur spontaneously, in fact
| | 00:11 |
every digital photograph or scanned
artwork begins life as a flat, no layer,
| | 00:15 |
image file.
In Photoshop, this flat image is called
| | 00:21 |
the background, and it's locked inside the
fore walls of the always rectangular canvas.
| | 00:28 |
But layers are easy to create.
When you so much as move one image into
| | 00:32 |
another, the moved image becomes a
floating layer.
| | 00:36 |
This means that it can be any shape and
size inside the rectangular file.
| | 00:42 |
This also makes it and any other layers in
the document altogether independent of
| | 00:46 |
each other.
You can move, scale and rotate on layer
| | 00:50 |
without adversely affecting another,
making for a highly flexible.
| | 00:56 |
Penalty-free editing environment and you
can introduce transparency.
| | 01:02 |
So, where as in a flat image, a pixel may
be one of several million colors, in a
| | 01:05 |
layer, it may also be one of several
hundred layers of translucency.
| | 01:11 |
This permits you to see through one layer
to another.
| | 01:16 |
Plus, you can blend layers together to
create interactions between images that
| | 01:20 |
were simply not possible before the
digital age.
| | 01:24 |
In Photoshop, a document that contains
layers is said to be a layered composition
| | 01:29 |
or comp for short.
In this chapter, I'll show you how to
| | 01:34 |
create one such comp from beginning to
end.
| | 01:37 |
Welcome to the power of layers.
| | 01:40 |
| | Collapse this transcript |
| Introducing the Layers panel| 00:00 |
All right, so here's the Layers panel down here
in the lower right region of the screen.
| | 00:04 |
If for some reason you can't see the
panel, then go up to the Window menu which
| | 00:08 |
lists every single panel on the
software and choose the Layers command.
| | 00:11 |
You also have a keyboard
shortcut, which is the F7 key.
| | 00:15 |
Those of you working on a Mac may have
to press the Function key that is the Fn
| | 00:19 |
key and the F7 key at the same time.
| | 00:22 |
In my case however, the Layers command
has a check mark in front of it, so if I
| | 00:26 |
were to choose the command, I
would make that panel disappear.
| | 00:29 |
To make it come back of course, I just go to
the Window menu and choose the command again.
| | 00:34 |
And notice that brings back that
whole group of panels including
| | 00:37 |
Layers, Channels and Paths.
| | 00:40 |
Each of these items here inside the
Layers panel represents an independent
| | 00:44 |
image, one stacked on top of another.
| | 00:47 |
Now the great thing about layers is
each of the images is isolated so that you
| | 00:51 |
could move them independently as
well as scale and rotate the layers.
| | 00:55 |
And you can even blend the layers together
without harming a single pixel in the actual image.
| | 01:00 |
In other words, layers are for the
advantage of allowing you to apply
| | 01:04 |
non-destructive modifications.
| | 01:07 |
Now over the course of this chapter,
we'll be creating this piece of framed
| | 01:10 |
artwork by combining a total
of six images and here they are.
| | 01:15 |
We'll start off with this piece
of red and yellow illustration.
| | 01:17 |
We will add these black swirls against
the white background and we will set the
| | 01:22 |
whole thing against this wall background.
| | 01:24 |
We'll also use this wood texture
in order to build up the frame.
| | 01:28 |
We'll use this grunge Stucco texture
to rough up the artwork a little bit.
| | 01:32 |
And finally, we'll add this
photographic image as a kind of finishing touch.
| | 01:38 |
Now when you assemble multiple images
into a Photoshop document, it's known as a
| | 01:42 |
layered composition.
| | 01:44 |
And one of the best ways to come to
terms with Photoshop if you're new to the
| | 01:48 |
program is to walk through a layered
composition that someone else has created.
| | 01:52 |
Now notice these eyeball icons next to
the layer names, if I click on the eye in
| | 01:58 |
front of the swirls layer, I'll hide
that layer temporarily, meaning, I can turn
| | 02:02 |
it on anytime I like, and you can have
as many hidden layers as you want inside
| | 02:06 |
of a Photoshop file.
| | 02:08 |
Photoshop goes ahead and saves hidden
layers and saves them as hidden so that
| | 02:12 |
they don't suddenly reappear
the next time you open the file.
| | 02:15 |
To make the layer visible again, you just
click on that square where the eye used to be.
| | 02:20 |
You can also hide all but one
layer inside of a composition.
| | 02:24 |
So let's say I want to start at the
bottom of this layer stack here and work
| | 02:28 |
my way up, and incidentally, you can
scroll up and down the layer list when
| | 02:33 |
your cursor is hovered over the Layers panel
just by using the scroll wheel on your mouse.
| | 02:38 |
I'm going to go down here to the
bottommost layer, which is the wall layer and
| | 02:42 |
instead of clicking on the eyeball,
I'll press the Alt key or the Option key
| | 02:45 |
on the Mac and click.
| | 02:47 |
And oftentimes inside Photoshop, Alt or
Option reverses the behavior of an icon.
| | 02:54 |
So as you know, when you click on the
eyeball, you turn the layer on or off.
| | 02:57 |
When you Alt+Click or Option+Click on
the Mac, you either turn all the other
| | 03:01 |
layers off, or if I Alt+Click or Option+Click
again, I will turn all the other layers on.
| | 03:07 |
All right, I'm going to Alt+Click or Option+Click
there in order to view the wall layer by itself.
| | 03:11 |
Notice that that same white wall
we saw a moment ago, but has been
| | 03:15 |
colorized green using what's known as
a Layer Effect and we'll see how that
| | 03:19 |
works in a future movie.
| | 03:21 |
Now I'll go ahead and turn on the next
layer up which is this red and yellow
| | 03:25 |
illustration, which will serve
as the background for the artwork.
| | 03:28 |
Next is that grunge Stucco layer, and
notice that I'm using a layer as I said,
| | 03:32 |
to rough up the artwork.
| | 03:34 |
And I've created an interaction between
the grunge layer and the artwork below
| | 03:38 |
using what's known as a Blend mode.
| | 03:41 |
Again, I'll show you how that works shortly.
| | 03:43 |
Next comes the swirls layer which
is that black and white artwork.
| | 03:46 |
I've got the photographic image layer
on top of it, again set to a Blend mode.
| | 03:51 |
So we get this subtle,
almost reflective interaction.
| | 03:55 |
Finally, I converted part of that red
and yellow artwork to the frame and I went
| | 03:59 |
ahead and added a couple of wood
layers on top in order to create the grain.
| | 04:04 |
And that's an introduction, not only to
the project we're about to assemble, but
| | 04:08 |
also to the Layers panel here inside Photoshop.
| | 04:12 |
| | Collapse this transcript |
| Adding, scaling, and aligning layers| 00:00 |
Now there is a fair amount
going on inside this composition.
| | 00:03 |
We have a total of eight layers.
| | 00:05 |
We'll be applying some blend modes as
well as some layer effects, we will even
| | 00:09 |
employ a couple of clipping masks, which
is my way of saying, I don't expect you
| | 00:13 |
to understand every single little bit
of minutia, nor is it important that you
| | 00:17 |
do understand it at this point in the game.
| | 00:19 |
I just want you to have a feel for
how layered compositions work inside
| | 00:23 |
Photoshop and I want you to leave this
chapter with a sense of accomplishment.
| | 00:27 |
We're going to start things off by
combining this image, which is called Big
| | 00:31 |
swirls.tif and combining it with
this red and yellow artwork, which I am
| | 00:36 |
calling Paper art.tif.
| | 00:38 |
They're both found inside the 04-layers folder.
| | 00:40 |
Now one way to combine two images
together is to just copy and paste.
| | 00:45 |
And let me show you what that looks like.
| | 00:47 |
We'll start inside the Big swirls image.
| | 00:49 |
Go up to the Select menu and choose
the All command, which you can also
| | 00:53 |
access by pressing Ctrl+A or Command+A on the
Mac, which is a fairly common keyboard shortcut.
| | 00:59 |
Then I'll go up to the Edit menu and
choose the Copy command, which has the
| | 01:03 |
familiar shortcut of Ctrl+C on
the PC or Command+C on the Mac.
| | 01:07 |
Now that we have the image in the
pasteboard, I'll switch over to the Paper art
| | 01:11 |
image and then I'll go up to the Edit
menu, and I'll choose the Paste command,
| | 01:15 |
which you can get by pressing
Ctrl+V or Command+V on the Mac.
| | 01:19 |
And the image comes in on an
independent layer as you can see over here
| | 01:23 |
inside the Layers panel.
| | 01:24 |
So Photoshop always creates a new layer
when you combine two or more images together.
| | 01:29 |
Now obviously the layer is too big to
suit its new home, so we need to reduce
| | 01:34 |
its size and we can do that by scaling it.
| | 01:37 |
I'm going to back out a little here by
pressing Ctrl+- or Command+- on
| | 01:41 |
the Mac, and then I'll go up to the
Edit menu, which is where you will find
| | 01:44 |
your Scaling Options.
| | 01:46 |
You can choose Transform to bring up
a list of the various transformations
| | 01:51 |
available inside Photoshop and
then choose the Scale command.
| | 01:54 |
But I'd like you get in the habit of choosing
this next command up, which is Free Transform.
| | 01:59 |
It allows you to apply any of
Photoshop's transformation functions, including
| | 02:04 |
Scaling, and it has a keyboard shortcut
of Ctrl+T or Command+T on the Mac, the T
| | 02:10 |
being for Transform.
| | 02:11 |
So now, I'll go ahead and choose the
command and I end up with this bounding box
| | 02:16 |
surrounded by these corners and side handles.
| | 02:19 |
I can drag any of these handles in
order to scale the layer like so.
| | 02:23 |
And you have one Undo by the way.
| | 02:25 |
You can press Ctrl+T or Command+T one
time while you're working inside the
| | 02:30 |
Free Transform mode.
| | 02:32 |
If things go too haywire for you, then
just go ahead and press the Escape key in
| | 02:36 |
order to escape out.
| | 02:37 |
Anyway, things are fine for me.
| | 02:39 |
I'm going to go ahead and
drag this corner handle here.
| | 02:42 |
Notice that you can scale the layer non-
proportionally as you see me doing now.
| | 02:46 |
If you want to scale it proportionally,
you press and hold the Shift key as you
| | 02:51 |
drag a corner handle.
| | 02:52 |
Now if you take a look up here in the
Options Bar, you'll see that I so far
| | 02:56 |
have scaled my layer by 67%.
| | 02:59 |
Your results will vary of course.
| | 03:01 |
And notice that both the Width and
Height values read 67%, because after all I
| | 03:06 |
have the Shift key down and I
applied a Proportional scale.
| | 03:10 |
However, I want to scale this artwork
non-proportionally and I just happened to
| | 03:13 |
know the values I want to enter.
| | 03:16 |
If you click on a letter such as the W
there for width, then you'll select the
| | 03:20 |
entire value, and I'm going
to dial in a value of 70%.
| | 03:23 |
Then I'll press the Tab key to advance
to the H value for Height and I'll change
| | 03:28 |
it to 59% and then I will press the
Enter key in order to accept that value.
| | 03:34 |
Then to accept your transformation, you
press the Enter key again, that would be
| | 03:38 |
the Return key on the Mac, and you
have now scaled your artwork. All right,
| | 03:43 |
I'm going to zoom back in.
| | 03:45 |
Now the problem at this point is
that my new layer is off center.
| | 03:48 |
You can move a layer by switching over
to the Move tool, which you can get by
| | 03:52 |
pressing the V key, and that's a
useful keyboard shortcut to bear in mind.
| | 03:57 |
Notice that the cursor
looks like a little arrow.
| | 03:59 |
Well, just some back story here.
| | 04:01 |
If you wanted to switch to the Arrow
tool, which serves a totally different
| | 04:05 |
purpose, it allows you to select the
path outlines, you press the A key for
| | 04:09 |
Arrow, which makes sense, or you can
think of the V key as an upside down arrow,
| | 04:14 |
which is why it's a keyboard
shortcut for the Move tool.
| | 04:18 |
And then I could drag this layer
wherever I like and I see this little Heads Up
| | 04:22 |
Display also known as a HUD, which is
telling me the coordinate position of my
| | 04:26 |
artwork measured from the upper
left-hand corner of the image.
| | 04:30 |
You might find that helpful or perhaps not.
| | 04:32 |
What I really want to do is
absolutely align this artwork.
| | 04:35 |
Notice that we have these Alignment
options that are available to me now up
| | 04:39 |
in the Options Bar.
| | 04:40 |
And the options in the Options Bar
change according to the selected tool.
| | 04:45 |
But I can't get to them
currently because they're dimmed.
| | 04:47 |
Well, here's what you do.
| | 04:49 |
You go up to the Select menu and
once again, choose the All command to
| | 04:53 |
select the entire image.
| | 04:54 |
And now, you have access
to the Alignment options.
| | 04:57 |
I'll click on the Align Vertical
Centers icon, the second one in, to align the
| | 05:02 |
layer vertically inside of the artwork,
and then I'll go to that fifth icon,
| | 05:06 |
Align Horizontal Centers to
align the layer horizontally.
| | 05:10 |
Now I can deselect the image by going
up to the Select menu and choosing the
| | 05:14 |
Deselect command, which also has a
handy keyboard shortcut of Ctrl+D or
| | 05:19 |
Command+D on the Mac.
| | 05:20 |
And that's how you add, scale and
align a new layer here inside Photoshop.
| | 05:27 |
| | Collapse this transcript |
| Dragging and dropping layers| 00:00 |
In this movie, I'm going to introduce the
White wall into the background of the artwork.
| | 00:05 |
But this time instead of copying and
pasting, we'll take advantage of drag and drop.
| | 00:10 |
We'll start by looking at how you drag
and drop between two windows when you can
| | 00:14 |
see both windows at the same time.
| | 00:17 |
So I'm going to go up to the Window
menu, choose the Arrange command and
| | 00:21 |
choose Float in Window.
| | 00:22 |
And that way I have the White wall
image floating independently with my layered
| | 00:27 |
composition in the background.
| | 00:28 |
I'll go ahead and zoom out here a little
bit so that I can take in the entire image.
| | 00:33 |
And now, once again switch to the Move tool.
| | 00:35 |
And by the way, when I say the shortcut
for the Move tool is a V key, there are
| | 00:40 |
no modifier keys involved.
| | 00:41 |
You just press V by itself.
| | 00:43 |
Now if you're working along with me,
you move your cursor into the Stucco image
| | 00:48 |
and then drag the image into the other
piece of artwork and drop it into place.
| | 00:52 |
The problem is notice that the
Stucco is not centered with respect to the
| | 00:57 |
rest of the artwork.
| | 00:58 |
Well you can center it using a special trick.
| | 01:02 |
So I'll go ahead and undo the
modification by pressing Ctrl+Z or Command+Z on
| | 01:06 |
the Mac, but it doesn't seem to work
and that's because the White wall image
| | 01:10 |
over here is active.
| | 01:11 |
Nothing has been done in that image.
| | 01:14 |
The change happened over in the other file.
| | 01:17 |
So I will click inside that
image window to make it active.
| | 01:20 |
Then I can go up to the Edit menu and
choose the Undo command or as I say, press
| | 01:25 |
Ctrl+Z on the PC or Command+Z on the Mac.
| | 01:28 |
Now I'll show you how to
center the image on the drop.
| | 01:31 |
It's a little tricky, but once you
understand how it works, it's a great trick.
| | 01:34 |
I'll go ahead and click inside the White
wall.jpeg image, to make it active again.
| | 01:39 |
Then I'll drag the artwork
over into the other image file.
| | 01:42 |
And before I release, I
still have my mouse button down.
| | 01:45 |
I'll press and hold the Shift key,
keep that key down and then release.
| | 01:50 |
And notice that the White
wall is centered in its new home.
| | 01:53 |
It's hard to see that it's centered
because the layer is actually larger than
| | 01:57 |
the canvas, the canvas being the
physical perimeter of the image.
| | 02:01 |
If I click inside the image to make it
active and then I zoom out a little bit,
| | 02:06 |
I can find how big the artwork is by
going up to the Edit menu and choosing the
| | 02:10 |
Free Transform command, or once again,
you can press Ctrl+T or Command+T on the Mac.
| | 02:16 |
And notice, sure enough, this bounding
box shows me that the wall is centered.
| | 02:20 |
So again, when you're dragging and
dropping, if you press the Shift key on the
| | 02:24 |
drop, you center the layer into place.
| | 02:27 |
Also worth noting, however, is the
fact that a layer or any one layer can be
| | 02:32 |
larger than the image.
| | 02:33 |
So you do have some wiggle room when
you're working inside of Photoshop.
| | 02:37 |
All right, I'm just going to press
the Escape key to escape out of the Free
| | 02:40 |
Transform mode because it just so
happens, I don't want to scale this layer.
| | 02:44 |
Now, I'm going to get rid of this
floating window here by going up to the Window
| | 02:48 |
menu, choosing the Arrange command
and choosing Consolidate All to Tabs.
| | 02:53 |
And now I want you to notice, just for
the sake of confirmation, we have a new
| | 02:57 |
layer here inside the Layers panel.
| | 02:59 |
However, I want to show you one more way
to perform a drag and drop just so you know.
| | 03:05 |
So I'm going to press the Backspace
key or the Delete key on the Mac, which
| | 03:09 |
automatically gets rid of the active layer.
| | 03:11 |
Now I'm going to switch back
to that White wall.jpg file.
| | 03:15 |
Now press Ctrl+0 or Command+0 on a
Mac, to fit the image to the screen.
| | 03:21 |
When you're working in a consolidated
view, in other words, you can't see the
| | 03:24 |
other image, the drop image, you can
only see its tab, here is what you do.
| | 03:30 |
You drag the image as before, you drag it
up to the tab and you hold for a second.
| | 03:36 |
You have to hold on that tab
until the other image comes into view.
| | 03:41 |
Then you move your cursor back into
the image window and you drop, and that
| | 03:46 |
allows you to perform you a drag
and drop between tabbed windows.
| | 03:50 |
What about if you want to go ahead
and center the image as you drop it?
| | 03:54 |
Well then, I will press Ctrl+Z or
Command+Z on the Mac once again, and switch
| | 03:58 |
back to the White wall image.
| | 04:00 |
You do the same thing, that is, you drag
the image all the way up to the tab, wait
| | 04:05 |
for it to switch to the other image,
move your cursor back into the image
| | 04:09 |
window, keep that cursor down, press and
hold the Shift key and then release, and
| | 04:15 |
you'll go ahead and center that wall into place.
| | 04:18 |
And again, you can confirm the centering
by pressing Ctrl+T or Command+T on the Mac.
| | 04:23 |
And sure enough, we have a centered bounding
box, so I can press the Escape key to
| | 04:27 |
abandon the Free Transform mode.
| | 04:29 |
And those are your various ways
to drag and drop images into a
| | 04:33 |
layered composition.
| | 04:36 |
| | Collapse this transcript |
| Stack, reveal, and rename| 00:00 |
In this movie, I'll show you how to
quickly work your way through a few
| | 00:02 |
organizational chores.
Specifically, we're going to send this
| | 00:07 |
wall to the back of the stack here, and
we're also going to rename our Layers and
| | 00:10 |
Masks, something that has become much
easier to do inside Photoshop.
| | 00:16 |
I've saved my progress as Wall on top.psd
found inside the 04_Layers folder.
| | 00:21 |
So-called, because the wall is on the top
of the image stack.
| | 00:26 |
It shouldn't be there, it should be at the
bottom of the stack, behind the artwork,
| | 00:30 |
but if I try to drag Layer 2 down to the
bottom, notice that I can't.
| | 00:36 |
And that's because the background is not
actually a layer, and notice this
| | 00:39 |
background item right there, it's in
italics indicating that there is something
| | 00:43 |
special about it.
It also has a lock next to it and what
| | 00:47 |
that's telling you is that this is not a
floating layer.
| | 00:51 |
This is essentially the flat base of the
composition.
| | 00:55 |
If you want to turn it into a layer so
that you can drag it up and down the stack
| | 00:58 |
and modify it independently like other
layers inside your file, then you just
| | 01:02 |
double-click on its thumbnail and that
brings up the New Layer dialog box.
| | 01:08 |
At this point, you have the opportunity to
name your layer.
| | 01:11 |
Normally, I would name my layer because
it's a good idea.
| | 01:14 |
However, in this case, I'm just going to
click OK to create the New Layer, and
| | 01:18 |
notice that I have now an independent
layer called Layer 0.
| | 01:22 |
Now, I can grab Layer 2, which is a wall,
and drag it underneath Layer 0, like so.
| | 01:28 |
Problem is I can't see the wall because my
canvas is too small.
| | 01:34 |
As you may recall, I was telling you that
the canvas, the physical perimeter of the
| | 01:37 |
image may be smaller than any of the
layers in the composition.
| | 01:42 |
If you want to reveal every bit of those
layers, then you go up to the Image menu,
| | 01:46 |
and you choose Reveal All, and that will
expand the canvas automatically to the
| | 01:49 |
dimensions of the largest layer.
So, now we have our layers in the proper
| | 01:56 |
order, we can see all the layers.
However, they don't have particularly
| | 02:00 |
meaningful layer names, which can get you
into trouble later on when your
| | 02:04 |
compositions become more complicated when
you start amassing 20, 30, or even 100 layers.
| | 02:10 |
If they all have these meaningless names,
you're going to be in trouble.
| | 02:14 |
So, we'll start things off, as always, by
double-clicking on a layer name.
| | 02:18 |
Start with the top layer in the stack and
I'll go ahead and call this one Swirls.
| | 02:22 |
And then, rather than pressing the Enter
key or the Return key on a Mac in order to
| | 02:26 |
accept that name, press the tab key in
order to advance to the next layer name.
| | 02:32 |
And then, I'll go ahead and call it paper
back, and then I'll press Tab once again
| | 02:36 |
in order to select the next layer name and
I'll change it to wall.
| | 02:41 |
Now that I'm done naming all my layers,
I'll press the Enter key or Return key on
| | 02:45 |
the Mac to exit out.
And that's how you convert the background
| | 02:50 |
to a floating layer, change the stacking
order, expand the canvass to reveal the
| | 02:54 |
dimensions of all layers, and rename
layers en masse here in Photoshop.
| | 03:01 |
| | Collapse this transcript |
| Opacity, history, and blend mode| 00:00 |
So far we've managed to establish a
composition with three independent layers,
| | 00:05 |
but we don't have any
interaction between those layers.
| | 00:08 |
Specifically, we have these black
swirls set against this white background.
| | 00:12 |
We really want to drop that white
background away and blend the black swirls
| | 00:17 |
with their surrounding environment.
| | 00:18 |
Well Photoshop offers a
few different ways to blend.
| | 00:22 |
I'm going to start by selecting
the swirls layer to make it active.
| | 00:25 |
And then notice we have this Opacity
value near the top of the Layers panel.
| | 00:29 |
There's a few different
ways you can use this option.
| | 00:32 |
For one, you can click this down-
pointing arrow head and adjust this slider
| | 00:36 |
control right here in order to
reduce the Opacity value, which makes the
| | 00:41 |
layer progressively translucent,
as you can see, all the way down to
| | 00:45 |
practically invisible.
| | 00:47 |
You can also enter a
specific value, if you like.
| | 00:50 |
For example, I could enter 57% and
press the Enter key or the Return key on the
| | 00:55 |
Mac and you can scrub the value.
| | 00:58 |
Notice when you hover your cursor over
the Opacity value, it becomes a little
| | 01:02 |
scrub hand and so you can drag either to
the left in order to reduce the Opacity
| | 01:07 |
or to the right to increase the Opacity.
| | 01:10 |
And if you want to reduce and increase
the Opacity even faster, you can press
| | 01:14 |
the Shift key and that will
change the value in 10% increments.
| | 01:20 |
Few different ways to work.
| | 01:22 |
However, possibly the most convenient
way to change the opacity of a layer is to
| | 01:27 |
just press the Number key.
| | 01:29 |
So when any of the tools in this top
section of the toolbox are selected, you
| | 01:34 |
can just tap a Number Key and
that value will be reflected.
| | 01:37 |
So for example, if I press the 7 Key,
I will change the Opacity to 70%.
| | 01:43 |
If I press the 3 Key, I'll
change the Opacity value to 30%.
| | 01:47 |
I can also dial two numbers in a row.
| | 01:49 |
For example, if I press 5, 5,
I'll change the Opacity value to 55%.
| | 01:55 |
You can enter 0, 1 for 1%
opacity, if you want to go that low.
| | 02:00 |
You can even press 0, 0 for 0% opacity.
| | 02:04 |
If you want to restore the
opacity to 100%, then press the 0 key.
| | 02:09 |
Now while all this is very well and
good, it doesn't really get us the
| | 02:12 |
results we are looking for.
| | 02:14 |
I can press the 5 key to reduce the
opacity to 50% and that gets rid of some of
| | 02:19 |
the white, but not all of it and it
gets rid of too much of the black.
| | 02:23 |
So I'll go ahead and press 0 to
restore the opacity to a 100%.
| | 02:27 |
What you might be tempted to do if you
have any knowledge of Photoshop, is grab
| | 02:31 |
the Magic Wand tool.
| | 02:32 |
And you can get the Magic Wand by
going to the Quick Selection tool, clicking
| | 02:36 |
and holding and then choosing the
Magic Wand from the flyout menu.
| | 02:40 |
Then you just click in the white area,
for example, to select all the whites
| | 02:45 |
that are surrounding the swirls.
| | 02:46 |
And then I press the Backspace key or
the Delete key on the Mac in order to get
| | 02:50 |
rid of those selected pixels.
| | 02:52 |
And I'll press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 02:55 |
Well, that didn't quite do it.
| | 02:57 |
We still have a lot of white all over the place.
| | 02:59 |
So what I need to do is go up here
to the Options Bar and turn off this
| | 03:03 |
contiguous check box so that we can
select all the whites throughout this layer.
| | 03:09 |
Then I'll click again on a white area
inside the image, press the Backspace key
| | 03:14 |
again in order to delete those selected
Pixels and press Ctrl+D or Command+D again.
| | 03:20 |
The problem is that was a
massively destructive modification.
| | 03:24 |
We just got rid of a ton of pixels and
we didn't really do ourselves any good.
| | 03:29 |
If I press Ctrl+1 to zoom in and then
zoom in even a little farther, you can see
| | 03:34 |
that I've missed a lot of light pixels,
I have all sorts of halos, there are
| | 03:38 |
some jagged edges around my artwork.
| | 03:40 |
That's the problem with the Magic Wand tool.
| | 03:42 |
We'll explore that tool in more detail
when we look at Selections in a later chapter.
| | 03:47 |
But this was not the right approach.
| | 03:49 |
So I'm going to zoom back out.
| | 03:52 |
Now we have to undo what we've done.
| | 03:54 |
And if you go to the Edit menu,
you'll see that we have an Undo command,
| | 03:58 |
but it's Undo Deselect.
| | 03:59 |
All right, so I'll choose that command
or press Ctrl+Z or Command+Z on the Mac
| | 04:03 |
to undo that change.
| | 04:05 |
Now I'll go back up to the Edit menu
and I would hope to see another Undo
| | 04:08 |
command, instead I see Redo Deselect.
| | 04:12 |
And if I choose that, then I'll just
go ahead and deselect the pixels again.
| | 04:15 |
So the question is, do I not have multiple
undos inside the software? Well, yes, you do,
| | 04:21 |
but they're located in a different place.
| | 04:23 |
You go to the Window menu and you choose
the History command and then you'll see
| | 04:27 |
a list of all of your
modifications here inside the History panel.
| | 04:31 |
And there's the second time I
clicked with the Magic Wand.
| | 04:34 |
There is the first time.
| | 04:35 |
If I click on this state before I
clicked with the Magic Wand tool, then I go
| | 04:40 |
ahead and restore all of those white pixels.
| | 04:43 |
Now I'll hide the History panel.
| | 04:44 |
And I'm going to switch back
to my rectangular Marquee tool.
| | 04:47 |
So now, selecting the pixels and
deleting them isn't the solution, what is?
| | 04:52 |
Well what you want to do is
apply a blend mode instead.
| | 04:55 |
Notice the word Normal near the top
left corner of the Layers panel, that
| | 04:59 |
indicates that currently
the blend mode is turn off.
| | 05:02 |
If you click on the word Normal, you'll
see a perhaps overwhelming list of blend
| | 05:07 |
modes that you can choose from.
| | 05:09 |
We're going to be looking at this blend
modes in detail in another course, but
| | 05:13 |
for now, I'll tell you that the blend
mode we want is Multiply, because Multiply
| | 05:18 |
is going to keep the dark stuff, it's
going to drop away the light stuff and
| | 05:22 |
it's going to do so without harming a
single pixel inside the image and we end
| | 05:28 |
up getting this effect here
which is exactly what I want.
| | 05:31 |
If I press Ctrl+1 or Command+1 again,
and then zoom in some more, you can see
| | 05:36 |
that we have these nice smooth transitions.
| | 05:39 |
Meanwhile, if you take a look at the
thumbnail here inside the Layers panel,
| | 05:43 |
you'll see that the white pixels still survive.
| | 05:45 |
So I'm going to finish things off by
pressing the 8 key to reduce the opacity of
| | 05:51 |
this layer to 80%, so the black
swirls are just slightly translucent.
| | 05:55 |
And there you have it, that's how you
get better results with a lot less work
| | 06:00 |
and without harming a single
pixel by blending layers in Photoshop.
| | 06:05 |
| | Collapse this transcript |
| Duplicating a selected portion of a layer| 00:00 |
In this movie, I'll show you how to
select a portion of a layer and duplicate it
| | 00:05 |
to a new layer to create a picture frame effect.
| | 00:08 |
We're going to base the
frame on the paperback layer.
| | 00:10 |
So I'll go ahead and select it.
| | 00:12 |
And now we need to load the exact
perimeter of this layer as the selection outline.
| | 00:17 |
And you can do that in one of two ways.
| | 00:19 |
The first way is to go the Select menu
and choose the Load Selection command.
| | 00:24 |
And then you can pretty much ignore
everything inside this dialog box because
| | 00:28 |
it's already set correctly by default.
| | 00:30 |
The document is our current document.
| | 00:32 |
The channel, which means the thing upon
which we want to base the selection is
| | 00:37 |
set to our current layer paperback
and its so called transparency mask.
| | 00:43 |
Now you don't need to worry about that
too much, but the transparency mask is
| | 00:46 |
what distinguishes the transparent
areas of the layer from the opaque portions
| | 00:51 |
of the layer, so the outside of the
layer from the inside, if you will.
| | 00:55 |
But if you don't want to really pay
attention to the settings, you can just
| | 00:58 |
click OK and you'll get exactly
the selection you're looking for.
| | 01:02 |
So that's one way to work.
| | 01:04 |
There's an even easier way if you're
willing to memorize a keyboard trick.
| | 01:08 |
Let me show you what that looks like.
| | 01:09 |
I'll press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 01:13 |
Notice if I hover my cursor over the
Layer thumbnail, it looks like a little
| | 01:17 |
hand with the pointing finger.
| | 01:19 |
If I press and hold the Ctrl key or the
Command key on the Mac, then I get this
| | 01:23 |
little marquee next to the cursor.
| | 01:25 |
And that shows me that I'm about
to load the layer as a Selection.
| | 01:29 |
So you just Ctrl+Click here on a PC,
or Command+Click on that layer thumbnail
| | 01:34 |
and you get the selection outline, like so.
| | 01:37 |
Now we're going to base the frame on
this selection, but we've got to scoot the
| | 01:40 |
selection outline inward.
| | 01:42 |
And you do that by going up to the
Select menu, choosing Modify and then
| | 01:47 |
choosing the Contract Command.
| | 01:48 |
But I'm going to enter a really big
Contract value of 200 pixels and then click OK.
| | 01:55 |
And that goes ahead and scoots the
selection outline in as you see here.
| | 02:00 |
So far I've selected the
area inside this marquee.
| | 02:04 |
I really want to select the area
outside because that's the part of the layer I
| | 02:08 |
can use to create the frame.
| | 02:10 |
So in other words I need to reverse
the selection and you do that by going up
| | 02:14 |
to the Select menu and
choosing the Inverse command.
| | 02:18 |
And now this area toward the center of
the image is deselected, and the area
| | 02:21 |
out here is selected.
| | 02:23 |
Now we need to duplicate the
selected portion of the layer.
| | 02:27 |
If you go up to the Layer menu
you'll notice that there's this command
| | 02:30 |
called Duplicate Layer.
| | 02:32 |
But if you choose it, it will duplicate the
entire layer not just the selected region.
| | 02:36 |
Instead, what we need to do is to
choose New, and then drag down to this
| | 02:40 |
strangely worded command, Layer Via
Copy, which has a keyboard shortcut of
| | 02:45 |
Ctrl+J or Command+J on a Mac.
| | 02:48 |
I recommend that you memorize that
command because it's going to save you a lot
| | 02:52 |
of effort instead of having to go the submenu.
| | 02:55 |
And you can think of Ctrl+J
as standing for jump.
| | 02:58 |
Anyways, as long as I'm here I'm
just going to choose the command.
| | 03:01 |
And notice that did go ahead and
jump the selection to a new layer.
| | 03:05 |
You can actually see the
frame there in a layer thumbnail.
| | 03:08 |
However, the layer is called Layer 1.
| | 03:11 |
What if you want to jump the layer
and give it a name at the same time?
| | 03:14 |
Well I'll go ahead and press Ctrl+Z or
Command+Z on the Mac to undo that jump.
| | 03:19 |
You add the Alt or Option
key to the keyboard shortcut.
| | 03:23 |
So you press Ctrl+Alt+J or Cmd+Option+J
on the Mac, that not only evokes the
| | 03:29 |
jump, but it also brings
up the New Layer dialog box.
| | 03:32 |
And I'll go ahead and call
this New Layer frame and click OK.
| | 03:36 |
Now that we have the frame, I'll
drag it above the swirls layer.
| | 03:39 |
The problem is we can't really see
the frame because it matches the layer
| | 03:43 |
behind it, but we can offset the frame
and give it a little bit of dimension
| | 03:47 |
using layer effects.
| | 03:49 |
So I'm going to drop down to this FX
icon at the bottom of the Layers panel and
| | 03:54 |
click on it and then choose the
bottom-most command, Drop Shadow.
| | 03:58 |
And that goes ahead and turns on a
slight drop shadow as you can see.
| | 04:02 |
So in other words, there is a
shadow directly behind the frame.
| | 04:05 |
I also want a little bit of bevel and
mmboss, so I'll turn on this Bevel &
| | 04:09 |
Emboss check box and we get a little
bit of a highlight along the inside edge
| | 04:14 |
of the frame as well.
| | 04:15 |
Now these effects are too subtle, so
fortunately, I can customize the settings.
| | 04:20 |
I'm going to start by clicking on
Drop Shadow in the left-hand list and I'm
| | 04:24 |
going to increase the Opacity value to
100%, I'll tab to that Angle value and
| | 04:29 |
change it to 115 degrees.
| | 04:32 |
I'll increase the Distance value to
25 pixels which I'm doing by pressing
| | 04:36 |
Shift+Up arrow twice in a row.
| | 04:38 |
Then I'll press Tab twice to advance
to the Size value, press Shift+up arrow
| | 04:43 |
three times to take that value to 35 pixels.
| | 04:47 |
Now for the Bevel & Emboss effect,
I'll click on the Bevel & Emboss on the
| | 04:50 |
left-hand list, then I'll
change the Size value to 10 pixels.
| | 04:55 |
I'll increase the Opacity of the
Highlight to 100%, then I'll tab down to the
| | 05:00 |
Shadow Opacity value and take it down to 50%.
| | 05:04 |
And finally, I'll change the Technique
from Smooth to Chisel Hard, in order to
| | 05:09 |
create the effect you see here.
| | 05:12 |
Then I'll go ahead and click OK to
close the Layer Style dialog box.
| | 05:17 |
Now of course, have faith, I will be
devoting an entire chapter to layer effects
| | 05:21 |
in a future course.
| | 05:23 |
But for now, you have a sense for how
you can jump a selected portion of a layer
| | 05:27 |
and build an entire effect on
it to create a picture frame.
| | 05:32 |
| | Collapse this transcript |
| Applying a clipping mask| 00:00 |
In this movie, we're going to add a
wood grain texture to our picture frame.
| | 00:04 |
And we'll do so by taking advantage
of what's known as a clipping mask.
| | 00:08 |
I'm going start things off by showing you,
yet another way to move an image into
| | 00:12 |
a layered composition.
| | 00:13 |
You have seen drag and drop,
here's my favorite technique of all.
| | 00:18 |
Make sure that one of your selection
tools is active so either one of the
| | 00:22 |
Marquee tools, one of the Lasso
tools, the Quick Selection tool.
| | 00:26 |
And then, right-click inside the image
window and choose the Duplicate Layer command.
| | 00:31 |
You can also choose this
command from the Layers menu.
| | 00:35 |
Then inside the Duplicate Layer dialog
box, change the Document Setting to the
| | 00:40 |
Layered Composition, Initial picture
frame.psd in our case, and then click OK.
| | 00:45 |
Now you won't see anything happen
inside the image we are working on.
| | 00:50 |
You'll have to switch back to the
composition and there's your new layer.
| | 00:54 |
Obviously, we've got a problem;
| | 00:56 |
the layer came in vertically instead of
horizontally, so we need to rotate it.
| | 01:00 |
And you can rotate a layer by going up
to the Edit menu, and because we need to
| | 01:04 |
perform a 90 degree rotation, the
simplest way to approach it is to choose
| | 01:09 |
Transform and then choose, in our case,
Rotate 90 degrees CW for Clockwise.
| | 01:15 |
And that orients that
image exactly the way I want.
| | 01:17 |
All right, now I'm going to rename the
layer by double-clicking on its existing
| | 01:21 |
name and changing it to wood grain.
| | 01:24 |
Now what I want to have happen is I want
the wood grain to exist entirely inside
| | 01:30 |
the frame in the background.
| | 01:32 |
So I'll go ahead and turn wood grain back on.
| | 01:34 |
Now what I want to do is I want to take
the wood grain layer and effectively put
| | 01:38 |
it inside the frame layer, so we only
see the wood grain inside of the frame and
| | 01:44 |
you can achieve that
effect using a clipping mask.
| | 01:47 |
So here's how it works.
| | 01:48 |
I will go ahead and turn
the wood grain layer back on.
| | 01:51 |
With that layer selected, you go up
to the Layer menu and you choose Create
| | 01:55 |
clipping mask and that goes ahead and
clips the wood grain layer inside the
| | 02:00 |
frame layer as you see here.
| | 02:02 |
And not only do you see what the effect
looks like inside the image window, but
| | 02:05 |
Photoshop also indents the clip
layer and gives you a little arrow symbol to
| | 02:10 |
indicate that it's clipped.
| | 02:11 |
Now I'm going to zoom in a bit.
| | 02:13 |
At this point, I want to give my frame a
complimentary color to the artwork inside it.
| | 02:18 |
So I'm going to go back to the frame
layer and I'm going to add another layer
| | 02:22 |
effect by dropping down to the FX
icon and choosing Color Overlay.
| | 02:27 |
Now at first, Color Overlay just goes
ahead and recolors the entire layer red,
| | 02:32 |
which obviously, is not what we want.
| | 02:34 |
I'm going to click on the Color swatch
in order to bring up the Color Picker
| | 02:38 |
dialog box, and I'm going to change the
H, S, and B values which stand for Hue,
| | 02:44 |
Saturation and Brightness.
| | 02:46 |
We'll be seeing a lot of them.
| | 02:48 |
But Hue is the base color mapped on
to a circle, so it's as if you took a
| | 02:52 |
rainbow and wrapped it around the circle.
| | 02:55 |
And so a Hue Value of 0, as you can see is red.
| | 02:58 |
It turns out the Hue value I'm
looking for is 210 which is a shade of blue.
| | 03:03 |
Saturation value is the intensity of the color.
| | 03:06 |
I'm going to take that intensity down
by reducing the Saturation value to 25%
| | 03:11 |
then I'll tab to the Brightness value
which goes all the way to a 100% for
| | 03:15 |
bright color, down to 0% for black, and
I'm going to reduce that value to 15%.
| | 03:21 |
So it looks like we almost have black,
but it's a very dark shade of blue.
| | 03:25 |
Now I'll click OK and I'm going change
the Blend Mode from Normal to Color, so
| | 03:31 |
we're only changing the color of the
artwork and we end up this effect here.
| | 03:36 |
Again, I want to emphasize, we'll be
talking about colors and blend modes and
| | 03:41 |
everything else that seems to be going too
quickly in a lot more detail in later chapters.
| | 03:47 |
All right, now I'll click OK to
accept that effect and the result is wood
| | 03:51 |
grain mapped inside our picture frame,
thanks to the power of clipping masks
| | 03:56 |
here inside Photoshop.
| | 03:58 |
| | Collapse this transcript |
| Blending inside a clipping mask| 00:00 |
In this movie, I'll show you
how to blend clipped layers.
| | 00:03 |
Specifically, we'll be blending the
wood grain with the frame that encloses it.
| | 00:08 |
I'm going to click on the wood grain
layer to make it active and then I'm going
| | 00:12 |
to change its mode from Normal, once
again to Multiply, so that we use the wood
| | 00:17 |
grain to darken the contents of the frame layer.
| | 00:20 |
And you can see that we get this interesting
interaction between the grain and the artwork.
| | 00:25 |
That's a little bit too much, so I'd
like to see the grain not only in the light
| | 00:29 |
portions of the artwork,
but in the dark areas as well.
| | 00:32 |
So I'm going to make a copy of this wood
grain layer and adjust its blending settings.
| | 00:37 |
Now if would just press Ctrl+J or
Command+J on the Mac to jump that layer,
| | 00:43 |
then Photoshop automatically takes it
out of the clipping mask, as you can see.
| | 00:47 |
So it's no longer clipped to the
frame and it's interacting with the
| | 00:50 |
entire composition.
| | 00:52 |
That's not what I want.
| | 00:53 |
So I'll press Ctrl+Z or Command+Z
on the Mac, and instead, I'll press
| | 00:57 |
Ctrl+Alt+J or Cmd+Opt+J on the Mac in order to
force the display of the New Layer dialog box.
| | 01:04 |
The name wood grain is fine as is.
| | 01:07 |
You can have two layers with
the same name, if you like.
| | 01:09 |
But I'm going to turn on this check box
right here that says Use Previous Layer
| | 01:13 |
to Create Clipping Mask.
| | 01:15 |
That way we'll keep this new layer
inside the frame and I'll click OK.
| | 01:20 |
And you can see over here in the
Layers panel, it continues to be clipped, so
| | 01:24 |
both layers are now
clipped inside the frame layer.
| | 01:27 |
However, because the layer is set to
multiply, we're darkening the frame even more.
| | 01:31 |
So I'm going to go back to
the Blend Mode pop-up menu,
| | 01:34 |
and I'm going to switch it back to Normal;
| | 01:36 |
which ends up all together
restoring the wood grain.
| | 01:39 |
Obviously, that's not what I want
because we have no interaction now between the
| | 01:43 |
wood grain and the artwork.
| | 01:45 |
What I want to do is
reduce the Opacity value to 50%.
| | 01:48 |
If you're working on a Mac, you can
just tap the 5 key, but here on the PC,
| | 01:52 |
you can't because the blend mode option is
still active, as indicated by this blue highlight.
| | 01:57 |
To deactivate the option,
you press the Escape key.
| | 02:01 |
Notice that that blue highlight disappears.
| | 02:04 |
And then, you press the 5 key in
order to reduce the Opacity of that layer.
| | 02:09 |
And now we get this wonderful
interaction of wood grain and artwork
| | 02:12 |
throughout the frame.
| | 02:14 |
There's just a couple of
more things I want to do here.
| | 02:17 |
First, if you look at these swirls, they're
not really visually centered inside the frame.
| | 02:22 |
They are centered where the artwork
is concerned, so going back to the
| | 02:25 |
alignment options won't help.
| | 02:27 |
What I need to do is just slightly nudge
those swirls, which I can do from the keyboard.
| | 02:31 |
So I'll start by clicking on the
swirls layer to make it active.
| | 02:35 |
And then because I want to move that
layer, I'll switch to the Move tool up
| | 02:39 |
here at the top of the tool box, and then
I'll just press the arrow keys on the keyboard.
| | 02:43 |
So here I am zoomed out to 33%.
| | 02:45 |
If I press the right arrow key, then I'll
nudge the swirls to the right one screen pixel.
| | 02:51 |
In all I'm going to press that right
arrow key five times and that will get the
| | 02:56 |
swirls centered horizontally.
| | 02:58 |
Now the reason I mentioned my zoom ratio, 33%,
is because I'm nudging in screen pixels.
| | 03:03 |
So if you zoom farther in, you'll
nudge your artwork that much more.
| | 03:08 |
Now I'm going to press the up arrow key
three times in order to nudge the layer
| | 03:12 |
slightly upward, as well.
| | 03:13 |
The last thing I want to do in this
movie is to color the wall on the background.
| | 03:18 |
So I will go ahead and scroll to the
bottom of the list and click on the wall
| | 03:21 |
layer to make it active.
| | 03:23 |
And then I'll click on the FX icon down
here at the bottom of the Layers panel
| | 03:26 |
and choose Color Overlay once again.
| | 03:29 |
Again, Photoshop goes ahead and
recolors the entire layer red.
| | 03:32 |
I'm going to click on that red color
swatch to bring up the Color Picker dialog box.
| | 03:37 |
I'm looking for a dark shade of green.
| | 03:39 |
So I'll change the Hue value to 75
degrees, I'll reduce the Saturation value to
| | 03:44 |
35%, and I'll take the Brightness
value down to 50%, then I'll click OK.
| | 03:50 |
And now to use that color to darken
the wall, I'll change the Blend Mode
| | 03:53 |
from Normal to Multiply.
| | 03:56 |
And then I'll click OK.
| | 03:57 |
And we end up with our final dark green wall.
| | 04:01 |
So that's our composition so far.
| | 04:03 |
In the next movie, we'll finish off
the artwork inside the frame by adding a
| | 04:07 |
couple of additional blended layers.
| | 04:10 |
| | Collapse this transcript |
| Finishing off your artwork| 00:00 |
In this movie, I'll finish off the
artwork, almost as if I was adding a coat of
| | 00:04 |
varnish, by blending in a
couple of photographic images.
| | 00:08 |
Whenever you're introducing a new layer,
it's going to appear directly in front
| | 00:12 |
of the active layer.
| | 00:14 |
I want the new layer to appear in
front of paper back, so I'll go ahead and
| | 00:18 |
select that layer first, then I'll
switch to the grunge stucco image.
| | 00:22 |
And notice that I've switched back to
the Rectangular Marquee tool, which you
| | 00:26 |
can get it anytime by pressing the M key.
| | 00:28 |
And now, I'll right-click inside
the image and choose Duplicate Layer.
| | 00:32 |
Inside the dialog box, I'll change
the document to Dark green wall.psd and
| | 00:37 |
then I'll click OK.
| | 00:39 |
Now let's switch back to the composition.
| | 00:41 |
And you can see that the
stucco layer has been added.
| | 00:45 |
I'll go ahead and rename that layer grunge.
| | 00:48 |
But the problem is that it
covers up the entire composition.
| | 00:51 |
I want it to appear exclusively
inside the paper back layer so I once again
| | 00:55 |
need to create a clipping mask, but this time
I'll show you how to do it in a different way.
| | 01:00 |
Instead of choosing the command, you
can press the Alt key or the Option key on
| | 01:04 |
the Mac and click on the horizontal
line between grunge and paper back and that
| | 01:09 |
automatically converts
that layer to a clipping mask.
| | 01:13 |
If you want to unclip the layer, you
just Alt click or Option click on that
| | 01:17 |
horizontal line again.
| | 01:19 |
Anyway, I want the clipping mask so
I'll Alt click or Option click it the
| | 01:22 |
third time in this case.
| | 01:25 |
Now I want to create an interaction
between the layers, so I will once again
| | 01:28 |
apply that same darkening blend mode, Multiply.
| | 01:32 |
And we end up with this effect which
doesn't look nearly so graphic as before.
| | 01:36 |
So you can see without that layer if I turn
it off, the artwork looks fairly cartoony.
| | 01:41 |
Now if I turn the layer back on, it
looks more integrated into the scene.
| | 01:46 |
Now I want the next layer to appear
in front of swirls so I'll go ahead and
| | 01:50 |
click on that swirls layer to make it active.
| | 01:52 |
Then I'll switch over to the Yosemite
fog image, right-click inside of it,
| | 01:56 |
choose Duplicate layer.
| | 01:58 |
Same thing, I'm going to change the
document to Dark green wall and then click OK.
| | 02:03 |
And now I'll switch back to my
composition and you can see that we've got a
| | 02:07 |
photographic image inside of a frame.
| | 02:10 |
And so the great thing about this is
we have a layered composition that is
| | 02:14 |
flexible enough to accommodate
any change we might want to make.
| | 02:18 |
So I could if I want to, just leave
this photograph set inside the frame as you
| | 02:22 |
it here or I could integrate it into the scene.
| | 02:25 |
So I'll start by renaming the layer.
| | 02:27 |
I'll call it yosemite, and then I'm
going to change its Blend mode to one we
| | 02:32 |
haven't seen so far.
| | 02:33 |
I'll click on Normal and choose the second
mode in the Contrast group which is Soft Light.
| | 02:39 |
And we end up almost losing the
layer entirely, but let me show you
| | 02:43 |
the difference here.
| | 02:44 |
If I turn this layer off, then we
don't have any of those highlights,
| | 02:47 |
and if I turn the layer on, it's
almost as if we have a series of random
| | 02:51 |
reflective highlights on
the surface on the artwork.
| | 02:55 |
All right, now I'm going to manually
dial in the Zoom value of 40%, which works
| | 02:59 |
well for this screen, and press the F
key a couple of times in order to switch
| | 03:03 |
to the Full Screen mode.
| | 03:05 |
And that is our final composition,
the result of eight independent layers
| | 03:09 |
working together here inside Photoshop.
| | 03:13 |
| | Collapse this transcript |
| Creating a new layer and background| 00:00 |
In this movie, I'll show you the various
ways to create a blank new layer as well
| | 00:04 |
as how to create a new background.
For example, here I am looking at the
| | 00:09 |
final version of my artwork.
But let's say I want to output my image,
| | 00:12 |
and instead of the frame appearing against
this green wall, I want the background to
| | 00:16 |
be page white.
Now, if I scroll down my list of layers
| | 00:20 |
here and turn off the rearmost layer,
which is the wall layer, then I end up
| | 00:23 |
seeing this checkerboard and that's
Photoshop's way of showing you transparency.
| | 00:29 |
In other words, there's nothing there.
Now, if I were to print the image at this
| | 00:33 |
point it would appear against a white
background.
| | 00:36 |
In other words, the checkers don't render
to the printer.
| | 00:39 |
However, it's impossible to gauge any of
the effects that go out into the transparency.
| | 00:45 |
For example, this drop shadow behind the
frame looks awfully darn light, when in
| | 00:48 |
fact it's a very dark shadow.
But we're not going to be able to gauge it
| | 00:53 |
properly until we add a white background
to our composition.
| | 00:57 |
So the first thing we need to do is create
a new layer.
| | 01:00 |
There's a couple ways to do that.
One is you can drop down to this little
| | 01:03 |
Page icon at the bottom of the Layers
panel.
| | 01:06 |
Notice it says Create a new layer, just go
ahead and click on it, and you'll create a
| | 01:10 |
blank new layer in front of the active
layer, so right above wall.
| | 01:16 |
All right, and I'm going to press Ctrl+Z
or Cmd+Z on the Mac to undo that.
| | 01:19 |
What if we want to put the new layer below
the wall layer?
| | 01:22 |
Then you press the Ctrl key or the Cmd key
on the Mac and click on the Page icon.
| | 01:28 |
There's two more keyboard tricks you might
want to know about.
| | 01:30 |
So I'll press Ctrl+Z, Cmd+Z on the Mac to
undo that layer.
| | 01:34 |
If you want to name the layer as you
create it, then you press the Alt key or
| | 01:37 |
the Opt key on the Mac, and click on the
little Page icon.
| | 01:42 |
Then you call the layer anything you want,
and click OK.
| | 01:46 |
Notice the new layer appears above wall.
What if you want to create and name a new
| | 01:50 |
layer and put it behind the active layer?
Well, go ahead and undo the new layer again.
| | 01:55 |
You press the Ctrl and the Alt keys on the
PC or the Cmd and Opt keys on a Mac.
| | 01:59 |
Click on the little Page icon, name the
layers you like, and click OK and it
| | 02:03 |
appears in the background.
All right, I'm going to undo that because
| | 02:08 |
I want to show you one more way to work,
and that is, you can go to the Layers
| | 02:11 |
Panel fly-out menu icon up here in the
upper right corner of the Panel.
| | 02:18 |
And you can choose the New Layer command
or you can take advantage of the keyboard
| | 02:21 |
shortcut, Ctrl+Shift+N or Cmd+Shift+N on
the Mac.
| | 02:25 |
And for my part, that's what I find myself
doing most of the time is just using that
| | 02:28 |
shortcut, because that brings up the
dialog box and allows you to name the new layer.
| | 02:35 |
Right, I'll name it.
Click OK.
| | 02:37 |
Notice, it does in this case, appear above
the wall layer, and we really haven't
| | 02:41 |
solved our problem so far, because the
layer is itself transparent as indicated
| | 02:45 |
by this checkerboard thumbnail.
Well, now that we have a new layer we can
| | 02:51 |
convert it into a background, and you do
that by going to the Layer menu, choosing
| | 02:54 |
New and choosing Background from Layer and
that ends up doing a couple of things.
| | 03:00 |
First of all, it sends the layer to the
back a the stack.
| | 03:03 |
It makes it a flat image element, so it's
no longer a floating layer.
| | 03:06 |
It renames the item background and it goes
ahead and fills it with the background
| | 03:10 |
color, which by default is White.
And you can see the foreground color and
| | 03:15 |
the background color, down here at the
bottom of the Toolbox.
| | 03:19 |
And now, notice, when we see the drop
shadow rendered against the white
| | 03:22 |
background, that it's quite dark indeed.
So if I turn that background off for a
| | 03:26 |
moment, that's what the shadow looked like
before, very light against the transparent
| | 03:30 |
checkerboard pattern.
And then if I turn the background back on,
| | 03:34 |
we have a much darker shadow.
And so, I might actually edit that shadow.
| | 03:39 |
I'll go ahead and expand my Layer effects
by clicking on that little down arrow icon.
| | 03:44 |
I'll double-click on a Drop Shadow effect,
and I'm going to take that opacity value
| | 03:48 |
down to 50% so we have a more subtle
shadow.
| | 03:51 |
And then I'll tab my way to the Distance
value and then press Shift+Up arrow, a
| | 03:55 |
couple of times in a row to take that
value up to 45 pixels.
| | 04:00 |
And then, tab to the Size value and take
it up to 45 pixels as well.
| | 04:04 |
And then click OK.
So we now have a larger but more
| | 04:06 |
translucent shadow.
And again, if I were to turn off the
| | 04:10 |
Background Layer, the shadow almost
disappears.
| | 04:13 |
But with that Background Layer on, I can
see what's actually happening inside my composition.
| | 04:18 |
And that's how you create new layers as
well as a new background here inside Photoshop.
| | 04:24 |
| | Collapse this transcript |
| Layering tips and tricks| 00:00 |
In this final movie of the chapter, I'll
share with you a grab bag of tips and
| | 00:04 |
tricks for working with layers.
For starters, I'm going to scroll down the
| | 00:08 |
list of layers and turn off the
background.
| | 00:11 |
This bright checkered board pattern
provides a lot of contrast when you're
| | 00:14 |
working with dark layers.
However, if Alt+Click or Opt+Click on the
| | 00:18 |
eye in front of the swirls layer.
You can see it doesn't fare so well when
| | 00:23 |
working with bright layers, which is why I
prefer a pattern that's darker and a bit
| | 00:27 |
more muted as well.
To change to checker board pattern, press
| | 00:32 |
Ctrl + K or Cmd + K on the Mac to bring up
the Preferences dialog box and then click
| | 00:36 |
on Transparency & Gamut.
Here's what I do.
| | 00:40 |
I changed the Grid Colors from Light to
Medium, and then, while that's better, the
| | 00:44 |
checks are just too busy.
So I click on this darker gray box and
| | 00:49 |
then I change the brightness value to 54%
and click OK.
| | 00:54 |
Then click OK again, and you get this more
neutral, less busy checkerboard background.
| | 01:00 |
All right, now let's talk about
controlling visibility.
| | 01:03 |
Notice this grunge layer that's clipped
inside the paperback layer.
| | 01:06 |
If I turn the grunge layer on, that also
turns on the paperback layer and the
| | 01:10 |
reason is that you can't see a clip layer
without seeing its clipping mask.
| | 01:15 |
The same goes if I turn off the visibility
of the paperback layer, the grunge layer
| | 01:20 |
again disappears.
Now, let's say I want to make all my
| | 01:24 |
layers visible again.
What I'd like to do is Alt+Click or
| | 01:26 |
Opt+Click on the eye in front of the
swirls layer, but if I do, I just hide
| | 01:30 |
that dimmed eye in front of grunge and
that's it.
| | 01:34 |
If I Alt+Click or Opt+Click again, I bring
back the dimmed eye, and that's because
| | 01:38 |
when you Alt or Opt+Click on an eye, you
switch back and forth between two
| | 01:41 |
visibility states.
If you want to make all layers visible,
| | 01:47 |
you have to choose a secret command twice.
Here's what you do.
| | 01:51 |
Right-click on the eye in front of swirls,
and then choose Show/Hide all other layers.
| | 01:56 |
That will hide all the other layers so
that you're just seeing the swirls layer.
| | 02:00 |
So in other words, the dimmed eye in front
of grunge disappears.
| | 02:03 |
Then again, right-click on that eye and
choose show/hide all of the layers and all
| | 02:07 |
of the layers will become visible,
including that wall layer that we had
| | 02:10 |
formerly turned off.
Let's say I not only want to turn off the
| | 02:15 |
wall layer, but I also want to get rid of
it and all other hidden layers inside of
| | 02:19 |
my composition.
We'll go ahead and turn off those layers
| | 02:23 |
that you want to delete, and then go out
to the Layers panel fly-out menu and
| | 02:26 |
choose Delete Hidden Layers.
Photoshop will ask you if you really want
| | 02:30 |
to go through with it, if so, click on the
Yes button.
| | 02:33 |
All right, now let's take a look at a few
tricks that work with the Move tool.
| | 02:37 |
We'll go ahead and switch to the tool
either by clicking on it or pressing the V key.
| | 02:41 |
You can switch between layers using this
tool by right clicking inside the image.
| | 02:46 |
Photoshop brings up a pop-up menu that
lists every layer that exists at the point
| | 02:49 |
on which you clicked, which is by the way,
one of the reasons it's so imperative to
| | 02:53 |
get in the habit of naming your layers.
I'll go ahead and switch to paperback.
| | 03:00 |
And notice that that goes ahead and
selects the paperback layer here inside
| | 03:03 |
the layers panel.
Another way to work is to go directly to
| | 03:07 |
the topmost layer at a click point, and
you do that by Alt+Right-clicking here on
| | 03:12 |
a PC or Opt+Right-clicking on the Mac.
And you can see, in this case, that took
| | 03:18 |
me to the Yosemite layer, because that's
the top layer at this point.
| | 03:21 |
If I were to Alt right click, or Option
right click on a frame.
| | 03:25 |
That would take me to the top wood layer,
which is the topmost layer inside the Image.
| | 03:29 |
I could also Alt+Right-click or
Opt+Right-click in the white background,
| | 03:33 |
and that'll take me to the Background at
the bottom of the stack.
| | 03:37 |
You may notice when you press and hold the
Alt key, or the Option key on the Mac, you
| | 03:40 |
get this double arrowhead cursor, which is
telling you that you can clone a layer.
| | 03:46 |
I'm going to start by releasing the key,
and right-clicking there on the swirls and
| | 03:49 |
then choosing the swirls layer.
Then I'll press the Alt key or the Opt key
| | 03:54 |
on a Mac and drag by pressing the standard
left mouse button.
| | 03:59 |
And notice that I create a copy of this
layer on the fly, and you can see that
| | 04:02 |
layer here inside the Layers panel.
I'm going to press the Backspace key or
| | 04:06 |
the Delete key on a Mac in order to get
rid of it.
| | 04:10 |
Here's another way to create a copy of a
layer.
| | 04:11 |
Press the Alt key or the Opt key on a Mac,
once again, and drag the layer inside the
| | 04:16 |
layers panel.
Notice you get that same double arrowhead
| | 04:20 |
cursor, and as soon as you release, you
create a copy of the layer.
| | 04:24 |
All right.
Again, I don't want that, so I'm just
| | 04:25 |
going to press the Backspace key or the
Delete key on a Mac to get rid of it.
| | 04:29 |
Moving right along, Photoshop allows you
to select multiple layers.
| | 04:33 |
One way to do that here inside the Layers
panel is to click on one layer and then
| | 04:37 |
Shift-Click on another.
In which case, you select a range of
| | 04:41 |
layers like so.
If you want to select multiple non
| | 04:44 |
adjacent layers, you click on one layer,
an then you press the Ctrl key or the Cmd
| | 04:47 |
key on a Mac, an click in an empty portion
of another layer.
| | 04:52 |
Don't click on the thumbnail.
Because that'll select the layer, rather
| | 04:56 |
you Ctrl+Click or Cmd+Click on an empty
area like so.
| | 04:59 |
And then, you can drag these layers up and
down inside the panel to change your
| | 05:02 |
stacking order you can move them together
inside the image window or what have you.
| | 05:07 |
All right, I'll press Ctrl+Z, Cmd+Z on a
Mac to undo that move.
| | 05:11 |
Here's yet another way to work.
I can right-click inside the image with
| | 05:15 |
the Move tool, and click on a layer to
select it, and then if I Shift+Right-click
| | 05:19 |
inside the image window with the Move
tool, and select another layer, whether
| | 05:24 |
it's adjacent or non-adjacent, I'll select
it as well.
| | 05:30 |
Finally, let's say I want to take this
swirls layer and I want to pop it to the
| | 05:33 |
top of the stack.
Well, I'll go ahead and click on it to
| | 05:36 |
make it active.
I could just drag it up the stack if I
| | 05:39 |
want to.
But there's another way to work that comes
| | 05:42 |
in handy when you have an awful lot of
layers inside of a file.
| | 05:46 |
Go to the Layer menu, and choose the
Arrange command, and then, notice that you
| | 05:49 |
have all these stacking options, including
Reverse.
| | 05:53 |
If I have two layers selected, I can
reverse their order.
| | 05:56 |
But along with these commands, which
aren't really that easy to access, you
| | 05:59 |
have these keyboard shortcuts if you care
to remember them.
| | 06:03 |
So you've got Ctrl or Cmd along with the
Right Bracket key to move a layer up the
| | 06:07 |
stack, Ctrl or Cmd along with the Left
Bracket key to move layer down the stack.
| | 06:14 |
If you want to move the layer all the way
up, you press Ctrl+Shift+Right Bracket.
| | 06:19 |
If you want to move it all the way down,
you press Ctrl + Shift + Left Bracket.
| | 06:23 |
Let me show you what that looks like, just
by pressing a key.
| | 06:26 |
If I press Ctrl+Shift+Left Bracket here on
the PC or Cmd+Shift+Left Bracket on a Mac,
| | 06:30 |
I will move that twirl layer as far down
as it can go.
| | 06:35 |
Notice it has to stay on top of the
background because the background is a
| | 06:39 |
flat image, always at the back of the
stack.
| | 06:43 |
Then if I press Ctrl+Shift+Right Bracket
or Cmd+Shift+Right Bracket on a Mac, I pop
| | 06:46 |
the layer all the way to the top of the
stack, and it appears at the front of the
| | 06:50 |
composition here inside the image window
as well.
| | 06:54 |
And that, friends, is my exhaustive list
of tips and tricks for working with layers
| | 07:00 |
in Photoshop.
| | 07:02 |
| | Collapse this transcript |
|
|
5. Saving Your ProgressThe art of the save| 00:00 |
Saving your work may seem a simple matter
of choosing the save command.
| | 00:04 |
You know, like it is in other programs.
But if you haven't guessed yet, Photoshop
| | 00:09 |
is not other programs.
In fact, one of Photoshop's long standing
| | 00:13 |
claims to fame is its support for every
image file format ever invented.
| | 00:20 |
You don't need to know about all of them,
but you do want to know the ins and outs
| | 00:24 |
of four key file formats that are the
standards of the print, interactive, and
| | 00:28 |
online, industries.
These are TIFF, PNG, and Photoshop's
| | 00:35 |
native format, PSD.
The last of which is how you save layers.
| | 00:42 |
Plus, Photoshop includes an auto-save
feature that will recover your work in the
| | 00:47 |
event of a crash.
Watch the following five movies and you'll
| | 00:52 |
know everything.
| | 00:53 |
| | Collapse this transcript |
| Four things to know about saving| 00:00 |
In this movie, I'll introduce you to the
four things you should know about saving
| | 00:04 |
an image in Photoshop.
One of them's just an FYI.
| | 00:08 |
The other three rank among the best
fail-safes against losing your work found
| | 00:11 |
in any computer application.
And this is a big panorama that I captured
| | 00:16 |
and stitched together, and it contains
over 45 million pixels.
| | 00:20 |
I'm going to start off here by dialing in
a custom zoom value down here on the lower
| | 00:23 |
left corner of the screen.
And I'll press Shift+Tab in order to bring
| | 00:28 |
up my right side panels.
So I can show you what I've got here.
| | 00:32 |
There's three layers in all.
At the bottom, we have a cropped image
| | 00:35 |
layer, and then we have two adjustment
layers, the first of which is warming up
| | 00:38 |
the bottom of the image.
And the second is darkening the sky.
| | 00:43 |
And I'll tell you about cropping and
adjustment layers in upcoming chapters.
| | 00:48 |
But, for now let's say I decide to click
on one of the adjustment layers.
| | 00:51 |
Shift click on the other so that they're
both selected.
| | 00:54 |
And I press the Backspace key here on a PC
or the Delete key on Mac to get rid of them.
| | 00:59 |
Now notice up here in the Title tab.
This is the FYI part of the movie.
| | 01:03 |
We've got a couple of asterisks going on.
The one inside the parentheses, that one's
| | 01:08 |
a little bit confusing.
What that tells you is, the image is using
| | 01:12 |
a color profile that's different than the
one that Photoshop is currently set to.
| | 01:16 |
That actually doesn't matter, because
Photoshop automatically switches to the
| | 01:20 |
color profile employed by image.
So for now, you can safely ignore that
| | 01:25 |
first asterisk.
We'll be discussing what's going on with
| | 01:28 |
color profiles and color settings in a
future course.
| | 01:31 |
That other asterisk, however, the one
outside the parenthesis, that one tells
| | 01:35 |
you that you have unsaved changes, and of
course that means you could potentially
| | 01:38 |
lose your work.
If you want to save your changes, you go
| | 01:44 |
onto the File > Save.
Or go ahead and press that common keyboard
| | 01:48 |
shortcut, Control+S on the PC or Command+S
on the Mac.
| | 01:52 |
And then you'll see that the image saves.
And that asterisk outside the parenthesis
| | 01:56 |
goes away.
The problem of course is.
| | 01:59 |
I didn't want to save over my original
image.
| | 02:02 |
I didn't want to lose those adjustment
layers.
| | 02:05 |
And this is the kind of thing that can
happen every so often.
| | 02:08 |
You accidentally save when you don't mean
to, escpially if you use the keyboard shortcut.
| | 02:13 |
Because right next door to the S key are
the A and D keys which you use all the
| | 02:16 |
time in Photoshop to either select
everything or de-select everything.
| | 02:21 |
So it's easy to hit that wrong key.
If you do, don't panic because you can
| | 02:26 |
always go back in time.
Here's how.
| | 02:30 |
Go up to the Window > History.
And then you'll notice here in the History
| | 02:33 |
panel that I have a state that's called
Delete Layer and I also have another state
| | 02:37 |
called Open.
And if I click on that Open state.
| | 02:41 |
I get my layers back, I'll go ahead and
now close the history panel.
| | 02:45 |
I have unsaved changes, of course, so I'll
go up to the File > Save, in order to
| | 02:49 |
update the image and bring back those
layers.
| | 02:55 |
This works when you revert an image, as
well.
| | 02:58 |
I'll bring back up my History panel and
click on Delete Layer in order to go ahead
| | 03:02 |
and re-delete those layers.
And then I'll go back to the File > Save,
| | 03:06 |
in order to override the image.
Now, I'll click on open once again in
| | 03:11 |
order to go back to the open which
contains the adjustment layers.
| | 03:15 |
And if I go to the File menu, you can see
that I have a revert command.
| | 03:19 |
Which allows me to load the saved version
of the image.
| | 03:22 |
Inside any other program, when you choose
revert, you're going to get an alert
| | 03:26 |
message that says, really?
Do you actually want to revert the image
| | 03:30 |
and lose all the changes you've made?
In Photoshop, you don't get any message whatsoever.
| | 03:35 |
It just goes ahead and reverts to the
saved version of the image because
| | 03:39 |
reversion is tracked by history.
So notice here in the history panel, I not
| | 03:44 |
only have the history state but I've got
all the other states before and my case
| | 03:47 |
just open.
So I click on Open to bring back the
| | 03:50 |
adjustment layers.
I'll go ahead and close the history panel
| | 03:54 |
and I'll go up to the File > Save, so I
keep those adjustments.
| | 03:59 |
So in other words, as long as you keep the
image open, and as long as you have access
| | 04:03 |
to those historical states, then you're
safe.
| | 04:07 |
The only time you're not safe is if you do
this number.
| | 04:10 |
Let's say I decide to grab those
adjustment layers again, and throw 'em away.
| | 04:15 |
And then I go up to the close box and
click on it, and Photoshop asks me, hey,
| | 04:18 |
do you want to save your changes?
If I click on the Yes button or the Save
| | 04:22 |
button on a Mac, I'm in trouble.
Then I do lose everything, because history
| | 04:27 |
is not saved along with the file.
So, what I'm going to recommend to you,
| | 04:32 |
don't do that.
I'll go ahead and cancel outta there.
| | 04:35 |
And then, I'll make the deliberate
decision whether to save my work or not.
| | 04:40 |
One more thing you should know: You've now
got another degree of protection in the
| | 04:44 |
form of auto-saving.
I'll go ahead and press Control+K, or
| | 04:47 |
Command+K on the Mac, in order to bring up
the preferences dialog box.
| | 04:53 |
And then I'm going to switch over to file
handling on the left-hand side, and notice
| | 04:56 |
this check box, automatically save
recovery information every so often.
| | 05:01 |
What I recommend you do is switch it from
10 minutes to 5 minutes so you have more
| | 05:05 |
protection And then if you find that
Photoshop is dragging performance-wise,
| | 05:09 |
then you can always up the number later.
But I'd rather be protected than not.
| | 05:16 |
And I've been working in the program for
awhile now and have retrieved several files.
| | 05:20 |
Things that would have, otherwise, in the
old days just absolutely been lost.
| | 05:24 |
It's totally great.
It protects you from crashing, and the
| | 05:27 |
idea is, if the program does go down, the
next time you launch it, you will see a
| | 05:31 |
recovered file open automatically.
Now I'm going to go ahead and click OK in
| | 05:37 |
order to accept that change.
So to recap, if you see an asterisk
| | 05:41 |
outside the parentheses, that means unsafe
changes.
| | 05:45 |
If you accidentally safe a file, you may
be able to still retrieve the original
| | 05:48 |
image from the history panel.
Reverting an image is undo-able in
| | 05:53 |
Photoshop, and finally, you have Auto Save
and Auto Recover in the event you crash.
| | 05:58 |
| | Collapse this transcript |
| Saving layers to PSD| 00:00 |
Let's talk about the primary file formats
that you'll be using to save your images.
| | 00:04 |
Starting with the native PSD or Photoshop
document format.
| | 00:10 |
And it features a pencil sketch I created
years ago inside this over wrought frame.
| | 00:15 |
And all together we have a total of ten
layers inside of this document.
| | 00:19 |
Also worth noting is the file size.
If you take a look at this doc information
| | 00:23 |
in the lower left corner of the window,
you'll see two values divided by a slash.
| | 00:28 |
The first value shows you how big the
image would be in RAM if it were a flat
| | 00:32 |
image file with no layers whatsoever.
The second much larger value shows you how
| | 00:38 |
big the image is in RAM, including all of
its layers.
| | 00:43 |
This image consumes more than 430
megabytes in RAM, making it our biggest
| | 00:46 |
image so far.
When you're creating layered compositions,
| | 00:50 |
whether they're big or not, you want to
make sure to save at least one version of
| | 00:54 |
that file to the native PSD document.
And, of course, preferably back up that
| | 00:59 |
file to a different hard drive as well.
This file's already been saved to the PSD format.
| | 01:07 |
But let's imagine that we want to make a
few changes.
| | 01:09 |
For example, I'm going to click on the top
text layer and Shift+click on the next
| | 01:12 |
layer down.
And notice, by the way, that it's name is
| | 01:16 |
truncated currently.
But if I hover over that dot, dot, dot, I
| | 01:20 |
can see the name of the layer is plate.
So let's say I don't want that nameplate.
| | 01:25 |
So just go ahead and press the Backspace
key or the Delete key on a Mac in order to
| | 01:28 |
get rid of those layers.
Then with Sepia selected, I'll move down
| | 01:33 |
the list until I'm hovering over this
layer called back, and I'll Shift+click on it.
| | 01:39 |
So in all we have five layers selected
here at the top and that represents this
| | 01:43 |
group of layers right there, including the
frame and the pencil sketch.
| | 01:48 |
And now press Control or Command+0 to zoom
out.
| | 01:52 |
And let's say I want to center this group
of layers inside the canvas.
| | 01:55 |
So I'll press Control+A or Command+A on
the Mac, to select the entire image.
| | 02:00 |
I'll switch to the Move tool, here at the
top of the toolbox.
| | 02:03 |
And then, I'll go up to my Alignment
options and click on a second icon in
| | 02:07 |
Align vertical centers, in order to
produce that effect.
| | 02:11 |
And, finally, zoom back in a little bit.
And notice this layer, right there, called
| | 02:15 |
royal violet.
I'll turn it on, in order to convert the
| | 02:18 |
background from green to purple.
Now let's go ahead and save our changes.
| | 02:23 |
Now, I could go to the File > Save.
But then, when I had to close the file of
| | 02:28 |
course, I would end up losing that
nameplate.
| | 02:32 |
So what I tend to do instead, if I'm ever
even the least bit curious that I might
| | 02:35 |
want to come back to an effect I've
created in the past, I go ahead and choose
| | 02:38 |
Save As to save an alternate version of
the file.
| | 02:43 |
It consumes additional disk space, of
course.
| | 02:45 |
That can really end up saving your neck
later.
| | 02:48 |
You have a keyboard shortcut for this
command which is Ctrl+Shift+S or
| | 02:51 |
Cmd+Shift+S on a Mac.
That brings up the Save As dialog box.
| | 02:56 |
Make sure that Format is set to Photoshop.
That is .psd.
| | 03:00 |
If not, go ahead and select it from the
list.
| | 03:02 |
And then I'm going to rename my file
violet variation.
| | 03:05 |
I've already created that file in advance
so I'll just click on it to lift that name.
| | 03:09 |
And then I want to make sure that all of
the check boxes except for as a copy are
| | 03:13 |
turned on.
So what can happen sometimes in Photoshop
| | 03:17 |
is you've got a alpha channel that is the
safe selection-er mask, we'll see those later.
| | 03:23 |
But when you go to save the file, for some
reason the alphas channel check box is
| | 03:26 |
turned off.
If that happens and you see this little
| | 03:29 |
alert message then as a copy will go on.
That's not what you want, we'll see how as
| | 03:34 |
a copy works in the next movie, but when
saving the PSD file, you want all
| | 03:37 |
checkboxes on so that you're saving every
single thing that you can.
| | 03:42 |
Then go ahead and click the Save button.
In my case, Photoshop will ask me if I
| | 03:46 |
want to overwrite the existing file.
I'm going to say OK because it's the exact
| | 03:50 |
same file I'm saving now.
Then, very likely you'll get this alert
| | 03:55 |
message, that asks you if you want to
maximize compatability and the checkbox is
| | 03:58 |
turned on by default.
Here's what going on.
| | 04:02 |
If you leave the check box on, then
Photoshop goes ahead and save the flat
| | 04:05 |
version of the image along with all the
layers.
| | 04:09 |
Which makes the file more compatible with
programs other than Photoshop.
| | 04:14 |
That has nothing to do with Photoshop
whatsoever.
| | 04:16 |
What it does have to do with is Lightroom
and Premiere, and some non-Adobe applications.
| | 04:22 |
If you're working with Lightroom, for
example, and you want to be able to
| | 04:25 |
preview your .psd files, then you have to
leave this check box on.
| | 04:29 |
But if you don't use Lightroom or
Premiere, for example you use Illustrator
| | 04:33 |
or Indesign or Bridge Were many of the
created suite applications, or you're
| | 04:37 |
exclusive interested in being able to open
up layer files inside Photoshop then turn
| | 04:41 |
this check box off and your file will be
much smaller.
| | 04:47 |
For example, where this file is concerned.
With the checkbox off, it takes up 329
| | 04:51 |
megs of room on disk.
And that's down from 395 right now in
| | 04:55 |
memory, the reason being that Photoshop
automatically applies some lossless compression.
| | 05:01 |
Nothing to worry about.
However, if I turn this checkbox on, the
| | 05:06 |
file size grows to 434 megabytes.
That's more than 100 megs.
| | 05:14 |
And that's a 32% increase.
It can be as much as a 50% increase.
| | 05:19 |
So, you can lose space on your hard drive
very quickly if you leave this checkbox on
| | 05:22 |
when you don't need it.
I'm going to go ahead and turn it off, and
| | 05:26 |
then I'll click OK.
And you may have to wait a moment for the
| | 05:29 |
save to initiate.
Notice this saving message down here in
| | 05:33 |
the lower left corner of the screen.
Right now it's saying Saving 0%.
| | 05:37 |
Now it's going.
One more note.
| | 05:40 |
Let's say you don't want to maximize
compatibility in the future, and you don't
| | 05:43 |
want to see that alert message every time
either.
| | 05:46 |
Then press Control+K or Command+K on a
Mac, to bring up the Preferences dialog box.
| | 05:51 |
Switch to File Handling over here on the
left hand side of the screen.
| | 05:55 |
Drop down to this option, maximize PSD and
PSB file compatibility.
| | 06:00 |
Right now it's set to ask.
That's why we saw the alert message.
| | 06:04 |
If you want it to always save because
you're working with Lightroom, then change
| | 06:07 |
it to always.
If you want it to never save, which is my
| | 06:10 |
preference, then set it to never.
And by the way, every PSD file that I'm
| | 06:14 |
providing to you and every PSD file that
I've ever provided in my history of
| | 06:18 |
training people has been saved with never
so that it gets smaller file sizes.
| | 06:24 |
And now I'll go ahead and click OK to make
that change.
| | 06:27 |
And that's how you save a layered document
to the native PSD file format here in Photoshop.
| | 06:34 |
| | Collapse this transcript |
| Saving print images to TIFF| 00:00 |
Now let's talk about the file formats
that are designed to work with flat image
| | 00:04 |
files starting with TIFF.
| | 00:06 |
Now TIFF, which stands for Tag Image
File Format is the most popular image
| | 00:11 |
format in print design.
| | 00:13 |
And the reason is that it's
widely compatible and it features
| | 00:16 |
lossless compression.
| | 00:17 |
Now technically, TIFF does support layers.
| | 00:21 |
So you can save a layered document to
the TIFF format without losing anything.
| | 00:26 |
But there are two problems:
| | 00:27 |
one is, TIFF always goes ahead and
saves a flat version of the image along with
| | 00:32 |
the layers so you get bigger files
than you do with PSD when Maximize
| | 00:36 |
Compatibility is turned off.
| | 00:38 |
And the other issue is a matter of tradition.
| | 00:40 |
Most folks that work with TIFF don't
anticipate that the file might contain layers.
| | 00:45 |
The one exception might be if you want
to preserve transparency in an image.
| | 00:49 |
For example, I'm going to select the
background and then Shift+Click on royal
| | 00:53 |
violet to select all four of these items
in the Layers panel and then I'll press
| | 00:57 |
the Backspace key or the Delete
key on the Mac to get rid of them.
| | 01:01 |
And now let's say this is exactly what I want.
| | 01:03 |
I want this transparency along with
this drop shadow and so forth to be
| | 01:07 |
preserved when I take this image into
InDesign or Illustrator, or what have you.
| | 01:13 |
Well I don't need the differentiation
between the other layers, so I'd go ahead
| | 01:17 |
and Shift+Click on sepia, so all
five remaining layers are selected.
| | 01:21 |
And then I'd go up to the Layer menu
and choose Merge Layers, in order to fuse
| | 01:26 |
all those layers together.
| | 01:29 |
Now presumably I don't want
this layer to be called sepia.
| | 01:31 |
I'll call it artwork instead.
| | 01:34 |
And then I'd go up to the File menu and
of course choose the Save As command so
| | 01:38 |
I don't end up overwriting my existing file.
| | 01:41 |
And then I could switch to file Format
from PSD to TIFF and give the image a
| | 01:46 |
name, make sure that Layers is
turned on and click the Save button.
| | 01:50 |
But here's the thing, even though you
can work that way and you maybe called
| | 01:54 |
upon to work that way as well
depending on your client, we're actually better
| | 01:58 |
off saving to the PSD format instead,
because InDesign and Illustrator and
| | 02:03 |
all those programs that support TIFF with
transparency also support PSD with transparency.
| | 02:09 |
All right, I'm going to go ahead and
cancel out of the dialog box here and
| | 02:13 |
switch over to my photographic panorama.
| | 02:16 |
And let's say this image is bound for some
sort of print publication or even an eBook.
| | 02:21 |
And so I'm going to save a flat
version of the image as a TIFF file.
| | 02:24 |
Well one thing I could do is go up to
the Layer menu and choose the Flatten
| | 02:28 |
Image command to fuse all the layers
together, and then go ahead and save the
| | 02:32 |
image to the TIFF format.
| | 02:34 |
Or I can just save a copy of the file.
| | 02:36 |
Let me show you what that looks like.
| | 02:38 |
I'll go up to the File menu
and choose the Save As command.
| | 02:42 |
And I'm going to switch the format from
Photoshop to TIFF down here at the bottom.
| | 02:48 |
And I'm going to rename this file
Antique theater, and I'm going to turn off
| | 02:53 |
my Layers check box.
| | 02:54 |
And as soon as I turn Layers off, I
get a little warning here, that's fine,
| | 02:59 |
and As a Copy automatically turns on.
| | 03:02 |
What that means by the way is there
will no longer be a link between the
| | 03:06 |
active image, the one that's open
here in Photoshop, and this image that
| | 03:10 |
you're saving to disk.
| | 03:12 |
So in other words, I will
not rename this file.
| | 03:15 |
It'll still be called Theatre Antique
d'Orange.psd, which is when you think
| | 03:19 |
about, just as it should be.
| | 03:21 |
Now I'll go ahead and click the
Save button in order to bring up the
| | 03:25 |
TIFF Options dialog box.
| | 03:27 |
Now by default, Image Compression is set to
None, which you may figure is a good thing.
| | 03:31 |
A lot of folks have it in their mind
that compression, where image file is
| | 03:35 |
concerned, is always bad.
| | 03:37 |
It's actually not true.
| | 03:39 |
LCW is an entirely lossless compression.
| | 03:42 |
It works in much the same way as ZIP
and other compression algorithms work.
| | 03:46 |
In other words, nothing is lost in
the translation, and it delivers much
| | 03:51 |
smaller image files.
| | 03:52 |
So I recommend you turn it on
for every TIFF image you save.
| | 03:56 |
Pixel Order should be left alone,
Interleaved is what you want.
| | 03:59 |
Byte Order actually doesn't matter. You
can select PC when you're working on a
| | 04:03 |
PC or Mac if you're working on a Mac.
| | 04:06 |
But just about every application that
supports TIFF supports both variations on
| | 04:10 |
the file format and certainly
all the Adobe applications do.
| | 04:14 |
Save Image Pyramid, leave that turned
off and then down here at the bottom you
| | 04:18 |
may see the Layer Compression options,
if so it should be set to Discard Layers.
| | 04:22 |
Then go ahead and click OK in
order to save off that image file.
| | 04:27 |
You may get a progress bar down in the
lower left corner of the image and once
| | 04:31 |
the file is saved, note that the
layers are still intact even though we just
| | 04:34 |
threw them away, and there's no link
between this open image and the TIFF file
| | 04:38 |
is saved to disk, because
once again, it's a copy.
| | 04:41 |
And that's how you go about saving a
TIFF version of your image file here
| | 04:45 |
inside Photoshop.
| | 04:48 |
| | Collapse this transcript |
| Saving an interactive image to PNG| 00:00 |
Our next file format, PNG, is very popular
in the world of interactive design.
| | 00:05 |
Like tiff, it allows you to save full
color graphics with lossless compression.
| | 00:10 |
However, unlike tiff, it does not support
layers.
| | 00:13 |
However, it does support transparency.
Now let's say I want to save this image
| | 00:18 |
complete with transparency to the PNG
format.
| | 00:21 |
I go up to the file menu and choose the
Save As command and then I'll switch my
| | 00:25 |
format from PSD to PNG which is PNG.
And notice that I've already created this
| | 00:31 |
file in advance just so can lift its name
so I'll click on it to select it.
| | 00:35 |
Also notice down here that Photoshop not
only automatically deselects the layers
| | 00:39 |
check box, it also dims the check box so I
can't turn it back on.
| | 00:43 |
And as a copy is checked so what that
means is Photoshop is breaking the link
| | 00:47 |
between the file that I'm saving and the
file I've had open and there's no way I
| | 00:50 |
can change that.
I'll go ahead and click on the save button.
| | 00:57 |
And because I do want to overwrite the
file, I'll click OK.
| | 01:00 |
And I get the PNG options dialog box here,
you have 2 compression options, either
| | 01:04 |
none, which is a very fast save, or
smallest, which is slower, however the
| | 01:07 |
smallest option is the only one that
applies the loseless compression and you
| | 01:11 |
get much smaller files as a result.
So definitely turn it on.
| | 01:18 |
You also want to set interlacing to none.
These days, there's no reason to save
| | 01:22 |
interlace PNG graphics, and then click OK
in order to save off that file.
| | 01:27 |
Now it's taking a moment or two for me to
save the image, but now it's done.
| | 01:30 |
Notice that my file's still called Art
with transparency.psd, so this is not the
| | 01:34 |
PNG graphic.
Also notice over here in the layers panel,
| | 01:38 |
that I have a single layer, it's called
artwork, I want you to note that.
| | 01:43 |
Now, let's open the PNG image we just
created, so I'll go up to the File menu,
| | 01:46 |
and choose the Open command.
And then, I'll locate that file I just
| | 01:51 |
created, Transparent artwork.png, and
click the Open button, and then I'll zoom
| | 01:55 |
in and it looks for all the world like the
exactly the same image, and if I check out
| | 01:58 |
the Layers panel, I do have a layer.
It's not a flat background image, it's an
| | 02:04 |
independent floating layer.
It just doesn't happen to have a name.
| | 02:07 |
It's called Layer 0 instead of artwork.
But otherwise, it is a single layer image
| | 02:12 |
where Photoshop and other applications are
concerned.
| | 02:17 |
Now, let's take a look at saving a big,
whopping, huge image to the PNG format.
| | 02:22 |
I'm going to switch over to my 45 million
pixel panorama, and then I'll go over to
| | 02:25 |
the File menu, I'll choose the Save As
command.
| | 02:30 |
And just so I can lift a file name here on
the PC, I'm going to switch the format to
| | 02:33 |
TFF for a moment and then click on Antique
theater.
| | 02:37 |
Now I'll switch back to the PNG format,
and this way, I can create a file called
| | 02:40 |
Antique theater.png.
And notice that the Layers checkbox gets
| | 02:45 |
turned off and as a copy gets turned on
now click the save button in order to
| | 02:48 |
create that file.
I'm going to turn on Smallest/Slow set
| | 02:53 |
interlacing to None and click OK.
And notice how it's taking awhile to save
| | 02:57 |
this file.
However, I can go and zoom in and even use
| | 03:01 |
tools inside the file while it's saving.
This is background saving inside of Photoshop.
| | 03:08 |
And it's amazing, because you can do all
kinds of work while the save operation, as
| | 03:11 |
we're seeing down here in the lower left
corner of the screen, it's still in progress.
| | 03:17 |
So in other words, the fact that the loss
less compression where the PNG file format
| | 03:21 |
is concerned does slow down the saving
process.
| | 03:25 |
It doesn't slow you down one wit.
You can even switch to a different
| | 03:28 |
document window if you want to and do work
inside that file.
| | 03:32 |
And that's the beauty, not only of the PNG
format, but of background saving here
| | 03:37 |
inside Photoshop.
| | 03:40 |
| | Collapse this transcript |
| Saving a flat photo to JPEG| 00:01 |
Our final format is JPEG, which is
great for archiving continuous tone
| | 00:05 |
digital photographs.
| | 00:07 |
Now it does have its limitations.
| | 00:09 |
Under no circumstances can you save
layers or transparency, and JPEG always
| | 00:15 |
applies lossy compression, meaning
that it rewrites the colors of the pixels
| | 00:20 |
as it saves the file.
| | 00:22 |
In return it delivers much smaller images.
| | 00:25 |
So for example, the layered version
of this 45 million pixel panorama, saved
| | 00:31 |
to the native PSD format with
maximized compatibility turned off, consumes 180
| | 00:37 |
megabytes on disk.
| | 00:39 |
That's pretty good given that as we can
see down here in the lower left corner
| | 00:43 |
of the window, the image
consumes 237 megabytes in RAM.
| | 00:48 |
When I save the flat version of the
image to the TIFF and PNG formats using their
| | 00:52 |
lossless compression schemes, the
image consumes about 70 megabytes on disk,
| | 00:57 |
which is less than half the
size of the layered image.
| | 01:00 |
Using JPEG, we can get this file down
to at most about 30 megabytes, which is
| | 01:05 |
half again the file size, and if we ramp
up the compression like crazy we can get
| | 01:10 |
it down to 1 megabyte.
| | 01:12 |
Let me show you what that looks like.
| | 01:15 |
I'll go up to the File menu and I'll
choose the Save As command and then I'll go
| | 01:19 |
ahead and switch over to TIFF again for
a moment so I can lift the file name by
| | 01:23 |
clicking on the existing TIFF file,
then I'll switch from TIFF to JPEG.
| | 01:28 |
Notice that Photoshop turns off and dims
the Layers check box and turns on As a Copy.
| | 01:33 |
I'll go ahead and click the Save
button in order to bring up the JPEG
| | 01:37 |
Options dialog box.
| | 01:39 |
And I want you to understand how JPEG
works so I'm going to go ahead and zoom in
| | 01:44 |
on the statue of Augustus Caesar
right here in the center of the image.
| | 01:48 |
And notice that right now for me the
quality is set to the Maximum, which is 12,
| | 01:53 |
but I'm going to crank it down all
the way to 0 so that we can see the JPEG
| | 01:58 |
compression do its thing.
| | 01:59 |
So the Preview check box is on, notice
that we get to see what the file size
| | 02:03 |
will be which is about 1.3 megabytes.
| | 02:07 |
So this guy is going to be way smaller as
a result, but of course it looks terrible.
| | 02:11 |
What's happening is that Photoshop is
boiling down the image into 8x8 pixel squares.
| | 02:17 |
It tries to maintain the color of the
top left square and then it bases all the
| | 02:22 |
other colors on that square.
| | 02:25 |
So it looks rotten when zoomed in but
check this out, as we zoom away from the
| | 02:29 |
file those squares end up
reconciling and they don't look all that bad.
| | 02:34 |
Now you would never use a quality
setting of 0, that's just too low.
| | 02:38 |
But I do want to give you a sense of
how JPEG functions, and I want you to
| | 02:43 |
understand that that compression really
does serve a purpose, and it very keenly
| | 02:48 |
exploits the way that our eyes read images.
| | 02:51 |
Problem is of course we would never be
able to edit this file in the future.
| | 02:54 |
It would be dead to us.
| | 02:56 |
It would just be a backup that we could
send out to somebody else, what have you.
| | 03:00 |
What I tend to do with JPEG when I'm
archiving images as opposed to creating web
| | 03:04 |
graphics, which we'll
examine in a future chapter.
| | 03:07 |
I go ahead and crank the
quality setting all the way up to 12.
| | 03:10 |
I never use anything but 12 these days.
| | 03:14 |
And you'll see that that still gives me
a 27 megabyte image a little larger than
| | 03:19 |
a-third of the size of the TIFF and PNG files.
| | 03:22 |
Next you want to set your Format
Options to Baseline Optimized, that just goes
| | 03:27 |
ahead and applies a little bit of
additional lossless compression, and then click
| | 03:32 |
on the OK button in
order to save off that image.
| | 03:34 |
And now, just so that we can see it,
we'll go ahead and press Ctrl+O or
| | 03:39 |
Command+O on the Mac to
bring up the Open dialog box.
| | 03:42 |
I'll find that Antique theatre.jpg
file and I'll click on the Open button in
| | 03:47 |
order to bring it up in Photoshop.
| | 03:49 |
And then I'll zoom in by pressing Ctrl+1
or Command+1 on the Mac, and I'll zoom
| | 03:53 |
in even further here, and you can see
even when we're zoomed very far in, those
| | 03:58 |
squares that I was showing you before
at the low quality setting are invisible
| | 04:02 |
here at the high quality setting, even
though the file opens from 27 megabytes
| | 04:07 |
on disk to 130 megabytes in RAM.
| | 04:12 |
And that is the power of archiving
flat versions of your digital photographs
| | 04:16 |
to JPEG.
| | 04:18 |
| | Collapse this transcript |
|
|
6. Crop and StraightenHoning in on your image| 00:00 |
There's a school of thought that says
you should shoot your photos at a lower
| | 00:04 |
resolution and lower quality setting
than your digital camera can muster.
| | 00:09 |
The idea is this way you'll create
smaller image files so you can shoot more
| | 00:14 |
images to a single memory card.
| | 00:17 |
This school of thought is so
pervasive that many consumer cameras are
| | 00:21 |
factory-set to shoot lower quality
images than the hardware actually supports.
| | 00:27 |
This is a very bad school of thought.
| | 00:30 |
You should always, without exception, shoot the
highest quality images possible. Two reasons:
| | 00:37 |
first, your image may come out crooked,
which means that you need to rotate
| | 00:42 |
it so that it's plumb.
| | 00:44 |
But pixels are always upright
squares, meaning, they can't tilt.
| | 00:49 |
So when you straighten an image,
Photoshop has to recalculate every single pixel.
| | 00:56 |
If you watched my previous movies, you
know that rewriting pixels is a so-called
| | 01:01 |
destructive modification.
| | 01:03 |
I don't mean that you destroy the image.
| | 01:05 |
I mean you rewrite the image,
and so garbage in garbage out;
| | 01:10 |
high quality in, high quality out.
| | 01:14 |
You may also want to crop the image,
which is to say reduce its size to hone in
| | 01:19 |
on a particular detail.
| | 01:21 |
If you have a lot of pixels in the
first place and you stand a chance of having
| | 01:26 |
a lot of pixels when the crop is done.
| | 01:29 |
What I'm about to show you is not just
the better school, it's a new school with
| | 01:34 |
a completely redesigned Crop tool.
| | 01:37 |
Here's how to crop and
straighten images in Photoshop CS6.
| | 01:43 |
| | Collapse this transcript |
| The new and improved Crop tool| 00:00 |
In this movie I'll show you how to assign
a non-destructive crop using the Crop tool.
| | 00:05 |
By which I mean, we'll hide the cropped
pixels as opposed to permanently deleting them.
| | 00:11 |
You get to the Crop tool by clicking on
this fifth tool down or you can press the
| | 00:15 |
C key.
And then, you'll see a crop boundary
| | 00:18 |
surrounding the entire image.
If you don't see that crop boundary, then
| | 00:23 |
press Control+0 or Command+0 on a Mac, to
fit the image inside the screen.
| | 00:28 |
And that'll give you a little leeway.
So that this dash crop boundary is
| | 00:32 |
entirely visible.
Now you can modify the boundary in a
| | 00:35 |
couple of different ways.
One way is to drag the existing handles.
| | 00:40 |
Either the corner handles, as you see me
doing now or you can drag a side handle if
| | 00:44 |
you like or you can drag a top or bottom
handle.
| | 00:49 |
Another way to work, is to draw a crop
boundary from scratch.
| | 00:53 |
And you do that, by pressing the escape
key for starters In order to cancel the
| | 00:58 |
previous crop and then you just go ahead
and drag inside the image in order to
| | 01:02 |
create a free form crop boundary like so.
You can also drag the image inside that
| | 01:10 |
boundary as much as you like.
Now, at this point, assuming you like what
| | 01:15 |
you see, you have three different ways to
apply the crop, and I'll let you choose
| | 01:18 |
the one that you like best.
One is to click on a checkmark, up here in
| | 01:23 |
the options bar, the other option is to
press the Enter key or the Return key on
| | 01:27 |
the Mac.
And the final trick is to double-click
| | 01:31 |
inside the cropped boundary like so.
Now, even though I promised to show you
| | 01:36 |
how to assign a non-destructive crop using
the Crop tool, that's not what I've done
| | 01:40 |
so far.
I just permanently deleted the pixels.
| | 01:46 |
And I know that's I've done because I've
got this background item here inside the
| | 01:49 |
layers panel.
And the background invariably is only as
| | 01:54 |
big as it appears here inside the canvas
which is the physical boundary Of the image.
| | 02:02 |
And I'll explain what I mean by that in a
little more detail in a moment.
| | 02:06 |
But in order to apply a non destructive
crop, you need to press Control+Z, or
| | 02:10 |
Command +Z on a Mac, to undo that change.
And you need to turn off this check mark.
| | 02:16 |
Delete cropped pixels now its impossible
to know what the default behavior of this
| | 02:21 |
option is going to be because Adobe keeps
changing its collective mind.
| | 02:28 |
Its turned on in this particular version
of the software that I'm using but it
| | 02:32 |
really ought to be turned off.
So in any case, make sure that the check
| | 02:37 |
mark is turned off.
You don't delete the crop pixels.
| | 02:41 |
And then go ahead and draw a new crop
boundary like so.
| | 02:45 |
And modify it as much as you like.
Even dragging the image inside the crop boundary.
| | 02:51 |
And now what's going to happen by the way,
is that we're going to keep this entire image.
| | 02:55 |
So the image size of this particular layer
will remain unmodified.
| | 03:00 |
And what we're seeing as the crop boundary
will become our new canvas size.
| | 03:05 |
And I'll make that happen by pressing the
Enter key, or the Return key on the Mac.
| | 03:11 |
And notice now that we automatically have
an independent layer.
| | 03:15 |
Which is telling me that the original
image is unharmed.
| | 03:19 |
I'm going to go ahead and rename that
layer cropped guy like so.
| | 03:22 |
And now, I can go ahead and select the
Move tool at the top of the toolbox here.
| | 03:28 |
And then I can drag the unharmed image,
inside of the canvas.
| | 03:32 |
So, in other words, I'll go ahead and zoom
out here because I want you to understand
| | 03:36 |
this concept.
If I were to press the Control key, or the
| | 03:40 |
Command key on the Mac and click on this
layer's thumb nails like so.
| | 03:44 |
That's going to show us the size of this
layer.
| | 03:48 |
That's the image size for this specific
layer.
| | 03:51 |
Meanwhile the portion of the image that we
can see is known as the canvass size.
| | 03:56 |
And the fact that we have the image size
that is that larger than the canvass size
| | 04:01 |
is what Adobe internally calls.
Big layer, so the idea is that any layer
| | 04:07 |
can actually be larger than what we're
seeing at any given time.
| | 04:12 |
Alright, I'll go ahead and press Control+D
or Command+D on a Mac to deselect the image.
| | 04:19 |
And then, I can drag the image around with
a Move tool, as much as I like, to frame
| | 04:23 |
it perfectly inside the canvas.
And that's how you assign a nondestructive
| | 04:30 |
crop using the Crop tool here inside
Photoshop.
| | 04:34 |
| | Collapse this transcript |
| Editing your last crop| 00:00 |
In this movie, I'll show you how to modify
an existing crop boundary.
| | 00:04 |
And along the way, I'll demonstrate the
various grid options that are available to you.
| | 00:09 |
And I'll also show you how you can rotate
an image using the crop tool, which will
| | 00:13 |
allow us to straighten this crooked
horizon.
| | 00:17 |
So, any time you want to edit an existing
crop, all you have to do is switch back to
| | 00:20 |
the crop tool which again you can get by
pressing the C key.
| | 00:24 |
And then you'll see your crop boundary.
And notice, as soon as you set in
| | 00:28 |
modifying it and as long as you're in this
Crop Editing mode.
| | 00:33 |
You will see, by default, the rule of
thirds, represented by these grid lines.
| | 00:38 |
Now, the rule of thirds specifies that if
you divide an image into thirds, both
| | 00:42 |
horizontally and vertically.
That you want the subject of your
| | 00:46 |
photograph to be located at an
intersection of two of those grid lines.
| | 00:52 |
But that just one of many design rule at
your disposal.
| | 00:56 |
If you go up to this overlay option icon
and click on it, you'll see all kind of
| | 01:00 |
other design rule such as these inset
triangles that you might take advantage of.
| | 01:06 |
We've also got the golden ratio.
And just in case you're wondering,
| | 01:11 |
legitimately, how in the world these
things work?
| | 01:14 |
The golden ratio specifies this.
It goes way back, it's one of those
| | 01:18 |
renaissance rules that specifies that area
A, which is this are right there, and area
| | 01:23 |
B is right there.
The ratio of area a to area b Is the same
| | 01:29 |
as the sum of the two, that is areas A and
B, to area A.
| | 01:37 |
Really, what it comes down to, is that,
again, you'll want to put the subject of
| | 01:41 |
your photograph at one of these
intersection lines.
| | 01:46 |
And if you want to go even deeper you can
check out the golden spiral.
| | 01:50 |
Also known ultimately as the Fibonacci
spiral in case you studied art history in school.
| | 01:56 |
The idea is that we've got a series of
golden ratios going on and we have arcs
| | 02:00 |
inside of those golden ratios.
So, we've got a big arc and then a half
| | 02:05 |
arc and then a quarter arc and so fourth
going on throughout this.
| | 02:11 |
And we want this guy to be positioned
twoard the center of what is ultimately
| | 02:14 |
this kind of nautilus shell here.
Problem is that we don't have enough image
| | 02:19 |
to make that work, so I'll go ahead and
drag him back.
| | 02:22 |
And if you want to move the image inside
the crop boundary, you have to drag inside
| | 02:26 |
the crop boundary.
That's very important.
| | 02:29 |
So, what you can do when you're working
with the golden spiral is you can change
| | 02:32 |
its orientation.
So, I'll go ahead and click on this icon again.
| | 02:35 |
And notice that we have Cycle Overlay
which has a keyboard shortcut of O which
| | 02:39 |
will take us from Rule of Thirds to Grid
to Diagonal and so forth.
| | 02:44 |
And then when we're working with the
golden spiral we have Cycle Orientation,
| | 02:48 |
which is Shift+O.
And if you put any stake in the spiral,
| | 02:51 |
then you'll want to know this keyboard
shortcut because choosing the command one
| | 02:55 |
time does not do the trick.
In fact, I have to press Shift+O several
| | 03:00 |
times in a row to get what I'm looking
for, which is the spiral oriented this way.
| | 03:07 |
And then, I move the guy toward the center
of the spiral, you know, mas o menos it's
| | 03:11 |
not really important that you get him dead
on.
| | 03:15 |
Now, in addition to using a grid, in order
to position a subject of your photo,
| | 03:19 |
you'll also have the option of rotating
the image.
| | 03:23 |
And you do that by moving your cursor
outside the crop boundary and dragging.
| | 03:29 |
And as you do, notice that you'll see a
grid which will help you decide what's
| | 03:33 |
plum and what's not.
And I also see this heads up display to
| | 03:37 |
the right hand side of my cursor.
Which is telling me that I've rotated the
| | 03:42 |
image negative 2.9 degrees, and then I'll
go ahead and release in order to apply
| | 03:46 |
that initial rotation.
Now at this point, I'd really like to keep
| | 03:51 |
seeing those grid lines because I'd like
to make sure that I got things exactly right.
| | 03:57 |
And if you want to work that way as well
then you return to the Overlay icon and
| | 04:01 |
you switch it to Grid, and then, you'll
end up seeing the grid like so.
| | 04:07 |
And then, if you like, you zoom in until
the grid line aligns with the horizon as I
| | 04:12 |
am seeing right here.
Now it's telling me negative 2.4 degrees,
| | 04:24 |
and that's the combined rotation by the
way.
| | 04:39 |
That's the total rotation.
And now, it looks almost right.
| | 04:44 |
I'm just a little bit off.
And the reason I'm taking this so
| | 04:46 |
seriously, is because this is going to be
a destructive modification, so I've got to
| | 04:50 |
get it right the first time.
Or I'll have to press Ctrl+Z or Cmd+Z on
| | 04:55 |
the Mac and try again and that looks good
it looks like I'm evenly above the grid
| | 04:59 |
line like so.
And now I'll press Ctrl+0 or Cmd+0 on the
| | 05:03 |
Mac to zoom out I'm way to far out and
notice by the way that I can see the
| | 05:07 |
entire image size right there.
I'll go ahead and zoom back in a little
| | 05:13 |
bit however so that I can better see what
I'm doing.
| | 05:17 |
Now, I want you to understand.
Let me zoom out again.
| | 05:20 |
I want you to understand that this is
indeed a destructive modification and the
| | 05:24 |
reason it's a destructive modification is
because Photoshop has to re-write every
| | 05:28 |
pixel in an image in order to rotate it.
And the reason Photoshop has to do that Is
| | 05:35 |
because after all, every pixel is an
upright square.
| | 05:39 |
And what we're asking Photoshop to do is
rotate the squares and it can't do that.
| | 05:44 |
So, it has to rewrite them instead.
So make sure you've got that rotation
| | 05:48 |
right before you press the Enter key or
the Return key in order to accept that change.
| | 05:55 |
Which I'm going to do right now.
And, we end up with this straightened
| | 05:59 |
version of the image right here.
Now he's looking a little crookedy.
| | 06:04 |
His chair isn't.
His chair is straight up and down.
| | 06:07 |
Apparently his table is at an angle.
But, you know, that was his choice.
| | 06:12 |
I'd rather get the world straight than
worry about the axis of his desk.
| | 06:16 |
But, of course, you can make your own
subjective decisions.
| | 06:20 |
Anyway, that's how you take advantage of
the various grid options, and how you
| | 06:24 |
rotate an image, albeit destructively,
using the Crop tool.
| | 06:28 |
| | Collapse this transcript |
| Straightening a crooked image| 00:00 |
In this movie I'll show you how you can
crop to a specific ratio, such as 4 by 5
| | 00:05 |
or 5 by 7.
That kind of thing.
| | 00:08 |
You can also dial in specific image size
and resolution values if you like.
| | 00:14 |
I'm going to switch back to the crop tool
and then I'll go ahead and redefine my
| | 00:18 |
boundary a little bit so that it's very
wide, like so.
| | 00:22 |
I'll go ahead and drag out the left side a
little bit and the right side quite a bit
| | 00:26 |
so that we have more of a sweeping
panorama.
| | 00:30 |
And that will help me demonstrate what the
ratios look like.
| | 00:33 |
You can select a ratio from this pop-up
menu right here.
| | 00:36 |
For example, I could switch to 5x7, and
that's going to go ahead and constrain my
| | 00:40 |
crop boundary like so.
If I don't want 5x7, I really want 7x5, I
| | 00:45 |
still want a horizontal shot, in other
words, then I can click on this little
| | 00:49 |
double arrow icon.
In order to swap those two boundaries and
| | 00:54 |
I'll come up with this crop here.
Now that doesn't limit my size.
| | 01:00 |
I can still increase the size if I like.
It jsut constrains the ratio.
| | 01:05 |
And notice that it constrains the ratio
even if I drag the bottom handle here or
| | 01:10 |
if I drag a side handle.
So I no longer have free form control.
| | 01:16 |
You can also right-click inside the image
and choose front image aspect ratio, which
| | 01:20 |
might make you think you're going back to
the very original image, the one that I
| | 01:24 |
first opened a couple of movies ago, but
that's not the case.
| | 01:30 |
If I choose that command or original
ratio, Either one.
| | 01:34 |
I'll go ahead and choose this one, though,
because it gives me numerical values.
| | 01:37 |
I'll see these guys right here, 2505 by
1744 in my case.
| | 01:43 |
If you're working along with me, you may
have different results.
| | 01:46 |
And that's actually the ratio of the last
crop boundary I applied.
| | 01:50 |
And I know this because the very original
image measured 3600 by 2400 pixels which
| | 01:57 |
is, by the way, 3 by 2.
And I can access that by once again right
| | 02:02 |
clicking inside the image window and
choosing 2 by 3 same difference.
| | 02:07 |
But that is going to give me a vertical or
a portrait shot.
| | 02:11 |
So I'll right click in the image and
choose rotate crop box.
| | 02:15 |
That's the same as clicking on that little
icon right there and notice that you have
| | 02:19 |
a keyboard shortcut of X.
And I'll go ahead and drag this guy over a
| | 02:24 |
little bit like so, and then make the
image bigger.
| | 02:29 |
Another option is to dial in a specific
resolution, so I could right click inside
| | 02:33 |
the image window.
And choose front image, down here.
| | 02:38 |
Any of these options, by the way, is going
to assign a resolution to your image, and
| | 02:42 |
that is going to modify the image size.
So, in other words, you will resample the
| | 02:48 |
image, which I regard as very dangerous.
So, I just want you to know this up front,
| | 02:52 |
and I'll demonstrate why.
If I go ahead and choose front image.
| | 02:56 |
Just by way of example.
And I'll make the crop boundary very small
| | 03:00 |
indeed and you can see, by the way.
Notice this, this happens with the ratio
| | 03:04 |
as well, that you can switch between
vertical and landscape just by dragging around.
| | 03:09 |
But I'm going to go ahead and keep a
landscape format.
| | 03:13 |
And drag the image into this area like so.
And then I'll press the Enter key or the
| | 03:18 |
Return key on the Mac in order to apply
that change.
| | 03:22 |
And notice there's a lot going on there
because Photoshp had to think about it.
| | 03:25 |
And sure enough if I zoom in on this image
to 100% you can see that it has been
| | 03:30 |
upsampled quite dramatically.
And here's the kicker.
| | 03:36 |
It wasn't upsampled using Preserved
Details, it was upsampled using By Cubic Smoother.
| | 03:43 |
So it's the battled upsampling which I
would encourage you to avoid.
| | 03:48 |
So I'll go ahead and press Ctrl+Z or Cmd+Z
on the Mac in order to undo that change
| | 03:52 |
because you can see he used to be.
Much smaller, and he deserves to be small
| | 03:57 |
as well, because he's in this big
landscape setting.
| | 04:01 |
All right.
So now let's say I drag with the crop
| | 04:03 |
tool, and I still have that same
constraint at work, and I can see the
| | 04:06 |
constraint up here in the options bar.
So I now have three values a width A
| | 04:11 |
height and a resolution.
If you want to get rid of the resolution
| | 04:15 |
value, and just stick with a ratio, then
you can switch back to ratio up here like so.
| | 04:20 |
And, if you just want to clear the whole
darn thing, you don't want any constraints
| | 04:24 |
at work at all, then just go ahead and
click on the clear button in order to
| | 04:27 |
clear things out.
And now, I once again have free form control.
| | 04:34 |
Over my crop, which is what I'm looking
for.
| | 04:37 |
I'll show you just one more thing, because
I think you'll find it handy.
| | 04:40 |
If you want to hide that portion of the
image that appears outside the crop
| | 04:43 |
boundary, then just press the H key, and
that'll go ahead and temporarily hide
| | 04:47 |
those pixels.
They're still there, of course.
| | 04:50 |
And then if you want to bring them back,
you press the H key again.
| | 04:54 |
And you will once again see them.
Now, the one thing that you don't want to
| | 04:57 |
do at this point is rotate the image some
more.
| | 05:00 |
You don't want to do this number, because
that would compound the destructive
| | 05:04 |
modifcation that we've already assigned in
the previous movie, in other words, we'd
| | 05:09 |
be rotating on top of a rotation And that
means that PhotoShop would have to once
| | 05:13 |
again, rewrite those pixels.
Thankfully, I do have one undo, when I'm
| | 05:20 |
working with the crop tool so I can press
Ctrl Z or Cmd Z on the Mac, in order to
| | 05:24 |
make the image upright again.
And I drag down just a little bit like so
| | 05:30 |
and then I'll go ahead and accept this
crop, which is now entirely non
| | 05:33 |
destructive by pressing the enter key or
the returning key on the Mac, which.
| | 05:39 |
For some reason I can't get it to work so
I'll just go ahead and double click inside
| | 05:42 |
the crop boundary instead.
So there you have it.
| | 05:46 |
That's how you constrain your crop
boundary to a specific ratio, as well as
| | 05:50 |
how you clear that ratio so you can apply
a freeform crop here inside Photoshop.
| | 05:57 |
| | Collapse this transcript |
| Filling in missing details| 00:00 |
In this movie, I'll show you a couple of
tools that allow you to automatically
| | 00:03 |
straighten an image.
There's the relatively new Straighten tool.
| | 00:08 |
And then there's the older, but I believe
to be better, Ruler tool.
| | 00:12 |
And I'll show you how they both work so
you can make your own choice.
| | 00:16 |
We have before us the, classic tourist
pushes a Pisa photograph that remains
| | 00:20 |
fresh as ever.
Regardless of how many billions of people
| | 00:24 |
have done it.
But the photographer seems to have had
| | 00:27 |
trouble choosing which to make straight,
the horizon or the tower, because neither are.
| | 00:33 |
And what you typically see folks do is try
to make Pisa look like it's tipping over
| | 00:37 |
more than it is by making the ground go
this way.
| | 00:41 |
But actually, the tower should be tippier
than all this.
| | 00:45 |
So we need to make the horizon line
straight.
| | 00:48 |
Two ways of approaching it.
One is to grab yourself the Crop tool.
| | 00:52 |
And then notice up here in a Tool bar,
we've got the Straighten tool that's
| | 00:55 |
available to us.
And you can get to it either by clicking
| | 00:59 |
on the little icon or by clicking on the
word straighten.
| | 01:02 |
Either works.
And then, what you want to do is drag
| | 01:05 |
along the horizon line.
You could also drag along a vertical
| | 01:09 |
element if you prefer, but the horizon is
usually the safest bet.
| | 01:12 |
The problem is you really just get kind of
one shot at this because after you drag
| | 01:16 |
the line and release, then Photoshop goes
ahead and straightens the image and
| | 01:20 |
switches you away from the Straighten
tool.
| | 01:24 |
So, if you find out you haven't done it
exactly right, then you need to reselect
| | 01:27 |
the Straighten tool and try again.
But to its credit, the Crop tool does go
| | 01:32 |
ahead and crop away all of the wedges.
Notice that we've rotated the image.
| | 01:38 |
And the crop boundary's now as big as it
can be, without revealing any areas that
| | 01:42 |
would otherwise be transparent.
Notice that between movies, I went ahead
| | 01:48 |
and reselected Delete Cropped pixels.
So if I didn't want to delete this pixels
| | 01:52 |
that are outside the boundary, I would
have to go ahead and turn that checkbox off.
| | 01:57 |
And you can turn it on and off while
you're in the middle of performing the operation.
| | 02:02 |
So, that's good news.
But I'm going to leave it on because I
| | 02:04 |
want you to see something here.
This is very interesting.
| | 02:06 |
I'll go ahead and press the Enter key or
the Return key on the Mac.
| | 02:10 |
And sure enough, the Crop tool, per my
instructions, has gone ahead and applied a
| | 02:14 |
destructive modification because we are
still left with the background image here
| | 02:18 |
inside the Layers panel.
Anyway, I'll go ahead and press Control+Z
| | 02:23 |
or Command+Z on a Mac to undo that change.
Here's the way I prefer to work.
| | 02:28 |
You go to the Eyedropper tool, click and
hold, and then you choose the Ruler tool,
| | 02:32 |
which has been around inside Photoshop
forever.
| | 02:35 |
And then, you drag along the horizon line,
just as you do with the Straighten tool.
| | 02:40 |
But, the advantage is that nothing happens
immediately.
| | 02:43 |
So, if you're not sure you've gotten it
exactly right, why then you can modify
| | 02:47 |
this line as much as you want.
So I'm going to go ahead and zoom in here
| | 02:52 |
and try to get this ruler line exactly
right.
| | 02:56 |
And this appears to be more or less it,
let's say.
| | 03:01 |
And then, once you think that you've got a
line that matches the horizon, you go up
| | 03:04 |
to the options bar and click on this
button Straighten Layer.
| | 03:07 |
And that not only goes ahead and
straightens the image, it generates an
| | 03:10 |
independent layer automatically.
So, there's no chance of this tool being
| | 03:15 |
any more destructive than it has to be.
Obviously, it has to rewrite the pixels
| | 03:21 |
because we're rotating the image.
But otherwise, we have not cropped the
| | 03:25 |
image at all.
And in fact, Photoshop just went ahead and
| | 03:28 |
rotated the image inside of its original
boundary, so that the canvas size is the
| | 03:33 |
same as it ever was.
Now what you do is, go ahead and switch
| | 03:38 |
back to the Crop tool and you can modify
the crop boundary to taste.
| | 03:43 |
I'm going to go ahead and take it down a
little bit like so, to right about there.
| | 03:46 |
It's sort of snapping on me a little bit.
And then, I'll go ahead and drag down to
| | 03:51 |
reveal the model's foot, to about there,
let's say.
| | 03:55 |
Now, if you don't want this snapping to
occur, which I don't, then you can go up
| | 03:58 |
to the View menu and turn off the Snap
command.
| | 04:02 |
And then I'll go ahead and drag down and
notice now I have a little more control.
| | 04:06 |
I'm not snapping to the canvas anymore, so
I have a little more room.
| | 04:11 |
Around the model's foot.
And I can drag upward a little bit as well
| | 04:14 |
if I like in order to bring back some more
of that sky.
| | 04:18 |
And then I'll press the Enter key, or the
Return key on the Mac, in order to apply
| | 04:22 |
that change.
Now you may look at this and say well,
| | 04:25 |
Deke, you have some wedges.
Around here, everybody's going to notice
| | 04:30 |
that portions of the image are missing.
And, that's true of course, the way things
| | 04:35 |
are now.
But I'm going to show you how to rebuild
| | 04:37 |
these missing details, so that the image
looks exactly right, in the very next movie.
| | 04:43 |
| | Collapse this transcript |
| Using the Perspective Crop tool| 00:00 |
In this movie, I'll show the
Perspective Crop tool, which allows you to isolate
| | 00:04 |
an image element that was shot in perspective.
| | 00:07 |
For example, we're looking at a
snapshot that I captured with my iPhone at a CU
| | 00:11 |
basketball game, University
of Colorado here in Boulder.
| | 00:14 |
And I was intrigued by this
photographic composition on the side of this
| | 00:18 |
rolling counter display.
| | 00:20 |
In order to really appreciate this
artwork, I need to be able to extract it out
| | 00:23 |
from the rest of the scene, so that
it looks like it was shot head on.
| | 00:28 |
And I can do exactly that
with the Perspective Crop tool.
| | 00:31 |
To get to the tool, go to the Crop tool,
click and hold on it and then choose
| | 00:35 |
Perspective Crop tool from the flyout menu.
| | 00:38 |
And something to note about this tool
unlike the Crop tool, it does clip away pixels.
| | 00:43 |
So it delivers a flat image
everytime, meaning that it is classified as
| | 00:48 |
a Destructive tool.
| | 00:50 |
However, the behavior is reasonable given
that it has to distort the heck out of the image.
| | 00:55 |
Start things off by dragging from one
corner of the artwork to the other like
| | 00:58 |
so, just in order to
establish a base crop boundary.
| | 01:02 |
And then you drag these corner
handles and rather than scaling the crop
| | 01:06 |
boundary, you end up distorting it like so.
| | 01:08 |
So I'm going to move this upper right
point so it aligns to the upper right
| | 01:12 |
corner of the artwork.
| | 01:13 |
And then I'll drag that lower left
point so it aligns to the lower left
| | 01:17 |
corner of the artwork.
| | 01:18 |
And notice that we have a little bit
of a shadow that's being cast by the
| | 01:22 |
countertop above, I'm going to go
ahead and drag this top point down until we
| | 01:27 |
get that shadow out of the picture.
| | 01:28 |
We also have a little bit of a shadow
as I recall over here on the left-hand
| | 01:32 |
side, so I'm going to cheat that left side in.
| | 01:34 |
And you might want to
cheat the other sides in well.
| | 01:36 |
I'm going to go ahead and take this
guy up a little bit like so and I'll take
| | 01:42 |
this right point in as well to about there.
| | 01:45 |
Once you think you've matched the shot,
then you press the Enter key or the
| | 01:49 |
Return key on the Mac in
order to complete that crop.
| | 01:53 |
And you can see that it
actually does a remarkable job.
| | 01:57 |
And just in case you're wondering, is
Boulder Colorado really this beautiful?
| | 02:01 |
The answer is, heck yeah!
| | 02:04 |
| | Collapse this transcript |
|
|
7. Adjusting LuminanceFirst, there is brightness| 00:00 |
Luminance, also known as tone
is the brightness of a pixel.
| | 00:05 |
Luminance is measured in steps known as levels.
| | 00:09 |
In an everyday average RGB image, which
is far in a way the most common kind of
| | 00:14 |
image you'll encounter, a level of 0
is black and a level of 255 is white.
| | 00:21 |
The other levels 1 through 224
are shades of gray in between.
| | 00:27 |
So where does color come in?
| | 00:29 |
Again, assuming an RGB image, you
have three luminance-only versions of the
| | 00:34 |
image called channels.
| | 00:37 |
The three channels are respectively
colorized red, green and blue, hence RBG,
| | 00:43 |
and then blended together to
produce the full color composite.
| | 00:48 |
In other words, color is
a function of luminance.
| | 00:52 |
Meanwhile, luminance and color sometimes
react with each other in surprising ways.
| | 00:58 |
Look at a strip of gray values and
you see a steady progression of neutral
| | 01:02 |
levels just as you would expect.
| | 01:05 |
Throw in a cool color like blue, and the
blues go from light to dark again as expected.
| | 01:12 |
But add a warm color like red and we
go from these pinks at the top to a
| | 01:17 |
surprisingly intense scarlet near the bottom.
| | 01:21 |
Then as we progress into the oranges, notice
how the most vivid colors move up the list.
| | 01:27 |
We eventually arrive at yellow,
which darkens into a muddy, somewhat
| | 01:32 |
unappetizing green.
| | 01:34 |
In other words, changing the
brightness of a photo can be tricky.
| | 01:38 |
The purpose of this chapter is to show
you how to adjust luminance in ways that
| | 01:42 |
make your images look
always better and never worse.
| | 01:47 |
I'll start by explaining channels so you
can see how luminance and color work together.
| | 01:52 |
Next, I'll show you Photoshop's
Automatic Luminance Correction functions, and
| | 01:57 |
then we'll take a look at two
commands that put you in control, Brightness
| | 02:01 |
Contrast and Shadows Highlights.
| | 02:04 |
In the end, I think you'll be amazed at
the degree to which you can rescue even
| | 02:08 |
the most washed-out or gloomy looking image.
| | 02:12 |
| | Collapse this transcript |
| How luminance works| 00:00 |
In this movie, I'll introduce you
to a few terms and ideas so that you
| | 00:04 |
understand how luminance
works inside of a digital image.
| | 00:08 |
And these ideas will not only help
you understand how to correct luminance
| | 00:11 |
throughout this chapter, but also when
you're working on your own images in the future.
| | 00:16 |
I'm working inside a file called
luminance demo.psd, it's found inside the
| | 00:20 |
07_luminance folder.
| | 00:22 |
Now even though we think of an
image as being full-color, it's really a
| | 00:27 |
combination of grayscale
images working together.
| | 00:30 |
And I'll show you what that means in
just a moment, but in the meantime know
| | 00:34 |
that every pixel has a luminance level,
from black at the darkest to white at the
| | 00:39 |
brightest, and these ranges of
luminance have general names.
| | 00:44 |
The darkest luminance levels are known
as the shadows, the brightest luminance
| | 00:48 |
levels are known as the highlights
and then the luminance levels in between
| | 00:53 |
are known as midtones.
| | 00:54 |
Now there's no specific place at
which highlights end and midtones begin, or
| | 00:59 |
midtones end and shadows begin.
| | 01:01 |
These are just general ranges of luminance.
| | 01:05 |
Now as I was saying, what we see as a
full-color image is actually multiple
| | 01:10 |
grayscale images working
in concert with each other.
| | 01:13 |
These grayscale images are known as
channels. This image, like all digital
| | 01:18 |
photographs contains, three channels,
we have a red channel, we have a green
| | 01:22 |
channel and we have a blue channel.
| | 01:25 |
Where the bright colors in the red and
green channels intersect you get yellow.
| | 01:30 |
Where the bright colors in the green
and blue channels intersect, you get
| | 01:34 |
cyan, and where the highlights in the red
and blue channels intersect, you get magenta.
| | 01:39 |
Just to give you a sense of how these
channels mix to form the full-color image.
| | 01:45 |
If you have highlights in all three
channels you get white, if you have shadow
| | 01:50 |
in all three channels you get black.
| | 01:53 |
Now let me show you what the channels look
like where this specific image is concerned.
| | 01:57 |
I'm going to go up to the Window
menu and choose the Channels command in
| | 02:02 |
order to bring up the Channels panel which by
default lives next door to the Layers panel.
| | 02:08 |
And notice that we're seeing what's
known as the RGB Composite; that is red,
| | 02:12 |
green and blue working together and
that the red, green and blue channels are
| | 02:17 |
all selected because they're all turned on.
| | 02:19 |
However I can click on any one of
these channels to view it independently.
| | 02:24 |
So for example, I'll click on the red channel
and as you can see, it is a grayscale image.
| | 02:30 |
This is what Photoshop sees as it
evaluates a full-color image, because Photoshop
| | 02:35 |
sees and addresses the
image one channel at a time.
| | 02:39 |
And as you can see, where this image
is concerned, we have tons of highlights
| | 02:43 |
inside the red channel.
| | 02:45 |
We have a few midtones here and there,
but we really don't have anything along
| | 02:49 |
the line of shadows.
| | 02:50 |
And just for reference, I'm going to
turn that gradient back on, and you can see
| | 02:55 |
that the darkest luminance level
inside this channel is somewhere around here
| | 02:59 |
inside the gradient.
| | 03:00 |
So it's by no means black, which is why we
have such a washed out image in the first place.
| | 03:07 |
Now let's take a look at the green
channel, and you can see that things darken
| | 03:10 |
up but still not enough, and then here's the
blue channel, darker still, but also very bright.
| | 03:16 |
All right now, I'll go ahead and switch
back to the RGB image and I'll go up to
| | 03:21 |
the Image menu and I'll choose
a command called Auto Contrast.
| | 03:25 |
And this is one method for correcting
the luminance levels inside of an image.
| | 03:29 |
And notice that Photoshop darkens up the
image considerably and again it does so
| | 03:35 |
on a channel-by-channel basis.
| | 03:37 |
So every one of these channels is darker.
| | 03:39 |
And in fact what Photoshop has done is
it's taken the darkest pixels inside the
| | 03:44 |
image, which were quite light, and turn
them black and then stretch the other
| | 03:49 |
luminance levels across the gradient spectrum.
| | 03:52 |
And so if I take a look at the red
channel now, you can see we've got some
| | 03:56 |
very dark shadows inside the pupil, in the
eyelashes, and around the iris, and so forth.
| | 04:02 |
The same goes for the green channel,
which is darker still, have some very rich
| | 04:07 |
shadows going on, and then in the blue
channel the same is true except we have
| | 04:11 |
more shadow detail than ever.
| | 04:14 |
And that friends is how
luminance works here inside Photoshop.
| | 04:18 |
| | Collapse this transcript |
| The three Auto commands| 00:00 |
In this movie, I'll introduce
you to the three Auto commands.
| | 00:03 |
They're all under the Image menu and they
include Auto Tone, Auto Contrast and Auto Color.
| | 00:09 |
Each one of them automatically adjusts
the luminance levels inside of an image
| | 00:13 |
on a channel by channel basis.
| | 00:15 |
You just choose a command and it does its thing.
| | 00:18 |
If you like the result,
you keep it, if you don't;
| | 00:21 |
you press Ctrl+Z or Command+Z on
the Mac and try something else.
| | 00:25 |
Now the reason I'm showing these commands
is not because they're terribly powerful.
| | 00:29 |
Hopefully, you won't be using them that often.
| | 00:31 |
However, Adobe's Click Data--Adobe
collects the information from Photoshop users
| | 00:37 |
who buy into the program.
| | 00:38 |
Adobe's Click Data suggests that these
three commands rank among the top 10 used
| | 00:44 |
features inside the software.
| | 00:45 |
So I'd like you to at least
understand how they work.
| | 00:49 |
So I've set up this demo
that includes a dollar bill.
| | 00:53 |
So I've set up a total of four money
details, separated on independent layers.
| | 00:57 |
The first layer control, which is the guy
over here on left, that is the Control layer.
| | 01:03 |
We're not going to change the
luminance of that layer at all.
| | 01:05 |
So I'll start things off by selecting
the Auto Tone layer, which is the image in
| | 01:10 |
the middle of the screen here, and then
I'll go up to the Image menu and choose
| | 01:14 |
the Auto Tone command.
| | 01:15 |
Now here's what's going on. Photoshop
evaluates each channel independently and
| | 01:21 |
makes the darkest pixels in that
channel black and the brightest pixels white,
| | 01:25 |
and stretches the other
luminance levels across the spectrum.
| | 01:28 |
And it does so, on a channel by channel basis.
| | 01:31 |
So each channel is treated independently.
| | 01:34 |
What that means is you end up
changing the color cast of the image.
| | 01:38 |
So in our case, we've lost the natural
green cast of the image and it's been
| | 01:41 |
replaced by a kind of
reddish cast in the shadows.
| | 01:45 |
So you may find Auto Tone to be useful
if an image contains a color cast that
| | 01:50 |
you want to get rid of.
| | 01:51 |
It's not really the case
for this dollar bill however.
| | 01:55 |
All right, I'm going to scoot things
over, so that I can see the next layer,
| | 01:58 |
which is Auto Contrast.
| | 02:00 |
I'll go and select that layer in the
Layers panel, then I'll go up to the Image
| | 02:04 |
menu and choose the Auto Contrast command.
| | 02:07 |
This time Photoshop is making the
darkest pixels black and the brightest pixels
| | 02:12 |
white on a composite basis.
| | 02:14 |
So in other words, all three channels
are affected in exactly the same way.
| | 02:20 |
That means we get darker shadows and
brighter highlights, but the natural color
| | 02:24 |
cast of the image is not affected.
| | 02:27 |
And then finally over here on the left-
hand side, we have the Auto Color image.
| | 02:31 |
I'll go and select the Auto Color Layer
then go up to the image menu and choose
| | 02:35 |
the Auto Color command.
| | 02:37 |
Now what Photoshop is doing is making
the darkest pixels black and the brightest
| | 02:42 |
pixels white, once again on a channel
by channel basis, just as with the Auto
| | 02:47 |
Tone command, but it's also
neutralizing the midtones.
| | 02:51 |
So this is the only Auto Function
that changes the midtones inside the
| | 02:55 |
image, and what that means is the
authentically colorful items, such as the
| | 03:00 |
serial number and seal remain in color,
but everything else about the dollar bill
| | 03:06 |
essentially goes grayscale.
| | 03:08 |
All right I'm going to go and press
the F Key a couple of times in order to
| | 03:11 |
switch to the Full Screen mode and
then I'll press Ctrl+0 or Command+0 on the
| | 03:16 |
Mac in order to zoom out and that's
what you should expect from the three Auto
| | 03:20 |
Commands, Auto Tone, Auto Contrast
and Auto Color, found in the Image menu.
| | 03:27 |
| | Collapse this transcript |
| Automatic brightness and contrast| 00:00 |
In this movie, I'll show you how the three
Auto commands affect our washed out portrait.
| | 00:05 |
And I'll also introduce you to a fourth
hidden auto feature that's going to make
| | 00:09 |
all the difference, and by the time we're
done, we'll have this image fully corrected.
| | 00:15 |
Now, notice that I have a bunch of
different layers stacked on top of each other.
| | 00:19 |
They're all copies of that same image,
just so that we can compare the effects.
| | 00:24 |
On top, we have the control layer, which I
won't modify.
| | 00:27 |
I'll just go ahead and turn it off now.
Now, I'll click on the auto tone layer.
| | 00:31 |
They all look the same by the way for
starters, and I'll go up to the Image menu
| | 00:35 |
and choose Auto Tone.
And this is that command that makes the
| | 00:39 |
darkest color black and align this color
white on a channel by channel basis.
| | 00:44 |
It can fair well for some images and I'll
show you an image that it works great on.
| | 00:49 |
But, when the image doesn't have a color
cast in the first place as this one doesn't.
| | 00:54 |
It's going to introduce a color cast, as
we're seeing here.
| | 00:57 |
So it ends up giving her a kind of
greenish ghoulish look, which is not want
| | 01:01 |
we want, so I'll go ahead and turn that
layer off.
| | 01:05 |
Then I'll switch to the Auto Contrast
layer, go up to the Image menu and choose
| | 01:09 |
the Auto Contrast command.
This is that one that turns the darkest
| | 01:13 |
color black and the lightest color white
on the composite bases.
| | 01:18 |
So in other words, it does not introduce a
color cast, meaning that it doesn't modify
| | 01:22 |
the color cast.
And since we don't have a color cast in
| | 01:26 |
the first place, that suits our image
quite nicely.
| | 01:30 |
And we get this pretty darn great
correction here.
| | 01:33 |
I'll go ahead and turn that one off and
then I'll click on auto color here inside
| | 01:37 |
the Layers panel.
Go up to the Image menu and choose the
| | 01:42 |
third of the Auto commands, Auto Color,
which is as you may recall, attempts to
| | 01:46 |
neutralize the midtones.
Sometimes, it works out great.
| | 01:51 |
In the case of our image, it really
doesn't.
| | 01:54 |
We end up getting this sort of blue-ish
look.
| | 01:56 |
So just to give you a sense, I'll turn on
Auto Tone.
| | 02:00 |
Auto Tone, we got kind of a green-ish look
to the image as you can see here, and then
| | 02:03 |
Auto Color, it ends up turning a little
bit blue.
| | 02:08 |
All right, now for the hidden Auto
function.
| | 02:10 |
I'll go ahead and turn the Auto Color off
and I'll click on this layer auto B/C,
| | 02:15 |
which stands for automatic brightness
contrast.
| | 02:19 |
To get to that one, you go up to the Image
menu, choose Adjustments, and then choose
| | 02:23 |
the Brightness/Contrast command.
And notice that we have a couple of
| | 02:27 |
sliders, Brightness and Contrast, pretty
darn easy to use.
| | 02:31 |
Although, I'll cover them in more detail
in the very next movie.
| | 02:35 |
For now, I'm just going to click on this
Auto button.
| | 02:38 |
And at first, it's going to seem like
nothing's happening.
| | 02:41 |
But it's because it's computationally
intensive and it's trying to gauge what's
| | 02:45 |
going on inside the image.
But in a moment or two, you will see the
| | 02:49 |
image shift on screen, as it has here.
Now, if you don't love what you see,
| | 02:53 |
because it's a pretty subtle modification
in this case, you can adjust the sliders
| | 02:57 |
to taste, and I'll show you how to do
that, as they say, in the next movie.
| | 03:02 |
But, for now I'm just going to click OK in
order to accept that modification because
| | 03:06 |
I want you to see that there are certain
circumstances under which you might want
| | 03:10 |
to combine a couple of auto features
together and this image is a perfect example.
| | 03:18 |
I'm going to turn off auto B/C, and we'll
see down here at the bottom, double auto.
| | 03:22 |
And I'll start things out by going up to
the Image menu, and choose Auto Contrast
| | 03:27 |
in order to apply that effect, because so
far, it's the most successful thing we've seen.
| | 03:34 |
And then, I'll go out to the Image menu,
choose Adjustments, and choose what is so
| | 03:38 |
far the second to most successful option,
which is Brightness/Contrast and click on
| | 03:43 |
its Auto button there.
And wait a few moments for the effect to apply.
| | 03:49 |
And you'll know it applies as soon as you
see different values show up here.
| | 03:54 |
Inside the dialog box, and sure enough, we
get yet a different effect.
| | 03:59 |
And of everything that I've seen so far,
it's my favorite.
| | 04:03 |
I'll go ahead and click OK in order to
accept that effect.
| | 04:06 |
And just so you can see the difference,
I'll press Ctrl+Z, or Cmd+Z on the Mac.
| | 04:10 |
So, you can see, Auto contrasts on its
own.
| | 04:12 |
And then, if I press Control or Command C
again, you can see, this is the effect of
| | 04:16 |
combining Auto Contrast along with the
Auto button that's included with the
| | 04:20 |
Brightness/Contrast command.
All right, let me end things by showing
| | 04:26 |
you a circumstance under which auto tones
works great.
| | 04:30 |
So I've got this photograph here that I've
shot of this turtle in St.
| | 04:35 |
Thomas and I had free-dived down about 40
feet in order to get to this turtle.
| | 04:41 |
And so, as a result, we don't have much in
the way of colors.
| | 04:45 |
The deeper you get in the water, the more
color gets filtered out and the first
| | 04:49 |
color to get filtered away is red, and
then yellow, and pretty soon you're left
| | 04:52 |
with nothing, but greens and blues as
we're seeing here.
| | 04:57 |
So this qualifies as an image that has a
huge color cast.
| | 05:01 |
And when you run into an image like this,
you want to try out either Auto Tone or
| | 05:06 |
Auto Color.
I'll start out with Auto Color, because
| | 05:10 |
many times it stands the biggest chance of
doing a good job.
| | 05:13 |
In this case, it looks okay.
Not that great though, so I'll press Ctrl
| | 05:17 |
+ Z or Cmd + Z on a Mac to undo that
change and then I'll go up to the Image
| | 05:21 |
menu and try out Auto Tone instead, and we
end up getting this effect here.
| | 05:28 |
And we can still see some optical
reflections going on inside the water.
| | 05:33 |
And that's because I have my flash turned
on and it's catching some of the bubbles
| | 05:37 |
and other stuff inside the water, but
otherwise, the turtle looks great.
| | 05:42 |
This is the before version, which we
started off with and, and you might look
| | 05:45 |
at this and think this is an image beyond
hope, but it actually turns out to be one
| | 05:49 |
of those images that all you have to do is
apply a single automatic command.
| | 05:55 |
So there you have it, a few different ways
to apply automatic color corrections to
| | 06:00 |
photographic images here inside Photoshop.
| | 06:05 |
| | Collapse this transcript |
| The Brightness/Contrast command| 00:00 |
In this movie, I'll show you how to
apply the Brightness/Contrast command as a
| | 00:04 |
static adjustment and then in the
next movie we'll apply the exact same
| | 00:08 |
function, Brightness/Contrast
as a dynamic Adjustment Layer.
| | 00:13 |
And I'll demonstrate these two
different approaches using a couple of butterfly
| | 00:17 |
photographs that I captured on the same day.
| | 00:19 |
So we've got this overly dark butterfly,
and we have this overly light butterfly.
| | 00:24 |
Both images look terrible right now, but
they're altogether correctable as we'll see.
| | 00:30 |
All right let's start
off on Dark butterfly.jpg.
| | 00:34 |
I'll go up to the Image menu and choose
the Adjustments command and then choose
| | 00:38 |
Brightness/Contrast.
| | 00:40 |
Let's start things off by clicking
on the Auto Button just to see what
| | 00:43 |
Photoshop comes up with.
| | 00:45 |
And after a moment, it
does a halfway decent job.
| | 00:49 |
I'm thinking we can do better however.
| | 00:51 |
So the great thing is after trying that
Auto Button, instead of having to just
| | 00:55 |
Undo, if you don't like it, as with
the Auto commands, you can tweak the
| | 00:59 |
results using sliders.
| | 01:01 |
So I'm going to crank the Brightness
value up to something like 100, and then
| | 01:05 |
I'll take the Contrast value
down to let's say around 50.
| | 01:10 |
And there's no reason you have to use
round numbers like these, I'm just trying to
| | 01:13 |
come up with some values
that are easy to replicate.
| | 01:16 |
Now one of the great things about
Brightness/Contrast, it's incapable of
| | 01:20 |
clipping luminance levels.
| | 01:22 |
Now by clipping, I mean it can't take
big shadow regions and make them black or
| | 01:28 |
big highlight regions and make them white.
| | 01:31 |
And I want to demonstrate
what I'm talking about here.
| | 01:33 |
So, I'll turn on the Use Legacy check box,
this is not a check box you ever want
| | 01:38 |
to turn on when correcting continuous
tone photographs, but it is helpful for
| | 01:43 |
purposes of demonstration.
| | 01:45 |
I'm going to go ahead and crank up the
Brightness value and then I'll take the
| | 01:48 |
Contrast, rather through the roof, and
you can see that we have these large
| | 01:52 |
swaths of highlights that are now clipped to
white, which is of course nothing that we need.
| | 01:58 |
And if I reduce the Brightness value,
then we have huge areas of shadows that
| | 02:03 |
are now clipped to black.
| | 02:05 |
Now as you might expect, Use Legacy
implies that this is exactly how the
| | 02:09 |
Brightness/Contrast command used to
work, which is why a lot of people still
| | 02:13 |
avoid it like the plague.
| | 02:15 |
However, if you turn Use Legacy off,
then you end up getting fantastic results
| | 02:20 |
out of this command.
| | 02:22 |
All right, so I'll go ahead and dial
in 100 for Brightness, 50 for Contrast,
| | 02:25 |
once again, Click OK in
order to accept that effect.
| | 02:29 |
And just for the sake of comparison
here, I'll press Ctrl+Z so we can see the
| | 02:33 |
original murky, dark version of the
image and then I'll press Ctrl or Command+Z
| | 02:38 |
again so that we can see the corrected version.
| | 02:41 |
Thanks to a static application of
the simple, but deceptively powerful
| | 02:45 |
Brightness/Contrast.
| | 02:47 |
| | Collapse this transcript |
| The dynamic adjustment layer| 00:00 |
In this movie, I'll show you how to apply
Brightness Contrast as a Dynamic
| | 00:03 |
Adjustment layer.
And I'm going to recommend that you use
| | 00:07 |
Adjustment layers for all your luminance
adjustments, because you can always go
| | 00:11 |
back and modify the settings any time you
like.
| | 00:15 |
I'm working inside Light butterfly.jpg,
and you have a couple of different options
| | 00:18 |
for creating adjustment layers.
One is to drop down to this little black
| | 00:23 |
white icon at the bottom of the Layers
panel and click on it.
| | 00:27 |
The Adjustment layer start with Brightness
Contrast and end with selective color, and
| | 00:32 |
they represent most of the static
adjustments you can apply inside Photoshop.
| | 00:38 |
There are a few commands we saw in the
Adjust submenu that don't work as
| | 00:40 |
Adjustment layers.
At the top here are three commands that
| | 00:44 |
allow you to apply Fill layers.
They have nothing to do with luminance or
| | 00:49 |
color adjustment.
The other way to work is to go up to the
| | 00:53 |
Window menu and choose the Adjustments
command.
| | 00:56 |
And that brings up the Adjustments panel,
which nowadays merely allows you to create adjustments.
| | 01:01 |
You don't edit adjustments here.
And notice that each of the Adjustment
| | 01:05 |
layers is represented by an icon.
You just hover over the icon to see the
| | 01:09 |
name of the adjustment.
I'm going to go ahead and click on that
| | 01:13 |
first icon to create a Brightness Contrast
layer.
| | 01:16 |
Notice Photoshop creates a new layer in
the Layers panel called
| | 01:19 |
Brightness/Contrast 1.
Plus, it automatically brings up the new
| | 01:23 |
Properties panel which is where I can edit
my settings.
| | 01:27 |
And by the way, if the panel's getting in
the way of seeing your image, you can make
| | 01:30 |
it smaller if you like.
If you've got all the screen real estate
| | 01:34 |
in the world, you can make the panel much
larger, and that's going to give you more
| | 01:38 |
fine-tune control where the sliders are
concerned.
| | 01:42 |
Anyway, I'm short on space, so I'm
going to keep the panel small.
| | 01:45 |
I'll start things off by clicking on the
Auto button in order to see what Photoshop
| | 01:49 |
comes up with.
So you still have an Auto button here
| | 01:53 |
inside the Properties panel, and that is
better, I suppose, but it's a little
| | 01:56 |
heavy-handed where the contrast is
concerned.
| | 02:00 |
What I'm going to do is dial down the
brightness to about negative 45 should work.
| | 02:06 |
And then, I'm going to take contrast down
as well to about 70, in order to achieve
| | 02:10 |
this result here.
Again, you want to leave the Use Legacy
| | 02:15 |
checkbox off.
When you're done, you can just click the
| | 02:18 |
double arrow icon to hide the Properties
panel.
| | 02:22 |
Now, happily, this is an independent layer
of luminence correction.
| | 02:26 |
And I can turn it on or off as I like.
So, if I want to see the before version of
| | 02:30 |
the image, I'll turn off the layer.
If I want to see the after version, I turn
| | 02:34 |
on the layer.
And meanwhile, the original image is
| | 02:38 |
altogether unharmed.
Whereas, if I take a look at what I did to
| | 02:43 |
the dark butterfly, which still looks very
good, those pixels are permanently modified.
| | 02:49 |
So, in other words, when you apply a
static adjustment, that's tantamount to a
| | 02:53 |
destructive edit inside Photoshop.
I don't mean I've destroyed my image.
| | 02:58 |
I mean, I've permanently modified it,
whereas with an Adjustment layer, it's not
| | 03:02 |
only editable, but it's also dynamic and
non-destructive.
| | 03:07 |
Now, of course, the advantage to the
static modification is, I can go ahead and
| | 03:11 |
save my changes over the original image to
the JPEG file format.
| | 03:16 |
Because after all, this is a flat image,
and JPEG doesn't support layers.
| | 03:21 |
That's also a disadvantage because it
means you can easily save over your
| | 03:24 |
original, which is not something you
necessarily want to do.
| | 03:27 |
The potential disadvantage with Light
Butterfly with the Adjustment layer, is I
| | 03:31 |
have to save this as a native PSD document
because it contains layers.
| | 03:36 |
But check out the size of the layered
image.
| | 03:40 |
Down here in the lower left corner, you
can see that the flat version of the image
| | 03:44 |
is 15.1 megabytes.
And after the slash that the layered
| | 03:48 |
version of the image is also 15.1
megabytes because Adjustment layers
| | 03:52 |
consume just a few bytes of information.
They are extremely small, they're
| | 03:58 |
extremely efficient, and they are highly
desirable ways to correct images in Photoshop.
| | 04:04 |
| | Collapse this transcript |
| Editing adjustment layers| 00:00 |
In this movie, I'll show you a few tips and
tricks for working with Adjustment layers.
| | 00:05 |
I've save the corrected version of the
light butterfly as Adjustment_layer.psd
| | 00:10 |
found inside the 07_luminance folder.
| | 00:12 |
Now I'm not all that happy with the
name of this adjustment, because after
| | 00:15 |
all, it's my only brightness contrast
layer and it really doesn't state what
| | 00:20 |
the layer is doing.
| | 00:21 |
So I'm going to double-click on
the layer name and call it Darken.
| | 00:25 |
All right, now let's switch back to
the dark butterfly image and let's say I
| | 00:29 |
want to re-express the
adjustment as an Adjustment layer.
| | 00:32 |
But first, I need to undo the static adjustment.
| | 00:35 |
So I'll go up to the Edit menu, the
Undo command is dimmed, because the Undo
| | 00:39 |
command only undoes the last operation
in the image I performed the operation
| | 00:44 |
in, which wasn't this one.
| | 00:46 |
So what I need to do instead is either
back step in the History panel or I can
| | 00:51 |
choose a step backward command, which
has a keyboard shortcut of Ctrl+Alt+Z or
| | 00:56 |
Command+Option+Z on the Mac.
| | 00:58 |
And that goes ahead and undoes
the adjustment as you can see.
| | 01:01 |
All right, now let's say I want to
create a Brightness/Contrast adjustment
| | 01:05 |
layer, but I want to name it as I create it.
| | 01:07 |
Well in that case, you press and hold
the Alt key or Option key on the Mac,
| | 01:11 |
click the black/white icon at the
bottom of the Layers panel and choose the
| | 01:15 |
Brightness/Contrast command.
| | 01:16 |
And I'll go ahead and call this
layer Brighten and then click OK.
| | 01:21 |
And I'll bring up the
Properties panel just as I did before.
| | 01:25 |
Now notice that neither of the
values are active at this point.
| | 01:28 |
You can activate the first numerical
value from the keyboard by pressing
| | 01:32 |
Shift+Enter or Shift+Return on the Mac.
| | 01:35 |
And then I'll dial in a Brightness value
of 100, press the Tab key and dial in a
| | 01:40 |
contrast value of 50, which were
the same values I applied before.
| | 01:44 |
All right, now let's say I want to get
these butterflies matching each other.
| | 01:48 |
We'll go ahead and hide the
Properties panel, then I'll go up to the Window
| | 01:51 |
menu, choose Arrange and choose 2-up
Vertically so that I can see the
| | 01:56 |
butterfles side by side.
| | 01:57 |
I'll go ahead and scroll them
independently here so that we can see the
| | 02:01 |
bodies of the butterflies.
| | 02:03 |
And it looks to me like the one on the left
could stand to be brightened up a little more.
| | 02:07 |
And then the one on the right
has a little bit too much contrast.
| | 02:10 |
So I'm going to start by editing the
active image, which for me is dark butterfly.
| | 02:16 |
To edit in the Adjustment layer, you
double-click on this thumbnail in the
| | 02:19 |
Layers panel and that
brings up the Properties panel.
| | 02:22 |
Now I showed you how you can select the first
value by pressing Shift+Enter or Shift+Return.
| | 02:27 |
You can also select either value,
Brightness or Contrast, by just clicking
| | 02:31 |
on its name like so.
| | 02:33 |
You have the option of scrubbing a
value by dragging directly on the word
| | 02:38 |
Brightness or Contrast.
| | 02:40 |
If you want to change the value more
quickly, you can press the Shift key in
| | 02:44 |
order to change the value in increments of 10.
| | 02:48 |
You can also press the up arrow key
to raise the value, the down arrow key
| | 02:52 |
lowers the value, Shift+Up arrow and
Shift+Down arrow raise and lower the values
| | 02:57 |
in increments of 10.
| | 02:59 |
All right now I'm going to Tab to the
Contrast value and take it down to 30.
| | 03:04 |
So I have a Brightness of 110, a
Contrast of 30 inside the dark butterfly.
| | 03:09 |
Now I'll switch over to the
formerly light butterfly, double-click on
| | 03:12 |
its Adjustment layer.
| | 03:14 |
The Contrast value is still
active from the previous image.
| | 03:17 |
I'm feeling like the body is a little
bit too dark here so I'm going to press
| | 03:21 |
Shift+Up arrow to raise that Brightness
value to -35 then I'm going to press the
| | 03:25 |
Tab key and take the Contrast
value down to something around 50.
| | 03:30 |
And we end up getting a pretty darn good match.
| | 03:32 |
So I'll go ahead and hide the Properties panel.
| | 03:35 |
Now they're never going to be
absolutely identical, because of course, they
| | 03:39 |
are different butterflies and they were
captured in different conditions in the first place.
| | 03:43 |
But the fact of the matter is, because
we're working with editable Adjustment
| | 03:47 |
layers, we can modify our settings
any time, and as much as we want.
| | 03:52 |
| | Collapse this transcript |
| Isolating an adjustment with a layer mask| 00:00 |
Another advantage to working with
Adjustment layers is that you can isolate the
| | 00:04 |
adjustment to specific regions
of an image using a layer mask.
| | 00:09 |
Now we're going to be exploring a few
tools that I haven't showed you so far,
| | 00:12 |
but it's pretty
straightforward stuff as you'll see.
| | 00:15 |
So I'm looking at both the corrected
dark bug and the corrected light bug.
| | 00:20 |
And the corrected light bug's body
is so much darker, what I'd like to do
| | 00:24 |
is select the formerly dark bug's body and
mask that portion of the adjustment away.
| | 00:29 |
I'm going to use one of the simpler
selection tools inside Photoshop, which is
| | 00:34 |
the Quick Selection tool.
| | 00:35 |
If you're seeing the Magic Wand instead,
then you can choose the Quick Selection
| | 00:39 |
tool from the flyout menu.
| | 00:41 |
And by default its brush
size is set to 30.
| | 00:44 |
And I'm just going to brush down the
animal's body, like so, taking care not to
| | 00:49 |
brush into the wings.
| | 00:51 |
Now that selects some of the shadow
details inside the image but not all that much.
| | 00:55 |
So to select the others, I'll go out to the
Select menu and choose the Similar command.
| | 01:01 |
And now I'll go ahead and expand the selected
region to include an awful lot of the shadows.
| | 01:06 |
Now in creating a layer mask, you want
to select a portion of the image that you
| | 01:10 |
want to keep, not the area
that you want to mask away.
| | 01:13 |
So I need to reverse this selection by
going up to the Select menu and choosing
| | 01:18 |
the Inverse command.
| | 01:19 |
Now I'll convert the selection to a
layer mask by making sure that my Brighten
| | 01:23 |
layer is selected here inside the Layers
panel, then dropping down to this icon,
| | 01:28 |
right next toward to the adjustment icon.
| | 01:30 |
Notice it says Add layer
mask when I hover over it.
| | 01:33 |
I'll just go ahead and click,
and I've got myself a layer mask.
| | 01:36 |
Now the important thing is, by the
way--I'll go ahead and undo that for a
| | 01:39 |
moment, if you're working along with
me and you already have a layer mask
| | 01:44 |
associated with your Adjustment
layer, here's what you need to do.
| | 01:48 |
You need to bring up your Adjustments
panel and click on the flyout menu icon
| | 01:52 |
and turn off Add Mask by Default.
| | 01:54 |
I'm going to go ahead and Escape out of
that menu, hide the Adjustments panel.
| | 01:59 |
With the Adjustment layer selected, no
layer mask in place, drop down to the add
| | 02:04 |
layer mask icon and click on it.
| | 02:06 |
Notice we get some pretty, darn,
rough edges and that's because the Quick
| | 02:11 |
Selection tool, you know, it's pretty
easy to use--delivers some rough results.
| | 02:16 |
So I'm going to soften that mask, make
sure it's selected here inside the Layers
| | 02:20 |
panel and then go up to the Filter menu,
choose Blur and choose Gaussian Blur,
| | 02:26 |
which is one of the best
blur functions in the software.
| | 02:29 |
And I'm going to crank that radius
value up to 10 pixels and then click OK.
| | 02:35 |
We made the body way too dark, so
I'm going to back off what's known as the
| | 02:39 |
density of the mask by double-
clicking on the layer mask thumbnail.
| | 02:43 |
That brings up the Properties panel
where I can see my mask options and I'm
| | 02:48 |
going to take the Density value down to
20% and that backs off of the mask and
| | 02:52 |
makes it brighter as you can
see here inside the Layers panel.
| | 02:55 |
All right, I'm going to
hide the Properties panel now.
| | 02:58 |
And just so you have a sense of what
kind of difference we made here, you can
| | 03:02 |
turn on and off a layer
mask by Shift+Clicking on it.
| | 03:05 |
So I'll Shift+Click once in order
to turn it off, you can see the body
| | 03:09 |
brightens up quite a bit.
| | 03:11 |
And then I'll press the Shift key and
turn the mask back on and the body darkens.
| | 03:16 |
Now we'll be seeing lots more of the
selection tools and layer masks in the
| | 03:20 |
future chapters, but for now, know that
you can isolate the area affected by
| | 03:24 |
an Adjustment layer with a high
degree of control by assigning a layer mask
| | 03:29 |
here inside Photoshop.
| | 03:31 |
| | Collapse this transcript |
| Introducing the histogram| 00:00 |
In this movie, I'll introduce you to
another way to gauge the luminance levels
| | 00:04 |
inside your image and it's called a histogram.
| | 00:07 |
Now at first it might seem quite
technical, but once you come to terms with the
| | 00:11 |
histogram, luminance levels
make that much more sense.
| | 00:14 |
Now to see the histogram, you go
onto the Window menu and you choose the
| | 00:18 |
Histogram command which
brings up the Histogram panel.
| | 00:22 |
Now what this is, it's a bar graph of the
various luminance levels inside the image.
| | 00:26 |
You may see it in color.
| | 00:27 |
You may see it in white.
| | 00:29 |
To make things a little less confusing,
what I'd like you to do is click on the
| | 00:33 |
flyout menu icon and choose Expanded
View in order to increase the size of the
| | 00:37 |
graph, and then go ahead and switch the
Channel from Colors to Luminosity, so we
| | 00:43 |
can see the core
luminance levels inside the image.
| | 00:46 |
Now at first glance you may look at
this thing and think how in the world is
| | 00:50 |
this going to benefit me?
| | 00:51 |
Well I've created a diagram of a
histogram for you and I'll walk you through it
| | 00:56 |
so that it makes more sense.
| | 00:58 |
I'm going to hide the Histogram panel for now.
| | 01:00 |
We'll come back to it in the next
movie when I show you a practical
| | 01:04 |
application of the function.
| | 01:05 |
And I'm going to switch to this image
called histogram.psd again, found inside
| | 01:10 |
the 07_luminance folder, and I'm going
to press Shift+F. By the way, you can
| | 01:15 |
back up through the Full Screen modes by
pressing the Shift Key along with F and
| | 01:20 |
that'll take me directly to
full screen as you see here.
| | 01:22 |
And this is a big diagram of a histogram.
| | 01:27 |
Here's how it works.
| | 01:29 |
This is a bar graph of the luminance
levels inside of your image, starting with
| | 01:34 |
black over here in the far left-hand
side, and going all the way over to white
| | 01:39 |
on the far right-hand side.
| | 01:41 |
And so it's ultimately a
kind of popularity contest;
| | 01:45 |
the taller the line the more of
that specific luminance level you have.
| | 01:50 |
To get even more technical, your standard
digital image is an 8-bit per channel image.
| | 01:56 |
What that means is you have up to 256
different luminance levels, including
| | 02:02 |
black and white, and all the other
luminance levels in between, per channel.
| | 02:08 |
Some images have more than
that but that's the standard.
| | 02:11 |
And so if you were to take a careful
look at the histogram and count up all of
| | 02:15 |
these bars here, you'd find that
there are a total of 256 bars in all.
| | 02:22 |
Each one of these luminance
levels has a specific numerical value
| | 02:26 |
associated with it.
| | 02:27 |
Black is 0 and White is 255.
| | 02:33 |
Now that may not make sense.
| | 02:34 |
After all, I just told you there are 256
luminance levels in all. How is it that
| | 02:39 |
white at 255, plus black at 0, adds up to 256?
| | 02:45 |
Well it's because black is yet another
luminance level that's just sitting there at 0.
| | 02:50 |
So you've got 1 through 255, plus black
at zero. That gives you 256 in all.
| | 02:57 |
Now when you're reading the histogram,
this area over here is going to be
| | 03:01 |
the shadows, as I've labeled, so the left-
hand side, that's where the shadows are at;
| | 03:07 |
the highlights are going to appear
over here on the right-hand side;
| | 03:10 |
and then the midtones are going to
appear in the middle of the graph.
| | 03:14 |
And again, these are just rough
general definitions of those regions
| | 03:18 |
of luminance level.
| | 03:20 |
What you want to see is that the graph
pretty much starts right at the beginning
| | 03:25 |
here and slopes up, and then we have
a healthy amount of shadow detail.
| | 03:30 |
You also want to see over here in the
right-hand side that the graph amps up at
| | 03:35 |
white and that we have a healthy
number of highlights going on, and then
| | 03:39 |
finally, you want to see a lot
of bouncing inside the midtones.
| | 03:44 |
What you don't want is to see a big
spike right there at black or a big spike
| | 03:49 |
right there at white with relatively
little action going on in the middle of
| | 03:53 |
the graph, because what that tells
you is that you have a lot of clipped
| | 03:57 |
shadows and you have a lot of clipped
highlights, and when you run into an
| | 04:01 |
image like that you can make it look a
little better, but you're never going to
| | 04:05 |
make it look great.
| | 04:06 |
It's pretty much a failed image from the
get-go, and you certainly don't want to
| | 04:10 |
take an image that has a histogram like
this one, a nice healthy histogram that
| | 04:14 |
is, and turn it into one where the
middle of the graph is very low and then you
| | 04:19 |
have spikes at either side.
| | 04:21 |
And of course as with any bar graphs,
small bars mean you have few luminance
| | 04:25 |
levels at that location and big bars
mean you have lots of luminance levels.
| | 04:30 |
Now by lots I don't mean any specific
value, because Photoshop goes ahead and
| | 04:34 |
scales the histogram according to
how many luminance levels it finds
| | 04:39 |
throughout the entire image.
| | 04:41 |
And so that's how the histogram works.
| | 04:43 |
You'll find it inside the Histogram panel.
| | 04:45 |
You find it elsewhere
inside the software, as well.
| | 04:48 |
And once you get a sense for how it
works, it's an extremely helpful tool.
| | 04:52 |
And I'll show you how to use the
histogram to gauge the quality of your
| | 04:55 |
correction in the next movie.
| | 04:58 |
| | Collapse this transcript |
| Measuring an adjustment| 00:00 |
In this movie, we'll use the
histogram to gauge the quality of our
| | 00:04 |
Brightness/Contrast correction so
far and to make further adjustments.
| | 00:08 |
I've saved my progress inside the dark
butterfly image as Masked adjustment.psd.
| | 00:14 |
And I'm going to bring up my
Histogram panel by clicking on that little
| | 00:17 |
histogram icon right there in the icon column.
| | 00:21 |
And notice here inside this Luminosity
histogram, I can see that I've got lots of midtones.
| | 00:26 |
However, my shadows are pretty weak
actually and I don't have a lot going in the
| | 00:31 |
way of highlights either.
| | 00:33 |
Now if you see this little warning, this
little caution icon, that's telling you
| | 00:37 |
that the histogram isn't fully cached,
which means that it's not quite accurate.
| | 00:42 |
And what you do to increase the
accuracy of the histogram, is you just click on
| | 00:46 |
the caution icon or on that
little update icon directly above it.
| | 00:50 |
Either one will address the problem.
| | 00:52 |
And in most cases, it's not
going to change very much.
| | 00:55 |
Now as soon as I edit this
Adjustment layer, that's going to bring up the
| | 00:58 |
Properties panel and hide the Histogram
panel, so I want to move the histogram
| | 01:03 |
to a new location by dragging inside
this empty area here, that'll move all the
| | 01:08 |
panels in a group, and I'm going to
drag it over until I see a horizontal blue
| | 01:12 |
line directly above the
Layers panel and I'll drop it.
| | 01:15 |
And that way the histogram will stay on screen.
| | 01:17 |
Now I'm going to drop down to the Layers
panel and double-click on the thumbnail
| | 01:21 |
for my Adjustment layer to
bring up the Properties panel.
| | 01:25 |
Now what's going to happen here is if
I increase the brightness of the image,
| | 01:29 |
the histogram is going to shift over
to the right, because the entire image
| | 01:33 |
is growing brighter.
| | 01:34 |
If I reduce the Brightness value, then
histogram is going to shift all the way
| | 01:38 |
over to the left, because
we're darkening the image.
| | 01:42 |
I'm going to go ahead and
return that brightness value to 110.
| | 01:45 |
Meanwhile, if you reduce the Contrast
value, you'll bunch up the histogram
| | 01:50 |
toward the center and you'll
lose shadows and highlights.
| | 01:54 |
Whereas, if you increase the Contrast
value, then you're going to spread the
| | 01:58 |
histogram outward and you're going to
fill in those shadows and highlights.
| | 02:02 |
And in fact, I can go ahead and take
this Contrast value all the way up to 100
| | 02:07 |
and I'm not getting any clipping.
| | 02:09 |
Once again the big thing you're
looking for is to make sure that you're not
| | 02:13 |
clipping any shadow or
highlight details inside the image.
| | 02:17 |
If you were clipping shadows, you'd see a
big spike over here on the left-hand side.
| | 02:21 |
If you were clipping highlights, you'd see a
spike over on the right-hand side. But we're okay.
| | 02:26 |
And if you want to confirm that
you've got the accurate histogram, go ahead
| | 02:30 |
and click on that caution icon again, and
you can see that everything is looking good.
| | 02:35 |
Just so that you can see how far we've
come with this image, I'm going to click
| | 02:39 |
on the background layer to make it active.
| | 02:41 |
Now you might think that Photoshop
would naturally pick up the histogram from
| | 02:45 |
the active layer, but instead it's
sourcing the entire composite image, meaning,
| | 02:50 |
both the original
photograph and the Adjustment layer.
| | 02:53 |
To look at the selected layer by itself,
go ahead and switch to Selected Layer
| | 02:58 |
and now you can see what an
unmitigated disaster this original image was.
| | 03:03 |
We had a bunch of shadow detail going
on here and nothing in the way of upper
| | 03:08 |
midtowns and highlights.
| | 03:10 |
But now that I have applied that
Adjustment layer, the effects of which I can
| | 03:14 |
see by switching back to entire image
and updating the histogram, you can see
| | 03:19 |
that we have a much more balanced
range of luminance levels inside the final
| | 03:24 |
version of our correction.
| | 03:26 |
And that's how you use a histogram to
gauge the quality of your adjustments and
| | 03:31 |
see just how far you can go.
| | 03:34 |
| | Collapse this transcript |
| Using the Shadows/Highlights command| 00:00 |
In this movie I'll show you how to
correct an image that suffers from far too
| | 00:04 |
much contrast using the
Shadows/Highlights command.
| | 00:08 |
I have opened an image called High-
contrast pachyderm.jpg, and it's fairly
| | 00:13 |
low-quality image as you can see
here, but it's not beyond hope.
| | 00:18 |
I've got the Histogram panel open again.
| | 00:21 |
When you're in this Colors display,
you're seeing overlapping histograms for
| | 00:25 |
each of the channels;
| | 00:26 |
red, green, and blue, which for our purposes
right now I consider to be a little confusing.
| | 00:32 |
So I'm going to once again switch
to Luminosity so we can just focus on
| | 00:36 |
the luminance info.
| | 00:37 |
And I'll go ahead and update the graph.
| | 00:40 |
Now we do have an awful lot of
shadow detail and an incredible amount of
| | 00:45 |
highlight detail going on here
and some very sunken midtones.
| | 00:49 |
However, the image is not beyond hope,
because we have no spike at the outset
| | 00:53 |
of the graph on the far left side and the
graph settles down on the far right-hand side.
| | 00:58 |
So we have very little in
the way of clipped highlights.
| | 01:01 |
That means we can
ultimately recover some luminance.
| | 01:04 |
Now you might start by
trying out Brightness/Contrast.
| | 01:08 |
I'll go ahead and click on the black
white icon at the bottom of the panel and
| | 01:12 |
choose the Brightness/Contrast command.
| | 01:13 |
Well I'll just go ahead and start
things off by reducing the Contrast value to
| | 01:18 |
its absolute minimum of -50.
| | 01:21 |
And that does help.
| | 01:22 |
I'll go and update the graph once again.
| | 01:25 |
We are pulling some of that information
away from the edges toward the center of
| | 01:29 |
the graph, but it's not doing nearly enough.
| | 01:33 |
The fact of the matter is Brightness/
Contrast can only take you so far where an
| | 01:37 |
image like this is concerned.
| | 01:39 |
So I'm going to hide the
Properties panel and I'm going to press the
| | 01:42 |
Backspace key or the Delete key
on the Mac in order to delete that
| | 01:46 |
Brightness/Contrast layer.
| | 01:48 |
And then if you're working along with
me, go up to the Image menu, choose
| | 01:51 |
Adjustments, and choose Shadows/Highlights.
| | 01:54 |
Now you might reasonably ask, well, I
thought Adjustment layers were so much
| | 01:58 |
better, why are we going to apply
a static version of this command?
| | 02:01 |
And the reason is Shadows/
Highlights is not one of the functions that's
| | 02:05 |
available as an Adjustment layer.
| | 02:07 |
So we have to apply it as a static command.
| | 02:10 |
So I'm going to go ahead and choose
the command and you can see just by way
| | 02:14 |
of the default settings, which are to
raise the Shadows by 35% and leave the
| | 02:20 |
Highlights unchanged, that we're already
breathing a lot of life into that shadow detail.
| | 02:25 |
So the purpose of these sliders is, in
the case of Shadows, to brighten the
| | 02:30 |
shadows and in the case of the
Highlights, to dim down the highlights which
| | 02:35 |
ultimately take some of the heat out
of highlights, breathes life into the
| | 02:38 |
shadow, contributes more to the midtones
of the image, and reduces the contrast.
| | 02:44 |
I'm going to click inside this
Highlights value and press Shift+Up arrow a few
| | 02:48 |
times in order to darken up those highlights.
| | 02:51 |
I'm ultimately going to
take that value up to 60%.
| | 02:55 |
Then I'm going to press Shift+Tab to go
back to the Shadows value and I'll press
| | 02:59 |
Shift+Up arrow a few times
to take that value up to 65%.
| | 03:03 |
This looks pretty darn good with the
exception of the fact that we have some
| | 03:09 |
meandering colors that are showing up here.
| | 03:12 |
We can take care of that
problem in a separate step.
| | 03:15 |
So this looks about as good as it's going
to get where Shadows/Highlights is concerned.
| | 03:19 |
The thing you have to watch for is
that this command can end up creating this
| | 03:22 |
kind of glowing halos inside
the highlight and shadow regions.
| | 03:27 |
If that happens, you've got some more
controls that you can get access to by
| | 03:31 |
turning on the Show More Options check
box and we'll explore these options in
| | 03:35 |
detail in a future course.
| | 03:37 |
But for now, go ahead and turn off the check
box and we'll just work with these values here.
| | 03:42 |
Now click OK in order to apply that change.
| | 03:46 |
Now whenever you apply a static
adjustment, you can go back and modify how that
| | 03:52 |
adjustment blends with the original
image by going up to the Edit menu and
| | 03:56 |
choosing the Fade command.
| | 03:58 |
But you have to choose this command
immediately after applying the static adjustment.
| | 04:02 |
So I'll go ahead and choose it now.
| | 04:04 |
And the first thing I'm going to do to
get rid of those aberrant colors is I'm
| | 04:08 |
going to switch the mode
from Normal to Luminosity.
| | 04:11 |
That way we're modifying the luminance
levels inside the image, not the colors.
| | 04:16 |
As soon as I choose that command you can
see that the colors settled down dramatically.
| | 04:21 |
Then I'm going to back off the effect
by reducing the Opacity to let's say 70%
| | 04:26 |
looks pretty good, and then click OK.
| | 04:30 |
If you think better of what you just did,
you can revisit that command by going
| | 04:35 |
up to the Edit menu and choosing the
Fade command again and it will display your
| | 04:39 |
last applied settings.
| | 04:41 |
So at this point I could to say, you
know, I think I want more like an opacity
| | 04:45 |
of 75% or what have you,
and then click OK once again.
| | 04:50 |
The thing you have to watch out for is
performing some other operation, like if
| | 04:54 |
I so much as drag inside the image
with a Rectangular Marquee tool and then
| | 04:59 |
press Ctrl+D or Command+D on the Mac in
order to deselect the image, now when I
| | 05:04 |
go up to the Edit menu,
the Fade command is dimmed.
| | 05:07 |
So again I stress, you have to apply that
command immediately after the static adjustment.
| | 05:13 |
Now then take a look at this histogram.
| | 05:15 |
It's in far better shape.
| | 05:16 |
I'm going to click on the little warning
icon there in order to update the graph.
| | 05:20 |
We have better distributed highlights,
we have better distributed shadows, and we
| | 05:25 |
have all kinds of midtone detail in between.
| | 05:28 |
And just to see what kind of
difference we made, I'll go to the File menu and
| | 05:32 |
choose the Revert command
or you can press the F12 key.
| | 05:36 |
That was the original version of
the image with these very dark shadows
| | 05:40 |
underneath the animal's body, as well as this
complete and utter blackness beyond the door;
| | 05:45 |
whereas, if I press Ctrl+Z or Command+Z
on the Mac to reapply the adjustment,
| | 05:50 |
you can see that we've opened up the
shadows considerably and we can actually
| | 05:54 |
see into the background.
| | 05:57 |
And that's the power of the very
simple to use Shadows/Highlights command
| | 06:01 |
here inside Photoshop.
| | 06:03 |
| | Collapse this transcript |
|
|
8. Adjusting ColorsAnd second, there is color| 00:00 |
This chapter's topic is color.
| | 00:03 |
Now technically speaking, color is
a combination of two ingredients:
| | 00:08 |
hue and saturation.
| | 00:10 |
Hue is what you and I think of as color.
| | 00:12 |
That is the colors of the rainbow;
| | 00:15 |
red, orange, yellow, green, and so on.
| | 00:20 |
Saturation is the intensity of that color,
from lustrously vibrant to stone-cold drab.
| | 00:28 |
The various colors have specific hue and
saturation values and because Photoshop
| | 00:33 |
provides a color-managed environment,
that means you stand a good chance of
| | 00:37 |
achieving predictable results.
| | 00:39 |
But our perceptions of
color are largely subjective.
| | 00:43 |
Meaning that you can take an image
with an obvious colour cast and adjust it
| | 00:48 |
in any number of ways.
| | 00:50 |
To you, one treatment will look just right.
| | 00:52 |
To someone else, another correction will
look better and perhaps later to you as well.
| | 00:58 |
The way you perceive color is one way
at breakfast, another at lunch, and still
| | 01:04 |
another before you go to bed.
| | 01:06 |
It's just the way our eyes work, which
is why I advise you, go with your gut
| | 01:11 |
where color is concerned.
| | 01:13 |
The consumer of your image will see his or
her own colors, there's no avoiding that.
| | 01:18 |
Observe what you think looks best in
any moment in time and stick with it.
| | 01:24 |
With that vague, but hopefully
empowering advice in mind, here's how to adjust
| | 01:29 |
colors in Photoshop.
| | 01:31 |
| | Collapse this transcript |
| Identifying a color cast| 00:00 |
By far the most common problem
that you'll encounter in your digital
| | 00:03 |
photographs is color cast.
| | 00:06 |
In other words, the colors in your
photograph are not quite representational
| | 00:10 |
of the colors in the original scene, and they
are as a whole, leaning in a certain direction.
| | 00:17 |
So there's a color bias to the image.
| | 00:20 |
Now the first step in correcting for a
color cast is to gauge what that cast is.
| | 00:24 |
In other words, what is the
prevailing color that shouldn't be there?
| | 00:28 |
And the easiest way to find that
color is to locate a neutral image element
| | 00:33 |
in the photograph, that is an object that
ought to be white or gray and then eye drop it.
| | 00:39 |
Let me show you what that looks like.
| | 00:42 |
I'm zoomed in quite a bit here, but
if I scroll down inside this image I'll
| | 00:47 |
locate a neutral item
which is this white pillow.
| | 00:51 |
It's not really white in the photograph,
because there's shadows and shading
| | 00:54 |
going on, and there's even spots where
the pillow might be reflecting some of the
| | 00:58 |
colors off the wall, but as a
rule, the pillow ought to be neutral.
| | 01:02 |
That is, it shouldn't have any color bias at all.
| | 01:05 |
But obviously there is some kind of bias.
| | 01:07 |
And to gauge what that bias is I'm
going to switch to the Eyedropper tool which
| | 01:12 |
allows me to lift colors inside Photoshop.
| | 01:14 |
You can also get to that tool by
pressing the I key, and incidentally if the
| | 01:18 |
last tool you used was a Ruler back
in Chapter 6, then you can go ahead and
| | 01:23 |
select the Eyedropper from
the Ruler tool flyout menu.
| | 01:26 |
Now by default, the Eyedropper lifts
the color of the pixel on which you click,
| | 01:30 |
just that one pixel.
| | 01:32 |
If you'd like to average more of a
generalized area, which is probably a good
| | 01:35 |
idea, then you go up to the Sample
Size option up here in the Options bar and
| | 01:40 |
switch to something like 5 by 5 Average.
| | 01:43 |
So in other words, we're sampling
the average of 25 pixels at a time.
| | 01:47 |
Then go over to your Color
panel, make sure it's up.
| | 01:50 |
If not, choose the Color
command from the Window menu.
| | 01:53 |
Click on the flyout menu icon and make
sure that you're looking at the HSB Sliders;
| | 01:57 |
Hue, Saturation, and Brightness.
| | 02:00 |
And then, drop down to the
pillow and click on it.
| | 02:04 |
Notice as you click, and I'm clicking
and holding here, you'll get a ring that
| | 02:07 |
showing you the old foreground color
down at the bottom, which is black by
| | 02:11 |
default and a new foreground color up
at the top, and you can see that it's
| | 02:15 |
some sort of beige.
| | 02:16 |
I'm going to go ahead and release and
now I'm going to check out the hue value,
| | 02:20 |
which is 32 degrees for me, it maybe
something slightly different for you, but
| | 02:24 |
it should be something around that area
and what that tells me is that's orange.
| | 02:29 |
This image has an orange color cast.
| | 02:32 |
Now very likely you look at 32 degrees
and you don't think immediately orange,
| | 02:37 |
because after all you probably don't
have every single one of the hues memorized,
| | 02:42 |
and that's okay because I'm including a
document for you called Hue locator.psd.
| | 02:47 |
And what it shows is all the hue values
mapped on a 360 degrees circle which is
| | 02:52 |
one of the ways to express the visible
color spectrum. And notice that 0 degrees
| | 02:57 |
starts over here on the right side of
the circle and then we proceed around the
| | 03:00 |
360 degrees circle in a
counter-clockwise direction.
| | 03:04 |
I've marked off each of the 30
degree increments just to give you a sense
| | 03:08 |
of what's going on.
| | 03:09 |
I've also labeled the colors, although
that's not really all that important.
| | 03:13 |
What matters is that you can see
the color at any given location.
| | 03:17 |
So right there at 30 degrees.
| | 03:19 |
Not only have I included a label of
orange, but you can see that the color is
| | 03:23 |
orange as well right there in the circle.
| | 03:26 |
And that's how you go about
identifying a color cast in Photoshop.
| | 03:30 |
In the next movie, I'll show
you how to correct for color cast.
| | 03:34 |
| | Collapse this transcript |
| Correcting a color cast automatically| 00:00 |
Photoshop offers several different
methods for correcting color cast and I'll
| | 00:04 |
walk you through a few of them over
the course of the next few movies.
| | 00:08 |
Then I'll show you an even more reliable method
for correcting color cast inside Camera Raw.
| | 00:14 |
I'm looking at an image called Color
cast demo.psd, in which I've repeated that
| | 00:18 |
photograph of my sons on four different layers.
| | 00:22 |
We'll start things off by taking a
look at the behavior of the Auto commands
| | 00:25 |
here in the Image menu, and those are
the commands that I introduced you to in
| | 00:28 |
the previous chapter.
| | 00:31 |
As you may recall, Auto Tone and Auto
Color correct the image on a channel by
| | 00:35 |
channel basis, and as a result, the
color cast can't help but be modified,
| | 00:40 |
whereas Auto Contrast
affects the composite image.
| | 00:43 |
So it's not going to do us any good.
| | 00:46 |
As you can see here on the Layers panel,
the top Layer auto tone is selected,
| | 00:50 |
and that's that image on the
left-hand side of my screen.
| | 00:52 |
So I'll go up to the Image menu and
choose the Auto Tone command in order to
| | 00:57 |
modify it, and that is
definitely a more neutral looking image.
| | 01:02 |
Whether that's the best take on
the image however is yet to be seen.
| | 01:06 |
Next, I'm going to select the auto
color layer here inside the Layers panel and
| | 01:11 |
then I'll go up to the Image menu and
choose the Auto Color command, and we get
| | 01:15 |
this take on the image.
| | 01:16 |
As you can see, Photoshop has
cooled down the image dramatically.
| | 01:21 |
Now what do I mean by that?
| | 01:22 |
I'll press Ctrl+Z or Command+Z on
the Mac to bring back the warm image.
| | 01:27 |
When you hear folks talk about warm
images, they mean images that are trending
| | 01:31 |
toward warm tones, such as
reds, and oranges, and yellows,
| | 01:36 |
whereas a cool image; think icy cool,
is going to be trending more toward blue.
| | 01:42 |
Now let's get a sense of whether
we'ver made the image neutral or not.
| | 01:46 |
I'll go ahead and grab the Eyedropper
here in the toolbox, but before I click on
| | 01:50 |
the pillow, I want to try your attention
to those HSB values in the Color panel.
| | 01:54 |
This is that color that I
sampled in the previous movie.
| | 01:57 |
You now know a Hue of 32
degrees indicates orange.
| | 02:01 |
The value I want to try your attention to
is this S value which stands for saturation.
| | 02:06 |
The saturation of a color is its intensity.
| | 02:09 |
Right now it's set to 27%. We'll
come back to that in a moment.
| | 02:13 |
But I want to show you if you crank
that value down to 0 percent, you end up
| | 02:17 |
getting an absolutely neutral
gray, regardless of the hue value.
| | 02:21 |
If you take that value up all the way to
100%, you get the most vivid version of
| | 02:26 |
that color possible.
| | 02:28 |
In our case, a vivid orange.
| | 02:29 |
I'm going to dial that back down to 27,
because that's what we had, which is
| | 02:34 |
relatively low saturation value.
| | 02:37 |
So as you can see in this foreground
color swatch, we have a grayish looking orange.
| | 02:42 |
However, 27% is still a heck of a color cast.
| | 02:46 |
Now let's see what happens if I
click and hold on that pillow.
| | 02:50 |
The color at the bottom of the circle
is the old pillow color and the color at
| | 02:53 |
the top of the circle is the new color.
| | 02:56 |
And just eyeballing it, you can tell
that it's a much more neutral gray.
| | 03:00 |
Now let's check out the HSB values.
| | 03:03 |
That Hue value of 298 degrees, you can
check that out in the Hue locator, 209
| | 03:09 |
isn't too far from 210,
which is a shade of blue.
| | 03:13 |
Let's switch back to the demo file.
| | 03:15 |
The thing is, that Saturation value,
in my case, is down to 4% which is
| | 03:21 |
quite neutral indeed.
| | 03:23 |
Anything between 0% and 5% qualifies as neutral.
| | 03:27 |
So in other words, the Auto
Color command has done a great job of
| | 03:31 |
neutralizing this color cast.
| | 03:32 |
The problem is, that's not
always going to be the case.
| | 03:36 |
The behavior of the Auto Tone and Auto
Color commands varies like crazy from
| | 03:40 |
one image to the next.
| | 03:43 |
So there are times you'll get the
result you want, many other times you won't.
| | 03:47 |
In the event you don't get the
results you want, that's when you apply a
| | 03:50 |
manual correction using the Color
Balance command and I'll show you how that
| | 03:55 |
works in the next movie.
| | 03:57 |
| | Collapse this transcript |
| Changing the color balance| 00:00 |
In this movie, I'll introduce you to the
Color Balance command, which allows you
| | 00:04 |
to control the exact nature of your
color correction, at the same time of course,
| | 00:09 |
it requires more work than
choosing an Auto Command.
| | 00:12 |
I've saved my progress as Auto cast
correction.psd and I'm now looking at the
| | 00:17 |
third image in, and that's the third layer down.
| | 00:21 |
Now Color Balance is
available as an adjustment layer.
| | 00:24 |
So you can access it either by clicking
on this black white icon at the bottom
| | 00:27 |
of the Layers panel, and there you see
Color Balance about mid way down the list
| | 00:31 |
or I can bring up the Adjustments
panel and click at that Color Balance icon
| | 00:35 |
which looks like a scale, and that will
take me to the Properties panel and I can
| | 00:40 |
see my Color Balance controls.
| | 00:42 |
Now what I'm seeing is my primary
colors over here on the right-hand side;
| | 00:46 |
red, green, and blue, and their
complimentary primary is over on the left-hand side;
| | 00:51 |
cyan, magenta, and yellow.
| | 00:53 |
So for purposes of using this
command, you can think of red and cyan as
| | 00:58 |
being opposites, green and magenta are
opposites and then blue and yellow are opposites.
| | 01:04 |
So you don't ever want to add a color,
you don't want to think, gee whiz, I
| | 01:07 |
need more cyan in this image, rather
you want to think in terms of the color
| | 01:11 |
you want to remove.
| | 01:12 |
I want to remove red.
| | 01:14 |
So I want to send the slider towards
cyan, and as opposed to dragging the
| | 01:18 |
sliders which you can, I think the easier way
to use this command is to adjust the numbers.
| | 01:24 |
So if I click inside that first field
and press Shift+Up arrow, you'll see that
| | 01:28 |
I'm adding red to the image which is
exactly the opposite of what I want.
| | 01:33 |
Instead I want to remove cyan, so I'm
pressing Shift+Down arrow, and I'll take
| | 01:38 |
that value, for now, down to let's say -30.
| | 01:41 |
And you should know it's very
difficult to gauge one value by itself.
| | 01:44 |
So you sort to have click around these values.
| | 01:47 |
Edit one, see how it works, edit
another, see how it compensates.
| | 01:52 |
So my image is now looking too green.
| | 01:54 |
So I'll click in the second field
and I'll press Shift+Down arrow to
| | 01:57 |
remove some of the green.
| | 01:59 |
Obviously, the image is too yellow as well.
| | 02:02 |
So I'll tab to the next value, and
because I want to remove yellow from the
| | 02:05 |
image, I want to increase this value
toward blue and so I'll press Shift+Up
| | 02:10 |
arrow a total of four times in
order to increase that value to +40.
| | 02:15 |
Now the image is looking too red again,
so I'll click in that top field and I'll
| | 02:19 |
press Shift+Down arrow a couple of times
in order to take the value down to -50.
| | 02:24 |
So, so far we've got a first value of -50,
a second of -10, and a third of +40.
| | 02:31 |
Now, if you take a look at the Tone
option right here, you'll see that we're
| | 02:34 |
modifying the midtones, that is the
middle range of colors inside the image.
| | 02:40 |
Take a look at the TV in the background
and you'll see that what ought to be a
| | 02:43 |
neutral black surface looks awfully darn blue.
| | 02:46 |
So I'll switch the Tone from Midtones
to Shadows, and then I'll click in that
| | 02:51 |
last field, because I want to remove blue.
| | 02:53 |
I want to send this slider toward yellow.
| | 02:55 |
So I'll press Shift+Down arrow once in
order to reduce that value to -10, and you
| | 03:00 |
can see the black of the
TV surface is less blue.
| | 03:04 |
Now all these reddish action that
we're seeing in the boys' skin, that's
| | 03:07 |
happening in the highlight range.
| | 03:09 |
So let's change the tone from Shadows
to Highlights and I'll remove some red by
| | 03:14 |
pressing Shift+Down arrow in this first
field a couple of times in order to take
| | 03:18 |
that value down to negative 20.
| | 03:20 |
Now we want to remove some
more yellow from the scene.
| | 03:23 |
So I'll click in the third field and
press Shift+Up arrow a couple of times in
| | 03:27 |
order to send that slider toward blue.
| | 03:30 |
So we have a first value of -20, a
second of 0, we didn't change that one
| | 03:34 |
and the third of +20.
| | 03:36 |
Now I'm going to return to Midtones and
I'm going to click in that first field
| | 03:40 |
and take it back up a little.
| | 03:42 |
So I'll press Shift+Up arrow to take
the value to -40, and that looks like a
| | 03:47 |
pretty darn good adjustment. Let's test it out.
| | 03:49 |
I'll close the Properties panel and
then switch to the Eyedropper tool once
| | 03:53 |
again and then I'll click
and hold inside the pillow.
| | 03:57 |
It looks like we had gray
before and now we have gray again.
| | 04:02 |
But if you check out my values here
inside the Color panel, I happen to have
| | 04:06 |
a Hue value of 269, you can check
that out in the hue locator file, but
| | 04:10 |
that's violet by the way.
| | 04:12 |
But notice my Saturation value, it's
declined to 1%, making that pillow at any
| | 04:18 |
rate more neutral inside this
image than any of the others.
| | 04:22 |
The problem however vis-a-vis the
previous correction, that is the correction
| | 04:26 |
that was applied using the Auto Color
command, is that the colors over here in
| | 04:30 |
the color balance image
are a little too saturated.
| | 04:33 |
So for example, my boys end
up looking a little too pinkish.
| | 04:37 |
On the positive side, if you take a
close look at this image on the left, we've
| | 04:42 |
got some pretty bright highlights
around my eldest Max's nose for example, and
| | 04:46 |
along his arm as well.
| | 04:48 |
So we're starting to lose some of that
highlight detail whereas the highlights
| | 04:51 |
are looking great in the Color Balance image.
| | 04:55 |
One more thing that I want to note, I'm
going to scoot the image over so that we
| | 04:58 |
can see that far right layer.
| | 05:00 |
Notice that it's being
affected by the color balance layer.
| | 05:03 |
So if I turn the color balance layer off,
both images go back to the bad color cast.
| | 05:08 |
And if I turn it on, they're both
corrected, and that's because an adjustment
| | 05:12 |
layer affects all layers below it.
| | 05:15 |
If you wanted it affect just the
single layer, then you need to clip that
| | 05:19 |
adjustment by pressing the Alt key
here in the PC or the Option key
| | 05:23 |
on the Mac and clicking that
horizontal line between the two layers.
| | 05:27 |
That way the color balance
photograph, that is that photograph on the left
| | 05:31 |
here inside my Image window, is serving
as a clipping mask for the adjustment
| | 05:35 |
layer and the photo filter layer, which is
this layer on the right, remains unaffected.
| | 05:41 |
I'm going to make one more change.
| | 05:43 |
To make sure that this Adjustment layer
is affecting just the colors inside the
| | 05:47 |
photograph and not the luminance levels
I'm going to go up to the Blend mode pop
| | 05:52 |
up menu and change it from Normal to
Color, and watch happens to the image over
| | 05:57 |
here in the left-hand side.
| | 05:59 |
The luminance level settled down a
little bit and we don't get quite the harsh
| | 06:02 |
degree of contrast we had a moment ago.
| | 06:05 |
That's how you use a Color
Balance command here inside Photoshop.
| | 06:10 |
| | Collapse this transcript |
| Compensating with Photo Filter| 00:00 |
In this movie, I'll show you an
unconventional approach to correcting color cast
| | 00:05 |
that involves a command known as Photo
Filter, and I've gone ahead centered the
| | 00:09 |
final image, which is this layer at
the bottom of the stack, photo filter.
| | 00:14 |
So I'll go ahead select it.
| | 00:16 |
Now the purpose of Photo Filter is to
simulate this old style lens filters that
| | 00:20 |
used to be more popular back
in the days of film photography.
| | 00:24 |
Now that we've gone digital, those filters
have been largely supplanted by post processing.
| | 00:29 |
Now the first thing you want to do is
you want to grab the Eyedropper once
| | 00:32 |
again, and you want to click on that
pillow, or other neutral image element, in
| | 00:37 |
order to lift its color, and you can
see that we go from a gray color along the
| | 00:40 |
bottom to that low saturation orange,
and then you want to note the values here
| | 00:46 |
inside the Color panel.
| | 00:47 |
Everytime you click with the Eyedropper
you are going to get different values,
| | 00:51 |
just bear that in mind, but
I've got some very close values;
| | 00:54 |
a hue of 32 and a saturation of 26.
| | 00:58 |
So I'll just go and write those values down,
because they'll become important in a moment.
| | 01:03 |
As with color balance you can apply
Photo Filters in Adjustment layers.
| | 01:07 |
So I'll go ahead and bring up the
Adjustments panel and I'll click on this
| | 01:10 |
little camera icon which
creates a Photo Filter layer.
| | 01:13 |
Photoshop will switch you to the
Properties panel and you can see by default the
| | 01:18 |
program wants to warm up the image.
| | 01:20 |
Here's what you want to do, switch to
the Color option and then click on the
| | 01:24 |
color swatch, in order to bring up the
Color Picker dialog box, and notice how it
| | 01:29 |
starts off with the HSB values.
| | 01:31 |
Go ahead and crank that brightness
value up to 100% and then change the
| | 01:36 |
saturation to whatever the
saturation of the cast is.
| | 01:40 |
In our case 26%, as we can actually
still see here inside the Color panel, then
| | 01:47 |
you want to either add 180 degrees or
subtract a 180 degrees to the Hue value.
| | 01:53 |
So you may be able to do that in your head,
| | 01:55 |
if not, just use the
calculator in your celphone.
| | 01:58 |
But in our case 32 plus 180 gives you
212 degrees, which is the shade of blue.
| | 02:05 |
If your color cast value, the one you
lifted with the Eyedropper, has a Hue value
| | 02:10 |
of more than 180 degrees, you
would substract the 180 instead.
| | 02:15 |
These are the values that again work for us.
| | 02:17 |
Now click OK in order to accept that color.
| | 02:20 |
The next step is to crank the Density
value all the way up to 100% so we're
| | 02:26 |
essentially compensating for the
undesirable color cast by applying its
| | 02:30 |
complimentary color.
| | 02:32 |
Now you want to make sure Preserve
Luminosity is checked, as it is by default, and
| | 02:36 |
you'll end up with this effect here.
| | 02:38 |
Now it's obviously better.
| | 02:39 |
I'll turn the layer off.
| | 02:41 |
We can see we've got a very warm color cast.
| | 02:44 |
I'll turn the layer back on and the
color cast has been largely defeated.
| | 02:48 |
The one problem is that we end up
depleting the Saturation values in the
| | 02:51 |
image as well, and that's kind of
curious, because just as Photo Filter reduces
| | 02:57 |
the Saturation values, you can see that
Color Balance increased the Saturation values.
| | 03:03 |
So I'm going to show you how to adjust
saturation so that both of the images
| | 03:07 |
look their best in the next movie.
| | 03:11 |
| | Collapse this transcript |
| Adjusting color intensity with Vibrance| 00:00 |
In this movie, we're going to increase
the saturation levels of the photo filter
| | 00:04 |
image and reduce the saturation
levels of the color balance image using a
| | 00:09 |
command called Vibrance, and notice
that my Photo Filter adjustment layer is
| | 00:14 |
selected here in the Layers panel.
| | 00:16 |
You can once again apply
Vibrance as an adjustment layer.
| | 00:20 |
So I'll bring out my Adjustments
panel, and I'll click on this V icon for
| | 00:24 |
Vibrance, and that switches me
once again to the Properties panel.
| | 00:28 |
Now let me go ahead and scoot
the image over so we can see it.
| | 00:32 |
You know how saturation works.
| | 00:34 |
If you crank the Saturation value up,
you will get more garish colors.
| | 00:38 |
And if you reduce the Saturation value
to its absolute minimum, you will end up
| | 00:43 |
with a grayscale image.
| | 00:44 |
I'm going to go ahead and
reset that value to 0 for now.
| | 00:48 |
Vibrance is more selective.
| | 00:50 |
It weights the low saturation colors
more than the high saturation colors.
| | 00:55 |
So in other words, if you increase
the value, you're going to increase the
| | 00:59 |
intensity of the low saturation colors
more than those of the high saturation colors.
| | 01:05 |
If you reduce the Vibrance value, you
are going to take away vibrance from the
| | 01:10 |
low saturation colors, and the only
colors that will remain are those that were
| | 01:15 |
high saturation in the first place.
| | 01:17 |
I'm going to go ahead and take that
value up to 50 and then I will tab to the
| | 01:22 |
Saturation value and press Shift+Up
arrow a couple times to take it to 20.
| | 01:28 |
So we end up with a much more vivid
colors, and I might be going a little bit too
| | 01:32 |
far with this effect, but I
want the difference to be obvious.
| | 01:35 |
So I'll hide the Properties panel for a moment.
| | 01:38 |
This is the final image without the
saturation boost, and this is what it looks
| | 01:42 |
like when we apply a
combination of vibrance and saturation.
| | 01:47 |
Now let's scoot things over so we can
see the color balance image and I'll
| | 01:51 |
click on the Color Balance adjustment
layer to make it active, and this time
| | 01:56 |
around, I'll apply Vibrance using the
black white icon down here at the bottom
| | 02:00 |
of the Layers panel.
| | 02:01 |
But first press the Alt key or the
Option key on the Mac, and then click and hold
| | 02:05 |
on that icon and choose the Vibrance
command, and this will force the display of
| | 02:10 |
the New Layer dialog box.
| | 02:11 |
I don't really care about the name.
| | 02:13 |
However, you do want to turn on Use
Previous Layer to Create Clipping Mask.
| | 02:18 |
That way the Vibrance adjustment will
affect the color balance image only.
| | 02:22 |
Now I will click OK and this time I'm
going to take the Vibrance value down to
| | 02:27 |
let's say -15 should do the trick.
| | 02:29 |
We don't need to touch the Saturation value.
| | 02:33 |
And now, I'll go ahead hide the
Properties panel and that ends up giving us some
| | 02:37 |
more muted, natural colors.
| | 02:38 |
Now let's compare all the images.
| | 02:41 |
I'm going to press Shift+F to switch to
the Full Screen mode, and then Command+0
| | 02:45 |
or Ctrl+0 to zoom out so that we
can take in all four of the images.
| | 02:50 |
And where this image is concerned, the Auto
Tone and the Photo Filter adjustments end
| | 02:55 |
up looking pretty similar to each other,
whereas the Auto Color and Color Balance
| | 02:59 |
adjustments end up resembling
each other quite closely as well.
| | 03:03 |
If I were to select any one of them, I
would probably go with the Color Balance
| | 03:07 |
adjustment even though it was
the most difficult to pull off.
| | 03:11 |
However, I stress every photograph is
different and your results are going to
| | 03:15 |
vary depending on the character of
that photograph, which is why in the next
| | 03:19 |
movie, we're going to leave Photoshop
for a moment and I will show you what is
| | 03:23 |
possibly the most reliable method for
correcting color casts inside Camera Raw.
| | 03:29 |
| | Collapse this transcript |
| Correcting color casts in Camera Raw| 00:01 |
In this image, I'll show you how to
correct the color cast of an image with one
| | 00:05 |
click inside Camera Raw.
| | 00:08 |
But to do so, we'll need to switch to
that other application that ships along
| | 00:12 |
with Photoshop, Bridge.
| | 00:14 |
To make that happen, go up to the File
menu and choose Browse in Bridge, or press
| | 00:19 |
Ctrl+Alt+O, Command+Option+O on the
Mac, and then navigate your way to the
| | 00:24 |
08_colors folder inside
the exercise_files folder.
| | 00:28 |
You may see other images
than these in the folder.
| | 00:31 |
That's because I'm
assembling the images as I go along.
| | 00:34 |
Find the image called Tough boys.jpg,
right-click on it, and then choose Open
| | 00:40 |
with Camera Raw, or if you prefer you
can press Ctrl+R or Command+R on the Mac,
| | 00:46 |
and that will bring up the
image in the Camera Raw interface.
| | 00:49 |
Notice at the top of the Basic panel we
have these White Balance controls which
| | 00:54 |
allow us to control the
Temperature and Tint of the image.
| | 00:58 |
So think about that circle of
colors I showed you earlier.
| | 01:01 |
Temperature and Tint are straight lines
drawn through that color wheel and they
| | 01:05 |
are perpendicular to each other.
| | 01:07 |
So Temperature goes from cool blue to
warm, really orange actually, and then Tint it
| | 01:14 |
goes from green to magenta.
| | 01:15 |
Now on our case, we know the image
is too warm so we don't want to move
| | 01:20 |
this control toward the yellow area, which
as you can see, is adding orange to the image.
| | 01:25 |
Instead we want to remove the orange by
dragging the slider triangle toward the cool range.
| | 01:30 |
We also have a little bit too much
magenta inside the image and so I could
| | 01:34 |
extract some of that magenta by dragging
the slider triangle toward the green range.
| | 01:39 |
So that's one way to work.
| | 01:40 |
But here is the even better one-click solution.
| | 01:43 |
If you go ahead and zoom in on your
image--if your image contains a neutral
| | 01:47 |
element such as that pillow, I'll go
ahead and zoom in here and scroll up as well.
| | 01:53 |
Then you can click on it
using the White Balance tool.
| | 01:56 |
So select the third tool in, in the
upper left-hand corner of the window and
| | 02:00 |
then click somewhere on the pillow to
automatically set the Temperature and Tint
| | 02:05 |
values to what Photoshop
deems the best value as possible.
| | 02:09 |
In my case, a single click gave me a
Temperature value of -36 degrees and a Tint value of -18.
| | 02:17 |
I ended up tweaking those values a little.
| | 02:19 |
I'm going to take the Temperature
value down to -40 and then I will take the
| | 02:24 |
Tint value up to -15 like so.
| | 02:27 |
So you can override the
settings as much as you like.
| | 02:30 |
The point though is a single click
gets you in the right neighborhood.
| | 02:34 |
Now it looks to me as if the
image is a little washed out.
| | 02:37 |
So I'm going to click on this Whites
value, the fifth value down in the central
| | 02:41 |
area, and I'm going to press Shift+Down
arrow, a total of five times in order to
| | 02:46 |
reduce the Whites value to -50.
| | 02:48 |
Then I want to bring back some of the
saturation so I'm going to increase the
| | 02:52 |
Vibrance value to +20 like so
and we end up with this effect.
| | 02:57 |
If you want to preview before and after,
you can turn on and off this Preview
| | 03:01 |
check box or you can just press the P key.
| | 03:04 |
So this is the original version of the
image and this is the modified version.
| | 03:09 |
So you can see we have made a big
difference with very little effort.
| | 03:13 |
Now I'm going to click on this Open
image button to open the image in Photoshop
| | 03:17 |
and it appears in its own independent
window and I've set things up so that we
| | 03:22 |
can compare this Camera Raw version of
the image to what I considered to be the
| | 03:26 |
best modification that we
pulled off using color range.
| | 03:30 |
So here is the Camera Raw image and
here is the Color Range image right there.
| | 03:35 |
And for my part, I would say that the
Camera Raw version of the image is better.
| | 03:39 |
Check out in particular the color of
Sam's hair which looks more of a dirty
| | 03:43 |
blond, which is the way his hair
appears in real life as opposed to the color
| | 03:48 |
balanced version of the image, which
is a little bit greenish by comparison.
| | 03:52 |
So I'm going to say, at least where this
image is concerned, that Camera Raw wins the day.
| | 03:57 |
Now there is one thing I want you to know
about images when you open them in Camera Raw.
| | 04:01 |
I'll go up to the File menu and
choose Browse in Bridge again to return to
| | 04:05 |
the Bridge and I'm going to increase
the size of that thumbnail so it takes
| | 04:09 |
up the entire screen.
| | 04:11 |
Notice not only this image is corrected,
but it has this little settings icon in
| | 04:15 |
the upper right-hand corner.
| | 04:17 |
Camera Raw always applies non
-destructive modifications.
| | 04:21 |
So the actual pixels inside of
the image have not been harmed.
| | 04:24 |
We've just applied a few
numerical settings on the fly.
| | 04:27 |
However, were I to double-click on
Tough boys.jpg now, it's not going to open
| | 04:32 |
up inside Photoshop.
| | 04:33 |
It's going to open up inside Camera Raw instead.
| | 04:36 |
That may or may not be the
way you want things to happen.
| | 04:39 |
If not, go ahead and cancel out by clicking
the Cancel button in the lower left corner.
| | 04:45 |
Let's return to the Bridge once again
and to get rid of the settings as well as
| | 04:50 |
make the image open in Photoshop in
the future, right-click inside the
| | 04:54 |
thumbnail, choose Develop Settings,
and then choose Clear Settings, and that
| | 04:59 |
will go ahead and get rid of those
settings as well as get rid of that icon.
| | 05:03 |
Now from now on, when you double-click in
the image, it will open directly inside
| | 05:07 |
Photoshop as expected.
| | 05:09 |
So that's entirely up to you.
| | 05:11 |
Of course, you can now save your changes.
| | 05:14 |
This is a flat file, so I can save it as
a JPEG image if I want to just by going
| | 05:19 |
up to the File menu and choosing the
Save command, because it hasn't been saved
| | 05:24 |
so far, and then I'll switch the file
format to JPEG and I will go ahead and
| | 05:29 |
rename this image Camera Raw
boys and click the Save button.
| | 05:33 |
Make sure that the Quality value is
set to its maximum of 12 and click OK.
| | 05:38 |
And that's how you go about correcting
color casts, I would argue the simplest
| | 05:42 |
and most reliable way, using Camera Raw.
| | 05:46 |
| | Collapse this transcript |
| The Hue/Saturation command| 00:01 |
In this movie, I'll introduce you to
the final color adjustment command that we
| | 00:04 |
will be seeing in this
chapter and that's Hue/Saturation.
| | 00:08 |
I have created this demo file
called Spray paint cans.psd.
| | 00:12 |
It's based on an image from the Fotolia
Image Library about which you can learn
| | 00:16 |
more at fotolia.com/deke, and I've gone
ahead and added an inset version of that
| | 00:21 |
Color Wheel, starting with red on the
right-hand side and wrapping around the
| | 00:25 |
visible spectrum in a counter-clockwise fashion.
| | 00:28 |
Now the colors are most highly
saturated around the perimeter and they become
| | 00:32 |
increasingly less saturated
toward the center culminating in gray.
| | 00:36 |
Now the first thing I'm going to do is
bring in my Adjustments panel, and then
| | 00:41 |
I will click on the Hue/Saturation
icon which is right next door to Color
| | 00:44 |
Balance and that brings
up the set of options here.
| | 00:48 |
And for starters, we've got three sliders:
| | 00:50 |
Hue, Saturation, and Lightness.
| | 00:52 |
The Hue slider is perhaps the most
remarkable because if I drag it, you can see
| | 00:59 |
all the colors in the image rotate
metaphorically, as well as quite literally
| | 01:04 |
here inside the Color Wheel.
| | 01:05 |
So check out that Color
Wheel as I modify the Hue value.
| | 01:10 |
The colors are rotating
into different locations.
| | 01:13 |
So what you're doing with this Hue
value is rotating all the colors inside of a
| | 01:18 |
range from -180 degrees to +180
degrees over on the right-hand side.
| | 01:26 |
I'll go ahead and reinstate that value to 0.
| | 01:29 |
Your other option is to change the
saturation of the colors so you can make
| | 01:33 |
those colors as vivid as humanly
possible, and notice when I crank that
| | 01:36 |
Saturation value up to +100, even the
low saturation colors in the middle of the
| | 01:41 |
wheel becomes saturated.
| | 01:44 |
And of course, if I reduce the
Saturation value to -100, I end up changing the
| | 01:48 |
entire artwork to grayscale.
| | 01:51 |
Note by the way that we have this Reset
option at the bottom of the Properties
| | 01:55 |
panel, and if you click that, you will go
ahead and reinstate all the values to 0.
| | 02:00 |
The value that you're less likely
to use at least on a global scale is
| | 02:04 |
Lightness, because notice if I reduce
the Lightness value, I'm compressing the
| | 02:09 |
luminance range, so that white now
becomes the medium shade of gray, black stays
| | 02:14 |
black, and everything else
gets crunched in between.
| | 02:17 |
The opposite happens when you
increase the Lightness value.
| | 02:20 |
So if I take the value up to +50%, then
what were formally black details inside
| | 02:25 |
the image become 50% gray, and the rest
of the luminous range gets compressed.
| | 02:31 |
So where this adjustment is concerned,
you're best off leaving the Lightness
| | 02:36 |
option alone and adjusting Hue
and Saturation independently.
| | 02:40 |
Meanwhile, you have what's
known as a Target Adjustment tool;
| | 02:44 |
this little hand with a pointing finger.
| | 02:46 |
And notice that it has two little
arrowheads that are pointing either left or right.
| | 02:51 |
Well, here is how they work.
| | 02:53 |
Let's say I want to modify the color intensity
of the green can independently of the others.
| | 02:58 |
If I drag to the right, then I'm going
to increase the saturation of that can
| | 03:03 |
and that can only, as well as any other
green details such as the reflections in
| | 03:09 |
the neighboring cans.
| | 03:10 |
If I drag to the left, then I'm going to
reduce the saturation of that green can
| | 03:15 |
independently of the other colors,
and Photoshop even shows me that I'm
| | 03:19 |
modifying the greens.
| | 03:21 |
So instead of changing the master colors,
in other words, all colors inside the
| | 03:26 |
image, I'm just changing
the greens and nothing more.
| | 03:30 |
Notice that Photoshop divides the color
range into those same primaries that we
| | 03:34 |
saw when working with color balance,
that is, we have reds, greens, and blues as
| | 03:39 |
well as their complements, yellows in
the case of blues, cyans in the case of
| | 03:44 |
reds and magentas in the case of greens,
and those are the primary colors in the
| | 03:48 |
world of RGB imaging.
| | 03:52 |
I'm going to go ahead and click on
that Reset button once again in order to
| | 03:55 |
reinstate the saturation of that green can.
| | 03:58 |
You can also use the Target
Adjustment tool to selectively modify hues.
| | 04:02 |
So let's say I want to
change the color of the green can.
| | 04:05 |
If I press the Ctrl key or the Command
key on the Mac, and drag to the right,
| | 04:10 |
then I'm not only going to switch to
greens as you can see there on the panel,
| | 04:15 |
but I'm increasing the Hue value which
goes ahead and rotates the colors in a
| | 04:19 |
counter-clockwise fashion.
| | 04:21 |
So in this case, I've replaced this
range of greens here inside the Color Wheel
| | 04:25 |
as well as inside the can with blues,
even though we end up getting kind of a
| | 04:30 |
purplish effect on screen.
| | 04:32 |
If you want to rotate the hues in the
other direction, once again press the Ctrl
| | 04:35 |
key or the Command key on the Mac, and
drag to the left instead and you will end
| | 04:40 |
up applying a negative Hue value which
rotates the hues in a clockwise fashion,
| | 04:45 |
so we're replacing that range
of greens with reds instead.
| | 04:49 |
Then if we wanted higher saturation
reds, then you could just go ahead and
| | 04:53 |
drag without pressing the Ctrl key or
the command key on the Mac, in order to
| | 04:57 |
increase those Saturation values, and you
can see we've got something of an orange can.
| | 05:02 |
If I want to make it red instead, I
would Ctrl+Drag, or Command+Drag a little
| | 05:07 |
more to the left, and we
end up with this effect here.
| | 05:10 |
Now, we have some choppy transitions
and that's because we made some very
| | 05:13 |
aggressive modifications, as witnessed
by these values here inside the panel.
| | 05:17 |
Usually, you don't go that far with
the edits, as I will show you when I
| | 05:21 |
demonstrate a practical application
of this feature in the next movie.
| | 05:26 |
| | Collapse this transcript |
| Summoning colors where none exist| 00:00 |
In this movie, I will show you how you
can use the Hue/Saturation command to
| | 00:04 |
summon colors from an image that
you would swear don't exist at all.
| | 00:09 |
This is a low-angle photograph that
I shot of this delightfully creepy
| | 00:13 |
tree-house that's actually near my house,
and looking at the image, it appears
| | 00:18 |
for all the world, black and white.
| | 00:20 |
You can perceive a little bit of color
going on in the sky, but that's about it.
| | 00:25 |
I'm going to switch over to the
Channels panel, so I can show you how
| | 00:28 |
the channels compare.
| | 00:29 |
So there's the Red channel, and here is the
Green channel, and here is the Blue channel.
| | 00:35 |
So the three channels are
almost identical to each other.
| | 00:38 |
When the channels are absolutely
identical, you have a grayscale image.
| | 00:43 |
It's only when you have differences
between the channels that you get color.
| | 00:48 |
So let's go ahead and switch back to
the RGB composite, and I'm going to switch
| | 00:52 |
over to the Layers panel as well.
| | 00:55 |
Now I will bring up the Adjustments
panel, and click on the Hue/Saturation
| | 00:58 |
icon to switch over to the
Properties panel and gain access to my Hue and
| | 01:03 |
Saturation controls.
| | 01:05 |
Now I'm going to start things off just
by cranking the Saturation value all the
| | 01:10 |
way to +100, and you can see, sure
enough, there are colors inside the image,
| | 01:16 |
and now they are absolutely electric.
| | 01:18 |
The problem is I'll go in and zoom in here.
| | 01:22 |
You can see all this color noise, that
is, random variations in color between
| | 01:26 |
neighboring pixels, that are non-
representative of the actual scene and that
| | 01:31 |
invariably happens when you crank
the Saturation value up to its maximum.
| | 01:35 |
But if I start nudging the value down,
you can see that the color noise starts
| | 01:41 |
to disappear pretty quickly.
| | 01:43 |
So if I take the saturation down to +90,
there's some lingering color noise to
| | 01:48 |
be sure that's not nearly so obvious as
it was before, and once we go ahead and
| | 01:53 |
zoom out, it's pretty darn minimal.
| | 01:55 |
Now at this point, the woods
struck me as being a little too red.
| | 01:58 |
So I clicked in the Hue value, and I
press Shift+Up arrow in order to make it
| | 02:03 |
a little more orange and you can tell
which direction to go by taking a look
| | 02:07 |
at that Color slider, because if we
were starting with something that was too
| | 02:11 |
red in the first place, and we
want to scoot it over to orange, then
| | 02:15 |
obviously, we want to make a positive
change because orange is to the right of
| | 02:20 |
red inside the slider.
| | 02:22 |
Now I figured I wanted to make
some selective changes using that
| | 02:25 |
Target Adjustment tool.
| | 02:26 |
So I'm going to start things off by
reducing the color of the sky because after
| | 02:31 |
all, the sky was more colorful portion
of the image in the first place, and now I
| | 02:35 |
think it's a little overwhelmingly so.
| | 02:37 |
So I'm going to drag to left and that's
going to automatically switch me to the
| | 02:42 |
blues there inside the Properties panel.
| | 02:44 |
I will see that I've now managed to
reduce the Saturation value to -40.
| | 02:51 |
Now the sky strikes me as a little
bit too purple, well if you look at the
| | 02:54 |
Hue slider once again.
| | 02:56 |
If we want to make it more blue, then
we need to reduce the Hue value, and I'm
| | 03:00 |
going to do that by pressing the Ctrl
key or the Command key on the Mac and
| | 03:04 |
dragging slightly over to left
until I arrive at a Hue value of -10.
| | 03:10 |
I end up with a pretty decent effect here.
| | 03:13 |
I'm going to hide the Properties
panel and zoom in just a little bit.
| | 03:17 |
Now let's take a look at the
altogether different channels.
| | 03:20 |
I will switch over to the Channels panel.
| | 03:22 |
Here is the Red channel with this
bright tree trunk in the foreground, here is
| | 03:26 |
the Green channel, and you can see that
the sky is brightening up at this point,
| | 03:30 |
and then here is the Blue
channel with much darker tree details.
| | 03:34 |
The tree house is darker as well and the
sky is quite bright, and it's those
| | 03:39 |
differences between luminosity
levels inside the three channels that are
| | 03:43 |
generating the actual color
saturation in the full color RGB composite.
| | 03:48 |
That's how you use a Hue/Saturation
Adjustment layer to draw forth colors from a
| | 03:53 |
seemingly colorless image.
| | 03:55 |
So just imagine if the image appears to
have a little bit of color in the first
| | 03:59 |
place, how much work you can get done.
| | 04:02 |
In the next movie, we're going to make
this image that much more vivid using
| | 04:06 |
the Vibrance command.
| | 04:08 |
| | Collapse this transcript |
| Making more color with Vibrance| 00:00 |
In this movie, we're going to further
increase the Saturation values using a
| | 00:05 |
Vibrance Adjustment layer.
| | 00:07 |
So let's say we are not entirely
satisfied with these more or less natural
| | 00:11 |
colors that we are seeing now.
| | 00:13 |
We want raging Disney colors.
| | 00:17 |
Well we've already taken the
Saturation value as high as we can reasonably go
| | 00:20 |
where the Hue/Saturation layer is concerned.
| | 00:23 |
However, we can pile on a Vibrance
layer at this point without bringing out
| | 00:27 |
anymore color noise.
| | 00:29 |
Let me show you how that works.
| | 00:31 |
I will switch over to the
Adjustments panel and then I will click on the
| | 00:34 |
Vibrance icon in order to bring out
the Vibrance and Saturation sliders.
| | 00:39 |
I'm going to reduce the size of my
panel a little, so I can see more
| | 00:43 |
details inside the image.
| | 00:45 |
The thing about the Saturation slider
where vibrance is concerned, is even though
| | 00:49 |
it has the same name as the Saturation
slider associated with Hue/Saturation, it
| | 00:54 |
works entirely differently.
| | 00:57 |
I'm going to go ahead and crank the value up
to 100, and then let's zoom in on the image.
| | 01:03 |
You can see while we are getting some
color noise, we're not seeing nearly the
| | 01:08 |
kind of color noise we saw
where Hue/Saturation is concerned.
| | 01:13 |
Also we don't get quite the
same degree of electric colors.
| | 01:17 |
Certainly the colors are over the top
at this point, but they're not nearly so
| | 01:20 |
garish as what we saw in the previous
movie when we cranked Hue/Saturations,
| | 01:25 |
Saturation value to 100.
| | 01:27 |
But here is something else to bear in mind.
| | 01:30 |
It's a more subtle control.
| | 01:31 |
If I were to turn the Hue/Saturation
layer off, notice the Saturation value by
| | 01:37 |
itself does not really get anything done.
| | 01:40 |
So you can't use this slider in order to
manufacture color from nothing, the way
| | 01:45 |
you can with Hue/Saturation.
| | 01:47 |
So it's just something to bear in mind.
| | 01:50 |
I'm going to turn the Hue/Saturation
layer back on and I'm going to reduce this
| | 01:54 |
Saturation value to 30.
| | 01:57 |
Let's go ahead and zoom out just a little
bit so we can see more of the tree house.
| | 02:01 |
Now then, I want to increase the
Vibrance value and I was telling you that
| | 02:05 |
vibrance is more selective.
| | 02:06 |
It's going to increase or decrease the
saturation of the least saturated colors
| | 02:12 |
in the image more than
the most saturated colors.
| | 02:15 |
Again, even if you crank that value up
to its absolute maximum of +100, we are
| | 02:20 |
not bringing out an awful lot of color
noise and we are not exaggerating the bad
| | 02:25 |
details inside the image.
| | 02:27 |
We are to a certain extent,
but not nearly so much as we saw
| | 02:29 |
with Hue/Saturation. All right,
| | 02:31 |
I'm going to press Shift+
Down arrow a couple of times.
| | 02:34 |
So in the end, I'm taking the Vibrance value
up to +80 and the Saturation value up to +30.
| | 02:40 |
Now it strikes me that the tree is
just too darn yellow which makes sense if
| | 02:44 |
it's being lit by yellow lights.
| | 02:47 |
But I want to scoot it more toward orange.
| | 02:49 |
So I'm going to click on the Hue/
Saturation layer there in the Layers panel
| | 02:53 |
and Photoshop automatically swaps out
the Hue/Saturation controls here inside
| | 02:58 |
the Properties panel.
| | 02:59 |
I'll grab that Target
Adjustment tool once again.
| | 03:02 |
And because I want to scoot from yellow
into orange, I'm going to want to drag
| | 03:07 |
to the left, while
pressing the Ctrl key of course.
| | 03:10 |
So I will press the Ctrl key,
Command key on the Mac, and then I'll drag
| | 03:15 |
slightly to left to about there until
I get a Hue value of -10, like so, and I
| | 03:22 |
end up achieving this final effect.
| | 03:24 |
Once again, just to give you a sense of
what kind of difference this makes where
| | 03:28 |
channels are concerned,
| | 03:29 |
I'm going to switch over to the Channels panel.
| | 03:32 |
This is now the Red channel.
| | 03:33 |
So very bright foreground tree, some
relatively bright details going on in this
| | 03:38 |
dark tree house and a dark sky as well.
| | 03:41 |
This is the Green channel which also
has a bright tree in the foreground, a
| | 03:45 |
darker tree house, and a brighter sky
and then this is a Blue channel which has
| | 03:49 |
an incredibly dark tree house
and an incredibly bright sky.
| | 03:54 |
And because we have so much contrast
between these various channels, especially
| | 04:00 |
between the Red channel and the Blue
channel, we're getting all kinds of vivid
| | 04:05 |
colors in the RGB composite image.
| | 04:08 |
One more thing here, I really
want you to see it before and after.
| | 04:12 |
So if I Alt+Click on the eye in front
of the background layer, this is what
| | 04:15 |
the image looked like at the outset of the
previous movie, and this is how it looks now.
| | 04:20 |
Thanks to the power of Hue/
Saturation and Vibrance working together
| | 04:25 |
inside Photoshop.
| | 04:27 |
| | Collapse this transcript |
| Making a quick-and-dirty sepia tone| 00:01 |
In this movie, I'll show you how to
create a quick-and-dirty sepia tone effect
| | 00:05 |
using a Hue/Saturation
function that we haven't seen so far.
| | 00:10 |
I'm looking at that final version of the
photograph that I created using Camera Raw.
| | 00:15 |
I'm going to start things off by
bringing up the Adjustments panel and
| | 00:19 |
clicking on the Hue/Saturation icon to
bring up the Hue/Saturation controls in
| | 00:24 |
the Properties panel.
| | 00:25 |
Notice this check box right there, Colorize;
| | 00:28 |
it does exactly what it says.
| | 00:30 |
Turn it on, and you will infuse the
image with the color that you described
| | 00:34 |
using Hue and Saturation.
| | 00:36 |
So if you want a highly saturated image,
you would crank that Saturation value way up.
| | 00:41 |
Of course you wouldn't go nearly that far.
| | 00:45 |
If you want a low Saturation image which is
more likely, you would take the value down.
| | 00:49 |
I'm going to take the Saturation to 20.
| | 00:52 |
The bigger question is, what
do you set the Hue value to?
| | 00:55 |
Well now the Hue value is absolute.
| | 00:58 |
So in other words, 0 is absolutely red.
| | 01:02 |
If you want to look up a color, you can
grab that Hue locator.psd file once again.
| | 01:07 |
I'm going to close my
Properties panel for a moment.
| | 01:10 |
Then just select a color from the list.
| | 01:11 |
Now sepia is going to fall
somewhere around the orange range.
| | 01:15 |
I'm looking for a kind of amber color,
a little bit of yellow-infused orange.
| | 01:20 |
So I'm going to go with a Hue value of 40%.
| | 01:23 |
So I'll switch back to my image at hand,
double-click on the thumbnail for the
| | 01:27 |
Hue/Saturation layer to
bring up the Properties panel.
| | 01:30 |
Then I'll click inside the Hue value
and press Shift+Up arrow four times in a
| | 01:35 |
row in order to get the sepia effect here.
| | 01:38 |
But of course, you can select
something different if you like.
| | 01:41 |
You could back off the value for more
of an orange effect, you could increase
| | 01:45 |
the value for more of a
yellow effect or what have you;
| | 01:48 |
40 is what I'm looking for.
| | 01:50 |
Now if you ask me, a true sepia tone
should look a little bolder where the
| | 01:55 |
luminance levels are concerned.
| | 01:56 |
So I'm going to return to the
Adjustments panel and click on the
| | 02:00 |
Brightness/Contrast icon to
add a Brightness/Contrast layer.
| | 02:05 |
I'm going to start by taking my
Brightness value down by clicking in that first
| | 02:09 |
field and pressing Shift+Down
arrow three times in a row.
| | 02:13 |
And then, I'll tab to the
Contrast value, and I'm going to press
| | 02:17 |
Shift+Up arrow six times in a row in
order to increase that contrast until I
| | 02:22 |
arrive at this final effect here.
| | 02:24 |
And then I'll press the F key a
couple of times in order to fill the screen
| | 02:27 |
with the image, just to give you
a sense for the before and after.
| | 02:31 |
I'll press the F12 key in order to
revert the image, that's the full color image
| | 02:35 |
as it appeared after we remove the color cast.
| | 02:38 |
Then if I press Ctrl+C or Command+C on
the Mac, that's our bold high contrast
| | 02:44 |
sepia tone, created using a very
basic combination of Hue/Saturation and
| | 02:49 |
Brightness/Contrast adjustment
layers here inside Photoshop.
| | 02:54 |
| | Collapse this transcript |
|
|
9. Select and EditMaking selective modifications| 00:00 |
There are two ways to
modify an image in Photoshop;
| | 00:03 |
you can edit the entire thing at once
known as a Global Modification, or you can
| | 00:09 |
adjust a specific region
which is a Selective Modification.
| | 00:13 |
Selective Modifications
have their obvious advantages.
| | 00:17 |
You can change one area
while keeping another the same.
| | 00:21 |
You can move part of an image to an
independent layer, or even into another
| | 00:25 |
background, and you can create what's
called a Layer Mask which gives you an
| | 00:30 |
unrivaled level of control over the
elements in your layered composition.
| | 00:35 |
On the plus side, Selective
Modifications are one of the things Photoshop does
| | 00:39 |
better than any other
imaging program on the planet.
| | 00:43 |
On the minus, selecting a specific area,
for example, the exact contours of this
| | 00:49 |
flower takes some effort. Not necessarily
a lot of manual labor, but at the very
| | 00:54 |
least a deliberate approach.
| | 00:57 |
Back on the plus side, Photoshop offers
three categories of selection tools to
| | 01:02 |
make your job easier:
| | 01:03 |
Geometric, Freeform, and Automated.
| | 01:07 |
And I'll show you all three in this chapter.
| | 01:10 |
| | Collapse this transcript |
| The geometric Marquee tools| 00:00 |
In this chapter, we'll take this stock
image background and we'll use Photoshop
| | 00:05 |
selection tools to add a variety of
image elements, and ultimately achieve this
| | 00:09 |
final layered composition.
| | 00:12 |
We're going to start things off by
using one of Photoshop's Marquee tools
| | 00:16 |
to select this moon.
| | 00:17 |
If you're working along with me,
switch to the image called Full moon.jpg.
| | 00:21 |
It's found inside the 09_selection folder.
| | 00:24 |
When you first launch Photoshop, by default,
the Rectangular Marquee tool is selected.
| | 00:30 |
You can get to that tool at
any time by pressing the M key.
| | 00:33 |
Rectangular Marquee, quite obviously allows
you to select rectangular areas just by dragging.
| | 00:40 |
If you want to select an exactly
square area, then as you're dragging, not
| | 00:44 |
before, but while you're dragging,
press and hold the Shift key like so, and
| | 00:49 |
keep that key down until after you
release the mouse button and then you'll
| | 00:53 |
have a perfect square.
| | 00:54 |
Now once you've drawn a selection as
long as one of the selection tools is
| | 00:58 |
active, you can move the selection to a
different location just by dragging it like so.
| | 01:04 |
If you want to deselect the image, you
can either press Ctrl or Command+D which
| | 01:08 |
is the shortcut for the Deselect
command under the Select menu, or you can just
| | 01:13 |
click inside the image window.
| | 01:15 |
If you click and hold on the
Rectangular Marquee tool, you'll see your other
| | 01:18 |
Marquee tool options, including the
Elliptical Marquee tool which I'll show you
| | 01:22 |
in a moment, and the Single
Row and Single Column tools.
| | 01:26 |
Let me show you how those work just FYI.
| | 01:29 |
If I grab the Single Row Marquee tool,
and I click inside the image, then I
| | 01:33 |
create a selection that's exactly one
pixel tall and the entire width of the image.
| | 01:38 |
By contrast, if I grab the Single
Column Marquee tool, and I click inside
| | 01:43 |
the image, then I create a selection that's
exactly 1 pixel wide and the entire image tall.
| | 01:49 |
Now, these aren't tools that I used very
often, but you may find them useful for
| | 01:54 |
creating lines, and borders, and
that kind of thing.
| | 01:57 |
All right, I'm going to press Ctrl+D or Command+D
on the Mac to deselect the image, and I'm
| | 02:01 |
going to press the M key to
switch back to the Rectangular Marquee.
| | 02:05 |
Now notice here in the flyout menu,
that both the Rectangular Marquee and the
| | 02:09 |
Elliptical Marquee have keyboard shortcuts of M.
| | 02:13 |
And so here's the idea.
| | 02:15 |
If you want to switch back and forth
between the Rectangular and Elliptical
| | 02:18 |
Marquee tools, then you press Shift+M.
So notice, if I press Shift+M once, I
| | 02:23 |
go to the Elliptical Marquee tool, press Shift+M
again, I get the Rectangular Marquee tool.
| | 02:29 |
I'm going to press Shift+M to get the
Elliptical Marquee tool, because I want
| | 02:32 |
to select this moon.
| | 02:34 |
I wanted to show you a few tricks
that work with the rectangular and
| | 02:37 |
elliptical marquees.
| | 02:38 |
Let's say I exactly want to select this moon.
| | 02:41 |
I start dragging, but as you can see my
selection outline is out of alignment.
| | 02:46 |
As you're dragging, while you have
your mouse-button down, you can press and
| | 02:50 |
hold the spacebar in order to
move that marquee on-the-fly.
| | 02:54 |
That way, you can get that selection
outline registered with the edges of the moon.
| | 02:59 |
We kind of want to cheat in just a little bit.
| | 03:02 |
Then once you get the selection in place,
go ahead and release the spacebar and
| | 03:07 |
continue dragging in order to
scale that selection outline.
| | 03:11 |
The moon happens to be pretty darn circular.
| | 03:14 |
So you can press the Shift key as
you drag if you want to, to ensure that
| | 03:18 |
you're selecting your perfect circle, and
ultimately, you should get something like this.
| | 03:22 |
So once again, I'm cheating slightly
inside of the edge of the moon, so I don't
| | 03:27 |
run the risk of selecting any of that black sky.
| | 03:30 |
Now I want to show you one more way to work.
| | 03:32 |
I'm going to press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 03:37 |
Let's say you want to select
the moon from the center outward.
| | 03:39 |
The moon just so happens to be
exactly centered inside of this image.
| | 03:44 |
Here's how you find the exact
center of an image in Photoshop.
| | 03:48 |
You press Ctrl+A or Command+A on the Mac
to select the entire image, then you go
| | 03:54 |
up to the Edit menu, and you choose the
Free Transform command, or you can press
| | 03:58 |
Ctrl+T or Command+T on the Mac, and
now you can see a little target at the
| | 04:03 |
center of the selection.
| | 04:04 |
Next, go up to the View menu, and
choose the Rulers command or Press Ctrl+R or
| | 04:09 |
Command+R on the Mac, and then you can
drag guidelines out from the ruler and
| | 04:15 |
have them snap into
alignment with that center point.
| | 04:18 |
Now if you can't see the guidelines
as you drag them out, it's because your
| | 04:22 |
Guides are turned off and you have to
go to the View menu, choose the Show
| | 04:26 |
command, and then choose Guides to turn on.
| | 04:28 |
But my Guides are already on.
| | 04:31 |
So I'm going to press the Escape key in order
to escape out of the Free Transform mode.
| | 04:36 |
I'm going to press Ctrl+R or Command+R
on the Mac to hide the rulers and then
| | 04:40 |
I'm going to press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 04:45 |
Now try dragging out from that center point.
| | 04:48 |
Now don't press any keys at
this point, just start dragging.
| | 04:51 |
Then after you begin the drag, press
and hold the Alt key or the Option key on
| | 04:56 |
the Mac, and keep that key down, and
notice that you'll be drawing a selection
| | 05:01 |
from the center outward.
| | 05:02 |
Go ahead and press the Shift key as well.
| | 05:04 |
So I have both the Shift
and Alt keys down on the PC.
| | 05:07 |
If you're working on a Mac, make sure
you have both the Shift and Option keys
| | 05:10 |
down, and then cheat that selection
inside the moon just a little bit, and
| | 05:15 |
release in order to precisely
select that moon from the center out.
| | 05:20 |
So again, that's another
way to work if you like.
| | 05:23 |
Now let's copy the moon and
paste it into the background.
| | 05:26 |
I'll go up to the Edit menu, and
choose the Copy command, or of course, you
| | 05:30 |
can press Ctrl+C, Command+C on the Mac, and
then I'm going to switch over to the stock image.
| | 05:35 |
So far, it doesn't contain any layers at all.
| | 05:37 |
Then I'll go up to the Edit menu
and choose the Paste command or press
| | 05:41 |
Ctrl+V, Command+V on the Mac, and we
end up with this moon right there in the
| | 05:45 |
center of the image.
| | 05:46 |
I'll go ahead and rename this new
layer moon, and we're done, for now anyway.
| | 05:52 |
So that's how you use
Photoshop's Geometric Marquee tools.
| | 05:55 |
In the next movie, we'll take the moon
and we'll make it look right at home in
| | 05:59 |
its new environment.
| | 06:01 |
| | Collapse this transcript |
| Aligning one image element to another| 00:01 |
In this movie, we're going to
blend and adjust and scale the moon.
| | 00:04 |
I'll also show you how to align a
couple of image elements in Photoshop.
| | 00:08 |
Specifically, we're going to
align the moon to the tree.
| | 00:12 |
Now if you've ever taken a look at the
moon during the daytime, you know that
| | 00:16 |
it's brighter than the sky around it.
| | 00:18 |
You don't see any of the brownish
coloring and the shadows of the moon don't
| | 00:21 |
actually darken the sky.
| | 00:23 |
So we need to apply a blend mode
that's going to make the moon brighter than
| | 00:26 |
everything around it.
| | 00:28 |
By clicking on the word Normal in the
upper left-hand corner of the Layers panel
| | 00:32 |
and choosing the most useful of the
brightening modes, Screen and we end up
| | 00:36 |
achieving this effect.
| | 00:37 |
We don't have near enough contrast, so
what I want to do is maximize contrast
| | 00:42 |
using a Brightness/Contrast adjustment layer.
| | 00:44 |
So I'll press and hold the Alt key or
the Option key on the Mac and then drop
| | 00:49 |
down to the Black/White icon at the
bottom of the Layers panel and choose the
| | 00:52 |
Brightness/Contrast command.
| | 00:55 |
Now because I had the Alt or Option
key down, that forces the display of the
| | 00:58 |
New Layer dialog box.
| | 01:00 |
I'll call this new layer Contrast,
and I'll turn on the Use Previous Layer
| | 01:03 |
to Create Clipping Mask check box, so that
I'm affecting the moon and not the background.
| | 01:08 |
Then I'll click OK.
| | 01:10 |
You can see that the Adjustment layer
is clipped inside the moon, because it's
| | 01:14 |
indented, and it has that little arrow.
| | 01:16 |
Now I'll increase the Contrast
value all the way to 100, and then hide
| | 01:20 |
the Properties panel.
| | 01:22 |
So it's making a pretty
subtle difference so far.
| | 01:24 |
If I turn the Contrast layer off,
this is how the moon looked before.
| | 01:28 |
If I turn it back on, this
is what it looks like now.
| | 01:30 |
Now I'm going to select the
moon layer to make it active again.
| | 01:34 |
Let's say I want to move
it to a different location.
| | 01:36 |
I could manually select the Move tool
which you can also get by pressing the V
| | 01:41 |
key, but you can get the Move tool on
the fly when another tool is selected by
| | 01:46 |
pressing and holding the Ctrl
key or the Command key on the Mac.
| | 01:49 |
So if I have the Ctrl key down and I
drag the moon, then I can move it to a
| | 01:53 |
different location, such as for
example this upper-left region of the sky.
| | 01:58 |
We have a few remaining problems with the moon.
| | 02:02 |
It's too big, it's covering up some
clouds, and it's bizarrely colorful.
| | 02:07 |
So we have some remnants of that
brown mixing in with the blue sky.
| | 02:10 |
If you want to neutralize the colors of
a layer, then go up to the Image menu,
| | 02:14 |
choose Adjustments, and then choose
the Desaturate command, and that will go
| | 02:19 |
ahead and leach all those colors away,
so we're seeing the luminance of the moon
| | 02:24 |
mixed in with the blues of the sky.
| | 02:26 |
All right, now let's scale the moon by
going up to the Image menu and choosing
| | 02:31 |
the Free Transform command or you
can press Ctrl+T, Command+T on the Mac.
| | 02:36 |
If you want to scale the moon
proportionally with respect to its center, you
| | 02:40 |
press both the Shift+Alt keys or the Shift+
Option keys on the Mac, and drag a corner handle.
| | 02:45 |
So it's the same keys that we used to
draw an ellipse outward from the center
| | 02:49 |
in the previous movie.
| | 02:51 |
I want to go ahead and take the size of
the moon down to 25% of its former size.
| | 02:55 |
So I'm going to click on this Chain
icon between the W and H values to lock
| | 02:59 |
down the proportions.
| | 03:01 |
Then I'll click on the W to select its
numerical value, and I'll change it to
| | 03:04 |
25% and then I'll press the Enter key a
couple of times in order to invoke that change.
| | 03:10 |
Now you can move this moon pretty much
anywhere in the sky and it looks pretty
| | 03:14 |
darn natural as long as you don't put
it in front of a cloud or the tree or on
| | 03:18 |
the ground or something like that.
| | 03:19 |
I want it to be somewhere over in this region.
| | 03:23 |
And just to ensure that you and I are
getting the same results, let's go ahead
| | 03:26 |
and align the moon to the tree like so.
| | 03:30 |
Make sure your Rectangular Marquee tool
is selected, then go up to the Options
| | 03:34 |
Bar and switch Style from Normal to
Fixed Size and that allows you to dial in a
| | 03:39 |
size for your rectangle and pixels.
| | 03:42 |
I'm going to click on the Width value to
select it, and then enter 420, then tab
| | 03:47 |
over to the Height value, and enter 580.
| | 03:50 |
You may wonder why these values?
| | 03:52 |
Well just because they end
up working for this example.
| | 03:55 |
Now press the Enter key or the Return key on
the Mac, and I'll click inside the image window.
| | 04:00 |
I'm actually dragging to move the
marquee around, and notice that I can't change
| | 04:04 |
its size because it has a fixed size
now of 420 pixels wide by 580 pixels tall.
| | 04:09 |
I'm going to move that marquee over
until it surrounds the tree, and it aligns
| | 04:14 |
to the base of the trunk.
| | 04:16 |
And now with the moon layer selected
inside the Layers panel, I'll click on the
| | 04:19 |
Move tool at the top of
the toolbox to select it.
| | 04:22 |
Then I'll click on the first align icon,
Align top edges to move the moon down,
| | 04:28 |
and I'll click on the last align icon,
Align right edges to move the moon over.
| | 04:33 |
Now press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 04:38 |
With the Move tool selected, I want you
to press Shift+Right arrow to nudge the
| | 04:42 |
moon to the right 10 pixels.
| | 04:44 |
And as you can see, if you look at
the final composition, that is the exact
| | 04:48 |
final placement of the moon.
| | 04:49 |
That's how you go about blending a
layer with its new environment, and aligning
| | 04:55 |
one image element to
another here inside Photoshop.
| | 04:59 |
| | Collapse this transcript |
| The freeform Lasso tools| 00:00 |
In this movie, we're going to begin the
process of creating these rays coming out
| | 00:04 |
of the moon, not something you see
very often, but a pretty cool effect.
| | 00:08 |
And we're going to do so
using the Polygonal Lasso tool.
| | 00:11 |
And we're going to start things up
by drawing these rays outward from the
| | 00:15 |
center of the image.
| | 00:16 |
So I'm going to zoom out slightly here
and press Ctrl+A or Command+A on the Mac
| | 00:21 |
in order to select the entire image.
| | 00:22 |
We're going to use that same
trick where we find the center point.
| | 00:25 |
I'll press Ctrl+T or Command+T on the
Mac to enter the Free Transform mode
| | 00:29 |
or press Ctrl+R or Command+R on the
Mac to bring up the Rulers and I'll drag
| | 00:36 |
guidelines, both the Horizontal guide
and the Vertical guide out from the rulers.
| | 00:41 |
Again, if you can't see those guidelines,
go the View menu and choose Show and
| | 00:45 |
then choose the Guides command and turn it on.
| | 00:48 |
Having created the Guides, I'll press
the Escape key in order to escape out of the
| | 00:51 |
Free Transform mode.
| | 00:52 |
I'll press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 00:56 |
And then, I'll press Ctrl+R or Command+R
on the Mac in order to hide the rulers.
| | 01:02 |
Notice directly below the
Marquee is the Lasso tool, which you can get
| | 01:05 |
by pressing the L key.
| | 01:07 |
And the Lasso tool allows you to draw
Free Form selections like so, which means
| | 01:13 |
that you have to be pretty darn gifted,
especially if you're using a mouse to
| | 01:17 |
draw a reasonable looking selection outline.
| | 01:20 |
I use the tool very rarely, with one big
exception, I'm going to press Ctrl+D or
| | 01:25 |
Command+D on the Mac to deselect the image.
| | 01:28 |
Where the Lasso tool really
shines is when you're creating straight
| | 01:31 |
sided selection outlines.
| | 01:32 |
So for example, as long as there is no
selection active, you can press and hold
| | 01:37 |
the Alt key or the Option key on the Mac,
| | 01:39 |
and as long as you keep the key down,
you can click with the tool in order to
| | 01:43 |
draw a straight sided selection like so,
and this can be very useful indeed,
| | 01:49 |
especially when you consider that after
you get done roughing in a straight edge
| | 01:52 |
selection outline, you can go out to
the Select menu, choose Modify and then
| | 01:57 |
choose Smooth, in order
to round off the corners.
| | 02:01 |
But what we're going to do
is create a series of rays.
| | 02:04 |
Let me show you what that looks like.
| | 02:06 |
I'm going to zoom out even more from this image.
| | 02:09 |
Press Ctrl+D or Command+D on
the Mac to deselect the image.
| | 02:12 |
And I'm going to start right there at
the center where the guidelines intersect,
| | 02:16 |
and I'll press the Alt key
or the Option key on the Mac.
| | 02:19 |
And then I will click out here in
the pasteboard and then, I'll click at
| | 02:23 |
a second point, like so, and then I'll release
and that goes ahead and draws a little triangle.
| | 02:30 |
Now I'm going to zoom back in for a
moment just so that we can see things a
| | 02:33 |
little more closely.
| | 02:34 |
Once you have a selection outline in
place, the Shift and Alt key start to
| | 02:38 |
serve different purposes.
| | 02:40 |
So if you press the Shift key and
drag with the Lasso tool, you add to the
| | 02:45 |
selection, as you see here.
| | 02:47 |
If you press the Alt key or the Option
key, notice that you get a little minus
| | 02:51 |
sign next to your cursor.
| | 02:52 |
And then, if you drag around, you
subtract from your selection outline.
| | 02:57 |
And if you press both the Shift and
Alt Keys at the same time, that would be
| | 03:01 |
Shift+Option on the Mac, you end up
with a little X next to your cursor, in
| | 03:06 |
which case you can drag around an area
to keep just the portion of the selection
| | 03:12 |
that falls inside your drag.
| | 03:14 |
So in other words, you're
keeping the intersected area.
| | 03:17 |
And as a result, I end up losing my ray.
| | 03:19 |
Well of course I don't want that.
| | 03:22 |
So I'll press Ctrl+Z or Command+Z on
the Mac in order to undo that change.
| | 03:27 |
I have my ray back as you can see, so
every selection maneuver is undoable.
| | 03:33 |
And you can even press Ctrl+Alt+Z or
Command+Option+Z on the Mac to back step
| | 03:38 |
through your selections.
| | 03:39 |
So selections are tracked by history as well.
| | 03:42 |
Now the upshot of all this is I
can't just start Alt+Clicking or
| | 03:45 |
Option+Clicking with the Lasso to add
more rays, because if I do, I'll subtract
| | 03:50 |
from my existing ray.
| | 03:52 |
Instead I need to switch over to the
Polygonal Lasso tool and I'll show you how
| | 03:56 |
that works in the next movie.
| | 03:59 |
| | Collapse this transcript |
| The Polygonal Lasso tool and Quick Mask| 00:00 |
In this movie, I'll show you how to
use the Polygonal Lasso tool to build the
| | 00:04 |
rays that are emanating out of the
moon inside the final composition.
| | 00:09 |
I'm still working away inside Daytime moon.psd.
| | 00:13 |
We have one triangular ray that we've
created so far and we're going to create
| | 00:17 |
the other ones using the Polygonal Lasso.
| | 00:20 |
To get to it, go up to the Lasso tool
flyout menu, Click+Hold and choose the
| | 00:25 |
Polygonal Lasso tool from the flyout menu.
| | 00:27 |
You can also press Shift+L. And then
you need to press the Shift key so that
| | 00:32 |
you get a little plus sign next to
the horned lasso cursor and that tells you
| | 00:36 |
that you'll end to the existing
selection outline, then click at the center of
| | 00:40 |
the image where the guidelines intersect.
| | 00:43 |
And once you've clicked, you can
release the Shift key, you only have to press
| | 00:46 |
it right there at that first click point.
| | 00:48 |
And notice that I've click the
second time out here in the pasteboard.
| | 00:52 |
And then at the third point, I can just
double-click in order to finish the selection.
| | 00:57 |
And then I would Shift+Click again
at the center, click out here in the
| | 01:00 |
pasteboard, double-click in order
to create another ray and so forth.
| | 01:04 |
You may find it inconvenient to have to
press the Shift key over and over again
| | 01:09 |
and that's what these icons are for, up
here at the outside of the Options Bar.
| | 01:13 |
They allow you to apply so
called Selection Calculations.
| | 01:17 |
Now, the first one which is
selected by default reads New Selection.
| | 01:20 |
So if you click without holding a key,
you'll deselect the existing area and
| | 01:24 |
start a new selection.
| | 01:26 |
However, if you move over to the second
icon, notice that it reads Add to Selection.
| | 01:30 |
Go ahead and click on it to select it
and now you don't have to press the Shift
| | 01:33 |
key anymore because your cursor
automatically has a plus sign.
| | 01:37 |
You can click at the center, click on
the pasteboard, double-click, and then
| | 01:41 |
click in the center, click out
here in the pasteboard, double-click.
| | 01:44 |
And we're keeping it random the whole
time, so sometimes you want slim little
| | 01:48 |
triangles like so, and other times
you want thicker triangles, and you want
| | 01:53 |
different amounts of space between
each one of these rays and so forth.
| | 01:57 |
Now it might be a little tedious
watching me create these things, which is why
| | 02:00 |
I've gone ahead and saved the
selection along with the image.
| | 02:03 |
I'm going to load it up by going up
to the Select menu and choosing the
| | 02:06 |
Load Selection command.
| | 02:09 |
And then inside the Load Selection
dialog box, if you are working along with me,
| | 02:12 |
make sure Document is set to the
document you're working inside of, and then
| | 02:16 |
make sure Channel is set to half rays.
| | 02:19 |
Now these should all be set this way by default.
| | 02:21 |
The Invert check box should also be off
and Operation should be set to New Selection.
| | 02:26 |
If all that is true, then just go
ahead and click OK in order to load up
| | 02:30 |
that selection outline.
| | 02:31 |
Now notice that I've only selected
the top half of the image, and that's
| | 02:35 |
because I decided drawing half the
rays was enough and I could go ahead and
| | 02:39 |
duplicate the selection and rotate it a
180 degrees to create the rest of the rays.
| | 02:45 |
But to do that, you have to enter a
special mode called the Quick Mask mode.
| | 02:49 |
And you can switch to the Quick Mask
mode by clicking on this Edit in Quick Mask
| | 02:53 |
Mode icon down here towards the bottom
of the toolbox, and notice that it looks
| | 02:57 |
like a dotted circle inside of a rectangle.
| | 03:00 |
Go ahead and click on it and
you see this Rubylith Overlay.
| | 03:04 |
And here's what it means, anywhere
that you see the red overlay, that's a
| | 03:08 |
deselected region of the image.
| | 03:10 |
Wherever you don't see the
red overlay, is selected.
| | 03:14 |
Now I'm going to select the top half for
this mask using the Rectangular Marquee tool.
| | 03:18 |
Now if you're working along with me,
make sure to change the Style Setting from
| | 03:23 |
Fixed Size back to Normal so you
can draw an unconstrained rectangle.
| | 03:27 |
And then go ahead and select the
entire top region of the image, all the way
| | 03:31 |
down to the horizontal guideline.
| | 03:33 |
Now at this point, we need to rotate
the selection using the Free Transform
| | 03:37 |
command, and you may have recalled me
mentioning that the Free Transform command
| | 03:41 |
under the Edit menu has a keyboard
shortcut of Ctrl+T or Command+T on the Mac.
| | 03:46 |
If you add the Alt key or the Option
Key on the Mac, you go ahead and duplicate
| | 03:51 |
the selection as well.
| | 03:53 |
And so, in order to make this
work we have to use the shortcut.
| | 03:57 |
And so, I'm going to Escape out of the
menu and press Ctrl+Alt+T here on the PC,
| | 04:02 |
that would be Command+Option+T on the Mac.
| | 04:04 |
And then, I'll zoom in just a little bit here.
| | 04:07 |
Notice that target right there
at the center of the selection?
| | 04:09 |
I want you to drag it down so that
it snaps into alignment with the guide
| | 04:14 |
intersection, right there at the bottom handle.
| | 04:17 |
And that indicates the center of our rotation.
| | 04:20 |
Now I'll right-click inside the image
and choose 180 degrees and you'll end up
| | 04:25 |
rotating and duplicating those spikes.
| | 04:27 |
Now you can press the Enter key or
the Return key on a Mac in order to
| | 04:31 |
complete the transformation and
press Ctrl+D or Command+D on the Mac to
| | 04:35 |
deselect the image.
| | 04:37 |
Now we need to convert the mask back
into a selection outline and you do that by
| | 04:42 |
dropping down to that icon at the
bottom of the toolbox once again.
| | 04:45 |
Now it says Edit in Standard mode.
| | 04:47 |
Go ahead and click on it.
| | 04:49 |
And so, the marching ants and the Quick
Mask mode are just two different ways to
| | 04:53 |
look at the selection outline.
| | 04:54 |
And incidentally, you can switch between
them from the keyboard by pressing the Q key.
| | 04:59 |
So tap the Q key to go to into the
Quick Mask mode, tap it again to exit the
| | 05:04 |
Quick Mask mode and see the marching ants.
| | 05:07 |
And that's how you create a straight
-sided selection outline using the
| | 05:10 |
Polygonal Lasso tool.
| | 05:12 |
And as you can see, you can make your
selection outlines as intricate, not to
| | 05:16 |
mention, accurate, as you like.
| | 05:19 |
| | Collapse this transcript |
| Cropping one selection inside another| 00:00 |
In this movie, I'll show you how to
find the intersection of two selections
| | 00:04 |
which allows you to effectively use
one selection outline to crop another.
| | 00:09 |
This may be the most challenging
movie in this course, just in terms of the
| | 00:14 |
number of keys you have to press and so forth.
| | 00:17 |
So we're going to start things off with
a little bit of a rehearsal, so you can
| | 00:20 |
understand what's going on.
| | 00:22 |
We're just going to find the
intersection of a square selection outline and a
| | 00:27 |
circular selection outline.
| | 00:29 |
So I'm going to start by dragging from
the intersection of the two guides like so.
| | 00:33 |
Notice that I'm drawing my
Marquee from corner to corner.
| | 00:36 |
If while I'm dragging, I press and hold
and the Alt key or the Option key on the
| | 00:41 |
Mac, then I immediately start
drawing from the center outward.
| | 00:45 |
And if I press the Shift Key, I'll
also constrain my shape to a square.
| | 00:49 |
If I want that to remain the case,
I have to keep those keys down.
| | 00:52 |
If I release the keys, then I go back
to the corner-to-corner behavior and I'm
| | 00:57 |
drawing a rectangle instead of a square.
| | 00:59 |
So I'll press both Shift+Alt or Shift
+Option on the Mac, then release my
| | 01:04 |
mouse button and then release the keys in
order to draw a square from the center outward.
| | 01:10 |
Now let's say I just want to keep those
portions of that square selection that
| | 01:14 |
fall inside the moon.
| | 01:15 |
So I'll go ahead and grab
my Elliptical Marquee tool.
| | 01:19 |
And I was telling you, if you press
the Shift key, then you'll get a little
| | 01:23 |
plus sign next to your cursor, which shows you
that if you drag, you'll add to the selection.
| | 01:28 |
That's of course not what we want.
| | 01:30 |
So I'll press the Ctrl+Z
or Command+Z on the Mac.
| | 01:33 |
If you press the Alt key or Option key
on the Mac, you'll get a little minus
| | 01:36 |
sign which means that if you drag,
you'll subtract from the selection, which is
| | 01:40 |
also not what we want.
| | 01:42 |
So I'll go ahead and press
Ctrl+Z or Command+Z again.
| | 01:45 |
If you press both Shift+Alt or Shift+
Option on the Mac, then you get a little X
| | 01:50 |
which means you're going to find the
intersection of two selection outlines.
| | 01:54 |
That's what we want.
| | 01:55 |
So I will begin dragging from the center
once again while pressing the Shift+Alt
| | 02:00 |
keys or the Shift+Option keys on the Mac.
| | 02:02 |
However, notice that my
Ellipse begins at the guidelines.
| | 02:05 |
I want it to be centered on the guides.
| | 02:08 |
So this is a tricky part.
| | 02:09 |
You keep the mouse button down and you
release the keys, then you immediately
| | 02:14 |
repress the Alt key or the Option key
on the Mac, and all of a sudden you're
| | 02:19 |
drawing the selection
outline from the center out.
| | 02:21 |
If you want to draw a circle,
then you repress that Shift Key.
| | 02:25 |
So in order to do what I'm doing here,
I had to release the Shift+Alt keys or
| | 02:30 |
the Shift+Option keys in the Mac, keep
the mouse button down and repress those
| | 02:34 |
exact same keys, Shift+Alt on
the PC, Shift+Option on the Mac.
| | 02:39 |
Keep those keys down, release the
mouse button, and then release the keys and
| | 02:44 |
that's how you create a selection outline
in the shape of a square inside of a circle.
| | 02:49 |
And just to confirm that's the case
because it's a little more obvious this way,
| | 02:53 |
I'll press the Q key in order
to switch to the Quick Mask mode.
| | 02:56 |
So the reason we rehearse that is
because things get a little trickier when we
| | 03:00 |
have a bunch or marching
ants all over the screen.
| | 03:03 |
Just to give you a sense
of where were going here;
| | 03:05 |
I'll switch to the final
version of the composition.
| | 03:07 |
Notice this hidden rays
layer inside the Layers panel?
| | 03:11 |
If you Alt+Click or Option+Click on
the square in front of that layer, you'll
| | 03:15 |
see what we're trying to create.
| | 03:17 |
So I want to create a series of rays
that are cropped inside of an ellipse,
| | 03:21 |
which means the first thing we need to
do is take our ray selection outlines and
| | 03:26 |
crop them inside of an
elliptical selection outline.
| | 03:29 |
So let's try it out here.
| | 03:31 |
I'm going to switch back to the image
at hand, which is still Daytime moon.psd.
| | 03:35 |
I'm going to zoom in so I
could better see what I'm doing.
| | 03:39 |
What I want to do is start at that
guide intersection, but I can barely see it
| | 03:43 |
for all these marching ants.
| | 03:44 |
So I'm going to hide everything for a
moment by pressing Ctrl+H or Command+H on
| | 03:49 |
the Mac, so that hides all the screen
folder, all my selection outlines, my
| | 03:53 |
guides and so forth.
| | 03:55 |
The image is still selected,
so don't worry about that.
| | 03:57 |
If I press Ctrl+H or Command+H
again, everything comes back.
| | 04:01 |
Anyway, I'll press Ctrl+H
or Command+H on the Mac.
| | 04:04 |
Now I need to bring back my guidelines
by going to the View menu, choosing the
| | 04:08 |
Show command and then choosing Guides,
and that will bring those guides back up.
| | 04:13 |
So now, I at least have a
starting point for my Elliptical Marquee.
| | 04:18 |
Now the Elliptical Marquee tool is still
selected, I'll press the Shift+Alt keys
| | 04:23 |
or the Shift+Option keys on the Mac,
notice I get a little X next to my cursor,
| | 04:27 |
and I'll begin dragging.
| | 04:28 |
But notice, rather than getting an
ellipse that's centered on the guides, I have
| | 04:32 |
one that's resting against and on the guides.
| | 04:36 |
I'll keep my mouse button down,
I'll release the Shift+Alt keys or the
| | 04:39 |
Shift+Option keys on the Mac, and
then I'll repress the Alt key or the
| | 04:43 |
Option key on the Mac.
| | 04:44 |
We don't need Shift anymore, because
we're not drawing a circle, but I do need
| | 04:49 |
to keep that Alt or Option key down.
| | 04:51 |
And notice that I'm moving the ellipse
outwards, so it's about three quarters
| | 04:55 |
away into the tree and up into the sky quite
a bit as well, and nearly touching the moon.
| | 05:00 |
So it's just down into the left of the
moon a little bit, and then I'll release
| | 05:04 |
the mouse button, and then I'll
release the Alt or Option key.
| | 05:08 |
And I end up getting exactly the
effect I'm looking for, which is a series of
| | 05:13 |
ray shaped selection outlines
cropped inside of an ellipse.
| | 05:18 |
Now let's take what we've
made and turn it into a layer.
| | 05:21 |
Go ahead and click on the background to
make sure it's active here in the Layers
| | 05:24 |
panel and then we'll create a new layer
by going up to the flyout menu icon and
| | 05:28 |
choosing the New Layer command.
| | 05:31 |
And I'm going to call this new
layer rays and then click OK.
| | 05:35 |
And now, we need to fill the selection
with white and we can do that by going up
| | 05:39 |
to the Edit menu and choosing the Fill command.
| | 05:43 |
And then inside the Fill dialog box,
change Use from Content Aware to the
| | 05:47 |
very last option, White.
| | 05:49 |
And make sure the Blending options
are set to the default, that is mode,
| | 05:53 |
Normal, Opacity 100%, Preserve
Transparency off, and click OK, and we end up
| | 05:59 |
getting our base rays.
| | 06:00 |
Now you can press Ctrl+D or Command+D on
the Mac in order to deselect the image.
| | 06:05 |
And that friends, is how you
effectively crop one selection outline inside of
| | 06:10 |
another by finding the
intersection of two selections.
| | 06:15 |
| | Collapse this transcript |
| Creating rays of light| 00:00 |
In this movie, we're going to take those
base rays that we created using the last 7
| | 00:04 |
Marquee tools.
And we're going to turn them into rays of
| | 00:07 |
light, using a filter called Radial Blur.
Now, this step has nothing to do with
| | 00:12 |
selection outlines.
But it's a really cool trick.
| | 00:15 |
I'm going to start off by zooming out a
little bit.
| | 00:18 |
Now, I need more room to work in order to
pull off this technique.
| | 00:22 |
So, I'm going to expand the canvas using
the Canvas Size command.
| | 00:27 |
Go up to the Image menu, and choose Canvas
Size.
| | 00:30 |
And then, inside the Canvas Size dialog
box, change the unit of measure to pixels.
| | 00:36 |
Now, I want to add a thousand pixels
horizontally and vertically.
| | 00:40 |
So, rather than trying to do the Math, I'm
just going to enter in relative values by
| | 00:43 |
turning on the Relative check box.
Then, I'll click on width and change that
| | 00:48 |
value to 1000.
Press the tab key a couple of times here
| | 00:51 |
on the PC, just once on the Mac.
And change the height value to a 1000 as well.
| | 00:56 |
And then, click OK, and you can see how
that expands the overall size of the image.
| | 01:03 |
Now, with the raised layer selected, go up
to the Filter menu, choose Blur, and then
| | 01:07 |
choose the Radial Blur command.
Radial blur is one of Photoshop's old
| | 01:12 |
school filters, meaning that it doesn't
provide a preview.
| | 01:16 |
So, you need to make sure that this Blur
Center item here, is centered.
| | 01:21 |
So, that dot right there should be
absolutely at the center of the square, as
| | 01:24 |
it is by default.
If it isn't for you, drag it around until
| | 01:29 |
it looks right.
Then, I want you to switch the Blur Method
| | 01:32 |
to Zoom.
And crank the amount value up to its
| | 01:35 |
maximum which is 100.
Then, click OK and you'll end up zooming
| | 01:40 |
the rays outward as you see here.
Now, we need to repeat the filter a few times.
| | 01:45 |
If you go up to the Filter menu, you'll
notice that the first command is now
| | 01:49 |
Radial Blur and it has a keyboard shortcut
of Ctrl+F or Cmd+F on the Mac.
| | 01:54 |
I'm going to use that keyboard shortcut,
because that's the easiest way to work.
| | 01:58 |
So, I'll press Ctrl or Cmd+F once, and
then twice, and then a third time, and
| | 02:03 |
then finally a fourth time.
So, you want to repeat that filter four
| | 02:08 |
times after applying it in the first
place.
| | 02:11 |
Now, we want to add a little bit of blur
around each one of the rays of light.
| | 02:15 |
And you do that by repeating that filter
again except with different settings.
| | 02:19 |
And that means making the dialog box come
back up on screen.
| | 02:24 |
And you do that by pressing Ctrl+Alt+F
here on the PC or Cmd+Option+F on the Mac.
| | 02:29 |
Inside the Radial Blur dialog box, reduce
the Amount Value to 5 and change the Blur
| | 02:34 |
Method to Spin.
And then click OK.
| | 02:38 |
And those are our final rays.
Now, we need to restore our original
| | 02:44 |
canvas size.
So, go up to the Image menu and choose the
| | 02:47 |
Canvas Size command again.
The Relative checkbox should still be on.
| | 02:51 |
You need to change the units back to
pixels again, then click on the word width
| | 02:55 |
and change it to negative 1000 this time.
Tab your way to the height value and
| | 03:01 |
change it to negative 1000 as well.
And then click OK.
| | 03:04 |
Photoshop will bring up an alert message
telling you that the new canvas size is
| | 03:08 |
smaller than the current canvas size.
We already knew that, and some clipping
| | 03:12 |
will occur.
Well, that's not actually technically true.
| | 03:15 |
We are going to end up clipping away
pixels from the background.
| | 03:19 |
But that's okay because we'll just be
clipping those white pixels away.
| | 03:22 |
The independent layers will be unaffected.
They'll continue to be the same size they
| | 03:27 |
are now.
So, go ahead and click the Proceed button,
| | 03:30 |
to non-destructively crop the canvas.
All right, I'm going to zoom back in.
| | 03:34 |
We don't need the guides anymore, so you
can either hide them or get rid of them.
| | 03:39 |
If you want to delete them, then go up to
the View menu and choose the Clear Guides command.
| | 03:45 |
Now, I want to move the rays so that
they're centered on the moon.
| | 03:50 |
And I'll do that by pressing and holding
the Ctrl key, or the Cmd key on the Mac to
| | 03:52 |
temporarily get the Move tool.
And then, I'll drag the rays so that they
| | 03:56 |
more or less appear centered inside of
that moon like so.
| | 04:01 |
And now, the great thing is you can move
the moon and the rays together if you like
| | 04:04 |
by going over to the Layers panel and
Shift-clicking on the Moon Layer.
| | 04:08 |
So, both rays and moon are selected.
And now, if you press the Ctrl key, Cmd
| | 04:13 |
key on the Mac and drag, then you can move
the moon and the rays to any location
| | 04:16 |
inside your composition that you like.
However, before I get too carried away,
| | 04:23 |
I'm going to go ahead and press Ctrl+Z, or
Cmd+Z on a Mac, to undo that move, because
| | 04:26 |
this is exactly where I want these items
to be.
| | 04:31 |
So that's how you create a ray of light
effect using the Radial Blur filter.
| | 04:35 |
Our next step is to mask the rays behind
the tree.
| | 04:39 |
And we'll do that using a few of
Photoshop's automated selection functions.
| | 04:43 |
| | Collapse this transcript |
| Quick Selection and Similar| 00:00 |
In this movie, we're going to select
the ground and the tree using a pair of
| | 00:04 |
automated selection tools inside Photoshop.
| | 00:07 |
The Quick Selection tool
and the Similar command.
| | 00:10 |
And I'm going to switch to the
Quick Selection tool which is located
| | 00:13 |
directly under the Lasso.
| | 00:14 |
Notice that it has a keyboard
shortcut of W and that's because the Quick
| | 00:18 |
Selection tool shares a
flyout menu with the Magic Wand.
| | 00:22 |
After selecting the tool, I'll go
up to the Options Bar and turn on the
| | 00:26 |
Auto Enhance check box.
| | 00:28 |
That's very important to
the performance of this tool.
| | 00:31 |
When Auto Enhance is turned off,
you get very choppy, ragged edges.
| | 00:35 |
When it's turned on, you get smooth edges.
| | 00:38 |
Theoretically, that might cause a
performance hit where Photoshop is concerned,
| | 00:42 |
but I've never experienced one,
and you do get much better results.
| | 00:46 |
Now notice that I have this little
Ghostbuster's cursor, and that's telling
| | 00:50 |
me that I can't currently use the
tool and that's because I have two layers
| | 00:53 |
selected in the Layers panel.
| | 00:55 |
You can only edit one layer
at a time in Photoshop.
| | 00:58 |
And the layer I want to edit is the background.
| | 01:00 |
So I'll go and click on the background
to make it active and then I'll Alt+Click
| | 01:04 |
or Option+Click on its Eye icon
to view the background by itself.
| | 01:08 |
Now notice that I have a circular
cursor, that's Photoshop's way of showing
| | 01:12 |
me that I'm using a brush, and that's
how the Quick Selection tool works, you
| | 01:16 |
brush in the selection.
| | 01:18 |
I'm going ahead and zoom in a little bit
here and pan over, so I can see the tree.
| | 01:23 |
And what I'd like you to do is drag
around the tree like so, so you're
| | 01:27 |
painting around the tree over that cloud,
over there on the right-hand side and then down.
| | 01:32 |
And once you do, you should select the
entire sky inside of this image, which
| | 01:37 |
is fairly remarkable.
| | 01:39 |
So what this tool is doing is it's
evaluating the area that you're painting,
| | 01:44 |
and then selecting to the nearest
image edge, that is an area of rapid
| | 01:49 |
luminance transition.
| | 01:50 |
So when you're painting in the
brightness of the sky, the tool reaches out to
| | 01:54 |
the darkness of the tree and stops.
| | 01:56 |
Now what that means is it doesn't select
the portions of the sky inside the tree.
| | 02:01 |
And it does select a few leaves
here and there in the tree as well.
| | 02:05 |
To get that area of sky in the tree,
we need to take advantage of a command
| | 02:09 |
under the Select menu called Similar.
| | 02:12 |
Similar goes ahead and selects those
colors that are similar to the selected
| | 02:16 |
pixels throughout the image.
| | 02:18 |
So it'll jump inside the tree.
| | 02:20 |
The thing is, it works according to a
specific tolerance range that you set up
| | 02:25 |
using the Magic Wand.
| | 02:26 |
So before we choose that command, I'm
going to switch from the Quick Selection
| | 02:30 |
tool to the Magic Wand tool, and
there's our Tolerance option right there.
| | 02:35 |
It's set to 32 by default.
| | 02:37 |
What that means is 32 luminance levels.
| | 02:41 |
Now remember back to our discussion
a couple of chapters ago of luminance
| | 02:45 |
inside of Photoshop, zero
is black and 255 is white.
| | 02:51 |
So if you had a white pixel selected and
you set the Tolerance to 255, you would
| | 02:57 |
select all the other luminance
levels as well, including black.
| | 03:00 |
But if we had a white pixel selected
and the Tolerance was set to 32, then
| | 03:06 |
Photoshop would only scoot 32 luminance
levels away from white, and just select
| | 03:10 |
the brightest colors inside the image.
| | 03:13 |
We want to select every bit of sky
we can, so I'm going to open up that
| | 03:17 |
Tolerance value by increasing it to 100
and then pressing the Enter key or the
| | 03:22 |
Return key on the Mac to accept that value.
| | 03:25 |
Now let's go up to the Select menu
and choose the Similar command, and
| | 03:29 |
Photoshop goes ahead and grows the selection
to include every little bit of sky it can find.
| | 03:35 |
Now we really want the opposite
selection, in other words, we want to select
| | 03:39 |
the tree and the ground.
| | 03:40 |
It just so happened that it was
easier to select the sky instead.
| | 03:44 |
And you can always reverse the
selection after creating it by going up to the
| | 03:48 |
Select menu and choosing the Inverse command.
| | 03:50 |
And now, the tree and the ground is
selected and the sky is deselected.
| | 03:55 |
And that's how you select a complex
region using a combination of the Quick
| | 03:59 |
Selection tool and the
Similar command here in Photoshop.
| | 04:04 |
In the next movie, we'll make the
selection outline its very best using a
| | 04:08 |
command called Refine Edge.
| | 04:11 |
| | Collapse this transcript |
| Making it better with Refine Edge| 00:00 |
In this movie, we'll take the base
selection outline that we created in the
| | 00:04 |
previous movie and we'll make it more
accurate using a command known as Refine Edge.
| | 00:10 |
You will have had to follow along with
the previous movie to make this one work.
| | 00:14 |
Notice up here in the Options Bar, when
any selection tool is active, you'll see
| | 00:19 |
a button called Refine Edge.
| | 00:21 |
You can click on that button to bring
up the Refine Edge dialog box, or if
| | 00:26 |
for some reason you don't see it, you can
go to the Select menu and choose Refine Edge.
| | 00:31 |
And that brings up the Refine Edge dialog box.
| | 00:34 |
I'm going to scoot the tree over a
little bit so I can see it better.
| | 00:37 |
By default, you see the selected
region against the white background, but you
| | 00:41 |
can change that by clicking on this
View option and switching to some other
| | 00:45 |
background such as On Black,
which is going to work best for us.
| | 00:48 |
Then go ahead and click off
that pop-up menu to hide it.
| | 00:52 |
This is a fairly complex
dialog box; a lot of stuff going on,
| | 00:56 |
we're not going to review every
option at this point, we will in a future
| | 00:59 |
course, but for now, we're going to
take advantage of the most powerful feature
| | 01:04 |
inside this dialog box, which is
this Edge Detection Radius option.
| | 01:08 |
And the idea behind Edge Detection is
we're asking the Refine Edge command
| | 01:13 |
to trace around the edge of the
selection outline and make it better inside
| | 01:19 |
of a specific radius.
| | 01:21 |
And when I say radius, imagine that
we're thickening up a stroke that's going
| | 01:25 |
around the selection and that's' the
area in which Photoshop will reevaluate.
| | 01:30 |
So if I crank up this Radius value to
something like 50, we're telling Photoshop
| | 01:34 |
to reevaluate a lot of this edge.
| | 01:37 |
That's obviously too much because
even though we're doing a great job of
| | 01:40 |
softening the selection around the
leaves, we're bringing back some sky inside
| | 01:45 |
the tree and that's not what we want.
| | 01:48 |
So I'm going to take this Radius value
down to a mere five and press the Tab key.
| | 01:53 |
That still leaves us with some tree
and if you want to get a sense for what
| | 01:57 |
Radius has done by itself, you can turn
on the Show Original check box, that's
| | 02:01 |
like turning a preview off.
| | 02:03 |
And so this is what the tree look like
before, this is what it looks like now.
| | 02:07 |
We do have softer more organic edges.
| | 02:10 |
However, we have an awful lot of sky
showing through which is why I'm going to
| | 02:14 |
shift the edge of the selection inward.
| | 02:16 |
So this Shift Edge function allows you to
either contract or expand the selection.
| | 02:22 |
If you drag to the left, you're going
to contract, if you drag to the right,
| | 02:26 |
you're going to expand.
| | 02:28 |
So I want to take this value down to
about -25%, it works pretty darn well.
| | 02:34 |
But it's not perfect by any means, as
you can see here, but it's going to work
| | 02:39 |
great for our rays of light.
| | 02:41 |
Having made these changes, so set the
Radius value to five, the Shift Edge value
| | 02:45 |
to -25 and then click OK to
modify that selection outline.
| | 02:50 |
Now let's apply the selection as a layer mask.
| | 02:53 |
I'll go ahead and Alt+Click or Option+
Click on the eye in front of Background in
| | 02:57 |
order to turn all the layers back on.
| | 02:59 |
And then I'll click in the rays layer
to make it active and I'll drop down to
| | 03:03 |
this icon at the bottom of the
panel, which says Add layer mask.
| | 03:07 |
If I were to click on it, I'd mask the
rays of light inside the tree which is
| | 03:11 |
exactly the opposite of what I want.
| | 03:13 |
So I'll press Ctrl+Z or Command+
Z on the Mac to undo that change.
| | 03:17 |
Then I'll press the Alt key or the
Option key on the Mac and click on that Add
| | 03:21 |
Layer Mask icon again, and that goes
ahead and masks away the selected region
| | 03:27 |
and gives me the exact effect I'm looking for.
| | 03:30 |
One more change we need to make to this mask.
| | 03:32 |
I'm going to zoom back out by
pressing Ctrl+0 or Command+0 on the Mac.
| | 03:36 |
We need to mask the moon
away inside of the rays as well.
| | 03:41 |
So I'm going to load the moon layer as
the selection outline and you do that by
| | 03:45 |
hovering your cursor over
the thumbnail for the layer.
| | 03:48 |
Notice that appears as a hand with the
pointing finger, and now you press the
| | 03:52 |
Ctrl key or the Command key on the Mac
and you'll get a little Marquee next to
| | 03:56 |
that cursor, and you click.
| | 03:58 |
So Ctrl+Click or Command+Click on the
thumbnail for the moon layer, loads it up
| | 04:02 |
as the selection outline.
| | 04:04 |
The layer mask is still selected as
you can see here inside the Layers panel.
| | 04:09 |
Make sure that your foreground color is set to
black down here at the bottom of the toolbox.
| | 04:14 |
If it's not do this, press the D
key in order to establish your default
| | 04:19 |
colors, which will be white as the foreground
color, and then press the X key to swap them.
| | 04:26 |
And now black is your foreground color.
| | 04:28 |
Press Alt+Backspace or Option+Delete
on the Mac in order to fill that portion
| | 04:33 |
of the layer mask with black, which goes
ahead and masks away the rays inside the moon.
| | 04:37 |
Then you can press Ctrl+D or Command+D
on the Mac in order to deselect the image.
| | 04:42 |
All right, now we have
some beautifully masked rays
| | 04:46 |
thanks to a combination of the Refine
Edge command along with a layer mask.
| | 04:51 |
In the next movie, we'll better
integrate the rays and the moon into the scene.
| | 04:56 |
| | Collapse this transcript |
| Integrating image elements| 00:00 |
In this movie, we're going to make the
rays of light actually appear as if they
| | 00:04 |
are emanating from the moon by
adding a couple of layer effects.
| | 00:08 |
You may notice from this distance it
appears as if we have a little bit of a rim
| | 00:13 |
around the moon as if we
didn't select it properly.
| | 00:16 |
That's actually not the case.
| | 00:18 |
If I zoom in to 100%, you can
see that the moon looks great.
| | 00:22 |
It's just that Photoshop doesn't always
render things properly when you're zoomed out.
| | 00:26 |
So if you see something wrong in your
image, make sure to zoom in to 100% which
| | 00:31 |
is Photoshop's most accurate preview.
| | 00:34 |
Now I have the rays layer
selected here inside the Layers panel.
| | 00:37 |
And I also switched back to the
Rectangular Marquee tool, so I'm going to reduce
| | 00:41 |
the Opacity from the keyboard by
pressing the 8 key to take the opacity of this
| | 00:46 |
layer down to 80%, as you can
see here inside the Layers panel.
| | 00:50 |
Then I'll click on the moon layer to select it.
| | 00:53 |
And we're going to add a couple of glow
effects by dropping down to the FX icon
| | 00:57 |
at the bottom of the Layers panel,
clicking on it, and I'll start by choosing
| | 01:01 |
Outer Glow down here at the
bottom of the pop-up menu.
| | 01:04 |
And I'm going to drag inside the image window.
| | 01:08 |
You don't have to press the Spacebar
when you have this dialog box up, you can
| | 01:12 |
just drag to pan the image.
| | 01:14 |
And then, I'm going to click on this
little Color Swatch, which by default
| | 01:17 |
appears as yellow, and I'm going to
change it to white by dragging inside
| | 01:22 |
this big color field here all the way to
the upper left corner and then I'll click OK.
| | 01:26 |
And now, I'll take the Opacity value up to 100%.
| | 01:28 |
A Blend mode of Screen is just fine.
| | 01:32 |
I'll tab my way down to the Size value
and I'll press Shift+Up arrow until I get
| | 01:36 |
a size of 85 pixels, so I have
a big glow coming off the moon.
| | 01:42 |
I also want to spread that glow just
slightly, so I'm going to change the Spread
| | 01:46 |
value here just above the Size value
and raise it incrementally from the
| | 01:50 |
keyboard by pressing the
Up arrow key until I get 5%.
| | 01:54 |
And that looks good to me, now I feel like
we need a little bit of an inner glow as well.
| | 02:00 |
So go ahead and click on Inner Glow in
the list, not Inner Shadow but Inner Glow.
| | 02:05 |
And again, we want it to be white, so
click on that yellow color swatch, drag to
| | 02:09 |
the upper left-hand corner
of the field and click OK.
| | 02:13 |
This time, I want an Opacity value of
50% and I'm going to tab my way down to
| | 02:17 |
the Size value and press Shift+Up
arrow in order to change that value to 15
| | 02:22 |
pixels and then click OK.
| | 02:25 |
And that's all there is to it.
| | 02:26 |
We now have a glowing moon
integrated into the rays of light.
| | 02:30 |
The only image element that's still
outstanding is the big huge flower in the
| | 02:35 |
foreground and we'll begin
working on that in the next movie.
| | 02:39 |
| | Collapse this transcript |
| Magic Wand and Grow| 00:00 |
In this movie, we're going to select
that giant sunflower that appears at the
| | 00:04 |
foreground of the final composition,
and we're going to do so using a
| | 00:08 |
combination of the Magic
Wand tool and the Grow command.
| | 00:12 |
Now in the end, we want to select the sunflower.
| | 00:14 |
However, it's pretty complicated
by comparison to its background.
| | 00:17 |
So we're once again going to select
the background and reverse the selection.
| | 00:22 |
So if you're working along with me, select
the Magic Wand tool below the Lasso tool.
| | 00:26 |
If you don't see it there, select the tool
from the Quick Selection tool flyout menu.
| | 00:30 |
And then just to restore the default
settings, I'm going to right-click in
| | 00:34 |
the Magic Wand tool icon on the far
left side of the Options Bar and choose
| | 00:38 |
the Reset tool command.
| | 00:40 |
And that resets all the options except
this Sample Size option that it shares
| | 00:44 |
along with the Eyedropper, and I'm
going to go ahead and change that back to
| | 00:48 |
Point Sample so Photoshop tracks
just the pixel upon which I click.
| | 00:52 |
Now this is a pretty straightforward
tool to use, but a lot of folks don't
| | 00:56 |
understand what's going on under the hood.
| | 00:58 |
What you do is you click on a pixel
and then Photoshop grows the selection to
| | 01:03 |
include all similar colors.
| | 01:06 |
However, as you can see here, it's
not selecting the entire background and
| | 01:11 |
that's because the selection
is based on a Tolerance value.
| | 01:14 |
The Tolerance is set to 32 by default,
meaning that Photoshop is going to
| | 01:18 |
select 32 luminance levels brighter
and 32 luminance levels darker than the
| | 01:23 |
pixel upon which I clicked.
| | 01:25 |
And it's going to do so on a
channel-by-channel basis and average the
| | 01:29 |
selection accordingly.
| | 01:31 |
Also worth noting is
Contiguous is turned on by default.
| | 01:35 |
What that means is Photoshop is just
selecting adjacent pixels as opposed to,
| | 01:40 |
for example, dark green pixels that
are located on the other side of the
| | 01:44 |
sunflower if there were such a thing.
| | 01:47 |
Now I mentioned that the Wand works on
a channel-by-channel basis because the
| | 01:51 |
tool works best with high color images.
| | 01:53 |
I'm going to switch over to the
Channels panel and you may recall from the
| | 01:57 |
previous chapter that I was telling you
that high intensity color is caused by
| | 02:02 |
dramatic differences between the channels.
| | 02:05 |
And so if I click on a Red channel, you
can see that the sunflower appears very
| | 02:09 |
bright against the dark background.
| | 02:11 |
In the Green channel, the
sunflower is only slightly brighter than
| | 02:14 |
this background overall.
| | 02:16 |
And then in the Blue channel, the
whole darn image is nearly black.
| | 02:20 |
And as a result, we have a ton of
channel difference to work with, the Magic
| | 02:25 |
Wand tool really likes that.
| | 02:27 |
All right, I'm going to switch back to the RGB
Composite, switch back to the Layers panel as well.
| | 02:31 |
Ideally what you'd be able to do
is increase the Tolerance value.
| | 02:36 |
For example, let's say, well,
apparently my Tolerance isn't set high enough.
| | 02:40 |
I'll take it up to 50, or something
along those lines, and the selection would
| | 02:45 |
update, but that doesn't happen
because it's a static control.
| | 02:48 |
So what you have to do if you want to
add to the selection is press the Shift
| | 02:51 |
key and then click again in order to
add to the selection, and I might Shift
| | 02:56 |
click over here as well.
| | 02:57 |
And that selects almost everything, but
there's a lot of background that isn't
| | 03:01 |
selected so far, which is
where the Grow command comes in.
| | 03:05 |
Go up to the Select menu.
| | 03:07 |
You'll see that Grow and Similar
appear right next to each other.
| | 03:10 |
They are actually variations on the
same command and they are both linked to
| | 03:13 |
that Tolerance option
that we just changed to 50.
| | 03:17 |
The Similar command will select all
similar colors whether they are adjacent or not.
| | 03:22 |
The Grow command will just
select the adjacent pixels.
| | 03:26 |
So in our case, Grow is the best bet
because we just want to select this
| | 03:30 |
adjacent region of background.
| | 03:32 |
So I'll go ahead and choose the Grow
command and that selects almost everything.
| | 03:36 |
You can see that we're still missing
this little corner of background, and I can
| | 03:41 |
add it in by Shift+Clicking
with the Magic Wand tool.
| | 03:43 |
Or another way to work by the way,
I'm going to start over actually.
| | 03:47 |
Press Ctrl+D or Command+D on the
Mac and I'm going to restore this
| | 03:51 |
Tolerance value to 32, and I'm going to click
and Shift+Click and so forth inside the image.
| | 03:58 |
And I can spend a lot of time doing
that or I could just increase the Tolerance
| | 04:03 |
value like crazy, let's say to a 100,
and then go up to the Select menu and
| | 04:07 |
choose the Grow command and the deed is done.
| | 04:10 |
Because the Grow command is
essentially using every selected pixel and then
| | 04:15 |
growing the selection based on a
tolerance of a 100 luminance levels, which
| | 04:19 |
means it's going to select a ton of
the image, and because we have so much
| | 04:22 |
contrast, the selection does not
leak into the petals of the flower.
| | 04:26 |
Now as I say, we've selected the
background, we really want to select the flower.
| | 04:31 |
So go up to the Select menu
and choose the Inverse command.
| | 04:35 |
And now let's prepare the flower for
placement in the larger composition by
| | 04:39 |
giving the current image a layer mask.
| | 04:41 |
So the background is selected.
| | 04:42 |
If you want to both convert this flat
image to a layer and give it a mask,
| | 04:46 |
then just drop down to the Add Layer Mask
icon at the bottom of the Layers panel and click,
| | 04:52 |
and both operations are done at once.
| | 04:54 |
Then I'll go ahead and
rename this layer, daisy.
| | 04:57 |
I'll go up to the File menu and
choose the Save As command and then I'll go
| | 05:01 |
ahead and call this image Masked daisy.
| | 05:03 |
Make sure the Format is set to PSD,
that the Layers check box is turned on, and
| | 05:07 |
then I'll click on the Save button.
| | 05:09 |
And now we have a masked and layered
image, thanks to the Magic Wand tool
| | 05:13 |
working in combination with the Grow command.
| | 05:17 |
| | Collapse this transcript |
| Refine, integrate, and complete| 00:01 |
In this movie, we're going to introduce
the daisy into the larger composition,
| | 00:04 |
we're going to refine its edges, and
we're going to add some finishing touches,
| | 00:08 |
so the flower looks at
home in its new environment.
| | 00:11 |
I'm going to switch back to my
Rectangular Marquee tool, which I can get
| | 00:15 |
by pressing the M key.
| | 00:16 |
And then I'm going to click on the background
item here at the bottom of the Layers panel,
| | 00:21 |
so that when I bring the flower in
it'll appear directly above the background.
| | 00:25 |
Now I'll switch back to the Masked
daisy image, and I'll right-click inside the
| | 00:29 |
image window and choose Duplicate Layer.
| | 00:32 |
And I'll switch the Document to
Brightly shining moon.psd and I'll click OK.
| | 00:38 |
Now I'll switch back to that image and
you can see that the flower is in place.
| | 00:42 |
But I want to slightly adjust its positioning.
| | 00:45 |
So I'm going to zoom out here and I'll
go up to the Edit menu and choose the
| | 00:49 |
Free Transform command.
| | 00:51 |
And the reason I'm doing this is not
because I want to rotate the flower or
| | 00:55 |
scale it or anything like that.
| | 00:57 |
What I want to do is reposition it and
Free Transform can be very useful for
| | 01:01 |
that purpose because you have
numerical coordinate controls.
| | 01:05 |
Notice up here in the Options bar, we
have this Reference point indicator.
| | 01:09 |
Currently it's set to the center.
| | 01:11 |
Meaning the numerical coordinates
are measured from the center point.
| | 01:14 |
I'm going to switch it to the upper
left corner by clicking in that upper
| | 01:18 |
left point right there, and I'm going
to click on X to select the X value and
| | 01:22 |
I'm going to change it to -150 pixels, then
I'll tab to Y and change it to -70 pixels.
| | 01:29 |
And then I'll press the Enter key or the
Return key on the Mac a couple of times
| | 01:32 |
in order to accept that change.
| | 01:34 |
And that just happens to be the
position where I want the daisy to land.
| | 01:39 |
If you zoom in, you might notice we have
some slightly rough edges here and there.
| | 01:44 |
So it's probably worth cleaning
up these edges using Refine Edge.
| | 01:47 |
But instead of cleaning up the selection
outline, we need to clean up the layer mask.
| | 01:52 |
So click on the Layer Mask thumbnail
over here inside the Layers panel and then
| | 01:57 |
go on to the Select menu and
choose the Refine Mask command.
| | 02:02 |
It's the same function.
| | 02:03 |
It just goes by a different name.
| | 02:04 |
Now your View should be automatically
set to On Layers, so we can see how the
| | 02:09 |
flower interacts with its background.
| | 02:11 |
But if you prefer, you could change it
to On White or On Black or one of the
| | 02:16 |
other ones, just to get an
additional sense on what's going on.
| | 02:20 |
I'm going to leave it set to On Layers
and I'm going to crank up that Radius
| | 02:24 |
value again just to see what ends up happening.
| | 02:27 |
And you can see that Photoshop is
having a tendency to grow the selection
| | 02:31 |
outward a little bit.
| | 02:32 |
So I don't want to take that value too high.
| | 02:35 |
I'm going to take it down to 10 pixels.
| | 02:37 |
And I'm going to tab my way down to the
Shift Edge value and choke this edge to
| | 02:42 |
negative 25% once again,
just to move the edge in.
| | 02:46 |
And we'll get a little bit of
interaction as you can see here between the
| | 02:49 |
background and the petals of the flower.
| | 02:51 |
All right, now I'll click OK in order to
accept that change and I'll zoom back out.
| | 02:57 |
Even though the edges are in a good
shape at this point, they may look a
| | 03:00 |
little bit rough here and there, but
once again, if you zoom in to 100%,
| | 03:04 |
things should look a lot better.
| | 03:06 |
Anyway, I'm going to zoom back
out so I could keep an eye in the
| | 03:09 |
entire composition.
| | 03:10 |
Now I look at this flower and I think, all
right, here's the flower against the background.
| | 03:14 |
I don't believe for a
second it actually belongs here.
| | 03:18 |
So we need to integrate it into the scene.
| | 03:20 |
And the simplest integration
tools tend to be layer effects.
| | 03:24 |
So I'm going to drop down to the FX icon
and choose Inner Glow so that we have a
| | 03:29 |
little bit of glow on the
inside edges of those petals.
| | 03:31 |
And the default settings end up working great.
| | 03:34 |
So we have this pale yellow, Opacity is
set to 75%, Blend Mode is set to Screen,
| | 03:39 |
Size is set to 5 pixels, that's just fine.
| | 03:42 |
Now I'm going to click on Color Overlay.
| | 03:45 |
And what I want be able to do is lift
the color from the image, but I'm not
| | 03:49 |
going to be able to
because my layer mask is active.
| | 03:52 |
If I click on the Color Swatch and then
click inside the image window, notice I
| | 03:56 |
end up lifting black outside the
flower or white inside the flower and that's
| | 04:01 |
because my layer mask is selected.
| | 04:03 |
So I'll just go ahead click OK for now,
| | 04:05 |
click OK again, and I'll just go ahead
and click on the full color thumbnail for
| | 04:09 |
the layer to make it active.
| | 04:11 |
And now we'll edit the Color
Overlay Effect by double-clicking on it.
| | 04:15 |
That will bring up the Layer
Style dialog box once again.
| | 04:18 |
Click on the white swatch and move your
cursor outside into the image window and click.
| | 04:23 |
And this time, assuming you click in the
sky, you should lift the shade of blue.
| | 04:26 |
I'm going to raise that
Hue value to 220 degrees.
| | 04:30 |
I'm going to take the
Saturation value up to 65%.
| | 04:33 |
And I'll take the Brightness value
all the way to 100% and click OK.
| | 04:38 |
And then I'm going to change the
Blend Mode so that we have a little bit of
| | 04:41 |
interaction between the blue and the
flower from Normal to Overlay, and we end up
| | 04:46 |
achieving this effect here.
| | 04:47 |
Now I'll click OK and what we have
is an integrated flower, I think.
| | 04:53 |
It's awfully bright and cheerful, however.
| | 04:56 |
I'd rather have something of a brooding
flower in the foreground and I want it
| | 05:00 |
to be a little darker suggesting
that it's not catching the light.
| | 05:04 |
So I'm going to add a Brightness/Contrast
Adjustment layer by pressing and
| | 05:07 |
holding the Alt key or the Opt key on
the Mac and then clicking in the black
| | 05:11 |
white icon at the bottom of the Layers
panel and choosing Brightness/Contrast.
| | 05:15 |
And I'll go ahead and call this Layer
deepen, and again, turn on Use Previous
| | 05:20 |
Layer to Create Clipping Mask, so
that we affect just the flower layer and
| | 05:24 |
not the background. Now I'll click OK.
| | 05:26 |
Now here's another great
way to use Adjustment layers.
| | 05:30 |
In addition to changing their values,
you can also change their blend modes.
| | 05:35 |
So if I switch from Normal to the main
darkening mode which is Multiply, it's as
| | 05:41 |
if I'm using the image to darken itself.
| | 05:43 |
And we end up getting this rich
orange colors as well as these dark shadows
| | 05:47 |
toward the center of the flower.
| | 05:49 |
Now I'm going to select the Brightness
value and I'm going to dial it down to
| | 05:53 |
-25 to darken the flower even further.
| | 05:56 |
And now I'll hide the Properties
panel because after all, I'm done.
| | 06:00 |
So I'll go ahead and press Shift+F in
order to switch to the Full Screen mode
| | 06:04 |
and zoom in as well.
| | 06:05 |
And that's our final, fairly
other-worldly composition
| | 06:09 |
thanks to the power of Photoshop's
geometric free form and automated
| | 06:13 |
selection tools.
| | 06:16 |
| | Collapse this transcript |
|
|
10. Retouch and HealYour best face forward| 00:00 |
Retouching is ultimately the art of
making someone or something look better.
| | 00:06 |
For example, in this chapter we'll
take this portrait shot, heal away some of
| | 00:12 |
the blemishes, brush away the stray
hairs, paint away the shine, brighten the
| | 00:17 |
teeth and the eyes and smooth over the
skin details to create this final effect.
| | 00:23 |
Here's the before image and here's the after.
| | 00:27 |
Quite a difference, but it's
obviously the same person and that's the key.
| | 00:32 |
You want the person to
remain all together identifiable.
| | 00:36 |
The way they see themselves in the mirror.
Not like you've turned them into a mannequin.
| | 00:41 |
If you show someone a retouched picture of
them and they ask you, did you Photoshop me?
| | 00:46 |
Then you've gone too far.
| | 00:48 |
Take it easy. Keep the personality intact,
| | 00:51 |
meaning, don't remove smile lines and the
good creases that come with age and wisdom.
| | 00:57 |
And above all, do good work.
| | 01:00 |
| | Collapse this transcript |
| Content-Aware Fill| 00:00 |
Over the course of this chapter, we're
going to take this photograph of this
| | 00:03 |
attractive young person, as
captured by photographer Matthew Dula,
| | 00:08 |
and we'll away her blemishes, we'll
paint away some of the stray hairs across
| | 00:12 |
her face, we'll recolor the makeup
under her eyes, so it's a better match for
| | 00:16 |
her natural skin tones.
| | 00:18 |
We'll get rid of some of the shine
across her forehead and over here on
| | 00:22 |
her left-hand cheek.
| | 00:24 |
We'll also whiten her teeth and then
finally, we'll add some saturation to her eyes.
| | 00:29 |
We'll ultimately come up
with this final retouched image.
| | 00:33 |
And notice that she's the
same person she ever was.
| | 00:36 |
I haven't healed away any of the creases
or smile wrinkles or any of the details
| | 00:41 |
that make us interesting to look at.
| | 00:43 |
This is not Botox and that's very important.
| | 00:47 |
Rather, it's about achieving a smoother,
more evenly rendered portrait, and that
| | 00:52 |
really is the key to successful retouching.
| | 00:54 |
Now I am going to switch
back to my original photograph.
| | 00:57 |
In this movie, I'll show you how to
work with one of Photoshop's best automated
| | 01:01 |
retouching tools, which is Content-Aware Fill.
| | 01:05 |
Before I set about working on this image,
because virtually, all of Photoshop's
| | 01:10 |
retouching tools are static.
| | 01:12 |
Meaning that they permanently modify the pixels.
| | 01:14 |
I'm going to go ahead and create a copy
of this image so I can come back to the
| | 01:17 |
original later on if I need it.
| | 01:19 |
So I'll press Ctrl+Alt+J or Command+Option+J
on the Mac to jump the background.
| | 01:25 |
And I'll go ahead and call
it Retouch and then click OK.
| | 01:29 |
Now I'll start off by demonstrating
how Content-Aware Fill works and then I'll
| | 01:33 |
show you a practical application.
| | 01:36 |
Using my Rectangular Marquee tool,
I'm going to select a rough area in
| | 01:39 |
the middle of the face.
| | 01:40 |
So I'm selecting around her nose as you can see.
| | 01:43 |
I want the selection outline
to match the angle of her face,
| | 01:46 |
so I'm going to rotate it independently
of the image by going up to the Select
| | 01:50 |
menu and choosing the
Transform Selection command.
| | 01:54 |
Now notice, if you drag on the handles,
you can scale the selection after the fact,
| | 01:58 |
and if you drag outside the
selection outline, then you can rotate it.
| | 02:03 |
And I'm going to rotate the selection
to about 12 degrees, works out nicely.
| | 02:07 |
And I can see 12 degrees in the
heads up display right next to my cursor.
| | 02:12 |
And then I'll release my mouse button
and press the Enter key or the Return key
| | 02:15 |
on the Mac in order to complete the rotation.
| | 02:18 |
And I'm also going to nudge the
selection to the right a little bit by pressing
| | 02:21 |
the Right Arrow key a few times.
| | 02:23 |
Now let's heal away the nose.
| | 02:25 |
Now you know this is not a
practical retouching technique.
| | 02:28 |
However it does demonstrate
how Content-Aware Fill works.
| | 02:32 |
To access the function, you go up to
the Edit menu and choose the Fill command,
| | 02:36 |
and that brings up the Fill dialog box.
| | 02:39 |
You can also access this dialog box by
pressing Shift+Backspace on the PC or
| | 02:43 |
Shift+Delete on the Mac.
| | 02:45 |
Go ahead and set Use to Content-Aware
and then make sure the Blending Options
| | 02:49 |
are set to their defaults, by which I
mean, a Mode of Normal and Opacity of
| | 02:53 |
100%, Preserve Transparency
should be turned off.
| | 02:57 |
Then go ahead and click OK in order
to fill in that selection outline.
| | 03:02 |
What Photoshop is doing, is it's looking
outside the selection for details that
| | 03:08 |
should be cloned into the selection.
| | 03:11 |
And is basing its decisions on the
luminance levels and details that it finds
| | 03:16 |
along the perimeter of the selection outline.
| | 03:18 |
And everything that it puts into the
selection is something that was formerly
| | 03:22 |
outside the selection.
| | 03:23 |
So all those details associated with the
nose are completely and entirely replaced.
| | 03:27 |
If I press Ctrl+H or Command+H on a Mac
to hide the selection outline, you can
| | 03:32 |
see that in this region right here,
where we're seeing the shading next to the
| | 03:36 |
nose, right at that location, Photoshop
sees that there are darker details and
| | 03:41 |
repeats darker details inside the selection.
| | 03:45 |
You'll see a variety of details, by the
way, from all over the image and you may
| | 03:50 |
see some details repeat here and there as well.
| | 03:53 |
So there's a lot of random
detail juggling going on.
| | 03:56 |
Now I'm going to press Ctrl+Z or
Command+Z on the Mac to bring back the nose
| | 04:00 |
because after all, it's very
positive detail inside this photograph.
| | 04:03 |
Then I'm going to zoom in on what is
perhaps the biggest blemish which is this
| | 04:08 |
item over here on the cheek
just to the right of the nose.
| | 04:11 |
Let's start by selecting
and using the Lasso tool.
| | 04:14 |
Now bear in mind, the perimeter of the
selection outline makes a big difference
| | 04:18 |
in terms of how Content-Aware Fill behaves.
| | 04:21 |
So we want to select well outside the
blemish in order to tell Photoshop that
| | 04:25 |
this unblemished region of the skin
is the area that we want to match.
| | 04:30 |
Then I'll press Ctrl+H or Command+H on
the Mac to hide the selection outline
| | 04:34 |
and I'll press Shift+Backspace or Shift+
Delete on the Mac to bring out the Fill dialog box.
| | 04:40 |
Everything is set the way it should be
because Photoshop remembers the last
| | 04:44 |
application of this command.
| | 04:45 |
So in other words, Use is already set
to Content-Aware, so all I have to do is
| | 04:49 |
click on the OK button and Photoshop
goes ahead and replaces that detail.
| | 04:54 |
It may or may not do exactly
the job that you're looking for.
| | 04:59 |
One way to alter the results is to
press Ctrl+Z or Command+Z on the Mac.
| | 05:03 |
Press Ctrl+H or Command+H to
bring back the selection outline.
| | 05:07 |
Then press the Shift key, for example,
and drag with Lasso tool to include just
| | 05:12 |
a little more detail like
that, and then try again.
| | 05:16 |
Press Shift+Backspace or Shift+Delete on
the Mac, click OK and evaluate the results.
| | 05:22 |
And at this point, things are looking
okay but not perfect, and they never are.
| | 05:26 |
Each and every one of the retouching
tools is going to deliver a different
| | 05:30 |
result--not always a good result, but
that's okay as long as you're moving in
| | 05:33 |
the right direction.
| | 05:34 |
Because for example, let's say I'm not
very happy with this region right there,
| | 05:38 |
that sort of scrapey detail,
| | 05:40 |
I'll just go ahead and reselect
this area, like so, and then press
| | 05:45 |
Shift+Backspace or Shift+Delete on the Mac
in order to bring up the Fill dialog box.
| | 05:49 |
Click OK and that's starting to look better.
| | 05:52 |
So just to give you a sense of what
we've been able to achieve so far, I'm going
| | 05:55 |
to zoom out from the image
and then go ahead and pan down.
| | 05:59 |
This is the original
version of that blemish detail,
| | 06:02 |
and this is a healed version so far, not
perfect but a lot better, thanks to the
| | 06:07 |
automation of Photoshop's Content-Aware Fill.
| | 06:11 |
| | Collapse this transcript |
| Using the Spot Healing Brush| 00:00 |
In this movie, I'll show you how to use
the Spot Healing Brush, which allows you
| | 00:04 |
to paint with Content-Aware Fill.
| | 00:07 |
Notice this second section of tools
inside the toolbox, these are Photoshop's
| | 00:11 |
painting and editing tools, which
allow you to brush in and, otherwise, apply
| | 00:16 |
permanent modifications to the active layer.
| | 00:19 |
If you click and hold on the first
tool on the second section, you'll see the
| | 00:22 |
Spot Healing Brush right at
the top of the flyout menu.
| | 00:25 |
Notice that all these tools have a
keyboard shortcut of J even though the letter
| | 00:29 |
J never appears in any of the tool names.
| | 00:32 |
Here is how I try to remember that.
| | 00:34 |
When you're healing an image,
you're applying a kind of surgery to it.
| | 00:38 |
And if you were to misspell the word
surgery, the most logical way to do it
| | 00:42 |
would be to replace the G with a J.
So if that works for you, great.
| | 00:46 |
I'm going to switch back to the active image.
| | 00:48 |
And I want you to make sure up here in the
Options bar that your mode is set to Normal.
| | 00:53 |
And then notice that you have three
different radio buttons that you can
| | 00:56 |
choose from, so three different behaviors that
you can associate with the Spot Healing Brush.
| | 01:01 |
Let's start off with Proximity
Match just so you can see how it works.
| | 01:04 |
I'm also going to increase the size of my
brush, which I can do in one or two ways.
| | 01:10 |
The less convenient way is to right-click
inside the image and then increase the Size value.
| | 01:16 |
You will almost always want the
Hardness value to be a 100% so that you
| | 01:20 |
get clean transitions.
| | 01:21 |
You might want to reduce the Spacing
value, however, to something like 10% that
| | 01:26 |
will give you smoother brush strokes.
| | 01:27 |
And then you can decide whether you want
to change the angle around this on your own.
| | 01:31 |
Now I'll press the Enter key or the
Return key on a Mac to hide that panel.
| | 01:36 |
The other way to change the size of
the brush is to press one of the square
| | 01:39 |
bracket keys to the right of the P as
in Paul key on an American keyboard.
| | 01:44 |
If you press the right bracket key,
it'll increase the size of the brush.
| | 01:48 |
If you press the left bracket key,
you'll decrease the size of the brush.
| | 01:52 |
I'm going to increase the size of the brush a
little bit and then just paint over the eye, so
| | 01:57 |
that you can see what Photoshop does.
| | 01:58 |
It goes ahead and duplicates nearby
pixels into that painted region and it
| | 02:04 |
does so with one pass.
| | 02:06 |
So for example, where this brush
stroke is concerned, Photoshop has duplicated
| | 02:10 |
this region in the forehead right
about over here, I think, and repeated the
| | 02:15 |
entire length of this region.
| | 02:17 |
So it's not repeating details, it's not
grabbing from different areas and so forth.
| | 02:22 |
All right, I'll go ahead
and undo that brush stroke.
| | 02:25 |
Then I'll switch to Create Texture,
which generates a texture on the fly and
| | 02:30 |
overlays it on to the original image
which can be useful for smoothing out
| | 02:34 |
details, but there's better
ways to work in my opinion.
| | 02:37 |
And then finally, we've got Content-
Aware, which is the best option of them all,
| | 02:42 |
because it allows you to paint a brush
stroke, and then Photoshop goes out and
| | 02:46 |
samples different regions, and creates a
kind of collage of details and repeated
| | 02:50 |
details inside your brush stroke.
| | 02:53 |
So that's how the options work.
| | 02:55 |
Obviously we don't want to paint
away the eyes, so I'll press Ctrl+Z or
| | 02:57 |
Command+Z on a Mac to undo that brush stroke.
| | 03:00 |
And let's try Spot Healing away a few blemishes.
| | 03:04 |
I'm going to reduce the size of my
brush by pressing left bracket key and I'll
| | 03:08 |
click there in the center of the nose.
| | 03:10 |
I'll click over this spot, this one here.
| | 03:13 |
You can see when you're just clicking,
I'm not dragging with this tool at all,
| | 03:17 |
that you can get rid of blemishes
very, very quickly inside of the image.
| | 03:22 |
Sometimes it's going to work
great and sometimes it's not.
| | 03:24 |
If it doesn't, just press
Ctrl+Z, Command+Z on the Mac.
| | 03:27 |
You can either try again if you want to
or you can come back to the detail later
| | 03:32 |
using a different tool.
| | 03:34 |
All right, I'm going to zoom in on
this a little bit right there, reduce the
| | 03:38 |
size of my cursor, so it's pretty
tiny and click to get rid of that.
| | 03:42 |
And you want to think of your brush
cursor, where the size is concerned, as being
| | 03:46 |
a kind of selection outline.
| | 03:47 |
So its perimeter defines a good area
around the blemish upon which Photoshop can
| | 03:52 |
base its Content-Aware Fill.
| | 03:54 |
And I'm going to increase the size of my
cursor a little bit and paint right about there.
| | 03:58 |
We need to get rid of some of the
roughness around that first area that we heal.
| | 04:02 |
And then I'm going to paint
this little area. Can you see it?
| | 04:06 |
I'll zoom in some more.
| | 04:07 |
If these were a scanned image, I would say
it was something in the glass, but it's not.
| | 04:11 |
This is a digital photograph.
| | 04:12 |
So my guess is this is a little bit of mascara.
| | 04:15 |
And so, I'm going to paint along at
this time as opposed to just clicking, and
| | 04:19 |
then I'll paint up a little bit on that guy.
| | 04:21 |
Let's zoom back out and see
what else we have to deal with.
| | 04:24 |
There are some little hairs underneath the
eyebrows that you could click on to get rid off.
| | 04:29 |
And we have a few freckles and moles
up here in the forehead that you could
| | 04:33 |
work on, if you like.
| | 04:35 |
Let's go ahead and zoom out.
| | 04:36 |
Now there's also this little bump or whatever
this is just down into the left of the first eye.
| | 04:41 |
I'll go ahead and increase my cursor so
it's just bigger than it and then I'll
| | 04:44 |
click in order to get rid of it.
| | 04:46 |
If that doesn't align quite properly,
in other words, you can see that the
| | 04:50 |
crease along that ridge doesn't
quite line up with the other creases;
| | 04:55 |
again, we can come back to that later
with another variation on this Healing Brush.
| | 04:59 |
Go ahead and click there on that detail as well.
| | 05:02 |
And then I'll zoom all the way out
in order to take in the entire image.
| | 05:06 |
I just want to make sure that I got
everything that's worth dealing with right now.
| | 05:10 |
It's actually quite a bit better.
| | 05:11 |
I've made a big difference using this one tool.
| | 05:14 |
It's one little detail right
there that I think I'll paint away.
| | 05:17 |
And there's also this
tiny little item right there.
| | 05:20 |
Let's check our progress.
| | 05:22 |
I'll turn off the retouch layer.
| | 05:23 |
This is the original version of the image.
| | 05:26 |
And when I turn the layer back on, this
is the retouched version so far, thanks
| | 05:31 |
to the swift and speedy results you
can achieve using the Spot Healing Brush.
| | 05:36 |
| | Collapse this transcript |
| The more capable "standard" Healing Brush| 00:00 |
In this movie, I'll show you how to use
the standard healing brush.
| | 00:04 |
Which allows you to specify the source and
destination of your healing, thereby
| | 00:07 |
giving you more control.
Now that we've gotten rid of most of the
| | 00:11 |
blemishes, let's take on these stray
hairs.
| | 00:15 |
I'm going to zoom in on this hair that's
found its way into the model's mouth.
| | 00:19 |
Now, if I were to try to get rid of this
here, using the Spot Healing brush tool,
| | 00:22 |
just by roughly painting over it, I'm
unlikely to get good results.
| | 00:27 |
The tool is well named after all, it's
great for little spot touch-ups, but it's
| | 00:30 |
not good for big brush strokes, and in
this case.
| | 00:33 |
We've kind of wiped out the crease along
her mouth, and it looks as if we've kind
| | 00:37 |
of blurred out the lip.
So, I'll press Ctrl+Z or Cmd+Z on the Mac
| | 00:41 |
to undo that change.
Instead what we want to do is switch from
| | 00:45 |
the Spot Healing brush to the healing
brush by selecting the next tool down on
| | 00:48 |
the Flyout menu.
And assuming default settings that is the
| | 00:53 |
source is set to sampled you just start
clicking inside the image.
| | 00:57 |
You're going to get an error message that
tells you that you need to Alt-click or on
| | 01:01 |
the Mac Option-click to define a source
point to be used to repair the image.
| | 01:07 |
When you're working with a Standard
Healing brush tool, you're cloning one
| | 01:10 |
portion of the image onto another, and you
have to specify the source.
| | 01:15 |
That is the area that you want to clone,
an then drag onto the destination, that is
| | 01:19 |
the area that you want to heal away.
So, I'm going to start things off by
| | 01:23 |
reducing the size of my cursor so that we
have a very small brush.
| | 01:28 |
Mine happens to be six pixels, as you can
see up here on the left side of the
| | 01:31 |
Options bar.
And the most important detail to match is
| | 01:35 |
this crease, so I'm going to press the Alt
key or the Option key in the Mac.
| | 01:40 |
Those are my cursor changes to a little
target.
| | 01:42 |
Then, I'll click right there just above
the hair on the crease in order to specify
| | 01:46 |
that point as my source.
And then, let's increase the size of the
| | 01:50 |
cursor a little bit so I can line up the
preview.
| | 01:53 |
Right about there should be good.
Now I'll reduce the size of my cursor once again.
| | 01:58 |
And I will begin dragging from that
location.
| | 02:01 |
And then, I'll just go ahead and relase in
order to heal that tiny little area.
| | 02:05 |
And notice what a brilliant job Photoshop
has done.
| | 02:09 |
Now I want to heal away the rest of the
brush stroke.
| | 02:12 |
If I start painting in, though, I'm
going to start at that same source
| | 02:14 |
location, so I'll get a little bit of the
crease right there, which isn't what I
| | 02:17 |
want at all.
So, I'm going to press Ctrl+Z or Cmd+Z on
| | 02:21 |
a Mac, to undo that change.
And I'm going to start this stroke over
| | 02:25 |
right there just to make sure I've got
things lined up properly.
| | 02:29 |
And that looks good.
Then, I'll go up to the Options bar and
| | 02:32 |
turn on the Aligned check box to tell
Photoshop to align my various brush
| | 02:35 |
strokes to each other so that I get
consistent results.
| | 02:40 |
And now, I'll click right at that
location, right at the outside of the
| | 02:43 |
remaining hair, and I'll Shift-click in
order to draw a straight line between
| | 02:46 |
those two points.
And Shift-click, again Shift-click again
| | 02:51 |
and continue Shift-clicking 'til I've
gotten rid of the entire hair.
| | 02:57 |
And so clicking and Shift-clicking allows
you to create straight segments between
| | 03:00 |
those click points.
Now, I'll click right about there and
| | 03:04 |
Shift-click on my way to the mouth.
And finally, just to get rid of that tiny
| | 03:08 |
bit of hair inside her mouth, I'll press
the Alt key or the Option key on the Mac
| | 03:12 |
and click right about there.
Along the edge of her lip, and then I'll
| | 03:18 |
turn off the align check box, just to make
sure we're not in alignment anymore, and
| | 03:22 |
I'll paint from right there into the lip
like so.
| | 03:26 |
And that goes ahead and gets rid of that
last remaining detail.
| | 03:30 |
And just to make sure that I've done a
good job I'll press Ctrl+Z or Cmd+Z on a
| | 03:32 |
Mac to undo.
And then I'll press Ctrl+Z or Cmd+Z on a
| | 03:35 |
Mac to Redo.
And that looks pretty good.
| | 03:38 |
I might Alt-click here and click right
there in order to rid of that little bit
| | 03:42 |
of darkness.
And as long as we're here, this location
| | 03:45 |
inside the image, I'm going to Alt-click
right about there above and to the right
| | 03:49 |
of the lip.
And then I'll click on that slightly dark
| | 03:52 |
area to get rid of it.
Right, let's zoom back out in order to
| | 03:55 |
take in the image.
And I'll scroll down as well.
| | 03:59 |
A couple of other details we might want to
work on here.
| | 04:02 |
I'm going to zoom in on the hair above the
right eye which would be her left, of course.
| | 04:06 |
And I'm just going to select it with the
Lasso tool, which I can get by pressing
| | 04:09 |
the L key.
And, I'll Alt-click or Option-click around
| | 04:13 |
this detail, like so, in order to draw a
polygonal lasso around it.
| | 04:17 |
And then, I'll press Shift+Backspace or
Shift+Delete on a Mac, make sure use is
| | 04:21 |
set to content aware, click OK in order to
heal that area away.
| | 04:26 |
Press Ctrl+D or Cmd+D on a Mac to deselect
the image.
| | 04:30 |
Sometimes you'll find that the healing
brush tool, which I'll select now, is best
| | 04:33 |
employed after using another tool.
So, for example, you'll apply content to
| | 04:38 |
where fill and you go in and fix and
defects that's remain using this tool.
| | 04:43 |
So, I'll go ahead and alt click right
about there because we got some texture problem.
| | 04:48 |
And then, I'll drag up in order to fill in
that region so it's a better match.
| | 04:53 |
And I might Alt-click here, click there to
get rid of a few of these little hairs
| | 04:56 |
that have been plucked out and so forth.
Next, I'll go ahead and scroll up so that
| | 05:01 |
I can see the beginning of the hair.
Now, I don't really feel like we need to
| | 05:05 |
heal this top region of hair.
Because it's not interfering with main
| | 05:09 |
details in the image such as the mouth and
the eyes and so forth.
| | 05:13 |
But I do want to heal away that blemish.
So, I'll increase the size of my cursor by
| | 05:16 |
pressing the right bracket key.
And then I'll Alt-click or Option-click,
| | 05:20 |
right about there, to make sure we have a
bit of hair inside the source point.
| | 05:25 |
Then, I'll move my cursor up so it covers
up the blemish, and I'll click in order to
| | 05:28 |
heal that detail.
I'll zoom out again and take in the entire image.
| | 05:33 |
Again, just to give you a sense of what
we've done, I'll turn off the retouch layer.
| | 05:37 |
There's our original image with the hair
coming into her mouth, the hair coming
| | 05:40 |
down into the eye, and the little blemish
above the eyebrow.
| | 05:45 |
And here's our healed image so far.
So that gives you a sense of how to work
| | 05:48 |
with the standard healing brush.
In the next exercise, I'll show you how to
| | 05:52 |
work with a Clone Source panel.
| | 05:54 |
| | Collapse this transcript |
| Meet the Clone Source panel| 00:00 |
In this movie, I'll show you how to
use the Clone Source panel to rotate the
| | 00:05 |
angle of the source so that you
can exactly match fragile details.
| | 00:10 |
And most of the hairs are healed at
this point, but we still have a hair coming
| | 00:14 |
into the left-hand eye,
her right eye, of course.
| | 00:17 |
So I'll go ahead and zoom in on that
detail and I'll switch to the Healing Brush
| | 00:21 |
tool, which is my Standard Healing
Brush, and reduce the size of my cursor a
| | 00:26 |
little bit and then I'll Alt+Click or
Option+Click on the Mac on this hair
| | 00:31 |
detail down here, let's say,
in order to lift it as a source.
| | 00:35 |
But then when I move my cursor over
the portion of the image that I want to
| | 00:38 |
paint away, you can see that the
angle of the hair inside my Brush Preview
| | 00:42 |
doesn't exactly match the angle of
that hair that's coming downward.
| | 00:45 |
So if I start painting away, like so,
we're going to get a very bad match.
| | 00:50 |
So I'll press Ctrl+Z or Command+
Z on the Mac to undo that change.
| | 00:53 |
It turns out there is a way
to rotate that hair into place.
| | 00:57 |
Go up to the Window menu and choose Clone
Source to bring up the Clone Source panel.
| | 01:03 |
Notice you have all these options for
scaling the size of the source, you can
| | 01:06 |
also flip the source
horizontally or flip it vertically.
| | 01:10 |
And flipping horizontally is
particularly useful if you want to clone a detail
| | 01:14 |
from the left side of somebody's face
onto the right side, for example, if one
| | 01:18 |
eye is closed more than the other.
| | 01:20 |
But the most common way to use this panel,
in my experience, is to rotate the source.
| | 01:25 |
So I'm going to go ahead and click on this
Rotate icon in order to make the value active.
| | 01:30 |
And then I will move my brush cursor over
the hair so that I can see what I'm doing.
| | 01:34 |
And I'll start things up by
pressing and holding Shift+Up arrow, which
| | 01:38 |
increases the value, as you can see
here inside the panel, but that apparently
| | 01:41 |
is going the wrong direction.
| | 01:43 |
I've rotated my cursor
clockwise instead of counterclockwise.
| | 01:47 |
So I'll press and hold Shift+Down arrow
to rotate it the other direction and at
| | 01:52 |
-15 degrees I've gone too far.
| | 01:54 |
So I'll press Shift+Up arrow a few
times, and it appears that a value of
| | 01:59 |
-7 degrees works out great.
| | 02:02 |
So once I have achieved a value that
looks pretty good, I'll go ahead and
| | 02:05 |
paint over the hair, as I did before, and see
if I get a better result, and sure enough I do.
| | 02:11 |
I think my brush is too big.
| | 02:12 |
So I'm going to press Ctrl+Z or Command+Z
on the Mac in order to undo that brush stroke.
| | 02:16 |
Reduce the size of my brush by
pressing left bracket key a couple of times,
| | 02:21 |
and then I'll click and I'll Shift+Click my
way into the upper left region of the eye.
| | 02:26 |
And then Alt+Click or Option+Click again
in order to load a different source point.
| | 02:30 |
And then I'll Alt+Click or Option+Click
again and paint over this little defect.
| | 02:34 |
And then finally, I'll Option+Click or
Alt+Click on the inside of that hair and
| | 02:39 |
I'll paint my way in, like so.
| | 02:42 |
And that looks pretty darn good, I think.
| | 02:43 |
I'll Alt+Click or Option+Click and then
drag down like that in order to get rid
| | 02:47 |
of the little bit of repeated detail,
because I don't want to see repetition of
| | 02:51 |
detail inside the image, if I can avoid it.
| | 02:53 |
Notice also we have this wrinkle
that's going at the wrong angle.
| | 02:56 |
Alt+Click or Option+Click right about
there in order to load a region of creased
| | 03:01 |
skin, and I'll increase the size of my
cursor and paint, like so, and see if I
| | 03:06 |
get a better result.
| | 03:08 |
And I guess I kind of do, but I'm not
sure that's really at the right angle.
| | 03:12 |
So I'll press Ctrl+Z or Command+Z
on the Mac to undo that brush stroke.
| | 03:15 |
I'll go back to the Clone Source panel
and I'll click on this little button that
| | 03:19 |
says Reset transform.
| | 03:21 |
And then I'll go ahead and get rid of
that Rotational value so that I'm matching
| | 03:25 |
the angle of the creases which is what I want.
| | 03:27 |
Then I want to bring the crease in a little bit.
| | 03:29 |
So I'll turn on the Align check box and click
right about there in order to fix that detail.
| | 03:35 |
We've got another little spot right
there that I'll get rid off as well.
| | 03:38 |
Let's see what we've done here.
| | 03:40 |
I'll go ahead and zoom out just a
little bit so we can take in the eye at 100%.
| | 03:44 |
This is the hair from the original
version of the image and this is the hair
| | 03:47 |
removed, thanks to our ability to
rotate the source point from the Clone
| | 03:51 |
Source panel.
| | 03:53 |
| | Collapse this transcript |
| Caps Lock and Fade| 00:00 |
In this movie, I'll show you a couple
of tricks for working with the Healing
| | 00:03 |
Brushes, one of which allows you to
change the appearance of your cursor so
| | 00:07 |
you can better see what you're doing,
and the other allows you to heal at
| | 00:10 |
reduced levels of Opacity.
| | 00:12 |
I've saved my progress as More edits.psd,
so called because I went ahead and
| | 00:17 |
used the Spot Healing Brush to correct
about a dozen more blemishes on her skin,
| | 00:21 |
but I went ahead and left the big ones.
| | 00:23 |
I'm going to zoom in on her lip and you
can see over here in the right-hand side
| | 00:28 |
that she has a little bit of roughness,
and also looks like the lipstick is
| | 00:31 |
either being absorbed
differently or it's not there all.
| | 00:34 |
So let's go ahead and make that region
a little more consistent by switching
| | 00:38 |
over to the Standard Healing Brush once
again and I'm going to press the Alt key
| | 00:42 |
or the Option key on the Mac in order
to source this lower region of the lip.
| | 00:47 |
And then, I'll move my cursor up.
| | 00:49 |
Now sometimes it's a little bit hard
to align details when you're seeing that
| | 00:52 |
white circle around the brush, and if
you want to hide the white circle, then
| | 00:56 |
you can press the Caps Lock key.
| | 00:58 |
So just tap the Caps Lock key, and
instead of the white circle round the brush,
| | 01:02 |
you'll see a cross on the inside
and you also see the Brush Preview.
| | 01:05 |
And then you can just go ahead and
paint over the detail, like so, in order
| | 01:10 |
to heal that area way.
| | 01:11 |
If you paint into your brushstroke
like I'm doing right now, notice those
| | 01:16 |
two crosses on screen.
| | 01:17 |
The upper right one is the
destination, the lower left one is the source.
| | 01:21 |
If I move the source into the
brushstroke, well, rather than repeating the
| | 01:25 |
detail, Photoshop is sourcing from the
original appearance of the image, which
| | 01:28 |
is going to give you
smoother results. All right,
| | 01:31 |
I'll go ahead and release that
brush stroke and notice we get an
| | 01:34 |
awfully good-looking heal.
| | 01:36 |
However, there are some
repeated details going on.
| | 01:39 |
Now ideally, what I would have been
able to do is reduce the Opacity of my
| | 01:43 |
brush up here in the Options bar.
| | 01:45 |
But while you have control over the
Blend Mode, which may or may not prove to do
| | 01:49 |
you any good, you don't
have any control for Opacity.
| | 01:52 |
Instead what you do, is you fade your
last brush stroke by going to the Edit menu
| | 01:57 |
and choosing Fade Healing Brush,
bearing in mind, of course, that you have to
| | 02:01 |
choose that command immediately after
applying the brush stroke and before you do
| | 02:05 |
anything else to the image.
| | 02:06 |
So I'll go ahead and choose the command
and then I'll reduce the Opacity value.
| | 02:11 |
Notice I don't have control over the
blend mode where healing is concerned, but
| | 02:15 |
I can reduce the Opacity.
| | 02:17 |
And as I do so, if I take it down,
for example, to 0%, then I'll see the
| | 02:22 |
original version of that lip.
| | 02:24 |
And if I increase the Opacity, I'll
bring back the healed version and at an
| | 02:29 |
opacity of about 70%, I think
things end up looking really great.
| | 02:33 |
So I'll click OK in order accept that change.
| | 02:36 |
Let's go ahead and zoom out now and
take in the other area that really needs
| | 02:40 |
some help, which is the side of her cheek.
| | 02:43 |
Notice how it has some pretty rough
transitions and we have this darkness that's
| | 02:47 |
spilling over too far to the left.
| | 02:50 |
So what I might do, just one way to
approach this is to grab the Spot Healing
| | 02:54 |
Brush once again, and then press the
Caps Lock key to turn it off, so I can see
| | 02:59 |
the size of my cursor.
| | 03:00 |
And I'm going to press the right
bracket key to increase the size to take up
| | 03:03 |
this whole region of cheek.
| | 03:05 |
I'm just going to wing it.
| | 03:06 |
I'll just click on that
area and see what happens.
| | 03:09 |
So this is the before version, this is
the after version, not perfect by any
| | 03:14 |
means, but I can fade it once again.
| | 03:16 |
You've got a keyboard shortcut of Ctrl+
Shift+F for fade or Command+Shift+F on
| | 03:20 |
the Mac, and I'll just change
this guy to 50% and click OK.
| | 03:24 |
I could also clone from the other cheek,
but to do that, I would have to switch
| | 03:29 |
back to the Standard Healing Brush and I'll
increase the size of my cursor quite a bit.
| | 03:34 |
I'll Alt+Click or Option+Click on
this left cheek, her right of course,
| | 03:39 |
in order to source it.
| | 03:40 |
Then I'll move the cursor over into the
right-hand region of the image and paint
| | 03:44 |
over the cheek, like so.
| | 03:45 |
And that brings back some pores, as you can
see, but obviously, it's a little too much.
| | 03:50 |
So I'll press Ctrl+Shift+F once again,
Command+Shift+F on the Mac, try an
| | 03:54 |
Opacity value of, let's say, 35%
might end up looking pretty good.
| | 03:59 |
So we're kind of splitting the
difference between bringing back some pores so we
| | 04:03 |
don't have too many smushy details
and, of course, retaining the original
| | 04:06 |
luminance associated with the
right-hand side of the image.
| | 04:09 |
All right, now I'll click OK in
order to accept that modification.
| | 04:13 |
Finally, I'm going to switch back to
the Healing Brush tool and reduce the size
| | 04:17 |
my cursor and just paint inside that
little V of brightness there, and that does
| | 04:21 |
darken things up a little bit.
| | 04:23 |
Again I'll press Ctrl+Shift+F, Command+
Shift+F on the Mac, reduce the Opacity,
| | 04:27 |
let's say, this time to 50%, it looks
pretty good, and click OK in order to
| | 04:32 |
accept that modification.
| | 04:34 |
So there you have it.
| | 04:35 |
If you want to hide that circle around
the brush cursor, then just press the
| | 04:38 |
Caps Lock key in order to get a cross instead.
| | 04:41 |
And then if you want to bring the
circle back, turn off Caps Lock.
| | 04:44 |
And that's what's known, by
the way, as a precise cursor.
| | 04:46 |
It works with all the tools inside Photoshop.
| | 04:49 |
And then if you want a paint a
translucent brush stroke with one of the healing
| | 04:51 |
brushes, just go ahead and paint away
and fade the brushstroke after the fact.
| | 04:57 |
| | Collapse this transcript |
| The Dodge and Burn tools| 00:00 |
In this movie, I'll show you how to use
the Dodge and Burn tools which allow you
| | 00:04 |
to paint in brightness
and darkness respectively.
| | 00:08 |
Except for this contouring over here
on the right-hand cheek, we've got two
| | 00:13 |
areas that I don't like, one is this
little bit of brightness right there in the
| | 00:17 |
center, it makes it look like we have a
lump or a divot or something, and then
| | 00:21 |
we've got this little bit of darkness
on the right-hand side that makes the
| | 00:25 |
cheek look like it has uneven contour.
| | 00:28 |
So I am going to deselect the
image there just by clicking.
| | 00:31 |
And the Dodge tool is by default the
last tool in this second group of tools and
| | 00:36 |
notice that it has a keyboard shortcut of O.
| | 00:38 |
If you don't see the Dodge tool,
click and hold on the tool, and select the
| | 00:41 |
first tool from the flyout menu, and
then I will increase the size of my brush
| | 00:45 |
by pressing the right bracket key.
| | 00:47 |
Also right-click inside the image
window so that you can see by default, the
| | 00:51 |
hardness is set to 0%
which is exactly what we want.
| | 00:54 |
We want a nice soft brush.
| | 00:57 |
So I will press the Enter key to hide
that pop-up panel, and then I'll just
| | 01:00 |
paint inside this region like so,
and that gives me too much brightness.
| | 01:05 |
And that's because the Exposure by default
is set to 50%, which is generally too high.
| | 01:10 |
So I will press Ctrl+Z or Command+Z on
the Mac to undo that change, and then I
| | 01:14 |
will press the 2 key to reduce the
Exposure value to 20%, and now I will paint
| | 01:20 |
again which ends up giving me a better result.
| | 01:23 |
Now I'll paint-in another
brushstroke right about there.
| | 01:26 |
I think I've gone too far, in which
case you can fade the brushstroke by
| | 01:30 |
pressing Ctrl+Shift+F or Command+Shift+
F on the Mac to bring up the Fade dialog
| | 01:34 |
box and then I will try reducing
that Opacity to 50%, looks good!
| | 01:39 |
So I will click OK.
| | 01:40 |
Now let's address the
regions that are too bright.
| | 01:42 |
I will go ahead and click and hold on
the Dodge tool and choose the Burn tool
| | 01:46 |
from the flyout menu.
| | 01:47 |
And the way I remember the
difference between these tools is burning
| | 01:50 |
makes things darker.
| | 01:51 |
For example, if you burn toast, it's
going to be very dark, whereas, dodging is
| | 01:56 |
the other tool, so it makes things bright.
| | 01:58 |
Anyway I am going to switch to the Burn tool.
| | 02:01 |
Again it has an awfully high
Exposure value, 50% by default.
| | 02:04 |
So I am going to press the 2
key to reduce that value to 20%.
| | 02:09 |
I will increase the size of my cursor a
little bit, again by pressing the right
| | 02:12 |
bracket key, and I will click right about there.
| | 02:15 |
And that maybe goes too far, so I will
press Ctrl+Shift+F or Command+Shift+F on
| | 02:20 |
the Mac to bring up the Fade dialog box,
change the Opacity to 50%, and press
| | 02:24 |
the Enter or Return key in
order to apply that change.
| | 02:27 |
I will also go ahead and zoom in
so I can better see what I am doing.
| | 02:30 |
It's that little area of brightness
right there that I'd like to calm down, so I
| | 02:34 |
will click on it, that looks pretty good.
| | 02:36 |
And then I will increase the size of
my brush, and click right about there on
| | 02:40 |
that area that's too bright.
| | 02:42 |
And again, I might have gone too
far, so I will press Ctrl+Shift+F,
| | 02:45 |
Command+Shift+F on the Mac, and this
time, I'll just press Shift+Down arrow a
| | 02:49 |
few times until I reduce that
Opacity value to 70%, click OK in order to
| | 02:53 |
accept that change.
| | 02:55 |
Let's try clicking right about
there with the smaller brush.
| | 02:59 |
Again maybe that's too much, so I will
press Ctrl+Shift+F or Command+Shift+F on
| | 03:03 |
the Mac, take the Opacity down to 50%
and press the Enter key or the Return key
| | 03:07 |
on the Mac in order to
make that change. All right,
| | 03:10 |
Let's go wide again, just so I can see
what I am doing from a decent vantage point.
| | 03:13 |
Now there is a couple of regions
that remain a little bit too bright in my
| | 03:17 |
opinion, so I will increase the size of
my cursor slightly and drag up like that
| | 03:21 |
in order to continue that
shadow from the nose over a little.
| | 03:24 |
And again, that looks like I might
have gone too far, this is the way things
| | 03:28 |
work when you're brushing with these tools.
| | 03:30 |
So I will press Ctrl+Shift+F, Command+
Shift+F on the Mac, reduce the Opacity to
| | 03:34 |
50%, press the Enter key or the Return
key on the Mac, and then may be brush up
| | 03:38 |
into this region,
definitely went too far that time.
| | 03:41 |
So press Ctrl+Shift+F or
Command+Shift+F on the Mac.
| | 03:44 |
Let's try 30% and see if that works.
| | 03:47 |
That looks actually pretty good.
| | 03:48 |
Then I will click OK in
order to accept that change.
| | 03:52 |
You can reverse the effect a
little by using the opposite tool.
| | 03:55 |
So I'm feeling like that area is a
little bit too dark, so I will switch from
| | 03:59 |
the Burn tool back to the Dodge tool,
and I'll just give it a click right at
| | 04:03 |
that location, and that
brightens things up in the way I like.
| | 04:07 |
So technically, it's a destructive
modification to work back and forth that way.
| | 04:10 |
Now you have to be realistic as well.
| | 04:12 |
So going back and forth a little
bit doesn't hurt, and now I'd like to
| | 04:16 |
reintroduce some texture in this area.
| | 04:18 |
So I'll switch over to my Standard
Healing Brush tool and I will Alt+Click or
| | 04:22 |
Option+Click in the left-hand cheek in
order to lift some of that porous detail.
| | 04:27 |
And this time, I am going to switch
the mode from Normal to Screen, so that I
| | 04:31 |
brighten up the details because I
don't really want to introduce too much
| | 04:34 |
darkness, and I will click right about
there with a fairly large brush, in order
| | 04:38 |
to add some texture.
| | 04:39 |
And so this was before
that click, and this is after.
| | 04:43 |
So in addition to adding a little bit
of texture below the eye, I also went
| | 04:46 |
ahead and changed out the texture a
little bit as you can see, so this is
| | 04:49 |
before and this is after, but it
ultimately makes for a more even transition,
| | 04:54 |
and that's at least one way to employ
the Dodge and Burn tools very judiciously
| | 04:59 |
here inside Photoshop.
| | 05:01 |
| | Collapse this transcript |
| Adjusting color with the Brush tool| 00:00 |
In this movie, we'll use the Brush
tool to even out the coloring of the flesh
| | 00:04 |
tones as well as knock down some of
the shine on the model's forehead.
| | 00:08 |
And if you zoom in on the makeup
underneath the model's eyes, you can see that
| | 00:12 |
it doesn't quite match the
coloring of the natural skin tones.
| | 00:15 |
You can see it's even more
evident over here on the left-hand side.
| | 00:19 |
So we're going to take care of that
problem using the Brush tool, which
| | 00:23 |
you'll find directly below the Healing
Brush, and you can get to the tool by
| | 00:26 |
pressing the B key.
| | 00:27 |
And if for some reason you see some
other tool in the slot, go ahead and click
| | 00:31 |
and hold on that tool and choose
the Brush tool from the flyout menu.
| | 00:35 |
Now I'm going to increase the size of my brush.
| | 00:37 |
If I was just starting just painting
inside the image, I would paint with the
| | 00:41 |
foreground color, which by default is black.
| | 00:43 |
So I create this fuzzy black brush stroke.
| | 00:46 |
Obviously, that's not what I want.
| | 00:47 |
So I'll press Ctrl+Z or Command+Z
on the Mac to undo that change.
| | 00:51 |
However I do want a fuzzy brush.
| | 00:53 |
So I'll right-click inside the image.
| | 00:54 |
Make sure your Hardness value is set
to 0% for this effect to work, and then
| | 00:59 |
press the Enter key or the Return
key on the Mac to hide that panel.
| | 01:02 |
What I'm going to do is lift a flesh
tone by pressing and holding the Alt key
| | 01:06 |
or the Option key on the Mac and that
gets me my Eyedropper on the fly, and
| | 01:10 |
then I'll click inside the image to lift the flesh
tone, as you can see at the top of the circle.
| | 01:14 |
And here inside the Color panel, I'm
going to adjust my Hue, Saturation, and
| | 01:18 |
Brightness values just a little bit.
| | 01:20 |
I want a Hue value of 15 degrees
so that's perfect.
| | 01:22 |
Saturation should be more like 30% and
the brightness should be more like 60%.
| | 01:28 |
Now if I paint a brush
stroke it will be in that color.
| | 01:31 |
However we're not getting any
interaction between the brush stroke and the image.
| | 01:35 |
So again, I'll press Ctrl+Z
or Command+Z on the Mac.
| | 01:38 |
What I need to do is assign a blend mode.
| | 01:40 |
So I'll go up here to the Options bar
and change the mode from Normal to Color.
| | 01:45 |
In that way, we'll override the
color of the makeup, but we'll keep all
| | 01:48 |
the surface detail which is conveyed by
luminosity, that is the luminance information.
| | 01:52 |
So I'll go ahead and choose color and
then paint over this region, like so.
| | 01:57 |
Now we're getting some colors that
are awfully hot, as you can see, that is
| | 02:01 |
overly-saturated in the shadow detail.
| | 02:04 |
So we need to break color into its two parts.
| | 02:07 |
I'll press Ctrl+Z or Command+Z
on the Mac to undo that change.
| | 02:10 |
If I go back to the Blend Mode pop-
up menu, you'll see that there's two
| | 02:14 |
options above color;
| | 02:15 |
Hue and Saturation.
| | 02:16 |
Those are the ingredients that make up color.
| | 02:18 |
We were having a problem with saturation.
| | 02:21 |
So in other words, we want to keep the
natural saturation values, in which case,
| | 02:25 |
I'll select Hue so that the hue
is the only thing we're changing.
| | 02:28 |
And now I'm going to increase the size
of my brush just a little bit more and
| | 02:32 |
paint inside of this region of makeup, like so.
| | 02:35 |
And then I'll reduce the size of my cursor and
paint over this little bit of makeup as well.
| | 02:39 |
It's a pretty subtle change so far.
| | 02:42 |
However over here on the left-hand side,
it's not going to be quite so subtle.
| | 02:45 |
So I'll pan over to that location,
increase the size of my brush and paint
| | 02:49 |
underneath the eye and we
get a more credible effect.
| | 02:52 |
So we can still tell that she's wearing makeup,
but at least, the makeup is the right color.
| | 02:56 |
All right, now I'm going
to zoom out a little bit.
| | 02:59 |
You may recall that the model has some
shine on her forehead and on her cheek
| | 03:03 |
over here on the left-hand side.
| | 03:05 |
What you might do to solve this
problem is switch over to the Burn tool and
| | 03:10 |
then instead of burning the midtones,
which is the default range, you'd burn
| | 03:14 |
the highlights instead.
| | 03:16 |
However when you burn highlights in
Photoshop, you usually get some pretty bad
| | 03:20 |
results because Photoshop doesn't have
any real color information to work with
| | 03:24 |
inside those highlights.
| | 03:26 |
I'll go and press Ctrl+Z or Command+Z
on the Mac to undo that change.
| | 03:29 |
Your better approach is to switch back
to the Brush tool and let's lift a very
| | 03:34 |
light color from the forehead here.
| | 03:36 |
I'll Alt+Click or Option+Click at
this location and that brightens up the
| | 03:40 |
foreground color significantly, as you
can see along the top of the circle.
| | 03:45 |
And once again, I'm going
to adjust my HSB values.
| | 03:47 |
I'll take the Hue value up to 20 degrees and
then I'll lift the Saturation value to 15%
| | 03:53 |
and the Brightness value should be around 85%.
| | 03:57 |
All right, now I'm going to switch to a
different blend mode, because we want to
| | 04:00 |
darken, the best blend mode for
our purposes will be Multiply.
| | 04:03 |
I'll go ahead and select that mode.
| | 04:05 |
Press the Escape key so the mode is no
longer active here on the PC and then
| | 04:09 |
press the right bracket key a few
times in order to increase the size of my
| | 04:12 |
brush and just paint
along that highlight, like so.
| | 04:15 |
I've gone way too far.
| | 04:17 |
Let's press Ctrl+Shift+F, Command+
Shift+F on the Mac in order to bring up
| | 04:21 |
the Fade dialog box.
| | 04:22 |
I'll reduce the Opacity to 50%.
| | 04:24 |
See how that looks.
| | 04:25 |
You might want to take it farther down
actually, so I'll take it down to 30% in
| | 04:28 |
order to create the effect you see
in the video, and then I'll click OK.
| | 04:33 |
And I might try it again, actually.
| | 04:35 |
Paint up with a smaller brush
stroke along the highlight and then press
| | 04:39 |
Ctrl+Shift+F or Command+Shift+F on the
Mac, and let's take the Opacity value
| | 04:42 |
down to 20% and that looks pretty darn good.
| | 04:45 |
Now I'll click OK in
order to accept that effect.
| | 04:48 |
Let's go ahead and do the
same thing here in the cheeks.
| | 04:50 |
So we'll just paint along the cheek
and then I'll press Ctrl+Shift+F. Let's
| | 04:54 |
start at 20% and see how things look.
| | 04:56 |
And then I'll go ahead and raise
it to 30% and that looks great.
| | 04:59 |
And notice, by the way, that Photoshop
is smart enough to know that I used the
| | 05:04 |
Multiply Blend mode, so I could switch it out
to a different mode if I wanted to on the fly.
| | 05:08 |
For example, if I wanted to color the
cheek instead of darkening it, I would
| | 05:12 |
switch to the Color mode.
| | 05:13 |
It's not what I want though.
| | 05:14 |
I'll go ahead and switch things
back to Multiply and then click OK to
| | 05:18 |
accept that change.
| | 05:20 |
Just a couple of other items
that I might want to modify.
| | 05:23 |
By the way, you could
change the Opacity on the fly.
| | 05:27 |
So I could say, gosh, you know, I'll
press the 5 key to reduce the Opacity value
| | 05:31 |
to 50% and then I'll paint over this area.
| | 05:34 |
The problem is that it's easier to do
the Fade from the Fade dialog box because
| | 05:38 |
you can see it happen as opposed to trying
to anticipate what it's going to look like.
| | 05:43 |
So now, I'll press Ctrl+Shift+F,
Command+Shift+F on the Mac.
| | 05:46 |
It shows me that my Opacity
value is 50%, which is awesome.
| | 05:50 |
I'll take it down to 30% and click OK.
| | 05:53 |
And then I'll paint along just under the left
eyebrow, and actually that looks good at 50%.
| | 05:58 |
So I'll leave it as is.
| | 05:59 |
All right, and I'll switch back
to the Rectangular Marquee tool.
| | 06:03 |
Let's go ahead and reset the View once again.
| | 06:05 |
And just to give you a sense of what we
were able to accomplish here, I'll press
| | 06:09 |
the F12 key in order to revert the image
to its saved appearance and you can see
| | 06:14 |
that we have some awfully bright shine
up on the forehead and this off-color
| | 06:18 |
makeup, for example, under the left eye.
| | 06:20 |
And then if I press Ctrl+Z or Command+
Z on the Mac in order to reinstate my
| | 06:24 |
changes, the skin tones are looking a lot
more organic to the model's natural coloring.
| | 06:29 |
And that's how you use the Brush tool
to adjust the coloring of a portrait
| | 06:32 |
shot here in Photoshop.
| | 06:35 |
| | Collapse this transcript |
| Smoothing skin textures| 00:00 |
In this movie, I'll show you how to further even
out the skin coloring and texture
| | 00:05 |
using a filter called Gaussian blur.
| | 00:08 |
Now what we need to do is create yet another layer,
by selecting this Retouch layer and pressing
| | 00:13 |
Ctrl+Alt+J or Command+Option+J on a Mac, and then
I'll name the layer blur and click OK.
| | 00:19 |
Now let's go ahead and blur the image by
going up to the Filter menu,
| | 00:23 |
choosing Blur, and then choosing
the Gaussian Blur command.
| | 00:27 |
For this image, a Radius of 20 pixels works well,
but if you're working with a higher resolution image
| | 00:32 |
then you'd want to increase that value.
| | 00:34 |
Basically you want to see absolutely smooth contouring
inside the image, of course we're losing detail at this point,
| | 00:42 |
but we're going to bring it
back in the following steps.
| | 00:44 |
So once you arrive at a Radius value that gives
you an effect that resembles the one you see in the video,
| | 00:50 |
then click OK to apply the filter.
| | 00:52 |
Now notice I've got my
Rectangular Marquee tool selected,
| | 00:56 |
which means I can adjust the Opacity of
this layer just by pressing a number key,
| | 00:59 |
so I'll press the 5 key to
take the Opacity down to 50%
| | 01:04 |
and that does a great job of
evening out those skin tones,
| | 01:07 |
but it also blurs the details, such as the
eyelashes and the eyebrows, and the lips and so forth.
| | 01:13 |
So what I'm going to have you do is turn off this blur
layer for a moment and switch back to the retouch layer
| | 01:19 |
and use the Rectangular Marquee tool
to select a few regions of the skin,
| | 01:23 |
so I'm going to select some of the left cheek,
| | 01:25 |
and I'm going to Shift+Drag around some the right
cheek--don't go too far into the shadows for this,
| | 01:30 |
then I'll pan down and select a little bit
of the shadow detail below the lip.
| | 01:34 |
But again, I'm not selecting
anything that's too dark,
| | 01:37 |
and now let's check the settings associated
with the Magic Wand tool by switching
| | 01:41 |
to the Magic Wand, make sure all the options
are set to their defaults up here in the options bar.
| | 01:46 |
Specifically the tolerance value should be 32,
then go up to the Select menu and choose
| | 01:52 |
the Similar command in order to
select all portions of the image that are
| | 01:56 |
deemed to be similar to those selected regions.
| | 01:59 |
Now we need to add a little more
to the selection using the Lasso tool,
| | 02:03 |
so go ahead and select the Lasso,
| | 02:05 |
and then press the Shift key and drag around
these details in the nose, above the lip for example,
| | 02:11 |
and then over here on
right-hand side of the image.
| | 02:14 |
And you don't have to get it exactly right.
| | 02:19 |
So don't worry if you end up with a
meandering selection outline.
| | 02:22 |
Now I missed some of the chin, so I will
Shift+Drag around it as well.
| | 02:26 |
And I may Alt+Drag or Option+Drag in order to deselect
regions, like I don't want any of this here down in the
| | 02:32 |
lower-left portion of the image to be selected.
| | 02:36 |
And I don't want the hair in the upper-left
region of the image to be selected either.
| | 02:41 |
So I'll Alt+Drag around this region, Alt+Drag around
here as well, that's an Option+Drag on the Mac of course.
| | 02:49 |
And then Shift+Drag around this
right-hand region of the forehead,
| | 02:54 |
and Shift+Drag underneath the eyebrow
over on the right-hand side as well.
| | 02:58 |
All right, this is a decent base
selection, believe it or not,
| | 03:01 |
but we need to feather it, that is blur the selection
outline, and you do that by going up to the Select menu, choosing
| | 03:08 |
Modify and then choosing the Feather command.
| | 03:11 |
And I'm going to go with that same
radius value that I applied with Gaussian Blur,
| | 03:15 |
which is to say 20 pixels. If you use the different Gaussian
Blur value, you'll want to enter that value into this
| | 03:21 |
dialog box as well. Then click OK.
| | 03:24 |
Now let's convert the selection to a layer mask.
By clicking on the blur layer, I'll turn the layer back on.
| | 03:29 |
Then I'll drop down to the Add layer mask icon
at the bottom of the Layers panel and click on it.
| | 03:34 |
And that goes ahead and masks away
some of the details in the blurred image,
| | 03:38 |
meaning that it brings that portion
of the image back into focus.
| | 03:42 |
All right, we need to paint back in a few more details.
Switch to the Brush tool, which you can get by pressing the B key.
| | 03:47 |
Make sure your foreground color is black.
| | 03:49 |
If it isn't, here's what you do.
You press the D key to make the foreground color white
| | 03:54 |
and then you press the X key
| | 03:56 |
to swap the foreground and background
colors so it's black.
| | 04:00 |
Make sure your Opacity is set to 100% at
first and that you're working with a very
| | 04:04 |
blurry brush. So I'll right-click inside the image
| | 04:06 |
and confirm that the hardness is 0%;
| | 04:09 |
then I'll press the Enter key or the Return key
on the Mac in order to hide that panel.
| | 04:13 |
Then I'll paint inside the eyes in order to
restore the detail around the eyes.
| | 04:18 |
And I'll go ahead and paint inside some
of the mouth as well, specifically the teeth,
| | 04:22 |
then what I encourage you to do is press the 5 key
to reduce the Opacity of the brush to 50%,
| | 04:28 |
and paint over some of the other details
you want to keep, such as the creases around
| | 04:32 |
the mouth. And you may want to paint over
| | 04:34 |
them multiple times and then you want to
paint over the nostrils to bring them back,
| | 04:38 |
around the nostrils as well, because we want
that detail to be there.
| | 04:42 |
I want to paint over the eyebrows in order
to bring back some of that detail and
| | 04:46 |
we seem to have brought maybe a little bit too
much detail back around the eyes.
| | 04:51 |
So I'll reduce the size of my brush
by pressing the left bracket key,
| | 04:54 |
then I'll press the X key to
switch the foreground color to white
| | 04:58 |
and I'll paint around the eyes in
order to bring back some of the blur.
| | 05:01 |
But I'm not seeing any difference and that's
because my blend mode is still set to Multiply.
| | 05:05 |
So I'll go ahead and switch it back to Normal
| | 05:08 |
and then paint under the eye, and you can see
that now we're bringing back some blurriness.
| | 05:13 |
And I'll continue to paint around both
eyes in order to soften those details and
| | 05:17 |
I might come back to a few details as well.
| | 05:20 |
So as long as you keep your brush small,
soft and translucent, you can paint back and
| | 05:24 |
forth as many times as you like.
| | 05:26 |
All right, I'm going press the X key to
make my foreground color black again,
| | 05:30 |
and I'll paint once again over each of the nostrils.
| | 05:33 |
Let's go ahead and center
the image a little bit here.
| | 05:35 |
And just to give you a sense of
what we were able to accomplish,
| | 05:39 |
I'll Alt+Click on the eyeball in
front of the background layer.
| | 05:41 |
So this is the original version of the image
that I loaded several movies ago and this
| | 05:46 |
is the retouched image so far. The only thing
left is to whiten up the teeth
| | 05:51 |
and increase the saturation of the irises,
| | 05:53 |
and I'll show you how to do exactly
that in the next two movies.
| | 05:58 |
| | Collapse this transcript |
| Brightening teeth| 00:00 |
In this movie, I'll show you how to
whiten and brighten teeth using a combination
| | 00:05 |
of the Sponge and Dodge tools.
| | 00:08 |
And I'm going to zoom in on the
model's teeth and I'm also going to switch to
| | 00:11 |
the retouch layer, because after all the
entire mouth is masked away on the blur layer.
| | 00:16 |
Now I think most people's temptation is
to grab the Dodge tool, because we look
| | 00:21 |
at teeth and we see them as being yellow,
they're dingy, let's brighten them up
| | 00:25 |
and you start painting across a smile
and that does brighten up the teeth.
| | 00:30 |
And that's because the teeth
ultimately have too much saturation.
| | 00:33 |
So I'm going to undo that
modification by pressing Ctrl+Z or Command+Z on a
| | 00:38 |
Mac and then I'll click and hold on
the Dodge tool and select the Sponge tool
| | 00:41 |
from the flyout menu.
| | 00:43 |
And notice by default the mode is
set to Desaturate, so we're removing
| | 00:47 |
saturation from the teeth
which is exactly what we want.
| | 00:51 |
So if I go ahead and paint over the
teeth, you can see that they end up looking
| | 00:53 |
less dingy and also inherently whiter
because we're pulling away that yellow.
| | 00:58 |
But a couple of problems, we're going
too far with the effect, and I'm removing
| | 01:02 |
saturation from the lips as
well which is not what I want.
| | 01:05 |
Again I'll press Ctrl+Z or Command+Z on
a Mac to reinstate the original teeth.
| | 01:10 |
What we need to do is select the
teeth before we start modifying them.
| | 01:14 |
So if you're working along with me, go
ahead and grab the Quick Selection tool
| | 01:17 |
and make sure you're working with a
small brush or I'll press the left bracket
| | 01:21 |
key a couple of times to
reduce it to 20 pixels in my case.
| | 01:25 |
And then I'll make sure that Auto
Enhance is turned on and I'll go ahead
| | 01:30 |
and paint over the gums and teeth,
so it's okay to go ahead and get the
| | 01:33 |
gums for this effect.
| | 01:34 |
In fact you want to get the gums actually.
| | 01:36 |
We'll just make sure that we don't paint
too far into them with the Sponge tool.
| | 01:40 |
And I'll go ahead and paint down
toward the lip, like so, and if you end up
| | 01:44 |
getting a little bit of lip, actually
in my case it disappeared as soon as I
| | 01:47 |
released the mouse button, but you
can deselect with this tool as well.
| | 01:52 |
But say I go too far over this direction.
| | 01:55 |
To deselect with the Quick Selection
tool you press the Alt key or the Option
| | 01:58 |
key on the Mac, and notice that goes ahead
and shows you a minus sign inside the cursor.
| | 02:03 |
Go ahead and paint the stuff
that you don't want to select away.
| | 02:06 |
And this looks like a good selection to me.
| | 02:08 |
I do want to soften it a bit so I'll go
up to the Select menu, choose Modify and
| | 02:13 |
then choose the Feather command, and
I'll go with the Feather Radius value of 2
| | 02:16 |
pixels, which will work pretty well
regardless of the resolution of your image.
| | 02:21 |
Now I'll click OK in
order to accept that effect.
| | 02:24 |
Now let's switch back to the Sponge
tool, which you can get by pressing the O
| | 02:27 |
key, and the reason, by the way, that
the Dodge, Burn, and Sponge tools have a
| | 02:32 |
keyboard of O, is because
Photoshop regards them as the Toning tools.
| | 02:37 |
So I'll switch back to Sponge,
make sure it's set to Desaturate.
| | 02:40 |
Let's take that Flow Value
down to 30% by pressing the 3 key.
| | 02:44 |
Make sure that Vibrance is turned on
so that we're reducing the vibrance as
| | 02:48 |
opposed to the saturation of the teeth.
| | 02:51 |
And again that's important because
vibrance ends up affecting low saturation
| | 02:54 |
colors more than high saturation colors.
| | 02:57 |
I'll press Ctrl+H or Command+H on the
Mac to hide the Selection outline and then
| | 03:01 |
I will paint inside the teeth in
order to remove some saturation.
| | 03:06 |
And if necessary, I might hit a couple
of the teeth the second time, so I'll
| | 03:10 |
click once in that right front tooth,
once in the left front tooth as well,
| | 03:13 |
maybe in the next lower teeth too, so
that got rid of the yellow in the teeth.
| | 03:17 |
Now at this point you might want
to brighten up the smile a bit.
| | 03:20 |
So this is when you switch over to the
Dodge tool, but you want to work with a
| | 03:25 |
very low exposure value.
| | 03:26 |
I'm going to press the 1 key to reduce
it to 10%, and then I'll just paint along
| | 03:31 |
the bottom of these front teeth,
like so, in order to brighten them up.
| | 03:36 |
And that's all there is to it.
| | 03:37 |
So creating a bright smile is one the
easier things to pull off inside of Photoshop.
| | 03:42 |
Give you a sense of what we were able to do;
| | 03:44 |
I'll press the F12 key in order to
revert to the original version of the image.
| | 03:48 |
So this is the before version of that
smile and this is the new radiant smile,
| | 03:53 |
thanks to our ability to whiten and
brighten teeth using a combination of the
| | 03:57 |
Sponge and Dodge tools.
| | 04:00 |
| | Collapse this transcript |
| Intensifying eyes| 00:00 |
In this movie, I'll show you how to
increase the color intensity as well as the
| | 00:04 |
brightness of a person's irises.
| | 00:06 |
And along the way I'll show you
a great trick for selecting eyes.
| | 00:10 |
And I'm going to start things off by,
| | 00:12 |
of course, making sure the
retouch layer is selected.
| | 00:15 |
And then I'll switch over to the
Sponge tool, which not only allows you to
| | 00:19 |
desaturate colors but you can
increase your saturation as well.
| | 00:23 |
Go ahead and switch the mode
from Desaturate to Saturate.
| | 00:26 |
And then I'll press the Escape key so the
modes no longer active here on the
| | 00:30 |
PC, and I'll press the 5 key in
order to increase the Flow value to 50%.
| | 00:35 |
Now you want your cursor to be about
the same size as the iris, and as usual
| | 00:40 |
with these toning tools, you want to
make sure that the Hardness value is set to
| | 00:44 |
0% and I'm confirming this by right
-clicking inside the image window.
| | 00:48 |
And then I'm going to click three times;
| | 00:50 |
one, two, three on each of the two
irises so one, two, three on this one as well.
| | 00:57 |
I'll switch over to the Dodge tool which
I can get by pressing Shift+O by the way.
| | 01:02 |
And I'm going to increase the
Exposure value to 20% by pressing the 2 key.
| | 01:06 |
And I'll reduce the size of my cursor
once again so it matches the size of the
| | 01:10 |
iris, and I'll click once inside each one of
the irises just to brighten them up slightly.
| | 01:16 |
So you can go farther with the
modification if you want to, but to me that
| | 01:20 |
looks bright enough.
| | 01:21 |
Now let's say you want to push
the color intensity even farther.
| | 01:24 |
You probably don't want to click any
more times with the Sponge tool, because
| | 01:27 |
each time you modify the eye with the
Sponge tool you also end up affecting the
| | 01:31 |
portions of the eyelids and
skin above and below the iris.
| | 01:36 |
You're better off making any
further changes using an Adjustment layer
| | 01:39 |
constrained inside of a layer mask,
which means that we need to select the
| | 01:43 |
eyes and here's how.
| | 01:45 |
As opposed to using the Quick Selection
tool, or the Magic Wand, or even the Lasso
| | 01:49 |
tool, your best tool for selecting
eyes is the Elliptical Marquee, and let me
| | 01:54 |
show you how that works.
| | 01:56 |
Select the Elliptical Marquee tool from
the toolbox and then I'll go ahead and
| | 02:00 |
draw an ellipse, and I'm using the
Spacebar to move it around here--that
| | 02:04 |
matches the top eyelid.
| | 02:05 |
And I'm not terribly concerned about
the eyelashes, I just want to match the
| | 02:09 |
top eyelid like so.
| | 02:11 |
Then I'll scoot the image down and I'll
press both the Shift and Alt keys, these
| | 02:15 |
would be the Shift and Option keys on
a Mac, so I can create an intersecting
| | 02:18 |
selection, and I'll draw
another elliptical marquee.
| | 02:22 |
So I've got my Shift and Alt keys down
and I'm using the Spacebar at the same
| | 02:25 |
time in order to move that selection around,
until I've traced the bottom eyelid like so.
| | 02:31 |
And you don't have to exactly trace
the eyelid as long as it's accurate below
| | 02:34 |
the iris, and then you release
and you end up selecting the eye.
| | 02:39 |
Now I'm going to click on the blur
layer, the top layer in the stack, and then
| | 02:42 |
I'll press the Alt key or the Option
key on a Mac, drop down to the Black/White
| | 02:46 |
icon at the bottom of the Layers panel,
click on it and choose Hue/Saturation.
| | 02:50 |
And because I have the Alt or Option
key down that brings up the New Layer
| | 02:54 |
dialog box, I'll just name
this layer eyes and click OK.
| | 02:57 |
And then I'm going to scoot the Hue
value over just a little bit to 5 so that
| | 03:03 |
I'm enhancing the green
inside of these hazel eyes.
| | 03:06 |
Those kinds of hue
modifications are totally up to you.
| | 03:09 |
You can go full on green if you want
to or you can more emphasize the brown
| | 03:13 |
of the eyes as well.
| | 03:14 |
I'm going to take the value to +5 and
then I'll tab to the Saturation value and
| | 03:19 |
take it to +30 so that we're bringing
out even more color inside that iris.
| | 03:24 |
All right now I'll hide the Properties panel.
| | 03:27 |
Next I need to select the other eye,
because currently it's not affected.
| | 03:31 |
So I'll go ahead and trace the top
eyelid once again using the Elliptical
| | 03:34 |
Marquee, and then I'll press the Shift+Alt
keys or the Shift+Option keys
| | 03:39 |
on a Mac and I'll trace
that bottom eyelid like so.
| | 03:42 |
And again you want to get it accurate
underneath the iris, elsewhere it's not
| | 03:45 |
that important, as long as you
don't select into the eyelid that is.
| | 03:49 |
And once you get a loss in shape
selection like this then make sure that your
| | 03:53 |
layer mask thumbnail is
selected inside the Layers panel,
| | 03:56 |
confirm that your background color is
white, as it is in my case, and press
| | 04:00 |
Ctrl+Backspace or Command+Delete on a
Mac in order to fill that portion of the
| | 04:04 |
layer mask with white so that both
eyes are white and everything else in the
| | 04:08 |
layer mask is black, and you end
up achieving this final effect.
| | 04:12 |
All right I'm going click inside the
image to deselect it and I'm going to
| | 04:16 |
reset my view by pressing Ctrl+Zero or
Command+Zero on a Mac and then zoom back
| | 04:20 |
in a little bit here.
| | 04:21 |
And just for the sake of comparison here,
I'm going to Alt+Click or Option+Click
| | 04:25 |
on the eye in front of the background layer.
| | 04:27 |
That is our original portrait
shot entirely unedited by the way.
| | 04:32 |
This is the raw image from the digital camera,
and this is the final version of the image,
| | 04:38 |
thanks to the immense power of
retouching here inside Photoshop.
| | 04:43 |
| | Collapse this transcript |
|
|
ConclusionUntil next time| 00:00 |
In this course, you've had a chance to
come to terms with some essential
| | 00:04 |
concepts, things like pixels, layers, and
luminance.
| | 00:08 |
But you've also had a chance to build some
real hands on projects, in a few cases
| | 00:13 |
entirely from scratch.
And this is just the beginning of what you
| | 00:18 |
can do in Photoshop, I'll have three more
courses in this series.
| | 00:22 |
Including Part 2 Photoshop one-on-one
intermediate, which takes up right where
| | 00:27 |
this course leaves off.
If you're looking to branch out you may be
| | 00:33 |
ready to try out my regular weekly series
Deke's Techniques.
| | 00:37 |
It's a chance to take the tools you've
seen so far and apply them in fresh and
| | 00:42 |
creative ways.
But whatever your destination we have a
| | 00:47 |
course to get you there.
| | 00:49 |
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